Letra Vencida (Portuguese Edition)

Barata , p. Pedro de Azevedo and Snr.

Esteves Pereira, and the first trust- worthy text of a part of Fernam Lopez was published by Snr. Braamcamp Freire in ; D. Francisco Manuel de Mello, who at the end of his second Epanaphora wrote ' Se por Ventura tambem despois de meus dias acontece que algum vindouro honre ao meu. Other histories have since appeared, and during the last half-century the ceaseless, ingenious, and enthusiastic studies of Dr. Theophilo Braga have sifted Portuguese literature, chiefly the poetry, in all directions, and a flood of light has been thrown on it by the works of D. Carolina Michaelis de Vasconcellos. Perhaps, therefore, one may be for- given for having been tempted to render some account of this ' new ' literature which continues to be so strangely neglected in England and other countries.

Every year new studies and editions appear, new researches and alluring theories and discoveries are made. Francisco Manuel de Mello. Coimbra, , an admirably clear and very important work, in which much light from new documents is thrown on Mello's life. Their neglect has been largely due to the absence of good or easily available texts ; there is still nothing to correspond to the Spanish Biblioteca de Autores Espafloles or the many more modern Spanish collections.

Butis not even Camoes still ' an abused stranger ', as Mickle called him in ? A short history of that literature must, apart from unavoidable errors and omissions, do less than justice to many writers. In appropriating the words of Damiao de Goes, ' Haud ignari plurima esse a nobis omissa quibus Hispania ornatur et celebrari possit,' one may hope that Mr. No one can study Portuguese literature without becoming deeply indebted to D. Carolina Wilhelma Michaelis de Vasconcellos.

Her concise history, contributed to Groeber's Grundriss , necessarily forms the basis of subsequent studies, but indeed her work is as vast as it is scholarly and accurate, and the student finds himself constantly relying on her guidance. Even if he occasionally disagrees, he cannot fail to give her point of view the deepest attention and respect.

Born in , the daughter of Professor Gustav Michaelis, she has lived in Portugal during the last forty years and is the wife of the celebrated aft critic. Joaquim de Vasconcellos born in Her edition of the Cancioneiro da Ajuda is a masterpiece of historical re- construction and literary criticism, and her influence on Portuguese literature generally is as wide as her encouragement and assis- tance of younger scholars are generous. Most of the works of Dr. That no formal recognition has been bestowed in England on her work as in another field on that of Dr. Jose Leite de Vasconcellos, of Snr.

Braamcamp Freire, and of the late Dr. Francisco Adolpho Coelho is a striking example of our insularity. The best detailed criticism of the literature of the nineteenth century is that of Dr. The only completely methodical history of Portuguese literature in existence is the brief manual by the learned ex- Rector of Coim- bra University, Dr. Joaquim Mendes dos Remedios: Historia da Literatura Portuguisa 5th ed. After its proved excellence it would, indeed, have been folly to adopt any other method.

Unless energetic and persistent measures are taken to protect this language it will be hopeless to look for a great Portuguese literature in the future. Yet with the gradually developing prosperity of Portugal and her colonies such expectations are not unfounded. A new poet may arise indigenous as Gil Vicente and technically proficient as Camoes. And in prose, if it is not allowed to sink into a mere verbiage of gallicisms, great writers may place Portuguese on a level with and indeed above the other Romance languages.

Its dates must be received with caution. But unless a scholarly use of Portuguese be more generally imposed no masterpieces will be produced. The same holds good of Brazilian literature, which, although, or perhaps because, it has provided material for a history in two portly volumes Sylvio Romero, Historia da Litteratura Brazileira, 2nd ed. The Portuguese have always shown a strong aptitude for acquiring foreign languages, and the indi- vidual's gain has been the literature's loss. Jorge de Montemor, who con su Diana Enriquecio la lengua castellana, was not by any means the only Portuguese who wrote exclusively in Spanish, and others chose Latin.

The reason usually given in either case was that Portuguese was less widely read. V of the Collecgao de Ineditos, or the Foros de Santarem The Livro Vermelho do Senhor D. Affonso V, printed in the Colhcgao de Livros Ineditos, vol. Pera que he falar galego Senao craro e despachado? Eu nao te falo galego. While Portuguese literature may be taken to be the literature written in the Portuguese language, in a sense it must also include the Latin and Spanish works of Portuguese authors.

Of the former, one collection alone, the Corpus Illustrium Poetarum Lusitanorum qui latine scripserunt Lisbonae, , consists of eight volumes, and Domingo Garcia Peres' Catdlogo Razonado Madrid, contains over names of Portuguese authors who wrote in Spanish. Portuguese names present a difficulty, for often they are as lengthy as that which was the pride of Dona Iria in Ennes' Saltimbanco.

The course here adopted is to relegate the full name to the index and to print in the text only the form by which the writer is generally known. Os grandes ingenios nao se contentao de ter por espera de seu applauso a hua s6 parte do mundo D. Osorio, writing in Latin, De Rebus, p. Faria e Sousa condemns the practice of writing Spanish glosas to a Portuguese mote, and declares that he himself wrote in Spanish con gran pesar mio.

Frei Antonio da Purifica9am considered that had he written his Cronica in Latin or Spanish fora digno de grande nota, in this following Frei Bernardo de Brito, who indignantly rejected the exhortation to use Latin or Spanish Mon. Bernarda Ferreira de Lacerda wrote in Spanish por ser idioma claro y cast comun. Simao Machado explains why he wrote Alfea in Spanish as follows f. Vendo quam mal aceitais As obras dos naturais Fiz esta em lingoa estrangeira Por ver se desta maneira Como a eles nos tratais. In proper names their owners' spelling has been retained, although no one now writes Prince Henry the Navigator's name as he wrote it: Thus Mello modern Melo ; Nunez 13th c , Nunes 19th c.

