Esta é como Aboíuçaf foi desbaratado en Marrócos pela sina de Santa María.
Line | Refrain | Metrics | |
1 | Pero que seja a gente d' outra lei e descreúda,†CSM 181:1Mettmann inserts the word e in the second hemistich here to fix both the metre and the sense (the adjective descreúda modifies gente, not lei) although the word is in neither [E] nor [T]. However, this means that the refrain music in [E] is one note/ligature short. The same problem arises in the vuelta, where in both manuscripts just four notes/ligatures are written over what should be the word perigoosa, with the five syllables required by the metre—though in fact [T] has perigosa and [E] the aberrant form periigosa. In order to fit all stanzas to the music, I have therefore chosen to split the .raron ligatures at E1 and E2 into .ra + .ron (see the Music tab) which gives the best rhythmic result, in my opinion. (Elmes' solution is to split the preceding .owo ligatures, but to my ear that leads to rather awkward, rushed syllable sequences in most stanzas. Note also that although Elmes does split the .owo ligature above lei in the refrain, he doesn't actually insert the word e but instead wrongly divides lei as "le-i".) | 7' | 7' A|
2 | os que a Virgen mais aman, a esses ela ajuda. | 7' | 7' A|
Stanza I | |||
3 | Fremoso miragre desto fez a Virgen grorïosa | 7' | 7' b|
4 | na cidade de Marrócos, que é mui grand' e fremosa, | 7' | 7' b|
5 | a un rei que éra ende sennor, que perigoosa†CSM 181:5See note to line 1. | 7' | 7' b|
6 | guérra con outro havía, per que gran mestér ajuda | 7' | 7' A|
Stanza II | |||
7 | havía de quen lla désse; ca assí com' el cercado | 7' | 7' b|
8 | jazía dentr' en Marrócos, ca o outro ja passado | 7' | 7' b|
9 | éra per un grande río que Morabe é chamado | 7' | 7' b|
10 | con muitos de cavaleiros e mui gran gente mïúda. | 7' | 7' A|
Pero que seja a gente d' outra lei e descreúda... | |||
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/181 | |||
Stanza III | |||
11 | E corrían pelas pórtas da vila, e quant' achavan | 7' | 7' b|
12 | que fosse fóra dos muros, todo per força fillavan. | 7' | 7' b|
13 | E porend' os de Marrócos al Rei tal conssello davan | 7' | 7' b|
14 | que saísse da cidade con bõa gent' esleúda | 7' | 7' A|
Stanza IV | |||
15 | d' armas e que mantenente cono outro rei lidasse | 7' | 7' b|
16 | e lógo fóra da vila a sina sacar mandasse | 7' | 7' b|
17 | da Virgen Santa María, e que per ren non dultasse | 7' | 7' b|
18 | que os lógo non vencesse, pois la houvésse tenduda; | 7' | 7' A|
Stanza V | |||
19 | demais, que saír fezésse dos crischãos o concello | 7' | 7' b|
20 | conas cruzes da eigreja. E el creeu séu consello; | 7' | 7' b|
21 | e poi-la sina sacaron daquela que é espello | 7' | 7' b|
22 | dos ángeos e dos santos, e dos mouros foi vïúda, | 7' | 7' A|
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/181 | |||
Stanza VI | |||
23 | que éran da outra parte, atal espant' ên colleron | 7' | 7' b|
24 | que, pero gran poder éra, lógo todos se venceron, | 7' | 7' b|
25 | e as tendas que trouxéran e o al todo perderon, | 7' | 7' b|
26 | e morreu i muita gente dessa fea e barvuda. | 7' | 7' A|
Pero que seja a gente d' outra lei e descreúda... | |||
Stanza VII | |||
27 | E per Morabe passaron que ante passad' houvéran, | 7' | 7' b|
28 | e sen que perdud' havían todo quant' alí trouxéran, | 7' | 7' b|
29 | atán gran medo da sina e das cruzes i preséran, | 7' | 7' b|
30 | que fogindo non havía nïún redẽa tẽuda. | 7' | 7' A|
Pero que seja a gente d' outra lei e descreúda... | |||
Stanza VIII | |||
31 | E assí Santa María ajudou a séus amigos, | 7' | 7' b|
32 | pero que d' outra lei éran, a britar séus ẽemigos | 7' | 7' b|
33 | que, macar que éran muitos, nonos preçaron dous figos, | 7' | 7' b|
34 | e assí foi sa mercee de todos mui connoçuda. | 7' | 7' A|
Pero que seja a gente d' outra lei e descreúda... | |||
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/181 | |||
Footnotes
Line 1: | Mettmann inserts the word e in the second hemistich here to fix both the metre and the sense (the adjective descreúda modifies gente, not lei) although the word is in neither [E] nor [T]. However, this means that the refrain music in [E] is one note/ligature short. The same problem arises in the vuelta, where in both manuscripts just four notes/ligatures are written over what should be the word perigoosa, with the five syllables required by the metre—though in fact [T] has perigosa and [E] the aberrant form periigosa. In order to fit all stanzas to the music, I have therefore chosen to split the .raron ligatures at E1 and E2 into .ra + .ron (see the Music tab) which gives the best rhythmic result, in my opinion. (Elmes' solution is to split the preceding .owo ligatures, but to my ear that leads to rather awkward, rushed syllable sequences in most stanzas. Note also that although Elmes does split the .owo ligature above lei in the refrain, he doesn't actually insert the word e but instead wrongly divides lei as "le-i".) |
Line 5: | See note to line 1. |
Footnotes
E1: | See the main note to the lyrics for an explanation of the changes here and at E2. |
Manuscript references
External links marked are to facsimiles on Greg Lindahl's Cantigas de Santa Maria website.
[E] | 181 | viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/336small.htmlExternal link |
[T] | 181 |
Oxford CSM Database record
External link to poem data: CSM 181http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=181
Links to the Oxford database are provided with the kind permission of the project team. When planning a concert or recording, I would recommend that you use (and credit) my more pragmatic texts and supporting materials in the preparation of your performance, but that you request permission from the Oxford database team to reproduce (and credit) their own critically edited texts in your programme or liner notes, as these adhere to stricter criteria that keep them closer to the original sources, and undoubtedly have the greater academic authority.
Metrical summary
Refrain
7' | 7' 7' | 7' |
Stanzas
7' | 7' 7' | 7' 7' | 7' 7' | 7' |
Rhyme
AA / bbbAR | I | II | III | IV | V | VI | VII | VIII | |
---|---|---|---|---|---|---|---|---|---|
A | uda | ||||||||
b | oza | ado | aβaŋ | ase | eʎo | eɾoŋ | ɛɾaŋ | igos |
Estimated performance times
Average syllables / min. | Time | |
---|---|---|
Very slow | 50 | 16:00 |
Slow | 100 | 8:00 |
Medium | 150 | 5:19 |
Fast | 200 | 4:00 |
Very fast | 250 | 3:12 |
These are very approximate total times for a full sung (or spoken) performance of all stanzas with all repeats of the refrain. Note that the speed is in average syllables per minute, and no particular mensural interpretation is assumed. More ornamented music will reduce the syllabic speed considerably. Remember also to add time for instrumental preludes, interludes and postludes.
Total syllables: 800