Lusophone, Portuguese, and Galician Studies: Portuguese Medieval Literature (2024)

Arthurian Literature

Gabriele Dias Damasceno and Adriana Maria de Souza Zierer, ‘As representações femininas na literatura medieval: um diálogo entre história de mulheres e gênero’, in Anais do Ciclo Virtual Internacional de Comunicações de História Política, ed. by Aimée Schneider and others (Porto: Editora Cravo, 2021), expand on the contribution of women in the Old Portuguese Demanda do Santo Graal, in a positive effort to look at the past in the light of recent gender and feminist approaches. Santiago Gutiérrez García, ‘Geoffrey of Monmouth in Portugal and Galicia’, in A Companion to Geoffrey of Monmouth, ed. by Georgia Henley and Joshua Byron Smith (Leiden: Brill, 2020), 482–486, briefly and accurately reviews the dissemination of Geoffrey of Monmouth’s De gestis Brittonum and the introduction of the Matter of Britain in the Peninsula and particularly in Portuguese and Latin manuscripts scattered across different libraries and archives. José Ramón Trujillo Martínez, ‘Escritura, memoria y narrativa en la literatura artúrica hispánica’, Revista de literatura medieval, 32 (2020), 249–290, explores many allusions to the power and prestige of writing associated to memory and knowledge and the preservation and dissemination of the past in the Old Castilian Arthurian texts. This is a useful reflection that may also be applied to the same texts in Portuguese.

Two articles go beyond the limits of translation and adaptation (or ‘lecturature’, as John Dagenais calls it), in terms of textual transmission, readers, and cultural environment. Simona Ailenii, ‘Das particularidades de tradução das versões ibéricas de Merlin e da sua suite’, Revista galega de filoloxía, 20 (2019), 11–33, continues her solid and arduous work on the acclimatization of Arthurian literature in the Castilian and Portuguese translations. On this occasion, the author discusses the intricate and not fully known history of Iberian versions of Robert le Boron’s trilogy of the Merlin, from the first two decades of the thirteenth century, and then its later suites from the Vulgate and post-Vulgate French cycles in terms of translation procedures from MS to print. An important caveat is flagged by the author: the time lag betwixt different MSS and the fashion in which these are perceived in a new language and culture. The texts of the Merlin that are sampled include a Galician-Portuguese fragment (MS2434, Library of Catalonia, partially edited by Amadeu J.Soberanas and fully transcribed by Pilar Lorenzo Gradín and José António Souto Cabo), Castilian print versions (1469, Salamanca; 1498, Burgos; 1535, Seville), French texts (MS747, BnF, edited by Alexandre Micha; MS10292, British Museum, edited by Oskar Sommer; MS Add. 38117, British Museum, edited by Gaston Paris and Ulrich Jakob; plus French fragments published by Monica Longobardi). Passages from these texts are compared and commented upon, and reveal more or less faithful translations, and also more or less synthetic wording, innovations, and, more importantly, unique phrasings from the Portuguese MS not found in their French and Castilian counterparts.

Treatises

Two compelling articles about medieval treatises: Gerardo Pérez Barcala, ‘El “Livro de Alveitaria” del cód. 2294 de la Biblioteca Nacional de Portugal: anotaciones para su historia y descripción’, Revista de literatura medieval, 31 (2019), 179–200, dives into the history of the BNP, and the donations made to this institution by Manuel do Cenáculo Villas Boas (1724–1814), which have substantially enriched its archives—all in to order to delve into a version of the Livro de Alveitaria found in Cód. 2294 from the BNP. The article also contains a material description discussing marginalia, mise en texte, and mise en page notes, and content features of the manuscript. Ana Marta Silva Pinto, ‘O Livro de Naturas, uma fonte manuscrita para o estudo da medicina medieval em Portugal’, Labor histórico, 6.1 (2020), 288–314, offers a revitalizing approach, carried out by a nurse, of the fourteenth-century Livro de Naturas. The author gives a state-of-the-art overview of manuscript Cód. CXXXI/2–19 of the Biblioteca Pública de Évora; a codicological and linguistic examination; their point of view on the likeliness of Frei Gil de Santarém as the author (which remains open as the new data does not confirm or deny it); transcription guidelines; and finally, the transcription of the text.

DuarteI of Portugal, The Book of Horsemanship, trans. by Jeffrey L.Forgeng (Woodbridge: Boydell, 2016), is a well-informed translation of the Livro do cavalgar with a valuable technical and terminological introduction, reviewed by Stephen Parkinson in Portuguese Studies, 35 (2019), 110–112.

D.Pedro, Conde de Barcelos

Maria do Rosário Ferreira, Pedro de Barcelos e a escrita da história (Porto: Estratégias Criativas, 2020), collects together her previous research on Pedro Afonso, Count of Barcelos, in exploring Pedro’s work (the Livro de Linhagens and the Crónica de 1344) and intentions in medieval Portuguese culture, adding one new chapter: ‘De Najera a Alcalá: Pedro de Barcelos e Juan Nuñez de LaraIII’ (155–171). Many topics are covered, such as the ideology and political thought of Pedro Afonso; the ways the past and memory are accounted for; the use of sources, especially the Old Navarre-Aragonese Liber Regum, the Sete Partidas, by AlfonsoX, and the Ordenamiento de Najera; and authorship, writing stages, translation, and historical legitimacy. By the same author, ‘O poder das mulheres no Livro De Linhagens do conde D.Pedro de Barcelos (1): relatos fundacionais’, E-Spania, 36 (2020) https://doi.org/10.4000/e-spania.35577, offers a refreshing and updated but unfinished exploration of the role of women in the Livro de Linhagens by Pedro Afonso, beginning with two questions—how are women portrayed as active agents of power and which kind of functions they hold—topics that, at first glance, seem like a dead end, especially due to androcentric views of the world. João Paulo Martins Ferreira, ‘De Rodrigo a Rodrigo: Os testemunhos da conquista das Beiras por Fernando Magno na obra do Conde D.Pedro e a sua relação com as personagens de Rodrigo Dias de Vivar e de Rodrigo Froilaz de Trastâmara’, E-Spania, 40 (2021) https://doi.org/10.4000/e-spania.42323, provides a detailed reading of the Livro de Linhagens performed with great care. It focuses on the coverage of the ‘reconquista das Beiras’ by Fernando Magno in 1055–1065, the narrative discrepancies, and an attempt to justify these. Isabel de Barros Dias, ‘Linhagens imaginadas e relatos fundacionais desafortunados’, in Avatares y perspectivas del medievalismo ibérico, i, ed. by Isabella Tomassetti and others (San Millán de la Cogolla: Cilengua, 2019), 181–205, gives an interesting perspective on the ancestry of Afonso Henriques. The chapter analyses two different possibilities (the Oriental-Hungarian origins and the Conde Monido origins) that were used to justify and legitimatize not only the lineage of Afonso Henriques, but also the first king as leading and founding figure of the formation of the new Kingdom of Portugal, and how these were used as propaganda to legitimatize them (justified by, namely, spiritual paternity, war skills, divine consent) and create a collective memory through textual manipulation of sources in the Livro de Linhagens do Conde D.Pedro, the Crónica de 1344, and other historiographical texts.

Chronicles

Francisco Bautista and Filipe Alves Moreira, ‘Para a tradição textual da Crónica de 1344: dois manuscritos da versão original’, Zeitschrift für Romanische Philologie, 137 (2021), 183–216, merit a congratulatory note for their findings. The article takes issues on the complex and troubled stemma codicum of the Crónica de 1344, and adds two recently discovered fragments in Portuguese (Oc and Z₁ / Z₂) containing the final section of the Crónica. It provides an in-depth study of the relationships between both fragments and their connections to the remnant tradition, and poses new questions that these new findings entail.

