By Stephen Parkinson, Cláudia Pazos Alonso, T. F. Earle
This spouse quantity bargains an creation to ecu Portuguese literature for university-level readers. It involves a chronological assessment of Portuguese literature from the 12th century to the current day, by way of the most wonderful literary students of modern years, supplemented by means of a examine of the historical past of translations of Portuguese literature, large essays concentrated on significant authors, genres or sessions, and a wide bibliography. It doesn't test an encyclopaedic insurance of Portuguese literature, yet offers crucial chronological and bibliographical info on all significant authors and genres, with extra vast therapy of key works and literary figures, and a specific specialise in the trendy interval. it truly is unashamedly canonical instead of thematic in its exam of vital authors and sessions, with no neglecting woman writers. during this approach it presents simple reference fabrics for college students starting the learn of Portuguese literature, and for a much broader viewers searching for basic or particular details. The editors have made a principled determination to exclude either Brazilian and African literature, which may now not were integrated with enough prominence or intensity, and insist separate therapy.
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Extra resources for A Companion to Portuguese Literature (Monografías A)
1 (2002), 19–40. THE MEDIEVAL GALICIAN-PORTUGUESE LYRIC 27 â•… The (girl’s girl-)friend tries to persuade the girl to be receptive to the boy, or to take him back after a quarrel, and a few times counsels her to renounce him. 6 â•… The mother lets the girl go and see the boy, or offers to go with her, or refuses permission, or else advises her how to make peace after a quarrel, or says ‘I told you so’ when things have gone wrong. â•… The boy (always in dialogue) bids the girl farewell, or greets her on his return, asks for her favours, or begs for forgiveness.
THE MEDIEVAL GALICIAN-PORTUGUESE LYRIC 37 In the typical ‘courtly love’ poem, the singer woos a woman of a higher social class, typically the wife of a great lord, praising her virtues and lamenting her inaccessibility. Here Guilhade sings of the sexual desirability of the wife (or woman) of a man below him, a jograr or minstrel (Guilhade was a cavaleiro, or ‘knight’), pretending to maintain the pose of a wronged lover for whom his lady has no mercy. The careful placing of obscenities (all located in the verse just before the refrain, and only used in the last two strophes) is typical of the genre: part of the art of the insult is setting it up, and delivering it in climactic position.
In them we find, in relation to the other two genres, simpler strophic forms, such as aaB and aaBB, simpler rhyme-systems, and far fewer virtuosic techniques, though individual cantigas de amigo may be more complex than individual poems in the other two genres. 4 Another striking feature has to do with the pragmatics: relative to Amor, there are more speaking personae – the girl (G), her mother (M), the girl’s female friend (F), and the boy (B) – and the combinations of speaker and addressee give a far more rounded view of ongoing situations and actions.