CSM Cantiga 255 Lyrics: Na malandança nóss' amparança

[T] has mort o marid' e escoorido (all on one line), which elides away the rhyme on marido. I prefer synaeresis in escoorido to fix the metre, taking advantage of the ascending plica .bod onto which the compressed syllable falls. Note that the root coor (= 'colour') becomes monosyllabic cor in modern Portuguese and Galician.

Both [To] and [E] have mas ao fog' a levou que ardia here, masking the rhyme on fogo entirely. In order to restore it, I have moved the object pronoun a from the next line, and marked synaeresis here to compensate. The phrase mas a a o fogo levou que ardia (= 'but [he] took her to the burning fire') is, I think, a good candidate for being the text as originally intended, with the first a (= 'her') then having to drop out to fit the metre, by means of conflation with the following a (= 'to'). At some later point in the copying chain this was then 'corrected', restoring the first a but in a different place, which made the grammar more explicit but played havoc with the metre. By the way, I have marked synaeresis in ao rather than synalepha between the two a's, simply because assigning ao the long plica .oron is better musically.

In line 73 [E] keeps the full word piadade, but [To] once again elides away the rhyme with por piedad' ant' a Magestade. Unfortunately, neither the latter, nor piadade 'nt' with double elision, nor even piadade_ant' with synalepha, has any musical merit—the caesura between piadade and ant' is marked in the musical notation by a division which seems entirely justified rhythmically, and Anglés and Elmes both observe it. Since there is no obvious way to compress line 74 in isolation to 4' syllables, I think this is a rare case that justifies accepting the line as hypermetric, and applying a purely musical solution: namely, breaking the plica .bod to accommodate the two syllables Ma•ges-. As it happens, this is the same musical shape which carries the synaeresis in escoorido in line 42, so a certain symmetry is at least maintained.

[To] and [E] both have acorr' a mesquinna que en ti fia (or variant spellings thereof) with the extra vowel at the start and without the word se, which is Mettmann's addition. But this is no good metrically (or musically) as it displaces the rhyming word mesquinna. Instead I've marked elision, indicating that the final -a of Reínna absorbs the initial vowel of acorr', and accepted Mettmann's insertion of se (fiar-se en ... and fiar en ... mean the same, though the latter is more common.)