Ana Isabel Boullón Agrelo, ‘Consideraciones sobre la transmisión textual de la Crónica de Iria’, Zeitschrift für romanische Philologie, 136 (2020), 134–160, conjectures in a very solid, pristine, and accurate way about the manuscript tradition of the fifteenth-century Galician Crónica de Iria and provides a new philological examination of the three surviving versions (C, V, O), considering notions from history, authorship, and textual criticism when confronting different readings (replacements, omissions, erroneous readings, and diffractive readings). In ‘Rui Vázquez, copista da Crónica de Iria: indicios lingüísticos’, La corónica, 48.1 (2919), 73–97, she presents a range of graphemic, morphological, and lexical variants to confirm that the 1468 version of the Crónica is not the original but a copy of an earlier text that was independently used by much later copies.

Ricardo Pichel, ‘Sabean quantos este liuro virem … A recepción galega do legado historiográfico e haxiográfico do Rei Sabio na primeira metade do século xiv’, in Galicia, ed. by Andrade Cernadas and Doubleday (299–354), looks at the copying and incorporation of Alfonsine and post-Alfonsine materials in Galician historiography.

Livro das Tres Virtudes

Stephanie Sander and Aline Dias da Silveira, ‘O Liuro das tres vertudes a inssinanças das damas: um exercício de transcrição do manuscrito 11515’, Signum, 22 (2021), 498–527, and Antonio Ackel, ‘Estudo Paleográfico de uma versão em português de Livre de Trois Virtues (1447–1455)’, Confluência, 59 (2020), 139–165, are two different palaeographical endeavours using MS11525 from the Biblioteca Nacional de España as a sample: the former—novel in its scope—aims to assemble writing forms, graphic signs, and the strokes that define the production of the script (the ductus, in palaeography), and the latter is an edition of the first four chapters (folios1^r–6^v), accompanied by a glossary and charts with abbreviations from each folio. The two articles are extremely useful and complement each other.

Ana Luisa Sonsino, ‘Os leitores do Espelho de Cristina: um recorte das cortes’, Medievalista, 25 (2019) https://doi.org/10.4000/medievalista.1739, examines the readers of the French and Portuguese texts of Christine de Pizan. The Portuguese translation is known as O Livro das Tres Vertudes and is found in a fifteenth-century text (MS11515, National Library of Madrid) and in a print version from 1518. The author not only focuses on the type of translation techniques (shortened wording observed from the MS version to the print version), taking into account the social class of the feminine readers (middle and lower), but also the education received by the female protagonists of the House of Aviz.

Hagiography

Marta Louro Cruz, ‘O estrato linguístico duocentista num manuscrito seiscentista—a Vida de Santa Senhorinha de Basto’, in Estudos linguísticos, ed. by Carrilho and others (569–580), offers a useful study of the hagiographical account of Vida e Milagres de Santa Senhorinha de Basto. The MS that contains this text is from the seventeenth century, and is housed today at the Alfredo Pimenta Archive (MS G1) in Guimarães, Portugal. The text, though, may be traced back to the thirteenth century based on scribal behaviour and the linguistic study executed by the author. In the same volume Sílvio de Almeida Toledo Neto, ‘Um olhar sobre a Vita Christi: proposta de filiação dos fragmentos da primeira parte da obra’ (1483–1513), presents a codicological study and a palaeographical transcription of three fragments of the fifteenth-century Portuguese translation of the Vita Christi, with an account of the place of the fragments in analysis in the textual tradition.

General

Online resources continue to develop. The evolution of Universo Cantigas https://universocantigas.gal, through new editions of all texts, is described by Mariña Arbor Aldea, ‘Universo Cantigas: el editor ante el espejo’, in Avatares y perspectivas del medievalismo ibérico, ii, ed. by Tomassetti and others (San Millán de la Cogolla: Cilengua, 2019), 1541–1554, and, in the same volume, Manuel Ferreiro, ‘O Portal Universo Cantigas: antecedentes, desenvolvemento e dificultades’ (1633–1644). A new database PalMed http://bernal.cirp.gal/ords/f?p=113 has been launched in the MedDB stable, providing palaeographical transcriptions alongside MSS pages; launch publications include Pilar Lorenzo Gradín and Carmen de Santiago Gómez, ‘De MedDB a PalMedDB: Bases de datos para el estudio integral de la lírica gallego-portuguesa’, Revista de poética medieval, 33 (2019), 25–50, and Pilar Lorenzo Gradín, ‘Notas sobre una nueva base de datos de la lirica gallego-portuguésa: PALMEDDB’, in ‘Et era muy acuçioso en allegar el saber’. Studia philologica in honorem Juan Paredes, ed. by Eva Muñoz Raya and Enrique J.Nogueras Valdivieso (Granada: Granada University Press, 2019), 455–470. The special issue ‘Los repertorios poéticos digitales: del medievo a la interoperabilidad’ of Revista de poética medieval, 33 (2019) is on digital resources and includes a preface by Helena Bermúdez Sabel and Elena González-Blanco García (11–23) on the ongoing POSTDATA programme, and an article by Stephen Parkinson, ‘Supporting Research with Poetic Metadata: The Oxford Cantigas de Santa Maria Database’ (77–86). Humanidades Digitales. Miradas hacia la Edad Media, ed. by Déborah González and Helena Bermúdez Sabel (Berlin: De Gruyter, 2019), https://doi.org/10.1515/9783110585421 includes a chapter by Mariana Curado Malta, ‘Modelação de dados poéticos: uma perspectiva desde os dados abertos e ligados’ (34–48) explaining the principles of Linked Open Data underlying the POSTDATA project.

Pilar Lorenzo Gradín and Simone Marcenaro, ‘O espazo poético de AfonsoX: trobadores e textos’, in AfonsoX, ed. by Brea and Lorenzo (259–310), attempt a broad view of poetic activity around AlfonsoX, focusing on the prestige of Galician-Portuguese, the poetic circles in which groups of poets broach a common issue or attack the same satirical target, and Alfonso’s own poetic corpus. In the same book, António Resende de Oliveira, ‘A Galiza e os galegos nos cantares e na corte do Sábio’ (311–332), identifies Galicians targeted by Alfonso’s satires, including one Pero Garcia Galego, and quantifies the contribution of Galician trovadores and jograis in Alfonso’s circle. J.Paredes, ‘Galego, galego, outrén irá comego: Galicia en las cantigas satíricas de AlfonsoX’ (431–446), covers similar ground, with less historical precision, and compares the treatment of Galicians in satire with the subordination of Santiago in the Cantigas de Santa Maria (CSM). Meanwhile, Henrique Monteagudo, ‘Afonso o Sabio na lírica trobadoresca galego-portuguesa: da historia literaria á política cultural’, Galicia, ed. by Andrade Cernadas and Doubleday (379–447), presents Alfonso as a promotor of jograis and satirical genres while the cantiga de amor was cultivated in Portugal. His use of satire for political ends is matched by the development of the CSM as an ultimately unsuccessful vehicle of royal self-promotion. The use of Galician in the CSM reflects its status as the accepted lyric koiné, allowing Alfonso to use it to undermine the dominance of Santiago as a centre of pilgrimage. The discussion is followed by commented editions of some of the satirical poetry and the historical CSM235.

