Amor (Portuguese Edition)

To start you off, here are five gorgeous Portuguese words that don't really have a sufficient English translation.

5 Beautiful Portuguese Words That You Just Can't Say In English | HuffPost

They're sure to enrich your non-English vocabulary, or maybe just leave you wishing there was a better, more-accepted way to convey these thoughts or feelings in English. Photo by Mario Tama via Getty Images. It's a mixture of longing for a person, place or pretty much anything in the world and nostalgia for someone or something that is no longer near or with you, whether its absence is temporary or permanent.

I haven't been to Brazil in almost a year and I'm dying of that longing feeling.

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5. Cantigas Medievais Galego-Portuguesas ;

Photo by Mitch Diamond via Getty. To fall in love with someone or something. Technically, the word in English would be "impassion," however it's not used in the same way and doesn't share the same word tense.

Sobre as cantigas

Apaixonar is essentially the act of falling in love, it's the word used for that period in between "I like you" and "I love you. With everyday that passes, I fall in love with you more.

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The act of running your fingers through someone's hair -- yes, there's a word for that. However, this one may only resonate with Brazilian Portuguese speakers. I wanted you to run your fingers through my hair.

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Photo by Luiza Meireles via Getty Images. Prettiness, used as a noun to describe someone or something, and even at times as a term of endearment. When speaking English, we would never call someone "prettiness" -- a "beauty" perhaps, but never the former. The two words just simply don't carry the same weight in both languages. Photo by Laura Lessa via Flickr. Altogether, about profane or court cantigas have reached our days, retrieved from three major songbooks Cancioneiro da Ajuda, Cancioneiro da Biblioteca Nacional and Cancioneiro of Vatican Library written by troubadours and minstrels.

Still from the same period of time we have Cantigas de Santa Maria , a wide range of religious songs in praise of the Virgin and describing her miracles, eventually written by Afonso X. Altough these songs and the profane ones share the language and eventually common production spaces, Cantigas de Santa Maria belong to a clearly distinctive cultural tradition, and therefore they were not included in our database. Galician-Portuguese was the spoken language in the western strip of the Iberian Peninsula until mid-fourteenth century.

Derived from Latin, it emerged progressively as a distinct language prior to the ninth century, in the northwest of the Iberian Peninsula.

Sempre amor - Portuguese Love Songs

In this sense, we can say that the word Galician-Portuguese designates not only a language, but also a phase in its development, which later would lead to the differentiation between present Galician and Portuguese languages. In the period from the ninth until the fourteenth centuries, however, the spoken language in the northern and southern borders of river Minho was more or less the same, with a few local differences. Even the political frontier drawn since the mid-twelfth century, which led to the formation of the independent kingdom of Portugal in the South, didn't seem to affect this linguistic and cultural unity, which goes back to the ancient Roman-Gothic Galaecia.

Accordingly, we may understand the extension of the new kingdom of Portugal until the extreme southwest of the Peninsula which was part of the christian Reconquista and lasted until as a natural enlargement of this linguistic and cultural space. Indeed, we can say that, together with the independence of the kingdom of Portugal, it was the slow and progressive displacement of the political center of Christian Hispania from Galician-Leonese Northwest to Castile namely after the conquer of Toledo in and Seville in that gradually led to the fracture of this unity, by reinforcing the development of the two languages belonging to the two autonomous political entities, the Portuguese and the Castilian.

Therefore, since the mid-fourteenth century, Galician-Portuguese ceases to be an operational denomination: Hence, the period between tenth and fourteenth centuries is the time par excellence of the Galician-Portuguese. However, it is only after the late twelfth century that the spoken Galician-Portuguese arises and develops as the main literary language, in a process which extends until around and which reaches its most remarkable expression in the poetry of a wide range of Galician, Portuguese, but also Castilian and Leonese troubadours and minstrels, although it also included an expression in prose.

So, it should be noted that when we speak of Galician-Portuguese medieval poetry we speak in terms of the language rather than in spatial terms; in other words, it is poetry that was composed in Galician-Portuguese by a range of Iberian authors, in a geographic space that does not coincide with the more limited area where the language was spoken. It is not, however, a merely external patronage: As it is well known, two kings, Alfonso X and his grandson D. Dinis, were among the greatest peninsular poets in Galician-Portuguese language, in a remarkable range of authors which includes a substancial part of the nobility of the time, from simple knights to great lords.

Together with these nobles, specifically designated as troubadours , for whom the art of "trobar" was understood as a disinterested activity, at least in terms of its great principles, we find a no less remarkable range of minstrels , authors coming from lower social classes, who went far beyond their socially assigned role of musicians or music players and composed Cantigas as well, and for whom the art of "trobar" was an opportunity to obtain not just the recognition of their talent but also a material profit.

While we know the path of several troubadours, even by their public status, there are many others whose biographical information is scarce or non-existent, which logically also applies to most of the minstrels. In the database the reader will find, however, a short biography of each author, including the data that research was able to gather until now.

If new data from this research, currently very active, is availiable, it will be included in the DB.

The "Art of Trobar" the "art of making songs" underlying the Galician-Portuguese profane songs is the subject of a short anonymous treatise transcribed on the initial pages of Cancioneiro da Biblioteca Nacional. Although lacking its initial chapters, this "Arte de Trovar", a sort of practical guide rather than a theoretical text, provides us with a generic picture of the rules of this art, namelly of the major genres developed by the troubadours and minstrels in their songs.

Thus, the main genres of profane Galician-Portuguese poetry are: Thus, the Cantiga de Amor presents us, in a rhetorically rich style, an essentially sentimental masculine voice singing the beauty and virtues of an unachievable and immaterial lady, and also the correlative coita suffering of the poet before her indifference or his inability to declare his love. In a much more popular or bourgeois tone, cantiga de amigo is an autochthonous genre, whose origins seem to date back to a wide archaic tradition of women's songs, a tradition the Galician-Portuguese troubadours and minstrels might have followed, although adjusting it to their courteous and palatial context.

Therefore, the feminine voice that the troubadours and minstrels represent refers to a universe almost always defined by the eroticized female body, who's no longer the senhor a noble lady , but instead the young woman in love, singing, sometimes in an open, natural scenery, the moment of her erotic initiation to love.

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That way the velida beautiful , the bem-talhada with a well-shaped body exteriorizes and materializes in several ways all framed by a context of everyday and popular living her loving feelings: Composed and sometimes sung by a man although there may have been feminine voices singing them , cantigas de amigo stage a broad feminine universe, which includes, as her counterparts, her mother, her sisters or her girlfriends. Formally, cantigas de amigo frequently use an archaic technique of strophic construction known as "paralelismo", consisting in the presentation of one single idea in alternate verses, with a few verbal variations at the verses finale.

In the aforementioned short treaty about the art of trobar, its anonymous author defines them generically as the songs written whenever troubadours wanted to speak bad about someone " dizer mal ", criticize or attack , but establishes a mode-related difference: Although these two variants can be detected in the preserved songs, we may consider their distinction as a more theoretical than a practical one: It is however, in the vast majority of cases, a personalized satire, driven towards a specific personage, whose name is normally referred in the first verses of the composition.

It should be added that, albeit Arte de Trovar does not refer it explicitly, laughter is a fundamental element of this troubadour's art of "speaking bad" the art of well "speaking bad". At its core, we know the Galician-Portuguese profane songs troughout three major manuscripts.