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One Swallow Does Make a Summer:

Assonance in Galician-Portuguese
Cantigas
John Gornall
Published online: 28 Jun 2010.

To cite this article: John Gornall (2000) One Swallow Does Make a Summer: Assonance
in Galician-Portuguese Cantigas, Bulletin of Hispanic Studies, 77:5, 397-406, DOI:
10.1080/00074900052389931

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 BHS, LXXVII (2000)

One Swallow Does Make

a Summer: Assonance in
Galician-Portuguese Cantigas

JOHN GORNALL
Tattenhall, nr Chester
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Medieval Galician-Portuguese poets worked in a period when the literary

norm demanded rime suffisante = rhyme that echoes vowels and any
intervening and/or final consonants of the corresponding syllable(s)
(schematically: 1 1). It is equally well known that, above all in cantigas de
amigo, poets sometimes preferred the more popular ‘inclusive assonance’
found in early French and Hispanic verse = rhyme that echoes vowels of the
corresponding syllable(s) but with intervening and/or final consonants
unregulated (schematically: 1 x).1 Predictably, in the event many rhyme
words of cantigas in inclusive assonance (hereafter ‘assonance’) were in
rime suffisante (hereafter ‘rhyme’). But, clearly, such ‘mixed’ cantigas are
none the less in assonance. In the literary historiography, however, this
last proposition does not seem to have been universally accepted. The
present article will suggest ways in which the role of assonance in
Galician-Portuguese cantigas has as a result been somewhat distorted.
In cantigas de amor, assonance is rare. As a preliminary, I point none
the less to two cases in which close metrical reading suggests that failure to
accord reality to assonances in cantigas in which rhyme predominates can
have limiting effects.

Vidal, ‘Moyr’, e faço dereyto’

Luciana Stegagno Picchio in her edition of the two surviving cantigas (de
amor) by ‘h u judeu d’Elvas, que avia nome Vidal’ (‘altri poeti

1 ‘Exclusive assonance’—rhyme that echoes vowels of the corresponding syllable(s),

but not intervening and/or final consonants (schematically: 1 0)—does not appear until the
romancero nuevo, as invented by Góngora, Quevedo, Lope, and others, ‘chasse la rime du
romance’. See Damien Saunal, ‘Une conquête définitive du “Romancero nuevo”: le romance
assonancé’, in Mélanges à la mémoire de Jean Sarrailh (Paris, 1966), II, 355–75 (p. 355).
The article was reproduced in Abaco, II (1969), 93–126.
397
 398 BHS, LXXVII (2000) JOHN GORNALL

dichiaratamente ebrei non compaiono nel Canzoniere portoghese’) stressed

their originality.2 I am concerned with No. 265, of which only the first
stanza is extant:
Moyr’, e faço dereyto,
por h a Dona d’Elvas
que me trage tolheyto,
como a quen dam as hervas.
5 Des que lh’eu vi o peyto
branco, dix’aas ssas servas:
‘A mha coyta non á par,
ca ssey que me quer matar,
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e quero eu morrer por ela,

10 ca me non poss’ém guardar’.
Stegagno Picchio points to (i) ‘il motivo delle erbe, un tanto peregrino in
questo genere di poesie’ (l. 4); (ii) the lady’s enjambed ‘peyto / branco’ (ll. 5–
6): ‘in questa galleria di donne simbolo, di donne fisicamente
indifferenziate, il petto bianco della giudea di Vidal [...] brilla con una
sensuale luminosità di scandalo’; and (iii) ‘servas’ (l. 6), ‘ignote al canzoniere
amoroso, sebbene la loro funzione possa in qualche modo accostarsi a quella
delle amigas e irmanas delle canzoni de amigo’.3 But there is perhaps
something unusual in the form as well as in the content.
Nunes’ note that ‘Mor’, e faço dereyto’ is a cantiga de mestria (that is,
without refrain) is rejected by Stegagno Picchio, surely rightly, on the
ground that cantigas with stanzas of ten lines occur only in special
circumstances. 4 Grammar and rhythm suggest that the refrain begins at l.
7, the cantiga being divisible into ll. 1–6 (monologue, feminine rhymes) and
ll. 7–10 (direct speech; masculine rhymes predominate). But Stegagno
Picchio finds no other ten-line cantiga with a refrain of four lines and cites
D. Denis, ‘Senhor, des quando vos vi’, with structure 7 + 3, as typical.5
Hence the structure given to ‘Moyr’ e faço dereyto’ in her edition. The
rhyme scheme proposed is abababc: cdc. In this, b ‘Elvas’ (l. 2) is a ‘rima
imperfetta’. And d ‘ela’ (l. 9) is no rhyme at all, but ‘rima libera’ (palavra
perduda). Its condition is claimed as further support for the 7 + 3
structure: ‘non si dà normalmente il caso di un refram di 4 vv. con il 3º a

