Do Dogs Get Nipples Even If There Not Pregnant?

Spanish Literary Codices (Middle Ages). VIII Centenary of the codex of the "Cantar de Mio Cid" On the connections entre

I come from a few days of recreation and coexistence academic scholar (and other) in La Rioja. Regardless of Berceo, San Millan, the wine, politicians, old stones and other inconveniences and blessings of the story, a beautiful valley and evocative of ancient peace was home to a game of medieval quotes he convened by Peter M. Chair-Pedro ...-, many times to make the best of his knowledge the proposed topic, others more fortunate perhaps, heard we were there anxiously alert and wit despite the atrocious (for pluscuamcopiosas) meals I do not know if I I have grown old or hopelessly anglosajonizado; not know if those two things are but one and the same, enjoying the contributions of those who really had to gigs. Enjoyable fellowship, chafardera congregation, congress scholar, tumultuous meeting in short, enjoyable medieval mob was a pleasure to be part, from the presidential to accentual dislocations txapela Don Francisco.

For those who were not, or, as the grandmother of the joke, like to remember, is the consolation of seeing the video of all sessions on the website of CILENGUA -hurry, will not be there long; and my apologies to Peter Mazzocchi and cover it with the bass, while others enjoy the photographic evidence with his usual talent has produced art and Jesús Rodríguez-Velasco . Enjoy.

Sudden Mensus Cramp At 40 Weeks

'free servant of Love "and Old French confessional and penitential literature

[To be completely honest, I have never cared much about sentimental fiction. I have always found these short narratives of love, despair, loss, suffering, desperation, and suicide rather boring and heavy. With one exception: that of Siervo libre de amor . And that for different reasons, that I could summarize in perhaps three: because the text is, bibliographically and codicologically, a relic; because it is difficult to understand (literally) in quite a few passages; and because I love rhetoric and verbosity and complicated syntax. But, as many times has happened in my life, the reason for me approaching this text with research purposes was chance, sheer chance. I won't bother you with the details, but the result has been published: "Paisaje y en el sentimentalidad subjetiva Siervo Free amor y otras Ficciones sentimental in" Nature and Landscapes . The emergence of a new subjectivity in the Renaissance. Proceedings of the Workshop organized by the Ecole Nationale des Chartes (March 26, 2004 and April 15, 2005) . Ed Dominique de Courcelles. (Paris: Ecole des Chartes [Studies and meetings L'Ecole des Chartes, 24], 2006 [to 2007], pp. 53-75, and I must thank Dominique de Courcelles history for invitation, hospitality history, Dinner with a lovely Her husband and Some Other colleagues in Her stunning apartment (with Views of the Eiffel Tower), and for Being, after all, The causa efficiens Interest of my research on Servant.
Who makes a basket, a hundred , as the Saying goes. I Promise Not to Reach That Number, But Apparently I Have Produced more, tentative Rather, research on the short novel of Rodríguez del Padrón. A more or less decent version of it (in English) will soon Appear in a new electronic journal under the direction of my dear colleague and yet friend Carlos Heusch (ENS-LSH, Lyon), and I made a raw draft of it in the 2007 conference of the Association of Hispanic Great Britain and Ireland , Which Took Place in an unusually sunny afternoon in Aberdeen early April. This is the text That I offer you here, with the expression of my gratitude to Barry Taylor, who chaired the session in which the paper was read, and to Dorothy S. Severin, David Mackenzie and Jeremy Lawrance, who helped me to see clearly with their questions.

(Incidentally, I would like to say here that during the years 2001-2006 I have shared professional affiliation -and even hallway- with who supposedly is one of the most important scholars on Siervo libre de amor and Juan Rodríguez del Padrón. We never had the slightest chat about these; I did not learn the faintest thing about both the text and the author -regrettably, though, I learned a lot about that scholar.) ]

The purpose of this paper is to share with you some findings, that I must hasten to qualify as rather minor findings, which are the result of a work in progress on the sources and literary models of Juan Rodríguez del Padrón’s Siervo libre de amor . As you know, very little is known about this issue. After a period —roughly the seventies and eighties— during which the Siervo was thought to be based on Italian Models (different critical contributions made by Andrachuck [1977, 1981], Weissberger [1980] and Brownlee [1984] are good proof of that), more recent contributions have highlighted the debt that this mysterious work has with certain Old French texts. It must be said that María Rosa Lida [1977:105] and Olga Impey [1987-88] already pointed toward Old French literature and language in order to explain and understand some aspects of Siervo , and that Alan Deyermond did suggest that the cultural climate in which the Siervo is rooted is more French than Italian, but the most explicit connection so far proposed between Siervo and a French model was that suggested by Michael Gerli in an article published in 1997 [Gerli 1997].

In that article, Gerli shows the connections that it is possible to establish between Rodríguez del Padrón’s novel and a text written in the fourteenth-century by the French writer Guillaume Deguileville, entitled Le rommant des trois pèlerinages . Gerli sees coincidences between the two first parts of this work, the Pèlerinage de la Vie Humaine , and the Pèlerinage de l’Âme , coincidences that are focused on three aspects shared by the French and the English texts. According to Gerli,

It is clear that Rodríguez del Padrón capitalized upon three of the Vie ’s best known iconographic motifs […]. These are: (1) the Pilgrim-Narrator’s nightmare vision, (2) his allegorical descent into the Deep Valley of Despair, and (3) the rescue by the Ship of Religion at the edge of the Sea of the World [1997: 10].