Gonjalves Vianna himself adopted the form Gonfalvez Viana. In quoting ancient Portuguese texts the only alteration made has been occasionally to replace y and u by i and v. Many and various causes made their country cosmopolitan from the beginning. It is customary to divide Portuguese literature into the Provengal 13th c , Spanish 14th and 15th c , Italian i6th c , Spanish and Italian 17th c , French and English i8th c , French and German 19th c.

The question may therefore be asked, especially by. What has Portuguese literature of its own? In the first place, the Celtic satire and mystic lyrism of the Galicians is developed and always present in Portuguese literature. Secondly, the genius for story-telling, displayed by Fernam Lopez, grew by reason of the great Portuguese discoveries in Africa and Asia to an epic grandeur both in verse and prose. Thirdly, the absence of great cities, the pleasant climate, and fertile soil produced a peculiarly realistic and natural bucolic poetry.

And in prose, besides masterpieces of history and travel — a rich and fascinating literature of the East and of the sea — a fervent religious faith, as in Spain, with a more constant mysticism than in Spain, led to very high achievement. Had one to choose between the loss of the works of Homer, or Dante, or Shakespeare, and that of the whole of Portuguese literature, the whole of Portuguese literature must go, but that is not to saythat the loss would not be very grievous. Antonio Prestes calls the Portuguese eslranho no natural, natural no estranjeiro.

More recently Juan Valera spoke of it as riquisima, and Menendez y Pelayo explored this wealth. It is lamented by the editors of the Cancioneiro Geral 15 16 and Fenix Renascida 17 Dias Gomes, Ohras Poeticas , p. Camoes 'without whom there would have been no Portuguese poetry ' ; and ibid. Barros ' prepared the beautiful style for our epic writers '.

As to philosophy proper the greatest if not the only Portuguese philosopher, Spinoza, a Portuguese Jew, left Portugal as a child, and Francisco Sanchez c. He tells us that he in finished his celebrated treatise Quod nihil scitur, published at Lyon in , in which, at a time of great intolerance, he revived and gave acute and curious expression to the old theory that nothing can be known. To modern philosophy Dr. Leonardo Coimbra born in has contributed a notable but somewhat abstruse work entitled Criacionismo Porto, But in Portugal, outside the circle of writers themselves, a reading public has hitherto hardly existed, and in the close atmosphere resulting the sense of proportion was inevitably lost, even as a stone and a feather will fall with equal speed in a vacuum.

To deprecate such criticism became a commonplace of the preface, while numerous passages in writers of the sixteenth century show that they feared their countrymen's scepticism, expressed in the proverb De longas vias mui longas mentiras, which occurs as early as the thirteenth century.

But these are defects that may be remedied partly by individual critics, partly by the increasing number of readers. Meanwhile this little book may perhaps serve to corroborate the poet Falcao de Resende's words: Engenhos nascem bons na Lusitania E ha copia delles. The critics seem to have forgotten that an auto-da-ft does not necessarily make its victim a good poet, and that even a priest may have literary talent.

A few literary critics, as Dias in the eighteenth, Guilheime Moniz Barreto in the nineteenth century, are only exceptions to the rule. It has been the weakness of Portuguese criticism, more lenient than the gods and booksellers of ancient Rome, to suffer mediocres gladly. Jorge Ferreira, Eufrosina, v.

The remark of Garrett still holds good: The indigenous poems of Galicia and Portugal, of which thirteenth-century examples have sur- vived, are so remarkable, so unlike those of any other country, that they deserve to be studied apart from the Provengal imita- tions by the side of which they developed. Half buried in the Cancioneiros, themselves only recently discovered, these ex- quisite and in some ways astonishingly modern lyrics are even now not very widely known and escape the attention of many who go far afield in search of true poetry.

The earliest poem dated by D. This unique form of lyric requires a distinctive name, and if we adopt that used by the Marqu6s de Santillana's father, Diego Furtado de Mendoza f , we shall have a word well suited to convey an idea of their striking character. Reinhart Dozy, Spanish Islam, trans. Stokes, London, , p. It is a cantiga de meestria, of two verses, each of eight octo- syllabic lines abbaccde bfbaccde.

The indigenous character of the cossantes is now well established, thanks chiefly to the skilful and untiring re- searches of D. One of the earliest is quoted by Airas Nunez C. Solo ramo verde frolido Vodas fazen a meu amigo, E choran olhos d'amor. What first strikes one in this is its Oriental immobility. The second distich adds nothing to the sense of the first, merely intensifying it by repetition. Neither the poetry of the trouveres of the North of France nor that of the Provengal troubadours presents any parallel.

The scanty Basque literature contains Professor Henry R. Lang who also uses the words serranas — but see C. Carolina Michaelis de Vas- concellos , cantigas parallelisticas D. Carolina Michaelis de Vasconcellos and Snr. Nunes , chansons a repetitions M, Alfred Jeanroy. Cantos dualisticos, cantos de danza prima, and bailadas encadeadas have also been proposed. Cristobal de Castillejo, Madre, un cahallero Que estaba en este cosso bailia. Y despues de danzar cantaron un gran rato de cosante Memorial Histdrico Espafiol, torn, viii, Madrid, Rodrigo Cota, in the Didlogo entre el Amor y un Viejo, has dangas y corsantes, and Ant6n de Montoro el Ropero asks un portugues que vido vestido de muchos colores if he is a can- tador de corsante v.

