CSM Cantiga 222 Lyrics: Quen ouvér na Grorïosa

Standard spelling
Quen ouvér na Grorïosa
Cantiga 222: Quen ouvér na Grorïosa
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 do capelán que cantava missa no mõesteiro das donas d' Achélas, que é en Portugal, e consomiu ũa aranna, e depois saiu-lle pelo braço.

Line Refrain  Metrics  
1 Quen ouvér na Grorïosa | fïança con fé comprida CSM 222:1Mettmann has conplida in the first refrain, following [E], and comprida in all reprises, following [F]. I have chosen to use the form comprida throughout, since it is by far the most common form of the word, and conplida (= complida) does not appear elsewhere. 7' | 7' A
2 non lle nozirá poçonna, | e dar-ll-á por sempre vida. 7' | 7' A
 
  Stanza I     
3 Ca ela troux' en séu ventre | vida e luz verdadeira, 7' | 7' b
4 per que os que son errados | saca de maa carreira; CSM 222:4Elmes has errados son following [E] directly, in place of Mettmann's editorial fix son errados. The latter fits the metre much better as well as restoring a more natural word order. 7' | 7' b
5 demais, contra o dïabo | ten ela por nós fronteira 7' | 7' b
6 como nos nozir non póssa | en esta vid' escarnida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 
  Stanza II     
7 Pois dizer-vos quér' éu dela | un miragre mui fremoso, 7' | 7' b
8 e ben creo que vos seja | d' oí-lo mui saboroso, 7' | 7' b
9 e demais pera as almas | seer-vos-á proveitoso; 7' | 7' b
10 e per mi, quant' ei apreso, | non será cousa falida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/222
 
  Stanza III     
11 En Portugal, a par dũa | vila, mui rica cidade 7' | 7' b
12 que é chamada Lixbõa, | com' éu achei en verdade, 7' | 7' b
13 á i un rico mõesteiro | de donas, e castidade CSM 222:13Though I don't make a habit of philological observations, it's interesting to note that á i at the start of this line—which clearly has to be pronounced with synalepha as a single syllable—is a nice clear example of the origins of modern Galician "hai" and Castilian (Spanish) "hay" in the combination of verb and adverb. 7' | 7' b .o
14 mantẽen, que pois nos céos | ajan por sempre guarida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 
  Stanza IV     
15 Este mõesteir' Achélas | á nom' e si é chamado; 7' | 7' b
16 e un capelán das donas, | bõo óm' e enssinado, 7' | 7' b
17 estava cantando missa | com' avía costumado, 7' | 7' b
18 e avẽo-ll' assí: ante | que foss' a missa fĩida, 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 
  Stanza V     
19 Quando a consomir ouve | o Córpo de Jesú-Cristo, 7' | 7' b
20 per que o démo vençudo | foi ja por sempr' e conquisto, 7' | 7' b
21 caeü dentro no cáliz, | esto foi sabud' e visto, CSM 222:21Mettmann, following both [E] and [F], has caeo at the start of this line, and in this case the variant spelling may well represent an attempt by the scribe to indicate the necessary diaeresis. I have normalized the spelling and marked the diaeresis with a trema as usual. 7' | 7' b .ood
22 per un fi' ũa aranna | grand' e negr' e avorrida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/222
 
  Stanza VI     
23 O capelán ũa péça | estev' assí en dultança 7' | 7' b
24 e non soube que fezésse; | pero ouve confïança 7' | 7' b
25 na Virgen Santa María, | e lógo sen demorança 7' | 7' b
26 a aranna cono sángui | ouve lógo consumida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 
  Stanza VII     
27 Pois que ouv' a missa dita, | o capelán lógo dessa 7' | 7' b
28 foi contar est' aas donas | des i aa prïoressa. 7' | 7' b
29 E con medo de poçonna, | mandou-o sangrar lógu' essa 7' | 7' b
30 dona e toda-las monjas, | esta cousa foi ordida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 
  Stanza VIII     
31 Mais agora oïredes | todos a mui gran façanna 7' | 7' b
32 que alí mostrou a Virgen, | nunca vistes tan estranna: 7' | 7' b
33 pelo braço lle saiü | viva aquela aranna, CSM 222:33Compare line 21 above, and also CSM 171:51, 193:49 etc. This is another case where the preterite verb form requires diaeresis, turning the final diphthong into two syllables and thereby shifting the stress away from the end. 7' | 7' b .o
34 ante que sángui saísse | per u déran a ferida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/222
 
  Stanza IX     
35 As donas maravilladas | foron desto fèramente 7' | 7' b
36 e a aranna mostraron | entôn a muita de gente, 7' | 7' b
37 e loaron muit' a Madre | de Déus Padr' omnipotente, 7' | 7' b
38 que todos ao séu reino | comunalmente convida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 
  Stanza X     
39 Nós outrossí ar loemos | a Virgen Santa María 7' | 7' b
40 por tan fremoso miragre, | e roguemos noit' e día 7' | 7' b
41 a ela que do dïabo | nos guard' e de sa perfía, 7' | 7' b
42 que pera o paraíso | vaamos dereita ida. 7' | 7' A
  Quen ouvér na Grorïosa | fïança con fé comprida...    
 

Footnotes

Line 1:

Mettmann has conplida in the first refrain, following [E], and comprida in all reprises, following [F]. I have chosen to use the form comprida throughout, since it is by far the most common form of the word, and conplida (= complida) does not appear elsewhere.

Line 4:

Elmes has errados son following [E] directly, in place of Mettmann's editorial fix son errados. The latter fits the metre much better as well as restoring a more natural word order.

Line 13:

Though I don't make a habit of philological observations, it's interesting to note that á i at the start of this line—which clearly has to be pronounced with synalepha as a single syllable—is a nice clear example of the origins of modern Galician "hai" and Castilian (Spanish) "hay" in the combination of verb and adverb.

Line 21:

Mettmann, following both [E] and [F], has caeo at the start of this line, and in this case the variant spelling may well represent an attempt by the scribe to indicate the necessary diaeresis. I have normalized the spelling and marked the diaeresis with a trema as usual.

Line 33:

Compare line 21 above, and also CSM 171:51, 193:49 etc. This is another case where the preterite verb form requires diaeresis, turning the final diphthong into two syllables and thereby shifting the stress away from the end.

Standard spelling  
Zoom

Manuscript references

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

[E]222viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/402small.htmlExternal link
[F]93 

Oxford CSM Database record

External link to poem data:  CSM 222http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=222

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' | 7'  7' | 7'

Stanzas

7' | 7'  7' | 7'  7' | 7'  7' | 7'

Rhyme

AA / bbbA
 RIIIIIIIVVVIVIIVIIIIXX
Aida
b ei̯ɾaozoadeadoistoanʦaesaaɲaentei.a

Estimated performance times

Average syllables / min. Time
Very slow5019:50
Slow1009:55
Medium1506:36
Fast2004:57
Very fast2503:58

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: 992