I am not going to discuss here Gerli’s theory, or the other ideas he puts forward in his article. I find some of these unacceptable (like his idea, reviving an old one, of the existence of a missing third part of Siervo, which, in my view, has been successfully refuted by Cátedra [1989:145]), but this is not the right place to analyze the reasons for my disagreement. What interests me more is the fact that, by pointing towards Deguileville’s work, he is pointing towards the realm of French penitential and confessional literature, and in that realm it is possible to find other coincidences, parallels or textual debts between the Siervo and other old French texts. I find this particularly appealing, since, as Gerli [1988-89] and Cátedra [1989] have successfully shown, and as Andrachuck [1977] suggested long time ago, Siervo libre de amor is a text that presents a number of connections with, and traces of, confessional and penitential literature.

This confessional and penitential connection, showed in one way or another by Cátedra and Gerli, with the specific and explicit French link suggested by the latter, lead me to further explore some literary modalities of Old French literature linked in one way or another to Confession and / or Penance. I specifically explored the solid tradition of confessional and penitential literature that originated in the de re predicandi needs of certain clerics and that afterwards evolved into a certain type of literature of wide consumption among a lay public interested in meditational and contemplative matters, and with a clear gusto for allegoric devices. Among this type of literature, I focused primarily on the rich literary tradition of visions or dreams of the journey to paradise: in many cases, these allegorical journeys to Paradise are linked to Confession and Penance, since these are presented as necessary stages of that journey. After a preliminary exploration, I have to say that it is possible to find in this literary tradition a series of coincidences with topics and motives that seem to parallel others that we can find in Siervo libre de amor .

Perhaps one of the older, if not the oldest, text of this genre is Raoul de Houdenc’s La voie de Paradis , which is a continuation of another work by the same author, Le songe d’enfer . It was written perhaps around 1225, and seemingly Houdenc died around 1230. In a way, these two itineraries can be seen as complementary parts of a twofold journey, something that obviously brings to mind the tripartite itinerary that the main character of Siervo faces in the beginning of the text, and with the fact that the Siervo is, after all, to Pèlerinage , an allegoric journey, and this is, in my view, the first thing That Needs to Be Highlighted. Some Analogies Can Be Extended Further events: for instance, in Servant, the second Easiest road to follow is That of "the space via well they call love, followed by the HEART do in the time it Amavida" [Rodriguez del Census 1985: 65], Which Is Easier to follow than "the very grateful not to love or be loved, for the qual syguen very few, being the lightest and most serious fallyr follow" [66]. In Le songe d'enfer , the infernal road is "Pleasant chemin voie et bele [Houdenc 1974: v. 14] Opposed to the road to Paradise, through Penance, as presented in The Road to Paradise , Which Is depicted AS FOLLOWS: "Long is the way and i estroite" [v. 501], "the way i is estroite and safe; / Cil metent is an adventure, / Who will, if they have good leads, / Or not the way his product" [vv. 620-623]. As We Can See, the road grants salvation That (That of Paradise, Gold, in Siervo , That of "amar ser amado no") Is the long, difficult, narrow, and "safe", That Is' secret dark gold ', yet' agra [...] of fallyr ligera y más grave seguir ". Goal This Is Not The Only analogy between Siervo and Houdenc’s La voie de Paradis : there is another one that brings to mind one of the common features between Siervo and Deguileville’s Pèlerinage de la vie humaine pointed out by Gerli in his article [1997]: the allegorical descent into a valley full of negative connotations. In the case of Siervo , what we have is the scene in which the main character of the story is descending down the mountain and into the valley while trying to find “entendimiento”:

«Buelta, buelta, mi esqyvo pensar, de la deçiente vía de perdiçión quel árbol Populo, dedicated to Hercules, he demostrava to follow the three paths in the jardýn of fortune, and turns on the very steep path where the green was Olyva, devoted to Minerua, we enseñava Quando quel party understanding Ayrad me. "in whose seeks, through the great Alps my thoughts , decended to the shady valleys of my first motus , arriving at the foot of my elusive contemplation, the fallyr of footfalls preguntava the mountaineers, and burlavan me ; to saluajes Fyer, and I responded, to that sweet auseles Cantave, and then quietly entrave e quanto plus aquexava more se esquivavan de mí… [107]

This could be paralleled with the episode in Houdenc’s Voie de Paradis in which the pilgrim to Paradise via Penance, abandoned by his guide “Persévérance”, misses the road, and gets lost in “une grant valée, / qui mult estoiz parfonde et lée” [468-469], valley which is nothing but “cis mondes”, where he is attacked by the capital sins. The disappearance of the guide, the descent to the valley, and the hostile, if not dangerous, atmosphere that it presents can be seen as points in common in both texts.