AlfonsoX, ed. by Fidalgo, contains Carlos Alvar, ‘AlfonsoX, mecenas de la poesía’ (137–161), and Juan Paredes, ‘AfonsoX, trovador profano’ (163–183). Paolo Canettieri, ‘La poesia lirica cortese: verso un modello reticolare’, in La lirica del/nel Medioevo: esperienze di filologi a confronto. Atti del V seminario internazionale di studio (L’Aquila, 28–29 novembre 2018), ed. by Lucilla Spetia, M.León Gómez, and Teresa Nocita, (Spolia, special issue, 2019), 75–84, places the Galician-Portuguese lyric in a ‘reticular’ model of the relationships between the texts of the medieval European courtly lyric, in which every lyric tradition can influence each other, rather than the traditional radial model in which the troubadours are at the centre and the other traditions are found equidistantly on the periphery.

Tania Vázquez García, ‘A representación das soldadeiras nas cantigas de escarnio galego-portuguesas e na cultura visual románica’, Cuadernos de estudios gallegos, 65 (2018), 107–131, describes medieval carvings depicting female musicians; not surprisingly, these have nothing in common with the satirical portrayals of soldadeiras in the cantigas de escarnho e maldizer. See also Gabriela Edith Striker, ‘Un cotejo entre las denominaciones del juglar y su representación en las cantigas profanas gallego-portuguesas y en las Cantigas de Santa María’, in Actas de las XVI Jornadas Internacionales de Estudios Medievales y XXVI Curso de Actualización en Historia Medieval, ed. by Lidia Amor, Ana Basarte, and Dolores Castro (Buenos Aires: SAEMED-Asociación Civil de Estudios Medievales de la República Argentina, e-book2019), 253–263.

Lénia Márcia Mongelli and Yara Frateschi Vieira, ‘Carolina Michaëlis e Henry Lang: um diálogo entre romanistas’, in Estudos linguísticos, ed. by Carrilho and others (845–857), analyse the interchanges between Carolina Michaëlis and Henry Lang through their reviews of each other’s editorial work, including a close study of Carolina Michaëlis’ personally annotated copy of Lang’s edition of D.Dinis.

Fabio Barberini, ‘Numa clara homenagem aos nossos cancioneiros. Eugenio de Andrade e la lirica galego-portoghese’, in Avatares, i, ed. by Tomassetti and others (329–339), detects two well-hidden examples of intertextuality.

Language

Pär Larson, La lingua delle ‘cantigas’. Grammatica del galego-portoghese (Rome: Carocci, 2018), provides a traditionally organized collection of linguistic notes aiming to provide a Galician-Portuguese counterpart to classic student guides to Occitan and Old French. More ambitious and less reliable is the book by Simone Marcenaro, La lingua dei trobadors. Profilo storico-linguistico della poesia galego-portoghese medievale (Rome: Viella, 2019), which was aggressively reviewed by José Antonio Souto Cabo in Revue critique de philologie romane, 19 (2020), 86–107, with a pained response by Marcenaro (107–117). Simone Marcenaro, ‘Per un approccio sociolinguistico alle letterature medievali: appunti preliminari sui trobadores’, in Lírica galego-portuguesa. Lingua, sociolingüística e pragmática, ed. by Déborah González, ArGaMed 2/2020 (Santiago de Compostela: Xunta de Galicia, 2020), 113–156, demonstrates possible applications of historical sociolinguistics to the medieval lyric, including forms of address and social networks. In the same volume see the chapter by Charmaine Lee, ‘Did Raimbaut de Vaqueiras Really Know Five Languages? Notes on the Descort, Eras quan vey verdeyar (BdT392, 4)’ (83–112).

In two bibliography-heavy surveys, Déborah González, ‘Lingua(s) na corte poética de AlfonsoX’, in AfonsoX, ed. by Brea and Lorenzo (329–354), trawls a wide range of secondary sources to give a panoramic view of the development of Castilian, Galician, and Portuguese as literary and official languages, beside their interaction in the formation of a poetic koiné in coexistence with Occitan; while, in the same book, Mercedes Brea, ‘AfonsoX e a codificación do galego como lingua poética’ (355–384), asks important questions (How (and how much) did AlfonsoX learn Galician? Was there a literary standard or did he help create one?) and answers them with historical and literary evidence, concluding that Alfonso’s poetic activity as infante would have given him close contacts, and that he would have felt the need to create a standard for the CSM.

Also in that volume, Elvira Fidalgo Francisco, ‘Contribución de AfonsoX ao léxico galego: primeira achega’ (385–403), claims that the feudal vocabulary of the courtly lyric (galardon, mentira(l), covarde, ardido, menage, franqueza, conorto, albergar) does not become implanted until the second half of the thirteenth century, so that its visibility in Alfonso’s satirical poetry and the CSM is testimony to his influence. Ângela Correia, ‘Inovações expressivas no cancioneiro de amigo do trovador Joam Soares Coelho’, in Lírica Galego-Portuguesa, ed. by González (65–82), assuming that the cancioneiro de amigo is a stylistically isolated genre, sees innovation in Joam Soares Coelho’s use of vedar, sair, ventura, coita in senses otherwise found only in prose and other genres. Simone Marcenaro, ‘Considerazioni Linguistiche sull’ (errato) concetto di arcaismo in alcune cantigas de amigo galego-portoghesi’, in Studia philologica, ed. by Muñoz Raya and Nogueras Valdivieso (497–510), provides a welcome reassessment of the traditional view that forms like irmana represent archaic forms pre-dating the historical process of nasalization. See also, in the same book, Gema Vallin, ‘La indumentaria en la lírica gallego-portugueaa: algunas consideraciones sobre el uso y el significado de las penas veiras’ (653–663).

Mercedes Brea, ‘El mar en los trovadores gallego-portugueses’, in Poeta y mar: seis estudios sobre el mar en la poesía española, ed. by José Manuel Rico García (Huelva: Huelva University Press, 2019), 25–48, surveys the contexts and values of references to the sea, from the mariñas of the cancioneiro de amigo to the maritime lyrics of Pai Gomez Charinho.

Texts and Manuscripts

Mercedes Brea, Antonio Fernández Guiadanes, and Gerardo Pérez Barcala, As anotacións de Angelo Colocci nos cancioneiros galego-portugueses, ArGaMed 4/2021 (Santiago de Compostela: Xunta de Galicia, 2021) https://libraria.xunta.gal/gl/argamed-42021-as-anotacions-de-angelo-colocci-nos-cancioneiros-galego-portugueses-4-2021, study and classify Colocci’s annotations in B and V, giving a complete catalogue—a highly valuable research tool. Fabio Barberini, ‘Tra B portoghese e M provenzale (B, c.1^r)’, Cultura neolatina, 78 (2019), 411–425, uses the opening sheet of B to re-read Colocci’s annotations in an Occitan collection.

Maria Ana Ramos, ‘Os segredos das encadernações de um cancioneiro inacabado. A propósito do Cancioneiro da Ajuda’, in De lagrymas fasiendo tinta. Memorias, identidades y territorios cancioneriles, ed. by Virginie Dumanoir (Madrid: Casa de Velazquez, 2017), 9–33, https://books.openedition.org/cvz/3407, gives a detailed account of the itinerary of the Cancioneiro da Ajuda through its bindings and its appearance in inventories, under the title Obras del Rey dom Denis. André B.Penafiel, ‘Formação do Cancioneiro da Ajuda e seu parentesco com ω e α’, in Avatares, i, ed. by Tomassetti and others (421–438), and ‘Compilação dos cancioneiros galego-portugueses primitivos’, Verba, 46 (2019), 161–206, rejects the assumption that the stemma codicum of the secular lyric is composed entirely of complete manuscripts. The Cancioneiro da Ajuda, in which two distinct phases of production can be detected, combines the copy of an archetype with the compilation of new and additional materials; both the archetype and its other successors were expanded by the compilation of additional materials, either by copying or by the physical accumulation of sources. Stephen Parkinson, ‘Perdidas e achadas: Cantigas de Santa Maria no Cancioneiro da Biblioteca Nacional’, in Avatares, i, ed. by Tomassetti and others (399–409), uncovers another case of compilation, arguing that the two ‘laude mariani’ of B are a mixed bag, one being a copy of a real cantiga de loor (CSM40) from a sheet plundered from the códice rico, and the other an escarnho de amor using Marian allusions, opportunistically added to AlfonsoX’s works by a later compiler.

