Floema - Ano V, n. 5, p. 125-144, jul./dez.

2009

Technical Virtuosity in the Cantigas dAmigo Rip Cohen*

In studies dealing with aspects of technical virtuosity in medieval Galego-Portuguese lyric we hear that in the cantigas damigo such techniques are less frequent than in cantigas damor or descarnho e de mal dizer.1 And that is generally true: individual cantigas in those genres demonstrate techniques rarely or never seen in Amigo. But the genre is not devoid of technical virtuosity, and some kinds are more common in Amigo than elsewhere (e.g., cobras alternantes, repetition of a rhyme word from the refrain in the fiinda). There is, in addition, evidence that trobadores and jograis competed against each other with organized sets of cantigas damigo within which virtuosic techniques acquired an important function by the middle of the thirteenth century especially in a group of poets at the court of Alfonso X, such Johan Garcia de Guilhade, Juio Bolseiro, Johan Baveca and PedrAmigo de Sevilha.2 This is all the more striking because the earliest cantigas damigo heavily favored the simple strophic forms aaB and aaBB (COHEN, 2005), where many of these techniques were impossible or not normally used (though we find unusual exceptions, such as the deployment of cobras ternas in Calheiros 1). During the course of the century we see a kind of evolution in the strophic technology in this genre, from what we could call relatively lo-tech to relatively hi-tech forms. This evolution appears to have been widespread but not universal and was probably related to audience expectations: the genre evolved in response to its poetic and cultural
* Professor da Johns Hopkins University. 1 The numbering and except where otherwise noted the text of the cantigas damigo are cited from Cohen 2003 (pastorelas are included but are identified as such). 2 A clear example is to be found in the set of 22 cantigas of Guilhade, where the four cantigas de maestria are in precisely symmetrical positions (COHEN, 1996, p. 31).

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ecosystems. It is curious that the poets that favor lo-tech strophic forms (e.g. Nuno Fernandez Torneol, Martin Codax, Martin de Giinzo) tend not to be documented at the court of Alfonso X, while nearly all poets with the most hi-tech forms (e.g. Sevilha, Baveca, Gonal Eanes do Vinhal) are associated with that court. The dynamics of that tale are yet to be told. Here I provide a list of some of the main kinds of technical virtuosity recognized in the epoch or by modern scholars. Phenomena affecting the whole of strophic construction come first, then those involving rhyme, and finally refrains and fiindas. Two other phenomena, which may be virtuosic, are given in appendix. Rhetoric and form work together in some of these, such as the dobre and the cantiga ateuda ata a fiinda, and several techniques can occur in the same text. Familiarity with these techniques is important for textual criticism (see, for example, Johan Airas 26, vv. 9 and 17), for comparing formal and rhetorical features of different genres, and for analyzing sequences whose organizational criteria are mainly (or partly) formal.3 Each one of these techniques deserves a separate study, but that is well beyond my present scope. I hope, however, that the data provided will contribute to a better understanding of the genre in both its formal and rhetorical dimensions. The data presented reflects a fresh study of the corpus and does not derive from works mentioned in the select bibliography, although those have been taken into account. For some, there may be some surprises. For instance, given the analysis of long verses in Cohen 2003 (where there are no texts rhyming abcbDD and such like), scores of alleged palavras perdudas have disappeared (there are only five cantigas damigo with palavra perduda). An analysis of shifting rhyme schemes (Appendix 2) suggests that several poems are illusory examples, with a verse of false refrain due to scribal error masking the disappearance of a word in dobre (Zorro
3

For instance, the set of Johan Baveca can be regarded as formally organized and divided into 4+4+4+1 because the beginning, end, and sections are marked by formal virtuosity (e.g. dobre 1, 2; maestria 5, 9, 13).

