Rumanian Folk Music

NUMBER 5 IN THE NEW YORK BART6K ARCHIVE

STUDIES IN MUSICOLOGY

BENJAMIN SUCHOFF, Trustee

Rumanian Folk Music
VOLUME FOUR
 RUMANIAN
FOLK MUSIC
, ,
by BELA BARTOK

Volume Four

Carols and Christmas Songs (Colinde)

Edited by

BENJAMIN SUCHOFF

Texts Translated by

E. C. TEODORESCU

Preface to Part One Translated by

ABRAM LOFT

Preface to Part Two Translated by

ERNEST H. SANDERS

THE HAGUE
MARTINUS NljHOFF
1975
 @ I975 by Marlinus Nijhotl. The Hague. Netherlands
Softcover reprint o/the hardcover 1st edition 1975
All rights reserved. including the right to translate or to
reproduce this book or parts thereof in any form

ISBN-13: 978-94-010-1685-8 e-ISBN-13: 978-94-010-1683-4

DOl: 10.1007/978-94-010-1683-4
 Foreword

I n the first volume of Rumanian Folk Music (Instrumental Melodies)

portions of Bela Bart6k's subsequently-discarded preface, concern-
ing the fate of his folklore publications, are presented in explanation
of the editorial processes necessary for achieving the publication. 1 By
way of introduction to this revised edition of a previous, although in-
complete, published version of the Rumanian Carols and Christmas
Songs (Colinde), we refer again to the author's suppressed lines which
pertain to this volume:
The second publication by the same publisher was to include my collection of
Rumanian Colindas (Winter-solstice songs). Their extremely interesting texts were
supposed to appear in original as well as in English. After several years of delay,
the translation to English prose was completed, one part in adequate archaic
English, the rest (by someone else) in most unsuitable Kitchen-English. The
publisher did not wish to change this, though. Result: I published the book at
my own expense; however, only the musical part, because of lack of sufficient
funds. The texts are still in manuscript, even today.2

Our primary aim, therefore, has been to unite the Rumanian poetic
texts and translations with the musical part, in one volume, as was the
desire of the author. A second objective, motivated by the author's own
revisions of the Colinde,3 and enabled by means of years of experience
gained in editing the first three volumes of the present publication, was
to correlate the format of the music examples, poetic texts, and prefa-

1 Bela Bart6k, Rumanian Folk Music, ed. Benjamin Suchoff (The Hague: Martinus Nijhoff,
1967), Vol. I, pp. xxix-xxx.
I The two pages of this discarded draft, iii. Hungarian and English versions, are on file at the
New York Bart6k Archive. The publisher referred to is Oxford University Press (London).
8 That is, the first edition of Bela Bart6k's Melodien del' ,umanischen CoUnde (Weihnachts-
lieder) (Vienna: Universal Edition, 1935), hereinafter cited as abbreviated.

[ vii ]
 Foreword
tory material with that employed by Bart6k in the second and third
volumes of Rumanian Folk Music. What follows below, therefore, is a
comprehensive discussion of the source materials and the editorial pro-
cedures involved in the preparation of this volume for publication, and
a brief review of developments in the collection and treatment of Ru-
manian carols and Christmas songs that have appeared in available
sources since Bart6k's death in 1945.

As Bart6k states in his Preface to Part One, the Colinda melodies and
texts were collected by him in Transylvania,4 between 1909 and 1917;
part of them were published in 1913 (Bart6k, Arii din Bihor)5 and an-
other part in 1923 (Bart6k, Volksmusik der Rumiinen von Maramure$).6
The earlier publication, its first music example bearing the title Colindul
copiilor (Children's carol), is limited to a few general remarks about
Colinda songs. The M aramure$ book contains more technical informa-
tion on the subject, but-as the author observes- the small number
(twenty-seven) of Colinda songs published therein precluded a pene-
trating characterization. And Bart6k's published articles on Rumanian
folk music contain but fleeting reference to the Colinda material.7 It
should be noted that, in 1918, he apparently wrote a short essay about
the Rumanian Colinda songs, intended for inclusion with his composition
for piano solo titled "Rumanian Christmas Songs" (published by
Universal Edition, Vienna, 1918).8
In the first edition of the Colinde (p. VI) Bart6k advises the reader
that he deposited a complete copy of the poetic texts in the library of the
Hungarian Academy of Sciences, Budapest, and in the university libra-
ries at Basel and Amsterdam. The circumstances surrounding this de-
posit in particular, and the Colinde pUblication in general, form part of

4 Hungarian territory ceded to Rumania in 1920.

6 This abbreviated title, adopted for present purposes, appears (passim) in the music no-
tations section of the publication. Arii din Bihor contains twenty-one of the 109 Bihar melodies
appearing in Colinde. (See the editor's concordance of melody numbers on p. XXXIV).
6 Published by Drei Masken Verlag (Munich) in 1923 and hereinafter cited as "Maramure*."
In revised form, published as the fifth volume of the present publication, it is cited as "R.F.M.
Vol. V (Maramul'e~)."
7 These articles, collected and translated by Constantin Br3.iloiu, appear in Scrieri mal'unte
despl'e mUllica populara 1'0mtfneasca (Bucharest, 1937). Bibliographic details are as follows:
"A hunyadi roman nep zenedialektusa," Ethnographia (Budapest), 1914, also in Zeitschl'ift fur
M usikwissenschaft, March, 1920; •• Rumiinische Volksmusik," Schweillerische Slingerzeitung
(Berne), 1933; "Roman nepzene," Zenei Lexicon (Budapest), 1931; "Roumanian folk-music,"
A Dictionary of Modern Music and Musicians (London), 1924.
8 Letter from Bart6k to Universal Edition, dated April 11, 1918. The location of this un-
published article-if it is not lost-has yet to be determined.

[ viii ]
 Foreword
Victor Bator's introductory essay to Rumanian Folk Music. 9 Let us
proceed, then, to an examination of the source materials.

THE MANUSCRIPTS
The considerable number of drafts fall into two basic categories for
editorial purposes: Music (Part One) and Texts (Part Two). The first
category comprises those manuscripts related to the music examples, the
Notes to the melodies, and the prefatory and miscellaneous reference
material. The second category has to do with the poetic texts, the Notes
to the texts, the refrains, and the Introduction to Part Two.
The music examples.-The first draft, consisting of field recording
transcriptions for the most part, and on the spot notations made when
recording was not possible, was, excepting three reconstructed leaves
(mus. ex. Nos. 48, 62d., and 72) and two fragments (mus. ex. Nos. 104f.
and 112b.), left behind by Bart6k when he emigrated to the United
States in October, 1940. 10
The second draft is represented by the duplicate copies which were
prepared by Bart6k between 1925 and 1926 and sent by him to Oxford
University Press in London and to the Rumanian Academy of Fine Arts
in Bucharest. The latter copy is made up of fifty-six pages of music
manuscript paper written in ink (the Appendix-mus.ex. I-VI-is
lacking). There are numerous modifications-first in ink, then in red or
blue pencil. l l
The third draft is comprised of 106 pages of master sheets which are
exactly the same as reproduced in facsimile in the first publication of
the Colinde; it is on file in the New York Bart6k Archive. 12
The fourth draft is in the form of the author's own corrected, published
copy of the Colinde and in which were clipped six slips of music manu-
9 See Vol. I, pp. x-xiv, xviii ff.
10 Each of the editorially-reconstructed fragments and leaves is made up of two or three
slips of paper-the reverse sides containing references to Parry Collection variants-which
Bart6k had placed here and there in his Tabulation of Serbo-Croatian Material.
11 According to Professor Tiberiu Alexandru of the Institutul de Folclor, Bucharest,
Rumania (letter dated Nov. 22, 1964). The "Bucharest" MS. was received at the New York
Bart6k Archives after the completed editorial revision of this volume had been forwarded to
the publisher; nevertheless, a comparative study of its contents has been made, and the derived
data are included in this publication. The location of Part One of the London manuscript
(perhaps lost?) has yet to be determined.
12 In his incomplete foreword to this volume, the former editor, Constantin Brliiloiu (d.
1959), refers to a letter written to him by Bart6k, dated December 6, 1933, in which the an-
nouncement is made that retranscription of the recorded Colinde melodies had been accomplish-
ed and that about another two months woule! be the estimate for completion of the music
master sheets.

[ ix J
 Foreword
script paper containing the revisions of mus. ex. Nos. 1Oc., 81 d., 83a. var.,
8Sb., 92e., and 102i.13
The fifth draft, editorially revised, constitutes the version used in the
present publication. It was assembled from a copy of the Colinde publi-
cation and from the revisions contained in the fourth draft.
Notes to the melodies.-The English translation of the original publi-
cation of the Notes, editorially emended, forms the final copy used in
this revised edition (see tn. 11, above).
Preface and Introduction to Part One.-Here, too, the English trans-
lation of the publication served as the basis for the editorially-revised
present version.14
Miscellaneous reference material.-The tabulation of Statistical Data
Concerning the Output in Towns and Villages is discussed below (p. xii)
in the description of manuscripts of Part Two, where it originally ap-
peared. Bartok's pencilled marginal notes in his corrected copy of the
M aramure$ publication (pp. 1-9) offered a means of checking his re-
marks on Rumanian variants published elsewhere. Finally, his Tabu-
lation of Serbo-Croatian Material furnished additional data which were
incorporated with the revised listing of foreign variants. 1S
The poetic texts.-The first draft of the music examples is also that of
the Colinda texts.
The second draft of the texts, like the melodies, was prepared by
Bartok between 1925 and 1926. The London copy consists of sixty pages
in Bartok's hand, in Rumanian, neatly written in blue ink with a narrow
pen. This copy contains, throughout, the semivowels i and 1j. In 1933
or 1934, during or following the re-transcription of the entire Colinda
material (see fn. 12, above), he revised the MS.; indeed, the numerous
emendations appear in variegated autography.16 The Bucharest version,
however, has 502 pages; here the text lines are arranged in single column
form and on one side of each sheet, all written in ink and with few
revisions (see fn. 11, above). The orthography of the Rumanian Academy

13 The few corrections, made in red crayon, are limited to the music examples; in fact, they
encompass corrections and additions to data sections only.
14 In view of Bart6k's practice in Rumanian Folk Music it seems reasonable to conclude
that he may have prepared preliminary Hungarian and German handwritten drafts prior to
completion of the 1926 London and Bucharest copies. Regarding the probability of typescript
versions, see the description of the prefatory drafts of Part Two, below.
15 See the editorial remarks concerning this material on pp. xxii, 30, and 35-36.
16 A duplication of page numbers, written in black ink by a translator, Lucy Byng, also
appears in the draft (pp. 41-60). It should be noted that the cover page bears the author's
comment that the texts "from No. 105g. on are missing."

[x]
 Foreword
is observed (that is, without indication of semivowels) in Text Nos. 1-
IOSf.1 7 There are two typescript pages of text No. IOSa., amended by
Bart6k, which were added at a later date (see the explanation, below,
concerning the partial copy of the third draft of the texts).
The third draft consists of three complete and one partial typescript
copies in Rumanian; their description is as follows:
I. pelddny (1st copy): deposited by the author in the Magyar Tudo-
manyos Akademia Konyvtara, Budapest; it contains his handwritten
corrections and additions. Cited here as 'Budapest'.
2. pelddny: deposited in the UniversWits-Bibliothek, Basel; a carbon
copy, corrected as before. 1S Cited as 'Basel'.
3. pelddny: deposited in the Universiteits-Bibliotheek, Amsterdam;
a carbon copy, corrected as before. Cited as 'Amsterdam'.
The pagination of the Budapest copy is, excepting a few pages, typed
to p. 149. Thereafter, the pages are numbered in Bart6k's hand.
The Basel and Amsterdam copies are the same as the Budapest version,
but with the exception that an unnumbered page (text no. 10Sg.) ap-
pears between pp. 149 and 150. 19
Three leaves and four fragments (portions of text Nos. IOSa., IOSb.,
IOSc., and 10Sd.; in the form of original and carbon copies) were recon-
structed from Bart6k's Tabulation of Serbo-Croatian Material (see fn. 10,
above). Excepting three fragments, all contain the author's emen-
dations; indeed, text no. IOSa. shows the entry I. pelddny. Bart6k ap-
parently had these texts typed in Budapest (e. and f. variants, too?),
and he may have sent the leaves containing text No. IOSa. to Bucharest
(in January, 1932) as a format sample from which to prepare typescript
copies of text Nos. 105g.-141.20
The fourth draft is comprised of those text portions underlying the

17 Letter from Bart6k to Constantin Briiiloiu, dated Jan. 13, 1932. Also lacking are the
ruled double-lines used to indicate text lines which underlie their respective melody sections in
the music examples. Text Nos. IOSg.-141 (end), on the other hand, contain emendations in
Bart6k's autograph, including semivowel diacritical marks and ruled double lines. This portion
of the MS. (missing from the London copy), together with the similarly emended text Nos. 1-
10Sf. of the London MS., comprise the source material from which the third, typescript draft
(description follows, below) was made.
18 It was the intention of C. Brailoiu to use this copy for printing purposes in the present
volume, hence his handwritten additions here and there in the manuscript.
19 In the Budapest copy p. 149, originally containing only the fifteen lines of text No. 105£.,
shows text No. 10Sg. mounted thereon.
80 According to his letter to C. Briiiloiu, Jan. 10, 1932. In a letter to Oxford Univ. Press
(Nov. 2, 1934) Bartok states that "there are now 4 copies of the words at our disposal." It
seems safe to assume, however, that he alludes to the second, subsequently-revised and com-
bined London-Bucharest draft as the fourth copy.

[ xi ]
 Foreword
revised melodies in the author's corrected copy of the Colinde (that is, the
fourth draft of the music examples.)21
The fifth draft, brought by Bart6k to New York in 1940, is a carbon
copy of the complete texts which are orthographically treated according
to procedures used by Bart6k in Vol. III (Texts) of Rumanian Folk
Music. Furthermore, font and format of this draft differ from the typed
copies described above, and it contains none of the author's handwritten
corrections. 22
The sixth draft is the typescript copy prepared by the editor as the
final version for the present publication.
Introduction to Part Two.-So far as this manuscript survey is con-
cerned, the first draft is considered to be the preceding portion of the
second (that is, Bucharest) draft of the poetic texts. It comprises twenty-
seven pages, in German and in Bart6k's holograph, and it includes the
Preface, Notes to the Texts, Index of Refrains, Index of Towns, Villages
and Performers,23 and Table of Contents.
The second draft is represented by the copies of the third (Budapest,
etc.) draft of the texts, all in German and in typescript form. The proper
part-that is, the discursive matter and the bibliography-appears on
pp. 60-71; the Notes to the Texts, pp. 72-74; the Index of Refrains, pp.
75--84; the Index of Towns, Villages, and Performers, pp. 85-93; and the
Table of Contents, pp. 94-95. It should be noted that the last two pages
appear only in the Amsterdam copy and that the missing pp. 1-59
encompass the prefatory material of Part One. 24
The third or American draft (that is, the fifth draft of the poetic texts)
is for the most part the same as the first. Exceptions: the pages are
numbered from 1-31 and the Table of Contents is lacking (lost?).
The fourth draft, prepared from the English translation of the Basel
copy, is the editorially-revised present version. 25
Notes to the texts; Refrains.-Since this material was originally part of

Sl It is curious to note the concurrent use of old and new orthographical procedures here
(see fn. 30, below).
sa The draft shows corrections and additions by C. Br1iiloiu and the present writer. Infor-
mation concerning the original copy of this draft is lacking.
28 There is a second, revised version of this Index, also in the author's holograph (10 pp.),
which was probably added to the MS. by C. Briiiloiu.
a4 In a letter to Oxford University Press, dated July 2, 1934, Bart6k writes that he had
sent "95 typewritten pages (the Introduction, explanations, etc., in German, of my 'Rumanian
Xmas Songs') through R6zsavOlgyi from Budapest" a few days before. The Table of Contents
was intended to serve both parts of the Colinde book.
as The proper portion of the English introductions to Part One and Part Two had been
checked by C. Brailoiu prior to the present writer's assumption of the editorial function.

[ xii]
 Foreword
the Preface, the same description applies as set forth in the preceding
discussion of the Introduction to Part Two.

EDITORIAL TREATMENT OF PART ONE

As Table I shows, the bulk of corrections is concerned with the data
and with the underlying texts of the Colinda melodies. In most cases the
corrigenda were derived from a comparative survey of the various text
drafts, the Bucharest (second draft) MS., and the author's corrected
copy of the published melodies. Wherever it has been considered ap-
propriate, particularly in those cases involving corrigenda which are
editorial in origin, explanations are offered in the form of marginal
notes.

TABLE I
CORRECTIONS OF THE MUSICAL PART

Melody No. IStaff IMeasure I Description

7a. Caesura desig. 0, to read 6,

lOb. I I 3 t'inerial to read t'ineqel
IOc. Data Plus sign deleted from record designation
I 1 Fericean to read feril1an
12b.
12d.
2 I
Data
3 pl'ecato to read pl'ecaty
F. 1028d) to read F. 1028b)
12f. 1 2,4 plecato to read plecaty
12bb. 2 5-6 ciul10ri to read §iul1ori
20 1 2 Loamn~a to read Doamnea
21b. 2 1 bunu to read bunu-i
21c. d. 2 3 da.n to read din
21m. 1 2
2 1 Same correction as No. :ub.
21n. 1 6 de to read da
21x. 1 2 .I to read J'
26a. 1 6 'ntreba to read 'ntreby
26b. 3 5 vinu to read vinul
31 1 1 Potbale to read Podbale
36 1 3 cer' to read ceri
45j. 1 1 1sos to read 1sus
1 2 zor to read zori
1 3 cer to read ceq
1 4 pogoratu to read pogority
45v. 2 4 adevarata to read adevarata
52b. 1 4 marea to read mare
53a. 1 3 hyphen deleted in 'n-ceriu
56b. 1 6 d'un to read un

[ xiii]
 Foreword
(continued)

Melody No. IStaff IMeasure I Description

57 4 p!m!ntuluiu to read pam!ntuluiu
61d. 1 se to read sa
61e. 2, 7 un to read on
61 1. Text No. 61 1. to read 58d.
67b. 2 1 losif to read 10sM

I
70 1 3 da to read dai
73p. 3 5 Ie to read ma
73dd. ee. Data (Turda Arie~) to read (Alba de jos)
73gg. Data F. 876a. to read F. 976a.
73mm. 2 5 verd'~a to read verd'ea
74a. 4 5 sa m'ajungi to read sii-mi ajungi
75b. 1 2 Bar line deleted between second and third beats
81a. 2 ~ 28 to read Y!J
81d. Data Plus sign deleted from recO'Yd designation

81j.
I 4
Data
d'ochip to read d'ot'iWi
VII. to read VIII. .
83a. Data 10 tOe) + to read 10lOc)·
83b. 3 I 4 3) 27 to read 4)
85b. Data Plus sign deleted from recO'Yd designation

86£.
I 1,2
Data
Por!ncito to read Por!n~ito
XIII. to read XII.

I
86g. 4 vWtel'e to read vinetel'e
92a. 1 colo 'n to read colo
92c. 5 a~tea to read ahe~tea
92e. Data Plus sign and asterisk deleted from F. 1010£)
95£. 6 de to read dii
97-
l00f.
102£.
I 5-6
1,4
Caesura desig.
Romi'Q.oara to read Romin'Q.oara
m!i to read mai
ill 28 to read ~
1 1 naltu to read naltui
102h.
102i.
1 I
Data
6 di'n to read in
Plus sign and asterisk deleted from F. 10lOe)
1021. I 6 cu~-a to read curtea
F. 1562c) to read F. 1600c)
l04f. Data
l04g. 1 5 Xiy to read §iy
l04h. 1 6 Domnul to read Domnu
106
117a.
2 I
Data
2 dash deleted from calului-
Cook to read Cooc
119 Text no. 64 to read 64a.
121p. 1 I 1 3/4 to read 7/8

28 The cadential tone of the first melody line, correctly labeled by the author in the caesura
designation, is indeed e1 •
17 An erroneous duplication which, if left uncorrected, would fail to account for the footnote
figure in the last measure of the melody.
a8 The main caesura, correctly labeled by the author in the fifth measure of the melody, is
indeed ca.

[ xiv ]
 Foreword
After Bart6k had achieved the publication of the melodies of his
Colinda collection, he found the previously-missing phonograph cylinder
(F. 1010) on which were recorded mus. ex. Nos. lOc., 81d., 83a. (in part),
8Sb., 92e., and 102i. 29 These melodies were transcribed sometime after
the discovery of their recording, and the transcriptions were clipped to
their pertinent pages in the author's corrected copy of his Colinde
book. 3o In preparing his revisions for the present publication, it was
only necessary to make certain additions 31 (see Table 2, below) and to
delete the data-section plus sign which he used to indicate the missing
phonograph cylinder.
Regarding the tabulation of melody additions (Table II, below), ex-
planatory marginalia are delimited, for the most part, to those editorial
addenda which the present writer has regarded as perhaps requiring such
treatment. As a matter of convenience, listed here are those music
examples containing editorially-derived, parenthetical text numbers: 2,
3c.,Sb., 21e., 27, 39, 45m., 45p., 62v., 71c., 81h., 86h., 87c., 93, 9Sh., IISc.,
116, 121i., 121j., 128b., 131, 132a., and 133. The explanation for these
additions will be found on p. 39 (fn. 7S).

TABLE II
ADDITIONS TO THE MUSICAL PART

Melody No. IStaff IMeasure I Description

lb. 2 1 1) -
2 1 6 * to read ..32
3b. 2 4 2)
Th. 1 4 IVIII88
IOc. M.M. desig. [.J = 100-108]34
2 I 1 **82
29 According to C. BrAiloiu's marginal notes to this volume, a letter to him from Bart6k,
dated Nov. 11, 1935, indicates that the latter discovered another phonograph cylinder con-
taining mus. ex. No. 106. This melody, it should be noted, was not found in revised form in the
author's corrected, published copy of his Colinde book.
80 The first four melodies are notated in blue-black ink; the text portions are in old-style
orthography. Text corrections of these melodies, in blue ink, contain revised diacritical marks
(that is, the inverted breve)! Mus. ex. Nos. 92e. and 102i. have music and text parts in blue ink;
both transcriptions have their texts in revised orthographical form. (See fn. 21, above).
81 The author neglected to add caesura signs and designations, data sections, tempo desig-
nations, and a refrain mark.
38 See pp. xix-xxi, below, for comments concerning editorial treatment of the Notes to the
Music Examples section.
38 Derived from the author's caesura designation.
84 The metronome mark is missing from the revised version of this melody, hence the use of
brackets.

[ XV]
 Foreword
(continued)
Melody No. I Staff IMeasure I Description

12b. 2 7)
12e. 2 1 [IP3

16c. 5 @33

17 Caesura desig. @l35

20 1 2 Brace and underlying l.r.

1 3 2.r.
21z. 1 2 *32

33b. 2 2 ~33
45k. 2 triplet bracket
45p. Numer. desig. *32
45v. Data Kuba B.H. 581, 913; Kuhac 878 36
61g. 2 I 1 Double bar line
62b. Caesura desig. 8,5,8, VIII ~37
62ee.
I 3 TI 33
64b. Caesura desig. @l35

69 2 6 4)
73j. 2 3 6)
73z. 2 2 @l33

73jj. 2 2 4)-
2 4 ~33
2 4-5 5)-
2 8 6)-
74b. Caesura desig. (8 + 8,)38
1 2 ~VII

81a.
2
I 2
Var. data
I~VII
(Hunedioara)
82a. 3 I 14 bass clef sign
86e. Data F.I005d)
86h. Caesura desig. [!] 35
87c. 1 4 Slur to beamed sixteenth notes
92c. 1 1 'n
92e. 1 I 3-5 Brace and underlying r.

35 Derived from the author's caesura symbol in the melody.

36 Derived from Bart6k's Serbo-Croatian "Tab. of Mat." For further details, see List of
Foreign Variants, pp. 35-36.
37 Syllabic strncture derived from Table 1; caesurae derived from the author's symbols in the
melody.
38 Placement of symbols derived from the author's caesura designation prompted editorial
addition of the parenthetical syllable figures. For validation of this procedure, see the author's
discussion of double lines on p. 11.

[ xvi]
 Foreword
(continued)

Melody No. I Staff IMeasure I Description

92e. M.M. desig. [J= 246 (J = ?)]39

99a. Data • to f'ead .*32
102c. 2 7 stem added to note head
102i. 1 3-5 Bf'ace and und61'lying r.
106 1-2 1-4(1) Bf'acB and und61'lying r.
107a. 2 1 [!J33
111c. 2 3 r.
115c. 82 Data • to f'ead •••
1 2,4 •
11632 1 1 • to f'ead ••

120
2 I 7
Numer. desig.
•• to f'ead •••
.32
121p. 1 I 2 3/440
128a. Caesura desig. Il ~ ~35
OMISSIONS

Mus. ex. No. 68 lacks the reference figure 1) at some point above the
second staff of the melody. The music example and its corresponding
text are not in the Bucharest (second draft) MS.
In mus. ex. No. 12c. the illustrative notation is missing from the first
and fourth measures of the marginal notes (staff 3).
TABLE III
MISSING DATA AND TEXTS
(Melody Nos. in Italics Indicate an Explanation is in the Notes)
Pitch, M.M., and Record No.1 Pitch IPerformer I Texts M.M.
3c., 8, 9, 12g.j.s.u., 16c., 17, 7a., 12k., 17, 45e., 53b.,
21b.m.n., 27, 37c., 38a.b., 21e.k.l.x., 61b.d., 46b., 92e. 42 ,
45e.m., 46b., 47, 48, 53b., 54, 23b., 29, 68b. 47, 106.
61b.d.l., 62d.s.y.gg., Me., 31d., 37a., 42b., 59c. 41 ,
66a., 68b., 73d.m.ff., 77a., 45b.f.k.v.' 49, 7311·41,
79a., 81j., 86d., 93, 94a.b., 53a.b., 61c.e., 78b.
95f.,98, 104e.k., 111b., 115c., 62a.x.ee., 63.
117b., 118b., 119, 121h.j.n., 71b.c., 73f.u.x.,
132b. 8lf., 82b., 86g.,
95a., 96,
100b.g.h., 109,
114b., 115b.,
117a., 12lf.
at The unrevised version of this melody has a 6/8 time signature.
40 Editorial addition required because of correction of meter sign in the first measure (see
Table I entry for this melody number).
41 Contains the refrain only. 48 In the revised melody. See Table II.

[ xvii]
 Foreword
In the following music examples the reference figures and their illustra-
tive notations are missing from the marginal notes: No. 73bb. [2)],
81a. [2)J, 9Sb. [I)J, 102c. [2)], 107d. [4)J, 121a. [2)J. In the Bucharest MS.
melody No. 121a. shows this marginal note, designated with I), where 2)
now appears: ~
Table IV shows those diacritical marks, and so forth, whose addition
derives from the comparative survey of extant text drafts.

TABLE IV
TYPOGRAPHICAL ADDITIONS TO THE TEXTS IN PART ONE

Description Mus. ex. No.

Inverted breve . 5a., 12e.l.t.w.y.z.bb., 2Ij.-I., 27, 32, 45a.k.,
57, 62i.dd., 73x.gg., 74a., 8Ia.d.i., I02i.,
104c.-e.g., 121i., 132a.b.
Breve . . . . . . . 26b., 45i., 62t., 75b., 93m.
Cedilla . . . . . . 38b., 75b., 83c., Ilia.
Apostrophic accent. 62f., 114c., 121e., I32b.
Grave accent. 21z., 25, 73p.
Inverted caret 121f.
Circumflex. . 67a.b.,73i.
Capitalization 2lf., 25, 52a.-d., 71a., 107a.e.
Wavy underline 12y.43, 23b. 44, 12Ib.f.44
Here and there in the melodies appear short underlines which desig-
nate syllable extensions. 45 These designations are editorial additions
based on procedures followed by Bartok in Vol. II and derived from a
comparative survey of the text drafts.
In concordance with punctuation employed in the texts, all refrains in
the music examples are terminated with exclamation points.46
Mention has been made (above) concerning six melodies revised by
Bartok subsequent to the publication of the first edition of the Colinde.
The portion of mus. ex. No. 83a. found by the author on M.F. 1010
represents a variant (text No. 21) of the notated melody (M.F. 1009, text
No. 28g.). It is quite probable that the author would have indicated the

43 Supernumerary additional syllable (see the author's explanatory discussion of this

phenomenon in Vol. II, p. 32). The sixth measure of mus. ex. No. 73p. shows this type followed
by a pseudo-upbeat syllable.
44 Pseudo-upbeat syllable (see comment in preceding footnote) .
45 In the unrevised text drafts the syllable extensions are enclosed in parenthesis, a denota-
tion which the author later changed (Vol. III, passim) to the underline.
46 It should be noted that C. Brailoiu made a number of corrections of punctuation in the
American draft of the texts.

[ xviii ]
 Foreword
revised variant by means of appropriate reference figures and marginal
notes added to mus. ex. No. 83a. For certain reasons, one of them to
provide the reader with an opportunity to examine Bart6k's autograph
of a Colinda melody, a facsimile of the mentioned variant is presented
instead:
~.fO{O q

,:K 'll~ tr,~r~Y p' ft., o'r f I'. 1&0 P' ~iPi'ilEti h
1.
1

&b t? G' f' l' ·1 J' II f l' ¥IF II

A final word with regard to alteration of format: data section, aster-

isk, and caesura-designation placement; addition of classification symbols
to each page of melodies; and removal of variant listings to the Introduc-
tion have been made in order to correlate notational procedures in this
volume with those used by the author in Vol. II of the present publication.
In the following list of missing explanations to the music, melody
numbers in italics indicate that an editorial addition-in the form of a
suggestion as to what may have been the author's intended remark-
will be found in the Notes to the Music Examples: 450.*, 62e.*, and
62g.*.47
The enumeration below offers explanatory remarks concerning other
editorial emendations in the Notes:
47 The first edition of the Colinde publication lists variant h.-which shows no asterisk-
as a change song. Variant g., unlisted in the first edition, has an asterisk and is sung by the
same peasants who perform the change song listed as variant i.

[ xix ]
 Foreword
lOc.**: Comment was derived from the author's note "1 Var. (egyikl)"
in the sixth measure of the revised melody.48
45n. *: The figure denoting the number of melodies in the cycle was
changed from 5 to 6.
8Id.*: Use of the revised melody necessitated change oftherhythm
pattern from:J .I.1J to ~gJ J.J.';. The author erroneously quotes the
second measure (changed to read "fourth") in the original note to this
melody. The references to the lost recording and the double asterisk
indicator, no longer valid, were deleted. 49
83a.*: Use of the revised melody necessitated deletion of the original
note. 50
92e. *: Same remark as to 83a. *.
93**: Text stanza 2, originally printed as part of this note, has been
transferred to the Addenda section of the Texts and Translations as the
continuation of text No. 155.
95h.*: Text stanza 2, originally printed as part of this note, has been
transferred to the Addenda section of the Texts and Translations as the
continuation of text No. 156.
116* : The second and third text stanzas, originally printed as part of
this note, have been transferred to the Addenda section of the Texts and
Translations as the continuation of text No. 158.
121 j. *: The listing of Cantec de stea texts in the original note shows a
duplication of variant h. This typographical error has been corrected by
substituting k. for the repeated h.51
The note to 88b. *, reproduced in the Notes exactly as worded in the
original version, either is in error or lacks further explanation. For ex-
ample, if both groups "begin with the last tone" of the four-measure
melody, and "close with the third measure," what is the function of that
part of the melody and its underlying text contained in the last measure?
Examination of the Bucharest MS., in which Bartok has notated the
melody on two staves, discloses that Group I. begins with the refrain,
sings the proper text line, and closes with the refrain. Group II., entering
on the penultimate tone sung by Group I., begins with the proper text
48 It is perhaps an inadvertency that the author makes no reference to the lost recording
(M.F. 1010, marked with the plus sign), in his published note to this melody.
49 The revised melody contains no indication with regard to its performance as a change
song.
60 The required asterisk is missing from the data section of the first version of the melody.
51 The text (No. 104h.) to mus. ex. 121k. illustrates to a high degree the author's description
of Cdntec de stea texts (Preface to Part One, p. 2): lack of refrain, influence of Western
European poetry, and psalm·like ending which indicates a borrowing from ecclesiastic sources.

[ XX ]
 Foreword
and concludes with the refrain (as notated in mus. ex. No. 88b.). Group 1.
returns in the same fashion and with the same melodic line as Group 11.,
excepting that the refrain (junelui iunela~u!) is shortened from two
measures to one (junelujl). What occurs thereafter, indicated by Bart6k
with "etc.". is unknown.
The original note to 102i. *, concerning the missing record and the
probable omission of the upbeat in subsequent stanzas, has been deleted.
The revised transcription, based on the recovered recording, clearly indi-
cates a pseudo-upbeat tone in st. 2.
The note to 116*** (originally marked with two asterisks) seems
unclear as presently phrased by the author.

Editorial treatment of the author's prefatory essay to Part One

(Melodies) of this volume has been heedful of diverse problems such as:
(a) selection of an appropriate title for the work, (b) errata in and revi-
sions of tabulations and listings, (c) format, and (d) miscellaneous emen-
dations derived from the revisory process.
a) Title selection.-In view of Bartok's inconsistency regarding desig-
nation of the Colinda material in his published and unpublished folklore
studies in the English language, it was decided to construct a title which
would adequately yet succinctly describe content and which would
indicate, too, the connection between the original and revised versions:
Rumanian Folk Music: Carols and Christmas Songs (Colinde).
b) Tabulations and listings.-In Table 1, Subgroup BIll g), the refer-
ence figure for marginal note 9 (present no.: 27) is missing from the
original publication. Examination of the melodies indicates that the
reference figure 7 (present no.: 25), erroneously affixed to melody
designation 80-93, should be replaced by the missing reference figure.
Accordingly, the correction has been made. In Subgroup B III h) the
erroneous melody designation 195 was changed to read 105.
In the Additions to the Melodies section (original publication p. XVI)
the numerical designation for Maramure1 mus. ex. Nos. 11 and 12 were
interchanged, as they presently appear, in accordance with Bart6k's
note to those melodies in Vol. V.
In Table 2, the total for the number of melodies and variants has
been corrected from 477 to 481.
In Table 3, the omission of a total for the number of melodies and
variants may have been an inadvertency in the original publication.
The figure 418, therefore, represents an editorial addition.
[ xxi ]
 Foreword
The original, misnumbered list of Alba de jos change songs has been
corrected from 2, 12t., 39, 61c., 64v., 87g., 88c.d., 89b.c. to read 2, 12v.,
39. S9c., 62v., 86h., 87c.d., 88b.c. 52
There were a certain number of discrepancies in the tabulation of
statistical data (see also under c) Format, below) whose correction is per-
haps worthy of discussion here.
Bihor: Although the village totals are not affected in the revised
tabulation, the manuscript drafts show mus. ex. No. 9Sf. var. listed for
both Coticlet and-correctly- for Urvi~. Mus. ex. No. 73b, however, is
an Urvi~ melody which was inadvertently omitted from the drafts. An-
other erroneous listing for Coticlet, in the drafts, is 10Sc. (mus. ex. No.
lOS has no variants) which should read lOOc.
Cluj: The drafts give a total of 3, instead of 2, for the number of villages
represented from this county.
Hunedioara (Hunedoara): The 87c. (Petro~an, Alba de jos) listing
under the village of Paucine~d should read 86c. The lapse, however, does
not affect draft or revised tabulations.
Mure~-Turda (Mure~): The 4Sc. (Niere~teu) listing under the village
of Bala should read 4Sd.
Torontal: The drafts show the figure 14 as the total number of melodies
stemming from the village of Sarafola. This figure has been changed to
read 13 in the revised tabulation, since mus. ex. No. 100a. (Igri~) is in-
correctly placed as a Sarafola melody.53 Moreover, the number of Igri~
melodies has been increased from 12 to 13 in the revised tabulation,
since mus. ex. No. 111 d.-an Igri~ melody-was not listed in the drafts.
The total number of melodies for the county, of course, remains un-
changed.
c) Format.-Three procedures followed by the author in the second
volume of Rumanian Folk Music have been adopted for use here. First,
listings of Rumanian and foreign variants, formerly appearing under
their respective music examples as part of data sections, have been
assembled into separate tabulations as part of the prefatory material.
Included here are those M aramure$ Colinda variants which had been
placed in a special tabulation in the original pUblication (p. XVI) and
those foreign variants derived from the author's Tabulation of Serbo-
Croatian Material which he completed in July, 1942. Second, those por-

52 P. XXX in the original publication.

53 It should be noted that the melody is listed twice in the drafts; the first and proper
appearance is that under the village of Igri~.

[ xxii ]
 Foreword
tions of Bart6k's prefatory essay which are summary in nature have
been placed at the close of Part One under the title of Conclusions. 54
Third, the statistical data (described in the preceding paragraphs) were
removed from Part Two and revised as presently constituted.
d) Miscellaneous emendations.-Marginal notes in brackets represent
editorial additions. Many of them relate the Colinda publication to later
Bartok studies. Others explain deletions of text matter resulting from
the posthumous publication of the author's works which were formerly
in manuscript, and so forth. 55
It will be noted that the bibliography of works cited in Part One is
considerably larger than that of the original edition, for the most part
because of the editorial inclusion of studies which had only been cited
in the marginal notes. Here, too, bracketed entries represent editorial
additions.
Revision of format also brought about the inclusion of certain head-
ings and subheadings in addition to or in place of those contained in the
original edition.

In his discussion of the characteristic features of the Hunedioara

(Hunedoara) and Alba de jos areas, the author refers to certain scale
patterns-in the original edition- in Table 2 as being characteristic for
that REGION. Examination of the thirteen quoted music examples in the
tabulation, however (patterns 1.,3.,5., and 7.), show that all stem from
the county of Hunedioara. The county title, therefore, has been substi-
tuted for the general designation.
With regard to the Explanation of Signs Used in the Music Notations
section, revision of the music examples required a certain amount of
alterations of or additions to the original text matter. The emendations
made were derived exclusively from similar sections in the first two
volumes of the present publication.

EDITORIAL TREATMENT OF PART TWO

Comparative study of the various drafts of the poetic texts disclosed
a rather large number of dispancrecies; in fact, the uncorrected American
54 Rather than a detailed editorial description here, the interested reader is invited to make
his own comparison of new and old editions.
55 In a number of instances reference to specific page numbers has been omitted, because of
production problems involved with the other volumes of the present publication. It should be
added here that certain marginalia (for example, fn. 8, p. 8) were derived from other, later
Bart6k studies.

[ xxiii]
 Foreword
(fourth) draft shows more than 1,300, the Basel copy (third draft) about
half that number, the Amsterdam copy still less, and that of Budapest
approximately 500. (The Bucharest MS. [the second draft], written
specifically in accordance with the orthography of the Rumanian Acade-
my, was of limited value in the comparative study.) The bulk of the
discrepancies involve errors of omission which, in turn, are for the most
part concerned with diacritical marks. All arise out of Bart6k's attempt
to achieve authenticity of notation by observing as far as possible the
rural pronunciation of the texts. Unlike the texts of Vol. III of Rumanian
Folk Music where, for example, the semivowels i and,!! are used only
exceptionally in the DICTATED portions, the Colinda texts include
everywhere the gamut of the author's system of diacritical marks. 56
Fortunately for the editorial process, there are comparatively few
instances in which all of the drafts omit the same semivowel in a given
text line. In such cases, and where no solution is provided by the re-
spective music examples, determination of catalectic (that is, with a
truncated foot) or acatalectic text lines has been made on the basis of the
metrical structure of the translations. 57
TABLE V
CORRECTIONS OF THE TEXTS
Text No. I Line IWord I Description
19. 23 2 Inverted Iweve deleted from third vowel
66 1 " to read = 58
9 2 3 : I moved from here to end of first text line
lOb.
50}
55 Line-counting figures moved down one line to present
position
60
15 1 6 Josu to read Josui
21 2 3 ~-o to read C~-o59
23b. 19 20 deleted as line-counting figure
31c. 7 5 moved up from here to present position
50b. 6o 1 1 Fericean to read Fe~an
4 2-3 I-at fericiaty to read l-a feril1aty
53d. Refr. Mel. 34 deleted61
66 Concerning the delimitation in Vol. III see the author's explanatory remarks on pp.
xli-xlii there.
67 See Vol. II, pp. 2-5, and E.C. Teodorescu's note to the Colinda translations (below, p. 217).
68 The double dash-the author's later (Vol. III) replacement for the quotation marks-
indicates a secondary quotation.
68 Derived from the author's revised mus. ex. No. 83a.
80 Derived from the author's revised mus. ex. No. lOc.
81 A misprint resulting from the author's failure to strike out the melody designation along
with the non-applicable second refrain.

[ xxiv]
 Foreword
(continued)

Text No. Line 1~_o_rd----,-I_ _ _ _ _ _ _ _ _D_e_sc_r_ip_t_i_o_n_ _ _ _ _ _ __

59c. Refr. 5 Doamne to read Doamn'
68b. 9 10 moved down from here to present position
72 62

1~1
15
20
Line-counting figures moved up two lines to present
position
25
30
83h. 25 25-30 to read 25-31
36 35 moved up from here to present position
84b. 63 2 4 maslinu to read maslina
84c. 64 1 7 sus to read susy
84k. 1 4 n'auzi to read n'audzi
84p. 9 10 moved down from here to present position
fn. 1 zeu to read zau 65
95k. Line-counting figures moved up one line to present
1~ } position
96a. 9 10 moved down from here to present position
96b. Refr. 1-2 Domnul Domnula nostru! to read Domnul Domnula
{ nostry!66
nost'!
p. I rn:-I 67
98f. 1 4 'ntrebu : I to read 'ntrebu : I 'ntreb,
99h. 5
10
15 Same remark as to No. 72
20
99i. 5 Line-counting figures moved up three lines to present
10 position
101e. 5 Line-counting figures moved up two lines to present
10 position
103h.
105h.
105j.
4
15
1 4
11
5 moved down from here to present position
to read 15
Craciun to read Craciuny
3,9 2 Sfanta to read Sfant' 68
3,9 4 Josaf to read rosaf

62 In this case and others listed here, the author neglected to change the position of the
line-counting figures after he had added verses to the previously-completed second (hand-
written) draft. The third (typescript) draft duplicates the error of the preceding one. It should
be mentioned here, however, that in a number of cases such errors were corrected by Bart6k.
63 Derived from the author's revised mus. ex. No. 92e.
64 In mus. ex. 104a. the footnote for the Chinci~ variant (text No. 84c.) indicates no trun-
cation of the last foot in the first melody section, hence the editorial addition of the extension
syllable.
65 Correc ted by C. Briiiloiu.
66 In accordance with the repeated refrain in mus. ex. No. 111c.
6? In accordance with the second melody section of mus. ex. No. 26b.
68 Otherwise nine syllables! (Cf. line 15.) See also remarks in fn. 64, above.

[ XXV]
 Foreword
(continued)

Text No. Line IWord I Description

105m.
106a. 1 I
Data
8
I mag. to read ung.
jos to read in (sic !)jos 69
Sfanta 70
106c. 2 4 Sfantii to read {Sf&nt-
107b. 6 5 moved up from here to present position
109 71 1 1,2 Por&ncit-o to read Por&n!/it-o
5 2 bot'eze to read bot'eza
1121.
1~}
15
Line-counting figures moved up two lines to present
position
20 18-23 to read 20-25
112n. Data Mel. 95e. to read Mel. 95g.
1120. Refr. 1 Parentheses deleted 72
121 4 2 rasaritu to read rasarit
123 3 3 venity to read venitu 73
7 2 cias to read cia
127a. Bistra
125a. Data 127a.b. Albac to read 127b. Albac
132a. 4 5 cinsteasca to read cinsteasc'
133 1 4 saraci to read saraci
2 5 m&ncati to read m&ncati
136 7 1 Burfa to read Burta 74
Text No. 10c. has the author's handwritten entry Santu-~i in the
margin of the Amsterdam and Budapest drafts only.
Repeat signs were eliminated in text Nos. 112m. (mus. ex. No. 104c.)
and 140b. (mus. ex. No. 45u.), in accordance with the underlying text of
the respective music examples.
The line-counting figures of text Nos. 130--133 have been replaced by
punctulated Arabic numbers (1., 2., and so forth), in accordance with the
author's procedure in Vol. III. (See Section 10 of the Explanations of
the Signs Used in the Texts.)
There are two unusual inclusions of supernumerary additional sylla-
bles in the Colinda texts (No. 87k.: m,d;
..,.,.,..
No. 112r.: Cd),
""""
a procedure not
followed elsewhere in the material or in Vol. III.
69 In accordance with the last measure of mus. ex. No. 61h.
70 In accordance with the last measure of mus. ex. No. I04h.
71 Derived from the author's revised mus. ex. No. 8Sb.
79 The parentheses-used by the author in the Colinda texts to indicate an extension
syllable - serves no 'purpose, since it encloses a semivowel. (Cf. mus. ex. No. 73dd., line I,
measure 3.) •
73 Retention of the semivowel would defeat the purpose of the extension syllable (y); in
other words it would decrease the syllabic count by one, thus preventing transformation of the
catalectic (seven-syllable) line into an acatalectic (eight-syllable) one.
74 Corrected by C. Brailoiu.

[ xxvi]
 Foreword
Concerning what appears to be faulty strophic structure in text No.
84u., the reader is referred to the note to the respective music example
(No. 12lr.*).
The format of text No.71a. has been revised to correlate with the
underlying texts in mus. ex. Nos. 12p. and 12r.

TABLE VI
ADDITIONS TO THE TEXTS

Text No. Line I Word I Description

47 5 Line-counting figure
53a.
53h.
15 I
Data
Line-counting figure
Var.
58b. 3-6 [ ]75
60b.
62
1 I
Data
I:
Var.
:1
82h. 15 Line-counting figure
84j. 5 Line-counting figure
84r. 1-4 [ ]75
89a. 5 Line-counting figure
94a. 1 I: :1 76
98g. fn. 1 Jinu !1i miry 77
99i. 1 4 rtl 78
15 Line-counting figure 79
102b. 1 2 'n
104i. 17 2 arc 80
108b. 30 Line-counting figure
t08n. 5 Line-counting figure
1t2r. 5 Line-counting figure
113a. 1-2 [ ]75
114c. 1-2 - [ ]75
122e. 2
I
[ ]81
3-4 I: :1
In text No. 101e. the first two (incomplete) text lines have been added
as derived from the respective music example (No. 33b.).
Referring next to other, typographical additions to the texts, Table
75 The bracketed text lines do not appear in the music example.
78 Although Bart6k deleted the repeat sign, restoration has been made on the basis of the
respective music example (No. IOOg.).
77 This line, in the form of a bracketed footnote, represents an editorial addition to the text.
(Cf. mus. ex. No. 26a.)
78 See the note to mus. ex. No. 30b.
79 See the entry for this text in Table V above.
80 In accordance with the author's similar procedure elsewhere (for example, text No. 34e.,
line 3).
81 The bracketed text lines do not appear in the music example. It should be noted that the
underlying text of this melody (No. 45v.) is identical with text No. 122c.

[ xxvii]
 Foreword
VII graphically illustrates the sharp rise in editorial emendations
stemming from the missing portion of the second text draft (text Nos.
IOSg.-141). Since the listed additions are omitted from all copies of the
third and fourth drafts, determination of their inclusion in the various
text lines has been made on the basis of one or more of the following
factors: (a) metrical structure of the English translations, (b) scansion
of preceding and following text lines, (c) presence of extension syllables,
and (d) syllabic structure of the text line in question.
TABLE VII
TYPOGRAPHICAL ADDITIONS TO THE TEXTS

Description Text No.

Inverted breve . 29, 69a., 86, 871., 93b., 104c., to5g.-n.r.s.v.,

106b., 107a., 108a.b.d.e.g.j.l.n. , 110a., 112b.
d.l., 114a., 115b.c., 116b., 121, 122a., 124,
125a.b., 131, 132a.c., 133, 135.
Breve. 9, 91c., told.g., 105x., to8a.b.e.g., ltoa.,
112c.i., lISa., 123, 127, 132a., 135.
Cedilla 105i.-k.t.x., 107a., to8g., 112e., 113b., 116b.,
136, 141.
Apostrophic accent . 11c., 87j., 135.
Inverted caret . . 28c., 65d.
Circumflex. . . . 108b., 109.
Capitalization . . 45,60e.
Straight underline 31d.e., 32g., 79a., 82e., 105p.x., lOBo.
Wavy underline . 87k. 82
As regards alteration of format of the poetic texts to correlate with
that of Vol. III, the following procedures have been used: refrains and
data sections moved from the beginning to the end of the text; refrain
indications added to the body of the text, as demonstrated by the
respective music examIiie; single and double lines instead of spacings to
indicate strophic structure; symbols indicating sex of performer
added to data sections; and English subtitles extracted from the
Introduction to Part Two and placed with their Rumanian equivalent
in the Texts and Translations~
There is but one missing note to the texts: No. 71b. On the other
hand, although notes are provided by the author, the following texts
required editorial insertion of asterisk indicators: Nos. lIe., SOb., 93a.,
93c. (line II), 99a. (lines I, 2, 20), and 102c. Certain notes which refer to
variants (originally listed in the texts) have been transferred to the
8S See the editorial commentary following Table V.

[ xxviii ]
 Foreword
Preface to Part Two as marginal notes to the List of Some Variants
Published Elsewhere. 83 So far as corrections of the notes are concerned,
two of the author's remarks required emendation: Nos. 4a.* and IOSe.*;
in each of the original notes reference is made to text lines which, be-
cause of his subsequent revisions, are not applicable. 84
In the following table a description is given of the editorial improve-
ments made in the index of refrains (which follows the poetic texts,
below) :

TABLE VIII
CORRIGENDA AND ADDENDA IN THE INDEX OF REFRAINS85

Refrain No. Description

Doamne
7 Doamne to read { (Doamn')
10 12f. moved trom here to Group II86
(Dai) added
16 Underline added to Doamnere
17 Brackets added to Doamne
35 A postrophic accent added to Doamn
38 108 to read 108a.

cequ to read { ~:~

39 nos' to read nos[t]
Domn[u] to read Doamn[u]
44 DoamIliale to read Domniale
54 Doamne to read Doamn[e]
78 97b. to read 95c.
d'ochiti to read d'ot'itiii
d'ochiWi-s to read d'ot'itia.-S87
(ficuta) added
88 linD to read lin'
95 62f. var. added88

88 In the first edition listed under text Nos. 6Sd., 77b., 83h., 84v., 87n., 92g., 93m., 96b., 99i.
102d., l03h., 1041., 112p., 122e., and 136.
84 Correction of 4a .• : 8 and II to ,ead 9 and 12; of lOSe.·: 13,31, and 50 to ,ead 12,30, and
49.
85 Listings in preceding tabulations do not appear in this table nor do those repetition signs
added by the editor for practical reasons. The reader should also note that editorial emenda-
tions of the index of refrains resulted from careful checking of the respective texts and music
examples. Marginal notes, therefore, are given only where special commentary was deemed
appropriate.
86 The group total-miscalculated in the drafts-remains 26.
87 According to C. BraiIoiu the preferable spelling of this word could have been ot'j Ii-as.
88 The group total-miscalculated in the drafts-remains 21.

[ xxix ]
 Foreword
The single refrains of Nos. 12 and 14 had erroneously been divided
into first and second refrains, thus necessitating the editorial deletion of
the superfluous numerical designations. 89
A rather important omission was the refrain of text No. 156 (mus. ex.
No. 95h.): Lerului ~i-a mdrului. According to Bart6k's classification
system in the Introduction to Part Two, the refrain belongs in Group
II; a bracketed entry, therefore, was made under No. 40. Another
omission was the M aramure~ refrain from the village of Glod (M aramure~
No. 14 var. 2, p. 7), which has been added to Group III, No. 66; its
addition required an increase of one in both total columns. For some
unknown reason Bartok neglected to include the refrain of M aramure~
No. 9a. as part of No. 95 (Group VI); its addition, of course, also re-
quired an increase in both total columns. Another omission was the
second half of the refrains of Maramure~ Nos. 9b. and lOb. (see Group
V, Nos. 86-87): Frunzd verde rozmalin (rojmalin).
Columnar totals for Group III, No. 66 and Group VIII, No. 120 re-
quired correction also.

Bartok, in the draft Introduction to Part Two, declares that there are
444 poetic texts. If, however, we include the twenty-three fragmentary
texts which underlie certain of the melodies,90 then the total changes as
expressed in the present volume: 467 texts.
The classification of the texts (Table 5) was revised in terms of desig-
nating symbols so as to agree with the author's system in Vol. III;
the new symbols, of course, replace the old throughout the texts.
Analysis of Bart6k's concordance of Rosetti-Colinde classification
types (p. 202 below) reveals apparent contradictions; in fact, his
assertion that Rosetti fails to list certain corresponding types-despite
the availability of published variants-is questionable. Text No. 90,
for example, is the last-numbered text of the seven which comprise
Group C I. b) (About the Holy Virgin); thus Rosetti's type Nos. 6 and
7 seem corresponsive. Text No. 94, according to the author's tabulation
(below, p. 209), has no variants published elsewhere. Be that as it may,
this text is one of two "Judas" texts (Group C I. e) of which the first
(No. 93) is corresponsive with Rosetti's type No. 19. And text Nos. 106-
107, together with No. 105, form Group C II c) (The Birth of Christ); thus

89The "2nd refrain" of Group 14 had the word Doamne omitted.

90See Section 18 (and its marginal note) of Explanations of the Signs Used in the Music
Notations (Part One, p. 39).

[ XXX ]
 Foreword
Rosetti's type Nos. I and 2 may be applicable here, for they are listed in
the tabulation as corresponsive with text No. 105.
Mention has already been made of revision of text format (p. XXVIII),
a procedure which required augmentation as well as emendation of the
entries in the Explanation of Signs Used in the Texts. Let it suffice to
say here that the new material was derived from the pertinent sections
of Vols. II and III of Rumanian Folk Music.
Editorial work concerning the List of Some Variants Published Else-
where will be found below (p. 205) in the marginal note to that tabulation.
It should be mentioned here, however, that the author's citation of the
Arii din Bihor variant (12/20) for text No. 14 has been changed to refer
to Vol. III (No. I I 77c.) of the present publication. 91
The bibliography in the drafts of Part Two contains references to
entries in Part One; moreover, all references are separated into ethnic
groupings. In order to avoid needless repetition and to follow the format
of the other volumes in the present publication, the bibliography of
Part Two is arranged in alphabetical order and without duplication of
previously-quoted sources.

OTHER ASPECTS OF THE PUBLICATION

THE COLINDA CUSTOM

In the second paragraph of his Preface to Part One Bartok offers three
reasons for his omission of a detailed description of the Colinda custom.
In view of his later treatment of the Rumanian material, however, his
explanations no longer seem valid; in fact, Vol. I of Rumania1~ Folk
Music contains melodies, notes to the melodies, and a prefatory dis-
cussion of the Turca dance. We present here, therefore, a summary of
the Colinda custom as described by the author in the above-mentioned
volume, and by ethnomusicologists of the Bucharest Folklore Institute
in published and unpublished sources:
Several weeks before Christmas the Colinda singers form into small
groups of eight to ten young men and women (in some areas-Maramu-
re~, for instance- the groups are formed according to sex), and carols
are selected for 'study' under the supervision of each group leader. On
Christmas Eve the groups set out on a caroling tour of the village;

91 Another editorial change: "Bart6k-KodaIy" to read E,d. Magy., in accordance with the
citation used by the author in Part One. Addenda: R.F.M III listings under Colinda text
Nos. 87 and 99.

[ xxxi ]
 Foreword
they stop in front of each house to inquire whether the host will receive
them, and-if they gain admittance-they perform four or five carols. In
the counties of Hunedoara and Alba the carolers divide themselves into
two choruses and sing altematingly in antiphonal fashion. 92 At the end
of the performance the carolers receive gifts and then move on to another
house. 93
The Turca dance is an accessory part of the winter solstice ceremonies
which are performed at Christmas time. The personages taking part in it
are: (a) the Colinda singers (colinddtori); (b) the player(s) of the music;
and (c) the personator of the Turca. 94 (In some areas the Colinda cere-
monies are performed without the participation of a Turca). After the
singing of the Colinda songs, the Turca performs his dance. He wears a
cloak covering him entirely from the top of his head to about his knees.
A (wooden?) animal-head with a long beak is attached to the top of the
cloak. The lower part of the beak can be set in motion by a string hidden
under the cloak, and it is handled by the Turca in order to obtain
clattering sounds of the two parts of the beak in a certain rhythm (see
Vol. I, No. 186e. and the respective Note).95
The designations A dobilor and A dobii instead of Dan!u Turcilor
seem to indicate that a kind of side drum with either one drumhead
(called dobd: perhaps from the Hungarian dob?) or two (vesca), played
with a single drumstick (maiul), are used in many villages-especially
in Bihor-in connection with Turca ceremonies (see Vol. I, Nos.
186e.i.j.).96
In Vol. I the Notes to the music examples contain the following ad-
ditional description of the Turca ceremony: "The March of the deer"

92 That is, they sing change songs which are described by Bart6k on p. 25.
93 Tiberiu Alexandru, Bela BartOk despre /olclorul f'omtnesc, Bucharest, Editura Muzicala,
1958, p. 44.
84 The "Deer." According to Alexandru (ibid., p. 43) the rUf'ca dance in the Ardeal region ill
known as the "Capra" (Goat) or "B,e,aia" and is performed on New Year's Day. The person-
ator of the Cap,a "is dressed in a large cloak and carries over his head a nicely-adorned
wooden figure which imitates the head of a goat. By moving the mouth of the figure through
a device, the performer produces a rhythmic clattering with which he accompanies his jumps-
to the merriment of all the onlookers." (See other details in "Rumanian Folklore" [prepared
by the Bucharest Folklore InstituteJ, Rosin ehe Bow, Paterson, N.J., Autumn, 1955 [Vol.
V, No. 9J, p. 5.)
96 From the author's description in Vol. I of Rumanian Folk Music, p. 41 (the TUf'ca
melodies are listed on p. 32).
98 Loc. cit. In her study Amologie Folclorica din rinutul Paduf'enilor (Hunedoa,a), Bucharest,
Editura Muzicai1i, 1959, Emilia Com~el has a most interesting example of a Colinda melody
(No. 23) which is titled Zicala dobei (Saying of the drum). The tune is played on a peasant flute
and is accompanied by the doba (two drumsticks?) and by "dance-words" which are directed
at the carolers or the hosts as the group moves from one house to another.

[ xxxii]
 Foreword
(Mar$u cierbuluj, No. 156.*) is performed by the flute-players of the
Colinde-singers' group when they walk in the streets or when they leave
the house after termination of their ceremonial business; "The dance
of the deer in the house" (Jocul cjerbuluj [in casii], Nos. 67.*, 68a. *) is
performed indoors; "The [piece] of the deer" (A cierbului, No. 503.*) is
played as intermezzi between the single scenes of the "deer" ceremonies;
music is played (No. 504.*, without designation) when the Turca or
"deer" asks the audience for presents; and "The [dance] of the deer"
(A cierbului, No. 501.*) is performed when the cierb (that is, "deer" or
Turca) gives thanks for presents received.
Table 5 of the Introduction to Part Two of this volume indicates those
texts (Nos. 77-81) related to the plugu$or (Group B 1. e) or ritual
ploughing songs. The plugu$orul (little plough) is a ceremony of the
winter solstice, performed by groups of lads, in which a nicely-adorned
plough is carried from house to house by the Colinda singers who-in an
allegoric form and in a long poem-present the work of the field (in-
cluding sowing, harvesting, and bread baking). At the end of the song a
recital of good wishes is made to the host, accompanied by the cracking
of whips, the ringing of little bells, and the playing of the Buhaiul (Bull)
-a specially-built instrument capable of producing a roaring sound
somewhat similar to the bellowing of a bull. 97

RELATED MATERIAL PUBLISHED ELSEWHERE

In the first publication of the Colinde the data sections of certain

music examples include references to the (subsequently-revised) re-
spectivemelodiesin the author's Arii din Bihor publication (1913).98 In
view of the possibility that the reader might want to compare the two
versions (the earlier publication, for instance, has a number of examples
in which the refrain is fitted to each proper text line) the following
concordance is offered: 99

97 See Rosin the Bow, op. cit., p. 5, for details concerning the construction and manner of
performance of the instrument.
98 In keeping with the author's practice in Vols. I and II of Rumanian Folk Music, this
information has not been included in the music examples of the present volume.
99 The respective poetic text, of course, is indicated by the numerical designation
which immediately precedes the first stanza of the underlying text in the given music
example.

[ xxxiii]
 Foreword
ColindeNo. Arii din Bihor No. Colinde No. Arii din Bihor No.
21e. 100 71b. 33
21k. 180 71c. II
21k. var. I 61 73f. 249
21k. var. 3 179 73m. var. 261
211. 181 81j . I
29 207 96 253
31 136 lOOg. 247
42b. 3 lOOh. 235
45f. 208 109 124
61c. 129 115b. 206
61d. 166

In Vol. I of Rumanian Folk Music there is a bagpipe piece designated

o colinda (No. 737) which appears in Arii din Bihor (No. 353) under the

[ xxxiv]
 Foreword
title Colinda (Din cimpoi'U). (Cf. Colinda mus. ex. No. 73 and Maram'Ure~
Nos. 13, 14.)
In 1935, in Budapest, Bart6k prepared master sheets of twenty-one
Serbian and twenty-eight Bulgarian folk melodies which he had collected
in the Banat region (counties of Torontal and T~, formerly Hungarian,
now Rumanian territory). The last Bulgarian melody, No. 28, is titled
Chant de Noel, and, as the facsimile (p. xxxiv) of the author's autograph
clearly shows-it is a variant of Colinda melody No. 62.
The two series of "Rumanian Christmas Songs", which Bart6k com-
posed for piano solo in 1915 (published by Universal Edition, Vienna, in
1918), are based on the following music examples from his Colinda
collection: 100
Series I. (1-1O): Nos. 34b., 18, lOb., 62ii., Maramure~ 19 (= var.
Colinde No. 110), 113, 27, Ille.101 115d., and lISa.
Series II. (1-1O): Nos. 81L, 102j., lOa., 55, 65, 12j., 12r., 73m., 14, and
64b.102
The Cantata Pro/ana, written by Bart6k in 1930 for mixed (double-)
chorus, tenor and baritone soloists, and orchestra (Universal Edition,
Vienna, 1934), is-in the composer's own words-"Rumanian texts set
to music." 103 Inspection of Part Two of the present volume discloses
that text No.4 (vars. a.b.) is the literary source for the composition.
Regarding the music, Bart6k goes on to state emphatically that the
thematic material is of his own composition: "not even an imitation of
Rumanian folk music." 104

100 The list of Colinda melodies is given in the order of their appearance in the piano tran-
scription.
101 According to the small-size notation of the Colinda melody in the piano transcription,
the former seems to comprise an admixture of melody and text of Nos. 111d. and 111e. Indeed,
another discrepancy can be found in the data section, wherein the village is given as SArafalva
(that is, Sarafola, county of Torontal: No. lIla.) instead of Igr~. Determination of var. e. as
the source has been made on the basis of the refrain (text as well as melody section).
lOS The data section of mus. ex. No. 73m. shows a different village designation from the one
given in the piano transcription (cf. Alexandru, op. cit., pp. 122-123); the small-size notation of
the fifth example (Series II.) has the first two lines of the respective text (No. 35a.) underlying
the melody, unlike mus. ex. No. 65 (lines 3 and 4). It may be of interest to note that eleven
of the transcribed melodies have been arranged for mixed chorus by Paul Arma (Boosey &
Hawkes, London, 1959), in this order: Nos. 34b. (Series I., No.1), 8li. (II.: 1), 73m. (II.: 8),
14 (II.: 9),55 (II.: 4); 102j. (II.: 2), 115a. (I. : 10), lOb. (I.: 3), 111e. (I.: 8), 113 (I.: 6) and 64b.
(II.: 10).
108 Letter to Octavian Beu, dated January 10, 1931, as quoted in Bart6k BAla levelei (ed.
Janos Demeny), Vol. III, Zenemiikiad6 VAllalat, Budapest, 1955, p. 193.
104 Ibid., p. 192. The reader interested in obtaining information concerning the manu-
scripts of the "Rumanian Christmas Songs" and the Cantata Pro/ana should refer to Victor
Bator's The B~la Bart6k A.rchives: History and CatalogU/l, Publication of the Bartok Archives,
New York, 1963, pp. 25, 28.

[ XXXV ]
 Foreword
Examination of various folk music bibliographies indicates that there
are probably not more than twenty-five Rumanian publications, wholly
or partly devoted to Colinda melodies or poetic texts, that have appeared
since Bartok completed his Colinde book in 1935.105 Of these, three have
been at our disposal and are briefly discussed below.1 06
In 1940 (?) Emil Riegler-Dinu wrote his Das rumiinische Volkslied l07
which contains melodies and texts assembled from various collections
and studies, including Bartok's Bihor and Maramure!j publications.
Eight Colinda melodies and two Colinda texts are presented here; four
of the melodies were collected by the author and one by Bartok. 10S Al-
though analysis of these melodies is lacking, and discussion of them as a
genre quite limited, Riegler-Dinu's study has particular interest for us
with regard to the importance and value of the present volume and the
others which comprise Bartok's Rumanian Folk Music. For the Ru-
manian ethnologist writes (p. 2): "The home of the Rumanian song is,
one might say, the high plateau; that is, the mountainous region of
Transylvania." After noting that the shepherds probably disseminated
their native Hore in old Rumania (Oltania, Muntenia, and Moldova)
during the Middle Ages, as they drove their sheep from the Transylvanian
and Maramure~ Carpathian regions to the Black Sea, Riegler -Dinu adds
(p. 6): "The Transylvanian Rumanian peasant song remains the source
of strength of the Rumanian song."109
Mention has already been made above (fn. 96) of Emilia Comi~el's
study of Padureni County (Hunedoara Region) folk melodies and texts.
This work includes the transcription of twenty-three phonographed
Colinda songs, a discussion of their structure, and a short essay on
caroling as performed by the Padureni foresters. Her classification sys-
105 See, for example, the listings in ]aap Kunst, Ethnomusicology (3rd ed., 1959; Supple-
ment, 1960), Martinus Nijhoff, The Hague; Journal of the International Folk Music Council
(London); Muzica (Bucharest); Revista de Folclor (Bucharest), and Journal of the Society tor
Ethnomusicology (Wesleyan Univ. Press.) The most important bibliography is the one prepared
for us by Emilia Comi~el, which contains seventy-seven listings dating from 1867 to 1964.
(Six books listed by Bart6k in his Colinde publication are missing from the Comi~el biblio-
graphy.)
106 It should be noted that, for certain reasons, we have been unable obtain the other Colinda
publications or a description of them.
107 Published by Walter de Gruyter & Co., Berlin, 1943.
108 No. 154, labeled B.H. 7 (Bart6k-Hunedoara), is Colinde melody No. 27, from Sarafola
(county of Torontal).
109 It may be of interest to note that Riegler-Dinu apparently was unaware of Bart6k's
Colinde publication of 1935, for the former refers (p. 21) to the latter's Rumanian Colinda
collection as a manuscript awaiting publication, and as "placed already since 1924 with the
Rumanian Academy of Sciences ... it discloses to us many special characteristics of the Colin-
das."

[ xxxvi]
 Foreword
tem and transcription technique is somewhat similar to that of Bart6k,
but with the exception that the tonus linalis ends on gl in the major
mode and on e1 in the minor. Noteworthy omissions are the system of
symbols (for example, caesura signs, syllabic-count figures, designation
of original pitch, and so forth), marginally-notated minor variations,
and references to variants in Bartok's Colinde book or other collec-
tions of Colinda songs.110 With regard to the texts, although the
Bart6kian underlining of extension syllables is adopted, no use is made
of his special system of diacritical marks. This lack is particularly
noticeable in those melodies in which the underlying text contains
semivowels.
The following Padureni Colinda melody numbers (labeled P) can
be considered as being variants of melodies (labeled C) in Bartok's
Colinde book (parenthetical question marks indicate uncertain identi-
fications) :
PI = C12a. P7 = C102c. P14 = C105 (?)
P2,3 = C120. P8 = C82a. P19 = C62a.
P4 = C12t.u. P9 = C86a. P20 = C62bb. (?)
P5 = {C12dd. (?) PlO = C83c. P22 = C62b.
C4 (?) P12 = C84b. (?) [P23 = R.F.M. Vol. I, No. 65J
P6 = C84c. P13 = C85a. (?)
Another approach to the classification of the Colinde melodies is
offered by Josef Kuckertz. 111 In his study Kuckertz states that his
analysis "searches after the characteristics of the difference and similari-
ty in the songs. Consequently, there is the possibility and necessity of
groupings other than what Bartok considered appropriate." 112
It should be clearly understood, however, that Bart6k fully examined
the problems involved in the classification of East European folk music;
indeed, his exposition on the subject is set forth in the section titled
"Methods In Systematic Grouping of Folk Melodies" in the Introduction
to Part One of Serbo-Croatian Folk Songs (New York: Columbia Univer-
sity Press, 1951, pp. 14-16). He favored the "grammatical" grouping
principle, with its emphasis on clarity of relationship between a melody

110 We are in possession of a special communication from Mrs. Comi~el in which are listed-
for each of her Colindas-main and secondary caesuras, syllabic count, content structure, and
scalar form.
111 Gestaltvariation in den von BartlJk gesammelten rumanischen. Regensburg: Gustav Bosse
Verlag, 1963.
112 Ibid., p. 2.

[ xxxvii J
 Foreword
and its poetic text, as opposed to the "lexicographical" (that is, diction-
ary) objective which emphasizes grouping in terms of rendering melodies
easy to locate.
In a review of the Kuckertz study Karl Lorenz remarks that "It
demonstrates how important a treasure was brought to light by Bart6k's
collecting. Beyond his successful attempt to recognize 'Gestaltvariation'
in his corpus, Kuckertz indicates that the melodies have great usefulness
for the contemporary composer if he is willing to assimilate their melodic
substance." 113

By way of conclusion, we reprint here a portion of Bart6k's comments

which were incorporated as part of a prospectus for the first edition of
the Colinde and mailed to a selected list of possible subscribers in
1935: 114
"The [Colinda] material is treated according to rigorously scientific
principles. It is for the first time that melodies of this type are published
in such large number, in the most authentic manner, on the basis of the
phonograph recordings.
"It seems that among all the Eastern European peoples the Rumanians
have preserved best, till this day, these partly-ancient songs of the
winter solstice. At all events, the extraordinary wealth (estimated to
average 20 per cent) of the Rumanian Christmas songs is outstanding.
According to recent pUblications such songs are found only in compara-
tively small number among the neighboring peoples. For this reason
the Rumanian material is the richest source of this important folk
custom of East European villages .
•'The work should be of special interest to researchers in music folklore,
to ethnologists, and to linguists. "115
The conversion of Bela Bartok's Melodien der rumiinischen Colinde
(Weihnachtslieder) into Rumanian Carols and Christmas Songs (Colinde)
has been an undertaking of several years, excluding the appendix (pp.
000-000) which contains our computer-derived lexicographical index
of Colinda melodies. Throughout this period of the revisory process we
have made every effort to achieve the unification aim, as well as the

118 Journal of the Society of Ethnomusicology, Vol. IX, No.1, January, 1965, p. 67.
114 Prepared by the publisher, Universal·Edition (Vienna), copies of the brochure are on
file at the New York Bart6k Archives.
lU On the basis of his own use Bartok could have added "as well as composers and music
educators."

[ xxxviii ]
 Foreword
correlative objective, without modification of content or distortion of
the author's characteristic mode of expression. For this magnum opus
represents a significant addition to the corpus of Rumanian folklore and
a noteworthy contribution to ethnomusicology as a scientific discipline.

New York BENJAMIN SUCHOFF

[ xxxix]
 Contents

FOREWORD, by Benjamin Suchoff Vll

THE MANUSCRIPTS ix
EDITORIAL TREATMENT OF PART ONE Xlll

EDITORIAL TREATMENT OF PART TWO XXlli

OTHER ASPECTS OF THE PUBLICATION XXXI

PREFACE, by Bela Bart6k

PART ONE

INTRODUCTION TO PART ONE 7

VERSIFICATION OF THE TEXTS 7
GROUPING OF THE MELODIES 10
CONCLUSIONS 29
ADDITIONS TO THE MELODIES 34
VARIANTS IN RUMANIAN PUBLISHED COLLECTIONS 34
LIST OF FOREIGN VARIANTS 35
EXPLANATION OF THE SIGNS USED IN THE MUSIC NOTATIONS 36
STATISTICAL DATA CONCERNING THE OUTPUT IN COUNTIES
AND VILLAGES 41

WORKS CITED IN PART ONE 44

MUSIC EXAMPLES 47

NOTES TO THE MELODIES 188

[ xli ]
 Contents
PART TWO

INTRODUCTION TO PART TWO 199

THE GROUPING OF THE MATERIAL 199
REFRAINS 262
ORTHOGRAPHY 203
LIST OF SOME VARIANTS PUBLISHED ELSEWHERE 205
EXPLANATION OF THE SIGNS USED IN THE TEXTS 211
WORKS CITED IN PART TWO 214
TEXTS AND TRANSLATIONS 217
INDEX OF REFRAINS 544
NOTES TO THE TEXTS 555
APPENDIXES, by Benjamin Suchoff 557
I. ADDENDA 557
II. LEXICOGRAPHICAL INDEX OF MELODIES 560
INDEX 603

[ xlii ]
 Preface

T he material presented in this book includes both Colinda and

Cantee de stea melodies gathered by me between 1909 and 1917,
during travels for folkloristic research in that part of what was
then Hungary inhabited by Rumanians, with the exception of twenty-
seven Colinda and Cantee de stea songs stemming from the county of
Maramure~, which I have already printed in my collection Volksmusik
der Rumiinen von Maramure~.l I thought it fitting, however, to publish
here in more specific notation, and revised according to phonograph
recordings, the twenty-one carols in my collection Chansons populaires
roumaines du departement Bihar (Hongrie).2
Colinde (singular, Colindd or Colind; in many sections also, Corindal
are those songs of the Rumanian peasants which are sung around
Christmas-time by boys (in many locales either by boys or girls) who
wander from house to house. A detailed description of this custom
(style and manner, the actual time of Colinda singing; choice of Colinda
songs for special houses, such as those of family or relatives; which
Colinda songs are sung by older, which by younger persons; the role and
diffusion of the Turea or ,[urea dance in Colinda singing, etc.) must be
omitted here. For, in the first place, in most areas I did not conduct
specific research in this matter; secondly, quite a good deal has already
been related about it in other publications;3 and thirdly, the particular
purpose of the present publication is to shed light on the nature of the
Colinda melodies.
The Colinda melodies and the melodies of the so-called Canteee de stea
1 Sammelbande jur vergleichende Musikwissenschajt. Munich: Drei Masken Verlag, Vol. IV,
1923. [In English as Volume V, Maramuref County, of the present publication.]
B Bucharest: Academia Rom~na, 1913.
8 See, in the Bibliography, the publications of Brailoiu, Dragoi, Rosetti, Teodorescu, and
Viciu. [See also Bart6k's description of the Turca dance in Vol. I (Instrumental Melodies) p. 41,
of the present publication, or as extracted for editorial purposes on pp. xxxi-xxxiii, above.]

[ 1]
 Preface
could not be separated from one another in this pUblication. For these
two groups of Christmas songs are not sharply distinct from one another
either textually or musically; often, for example, Stea texts are set to
Colinda melodies, and conversely. In general, one may list the following
as distinguishing traits; the Colinda songs are of older origin, indeed, in
earlier times they seem to have been the only songs of the Christmas
ceremony; their character, textually and musically, is definitely more
peasant-like; for the most part, they have one refrain; their role in
village life corresponds to that of the Kolatka or Koleda songs of the
Slavs and of the Regas songs of the Hungarians; in many areas they
seem to be connected with certain special ceremonies (such as, for ex-
ample, the Turca ceremony, and so forth); and they are, in general,
sung by older boys (even by men) or grown girls.
The Stea songs, on the other hand, are of newer, artistic origin. They
are strongly, if not entirely, influenced by Western European music and
poetry; in fact, aside from characteristic traits, evidence for such influ-
ence is offered by quite specific textual and musical borrowings. They
seem to have been artistically inserted into folk life by priests and
teachers; for the most part, they have no refrain. The role of the Stea
songs corresponds to that of the Bethlehem songs of Western and Middle
Europe, and the ceremonies at which they are used are likewise related
to those of the Bethlehem ceremony. Finally, Stea songs are ordinarily
performed by children.
Thus, these two groups are not sharply distinguished here. Never-
theless, because of the classification system adopted for the melodies, it
was possible to place the Stea songs, with few exceptions, at the close
of the material. Moreover, I have so indicated all songs that can without
doubt be considered Stea songs.
The Rumanian material is incomparably richer in Christmas songs
than that of neighboring peoples. The present publication is, at the
moment, the largest edition of melodies of this category; indeed, it offers
for the first time phonographed examples of European folk song melo-
dies in the so-called "Bulgarian" rhythm. 4 It groups all melodies in
'. [In his incomplete notes to this volume of the present publication, Constantin BrlHloiu
writes that "Bart6k's Colinda collection is by far the most important of all that had appeared
up to that time, a distinction it has not lost till now. What Bart6k does not say is that, from a
scientific point of view, his work and those of his predecessors are simply not comparable. And
while the 303 colinde brought out by Dragoi and the 200 put out by Cucu (Gh. Cucu, 200
colinde populare ... Edilie pastuma tngrijitd de Canst. Brdiloiu. Bucharest: Soc. Compozitorilor
Romilni, 1936), which Bart6k had been able to look into in Bucharest before their publication,
likewise offer a good bit of highly valuable and previously unpublished material, they were, on

[2]
 Preface
systematic order; each melody has only so much text underlaid as would
be used by the performer in singing through the melody once. The com-
plete texts, systematically ordered according to content, is published
in Part Two, below. 5
I thank Mr. Zoltan Kodaly, who most kindly went over my manu-
script, for many valuable hints, especially concerning parallelisms in the
Hungarian secular and sacred material.

Budapest, May, 1935 BELA BART6K

the other hand, not transcribed from phonograph recordings. Furthermore, neither author
subjected the texts and melodies to a systematic classification."]
6 [This editorially constructed sentence replaces, for obvious reasons, the following text
matter in the author's original (1935) edition: "Die VeroffentIichung der vollstiindigen Texte,
nach Inhalt systematisch geordnet, ist spiiteren Zeiten vorbehalten: Interesse wiirden sie ohne-
dies nur dem des Rumiinischen kundigen Leser bieten. Zahlen bei den Melodien weisen auf die
Nummer des zugehorenden Textes in dieser spiiter geplanten VerofientIichung hin. Einstweilen
ist je ein Exemplar der vollstiindigen Texte in der Bibliothek der Unga,ischen Akademie de,
Wissenscha/ten Budapest, in der Universitiitsbibliothek Amsterdam und in der Unive,sitiits-
bibliothek Basel deponiert und steht dort Forschern zur Verfiigung." (The publication of the
complete texts, systematically ordered according to content, is reserved for a later time;
besides, the complete texts would interest only the reader who knows Rumanian ... ).]

[ 3 ]
Part One
 Introduction to Part One

I ncluding variants, 454 melodies are published here. Besides these,

thirty melodic variants presenting only limited deviations are at-
tached as footnotes, each under its most closely related melody.
As in my other publications, I have transposed each melody here to
gl as the common final tone. The pitch of the original performance is,
however, given in most cases by means of a black note without stem at
the beginning of the melody. This note gives the original pitch of the
transposed notation: in bass clef if for men's voices, in treble clef if for
women's or unchanged boys' voices. 6 After this first step, a corresponding
system for the ordering of the melodies had to be found. Neither the
simple application of that system which I used in my Maramure~ publi-
cation, nor those two systems which I describe in my book Hungarian
Folk Music,7 seems suited for a synoptic grouping of the Colinda melo-
dies. Apparently every body of material of distinctive character re-
quires a distinct system of classification, constructed especially for the
purpose.
After careful consideration, I decided that the system described in
detail below was best suited to the classification of the material at
hand. Before I proceed to this description, however, I must say some-
thing about the versification of the texts.

VERSIFICATION OF THE TEXTS

There is no text stanza structure except in isolated, half-artistic texts

8 The indication of original pitch is lacking where a relevant notation was not made to
begin with or could not, for some reason, be determined subsequently from the phonograph
recordings.
7 [Published by Oxford University Press, London, 1931.]

[7]
 Introduction to Part One
that have spread among the folk (for example, those of mus. ex. Nos.
11Sa.b.d., 130, 131, 132a.b.). The isometric lines consist, in the greater
number of texts, of four trochees: 'h~xllhrl(XII;8 in a fewer number, of
three trochees: hrxxll'kx~ or xxlrxxl'xxll. Rumanian folk poetry has
only these two types of proper (that is, non-refrain) text lines. A trochee
here does not signify the metric verse foot in the conventional sense, for
Rumanian folk texts do not use such patterns of versification. I use the
term, therefore, to indicate a pair of syllables consisting of one stressed
and one unstressed syllable. 9
Only in the last trochee of the line is there a fixed requirement ap-
parent in the choice of syllables: it must be constructed of a pair of
syllables of which the first is stressed and the second unstressed in in-
flection. In the penultimate syllable, however, the suffixed article (-a,
-ul) and its declined forms (-ei, -ii, -lui, -lor) can stand as stressed in
inflection, even though they are only secondary accents when spoken. 10
In all other trochees, the choice of the stressed or unstressed inflected
syllable is entirely free; that is, a stressed inflected syllable can be
interpreted as a verse-unstressed syllable, and conversely.
The last (unstressed) syllables of lines of both types can be lacking.
In this case, syllable extension appears, so very characteristic of the folk
singing of most Transylvanian Rumanians. (The nature of this syllable
extension is partially characteristic for individual areas.) In the Colinda
text material presented here, the following types of syllable extensions
are to be observed:
(1) If the seven-syllable or five-syllable line ends with a closed sylla-
ble, the extension most often occurs through u (often, ui).
(2) If the last syllable of seven- or five-syllable lines ends with the
dipthong, vocal + 'If, then the half-vocal 'If is changed simply to a syllabic
u (instead of extension).
(3) If the last syllable of the aforementioned lines ends with the
dipthong, vocal + i, then the half-vocal i is changed to the syllabic i.
(This procedure is usual in Mure~ Turda and in the Campie, and frequent
in Bihor, Turda Arie~, and Alba de jos.) Moreover, the extension syllable
u is everywhere suffixed to the half-vocal j.
8 Each x represents one syllable. [" means a main accent, ' a secondary; II means a main
caesura, I a secondary.]
9 Concerning an exceptional case, see p. 15.
10 According to all evidence, the article in these cases is treated as an independent (stressed)
word; indeed, as may have been the case originally. In texts of six-syllable lines, however,
appears a contradiction to this general rule (for example, mus. ex. No. 23a., line 1); in texts of
eight-syllable lines this is a very rare occurrence (mus. ex. No. 82b., line 1).

[8]
 Introduction to Part One
(4) If those lines end with an open syllable, then a re (in Bihor, inter-
changeably with le) is suffixed to it. l l
- N.B. In some villages of Mure!1-Turda (Chinc~, Hodac, Libanie!1d, Moi!1a,
Or!1ova, Urisiu de sus) and Banat (Denta, Tolvadia), a is used instead of u as an
extension syllable (in many of these localities a or aj instead of u emus. ex. Nos.
95e., l04d.] or a and u interchangeably). Very rarely, after a consonant, i also
appears as an extension syllable; equally rare is the use of the extension syllable
ej after the ending Ii. There is one example for i after an open syllable, and also
one for ~i (SanmicHiusul mare [Torontal], mus. ex. No. 82b.). Very significant,
though certainly quite rare, is the appearance of an extension syllable not only
at the end but also in the middle of an eight-syllable line: in this case it is a
matter of text lines composed of two half-lines, each of three syllables (~xrx );
the half-lines are presented by the performer as complete lines. Additionally,
there are extremely unusual and rarely found extension syllables which can there-
fore be presented only in the publication of the complete texts [Part II, below].

In many cases, especially at the end of a melody, the extension

syllable may be omitted; in fact, it is for the most part absent in texts
not of folk origin (see mus. ex. Nos. IISb.c.d., 1I7a., 12Ie.g.h.). Many
areas, such as Maramure~ and perhaps also the neighboring territory,
show less tendency toward syllable extension. Indeed, in these regions
regular eight- or six-syllable lines occur in which the last, always
open, and consequently unstressed syllable (actually, for the most part,
just the vowel of the syllable) is slurred over. The same occurrence also
takes place, though much less frequently, in other regions.
- N.B. A single, quite noteworthy case can be observed in Voiniceni (Mure!1-
Turda), where the last two syllables are often slurred over at the end of the melody
(see mus. ex. No. 73kk. and the annotation thereto).
The exclusively falling, trochaic rhythm does not correspond-as we
see in the verse-stress rule-entirely with speech stress. In some indi-
vidual cases it happens that there is an upbeat syllable before the first
trochee of the line, unstressed both in speech and in poetry and be-
ginning with a vowel (for example,
x xx x XX)
1l7.-Im..w.z1 "-ltd-I'
thus resulting in a nine or seven-syllable line. This upbeat is:
(1) either slurred over, especially at the beginning of the melody (for
example, 'Ntreaba instead of Intreabd in mus. ex. No. I02a.); or
(2) the vowel of the upbeat syllable is elided with the vowel of the
11 Instead of re, one often hears rie, very seldom ra (Hunedioara). On the other hand, ma and
mai do not appear as syllable extensions in the Colinda texts. [Cf. Vol. II (Vocal Melodies) pp.
3-5, of the present publication for the author's discussion of complementary syllables.]

[9]
 Introduction to Part One
open final syllable or with the syllable-extending vowel, and is pro-
nounced or sung as one syllable (in such cases, i is elided); or
(3) the upbeat syllable stands at the end of the preceding line, in
place of a syllable extension; in this case, it is always notated as attached
to the preceding line; or
(4) in quite rare cases the upbeat syllable is sung on its own upbeat
tone, like those upbeat syllables that do not constitute an integral part
of the text, and is indicated by a wavy line (see p. 12, fn. 16, below); for
example, mus. ex. No. 86f., line 1.
In none of the aforementioned cases is this extra syllable counted in
the number of syllables of the line.
Everything that has been said, thus far, about text meter applies to
proper text lines. Now-as is generally known-most Colinda texts have
refrains repeated in every stanza,12 Most texts have only ONE refrain in
the stanza, less numerous are those texts with two refrains.
The number of refrain syllables is quite varied, ranging from two to
twenty-seven (for the latter, see mus. ex. No. 128). The versification of
refrains is not exclusively trochaic; in many of them, other verse feet are
to be found (for example, dactyl + trochee in the refrain of mus. ex. No.
51: xxxlxx).
If a refrain ends with a stressed closed syllable, a syllable extension
may also appear here-mostly by the addition of u-though it is very
often lacking. In unstressed open-syllable endings, the last syllable or
vowel is much more often slurred over than in proper text lines.
Now I proceed to the description of the schematic ordering of the
Colinda melodies, which is based on rhythm and stanza formation.

GROUPING OF THE MELODIES

RHYTHM AND STANZA STRUCTURE

The melodies are first divided into three major categories.

Class A: melodies set to six-syllable proper text lines.
Class B: melodies set to eight-syllable proper text lines.
Class C: melodies of indeterminable form, mostly with text stanza
structure.
As it is clearly apparent from what has been said above about versi-
fication of the texts, there is no real distinction between eight- and
18 In other songs of the Rumanians, the refrain lines are to be found in greater number in
Banat, less frequently in Transylvania, Bibor, and Maramure~.

[ 10 ]
 Introduction to Part One
seven-syllable text lines or between those of six and five syllables, since
the smaller syllable forms can be enlarged by means of extension sylla-
bles. This strict rule cannot be applied when counting the syllables of a
refrain, for versification patterns here admit other verse feet in addition
to the trochee. In such a refrain as, for instance, mus. ex. Nos. 51 or
61a.-h., we find a five-syllable refrain with an open, unstressed final
syllable. Since an extension is attached only to stressed final syllables,
this refrain cannot be completed and, therefore, must be considered a
five-syllable line. The number of syllables of a refrain, then, is deter-
mined in the following way: with closed, stressed final syllables, an
extension syllable is generally also counted (for example, in the refrain
of mus. ex. No. 73n.)13
- N.B. The refrain of mus. ex. No. 22 must be classed as a three-syllable type,
since syllable extension is inconceivable here. An open, unstressed final syllable
appears in only one case: the second refrain of mus. ex. No. 113; here no extension
syllable is counted.
Classes A and B are now divided into subclasses, on the basis of the
number of melody lines. 14
Subclass B I: one melody-line.l5
A I and B II: two melody-lines.
A II and B III: three melody-lines.
A III and B IV: four melody-lines.
Certain sequential or rhythmic repetitions, which would seem to form
a melody of five or six lines, are not counted as proper lines; melodies
containing such "double lines" fall under the three-line or four-line
groups. (For instance. mus. ex. Nos. 9-12e., and so forth, are considered
as three-line rather than five-line, since the first and third lines are each
considered as being composed of 6 + 6 syllables.) All those melody
sections that I consider double lines constitute, in my estimation, a
certain unity, a kind of double phrase. For this reason I have not classed
them as two distinct melody lines.
The syllable numbers of the individual melody lines are shown by

18 Unfortunately, in mus. ex. Nos. 63, 64a.b., the extension syllable was mistakenly not
counted in the refrain. On the basis of the correct syllabic count, these melodies should be
listed as 8, 6, 8 (see further below) between mus. ex. Nos. 70 and 71.
14 A melody line is that portion of the melody falling upon a text line. Refrain lines of more
than four syllables count as proper text lines; those of four or fewer syllables are, depending
on the musical relationship, considered as one text line with the preceding or following proper
text line.
15 One-line melodies are evidently incomplete types whose entire form has remained un-
discovered.

[ 11 ]
 Introduction to Part One
italicized arabic numerals, separated one from the other by commas
(mus. ex. No. 5c.: 8, 8, 9); the aforementioned double lines, by two
figures joined with a plus sign (mus. ex. No.9: 6 6, 6, 6 +
6).16 If all +
the lines of a melody stanza have the same number of syllables (iso-
metric stanza structure), then we need only one figure to show the
syllabic count of all lines of the stanza (mus. ex. Nos. 1a.b., 2, and so
forth: 6). In incomplete forms (where on account of comparison with
variants, we decide that the form is incomplete), those figures referring
to the hypothetically missing lines are given in parenthesis. In those
cases involving isometric stanza structure, the figures are usually given
separately for each melody line.
Every subclass is, in turn, divided into groups according to the syllabic
counts of the melody lines, progressing from lesser to greater number of
syllables (see Table 1).
Further subdivision follows next on the basis of the rhythm of the
melody line. This division is the most difficult to achieve for two rea-
sons: (1) the original tempo giusto17 performance has, in many cases,
given way to a more or less rubato style; (2) originally equal values (for
example, .I .I) are replaced, again in many cases, by unequal values (for
example, .I . .1').18 Where such difficulties arise the original rhythm must
-solely theoretically-be established through analogies, and the di-
vision attempted; a process wherein, naturally, the SUbjectivity of the
concept cannot always be excluded. The ordering in this sort of classi-
fication must, in the same way, be governed by the progression from
the simple to the complex. First the isometric groups are divided into
two subgroups, labeled ex) and ~) in Table 1: in those with isorhythmic
melodies (that is, in which the melody lines have the same rhythm) and
in those with heterorhythmic melodies (unlike rhythm of the melody
lines).
16 The upbeats fall on a non-integral part of the text (mostly on the syllables ai, ai, hili, hei,
a, t, ca, da, §i; often on a hummed consonant, like m, iI) and are distinguished by a wavy under-
line; they are not to be considered in the syllabic count of text lines.
17) I use tempo giusto to indicate performance in strict dance tempo.
18 The evidence points to tempo giusto (strict dance rhythm) as the original rhythm for all
Colinda melodies. But there are many variant groups where some-usually the predominating
number--<>f the variants have tempo giusto rhythm. The others, however, show a parlando-
rubato rhythm, apparently derivable from the tempo giusto rhythm of the first-mentioned
group. (For instance, mus. ex. No. 12 has seventeen tempo giusto variants, as against eleven
parlando.) Occasionally, however, we find a melody or variant group in the parlando-rubato
rhythm, of which the tempo giusto variants are unknown at the time, so that the hypothesis
may be drawn that its parlando-rubato rhythm is only a manipulation of an undiscovered or no
longer extant tempo giusto rhythm. Similarly, a rhythm of unequal values can be regarded, in
certain cases, as a transformation of an originally equal-valued rhythm.

[ 12 ]
 Introduction to Part One
The subgroups thus achieved, in addition to the remaining unclassified
heterometric groups (in which melody lines are of unlike syllabic
number), are ordered according to the rhythm of the individual (first)
melody lines, progressing again from simpler to more complex. The
pattern aJJJJIJJJ ~ is, for example, simpler than AJ'JUliJUI; the
latter, in turn, i simpler than ~nJJlwJII. The resulting classifications
are numbered I., 2., 3., and so on, in Table I.

TABLE I

RHYTHM AND STA ZA STRUCTURE I

No.

1
A I
2

a) 6,5,6, . . .

b) 6, (= 6, 6, 6,) I 1.

2.
3.
~JJI JIM
BJ ilJ)liJ~
~JJ JJ IJd,~
..,;·t~c..wl~ ~.~
.
3
4-5
6
7-8
19

1. ~nnn il 9-10 20
2. ~JWJ!in ~ 11

AlI c) 6 + 6,6,6+6,21 3, inJlnJ ~ 12

4. K+a+~nJJ'nR 13-14
L5. N nU I J)! 15
d) 6,6,7, . . . 16
e) 6,6,8, ' . . 17
I) 6, 9, 6,22 18-19
g) 8,6,6, . 20
h) 8,6, IO, ' 21
i) 9,6,6, 22
j) 9,6,9, ' 23

19 In both melodies an original rhythm of ~J JIJ .11.1; 1 was assumed.

20 In No. 10 the pair 01 quarter notes is replaced with a pair 01 eighth notes.
~I I ot to be regarded as I2, 6, I2!
22 Two different rhythmic comhinations.

[ 13 ]
 Introduction to Part One
(continued)

No.

I 11.~+a+BnlJ)I~J'1
a) 6, 6, 5, 6, . . . . . . . . . . . . . . 24
25-28 23

A III b) 6, (= 6, 6, 6, 6')1:~ ~. ~+~~J.JI.J.~I · . 29

30-31
c) 6, 8, 6, 6, . · . 32
d) 8, 6, 6, 6,22 33-34
B 122 35-36
a) 6,8, . . . · . 37
b) 8,6,24 . . . . . . 38-40
1. B')UJIJ')JJ I 41-47

BII
c) 8, (= 8, 8,) ex) \1 2.
",,' ~ )JJ II )J ))1
'"'ltH'H-1 n~rl
t n HI n ).). · . 48
~). . · . 65
d) 8, IZ,22 . . . . 50-51
e) IZ,8, . ....•. 52-53
· . 54
f) IZ, (= IZ, IZ,) {~~ 22 55-56
a) 5,8,8, . · . 57
b) 8, 5, 8,25 58-67
c) 8,6,6, . · . 68
d) 8,6,8, . 69-70
e) 8,6, II,. · . 71
f) 8,8,6, . 72-73
1. ... ..,{% J J J J I J J J JJ 74-79 26

~u.ultllli
2. gJlJ J II J>J Hn 80-93 27
~n)'}lnnl
B III unJJ>lnUI
gUJlJIJJIJ D
_, ~unlnnl
g) 8, (= 8, 8, 8,) ex)
fiJ>JJ>J IIJI) I
innl )I,U)! I
~nJl)IUn l
12)U.J!lnn l

28The rhythm appears partially modified in mus. ex. Nos. 25 and 27.
24Three different rhythmic combinations.
25 Six different rhythmic combinations.
26 In mus. ex. Nos. 74-76, 78, the rhythm seems partially modified.
17 The second melody-line has a partially modified rhythm in some of the music examples
listed here.

[ 14 ]
 Introduction to Part One
(continued)

No.

3. 94---95
[
4. . • 96
~) 28 97- 104
h) 8,8, I2, 105
i) 8, II, I2, 106
j) 8, I2, 8, 107

a) 8,5,8,5, 108-110
b) 8,6, B, 6, 111-113
1. lJ1TIIi1T.l 1 114---115

2.••.JtiJJJ I )J)JI 116-119

B IV c) B, (= 8, 8, B, 8,) tt) ~H~lrHH

3. V'Jlllnnl 120
4. in ,j.) 1n;.)1 121
WV. 122 3 D-126
d) 8, 8, 6 + 6, B, 127
e) 8, I4, I4, 8, 128
f) IO, 8, I3. B, . 129

We refer here to the "sapphic" rhythm n J I J I (see mus. ex. No. 73) as
a :comparatively rare occurrence in Rumanian folk music. It is perhaps the
one exception to the rule propounded on p. 8 (above), according to which melody
sections containing proper text lines (not refrains) always divide metrically into
2 + 2 + 2( + 2) syllables. As I know from personal exchange of information with
Mr. Constantin Bdiiloiu, founder and leader of the Folklore Archives of the
Societatea Compozitorilor Romdni in Bucharest, he considers this pattern as an un-
Rumanian rhythm. The fact that it occurs much more frequently among the
neighboring peoples of the Rumanians seems to justify his suggestion. 31

A further division of the classifications, thus established, ensues in

terms of the level of the final tone of the individual melody lines:
(a) in two-line melodies, according to the final tone of line 1;
(b) in three-line melodies, first of all according to the final tone of the
main caesura (which occurs at the end of line 2 of all three-line Colinda

28 Seven different rhythmic combinations.

29 Five different rhythmic combinations.
30 See note to mus. ex. No. 122.
31 [A note by C. Brailoiu (see fn. 4, above) informs us that "This conviction, shared by
Bart6k, seems erroneous today. In all probability, the rhythmic formula in question belongs
to the so-called "syllabic giusto" (more exactly, to its trichonous variety), a system that is not
specifically Rumanian, but particularly frequent in Rumania."]

[ 15 ]
 Introduction to Part One
melodies printed here), secondly according to the final tone of the other
caesura (or, in other words, of line 1);
(c) in four-line melodies, first according to the final tone of the main
caesura (here, too, at the end of line 2), secondly according to the final
tone of line 1, and thirdly according to that of line 3.
The ordering of the subclassification, thus achieved, is determined by
the level of the cadential tone involved, progressing from low to high. For
example, four-line melodies having gi as the main caesura are classified
before those with a i . Melody line caesurae are indicated according to the
following system of symbols:
, 0'-
t • I cs
..,. ....... ~";" ; I : i j 1 : j I f :
I iLli";r:inir:m I,d I.!; , 7 8 ~

Possible accidentals are prefixed to the symbol ( ~3 .61~ ).

The final tone of the main caesura is marked with 0, that of the pre-
ceding melody line with ], and that of the following line with [. Thus,
for example, 6, ~ 0
[1 indicates a four-line, isometric melody (mus. ex.
No. 29) which has six-syllable lines; the first melody line ending on b i ,
the second on ai, and the third on d 2 . 32 As another example (mus. ex.
No. 71a.), 8, 6, II, ~ [iI indicates a three-line heterometric melody which
has an eight-syllable, first melody line ending on ai, a six-syllable
second line ending on c 2 , and an eleven-syllable third line. 32
If, after all the divisions described above, still another classification is
required, it is decided according to the range (ambitus) of the melodies,
progressing from smaller to larger. Thus, for example, mus. ex. No.9,
with a range of six scalar degrees (IV-z = cLa i ) is classed before No.
lOa. (IV-P3 = cLbip).
No system, including the one described above, offers a mechanical
means for grouping of all the variants. Since it is very important, how-
ever, that all variants of a melody should be published as a unified group
and not scattered, I have-aided by the grouping system and a thorough
inspection of the entire body of material-primarily assembled the
melodies into variant groups, without regard to like or unlike construc-
tion of individual group members. At the head of each variant group
stands that member in which the structure is least altered and which
seems closest to the predetermined prototype. In the grouping of the

32 The last melody line always ends, of course, on gl.

[ 16 ]
 Introduction to Part One
material as a whole, the ordering of the variant groups was determined
only by the structure of the first (a.) variant.
Those melodies constituting a single variant group carry the same
arabic number, the individual members being distinguished by letter
designations (a., b., c., and so on). The order of variant members within
the frame of an individual variant group is generally decided by a pro-
gression from simpler to more complex. Extended and, too, incomplete
variants (in which one or more melody lines of the full form are lacking)
appear at the end of the variant group.

SCALE AND RANGE

Table 2 presents a clear illustration of scale and range factors.

Upon examination of the scales, it did not seem enough merely to
specify the scale without also determining its main degrees and the
latent harmonic relationships contained in the melody. Main degrees
(indicated by whole notes in Table 2) I consider to be those which almost
always fallon stronger beats than the remaining degrees, and which
therefore appear as more or less stressed degrees in the melody.33 In
other words, in terms of a popular explanation, main degrees are con-
sidered to be those which, when grouped chordally, can provide a con-
tinuous, most primitive accompaniment for the melody.34
In many melodies the function of the main degrees is so obscured that
they are not clearly discerned, as is the case in (Table 2) scale patterns
2., 9., and 17. Pattern 2. was, originally, apparently like pattern 1.;
pattern 9. stems, apparently, from pattern 8.; and pattern 17, from
either 12., 13., 19., or 21. Other melodies, again, especially those struc-
tured in the modern major or minor modes, show no trace degrees in the
sense referred to, but have scale degrees showing the familiar harmonic
functions of our major and minor system. In the determination of the
scale of such melodies, indication of latent chords rather than main
degrees was of importance, as in patterns 23., 25.-29. Marginal notes in
Table 2 offer information concerning the harmonic relationships in the
patterns already listed, as well as for others. It should be noted that the

33 In many melodies some melody lines are not alike in this respect, so that, in specifying
the scale of these melodies, other main degrees had to be given for the particular melody lines
(for example, Table 2, scale patterns 3., 6., and 16.).
34 If gl is not included among the main degrees, then the final note of the melody must
naturally have another chord underlying it (for example, Table 2, scale patterns 10.-\3.:
~ j 14.- \6.: _ ).

[ 17 ]
 Introduction to Part One
final tone (tonus linalis) is, in every pattern, the note gl (indicated by
the sign +).
As concerns the ordering of scales in Table 2, I have arranged under
a given number those scales which show the same main degrees, and
those which display identical harmonic relationships, without regard
for minor differences in range or in the chromatic alteration of the less
important degrees. Thus, those patterns grouped under one number
represent a scale family, rather than a single scale.
- N.B. The use of parenthesis for the small-head note scale degrees and for
accidentals signifies alternatives for the degrees or accidentals in question. Thus,
among the melodies included under a given number, some have scales consisting
only of large-head note degrees, others have them made up of parenthetical small-
head note degrees or degree groups standing before or after large-head note de-
grees. The signs L-.J and .--, are used to indicate the range (ambitus) of
scales in which the small-size notation both precedes and succeeds the large.
The intonation of some degrees is not always pure or tempered. Speci-
fically, the fourth degree in patterns 3.,5.,9., 11., 13., 15.-17., and 20.
is often of fluctuating, lower intonation. Fluctuating, higher intonation
of the third degree is also found in patterns 3., 11., and 20. Unfortunately,
I had no access to apparatus for the accurate measurement of pitch.
More noticeable deviations from pure intonation are indicated in the
melodies with the signs t and +, ~ and o/a.
TABLE 2
SCALE AND RANGE IN THE COLINDA MELODIES

(Examples from Maramure~ are enumerated following the indication Mar.)

Number of
Melodies
Description and Music Example Nos. with I without
Variants

1. ki -&.
I, ,.,: 12t.u., 81c.i. 2 4

2. ,
......~ : , . : 94 a. b. 2

3. & •
~~.
w e
:; .~. (Second line on ~)S5:
~
10 a.

85 That is, the second line has ~~ as main degrees.

[ 18 ]
 Introduction to Part One
(continued)
umber of
Description and Music Example ros. Melodies
with I without
Variants

9, 12cc., 52 c.,
4C.o t 'F -)!' 'IF~)0) "
C)
4. t (I.) ill :;::E: 69, 81 b.d., 102 7 9
• ~". j., 128a. b .

5. 81 a. j . 2
..,.
6.
~-.- f" and ..... .. ! . 36
32, 41, 43 3 3

7. &.0 f. : 10 b., 65. 2 2

19 q b) c) 42 b., 59 a. b., 61 k.,
~~ :. i·1 )(
. 37
8. Ih :I I~ !Io 73 ff., 74 b., 99 b., 7 9
102 k. 1.

9. t~. ; ,. 74 a. 38

10. ~
(-)(:;:. ;( )
:1 i, ,.)
Half-cadence at end: 39 7 b., 12 a. i.
n. z. bb., 34b., 35, 5~51 , 58a., 61h., 12 20
66 b., 80, 107 a.-e., Mar. 7.
II. fl.
i I'
",.,14 , HaIf-cadence at cnd: 39 12 e. f. j.-1. p.,
62 dd . ff . hh .-JJ.,
.. 104 J..
' k 3 13

d)
• "lIh~
Half-cadence at end :40 3 a.-c., 7 a., 12 c. d ., IS, 20, 28, 34 a., 31 66
45 a. b. V., 46. a. b., 47, 52 a. b. e., 54, 58 b., 61 a . b. d . f.
g. I., 62 p., 621. n., 66 a. c., 73 u., 75 a. b., 83 a. b., 84 a.,
95 j. k., 102 b. c. f., 103, 104 a.-i. k., 106, III a.-e., 117 a.
b., 121 k., 127 a. b., Mar. 1.
36 ome part, of the melody show, a main degrees of the scale, tho; degrees drawn in
whole notes in the second pattern.
37 o.called "third·m lodies" with apparently Phrygian seal and main degrees of el~, gl
and bl~ . l' or these melodies one may imagine a econd voice, made up of scale tone and
movin.g parall'l to the mclod)' at a third helow, in which case the melody ends with a major
. gl
thlrd:.1 •
38 This melody originally must have had the scale given under B.a). It present form, in
which no main degrees arc discernible, mu t be regarded as a corrupted ver ion.
39 That i , i~~. In three-line forms with the structure A 0 A (see Table 3 and the com·
~

ments thereto), the fir5t line al end with the same half·cadence .

..
0

.0 That is, . In three·line forms with the structure A B ,\ (see Table 3 and the
:0:
comments thereto) the fir ' t line al 0 ends with the same half·cadence.

[ 19 ]
 I ntroduction to Part One
(continued)

Number of
Melodies
Description and ~lusic Example Kos.
with Iwithout
Variants
- - -- - - - - - - -
Half-cadence at cnd :10 12 aa., 21 C.-e. h. i. n.
13. _ 0=, U.-x., 52 d., 61 C., 620., 68, 71 a. g., 81 h., 9 18
83 c.
b
14. ~~.~~~~~§I~~: 71 b.-d., 73 h. s. ii. rr. ss., 76. 3 9

15. W$ 0 01). 12 r., 73 f. 1. 111. p. r., 109. 3 7

16. ~jji'~L~1I ",5%. : 56 a. b. c. 3

a: b) c)
17. 10 16
12 h., 26 a. b., 33 a. b ., 57, 62 e. aa.-cc., ee., 73 v. kk.,
102 d., 120, 126.

18'W~ht~, 5 11

with Phrygian cadence: 41 61 c., 62 a.-d. I. g., 73 d. jj.,

95 i., 113.

22 43
10 c., 12 m. s. v. x. z., 21 m. aa., 27, 36, 62 u. V.X . , 73 j.
k. t. x. gg. 11.-00., 78 a. b., 81 g., 84 b., 86 h., 87 c. d.,
92 b. d . c., 102 c. h., 108, 112 a. b., 115 c., Mar. 2,4,8, 11,
16.

20. Itf:¥H)tI:±: 44 a., 73 i. aa. 2 3

c)
21. v~ · I:o;::O::C:, 10 17
with tonic and dominant chords: 42 13, 19,21 a., 37 b., 38 a.,

22.
62 h. i. m. gg., 73 a.-c. e., 79 a. b., 96.
II 2 2
, ~ oi· o ; 12y., lOOc.

4l That is, • .

"2 Thal is, the melody contains, a. latcnt harmony, the tonic and dominant triad inter-
changeably: one i,; possible as the accompaniment rhord for many portion. of the melody; the
other, for the remainder.

[ 20 ]
 Introduction to Part One
(continued)

.:. ' umbcr of

Melodies
Description and ".\Iusic Example. 'os.
with Iwithout
Variants

with tonic and dominant chords :42

45 c.-I., 100I., 115b.d., 118a., 5 IS
Jfar. 13 d.

24. :gi1 .~.Ir-'IIb)(~: 26 c" 73 y. cc., 118

a)
b. 3 4

25. =9a~iPai6'*.tkY'.'¥I~)7·
~It;.:..-- . (.) ~ 67 156

with tonic and dominant chords: 42 I a. b .. 4, 5 b., 6, 8, 14,

16 a.-c., 17-18, 21 b. f. g. i.-I., o.-t. y. Z., 23 a. b., 24-25,
26 d., 29. 30 a., 39-40, 44 b. c ., 45 m.-u., 49, 53 a. b., 59 c.
d., 60, 61 i. i., 62i. k. r.-t., 63, 64 a.-g., 67 a. b., 71 f.,
73 g. n. z. dd. ceo hh., 77, 81 f., 82 a. b., 84 C., 85 a. b.,
86 a.-g., 88 a.-c., 89, 91., 95 a.-f., 97, 100 a. b. d. e. g. i.,
102 a., lOS, 114 a.-d., 115 a., 116, 121 a.-i. I.-r., 122 a. b.,
123-125, 130-131, 132 a. b ., 133, Mar. 3, 6 a.-c., 9 a. b.,
lOa. b., 12,13a.-c.c., 14,17-18.

26.
~)
#* --
%r c) with tonic and dominant
~"W;;Jl<#, ehords: 42 72, 95 I. .lIar. IS. 3 3

with subdominant and tonic chords :43 6 7

27. 48, 62 y., 92 a., 93, 95 g. h., 102 g.

28. §! . " ~~t~. subdominant and tonic chords: 43 12 CT., 2 2

~+=-;:JCeE with subdominant, dominant, and tonic 2

29. ~, chords: 44 98, 110.

c)
5 a. c., 70, 73 O. 3 4

31. §t.,
a)
. 'I.t-,af.
b) c
2,99 a., 129. 3 3

32. §t+±¥-: 90, 102 i. 2 2

43 That i~, thc mclody contain. , a~ latent harmony, the tonic and subdominant triads,
interchangeably.
4-\ That is, the lIlelody COI\I(lin~, . s latent h(lrmon y, lhe tonic anc! (\omin(lnt triad, inter·
changeably.

[ 21 ]
 Introduction to Part One
(continued)

Number of
Melodies
Description and Music Example Nos.
with Iwithout
Variants

33. : 12 dd.

II, 12 b . 0., 22, 31, 37

a. b., 42 a., 55, 71 e., 16 19
73 pp., 81 e., 87 a. b.,
92 c., 101,l19,Mar.5,
19.
35. Scale with chromatic steps: 30 b ., 100 h. 2 2

Total : 481

In scales with discernible main degrees, certain relationships are ap-

parent. If the final tone of the melody or of the scale is transposed a
fifth higher, the following derivations result:
pattern 19. > pattern I. (mus. ex. nos. 12m.s.v. > 12t.u.), pattern
21. > pattern 4. (102m. > 102j.).
If the final tone is raised a third:
pattern 21. > pattern 8. (73a.b.c.e. > 73ff.; 102i. > 102j.).
If the final tone is raised a second:
pattern 19. > pattern 10. (12m.s.v. > 12a.e.i.n.z.bb.), pattern 21. >
pattern 12. (62h.m.gg. > 62p.; 73a.-c., e. > 73u.bb.).
If the final tone is lowered a fourth:
pattern 19. > pattern 30. (73j.k. > 730.), pattern 21. > pattern 31.
(no example for this relationship).
A similar relationship exists between pattern 20. and patterns 3.,
11.; also between pattern 22 and patterns 5., 13.
- N.B. Patterns 13., 14., and 15. are isolated types, demonstrating no re-
lationships to other patterns.

MELODY LINE CONTENT-STRUCTURE

Table 3 presents information concerning the content-structure of the

individual melody lines. Each capital letter in the table indicates a
melody line; lines of like content are described by the same letter.
Double lines are indicated with two capital letters joined with the plus
sign. In signs such as Av , B v , and so on, the subscript (= variant) indi-
[ 22 ]
 Introduction to Part One
cates a small differentiation of content-structure, mostly at the end of
the melody lines. B5 means a transposition at the lower fifth; B4, the
lower fourth.

TABLE 3 45

CONTENT-STRUCTURE IN THE Co LINDA MELODIES

(Examples from Maramure~46 are enumerated following the indication Mar.)

Number of
Melodies
with Iwithout
Description and Music Example Nos.
Variants

1. !!v}: 38 a. b., 43, 48, 54, 56 a.-c. 5 8

2. A Av (I2, 8 = 4 + 4,4,4 + 4; cf. schema 8.): 52 a.-e.,

'Ts'f'fute ~e 53 a. b., 55. 3 8

3. A B: 1 a. b., 2, 37 a.-c., 39-41, 42 a. b., 44 a.-c.,

45 a.-v., 46 a. b., 47, 49-51, Mar. 1.-2. 16 43
4. A A B: 72,90,97. 3 3
5. A B A l:
3 c., 8, 18,58 a., 59 a., 60, 61 a.-e. h. j. k.,
A B Av J 62 a.-t. cc., 63, 64 a.-g., 65, 66 a.-c., 69-70,
71 a.-e. g., 73 bb. gg., 76-77, 79 a. b., 80,
81 a.-j., 82a. b., 83 a.-c., 84a.-c., 85a. b.,
86 a.-h., 87 a.-d., 89, 91, 92 a. b. d. e., 93,
95a.-1., 102a.-m., Mar. 6a., 9a. b., lOa.
b. 36 130
6. A B B }. 5 a.-c., 6,7 a., 19,21 a.-s. u., 57, 68, 73 u.
A B Bv • v. aa., 74 a. b., 92 c., 99 a. b., 103, 106,
Mar. 4, 13 b. 15 39

I
7. ABC: 3 a. b., 4, 7 b., 16 a. b., 17, 20, 21 t., 22,
23 a. b., 61 f. g. i. 1., 67 a. b., 71 f., 73 a.-t.
X.-z. cc.-ff. hh., 75 a. b., 78 a. b., 94 a. b.,
96, 98, 100 a.-i., 101, 104 a.-k. 27 87

8. !t~~!t~
A+B Bv A+Bv (6+6,6,6+6; cf. schema 2.) 9, 10 7 14
A+B C A+B a.-c., 11, 12 a.-e. 1.
A+BCA+Bv
A+BCBv+ C

45 Melodies of incomplete structure, with one or more melody lines of the prototype missing,
are not listed here.
46 [See fn. 1, above.]

[ 23 ]
 Introduction to Part One
(continued)
Number of
Melodies
Description and Music Example Nos. with Iwithout
Variants

9. ABAB}
A B A Bv : 25, 32, 34 a. b., 108, 110 a.-e. 6 11
10. A B A(v) Bs }. 2 ..
A B A(v) B4 .6 aa.-]J. 10

:a
Ul
11. ABBA }
A B Bv Av : 128 a., 129. 2 2
~ 10
~ 12. A ABC: 24, 30 a. b., 115 a.-d., 124, 133, Mat'. 4. 6
Q)

:§ 13. A B A C: 109, 112 a. b., Mat'. 15. 3 4

.!. 14. ABC B: 16 c., 27-28, 33 a. b., 114 a. b., 116, 127
::I
a. b. 7 10
ri!
15. ABC C: 121 j. k. 2
16. ABC D: 26 a.-c., 29, 73 ii.-oo., 113, 117 a. b., 119-
120, 121 a.-Ll.-r., 123, 125-126, Mat'. 17-
19. 14 37
Total: 418

Melodies listed for schemata 2. and 8. have a related structure. If, in

scheme 2., each set of four syllables is considered as one line, then the
stanza structure 4 + 4, 4, 4 + 4 is obtained, which is very close to the
stanza structure of schema 8.: 6 + 6, 6, 6 + 6. Moreover, if each set of
four syllables or that part of the melody falling thereon in schema 2. is
considered as one melody line or as half a double line, and is labelled
with a capital letter, schema 8. is then obtained.
PECULIARITIES OF PERFORMANCE
Unfortunately I had no opportunity in the first years of my research
to witness the Colinda singing at Christmas time and, therefore, the
extra-musical customs of these folkways. Partly from lack of time in the
villages visited, I also neglected to inform myself about the manner and
method of Colinda singing, limiting myself rather to the collection of
material from qualified persons. Therefore, I cannot report anything on
the question of performance characteristics of the material from Mara-
mur~, Satmar, Mur~-Turda, Cluj, Turda-Ari~, Bihor, Arad, and T~.
I had more success in Hunedioara and Alba de jos, where I could observe
the following characteristics in the singing of Colinda songs.
[ 24 ]
 Introduction to Part One
The change song in Hunedioara.-In this area the Colinda melodies
are perfonned as change songs by two choruses of boys (each in unison,
of course); the change occurs from stanza to stanza. The interchange
takes place without any pause; indeed, in many perfonnances the first
eighth note of the new entry or new stanza falls on the last eighth note
of the preceding stanza.
The change song in Alba de jos.-Here, too, change singing is the prac-
tice in Colinda perfonnance, but with an added characteristic: the new
entry always occurs before the preceding stanza ends (see mus. ex. Nos.
2, 12v., 39, 59c., 62v., 86h., 87c.d., 88b.c.), so that in many cases the last
one or two beats of the melody sound together with the opening beats.
It seems-and the recordings bear witness-that the entry of the next
stanza almost always follows on the same, identical spot; it would, how-
ever, be necessary to observe this kind of perfonnance more often and
more carefully, in order to be able to determine whether the place of
entry is actually fixed or how far inconstant.
The change song practice just described gives the listener the im-
pression of eager haste on the part of the perfonners: as if the crowd of
singing boys cannot, for sheer impatience, await the end of the stanza;
indeed, that they must start the new stanza during the closing portion
of the preceding one in order to reach the end of the-usually quite long
-Colinda text and thus be able to visit more houses. Apparently this
noteworthy perfonnance practice is responsible for the incomplete fonn
(two-line instead of three-line) of most Colinda melodies of Alba de jos.
As I understand orally from Mr. Sabin V. Driigoi of Timi~oara, who has
also gathered Colinda songs in this area, he observed the same trait in the
perfonnances there.

REMARKS

In Hunedioara, Alba de jos, and Bihor-as far as I know-only boys

or men sing Colinda songs; in Maramure~, boys and girls (separately). I
have no definite infonnation on this score about other areas. In the
western fringe of Timi~ and neighboring Torontal the custom of Colinda
singing has already died out among the Rumanian peasantry, so that I
could obtain very few Colinda songs from the Rumanian peasants there.
In fact, almost all of the Colinda singing in this area has gone over into
gypsy hands, therefore almost all the Colindas from the aforementioned
territory stem from gypsy sources. The gypsies sing Colinda melodies to
Rumanian texts, exceptionally to Romany texts.
[ 25 ]
 Introduction to Part One
Regarding the original pitch of the melodies, it is apparent from avail-
able information that women sing mostly in their lower register; the
lowest tone among old women is not infrequently g and even f. Men, on
the other hand, sing mostly in their higher register.

RELATION BETWEEN TEXT AND MELODY

As is generally known, the lyric and epic texts of the other Rumanian
peasant songs are bound to no specific melody.47 In Colinda songs this
practice does not seem to be generally true, since we find here some
examples that show the connection of a text to a special melody. Thus,
for instance, we see in mus. ex. Nos. 1a.b., 16a.--c., 30a.b., 44a.--c.,
73mm.--oo., 74a.b., 99a.b., 112a.b., 11Sa.b.d., and 127a.b. that the melo-
dy variants of any given group are performed to variants of the given
text, which certainly cannot be ascribed to any accident. Naturally, in
mus. ex. Nos. 130-133, which stem from popular art songs, the text and
melody constitute a related unit, as is also the case in other Rumanian
songs of similar source. The projected basic investigation of this ques-
tion, through repeated hearings of the same Colinda songs sung by the
same performers at different times, and so forth, was rendered impossi-
ble by the untimely end of my collecting trips.
I t is important also to determine how far the refrain is related and
whether to the text or to the melody. The often entirely special rhythm
of many refrains implies that such refrains cannot be used in any melo-
dy, but only in those melodies in which the corresponding melody
portion moves in like rhythm. If several refrains (as, for example,
Domnuluj Doamne, Florile dalbe, and Juneluj bunu) have the same
rhythm (in this case xx.?< Ixx ), it is naturally possible-and it occurs
frequently-that the same melody is found bound to one refrain in one
text or locality and to another refrain in another text or locality. For
example, one finds in some variants of mus. ex. Nos. 61 and 62 the
refrain Domnuluj Doamne, in others, Florile dalbe, and in a third portion
of No. 62 variants, Juneluj bunu.
Refrains of equivalent rhythm are, among others, mostly those eight-
syllable refrains which show a meter of four trochees (mus. ex. Nos. 46a.,
62t., 74b., 81d.e., and 102k.1.) as well as those six-syllable refrains con-
sistingof three trochees (mus. ex. Nos. Sa.b., 12a.-e., and 30a.b.). As a
result of the investigation of this problem, it can be stated that in
47 See, under the same subtitle, the discussion concerning this point in my Maramure~
publication [fn. 1, above]. (The marginal note there offers a rather unsatisfactory comment.)

[ 26 ]
 Introduction to Part One
individual refrains some relationship to melodies as well as to texts
is to be observed, though usually not in parallel occurrence. Con-
cerning the connection of many refrains to many texts, one finds
first that some refrains (mus. ex. Nos. IOc., 12y., 19, 21a.-s., U.-Z.,
23a., 25, 33a.b., and 34a.b.) occur only in connection with six-syllable
texts. Secondly, we see that those so-called "Family" Colinda texts,
sung in honor of a girl, almost always must have only specific refrains,
as in mus. ex. Nos. 62t., 76, 80, 81d.f.-h., 83a., 84c., 85a., 86g.,
92a.-d., 97b., and 116. "Family" Colinda texts sung in honor of boys
very often have a refrain, as in mus. ex. Nos. 62j.-1.n., 81e., 86f., 87b.c.,
and 88b.c.
Text variant groups always having the same refrain are, strictly
speaking, not found; on the other hand, one ratherfrequently encounters
melody variant groups bound to a specific refrain. It follows, therefore,
that a refrain relationship to specific melodies occurs in significantly
greater amount than to specific texts.
The absence of refrains in melodies whose variants are sung with
refrain, or in those of incomplete form, can be considered a matter of
loss. For if, as an example, a melody variant lacks that portion of its
melody to which the refrain is ordinarily set, then it is easily seen thatthe
omitted part accounts for the disappearance of the refrain. The lack of
the refrain in mus. ex. Nos. 2, 4 and 48 is explained by the fact that these
melodies are really incomplete forms of hitherto unknown three-line
stmctures. Those melodies in which no omission can be assumed, and
of which no variants with refrain are known (mostly Cantec de Stea
melodies), are most probably altered borrowings from some body of
popular art music.
A further question concerning the relationship of the text to the
melody is the following: In what way are the individual text lines set to
the individual lines of the music? First, it must be determined which
portion of the melody bears the refrain; secondly, in what way the
proper text lines are attached to the other portions of the melody. In
three-line melodies the refrain in the content stmcture {A B
A+B
A(v)
A A
+B,
and so forth} (schemata 5. and 8. in Table 3) is almost always set to

the second melody line. In the content-stmcture {A B B(v) } (schemata

ABC

[ 27 ]
 Introduction to Part One
6. and 7.) the refrain is set mostly to the third melody line. 4S In four-
line melodies the refrain in the content-structure {AABAC
BAB} (schemata
9., 10., and 13.) is set mostly to the second and fourth melody lines (re-
•
peatedl), and m the content-structure 1
JAABC}
ABC B
(schemata 12. and
14.) the refrain is found mostly under the third melody line.
The setting of the individual text line is treated in various ways. For
example, if two melody lines (without refrain) remain free for the proper
text lines, one and the same text line is repeated for both melody lines;
if three remain free, then one text line is repeated, as before, and the
following text line is sung to the third melody line. But it must be
observed that the repetition of proper text lines already described also
takes place in another fashion; indeed, since there is no strict rule about
repetition, it can occur in different manner from stanza to stanza. I
publish the melodies here with the exact setting as sung in the first
stanza. The setting of the following stanzas is given in Part Two (Texts
and Translations) as far as it can be determined through recording or
otherwise. According to these particulars, one can well realize the text
setting of the entire song, although I must point out again that, in actual
village performance, the performer often permits himself deviations
from the text setting adopted at the beginning of the performance. This
freedom does not, however, apply to the setting of the refrain, which in
almost all cases always remains the same.
A noteworthy kind of text setting, not yet mentioned, is found in
three-line melodies performed as change songs by two choruses, in which
the second melody line is always set to the refrain:
ISt Chorus, beginning with stanza I: first melody line on first text line,
third melody line on second text line;
2nd Chorus, following with st. 2: first and third melody lines each on
the second text line;
ISt Chorus, following with st. 3: first melody line on third text line;
third melody line on fourth text line;
2nd Chorus, following with st. 4: first and third melody lines each on
the fourth text line; and so on.
In melodies with schema 8. of Table 3 the text setting occurs in similar
fashion, except that every pair of (six-syllable) text lines is grouped to-
48 In three A B B(v} forms-mus. ex. Nos. 57, 103, and Mar. 4-the refrain is found under
the first melody line, in three others-mus. ex. Nos. 7a., 99a. and b.-under the second and
third melody lines.
[ 28 ]
 Introduction to Part One
gether as a unit of twelve syllables for the melody's double lines (6+6).
Another procedure: each (double) melody line is set to a REPEATED text
line.
Chorus I, then, gives the impression of having the leading role, in
that it intones the new text lines, while Chorus II only imitates what the
other ensemble has already stated, and actually only the second half of
that.