Manuel Pedro Ferreira, ‘Pergaminhos em releitura’, in Avatares, i, ed. by Tomassetti and others (369–378), goes back to the idea that the Vindel fragment was part of a bound collection.

Important textual and palaeographical work continues to come from Manuel Ferreiro. In ‘Arredor da segmentación intraversal da copulativa e nas cantigas trobadorescas galego-portuguesas’, in Estudos atuais de linguística galego-portuguesa, ed. by Maria Aldina Marques and Xosé Manuel Sánchez Rei (Santiago de Compostela: Laiovento, 2019), 29–55, he uncovers cases where final -e should be identified as the conjunction e, and comments on the implications for the grammatical analysis of other forms in the verses affected. Also of note are Susana Tavares Pedro, ‘Os sinais abreviativos no Cancioneiro da Biblioteca Nacional: tentativa de sistematização’, in Avatares, i, ed. by Tomassetti and others (411–420), and Xosé Bieito Arias Freixedo, ‘Da materia paleográfica a edición: algunhas notas ao fio da transcrición do Cancioneiro da Biblioteca Nacional de Portugal e do Cancioneiro da Vaticana’, Avatares, i, ed. by Tomassetti and others (311–328).

Fabio Barberini, ‘Tra le righe d’un vecchio necrologio: Carolina Michaëlis de Vasconcellos, Ernesto Monaci e il Canzoniere Colocci-Brancuti’, Verba, 46 (2019), 439–454, sees Monaci’s defensive attitude towards ‘his’ Canzoniere as a recognition of the complexities of the MS tradition, rather than as selfishness or chauvinism. Maria Ana Ramos, ‘Cancioneiros e textos imprevisíveis’, in Lírica Galego-Portuguesa, ed. by González (195–231), reviews the cases of later poems inserted into the Lírica Galego-Portuguesa tradition, rejecting the simplistic view that they were all random texts copied into blank pages in the archetype. Ramos finds documental records for a number of late fifteenth-century Portuguese names who also figure in the Cancioneiro Geral (Álvaro Afonso and the target of his satire Luis Vasques; Fernando Eanes; Diogo Gonçalves de Montemor) and shows that many insertions were made at points of complex or uncertain compilation, suggesting the influence of an independent compilation circulating at the time of the preparation of the archetype. The inconsistent presence of other espúrias in B and/or V may reflect a differential willingness of the copyists to include obviously later texts in different hands.

Mercedes Brea and Antonio Fernández Guiadanes, ‘Transcribiendo los cancioneros gallego-portugueses para una base de datos’, in Patrimonio textual y humanidades digitales. iii: EDAD MEDIA, ed. by Pablo Rodríguez López, José Mauricio Lepe Zepeda, and María Isabel de Páiz (Salamanca: IEMYR, 2021), 65–83, champion a digitized transcription preserving as much palaeographical detail as possible, but do not include any discussion of character sets or encoding principles. Susana Tavares Pedro critically reviews Arbor’s transcription of the Cancioneiro da Ajuda (YWMLS, 78, 238) in Cultura neolatina, 78 (2019), 429–441. Antonio Fernández Guiadanes and Helena Bermúdez Sabel, ‘Da transcrición paleográfica ás bases de datos: problemas e solucións na lírica galego-portuguesa’, in Humanidades Digitales, ed. by González and Bermúdez (49–62), describe all the variants of ⟨y⟩ in the Cancioneiro da Vaticana and look for ways of representing them in Unicode and TEI, while, in the same book, Helena Bermudez Sabel, ‘Anotación multicamada externa e o enriquecemento de edicións dixitais’ (4–17), shows how TEI can annotate texts with a classification of variants, such as ⟨mjn⟩, indicating progressive nasalization.

Henrique Monteagudo, ‘Variación scriptolinguística e tradición manuscrita da lírica trobadoresca: As variables ⟨nh/n⟩ e ⟨ss/s⟩’, in Estudos linguísticos, ed. by Carrilho and others (859–959), studies graphemic variables to trace the influence of successive compilations on the fourteenth-century manuscript copied by B and V, and in ‘Para a análise grafemática da *Recompilación tardía (*Livro das cantigas)’, in Lírica Galego-Portuguesa, ed. by González (157–194), looks at the (low) frequency of word-initial geminates and majuscules, in which he sees a chronological progression from the early quires of the Cancioneiro da Ajuda through the CSM to the hypothetical Recompilación tardía. Mercedes Brea, ‘Lingua e tradición manuscrita’, in Lírica Galego-Portuguesa, ed. by González (37–64), lists and categorizes the divergences between PV and B/V to outline the hypothesis that PV and A were compiled in the Alfonsine scriptorium using the same editorial principles as the CSM.

Manuel Ferreiro, ‘Notas sobre a segmentación textual dalgúns adverbios nas cantigas galego-portuguesas’, Revista Signum, 22 (2021), 272–292, attempts to disentangle ⟨u⟩ ⟨du⟩, and ⟨d’u⟩, finds hidden cases of ⟨ar⟩, ⟨er⟩, ⟨oj’⟩, ⟨ja⟩, and ⟨la⟩, and restores ⟨einda⟩ and ⟨d’anvidos⟩ from mis-segmentation. Xosé Bieito Arias Freixedo, ‘Pasaxes manuscritas problemáticas: conservación vs. emenda na edición de textos trobadorescos’, Verba, 47 (2020), 195–216, looks at a number of issues in editing D.Denis. In Ben me podedes vos, senhor, both MSS have copied a text that probably reflects an intermediate revision of a poem with pervasive palavra rima, but the restoration of the presumed original is a step too far; elsewhere in the same poem editors have to choose between ⟨e⟩ and ⟨o⟩ with different syntactic outcomes. In other poems ⟨pois e vos⟩ needs to be restored to ⟨pois sen vos⟩ to complete parallelism, the false rhyme of -ades/-ardes can be and is avoided, the divergent and anomalous MSS readings ⟨passastes⟩/⟨possastes⟩ point to an archetypal ⟨posestes⟩, and the choice of ⟨vos⟩ or ⟨nos⟩ is determined on contextual evidence. Fabio Barbierini, ‘AlfonsoX, Pero da Ponte, paro-vos sinal (B487/V70). Note ecdotiche’, Medievalia (UNAM), 53 (2021), 65–86, discusses at length the major and minor editorial problems of the text, ably explaining the opening phrase ‘paro-vos sinal’, but casually preserving metrical irregularities. Fabio Barberini, ‘ “E na cobra segonda o poden de entender” (Pero da Ponte, Mort’é Don Martin Marcos)’, Cultura neolatina, 79 (2019), 111–135, optimistically assumes that the rubric attached to the poem is authoritative and divides it into two ill-matched strophes. Déborah González, ‘Del manuscrito a la edición crítica: los debates de los trovadores gallego-portugueses’, in Patrimonio textual, iii, ed. by López, Zepeda, and de Páiz (215–235), unpicks the copying errors of the Italian MSS to make sense of two puzzling fiindas, while in ‘Cancioneros manuscritos y mise en texte. La fiinda, en acabamento de sas cantigas’, Zeitschrift für romanische Philologie, 136 (2020), 833–871, she looks for layout clues to identify fiindas. Stephen Parkinson, ‘Responsion, accentual metrics and metrical irregularity in the cantiga de amigo’, Revista galega de filoloxía, 21 (2020), 91–137, gives a detailed analysis of accentual metre and its editorial implications in a number of cantigas de amigo, in response to Cohen’s critical comments (YWMLS, 80, 469).