But it is unnecessary to go for a parallel to China. Verses 8, 9 of Psalm are very nearly a cossante but have no refrain. The resemblance in Psalm , verses 17, 18, is still more marked: To him which smote great kings, For his mercy endureth for ever, And slew famous kings. For his mercy endureth for ever. The relations between Church and people were very close if not always very friendly. The peasants maintained their ancient customs, and their pagan jollity kept overflowing into the churches to the scandal of the authorities.

Innumerable ordi- nances later sought to check their delight in witchcraft and mummeries, feasts and funerals the delight in the latter is still evident in Galicia as in Ireland and Wales. Men slept, ate, drank, danced, sang profane songs, and acted plays and parodies in the churches and pilgrimage shrines. The Church strove to turn their midsummer and May- day celebrations into Christian festivals, but the change was rather nominal than real.

A Proven9al poem with resemblance to a cossante is printed in Bartsch, p. Li tensz est bels, les vinnesz sont fiories. Salve Verbi sacra parens. Flos de spinis spinis carens, Flos spineti gloria. Pilgrims from all countries in the Middle Ages came to worship at his shrine at Santiago de Compostela. Thus the eyes of the whole province of Galicia as the eyes of Europe were directed towards the Church of Santiago in Jakobsland. The inhabitants of Galicia would naturally view their heaven-sent celebrity with pride and rejoice in the material gain.

They would watch with eager interest the pilgrims passing along the camino francis or from the coast to Santiago, and would themselves flock to see and swell the crowds at the religious services. A further characteristic of the cossante is that the i-sound of the first distich is followed by an a-sound in the second [ricercando ora il grave, ora V acuta and this too may be traced to a religious source, two answering choirs of singers, treble and bass. Fidel Fita y D. Aureliano Femdndez-Guerra Madrid, , p.

But if born in the Church, the cossante suffered a transformation when it went out into the world. The rhythm of many of the songs in the Cancioneiros is so obtrusive that they seem to dance out of the printed page. The cossante Solo ramo would thus proceed, sung by ' the dancers dancing in tune ': Augus- tine considered the dance to be a circle of which the Devil was the centre ; in real life the Devil was often replaced by a tree or by a mayo.

Gil Vicente, Tambor em cada moinho. The parallelism and leixapren are present also in religious poems by Alfonso X: Nunes has noted that in modern peasant dances, accompanied with song, the dancers sometimes pause while the refrain is sung. Thus we have the melancholy Celtic temperament, absorbed in Nature, acting on the forms suggested by an alien religion till they become vague cries to the sea, to the deer of the hills, the flower of the pine.

The themes are as simple and monotonous — the monotony of snowdrops or daffodils — as the form in which they are sung. A girl in the gloom of the pine-trfees mourning for her lover, the birds in the cool of the morn- ing singing of love, the deer troubling the water of a mountain- stream, the boats at anchor, or- bearing away meus amores, or gliding up the river a sabor.

The amiga lingers at the fountain, she goes to wash clothes or to bathe her hair in the stream, she meets her lover and dances at the pilgrim shrine, she waits for him under the hazel-trees, she implores the waves for news of him, she watches for the boats pelo mar viir. The language is native to the soil, far more so, at least, than in the cantigas de amor and cantigas de amigo written under foreign influence.

Despite its striking appearance to us now among sirventes senes sal in the Cancioneiro Colocci-Brancuti, it must be confessed that the early cossante of King Sancho has a somewhat meagre, vinegar aspect, and the genre could hardly have developed so successfully in the next half-century had it not been fixed in the country-side, ever ready to the hand of the poet in search of fresh inspiration. It is possible to exaggerate the effect of war on the life of the peasant.

Portugal in the twelfth century was only gradually and by constant conflict winning its territory and independence. It had no fixed capital and Court at which the Provencal poets cantigas de hdino. The word probably originated in a printer's error de ledino for dele dino in a line of Chrisfal: In the sense of the two refrains lies all the difference between the poetry of Portugal and Spain.

But while king and nobles and the members of the rehgious and military orders were engaged with the [Moors to the exclusion of the Muses, so that they had no opportunity to introduce the new measures, the peasants in Galicia and Minho no doubt went on tilling the soil and singing their primitive songs.

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In the thirteenth century Provencal poetry flourished in Portugal, but so monotonously that it failed to kill the older lyrics, and they reacted on the imported poetry. In the trite conventions with which the latter became clothed the cossante had a new oppor- tunity of life. Trohadores wearied by their own monotony, jograes wishing to please a patron with a novidade, had recourse to the cossante. The jogral wandering from house to house and town to town necessarily came into close touch with the peasants.

These, developed and adorned according to his talent, he would introduce to the Court among his motz recreamens e prazers. When Joan de Guilhade in the middle of the thirteenth century complained that os trohadores ja van para mal C. Alfonso X reproached Pero da Ponte for not singing like a Pro- vencal but, rather, like Bernaldo de Bonaval first half 13th c. King Dinis in the second half of the century viewed the cossante with such favour that he wrote or collected some of the most curious and delightful that we possess.

But although King Dinis set his name to a handful of the finest cossantes, most of the cossante-writers belonged to an earlier period and were men of humble birth. Of Meendinho first half 13th c. This was a popular theme, but the two poets who sffem to have felt most keenly the attraction of the popular poetry and to have cultivated it most successfully are Joan Zorro fl. The cossantes of Zorro, one of the most ta'lented of all these singers, tell of Lisbon and the king's ships and the sea. In this series of harcarolas C.