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6) or of whole verses (Johan Airas 31). And Johan Airas 41, rather than being a cantiga de maestria with the form aaabbb, is better taken as two strophes of aaa (as in Bonaval 1, where moreover the hemistichs of v. 9 should be inverted [P. Lorenzo Gradn]). One glaring omission is a list of cantigas with internal rhymes: the existence and location of some phenomena listed here depends on the analysis of strophic form which is often directly tied to the problem of long verses with internal rhymes. But those problems require special handling. Still, some of the analyses here suggest that long verses with internal rhymes should be printed in cases where Cohen 2003 declines to do so (e.g. Pai Soarez 3, Burgals 2). The material is presented in the following order. STROPHIC CONSTRUCTION Cobras Alternantes Cantigas de Meestria Cobras Unissonans Cobras Doblas Cobras Ternas RHYME Dobre Palavra-Rima Palavra Perduda Rima Derivata at R-1 REFRAIN AND FIINDA Variation in Refrain Mot Refranh Repetition of Rhyme Word(s) from the Refrain in the Fiinda(s) Cantiga ateuda at a fiinda Repetition of Rhyme Word(s) within Refrains and Fiindas Repetition of rhyme word in 5-verse refrain

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Repetition of rhyme-word in each v. of 3-verse refrain Repetition of rhyme-word in 2-verse refrain Repetition of two rhyme-words in 4-verse refrain [in the pattern xyxy] Repetition of one of two rhyme-words in 3-verse refrains Repetition of rhyme word(s) in intercalated refrains Repetition of rhyme word in fiinda Appendix 1: Exceptions to the principle of singular rhyming Appendix 2: Shifting rhyme-schemes STROPHIC CONSTRUCTION Cobras Alternantes (excluding poems of 2 strophes, even if they display a pattern typical of cobras alternantes) Calheiros-8: ia / en Torneol-1: i~a / a~a Torneol-2: igo / ades Torneol-4: er / ar (with inversion in III-IV?) Torneol-5: ar / er (I-VI; but i in VII) Carpancho-7: ida / ada A. Sanchez-2: i~a / a~a Solaz-2: i~a / a~a (I-IV) (i~o / a~o in V-VI; in VIIVIII all vv. end with leli) Charinho-1: i~o / a~o Meendinho-1: on - or / ar Porto Carreiro-3: i~o / a~o Porco-1: i~o / ado Bonaval-1: igo / ado Bonaval-3: ades / edes Zorro-3: i~o / a~o Zorro-4: a~e / e~e Zorro-8: i~o / a~o Casal-3: ar / er

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Meogo-5: i~a / a(u)~a Meogo-8: ar - al / ir - in Meogo-9: i~a / a(u)~a (I-IV) (i~o / a~o in V-VI) Guinzo-1: i~o / a~o Guinzo-3: ia / ado Guinzo-4: ia / ado Guinzo-6: ei / or Guinzo-8: er / ar Codax-1: i~o / a~o Codax-2: i~o / a~o Codax-3: i~o / a~o (with inversion in II-III?) Codax-4: i~o / a~o Codax-5: i~o / a~o Codax-6: i~o / ado (with inversion in III-IV?) Esquio-3: ir - i / ar Dinis-13: igo / ado Dinis-14: i~o / ado Dinis-15: i~o / a~o Dinis-16: i~o / a~o Dinis-17: i~a / a~a Dinis-18: i~o / a~o Dinis-37: igo / a~o Dinis-40: i~a / a~a Cantigas de Meestria4 Camanez-2: abbacca (unissonans; see below) [161: 284] Avoin-12 (pastorela): ababbaaccc (c-rhyme unissonans, with two palavras-rima) [82.1] Vinhal-2: abbac(x)cb + f (dd) (with palavra perduda; unissonans except b-rhyme) [174.1] Vinhal-4: abbccac [192.1] Guilhade-2: abbacca + f [161: 248] Guilhade-6: abbaa [128.1]
4

Underline = unique in Galego-Portuguese lyric. Numbers in square brackets refer to rhymeschemes in Tavani, 1967.