Genres

†Giuseppe Tavani, ‘A propósito de uma pseudo “cantiga de amigo” provençal. Problemas linguísticos, exegéticos e atributivos’, in Estudos linguísticos, ed. by Carrilho and others (1471–1481), in one of his last conference presentations, performs a classic demolition job on a Provençal poem that scholars had hailed as a cantiga de amigo by the great trovador Raimbaut de Vaqueyras. The piece is neither a cantiga de amigo nor by Raimbaut de Vaqueyras, but a simple case of a late poem—and not even a good one—slipped into a blank space in a manuscript: ‘uma pseudo-cantiga de amigo com algumas reminiscências galegas na primeira estrofe, com duas citações tiradas de textos do século xiv na segunda, e com uma terceira cobla que deixa imaginar uma ligação eroticamente anómala no quadro da lírica peninsular’ (1480).

On individual poems, Carlos Callón, ‘Unha cantiga lésbica amatoria no trobadorismo galego-portugués’, Scripta, 15 (2020), 1–15, returns to the contested lesbian reading of ‘Dizia a ben talhada’ (Pedr’ Eanes Solaz), rejecting both the editorial suppression of the feminine pronoun in ‘Penada se a eu visse’ and its interpretation as a reference to female rival. Rip Cohen, ‘The Traitor in Nuno Treez 2’, Verba, 46 (2019), 109–124, looks at the grammar of betrayal in the Galician-Portuguese lyric poetry, to confirm that the traitor is the faithless lover rather than the unhelpful saint. See also Mariña Arbor, ‘ “Mais forçaron-mi os olhos meus e bon parecer dos seus …” Ojos que enamoran, ojos que aman. Volviendo a Osoir’ Eanes’, in Studia Philologica, ed. by Muñoz Raya and Nogueras Valdivieso (81–96). Vicenç Beltran, ‘Canción de mujer, amor y matrimonio: el trasfondo mítico’, in La lirica del/nel Medioevo, ed. by Spetia, Gómez, and Nocita (129–142), attempts to construct a continuity of mythological motifs going back to Sumerian in which the presence of young women by a sea or river is a precursor to abduction: cantigas de amigo with this theme are warnings as well as celebrations.

On the cantiga de amor, Leticia Eirin, ‘A voz velada dos outros. Achegamento ao papel dos amigos na cantiga de amor’, in Avatares, i, ed. by Tomassetti and others (355–368), looks at confidants.

On the cantigas de escárnio e maldizer, Santiago Gutiérrez García, ‘Los géneros satíricos durante el reinado de AlfonsoX en la poesía gallegoportuguesa y en otras tradiciones líricas romances’, Revista de poética medieval, 35 (2021), 131–162, provides a broad survey. Xosé Bieito Arias Freixedo, ‘Trobar mal, malas cantigas, dizer mal, jugar de palabra. Reflexións sobre a (errada) identificación das cantigas de escarnio e mal dizer co concepto “jugar de palabra” do TítuloIX da PartidaII’, in Lírica Galego-Portuguesa, ed. by González (11–36), argues convincingly that the Galician-Portuguese satirical poems are not to be equated with the categories of disreputable or slanderous verse targeted by the Partidas. Juan Paredes, ‘ “Por palavras cubertas”. El juego de la aequivocatio en las cantigas de escarnio y maldecir de AlfonsoX’, Revista de filología románica, 38 (2021), 13–19, tries to make double meaning the defining feature of escarnho, as opposed to the more direct maldizer (including cases of maldición). Esther Corral Díaz, ‘A representación feminina nas cantigas de AfonsoX’, in AfonsoX, ed. by Brea and Lorenzo (405–429), looks at the cantigas de escarnho with female targets. Simone Marcenaro, ‘Onomastica burlesca e cultura epica nella poesia dei trovatori galego-portoghesi’, InVerbis, 2 (2018), 83–99, looks at onomastic joking, and Joaquim Ventura Ruiz, ‘Los maridos de Maria Perez Balteira’, in Avatares, i, ed. by Tomassetti and others (461–471), continues his research into the much-satirized soldadeira.

Déborah González, ‘Hacia una cronología del debate gallego-portugués’, in Pragmática y metodologías para el estudio de la poesía medieval, ed. by Josep Lluís Martos and Natalia A.Mangas (Alicante: Alicante University Press, 2019), 475–488, attempts to date the extant tenções, arguing that the first examples appear early in the thirteenth century, with the form proliferating after 1250.

Ângela Correia, O outro nome de ‘Don Estevan’: Oito sátiras trovadorescas relacionadas com SanchoII de Portugal (Lisbon: Biblioteca Nacional de Portugal, 2021), ingeniously identifies ‘Don Estevam’ (and an equally enigmatic ‘Don Marco’) as Joam Viegas de Portocarreiro, who was elected Archbishop of Braga in 1244. The key to many of the oblique satirical barbs is an implicit reference to his predecessor as archbishop, Estevam Soares. The eight texts are re-edited (not always convincingly) with extensively commentaries. Gema Vallín, ‘La cantiga Pois non ei de dona Elvira: una propuesta de autoría’, in Lírica Galego-Portuguesa, ed. by González (233–242), uses onomastics, metrics, and stylistic innovation to link this poem to Johan Garcia Guilhade and Roi Queimado. Its ambiguous position in the manuscript tradition results from a mis-identification of Dona Elvira with a famous victim of abduction.

Poets

Joseph Snow, ‘La poesía de AlfonsoX el Sabio: una bibliografía anotada (2012), segndo suplemento’, Alcanate, 12 (2020–2021), 211–267, continues to expand his bibliography. In ‘The Seven Satires of AlfonsoX Involving Women, in English Translation’, La corónica, 48.1 (2019), 129–154, he spares no blushes in translating and commenting on some of the grosser cantigas de escarnho, using Paredes’s edition.

Déborah González, ‘Entre a tradición trobadoresca e a innovación estética: as cantigas de Nuno Eanes Cerzeo’, in Avatares, i, ed. by Tomassetti and others (389–398), discusses elements of her 2018 edition of Nuno Eanes Cerzeo’s poetry (YWMLS, 80, 471).

Rachele Fassanelli, Don Denis, Cantigas (Rome: Carocci, 2021), provides a new selection of texts with commentary. See also Ana Raquel Baião Roque, ‘Tradição e inovação no cancioneiro de amigo de D.Dinis’, in Avatares, i, ed. by Tomassetti and others (439–448).

Olga: revista de poesía galega en Madrid, 7, ‘Esquio de Neda’ (2019), includes various lightweight articles on Fernando Esquio, including Ricardo Pichel, ‘O maldizer e o universo artúrico en Esquio’ (57–67), highlighting the elegant lewdness of satires on a priest and an abbess, and the knowing Arthurian reference to the besta ladrador in a poem on a horse promised but never delivered.

Mercedes Brea, ‘Lourenço y el oficio del trovar’, in Studia Philologica, ed. by Muñoz Raya and Nogueras Valdivieso (181–198), reviews the literature on the many tenções which force the jogral Lourenço to defend his competence, and finds that the love songs show him to be a good poet. Mercedes Brea and Antonio Fernández Guiadanes, ‘ “Y el trovar abandono a Johan Vasquiz” …’, Carte romanze, 8.1 (2020), 7–34, navigate a path through the textual problems of the incomplete tenção between Lourenço and Johan Vasquiz, negating the suggestion that Lourenço’s verses demonstrate the metrical incompetence for which he was attacked.