What is relevant here is not this particular set of similarities between Siervo and De Houdenc’s text, but the fact that the features of this last text that I have discussed happen to appear in other texts that are also representatives of this particular sub-genre of the voies de paradis . A good example of that is Rutebeuf’s La voie d’humilité , another, more allegorically-laden, treatment of the same topic. It was written in 1262, and presents a large number of coincidences with the text that I have already discussed. Like Houdenc’s Voie , this one is also presented as a dream, in which the poet tells his pilgrimage to Paradise. Obviously, the choice Of The Road Is Crucial right, and Again We Need to Choose the right road-and accept the potential polysemy, please, for It Will Be Useful Almost Immediately From The Very Beginning-:

J for assist in a way estroite. Moult
i found from gent strait
Who aleir c'i autournoit. Too vi
in which it retornoit
To track who was male. [2001: vv. 35-39]

Again, The Topic Of The Difficulty of Choosing The Correct Way and followings, Which in this case IS Many deserted by Because It Is Too Tough to follow, Appear in the forefront of The text. Goal this topic (Which after all derived from the Bible, and have Faral Bastin Explained In His note to this passage [Rutebeuf 1977: 342]) IS soon combined With Another One, That Of The Two Ways, one at left, one at right , Among Which It Is mandatory to choose:

As Gaire Alei hadst,
found. I. has half way.
I deiss of his being
This I had so much to do,
But the race which doubled my lair so great that
Va lue
Com palfreys will the pacer. Li is Biaus
paths and wits, Crime and
aaisans: iaa
every one motto
Quanqu'il sohaide no currency. Tan plainsans
test everyone going, hard hore
But
Who got going, it will not haunt. Li
paths will have a den or too
pain and distress. Large
is, but toz Jors estresse. Li
pilgrim is not wise
Passeir estuet lor. I. Dont pass
ja nuns do Retorn (vv. 42-61).

If We Leave aside The joking tone of voice Rutebeuf's, We Have here again The topic of the easy to follow road That leads to Perdition. After Deciding Wisely "this path does not take Vox" (67), Rutebeuf Decides to follow The Other One, The Right at the road (hence, The Right Road), "The path ting a destre main” [69]. This leads him to the City of Penance, from which he is sent to the House of Confession: this road is presented as follows:

Or escouteiz comment iroiz
Jusqu’a la maison de Confesse,
Car la voie est .I. pou engresse
Et c’est asseiz male a tenir
Ansois c’on i puisse venir (vv. 142-146).

After this, the pilgrim needs to chose, once again, between two roads: that to the left, where all dangers are, represented, as they were in De Houdenc’s text, by the Capital Sins. At the right side it is the road that should be taken:

the other way your motto, too
Who is bele Grant currency
And wits too, which has cure
And it's pretty much the OCUR,
the right track and Road
Ausi plain con un parchment
aleir To Confess a law (vv. 511-517).

Note That In This Particular box The Right Road Is Not The roughest, Or The Ugliest, goal in a way it est aussi difficulty to take: it's "the most OCUR" That Is, "the less known ", a parallel Houdenc With Raoul's" ... way [...] estroite and safe. " That note and again, the final destination is “confession”, the only thing that can ensure salvation and peace of mind, in the same way that the protagonist of Siervo , after telling his love process, and following in his particular pilgrimage the “agra senda” of “no amar nin ser amado”, is free again.

This presentation of a pilgrimage to Paradise as a representation of penance and confession is extremely popular in Old French literature of the XIII-XIV centuries. The list of texts in which this topic can be found is very large, and I will mention only a few more. For instance, and in a more doctrinal and dogmatic note, De tribus dietis , a Latin treatise composed by Robert de Sorbon (1201-1274), of which we have different versions, a very influential text whose influence is clearly present in other reelaborations of the topic. That is the case of the next one I will discuss here, the anonymous Voie de Paradis , translated from French into English under the title Veye of Paradys . The French text was composed circa 1280-1300, and we have an exemplar edition of both texts made by F. N. M. Diekstra [1987]. In this particular case, what we have is a text organized on the basis of a structural allegory which consists on three journeys that lead to paradise: these three journeys are those to contrition, confession and satisfaction. Obviously, and immediately, The existence of this tripartite plan Brings to Mind the tripartite structures That plan Siervo Free amor.

The starting point anagogic Is the application (And The Exegetics expansion) of a biblical passage of the Book of Exodus:

Moyses In a book which not Exodus or quint treuve the chapter in which our Lord sent Moses and Aaron to Pharaoh, the king of Egypt, which lessoit issir from Egypt the people of Israel. And our Lord said unto them that it was Pharaoh deïssent these words, Exodus quinto: Deus vocavit our Eamus ut viam trium DIERUM [in sollitudine ut immolemus Deo nostro]. "Diex us for what we apel voisom the way of three days we sacrefiom to Our God."

The Holy Scripture teaches us [by] our doctors and our semesters as Egypt is entenduz state of sin is understood by the Pharaoh who deable lesse issir people of sin. My Diex as he wants them deprives property ausint CONM when it rained it li osta his people from Pharaoh's hand. Through three Jors is in the Holy Scripture Senefera that he has only three lanes if jornees Paradise em questions for which we track aler Nostre Sires Apele touz and all day to day. [Diekstra 1991: § § 10-11, p. 112]

This sets the foundation of the tripartite allegory of the three journeys and its transcendental signification.

