Two Spanish Songbooks: The `Cancionero Capitular de la Colombina’ (SV2) and the `Cancionero de Egerton’ (LB3)

444 Pages·2001·1.767 MB·English

by  Dorothy Sherman Severin

Two Spanish
Songbooks
Hispanic Studies TRAC
(Textual Research and Criticism)
PUBLICATIONS INSTITUTED BY THE BULLETIN OF HISPANIC STUDIES
General Editors
ANN LOGAN MACKENZIE DOROTHY SHERMAN SEVERIN
University of Glasgow University of Liverpool
Assistant Editor
CERI BYRNE
Advisory Board
DonW.Cruickshank University Ian MichaelUniversity of Oxford
College Dublin Frank PierceUniversity of Sheffield
AlanDeyermond QueenMaryand Geoffrey Ribbans BrownUniversity
WestfieldCollege, London Francisco RicoUniversidad Auto´noma,
Jose´ Marı´a Dı´ez Borque Universidad Barcelona
Complutense deMadrid Edward C. Riley Universityof
Victor DixonTrinity CollegeDublin Edinburgh
GwynneEdwardsUniversityCollege Nicholas G.RoundUniversity of
Aberystwyth Sheffield
Margit FrenkUniversidad Nacional Jose´ Marı´aRuano delaHaza
Auto´noma deMexico University ofOttawa
O.N. V.Glendinning QueenMaryand D.L. ShawUniversityof Virginia
WestfieldCollege, London Albert Sloman Universityof Essex
I.L. McClelland University ofGlasgow JosephSnowMichigan State University
C. A. LonghurstUniversityof Exeter Arthur TerryUniversityof Essex
Helder MacedoKing’sCollege London JohnE. Varey QueenMaryand
IanMacpherson Queen Maryand Westfield College,London
WestfieldCollege, London
TextualResearchandCriticism(TRAC)publishesSpanish,Portuguese
andLatin-Americantextsofliterary,linguisticorhistoricalinterestnot
otherwise available in modern editions. The texts are accompanied by
a substantial introductory monograph and full apparatus of critical
footnotes. The series, which also publishes literary and critical studies,
is aimed at a scholarly readership.
Scholars are invited to apply to the Editors for further information
and to submit a brief summary of their projected book. Contributions
will be assessed by eminent Hispanists in the appropriate areas, and
should not exceed 400 pages of typescript.
Hispanic Studies TRAC (Textual Research and Criticism) Volume 11
Two Spanish
Songbooks
The CancioneroCapitulardela
Colombina(SV2)
and the CancionerodeEgerton(LB3)
ed. DOROTHY SHERMAN SEVERIN
Editorial Assistant: FIONA MAGUIRE
Liverpool University Press
Institucio´ n Colombina
First published 2000 by
Liverpool University Press
4 Cambridge Street
Liverpool, L69 7ZU, UK
and
Institucio´n Colombina, Seville
Text of Cancionero Capitular copyright # 2000
Institucio´n Colombina, Seville
Text of Cancionero de Egerton copyright # 2000
British Library, London
All other matter copyright # 2000
Dorothy Sherman Severin
All rights reserved. No part of this book may be
reproduced, stored in a retrieval system, or
transmitted, in any form or by any means,
electronic,mechanical,photocopyingorotherwise
without the prior written permission of
the publishers.
British Library Cataloguing-in-Publication Data
A British Library CIP Record is available.
ISBN 0-85323–650–X cased
0-85323–109–5 paper
Text set in Monophoto Sabon by
Wilmaset Limited, Birkenhead, Wirral
Printed and bound by
Creative Print and Design Ltd, Ebbw Vale
Contents
I. Introduction 1
1. The Cancionero Capitular of the Colombina, II, Seville,
MS [83–6–10], Dutton SV2.
A. Description 1
B. Contents, SV2 6
C. Index of Contents, SV2 10
2. The Cancionero de Egerton, London, BL,
MS [Egerton 939], Dutton LB3.
