Como Santa María livrou de prijôn un cavaleiro por ũa cantiga que lle fez, que tiínna preso el Con Simôn.
| Line | Refrain | Metrics | |
| 1 | En bon ponto vimos esta Sennor que loamos, | 13' A | |
| 2 | que nos tan cedo acórre quando a chamamos. | 13' A | |
| Stanza I | |||
| 3 | Un trobador en Gasconna éra, e trobava | 13' b | |
| 4 | al Con Simôn e a muitos, si que se queixava | 13' b | |
| 5 | a gente del, ca dizían que os dẽostava | 13' b | |
| 6 | mais quantos somos no mundo enquanto vivamos. | 13' A | |
| En bon ponto vimos esta Sennor que loamos... | |||
| Stanza II | |||
| 7 | El Con Simôn éra conde rico e poderoso †CSM 363:7The combined metrical syllable -co e here falls on a two-note ligature .oso in the music, so I have preferred this synalepha over the elision of rico, even though the latter is well attested elsewhere. | 13' b | .oso |
| 8 | e diss' a un séu hóme, que non foi preguiçoso: †CSM 363:8In this case, the very common elision of the word disse is musically more elegant than synalepha, as the elided syllable falls on a single punctum .o. | 13' b | |
| 9 | “Vai-me lógo prender aquel trobador astroso, | 13' b | |
| 10 | e busca fórtes prijões en que o metamos.” | 13' A | |
| En bon ponto vimos esta Sennor que loamos... | |||
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/363 | |||
| Stanza III | |||
| 11 | El indo per un caminno mui dessegurado, | 13' b | |
| 12 | chegou aquel mandadeir' e fillou-o privado | 13' b | |
| 13 | e adusse-o al cond'; e foi lógo deitado | 13' b | |
| 14 | en prijões, u jouvéssen quantos desamamos. | 13' A | |
| En bon ponto vimos esta Sennor que loamos... | |||
| Stanza IV | |||
| 15 | El Con Simôn muitas vezes jurado havía | 13' b | |
| 16 | que o trobador matasse lógu' en outro día; | 13' b | |
| 17 | mais a nóssa avogada, Reínna María, | 13' b | |
| 18 | a vegadas nos estorva do mal que pensamos. | 13' A | |
| En bon ponto vimos esta Sennor que loamos... | |||
| Stanza V | |||
| 19 | El se viu nas prijões e cuidou que morresse, †CSM 363:19For this line [E] has El se vio nas prijoes // cuidou que morresse, where the form vio might have been intended to suggest diaeresis, although scribal practice is far from consistent in this regard. If this were the case, then Mettmann's inserted e (absent from both [E] and [F]) would not be needed for the metre, and the overall rhythm of the line might even feel more natural. However, although the e isn't strictly essential to the sense either, it is more in keeping with the usual style of the cantigas, so ultimately I've thought it better to stick with Mettmann's version. | 13' b | |
| 20 | e chamou Santa María que lle socorresse, | 13' b | |
| 21 | e jurou-ll' alí jazendo, que mentre vivesse | 13' b | |
| 22 | polo séu amor trobasse, de que nós trobamos. | 13' A | |
| En bon ponto vimos esta Sennor que loamos... | |||
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/363 | |||
| Stanza VI | |||
| 23 | Pois que o trobador houv' a oraçôn comprida, | 13' b | |
| 24 | achou-s' encima dun monte, cabo dũa 'rmida | 13' b | |
| 25 | de Virgen Santa María, que lle déra vida | 13' b | |
| 26 | e o guardou de tal mórte que todos dultamos. | 13' A | |
| En bon ponto vimos esta Sennor que loamos... | |||
Footnotes
| Line 7: | The combined metrical syllable -co e here falls on a two-note ligature .oso in the music, so I have preferred this synalepha over the elision of rico, even though the latter is well attested elsewhere. |
| Line 8: | In this case, the very common elision of the word disse is musically more elegant than synalepha, as the elided syllable falls on a single punctum .o. |
| Line 19: | For this line [E] has El se vio nas prijoes // cuidou que morresse, where the form vio might have been intended to suggest diaeresis, although scribal practice is far from consistent in this regard. If this were the case, then Mettmann's inserted e (absent from both [E] and [F]) would not be needed for the metre, and the overall rhythm of the line might even feel more natural. However, although the e isn't strictly essential to the sense either, it is more in keeping with the usual style of the cantigas, so ultimately I've thought it better to stick with Mettmann's version. |
Manuscript references
External links marked 
are to facsimiles on Greg Lindahl's Cantigas de Santa Maria website.
| [E] | 363 | viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/648small.htmlExternal link |
| [F] | 59 |
Oxford CSM Database record
External link to poem data: CSM 363http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=363
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' 13' |
Stanzas
| 13' 13' 13' 13' |
Rhyme
AA / bbbA| R | I | II | III | IV | V | VI | |
|---|---|---|---|---|---|---|---|
| A | amos | ||||||
| b | aβa | ozo | ado | i.a | ese | ida | |
Estimated performance times
| Average syllables / min. | Time | |
|---|---|---|
| Very slow | 50 | 10:38 |
| Slow | 100 | 5:19 |
| Medium | 150 | 3:32 |
| Fast | 200 | 2:39 |
| Very fast | 250 | 2:07 |
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: 532