The type of tripartite structure that we find in this Voie de Paradis appears in many other texts, such as the Pèlerinage de l’Ame by Guillaume de Deguileville, the text that Gerli claimed was the direct source of Siervo in his 1997 article; or Raimon de Penyafort’s Summa de Poenitentia (1223-1230); or Simon of Hinton’s Compendium Theologiae (1250-1260); or the anonymous Songe de la voie d’Enfer et de la Voie de Paradis ( c 1315); or La Voie d’Enfer et de Paradis by Jean de la Mote ( c 1340). As we can see, the literary motif of a tripartite journey, presented as the result of wisely choosing between different possible itineraries and that ultimately leads to salvation or redemption, is a literary topic that has a very strong presence in French literature of the 13 ^th and 14 ^th century, and even reaches the 15 ^th century with fascinating texts like René d’Anjou’s Le livre du coeur d’amour épris , which I cannot discuss here, but that in any case was written at a later date that Siervo libre de amor was. The vogue and influence of this allegorico-structural device extends beyond the limits of French literature, something which is extremely interesting for our purposes. An excellent proof of it is Chaucer’s The Parson’s Tale , which closely follows in its opening the path set by these French penitential precedents.

It is time to finish. If what I have said today can have any interest, it will consist in showing how widely disseminated were in Old French literature of the 13 ^th and 14 ^th centuries a series of motifs and topics that, stemming from religious and doctrinal texts of penitential nature which were structured on the basis provided by the idea of a peregrination to Paradise organized as a tripartite allegorical journey, culminated in some non immediately religious texts which shared a number of these features, and that presented the need to choose with good judgement the right road to take as an important aspect of its message. And this is only interesting to us if we accept that, as Cátedra and Gerli suggested, Siervo libre de amor is a text with an obvious confessional and penitential imprint that is organized on the basis of a tripartite journey toward salvation, salvation that is reached only thanks to the ability to choose the right road, thanks to “entendimiento”, and that therefore, if we accept the French connections that Siervo seems to have, perhaps Rodríguez del Padrón was picking up from that tradition some of the most important elements that shaped his enigmatic text. Of course, many other aspects of the structural allegory that organizes Siervo are not present in the texts I have discussed here, which means that many of the enigmata in this text are still left to be solved.

WORKS CITED

Andrachuck, Gregory P . 1977. “On the Missing Third Part of the Siervo libre de amor ”, Hispanic Review , 45: 171-180.

_______. 1981. "A Further Look at Italian Influence in the Servant free love", Journal of Hispanic Philology , 6: 45-56.

Brownlee, Marina Scordilis. 1984. "The Generic Status of the free love Servant : Rodríguez del Padrón's rework of Dante", Poetics Today, 5: 629-643.

Chair, Peter Manuel. 1989. Love and Pedagogy in the Middle Ages . Salamanca: Universidad de Salamanca.

Deyermond , Alan. 1993. "Relations generic sentimental fiction," in Traditions views sentimental fiction (Mexico DF: UNAM), pp. 43-64.

Diekstra , FNM 1991. The Middle Inglés "weye of Paradys" and the Middle French "Voie de Paradis." A Parallel Text Edition . Leiden-New York-København-Köln: EJ Brill (Medieval and Renaissance Authors and Texts, 1).

Gerli, E. Michael. 1988-89. "Servant free love and the penitential Tradition." Journal of Hispanic Philology , 12: 93-102.

_______. 1997. "The Old French source of free Siervo de amor Guillaume de Deguileville Romm's The Three Pilgrimages ." In Gwara , Joseph J. y E. Michael Gerli , eds. Studies on the English Sentimental Romance, 1440-1550 (London: Tamesis), 3-19.

Houdenc , Raoul. 1974. "The Dream of Hell" followed by "The Road to Paradise." Phileas Lebesgue Ed. Geneva: Slatkine, 1974 [= Paris, 1908].

Impey, Olga . 1987-88. "Notes on the edition of the Complete Works of Juan Rodríguez del Padrón." Romance Philology, 41: 166-78.

Lida de Malkiel, Maria Rosa. 1978. "Juan Rodríguez del Padrón. Influence "in Studies XV century English literature (Madrid: José Porrua Turanzas), pp. 79-135.

Rodriguez del Padron, Juan. 1985. Free servant of love. Ed [Francisco Serrano Puente Prólogo of] Antonio Prieto. Clásicos Castalia, 66. Madrid: Castalia, 1985, 2 ^has ed.

Rutebeuf . 1977. Complete Works. Ed Edmond Faral y Julia Bastin. Paris: Éditions Picard, 1977. 2 vols.

Rutebeuf . 2001. The way of humility . In Rutebeuf Complete Works. Ed Michel Zink. Letters Gothic-Le Livre de Poche, 4560 (Paris: General Livrairie French, 2001), pp. 341-399.

Weissberger , Barbara F. 1980. "" Speak the auctor ' L'Elegia di Madonna Fiammetta as a source of the Servant free love ", Journal of Hispanic Philology , 4: 203-236.