CONCLUSIONS
Even a superficial reading of Tables 1, 2 ,and 3 above shows clearly
that the Colinda melodies represent no unified style overall. The indi-
vidual style of peasant melodies is characterized by "many like-con-
structed melodies, all of which show one or more related patterns." 49
There are, however, numerous and quite varied patterns in the three
tables.
Only the following can be listed as general characteristic features of the
majority of Colinda melodies:
(a) Three-line stanza structure, with main caesura at the end of the
second melody line; and
(b) Tempo giusto rhythm. 50
Closer inspection of the material, however, reveals certain stylistic
features characteristic only of individual regions. In fact, only the
Colinda melodies from Hunedioara and the neighboring Alba de jos, on
the one hand, and from Bihor on the other, show a specific character.
Hunedioara and Alba de jos.-The main characteristics are
(1) Mostly three-line isorhythmic stanzas, with the main caesura at the
end of the second line;
(2) Schema 5. or 8. (Table 3) content-structure;
(3) Rhythm of the individual lines (in A B A(v) structure): pattern B
III g) IX) 2. (Table 1);
(4) Final tone of the main caesura: usually 0;
(5) Scale: mostly patterns 19. and 25. (Table 2), less often (in thirteen
cases), but especially characteristic of Hunedioara, are patterns
1., 3.-5., and 7. (Only nine examples of the mentioned patterns are
from Torontal, Arad, Bihor, and Mure~-Turda.)
49 See Bart6k, Hungarian Folk Music, p. 8.
50 The parlando-fubato performance of many Colinda melodies is, as mentioned above, to
be regarded merely as an extension of the original tempo giusto rhythm.

[ 29 ]
 Introduction to Part One
Bihoy.-Features of this area are
(1) Predominantly three-line stanzas;
(2) Mostly A B A content-structure, and in addition, A B B(v) and
ABC (schema 8. of Table 3 never occurs) ;
(3) Scale: only patterns 13.-16. (Table 2: twenty-five examples) are
really characteristic (there are but seven examples from Tim~,
Arad, and Mure~-Turda).
Considering next the relationship of Colinda melodies to other types of
Rumanian peasant melodies, and to peasant music or popular-style
music of other peoples, we must preface our remarks with the obser-
vation that an exhaustive investigation of foreign influences can scarcely
be undertaken here, for we have no satisfactory comparative material.
Especially, we have no collections of winter solstice or Christmas songs of
neighboring peoples. 51 We can, nevertheless, offer some indications.
RELATION TO OTHER RUMANIAN FOLK SONGS
The tendency of the Colinda melodies toward three-line structure is
seen in still higher measure in the paylando Cantec melodies of Bihor
and Hunedioara. Scale patterns 13.-16. of Table 2, characteristic of the
Colinda melodies of Bihor, reflect the influence of the other peasant
melodies in that area; in fact, the latter-especially the parlando Cantec
type--display these scales almost exclusively. 52 Other relationships are
not readily discernible; indeed, the Colinda type of Alba de jos and
Hunedioara is, for instance, absolutely unlike any peasant music known
to us.
INFLUENCE OF THE SERBO·CROATIAN MATERIAL
The relative diffusion of scale patterns 10.-13. of Table 2, all with
half-cadence at the end of the melody, can most plausibly be traced
back to South Slavic influence, for these scales playa predominant role
in the peasant music of that territory. 53
INFLUENCE OF WESTERN EUROPEAN MUSIC
The very great diffusion of scale patterns 23.-26., and 29. of Table 2
51 [The author's tabulation of material from Serbo·Croatia, deposited in the Columbia
University (New York) Library and in the New York Bart6k Archive, shows only two
examples of a koleda (winter solstice or Christmas song).]
58 Cf. Bart6k, "Der Musikdialekt der Rumanen von Hunyad," (Zeitschrijt jar Musikwissen·
schajt, Vol. II, 1920), pp. 352-360. [Hunyad represents the Hungarian denomination for
Hunedioara.]
58 [Cf. Bart6k, and Lord, Serbo-Croatian Folk Songs (Columbia Univ. Press, New York
1951), pp. 59-61].

[ 30 ]
 Introduction to Part One
-which are really nothing but modem major and minor scales-indi-
cates the influence of Western European style. It must be pointed out
that mus. ex. Nos. 29, 45, 49, 114-115, 117 (perhaps also 120), 121-127,
and above all 130-133 especially reflect such influence. Nos. 130-133 are,
with text, most probably slightly-altered forms of borrowed art songs.
Through what mode of transmission and to what extent the influence of
Western European music could infiltrate the domain of Rumanian
Colinda melodies is a moot question, even though in certain melodies one
can point to certain parallels stemming from the West. These parallels
are illustrated by the following examples:
The Hungarian church melody given in the Appendix to the music
examples, under I., is certainly to be regarded as a variant of mus. ex.
No. 45 (especially from a.-p.).54
Mus. ex. No. 49 apparently comes from the Gradual given under III.
in the Appendix to the music examples,55 and No. 100 is the variant of
a Hungarian church melody of the seventeenth century (Appendix,
VI.).56

THE INFLUENCE OF BULGARIAN RHYTHM

Special mention is required for those rhythmic patterns which show
a division into sixteenth notes, and which are called "Bulgarian" be-
cause they often appear in Bulgarian folk music of every kind. The char-
acteristics of Bulgarian rhythm are: (a) the smallest unit is a sixteenth
note whose rate of speed is about M.M. = 300-420+; (b) higher values
are asymetrically compounded from these short units, such as J J. or
J. J; and (c) the combination of the values J. and J can-as we also
observe in Bulgarian folk music-produce the most varied rhythmic
patterns. 57 It seems desirable to investigate the question: In these
melodies, are we not dealing with merely accidental shortenings or
lengthenings of note values on the part of the performer?
Since this kind of rhythm is sung throughout the entire region of
54 The most recent publication in which this church melody is found, and from which our
example is taken, is Harmat and Slk, Silent vagy, Uram! (Budapest, 1932), No. 11. The oldest
known source is Kisdi, Cantus Catholici. In all likelihood, the original source is the fifth antiphon
of the first Sunday in Advent (given under II. in the Appendix to the music examples, as
found in Antiphonale pro diurnis horis, Parisiis, Tornaci, Romae, 1919, p. 189).
55 Graduale de tempore et de sanctis, Ratisbonae, 1923, p. 200.
56 Found, among other places, in the chant book Szegedi, Ferenc Lenart, Cantus Catholici,
Kassa, 1674, p. 24. In the Rumanian variants the first melody line of the Hungarian variant is
lacking; the correct labelling of the former, then, would be ~ ~ !
67 Cf. W. Stoin, Grundriss der Metrik und der Rhythmik der bulgarischen Volksmusik, Sofia,
1927.

[ 31 ]
 Introduction to Part One
Hunedioara and, occasionally, also in Mur~-Turda and Bihor, we must
say "no" to the above question. True, everyone who is not accustomed
to the phenomenon of Bulgarian rhythm will at first have only an im-
pression of haste in the performance, will feel that it is a matter of
6/8 J.J .J J I performed so quickly that the quarter note values are
shortened by a scarcely perceptible amount. But this hardly noticeable
shortening regularly alters the quarter note to three sixteenths (one
may easily be convinced on this point by playing the recordings at half-
speed); in fact, it appears in so many performances, from different
villages, that there can scarcely be any question of accident. 58 The follow-
ing Colinda songs are in "Bulgarian" rhythm: mus. ex. Nos. 11, 12d.x.,
52c., 60, 81a.b.d.-f., 83a.b., 85a.b., 86a.b., 87a., 92e., and 102b.i. 59

RELATION TO HUNGARIAN FOLK MUSIC

Only one Colinda melody can, with full certainty, be considered a

borrowing from the Hungarian material: mus. ex. No. 11 from my
Maramurefj publication [see fn. 1 above]. This melody, an incomplete
form, lacks the first melody line which, in any case, must have been
like the fourth. If we complete the melody, then we have a tune with the
melody-stanza structure 8, TI
@] ~, with the content-structure A A5 A5 A
(A5 means a transposition at the higher fifth). This melodic pattern
is-as is made clear in my book Hungarian F olk Music-one of the most
widespread in the so-called "new style" (Class B) of Hungarian folk
music, but is, on the other hand, almost completely unknown in Ru-
manian folk music. It may be justifiably deduced, therefore, that the
melody cited was borrowed from Hungarian material.
A noteworthy correspondence is seen in the rhythm, partly also in the
structure, of mus. ex. Nos. 12i.-m., 26a.-c., 27-28, and the Hungarian
folk melodies Nos. 34a. (reproduced in the Appendix, under IV.) and
36 published in my book Hungarian Folk Music. But striking as the
similarity may be, in every respect, between mus. ex. No. 12m. and the
Hungarian folk melody No. 34a., we must nevertheless put aside the
thought of a mutual influence, for the original forms from which the
58 Certain dance types in other Rumanian regions also have a "Bulgarian" rhythm; for
example, the tmpcelecata (= tmpiedicata) in Mure~-Turda: 9!t6.J J .J. (J = M.M. 400).
59 [In Vol. II of the present publication (p. 31) Bart6k states that, except for the Colinda
melodies, Bulgarian rhythm is almost non-existent in Rumanian melodies sung with text. In
Vol. I (pp. 43-45) there is a rather extended essay on Rumanian instrumental melodies in
Bulgarian rhythm, including a detailed listing and description of the sixty-nine music examples
involved.]

[ 32 ]
 Introduction to Part One
Colinda melody stems (mus. ex. Nos. 12a.b., and so on) are basically
different, again in every respect, from the Hungarian melody cited.
Here is what seems to be an example of an accidental resemblance.
More to the point is the thought that the Hungarian folk melody No.
43 from Erdelyi Magyarsdg 60 is an adaption of mus. ex. No. 12f. When
Hungarian folk melodies Nos. 1,35, and 36 from Erdelyi Magyarsdg are
compared, respectively, with mus. ex. Nos. 43, 115d., and 26d., it is open
to question whether there is an adaption from the Rumanian into the
Hungarian material or conversely; since the last-named pair of melodies
are characteristic for neither body of material, but rather reflect a
Western European origin.
The appearance of the pentatonic scale (Table 2, pattern 34.), which
corresponds to that of the "old style" of Hungarian peasant music,
can-despite this congruity-scarcely be traced to foreign influence;
this scale can much more readily be seen as a species of the widespread
scale pattern 19. of Table 2.
The rhythm 6/s J.I .I J I J.I .I J II (and its offshoots-see pattern
B III g) ex) 2, Table I), characteristic especially of Hunedioara and
Alba de jos, does show a certain similarity to the "dotted" rhythm
4/4 J .I . .I. J I J .I . .I. J II of the old and new styles of Hungarian
peasant music. 61 However, a common origin of these rhythmic
patterns must be excluded: first, because of the special features of
the respective Colinda melodies, wherein the Hungarian melodies differ
basically; and secondly, because this rhythm appears almost exclusively
in 6/S time in the Colinda melodies and almost never assumes the strict
dotted form.

AGE OF THE COLINDA MELODIES

One can only offer suppositions regarding the relative age of the indi-
vidual Colinda melodies. Most probably, those types with major or
minor scales (patterns 23., 25., 26., and 29., of Table 2) are the most
recent, since it may be assumed that a Western European influence
could not have made itself felt until relatively late. For the other types,
a relative age-setting is very difficult; possibly Class A melodies (with
six-syllable proper text lines) are older than those of Class B (eight-
syllable lines).

60 B. Bart6k and Z. KodaIy, El'llelyi Magyal'sdg. NePdalok, Budapest, 1921.

61 Bart6k, Hungarian Folk Music, pp. 28ff.

[ 33 ]
 Introduction to Part One
ADDITIONS TO THE MELODIES
Five of the twenty-seven Colinda melodies published in my book
V olksmusik der Rumiinen von M aramur~ are not variants of the melodies
appearing in this pUblication. They are to be placed in the present
collection, therefore, according to the following order:
Maramure$ NO.2-between mus. ex. Nos. 42 and 43 (as an 8, I]
structure with a rhythm of equal quarter notes) ;
Maramure$ NO.4-between mus. ex. Nos. 57 and 58 (as a 6, 8, 8,
~ [!] structure);
Maramure$ No. I I [No. 12 in the original editionJ-between mus. ex.
Nos. 111 and 112 (as an 8, 6, 8, [6,] ~ ~ [! structure);
Maramure$ No. I2 [No. 11 in the original edition]-between mus. ex.
Nos. 126 and 127 (as an 8, TI
~ ~ heterorhythmic structure);
Maramure$ No. IS-betweenmus. ex. Nos. 31 and 32 (as a 6, 110 II
a b a b heterorhythmic structure).62

VARIANTS IN RUMANIAN PUBLISHED COLLECTIONS63

2 ..... Drag.64 1, 72, 196, 230, 19 ..... Drag. 28, 41.
288. 21 ..... M aramure$ 5, 16.
3 ..... Drag. 154, 168,214,247. 26 ..... Drag. 23.
5 ..... Drag. 223, 242, 301. 29 ..... Br. 29-32; Drag. 162;
6 ..... Drag. 102. Maramure$ 17.
7 ..... Drag. 220. 32 ..... Drag. 21, 39, 55, 57, 61-
9 ..... Drag. 95, 144, 177. 62, 74, 108, 118, 133,
11. .... Drag. 193. 150, 170, 183, 216, 243,
12 ..... Br.6s 11; Drag. 11 = 12, 255.
13, 43, 45, 73, 94, 135, 34 ..... Drag. 5, 7.
149, 169, 187, 204, 221, 45 ..... Br. 12, 39; Ciorogariu 66
267. 2a.; R.F.M. II. No. 15c.;
13 ..... Drag. 36, 248. Drag. 35, 167, 229, 265.
62 The use of lower case letters as content-structure labels indicates that the melody lines
(first and third, second and fourth) are isorhythmic.
88 [This tabulation was constructed from the author's Introduction (see the listing on p.
XVI) and Musical Part (mus. ex. Nos. 2-127) of the first pUblication (Bart6k, Melodien d61
Rumlinischen Colinde, Universal Edition No. 10259, Vienna, 1935). See the editorial Foreword,
p. xxii, for further details.]
84 Sabin V. Dragoi, 303 Colinde, Craiova, 1930.
85 Constantin Brailoiu, Colinde *i c4ntece de stea, Bucharest, 1931.
88 P. Ciorogariu, C4mece din Popo" Bucharest, 1909.

[ 34 ]
 Introduction to Part One
46 ..... Drag. 136; Maramure$ 1. 86 ..... Drag. 4 = 9, 6, 14, 75-
52 ..... Drag. 98, 104,218. 77,83, 91, 103, 186,253.
53 ..... Br. 2; Drag. 59, 201. 87 ..... Drag. 87, 190, 232, 238.
54 ..... Drag. 3 = 19. 88 ..... Drag. 89, 198.
59 ..... Drag. 15. 90 ..... Drag. 27, 97, 128, 139.
60 ..... Drag. 200. 92 ..... Br. 19; Drag. 18,25-26,
61 ..... Br. 6, 24; Ciorogariu 2b. ; 31,53, 78, 109, 180, 192;
M aramure$ 6. M aramure$ 8.
62 ..... Drag. 17, 37, 42, 47, 66, 93 ..... Drag. 84, 226(?).
80, 82, 92, 101, 107, 122, 100 .... Drag. 22, 67, 106, 117,
124, 134, 137, 145, 148, 173.
155, 175, 194, 206, 209, 102 .... Drag. 79, 90, 93, 125-126,
213, 219, 227, 231, 236, 129, 185, 188, 250.
256,258; Maramure$ 9. 104 .... Drag. 20, 68, 257, 302.
63 ..... Drag. 29, 48 = 49 = 50, 108 .... Maramure$ 19.
252. 114 .... Br. 1, 41, 43; Drag. 123,
64 ..... Drag. 46, 51, 65, 132; 143, 152, 161, 244, 251,
M aramure$ 10. 254,276.
66 ..... Drag. 88, 174; Mara- 115 .... Drag. 172.
mure$ 7. 118 .... Br. 33, 38, 52; Drag. 119,
73 ..... Br. 4, 14; Drag. 63, 81, 166a.b., 207, 239, 286.
130-131, 159, 195, 202, 119 .... Drag. 32
205, 228, 234, 245, 259, 120 .... Drag. 280.
291, 295-296; M aramu- 121 .... Drag. 96, 138, 165, 292,
re$ 13-14. 299; Maramure$ 3, 18.
75 ..... Drag. 294 122 .... Drag. 208, 269 = 270 =
81. .... Drag. 24, 64, 181, 199, 274.
210, 222, 249, 283. 124 .... Ciorogariu 3.
83 ..... Drag. 141-142, 184, 203, 125 .... Br. 35-37; Drag. 160,
212,217. 215, 260, 277 = 278.
84 ..... Drag. 127, 147,224-225, 127 .... Drag. 100.
233,235,237.

LIST OF FOREIGN V ARIANTS67

10 ..... Kuba B.H. 279; Kuba RH. Ms. 978, 980 (= "Tab. of Mat."
773a.--c.).
87 [This list was constructed from the author's entries in the musical part of the first
publication (see fn. 63, above) and from his Tabulation of Serbo-Croatian Material ("Tab. of

[ 35 ]
 Works Cited in Part One
12 68 ••• Erd. Magy. 43; Kuhac 209, 944 (= "Tab. of Mat. "1142a.b.).
26 ..... Erd. Magy. 36.
43 ..... Erd. Magy. 1.
45 69 ••• Kuhac 82 (= Dordevic Nar. Pev. 46/2); Kuba XI. 49, 314;
Bosiljevac 6a. (= "Tab. of Mat" 563a.-d.).
73 70 ... Dordevic Nar. Pev. 24/1; Kuba B.H. 175 (= "Tab. of Mat."
177a.d.).
74 ..... lui. Srb. 423. (= "Tab. of Mat." 682).
115 .... Erd. Magy. 35.
121 .... Susil2b;71 Kuhac 1489. 72

EXPLANATION OF THE SIGNS

USED IN THE MUSIC NOTATIONS
1. Melodies bearing identical Arabic figures are variant groups,
each variant of the group being distinguished by an additional small
letter (a., b., c., and so forth). Lesser variants are attached as marginal
notes.
2. The value of small-head notes (other than short grace-notes, before
or after the basic tone) connected with a large-head note by a slur, but

Mat." as abbreviated and described in Bart6k and Lord, Serbo-Croatian Folk Songs, p. 25. See
also fn. 51, above). The abbreviations given in the list represent publications which appear in
the Bibliography (below), and which are annotated by Bart6k in Serbo-Croatian Folk Songs,
pp. 22-27. In his book Folk Music of Hungary (New York, The Macmillan Co., 1960) Zoltan
Kodaly states that Colinde melody No. 49 is a variant of his mus. ex. No. 106 (a 'harvest-
home' song from the Zobor region, itself containing Gregorian elements from a Passiontide
Alleluia), and that Colinde melody No. 100 is a variant of Bart6k's Hung. Folk Music melody
No. 192. For details and other variants of these Colinda tunes, see marginal notes 84 and 93
(p. 138) in Kod;lJy's study.]
88 [According to "Tab. of Mat.", vars. 12d.e.s.-v.]
69 [According to "Tab. of Mat.", this music example is prefixed with Cf. rather the expected
Var. Examination of the Kuhac melody itself, unmistakably similar to mus. ex. No. 45, shows
the word Var. in Bart6k's hand. The other variants have been extracted from "Tab. of Mat."
The Kuhac and related examples appear under "Tab. of Mat." 563a. and, as Bart6k has indi-
cated there, refers to variants a.-c. of mus. ex. No. 45. Other "Tab. of Mat." references (158a.-
f.) to this Colinda music example have been added to the author's list following variant v. in
the Music Examples section of Part One of this volume.]
70 ["Tab. of Mat." shows "Cf. Bart6k Colinde No. 74a.-c." under its listing No. I 77a.-d.
The music notations, however, have Var., not Cf., in Bart6k's hand. Other errors in "Tab. of
Mat." include (a) Colinda melody No. 74 has only two variants, not three; (b) the Serbo-
Croatian variants belong to Colinda melody No. 73--specificaIly, to variants a.-c.]
71 The three-line variant, from Susil's collection (reproduced in the Appendix to the music
examples, below, under V.), is by all appearances of German origin. It is noteworthy that the
text treats a legend on the "Holy David."
72 [This example, an 8, ~ 0 ~ structure, appears in the Kuhac appendix to "Tab. of
Mat." See Bart6k and Lord Se,bo-Croatian Folk Songs, p. 24, for further details.]

[ 36 ]
 Introduction to Part One
not by a beam, have to be subtracted from the value of the large-head
note; for example: ~ equals ~ ; when connected with a beam:
. ' no subtraction will be made (both types of notation appear only
in melismata). The use of small-head notes in transcriptions means that
the respective tones are sung with less intensity. Small-head ornamental
notes placed within brackets are omitted in later stanzas. Bracketed
grace-notes are sometimes omitted.
3. Melismatic groups always have a slur. Each single note in groups
connected with a beam, yet without slur, is sung to a separate syllable.
4. If melody lines show two endings, one for seven- (or five-) syllable
text lines, the other for eight- (or six-) syllable text lines (or conversely),
the deviant ending is shown in a footnote or annotation to the various
examples. If the endings differ only in melismatic structure, then the
slur over the melismatic group is put in brackets.
5. The sign 1"\ above a note indicates a slight lengthening, v a slight
shortening. The same signs below a note have the opposite meaning. The
fermata 17\ extends the note to at least double its value, but occurs only
where, for some reason, the specific length of the sustained note could
not otherwise be exactly measured.
6. The signs ~./ indicat~ a gliding (portamento): ~ means a
gliding that begins immediately after the sounding of the note and
extends to the level in which the sign stops (in this case, extending over
the entire value of the note; ~ means a similar gliding which, how-
ever, begins somewhat later (falling almost on the second half of the note
value); Yf means a gliding from the level in which the sign begins to
the height of the note indicated, the duration of the gliding falling al-
most on the first half of the note value; the same sign above or under a
melismatic group indicates a blur of the group by gliding.
7. Key signatures are used only when the respective degrees are
affected throughout the piece. Exception: small-head notes.
8. The arrow above a note, pointing upward, means a slightly higher
pitch (but never reaching the span of a quarter tone) than notated;
pointing downward, slightly lower pitch. ~ lowers, ~, raises by a
quarter-tone.
9. At the end of each melody line in the first stanza over the tone
considered as structurally the final tone, appear the figures in ], 0,
or [.
[ 37 ]
 Introduction to Part One
10. Those text syllables underlined with a wavy line are not integral
portions of the text and, therefore, are not taken into consideration
when determining the syllabic number.
11. Syllables connected with hyphen, sounding in speech as one sylla-
ble or as one letter group, are often indicated in the melody with a
slur. 73
12. Above the first staff at the right side appear the figure symbols
indicating the syllable number and the final tones of the melody lines.
Bracketed numbers, and question marks standing alone or within cae-
sura symbols, refer to hypothetical melody lines lacking in the tune.
13. Recorded melodies stand in the form in which they are performed
for the first stanza. Exception: only in those infrequent cases in which
the state of the first stanza, for one reason or another (accident, in-
completeness, and so forth), makes this procedure impossible. Where the
notation commences with other than the first stanza, the beginning of
the melody bears the appropriate indication (2. st., and so forth). All
alterations in the performance of the melody appear at the end of the
piece, in the form of marginal notes in small print. For this purpose
reference figures are used both in the melody and in the marginal notes,
placed above the staves (for example, 1), or 1)_, 2), or 2)_, and so on).
Deviations standing under the heading Var. derive from the manuscript
version of the melody, taken in the given place and locality, sometimes
according to the performance by the same people who sang the recorded
versions. Lesser deviations performed by other persons are given under
the marginal notes, with indication of the circumstances.
14. After each piece are listed the data concerning the number of the
final recording, either M.F. (property of the Ethnographic Section of the
Budapest National Museum) or F. (private collection of the author);
the name of the village; the name of the county,74 in parenthesis; the
name of the performer(s), male or female; performer's age, as far as is
known; and the date (month, year) in which the example was collected.
If the performer was neither peasant nor Rumanian, then the name is

73 [Sometimes with a dotted slur in the melody (mus. ex. No. 45d.) or in the text (mus. ex.
No. 86g.).]
74 Five of the counties represented here bear different official titles today: Alba de jos is
now Alba, Hunedioara is Hunedoara, Mur~-Turda is Mure~, Solnoc-DobAca is Some~, and
Turda-Ari~ is Turda. [The reader interested in present official Rumanian toponymy is referred
to Tiberiu Alexandru's article "Despre localitiitile din care Bela Bart6k a cules muzica populara
Romineasca," Revista de Folclor (Bucharest), II: 1-2 (1957), pp. 172-176; and to Rumania
(Gazetteer No. 48 of the United States Department of the Interior), Washington, D.C.,
Government Printing Office, 1960.]

[ 38 ]
 Introduction to Part One
followed with preot (priest), Jigan (gypsy), and so forth (see complete
listing below). If the number of performers whose names are known was
more than two persons, then only the name of the one performer (always
the same from a given group) and the word "etc." appear in the data
section. The capital letter Z. following the listing of the date shows that
the melody was recorded by Mrs. M. Ziegler and was notated by the
author from the phonograph recording. If the variants given as marginal
notes have no place and name listings, then they come from the same
person(s) as the classification form. If they carry only a new name listing,
then the variants come from the same village, but from another person.
15. The tempo indication tempo giusto means in dance-like, strict
rhythm. Parlando refers to a manner of performance in which the melo-
dies are not presented strictly in the notated rhythm, but with many
scarcely noticeable shortenings and lengthenings of the time values,
difficult to show in notation. The indication: (ace. 2 [or 3., etc.] st.)
between two metronome marks means that a gradual accelerando occurs
leading from the first to the second tempo during the second (or third,
and so forth) stanza. The time signature is not given in those parlando
melodies in which the values of the individual beats fluctuate irregularly.
16. Asterisks, such as *, **, and so forth, refer to the notes to the
music examples on pp. 188-196.
17. That portion of the text marked off by the sign' r. IS a
refrain. The text of each melody line begins with a capital letter. In
double lines, however, this procedure applies only to the first line of
the pair.
18. The number(s) standing at the beginning of the text of a melody,
or which, in footnote variants, follow the abbreviation cuv. (meaning
cuvinte, text), give the number of the complete text, or of other texts
sung to the same melody, appearing in Part II of this volume. If several
such numbers are found at the beginning of the text, then the first
(italicized) number applies to the complete version of the text whose
beginning is printed under the melody, the other numbers to different
texts performed by the same singers to that melody. Parenthetical
numbers at the beginning of the text show that the remainder of the text
is lost or is not recorded ;75 if the melody lacks a text, then the beginning
portions themselves, for one reason or another, have not been notated
75 [The word "Parenthetical" is an editorial substitution for the author's original words "The
absence of such." The substitution is a requirement arising out of editorial procedures in which
the previously-unnumbered texts were assigned parenthetical identification numbers and
placed in the Appendix section (Part Two, text Nos. 142-164) with their translations.]

[ 39 ]
 Introduction to Part One
or are unintelligible from the recording. In footnote variants, lack of
text is shown by the abbreviation euv. lip. (euvinte lipsese).
19. Before the first bar of the piece is its pitch indication-a black
note without stem (in treble clef for voices of women singers, or boys
with yet unchanged voices; in bass clef for men singers) which always
refers to gl.
20. Special phonetic signs are:
j, '/:f, ~, 9, when functioning as semivowels;
n for nasal n;
d', 1', n', t', ~ for palatal pronunciation of d, 1, n, t, ~;
X for the gutteral sound similar to the Spanish j;
efor long open e at the end of many words; for example, instead of ea.
The Romany texts of mus. ex. Nos. 45r.u., 62f£., and 78a. are given
with Rumanian orthography:
eh (as in ehe, ehi) is pronounced like hard e;
gh (as in ghe, ghi) is pronounced like hard g;
th, dh, ph, peculiar to gypsy dialect, are to be pronounced like t, d, and
p, with an h as after-breath.
21. When the listing of the performer's name has been omitted for
certain reasons, the data sections contain the following general indica-
tions in Rumanian:

un om: a man o muiere tanara: a young woman

un om batrdn: an old man o fata: a girl
oameni: men doua tete: two girls
oameni batrdni: old men tete: girls
alIi oameni: other men aUe tete: other girls
un tecior: a young (unmarried) (un) ligan: (a) gypsy
man ligani: gypsies
doi teciori: two young men (0) Jiganca: (a) gypsy woman
teciori: young men (or girl)
aUi teciori: other young men o /iganca biitrdna: an old gypsy
dascal village teacher woman
preot: priest /igance: gypsy women (or
copii: children girls)
o muiere: a woman doua Jigance: two gypsy women
muieri: women (or girls)

22. The indication Cf. after the piece or variant-group refers to

melodies or variant-groups actually classified in another division (group,
subgroup, and so forth), but which nevertheless show one or two charac-
teristics in common with the melody at hand.

[ 40 ]
 TABLE 4
STATISTICAL DATA CONCERNING THE OUTPUT IN COUNTIES AND VILLAGES
(Totals marked with * indicate only one performer sang in the village.)
Number of Melodies
by Class
County Village and Date of Recording
AIAIAIBIBIBIBICI
I II III I II III IV I
by I by
Village County
Alba de Jos Cherpenill XII. 1910 1 1 2
Fenell I. 1911 1 1 3 5
Petrollan I. 1911 1 1 2 10 3 17 34
-- -- -- -- - -- - --
Arad Manarau VII. 1917 2 2
Micalaca VII. 1917 1 1* I-t
Moneasa VII. 1917 1 1*
Petrill VII. 1917 1 1 1 3*
g
Sav~qin VII. 1917 1 2 3
,......, Soeodor VII. 1917 1 1*
Toe VII. 1917 1 1 2*
Traiall VII. 1917 2 3 5 I8
ag.
L.....J -- -- -- -- -- -- -- g-
-"'" Bihor Beiull II. 1914 1 3 4*
Budureasa VIII. 1909 1 2 1 4
Bulz II. 1912 1 3 4* ~
Cabellti II. 1914 1 1*
amp II. 1910 1 1 2 ~
CD
Cociuba de jos 1. 1912 2 2
CorbCild XII. 1911 1 2 3
Cotic1et XII. 1912 7 9 1 17
Delan VII. 1909 1 1 1 3
Dragellti XII. 1911 2 1 1 3 7
Dumbraviia de codru II. 1914 1 1 2 2 6
Ginta Rohani I. 1912 2 1 3
Grolli II. 1912 1 3 2 6
Leheeeni VIII. 1909 1 1
LelCild VIII. 1909 1 1 2*
LunCiloara II. 1912 1 1 3 1 6
Rogoz XII. 1911 1 1 1 4 7
S~mballag XII. 1911 1 1 2
l;)ebill VIII. 1909 1 1 1 3*
 Number of Melodies
by Class
County Village and Date of Recording
AI A I BIB
I IIA IIII I II I III
BIBIV I C IVillage by
by ICounty

$oimi II. 1914 1 2 1 4 1 9*

Ta~ad XII. 1911 1 4 5
Urvi~ II. 1914 4 5 9
Va~cau II. 1910 1 1 1 3 I 09
- - - - - - - - - - - -- - - - ---
Cluj Chibulcutul de campie VIII. 1916 2 1 3*
Manastiurul ungaresc III. 1910 1 1 2 5
-- -- ----------
Hunedioara Ciarbi'il XII. 1913 3 3 8 4 18
Fere~d XII. 1913 1 1 1 3 6*
Ghelar XII. 1913 1 6 7
Gradi~te XII. 1913 2 1 7 10 """"
a
Nuc~oara XII. 1913 2 1 12 15
Paucine~d XII. 1913 5 1 19 1 26
Rau de mori XII. 1913 3 1 1 10 1 16 98
~
~
-- -- --------
Mure~-Turda Bala IV. 1914 1 1 3 1 6 §'
~ Chinci~ IV. 1914 2 8 3 13 r+
L-J o
Curtecap IV. 1914 2 1 5 1 9
Hodac IV. 1914 1 1 '"d
Idicel IV. 1914 5 2 13 1 21 5-
Lechincioara IV. 1917 1 1 2* o:::::s
Libi'inie~d IV. 1914 2 1 3 2 8 (1)
Mice~ti IV. 1914 1 4 1 6
Moi~a IV. 1914 1 1 1 5 8
Niere~teu IV. 1914 4 2 7 1 14
Or~ova IV. 1914 1 7 2 10
Rapade sus IV. 1914 1 2 3*
Toplija VIII. 1916 1 1 2*
Urisiu de sus IV. 1914 3 2 2 5 2 14
Voiniceni IV. 1912 1 3 4 I2I
-- -- ------------
Satmar Comlau~a I. 1912 2 1 3*
Pom IV. 1916 1 1 2*
Recia IV. 1912 1 1*
Tarna mare I. 1912 1 4 5*
Turj IV. 1912 1 1* I2
- -------- ------- -------- - ---------
 by Class:
Number of Melodies
County Village and Date of Recording
AIAIAIBIBIBIBICI
I II III I II III IV Village by
by ICounty

Solnoc-Dobaca Gherla XI. 1910 2 1 3

Lona XI. 1910 1 1*
Micola XI. 1910 1 1* S
---- ------ -- ----
Timi:;; Denta XII. 1912 1 1 3 1 6 1-i
]adani II. 1913 1 1 1 3
MAna.:;;tiur III. 1912 2 1 1 4 g
Murani III. 1912 1 1 3 5 §'
Seceani III. 1912 1 2 3 2I g.
r-1 ------ -- -- ----
Torontal Cianad II. 1913 2 1 3 2 8 g'
e Igri:;; XI. 1912 4 1 6 2 13 r0+-
L-.J o
SanmicUiu:;;ul mare I. 1910 2 2 3 7
Sarafola I. 1910 3 1 2 3 4 13 '"d
Tolvadia XII. 1912 1 1 ~
Valcani XI. 1912 1 1 1 3 4S o
-------- ---- -- ~
Turda-Arie:;; Albae XII. 1910 1 1 3 3 3 11
Bistra III.. XII. 1910 2 4 4 10
Cooc IX. 1919 1 1*
Tritul de jos IX. 1909 1 1*
Vidra de mijloc XII. 1910 1 1 2*
Vidra de sus XII. 1910 1 1* 26
- - - - ---- ---- ----- -----

484 melodies from eighty-three villages in eleven counties.

 Warks Cited in Part One 76

[Alexandru, T. "Despre localitajile dine care Bela Bart6k a cules muzica populara
Romineasca." Revista de Folelor (Bucharest), 1957, II: 1-2.]
Antiphonale pro diurnis horis. Parislis, Tomaci, Romae, 1919.
Bart6k, Bela. Chansons populaires roumaines du dlpartement Bihar (Hongrie).
[Cantece poporale romane~ti din Comitatul Bihor.] Bucharest, Academia Rom§.nii,
1913.371 melodies. [Cited as "Arii din Bihor."]
- . Five Village Scenes (Dorfszenen); for voice and piano. Vienna, 1927. Universal
Edition.
[-. M elodien der rumanischen Colinde. Vienna, 1935. Universal Edition. 484
melodies. Cited as "Colinde."]
- . "Musikdialekt der Rumanen von Hunyad." Zeitschrift fur Musikwissenschaft,
Leipzig, 1920, II: 352-360.
- . Hungarian Folk Music. London, Oxford University Press, 1931. 352 melodies.
Cited as "Hung. Folk Music."
[-. Rumanian Folk Music. (Bart6k Archive Publication Nos. 2-4) The Hague,
Martinus Nijhoff, 1965. Vol. 1-1,115 instrumental melodies, Vol. II-l,440 vocal
melodies, Vol. III- 1,752 poetic texts. Cited as "R.F.M."]
[-. "Tabulation of (Serbo-Croatian) Material." Manuscript deposited in Co-
lumbia University (New York) Music Library. Copy, other drafts, and music
examples on file at the New York Bart6k Archive.]
-. Volksmusik der Rumanen von Maramure~. (Sammelbande fiir vergleichende
Musikwissenschaft, Vol. IV.) Munich, Drei Masken Verlag, 1923.365 melodies.
[Vol. V (Bart6k Archive Publication No.6) ofthe present publication.] Cited as
" M aramures. "
Bart6k, B. aitd Kodaly, Z. Erdllyi Magyarsag. Nepdalok Budapest, Nepies
Irodalmi Tarsasag, 1923. 150 melodies. Cited as "Erd. Magy."
[Bart6k, B. and Lord, A. Serbo-Croatian Folk Songs. New York, Columbia
University Press, 1951. 75 melodies.]
Bosiljevac, S. Album bosansko-hercegovaekih Piesama. Zagreb, St. Kugli. Cited as
"Bosiljevac. "
Brailoiu, C. Colinde ~i cantece de stea. Bucharest, Academy for Church Music, 1931.
Cited as "Br."
76 [Bracketed entries represent editorial additions. Serbo-Croatian entries are listed accord-
ing to the author's bibliography in SC1'bo·Croatian Folk Songs, pp. 22-25, 93.]

[ 44 ]
 Works Cited in Part One
Ciorogariu, P. Cdntece din Popoy. Bucharest, Biblioteca romA.neasca (Socec and
Co.), No. 42-44, 1909. Cited as "Ciorogariu."
[Cucu, Gh. 200 colinde populaye (ed. C. Brailoiu). Bucharest, Soc. Comp. RomAni,
1936.]
Dragoi, S. 303 colinde. Craiova, Rumanian Ministry for Education, 1930. Cited
as "Drag."
Dordevic, V. R. Nayodna pevanka. Beograd, 1926. Cited as "Dordevic Nay. Pev."
[-. Sypske narodne melodije. Juzna SYbija. Skolpje, 1928. Cited as "Juz. Srb."]
GYaduale de tempoye et de sanctis. Ratisbonae, 1923.
Harmat and Sil!:. Szent vagy, Uyaml Budapest, 1932.
Kacerovski, B. U kolo. Sarajevo, J. Studnicka & Co. Cited as "Kacerovski."
Kisdi. Cantus Catholici, 1651.
Kuba, L. "Pjesme e napjeviiz Bosne i Hercegovine," Glasnik Zemaliskog Muzeia
u Bosni i Het'Cegovini. XVIII (1906), XIX (1907), XXI (1909), XXII (1910).
Sarajevo. Cited as "Kuba B.H."
[-. Slovanstvo ve svych zpevech. Pardubice, Podebrady, Praha, 1884-1929. Vol.
XI (Montenegro). Cited as "Kuba XI."]
[-. The continuation of "Pjesme ... " Unpublished. Cited as "Kuba B.H. Ms.'1
Kuhac, Fr. S. Juzno-sZovenske narodne popievke. Zagreb, 1878-1881. Cited as
"Kuhac."
[Rumania. Gazetteer No. 48 of the United States Department of the Interior.
Washington, D.C., Government Printing Office, 1960.]
StOll, W. GYundyiss der Metrik und der Rhythmik dey bulgarischen Volksmusik.
Sofia, 1927.
Susil, Fr. Moravsk6 Narodni Pismo Brno, Karol Winiker Verlag, 1859.
Szegedi, F. L. Cantus Catholici. Kassa, 1674.

[ 45 ]
Music Examples
 A I.

)'132
4)
6, CD
lao

2.3.
I) 3)
89 b. CC _ _ san - tl[ Mii - ri - e._ Co - rio - d·e . co
4.
\) J
, ~----_/
r.
rin - did

4) 2) 4)

F. 1174 c). Soimi (Bihor).lon Mo\(45).11 . 1914 .

Parl8Ddo. )'104-(ucc. 3. sl.)-1I0 6, CD

I)~
~
CD sic!
lb.
898 Cc _ _ _ _ S5n-tii fii - ri - e. Co - rin-de. co - rind'"
, v-----/

&1
2. r.
I)

F. 1165 b). Dumbr.vi~. de codru (Bihor). 2 uameni. II . 1914 cr N" .. 1ll05.

Tempo gill 10, ) . 160

6,0
.---: '0

2.*
(142.) M! - lie - ell-i. mil lIe - ell-i Smn -Ia-i Du - mi - IIi - en
M.F. 14S1 b).Pmo,.,n (Alba de jo ). reciori.l. 1911.

A II. a)
Tempo gi1l810, J'66 · (acc. 3. sL)-96! 6, 5, 6. VJ!) CD
I) 2J_ vW 3) Q) 4)

3a.
~
1f7 c. Mllrgu mi-sj, miii mlIr-gl!- .?omnulu~ nO-'~:'16r- gu mi-:!. mai marg
2. 3. r.
II
RT hi r' r
I) 3) 4}.-J--. I) 2) 3)4)
j I ~ I If J. I g)I·2.
ME 1375 b), Ch.rpcni~ (AlbK de jos). clast!l. XII. 1910

[ 49 ]
 VO; 6,4,6, vn)~
3c.
(143.) 10 d·.·yu.! un fi - u Domnul Doamne! Io d-a-vuj un fiJI
Sar.rola (ToronlaL) li,ani. XI. 1912 '--v------'
r.

A II. b)
Tem~~ giuslo, ).184 2) ~ 6, i)G)
4.
107 a. A -- SI8 - j sa ra ma - rc. ta . re
4) CD S)

de Cr4 C!U - n\!. .'0 n4 SCUI un ~illl

J)
Var.

1914. (31)

Trmpo gill"lo. ;.92-\.cc.3.~I.) -104 4) 6,4)@

3) _ _
~ 2)--
Sa.
#-
III. Plu - gu ~i ro . We ei· Plu - gu .. mj.
4
4) 6) 7)--

&
~i

Jlt
ro - ~I'c - e1.

~ I ,-~1: I ~}I ~: ~ I
41) 6)
OJ
':::::::;;:;"1\
Dom -
2)
.

~. I
nu

mlp
- lui Doam· ne!
5)
~ I ~ I ~:
9 +25el
M.F 1839 bJ. Cianud (Toronlsl). lui. Tanci. ~iganc'. II. 1913

[ 50 ]
 Tempo giUBto, .I.80-(acc. 3. • 1)-88

5b.
bA mi. sl'n - Irca - bi.

3)

'Nlreaba mi Sa 'n-trea - b3. ,,-Jai Domnu lui Doamile!,

M.F. I72S b). Igri~ (Toronl.l) doul lig3nce (30). XI. 1912.

B,8,9,4)0
Tempo
D
giWllO, .I . 116
2) 3) 4) _ _ '9 5)

5c.
92 c. MSn - ca me - ric ro - sii. Min - ca
~-bU
6) _ ,)

cier - bu me - ric ro - ~i.i. ,...:.J.:...IB.l.:..:.....:.:le_-.:...no:..:.._I..:.e_-~no mar- rna . Ie - no!

vo, y.

M.F. I72S d). Ilri~ (Tor nlOll, doul \lR.nco (30). XI. 1912 .

Tempo giusto, ).168 6, 2)0)

1)

6.
81 d.D~-a sa nl . 5a - rl. ('am
CD
81 III sa - r.lt. Dom - nu lui Doamnc!....
2. y.
~
M.F. 16593). Murani (Timi1). Ion BUTdul!lln. Ion Onica. 111.1913.

7a.
Tt'mpo 8il18lo. J 96 2)
-IL 6,2)@

li7 i. Si m' . um-bI4. u m-bll . ,pal Domnuluj

Irar. '
Doamne. Dormului daj Doamn.!...
'V

tiD
r.

M F 846 c). Sanmicllu,ul mar. (Toronlal). un fecior. I. 1910

[ 51 ]
 A II, b)
c)
6, ~2)@
Tem80 giu 10, J, 652)
7h.
91 g , J... G:lzd'a·ce I domn bu - n!!, Gazd' a·ceSI domn

bu , Hoi da Ie· rut Doamn· 1

_ _ _ _ _ _ _ _ _ _ _ _J

PI 'f
~

2. 3.
I) 2 ) @ 3)ft 2) :=:~ 3)
) 1 fEil ,gl pd ~=
F. 1326 a) icrC$lcu (MurC$-Turda) Carol Malu, lignn, IV. 1914. Z ,

6,00
Tempo giWllO (vivo) D
8.
48 d~fasl! ro-li - la - lil, Dai Domnu-Iui Doamncl M.ull. rO-li - In· til
-......:....~
Pom (S4Imar), Gheorghe Boca (18~ IV. 1916. r

A II. c)
6+6, 6, 6+6, 1\QQ)
r0
9.
14aPIe - cal - 0, pic - ca - III pa - ler - ni - cu soa - reo
Q)

1
..10 Domnu-Iuj Doamnc:J Pu - ler - ni - CU so. - re, ca el s3 <3'n - soa - rc.
PaucinC$d (Huncdio8I"d), PClrUI Ddbucean (27). 26, XII. 1913.

TempO giuslo. ).166

'>-': 2L3)
lOa.
'-:!
44 . erie - st'em1Do3miie.~}1! 101.1 IIi crUl lu-me,
,Dai DomnuJu!
Q) 1) _ 9)_ 10) \
r.

erie- ~te-mi, Doam1lc. cric~i!! ~-a "*'" '--'

fi - ul mi - cy,

[ 52 ]
 A II. c)

6) 9}o1O) 11) 12)

Vat. Others
1)+2) 12) 1+2) 4) 5) 1) 8) 3)

'- '-'
F. 921a). Ci~rbal (Hunedioara). Vasile $i losir Co ta (50.42). XU . 1913.

6+6. 6. 6+6.

5 a. 0'01 roo· gl. si roa· gii fi· /Ie • riel mi· re· lui.
4) _ 3)_ 5) 6) 8)

Ioi Dom;;-u-lui Doam/le, Ti . ile· ricl mi· reo lui. De ce-z vantu-i Ii . nIl.
..-
" 2. V'
r, 3. 4.
U 2) 4) 4) 2) J) 5) 6) 8)

F. 1029.). R5u de mo,; (Hunedioar.). Iosir Dochi. (25), Dumu Brail. (26). XU . )913

6+6. 6.6+6. 4) CD
Tempo gin to. [~=IOO'I08] 2)
I) ~

IOc.· ~~~~~~~~~~~~~~~~~
~IOa.91 b.(Hep

4)
Fe· ri ' ~an & e· I!! Oi cez
W- nUI

L-- J
bu "!!! Dom - nu
'-
lui ~i Do m lie I
./

•• 5
v
r. 6)

D'i cez domnul bu· ny, 80 - Ie riul bi!

2, Var.'
1) 3) ~ 5) 6) I 4)

.!....
F. 1010 d). PlIucinc~d (Hunedioara), Petru! Dabuccan (21)'ctc., 26. XU.1913.

[ 53 ]
 A II. c)
6+6, 6, 6+6, ~3) CD
Tempo giWlIO, j,lSO- (ICC. 3.51.)·370
~3
D
1.51. -:::--... I)

11.- :p. 4~IB !p' ~ i@ f iOeg·I~· l J>;I !ij ~'

50 a Fe - ri - cean d'e e - II! d'e ceSI domnul bu- nl!1

CD
J; J!, j ! Jj ). I ~d' ~ :lj f iF} V
---
~1,
Dom- nu lui D03m~e! Bin' fe - ri - CIa - II! .
Y--.- - - - /
2) 2.s1

bin' l.a1 fe - ri cia - Iy, Bin' I-ai fe ri cia - Iy.

---
<I

bin l-a1 ---

fe ri - cia II!, -loi..
......
Dom
'-"
nu
v
r.
- lui Doam/!e,J-

Bin' I-ai fe - ri cin - Ill. bin' I- aJ fe - r1

3.
I)

::;;--.. 2)

F . IOS2 bl. uc~... a (Hunedioa,u). Iancu Her\cg (19). XU. 1913

6+6, 6, 6+6, ~3) CD

Tempo Iliusto, J '110-( aCe. I2.•11 -118 21_ ~3)

-
I)

12a_-~~~~~~~~~~~~~~
14 b. Pu-ter- iii cu soa-re umbla Sa sa 'nso8re.
21 CD 3)- 3r -
4) 4)

'-"
lot Domnu - lui Doamiie.... ~i el n,i-~i umbla-[e, lu·mea·n-cun - ju - ra - f!.
-- . 2~ r'
I) ~ h 2) fr D 3) 4) d
~ I ~~ I J,-fjO I [" I
F. 98901, G,adi$le (Hun.dioaral. M1ha1 Co,iu (13), V.I., MOI$oni (IS). Xii. 19\3.

[ 54 ]
 87 b. Cam~ I!n· gil ma • rIc. cam pc drum II ma· ric,
6)__ 7) UJ I) 8)
9)_
10)

-E.ai Domnu • lui Doamile! Pfeeat· 0, pl'eea· tl! ce ·t'e d'e fi .ejo.ri!!.
1~ 5) 6) 7) 8)

4.
1)3)7)8)10) 6)

F. 1()()7e). Paucine~d (Hunedioara). POlrU! DAbuc •• n (27).0Ie., 26. Xli. 19\J.

31 e. illi Fe·ri - cean d'c e· l\l, fc - ri . cean d'e e· Ill!

CD 4L 3_ 6)

loi Domnu~ui Doam~:J.. Bin' I.aj fe· ri . cia· t\!. bin l:a1 fe- ri
"'-2. r 3)
\ 2'
3)
. ~r 5)/6 5)<1;) 6)

F. 1050 d), Nuc~.ra (Hunedioara).lancu Her~eg (19) etc .• XU. 1913

10 b.1!.. P'on piejor d'e - ra . ill. p'O gu· ra de

4) S)eD 6)_ 7) 2)_ Ii) \/)-

10j Domnului DoamileJ, Ja·t.~.m! vin 18 va· I'c ~i·mi Co' bor 18 ca· I'e
'- 2. f. 2 3) 4) 5)

3.
6) 7) a'\ 9) I)

F. 1028b).Riu de mori (Hunedioaral. losif Dochi. (25). Dumu Brail. (26). XII. 1913

[ 55 ]
 A II. c)
6+6, 6, 6+6,02; CD
Parlando. ».200
I) 2) _ _ 4)
3)

45. la- on vol- ni cu lui. - on Vo!- ni

2) 3) 5) Q)

cu lui
'-----
Ie - ------
ru!
...,
Doam- I\~o!
./
r.

La bun crai slu je ~tc. I. bun;;;ar slu

2.
I) 2) 3) 4) 6)

F. 13270). ier.Sleu (Mur.s-Turda). Carol Malu. ligan, IV. 191., Z .

Tempo giuslo, J, 70- (ace. 2. st.) -75

12. Pie-cal - 0, ple",al - I!. pie-cal - 0, pie-cat· !!,

2)

,-D~.i Dom - nu Doamne. lui-

Dom - nu lui Doamne! d:Ii
--------------------------y~~--------------------------/

to
2. r
1) 2)
J
M.F. 182la). Jadan; (Timis). icol.i. Ccri~c3n(21). n. 1913.

6+6'[ 6.1 6+6, I) CD

Tempo gillBto I) i)
12g.
4Se. Fe- ri - cat. fe-ri - ce, fe - ri - cal, fe - ri ' ce,
I)

ler, Dom - nil led De ci ne-j f: - ri - ce?

Var.
l)
"f.

Toe (Arad), Joachim Lunlras (41), VO. 1917.

[ 56 ]
 A II. c)
6+6, [6,J 6+6, Y1D <D
Parlando, ), IJ2 )
~

"# 9. A pi eel prund d'e rna re, pi - eel prund

Jvn) 4)_ J

d'c ma- reo OJ I'erui Doami'le! Man- dru'r pir rl- sa - reo

3~
. 1233 c). Idicel (Mure! - Turd.). Susan. ~i Rafila Oncla (43.16). IV. 1914 .

6+6, 6. [6+6. 7 ~3) CD

113 a Ci vol bi - ~e eli vol, bi· lie

p3) (v)

~\i - Ii C! 1-0 ----

r! - sdln ghi-Ilj, ell 1-0 r! - stan - ghit
2. 3. Var.
I 3) 4) I J) 4) 2) 2) S)

F. 1213 b). Iditel (Mure~ -Turd.) Susana !i R.fil. Once. (43,16). IV. 1914

Parlando
6+6 , 6.: 6+6, 3) CD
I) 2) - 3
12j.
91 d.87e. ~i-o lu - aI, lu a· la. ~i-o lu - at. lu a - I~

3) 2) 4)

'--'
D·ln zi de d-tn zi de Cni
Libanie$d (Mur~ -Thrda). Toader Ratot,; (24). rv. 1914 .

1) 2) ) 4)

!i.iu de s", (Mure~ -Turd.). Va,ile Suciu (31). IV. 1914.. cuv.. 87 •.

[ 57 ]
 A II. c)
6+6. (6.] 6+6. vn) CD
I) VI!)_
",--

10 h. P.-un picjor de pia - i. ~-o gu-n!: de ra· - !a -

2) _-.--,.,._ _ 3) _ _ _ ....

ta vin 1n ca - Ie. va - Ie
2.5t.
;;;;--..... 4)
~

Tri tUT A me de me cu tri cio· b~

5)_ 6)
::::----...

ne - i. U nu-! un-gu ~ rea ·n~ r u-nu-j vrin-ce - ia - n\!o

M.E 56 c~ Sanmicl;u~ul mare (Torontal), un om. I. 1910.
M.F. 857a)'
I) 2) 3)

4) 5) 6)

Parlando. ) .160 , (ace 2.sl.) ,168 6+6, 6+6, 6+6, Vli)@

I) 2) 3~ 4)

121.* ~~~e~§~~~~~~
10i VIi) p. - un pi ' cior d'e pIa - i. P"O gu 'rA
7) _ _ _ _ __
d'c
6)----~~~
5)

ra Ia - tii vin in ca Ie. Sa po - pos la

@ 8) 9)

'---"""
va i'e Trej tur, mic d'e mie cu trei cia' ba ' nei .
2.
l) 2) 3) 4) 5)

6) 7) 8) .--J~ 91

M.F 1722 c). liri~ (Torontal). un om (40). XI. 1912

[ 58 ]
 A n. c)
Tempo giu'tO, ) .160 6+6, 6, {6+ / 6, 4)<JJ
1)_ 2) _ 3)_

91 e. Doi ho -ieri bl Ira - ili~, doj bo- jeri b§

4) CD
Ira - iii!!. Pc cum s'o ru . ga· tl!, pe cum ~'o ru· - ga - I\!.

F. 1356 a). Curtecap (Mure$' Turdo). Ana Burdean. elc.. IV. 1914. Z.

6+6, 6,[6+ 16, 6,~-D CD

,
S7f. ici co· lin dll
In r' CD
tOri .
Ii
nick
~r r
co
I
lin dl
F
3) _- _ 1 _ 4) _ _

lori. Vol de - dnd urn· blali. Voi de - c3nd Urn • bla\l

F. 1327 c). Niere$ICU (Mure$·Turdal. Carol fa!u. pSBn. IV. 1914 .. Z.

6+6 6, 6+ 6, 1
Tl."mpo giu"to, ),132-1acc.1<1)-152
1)--
2' __ ' 3)_
4)

120.
IS e. Fe· ri · eean de e . II!. fc . ri . cean
~j)
7) 8~
d'c e • Ill' -!'ai Dom· nu u - lui Doamne!,
(senza 61 e ,enz. '::re7rr".]------'Vf-.- 3. - --:(-
se-II2a-'-6-:1-.-",-n2. rcfr.]
2.

-,lC. TI
J 4. [come i1 2.] 5.

'-'-.r~ 1!.
F. 976 b). F.re$d (Huned,Dara). Alexa Marina (50~ XII . 1913

[ 59 ]
 A II. e)
6+6, 6,/ 6+6, I J) CD
)1.160

7Ia . La _ __ Ii - ran - t3 nA, _ __

______________ 31 J 5) _ _

~
18 Ii n! n3 _ _ Est' un sea!!n d'o- d'i·na.

2. 3

J 3
I!~' iijDitIDJy 1m I'W
M.F '671 al. M~n~liur (Timi~ I. Lina Trand.rir. liganca (2S1. 111. 1912

Parlando, ).144
6+6, I). 6+6, 1 j)(i)
I~ ] 2) 3)

12r,
71 •. CCl 10 SUS, _ _
rnai su sy.

4) j) 5)_ eD
us, mal su - sJ.l La Ii· n~ fan - la - na

I)S
2.

M.F 1669 cJ. Man!~liur (Tlmi~l. un om, Ill. 1912

6+6, 6, r6+6.]4)(])
Tl'mpo gill to
CD
12 .
43. Sa-ra cca- l3-iss-ra,_ 10i Domnu-Iui Doamne! Sa-r:l cea - 13-jsa-ra,
'-'-.---v--~-~
P.tri~ (Arad),Petru Olar (30), Vl1. 1911

[ 60 ]
 A II. c)
6+6, 1$, 6-1$, vlDCIJ
2) 3)

12t.
46. Fe ri "-
ecan d'e e . Bin' J.a! re-:--
VIi) 5)
Q)

n. c'a
L t
u. ' - '-_3_ Dom· n~·
D'1 __________ ___
2 k[Senra4)e ,.nza rerr.)
I)~ pi J ~plJd ~II ~
--- ~
13. ~
1'1 OJ I
.....
F. 923 c). CIArbal {Huncdioar.). VasIle ~I (osir (,,,,,. (50. 42). XII I~IJ

6+6,6, 6+6. vi!) (JJ

12u. <.lIe Fe • ri d'e e •

VIi)

1,;:----'
II

1)
Q)

----
d'; ecst dom nul bu· n\!! -.....- ..........
Dui Dom·nu
v

~
F. 1064
'--'
c~ Gh.lar (Hun.dioar.). un om. X II. 1913
..
r

Tempo giwto. J.84 6+6, 6, 6+6, 4)05

12v. I) 2)

07.··· Siant soa - ro nl - a . re 'n loa -:e 13

CD
@t -9:, IJ J J IJ J J II
Dom nu Illi Doam - noy

M. F. 14570). Peoro!.n (Alb. de ~ feco,,,, I 1911

..
)0

T('mpo g;wHo,
) 6+6, 6, 6+6,
4'
4)eD
17'\
I) _
,220
_ 2)_ 3) '} \.l.A,
12x·~~~ammm~_~~~~~
101 Du -mi-nee"i Bun gMdsi-o
1(. Dom:,u-i
Sfilnta-j gan-d i.l\!. Jal hUll!,.,

~I
,in CTL~ III t~ i ,IB'I'2
2. .---.
Ii
13. 41
M.F 1963 d).Gonl' Rohani (Blhor), cameno b{lIrilnl. I 1912
r

[ 61 ]
 A II. c)
6+6, 6, 16+6. I 2)0

4S b. Cel bo - ier _ _ __ tra ny, mL

3) _ _
D CD 4)

bun 10 . cu· ~ a - vI!· ~ mi, JO! Dom - nul. loi Doamri!

y------,/
r.

M.F 19S5 bl, COliclel (Bihor), rumenl. XII. 1911

Tempo giu 10, ) . 122

I) 2) 3) 4) 5) - - 6)

12z.
71 b. La Ii - 0.1 rAn !a n~ 13 Ii
.2 7)_
S)
9) 101_ CD

M.F 1726 al. Igrl~ (Tornnl.I).2 lig.nce. XI. 1912.

n.p'S@ I j! J II II'~ J IJ J II
Sar.rola (TOrnnlan. ligani. XI. 1912 Oenl. (Timi~1 tig:,"i. XII . 1912

2.

M.I' 1839 a). Cionad (Toronl.I). luI. Tanei. "ganci.. 11. 1913

[ 62 ]
 A IT. c)
( 6.6, 6, 6-6, 1) CD
Parlanclo.
I.SI.
).132 CD
12bb.
4a eel un t'e~ bl tra nil.
4 Cel un

bi! Ira - n;i eI _ _ _ c5 Sto d-a

lSI

EI _ _ _ cii ~i-o d-a VU - III NOli-a

.J U - ~o rio E I _ nu i-o'n-vii - \a - I~
f. 1273 a). Uri"u d. ,u' (Mure~-Turda). V.,il. Suciu (l1).1V, 1914

--
4
61 3 JI"JJ.JjI'IIJbl"}PIUPIJ, IgPl 61 J 11"J·OJ
'- "'----'
M.F 2042 a). Voiniceni (Mure~-Turd3).un recior. lV.1912.

6+6,J i)®

en 4dl J m
6+6, {6,
Tempo giusto, J.S6 )
1>- 2 -
4i
ll-J~i)
12dd. t~ « 11 14 I @ lin !!IPJ I
48a. F. - ri • cern di: e .1\1._ fe-ri - cem d'. - e III
!:::
F' U p' j I
2.3.4. 3.4
II j
M.F 1482 d). F.ne~ (Alba de jos), rcciori. I. 1911 cr o. IS.

[63J
 A 11. c)
6+6, IS, 1')+6, t) CD
1)_- 31 I)

13.·
4~ r. A. Fe - ri - cean d'e e - I\! d'i ccsi dom- nul bu - n\!,
4) CD 5)_ 1)__ 6)

-Joi Domnu - lui Ooomnc,;.... O'i cest dam-nul bu- ny, ho - ie - riul b! - Ira -n~ ,
"V
2 r, 3, Var,

F, 1006 c), Paucine~d (Hun.dioar,,), Petru! Dabucoan (21),ot<:., XII 1913,

6+6,6,6+6, I) @ (0]
D 2) @
14. ;PUlmr ~U I
T 31 b, 01 cez'dornnul hUll\!, boie-rul ha-Irll-nu~
- ,'"loi... Oomnului... Ooam~e! .."
n,2)t;
Y.

Drag Domnu i-a dat\! ~i kl e - ri - cia-Ill, Drag Damnu 1"0 datJ! ~i 1-0 fe - ri -Cta -I\!,
4)_

~i Domnu - lui Doamk~Orag Domnu i-a da - tJ! ~i 1-0 fc - ri • cia. ly.

V'

3
I(~
~
pi r
r.

F. 992 c), Gr~di"e (Hunedlo.m), Valer M",~onl (IS), Mihal Coriu (13I,XU, 1913.

6+6, 6,6+6, ~®
Tempo IfiUBIO. )'262
t 2) ~
15,·
31 a,
~ Fe - d'c I\!,
©
3) 4) 5) 6) 7lJ

de ce2 dom- nul bu - n\!, pal Domnu lui Doamn:;,

,
r,
~)

D'e eez om - nul bu - ny, bo - ie - riul b3 tnt . n~..!

2, var.

F. 1009 bl, Pauclne~d ( Hunedioara), Petru! mbueean (2nele" XII 1913, cr, No,12.

[ 64 ]
 A II. d)
Parlando.
I)
)./12 7, 4) Q)

16a.
23 a Iz-vor. iz- vo ra Iz . var. u:: • vo -
3)_
CD 2)

ra ~. -.,!:Iai I'e rui. I'e rui Doamn·!.....

-v
r
2. ~

F 1355 a). unecap ("1urq .Turda). Ana Surd""n. o<C .• IV. M4. Z

Pariando, ), 138 6,6,7, 5)@

Il-------"'---,==-
J
16b.
CD
3)
~... 23 b. Iz- vor. iz· vo - rB~
4) _ __
Iz - vor. iz ~ vO-

__ ~ __________________
Ii n~o~ ____ __~__~~~
I'e·
~~

6, -DCDQ
T"mpo giUllto, s 5) CD
16c.
23 c . Sa . Ii! sA 0 ba Iii. Ba • Ii! s3 0 bal:

Q
Caci - e b):l - 51,; rna IA . nci - e bla SI3 • rna!"
Id ocel (Murel -Turda). Rania Once. 0(0))0 Rafola \,)lvnda (~5I. IV 1914

A II. e)
Tl'mpo Itiuolo i) 6,6,8. D0
17. ~~~~~~~~~~~~
sa 117 &.Sus In rd - 'iu Iii ra - sa -
3

n - I\!. ,Dom - ni e1 Dom - nu - lUI Doum-ns.-

Valeano (Toronlall. XI 1912 -------------------V
r

[ 65 ]
 A II. f)
i)
6,9,6, D0
18.·
'JR. In· Irea • bli 'n

o
~i Irea • bA. '--Dom· nu . lui
2)_

Doam· lie, dmg Doamne, le-or! $fin!i pe Dum • ~e ze . U:

'4

ilr
'( 34'J

1I'1711 1 J
5

"r 'J/

F. 1019 b). Rau de mori (HunedlOara). lo.if Doch .. (25). Dumu 8mll. (26), XII 1913.

6,9.6,5)0
Tempo giuQlo.
ll _ _
J.S4
2) _ _ 3) _ _ 5) L 8, II, 8,}
4) 6) _ _

19.
73. Va • la • 18 )e • Vli • 13 • je.
7) 5)- 6)_ 10) II}
1I

va • la . J". ~ Ya·la·jc. va . la . je.

,
Jxr5 ~l'
q
4.
ii J II ('.2 I 51 p I II! I ~ f)

i i~) I'. 1l-- II: II-- rr;;

Jl~ MUleri:·
tI E l l _, •• ,0
C j r
IT~»I Ii
I r::::::;; 11'1
"9 E~
t=. 1231 bl. IdlccI (Mur.~·Turdal. Ion Pui (25~ IV. 1914.

A II. g)
Parlando. J- lOS·2)(acc. 3.>1.~120 8, 6, 6, Vi]) CD
I) 3) VI!)
20.
Hoj ce Doam . ilea

-.....:~L_e_ _ _ _r_u_ _ _---.:i:....:8. t'e· rU'j Doamn:/ Dol domni dli cej marj
2. if J.

Doamne
M.F. 19S4 c). COlicl., (8Ihnr). namenl. xn. 1912.

[ 66 ]
 A II. h)
8, 6. 10, i)Q)
TNlIpo giU:lIO ).IO(){acc.li. "W 12 2) 2)

2la.~~~~~~m~~m~ IOlh.Cel dom· nu . \U-i bu· nu-i. Doamne! Bun gand ~i- 0 gan·
- '---,,---J
CD Ir. J) 4)

d'i
,
I!!. A ,--001 CO - ,in d'e:" Si-~i fa - ca d-oa spell
...=,.~ ror. ~
i'l
~ II" F~ II I!I ~
.pc ~'i
\i
F. 1198 d~ Urvi~ (Bihor). un elm. U. IYI4 .

8,6.IO,i)(D

101a,42b.,I05a.CcI dom - nu - \u·j Cel dom· nu - \u ·i

- CD hu-nu·i.~
lr.

hu - nu-i. co - rin· de:" Bun gand ~i-o gan - dil.

{r
Urvil (Bihor). Inn Vese (78). II. 1914.

T.. mpo giuslo, .P.I04-<.ec. J.• 1.).140

8, 6, /0, j)CD
IJ 2).J) 3)

21c.
\I~ b.. 0 a. Hoi ·n·lrea· bi, sa 'n - Irea - hiI· 1. ~ Sfinti. la Dum-ne-

4) CD 5L II 6L

ze u: _ ..poi co - ,in - de~ dfn ce s'o - fa - CUI

,
;,'j} 11'1~ , Pi i~ y" mI "p
F I W2 .). UrVl~ (B,hor). llie Bula. Mandril (50). Iun Dobla Burda (SO). II 1914
~14Ij,

Tt'mpl~ giU'IO. ) . IOO-lace. J Sf) · 112 8, 6. 10, 2) CD

21d.
\IS e. D - in . Irea·ba . sa 'n ,rea-ba.~~ Sftnii la-i Dum - ife
2)_CD Ir

S'o fa - cuI

M.I' 1\154 a). COllclec (Blhor).(lamcni. I. 1912.

[ 67 ]
 A II. h)

Parlaodo. ,P. 144

8, 6, 10. i)(i)

~
~e . du-i, ~j.ml s~ - dU-!, ~ TOI doi Domn! di
I.r f\
n

ru, ---="i--'2 rCO • rin . de!~ La poar- ta di

M.f. 7~ bl, 8udu","", (8th"", f.dor,. VIII IY09.

Parlaodo, ). ca 116 8. 6, /0. 2)G)

I)

21£.
IOld. eel Dam· nu - \u·i bw,U1. Doamn.! Bun gand ~i-o gan
CD 2) .--J~~ ~ 3)

d'j • l~' Hn -Poi :o.rin.d'e:.,. Sffin·ta - Dumi . neC'

I I
2. .-J~
IIID OJ J i b P!J=.JIIIJ 2.r var.
Jl
. I\c. <a
F. 1175 aI, ~OIm' (B,har). Ion MOL (45). n. 1914

Parlando
I)
.P= 184- (ace. 4. \1.1·20(1
2)
))8. 6,10, i) CD
21g.
42a . 1I0i ·n·lor·cu. sa'n . lor·cu·!. ~ Do~· a d-oa· sfe
CD I.r

gr. re, -._D_0.o.i__c_ov·_ri_"_._d_'_e!., Pe Sus pe la ccr.

J.
lr

M.I-. 1948 b).Cotldet (Bihor"oameni. XII 1911

Parlaodo. )~96
8. 6, 10. i) CD
I) 7) 21- ),-

21h.
. !reaba. si\·n-lrea·bl· i, .....Dol~Jk!, Sfi"li la Dum· Xc -
CD 5) 6) ,
7l

M.I- 18\18 aJ. Samba~"g (B'hor~ oamen', XU. 1911.

[ 68 ]
 A II. h)

Parlando. ).16lj
8,6. 10, i)CD
2)
21i.
om· nu - \u-i bu - nU-l.~ eel dom - nu - \u-i
4) I.r. 7)
6)

bu nu·i. '-Oai ~rind ·e';'" eel dO ni - nu - \u- ! bun

2. 2.r 1.

-dc. m.
Var.

M.1O 2013 c~ Bub (Biho,). un om bM,Qn. 11. 1912 .

8, 6. 10, vCD
Parlaodo, ) ' 176-(acc. 1... 1-192 J)
I)
21j.
d. 0-,.. - Irea - bi!, sII'n - 1rca - bli, -E.oa~-iIe !J Sfin\i. Ia Oum-lIe -
4) CD I.r.

- ze U: CO - rin - d'e~ O'in ce s'aU fa CUI

2.
i.r. 1.

M. 1O 1971 a). Dr.lge~li IBihor). oamcni. xu. 1911 .

rna ... rio ......;;:O....;a..:.i_ _--,,~c-o---r-in---d~

e L.- Oi mij- loe di ra -
6)
fro
Var. I

MF. 874 b~ V~cau IBihor . un om. n.191O.

J

M . . 870 b). Beiu~ (Bihor). un fedor. D. 1910.. cu\'. 10Sd .. ..b · 160
t An n

!tt4!till"~ p~ l,lj!!I@~ R I"!j

M F. 676 cJ. Delan IBihor). douA fele, l.le~d \Bihor).un om. vm.1?rl9,c uv. 1'l~ r.
VD. 1909.; cuv. lOSe .. b1l8

[ 69 ]
 A II. h)
Parlando, ) . I()4.(acc. 4. 51:;138 8,6, 10, ~CD
I) 2)
211.
CD 105 e. 0 _ _ _ Ire - cu-~i. mai m!r-g1!,~ D-oj dol dru - ma .
Lr.
2) (,,)

re i~ . pai co - rin - de!..... Dru-marl ci - ne slInt?

'-''--- -"
2.r.
Var.

In sa a ra rej
M. ~ 885 al. Camp (Blhar). oumeni. 11. 1910.

Parlando, it'nlo ~
8, 6, 10, 5)CD
21m . • ~~~~~~~~~
i
101 c . eel dom - nu - \u - bu -nuj. ~ eel dom -nu lu-j

CD 1\ " Lr.

bu - nui. li ,-~D_o.::..i_ _ _._c_o_- _ri_n_-_d_e!-- Bun gand~i-o gs'n - di!.

r.
6 syll. :
II J. Jl
Dumbravi\u de codru (Bihor). aameni . D. 1914 .

Tl'rupo gill"IO
1) _ _
2)
2) _ 3, _ _
8, 6,10, 2)CD
21n.
93 a. ~e - du-i. mal ~e - u-~~ Doi domni dii eei

4) CD v
1) _ _ 2L
Lr.
3) _ _ 5)_

ma - rio ,D-o! cO - rin - de-!J/ -u - null i_~ Ta - Ill.

!iOlm, (Blhor~ Ion MOl (45). II. 1914 ir

Urvif (Bihar). un om. U. IYI4. cuv. lip.

[ 70 ]
 A II. h)
).100 8,6.10, I) CD
i)
210.
99 c. Su su·i.~ ca Sa rna . re-s

2) CD I.r
4) 5)

Sea - u - roe fru - mOs • se. .... Doi C? - rin - dC~ PS.n· gii ce-I£-a mo~.
2.r
2. 3.

M. F 1902 aJ. RO gOL (Bih",). oameni . XII. 1911.

8, 6, 10, 4) CD

21p.
CD,___~~ i.~ poa, - I. ra - ju -

2) -------= I r
3)

i _____
~_D~~~ co_-~~~ - 13 ci - lie ~d'?

2.
2.r.

Ai
M.F. 1972 a). Ginla·Rohan! tBiho,). <lameni b;\l'~ni. L 1912 .

Parlando. ) , 1I6-t800. 2. • 1l -126

8, 6. /0, 2) CD
11- - 2)

2lr.
IO! f. D-um - bra ce riu - lu !\!..~'Npoar - La ra-ju-
l.r.

CO· fin A de;"" - t. ra - 1U lu~

2~r_
2.

M.F. 1965 a). Cociuba de jll' (Bih",). o"mCm biit,,,m, 1.1912

[ 71 J
 A. II. h)
8, 6. 10, i) CD
Pa.lando, ), 168
.....---;:, I)

218.
W
_ 9~

~
b. I~ _ _
3L
ra - shi.~
(r.
r4 - Sa - rio ~i'n C8 - 51 ~i'n

mas'!_ "Ooi co - rin - d'el/ Da.-:n eel corn dii mas '
2. vIr.r.
rna· sa
M. F. 1952 d). COlicl.1 (Bihor).oameni. XIL 1911

&r1ando, >-2) 1()4 -(acc. 4 51.) - 116 3) 8, 6, 8, 3)CD

Il 3)_ _ 4) S)_

2lt.
CD 103 B.CeI ce - re - scu me - ~te - re - scui. ,Doom - 1I~.,ai Oo~mul
6)__ ~ 8)--::===- 9) Lr.

OJ, Tri me - ~teri ea tri tn geri

MY 1956 a). Corb.~d (Bioor). 11,. On;\3, .IC .. XII. 1911.

Parlando. J,74 9, 6, 12, i) CD

t t 1)- - 2

21u
105 b.
'---'"
O-oj Ire - eu - 1 mai
1 2)
milr - gu . i.,Doam - tr._
me~

o - oj doi dru - rna rei· '--M - mer doi---

,
J 2.r.

- rc...in,--_......;;cd'..;;.e...;m",e=-,,!/
",C-,-o_ Dar dru - mar1 ei lIe- s?
2.

-sa . (u
M F. 2000 al . Lunqoura \H i hor), Toad.. MulO", .,c .. lI . 191 2.

[ 72 ]
 A II. h)
9, 6, [ /0, 1 i) CD
CD
soa-ri· reo soar:
4.

M, F. 19)8 a). T~ad (Bihor).o.meni. XII , 1911

Tempo Iliu 10. ).168

1)_ 2L

90 b. Hoi ·n·lor· C!!. ai-mull gal - bini

1.l4. 12,1 .

M,I- W51 b). COtlclet (Bihor). "amen'. XII. 1911

T('mpo giu 10. ).126 i\

8, 6,[10, I 2) CD
1)_ 2)3) 4)_5)_6)_ ';)
CD
21y.
102 b. Co - lo'n sw. Doamlle: nlai '''''!!. ,-Doam-n~ D~"nu - Iui~
r,
2.

M, F 19~5 bt Cociuba d. j", (B.hur),oamem bilt rani. I. 1912 .

8. 6. 10, i) CD
Ci)
21z.
99 a. Ie ra - sari. soa - re . ~. ,Soa.ri-Ie!; Ii! rii-s5 - ra ,oar
r. (sic!)
1. j .I. Var.

M. F 1923 al. Dr!gclti (B.hor).odmen •. XII . IYII

[ 73 ]
 A II. b)
i)
A II. j)

Tempo giusto,
8, 6, 10, 2) CD
I v)

21aa.~~~~~~~~~~~~~~~~~~~~~~
94 b . Ce sa - rl·i d3 in stu sa ora? ' - HfI - 'lOS. [)om"ul noslJ.,.
Y'
r.
2.

M. F. 1952 b). Coticlet (Bihor), oamenl. XII. 191\

A II. i)
9. 6. 6. b3)(!)
~3)
Tempo I!illslo. ) =120 3)_
Il 4J:;;=r..
22.
5b Le - ru - I'ui! Ce vant ~~-a b! to - I!!..

5) 6L
~
7) _ _
CD ~)
1;)

rus - a - i la p3 - man II! C~-a fosl m:li, mil - runt.

2.

)
4. s. )

r. \)26 h) lerejteu (Mure)-Turda). Carol Ma!u. ,'gan. IV. 1914,Z .

A II. j)
9,6.9, VD@
Porlando Vi)
X7 h Dom -ni· II! j ~·am flor - nil. n~-arn flor- nil . N~-am por-
'----=v---"
@r.

nil. n~·am por.nil. ,,Dorn:n;.h!, Jun! co 1m . d~ • lor1.

Saraf,.lu (Tur"ntal). l'gan!. XI. 1912

[ 74 ]
 A II . .i)
III. a)
b)
9, 6, 10. i) ®
J :104 i)
23b. ~~~~~~~~~~~~
107 b. A. -.1: e -~u - Ie!...' lap - t'e 1- ° seal da - t~.
® l.r

. lap-t'e 1'0 seal - d3l. ,L·e._I'c-ru-re!,...,· gin 1-0 bo-t'e-zat.

fr.
F. 1252 b).Or!ova (Mure~-Turd8). Mana late! (221. IV. 1914.

A III. a)
6, 6. 5, 6, i) CD 0
Temfl gi~sto. J,go- (ecc. J. stl-86i)
3)__ CD
24.
99 f. L a _ ma- sli gal - ba - nil, La ma - sa gal - bii'- nii.
4) 5) 6) 0 7) 8)

-.!t.....o.;.!i.:...,._ _ _I_'e"",- ru1 Doam ne !,...,. La ma - sa gal blI - nii

t.
2. t J.

A III. b)
6. 2) CD G
Tempo giu to . ).176
t 2) CD
1)-
25.
105 e. Lu - a-i. s1\ du - ee - ~ Mai - ca-i pur- ce' gre - Ie,
G
,10 i Dom - no, io~ mi- na!,..., D'in - d'i - ~j ~i - me - r~

II I
00-

2.
lif )1 I)
i: 1\
J.
y
~.
I
A.
M.F. 1922 b). DrAse~t i (Bihor).oamcni, xn . 1911.

[ 75 ]
 A Ill. b)
6, ~3)CD €J
~ mpo giu.lJlo

26a.
98 g. -Doamne. dra • gu~ Doam - ne. SIal · am sA I'e

CD. o
'n.tre·b.!!.. D'in ce s'o 'n·ce • pu - I.!!. Ji - nu ~i mi
Libaniqd (Mur.~·Turda'. Toader Moldovean. ligan UO).IV. 1914 .

Tem!,o giu.to J, 116 ~3)

26b. ~'):~~.~~~~!~'i'§
·SIJ§Ogr~t~hr~l~i~j~~r~=·t~1r~!~~a~
91! f. Stal' am ...
CD
rc 'n tre b\!. Stal am
o
53 t'e-il - I reb. hi ~oami[e. dra • gU\ Doam-ne
2.st.

Doam • ile. dra . gu\ Dosmn!,., O'in ce S'0 tn· ce .

,-
r.

pUI. O'in ce s'o 'n - ce pUI.

• Mi - rul ~i vi n u · Il!" Mi - rul ~i vi nul,

f'. 1271 a). UrislU d •• u<; (Mur.~.Turda). Vasil. Suciu (JI). IV. 1914.

Tempo giU810.

la, Sus pi la fij.

ill,.
nat: 1.. Cu-ro chi a erea la. Cu ·ro chi - a creat.'
2. ~

F. JJ46 b). Bala (Mur.~·Turda) . Solonl.8 Marian . IV. 1914. Z .

[ 76 ]
 A III. b)
6, J)Q)Q
Tempo giusto. ,A 172
/) 21
:V
J)

26d. ~~~~~~~~~~~~~
Lli Pod·va . I'e.

pod·va . Ie Tre-ce mai e • sea . reo Tre ee mai e • sea· I'e

2.
,...-:;:::;::

III t5J Pi tc Id (13J I'll hft i

M. F. 1685 b). Seee.ni \Timi~~ n muier. ,anAra. 111.1912.

6 6)Q) 0
T('mpo giu810 6)
27.
Ii nA fin • 13 . n3. ,pal Dom· nu
.---
lui

0 r.

Ooam·ne!~ L. Ii • n:1 I8n· 13· n5. -Pai Dom· nu . lui Doamne;,...

S.rafols (Toron'sll. ligan,. XI. 11J12 . r.
T"mpo giu 10. 6, ?) 0~
3) 2)

28.
H7 a . ~i 10 sus. mai SU SI!.
2 6)

Sus la dru . mul rna r1e. ,)01 Dom· nu lui

..--=
@ 7) 8) r. 9)

Doam • ne!/ D~·o par t'e d'. ca • I'e

J
/I
:.---.);)
~ I i I r ~ I .. ~
F. 976 c). Fcrq<! (Huned,oar.,. Alexa MArina (SO). X11.191J .

[ 77 ]
 A III. b)
6, 5) 0~
3)

sa re Ca 0 tal na
~

ma - r.; Stea-IIB s'o vi De· Is ra s1l rit.

M.I-. 737 a). ~eb, ~ (B ,hor). un om. VIII. 1909.

6. i) CD G
Tempo giu 10, J.n 2)_ i)
1>- 0-
30a.
99 h . La ma- s~ gal bi na . Lama-sa gal •
CD 2

hi - n3 , '-Hai dai I'e-rui Doami'le! J La ma - Ii gal bill'

y
2. r.

1-. 1272 c ). Uf1>'U de <u, (Murt~ · Turd.). Va.il. Suciu (31). IV. 1914 .

Tem80 giusto, J ' IOO

2)
6,DCDQ
30b. ~~~~~~~~~~~~~
Lama-a gal bi - nil., ~. "Hai - da
3)_ _

I'. - rui Doam · ne./ La ma - 5i gal bin:

r
~
,r.
;j F) P) It;[h II J@ ~
C"iiLAIl I '@ I II
F. IJSS b). Curtecap ( Mure~ -Turda). Ana Burd""n . IV. 1914, Z.

Tempo giu to, » . 160. (ace. 4. • 1.) · 184

6, -D@@I
IL 4 2)

31.
31 d. Pod - ba - Ie. pod· ba . Ie . Tre· ci ma eea va Ie.
3) (SrI I 4)_ _

La cea ea - sa rna • re Seris - ai ~e . zii loa - reo

Var.
II 4
~
II;) F I "
. .
~ 141 W,
-I oar.'
M. E 878 a). V"1du (B.hor) . o mu,ere. 11 . 1910.

[ 78 ]
 A III. c)
6,8,6, 6, Y!fl®~
Tempo giUllIO,
I)
J.8~2) 4) 5)_

32.*
6 . Cl el s'o IA~·da t~. eli el 5'0 IA\! - da IU -i.
I) 6) 3L Yll 7) - ll) .=...

- I\e - rei ju - lie - I!!,

t
--- Ci - ne - rei )u -
1.
ne

J 4.

F. 10~1 c).
"---'
uqoara (Hunedioara). lancu Her\eg (19) . Xn.1913.

A III. d)
Tempo giu 10, J.102 8,6.6,6, <D@)0
2)- 4

33a.·_~~~~~~~~~~lf
16. Jos pii" dru - mul ma - ....Doam - ne~
@ 5)
IT.

Sus pi" Ian - gil ca - Ie. ,101 Domnu· lui Doamlle!,/ NA - scm- o. cre - SCUI- 0
r- J......, 2 .•.
r7i ~ I "J! pJ
Var.
II g I ,! I I' 1 ¢ JII"
F. 1039 b). Rllu de mori (Hunedioara). luba~ (pr.ot. ca.60). XII. 191).

8,6.4,~:2) @ 03
Parlando. ) .126. i) 1)-

33b
100e. 99g.'· - - a ~I'eap -lli, ~ Pan'" -
@)- 2 ) ® - --l.r.- - - - ' p o c o r i l . - -_ _

co - rab.
2.

~poco ril.
21 y hl!) )11 !ll~ .r7 ;hf5 1J) ffll :,jIJ ..
F. 1340 b). Moi~a (Mure~-Turda). 011 Ucdlo~. lig.n~ IV. 1914. Z.

[ 79 ]
 A Ill. c)
B I.
8,6. 6,6. i) CD (i
T mpo giuslo_ A232
I.s,~ l)t 2)3L.
34a.
91 a. Q.. ru
3) 4)

P/i wms'o ru - ga - '!!.. ....roj Domnu-lui Doam-/\e~ Dumne-lel! i-o

S) lsI. 1:r

da • I!!., !~ dal loc in ra . j!:!J "Doam'" ne!/ Un-d'e-! hi - ne

I.r

tra - i~. Un - d'c--s me~ se 'n - t'in . . se.

2.4 .
;1 JI
F. 1006 a). P.aucin~d ( Hunedloara). Pc .. U\ Dabucean (27). cIC .. XII. 1911

Tempo giu to, ).190

34b.
Merg i - re'n
CD
0-

WOO
J

I; ill} II
frun -fe, .)oj Domnului Doam~e!/ Da 'n,; - in (ea 10 - rl!.,
2.3. iY,.
II ~
F. 984 b). Grldi~l. (Hunedioara). dOl (cclon. XII. 1913

BI. 12,
Tempo gi~to, ). 152 -(ace. S. 51.)-176
~J-,

35.
S3 d. HI am-hl!m ~i co - rin - d! - m!!. '-Cw--cai "dr- ca(..,
M.F 1394 c~ Albae (Turda - Ari.\). (ocion. XU. 1910. r.

)1.,260 12,
2)
36.
J08 a. Ce sa- ra·l da ia - sta Sa - rA? ... Domn d'in ceri! ....
J.
Ili'pICi!1 r.
M.F 1482 c). Fenq (Alba dc jos). (eciorl . I. 1911

[ 80 ]
 B II. a) CD
Tempo giusto, J.90 o1) 2)
6,8,

37a.
S3 a.~Flori dal be de mArl ~ oi um-blAm sa co -lin - da - m!!"
;.00: k r. Var. =4 II
,I
A':..!.eior
L~ I r r ~F I II pi : r
M.F. 846 b~ S!nmclau~ul mare (Toronlal). un recior. I. 1910.

7. 8, CD

47. ,.,Ju - ~-a lunj, ju-i\el bun! , Juni p~ ju- /lei

ME l4S6bJ.Pelr~an (AJbadejc>s~recion. i.i9l1 . r.
5 6,8,0
Tempo giusto
37c,
mir! ~ Su' poal - ca
v.-rY 'I -
17.* Flori dal - be de de co - drul vcr - d'e

--r.
afarola (Toromal). un om (40). XI. 1912.

B II. b)
Tempo gill 10
CD 8,6. CD
38a.
74. em - ce 'n ca - sa, cru- ce'n ma- sa, ,-Hoi
da Ie - rui Doamne! .....
Pelr"i (Arad). Pelru Ol.r (JO),VII. 1917. --=-----vr.
Tempo giusto 8, 6, CD
38b, ~~t~~s.~st~"~~~~~~~~~~€I~~(6~')~~
~
H4r. Cu-Itn ri- U\ mi - CU! in bra -Ill .I.'cr dol reT ne-va-staL-
CiArbAl (Hunedioara~doi feclori. XII. 19U

-
'V'

Tempo giusto, ).IS2 ._8,6. CD

39,
(147.) Co-Io'njo - sur, mal d'injo - Sl!, ...pomnu-Iuj Doamne Doamn!.....
MF.14S4 c).Pelro~an (Alba de jos~ feclori. 1.1911.
r
Parlando: ».100 3) 8,6·0
40.
.... Oai Domnului Doam~e!/
v
r.
M.F. 1818 a). Jadani (Timif~ Alenasie ~orm~an (4nn. 190.

[ 81 ]
 B II. c)
8.7, ®
41.
103 h. De cllnd Do~ s'o niI· scuta. --j'f;: nos' Doam/le Dum.ne-ze~,/
r.
2.J.~
1I~l. II
M.F. 1850 e~ Cianad (Torontol). lula Tanei. t.i~anea. II. 1913.

Parlando, ),170 2L @
8,0
J) 4) 5)
42a.
II e. Co - lo'n jos. Doam·lle. mai jo-s!!-,.Hoi len flori. daI • be tIC mar!,/
v
r.
2. 3. 2

M.F. 1391 a). Albae (Turda.Arie~). fecior, XII. 1910.

8, @
Hlrlando, );.123 I)

42b.
108 h. Rl! -sa· rit· o. ra-sa - rit - o. ,-Hoi Ie -Ie ler flor! de ma.!,/
yo
Var. r.

" JI
M. F. 67~ d~ Dclan (Bihor). dou3 fete . VII . 1909.

Tempo l(iU~IO• .I> , 160'(Bec.s.st.)-20'CD 8, CD

3)-A-
I)j- 2 2)
43.
'--" '--'

i 0 i
59 c. Scoa la. gaz-da nu durmi.........Ho...;.:..:i'-Ie~. ru...:....:.Je:....~~.,.:....ru:....ffiI.:.·.;.:D.:.o:::,an.:.'.:.:.n"
2,·s.
II £ pi J j I
.--)~
II fa]l
A A Var . r

F. 1564. h). Tr3ia~ (Arad). Pavel Opr.a (17). Gli~ r H~lm3g.an (/7). VIL 1917

8, CD
2)-
44a.
105,.. Hai. SCUI • o. Doa",- ne. na
CD J

sc:u - t,!!. '- Ca-'1l flo - ri I\~._---"m.:.::A,--_ _,-,ru=--_ _I:.::u""i!'"

2. ~ ........ r.

'--
1'. 1165 a). DumDravi!" de eodr. (Bihur). n"meni. 11.1914 .

[ 82 ]
 B II. c)
8, CD
Tempo giusto, ) ,124
1) 2) 3) CD
44b.
lOS u. ~i'o nl • scu - t\!o mili-o SCu - t!!.

4) 5) 6)

¢ ,,11
M.F. 1972 b). Ginta - Rohani (Bihor). un om b'trin. 1.1912 .

Parlando, 8, CD
1)- -
) . 144
2) 3)_ _ 4) 5) _ _ CD
44c.
t05t.C'o _ __ na - SCUI. Doam • X~-o n3 - SCU - tl!,

J 7)

flo - ri l'~-a rna ru lu i! .....

Var.

3 )
lui
F. 1174 b). ~imi (Bihor). Ion Mo\ (45). O. 1914 .
cr. No. 121.

Parlando. ) , 132 3) 4) _ _
8.@
1) _ _ 2)- --

45a. ~~~m~~~~~~~~
105 g. Bu-nil sa - ra _ _ _ lui Cnl cju - n!!!
6) 7) H)

La - sli rna Ion Iru sli tu . nyl

2.

1;.2 Fttl!?' ID14) lJj IftI( 5.)) 171 4}

M.F. 1376 a). Cherpeni~ (Alba de j(5).O muier•. XU. 1910.

[ 83 ]
 B II. c)
~ 8,@
Parlando,_lento, J .55
.. U~
0 t 2
~

45b.·~f§@~~~~~~~~~~
108 m Tri crai de la r.1-sli Cu Slea-lI:a\! elI-la-Io - ri- I!!.
1
"L!l.
Var .........

rlt._
121 r d"
nf.
M . F. 765 b). Trilul de jos (Turda.A"<~). un om . IX. 1909

8, CD
Temllo giuslo, J ' 144
I) _ 2)_ ~_ 4L 5L 6)
45c.
~31. Sus Ia vi'\lI vi- nu - lu- i, _ La um- bra gu - tu-iu - lu- i
2. a 2 voce 1.

I'. IDO aJ. Niere .'eu (Murrl - Turd.). Anica Neogoo. elc.. IV. 1914. Z.