Martin Codax at about the same time was singing graceful songs of the ondas do mar of Vigo C. He belonged to an ancient family of Galicia, was 1 C. Thus he is scarcely even a name. There is a modem Peruvian poet Manuel Nicolds Corpancho Alfred Jeanroy Les Origines, 2" ed. Michaelis de Vasconcellos, Moogo from monachus. Chariiio is buried at Pontevedra, in the Franciscan convent which he founded. Onthe lips of his awiga he places a touching cantiga de amigo C. Love is in flower. He escaped the perils of the sea, the muigran coita do mar C. His sea lyrics are only excelled by the enchanting melody of the poem C.

Of the later poets Estevam Coelho, perhaps father of one of the assassins of Ines ti , wrote a cossante of haunting beauty C. Sedia la fremosa, seu sirgo torcendo, Sa voz mansehnha fremoso dizendo Cantigas d' amigo, and D. King Dinis, having thrown wide his palace doors to these thyme- scented lyrics, would turn again to the now musty chamber of Provengal song C.

Quer'eu en maneira de provengal Fazer agora un cantar d'amor. The reader or listener would easily complete them. Riding along a stream he hears a solitary shepherdess singing and stays to listen. Thy thorn without, my thorn my heart invadeth ; or that wonderful line of a wonderful poem: Ilia cantat, nos tacemus: The refrain is identical in C. The fourth cossante we also have complete, a lovely barcarola by Joan Zorro C. Pela ribeira do rio alto Cantando ia la dona virgo d'algo D'amor: Venhan as barcas pelo rio A sabor.

Separata da Revista Lusitana, vol. Assim faz quem tem amores. Quen amores ha Como dormira, Ai bela fror! La nina que amores ha i Sola c6mo dormira?

Very few, if any, of the cossantes were anonymous, which only means that modern folk-lore was unknown; it was not the fashion to collectsongs from the lipsof the peoplewithoutulteriorpurpose. No drawing-room lyric, evidently: Like the Provengal poet Guilherme Figueira who mout se fetz grazir. The cantiga de vildos was no such simple popular lyric, but rather a drinkers' song, picaresquely allusive, sung by a jogral who non fo hom que saubes caber entre 'Is baros ni entre la bona gen but sang vilmen et en gens bassas, entre gens bassas per pane d'aver Riquier , cantares de que la gente baja e de servil condicion se alegra Santillana.

The cossante, on the contrary, came straight from field and hill into palace and song-book. Probably Up the stream the boats came gliding Gracefully. All along the river-bent The fair maiden singing went Of love's dream: Fair to see the boats came gliding Up the stream. Hdoes not rhyme e morre or corre purposely.

The women of Galicia have always been noted for their poetical and musical talent. But whether any of the cossantes that we have in the Cancio- neiros is strictly of the people or not, their traditional indigenous character is no longer doubtful. It would surely be a most astounding fact had the Galician-Portuguese Court poets, who in their cantigas de amor reduced Provencal poetry to a colourless insipidity, succeeded so much better with the cossantes that- while the originals from which they copied have vanished, the imita- tions stand out in the Portuguese Cancioneiros like crimson poppies among corn.

It is remarkable, too, that of the three kinds of poem in the old Cancioneiros, satire, love song, and cossante, the first two remain in the Cancioneiro de Resende , but the third has totally disappeared. The explanation is that as Court and people drew apart and the literary influence of Castille grew, the poems based on songs of the people were no longer in favour.

But they continued, like the Guadiana, underground, and D. Leite de Vasconcellos has discovered whole cossantes sung by peasants at their work in the fields in the nineteenth century. Almeida Garrett had written in a general sense: OS vestigios d'essa poesia indigena ainda duram Revista Univ. V , p. Na ribeirinha ribeira Naquella ribeira Anda Id um peixinho vivo bravo Naquella ribeira.

Leite de Vasconcellos, Annuario para estudo das tradifoes poptdares portuguezas Porto, , pp. Leite de Vasconcellos are rude specimens by the side of a poem like Ay flares, ay flares da verde pinho, it should be remembered that the quadra or perhaps one should say distich without refrain has now replaced the cossante on the lips of the people, and that among these quatrains something of the old cassante's charm and melancholy is still found.

Carolina Michaelis de Vasconcellos and others have remarked that these quadras pass from mouth to mouth and are perfected in the process, smoothed and polished like a stone by the sea, and this may well have been true of the earlier cossantes. One singer would give a distich of a cossante, as to-day a quadra, another would take it up and return it with variations.

The cassante did not always preserve its simple form, or, rather, the more complicated poems renewed themselves in its popularity. We find it as a hailada C. Se vos eu amo mais que outra rev , as cantiga de amor C. But these hybrid forms are not the true cossante, which is always marked by dignity, restraint, simple grace, close communion with Nature, delicacy of thought, and a haunting felicity of expression. The cossante written by King Sancho seems to indicate a natural development of the indigenous poetry. In its form it owed nothing to the poetry of Provence or North France, but its progress was perhaps quickened, and at least its perfection preserved, by the systematic cultivation of poetry introduced from abroad at a time when no middle class separated Court and peasant.

The tantalizing frag- ments that survive in Gil Vicente's plays show all too plainly what marvels of popular song might flower and die unknown. In spirit the original grave religious character of the cossante may in some measure have affected the new poetry. Pots as cantigas compostas do povo, sem cabefa, sem pees, sem name ou verba que se entenda, quern cuidas que as iraz e leva da terra?