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Guilhade-17: abbacca + f (with triple dobre) [161: 147*] Guilhade-21: abbacca + f [161: 44] Folhente-1: abbacc + f (cc < III) [161: 362*] Charinho-5: abbcac [183.6] Airas Nunes 4 (pastorela): abbaa (+ xxy in I-III; + xxy + zzy in IV) [cf. 128] Porto Carreiro-1: aabab (b-rhyme unissonans) [39.18] Ulveira-3: abbcca [189.12] Casal-1: aababa (with dobre and mordobre) [34.1] Sevilha-6: abbcac + f (ac) [183.7] Sevilha-8: ababcc + f + f [99.24] Sevilha-9: ababcc + f + f (cobras doblas; c-rhyme varies) [99.25] Sevilha-10: abbcac (I & III) aaabab (II & IV) + f [183.8 + 13.23] Sevilha-11: aabab + f + f [33.7] Sevilha-12 (pastorela): ababba (cobras doblas) [79.12] Baveca-5: abbcca + f [189.7] Baveca-9: abbcca (cobras doblas) [189.6] Baveca-13: abaccb [124.1] Padrozelos-2: abbacca [161: 295*] Lourenco-4: aabab [33.8] Redondo-1: aaabb (with dobre) [cf. 16] Esquio-2: abbacca + f [161: 26] Johan Airas-5: abbcac + f [183.17] [Johan Airas-41: aaabbb in Cohen 2003; probably two strophes of aaa; 219.1 is wrong] Johan Airas-42: abbacca + f [161: 58] Johan Airas-46 (pastorela): ababccb [101.65] Dinis-22: abbacca (unissonans) [161: 29] Dinis-24: abbacca + f [161: 234] Dinis-38: ababba + f (a-rhyme unissonans) [79.17] Dinis-41: aaabba [17.1] Dinis-51: aabab [33. 2] Dinis-54 (pastorela): abbaacac (b-rhyme unissonans) [137.1]

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Dinis-55 (pastorela): ababccb + f + f [101.63] Cobras Unissonans Torneol-8: aaB (ia - ei) Camanez-2: abbacca (ia - er - en in I-II; c-rhyme on in III) Vinhal-2 (a-rhyme: ei; b-rhyme varies [I: en; II: ir; III: ar]; c-rhyme: or; d-rhyme: er) Ponte-2: ababcABC (ia - ado - ira) S. Sanchez-5: abbcAC (or - r - en) Dinis-22: abbacca (ada - er - i) Cobras Doblas Sevilha-9: (c-rhyme varies) Sevilha-12 (pastorela) Baveca-9 Cobras Ternas Calheiros-1: I-III: igo; IV-VI: ia RHYME Dobre Guilhade-7 (internal dobre [only case of same word in each strophe]): coita Guilhade-17 (3 times per strophe): demandan / migo / servida Travanca-4: ben / sei (with palavra rima) Airas Nunes-4 (pastorela): cantar / ben / enton Roi Fernandiz-7: veer / senhor / aqui - i (irregular in III; see note ad loc.) Bonaval-1: comigo / grado / amigo / amado (inverting the hemistichs in v. 6) Johan Zorro-6: rio / alto (read polo alto in v. 9)5 Johan Zorro-10 (double dobre): velidas + frolidas / loadas + granadas Casal-1(with mordobre): desejades - desejo / prazeria - praz / queredes / quero
5 In the manuscripts the refrain is truncated in the second strophe, so that rio in v. 9 was simply a bad conjecture perpetuated by editors (including Cohen 2003). The dobre requires alto (see Cohen 2006; in the text posted online the unfortunate typographic error ribeiro should be corrected to ribeira).

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Padrozelos-2: amigo / molher / amiga Sevilha-7: amigo / feito / dito Baveca-1: / eu / assi Baveca-2: ben / assi - si / quiser (special effect in I) Redondo-1: amiga / chorando / chorava Johan Airas-0: partir / coraon / mudar Johan Airas-2: morrer / por vs / d amor Johan Airas-21: eu / ben / perdon Johan Airas-22: falar / vez Johan Airas-26: quer ben / ben quer / querer Johan Airas-28: al / seu / der Johan Airas-34: i / mi / assi (only dobre with unissonans rhyme) Johan Airas-35: eu / ben / (special effect in III) Dinis-1: amigo / verdade / certo Dinis-30: senhor / poder / al Dinis-33: irado / mal bravo / sanhudo / esquivo (with variatio in refrain) Dinis-21: vejo / nada / morresse Dinis-49: mal / razon / (with palavra-rima) Dinis-52 (mordobre): padecesse - padesco / passasse - passo / sentisse - seno Palavra-Rima Carpancho-5: ren (or variatio in 1st v. of intercalated refrain?) Vinhal-3: coraon (or variatio in 1st v. of intercalated refrain?) Travanca-4: (3rd verse of 4 in body of strophe with dobre in vv. 1 and 4) Berdia-2: queria (or variatio in 1st v. of 2 vv. refrain?) Berdia-4: ande Servando-13: veer Armea-2: guarir (? verse identical in II and III) Sevilha-3: amigo Johan Airas-44: farei Dinis-19: non Dinis-35: assi

