Esta é como Santa María fillou dereito do judéu pola desonrra que fezéra a súa omagen.
| Line | Refrain | Metrics | |
| 1 | Gran dereit' é que fill' o démo por escarmento | 13' A | |
| 2 | quen contra Santa María filla atrevemento. †CSM 34:2According to Mettmann's metrical summary, the two lines of this refrain should be the same length. Certainly, from a purely metrical point of view, this would keep every line of the Cantiga uniform, and a fix could easily be applied using synalepha or elision to compress the repeated a in filla atrevemento. Looking at the music, however, this ideal doesn't really stand up to scrutiny. In all three manuscripts, separate notes or ligatures are written for all fifteen syllables (14 + 1 unstressed); and, more importantly, comparison of the refrain and the vuelta, both metrically and musically, suggests that the extra syllable in the refrain should really be identified as the unstressed final -a of María. (Specifically, two separate notes .on .o for -ri•a in the refrain music match up with a single ligature .oyyo in the vuelta that generally carries a stressed final syllable.) | 14' A | |
| Stanza I | |||
| 3 | Porên direi un miragre, que foi gran verdade, | 13' b | |
| 4 | que fez en Costantinóble, na rica cidade, | 13' b | |
| 5 | a Virgen, Madre de Déus, por dar entendimento | 13' A | |
| 6 | que quen contra ela vai, palla é contra vento. †CSM 34:6Elmes has transcribed a single .oyyo ligature here as two separate puncta, and incorrectly split the word vai (or "vay") into two syllables to match. This may be a result of comparison with the extra note (and syllable) in the second line of the refrain (see note to line 2), although his interpretation of the meaningless dot above the letter y in [E] as an acute accent may also have contributed to the mistake. | 13' A | |
| Gran dereit' é que fill' o démo por escarmento... | |||
| Stanza II | |||
| 7 | Ũa omage pintada na rúa siía | 13' b | |
| 8 | en távoa, mui ben feita, de Santa María, | 13' b | |
| 9 | que non podían achar ontr' outras mais de cento | 13' A | |
| 10 | tan fremosa, que furtar foi un judéu a tento | 13' A | |
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/34 | |||
| Stanza III | |||
| 11 | de noit'. E poi-la levou so sa capa furtada, | 13' b | |
| 12 | en sa cas' a foi deitar na cámara privada, | 13' b | |
| 13 | des i assentou-s' alí e fez gran falimento; | 13' A | |
| 14 | mas o démo o matou, e foi a perdimento. | 13' A | |
| Gran dereit' é que fill' o démo por escarmento... | |||
| Stanza IV | |||
| 15 | Pois que o judéu assí foi mórt' e cofondudo, | 13' b | |
| 16 | e o démo o levou que nunc' apareçudo | 13' b | |
| 17 | foi, un crischão entôn con bon enssinamento | 13' A | |
| 18 | a omagen foi sacar do logar balorento. | 13' A | |
| Gran dereit' é que fill' o démo por escarmento... | |||
| Stanza V | |||
| 19 | E pero que o logar muit' enatio estava, | 13' b | |
| 20 | a omagen quant' en si mui bõo cheiro dava, | 13' b | |
| 21 | que spécïas d' Ultramar, bálssamo nen onguento, | 13' A | |
| 22 | non cheiravan atán ben com' esta que emento. | 13' A | |
| Gran dereit' é que fill' o démo por escarmento... | |||
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/34 | |||
| Stanza VI | |||
| 23 | Pois que a sacou dalí, mantenente lavou-a | 13' b | |
| 24 | con agua e lógu' entôn a sa casa levou-a, | 13' b | |
| 25 | e en bon logar a pos e fez-lle comprimento | 13' A | |
| 26 | de quant' houve de fazer por haver salvamento. | 13' A | |
| Gran dereit' é que fill' o démo por escarmento... | |||
| Stanza VII | |||
| 27 | Pois lle tod' esto feit' houve, mui gran demostrança | 13' b | |
| 28 | fez i a Madre de Déus, que d' óio semellança | 13' b | |
| 29 | correu daquela omage grand' avondamento, | 13' A | |
| 30 | que ficasse deste feito por renembramento. | 13' A | |
| Gran dereit' é que fill' o démo por escarmento... | |||
Footnotes
| Line 2: | According to Mettmann's metrical summary, the two lines of this refrain should be the same length. Certainly, from a purely metrical point of view, this would keep every line of the Cantiga uniform, and a fix could easily be applied using synalepha or elision to compress the repeated a in filla atrevemento. Looking at the music, however, this ideal doesn't really stand up to scrutiny. In all three manuscripts, separate notes or ligatures are written for all fifteen syllables (14 + 1 unstressed); and, more importantly, comparison of the refrain and the vuelta, both metrically and musically, suggests that the extra syllable in the refrain should really be identified as the unstressed final -a of María. (Specifically, two separate notes .on .o for -ri•a in the refrain music match up with a single ligature .oyyo in the vuelta that generally carries a stressed final syllable.) |
| Line 6: | Elmes has transcribed a single .oyyo ligature here as two separate puncta, and incorrectly split the word vai (or "vay") into two syllables to match. This may be a result of comparison with the extra note (and syllable) in the second line of the refrain (see note to line 2), although his interpretation of the meaningless dot above the letter y in [E] as an acute accent may also have contributed to the mistake. |
Manuscript references
External links marked 
are to facsimiles on Greg Lindahl's Cantigas de Santa Maria website.
| [E] | 34 | viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/110small.htmlExternal link |
| [T] | 34 | |
| [To] | 36 | viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/To/bob035small.gifExternal link |
Oxford CSM Database record
External link to poem data: CSM 34http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=34
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
| 13' 14' |
Stanzas
| 13' 13' 13' 13' |
Rhyme
AA / bbAA| R | I | II | III | IV | V | VI | VII | |
|---|---|---|---|---|---|---|---|---|
| A | ento | |||||||
| b | ade | i.a | ada | udo | aβa | ou̯.a | anʦa | |
Estimated performance times
| Average syllables / min. | Time | |
|---|---|---|
| Very slow | 50 | 12:28 |
| Slow | 100 | 6:14 |
| Medium | 150 | 4:09 |
| Fast | 200 | 3:07 |
| Very fast | 250 | 2:29 |
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: 624