A. Description 13
B. Contents, LB3 15
C. Index of Contents, LB3 18
3. The Relationship SV2 / LB3 21
4. Norms of Transcription 30
5. Bibliography of Useful Editions and Related Work 32
II. Texts 35
1. SV2, The Cancionero Capitular of the Colombina 35
2. LB3, The Cancionero de Egerton 277
III. Onomastic Indices 431
1. SV2, The Cancionero Capitular of the Colombina 431
2. LB3, The Cancionero de Egerton 432
IV. First Line Indices 435
1. SV2, The Cancionero Capitular of the Colombina 435
2. LB3, The Cancionero de Egerton 437
´
For FRANCISCO MARQUEZ VILLANUEVA
I. Introduction
1. The CancioneroCapitularof the
Colombina, II, Seville, MS [83–6–10],
1
Dutton SV2
A. DESCRIPTION
Manuscript 83–6–10 of the Biblioteca Colombina (in fact a manuscript of
theCabildoLibrary)measures290x210mm.Itisafoliovolume,boundin
new vellum with the original title ‘Poetas Varios Antiguos, M.S.’. The
dimensions of the cover are 300 x 225 mm. The volume was restored and
boundwithnewendpapersinMadridin1985.Unfortunatelytheoriginal
bindings were not preserved. The volume contains two distinct manus-
criptswithseparatefoliation.Thefirstisinadifferenthandonvellumand
paper:Aquicomienzaellibrodelsantoagostinquedigadevidachristiana,
on30foliosandthreequiresof10.Thewatermarksareahandwithafour-
pointed flower (no exact Briquet2 equivalent) and a cart (no Briquet
equivalent). The condition is poor. The second work is the cancionero
edited here.3 The quires are of disparate lengths and there are four
watermarks:
1. a crown on a stand, (no Briquet equivalent).
2. a hand with a long index finger (glove end slightly longer), and a five-
pointed flower, (no exact Briquet equivalent, but cf. no. 11155 [1477]).
3. a hand with a short index finger and five-pointed flower, (no exact
Briquet equivalent, but cf. no. 11162 [1487]).
4. a two wheel cart, (no Briquet equivalent, but virtually identical to the
St. Augustine cart mentioned above).
1 Dutton MS signatures and text ID numbers have been adopted throughout; see Brian
Dutton, Cata´logo-ı´ndice de la poesı´a cancioneril del siglo XV (Madison: Hispanic
Seminary of Medieval Studies, 1982) and ibid., El cancionero del siglo XV, c.1360–
1520,VII (Salamanca:Biblioteca Espan˜oladelSiglo XV, 1990).
2 C. M. Briquet, Les Filigranes, ed. Allan Stevenson, 4 vols. (Paris, 1907, Leipzig, 1923,
revised1952and1968).(TheBriquetAlbum,Hilversum:PaperPublicationsSociety;
TheNew Briquet, Amsterdam).
3 SV2hasbeenselectivelyeditedbyBrianDuttoninElcancionerodelsigloXV,II,301–
14.
1
2 TWO SPANISH SONGBOOKS
The quires and watermarks are as follows:
fols watermarks
1–12, 13–22, 23–34, 35–46 1,2,3 crown and hands
47–57, 58–69, 70–75, 76–87, 2,3 hands
88–95, 96–107
108–117 2,3 hands, 4 cart on 114
118–126, 127–138, 139–150, 151–161 2,3 hands
The cancionero is by two distinct main hands, (with the brief appearance
of a third later hand on one verso, fol. 117v), but the second hand
intervenesonlybrieflyintheSantillanagloss.Theyarebothcharacteristic
late Gothic Spanish hands of the final quarter of the fifteenth century.
There is one folio missing in the Santillana Proverbios, and possibly two
more folios missing from Mena’s Laberinto de fortuna, at the end of the
manuscript. The intervention of the second hand caused some confusion
at the binding stage. I suspect that this is a professionally produced
manuscript ordered ‘off the peg’ by a buyer, and that two scribes were
working on the Santillana glosses. When the volume was bound, two
quires by scribe two were used in scribe one’s manuscript and a mis-
binding resulted (see fig. 1). Specifically, scribe one made an error at folio
18, then wrote a new centrefold for 18–19 which was misbound at 23–24,
around the first quire produced by hand two. There is still a half-word
non-sequitur due to scribal error. In scribe two’s first quire, the two
centrefoldshavebeenmisboundandshouldbereversed;fols27–30should
be the centrefold and 28–29 should be underneath. (I have kept the
numeration but I rearrange the folios for the edition).