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Dinis-49: ben (with dobre) Palavra Perduda Vinhal-2 (6th v. of 8 in strophe; unissonans): aver / fazer / morrer (veer / saber in fiinda) Bolseiro-2 (1st v. of strophe): fazer / deitei / cuidar Bolseiro-11(1st v. of strophe): fe / aqui / Deus Armea-2 (1st v. of strophe): prender / sen / falar Dinis-36 (last v. of strophe; unissonans): pesaria / queria Rima Derivata at R-1 (last position in strophe, just before refrain) Queimado-4: creer / creer / creerei Talaveira-1: mereci / merecer / merecedor Servando-2: assanhar / sanha / assanhando Baveca-3: maravilhedes / maravilha / maravilhada Cana-2: digo / disse / diga REFRAIN AND FIINDA Variation in Refrain Carpancho-6: mi quer ben / se poder (III) Zorro-5: os / as Bolseiro-3: foi el ... naci (I, II) / foi ... eu naci (III) [see note ad loc.] Baveca-8: que jurei de vos nunca fazer ben (I); jurei que nunca vos fezesse ben (II); que nunca ja mais vos fezesse ben (III) (or cantiga de meestria with palavra-rima? See note ad loc.) Giinzo-4: do (I-II) / por (III-IV) / con (V-VI) Johan-Airas 44: non passastes / ai meu amigo (III) Johan-Airas 45: quitade / partide (II) [partide scripsi : qtade V : Quitade B] Dinis-33: (with dobre) irado / mal bravo / sanhudo / esquivo Dinis-23: aja mercee / mercee aja (III) Dinis-36: Valer vos ia, amigo, <meu ben> (I) / Valer vos ia, par Deus, meu ben (II) [text uncertain] Mot Refranh Torneol-2: delgada

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Servando-11: namorada Loureno-5: namorada Dinis-13: louana Dinis-53 (pastorela): ai amor (See also Calheiros-2: veer; Calheiros-3: estar; Cogominho-2: veer [all in 2-v. refrains, none mentioned by Ferrari 1993]) Repetition of Rhyme-Word(s) from the Refrain in the Fiinda(s), Nicht selten wiederholt der dichter in der fiinda die reimworte, ja selbst den wortlaut der refrnzeilen. Von einem verse [...]; von beiden [...]. Lang (1894: cxxxvii) Pai Soarez -1: (disse = disse III.2; cf. dizia I. 1) Camanz-3: veer Carpancho-4: morrer Avoin-5: fe / Avoin-7: (? vingar mei < mei) Avoin-10: mentia (+ mentir m ia < mentia) J. S. Coelho-10: (ben = ben I.4) Ulhoa-6: dia (+ seria < seja II.1) Vinhal-2: (saber < sei II.1; cf. III.5 sabor) Vinhal-5: perdoarei (+ fezer < farei) Travanca-2: (daqui = daqui I.2) *Vasconcelos-2: fazer / morrer (cf. farei II.4, fiz III.2) Guilhade-2: (parecer = parecer I.6; quer = quer III.7) *Guilhade-3: ben / ren Guilhade-16: afou

etc.

6 Poems with fiindas in which one or more rhyme-words or palavras rimantes from the refrain (if a cantiga with refrain) or from somewhere in the text (if de meestria, but also sometimes in cantigas with refrain) are repeated in the fiinda. Words repeated from a rhyme-word not in the refrain, or repeated with rima derivata, are given in parentheses; + means in addition; < means rima derivata in relation to; = means identical repetition of ). When two rhyme words from a two verse refrain are repeated in the same order in a two verse fiinda the poets name and the number of the text are put in bold; when in inverse order, an asterisk is put next to the name and number. Underline indicates a cantiga de meestria.