2) - - \ : . ;
0' 8, f2'
\;;./
:.---=:::::-. J ) - -.. _

45d.
-
~~~~~~~~~~~~~
us c. zur _ _ zur
4L
be su
Zur
5) _ _
dal
6>-
rori, z-

zur zur _ _ _ _ zur dal be su rori,

2.3. 4.

Marian. elc.. lV. 1914. Z.

Tempn giUSIO )
8, CD
45e.
•
">1U de sus (Mure~ -Tu rda), V..ile SUCIU (31). IV. 1914.
and: Chincl~ (Mure~ Turd.) Ale~.ndru Ma,,~ (38). 1 . 1914

Tempo giu t o, .A 120 8, @

@
45f.• ~~~~~g~~~~~~
Doam - ne - su se Hri

Tu e~li nO !!a lOq fru moa - se.

M.F 737 b). $ebi~ (Bihor). un om. V111 . 1909.

[ 84 ]
 B II. c)
Tempo giu8to, 8, 0
I)

45g.
~ti no - 1!3 zori fru-moa·se.
J. --...""--=

pi
F. 92 2 c). Ci:\rbAI (Hunedioara). I'tIrU One~n (24)~ XII. 19 13.

Parlando,
1)

45h.
36a . Co - 1o ___ sus.Doam
j
~e. maj _ _ su •
.. _-
Sl!,

...
_ _ _ _ dal ra - sa ri
2.

6
M.F. 1402 b). Albae (Turd.· Ari",!). un "'"~ xn. 1910 .

Tempo giusto,
I.st. 1)_-
8,0
4)

45i.
58 b. Scoa-Ill. ea nu-i vreme d-a-durmil!!.
4.

a- ~a __ ~!-a - lui mi- fi !'e-!!. Fa-~a-i d-al- b! de rna - 13- sa.

2. J.

F. 13410). Moi~ (Mur",!-Turda). NOli L~cAIO~. \isan (55). IV. 1914. Z .

Parlando,
I)
A144 2)-_~
0 8, CD
J)

zori d' i rep - Ie.

5) ---.....-::::,-=--

2.

M. F. 1434 a). Vidra de sus (Turd.- Arie.l. un am. XU. 1910'

[ 85 ]
 B II. c)
PorLmdo, - 80
8, (J)

122 c. Doam - nc _ _ I - su .Ie Hri stoa - .Ie,

no - !!~ _ _ __ zorl fru moo - sc.

M. F. 912 a). Bis'ra (Turda-Atie,), un nm. m . 1910.·

Parlondo, ,) 144
I)

119. Prino - ra - $ul _ _ _ Vir - - Ie - my'

4)

Vi - nili _ _ voi toli _ _ _ sil-I ve - d'c - my"

2.

M. F. l~JO a), Vdnl de m[j\oc (Turda-AtiO$). un om. XII. 1910.

Tempo giusto @
45m. ~§~~~~~~H~~*§~§II
'-'
(I4R.)" Co-lo'n 'us Ia __ nl.~ - n·1U E·st~-unmar_ rna· re'n.no - n-I!!._
Den.. (Timi$). un lIgan (23/, XII. 1912.

oi_ p3 sl ri, oa rn ci.

O! _ gcr ___ ~. frig _ _ miin • ca • Ii,

2.3. Var.

M. F. 19O5 d), Rogoz (Bihor), feciori, XIL 1911.

[ 86 ]
 B n. )
Pnrlnndo, ) . 138 r:::::: 6::::-1 I)
o 8,0
450.
l20a. A - - Sla - sa - ora _ __ d'e era - - eju ns.
2-- 3)--

A Sla- i sa - ra _ __ d'e CrA elu na .

2. Var.

F. 1241 b). LibAnic,d (M""'I - Thrda). Toader Moldovean, lig.n (SO)." IV. 1914.

049.) Iz rca ~-II\I

so sat _ __
6)- 7 I_I

D'e 18 __ Dom - nuJ __ ccl _ _ _ _ prca _ Siant .

2. 3.

F. 1336 c), Mice~,i (Mulq- Turda), FIo.rea CCl,clc$. etc.. IV. 1914, Z.

Pnrlando,
los!.
- 88 8, 0
45r_
J40a! Thcdlkhen SO nadl khcany, The - d. - !then so-! na-d. - khcanl!.
3. st.

Sar - phu-ICI 0 som- nal de - - I.!!, Sar - phu - 1.1 _ _ 0

1. st.··

som - nal dc-I.!!. _ _ Dus - len. dus - ten _ de Ro - ma-Ie _ _

F 1328 c). Nicn:~.u (Murcl- Thrda). Ton. Ferenl. ,'gan (34). IV. 1914. Z.

Parlnndo, - 1J6
8,0
J)'---::-=-' 3)-

115a. Co-boril-o _ _ Dum/\c - Ie· u. o·borit-o __ Dumlle - l.e - U

2. Var.: ISO

F. 1238 e), Idicel (Murel-Turda). Susana Oncca (43), Susana Sagiu (36), TV, 1914.

[ 87 ]
 B II. c)
8.@

122 d.• 105 I. 0 1- suse Hi - rI - - stoa-se. 0 1- su-se HI - ri stoa - se.

L 1 Var.

M. F. 13890). Albae (Thrda-Anes). redon. XlI. 1910.

8,@
4)~

45u. ..
~~jjl~~~~~~~~~~m
I ob.' u~ - te nU~le-~ Roma - Ie - re, ~ Ie n~te Ro- rna - Ie - ~
2. 2.3.

Ai
F. 1226 iI). Rapa de sus (Mures-Turda). Su.ana BotA. ligand (4S). IV. 1914.

122 e. Doamne I - su - se Hri-stoa - se. Tu e~ti no -!Iii zorj fru·moo - '".

4

---.:.....--
Tu "'iti fa - z:i _ cea cu - ra - t3. _ Si lu-min' _ d - de· l'3-n\ - tAo
.......
Cf. Kaeerovski 40 •. ; Bosiljevac 47; Dordevie
Nar. lTv. n / 2; KU~d B. H. S81. 91J; Ku~!ti8.
M. F. 831 al. SiinmiclAu$ul mare (Tomntal). un om. I. 1910.

8,@
46a.
673. Se-d~-un damn bWl ~I ci - Ilea - za. , Doaml~e dai Dom·nului Doamlle! ...
M. F. 1675 b). Murani (Tunis). Ion Ruzdugan. Ion Oni... reciori. III. 1912. 1.
Tempo~u.to
8,@
46b.
Sararol. (Tomntal). un tigao Mlr.ln. Xl. 1912.

Tempo ~usro
8,@
47.
.
Vakani (Torontol). [.t. (14-IS). Xl. 1912.

Tempo gilL<tO ® 8,®

48.
22a. SUO poa-L~ _ _ de cod - ru\ ver - - de, Su' poa-I! _ _ de cod - rul verd'
Topli,a (Muocs-lUrda). Vasile V"da (30), VIlt. 1916.

[ 88 ]
 B II. c)
d)
e)
8.@
49.
117. Scu.lalifrati ou mai durmitl. _ Scu
M. F. 912 b). Bistro (Turda.Ari~). un om. III. 1910."
--- lali fraU nu mai dur • mili,

B II. d)
8,12,@
Ternpn !(ill.lo. ) =152
1-- @
50.
32d. rie ___ 5'0 _ _ SCU • I.· lu,
2)-

mi llioa • ni! ~ $i pa cap s'o t'cp - til . nal,

2. Var.

Hal - - !lli..
F. 1l~7 c), 15iimbmvila d. codru (Bihor), Gheorghe Pinte, etc .. II. 1914. cr. 51. 66.

8,12, @
Parlomlo. ) - 176 2)--;--- 2
Q-
51.
4 g. Po cum Dom nul ~i·o ru· • ga . 1)<,_
3-

Dum·no· zel1 de _ _ _ 101 _ i-o da ' I!!., ,,Dom. nu-Iui Doamn'!,,1

2. y
-...I
F. 1264 b), Chinei$ (Mure$. Turd.), Alexandru Mir;$ (38), IV. 1914. cr. Nos. SO, 66.

B II. e)
12.8, Q)

cur, t'ea lui Cra, cju

• 2

yo ' ,M'ruj Doam, /Ie! J Lui ern ' quo _ ce ' lui bii, wi ' ou _
y.
2. 3.

F. 923 b), CiflrbAI (Hun.dioara), Va,ile Ii losif Costa (SO, 42), Xll. 1913.

[ 89 ]
 B II. e)
Tempo giusto. )_ 136 12, 8, CD
I 2)--- 3)--

52h. ~~~~~~~~~~~~~
lOSe. Do ce sa . r:1.·j d-a - 5t:1. - sa - ra?

CD ~ 4)-- 5) 6)

,Le ruj_
::/
Doam-lle ! J Sa ra-j rna . ro luj d-A-ju nl1.
y
2. 3. a\

F. 97S a). ert~d (Hun.dioara). Alexa Mlrina (SO), xn . 1913.

CD Thmpo ginstn, )t=31S 12,8,

52c'~~~~~~~~~~~5~~~~~~~~~~
la 51a - \IlI _ _ ce riu - lu iu,

CD
"---" '-" "---"
,~Le .....::..i__~Doam -lie!
_ _ _ru J La scam-IIi - rea _ Dom - nu - Iu -
Y.
F. 1031 b), Riu de mori (Hunedioara), (<>sir Todoroni (18), Jon Muntean (20), XII. 1913.

'II mpo giwlo, ) - 168 12,8, CD

1)--- 4)-- 5 -
52d.
.."
31. Po - run - cit - - 0,_ po- run-cit .. - 01 _

CD 7) S)-- 9

L'. - rui Doam - /I.! , Po - - run - cit - - 0, po' run· cit • 0

y.
2. 3. 4.

S.

F. 1m a), savfulin (Arad). Sofia Goian, VTI. 1917.

[ 90 ]
 B II. e)
f)
Tempo gin to, )~ 152- (ace. 3 st.) -160 12,8, CD
• 3. st. 1)---

52e. i!~~~~~~~~~~~~~
112 f. lu - da din _ _ somn scu - la - ri!.,

2) 3)

, Oom - nul Ooam - ~e! ..; Pe Ju - cia din _ somn scu - lar',
y.
Var.

M. F. 1726 b), Igri~ (Torontal), douA ligance (30), Xl. 1912. Cf. NO. 211.

Tempo gin to, 160- (ace. 4 st.) -180 12, 8, CD

I) 2)-- 3

=i de la ra ~a ri
6)- 7)- 8}- 9
,....J..."

rilI.! -J Tri _
:..:...._ _--,-,,,,,,-==--
...Dom - nu'n~ce crai de - la ra - - sa - rit,
y.
2. r--, r-J-,

3. 4.

M. F. 1673 a), Mlr.A$tiur (fimi$l, Lina Trandafir, li8llnea, m. 1912.

Thmpo giusto, ) - 138 12,8, Q)

8i. Ma-re-i sa-ra d-ina-sa.di, ,,LerDoa~nele!/ Co n3-SG\II$i _ _ DomnulSflint,

r.
Idicel (Mu~.Turdal. Susana $i R.fiIa On= (43. (7), rv. 1914.

B II. f)
12, CD
Tempo giusto, vivo
CD
54.
•54. Di . mi . noa la di Oil.- ci.u nJ!.. " Le. rui Doam - ile! _ ,
'(

J J F J F F
F I J era· J J J II
Oi· mi - nea tiu ny,.
di I., Lc· rui v Doamn', J

r.
Triii~ (Arad), Gheorghe Lerie (60), VI!. 1917.

[ 91 ]
 B n. f)
12. CD

55,
58a. Sc:u • laU. _ scu·laU _ bo·ieri_ rna

4)----:=:------:-:--
2

D'e va __ scu· • lati- fe . t'i· . Ie '.re, ,l'er_ Dom· l\ia Ie! ,

'-"
r.
13 fon. : Var.

F. 1271 b), Uri iu de $Us (Mure$·Turda), Vasile Suciu (31), IV. 1914.

32g. rui _ Doam· Ilc! ,

,,~-----"
r.
J.., 3)---

Ca.j rur·ma _ de _ _ __ oi'n sa· la· i\I. - ...:l",'e_'_...cru..::...:..j Doamn'! ,

'[
2.

M. F. 2000 c), LUllC$oara (Bihor), Toader Muzoc, etc., II. 1912.

Pnrlnnrlo, ) . 204
12.@
1)- 2)
56b,
82 b. A, Gm . i~j Ta·t!1 DumIlc·ze· u, .,-L_e_ _ru
--=.j:...---.:...~am . ~e! ,
r.
3)- 4 ) - -

~i_ fa· cem __ un _ _ _ fe· re·d!·u. _ ,Le . ru·j Doamn'!,

'-"
r.
2. \'.Ir.

M. F. 1998c), Gro$i (Bmor). losif MU$i, lisan (25), n. 1912.

[ 92 ]
 B.II.r)
Ill. a)
b)

Pur/undo, ) . 232
12, @

82a. Co-Ioi sus. _ co- - 101 mai. SU-S!l, ,L'e - ru-i _ _

-.r-
r.
4)-- 5)-- 6-

Doam lie!, Sus_ in var - fu _ _ mun-l'e·lu-i. _ .... L·c ru-j Doamn'! I

"r.
2. J. Var.

M. F. 1922 c). Dr.lge$ri (Bihor). oamen;. xn. 1911.

B III. a)
T..mpo I!ilmo. J=98 5,8,8, -J)@
57.
re- ru-j Doam - ne! La_ ca - pu__ p~
3 r.
I) 4} 5 ) - - 6)

ru - lu - .ill

2. J. 4.

F. 1357 a}. Cunecap (Mu'e$-1Urda). Ana Burdean.elc, IV. 1914. z.

B III. b)
A 142 8, 5,8, vID@
PnrlllDdo,
2)-- 3- VTD
58a.
JOS. CO - 10 mai.- su - SQ, Dom- nu-lul Doam
-v
r.
5}- 6

~----- Co - 10 jos. CO - 10 mai su

F. 1165 c). Dumbravila de codru (Bihor). oamen;. n. 1914.

[ 93 ]
 B III. b)

Tempo giusto, J. 108 vi})

8, 5,[8J, viP@)
58b.~~~~~~~~~~~~~~~~~
57. Ja·mj seoa·11 - t'e,_ dom-nul _ bu - nu. Dom-nu-Iui Doamn'!
'-------V--'
M. F. 14823). FeI1e$ (Alba dejos). feciori. I. 1911. r.

- in - rea ce - ~tor_ cur - ili!.

, Dom- nu - lui Doam - ile! , E - s~-on pi -

2.4.
Y. 3.

F. 1050 b). uqoara (Huncdioara). lancu Hcrteg (19), elc. XU. 1913 .

Tempo I!ilmo, ) = 126

8, 5 [8], wpCD
... 1)-===- - 2)--- 3)--

59b. ~~~~~*~~~~§~~
·82 g. 11t am - bllm _ _ li _ _

t) B~11il £9 jb IA QJB ~ i ¥ II
co rin - <Iii m\!., \ Dai co - - ~I·i.::..
n _--:-_-=
d!:::,.
!I
2. ~J--' 3. Y 4.

M. F. 1395 a). Albae (Thrda-Aries). feciori. XU. 1910.

8, 4,[81, DCD
D CD
bl;Domn J;; • -J 'I II
din cer~··
M. F. 1457 a). Pell'O$3n (Alba de jos). feciori. I. 1911 .
~

DCD
!'. 4A 4r ij/2(! fi I fJ
Tempo ';\1 to, ) . 152 -(ace. 6.1.).170 8 4,[8],

59d.
~ 63 b. ~i _ ~e ta -
j
- sA. gazdli)1 ca - 51.
JIB 4 2;
• Dai-
SEll (}j~¥ II rID d'e!,

P'E4Pb, 14.II l'z. I

CO - -

2· ~13. ~
)' i9 II i ~ Y
.
M. F. 1993 a). Gnl$i (Bihor). feciori. U. 1912.

[ 94 ]
 B III. b)
8, S. 8, ~(j)
Tempo gin 10, )8400
.1) 2) 2
60.
la cur - I'ea _ lui erA - ciu - n.!!.,
2

,,D0m -nu - lui _ Doam-nc! ) Bu - nli lu - mi nli ~ Ve - d'e .

13. y. bI
2.4.
""'" Ii "nflt Ii I" ~
~ ill
F. 1033 c). lUu de mon (Hunedioara). Iosif Todoroni 00. Ion Munlean (18). VII. 1913.

8,5,8, ~@
Tempo giusto, J - 88 l) V
61a. ~~~~~~~~~~~~~
n - 83a. rit - 0, _ go
3)--

ri-Ior_ daI - be!) Fb- go - rit-o,_ po - go - - rit

2. t. Vat.

F. 1174 a). SOimi (Bihorl, [on MOl (4S), IT. 1914.

8,5,8, ~@

36b. ra - sli ri ~ Flo

"--''-----'--'V'
ri - le-s
r.

daI be!" Jiist. un porn mAn - dru'n nO - rit.

Corbesd (Bihar), XIl. 1911.

83 c. Fb - go - rit - 0, po- go - ri
"JO"I

Flo - ri- Ie -s Dumnc-zey ~i cu San - - t'etr':

·Var. BY.
lI@ft
M. F. 867 a), Reius ( Bihor), un fecio<, II. 1910.

[ 95 ]
 B III. b)
8, 5,8, ~@
Tempo giU5to 5
61d·m~~~§~§~*~~~ 92b. 51 YO - ro - ~ yea ~
-~

Oi· rni . nea·la - dea

, Flo . ri - Ie·s
y. dal be!, pur - ce· -

Leheceni (Bihor). vm. 1909.

8,5, 8, D0

" f. Co • Io'n _ dea - lu·i dup' on dea- 1!:!."Fio ri·le·s

I 2)- - '-----~t

dal be! Co . lo'n _ dea· lu·i dup' on _ __ deal

Var.

M. F. 91S b). Mlnii$liurul unguresc (Cluj). nwieri. m. 1910.

93 j. ce - rju· • lu .

3)- 4)- 1.

...:F1:.:o::......--..:r~i~.le~.=:._ _--...:::=.;. ce rju • - lui

2. y.

F. 13S4 c). Curtecap (MurC$-Thrda). Ana Burdean. elc .• [V. 1914 . Z.

8, 5,8, D®
4 4~ i D
Tempo giwto, ~ =104
61g. r F r r 14 I tp?"'j Jl
'IT 100 g . Tiit urn - bla Pet • rc _ _ pe ra - j! .
2 I)

\, Flo • ri· I'c· on zdal - be! , Tilt urn-bla Pet - re pe - mi..

2.
II y ,
I
:
Y
I
F. 1261 a). O~a (MurC$. Thida), MlIria Late$ (22). IV. 1914.

[ 96 ]
 B III. b)
8, 5, 8, @ vITI
Tempo giusto, J = 69 1)- - 2)- - vfP
61h.~~~~~~~~~~~~
lo'n $i mai _ _ d-in__ jo - S!!.
6) - -

"Flo dal- be!; Co - lo'njos$i mai-,.:;_,in-- jos

2. ,...-JJli£i{

M. F. 1645 b), Voiniceni (MurC$ -1\!rda). Ludovi~a MAni$or, . tc .. IV. 1912.

8,5, 8, ~0
11 mpo giusto, ) = 84 - (ace. So st.) - 100
1) ~
6li.
38a. qob - rit /leg - ri cod - ba -
2

_o_m_ _ _
~,-D nu_-~Iui_ Doam /Ie!" Ciob-rii neg - ri cod bat
5. y

.&
M. F. 1991 a). Coml3u$a (S~tmar). 0 muiere. I. 1912.

83e. Ai Po - go-rit-o, po - - go - ri .~-

lJ)
'--"
,-Co- rin - d'e Doam - lie! , Dum - /Ie - ze~ $i CU _ _ san - I'err'
'V'
~ ~ fu

'--""
M. F. 2001 b}. LunC$08r8 (Bihor). oameni (Toader Muzocl. n. 1912.

8, S. 8, ~V@
. Tempo giusto, ) - 79 - (ace. 3. sl.) - 84
·n
61k. ~@@~~~~~",----,~D~~~
52. Fa - t'e ve - sel, gaz - - dJi __ bu ml.

FJ
,Dom - nu - lui Doamn'!,
)f'l Ii jJ
Fa - I'e
J J J I jJ
ve - sel, gaz -
m Ii! jJ
df:::.... bun',
'I II
t.
F. 1231 b)·, !dicel (Mul'C$-Turda). Gheorghe Oltean (39). LazAr SagAu (34~ IV. 1914.

[ 97 ]
 B III. b)
8,5,8,V@
Lento. parlando 4

611. ~~~~~~~~~~~~~
58 d. Scu - lali, scu - lali. bo - jeri rna ri!!,--

4~ vr F
,Flo -
j ICW@'
- ri - le'n dal -
"V'
- be!j Scu-Iali, scu-Iati ho - ieri _ mari ,
II
r.
Lec:hincioara (Mure$ -Thrda), Susana Steran (20). IV. 19r7.

Tempo giusto, Ja 88

1l2j. Cind ci na Hri - t05 _ _ _ la _ rna - sii,

,Flo - ri - le-s dal - bel , Oind ci - na Hri - stos_ la _ mas',

"V'
r.
M. F. 1362 b), Gherla (Solnoc-Dobaca). un om. Xl. 1910.
8,5,8, vID®
vq> 3)--

62b. ~~~~~~~~~~~~
53 g. oj iG\urn - bllm co lin • dI - my' ~i
~

, FIo-ri - I'e-. dal - be!, Noiurn-bliirn$i _ co- lin - - dim

2. 3.

__ 5.
4.

M. F. 1389 a). Albae (Thrda-Arie$), un recior, XU. 1910.

[ 98 ]
 B III. b)
Tempo giul!tD 8,5,8, D®
62d.
53 •. "Flo· ri • Ie dar - be!,.----- Co - lin - . om,
y.
D •
co - • lin - da - ~, Co-lin-da-om, CO - lin - da- -~

Top1il. (Mure$-Thrda), Vasil. Vod. (30), vm. 1916.

'T' ~
.empo jriu 10, t/'w 166 - (ace. 3. st.) - 180
1)- - - -
DD®
8,5,8,

62e. ~')!~I.~~~~b~i~~~r~r~'~r~1~frG~'
~;~"~!J~)~IJ§~J~
65d. Co-bo-nl-o Dum - - I\e - ze u,
@ 2)- 3)--

\, Flo- ri l'e-5 dal - be!r-- Co - bo - rit - ° Dum - /Ie ze~

y.
2.3. • 2. Var.

ze - u
F. t232 a), Idicel (Mure$-Thrda), Ion PIli (25), IV. 1914.

Thmpo giwto, ) ~IOO B,5,8, D®

t)
2)
t D
62£,
106 b. Co- ho- rit - 0, co bo ri t!,
3)--@ 1)--
2)
4)

" Flo - ri - - 1'. dar· - be !,....- Co - ho - rit - o. CO - ho - r1 - t!

'V
r.

2.
31 r=~ II ~

F. 12S2.). Or$0V8 (MurC$·Thrda), Mdri. Late$ (22), IV. 1914.

"F1o-ri - I'e daJ· be!,

t
Chinci$ (MufC$.Thrda), IV. 1914.·

[ 99 ]
 B III. b)
Tempo giusto, )=248 8, 5, 8, D®
62g.·~ ~~~§5~~1)~~~~~~~~~2)~3~)~~~~~D~~
112 1. Co - rea sus $i mai _ _ d'in SU • S!;

4) S) b3 6 7)-- 8)

,..oomnu - lui Doam - /le!; - Su' po - mu d-Ar - gi - - mu - lu ju_

y.
2. 3.

291" ~ 11i if r b pi ) 141 ) A I" J} I btl It! j} r r

F. 1007 aI, Paucine$d (Hunodioara), !'elrut D3bucean (21), elc .. 26. XII. 1913.

S9 b. Scu - lati, Stu - Jali. mari bo- ie - - ri.!!.!

G)
3)- t 4--

,pom - nu lui_ Doam - lie !__ 1ar Stu - Ian d'e nu dur - mi U\!-
y
3. 4. s.

F. 984 cl. Grldi$le (Hunedioaral. doi feciori. Xn . 1913.

.-=
h 213 8, 5, 8, DC])
D
.
11empo glUoto,
I}-

62i.* ~~~g~~~~~~~~~~
M.. 104 j. Sus la' nal - tu ce - riu - tu -
C])
3--
2)

lui_ Doam·/le!,---- La lun·ci -I'e soa - ric lu • i!!..

r:
2. 3.

lUi
F. 1007 dl, Paudnesd (Hunedioara), Petrul Dibucean (27), etc., 26. XII. 19\3.

[ 100 ]
 B Ill. b)
8,5,8, DCV

(j)I03d. po- run cit - 0, u_-.:.1Ie~_.:.lu~j.......-

,...:!.:.
r.
~J---. J

~ 10 Stan-til M3 ri· -e_ rna - rie

2. r-J-., J. 4.

.&
F. 1050 8), Nlq03I1I (Hunedioara), Jancu Heneg (l9~ elC. XIT. 1911

8,5,8, Dill
Tempo giu~to, ) .244

1b., le. Co - lea _ su - sui. mai _ _ d';n _ su

3)- I) 2 - 4)

, Ju - ~e luj
"V"
bu - nl!,!, D'~-sup • ra la_ rA s4 - - ri t.\!.,
r.
2. •• 3.

F. 1028 d). Rliu de mori (Huncdioara), losif Dochia (25), Dumu BrAila (26). xn. 1913.

Tempo giusto, ) . 156 8, 5, 8, Dill

621. ~~~~~~I)~~~~~2)~~3~)~~~~~~~D~~
~
82h. Su' _ oer_ ro· ~u. r.l sa ri

2) 3)--

, Dornnu, • lui Doam./le!,r-- Su'_ccr_ roo ~u, r.l - sa ri

y-
r.·
2. Var.

1!.
F. 975 c), Fere$<! (Hunedioara), Alcza M!rina (SO), XII. 1913.

[ lOt ]
 B III. b)
Tempo giu 10 8,5,8, D®
62m. :)I~. 4i
7c.
I)

) IF
Si
2)

Plcac' un ju .. ne
1M r
la
{j:b Ii J
va - - na
D
J
4)- 5)- 6)~ 8) 9)- 10)

\. Ju - /Ie - I~~____bu_-_n-='!.,-,,!I Ca - I"c. lun - &3_ no- -iii zi - re,

r.
2. 3.

J.i..
71 a I a Y
Var•
3191

F. 921 b). CiArbal (Huncdioara). Vasile Costa (SO), I05if Costa (42), xn. 1913.

Tempo giu. to, ) - 168 _ (ace. 2~. 51.) -184 8, 5, 8, D®

1)- 2)- D
62n. ~ti~§~m~~~~~~~
• 24. ~in - na _ cu _ _ flori i-al - • be,
3)-

~ Ju· ne - lui_
'V
bu - nU! 7 D-in po- i. . na eu _ fIori i-a! - be
r.
2. 3. \far. ~

F. 1566 e). TTai~ (Arad). 0 muiere, vn. 1917.

Tempo gin 10, ) = 224 8, D@

D o
620. ~.. U~~~~~~~~~~~
100 i. Par - ce - d·c. Pel· • ru d'c ra
® 2) 3)- 4- 5)--...,.-,-

, Ra - iu mfuHIru lu - mi-nos!, Par-ee - d'c. Pet - ru d'c ra - i!!;

y.
2. 3. 4. S. Var.

F. IS6S b), TrAi~ (Arad), Letilia Leric, YD. 1917.

[ 102 ]
 B III. b)
8, D@

3) 4)

Dom-nu - lui Doom -lIe!,_ Sa- mj a-duc'un I'el!_ I'e- - ga - !!!.,_

--.../
2. r. Vat.

H3j
F. IOS9 b). u~oa;:a (Hunedioara). lancu He"eg (19). elc .. XlI. 1913.

Tempo ~iu.to, .J>~ 1 60 8, D0

1)-- 2) 3- 4) 5)

d-. - ce - ~rea Cur - \iu. "Dom - nu - lui,

2)--

Dom- nu -lui Doam-~e ) D-a - $e naI- 1'. ~i 'n-fo - la - t'e.

--....,,-
2. r. 3. Var.

F. 920 c). Ci3rb31 (Hunedioara). Vasile Cosla (SO), [osif Costa (42). XlT. 1913.

11 mpo giu~to 8, D0
62 ,
·1 g. De- clnd mi - rei li- ai pie - ca - I!!, "Dom-nu - lui.
2

~m - nu - lui Doamlle !, lar mi - rei du pil _ v:i na - 11!..

r.
Riu de mori (Hunedioara). N. lub3$ (prool). xn. 1913.

Tempo giustO, .J>- 152 8, D0

1)- D
62t,
.. :z8h. Plea - c;1 Lin - III , Da (- I'eo - na
2.- 2

fa - - til dal - b3 !, Plea - ea Lin - Iii Ia ran - ta - nil

--r.~--------~
2. 3.

F. 1336 a). Mice$li (Mure$-1\lfda). Floarea COtele$ (19), elc.. IV. 1914. Z.

[ 103 ]
 103g. De c8nd DoIlHlU s'o na - scu - ty, ,-FIo-ri - I'e-s daI -
'V
be!,;
r.
2. 3.

F. 1224 c). lUpa de SUs (Mure$-Turda), Susana Bilta. ligand! (45), IV. 1914.

[81,5,8, D@

(ISO.) ,-FIo- ri - I'e-s dal be!_ Co-Io'njo-sul. mai_d'in jo - Sl!.

.....r.
2.4.6. 15. 7. Var.

M. F. 1454 h). ~t"'san (Alba de jos). fecion. I. 1911.

[8],5,8, D@
Tempo giusto, ) - 232 4

62x,·~~j§§~~~~~~~~~~~~~
69a. Dom-nu - lui....,.. Down-lie!, Noi umblam sa co - lin - d4 - mu,
r.
M. F. 8450), Siinmic1!u$ul mane (forontal), feciori, 1. 1910.

[81,5,8, D@

53 c. , Flo - ri - Ie daI be',.... Si mer-gem a co - - rin - da - Ie

'V'
r.
Socodor (Arad). un rccior. vn. 1917.

[825,8,1)@
Tempo giusto, ) - 216 fA\
I) ~ 2) 3) 4-

62z.
a. , Flo - ri - le-s daI - be!,--Scula\i. boi.ri, nu dur · ~i· ti.
Y
~14. Ivar. ~
2.3.
I! fi pi Ft9 1I; 1 F4 jl 121 J[ 3!+4!
I
Ii! 'i'l[
M. F. 1482 b). FcnC$ (Alba dejos). r.ciori, T. 1911.

[ 104 ]
 B III, b)
8, 5, 8, 5 i) ® <I

I h. O'e-cind mi - riel ~i-o pI'e ca - fl!., ~Flo - ri - re-s

v-
6)~ 2)- 1) 8 ) -
r.

<lal be! =r Tot rni-riel du pA _ vi - - na - fl!., "Ao- ri -- le-s dal - be! ,

Y.
2. 3.

F. 9930), Gradi$te (Hunedioara), Mihai Coriu I. (13), Valer Moi$oni n. (IS), xn. 191).

Tempo giu~lo, ; =80 8, 5, 8,5 D®Q

1---

62bb.~~~~~~~~~~~~~
Scu-1au. scu-Ia\i bo- ieri rna - ril!. ,Flo- ri - I'ey.
3) ~ 5)-

daJ be!, ~u-laU. scu-la\i bo ieri rna - riu, ,F1o- ri I'c

,
....
daJ - be! ,
r.
2.

F. 1356 b}, Cunecap (Murq-Thrda), Ana Bunitan, etc., TV. 1914. Z.

Tempo giu 10, ;=104

8,5,8, D®
I) D
62cc.
34e. Noa - tJ., noa - tJ. bo - u su ry,

cw. 3) 4~ 5) 6)
4~b ~ r
"Flo - ri
~
le-s
IF) rJ ?1l1 e r
daJ - be!r-- Noa·tJ., noa- III
if r I(---- -.b J I J ;)ij II
bo- -u su rl!
'V
r.
2. 3.

F. 1329 b), ierqleu (MurC$.Thrda), Anica Neagoi (11), .Ie., tv. 1914. Z.

F J33S a). M'lCC$ti (MuI'C$·Thrda). Alexandra MoIdovean 04~ [000 Pap (3R), IV. 1914, Z.

[ 105 ]
 B III. b)
Tempo giu 10, A 168 0 8, 5, 8, 5, D@X!
62dd. ~~~~§i~~I~~~~~~~~~li~~~2~~3~~~~
.-
64 a.
~~
Ciu-curi ver - d'e d'e _ rna - ta - a; ,Dom-nu - lui
@ ( 4 ) ---S- --"""'Y."

Doam - lie!, Ciu-curi verd'e d'e _ _ rna - ta - sa ; ,Domnu - lui_ Doam-~e!1

y.
2. v.u-.

M. F. 1684 b), Seceani (Timi$), 0 muiere, ITT. 1912.

Oi Dom- nu - lui Doam-ne OJ Dom - nu - luj Doam - no

Ocnta (Timi$). un ligan (23). xn. 1912 .·

Temso giu to )~208 -(ace. 3. <I .) - 224 8,5,8,5, D@@

i)
62ee. 4" i75.
J!jJ J J J II! 4 ) JJ Ii
§. Sli-mitrii.e~ti, dom - nu1, _ eu
J J I) I.
bi ~e , ,~Do_m_-_nu_
i?}1
_ I....:
ui:......v""

@ @ r.

bi - re,_ , Domnu - lui Doam-~ell

y.

II) II II}IJIIIJIJ
2. 3. Var. II
M. F. 1n3 b). Tolvadia (Toronlal). 2 liganee (25). Xl . 1912.

8,5, 8,5, vijJ@6'n

Tempo ~usto,
1) 2)- 3)
J~ 84 -(ace. 3. st .) - 90 vib
4) S} 6 - 7)
®
62ff.
141.· $u - lu - ro - rna ~ - val - do, "Flo - ri-Ie-s daJ - be !"
v-
r.
8)

$u tu-ro-ma ~ - val - '----'

do, _ _ , Flo - ri-le~ dal - be! 1
y.

ii~ 11Iafi)I"bl"'~ F'RllIIlIjl:i ptltJltP'B Iblt II

M. F. 1726 c), Igri$ (Torontal), 2 ligance (JO), xn. 1912 .

[ 106 ]
 B III. b)
8,5,8,5, DG)(l
Tempo giustO
J) D 2) 3) 4)

62gg.
60d. Scaa-Ia, gaz - da, nu _ _ dur - mi ~. , Dom-nu lui
V"
r.
~ 6) Q 7)

Doom - lie!, Scoa-lli, gaz- dll , nu _ dur - mi -!E.> pomnu - lui Doam· rle! ,
v
r.
Va,.

2.

Va,. Ton. fin.

F. 1591 b). 0 fall.

8, 6, 8, 6, D@)<J
I'arlando, )~ 122 -(ace. 2. 1.). 140 D 5)--
~
1)-- 2)- 3)- 4)--

62hh·~D~~~~~~~~~~~
83g. Co - bo- rit-a~ _ Dom - nul_ Sfanl, ,Hai

6)-7
8)@) 9-- 10)

Ie - ru-mi Doam - lie. hail, Dom-nuL Sflnt _ p'a-

=----W..,...lr.
11) - - 12)--

, Hai Ie - - ru-mi Doam - lie, hail J

V"
r.

2.

Va,.

Sfin - IU
-min - IU

M. F. m3 a). [g'il (To,ontal), un Om (3~. XI. 1912.

[ 107 ]
 B III. b)
8.8.8.5.~
Tempo ~iu.IO. ) = 144 J{
62ii. ~~~mm~~~~~ 69b. Ciu • curi ver· d'e d. mii . ta • &!;
(sic/)

\ Dom • lUI • lui. _ _ Dom· nu Iui_ Doamlle L, qu· curi vcr - d'e
Cr. Q 4)

de _ _ _ mii • ta . 54;
~
,,,,O:....:....;.
o m;....•....;n.;.:.
u_--;;Iui- Doom - /Ie! I

{r.
2. J 3.

~
M. F. 1672 b). M3n~tiur (Timi~), Lina Trandafir. liganc1. ITT. 1912.

, Oom. nu lui_ Dom . nu • lui Ooam~e!1 Ai· sta.;, gaz - <Ii

'V'
Lr.
G
4·hl. II r eel _ _ mal
~ ;) Ii ~
bu
~
---==--J I J
n,:!, _ _ ,Dom.nu
~ )
lui
I~
Doam
~
i\ej
II
yo
2.r.

~i JJ ,UJ FI FJIlI tl71 eAJ £lUll!! H G/)!ti_F;!21 71 J]J}J I ...,.r _

M. F. 1726 d). 18ri$ (Torontal). 2 ligance (30). Xl. 1912 .

M. F. 1727 a). cuv. S3 h.

'1
= 192:
Ton. fin. Var
lui'J]J9 11I41flJ? 11i41J J J J

[ 108 ]
 B III. b)
8,5,8,#v])CD
Trmpo giusto. ).96-(3cc.)-106
1[\)

63.
87n. A - la·i sa - ra
CD v
lui, Crn - ciu • nj!, -----
Doomn',

'----""
Doamn', si-a nos'Dnamn'! , A lui Crn-<=jun eel ba -Iran.
r.
M. F.llSJ C), Micol. ( olnoc·Dobaca), un om, XI. 1910. cr. No. lOt.

Trmpo giu to, J 106-(acc. 4.•1.)-116

r
8,5,8, [X'D
64a.
dam- pu rna - la • iu - lu • i,

. hoi p" dam - pu rna la - iu - lu -

2.3. 4.
II ~
IVar.
: 21 ~
F. IS77b), Savarlin (Arad), Lin. Adam. VII. 1917.

Tl'mpo giustO, J, 90-(acc.3. 51.) ·106

8,5,8, VJJ)
v
64h.
.. @ l26.Hai cu to ·\ii sa 5u i-m!!,. ~Hoi I'cr,
0--- 2) 3) r.

flori de miir!, _ _ _ Hai cu to - Iii sa 5U im

2. 3
"lp Im~ I"
F. 1071 c), Ghelar. (Hunedioara), Maria I..asculoni Zric (22), xn. 19\3.

Tempo gillJ!to, J.so 8,7,8, 3)@

I
64e.
1040. Dum-ne - lell d'e la'n -Co • pu - tJ!, Oom - nu - 'lui
3 r.

si-a nos' Dam· nu ! " Dum - r'Ie - zey d'c la'n - co • put
Var.

.~
M .F. )973 a), Tilrna mare (Sllmor), reciori, 1.1912 .

[ 109]
 B III. b)
Tempo giuslO,J.84-{acc.5.St.). IOO 3' 8,7, 1, 3XD
d ~- V ~ 0
64d.~~~~~.~~~ 92d. Noi.d-umblim d'e co· rin.da.ml!, Dam· nu ·Iui Ji·a nos' Oom· nu! ,
r.
I.(var.) Vat.

M.F. 1978 b), nrna marc (SAlmar), reciori, I. 1912.

Tempo giU810 8.7,8,00

1) - --

64e.
84s. Co • lo'n jos mai din jo Oom -ni lor
~i s!!.'
....--
3 1 ) -- - r.

~i-a nos' Doamn ! Co -Io'n jos ~i mai din jos

I
1

"
Var.
II F 6
Chinei$ (Mures Turda), Ale.andru MAris (38), IV. 1914.

8,7, 8
T('mpo gill to, J.82
D
64f,
.. gri can • la • ra, Oom - lIi·lor

2) - - . , - - -

Zori de zi ra v.ir sa· rll .

2.3 .
I! rF"'·.vpl
4
EP 0 I
F.llSl e), Or$ova (Mures - Turda), Maria laiC! (22l. IV. 1914.

120b. A - 51<1-1 sa • ra de Crll-ciu - n!, flori dol·be~d'e rna· r! !"

r.
"r
Vor. IMuier;:
I" F I" J ,21 G I 4 )11..)11 41 F ~~ ~ ; ;
-be de mAr
F. 1241 c), Liblnie$d (Mure! - Turda) , Toader Moldovean, ligan (SO),IV. 1914.

[ 110 ]
 B III. b)
8,5,8,0CD
Tempo giu~lo, ~'J36
2.sl. I) 2) - - - 3) - - 4) '0
65,
~
35a. Cu scan-durl dal be d'e bra d!!..
5) CD 6) - 7) - - - 8)-Y-

~
• Dnm-nu-Iui Doam-/le !, Dar in pal ci - I\e- cui ca - ty.?

I
r.
I.' Var.
'I) 11II(3)!!")
!:!sL
F.9220). iarbal (Hunedi""ra). VaSIle Co 13 OO).lsif CO<l.(42). XII.191J.

Tempo gilL_to, moderato

84a. La ce pia Ira ra - za rna - lao

J
Dom-nu - lui Onam - no! J Mai-ca ran - ta-i ra - za - mat'
v
r.
Mical.co (Arad),un fecior. VII. 1917.

8,5.8.~
Tl'mpo giusto, ~.78 I) ---==---
~
2)--

109. Co - 10'n sus la moo .. t'e'n SU .. S,!!,

@ 3)--

Hai I'e - rui Doam-lIe! J Co-Io'n sus I. mun - t'e'n u - s.l!,

v
r.

~t .. 11" J
F. 1341 cJ. Bal3 (Murt$ - Turda), Solonica Marian.elc . , IV. 1914,Z

[ 111 ]
 B III. b)
8+8.8,8,V}P@
T mpo giUllto, J.92-(acc .2.sl.)-IOO
2 - - - - - -- 3) - - 4) - -

10 e. Hal Co - lo'n sus la cer bun Ie - fe ,

5) - 3)- 6) v

Co- In'n su 18 Cer - bun Ie - I'e sanl no -II" lur

4 7)

me d'e \/01, Sam no \Iii lur me d'e \/ni

2. I pi
r g'
Var.
I II II ;}!
• ~ I"
i!1=§ 1416 1
12r
F . 1234 b). Idicel (Mure$' Turd.). Dumilru Moldov•• n (19). IV. 1914 . cr. 05. 50,51.

8,5.8
Tempo giusto, J'108 I) _ 1

67a. ~~~~~~~~~~~
105j. Bu - nii zi lui Cra - ciu
CD
Dom . nu -lui Doam- no I, Lui Cra - ciun ce . lu[ b<i - Iran!
v
r.
2.3.4.
II J
M. F. 1450 a). Bistra IT\lrda'Arie~) , un om . XII. 1910.

I'
8.5,8, DCD
Ii F-
Tempo giu~to, J:S8 i)
67h. 41 U105j. Bu . ml
(ff'
zi
G
lIa lui
I)
z

a Cra -
I pS;J -==- )' I
c.lu - n\!.,
J

...:f);..;o""m:.:--'-n:.::u_-....;~i Doam- ne I, Lui Cra· cjun ce - lui ba • Iran !

r.
2
.1 r ~O
cu In .•• r
M. F. 911 b) . Bistra (Turda Arie$). un om·. 111.1910.

[ 112 ]
 B III. c)
8.6.6,@@ Q)(2
Tempo giusto, ).I40.(acc. J. '1.).152
I.st. ) @
68.
41b. Co • 10 sus la rll . sa ri . tY"

m~.~nu~.~lu~i__~Do~am~'~~~~__~
~,l~ai~n~o~ la~l~D~o~
m~.~nu~.~lu~i~~Doo~m~-~ne~~
r.
2.51.

e - st'~ -un mar ma re'n . no ri . I!!" lai. Dom-

~n~u~-~lu~i____-=
D~o~am~.~n~e'~vr__~~~i~~D~o~m~_.~n~u~·~lu~i__~D~M~rrH~l~e~

I
r.

l . '2.,rna : ~
II g~
M .F.I72Sa), Igri$ (ToronlaJ),unom, XI,1912.

B III. d)
8,6,8, Vj)@)
T('mpo giusto, ).62.(acco4 .>1.).74 q)
1)-- 2)-J---
•
69.
USb. Pin ru • ge - Ce, pin fa . ge t'e,

3)
®4) 5) 6)

,Dai co· lin· de - li Doamn' !, Pin ru· ge • I'e, pin fa - ge - ~e

v
r.
13.
2.
61) , i l n pi 0"14. e 51 P'd)! 4! J. J ¥
Ivar.

Doam-lle
u

M.F. 1231 d), Idicel (Mure$ ·Turda), Dumilru Moldo.ean (19), IV. 1914.

[ 113 ]
 B III. d)
e)
8,6,8,v"!PCD
Parlando. • 67
J) - - v!Y
70.
65c. Cin' i-a - co du - p3 rna sa,
2)- CD
Hoi. dai Ie rui Doarn - ~~o !, Du- pi! rna - Sa ci - ne

2.

F.1325b), NiereSleu (Mures - Turd'),earol Malu, ligan. IV.1914,Z .

B III. e)
Tempo giu.to.)· 168
8,6,11, V@)
1)-
1

7la.
102a . sfin - Ii - 10 - ru-li", •Co - rin -d'e ,
"..-
lr_
2)

_ d'e I, Sfin -Iii rn~ei. ~i dra-gilmiie-i-!i! Co-r~n-d'e! I

U
2.
21 t
F.1I92b). rvi,(Bihor), IIi. Bula Mandrii (SO), Ion Dobl. Burd.(SO),n.1914 .

8,7, II, iXD

T .. mpo giu.to. ).152 -(3"".4 .• t.)-162 ~
11 - --""2)-

7lb.
83 d . Po - go - ril - 0, po - go - ri I!!..: ,~C~o_-~r~in~-=
de~~~I~'- v---
r.
I)

co-rin - de !, - - Durn-ne-ze~ pa aSI pa-man-I!'.... Co - rin-de !

'--v--"'
Var.
r.

II J J J pi ~
M. F. SSS b), C~mp (Bihor) oameni, n. 1910.

[ 114 ]
 B III. e)
8.7,8, v])@
Parl.ndo, ) . 112

7lc.
051.) Nil scut -od - un domn ta - na - 'y, rin . dc,

3
"

co 'in - de - Ie !, Din cu'1i. bu - n~ -a dom - nii buni

--v
'.

M. F. 722 c), Budureasa (llihor), reciori , vm. 1909.

8,7,8, x!D@)

v!Y
Parlando, )'176 -(accA.st.) -188
\}- 2) - J) - 4) - 5)- 6)-t

7ld.
87j. D-um - bhi-li Doam-ne ci ne d-um -bli!?
7) .' '@)
8) 9) - -

lL...- J ----.J
Co - ,in - d'e, co ,in de Ii !,
~--------~------~-.-------------------~
r.
10)- II) 12)-- IJ) 14) - - - -

Mai - ca Sffint'

2. 3.

Var. 13)+ 14) (v)

.ran .1:\
M.F. 1998 b). Gro~i (lliho,), losir Mu~i.ligan(2S).O.1912.

[ 115 ]
 B III. e)

ParlaDdo, ) . 184
8,7,8, .»0
I)
I) I.}) ~
71e.
- d-um - blii - sa - i, Doam - d-um - bfa,
o
87.1. Pre ~e.

2)

.C 0 - r in - d'e .. m~~_c,,-,o,-----'.r.c:.io,--...cd:..;'e;.....!., Cil <1-0 mai'cil-i dup'uo fill

r.

r
2.
II ~6 pi
MF.1951 c), COliclel,(Bihor), o.meni, XII. 1911.

8,8,12, DQ)
Parlando, ) . 144
1)-- D
7lf,
lOOe.Co - 10 sus Co 10 mai. su - sui, ,Co - rin -d'e I'e,
v--
.--1--, G) Ir.

us in poar-ta fa - iu -Iu - i, . cO-fin-~e - I'e!;

2r.

F.1I75 c), Soirni (BihOf), ron Mal (45),11.1914.

8.7,8, D0
Pa rl ando, ) . 150 -(acc.l.s!.) -156
1) - -
D
2)-

71g.

o
96a. Pl1 su'd - urn - bra cie - riu - lu - i. Co

3) - - - - 4)--- 5 ) -- -

co - rin - d'e - I'e! ~ Sus in poar-ta ra - i.u - lui.

--V
r.

~i. , y Fi [i 1"))
- e,__
,fiF97iplfJ I
i-li
p . 1192 c), Urvi$ (Bihar), llie Bul. a Mindrii (SO), Ion Dubl. Burda (SO), n.1914. cr. Nos.l,IOS.

[ 116 ]
 BIll. f)
Par/audo, ) , 132
I) 2)-- 3)4)--

72.
34c. Ai pe rlit in

2)- 6) ---.--~~-------
(n) ,-:--J-,

Co·lo'n jos pe rat in jo • 5.!!. .1!. --,C:.:u=--_:.:nu-n::.:.;::~ d~·a

r.

:i)I'!I~ I'ml 41 fj l!tseI AJ, 6l 'I g)i

F. 1561 b),ChibulcUIUI d. campi. (Cluj), Zacari. Chisa 00). vm . 1916.

8,8,6, ~Q)
Parlaudn, ). 200
t) 2) 3)
D
4)

73a.
IIOb. Rii sa . ri t¥~ soa • re lu i,
5 ) - - : , , - - - - --
6)- 1)-0) 8)--

Ra·zd . mul pi man· lU lu i, _Co-rin·d'e mi Doamn'!,

2. r.

........ __ .. , ..
sfin • Ii · . i
1. ~J--. .... __ .. -" ..

sran • la • i
' ... _- "'"
M.F. 1900 a), SambA$ag (Bihor),unom, XlI.19U .

91b.Hai ~i zi . cern d-o co rin dii !

3

Da co·rin d~ -------·--"1 ca· 'I,' Om zi · ce! Co·rin·d'e mi Doamn' !,

r,

~
M.F. 1950 c), Cnliclel (Bihnr) , un om, Xn . 1911.

[ 117 ]
 B III. t)
LSI.), 204-(ncc.3. sl.)-216
1

llOa.Co - Io-i jos, co Io-j p - s!!.,

3)-

4 & Ir r
2)

r sil J I~O Ij J J J
d - urn - bra- i ce - riu lu - i, Co-rin-d'e rni
v
r.

I"-2 I
ma - rL....:.j - tea - z' - i
M.F. 19S4 b).al,i.

8,8,6, ~G)
Parlando, ) . 168 :;'\
1) - - - -- 2)-3)- 4 ) -- V
73c. ~~~g$*~~~~~~~
'08e . Crc - scut - 0, ra sa rit o - de
"'-
5)--- 6) - - - - - Q) 1)- 1)-

Do-us StC - Ic' lu mi .. noa - se, ,Co- rin-d'c - mi Doamn'! ,

en F sJI" #2> i
'V
r.
2. " "
~

Ii
F. 1I74 d), Snimi (Bihor), Ion 01 (45), 0 . 1914.

~ n r 1 bIW'r F pdQ J IP')' i

2'
Urvi$ (Bihnr), IIi. Bula • Mondrii (SO), Ion Dobl. Burda (SO), 0.1914.; cuv. 97 •. , IOOf.

8,8,6, ~@)
Tl"mpn giu8Io

73d.
91c .•I08f. Jc - ~it - 0, Doam - ne,. ie - ~i I!!, Va - oa -tori

d-. - lui Pi - I. - l!l, Co - rin - de - mi Doamn'!"

v
Urvi$ (Bihar), (on Vese (78), n. 1914. r.

[ 118 ]
 B III. i)
8,8,6, ~0
Temp<> giueto. ) . 208
1)- 2 ) -- - ~ 3) 4 ) -

73e.
97c. Cre-scut-o, s3 - r; tll - ~o - - D-un gal-bil..:J1
S) 6) 7) 8) 2

dil _ _ __ lu - cea - fll Doamn,1 ....

r =--
M.F. 1923 b), DrAge$ti (Bihor). oameni . XU .1911.

88 ,6, DG)
Tempo j!iuAto. J. 116
D
73f.
84p. Co' - 10 us pil _ _ -=- du - pa lu - nii ,

n- - - G)

Co- 10 sus du - pi! lu - nil. ,Co-rin-de m; Doamn'!/

v
r.
Vat.

M.F. 6778), Delan (JIihor),2 rete 06 -17), vn. 1909.

8.8,6, 5)0)
Tempo giU.lO, J, 132 -(acc. l.st .) -144 D
t I) 2) J) - - - 4) - -

73g.
38b. !e~i, Iu - oa pan' a - fa (ii ,

5) 6) 7) CD
Iu - 03 - ne, pan' a - fa· ra, ,Co' rin -d'e m~ Doamn ' ~
v
r.

M.F. 1978 c), Tarn. mar. (Satmar), reciori,1.1912.

[ 119 ]
 B III. f)
8,8,6, 2)®
Tempo giueto, J. 126 ~

eo I §
n

.. 4~ I U
~ 2) J) 4)-

73h.' F I : ~
~ =~~-l '''8'1' I r-- It
1:=: ~ 1a~~
lOOd . Scris-{) Dom nal , c~ - O maio seri - Sl!?
5) 6) ---:@::;:2
,-- 7) - -

Scri<-{) mea - sA ~i _ sea - u - ne . ,Co-rin~.I'e mi Doamn·!....

v

VIY I" br @ I"

M. F. 1936 a), TiI.$ad (J3ihor).o muiere. xn. 1911.
m It. E.IlI" a II~ l;'ill ,
8,8,6 #~@
Parlando, ) . 204 -(acc.4.sL) - 240
1)- 2) - 3:----.... #~

finli 13 Dum ne

a I SF' === Ij :J 3 J II J
Lr.
~
4~# b
4) 5) 6) - 6) - acc ..•..•• -.
r Ir
Sfint;ila Dum -lie
Ii 2('
- ze - ui, ~ ,ClH'in-d'e miv Doamn t !. . .
II
I... 2.r.

~AII£15If (:~Pia IIIFf?plf (iWI~-Al6iJir

M.F. 201S aJ. Bulz (J3ihor), un Om bitran. n. 1912 .
It 1£I!W P'1I1 1

Tempo giullo. J. 134

8,8,6 <D@
1)- 2) - 3) 4)
73j.
64 a . Ciu - curi vcr - d'e d'e la - s~,

~3 5) - 6) - -
4) t

Ciu-curi vcr d'e _ _ d'e ma - 13 - d; ,Co-rin-de mi-~i Doam-iie!....

V

Ivar.. Ivar. r,
~41 ~a ~ I, F 1"
b ~
illl;1 f i J=I
Doamn'
M.F. 1727 <I). IJI'i$ (Toronlol), 2 muieri(30), XI. 1912 .

[ 120 ]
 B III. f)
8.8,6. ~})@
Tempo giUII10. J. 110 ~})
1)- (~ 2)-3)-4)--

638 . ~i ne la - s4, gaz - da, 'n cA - sa. ~i ne la-

6)
@
5) 7) ) 9) 10)

54, gaz - dA. -n ca - 54 1

M.F. 2013 a). BlIlz (Bihor), un om !>tlmn", D. I9\2.

73 1.
102e,Co-lo sus, co lo _ _ mai. su - s~
@
5)- 6) -
("

Sus in dal - bu rA - 54 - ri - I!!., ,Co-rin-d'e mi Doamn'!,

r.

I"F ;141 0 ItlWJ Ilflpl

M,F. 1948.), ('nlicl.t (Bihor), oameni. XIl. 1911.

8,8.6, ~CD
4@)
Tempo giu81o.
I)
D
2)
II

73m.
..84I..,92g.Creseul - 0 ~i mi r3 - sA ril o.

3)-- 4) -
CD
5) 6)
"

Cre-seut-o ~i - mi rA - s4 ril • 0, • Co - rin-de mi Doamn" /

v
Dumbrsvi,. d. codru <Bihor). osmeni. n . 1914. r.

BeiU$ (Bihor).un fecior, CUY. 84 p.

[ 121 ]
 8 III. I)
8,8,6, 3)0)
Tempo ~iU810, ~. 116
1 ) - - - =- - 2)-~"'---
73n.
553. Hoi scoa - Ie t'e, hoi ~om bu - n!!.,

3) -J - 4) - - - -

~i vezi sfinli a lui Cn! - ciu . nu, .. 0 Hri-SlOS ii Domn!...

v~------­

I
r.

13.
~
II r F I" F 9il r oJ"1 2 I"
2.
43 Ivaf.
4lQIJ
F. 11990), C~besli (Bihar), Bulo MaisH Bornic. (47), O. 1914.

8,8,6, ~@)
Parlaodo. ).168 {)
Il-
J --

730.
." l28b. ! La fiir-~i - lu _ _ __ lu mi ji 1$. - - -
3) - - 4l..--;;, 4

La snir - ~i - lu 1 lu - mi ji - -Ie~ Doamn'~

F. 1345 c), Bala (Murel - Turd.), Solomca Mari. n (2 I),eto " IV. 1914, Z.

Parl.odo, ).148 8,8,9, i)@)

I) --r---------
73p.
!Zl.,l02d.Lu - a _ _ S, mal ca, _ _ du

..--:::: 3

pa _ _
ce C~ d-0 mai - cil, _ _ !!!! 1i du
a tf'mpo
4

fi u, _ _ ... Co-rin-d'e-mi Doom

Mai-ca stan - 13 _ _ ..!!!!, Mal-ca Sf1In - lA, _ _ !!!! . rin • d'~

M.F. 2000 b), Luncsoara (Bihor), Toader Muzoc,etc., II. 1912 .

[ 122 ]
 B III. f)
8,8,9, ~CD
Tempo giusto, J. IIO(acc.2.• L) - 116
1) - - - J

Ciu -curi vier d'e _ __ de rna

( sic!)

3 ) --

ta - sA, _ _ _ qu - curi vier - d'e de

A: _ _ , Co-rin - d'e mi-~i Doam . ne._co rin - dIe !. . .

'V~~------~
r.

ri rill C-)I if @
M.F. 1839 d), Coanad (foronta!), lula Tand. liganca. 11.1913.
1]) r-=;JI

8,8,10, .1)@
Tempo giusto, J• 112
1)--2) - - 3)- 4) - - - - - . } ) - -
J

o rl - sa ri . tJL

t2TJ
5) J

~~IO
t
13
--
J II
RA -sA - rit 0, _ _ __
r4 - 54 ri t~ __

7)-

4~" JjJ J J......>IJ I J) 'f £ II

,Co - rin - d'c mi- Ii Doamn', bun co rin d'e !~
v--~~--~--~~
r.

tDClBt31+ IF 141 f'@II/]LJ rig IS) Imu t1 151 EJ) i

F . I564~), Trloa$ (Mad), usana Hord 08), Vn.1917.

[ 123 ]
 B III. f)
8, .i)@
Tempo giusto, J, 132
1) - -
~
2)- .1)
73t.
84k . A A-udzj gaz cIi, lIor n'a - u - dzi,
4) @
IF F IPV
A-udzj gaz - dli, I/or n'a - u - dzi TOB - eli'n eer ~i

4~ ;J
sluj - ba ' n
I @ ; I qg J I J I J J I Jl ¥
ra i. sluj - ba'rl raj?
Toa - eli 'n Cer
• I
2. =- ~ Ivar.
n ~ 121 if II ~ 141 ltr
F . 1260b). Or~ova (Mure$ - Turda). MAria Llle$ (22), IV. 1914 .

8, <D®
Tempo giusto, J . 144

1!4 o . Co - 10 sus la Ru - sa - Ii - ne , Co -10 sus

4

la Ru - sa - Ii - ne, ,Co-rin-dam , Doam - ne, co - rin - dam !;

v
M.F. 83 1 b), Siinmtcllu$ul mare (Toronlal), un om, 1.1910 . r.

8 .1)®
! ! Tempo giuSlo~ J ' 81 ~ P I).~
73v. ~,~,~51~'i2i:~D~~t'F~I§E~~~1r5F§S~)I~r~sJ$j(~S~)I
.. 79b. Co - 10 Sus ~i _ _ mai in _ _ su - s~

4~ 0
2) - - 3 ) - -- - 4) - -

Co - 10
(57; I JGJ1)
sus ~i ____
I~
mal
err
--= 9~~
F\ II ~
in _ _ _ su

)lIe) j I; 1 I
,Di - mi - nea !a lui CrA - eiu nu !..." .
~-------~~-~~
r.

- clun
F . 1072 c). Ghelar lHunedioara) . Mlna LAsculoni Zric(22) . Xn.19IJ.

[ 124 ]
 Parlando, ) . 116

56. DomJitu,domnrun, sal! nu dor - mi, Dorml ru,domnbun,_

4~Iz PFr=-A @~ ~I Ji3 ) J~)ll phr

sa", _ n u _ dor
I
- mi ?-Ji-a nost'Domnu- i - Dum - ne
IJ
ZCII!...
~ I
-v
M.F.9I1a), Bislr. (Turda-Arie~),un om o,Xn.1910. r.

8,.})@
Tempo giusto, J, 88

I r r
116. . TAt am, Doam - ne,

zi ,. t!!, Tit am, Doam

I 4JJ±StJ lOr
- iie, _ _ _ _ d~a - u -

@
45~~ r D
3) 4) 5) 6) 7)- 8)

I ~ "'~~
! I tQ!j I ~ EJ J l I
zi t.!!J CA ftau nl - SCUI xi - ul sfiinl.

M.F. 1979 a). TOrRa marc (51lma,), reciort, 1.1912.

[ 125 ]
 B Ill. f)
8, ~IJ)

73z.
1I6 b. Ai Tat am, Doam - ne, - d'-a u

~
lao oar laol
3) 4) 5) 6) 7) - - 8) - --

I r SYP'421J I J !
zi CII ~i-o na scut Xi - ul _ _

10)- - 11) - - - -

sfin . 1!L. - Noi nu_~t'im - d'~·un . d'~·o na scut .

l'A
!J I tf Iii if}~
1 r"iB 1
r 0JIJiI1 i"F &1 tlbl tJ r iJ III! e±:::!@1 e?li5 I
Q 3.

_'1
II Ii lii

,ibl"!tJlltlJl lil Q Qluiill1hsa 1

M.F. 2047 b). Tun (Sllmar) , o ligancl. IV. 1912.
111 j l~a:4IEJ r I

Tempo giusto, J, 88

4... 5~ i
---==----
f7!! g=-sob I
I) 2) - - 3)

73aa. J J llF re=.s} I

124 . COL a . co 10, ce - i_ve -

@ ~-----------
4 Gn r"1J D I Q
d'e -!!. Cot a - co
kE§i% I J;:::::# I 4..... ) Jj,J I J !
- 10, - - ce - i ve - d'e .
II

M. F. 1991 b). Comliu,. (lillmar).o mUler•• 1.1912.

[ 126 ]
 B III. f)
8, ~@
Tempo giusto, ;. 1.3.51.112.2. '1.132
1)-- 2) - - 3) - -- ~-5)--

73bb.·'~~~~e~~"~~~~~~
Iru d - in

10)
s~O:l
ra - il!.. - ,Ra - iu mi.n dru -
v~--~-~~~
lu - mi no - u '/
r.
3)--- 11)5) - - 12J ----'.t.

Prim-blli'n sus ~i prim - blli'n jo - s!!., _ _

utG I" It I'L 151 r 1"1 fSG I" (] llil r

2.• b .::::::::Ft
1"911 Ii, I
3.
"2'·1'1 ~U II!! re ld !!! Ij II" FJ
.. I Y

F.IOSOcl, UC$Oara (Huned,oara).lancu Her,egQ9).elc. xn . 1913.

8, DCD
Tempo giusto, ;, 77-(ac<.2.51.)-80 I) --=--
73cc,:)!·4~i ~ IU C·bl Q I F £bl
U2e. HaL La 0 pela - IrA _ _ ro slo

2) D 3)-===---

411 FCU J~ 'I I r) ~r IlIrClfflI ditr J

va - tA, La 0 pc!a Ir3 _ __ ro SiD

4 'Fs CD 4)

l ),.
~e - d'e mal - ca _ _ _ su - pa - rat'.
51 II

[ 127 ]
 B III. f)
8, Dill
Tempo giu8to, J . 90 -(ace.ht.) - 96

73dd. 4 4~ i iii rJ F
1)
I Em I (---.b r
1120. Clnd Hri - ci na la

r
SIOS
2) - --

I0 4 ;) Ig J. t! Ii
rna - sa, Cand Hri - SIOS ci na _ _ la

3) ~--
rna - sa, _ _ , Sa - ra-l rna - rea - - lui Cr§ ciun !/

I r 3# I" I J
y~~~~----~~

r.

r I" J , 1.1 r siP

2. b 3. iJ
II II
M.F. 1455 aJ. Petro,an (Alba de jos). copii. 1.1911.

8, DCD
J. 84 D
Jd II r?~r?~1 r s~r
Tempo giusto,

:)j • 4i AU n
I)

73ee.· IH J. II
U2 p. Sa - ra ma rea _ __ lui CrA - ciu - ny.!
CD
C&nd ci-na_Hri - stos _ \a rna - sa, Sa- rot rna - rca _ lui Cra - ciun ~
~"""----------.v

tr
2. .t.. r.

II F
M.F . 1473 al. Petro,an (Alba de josl . fcclon . 1. 1911.

Tempo giU8tO, D 8, DCD

73ff. 4W\, i. n JJ IF IF a 18 n In D I
CD
4~llfl J I J,=v ~ I D J I fJ D
...Co-rin-de-1
I J I J ~ ) IJ ~ II
Doarn - ne, co - rind~
v
ChlOCI$ (Mur., - Turda). AI.xandru Mln$ (38). IV. 1914. r.

[ 128 ]
 B III. f)

Tempo giU610, j'l56

8, DCD
D
73gg. :P~.
~J)
R tfJ Ii r~ I r~
== ~Jjv I 4~ ;j
28f. GrA ,i fi ' ea eli ' U

II
,L'er fi ,co • J'~o v~..::..d,..::..
o __ t"iJ.!t,!l_---:;0c:...e_ '~g"'_ri:...;..!....
' ---'-'
Ivar.- r.
2.
"fAIJ).!! J d 1ft to II r
~
J J IF' ,;~ 14_)·J
A ii~ . grl . GrA, i ,r; , ca _ _ cA II mal' Co
F . 976 0) Fer;$d (Hunedloora) . AI.XlI Miinna(SO). XII. 1911.

mai- d'in

I •
I J
Co ' lo'n jo su _ _ _ mai d'in
4)---=-

ne, haL
I
jo ,s,!!, '- at Ie, ru!. Doam - Ie ' ru!, Doamn'!....

=-- ~ y~
2.
1\ Ai I" rip Cr
t
141 ~ obi J r !)
F. 1225 c). Rap. de sus (Mur~ - Turda), Su ana Bala , O "gancA (45), IV. 1914 .

88,7,8,~
Tempo giu 10, ~ , 80

73ii.· t)! II- 4~ i n

l05n . Pre - urn ' bll
elF
'
~
J

[ 129 ]
 8 III. f)
8,8,7,8, .})®~

I r~tf I
/Ie I'e,
4) - -

liLDJ
Vin i~i do - J.l~ ran - du - i\e - I'e, _,0001 r1i lor
v-
.3 r.
6

~i -a nos' Doomn'! , To - l~i vin la _ _ noi pre ci - n~,

F.1260 n). Or$ova(Mure$ - Turda). M~rJa Lale$ (22). IV. 1914.

8, D®((3
D
4~h mIu F I€11 fl@1 {MJ @'1 rJ I
Parlando, ) . 144
o 2) - -
3)
4)-

73kk. " d-
Sl 65b. .6._ Susin poar-La_ r; -
cD
iU lu . U!.,-- .6.

4'1.
Sus
~ou It l)lit)lF la
in poar - ta ra - iY. - lu -
¥t u,
IE} 1,9J~Y I
,Dom - nu • lui, v-

4g' F' Dam • nu·lui.

~ n
tg; If IuD I g; I it2?J1jj J I I ~ II
Doamn'~E·s~-oma s;1 _ _ d I . bl'n'. "
~

ij-JII'uA-12!~r~l!!flll4IYJlel!'r'''ldJq .611J ',I rfi;lJ.1

~ o.'IHn-1 -103-_ comdemas'

M.F.203Sa). Voiniceni(Murt$ -Turda),unfecIOf, IV.1912. 8, D®®

Parlando, ) ' 144 ~ D 1)-

7311·~~.4~~!u~r Ir=ICt-Jl(JOl l JII

11
65a. Sus in poar • La ra - iu - lu • ll!.. I

4 ~U bePI ~R5i ;'lfP, Fit ofSS) I J

51, J
! I Sus in;ar ~ ta~ ra - S) iY. - lu - tU , 6) ,Dom - nu-Iut

~f r jAr 1" Il'

Dom - nu - luj
'I IH
Doamn' !... La grl- d'j
r 11 €b
na
# I kfsJj I J.
Dom - nu - lut
,'I II
--v
2
Ii i
t
P I' * I ";1 141 r ill I IJ oP lit #
I
F.I34S b). Moi$8 (Mure, - Turda). Raflla RO$ca (J2),elc., TV. 1914,Z .

[ 130 ]
 B III. f)
Tempo giusto, J, 100 8,8,6+7,7, b})@@
b3
73rnrn.~~~~~~~~~~~~~~~~~~~~
134 . los in la ra ru . ma ilea sca,
~3

los in la . ra ru ma nea scil, '- e· gu·ra,

no - gu-ra, dAmbradobra ie-li- bra, Foa -ie vcr-d'c-a ie -de - nl !,

F. 1272 a). risiu de Sus (Mure$ -TUrd3).vasil.IUcIUOI).IV. 1914.
8,8,6 +7.7, (l <I>@
J - 104
4 ~~i)1 n
Tempo giusto,

73nn. F I;-Irq= r9§1; s;£JI

4Q) 5)- 6)-

Jos lola - ra ru ma - llea- sea, ile -gu-ra.

7) 8~ 9) ( v)

IJ.i.
di-brado-bra ie-lim-bra, Frun-zil ver-d'e ie -d'e ni!"

~4.· ~
O§~ 161 ~ IBI (43" f4G IMJgqa II! F lE "Jjbr
I."
St(! J3 I
1\ (5, JJP I't@· I" 4 J·I
F.1355 c}.Curtecap (Mure$ - Turd.), An. Burdean.etc .. IV,I914, Z,

m
T..mpogiu!to, J,94-(acc,3. t,)-120 8,8,6+7,7, ~~@@
I) 2) 3)- @ 4)
7300. tin (=-ft I IT IFF I l F f ,) I
134. los lola - ra rO - mii Ilea - sea,

n ,ar I r I(1fjf S$rma I fl" 6J

5) 7)
.~ & ,jjeO J
los la - ra ro - ilea - sea, Ie - lim-bra,
4 9)'

je - lim-bra, t i-bra dobra ie - lim-bra, Frunzil ver - d'e ie .. d'e - ra v

I
'V (J id)

2 b r, 13
1
II ', 4',) P'bI~JB'm p',-:;]J), i2dfJ!p''f>'II4I!II't~dlla~r lire
ie - der'
M.F, 2042 b), Voiniccni (Murc~ -Turd.), feciori, IV. 1912.

[ 131 ]
 B III. I)
8,@·

® 34b.Da Co - lo'n jo SU, mai d'in

3) - - 4)

jo s!!..' Co - 10'11 jo SUo rna! d'in jos

Ivar.
kll ~ I" r
2.
21 ~r 141
F .1267 c). Chincis (Mures· Turda). Rus.nda Chiorean 01). IV.1914 .

8,@
TI'mpo giU"lO, J, 124
l}---J-

73rr,~~~~~~~~~~~~~~~~~~~~~
79a . Co • lo'n jo su, din

2) 3)

jo d'c rna ta . sa.

fi C1 P' LJ I r \I'd Iti n Ui!1 ~ I" 21

F.IJ28 b). ,ere$'eu (Mure$ - Turda). Carol Malu ligan. IV. 1914 ,Z.

8,@
Tempo giusto, J,1Q4

sus pi _ _ __ liin • ga
2) u- - 3

lu • na, Sus. sus, sus pi _ _ lan . ga Iu . nil,

II ,tJlZlpJ'I II ~J 141
2.
42) I
F. 1233 d). Id,eel (Mures • Turda), Dumilru Moldovean (l9).IV. 1914.

[ 132 ]
 B III. g)
8.~~@
Tempo giusto, J ' 106
I.Sl. b~
74a. ~~~§~~~~~~~§§~
7a. Da ist ccr - ebU I ml-a tre • cu . tY..,

~ ~~ J J
Da ist
D J I J J D~ IJ J J J Ir J J
cer - bul mi-a Irc - eu - t.\!, Hat ler hop dai Ie - rui Doamn'!"
l II
'V,....---=---~
2.st. r.

u lre-cu • r~, cum s~ lrea·clI., Cu II· I'e ro - ~toli dom-ne - ~Il!!..

La - u - d! s's II - u - da - I!!., ,.....H_a.::..i--'.Ie'-.r--'..'-"-'-=-"'V Ie - ruL Doamn' !".

3051. r.

~i pre Toa-d'er I-a slri - ga - I!!" ~i pre Toa - d'er I-a slri - ga - I!!.:
.. t

-Ho ho ho ju p1I - lie Toa -d'cr! CI n'aieal lJun sl· mLa-jun -gi,

- ee vij - I'e d'c I'e - ga - tJ!., iet 0 - ga - ri

d'e IA - Ira - I!!.. Hai ler _hop dai Ie - rui DoanlO'!..

'--~
' -----'-~--'-~~----~~--'--~
F. \341 b)_ MOI~a (Mure$ - Turda). 011 LacaIO$.\lgan(S5).lV.1914, Z. r.

T empo gjl~;O.J'88 8/8+8,) ~~@

PJ. b~
4•~s, I n Pp).eJl II ~£&J 4)3 IS J J J I
2)- 3)-

74b.
7g. u ~Iiu ieri. _ _ al al - II - ie - ri, u ~Iiu [eri. al -

4)

I
al - \l- ie - ri 'a lre-<:ulcer-bup'a-i - cia? ,Hoile.rumidai I'e· rut Doamn' ~

"nr .#91IZYC;J!I ")1 14ilJPIJ.

Ivar.
'v"
2.""'" r.
pi; ;
F. 12SI a . Orsova (Murcs - Turda). MAria Lalcs(22).IV. 1914.

[ 133 ]
 B III. g)
8,v~@
Tempo giu 10, J ' 116 ,~
I) ...----.:: 2) - - v~

75a. 9 tH - ~I 4F' G ~ r' fQ I C" 1P ~ J l

I05k.Mai ca fin-ti S'O lu . aI,

3) 4) - ®

F. 1271 e). UrlSiu de 5US (Mure~ . Turda). Rafil. C.oloca (24). Vasile Sueiu(3l). rV. 1914.

l06d. Sui - ci - na vcr de'n vri . ji lJ!.,

I
Sui . ci . ni ver - de'n - vri -ji - I!!, .. -
Si-a nO ' Dorn ·nul
v
Dum - ne-zeu ~

r.
2.
J) j
F. 1325 .) . Nier~leu (Murel- Turda).Carol Malu \lgan(35). elc .. IV .1914,Z

J . 106 ·(ace.].sl.) -110

8, D@
Tempo giuslo,
D
76.
lid . Co - 10 sus ~i mai d'in su - suit

@ 1)- 2)

,Li - no Ii - no ~i - rna - Ii no !, E - st~undea l dal - bUI d'e 0 - i.!!.,

r.

V· r ~r I,', r 51 I
F. 1068 c). Ghelar (Hunedioara), un om, ' XII. 1911.

[ 1'34 ]
 B III. g)
8, D0
Tempo giU8to, J. 100 - (ace. 4.sl.) - 108 J) D
77. . 28e. Ci ci ci, la 1a - stA ca - sa.
I}--
3

POOl -nul ra - dul ra - duj, boi!

- /
E - st'!:-o fa - Ii Iii - u - da - Ii.
'V
2. 3. 4. r.
II J
M.F. 2053 e}. Reeia (Sllm.r}.o rala(l4}.IV. 1912 .

8,V@
Tempo giusto, ) . 1J6
t I) -~
---

78a. ~.~~~~~~.~~~
So - coi I
139. So - col Ie - Ie mai te - Ie - !:E.. Ie -
3

,0
mai te - Ie - !!:., v
-J tJ; r.
r F I Fe
2.-
II
F.I329 a). Niere$leu(MurC$ - Turda}. Toni Ferenl.ligan (J4), 1V.1914,Z

Parlando, ; ,\92 8,1)@

78b. ~~~~O~~~~~~~~~~~~~~~~§
$' a &br 11 .M... . . v
r.
'l i' II

r rr
2. ~
II F piNE Ill"
F.1344b). Moi$o' (Mure$ -Turd.). oti Laealo$.ligan(55},IV.1914,Z

Tempo giusto, D 8,D®

79a. ~~~~~~~~~~
22b. Su' lu - fa de ma - lin ver - de, Le - ru - lui ii-a
v-
5 r.

ma - ru - lui..!-- Su' tu - fa de ma - lin ver - de

POOl (Sltm,r). Gheorghe 8oca(l8).IV. 1916.

[ 135 ]
 B III. g)
8,9,8, ~ CD
Tempo giu to, )'148 -(acc.3.sl.) -156
3
79b.
34f. Pin gr~ - d'i - na cea dom - ~ea - sea.
S 1--

Flo - ri-!'e-s r10ri dalv~_be

_ _d:..'e=--m!.c:::..:r-,-!.... Pin gri- d'i - na cea dom-liea -sea

2.3. r.
I! J ,
F. 1231 c). Id,ce! ~\1ures - Turd.). Ion Pui (5).IV.1914.

Tempo giusto, ), 164

80_
R4j. Sluj - ba sfin - t~ CI - ilc;. - 0 can - t~?

t)-

,Li-no-mi Ii - no. ,.......:c:....::..::......:.h:....·_-.:.:n~o~ CS,,!'o no - ~~ popi. b! - tm -ni!!.

2.
II g Ji4
F. 92S c).Cilrbal (Hunedioara). 2 reciorl. 0.1913.

Tl'mpo giusto, )J , 420 8,vvCD

1) - - 2) VI

77b . Scu - lali. scu - lali bo -

31 - 4)-- CD 5-- 6) - - 7J

'----'
,Doom';'. ioI:.Dom - nu - lui Doom;'. ~ Scu - lall voi Ro - mani plu - ga - ri.!!.!

i
V'

2. {l.
") Alb!;! a3 (I'il l l p 14I). aJ
1 4.

F .1028 al. R3u de mori \Huncdloara) losir Dochla (25). Dumu 8r3l'" (26) . X II. 1913.

3.

At
F .10090). Paucine$d (Hunedloara). Pelrul D~bucean (27).cuv . IOS r.··

[ 136 ]
 B III. g)
8, Vj)G)
Tempo giu to. )J. 358
1)- VJ)
8Ib.·~~~~~~~~§~§§~
lOOp . Sus la _ _ nal - tu cie riu lu i!!.
2 CD 1)-

'-'
,Doam.~e iai Dom - nu - lui_ Doam-IIe! La
"V . " lun - ci - I'e soa - rie - lu - i\!..
r.
2. 13.. 1.
II Ji pi» pi Ji Jt :
F.l059a). u<soara (Hunedioara).lancu He!,\cg(l9).ctc .. XIl . 1913.

8, V!PG)
ViP
t
Tempo giusto, ) . 150

81c_ ~~~~~~~~~~~~~~
---- 84g. Co
:.....-'
- lo'n su - suo mai. din _ _ su - s.!!.
CD
@
1) - 2)--

--dID) Yhi} lJ J ;;1

- .....h) 83 ;,I~}
- ....... ~J 'I II
Hoi. Ie rui dOL Ie - rui. Doom-n. lr- Lu - ce._lu - ce, Cc stril-Iuq?-
V'

m
r.
2.]. ivar.
II ~;!.o y
. lu . ce?
F.1264 aJ. Chinci$(Mul'ei -Turda), Ale.andru Mari$(8).lV. 1914.

Tempo giusto. )1.420

1!9 j
1) - - 2) 3) 4)-

81d. !)I • ~ III J£ J Ilj.J!

103e. D'a - sta-i Sa - ra. Sa - ra-i, ma - ric, • L'cr fi - cu - IA

4 g) n.l i I fj Jg,; )}I gJl 11

~ - t'i -lis ne - gri !/ Sa_ra - i ma - r~
;1
lui. d-A - ju - n!!._
MIlL 'f ;V f II
r.
I:E:3!ii
14'a p1 J! It.I§)!
2.
I!PI~jFI§I"tJI
Hci
F. 1010 a). Pauc,nesd (Hunedlo.ra). Petrul D4buccan(27).etc .. 26. Xn.1913 .

[ 137 ]
 B Ill. g)

Tl'mpo giuslo. )J. J9S 8, i)CD

I)
J)- 4)
4) - - 5)

81e.·~~~SE~~~$~~~~~
I08j.· Vi- rIe - - mul ji - do ve SCY.,

6) --..ill.... 1)1
t 7)- R)- 9)

,0 -oiju - /Ie - lui (Sic !) l'i - rie - rie - lu!" S'o n. - <CUI Dom - nul ci,c - rie - sc.!!..

F.IOSI a). NUC$oara (Hunedioara). I. ncu He'leg(J9),"c .• XII . 1913.

Jl .3 6

F. 1037 d). R'u de morl (Hun.dlo"a). lo>if Todoronl U8).lon Munlean(20).·· <'\lv,lg.

Tf'Illpo giU810. )t, 428

1)

81£.
32.f. Hoi Ce rand . matc·. a ce la rin . d!L
2) - - - - - @ 3)

,..'':er fi - cu - \0 d'n-I'il! /Ie - gri !,. O'e_m~~i ba - Ce van-tu Ii - nll..?

v
r.
2. Var.

F, I009d). Pauclnc$d (Hunedooaral. Petrul Dabucean(27).ctc .. 16, XII.1913,

Tempo giusto. ).174

B. DCD
81g.• ~~~~~~~~~~~~
32 • . Bil - tu - ~L fi - co. bii - lu - ~i. dra gao

Cu - nu -na d'e rI ri vi - /Ie - (e I Van -IUri. rieci pc la fe - ri.e - $IW..

- (sid) ./
'---------,v
r.
F.IOSI b) . uC$oar.(Huned,o.ra). Jancu Her\eg(J9).etc .. xn.J913.

[ 138 ]
 B III . g)
8,9,8, ~Q)
T~mpo gill w, )I, IS4
I) V~
Slh.
(152.1 Co • 10'n jos ma .. re'n jo
2

Ii • no Ii • no re· rui lin'!':- Sap. t'e sa . t'e ji· do . 'e~tl

v
r.

F . 1~J9d, 1.11«1 (Murc~· Turd .. ), Su,an,' Once" (4]) .IV. 1914.

8, 9' L8 '.v~CD
T~mpo gill~to, /'. 16H ~
Il 21- Y!!J CD*
Sli,
Oi
10f. Co -10'11 JOS 13 munt'e'llJo - SU.
-,
Flo-ri-I'~
-
fk,ri dal - be d'e
- y------"
mar~
r.

~
.... I.1Hhl . Cuncc;,p(Mures' Turd.}. Ana Burdcan,"c .. lY.1914,Z.

8,?,?,VD0
T{".npn ~ill!'lto VI

60c . Ler Doom-ne. Sfin . tii \1. - ri - e: , Dom - nivDoamn' !,

Lelc~"IBlh<>r), un om, VJll.l<JO~ . r.

T .. mpo I!illsto, ; '~4()

8, DCD
Jl 21 31 - 4 - 5)- 6)12
IIc. Co - l'e'/1 :)us d'in su · SJl.,

7)-~1
CD<) 10)- 11) - 12)

,Si-s no . ri I'e' d'~.a dol nric - riu !/ E"t~ 'u/1 dmpda\ - bu d'e no - ri!!.,
"------~v
r
J.

4.

F. 1006b). Pau"Inesd (Hun.dloara), Petrul Dabu".an (~7),c"' .. 26. XIl.1913.

I SF
L i'22M"
lit !It " )
.... 1008 b). ~uv.105 >.

[ 139 ]
 B III. g)

Tempo giusto, » #v!P 8,#v!PCD

cp--
- 184
I) 2)---~

82b.
85. Sfin 'Iill no - ui no - 'lOa-de 1l ~DofTHluldaLDom - nu -Iub Doom-ne ~
Var. J) J. 10 ~2) J. )12) . . y.
M.F. 845 b). Sanmlcllu$lIl mare (Toront.I).un reolor. '-1910.

~.21. Hei Plea - eli fi - Ca la Clin - 13 - ns. ~~L",-i_-...:n.;;:'_"'-li_--,-n"",4y -

~- Cf- 7)--
r.

ru - ju - Ii - nA J, _ Cu u I - cio - ru d-inlr' 0 ma-n~.

"m;} F'lYI
2. ~v",.
II ; 141 fJ!PI~' 1t.l4:3, pi J! III i I J! III ~ IU1" J
F . 1009.). 10IO c)· . P;\ucJne~d (Huned,o.m). Petrul DAbuce.n (27).o'c .. 26. X'i'I . 1913. •

Tempo giu810, ) . 393 8, DCD

1)-

83b. ~~~~~~~§§§~~If
59b. Seu Iali..

2)-
CU
-0' 3)- f)-
mari. bo - ie riJ! !

4)--

·00· su !,.., CA niji noj n'am a - dur - mi - II!.

-------"'----=---....v
2. Ivar. r.
II JI ,II i pI ~ 1'' J
F .1009 e). Pauclncsd (Hunedloara). PClrul Dabuccan(27),clc .. 26. XII. 1913.

Tempo giu 10, ,) -164 8,10,8, D@

I) 2) D
83e_
82e. ~ D-a cui. is d·. - Ce - ~t'e3 cur - I@, ,Dom - nu - lu - il!.
v-
3) 4)- r.

I
daiDOOHlu -lui Do.m-lle J., D-a - ~e 'nal - t'e ~i'n - fo - la - I'e.
13..
2.
II , III F=J I" J •
~", ~
Iv.r..
I i
F. 943 c),e,arbal (Hunedloara).dOl fcclorl. xn. 1913.

[ 140 ]
 B III. g)

8, V:WCD
Tempo giusto, )l. 388
V!j)
4~ 11/ G
I)

84a.· :)". V' P I~ .c'

19. La cur Ii I'e Cid vi • i.e il!..
2 3)

.,Doam. e_ i.ol Dom • nu • lui_Doam..ne ~ Beall bo ·le· rii Ii . ri • je • iJ!.

v

I I
r.
2.
II Y 13"1 ~ PI)1 P' it!!
J.
&~ 1" )1
H~i
F . 1049 b). Nuc,o;':; (Hunedioara). l.ncu Her\eg(9).etc . • Xn.191J.

8, DC!)
T mpo giu.to. ) , 380
D
84h. ')l." &III} V· pC:-- J P I ~. ) Jl J!
40. Foa ie ver· d'e lur bu . re r!:.,

4~ J!,Doam·i'ie
V" p' P ~I S' ) Jl l I J> v'
i.oi.- Dom. nu • lui.
CD
Doam1'\e~ A· ve
F-.bp I~'
L'e • na liiei
J JI
Ca i.e· r.!.·
j>. II
v
r.
F .1035 c). Rau de mori (Hunedioara). los if Tod.,roni (8) . Ion Muntean aO),XlI.19/J.

Tempo giusto, J> -146 8, !)CD

:)l. 4a!'r
1)- 2) 3)- i)
84e. ~ lor Jl
27 . Co lo'n jo jo

6) 7)
JaJJl1
,Da+I'i • a • n~ fa . Ii dra· gi~ D'·in eel camp man· dru fru • mO • s.'!,
v
r.

t r ' rr?i.e
f~~'~rl :--:;:-~l.= :--::==:':
- ~I" IAIE <}ll~r~ FI F~FPI
F. 922 b). Cilrb11 (Hunedioara). Vasile Costa(SO).losif Costa (42). Xn.1913.

[ 141 ]
 B III, g)
Tempo giusto, ) . 380
J}- 2) 3)
8, DCD

12..34a. $i-amvi-liit bi ral,! I. t'i· ~e, ,~C_e_-_ri__n_a__c~e~

4) CD' 5)-- 6)-

r.
7)----

t'i lIi-oa-r3 !,_ $J..amvi - nit, c'am d - a • u • zi . l~,

2. J.

F.IOJ9 cj. UC$oarn (Huned,oar.). lancu lIeneg (l9).elc .. xu. 1913.

~
T.. mpn giusto,.,!1, 410
8~~Dill

85b.·~ ~~n~~~~~D
109. (Heil Po - ran sit 0, po ran - ~iI - 0,

2)-- ~CD

.Dom - nu lui dai - lui Ooam ne !"

'---------~----~~----~v~--------~~------------~
r.

10 San tii _ _ _ Mi ri Ma - rea

k ~)j 166 FI 6 Pi;PI I J3?~

F.IOIO b). PaucIn"d (Hunedlo"'), Pelru\ Dabucean (27).«0.. 26. X n. 1913.
Il zl ,} i

Tempo gtu to,)l, 423

8, Dill
0- D
86a.
14d . La poar - tii la Te - Ii gra - d!!"
CD () 2)- 3)--

pa - du rie - \U !/ S'. na - scut on ton bra - do - it!,

F. 1020 b). Paucine$d (Hunedloara), Andel Andel,,", (18). 26. xn. 1913.

II ~ j21 a III ~
Petrul Dabuc •• n (27),.10 .. cuv. 100 a.

[ 142 ]
 B III. g)

)I. 394 8, ~CD

Tempo giusto,
o
D
2)
3)--

86b,·~OI$~~~~~~~~~~
1I2g. Sus la cur· t'ca cea dom • Ilea • seA, ,Doom·oe iol Dom
I I)
..-
r.

nu . lui Doam· ~e !/ Ci 03 Hi ri

" Ji I /I J) I II t1J 13.II J! I04.'2."

F.I049 a). ucs<>'''''' (Hunedi"".). laneu HCrlcg(l9),elc .. Xn.191J.

8, s)(D

la ra . sa . ri . t!!, "p
__oo_m_,_o_c_ _d_a..:.i_D_om_.
y-
r.

nu • lui Doam· ne !" E· st<;. ·un porn dalb d';n • flu • ri • tu

Paucinosd (Hunedinar.), Pelru! Dabuce.n (21),elc., 26. 11.1913.

T .. mllO giu to
8. vCi)
Pc u'd· urn • bra ie iY., .p m·nul dal Dom·
v-
r.

nu . lui Doam • ne!/ ]u· ne cal ;ml, pol' co . ve· Ite

PaucIOesd (Hunedio.r.). Pelful D~buce.n (21),010 .. 26. 11.1913.

8, DQ)
T(>mpo giusto. ) , 240
D Il
86e.
• IfU prin ra iOl Dom·
v-
r.
1 7 II
nu • lui Doam'!!e !/ Prim blA'n sus Ii prim • bla'n jo . s!!.,
Var .
Ii
F
F.I005 d), Paucinesd (Hunedioara), Petrul D3bucean (21~elc" 26. XIl.19IJ.

[ 143 ]
 B III. g)

Tt'mpo giu 10, ) .240 8, ~CD

11 - - 2) - 3)
5
86f.
7c.7b. in Irca ·M,'n· Irea b;i mari bo ie rill,
4) - 5)- 6) 7)

,,<;a~ ju . ~e . lui I'i • ~e· re . lui !/ Pe eel ui nar d'e voi·fti • C!!,

2.
..j.
v

!
1'.1005 d. Pauconc,d (Hunediua .. ). Petrul Oabut"Can(27).etc .. 26. X 11 .1913.

I. 2. J.

In . Irca·
F. 1008 .1). cuv. 7. b.

8,8J8], ~
T('mpo ::: iuSlo. ) . 173
I) * CD
86g.
28d . .';fer-gc::!·lo • na (si.-.~ "Ia ran • til • nil. ,Cu.nu. nli vi· ne
de v-",--.:.:...---,,-,--..c..:..c-
Ie· I'e ~
r.
3.

M.I'.1675cl. Murdnl (nml,). Io n BULdugan . lon Onle •. feclon. 111.1912.

.8,rRl, {)CD
Tl'll1po :::iUSIO, ) , 152
* CD
86h.
(153.) Tom.na·i a • ra d'e A • n!!,poamt'le loi DOflHlU·lui Doamn' !/
M.I'.1454 a). Petru,.," (Alb. de jo ).reclu", 1.1911. V
r.

T"ml'o !( iU<lo. )i. 377 8,9·*,8, ~CD

3~h. SUpl Ccr ro~ d'e ra - sa ri . t!!. , ,Doam-ne. D03I'n·ile. yo-

I)_r_
.

Dnm·nu - lui Do.m. /'Ie !" .';f~n - dru po· mu-i d'in' nu ri I.!!.

~3"1.
1'.1017 oj. R3u de "",n (Hu nedh}am). 10>lf Todoro", tiS). Ion Muntean (20).XO.l9ll

[ 144 ]
 B III. g)
8.10,··8, DCD
Tempo ~ius(o. ) . 234
D
87b.·~~~E~~~~~~~~
l04b . Sus 13 nal· til cje ru -Iu - ill. ,}u - !\ea -lui bun.
V-
CD r.

ju - ilea mi - re - lui~ Su' poa - I'e - I'e ra iu - lu - i~,

F. 992 a). GrAdi$le (Hunedloara). MIhal Conu (13). Valer MOJ$oni Os). XI1.I91J.

8, , !8J,~JXD
Tl'mpo I(iu~to. ).150 ~
n--------=''- 2)- 3)- CD
87c.·~~~~~~~~~~~~~~
(154.) Cam SUpl vi - 13 vi-nu-Iu-i._ Supt um-bragu - t'i-u - lu-i
2. 3.S.7.

,Ju-i\e-rc iu - lie-lui bu-n~ ..

r
M.F. 1412 a). Pclro$an (Alba de jos). feclOri. 1.1911.

Tempo giu (0. ,ISO

105m. Tn grA- d'i - na Ore..:i - ~_--...:.....:.---...:..:..:..._O~o~m -nu - lui 00am-i1e t

- V'
M.F.1471 a). Pelro$dn(Alba de ios). fcclon. 1.1911. r.

Tpmpu giu~(o. ), ISO 8,9\[8J, IXD

J) 2) D
88a.
84i. Co - lo'n jo - sui. in jo SJ!.,

,Doni' nu • lui Doom· ne Oomn d~·a nost';,

~~-------~----
r.
3.4.S. ivar.
II ~«
'-1 _21 i~
-::
M.F. 1471 b). Pelro$an (Alba de ios). f.clun. 1.1911.

Teml)O giu (0, ).168

7d. - Cc ma'ntre-ball, marjbo • ie. ri, \.Ju ·ne· lui ju - ne • la - ~u !,

M.F.1481 c). Fene$(Alba dejo.). feclon.I.1911. v
r.

[ 145 ]
 B III. g)
Tempo giusto, ) , ISO 8,8/8J, IXD
1)- 2)

34g.Co-lo'n jo-sul, maid'in jo-S!!. ,.lu-ili - J'e ju ne ·Iui bu·nn !....

r FI r
v
r.
i,. 4.( Ii i JlI
M.F. 1473 b). Pelro$an (Alba dejo,). re~lon. 1.1911.

8,DeD

95a.<;U5 pa sla - va ce - riu - lu - iI!., _ _ poam·ne ioi Dom-

.. V-
I'.
2 3)

nu . lu~ Doam-ne ~ Su' poa - I'e - I'e ra ju & lu . il!,

t 'F 1m F 5)1$ ~F
F .990 c). Gr~di$le (Hunediosra). Mihal Coriu (Il). Valer MOlsom Os). XD.1913.

Tempo giusto, )i: 330 -(ace. 1st) ·360 9, 8, 8, D@

D
90.-, 4eJIFn
0- ,

r ~IIAJr(Atar 01
~ le.,D. Ie - TU-mi Do.m - ne ~ L. por - Ii - Ie

2)- nl.... Ii. ill

~ };J t· r I·t I1JBr 431); §E&r J Ie ~~HJ b II
la'm-pA - ra - tll. $e - de_mi - rea ra - z~ - rna -Il!., ,Hoi I~ - rui~-

Var.
II [ 121 ~
~ I 2.r.

F.IS72c) Sivarsin (Ar"d). Lina Hide.n. Vn.l917.

8, 00)

a IN
Tempo giu to

91. ~ g~ F
93e. La ran -
r
t~ na
~ I) 4~ Jd llg
ra - iu - lu - L
~r
...Dom-nii
r
ler Dom •
v--

,e@rW¥¥I~F r
r.
i} ,. If II
nu - lui bun!, La fan· til - na ra· iu • lui
Chinei$ (Mur", Turds), Alexandru Mlri,(38). IV. 1914.

[ 146 ]
 B III. g)

92a.
Tempo giuslO, ,). 162
.-- D
8, D@

. 30.
--
Co - 10
4
jo ~i

.-- mal din jo - S!!" ,-,-F_i_- -,

ct:.,.o__r_i_ _I~
r.

d'o - \'i ci - IA 1/ Co - 10 _ _ jos ~i mai d'in jo - sy,

F.I068 oj. Gh~lar (Huned,o.ra). MAria Uscu\onl Zrlc (22). X 11. 1913.

Tempo giuslo, ,). 146 -(ace. 21: , ..) -156

1)- 2)-
92b.
2Ra. om - ii: fi ca eel lii _ _ _ _ maL ca,
• 4)- 5 ) - 4 6)-

Grii -lei fi - ca ell - la_mai.-ca, '....l_'C_T_fi_ _cu

__- ..:.Ia~-v d'o - fili. rlC· gri !/

i var.
t! Jt :
it.
.921 c). CiarbAI (Huned,oara). Vasile CO". (SO). lostf Costa (42). Xn.1913.

Tempo giWlO, ,). 160 8, ~@

82 d. Co-I'on sus ~i mai d'in SU - S,!!, "Li no Ii no

v-
4 r.

Ie TO Ii no y D-a - cui anI a he - ~Iea curlL m:'l

3.

F. \064 d). Ghelor (Hunedloam). un om. ' xn. 1913.

T .. mpo giu 10,

1\
;' · 234 -(acc.2.s1.)-246 f\ 8,10,8 D®
I) 2)- 3 -- OJ 4) - -

92d.·~~~~~~~~~~~~~
d'in 25. Slr~ii'
4
a - -Hea . n3 ce - la - I'e, '-....L_e_a-_n;,,:ii---.:I_-_I~ea=-_-_n...:a_-v­
r.
- 6) 3---

d 'o - chi - li-s lie Pii fe rie • SI'e de d-u ia giL

2. Var.

~
F.IOO6 d). Pauctnesd (Huncd,oara). Pelrul DAbuce.n (27).clc . X11.l913.

[ 147 ]
 B III. g)
8,10,8, D@
Tempo giusto.
II
[)I. 246 ()j,?)]
f'JI 2)- 3)
D
7)--- 4) 5 ) -

92 .
!Wb.l. Hei Co -10 su< la Ru -sa - Ii . nj!, ,pilr - mia· na ,
6)- R)

dar.fltaoa mi Doam-ne j E - st~ • 0 lU • fa d'e mil - • 0.1,

2. r. Var.

F.lOIO n. Pauconesd (Hunedlo3ru). Pelrul Dabucean (27),ClC. XII.191J,

8,9*,8, DG)
I)
93.
(155)" Di - mi - nea-Ia lui era - eiu - ny, ,FI<>-ri -Ie· s dal - be, V - -
Q2 r.

ler de m' - ru !/ Di - mi - nea - la lui Crii - eiu - nJ!.

PetftS (Arud) . Petru Olar (]OJ. rv.l9l7.

Tempo !(iusto, modo-ralO

tlOb, Seaa-lii. gaz - do, nu dur-",i - r~. , coa-lii. gaz - d.,

nu dur - mi r~ Ca nu-i vrie me de dur·mi. ,

Denta (TlmisJ. un lIgan. '1(11.1912 .

Tl'mpo !(iu!lto, mod.'rato 8,~CD

~
94h.
6Ob . Sena - la, gaz • da. nu dur • mi - r~, SeQa-la. gaz . do,

nu dur - mi r.t- nu-i vrie - Ille de dur - mil.

Denta (Tlmis). 0 "gancl. xn. 1912.

[ 148 ]
 B III. g)

Pa r1ando, ) , 152
8, D0
1)-- 2)-3) - - - - 4)

95a.
32a. ! Fa U _ _ dal bA de'm-p~ - ra - t~

,Lu m;";i.oa - r~ _ d'o-I'ii-s ~e ulal_

v
r.
2.

M.F .2001 c). LllnC$oara ( Bihor) . Toade, MU/oe, elc .. n .1912 .

Tempo giusto, ), 184 8, D0

J) 2) - D 3) 4) 5) 6)

95b. ~~~§~~~~~9~§S~
M3-ri - e - i fa -Ia bu - na, O'i-m;-nea -I~
J1) - - 12) 13) - - -

s'o scu·la - t!!, 0'; - 01; . nea . I~ __ "0 scu -Ia I\!..

2.

4 ' Vat.

M .F . 20n b). BulL (Blho'). un om h~triln. U.1912.

8,D0
Tempo ~iusto, )!. 136

32c. Du m; fie d'; mi - ilea - IA.

2) 3

...Ler fe-I'; - 13 d'o-I'i liislle - gri ~ Du - mi -fie - ca d'i - m; - hea - la

3.
r:
...--;;::

M.F. 1992hl . Groll (Blhor), reCIOrl, n .1 912 .

[ 149 ]
 B III . g)
. DCD Tempo "iusto,
I
J, 96
D
95d.·~~~~~~~§g~~~~
2llb.Oi·mi • /lea . I~ m~ scu ·Ia • ill., ,: ie . ri • vo. . r§
v-
3 3) 4) - - r.

d'o . rilt ne . gri !/ ~i p3 cap m~ t'iep • t.1 . na • ~

2. 4.

M.F. 1924 ), D rnge$ li (Blhor),un om. Xn.1911 .

Tempo giu~to, J , 90 8, ?)CD

3
95e.
28c,Si fi ·cu · \a gaz·d'i·i I'e. a scu·la
,~ie . . i.~oa - ril d!o-t"i't ne grr~
'f"-
. ....:..:...----"-~
M.F, 1935 c), H$ad (BIhar), un om, XO.l911.

Te mpo giu",o
D 8, DQ)
1 ) - - - - . -- 2) 3)

95£.
re, _ _ d-in • Ire ma . re, s '_
,..:.~=-t·a_n_o_ 0_0_111_ ' _nu_
v-
0-----;:-- 2) r,

Dum ·ne . ze • u !/ D·in • Ire ra sa ril da soa . re

~olml (Bihar), Ion Mol (45) , 0 . 1914.

rVIS (Bihor) 110e Bul. a M~ndru (50), Ion Dobl. Burda (50), U.1914 .. Cuv. 93 S .

Teoupo giu@lo. )1' 168

8, DC±)
I

112n. Din Fi • cio. nl S'O na - Scu . l!.r

I) 2)- .) - --

,..:.V=-i_.-"Ia,,----,-,vc:.cr_ _d=:e:....v de mar ver - de !.1 Din Fi· cioa . r~ S'o na - scut

. ~~I
3E==:i
pi a =
2
&1' r.

F .1212 d), Idicel (Mures • Turd.) . u ana $1 Rafll . Once. (43,16), IV. 1914 .

[ ISO ]
 B III. g)

8,D@
Parlando, J. 86
D
; .4~'i
I)

I FJ
(v)

95h. G ~
>

l' ) W· J!
(156.)" Pe dea lu Col nu oa ti,
@
4g, c:J Jr
t
la n J.
2) v 3) 4) 5)

a ~t'
v

J!~ I U 7
9' GI b Y If \I
F •
"
Le -ru -lui
- ~i.-amA-ru -Iu
v
r.
i ~ Pe dea lu Col-nu-oar'

"u
2.~ r J' Ijlg ~
IUL_
Pr. t 1"'0 r' t' ISI 4 '""
F.1344 c). Moi$a (Mu",$ - Turda). Rafila RO$ca (32)elc .. IV.1914.Z.

8, DO)
t J . 9~r-? D
'; •4I n
Tempo giu8to,

95i. J. ~ I~t::;E J.
83b. Po - go - rit 0, po - go - ri t,!!.. ..!-er fJori dal - bi
v-
r.

l II
ler dA rna ru !/ Dum-lie - leI! ~i cu San - t'etr';

i, @ ;'f I
M.F . 1952 a).Coliclel (Bihor) . oameni. xn.1911.

B,D@

}I
cu - i me - it'e - re scu,

4' D@t axalwlAr f"1 n

~ 4)-

J jell n
3)- 5)- 6)-

j 'I II
,10i Dom-nu - lui, ioL Doom"e-I'. !/ Tri me-st'eri in tri t'i-puri
V""
r.

M.F. 1923 c). DrAge$l. (Bihor). un om. XII.1911 .

[ lSI ]
 B rII. g)
8, D@
T('mpo giUMLO. )'144 -(acc.s. st.) -160
Il 2)--
D
3)-- 4)

~3h. Cre S(:ul O. ra sa - rit - 0

1)- II) 9)-

-loi Domnu Iu •
-.:..;:.-----'--:........,
toi Doam"e re !" D - un pOl11nal - tu-i raz-mu-rat
r.
2. 3. 4.

s.

M.F. I<}~ b). Corbe$d (Blhor). Ihe Onola,ctc.XTI.1911.

T('mpo giu.LO. ) . 138·(a«. 4.,1.) · 144 8, 7XJ)

Il- 2)-~-3 3)

951.·~~~~M~~~~~~m~
2'l. Fa-Lii dal bi de'mpara - tu-i, ,Lu-minioa-ra-i. o-L'izi.neg·j..
- V"
r.
2. ..... 4.

M.F. 1955 a). Coticlel (Blhor' oamenl. xn. 1911.

Parlando. ~ ·92 R. DCD

1)-- 2)-

96.
2. \1e re mi • re I,-a va - na - k, Me - re mi - re
4)- (v)
("J

I'~-a vii - na - k. ,Oat co - rin - de Ie ruj Ooamn l ~

v
r.
Var.

M.F. 870 0). Belu$ (Blhor). un feclor, 0 . 1910.

[ 152 ]
 B III. ~)
Parlando, 1>. 160 8, DQ)
1)-- 3) - D 4)

97,
gra ,d'i ' na Za - nu - lu - i, La gra - d' i - na
7) ---==:---=-

M.F. 1391 c). Alb.e(Turd. - Ams). fcclon. XII. 1910.

Tempo giusto. viva('\!

D 8, D0
98.
un> - bl;\m sa eo - lin ' dam. Noi UIII - bMIlI ,a
4

Co - lin ,d;\ - mg. mA . ru - lui Doamn· ~

v~--~------------
Sarafol. (Toront.I). II~am . X1.1912 . r

Tt>mpo giusto, jJ ' 126

8. D@
1) - - D • 2)- 3)-
99a,
51. 0 - 10 sus la ra -sa - ri - I!!. I.
\,-
r3-i dun - ea
4) - 6) - - 7) R)- 9)

ne - gru-i. vo- cia, 18 - ..j-t dun-ea ca - rul

,,~--------------------------~
2.3. r.

MY. 1818 0). Jan.dl (TimIS). leolat Ctflsan (21) ".11. 1913.

Tempo giuslo, .P, 130 -(rall.3..t .)-1I2

us la ra -sa - ri - I!!.,. \,DB - rul Doamne

4)

M.F. 167Sa). Murant (Timts).lon BUldugan.lon Ontca.cte .. m.IYI2 .

[ 153 ]
 Tempo giusto, ). 76 - (ace. 3 SI .) - 80

I03e. De-eAnd Dom-nu so nA - scu - I!!. De -eand Dom-nu

- - - - 2)-- 3)---
o
s'o n~ - seu ~ -a nos' Dom- nu-~ Dum - ne - ze!!J
r

2. Sar.fola (Toron.al). liga01:

M . F. 1725 0). Tgri~ (Torontal). 2 liganee. XI. 1912 .

Tempo giusto, ).104 8, 3)0

I) 2)-1 3)
lOOb.~~~~~~~§1~~~~~~~~1I
I03e . De·cand Dom-nu s'o nA-scu - I~ ~i _ pa-man-tu

4)- o 5)---

s'o fA - eu ~a nos'Dom-nu-! Dum - i\e - ze~

r.

2. ~ 3.

M. F. IR48 c). Cianad (Toron.al). un ligan. O. 1913.

Parlando, J> . 224

93i. cris-o Dom-nu. ~e-o mai seri s!!?_ _ eli - tu-j zi - pa

Q) 4)
3)

d<'l va - rA ~. __ ..Qoam-iie Dom -nu~ Dum - ne - ze1!J

r.

2. 3. 4.--------- Var

M. F. 1953 b). COliclet (Bihor). un om, XU . 1911.

[ 154 ]
 B III. g)
Tempo giusto, ) . 110- (ace. 3sl.) - 144 8, ~G)
3)----~

cand Hri-stos ci - na la ma sA, _ _ CAndHr i-stos ci-

5 ) - 6) 1)-----

na _ la ma sA. _ _ -S-a nos'Doam-nc_ D-!';..:m'-'--_ _-"-

oc'----=ze.:JII""1
r.
2. 3.

M. F. 1689 b), Seceani (Timi$). a muiere tMara. m. 1912.

Tempo giusto, 8, tJ0)

I 2

lOOe. ~b~~~§;~~~§~~~~§1
.". 53 b. Noi d - um-bilim d~-a co - rin - da - ~, Nai d-umbllim d~-a

3)- 4)- ill 5)

co - rin - da -§i.-a nos' Doam - fie v Dum - ne - zellJ,

r.
2. 3.

..&
M. F . 1839 c). Cianad (Torontal). Jula Tanei. ligane!. II . 1913.

Parlando, )'200
I) 8, ~®
2) 3 4
100f.
.".
3 b. D-in-d'; mAio m; rel , _ \ill l'e._ D-In-d'j mlj, mi -
3 1)
5) 8

rel, _ _ _ \ill - • I'e?_ -.!:!£i florj dal- be ler da _ ma:J,

v,-- - - - --
r.
2. 3.

4.

Cl
M. F. 1935 b). n$ad (Bihar). a muiere . xn. 1911 .

[ 155 ]
 B III. g)
Parlando, ), 108 8, ~Q)
~~
100g. ~~~~~~~~~~~~~
a. Su' ro -
94 di - ri Su' ro -~ju r~ sA - l!!,.__ ~iu

'--'
r~ - s~ - ri IU, ~ -3 nos' Doam-ne-i Dum one - le\t.!,
V'
M. F. 874 a). Va~cAu (Bihor). un om. n. 1910 . r.

Parlando, )'168
1)-== --------- =-_8, ~Q)
J

3a . Hoi _ _ mi-re-Iui ta-nA-re lui, Hoi ___ mi-re-Iui-

la-nA ore luL _ _ ~i flori dal - be lor _ _ de

v
r.
Var.

M. F . 727 b). Budureasa (Bihor). feciori, VDJ . 1909.

Tempo giusto Q) 8, 'DQ)

100i. ~~~~~~m~~~~~
53 b. oi por-nim cI\l-a co- lin - da - !!, ~i-a nos' Dom-nu-i Dum-ne-ze\!J,
'V
Sarafola (Torontal). ligani . XI. 1912. r.

Tempo giusto, J.83

1)-
101.
104 J. Raj , raj , rai. grA - d'i - nft dul - ce, __ .J;1om - nu -

2) - - -3

lui Domn Dum - iie - zctL, Raj, rai, raj,_ grA - d'i - nA dulci,
--v
r.
2. Var.

F. 1239 g). /dicel (Mure~- Turda), RaCila Oncea (I~). Ludovica Moldovean (l7),IV. 1914 . cr. 0 . 63.

[ 156 ]
 B III. g)
Tempo giu to, ).222 8, i)Q)
I) 2)- 4)

l02a.·
S9b. 7f. Scu -Iali, scu - lali mari bo - ie rill, .,Qoam - lie
5) CD 6) -

ioj Dom-nu-Iuj Doam - ii~ Jar cu - la\i d'e nu dur - mi

----v
r.
2. 3. 4. Va.

F. 984 a}, Grldi~te (Hunedioara), 2 fecior;' XD. 1913.

Tempo giusto, )j . 400 8, DCD

1) - - 2-
l02b.· ~@~*~~~~~~@~~
l!4d . Hei Co -10 su - SU, ma,i d'in su - S!!, "goam-,;e

6) CD 7) 8) 9) 10

_ _--=-io-"i_D~om- nu - lui Doam-ii9 D~-a- su - pra - 1a ra - sII ri I!,!

r.
2. 3.

4.

F. 1028 c. Rau de mori ( Hunedioara) , [o.if Dochia (2S), Dumu Brail. (26). XU. [9[3 .
)j . 383
I. 2. 3. 4. Ton.rin. ,

F . 1035 b). losif Todoroni (18), [on Munte.n (20}.euv. 112 i.

••

Tempo giusto, )'136- (ace . 3.tr. )-146 0 8, i)(J)

J) 2) 3)- 4
l02c.
1050. Pe su' poa -13 Ce - riu - lu - jui, .J?oam - lie

5) 6) CD 7) 8)-

ler Dom - nu - lui Doarn - "ej, Pljm-bA-~i Maj-ca Dom-nu - lu - ill,

- -.....v
r.
2. 3. r-: J ---- Var.

F. 920 a), Ci4rbll (Hunedioara), Vasile Costa (SO), Josif Costa (42).Xn. 1913 .

[ 157 ]
 B III. g)

Tempo giusto, ). 233 8, DQ)

1)-- 3) 4}

l02d.* ~B~§~~~~~~~~~
83f. H3j Co - bo rit - o. iii - me - ril - 0, J20am - ne
8)-J--
5) 6)

jai Dom - nu - lui Doam - ".0 PA sca - rA sfan - l~ d'e sca - rA

r.
2. 3,··· Var.

F. 1007 b). P3ucin.~d (Hunedio.ra). Pel,u\ D~bucean (27), elc .. XU. 1913.

Tempo giusto, j;. 246 8, 0®

I} D 2)--

lO2e.*
105z. Po - run - Cil - 0, po - run cil 0 --Qoam - ne
@
3) 4) 5 6) 7) H) 9)

ioi Dom-nu - lui Doam - "51 !o Sf3n - IA MA - ri - e Ma rie

r.
2.
-,

F. 1029 c), Riiu de mori (Hunedioar.). lo,if Doehia (25). Dumu Bnlila (26), xn . 1913 .

Tempo giusto, J! .2 10
1)-- 2) 3 ) -- 8, D®
:no::=lif--=rr=:::-+~!I::i
l02f.
104 a. Sus la nal - lUi cje - rju lu ju. -!?oam - ric

1 ) -- 2)

iai Dom- nu - lui

---..",
Doam - "9 La lun - ci - I'e soa - rie lu - i\1
r.
3. Var.

F. 1059 c). uc~oara (Hun.dioara). laneu Heqeg (I~), cle .. XII . 1913 .

[ 158 ]
 B III. g)
8,00
2)-

92a. A D'i - nA in -t'ea ce - ~I!a _ _ cur - Ii!!. ,Doam-iie

3)- J

~ DOln-nu -lui Doam -ii~ "'! -SCll . li.mi-o , n3-scu !i - mj.o

r.
2.

~i peri 1·
F. 91S b), Fere~d (Hunedioor.). Alexa M~rina (SO) , X II. 1913 .

Tempo giusto, )'160 8, DCD

..
I) 2)-- I) 3) - - 4)

l02h. ~~~~~~~~d~J[~
82 d. Co · lo'n __ su ~i _ _ mai in su· S!!, ~oam-ne

r;;: ..--..... 6) J)--- 7) 8)

ler Dom-nu . lui Doam-ns" Co . 10 sus ~j _ _ _ mai in ~u - S!!

-----v
r.
2. ,-;;:: J. Var.

F. 1068 b) , Ghelar (Huedioara), Maria Uscu\oni Zric (22). xn . 1913 .

Tempo giu to, 11.380 8,

1)---- ...--..

l02i. ~~mm~~~gr~~~t3lh%~~
84 h. Hei Pi un dea· lu eel· ai rna· rie. ~am. nc

ioi Domnului Doam-~ Rtl - sii . ri . tu sfan· !U soa . rie

~ ..
r.
2.

F. 1010 e). P.ucine~d ( Hunedloara). Pe"u\ 04bucean (27). 0Ic .. 26. xn. 1913 .

[ 159 ]
 B III. g)
Tempo giusto. ). 246 8, rYXD
102j.*
II b. o.;-.-su pra pi! __ r~ - sa ri t~, ..J2.oam - no
1) 2)- CD
'--' ...;/

ioj Dom-nu-Iui Doam-n:J, Man-dru-! dm - pu __

r.
2.4

F. 992 b). Grad'~lc (liun.dioar.). "1ih., Coriu (13) . Valer Moi~oni (IS). fl. 1913 .

102k_*
..
I
Tempo giusto, ).
1) -
192
2) - D
8, DCD

82f. Di - na in l'ea ce - tor cur - ~i~, -J-i n~

5)

lior Ii - na Ii r dra - glij, Doi micri nnlH ~i mi nu na l.i

2. 3.

f- . 958 cJ. Gradl~le (Huncdloar.). 2 fe Ion . XU. 1913

8, DCD
102 L
773. Sus . sus l!!. n~

CD
='"
_ _......::Iio_r~v Ii - na lior dr. - g~ Jos 10 cur - lea n~ .

r.
uquara (Hun.d,onr.) . lancu Heqeg (l9).eI0. XII. 1913 .
8, D(D
Tempo giusto, ), 96 P
102m.*~~~*~~~~~~~$~~~ ~
55 b., 84n.!a ri - - eli a - . min - le. _ _ ga£ . da .

M. F. 1447 b). Biwa (Turd.· Arie~). un om. XII. 1910 .

[ 160 ]
 B III. g)

ParlanrlQ. _ , no rit. __ a1 • ,210

8·~CD
~
P
r r r r r r"
2)--

103. :5:~ ct bhb[;

. I
l)
-t ~~
~.~ ~ j l
_,_'_ _L_i__"_o'
33. !", __"_,,_._ 1_,__"_o_~I~~__a_r_-m
r
CD 4)- 5)-

~)f11~ ~1.Jt.d .. j f)rn~ ~ I~\j )'1

Plca-ca doaOl-na - j la f5n - lim'. Plca-d dll"m-"a - i I" fan -Ian'.

2,
_r
M, ~ 19~5 c). ("oliele' (RlhM). ".meni. '(II 1911

Tempo giu~lo ... ' ll~ '" 8, :D@

2 st. I) l; 2)-----:::

104a.' ..-4~~·t j J J J ]13 1 J =ltD J. )ru ~~

114 c los pc prun-du rnA - ri - i - ~. Ci - I'i - ~oa
rA ~!-a no"
---'------..;
4 ) - --

rrr i-- T;J (!3

@ 5)~ 6) 7)---

~\f '1 i ~1r r IUlJ

Donmn'y m~ - n~ ,11 - re

~ j63 i @ jnt'p).frr~-~-l~~iI",e s'c'u Of: to ~ 11

" )," L,- 11- ~an

hlnc ..... ("fures· Turda) Cu\. 8 r ..

lr.r ~1\)-f1+ .
~ 126() c). Or~ov" (Murc~-Turoll). \1;1n" L.a'c- (22). IV 1914.

Parlanrlo, ) . ell r.o· I) ?) 8, ~@

104b.:5~~& j Ui J d j..JJ =t- In

10.1 r De dnd Dom - nu \(j nli - ,eu - I!!. Ll- It ~oa - ra
@)
2) 3)----_~

lU..lll..!
=i-t_

~" -#. ~" y

~! -a nOSl DoaO]' n£} ~i pol - man - lU 1-0 fa ell III

r.

F. 1127 h). "Iicrc~,cu (Murc~ Turo.). Carlll Ma\u (35) \IItan. IV 1~14 . 7

[ 161 ]
 B III. g)
Tempo giusto, J. 84 8. :D@
II 2)-

I04c.~ ~~~j J ~ J
~ II 2 on Din
' .1-,
' • cloil . rA
'3~ n~' scu' 'u . L, . II • 03 r3
3)
@
f i ..
~
I!f ~r
-,,-
~I·a nos
...::....-----
[)oam~ Dom - nu ,u.
r
I."
~

F . 1336 b). \1'«~l1 (Mur.~- Turd,,), Ale<andru Moldove.n (34). IV 1914. L

t> Tempo giusto . ., 89 · ("c( 2, " .).96

I)
8, ~®

I04d. ~ ~ ~ i ~l J ; J lJ=J J J
112 n, A D'in Fi . cioa - rA <'0 n;;· 'eu .Iai. L', • J'i • ~na

2)

i J '1 Y
51'" nos ' Doaon.~ D'jn Fi cjoa • rA "0 113 scut
-v
r

~~ ~lnaJ.
'loar
1 I
I- 1234 c). Idicel (Mur.,- Turda), Su,ana ~, Rafll. Oncea (43.16) . IV 1914 .

T 'mpo giusto 8, 7, 8. :?)@

2) 3)--

i 1J J j
I) r-T'""""T"""-'
I04e. ~-l> In J - TJ ~___
41 a Su,. sus. sus. pc lfin· ga lu· n:l. L, - Ii - ~an

4) 4) 5) - - - - - - - --

JJ I
Doarnn], Cl!'o ona rnA lin de lu - nA.

l1b~ni.~d (Mur.~-Turda). Toad.r Raco!, (24). IV 19(4 .

Chinci~, (Mure~- Turd.>. Alex.ndru MA"~ (38)·

[ 162 ]
 B III . g)
Parlando , ) , 216 8, ~@
I)
2) 3)
104£.
114 a. Pe prun· du m~ ri rii sa· Ie , -Jd..- Ii - \loa
4) - - @

~i-a nos' Doam!0.-t Pe

--v
r
3.
" '-

Al
F. 1"00 cJ. Chihulcutul de Campoc (Cluj). Zacaric Chisa (30). VIII . 1916 .

R2 i. A\,l cre - seul ~i iii·a~ n~ - seu I!. , Dom nu lui

2) -

~i ·a nos ' Doam!2J; On ~ i\! sfanl pre - a eesl p~ man!.

-...
r.
2. 4.

1-.13400), Moi'!'l. (Murc~ · Turd,,) . oli Lacalo~. liga n . IV. 1914 . Z .

Tempo giusto, J,82

i .
nos Doam!!'y ru lui Dom nu {Sfiin II.
--v Sfiinl
r.
F. 1247 cJ. Hod.c (Murc, · Turd.), RafolJ , i Maria Todorenn (17.35) . IV. 1913 .
8,6,8, 2j@
i)
4) -

104i. =.!.:!=~:EFfr.

rai cu fiii'!
r.
2. Var .

F. 1234 .). Idicel (Mure - Turda) . Ion Pl.Ii (25). IV. 1914.

[ 163 ]
 B III. /1:)
h)
8,6,8, D@
- 108

104 d , N Dum-~e - zeu pon - tru 'n-cc - pu - t1!,-,Doomn', Doomn'

.3

---
~i-a nos Doamn'! _ _, Dum-~e-zell p'in-lru 'n-ee - put
r,
M. F, 193R b), T~$.d (Bthor), un om, XII, 1911.

8, (/, 8, DO)

o I! - sa - Il!, ,.0 am"', Doamn',

l)

li-a nos'Doamn" Prc _ A - dam ~i pre E· - va

-v
r,
Var,

M, F. 13560), Gherla (Solnoc·Dohaca), un fecior, XI. 1910.

B III. h)
Tempo ~U'IO, . -100 8,8,12, DCD
1)
D
105,
39, Crc-scul-o, _ _ ra - siI-ril-o _ _ _ D-unpomna1t _ ~i

2)- CD 3)

ra - ma-na I~, \ Co -rin-d'e . I'c _ eei Domno _ _ Sffin - t.'I _ \<13 - ri'!/
'"r.

M. F. 1951 a), COliclel (Bihor), un om, XU. 1911, cr. Nos, I, 7\.

[ 164 ]
 B III. i)

Tempo giusto, J-1I0 8, II, 12, 1:)@

136. \. Prea_ ju - na - ler, prea_f~- pan-del, ~i pre prumba-riel,

V"

@ ;)-
r.
2)--

hai_ hai_ rev-Ia dev-lal J Ca-pu ca-Iu-Iui Oa -Ia Ii - ga-nu -luj.

3.7. 10. 2. 3.-6.,8.-10.

Murani (Timi$). Ion Buzdugan, Ion Onica, m. 1912.

BIll. j)
8, 12, 8, DQ)
&r1ando, ) - 164
3{~ D
..
1) 2) 4)
lO7a,
103g. A sta-i sa - ra lui Cr3 - qu - ~

S) 4 .--J-, Q)
"
D'e clnd _ Domnul _ _ 5'0 na- scu - J!, - - \.~L~'e..:.-~ru~i=:::'-r::::=~Doa~~m~n~'!I
r.
6)--==:-- 7)

~i pi! - - man - tu _ _ _ __ 1-0 (3- - - cut

2. 'hr.

-ciun--
F. 1233 a). Idicel (MufC$-1\uda). Susana $i Rafila Oncea (43. 16). IV. 1914.

[ 165 ]
 B III, j)
8, 12, 8, DCD
Parlaodo, ) _ ca. n6
---.. ~ D
107h.~~~~~~~~~"'~~~~~
92f. 10- la _ _ /Ie· • • lIea _ du, ce _ _ _ m'o i,

Plug _ ~i __ boi a · ,du,ce _ _ _ vo ' i, __ ,L'c, rui _ Doamlle!.1

y.

Plug _ ~i _ _ _ boi_ a, ,du, ce _ _ __ vo - it

F. 1272 b), Uri,;u de sus (Mures,Thrda), Vasile Suciu (31), IV. 1914.

Parlando, ) =104 8, 12.f81. DCD

1)----------==----::::===::::::--

841. A Co Io'n _ _ sus _ _ _ in _ _ _ _ __

--------~----~=-~
~ D 2)~

pill· , t'i· . ,0, • riu, _ ! Co· , , I o ' n _ sus_ in _ __

CD
p3J t'i, , , 0, • riu, ! ,-_L_'c_'_ '_ _ru...;i- - Doamn'!/
y.
2. ~

F. 1346 a), Bala (Mure$' Thrda), Solonica Marian, IV. 1914, z.

[ 166 ]
 BIll. j)
IV. a)
8, 12, [81, DO)
Tempo giUllto, )J~ 253 1) D
l07d,~~~~~~~~§§~~~~.
SO., 78b, 6Oe.Zur zur Zur cu zu - ;l.- - ri-Ie t _

J 3)-- Q) 4--

Zur zur ZIlT eu ZU-ol- - - ri -le. _ _ ~Le - rui_ _ Doamn'!/

2. 3.

IN in iffi!~ ~i I~ @J J iW11i ~ !tiJJl y , Y f I

F. 133S b). Mice$ti (Murq-Thrda). Alexandru Moldovean (34). Ion Pap (38). TV. 1914, Z.

8, 12, [81, @Q)

@

129. $i' nove - - seli iu- - bit ere - - ~t'i - ne.

2) Q)

$i 'nove - seli iu - - - bit ere - - ~t'i - ne. , Le - rui , Doamn·!.1

r.
2.

F. 1328 a), Nierestcu (Mures-Thrda). Carol Malu (3S). lisan. TV. 1914, Z.

B IV. a) 8,5,8,5, DCDQ

Parlando, ) . ca. 160 D
3) --=---------..
n
108,
76. Doam - ~1<'6l-di-e oa-melli bu-ni,~F1o - - - - - ri- le-s
y--
CD5) Q 7)~ 8-

V'
r.

Iblrr 1&5fDO JOi'I~b~JJII dal- - be

M. F. 1992 c). Gr~i U1ihor), reciori. n. 1912.

[ 167 ]
 B IV. a)
b)
8,5, 8, 5, ~CDQ
Parlando, J!. c8.190 3 f~ '
CD
109.
II 8. D-ur 1~,Doamne, ci - ne d-ur-IA ?_ ~ - ru mi Doam-nel---
v
r.

J J

D - on d-ur-la(r), d-on_ pA - cu - ra - ru _ ~~e_:...-.!.r!!.u~~i Doamn).

M. F. 728 a). Budureasa (Bihar). fecinri. vm. 1909 . r.

8, 5, 8, 5, i)~0
Tempo giusto, J'120 j) G)
110.* ~~~~~§l~~~~~~
82c.Cre-scul-o. rA - Sa - ril - 0 . _ .£10 ri Ie dal - beJ...
r.
Q

~i d-un m;! - ru .i d-un pll - ru; ,£10 - ri Ie dal - bej,

v
M. F. 1952c). CoticJet (Bihor). oameni. XTI. 1911. r.

B IV. b)
8, 6, 8, 6, Vg)@(Yn
Tempo giu to (allegretto) vrj) ®
111a.~~§!~~~~~~~~~~~~~~
34 d. PA !er-mur! de Du - nA - ri - Ill. ,Jai Dom-nu - lui Doamn~
v
r.

E - ste-o dal - bi! chi - Ii - Dom - nu lui Doam -nc:Y

Sar.rola noront.I). ligani, XI. 1912. v
r.

8, 6,8, 6, ~®C2

26PA po-ia-na cu flori dal - be, F.:.:lo",ri,--_d=a::.J_-....:be:.:..::=.v-

~,-

®2 I)
r.

ler di mAr'y_ Pi po - ja - na cu florjdal-be. '-! lori dal- be _ ler di mAry

v
r.
Var.

m! -ru
Toe (Arad), loachim Luntr •. (41). vn . 1917.

[ 168 ]
 96 b. La ce l'a -lrA_ dA-sLre-ma-tA,_ ..Q?m - nul D ~nUI!·no - st~_
r.
(vrr

La ce ta - tra _ dA- stre-ma - [4._ '" ~m - nul Dam-nu-I! nostJ.,

r.
2.

l.
F. 1175 b). Soimi (Bohor). Ion Mal (45). n. 1914 .

Tempo giu.sto, J. 92 8, 5, 8, 5, V1!> CD cYn

IUd. :f§ ~~~~~~~I~)~~~VW~~~~~~~CD~5~

53 b. oj um-blAm d~-a co - rin - da - rie. .J:!?rj dal be de mAr),
r.
2) 3)_

um - bhlm d~-a co - rin - da rie, ~i dal be de mii,0

r.
2.

M. 1-. 1727 b). Igri~ (Torontol). 2 !oganee (30). XI. 1912 .

87m. Pe po - du \U de
3)

Pe po· du - tu de d-ar_ gin - lU. -..Qom· nu - Ie..... Doam - nc;J...

r.

2. Sarafola (Torontal). \ogani- :

Dam-nul Dam -nul

M. F. 1127 c), I~ri! (Torontol). 2 !i~ance (30). XI . 1912.

[ 169 ]
 B IV.b)
'T' • ~ 8, 6, 8, 6, D~Q
gIUSto, ",. 232
DJ)-
~empo
I) 2)- 4- ~
112a_~~~~~~~~~~~~~§§1
IDe . Co-Io. CO - In du - pi dea - I! . ...t!.aj - da ler bo - jeri.!.,
r.
2) Q J)-

Cn -10. co - In du - pi dea - I~, -,!Iaj· da ler bo ieriJ,.

r.

A
F. 1263 bT Chinei~ (Mur~-Turda). Maria ~i Leonlin. M!"~ (14 . 16) IV. 1914 .

~ 6, 8, 6, D~Q
Tempo giusto, "'·176-(3cc. 3,\,).IR4
I) 2)-
D
8,
-..,

112h,~~~~~g~A~~~~~~
IOd . Ai Co-Io'nsus pc mun-fe 'nsu- s!!, ~
r.

~i Co - 10 'n sus pc mun - Ie: 'n su - su -J!oi da I'er bo - jeri.!,.,

r.
Var.
2. 3.

F. 1561 0). Chihulculul de eampic (Cluj) . Zaea,ie Chisa (30) . VITI . 1916.

8, 6, 8, 6,
Tempo giusto, J, 92I) 2)

113.
.".
12M a. in pa -lru cor - nUll de lu - me, -l2? - ru m'o
v
da jo~
I.r.
3)
@ 4)-

in pa - Iru cor - nuH de: lu - me, ",,"u - mea me, 10 - mea mt1
v
2. r.
Urisiu de sus (Mur.~ - Turda) , Va il. Sueiu (31)' :
2. 3.

F. 1251 b) , Or~ova (Mure~ - Turda), Mar;a Lalel (22). IV. 1914 .

[ 170 ]
 B IV. c) 8, 4)CDG
Tempo giusto, J. 84 CD
1)-

114a.*
104g . Dum'ne-ze~ d· in· tru ·n-ee· pUI,_Dum· ne-ze~ d-in - Iru 'n-ee - pul

Ta - la lu - mea 0 fa - CUI _ Ta - U. lu - mea o fa' CUI.

2.

F. 1356 c). Curt.cap (Mur.~- Turda), Ana Burd •• n, lV. 1914, Z .

8, DCD@ h
D~ CD Parlando, - " 132 ~
114b.·~~~~~~~~~$m~~§
1081.Tri c.-aide-Is rll - Sa - ri I!! Cu _ slea~ av c3 - la - 10 - rit.

~G

Ciind in ca - Ie -~i pur - ce - dea. Sica - \.Ia 'n ca - Ie 'n - ga - du - ia .

2. ~I~ ~2) - 3)-

5)--_

3., 2 .. rna:

M. F. 1429 b) . Vidra de mijloc (Turd.- Arie~), un om. XU. 1910.

Tempo giusto, J.96 8, DCDG

~

114c.* t.~~~~~§!§~~~~~~~~~~
108 n. Tri erai d'e Is rli

CDI)

ri I!! Cu _ _ _ stea,,' s~ cll III to rit.

4.

M . F. 1453 b), PClro ~a n (Alba de jos). fcciori , I. 1911.

[ 171 ]
M.F.I392a).Albac (Tur<h.Aric~). ur om~XlJ.1910.

Tempo giwto. J. 106 ·(acc.lsl.)·116 i' 8. ~ CD (f

Js
2L ':/ 2)

J JJ SIJJ
I)

ll5a.- '); - tal J JI J tJI

132b.Tri cnlj d.1 - la ra· sa - ri - t!! Cu Sle3\!. a~ ca-
3) 0 4) 5) 7) ~)

Iii-to-ri-t!!. Casii-lvad sa·1 cu·noo-sca ~ipreHri·SIDS sa·1 cin·sle:l-o;cii.

no 1"iJ' 11" "6 I b

2.
I' If I a'll). IF!! ~ J jly 141ft~ 151 &
113. t 1VJr.
III! Ok y1Q II
M.F. 1905 c). Rogoz (Bihor).redori. XIJ .1911.
8.~0@
Tempo giU"to. J'64.lJ1 ~ CD
U5b .. ~4~~a~iJ~J~J~J~I~£ij~~J~1J~~3~J~J~I~111~~J§1
1323. Tri erai de-Ia ra - sa • ril Cu cii • Iii· 10' ril.
- @
s~'a~

Ca sao! va· <Iii. sa-I eu-noa - ca Si pe DOrTHlU sa-I cin·st.easc:

M.F. 736b).Scbi~ (Bihor),un om.VJJl.1909. 8,8,6,5, DCD@
~~~w D 00
115c.~~~~~~~~~~~~~~~~~~~
(b/.) Nq a· cum or - fa· ci - lor. * Voj di • e - cij bu· ni - lor •
4 I)

Li-u-d.1~ si can - Ia~j Si vij.mj bu • cu

Var.
III J
Ci~rb!J (Hunedioara), ur recior~·· X111913.

[ 172 ]
 B IV. c)
. J ?) 8,8,6,5, ~ CD@
4,. i J J J J I F@
Tempo gtWlto, =84 0

115d.· !P U· J IJ J j J I
IDe. oj a - cum Of - La • ci - IOf, ~i voj, bun dj·
CD (4

4'I 1iQ
'4) E3
R r r I U r i ci J J J I
2) 3) 5)

J I
e - ci - lor, U - u - dati si cln- tati. ~i va bu - cu -

4,. J
6) 7)

~ liF r r g I Uri @J J J I W ) II y
faQ.! Dati. da - r! toq a eM- la, C4 gaz-da 00 - lac I1!< -O da;
2. senza 7):
Un F' n I III er 14i r" u f" ~ 1"'JjJJ ~
M.F. J38J b). Bistra (Turda-Arie$), WI om", xn. J9JO.

[ 173 ]
 B IV. c)
8"»@G
.» @
4~ In DJ. ra I FEiJJJ. ,
Parlanclo ("'nto)

117b. I b£~4JJ) II 83 J , II
104 i. Di - 03- in - tea ra - ju-Iu - 1U. Di - na - in - tea ra - iu-luj

Si- A-dam cu E - va se-de· !!:. Si-A- dam CU

Ledtincilllra (Mure$-Turda). Su an. Stefan (20).1Y.1917.

[8l , 8.8,8.1) @ @*
®2)
o
T..mpo gi",,(O ).138

118a. 4. 4'''?
U9.·· In
b
0 -
OJ
m
Jl
$uJ
In
Vi
Jl j
im.
IH
@ 3) 4) 5)_

in 0 - ra - suJ Vi - fla- i - mu Ve-nili, '"OJ toli sii-I ve-de - mu.

2i! ; Jj I 0" IIMoe; Fi 51

II 1: 1 D ri; II
dem o
M.F. 14530). PClro$an (Alba de jos). rociori,l. 19U .

[8l,8.8,8 1) @ ~..
Tt'mpo gill~to

60a. Co - 10 sus la ra - a - rit, Co - 10 sus la

ra - sa - ri - Ill. Ai Dom - nu lui 1ai Dom-no!

Sarorol. (TorontaJ). ligani, XI. 1912.
r.
8, DCD~
D 0)

'i Rw r ~
64a.Cjucurj ver-de

Slo- bo - zi· ne
r I~ r D
gaz· d~:n c~ -
Sarafol. (Toront.I), 0 liganc! (24), XI. 1912 .
de rna - ta- sa, S1·.

sa.
..

a Ii (r F g ml
~
-r.
no· Stru! Dom - nu-lui Doamne!

i-a nostru! Dom - nu-Iui Doamne!

r.
OJ )
.,

J II

[ 174 ]
 pa Dom-nu

In
9) 10)_
J, I
siI liI~ - dii -"'!!, D'e ; - iii - m~ diJ - du - roa- siI, De ; - iii - ma cill- du- roas;

Parlando . .P'0-==--_
172 8, ~(f) ~

a
_ __ J'I
$
4) _ _

12la, 4. ,t I U
104 c. Dum-iie-zo _ _
---
rJ r j
d~in
I (J
rJr

- lru'n -ce- pu -
r'
2)
lj

~ IA
l~,
0 f
3)

Durn-ne-zo _
FI
d~n-

~ a
5)_(f)
PA , 1 In p?
hU'n-ce- pUl Lwnea:ji
6) G 7)_

~ IWlpiJll nr4!B~ I n J, 1 I
loa - l'~-a !l-cu - I~. Lwnea ~;_Ioa.r~-ara- cut.

2i'~)p'O Iti ~(&Ir @14I r· 81 9 & 1'fF I'l~ I

F.1252 c),Or~ova (Mu.re~-Turda), Carolin. Husar (17). rv. 1914.

Parlando, A 1S2 1\ 8, ~ (f) C!

o
1 ~

121h, 4 ...
4111 NO fjr
U3 b.
~

La _ grii - d' ; -
rr I Err r' vlOr @ II
na ra - iu -
2 ) 3)

lu - iu. La gm- d'; - na

ill -
4)_ 5) 6) 7)_ C! 8) 7)_ !JL 10)

ra-iu- 1I.ti. MandrJi cru - ce sa ri- d'i - ca, MfuKlr.i eru - ce sa r; - d';c:

F. 1346 C),BaJa (MIJrC$-Turda),Solonica Marian,clC .. 1V.1914, Z

.b~172
l. ••
21r 1
41j Y i lltl11f'll! I
Hlj
F. 1347b),cuv.: 62

[ 175 ]
 Parlaodo, )~ 140

121c.*
Old. A Co.] sa- ra _ d!i a - sui sa m '! A
J) _ _ _ _ _ _ _ __
J 2)

Qi-j Sa - ra _ _ nil - seu - tu - lu - i. A ell 50_ nii - seul

4) _ _
---....,.0. "
5

!u - da'n sus eli _ __ s'o 5CU· la · I!!.

Q 3)_

da'~i da ba· I'Ij,_ Gra • je cl1' a _ _ lui duj.013.l'Ij:

A% F'i
2. ~
I"J
M. F. 2001 a). LunC$wra (Bthor), Toader Muzoc.ctc..lL1912.

Parlando

6l!b.411.Cel damn bun so ve - sc - ~I. _ Cel domn bun s'o ve - se · lil._

Q2) _ _

4n Mfm·dra
r' ~ I n f 1M I n 4C2£D ~
tna· sa ~·o gii· lit. _ _ MilO·dra rna sa
IJ j J.
$j-o ga· til.
if I

~~F v j'l r' ) II

Gh:rla (Solnoc-Dob5.ca), XJ. 1910.

[ 176 ]
 lI2r. Tri CO-CO§! negri 0 can-tal, Zorj de ,zjl!'- 0 ra - va..- sal.
Q 3) _ _
2)

Doril!, Pi - Ia - l'e, 0 nu dorh!,! Da d'e dorJi!, in c:i t'e scoa-13,

~i ~ I ~ 1') r' J. Iii J ;, II

ca
MF. 9I5c).MlinA~liurul unguresc(Cluj),o muiere,lll.mo.

4. 4gAUF R m
Tempo giUl!lO, ).I54-(a c.1sl.)-168 {)

121g. I U ill I C]'

lI2e. Tri erat d~-a pli - man - lu· lul. Tri erai d'~-a pil -
(1) Q
4 (J
man-nt-
jJ.
lui.
In EO I n 0
Vi-nu-ji Ia'n-chi - na-rea lui.
In
Vi-nu-ji la'n-ehi
ill I Q
- na-rea
'J)Y
lui.
II
M F. 1987c). ComlAu.$a (Silnw), 0 muiere,I.1912.

Tempo giUl!lo
121h. 4gA U gr
l~k .Tri eral. de - la 1'3- 54 - ril, Tri era[ de - la ra, 54 - ril

4n Cu SlCau' au
@F
eli -
I A r In) J
III - to - rit.
G
Cu SlCaJ"I' aJ"I eli
II R
13 - to - ril.
) y, II
Derua (Timi~)-. un' ligan (23). xn.1912.

Tempo giwto, ).168 ~ 8, ~ Q)

4gIf
____ I)

12li. ')I'. f~ A ~ IA iF ' G U la ie r ~g I

(159.) A - cum am va - zul mi - nu- nea, ea 0 re in 0 ger
Q
..---
4)_ 5)
-

0_ spu- nea. A - eum loa-!'e s'aJ"I'moplioni- lu, Precums'3l! fosl pro - ro ciol!!.
IVaf' ) F:%A
~ I
0

2.4b:::Jll 13.
41(£J1"[j'5 !!!J 151 !"& 115.

M.F. 1472b).Pelto~ (Alba dejos),feciori,1.19I1.

[ 177 ]
 B IV. c)
Tempo gill8to, J.ss 8, .D ill Q
.D
121j. ~4~·i~d~J~J~J~I~F§F~~~I
F r ~F~~r~r~
(J60)Tri craj de - la r4 - sli - ri l!!, Tri cra,i_
ill
~IDOlr' ~ Jl I r' j
de - Ia n'l sa ri - l~ Cu steay' all cd -

4J M 4=~ If. a Ir' j I r' Jl II J tl J II

III - to - ri I!!, - CU stea~' 3\1 cd III to - rit.
Ciarbll (Hunedioara), un fecior,' xn.1913.

Tempo giusto, ). 176 8, 4) CD @

4"' tJ
Q- ~ ~
121k. :,.- § F gTt; P r?]t I
I04h. in grA - d'i - na ra ju - lu - i, _ __
@

4" E2r w) ,·3 Ig r3 j,--;- ¥ I E P W) ~"

in gril- d'i - na _ ra - ju - lui Se - d'e - A- dam c u _

~
4" M!J J Jl r
6)_

PlJ) Bf
4)_

It IJ j JI , , II
E - va lu - i. :>e - d'~-A -dam cu E - va lui.

~ 0
11M Il F3l
Pid~ I4IH!IIMEijPI .• nl II
D 1
var

F. 1271c), Urisiu d. sus(Mure~ -Turda). Vasile Suciu (31), IV. 1914.

Parlando, ).200
8,4) @ c?
$#... 4e'# a ~ ~;() I F ~~
4)
1211. ~ Fir ~ ~ IT I
93k.Co - Io'n jos _ maj d'in jo - s!, Co - Io'n jos ~;
@ t'i

4F ~
maj d ';n jos
I)

j., ., 1M n
Es~W1
2)

AU I JJ
porn man-dru fru-mo·siI,
3}~
j) OJ
Es~un po1l m.TJ - dru rru-mos;

41 Jill J litl r ill h I!! J J I

Var'

F. \267 d). Chinci~(Mur.$- Turda), Rusand. Chiorean (U), 1Y,1914.

[ 178 ]
 B IV. c)
8, ~ill@
Parlando, )'200
4)
121m.'~·
~
4n 0
120a A - sla-i
cr
sa· ra
r I C; Q
d'e C r3 - ciu.~,
r o
Cli so
jl
nli - scut
f3 1
illIL
4 V'Jl, 1EB~) ["1 J J ;£·F I cP~)iPI n J ; -I
@
y
Dom-nuJSraru, 5i-o nlI·scut pe fan u-sca -ta De in·geri in - cun-ju-rat .

411 j 'F ' I J j fr I uf) tJl -F I J J J II

Haj-clati bo-jeri,
JI
.---....

jl
sA· I vi- de·~, Cu !or - dan 51-1
,--....

i
bo- Ce-zAin .
n

ij

i
Yar.··
D FJ
F.124Ia), Liblni~d (Mure$.Twda),"Illwb Moldovean (50),pgan,N. 1914.

Parlando
86,8,6, :D ill <I
4i ~
~
r r r II E; S
n

121n. Ir j' 6 1[; FO Ii

20. Da Sus Ia \3 - ra un· gu- rea - sci, FIo- ri - co - Ie
ill Q'--;-
$i ~ J ij I r r FFIi a fl) I n 4:.} 8 I J! J ¥ '1 II
clal- be! , E·~·ofa-~ ru-ma· nea - sci. Flo-ri· ce - Ie daJ· be!
Lona (Solrcc·Dobii<a). un feci Or. Xl. 1910.

'y I
8,6,8,6, :Dill <I
Tempo giustO,J.100
:D
u r
I};:::-

1210. 4ii G I (3 F' V I r r r FJ I

84m. Co-Ioh jo - su, maj d-m jo - S!!, Zu - 0 • ril' de

zor!
IA
Co- lo'n jo - su ,
F' V I CJ
mai d'in
m I J J 4J J I J
2)~

jo - S!!. Zu - 0 - riJ' de
II
-
LOr!
--'

leA. II r.
niPlB411 1121 PJ J'F' 014p I"r'!' J'
2.

F.1329c), NierC$leu (MurC$-Turda).AniCl eagoi.etc.,N.1914,Z.

[ 179 ]
 B IV. c)
<l
r-
Parlando,j'l32 2)___ 3' 8,6,8,6, ~ @

121p. ~Iz. ~~~!~~I§)~~~~~~~~~~~~V~~€p~~~~C~b

,3 U IT ~ II rUE' V II r F r I
Q)
84e.Co-lo·n sus

V II n
Ia ra

Q
_. sa· ri

4)
~ l!!.

-----------
Zu - a - rei de

r.

4 JI 'i

Co- Io'n sus la rii - sa- ri

oJ. },
- l!!.
Ii (F rlOIA
Zu- ii - rei de
J. 'I 'I II

aI ~ pd) I'll iP
~ zur!

1i ti1 pi
~,--~

r.
II
F. 133Sc). MicC$li(Mure$-Turdo), AJeJCandru Moldovtan,etc, IY.1914,Z.
8,5,8,5, ~ Q)e!
Tempo giwto, ).172 2) ~
I}_ :;;--... 3) 4) 5)

12h.' 4~1 U if' ~ I i!U E' ~ iii UJ Ii

.". 114b. Co - Io'n jos ~i rna! din jo - S!!, ZU - reI de

~ j) 7L~
4~ I J ~
Q) (v)
$ Ii T] J. ) I fJ
Co- lo'n jos
6)

~i rmj din jo - su,

.. ) iii
<I
n
Zu - reI
EJ I J
d'e lur!
¥ II
2. ~---

I
r.
II r 141 , ;
F. 1239 b),ldicel (MufC$-Turda), Miicia Broruar, IV. 1914.

F. 1241 d}. Libarue$d (MUTt$ -Twda), Toader MoIdO>'C3J1 (SO), ligan: cuv. : 84 u. cr. NO.44.

Q [8, 8lB,B, D®~

r?j Ihtl
Parlando, )'126 I
& /'EFi39
liBr Br lulJ{JJ
4.51.·· 2L 3L 4L
122a. '):. 411 J ~ ImJy '1 II
I27.Foar'I'es·a~ 'mpli ·/lit fru-mos, _ Foor·te s'a~ inpli·~iJ fru-mos .

~IPfij 1~!!Ii1I'tl 1M] 1~1.5 I

M. F. 1390 a). Albae (Turda.Arie$), f""ion. XILJ91O.

Trmpo giusto,), 190· (acc . 3.• 1.) ·210 [B, BJ, B.8, VCD Q*
Q..
411 ~})J J ~ I pm FJ~ I ~ F mJ Jlj V j
1) 2),...-;:;;:; \ 3) 4}_

122h.')'. J Jdl
2.
II ~
67b. A .

~ pi J .1) .;14)
Fit r
12.3.J••
sta-jca·sa d'o·mul bu- n!!, A- SJa-i

7
I
""·5.1 d'omLll bu-n!!.

M.F. 1849C),Cianad (Tororua1). 0 ligand balr.im.n.l9l3.

[ 180 ]
 B IV. c)
8, \!)CD Q
Tempo gi\ll!to. ).214 '0
4. 4i )
Q ~

123.·
I IOOh.g
I j JJ
Tot urn- bla Pet -
JI j r'h pin
J J J In J J J J!
ra - i. Tot urn· bla Pc-
Ii
CD
4i n 1m D JIIII!? Jh II
J) 4)]) 6)

J't Igu r Jl I UOfP~

IIU pin ral Parlla poar.La ra- tu - Iu - i, u ga- sca_ nea - mu d!;-a luj.

F.1267a), Chincit (Murc$-l\Jr[h~ Fin Chio"",n (SS),IV.t914 .

Ternpo giusto, J, 100.(acc.2. 1.)-104

124, ~~~~~~I~)~~~~~~~~~~~~~~~I
~
~
84v. A_ E· s~·un mar rna re'n . flu

4S~12 II en
2)

ri .
tl
j
l!!~
't II n j
Dar su' poa - Ia
J Ii 0
rna - ru
CD
F 11,3 J. t
Iu • i!:'.
4) _ _

E • ~-un I'ea.po de rna-La - sa, E - st~-W1 I'ea-g;in _ de rna· Las:

~-IJ lli(fi J; y ;1> 4f1J.;4I r J rI

M F.1849a), Cianad(Toronral),0 ligand bau-ani,IL1913.

Tl'mpo gn to, J.'58

D
4II rrr
0-
2)_
125, ')!. f) r D I r Jl J J ~ IA ELf IN
105i. A - stB- i sa - ra, sa - ra rna· reo sa eM· tim, Sa
3)_ ® 5) 6}Q
i ~ 4)
~ II ~r ~~ r y I J ~rt ~ I ; ~
--I .:= ~
fP'2& I &J I ; tJj
~ -1 C;
't I
co . lin-d'ern,(si !)A.sLa-j . ra lui A- JUIl, Mi· ne zi - ~a lui era. ciun.

.:::: i .
21;"1. r lilJ I" h I
3 ~ var
2.
1,Itd IMrd14lr ~
M.E 14SOb). Bistr. (Turda.AriC$), un om, Xll.19JO.

[ 181 ]
 B IV. c)
d)
8,.~ ill @
TC'mpo giu'lo, ) z 138-(3CC. 3,'1.)-152 .~
I)
2)

126.
83 h. Co- bo - fil a. co - bo nt.
3) ______~--------~~-----------------
ill

Co-bo-rit- a co- bo - ril Dum-no - zet! cu

4)
@ 6)_
7) _ _
5)_ ,-3,

Pe- tru Sfant. Own-ne- ze~ cu Pc - tru Sfant.

2.

Ilf& E: a 1£(3',214,LID r' ~ • 1I~'wl

3.

M.E 1381 a). HI.1ra (Turda -Aric$). un om. XII. 1910.

B IV. d)

l25a. Pa - lru pii stori sd'n - tiil - oi - nl.

4) _ __

I~ J J i4" Jl4] I
5)
Pa - tru pa- tori

6)
sirn - tal - oi - ra. Ra - za

7)
SOa ro - lui.
---
f.

flo- rea soa - re - lui! Pa- tru pa - stori d'n- tm - Iii - ra.

lli tp)1 2 'm p'Hr 14!J !jl~'Jrr) 1"· Im1 r II6IB P'an II
M. F. 1451 b). SlStra (Turda· Arie$). W'I om, XlI. 1910.
2

[ 182 ]
 B IV. d)
e)
Tempo giu"to, J'96 8,8,6+6. D@
n
?)
4@4~ I A
I) 2) 3)

127b.*
#.
r
125 a . P a·!rU pa· stoll" "
~ Ii
"" -
r f rf . •
II
Pa· tru
r' ~ Ii
sall-"" fD· rd , pa - slOIl.

4~ i j J J J II m D II 0
4)

r' ~ J. ~ Ii J y l II
sli'n·tiI· ni· di, Ra -:m sea· re - loJ, SO-ra Soa· r e · lui!
~--------.:....

I
r.
r
V3.t . ...

Ii 11.:111 ~ 11 41 , 14 • y
M. F. 1403a).Albac (Turda-Arie~). copu. X II. 1910.

B IV. e)
8,14, 14, 8, OOCY
L110 D
4i,p
Tempo giuslo,

128a. * ')1· Ir r if f . I JJCQJI

If. Hl\1 Plea - ca ju • nii la va - na1,

.. ® ..
4 JJ; na bre·ci- na
~e-ci-
JJJ 13 J J J IS j 31 1ft; JJJ
¥>l do - bra- na, ~ do· bra-na Dur-mi-na eur-mi-na,
~--------~~------~~----~~
(i{ r.

4 J J J Jim
lem" vcr - d'e ea ie . de·
J Ir
ra!
r r ff I n
Sus Ia moo - Iii. lui Pi· ial.
OJI! if II
F. 1005 b), Paucinold (Hunodioara), Petru\ D:lbucean (27),<:IC .. 26. XlI . I9IJ.
10,8,8, ~CD
Tempo ~USlO. J.\JO Vi)
128b. * ?JC
-"'-

4i J 5

j
161. ~e - ci - na
J ?J
j

j Q I
ghe. ci - na
J J btU
soj
do- brn - na,

CD
4J J J J j
J)

---.,;
I if1 jJ 1!3 J J ! J I V J J ¥ II
Tom • nan dur - rna duro mi· na, Lemn ver·de de je - d'e - ra .

~
F. 1029 d). Rliu de mori (Hunedioara). Josif Dochia (25), Dumu Braila (26), XD. 1913.

[ 183 ]
 B IV. f)
Trmpo giu~to, J '76
2L 3)_
4)-=_ _
D ~

129
15. A Co - lo-n jo - su, ma ; d'in jo - sui. Doam-nc\!t.

Q) 7) Q)

cia! A
a14! Ctp Ill! ~q1191FJllmJ
Dra - go-li Doom-ne Dom-nur~ E - s~-un paJcdal - bu\ d'e \10 - i!!.

1:W III ¥ I"l( r 1111ijr I~ fj. pi g PHI I

41111 [1 t'lJ} l(il~ 1111; l"lIJfjlFw ;2101 Ipn~ IIIAI), Ij'i' 14ffJn81@1\1115 OJ J i 9

Dom-nului
F. 923 a), CilrbaJ (HunediOOlr.lll. Vasile Costa (50),losif Costa (42), XlI. 1913.

c
Tempo giu to, ). 180-(acc.2.sl.)-212

$. i Jbl iF; Ig (7F> I r F r r; II #2 J

I) 2)

130,· 1)1· if I
m. Ra - II lJ , _ _ nu lan- gu- i. nu plan - ge

4. J §' 1ft f?FD Ii r F r; I I elU? J 3 I

3)

t&) 't j
Va - zan - du _ _ ri - ij tai in san - ge, ci ci nu

$# iJ J I J J 31 n I azu If) I an I J , II
4)

j Jly
var pic-ri, ma,i var-10<> -.or in flO-ii Ta- l! -Iui ce - resc, la- lA-lui ce - resc.

r.
+&b1r
i;
WISl;d I
2. Vnr•
!lIO j PF!0.9I!l,J V141 llir
M. F. 1905 b), Rogoz (Bihor),feciori, XD. 19U.

[ 184 ]
 (162.) a-~-rea ta Hri-stoas3 Dum - De- I.e - u nos - IrU,

er u la~ rJJW1Ali&!Jl¥ Illb er U

(sic!)
2.sl .

'I iff IA
JU- sa- rit- a lu-mij lu-mi - na cu-oo - ~I'in- t4, O'n-tru dan-.\a cci cc

F-bea ste-lc-lor da la stea-ua s'au'n - va - \lit, Si .\a'n-ehi-na Ii - e

4RF3; Wl
Soa - rc-Iu! drep -
r la,4@ J;
III - ~i,
'1
lsI.
lIie e Hi
~

Si sa t'e cu - noa-sca
IR r r PE
y

pre t'i - ne
r? IA
~

IU- sa - ri- lui ecl d! _ _ sus, Doam- De, miI-ri-rc Ii- el

MF. 1904 a), Rogoz (Bihol}, f<ciori. XlI.19U.