Quern as faz serem tratadas e recehida's do comum consintimento? Dona genser qu'ieu no sat dir or la genser que sia says Arnaut de Marueil at the end of the thirteenth century. The Portuguese poet would make an end there: He would never go on to describe her grey eyes and snowy brow: But introduced into alien and artificial forms, like mountain gentians in a garden, the monotony can no longer please. In the canttgas de amor the iteration becomes a tedious sluggishness of thought, whereas in the cossantes it is part of the music of the poem.

Francisco Adolpho de Varnhagen. Vienna , 2nd ed. Diniz, pela primeira vez impresso sobre o manuscripto da Vaticana. Caetano Lopes de Moura. New York, London, Of these the Cancioneiro da Ajuda C. Another edition, by Varnhagen, appeared in C. Carolina Michaelis de Vasconcellos in C. The third volume, of notes, is still unpublished. This part received a critical edition at the hands of Professor H. Lang in ; 2nd ed. A few more crumbs were given to the world by Varnhagen in , 2nd ed.

Theophilo Braga's critical edition appeared in C. In this very year a large Cancioneiro ff. When his father, King Dinis, died, silence fell upon the poets. The new king, Afonso IV, showed no sign of continuing to collect the smaller Cancioneiros kept by nobles and men of humbler position, a custom inaugurated by his grandfather, Afonso III if the Livro de Trovas del Rei D.

It was thus a time suitable for a ' definitive edition ', and Count Pedro, who was the last of the Cancioneiro poets and who was more collector than poet, probably took the existing Cancioneiros of Afonso III and Dinis and added a third part consisting of later poems. Besides the chronological order there was a division by subject into cantigas de amor, cantigas de amigo, and cantigas d'escarnho e de maldizer Santillana's cantigas, serranas e dezires, or cantigas serranas, the Archpriest of Hita's cantares serranos e dezires.

This may have been the actual manuscript compiled by D. Or it may have been a copy of the Cancioneiro of D. It is significant that in this very important letter it is a foreigner informing a Portuguese. Under the predominating influence first of Spain then of the Renaissance, the old Portuguese poems, even if they were known to exist, excited no interest in Portugal. Even as late as the nineteenth century one disappeared mysteriously from a sale, another emerged momentarily see C. In the sixteenth century the evidence as to its being known is contradictory.

Duarte Nunez de Leam in says of King Dinis that extant hodie eius carmina. Antonio de Vasconcellos in declares that time has carried them away: A few vague allusions as that of Sa de Miranda concerning the echoes of Provencal song were all that was vouchsafed in Portugal to the Cancioneiro, although prominent Portuguese men of letters — as Sa de Miranda, Andr6 de Resende, Damiao de Goes — travelled in Italy and met there Cardinal Pietro Bembo , who had probably owned the Cancioneiros copies by an Italian hand of a Portuguese original acquired by Angelo Colocci ; yet at this very time Colocci ft was eagerly indexing and annotating the Cancioneiros in Rome.

It is this Portuguese neglect and indifference to the things of Portugal which explains the survival of the cossantes only in Rome while the more solemn and less indigenous poems of the Cancioneiro da Ajuda remained in the land of their birth. A fuller account of the Portuguese Cancioneiros, with the fascinating and complicated question of their descent and inter- relations, will be found in the Grundriss pp. Carolina Michaelis de Vasconcellos' edition of the Cancioneiro da Ajuda vol. The first Provencal poet, Guilhaume, Comte de Poitou , precedes by nearly a century Sancho I , second King of Portugal, who wrote poems and.

It was in Spain that the Portu- guese had opportunity of meeting Proven9al poets. The Penin- sula in the thirteenth century was, like Greece of old, divided into little States and Courts, each harbouring exiles and refugees from neighbouring States. Civil strife or the death of a king in Portugal would scatter abroad a certain number of noblemen on the losing side, who would thus come into contact with the troubadours as Provengal poetry spread to the Courts of Catalonia and Aragon, Navarre, Castillet and Leon.

The first King of Portugal, although a prince of the House of Burgundy, held his kingdom in fief to Leon, and all the early kings were in close touch with Leon and Castille. Ferdinand , was a devoted lover of poetry, and his son Alfonso X gathered at his cort sen ergiielh e sen vilania a galaxy of talented troubadours, Provengal and Galician. Portugal came into more direct touch with France in other ways, but the influence might have been almost exclusively that of the trouvhes of the North had not the more generous enthusiasm of Provence penetrated across the frontier into Spain.

Trade was fairly active in the thirteenth century between Portugal and England, North France and Flanders. With foreign colonists the new towns were systematically peopled. The number of French pilgrims was such that the road to Santiago became known as the ' French Road '. The Crusades also brought men of many languages to Portugal. The Portuguese had already begun to show their ' An English Crusader writing from Lisbon speaks of inter hos tot linguarum populos Crucesignati Anglici Epistola de Expugnatione Olisiponis , a. Yet it was they who imposed their, the Galician, language.

As the Marqu6s de Santillana observed and the Cancioneiros prove, lyric poets throughout the Peninsula used Galician. We cannot doubt that the character and conditions of the north-west of the Peninsula had permitted a thread of lyric poetry to continue there ever since Silius Italicus had heard the youth of Galicia wailing [ululantem their native songs, and that both language and literature had the opportunity to develop earlier there than in the rest of Spain. The tide of Moorish victory only gradually ebbed southward, and the warriors in the sterner coifntry of Castille, with its fiery sun and battles and epics, would look back to the green country of Galicia as the idyllic land of song, a refuge where sons of kings and nobles could spend their minority in comparative peace.