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Guilhade-17: (ren = ren I.3) Guilhade-21: (son / son = son I.2) Talaveira-3: pesar (cf. pesou III.1) Talaveira-4: der Talaveira-6: (fazia < fezesse I.2, feito III.2) Folhente-1: (viver [infinitive] < viver [future subjunctive] III.1) Ponte-2: (cuidaria < cuidado II.4) Ponte-3: coraon (+ aven < ven III.3) Charinho-4: (i = i II.1, III.1) [ateuda ata a fiinda] Calvelo-1: gradecer Briteiros-2: ben *Briteiros-3: ven / ben Sanchez-2: era Berdia-2: (queria = queria I.4, II.4, III.4, IV.4 [palavra rima]) Servando-9: guardar / amar Servando-10: assi / mi Servando-12: querria Servando-15: min (cf. mi I.3) Servando-16: prazer (+ dizer < digo I.4) Bolseiro-14: escolher *Campina-2: poder / fazer Armea-1: ben Sevilha-3: (veedes < visse; avedes < ouvesse III.2) Sevilha-6: (al = al III.4) Sevilha-8 : (an < IV.3, ei IV.5; < son II.2) Sevilha-9: (ei < aver II.1; entendern < entendedor III.3; an < aver II.1) Sevilha-10: (morrer = morrer II.2) Sevilha-11: (atender < entender II.5) *Baveca-1: tal / mal Baveca-5: ( = III.1) Padrozelos-4: grado Galisteu Fernandiz-1: pavor / melhor

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*Galisteu Fernandiz-2: / f Galisteu Fernandiz-3: n (+ ten < terrn III.3) Loureno-1: (direi < digo I.4) Loureno-4: (mi = mi III.1; cometeu < cometer II.1) Loureno-6: fezesse Esquio-2: (pesar = pesar III.1) Johan Airas-1: meu / seu Johan Airas-2: alguen Johan Airas-3: dizer Johan Airas-4: ben Johan Airas-5: (tenho / vou / venho = tenho / vou / venho I. 4, 5, 6) Johan Airas-9: mandar Johan Airas-11: diz // juiz (+ eu = eu III.1, 4) Johan Airas-12: fazedes Johan Airas-13: ben *Johan Airas-20: ben / ren Johan Airas-22: fezestes Johan Airas-23: mal Johan Airas-26: (dizer < disser II.3 [see note ad loc.]) Johan Airas-27: eu / meu Johan Airas-28: ben (+ der = der III.2, 5; ren = ren I.4) Johan Airas-29: dormir Johan Airas-30: (querria < quisera I.2; verria < venha II.4) Johan Airas-32: amiga Johan Airas-33: (ven / ven < aven I.4) Johan Airas-34: fazer Johan Airas-35: guardar Johan Airas-36: creer / veer Johan Airas-37: quiser Johan Airas-38: quiser (+ podr < poder III.2) Johan Airas-39: rei Johan Airas-42: (desamor < amor I.1; = III.7) Dinis-4: (digo < dizer I.4, direi II.4, diga III.1)

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Dinis-5: (envia < enviaria) Dinis-6: (fazedes < fezestes III.1) *Dinis-9: mi / aqui Dinis-26: (creades < creede II.2) Dinis-27: digo Dinis-28: aver / morrer Dinis-29: mi Dinis-35: (assi = assi I.4, II.4, III.4 [palavra-rima]) Dinis-38: (namorado < amor II.2) *Dinis-45: poder / prazer Cantiga ateuda at a fiinda J. S. Coelho-10: I-II: dal // e non desto; II-III: dal // mais non desso; III-f: dal // mais non Talaveira-4: atal conselho der // qual mh a mi deu [III-f: der // a que mh a mi...] Charinho-4: que sabhades, // filha, ca perderedes i Sevilha-8 (first fiinda): ca sei // per ba fe, outras donas que an / falad Padrozelos-4: San Salvador mi seja irado // de Valongo [no link with fiinda] G. Fernandiz-2: non sei que // del, amigas Dinis-29: assi // como morremos Dinis-32: ven // aqui (Charinho-2: ca jogou // mui ben a mi (fiinda lacking; see note ad loc.; not in Gonalves 1993) Carpancho-4: non ei de fazer, // qual eu quisesse, ben (see note ad loc.; not in Gonalves 1993) Repetition of Rhyme-Word(s) within Refrains and Fiindas Repetition of rhyme-word in 5-verse refrain: Calheiros-7: ei / ei / busquei / dei / ei Repetition of rhyme-word in each v. of 3-verse refrain: Guilhade-20: verr