Tempo gi\l8to, J= 116-(acc. 3.sl.)-I44

4ft I J @ J J I J J J ] Ift!D ;;
L& ~
132a.· 'p. J Ii
(163) M! - ri - re 'n - ttll cei de sus, lui Dum - nc - ZC~,

,. i J J J {j Ie JIO @ 'IIi j 3 J b In @ l J Ii
Si pre ~- mant fi1 in pa - eel A-stAz in - gc - ruJ vi - ne

01 prea bu- na ve - sli - rc; Tai - na rna - re va spu - De ,

Fe- cjoa - ra pfWlC va na - sfc . Cum poa-~-a-ceasta sa fi - e.

~ a i J J J 8 IgS Q';> 'I I r ) ifu II fD Jt W II

Cii de bar- bat nu ~ti - e; Dum - ne - zeu a - de - vii - rat ,

[ 185 ]
 4.sl.
c

'---'
Me -Iu-$iel ne - vi - no - vaL Pa-slo- ri - lor, nu - e - rali.

Ii r r mDJ~ID~J I
C2n-Ia-re Ill<-a Cu in - ged ~i C\I har - hnn-geli!
3.'2.,ma:

Py' I
M_F.1904 b), Rogoz (Bihor), feciori,xn_1911.

IJO. MA- ri-re'" tru eei d: sus, in-llI!- rii can - la - re a~ a - dus,

C~ Hri-slos car s'a~ nil-scut, Lu-rnea cu dari a~ um-pillt. a e fill de

112_

Durn-ne-ze~ , Sffu1t e ca ~i Ta- IAI~ , Sfant e ca $i Ta - tal sal}.

2_3A
1\ ij J )J I
Mone .... (Arod), MiMi PO$" (23), VII. 1917.

T empo giu"to J,48-(acc. 151!}-90!

133,· tJ! · 411 i J J J) I J J I J t4 J fll J J lit

(64) Tri crai da Per - si - da- i 1 - rod cum i - "!! vii - ZUI,

4~ A J j j Ii J J I J j J J I J ) 'I Ir rr r
Mlb-- gimd ]a dfu1 - sa'm - plI- ril - Ii - a de mult·· - Pen- lru ce voj

um- blati.. Pre ca- re Ie cer - ca\i:! Stril- i-na'm-pll - ril - li e!

M_F. 1905a), Rogoz (Bihor), reciori, XIJ . 1911.

[ 186 ]
 Appendix
1. 41 oJ I j r Ij F I IT r Ij I r I ('
4 r ~r
fc! - nyes - sc! - ges szCp haj - naI, Kit !gy kil-

I J J I J l I J J I Fir J I j ~ r I J # II
sz()n- loU az an - gyal: Od-v6z- h!gy, lei - jcs rna - lam - tal!

lI_ e
• •
. ; I· I; • FII
I •.
I •
•
.
Ec-ce ve - ni - el Pro - pile - la ma - gnus ip -

..
Cl

C • I • • I • •
b; • • - II
se rc - no - va - bil Jc - ru - sa - !em, al - !e - lu j:l.

III.
e • • • •. I, 1 •
/'lI
• = ~ .. II
AI - Ie - lu - j:l, AI Ie - lu - ja, AI - Ie tu j:l!
Ve szto (Bekes),19I8.

IV. 4A j5
An- go
J ~0
Ii Bor
r :U
- b:l - la,
4)
I (J ; g
Kis szok - nyal
r ~0
var - ra-
ill

lOll.
3 I
e!
: £J I n .
~ j
.0 II
E - Iii! kur - tab bo - doll, H;\ - IllI hosz-sza 00- dou.

®
4. ! • a I0
SuSil,2b.
V.
Aj
I
vim
J
ja
J I ,.1
Iii - l:ku ze - Ie - nii.
t; ~
I j
Aj
j
vim
EJ I
ja

4" r r I U 5f
-
Iii - nu,
¢ku 7J!- Ie
@
I r r r
a ni lin
I J .::j I
di - ¢ku
n
sa - ze - nli_
J II

VI. S f' t t r t t r 4
1 Y t t y
Od - voz - Ic!gy Meny- nye - i Sa - nya; Di - cso Is- ten-nek Szenl

tit i t 1 T t t ill
e II
n
• 4 Y
Any - ja: Sziiz Mi - ri - a
ld - vO$ - sc! - gunk fc! - nyes hai - na • Ia.

[ 187 ]
 Notes to the Melodies
2. *Colindti iunilOf' (Carol for boys).
**Change song. The entry of the
succeeding group takes place
irregularly on the last eighth
note, third from last, or some-
where between the two values.
lOb. *Change song.
lOc. *Change song.
**Variant sung by one per-
former.
11. *Change song. The interchange
is often made after the simul-
taneous singing of the last tone
of the stanza by both groups.
12a. *Change song. The interchange
is always made as described for
No. 11.
12b.c. *Change song.
12d. *Same remark as to No. 12a. *
12f. *From here to No. 120. there
are shortened variants, whose
texts comprise 4 X 6 syllables.
since a six-syllable line (or half-
line) of the original form is
lacking. In Nos. 12f.g.h.j.k. the
second line is missing; in Nos.
12i.m.n., the first half of the
third line (var. 1. has an un-
usually-irregular structure).
12i. *The performers begin the song
at the fifth measure. They sing
the first text line, ce rna ispit'ili,
on the second half of the melody
(not printed here), then the
1 [Cf. Bart6k and Lord, Serbo-Croatian Folk Songs, pp. 74-76; also Vol. II of the present
publication, pp. 32-33.]
[ 188 ]
first and second (full) stanzas,
finally the third stanza (only
the first half of the melody).
12k.I. *These variants were not
titled "Colinda" by the per-
formers, but it is evident, ne-
vertheless, that both are
carols.
12m. *The final tone of the melody
undergoes a transposition of a
step upward; therefore, the
deviant numbering (similarly,
variants v.x.y.).
120. *From here to var. cc. are
shortened forms in which two
six-syllable (half-) lines of the
original form are lacking. In
12bb. the first (double-) line of
the original form is lacking; in
the rest, the last line.
** A real syllable break (see also
in No. 52a.). This phenomenon,
occurring here and there in
Rumanian folk music, is not
known in the Hungarian ma-
terial. I have found, thus far,
only one Slovakian example
(see Bart6k, Dorfszenen [Five
Village Scenes for Voice and
Piano], No.4) of a syllable
break, but it occurs with great
frequency in Serbo-Croatian
songs (for example, Kuba,Pisne
bosensko hercegovske, No. 3).1
 Notes to the Melodies
12p. ·An unusually richly-oma-
mented l'ubato performance;
compare with var. r. from the
same village.
12t. ·The final tone of the melody
undergoes a shift of a fourth
upward.
··These two measures are some
times omitted; the melody then
bears no refrain.
12u. ·Same remark as to var. t.·
··Unnatural (urban) tone and
performance, tempo is much
too slow (cf. Nos. 76, 92c.).
12v. ·Same remark as to var. m.·
··Colindd junilor (Carol for
boys). Change song: the suc-
ceeding group enters with the
new stanza on the first or third
eighth note of the fourth meas-
ure; the preceeding group sings
on, in canon fashion, or gra-
dually falls silent.
•• ·This text was dictated; the
recording has another text.
12x.y. ·Same remark as to to var.
m.·
12bb. ·The first and fourth meas-
ures in the ninth and twelfth
text lines are as follows:
JI£"oPI):I?@1I
:. ~:Ii,:~ i ~ :tA.:~
12cc. ·The last melody line seems to
be transposed a fourth up-
ward.
12dd. ·Here, only the first (double-)
melody line is extant; compare
with var. v. (from the neigh-
boring village).
13. ·Change song. The succeeding
group enters on the last eighth
note, which serves as th~ir up-
beat (on a), and then proceeds
to the next stanza.
14. ·Change song. Valer Moi~ni
sang the odd-numbered stan-
zas, Mihai Coriu the even-num-
bered ones. The last two eighths
of each stanza are always sung
by both groups together.
[ 189 ]
15. ·Not a change song!
18. ·Change song. The last eighth
is sung by both groups to-
gether.
19. ·The text has only eight-syllable
lines and is not given.
21h. ·This rest for breathing.
21k. ·In the remaining stanzas the
refrain stands at the end of the
line, in the usual way. In the
forty-sixth and fifty-second
text lines the first refrain is
1udd instead of Doamne.
210.s." ·In the remaining stanzas the
refrain stands at the end of the
line, in the usual way.
21v. ·From here to var. aa. are
shortened variants in which the
last melody line of the original
form is lacking.
21x. ·From the tenth text line on,
the refrain is ~oimi.
21y. ·Doamne is not a refrain here;
the text consists of eight sylla-
bles.
21z. ·In the remaining stanzas, ex-
cepting the second and eleventh,
the refrain is Fiorile.
26a. ·The final tone seems errone-
ouslyone step too low (cf. vars.
b.c.).
26b. ·In the second stanza there is a
new text line in place of the
refrain.
30b. • An unusual extension syllable
which can be replaced by Ie.
32. ·Change song.
33a. ·Change song.
··First Pd, later Pi!
33b. ·The distorted rhythm certain-
ly reflects a kind of gypsy style.
··The missing syllables are un-
intelligible from the recording
(the first line was not given).
34a. ·Change song. The upbeat is
missing from the following
stanzas.
36. ·Change song. The succeeding
group starts approximately
here.
37a. ·In the last stanza this orna-
mental note is omitted.
 Notes to the Melodies
37b. *Change song. The preceding
group sings the first stanza to
its end and, at the entry of the
succeeding group, repeats the
first measure of the melody. The
latter then begins the second
stanza with the first measure of
the melody, completes it, and
repeats that measure as the
preceding group makes its re-
entry, and so on (cf. No. 62v.).
37c. *The performer began the me-
lody with the second line and
closed it with the first. The last
two notes seem to have been
transposed a third upward (cf.
vars. a.b.).
38b. *In stanzas 1-4 the first, third,
and fourth (six-syllable) lines
are performed ~ and the
second half of the second meas-
ure is sung on one syllable.
39. *Colindul junilor (Carol for
boys). Change song in which the
change first takes place on the
third eighth of the last meas-
ure, later on the second, still
later on the first, and so on. In
this way the newly-entering
group begins with the next
stanza, the other group sudden-
ly stops-without singing the
melody to its end.
40. *Artificial tone and performan-
ce, in the manner of church
cantors.
45b. *Cantec de stea. Same remark
as to No. 40*. In the later stan-
zas J .J .. replacesJ .J., or vice
versa.
45e. *The text was not transcribed.
45f. *Cantec de stea.
45g. *Cantec de stea. The performer
learned the song in school.
45h. *Same remark as to No. 40*.
**In the last stanza, gl is per-
formed .J ".
***This rest represents intake
of breath (at the wrong place ?).
45j. *Cantec de stea. Same remark as
to No. 40*.
[ 190 ]
45k. *Cantec de stea. Performed by a
young man of higher schooling.
45m. *The performer begins the me-
lody with the second line.
45n. *Cantec de stea, from a cycle
of six songs: Nos. 131, 132a.,
133, 130, 115a., and 45n.
450. *[Note is missing. Cdntec de
stea?]
45p. *Cdntec de stea.
45r. Text in the Romany language.
**The melody was begun with
the second melody line.
45t. *Cdntec de stea.
45u. *Text in the Romany language.
45v. *Cantec de stea.
46b. :} Same remark as to No. 45e.*.
47.
49. *Performed by a young man of
higher schooling.
52a. *Syllable break! See remark to
No. 120.**.
52c. *Change song. The last tone
is sung by both groups to-
gether.
52e. *The first and second stanzas
are garbled in the recording.
57. *Was begun with the second
melody line.
58b. *Change song. The entry of the
succeeding group (with the be-
ginning of the melody or of the
next stanza) takes place in the
second half of the last measure;
the earlier the entry, the shor-
ter is the value of the last note
of the preceding group (and
conversely).
59a. *Change song; without upbeat
in the following stanzas.
59b. *Shortened value, because of
unintentional lengthening of
the preceding rest.
59c. *Change song. The interchange
takes place approximately at
this point, with the entry of the
new stanza; consequently, the
preceding group omits the last
measure of the melody.
**cey' instead of cerju.
60. *Same remark as to No. 59a. *
The second stanza was, in
 Notes to the Melodies
error, sung by the preceding
group in the recording.
61k. ·The final tone was shifted a
major third upward. The in-
tonation of the recording is im-
pure.
62c. ·Same remark as to No. 45h.···.
62d. ·This note is omitted in the
last stanza, whose structure
shows an unusual change-over
in the first and second melody
lines: 5,8,8 instead of 8,5,8.
62e. ·[Note is missing.]
62£. ·The text was not transcribed.
62g. • [Note is missing. Change song?
According to the note in the
Bucharest MS., the first meas-
ure represents a variant per-
formed by the second group.]
62i. ·Change song.
62j. ·Change song. Sometimes the
last tone is sung by both groups
together.
62k. ·Same remark as to var. j .••
··Group I sings the upper part,
group II the lower.
621. ·In the recording the refrain is
] uneluj buny,.
62p. ·Change song. The second half
of the last measure is sung by
both groups together.
62v. ·Change song. The interchange
takes place as follows: Group I
sings the first stanza to its end
and repeats the first melody
line at the point of junction;
group II begins directly on the
second eighth (or, in later
stanzas, on the first eighth of
the repeated first melody line)
with the beginning of the melo-
dy and the text of the second
stanza, sings to its end, repeats
the first melody line, and so on
(cf. No. 37b.).
62x. ·From here to var. z. there are
two-line variants whose shor-
tened form arises from the ab-
sence of the first melody line.
62aa. ·Change song. Mihai Coriu
sang the odd-numbered stro-
phes, Valer Mo~oni the even-
[ 191 ]
numbered ones. From here to
var. jj. there are four-line
variants whose extended form
arises from a repetition, after
the third melody line, of the
varied second melody line which
is also transposed a fifth lower.
62cc. ·The text was not transcribed.
In the recording the following
fragments are intelligible:
1. tmparatul-- 1. The emperor--
cerby, the stag,
r. Domnului r. To the Lord
Doamn'l Godl
---Craciun. ---Christmas.
2. Bucuria n!:-a 2. He has given us
facuty, (great) pleasure,
r., Refrain
---tomna mai --richer in the
avut. fall.
62dd. ·Text not transcribed; pro-
bably a variant of Text No. 64.
62ff. ·Text in the Romany lan-
guage; refrain in Rumanian.
64b. ·To eight-syllable text lines.
65. ·The first four measures of the
first stanza are incorrect in the
recording.
··Only in the first stanza.
66b. ·These variants are sung by
one performer in both strophes.
66c. ·Likewise in all following
stanzas.
67b. ·Performed by a young man of
higher schooling. The tempo is
overly slow.
71a. ·Ii is an unusual and excessive
supplementary syllable. After
a (usual) re supplementary syl-
lable, however, Ie used is in-
stead of Ii.
73b. ·In the recording, probably by
mistake, gl.
73c. ·In the recording, Toate mdndre
instead of D01,fa stele.
73i. ·In the recording the voice
level rises somewhat in the
third melody line. The new level
is maintained in the following
stanza until the third melody
line, where the voice level
again rises. As a result, the be-
 Notes to the Melodies
beginning of the performance is
considerably lower than the end.
73j. *Always performed in this
manner, in the recording, by
one of the two women.
73k. *Var. i. comes from the same
performer.
731. *One section of the singers al-
ways sang the upward-stemmed
variant.
73s. *Probably also in each follow-
ing stanza.
**Probably only in the first
stanza.
73x. *Performed by a young man of
higher schooling.
73y. *The recording begins with the
second melody line.
73aa. *Before the recording took
place, the melody was always
sung in this three-part form:
the first text line under the
first and second melody lines,
the second text line under the
third melody line. It was not
possible to record the entire
three-part form, for the second
melody line had meanwhile
departed irretrievably from the
woman's memory.
73bb. *Change song; a rather sur-
prising difference between the
performance tempi of.! both
groups!
**Final tone after st. 3.
73ee. Change song. The succeeding
group starts the next stanza
simultaneously with the last
tone-sometimes, even any-
where in the penultimate
measure.
73ff. *Text not transcribed.
73gg. *Same remark as to var. aa.*.
73ii. *From here to var. 00. the
forms are extended to four-line
structure.
73kk. *Instead of dalbii 'intinsa, a
special case of elision of the
two final syllables! This kind
2 [Cf. Bart6k and Lord, Serbo-C,oatian Folk Songs, pp. 76-77; also Vol. II of the present
publication, pp. 4, 33.]
[ 192 ]
(or just simple) of syllable-
slurring at the end of the line
also occurs here and there
among the Szekely [Transyl-
vanian Hungarians] and rather
frequently among the Serbo-
Croatians and the Bulgars. (See,
for example, Kuba, P.b.h., No.
36; W. Stoin, Grundriss der
M etrik und der Rhythmik der
bulgarischen Volksmusik, Nos.
159, 176).2
73nn. *As the first stanza, only the
refrain portion is sung; as the
fifth stanza, only the first half
of the melody.
73pp. *This variant and the two
following have a two-line form,
in which the first melody line of
the original three-line structure
is missing.
75b. *The dotted quarters often are
somewhat shorter, the eighths
somewhat longer, but only one
of the modifications occurs in
each group of .J. J.
76. *Tone production and perform-
ance not in peasant style (cf.
Nos. 12u., 92c.). In the record-
ing the first melody line of the
second and third stanza is
absent.
78a. *Text in Romany language.
The refrain, not transcribed, is
unintelligible from the record-
ing.
78b. *The text, not transcribed, and
unintelligible from the record-
ing, also seems to be in the
Romany language.
80:· *The second melody line is consi-
dered as coming from a hypo-
thetical ~ IPr JJ I J r JJ I eight-
syllable form, and is indicated,
therefore, with 8.
81a. *Change song.
UNot a change song.
81 b. *Same remark as to No. 18. *
 Notes to the Melodies
81d. *The second melody line is
considered as coming from an
eight-syllable structure (fourth
measure.. IJ/III)
"_ •. v """I • Cf• Nos.
Q"Uti-$!, ne·O'- •.
87a.b., 93. Apparently also per-
formed as a change song.
81e. *Change song. This variant and
the two following are on a level
a fifth higher than the preced-
ing variants.
**Change song. In the record-
ing, three stanzasi without the
slightest differentiation.
81g. *Change song. In the recording,
six stanzas, completely alike.
81h. *In the recording the first melo-
dy line was omitted through-
out. The following text line,
found on the recording, goes:
Cu besericj cre!jt'ine!jtjy.
81i. *This rest is missing in the
recording. The third line of the
melody is also missing.
81j. *Colindul copiilor (Children's
carol). A very stunted form,
apparently even with an in-
complete refrain.
82a. *Change song.
**Not a change song.
82b. *In the last stanza: ~. The
Doomn'
third melody line (which would
be similar to the first) is mis-
sing.
83a. *[The author's transcription of
mus. ex. 83a., made from this
record, appears in facsimile in
the editorial foreword, p. xix.]
83c. *The third line of the third
stanza could not be followed
further.
84a. *Change song.
84b. *Change song. In the recording,
three stanzas, entirely alike.
85a.b. *Change song.
86b. *Change song.
**In the second and fourth
stanzas (performed by the
succeeding group) d 2 is lower.
86c.d. *Since there is no recording,
the notation could not be
[ 193 ]
checked. Most probably a
change song, in limping "Bul-
garian" (10/16) rhythm.
86g. *Colinda jetelor (Carol for girls) .
The first stanza contains only
the second melody line. In
addition to this stanza, three
(complete) others were tran-
scribed.
uIn the recording, Ilona is
quite clearly audible instead of
Ileana (Hungarian influence ?).
86h. *Colinda junilor (Carol for
boys). Change song: In the re-
cording the succeeding group
always enters here, without
waiting until the end of the
stanza, whereupon the preced-
ing group gradually comes to a
stop, before completion of its
stanza (the last four notes are
derived from the transcription
made on the spot). There are
six strophes in the recording;
text lines four, five, and six are
not intelligible.
87a.b. *Change song. The last notes
are sung simultaneously by
both groups. The second, third,
and fourth stanzas of var. b. are
completely like the first.
**At the refrain-according to
the analogy of the refrain of the
(incomplete) vars. c. and d.-an
originally eight-syllable form is
suggested, wherefore the melo-
dy is constructed as isometric.
(Cf. 8ld., 93.)
87c. *Change song. The preceding
group sings the first stanza and
the first half of the second, the
succeeding group continues
with the second half of the
second stanza and the first half
of the third, the preceding
group re-enters with the second
half of the third stanza followed
by the first half of the fourth,
and so on. The text lines follow-
ing those given were not tran-
scribed and are not intelligible
from the recording.
 Notes to the Melodies
87d. *Change song. The succeeding
group enters with the next
stanza, usually on the first
eighth of the last measure, but
eventually only on the fourth
or sixth eighth. In the later
case, wherever between those
two parts of the measure, the
entry overpowers, so to speak,
the close of the preceding
stanza.
88a. *The second melody line is con-
sidered to be eight-syllable in
grouping.
88b. *Change song. The preceding
group begins with the last tone
of the melody and closes with
the third measure, the succeed-
ing group does likewise.
88c. *Change song. The succeeding
group begins the next stanza on
the penUltimate eighth, some-
times earlier, overpowering the
close of the preceding stanza, so
that the last tone of the melody
(at the spot marked with **) is
generally never audible.
89. *Change song. The last two or
three notes are sung by both
groups simultaneously.
90. *Structure not entirely clear; as
though, because of the splitting
of the refrain (H oj leruj da
leru-mi Doamne) , the proper
text lines of the melody had
been moved over one measure,
with the result that the limits
of the melody lines and the text
lines would not coincide. An-
other structural pattern, in
which melody and text lines do
coincide, would be 6, 8, II,61
@1; however, this explanation
does not seem likely.
92a. *Approaches triplet rhythm.
92b. *The recording begins with the
second melody line. The first
melody line of the first stanza is
here a reconstruction according
to that of the second stanza.
92c. *Tone production and perform-
[ 194 ]
ance less peasant-like (d. Nos.
12u., 76).
92d. *Change song. In the inter-
change the succeeding group
sings the upbeat at the same
time that the last eighth note
of the melody is sung by the
preceding group. The third line
of the third stanza is missing in
the recording.
93. *In grouping, the second melody
line can be considered as eight-
syllable (d. Nos. 8Id., 87a.b.).
**The performer knew no more
than two lines of the text.
95b. *The first melody line of the
fourth stanza is missing in the
recording.
95c. *The third melody line is o-
mitted in all stanzas (here it
is reconstructed) except the
last one, in which, however, the
preceding eighth rest is missing.
This rest, though, is present in
the other stanzas (likewise also
in the recording) only because
the omission of the third melo-
dy line at this point is treated as
the end of the stanza.
95d. *Colindii fete lor (Carol for girls).
95g. *In eight-syllable lines, if the
last (open) syllable is not
elided, in this manner: ~ .
95h. *The first text line is shortened
by one syllable.
**The continuation of the text
was not known.
951. *Colindii fetelor (Carol for
girls).
99a. *The first melody line of st.
is missing in the recording.
**Tone production of the per-
former not very peasant-like.
99b. *Begins a miner third lower.
then gradually rises to here.
l02a. *Change song. The recording
gives no clear picture of the
interchange, because of a stop
in the performance.
I02b. *Change song.
**Change song. The last eighth
 Notes to the Melodies
note is sung by both groups
simultaneously.
102d. *Change song.
* *One performer sang the upper
part, the other, the lower part.
***The third melody line of the
third stanza is missing in the
recording.
102e. *Change song. The second half
of the last measure is sung by
both groups simultaneously.
102j. *Change song.
102k. *Change song. The second half
of the last measure in the
second stanza is sung by both
groups together. The third
melody line of the third stanza
is no longer on the recording.
102m. *A very meager variant, con-
sisting of only one melody line
(thus, a questionable variant).
104a. *In the first stanza the first and
second melody lines are missing,
and in the third stanza, the
third melody line.
104b. *Affected rhythm and perform-
ance, too slow in tempo.
104c. *Same remark as to No. 104a. *
104e. *Text not transcribed.
104h. *One woman sang the upward-
stemmed, the other, the down-
ward-stemmed version.
106. *Colinda jiganului (Carol of the
gypsies): a jocose carol, in
which the refrain partly uses,
partly imitates gypsy words
(for example, devla means God).
110. *The group of Colinda singers
departs with the performance
of this Christmas song.
111c. *The syllable la results from the
emphatic pronunciation of the
last consonant.
111e. *Text not transcribed.
113. *Text not transcribed.
114a.b. *Cdntec de stea.
114c. *Colinda copiilor (Children's
carol; really, a Cdntec de
steal·
114d. *Cdntec de stea, performed with
excessive ornamentation.
Rhythmic fluctuations and tone
[ 195
production in the style of
church cantors.
115a. *Same remark as to No. 45n. *
115b. *Cdntec de stea. In artificial (not
peasant-like) performance, with
unusually great difference be-
tween the starting and closing
tempos.
115c. *The downward-stemmed ver-
sion applies to eight-syllable
lines.
**Continuation of the text not
transcribed.
***Cdntec de stea, learned in
school.
115d. *Cdntec de stea, performed in
church-cantor style.
116. *Originally the third and seventh
measures must have had the
same rhythm as the others. On
the basis of this hypothesis, the
melody is considered and classi-
fied as isorhythmic.
** As continuation of the text,
only the second and third
stanzas are given.
***In the second stanza this
measure seems to be in a
rhythm that constitutes a tran-
sition from that of the first to
that of the third stanza.
118a. *It is clear from the printed
variant given that the first (or
second) melody line is missing.
**Colinda copiilor (Children's
carol; actually, Ctintec de steal.
118b. *Same remark as to var. a. *
119. *Originally the penultimate
measure must have had the
same rhythm as the others; on
the basis of this hypothesis the
melody is considered as iso-
metric.
120. *Probably another "farewell"
carol; d. remark to No. 110.*
121b. *Only three measures of the
third stanza are recorded.
* *The first measure of the first
stanza is incorrect in the record-
ing.
121c. *In the recording, the first
stanza consists only of the
 Notes to the Melodies
second, third, and fourth melo-
dy lines. The second and third
melody lines contain, resp., the
first and second text lines; the
text of the fourth melody line,
not transcribed, is unintelligible
from the recording.
121e. *Only for eight-syllable lines.
121j. *Titled Vitleim (Bethlehem
song); that is, Cantec de stea.
Learned in school. -N.B.The
entire group, 121, is Cantec de
stea according to melody, but
apparently only vars. a.-d., f.-
k., m. according to text.
121k.l. *Only for eight-syllable lines.
121m. *The following four measures
constitute only a free repetition
of the third and fourth melody
lines, which are also sometimes
omitted.
**Only for eight-syllable lines.
12lr. *The first stanza consists only
of the second half of the melo-
dy; the others have this struc-
ture: the first half of the melo-
dy, repeated, then its second
half. The text lines are not
repeated.
122a. *On the basis of the printed
variants given, it can be estab-
lished that the first and second
melody lines are missing.
[ 196 ]
**Cantec de stea. The first to
third stanzas are incorrect in
the recording.
122b. *Same remark as to No. 122a.*
**Likewise in the last stanza.
123. *The recording begins with the
third melody line, so that the
text is shifted over by one-half
the melody.
127a. *Cantec de stea.
**Only the first and second
lines of the third stanza are
transcribed.
127b. *Cantec de stea.
* *These variants-apparently
to be considered as errors-are
in the recording.
128a. *Colindd cerbului (Stag's carol),
apparently thus named because
of the text.
** Approaches triplet rhythm.
128b. *Colindd /iganului (Gypsy
carol).
130.
131. :} Same remark as to No. 45n.*
132a.
132b. *Cantec de stea.
133. *Same remark as to No. 45n.*
**An unintelligible phrase. [See
translator's comment (fn. 250)
to this verse in Part Two, Texts
and Translations, No. 164.J
Part Two
 Introduction to Part Two

T he second part of this volume contains all the texts belonging to

the melodies of Part 1. Including 303 variants and 23 supple-
mentary fragments,! there is a total of 467 texts whose tabu-
lation below represents my first attempt at the classification of folk
texts.

THE GROUPING OF THE MATERIAL

Prior to examination of the ordering of the texts, the reader should

note that, because of the aforementioned initial endeavor, some errors
have crept in and were noticed only after all the material had been
classified and numbered. Moreover, there are certain texts which are
rather difficult to assign to a specific group. The various cases involved,
therefore, are detailed in paragraphs following Table 5.

TABLE 5
A SECULAR TEXTS
No.
I. Epic texts-secular subjects
a) Hunting (stags and lions) . 1- 9
b) Pastorals 10- 12
c) Ballads • . . • . . . . . 13- 24
II. Family life
a) To young girls. . • • . • • . . . . . • 25- 40
b) To the man giving the bride away • . . • 41
c) To young men (or to the son of the family) • 42- 47
d) To the host of the house . . . . • • • • • 48- 50
e) To a married couple . • . . • . • . • . 51
1 [See discussion of these editorial additions on p. xxx.]

[ 199 ]
 Introduction to Part Two
B SECULAR TEXTS WITH RELIGIOUS ALLUSIONS

I. Texts about the Colinda custom in general

a) Arrival of the Colinda singers. 52- 64
b) Congratulations . . . . . . 65- 68
c) Allusions to expected gifts. . 69- 72
d) Thanking and departing . . 73- 76
e) Texts related to the Plug~01'2 77- 81

C RELIGIOUS TEXTS

I. Religious legends
a) About God . . . . . . . . . . . . . . . . . . . 82- 83
b) About the Holy Virgin . . . . . . . . . . . . . . 84- 90
c) About the preeminence of God and John the Baptist. 91
d) Pursuit of St. John. . . . . . . . . . . . 92
e) About Judas . . . . . . . . . . . . . . 93- 94
f) The rebellion of the Jews against Christianity 95
g) Birth of Christ from a rock . . . . . . . . 96
h) About the Holy Mother and Christ. . . . . 97
i) Origin of wine, wheat, and annointing oil . . 98
j) Preeminence of wine, wheat and annointing oil.
k) About retribution in the future life. .
99
100
.
1) About the Last Judgement . . . . . 101-102
II. Texts about events described in the Bible
a) Creation of the World 103
b) The Fall of Man. . . 104
c) The Birth of Christ. . . . . . . . . 105-107
d) The three Magi . . . . . . . . . . 108
e) The Baptism of Christ . . . . . . . 109-111
f) Judas' betrayal and Christ's crucifixion. 112-114
g) Christ's ascension . . 115
D RELIGIOUS LYRICS • • • • • 116-133
E HUMOROUS TEXTS. • • • • • 134-136
F UNCLASSIFIABLE FRAGMENTS • 137-138
G ROMANY TEXTS. 139-141
H ApPENDIX • • • • • • • • • 142-164

Text No. 11 was put in the secular texts (A I b); Rosetti considers it
a religious one. 3 In my opinion it is of no decisive importance that in
some variants the shepherd is replaced by God or that in several both
the shepherd and God playa role. I consider this text a pastoral rather
than a religious allegory, although I admit that this interpretation may
be disputed.

a [Ritual ploughing songs; see editorial description on p. xxxiii.]

8 AI. Rosetti, CoUndele religioase la Rom4m, Bucharest, 1920, p. 64, type 24.

[ 200 ]
 Introduction to Part Two
Text No. 13 is apparently not a ballad fragment; thus, its classification
(A I c) is dubious. At this time, however, I know of no better solution
to the problem.
Text No. 36b. (A II a) should be in Group c), but variant a. remains
as presently classified.
Whether text No. 40 (A II a)-a fragment-is properly grouped or if
it belongs among the Ballads (A I c) is questionable.
Text No. 41 is incorrectly placed between A II a) and A II c); in
other words, the grouping in Subclass A II should have been a), c), b),
d), and e).
Text Nos. 50 (A II d) and 65 (B I b) are difficult to classify; they
might also be considered as belonging in Group A II c), and Group
A II d) or Subclass C I, respectively.
Text No. 66 might be more correctly considered a special group in
Subclass A II; that is, a "family" Colinda to a drunkard!
Text No. 85 might be better subsumed under Group A I c).
Text nos. 96 and 97 should follow No. 90; in other words, Groups C
I g) and h) should follow b).
Text Nos. 101 and 102 might better follow No. 115 and thus form an
eighth group, h), of Subclass C II.

With the exception of the ballads, of Nos. 10 and 135, and possibly of
Nos. 134 and 136, all texts are exclusively set to Colinda melodies and
sung as Colinda songs. We know of no variant of these texts, from any
region, which did not play its role as a Colinda song. The situation is
different, however, with the ballad texts and with text Nos. 10 and 135,
since there exist numerous variants which are performed not as Colinda
songs, but as ordinary ones (cantece, doine). There is a possibility that
certain ballad texts developed special and exclusive functions as Colinda
texts in certain areas, but there is no sufficiently conclusive evidence
for this hypothesis.
Rosetti lists in the above-mentioned treatise certain types of Colinda
texts to which the individual text numbers of this study correspond as
follows: 4

4 The title of Rosetti's publication indicates that only religious Colinda texts are dealt with;
that is, such texts as are included in Class C of this study. The three exceptions-types 24,21,
and 22, whose texts are included in Classes A and B of my collection- are due to a difference .
of opinion (see above).

[ 201 ]
 Introduction to Part Two
TEXT No. TYPE TEXT No. TYPE TEXT No. TYPE
11 - 24 91 - 10 100 14
52-64 (?) = 21 92 - 27 101-102 - 15
65 - 22 93 - 19 103 - 26
82 - 23 95 - 18 104 - 20
83 - 13 96 - 25 105 - 1 and 2
84 - 6 98 - 12 108 - 4and5
87 - 7 99 - 11 112 - 9
113, 114 (?) = 8

For the remaining texts of my collection Rosetti lists no corresponding

types. However, publications available to him contain variants of text
Nos. 90, 94, 106-107, 109, and 115,5 as is evident from my list of variants
from other collections (see below, p. 205); thus, it is somewhat difficult
to understand why his treatise contains no types for the classifications
represented by these texts. 6 Rosetti's types 3, 16, and 17 are not em-
bodied in my collection.

REFRAINS

The texts are followed by a systematic list of the refrains. Only one
Arabic numeral is assigned to refrains that are alike except for minor
differences; such deviations are listed in parenthesis under the refrain
in question. The refrains are grouped and numbered as follows:
I. Refrains with Domn; Domnul(e) ; Doamne . . . . . . 1- 39
II. Refrains with Ler; Lerului; and so forth. . . . . . . 40- 61
III. Various refrains (with Craciun; Luminioara; Raiu; and
so forth . . . . . . . . . . . . . . . . . . . . . 62- 69
IV. Refrains with J une(lui) ; J unele . . . . . . . . . . 70- 75
V. Refrains with Ficiori/a; Ficu/a; Ileana; Leno; Nevasta. 76- 93
VI. Refrains with Florile . . . . . . . . . . . . . 94-110
VII. Various refrains (with Maru(lui); Cetina; Cununa. 111-119
VIII. Refrains with Corinde. . . . . . . . . . . . . 120-132
IX. Various refrains with more or less unusual words . 133-147

5 Text No. 85 is not included, since it is better regarded as a ballad text.

S [The reader should refer to the editorial commentary on pp. xxx-xxxi concerning the
apparent discrepancies in the author's text listings here.]

[ 202 ]
 Introduction to Part Two
It is beyond the scope of this book to investigate the age and origin
of the Colinda texts or their relationship to folk song texts of other
nations, and so forth. I have tried, however, to make a reference after
each text (or text variant group) to the text variants in publications
available to me; whenever it seemed necessary, I appended critical
comments to the texts. The attempt to make reference to text variants
in other publications turned out to be rather difficult at times, because
most collections contain a kind of multiform text comprised of two,
possibly more, diverse and unrelated texts. 7 In such occurrences classifi-
cation was determined according to content of the preponderant com-
ponent. In a few cases I listed multiform (or double-) texts, according to
their component parts, as variants for two different text numbers of
my collection; the Notes to the texts indicate which part of the cited
text is relevant.

ORTHOGRAPHY

Lacking sufficient knowledge of phonetics, I have not attempted any

phonetic transliteration of the texts. I had to restrict myself to devising
a system which would reproduce the characteristic dialectal pronunci-
ations as far as I was able to observe them. Such an approach cannot, of
course, lay any claim to consistency in its representation of speech
sounds. Basically, there are two approaches to this problem: either the
texts are published without regard for consistent orthography, but so
as to give an approximate idea of dialectical peculiarities, or deviant
pronunciations are disregarded entirely and the texts are adapted to the
normal orthography of the written language.
I discovered, however, that even the latter alternative resists con-
sistent application, since dialectal pronunciation changes the number of
syllables of certain words. Obviously, in any such case the dialect must
not be tampered with, since the metric regularity of the poetry must
always be maintained.
Careful consideration of the problem finally led me to adopt a com-
promise; although this method is in itself inconsistent, actual inconsist-

7 Text No. tOSx. (see its note) provides a good example of an indissoluble amalgam of two
texts. In the case of some of the texts of my collection, which apparently were erroneous mix-
tures of different texts or, more often, of fragments, I detached the various components from
one another and listed them separately according to subject matter. Texts containing only a
few lines of extraneous origin were left intact; but in each case the foreign matter is identified
in the Notes to the texts.

[ 203 ]
 Introduction to Part Two
encies are comparatively infrequent. s The following dialectal pronun-
ciations were changed to conform to standard orthography:
1. Instead of the usual pii (= pe; ii in this word is a sound between
ii and e), pe is used in some texts.
2. Instead of the dialectal ce, ci (for te, ti or che, chi), die, dii (for de,
di or ghe, ghi), and a kind of ~ (for ci) in Hunedioara and Banat texts, the
characters listed in parenthesis are used.
3. The general usage is to pronounce the ea, ia, and a of the third-
person ending of the past tense, as well as the vowel sound in mea, as an
e. e
open, long Although is used, therefore, as a substitutional vowel for
the most part, in some cases the three mentioned characters are retained.
4. The very common practice of palatalizing d, t, I, and n is generally
disregarded, except in words which differ from standard orthography in
other ways also (for example, cune, mne,!!, pt' eatra").
5. The mute i (see below) is retained.
I left unchanged all other special features of pronunciation that my
untrained ear was able to identify, for I was, of course, incapable of
distinguishing the more delicate nuances which would require a phonetic
system of notation.
In order to prevent any incorrect metrical interpretation of the texts it
was necessary to add a special diacritical mark to the semivowels i
and u, which form no separate syllables, as follows: i, ,!!.9
Texts that were recorded phonographically were subsequently checked
several times in order to make the written version as accurate as possible.
Finally, I should mention that Professor Gheorge Alexici has looked
over all the texts that were available in written form only. lowe him
the solution of many problems posed by dialect words as well as a num-
ber of corrections of erroneous transcriptions.

8 [The attention of the reader is directed to the author's discussions of orthography in

Vol. II, pp. 1-5, and Vol. III, p. xxxix-xlii, of the present publication.]
8 There are words that are pronounced in different ways, for example, g,aia (two syllables:
g,a-ia) and g,aia (three syllables: g,a-i-a), or luat (lu-at) and 11}at (one syllable). If, in such cases,
no orthographical distinction were made between it and i and between 1} and u, the metric
interpretation would be obscure. Another one-syllable pronunciation is C1}-o, and I point to
the well-known fact that it is sometimes mute (as, for example, in astasit).

[ 204 ]
 Introduction to Part Two

LIST OF SOME VARIANTS PUBLISHED ELSEWHEREIO

Variants in other publications (listed in the bibliography of Part One and of
Part Two) are referred to as follows: last name of the author (in a few cases
publication titles are given, in italics) and text OR page (where texts are not
numbered) number. Double entries separated by a virgule indicate, in order, page
and text numbers.

TEXT NUMBERS VARIANTS IN OTHER PUBLICATIONS

1. . . . . . . . . Marienescu 136; Barseanu 49/XXVI; Velcu 6/IV;

Schmidt 22, 24; Viciu 138/LVI, 139/LVII, 139/
LVIII, 140/LIX, 141/LX; Dnlgoi 14, 24, 47, 83
107, 127, 134, 141, 175, 185, 188,227,238.
6. . Teodorescu 58/2,60; Dragoi 11,41.
7. . Marienescu 133, Teodorescu 69, 70; Tocilescu
527/2, 1466/1; Pasculescu 46/52; Viciu 119/
XVIII, 149/LXXIV; Dragoi 10, 194,232.
9. . Tocilescu 1468/1, 1472, 1474/2; Pasculescu 49/58.
10 . . Marienescu 147; Teodorescu 435; Tocilescu 3;
Barseanu 27/V; Viciu 167/CVI, 168/CVII, CVIII;
M aramure~ 187/7; Birlea 22/10, 123/24; Papahagi
74/CCCXXXIII, 78/CCCXLVI, 80/CCCLI, 102/
CCCLXXX, 120/CCCCV; Dragoi 23, 58, 156, 183.
11. . . . . . . . . Marienescu 144; Teodorescu 41/1; Barseanu 24/
II, 26/III, IV; Bud 70/8; Pasculescu 65/87; Viciu
lIS/X, 166/CII; Birlea 104/25; Papahagi 75/
CCCXXXV, 78/CCCXLV, CCCLIII; Driigoi 16.
14 . . . . . . . . . Teodorescu 410; Bibicescu 337/351,339/352,340/
353; Alexici 51; Tocilescu 13, 15; Tiplea 4/2;
Pasculescu 182/13, 183/14, 184/15; R.F.M. III
No. 1177c.; Viciu 143/LXIII, 144/LXIV, 145/
LXV, LXVI; Catana 74/10; Papahagi 118/
CCCCII.
16. . Viciu 113/VIII.
17. . Bibicescu 167/210; Alexici 45; Tocilescu 179,735/
2.

10 [The data following below represents an editorial extraction of listings appearing in the
author's drafts of the poetic texts. The reader should refer to his comments and similar listing
in Vol. III of the present publication, pp. xcvii-xcviiL]

[ 205 ]
 Introduction to Part Two
18 . . . . . . . . . Teodorescu 437, 438, 444; Alexici 42; Tocilescu 6,
8, 10, 12; Pasculescu 170/9; Viciu 169/CXI;
Catana 82/12.
19. . Bibicescu 345/355; Alexici 80, 83.
21. . Teodorescu 616; Alexici 112; Tocilescu 94; Bud
4/2; Papahagi 94/CCCLXVIII.
22. . Marienescu 45; Teodorescu 635; Bibicescu 261/
331, 267/332, 271/333, 273/334; Alexici 70; Bud
8/5; Catana 140/19; Birlea 24/11; Papahagi 90/
CCCXII, 93/CCCXVII.
24. . Marienescu 110; Viciu 121 /XX; Birlea 109/31;
Dragoi 82, 101, 219, 237.
25. . Pasculescu 53/66; Viciu 30/XL; Dragoi 192.
26. . Viciu 126/XXXLI; Dragoi 20,49.
27. . Marienescu 118; Schmidt 16; Viciu 126/XXXII;
Birlea 109/32; Dragoi 76, 231, 236.
28. . Marienescu 102; Teodorescu 86/1; Radulescu-
Codin 134/104; B~rseanu 37/XIV, 38/XV; Velcu
II/VII; Viciu 125/XXX, 128/XXXVI, 130/
XLI; Dragoi 75,97, 128, 139,226.
31. . Marienescu 97; Schmidt 15/3; Viciu 127/XXXIV,
128/XXXV; Dragoi 54, 102, 197.
32. . Marienescu 100; Teodorescu 86/2, 87; B~rseanu
28/VI, 30/VII, 31 /VIII, 32/IX, 34/X, 58/VI; Bud
69/7; Pasculescu 55/68; Velcu 9/VI; Viciu 123/
XXVI, 129/XXXVII, 143/LXII, 146/LXVII,
LXVIII; Dragoi 3-7,53,64,89, 195.
34 . . . . . . . . . Marienescu 127; Teodorescu 82, 83; Radulescu-
Codin 118/96; Tocilescu 526, 1466/2, 1471; Bar-
seanu 34/XI, 35/XII, 36/XIII, 37/XIV; Bud
68/4; Pasculescu 56/70, 57/73; Schmidt 33; Viciu
124/XXVIII, 125/XXIX, 132/XLVI, 133/
XLVII, 135/LI, LII, ISS/LXXXII; Birlea 100/
19; Dragoi 34, 51, 222, 234.
35. . Dragoi 50.
36. . Alexici 145; Viciu 28/XIV, 132/XLV; Dragoi 25.
37. . Marienescu 125; Schmidt 18; Dragoi 48,81, 180,
217.
38. . Viciu 147/LXIX, LXX, 148/LXXI, LXXII.
[ 206 ]
 Introduction to Part Two
39. . Alexici 157; Dragoi 84.
40. . Papahagi 95/CCCLXX.
42. . Teodorescu 49, 50; Radulescu-Codin 126/100;
Pasculescu 49/57.
44. . Viciu 109/I.
45. . Teodorescu 46,47.
48. . Marienescu 149; Hetcou 46/IX; Viciu 90/CXXII,
91/CXXIV, CXXV, 92/CXXVI, 93/CXXVII,
CXXVIII, 94/CXXXI, 158/LXXXV, 159/
LXXXVII, LXXXVIII; Dragoi 30, 45, 73, 94,
115, 171, 187,221.
50. . Viciu 119/XVII, 165/CI.
51. . Teodorescu 77/1, 2; Tocilescu 527/1; Bru-seanu
39/XVI(?); Pasculescu 53/65; Viciu 163/XCVI.
52. . Viciu 37/XXXII.
53. . Viciu 95/CXXXII, 122/XXIII, 160/XCI; Mara-
mure$ 188/9a.
55. . Dragoi 65.
58. . Teodorescu 20/2, 21; Bibicescu 233/1; Tocilescu
524/1, 1460/1, 1480/1; B~rseanu 5/1, 7/III, 16/
XV; Ciorogariu 9/1; Bud 70/9,71/10; Schmidt 21;
Viciu 25/IX, 26/X; Maramure$ 188/8; Birlea 87/
4; Dragoi 63,66,263; Brailoiu 3, 4, 6, 7.
59. . Marienescu 12; Tocilescu 1488; Papahagi 76/
CCCXXXIX.
64. . Viciu 175/XII.
65. . Marienescu 62; B~seanu 12/XI, 61 /VIII; Bud
68/3, 73/15; Viciu 65/LXXIX, 66/LXXX, 81/
CIX, 102/CXLII,u 152/LXXIX.ll
68. . Marienescu 60.
69. . Viciu 191/XXXVII; Birlea 100/18; Dragoi 70.
72. . Dragoi 224, 225.
77 . . Teodorescu 39, 40; Tocilescu 523/1; Pasculescu
23/III, 58/74; Viciu 29/XVI, 35/XXX,12 36/
XXXI ;12 Brilloiu 28.
78 . . . . . . . . . Viciu 27/XII, 28/XV.

11 The first half of the text only.

18 The second half of the text only.

[ 207 ]
 Introduction to Part Two
80. . Viciu 27/XIII.
82. . Marienescu 65; Radulescu-Codin 124/99; Marian
17,18, 19/1-2, 20/1-2, 21/1-2; Tocilescu 1481/2;
Bru-seanu 57fV; Bogdan 70/2; Hetcou 41/111;
Viciu 106/CL, lSI/LXXVII, 161/XCIII; Birlea
108/30; Dragoi 17, 155.
83. . . . . . . . . Marienescu 56; Alexici 169; Bru-seanu 16/XVI;
Bud 71/11; Hetcou 43/V; Viciu 61/LXXIII, 62/
LXXIV, 63/LXXV,12 LXXVI, 64/LXXVII;
Birlea 107/28; Papahagi 78/CCCXLIV; Dragoi
138, 207, 210.
84. . . . . . . . . Marienescu 28, Bibicescu 255/16; Alexici 156,
159; B~seanu 9/VI, lO/VIII; Tiplea 97/2; Bud
65/1,66/1,71/12, 72/13; Pascul~scu 19/26; Velcu
4/1; Hetcou 45/VII, 46/VIII; Schmidt 50; Viciu
44/XLIV, 48/L, LI, 49/LII, LIII, 50/LIV, 51/LVI,
51/LVII, 52/LVIII, LIX, 53/LX, 76/XCIX, 78/
CIII; Maramure$ 190/13 c.; Birlea 89/6;11 Papa-
hagi 79/CCCXLIX; Dragoi 55,79,93, 174, 198,
201,205,228,282.
85 . . . . . . . . . Teodorescu 22, 93,94/1-2, 95; Tocilescu 1465/2,
1464/1, 1495/1; Pasculescu 14/18, 175/10; Viciu
77/CI, CII, 78/CIV, CV, 79/CVI; Blrlea 101/21;
Dragoi 189.
87. . . . . . . . . Marienescu 41, 51; Teodorescu 91/2; B[lrseanu
56/IV; Bogdan 70/1; Pasculescu 36/38, 61/79;
R.F.M. III Nos. 1, 1173a. (lines 5-10); Viciu 35/
XXX,n 36/LXXXI,11 67/LXXXII, LXXXIII,
68/LXXXIV, LXXXV, 69/LXXXVII, Ill/IV;
Blrlea 92/8; Dragoi 36, 169, 178, 204, 214, 223,
242, 264, 299, 301.
89. . Dragoi 179.
90. . Marienescu 38.
91. . B[lrseanu 12/X; Pasculescu 13/16; Viciu 160/XC,
164/XCVIII; Dragoi 144.
92. . Marienescu 26; Alexici 155; Ciorogariu 11/2;
Viciu 55/LXIII, LXIV, 56/LXV, LXVI, 58/
LXIX, 143/LXI; Birlea 106/27; Papahagi 74/

[ 208 ]
 Introduction to Part Two
CCCXXXII; Sebestyen 30, 42-43, 69-70 ;13
Dnlgoi 92, 124.
93. . . . . . . . . Marienescu 77, 80; Teodorescu 33; Bibicescu 246/
11; Marian 10, 11, 12/1, 12/2, 13, 14, 15, 16/1,
16/2; Alexici 142, 149; Barseanu 13/XII, 14/
XIII; Pasculescu 16/23, 50/59; Hetcou 39/II;
Viciu 87/CXVIII, 88/CXIX, CXX, 89/CXXI, 90/
CXXII, 152/LXXIX;12 Dragoi 15, 59, 125, 142,
153, 176,295; Brailoiu 13, 14, 19.
95. Teodorescu 32; Pasculescu 18/25, 30.
96. Viciu 51 /LV, 63/LXXV;U Dragoi 173.
97. Alexici 161.
98. Marienescu 53; Teodorescu 27, 28; Bibicescu 242/
8; Radulescu-Codin 132/103; Alexici 146; Tociles-
cu 524/2; Barseanu 21/XXI; Pasculescu 9/10;
Viciu 70/XC, 74/XCVI; Dragoi 2, 34, 108, 177,
230, 262; Brailoiu 11.
99 . . . . . . . . . Bibicescu 244/9; Barseanu 53/II; R.F.M. III No.
858; Viciu 95/CXXXIII, 98/CXXXVII,
CXXXVIII,99/CXXXIX, 100/CXL, 101/CXLI,
102/CXLII,12 107/CLIII, 108/CLIV, 153/LXXX;
Maramure~ 191/15, 192/16; Dragoi 62, 154, 193,
220, 297; Arany-Gyulai 182/24; Bartok-Kodaly
16/11; Erd. Magy. 45.1 4
13 The three Hungarian variants are parts of so-called Regas songs and are of Western
Hungarian (Transdanubia) derivation. This type of song and the related Christmas custom
(regoles) were very popular in that area, and three or four decades ago it was still possible
to collect numerous specimens of Regas texts. In many of them the "wondrous" deer (csoda-
/iuszarvas) is mentioned, but only in the three texts given here does the deer tell the attacking
hunter that he is God's emissary. Since Transdanubia is far from any part of Rumania, this
occurrence can hardly be considered a case of mutual influence; the common theme must have
a common (unknown?) origin. Among the Szekely of Transylvania there were only two villages
in Udvarhely County where regos songs were known, which, however, told nothing of the
"wondrous" deer. It is interesting that most of the Rumanian variants known through
Rosetti's and my publications come from the Transylvanian part of Rumania.
14 The first of the Hungarian variants comes from the Transylvanian county of Mure~­
Turda; the third from Csik County (also in Transylvania); while the second is from the county
of Nyitra (now in Western Slovakia), an area far removed from Rumania, sung during the "fire
ceremony" on the evening of the feast day of St. John. There are no comparable data concern-
ing the first and third variants. What was said with reference to text No. 92g. (preceding foot-
note) also holds true here: apparently this type of subject was once as widespread in Hungary
as it still is in Rumania, a fact which presents some justification for the assumption of a common
origin. It is interesting that-as in the case of No. 92-all available Rumanian variants stem
from the Transylvanian part of Rumania. The first of the Hungarian variants was published
as early as 1872, while the first known Rumanian variant did not appear in print until 1887 (in
the Tribuna, Sibiu).

[ 209 ]
 Introduction to Part Two
100 . . . . . . . . Marienescu 74; Alexici 139; Hetcou 47/X; Viciu
82/CXI, CXII, 83/CXIII, 84/CXIV, 85/CXV, 86/
CXVI, CXVII; Maramur~ 191/14; Btrlea 104/
26; Papahagi 77/CCCXLII, 77/CCCXLIII;
Dragoi 22, 132, 182, 252.
101 . Bftrseanu 18/XVIII; Pasculescu 14/17; Dragoi
268.
102 . Erben 566/61. 15
103 . Bibicescu 235/316, 237/317; Radulescu-Codin
117; Tocilescu 528/1 ;12 Bftrseanu 8fV; Pasculescu
12/15, 19/26; Viciu 21/1, II, 23/IV, 25/VIII, 26/
IX, 30/XIX, 31/XX, 38/XXXIV, 39/XXVI, 59/
LXX, 165/XCIX, 165/C; Dragoi 91, 103, 181,
246,257.
104 . . . . . . . . Marienescu 82; Bibicescu 234/2, 254/15; Bftrseanu
5/II, 22/XXII, 23/XXIII; Pasculescu 10/12;
Hetcou 42/IV; Schmidt 44; Viciu 80/CVII, 80/
CVIII, 81/CX; Maramure$ 186/3, 192/18; Btrlea
98/15, 99/16; Papahagi 74/CCCXXXIV; Dragoi
35, 164, 281; Brailoiu 53, 54, 55, 56, 57, 58, 59,
60; Susil 37/30; Erben 559/48; Vykoukal 84;
Bartos 1151/2053; Slovak Folk Songs No. 329
d. 16
105 . . . . . . . . Marienescu 1, 3; Alexici 164; Tocilescu 1487/1;
Bud 66/2, 67/2; Pasculescu 11/3; Viciu 23fV, 33/
XXVII, 4O/XXXIX, 41/XL, 42/XLII, 43/
XLIII, 44/XLV, 45/XLVI, 46/XLVII, XLVIII,
47/XLIX; Birlea 88/5; Papahagi 76/CCCXXX-
VIII; Dragoi 21,61, 118, 129, 148, 191,202,216,
243; Brailoiu 2.
106 . Viciu 32/XXV, -39/XXXVIII; Brailoiu 1.
107 . Teodorescu 26; Bibicescu 246/10; Tocilescu 1460/
2; Bftrseanu II/IX; Viciu 22/III; Dragoi 110.
108 . . Marienescu 6, 9, 22; Bibicescu 238/6; Tocilescu
1468/2, 1473/2, 1486/1, 1487/2; Velcu 5/II; Viciu
24/VI, 25/VII; Dragoi 71,200,203.

11The Czech variant from Erben's collection contains only the Struggle of Body and Soul.
11With regard to mutual influence, see comments to text Nos. 92 (fn. 13) and 99 (fn. 14)
above.

[ 210 ]
 Introduction to Part Two
109 · Marienescu 35; Teodorescu 31 ; Drag-oi 80.
112 · Marienescu 49; Alexici 144; Tocilescu 1462, 1483;
Bud 68/5; Hetcou 44/VI; Viciu 66/LXXXI, 70/
LXXXVIII, 71/XCI, 73/XCIV; Maramure~ 187/
6b, 189/12; Birlea 89/6,12 90/7, 93/9, 93/10, 94/
11,95/12,13; Papahagi 73/CCCXXX, CCCXXXI,
75/CCCXXXVI; Dragoi 19, 68, 143, 254, 256,
294,300,302.
114 · B~rseanu 9/VII; Viciu 69/LXXXVI, 73/XCV.
115 · Marienescu 47; Viciu 72/XCII, 72/XCIII, 104/
CXLV; Birlea 102/23; Dragoi 296; Brilloiu 12.
118 · Bud 68/2; Maramure~ 186/1.
119 · Tocilescu 1475/2; Dragoi 166, 239, 286; Brilloiu
9 (?), 33-34.
121 · Tocilescu 1485/1; Viciu 33/XXVI; Maramur~
192/17; Dragoi 111, 121, 162,267; Brilloiu 29-32.
122 · Bibicescu 248/12; Tocilescu 528/1, 1479/1, 14811
1; B~rseanu 19/XIX; Viciu 37/XXXIII ;11 Dragoi
167,229.
125 · Schmidt 47/2; Viciu 32/XXIII, XXIV.
127 · Dragoi 261,274,277; Brilloiu 36-37.
128 · Marianescu 90; Tiplea
, 98/3; Papahagi 80/CCCLI;
Dragoi 292.
134 · Dragoi 298.
135 · Alexici 118, 120; Drag-oi 199.
136 · Hung. Folk Music Text No. 297;17 Slovak Folk
Songs No. 970,17

EXPLANATION OF THE SIGNS USED IN THE TEXTS

1. Texts having the same number are variants, differentiated as a.,

b., c., and so on.
2. Strophic structure-which is, however, frequently variable (see
Part One, p. 28)-can be deduced from the manner in which the first
stanzas are fitted to the music. All the text lines between the beginning

17 The widespread Hungarian variant has everywhere only one stanza and thus enumerates
only three parts of the horse's body. The Slovak version is as detailed as the Rumanian, and
its language is every bit as ribald.

[ 211 ]
 Introduction to Part Two
and the ·ruled double line ( ) appear in Port One, placed under
the respective melody stanzas or melody sections, except those in
brachets (dictated text lines which had been erroneously omitted
during the recorded performance). Text lines placed between, ruled
single lines ( ) were sung to one melody stanze.
3. Those supplementary syllables (p-ert One, pp. 8-9) which were
observed and noted down are indicated with an underline. 1s
4. Repeats of lines are indicated by I: : I; if there are slight deviatious
at the end of the repeated line, the signs II.1111. (prima I
volta, seconda volta) are used.
5. Text set off from the main part of the song by a large asterisk
contains the customary congratulations, which are not part of the subject
matter. The annotation F ara melodie (without melody) indicates that
such a text is not sung, but only recited.
6. Variants in text lines are marked with {; generally the upper words
are RECORDED, the lower ones only NOTATED on the spot.
7. Dashes are used for unintelligible syllables; dashes instead of a text
line indicate that one or more text lines seem to be missing.
8. Small asterisks refer to the Notes to the Texts, pp. 000-000.
9. Insteadofthe usual quotation marks the sign- (dash) is used at
the beginning of the quotation, for secondary quotations = (double
dash).
10. Texts with text stanza structure (Nos. 130-133) are indicated by
punctulated Arabic numerals placed in the left-hand margin of the texts.
Numerals without punctus, similarly located, are used in the other texts
as line-counting figures.
11. Cf. lin brackets) following the numerical designation of a text
refers to another text which is in some way related, although the latter
is printed elsewhere according to its classification.
12. Dialect words, except those that show only minute deviations
from the usual spelling or are generally known, are explained in the
marginal notes. < ung. (Hungarian), < nemt. (German), and < slav.
(Slavic) indicate the pertinent etymology. Sic! indicates unusual word
forms or words of unknown meaning.
13. Syllables connected by an arc are to be pronounced as one syllable
(for example, text No. 3a., ninth line: mje-9). Initial and final vowels
separated from the stem of a word by adash do not form separate
18 [The author makes exceptional use of the wavy underline (see the music examples,
passim) to indicate the pseudo-upbeat particle Gil (text No. 112r.).]

[ 212 ]
 Introduction to Part Two
syllables. A d preceding a word beginning with a vowel and separated
from it by a dash is euphonic.
14. Special phonetic symbols used in the texts are fully explained in
Part One (p. 40: Section 20).
15. At the end of each text there is a figure in parenthesis indicating
the respective melody number in Part One. 19 In addition there are given
the respective village and the signs cfo or if; cfo meaning a female singer,
if a male one.
16. The occurrence of refrains is marked in the main text part by r.
(or I.r., 2.r.). The full refrain follows at the end of the main text.

19 Va,., ISt. Va,., or and. Va,. stand for melody variants which will be found in the marginal
notes of the given music examples.

[ 213 ]
 Works Cited In Part Two

Alexici, G. Texte din literatura poporana romana. Budapest, 1896. Published by

the author.
Arany, L. and Gyulai, P. Magyar NepkOltesi Gyujtmeny. Vol. I. Budapest,
Kisfaludy Tarsasag, 1872. Cited as "Arany-Gyulai."
Barseanu, Andreiu. Cincj-decj de colinde. 2nd. ed. Br~ov, Ciurcu, 1903.
Bart6k, Bela. Slovak Folk Songs. [3 vols. (Vol. I, 1959; Vol. II, 1970; Vol. III in
press). Bratislava, Academia Scientiarum Slovaca.]21 Cited as titled.
Bart6k, B. and Kodaly, Z. Magyar Nepdalok. Budapest, Karl Rozsnyai, 1906.
Cited as "Bart6k-Kodaly."
Bartos, Frantisek. N arodne Pisne M oravske. Prague, Czech Franz-Joseph Academy
of Science, 1899-1901.
Bibicescu, I. G. Poesii populare din Transilvania. Bucharest, 1893.
Btrlea, I. Balade, Colinde fi Bocete din Maramure~. Vol. I. Bucharest, Casa
$coalelor, 1924.
Bogdan, T. A. Stefan eel Mare. Brlli?ov, Ciurcu, 1904.
Bud, Tit. Poesii populare din Maramure~. Bucharest, Academia Romana, 1908.
C1itana, Gheorghe. Balade poporale. 3rd. ed. Br~ov, Ciurcu, 1916.
Erben, K. J. Prostonarodni ceske pisne a rikadla. 2nd. print. Prague, Alois Hynek,
1886.
Hetcou, Petru. Poesia poporala din Bihor. Beiu!?, 1912.
Kuba, L. Pisne bosensko-hercegovske. Prague, Hudebni Matice, 1927.
Marian, Sim. Fl. Sarbdtorile la Romtni. Vol. I. Bucharest, Academia Romana,
1898.
Marienescu, Marian. Poesia populara. Colinde. Pesta, 1859.
Papahagi, Tache. Graiul ~i folklorul M aramure~ului. Bucharest, Academia Ro-
mana, 1925.
Pasculescu, Nicolae. Literatura populara romaneasca. Bucharest, Academia
Roman1i, 1910.
Radulescu-Codin. Din Museel. Cantece poporane. Vol. r. Bucharest, Socec & Co.,
1896.
20 [See pp. 44-45 (Works Cited in Part One) for bibliographic details of other publications
cited in Part Two.]
B1 [Excluding variants, Vol. I contains mus. ex. Nos. 1-421; Vol. II, Nos. 422-1077; Vol.
III, Nos. 1078-1620. As Vol. I shows, the music examples, poetic texts (untranslated) and
variants published elsewhere are printed together, under the individual numerical designations
of the melodies.]

[ 214 ]
 Works Cited in Part Two
Rosetti, AI. Colindele religioase la Romtni. Bucharest, Academia Romana, 1920.
Schmidt, Tibolt. A hazai olahsag kolindakolteszete. Part I. Budapest, 1913. Pub-
lished by the author.
Sebestyen, Gyula. Regos-Enekek. Magyar NepkOltesi Gyflitemeny. Vol. IV. Buda-
pest, Kisfaludy Tarsasag, 1902.
Teodorescu, G. Dem. Nojiuni despre colindele romdne. Bucharest, 1879.
- . Poesii populare romdne. Bucharest, 1885.
Tiplea, AIexandru. Poezii populare din Maramure~. Bucharest, Academia Ro-
mana, 1906.
Toci1escu, Gr. G. Materialuri Folkloristice. Vol. I. Bucharest, 1900.
Velcu, N. G. Colinde. Caransebe!?, Libraria diecezana, 1911.
Viciu, Alexiu. Colinde din Ardeal. Bucharest, Academia RomA.na, 1914.
Vykoukal, F. V. CesM Svatba. Prague. (Year of publication not listed; published,
however, in 1892.)

[ 215 ]
 Texts and Translations

TRANSLATOR'S NOTE

Throughout this collection of texts, words and phrases appearing in

parentheses have been added by the translator, either for the sake of
clarity or in order to render the original meter. Each piece is not only a
verse-by-verse rendition, but also, so far as possible, a word-by-word
translation. The refrains, on the other hand, are rendered throughout in
but an approximate manner, the translations conveying their general
purport only. Indeed, since a precise translation would more often than
not be impossible without resulting in gibberish, the translator's main
concern has been to reproduce the meter of the original in each case.
Refrains containing the word Ler, for instance, are untranslatable. The
origin and meaning of Ler, which appears constantly in Rumanian
carols (sometimes in the forms leroi, leroloi, lerelui, and lerom), are yet
to be determined with any degree of certainty. These traditional words
are often followed in typical refrains by a series of equally obscure and
unintelligible words. Moreover, Ler-Imparat (Emperor Ler) is a stock
character in Rumanian (prose) folk tales. One is tempted to speculate
whether we have here a reminiscence of the Roman Lares or, perhaps, of
the Celtic marine god Ler (cf. King Leir, popularized by Geoffrey of
Monmouth, and Shakespeare's King Lear). The verb a lerui, a Transyl-
vanian regional one, means to sing a carol to its own tune.
All footnotes, unless otherwise indicated, have been supplied by the
translator. The English and Rumanian subtitles, renditions of the
author's own German ones, have been supplied by the editor.

[ 217 ]
 A. SECULAR TEXTS
TEXTE SECULARE

1. EPIC TEXTS-SECULAR SUBJECTS

TEXTE EPICE-SUBIECTE SECULARE

a) HUNTING (STAGS AND LIONS)

VANATOARE (CERBI ~I LEI)
la.
[Straga doi mari imparati:]
-Cille 'n lumea s'or d-aflarie,
1'.,
Sa-mi aduc'un l'ey l'egatu,
I: Sa-mi aduc'un l'ey l'egatu : I,
5 L'eu l'egat, nevatamaty,
Nici cu pu~ca nu-i pu~caty,
25 Say'n sabii sa ne taiem?
Sa luptar'o zi de vara,
Zi de vara pana 'n sara.
Cand i~i fu in cap de sara,
~i-aduce june pe ley
30 Pana 'n curte la 'mparatu,
Sa-i de fata ~i d-olatu. 1
'Y. Domnuluj, Domnuluj Doamne!
(62p. Nuc~oara ¢)

Nici de d-arc nesegetat? lb.

S'afl' on june d-insurat,
Cii.-mi aduce lel} legat,
10 Ley legat, nevatamat,
Nici cu pu~ca nepu~cat,
Nici de d-arc nesegetat.
Salta ici, salta cole,
Saltii.'n var~ii muntilor
15 La cruclle brazilor.
Gasi leu d-adurmit
La on spine d-influrit.
Pana june-mi chibzue,
Leu mi sa pomene
20 ~i din grai ~a-mi graie:
-D-alte capete-s mal mari
~i la min' n'or cutezat,
Dara tu ai cutezat.
Say'n lupte sa ne luptem,
1 = eliidirile din juruI easei.
Colea susul, mai d'in susy,
1'.,
D'\l-asupra la rasarity,
====
I: D'\l-asupra la rlislirity : 1
mandru .
Est\l-un pom { dulce 'nflunty
, {poam' a pomoluiy
5 Da su pom dulce 'nfluritu
------
~ed\l-on june, hodine~te
~i murgutu-~i potcove~te
Cu potcoave de d-argint,
Cii. prind bine la pamant,
10 ~i cune de sarma 'ntoarsli,
Cii. prind bine ~i la coastii..

[ 218 ]
 A. SECULAR TEXTS

1. EPIC TEXTS - SECULAR SUBJECTS

a) HUNTING (STAGS AND LIONS)

la. 25 Or by slashing out with swords?

Two great emperors call out:
Who'll be found in the (whole) world
Refrain
To bring me a lion bound,
To bring me a lion bound,
5 A bound lion (yet) unharmed,
Neither with a musket shot
Nor with bow and arrow pierced?
There be a young man unwed,
To bring me a lion bound,
10 A bound lion (yet) unharmed,
Neither with a musket shot
Nor with bow and arrow pierced.
He leaps hither, yon he leaps,
He leaps to the mountaintops,
15 In the middle of the pines.
(There) he found the lion sleeping
By a flowering bramble bush.
While the lad was taking council,
(Lo,) the lion came awake
20 And made speech and thus he said:
There be other greater heads,
And they dared not (come) to me;
You however have made bold.
Shall we fight it out by wrestling,
On a summer day they struggled,
On a summer day till evening.
And as night began to fall
The young man brought (back) the lion
30 To the mansion of the emperor,
(And his) land and daughter claimed.
Refrain: Unto God, unto God, Lord God!
lb.
Up above, there, higher upward,
Refrain
Over there, toward the sunrise,
Over there, toward the sunrise,
, {handsome tree a-blooming;
There s a sweet tree (all) abloom;
5 {But beneath the flowering tree
Under the sweet flowering tree
A young man is sitting, resting,
And his sorrel he is shoeing,
(Shoeing him) with silver horseshoes,
Because they grip fast the earth;
10 And (with) nails of twisted wire,
For they hold fast on a slope.

[ 219 ]

Maiea lui daca-l vede,
Ie din gur' ~-mi graie:
-Petre, Petre, dragul maiehii,
15 Ce tu g~ndu ca ti-ai pus?
Or ai g~nd de pribegie,
Or ai g~ndu de hotie?
El din gur' W?a-mi graie:
-Maiea, maiea, draga mea,
20 N'am ey g~ndu de hotie,
Niei g~ndu de pribegie,
Fara e\! m'am d-oblieit 1
In v~i/oru muntilor,
La erueile brazilor
25 Est~-on leu adurmit,
Adurmit, nepomenit:
Duee m'oi, aduee l-oi.
$i pe murg inealeea,
Salta iei, salt' acia,
30 Salta 'n vale, salta 'n eale,
Salta 'n v~rvu munWor,
La erueile brazilor,
Gasi leu adurmit,
Adurmit, nepomenit.
35 P~na el inti ehibzue,
Ley din somn sa pomene
$i din gur' ai/a-mi graie
-Stai june, nu-mi sageta,
Nu grabi eu moartea mea,
40 Fara 'n lupta sa ne lyam,
Ca luptele-s mai direpte.
Sa luara, sa luptara
Zi de vara pana 'n sara.
Cand fu i/i in cap de sara,
45 Ca-mi aduse ley pe june,
Cum l'aduse, jos nu-l puse.
Luara s'a doya oara
Zi de var~ pana 'n sara.
Cand fu i/i in cap de sara,
50 Aduse june pe ley,
Cum l-aduse, jos mi-l puse.
$i ley din gura-mi graie:
-Stai june, nu ma pU!iea,
54-65 = var. ~ 58-69.
r. Juneluj buny,!
(62k. Rau de mori ¢)
Ie.
Sub eer r0!i de rasarity
Mandru pomu-i d-influrity.
1 = aflat.
[ 220 ]
A I a}
Dar sub umbra pomului
Sed~-on june, hodine!ite,
5 La murgut imi potcove!ite,
Cu poteoave de molotru,
Cunele de s~a 'ntoarsa,
Care-mi prind bine la eoastii
$i la drumuri d~mburoase.
10 Maica sa la el vene
$i din gur' asa-mi graie:
-Ce tu, june, ti-ai gandit,
De la murg imi poteoave!iti?
Say ai gandu de hotit,
15 Sa\! ai gand de pribegit?
-Taci, maieo, nu ma 'ntreba!
N'am io g~ndu de hotit,
N'am gand niei de pribegit*
r. Florile-s dalbe!
(62k. Rau de mori ¢)
ld.
Pe su' d-umbra vitaieiY,
r.,
June cal imi poteove!ite
Cu poteoavele d~-arama,
eu eune de s~a dalba.
5 El pre murg sa 'nealeca
$i sa dara d~-a salta,
Salta iei, salta eolea,
Salta 'n var!iii munWor.
Supt on spina d-influrit
10 Gasea -mi leu d-adormit,
D-adormit, nepomenit.
Paua june sa gandea,
Leu mi sa pomenea
$i din gur' W?a-mi graia:
15 -Da tu tanarel voinic,
Tu aiei de e~-ai venit?
Say zilele ti-ai d-urit,
Sa\! viata ti-ai sf~ri/it?
-Niei zilele n'am urit,
20 Niei viata n'am sfar!iit,
Ci-am venit sa ne luptiim.
Sa lupta eM sa lupta,
Sa lupta 0 zi de vara,
Zi de vara pana 'n sara.
25 Cand Imi fu ~i murg de sara,
Duse-mi june leului.

(And) his mother, when she saw him,
Spoke (to him) and thus she said:
Peter, Peter, mother's darling,
15 What have you a mind to do?
Have you set your mind on wandering,
Or on robbery have set it?
He spoke out and thus he said:
Mother, mother, my beloved,
20 (Nay,) I have no thought of robbing
Nor have I a thought of wandering;
It is but that I've found out
That upon the mountaintops,
In the middle of the pines,
25 There's a lion (lying) sleeping,
(Lying) sleeping unaware:
I shall go and bring him in.
And he mounted on his sorrel,
He leapt hither, he leapt thither,
30 Leapt in dale (and) on the way,
Leapt upon the mountaintops,
In the middle of the pines;
Found the lion (fast) asleep,
(Fast) asleep (and) unaware.
35 While he was considering,
(Lo,) the lion came awake
And made speech and thus he said:
Stay, do not unloose your arrow,
Do not hasten with my death,
40 Let us rather fight it out,
Because wrestling is more fitting.
(So) they grappled (and) they wrestled
On a summer day till evening.
When the evening shades were falling,
45 Lion bent the youngster over,
Bent him over, didn't fell him.
They set to a second time,
On a summer day till evening.
When the evening shades were falling,
50 Youngster bent the lion over,
Bent him, set him on his back.
And the lion spoke and said:
Youngster, stay (and) do not shoot me,
54-65 = 58-69 of var. g.
Refrain: To the good youngster!
Ie.
Under a red sunrise sky
There's a handsome tree abloom.
1 This is not clear from the text of the verse, which could mean the exact opposite. The sense
is indicated, however, by the subsequent developments.
[ 221 ]
A I a)
In the shadow of the tree
Sits a youngster, resting (there),
5 (And) the while his sorrel shoeing,
(Setting) horseshoes of sweet clover,
(With some) nails of twisted wire,
That hold fast upon the hillside
And where ways are steeply sloping.
10 Unto him his mother came
And spoke up and said to him:
Youngster, what have you in mind,
That the sorrel you are shoeing?
Have you set your mind on robbing,
15 Or have you a mind to wander?
Quiet, mother, do not ask me!
I have not a mind to rob,
Nor have I a mind to wander.
Refrain: White are the flowers!
ld.
Down below the shade of grapevine,
Refrain
The young man his horse is shoeing
With some horseshoes (made) of copper
(And) with nails (made) of white wire.
5 On his sorrel (then) he mounted
And began to leap about:
He leapt hither, he leapt yon,
He leapt to the mountaintops;
Underneath a flowering thorn
10 Found the lion sleeping (fast),
All asleep and unaware.
While the youngster stood in thought,
(Lo,) the lion came awake
And he spoke and thus he said:
15 Why, you stalwart youngster, you,
What has brought you to these parts ?
Are you wearied of your days,
Has your life come to an end?
I'm not wearied of my days,
20 Neither ended is my life,
But I've come that we might fight.
For a while they fought it out,
Of a summer day they wrestled,
Of a summer day till evening.
25 When the dusk began to fall,
Lion overcame the youngster: 1

Cum n duse, nu mi-l puse.
~i sa lQ.a a dOl}a oara
~i sa ll}a !?i sa lupta,
30 Sa lupta cat sa lupta
Sa lupta 0 zi de vara,
Zi de vara pana 'n sara
Cand imi fu!?i murg de sara
Duse-mi leu junelui.
35 Cum il duse, nu mi-l puse
Pe tri sfoare de matasa
tmpletite 'n cinci !?i 'n !?ase,
Ca mana la pumn de groase.
El pe murg sa 'ncaleca
40 ~i sa dara d~-a salta.
Salta ici, salta colea,
Salta 'n curtea junelui.
Junea din gura-mi graia:
-Ia ie~i, maica, pan' afara,
45 De-mi descuie potiile,
Ca-ti aduc un lel} legat,
Lel} legat, nevatamat,
Nici in pu!?ca nu-i pu~cat,
Nici in sabij nu-i tliiat,
50 Numa la lupta-i luptat.
Maica din casa ie~ind,
Din suspini d'abie graind,
Din lacrimi d'abie zarind:
-Ferica de mine, Doamne!
55 Cam hazna ca I-am scaldat,
C'am scaldat, I-am fa~iat,
Ca-mi aduc~-on lel} legat,
Lel} legat, nevatamat,
Nici in pu~ca nu-i pu~cat,
60 Nici in sabij nu-i taiat,
Numa la lupta-i luptat.
'1'. Domnul daj Domnuluj Doamne!
(86d. Paucinesd if)
le.
I.'I'.,
La potiile la 'mparaty
~ede mirea razamaty,
2.'1'.,
~ede mirea razamaty
~i s'o cere la vanaty,
5 ~i s'o cere la vanatu
Pe carli n'o umblaty.
Pe valea Celeului
1 = grai?
[ 222 ]
A I a)
Dede 'n urma leului.
Gasi leu adurmit
10 Supt on rug mandru 'nflurit.
Pana mirea sa gandea:
Sageta 1-0 0 lasa 1-0,
Sageta 1-0 adurmit?
Lel} sa tine 'nceluit.
15 Pana mirea sa gandea,
Leu 'n talpe sa punea
~i la lupta sa dedea,
Zi de vara pana 'n sara.
Cand era mal langa sara
20 Biruea mirea pe leu,
L-in~ela ~i 'ncurela
Panga murgu 'mpaivana.
Sus pe murg mi-s 'arunca
$i d~-atunci ca sa lua
25 Tot d~-alungu drumului
~i d~-alatu campului.
Nime 'n lume nu-l vedea,
Fara draga maica-sa.
Maica-sa din ciar 1 (sic!) graia:
30 -Ferice, Doamne, de mine!
Ce bliiatu mi-am bliiat,
Mi-am bliiat ~i mi-am scaldat,
$i mi-aduce lel} legat,
Lel} legat ~i 'nculerat,
35 Panga murgu 'mpaivanat.
Duce cinste la 'mparat
De fala cutienilor,
De mila satenilor.
*
$i te, mire, vesele~te,
C'inchinam cu sana tate !
ISt Refrain: Da leru-mi Doamne!
2nd Refrain: H oj leruj!
(90. Savar~in </»
If.
Pleaca junii la vanat,
'1'.,
Sus la muntii lui Pilat ======
Gase urma leului;
Supt on spine d-influrit
5 Gase leul d'ardumit. -----
Cand june sa chibzue,
Lel} din somn sa pomene
$i din grai ~a-mi graie:

Overcame him, didn't fell him.
They set to a second time,
They set to and wrestled (on),
30 For a while they fought it out;
Of a summer day they wrestled,
Of a summer day till evening.
When the dusk began to fall,
The young man o'ercame the lion:
35 Overcame him, didn't fell him,
With three silken cords (he bound
him),
Both fivefold and sixfold braided,
(Each) as thick as a (man's) wrist joint.
(Then) he mounted on his sorrel
40 And began to leap about.
He leapt hither, he leapt yon,
Leapt into the young man's courtyard.
The young man called out and said:
Come out, mother, come outside,
45 And unlock the gates for me,
For a lion bound I bring you,
Lion bound (that is) unharmed,
That is neither shot by gun
Nor yet slashed about with swords,
50 Only overcome by wrestling.
From the house (his) mother came,
Barely speaking through (her) sobs,
Barely seeing through (her) tears:
Lord, what happiness upon me!
55 It avails me that I've washed him,
That I washed (and) swaddled him,
For he brings me a bound lion,
A bound lion (that's) unharmed,
That is neither shot by gun
60 Nor yet slashed about with swords,
Only overcome by wrestling.
Retrain: Gt-ant the Lord, the Lord Al-
mighty/
Ie.
ISt Retrain
At the gateways of the emperor,
(Lo,) the bridegroom stands a-leaning
2nd Retrain
(Lo,) the bridegroom stands a-leaning
And demands to go a-hunting
5 And demands to go a-hunting
In the forests yet untrodden.
In the valley of Celeu,2
I Unidentified place name, apparently selected solely for rhyming purposes.
[ 223 ]
A I a)
On the lion's spoor he came;
Found the lion (fast) asleep
10 Neath a flowering blackberry bush.
While the bridegroom thought things
over:
Should he shoot him? Should he leave
him?
Shoot an arrow through him sleeping?
Feigning (sleep) the lion lay.
15 As the bridegroom thought it over,
On his feet the lion rose
And (upon him) rushed to fight,
On a summer day till evening.
As the evening shades were falling,
20 (Lo,) the groom the lion vanquished,
Saddled him, bound him with thongs,
Tethered him beside his bay,
(Then) he leapt upon the bay
And set forth upon his way,
25 All along upon the way,
And across the fields (he went).
No one saw him in the world,
Only his dear mother (saw him),
(And) his mother spoke from heaven:
30 Lord, what happiness upon me!
What a lad I've bathed myself,
Bathed myself and washed myself,
And he brings me a bound lion,
Lion bound and tied with thongs,
35 Tethered (too) beside his bay:
Honor to the emperor bears,
For the pride of (all) the courtiers,
For the mercy of the peasants.
*
And you, bridegroom, be rejoicing,
40 For we pledge (good) health to you!
ISt Retrain: LO'Yd, I sing carols!
2nd Retrain: Hoy, carol!
If.
The young lads are off to hunt
Retrain
In the mounts of Pilate high.
(Lo,) he found the lion's spoor:
Underneath a flowering thorn
5 (Fast) asleep he found the lion.
As the youngster thought it over,
From his sleep the lion woke,
He made speech and thus he spoke:

~-ai cotatl june p'aici?
10 Dar june din grai graie:
-Am venit, leu, la tine:
Or in lupta sa ne lyam,
Or in pu~ti sa ne pu~cam,
Or in sabi sa ne taiem.
15 Ley din gur' ~a-mi graie:
-Ba la lupta sa ne lyam,
Ci1 luptele-s mai direpte.
~i sa ly.ara, sa luptara,
sa luptar'o zi de varii
20 Zi de vara panii. 'n sara.
cand lmi fu d-ln murg de sara,
Cum aduse ley pe june;
Cum l'aduse, jos nu-l puse.
Sa luptar 'a doya oara,
25 Sa luptar '0 zi de vara,
Zi de varn. pana 'n sara,
cand lmi fu d-in murg de sara,
Cum aduse jun' pe leu;
Cum l-adue, jos mi-l puse
30 ~i tapa zgarda dll-agu~.
~i sa lyara ~i 'ntunara
Pin fanata pana 'n brata
~i pin grana panii. 'n brane.
Murgul dete cam pe vad,
35 Leul dete far' de vad.
Draga maiculeana lui,
Cum pe june mi-l vede,
Ea din gur' a~a-mi graie:
-Fereca de mine, soro!
40 CIl-am scaldat, Cll-am fa~iat,
Imi aduse ley. legat,
Nepu~cat, nesabiat,
Numa 'n lupta capatat.
r. Secina brecina fO; dobrana foj
dobrana,
Durmina curmina lemn verd'e ca
jed'era!
(128a. Paucine~d ()
IJ1.
D'e cand mirel ti-ai plecatu,
r.,
Iar, mirel, dupa vanatu
1 = cautat.
[ 224 ]
A I a)
I: Iar, mirel, dupii vanatu : I
Cierbu 'n sat ca ~i-o tunatu
5 D'e cu sara pin sacara,
De cu noapte 'n gray necoapte,
De cu zori pin dalbe flori.
~i-o ie~it in dealu mare
~i-o stragat in gura mare,
10 Cii. de mirel frica n'are,
C'are coarne 'mpungatoare
~i picioar' azvarlitoare
~i oclli negri vedero~i.
Mirel din vanat sose,
15 Soru-sa de pranzu-i da
~i sa da dll-a-i povesti:
-Deeand mirel ti-ai plecat
Iar mirel dupa vanat,
Cierbu 'n sat ca ~i-o tunat
20 De eu sara pin saeara
De cu noapte 'n gray neeoapte,
De eu zori pin dalbe flori.
~i-o ie~it in dealu mare
~i-o stragat in gura mare,
25 Cii. de mirel frica n'are
C'are eoarne 'mpungii.toare
~i pieioar' azvarlitoare
~i oelli negri vedero~i.
Mirel daea-mi auze,
30 Dela pranzu sus sare
$i dupa eerb mi-sa ll}a.
Nieauri nu-l ajunge,
Pana 'n vadu Oltului.
Mirel dete sa-l sagete,
35 Cierbu din gura-mi graie:
-Stai, mirel, nu-mi sageta,
Nu grabi eu moartea me!
Numa 'n lupta sa ne luam,
Cii. luptele-s mai direpte.
40 Sa luara, sa luptara
Zi de varii. panii. 'n sara.
and fuse in cap de sara,
Aduse cierbu pe june,
Cum l-aduse, jos nu-l puse.
45 Luara-s'a doya oara,
 A I a)
What did you seek here, young man? Again, bridegroom, (to go) hunting,
10 But the youngster spoke and said: (Lo,) the stag came to the village,
Lion, I have come to you 5 (Came) by evening through the rye,
So that either we might wrestle (Came) by night through unripe wheat,
Or with guns shoot at each other, (Came) by dawn through flowers white.
Or else slash it out with swords. And he came to the big hill
15 Spoke the lion and said thus: And called out in a loud voice
Let us rather fight by wrestling, 10 That he doesn't fear the bridegroom,
Because wrestling is the fairest. For he has (sharp) horns for goring
They set to and grappled (then), And (stout) hooves for kicking with,
Wrestled through a summer's day, And black eyes for sighting with.
20 (Through) a summer's day till evening. From the hunt the bridegroom came,
As the dusk was setting in, 15 (And) his sister gave him supper
Lion bent the youngster over, And began to tell the tale:
Bent him over, didn't fell him. Bridegroom, since you went away,
(So) a second time they wrestled, Bridegroom, since you went a-hunting,
25 (Through) a summer's day they (Lo,) the stag came to the village,
grappled, 20 (Came) by evening through the rye,
(Through) a summer's day till evening. (Came) by night through unripe wheat,
As the dusk was setting in, (Came) by dawn through flowers white.
(Lo,) the youngster bent the lion, And he came to the big hill
Bent him over, felled him down, And called out in a loud voice
30 Threw the collar round his neck. 25 That he didn't fear the bridegroom,
They set out, made their way down- For he has (sharp) horns for goring
ward, And (stout) hooves for kickng with,
(Went) through hay up to the armpit And black eyes for sighting with.
And through wheat up to the girdle. When the bridegroom heard (these
By the ford the sorrel crossed, things),
35 Without fording crossed the lion. 30 From his supper he leapt up
(But) his (own) beloved mother, And set out after the stag.
When the youngster she did see, He did not catch up with him
Spoke aloud and thus she said: Till the ford across the Olt.4
Happiness upon me, sister! As he aimed an arrow at him,
40 For I bathed him, swaddled him, 35 (Lo,) the stag spoke up and said:
(And) he brought me a bound lion, Bridegroom, stay and shoot me not,
Neither shot nor cut with sword, Do not hasten with my death!
Only gained by wrestling (fair). Let us rather fight it out,
Refrain: - - - - - - - - - Because wrestling is the fairest.
- - - green wood like the ivy/S 40 (So) they grappled and they wrestled,
On a summer day till evening.
19. When the shades of dusk were falling,
Bridegroom, since you went away, The stag bent the bridegroom over,
Refrain Bent him over, didn't fell him.
Again, bridegroom, (to go) hunting, 45 They set to a second time (then),
8 The dashes in this refrain represent words in some language or patois which, according to
the experts consulted by the translator, is not Romany, Hungarian, Serbian, Slovenian,
Croatian, Czech, or Ukrainian. The specialists agreed in inclining to the belief that the line
may be merely a meaningless jingle, put together arbitrarily for the sake of its briskly stimu-
lating sound and rhythm (similar to 'Hey, diddle, diddle' and 'Fee, fie, fo, fum'). [Ed.: Cf.
Bart6k, Hungarian Folk Music, p. 76.]
4 The Olt is one of the larger rivers of Rumania. After traversing Transylvania, it marks the
boundary between Wallachia and Oltenia, then flows into the Danube.

[ 225 ]

Sa luara, sa luptara
Zi de vara pana 'n sara.
Cand fuse in cap de sara.
Aduse mirel pe cierbu,
50 Cum l-aduse, jos nu-l puse.
Luara-s'a tria oara,
Sa luara, sa luptara
Zi de vara pana 'n sara.
cand fuse in cap de sara,
55 Aduse mirel pe cierbu,
Cum l-aduse, jos mi-l puse.
Cerbu din gura-mi graie:
-Stai, mirel, nu rna pu~ca,
Nu grabi cu mortea me,
60 Ci rna leaga 'n curea neagra
$i rna tuna jos la tara
Tot la fala fratilor,
De cinstea parintilor.
Cine pe tin~-o vede,
65 Toti pe tin' t~-or feriea:
= Ferica d~-aeest mirel,
Mai feric' de maiea-sa,
C'aduee eerbu legat,
Nici eu pu~ea nu-i pu~cat,
70 Numa eu lupta-i luptat.
r. (Mel. 62s.) Domnuluj, Domnuluj
Doamne!
r. (Mel. 81e. var.) D-oj junel, d-oj
t'inerely,!
(62s., 81e. var. Rau de mori if)
lh.
D'eeand miriel ~i-o pl'ecaty,
r.,
Tot miriel dupa vanaty,
r.,
I: Tot miriel dupa vanaty : I
qerbu 'n sat ca ~i-o tunaty
5 D'e cu sara pan saeara,
De cu noapte 'n gral} necoapte.
Ie~i cierbu 'n dealu mare,
$i straga din fala mare,
Ca frica de nimeni n'are,
10 Far' d~-on mirel tanarel.
[ 226 ]
AI a)
Mirel daca-mi d-auze,
Sus la munte el iese,
La var~oru muntilor,
La crucile brazilor.
15 Gasi cerbu d-adurmit
Supt on spine d-influrit.
Mirel sta ~i-mi chibzue,
Cerb din somn sa pomene
$i din gur' a~a-mi graie:
20 -Ce gand, june, ti-ai gandit,
De la mine ti-ai venit?
Ca la min' nu mi-a venit
Vom merean de pe pamant,
Decum jun' nebotezat.
25 O'n lupta sa ne luptam,
O'n sabii sa ne taiem?
-Ba 'n lupta sa ne luptam,
Ca luptele-s mai direpte
$i-s de Dumnezeu lasate.
30 Sa luptar' 0 zi de vara,
Zi de vara pana 'n sara.
Cand im! fu d'in murg de sara,
Duse cerbu mirelu,
Cum il duse, nu mi-l puse.
35 Sa luptar' a dOl}a oara,
Sa luptar' 0 zi de vara,
Zi de vara pana 'n sara.
Cand im! fu d-in murg de sara,
Duse mirelu cerbu,
40 Cum il duse, jos mi-l puse.
Baga mana 'n pozonar,
Scoate frambii de matasa,
'N carea cerbului Ie trasa
$i 'n curele-l eurele,
45 J os la Olt ca mi-l tune:
Pe poteeul hotilor,
Pe ulita fetelor,
Pan' la maica lui acasa.
Maica, daca mi-l vede,
50 Ie din gur' a~a-mi graie:
-Am 0 hazna, c'am sealdat,
C'am scaldat, c'am botezat,
Ca-mi adus' on eerb legat,
Nepu~cat, nevinovat,
55 N uma din lupta luptat.
r. Floril'e-s dalbe!
(62aa. Gradi~te if)

They set to and (started) wrestling,
On a summer day till evening.
When the shades of dusk were falling,
(La,) the groom the stag bent over,
50 Bent him over, didn't fell him.
(So) a third time they set to,
(And) they grappled and they wrestled
On a summer day till evening.
When the shades of dusk were falling,
55 (La,) the groom the stag bent over,
Bent him over, flung him down.
Spoke the stag (and said to him) :
Bridegroom, stay (and) do not shoot
me,
Do not hasten with my death.
60 With a black strap rather bind me,
Bring me down into the country,
For the pride of (all your) brothers,
For the honor of (your) parents.
Those who shall set eyes on you
65 (Each and) every one will praise you: 30 On a summer day they wrestled,
Happiness upon this groom,
Still more so upon his mother,
For he's bringing bound the stag,
(That has) not (been) shot be gun,
70 Only vanquished in fair fight.
Refrain (Mel. 62s.): To the Lord, the 35 (So) a second time they wrestled,
Lord Almighty!
Refrain (Mel. 81e. var.): Sing young
people and sing, youngsters!
lh.
Since the bridegroom has gone off,
Refrain
(Since) that bridegroom (has gone)
hunting,
Refrain
(Since) that bridegroom (has gone)
hunting,
Has the stag come to the village;
5 Through the rye (he came) by evening, 50 She called out and thus she said:
(And) by night through unripe
wheatfields.
Came the stag to the big hillock
And he called out greatly prideful
That he is afraid of no one,
10 (Fearing) only a young bridegroom.
5 In this text we fi nd nevinovat (guiltless, innocent) instead of nevatamat (unhurt, unspoilt).
This may be an error on the part of the singer or an error of transcription.
A I a)
When the bridegroom heard of this,
He went up into the mountains,
(And) upon the mountaintops,
In the middle of the pines,
15 Came upon the sleeping stag,
Underneath a flowering thorn.
Bridegroom stood and thought
(awhile).
From (his) sleep the stag awoke,
And made speech and thus he said:
20 Youngster, what had you in mind,
That you came (up here) to me?
For there hasn't come to me
(Any) layman (yet) on earth,
Let alone unchristened youth.
25 Shall we fight by wrestling (now),
Or by slashing out with swords?
Nay, let's fight it out by wrestling,
Because wrestling is the fairest
And it is by God appointed.
Summer day until the evening.
When the dusk began to gather,
(La,) the stag bent (back) the bride-
groom,
Bent him over, didn't fell him.
On a summer day they wrestled,
Summer day until the evening.
When the dusk began to gather,
(La,) the groom bent (back) the stag,
40 Bent him over, sent him sprawling;
Put his hand inside his pocket
(And) drew out some silken ropes,
Pulled them over the stag's withers,
And with straps he strapped him fast.
45 Downward to the Olt he drew him,
Down the footpath of the robbers,
Down the alley of the lasses,
Down to his (own) mother's home.
When his mother saw him (coming),
It availed me that I bathed (him),
Bathed him and baptised him too,
For he's brought me a bound stag,
(That's) unshot, (that is) unharmed,5
55 Only wrestled (down) by wrestling.
Refrain: White are the flowers!
[ 227 ]
 A I a)
2. 3b.
I: Mere mirel~-a vfmal~ :I I: -D-ind'i maL mirel, yail'e : I ?
1'., r.,

Leu 'n curte ca 0 'ntral~, I: -ea io yail'e Ie maiu : I

Lega url?ii de zavoare
~i gliganij de luvoare. I: Ca, ZO,1 noi am d-auzitu : I
5 Haida, ley, cane de ray,
ca iaea l?i frate tay. ca I: est' un munt'e far' da yoaie : I

1'.Daj corinde leruj Doamn'! 5 -ea muntile nu-i a tay,

(96. Beiul? ¢) Ci-i mney l?i eapu tay.

r. Hoj jloyj dalbe l'er da may!

3a. (100£. Ta~ad tf»
I: Hoi mirelui tanarelui : I,
1'.,
4a.
Oi ij d-are, munte n'are
Mirelui l?i-o d-auzitu,
I: Cel unt'~ batran~ : I
EI ea l?i-o d-avu~,
Est~-un munte far' de oi.
5 ~i leu din grai graieste: EI ca si-o d-avu~
-Muntel~-acela-i al miey.
Noua §iul?ori.2
Mirele din grai graie: 5 EI nu i-o 'nvata~
---Cl;:-a fi des a muntelui,
Dint' 0 mie-Q suta mi-i da, Nice vacar~,
~

10 Dint' 0 suta mi-i da zece, Far' el i-o 'nvatat

Din zeee-mi un berbeee. Muntii la vanat.
• Atata l?i-ay vanat,
* 10 P'unde l?i-al} d-aflat
Urma de cerb mare;
Paya melodie:
~i-o 'nehinam cu sana tate,
Atat' ay urmarit.
ca l?i gazdei aveti ton a multumi. Pan' s'ay ratacit
r. Hoj jlorj dalbe lor de mal'l ~i s'ay neftinat 3
(l00h. Budureasa ¢) 15 'N noya eerbi de munte.

1 Zeu.
s = fiu~ori.
8 = schimbat.

[ 228 ]

2.
Bridegroom goes away a-hunting
Lion's come into the courtyard,
Retrain
Tied the bears up to the latches
And the boars to bolts (?) (has
fastened).
5 Come on, lion, evil hound,
See, here is your brother too.
Retrain: Sing the carols 6 to the Lord!
3a.
To the youthful bridegroom, hoy!
Retrain
He has sheep, he has no mountain.
It has come to bridegroom's ears
There's a mountain without sheep.
5 And the lion speaks a-saying:
It is mine, that mountain there.
(But) the bridegroom said (to him) :
Off the sunless side you'll give me
Hundred out of every thousand;
10 Ten you'll give me of each hundred;7
One ram out of ten you'll give me.
* Followed it so far,
Without a tune: 8
And in (goodly) health we pledge it,
Because you have all to thank the host 15 To nine mountain stags.
as welll
Retrain: Hoy, white blossoms ot the
apple!
A I a)
3b.
Whence, oh bridegroom, (are) the
sheep from?
Retrain
I am driving off the sheep,
Since, by God, we've come to hear
That there's a mountain that has no
sheep. 9
5 (Nay,) the mountain isn't yours;
But your head, as well, is mine.
Retrain: Hoy, white blossoms ot the
apple!
4a.
(Behold,) that old man,
He (at one time) had
He (at one time) had
Nine sons (of his own);
5 Even taught them not 10
Cowherds (how to be);
(Only taught them how
In the hills to hunt.
They hunted so much,
10 Wherever they found
Spoor of a large stag,
Till they lost their way,
And until they changed

o Colinde (in Transylvanian parlance usually c(Winde )means carols. CoUnda (singular form)
is supposed to derive from calendae.
7 The switch in tenses in the course of a narration is one of the oft-encountered features of
Rumanian folk ballads. Often, but by no means invariably, it is dictated by the requirements
of rhyme or meter. Indeed, as will be seen hereinafter, not a few of these ballads feature yet
another kind of change: the switch from the "straight" or objective narration to the first-
person account, given in continuation by one of the characters involved. The translator has
sought to follow the originals as closely as possible in these respects, too, in a deliberate attempt
to convey their peculiar flavor of fantasy.
8 Each of the verses of this "envoi" has the same number of syllables as the original (which,
like the translated version, makes no attempt at rhyming, in this case).
8 It is not quite clear from the original transcription whether this verse has nine or ten
syllables. In the latter hypothesis, the verse would read: That there's a mountain which is
without sheep.
10 The content of this and the next four verses has been slightly redistributed in the trans-
lated version.

[ 229 ]
 A I a)
Drag taicutu lor 4b.
Nu ~i-al) mai rabdat
$i el s'o luat, D-oi, unche~ biitran!
PUl?ca ~i-aJ.l 'ntaglat Doi fiuti d-avut,
20 $i 'n munti al) vanat, Doi fiuti de trup.
P'unde ~i-al) d-aflat $i nu i-a 'nvatat
NOJ.la cerbi de munte; 5 Nici un me~te~ug:
'Ntr'on genunch~-o stat, Nici 0 plugarie,
Tras-au sa-i sagete. Nici 0 stiivarie,
25 Cerbu(cel mai mare Far' a vanarie.
Din grai ~i-o stragat: Pin codrii vanara
-Drag taicutul nostru,
Nu ne sageta, 10 Dupa ei sa IJ.la
Ca noi t~-om lua La fantana rece,
30 In a~ti coarne razi 1 Tras-o sa-i sagete.
$i noi t~-om tapa -Draga tiiiculita,
Tat din munte 'n munte, Nu ne sageta,
$i din plai in plai, 15 Ca noi t~-om lua
$i din pat,:"etra 'n pt':"eatra, In coarnile noa~te
35 Tat tara te-i face. $i t~-om intranti
Taicul?orullor Pe pt'eatra mu~t'oasa,
Din grai ~i-o stragat: De tat tar te-i face.
-Dragi §iutii miiei, 20 -Dragii taiculitei,
Haidati vOl acasa Haidati voi acasa !
40 La maicuta voastra! Maica ta v'a~teapta
Cu dor va a!)teapta, Cu pahar pe masa,
Cu masuta 'ntinsa, Tat plangand pin casa;
Cu facIii aprinse, 25 Cu pahar de gin, 2
Cu pahare pline. Pin casa plangand.
45 Cerbul cel mai mare -Draga taiculita,
Din grai ~i-o grait: Ba noi n'om vini,
-Drag tiiicutul nostru, Ca bu~ele noa~te
Du-te tu acasa 30 Nu beJ.l din pahare,
La maicuta noastra, Fara din izvoare;
50 Cii comile noa~te Trupurile noa~te
Nu intra pe u!)a, Nu umbla 'n came~a,
Far' numai pin munte: Far' numai prin frunza.
Picioarile noa~te (12i. Idicel r/»
Nu·calca 'n cenu~ii,
55 Caci calca prin frunza;
Buzutile noa~te
5a.
Nu-si beau din pahare, D-oi roaga, sa roaga
caci'beau "din izvoare. II. I irr:-I
(12bb. Urisiu de sus if) I: T'iiieriel mirelui, r., : I mirelui,

1 Cf. raza.
2 = yin.

[ 230 ]

Their beloved father
Could hold out no more,
And he started out:
He spitted his gun,
20 Hunted in the hills,
Where he came upon
Nine (fine) mountain stags.
On one knee he went,
Arrow set to loose.
25 Of the stags the largest
Called aloud to say:
Father dear of ours,
Do not shoot at us,
For we'll pick you up
30 With these pointed antlers
And we'll toss you down,
From mountain to mountain,
From meadow to meadow,
And from stone to boulder,
35 You'll be torn to shreds.
Their (dear) father (then)
Loudly called (to them) :
Oh, dear sons of mine,
Come along (back) home
40 To your little mother!
Longing she awaits you
With the decked-out table,
With the candles burning,
With the glasses filled.
45 Of the stags the largest
Spoke and said (to him) :
Our beloved father,
Go back home (without us)
To our little mother,
50 Because our antlers
Can't go through the doox:way,
Only through the mountams;
(And) these feet of ours
Do not step on ashes,
55 For they step through leafage;
(And) these lips of ours
Do not drink from glasses,
For they drink from wellsprings.
[ 231 ]
A I a)
4b.
(There was) an old man
(And) he had two sons,
Two sons of his own;
And he taught them not
5 Any kind of trade:
Neither husbandry
Nor herding of cattle,
Only (taught them) hunting.
Through the woods they hunted,
10 After them he went
To the chilly wellspring,
Aimed an arrow at them.
Our beloved father,
Do not shoot your shaft,
15 Because we will take you
Upon our antlers
And we'll throw you down
On the mossy boulder,
Break you into pieces.
20 Father's own beloved,
Come along (back) homewards!
Your mother awaits you
With glass on the table,
Weeping round the house;
25 With a glass of wine,
Round the house a-weeping.
Our beloved father,
Nay, we shall not come,
For these lips of ours
30 Do not drink from glasses,
From the springs (drink) only;
These bodies of ours
Do not walk in shirts,
Only through the leafage.
5a.
He is praying, praying,
(Is) the youthful bridegroom,
Refrain

D'e ce-z vantu-i liny,
I : T'ineriel mirelui,
5 D'e ce-z vantu-i liny, : I,
[Bate 'n chiar senin,]
D'e ce-z vantu-i liny
I: Ca el ca sa-mi bata : I
Toat'e varvuril'e
10 I: Ca el ca sa-mi bata
Toat'e varvuril'e : I
$i agesturile;
Ca el ca sa-mi bata
In cea vale saca
15 La peatra mUi?teata,
La rugutul verde,
Rugu sa-mi clateasca,
Cerbii sa-mi scorneasca.
Cel cerbut murgut
20 Din gura-mi graia:
-Tin~-o, mirel, tin~-o,
N'o grabi cu mine,
$i tu sa te duci
'N vadu lui Jordan,
25 C'acolo imi sant
Noya cerbi suri,
Cu min' vor fi zece.
Cu coarnele lor
Curti a-i incornea;
30 Cu coastele lor
Curti a-i latui;
Cu peile lor
Curti a-i coperi;
Cu sangele lor
35 Curti a-i varui.
'Y. loj Domnuluj Doamne!
(lOb. Rau de mori ¢)
5b.
'Y.,
Ce vant n~-a batuty,
Pus-a-i la pamanty
C~-a fost mai marunt,
Cand treznind, pleznindy
5 Cerbul mi-a sarindy
Cerbu rancului,
1 = unghiile
[ 232 ]
A I a)
Fiara campului.
Gheorge, frat' al nostru,
Vie-mi sanatos,
10 Murgul in~ela!1;
Pa el calecare,
Pa el caleca-
Cerbu mi-l prindear~
Cerbu rancului,
15 Fiara campului.
Din oasele lui
Curti ii smartaci (?),
Din sangele lui
Curti ii zugravi,
20 Din und'ile 1 lui
Faci un pahlirel,
Sa bea na~ din el,
Dela na~ la fin,
Dela fin la nas
25 Pan' la Medei~~.
'Y. Lerul'uj!
(22. Niere~teu ¢)
6.
II. I I II. I
I: Ca el s'o laydaty : Ilaydatill,
'Y.,
I: Cinerel junely : I,
I I. I fILl
I: Cinerel junely : I junel!!i,
I: Cmerel junely : I,
5 I: Ca el ~i-o d-aduce : I
I: Cinste d'ela munt'e : I,
------
I: Cinste d'ela munt'e : I,
I: Cinste d'ela munt'e : I,
Din droana de sute
10 Cerbul sa mi-l pu~te.
Cerbu-mi d-auzea,
Tare sa 'ntrista
$i sa 'nspaimanta.
Draga maica lui
15 Din gura-mi graie:
-Ce ti-i tie, cerbe,
Ce ti-i tie, draga,
 A I a)
For the wind is quiet. Wild beast of the field.
(Prays) the youthful bridegroom, Our brother George,
5 For the wind is quiet. May he come back safe.
Blowout of the blue, 10 He saddled the sorrel
For the wind is quiet: (And) upon him mounted,
Let it blow for me Mounted upon him.
On all mountaintops, (Lo,) he caught the stag,
10 May it blow for me The stag of the glade (?),
On all mountaintops 15 Wild beast of the field.
And all sheltered spots; With the bones of him
Let it blow for me You'll plaster a house,
In that stony valley, With the blood of him
15 At the mossy boulder, You shall paint a house,
On the green-leaved bramble; 20 (And) out of his hoof
Let it stir the bramble, You shall make a glass,
Let it flush the stags out. For godfather's drink:
(But) the sorrel stag From him to the godson,
20 From his mouth made speech: From the godson back,
Hold it, bridegroom, hold it, 25 Up to Mediash.ll
Do not haste it with me; Refrain: Carol we!
Let you (rather) go
To the jordan's ford,
25 For that's where there are 6.
Nine stags ashen-hued: For he has been boasting,
They'll be ten with me. Refrain
With their antlers (then) (Has) the youthful stripling,
You'll gable (your) house, (Has) the youthful stripling,
30 With the ribs of them (Has) the youthful stripling,
You shall fence (your) house, 5 That he would be bringing
With the hides of them Honor from the mountain,
You shall roof (your) house, Honor from the mountain,
With the blood of them Honor from the mountain,
35 You shall paint (your )house. From a herd of hundreds,
Refrain: To the Lord Almighty! 10 He would shoot the stag,
When the stag did hear,
He was saddened sore
5b. And he grew afraid.
Refrain His beloved mother
What a wind has struck us: 15 Spoke (to him) and said:
To the ground it felled Stag, what's ailing you?
Whatever was smaller, What is ailing, darling?
When, cracking and snapping,
5 Upward leaped the stag,
The stag of the glade (?),

11 Media~ is an ancient town in the district of TArnava Mare, in Transylvania.

[ 233 ]
 A I a)
De iarba nu-mi pal/ti, 10 Da Toader cand o-auzit,
Nici apa nu-mi biei, Tare el s'o suculit,
20 Ci tu tot tIni stat Vijlele !1i l~-al) gatat,
'Ntristat !1i marit, !;)i pe cal 1-0 'ncalecat,
De nu manci nimic? Dupa cerbul s'a luat.
Nu te teme, cerbe, 15 Gasia cerbul adurmit;
ca io t~-oi pazi, Tat in loc s'a socotit,
25 Mat bin' ca pe mine ca l-tInpu!1ca adurmit;
!;)i io-mi t~-oi lua Dar nici 0 fala ave,
'N cornitele mele; Nici 0 fala, nici 0 cinste.
10 mi t~-oi scoate 20 Vijlele l~-al) deslegat,
La liverzuri vierzi, Ogarile drum l~-al) dat,
30 La izvoare reci, Ogarile l-al) latrat,
!;)i io t~-oi biiga Vijlele l~-al) 'nconjurat,
'N mijloc de izvor, Dar cerbul s'a de~teptat
'N tufa de bujor. 25 !;)i la Toader i-o stragat:
Tanarel junel -Ho ho ho, jupane Toader,
35 ca el ca pleca Nu pe mine ma 'mpu!1ca,
Tot pe plai la deal, Ca io 'n coarne t~-oi Iua
Cu pU!1ca 'ncordata !;)i pe tine t~-oi purta
Pe mana direapta. 30 Pin molita,l pin mladita.
Si el sa uita Dar Toader cand auzea,
40 Cam pe rasarit: Tare ca sa suculea
Nu-mi vede nimic. la cu pU!1ca chibzuea
Sj el ca-mi iese Cam pin furca pt'eptului
La liverzuri vierzi 35 Unde-i grel) voinicului.
La izvoare reci. lar pe cerbull-o 'mpu!1cat,
45 ;;i el sa uita Dat-o carne vijlelor,
In miljoc de rai Ciolanii ogarilor,
'N miljoc de izvor Numai limba ~i-a luat-o
Cerbu mi-l zarj,e, 40 ~i la jebu 2 0 b1igat-o.
Cu pU!1ca-1 trozne. Picioare 'n scara punea
r. Doamfte! !;)i 'n varf de munte sarea.
(32. Nuc!1oara if) Catr' acasa i!1i vinea,
Mari boieri calea tineal);
7a. 45 Muiere 'n drumu ie!1ea
I: Da ist cerbul mi-a trecutu : I, Cl)-O plo~cuta plin' de gin 3
r., La boierii inchinand.
Boierii din grai graial),
Nu trecura, cum sa treaca, Cata Toader ii spuneal):
Cu tat'e rO!1toli(?) domne!1tiu, 50 -Ho ho ho, jupane Toader,
Lauda s'a laudaty, r., Unde tu ca ai umblat,
De ti-i calu d-obosit?
5 I: !;)i pre Toad'er I-a stragatu : I : -Dupa cerbu m'am luat.
-Ho ho ho, jupane Toad'erl Muieru!1ca lui straga:
Ca n'ai cal bun sa-mi ajungi, 55 Nu-l credeti VOl, mari boieri,
Nice vijl'e d'e l'egaty,
Nici ogari d'e latraty. r.,
====
1 < molid.
2 = buzunar « zseb, ung.)
3 = yin.

[ 234 ]

Grass you do not graze,
Nor do you drink water,
20 But (instead) you stand
Despondent and sad,
Not eating a thing.
Stag, be not afraid,
I'll watch over you
25 More than o'er myself,
And I'll lift you up
On my little horns;
I shall take you (thus)
To the meadows green,
30 To the chilly springs,
And I'll set you down
Even in the spring,
In a peony bush.
Youthful stripling (then)
35 Set upon his way,
Climbing to the hills,
With the readied gun
(Held) in his right hand.
And he looked (and gazed)
40 Somewhat toward sunrise:
Not a thing he saw.
He came out (at last)
To the meadow green,
To the chilly springs,
45 And he looked (and gazed)
In the midst of heaven:
(Standing) in the spring,
(There) he saw the stag,
Felled him with his gun.
Retrain: Lord God!
7a.
But this stag has gone through (here). 45 (And) his wife (too) held his way
Retrain
He has not passed, (for) how could he,
(What) with all the lordly fences?
Boasted has he boastfully. Retrain
5 And he called to Toader12 (loudly):
Ho, ho, ho, you, Master Toader!
You have no good horse to catch me,
Neither game dogs for to leash,
Nor yet hounds to bay (at me).
Retrain
18 Toader (TWAH-der) is the Rumanian eqnivalent of Theodore.
A I a)
10 But when Toader heard (these words),
Mightily he stirred himself,
(And) the bird dogs he got ready
And he mounted on his horse
And set off after the stag.
15 (When) he found the stag asleep,
He took council with himself:
Should he shoot him in his sleep?
But that would have been no feat,
Bringing neither pride nor honor.
20 He unleashed the game dogs (then)
And the hounds (too) he set free.
(So) the hounds bayed at the stag
And the dogs surrounded him.
But the stag awoke from sleep
25 And to Toader he called out:
Ho, ho, ho, you, Master Toader,
You are not to shoot at me,
For I'll take you in my antlers
And I'll go about with you
30 Through the pines (and) through the
switches.
But when Toader heard (his say),
Mightily he stirred himself,
With his gun took careful aim
At the forking of the breast,
35 Where it hurts the stalwart worst,
And he shot (and slew) the stag.
To the dogs he gave his flesh,
To the hounds (he gave) his bones,
But his tongue kept for himself,
40 And he put it in his pocket;
In the stirrups set his feet,
To the mountaintop he leaped.
(As) he homewards made his way,
He was met by some great lords,
With a flagon full of wine,
For to pledge the lords withal.
(Then) the lords made speech and
spoke
(And) to Toader they said (thus):
50 Ho, ho, ho, you, Master Toader,
Whereabouts have you been gone,
That (so) weary is your horse?
I have been after the stag.
(But) his wife called out (and said) :
55 Don't believe him, you great lords,
[ 23S ]

C'are doi-tri 'bovnicele,l
SA.nt tri milurj, de pamA.nt.
Intr'on ceas c'acele calca
~i 'nnainte IIi 'nnapoi.
60 Darii Toader auzea,
MA.na 'n jeb f1i-o izbea,
Limba cerbului scotea,
Tare bine v'arata,
Mare falii-l1i eapata,
65 Mare falii, mare cinste.
r. Haj 161' hop daj l61'uj Doamn'l
(74a. Moil1a 1)
7b.
*lntreabii, 'ntreabii mati boierj,y
P'acest tA.nar junelaf1u:
~-----
--Ce ti-e murgu d-asudatu
D-asudat, tar' aspumaty?
5 --Ce voi, boieri, ispititiu?
Nu I1tiji bine ca IIi mine,
C'am fost sluga Ia 'mparatu?
M'o trimes dupa v~nat
Sus in munjii lui Pilat;
10 ~i-am gasit ingorgonit,
~i-am aflat tot am v~nat,
~i-am aflat un cerb de-i sur.
L-am v~nat cat I-am wnat,
J os Ia jarii I-am tunat,
15 Cerbul dete cam pe vad,
Murgu-l1i dete far' de vad.
DIl-aia-i murgu d-asudat,
D-asudat, tar' aspumat.
Griii fata din cetate:
20 -Mint' on june ca IIi-on ~ne,
C'ar' 0 fata 'ncredinjata;
Calea Ii de noua zile,
J unll-o calca din tri zile:
'Nt' una duce, 'nt' alta vine,
25 'Nt' alta l1ede dll-o iubel1te,
DIl-O iubel1te crel1tinel1te.
June din gura-mi graie:
-Taci tu, fata din cetate!
lola tin' m'oi siobozi,
30 Cheschinele ji-oi Iua,
Jos mai jos lll-oi d-alina,
1 = ibovnicele = milndrele.
2 = ~i?
3 = de-a-mi.
4 = inzorzonata.
[ 236 ]
A I a)
Sus mai sus Ill-oi radica
D-in turou Sibiului,
De I-or bate vA.nturile,
35 V~nturile sficurile,
Ca pe june g~ndurile,
CA.nd ii june de 'nsurat,
Nu-i 2 fata de miiritat.
r. Sa'l{- juneluj t'inerelujl
(86f. var. Paucinel1d 1)
7c.
*lntreabii, 'ntreabii mati boieriu
r.,
Pe cel t~nar d'e voi:i\.icy,
D'i ce-i murgul d-asudatu
D'asudatu-i, raspumaty
5 Rupsa june d'll-a-ni 3 grairi,e:
-DIl-aia-i murgu d-asudatu,
C'o fost murgu la v~nat
Sus la munjii lui Pilat.
VA.nat mare Cll-O scornit,
10 C\l-o scornit l1i-o gorgonit,
Gorgonit-o boul sur.
Bou-i dat-o cam pe vad,
Murgu-i dat-o far' de vad.
Grai mica fetelujii
15 Dint' 0 mica griidinujii:
-Minte june ca l1i-om c~ne
Ca n'o fostu Ia v~nat,
Ci-ar' 0 prunca 'ncredinjat
Jos Ia jara d-ungureasca;
20 Calea Ii de noya zile
Junll-O calea si 'n tri zile:
'Ntr' una mere, 'ntr' una vine,
'Ntr' una cere dll-o iubel1te.
Rupsa june dll-a-:i\.i grai:
25 - Taci tu, fata 'ngiorgionata! 4
T~jele ji Ill-om taia,
Sus mai sus ji Ill-om jiipa,
Sa Ie bata vA.nturile,
Ca pe june g~ndurile.
30 CA.nd Ii june de 'nsurat,
Fete mari de maritat.
r. Sa'l{- jufteluj t'ifterelujl
(86f. Paucinel1d 1)

For he has two or three sweethearts,
(And) there are three miles to go.
These he travels in an hour
Both a-going and a-coming.
60 But (when) Toader heard (her say),
In his poke he thrust his hand,
(And) the stag's tongue he drew out,
Showed it very nicely round
(And) he gained himself great pride,
65 (Both) great honor (and) great pride.
Refrain: Come, sing, hop, sing carols,
Lord!
7b.
The great lords are asking, asking,
(Asking) of this youthful stripling:
Why is it your sorrel's sweating,
All asweat and in a lather?
5 Lords, why are you trying (me)?
Know you not as well as I
That I've been the emperor's servant?
It was he who sent me hunting,
Up into the mounts of Pilate,
10 And I came upon a chase,
And I hunted all I saw,
And I found an ashen stag;
For a while I hunted him,
Brought him down into the land;
15 By the ford the stag did cross,
Sorrel crossed without the ford.
That is why the sorrel's sweating,
All asweat and in a lather.
Spoke the maiden from the castle:
20 Like a dog the lad is lying,
For he has a lass who's plighted;
'Tis a nine days' journey (thither)
(But) the lad in three days does it:
One for going, one for coming,
25 And another one for loving,
Loving her in Christian manner.
(But) the youngster spoke and said:
Quiet, maiden from the castle!
Else I shall rush up to you
30 And your kerchiefs I shall take,
Down (and) lower I shall smooth them,
13 An ancient city of Transylvania, capital of the district with the same name.
A I a)
Up (and) higher I shall raise them,
From the tower of Sibiu, 13
That the winds might blow upon them,
35 Breezes (blow about their) comers,
Just as thoughts (beset) a youngster
When the youngster is to wed
(And) there is no lass to marry.
Refrain: To the 'Youngster, to the
stripling!
7c.
The great lords are asking, asking,
Refrain
Of that youngster of a stalwart
Why his sorrel is asweat,
All asweat and in a lather.
5 Said the youngster (unto them):
That is why the sorrel's sweating,
For the sorrel's been a-hunting
Up above, in Pilate's mountains.
A great quarry he did start,
10 He did start and he did chase,
He did chase the ashen ox.
By the ford the ox did cross,
Sorrel crossed without the ford.
Spoke a tiny little maiden
15 From a tiny little garden:
Like a dog the lad is lying,
For a-hunting he's not been;
But he has a lass bespoken,
Down in the Hungarian land.
20 'Tis a nine days' journey (thither)
But the lad in three days does it:
One (day) going, one (day) coming,
One (day) wishes he might love her.
(But) the lad spoke up and said:
25 Hold your tongue, bedizened maiden I
(Else) we'll cut your breasts away
(And) we'll hurl them up (and) higher,
That the winds might blow upon them
As the thoughts upon a youngster,
30 When a youngster is to wed,
Lasses (ready) to be married.
Refrain: To the 'Youngster, to the striP-
ling!
[ 237 ]

7d.
-Ce ma 'ntrebati, mati boieri,
1'.,
Ce mi-i murgu d-asudaty,
Pintelat fli int'ingaty,
D-ogati buni is obosin,
5 (?) vanan fefltelin,
~ofloi
Panii. dalbii-i rouratii ?
10, boieri, dirept v'oi spune,
ca am fost io la vanat
Pe coastile Oltului.
lOPe pamantu Turcului,
Sa mi yanez 0 ciutalina.
qutiilina fara splina.
qut' a~ dat in jos pre vad,
Murg 0 dat fara de vad.
15 D'acea-i murgu d-asudat,
Pintelat fli int'ingat,
D-ogati buni is obostn,
~oi?oi vanati feflteliti.
Strag' 0 fatii jarjoveanca
20 Din varvul Jarjovului:
-Nu-l credereti. mari boieril
Nu-i precum va spune el.
Ci-i precum V'Ol spune e~.
Ca el n'o fost la vanat,
25 Ci c'o fost ella petit
Pe coastile Oltului,
Pe pamantu Turcului,
La fetile Greculul,
Sa-i?i peteasc'o Greaca dalbii.
30 N'o petit 0 Greaca dalbii,
C'o petit 0 Franca neagra.
-Taci tu, fatii jarjoveanca,
Din vitrvul Jarjovului,
ca la tine oi veni
35 ~i-o tata n-oi tiiia-o,
rata ta n-oi pune-o
In varvul Jarjovului,
Sa n-o batii vanturile,
Ca pe june gandurile,
40 Cand ii june de 'nsurat
~i fata de maritat.
1'. Juneluj iunel~yl
(88b. Fenefl ¢)
[ 238 ]
A I a)
7e.
Pleac' un june la vanatui.
'Y.,
Cal'ea lunga no~a zil'e,
[Murgu 'ncalca in tri zile]
-Mint'e june ca i?i-un cane:
5 Nu mi-o plecat la vanaty,
------
ca mi-o plecat la 'nsuraty,
-Taci tu, soro saIbileanca,
Nu pe noi adevara,
Cli noi tie n-om tala
10 Tatile, cosatile.
Colo sus, mai sus l~-om pune
In turou Sibiului,
Sli Ie batii vanturile,
Sli Ie ploaie picurile.
15 ~ite, june, veselei?te,
*
C'o 'nchinlim cu slinatate,
Pan' la gazda, pan' la toate I
1'. Juneluj buny!
(62m. Ciarbiil ¢)
7f.
'Ntreaba, 'ntreaba mari boieri,
Pe cel tanlir j unel~ :
-Ce ti-i murgu d-asudat?
-D~-aia-i murgu d-asudat,
5 ca el fli-o fost la vanat.
Vana mandru, ce-mi vana?
ca-mi vana dol).' zi de varli,
Zi de vara panli 'n sarli.
Cand imi fu de murg de sarli,
10 Jos la Olt ca mi-l tunara,
P'inga curte mi-l plimbarli,
D-in gradina l-aruncara.
Rups' 0 vita de radita
~i-o tabla de rumenita
1'. Doamne, joj Domnuluj Doamne!
(102a. Gradiste ¢)
7g.
I: Nu i?tiy. ieri alaltaieri : I
N'a trecut cerbu p'aicia?