1st Birthday Tutu Cakes

New contributions to the knowledge of Spanish poetry cancioneril

[I'm going to tell a story full of valuable doctrine and virtuous and exemplary teaching, which I have not the doubt should serve, as it must serve the whole story is not just vacuous and inane fiction or simply untrue and truffle Palladian, that take warning, or warning him that is on time, somebody else. Surprising and perhaps paradoxically, history, even wisdom, exemplary and virtuous is complete and strictly fictional, as fictional as it will be impossible to discover after each of the characters, places or actions alluded to character, place or real action. Or maybe not.

long time ago, but not so much that all memory of what follows is completely lost in the vast remote capital of a caliphate, there lived a young man who was serving in the regime of semi-professionals as scribe or clerk in a very named institution or guild who had managed over the centuries to create a good reputation often unfounded, and based on it, made with some other fat surprisingly strong and unchallenged monopoly. The young man, the poetic folk tale we paint requires young, relatively innocent, and somewhat pure in spirit, was summoned one day by the Grand Vizier who guided the destinies of the above institution or guild to the Throne Room. This Grand Vizier was not really the Caliph of the kingdom, but the Caliph left in their hands the most mundane matters: yet, the Grand Vizier only desire was to be caliph instead of the Caliph. Once our young had reached the Throne Room of the Grand Vizier, the latter asked him something that exceeded the usual requirements that the boy had his position as clerk or clerk in that institution or guild: to write a review of a book of songs published has little in one of the Taifa that made the Caliphate. It would seem to unaccustomed to the poetry of the folk tale that the parcel was a small thing, little substance, and easily doable, but who is after the complexities of poetic folk-tale and it seems that the alternative histories moral-know things are always more complicated than they seem: the book of songs was published has little work the very favorite of the Grand Vizier, and the director of the magazine in which criticism was to appear was none other than the mimsmísimo Grand Vizier. The young hero of our story is aware of the danger that lurks when Siquier perfunctoriamente examines the book, he had already spoken to his friend indignantly Good Dutonia Ogre, who had them for a hard money with him and his perpetrator . Listed as hard and dangerous trance, the young man, who is young, but not an asshole, and that is those who believe that amicus Plato, sed magis amica veritas , write a review on this to talk about many, very relevant and very interesting subjects, less than, erm ... the book that has reviewed, and that to avoid saying what they really think about the songs mentioned booklet (already said the young man was not an asshole, or had a special fondness for unemployment or ostracism). The passed onto the editor of the magazine, not long in coming, as the young suspect, a call to go back to the Throne Room of the Grand Vizier, who makes him see that look, pal, I see where you're going, and how will you walk, but I do not give me the cheese, and I want to do is talk about what you speak and speak well, of course, and let the nonsense and rambling, and you know what is if I come with scruples enough to give me a kick in the soil of a Instead of the caliphate to twenty as you sprout. In view of what is seen, and the stern wave of the Grand Vizier, the young, whom I have already said that it is young, but not an asshole, bow your forehead, bend the neck, it alleviates the minutes Bollandiana completito and rewrite critical maiorem ad gloriam the favorite of the Grand Vizier. Of course, it does not slide in the original submitted to the journal an interesting acronym (as expected lost in the printed version) and a pair of evil disguised as compliments to the Grand Vizier, and proud among the proud, and blinded for his constant and blind ambition to be the new caliph, or discover even suspicious. In any case, the second version is, as noted, which reached the press. And then there was the will, as always, the Grand Vizier.

Years pass. The young man is not so, and no longer lives in the capital of the caliphate, or works for the institution or guild monopoly. He now lives in overseas, having lived overseas. The Grand Vizier has already achieved his desire to be caliph, and, even more commendably, has achieved what very few: to be his own successor. As a youth (not so young) and it is free, and has a blog, decided to reprint the text did not like the Big Boss, and share with your friends, and with it (and with) this story, as I suspect not has no clear teaching to offer. Or maybe he did. Sometimes things are not what they seem, others do not seem what they are, sometimes things are not, nor do they appear.]

[ About Cancionero de Palacio (Ms. 2653, Biblioteca Universitaria de Salamanca) Editing Pellitero Ana Maria Alvarez. [Valladolid]: Junta de Castilla y León, Ministry of Culture and Tourism, 1993]

Any opinion is debatable, of course, but I think any expert would consider preposterous that the parcel of hispanomedievalismo that has experienced major progress in the last fifteen years is that which aims to study the lyric cancioneril XV century. Perhaps one of the main reasons for the rise of these studies is the final maturity of the critical prejudices about the lyrics of songs came weighing, solid and long-rooted prejudices in a historiographical tradition leaving an indelible mark on a double curse applied to these texts: first, the caps consisting of insults cast with his usual vehemence by Marcelino Menéndez y Pelayo [1] ; second-and rarely referred to him, which meant default preferred dedication of the founder of the English school of philology, Ramón Menéndez Pidal, in other medieval texts most relevant to their interests and preferences in the aesthetic and ideological, as the chansons de geste , chronicles and romances, this lyrical thing cancioneril excluded from both the impressive work of clearing applied by the master English literature medieval and the undeniable influence the work of Menendez Pidal, and their disciples [2] - had in shaping the tourist sites of medieval philology in Spain [3] .