When from the ninth century Galicia became a second Holy Land its attractions and central character were immeasurably increased. Pilgrims thither from every country would return to their native land with some words of the language, and those acquainted with Provencal might note the similarity and the musical softness of Galician. The important passages of Santillana's letter have been so often quoted that the reader may be referred to them. His songs of miracles offer a striking contrast to contemporary Portuguese lyrics in the same language.

Their jingles are only possible as a descort in the Portuguese Cancioneiros. At the same time he would be influenced in his choice of language by his knowledge of Galicia as the traditional home of the lyric, of the encouraging patronage extended to Galician poets by his son-in-law Afonso III, of the Santiago school of poets, and of the promising future before the Galician language in the hands of the conquering Portuguese.

Multas et perpulchras composuit cantilenas, says Gil de Zamora, and likens him to David. Of these poems , or, cancelling repetitions, , are of a religious character, written, with one or two exceptions, in honour of the Virgin: Cantigas de Santa Maria. Many of these poems themselves provide an answer to the question: When he lay sick at Vitoria and was like to die it was only when the Livro das Cantigas was placed on his body that he recovered C.

There is little reason to doubt that he was the author, in a strictly limited sense, of the majority of the poems, although not of all. As proof that he wrote poems in Castilian we have a single cantiga of eight lines C. Senora por amor dios. En un tiempo cogi flores C.

The inference seems to be that, the personal poems and the loas apart, if a miracle especially attracted the king he took it in hand ; otherwise he might leave it to one of the joglares, and he would perhaps revise it and be its author to the extent that the Portuguese jograes were authors of the early cossantes. We know that he had at his Court a veritable factory of verse.

Poets thronged to his Court and he was in communication with others in foreign lands. Some of the miracles might come to him in verse, the work of a friendly poet or of a sacred jogral such as Pierres de Siglar, whom C. Of raw material for his art there was never a scarcity, nor was the idea of turning it into verse original. But there was no need for direct imitation. If the starry sky were parchment and the ocean ink, the miracles ' Their antiquarian interest was recognized over three centuries ago. Argote de Molina, Nobleza de Andalvzia Seuilla, , f. Et d'esto cantar fezemos Que cantassen os iograres And of this we made a song for the joglares to sing.

Churches and rival shrines preserved an unfailing store for collectors. Gautier de Coincy spoke of tant miracles, a grant livre of them, and King Alfonso chooses one from among in a book C. The miracles were recorded more systematically in France, and the books of Soissons and Rocamadour [Liber Miraculorum S. Mariae de Rupe Amatoris provided the king with many subjects, as did also Vincent de Beauvais' Speculum Historiale, of which he possessed a copy.

But the sources in the Peninsula were very copious, as, for instance, the Book of the Miracles of Santiago, of which a copy, in Latin, exists in the Paris Biblio- theque Nationale. Of other miracles the king had had personal experience, or they were recent and came to him by word of mouth.

Thus he often does not profess to invent his subject: It is ' a marvellous great miracle ' C. Many of these miracles occurred to the peasants and unlettered: Accordingly we find the king in his poems dealing not with the conventional shepherdesses of the pastorelas but with lowly folk of real life, peasants, gleaners, sailors, fishermen, beggars, pilgrims, nuns; and it is one of the king's titles to be considered a true poet that he takes an evident pleasure in these themes and retains their graphic, artless presentment.

The collection abounds in charming glimpses of the life of the people. He seems to have followed the originals very closely, and evident traces 1 Their popular origin is borne out by the music. The poems are often of considerable length, some- times twenty or thirty verses, and as a rule the last line of each verse must rhyme with the refrain. The attention thus neces- sarily bestowed upon the rhymes sometimes mars the pathos of the subject, and the reader is reminded that he has to do with a skilful, eager, and industrious craftsman but not with a great original poet. In the remarkable Ben vennas Mayo and in many of his other poems materialism and poetical ecstasy go hand in hand.

Yet in several of the more beautiful legends the poet proves himself equal to his theme. Some of these legends are still famous, that of the Virgin taking the place of the nun C. Every tenth poem the collection was intended originally to consist of one hundred interrupts the narratives of miracles by a purely lyrical cantiga de loor, and some of these, written with the fervour with which the king always sang as gramas muy granadas of the Madre de Deus Manuel, are of great simplicity and beauty.

The trick of one of them was to declare that, being captive in Turkey, encommendando-me muito d Senhora. Jeronymo de Mendofa, Jornada de Africa, ed. And indeed some of the old spirit peeps out from the Cantigas de Santa Maria, as when he prays to be delivered from false friends or praises the Virgin for giving his enemies ' what they deserved '.

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The long sojourn of the prince in France, accompanied by several noblemen who figure in the Cancioneiros as Rui Gomez de Briteiros and D. Joan de Aboim , had an important bearing on the development of Portuguese poetry. He came back determined to act the part of an enlightened patron of letters ; he encouraged the immigration of men of learning from France and maintained three jograes permanently in his palace.

The decasyllabic love song in three or four stanzas with an envoi, the satirical sirventes, the tenson jocs-partits in which two poets contended in dialogue, the descort in which the discordant sounds expressed the poet's distress and grief, the balada of Provence, the ballette and pastourelle of North France, were all faithfully reproduced. If, on the other hand, we look for imitations in detail it is perhaps natural that we should find them less frequently. The word probably has no connexion with seguir to follow. Possibly it was used originally to differentiate singers of profane songs, cantigas profanas e seculares.