Thenumerationofthevolumealsoproducesavarietyofproblems.In
the first place, the original Gothic numbering on the title page bears no
resemblancetoanyofthenumberingsystemsvisibleonthemanuscript.In
the second place, the original Gothic numbering of the folios themselves
(which, likethe later numbering,is inthe upperright-hand cornersection
of the right-hand page) has been cut, eroded and occasionally eaten by
worms. I have followed the later (Arabic) numeration and retrieved as
much of the original Gothic numbering as possible, but this rapidly gets
out of sequence because of a missing folio at 48 and a misnumbering at
88–90.Finally, thereis asystemof numberingthe quiresin the lowerleft-
hand margins which I note where it is legible. The MS has also been
numbered recently in Arabic in the lower central margin of each right-
handpage,sequentiallyfromthebeginningoftheSt.Augustinetreatiseto
the end of the cancionero. I ignore this numbering.
Themisnumberedindexmaybeanotherindicationthatthiswasan‘off
the peg’ production. I speculate that our buyer chose a cancionero
consisting chiefly of the Santillana Proverbios with Pero Dı´az de
Toledo’s glosses, then asked for three extra selections, (a short poem,
INTRODUCTION: THE CANCIONERO CAPITULAR 3
Figure1 SV2: Misbindings
4 TWO SPANISH SONGBOOKS
SaintBernard’sletter,andacatechism)tobeaddedatthebeginning,which
would explainhowthe numberinggot out of sequence. These extra items
have been listed at the end of the table of contents but are in fact at the
beginning of the cancionero. The buyer might also have purchased the
SaintAugustineandhaditboundinbeforethecancionero.Alternately,the
Augustine could have been bound with the cancionero some time in the
sixteenthcentury.(Andsomeoftheerrorsinbindingthecancionerocould
have occurred at this point). It is, however, roughly contemporary with
similar paper and watermarks.
The original Gothic numbering is correct to folio 17. After fol. 18,
where the scribe made a mistake and then wrote another centrefold to
replace it (which was misplaced around the next quire), the numbering
goes off. Fol. 23r is (correctly) numbered fol. xviii in the original hand.
Thesecondscribe’sfirstquirestartswithxxvintheGothichand(24inthe
Arabic). Fol. 34r (hand one) is (correctly) numbered xix in the original
Gothic. The Gothic numbering coincides with the Arabic again after fol.
35r (hand two again). The first hand then reappears halfway down fol.
37r, which does indicate collaboration at this stage by the two scribes
workingon one manuscriptrather thanconfusion of two sets of quires of
the same work being produced side by side. Scribe one will complete the
manuscript with no further intervention from scribe two.
The correct sequence of the Proverbios is therefore: folios 17, 23 (18r
repeats34r),34,18v,19,20,21,22,24,25,26,28,27,30,29(the2central
doublefoliosofscribetwohavealsobeenboundwronglysothat28/29is
in the centre instead of 27/30), 31, 32, 33, 35, etc. There is a contextual
lacuna between 23v and 34r; presumably this material should have been
on18rwhichinsteadcontainsarepetitionofthe‘Asuero’stanzaaspartof
the folding of this quire with the ‘Marques’ gloss.
There is another problem of sequence at fols 47v–48r, where the
numbering of fol. 48 clearly reads xlx (49). The gloss at 47v (‘O que bien
murio caton’) ends in a lacuna. There seems to be a single cut folio
missing here which would have contained the verses ‘Ca fijo si mucho
amaras’ and ‘Aborresc¸e mal beuir’ with their glosses. There is in fact one
cutfolioat46v–47r,theotherhalfofthelastpageofthequire,fol.57,and
fol. 47r is the beginning of a quire. The Gothic numbering now continues
out of sequence. Somewhere between 85r and 90r the Gothic numbering
adds another lost folio 90r = cxcii, but the sequence of stanzas of the
Ferna´n Pe´rez poem Virtudes y vic¸ios is not stable. A comparison with the
almost identical sequence in ‘sister’ cancionero LB3 reveals no lacuna.
Between fols 120–21 there is a cut page (the other half of this is fol.
123), part of the folding of the quire. However, in Mena’s Laberinto, the
scribe errs at 153v ‘estas tres coplas van erradas y demasiadas’ where
stanzas243–46followstanza236.Thescriberewrotethispageagainona
cut half folio but again the binders have erred and tipped the cut side in