CSM Cantiga 18 Lyrics: Por nos de dulta tirar

Standard spelling
Por nos de dulta tirar
Cantiga 18: Por nos de dulta tirar
Please read the notes on using the texts and the IPA transcriptions Please read the notes on using the music transcriptions
   
Standard spelling
Epigraph  

Esta é como Santa María fez fazer aos babous que crían a seda dúas toucas, porque a dona que os guardava lle prometera ũa e non lla déra.

Line Refrain  Metrics  
1 Por nos de dulta tirar, 7  A
2 praz a Santa María 6' B
3 de séus miragres mostrar 7  A
4 fremosos cada día. 6' B
 
  Stanza I     
5 E por nos fazer veer 7  c
6 sa apostura, 4' d
7 gran miragre foi fazer 7  c
8 en Estremadura, CSM 18:8This is the first of a small number of awkward cantigas where the first stanza is metrically irregular relative to all later stanzas. In this case, the line En Estremadura has six natural syllables rather than the five required. Unfortunately, as often happens, the music appears to have been set down with only this first stanza in mind: in all three manuscripts, it includes the irregularity, providing a separate note or ligature for all six syllables (see E2 in the music, and click 'Expand edits' if necessary). However, comparing the musical phrasing for lines 5 and 6 with that of lines 7 and 8, it quickly becomes apparent that the two separate puncta .o .o given to -trema- (Elmes: D and C in the fifth bar of line 4) are in effect a broken .oyo ligature that must be joined up again in order to fit all subsequent stanzas. The most appropriate musical resolution for this hypermetric line is therefore to conflate the natural syllables tre and ma as indicated, although of course the pronunciation is unaffected. By the way, this is a very good example where ignoring the music would lead almost inevitably to the wrong conclusion: from a purely metrical point of view, the elision 'n Estremadura or En 'Stremadura would most likely be proposed, and that'd be the end of it. 5' d .oyo
9 en Segóvia, u morar CSM 18:9Possibly due to the underlaid text being very compressed in [E], Elmes has made an error in syllabation in this line, and the next, in his edition: he has Segóvia with four syllables instead of the correct three, and all following words are out of step with the music by one syllable until we reach soya (= soía), which Elmes divides into just two syllables instead of the correct three. 7  A
10 ũa dona soía, CSM 18:10See line 9. 6' B
11 que muito sirgo crïar 7  A
12 en sa casa fazía. 6' B
  Por nos de dulta tirar...    
 
  Stanza II     
13 Porque os babous perdeu 7  c
14 e ouve pouca 4' d
15 seda, porên prometeu 7  c
16 dar ũa touca 4' d
17 per' a omagen onrrar 7  A
18 que no altar siía 6' B
19 da Virgen que non á par, 7  A
20 en que muito criía. 6' B
  Por nos de dulta tirar...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/18
 
  Stanza III     
21 Pois que a promessa fez, 7  c
22 sempre creceron 4' d
23 os babous ben dessa vez 7  c
24 e non morreron; 4' d
25 mas a dona con vagar 7  A
26 grande que i prendía, 6' B
27 d' a touca da seda dar 7  A
28 sempre ll' escaecía. 6' B
  Por nos de dulta tirar...    
 
  Stanza IV     
29 Onde ll' avẽo assí 7  c
30 ena gran fésta 4' d
31 d' Agosto, que vẽo i 7  c
32 con mui gran sésta 4' d
33 ant' a omagen orar; 7  A
34 e alí u jazía 6' B
35 a prézes, foi-lle nembrar 7  A
36 a touca que devía. 6' B
  Por nos de dulta tirar...    
 
  Stanza V     
37 Chorando de coraçôn 7  c
38 foi-se correndo 4' d
39 a casa, e viu entôn 7  c
40 estar fazendo 4' d
41 os bischocos e obrar 7  A
42 na touca a perfía, 6' B
43 e começou a chorar 7  A
44 con mui grand' alegría. 6' B
  Por nos de dulta tirar...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/18
 
  Stanza VI     
45 E pois que assí chorou, 7  c
46 meteu ben mentes 4' d
47 na touca; des i chamou 7  c
48 muitas das gentes 4' d
49 i, que vẽéssen parar 7  A
50 mentes como sabía 6' B
51 a Madre de Déus lavrar 7  A
52 per santa maestría. 6' B
  Por nos de dulta tirar...    
 