Without forgetting of names pioneers, such as Antonio Rodriguez-Monino, Pierre Le Gentil, José María Azaceta or Charles V. Aubrun [4] , the breakdown of the unfortunate marginalization song lyric that was submitted is attributable primarily to two Anglo-Saxon whose names hispanomedievalistas can not be absent or the more concise bibliography on the subject: Whinnom and Brian Keith Dutton. The first of these we owe a monograph-auction of a series of articles published over the years in which it rejected the insults of Don Marcelino and defined in a solid and convincing Reappraisal cancioneril critical texts worst understood by scholars, amatory content, came to need: The cancioneril love poetry at the time of the Catholic Monarchs [5] . We to second base that any investigation of literary history need if you want to be fairly serious: a code bibliography which lists and locates all the primary sources of lyric cancioneril English, identify and index the poems contained therein are discussed problems of dating and authorship. Spoke of his Catalogue poetry index cancioneril XV century, work done to make a profound and lasting impression on cancioneril studies had it not been for the very Dutton made it worthless to his impressive century Songbook XV (c.1360 - 1520) , which, on expanding and improving its payroll bibliographic index Catalogue, edited texts from the songbooks less accessible and known thus making it much more than a bibliographic reference: it is, in fact, a songbook songbooks without which it is inconceivable future studies on the English lyrical Quattrocento [6] .

these studies do not assign a prominent place in the renovation of the studies on the lyrics of songs would be as unfair as not having in mind others who have helped make accessible or hidden text before making their interpretation easier and understanding. But the bottom line is, no doubt, access to the texts. And, happily, in this area, nucleus of philological research and prior to any attempt of interpretation, where progress has been greater: in recent years have seen the light of songbooks to stringent editions (those of the Cathedral of Segovia, Estúñiga, Juan Alfonso de Baena, Oñate-Castaneda, from Toledo Marqués de Santillana, among other [7] ) as personal production of poetic songs traditionally ignored in favor of the great names of opera Quattrocento (Mena, Santillana, Manrique, etc. [8] ) .

comes happily to expand this wide current edition of the Cancionero de Palacio (Named after its temporary membership in the Royal Library and now is back to its original location of the Tormes river banks under the symbol ms. 2653 in the University of Salamanca) which we owe to Professor Ana Maria Alvarez Pellitero. It was not unheard the Cancionero de Palacio at all: it was the subject of a partial edition as early as 1884 by Alfonso Pérez Gómez Nieva, edited it fifty years ago Francisca Vendrell miles, and Dutton offers a transcript semipaleográfica in Song [9] . But it would be wrong to think that the pre-existence of these issues calls into question the opportunity output of the review here: Editing Pérez Gómez Nieva is no longer a witness to a venerable relic as plausible as rudimentary philological vocation, editing Millás Vendrell, if meritorious for his life, far from now a valid working tool for the philologist, and Dutton, valuable as an approach to the materiality of the codex, it aims to reach ecdotics budgets that define this we are discussing.

is important to the publication of this edition, we review several factors. First by the intrinsic importance the Cancionero de Palacio as cultural product. It is one of the songbooks earliest build date we know (circa 1440; vid. P. XIII for details), and that age is another factor must also consider the end of interest: the most familiar words from these repositories poetic, "the Cancionero de Palacio is much more representative of the courtly atmosphere and general tastes of the first half of the fifteenth century." The importance of the trial unblemished somewhat if we consider that the term of comparison is the Cancionero de Baena "unusual, even bizarre", as ready availability to students (I refer to the above edition, 1851) significantly distorted subsequent literary historiography: "Had it been published [the Cancionero de Palacio ] in 1851, would have been very different history of literary criticism of poetry cancioneril " [10] . True : facing the dominance enjoyed in the Baena and it said allegorical series of questions and answers, very often a mere pretext for metrificador virtuosity, "here stands out with its freshness and vivacity," the lyric poetry of courtly love and aristocratic character in combinations of [...], cosautes mountain, Esparsas, perqué, etc. " [11] . Sean witness to this piece as songs and sayings of García de Pedraza (poems XVIII, XVIII, XX, XXII cosaute ...), the well-known Diego Hurtado de Mendoza (XVI) and the various series of mountain (XXVIII -XXXIV). These are complemented representative of the irreverent pieces like the fusion of love and religion: the well-known attributed to Alvaro de Luna, "God our Savior" (II), or "love Miserere" by Francisco de Villalpando ( XCIV), significantly strikeout in the manuscript. Finally, a clear symptom of general tenor of the Cancionero de Palacio is the absolute predominance of minor art: only two poems of Juan de Dueñas couplets are written in major art (CIX, CXI).

Second, we review the issue that is particularly welcome because it represents a significant improvement over its predecessors. The objective Alvarez Professor Pellet to his edition of Cancionero de Palacio is clear: "debug and fix it the texts, tracing lost forms difficult to interpret, clarify points explain historical and cultural references and expressions of time, to bring to the student of today the voice of the poet, and I'll say, the copier, yesterday. This, and not the content analysis-is the focus of my edition "(Introduction, pp. XII-XIII). The final result is expected in a solid anchor philological endeavor ("I think that taking care of the transcript is not a luxury for philology, but the very heart of our work," ibidem, p. XVII): a transcription carefully prepared, reliable, guided by criteria that show that neatness and accuracy are not synonymous with palaeographic.