Cantigas de Santa Maria

Welcome news for all followers of the CSM was the opening in 2021 of the Real Biblioteca digital portal https://rbdigital.realbiblioteca.es with digitized versions of the códice rico (T) https://rbdigital.realbiblioteca.es/s/rbme/item/11337 and the códice de los músicos (E) https://rbdigital.realbiblioteca.es/s/rbme/item/11338, following closely after the release of the Florence manuscript (F) https://archive.org/details/b.-r.-20, now accompanied by a full transcription, Elvira Fidalgo Francisco and Antonio Fernández Guiadanes, O códice de Florencia das Cantigas de Santa Maria (BR20). Transcrición paleográfica, ArGaMed 1/2019 (Santiago de Compostela: Xunta de Galicia, 2019) https://libraria.xunta.gal/gl/o-codice-de-florencia-das-cantigas-de-santa-maria-br-20-1. Alba Alonso Morais, ‘Los códices de las Cantigas de Santa María’, in AlfonsoX, ed. by Fidalgo (227–247), gives an overview of the MSS. Antonio F.Guiadanes and Elvira Fidalgo, ‘La escritura de los códices de las Cantigas de Santa María’, in AlfonsoX, ed. by Fidalgo (249–267), preview as yet unpublished research claiming that a single scribe was responsible for T and much of F.Stephen Parkinson, ‘Doing Lines: Refrains and Copyists in the Cantigas de Santa Maria’, Medievalia (UNAM), 53.2 (2021), 131–153, uncovers distinctive patterns of graphemic variation in the copying of repeated refrains, showing them to be a separate textual type. María J.Canedo Souto, ‘Variantes gráficas y soluciones paleográficas: los códices de las Cantigas de Santa María’, in Avatares, i, ed. by Tomassetti and others (341–354), gives a heterogeneous sample of ‘variantes gráficas’ (including dialectal, graphemic, and graphic variants) with inconclusive analyses of their occurrence across the CSM manuscripts.

Stephen Parkinson, ‘Aberturas e finais: rubricas, refrães, estrofes iniciais e estrofes terminais nas Cantgas de Santa Maria’, in AfonsoX, ed. by Brea and Lorenzo (447–478), reveals the construction techniques by which the apparently seamless CSM texts were assembled using standard or pre-constructed components. Rubrics are always added later; refrainless poems are zajalized by the addition of refrains drawn from a common store; opening strophes relating the narrative to the refrain (glossing strophes that expand the refrain and linking strophes that echo it) are added to shorter poems, as are standard closing strophes of praise and thanks. Where there is discontinuity between opening and subsequent strophes, it can no longer be assumed that the opening strophes set the model.

A new musical edition by Martin G.Cunningham, Sixteen Cantigas de Santa Maria with Dotted Rhythm (Dublin: Carysfort Press, 2017), is critically reviewed by Mariana Ramos de Lima, Revista portuguesa de musicologia, 5.1 (2018), 167–174, and Santiago Ruiz Torres, ‘Nueva luz sobre la interpretación rítmica de las Cantigas de Santa María’, Revista de musicología, 41 (2019), 663–670.

The dangers of linguists venturing into textual criticism and musicology and of musicologists venturing into textual study are painfully obvious in Gladis Massini-Cagliari, ‘O papel da relação entre letra e música na investigação de elementos prosódicos em períodos passados da língua: análise de duas Cantigas de Santa Maria’, in Estudos linguísticos, ed. by Carrilho and others (805–830), and in Henry T.Drummond, ‘Linear Narratives in Cyclical Form: The Hunt for Reason in the Cantigas de Santa Maria’, Music Analysis, 38 (2019), 80–108. The linguist Massini-Cagliari looks at two cantigas to confirm (unnecessarily) that syllables match musical figures and claim (unconvincingly) that musical and textual rhythm correspond, before looking at just two cases of syntactic questions and confirming predictably that in songs with the same music applied to multiple strophes there is no match between rising musical phrases and rising intonation. The musicologist Drummond notes the cyclic nature of the zajal form, which is the standard for text and music in narrative cantigas, but sees conflict rather than synergy between narrative flow and musical repetition, and re-analyses a small number of texts accordingly.

Gabriel Calarco, ‘Huellas formales del mester de clerecía en las Cantigas de Santa María’, in Actas de las XVI Jornadas, ed. by Amor, Basarte, and Castro (25–35).

Elvira Fidalgo Francisco, ‘Texto y paratexto: los índices de los códices de las Cantigas de Santa María’, in La lirica del/nel Medioevo, ed. by Spetia, Gómez, and Nocita (111–128), deals with the creation process of medieval tables of contents and describe the tabulae in the CSM manuscripts as a reflection of the different degrees of care shown in the making of the manuscript itself. From the same author, ‘Cuando las Cantigas de Santa Maria eran a work in progress: el Códice de Florencia’, in Avatares, i, ed. by Tomassetti and others (379–388), attempts to make sense of the differences of content and order between MS F and the second half of MS E, edging towards the conclusion that the incomplete MS F only seems chaotic and disordered because of the priority given to the hastily completed E.

Joseph Snow, ‘Clues to the Authorship of the Cantigas de Santa Maria from the Toledo Manuscript’, Romance Quarterly, 66 (2019), 135–146, finds nothing to disturb his comfortable view of Alfonso as author, patron, and compiler of the CSM. His ‘AlfonsoX ofrece una intima autobiografia en sus Cantigas de Santa María’, in Avatares, i, ed. by Tomassetti and others (449–460), returns to familiar themes, commenting on the Alfonso’s presence in a catalogue of ‘personal’ CSM in which he appears as the poetic I, is involved as protagonist or witness, or is mentioned historically; while Snow’s ‘La persona de AlfonsoX en sus Cantigas de Santa Maria’, in Studia Philologica, ed. by Muñoz Raya and Nogueras Valdivieso (641–652), also covers familiar territory. Juan Escourido, ‘AlfonsoX, maestro de poesía: verdad y subjetividad en el Códice Rico’, in AlfonsoX, ed. by Brea and Lorenzo (507–526), gives a Snowian account of Alfonso’s self-presentation, in text and image, as ‘profesor de poesia’. Eduardo Paré Glück and Yuri Leonardo Rosa Stelmach, ‘A construção do Ethos discursivo de AfonsoX de Leão e Castela no prólogo da obra “Cantigas de Santa Maria” (século xiii)’, Verbum, 10.1 (2021), 128–143, deploy discourse analysis to make obvious points about the prologue of the CSM. Lucilla Spetia, ‘Il canzoniere di Thibaut de Champagne: una ipotesi filologica o una probabilità storica?’, in La lirica del/nel Medioevo, ed. by Spetia, Gómez, and Nocita (193–216), imaginatively traces the idea of an organized ‘author songbook’ from Gautier de Coinci to the Cantigas de Santa Maria, Guiraut de Riquier, and Thibaut de Champagne. Estefanía Piñol Álvarez, ‘AlfonsoX y el Mediterráneo: algunas reflexiones acerca de la influencia de los manuscritos iluminados árabes en las Cantigas de Santa María’, Revista de estudios medievales, 13 (2018), 71–99, looks for Arabic artistic influences.