7d.
You great lords, why ask you me,
Refrain
Why my sorrel is asweat,
Rowel-scarred and all bedraggled,
(Why) the good hounds are (so) weary,
5 And (why) blue eyes are (so) bleary (?),
(My) white feather (so) bedewed?
I, my lords, shall rightly tell you
That a-hunting I have been
On the bluffs along the Olt,
10 In the land that is the Turk's,
For to hunt myself a doe,
(Hunt myself) a doe ungirdled.
Through the ford the doe went down.
Sorrel crossed without the ford.
15 That's why sorrel is asweat,
Rowel-scarred and all bedraggled,
(Why) the good hounds are (so) weary,
And (why) blue eyes are (so) bleary (?). 15 And you, youngster, be rejoicing,
Called a maiden from the Giurgiu,14
20 From the mountaintop of Giurgiu:
Don't believe him, you great lords I
It is not as he has told you,
But it is as I shall tell you:
For he hasn't been a-hunting,
25 But indeed he's been a-courting
At the bluffs along the Olt,
In the land that is the Turk's,
To the daughters of the Greek,
For to court a fair Greek maiden.
30 Nor a fair Greek maiden courted,
But a swarthy Frankish maiden.
Hold your tongue, you lass from
Giurgiu,
From the mountaintop of Giurgiu,
For I'll come to you (anon)
35 And I'll cut you off a breast,
(And) that breast of yours I'll set
On the mountaintop of Giurgiu,
That the winds might blow upon it
As the thoughts upon the youngster,
40 When the youngster's (fit) to wed,
And the maiden (fit) to kiss.
Refrain: To the youngster, to the lad!
14 The translator has been unable to identify any mountain peak in Rumania named
Giurgiu or JArjov.
[ 239 ]
A I a)
7e.
A young lad goes off a-hunting:
Refrain
Long's the way-a nine days' journey.
In three days the sorrel does it.
Like a dog the lad is lying:
5 He did not go off a-hunting,
For he went away to marry.
Quiet, sister from Sibiu,
Do not testify for us,
For we shall cut off from you
10 (Both) your tresses and your breasts,
(And) we'll set them there, aloft,
On the tower of Sibiu,
That the winds might blow upon them
And the rains might rain upon them.
*
For we pledge you with (good) health,
To the host, to everybody!
Refrain: To the good youngster!
7f.
The great lords are asking, asking,
(Asking) of that youthful stripling:
Why's your sorrel all asweat?
Here is why my sorrel's sweating,
5 (It's) because he's been a-hunting.
Hunted well, what did he hunt?
On a summer day he hunted,
On a summer day till evening.
When the evening shades were falling,
10 Downward to the Olt was ridden,
He was walked about the mansion,
He was rushed into the garden.
Plucked a twig of pomegranate (?)
And a bed of camomile too.
Refrain: To the Lord, to the Almighty!
7~.
Yester or the day before,
Did the stag not come through here?

1'.,
I: Nu mi-a trecut cum sa-mi treaca : I 20 Ce-mi facea ~i nu-mi facea,
Miii-a trecut cu baniere (?)
1'. Hoj l'erumj daj l'eruj Doamn'!
(74b. Or~ova q,)
8.
D~-asupra la rasarity,
r.,
Est~-on porn dalb d-influrity
Cu florile sant d~-argint
$i cu merele-s d~-aur.
5 Nu ~til). ce mi s'o 'nvatat,
De poamele l~-o mancat,
FIorile l~-o scuturat.
Nu ~til). leu-i, nu ~til). zmel).,
Nu ~til). cerbu stretinioru. 1
10 Soare daca d-auzea,
Bun d~-ale~ 2 ca sa punea,
Sa punea ~i mi-~i pazea,
$i-mi pazea 0 zi de vara,
Zi de vara pana 'n sara,
15 Cand imi fu ~i murg de sara,
Vinl}-on cerbu stretinior,
Tot sarin' ~i tot saltin',
A I b)
Cu coarnele flori strican',
Cu gura poame mancan'.
Pe soare-l inceluia
$i din gur' a~a-mi graia:
-Ramani, soare, sanatos,
Ca su' mana ta am fost,
25 Harnic de mine n'ai fost.
r. Doamne daj Domnuluj Doamne!
(86c. Paucine~d if)
9.
I: Pi cel prund d'e mare: I,
r.,
Mandrut par rasare.
I: Cel pe~t'e d'e mare: I
Cel pe~te d'e mare
5 Ral). mi sa 'nvatara:
Frunza miii-o mancara,
Paru sa uscara,
Perile stricara.
laon bun voinic
10 Pu~ca miii-o 'ntalat,
Pe~te miii-o pu~cat
r. OJ I' eruj Doamne!
(12h. Idicel q,)

b) PASTORALS
PASTORIT
Din oile lui:
lOa. - 0 mea lamioara
Cam pe Ianga mare 10 Cu lanita creata!
Cam pe drumul mare Tu mea lamioara,
Plecat-o, plecat-o De tri zile 'ncoace
Cete dupa cete, larba nu-ti mai place,
5 Cete de feciori. Gura nu-ti tace,
J uni colindatori· 15 Hai sa trecem noi
Grai la-a mioara La negrul zavoi,

1 = tretior?
2 = ? « les, ung.).

[ 240 ]

Refrain
He did not. How could he pass?
He came through to my own sorrow( ?) 20 What he did (or) didn't do,
Refrain: Hoy, I'm singing carols, Lord!
8.
Up above. toward the sunrise,
Refrain
There is a white tree a-blooming,
(And) its blossoms are of silver
And its apples are of gold.
5 What it was I do not know,
Took to eating of the apples
And to shaking down the blossoms.
Was't a lion? Was't a dragon?
Or was it a full-grown stag? 15
10 When the sun got wind (of this).
He set out to keep good watch,
Keep good watch and heedfulness.
And he watched a summer day,
Summer day until the evening.
15 When the dusk of evening fell,
(Lo,) a full-grown stag did come.
All a-leaping and a-bounding,
A I b)
Spoiling blossoms with his antlers,
Eating apples with his mouth.
He deceived the (watchful) sun
And he spoke out of his mouth:
In (good) health stay on, you sun,
For I've been under your hand
25 (Yet) you've not been heedful of me.
Refrain: Grant, oh Lord, the Lord
Almighty!
9.
On that shingled seashore
Refrain
Sprouts a handsome pear tree;
(But) that fish, that sea fish.
(But) that fish, that sea fish
5 Into evil ways fell:
He ate up the leafage,
He dried up the pear tree,
(And) the pears were rotted.
John, the worthy stalwart,
10 Loaded up (his )gun
(And) he shot the fish.
Refrain: Hoy, Lord Almighty!

b) PASTORALS

From among his sheep:

lOa. You, my (little) ewe lamb
Somewhat by the seaside, 10 With the wool all curly!
Somewhat on the highway, You, my (little) ewe lamb,
There departed, parted, For the last three days now
Parties after parties, Do not care for grass more,
5 Parties of young lads, (And) cease not your clamor.
Youthful carolers. 15 Come along, let's go
He spoke to an ewe lamb To the thicket black;

15 Strictly speaking, tretior means a three-year-old animal; but, by extension. the word may
be used in the sense of "elderly". However, the word stretinior (-u), found in this and similar
texts, might well be a corruption of streinior (diminutive of strein, strange or a stranger). The
word stretinior is furthermore oddly reminiscent of Stretenie, an Orthodox Church feast (Candle-
mas), that falls on February 2, a day that is also known in Rumania as the Bear's Day. An old
belief has it that bears come out of hibernation on that day, but return to their lair if they find
the weather is mild. The analogy to the American Groundhog Day is striking.

[ 241 ]
 A I b)
ca-i iarba de noi 15 Cel, mai, Moldovan,
!iii apa de voi. ca-i mai ietagan (?),
-Drag stapa.nul miey, C'are oi mai multe,
20 Cum iarba sa-mi pla.ca Multe ~i cornute,
!iii gura sa-mi ta.ca? !iii cai invatati
10 am d-auzit 20 !iii cwi mai biirbati.
Fratiorij tai, Frapor mai mare,
Ei ca s'or vorbit Din zile mai mare,
25 Pe tin' sa t~-omoara, Mare, sa vorbira
-Tu mea liimioara, ~i sa ispitira,
Daca-i treab' ~a, 25 Ca sa mi-l omoara
Tu lor sa Ie spuni: Pe eel Moldovan,
De m'or omori, ca-i mai ietagan (?),
30 Pe min' sa ma 'ngroape C'are oi mai multe,
Tat p'aici p'aproape, Multe ~i cornute,
Tat in dosu stfmii. 30 ~i cat invatati
Sa-m' aud ~i ca.nij. !iii ca.ni mai barbati·
Tu mea liimioara, Cel, mai, Moldovan,
35 Tu lor sa Ie spuni: ca el mi-~i ave 0
Pe min' sa ma 'ngroape Mwdra miorita,
La negrut zavoi, 35 Cu la.na pliivita:
Ca-i iarba de voi -Mioritame
!iii apa de noi, ~i pliivita me,
40 Vwturi Ie vor bate, De tri zile 'ncoace
Oil~-or riizbate, Gura nu-ti mai tace,
La mormwt s'or strWge, 40 larba nu-ti mai place!
Dupa min' or pla.nge. -Drag stapa.nul miey,
". Domnuluj fi Doamne! Cum iarba sa-mj, placa
(lOc. Paucine~d ¢) $i gura sa-mi taca?
Fraporij tai
45 Tare sa vorbeal}
lOb. Pe tin' sa t~-omoara
P'on picior d'e raiY, La apus de soare
P'o gum d'e plaiy, La ca.mpu 'n mohoare.
"., -Miorita me
50 $i pliivita me,
lata-mi vin la val'e Daca-i treab' ~a,
!iii-mi cobor la cal'e Tu de mi-i vede
V'o maica biitrwa,
5 I: latii-mi vin la val'e Cu bra.u de !a.na,
!iii-mi cobor la cal'e : I 55 Tu sa-i spuni curat
------ ca m'am insurat;
Tri turme d'e mieiu $i la nunta me
I: CU tri ciobiineiu : I o cazut 0 stea;
Frati is d-a~ti tustriju: Brazi ~i cetin~i
------ 60 Ca mi-o fost nan~i:
10 I: CU tri ciobaneiu, Soarele ~i luna
Frati is d-a~ti tustriiu : I

Unu-i Moldovan,
Uni-i letagan (?),
D-altu mi-i Vra.ncean.
[ 242 ]

Grass there's fit for us,
And water for you.
Dear master of mine,
20 How should I like grass,
And how cease my clamor?
I have overheard
Your own brothers (speak)
(And) they are bespoke
25 That they are to kill you.
You, my (little) ewe lamb,
If the matter's thus,
You're to say to them,
If they me do kill,
30 They must bury me
Hereabouts not far,
Just behind the sheepfold,
Where I'll hear the sheep dogs.
You, my (little) ewe lamb,
35 You're to say to them
They must bury me
By the thicket black;
Grass there's fit for you,
And water for us;
40 Winds will blow upon them,
Sheep will make their way through,
At the grave will gather,
And they will beweep me.
Retrain: To the LOYd Almighty!
lOb.
At the foot of heaven,
Through a mountain meadow,
Retrain
Lo, their way are wending
Downward to the pathway,
5 Lo, their way are wending
Downward to the pathway,
The three flocks of lambkins
With three youthful shepherds,
Brothers they're all three;
10 With three youthful shepherds,
Brothers they're all three:
A Moldavian's16 one,
Wealthy shepherd's one,17
One's a Vrancea 18 lad.
16 That is, from Moldavia, one of the provinces of Rumania.
17 1etagan, a corrupt form of orloman or iorioman, a designation found only in popular
ballads, means rich in sheep or stalwart.
18 Vrancea (VRAN-chah) is a mountainous region of Moldavia
[ 243 ]
A I b)
15 The Moldavian one
Is the wealthiest
For he has most sheep, (too,)
Homed ones and many,
Trained horses as well,
20 And more fearless dogs;
(He's) the eldest brother,
As to age the eldest.
Hear, they talked it over
And they were emboldened
25 To (agree to) slay him,
That Moldavian lad,
For he's wealthiest,
For he has more sheep, (too,)
Horned ones and many,
30 Trained horses as well,
And more fearless dogs.
The Moldavian one,
Lo, he (also) had a
(Very) handsome ewe lamb,
35 With fair fleece (like ashes) :
Oh ewe lamb of mine
And my ashen one,
For the last three days now
You've not ceased your bleating,
40 Grass you no more care for!
Dear master of mine,
Grass how could I care for,
And how cease my bleating?
Your own brothers (lo,)
45 Strong agreement made
That they are to slay you
When the sun is setting,
In the field of foxtails.
Oh ewe lamb of mine
50 And my ashen one,
If the thing be thus,
You, if you should see
Some elderly mother
With a woolen girdle,
55 Let you tell her straight
That I have got wed,
And, as I got wed,
A star tumbled down;
(Say that) pines and firs
60 Were my sponsors (true);
The sun and the moon (too)

Mj-o tinut cununa.
r. loj Domnuluj Doamne!
(12d. Rau de mori if)
lOco
I: Colo, colo dupa dea1~, r. : I
I: Sant i~i tri pacurara~i : I
I: Num' un pacurar straini! : I
$i pe ala 1-0 manat
5 Sa bata oile 'n sat.
Da lui legea i-o facut:
Or sa-l pu~te, or sa-l taie.
-Pe mine nu ma taiati.
Ci pe mine ma 'ngropati
10 In turi~tea oilor,
In jocutu mneilor.
Pe mine lut nu punett
Nice lut, nice pamant,
Numa draga gluga me,
15 Fluieru dupa cure.
Vantu cand a tragana,
Fluieru a fluiera.
Cate oi mandre cornute,
Tate m'or plange p'on munte;
20 Cate oi mandre balaie,
Tate m'or plange 'n paraie.
r. Hajda ler bojerj!
(112a. Chinci~ t/»
10d.
I: Colo 'n sus pe munte 'n SUS!!,
Sant v'o tri turme d'e oiy
$i v'o tri pacurareiy,
Numa yunu-i strainely.
5 $i pe MIa 1-0 manaty
Sa bata oile 'n jos.
EI oile l~-o batut;
$i lui sfatu i-ay facut:
Or sa-l pu~te, or sa-l taie,
10 Or caputu sa n ieie.
$i el ca la ei c'Q-ajuns,
Lui ortacij ca i-ay spus,
1 = piept.
A I b)
Ca ce lege i-ay facut:
Or sa-l pu~te, or sa-l taie,
15 Or caputu sa n ieie.
El din grai a1) cuvantat:
-Pe mine nu ma taiatt
Fara prin' t'eptl ma 'mpu~catt
$i pe mine ma 'ngropati
20 In turmuta oilor,
In jocutu mneilor.
Cate 1)oi or fi cornute,
Tate m'or plange pe munte;
Cate yoi or fi balai,
25 Tate m'or canta pe vai.
Pe mine nu puneti lut,
Far' tri~cuta ~i caput.
$i cand vant1)-a tragana,
Tri~cuta me mi-a canta,
30 $i yoile or zbiera.
$i Dumnezey m'o ierta,
Daca mi-a picat soartea:
Dintre doi ortaci ai mei
Sa m'omoara dintre iei.
r. Hoj da l'er bojerj!
(112b. Chibu1cutul de campie if)
10e.
I: Colo 'n sus la cerbuntel'e : I (?)
I: Sant n01)a turme d'e 1)oi : I
I: ~i n01)a pacurarei : I
I: Numai unu-i strainel : I
5 ~i pe dinsu l-a1) manat
Sa bata oile 'n jos.
r. : I Oile 'n jos l~-o batut,
Lui gre lege i-a1) facut:
Or sa-l pu~te, or sa-l taie.
10 -Ho ho ho, nu ma pu~cati,
Numai capu mni-Iluati.
12-19 = 10d. 19-26
(66c. Idicel if)
10f.
Colo 'n jos la munt'e 'n josy,
r.,
Sant tri turme de l)aeiy(sic)!
[ 244 ]

Held my wedding garland.
Refrain: To tke Lord Almighty!
10c.
Over there, beyond the hill,
Refrain
There are three (young) shepherd lads, 20 In (the middle of) the flock,
But one shepherd is a stranger,
And he was the one they sent
5 To the thorp to drive the sheep.
But they laid the law for him:
(They would) either shoot or stab him. 25 Shall beweep me in the vales.
Do not stab me, (pleaded he,)
But you are to bury me
10 In the shelter of the fold,
Mid the frisking of the lambs;
Upon me do not set clay,
Neither clay nor any earth,
Only my beloved cloak
15 (With my) pipe under the strap:
When the wind shall blow (on it),
(Then) the pipe will pipe (for me).
All the fine horned sheep (a-grazing)
On the mountain shall beweep me;
20 All the fair-fleeced sheep (so) hand-
some
Shall (with) streaming (eyes) bemourn
me.
Refrain: Come, my lords, sing uP!
10d.
Yonder, upward, on the mountrun,
Refrain
There are some three flocks of sheep
And some three (young) shepherd lads. 10 Ho, ho, ho, don't shoot me (down),
Only one of them's a stranger,
5 And he was the one they sent
Downward for to lead the sheep.
(Downward) he did lead the sheep,
And about him they conferred:
They would either shoot or stab him,
10 Or his head take (from his shoulders).
(Back) to them he made his way,
Unto him his fellows said
18 Mountain is substituted here for cerbun/ele, which is meaningless.
A I b)
What they had about him ruled:
They would either shoot or stab him,
15 Or his head take (from his shoulders).
He spoke up and said (to them) :
You are not to cut me (down),
Only shoot me through the breast,
And you are to bury me
Mid the frisking of the lambs.
Of the sheep, all that are horned
Shall bemourn me on the mountain;
Of the sheep, all that are fair
Over me do not set clay,
But my jerkin and my pipe;
When the wind shall blow (on me),
My own pipe will pipe for me,
30 And the sheep will bleat (for me).
God will (then) forgive me (too)
Because fate's befallen me
That between two fellows mine
From their midst I have been slain.
Refrain: Hoy, let's sing, my lords!
10e.
Yonder, high up on the mountain,19
(Lo,) there are nine flocks of sheep,
And (with them) nine shepherd lads.
Only one a stranger is,
5 And he was the one they sent
Downward for to drive the sheep.
Downward he did drive the sheep,
Sentence grim they passed on him:
They would either shoot or slash him.
Let you only take my head.
12-19 = 19-26 of IOd.
10£.
There, below, beneath the mountain,
Refrain
(Lo,) there are three flocks of sheep,
[ 245 ]
 A I b)
$i tri pacurareiu. ~i cand vant 'a tragana,
Fluierit' a fluiera
Numa unu-i strainel 20 $i oile mi-or canta.
5 $i pe el cii l-al} manat 1'. Haj l'e1'uj Doamne!
Sa deie oile 'n jos. (66b. Bala </»
Pana oile 1\:-0 dat,
Grea lege lui al} aflat:
Or sa-l pu!?te, or sa-l taie, lOh.
10 Or caputu sa tl ieie. P\:-un picior de plai,
El din grai all' a grait: P~-o gura de rai
Pe mine nu rna 'mpu!?cati. lata yin in cale,
Numa capu mni-lluati. Sa cobor in vale
$i pe mine rna 'ngropati
15 In turmuta oilor, 5 Tri turme de mei
In jocutu mneilor. Cu tri ciobanei.
Pe min' pamant nu puneR, Uni-i Ungureany
Numa gluga!?i bonda Uni-i Vrancieiany,
$i fluierita la cap.
20 and vantu 0 tragana,
Fluierita mi-o canta; (12k. Sanmiclau~ul mare ¢)
ate oi dalbe cornute,
Ele mi-or canta pe munte.
1'. FloriI' e, Ilo1'i dalbe d' e mar! IOi.
(81i. Curtecap </» picior d'e plai,
P~-un
P~-o gura d'e rai
lata Yin in cal'e,
109. Sa popos la val'e
I 1. I 5 Trei turmie d'e miei
I: Colo 'n sus la munt'e 'n susu, 1'.: I Cu trei ciobanei.
[TIl
susy I: Unu-i Ungureany : I
I: Unu-i Moldoveany : I
I: Sant v'o l}Opt turme de l}aiu : I I: ~i unu-i Vranceanu : I

$i v'o ]Jopt pacurarei. (121. Igri~ ¢)

Numa unu-i straine1.
5 $i pe el ca l-a]J manat
Sa bata oile 'n jos. IOj.
Pan' oile Ie batura, Pa cel plai d'e munt'e,
Lui mare lege-i facura : I. 1'.,
Or sa-l pu!?te, or sa-l taie. Merg oil'e 'n frunt'e.
10 -Pe mine nu rna 'mpu~cati, 2.1'.,
Numa capu mni-lluati. Da 'naint'ea lory,
$i pe mine rna 'mgropati
In stranguta oilor Cine mi merierie ?
$i 'n jocutu mneilor, 5 D-aldje pacurariu
15 Pe min' pamant nu puneR, - - - - - - - - - luiY 1
Far' draga gluguta mea Candu mi-~i trecene
$i fluierita la cap. Oil'e pornene. -

1 Cuvintele acestea la ion. nu se inteieg.

[ 246 J

And (with them) three shepherd lads.
Only one a stranger is,
5 And he was the one they sent
Down below to drive the sheep.
While he herded (down) the sheep,
Sentence grim they set on him:
They would either shoot or stab him,
10 Or (instead) they would behead him.
He spoke out and thusly said:
Do not let you shoot me (down),
Only take my head away;
And let you (then) bury me
15 In the middle of the sheep,
Mid the gamboling of lambs.
Upon me do not heap earth,
Only (put) my cape and coat,
And my pipe beside my head.
20 When the wind shall blow (on me),
My own pipe will pipe for me;
All the white-fleeced, horned sheep
(then)
Shall bewail me on the mountain.
Refrain: Flowers, the white apple
blossoms!
109.
Up above, there, on the mountain,
Refrain
There are some eight flocks of sheep
And some eight (young) shepherd lads,
Only one a stranger is.
5 It was he whom they sent off
Downward for to herd the sheep.
While below the sheep he herded,
They passed heavy sentence on him:
They would shoot him or else stab
him.
10 You are not to shoot me (down),
Only take my head away;
And you are to bury me
In the shelter of the fold,
Mid the frisking of the lambs.
15 Do not cover me with earth,
Only with my own dear cloak,
And my pipe (set) by my head.
BO Author's note: indistinct words in the recording.
A I b)
When the wind shall blow (on me),
(My own) pipe will pipe (for me)
20 And the sheep will mourn for me.
Refrain: Come, sing carols, Lord!
IOh.
Through a mountain field,
Through a gate of heaven,
Lo, upon the pathway,
Down toward the valley,
5 Come three flocks of lambs
With three shepherd lads.
One is a Hungarian,
One's a lad from Vrancea,
10i.
Through a mountain field,
Through a gate of heaven,
Lo, upon the pathway,
To rest in the valley,
5 Come three flocks of lambs
With three shepherd lads.
One is a Hungarian,
One is a Moldavian,
One's a lad from Vrancea.
10j.
Through that mountain meadow
ISt Refrain
Sheep ahead are going;
2nd Refrain
But ahead of them
Who is (it tllat's) walking?
5 (Lo, it is) the shepherd,
- - - - - - - -- him,2o
When he had walked through (them),
He the sheep set going,
[ 247 ]

Da 'naint'ea lory
I. Y. Doamne!
2. Y.10j Domnuluj Doamnel
(34b. Gradi!ite ¢)
11a.
D-urla, Doamne, cine d-urlii ?
Y.,
D-on durla(r), d-on pacurary,
Y.,
Cu oi multe dela munte,
Cu !iuiere 'n!iuierate,
5 Cu topoare 'ncolturate.
Da !iede dll-a !iuiera,
Toate oile juca.
Numa una nu juca,
Nu juca !ii nu manca.
10 Gazda din grai tmi graia:
-Mioara, draga mioara,
De ce tu nu joci, nici manci?
-Cii io, gazd', am d-auzitu,
Ca ti-i gazda, vinde-mi.
15 ~i gazda din grai graia:
-Vinde oi, zel}, io, oi, voi,
Ca io de cand ~ed la voi,
Tot am dalbit ca !ii voi,
~i barba mi bate bratu,
20 Mustetele d-umerile
Paru-ml bate caIchiile.
Y.Leru-mi Doamn[e]!
(109. Budureasa ¢)
11b.
DIl-asupra pa rasarity,
Y.,
Mandru-i campu d-influrity;
I: Mandru-i campu d-tnflurity : I;
Nu mi-i campu dalb d'e floriy,
5 Ci mi-i campu dalb d'e oiy,
I: Ci mi-i campu dalb d'e oiy : I.
Dar la oi cine mi !iede ?
~ede-mi dragul Dumnezey,
Sta pe pU!iCa-mi razimat
10 Cl}-on topor imbarburat,
[ 248 ]
A I b)
Cy-o fluiera ferecat.
CA.nd in fluiera-mi trage,
Dragi oile lui porne,
Din gura a!ia-mi graie:
15 -Dragile oile mele,
Vine vremea sa va las;
Jos la tara sa-mi cobor,
Sa-mi cobor, ca sa rna 'nsor.
Grai miala d-ochi!ia:
20 -Dragule stlipanul nost'l
Cum nll-ai varat astli vara,
., Iarneaza-ne !ii-astli iama,
Cii !ii noi til-om darui
La Craciun cy-on cojoc bun,
25 La Pascu'\:li cy-o mielu'\:li,
La San Giorzi cl}-on miel frumos,
La Ispas cy-on bru!i de ca!i.
Y. Doamne ioj Domnului Doamne!
(102j. Gradi!ite ¢)
11c.
Core 'n sus ~i mai d'in susy,
Y.,
Est'll-un camp dalbu d'e floriy,
I: Est'll-un camp dalbu d'e floriD: I.
Nu mi-i campu dalb d'e floriD,
5 Ci mi-i campu dalb d'e yoiD,
I: Ci mi-i campu dalb d'e l}oiu : I.
7-14 = llb. 5-7, 9-13
15 Pus-am gandu sa va las,
Sa va las ~i sa rna 'nsor,
Sa rna fac gazda de casa,
De copij !ii de nevasta.
lJoaie bala lacrama,
20 Cea mi eluta d-oche~a
Ie din gur' ~a-mi graie:
-Ba, drag stlipanoru nost',
Cum nll-ai tuns ~i cum nll-ai muls
~i nll-ai varat asta vara,
25 Iarneaza-ne !ii-asta iarna
Ciici noi te om darui
27-30 = llb. 22-25
Faya melodie:
*
Firll-ati voi slinatoase
~i-mi dati cinste frumoasa.
Y. $i-s flori/'e d'~-a doj mierjy!
(82a. Paucinesd ¢)

But ahead of them
ISt Refrain: Lord God!
2nd Refrain: Hoy, to the Almighty!
lla.
Coming down, Lord, who's descending.
Refrain
(Tis) a shepherd (who's) descending
Refrain
Many sheep from uphill herding,
(And he comes) with pipes a-piping,
5 With (sharp-edged and) cornered axes.
When he stayed and piped (awhile),
All the sheep would dance (around).
Only one of them held back,
Wouldn't dance and wouldn't eat.
10 Spoke the master, said (to her) :
Ewe lamb (mine), beloved ewe lamb,
Why d'you neither dance nor eat?
Master, (it's) because I've heard
That you mean to sell me, host.
15 And the master spoke and said:
Sheep, I swear I'll sell you (all),
Because I, since I'm with you,
Have gone white just like yourselves,
And my beard my arm is hitting,
20 My mustache (hitting) my shoulders, 15 I've made up my mind to leave,
(And) my hair my heels is hitting.
Refrain: Lord, I carol!
llb.
Toward sunrise, up above,
Refrain
Handsomely the field is blooming,
Handsomely the field is blooming:
(Yet) the field's not white with flowers,
5 But the field with sheep is whited,
But the field with sheep is whited.
But who's standing with the sheep?
The dear Lord Almighty's standing;
He is leaning on His gun,
10 By his side a bearded axe
[ 249 ]
A I b)
(And) a pipe with iron shod.
When He played upon His pipe,
His dear sheep got under way;
(Whereupon) He spoke and said:
15 Oh, you sheep of mine beloved,
Time's on hand to part with you,
To go down into the land,
To go down that I might wed.
Spoke the swarthy ewe lamb (then):
20 Oh, beloved Lord of ours,
As You've wintered us last summer,
Winter us next summer likewise,
For we too shall give to You
A good lambskin coat for Christmas,
25 An ewe lamb for Easter Sunday,
A lamb for Saint George's Day,
A cream cheese for Whitsuntide.
Refrain: Lord God, hoy, to the Almighty!
lle.
Yonder high and higher yet,
There's a meadow whitely blooming,
There's a meadow whitely blooming.
But it isn't white with flowers,
5 For the meadow's white with sheep,
For the meadow's white with sheep.
7-14 = 5-7, 9-13 of llb.
Leave you (here) for to get wed,
Be a host and keep a household,
With a wife and with some children.
The white sheep was shedding tears,
20 (But) the swarthy ewe lamb (then)
Oped her mouth and thus she said:
Nay, beloved Lord of ours,
As You've shorn and milked us (all)
And You've summered us last summer,
25 Winter us next winter likewise,
For we shall make gifts to You:
27-30 = 22-25 of lib.
*
Without a tune:
May you all enjoy good health
And begift me handsomely I
Refrain: Of two apple trees the blossoms!
 A I b)
11d. Colea jos pe manieele
Colo sus ~i mai d'in sus~,
Serise-i stele manuntele;
r., 20 tn mijloeul spatelui
Est~-un deal dalbut d'e oiy. Serisa-i luna eu lumina,
~i in fata t'eptului2

Dar la \1oi cine-mi sed'e rna? Serisa-i raza soarelui.

~ed'e-mi Zel) eu Dumnezel) !!§
5 Cu fluiera pe tureae,
Cl}-on top~r imbarburat.
Can' in fluiera ziee,
Oile coarde mergeau,
Stapanu din grai graie:
10 -Behehe, oita me,
Pus-am gandu sa va vand.
Dara oaie miorita
Din grai imi a~a graie:
-Behehe, stapanul mi el},
15 Mai iarneaza 0 iarna,
Cum n~-ai varat ~i-asta vara,
Ca noi bin' t~-om darui
La Paseuta el}-o mneluta,
La Ispas el}-on bru~ de ea~,
20 La Craeiun el}-on eojoe bun.
r. Lino lino {lero lino!
rujmalino!
(76. Ghelar 1)
He.
Colo 'n jos, Doamne, mai josy,
1'.,
[Unde-i loeu mai frumosy,
Nu f/til} eeata-i or verdeatiiV
Or i-a turma d'e oi create?
5 Da la l}oi cine-~i d-umblare?
Dumnezel} ~i eu Sant Patru,
Cu fluiera fluierand,
Pe oi, Doamne, ~iraind.
-Raie (sic!), oaie biiealoaie,
10 Ca deeand umblam la voi,
Am albd'it ~i noi ea voi,
Ca noi pe vol ea v'om vinde.
-Ba tu, Doamne, nu ne vinde,
Ca noi tie ea tl-om face
15 *Cojoe dalb pana 'n pamant,
Pe la guler d-aurit,
Pe la poala d-argintit;
1 La fonograf un ~ir
2 = pieptuIui.
r. Hoi len Ilori dalbe d'e mar!
(42a. Albae 1)
11f.
1. I I
I: Colo 'n dealu-i dup' on dealy, r. : 1
]TIl
deal
I: Est~-on
rrl fll.l
bd'et de paeurariy : 1 -rari
Cand eu fluiera ziee@,
lJoile toate plange.
5 Numa balaie saraea
Sa ruga lui Dumnezel},
Sa vie primavara,
Ca ie buna plat' 0 da:
La Craeiun on miel zurdun (?)
10 La Ispas on bot de ea~
~i la var' 0 lana mare.
r. Florile-s dalbe!
(61e. Mana~turul ungurese </»
12.
I: Pleeat-o pleeaty : I,
I: r. : I,
I: Cine mi-or pleeaty : I?
------ Doi boieri biitrani,
------ Unde mi-or pleeat? La
5 Sfinte biseriei.
Nimie nu Vedeau prin
Negru 'ntunerie,
Far' un foeuiel.
Ei la foe trageal};
10 La foe cin' ~edea?
Mieul eiobiinel.
Oaie aburea,
Mielutul zbera
r. I: Daj Domnuluj Doamne : 1!
(12f. Jadani 1)
ce nu se poate inteIege, in Ioc de ceIe 2 ~ire urmatoare.

[ 250 ]
 A I b)
11d. Down below, the sleeves surrounding,
With small stars (it will be) pictured;
There on high, and even higher, 20 In the middle of the back,
Refrain Pictured is the moon all shining;
White with sheep there is a mountain.
And in front, upon the breast,
Ho but with the sheep who's staying? Pictured is the sun's own beam.
'Ti~ the Lord and the Almighty, Retrain: Hoy, the apple blossoms white!
5 With His pipe thrust in His boot,
With a bearded axe (on hand).
When He played upon His pipe, 11f.
Round in rows the sheep would go,
There, uphill, behind a hillside,
(Then) the Master spoke and sai~: Refrain
10 Baa, baa, baa, small sheep of rome,
There is a poor shepherd lad.
I've a mind to sell you (all).
When he played upon his pipe,
But the (little) sheep, the ewe lamb,
All the sheep would (start to) weep.
Spoke aloud and thus she s~id: 5 Only the poor white-fleeced ewe lamb
Baa, baa, baa, oh Master mme,
Said a prayer to the Lord
15 Winter us another winter,
That the spring might (sooner) come,
As You've summered us last summer,
For she'd make a payment fair:
For we shall reward You well:
A fine (lamb) at Christmastide,
An ewe lamb for Easter Sunday,
10 A cream cheese at Whitsuntide,
A cream cheese for Whitsuntide,
(And) a large fleece in the summer.
20 A fair lambskin coat for Christmas.
Refrain: White are the blossoms!
Refrain: Softly, softly, {carOl softly!
oh rosemary!
12.
11e. They have gone, departed.
Retrain
There below, Lord, lower down,
Who has gone, departed?
Refrain . Two old noblemen.
Where the place most beauteous IS, Where have they gone off? To22
I don't know: is't mist or greenery,
5 Holy churches blest.
Or a flock of sheep all curly?21
Nothing did they see through
5 But who with the sheep is walking?
Darkling murkiness
The Almighty and Saint Peter,
But a little fire.
(They are) piping with t~e pipe, To the fire they went:
Setting, Lord, the sheep 10 rows.
Who sat by the fire?
Scabby mange, you black-faced sheep,
10 The small shepherd lad.
you, . Warmly breathed the sheep,
10 Since we've been about WIth you,
Bleated the small lamb,
We've grown white just like yourselves
(And) we are about to sell you.
Refrain: Give the Lord Almighty!
Lord Almighty, nay, don't sell us,
Because unto You we'll fashion
15 Of white lambskin a long coat,
All begilded at the neck,
All besilvered at the skirts;

21 Author's note: On the recording, (there is) an unintelligible verse instead of these two

ve~e~he peculiar distribution of words in these verses follows the original as closely as possible.
[ 251 ]

13.
l---rj rrr.-1
I: SUS pi la ffmata : I -nar
fT.I rrr.l
I: CU rochia creata : I crear
ILl fIT.l
I: Jos pi langa rau : I ral}
ILl rn.l
I: CU secer' (?) in brau : I bral}
5 Ma plecai, plecai,
Maruntu saitai,
Ghinguri imi luai (?),
Ghingi (?) fara durere,
Moarte fara vreme.
10 Raida, frate, haida,
;;i-o cuprinde 'n viata
;;i-o saruta 'n fata,
;;i nu-ti fie greata,
Ca nu-i soru-ta,
15 Ca-i draguta tao
Ma luai, luai
Panga rasarele
Cu nOl}a ulcere,
Dupa ie curere
20 Leacuri l~-am aflat:
Tri scanduri de brad,
Popa ~i-un diac,
Patruzeci de cuie
;;i 'n pamant s'o puie.
(26c. Bala t/»
14a.
Plecat-o, plecaty
I"IT".--'1 rrr.l
I: Puternicu soare, Y. :
Ca el sa sa 'nsoare.
;;i el cat umbla
5 V'optsprezece ani
A I c)
c) BALLADS
BALADE
P~-optsprezece cai,
NOl}a cai murie,
NOl}a s'obose,
Soata nu-~i gase
10 Pan' pa sora-sa,
Ana Sanziana,
Sora soarelui.
Puternicu soare
El din grai graie:
15 -Tese, Ano, tese
Fir ~i ibri~in,
Raine de matasa,
Ca sa-mi fi mireasa.
Ie din grai graie:
20 -Puternicu soare
;;i-al miel} fratioare,
Atunci ti-oi fi tie
El} tie sotie
Pana la vecie,
25 cand tu mi Ii face
o scara de fier
Din fundul de mari
Pan' la naltul ceri,
Pan' la mo~ Adam
30 ;;i la moa~a Eva,
;;i mi-i intreba:
Fi-o bin' a~a,
Pa lume sa ie
o sora cl}-on frate
35 ;;i-on frate Cl}-O sora
Pa lume de dor?
Puternicu soare
Cu gand imi gande,
Scara sa face
40 ;;i mi sa suie
Pan' la naltul ceri
Pan' la mos Adam
;;i la moa~a' Eva.
-Draga mo~ Adame,
45 Yin la intrebare
Tot pe Dumeatale:
I soare,
Fi-o bin' a~a
Pa lume sa ie
o sora cl}-on frate
[ 252 ]
 A I c)

c) BALLADS
13. Upon eighteen steeds,
Nine steeds came to die,
Nine got tired out,
Up about the hayfield, (Yet) he found no bride
In a ruffled dress, 10 But his sister (fair),
Down along the stream, Ana Sanziana,23
Sickle in the belt, Sister of the sun.
5 I went off, went off, (Lo,) the mighty sun (then)
Mincingly I skipped, Spoke and said (to her) :
A sma1l knife (?) I took, 15 Weave, Ana, start weaving
Sma1l knife (that is) painless, Thread of gold and silk,
Death (that is) untimely. Silken gowns (to fashion)
10 Come along, come, brother, That you might my bride be.
All alive embrace her, She spoke out and said:
On the cheek bekiss her, 20 Mighty sun (of daylight),
And do not be sickened, And my little brother,
Your sister she's not, (Only) then shall I be
15 For she is your love. To yourself a (true) bride
I went off, went off, Till time everlasting,
Along by the seedlings (?), 25 When you sha1l have made me
Carrying nine pitchers. A ladder of iron
After her a-running (?). From the bed of seas
25 Remedies I found: Up to the high sky,
Three (straight) boards of pine, Up to Father Adam
Priest and deacon too. 30 And to Mother Eve,
Two score nails (of iron). And you'1l ask of them:
In the earth to put her. Be it rightful thus
In the world to wed
A sister her brother,
14a. 35 A brother his sister,
In the world of yearn?
He has gone. departed, Mighty sun (of daylight)
Mighty sun (of daylight), With his mind gave thought,
Retrain The ladder was made,
That he might get wedded. 40 And he climbed (on it)
While he journeyed (thus), Up to the high sky,
5 About eighteen years, Up to Father Adam
And to Mother Eve.
Father Adam dear,
45 I have come to question,
(Ask) of you (a question:)
Be it rightful thus
In the world to wed
A sister her brother,
S3 Ana SAnziana is a corrupt form of Ileana CosAnzeana, the tra~tio~al "Beauty" or fairy
princess, heroine of Rumanian folk tales. SAnziene is the popular ~eslgna~lO? of ~he feast ~f the
Birth of St. John (June 24), a day fraught with weird and mysttc assoclattons tn the IIl1nd of
the Rumanian peasantry.

[ 253 ]

50 $i-on frate cl}-on sora
Pa lume de dor?
lara mOil Adam
$i cu moaila Eva
Pa soare-Ilega
55 $i 'n iad mi-l baga.
ladullumina,
Lumea 'ntuneca.
lara mOil Adam
$i cu moaila Eva
60 Ce sa mai gande ?
Pa soare-l scote,
lar mi-l sloboze.
~i el sa duce
Pan' la sora sa:
65 -Tese, Ano, tese,
Ca sa-mi faci camie~e
Fir ~i ibri~in
Haine de matasa,
Ca sa-mi fi mireasa.
70 Ana Sanziana
Ie din grai graie:
-Puternicu soare
~i-al miel} fratioare,
Atunci ti-oi fi tie,
75 El} tie sotie
Pana la vecie,
Cand tu mi ii face
Tot on pod d~-argint
Tot pasta pamant
80 ~i 'n capat de pod 0
Nalta manastire
$i-on popa de ciara
Cum nu e pe lumea:
Ala ne cunune.
85 Puternicu soare
Cu gandu-mi gande,
Podu sa face,
De mana lua
Tot pe sora sa
90 Pa pod imi pleca.
Soarele-mi pripe,
Popa sa tope.
Dumnezel} mi-lll}a,
Pa cer mi-l pune,
95 Cand luna rasere,
Soarele apune.
r. loj Domnuluj Doamne!
(9. Paucine~d if)
[ 254 ]
A I c)
14b.
Put'ernicu soare
Umbla sa sa 'nsoare.
r.,
$i el mi~i umblarf,
Lumea 'ncunjura~.
5 Napoi sa 'ntorcerie
D'in gura-mi graierie.
-Soro Sanziano, -
Cand tu ca mi-i tese
Viguri de matasa,
10 Tu sa-mi fi nevasta.
Sora soarelui,
Cand mi-l d'auze,
Din gura-mi graie:
-Put'ernicu soare
15 $i asta c'om fac~-o
Cand tu ca te-i duce
Pan' la mo~ Adam,
De li-i intreba
Cum de s'ar put'e,
20 Sa insor p~-on frat'e
~i-on frat'e p~-o sora.
lara mo~ Adam
Cand mi-l d'auze,
Pa soare-l lega
25 $i 'n iad mi-l baga:
Iadul lumina,
Lumea 'ntuneca,
Pietrile-mi plezne,
Apa nu merge.
30 lar pa mo~ Adam
Mila-l d-ajunge,
Din iad mi-l scot'e.
Put'ernicu soare
Napoi sa 'ntorce,
35 Din gura-mi graie:
-Soro Sanziano
Cand tu ca mi-i tese
Viguri de matasa:
Tu sa-mi fi nevasta.
40 Sora soarelui,
Cand mi-l d-auze,
Din gura-mi graie:
-Put'ernicu soare,
~i asta c'om fac~-o,
45 Cand tu ca ti-i face
On pod pasta mari
~i-o scara de fer

50 A brother his sister,
In the world of yearn?
Father Adam with
Mother Eve together
Bound the (mighty) sun,
55 Thrust him into hell.
Hell was lighted up,
Darkened was the world.
Father Adam with
Mother Eve together,
60 What else did they think?
They brought up the sun,
Set him free again.
Thereupon he went
To his sister (fair):
65 Weave, Ana, start weaving,
Shirt for me to fashion;
Thread of gold and silk,
Silken gowns to fashion,
That you might my bride be.
70 Ana Sanziana
Spoke and said (to him) :
Mighty sun (of daylight),
And my little brother,
(Only) then shall I be
75 To yourself a (true) bride
Till time everlasting,
When you shall have built me
A (fine) silver bridge
Over all the earth,
80 At the bridge's end, too
A tall monastery
And a priest of beeswax,
As there's none on earth (more);
"Twill be he who'll wed us.
85 Mighty sun (of daylight)
With his mind gave thought,
(And) the bridge was built.
By the hand he took
His own sister (then),
90 On the bridge set off.
Hurried was the sun,
Melted was the priest.
God (then) took him up,
Set him in the sky.
95 When the moon (now) riSf'S,
Sets the sun (of daylight)
Retrain: Hoy, to the Almighty!
[ 255 ]
A I c)
14b.
(Lo,) the mighty s~n is
Trying to get marrled,
Retrain
And (away) he journeyed,
Round the world he traveled.
5 Back he came again,
From his mouth he spoke:
Sister Sinziana,
When you shall have woven
Bolts of silken fabric,
10 You shall be my wife (then).
Sister of the sun,
When she heard him out,
From her mouth she spoke:
Sun of mighty power,
15 That we shall do also,
When you shall have journeyed
Up to Father Adam,
For to ask of him
How it could be done
20 That I wed a brother
And brother wed sister.
Father Adam then,
When he heard him out,
Bound the (mighty)sun
25 And put him in hell.
Hell was lighted up,
Darkling was the world,
Stones were split apart,
Water didn't flow.
30 Father Adam then
Was with mercy seized,
Brought him out of hell.
Sun of mighty power
To his place returned,
35 From his mouth he spoke:
Sister Sinziana,
When you shall have woven
Bolts of silken fabric,
You shall be my wife (then).
40 Sister of the sun,
When she heard him out,
From her mouth she spoke:
Sun of mighty power,
We shall do that also
45 When you shall have made me
O'er the seas a bridge,
Iron ladder, too,

Cu bate dll-oiel,
Tot din fund de mill;
50 Pan 'la naltul ceri.
$i ei mi sa h}ara,
De ea sa cununa.
La mijloc de pod
Sora soarelui
55 Din gura-mi graie:
-Put'ernicu soare,
DecM curva iie.
Ey mai bin' rna tap
'N fundu marilor,
60 'N smoala pietrilor,
Umbra pe~tilor.
'Y. 10i Domnuluj Doamne!
(14b. Gri'idi!/te if)
14c.
D'in cel camp mandru, frumos,
tnghiata tal) 'n miez de vara.
Nu-mi inghiata de receala,
Ci sa 'nsoara on crai mare,
5 Sa mi-ji ie pa sora sa.
-Hai tu soro Solomie,
Hai cu min' la cununie!
-Ey, mai frat', atunci oi mere
Cand tu mie ca mi-i face
10 Pod dll-arama peste varna.
June 'n casa sa jape,
Numa cu gandu gande,
Podu iute sa face.
-Hai tu soro Solomie,
15 Hai cu min' la cununie!
-El)., mai frat', atunci oi mere,
Cand tu mie ca mi-i face
Pod dll-argint peste pamant.
June 'n casa sa jape.
20 Numa cu gandu gande,
Podu iute sa face.
-Hai tu soro Solomie,
Hai cu min' la cununie!
-El), mai frat', atunci oi mere,
1 = unde.
[ 256 ]
A I c)
25 Cand tu mie mi-i aduce
Sfantu soare nana~ mare,
Sfanta luna nana~iia.
June 'n casa sa jape,
Numa cu gandu gande.
30 Sfantu soare can' ven.e,
Sfanta luna can' sose,
Pa un'l Dumnialor pleca,
Pamantu 'n patru crepa;
Pa un' Dumnialor porne,
35 Pamantu 'n patru plesn.e.
'Y. Domnuluj, Domnuluj, Doamne!
(62r. Ciarbal if)
14d.
La poarta de Teligrady,
'Y.,
S'a nascut on Ion bradoiy,
$ed'e 'n coat'e ~i 'n genuniiy
$i sa roaga d'e pariniiu
5 Sa-mi deie pa sora sa.
Maica sa cand l-auze,
Cata Ion a~a-mi zice:
-10 atuncia ca ii-oi da,
Cand tu mie ca mi-i face
10 On pod mare de argint,
Sa triecem pasta pamant,
!i'i-on pod mare pasta varna,
Ca sa triecem pan' la mama.
EI toate Ie isprave
15 $i acasa sa 'ntorce.
Haida, soro Solomie,
Sa mergem la cununie!
Maica sa cand l-auze,
Catra el a!/a-mi zice:
20 -10 atuncia ca ii-oi da,
Cand tu mie ca mi-i face
o scarita pan' la soare,
Ala-ii fie nana~ mare;
$i-o scarita pan' la luna,

With the rungs of steel,
From the seas' own bed
50 Up to the high sky.
And (so) they were wedded,
To her he was married.
Midway on the bridge,
Sister of the sun
35 From her mouth spoke up:
Sun of mighty power,
Rather than your whore be,
I shall hurl myself
To the seas' own bed,
60 To the gloom of rocks,
Shadow of the fish.
Retrain: Hoy, to the Almighty!
14c.
In that beauteous meadow fair,
Midsummer the pond is freezing.
Not because of cold it's freezing,
But (because) a great king's wedding,
5 (And) his sister is his bride.
Come along, sister Salome,
Come along to (our) wedding!
(Only) then shall I go, brother,
When for me you shall have fashioned,
10 O'er the toll,24 a bridge of copper.
The young man rushed in the house,
Merely thought (it) with (his) thought,
Swiftly was the bridge set up.
Come along, sister Salome,
15 Come with me to (our) wedding!
(Only) then shall I go, brother,
When you shall have fashioned for me
O'er the earth a silver bridge.
The young man rushed in the house,
20 Merely thought (it) with (his) thought,
Swiftly was the bridge set up.
Come along, sister Salome,
Come with me to our wedding!
(Only) then shall I go, brother,
A I c)
25 When you shall have (gone and)
brought me
The blest sun (as) wedding sponsor
(And) the blessed moon (as) matron. 26
The young man rushed in the house,
Merely thought (it) with (his) thought,
30 When the blessed sun arrived
(And) the blessed moon came (too).
Wheresoever they did go,
Into four the earth was split;
Wheresoever they set out,
35 Into four the earth was cracked.
Retrain: To the Lord, to the Almighty!
14d.
At the gate of Tzarigrad,26
Retrain
There was born a half-wit, John.
Crouches on his knees and elbows
And (his) parents he beseeches
5 That his sister he might wed.
When his mother heard him out,
She spoke thusly unto John:
(Only) then I'll give her you
When for me you shall have fashioned
10 A great bridge of silver (made),
That we might cross o'er the earth,
And across the toll a causeway,
That we might cross o'er to mothel.
He did finish everything
15 And he came back home again.
Come along, sister Salome,
Let us go to (our) wedding!
When his mother heard him out,
She spoke thusly unto him:
20 (Only) then I'll give her you
When for me you shall have fashioned
To the sun a little ladder,
(That) he be your wedding sponsor,
Likewise to the moon a ladder,

24 The reference here is to the so-called "tolls of the air" (vamile vazduhului), resting places
of the dead on their way to heaven, according to popular belief. The silver coin put in a dead
person's hand before burial is for the payment of these "tolls", which are found frequently
mentioned in Rumanian folk songs.
lIS In Orthodox church weddings, another couple-usually older married friends of the bride
and bridegroom-officiates as wedding sponsors, in a capacity analogous to that of godparents
at a baptism. During the ceremony, they hold wreaths or gilt metal crowns over the heads of
their godchildren.
B8 Here corrupted to Teligl'ad, Tzarigrad is the ancient designation of Constantinople.

[ 257 ]

25 Aia-u fie nanal1' buna;
~i-o scarita pwa 'n stele
Ale-ij fie nana~ele.
El toate Ie isprave
~i acasa sa 'ntorce:
30 Sui, Marie, in cocie,
Sa mergem la cununie I
~i 'n biserica I-intra,
Icoanele jos pica,
Luminele sa stange,
35 'N mijlocul altarului
Iel1ie maica Domnului,
Ie din grai ~a-mi graie:
Ai grija, popo, de tine,
Ca ce faci tu, nu faci bine,
40 ca aia nu-i direptate,
Sa sa ie sora cu frate!
1'. Md1'u-j 1'OIfU Pddu1'jeju!
(86a. Paucine~d 1)
15.
Colo 'n josu, mai d'in josui,
1'.,
Est!:-on palc dalbuj d'e yoiy.
Da la uoi cine-mi erarie?
Sorior ~u fraji~ory. -
5 Frat'e-l1i merie mai naint'ei
[fat cantan' !Ii fluieran'ui]
Sora-!?i merie mai napoiY
Tat plangan' ~i suspinan'ui
Ie din gur' al1e-mi graie: -
10 -'Nceata, frate, cantecu,
Sa-mi inceat io suspinu, .
Ca de can' am suspinat,
Voile s'or departat.
1'. Doamneyt,
Zd1'l1nc mdndrulo, zd1'dnc
dulculo,
Zd1'dnc zdrdnc zdrdncu
D1'agoli Doamne daj {DomnuZ'1
DomnuZuj!
(129. Ciarbal 1)
16.
los pa drumul mare,
I. 1'.,
Sus pi (sic!) lwga cale,
[ 258 ]
A I c)
2.1'.,
Nascut-o, crescut-o
I: Nascut-o, crescut-o : I
5 Nascut-o, crescut-on
Verd'e palciniory,
Galban vi!?iniory.
los d-umbra ratunda,
I :los d-umbra ratunda : I
10 los d-umbra ratunda,
I: Jos d-umbra ratunda : I,
Da su' frunza lui
~i su' umbra lui
Cine sa umbrel1te
15 ~i sa hodine~te?
Vasii tanariel,
Voinic ginga~el
Cu cujma de miel,
De miel balu~el.
20 'Naljate 'mparate
~ede !/i-l prive~te,
Din gura-mi graie~te:
- Vasii tanariel,
Voinic ginga!/el
Doamne!
I. 1'.
2.r. 10j Domnuluj Doamne!
(33a. Rau de mori if)
17.
r.,
Su' poalca de codrul verd'e
Mucucel foc mi-sa ved'e.
Nu I1til). focu-i pocolit,
o de voinici ocolit?
5 Nu ~til} zece, cincisprezece,
Numa frig la un berbece.
;:ii nu-l frige cum sa frige,
Ci mi-l frige in carlige
~i l-intorce in belciuge
10 ~i mi-~i beal} vin tot d!:-al dulce.
Maicuja a~a zicea:
-Bea, bea, bea, Iaoane, beare,
Iaca pot'era colearel
-Las' sa fie, nici nu-mi pasa,
15 Ca nu-s muiere cu conci,

25 (That) she be your wedding matron,
Also to the stars a ladder,
(That) your witnesses they might be.
He did finish everything
And he came back home again.
30 Jump into the coach, Maria,
Let us go to (our) wedding!
As they went into the church,
To the ground the icons fell,
(And) the candles (all) went out;
35 In the middle of the altar,
(Lo,) the Holy Virgin came.
She made speech and thus she said:
Have a care, priest, for your welfare,
What you're doing isn't rightful,
40 For that's not (an act that's) lawful
That a sister wed (her) brother!
Refrain: Lo, the crab apple is ruddy!
15.
There, below, (and) lower down yet,
Refrain
There is a white flock of sheep.
But who's staying with the sheep?
('Tis) a sister and a brother.
5 Out in front the brother's walking,
All a-singing and a-whistling;
In the rear the sister's walking,
All a-weeping and a-sighing.
From her mouth she thusly spoke:
10 Brother, let you stay (your) song,
That I (too) might stay my sobs,
For since I've been sobbing (thus),
(Lo,) the sheep have strayed afar.
Refrain: Oh, Lord,
Strum, my sweetheart, strum,
you sweet one;
Strum, strum, strum-ho,
Oh, dear Lord, give the Almighty!
16.
Down upon the highway,
ISt Refrain
Up beside the footpath,
[ 259 ]
A I c)
2nd Refrain
There was born, there flourished,
There was born, there flourished,
5 There was born, there flourished
A little green maple,
A small yellow cherry:
Beneath (them's) round shadow,
Beneath (them's) round shadow,
10 Beneath (them's) round shadow,
Beneath (them's) round shadow.
But beneath their leaves
And beneath their shade,
Who is taking shelter,
15 And who rest is taking?
Basil, a young lad,
(And) a stalwart nice,
With a lambskin cape
Of white lambskin (made).
20 Emperor exalted
Sits and looks upon him,
(Unto him) he's saying:
Basil, (you) young lad,
(And you) stalwart nice,
ISt Refrain: Oh Lord!
2nd Refrain: Hoy, to the Almighty!
17.
Refrain
At the foot of the green forest
You can see a tiny fire.
I don't know whether it's still
Or by stalwarts it is ringed.
5 Ten, fifteen, I don't know (rightly),
But (it is) a ram they're roasting.
They're not roasting it like others,
But they're roasting it on pothooks
And they're turning it on ringles,
10 And the while sweet wine they're
drinking.
Little mother thusly spoke:
Drink, drink, drink, John, (and) keep
drinking,
See, the watch is over yonder!
Let it be, I do not mind (it),
15 I'm no woman in a bonnet,

Ca sa strA-g ea nu mai poei,
Ci-s voinie eu eumanaeu,
Uit~-aiei ea e~-o sa faeu:
Un 'pa murgu m'oi 'n~el~,
20 Pot'era e'oi rasfirar.Jl.
'Y. Florj dalbe de ma'Y!
(37e. Sarafola 1)
18.
Colo josul, mai d'in josu,
Colo 'n josu, mai d'in josu,
'Y.,
I: Ce zare d'e foe sa ved'e : 1?
Ba nu-i zarea foeului:
5 Oehi~orii ~erpelui,
~ede 'n drum ineolaeit
~i manA-nea la-yn voinie,
Jumatate 1-0 mA-neat.
CA-ti drumari pe drum trere,
10 Toti in ~erpe azvA.rle.
Paziti-va, oamini, drumu,
Cum l-ati pazit pA.n' amu;
Muma sa 1-0 blastamat:
-MA-nee-ti ~erpcii 1 sA-ngile,
15 Cum ne mA-neati zilele
De euta.te azeuta.te,
De palo~e ruginite.
* 30 Oehij negri d -aruneare
lar bogatu-i ea ~i toamna:
Bogatia 'mprejur easa,
20 Sana tate d-intra 'n easa,
Intra 'n easa dupa masa.
Sa-mi !lii2 gazda siinatoasa,
Piste d-an mai veseloasa.
Sa-mi d-ospeti ~i sa-roi petreei
25 Pi su' poame d-influrit
Toamna sii ea de rodit.
'Y. Haj Id-'uj Doamne, hajZeruj Doamn'!
(73hh. RApa de sus «»
19.
La eurtil'e Cidviieiu,
'Y.,
1 = serpii.
a = fii.
a = re-urind, impre-urlnd.
[ 260 ]
A I c)
Beay boierii tariieiu,
I: Beay boierii tiirijeiu : I,
Tot troi beay ~i-mi vesel'eseu
====
5 ~i pe Cidva mi-o peteseu
------
Zi de varii pA.na 'n sara.
Und fu J oi d-in cap de sara
Pa Cidva mi-o 'neredintara,
Vineri boala 0 lovi,
10 SA-mbata Cidva muri,
Dumineea vin euseri
RA-urin' l1i 'mpraurin'u 3
Dela poartii tot strA-gA-n'u:
-la, ie~i. Cidvo, pA-n' d-afara,
15 De deseuie portile~,
Sa tunam eu liiutile~ I
le~e maiea Cidvieiy,
PA-n' laerami d-abia-i ziire,
PA-n' suspini d-abia griiie:
20 -Ia fiti, euseri, iertatori
~i niipoi intoreiitori,
Cidva-i moarta la fereastii,
La fereastii sus pa masa,
Pa eovoara de matasa.
25 Toti euserii cii sa 'nereder.e,
~i napoi ea sa 'ntoree~,
Numa tA.narel mirelu,
Numa el nu sa 'nerede~,
PA.na 'ntuna f1i-mi veder.~,
~i din grai ~a griiiel1l:
-Maieo, maiculeana mere,
Creapa giolgi in patru £oi.
~i ne 'ngroapa p'amA-ndol.
'Y. Doamne joj Domnuluj Doamne!
(84a. Nue~oara 1)
20.
Sus la tara ungureasea,
'Y.,
Est~-o fata rumA-neasca.
'Y.,
Nu-i voinie d~-o 'neelu~
~i pre murgul d~-a saril~.

To cry out that I am beaten;
I'm a lad in sheepskin cap:
(Just) look here what I shall do (now):
When I'll saddle up my bay,
20 I shall go the watch to scatter.
Refrain: Apple blossoms white!
18.
Over there, below, down lower,
Over there, below, down lower,
Refrain
What's that glimmer of a firelight?
Nay, that is no firelight,
5 (Lo, it is) the serpent's eyes:
It lies coiled upon the road
And it's eating up a lad,
It has eaten half of him.
All the wayfarers that passed
10 At the snake were hurling (stones).
People, mind the way you're going,
As you've minded it till now.
By his mother he was cursed:
May the serpents eat your blood,
15 As you're eating up our days,
With the sharply pointed daggers
(And) with broadswords (that are)
rusted.
*
And the rich man is like autumn:
Wealth encompasses (his) mansion;
20 In (his) mansion (good) health enters,
Goes inside, (sits) at the table.
Host, a goodly health we wish you,
Through the year, of better cheer (be),
May you revel, may you feast
25 Underneath the trees in bloom,
In the fall be as in fruit.
Refrain: Come, sing the carol; come,
carol, Lord!
19.
At the mansion of (fair) Cidva,27
Refrain
21 Cidva is an extravagantly corrupt form of Tiva or Chiva, which in turn are diminutive
forms of Paraschiva, a fairly common feminine name in Rumania. Tidva or tigva, often pro-
nounced cidva, also means gourd (Lagenaria vulgaris) as well as skull.
[ 261 ]
A I c)
(Lo,) the country's lords are drinking,
(Lo,) the country's lords are drinking.
They keep drinking and carousing,
5 Asking Cidva's hand in marriage,
On a summer day till evening.
Thursday, as the evening ended,
Cidva was betrothed and plighted;
Friday illness struck her (down);
10 Saturday, Cidva was dead;
Sunday (morning) came the in-laws,
Bringing pledges and good wishes,
From the gateway loudly calling:
Come along outside, oh Cidva,
15 (For us) to unlock the gateways,
With the lutes that we might enter!
Cidva's mother came outside (then),
Barely seeing through (her) tears,
Barely speaking through (her) sobs:
20 Be forgiving, in-laws (mine),
And turn back upon your way;
Cidva's dead beside the window,
By the window, on the table,
(Lying) on a silken carpet.
25 All the in-laws were believing
And upon their way returning;
But alone the youthful bridegroom,
Only he was disbelieving,
Until he'd gone in a-looking,
30 (His) black eyes (about him) throwing;
(Then) he spoke and thusly said he:
Mother of mine, little mother,
Split the winding sheet in four,
Bury us together both.
Refrain: Lord, hoy, jar the Almighty!
20.
Up in the Hungarian country
Refrain
There's a lass (who's a) Rumanian.
Refrain
There's no lad there to seduce her,
And (then) leap upon his sorrel.

5 Murgul prind~-a r!nt'ezar.J1,
Fata prind!(-a sust'inar.J1. 1
-Taci, fata, nu sust'inaIQ,
Ca te trecem d~-aicear~
Peste munti intr'alte curtiy
10 La parinti necunoscutiy
r. Floricele dalbe!
(121n. Lona ¢)
11.
Da lele puiut, puiut!!i,
r.,
Vineri ma-ta cfJ-o facutlJ;
Sambata marie crescusiui,
Dumiiiecai d-insura~iY: -
------
5 Luni catana ~i-mi pleca~i.
El din grai a~a-mi graie:
-Draga muieru~a me,
Pune 'n gand ~i te marita,
N u ~ede inima fripta!
10 Ie s'a pus s'o maritat,
El in catanie-o plecat.
~apte ani 0 catanit,
La orlab 2 l-a~ slobozU.
El venin' pa drum nainte
15 Sa 'ntatni c~-on mo~ batran:
-Buna zi1}a, mOl1 bUran!
Ce-mi strangi Dumineca fan ?
-Taci, catana, ca~ta-ti drumu,
Ca nu strang de dragu ta~,
20 Ci strang de amaru mie~,
De doru ficiorului,
Ca-i in tara Piemului,3
-Mai mo~ule, mo~ batran,
Este yin in sat la voi,
25 De s'aud~-at&ta hoi?
-Este chiar la casa me,
Sa marita nora me.
-Mal mo~ule, mOl? batran,
Lasa furca ~i greblii,
30 Hai de mar' 4 la-a ta casa!
Ei spre casa ca;'- plecara,
In casa can' sa bagara,
1 = suspina.
2 = concediu < Urlaub (neml.).
3 = cehelui < Bohme (neml.).
4 = sa mer gem.
[ 262 ]
A I c)
Toti masarii sa sculara,
Cu paharu inchinara,
35 Dela nime nu luara.
Sa scula l1i mireasa,
Cu paharu inchina:
-Acest pahiiriell-oi be,
Cii-i dela sotia me!
40 Beati cuscri ~i ospatati
~i de cale va cotati,5
Mireasa nu capatatj..
r. Mdj. lin~-or mdj. lin~-or verzjd!
(B3a. Paucine~d ¢)
11a.
fT.I fTIl
I: SU' poalii de codrut, verde: I verd'
M!ndru fagada~ sa vede.
Da 'n fagada~ cine ~ede?
Petrea, Petrea, crtjmar mare
5 Cu Ileana, fata mare.
Da Ileana, fata mare,
Dimineata s'o sculat
~i pe cap s'o t'eptanat,6
Matura 'n man' 0 luat,
10 Sobile l~-a~ maturat
~i gunoiu l-a~ tapat,
L-a~ tapat spre rasarit
~i-a~ vazut Turcii vinind.
lute 'n casa l1i-a\l- intrat
15 ~i din gur' a\l- cuvantat:
-Ascunde-ma, tata, bine,
Cii Yin Turcii dupa mine.
-Dragu tatii, t!(-oi ascunde
Supt 0 tufa de malin,
20 Unde sum vantu lin;
In chilie de tam3,ie,
Turcii de tin' sa nu l1tie.
Abia horba 7 v'a];! gatat
~i pe fat' 0 ~ezat,
25 Turcii 'n casa a];! intrat.
-Na, ~edeti, voinici, la noil
-Noi n'am vinit sa l?edem.
Noi am vinit sa petim
Pe Ileana, fata mare,
30 N~-o da nOl}8. de muiere.
5 = cautati.
6 = pieptanat.
7 = Yorba.

5 (Lo,) the sorrel started neighing,
(And) the maiden started sobbing.
Quiet, lass, do not be sobbing,
For from here we'll cross you over,
O'er the hills, to other mansions,
10 (Take you home) to unknown parents,
Refrain: Little snow-white blossoms! 40 Drink, you in-laws, and feast (well),
21.
Little one born out of wedlock,
Refrain
Friday did your mother bear you,
You grew up on Saturday,
(And) on Sunday you got married;
5 Monday went away, a soldier.
He spoke up and thus he said:
Oh beloved wife of mine,
Set your mind on getting wedded,
Do not stay with heart a-burning I
10 She got ready, she got wedded;
He went off a-soldiering.
Seven years he was a soldier,
(Then) they let him go on leave.
Down the highway he was coming,
15 (When) he met an aged man:
A good day to you, old man!
Why d'you gather hay on Sunday?
Quiet, soldier, mind your way (now),
I'm not haying for your love,
20 But I'm haying for my woe,
For the yearning of (my) son,
Who's in the Bohemian's land.
Old man, (tell me,) you old man,
Is there wining in your village,
25 That there's so much shouting heard?
There is, at my own house too:
My son's wife is getting married.
Old man, (listen,) you old man,
Leave the hayfork and the hayrake,
30 Let us go to your own house!
When they set off to the house,
When they went inside the house,
28 That is, toward the east. In common parlance, east and west are referred to as sunrise
and sunset in Rumanian, whereas north and south are designated as midnight and midday (or
noon).
29 Though it is the bird cherry or pin cherry that is commonly called malin in Rumanian
(P,unus padus), in Transylvania it is the lilac bush is usually designated by this name.
A I c)
All the guests rose to their feet,
(Each one) pledging with (his) glass;
35 (But) from none did he take (wine).
The bride, too, got to her feet
(And) she pledged her glass to him.
This glass I shall drink, (said he,)
For it is from my own wife!
And (thereon) be on your way,
(For) a bride you shall not get.
Refrain: Softly, ho, green leafage softly!
22a.
At the foot of the green forest,
Can be seen a handsome tavern.
But who's living in the tavern ?
Peter, the great tavern keeper,
5 With Ileana, (who's) a maiden.
But Ileana, (who's) a maiden,
Got up early in the morning
And her hair she nicely combed,
Took the broom into her hand,
10 (All) the rooms she (then) swept out
And the sweepings she threw out,
Toward sunrise 28 threw them out,
And she saw the Turks come near.
(Back) she hastened to the house,
15 And she spoke out of her mouth:
Father, you must hide me truly,
Since the Turks for me are coming.
Father's darling, I shall hide you
Underneath a lilac bush,29
20 Where the wind does softly blow,
In the chamber of the incense,
So the Turks won't know about you.
Hardly did he end his say
And the maiden put away,
25 When the Turks came in the house.
Stalwarts, come along, sit down!
We have not come to sit down,
We have come to woo a bride,
(Woo) Ileana, (who's) a maiden:
30 As a wife (now) give her to us.
[ 263 ]
 A I c)
-Ascultati. iubiti, la mine: r. Leruluj ~j-a maruluj/
Pe Ileana a!i da bine, (79a. Porn if)
Dar acum de ~epte zile
Pe Ilean' Q-am ingropat.
35 De nu-mi credeti cuvantu, 23a.
Hai sa v'arat mormantu I: Izvor, izvora~y : I,
Supt 0 tufa de malin, r.,
Unde sufla vantu lin,
$i e~ 0 plang cu suspin. I: D'e-ai ~i1 graitoriu : I

(48. Toplita if) I: Cum e~t'i margatoriu : I,

22b.
I I.
I: Su' tufa de malin verde, r. : I verde
Mandra curticea sa vede.
Da 'n curtice cine ~ede?
$ede, ~ede-mi Jid batranu,
5 Arl':-o fata, foc' 0 bata,
C'a muri de maritata.
Dimineata s'o sculaty.
Pe obraz ca s'o spalaty,
Goz in poala l-o-apucaty
10 $i afara 1-0 tapaty,
L-o tapat spre rasarity
$i-o vazut Turcii vinindy.
Ie in casa ~i-o intraty:
-Tata,-mi yin imi petitoriy.
15 Tata, tata, de m'ii da~,
Arda ~ura ~i casare
$i tata stransura tare.
Da rna bag' in boldulere
$i rna 'nvart' in joljulere.
20 Turcii 'n casa s'o bligaty.
-Treceti. Turcij, hodinitiy!
-N'am vinit sa hodinimy,
Noi am vinit sa petimy.
-10 n'am fata de petity,
25 Am avut-o ~i-o murity.
De nu-mi credeti cuvantu!!l,
Hai ~i 'nvara mormantu!!]:
De nu-mi credeti besadar.Jl,
Hai ~i 'nvara crucita!!].
30 Pe mormantul fetei mele
Bosaioc ~i carajele.
10 tl':-oi intreba, -
5 N'ai vazut ceva
Joi dimineata:
I~ N evasta frumoasa
Fugita dl':-acasa ?
Bat'-o sa 0 bata,
10 Mare blastamata!
Ca ie ~i-o lasat
On barbat ca-on steag
$i-on copil beteag
Bat'-o sa 0 bata,
15 Mare blastamata !
Ca ie ~i-o lasat
Plug cu ~ase boi
$i poganici doi
Turmuta de oi
20 $i-urduta de junci
Cu coarnile 'n dungi.
Bat' -0 sa 0 bata,
]dare blastamata!
Ca ie ~i-o lasat
25 Stavuta de cai
Cu coama 'mpletitli.
$i ~i intrauritli..
r. Haj leruj leruj Doamn'/
(16a. Curtecap c/»
23b.
I: Izvor, izvora~ : I,
r.,
I: D'e-ai §i1 graitor : I,
I: 10 t'l':-a~ intreba : I
4-17 = 23a. 5-18.

1 = fi.

[ 264 ]
 A I c)
Hearken unto me, (my) dear ones: Refrain: 'Tis the carol of the apple!
Gladly I would give Ileana,
Only seven days ago now
Ileana I have buried. 23a.
35 If you don't believe my word, Springlet, little springlet,
Come, I'll show the grave to you, Refrain
Underneath a lilac bush, If you were a talker
Where the wind does softly blow, As you are a gusher,
And I mourn her with a sob. I would ask of you,
5 Saw you not a thing
Thursday in the morn:
A wife (that is) beauteous,
22b. Run off from (her) homestead?
Under a green bush of lilac, Run off from (her) homestead?
Refrain (Oh,) may she be stricken,
Is descried a handsome mansion. 10 What a wretch accursed!
But who's living in the mansion? For she's left behind
Living, an old Jew is living, A man like a flag
5 Has a daughter, fire strike her, And a sickly child.
For of wedding she might die. 3o (Oh,) may she be stricken,
In the morning she got up, 15 What a wretch accursed!
(And) she (nicely) washed her face, For she's left behind
Took the sweepings in her lap A six-oxen plow
10 And she threw them out of doors; Also plowmen two,
Toward sunrise threw them out, A small flock of sheep,
And she saw the Turks arriving. 20 Of heifers a herd,
(Back) inside the house she went: (All) with side-swept horns.
Father, suitors coming for me. (Oh,) may she be stricken,
15 Father, father, if you wed me, What a wretch accursed!
May the barn and house burn down, For she's left behind
And the whole of your wealth (too). 25 Of horses a drove,
But I'm going in the shop, (All) with (their) manes braided,
In a sheet I'll wind myself. 31 Flowing down in ringlets.
20 Came the Turks inside the mansion:
Come in, Turks, (and) rest yourselves Refrain: Come, sing carols for the LordI
(here) !
We have not come to get rested,
We have come to woo a bride. 23b.
I've no daughter to be wooed; Wellspring, little spring,
25 I did have one and she died. Refrain
If you don't believe my word, If you could but talk,
Come and overturn the grave; I would ask of you:
If you don't believe my say, 4-17 = 5-18 of 23a.
Come and overturn the crosses,
30 On the grave that is my daughter's,
(Turn the) marigold (?) and basil.

30 In this verse, de miiritatu (of wedding) is quite likely an erroneous transcription of

nemiiritatii (unwed). If so, the verse should read: For unwedded she might die.
31 For this and the immediately preceding verse, there is a possible alternative reading, to
wit: Put me (rather) in the tomb, I Wrap me in the winding sheet.

[ 265 ]
 A I c)
~i turma de oi Ci mi-I salta catll-odata
~i pacurari doi. 5 Cu sulita intr'o-mana,
qucur verde in cealalta.
r. Haj lino l'eruj Doamn'! Nime 'n Iume nu-I vedea,
(16b. Moi~a ¢) Fiir' 0 dalbii 'mparateasii.
Curse 'n casii, spuse 'n masa:
10 -D-ales dalbe d-impiirate,
23c. Lucrut mandru ce-l vazui
Cam din sus pe riisarit:
fLl fill
I: Bata sa 0 bata : I bat',
Un june calul jucand;
Nu mi-I joaca cum sa-I joace,
15 Ci mi-l salta catll-odatii
Cu sulita intr'o mana,
fT.I fII.l
I: Caci e blastamatii : I -mat'I
qucur verde in cealaltii,
Da 'mparat cand auzea,
===== Tunii 'n grajdu ferecat
Ca ie !li-o liisat
Biirbat ca on steag 20 ~i scoate murgu 'n!leIat,
5 ~i-on copil beteag. tn!lelat !li 'ncurelat,
o batii s'o bata, Cum ii bun de 'ncalecat,
Cum nu-i bliistamata! Sus pe murg de s'arunca
Cii ie !li-o lasat ~i la june sa ducea:
Plug cu !lase boi 25 -E bun jocu, junela!l?
10 ~i-o turma de oi, -Multiim, dalbe d-impiirate.
Pogiinici-s doi. D-imparat din ciar (sic!) 1 griiia:
-Hai noi caii sii-i jucam,
(16c. Idicel ¢) Sii-i juciim !li sii-i schimbiim!
30 J unel~ din ciar graia:
-De jucat cai om juca,
24. Da de schimbat n'om schimba,
I 1. I Cii d-al tal). Ii calu mare
~i sta bine s~'-un domn mare,
I: D-in poiana cu floq i-albe, r. : I
35 ~i d-al miel). ii calu mic
fll.l
i-albe ~i stii bine sl).'-un voinic.
r. juneluj buny!
Un june calul jucarie. (62n. Traia!l ¢)
Nu mi-l joacii cum sa-I joace,

1 = grai?

[ 266 ]

And a flock of sheep
With two shepherd lads.
Refrain: Come, softly carol, L01'd!
23c.
Stricken may she be,
For she is a wretch!
For she's left behind
Husband like a flag
5 And an ailing child.
Oh, may she be stricken,
Isn't she accursed?
For she's left behind
A plow with six beeves
10 And a flock of sheep,
Farmhands there are two.
24.
In the clearing with white flowers,
Refrain
Capers with his horse a youngster.
He's not merely cutting capers,
[ 267 ]
A I c)
But at times he sets to leaping
5 (While) a spear he holds in one hand,
In the other a green tassel.
No one saw him in the world,
Only a white emperess.
She ran in, said at the table:
10.0h, white emperor exalted,
A fine thing (it is) I've seen;
Toward sunrise, higher up,
Capers with his horse a youngster;
He's not merely cutting capers,
15 But at times he sets to leaping
(While) a spear he holds in one hand,
In the other a green tassel.
But the emperor, when he heard,
To the bolted stable went,
20 And brought out the saddled roan,
Saddled, fitted out with straps,
Just right to be mounted on.
On the roan he threw himself,
To the youngster he went off:
25 Is the capering good, lad?
Thank you, (yes,) white emperor.
Spoke the emperor and said:
Come, let's make the horses caper,
Make them caper, change them tool
30 (But) the youngster spoke and said:
We shall make the horses caper,
But exchange them we shall not,
For your horse is a large horse,
And fits well under a great lord;
35 Whereas mine is a small horse,
And fits well under a stalwart.
Refrain: To tke good youth!
 A II a)

II. FAMILY LIFE

VIATA DE FA MILlE
~

a) TO YOUNG GIRLS
PENTRU FETELE TINERE

25. Nime 'n lume nu s'afla,

StrA-ga-Ileana d'in eetat'e,
r.,
Pa ferie~t'e d'e d-uiaga,
====
I: Pa feriest'e d'e d-uiaga : I
Cine 'n lume s'or afla,
5 Sa-mi joaee murgutu ei
Far' deleag de ~erpeleag,
Fara fray, far' de eapastru.
Nime 'n lume nu s'afla,
Far' on dalb de paeurar.
10 El pa murg inealeea,
Prinse murg' a mi-l juea;
Mi-l juea 0 zi de vara,
Zi de vara pana 'n sara.
can' tmi fu ~i murg de sara,
15 Nu-l putura lapada.
Straga-llean' a doya oara
Pa ferie~t'e d'e uiaga,
Cine 'n lume s'or afla
Sa-mi joaee murgutu ei
20 Far' de leag de ~erpeleag,
Fara fray, far' de eapastru.
Nime 'n lume nu s'afla
Far' on Wr~ d-Ungura!1.
El pa murg tnealeea,
25 Prinse murg' a mi-l juea,
Mi-l juea 0 zi de vara,
Zi de vara paM 'n sara.
Can' imi fu ~i murg de sara,
Nu-l putura lapada.
30 Straga-Ilean' a tria oara
Pa ferie~t'e d'e d-uiaga,
Cine 'n lume so'r afla,
Sa-mi joaee murgutu ei
Far' de leag de ~erpeleag,
35 Fara fray, far' de eapastru.
Far' un fiu mie d-tmparat.
EI pa murg inealeea,
Prinse murg' a mi-l juea,
40 Mi-l juea 0 zi de vara,
Zi de vara pana 'n sara.
Can' imi fU!1i murg de sara,
Pastil cap mi-llii.pada.
Leana din gura-mi graie:
45 -Tot merey, murgut, merev,
C'ala ij stapanu tilv
!?i drag sotioru miey.
r. Leana, Ileana d-ochili-s negril
(92d. Paucine~d if)
26.
I: Pa poiana eu flori dalbe, r. : I
Flori alegu, flori eulegu,
Fac cOliti1;e (sic!) mohortte,
PA-ntra t'it'e 1 ~i-o ruji~.
ti Vin~-o fatil sa mi-o rupa.
Rujita din eiar (sicl)2 graia:
-Nu rna rupeU, fete, nu,
Ne 'nrujitil, ne 'nflorita,
Cum Ii ruja mai urltil,
10 Ci la mine de-ti vini
Sambata, Duminiea,
!?i pa mine m'tti gasi I
!?i 'nrujitil ~i 'nfloritil,
Cum ii ruja mai frumoasa.
15 !?i pa mine de m'iti rupe,
!?i pa mine de m'iti duee,
!?i pa mine de m'Ui pune
Cam d-in fruntea dantului,
Sa-ti fae fa~ d-oehilor,
20 Oehilor ~i mangaio~i,
Mangaiati fieiori frumo~i.

1 = chite.
B = grai?

[ 268 ]

II. FAMILY LIFE
a) TO YOUNG GIRLS
25.
From the castle calls Ileana,
Re/rain
(Looking) through the glassen
windows,
(Looking) through the glassen
windows:
Who on earth could there be found
5 Who might make her sorrel prance,
Without any kind of harness,
Without reins, without a bridle?
Nobody on earth was found,
Only a fair shepherd lad.
10 He the sorrel did bestride,
Set the sorrel prancing (too);
A (whole) summer day he rode him,
A (whole) summer day till evening.
Came the shades of evening twilight,
15 (And the sorrel) couldn't throw him.
Called a second time Ileana,
(Looking) through the glassen
windows:
Who on earth could there be found
Who might make her sorrel prance,
20 Without any kind of harness,
Without reins, without a bridle?
Nobody on earth was found,
Only a Hungarian scrivener.
He the sorrel did bestride,
25 Set the sorrel prancing (too);
A (whole) summer day he rode him,
A (whole) summer day till evening.
Came the shades of evening twilight,
(And the sorrel) couldn't throw him.
30 Called a third time (then) Ileana,
(Looking) through the glassen
windows:
Who on earth could there be found
Who might make her sorrel prance,
Without any kind of harness,
35 Without reins, without a bridle?
[ 269 ]
A II a)
Nobody on earth was found,
Only a young emperor's son.
He the sorrel did bestride,
Set the sorrel prancing (too);
40 A (whole) summer day he rode him,
A (whole) summer day till evening.
Came the shades of evening twilight,
O'er his head the sorrel threw him.
Spoke Ileana (then) and said:
45 Always, sorrel, evermore,
He's (the one who'll be) your lord,
And my own beloved mate.
Re/rain: Your eyes are black, Ileana,
Ileana!
26.
In the glade with the white flowers,
Re/rain
They choose flowers, gather flo~ers,
Ruddy posies (?) they are making;
Mid them all there is a peony,
5 (And) a maiden comes to pluck it.
Spoke the peony and said:
Do not pluck me, lasses, nay,
(All) unpeonied, unblooming,
As the peony's most ugly;
10 But if you should come to me
On a Saturday (or) Sunday,
(Then) you shall discover me .
Both (all) peonied and bloommg,
As the peony's most beauteous.
15 Thereupon, if you will pluck me,
Thereupon, if you will take me,
Thereupon, if you will set me
Toward the forefront of the dance,
So that (people's) eyes I'm facing,
20 Eyes (that are) caressing (too),
To caress the handsome lads.

1'. Flof'j dalbe leI' di maf'!
(lllb. Toe if)
27.
Colo 'n josu, ma,i din JOSY,
1'.,
D'-tn eel camp mandru frumosy
Mult'e fet'e-mi d-oblieei!!,l
Multe flori ea-mi eulege!!!.
------
5 [Da multi juni ea mi-ji 2 veneJ,[!!,
Tate fete ea-mi prindeJ,[!!.]
Tat' ficioarie Ie prindeJ,[!!,
Le prindel}, Ie slobozeJ,[!!.
Numa d-unu mi-o opre,
10 Mi-o opre, mi-o ispit'e:
-Marie, dalbi'i Marie,
Spune-mi tu adevarat,
Un'3 maiea-ta tl'l-o bi'iiat?
-tn gradina florilor,
15 Sa fill draga junilor
Ca florile fetelor.
-Marie, dalbi'i Marie,
Spune nOl}' a dO\la oara,
Un' maiea-ta tl'l-o bi'iiat?
20 -tn earligii pimitii,4
S'aud vinu picocin'y
$i vinarsu f1uruin'u
Cizme rOl/ii tropiein'y,
Poala dalba suvalcan'y.
1'. Da-/l'iana lata df'aga!
(84e. Ciarbi'il if)
28a.
I: Graie fica eata maiea : I,
1'.,
-Da, maieo, t'eita tei,
Sa-mi d'eseui lad'ita merie
~i sa-mi ial} marutul mieu,
5 Tat marutu d'in sanutu,
1 = s'aflau.
2 = mi-~i.
a = unde.
4 = pi vni tei.
5 = mi-~i.
e = pieptenai.
[ 270 ]
A II a)
~i sa-mi ial} inelu miel},
Tat inel pe degetel,
~i sa-mi iel} eununa me,
Dupa apa sa rna due,
10 can' tn poarta sa ive,
Vot'iti negri d-arunea:
Cam tn lungu drumului,
~i 'nea ea ea mi-ji 5 vede
V'o tri juni eu tri eai buni.
15 D-unu june sa japu
~i mi-ji ll}a marutu miel},
Tat marutu din sanutu;
D-altu june sa japu
~i mi-ji ll}a inelu miel},
20 Tat inel din degetel;
D-altu june sa japu
$i mi-ji ll}a eununa me.
Fica din gura-mi graie:
-Dati tmi. juni buni. ee mi-ati ll}at,
25 ca voi daea nu mi-ti da,
10 pe voi v'oi blastama:
Carl'l-o ll}at marutu miel},
Putrezeasea ea marutu,
Ca marutu din sanutu;
30 Carl'l-o l\lat inelu mie\l,
Petreaea-sa prin inel,
Ca inel prin degetel;
Carl'l-o l\lat eununa me,
U~te-sa ea eununa.
1'. L' ef' licuJa d' -ot'iJi negf'i!
(92b. Ciarbi'il ¢)
28b.
Dimineata rna seula~,
1'.,
~i pa cap rna t'ieptana~, 6
Cofi in brancii-mi d-apueaiu
~i la marea d-alearganl -
5 D-apa 'n eofi d-apueaiY
$i napoi rna 'nturna,iy
$i rna 'ntaliii eu d-un miru.
Mir' apuea inelu,

Refrain: White apple blossoms sing!
27.
Downward, there, toward the bottom, 10 When she came out to the gate,
Refrain
In that handsome meadow beauteous,
Many lasses could be seen
Many flowers gathering.
5 And along came many lads,
All the lasses they did catch;
Only maidens did they catch,
Caught them all (then) set them free.
Only one they set not free,
10 Held her (and) of her they asked:
Maria, fairest Maria,
Truthfully tell unto us,
Where did your own mother bathe
you?
In the garden of the blooms,
15 That the lads might care for me
Just as lasses (care) for blooms.
Maria, fairest Maria,
Tell us yet a second time (too),
Where did your own mother bathe
you?
20 At the entrance of the cellar,
So that I might hear the wine drip,
And the brandy flowing (freely),
(Hear) the red boots tramping (also),
(And) the tucking up of white skirts.
Refrain: Ileana, darling maiden!
28a.
Said the daughter to the mother:
Refrain
Let me have your small key, mother,
That I might unlock my small chest,
To take out my little apple,
5 The small apple of my bosom,
[ 271 ]
A II a)
To take out my little ring,
Of my finger the small ring,
And take out my wreath (as well),
That some water I might fetch.
(Her) black eyes she threw (about);
Not far off, along the road,
She caught sight of three young lads
(Riding) upon three good steeds.
15 (Lo,) one youngster rushed (at her)
And her apple snatched away,
Little apple from her bosom;
(And) another youngster rushed
And he snatched her ring away,
20 Little ring from off her finger;
(And) another youngster rushed
And he snatched her wreath away.
From her mouth the daughter spoke:
Give back, good lads, what you took,
25 For if you don't give it me,
I shall set a curse on you:
He who took my apple small,
May he rot as does the apple,
Like the apple from my bosom;
30 He who took my little ring,
Through the ring may he be drawn,
Like the finger through the ring;
He who took my wreath away,
May he wither like the wreath.
Refrain: Carol, maiden, of your black
eyes!
28b.
In the morning I got up
Retrain
And my tresses I combed out,
In my hands I took the pitchers,
To the sea I went off running;
5 I dipped water in the pitchers,
And I made my way back
(homewards) ;
And I came upon a bridegroom,
(And my) ring the bridegroom seized;

$i fica din grai graiel?te:
10 -Ada, mirut, d-inelu,
Ca din grai t~-oi blastama,
De tu, miru,-i rujina,
Ca l?i-inelu d-aista!
Vini-l?i fica mai nainte,
15 Sa 'ntalnel?te cu d-alt miru.
Mir' apuca maru rOl?U
$i fica din grai graie~te:
-Ada, mirut, maru ro~u,
Ca din grai t~-oi blastama,
20 De tu, miru,-i putrezi,
Cum putrede maru ro~u!
Vini-~i fica mai nainte,
Sa 'ntalne~te cu d-alt miru.
Mir' apuca cununa
25 $i fica din grai graie~te:
-Ada, mirut, cununa,
Cii din grai t~-oi blastama,
De tu, jun', t'e-i cununa
Cu fica, cu doamna sa!
r. Njeri'ljoarii d-ot'ifi negri!
(95d. Dragesti if)
28c.
$i ficuta gazd'iil'e,
r.,
D'imiiieata sa scula
$i pa cap sa t'eptanal'e,l
Cofi in mani ii apuca
5 $i la mare alerga.
$i napoi sa 'nturna
$i sa 'ntalni cu d-un jun,
Cu d-un jun d-a lui Craciun.
Jun' apuca inelu,
10 $i ficuta graU~:
-Ada, junut, inelu,
Ca t~-oi, junut, blastama,
De te-i, junut, covriga,
Ca ~i-inelu d-aista!
15 lara marsa mai nainte,
lar sa 'ntaIni cu d-alt jun,
Cu d-alt jun d-a lui Criiciun.
Jun' apuca maru ro~u
$i ficuta graie:
20 -Ada, junut, maru ro~u
1 = pieptena.
2 = Ileana.
[ 272 ]
A II a)
Ca, junut, t~-oi bIastama,
De tu, jun, ii putrezi,
Ca mar' ro~u d-aista!
lara-~i marsa mai nainte,
25 lar sa 'ntalni cu d-alt jun,
Mai frumos, mai luminos.
J un' apuca cununa
$i ficuta graie:
-Ada, junut, cununa,
30 Cununa-te-i cu dins a,
Cu dinsa, cu doamna sa,
*
$i te 'ntoarce fica 'n loc,
Avere-i, fica, noroc.
r. Njeri'ljoarii d-ot'ilj negri!
(95e. Tii~ad if)
28d.
Merge-llona 2 la fantana,
r.,
La fantana pan' gradjina
------
Cu carcejile pe mana,
Cu rochia vajaindy,
5 Cu catrinta vant facandy,
Cu papucii tropocindy,
Cu cerceie-~i zdrancanindy.
Cand a junse la fantana,
Puse mana pe vadrutii,
10 Tapa ochii pe ulitii,
Vin tri juni ca tri pauni.
Unu-i cere mar din sanu,
Unu-i cere inelu~u,
Unu-i cere cununial}a.
15 AI. c~-o cerut mar din sanu,
Putrezeasca el ca maru;
Al c~-o cerut inelu~u,
Putrezeasca-i degetu~u;
Al c~-o cerut cununial}a
20 Cununa-sa el cu dinsa,
Cu dinsa, cu maica-sak!
*
Unde-i Ileana frumoasa,
Ea sa fie sanatoasa,
Parintil ei sa tra iasca !

And the daughter speaks to tell (him) :
10 Give (me), bridegroom, (back) the ring,
Else I'll speak a curse on you,
So that, bridegroom, you'll be shamed
Just as (you have shamed) this ring! 25 Met another lad once more,
(Thereat) onward goes the daughter
15 And she meets another bridegroom.
Bridegroom seizes (her) red apple,
And the daughter speaks to tell (him):
Bridegroom, give (back) the red apple,
Else I'll speak a curse on you,
20 So that, bridegroom, you will rot,
As the red apple goes rotten!
(Thereat) onward goes the daughter
And she meets another bridegroom.
(Lo,) the bridegroom takes her wreath,
25 And the daughter speaks to tell (him) :
Give (me,) bridegroom, (back) the
wreath,
Else I'll speak a curse on you,
So that, lad, you will be wed
To the daughter, the (wreath's) owner!
Refrain: Your black eyes, small swarthy
maiden!
28c.
And the landlord's daughter young
Refrain
Got up (early) in the morn,
And she combed her tresses out,
Took the pitchers in her hands,
5 And went running to the sea;
Then she came back (home) again,
And she met with a young lad,
With a lad of Christmastide.
The young lad snatched (off her) ring,
10 And the daughter said (to him):
Young lad, give (me back) the ring,
Or I'll set a curse on you,
So that, young lad, you'll coil up
(In a circle) like this ring!
15 Once again she went on forward,
Met another lad once more,
(Met) another caroler.
The young lad snatched (her) red
apple,
And the daughter said (to him) :
20 Young lad, give (back) the red apple,
32 This and the preceding verse may also convey the idea that the lad be wedded with the
wreath to his own mother.
33 Alternative reading for this verse: Where's the beautiful Ileana?
[ 273 ]
A II a)
Or I'll set a curse on you,
So that you, young lad, will rot
Just as this red apple (rots)!
Once again she went on forward,
Handsomer, more shining yet.
The young lad snatched (off her)
wreath,
And the daughter said (to him) :
Give (me), young lad, (back my)
wreath,
30 May you wedded be with it,
(Wed) its owner with the wreath.
*
Turn back, daughter, on the spot;
May you, daughter, have (good) luck!
Refrain: Your black eyes, small swarthy
maiden!
28d.
To the well goes Ileana,
Refrain
To the well (goes) through the garden'
In her hand (holding) the pitchers,
With her kirtle all a-swishing,
5 Raising wind up with her apron,
With her slippers all a-patter,
With her earrings all a-tinkling.
When she came up to the wellhead,
In her hand she took the bucket,
10 Threw her eyes into the alley:
Like three peacocks come three lads.
One asks for her bosom's apple,
One asks for her finger ring,
One asks for the wreath (she's
wearing).
15 He who asked for bosom's apple,
May he rot as (rots) the apple;
He who asked (her) for the ring,
May his finger rot away;
He who asked (her) for the wreath,
20 May he wedded be to her,
To herself and to her mother! 32
*
Since Ileana is (so) beauteous,33
A good health to her we're wishing,
A long life unto her parents!

r. Cunund de vinelele!
(86g. Murani if)
28e.
Ci ci ci ,la iasta easa,
r.,
Est'l;)-o fata laudata.
I: D'imineata s'o seulat : I,
Cizme ro~ii-o ehefelit,l
5 Parut, ro~ii-o t'eptanat,2
Paru ro~iiu-o t'eptanat,
Cofil'e 'n man'-o luat,
La fantan' 0 alergat,
La fantana ramurata,
10 De voinici imprejurata.
Unu la ie s'o tapat,
Inelu i 1-0 luat;
Altu la ie s'o tapat,
Viriga i 0 luat.
.15 Cine 0 luat inelu,
Sa umbla din mana 'n mana;
Cine 0 lyat viriga,
Cununa s'ar eu dinsa,
Cu dinsa, eu doamna sa!
Raduj radui radui boil
r. { Domnuj
(77. Recia cp)
28f.
Grai fica eata maiea,
r.,
-I-ada, maieo, ~i-ai
Sa mi descuni ~i-ai
Sa mi-~i iay ey ee ~tiy
5 Sa mi-~i iay ey ee' 3 cismute,
Sa Ie trag in piciorute,
~i eareeje d'e manute,
Inel~ pe d'egeta!?,
Catrintoare 'n susuoara,
1 = euratit eu peria
2 = pieptenat.
3 = eele.
A II a)
10 Sa rna due el). pa ulita
Cu earcejii d'e manuta,
Cu cizmele tropotin',
Cu earceje zdrancanin'
La fantana dupa apa.
15 La fantana cin' era?
Era dalbut junel~.
El fata can' imi vede,
Ella fata sa jupe,
Inela~u sa i-I ieie,
------ 20 Inela~ din d'eget~.
------ ' {/iCU/a d ,... .,
r. L er licol't}o -at tIl: neg"'.
(73gg. Fere~d cp)
28g.
Pl'eaca fica la fantana,
r.,
Cu ulcioru d-intr'o mana,
Cu ulcioru zdraneanin'y,
Cu cizmuta tropol'in'y
5 Fodori largi in vant tragan'y.
Pe peatra fantaniei
Stay tri juni ea tri pauni;
Unu tri pene-mi t'it'e~te,4
D-altu ealu potcove~te,
10 D-altu sulita struje~te.
Hala de tri pene t'it'e~te,
El din gur' a~a-mi graie~te:
-Yin' tu, fico, dupa mine,
Ca io tie ea ti-oi da
15 Tat 0 furea d-aurita,
D-aurita, d-argintita.
(sic!) eheite, Fica rupse dl;)-a-mi grai:
-Ba io, june, n'oi veni,
ladite, Cam 0 furca ea ~i-a tao
20 Hal de murgu poteove~te,
eu, El din gur' a~a-mi graie~te:
-Yin' tu, fico, dupa mine,
Ca io tie ea ti-oi da
Tat on inel d-aurit,
25 D-aurit ~i d-argintit.
Fica rupse dl;)-a-mi grai:
-Ba io, june, n'oi veni,
« ketel, ung.).
4 = ehite~te.
6 = eel.
[ 274 ]

Retrain: Wreath made ot centaury
tlowers!
28e.
Hoy, hoy, hoy, within this household
Retrain
There's a (fair) praiseworthy maiden.
In the morning she got up,
(Her) red boots she dusted off,
5 (Her) red tresses she combed out,
(Her) red tresses she combed out,
Took the pitchers in her hand,
(And) went running to the well,
To the well (o'erhung) with tree limbs,
10 (That) by stalwarts is surrounded.
One (ofthem) rushed up to her,
(And) he snatched her link away;
(Yet) another rushed at her,
(And) he snatched her ring away.
15 He who snatched away the link,
May he go from hand to hand (too);
He who snatched away the ring,
May he wedded be with it,
(Wedded) with it to its owner.
Retrain: {set the oxen going, hot
Lord God, set the oxen going!
28f.
Said the daughter to the mother:
Retrain
Let me have that small key, mother,
To unlock my little coffer,
To take out what I've in mind,
5 To take out my little top boots,
On my little feet to draw them,
In my hands to take the pitchers,
On my finger the small ring,
Apron (tie) under my armpits,
[ 275 ]
A II a)
10 To go out into the alley,
In my hands (holding) the pitchers,
With the top boots pattering,
With the pitchers clattering,
To the well to get some water.
15 Who was (standing) at the well?
(Lo, it was) a youngster fair.
When he caught sight of the lass,
At the lass he (straightway) rushed,
To snatch off her little ring,
20 The small ring from off her finger.
Retrain: Sing about your black eyes,
maiden!
28g.
To the well the daughter's going,
Retrain
In one hand holding the pitcher,
With the pitcher all a-clatter,
With her top boots all a-patter,
5 Wide sleeves in the wind a-ruffling.
On the stone rim of the well
Three lads like three peacocks sit.
One three posies is adorning,
One (of them his) horse is shoeing,
10 One (of them his) spear is whittling.
He who posies three's adorning
Speaks and thus says (to the daughter) :
Come along, follow me, daughter,
Because I shall give to you
15 A (fine) distaff (all) begilded,
(All) begilded (and) besilvered.
(But) the daughter spoke and said:
Nay, lad, I'll not come along,
I've a distaff just like yours.
20 He who is the sorrel shoeing
Speaks and thus says (to the
daughter) :
Come along, follow me, daughter,
Because I shall give to you
All begilded a (fine) ring,
25 All besilvered and begilt.
(But) the daughter spoke and said:
Nay, lad, I'll not come along,

C'am on inel ea fli-al tal).
Hal de sulita struje~te,
30 EI din gur' afla-mi graieflte:
-Vin' tu, fico, dupa mine,
Ca io tie ea ti-oi da
Tat on mar inmargarit,
Primavara d-influrit,
35 Cat ii toamna de rodit.
Fica rupse d~-a-mi grai:
-Ba io, june, n'oi veni,
C'am on mar io ca ~i-al tal).
Y. Lina lina yujulina!
(83a. Paucinefld if)
28h.
11.
I: Pleaca Linta la fantana, Y. : 1fantana
A II a)
5 Unde bate vantu 'neet.
$i d-acolo ti-ai a£lat
o lumita ~i-un ine1.
Coata,l fata, pa inel,
~i-ti 2 fi mirul tanarel;
10 Coata, fata, pa colac,
~i-ti fi mirullui gazdae;
Coata, fata, pa polita,
Ca-i a£la bani in capita.
~i
*
t'e 'ntoarce cruce 'n foe,
15 Ramal, fata, cu noroc!
Y. Luminjoara-j ot'izj neg'!
(95 1. Coticlet if)
I IILl
30.

I: ~i canita duce 'n mana : I.

rr.-I 1ll.J
I: Colo jos ~i mai d'in jOSY, r. : 1josy,
------
I: Gasi apa tulburata : 1 I: J os in lunca soarieluiy : 1
------
I: ~i fantana 'ncunjurata : 1 I: Ploil'e mi or ploiaty : 1
5 De tri crai eu ficiorei Ape mari ee mi-or venit,
Rumuno~i ~i frumo~ei. 5 Luncile I~-or noroit.
Un voinic din grai graia: Pin noroi creseut-or £lori;
-Linta, Linta, draga mea, De marunte-s pre marunte,
-Da-mi mnie cununa ta, De nalte-s pan' la genunehe,
10 Sa rna 'mpan frumos cu ea! De vanate-s mohorite.
Mandra Linta sa 'nro~ea 10 Dupa £lori cine vene?
$i cununa-i arunca. Vine Ana ~i Ileana,
$i Marie ~i Cosana.
Sa fi, Linta, sanatoasa,
* Ano, Ano ~i Ileano
$i Marie ~i Cosano,
Sa plate~ti colinda noasta. 15 Peste £lori cine-i mat mare?
Y. Da Il'eana lata dalbd! Gradinariu £lorilor,
(62t. Mice~ti cf» Fratele surorilor.
-Dupa £lori cin' v'o manat?
-N~-o manat maieuta noasta,
29.
20 FIorile sa Ie culegem,
Fata dalba de 'imparat!!!, Cu matasa sa Ie leg
Y., ~i bine sa mi Ie pun,
Ca cu ele rna eunun
Dimineata t'~-ai seulat~, Sus in poarta raiului
------ 25 Cu ficioru crailui.
La fantan' ai d-alergat~, Y. Ficjori/a d-ot'ici/a!
------ (92a. Ghelar if)
La fantana lui Mancet!!i
------
1 = cauta.
2 = sa-ti .
[ 276 ]

For I have a ring like yours.
He who's whittling at his spear
30 Speaks and thus says (to the
daughter) :
Come along, follow me, daughter,
Because I shall give to you
All of pearl an apple tree,
(That is all) abloom in spring,
35 As in fall it's all in fruit.
(But) the daughter spoke and said:
Nay, lad, I'll not come along,
I've an apple tree like yours.
Refrain: Softly, softly, mallow blossom! 15 Farewell, maiden, and good luck!
28h.
Lintza 34 to the well is going,
Refrain
In her hand the jug she carries.
(But) she found the water troubled,
And the well (she found) surrounded
5 By three kings with (all their) sons,
Ruddy-faced and beautiful.
Said one stalwart (unto her) :
Lintza, Lintza, my beloved,
Give your garland unto me,
10 To adorn myself with it!
Beauteous Lintza's face went red,
And she tossed the wreath to him.
* Ana, Ana and Ileana,
A good health to you, (fair) Lintza,
That you may reward our carol!
Refrain: A fair maiden is Ileana!
29.
Fair-skinned daughter of an emperor, 20 That the flowers we might gather,
Refrain
In the morning you got up,
To the well went running off,
To the well made by Mancet, 35
A II a)
5 Where the wind (so) softly blows,
And ('twas) there you came upon
A small candle (?) and a ring.
Maiden, seek to find the ring,
That your bridegroom might be young;
10 Maiden, seek to find the cake,
That your bridegroom might be rich;
Maiden, on the shelf be looking,
You'll find money in the bonnet.
*
Cross, turn round into the fire,
Refrain: Little light of your black eyes!
30.
(See,) down yonder, lower down yet,
Refrain
In the meadow of the sunshine,
(Heavily) the rains have rained,
The high waters have come (down),
5 (And) the fields they've mired o'er.
In the mire have grown flowers;
As to size they are too lowly,
They are tall up to the kneecap,
They're so blue that they are darkling.
10 Who has come after the flowers?
Ana came and Ileana,
And Maria and Cosana.
And Maria and Cosana,
15 Who is greatest o'er the flowers?
('Tis) the gardener of the flowers,
(Who) the sisters' brother (is).
Who has sent you after flowers?
We were sent by our mother,
(And) with silk to tie them up,
For myself to store them up,
For with them I'm to be wed,
At the gate of heaven above,
25 (Wedded) to the king's own son.
Refrain: Little maiden fair to look at!

34Linta is a diminutive form of Elena or Ileana.

85Mfmcet, an otherwise unidentifiable proper name (pronounced approximately mun-
CHET), appears to serve no other purpose in this verse than to provide a rhyme for the follow-
ing verse.

[ 277 ]

31a.
Fericean d'e elu,
1 1.
I: D'e cez'l domnul bunu, 1'. : I buny
Boierul biitranu!
Bin' I-a fericiaty,
5 I: Drag Domnu i-o daty : I
D-o fica frumoasa.
D'e frumoasa marie,
Soara 'n lume n'arie;
D'e 'nteleapja ce-iu,
10 Ca zana d'in ceriu.
$i pa ie mi-o cer
Tri in~i din tri parji.
Mai curand mi-o cere
Dalb de pacurari;
15 Altu ca mi-o cere
Tifr~ d-Ungur~;
Altu ca mi-o cere
Fil,!. mic de 'imparat.
lara maica ei
20 Din gura-mi graia:
-Dar tu, fica mea,
$i zaluica 2 mea,
D'intr'ace~tia tri
Pa car' ji-ai iubi?
25 -Ba jo mi-a~ iubi
Dalb de pacurari;
Da nu I-oi iubi,
ca s'o d-ustani
Voile mulgand,
30 Ca~i dulci de strangand.
Ba io mi-a~ iubi
Tifr~ d-Ungura~;
Da nu l-oi iubi,
Ca s'o d-ustani
35 Banii numarand,
Paharu umpland.
Ba io mi-a~ iubi
Fil,!. mic de 'mparat,
C'a~ fi 'mparateasa
40 $i-a~ ~ad'e la masa
Cu sabia trasa.
1 = acest.
2 = cf. zalud.
3 = sucne.
4 = un fel de panza fina
5 = pot.
6 = mulgand.
A II a)
Da la 'mparateasa
Mulji ii trebuiasii:
Somne3 de matasa;
I lill 45 La nOl}a cumnaji
NOl}a cai 'ni?alaji;
La nOl}a cumnate
NOl}a pot'elate;4
La nOl}a surori
50 NOl}a 'ncingatori.
1'. Daj Domnuluj Doamne!
(15. Paucine~d if)
31b.
[Fericean de eluJ
D'i cez'l domnul bunu,
Boierul biitrany!
1'.,
Drag Domnu i-o daty
5 $i 1-0 fericiatu,
I: Drag Domnu i-o daty
I I. 1 1'--';1""""1.-----'1
$i 1-0 fericiatu, 1'. : I fericiaty.
Drag Domnu i-o daty
D-o fica frumoasa;
10 D'e frumoasa fiiu,
Ca zana d'in ceriu,
I: D'e frumoasa fiiu,
Ca zana d'in ceriy : I,
$i pa ea mi-o cer
15 Mulji de multe parti.
Mai vartos mi-o cer
Tri in~i de tri parji.
-Dar tu, fica mea,
$i zMuda mea,
20 D'intr'ace~tia tri
Pa car' tH iubi?
-$i io mi-~ lubi
Dalb de pacurari,
Dar nu-l poci 5 iubi,
25 Ca s'o d-ustani
Sara, dimineaja
Voile malgan',6
Ca~ dulce strangan',
La min'aducan'.
~i subtire « patyolat, ung.).
[ 278 ]
 A II a)
31a. Yet, to (be) an empress,
Many (things) are needed:
How happy he is
Petticoats of silk (made);
That master so kindly,
45 Nine brothers-in-law
Refrain
(Need) nine saddled steeds;
The noble old lord!
Nine sisters-in-law (then)
He was well rewarded,
(Need) nine (dainty) kerchiefs;
5 The Almighty gave him
Nine sisters withal
A beautiful daughter.
50 Nine girdles (will need).
So great is her beauty,
Refrain: Give the Lord Almighty!
Like her there's none other.
So great is her wisdom
10 As a heavenly fairy's. 31b.
She is asked to wed
Happiness is his,
Three men from three parts.
That good gentleman,
Soonest she's sought after
The old nobleman!
By a shepherd fair;
Refrain
15 Another would wed her,
The dear Lord bestowed has
A Hungarian clerk;
5 Happiness upon him,
Yet another'd wed her,
The dear Lord bestowed has
A young emperor's son.
Happiness upon him:
And her mother (then)
Refrain
20 Spoke and said (to her) :
Him the dear Lord's given
But you, daughter mine,
A beautiful daughter;
And my crazy one,
10 She's as lovely as
From among these three,
A heavenly fairy;
Which one would you love?
She's as lovely as
25 I would like to love
A heavenly fairy.
The fair shepherd lad;
And her hand is sought
But I'll love him not,
15 By men from all parts;
For he'd tire out
Mostly she's besought
Milking (all) the ewes,
By three from three parts.
30 Making the sweet cheese.
But you, daughter mine,
I would like to love
And my crazy one,
The Hungarian clerk;
20 From among these three,
But I'll love him not,
For he'd tire out Which one would you love?
I would like to love
35 Money counting up,
The fair shepherd lad;
Filling up the glass.
But him I can't love,
I would like to love
25 For he'd tired be,
The young emperor's son,
(Both) evening (and) morning,
For I'd be an empress
Milking (all) the ewes,
40 And I'd sit at table
Gathering sweet cheese,
With the sword unsheathed.
Bringing it to me.

[ 279 ]
 A II a)
30 $i io mi-a~ iubi $i te socote~ti,
Tifra~ d-Ungura~, ca pe tin' te cer
Da nu-l poci iubi, Multi din multe pam,
Ca s'o d-ustani 20 Tri din tri cetati.
Sara, dimineata, Mai vartos t~-o cere
35 Banii numaran', Dalb de pacurari.
Pahare umplan', D-oi, ficuta me,
La min' aducan'. Din gura graie:
$i el can' sa 'mbeata, 25 -Ba io nu m'oi duce
Face larma 'n casa. Dupa pacurari,
40 $i io mi-a~ iubi Ca mi-s'o d-urlt
Fil} mic de 'mparat, Sara, dimineata
$i-a~ fi 'mparateasa, Oile 'ntorcand,
$i-~ ~ede la masa 30 Din stranga mulgand,
Cu sabia trasa C~ dulce strangand,
45 Cruci~ pasta masa. Miei mici d~-aplecand.
Da la 'mparateasa
Mult ij trebuiasa: Joj Domnuluj Doamne!
f'.
Somna 1 de matasa; (12c. Nuc~oara if)
La fii de 'mparat
50 Hincel} 2 ferecat.
f'. Joj Domnuluj Doamne!
31d.
(14. Gradi~te if) Podbale, podbale,
Treci-ma cea vale,
La cea casa mare
31c. Scris-ai ~ezatoare,
-Ir-.-I fll.l
I: Fericean d'e ely, Y. : 1ely, 5 Din nOl}a fecioare,
I: Bin l-ai fericiaty : I, Cu Zvochita zece.
La Zvochita-mi vine
I: Bin l-ai fericiatu : I, Tri din tri latuq,
I: Bin I-ai fericiatu : I,
De patri vaduri:
5 I: Mai bun loc i-ai daty : 1 10 Unu d'imparatu,
I: D-in miljoc d'e raiu : I, Unu de bogaty,
U nu de dom mare.
$i-o fica frumoasa.
De frumoasa ce-i Maica graie~:
Ca Sfintii din ceq, Cumu s'o do dal}
10 De frumoasa-i mare, 15 Dupa d'imparatu,
Soata 'n lume n'are. Ca-i mare bogatu,
Ba-~i d-are, mai d-are:
Sora soarelui In marginea lumii,
$i-a pamantului. In fundu campii
15 -D-oi, ficuta me,
Tu te mai gande~ti (31. Vascau q,)

1 = sucna.
2 = trasura, birja « hint6, "ng.).

[ 280 ]

30 And I'd like to love
The Hungarian clerk;
But him I can't love,
For he'd tired be,
(Both) evening (and) morning,
35 Money counting in,
Glasses filling up,
Bringing them to me;
And when he gets drunken,
In the house makes uproar;
40 And I'd like to love
The young emperor's son.
Emperess I'd be
And I'd sit at table
With the sword unsheathed
45 Crosswise on the table;
Yet an emperor's lady
Many (things) has need of:
Petticoat of silk (made);
For an emperor's sons,
50 Iron-banded coach.
Re/rain: Hoy, to the Almighty!
31c.
How happy he is!
Re/rain
How happy You've made him,
How happy You've made him.
How happy You've made him:
5 Better place You gave him
In the midst of heaven,
And a beauteous daughter.
She's as beautiful
As (are) heaven's saints;
10 So great is her beauty,
Has on earth no equal.
Yes, she has, however:
Sister of the sun,
Also of the earth.
15 Little daughter mine,
You're to think it o'er
A II a)
And consider it,
For from many parts
Many seek your hand;
20 From three cities, three:
You'll be sought more strongly
By a shepherd fair.
Little daughter mine
Spoke out and she said:
25 Nay, I shall not marry
The fair shepherd lad,
For I'm wearied (now)
(Both) evening (and) morning
Turning (in) the sheep,
30 Milking in the fold,
Gathering sweet cheese,
Suckling little lambs.
Re/rain: Hoy, to the Almighty!
31d.
Coltsfoot, (yellow) coltsfoot,36
Cross me o'er that valley:
At that lordly mansion,
You've ordained a gathering,
5 (Made up) of nine maidens,
Ten, counting Zvokitza. 34
There come to Zvokitza,
From three parts, three (men),
(Coming) from three fords: 38
10 One of (them's an) emperor,
One of (them's a) rich man,
One of (them's a) great lord.
Said the mother (then):
How'd I not her give, 39
15 (Wed her) to the emperor?
For he has great riches
At the world's (far) border,
At the flatlands' bottom,

86 The plant referred to here is Tussilago /ar/ara.

87 Zvochita (the accent is on the middle syllable) is the diminutive form of a name the
translator is unable to identify with any degree of certainty. (Evdochia?)
88 De patri vaduri is obviously meant to be De pe tri vaduri.
89 This verse, Cumu s'o do dau, is obviously meant to read Cumu sa n'o dau.

[ 281 ]

31e.
I: Podval'e, podval'e : I,
I: Trece mai escal'e : I,
==== -Ai
I: Ca-i escale-i mare: I,
I: Scrisa 'n ~ezatoare : I
- - - - - - - 25 C'acii is cruscrutij tai?
5 I: De nova fieioare : I,
I: Fieii ficilory : I·
Ca m'or ~i ceruty
Ficior de 'mparaty
Maica nu m'o daty.
10 Lasa 'mpariitie
Focului s'o fie.
$i de la 'mparaty
Hincevl ferecaty,
De la 'mparateasa
15 Bunda de matasa.
(26d. Seceani 4»
32a.
Fata dalbii de 'mparaty,
r.,
D'imiileata t~-ai sculat
$i pa cap t'~-ai t'eptanaty 2 45 Caii ni-s'o cjumpavit.
$i mai mandru t~-ai 'mplet'it
-------
5 Cu cosata 'n ~apte vite,
Pantre vite-s rumanite,
Pe de laturi busuioc-
$i fi,3 fica, cu noroc!-
Curse-~i fata la fantana
10 CV-un ~u~tar galban la mana,
La fantana din luncet,
Indi-~i bate vantu 'ncet.
Apa 'n ~u~tar i~i lua,
Curs' acasa, spus'a rna-sa:
15 -Ai Ii lele, maica me!
Ciuda mare c~-am vazut:
La fantana 'ncunjurata
De voiniei impintenati
1 = trasnra « hinta, ung.).
2 = pieptenat.
3 = sa.
4 = canta.
5 = sa.
6 = pornit « ered, ung.).
A II a)
Pe parau f<1ntanii
20 Sant i~i cai impriponati
Cu priponii de rna tasa.
Ii lele, fiea me,
Luda e~tL bolanda e~ti!
Or tu nu te nadaie~tL
Yin la mine, cer pe tine,
Cer il?i multe langa tine,
Cer i~i d -oi ~i cer i~i boi,
Cer i~i mandre d-argintei.
30 -Coata 4 maica, de ili dati.
Ca-s taleri nenumarati,
-Ai Ii lele, fica me~,
Ca pa tine duce t~-or
Peste munti intr'alte curti,
35 La parinti necunoscuti.
De-i vede pa nene tav,
Ii gandi, ca-i taica tav;
De-i vede pa mama ta,
Ii gandi ca-i maiea ta
*
40 $i fata te gotove~ti,
$i5 corinda n~-o plate~ti
Cu doi-tri de d-argintei,
$i5 ne potcovim caii,
Ca de cand am aradit,6
Trebve caii potcovit
eu potcoave de colac
$i cu cuie de carnati.
Cununa-i de busuioc,-
50 $i5 fi, fata, cu noroc!
r. Luminjoara d'ot'ij negri!
(95a. Lunc~oara if)
32b.
$i Marie-i fata buna,
I: D'imineata s'o sculaty : I
I: $i pa cap s'o t'eptanaty 2 : I
Cofi in brancii ~i-apucaty,
[ 282 ]

31e.
Coltsfoot, (yellow) coltsfoot, 40
Cross me o'er the footpath (?),
For the way is lengthy,
Ordained for the meeting
5 (Made up) of nine maidens,
Daughters of the daughters (?),
I've been asked (to marry)
The son of an emperor.
Mother wouldn't give me:
10 You're to leave the empire,
Leave it to the fire.
Also from the emperor,
Iron-banded carriage;
From the emperor's lady,
15 Fur-lined silken mantle.
32a.
Fair-skinned daughter of an emperor,
Refrain
In the morning you arose
And you combed your tresses out,
Braided them more handsomely,
5 (Set) in seven strands (your) ~resses,
Camomile among the strands IS,
(And there's) basil at the sides,
Maiden, may you have good luck!
To the well the lass went running,
10 In her hand a yellow bucket,
To the river-meadow well,
Where the wind (so) softly blows.
She took water in the bucket,
Ran (back) home, said to her mother:
15 Woe is me, oh mother mine!
A great wonder I have seen:
(Lo,) the well is all surrounded
By bespurred (and) stalwart lads;
40 In this text we find podbal (coltsfoot) rendered as podval, the name given to each of the
two logs that secure a barrel that is stored on its side. This initial invocation is surely meant to
be that of 32d.
41 The reference here, and in the subsequent variants, is to the dowry expecte
from the bride's parents.
A II a)
By the brooklet of the well
20 There are (also) tethered steeds,
(All made fast) with silken tethers.
Woe is me, oh daughter mine,
You are silly, you are crazed!
Can it be that you don't guess
25 That those are your own in-laws?
They have come to ask me for you,
Ask for many (things) beside you: 41
Ask for oxen, ask for sheep,
Ask for beauteous silver coins.
30 Mother, try to give us them,
For they are uncounted coins.
Woe is me, oh daughter mine,
For they'll carry you (away)
O'er the hills to other courts,
35 To parents unknown (to you).
When your father-in-law you'll see,
He's your father, you shall think;
When your mother-in-law you'll see,
She's your mother, you shall think.
*
40 And (you), lass, adorn yourself
And pay for our caroling
With two (or) three silver pieces,
That our horses we might shoe,
For since we have started out,
45 Ou; horses have gone lame.
(Our) horses must be shod
With shoes (made) of pastry roll
And with horseshoe nails of sausage.
Garland is of basil herb,
50 Maiden, may you have good luck!
Refrain: Little light from dark eyes
shining!
32b.
And a good lass is Maria,
In the morn she got up (early),
And her tresses she combed out,
In her hands she seized the pitchers,
d b t
y cus om
[ 283 ]

5 La fanUna-i ~i-o-alergatu,
La fantana d'in luncety,
D-und'i-~i bate vantu 'ncety.
-Ai lelele, maica-me!
quda mandra ce vazui:
10 Pe parau fantanij
Sant i~i cai impriponati.
Tat in pinteni ~i matasa.
-Ai lelele, fica me,
Acii is ajuns frumos,
15 Yin la mine, cer pe tine.
Ceru-~i multe langa tine:
Ceru-~i boi ~i ceru-~i oj,
Ceru-~i buti cu bani marunti
~i p'atatia di florintP
20 -CalJta, maica, di mi dati,
Ca sant lazi nenumarati.
* Cu cai suri impriponatj.
maica, sanatoasa
~i2 fi,
~i noi cat santem in casa!
(95b. Bulz ¢)
32c.
I 1.
I: Dumineca d'imineata, r.: 1d'imineata
I: Scoala fata dalbineata : 1
------
1: ~i d-apuca cofa 'n mana: 1
~i te cara la fantana
5 ~i te spala pe obraz,
Pe obraz cu vinut d-ars,
~i pe mani cu vinuri bune.
8-12 = 23a. IS, 16, 19,20,22
Nu mi-s cai impriponati.
Ci mi-s petitorii tai.
15, 16 = 32a. 26, 27
Ceru-~i multi cu bani mananti.
~i la
*
fata iarba creata, -
~i-ai fi, fata, sanatoasa!
1 = fiorini.
2 = sa.
3 = pieptenat.
4 = am.
5 = un fel de postav (anglia. ung.).
A II a)
r. Ler jet'i/a d'ot'iIi4-s negri!
(95c. Grol1i ¢)
32d.
Fata marie s'o sculatu.
r.,
~i pa cap s'o t'eptanat,3
fLlrrrl
----
I: La fantana l1i-Q-al'ergaty, : 1-gat,
La fantana 'ntru faget,
5 D-inde-~i cura d-apa 'ncet.
Cofa d'apa mi-~i d-umple,
La maica sa ca vine
~i fata din grai graie:
-D-alei. maica, c~-an4 vazut,
10 Cii-i fantana 'ncunjurata
~i maica din grai grale:
-Ceia-s petitorii tai,
Yin la mine, cer pe tine.
15 Fica maichij, nu t~-oi da,
Cii e~ti mica ~i luduta,
Ca ~i cei nepriceputi.
I I II. I D-aleg buti cu banii multi
~i-o mintie de d-anglii 5
20 ~i cizme de calmajii
Si un bota u mare de oj
Si-un plugut eu ~ase boi.
r. Luminjoara!
(50. Dumbravita de codru ¢)
32e.
Batu-l1i. fico, bii.tu-~i. draga,
r.,
Vanturi rieci pe la ferie~tiY,
I: Vanturi riecj pe la ferie~tiy : 1
Nu m-is, fico, vanturi rieciY,
5 Ci mi-s petitorii t'eiy,
------
I: Ci mi-s petttorij teiy : I,
[ 284 ]

5 To the spring she went off running,
To the spring (that's) in the meadow,
Where the breezes gently blow.
Woe is me, oh mother mine!
Such a wondrous sight I've seen:
10 By the brooklet of the spring
There are horses tethered (fast),
All bespurred, in silken trappings.
Woe is me, oh daughter mine,
Handsomely have those arrived:
15 They have come to ask me for you.
Many (things) they want beside you:
They want oxen, they want sheep,
They want kegs of pennies small,
Of florins as many more.
20 Mother, seek to give them us,
For there are uncounted chests.
*
A good health we wish you, Mother,
And to all who're in the household!
31c.
Sunday, (early) in the morning,
Refrain
Get up, little fair-skinned maiden,
In your hand take up the pitcher
And get going to the fountain,
5 And (there nicely) wash your face,
(Wash) your face with brandywine
And your hands (wash) with good
wines.
8-12 = IS, 16. 19,20,22 of 33a.
(Nay.) they aren't tethered steeds,
But they're suitors (come) for you.
IS, 16 = 26, 27 of 338.
Ask for much in pennies small.
*
May your cheek (like) curly grass be,
And a good health to you, maiden!
48 Bola" means a heavy staff carried by shepherds, whereas botei" means a large flock. If
the former is truly meant here (an incorrect transcription ?), this verse should read: And a
heavy shepherd's staff.
A II a)
Refrain: Lass, of your black eyes we
carol!
31d.
(Lo,) the maiden is arisen
Refrain
And her tresses she has combed,
She went running to the spring,
To the beech-grove spring (she went),
5 Where the water softly flows.
She with water filled the jug.
To her mother she went (back),
And the maiden spoke and said:
Woe me, mother, what I've seen!
10 For the spring is all surrounded
With grey horses tethered up.
And her mother spoke and said:
Those are suitors (come) for you,
They have come to ask me for you.
15 I'll not give you, mother's lass,
For you're young and simple-minded
Like those lacking common sense,
Who choose kegs with many coins
And a fur-lined coat of cloth
20 And some russet leather boots
And a numbrous flock of sheep 42
And six oxen with a plow.
Refrain: Little candle!
31e.
There blow, daughter, there blow,
darling,
Refrain
Chilly winds about the windows,
Chilly winds about the windows.
Yet they're not cold winds, (my)
daughter,
5 But they are your suitors (coming),
But they are your suitors (coming),
[ 285 ]

Vin la mine, eier pe t'ine.
~i-mi eier, fico, mult eu t'ine,
I: ~i-mi cier, fico, mult eu t'ine : I
10 ~i-mi eer plug eu l?ase boi,
~i-mi cer turmele de oi,
~i-mi cer eiordele de vaei,
~i-mi cer stevele de eai,
~i-mi eer sute de £lorintV
15 Lasa-mi, fico, lasa-mi, draga,
De pe plug eu l?ase boi,
Lasa-ma numa de doi.
Doi is boi cam mohoriti,
Care-s la frati mai d-uriti-
20 Doi is doi cam balaneiy,
C'aia-s, fico, de ai tai,
Ca din fala fratilor,
Din cinstea parintilor.
Lasa-mi, fico, lasa-mi, draga,
25 De pe turmele de oi,
Lasa-ma pe noua oi,
NOl).a oi ,nol).a mioriy,
NOl).a miele d-oehil?ele,
C'alea-s, fico, d-ale tele,
30 Ca din fala fratilor,
Din cinstea parintilor.
Lasa-mi, fico, lasa-mi, draga,
De pe eiordele de vaei,
Lasa rna pe dova vaei,
35 DOl).a vaei cam baliinele,
C'alea-s, fico, d-ale tele,
Ca din fala fratilor,
Din cinstea parintilor.
Lasa -mi, fico, lasa -mi, draga,
40 De pe stevele de eai,
Lasa murgu sa mi-l dai
D'inl?elat, bine 'nfranat,
D-inl?elat cu nova l?eiY
~i 'nfranat eu nova frane,
45 Cum ii sm la murg mai bine.
Lasa-mi, fico, lasa-mi draga,
De pe sute de £lorinti,
Lasa ma-tei cinsprezeee,
C'aia-s, fico, d-ale tai,
50 Ca-s din fala fratilor,
Din cinstea parintilor.
r. Cunund d'e ftori vinet'e! (sic!)
(81g. Nucl?oara 1)
1 = fiorini.
2 = zeu.
a = mu1tumi « elegedik, ung.).
[ 286 ]
A II a)
32f.
Ce rand, maic', acesta randy,
r.,
D'e mi~i bat'e vantu liny?
=====
Maica-sa d'in grai graierie:
-Nu mi-~i bate vantu liny,
-------
5 Vin la min' ~i cer pe tine.
~i cer, fico, mult cu tine:
tmi cer plug, soruti de boi,
~i-mi cer ciorda eea de vaci,
~i-mi cer stava cea de eai.
10 Fica din gura-mi graie:
-Nu fi, maica, suparata,
Ca din plug, soruti de boi
V'om lasa pe ce~ti doi boi,
Care-s in par mohoriti,
15 C'aia-s maichii mai uriti.
~i din mil, dalbe de oi
V'om lasa pe zece oi,
~i din ciorda cea de vaci
V'om liisa pe l?ase vaci,
20 ~i din stava cea de cai
Mi-ti da murgu in~alat,
C'ala-i fala fratilor
~i cinstea parintilor.
r. L'er ficu!-o d'ot'i/i negri!
(81£. Paucine~d 1)
32g.
Pa eel d'eal cu £lori frumoase,
r.,
Ca-i turma d'e oi 'n sala~y
Da la turma cine-~i d-umbla?
D-umbla-~i d-umbla sfantul soare
5 Cu sora sa cea mai mare.
Sora sa d'in grai graii~:
-Mulge-i iute, sfante soare,
Ca t~-ajung~-on nor de ploaie,
-Ba z~ala nu-i nor de ploaie,
10 Ci-aci is cuscrutii tai.
Vin la mine, cer pe tine,
Ceru-ti multe langa tine:
Ceru-ti plug cu ~ase boi,
I-om legadi 3 ~i cu doi;
15 Ceru-ti turma jumatate,

They have come to ask me for you,
And they want, lass, much beside you,
Ask of me for much beside you:
10 Ask me for a six-ox plow,
And ask for my flocks of sheep,
And ask for my herds of cows,
And ask for my droves of steeds,
And for florins by the hundred.
15 Leave me, daughter, let me off, dear:
Of six oxen and a plow,
Let me off with only two.
Two are somewhat dark-hued beeves
Which (your) brothers most mislike; ,
20 Two are rather light-hued beeves.
For those, daughter, are your own,
As of (your own) brothers' pride,
Of (your) parents' honor (too).
Leave me, daughter, let me off, dear,
25 (Let me,) off the flocks of sheep;
Let me off with (but) nine sheep,
(With) nine sheep, (with) ewe lambs
nine,
(Let me off with) nine black ewe
lambs,
For those, daughter are your own,
30 As of (your own) brothers' pride,
Of (your) parents' honor (too).
Leave me, daughter, let me off, dear,
(Let me off) the herds of cows;
(Let me off) with but two cows:
35 Two cows (that are) rather whitish,
For these, daughter, are your own,
As of (your own) brothers' pride,
Of (your) parents' honor (too).
Leave me, daughter, let me off, dear,
40 (Let me) off the droves of steeds;
Let me (but) the sorrel give,
Saddled (and) well bridled (too),
(All) besaddled with nine saddles
And bebridled with nine bridles '
45 As most fit is for the sorrel. ' For a rain cloud is upon you.
Leave me, daughter, let me off, dear;
Of the florins by the hundred,
Let your mother (pay) fifteen,
For those, daughter, are your own,
50 For they're of (your) brothers' pride
(And your) parents' honor (too).
Refrain: Garland made of sky-blue
flowers!
[ 287 ]
A II a)
32f.
What's afoot at this time, mother,
Refrain
That the wind is blowing softly?
(But) her mother spoke (and
answered):
(Nay,) the wind's not blowing softly,
5 They have come to ask me for you,
And they want, lass, much beside you:
Want a plow, (and) pairs (?) of beeves,
And they want the herd of cows
And the drove of horses too. '
10 Spoke the daughter, (answered her):
Mother, let you not be worried,
Of the plow (and) pairs of beeves,
We shall leave you these two beeves,
That have coats of darker hue
15 For those mother most dislike~·
And of thousands of white she~p,
We shall let you off with ten;
Also, of the herd of cows
We shall let you off with'six;
20 Of the drove of horses too
You'll give me the saddled roan
For he is (my) brothers' pride '
And (my) parents' honor too.
Refrain: Of your black eyes we sing,
daughter!
32~.
On that hill with beauteous flowers
Refrain '
There's a flock of sheep enfolded.
But who is the flock attending?
'T~s the blessed sun attending,
5 WIth the eldest of his sisters.
Said his sister (unto him):
Blessed sun, hurry and milk them,
Nay, I swear, that's not a rain cloud
10 But it is your in-laws, (see,) ,
They have come to ask me for you,
Ask for many (things) beside you:
Want six oxen and a plow,
We'll content them with but two;
15 Want one half the flock moreover,
 A II a)
Leglidi i-om tria parte; Ma.
Ceru-ti murgu din grajdut,
Vine marea cat' de marea,
D'inl1ayat l1i d-infrAnat
~i de drum bine gatat.
Dar pre vie ce-mi adu~-al:..A­
-duce-mi brazi incetinati,

20 qucur verde de matasa,

* Cu molidve mestecati.
5 Pintre brazi, pintre molidve
Da-i, Doamne, gazdij viaja I Noata, noata boul sur.
'Y. L'e'Yuj Doamne! D-in coarne la boul sur
(56a. Lunl10ara t/) Leganel de palcinel.
'N leganel cine-mi l1ede?
10 ~ede-mi fic' acest' domn bun.
33. Dar de lucru ce-mi lucra?
'Y., Tot tmi coasa,-mi chindisel1te
I: Pleaca doamna-i la fAn1An' : I, Gulerul ta1Anij-sal},
Naframa frajinij-say.
I: La fantana L'iyordanu 1 : I 15 Nici cat fir nu d-ajunge:
------ Rupse-l1i fica l1i-a plAnge.
[Tata tay t'~-o daruit Nime 'n lume n'o d-aude,
Cu tri sut'e de forinti2 Num' 0 dalba 'mpariiteasa,
5 ~i pa taji bami mananti, ~i din grai ~a-mi graie:
~i 3 fie potcovim caii, 20 -Ce pIangi, fic' acest' 7 domn bun?
Ca de cand am tat vimt, Nu pIange, nu suspina,
~i caii n~-om pOt'init4 ell ti-oi da frati, buni barbati
Tata tal} t'~-o daruit.] ~i parinti incomorati.
10 I: Nu-mi treabii.-mi darul tay : I, Frati or bate d-argintu,
Mie-mi treab' un junel~, 25 Parinti spala auru;
Junelal1u cel d~-asara, ~i fir ti I-or firui,
Care poarta poarta 'n spate, Cu argint I-or l1uc1ui,8
~i la capu-i cu forinti Cu aur I-or polei.
15 ~i pa taij banij manAnti. 'Y. Cet'ina cet'inioa'Ya!
-Noi, Linli, t'e 'ndaturam (85a. Nucl10ara t/)
Cu tri itie 5 de Yin
~i fie fi lucru de 'mplin.
Noi, Linli, t'e 'ndaturam 34b.
20 Cy-un colac mandru de gray,
cat 0 roata de hint'ey.6
rrllITl
I: Colo 'n josu, mai d'in jOSY : I jos

~i
Ramal Lina cu norocy!
*
t'e 'ntoarce cruce 'n focy,-

'Y. Lino, Lino l~-a'Ymo Lino!

