Martin Codax or Codaz , Martín Codax ( Galician: [maɾˈtiŋ koˈðaʃ] ) or Martim Codax was a Galician medieval joglar (non-noble composer and performer, as opposed to a trobador ), possibly from Vigo , Galicia in present-day Spain. He may have been active during the middle of the thirteenth century, judging from scriptological analysis. He is one of only two out of a total of 88 authors of cantigas d'amigo who used only the archaic strophic form aaB (a rhymed distich followed by a refrain). He employed an archaic rhyme scheme whereby i~o / a~o were used in alternating strophes. In addition Martin Codax consistently utilised a strict parallelistic technique known as leixa-pren (see the example below; the order of the third and fourth strophes is inverted in the Pergaminho Vindel but the correct order appears in the Cancioneiro da Biblioteca Nacional in Portugal, and the Cancioneiro da Vaticana ). There is no documentary biographical information concerning the poet, dating the work at present remains based on theoretical analysis of the text.
17-534: The body of work attributed to him consists of seven cantigas d'amigo which appear in the Galician-Portuguese songbooks and in the Pergaminho Vindel (Vindel parchment). In all three manuscripts he is listed as the author of the compositions, in all three the number and order of the songs is the same. This provides what may be important evidence to support the view that the order of other poets' songs in
34-418: A Bonaval, pois meu amig' i ven Se vos non pesar, mha madre, rogar vos ei, por Deus, que mi non digades mal, e irei a Bonaval, pois meu amig' i ven I want to ask you, my mother and madam, That you not speak ill of me today, if I go To Bonaval, since my boy is coming there. If it doesn't upset you, my mother, I will ask, By God, that you not speak ill of me, and I'll go To Bonaval, since my boy
51-480: A dozen cantigas with an outside narrative voice, but most of them include words from a girl’s song.” Much has been made of nature symbolism in this genre, but “Erotic symbolism, though it has rightly attracted attention […] is not as common as might be imagined. All told, a few dozen poems make use of it (for instance, a rendezvous by the river, spring, or seashore). Far more often sexuality is expressed by code words, like veer (‘see’), falar (‘talk’), and fazer ben (‘do
68-632: A favour’).” What mainly distinguishes the cantiga de amigo is its focus on a world of female-voiced communication. The earliest examples that survive are dated from roughly the 1220s, and nearly all 500 were composed before 1300. Cantigas d'amigo are found mainly in the Cancioneiro Colocci-Brancuti , now in Lisbon's Biblioteca Nacional, and in the Cancioneiro da Vaticana , both copied in Italy at
85-438: A single song, has been acclaimed as a master poet. The quantity of situations, although limited, is still higher than in cantigas de amor , and the quantity of speech actions is even higher. Although the rhetoric is simpler than of the two other genres, it is more complex than it was often allowed, slowly articulating a present action (or emotion) by repetition with variation, and usually holding important information until
102-521: Is a compilation of troubadour lyrics in Galician-Portuguese . It was discovered c. 1840 in the holdings of the Vatican Library and was first transcribed by D. Caetano Lopes de Moura in 1847, sponsored by the Viscount of Carreira, and again by Ernesto Monaci in 1875. The songbook contains 228 folios with a total of 1205 lyrics that date from the 13th and 14th centuries. Nearly all the poems belong to
119-904: Is coming there. Bernal de Bonaval 8 Filha fremosa, vedes que vos digo: que non faledes ao voss' amigo sen mi, ai filha fremosa E se vós, filha, meu amor queredes, rogo vos eu que nunca lhi faledes sen mi, ai filha fremosa E al á i de que vos non guardades: perdedes i de quanto lhi falades sen mi, ai filha fremosa Lovely daughter, look what I'm telling you: Do not talk with your boyfriend Without me, o lovely daughter. And, daughter, if you want my love, I ask you that you never talk with him Without me, o lovely daughter. And there's something else you're careless about: You lose every word you talk with him Without me, o lovely daughter. Cancioneiro da Vaticana The Cancioneiro da Vaticana ( Portuguese: [kɐ̃sjuˈnɐjɾu ðɐ vɐtiˈkɐnɐ] , Galician: [kanθjoˈnejɾʊ ðɐ βatiˈkanɐ] ; Vatican Songbook )