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Repetition of rhyme-word in 2-verse refrain: Guilhade-1: alguen Guilhade-10: diremos Queimado-2: roguedes Solaz-3: perjurou / jurou Treez-1: non Sevilha-2: amigo Sevilha-7: fez Ambroa-1: ben Mafaldo-1: farei Repetiton of two rhyme-words in 4-verse refrain [in the pattern xyxy]: Vinhal-1: amigo / comigo (or 2 long vv. with internal rhymes) Bonaval-5: tardedes / soedes (if 4 short vv.; otherwise with internal rhymes; see note ad loc.) Servando-16: veer / prazer Repetition of one of two rhyme-words in 3-verse refrains: Carpancho-3: ben / desden / ben J. S. Coelho-8: leda / leda / ledas E. Reimondo-1: migo / amigo / migo Ponte-1: leixou / leixada / leixou Charinho-1: frores / amores / frores G. Soarez-1: defendi / aqui / defendi G. Soarez-2: migo / amigo / migo Berdia-4: demande / ande / demande Servando-14: podr / quer / podr Bolseiro-7: graa / faa / faa Meogo-8: ven / ben / ven Padrozelos-1: namorei / creerei / namorei Giinzo-3: irei / namorei / irei Giinzo-5: morto / torto / morto Giinzo-6: Soveral / estar / Soveral Requeixo-4: venha / tenha / venha

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Repetition of rhyme-word(s) in intercalated refrains: E. Reimondo: amigo // migo // amigo / migo Afonso Sanchez: val // val Solaz-2: doura // doura Zorro-8: irei // irei Dinis-17: alva / / alto / alva Repetition of rhyme-word in fiinda: Guilhade-21: son / son / prender Tenoiro-4: i / i Johan Airas-33: ven / ven Appendix 1: Exceptions to the principle of singular rhyming7 Pai Soarez-2: ar Ia, IIIa Pai Soarez-3: ia Ib, IIIa (probably aaB with internal rhymes) Cogominho-4: ades Ia, IIIa (probably aaB with internal rhymes) Vinhal-4: er Ic, IIb (morrer repeated, vv. 4, 9) Queimado-3: ar Ib, IIIb Tenoiro-1: ar IIa, IIIb (rogar repeated, vv. 12, 19) Travanca-2: i Ib, IVb (vi repeated, vv. 3, 20) Vasconcelos-4: on Ib, IIIb (son repeated, vv. 2, 5) Beesteiros-2: er IIb, IIIb Guilhade-2: en Ib, IIIc Guilhade-11: i IIb, IIIb Guilhade-13: ar IIb, IVb Guilhade-19: on Ib, IIb Guilhade-21: er Ia, IIIa Talaveira-4: ar IIb, IIIb Folhente-1: i Ib, IIc + ei IIb, IIc Sandeu-6: er Ia, IIIb
7

The expression, borrowed from Stephen Parkinson (2000, where it is applied to the Cantigas de Santa Maria), refers to a common practice of avoiding the repetition of the same rhyme sound irregularly within the same poem. Where the same word repeats along with the rhyme sound I have noted this in parentheses.