I·
. I
Es~-un
fT.l fILl
strat de busuiocy : I -ioc
IT.I fIT.l
rat mare frumosy : 1 -mos
(103. Coticlet t/)

1 = lui J ordanu.
a = fiorini « forint, ling.).
a = sa.
4 = potienit.
5 = 0 masura « ieee, ling.).
8 = trasura « hint6, ling.).
7 = acestui.
8 = face aluneeos « sikol, ling. 7).

[ 288 ]
 A II a)
We'll content them with a third part; Ma.
Want the bay out of the stall,
Like the sea, high water's coming,
Saddled up and bridled up,
Bu~ w~at ?rings it on the vineyard?
Nicely readied for the road.
It 18 bnngmg boughy pines
*
20 (Behold) a green silken tassel,
Tangled up with mountain firs.
5 Midst the pines, amid the fir trees
Swimming, swimming's the grey o~.
Grant the host (long) life, Almightyl
On the horns of the grey ox
Refrain: Lord, I carol!
(Hangs) a little maple cradle.
Who is sitting in the cradle?
33. 10 'Tis this kind lord's daughter sitting.
But what work is it she works ?
Refrain
She keeps sewing, she keeps stitching
To the spring the lady goes,
At her father's collarband
To the wellspring of the Jordan.
(Lo,) your father's given you At her brother's kerchief (too).
15 Nor did she have thread enough,
A three hundred florin gift,
5 All the little pennies too, (So) the lass began to weep.
Nobody on earth can hear her
That our horses we might shoe;
Only a white emperess, '
For, since we've been on our way,
And she spoke and thusly said:
We have lamed our horses too.
20 Kind lord's daughter, why d'you
(Lo,) your father's gifted you.
weep?
10 Of your gift I have no need;
Do not weeep, (and) do not sob,
(What) I need (is) a young lad,
For stout brothers I'll give you,
That young lad of yesterevening,
And well-moneyed parents too.
Who the gate upon his back bears
(And) the brothers shall beat silver
And wears florins in his hat
25 (And) the parents shall wash gold; ,
15 And the little pennies all.
They shall draw out thread for you,
Lina, you are in our debt
They'll besilver it with silver
With three measures of (good) wine,
That our work might be fulfilled· TheY'~1 begild it with (fine) g~ld.
Lina, you are in our debt ' Refrasn: Boughs of pine, small boughs of
20 With a handsome wheaten cake
pine tree!
Like a carriage wheel in size. '
34b.
* (See,) down yonder, lower down yet,
Turn about, cross, in the fire,
Farewell and good luck to Lina! There's a { bed of basil herb,
beautiful large meadow,
Refrain: Softly, softly, clamor softly!

[ 289 ]
 A II a)
Cu dirarea pe mijloe. Fara unul d'intre vol,
Carare cin~-o faeea? 20 Far' voinicul eel d~-asara,
5 Tat on bOl) eu eoarnile, Car' al) pus picior in scara
Cu eoarnile zugravite. $i-al) pa~it a nOl)a tara.
Cu eopite poteovite. r. Cununa d~-aur!
Da in eoarne ee aduee? (72. Chibu1cutul de campie if)
Da on leagan de matasa.
10 Da in leagan cine ~ede?
Rusanda eu Susana 34d.
$i eosea de ehindisea Pa termuri de Dunarita,
GuIer la tatane-Sal) r.,
$i eiupag de mana sa. Est~-o dalba chiliita,
15 Tata-sal) din grai graie: r.,
-Coase, eoase, draga tatii!
Ti-oi da oi ~i ti-oi da boi· In chilie cine ~ade ?
-Nu-mi traba boi, nice! oi, Paratchia, fata dalba.
Far' dragutu eel d~-asara : 5 De lucru, zal), ce luereaza?
20 $ede 'n poarta razamat, Curuie~te, popriste~te
Cu cizme negre 'nealtat Naframa la frate-sal).
$i eu parul retezat. -Fa-mi ~i mie d-o niiframa,
(73pp. Chinci~ <f» Ti-oi da oi ~i ti-oi da boi.
10 Nu-mt da oj f?i nu-mi da boi,
Ci-mi da earu cu comoara
34c. $i voinicu eel d~-asara.
I: Colo 'n jos pe rat in joSY : I, $ede 'n bata razamat,
r., Zice 'n £Iujer ferecat.

',-1.-"
r. [aj Domnuluj Doamne!
II. I (111 a. Sarafola if)
I: Est'~-un strat de basaioey : I -ioe

Cu dirarea pe mijloe. 34e.

Da eararea cin~-o faee? I I. I f"li"1
5 Da 0 fae~-un bobarnaee I: Noata, noata bou sury, r. : I sury
Cu poehite poteovite,
Cu eoarnile 'ntraurite. I: Da, ZO,2 'n eoariie ciii~-aduee : I?
Da 'ntre eoarne cine ~ede?
Leagan de matasa verde. I: Da, z0.:...,Yn l'eagan d'i matasa : I
10 Da 'n leagan cine-i eu1cat?
Fata gazdei, Maria. Da, zo, 'n leagan cine ~ade?
Tat eoase ~i tat sa 'ndoase 5 Da, zo, Ana, fata dalba,
Pomni~or fraeiueul' sal), De eoasa, de ehindisef?te
Guleraf? tatucul' sal). Guleru tatane-sal),
15 -Tu, Marie, fata dalba, Naframa fratine-sal).
Coase-mi mi~-o pareche,
Ti-oi da l)oi ~i ti-oi da boi· r. Florile-s dalbe!
-Nu-mi traba nici l)oi, nici boi, (62ec. Niere~teu c/»

1 = nici.
2 = zeu.

[ 290 ]

With the pathway down the middle.
Who has made the pathway (there)?
5 (,Twas) a bullock with his horns,
With his horns (all) painted over,
(And) beshod with shoes (of iron).
On his horns, what is he bringing?
(Why, he brings) a silken cradle.
10 But who sat inside the cradle?
Rusanda and Susana, 43
And they sewed to stitch (amain)
At their father's collarband,
At their mother's jerkin too.
15 Spoke their father (unto them):
Sew on, stitch on, father's darlings,
I shall give you sheep and beeves.
We want neither sheep nor beeves,
Only yestereven's lover:
20 He stands leaning on the gate,
With black top boots (he is) shod,
And his hair (is) cut off (short).
34c.
(See,) down yonder, in the meadow,
Refrain
There's a flower bed of basil,
Through its middle goes the path.
But who's beating out the path?
5 It is made by a black bullock,44
With its hooves beshod (with iron),
With its horns (with gilding) gilded.
But between its horns what's
(hanging) ?
(Lo, it's a) green silken cradle.
10 But who's lying in the cradle?
(It's) Maria, (our) host's daughter.
She keeps sewing and keeps hiding
For her brother a small sash (?),
Neckband for her father (too).
15 You, Maria, fair-skinned maiden,
Sew a pair for me as well, (do,)
(And) I'll give you sheep and beeves.
I need neither sheep nor beeves,
A II a)
Only one among yourselves,
20 Only yesterevening's stalwart,
Who has set foot in the stirrup
And has stepped into a new land. 45
Refrain: See, the golden wreath!
34d.
On the banksides of the Danube
Refrain
There's a little cell (that's)
whitewashed.
Refrain
In the (little) cell, who's sitting?
Paratzkia, a fair maiden. 46
5 By the Lord, what is she working?
She is cutting out (and hemming (?)
(At) a kerchief for her brother.
Make for me as well a kerchief,
(And) I'll give you sheep and beeves.
10 Do not give me sheep and beeves,
But give me the cart with treasure
And the lad of yesterevening.
He stands leaning on his staff,
Pipes with iron-banded pipe.
Refrain: Hoy, for the Almighty!
34e.
The grey ox is swimming, swimming,
Refrain
On his horns what is he bringing?
Why, I swear, a silken cradle.
But who's sitting in the cradle?
5 "'ny, I swear, the fair lass Ana,
(Who) is sewing (and) is stitching
(At) her father's collarband
(And) her brother's kerchief (too).
Refrain: White are the flowers!

43 Here, to fit the meter, Rusanda ("eete Ruxandra) and Suzana are accented on the first
and last syllables, instead of being stressed on the second syllable, as they commonly are in
Rumanian.
44 Bobitrnaee, which we find in this verse, has been erroneously transcribed. It should read:
bou bi1.rnaee.
45 There is a possible alternative reading for this verse, to wit: And has stepped into our
country.
46 Pariitchia is a corrupt form of Paraschiva.

[ 291 ]

341.
1. I
I: Pin grad'ina cea domineasca, 'Y. : 1 -Dati tmi, juni buni, ce mi-ati lyat,
I II. I Ca voi, daca nu mi-ti da,
domineasdi
rr-I
I: D-umbla-sii, pre d-umbla-sii~ : 1
fill
-sa
r r l fll.l
I: Ta' Maria fata dalba : 1dalb'.
Dar de lucru ce lucreazii ?
5 Ea mni-~i coasa ~i-mi tes~te
Guler~ tatanel' say
!iii unu £ratane!' say.
'Y. Flo'Yil'e-s Ilo'Yi dalbe d'e ma'Y!
(79b. Idicel 9)
34~.
Colo 'n josul, mai d'in josu,
'Y.,
Su' cel dalb d'e rasaritu
[Est~-un camp mandru 'nfloritu].
Da 'n eel camp mandru 'nfloritu
5 Salta-mi, salta boul sury
'Y. JuniZ'e, iuneZuj bony!
(BBc. Petro~an 9)
35a.
[Colo 'n josu, mai d'in JOSY
Este'~-un pat bine 'ncheiatu]
Cu scanduri dalbe d'e bradu,
'Y.,
Dar in pat cine-i culcatu?
5 Est' ~-o mica ficiorica.
ca e ~ed'e ~i suspina,
------
ca mi-o pierdut baieru,
Baieru ~i salba dalbii,
Salba dalbii cu bani vechi
10 !iii cerceii din urechi:
A II a)
Or venit juni ~i l~-or lyat.
Fica din gura graie:
IFica din gura graie:
15 Am tri frati ca tri biirbati
'Y. Domnuluj Doamne!
(65. Ciarbal 9)
35b.
Supt cer ro~ d'e rasiiritu,
'Y.,
Mandru pomu-i d-tnfluritu,
I: Mandru pomu-i d-influritu : I.
Supt poalele pomuluiu
5 !iied'e-mi, Doamne, cine-mi ~ed'e?
~ede-mi fica d'ochiti negri.
Tot troi ~ede ~i suspinii,
Ca ~i-o pierdut baieru,
Baieru ~i salba-i dalbii,
10 Salba-i dalba din bani vechi
~i cercei dela urechi.
Maicii sa la iil vene:
-Taci tu, d-Ano, nu mai pl8.nge,
Ca io tie cii ti-oi da
15 Miiturice de d-anglice,
Sii miituri ceriu ~i raiu.
cat gunoi ii d-aduna,
Tot in iad Ii liipiida,
ladu tar' s'o 'ntuneca.
'Y. Doamne, Doamne, Domnuluj
Doamne!
(B7a. Rau de mori p)
36a.
Colo sus, Doamne, mai susu,
Sus in dalbii-i (sic/) rasaritu
====
Est~-un porn mandru 'nfloritu
Pan' la poala 'mpoliiritu.
------
5 Pan' la miljoc leaga mere,
Pan' la varf Ie culegiore (sic/)
------
Da 'n umbruta pomului
[ 292 ]

34f.
Through the (beauteous) lordly garden
Retrain
Goes a-walking, goes a-strolling
15 I've three brothers like three men
Saint (?) Maria, the fair maiden.
But what work is (that she's) working?
5 She is sewing, she is weaving
At her father's collarband,
One for her small brother too.
Retrain: Blossoms are white apple
blossoms!
34~.
Down below, there, lower down yet,
Retrain
Underneath that white-hued sunrise,
There's beauteous meadow blooming.
In that handsome meadow blooming,
5 The grey ox is leaping, leaping.
Retrain: The young lad, for the good
youth!
35a.
Down below there, lower down yet,
There's a bed well put together
Of white pine boards nicely joined.
Retrain
But who's lying in the bed?
5 'Tis a youthful little maiden,
She is sitting there and sobbing,
For (her) drawstring she has lost,
Both (her) drawstring and white
necklace,
(Her) white necklace of old coins,
10 And the earrings from (her) ears:
47 The plant named in this text is either Primula ojjicinalis or Spiraea jilipendula.
[ 293 ]
A II a)
Lads have come and taken them.
Spoke the maiden (unto them) :
Give me, good lads, what you took,
For, if you don't give it (back),
Refrain: To the Almighty!
35b.
Under the red sky of sunrise
Retrain
There is a fine tree a-blooming,
There is a fine tree a-blooming.
Underneath that tree (so beauteous),
5 There is sitting, Lord, who's sitting?
('Tis) the black-eyed maiden sitting.
She is sitting (there) and sobbing,
For her drawstring she has lost,
(Lost) her drawstring and white
necklace,
10 Her white necklace of old coins,
And the earrings from her ears.
Came her mother unto her:
Quiet, Ana, weep no longer,
Because I shall give to you
15 A small broom of primrose
(fashioned) ,47
To sweep out the sky and heaven.
All the sweepings you shall gather
You shall throw (down) into hell,
Hell will greatly darkened be.
Refrain: Lord Almighty, to the
Almighty!
36a.
There, above, Lord, higher up yet,
Up above, in the fair sunris~,
There is a fine tree a-bloommg,
To its stem decked out in leafage.
5 Halfway (up) it's growing apples,
At the top they're being gathered.
In the shadow of the tree

ScriSU! patul Domnului.
------
Da 'n patu cine-i culcat?
10 Fica midi de 'mparat.
Fica de cand al) durmit,
FIorile al) napadit.
(45h. Albac if)
36b.
La rofiu da rasarity,
'Y.,
last'l un pom mandru 'nflorit.
De la poala pomului
Scrisu-i patu Domnului.
5 Da in pat cine-i culcat?
Ca-i culcat un fil,l. curat,
Da Maica Sfanta-i lasat.
-Scoala, fil) mic, nu dormi!
Ca de cand t~-ai adormit,
10 FIorile ti-al,l. nap1irlit
~i iarba ti-o romonit. 2
'Y. FIO'Yile-s dalbe!
(61b. Corbefid)
37.
fT"I\II.\
I: Poruncit-o, poruncit-o, 'Y. : 1 -0
I: Fata dalb1i la mirely : 1:
I: -Faca-fii mir~-atata bine : 1
I: Sa mi-fii vina pan' la mine: I.
5 I: Sa nu-mi vina prea cu multiy : 1:
Cu cincizeci de cal1ir~i
Mai p~-atatia pedestrafii;
~i nu-mi suie sus la munti.
Ca munN is spulberofii,
10 Caii-s buni fii-s haine lungi,
~i caii-or da a salta,
Hainile s'or spulbera,
Mirea-i mica fii neata (sic!)
Nu l~-o putea scutura.
1 = este.
S = rumenit.
S = pieiea.
[ 294 ]
A II a)
15 Nici nu-mi veniti jos la munti:
Caq-s buni !1i-s haine lungi,
Caii or da a salta,
Hainile s'or ral,l.ora.
'Y. L'e'Yuj Doamne!
(52d. Savarfiin t/»
38a.
\ 1. I fIT.l
I: qobrii negri codri-fii baty, 'Y. : 1bat
rrl /TIl
I: leili, Ial,l.oane, pan' afara : 1-far',
fTl fll.l
I: Sa vezi grau cum rasarie : 1-sari,
ITl fTIl
I: Grau-i mandru rasarity : 1-rit.
5 La mijlocu graului
Est~-un pom a raiului,
Cine fiede 'n varvu lui?
~edu-1ii dOl)a turturele,
Da-s dOl,l.a sorit~-a mele.
10 Una plange, una rade.
Ceace rade, flori implanta,
Ceace plange, t'elea 3 frange.
-Nu frange, sor', florile,
C1i pe noi mama n~-a da
15 Pe una la rasarit,
Pe una la scapatat.
Fa-ti un, strut de busuioc,
Stropt in sus 1ii stript in jos,
Stropt in poarta cerului.
20 Daca cerul s'a deschide,
~i noi. sora, n~-om cuprinde.
'Y. Domnuluj Doamne!
(6li. Comlaufia t/»
38b.
I: ICfii, Iuoane, pan' afara : I,
'Y.,
I: Sa vezi grau cum rasare : I.
------

Is appointed the Lord's bed.
But who's lying in the bed?
10 (Tis )the emperor's daughter young.
Since the lass has gone to sleep,
Flowers have grown over (her).
36b.
In the ruddy (light) of sunrise
Refrain
There's a beauteous tree abloom.
At the foot of the (fair) tree
Is appointed the Lord's bed.
5 But who's lying in the bed?
Lying there is a true48 Son,
By the Holy Mother left.
Wake up, little Son, don't sleep!
For since You have gone to sleep
10 Flowers have grown over You
And the grass has gone to seed.
Refrain: White are the flowers!
37.
She has bidden, she has bidden,
Refrain
The fair lass the bridegroom's (bidden) ;
Let the bridegroom be so kindly
As to come along to (see) me.
5 Let him not come with too many;
Fifty horsemen (let him take)
(And) about as many foot;
Let him not climb in the hills,
For the hills are full of dust;
10 Coats are long, the horses good,
Horses might begin to prance,
Dusty might become the coats;
Bridegroom's young and
unaccustomed (?),
(And) he couldn't shake them (clean);
48 Curat means both true and immaculate or clean.
[ 295 ]
A II a)
15 Nor below the mountains come;
Coats are long, the horses good,
Horses might begin to prance,
(And) the coats might get bedewed.
Refrain: Lord, I carol!
38a.
The black ravens (?) ply the forest,
Refrain
Come along, John, out of doors,
To see how the wheat is sprouting.
Handsomely the wheat is sprouted;
5 In the middle of the wheat,
(Lo,) the tree of heaven stands.
Who is perching on its top?
(See,) two turtledoves are perching,
But they are my own two sisters.
10 One is laughing, one is weeping.
She who's laughing sets out flowers,
She who's weeping breaks them off.
Sister, do not break the flowers,
Because mother means to wed us,
15 Toward sunrise one (of us),
Toward sunset one (of us).
Make yourself a bunch of basil,
Bloomed atop and slim below (?),
At the gate of heaven bloomed (?).
20 If the heavens open up,
We, too, sister, shall find comfort (?)
Refrain: To the Almighty!
38b.
Come along, John, out of doors, (do,)
Refrain
To see how the wheat is sprouting.

I: Grau-i mandru rasaritu : 1
4-20 = 38a. 5-21
1'. C01'ind'e ma Doamn'!
(73g. Tarna mare if)
39.
Crescut-o, rasarit-o
D'un pom nalt ~i romanatu,
1'.,
Cu d'albil'e (sic!) jos pre mare,
Cu ramil' e sus pre soare.
5 !iii mare d'in grai graie- l'e:
-Ard'ica,l pom, ramurile,
C'oi vini io manil}oasa,
Manil}oasa, tulburoasa,
T'~-oi mana pre mare jOSY.
10 -Mare, nu t'e laudare,
C'a~a tare t'e-oi saca~.
Mare, nu t'e laudar~,
Pe unde-ij is vadurile,
Trece mi-oi plugurile;
15 Pe unde-ti is vadurile,
Face mi-oi io gradinile
!iii mi-oi samana fiorile.
!iii la fiori oi strange sori:
b) TO THE MAN GIVING THE BRIDE AWAY
PENTRU BARBATUL CARE DA MIREASA IN CASATORIE
41a.
I: Sus, sus, sus pi langa luna: I,
Cy-o mana ma til} d'e luna,
------
Cu una 'mpletesc cununa.
!iii cununa cui i-om da?
5 I-om da la nana~ului.
Ca de miiici n~-o botezat
!iii de mati n~-o cununat.
Val'. (Mel. 104e.):
1-2 = Sus, sus, sus pe langa luna,
1 = ridica
[ 296 ]
A II b)
Tat ficiori nensuratori
20 !iii fet'e maritatoare.
Ce mai roica-i nasalnica,
Ce mai mare-i vestitoare,
La brau cu spic de gral},
La brata cu iarba creata,
25 La cosita-i romanita,
La t'ica tat infiorita.
1'. C01'ind'eZ'e cef: Domno Sianta Ma1'i'!
(105. Coticlet if)
40.
Foaie verd'e turbure;r!l,
1'.,
Ave L'ena mci ca ie~,
Tri ficiuri ~i-o fata mare.
5 L'ena cea vesela are
Tri ficiuri ca ni~te zmei,
D~-a draguij sa cayti la ei.
Dar copila razatoare,
Subtire ~i cantatoare,
10 Rupta dintr'on raz de soare
Doamne f:oj DomnuZuj Doamne!
1'.
84b. Rau de mori if)
1'.,
Cy-o mana ma tin de luna,
5 = Da i-om da yo la nana~,
(104e.) Lili1Jtin lij-a nos' Doamn'!
1'.
(73ss. Idicel if)
(104e. Libane~d if)
41b. [Cf. 53.]
Colo sus la rasarity,
I: 1'. :1,

Handsomely the wheat is sprouted.
4-20 = 5-21 of 38a.
Refrain: I'm caroling, Lord!
39.
There has sprouted, there has grown
A (fair) tree (both) tall and spreading, 25 Camomile (wears) in (her) tresses,
Refrain
With its foot down by the seaside,
With its boughs up on the sun's face.
5 And the sea spoke up a-saying:
Tree, be lifting up (your) branches,
Because wrathfully I'm coming,
Wrathfully (and sorely) troubled,
Down upon the sea I'll drive you.
10 Sea, do not speak boastfully,
For so badly shall I drain you;
Sea, do not speak boastfully,
Wheresoever are your waters
With my plows I shall be passing,
15 Wheresoever are your waters
(That's where) I shall make my
gardens,
And (that's where) I'll sow my
flowers.
Pairs (?) I'll gather at my flowers:
A II b)
Only lads (that are) unwed,
20 And (but) marriageable lasses.
(And) the youngest (lass) is fearsome,
(And) the eldest's a foreteller,
Ear of wheat (wears) in (her) belt,
In (her) arms (bears) grass (that's)
curly,
All beflowered (are her) tresses.
Refrain: The carols of Saint Mary, Our
Lady!
40.
Oh, green leaf (of the) beaked
parsley,49
Refrain
Lena had no hanks (of sheep's wool),50
Lena had no hanks (of sheep's wool),
(But) three sons and maiden daughter.
S Has the gay (and sprightly) Lena
Three sons (stalwart) like (three)
giants,
Comely (but) to look upon.
But (her beauteous) laughing daughter,
(Is so) slim and (so) entrancing,
10 (Seems a piece) tom off a sunbeam.

Refrain: To the Lord, to the Almighty!

b) TO THE MAN GIVING THE BRIDE AWAY

41a. Refrain
With one hand the moon I'm
High, high, high, the moon enfolding, holding,
With one hand the moon I'm holding, 5 = But we'll give it godfather.
(And) with one a wreath I'm braiding. Refrain (104e.): Lily flower and Our
And whom shall we give the wreath?
Lady!
5 We'll give it (our) godfather,
For as children he baptized us
And as grown-ups married us. 41b.
There, on high, toward the sunrise
Variant (Mel. 104e.) : Refrain
1-2 = High, high, high, the moon
enfolding,

49 That is, chervil (A nthriscus cerejolium).

&0 Alternative readings for this obscurely worded verse: Lena had small hanks (of sheep's
wool), Lena even had no horses, and Lena had some little falcons.

[ 297 ]

Est'~-un mar mare 'nflority,
Face mere d'e arginty.
Dar supt umbra marului
5 Est~-un pat mare 'ncheiat.
Da in pat cine ~edea?
$ade Petru cu Sanpietru.
-Scoala, Petre, nu durmi.
Ca ti-is zburat golumbi
A II c)
10 Sus pa sus langa luna.
Cin~-ai manat dupa ei?
Fica gazdei cea mai mare:
Cl}-O mana tinea de luna,
Cu una 'mpletea cununa,
15 Ei 0 fi de cununie
$i la 'ltor de veselie.
1'. I: laj Domnuluj Doamne I: I
(68. Igri~ 1)

c) TO YOUNG MEN (OR TO THE SON OF THE FAMILY)

PENTRU FLACAI (SAU FIULUI MAl MARE DIN FAMILIE)

42a. Calu-~i alege

Ro~u ca focuk,
Hoi 'ntorcu, sa 'ntorcm, 25 Sur ca porumbuk.
I.1'., $i sa slobozi
DOl}a d-oaste grel'e, Ca-l}n vant pe pamanty,
2.1'., Ca-l}n fulger pe ceq.
Pe sus pe la cer.
Da tatal graie:
D-una ti-e cl}-un domny, 30 -Ie stai, fill, mai stai!
5 Una-i fara domny. $i daca d-imi vezi
Da cea fara domn La-l}n loc de nevoi,
T'e tragi cam napoi;
D-atata umbla~ La-l}n loc de dobanda
Pana-jp negutak 35 T'e fa cam nainte,
Sus la maica-sa. Ca vrei dobandi
D-asta lume tata.
10 De pranz l'e punere, I.1'. : Doamnel
D-oscuja2-~i graie~: 2.1'. : Doj co1'ind'el
-Pe pranz n'am vinit, (21g. Coticlet 1)

Ci noi am vinity
C'a~' am d-auzity,
42b.
15 $i-o nascut d-un fill, Hoi 'ntorcu, sa 'ntorcy,
D-un fill de domnii. Doi-tri d'oaste grele,
Fil} injelege-o Pe sus sa 'ntorcu,
$i din talpi sare DOl}a mi-s cu domny,
Ta'3 cu d'arme 'n palme 5 Una-i far' da domn.
20 $i sa sclobozi. Domnuju-~i cerca,
Fugar', mai fugara Ca ~i-o d-auzit,
'N grajdu cailory, Ca ~i-ar pute fi

1 = ~i.
2 = dimin. de la oaste.
3 = tot.

[ 298 ]

A large apple tree is blooming
(And) it's bearing silver apples.
But beneath the apple's shade
5 There is a large bed set up.
But who's lying in the bed?
Peter's lying with Saint Peter. 51
Wake up, Peter, do not sleep,
For your pigeons have flown off,
c) TO YOUNG MEN (OR TO THE SON OF THE FAMILY)
41a.
There are coming back, ho,
ISt Refrain
Two (large) mighty armies,
2nd Refrain
Up about the sky.
One is with a master,
5 One's without a master.
That without a lord
Doughtily marched onward
Till it made the journey
To his mother high.
10 Midday meal she readied,
But the host spoke saying:
We've not come to eat,
But we have come (hither)
For we have learnt thusly:
15 That a son was born,
The son of a lord.
Son had understanding,
He leaped to his feet,
In his hands with weapons,
20 Swiftly made his way,
Running (ever) swifter
To the horses' stable,
Chose himself a horse
Ruddy as the fire,
25 Ashen as a pigeon,
51 Identically worded, the original verse sounds just as odd in Rumanian as it does in the
above translation.
[ 299 ]
A II C)
10 Up about the moon (they're flying).
Whom have you sent after them?
(Why,) the host's (own) eldest
daughter:
She held fast the moon with one hand,
With one (hand) a wreath she braided,
15 'Twill be hers for (her own) wedding
And for others' merrymaking.
Refrain: Hoy, to the Almighty!
Swiftly made his way,
Like a wind on earth,
In the sky like lightning.
But the father spoke:
30 Stay, son, stay awhile!
And if you should see
Hardships in some place,
You are to withdraw;
(If) some place (be) gainful,
35 You are to go onward,
For you are to win
This world altogether.
ISt Retrain: LOYd God!
2nd Retrain: Sing the carols!
41b.
Hoy, there are returning
Two (or) three large armies,
They're returning upward:
Two (of them) have leaders,
5 One's without a lord.
It sought out a lord
Because it had learnt
That there might be (one),
 A II c)
Un fie~ 1 de domn Mare mai mare,
~i
10 Sus la Maica Sfa.nta.. Mare-~ipiicurar,
-Sclabu-i da o~tire, Sii-l ma.ne la oi,
Micu-i dii domnire, 15 La oiti la munte,
Cai nu ~ti' 'n~ela, Sii Ie facii multe:
!;ii nu-i ~ti' 'nfrba. CMe stelu~el~-A-
15 Fiu 'ntelege, -ta.tea mielu~~;
Susu siirie Ca.ti luceaferij, -A-
Cu fra.ul pe ma.nii, 20 -ta.tia berbecei!
'N grajdu cailor
Bun cal d-alege,
20 Bun cum nu-i ga.ndu, !;ii te vesele~te
*
lute ca focu, Gazd', acest domn bun,
'N p~ ca fulgeru. Cii v' om inchina
Mbdru-l d-in!1ela, Dalbii siiniitatea!
Sus pre el zbura, r.loj Domnuluj Doamne!
25 Ma.ndru riiduie,2 (12s. Petri~ if)
Tiit sAlta.nd, juca.nd.
Maica-~i griiie:
-Linu-i chitilin! 44.
Maica-~i griiie: Crie~t'e-mi, Doamne, crie~tiy
30 !;ii te 'ntoarce, fil}, intoarce!* Toti fiii d'in lume;
'N locuri de nevoi 1'.,
Stiii tmi cam napoi; Crie!1t'e-mi, Doamne, cri~tiy
'N locuri de dobbdii !;ii-a miel} fiul micy,
Stiii imi cam niiinte,
35 Cii ti-i nirui 3 -A- 5 De eu sii mi-l viidy
Ceasta lume tiitii. Marie-I, miiri~ory,
I.r.: Doamne! Marie-I, miiri~ory
2.1'.: Daj carinde! mndru de ficiory;
(21b. Urvi~ if)
D'e el} sii mi-l viidy
10 Niidriiguti triiga.n'y,
43. Niidriiguti triiga.n'y,
I I. I fTIl
I: Sara ceasta-i sara, r. : I sara,
Plipuci inclilta.n'y,
Plipuci inclilta.n'y,
Sabie 'ncinga.n'y,
Sara lui Ajuny 15 Sabie 'ncinga.n'y,
!;ii-a lui Domn Criiciuny. La l}oastra (sic!) pleca.n'y,
Domnul s'al} niiscuty,
5 Tri legi al} liisaty, lJoastre cufranga.n',
------
Tri legi pe piima.nt: Cum fra.ngi fiorile,
Ciubere cu bere, A~a-!1i legile.
ledere de varii, 20 Crie~te-mi, Doamne, cri~ti
La mari boierese !;ii-a me fica micii,
10 Fil} mic sii-mi biiieze, De el} s'o mi-o vlid
Sii mi-l creascii mare, Mare, miiri~oarii,
Rochie 'ncinga.n',

1 = fiut.
S = pomea « ered, ung.).
8 = dobAndi « nyer, ung.).

[ 300 ]

The son of a lord,
10 Up at Our Lady's.
He's weak for an army,
Young to be a ruler;
He can't saddle steeds,
He can't rein them in.
15 The son understood,
(And) he leaped aloft,
On his arm a bridle;
In the horses' stall,
A good horse he chose,
20 Good as thought is not,
Mettlesome as fire,
(And) like lightning paced.
He saddled it well,
Upon it he flew,
25 Handsomely set out,
Leaping, capering.
But the Mother said:
Softly, softly there!
(And) the Mother said:
30 Turn about, son, and come back
(here)! 52
In places of plight,
Stand somewhat aback;
(But) in gainful places
Stand you somewhat forward,
35 For you shall prevail up-
On this world entire. 53
Ist Refrain: Lord God!
2nd Refrain: Sing the carols!
43.
This evening's the evening,
Refrain
(It is) Christmas Eve,
And of the Lord Christmas.
Born was the Lord (Jesus),
5 Three rules He appointed,
Three rules upon earth:
Firkins (full) with wassail,
Ivy of a summer,
(And) to noble ladies
10 A young son, to bathe (him),
Nurture him and rear him,
63 This unexpected octosyllabic verse is found in the original too.
53 This amusing division of a word between two consequent verses is deliberately reproduced
from the original, though the word selected is not the same as that of the Rumanian text. The
scansion is identical in the two versions.
54 It is not quite clear whether this is the intended meaning of the verse, which might also
be read: Also (break) the rules.
[ 301 ]
A II c)
Bigger and yet bigger,
A large shepherd (grown),
Send him with the sheep,
15 With sheep in the mountains,
To increase them greatly:
Many as the stars (may)
The ewe lambs be (also);
Many as the lodestars
20 (May) the rams (be too)!
*
May you be rejoicing,
Goodly master, host,
For we'll pledge to you
Fair health (and good fortune)!
Refrain: Hoy, for the Almighty!
44.
Make them grow, Lord, rear them,
All sons the world over;
Refrain
Make him grow, Lord, rear me
My own son as well,
5 So that I may see him
Grown up, fairly grown-up,
Grown up, fairly grown-up,
(And) a handsome lad (too);
So that I may see him
10 Drawing on his breeches,
Drawing on his breeches,
Putting on his slippers,
Putting on his slippers,
Buckling on a sabre,
15 Buckling on a sabre,
Leaving for the army,
Army breaking up
As you (might) break blooms:
(For) such are the rules. 54
20 Make her grow, Lord, rear me
Also my young daughter,
So that I may see her
Grown up, fairly grown-up,
Girding on a dress,
 A II c)
25 Cizmute 'nc1iltin', Pacuraq de munte;
Becita cicin' (sic!), 10 D-altu 1-0 manat
Salba stralucin', Cel faor de d-aur.
La ned'ep plecan', Pluga~el de camp
Ned'ei cufrangan' (?), tne' 0 poruncit
30 Cum frangi florile, C1)-on cuvant pa vant,
A!la-!li legile. 15 La el sa mi-ji3 mearga
r. Daj DomnuZuj Doamne! ~i el sa-mi aret'e
(lOa. Ciarbal if) Toti stoguri in comuq.
Pacurari de munte
lara poruncit-o
45. 20 Cl}-on cuvant pe vant,
I: laon voinicului : I, D-altu pe pamant
r., ~i la el sa-ji mearga
I: La bun crai sluj~te : I, ~i el sa-mi aret'e

I: Masa !li-o cinste!lte

==== Cat'e floq pa munt!:ld-
25 -tat'e oi de mult'e;
rca !li el i!li d-are Cllt'e brebenei,
5 Doi parinti batrani] Atlltia berbeciy
~i el s'o rugaty : 1 Cu coamele 'n vllnt,
La Maria Sa, Cu bite d'argint,
Sa illas' acasa, 30 Razam in pamant.
Decand nu io 2 fost, Cel faor de d-aur
10 Pranzu nu-l pranze!lte, D'tnc'~ 0 poruncit
Pana nu-l gande!lte; Cl}-on cuvllnt pe vllnt,
Cina n'o cina, D-altu pa pamant,
Pan' nu s'o 'nchina. 35 La el sa mi-ji mearga
~i daca io 2 fost,
~i el sa-mi aret'e
15 Pranzul 0 pranzit, Buti cu bani marunti
Nu 1-0 mai gandit; Care cu comoare.
Cina yo cinat, 1'. Daj Domnuluj Doamne!
Nu mai s'o 'nchinat. (12t. Ciarbal if)
r. Hoj da leruj Doamn~o!
(12e. Niere~teu if)
47.
46. r.,
Juni pre junel colindan:;
Fericean d'e ely!
Bin' l-ai fericiaty. ====
Dar' om, dar' om, ce l!:l-om da~:
r.,
L~-om da, dar' om junelui,
Bin l'ai fericiaty
Lui mie l-ai daty
J uni Ie par~-un dar cam mare
5 Tri feti inteleptiy. ------
Unu 1-0 manaty 5 ---------l'or lasa~

Plugarel de camp; r. J un(f-a Zunj juneZ bun!

D-altu 1-0 manat (37b. Petro!lan if)

1 = serblitoarea hramlui bisericii.

2 = acolo.
3 = ~i.

[ 302 ]
 A II c)
25 Stepping into boots, Shepherd of the mountain,
Fastening her girdle (?), 10 Another he set
Necklace shining (bright), Goldsmith (for to be).
Going to the feast, Plowman of the field
Breaking up the feast He commanded (then),
30 As you (might) break blooms: By word of the wind,
(For) such are the rules. 54 15 Unto him to hasten
Refrain: Grant the Lord Almighty! And to him discover
Stacks in every corner.
Shepherd of the mountain
45. He commanded also,
John, the stalwart youngster, 20 By word of the wind,
Refrain Overland as well,
A good king is serving, Unto him to hasten
His own board he honors,55 And to him discover
Because he has also For all mountain flowers
5 Aged parents two. 25 Just as many ewe lambs,
And he has begged leave For all periwinkles56
Of His Majesty Just as many rams,
Home for to allow him, With horns in the wind
For, since he's not been, (And) with silver fleece
10 Midday he's not eating 30 Trailing to the ground.
Till he thinks it (over); To the goldsmith (too)
Supper he'll not sup He sent a command,
Until he has prayed. By word of the wind,
And, once he's been (there), Overland as well,
15 Midday meal he ate, 35 Unto him to hasten
No more thought it (o'er); And to him discover
Supper he has supped, Kegs with little coins,
No more has he prayed. Carts with treasures (laden).
Refrain: Carol for the Lord, hoI Refrain: Grant the Lord Almighty!

46. 47.
Fortunate is he, (Lord!) Refrain
Well have You endowed him, Youths are caroling the youngster,
Refrain Give them, give, what shall we give
Well have You endowed him, them?
You've bestowed upon him We'll make yougster gift to them.
5 Three sons full of wisdom. Youths think he's a somewhat large
One he has appointed gift,
Plowman of the field, 5 - - - - - they will leave him
Another he set
Refrain: To the youngster, goodly
youth!

a& Other possible readings for this verse: To his board he's treated, and (if masa is meant to
read mil-sa) His mother he honors.
as The plant indicated in the original could also be the fumewort (Corydalis).

[ 303 ]
 A II d)

d) TO THE HOST OF THE HOUSE

PENTRU GAZDA

48a. 40 Cum I-or fereeat,

Loeul bun l~-a1) dat,
I: Ferieem d' e ely : I Locul bun din rai,
I: D'e eest domnul buny : I D-in mijloe de rai.
------ -Ce dar ea ti-ai dat,
I: Boierul batrany : I! 45 De ti-ai apueat?
I: Cum I-or fereeatu : I
------ o dat, iti ai dat
------ Buti eu bani mamnti;
5 Loeul bun l~-al} datu, o dat, tti ai dat
Loeul bun din raiY. Carii eu eomoara;
D-in mijloe de raiy 50 0 dat, tti ai dat
Santu mi-~i, mai sant qurda mohoritii;
Doi meri d-influriti, o dat, iti ai dat
10 Mese d~-a d-argint; Pluguna de boi;
'N jur-prejur de mese o dat, tti ai dat
~ezetori direse. 55 Mij dalbe de oj.
~ezetori direse. ~i d~-aeel~-am dat
La d-un com de masii Domnul mi 1~-a1) dat
~ede mni-~i mai ~ede Ce s'a indurat,
15 Domnu-i Dumneze1); Dar n~-ai maneeat
Da l' a doilea com 60 Noaptea 'ntunerie
~ede mni-~i mai ~ede La dalb' biseriee
Petru eu Sant' etru ; 1 Tot eu lumninele
Da a trilea com $i eu preseurele.
20 !;iede mm-~i mai ~ede (12dd. Fene~ 1)
laon Sant laon;
A patrilea com
Santu mni-~i mai sant 48b.
Doi meri d-influriij Cel boier batrany,
25 Cu flori de d-argint. Bun loeu-~i ave!1l
Prin flori d-argint r.,
Multe mere santo
Boarea ~i-mi borea, La mijloe da raiu
Boarea raiului La masa-i galbanii.
30 Despre rai din jos.
Merii eliitina, 5 Pii masii ee-i serisy
Mere-mi t'iea 2 'n masii, Pomu-i raiului
'N jur-prejur de masa.
La masa-mi ~edea C1)-un randut de flori,
35 Domnu-i Domnezel}, Cu d-altu de mere.
In mere-mi juea Soarile luee~,
~i mni-~i euviinta 10 Merile-~i eoee~,
Ciitr' aeest domn bun, Vantul aburale,
Boierul biitran, Merile-~i pieaji,

1 = Sf. Petru.
S = pica.

[ 304 ]

d) TO THE HOST OF THE HOUSE
48a.
Fortunate is he, (Lord,)
(Is) this goodly master,
The elderly noble!
How he was made happy,
5 The good place was granted,
The good place in heaven.
In the midst of heaven
(Lo,) there are as well
Two apples abloom,
10 Silver tables (too);
Round about the tables
Gatherings appointed.
At one table corner
There is also sitting
15 The Almighty Lord;
At the second corner
There is also sitting
Peter with Saint Peter;
But at the third corner
20 There is also sitting
John (who is) Saint John;
(And) at the fourth corner
There are too, there are
Two apples abloom
25 (All) with silver blooms.
Mid the silver blooms
Many apples hang.
Wafted was the breeze,
Heaven's scented breath,
30 Down through heaven (blew);
Shook the apple trees,
On the board fell apples,
Round about the table.
At the table sat
35 The Almighty Lord,
With the apples played
And addressed Himself
To this goodly lord,
The old nobleman,
[ 305 ]
A II d)
40 (Said) how He'd bestowed,
Granted the good place,
Heaven's goodly place,
In the midst of heaven:
What gift have you made
45 That you (once) enjoyed?
Once you gave away
Barrels of small coins,
Once you gave away
Carts with treasures (laden),
50 Once you gave away
Herd of darkling color,
Once you gave away
Oxen with a plow,
Once you gave away
55 Thousands of white sheep.
Of these (all) I gave,
God gave them to me,
For He mercy had;
But You woke us up
60 In the dark of night
At the whited churches,
All (about) with candles
And communion wafers.
48b.
(Lo,) the aged lord
Had a goodly place
Refrain
In the midst of heaven,
At the yellow table.
5 On the board's appointed
The heavenly tree,
With one set of blooms
(And) with one of apples.
(Lo,) the sun was shining,
10 Ripening the apples;
(And) the wind was blowing,
Blowing down the apples

La boier pe masa,
Boier Ie lege.
15 Cile 1 ce-s mal marl
Cinsta-s pa domni mari;
Cile ce's mai mici,
Cinsta-s pa domni mici.
Boier capatare
20 $i 'n mani ~iTn sani,
Lua, sa ducenl
Sus la maica sal!;],
Maica-l d-intreba~:
-Cine ti l~-o dat?
25 -Ca m'am io rugat
Cl}-ot'ii ~i 'n genunchi
Sfinti Dumineci
Dalbe-s biserici
Cu caqile 'n branci.
r. 10j Domnul joj Doamn'/
(12y. Coticlet if)
48c.
I: Fericean d'e ely: I,
r.,
I: D'e boieri batraniy : I!
I: Cum i-o fericiaty : 1
I: Drag Domnul d'in ceriy : 1
5 I: D'e lui, d'e i-o daty : 1
D-on locut mai buny
'Nt'o mirjoc 2 de raiy
Une 3 -s mese 'ntinse.
Jur-prejur de mese
10 Sant sca1}ne diriese,
Pe sca1}ne ~ede~
Dragi boieri batraniy.
D-asupra pa masa-i
Maru madgaliny
15 Mandru d-influrity.
Pintre flori d~-arginty
Boarea d-abura,
Merii legana,
Merele pica,
20 Masa sa 'ncarca.
Dragi boieri batraniy
La masa ~ezan'y
1 = cele.
2 = mijloc.
3 = unde.
4 = peatriL
[ 306 ]
A II d)
La mere strange~
Pin manuri, pin sanuri.
r. Daj Domnuluj Doamne!
(120. Fere~d </»
48d.
I 1. I fIIl
I: Masa rotilata, r. : 1 -lata
Galbana de t'atra. 4
Da in cornu mesei
Pomut ramurat
5 De poame 'ncarcat.
Drumari pe drum trece
$i poame culege
Pe manuri, pan' sanuri.
Luna 'n drum l~-o stat,
10 Mandru i-o 'ntrebat:
-Cine vi l~-o dat?
-Noi l~-am dipatat
Dela sfantul soare
Cu mare rugare.
r. Daj Domnuluj Doamne!
(8. Pom if)
48e.
I: Fericat, ferice : I,
r.,
De cine-i ferice?
De boier batrany.
Gandu ~i-o gandity
5 Masa ~i-o gatity.
Masa ii galbana,
Galbana de peatra.
'N mijloc eel de masa-i
Mar dulce 'nflority
10 Cu flori de d-arginty
Pan flori de d-arginty
Mere sant d~-aur.
Cest boier batrany
La masa-i ~ezandy
15 Cu mere jucandy,
Jucand ~i razandy.
 A II d)
On the (old) lord's table. Gathered up the apples
The lord sorted them; In their hands (and) bosoms.
15 The larger ones are
Gifts for mighty lords; Refrain: Grant the Lord Almighty!
The smaller ones are
Gifts for lesser lords.
The lord filled his hands 48d.
20 And (he filled) his bosom, (Lo, there's) a round table
Took them, carried them Refrain
Upward to his mother. Yellow-hued, of stone (made).
Asked of him his mother; At the table's corner
Who gave them to you? (Stands a) boughy tree
25 ('Tis )because I prayed 5 Loaded down with fruit.
On elbows and knees,57 Wayfarers are passing
(Every) Sunday blest And the fruit they gather
(At) the churches white In (their) hands (and) bosoms.
With books in my hands. The moon held their way,
Refrain: Hoy, to the Almighty! 10 Nicely asked of them;
Who gave them to you?
We were given them
48c. By the sun (so) blessed,
Now happy he is With a goodly prayer.
Refrain Refrain: Give to the Almighty!
The elderly lord!
How he has been blessed by
The dear Lord of Heaven, 48e.
5 Who bestowed upon him (He is) blest, (he's) blissful.
A more favored place Refrain
In the midst of heaven, Who is blest (and) blissful?
Where are spread the tables. (It is) the old lord;
Round about the tables He has thought a thought,
10 There are chairs appointed; 5 He's set up a table.
On the chairs are sitting Yellow is the table,
Old beloved lords. Yellow, of stone (fashioned).
There o'erhangs the table In the table's middle
The peach-apple tree, A sweet apple's blooming
15 Handsomely it's blooming. 10 With blossoms of silver;
Through the silver blossoms Mid the silver blossoms
Blew the (gentle) breeze, There are golden apples.
Apples set asway, This old noble lord
Apples tumbled down, At the table's sitting,
20 Laden was the board. 15 With the apples playing,
Old beloved lords Playing (with them), laughing.
Sitting at the table

57 There seems to be an error of transcription in this verse: Gu otii being substituted for' N
coate. If, however, the verse is correctly transcribed, the translation should read: With my eyes
and knees.

[ 307 ]
 A II d)
Domn mare din eeri 49.
Ciarup(sic!) grai iar.
-Cest boier batranu,
Pe su' raza soareIui,
20 Cine ti~-o datJt-A-
Cand de rai s'apropt'ia,
-tata bueuri~,-A- Mandru Iueru ee-ji 2 vede:
-tata veselie? Tat un pomut rasadit,
Cest boier batranu 5 Primavara inflorit,
Ciarui grai iara : Toamna pt'iea de rod'it,
25 -Domn mare din eeri De rod'it, de 'ngramadit
Mnie ea mi-o datu Cu erangile Ia pamant.
Cui m'am rugatu; Ati pleeat ~i voi strutari,
$i-am de 'ntuneeatu 10 Sa-ji ieie I?i domnu flori,
Negre 'ntunerice Sa-I?i puie pe serbatoare?
30 Dalbe-s beserice,
Sfinte-~i Duminice. (121e. Gherla 1)
1'. Hoj ley Domnij ley!
(12g. Toe 1)
50a.
Fericean d'e elu
48f. D'e eest domnul bunu!
Fericean d'e elu Y.,

I 1. I fill
I: D'i eest domnul buny, 1'. : I bunu,
I: Bin' I-ai ferieiatu : I,
Boierul batranu, I: Bin' l-ai fericiatu : 1
5 Bin' l-ai fericiatu : I,
I: D'i eest domnul bunu,
5 Boieriul batranu : I, I: La "9oi ai manatu : I
I: lJoil'e sa-mi pasea : 1
Boieriul batrany
I: Pin eurtea primblindu : I, Lin pin t'iar 3 senin,
Bani imi paturindu, Pin verde pelino
10 Strunga Ie era
I: Pin eurtea primblindu, Cel eereut de luna;
10 Bani imi paturindu : I, Foeu Ie era
Cea raza de soara;
Ioj Domnuluj Doamne!
1'. Apa Ie era
(13. Paucinel?d 1) 15 Cel roor de ploaie.
Cel frate mai mare
La foe imi ~ede,
48g. Culca ~i-adorme.
Pe cum Domnul ~i-o rugatu, Cel frate mai mie
Dumneze"9 de tot i-a datu, 20 La foe imi ~ede,
Y., Din gura graie:
-Seoala, frate, seoaill,
1-0 dat easa, i-a dat masa Ca ie I?i-o fatat
$i-on Ioeut mai bin in raiy Cea miala mioara
1'. Domnuluj Doamn'! 25 Cu lanita ereata;
(51. Chinci~ 1) $i ie I?i-o fatat

1 = graiu?
a= ~i.
S = chiaro

[ 308 ]
 A II d)
The great Lord of Heaven 49.
Spoke to him from heaven:
(You) old noble lord,
Underneath the sunbeam (fair),
20 Who gave unto you so
As to heaven he drew near,
Much joyfulness (and) so
Much gladsomeness (also)? 58 What a beauteous thing he saw:
(,Twas) a handsome tree set out,
This old noble lord
5 In the springtime (all) abloom,
Unto heaven answered:
In the fall adroop with fruit,
25 The great Lord of Heaven,
Bearing fruit all of a heap,
Gave them unto me,
With (its) boughs down to the ground.
Whom I have besought;
Have you bowed the posies too,
And I have to darken
10 That the master might get blooms,
Darksome darkfulnesses
To adorn himself for feasting?
30 (In) the whited churches
(On all) holy Sundays.
Refrain: Hoy, for the Lord carol!
50a.
48f. He is (truly) blessed,
(Is) this kindly master!
Blessedness is his,
Refrain
This good gentleman,
Well have You endowed him,
Refrain
Well have You endowed him,
The old (noble) lord (ho!)
5 Well have You endowed him:
This good gentleman,
With the sheep You sent him,
5 The old (noble) lord.
The sheep to be grazing,
The old (noble) lord,
Softly through clear sky,
Through the yard a-strolling,
Through the wormwood green.
Folding up (his) money,
10 Their milking pen was
Through the yard a-strolling,
The wreath of the moon,
10 Folding up (his) money.
Their (hearth) fire was
The beam of the sun,
Refrain: Hoy, for the Almighty!
(And) their water was
15 Dewiness of rain.
48~. (Lo,) the elder brother
Satsi bede the fire,
As the Lord he had beseeched,
Lay down, fell asleep.
(Thus) the Lord all gave to him:
(But) the younger one
Refrain
House He gave him, board He gave 20 Sat beside the fire,
him, (And) he said (to him) :
And a better place in heaven. Wake up, brother, waken,
For she has brought forth,
Refrain: Hoy, for the Almighty!
That (young) ewe lamb (fair)
25 With the fleece (that's) curly,
And she's lambed herself

58 In verses 20-22 the translator has attempted to render the fanciful splitting of words
found in the original, as well as in text Nos. 42b. and 46 (verse 24).

[ 309 ]
 A II e)
Doi berbeeuti biUi Cea miala mioara
Cu laniFi ereata Cu IA.niFi creata
Prin argint in ghiata(?), D-in d-argint, in ghiaFi (?).
30 Cu eomite volte, $i ea nl(-o faeut
Voltele-s dl(-argint. 20 Doi berbeei de-i bali
1'. 10j Domnuluj Doamne! Cu eoamele-z voalte,
(11. Nue~oara if) Voalte sant dl(-argint,
Razama 'n pamant
Din eoamele lor.
50b. 25 Strunga Ie era
Feri~anl d'e ely Cel eiarean de luna,
I 1. I Foeu Ie era
Cea raza de soare.
! : D'i (sid) eez domnul buny, r. : I
D-in eoamile lor
rrr.l
bunll,
30 Lantullantuie,
Oile-mi porne
Boieriul batrany I
La var~or de munti,
Bin' I-a feri~aty, La bradui marunti,
5 I: Drag Domnul i-a daty : I La stana batrana,
Doi fii mieueeiy, 35 La rugutul verde,
Unde iarba-mi ere~te,
Plini de noroeei. 'N patru sa 'mplete~te.
Frate eel mai mare *Nime n'o plive~te;
La foe imi ~ede, Ba ei mi-o plivese
10 'N fluier imi trage, 40 Noya eerbi de suri
Pe spatl(-adurme. Din noya eosturi;
Frate eel mai mic Noya eiuticele
Din gura-mi graia: Din nOl}a luneele.
- Seoala, frate, seoala: 1'. Domnuluj ~i Doamne!
15 Noya nl(-O fatat (lOe. Paucine~d if)

e) TO A MARRIED COUPLE
PENTRU 0 PERECHE CASATORITA

51. Cu seanduri albe de brady.

Dar in pat ee-i a~t'ernaty?
Colo sus la rasarity, 10 Iarba verde dupa raty.
1'.,
Dar in pat eine-i eulcaty?
Estl(-un mar mare 'nflority Tot eulca Ion Dumnialui
$i dragina Dumniaei.
Cu merel'e de arginty, Vant de var' 0 aburatu,
------ 15 Flori de mar s'o seuturaty,
Cu erengile la pamanty ! Pe ei doi i-o astupaty.
5 Dar su' poala marului Dragina din somn sareal.f1
Estl(-un pat mare 'neheiaty $i din grai a~a graia~:
Cu picioarile de fagy,

1 [Ed.: = Fericean.]

[ 310 ]

Two little white rams
With a fleece (all) curly
Icy-hued as silver (?),
30 (And) with close-set homlets,
Refrain: Hoy, to the Almighty!
50b.
Blissfulness is his,
This kind gentleman,
Refrain
The old noble lord!
You have blessed him rightly:
5 Him the dear Lord's given
Two small (handsome) sons,
(Both) filled with (good) luck.
(Lo,) the elder brother
Sat beside the fire,
10 Played upon (his) pipe,
(Then) drowsed on his back.
(But) the younger one
Spoke and said (to him) :
Wake up, brother, waken,
15 To us has brought forth
e) TO A MARRIED COUPLE
51.
Yonder high, toward the sunrise,
Refrain
There's a large apple tree blooming
(And it's bearing) silver apples,
To the ground its boughs are
(hanging) !
5 But beneath the apple tree
There's a large bed joined together,
With the legs (all made) of beech wood,
59 Alternative reading for this verse: Holding up the earth.
A II e)
That ewe lamb (of ours)
With the fleece (so) curly),
Silvery and icy (?),
She has lambed for us
20 Two tup lambkins white,
With horns small (and) close-set,
Close-set (made) of silver,
Resting on the ground 59
With their (little) horns.
25 (Lo,) their sheepfold was
The ring of the moon,
(And) their fire was
The beam of the sun.
(Round) about their horns
30 They enchained the chain,
Onward set the sheep
To the mountaintops,
To the seedling pines,
To the ancient sheepfold,
35 To the green-hued bramble,
Where the grass is growing,
Braiding itself fourfold.
There is none to pluck it;
Yet they're plucking it,
40 (Are) the nine grey stags
From nine craggy slopes,
(And) nine little does (too)
From nine mountain meadows.
Refrain: To the Lord and Lord God!
With white boards of pine wood
(topped).
But what's spread upon the bed?
10 (Tis) green grass out of the meadow.
But who's lying in the bed?
Lying (there are) John, his lordship,
And her ladyship, Dragina ( ?).
(Lo,) the summer wind did blow,
15 Apple blossoms it shook down,
(And) the two were covered over.
From her sleep sprang up Dragina
And she spoke and thusly said:
[ 311 ]
 B I a)
- Scoala-te, nu durmi, Ioane, Pe noi doi nll-O astupaty.
20 Ca ne ninge !?i ne ploaie! r. (Mel. 99a.) I ani-j dunca negru-j
Iaon din somn imi saria~ voda,
$i din grai a!?a graiar~: I ara-i dunca carul
- Or e!?ti proasta ori ce faci, voda!
Or e!?ti cleana fara sama! r. (Mel. 99b.) I: Darul Doamne
25 Nu ne ploaie, nu ne ninge: carel voda! : I
Vant de var' 0 aburaty, (99a. J adani ¢)
Flori de mar s'o scuturaty, (99b. Murani ¢)

B. SECULAR TEXTS WITH RELIGIOUS ALLUSIONS

TEXTE SECULARE CU ALUZII RELIGIOASE

I. TEXTS ABOUT THE COLINDA CUSTOM IN GENERAL

TEXTE DESPRE OBICEIUL COLINDEI IN GENERAL

a) ARRIVAL OF THE COLINDA SINGERS

SOSIREA COLINDATORILOR

52. [Cf. 58.] 53a. [Cf. 41.]

rr.-I
I: Fa-t'e vesel, gazda buna,
fTIl
r. : I bun',
1'.,
Noi umblam sa colindamy,
Dar pe gazda nu-l aflamy,
TTl rrr.l
I: Ca vin !?i junii buni : I buni, Nu-l aflam, ca nu-i acasa,

rrllll.l
I: Junij buni col'indatori : I -tori.
Ca-i in codru dll-a vana.
S Dupa el cinll-om mana?
Om mana pe fica gazdii,
Pintre cine-!?i vine?
dan~ii Sa-l aduca tot mai sus,
5 Vine-~iDomnul Dumnezel}. Tot mai sus pe langa luna,
Dara darul ce-~i d-aduce? Cl}-O mana tinand de luna,
'N mana dreapta carte dalba 10 Cu alta 'mpletind cununa.
$i 'n cea stanga crucll-aduce. Dar cununa cui om da?
Crucea-Q da batranilor $i-om da-o la fica gazdij,
10 $i cartea preotilor. Sa-i fie de cununie,
Tatei-sal} de veselie,
Sanatatll-a tuturor,
* 15 La maica de bucurie.
r. Flori dalbe de mar!
Sana tate 'n asta casa, (37a. Sanmiclau!?ul mare ¢)
Asta-i casa veseloasa,
'Mprejur casa bogatoasa.
r. Domnului Doamne!
(61k. Idicel ¢)

[ 312 ]

Wake up, John, (and) sleep no longer,
20 For we're being snowed and rained on!
From his sleep John sprang (awakened)
And he thus said (to Dragina):
You are silly or you're shamming,
Else you're artful like none other!
25 We're not snowed on, we're not rained
on;
Summer breezes have been blowing,
Shaking down the apple blossoms,
B I a}
(And) the two of us have covered.
Refrain (Mel. 99a.): Once again it is
black water;
Once again there's much black water/ 60
Retrain (Mel. 99b.): Gitt ot God that
is the water/ 60

B. SECULAR TEXTS WITH RELIGIOUS ALLUSIONS

I. TEXTS ABOUT THE COLINDA CUSTOM IN GENERAL

a) ARRIVAL OF THE COLINDA SINGERS

52.
Good host, let you be rejoiceful,
Refrain
For the good youths, too, are coming,
The good youths, the carolers.
Among them, who's (also) coming?
5 Coming's the Almighty Lord.
But what is the gift He's bringing?
In His right hand a white letter, 61
In His left the cross He's bringing.
To the old he gives the cross,
10 And the letter to the priests.
*
A good health to everyone,
A good health unto this house (too),
(For) this is a house (that's) gladsome,
Round about a wealthy household.
Refrain: To the Almighty!
53a.
Retrain
We are going caroling,
But we do not find the host,
Find him not, for he's not home (now),
Since he's hunting in the woods.
5 Whom shall we send after him?
We shall send the host's (own)
daughter,
For to bring him higher yet,
Ever higher, the moon skirting,
To the moon with one hand clinging,
10 A wreath braiding with the other.
But whom shall we give the wreath?
To the host's daughter we'll give it,
That it might be for her wedding,
To her father's (great) rejoicing,
15 To her mother's happy pleasure.
Retrain: Apple blossoms white!

eo The original refrain is a jingle with only occasional words that have meaning in Rumanian.
It might be noted however that "oda, aside from meaning "water" in many Slavic languages,
is also the title given to the ancient Rumanian princes. Negru Voda (Radu Negru Basarab)
supposedly founded Wallachia in the Fourteenth Century.
81 Carle means both letter and book in Rumanian, the former being archaic (and probably
intended here).

[ 313 ]

53b.
, - d { corindarie
I.. N'
01d umblam
· Il-a corindare
_
{pormm colindare: I,
r.,
I: Pe la porti de marl boieri : I.
I: Dar boierii nu-s d-acasa : I,
------
I: Ci-s d-in codrii dll-a vana~
5 Dupa ei cinll-om mana?
Mana-om ficuta gazdii,
Sa-i aduca sus pe sus,
Sus pe sus, pe langa luna.
9-15 = 53a. 9-15
r. (Mel. 111d.): Florj dalbe de mar!
r. (Mel. 100e.): ~i-a nos' Doamne
Dumneze1;.t!
r. (Mel. 100i.): ~i-a nos' Domnu-J:
Dumneze1;.t!
(111 d. Igris cf»
(lOOe. Cianad cf»
(100i. Sarafoia if)
53c.
r.,
Sa mergem a corindaJ&
====
Dintr'o casa 'ntr' astalalta.
Nimerim Ia ist domn buny.
1st domn bunu nu-i d-acasa,
5 Ca ii dusu Ia vanaty.
Dupa el cine 0 mere?
Mere-om noi d-amandoi
$i I-om duce sus pa susy,
Sus pa sus, pa langa luna,
10 Cu-o branca 'mpletim cununa.
D~ cununa cui om da?
Fetei gazdii ce mai micii,
Sa-i fie de cununie,
Mumei-sa de veselie.
r. Florile dalbe!
(62y. Socodor if)
53d.
Tat amblam l?i col'indamy,
====
B I a)
r.,
D'intr' 0 curte 'ntr' alta curte,
Nimerim Ia domnul Turt'ii
------
Domnul Turt'ii nu-i acasa,
------
5 Ca-i in codru la vanare.
------
Dupa el cinll-om mana?
Nil-om alege doi din noi,
: I.
Cari om fi cu cioarici noi,
L-om aduce sus pe sus,
10 Cu-o mana tinand de luna,
C~ una 'mpietind cununa.
$i cununa cui om da?
Ca om da la fica gazdii,
Ca bine nll-a d-ominit,
15 Cu daruri ne a cinstit.
r. Careaj eareaj!
. (35. Albae if)
53e.
r.,
I: Colinda-om, colindare : I,
====
Nou ~til} gazda lasa-nll-o
Mai cu sarna gazdoaia,
Ca ii dusa sotia.
5 Nu-i dus in codri-a vana
*Ca-i dus la Galitia,
Manc~-o focu ~i para !
r. Florile dalbe!
(62d. Toplita if)
53f.
1I.j~1
I: Noi umblam sa colindam : I -damy,
r.,
fLl fll.l
I: $i pa Dumnezel} cal}tam : I -tamy,
$i-I cal}taram ~i-I d-aflaram:
- Buna sara domni ai mari!
5 - Multam voi ceia mai mario
1'. Maruluj, ma1'uluj Doamn'!
(98. Sarafola if)
[ 314 ]

53b.
{ We are going caroling,
We set out a-caroling,
Refrain
At the gates of the great lords,
But the lords are not at home (now),
Since they're hunting in the forest.
5 Whom shall we send after them?
We shall send the host's own daughter
To bring them up (there) on high,
Ever higher, the moon skirting.
9-15 = 9-15 of 53a.
Refrain (Mel. 111 d.): Apple blossoms
white!
Refrain (Mel. 100 e.): And to Our Lord
Almighty!
Refrain (Mel. 100 i.): A nd Our Lord is
the Almighty!
53c.
Refrain
Let us go a-caroling
From one house unto another.
We arrive at this good master's:
This good master's not at home (now),
5 But he has gone off a-hunting.
After him who shall be going?
We shall go the two of us,
And we'll carry him aloft,
Up aloft, the moon encircling,
10 With one hand a garland wreathing.
But whom shall we give the wreath?
To the master's youngest daughter,
So she'll have it for her wedding,
To the comfort of her mother.
Refrain: Lo, the white flowers!
53d.
We keep caroling (around)
62 Curte means both courtyard and mansion in Rumanian.
63 In the transcription Turtii is capitalized as though it were a name, whlCh would make
this verse read; We arrive' at Mr. Turtii's. Such a name, however, is highly imp~~bable; wher~as
turtii (recte; turtei) is the genitive of turta, which is a flat baked pastry, tradltlonal at Chnst-
mastide in Rumania.
64 This refrain seems meant to imitate the sound of a bow scrapmg on a flddlestnng.
B I a)
Refrain
From one courtyard to another, 62
(And) come to the pancake master's 63
He's not home, the pancake master,
5 For he's hunting in the forest.
Whom shall we send aftre him?
We'll choose two among ourselves,
Who'll have breeches (that are) new;
We shall carry him on high,
10 To the moon with one hand clinging
(And) with one a garland twining.
And whom shall we give the wreath?
We shall give it the host's daughter,
For she's feasted us (full) well
15 And with gifts begifted us.
Refrain: Scrape the fiddle! 64
53e.
Refrain
We shall carol, we shall carol;
I doubt if the host will let us,
Still more so the host's (good) wife,
For her husband is away.
5 He's not hunting in the woods,
But gone to Galicia, .
May the fire and flame consume It!
Refrain: Lo, the white blossoms!
53f.
We are going caroling
Refrain
And the Lord Almighty seek;
And we sought Him and we found
Him:
A good evening, you great lords!
5 Thank you, you (who're) greater still.
Refrain: To the apple tree, oh Lord!
.
. . .
[ 315 ]
 B I a)
53~. Le1'ui Doamne!
1'.
(54. Tr·"aia!1 if)
I I. I lill
I: Noi umbUim!1i colindamy, 1'. :1 -dam
55a.
fT.I
I: Dintr'o curt'e 'ntr' alta curt'e : 1
Hoi scoala-t'e, hoi l}om buny,
$i vezi sfinti a lui Craciuny,
fill
curt',
1'.,

Tat cantand !1i corindandy,

Pa Dumiiezel} laudandy.
1:
fTlllil
Nimerim acest domn buny : 1 bun.
5 Daca, gazda, nu iii crezi,
'Cest domn bun ca nu-i acasa, Pleac' afara 1}i iie vezi,
5 Ca-i la munte la vaniL
Ca santem cu haine verzi,
$i ne ploaie !1i ne ninge
I I. I f1T.I $i ne bate vreme re
I: Dupa el cin~-om mana~ : I mana? 10 Su' stre!1ina d-altuie.
Fir~-ai, Doamne iertator:
7-15 = 53d. 7-15
1'.FloriI' e-s dalbe! Niji 1 ne ploaie, niji 1 ne ninge,
(62b. Albac if) Numa ce s'o pogorit
Un palca!1 de porumba!}
15 Cu gUisut de feciora!1.
53h. Jos la mare s'o lasat,

I: Noi umblam d-a corindarie,

fT.l
I.1'. : 1
Cu t'etrile 2 0 d-arat,
Cu mare 0 'ngardinat.
r. 0 H1'istos £j Domn!
fIT.l
2.1'., (73n. Cabe!1ti if)

I: Pe la porti de mart boieri : 1

------ 55b.
Ia fie-ti aminte, gazda,
Domnuluj, Domnuluj Doamfle!
I.1'. =====
Domnuluj Doamne!
2.1'. D~-aprinde lumina 'n masa,
(62jj. Var. Igri!1 4» ------
Ca-ti vin junii lui Craciuny,
54. ------
Tot cantand !?i colindandy
I: Dimineata di Craciuny, 1'. : I, ------
5 $i pe Domnu laudandy.
PreumbUi-sa domnul bun, Ia ie1}i, maica, de ma vezi,
Cand in josu, cand in sus, Ca-s mai toti in haine verzi.
Cand in sus pa rasarit, (102m. Bistra if)
5 Cand in jos pa scapatat
Ved~-o ceata negureata.
Ba nu-i ceata negureata: 56.
Domnul Sfant vine la noi, I: Dormi tu, domn bun, sal} nu
Intra 'n casa, pusa masa. dormi : I?

1 = nici.
2 = pietrile.

[ 316 ]

53~.
Caroling we go about,
RelYain
From one mansion to another,
To this good master's we come:
This good master's not at home (now),
5 For he's hunting in the hills.
Whom shall we send after him?
7-15 = 7-15 of S3d.
Relyain: White aye the blossoms!
53h.
Caroling we go about
ISt RelYain
2nd RelYain
To the gates of the great lords.
ISt RelYain: To the Loyd, to the
Almighty!
2nd RelYain: To the Almighty!
54.
On the mom of Christmas (Day)
RelYain
The good master strolls about,
Sometimes down (and) sometimes up,
Sometimes toward sunrise, up,
5 Sometimes toward sunset, down:
(Lo,) he sees a misty dimness.
Nay, it's not a misty dimness:
To us comes the Holy Lord,
Comes indoors, set is the table. 65
Relyain: LOYd, cayoll
Ii Alternative reading for this verse: Came indoors (and) set the table.
[ 317 ]
B I a)
55a.
Hoy, awakenl Hoy, good man,
And the saints of Christmas see
RelYain
Singing and a-caroling,
(And) the Lord Almighty praising.
5 If you don't believe us, host,
Come outside and look at us,
For we're wearing garments green,
And we're rained upon and snowed on,
And bad weather buffets us
10 Underneath another's eaves.
Lord, be merciful (to us),
We're not rained upon nor snowed on,
It is but that there came down
A small white-hued pigeon squab (?)
15 With the voice of a young lad.
By the sea it's settled down,
It went plowing (?) with the stones,
(And) the sea it walled about (?).
RelYain: Oh ChYist is the LOYd!
55b.
Host (of ours), let you be heedful,
Light the candle on the table,
For the lads of Christmas come
Singing and a-caroling,
5 Giving praise unto the Lord.
Come out, mother, look at me,
Most of us are in green clothes.
56.
Do you sleep, good sir, or not?

".,
I: Da de dormi, domn bun, te
scoala : I,
De, domn bun, te vesel~ti,
C'un domn bun s'a veselit,
5 Dela lad n~-a m~ntuit.
Maica Sf~ntii pentru fi\l-
M~ndru 'n lum~-a luminat
$i ton muntii i-a jucat. . Serisa-i luna ~i lumina,
La munn verzi is ierbi intregI,
10 La izvoare-s ape reei.
Da ne slobozi, gazda, 'n casa,
Sa 1:1-0 zicem dela masa
Mal m~ndra !Ii mal frumoasa,
Cum 0 lasat Dumneze\l-
15 Colindele junilor,
lertiiciuni ba.tr~nilor.
". ~j-a nost' Domnu-j Dumneze'lf!
(73x. Bistra if)
57.
la-mi scoala-t'e, domnul bunu,
".,
ca tie ti-o rasarity
M~ndrut galbin luceafaru.
------
D'e nu crezi, ia mi d'e-l vezi:
------
5 Susu-i, sus a mIijaza zi-l'e,
Ca sa 'nsuci de merel}
------
In chipu lui Dumnezel};
Ca sa 'ntoarse de frumos
In chipu lui Hiristos.
10 Toatii lumea-Q luminat
$i toti muntii i-a jucat,
Ca mIijeii mioarilor,
Ca berbecii oil~r.
". Domnuluj Doamnel
(58b. Fene!l if)
58a. [Cf. 52.]
Sculan, sculati, boieri mari,
".,D'e va seulan fetile!}l,
Sa a~tearna mesile, ====
1 = fi.
I = vita vinului.
[ 318 ]
B I a)
Sa mature curtile,
5 Sa umpla paharile
Ca va vin colindatori
Noaptea pi la e~tatori.
$i printr' in~i eine-~i vine?
Vine-~i bunul Dumnezel}
10 Cl}-on vazm~tu mohorlt,
Lungu-i, lung p~na 'n pam~nt.
Dar in spate !Ii in piept
Soarile ~i razile;
15 lar' in eei doi umerei
Seri~i is doi lueeferei;
La 'mprejurul poalilor
Serise-s stele maruntele,
Mai in sus mal marieele.
". L'e" Domftjale!
(55. Urisiu de sus if)
58b.
Seoala, gazda, nu durmire,
Ca nu-i vreme d-adurmity
------
[Ca-i vreme d'~-a podobity
Cu podoabile d'~-arginty,
------
5 Ca vin junii lui Craeiuny,
Yin eu Domnu Dumnezel}a.]
------
Fa~a ~i-a lui mit'it'el~,
Fa!/a-i dalba d'e matasli,
Cl}-O m~neea de bumbae,
====
10 Tat eu pene l~-a gatat:
Una-i luna soarelui,
Una-i boarea v~ntului,
Una-i spica gr~ului,
Una-i floarea e~mpului.
*
15 Ciucuri verde de matasa;-
Sa si 1, gazda, sanatoasa
La '~ara ea primavara
Ca ~i toamna d:-i bogatii,
Ca ~i gita ginului 2
20 $i ea spieu grnului.
Darii gazda sa traiasca
$i eu dalbii jup~neasa!
(45i. Moi~a if)

Refrain
If you sleep, good sir, awaken,
That, good sir, you might be cheered,
For one good Lord was rejoiced:
5 He delivered us from hell.
For her Son, the Holy Mother
Beauteously the world has lit,
All the mountains danced for her.
On green hills there are whole fields,
10 There's cold water at the springs.
Host, into the house allow us,
We'll sing for you at the table
Better yet, more beautifully,
As the Lord Almighty ruled:
15 For the young the caroling,
Absolution for the old.
Refrain: Our Lord is also God!
57.
Come along, good sir, awaken,
Refrain
For there's risen unto you
A fine yellow evening star.
If you don't believe, come see:
5 It's up (yonder) high, at midday, 66
Turning all the while about, 67
In the likeness of the Lord;
Handsomely turning about,
In the (painted) form of Christ.
10 The whole world it has lit up
It set dancing all the hills,
Like the lambkins of the ewes,
Like the tup lambs of the sheep.
Refrain: To the Almighty!
58a.
Wake up, wake up, you great lords,
Refrain
That you might wake up your
daughters,
That the tables they might set,
88 That is, Toward the south.
8? Carolers in Rumania carry a large decorated paper star, lit from within and set on a staff.
B I a)
That the mansion they might sweep,
5 That the glasses they might fill,
For the carolers arrive
About cockcrow in the night.
And among them, who is coming?
The good Lord is coming (too),
10 In a darkling vestment garbed,
That is long down to the ground.
On its back and on its breast
Pictured are the moon and moonlight
(And) the sun with (all its) beams;
15 And upon its shoulders two
There are pictured two bright stars;
Round about the skirts (thereof)
There are pictured little starlets,
Higher up (some) rather larger.
Refrain: Lord, let's carol!
58b.
Waken, host, do not be sleeping,
For it is no time for sleeping,
For 'tis time to be adorning
With adornments (made) of silver,
5 For the Christmas lads are coming,
With the good Lord they are coming.
Little are His swaddling clothes,
Of white silk is (made) His swaddle,
With a sleeve of cotton (made),
10 (And) with posies 'tis bedecked:
One (of them) is the sun's moon,
One's the wafting of the wind;
One (of them) is ear of wheat,
One's the flower of the field.
*
15 (See,) a tassel of green silk (made):
Host, may you in good health flourish,
In the summer as in springtime,
And as wealthy as the autumn;
Like unto the grapevine (too),
20 Like the ear of wheat as well.
May the host in good health flourish,
With his lady fair together!
[ 319 ]

5Se.
I: Sculati, sculati, boieri maqy,
I: Sculati vol, Romani plugariY : I,
Ca va Yin colindatori
Noptea pi la cantatoq
5 $i v'aduc pe Dumnezev,
Dumnezey cu fiu sav;
Cant' pe lunca turturele,
La fereasta randunele
Si-on porumb frumos cu ele.
10 Florea dalM v'o adus
$i la capat ii s'a pus.
r. Floril'e dalbe!
(62bb. Curtecap r/l)
5Sd.
I 1.
I: Sculati. sculati, boieq maqy, r. : 1
fTIl
maq,
fLI
I: Sculati vol, Ramani plugaqy : 1
fTIl
-gari,
Ca va vin colindatoriy
Noaptea pi la cantatoqy
5 $i v'aduc un Dumnezau,
Sa va mantue d'e rau:
Un Dumnezey n\:-a nascut-y,
'N £lori de crina n~-o 'nvascutu.
9-10 = 1-2
ca spre ceq s'au arataty
Un luceafar d'imparaty.
Cantil. 'n lunca turturele,
La fereastll. randunele.
15 $i-on porumb frumos leity
D'ispre apa s'av vinitu,
Floare dalM !1i-aV adusu
$i la capatai v'ay pusy
$i va zice sa traitiy
20 Intru multi ani fericitiu,
$i ca pomi sa infloritiY,
lar' ca ie sa 'mMtrinitiY.
1 = cautat.
2 = merge.
3 = cautam.
B I a)
r. Fiorile 'n dalba!
(611. Lechincioara r/l)
r. : I,
59a.
r.,
Sculati, boieq, nu duriliti,
D'e durniti, inca sculati,
Ca nici junii n'or durility
------
D~-asara, d~-alaltll. sara,
5 Mai vartos d'~-aceastll. sara.
D-in sara d'Ajunului
Spre ziva Craciunului
Or umblat d'~-or colindat
$i pre Domnu I-or cotat,l
10 L-or cotat !1i I-or a£lat
I Sus in curtea lui Craciun
Pa on cal ii dalb d'e £lori
Nu !1tiV calu-i dalb de £lori
O-i alb, domnu, d'e-a sudoq.
15 Calu meie, maestrand,
Domnu meie royorand
Cu roya d'e primavara.
Cati cu rova ajungea,
Pa cei mici maq i-facea,
20 $i tanari sa veseleav.
r. Florile-s dalbe!
(62z. Fene!1 if)
59b.
Sculati, sculati, mari boieqy!
r.,
Jar sculati d'e nu durmitiy
Ca nice noi nu durmimy,
Tat umblam !1i colindamy,
5 Dupa Domnu nost' cotll.my.3
------
$i-l.cotaram !1i-l d-a£laram
------
D-in iesclel'e boilory
D-in £loril'e fanuluiy.
Var. (Mel. 83b.):
1-4 = Sculati, sculati, maq boieriy!
[ 320 ]

58e.
Rise up, rise up, you great lords,
Refrain
Rise up, you Rumanian plowmen,
Carolers come unto you,
About cockcrow in the night,
S And they bring the Lord to you,
The Almighty with His Son.
Turtledoves sing in the meadow,
Swallows (sing) about the window,
And a handsome pigeon with them;
10 They have brought you the white
flower
And have set it by (your) head.
Refrain: Lo, the white blossoms!
58d.
Wake up, wake up, you great lords,
Refrain
Wake up, you Rumanian plowmen,
For to you come carolers,
About cockcrow in the night,
S And they bring the Lord to you,
To deliver you from ill.
(Lo,) a God is born to us,
He is clad in lily flowers.
9-10 = 1-2
For upon the sky there's dawned
Evening star of emperor.
Turtledoves sing in the meadow,
Swallows (sing) about the window;
15 And a finely feathered pigeon
From the water has arrived,
A white flower it has brought
And has set it by your head,
A long life it wishes you,
20 Many happy years (to you);
May you blossom like the trees,
And like them may you grow old.
88 Alternative reading for this verse: He made grow those who were young.
[ 321 ]
B I a)
Refrain: White are the flowers!
59a.
Refrain
Wake up, lords, (and) do not sleep,
If you sleep, let you get up,
For the lads have not slept either
Since last night, since yesterevening,
5 Even less this very evening.
Since the evening of the Eve,
Until Chirstmas Day arrived,
They've been going caroling
And a-looking for the Lord.
10 They have sought Him, found Him too
At the court of Christmas, high,
On a horse that's white with blooms.
Is't the horse that's white with blooms
Or the Lord Who's white with sweat?
15 The steed's going masterly,
The Lord's going dewily,
(He is shedding) dew of springtime.
All whom with the dew He touched:
He made great those who were small,68
20 And the youngsters were rejoiced.
Refrain: White are the blossoms!
59b.
Waken, waken, you great lords I
Refrain
Get up so as not to sleep,
Because we're not sleeping either,
Caroling we go about;
5 We are seeking Our Lord.
We have sought Him and we've found
Him
In the manger of the oxen,
Mid the flowers of the hay.
Variant (Mel. 83 b.):
1-4 = Waken, waken, you great lords
 B I a)
'Y., mar mandru 'nflority.
Est~-un
at nijp noi n'am adurmity Di su' poala marului
Est~-un pat mandru 'ncheiat;
D-in sara Ajunuluiy 5 Da d-in pat cine-i culcat?
Pana 'nt' a Craciunuluiy. Ii culcat boier batran.
-Scoala, boier, nu dormi,
Va'Yiant (Mel. 102a.): Ca nu-i vreme de dormit,
Sculati. sculati. mari boieriy! Ci-i vreme de pomenit.
'Y.,
Iar sculati d'e nu durmitiy, 'Y. Ai Domnuluj iaj Domno!
(118b. Sarafola ¢)
Iar sculati d'e nu durmitiy,
Ca nice noi nu durmimy,
60b.
5 Tat umblam 1?i colindamy, I: Scoala, gazda, nu durmire : I,
Dupa Domnu nost' commy Ca nu-i vrieme de durmit, -

I: Dupa Domnu nost' cotamy : I. Ci vriemea-i de veselit~,

'Y. (62h.) Domnuluj Doamne! Ca Craciunu 0 vinit,
'Y. (83b.) Rajuluj celluminosy! 5 Cu bine, cu sanatat'e
'Y. (102a.) Doamne ioj Domnului Dumnezel} va faca part' e
Doamne! ~i nOl}a de sanatat'e.
(62h., 102a. Gradi1?te ¢) Sa fi, gazda, sanatoasa
(83b. Paucine~d ¢) ~i t' e scoala bucuros
10 Cl}-un colac de gral} frumos~
~i de ~tire lui Hristos.
59c. (94a. Denta ¢)
Scoala, gazda, nu durmi, (94b. Denta </»
'Y.,

Cil. il.ici nOl n'am durmit 60c.

Ler Doamne, Sfanta Marie;
D'-in sara Ajunului 'Y.,

Pana 'ntr' a Craciunului. Scoala, gazda, nu durmi~,

Ca nu-i vreme de durmity,
5 ~i scoala ~i fet'ile, Da-i vreme de veselity,
5 Veselitu lui Craciuny.
Sa mature curtile. Sa sa scoale slujnicile,
Sa mature batcutele (sic!)
'Y. Hoi le'Yu Ze'Yu- mi Doamn'! Cu matura de matasa.
(53. Traia~ ¢)
*
Ramai, gazda, sanatoasa
60a. 10 Cu dalba corinda noasta!
rrl [TIl 'Y. Domni Doamn'!
I: Colo sus la rasarit, 'Y. : 1-rity (81j. Lele9d ¢)

1 = nici.

[ 322 ]

Refrain
Because we, too, haven't slept
From the evening of the Eve
Until that of Christmas Day.
Variant (Mel. 102a.) :
Waken, waken, you great lords!
Refrain
And get up, don't stay asleep,
And get up, don't stay asleep,
For we aren't sleeping either,
5 We keep going, caroling,
We seek after Our Lord,
We seek after Our Lord.
Refrain (62h.): To the Almighty!
Refrain (83b.): To the lightsome heaven
fair!
Refrain (102a.): To the Lord, to the
Almighty!
59c.
Host, awaken, do not sleep,
Refrain
Because we too have not slept
From the evening of the Eve
Until that of Christmas Day.
And wake up the lasses too,
That the mansion they might sweep.
Refrain: Hoy, we carol, Lord Almighty!
60a.
Yonder high, toward the sunrise,
Refrain
B I a)
A fair apple tree is blooming.
But beneath the apple tree
There's a bed handsomely joined.
5 But who's lying in the bed?
An old lord is lying (there).
Come awake, lord, do not sleep,
For this is no time for sleep,
But a time to be awake. 69
Refrain: Hoy, for the Almighty Lord!
60b.
Wake up, host (and) do not sleep,
For it is no time for sleep,
But the time is for rejoicing
Because Christmas has arrived.
5 With (good) health (and) with well-
being
May the Lord Almighty bless you,
Upon us (good) health (bestowing).
Host, a goodly health we wish you,
And may you get up rejoiced
10 With a handsome wheaten cake
And beknown to (Jesus) Christ.
60c.
Lord, (we're) caroling Saint Mary:
Refrain
Wake up, host, do not be sleeping,
For it's not the time for sleeping,
But the time for merrymaking,
5 (Time) for Christmas merrymaking.
Let the servant maids awaken,
Let them sweep away the hillocks,
(Sweep them) with a silken besom.

*
Farewell, host, good health we wish
you
10 With this white carol of ours!
Refrain: Oh Lord God!

69 It should be noted that the verb a pomeni, which, in the reflexive form a 5e pomeni,
commonly connotes "to be awakened" in Transylvania, likewise means "to recall to mind."
In the latter sense it is used to connote religious services in remembrance of the dead. Hence,
too, pomanii: a common noun meaning alms in general (from the alms given in memory of one
dead). This verse, therefore, may read alternatively: But time for remembering, and even:
But a time for giving alms.

[ 323 ]
 B I a)
60d. 62.
I: Scoala, gazda. nu durmire, Y. : I fTl fIT.1
I: SUS in poarta raiuluiy : I -lui,
I: Ca nu-i vreme d'i durmitlJ : I
fTl fll.1
I: La fantana soareluiy : I -lui
Ci-i vreme d'i 'mpodobity.
Scoala, gazda, fetile, [Multe hori sa befeche, 2
5 Sa-ti mature cuqile Multe sfaturi trebue],3
Cu coltu catrintelor
5 Ca sfaturi injghebure~ti.
Y.Domnuluj Doamne! Sculati. suflete, din pat,
(62gg. Manarau r/» Ca faceti mare pacat,
C'azi-i zi de Duminedi
~i de miers la biserica,
60e.
10 S'auzim dieci cantand
I: Scoala, scoala, gazda buna : I, !;ii popazuri befechand.
!;ii scoala ~i slujnitile, (121b. var. Bala r/»
Sa-ti mature cuqile
Cu potcoava cizmilor,
5 Cu varvu cositilor; 63a.
Da gunoiu sus it ieie I: !;ii ne lasa, gazda, 'n casa : I ,
tn pola de sugna vierde. r.,
Da gunoi unde sa-l tape?
Unde joaca tanarii I: Ca d'e-asara-s tat afara : I
10 !;ii-ti dal} sfatu blitranii.
Y. Leruj Doamn'! [~i n~-o blitut vanturil'e]
(107d. Mice~ti if) I: ~i n~-opicat picuril'e : I

5 D'e pe tat'e damburile.

61. Scoala-~i, gazda, slujnicile,
I: Sculati. sculati, boieTi maqy : I ~i 4 ~i-aprinde luminile
'N tate patru comurile.
I: Sculati voi, Romani plugaTiy : I De nu crezi tu, ie~i ~i vezi:
10 Fiu sfantu s'o nascut
Ca pe cer s'o aratat tn ieslile boilor
On luceafar de 'mparat, ~i 'n florile fanului.
5 !;ii va zice sa traiti, Fiu sfantu s'o-aratat
La multi ai 1 sa fericiti, Cum ii prun;u sobola~ (sic!)
!;ii ca pomni sa infloriti 15 De-i mai drag la parinta~.
!;ii ca ei sa 'mblitraniti. Fiu sfantu s'Q-aratat,
r. Floril'e dalbel Cum Ii fecior holtie~
(62bb. Curtecap r/» De strabate mustacioare

1 = ani.
a = flecaresc.
3 = La fon.:

I: Multe sfaturi sa
fI.llll.l
face~ : I -face,
. fLl]IL1
I: Multe horbe trebuiere : I -ie
4 = sa. .. - ..
[ 324 ]

60d.
Waken, host, do not be sleeping,
Refrain
For this is no time for sleeping,
But it's time to be adorning.
Waken up the lasses, host,
5 Let them sweep your mansion out
With the comer of their skirts.
Refrain: For the Almighty!
60e.
Wake up, goodly host, awaken,
And arouse the servant lasses,
Let them sweep your mansion out
With their top boots' iron tips,
5 With the tail ends of their braids;
But let them take up the sweepings
In the lap of their green dresses.
But where shall they throw the
sweepings?
Where the youngsters (go to) dance,
10 And the oldsters counsel you.
Refrain: Carol, Lord!
61.
Get up, get up, you great lords,
Get up, you Rumanian plowmen,
For upon the sky there's dawned
An emperor's evening star,
5 And it bids you for to live
Many years in happiness;
May you flower like the trees,
And may you grow old like them.
Refrain: Lo, the white blossoms!
B I a)
62.
Up above, at heaven's gate,
At the wellspring of the sun,
Many words were being said,
There's need of much counseling, 70
5 Because counsels you set up (?).
Souls, rise up out of (your) bed,
For you act most sinfully;
For today it is a Sunday,
And to church one should be going
10 For to hear the deacons chant
And the priest a-clamoring. 71
63a.
Host, inside the house allow us,
Refrain
We've been out since yesterevening,
And the winds have blown upon us
And the drops have dropped upon us,
5 Upon every little hillock.
Host, arouse your servant lasses,
So that they might light the candles
In each one of the four corners.
If you don't believe, come see:
10 (Lo,) the Holy Son was born
In the manger of the beeves
And the blossoms of the hay.
Holy Son has shown Himself
Like the small babe of a rat, 72
15 As a father loves it most;
Holy Son has shown Himself
Like unto a youth unwed,
When the whiskers start a-sprouting,

70 Concerning this and the immediately preceding verse, the author's manuscript footnote
states that the recording gives another version: Many councils were convened, I There was
need for many words.
71 As transcribed in the original, this verse is meaningless and obviously garbled. To make
any sense at all, it should read: ~j popa lIul'be fitcdnd.
71 This odd simile is reproduced literally from the original text. It will be found in other
pieces of this collection of carols, likewise describing the infant Jesus.

[ 325 ]
 B I b)
De-i mai dragost la fecioare. Un Dumnezel} nOl} nascut.
20 Hal maica. maicuta me! In scutice 'nfa~iat.
1'. C01'ind'e-mi Doamn'/
(73k. Bulz if) Variant (Mel. 73j.):
1 = I :Ciucuri verd'e d'e matasa : I.
1'••
63b.
Variant (Mel. 119.):
~i ne lasa. gazda. 'n casa, 1-2 = Ciucuri verde de matasa. 1'••
1'••
Slobozi-ne. gazda. 'n casa, 1'.,
ca d·~-asara-s tot p~-afara
1'. (62dd.) Domnuluj Doamne/
1'. (62dd. var.) 10j Domnuluj Doamftel
~i ne pica picurile 1'. (73j.) Carinde mi-~j Doamnel
1'. (119.) Sj-a nost1'u-j Domnuluj
Dupa tat'e stre~inile.
Doamnel
(62dd. Seceani t/»
5 Da nu crezi. vino ~i 1 veziii. (62dd. var. Denta if)
----- (73j. Igri~ t/»
Ca sant'em cu haiDe verzi. (119. Sarafola t/»
1'. Daj c01'ind'e/
(59d. Gro~i if)
64b.
64a. I: Ciucuri vierd'e de (sic I) matasa : 1;-
1'.•
I: Ciucuri verd'e d'e matasa. 1'. : I
[Slobozi-ne. gazda. 'n casa).
I: Slobozi-ne. gazd·. in casa : I. I: ca d-asara tat p'afara : I,
------
C'afara ploaie ~i varsa. 4-8 = 64a. 3-7
~i nu va Yin nici cl}-un ral}. 1'. Carind·e-mi-~j. Doamne, carind's!
5 Ci v'aduc pe Dumnezel/-, (73r. Cianad t/»

b) CONGRATULATIONS
FELICITARI

65a. Cu Hristos. cu fiul say;

A doilea com de masa
I: SUS in poarta raiuluiy : I, 10 ~ede Iaon. Sanijaon;
1'.,
A triilea com de masa
La grad'ina Domnului ~ede Patru Sfant, San Patru
A patrulea com de masa
I: Est~-o masa dalbii 'ntinsa : I. ~ede ~i jupanu gazda
Panga masa-s giulgiuri dese. 15 Cu dalba de jupaneasa
Cl}-on pahar galbiin de dar.
5 Dar la masa cine ~ede ? Tat inchina ~i deschina
A d-intaia com de masa ~i din mana nu-l imi schimba.
~ede bunul Dumnezey C'asta-i dar dela nana~:

1 = sa.
I = sa.
[ 326 ]

As is most beloved by maidens:
20 Come on, mother, mother mine I
Refrain: My carol. Lord!
63b.
Host, inside the house allow us,
Refrain
(We've been) out since yesterevening,
And the drops are dropping on us
From the eaves of every house roof.
5 If you don't believe, come see (us),
For we're (dressed) in garments green.
Refratn: Sing the carols/
64a.
Silken tassels (that are) green-hued:
Refrain
In (your) house, host, let us enter,
For outside the rain is pouring;
For I bring no evil in,
5 But I'm bringing you the Lord,
b) CONGRATULATIONS
65a.
Up on high, at heaven's gate,
Refrain
In the garden of the Lord,
There is spread a (fair) white table,
Close-set sheets are round the table.
5 But who's sitting at the table?
At the foremost table corner
Sits the good Almighty Lord
[ 327 ]
B I b)
(Bringing you) a new-born Lord,
Swaddled up in swaddling clothes.
Variant (Mel. 73j.):
1 = Silken tassels (that are) green-
hued:
Refrain
Variant (Mel. 119.):
1-2 = Silken tassels (that are) green-
hued:
In (your) house, host, let us
enter,
Refrain
Refrain (Mel. 62 dd.): To the Almighty!
Refrain (Mel. 62 dd. var.): Hoy, to the
Almighty!
Refrain (Mel. 73 j.): I am caroling,
Lord!
Refrain (Mel. 119.): Ours too is the
Almighty's!
64b.
Green-hued tassels (that are) silken:
In the house, host, let us enter,
We've been out since yesterevening,
4-8 = 3-7 of 64a.
Refrain: I would carol, Lord, I would
carol!
With His Son, with (Jesus) Christ.
At the second table corner
10 John, Saint John is sitting (down);
At the third of the board's corners
Sits Peter the saint, Saint Peter;
At the fourth of the board's corners
Master host is sitting also
15 With his lady fair together,
With a yellow glass as gift.
He keeps pledging and unpledging,
And the while hands never changing.
For this is godfather's gift:

20 De nicun ne-o botezat,
De mare ne-o cununat.
Raza-m soare, d-unde raza?
* Scrisa-i floarea ginului; 4
Raza 'n cruce de fereastii
La jupA.nu gazda 'n casa!
25 Sa-mi §i,l gazda, sanatos
Ca ~i-on rujmalin frumos,
~i gazdoie sanatoasa
Ca ~i-o vioala frumoasa!
1'. Domnuluj, Domnuluj Doamn'!
(73 11. Moi~a </»
65b.
I: SUS in poarta raiuluiy : I,
1'.,
Este-o masa dalba 'n. 2
3-6 = 65a. 6,7,9,10
I: Da 'n triilea coru de masa : I,
Da 'n triilea corn de mas'
9-18 = 65a. 12-21
In gradinii m'am hiigat,
* Dar' pe masa ce era?
20 Poamile vi Ie-am mA.ncat.
Da daca va pare ral},
Prince-ma-ti ~i ma legan,
Cl}-o funie de cA.rnati.
1'. Domnuluj, Domnului, Doamn'J
(73kk. Voiniceni if)
65c.
Cin' i-acasa dupa masa,
1'.,
Dupa masa cine ~ad'
====
~ade bunul Dumnezeu;
D-al doilea cor' de mas'
5 ~ade lsi SfA.ntu SA.nt'etru;3
Al triilea cor' de mas'
~ade lsi jupA.nu gazda,
1 = £ii.
Z = 'nt'insa.
8 = SfAnt Petru.
4 = vinului.
I = spica.
B I b)
Tot inchina cl}-on pahar,
Cl}-on pahar galhiin de-aur.
10 In fundu paharului
Scrisa-i st'ica 5 grA.ului;
In doaga paharului
15 Scrisa-i floarea raiului.
1'. Hoi dai le1'ui Doamn~o!
(70 Niere~teu if)
65d.
IT.I I11.1
I: Coborlt-o Dumnezeu, 1'. : I ~zel}
ILl rrr.l
I: Togma 'n poarta gazdilot! : I -lor.
Pe Dumnezel} 1-0 vazut.
5 Ie-l in brata, du-l in casa,
~i mm-l pune dupa masa.
Pahiirel d'e d-aurel.
Da 'n fundu paharului
10 Scrisa-i raza soarelui;
In toarta paharului;
Scrisli-i luna ~i lumnina.
1'. Floril'e-s dalbe!
(62e. Idicel if)
66.
Sus la 'naltu ceriuluiy,
1'.,
? La luncil'e soarieluiY,
I: La luncile soarieluiy : I
MA.ndrli-i masa de matasa.
5 Da la masa cine ~ed'e?
------
~ede-mi dragul Dumnezel}
[ 328 ]

20 He baptized us as small babes,
As grown.-ups he married us.
*
(There's) a sunbeam: where's the
sunbeam?
Through the middle of the window,
In the host's house (shines) the
sunbeam!
25 Host, a goodly health I wish you,
Handsome as the rosemary;
Good health to the hostess also,
Beauteous as a violet (blossom) !
Refrain: For the Lord, for the Lord God!
65b.
Up above at heaven's gate
Refrain
There is a white table. 73
3--6 = 6, 7, 9, 10 of 65a.
But at the third table comer,
But at table comer third
9-18 = 12-21 of 65a.
*
In (your) garden I have been,
20 I have eaten up your fruit.
But, if you should mind (perchance),
Catch me (now) and tie me up
With a string of sausages.
Refrain: To the Lord Almighty, Lord!
65c.
Who's at home behind the table?
Refrain
Who is sitting at the table?
The good Lord is sitting (there).
At the second table comer
5 'Tis Saint Peter who is sitting;
At the table comer third
It is Master Host who's sitting.
78 The author indicates in a handwritten footnote that this six-syllable verse is intended to
convey that the table is set - 'n standing for 'ntinsa (spread or set).
[ 329 ]
B I b)
He keeps pledging with a glass,
With a golden yellow glass.
10 On the bottom of the glass
Flower of the wine is writ;
On the handle of the glass
Written is the ear of wheat;
On the border of the glass
15 Written is the flower of heaven.
Refrain Hoy, Lord, let us carol!
65d.
The Almighty has come down
Refrain
Right at (our) hosts' own gate.
(Lo,) the host has gone outside,
The Almighty he has seen.
5 Take Him up, (and) indoors bring Him,
And behind the table set Him.
But what stood upon the board?
A small beaker made of gold.
On the bottom of the beaker
10 Pictured is a beam of sunshine;
On the handle of the beaker
Pictured is the moon and moonlight.
66.
In the welkin's highest reaches,
Refrain
At the meadows of the sunshine,
At the meadows of the sunshine,
There is a fine silken table.
5 But who's sitting at the table?
The dear Lord is sitting (there)

Cy-on pahar galban in masa.
Tat inchina !?i suspina;
-Cum, Doamne, n'oi suspina!
10 Azi ii zi na~terea mea;
Est~-on om pagan, sa scoala,
Pe obraz ca nu sa spala,
Mere la birt ~i sa 'mbata,
~i biserica-i zayitata.
15 Am put'erea-l potopi,
Dar mi-i mila de prunci mici,
Ca raman far' de parinti.
Ma rog, Doamne, cy-o rugare,
Omul beat are iertare.
'Y. Domnuluj Doamne!
(62i. Paucine~d if)
67a.
~ed~-un domn bun ~i
'Y.,
~i-~i roaga lui Dumiiezeu.
Roaga-~i astazi, roaga-!?i mane,
Roaga-~i patruzeci de zil'e,
5 Ruga 'n cer s'o rad'icat,
'Prind'l un rug ~i-o lumanare
tn curt' e la cest domn mare.
Dumnezev din grai graia~;
-Pietre, Pietre, oi Sant Pietre!
10 Cobori jos pe lumanare
tn curte la cest domn mare.
Intra 'n casa net'ematy
~ezi pa scaun ne 'mbiaty,
Bea-ti paharul ne 'nchinat.
15 Cand afara vei ie!?i~
Lasa 'n casa sanatat'e
~i in curt'e bog1i.tat'e,
La hold'e spice de gray.
'Y. Doamne daj Domnuluj Doamne!
(46a. Murani if)
67b.
I; Asta-i casa d'omul buny : I,
====
aprinde.
1 =
venit.
2 =
a = vin.
4 = ospiH.
B I b)
rrI rITl
I; Ca s'o pusy d-a cina~ ; I cina,
I; D-a cina~, d-a
II. I fiLl
ruga~ ; I ruga.
Ruga 'n cier s'o radicat.
5 Prand 0 ruga !?i-o lumina
Lunga, groasa, vederoasa.
*
Un colac de gray curat,
Cum Dumnezey 1-0 lasat.
~i fii, gazda, sanatoas'!
(122b. Cianad ¢)
68a.
ciiieaza,
I; Yin i~i doya randuiiel'e : I,
r.,
Totu~i Yin la noi pre cina,
------ =====
Totu~i Yin la noi pre cina.
fT.I
I; -Da noi n'am vin':I sa cinama ; I
------ fll.l
cinam,
5 Am vinit sa-~i povestim
Povestea lui Dumnezey:
Est~-o masa de matasa
~i 'n patru cornuri de masa
Sant patru colaci de gral}
10 ~i patru cupe de gin.3
Da pe cin' a~tepti cu ele?
Da pe bunul Dumnezel),
Sa-ll}aspat4 ~i sa-l petrec
Pan' la poarta raiului.
'Y Domnilor si-a nos' Doamn'!
(73jj. Or~ov~' ¢)
68b.
I; Cel domn bun s'o veselit ; I,
I; Mandra masa ~i-o gatit ; I,
====
Mandra masa de matasa,
Pe margini cu aur trasa.
[ 330 ]

With a yellow glass at table.
He keeps pledging and keeps sighing:
How should I not sigh, oh Lord I
10 Of My birth this is the day.
There's a godless man, he rises,
Doesn't (even) wash his visage,
Goes and gets drunk at the tavern,
And the church is (all) forgotten.
15 I've the might to do him in,
But I've mercy on small babes
That are without parents left.
I beseech, Lord, with a prayer,
(Lo,) the drunkard has forgiveness.
Refrain: To the Almighty!
67a.
A good lord sits down to supper
Refrain
And to God he makes a prayer.
Prays today (and) prays tomorrow,
Forty days he makes his prayer.
5 (Lo,) the prayer rose to heaven,
Lit a pyre and a candle
In the court of this great ruler.
Spoke the Lord Almighty (then):
Peter, Peter, hoy, Saint Peter!
10 Get you down upon the candle
In the court of this great ruler.
Walk unasked into the mansion,
Sit down on a chair unbidden,
Drink your beaker down unpledged.
15 When you shall come out (again),
Leave (good) health inside the
mansion
And (leave) wealth inside the
courtyard,
In the wheat fields ears of wheat.
Refrain: Lord, give to the LOYd
Almighty!
67b.
This (here) is a good man's cottage,
74 In this variant we find the word ruga (prayer), where the word rug (which means both
bramble and a pyre) occurs in the preceding one.
75 In this verse and the immediately following one, TotUfi is erroneously transcribed instead
of Tot t§i.
[ 331 ]
B I b)
For he has sat down to supper,
(Sat) at supper, (set) to praying.
Into heaven rose the prayer,
5 Lit a prayer74 and a candle,
Long (and) thick (and) handsome
looking.
*
Of clean wheat a pastry roll,
As the Lord appointed it,
(And) a good health to you, host I
68a.
(Lo,) there are two swallows coming,
Refrain
They come while we are at supper,75
They come while we are at supper:
But we haven't come to supper,
5 We have come to tell a tale,
(Tell) the tale of Our Lord:
(Lo,) there is a silken table,
And on the four table comers
Are four pastry rolls of wheat
10 And four beakers (full) of wine.
Whom are you awaiting with them?
(I'm awaiting) the good Lord,
To feast Him and go with Him
All the way to heaven's gate.
Refrain: Gentlemen and Our Loydl
68b.
That good gentleman rejoiced,
Beauteous table set himself,
(Set) a beauteous silken table,
Edged with gold about the borders.
 B I c)
5 Da pe masa ce mm sAnt? 10 C'acele pe cin' ~teaptii?
SA.nt t~i, sant faclij arzA.nd, Tat pe Domnul Dumnezey.
SA.nt lsi, sA.nt colaci de gra.y.. Sa-lospite, sa-I petreaca.
Da pA.ntre colaci de gxi.y. (121e. Gherla)
SA.nt t~i, sa.nt cupe de vin.

c) ALLUSIONS TO EXPECTED GIFTS

ALUZII LA DARURILE CUVENITE

69a. 5 ~i-a lui Hristos vistuieri,]

1'., rrllll.l
I: D'e inima ciilduroasa : I -roas' ,
Noi umbliim sa colindamu,

De departe c'am vinity I: Ne baga 'curt'e frumoasa : I

~i mi-i calu ciumpovitu I: 'Mpodobitii cu obroase 1 : I,
~i-ar trebui potcovitu
------
5 Cu potcoave de colac I: Cu icoan' mai luminoase : I.
~i cu cuie de ca.mati: 10 lar ~i iara sa ca.ntiim
~i pa Domnu sa liiydam
Faceij bine ~i ne dati.
r. Domnuluj Doamne! ------
(62x. Sa.nmiclau~ul mare t/) frumos sa ne rugam
~i
Acestora mari ooieri,
Cii frumos cii n~-o cinstit
69b. 15 C1)-on florinij 2 doi d'e d-argint.
I: Ciucuri verd'e de (sic!) matasa, (120. Ciarbal t/)
rnr. :12.fILlr.
I. 71a.
I: Slobozi-ne, gazda, 'n casa : I, I: Colo sus, mai susy : I
La lina fa.n tA.na
I: C' afara ploaie de varsa : I,
------ I: Est' un sca1)n d'od'ina : I.
Cine d-od'inerie?
~i ni-s caii ciompoviti
5 ~i-ar trebui potcoviti
Cu potcoave de colac 5 I: Zey ~i Dumnezeu : I,
~i cu cune de ca.mati: Maica Precestarie
Scoala, gazda, sa ni-i dati! Cy-un fiut in brate
I.r. Domnuluj, Domuluj Doamne! Da fiutul mic
2.1'. Domnuluj. Doamne! De~-a descA.nti:
(62ii. Mana~tiur </» 10 D-looane, d-Ia.oane
Nenea Sa.nt la.oane!
Ce-i colac de gra.y
70. ~i legat de bra.y?
lar ~i iara sa ca.ntiimy Noi sa-l deslegam
~i pa Domnu sa lii1)damu, 15 ~i noi sa-I cinam;
[~i frumos sa ne rugamu Un pahar de vin
Acestora mali boieri La gazda sa 'nchin:

1 = maslirite « abrosz, ung.).

8 = fiorini« forint, ung.).

[ 332 ]

5 But what's standing on the table?
There are, there are burning candles,
There are, there are wheaten cakes;
But among the wheaten cakes
There are, there are cups of wine.
B I c)
10 Whom are (all) those (things) awaiting.
(They await) Almighty God,
For to feast Him, to attend Him.

c) ALLUSIONS TO EXPECTED GIFTS

69a. 5 Treasurers 76 of (Jesus) Christ,

Refrain
We are going caroling,
We have come from far away,
And our horses have gone lame,
And they should be shod (anew)
5 With horseshoes of pastry roll
And with nails of sausage (made):
Do a kindness, give us (them).
Refrain: For the Almighty!
For (their) warmful heart (to show),
In (their) mansion fair to let us, .
(That) with tablecloths adorned (IS)
(And) with better lighted icons.
10 Once more, let us sing again,
And unto the Lord give praise,
And make prayer handsomely
Unto these fine gentlefolk,
For they've nicely treated us
15 To a couple of silver florins.

69b. 71a.
(See,) the green-hued silken tassel: Yonder, higher upward,
Refrain (1st/2nd) At the quiet wellspring,
Give us leave to come inside, host, There's a seat for resting.
For outside the rain is pouring,
Who was resting (there)?
And our horses have gone lame,
5 God and the Lord God,
5 And they should be shod (anew) (And) the Virgin Mother,
With horseshoes of pastry roll A small Son embracing.
And with nails of sausage (made): But the little Son
Get up, host, give them to us! Started for to plead: 77
ISt Refrain: Unto the Lord God 10 John, oh John (the Baptist),
Almighty! Saint John, elder brother! 78
2nd Refrain: To the Almighty! What's a wheaten roll,
And tied to the belt?
70. Let's unfasten it
15 And let's sup of it.
Once more, let us sing again,
With a glass of wine
And unto the Lord give praise,
I would pledge the host:
And make prayer handsomely
Unto these fine gentlefolk,

76 The fanciful vistuieri (vistiernici?) could be meant to be vestitori: heralds or forerunners.

77 The primary meaning of a descdnti (recte a descdnta) is "to cast a spell". Here, however,
the secondary meaning - to plead or to seek to persuade - seems to be intended.
78 The title nenea (vocative: nene) is customarily given to elder brothers or to older men, as
a respectful form of address.

[ 333 ]
 B I d)
Gazda sa traiasca, 5 !;ii-am vinit, c'am d-auzitu
Marva sa-i sporeasca! Ca e~ti bira\). d'e d'emulty,

Variant (Mel. 12p., la fon.): E~ti bira\). incamarat (sic!)

1-6 = I: La lina fantana : I !;ii-ti dai bani pe colindat.
Est' un sca\).n d'od'ina. Bira\). det!:-a sa primbla,
10 PrimbHi. 'n sus ~i primbla 'n jos,
Cine d-od'inere?
_________ 1
Primbla mana 'n pozonar,
Scoate-mi libre ~i critari,
(12p. Mana~tiur ~) Sa-mi dea daru junilor.
(12r. Mana~tiur ¢) Junii daru nu-~i luara,
15 Le parea un dar mai mare.
71b. Juni d'acia-mi colinda,
Bira\). det!:-a sa primbla,
I: La lina fantana : I, Primbla 'n sus ~i primbla 'n jos,
r., Primbla 'n varfu muntilor,
*1: {Unde-i apa buna : I 20 La crucile brazilor,
D-ind'e-i d-apa buna, La turmele oilor,
------ La cincizeci de mioarele.
I: Buna-i ~i sant'ina (sic!) : I Scoate-mi, scoate dOl)a oaie
Coarne mandre ce-z la ele.
r. Jaj Domnuluj Doamne! 25 Junii daru mi-~i luara,
(12z. Igri~ ~) Le parea un dar mai mare.
(12z. vars. Sarafola, Denta ¢) Juni d'acia-mi colinda,
(12aa. Cianad ~) Bira\). dete-a sa primbla,
Primbla 'n sus ~i primbla 'n jos,
72. 30 Primbla 'n grajdu boilor,
Scoata-mi doi boi bourei.
[!;ii-am vinit, bira\)., vinity,J
Coarne mandre ce-z la ei.
!;ii-am vinit, bira\)., la t'ine,
r., Refrain: Get'ina, cet'inioara!
!;ii-am vinit, c'am d-auzitu,
(85a. Nuc~oara if)
I: !;ii-am vinit, c'am d-auzity : I,

d) THANKING AND DEPARTING

MULTUMIRI LA DESPARTIRE
73. 5 I: !;ii t'e vataje~t'e : I
!;ii t'e vataje~t'e
I: Vataje, vataje : I,
r.,
Vataje, vataje, fT.I
I: !;ii la gazdai ii multame~te : I
I: Scoala-t'e 'n picioare : I JILl
Scoala-t'e 'n picioare -me~t',
!;ii la gazdai multame~t'e

1 = nn se tnteiege (4-6).

[ 334 ]

Host, long life (we wish you),
May your livestock flourish!
Variant (Mel. 12p., recording):
1-6 = At the quiet wellspring,
There's a seat for resting. 10 Strolling up and strolling down;
Who was resting on it?
_________ 79
7tb.
At the quiet wellspring,
Refrain
{ Where there is good water,
Whence comes the good water,
Goodly and untroubled,so
Refrain: Hoy for the Almighty!
72.
We have come, oh village mayor,
We've come, village mayor, to you,
Refrain
And we've come because we've heard
And we've come because we've heard
B I d)
5 And we've come because we've heard
That you've long been village mayor;
You're a wealthy (?) village mayor,
And you pay for caroling.
Village mayor started strolling,
In (his) pocket strolls (his) hand,
Brings out pounds and pennies too,
To make gifts unto the lads.
(But) the lads would not accept it,
15 They'd a larger gift expected;
That's why they were caroling.
Village mayor started strolling,
Strolling up and strolling down,
Strolling to the mountaintops,
20 In the middle of the pines,
(Strolling) to the flocks of sheep.
Out of (every) fifty ewe lambs
He brings out, brings out two ewe
lambs:
Such fine horns they have upon them!
25 (But) the lads would not accept
(them),Sl
They'd a larger gift expected;
That's why they were caroling.
Village mayor started strolling,
Strolling up and strolling down,
30 Strolling to the oxen's stall.
He brings out two oxen beeves:
Such fine horns they have on them!

Refrain: Pine boughs, little boughs of

pine tree!

d) THANKING AND DEPARTING

73. 5 And play carol-leader

Master carol-leader, And play carol-leader,
Refrain And to our host say, Thank you
Master carol-leader, And to our host say, Thank you
Get up on your feet (now),
Get up on your feet (now),
78 The author's footnote here indicates that three text lines are unintelligible in the re-
cording.
80 It is uncertain whether the word santina is meant to be senintl (clear or untroubled) or
sanune (salty).
81 The corresponding verse in the original states that the lads did accept this gift. In view of
the subsequent developments described in this witty piece, however, the acceptance "is ob-
viously an error of transcription.

[ 335 ]
 B I e)
De scaunu c~-ai ~ezut, 75.
10 De paharu ~-ai bliut,
De scaunu ce-i ~ede, I: Sa-mi trliie~ti, domnul, eu biiie, r. : I
De paharu ce ii be.
r. Domnule! I: Pre multi ani eu sanatat'e : I,
(19. Idicel 1) I: Ca Craciuni ni-o viiiit!! : I!

74. r. Domnuluj Doamne!

(62ee. Tolvadia 4»
Cruce 'n casa, cruce 'n masli,
r.,
76.
Rlimani, gazda, sanatoasa I
Noi acuma ne yom duce,
Veste buna v'on aduce,
5 V'om !lisa pe Dumniavoastrli
Doamn~-
r., -- -aldie 1 oameni buni,

Ca bine fte d-omeru!!l!

r.,
Incarcati de bunlitate.
r. Hoi da leruj Doamnel D-omefteasca-i Dumnezeu,
(3Ba. Petri~ 1) Ca bifte iie d-omerure!
. {dalbel -
r. Flar.le-s dal'!
(lOB. Gro!1i 1)

e) TEXTS RELATED TO THE PLUGU$OR

TEXTE RELATIVE LA PLUGU!;iOR
77a.
[Seoala, scoala, cest domn buny,
!;ii scoa!li ~i fiii tai,
Fiij tai ~i feteJe,
Sa mature cuqile
5 Cu cornu catrlntelor,
Cu varvu cositelor.
Coco~i negri ~i-or cantat,
Porumbeii mi-or zburat,
Sus, mai sus mi s'o 'nvolbat (?),
10 Jos, mai jos s'o d-alinat,
J os pe valea lui Iordan.
Dar d~-acolo ee-mi luarli ?
Tot ap~oara 'n guri~oara,
Gonti~oara (sic!) 'n gheri~oara.
15 Sus, mai sus mi sa 'nvolba.
J os, mai jos sa d-alina,]
Sus, mai sus s-o d-alinaty,
r.,
Jos la curtea eest' 2 domn buny.
1 = binecuvanteazii « aid, ung.).
I = acestui.
3 Cf. 19.
Dar d~-acolo ce-mi luara ?
20 Gonti~oara 'n gheri~oara,
Tot ap~oara 'n guri~oara.
Gonti~oarli slobozira,
Frumos curtea-mi zdrancanira,
Tot ap!1oara mi-o lasara,
25 Frumos curtea mi-o spalara.
Mereti voi in cea gradina
!;ii va h)ati voi flori pa mana.
!;ii veniti vOl raurand,3
Ca vara-i ca primavara,
30 Sa ie~im la camp afara.
La livezi, la fantani reei
Tot tmi Yin fete de Greci.
Vinind una, vinind d01}a,
Vinind fata cea frumoasa,
35 Care-i cu eosita groasli.
Pin cosita-i romunita
!;ii pin pliru-i eli!lipliru
!;ii la frunte-s flori marunte.
r. Lina liar lina liar draga!
(1021. Nucsoara 1)

[ 336 ]
 B I e)
For the chair you've sat upon, 75.
10 For the glass that you have drunk;
For the chair you'll sit upon, May you live, master, in comfort,
For the glass that you will drink. Refrain
Refrain: Mighty Lord! Many years in (goodly) health (yet),
For to us Christmas has come!

