Medieval Galician-Portuguese: Language and Literature of the Cantigas
Phonology of the Cantigas Language
The seven vowels of the language of the *Cantigas* are similar to those of the present day, but tonic diphthongs often alternate with unstressed vowels, a frequent occurrence in the early period (e.g., *cuidado*). In both *coidado* and unstressed positions, vowel alternation is present. The medieval language is distinguished by a highly unstable unstressed system and continuous alternation of vowels.
Vowel System and Hiatus
The lateral vowels /e/ and /i/, and the velar vowels /o/ and /u/, are present, as seen in words like *coberto* and *cargo*. There is also alternation between /a/ and /e/, even when a hiatus occurs (e.g., *estroso*).
In the *Cancioneiros*, many vowels appear in hiatus due to the loss of a normal intervocalic consonant. These two vowels are maintained, whether they are identical (*caente*) or different (*caenturá*). Full hiatus also occurs in final position (*ceos*, *mao*). In this final position, the indication of hiatus is sometimes marked by vocal repetition: *ceeo*.
Nasalization and Consonant Clusters
A very important feature in the language of the *Cantigas* is the significant presence of nasal vowels due to the loss of an intervocalic Latin -N-. These always appear followed by nasal vowels.
In some cases, there is a notable difference between the plural and singular forms of words. In the singular, the vowel drops, leaving a final nasal consonant, while in the plural, the nasal vowel and consonant are retained (e.g., *cam*). When the termination derives from Latin *-inu* or *-ina*, the evolution is somewhat different: it originally results in a nasal vowel, which later becomes an oral vowel followed by nasalization before a palatal nasal consonant. Both possibilities may still appear in the *Cantigas* (e.g., *caminho*).
When Latin had the cluster *qua-*, the element is normally retained in the ballads, but loss occurs in some cases (e.g., *canda*). Similarly, the conservation of *gua-* is normal (*garda*, *gardei*), though cases of loss may also occur.
Themes and Literary Cycles in Medieval Galician-Portuguese
Cantigas de Escarnio e Mal Dizer (Satires)
These poems focus on the satire of vices, customs, and physical defects. They include attacks on specific social groups:
- Social Targets: Doctors, clergy, and the newly rich.
- Political Issues: Criticism of knights who abandoned the War of Granada, and the decline of the *infanzóns*.
- Moral Issues: The lack of truth in the world.
- Criticism of Women: Satire directed at women of different estates, such as *soldadeiras* and abbesses.
Cantigas de Santa Maria (CMS)
The primary purpose of the CMS is to promote the worship of the Virgin Mary through the story of her miraculous interventions. The sources for these collections include:
- Medieval Latin Marian collections.
- Romances of Marian shrines in the vernacular.
- Local Peninsular collections.
- Foreign collections.
- Collections of prayers.
The Arthurian Cycle (Breton Matter)
The Breton Matter represents the definitive expansion of the Arthurian narrative, based on the work of Chrétien de Troyes, which generated numerous continuations and versions by French authors. As this occurred, Christian symbolism was fully integrated with the magical elements. The Grail is definitively seen not just as the chalice Christ consecrated during the Eucharist at the Last Supper.
Arthur and the members of the Round Table mirror the Christian virtues of the knight, and the Quest for the Holy Grail concludes with the search for eternal salvation.
Key Texts and Figures
- *The Book of Joseph of Arimathea:* Discusses the origin of the Grail.
- *The Book of Merlin:* Focuses on the educator of King Arthur, the famous magician, and his prophecies regarding the Grail Quest.
- Knights of the Round Table undertake trials in the Quest for the Holy Grail.
- *The Book of Tristan:* Refers to the knight of the Round Table.
Sibilant Consonants in the Cantigas
A remarkable feature is the strong presence of sibilant consonants, even though devoicing was already known in Galicia at that time. In the ballads, the normal apical sibilant differentiates between:
- Voiceless /s/: Written *ss* intervocalically, and *s* in other positions.
- Voiced /z/: Appears only in intervocalic position (written *s*).
Further distinctions are made between:
- Voiceless prepalatal fricative /ʃ/: Written *x*.
- Voiced prepalatal fricative /ʒ/: Written *j*, *i*, or *g* (depending on the case).
And between:
- Voiceless dorso-dentoalveolar affricate /ts/: Written *ç* or *c* (before *e*, *i*).
- Voiced dorso-dentoalveolar affricate /dz/: Written *z*.
Examples include *fezesse* and *seu*. It is worth noting that, casually, the voiceless consonant is sometimes represented by *s* in intervocalic position (*disse*). Also, the voiceless sibilant can alternate with the voiced one (e.g., *dicedes* vs. *dizedes*).