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Froiaz-4: er Ib, IIIb Coton-2: edes Ib, IIIb [Coton-3 = Pai Soarez-3] Ponte-1: igo Ia, IIa Charinho-2: ar Ib, IIIb Charinho-4: i IIa, IIIa (ateuda) G. Garcia 1: i Ib, IIIa Elvas-1: ar Ia, IIIb Berdia-1: ar IIIb, IVa Veer-6: ar Ib, IIa Meogo-1: ei Ia, IIIa Caldas-3: er IIa, IIIa Caldas-7: er Ia, IIb Treez-1: i I(x), IIIa Treez-2: or IIa, IIIa *Treez-4: on Ia, VIa + ar IIa, IVa + er IIIa, Va *Sevilha-10: er IIa, IVb + ar IIb, IVa Padrozelos-2: igo Ia, IIc, IIIc G. Fernandiz-1: en Ib, IIIc (ben / ren repeated) Cangas-1: ado IIb, IVb Cangas-2: i Ib, IIa Requeixo-2: r Ia, III(x) *special case; see note ad loc. Appendix 2: Shifting rhyme-schemes8 Burgales-2: ababAA (I), ababCC (II-III) (probably aaB with internal rhymes) Carpancho-6: edes Ia; aaBAB (I), aaBCB (II-III) Baian-2: er Ib (prazer repeated); abbaBB (I) , abbaCC (II-III) Ornelas-1: igo Ib (amigo repeated); abbaBB (I), abbaCC (II-III) Pardal-5: igo Ia; abbaCCA (I), abbaCCD (II-III) Ponte-3: i Ia; aaabAB (I), aaabCB (II-III) + fiinda aab Ponte-7: ou Ia; abbaCAC (I), abbaCDC (II-III)
8

Texts where a verse or verses in the body of a strophe rhyme with a verse or verses in the refrain (but not uniformly throughout the poem).

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J. Garcia-2: ar IIIb; abbaCC (I-II), abbaBB (III) [Zorro-6 is a false example: read alto in v. 9]9 Casal-3: ar Ib; abbaBB (I), abbaCC (II-III) + fiinda cc Bolseiro-11: i IIa; a(x)bbaCC (I, III); a(c)bbaCC (II) (internal rhyme in 1st v., end-rhyme in 4th v. of each strophe; x = verse-final position with no rhyme) [Treez-1: on III; ababCCCC (I-II), ababAAAA III if printed in short lines] Treez-3: igo VI; aaB (internal rhyme in V-VI; in VI this rhymes with refrain) Armea-2: on Ib (palavra perduda in v. 1); abbcCB (I), abbcCD (II-III) Cangas-2: en IIIb (ben repeated); abbaCC (I-II), abbaBB (III) Codax-2: igo I.1-2, III.1, V.2; aaA I, III, V; aaB II, IV, VI J. Airas-24: en Ib; ababABA (I), ababACA (II-III) + fiinda bba < III (maybe false example) J. Airas 31: r Ia; ababCAC (I), ababCDC (II-III) + 2 fiindas dad < III (probably should be ababCaC throughout; see Cohen, forthcoming) Abbreviations ad loc. see the note(s) in Cohen 2003 on the poem or passage referred to open e (indicated only where necessary) f. fiinda ref. refrain v., vv. verse(s) (x) palavra perduda ~ variable consonant (or none) between tonic and posttonic vowels in rhyme / different verses, strophes, etc. // strophic boundary or two line breaks separates rhyme-sounds Some special signs and indicators for individual sections are explained in notes.
9

See note 4, above.

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Nota bene: Strophes are cited as I, II, III, etc.; so that I.3 (e.g.) refers to the third verse of the first strophe. In referring to a rhyme, Ia means the a-rhyme in the first strophe, IIIb the b-rhyme in the third, etc. In rhyme schemes, an underlined letter signals a rhyme-sound that remains constant (unissonans for that rhyme position in the strophe; e.g. ababABA means that the a-rhyme in the body of the strophe is the same in all strophes. Manuscripts B = Biblioteca Nacional (Lisbon), cod. 10991. V = Biblioteca Apostolica Vaticana, cod. lat. 4803. Select Bibliography baRcaLa, Gerardo Prez. Repetitio versuum en la lrica galegoportuguesa. Revista de Filologia Espaola, n. 86.1, p. 161-208, 2006. biLLY, Dominique; caneTTieRi, Paolo; pULsOni, Carlo; ROsseLL, Antoni. La lirica galego-portoghese: Saggi di metrica e musica comparata. Roma: Carocci, 2003. cOHen, Rip. Dana Jurdica. Colquio-Letras, n. 142, p. 5-49, 1996. ______. 500 Cantigas d Amigo. Edio Crtica / Critical Edition. Porto: Campo das Letras, 2003. ______. In the Beginning Was the Strophe: Origins of the Cantiga dAmigo Revealed! Laranjinha & Miranda, 2005, p. 243-255. ______. The Refrain That Wasnt There: The Text of Zorro 6. Department of Portuguese and Brazilian Studies, Kings College London. Research Papers, 2006. Disponvel em: <http://www.kcl.ac.uk/schools/ humanities/pobrst/research/papers.html>. ______. Forthcoming. The Infinitesimal Calculus of Desire: Interpreting the Cantigas dAmigo. In: DEYERMOND, A.; WHETNALL, J. (Ed.). Papers of the 17th Colloquium of the Medieval Hispanic Research Seminar. London: Queen Mary, University of London.