The editing of the text is accompanied by a note which deals, in a concise and effective language to clarify details (especially aragonesizantes features of the language of the copier, without doubt original eastern peninsular), lexical text (often based on the testimony of other songbooks), metric or ecdotics. Some of the notes is dedicated to collecting the discrepancies in the text proposed by Professor Alvarez Pellitero regarding editing Millás Vendrell. Its usefulness may not compensate the great effort that surely has brought his painful collection, have been enough to speak the word face to face.

editing precedes a brief preliminary study (pp. VII-XVIII) where the editor briefly discusses the problems of date and provenance of songs, and a little more thoroughly addresses the features codicological the manuscript (perhaps miss some facsimile of one of its pages) and the criteria followed in the edition (to which we have already accomplished by reference). Suffice it to say that the information essential to contextualize the reading of the Cancionero de Palacio is in these pages.

Continue to issue various indexes: of authors, first lines, general (pp. 387-409). Suffice it to say of them that greatly facilitate the student of poetry Quattrocento access to the compositions contained in the song.

In short, Alvarez Professor Pellet has been made available to scholars a well done edition of one of the most important fifteenth-century Castilian songbooks. The fact, in his simple utterance, and realizes the importance of the book review, and makes the opinion expressed at the beginning of these lines, the lyrics cancioneril of four is perhaps the field English literature that more progress has been made the scholarship in the last fifteen years has a more solid foundation and a little less debatable.

Notes

[1] main aspects, as noted by Keith Whinnom in a memorable work that will be mentioned later, the love poetry of the time cancioneril the Catholic Monarchs. Its authors are "all these writers of verse, mostly weak and effete, and their productions," trivial and bland pleasantries " "Dull and mannered poetry" and "chaos of lines often medium" (M. Menéndez y Pelayo, Antología Castilian lyric poets, III [Madrid: CSIC (National Edition of the works of M. Menéndez y Pelayo, XIX) , 1944], pp. 126, 127, 158 and 219). But poetry cancioneril of the past, like John II, is the subject of lawsuits as tough as follows: "Precisely, the real that reached as far as literary forces, gave them this age in the prose in poetry. Small volume occupy the compositions of the Songbooks that can be read without anger and who is not a scholar or historian of the trade "(Op. cit . , II [Madrid: CSIC (National Edition of the Complete Works of M. Menendez Pelayo, XVIII), 1944], p. 22; cf . also pp. 20, 25 and 28). [Back]

[2] While it would be a crime against justice not to mention the main one unforgettable pages devoted to the great poets of the fifteenth and songbooks language I speak, is clear, Rafael Lapesa work and literary work of the Marquis of Santillana , Madrid: Insula, 1957, "The moral element The Labyrinth Ore: its influence on the disposition of the work, "HR , XVII (1959), 257-66," The language of lyric poetry from Macias to Villasandino, RPh , VII (1953 -54), 51-59, among others. [Back]

[3] Vid. for "prejudice" pidalinos José Portolés, Half a century of English Philology (1896-1952). Positivism and idealism (Madrid: Cátedra, 1986), pp. 64-83. It is appropriate to point out that not only omission was his contempt Menéndez Pidal the lyrics of songs: sometimes hard shot her volleys. So when he calls to those represented in the Cancionero General of "aristocratic crowd of poets," and his own collection of Hernando del Castillo's "heap of verses insignificant" (Ramón Menéndez Pidal, Discourse on the original English lyric poetry [Madrid: Ateneo Scientific, Literary and Artistic Madrid, 1919], pp. 10 and 11 respectively. Vid. also pp. 20-29). [Back]

[4] Cancionero General”, recopilado por Hernando del Castillo (Valencia, 1511). Sale nuevamente a la luz reproducido en facsímile por acuerdo de la Real Academia Española con una introducción bibliográfica, índices y apéndices por Antonio Rodríguez-Moñino , Madrid: Real Academia Española, 1958, y Suplemento al “Cancionero General” de Hernando del Castillo (Valencia, 1511), que contiene todas las poesías que no figuran en la primera edición y fueron añadidas desde 1514 hasta 1557. Publícalas con una introducción D. Antonio Rodríguez-Moñino , Valencia: Castalia, 1959. Rodríguez-Moñino dedicó atención específica a otros Quattrocento songbooks: "On the Cancionero de Baena : two bibliographical notes, HR, XXVII (1959), 139-49, at other times, data from literature investigations have allowed other researchers to illuminate dark areas cancioneril lives of other compilations, vid. for example, Juan Carlos Conde and Victor Infantes, "New data on an old story: the Cancionero de Oñate -Castañeda and their owners", forthcoming in the Tribute to the memory of Brian Dutton . Le Gentil published the largest study of all hitherto existing on cancioneril English poetry: La poésie lyrique espagnole et portugaise à la fin du Moyen Âge , Rennes: Plihon, 1949-1953, 2 vols. Azaceta gave us several editions of songbooks: The Cancionero de Gallardo, Madrid: CSIC, 1962; Cancionero de Juan Alfonso de Baena , Madrid: CSIC, 1966, 3 vols.; Cancionero de Juan Fernandez de Íxar , Madrid : CSIC, 1956, 2 vols. A must Aubrun edition d'anglais Le Chansonnier Herberay Dessessart (XVe siècle) , Bordeaux: Féret et fils, 1951. [Back]