2 Luciana Stegagno Picchio, ‘Le Poesie d’amore di Vidal, giudeo di Elvas’, Cultura
Neolatina, XXII (1962), 40–61 (p. 51). The two poems are Nos 265–66 (numbers converted
into Arabic numerals) in Cantigas d’amor dos trovadores galego-portugueses, ed. José
Joaquim Nunes (Coimbra: Imprensa da Universidade, 1932; rpt. Lisboa: Centro do Livro
Brasileiro, 1972). Citation is from Stegagno Picchio, ‘Le Poesie d’amore’, 41.
3 Stegagno Picchio, ‘Le Poesie d’amore’, 54, 56, 46.
4 Reference to Stegagno Picchio in this paragraph is to p. 42.
5 Cantigas d’amor, No. 44.
 ASSONANCE IN GALICIAN-PORTUGUESE CANTIGAS 399

rima libera’. In a three-line refrain (witness that of Roy Fernandiz,

‘Quantas coytas, senhor, sofri’), ‘la palavra perduda occupa di regola il posto
intermedio’, as (apparently) here.6
Obviously, I do not deny the possibility of imperfect rhymes. It seems,
for example, that Vidal had difficulty in rhyming ‘Elvas’ in his other
cantiga ‘Faz-m’agora por ssy morrer’, something of a companion piece,
which rhymes ‘cervas’ (l. 8) / ‘hervas’ (l. 10) / ‘d’Elvas’ (l. 12).7 But if ‘ela’
(too unlike to be imperfect rhyme also? a second imperfect rhyme not
credible?) is libera, is it not odd that it should assonate with three other
rhyme words? Rather, all four suggest the sequence ‘Elvas’ (l. 2) / ‘hervas’
(l. 4) / ‘servas’ (l. 6) / ‘ela’ (l. 9). In the resulting structure, abababc: cbc (or
perhaps after all ... : ccbc?), this cantiga could be in assonance.
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As far as I am aware, only two other cantigas de amor, Joan Zorro, ‘En
Lixboa, sobre lo mar’ and Roy Fernandiz, ‘Quand’ eu vejo las ondas’, are in
assonance.8 Thus, we may have yet another, metrical aspect of Vidal’s
originality.

Airas Nunes, ‘Oy og’eu h a pastor cantar’

At least ten cantigas are pastorelas. Three are dialogues between the poet
and the pastor; and since the poet speaks first, these, at least, are certainly
cantigas de amor: ‘porque sabede que, se eles falam na prim[eir]a cobra e
elas na outra, [he cantiga d’] amor’.9 In the others, the poet is largely
‘absent’, but in five he overhears her/their speech (perhaps rather than
songs) and in two, their snatches of what appear to be cantigas de amigo.10

6 Cantigas d’amor, No. 152.

7 Stegagno Picchio, ‘Le Poesie d’amore’, 43.
8 Cantigas d’amigo dos trovadores galego-portugueses, ed. José Joaquim Nunes, 3 vols
(Coimbra: Imprensa da Universidade, 1926–1928; rpt. Lisboa: Centro do Livro Brasileiro,
1973), II, No. 383. Poem numbers (converted, however, into Arabic numerals) henceforward
unless otherwise stated refer to this anthology. No. 383 is a cantiga de amor in Cantigas
d’amigo by mistake. The (only) assonance depends on maintaining ‘En Lixboa, sobre lo lez’
(stanza 2) against Nunes ‘ler’ (/ ‘barcas novas mandei fazer’). See O Cancioneiro de Joan
Zorro, ed. Celso Ferreira da Cunha (Rio de Janeiro: Colégio Pedro II, 1949), 45–46, 80. The
poem by Roy Fernandiz is Cantigas d’amor, 153.
9 Nunes, however, included all pastorelas as cantigas de amigo. The three are 3, 280,
330. Poética fragmentaria as quoted in Cantigas d’amigo, I, 1.
10 The five are 1, 2, 380, 473, 474. In D. Joan d’Avoin, ‘Cavalgava noutro dia’ (110),
the shepherdesses sing:

‘Nunca molher crêa per amigo,

pois s’o meu foi e non falou migo’. (stanza 1)
and:
‘Deus, ora veess’o meu amigo
e averia gram prazer migo’. (stanza 2)
 400 BHS, LXXVII (2000) JOHN GORNALL

These seven should probably also be seen as cantigas de amor. All ten
(except, as will appear, parts of 256) are in rhyme.
The four stanzas of ‘Oy og’eu h a pastor cantar’ have the rhyme scheme
a’bbaa’ in which a’ is the same word (dobre) in each stanza. The last line of
each stanza, a parallelistic elaboration of dizia este cantar, introduces a
three-line song by way of refrain, the fourth song itself introducing a fifth
three-line song.11
1
Oy og’eu h a pastor cantar
du cavalgava per h a ribeyra,
e a pastor estava senlheyra;
e ascondi-me pola ascuytar,
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5 e dizia muy bem este cantar:

‘So lo rramo verd’e frolido
vodas fazen o meu amigo;
choran olhos d’amor’.
2
E a pastor parecia muy ben,
10 e chorava e estava cantando;
e eu muy passo fuy mh-achegando
pola oyr, e sol non faley rrem;
e dizia este cantar muy bem:
‘Ay estorninho do avelanedo,
15 cantades vós, e moyr’ eu e pen’
e d’amores ey mal!’
3
E eu oy-a sospirar enton
e queyxava-sse estando con amores
e fazia guirlanda de flores;
20 des y chorava muy de coraçon
e dizia este cantar enton:
‘Que coyta ey tan grande de sofrer,
amar amigu’e non ousar veer!
E pousarey solo avelanal!’12

The second pastorela with snatches of songs or cantigas de amigo is of course ‘Oy og’eu h a
pastor cantar’ (256). For other references to the amiga singing cantares de amigo, see
Estevam Coelho, ‘Sedia la fremosa seu sirgo torcendo’ (155), where she is ‘dizendo
[/cantando] / cantares d’amigo’; and Pedr’Amigo de Sivilha, ‘Un cantar novo d’amigo / querrei
agora aprender / que fez ora meu amigo’ (336).
11 Citation is from Le poesie di Ayras Nunez, ed. Giuseppe Tavani (Milan: Ugo
Merendi, 1964), 63–64. I have made one or two small editorial adjustments.
12 Song 3 is almost identical with Nuno Fernandes Torneol, ‘Que coita tamanha ei a
 ASSONANCE IN GALICIAN-PORTUGUESE CANTIGAS 401

4
25 Poys que a guirlanda fez a pastor
foy-se cantando, indo-ss’én manselinho;
e torney-m’eu logo a meu cam o,
ca de a nojar non ouve sabor;
e dizia este cantar ben a pastor:
(i)
30 ‘Pela rribeyra do rryo
cantando ya la virgo
d’amor:
(ii)
“Quem amores á
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como dormirá,
35 ay, bela frol?” ’13
Tavani, as part of his metrical analysis, sees an overall, unpredictable
pattern in which the stanzas can rhyme with the songs and the songs with
each other:
‘Bem’ (l. 13), Stanza: rhyme with ‘pen’ (l. 15), Song.
‘Mal’ (l. 16), Song: rhyme with ‘avelanal’ (l. 24), Song.
‘Pastor’ (l. 29), Stanza: rhyme with ‘d’amor’ (l. 32), Song.
‘D’amor’ (l. 32), Song: assonance with ‘frol’ (l. 35), Song.14
But this account overlooks another possible pattern, equally valid and
perhaps more satisfying, that could emerge as follows. I suggest that MSS
pen (Song 2, l. 15) might not unreasonably be edited as ‘peno’.15 The word
would then assonate with ‘avelanedo’ (Song 2, l. 14), which would thus
cease to be ‘rima libera’.16 Further, sofrer / veer (Song 3) and á / dormirá
(Song 4 [ii]) could each be seen as in assonance. They are, after all, rhymes
of popular songs or popular-style cantigas de amigo. On this basis, the
cultivated poet describes his voyeuristic experience in rhyme (a cantiga de