Frei Joao Alvarez in his Cronica do Infante Santo has ' obras ecclesiasticas e segraaes ' ; King Duarte counted among os pecados da boca ' cantar cantigas sagraaes '. The Cancioneiros show that the segrel was far less common than the jogral in the tliirteenth century. When Airas Nunez in a poem of striking beauty, which is almost a sonnet C. Que muito m'eu pago d'este verao Por estes ramos et por estas flores Et polas aves que cantan d'amores, he need not have read Peire de Bussinac's lines: Quan lo dous temps d'Abril Fa 'Is arbres sees fulhar E 'Is auzels mutz cantar Quascun en son lati, in order to know that birds sing and trees grow green in spring.

And generally it is not easy to say whether an apparent echo is a direct imitation or merely a stereotyped phrase. The Portu- guese trobadores introduced little of the true spirit of the Provencal troubadours — that had passed to Palestine and to the Lady of Tripoli. In their cantigas de amor is no sign of action — unless it be to die of love ; no thought of Nature, Jaufre Rudel , that prince of lovers, had ' gone to school to the meadows ' and might sing in his maint tons vers of la flor aiglentina or of flors d'albespis, but in the Portuguese cantigas nothing relieves the conventional dullness and excessive monotony which likewise marked the Provengal school of poets in Sicily.

Composed for the most part in iambic deca- syllabics they describe continually the poet's coita d'amor, grave d'endurar, his grief at parting, his loss of sleep, his pleasure in dying for his fremosa sennor. She is described merely as beautiful, or, at most, as Tan mansa e tan fremosa e de bon sen C. Fremosa e mansa e d'outro ben comprida C.

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Vocabulary and thought are spectre-thin. Indeed, it was part of the convention to sing vaguely. King Dinis, perhaps in reference to that troubadour, declares that his love is independent of the seasons and more sincere than that of the singers of Provence: The exceeding similarity of the cantigas de amor did raise doubts as to the sincerity of all this dying of love cf. Yet the poets evidently had talent and poetic feeling; indeed, their skill in versification contrasts remarkably with their entire absence of thought or individuality.

They appear to revel in monotony of ideas and pride themselves on the icy smoothness of their verse. Joan Soarez de Paiva died in Galicia. The latter wrote in the first years of the thirteenth century C. They are the only two Galician-Portuguese poets — besides King Dinis — mentioned in Santillana's letter. Much of the information of this Poetica printed in C. There were apparently special names for poems to trick and deceive: The poet who addressed cantigas de amor to his lady also provided her with poems for her to sing, cantigas de amigo in complicated form, or as the simpler cossante, which the cantigas de amigo include.

These are poems with more life and action, often in dialogue. Perhaps the dona herself, wearied by the monotonous cantigas de amor, had pointed to the songs of the peasant women, and the form of these cantigas de amigo was a compromise between the Provencal cantiga de meestria and the popular cantiga de refran. The peasant woman composed her own songs, and the poet places his song on the lips of his love: Poetical shepherdesses sing these cantigas de amigo ; the fair dona sings them as she sits spinning C.

The old Poetica Both were artificial forms, but the latter are clearly more popular in theme the amiga waiting and wailing for her lover , and in treatment sometimes convey a real intensity of feeling. The daughter is kept in the house: She reproaches and entreats her mother, who answers her as choir to choir ; she bewails her lot to her friends, or to her sister. She is dying of love and begs her mother to tell her lover.

Her mother and lover are reconciled. Her lover is false and fails to meet her at the trysted hour. She waits for him in vain, and her mother comforts her in her festive laughter poems: San- tiUana's mansohre is, it seems, a misprint for mordobre. Sin lai, sin deslai, sin cor, sin descor.

¡Regocijad! Jesús nació

Sin dobre, mansobre, sensilla o menor. Sin encadenado, dexar o prender. Par Deus, se era, se ora chegasse Con el mui leda seria. She pines and dies of love while her amigo is away- serving the king in battle or en cas' del ret. The third section of the Cancioneiro da Vaticana does not sin by monotony. We may divide Pope's hne, since if the cantigas de amor are ' correctly cold ' many of the satiric poems are ' regularly low '. In these verses, containing violent invec- tive and abuse [cantigas de maldizer or more covert sarcasm and ridicule [cantigas d'escarnho , the themes are often scandalous, the language ribald and unseemly.

They were written with great zest, although without the fiery indignation of the Proven- gal and Catalan sirventeses. They are concerned with persons: Some of these poems should never have been written or printed, but many of them give a lively idea of the society of that time. We read of the excellent capon, kid, and pork provided by the king for dinner ; of the fair malmaridada, married or rather sold by her parents ; of the impoverished lady, one of those for whom later Nun' Alvarez provided ; of the poet pining in exile not of love but hunger ; of the lame lawyer, the unjust ' g'coi C.

Carolina Michaelis de Vascon- cellos proposes quifa cf. These cantigas d'escarnho e de maldizer were a powerful instrument of satire from which there was no escape. A hapless infangon, slovenly in his ways, drew down upon himself the wit of D. Lopo Diaz, who in a series of eleven songs C, V. But the implacable D. Lopo forthwith indited a new song: But the majority of these verses are not so innocently merry. Many of the poets of the Cancioneiros wrote in all three kinds: There is life and poetical feeling as well as facility of technique in his poems.

Pero Garcia de Burgos fl. He shows himself capable of deep feeling in his love songs, but speaks with two voices, descending to sad depths in his poems of invective. His contemporary, the segrel Pero da Ponte, is also an accomplished poet of love, in the even flow of his verse far more accomplished than Pero Garcia, and in his satirical poems wittier and, as a rule, more moderate.