74. Refrain: To the Almighty!

Cross indoors, cross on the table,
Refrain
Farewell, host, good health (we bid
you)!
We shall go upon our way now,
We shall bring the goodly tidings,
5 (And) yourself we shall be leaving,
Loaded down with (gifts of)) goodness.
Refrain: Hoy, Lord, let us carol!
76.
Bless the goodly people, Lord,
For well they've befriended us!
Refrain
May the Lord befriend them (too)
For befriending us (so) well!
Refrain: White are the flowers!

e) TEXTS RELATED TO THE PLUGU~OR

77a. But from there what have they taken?

20 In their claws some water striders,
Waken, waken, goodly sir,
In their mouth a little water.
And your sons awaken too,
They let fall the water striders,
(Both) your sons and daughters (too), Finely set the mansion ringing;
Let them sweep the mansion out
They let fall the water also, .
5 With the corner of their skirts,
Wondrously they washed the manSIOn.
With the tip end of their braids.
Let you go into that garden
(Lo,) the roosters black have crowed,
And into your hands take flowers,
(And) the pigeons have flown off:
And come back good wishes pledging:
High (and) higher yet they wheeled,
That the summer be like springtime,
10 Low (and) lower came to rest,
30 That we go out in the meadow.
(Settled down) in Jordan's vale.
To the orchards, to cold wells,
But from there what have they taken? Come the maidens of the Greeks.
In their mouth a little water,
One (is) coming, two (are) .comin~,
In their claws some water striders.82
(And) the beauteous lass (IS) commg:
15 High (and) higher yet they wheeled,
35 That's the one with the thick tresses.
Low (and) lower came to rest; Camomile's among her tresses,
High (and) higher yet they settled
In her hair there's scented tansy,
Refrain ,. And about her brow small blossoms.
Down at this good master s manSIOn.
Refrain: Softly spin the thread, my
darling!

82These insects (Hydrometra palttdittm) are believed to fos~er fertility .in heifers. The fancif~l
gonli~oara,however, may be meant to signify another water msect,. Gynnu~ natator. Indeed, It
may possibly designate a ptarmigan (Lagopus mutus) or even a heIfer (gomtoare).

[ 337 ]

77b.
Scula~, scula~, boieri mariu,
1'.,
Scula~ voi, RomA.ni plugariU!
====
I: Sculati voi, RomA.ni plugariu : I,
[Sa sa scoale fetele,
5 Sa mature cuqile
Cu cornu catrintelor,
Cu vA.rvu cositelor,]
Ca coco~ij nll-or cA.ntatu,
Porumbeij nil-or zburatu
10 I: Porumbeii nil-or zburatu : I,
Sus, mai sus ca sa 'nvolbara (?),
Jos, mai jos sa alinara,
Jos in vadu lui Iordan
L~ar' ap~oara 'n guri~oara,
15 Gont~oara (sic!) 'n gheri~oara.
Sus, mai sus ca sa 'nvolbara,
!?i sa deter' a zburare
Sus, pa curtea cest'l domn bun:
Tot ap~ara mi-o tA.pa~,
20 Frumos curtea mi-o spala~;
Gonti~oara-mi sloboze,
Frumos curtea zdrA.ncane.
Domn din casa-mi d-auze:
-Mitutei colindatori,
25 Nu grabireti dll-a tuna,
Cam fii mici nepomeniti,
Fete mari nesculate,
Cuftile-s nematurate,
Ci treceti in cea-i gradina
30 !?i luati voi flori pa mA.na
!?i moiati in cea-i fA.ntA.na
!?i veniti inra urAn' ,
RliurA.n' ~i 'mpreurA.n'.2
1'. Doamne joj Domnuluj Doamne!
(81a. RA.u de mori if)
7Sa.
1'.,
I: La capu pamA.ntuluiu : I
====
I: Est'Il-O fA.ntA.nita rece : I.
1 = acestui.
a Cf. 19.
B = venit.
4 = sbiciu.
[ 338 ]
B I e)
I: Dumneze~ s'o scoboritu : I,
-------..,...
I: Apa 'n buze ~i-o luatu: I,
5 Tarina c'o rauratu.
Roade 'n grA.ie 0 lasat,
Roade 'n grA,ie pA.na 'n brA.ie
!?i sacari pA.n' subsuoare
!?i alac pAn' dupa cap
10 !?i ovese pA.na 'n mese.
1'. Haft l'eruj Doamfte!
(57. Curtecap t/»
7Sb.
La capu pamA.ntului
Estll-o rece fA.ntA.nita.
Dumneze~ 8-0 coborit,
Mar de d-aur ~i-o 'mbucat,
5 Roade 'n grA.ie ~i-o lasat,
Roade 'n grA.ie pA.na 'n brA.ie
!?i sacari pA.n' subsuoare
!?i ovese cA.t de dese
!?i alace cum s'or face.
1'. Leruj Doamn'!
(107d. Mice~ti if)
79a.
Colo 'n josu, mai din josu
Estll-o masa d'e mlitasa.
Dupa masa cine ~ade ?
!?ade Domnul Hiristosu.
------
5 -Haida, Petre, sa prA.nze~ti,
Cli io n'am vint3 sa prA.nzescu
Ca mi-am vint sa povest'escu
Ie tu, Petre, zd'iciu 4 'n mA.na
!?i pogne~te ~i trazne~te,
10 Tragll-o brazda, trage do~a;
De Pll-O brazda ce rasare?
Da rasare gm~ curat,
Dela Dumnezel} lasat.
(73rr. Niere~teu if)
 B I e)
77b. The Almighty (there) descended,
In His lips He took some water
Wake up, wake up, you great lords,
5 (And) bedewed the plowlan~ (with it),
Retrain Fruit He gave unto the grams:
Wake up, you Rumanian plowmen!
Fruitful wheat up to the girdle,
Wake up, you Rumanian plowmen,
And the rye up to the armpits,
Let the lasses waken (too), Bearded wheat above the head,83
5 Let them sweep the mansion out 10 And the oats as high as tables.
With the corner of their aprons,
Retrain: Hoy, Lord, come carol!
With the tip end of their braids,
For the cocks have crowed for us
Our pigeons have flown off 78b.
10 Our pigeons have flown off,
At the confines of the earth
High they wheeled and higher up yet,
There's a small cold-water wellspring.
Low and lower down they settled
The Almighty Lord alit
At the Jordan's ford below;
(And) a golden apple ate, .
In their mouth they took up water,
5 Fruit He gave unto the grams:
15 In their claws some water striders;
Fruitful wheat up to the girdle
High they wheeled and higher up yet,
And the rye up to the armpit,
And they made their way in flight
And as close-set oats as might be,
Up on this good master's house;
Bearded wheat as it might mantle.
They cast (down) the water (there),
Retrain: Carol, Lord!
20 Handsomely they washed the house;
Dropped the water striders (too),
Made the house ring handsomely. 79a.
From the house the master heard,
Down below there, lower down yet,
(Called out:) carol singers small,
(Lo,) there is a silken table.
25 Do not hasten to come down,
Who is sitting at the table?
For I've small sons unawake,
The Lord Christ is sitting (there).
Maiden (daughters) unarisen,
5 Come along, Peter, and eat.
(And) the mansion is unswept (yet).
But I haven't come for eating,
Let you go into that garden,
For I've come to tell a story.
30 And into your hands take flowers,
Take the whip in your hand, Peter,
And into that wellspring dip them,
Snap it, crack with it like lightning,
And good wishes come to pledge,
10 Draw a furrow, draw another.
Pledging and bepledging them.
But what's sprouting on a furrow?
Retrain: Lord, hoy, tor the Lord (Lo,) clean wheat is sprouting (there),
Almighty!
As the Lord appointed it.

78a.
Retrain
At the confines of the earth
There's a small well (with) cold
(water).

83 Alternative reading for this verse: Bearded wheat up to the nape.

[ 339 ]
 C I a)
79b. SI.
I: Colo sus ~i mai in susy : I, Plugu ~i ro~t'eei,
'Y., Plugu-mi ~i ro~t'eei.
'Y.,
I: Est~-o masa d'e matasa : I
------ [Vremea ca-i vinea],
~i la masa cine ~ede ?
I: La plug sa mierea~,
'Y. D'imineaJa luj Ct'{'J,cjuny!
5 [Frumos samana].
(73v. Ghelar t/»
I: Vriemea ca viiiea~ : I,
SO. Frumos il taia,
Poloane-l facea,
I: Zur zur zur cu zuarile 1 : I,
~i stvog 11 facea.
'Y.,
10 Vremea ca vinea,
I: N u grabd'iti 2 cu zuarile : I Frumos triiera,
------ In pod mi-l suia,
I: Ca ca m' 'puc cu floricele: I. In pod ca-l suia.
------ ~i jos mi-l ducea
Scoala, scoalii, gazda buna. 15 Fain' Ie facea,
5 ~i scoala ~i slujile, 'N troaca framanta
Sa 'ntindem cu plugurile, ~i colaci facea
Sa prindem boii 'n tanjalii, Sa-i dam la saraci;
Sa ie~im la camp afara, ~i pogacele
Breazda neagra sa 'ntumam, 20 Dam la feticele.
10 Grau ro~ sa ravarsam. 'Y. OJ Domnuluj Doamne!
'Y. Le'Yuj Doamn'! (Sa. Cianad t/»
(107d. Mice~ti t/»

C. RELIGIOUS TEXTS
TEXTE RELIGIOASE

I. RELIGIOUS LEGENDS
LEGENDE RELIGIOASE

a) ABOUT GOD
DESPRE DUMNEZEU

Sla. 'Y.,
Colo-i sus, colo-i mai susy, Cure-~i apa limpejoara
'Y., ~i 3 sa faca fered'eu,
Sus in varfu munt'elui, 5 ~i3 sa scald'e Dumnezeu
1= zorile.
1 = grabiti.
a = sa.

[ 340 ]

79b.
Yonder high, and higher up yet,
Refrain
(See,) there is a silken table.
And who's sitting at the table?
Refrain: Lo, it is the Christmas morning!
80.
Whir, whir, whir with break of day,84
Refrain
Do not hasten with the dawn,
For I've yet to set the flowers. 80
Wake up, goodly host, awaken,
5 And wake up the servants too,
That the plows we might get ready,
In the yoke the oxen fasten,
To go out into the plowland,
A black furrow to o'erturn,
10 To spill forth the russet wheat.
Refrain: Carol, Lord!
C I a)
81.
The plow and the harrow,86
My plow and (my) harrow,
Refrain
The time was at hand
To go out a-sowing,
5 Handsomely he sowed.
The time was at hand,
Handsomely he mowed,
Windrows he set up,
And the stack he made.
10 The time was at hand,
Handsomely he threshed,
Put it in the loft,
Set in the loft.
Brought it down (again),
15 Made it into flour,
Kneaded in the trough,
And made pastry rolls
To give to the poor,
And baked cakes of corn
20 To give to the lasses.
Refrain: Hoy, for the Almighty!

C. RELIGIOUS TEXTS

I. RELIGIOUS LEGENDS

a) ABOUT GOD

82a. Refrain
There's a flow of pure clear water,
There on high, there higher up yet, And a bathing place is shaped,
Refrain 5 And the Lord Almighty bathes.
High upon the mountaintop,

84 Alternate reading for this verse: Haste, haste, haste with break of day (depending upon
whether zur is meant to be zor).
85 The verse is badly garbled in the original, and this rendering is sheer guesswork.
86 Ro~teiu means a grating or covering for a doorway. It may be that the word was meant
to be resteiu, which is the rod that fastens the neck of the ox laterally in the yoke.

[ 341 ]

Ta'l sa scalda !Ii sa 'ntreaba:
Ce-i mai bun pa ist pamant?
Nu-i de bun ca bou-i buni,
Ca brazdeaza brazda neagra
10 ~i ravarsa grau rO!liu.
Ta' sa scalda !Ii sa 'ntreaba:
Ce-i mal bun pa ist pamant?
Nu-i de bun ca oale-i buna,
Cole iama, t'e 'ncalze!lte,
15 Primavara t'e 'ndulce!lte.
Ta' sa scalda !Ii sa 'ntreaba:
Ce-i mal bun pa ist pamant?
Nu-i de bun ca calu-i bun!,
Ca t'e duce !Ii t'~-aduce,
20 ~i t'~-aduce 'n direptat'e
~i t'e scoat'e dela moart'e.
Ta' sa scalda !Ii sa 'ntreaba:
Ce-i mai bun pa ist pamant?
Nu-i de bun ca omu bun,
25 Face casa langa drumy,
Vin drumari!li saluesc,
Pa Dumnezel) pominesc.
r. L'eruj Doamne!
(56c. Drage!lti 4)
81b.
Graie-!li Taml Dumnezeu:
r.,
$i 2 facem un feredau,
r.,
~i 2 sa scald'e Dumnezeu,
Dumnezel) cu sotul sau.
5 Da sa scalda !Ii sa 'ntreaba:
Ce-i mai bun pa ast pamant?
Nu-i mai bun ca omul bun,
Face-!li casa l3.nga drum;
Vin saliii !Ii saluiesc,
10 Pa Dumnezel) pomenesc.
lar sa scald' !Ii iar sa 'ntreaba:
Ce-i mal bun pa ast pamant?
Nu-i mal bun ca boul bun,
Ca rastoama brazda neagra
15 ~i rasare gra,l) de toamna.
lar sa scald' !Ii iar sa 'ntreaba:
Ce-i mai bun pa ast pamant?
1 = tot.
S = sa.
[ 342 ]
C I a)
Nu~i mal bun ca calul bun,
eli t'e duce !Ii t'~-aduce
20 'ntr'o zi e !Ii 'n betie
~i
'n pogane de manie.
~i
lar sa scald' !Ii iar sa 'ntreaba:
Ce-i mai bun pa ast pamant?
Nu-i mal bun ca oale buna,
25 Colea vara t'e 'ndulc~te,
Vine iama, t'e 'ncalze!lte
~i t'e 'ntoarce dela moart'e.
r. Leruj Doamne!
• (56b. Gro!li 4)
81c.
Crescut-o, rasarit-o,
r.,
~i d-un maru !Ii d-un paru;
r.,
Paru cre!lt'e, d'aure!lt'e,
Maru cre!lt'e, d-arginte!lt'e.
5 Dar in varvu celor pomi
~ed i!li dOl)a turturel'e,
Pica-!li dOl)a picurele,
~i sa iac~-un iered'eu
~i sa scalda Dumnezel),
10 Dumnezel) cu sotu sal).
11-13 = 82a. 6-8
Ca sa duce 'n campu lungu
15 ~i brazdeaza brazda neagra.
16-21 = 82a. 10, 16-19,21
r. Fiorile dalbe!
(110. Coticlet 4)
81d.
Colo 'n sus !Ii mal din susy
r.,
A cui sant ahe!ltea curti ma
A!le nalt'e!li 'mpulat'e,
Tat din luntru jugravit'e,
5 ~i aim stoborite?
Pe stobor cine !led'e ma?

As He bathes, Himself He's asking:
What is best upon this earth?
Nothing's good as a good ox,
For he furrows the black furrow
10 And spills forth the russet wheat.
He keeps bathing, Himself asking:
What is best upon this earth?
Nothing's good as a good sheep,
There it warms you in the winter
15 (And) it sweetens you in springtime.
He keeps bathing, Himself asking:
What is best upon this earth?
Nothing's good as a good horse,
Because back and forth it takes you
20 And in righteousness it brings you
And from deadly peril saves you.
He keeps bathing, Himself asking:
What is best upon this earth?
Nothing's good as a good man,
25 Builds a house beside the roadway,
Wayfarers take shelter (there)
And) bethink them of the Lord.
Refrain: Lord, I carol!
82b.
God the Father spoke to say:
Refrain
Let us make a bathing pool,
Refrain
That the Lord might bathe Himself,
The Almighty with His mate. 87
5 But He asks Himself while bathing:
What is best upon this earth?
Nought is best but a good man,
By the wayside makes his house,
Guests come in and shelter (there)
10 And bethink them of the Lord.
.Once again He bathes and wonders:
What is best upon this earth?
Nought is best but a good ox,
For he turns the swarthy furrow,
15 And the autumn wheat sprouts
upward.
Once again He bathes and wonders:
What is best upon this earth?
87 So/w, the word found in this text and following ones, means both husband and companion.
88 An error of transcription in this verse gives $i 'nt,'o Ii e instead of $i'n t,ellie.
[ 343 ]
C I a)
Nought is best but a good horse,
For it carries you and brings you,
20 Both in soberness and drunkness,88
And in fearsome anger also
Once again He bathes and wonders:
What is best upon this earth?
Nought is best but a good sheep,
25 There it sweetens you in summer,
Comes the winter (and) it warms you,
And it turns you back from dying.
Refrain: Lord, I carol!
82c.
There have grown, there have come up
Refrain
Both an apple and a pear tree.
Refrain
Grows the pear tree, becomes golden,
Grows the apple tree besilvered.
5 But atop these (beauteous) trees
(Lo,) two turtledoves are perching;
Two small water drops come dropping,
And a bathing pool is made,
And the Lord Almighty bathes,
10 Lord Almighty with His mate.
11-13 = 6-8 of 82a.
For it goes into the long field
15 And it furrows a black furrow.
16-21 = 10, 16-19,21 of 82a.
Refrain: La, the white flowers!
82d.
There on high, and higher up yet,
Refrain
Ho, whose mansion might that be
(now),
(Both) so lofty and so close-set (?),
Inner side all painted over,
5 Outer side with fence surrounded?
On the fence who is that sitting?
 C I a)
~ed' imi doya turturiele, Iar sa scalda ~i sa 'ntreaba:
Pica noya pucicuriele, Ce-i mai bun pa iost (sic!) pam~t?
Pica azi ~i pica m~ne, Ce-i mai bun ca vaca-i buna,
10 Pica-mi patruzeci de zile Las' on pranz ~i-aduct:-o cina.
Sa sa fac' un feredey, 20 Iar sa scalda ~i sa 'ntreaba:
Sa sa scalde Dumnezey, 21-23 = 82d. 21-23
Dumnezey cu sotu say. ~i te, domn bun, vesele~te!
Tat sa scalda ~i sa 'ntreaba: r. (Mel. 62r.)Domnuluj, Domnuluj
15 Ce-i mai bun pe iost (sic!) pam~nt? Doamfte!
Ce-i mai bun ca boul bun, r. (Mel. 83c.) Domnuluiy, dai Domnuluj
Ca ra varsa brazda neagra Doamfte!
~i rasare gr~y rujat, (62r., 83c. Ciarbal 1)
Ca de Domnul samanat.
20 Tat sa scalda !1i sa 'ntreaba: 82f.
Ce-i mai bun pe iost pam~t?
Ce-i mai bun ca oaie buna, Dinaint'ea cestor curtiy,
r.
Ca 'ncalze~te !1i 'ndulce!1te.
Doi mieri naIR ~i minunati .
Variant (Mel. 102h.): ======
I: Doi mieri naIR ~i minunatiy : I
1. I I I: D'e tulpini intulpinatiy : I
1-3 = I: Colo 'n sus ~i mai in susy, r. : I
5 De v~uri ajung in cer.
111.1 Da la v~rvul la doi meri
susy
anta-mi doya turturele.
I: A cui s~t ahe~tea curtly : I Da la val' de turturele
Face mi-s' on feredey
I: A~a nalt'e ~i 'mpuiat'e : I 10 Mi-sa scalda Dumnezey,
r. (92c.) Lino lino lero lino! 11-18 = 82d. 13-18, 20, 21
r. (102h.) Doamfte ler Domnuluj Ce-i mai bun ca calu-i bun,
Doamfte! 20 ca 'ncunjura terile,
(92c. Ghelar ¢) Vine sara iar acasa,
(102h. Ghelar rf.) Voea buna nu ~i-o lasa.
r. Lina lior lina lior draga!
(102k. Gradi~te 1)
82e.
D-a cui is d-ac~t'ea curtlY, 82g.
1'.,
[D-]A~e nalt'e ~i 'nfolat'e Tat ~mblam ~i col'indamy,
====
Pe d'e luntru zugravit'e,
1'.,

P~' afara stoborit'e? Dintr'o casa 'intr' alta casa

------
5 Mai d't:-asupra past' oboara ~i gazd'il'e nu-s acasa.
~ed'e doya turturiel'e. ------
------ ~i ma pt'ica 1 pt'icuriel'e
Pica una dintre ele ------
~i sa fact:-on feredey 5 De supt tate stre~inele,
~i sa scalda Dumnezey Sa sa fac' on fedeley,2
10-14= 82d. 13-17 Sa sa scalde Dumnezey,
15 ~i rasare gr~y ro~tior. Dumnezey ~i cu S~nt'etru.3

1 = pica.
a = feredeu.
3 = Sf. Petru.

[ 344 ]

(Lo,) two turtledoves are sitting
(And) they're dropping down nine
droplets.
Drop today and drop tomorrow,
10 Forty days they keep on dropping,
For to make a bathing pool,
That the Lord might bathe Himself,
The Almighty with His mate.
As He bathes, Himself He's asking:
15 What is best upon this earth?
What is better than good ox?
For he turns the swarthy furrow
And the russet wheat springs up,
As 'twere sown by the Almighty.
20 He keeps bathing, Himself asking:
What is best upon this earth?
What is better than a good sheep?
For it warms and also sweetens,
Variant (Mel. 102h.):
1-3 = Yonder high, and higher up yet,
\Vhose might be these
(handsome) mansions,
(Both) so lofty and so close-set,
Refrain (29c.) Softly, softly, carol
softly!
Refrain (102h.) For thr Lord, for the
Almighty!
82e.
But to whom belong these mansions,
Refrain
(Both) so towering and close-set,
Inside (beautifully) painted
(And) outside with fence surrounded?
5 Higher up, above the fencings,
(Lo,) two turtledoves are perching.
One of them drops (down a droplet)
And a bathing pool is made,
And God bathes Himself (in it).
10-14 = 13-17 of 82d.
15 And there sprouts up russet wheat.
[ 345 ]
C I a)
Once again He bathes and wonders:
What is best upon this earth?
Than a good cow, what is better?
Yields a midday meal, brings supper.
20 Once again He bathes and wonders:
21-23 = 21-23 of 82d.
And, good master, be rejoicing!
Refrain (Mel. 62r.): To the Lord, to the
Almighty!
Refrain (Mel. 83c.): Give to the Lord, to
the Almighty!
82f.
(See,) before this mansion (standing),
Refrain
Two tall apple trees and wondrous,
Two tall apple trees and wondrous;
Upon (sturdy) boles (they're) rooted
5 And their tops reach to the sky.
But atop the apple trees
(Lo,) two turtledoves are singing.
Neath the turtledoves, down lower,
(Lo,) a bathing place takes shape,
10 The Almighty bathes (in it),
11-18 = 13-18, 20, 21 of 82d.
Than a good horse, what is best?
20 For it travels round the lands,
Comes back home again at evening,
Its good cheer never forsaking.
Refrain: Softly spin, softly spin, darling!
82g.
vVe keep caroling about
Refrain
From one household to another,
And the householders are elsewhere.
And the drops on me are dripping
5 Under (each and) every gutter,
Till a bathing pool is made
That the Lord might bathe Himself,
The Almighty and Saint Peter.
 C I a)
Ei sa sealda, ei sa 'ntreaba: 5 Da ee nume i-o d-aflatii.?
10 Ce-i mai bun ea ealul bun, Tot San Plitru, iar San Plitr'
ca te duee ostenit
~i te lasa hodinit.
Ei sa sealda, ei sa 'ntreabii:
fT.l jIT.j
I: lui Dumnezeu : I -zey.
Nana~u
Ce-i mai bun ea boul bun, Dar sli sealda ~i sa 'ntreabii,
15 Ca rastoama brazda neagra Dar sa 'ntreaba Dumnezeu:
~i ravarsa grau ro~u. 10 Ce-i mai bun pe list pamant?
Ei sa sealda ei sa 'ntreaba: Nu-i mai bun ea boul bun,
Ce-i mai bun ea oaie buna, ca rastoamli brazda neagra
Ca te 'mbraea ~i t~-adapa. ~i rlivarsli gray frumos.
1'. Daj col'indd! lar sa sealda Dumnezey,
(59b. Albae if) 15 ~i sli sealda ~i sa 'ntreabii:
Ce-i mai bun pe ast pamant?
82h. Pamantu-i eu umbllitori
~i eerul eu stanjinu.
1. I fIll lar sli sealda Dumnezey
I: Su' eer ro~u, rasaritu, 1'. : I -ritu, 20 ~i sa sealda ~i sa 'ntreaba:
Ce-i mat bun pe ast pamant?
Serisu-i tari~-un lueru marie Nu-i mai bun ea ealul bun,
Serisa-i dalba-i manastirie.
------ ca te duee ea vantu
~i t~-aduee ea gandu.
'N manastire cine ~ede?
1'. Domnuluj 51-a nos' Doamn'!
5 Dumnezey eu sotul say
(l04g. Moi~a if)
~i sa sealda ~i sa 'ntreabii:
Ce-i mai bun pa ast pamant?
Da nimiea nu-i mai bun,
Nu-i mai bun ea boul bun. 83a.
10 lar sa sealda ~i sa 'ntreaba:
Ce-i mai bun pa ast pamant?
I 1. I [IT]
I: Pogorit-o, pogoritu, 1'. : I -rit
Da nimiea nu-i mai bun
Nu-i mai bun ea oaie buna, -I -1.-1 rn.l
Ca 'nealze~te ~i 'ndu1ce~te I: Dumnezeu p'aist pamanty : I -mant,
15 ~i te, domn bun, vesel~te.
1'.{Domnulu j Doamfte! Dumnezeu si eu Sant'etru 3 •
] ufteluj buny! 1 Luara-sa, "d~sarli-sa
(621. Fere~d tf» 5 Pe d-ulita, Doamne, stramtli
La easa bogatului
82i. ~i din grai ~a graie:
• Ay eresetu ~i ni-ay nascuti, -Buna ziya, d-yoamini maril
1'.,
-Sanatosi, euldu~4 ea voil
On lliy 2 sfant pr~-aeest pamant. 10 -D-ayeti pranzu ~i 5 ni-l dati ?
-D-avem pranzu pe domnie,
Mila maiea ~i-o faeuti, De pranzu nost' nu-i de voi,
Pe lliy 2 sfant I-a bot'ezat. De ni~te euldu~i4 ea voi,
------ Ci de yoamini mart ea noi.

1 La fonograf.
2 = fiu.
S = Sf. Petru.
4 = cer~etor (koldus, ling.).
~ = sa.
[ 346 ]

They are bathing, ask each other:
10 What can better a good horse?
When you're tired, it carries you
And it leaves you rested (well).
They are bathing, ask each other:
What can better a good ox?
15 It turns over the black furrow
And the russet wheat spills over.
They are bathing, ask each other:
What a goodly sheep can better?
It (both) quenches you and clothes
you.
Refrain: Sing the carol!
Slh.
Under the red sky (of) sunrise,
Refrain
There's a mighty thing appointed,
A white convent is appointed.
Who is staying in the convent?
5 The Almighty with His mate,
And they bathe and ask each other:
What is best upon this earth?
Why, there's nought that better is,
Nothing bests the goodly ox.
10 Once again they bathe and ponder:
What is best upon this earth?
Why, there's nought that better is,
Than a goodly sheep, nought's better,
For it warms (you) and it sweetens,
15 And it gladdens you, good master!
Refrain: {TO the Almighty!
To the good youngster! 89
Sli.
There has grown and there was born
us 90
Refrain
On this earth a holy son.
Merciful (his) mother was,
She baptized the holy son.
89 Author's footnote: In the recording.
90 In that order in the original, too.
91 This is possibly an error of transcription, the verse being meant to read: (And) his god-
father was God.
98 There is a possible alternative reading for this verse: There are ferries on the earth.
[ 347 ]
C I a)
5 But what name found she for him ?
But Saint Peter and Saint Peter,
Godfather unto the Lord. 91
But He bathes Himself and wonders,
The Almighty asks Himself:
10 What is best upon this earth?
Nothing bests the goodly ox,
For it turns the darkling furrow
And spills forth beautiful wheat.
The Almighty bathes again,
15 And He bathes Himself and wonders:
What is best upon this earth?
Wayfarers are on the earth,92
And the sky is fathomwise.
The Almighty bathes again,
20 And He bathes Himself and wonders:
What is best upon this earth?
Nothing bests the goodly horse,
For it bears you like the wind
And like thought it brings you (back).
Refrain: To the Lord and Our Lady!
83a.
He's descended, He's come down,
Refrain
The Almighty on this earth,
The Almighty with Saint Peter.
They set out, betook themselves
5 On a lane, Lord, (that was) narrow,
To the house of the rich man,
And they spoke and thusly said:
A good day (to you), great folks I
A good day, you beggars, you!
10 Have you midday meal to give us?
We've a lordly meal for midday,
But our meal is not for you,
Fit for beggarmen like you,
But for great folks like ourselves.

15 Luara-sa, dusara-sa
Pe d-uli~a, Doamne, stramta
Cu d-inimu~a d-infrantii
La easa saraeului
$i din grai a~a graie:
20 -Buna ziy.a, d-y.oamini mari!
Sanato~i ~i voi, mai mari!
-D-aveti pranzu ~il ni-I dati?
-D-avem pranzu pre putin;
Da d-inde nu de d-ajunge,
25 D-avem vecini foarte buni
$i noi n~-om d'imprumuta
D'inde Dumnezey. Iua,
Dumnezey. mai multe rele.
Luara-sa, dusara-sa
30 Pe d-ulita, Doamne, larga
Cu d-inimuta d-intreaga.
Cand i~i era la d-un loe,
La un loe, la un mijloe,
Dumnezey. ~a-~i graie:
35 -Apuea-te Petr~, -apuea
Pa d-umar pa dre~l miey.
$i 1 vezi, Petre, ee-i vede.
$i Patru sa d-apuea
$i din grai d-a~a-~i graie:
40 -Nu ma tine, Doamne, mult,
Ca ee-mi vad, ma 'mbatranese;
Vad easa bogatului
D-in mijloeu iadului.
D-in hopaia foeului.
45 Luadi-sa, dusara-sa
Pe d-ulita, Doamne, larga
Cu d-inimuta d-intreaga.
Cand i~i era Ia d-un loe,
La un loe, la un mijloe,
50 Dumnezeu a~a-~i graie:
-Apuea-te, Petr~, -apuea
Pa d-umar pa sta'D:g' al mieu
$i 1 vezi. Petre, ee-i vede.
$i Patru sa d-apuea
55 $i din grai a~a-~i graie:
-Ia tine-ma ,Doamne, mult,
Ca ee-mi vad, ma 'ntanarese;
Vad easa saraeului,
D-in mijIoeu raiului,
60 Bat~-o raza soarelui.
1 = sa.
2 = Sf. Petru.
3 = cer~etori (koldus, ung.).
4 = !a apuea.
[ 348 ]
C I a)
r. Florilor dalbe!
(61a. $oimi if)
83b.
Pogorlt-o, pogorlty,
r.,
Dumnezey. ~i eu Sant'etr'; 2
Luara-sa, dusara-sa
Tat alungu drumului
-------
5 Pa podu pamantului
La easa bogatului.
-Buna ziy.a, y.om bogaty!
-Sanato~i ~i voi eoldu~i!3
-D-aveti pranzu ~i n~-al dati?
10 -D-avem pranzu pre bogaty:
Pranzu nostu nu-i da voi,
Ci da ni~te d-omi ea noi.
Luara-sa, dusara-sa
Tat alungu drumului
15 Pa podu pamantului
La easa mi~elului.
-Buna ziy.a, y.om mi~ely!
D-aveti pranzu si ne-a-l dati?
-Davem pranzu pre putiny,
20 Treee 'n luntru ~i LI pranzim.
D-ind'i pranzu nu ajunge,
Avem vecini foarte buni.
Cumva n~-om imprumuta.
Luara-sa, dusarii-sa
25 Tat alungu drumului
Pa podu pamantului.
Cand i~i fura la un loe,
Dumnezey. din grai graie:
-Ia 'puea 4 t'e, Petr~,-apucii,
30 Pa umar d~-a stanga ~
$i 3 vezi, Petre, ee-i vede.
-Nu ma ~ine, Doamn~-a~a,
Ca ee vad, ma 'mb1itra~e
$i Ia fata ve~tejese:
35 Vad easa bogatului
tn mijloeu iadului
Bat~-o para foeului.
Luarii-sa, dusara-sa

15 They set off, betook themselves
On a lane, Lord, (that was) narrow,
Brokenheartedly (betook them)
To the house of the poor man,
And they spoke and thusly said:
20 A good day (to you), great folks!
Health to you, too, greater ones!
Have you midday meal to give us?
We have midday meal too little,
But whatever won't avail us,
25 We have very kindly neighbors,
And we'll borrow (it from them) ;
(For) from where the Lord has taken,
God more evils (thence) has taken. 93
They set off, betook themselves
30 On a lane, Lord, (that was) broader,
(They) wholeheartedly (betook them).
When they came upon a place,
At a place that midway lay.
The Almighty thusly spoke:
35 Catch hold, Peter, take a hold on,
(Hold fast) onto my right shoulder,
To see, Peter, what you'll see.
Thereupon Peter seized hold
And spoke out and thusly said:
40 Do not keep me long, oh Lord,
What I see makes me grow old,
(For) I see the rich man's house
In the (very) midst of hell,
In the blazing of the fire.
45 They set off, betook themselves
On a lane, Lord, (that was) broader,
(Going on their way) wholehearted.
When they came upon a place,
At a place that midway lay,
50 The Almighty thusly spoke:
Catch hold, Peter, take a hold on,
(Hold fast) onto my left shoulder,
To see, Peter, what you'll see.
Thereupon Peter seized hold
55 And spoke out and thusly said:
Let You keep me long, oh Lord,
What I see makes me grow young,
(For) I see the poor man's house
In the (very) midst of heaven,
60 (And) a sunbeam shines on it. 94
93 The intended meaning of this and the immediately preceding verse is far from clear, and
both appear to have been transcribed here in a garbled version.
94 Alternative reading for this verse: Maya sunbeam shine on it.
[ 349 ]
C I a)
Refrain: To the white flowers!
83b.
They descended, they descended,
Retrain
The Almighty and Saint Peter.
They set off, they made their way,
Onward (went) along the road,
5 Over the earth's face (they went)
To the house of the rich man.
A good day (to you), rich man!
Health to you, beggars, as well!
Will you give us midday meal?
10 Our midday meal's for rich folks,
'Tis not for the likes of you,
But for gentry like ourselves.
They set off, they made their way,
Onward (went) along the road,
15 Over the earth's face (they went)
To the house of the poor man.
A good day (to you) poor man!
Will you give us midday meal?
We've (but) little midday meal,
20 Come inside, let's eat it up.
If the fare be unavailing,
We have very kindly neighbors,
Mayhap we shall borrow (more).
They set off, they made their way,
25 Onward (went) along the road,
Over the earth's face (they went).
When they reached a (certain) place,
The Almighty Lord spoke out:
Come along (and) catch hold, Peter,
30 Onto my left shoulder (hold),
To see, Peter, what you'll see.
Do not keep me thus, oh Lord,
What I see makes me grow old
And my face is withering.
35 (Lo,) I see the rich man's house
In the (very) midst of hell,
Flame of fire plays on it.
They set off, they made their way,
 C I a)
Tat alungu drumului Dumnezev ~i graie,
40 Pa podu pamantului cata Sant'etru ziee:
Cand i~i fura la un loe, 30 -Ia sui, Petre, sus mai sus
Dumnezey. din grai graie: Pa umar d~-a stang' a miey.,
Ia 'puca t'e, Petr~,-apuea Sa vezi, Petre, ee-i vide.
Pa umar d~-a dre~a me -Nu ma jine, Doamn~,-~a,
45 !;)i vezi, Petre, ee-j vede. Ca ee vad, ma 'mbatra~e:
-Mai jine-ma, Doam~,- a~a, 35 Vad easa bogatului
Ca ee vad, ma 'ntanar~ In mijloeu iadului,
!;)i la faja d-inverzese: Pa din afara eu var,
Vad easa mi!?elului, Pa din lontru eu amar;
Bat~-o raza soarelui. In loeu obloeului 2
'Neonjurata de albine. 40 Joaea para foeului·
r. LeI' /lori dalbi lerda mary! Dumnezey. i~i graie:
(95i. Coticlet if) -Ia sui, Petre, sus mai sus,
Pa umar dirept a miey.,
83c. Sa vezi, Petre, ee-i vide.
45 Mai jine-ma, Doamne,-~a,
Pogortt-o, pogortty, Ca ee vad, ma 'ntana're'se:
1'.,
Viid easa mi~elului
Dumnezey. ~i eu Sant'etr'; 1 In mijloeu raiului,
I: Pa pogoru eerelui : ,. Pa din afara eu tina,
50 Pa din lontru eu hodina
Luara-sa, dusara-sa 'Neonjurata de albine.
5 Pa ulijii., pa d-ulija. r. Florile-s dalbe!
(61e. Beiu~ if)
Cand i~i eray. la un loe,
La un loe, la un mijloe,
La easa bogatului: 83d.
-Buna zil}a, oameni buni! Pogortt-o, pogority,
10 Aveji pranzu pre bogat? I.r.,
-Dar pranzu nost' nu-i de dat, Dumnezey pa ast pamanty,
Ca pranzu nost' nu-i de voi, 2.1'.
Ci de oameni mari ea noi.
Luara-sa dusara-sa Dumnezey eu sojul sau,
15 Tat in sus pe rasarit Cu sojul say., eu Sant'etru. 1
Pa ulijii., pa d-ulija.
Cand i~i erav la un loe 5 Luarii.-sa, dusara-sa
La un loe, la un mijloe, Pan' ora~, pan' Fagar~.
La easa mi~elului: ------
20 -Buna ziya, oameni bunil
Aveji pranzu sa ni-l daji? Cand i~i fura la un loey,
-Avem pranzu pre pujin, La un loe, la un mijloeu,
Pleeaji lontru sa-l pranzim.
D'indi Dumnezey. rupea Dumnezey din grai graie:
25 De tri ori mai multe rele. 10 -Prinde-te, Petre, prinde-te
Luara-sa, dusara-sa Pe umar d~-a stangul mieu,
Tat in sus pa rasarit, CaVta 'n sus ~i eay.ta 'n jos,

1 = Sf. Petru.
2 = ferestrii « ablak, ung.).

[ 350 ]

Onward (went) along the road,
40 Over the earth's face (they went).
When they reached a (certain) place,
The Almighty Lord spoke out:
Come along (and) catch hold, Peter,
Onto my right shoulder (hold),
45 To see, Peter, what you'll see.
Keep me longer thus, oh Lord,
What I see makes me grow young
And my face is flourishing.
(Lo), I see the poor man's house
50 In the (very) midst of heaven,
(And a) sunbeam shines on it.
Refrain: Sing white blossoms of the
apple!
83c.
They descended, they descended,
Refrain
The Almighty and Saint Peter,
On the downward slope of heaven.
They set off, they made their way
5 Down the lane, along the alley.
When they came upon a spot,
At a spot (and) at a hub,
At the house of the rich man:
Worthy people, a good day!
10 Have you a rich midday meal?
But our meal is not for giving,
It's not for the likes of you,
But for great folks like ourselves.
They set off, they made their way
15 Ever upwards, toward the east,
Down the lane, along the alley.
When they came upon a spot,
At a spot (and) at a hub,
At the house of the poor man:
20 Worthy people, a good day!
Have you midday meal to give?
We've a scanty midday meal,
Go inside, let's eat it up.
Whence the Lord Almighty broke
25 Evil things three times as many.94
They set off, they made their way
Ever upwards, toward the east.
94 This verse and the immediately preceding one, which correspond to verses 27 and 28 of
text No. 83a., are similarly obscure.
96 Fagara~ (the accent is on the last syllable) is an ancient city of Transylvania, capital of
the district with the same name.
[ 351 ]
C I a)
The Almighty Lord spoke up
(And) He said unto Saint Peter:
30 Come, climb, Peter, higher up,
(Climb) upon my left-hand shoulder,
To see, Peter, what you'll see.
Do not keep me, Lord, like this,
What I see makes me grow old.
35 (Lo,) I see the rich man's house
In the (very) midst of hell;
Outside it is (daubed) with lime,
Inside (it is filled) with woe;
Where the window ought to be,
40 (Only) flames of fire dance.
The Almighty said (to him) :
Come, climb, Peter, higher up,
(Climb) upon my right-hand shoulder,
To see, Peter, what you'll see.
45 Keep me longer, Lord, like this,
What I see makes me grow young,
(For) I see the poor man's house
In the (very) midst of heaven;
Outside (it is daubed) with mud,
50 Inside (it is filled) with comfort,
(And) with bees (it is) surrounded.
Refrain: White are the blossoms!
83d.
He's descended, He's descended,
Ht Refrain
The Almighty on this earth,
2nd Refrain
The Almighty with His mate,
With His mate (who is) Saint Peter.
S They set out, they made their way
Through the town, through Fagarash. 95
When they were upon a spot,
At a spot, upon a hub,
The Almighty Lord spoke out:
10 Catch hold, Peter, catch a hold on
(Hold on to) my left-hand shoulder;
Look you up and look you down,

Sa vezi, Petre, ee-i vede.
-Nu rna tine, Doamn\:,-a!?a,
15 Ca ee vad, imbiitranes~
Ca vad poarta iadului
$i 'nea iadul eu tatul,
Tat vinind, ineaputand
Cl).-O viermuta n\:-adurmit.
20 -Lasa-l, Petre, lasa-l draga,
Ca aeelloe e gatit
La eel mare de bogat,
Care pranzu nu n\:-o dat.
Dumnezel). din grai graie:
25 -Ei, muta-te, Petre, muta
Pe umar d\:-a dreptul miel).,
Cal).ta 'n jos !?i eal).ta 'n sus,
Cauta 'n sus la rasarit,
Sa "vezi, Petre, ee-i vede.
30 -Mai tine-rna, Doamn\:,-a~a,
Ca ee vad, intanarese, '-"
Ca vad poarta raiului
$i 'nea raiul eu tatul:
Nu te poti apropie
35 De tri mile de pamant
De para faeliilor,
De mirosul florilor
$i de zvonul sfantelor,
De fumul tamailor,
40 De zvonul albinelor.
Dumnezel). din grai graie:
-Lasa-l, Petre, lasa-l draga,
Ca aeelloe e gatit
La eel mi~el ~i sarman,
45 Care pranzul mi I-a dat
Pentru Sfanta Dumineea
Pana -s popi in biseriea.
Faro' melodie:
* 25 $i pranzira, nu gatira,
$i-o 'nehinam eu sana tate
Casei !?i gazdei;
Lontru 'n easa sana tate,
Pe d\:-afara bogatate!
I.r. Corinde ~i corinde!
2.1'. Corinde!
(71b. Camp if)
83e.
Pogorit-o, pogoritYi,
r.
1 = Sf. Petru.
[ 352 ]
C I a)
Dumnezel).!li eu Sant'e=tr='=l=====
Pa pogori mari da ceara.
LUl).ara-sa, dusara-s'
5 Dela-l).n loe pana 'n mijloe
r. Corind'e Doamne!
(6Ij. Lune!?oara if)
83f.
Coborit-o, ilimerit-o,
1'.,
Pa seara sfanta d'e seara
=====
I: Pa seara sfanta d'e seara : I
Dumnezel).!?i eu Sfant patru.
5 Ei eand jos sa seoboral).
Seara lor li sa topea.
$i sa ll).ara !?i-mi pleeara
La miljoeu satului,
La easa bogatului.
10 Cand in easa mi-l intrara,
Voie buna ea mi-!?i ll).ara
$i din gura mi-~i graial).:
-Gata-i pranzu, sa-l pranzim?
-Pranzu-i gata, nu-i de vol
15 Ci de domni mai mari ea voi.
$i sa ll).ara ~i-mi pleeara
La eapatu satului
La easa saraeului.
Cand in easa mi-l intrara.
20 Voie buna ea mi-!li ll).ara
$i din gura mi-~i graial).:
-Gata-i pranzu, sa-l pranzim?
-Pranzu-i gata sa-l pranzim,
Cat 0 fi, hai sa-l pranzim!
Ospatara, nu gatara.
$i sa-mi ll}ara ~i-mi pleeara
Tot pe vii !?i pe eampii.
Graia-mi dragu Dumnezel).:
30 -Vita, Pietre, 'n stanga mea,
Spune, Pietre, ee-i vedea? .
-10 ee vad, rna 'nspaimantlez
$i mai tar' rna 'nfiorez:
Vad easa bogatului
35 D-in miljoeu satului;
Balaorii sufla 'n foe,
Sufla 'n foe, sa-!?i afle loe.
$i sa ll).ara ~i-mi pleeara

And see, Peter, what you'll see.
Do not keep me thus, oh Lord;
15 What I see makes me grow old,
For I see the gate of hell
And withal the whole of hell,
Ever coming on and filling
With a worm (that) sleepless (is).
20 Leave it, Peter, leave it be, dear,
Because readied is that place
For that rich (and) mighty man
Who did not give us a meal.
The Almighty Lord spoke (on):
25 Well, shift over, Peter, shift you,
(Hold) onto my right-hand shoulder;
Look you up and look you down,
Toward sunrise look you up,
And see, Peter, what you'll see.
30 Keep me longer thus, oh Lord;
What I see makes me grow young,
For I see the gate of heaven
And withal the whole of heaven;
Closer you can't get to it
35 Than three miles above the earth,
For the flame of candles (bright),
For the scent of (blooming) flowers,
For the sound of holy things,
For the smoke of (burning) incense,
40 For the rumor of the bees.
The Almighty said (to him) :
Leave it, Peter, leave it be, dear,
Because readied is that place
For that poor and needy man
45 Who gave us the midday meal,
For the sake of holy Sunday,
While there shall be priests in churches.
Without a tune:
* Ate their fill (and) could not finish;
And with (goodly) health we pledge it
To the house and to the host;
(May there be good) health within
And without (may there be) wealth! 30 Look you, Peter, to my left;
Ist Refrain: Caroling and carols!
and Refrain: The carols!
83e.
They've descended, they've descended,
Refrain
88 In this text, satului (of the village) is found (erroneously?) substituted for iadului (of hell).
C I a)
The Almighty and Saint Peter,
On long waxen slopes (descended).
They set out, they made their way
5 From one place up to the middle
Refrain: Lord, sing the carols!
83f.
They came down, they came on
downward
Refrain
On the stairs of holy stairway,
On the stairs of holy stairway,
The Almighty and Saint Peter.
5 As they downward made their way,
(Lo,) their stairs melted away.
And they left, their way they wended
To the middle of the village,
To the house of the rich man.
10 When inside the house they entered,
Goodly cheer they took (in) with them,
And they uttered speech to say:
Is the meal set for our eating?
It is set, (but) not for you,
15 ('Tis) for greater ones than you.
And they left, their way they wended
To the outskirts of the village,
To the house of the poor man.
When inside the house they entered,
20 Goodly cheer they took (in) with them,
And they uttered speech to say:
Is the meal set for our eating?
It is set for our eating;
What there be, let's eat it up!
25 And they feasted, didn't finish;
And they left, their way they wended
Through the vineyards and through
fields.
The beloved Lord spoke up:
What do you see, Peter? Say.
What I see fills me with fear
And more strongly makes me quail.
(Lo,) I see the rich man's house
35 In the middle of the village; 96
Dragons blow upon the fire,
Blow on it to get more room.
And they left, their way they wended
[ 353 ]
 C I a)
Tot pe vii ~i pe e~mpii. -Cayta-mi, Petre, 'n dreapta mear~,
40 Griiia-mi dragu Dumnezey: Spune-mi, Petre, ee-i vedear-.Q?
-Uita, Pietre, 'n dreapta mea, -10 ee vad, ma 'nspaimantez:
Spune, Pietre, ce-i vedea? 35 Vad easa bogatului
-10 ee vad, ma 'mbueurez In mijloeu iadului
!;)i mai tare ma 'nvoiese: Cum s'aprinde ~i cum arde
45 Vad easa saraeului !;)i avutul sa prepade!
D-in miljoeu raiului Dumnezel} din grai graiar~:
Tot eu flori-i influrita 40 -Ca"Q,ta-mi, Petre, 'n smnga meare,
!;)i eu ierburi inverzita. Spune-mi, Petre, ee-mi vedea~?
r. Doamne jaj Domnuluj. Doamnel -10 ee vad, ma 'nsufletese:
(102d. Paueine~d if) Vad easa saraeului
In mijIoeu raiului
45 Pe din Iuntru aurita,
83~. Din afara argintita.
Coborit-ay Domnul Sf~nt, r. Haj leru-mi Doamne haj.1
r., (62hh. Igri~ if)
Domnul Sf~nt p'aeest pam~nt,
r.,
83h.
I: Coborit-ay tot pre seara : I, I: Coborit-a, eoborit : I
I: Dumnezey eu Petru Sf~nt : I.
Seara sf~nta ~i de ceara
5 Intr' 0 zi de serbatoare I: Coborit-ay tot pe seara : I,
Cu Sf~nt Petru, sotu lui, I: Searii-i sf~nta ~i de ceara : I,
Pentru soartea omului.
Luara-sa ~i duse-se 5 I: Coborit-al} ea sa-~i vada : I
In mijloeu satului Ce fae domnii eu iobagip
lOLa easa bogatului !;)i avutii eu saracii.
- Buna sara, domnilor!
-Sa traiti. voi caiatoql Coborlt-ay tot pe seara,
-Gata-i pr~nzu de pr~nzit? Scara-i sf~ta ~i de ceara,
Ne 'mbiem la omenit. 10 Intro zi de serbatoare,
15 -Pr~nzu-i gata: nu-i de voi, C~nd rasarea sf~ntul soare.
Ci de domni marl ea ~i nolo Ei sa ial} ~i dueu-sa
Luara-sa ~i duse-se !;)i ajung ~i vadu-sa
La marginea satului, Pintre vii, pintre c~mpii
La easa saraeulul. 15 Pe 0 eale eu fac1ij.
20 -Buna sara, domnilor! Ei sa ial} ~i dueu-sa
-Sa triiiti, voi ealatori! !;)i ajung ~i vadu-sa
-Gata-i p~nzu de p~nzit? In mijIoeuI satului
Ne 'mbiem Ia omenit. La easa bogatului.
-Pr~nzu-i gata, cam putin,
25 Dar veniti ea sa-l pr~nzim; 20 Ei sa iay ~i dueu-sa
Ca de eumva nu s'ajunge, !;)i ajung ~i vadu-sa
Merg~-om in sat ~i-om aduee. In eapatul satului
Ei in easa sa bagara La easa saraeului.
!;)i bine sa ospatare. -Buna zil}a, muncitori!
30 Luara-sa ~i duse-se, 25-31 = S3g. 21-27
Dumnezel} din grai graiare: Sal} imprumut Iua I-om,

1 = oamenii iegati de glie « jobbagy, ling.).

[ 354 ]

Through the vineyards and through
fields.
40 The beloved Lord spoke up:
Look you, Peter, to my right;
What do you see, Peter? Say.
What I see fills me with joy,
And more strongly makes me glad.
45 (Lo,) I see the poor man's house
(Standing) in the midst of heaven,
All with flowering blooms it's (covered)
And with grasses green (surrounded).
Refrain: Lord, hoy, unto the Almighty!
83g.
(Lo,) the Holy Lord came down
Refrain
On this earth, the Holy Lord;
Refrain
He came down upon a ladder,
(On) a holy waxen ladder,
5 (All) upon a (holy) feast day,
With Saint Peter, with His mate,
For (to see) the fate of man.
They set out and made their way
To the middle of the village,
10 To the house of the rich man:
A good evening, gentlemen!
May you thrive, you travelers!
Is the meal ready to eat?
We make bid to be your guests.
15 It is ready, not for you
But for gentlefolk like us.
They set out and made their way
To the village edge (they went)
To the house of the poor man:
20 A good evening, gentlemen!
May you thrive, you travelers!
Is the meal ready to eat
We make bid to be your guests.
It is ready, somewhat scant,
25 But come on (and) let us eat,
For, should it be unavailing,
We'll fetch (more) in from the village.
(Thereupon) the house they entered,
And were bountifully feasted.
30 They set out and made their way,
(And) the Lord Almighty said:
[ 355 ]
C I a)
Look you, Peter, to my right side;
Tell me what you shall see, Peter.
What I see affrightens me,
35 (For) I see the rich man's house,
(Standing) in the midst of hell,
As it's catching fire and burning,
And the substance is demolished!
(And) the Lord Almighty said:
40 Look you, Peter, to my left side;
Tell me what you shall see, Peter.
What I see enlivens me,
(For) I see the poor man's house
(Standing) in the midst of heaven;
45 Inside it is (all) begilded,
Outside it is (all) besilvered.
Refrain: Come and sing of heaven,
Lord!
83h.
They descended, they came down,
The Almighty and Saint Peter.
They came down upon a stairway,
Holy is the stair and waxen.
5 They came down that they might see
What the lords do with the bondsmen
And the wealthy with the poor ones.
They came down upon a stairway,
Holy is the stair and waxen,
10 (All) upon a holy feast day,
As the blessed sun was rising.
They set off and make their way,
And they reach and see themselves
Among vineyards, among fields,
15 On a road with candles (lit).
They set off and make their way,
And they reach and find themselves
In the middle of the village,
At the house of the rich man,
20 They set off and make their way,
And they reach and find themselves
On the outskirts of the village,
At the house of the poor man.
A good day, you workingmen!
25-31 = 21-27 of 83g.
Either we shall borrow (more)

Sav pe bani cumpara I-om.
Dumnezev din grai graia:
35 -Cauta, Petre, 'n dreapta mea,
De vezi, Petre, ce-i vedea.
b) ABOUT THE HOLY VIRGIN
DESPRE SF.ANTA FECIOARA
84a.
La ce piatra razamata,
r.,
Maica Sfa,nta-i razamat'
=====
Cv-on fiut, micut in brata.
Fiutu tot imi salta,
5 Maica Sfanta 'n grai graia:
-Taci, fiut, nu imi salta,
Caci maica tie ti-o da
Dova mere, dova pere.
Fiutu tot imi salta,
10 Maica Sfanta 'n grai graia:
-Taci, fiut, nu imi salta,
Ciici maica tie ti-o da
DoVa pere, doVa mere,
DOl)a tate dalb~-a mele.
15 Fiutu tot nu tacea,
Ci mai tare ca salta,
Maica Sfanta 'n grai graia:
-Taci, fiut, nu imi salta,
Caci maica tie ti-o da
20 DoVa pere, doVa mere,
Dova tate dalb~-a mele
$i cheile raiului
Sa fi tu mai mare 'n rai.
$i-atunci fiutu tacea
25 $i bine sa lini~tea.
r. Domnuluj Doamne!
(66a. Micllaca ¢)
84b.
Colo sus la Rusaliny,
r.,
Est~-otufa d'e maslin~.
Da supt umbra tufiieiy
C I b}
Vezi casa bogatului
Din mijlocul satului
In mijlocul iadului.
(126. Bistra ¢)
Est~-o piatra rastand'iata (sic!),
5 Da supt umbra pietrii
$ede-mi, Doamne, cine-mi ~ede?
$ede-mi Maica Domnului
CV-on fiut, micut d-in brata.
Fiul plange, n'are stare
10 D-in bratele maichii sale.
Maica din gura-mi graie:
- Taci, fiule, taci, dragule,
Ca maica tie ti-o da
DoVa mere, doVa pere,
15 Dova tate dalb~-a mele.
-Ba, maico, nu mi-i de ele.
Mi-i de naltu cerului
$i de punt'e raiului:
Care vom ii pacatos
20 Cade de pa punt'e jos,
Cade 'n lad intunecos;
Care uom nu-i pacatos,
Mere pa punt'e frumos,
Mere 'n raiu luminos.
25 $i cu mai doi tanarei
Sa ne fie drag cu ei;
$i cu dOl)a tanariele
Sa ne fie drag cu ele;
$i cv-on fir de busioc
30 Sa aiba 'n lume naroc;
$i cV-on fir de iarba creaja
Sa aiba 'n lume viata!
r. Ddrmjand, ddrmjand mi Doamne!
(92e. Paucine~d ¢)
84c.
Colo sus ~i mai din SUS\!,
r.,
[ 356 ]

Or for money we shall buy.
The Almighty Lord made speech:
35 Look you, Peter, to my right,
And see, Peter, what you'll see.
C I b)
(Lo,) you see the rich man's house,
From the middle of the village,
(Standing) in the midst of hell.

b) ABOUT THE HOLY VIRGIN

84a. There's a stone (that's) overturned;

(Lo,) upon that stone (that's) leaning
Refrain
Is the Holy Mother propped,
In her arms a small Son clasping.
The small Son kept leaping up,
5 (And) the Holy Mother spoke:
Quiet, Son, (and) leap no more,
Because mother'll give to you
Two (fine) pears (and) two (fine)
apples.
The small Son kept leaping up,
10 (And) the Holy Mother spoke:
Quiet, Son, (and) leap no more,
Because mother'll give to you
Two (fine) pears (and) two (fine)
apples,
(And) two fair white breasts of mme
(too).
15 Still the small Son wasn't quiet,
But yet harder He leapt up,
(And) the Holy Mother spoke:
Quiet, Son, (and) leap no more,
Because mother'll give to you
20 Two (fine) pears (and) two (fine)
apples,
(And) two fair white breasts of mme
(too),
And (besides) the keys of heaven,
So that you'll be lord of heaven.
Then the little Son was still
25 And was nicely quieted.
Refrain: To the Almighty!
5 In the shadow of the stone
There is sitting, Lord, who's sitting?
('Tis) the mother of the Lord
With a small Son in her arms (held).
The Son weeps (and) finds no comfort
lOIn the arms of His own mother
Spoke the mother (unto Him) :
Hush, (my) son, be quiet, darling,
Because mother'll give to you
Two (fine) pears (and) two (fine)
apples,
15 (And) my own two fair white breasts
(too).
Nay, mother, for them I care not;
I care (but) for heaven's height
And withal for heaven's bridge:
. Everyone who sinful is
20 From the footbridge hurtles down,
Falls down into darkling hell;
Those who aren't sinners, (all)
Nicely walk upon the bridge,
Into lightsome heaven go.
25 And along with two more youths,
That we might be fond of them,
And along with two more lasses,
. That we might endear them (also),
With a sprig of basil, too, 97
30 That they might have luck on earth,
With a sprig of curly grass, too,
In the world that they might flourish!
Refrain: Hushaby, hushaby, sleep, 0
Lord!

84b. 84c.
Yonder high, and higher yet,
Up there, in Jerusalem, Refrain
Refrain
(Lo,) there is an olive bush;
But beneath the bush's shade
97 Basil (Ocimum basilicum), a symbol of love, is.though~ t.o brin~ good luc~. It is often
referred to in Rumanian folk songs, and, indeed, a spng of basillS used ill Rumaruan Orthodox
church services as an aspergillum.

[ 357 ]

Est~-o masa de matasa
Pi cu fir trasa.
d~-alaturi
~ede maica razamata
5 Cy-on §iup micut in brata.
~iul pl~nge ~i nu tace,
Maica-sa din grai graie:
-Taci, §iule, nu mai p~nge!
Ca io tie ca ti-oi da
10 DOl}.a mere, doya pere,
Doya t~te galbinele.
-Nu mni-s de ~tile tele:
Mm-i de punte' raiului,
Ca-i ca §iru 2 parului
15 lncarcata de pacate
~i de suflet~-adunate.
1'. L'il'i1joa1'o, ~i-a nos'
(104a. 2. var. Chinci~)
84d.
Colo susu, mai d'in susy,
1'.,
D'~-asupra la rasaritu
I: D'~-asupra la rasarity : I
Est~-o cruce rastumata,
5 Jos pa piatra razimata.
I: Jos pa piatra razimata : I.
Langa cruce cine-mi ~ede ?
~ede Maica Domnului
Cy-on fiut micut in brata.
10 Fiul plang~,-astampar n'are,
Maica-sa dingrai graia:
-Taci, fiule, taci, dragul'el
Ca maica tie ti-o da
Doya mere, doya pere,
15 Sa te joci, maichii, cu ele.
Fiul din grai imi graia:
-Da, maico, nu mi-i de ele:
Mi-i de puntea raiului,
Cii-i ca parul capului.
20 Care om nu-i pacatos,
Trece pe punte frumos,
1 = fiut.
S = firu.
S = scheuna (?).
C I b)
Trece 'n raiu luminos;
Care om ii pacatos,
De pe punte pica jos
25 Pica 'n iadu 'ntunecos.
~i, maico, mie mi-i jele
De om cu pacate grele,
Ca lumina nu mai vede,
Ci tot la 'ntunerec ~ede.
1'. Doamne jof: Domnuluj Doamnel
(102b. Hau de mori if)
84e.
I: Colo 'n sus la rasarity, 1'. : I
====
I: Est~-o dalba miiniistire :
------
Doamn'l Cu piiretii de marmura,
Cu u~ile de tamaie.
5 'N maniistire cine ~ede?
~ede, !?ed~-on pop' batran
Cu v'o noya deiecei,
Ii a canta slujba sfanta.
Slujba sfanta cin~-asculta?
==== 10 D-o asculta Maica Sf~nta
Cy-on §iup micut in brata.
~iu 'ncep~-a scrintena (sicl),a
Maica Sfantii cuvanta:
-Taci, §iule, taci, dragule!
15 Cii maica tie ti-o da
Doyii mere, doya pere,
DOl}.a tate dalb~-a mele
~i tu te-i juca cu ele.
1'. Zuo,1'el de zu1'1
(121p. Mice~ti if)
84f.
I: Aista-i gazda cel mai buny,
fTllTIl
I.1'. :12.1'.,
I : El bun gand cii ~i-o gandity : I
I: Sa mi-~i fac' 0 miiniistirie : I,
Sa s'adune diecei,
5 Sa ne lege clopetele,
Sa slujeasca sfanta slujbii.
[ 358 ]

There is (spread) a silken table,
Round about with gold (it's) threaded.
(There) the mother sits a-leaning
5 With a small Son in her arms (held). 25 Falls down into darkling hell.
The Son weeps and won't be quiet,
(And) His mother said (to Him):
Quiet, Son, (and) weep no longer I
For I shall give unto you
10 Two (fine) pears (and) two (fine)
apples,
(And) two yellow breasts (I'll give
you).98
For your breasts I've no desire,
I'm concerned with heaven's bridge,
For it's like unto a hair,
15 (Yet) with sins (it's) overloaded
And with souls gathered (upon it).
Retrain: Lily flower and Our Lord!
84d.
Yonder high, still higher up yet,
Retrain
Up above, toward the sunrise,
Up above, toward the sunrise,
There's a cross (that's) tumbled over,
5 Down against a stone (it's) leaning,
Down against a stone (it's) leaning.
By the cross, who is it sitting?
'Tis the Mother of the Lord
In her arms a small Son holding.
10 The Son weeps (and) is unquiet,
(And) His mother spoke to say:
Quiet, son; be still, beloved!
Because mother '11 give to you
Two (fine) pears (and) two (fine)
apples,
15 To play with them, mother's (darling).
(But) the Son said (unto her):
But I don't care for them, mother;
I'm concerned with heaven's bridge,
For it's (narrow) as a hair.
20 (Lo,) the man who sinless is
Nicely goes across the bridge,
C I b)
Into lightsome heaven goes;
(But) the man who sinful is
Off the bridge comes tumbling down,
And I'm sorrowing, oh mother,
For the man whose sins are heavy,
For he no more sees the light (shine),
But in darkness stays forever.
Refrain: Lord, hoy, for the Lord
Almighty!
84e.
Yonder, high, toward the sunrise,
Retrain
There is a white monastery,
With the walls (all made) of marble,
With the doors (all made) of incense.
5 Who lives in the monastery?
('Tis) and old priest (who) lives
(there),
With some nine deacons together,
(And) they sing the holy service.
Who is hearing holy service?
10 ('Tis) the Holy Mother hears it,
In her arms a small Son bearing.
(Lo,) the Son begins to whimper (?),
(And) the Holy Mother said:
Quiet, Son, be still, beloved,
15 Because mother'll give to you
Two (fine) pears (and) two (fine)
apples,
(And) my two fair white breasts (also),
And with them you shall be playing.
Retrain: Little whirring whir!
84f.
This is the most goodly host:
ISt Refrain 2nd Refrain
He has thought a goodly thought,
To build him a monastery,
That the deacons might convene,
5 (And) the bells to set a-swinging,99
And to serve the holy service.

98 Interestingly enough, the word gdlbinele (recte gdlbenele), used as an adjective in this text
(meaning "yellow" in the diminutive feminine plural form), also designates a number of plants,
to wit: Nasturtium amphibium, Ranunculus pedatus, Ranunculus polyanthernus, Calendula
oflieinalis, Zostera merina, and Lactarius aUl'antiacus. The use of this word to describe a wo-
man's breasts is highly unusual, and may be due here to a primary concern with the rhyme.
99 The oddly metathetical phrase sit ne lege (that they might tie up for us) appears to be an
error, the original intent being, in the translator's opinion, sa legene (to swing or rock). If this
hypothesis is wrong, however, the verse should read: To fasten the bells for us (there).

[ 359 ]

Sfft-nta slujba cinl':-asculta?
D-o asculta Maica Sfft-nta
C~-un fiut micut in brata.
10 Tft-t n scalda ~i-l dezmierda:
-Taci, fiule, nu-mi cri~carie,
Ca maica tie ti-o darie -
Do~a mere, do~a pere,
Do~a tft.te dalbl':-a mele.
I.1'. Domnuluj Domnuluj Doamne!
2.1'. Domnuluj Doamne!
(62jj. Igri~ t/»
84g.
Colo 'n susu, mai din susy,
1'.,
Luce, luce, ce straluci? 1
Dar nu-i luce ce straluce,
Ca-i 0 sfft-nta manastire
5 Cu paretii de tamft.ie
!;Ii cu stft-Ipii de faclie,
------
Cu podu de sfft-nta ceara.
Dar intr' insa ~ede ?
!;Iede-~i popt'i de tara,
10 !;Iede-~i no~a diecei,
!;Iede-~i no~a iegumei. 2
Dar de lucru ce lucreaza ?
De cu sara vecemeaza,
Miez de noapta itrosnie, 3
15 Zori de zi1,1a slujba sfft-nta.
Dar slujbile cin~-asculta ?
Le asculta Maica Sfft-nta
Cu fi~ mic dl':-a brata sa.
Fiul plft-nge, stare n'are,
20 Maica Sfft-nt' a~a-i grai:
-Taci, fiule, nu mai plft-nge!
ea maica tie ti-o da
Tot cft-rjuta Tatalui
!;Ii cheile raiului
25 !;Ii ~u~taru de botez
!;Ii scaunul de judet.
J udeca-i sufletile:
Cel' mai bune 'n rai ll':-om pune,
Cel' mai rele 'n iad l~-om pierde.
1'. Hoi le1'uj doj le1'uj, Doamne!
(Slc. Chincis if)
1 = straluce.
2 = igumeni.
3 = iutrenie.
[ 360 ]
C I b)
84h.
Pi un dealu cel ai marie,
1'.,
Rasaritu sfft.ntu soarie
Carie 'n lumea lumineazli
!;Ii iar vara-i ravareaza.
5 Colea sus int' 0 gft.rbie!
Est~-o mare manastire
Cu fere~tele spre mare
Cu u~ile jos spre soare,
Dar intr' insa cine ~ede?
10 N o1,1a popi, no~a dieci,
Mai p'atatia patrierci.
Sfft-nta slujba cin' Q-asculta?
Maicuta lui Dumneze1,1,
D-in brate cu fiul sa~.
15 Fiul plft-nge, stare n'are
D-in bratele maichii sale.
Maica din gura-mi graie:
-Taci, fiule, taci, dragule!
Cli maica tie ti-o da
20 Leganior de palt'inior
!;Ii cheile raiului,
Lumina botezului,
Sa fi domn al cerului,
Cerului, pamft-ntului.
1'. Doamne joj Domnuluj Doamne!
(1 02i. Paucine~d if)
84i.
Colo 'n josul, mai d'in josy,
1'.,
Scris ii tare lucru-i mare,
Scris ii dalba-i manastire
Cu zlibrel'e sus la st'el'e,
5 Cu u~il'e 'n jos pre mare,
Cu altari ii catra soare,
Cu fere~ti de tamft.ie~ti,
Cu praguri de sfft-nt' aguri (sic!).

Who is hearing holy service?
(,Tis) the Holy Virgin hears it,
In her arms a small Son bearing.
10 She keeps bathing Him and
fondling: 100
Quiet, son, do not be gnashing,101
Because mother'll give to you
Two (fine) pears (and) two (fine) apples 5 There on high, upon a summit,
(And) my two fair white breasts (also).
ISt Refrain: To the Lord, to the
Almighty!
2nd Refrain: To the Almighty!
84g.
There on high, still higher up yet,
Refrain
Sparkles, sparkles, what is sparkling? 15 Weeps the Son (and) has no comfort
But it is no light that's sparkling,
'Tis a holy monastery,
5 With the walls (made all) of incense
And with pillars (made) of candles,
With a roof of blessed beeswax.
But inside it who is staying?
(Lo,) nine country priests are staying,
10 (And) nine deacons (too) are staying,
(And) nine abbots stay (as well).
But what work are they (all) working?
In the evening they serve vespers,
Matins (too, they serve) at midnight,
15 (And at) daybreak holy service.
To the services, who listens?
Holy Mother listens to them,
In her arms a small Son bearing.
The Son weeps (and) has no comfort,
20 Thusly spoke the Holy Mother:
Quiet, son, (and) weep no longer!
For to you mother will give
Both the crozier of the Father
And the keys to heaven's gate,
25 Both the font of baptism
And the chair of judgment (too).
You'll pass judgment on the souls:
We shall put the best in heaven,
(And) in hell the worst put under.
Refrain: Hoy, sing carols, Lord
Almighty!
C I b)
84h.
On a hill (that is) the highest
Refrain
Is the holy sun arisen,
Which upon the world (its) light sheds
And brings back again the summer (?).
There is a great monastery;
Toward the sea are (set its) windows,
Down toward the sun (its) doorways.
But inside it, who is living?
10 Nine priests (and) nine deacons (are),
Most as many patriarchs.
Who attends the holy service?
('Tis) the mother of the Lord,
With her Son (clasped) in her arms.
In the arms of His (dear) mother.
Spoke the mother (unto Him) :
Quiet, Son, be still, beloved!
Because mother'll give to you
20 A small cradle (made) of maple,
And the keys of heaven (too),
(And withal) the christening candle,
Lord of heaven for to be
(Lord) of heaven, of the ~arth.
Refrain: For the Lord, for the
Almighty!
84i.
Down there, yonder, lower down yet,
Refrain
A most mighty thing's appointed:
A white monastery's pictured;
To the stars (rise up its) railings,
5 Down upon the sea (its) doors (are),
To the sun is (turned) the altar;
Windows (are) of incense (made),
Thresholds (are) of holy vine.

100 It is possible. that £1 scald~ (she bathes him) is meant to be tl sdlta (she dandles him) -
a somewhat more lIkely occupatlOn under the circumstances described in the ballad.
101 .Perhaps nu crkni (make no sound) was intended, since a babe in arms would hardly be
gnashmg non-existent teeth. Anyway, nu cri~ca means "do not gnash" and nothing else_

[ 361 ]
 C I b)
Slujba sfanta cin~-o canta? ca-i pUut, pat d-aurel.
10 cant' 0 nova popi batrani. 5 Da 'n patut cine-i culcat?
Ii culcata Maica Sfanta
1'. Domnuluj Doamne Domn d'lI-a Cu on fiy. nicut in brata
nost'! Fiu 'ncep~-a scrintena (sic!},5
(88a. Petro!1an tI) Maica.-sa din grai graia:
10 -Taci, fiule, taci dragulel
84j. ca tie maica ti-o da
Doy.a mere rO!1ioare,
Sa te joci in rai cu ele.
Slujba sfanta cin~-o canta ?
-Nu-mi trebue, maicl'i, ele,
1'.,
15 Far' maturl'i de-argint
cant' 0 noy.a popi batraniY, Sa matur p'acest pamant:
Cate gozuri 6 !1i-or afia,
$i cu noy.a dieciiu. Tot in iad l~-om arunca.
Slujba sfanta cin' Q-ascult'? l_A_
(107c. Bala </>)
5 -scuIt'l 0 Maica Domnului.
84m.
1'. Lino-mi lino l'e1'o-mi lino!
(80. Ciarbal tI)
I: Colo 'n josu, mai d'in josu, 1'. : I,
I: Pe ratutu cel frumosu I
84k.
I: Audzi, gazda, y.or n'audzi : I I: Est~-o masa de matasa : I.
fT.l fll.i
I: Toaca. 'n cer !1i slujba 'n rai : I rai? I: Dupa masa cine !1ade : I ?

I: Cloptil'e l'e trage~2 : I, 5 $ade, !1ade Maica Sfanta

Cy.-on §iut 4 mcut in brata.
I I. I fTIl
I: tngerii slujba faeere 3 : I face. §iu pIange, n'are stare,
Maiea sa hodina n'are.
5 Da slujba cin~-o ascuIta? -Taci, §iule, taei, dragule!
Totu!1 Maica. Precista 10 Ca tie maica ti-o da~
Cu-on §iut4 micut in brata Doy.a mere, doy.a pere,
Doy.a tate dalb~-a mele
(73t. Or!1ova </>) $i cheile raiului.
Raiul n 11 descuiere,
841. 15 Pe Dumnezey l-ii vede~,
$i pe oameni pe pamant.
I: Colo 'n sus in palt'ioriu : I, 1'. Zuoril' de 801'!
1'., (1210. Niere!1teu </>)
Est'~-un puiu granganelu.
------ 84n.
Da nu-i puiu granganel, Maica Sfanta ca ie!1ia

1 = asculta.
2 = trageau.
3 = faceau.
4 = fiut.
S = scheuna (?).
6 = gunoiu « gaz, ung.).

[ 362 ]

Who is chanting holy service?
10 Nine old priests are chanting it.
Refrain: For the Almighty, for Our
Lord!
84j.
Who is chanting holy service?
Refrain
Nine old priests are chanting it,
And nine deacons (chant it) with
(them).
Who is hearing holy service?
5 The Lord's mother's hearing it.
Refrain: Softly, softly, carol softly!
84k.
Do you hear or don't you, host,
Bells and clappers in the sky?
(There's a) service (up) in heaven,
(And) by angels it is served,lo2
5 But who's listening to the service?
Blessed Virgin Mother yet,
With a small Son in her arms (clasped).
841.
Yonder, high among the maples,
Refrain
There is a (small) oriole chick.
Nay, it's not an oriole chick,
loa The tenor of this and the immediately preceding two verses has been reshuffled in the
translation.
C I b)
For it's a small bed of gold.
5 But who's lying in the bed?
'Tis the Holy Mother lying,
In her arms a small Son (clasping).
(Lo,) the Son begins to cry,
(And) His mother said (to Him) :
10 Quiet, Son, be still, beloved,
For to you mother will give
Two (fine) russet-colored apples,
For to play with them in heaven.
Those I have no need of, mother;
15 (I need) but a silver broom,
For to sweep this earth (with it) ;
All the sweepings that are found
We shall throw (down) into hell.
Refrain: Carol, Lord!
84m.
Down below there, lower down yet,
Refrain
On that beauteous little meadow,
There is (spread) a silken table.
Who is sitting at the table?
5 Sitting sits the Holy Mother
In her arms a small Son holding.
Weeps the Son (and) finds no comfort,
And His mother gets no respite.
Quiet, Son, be still, (my) darling,
10 Because mother'll give to you
Two (fair) pears (and) two (fair) apples
(And) two fair white breasts of mine
(too),
And the keys of heaven (as well).
15 Heaven you shall (then) unlock,
You shall see the Lord Almighty
And the people on the earth.
Refrain: Swiftly with the dawn!
84n.
Holy Mother came outside
[ 363 ]
 C I b)
Cy-un fiut micut pe brata. 84p.
Dar fiutul tot pl!ngea,
Maidi-sa din grai graia:
I: Colo sus pa dupa luna: I,
1'.,
5 -Taci tu, fiul, d~-a plangear~,
Ca maica tie ti-o da
Doya mere jucatoare Ba zQ 3-aceia nu-i lumina,
Ca lumina dela soare.
Da-i un scaun de hodina.
Dar fiutul n'al} tacut, Da pe scaun cine ~ede?
10 Pana ce al} petrecut 5 $ede, Doamne, Maica Sfanta
Peste crucea soarelui Cy-un fiut micut in brate.
In mijlocul raiului $i fiutu-~i det~-a plange.
-Taci tu, fiu, nu mai pl!nge.
De a dreapta Tatalui.
( 102m. Bistra if) Ca maica tie ti-oi da
10 Doya mere, doya pere,
Doya tate de muiere.
1'. C01'inde-mi Doamne!
840. (73f. Delan </»
I: Colo sus la Rusaline : I, (73m. Var. Beiu~ if)
1'.,

Est~-un scaun de hodina. 84r.

Da pe scaun cine-mi ~ede ? [Colo sus, mai din sus,
$ede Maica Precesta
5 Cy-un fiut micut in brata. Colo sus la drumul mare
Fiut zbiarii., stare n'are, $ede-mi, cine-mi ~ede ?
Maica sa din grai graia: D-o dalba nevasta]
-Taci, fiule, nu zbiera! 5 Cy-un fiut micut in brata.
Ca maica tie ti-o da 1'.,
10 Doya mere, doya pere,
Sa te joci in rai cu ele, Fiul plange ~i-mi jupe,
$i cheile raiului Mica lui imi mangaie:
Sa-l incui ~i sa-l descui. -Taci, fiule, taci dragule!
ca maica tie ti-o da
* 10 Doya mere, doyll. pere.
Fa1'a melodie:
1'. L'er doj l'e1' nevasta!
$i-o 'nchinam cu sana tate ;
15 Zil)a de mane (38b. Ciarbal if)
S'o ajungi, gazda, cu voia buna!
Fa-ti, gazda, mana ciot-bot 84s.
$i-o baga 'n jipl pana 'n cot
$i ne scoate nov' un zlot, I 1. I [IT.l
20 Sa ne cumparam nadragi noi, I: Colo 'n jos ~i mal din jOSY, 1'. : 1jos
Sa fugim dupa vulpe.
Vulpea sora ii vicleana, I I. I ~
Noi nis 2 ficioq de catana. I: rat tare frumosy : 1frumos.
Est~-on
1'. Corindam, Doamne, c01'indam! In mijlocul ratalui
(73u. Sanmiclau~ul mare if) Est~-o cruce de mar dulce.

1 = buzunar « zseb, ling.).

D = suntem.
3 = zau.

[ 364 ]

In her arms a small Son holding.
But the Son ceased not to try,
(A~d) His mother said (to Him) :
5 QUlet, Son, (and cease your) weeping,
Because mother will give you
Two (fair) apples (that are) dancing
As the light (is) of a sunbeam.
But the Son would not be still
10 Until they had made their way
The sun's highest mark above,
To the Father's right-hand side.
840.
In Jerusalem, up yonder,
Refrain
(Lo,) there is a seat for resting.
But who's sitting on the seat?
('Tis) the Holy Mother sitting,
5 In her arms a small Son holding.
Cries the Son (and) has no comfort,
(And) His mother said (to Him) :
Quiet, Son, (and) do not cry,
Because mother'll give to you
10 Two (fine) pears (and) two (fine)
apples,
For to play with them in heaven,
And the keys of heaven too,
To lock and unlock it (with).
* Refrain: Wife, I'm singing carols!
Without a tune: l03
And we pledge you in good health:
15 The day of tomorrow,
May you reach it, host, cheerfully!
Make your hand, host, into a knot 104
And put it up to the elbow in your
poke,
And bring out a zlot for us,
20 That we might buy ourselves new
breeches,
To run after the fox.
The fox, sister, is a sly one: 105
We are a soldier's sons.
Refrain: We sing carols, Lord, we carol!
108 This part, which seems to be an improvisation, has no meter and only occasional rudi-
mentary rhymes.
104 That is, Into a fist.
105 Alternative reading for this verse: The fox is a sly sister.
[ 365 ]
C I b)
84p.
High, behind the moon, up yonder,
Refrain
Nay, that is no light, I swear it,
But a settle 'tis for resting.
But who's sitting on the settle?
5 Lord, the Holy Mother's sitting,
In her arms a small Son holding,
And the small Son started weeping.
Quiet, Son, (and) weep no longer,
B~cause mother will begift you
10 Wlth two pears (and) with two apples
(And) with two breasts of a woman. '
Refrain: I carol, Lord!
84r.
There, above, higher up,
T~e~e, above, upon the highway,
Slttmg, who is sitting?
A fair married woman,
5 In her arms a small son holding.
Refrain
Wept the son and leapt about,
(And) his mother soothed him (thus) :
Quiet, son, be still, beloved,
Because mother'll give to you
10 Two (fine) pears (and) two (fine)
apples.
848.
Below there and lower down
Refrain '
There's a very beauteous field.
In the middle of the field
There's a cross (made) of sweet apple.

5 L&nga cruce cine !jede?
!?ade maica razamatli
Cy-on fiuj micuj tn brajii.
r. Domnilor ~j -a nos' Doamn'[
(Me. Chinci!j if)
84t.
Dara sclujba cine-asculta ?
C'o d-asculta Maica Sf&nta
Cu costijii d-asplet'itli,
Pasta fiy mic sloboztta.
5 !?i fiy micuj dede-a plange
Cu grele lacrami de sange.
Maica Sf&nta-!ji graira:
-Ie taci, fiy mic, nu te pIangi,
Ca io tie ca ji-oi da
10 Doya mere, doya pere:
Doya jije dalbe-a mele.
-Da cum, mai'Ci, nu mi-i pl&nge,
ca vad punte raiului
Cum ti paru capului.
15 -Lezne, fiy mic, !ji d-ace:
Cine bine scluji-ya,
Lezne punte trece-ya,
Cine rau scluji-ya
Da pa punte pica-l}a,
20 Groznac iad tn fund ala.
r. Corinde-mi Doamn'!
(73m. Dumbravija de codru if)
84u.
La cea fanta.na d'e pceatra
!?ede maica razamata
Cy-on fiuj micuj tn braja.
Fiu plange d'e sa stange,
5 Maica sa d'in grai graie~:
-Taci, fiure, nu mai pIange,
Ca jie maica ji-a da~
r. Zurel d'e zur!
(121r. var. Libanie!jd if)
Mv.
[Colo 'n jos !ji mai din josu]
[ 366 ]
C I b)
Este-un mar mare 'nfluritu;
Dar su' poala maruluiu
rr.l fIT.l
I: Este-un reagan de matasli : I -tas'.
5 Dar tn reagan cine !jade?
!?ade Maica Precistal~
rrl fll.l
I: Cy-un fiuj micuj tn brajii : I brat'.
(124. Cianad if»
85.
Sfintiji nova novoade~,
r.,
!?i 'mpletiji la novod verde.
Peste mare-l aruncara
!?i nimica nu vanara;
5 !?i-arunca !ji-a doya oara
!?i nimica nu vanara:
!?i-arunca !ji-a tria oara
!?i vanar' un pui de Iudii.
Tri mi-l bat !ji tri mi-lleaga,
10 Tri stay la cap ~i-l tntreaba:
--Cand ij coada veacului,
Sf~itu piimantului?
cand maica-sa auzi,
catra fiul say pomi
15 Din calcaie scaparand
!?i din gura foc japand:
-Ce-mi bateji voi puiu miey,
Ca el ij mic !ji mi-i prost
!?i el nu va !jtie spune,
20 ca.nd ij coada veacului,
Sf~itu pamantului:
Cand n'ascultli sora mic,
Sora mic de sora mare,
Frate mic de frate mare.
25 !?i ficujii de maicujii
!?i ficior de tatal sal}, -A-
-tunci ij coada veacului
Sf~itu pamantului
C'a!j' 0 lasat Dumnezey.
r. Domnul daj Domnuluj Doamne!
(82b. S&nmiclau!jul mare if)

5 By the cross, who is that sitting?
'Tis the mother, sitting, leaning,
In her arms a small son holding.
Refrain: Gentlemen and Our Lord!
84t.
But who's listening to the service?
'Tis the Holy Mother listening,
With her unbound tresses hanging,
O'er (her) small Son hanging loosely
5 And the small Son started weeping,
Heavy tears of blood (a-shedding).
Said the Holy Mother (then):
Quiet, small Son, don't complain,
Because I shall give to you
10 Two (fine) pears (and) two (fine)
apples,
(And) my own two white breasts (also). 10 Three stand by his head and ask him:
But how should I not weep, mother?
(Lo,) the bridge of heaven I see,
(And) 'tis like unto a hair.
15 Small Son, that is easy too:
Whosoever shall serve well,
Easily the bridge shall cross;
Whosoever shall serve ill,
Off the bridge shall tumble down
20 Into the dread depth of hell.
Refrain: I carol, Lord!
84u.
At that well with the stone coping,
Sits the (Holy) Mother leaning,
In her arms a small Son holding.
The small Son weeps (fit) to perish,
5 (And) His mother (unto Him) said:
Quiet, Son, (and) weep no longer,
Because mother will begift you
Refrain: Small whirring whir!
84v.
Down below there, lower down yet,
108The word leagan means both cradle and swing.
108In the original, this verse reads literally: When is the tail of the century. The word veac,
however, has the additional connotation of time and even of eternity.
C I b)
A large apple tree is blooming;
But beneath the apple tree
(Lo,) there is a silken cradle. I06
5 But who's sitting in the cradle?
'Tis the Holy Mother sitting
With a small Son in her arms.
85.
Set a blessing on our fish net,
Refrain
And keep knotting the green fish net.
Out upon the sea they cast it
And they didn't haul a thing in;
5 And a second time they cast it
And they didn't haul a thing in;
And they cast it out a third time
And they hauled in a young Judas.
Three belabor him, three tie him,
When's the tail end of the age,I06
(When) the world (comes to an) end?
When his mother heard (of this),
She set out toward her son,
15 Striking sparks off with her heels,
Throwing fire from her mouth:
Why are you beating my cub?
He is simple and he's young,
And to tell you he's not able
20 When's the tail end of the age,
(When) the earth comes to an end:
(It is) when a younger sister
(Won't obey) an older sister,
(Nor) young brother (heed) the elder,
25 Nor a daughter (heed her) mother,
Nor a son (obey his) father,
Then 'twill be of age the tail end,
(When) the world (comes to an) end,
For thus has the Lord ordained.
Refrain: Give the Lord, to the Almighty!
[ 367 ]
 C I b)
86. Cartea 0 'ncingene
La carlicica
'N umbra ceriului, lJochi-~i d-arunca.
I.Y., Da sus pe marea
'N poarla raiului, 15 ~i ie d-imi vede
2.Y., Ceata neguriata,
'N poarla cine !?ed'? Ceata de ficiori,
Juni colindatori·
~ede-!?i Maica Sfantiii. Deparl'e-mi era,
5 Lucru ce-ji 1 lucreaza ? 20 Bin' apropia.
Gul'er gat'ie, 10 Santii Marie,
Maica Domnului,
Gul'er fiului. 'N cale Ie ie~ie
Daca-l gat'ie, Cl)-O vadra de yin,
Pe fil) investie 25 Cl)-on tipal) 2 de gral).
10 ~i 'n brata-l prinde Din tipal) Ie da,
~i mi-l saruta
Cu vadra 'nchina,
tn sfantul obraz Cu gura 'ntreba:
~i mi-l straina
- J uni colinda tori,
Tat pan' tari straini. 30 Ceata de ficiori,
15 rnde cina-i da, P'une 3 mi-ati d-umblat,
Sala!? nu-i mai da, ~i mi-ati colindat,
Pana-!?i nimere Drag fiut d-a miel),
'N sara de Ajun Drag fil) n'ati vazut?
'N curle lui Craciun 35 Ceata de ficion,
20 ~i sala!? ii da. Juni colindatori.
La cap ce punea? Ei a~a-mi graie:
led'ere mununa, -De I-om fi vazut,
'Nt'insa, d-inflorita. Nu I-am cunoscut.
I.Y. Daamne! 40 -Lezne-i d\':-a-l cunoa~te,
2.Y. Daj caYind' e! Cii murgutu lui-i
(21p. Ginta-Rohani if) Negro pintenogu
De picioru stangu;
87a. ~aulita lui-i
45 Gura leului;
Colo sus, mai susy, PU!?culita lui-i
Sus la drumul marie, Tunetul de vara
Y.,
~i de primavara,
D\':-o parte d'e cal'e Fulgerul de sara;
50 Franutele lui-i
Mai este, mai est\':-o Radza soarelui;
5 T'iatra-i rastumata, Cingulita lui-i
D'e Domnu-i lasata. Naparca platita:
Corbacelu lui-i
La t'iatra-l) ~ederie 55 ~erpe 'nsparlitat.
10(?) Sfanta Marie, Ceata de ficiori
Maica Domnuluiy. J uni colinda tori
10 La t'iatra-l) ~ederie

1 = ce-si.
2 = pa';'i~oara « cip6, ung.).
3 = pe unde.

[ 368 ]
 C I b)
86. O'er the little letter,
(Lo,) she cast her eye.
Shadowed by the sky,
But upon the sea
ISt Refrain
15 (She looked) and she saw
(Up) at heaven's gate,
Lowering of mist haze,
2nd Refrain
A throng of young lads,
Who sits at the gate?
(Of) young carolers.
Sits the Holy Mother.
They were far away,
5 What work is she working?
20 Nicely they drew close.
She's making a bib,
(And, behold,) Saint Mary,
A bib for (her) Son.
Mother of Our Lord,
Once she readied it,
Met them on their way
She dressed up (her) Son,
With a pail of wine,
10 Took Him in her arms,
25 With a wheaten loaf.
And she set a kiss
Of the loaf she gave,
On (His) holy face,
Pledged them with the pail,
And estranged Him (then)
With her mouth she asked:
Into foreign lands.
Youthful carolers,
15 Those who gave Him board
30 Throng of youthful lads,
Shelter gave Him not,
There where you have been,
Till He found His way
Caroling the while,
On the Christmas eve
On my own dear Son
To the house of Yule,
Have you not set eyes?
20 And they sheltered Him.
35 The throng of young lads,
What did He (then) don?
Youthful carolers,
(Twas) a wreath of ivy,
Thus said (unto her) :
(All) abloom (and) spreading.
Him if we did see,
ISt Refrain: Lord God!
(Lo,) we knew Him not.
2nd Refrain: Sing the carol!
40 Easy 'tis to know Him,
For His sorrel horse
87a. Banded is with white
Upon its left foot;
Up there, higher upward,
(And) His saddle is
Up beside the highway,
45 (Of) snapdragon (made); 108
Part way of the journey,
There is yet, there is a (And) His little gun is
(Like) the summer thunder,
5 Stone (that's) toppled over,
And (it is like) springtime's
By the Lord it's left (there).
By the stone a-sitting Lightning of the evening;
(Is, behold,) Saint Mary,107 50 His bridle reins are
Mother of Our Lord. The beam of the sun,
10 By the stone she's sitting, (And) His saddle girth is
(Made of) braided adder, 109
Spreading out a letter.
(While) His whiplash is
55 (Made of a) coiled snake.
(Then) the throng of lads,
Youthful carolers,
107 The initial loin this verse of the original is the traditi?nal ~e:emonial self-d~~~nation
of the ancient voivodes of :he Rumanian ~rincifP~~ties, ~ou~~~: ~!~~Ia~~::~:en:~;s n:~~~~:~
should read: (It is) I, Samt Mary. In vIew 0 e res 0 , ,
rendering seems preferable. • ., h"
108 Gura leului (Antirrhinum maius) means literally' the ho,? ~ m_o~t ietitii
109 This verse is erroneously transcribed. It should read: Naparca mp .

[ 369 ]
 C I b)
Ei d-~a-mi graie: Din gura-mi graie:
-10 santa Marje, - J uni colindatorj,
60 Maica DomnuIui, Leznea-i d~-a-I cunoa~te:
Daca-mi IucIV-~a, 30 Calu~elu lui-i
Noi atunci I-am vazt 1 Raza soarelui;
'N tfu-g Ia Rusa.lin $aulita Iui-i
Int'on 2 joc juc~n'. Gura Ieului;
65 Dupa el era Corbacelu Iui-i
Sora soareIui; 35 $erpe 'nturlitat,
A~a 0 'ntorce, Pa c~ca Iasat.
Sulita-i cad'e, Juni colindatorj
C3.ti-i ajunge, Din gura-mi graie:
70 Toti-i colnice. -Maica Domnului,
Y. loj Domnuluj Doamne! 40 Daca-i treab' a~a,
(28. Fere~d tfo) Noi I-om fi vazut
'N t~g Ia Rusalin,
D-intr' on joc juc~nd.
87b. Cu cine-mi jucand?
Cam pe I~nga marje, 45 Cu Dumnineca.
Cam pe drum al marje, Chivara-i cade,
Y., $i Dumineca
Pl'ecat-o, pl'ecaty M~na ~i-o 'nt'inde
Cet'e d'e ficiorjy, $i 'n cap i-o pune.
Y. Daj. Domnuluj Doamne!
5 I: Pl'ecat-o, pl'ecaty (12b. Paucine~d 1)
Cet'e d'e ficiorjy : I,

Cet'e d'e ficiorjy, 87c.

Juni colindatorjy.
D'in cale ie~ierje
I I. I hIl. I
I: Margu mi-~i, mai margy, Y. : I marg
10 [Maica Domnului;]
D'e bin Ie ie~ierje, I: Stolurj d'e voinici : I
I: D'in cale ie~ierie,
D'e bin' Ie ie~erie : I, [Cu cai povodnici.]
D'e bin' intreba: I: 'N cal'e l'e ie~ia : I
15 -Cet'e d'e ficiori,
Juni colindatorj,
D-unde mi-ati umblat,
I 1. I fTIl
5 I: Muma lui I~yonu : I -yon.
D'e mi-ati colindat,
Drag fiutul miey $i cl}-a lui T~odor,
20 Nu mi-I ati vazut? $i chiar intreba:
JuDi colindatorj -N'ati vazut, vazut
Din gura-mi graie: Doi fiuti ai no~trj?
-Maica Domnului, 10 -Nu, noi n'am vazut,
D'e I-om fi vazut, Ca sa fim vazut,
25 Nu I-am cunoscut. N'am fi cunoscut.
Maica Domnului -Ba ca-s cunoscuti:
Chivarea a lor
15 Tiiiata 'n sageata;
1 = vezut.
2 = intr'un.

[ 370 ]
 C I b)
Thus said (unto her) : (Thus) spoke (unto them) :
Blessed (Virgin) Mary, Youthful carolers,
60 Mother of Our Lord, Easy 'tis to know Him,
If it be like that, 30 (For) His little horse is
Then Him we have seen The sun's (very) beam,
In Jerusalem, (And) His saddle is
Dancing in a dance. (Of) snapdragon (made),
65 Behind Him there was (And) His whiplash is a
The sun's sister (fair); 35 Snake (that's) curled about,
He whirled her about Lying in (His) hand.
So that His spear fell; The young carolers
Everyone it reached (Thus) spoke (unto her) :
70 It sent roaming Off.ll0 Mother of Our Lord,
Retrain: Hoy, t01' the Almighty! 40 If the matter's so,
Him we may have seen
In Jerusalem,
87b. Dancing in a dance.
Somewhat near the seashore, With whom did He dance?
Somewhat on the highway, 45 With Sunday (He danced).l11
Retrain His helmet fell off,
There set off, there went Sunday (thereupon)
Bands of youthful lads, Did stretch out her hand,
5 There set out, there went Set it on His head. 112
Bands of youthful lads, Retrain: Give to the Almighty!
Bands of youthful lads,
Youthful carolers.
(Lo,) their way was held by 87c.
10 Mother of Our Lord. They keep going, going,
Nicely did she meet them, Retrain
Meet them on their way, Flocks of stalwart lads,
Nicely did she meet them, With bridle-led steeds.
Nicely asked of them: On their way they met
15 Bands of youthful lads, 5 The mothers of John
Youthful carolers, And of Theodore,
There where you have been, And they even asked:
Caroling the while, Have you not espied
My beloved Son Two (young) sons of ours?
20 Have you not espied? 10 We've espied them not,
The young carolers For, had we espied,
(Thus) spoke (unto her) : Them we'd not have known.
Mother or Our Lord, Yet they are (well) known:
If we Him espied, The helmet they wear
25 (Then) we knew Him not. 15 Is cut by an arrow;
Mother of Our Lord
110 It is impossible to be certain, from the text, whose spear fell. It could just as well have
been the spear of the "sister of the sun." Nor, in the next verse, is it possible to be quite sure
whether or not "it" ought to be "he" or even "she".
111 In Rumanian fairy tales, Sunday is personified as an old woman, Sfa.nta Dummecii
(Saint Sunday), who invariably turns out to be a good fairy in disguise, and who intervenes at
critical moments to help the hero achieve the tasks he sets out to accomplish.
11S The Rumanian original, just like the English rendition, does not allow us to be quite
certain as to what "Sunday" put on the head of the "Son" - her hand or his helmet.

[ 371 ]
 C I b)
Degetul eel mie De ale mai mari
Cu inel d'argint; Dedea la husari,l
Degetul eel mare De ale mai mici
Cu inel de soare. Dedea la voiniei.
20 -A~a-i, am vazut r. loj Domnuluj Doamne!
'N eurtea lui Craeiun, (6. Murani if)
Prune! mici botezand,
Mai mari eununand,
Manastiri sfintind, 87e.
25 Batrani ingropand. Ceata de fieiori,
r. Domnuluj nostru! Niei 2 eolindatori
(3a. Cherpeni~ if) Ei ea s'o luat
Pe eea-i eale lunga.
5 Maiea Precista
87d. $i ea sa lua
D~-asara, d~-asara, Pe eea-i eale lunga,
Cam d~-alalta sara, Ceata sa ajunga.
r., $i i-al} ~i ajuns
10 $i i-al} ~i 'ntrebat:
Deeand sfinti pleeara, -Ceata de ficiori,
Sfinti eolinda tori, Niei eolindatori,
5 Dragi eugetatori: Voi nu mi-ati vazut
-P'unde ati umblat Pe lliutul3 sfant?
$i mi-ati eugetat, 15 Ei din grai graie:
D~-a miel} fil} n'ati dat? -Noi nu I-am vazut,
-Maear sa fim dat, $i de I-am vazut,
10 Nu I-am eunoseut. Nu I-am eunoseut.
Leznea-i d~-a-l eunoa~te Maiea Precista
Pe murgutu lui: 20 Din grai iar graie:
Negru-i pintenog; -Leznea-i d~-a-l eunoa~te:
Pe ~euta lui: Fatii?oara lui-i
15 Spuma laptelui; Spuma laptelui;
Pe frautu lui: Oehi~orii lui-i.
Gura leului; 25 Mura eodrului;
Fati~oara lui Chepeneagu 4 lui-i
Cri~ea (sic!) ea~ului; Poala eerului.
20 Mustatile lui (12j. var. Urisiu de sus if)
Peana eorbului;
Sabioara lui
Sageata taiata; 87f.
Pu~eulita lui
25 Sunetul de vara I: Niep eolindatori : I,
$i-al de primavara. I: Voi d'eeand umblati : I,
-Daea-i luerl}-a~a,
Noi ea I-am vazut I: Tot d'in easa 'n easa : 1
Sus la Rusalin I: $i d'in masa 'n masa : I,
30 Steaguri impartind.

1 = soidati, ciiiii.reti « huszar, ung.).

~ = mici.
3 = fiutui.
4 = mantaua « kopenyeg, ung.).

[ 372 ]
 C I b)
(On their) little finger Of the larger ones
There's a silver ring, He gave to hussars,
(And) upon their thumb (they) Of the smaller ones
Wear a ring of sunshine. To the stalwarts gave.
20 Thus we've them espied l13 Refrain: Hoy, for the Almighty!
At the court of Yule,
Young babes christening,
Wedding older ones, 87e.
Cloisters hallowing, (Lo, a) band of lads,
25 Burying the old. Youthful carolers,
Refrain: For Our Almighty! Set off on the way,
On that longsome journey.
5 Virgin Mother (too)
87d. Set off on the way,
Since last night, last evening, On that longsome journey,
Since the night before that, The band to catch up with.
Refrain And she caught them up
Have the saints departed, 10 And she asked of them:
Saintly carolers, Band of youthful lads,
5 Thinkers (dearly) loved. Little carolers,
There where you have been, Have you not caught sight
And where you have thought, Of the Holy Son?
Met you not my son? 15 They said (unto her):
Even had we met, (Nay,) we've seen Him not,
10 Him we did not know. And if have seen,
Easy 'tis to know him, Him we didn't know.
For the horse he rides Virgin Mother (then)
Is black with white feet, 20 Spoke again (to them):
(And) his saddle (is) Easy 'tis to know Him,
15 (Made of) froth of milk, (For) His face is (fair)
(And) his bridle (is) (As) the froth of milk,
(Of) snapdragon (made), (And) His eyes (are like)
(And) his face (is fair) 25 Forest blackberries,
(As) a piece of cheese; (And) His mantle is
20 His mustache (is black) (Like) the welkin's skirt.
(As) the raven's wing,
(And) his little sword
Cuts (as does an) arrow, 87f.
(While) his little gun
25 (Is) the sound of summer l14 Little carolers,
And that of the springtime. Since you're on your way
If the matter's thus, From cottage to cottage,
Then him we have seen From table to table,
In Jerusalem,
30 Banners sharing out:

113 An error of transcription gives A~a-i, am vazut instead of A~a i-am valut in this verse.
114 In the corresponding verse (47) of 87a. the word was tunetul (the thunder) j here we find
sunetul (the sound).

[ 373 ]
 C I b)
5 Voi nu mi-ati vazut N'ati vazut, vazut pe
On §iut rucut? 1 Drag fiul Hristos?
-Poate I-am vazut, -Maica Precesta~,
Nu I-am cunoscut. Poate 1/i-am vazut,
-Draga fata lui 10 Nu I-am cunoscut.
10 Spuma laptelui. -Lieznea-i, d~-a-l cunoa1/te
-Poate I-am vazut Pe fiul Hristos:
La Pilat in poarta Mustetij a lui
Pe cruce de brad; Spicu graului;
Cuile bate, 15 D-ochi1/orii lui
15 Sangile curge, Mura campului;
Maica sa plange; Sprincenile lui
Jidovii rade, Pana corbului.
Cum ni-l chinuie. -Maica Precesta~
(12n. Niere1/teu if) 20 Noi 1/i I-am vazut
'N poarta luzilui (sic!)
Trazne1/te-mi, plezne1/te.
87~. $i tu mi-~i ferie!ite
\: Sus la rasarity : \, Fiul de Hristos.
r., r. Domnili!
(23a. Sarafola if)
Maru-i inflority,
Frunza nu-i prea latii,
Umbra-i minunatii, 87i.
5 Umbra cin' umbra?
Maica pqecista.
[---------J
$i mi-!ii umbla, umbla,
Ea din grai graia: r.,
-Mici colindatoq,
N'ati vazt 2 fiul miel)? Tot din casa 'n casa
10 -Cum sa-l fim vazut, Pan' a tria casa.
Nu I-am cunoscut. Nainte Ie iasa
-Ca calutu lui 5 0 baba batrana
Negru pintenu-i, Cu colac in mana.
14-17 = 87e. 22-25
Sprincenile lui r. Daj Domnuluj Doamne,
Pana leului. Domnuluj daj Doamne!
r. Domniej Domnuluj Doamne! (7a. Sanmiclau!iul mare if)
(17. Va1cani)

87h. 87j.
\: N~-am pomit, n~-am pomit : \, D-umbla-!ii. Doamne, cine d-umbla?
r., r.,
J uni colindatori. D-umbla-!ii, Doamne, Maica Sfant'

Pan' tari straini jidove!iti

Maica Precesta~ Cu haine calugare~ti.
Din grai i1/i graia~:
5 - Juni colindatoq, 5 Maica Sfanta sa 'ntalne-I'e

a = un fiut mieut.
a = vezut.

[ 374 ]

5 Have you not caught sight
Of my youthful Son?
Him maybe we've seen,
(But) we knew Him not.
His beloved face
10 (Is like) froth of milk.
Him maybe we've seen
At the gate of Pilate,
On a cross of pine;
Nails they hammered in,
15 Blood was flowing down,
(And) His mother wept;
The Jews laughed (to see)
How they harrowed Him.
87~.
Up toward the sunrise,
Refrain
Apple tree's in blossom,
Not too broad's the leafage.
Wondrous is the shadow.
5 Whom shaded the shade?
('Twas) the Virgin Blest.
She said (unto them) :
Little carolers,
Saw you not my Son?
10 How should we have seen?
Him we did not know.
Since His little horse
Is black with white feet.
14-17 = 22-25 of 87e.
(And) His eyebrows are
(Like) the lion's plume.
Refrain: Unto the Lord God Almighty!
87h.
Refrain
We set out. we started,
Refrain
Youthful carolers.
(Lo.) the Blessed Mother,
Spoke to say (to them) :
5 Youthful carolers,
[ 375 ]
C I b)
Have you not laid eyes on
Christ. (my) darling Son?
Mother of Our Lord, we
Peradventure did,
10 (But) we knew Him not.
Easy 'tis to know Him,
Christ, (my) darling Son:
His mustache (is fair)
(As) the ear of wheat;
15 (And) His eyes (are like)
Meadow blackberries;
(Dark) His eyebrows (are)
(As) the raven's wing.
Mother of Our Lord,
20 We have seen Him too
At the Jewish gate.
Thunder, smite with lightning,
And (thus) let you shield Him,
Christ the (darling) Son.
Refrain: For the Lord!
87i.
And keep walking, walking,
Refrain
From cottage to cottage,
Up to the third cottage.
There came out to greet them
5 An aged old woman,
Holding a baked wheat cake.
Refrain: Give to the Almighty,
For the Lord Almighty!
87j.
Walking, Lord, who is it walking?
Refrain
Lord, the Holy Mother walks,
Through the alien Jewish lands,
Garmented in nunnish garb.
5 (And) the Holy Mother met
 C I b)
Cu tri fet'e da Jidovi. -Hoi voi, fete jidovel1tei
------
-Hoi fetele de Jidovi, 7-11 = 87J. 8-12
N'an vazut un fiy dl:-a mneu? De vastmwtu mohortt,
-Nu noi, maica, n'am vazut, DI:-alungu p~na 'n pam~nt,
10 Ca l1i de I-am fi vazut, DI: alargu 'mprejur pamwt;
Noi nu I-am fi cunoscut. 15 !iii 'n fatuta fiului
-Fiul mney ii cunoscut: Scrisa-i raza soarelui;
D-in fata obrazului In dosutu fiului
Scrisa-i raza soarelui Scrisa-i luna, lumina
15 ~i d'in d-umar luceafar. P~ntre ele manuntele
-Numai ca daca-i d-~e, 20 Scril1i is dalbi luceaferi.
Noi, maieli, ca I-am vazut -Ba, Zey, maica, de-i al1a:
Colo jos, colo mai jos, Pa fiul il petrece
Colo jos spre scapatat, Doisprezece apostoli.
20 J os in curtea lui Pilat,
T'inzuindu-ll Jidovii, r. Corind' e-mi Doamn~-aj corind'l
T'inzai mare ce-i face, (73p. LunCl10ara if)
Tat cu piHmile-1 palme.
-Da tu, fiy, p~n' ce-i 2 t'l:-ai dat
25 Limbilor Jidovilor, 871.
Tarilor strainilor? Pre-d-umblii-sa-i, Doamne, d-umbla,
-10, maica, io nu m'am dat r.,
Pentru tine, pentru mine, Ca d-o maica-i dup' un fiy
Ci io, maica, eli m'am dat
30 Pentru lume, pentru tiite, Pa d-ulitii-i jidoveaseli 4
~i 3 descumpar io lume,
{ Maica Sf~ntii, _, ... ,,'_
. d'1, matC1l,
D -In . .. sa nL.<Ulleay
10 lume cu mint'e me.
5 Cu tri fet'e da Jidovi.

$i t'e face vesel bun,

* -Dar voi fet'e da Jidovi,
N'an viizut voi fiul mney?
Ca-i ajuns sf~ntu Craciun! -Ca l1i de I-am fi vazut,
35 ~i t'e 'ntoarce cruce 'n masii,- Noi nu I-am fi cunoscut.
Sfinti din cer !1i 3 v'alduiasca I 10 Ce griiiti, fet'e, grel1it?
r. Corind' e corind' eli! Fiul mneu ii cunoscut
(71d. Grol1i if) Da mine, da Dumnezey:
Dar in fata fiului
Scrisa-i raza soarelui.
87k. 15 -Daca-i r~ndu, maie', ~e~
Lua-sa maica, duce-sa, Noi pa fiull-am vazut
Ca d-o maieli,-m! dupa fiu. Pa ulita jidoveasea,
r., Pu~ndu n Jidovii
Ta'li legat l1i 'mbiiierat.
Maica Sf~ntii-ma sa 'ntMnere: 20 !iii re lege-i euruie,
Cu tri fete jidOVel1tei. - ca pa fiu sa-I rastiineasea
Colo sus, colo mai sus,
5 Maica Sfwtii-m! Ie 'ntreb~: Sus in dealu Gorgotiii
1 = chinzuindu.
I = pentru ceo
8 = sa.
4 la fon. = Jidove~te.
I = tot.

[ 376 ]

With three maidens of the Jews.
Ho, you maidens of the Jews,
Saw you not a Son of mine?
Nay, mother, we saw Him not,
10 For Him even had we seen,
We would not have known 'twas He.
(Thus) my Son is (to be) known:
In front of His countenance,
(Lo,) the sunbeam pictured is,
15 On His shoulder (there's) a star.
Only if it be like that,
Mother, we have seen Him (then),
There, below, there, lower down,
Toward sunset, there, below,
20 Down below, in Pilate's court;
Harrowed was He by the Jews,
(And) they vexed Him grievously,
Buffeting Him with their hands.
Son, why did You give Yourself
25 To the nations of the Jews,
(And) unto the strangers' lands?
Mother, I gave not myself
For your sake (or) for my own sake;
But I, mother, gave myself
30 For the world, for everybody,
That the world I might redeem,
I, the world, with my own mind.
* Even had we Him espied,
Let you also be rejoiced,
Holy Christmas has arrived!
35 Turn about, cross, on the table,
May the saints of heaven bless you!
Retrain: Ho, tke carols caroling!
87k.
She set out, the mother went,
For a mother seeks her son.
Retrain
(Lo,) the Holy Mother met
With three lasses of the Jews.
5 Asked the Holy Mother of them:
[ 377 ]
C I b)
Ho, you, lasses of the Jews,
7-11 = 8-12 of 87j.
By His garment (which is) dark,
Reaching down unto the ground,
So that it runs round the earth;
15 And on the Son's countenance,
(Lo,) the sunbeam pictured is;
(Also) upon the Son's back
Pictured is the moon, the light;
In between, among them, small,
20 Pictured are the lodestars white.
By God, mother, if it's so,
The Son went in company:
Twelve apostles went with Him.
Retrain: Carol my carols, ok Lord!
871.
She is walking, Lord, she's going:
Retrain
For a mother seeks a son
(Behold,) in a Jewish alley,
{ Did the Holy Mother meet
There (it was) the mother met
5 With three daughters of the Jews.
But, you daughters of the Jews,
Have you not espied my Son?
We would not have known 'twas He.
10 Daughters, why speak wrongfully?
(Lo,) my Son is (well) beknown
To myself (and) to the Lord;
But on the Son's countenance
Is the beam of sunlight writ.
15 Mother, if the matter's thusly,
(Then) the Son we have espied:
(He) along the Jewish alley
By the Jews was being led,
All trussed up and bound about;
20 And they harshly sentenced Him:
That the Son might crucified be,
Yonder high, there, higher up,
On the hill of Golgotha,
 C I b)
Pa cruce mandra da brad. I I. I fILl
25 Maica Sfant' a!?e graie: 5 I: N'ati vazut, vazut, vazuty : I vazut?
-Vrut' 0 da!?i Dumnezey
!;iii nu nasca Jidovii,
Fiul mneu n'o vrut pieri!
r. Corind'e-mi corind'e! I I.
I: -Banoipoatec'am vazuty: I vazut,
I fill
(71e. Coticlet tI)
Nu I-am, nu I-am cunoscut.
87m.
I: Pe podutu de d-argintu, r. : I r. Doamn', Doamn', /ij-a nos' Doamn'!
(63. Micola tI)
I: Trec tat stoluri de voiniciy : I
Cu cai mandru 'mpoivanitiy.
88.
Pa tarmuri d'e marea
le!?~-o maica cam blitrana 10(?) plimba-mi, sa-mi plimhli.
5 Cy-o cupa de Yin in mana 10 Santa Marie.
!;ii cu cupa d-inchinand Sa plimba-mi, sa-mi plimba
!;ii cu gura d-intreband: 5 !;ii-yochi-!?i d-arunca~
-N'ati vazut pe fiul sfantu? Inca sus pa marea
-Noi, maica, nu I-am vazut, !;ii ie d-imi vede~
10 Ca noi tat sa-l fim vazut, Corabii venin'y.
Noi nu I-am fi cunoscut. Departe erare,
-Da cum voi sa nu-l cunoa!?teti? 10 Tar~-apropiar.Jl
Fiul sfantu-i cunoscut. J os, mai jos pa marea.
Din camputa lui rotunda 10 Santa Marie
15 Cy-un calut mandru jucand, Din gura-mi graie~:
Din potcoave zuruand -la vlansatV vlansati,
!;ii din gura foc tapand. 15 Bine 'n sama lyati:
Vopuri sa nu-mi bata,
r. DomnuZe Doamne! Stropii sa nu-mi sara.
(111e. Igri!? </» Stropii d~-or slirir.Jl,
Pa domnul sa ude.
87n. 20 El s'o maniar.Jl,
Pa tati v'o taia~.
Asta-i sara lui Craciuny, r. Daj DomnuZuj Doamne!
r., (120. Fere!?d </»
A lui Craciun cel blitran.

I I. I 89a.
I: Pa noi Craciun n~-o manaty : I ce Santa Marie,
rn.l r.,
manat
Num' un fiy d-averie
rr.-I fTIl
I: La strigat, la colindaty : I -dat. !;ii-acela-l t'ierderie. 3
------

N u !?ti ce sa faci

1 = sa.
D = vasiati.
3 = pierdea.

[ 378 ]

On a handsome cross of pine.
25 Thus the Holy Mother spoke:
Would the Lord had granted it
That the Jews should not be born,
(For) my Son wished not to die! ll5
Retrain: Carol me the carols!
87m.
(Lo,) upon the silver footbridge
Retrain
Flocks of stalwarts cross amain,
Leading finely harnessed horses.
Came outside an oldish mother,
5 In her hand a wineglass holding,
With the wineglass pledging (them),
With her mouth asking (of them:)
Saw you not the Holy Son?
Mother, we have seen Him not;
10 Even had we seen Him, yet
We would not have known 'twas He.
How is it you do not know Him?
(Well) known is the Holy Son,
By His little rounded fur cap (?), 15 Carefully give heed
15 Prancing on a handsome horse,
Jingling (loudly) with its shoes,
Belching fire from its mouth.
Retrain: Oh Lord Almighty!
87n.
'Tis the evening before Christmas,
Retrain
Of old Christmas ('tis the eve).
We have been sent forth by Christmas,
For to go a-caroling.
115 The original text permits a possible alternative reading for this verse: Nor my Son had
willed to die.
C I b)
5 (Him) have you not seen, seen, seen?
Peradventure we have seen (Him),
(But) we knew (Him), knew (Him) not.
Retrain: Lord, Lord, and Our Lord!
88.
(Lo,) upon the seashores,
She is walking, walking,
Saint Mary (is walking).
She is walking, walking,
5 And her eyes she's casting
High across the waters;
And she is perceiving
Ships (that are) approaching.
They were far away (yet),
10 They were nearing swiftly,
Low upon the waters.
(Thereupon) Saint Mary
(Thusly) called out (to them):
Come, row on, row on,
Do not let the waves beat,
Do not let the drops fly;
For if they should fly
To bewet the Master,
20 He will angered be,
He will slash you all.
Retrain: Give the Lord Almighty!
89a.
(Lo,) the Virgin Mary
Retrain
Had only one Son,
And Him she did lose;
Knew not what to do
[ 379 ]
 C I b)
5 Da dorut da fiy. 90a.
Ce ea sa face
Ceata negureata; Hoi 'ntorcu, sa 'ntorcui
Nici a.!la nu-i trece Doi vulturi frumo~i;
Da dorut, da fiu. A~a-s de frumo~i:
10 Ce ea sa face De penile lory
Golumba.!l galban 5 Cele mai marele
Pa paltin galban Mandre-s d-argintele,
qucur da iedern Cele manantele
D'alaturi da drum. Mandre-s d-auriele.
15 Cati pa drum trece, Pa susu sa 'ntorcu
Tati pana-i rupe; 10 Pa din sus da pomui.
Numa nu-jp rupe Su' pom cine !lede?
Fiy da Maicii Sfante. !;'ede Maica Sfanm.
Nici a~a nu-i trece Darn ce lucreaza ?
20 Da dorut da fiy. Firul firuie!lte,
Ce ea sa face 15 Fa!lel d-tmpliite!lte,
Fa~ea fiului.
Golumba.!l galban
Pa bo~ca lui crai (sic!), Daca mi-o gat'e,
!;'i-atunci n vede Susu mi-o pune
25 Cinand cu domnii, Pa creanga da pom.
Pranzand cu craij. 20 Vultur sa lasa,
f'. COf'ind'e, corind'l Fa!lel d-apuca,
(lb. Dumbravita de codru ¢) Sus cu el zbura,
Sus pan' la Tam!.
Taml graie:
89b. 25 -D~-ind~-o ati adus?
Cil Sanm Marie, -Noi 0 am aflat
f'.,
Colo jos, mai jos
Pa creanga da pom.
Nu ~ti ce sa face -Duceti-o napoi
30 D~-ind~-o ati adus,
Da dorut da fiu Ca v'or blasmma
Rari-s pacurari,
4-5 = 89a. 6-7 Scarnavi-s caprari,
Ztya la dealuri, Dalbi plugarei,
Noapte la vaduri. 35 Negri purcarei.
I.f'. S/inlil
8 = 89a. 10 2.f'. Dol corind' e!

lederita verde (21c. Urvi!l ¢)

10-14 = 89a. 14, 12, 15-17
15 Drag fie~ d~-a ei 90b.
16-19 = 89a. 1,4,5,21
20 Bar~ina~ (sic!) galban
Hoi 'ntorcu, sa 'ntorcy,
f'.,
Pa b~u lui crai (sic!).
D-acolo I-afla Doi !loimuti galbini
23, 24 = 89a. 25, 26
f'. Corind'e, cOf'ind'e! ILl fII.l
I: Pa sus pa la cel"!!! : I cer
(la. !;'oimi ¢)

[ 380 ]

5 For yearn of her Son.
(So) she changed herself
To a misty dimness.
Even so, unquelled was
The yearn for her Son.
10 (So) she changed herself
To a yellow dove
On a yellow maple,
Betasseled with ivy,
By the roadway close.
15 All who passed forby
Plucked a posy off;
Only no one plucked
Holy Mother's Son off.
Even so, unquelled was
20 The yearn for her Son.
(So,) she changed herself
To a yellow dove
On the king's own keg,
And then Him she saw
25 Supping with the lords,
Breaking fast with kings.
Refrain: Caroling we go!
89b.
(Lo,) the Virgin Mary
Refrain
Knows what to do
For yearn of (her) Son.
4-5 = 6-7 of 89a.
By day in the hills,
By night at the fords.
8 = 10 of 89a.
Ivy (with) green (leafage)
10-14 = 14, 12, 15-17 of 89a.
15 Her beloved Son
16-19 = 1,4,5,21 of 89a.
20 Velvet yellow-hued
Upon the king's robe (?).
(And) she found Him there
23, 24 = 25, 26 of 89a.
Refrain: Caroling the carol!
[ 381 ]
C I b)
90a.
Ho, they're wheeling, wheeling,
Two beautiful eagles.
So handsome are they
That among their feathers
5 The larger ones are (as)
(Of) fine silver (fashioned),
And the smaller ones (are as)
Beautifully golden.
Up aloft they're wheeling,
10 Up above the treetops.
Neath the tree who's sitting?
Holy Mother's sitting.
But what is she working?
The thread she is threading
15 A swaddle she's knitting,
Swaddle for the Son.
When she finished it,
She set it on high
Upon the tree's bough.
20 The eagles swooped down
Seized the swaddling cloth,
Flew aloft with it,
To the Father high.
(But) the Father said:
25 Whence have you brought (this)?
We have come on it
Down there, lower down,
Upon a tree's bough.
Take it back (again)
30 Whence you brought it (here),
Else you shall be cursed
By the shepherds lone,
By the goatherds grimed,
By the plowmen fair,
35 By the swineherds black.
ISt Refrain: Saints!
and Refrain: Sing the carol!
90b.
Ho, they're wheeling, wheeling,
Refrain
Two small yellow hawks
High up in the sky,
 C I c)

[IlfTIl Fa~e d-implat'e~t'e.

10 *$oimii s'alinara
I: 'N umbra cerului : I -lui
Sus cu ie sburara.
Sant Iaon graie:
fT.lfTIl
5 I: 'N poarta raiului : I -lui·
-Duceti-o napoi~
Ca v'or blastama
15 Rari de pacurari,

I: 'N poarta cine

rrl Ill.l
~ede : I ~ed'?
Negri-s de porcari,
Dalbi-s de vacari.
r.{ Soare!
Lucru ce lucreaza ? ~ojmi!
'Ntoarce, firuie~t'e, (21x. Coticlet if)

c) ABOUT THE PRE~M1NENCE OF GOD AND JOHN THE BAPTIST

DESPRE PREEM1NENTA LUI DUMNEZEU $1 A SFANTULU1 ION BOTE-
ZATORUL

91a. Merele-mi pica

Masa sa 'ncarca.
Rugat-o, rugaty, 25 Dragul Dumnezel}
I. r., P'on ~ezal) ~ede,
Pa cum s'o rugaty, Mana ~i-o 'ntinde
2. r., DOl}a mere-mi ll}a,
Dumiiezel} i-o daty, Pin mani Ie purta
30 $i l~-amirosa
[I: Dumiiezel) i-o daty : I, $i din grai graie:
5 Dumiiezel) i-o daty,] -Iaoane, Iaoane,
Nana~, Sant Iaoane!
1-0 dat loc in rail!, Din rand de demult
I. Y.,
35 Cine-i mai demult?
Und'e-i biiie traiy, Iaon, Sant Iaony
2. r., Din gura-mi gr1iit~:
Und'e-s mese 'nt'inse, -Din rand de domnie
Tu e~ti domn mai mare;
I: Und'e-s mese 'nt'inse : I 40 Din rand de demult
10 Und'e-s mese 'nt'inse, 10 mi-s mai demult.
$tii, Doamne, nu ~tii:
Faclii dalb~-aprinse, Cand tu ti-ai nascut
'N jur-prejur de mese La vatr' ai cazut?
Sant scamne 1 direse.
45 10 sus t~-am luat
De mijloc de mese $i t~-am botezat;
15 Crescut-o, nascut-o Numele ti-am pus:
Maru-i margarinty Domnul cel de sus,
Mandru-i d-influrity. Domnu cerelui
Florile-s d~-argint, 50 $i pamantului.
Merele-s d~-aur. I.r. Doamne!
20 Din bura din sus 2.r. loj Domnuluj Doamne!
Bura-mi d-abura, (34a. Paucine~d if)
Maru-mi clatina,
1 = scaune.