Mariana Leite, ‘ “E porend’un gran milagre direi”: vozes da linhagem de AfonsoX nas Cantigas de Santa Maria’, in Vozes e letras: polifonia e subjectividade(s) na literatura portuguesa antiga, ed. by Maria Ana Ramos and Tobias Brandenberger (Berlin: Editor LIT, 2019), 13–31, looks at the personal testimony of AlfonsoX in CSM112, 209, 221 and 256.

Elvira Fidalgo has written a series of articles on female characters in the CSM: ‘Viejos, viejas y alcahuetas. Consideraciones acerca de la vejez en las Cantigas de Santa María’, in Studia Philologica, ed. by Muñoz Raya and Nogueras Valdivieso (323–338), looks at the very few cases of vellas in the CSM, where they are either bawds or poor and vulnerable. In ‘Entre Ave y Eva: las mujeres de las Cantigas de Santa María. I.Madres y mujeres casadas’, Revista de filología románica, 38 (2021), 1–12, she notes the scarcity of social categories applied to women, and surveys the protagonism of mothers and wives, always presented in the context of the idealized figure of the Blessed Virgin, and in ‘Entre Ave y Eva: las mujeres de las Cantigas de Santa María. II.Las trabajadoras. III.Las Evas’, Medievalia (UNAM), 53.2 (2021), 155–175, Fidalgo looks at the women who have to earn their living, and the bawds and fallen women. Maria Jesus Botana Vilar, ‘Ave/Eva: Breve esbozo do universo feminino nas Cantigas de Santa María’, Madrygal, 23 (2020), 81–96, applies the Mary/Eve dichotomy to a range of CSM. AlfonsoX, ed. by Fidalgo, includes Elvira Fidalgo Francisco, ‘AfonsoX, trovador religioso: las Cantigas de Santa María’ (185–207), and Maribel Morente, ‘La enfermedad en tiempos de AlfonsoX el Sabio’ (269–289).

Elvira Fidalgo has written a series of articles on animals in the CSM. ‘ “Bestias e animalias de muchas maneras”: animales en las Cantigas de Santa María’, in ‘Cui tali cura vel remedio subvenitur’. De animales y enfermedades en la Edad Media europea, ed. by Gerardo Pérez Barcala (Avellino: Edizioni Sinestesie, 2019), 99–119, catalogues the birds and beasts appearing in the CSM. ‘Las Cantigas de Santa Maria no es un libro de gatos’, in ‘Quando me pago só monje e quando me pago soy calonje’: Studia in honorem Bernard Darbord, ed. by César García de Lucas and Alexandra Oddo (San Millán de la Cogolla: Cilengua, 2019), 129–141, notes the absence of cats and dogs as beloved pets, beside miracles in which horses and hawks are lost and restored, complementing Fidalgo’s earlier studies on the appearance of animals as symbol or in negative comparisons: ‘Animales de simbología negativa en las Cantigas de Santa Maria’, in Monde animal et végétal dans le récit bref du moyen Age, ed. by Hugo O.Bizzarri (Wiesbaden: Reichert, 2018), 233–249, and ‘Los animales en las Cantigas de Santa Maria: una lectura en clave simbólica’, Revista de literatura medieval, 29 (2017), 71–91.

On sources, Elvira Fidalgo Francisco, ‘Reflexiones sobre las “Cantigas de Santa María” y su relación con otros mariales romances’, Revista de poética medieval, 35 (2021), 103–130, points to the many points of contact between the CSM and Gautier de Coinci’s Miracles de Nostre Dame, to reiterate the idea that a copy of Gautier was part of the materials informing the first compilation of CSM.

Manuel Negri provides two useful general surveys of the sources of the CSM in ‘Fuentes y contexto de las Cantigas de Santa María’, in AlfonsoX, ed. by Fidalgo (209–225), and ‘Collezioni di miracoli mariani al tempo di AlfonsoX’, Revista de poética medieval, 35 (2021), 171–196, complemented by a rich series of investigations of the sources of specific cantigas: ‘Rielaborazioni agiografiche Alfonsine: il caso della Cantiga de Santa Maria 369’, Carte romanze, 8 (2020), 75–115, finds analogues of the ‘fish and ring’ miracles in St Brigid and the Orto do Esposo, with Vincent de Beauvais and Caesarius of Heisterbach the most likely immediate sources for the Alfonsine narrative; ‘Il fantasma della Cantiga de Santa María 72: modelli culturali e fonti letterarie’, Anuario de estudios medievales, 50 (2020), 267–292, looks closely at the ‘morto’ who tells the father of the death of his transgressive son, finding resonances of other between-world messengers in Peter the Venerable and Vincent de Beauvais; ‘Un milagre eucarístico entre Galicia e Portugal: fontes e contextos da Cantiga de Santa Maria 104’, Madrygal, 23 (2020), 255–273, takes the miracle back to the Eucharistic Miracle of Santarém, while ‘Fonti e contesti dei miracoli eucaristici delle Cantigas de Santa María 128 e 208’, Medievalista, 30 (2021), 249–273, https://medievalista.iem.fcsh.unl.pt, looks at a pair of miracles in which hosts are placed in beehives, one from Rocamadour via Ripoll, the other from Caesarius of Heisterbach; ‘AfonsoX e as Cantigas de Santa Maria localizadas en Galicia’, in AfonsoX, ed. by Brea and Lorenzo (479–506), finds no trace of Galician shrine collections prior to the CSM, and some examples of local traditions inspired by them. Apart from one ambiguous toponym (Armenteira probably representing Armentières in CSM22), most Galician CSM seem to be generic tales strategically relocated to Galicia. Stephen Parkinson, ‘The Blessed Virgin Cheats at Dice: Cantiga 214 and the Alfonsine Miracle Kitchen’, Medium Aevum, 89 (2020), 115–137, traces how a miracle of the splitting of dice, originally associated with St Magnus of Orkney or St Olaf of Sweden, is reworked as a Spanish wonder attributed to the Virgin of Rocamadour. José Aragüés Aldaz, ‘Ramon de Penyafort, Alfonso el Sabio y Ramon Llull. Itinerario hispánico de un milagro mariano’, in ‘Qui fruit ne sap collir’ Homenatge a Lola Badia, i, ed. by Anna Alberni and others (Barcelona: Universitat de Barcelona—Barcino, 2021), 69–79, traces CSM146 to Ramon de Penyafort’s 1271 narrative of a southern French miracle. The same tale, translated to England, is used by Ramon Llull. Fabrizio Cigni, ‘Immagini dell’ebreo in testi romanzi nei secoli xii–xiii: le Cantigas de Santa Maria di AlfonsoX di Castiglia’, in Shem nelle tende di Yaphet: ebrei ed ebraismo nei luoghi, nelle lingue e nelle culture degli altri, ed. by Fabrizio Franceschini and Mafalda Toniazzi (Pisa: Pisa University Press, 2019), 125–141, gives an extended account of the text and images of CSM108, and its possible relationship to the Prophecies de Merlin.

Dorothy Kim, ‘Simon de Montfort, the Cantigas de Santa Maria and Acoustic Propaganda’, The Medieval Chronicle, 12 (2019), 94–115, argues that the ‘Con Simon’ of Cantiga 363 is Simon de Montfort, Earl of Leicester (d.1265). The cantiga ‘places Simon de Montfort firmly where the royal houses of Castile-Leon and England wish him to be: on the wrong side of the Virgin Mary in the war against the devil’ (108), and its source was probably Eleanor of Castile, wife of Edward I.Cantiga 23, on an English lady visited by her king, portrays English virtues. Montserrat Cabré, ‘Mining for Poison in a Devout Heart: Dissection Practices and Poisoning in Late Medieval Europe’, in ‘It All Depends on the Dose’: Poisons and Medicines in European History, ed. by Ole Grell, Andrew Cunningham, and Jon Arrizabalaga (London: Routledge, 2018), 43–61, mentions the post-mortem of Cantiga 188. Fernando Riva, ‘De morte anime: Solomonic Magic in AlfonsoX’s Cantiga 125’, Romance Notes, 60 (2020), 253–263, fills in the background for the magic practised by the priest in Cantiga 125, in particular the Liber Razielis and William of Auvergne’s De legibus, noting that the images show more knowledge than the text.