He placed his poetical gift at the service of kings to sing their praises for hire, and celebrated San Fernando's conquest of Seville in ; Seville, of which, he says, ' none can adequately tell the praises '. To satire almost exclusively the powerful courtier of King Dinis' reign, Stevam Guarda, devoted his not inconsiderable talent, and the segrel Pedr' Amigo de Sevilha fl.

Joan Garcia de Guilhade. D 2 52 I numerous cantigas de amigo. Martin Soarez first half 13th c , born at Riba de Lima, and considered the best trobador of his time by those who could not appreciate the charm of the indigenous poetry , wrote no cossante nor cantiga de amigo, and in his satirical poems displayed a contemptuous insolence — towards those whom he regarded as his inferiors in lineage or talent — which places him in no attractive light.

But if his poems lack the variety of those of King Dinis, which they almost rival in number, they are nevertheless marked not only by harmony but by many a touch of real life. Of most of the other singers we have far fewer poems. Joan de Aboim c. There is an engaging grace and spirit in the cantigas de amigo written in dancing rhythm by Fernan Rodriguez de Calheiros fl. Joan Lopez de Ulhoa, their contemporary. Neither of these, however, possessed the poetical genius and versatility of the priest of Santiago, Airas Nunez second half ' A large number of cantigas by the same hand would emphasize the monotony of the kind and provide an unwelcome mirror for contemporary bards.

Of Roy Queimado fl. He wrote apastorela in the manner of the trouveres, and combined it with some of the most exquisite specimens of the indigenous poetry. Another of his poems C.

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Great importance has been attached to another C. Carolina Michaelis de Vasconcellos has shown that it was written to commemorate a contemporary event, probably in The Cancioneiros contain poems by high and low, prince and, one would fain say, peasant, noble trobador and humble jogral, soldiers and civilians, priests and laymen, singers of Galicia, Portugal, and Spain, but more especially of Galicia and North Portugal.

As in the case of C. It tells of a girl forced against her will to enter a convent, and who says to her lover: Its author was the fidalgo ' See p. An incidental interest belongs to this poem of eighteen dodecasyllabic lines from the fact that in C. Rodrig' Eanez de Vasconcellos, one of the pre-Dionysian poets.

But indeed no further proofs are needed to show that, even had King Dinis never existed, the contents of the early Portuguese Cancioneiros would have been remarkable for their variety and beauty. If he imitated Alfonso X in his love of literature, he showed him- self a far abler and firmer sovereign, being more like a rock than like the sea, to which the poet compared Alfonso.

Far- sighted in the conception of his plans and vigorous in their execution, the Rei Lavrador, whom Dante mentions, though not by name: Among his great and abiding services to his country was the foundation of the first Portuguese University in the year , and in the same spirit he ordered the translation of many notable books from the Spanish, Latin, and Arabic into Portuguese prose, including the celebrated works of the Learned King, so that it is truer of prose than of poetry to say that he inaugurated a golden age.

But he also excelled as a poet, d'amor trobador. It had no doubt been part of his education to write convention- ally in the Provengal manner, but his skill in versification, remarkable even in an age in which Portuguese poetry had attained exceptional proficiency in technique, would have ' He thus overlapped Dante's life by four years at either end.

Craveiro, Compendia , cap. Diniz trouxe a idade de ouro a Portugal. It was owing to the personal encouragement of Dinis that the waning star of both Provencal and indigenous poetry continued to shine in Portugal for another half-century. The grandson of Alfonso X was the last hope of the trobadores and jograes of the Peninsula. From Leon and Castille and Aragon they came to reap an aftermath of song and panos at his Court, and after his death remained silent or unpaid C.

The poems of King Dinis are not only more numerous but far more various than those of any other trobador, with the exception of Alfonso X, and it may perhaps be doubted whether they are all the work of his own hand. In poetry's old age he might well wish to collect speci- mens of various kinds for his Livro de Trovas.

Among them are some colour- less cantigas de amor and others more individual in tone, pastorelas C. Amigo faW e desleal, and C. Ay flores, ay flores do verde pino C. Dos Pecados da Ohra, These include dar aos jograaees. Nunez de Learn translates joglar as truao Vede-la frol do pinho — Valha Deus, and the hailada-cossante C. Mia madre velida, Voum' a la bailia Do amor. If the king wrote these cossantes he must be reckoned not only as a musical and skilful versifier but as a great poet.

And certainly, at least, his graciosas e dulces palavras well earned him the reputation of being not only the best king but the best poet of his time in the Peninsula. Nesta espinhosa e feliz jornada; preciso de quase nada. Creio que neste sentido se aplica a desejada felicidade. Ou seja, analisando todos os fatos d. Lutas e alegrias - dormito e acordo ao raiar do dia. Leitura - alimento d'alma. Empunhe a sua l. Quem tem entendimento; entenda! Haja vista a crueldade dessa falsa liberdade. Subscribe in a reader Nesta espinhosa e feliz jornada; preciso de quase nada.

Ainda assim o sol nasce para gente. O Universo numa gota de orvalho,. Fique rico com Deus. Apesar do contrassenso; eu estava meio tenso de tanto pela vida andarilhar, estava mal. Pensar ligeiro e abrir bem os ouvidos, retirando dos olhos o antigo argueiro. Sonhar sobre um bom travesseiro recheado de amor alvissareiro. Popularity Popularity Featured Price: Low to High Price: High to Low Avg.

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