sofrer / por amar amigu’e non o veer! / e pousarei so lo avelãal’ (78), developed in five further
stanzas with parallelism and leixa-pren.
13 Song 4 (i) is almost identical with Joan Zorro, ‘Pela ribeira do rio / cantando ia la
dona virgo’ (386), developed in one other parallelistic stanza. Zorro’s ‘dona virgo / dona
d’algo’, however, sings a different song: ‘Venhan nas barcas polo rio / a sabor’. For analogues
to Song 4 (ii), see Corpus de la antigua lírica popular hispánica (siglos XV a XVII), ed.
Margit Frenk (Madrid: Castalia, 1987), Nos 167, 296.
14 Le Poesie di Ayras Nunes, 65–66.
15 Cod. 10991, Biblioteca Nacional, Lisbon, 868, 869, 870; Cod. 4803, Biblioteca
Vaticana, 454. Nunes prints ‘pen[o]’ and comments: ‘nos tercetos a rima é toante no 1.º, 2.º e
4.º ..., consoante no 3. º’ (Cantigas d’amigo, III, 228).
16 Interestingly, in Tavani, Repertorio metrico, Song 2 appears as ‘e-o’, ‘al’ (141: 1, 143:
1-2, pp. 144–45).
 402 BHS, LXXVII (2000) JOHN GORNALL

amor?), whereas the shepherdess’ songs (cantigas de amigo?), by contrast,

are all in assonance (aax). What in sixteenth-century Castilian would be
called an ensalada shows the two rhyme systems, unusually, confronting
each other.

But it is of course in cantigas de amigo that the biggest distortion has

occurred. José Joaquim Nunes, having noted consonância (‘a mais usada’)
and assonância (‘só em cantigas de feição popular’), invented a third, hybrid
category: cantigas in which ‘dá-se o encontro das duas espécies’.17 Others
have turned to the concept of imperfect rhyme. Frede Jensen, for example,
claims that ‘assonance is limited to a few cantigas of a popular format’
[italics mine] (he cites Pero Gonçalvez Porto Carreiro, ‘O anel do meu
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amigo’ [262]), with assonances throughout). He proceeds:

Some poems show a mixture of rhymes and occasional assonances, but
such structures can hardly be judged deliberate innovations as Nunes
seems to believe. They do not appear to offer proof of anything beyond
the truism that even the best of poets occasionally let an imperfect
rhyme (rima pobre) slip by.18
In other words, ‘mixed’ cantigas are not in assonance but (allowances once
made) in rhyme. Again, Manuel Alvar describes Joan Zorro, ‘Mete el-rei
barcas no rio forte’ (387), also with assonances throughout, as employing ‘la
rarísima rima en asonancia’ [italics mine]. But the same poet’s
El-rei de Portugale
barcas mandou lavrare ...
El-rei portug[u]eese
barcas mandou fazere ... (384)
is seen as containing ‘rima imperfecta’.19 Alvar’s reason can only be that
the next two distichs are in rhyme:
Barcas mandou lavrare
e no mar as deitare ...
Barcas mandou fazere
e no mar as metere.
The net result of these approaches is of course that ‘in assonance’ is
limited to cantigas that contain nothing but assonances. If so (the reader
may be surprised to learn), there would be only four cantigas de amigo in
assonance: the two already mentioned (262, by Pero Gonçalvez Porto

17 Cantigas d’amigo, I, 422–23.

18 Frede Jensen, The Earliest Portuguese Lyrics (Odense: Odense U. P., 1978), 242–43.
19 Manuel Alvar, Las once cantigas de Juan Zorro (Granada: Univ. de Granada, 1969),
124, 108.
 ASSONANCE IN GALICIAN-PORTUGUESE CANTIGAS 403

Carreiro and 387, by Joan Zorro), Joan Zorro, ‘Pela ribeira do rio’ (386) and
D. Dinis, ‘Levantou-s’ a velida’ (20).20
This mistakenly doctrinaire statistic, involving almost as many poets as
poems, is in defiance of the use of assonance ‘on the ground’. For cantigas
de amigo containing assonances mixed with rhymes amount, in striking
contrast, to over thirty. In the list below, refrains have been ignored. The
figures on the right show the number of assonances and stanzas.