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CORREIA, ngela. O refram nos cancioneiros galego-portugueses (Escrita e tipologia). Photocopy. Lisboa, 1992. 4 v. ______. O sistema das coblas doblas na lrica galego-portuguesa. In: PAREDES, Juan (Ed.). Medieoevo y Literatura. Granada, 1995. p. 75-90. ______. Refres sem autonomia rimtica na lrica galego-portugesa: un contramodelo. Laranjinha & Miranda, 2005. p. 69-80. cUnHa, Celso. Ferreira de. O dobre e o seu emprego nas cantigas de Paay Gomez Charinho. In: ______. Estudos de Versificao Portuguesa (Sculos XII a XVI). Paris: Fundao Calouste Gulbenkian, Centro Cultural Portugus, 1982. p. 199-218. FeRRaRi, Anna. Parola-rima. In: BREA, M. (Coord.). O Cantar dos Trobadores. Santiago de Compostela: Xunta de Galicia, 1993. p. 121-136. FiDaLGO, Elivra. Acerca del mot-equivoc y del mot tornat en la cantiga de amor. Cultura Neolatina, n. 57, p. 253-276, 1997. GOnaLves, Elsa. Ateudas ata a fiinda. In: BREA, M. (Coord.). O Cantar dos Trobadores. Santiago de Compostela: Xunta de Galicia, 1993. p. 167-186. LanG, Henry R. (Ed.). Das Liederbuch des Knigs Denis von Portugal, zum ersten mal vollstndig herausgegeben und mit Einleitung, Anmerkungen und Glossar versehen. Halle a.S.: Max Niemeyer, 1894 (rpt. HildesheimNew York: Georg Olms, 1972). ______. A repetio de palavras rimantes na fiinda dos trovadores galaico-portugueses. In:______. Miscelnea scientifica e literria dedicada ao doutor J. Leite de Vasconcellos. Coimbra: Universidade, 1934. p. 27-43. LaRanJinHa, Ana Sofia; MIRANDA, Jos Carlos (Ed). Modelo: Actas do X Colquio da Seco Portuguesa da Associao Hispnica de Literatura Medieval. Porto: Faculdade de Letras da Universidade do Porto, 2005. LORenZO GRaDn, Pilar. Repetitio trobadrica. In: FIDALGO, Elvira; LORENZO, Pilar Gradn (Ed.). Estudios Galegos en Homenage Profesor Giuseppe Tavani. Santiago de Compostela: Publicacins do Centro de Investigacins Lingsticas e Literarias Ramn Pinheiro, 1994. p. 79-105.

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______. El dobre gallego-portugus o la esttica de la simetra. Vox Romanica, n. 56, p. 221-241, 1997. paRKinsOn, Stephen. Phonology and Metrics: Aspects of Rhyme in the Cantigas de Santa Maria. In: DEYERMOND, Alan (Ed.). Proceedings of the tenth Colloquium of the Medieval Hispanic Research Seminar. London: Dept. of Hispanic Studies, Queen Mary and Westfield College, 2000. p. 131-144. RODRGUeZ casTaO, Mara del Crmen. A palavra perduda: da teora prctica. In: Congrs de lAssociaci Hispnica de Literatura Medieval , 7, 1997, Castell de la Plana. Actes..., Castell de la Plana: Universitat Jaume I, 1999. Tavani, Giuseppe. Repertorio metrico della lirica galego-portoghese. Roma: Ateneo, 1967.