CSM Cantiga 255 Lyrics: Na malandança nóss' amparança

Standard spelling
Na malandança nóss' amparança
Cantiga 255: Na malandança nóss' amparança
Please read the notes on using the texts and the IPA transcriptions Please read the notes on using the music transcriptions
   
Standard spelling
Epigraph  

Como Santa María guareceu a mollér que fezéra matar séu genrro polo mal prez que ll' apõían con el, que non ardeu no fógo en que a meteron.

Line Refrain  Metrics  
1 Na malandança 4' A
2 nóss' amparança 4' A
3 e esperança 4' A
4 é Santa María. 5' B
 
  Stanza I     
5 Dest' un miragre vos direi óra 9' c
6 que a Virgen quis mui grand' amostrar, 10  d
7 Santa María, a que sempr' óra 9' c
8 polos pecadores de mal guardar, 10  d
9 dũa burgesa 4' e
10 nóbr' e cortesa, 4' e
11 que fora presa 4' e
12 por sa gran folía. 5' B
  Na malandança...    
 
  Stanza II     
13 Esta foi rica e ben casada 9' c
14 e mui fremosa e de bõo sen, 10  d
15 e en Leôn do Rodán morada 9' c
16 ouve mui bõa, per quant' aprix ên; 10  d
17 e ouve béla 4' e
18 filla donzéla, 4' e
19 de que mazéla 4' e
20 ll' avẽo un día. 5' B
  Na malandança...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/255
 
  Stanza III     
21 Ela e séu sennor ambos déron 9' c
22 sa filla a marid' a séu prazer, 10  d
23 e morada de sũu fezéron 9' c
24 por se por i mais viçosos tẽer. 10  d
25 Mais mal empeço 4' e
26 foi no começo, 4' e
27 ca mao preço 4' e
28 a sógra avía 5' B
  Na malandança...    
 
  Stanza IV     
29 Con séu genrro; pero a gran tórto, 9' c
30 ca non fezéran eles feit' atal 10  d
31 com' este. Mais ela per que mórto 9' c
32 fez foi o genrro, e non ouv' i al; 10  d
33 ca mantenente 4' e
34 déu muit' argente 4' e
35 a maa gente 4' e
36 que o matar-ía. 5' B
  Na malandança...    
 
  Stanza V     
37 E esse día, pois missa dita, 9' c
38 assentaron-s' a jantar, e mandou 10  d
39 chamar séu genrr' a sógra maldita; 9' c
40 e sa mollér, que por el foi, achou 10  d
41 mórt' o marido 4' e
42 e escoorido, CSM 255:42[T] has mort o marid' e escoorido (all on one line), which elides away the rhyme on marido. I prefer synaeresis in escoorido to fix the metre, taking advantage of the ascending plica .bod onto which the compressed syllable falls. Note that the root coor (= 'colour') becomes monosyllabic cor in modern Portuguese and Galician. 4' e .bod
43 e apelido 4' e
44 mui grande metía. 5' B
  Na malandança...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/255
 
  Stanza VI     
45 Aqueste feito tóste sabudo 9' c
46 foi pela vila, e vẽo lógu' i 10  d
47 o meirinno dela mui sannudo 9' c
48 e preguntou como morrer' assí. 10  d
49 E tant' andando 4' e
50 foi trastornando 4' e
51 e preguntando, 4' e
52 que achou a vía 5' B
  Na malandança...    
 
  Stanza VII     
53 Per que soub' a verdade do preito; 9' c
54 e fez recadar de mui mal talán 10  d
55 os que fezéran aquele feito. 9' c
56 Mais a sógra mãefestou a pran 10  d
57 de com' ouvéra 4' e
58 coita tan féra, 4' e
59 per que fezér' a- 4' e
60 quela dïabría. 5' B
  Na malandança...    
 