Cantigas de amigo with assonances and rhymes

D. Denis
‘Non chegou, madr’, o meu amigo’ (17) 1/ 6
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‘De que morredes, filha, a do corpo velido’ (18) 4/ 6

‘Ai flores, ai, flores, do verde p o’ (19) 6/ 8
‘Amad’ e meu amigo’ (21) 5/ 6
‘Para veer meu amigo’ (40) 1/ 4
‘Ma madre velida’ (63 recte 43) 7/ 8
D. Fernan Rodriguez de Calheiros
‘Madre, passou per aqui un cavaleiro’ (66) 1/ 3
Nuno Fernandez Torneol
‘Levad’, amigo, que dormides as manhãas frias’ (75) 2/ 8

D. João Soares Coelho

‘Fui eu, madre, lavar meus cabelos’ (122) 1/ 4
D. Afonso Sanches
‘Dizia la fremosinha’ (200) 3/ 4

20 Nunes’ list of cantigas that contain nothing but assonances includes, mistakenly
and puzzlingly, Nos 18, 21, 43, 220, 382; and ‘etc.’ (I, 423). In Giuseppe Tavani, Repertorio
metrico della lirica galego-portoghese (Rome: Ateneo, 1967), cantigas containing assonances
and rhymes are apparently sometimes tacitly recognized as in assonance. For example, D.
Denis, ‘Ai flores, ai, flores do verde p o’ (19), though it contains two rhymes (amigo / comigo
[stanza 3], amado / jurado [stanza 4]), is described as ‘i-o ~ a-o’ (26: 85, p. 73). And Joan
Zorro, ‘El-rei de Portugale’ (384), although, as we have seen, it has two rhymes (lavrare /
deitare [stanza 3], fazere / metere [stanza 4]), is none the less ‘a-e ~ e-e’, (37: 62, p. 87). On
the other hand, Nuno Porco, ‘Irei a lo mar vee-lo meu amigo’ (349) (amigo / migo; amado /
mandado; migo / vivo; despagado / endõado) is not ‘i-o ~ a-o’, but ‘igo / ivo ~ ado’ (26: 59, p.
71). And Meendinho, ‘Sedia-m’eu na ermida de San Simion’ (252) (Simion / son; altar / mar;
son / remador; mar / remar; remador / maior; remar / mar) is not ‘o ~ a’, but ‘on / or ~ ar’ (37:
32, p. 84). ‘In assonance’ is nowhere defined in the Repertorio, where the approach
(reasonably enough) is pragmatic.
 404 BHS, LXXVII (2000) JOHN GORNALL

Pai Gomes Charinho

‘As frores do meu amigo’ (220) 4/ 6
‘Ai, Sant’ Iago, padron sabido’ (225) 1/ 2
Meendinho
‘Sedia-m’eu na ermida de San Simion’ (252) 1/ 6
Airas Nunes
‘Bailemos nós já todas tres, ai amigas’ (258) 1/ 3
Pero Gonçalvez Porto Carreiro
‘Par Deus, coitada vivo’ (260) 1/ 4
Nuno Porco
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‘Irei a lo mar vee-lo meu amigo’ (349) 1/ 4

Joan Zorro
‘Per ribeira do rio’ (382) 3/ 6
‘El-rei de Portugale’ (384) 2/ 4
‘Cabelos, los meus cabelos’ (385) 1/ 2
‘Jus’ a lo mar e o rio’ (388) 3/ 4
‘Pela ribeira do rio salido’ (389) 1/ 2
Pero Meogo
‘Tal vai o meu amigo’ (413) 4/ 5
‘Levou-s’ a louçana, levou-s’ a velida’ (415) 3/ 6
‘Enas verdes ervas’ (416) 2/ 8
‘Preguntar-vos quer’eu, madre’ (417) 1/ 3
‘Fostes, filha, eno bailar’ (418) 3/ 4
‘Digades, filha, mia filha velida’ (419) 4/ 6
Martin de Ginzo
‘Como vivo coitada, madre, por meu amigo’ (483) 3/ 4
Martin Codax
‘Ondas do mar de Vigo’ (491) 1/ 4
‘Mandad’ ei comigo’ (492) 4/ 6
‘Mia irmãa fremosa, treides comigo’ (493) 2/ 4
‘Ai Deus, se sab’ ora meu amigo’ (494) 3/ 6
‘Eno sagrado, en Vigo’ (496) 2/ 6
Fernand’ Esquio
‘Vaiamos, irmãa, vaiamos dormir’ (506) 1/ 6
Of the roughly one hundred and seventy stanzas of these thirty-four ‘mixed’
cantigas, the assonances, fairly evenly distributed among the poems,
amount to about eighty.
 ASSONANCE IN GALICIAN-PORTUGUESE CANTIGAS 405