136-517: The Iberian Peninsula . According to Rip Cohen, “In 98% of the poems, the speaker is a girl, her mother, the girl’s girlfriend, or a boy (who is given a voice only in dialogues with the girl—which she begins). The girl can speak to any of the other three personae, but they can only address her (there is no directly represented communication between the other three personae: mother, girlfriend and boy do not speak with one another onstage). There are
153-414: The cancioneiros (songbooks) should not automatically be dismissed as random or attributed to later compilers. The identification of authorship of the poems (and their order) may contribute to a viewpoint that the seven songs of Codax reflect an original performance set. Consequently, the sets of poems by other poets might also have been organized for performance. The parchment was originally discovered by
170-468: The Madrid-based antiquarian bookseller and bibliophile Pedro Vindel among his possessions in 1913; it had been used as the cover of a copy of Cicero 's De Officiis . Martim Codax's poems that appeared in the parchment are the following (originally untitled, they are listed by the first line): In the Pergaminho Vindel , musical notation (although with lacunae) survives along with the texts, except for
187-598: The beginning of the 16th century (possibly around 1525) at the behest of the Italian humanist Angelo Colocci . The seven songs of Martin Codax are also contained, along with music (for all but one text), in the Pergaminho Vindel , probably a mid-13th-century manuscript and unique in all Romance philology. Stylistically, they are characterized by simple strophic forms, with repetition, variation, and parallelism, and are marked by
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#1732898805875204-471: The church in Vigo where the sea is rough, And we will gaze at the waves. Lovely sister, come willingly To the church in Vigo, where the sea is up, And we will gaze at the waves. To the church in Vigo where the sea is rough, And my mother and my friend will come, And we will gaze at the waves. To the church in Vigo, where the sea is up, And my mother and my beloved will come, And we will gaze at
221-630: The end. There are insults, though lighter compared to the cantigas de escárnio e maldizer . Obscenity and open sexual references are taboo, just like in the cantiga de amor . The cantiga de amigo have been said to have characteristics in common with the Mozarabic kharajat , but these may be merely coincidences of female speaker and erotic themes. Below are two cantigas d'amigo by Bernal de Bonaval (text from Cohen 2003, tr. Cohen 2010). Bernal de Bonaval 7 Rogar vos quer' eu, mha madre e mha senhor, que mi non digades oje mal, se eu for
238-687: The sixth one. They are the only cantigas d'amigo for which the music is known. The Pergaminho Sharrer contains seven melodies for cantigas d'amor of Denis of Portugal , also in fragmentary form. Here is the third of his songs: Mia irmana fremosa, treides comigo a la igreja de Vigo u é o mar salido e miraremos las ondas. Mia irmana fremosa, treides de grado a la igreja de Vigo u é o mar levado e miraremos las ondas. A la igreja de Vigo u é o mar salido e verrá i mia madre e o meu amigo e miraremos las ondas. A la igreja de Vigo u é o mar levado e verrá i mia madre e o meu amado e miraremos las ondas. Lovely sister, come with me To
255-563: The three principal genres of secular cantigas : the cantigas de amigo , cantigas de amor and cantigas de escárnio e maldizer . Even though the texts were meant to be sung, there is no musical notation—nor space left for it (see Cancioneiro da Ajuda ). The Cancioneiro da Vaticana , together with the Cancioneiro da Biblioteca Nacional (kept in Lisbon ), were copied from an earlier manuscript (or manuscripts) around 1525, in Rome Italy at
272-515: The use of a refrain (88% of the texts). They constitute the largest body of female-voiced love lyric that has survived from ancient or medieval Europe. There are eighty-eight authors, all male, some of the better known being King Dinis of Portugal (52 songs in this genre), Johan Airas de Santiago (45), Johan Garcia de Guilhade (22), Juião Bolseiro (15), Johan Baveca (13), Pedr' Amigo de Sevilha (10), João Zorro (10), Pero Meogo (9), Bernal de Bonaval (8), Martim Codax (7). Even Mendinho , author of
289-423: The waves. Cantiga de amigo Cantiga de amigo ( Portuguese: [kɐ̃ˈtiɣɐ ð(j) ɐˈmiɣu] , Galician: [kanˈtiɣɐ ðɪ aˈmiɣʊ] ) or cantiga d'amigo ( Galician-Portuguese spelling), literally "friend song", is a genre of medieval lyric poetry , more specifically the Galician-Portuguese lyric , apparently rooted in a female-voiced song tradition native to the northwest quadrant of
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