  Stanza VII     
53 As gentes, con gran sabor, 7  c
54 quand' est' oíron 4' d
55 dando aa Madre loor CSM 18:55Synaeresis in aa works fine musically, the compressed syllable falling on the four-pitch ligature .bohod. In [To], the first a of aa appears to have been erased, although it is still just visible. 7  c .bood
56 de Déus, saíron 4' d
57 aas rúas braadar, 7  A
58 dizendo: “Vía, vía 6' B
59 o gran miragre catar 7  A
60 que fez a que nos guía.” 6' B
  Por nos de dulta tirar...    
 
  Stanza VIII     
61 Un e un, e dous e dous 7  c
62 lógu' i vẽéron; 4' d
63 ontre tanto os babous 7  c
64 outra fezéron 4' d
65 touca, per que fossen par, 7  A
66 que se alguên quería 6' B
67 a ũa delas levar, 7  A
68 a outra leixaría. 6' B
  Por nos de dulta tirar...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/18
 
  Stanza IX     
69 Porên don Afons' el Rei 7  c
70 na sa capéla 4' d
71 trage, per quant' apres' ei, 7  c
72 end' a mais béla, 4' d
73 que faz nas féstas sacar 7  A
74 por toller eregía 6' B
75 dos que na Virgen dultar 7  A
76 van per sa gran folía. 6' B
  Por nos de dulta tirar...    
 

Footnotes

Line 8:

This is the first of a small number of awkward cantigas where the first stanza is metrically irregular relative to all later stanzas. In this case, the line En Estremadura has six natural syllables rather than the five required. Unfortunately, as often happens, the music appears to have been set down with only this first stanza in mind: in all three manuscripts, it includes the irregularity, providing a separate note or ligature for all six syllables (see E2 in the music, and click 'Expand edits' if necessary). However, comparing the musical phrasing for lines 5 and 6 with that of lines 7 and 8, it quickly becomes apparent that the two separate puncta .o .o given to -trema- (Elmes: D and C in the fifth bar of line 4) are in effect a broken .oyo ligature that must be joined up again in order to fit all subsequent stanzas. The most appropriate musical resolution for this hypermetric line is therefore to conflate the natural syllables tre and ma as indicated, although of course the pronunciation is unaffected. By the way, this is a very good example where ignoring the music would lead almost inevitably to the wrong conclusion: from a purely metrical point of view, the elision 'n Estremadura or En 'Stremadura would most likely be proposed, and that'd be the end of it.

Line 9:

Possibly due to the underlaid text being very compressed in [E], Elmes has made an error in syllabation in this line, and the next, in his edition: he has Segóvia with four syllables instead of the correct three, and all following words are out of step with the music by one syllable until we reach soya (= soía), which Elmes divides into just two syllables instead of the correct three.

Line 10:

See line 9.

Line 55:

Synaeresis in aa works fine musically, the compressed syllable falling on the four-pitch ligature .bohod. In [To], the first a of aa appears to have been erased, although it is still just visible.

Standard spelling  
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Footnotes

E1:

This line is very close to the preceding ligature in Anglés' facsimile and could almost be a plica stem (giving .onwaad), but comparing it with E3 in the vuelta, where there is neither stem nor line, I've decided to keep it separate.

E2:

See note in main text.

E3:

See E1 above.

Manuscript references

External links marked are to facsimiles on Greg Lindahl's Cantigas de Santa Maria website.

[E]18viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/087small.htmlExternal link
[T]18 
[To]16viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/To/bob016small.gifExternal link

Oxford CSM Database record

External link to poem data:  CSM 18http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=18

Links to the Oxford database are provided with the kind permission of the project team. When planning a concert or recording, I would recommend that you use (and credit) my more pragmatic texts and supporting materials in the preparation of your performance, but that you request permission from the Oxford database team to reproduce (and credit) their own critically edited texts in your programme or liner notes, as these adhere to stricter criteria that keep them closer to the original sources, and undoubtedly have the greater academic authority.

Metrical summary

Refrain

7  6'  7  6'

Stanzas

7  4'  7  5'  7  6'  7  6' I
7  4'  7  4'  7  6'  7  6' II III IV V VI VII VIII IX

Rhyme

ABAB / cdcdABAB
 RIIIIIIIVVVIVIIVIIIIX
A
Bi.a
c eu̯iou̯ou̯sei̯
d uɾaou̯kaeɾoŋɛstaendoentesiɾoŋɛɾoŋɛla

Estimated performance times

Average syllables / min. Time
Very slow5014:57
Slow1007:28
Medium1504:59
Fast2003:44
Very fast2502:59

These are very approximate total times for a full sung (or spoken) performance of all stanzas with all repeats of the refrain. Note that the speed is in average syllables per minute, and no particular mensural interpretation is assumed. More ornamented music will reduce the syllabic speed considerably. Remember also to add time for instrumental preludes, interludes and postludes.

Total syllables: 748