  Stanza VIII     
61 O meirinno, que foi fórt' e bravo, 9' c
62 mandou fillar lóg' aquela mollér, 10  d
63 e por queimá-la non déu un cravo, 9' c
64 ca muito fazía ben séu mestér. 10  d
65 Nen fez en jógo 4' e
66 nen fillou rógo, 4' e
67 mas a ao fógo CSM 255:67Both [To] and [E] have mas ao fog' a levou que ardia here, masking the rhyme on fogo entirely. In order to restore it, I have moved the object pronoun a from the next line, and marked synaeresis here to compensate. The phrase mas a a o fogo levou que ardia (= 'but [he] took her to the burning fire') is, I think, a good candidate for being the text as originally intended, with the first a (= 'her') then having to drop out to fit the metre, by means of conflation with the following a (= 'to'). At some later point in the copying chain this was then 'corrected', restoring the first a but in a different place, which made the grammar more explicit but played havoc with the metre. By the way, I have marked synaeresis in ao rather than synalepha between the two a's, simply because assigning ao the long plica .oron is better musically. 4' e .oron
68 levou que ardía. 5' B
  Na malandança...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/255
 
  Stanza IX     
69 E u a levavan pela rúa 9' c
70 ant' a igreja da Madre de Déus, 10  d
71 senôn da camisa, toda núa, 9' c
72 diss' aos sergentes: “Amigos méus, 10  d
73 por pïadade 4' e
74 ant' a Magestade CSM 255:74In line 73 [E] keeps the full word piadade, but [To] once again elides away the rhyme with por piedad' ant' a Magestade. Unfortunately, neither the latter, nor piadade 'nt' with double elision, nor even piadade_ant' with synalepha, has any musical merit—the caesura between piadade and ant' is marked in the musical notation by a division which seems entirely justified rhythmically, and Anglés and Elmes both observe it. Since there is no obvious way to compress line 74 in isolation to 4' syllables, I think this is a rare case that justifies accepting the line as hypermetric, and applying a purely musical solution: namely, breaking the plica .bod to accommodate the two syllables Mages-. As it happens, this is the same musical shape which carries the synaeresis in escoorido in line 42, so a certain symmetry is at least maintained. 5' e .bod
75 vós me parade, 4' e
76 e rogá-la-ía.” 5' B
  Na malandança...    
 
  Stanza X     
77 Eles fezéron-ll' o que rogava; 9' c
78 e ela lógu' en térra se tendeu 10  d
79 ant' a omagen, muito chorava 9' c
80 dizendo: “Madre daquel que morreu 10  d
81 por nós, aginna, 4' e
82 Virgen Reínna, 4' e
83 'córr' a mesquinna CSM 255:83[To] and [E] both have acorr' a mesquinna que en ti fia (or variant spellings thereof) with the extra vowel at the start and without the word se, which is Mettmann's addition. But this is no good metrically (or musically) as it displaces the rhyming word mesquinna. Instead I've marked elision, indicating that the final -a of Reínna absorbs the initial vowel of acorr', and accepted Mettmann's insertion of se (fiar-se en ... and fiar en ... mean the same, though the latter is more common.) 4' e
84 que en ti se fía.” 5' B
  Na malandança...    
 
  Stanza XI     
85 E lógo tan tóste o meirinno 9' c
86 disse: “Varões, levade-a ja 10  d
87 fóra da vila cab' o caminno 9' c
88 u ũa casa mui vélla está: 10  d
89 i a metede 4' e
90 dentr' e odede, 4' e
91 des i põede 4' e
92 ll' o fóg' a perfía.” 5' B
  Na malandança...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/255
 
  Stanza XII     
93 Esto foi feito tóst' e correndo, 9' c
94 e a casa dentro e en redor 10  d
95 chẽa de lenna foi, com' aprendo, 9' c
96 e de fógo, dond' ouv' ela pavor; 10  d
97 ca viu a chama 4' e
98 queimá-la rama, 4' e
99 de que a Ama 4' e
100 de Déus defendía. 5' B
  Na malandança...    
 
  Stanza XIII     
101 Pero a casa toda queimada 9' c
102 foi e a lenna se tornou carvôn, 10  d
103 a mollér desto non sentiu nada; 9' c
104 ca a Virgen, a que fez oraçôn, 10  d
105 lle déu saúde 4' e
106 per sa vertude 4' e
107 e ameúde 4' e
108 o fógo tollía. 5' B
  Na malandança...    
 