The thirty-eight cantigas de amigo (4 + 34) in assonance are, as we might

expect, largely popular in style, in the sense that they usually involve one
or more of the following: ‘distichs + one-line refrain’, ‘parallelism +
leixa-pren’, and folkloric symbolism and situations. But many equally
popular cantigas de amigo have rhymes only:

Some popular cantigas de amigo with rhymes only

D. Denis
‘Bon dia vi, amigo’ (16)
Nuno Fernandez Torneol
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‘Aqui vej’ eu, filha, o voss’ amigo’ (76)

‘Ai, madre, o meu amigo, que non vi’ (77)
‘Que coita tamanha ei a sofrer’ (78)
Estevam Coelho
‘Se oj’ o meu amigo’ (156)
Pero Viviaez
‘Pois nossas madres vam a San Simon’ (169)
Pedro Eanes Solaz
‘Eu velida non dormia, / lelia doura’ (236)
Bernal de Bonaval
‘Fremosas, a Deus grado’ (356)
‘Ai, fremosinha, se ben ajades’ (358)
‘Diss’ a fremosa en Bonaval assi’ (361)
‘Rogar-vos quer[o] eu, mia madr’e mia senhor’ (362)
Joan Zorro
‘Bailemos agora, por Deus, ai velidas’ (390)
Roi Martins do Casal
‘Rogo-te, ai Amor, que queiras migo morar’ (392)
Pero Meogo
‘A meu amig’, a que preito talhei’ (411)
‘Por mui fremosa sanhuda estou’ (412)
‘Ai cervas do monte, vin vos preguntar’ (414)
Martin de Ginzo
‘A do mui bon pareçer / mandou lo adufe tanger’ (490)
Martim Codax
‘Quantas sabedes amar amigo’ (495)
‘Ai ondas que eu vim veer’ (497)
 406 BHS, LXXVII (2000) JOHN GORNALL

El-rei D. Sancho I
‘Ai eu coitada!’ (512)
In some cases, the use of rhymes only must have been deliberate.
Bernal de Bonaval, for example, although composing four popular cantigas
de amigo and even two de amor, never uses assonance.21 On the other
hand, six authors of popular cantigas de amigo with rhymes only—D.
Denis, Nuno Fernandes Torneol, Joan Zorro, Pero Meogo, Martin de Ginzo
and Martim Codax—also composed ‘mixed’ cantigas. Thus, their (and
others’?) use of consistent rhyme might sometimes have been the result of
chance or, to put it another way, of a preference for morphological forms
(1st and 3rd person singular preterites and, particularly, infinitives, for
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example) that happened to involve rhyme.22 So dare I suggest that even

some cantigas de amigo with rhymes only are in assonance, in the sense
that rhyme may not have been an objective? In appropriate circumstances,
no swallows at all might make a summer.
‘Today scholars are inclined to lay more stress on the similarities
between the cantiga de amigo and the cantiga de amor than on the
differences’.23 As a corollary, the ‘carácter popular tradicional’ reflected
‘essencialmente pela cantiga paralelística d’amigo’ is described by Hart as
‘largely illusory’.24 But the scarcity of assonance in cantigas de amor by
contrast with its scope, as I hope to have demonstrated, in most, perhaps
nearly all parallelistic (popular) cantigas de amigo, surely suggests that
the more old-fashioned view expressed by Rodrigues Lapa may be nearer
the truth. The existence in the Galician-Portuguese Cancioneiro of two
distinct rhyme-systems has perhaps still not received the attention that it
deserves.

21 Cantigas d’amor, ‘A dona que eu am’ e tenho por senhor’ (210) and ‘A Bonaval quer’
eu, mha senhor, hir’ (213).
22 See, for example, Nos 77–78 (Nuno Fernandes Torneol), 392 (Roi Martins do Casal),
412, 414 (Pero Meogo), 490 (Martin de Ginzo), and 497 (Martim Codax).
23 Thomas R. Hart, ‘En maneira de proençal’: The Medieval Galician-Portuguese Lyric,
PMHRS (London: Dept of Hispanic Studies, Queen Mary and Westfield College, 1998), 36.
Remarkably, assonance, as far as I can see, is nowhere mentioned in this work.
24 Manuel Rodrigues Lapa writing in 1973 as quoted by Hart (35).