Historians continue to present the CSM as a normative document comparable to the Siete Partidas. Yolanda Iglesias and David Navarro, ‘Revalorización de los conceptos de pecado y delito en las Siete Partidas y en las Cantigas de Santa Maria: estrategias jurídicas y literarias de AlfonsoX’, La coronica, 48.2 (2020), 69–102, look at adultery in Cantigas 68, 186, 213, and 107. By the same authors see ‘Paralelismo discursivo de los delitos de hurto y robo en las Siete Partidas y Las Cantigas de Santa Maria’, Cahiers d’Études Hispaniques Médiévales, 42 (2019), 125–142.

Cybele Crossetti de Almeida, Rodrigo Laham Cohen, and Yuri Leonardo Rosa Stelmach, ‘Las Siete Partidas no contexto da globalização do antijudaísmo no século xiii’, E-Spania, 36 (2020) https://doi.org/10.4000/e-spania.35191, follow a well-trodden path in seeing some contradiction between the Partidas and the CSM, admitting that the repetition of much-used anti-Jewish tales is not direct evidence of social beliefs.

On the politics of the CSM, Renan Holanda Montenegro and Gustavo de Oliveira Andrade, ‘ “Cantigas de Santa Maria” (séc. xiii): intersecções entre história e relações internacionais’, Mural Internacional, 10 (2019) https://doi.org/10.12957/rmi.2019.42158, see the politics of the Reconquista in CSM references to Muslims; Antonia Vinez Sanchez, ‘Cuestiones de frontera: el Cancionero de Santa Maria de Terena de AlfonsoX el Sabio (CSM223, 275 y 319)’, in Avatares, i, ed. by Tomassetti and others (473–482), explains the geopolitical significance of the Portuguese town of Terena and its miracles of healing in the CSM. See also Florent Berère-Marcuzzi, ‘Des usages politiques d’une oeuvre de dévotions. AlfonsoX (1221-1252-1284) de Castille et les Cantigas de Santa Maria’, in Aux sources du pouvoir: voir, approcher, comprendre le pouvoir politique au Moyen Âge, ed. by Sylvain Gougenheim (Paris: Les Indes Savants, 2017), 39–66.

Ryan Szpiech, ‘Prisons and Polemics: Captivity, Confinement. and Medieval Interreligious Encounter’, in Polemical Encounters: Christians, Jews, and Muslims in Iberia and Beyond, ed. by Mercedes Garcia-Arenal and Gerard Wiegers (Philadelphia: Pennsylvania State University Press, 2018), 271–303, identifies CSM192 and 265 as early examples of Christian–Muslim cultural transfer resulting from captivity.

Cancioneiro Geral

María Isabel Morán Cabanas, ‘Liturgia e cor amarela no Cancioneiro Geral: ainda para una interpretação em chave criptojudaica de Bernardim Ribeiro?’, Cultura neolatina, 79 (2019), 374–408, explores Ribeiro’s much debated crypto-Judaism as the context for a discussion of poems referencing the liturgy and a poem to a woman dressed in yellow—a colour reserved for Jews.

Geraldo Augusto Fernandes, ‘Como aparecer e parecer—aprendendo as relações de cortesia em sociedade’, in História Antiga e Medieval: ensino, sociedade e cotidiano: diálogos entre o passado e o presente, ed. by Adriana Maria de Souza Zierer, Marcus Baccega, and Ana Lívia Bonfim Vieira (São Luiz, MA: Editora UEMA, 2019), 171–184, gives a social commentary on the ‘Trovas de Fernam da Silveira, Coudel-moor, a seu sobrinho Garcia de Melo de Serpa, dando-lhe regra pera se saber vestir e tratar o paço’.

Cristina Almeida Ribeiro, ‘ “¿O que foi e nom é, tanto é como nom seer?”. Consideraciones en torno al rol de la memoria en el Cancioneiro Geral’, in De lagrymas fasiendo tinta, ed. by Dumanoir (95–103), starts from a dialogue on oblivion between Alvaro Barreto and Joham Gomez to reflect on memory and memorialization in late medieval lyric, and the role of the Cancioneiro Geral itself as a memorial to court poetry.

Maria Helena Marques Antunes, ‘Fernão Brandão, um poeta polifacetado’, in Pragmática, ed. by Martos and Mangas (371–378), introduces the satirical and philosophical sides of Fernão Brandão, as a complement to his better-known love poetry.

Arte poética e cortesania. O Cancioneiro Geral revisitado, ed. by Ana Maria Machado and others (Lisbon: Colibri, 2019) contains: Jorge A.Osorio, ‘ “Laa vos mando treladadas/as que me podem lembrar”: Resende e o seu Cancioneiro Geral’ (11–38); Isabel Almeida, ‘Imagens de reis, celebrações de impérios. O Cancioneiro Geral de Garcia de Resende e o Cancionero General de Hernando del Castilho: notas para uma comparação’ (39–49); Helder Carvalhal, ‘Poder, género e estatuto social. Novas interpretações em torno da corte renascentista ao tempo do Cancioneiro Geral de Garcia de Resende’ (51–74); Ana Isabel Buescu, ‘Um testemunho de excepção. Garcia de Resende e a “Hida da infanta D.Beatriz pera Saboya” ’ (75–87); Luís Henriques, ‘Retórica e exemplaridade no poema heróico de Luis Anriques Ao Duque de Bragança, quando tomou Azamor, em que conta como foi’ (89–103); Patrizia Botta, ‘A arte das rubricas no Cancioneiro Geral’ (105–140); Ana Maria S.Tarrío, ‘Fernão Brandão, Cancioneiro Geral, Barcarrota: (con)versos y enigmas’ (141–156); Ana Maria Machado, ‘Os pecados capitais no Cancioneiro Geral’ (157–178); Cristina Almeida Ribeiro, ‘Uma estranha confissão e algumas peças mais: João Gomes da Ilha no Cancioneiro Geral’ (179–195); Maria Graciete Silva, ‘A vida posta em balança: interpelação e desconcerto em alguns poemas de Jorge de Resende’ (197–205); Maria Isabele Morán Cabanas, ‘A gangorra de Castela no Cancioneiro Geral: contextualização e interpretações à luz da tradição satírica’ (207–234); Maria Helena Marques Antunes, ‘Poesia colectiva e círculos poéticos: o caso dos poetas “acidentais” ’ (235–245); and José Miguel Martínez Torrejón, ‘Sátiras, surpresas e safadezas: da sequência poética à sequência nas miscelâneas’ (247–278).

Avatares, ii, ed. by Tomassetti and others, contains Maria Helena Marques Antunes, ‘ “Se comigo nom m’engano”: Duarte da Gama entre sátira e lirismo’ (1029–1038); Geraldo Augusto Fernandes, ‘As línguas do Cancioneiro Geral de Garcia de Resende’ (1085–1096); Maria Graciete Gomes da Silva, ‘Figurações do serviço amoroso: Dona Joana de Mendonça no teatro da corte’ (1217–1225); and Sara Rodrigues da Sousa, ‘Mutilación y (re)creación poética: las “letras” y “cimeiras” do Cancioneiro Geral de Garcia de Resende (1516)’ (1227–1237).