  Stanza XIV     
109 A casa foi per dúas vegadas 9' c
110 acenduda; mas vede-lo que fez 10  d
111 Santa María, que as coitadas 9' c
112 acórre sempre: non quis nulla vez 10  d
113 que s' i perdesse 4' e
114 nen que ardesse 4' e
115 nen que morresse 4' e
116 a que ben quería. 5' B
  Na malandança...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/255
 
  Stanza XV     
117 Quand' est' o meirinno e as gentes 9' c
118 viron, fillaron-s' end' a repentir, 10  d
119 e mandaron lóg' aos sergentes 9' c
120 que a fezéssen do fógo saír 10  d
121 lógu'; e con cantos 4' e
122 ela foi tantos 4' e
123 levada, quantos 4' e
124 mui de dur diría. 5' B
  Na malandança...    
 
  Stanza XVI     
125 E pois que ela foi na igreja, 9' c
126 os crérigos se pararon en az 10  d
127 e loaron a que sempre seja 9' c
128 bẽeita polos miragres que faz 10  d
129 maravillosos 4' e
130 e pïadosos, 4' e
131 e saborosos 4' e
132 d' oír todavía. 5' B
  Na malandança...    
 

Footnotes

Line 42:

[T] has mort o marid' e escoorido (all on one line), which elides away the rhyme on marido. I prefer synaeresis in escoorido to fix the metre, taking advantage of the ascending plica .bod onto which the compressed syllable falls. Note that the root coor (= 'colour') becomes monosyllabic cor in modern Portuguese and Galician.

Line 67:

Both [To] and [E] have mas ao fog' a levou que ardia here, masking the rhyme on fogo entirely. In order to restore it, I have moved the object pronoun a from the next line, and marked synaeresis here to compensate. The phrase mas a a o fogo levou que ardia (= 'but [he] took her to the burning fire') is, I think, a good candidate for being the text as originally intended, with the first a (= 'her') then having to drop out to fit the metre, by means of conflation with the following a (= 'to'). At some later point in the copying chain this was then 'corrected', restoring the first a but in a different place, which made the grammar more explicit but played havoc with the metre. By the way, I have marked synaeresis in ao rather than synalepha between the two a's, simply because assigning ao the long plica .oron is better musically.

Line 74:

In line 73 [E] keeps the full word piadade, but [To] once again elides away the rhyme with por piedad' ant' a Magestade. Unfortunately, neither the latter, nor piadade 'nt' with double elision, nor even piadade_ant' with synalepha, has any musical merit—the caesura between piadade and ant' is marked in the musical notation by a division which seems entirely justified rhythmically, and Anglés and Elmes both observe it. Since there is no obvious way to compress line 74 in isolation to 4' syllables, I think this is a rare case that justifies accepting the line as hypermetric, and applying a purely musical solution: namely, breaking the plica .bod to accommodate the two syllables Mages-. As it happens, this is the same musical shape which carries the synaeresis in escoorido in line 42, so a certain symmetry is at least maintained.

Line 83:

[To] and [E] both have acorr' a mesquinna que en ti fia (or variant spellings thereof) with the extra vowel at the start and without the word se, which is Mettmann's addition. But this is no good metrically (or musically) as it displaces the rhyming word mesquinna. Instead I've marked elision, indicating that the final -a of Reínna absorbs the initial vowel of acorr', and accepted Mettmann's insertion of se (fiar-se en ... and fiar en ... mean the same, though the latter is more common.)

Standard spelling  
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Manuscript references

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

[E]255viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/460small.htmlExternal link
[To]74viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/To/bob068small.gifExternal link

Oxford CSM Database record

External link to poem data:  CSM 255http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=255

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

4'  4'  4'  5'

Stanzas

9'  10  9'  10  4'  4'  4'  5' I II III IV V VI VII VIII X XI XII XIII XIV XV XVI
9'  10  9'  10  4'  5'  4'  5' IX

Rhyme

AAAB / cdcdeeeB
 RIIIIIIIVVVIVIIVIIIIXXXIXIIXIIIXIVXVXVI
Aanʦa 
Bi.a
c ɔɾaadaɛɾoŋɔɾtoitaudoei̯toaβou.aaβaiɲoendoadaadasenteseʤa
d alou̯iɛɾɛu̯seu̯a
e ezaɛlaeʦoenteidoandoɛɾaɔgoadeiɲaedeamaudeeseantosozos

Estimated performance times

Average syllables / min. Time
Very slow5026:39
Slow10013:19
Medium1508:53
Fast2006:39
Very fast2505:19

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: 1333