[5] Durham: University of Durham (Durham Modern Languages \u200b\u200bSeries), 1981. Among previous articles highlight some as important as "Towards an understanding and appreciation of the songs from the Cancionero General of 1511", Philology, XIII (1968-69), 361-81 and "The evasion of the reader: an action unheard of cancioneril poetry "in Proceedings of the Seventh Congress of the International Association of English scholars held in Venice from 25 to 30 August 1980 , ed. Giuseppe Bellini (Rome: Bulzoni, 1982), II, pp. 1047-52. [Back]

[6] Index Catalogue of the fifteenth century poetry cancioneril , Madison: HSMS, 1982, 2 volumes in 1 vol. The lyrics of the fifteenth century (c.1360 - 1520) , Salamanca: Universidad de Salamanca (English Library of the fifteenth century), 1990-1991, 7 vols. folio.

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[7] Cancionero de la Catedral de Segovia. Castilian poems , ed. Joaquín González Cuenca, Ciudad Real: Museum of Ciudad Real, 1980; Estúñiga Songbook, ed. Manuel and Elena Alvar, Zaragoza: Institution Fernando el Catolico, 1981; Estúñiga Songbook, ed. Nicasio Salvador Miguel, Madrid: Alhambra, 1987; The Song of the Marquis of Santillana Toledo , ed. José Luis Pérez López, Toledo: Caja de Toledo, Cultural Works, 1989; Songbook Oñate-Castañeda, ed. Dorothy Sherman Severin, introd. Michel Garcia, Madison: HSMS, 1990; Cancionero de Baena, ed. Brian Dutton and Joaquín González Cuenca, Madrid: Visor Books, 1993. [Back]

[8] Lope de Stúñiga, Poems, ed. Jeanne Battesti-Pelegrin, Aix-en-Provence: Université de Provence, 1982 (a complement to its monumental Lope de Stúñiga, recherches sur la poésie anglaise au XVe siècle, Aix-en-Provence: Université de Provence, 1982); María Jesús Díez Garretas, The literary works of Fernando de la Torre , Valladolid: Universidad de Valladolid, 1983, Anton de Montoro, Cancionero, ed. Francisco Cantera Burgos and Carlos Reel Parrondo, Madrid: Editora Nacional, 1984; María Jesús Díez Garretas, poetry Ferran Sanchez Calavera, Valladolid: Universidad de Valladolid, 1989; But Guillén de Segovia, poetic work, ed. Carlos Moreno Hernández, Madrid: English University Foundation, 1989; G. Caravaggi, M. von Wunster, G. Mazzocchi, S. Toninelli, Poeti cancioneril sec. XV, L'Aquila-Roma: Japadre Editore, 1986 (includes production of Francis and Luis Bocanegra, Serum, Pedro and Diego de Quiñones, Alonso Pérez de Vivero, Viscount of Altamira and Luis de Vivero), Anton de Montoro, songbook, study ed. Marcella Ciceri and Julio Rodriguez Puértolas, Salamanca: Universidad de Salamanca (Recovered Texts, III-IV), 1990. These two bibliographic relationships without any claim to completeness. [Back]

[9] Collection of poems by an unreleased song of the fifteenth century in the library of HM King Alfonso XII. With a letter from the Hon. D. Manuel Cañete, English Academy, and a foreword, notes and appendix by A. Nieva Gómez Pérez , Madrid: Typography Alfredo Alonso, 1884; El Cancionero de Palacio (Manuscript No. 594) , ed. Miles Francisca Vendrell, Barcelona: CSIC, 1954, Dutton, Song ..., op. cit. , IV, pp. 84-179. Some of the compositions contained in the Cancionero de Palacio had seen the light in the notes to the Marquis of Pidal's edition illustrated Cancionero de Baena (Madrid: Rivadeneyra, 1851), pp. 639-702. Not always been identified Nieva Gómez Pérez editing the Cancionero de Palacio : to this may contribute not only their partial character (their editor has chosen to make the press only unpublished poems, cf . P. 307) but also the management of the order edited alphabetical order of authors. The identification Vendrell (ed.cit., P. 16), Dutton does not mention it when describing the manuscript ( Song ..., op. Cit. , IV, p. 84: does mention of Vendrell and Alvarez Pellet, and in preparation), but identified with SA7 (acronym that identifies our Songbook ) in the bibliography which closes his Cancionero ( op. cit. , t. VII, p. 647). [Back]

[10] take these appointments Introduction to Brian Dutton Song ..., op. cit. , I, p. vi. [Back]

[11] are the words of María Isabel Toro Pascua, editor of the article "Cancionero de Palacio" in Dictionary of English and Latin American Literature , dir. Ricardo Gullón (Madrid: Alianza, 1993), I, p. 265 b . [Back]