Poetry at court in Trastamaran Spain: from the Cancionero de by E Michael Gerli, Julian Weiss

By E Michael Gerli, Julian Weiss

This can be a replica of a publication released ahead of 1923. This publication could have occasional imperfections reminiscent of lacking or blurred pages, terrible photographs, errant marks, and so on. that have been both a part of the unique artifact, or have been brought via the scanning procedure. We think this paintings is culturally vital, and regardless of the imperfections, have elected to convey it again into print as a part of our carrying on with dedication to the protection of revealed works around the world. We savor your knowing of the imperfections within the upkeep technique, and wish you get pleasure from this necessary e-book.

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Extra info for Poetry at court in Trastamaran Spain: from the Cancionero de Baena to the Cancionero general

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81-86 Anonymous and unique. contains the following works: (179r) 165 Anonymous (as in MEl). 166 Anonymous but by Luis Bocanegra in MEl (poem 92). 167 Mafuela 168 Diego de Sandoval. 169 Anonymous in (as MEl). 170-175 Anonymous (as in MEl, poem 75). 176-177 Carlos de Arellano (as in MEl). 178-179 Anonymous (as in MEl). 180 Pero Vaca 181 cancionero it in (as Anonymous (as MEl). in MEl) but by Francisco Bocanegra in appears in the midst of a group of canciones that are documented only here, attributed to various authors.

Nevertheless, cancioneros are often structured around an initial core made up of texts preserved by a single or almost single witness and strongly The Cancionero del Marques de Monasterio de Montserrat (MS. 992 = BMl, with the wrong sigla in Dutton since it is not in Barcelona), opens with a "Pregunta de don diego de Castre al principe don karles [de Viana] quando el S. R. "^' No other copy of this composition is known, and surely it is closely linked to the origins of the cancionero, which is no doubt influenced by the collector's taste and interests.

Finally, after a blank leaf, which was probably left free for further additions, a scribe copied the opening of the Laberinto de Fortuna. Moreover, this copy is of high quality and copied uniformly, which indicates that it was not the work of an amateur, but a more cultured product, attributable to the court of Navarre itself. In this type of cancionero, the compilers superimposed strata from different On origins. the one hand, there were poems that reached usual channels of cancionero lyric (which are admittedly detail): generally classics (Mena, Santillana, them through the still Gomez Manrique, to be studied in the Vita Christi, Fernan Perez de Guzman, Torrellas, and sometimes Villasandino or Macias) or booklets produced in the prestigious creative centers of the Castilian and Aragonese courts.

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