[ 382 ]
 C I c)
In the heaven's shade, She's knitting a swaddle.
5 (Up) by heaven's gate. 10 (Lo,) the (two) hawks settled,
Who sits by the gate? Off on high flew with it.
What work is she working? 116 Said Saint John (to them):
She is spinning, threading, Take it back again.
For you shall be cursed
15 By the shepherds lone,
By the swineherds black,
By the cowherds white.
Refrain: { Sunshine!
Hawks!

c) ABOUT THE PRE~MINENCE OF GOD AND JOHN THE BAPTIST

91a. The apples dropped down,

The table was fraught.
He made prayer, prayed,
25 The beloved Lord
ISt Refrain
Sat upon a seat;
(And) as he had prayed,
He stretched forth His hand,
2nd Refrain
Picked two apples up,
God gave unto him,
Held them in His hands,
God gave unto him,
30 Smelt their fragrance too,
5 God gave unto him
And He spoke aloud:
In heaven a place,
John, (hear me,) John, (hear me,)
ISt Refrain
Oh Saint John, my sponsor!117
Where there's goodly life,
As ruled long ago,
2nd Refrain
35 Who's the more long-standing?
Where there are spread tables,
(Thereat) John, Saint John
Where there are spread tables,
Spoke (unto the Lord) :
10 Where there are spread tables,
In standing of lordship,
(And) white candles burning.
You the greater lord are;
Round about the tables
There are chairs appointed. 40 As ruled long ago,
I am more long-standing.
In the midst of tables
Know You, Lord, or not,
15 There grew up, there flourished
(That) when You were born,
The pearl apple tree,
You fell in the hearth?
Handsomely it's blooming.
Silver are the blossoms, 45 I lifted You up
And baptized You (too);
Golden are the apples.
I gave You Your name:
20 By a storm above,
Wafted was a breeze, (Named You) Highest Lord,
Shook the apple tree; Of heaven the Lord
50 And of earth withal.
ISt Refrain: Lord God!
2nd Refrain: Hoy, to the Almighty!
116 Though this is not indicated in the transcription, a verse is ohviously missing. The iden-
tity of the swaddle maker is thus established solely by analogy.
117 That is, Godfather of mine-a respectful form of address called for by the fact that,
according to the Bible, St. John the Baptist baptized the Lord, and, by the same token, had
"priority of lordship" as the ballad shows.

[ 383 ]

91h.
1-9 =
91a. 1-9
10 D~-asupra-i pa masa
Covor de matasa.
Crescut-o, nascut-o
Dintr' on corn de masa
On mar margarint
15 Vanat d-influrit.
16-21 = 91a. 14-19
Sfintii l~-adunal},
Pi mani Ie purtal}
~i 'n san Ie biigal}
25 ~i Ie sfintial}.
Cele de pe manuri
Frumos mirosinuri ;
Cele de pe san uri
Frumos d-impupinuri.
30 -laoane, laoane,
Nana~, Sant laoane!
~tii tu, da nu ~tii
Din rand de demult
Cine-i mai demult?
35 10 sant domn mai mare:
Domnu cerului
~i-al pamantului.
'Y.Domnuluj !ii Doamne!
(lOc. Paucine~d if)
91c.
Fericean de' elu,
D'i cest domnul bunul
'Y.,
Cum l-ai fericiatu
Mai bun loc i-ai datu
------
5 D-in miljoc de rai.
Mandre-s mese 'ntinse,
Faclii dalb~-aprinse,
'N jur-prejur de mese
Stal} scal}ne direse.
10 La un corn de masa
101. ~ede-~i, mai ~ede
Zel} cu Dumnezel},
De a doilea corn
loi, ~ede-~i, mai ~ede
15 laon, Sant laon;
1 = pica.
[ 384 ]
C I c)
De a trilea corn
101.
~ede-~i, mai ~ede
Sfantu Nicolaie;
D~-a patrilea corn
20 loi, ~ede-~i, mai ~ede
Gazda cel domn bun,
Boierul biitran;
~ede-mi ~i plive~te
~i din grai graie~te:
25 -Iaoane, laoane!
Stat-am sa te 'ntreb
D~-o 'ntrebare mare:
De noi d~-amandoi
Cari santem mai mare
30 Sal} din biitranete,
Sau din caruntete?
la~n, Sant laon
Din grai imi graie~te:
-Da cand ti-ai nascut,
35 'N brata t~-am tinut,
Sus t~-am radicat,
De t~-am botezat.
Nume ce ti-am pus?
Domnul cerului
40 ~i-a pamantului.
'Y. Daj Donmuluj Doamne!
(12u. Ghelar if)
91d.
I: ~i-o luat, luatii : I
I : D-in zi de Graciuna, : I
=====
Doi boieri biitrani
Pe cum s-o rugata"
5 Dumnezel} li-o dat
Casa langa drum.
Unga casa-i masa,
Masa galbioara
Lumina de ceara
10 ~i-on pom rasadit
Cu mere d~-argint.
Vantu tragiina,
Merele pt'ica. 1
Fete l~-apuca
15 ~i Ie trimitea
Pe u~a de rai
La fete de crai.
(12j. Libiine~d if)

91h.
1-9 = 1-9 of 91a.
10 There is o'er the table
A (fine) silken carpet.
There was born, there flourished,
From a table corner,
A pearl apple tree,
15 Purple flowering.
16-21 = 14-19 of 91a.
The saints gathered them,
Held them in their hands,
Put them in their bosom,
25 And they hallowed them.
Those (held) in their hands
Smelt most fragrantly,
Those (put) in their bosom
Budded beauteously.
30 John, (listen,) John, (listen,)
Oh Saint John, my sponsor!
Do you know or not,
As ruled long ago,
Who has longer standing?
35 I'm the greater ruler:
I am heaven's Lord
And of earth (as well).
Refrain: To the Lord and Lady!
91c.
Blissfulness is his,
This kind gentleman!
Refrain
How You've gladdened him,
Gave him the best place,
5 In the midst of heaven.
Spread are the fine tables,
Lit are the white candles.
Round about the tables
Stand the chairs in order.
10 At one table corner,
Ho, there's also seated
God with the Almighty;
At the second corner,
Ho, there's also seated
15 John, (even) Saint John;
117The word plive~te (he weeds) is obviously meant to read prive$te (he watches).
118A manifestly corrupt version, since the dialogue is between St. John and the old noble-
man, with "God and the Almighty" seated across the table.
[ 385 ]
C I c)
(And) at the third corner,
Ho, there's also seated
Saint Nicholas (sitting);
(And) at the fourth corner,
20 Ho, there's also seated
(Our) goodly host,
The old nobleman.
He sits and he watches 117
And he breaks the silence:
25 John, (listen,) John, (listen,)
I have meant to ask
A great question of you:
Of the two of us,
Which one is the older,
30 Either as to oldness
Or else as to greyness?
(Thereupon) Saint John
(Unto him) spoke (thusly):
But when you were born,
35 In my arms I held you,
Raised you up aloft
For to christen you.
What name gave I you?
Lord of Paradise
40 And of the earth too,11S
Refrain: Give to the Almighty!
91d.
They set out, went off
On a Christmas Day,
Two old noble lords;
(And) as they had prayed,
5 God bestowed on them
A house by the road.
By the house a table
Stands, a yellow table,
(On it) a wax candle
10 And a planted tree
With apples of silver.
(Lo,) the wind did blow,
(And) the apples dropped.
Lasses picked them up
15 And they sent them off,
Through the gate of heaven,
To daughters of kings.
 C I d)
91e. D-undi-un mar love,
Masa-mi trantuia,
I: DOl boieri biitraniu : I. In cer s'auze.
I: Pe cum s-o rugaty : I, Maica Ie strange
20 $i Ie trimete
I: Dumnezel) l~-o daty : I Pi-un §iup di-a ie (sic!)
I: Casa langa drumy : I. La u~a di rai,
La fete di crai,
5-10 = 91d. 8-13
Drag Domnul din cer.
Ingeri Ie strange,
r. Daj Domnuluj buncH
12-14 = 91d. 15-17
(12cc. Voiniceni if)
(12m. Curtecap 4»

91f. 91g.
I: Ferice, ferice : I, I: Gazd' acest domn buny : I,
r., r.,

I: D'i omu bogaty : I ! I: Masa-i langa drumy : I

------
I: Ca el ca ~i-o daty : I I: Cati drumari trece~ :I

I: Vaci pi la saraciy : I La masa-i pune.

5 La nijloc de masa
5 Boi pi la gazdaci,1 Pomut rasarit
Casa-i langa drum, Cl)-on crengut d~ -argint.
Masa-i piste drum; Jelita-mi trage,
Caij drumari trece, Tomna 'n porn love,
La mese-i pune. 10 Merile-mi cade.
10 D-in nijloc di masa Gazda Ie strange
Pomu-i ramurat $i Ie trimete
Di poame 'ncarcat, La u~a de rai,
J elita trage, P~-on ficior de crai
MaruI c1atina, 15 La fata de crai.
15 Merile pt'ica. 2 r. Hoj da leruj Doamn'!
(7b. Niere~teu if)

d) PURSUIT OF ST. JOHN

URMARIREA SFANTULUI ION

92a. De tulpini s-intulpinati,

5 De var~ori is ratundori.
D'inaint'ea ce~t'ia curtiy, Da d-in peri cine ~ede?
r., $ed~-on gai 4 ro~u, on galbiin.
Nascuti-mi 0, nascuti-mi 0
Can' fu miez de miez de noapte,
Dade gaiu d~-a tapa
I: Doi peri inaltiu, minunatiY : I, 10 $i 'nca jos ~i-a~e frumos,

1 = bogati « gazdag, ung.).

2 = pica.
S = fiut.
4 Cf. gaie.

[ 386 ]

91e.
Two old noble lords,
As they had beseeched,
God gave unto them
A house by the road.
5--10 = 8-13 of 91d.
Angels gathered them
12-14 = 15-17 of 91d.
9lf.
Oh blessings, oh blessings
Upon the rich man!
Because he has given
Cows unto the poor,
5 Oxen to the rich.
By the road's his house,
'Cross the road's his board;
All who passed forby
He'd seat at the board.
10 In the table's middle
There's a boughy tree
Loaded down with fruit.
(Lo,) there blew a squall (?),
Shook the apple tree,
15 Down the apples fell.
d) PURSUIT OF ST. JOHN
92a.
In front of this mansion (fair)
Refrain
There came up, there sprouted
(upward)
Two (fine) pear trees wondrous tall;
[ 387 ]
C I d)
Where an apple struck,
The table was slammed,
In heaven 'twas heard.
Mother gathered them
20 And she sent them off,
Through the door of heaven.
To daughters of kings,
(From) heaven's dear Lord.
Refrain: Grant the goodly Lord!
91g.
This host, goodly master,
Refrain
By the road his board has;
All who went that way,
At the board he'd seat.
5 In the table's middle
Sprouted (was a) tree
With a silver limb.
(Lo,) there blew a squall (?),
Struck right at the tree,
10 Down the apples fell.
The host gathered them
And sent them away
(Straight) to heaven's gate,
By a kingly son
15 To a kingly lass.
Refrain: Hoy, the carol, Lord!
(They are) rooted on stout boles
5 (And) their tops are rounded off.
But who perched upon the pear trees?
'Tis a red and yellow hawk perched.
When it was at crack of midnight,
(Lo,) the hawk began to screech,
10 Both so low and tunefully,

$i 'nca sus fli-afle raspuns.
Cest domn bun de l-auze,
$i din somn sa pomene
$i afara imi ie~ie
15 $i din gur' afla-mi graie:
-Ce-mi tapi. gai ro~u, gai galban,
Afle jos ~i-afle frumos
$i 'nca sus fli-afle raspuns?
Am io doi feti intelepti,
20 Sant din oast~-acu sositi
$i ei tare-s adurmiti
Cl}.-on harcu 1 la capataiu.
$i afara d~-or iefli,
Cl}.-on harcu pin cqengi mi-or da
25 $i pa gail}.-or vatiima.
Gaiu-mi prinse d~-atapa
$i 'nca jos ~i-a~e frumos.
$i 'nca sus a~e raspuns:
-10 nu-s, Doamn', ce-mi tu gande~ti,
30 10 nu-s gai ro~u, gai galban,
10 sant Ionu, Sant Iaonu;
Cl}.-O galeata de botez
Umblu zil}.a cununand,
Noaptea umblu botezand.
35 Sa -ti botez fii ai tai,
Sa-i botez io d-ingereflte
$i dal}. limba crefltine~te.
r. Doamne l'er Domnuluj Doamne!
(102g. Fere~d 4»
92b.
De sara sa vorovea:@,
r.,
Dimineata purcedea
Dela lunci ~i sus la munti.
Tot vanara, cat vanara,
5 Pana cand fu langa sara.
Sara mandra c~-adunara ?
Un puiut de vultur sur
Cu c10ntutul de aur,
Cu ghiarele de argint;
1 = cu un arc.
[ 388 ]
C I d)
10 ate pene manuntele,
Tate-mi eral}. d-aurele.
Puiu rupse ~i-mi raspunse:
-Vanatoq d~-a lui Pilat,
Nu grabireti spre vanat,
15 Ca nu-s fiara de vanat,
De sant Iaon, Sant Iaon
De-s trimis de Tatiil Sfant,
Sii botez pe fiul sfant.
C'am auzit c'a niiscut
20 Colo sus la Feldioar'
Supt-o tufii de bujor,
La un capat de izvor.
Sa lua ~i sa ducea,
Pan' acol' s'apropia,
25 Pe fil}. sfant il boteza,
$i niipoi de sii 'nturna,
Piatra 'n dos 0 riisturna.
Dar su' piatrii ce giisea?
Ni~te ciirti ca biiriilace (sic!)
30 Tot de Iuda 'boscriete (sic!)
-Taci tu, Iuda, nu cra~ca,
Ca pe tin' t~-oi siitura
Tot de fini, cu de niinafli,
De fatii sa niinii~esc
35 $i de dos sii osandesc.
r. Florile-s dalbe!
(61d. Leheceni)
92c.
I: Manca cierbu meqe ro~ii : I,
r.,
1:Cu gura meqe mancaqe : I,
Cu cornu frunza stricaqe.
Nime 'n lume nu-l videarie
5 Num' 0 dalbii 'mpiiriiteasii,
Ea mi-o spuse la 'mparatu.
tmpiiratu pUflc-o ll}.at,
Ca pii cierbu sa mi-l pUflt'e
Da cierbu din grai graiaqe :
10 -Ho ho ho, dalbe 'mpiirat'e!
Cii nu-s io ce-ti pare tie:
10 sant Ionu, Sant Iaonu,

And so high and harpingly.
This good master, when he heard,
And awoke out of his sleep,
He (got up and) went outside
15 And spoke thusly (unto him):
Red and yellow hawk, why screech
you,
Both so low and tunefully,
And so high and harpingly?
I have two wise-headed sons,
20 From the army they're just back
And they're (lying) fast asleep,
With a bow beside their head,
And, if they should come outside,
Through the boughs they'll shoot the
bow,
25 And the hawk they will do harm.
(Then) the hawk began to screech
Both so low and tunefully,
And so high and harpingly:
I'm not, master, what you think,
30 I'm no red and yellow hawk, (but)
I am John, (1 am) Saint John;
With a pail for christening,
I go marrying by day
(And) go christening by night.
35 Let me christen you your sons,
Christen them as do the angels,
And bring forth a Christian nation. 119
Refrain: Sing unto the Lord Almighty!
92b.
On the eve they talked it over,
Refrain
In the morning they set off,
From the plains up to the hills.
For a while they kept on hunting,
5 Until it was nigh to evening.
What caught they (that) beauteous
evening?
(Lo,) an ashen eaglet ('twas).
With a little golden beak,
(And) with silver talons (too);
C I d)
10 Of its little feathers (also)
(Each and) every one was golden.
(Then) the eaglet started speaking:
Oh you hunting men of Pilate's,
Do not hasten with the hunt,
15 For I'm no wild beast to hunt,
But I'm John, (I am) Saint John.
By the Holy Father sent
To baptize the Holy Son.
For I've heard that He was born
20 Yonder, up in Feldioara. 12o
Underneath a peony bush,
Near the founthead of a spring.
He took off and made his way
Until he drew nigh to there.
25 He baptized the Holy Son
And, as he turned back again,
The stone slab he overturned.
But what found he neath the stone?
(Lo,) some letters broad as
puddles (?),121
30 All of them bewitched by Judas.
Quiet, Judas, do not gnash,
Because 1 shall surfeit you:
Godfathers with godsons match,
Christening (them) openly,
35 Sentencing (them) secretly.122
Refrain: White are the blossoms!
92c.
(Lo,) the stag ate russet apples,
Refrain
With his mouth he ate the apples.
With his antlers spoilt the leafage.
No one in the world could see him,
5 Only a fair empress (saw him),
(And) she told it to the emperor.
(So) his gun the emperor took,
So that he might shoot the stag down.
But the stag spoke (to him thusly):
10 Hold, hold, hold, fair emperor!
I'm not what to you 1 look like;
I am John, (I am) Saint John,

118 Possible alternative reading for this last verse: To give tongue in Christian fashion.
120 The name of a village in the district of Bra~ov, in Transylvania.
111 The meaningless phrase ca biil'iUace is possibly meant to be ca bal'a late (wide as a puddle),
or even ca bUl'tllate (like drizzle, wide spread), though neither simile seems very likely.
us The sense of the three concluding verses is far from clear to the translator.

[ 389 ]
 C I d)
Cumatru lui DumnezelJ; -Hoi, Iaoane, Sant Iaoanel
Noaptea d-umblu bot'ezand, N u grii bi pa moarte' me,
15 Zil}a d-umblu cununand. a nu-s io ce-ti pare tie,
r. Hal: leno, leno, marmalenol 15 Ci m'o maica blastiimat,
(5c. Igrifi 4» ~i 3 fil} fiara codrilor
NOl}a d-ani fii nOl}a zile.
~i d-acele 'mplini-oi,
92d. Jos la tara d-urla-oi,
Noi d-umbliim d'e corindiiml.), 20 Chei in bmnci d-apuca-oi,
r., Beserici descuia-oi,
Clopot mic legana-oi.
Gazda 'n casa nu-i d-afliim~, Clopot micu-i nestolnicu (sicl)
------ In chiotoar' 4 cu cantatori
Ca gazd'il'e nu-s acasa, 25 ~i in praguri cu glasuri
~i 'nca dieci 'n chiefior (sic!)
Da-s pin codrul'\:-a vanare, Sclujba nOl}a canta-n\:-or.
Da cu sarii-i vecernie,
5 D\:-a (sicl) vanare dzi d'e vara, Miez da noapte-i litrosate,
30 Zor da zil}' ivanghelie,
~i nemiiicii nU-fii pUficara, Pa la pranzu-i letrud'ie.
Far' un cerbut patriiriel (sic!) :
-Ntindeti pUfica sa-l pUfit'em!
-Ho ho ho, nu ma pUficati,
*
Cruce sfantii 'ntoarsa 'n masa;-
10 Ca nu-s Xara 1 cea ce-ti pare, ~i 3 fi, gazda, sanatoasa I
Da-s laon lui Sant laon, r. Corinde-mi Doamn'l
Ca m'o lasat Dumnezel} (73d. Urvifi ¢)
D-in vatavu l}oilor
La cuqile domnilor.
r. Domnuluj ~j-a nos' Domnul 92f.
(Md. Tarna mare p) lola nenea duce m'oi,
I: Plug fii boi aduce-voi, r. : I
92e. Langa plug fii pogarucii
lefiit-o, Doamne, iefiity I: ~i poganiciu cu zbicii : I
Vanatori d'a lui Pilaty,
r., 5_
Sa_mai
___ boii
_ _ cu
_ _zbicii
5

Ta' 2 vanara cat vanara. Vanatori a lui Criiciun

~i can' fu zil}a da vara,
5 cand ifii era langa sara,
Mandra fiara-fii d-adunara:
Un cierbut can stretinior,
Mandru joara netejoarii (sicl)
~i la port da spicatel (sicl)
10 ~i la coame galbanior.
Cierbu-o rupse fii-o raspunse:
Tras-al} harcu, sa-i sagete.
Ei din grai afi' ay stragat:
-Trageti voi har<:u napoi,
10 Ca io nu-s ce gandin voi,
Ca io-s Petru lui Sanpetru,

1 = fiara.
S = tot.
3 = sa.
4 = cheetoare.
5 La fon. un !1ir care nu se tutelege.

[ 390 ]

Christening kin (I am) to God: 123
I go christening by night
15 And by day go marrying.
Refrain: Come, softly, softly, carol softly!
15
92d.
We are going caroling,
Refrain
We don't find the host at home,
For the hosts are not at home (now), 20
But they're hunting in the forest.
5 A (whole) summer's day they hunted
And at nothing did they fire,
Only at a four-year stag.
Aim the gun, let's shoot him down! 25
Stay, stay, stay, don't shoot at me,
10 For I'm not the beast I look like,
But I'm John, (I am) Saint John,
For the Lord appointed me
(To be) shepherd of the sheep 30
At the mansions of the lords.
Refrain: To the Lord, to Our Lord!
92e.
They went forth, Lord, they went
forth,
Some of Pilate's hunting men,
Refrain
And a while they kept on hunting.
And as the (long) day of summer
5 Came to draw nigh unto evening,
(Lo,) a fine beast they surrounded,
A stag about three years old,
Handsome (was his) pelt (and) glossy,
Like an ear of wheat in hue,
10 And (his) antlers yellowish.
(But) the stag (then) started speaking:
10 For I'm not what you believe,
C II d)
Ho, John, (hear me,) Saint John, (hear
me,)
Do not hasten with my death,
For I'm not what you suspect me,
But I'm by the Mother cursed 124
To be wild beast of the woods
For nine years and for nine days
(more).
And, when I shall have fulfilled them,
I'll rush down upon the land;
In my hands I'll seize the keys
(And) the churches I'll unlock,
(And) I'll swing the little bell,125
Little bell is overbearing:
There'll be singers at the loops,
Also voices at the sills,
Deacons, too, about the loops;
They shall chant the service for us:
In the evening 'twill be vespers,
Liturgy 'twill be at midnight,
Gospel it will be at daybreak,
About noon there shall be service.
*
Holy cross turned round the table,
Host, a goodly health we wish you!
Refrain: My carol, Lord!
92f.
To (my) uncle I shall go,
Plow and oxen I shall bring,
Refrain
With the plow a plowman too,
And the plowman with a whip,
5 With the whip to
_________ 126 drive the oxen.
Of Christmas the hunting men
Drew the bow that they might pierce
him.
(But) he thusly shouted out:
(Stay) the bow (and) pull (it) back,
For I'm Peter of Saint Peter,

123 The expression Cumiitru lui Dumnezeu is a particularly apt one. The term cumiitru desig-
nates the degree of kinship resulting from baptism, and is given reciprocally by the godfather
of a child and that child's father. The feminine form is cumiitrii. Since St. John baptized God
the Son, he was manifestly the Cumiitru of God the Father.
124 Perhaps this verse should read: But I'm by my mother cursed.
125 The verses that follow hereafter are so obscurely worded that they suggest a garbled
version. The translation is therefore largely guesswork, from here to the end of this text.
126 Author's manuscript footnote: "An unintelligible verse in the recording."

[ 391 ]

Nana!J bun mi-i Dumnezel},
Car de milic m'o botezat,
De mare m'o eununat,
15 'N ealea Domnului m'o dat.
1'. L'e1'uj Doamnel
(107b. Uri~iu de sus t/)
91~.
Ie~it-o, Doamne, ie!Jity
Vanatori, d'a lui Pilaty.
Tat v~nara eM vmara
Zi de varn p~na 'n sara,
5 C~nd isi era l~nga sara,
M~ndra fiara ea -!Ji v~nara :
D-un eierbut cam stretinor
$i la eoame galbiinior.
V~natoare eel mai mare
10 Trase d-areu, !Ji-l sagete.
$i eierbut din grai griii:
C I e)
-Nu pazi pa moarte me,
ca nu-s el} ee-ti pare tie,
Ci-s Iuonu, S~nt Iuonu,
15 Nan~u lui Dumnezel}.
Ca e~nd maiea m'o fa cut,
Grele munci ~i-o d-avut.
Cl}-un picior m'o leganat,
Cu gura m'o bIasmmat:
20 -$i 1 fii fiara eodrului
NOl}a d-ani !Ji nOl}a zile
$i p'atMe sapmm~ne.
Dae' aeelea 'mplini 1\::-01.
Jos la tara d-urla-oi.
25 Chei in brnnci prinde mi-oi.
Beseriei daseuie-oi,
C~ in brnnci lua mi-oi,
Slujba m~ndra sluji-oi.
1'. C01'inde mi Doamn'!
(73m. Dumbravita de eodru t/»

e) ABOUT JUDAS
DESPRE IUDA

93a. [Cf. 98.] D-aeolo d-afla

Iuda hicleana
Oi !Jedu-i, mai ~edu-i (sic!), Bat~nd, eeluind
I.1'., Suflete direpte,
Doi domni da eei mari, 25 'N iadu le-i trimete.
2.1'.,
Fiu-~i graira:
D-unul ii Taml, -Ce domnu t\::-o pus
D-altul ii fiul. P'a no~te suflete,
5 Taml graira Suflete direpte
Cam fil} d'a lui: 30 'N iadu Ie trimeti ?
-Oi du-te, mai du-te Iuda-!Ji griiira:
Colo jos, mai jos, -Ce te d-ispite!Jti,
Josu-i pre pam~nt Domn mare ea tine,
10 $i vezi ee-i vede: Cu d-om ral} ea mine?
Ce domnu s'o pus 35 Fiu mi-~i prinde
P'a noaste suflete? Grel} toiag da fer,
Iuda hicleana $i 'nea mi-l pune
Suflete direpte Pa d-umar da Iuda.
15 'N iadu Ie trimete. Iuda grel} geme,
Fiu-~i eugeta 40 Fiul mi 'ntreba:
Ca vmt pre pammt, *-Grel} iti pare Iud' 0 ba?
Cafulger pre eeri,; -Cum nu-mi pare grel},
Susu sa nalta, Numa cum e\::-ar fi
20 J osu sa Iasa. Ceri,u eu pam~ntu

[ 392 ]

My true godfather is God,
Who baptized me as a babe,
As a grown man wedded me,
15 On the Lord's way sent me out.
Refrain: Lord, I carol!
92~.
They set out, Lord, they set out,
Pilate's huntsmen (sallied forth).
They kept hunting and they hunted
On a summer day till evening.
5 When the time was close to evening,
(Lo,) a fine wild beast they hunted:
('Twas) a stag in his third year
And with antlers yellow-hued.
(Then) the oldest of the hunters
10 Drew the bow that he might pierce
him.
And the stag said (unto him) :
e) ABOUT JUDAS
93a.
Ho, they sit, they sit,
ISt Refrain
Two of the great lords;
2nd Refrain
One the Father is,
The other the Son.
5 (Lo,) the Father spoke
Unto His own Son:
Let you go, once more go
Down there, lower down,
On the earth below,
10 And see what you'll see:
What ruler's set up
O'er our souls (to lord it) ?
Judas the contriver
Souls (that are) unblemished
15 Into hell is sending.
The Son set His mind
Like wind on the earth,
Lightning in the sky;
He arose on high,
20 He came swooping down.
127 In the original, this unexpected seven-syllable verse reads: Does it seem heavy to you,
Judas, or not?
[ 393 ]
C I e)
Do not set about my death,
For I'm not what you believe me,
But I'm John, (I am) Saint John,
15 Godfather unto the Lord.
When my mother me did bear
She had mighty labor pains;
With one foot she rocked me (then)
(And) she cursed me with her mouth:
20 May you be a forest beast
For nine years and for nine days
(more),
And for just as many weeks too.
If that (time) I shall accomplish,
I'll come down into the land,
25 Keys I'll take into my hands,
(And) the churches I'll unlock;
Books I'll take into my hands,
A fine service I shall serve.
Refrain: I carol, Lord!
He discovered there
Judas the contriver
Beating, playing false
Souls (that were) unblemished,
25 Sending them to hell (then).
Spoke the Son (to him) :
What lord set you up
O'er our souls (to lord it),
Souls (that are) unblemished
30 Into hell to send?
Judas said (to Him):
Why d'You match Yourself,
A great lord as You are,
With a wretch as I am?
35 The Son (then) took up
A great iron stave
And He laid it down
On Judas his shoulder.
Judas groaned aloud,
40 The Son asked (him then):
Does it feel heavy or not? 127
Than heavy, how else?
'Tis but as it were
Sky and earth (together)

45 Pa d-umar da 1uda.
Fiu-~i graira:
-D-~e-mi pare mie,
Cand imi ma vandu~i in
Sara da J oi mare
50 La cani da J idovi
Cu trizeei d'arginti
Pa bani jidov~ti.
$i 'nea va pare
Ca ni jutra-i (sic!) mare,
55 Ci mie-mi faeeti
Cununa da spini,
'N eapu miey tapati
Parutu-mi eiuntati,
Tatal nu-ji Hisa
60 Parut peritori,
Ci mi-l velira
Busuioe ehitat,
Miros pa pamant.
$i 'nea va pare,
65 Ca ni jutra-i mare,
Ci mie-mi faeeti
Bray da rugut verde
~i 'nea ma 'ncingeti,
Pelita-mi eiuntati.
70 Tatal nu-ji lasa
Pelit' peritori,
Ci mi-o velirli
Vita graului.
$i 'nea va pare,
75 Cli ni jutra-i mare,
Ci 'nea ma 'mpungeti
Cu sulita-i sa,
In tata direapta,
Sange strapunge.
80 Tatal nu-ji lasa
Sange peri tori,
Ci mi 'nvelira
Vita vinului·
Fiul mi-o prinde
85 $i 'nea mi-l duee
'N fundu iadului.
D-aeol' 0 lega
Cu lant da otel
Cata stalp da fer,
90 $i va fi legat
Pan' la judecat,
Ce s'or judeea
Tate sufletele
Din tate paqile,
95 Care e~-o flieut
Da n~terea sa
[ 394 ]
C I e)
Pan' la moartea sa.
I.r. Doamne!
2.r. Doj corindej!
(21n. $oimi if)
93b.
Da ~edu-~i, I.r., mai ~edu
Doi domi de eei mari,
2.r.
Di mijloe di rai
I: La masa galbina : I,
5 Galbina di eear'.
Tat ~ede ~i 'ntreabli:
-Care mi-z mai mare?
Tatal graie:
-Di zile di mult,
10 10 sant mai di mult,
Di domnie mare
Ca tu e~ti mai mare,
Da earja-i mai mare.
1e-te ~i te du
15 Jos pantre suflete,
Sa vezi ee-i vide:
I uda vielean ra 1).
Batand ~i eel1).ind
Suflete direpte
20 $i Ie d-ispite~te
$i Ie dobande~te.
Fiu d-atuneie
Inca mi-~i lua
Cel eorba~ di foe;
25 Tare mni-o mana
'N fundu iadului;
~i 'nea mni-o lega
Cu tasti (sic!) di fer,
Cu lant di otel;
30 $i 'nea d-atuneie
Mi pune di-a d-umar,
Di-a d-umar di 1uda
Cel toiag di fer.
Tare mili-apasa,
35 La pamant pica.
1uda-mi ded~-a plange
Cu laerimi di sange.
Fiul d-atuneie
Inca mni graie:
40 -Grey iti pare, I uda ?

45 On Judas's shoulder.
Said the Son (to him):
That is what I felt like
At the time you sold me,
Maundy Thursday evening,
50 To the curs of Jews for
Thirty silver pieces,
For some Jewish pelf.
Even so you deemed
'Twas no heavy burden (?),
55 But you made for me
A garland of thorns,
Thrust it on my head,
(And) lopped off my hair.
Father left it not
60 Perishable hair,
But covered it up
With the basil trim,
Fragrance on the earth.
Even so you deemed
65 'Twas no heavy burden (?),
But you made for me
A belt of green bramble,
Girdled me with it,
(And) you cut my skin.
70 Father left it not
Perishable skin,
But covered it up
With the stalk of wheat.
Even so you deemed
75 'Twas no heavy burden,
But you pierced me through
With your (cruel) spear;
Out of my right breast
Blood came gushing forth.
80 Father left it not
Perishable blood,
But covered it up
With the vine of grape.
The Son caught him up
85 And He bore him off
To the depths of hell.
There He bound him fast
With a chain of steel
To an iron stake,
90 And he shall stay bound
Until Judgment Day,
When there shall be judged
(Each and) every soul, from
(Each and) every quarter,
95 Each for what it's done
From the time 'twas born
[ 395 ]
C I e)
Till the time it died.
Ist Retrain: Lord God!
2nd Retrain: Sing the carols!
93b.
(Lo,) they sit, ISt Refrain,
they're seated,
Two of the great lords
2nd Refrain
In the midst of heaven,
At a yellow table,
5 Yellow, (made) of beeswax,
Sit and ask each other
Which (of them) is greater.
Spoke the Father (then):
In number of days
10 I'm of greater age,
In greatness of lordship
It is you the greater,
But the crozier's greatest.
Let you rise and go
15 Down among the souls, and
See what you shall see (there):
Judas, the sly wretch,
Beating and deceiving
Souls (that are) uprighteous,
20 Leads them to temptation
And he overcomes them.
Thereupon the Son
Likewise took along
That whip (made) of fire;
25 He drove off apace
To the depths of hell;
He bound (Judas) fast
With an iron band (?),
With a chain of steel;
30 And, when this was done,
He set on his shoulder,
On Judas his shoulder,
That crozier of iron.
Heavily it pressed,
35 To the ground he fell.
Judas started weeping,
Tears of blood (a-shedding).
Thereupon the Son
Spoke again (to him) :
40 Is it heavy, Judas?
 C I e)
-Hoi, ZO,l grey imi pare, Pa luda-l gase
Ca eer !ji pam~t, 20 La mijloc de rai
ca eel~-am p.nut. ~i mi-l euprinde~
o ie mm-l' mie, ~i mi-!ji ea pune
45 Ca nu pot tine. Grey toiag de fer.
*-A!ja-mi pare mme, luda, luda-i !juiera,
Sara di Joi mare, 25 Fiul d-intreba:
Cand tu ma vandu!ji -Grey iti pare, luda?
La cani, la Jidovi -Ba mai grey imi pare,
50 Pa cinzeci di lei, De cat cum !ji-ar fi
Pa bani di eei rei. Cer ~i eu pamant
*Di fire legata, luda, 30 Pa umar d-a mney.
Pana la jude!, -~i 'nea t'~-oi mai duee
Ce t~-oi judeea tn fundut de iad
55 10 !ji Dumnezey ~i t~-oi ea lega
~i dragi fij di-a mnei, D~-un stalput de fer
ca tu ma vandu!ji 35 Cy-un lant de otel
Pa dinauori, ~i !ji 3 fi legat
Pana 'n eantatori. Pan' la judeeat,
I.Y. Doamne!2 Ce s'a judeea
2.Y. Daj corinde! Cer ~i eu pamant,
(21k. Va!jeau if) 40 Trup ~i eu suflet.
I.r. Doamnea!4
2.Y. L'eyuja l'eyuj Doamn'!
93c. (20. Coticlet if)
Hoi ee Doamnea !jed~ (sic!),
I.Y.,2.Y.,
Doi domni da eei mari 93d.
D'inaint'ea ee~tor eurtiy,
D-asupra da eeriui. Y.,
CiIl~-ar put'e fi?- Est'~-on maru !li ey-on pary

5 Unul ij Tatalui I: Est'~-on maru !ji ey-on paru : I,

D-altul ii fiue
D'e tulpini atulpinatiY,
Tatal griiiere 5 D'e varvari asemenatiY,
Catra fiul say:
*-Hoi, ie-t'e, mai du-t'e, I: D'e varvari asemenatiY : I.
10 C'a!j' am d-auzit,
*Ca s'o pogorit Vin~-ongaiu 5 galbinior;
luda vicleana nu-mi vine cum sa vine,
~i
*La mijloe de rai Ci mi-!ji vine tot tapind.
~i mi-!ji eelue~t'e 10 lese Doamn' aeestor curti:
15 *Suflet'e d'irept'e. -Mai lin, gai, mai cieilin,
Fiu-!ji eugeta Ca mi-s sfintii d-adormiti,
Ca-yn vant pa pamant, Ca-s dela yoaste sositi.
Ca-yn fulger pa eer. -N'am vinit ea sa va tap,
1 = zeu.
s Var.: Iuda!*
3 = sa.
4 Var.: Fii!*
& Cf. gaie.

[ 396 ]
 C I e)
Hoy, I swear it's heavy Judas He did find
As though heaven and earth 20 In the midst of heaven;
I've had to bear up. He laid hands upon him
Oh, lift it away, And upon him lay
45 For I can't hold out. A great iron staff.
That is how I (too) felt, Judas,128 Judas loudly hissed;
Maundy Thursday evening, 25 Asked the Son (of him):
A the time you sold me Heavy seems it, Judas?
To the curs, the Jews, It seems heavier even
50 For (but) fifty lei,126 Than as though it were
For some evil pelf. The sky and the earth
May you (thus) stay bound, oh 30 On my shoulder (held).
Judas,128 And I'll take you also
Until Judgment Day, To the depths of hell,
When you shall be judged And I'll bind you (fast)
55 By myself and God To an iron stake
And my by dear sons, 35 With a chain of steel,
Since myself you sold And you shall stay bound
For some pennies (vile) 130 Until Judgment Day,
Ere the cock did crow. When there shall be judged
Ist Refrain: Lord God! (var.: Judas!) The sky and the earth,
2nd Refrain: Sing the carols! 40 Both body and soul.
ISt Refrain: Lord God! (var.: The Sons!)
2nd Refrain: Sing the carols, sing, Lord!
93c.
Hoy, what lords are sitting,
ISt Refrain, 2nd Refrain 93d.
Two of the great lords, In front of this mansion (fair)
Up above the sky, Refrain
Who might they well be? Stand an apple and a pear tree,
5 One (of them)'s the Father, Stand an apple and a pear tree,
The other's the Son. Stoutly rooted are their boles,
(Lo,) the Father spoke 5 Of a likeness are their tops,
Unto His own Son: Of a likeness are their tops.
Hoy, arise, once more go, Comes along a yellow hawk,
10 For thus I have heard And it comes not as one ought to,
That there has come down But it's screaming as it comes.
Judas the contriver 10 Out this mansion's lady steps:
Into heaven's midst, Softly, hawk, more softly yet,
And he is deceiving For my saints are (fast) asleep,
15 Righteous souls (of ours). From the army they've just come.
The Son set His mind I've not come to scream for you,
Like a wind on earth,
Like lightning above.

128In the original, as in the translation, these verses have eight syllables.
189The leu (plural: lei) is the currency of Rumania.
180 The original verse gives a somewhat weird rendition of denarii. The denarius is, of course,
the biblical "penny".

[ 397 ]

15 Ci-am vinit sa da\1 de ~tire:
S'o tunat Iuda in raj,
L\1at-o luna eu lumina,
Soarile eu razile
$i sea\1nu eu legile
20 $i galeata de botez.
Toate 'n iad ea l~-o bagat:
Frumos iadu-i luminat,
Udt raiu-i 'ntuneeat.
-Nu te teme, Ioane, nul
25 L\1a-vom traznitul de vara
$i eu tunetul de sara;
Mai depart~-om fulgera,
Mai d~-aproape e'om trazni,
Iadu 'n patru ~i-o plezni,
30 Draeii toti 0 'neremeni.
L\1a-vom luna eu lumina,
Soarile eu razile
$i sea\1nu eu legile
$i galeata de botez;
35 Toate 'n rai ea l~-om baga,
Frumos rai],l-o lumina.
r. Domnuluj Doamne!
(59a. Nue~oara ¢)
93e.
11.1 fIT.l
I: La fantha raiului, r. : I -lui
Mandre vorbe l?i-a1duire
Tot de sfinti, de d-ueeniei.
Nimere ~i Domnul Sfant:
5 -Ce vorbiti, ee sfatuiti?
-Tot de randu raiului:
Iuda 'n rai ea ~i-o intrat,
Raiu tare 1-0 pradat.
Grai-~i Domnul Dumnezel}
10 Catr' Arhangel Mihiiila:
-Arhangele Mihaila,
Slobozi din jos la Iuda!
-Ba io nu m-oi slobozi,
Pana tu mni nu mni-i da
15 Tat tunu ~i fulgeru.
-Da io hiiIa nu ti -oi da,
Ca eu el te-i vatama.
Ba, ZO,l tie ea ti-oi da
Tatu~ luna ~i lumnina,
1 = zeu.
2 = mese.
3 = cAntil « dalol, ung.).
4 = veste « hir, ung.).
[ 398 ]
C I e)
20 Soarele l?i razele
$i earjuta Tatalui.
Dar Arhangel Mihaila
Lua luna ~i lumnina,
Soarele eu razele
25 $i earjuta Tatalui
$i eheil~-a raiului.
Jos la 1udii s'o lasat:
-Buna zi\1a, domn de 1uda!
-Sa trae~ti, unehiu al mne\1.
30 --Ca io sant un zadar mare,
Zadese curti ea ~i a tale.
-Zade~te ~i a mnea eurte!
-10 tie nu ti-oi zadi,
Pana mnie nu mni-i-aduee
35 Prund din fundu marii.
1uda 'n mare s'o lasat,
Iar Arhangel Mihiiila
Peste mare 0 suflat,
Mare tare 0 'nghetat;
400 suflat a dO\1a oara,
Noua stanje inghetarn.
Dar Arhangel Mihiiila
Lua luna l?i lumnina,
Soarele ~i razele
45 $i earjuta Tatalui.
r. Domnij leI' Domnuluj bun!
(91. Chinci~ ¢)
93£.
D-intr-o dare, d-intre mare,
1'.,
D-intre rasarit da soare
Seris-o DomnuI, el:-O mai seris?
Seris ni-o masa galbana,
5 'Mprejur ma~i 2 l?i seaune.
Da Ia masa cine ~ede?
$edu-~i sfinti de eei mai sfinti
C],l apo~toli 'nvaluiti.
Tatu~ bel) ~i diluese 3
10 Zi da vara pana 'n sara,
and i~i era langa sara.
$i re hire 4 Ie vine
D-int'o dalba de fetita,
Ca s'o 'ntrat 1uda in rai
15 $i raiu ral) 1-0 priidat.

15 But I've come to bring you tidings:
Judas into heaven's come,
Moon and moonlight he has taken
(And) the sun with (all its) beams,
And the throne with (all) the laws,
20 And the pail for christening;
He has put them all in hell.
Hell is beauteously alight,
Horridly is heaven dark.
Do not be afraid, John, no!
25 We'll take thunderbolt of summer
And the thunder of the evening,
We shall lighten from afar,
From nearby hurl thunderbolts,
Into four shall hell be split,
30 All the devils turned to stone.
We shall take the moon with
moonlight
(And) the sun with (all its) beams,
And the throne with (all its) laws,
And the pail for christening;
35 All in heaven we shall set,
Beauteously shall heaven light.
Refrain: To the Almighty!
93e.
By the side of heaven's well,
Refrain
(With) fine words and (goodly)
blessings,
The saints and disciples (stand).
Came the Holy Lord as well:
5 What say you, what counsel you?
All about the rules of heaven:
Judas into heaven's come,
Sorely has he looted it.
Spoke the Lord Almighty (then)
10 Unto Michael the Archangel:
Oh, you Michael the Archangel,
Let you (now) descend on Judas!
Not so, I shall not descend
Until You shall give to me
15 Both lightning and thunderbolt.
Those I shall not give to you,
For you'd harm yourself with them.
Yet, I swear, I'll give to you
Ne'ertheless the moon and moonlight,
[ 399 ]
C I e)
20 (And) the sun with (all its) beams,
And the Father's crozier too.
Thereat Michael the Archangel
Moon and moonlight took along,
(And) the sun with (all its) beams,
25 And the Father's crozier too,
And the keys of heaven withal.
Unto Judas he went down:
Greetings to you, Master Judas!
A long life, oh uncle mine!
30 (Lo,) I am a skilful mason,
I wall mansions such as yours are.
Let you wall my mansion also!
I shall build no wall for you
Until first you shall have fetched me
35 Gravel from the sea's own floor.
Judas plunged into the sea,
Whereat Michael the Archangel
Blew (his breath) upon the sea,
Mightily the sea froze over;
40 He a second time blew (on it),
Froze it (hard) nine fathoms (deep).
Thereat Michael the Archangel
Took the moon and moonlight up,
(And) the sun with (all its) beams,
45 And the Father's crozier too.
Refrain: Carol for the goodly Lord!
93f.
From a bounty (?) by the seaside,
Refrain
From the middle of a sunrise,
Ruled the Lord, what ruled He else ?
He has ruled a yellow table,
S Round about it chairs and tables.
But who's sitting at the table?
The most holy of the saints,
With disciples round about.
They are drinking and they sing
10 (On) a summer day till evening.
When the time drew nigh to evening,
(Lo,) to them came woeful tidings,
(Brought to them) by a fair maiden,
That in heaven Judas went
15 And he sorely looted it.

Dar intaia c~-o luat?
Ciubara botezului
!;li scaunu Tatalui,
Soarele cu razele
20 !;li luna cu lumina,
Tate 'n iadu Ie muta.
Mandru raiu-i 'ntunecos,
Scarnav iadu-i luminos.
Dumnezel) i1/i graira:
25 -Sfintii mnei ~i dragii mnei!
D-intre voi ~i d-intre noi
Care s'ar pute d-afla
Sa sa duca ~i l~-aduca ?
Sant'ilie L~i graira:
30 -Gata-s, Doamne, 1/i-oi me' 2 io.
Numa-mi da c~-oi cere io:
Da-mi tunu ~i fulgeru.
-10, d-!lie, ti l-a~ da,
Da e~ti mic ~i tanarel
35 !;li te-i vatama cu el.
-Cum tu, Doamne, ma-i 'nvata,
D-a~a, Doamne, l-oi purta.
-Tuna rar, fulgera des!
Sant'ilie raduia 3
40 Tat tunand 1/i fulgerand.
Cand i~i tun'a 'ntaia oara,
Tat iadu cutremura;
Cand i~i tun'a doua oara,
Tuna 'n talpa iadului;
45 Cand i~i tun'a tria oara,
Pica Iuda jos i?i moare.
Sant'ilie sa tapa,
Tate 'n raiu Ie muta:
Mandru raiu-i luminos,
50 Scarnav iadu-i 'ntunecos.
Curse luda ~i-l d-ajunse
!;li 'nca, Doamne, ral) n rupse
Tat da talpa 1/i da palma.
Sant'ilie dede-1/i plange
55 Cu grele lacrami da sange.
Dumnezel) i~i graira :
Taci, d-!lie, nu te plange!
Can ca tine nascut-o,
Tati ca tine potit-o; 4
1 = Sf. Ilie.
2 = merge.
3 = pornea « ered, ung.).
4 = patit.
5 = mese.
e = ci'mta « daioi,ung.).
7 = veste « hir, ung.).
8 = sa.
[ 400 ]
C I e)
60 Can ca tine na1/te-or,
Tati ca tine poti-or.
r. fii-a nos' Domnu Dumnezeu!
(95f. !;loimi if)
93g.
S'o crescut, s'o rasarity,
r.,
Un porn naltu ramuratu.
Da cu toamna-i mugurat,
Primavara-i cu flori albe.
5 Naltu-i pomu pana 'n cer
!;li da larg prejur pamant.
La turpina pomului
Scris-o Domnul, c~-o mai scris?
Scris-o ma~i 5 1/i scaune.
10 Da la ma1/i cine 1/ede?
!;ledu-~i sfinti da cei mai sfinti,
Dumnezel) d-inca-i cu ei;
Tatu1/ bel) ~i diluesc, 6
Da da rai nu-~i pomenesc.
15 Cand i~i fu da catra sara,
Re hire 7 ca Ie vinira
D-int'o fata feciorita:
C'o intrat luda in rai
!;li raiu ral) 1-0 pradat,
20 Tate mandril~-o carat,
~i steagul botezului
$i scaunul Domnului
$i luna cu lumina,
Soarele cu razele.
25 Dumnezel) din grai grale:
-Sfintii miiei ~i dragii mnei!
Care mi s'ar mai d-afla
Dintre voi ~i dintre noi
$i 8-mi mearga dupa luda?
30 Sant'ilie isi graie:
31-33 = 93f.30-32
-Hoi !lie, puiu mnel),
35 Aceia-i 0 arma gre
!;li te-i vatama cu ie.
-Cum mi-i, Doamne, d-invata,

But what stole he first of all?
('Twas )the pail for christening
And the Father's throne withal,
(And) the sun with (all its) beams
20 And the moon with (all its) light,
All of them he moved to hell.
Beauteous heaven is all dark,
Unclean hell is all lit up.
The Almighty Lord spoke out:
25 Saints of mine and my beloved!
Among you and among us,
Who is there that might be found
To go (after them) and fetch them?
Up spoke Saint Elijah (then): 131
30 I am ready, Lord, I'll go,
Only grant me what I ask:
Let me have thunder and lightning.
I would give them you, Elijah,
But you are both small and young,
35 And you'd harm yourself with them.
Just as You shall teach me, Lord,
So, Lord, shall I wield them too.
Thunder seldom, lighten oft!
Saint Elijah started out,
40 Thundering and lightening.
When the first time he did thunder,
He set trembling all of hell;
When a second time he thundered,
He struck hell's nethermost floor;
45 When he thundered for the third time,
Down dropped Judas and lay dying.
Saint Elijah (then) swooped down,
Back to heaven he moved all.
Beauteous heaven's all lit up,
50 Unclean hell is (now) all dark.
Judas ran and caught him up (then)
And, oh Lord, he badly tore him,
(Such) a kicking and a slapping.
Saint Elijah started weeping,
55 Heavy tears of blood (a-shedding).
The Almighty Lord spoke out:
Quiet, don't complain, Elijah!
All who have been born like you,
Like yourself have been chastised;
131 The Prophet Elijah is one of the major saints of the Orthodox Church. His feast is kept on
the 20th of July.
[ 401 ]
C I e)
60 All who shall be born like you,
Like yourself shall be chastised.
Retrain: And Our Lord, Almighty God!
93g.
There grew up, there sprouted up
Retrain
A tall tree with spreading boughs.
It is bearing buds by fall,
In the spring it bears white blossoms.
5 High as heaven stands the tree,
And it spreads the earth about.
At the foot of the (fair) tree,
God has set, what has He set?
Chairs and tables He has set.
10 But who's sitting at the tables?
Saintliest of saints sit (there),
And the Lord is with them too.
They are drinking and they sing,
But of heaven have no thought.
15 As the time drew toward evening,
Unto them came evil tidings,
(Brought to them) by a young maiden:
Into heaven Judas came,
And he sorely looted it,
20 All fair things he carried off,
Both of christening the banner
And of the Lord God the throne,
Both the moon with (all its) light
(And) the sun with (all its) beams.
25 Spoke the Lord Almighty (then):
Saints of mine and my beloved!
Who is there that shall be found,
Among you and among us,
After Judas to set out?
30 Saint Elijah spoke to say:
31-33 = 30-32 of 93f.
Hoy, Elijah, chick of mine,
35 That's a weapon hard to wield,
And you'd harm yourself with it.
As You'll teach me, Lord, Yourself,

A~a io ca oi purta.
-CA.nd te-i baga pa luda,
40 Tuna rar, fulgera des.
SA.nt'ilie rliduie 1
Tat tunA.nd ~i fulgerA.nd,
Gand sa baga pa luda,
cand t~i ded~-a d-una oara,
45 Tat iadu sa trasari~;
CA.nd ~i ded~-a doua oara,
Pica luda 'n cur ~i moare;
CA.nd i~i ded~-a tria om,
luda sa 'ntinse ~i moare.
50 SA.nt'ilie sa tApa,
Tate mA.ndril~-apuca:
~i steagul botezului
~i scaunu Domnului
~i luna cu lumina ~i
55 Soarele cu razele.
56-60 = 93f. 51-55
Dumnezey din grai graie:
-Ie taci, !lie, nu plA.nge I
63-64 = 93f. 60-61
1'. ~oimul Domnu DumnezefJ/
(95f. Var. Urvi~ if)
93h.
Crescut-o, rasarit-o:m,
1'.,
D-un porn naltu-i razmurat 2
====
~i d-inaltu-i pft.na 'n ceriui,
Umbra are, frunza n'ar'.-
5 De la umbra cine ~ed'e?
ca mi ~ed'e Tatal Sfft.nt
------
Cu tan sfintii Ift.nga sft.il.e,
[Tat I~i be ~i-~i lacaze 3]
1 = pornea « ered, ung.).
B = ramurat.
8 = veselea (= lakoz, ung.).
4 = groznav.
5 = veti.
I = sa.
7 = Sf. Ilie.
a = cheile.
[ 402 ]
C I e)
Nici ~e nu-~i ajunge.
10 CA.nd era mai da cu sara,
Re veste Ie viDi lara
P'un puiut da rft.ndune:
C'o intrat luda in rai
Ray pa rai ca 1-0 pradat,
15 ~-o afiat, tat 0 luat,
~i cruce' cu sufiet'ile,
Soarile cu razile
~i luna cu lumina,
Tat'e 'n iad ca l'e baga;
20 MA.ndru-i raiu 'ntunecos,
Groznac 4 iadu-i luminos.
Tatal Sfft.nt ~i graie:
-Sfintii mei ~i dragii mei!
Care voi vi ti 5 afia,
25 ~i 6 mereti dupa luda?
SA.nt'ilie7 sa afla:
-Gata, Doamne, ~i m'oi duce,
Numa-mi da ce-oi cere io:
Da-mi tunul ~i fulgerul.
30 -Ba io, fij, nu Ii l-oi da,
ca e~ti Iud ~i tft.narel
~i te-i spaimft.nta da el.
Stai, fii, ~i 6 t'e 'nvan io,
~i pa t'ine ca pa mine:
35 Cft.nd Ii sosi cata iad,
Tuna rar, fulgera d'es.
Cft.nd Ii tun'a una oara,
Tat iadu s'a spaimft.nta.
Sft.nt'ilie sa tApa
40 Cu mft.na a d'ireapta
Tat in fundu iadului
~i t'eile 8 apuca,
~i cruce' cu sufiet'ile;
Tate 'n rai ca Ie baga.
45 Mft.ndru-i raiu luminos,
Groznac iadu-i 'ntunecos:
Las' ~i 6 fi' ca ~-o ~i fost!
1'.10; Domnu/u, 10j Doamne!!/
(9Sk. Corbe~d if)
 C I e)
Thus, too, shall I handle it. Even so, 'twas not enough.
Upon Judas when you'll come, 10 As the time drew toward evening,
40 Thunder seldom, lighten oft. Again came to them bad tidings
Saint Elijah (then) set out, (Brought) by a small swallow chick:
Thundering and lightening, Into heaven Judas came,
Upon Judas as he came. Woefully he looted it,
When he struck down for the first time 15 Everything he found he took:
45 Startled was the whole of hell. Both the cross and (all) the souls (too),
When he struck down for the second, (And) the sun with (all its) beams
On his seat dropped Judas dying. 132 And the moon with (all its) light,
When he struck down for the third Into hell he put them all.
time, 20 Beauteous heaven is all dark,
Dying, stretched out flat, lay Judas. Horrid hell is all alight.
50 Saint Eijlah (then) rushed in, Said the Holy Father (then):
All the fair things gathered up: Saints of mine and my beloved!
Both of christening the banner Who among you shall be found
And of the Lord God the throne, 25 After Judas to set out?
Both the moon with (all its) light Saint Elijah was on hand:
55 (And) the sun with (all its) beams. Ready, Lord, and I'll be going,
56-60 = 51-55 of 93f. Only grant me what I'll ask:
Spoke the Lord Almighty (then): Let me have thunder and lightning.
Quiet, do not weep, Elijah! 30 Nay, son, I'll not give you them,
63, 64 = 60, 61 of 93f. For you're silly and you're young,
Refrain: A small hawk, Almighty Lord! And you will be scared by them.
Stay, son, let me teach you how,
So that you may do as I do:
93h. 35 When you shall draw close to hell,
There has sprouted, there's grown Thunder scantly, lighten oft.
upward
Refrain When the first time you shall thunder,
A tall tree with spreading boughs, All of hell shall be dismayed.
And its height goes up to heaven,
It has shade, it has no leaves. Saint Elijah rushed away,
5 But who's sitting in the shadow? 40 With his right hand (he reached down)
(Lo,) the Holy Father sits, To the very bed of hell,
With the saints all round about Him, And he took hold of the keys,
They keep drinking, having fun. Of the cross with the souls also,
All of them in heaven put.
45 Beauteous heaven is alight,
Horrid hell is darkling (now) :
Be it thus, for thus it was!
Refrain: Hoy, the Lord, hoy, Lord
Almighty!

18B To make this verse correspond exactly with the uproariously funny original, the appro-
priate Anglo-Saxonism should be substituted for "seat."

[ 403 ]
 C I e)
93i. 5 Ilie cu Dumnezel).
Scris-o Domnu, c\,:-o mai scrisu?
~i Ilie sa rugal):
Catu-i zil)a da vara~,
Da, Doamne, c\,:-oi cere io;
f.,
Tunetu 9i fulgeru.
Ta' ~ed'e i?i ta' scrie~, -10, Ilie, ti l\,:-ai? da,
Cand fu cruce la miaza~, 10 Da e9ti copil tanarel.

5 Ral) hiriutu l'e vine~ Dumnezel) i 1\,:-0 dat,

~i
Dint-o fata feciorita, Ilie s'o luat
~i
Tat tunan' 9i fulgeran'
Ca i?i-o d-intrat Iuda 'n raiu ~i tat dupa Iuda dand.
~i ral) raiu 1-0 pradatu, 15 ~i Iuda s'o 'nspaimantat
~i marea s'o tulburat.
Dar da l)aci c\,:-o luat? f. Flofile dalbe!
10 Tat'e cel\,:-a raiului: (61f. Curtecap rf»
~i vajmantea Tatalui
12-14 = 93g.23-24, 93h. 16
15 ~i l\':-aruncat jos spre iad 93k.
16-21 = 93h. 20-21, 93g. 25-28
~il mearga dupa Iuda?
Sant'iIi\': 2-ai?e-i?i graie: I: Colo 'n jos i?i mai d'in
fI.l fTIl
jos~ : I jos
24-27 = 93h. 27-29, 93g.26
-Ba io, fiut, nu ti-oi da,
Ca e~ti mic i?i matat'el I: Est\':-un porn mandru
fI.l: I
frumos~
30 ~i t'e-i vatama cu el.
Ie stat, fill, de ~il t'e 'nvat: fll.l
-mos;
Cand ii sosi catra iad,
Tuna rar a dOl)a oara,-
Iadurile tremurara;
I:
fT.l fTIl
la umbra pomoluHi : I -lui
35 Tuna des a tria oara, - ~i
Iadurile sa sfarmara.
Ian cu Sant Iaan,]
[~ede
f. Doamne Domnul Dumneze1,f! I~II'-.-0, rn.J
(lOOc. Cotic1et if) 5 I: Tat d-laan cu Sant d-Iaan~ : I laan,

93j. Nanai?u lui Dumnezel),

Tat imi scrie i?i-mi cete9te
I 1. I fTIl ~i pe Domnul pomine9te.
I: SUS in naltu ceriuluiu, f. : I -lui -Mai Iaoane, Sfant Iaoane,
10 Ce stai mnic 9i gramadit?
III fIT.l
I: La pranzutu Domnuluiu : I -lui
-Da io, Doamne, cum n'oi sta:
Ca s'o bagat Iuda 'n rai;
C\,:-o fost bun, tot 0 luat:
IT.! fll.l
I: Est\,:-o manastire dalba : I dalb'.
Razile cu soarile,
Crucea cu sufletile.
Dar acolo cine i?ede?
(1211. Chincis cf»

1 = sa.
2 = Sf. Ilie.

[ 404 ]
 C I e)
93i. 5 ('Tis) Elijah with the Lord
Ruled the Lord, what ruled He other?
And Elijah begged (of Him) :
All the livelong day of summer,
Grant, me, Lord, what I shall ask:
Refrain
(Give me) lightening and thunder.
He stayed seated and made ~ulings.
Elijah, I'd give you them,
When it was the stroke of mldday,
10 But you are a youngish lad.
5 Unto Him came woeful tidings,
By a youthful maiden (brought Him) :
And the Lord gave them to him,
That in heaven Judas entered
And Elijah started out,
And he sorely looted heaven.
Thundering and lightening,
But what did he take from there?
And at Judas striking out.
10 All the things that heaven's are:
15 And Judas was sore afraid
(God) the Father's vestments (all),
And the sea was troubled (too).
12-14 = 23, 24 of 93g., 16 of 93h.
Refrain: La, the white blossoms!
15 And he threw them down to hell.
16-21 = 20-21 of 93h., 25-28 of 93g.
After Judas to set out? 93k.
Saint Elijah thusly spoke:
Down below there, lower down,
24-27 = 27-29 of 93h., 26 of 93g.
Stands a handsome fruit tree fair,
I'll not give them, son, to you,
Also in the fruit tree's shade
For you're youthful and you're small,
John is sitting with Saint John,
30 And you'll hurt yourself with them.
5 John together with Saint John,
Hold on, and I'll teach you, son:
Godfather of Our Lord;
When you shall get close to hell,
He keeps writing and keeps reading,
Twice you are to thunder slo,,:ly,
And of the Almighty thinking.
(All) the hells will set to qua~mg;
Hey, you, John, ho, Saint John,
35 Thrice you are to thunder qUlckly,
(listen,)
(All) the hells will burst asunder.
10 Why do you sit small and hunched?
Lord, how could I not sit (thus) ?
Refrain: Lord, the Lord Almighty God!
Judas into heaven's come,
Everything that's good he took:
93j. (All) the sunbeams with the sun,
(And) the cross with (all) the souls.
Up in heaven's highest parts,
Refrain
At the midday of the Lord,
There is a white monastery.
But at that place who is staying?

[ 405 ]
 C I e)
931. 94a.
Sus la vita vinului, ,: Su' ro~iu di rasarity :"
La umbra gutuiului r.,

I: Colo-i Dumnezel} pranze~te : I. Mandru-i pomu ~i 'nflority,

Da nu ~tiy. cum s'o 'cuit2,
Di merele Ie mananea
I: Nemerind ~i Sfantu Petru: I: 5 ~i frunza mai ray. 0 straca.
Nu ~til} lel} ii or ii zmal},
5 -Haida, Petru, sa pranzimy! Or ii cerbu stretinior,
Di sa 'ntoarce 'n vanatoare,
-Numai, Doamne, multanim, Pana 'n rasarit di soare.
Ca io sa ma jaluesc, 10 Nime 'n lume nu ~i-l vede,
Ca ni-o 'ntrat Iuda in rail N uma sora sorelui
-Nu te, Petru, spaimanta, Di su' raza soarelui.
10 Zd'iciu 'n mana I-Ii lua, Nu ~tiy. lel} ii or ii zmal},
~i-i trazni ~i fulgera Or ii cerbu stretinior
~i-acolo numa-i intra. 15 ~i vanand, d-incaputand
(45c. Niere~teu r/» ~i di p'oriee vanatoare
Pana 'n rasiirit din soare.
Nime 'n lume nu ~i-l vede
93m. Numa sora soarelui
20 Di su raza soarelui.
fT.lfITl
I: La grad'ina, raiului : I -lui
~i vanand, d-incaputand
~i di p'orice vanatoare
Din picioare seantei sare
Ifl fITl ~i din gura tare-i cure.
I: Est~-un pom mandru 'nflority : I-rit. 25 ~i di p'orice vanatoare
T'atra 3 'n dung' 0 rasturna,
Dar su' t'atra ce gase?
fI.l
I: Mandru-i, Doamne, ~i 'ngriid'ity : I
Unu ~erpe galbioru.
Capu la ~erpe zdrobe,
rrr.l
-d'it
30 Dar in gu~e ce gase:
Ta t 0 carte hiirhiilaie (sic!),
Care di Iuda-i scriata.
I~
I: Cu 'ngriid'el'e pana 'n stele~ : I stele.
Jll.l
Maica Sfanta 0 prinde,
Slujba mandra ce-mi eete,
35 Di tati fiii in genunche
~i-apo~tolii lacramara.
fTllITl
5 I: La mijlocu pomnilory :, -lor
Tatal Sfant' Ii graie:
-Lasa, fii, slujba mai jos,
ca tati fiii-s in genunehe
Est~-un pranz di Domn din ceri; 40 ~i-apo~tolii laeramara;
Toti pranzese ~i liicuese,l Maica Sfant' ii graie:
~i Ilie ~i Palie -Lasa, fii, ~i lasa, draga,
Lasa, fii, slujba mai jos,
(114d. Albae if) Ca tati fiii-s in genunche

1 = veselesc « lakoz, ling.).

2 = s'o sucuit = obcinuit, Intamplat « szokik, ung.).
3 = piatra.

[ 406 ]

931.
By the grapevine, up above,
In the shadow of the quince,
Where the Lord (His) midday meal
eats;
Happens by Saint Peter also:
5 Come on, let us break fast, Peter!
Lord, I thank You, (I) but (came)
That I might complain (to You),
For in heaven Judas came!
Peter, do not be afraid,
10 You shall take the whip in hand,
And you'll thunder and you'll lighten,
And he'll enter there no more.
93m.
(Lo,) in heaven's garden (fair)
There's a beauteous tree abloom.
Lord, it's beautiful and fenced
With a fence up to the stars.
5 In the middle of the trees,
There's a meal for heaven's Lord.
All are eating, having fun,
Both Elijah and the Burner 133
133 Piilie (the Burner) is the personification of a feast day, kept in Rumania on the day
following the feast of St. Elijah, that is, on July 21. The name comes from the verb a pitli (to
burn or wither), and the feast is designed to propitiate the summer's drought and heat, and to
forestall the withering of the crops.
C I e)
94a.
Underneath the red of sunrise,
Retrain
(Lo,) a beauteous tree is blooming.
But I don't know how is
That the apples get devoured
5 And still worse is spoiled the leafage,
I don't know, by lion, ogre,
Or else by a three-year stag
That is turned about in hunting.
Till the time the sun arises,
10 No one in the world can see him
But the sister of the sun,
From beneath the sun's own beam.
Is it lion, is it ogre?
Or is it a three-year stag,
15 (That is) coursing, running off,
And from every hunt (escaping)?
Till the time the sun arises,
No one in the world can see him
But the sister of the sun,
20 From beneath the sun's own beam.
And he's coursing, running off,
And from every hunt (escaping);
From his feet the sparks are flying,
And his mouth is all a-slaver.
25 And from every hunt (escaping),
On its side he turned a stone.
But what found he neath the stone?
(Lo, he found) a yellow serpent.
(So) he crushed the serpent's head,
30 But what found he in its crop?
(Lo, he found) a jumbled letter
That by Judas had been written.
Holy Mother caught it up,
Such a beauteous service read,
35 All the sons fell on their knees (and)
The apostles started weeping.
Said the Holy Father (then):
Let be, sons, the service lower,
Because all the sons are kneeling,
40 The apostles (all) are weeping.
Spoke the Holy Mother (too):
Let be, sons, and let be, dear ones,
Let the holy service lower,
Because all the sons are kneeling,
[ 407 ]
 C I f)
45 ~i-apo1?tolii likramara; 5 Craciuneasa cea frumoasii.
Lasa, fii, 1?i lasa, draga,
Las' sa vada 1?i sa creada, Nana~ mare ce-~i d-aduce?
Co coborlt fiul sfant Pa d-Iaon, pa Sant Iaon.
Pa su' ceq pe ast pamant. Cinste mandra ce d-aduce?
50 Da nu ~til} inde-i nascut? Doya mere, dOl}a pere,
Poate fi di 0 nascut 10 Tat'e patru-s d-argintele.
Su' ce tufa di bujor T'atra 1 sus d\:-o aruncan;,
La ce gura di izvor. T'atra jos de mi-~i pican;,
r. !ii-a nos' Doamne-j Dumneze1J! 'N patru laturi sa crepare.
(100g. Va1?cau ¢) Dar de oace 2 ce-~i ie~le~?
15 D-un ~erputu cam lunguty
94b. Dara 'n capu ~erpului
Ca-~i iesie 0 cart'icen;.
Ce sara-i da iasta sara? Cart'ice cin\:-o cet'ire?
r., Maica Sfanta c'o ce?i~.
Ca-i sara nascutului. 20 Ta' pa sclove c\:-o cet'i~,
Tat lacrami ii picatura.
Cand pa Hristos a na~t'ele, r. Hristos, Domnul nost'!
(21aa. Coticlet ¢)
Moa~a mare ce-~i chiama~?

f) THE REBELLION OF THE JEWS AGAINST CHRISTIANITY

REVOLTA EVREILOR !MPOTRIVA CRE~TINATATII

95a. Cetacea Irodului

Sus pa slava cequluiy,
r.,
Su' poal'el'e raiuluiu,
====
I: Su' poal'el'e raiuluiu : I 20 ~i tri zile fertu-m'al}
~i la scamnul 3 DomnululY,
5 La scamnul d'e jud'ecatii,
Vile 4 merea lumea toata,
Genunchia Sfanta Vinere,
Genunchia ~i mi-~i plangea.
~i de Domnul sa ruga:
10 -~ti, Doamne, ca m'ai trimea
Pamantu ca sa-l botez.
Eu am mers 1?i-am botezat;
Numa una nu s'o dat:
15 Nu s'o dat botezului,
Nici cre~tinatiitilor.
~i pa mine prinsu-m'al},
Prinsu-m'al}, taiatu-m'al}
~i 'n gazan 5 bagatu-m'al}
Cu ceara ~i cu ra~ina.
~i din gazan scosu m'al},
La gard aruncatu-m'al}.
~i-am facut cum am putut
25 ~i la tin', Doamn\:,-am vinit,
'--'
Sa-mi dai Sfinti intr' ajutori,
Pa Irod ca sa-l omor.
Dumnezeu l-asculta
~i lui ajutor ii da
30 Pa !lie, Sfant !lie.
EI traznea ~i fulgera,

1 = piatra.
2 = aici.
3 = scaunul.
4 = unde.
5 = cazan.

[ 408 ]

45 The apostles (all) are weeping.
Let be, sons, and let be, dear ones,
Let them see it and believe it:
That the Holy Son's come down,
Neath the sky, upon this earth.
50 But I know not where He's born.
It may be that He was born
Underneath that peony bush,
By the wellspring of that brook.
Refrain: A nd our master is the Lord!
94b.
(Ho,) what evening is this evening?
Refrain
'Tis the evening of the Birth.
At the time when Christ was born,
Who was called as godmother? 134
C I f)
5 (It was) Christmastide the
beauteous. 130
Who was brought as godfather?
(It was) John, (it was) Saint John.
What fair gifts were brought before
Him?
Two (fine) pears (and) two (fine)
apples,
10 And all four of them are silver.
When He cast the stone aloft,
As the stone fell down (again),
In four parts it broke asunder.
But what issued forth therefrom?
15 (Lo, it was) a longish serpent.
But out of the serpent's head
Issued forth a little letter.
Who (then) read the little letter?
'Twas the Holy Mother read it:
20 For each letter that she read,
She a (bitter) tear would shed.
Refrain: Christ is our master!

f) THE REBELLION OF THE JEWS AGAINST CHRISTIANITY

95a. Herod's city (is the place);

Up in the sky's highest reaches,
Refrain
At the (very) foot of heaven,
At the (very) foot of heaven,
By the throne of the Almighty,
5 By the (very) seat of judgment,
Where the people all were going,
('Twas) Saint Friday (who) was
kneeling,136
She was kneeling and she wept,
And the Lord Almighty begged:
10 You know, Lord, You sent me out
That I might baptize the earth.
I have been and I've baptized,
Only one (place) would not yield,
15 'Twould not yield to baptism
Nor (would yield) to Christendom;
And upon me they laid hands,
Held me fast, slashed me (about),
In a cauldron thrust me (then),
20 And they boiled me for three days
Both with beeswax and with resin;
From the cauldron took me out,
By the fence they threw me (down);
And I did as best I could,
25 And to You I've come, oh Lord,
That You give me saints to help,
So that I might Herod slay.
The Almighty heard her out,
And a helper gave to her:
30 E'en Elijah, Saint Elijah.
He thunder and lightning made,

134 Actually, the word moa§tl means midwife or old woman, and in Transylvania it usually
designates a grandmother. Hence moa~a mare means the paternal grandmother. Here, how-
ever, the word na§a seems to have been intended, which means godmother.
135 Craciuneasa is an odd feminine form of Craciun (Christmas) - as it were, Mistress
Christmas. It is found only in carols.
136 Saint Friday (Stdnta Vineri), the feminine personification of the sixth day of the week,
is one of the stock supernatural characters of Rumanian fairy stories and legends.

[ 409 ]

Dracii sa cutremura,
lJoamenii sa bucura.
r. Doamne 101 Domnuluj Doamne!
(89. Gradi~te ¢)
95b.
Sus la slava cequluiy
r.,
La scamnirea Domnuluiy,
\: La scamnirea Domnuluiy : \
La scamnull d'e jud'ecata,
5 Und'e mere Iumea toata,
g) BIRTH OF CHRIST FROM A ROCK
NA$TERA LUI HRISTOS DINTR'O STANCA
96a.
Pa su' d-umbra cieriuIui,
r.,
Sus in poarta raiului
Dar in poactii cine ~ed' e ?
$ed'e-~i Patru d'iiacu.
------
5 Da da lucru ce-ji 2 lucreaza ?
Tat cet'e !1i-adivere,
Numai nu-!?i d-adivere
Pa fie!1u maicii.
In ce t'atra 3 dastramata
10 $ede-~i maica d-incotatii
Suspinan' ~i lacraman'.
$i lacramile maicii
Mare-s, mare-s ca merele
$i da grele-s ca penele.
15 $i fii din t'atra graie:
-Cat i1. maica, suspina,
10 d~-aice n'oi zbura
Pana, maica, ce tu-i mere
La targu la Targoveci
20 $i d~-acolo-i targui
D-o matura da d-aur
1 = scannn!.
2 = ~i.
3 = piatra.
[ 410 ]
C I g)
\: Und'e mere Iumea toata : \,
Genunchiat-o Sfantu Vineri,
Genunchiat-o ~i-mi plange
$i cata Domnul zice:
10 -$ti, Doamne, cand m'ai trimes
Pa pamant ca sa-mi botez,
Toti s'or dat botezului
$i sa 'nchina Domnului;
Numa unu nu s'o dat:
15 Cetate' Irodului
Nu s'o dat botezului
$i sa 'nchine Domnului.
r. Lerui Doamne!
(52c. Rau de mori ¢)
Cu bangrije (sic!) da d-argint,
$i tu, maica,-i matura
$i poalele cerului
25 $i fata pamantuIu1.
Ii da da tri 1)ori in t'atra,
10 d~-aici-oi zbur' odata.
Maica-~i ded~-a matura
$i poalele cerului
30 $i fata pamantului
$i dede tri 1)ori in t'atra,
Fii d~-aici zbura odata
Sus in cer pintre ingeri
Pa scaunu Domnului
D~-a direapta Tatalui.
r. Carind'e, corind'el'e!
(71g. Urvi!? ¢)
96b.
\: La ce t'atra 3 dastremata, r. : \
\: Nu mi-i t'atra dastramatii : \.
Ci-i maicuta d-incotata
Tat suspina si lacrama.
5 Fi1) din t' a tra -~i graie:

(So that all) the devils quailed,
(Whereupon) mankind rejoiced.
Refrain: Lord, hoy, to the Lord
Almighty!
95b.
Up in heaven's heights aloft,
Refrain
At the throne of the Almighty,
At the throne of the Almighty,
At the (very) seat of judgment,
5 (There) where everybody's going,
C I g)
(There,) where everybody's going,
(Lo,) Saint Friday knelt (in prayer);
She was kneeling and was weeping,
And was saying to the Lord:
lOYou know when You sent me, Lord,
(Down) on earth, for to baptize,
All yielded to christening,
And the Lord they worship (all).
Only one (place) did not yield:
15 Herod's city (is that place),
Would not yield to christening
And to worship of the Lord.
Refrain: Lord, I carol!

g) BIRTH OF CHRIST FROM A ROCK

96a. For some dimes of silver (made),13S

Neath the shadow of the sky,
Refrain
Up on high, at heaven's gate,
But who's sitting in the gateway?
Deacon Peter's sitting (there).
5 But at what work is he working?
He kept reading, witnessing,
But he didn't testify
Concerning the Mother's Son.
By that slab of stone unloosened,
10 Leans the Mother on her elbows,
Heaving sighs and shedding tears.
And (behold,) the Mother's tears
Are in size as large as apples,
And in weight they are as feathers.
15 And the Son spoke from the stone:
Howe'er much, Mother, you sigh,
I shall not fly forth from here,
Until you shall have gone, Mother,
To the merchants at the fair,137
20 And you shall have bought from there
A (fine) besom (made) of gold,
And you, Mother, shall have swept
Both the bottom of the sky
25 And the surface of the earth;
Knock thrice on the stone (thereafter),
Forthwith I'll fly outfromhere (then).
The Mother began to sweep
Both the bottom of the sky
30 And the surface of the earth,
And three times upon the stone
knocked.
Out at once the Son came flying,
Midst the angels in the sky,
(Upward) to the seat of God,
35 To the Father's right-hand side.
Refrain: Caroling, the carols sing!
96b.
By that stone (that is) unloosened,
Retrain
(Nay,) the stone is not unloosened,
But the Mother leans upon it,
She keeps sighing and keeps weeping.
5 From the stone, the Son (then) spoke:

137 T4rg means both town and fair in Rumanian. T4rgove/, which is capitalized in the original
transcription, as though it were the name of a town (TArgovi~te ?), means townsman. By ex-
tension, it could be accepted as designating a dealer or merchant.
188 The word bangrije, which is utterly meaningless, may have been meant to be bitncu/e
(dimes) or, perhaps, bani grei (heavy or weighty coins, that is to say, a great deal of money).

[ 411 ]

-D-acarcM ij suspina,
10 d'aicea n'oi zbura,
Pana tu, maica, te-i duce
La targut la Targoveci
10 $i tu, maica,-i targui
D-o tri maji dii. tamB,ie,
D-o tri mii.turi da d-argint
$i alte tri da d-aur,
$i tu, maica,-i matura
15 Tat ceriu !ji pamantu.
h) ABOUT THE HOLY MOTHER AND CHRIST
DESPRE SFANTA FECIOARA. $1 HRISTOS
97a.
Pa fetele muntilory
Sus la celea (sic!) zorilory,
De la celea zorilor
Cll.-i 0 dalba manastire.
5 De la dalba manastire
Cine, Doamne, cine-mi !jede?
$ede-mi, !jede Maica Sfanta
Cu laan cu Sant laan.
Da dii. lucru ce lucreaza ?
10 Mi sa gata !ji botez.
Da maica din grai graie:
-Ho, ie!ji, fie!j mic, 'nafara,
Ca~ta 'n sus !ji ca~ta 'n jos,
Ca~ta 'n sus pa rasarit,
15 Ca1}ta 'n jos pii sciipiitat
$i vezi, fii, ce sa vede:
Cum i!ji mer~-a!ja-!ji d-intoarna.
Maica-I prind~-a d-intreba:
-Ce tu, fie!j, c'ai viizut?
20 -Ca io, maica, c'am viizut
Sus, maica, pa rasarit
Lumea, maicii., luminand,
Un galbiin da luceafar
Vinind tare cM putand.
25 Pasta campi ce mi-jp trece,
M1i.ndru campij inverze;
Pasta vai ce mi-ji trece,
Mandru vai sa d-izvore;
Pastil. pomii ce-ji trece,
30 Mandri pomii inflore;
Pasta codrii ce-ji trece,
1 = ~i.
2 = sa.
3 = pieptu.
[ 412 ]
C I h)
cat gunoiu-i matura,
Tat in iadu I-ii tapa,
T'atra 'n patru 0 crepa,
10 d'aicea oi zbura
20 Sus in ceriu 'ntre ingeri:
Domn am fost, domnu voi fi.
1'. Domnul Domnul4 { nost1'u!
nost'!
(ilic. $oimi if)
Mandri codrij infrunze;
Pasta muntij ce-ji trece,
Mandri muntij cii.-mi salta,
35 Ca mnei la primavara.
J os la poartii. sa lasa,
Maica 'n brata I-apuca:
-Ce tu, fii, ai zabiivit?
--Cii pa mine prinsu-m'o
40 Cei caliii da Jidovi.
-Ce tu, fie!j, ca t~-ai dat?
-Pentru mine, pentru tine,
10 !ji 2 rascumpar lume,
45 10, maicii., cu moartea me,
Ca din somn trezitu t~-am.
$i bratele ruptu ij-am
~i t'eptu-tiB biitutu ti-am.
1'. C01'ind' e-mi Doamn'!
(73c. Var. Urvi!j if)
97b.
Hai !ji 3 zicem d-o corinda!
Da corinda-i c~-om zice:
1'.,
Pa fatel'e-i muntilory,
'N apntelea-i zorilOry,
------
5 Cii-i d-o dalba-i manastire,
Mare-i, mare-i d-in picioare
Da no~a stoguri da ceara

No matter how much you sigh,
I shall not fly out from here
Until you shall have gone, Mother,
To the market, to the merchants,
10 And you, Mother, shall have bought
Hundredweights of incense three 139
And three brooms of silver (made)
And another three of gold,
And you, Mother, shall have swept
15 All the sky and all the earth.
C I h)
All the sweepings you shall sweep
You're to throw down into hell,
Then the stone shall split in four
And I shall fly out from here
20 Up to heaven, mid the angels:
Lord I was (and) Lord I'll be.
Refrain: Our Lord Almighty!

h) ABOUT THE HOLY MOTHER AND CHRIST

97a. Beauteously the woods grew leaves;

As it passed over the hills,
On the mountains' sunward face,
Beauteously the hills leaped up
(Looking) toward the dawn (above), 35 As the lambs (do) in the springtime.
Aye, toward the dawn (above),
He sat down beside the gate;
There is a white monastery. Mother took Him in her arms:
5 But in the white monastery
Son, why did You (then) delay?
Who, oh Lord, who is (that) sitting?
Because they laid hands on me,
Sitting sits the Holy Mother 40 (Did) those Jewish slaughterers.
With John, (even) with Saint John.
Son, why did You yield to them?
But at what work are they working?
For my sake, for your sake also,
10 They prepare for christening.
For the sake of this whole world too,
But the Mother spoke to say:
That I might redeem the world;
Ho, small Son, outside be going,
45 Myself, Mother, by my death,
Look above and look below,
I've awoken you from sleep,
Upward to the sunrise look,
And your arms I've broken off,
15 Downward to the sunset look,
And I've struck you in the breast.
And see, Son, what's to be seen.
Refrain: I carol, Lord!
As He went so came He back too,
(And) the Mother asked of Him:
Little Son, what have You seen? 97b.
20 I beheld, oh Mother (mine),
Come along, let's sing a carol!
Toward the sunrise, Mother, high,
(Here's) the carol we shall sing (now) :
Lighting up, Mother, the world,
Refrain
(Shining bright,) a yellow lodestar,
On the mountains' sunward side,
Coming swiftly as it could. Facing toward the dawn (above),
25 As it passed across the fields,
5 There is a white monastery.
Beauteously the fields grew green;
It is huge (and) tall it's standing
As it passed across the vales, . As it were nine stacks of beeswax,
Beauteously the vales gushed spnngs;
As it passed over the trees,
30 Beauteously the trees did bloom;
As it passed across the woods,

139 The quantity specified in the original is three maji. The maja (from mazsa, ung.) is an
obsolete measure of weight: 50 kilograms.

[ 413 ]

~i-i d-tncinsa-i da tlim3,ie
~i bine d-acoperitli,
------
10 Pa d-tn lontru-i jugravitli.
'N lontru 'ntr' insa cine ~ede?
Maica Sfantli cu diyanu.
Maica Sfant' a~a-~i grail:l:
-Ie ie~i, loane, cam 'nafara,
15 cata 'n sus ~i catli 'n jos,
~i1 vezi, laone, ce-i vid'e?
-C1i. io, maica, ca mi-ji2 v1i.d
D-o stea mandra luminoasa,
ca-mi luce~t'e, straluce~t'e.
20 -Nu ii steaya luminoasa,
Ci-acel e fiutu mney
~i-~i vine la maica-sa;
Pasta camput ce-~i trece
Mandru camput inverze.
25 Fiu la maica sose,
Bine maica l-intreba:
-loi 3 , fiut, ai zablivit?
-Cli io, maic', am zab1i.vit,
ca pa mine, maic', or prins
30 Cei cani mari da Jidovi.
1'. C01'ind'e mi Doamn'/
(73b. Coticlet if)
97c.
Crescut-o, rlisaritu-yo
D-un galb1i.n da luceafary
1'.,
i) ORIGIN OF WINE, WHEAT, AND ANOINTING OIL
ORIGINA VINULUI, GRAULUI ~I A UNTDELEMNULUI DE UNS
98a.
Intreab1i. ~i 'ntreab1i.,
1'.,
Sfinti pe Dumnezeu:
I: Sfinti pe Dumnezeu : I
-Din ce s'o facutu,
1 = sa.
a= ~i.
8 = unde (< ubi, lat. ?).
4 = pornea (< ered, ung.).
[ 414 ]
C I i)
Nu-i galban, nu-i luceafaru,
Ci-i fiutu maicieil'e,
5 ~i merge la maica-sal'e
Tat jucand ~i sus niiltandu.
------
Pest'e hold'e ce-~i trecel'e,
Mandre hold'e rascocel'e.
Pest'e codrii ce-~i trece,
10 Mandri codrii infrunze;
Pest'e campij ce-~i trece,
Mandri campii inverze;
Pest'e yliii ce-~i trece,
Apa rec~-ar1i.duie 4;
15 Pest'e gradini ce-~i trece,
Mandre gradini inflore.
Pan' la maica-sa sose.
Dede-~i maic' a d-intreba:
-D-indi, fiy, ai zlibovit?
20 -Ca io, maic', am zli bovit,
ca pa mine, maic', or prins
Cei cani mari dli Jidovi.
-Da ce, fiu mney, t~-ai dat,
N'ai tunat, n'ai fulgerat?
25 -ca io, maica, nu m'am dat
Pentru mine, pentru tine,
Ci io, maica, ca m'am dat,
~i 1 rascumpar io lume,
10 lume cu minte' me.
1'. Corind'e ma Doamn'/
(73e. Drage~ti if)
5 [Dragul Dumnezeu,]
~i vinu ~i grau
I: ~i vinu !1i grau : I
~i al tril'ea miru?
Dragul Dumnezeu

And with incense it's surrounded
Also it is well roofed over,
10 (And) inside it is bepainted.
But inside it who is living?
(Saint) John and the Holy Mother.
Spoke the Holy Mother thus:
Go out, John, go out a little,
15 Look above and look below,
And see, John, what you shall see.
(Behold,) Mother, I can see
A star, beautifully lightsome,
That is glittering and sparkling.
20 It is not the star that's shining,
But it is my own young Son,
To His mother (10,) He comes.
As he passes o'er the field,
Handsomely the field grows green.
25 To the Mother came the Son,
(And) the Mother asked of Him:
Hoy, my Son, (why) tarried You?
Mother, I have been delayed
Because, Mother I was caught
30 By those wicked curs of Jews.
Refrain: My carol, Lord!
97c.
(Lo,) there waxed and there rose
upward
(On the sky) A yellow lodestar.
Refrain
i) ORIGIN OF WINE, WHEAT, AND ANOINTING OIL
98a.
They are asking, asking
Refrain
Of the Lord the saints:
Of the Lord the saints:
Out of what were made,
[ 415 ]
C I i)
'Tis not yellow, 'tis no lodestar,
But it is the Mother's Son,
5 And He's going to His Mother,
Dancing as He goes and rising.
As He passed across the plowlands,
Beauteously the plowlands ripened;
O'er the forests as He passed,
10 Beauteously the leafage grew;
O'er the meadows as He passed,
Nicely waxed the meadows green;
O'er the rivers as He passed,
The cool waters flowed amain;
15 O'er the gardens as He passed,
Beauteously the gardens bloomed,
As He to His Mother came.
Asked the Mother (then) of Him:
Where, Son, have You tarried (so)?
20 Mother, I have been delayed
Because, Mother, I was caught
By those wretched curs of Jews.
Why, my Son, did You give in?
Did You not thunder and lighten?
25 Mother, I did not give in
Either for my sake or your sake,
But I, Mother, did give in
That I might redeem the world,
With my mind (to save) the world.
Refrain: I'm caroling, Lord!
SOh, beloved Lord,
The wine and the wheat,
The wine and the wheat,
Thirdly, holy oil?
The beloved Lord
10 Sits and eats at midday,

Din gurii-mi griiieflte:
-Da voi, Sfintilor,
Marl prorocilor,
Ce ma intrebati
15 ~i ma ispitin?
eli voi bine l/tin,
CA.nd noi ca mergem
Vara, primavara,
Vara la SA.npetru
20 Cu crucea la cA.mp,
Noi ca sa vedem
Holdile de-s verzi,
CA.mpij-s de rodin,
Codrii-s de 'nfrnnziti,
25 ~i noi nl:-abatem
DI:-allituri de cale,
La fA.nta.na 'n vale,
Apa rece bem.
~i ei s'or venit
30 Cei cA.ni de Hevrei
MA.niol/i ca lei,
La noi or venit
Pe mine or ll,!.at
~i pe min' m'or dus
35 Cole sus, mal sus
'N curtea lui Pilat,
De m'or judecat,
Sa fil,!. rastignit
Pe cruce de brad,
40 C'~a vre Pilat.
Sus la capul mie\!.
Ca ei ca-mi pune
Cununa de spine,
De mar mariicine.
45 P'unde 0 pune,
~i ma cam sWnge,
Sudorii ma trece,
La pamA.nt clide.
Tatal d-alduie,
50 Miru sa face.
Pin palmile mele
Ca ei ca-mi bate
Piroane de fer,
CuIie de otel.
55 P'unde Ie bate,
SA.nge striipunge,
La pamA.nt clide.
Tatal alduie,
1 = nestemat.
[ 416 ]
C I i)
Vinu sa face.
60 Sus la trupul miel,!.
Ca ei ma 'ncinge
Brau de maciefl.
Pe unde-l pune
Pelita-mi rupe,
65 La pamA.nt cade.
Tatal alduie,
GrA.u sa face.
DI:-atunci s'o facut
~i vinu l/i grA.u
70 ~i al tril'ea miru.
Y. Domnuluj Doamfte, dyag Doamfte
l~-oy!
(18. RA.u de mori 1)
98b.
Hoi 'ntreaba, sa 'ntreaba-i,
I.Y.,
Sfinti la Dumnezeu:
2.1'.,
-Din ce s'o facut
Miru lui bot'eziu,
5 Da s'o bot'ezaty
Din pagA.ni crel/t'ini?
-Ce ma d-ispit'irt voi,
Ca voi bine l/titiai,
Bine ca !Ii min'. -
10 ·Ca pa mine prinsu m'or
CA.ni riii de Jidovi
~i m'o riistanit
Pa lemn nastramat,l
Numa ce-i fatat.
15 ~i 'nca le-i parura,
Ca nu-i chinza mare,
~i mi 0 facura
Cununa da spini
~i 'n cap mi-o puserii,
20 Tarl:-o d-apasarii.,
Parutu-mi ciuntara.
Tatal nu msa
Parut peritor,
Ci mi-l valuie
25 StA.lp de busuioc.
~i 'nca le-i parurii,
 C I i)
From His mouth He utters: It changed into wine.
But you, saints (of mine) 60 Round my body, high,
And great prophets (all), They girt me about
Why do you ask me? With a belt of haw.
15 Why d'you try me out? Where they made it fast,
You recall full well They tore off my skin.
How we used to go 65 Falling on the earth,
In spring and in summer, By the Father blessed,
Saint Peter's Day, summers, It changed into wheat.
20 With the cross afield, Then there came to be
So that we might see Wine as well as wheat,
If the fields be green, 70 Thirdly, holy oil too.
If the land bears fruit, Refrain: To the Almighty, to the dear
If the wood's in leaf, Lord!
25 And we'd wander off,
Out of our way (going),
Down unto the wellspring, 98b.
Cold water to drink; Hoy, they ask, they're asking,
And ('twas there) they came, ISt Refrain
30 Those wretches of Jews, The saints (ask) the Lord:
Like lions enraged, 2nd Refrain
Came (there) unto us, Out of what was made
And they took me up, Holy oil for christening,
And they led me off, 5 Wherewith were baptized
35 Yonder, higher up, Heathens into Christians?
Unto Pilate's court, Why (is it) you ask me,
(Where) they sentenced me Since you know as well
To be crucified As I do myself?
On a cross of pine, 10 (You know well) that I was caught 140
40 For thus Pilate wished; By the wretched Jews,
Up about my head And they stretched me out
(Thereupon) they set On the unhewn wood
A crown of thorns (fashioned) That was barely born.141
Out of brambleberry. 15 Even so they reckoned
45 Where they made it fast It was no great torment,
And it pressed on me, And for me they fashioned
r was seized with sweats: (Too) a crown of thorns,
Falling on the earth, On my head they set it,
By the Father blessed, 20 Hard they pressed upon it,
50 Changed to holy oil. (And) my hair they sundered.
Through my palms (thereafter) Father left it not
They did hammer in Perishable hair,
Spikes of iron (made), But 'twas covered up
Nails of steel (withal). 25 By a basil sprig.
55 Where they beat them in, Even so they reckoned
Blood came pouring out,
Fell upon the earth:
By the Father blessed,

140 In the original, too, this verse has seven syllables.

141 This odd description is reproduced textually from the original. The term j«tat (born) is
applied exclusively to mammals.

[ 417 ]
 C I i)
ca nu-i chinza mare, -Ca voi bine !ititi,
~i mi 0 facura Ca VOl vine lItiti~,
BralJ de rugut verde. Bine ca lIi mine,
30 ~i 'nca rna 'ntinsera, De nu lIi mai bine.
Tare ma stransera,
Pellta-mi ciuntara. 10 ~i mine-lii prinsera
Tatal nu lasa Sara da 10i mare
Pelip perita, Cei cani da J idovi·
~i mine-lii dusera
35 Ci mi-o valuie
Spicul graului. Sara da 10i mare
15 Colo jos, mai josu,
~i 'nca le-i parura
Ca nu-i chinza mare, 105 pa scapatat
D-in curt'ea 1'3 Pilat,
~i sa slobozira .
~i 4 ma rastaneasca
40 Cei Jidovi lJorbl
Cu neagra sullp, Pa cruce da brad.
~i 'nca ma 'mpunsera
20 ~i mie-mi gat'e
Pa la ta.ta dreapta. Cuie da d-otel,
Sange strapunge, Ca lIi 4 mi-Ie bata
45 ~i 'nca-l sprijine
Pan 5 talpi lIi pan piele;
D-un pahar d~-amar. Cununa da spini
25 ~i 'n cap mi-o pune.
~i 'nca-lii d-inchinalJ
Jidovi de cei mari Parutu-lIi ciunta,
Tat pe sanatate. Parutu-lIi pica
50 Cati n ca vede, Pa negrul pamant.
Tatal n'o Iasa,
Tiitii illi vorbe;
30 Ci mi-l valuie
Cati 11 c'auze,
~i mie-mi gat'e
Tati 11 surzuie 1;
Cati din el ca be, Stalpu a carja.
55 Tiitii illi t'imnie. 2 $i mie-mi gat'e
Tatal nu liisa BralJ verd'e da rug;
Sange peritor, 35 $i mine 'ncinge,
Ci mi-l valuie Tare ma strange,
Vita vinului. Pelita-lii rumpe,
I.r. Stinli! Pelita-lii pica
z.r. Doj corind'e! Pa negru pamant.
40 Tatal n'o Iasa.
(21c. Urvill if)
Ci mi-I wIuie
~i mie-mi gat'e
98c. Stalp de busuioc.
D-intreaba, sa 'ntreaba-i, ~i mie-mi gat'e
I.r., 45 D-o salca sullta
Sfinti la Dumnezeuu: $i mine 'mpunge
2.r., 'N coasta d'ireapta,
-D'in ce s'o fa cut Sang~-o strapunge.
$i ma sprijine
Mirul bot'ezului, 50 D~-un pahar d~-amar.
5 Cerul pamantului? Tatal graie:
1 = cA~tigau « szerez, ung.).
2 = ticneau.
8 = lui.
4 = sa.
5 = prin.

[ 418 ]
 C I i)
It was no great torment, Full well do you know,
And for me they fashioned Full well do you know,
A belt of green bramble, Just as well as I do,
30 And they bound it round me, H not even better.
Bore down hard upon me, 10 They laid hands upon me
(And) my skin they sundered. Maundy Thursday evening,
Father left it not (Did) those wretched Jews.
Perishable skin (be), And away they led me
35 But 'twas covered up Maundy Thursday evening,
By an ear of wheat. 15 Down there, lower down yet,
Even so they reckoned Toward the setting sun,
It was no great torment, Into Pilate's court,
And they rushed (upon me), For to crucify me
40 Those unseeing Jews, On a cross of pine.
With a spear (all) darkling, 20 They readied for me
And they also pierced me Nails fashioned of steel,
Through the right breast (thrusting). Into me to hammer,
The blood issued forth, Through the soles and skin (too).
45 And they gathered it Crown of thorns (they made),
In a bitter cup, 25 Set it on my head;
And (with it) bepledged Sundered was my hair,
Jews of lordly state, (And) the hair dropped down
That their health might flourish. Upon the black earth.
50 All who looked on it Father left it not,
Were blinded thereby; 30 But covered it up.
All who heard it (flow) They readied for me
Were deafened thereby; A stake for a prop,
All who drank of it And they made for me
55 Were (sore) racked thereby. A green briar belt,
Father left it not 35 And they girded me,
Perishable blood, Sorely pressed me tight,
But 'twas covered up (And) my skin was torn,
By the grape its vine. (And) the skin dropped down
ISt Refrain: Saints! Upon the black earth.
2nd Refrain: Sing the carols! 40 Father left it not,
But covered it up,
And readied for me
98c. Of basil a stake.
They are asking, asking, They readied for me
ISt Refrain 45 A spear (made) of willow,
Of the Lord the saints: Thrust it into me,
2nd Refrain Into my right side;
Out of what was made (And) the blood gushed forth,
Holy oil of christening, And they stayed me (then)
5 Of the earth the welkin? 50 With a bitter cup.
The Father spoke out:

[ 419 ]
 C I i)
-Mi il ial) ~i-l bel), Bral) da rugut verde,
Cii.-i sangele miel). Pa mine 'ncinsera,
Cati da el ca be, 30 Tare rna stransera,
55 Tati el cemuie; Pelita-mi fransera,
Cati el auze, Hoi jos da-~i picara
Tati el surzuie. 1 Pa negrut pamant.
Cati el c'al) vide, 34-36 = 98b.33-35
Uti al) orbie. Tufa graului.
Si-apoi, mai napoi

Fdrd melodie:
* $i mH;i gat'ira
40-43 = 98b. 18-21
$i2 fi sanatos, Hoi jos da-~i picara
60 Gazda jupuna~! 45 Pa negrut pamant.
I.r. Doamne!3 46-48 = 98b. 22-24
2.r. Doj corind'e! Strut da busuioc.
(21h. Samba~ag ¢) I.r. Doamne! 6
2.r. Doj corind'e!
(21j. Drage~ti ¢)
98d.
D-intreaba, sa 'ntreaba,
I.r., 98e.
Sfinti la Dumnezeu: D-intreaba, sa 'ntreaba,
2.r., I.r.,
D'in ce s'al) facut Sfinti la-i Dumnezeu,
2.r.,
D'in ce s'al) facuty Din ce s'o facut
5 Mirul pa pamanty?
-Ca voi bine ~titi. Miru lui bot'ezy.
5 -$i-apoi mai 'napoi~
I: Ca voi bine ~titiei : I Mie-mi gat'ie
Mirul s'o facut, -
Cununa da spiny,
Cand pa min' or prins Mandru mi-o facele
10 Cei cani da J idovi. $i 'n cap mi-o pune,
$i-apoi ,mai napoi
$i mi-~i gat'ira 10 Sfant par mi-l ciuntal),
Crucita da brad, Josu da-~i pica.
Da brad nastramat. 4 12-16 = 98c. 27, 28, 98b.23-25
15 $i-apoi, mai napoi Cu ce sa boteaza
$i mi-~i gat'ira Din pagani cre~t'ini
Cuii da otel, 19,20 = 98c. 19, 98b.29
$i mi-~i batUr8. Cu el rna 'ncinge,
Pan 5 palmi ~i pan talpi. Tare rna strange,
20 Sangile-~i cure Pelita-mi frange,
21-25 = 98c. 27, 98b. 56-59 Josu da-~i pica
$i apoi, mai napoi 25, 26 = 98c. 27, 28
$i mi-~i gat'ira Pelif peritoar',
1 = ca~tiga « szerez, ung.).
2 = sa.
3 Var.: Sftmtei!
4 = nestemat.
6 = prin.
6 Var.: Sfinti!*
[ 420 ]
 C I i)
Let them take and drink, A belt of green bramble,
For it is my blood. Girded it about me,
All who drank of it 30 Clasped me (with it) sorely,
55 He in mourning decked; Tore my skin asunder,
All who heard it (flow) Hoy, so that it dropped
Were deafened by Him; Upon the black earth.
All who looked on it 34-36 = 33-35 of 98b.
Were blinded by Him By a stand of wheat.
Thereat, afterwards,
* They readied for me, too,
Without a tune: 40-43 = 18-21 of 98b.
A good health to you, Hoy, so that it dropped
60 Master host of ours! 45 Upon the black earth.
ISt Refrain: Lord God! 142 46-48 = 22-24 of 98b.
2nd Refrain: Sing the carol! By a basil bunch.
Ist Refrain: Lord God! 143
2nd Refrain: Sing the carol!
98d.
They are asking, asking,
ISt Refrain 98e.
The saints (ask) the Lord: They are asking, asking,
2nd Refrain Ht Refrain
Out of what was made The saints of the Lord,
Out of what was fashioned 2nd Refrain
5 Holy oil on earth? Out of what was made
Full well do you know Holy oil for christening. 144
Full well do you know 5 And then, later on,
Holy oil was made They readied for me
Then when I was caught Out of thorns a garland,
10 By those wretched Jews. Handsomely they made it,
Thereat, afterwards, Set it on my head;
They readied for me, 10 Cut my holy hair
Of pine wood a cross, So that it fell down
(Made) of unhewn pine; 12-16 = 27, 28 of 98c., 23-25 of 98b.
15 Thereat, afterwards, Wherewith become christened
They readied for me, too, Heathens into Christians.
Nails (fashioned) of steel, 19, 20 = 19 of 98c., 29 of 98b.
And they hammered them Girded me with it,
Through my palms and soles. Sorely strapped me tight,
20 Blood gushed forth (therefrom), Tore apart my skin,
21-25 = 27 of 98c., 56-59 of 98b. (So that) it dropped down
Thereat, afterwards, 25, 26 = 27, 28 of 98c.
They readied for me, Perishable skin,

142 Author's manuscript footnote: Variant: Holies! (This invocation may also be a simple
vocative addressed to God: Holy!)
143 Author's manuscript footnote: Variant: Saints!
144 Though there is no note in the original text, it is clear that several verses are missing
between· this and the next verse.

[ 421 ]
 C I j)
Ci mi-l valuie $i sa miruie.
Tufa graului, r. I: Doamne, draguJ Doamne!: 1
30 Florea vinului. (26b. Urisiu de sus if)
I.r. Doamne!l
2.r. Daj corind'e!
(21d. Coticlet if)
98J1.
-Doamne, dragut Doamne,
2-5 = 98f. 1-44
98f. -Nu ma ispititi
I I. I IIT.l 7, 8 = 98f. 6, 7
I: -Stat-am sa t'e 'ntreby : I'ntreb, Pe cruce de brad
r., 10 'N poarta lui Pilat;
I: D'in ce s'o 'nceput : I, 'N mani l?i in pt'icioare
fI.l fIT.l
21: Mirul l?i vinulu : 1-nul,
Cuie l?i piroane.
Da cn ce 1-0 'nt'ins?

Ruminul grau? ==== Cu bral) de macie!j.

15 In cap ce i-o pus?
5 -Ce ma ispit'iti, Cununa de rug.
Ca voi bine l?titi,
Cand l-ay rastignit (26a. Libane!jd p)
Pe l'Iiutu13 sfant,
Cum l'al) chinuit 98h. [Cf. 93a.]
10 Pagani Jidovi.
Pe cruce-l pun.e [D'intreaba, sa 'ntreaba]
$i-l bajocure I: Sfinti la Dumnezeui, I.r. : I,
Cuie tantuie 2.r.,
Tat in palmi l?i 'n talpi.
I: D'in ce s'o facut~: I,
15 In cap ce-i al) pus?
Cununa de spini.
------
I: Niru lui bot'ez~ : I ?
$i cu ce l-ay 'ncins?
Cu braul de rugi.
------
5 I: Sange-s pt'iitoar~ :I
Cand 11 incinge,
20 Sangile-i curge; I.r. Sf£nJi! ------
Cre!jtini 11 stange, 2.r. Corind'e-mi Doamn'!
Tat mir sa face (73i. Bulz if)

j) PRE~MINENCE OF WINE, WHEAT, AND ANOINTING OIL

PREEMINENTA VINULUI, GRAULUI $1 A UNTDELEMNULUI DE UNS

99a. 5 $i 'ntru iasta casai,

Jur-prejur la mas'-!
*Ie rasari, soarere,
r., Hoi 'ntr' un com de masai
*Ie rasara (sicn, soar', Hoi, scrisu-i, mai scris -
'N toat'e laturel'e Floarea graului;
$i 'n toat'e portil' 10 'N doya com de mas'

1 Var: Sfinti!*
a In loc de refr.
3 = fintnl.
4 [Ed.-Mel. 26a., st. 4 = Jinn ~i miru,].

[ 422 ]
 C I j)
But 'twas covered up For anointing with.
By a bunch of wheat, Refrain: Lord, beloved Master!
(And by) flower of wine.
Ht Refrain: Lord God!145
2nd Refrain: Sing the carol! 98~.
Lord, beloved Master,
2-5 = 1-4 of 98f.147
98f. Do not question me,
I have meant to ask You: 7, 8 = 6, 7 of 98f.
Refrain On a cross of pine,
Out of what began 10 Before Pilate's gate;
Holy oil and wine 146 Through (His) hands and feet (then)
(And) the ruddy wheat? Nails and spikes (they hammered).
5 Why d'you question me, With what girt they Him?
Since you know full well, With a briar belt.
When they crucified 15 With what crowned they Him?
(God) the Holy Son, With a bramble crown.
How they tortured Him,
10 (As) the heathen Jews
Set Him on the cross
And made mock of Him, 98h.
Fastened Him with nails They are asking, asking,
Through the palms and soles. Saints (are asking) God:
15 With what crowned they Him? Ht Refrain
With a crown of thorns. 2nd Refrain
With what girt they Him? Out of what was made
With a bramble belt. Holy oil for christening?
When they girded Him, 5 Blood is perishable.
20 His blood flowed (amain);
Christians gathered it: Ht Refrain: Saints!
Holy oil 'twas made, 2nd Refrain: My carol, Lord!

j) PR~EMINENCE OF WINE, WHEAT, AND ANOINTING OIL

99a. 5 In this house (shine) also,

Round about the table!
Come on, sun, arise (now), At one table corner,
Come on, sun, arise, Hoy, there is appointed
(Shine down) upon all sides The bloom of the wheat.
And upon all gates; 10 At the second corner,

145 Author's manuscript footnote: Variant: Saints!

148 Author's manuscript footnote: "Instead of the refrain."
147 [Ed.-Mel. 26a., line 4: Wine and holy oil.]

[ 423 ]
 C I j)
Hoi scrisu-i ,mai scrisui $i 'n casa !li 'n mas!
Floarea vinului; - :J.r.,
'N tria corn de masai Da 'n eel corn da mas'
Hoi scrisu-i, mai scris
15 Floarea mirului $ed'e mi-9i graului,
Hoi d-ast'e tri flori 5 $ed'e mi-~i grau;-
Sta\l !li sa parasc: Da 'n eel corn da mas'
Care mi-s mai bun'.
Floarea graului $ede mi-~i vinul~;
20 *Ea d-a~a-~i gril.ie~te: Da 'n eel corn da mas'
-10 mi-s mai buna!§ $ed'e mi-9i mirul,
Da voi d-amando\la,
Ca da min' sa fac 10 $i sa d' -ispit' esc,
Tat colaci, prin09i, Carele-i nai mare.
25 Tat la zile mario Grau-9i graie,
Floarea vinului Ca el ii mai mare.
Ea d-a~a-~i graie!lte: Ca din el i9i fac
-10 mi-s mai buna-!§ 15 Ta t domni da cei mari
Da voi d-amandoua, Colaci ~i tapoaie, 7
30 Ca da min' sa facp Tat la zile mario
Tar vinut rO!liu, Vinu-9i graie
$i pa mine-9i bag Ca el ii mai mare,
'N horda\l2 da al'a~,3 20 Ca pa el il bea\l
$i pa mine-~i bag Tat domni da cei mari
35 'N fundu pejnitei, 4 Tat la zile mario
$i pa mine-~i scot Miru-~i graie,
Tat la zile mari, Ca el ii mai mare,
$i pa mine-9i bag 25 Ca cu el sa face
'N pahar da al'a9, Din pagan cre9tin.
40 $i cu mine 'nt'in 5 I.r. Soare!
Tat pa sanatate. 3.r. Doj corind'e!
Floarea mirului (2Is. Cotic1et ¢)
Ea d-a~a-!li graie!lte:
-10 mi-s mai bunaL~
45 Da voi d'amando\la, 99c.
Ca de min' sa faci Susu-i, I.r., 'n casa mare-s
Mirul botezului, Scaune frumoase,
Hoi !li sa boteaza 2.Y.,
Din pagan cre~t'in. Panga cel~-a mo~.
r. Floril'e! 6
(2Iz. Drage~ti ¢) 'N doilea corn da masa-i
5 Cine, soare, ged'e?
Floarea graului.
99b.
Ie rasari, I.r., rasari, 'N tria corn da masa-i
1 = face.
2 = bute « hord6, ung.).
3 = prop tea (.mas[fa], ung.).
4 = pivnitei.
5 = Inchin.
G Var.: Soarile!*
7 = pani~oara « cip6, ung.).
[ 424 ]
 C I j)
Hoy, there is appointed (Shine) upon the board!
The bloom of the wine. 2nd Refrain
At the board's third comer, At that table comer,
Hoy, there is appointed (Lo,) the wheat is sitting,
15 Bloom of holy oil. 5 Wheat is sitting down;
Hoy, but these three blooms At that table corner,
Sit and are at odds, (Lo,) the wine is sitting;
Which (of them) is best. At that table comer
The bloom of the wheat Sits the holy oil;
20 Thus says (to the others): 10 Each other they ask
It is I who best am, Which (of them) is greatest.
Than you two (I'm better), Spoke the wheat to say
For of me are made That it is the greatest,
Cakes and offerings For of it are made,
25 For (all) the great feasts. 15 By all the great lords,
The bloom of the wine Cakes and small rolls (also)
Thus says (to the others) : At all the great feasts.
It is I who best am, Spoke the wine to say
Than you two (I'm better), That it is the greatest,
30 For of me is made 20 Because it is drunk
Wine (of) ruddy (hue), By all the great lords
And they put me down At all the great feasts.
Sheltered in a vat, Said the holy oil
And they set me down That it is the greatest,
35 In the cellar's depth, 25 For by it is made
And they bring me out Heathen into Christian.
For (all) the great feasts, Ist Refrain: Sunshine!
And they set me down 2nd Refrain: Sing the carol!
Sheltered in a glass,
40 And with me they pledge,
Goodly health a-wishing. 99c.
Bloom of holy oil Up, Ist Retrain, in the great mansion
Thus says (to the others): Fine chairs are (appointed)
It is I who best am, 2nd Refrain
45 Than you two (I'm better), Near the old man's (chair).
For of me they make At the second comer,
Holy oil for christening; 5 Who might there be seated? 149
Hoy, and they're baptizing Flower of the wheat.
Heathens into Christians. At the board's third comer,
Refrain: The blossoms! 148

99b.
Come, arise, Ist Refrain, arise,

148 Author's manuscript footnote: Variant: The sunshine!

148 This verse has been erroneously transcribed. The correct reading is: Cine's oare ~ede?

[ 425 ]

Cine, soare, ~ed'e?
Floarea vinului.
10 'N patra com da masa-i
Cine, soare, ~ed'e?
Floarea mirului,
Ca sa d'-ispit'ese,
Carele-s mal mare.
15 $t'i-va foeul vostru,
Tati voi smt'eti maxi.
Floarea graului
Ea din grai graie:
-Eu mi-s mai mare,
20 Ca da min' sa fae
Tat eolaei da gral)
Tat la zile mario
Floarea vinului
Ea din gral graie:
25 -Eu mi-s mal mare,
Ca da mine-~i bel)
Tati domni da eei maxi
Tat la zile maxi.
Floarea mirului
30 Ea din grai graie:
-Eu mi-s mal mare,
Ca da min' sa fae
Din pagMi ere~t'iiti,
Tat la zile maxi.
Faro' melodie:
* 9ge.
35 $i1 fi sanatos,
Gazda jupm~!
I.r. Soare!
2.r. Do; carind' e!
(210. Rogoz ¢)
99d.
Hoi, soare rasare,
r.,
Hoi, soarll'e, soar',
'NtA-ia com da masa-i
Doya com da masa-i
5 Tria com da masa.
'Nti1ia com de masa
Hoi, serisu-i, mai scrisu-i
Floarea gri1ului:
1 = silo
[ 426 ]
erj)
-Hoi, io mi-s mal mare
10 ca ---------
Ta t la zile maxi
$i la zile raxi.
'N dOl)a com da masa
15 Hoi, serisu-i, mai scrisu-i
Floarea vinului:
Hoi, io mi-s mal mare,
Ca da mine-~i fae
Nunturi ~i ospete
20 Tat la zile mari
$i la zile rari.
'N tria com de masa
Hoi, serisu-i, mai serisu-i
Floarea mirului:
25 -Hoi, io mi-s mai mare
Ca da mine-~i fae
Din pag1ni ere~tini.
Sus sa d-ispiteal)
Sus la Tatal Sfmt;
30 Tatal graie:
-Ce va d-ispititi,
eli voi bine ~titi,
Bine ea ~i mine:
Toate s1nt d~-a mele.
r. FlarU'e!
(21v. Ta~ad ¢)
I 1. I Ill.l
I: Mustra-sa, mai mustra, r. : I mustra
I: Tri eral d'i eei marl : I
------
Unul ii vinuly,
Unul ti gri1ul,
rrl [IT.l
5 I: Unul Ii miruly : I -ru!.
------
Graul t~i graia~:
-Oi, io s1nt mai mare;
Din mine-~i fae iara
Colaei ~i prinoase
10 $i prescuri frumoase
Vinul t~i graia~:
-Oi, io si1nt mal mare;
Pe mine ma beau
Toti eral ~i 'mparati
 C I j)
Who might there be seated? 149 Hoy, I am the greatest,
Flower of the wine. 10 For---------
10 At the board's fourth comer,
Who might there be seated? 149 At great holidays
Flower of holy oil. And upon rare days.
Each other they ask On the second comer,
Which (of them) is greatest. 15 Hoy, there's also written
15 May your worry know it: Flower of the wine:
All of you are great. Hoy, I am the greatest,
Flower of the wine For of me are made
Spoke aloud to say: Festive meals and weddings
I'm the greatest (here), 20 At great holidays
20 For of me are made And upon rare days.
Pastry rolls of wheat On the board's third comer
On all holy days. Hoy, there's also written
Flower of the wine Flower of holy oil:
Spoke aloud to say: 25 Hoy, I am the greatest,
25 I'm the greatest (here), For by me are made
Because I am drunk Christians out of heathens.
By all the great lords Up above they asked,
On all holy days. Holy Father (asked).
Flower of holy oil 30 Said the Father (then):
30 Spoke aloud to say: Why do you inquire?
I'm the greatest (here). You know very well,
For by me are made Well as I myself (know):
Out of heathens Christians Of myself all (things) are.
On all holy days. Refrain: The blossoms!

Without a tune:
* 9ge.
35 A good health to you, They upbraid each other,
Master host (of ours) ! Refrain
Ist Refrain: Sunshine! Three of the great kings:
2nd Refrain: Sing the carol! One (of them) is wine,
One (of them) is wheat,
5 One is holy oil
99d. Spoke the wheat to say:
Hoy, the sun is rising, Ho, I am the greatest,
Refrain For of me they fashion
Hoy, the sun, the sun! Pastry rolls and alms cakes,
On the board's first comer, 10 Fair communion wafers.
On the second comer, Spoke the wine to say:
5 (And) on the third comer. Ho, I am the greatest,
On the board's first comer, (Because) I am drunk
Hoy, there's also written By emperors and kings
Flower of the wheat:

149 This verse, erroneously transcribed, should read Cine's oare seder

[ 427 ]
 C I j)
15 $i yoamini bogan. GrA.u imi graie:
Mirul i~i graiar~: 10 -Ba io is mai mare,
-01. io s~nt mai mare; ca d'i mine fae
Din mine-~i fae iara Rar pe zile mari
Din pag~n ere~tin. Colaci l/i prinoase.
r. Domnulu; nostru! Botezu-mi graie:
(3b. Albae if) 15 -Ba io is mai mare,
Ca io fae, iroi fae
D'in pogA.n ere~tin
99f. $i-am inerel/tinat
I: La masa galbana : I, Pe bogati, saraei,
r., 20 Pe bogati. gazdaei.
La masa galbana r.r. Stinli!
2.r. Da; corind'e!
I: Stay tri domiii d'e pm : I, (33b. Moil/a if)
Care ij-e mai mare.
5 Sf~ntu g~y graie~te:
-Ba io mru-s mai mare, 99h.
Ca d' e mine-~i faeu I: La masa galbina : I,
La dzile frumoase r.,
Fae eolaei, prinoase. La masa galbin'
10 Sf~ntu d'inl griliel/te:
-Ba io mni-s mai mare, I: SA.nt tri domni mal mari : I
Ca d'e mine-l/i faey SA.nt tri domni mai mario
La dzile frumoase
Slujba ~i itroase. 2 5 Ei sa sfa tuie~
15 Sf~ntu mnir 3 graiel/te: Carl:-ar §i 5 mai mare.
-Ba io mni-s mai mare, SfA.ntul grA.y zicere:
ca d'e mine-l/i faey -Ey sA.nt domn mai mare,
La dzile frumoase Ca din mine-~i fae
Din pagan crel/t'in, 10 Prescuq l/i prinoase
20 Din Jidov Rom~n. La zile frumoase.
r. Hoj l'eru; Doamne! Teh1--al/a ziee:
(24. T~ma mare if) -Ey sA.nt domn mai mare,
Ca din mine-l/i fae
15 Ieoane frumoase
99g. De Ie pun pin case
Mult sa pilduel/te La zile frumoase
Gita ginului 4 Brady-alia zid::
*$i eu spieu gmului. -Ey sA.nt domn mal mare,
Cu sf&ntu botezu. 20 Pe min' ma eioplese,
5 Ginu imi grilie: $indili ma eroiese
-Ba io is mai mare, $i pe biseriei
Ca d'in mine beay Pe mine togmese.
Tat domni d'i eei mario r. Ha; daj l'eruj Doamne!
(30a. Urisiu de sus if)

1 = vin.
2 = utrenii.
3 = mir.
4 = vita vinului.
5 = fi.

[ 428 ]

15 And by wealthy men.
Spoke the holy oil:
Ro, I am the greatest,
For by me are fashioned
Christians out of pagans.
Refrain: For the Almighty!
99f.
At a yellow table,
Refrain
At a yellow table,
Sit three lords and quarrel:
Which might be the greatest?
5 Blessed wheat speaks (thusly):
Nay, I am the greatest,
For of me they fashion
On beautiful (feast) days
Pastry rolls and alms cakes.
10 Blessed wine speaks (thusly):
Nay, I am the greatest,
For with me they fashion
On beautiful (feast) days
Services and matins.
15 Blessed holy oil says:
Nay, I am the greatest,
For with me they fashion
On beautiful (feast) days
Christians out of pagans,
20 Out of Jews, Rumanians.
Refrain: Hoy, I carol, Lord!
99~.
Greatly are contending
The vine of the grape,
The ear of the wheat, as well150
As the holy oil.
5 Quoth the grapevine (first):
Nay, I am the greatest.
Because I am drunk
By all the great lords.
160In the original text, too, this verse has seven syllables.
151That is, the lime tree (Tilia) of which, indeed, altar screens as well as icons are usually
made, in Rumanian churches.
[ 429 ]
C I j)
Quoth the wheat (in turn) :
10 Nay, I am the greatest,
For of me they make
Rarely on great days
Offerings and wheat cakes.
Quoth the holy oil:
15 Nay, I am the greatest,
Because I turn out
Christians out of heathens,
And I've christened (too)
(Both) the rich (and) poor,
20 (Also) landlords rich.
Ist Refrain: Saints!
2nd Refrain: Sing the carol!
99h.
At a yellow table,
Refrain
At a yellow board,
Are three greater lords,
Are three greater lords;
5 They were talking over
Who might be the greatest.
Said the blessM wheat:
I'm the greatest ruler.
For they make of me
10 Offerings and pastries
For the days of feasting.
Said the basswood 151 thus:
I'm the greatest ruler,
For of me they fashion
15 The beautiful icons
To set up in houses
For the days of feasting.
Said the pine tree thus:
I'm the greatest ruler,
20 (For) they carve me up,
Cut me into shingles,
And churches atop
They set me in place.
Refrain: Lord, come, sing the carol!

991.
I: La masa galbina, ~ :1,
1'.,
La masa galbin'
I: SfMuesc tri domDi-u : I,
SfMuesc tri domni,
5 I: Carll-or §i 1 mai mariD : I,
Carll-or §i mai mario
Sfftntu grftl} zice:
k) ABOUT RETRIBUTION IN THE FUTURE LIFE
DESPRE RASPLATA IN VIATA VIITOARE
lOOa.
Joaca Patm colea 'n Plial:l
Colea 'n Plai, picior de raID.
------
Tatallui Patm venea,
cata patry.-~-mi zicea:
5 -Ja fa-mi, Petre, loc tIl rail
-Loc in rai, taichitii, n'ai.
Pftn' ti-ai fost p'acea lume,
Birau mare fostu-p-ai,
Sara~i asupritu-ai,
10 Bogati ocolitu-ai.
~i saracii ti-or lucrat,
Sara plata ca ij-ai dat
Tot neghina grA.ului,
Di pa fundu ciumlui.
15 Nici on bine n'ai fa cut,
Loc d-in rai cii ti-ai pierdut.
Mama lui Patm venea,
Cata Patrl}-alIa zicea:
-Ja fa-mi, Petre, loc tIl rail
20 -Loc in rai, maicutii, n'ai.
Pftn' ti-ai fost p'acea lume,
Crijmaritii fostu-ti-ai,
Apa cu vadr'ai vbdut,
Nici on bine n'ai fa cut,
25 Loc d-in rai ca ti-ai pierdut.
Sora lui Patm venea.
Cata patiy.-alIa-mi zicea:
-Ja fa-mi, Petre, loc tIl rail
-Loc in rai, sorita, n'ai.
30 Pftn' ti-ai fost p'acea lume,
1 = fi.
8 = hranit.
[ 430 ]
elk)
-Io-s un domn mai mare,
ca di mine fac
10 Colaci ~ prinoase,
Laturghii fmmoase.
Sfbtu brad zice:
-10 sbt domn mai mare,
ca di mine fac
15 lcoafle fmmoase
~i Ie pun pin case.
1'. Haida l'e1'uj Doamne!
(30b:Curtecap t/»
Fetia nu p-ai fetit,
Nici on bine n'ai fa cut,
Loc d-in rai ca ti-ai pierdut.
Frate lui Patm venea,
35 cata patiy.-alIa zicea:
-Ja fa-mi, Petre, loc in rail
-Loc in rai, mai frate, ai.
Pb' ti-ai fost p'acea lume,
Pacurariu fostu-ti-ai
40 Colo lftnga dmmul mare;
Cftti dmmari pa dmm treceal},
Cu lapte i-ai indulcit,
~i cu call i-ai hiiranit ll,
Loc in rai ca ti-ai gasit.
1'. I: Le1' lieu/a! : I
(86a. Var. 1 Paucinei?d t/)
lOOb.
Primbla-mi-sa Patm prin raiD,
1'.,
Primblii 'n sus i?i primblii 'n jOSD,
Raiu lui ii luminosu.
Nime 'n lume nu-l ved'erie
-----
5 Fara taica ce-i?i d-ave.
Taica say. din grai graie:
-Petre, Petre, taiciii Petre,
Fa-mi i?i mie loc in rai,
Loc tIl rai lftnga al ta y.,
10 Ung' al tal} ii ca i?i-a tay..

99i.
At a yellow table,
Retrain
At a yellow board,
Three lords talk it over,
Three lords talk it over,
5 Who might be the greatest,
Who might greatest be.
Said the blessed wheat:
k) ABOUT RETRIBUTION IN THE FUTURE LIFE
lOOa.
Peter's dancing on the mountain,
Yonder, at the foot of heaven.
Peter's father came along,
Unto Peter thus he said:
5 Peter, make me room in heaven!
Father, you've no room in heaven.
While in that world you were (living),
You were a great village mayor;
The poor people you oppressed,
10 (And) the rich you treated well;
The poor people worked for you,
Evenings you did pay them off
Only with the tare of wheat,lo2
From the bottom of the sieve.
15 You have done no good at all,
You have lost your place in heaven.
Peter's mother came along,
Unto Peter thus she said:
Peter, make me room in heaven!
20 Mother you've no room in heaven.
While in that world you were (living)
You were keeper of an inn,
You sold water by the peck,
You have done no good at all,
25 You have lost your place in heaven.
Peter's sister came along,
Unto Peter thus she said:
Peter, make me room in heaven!
Sister, you've no room in heave~..
30 While in that world you were (livmg)
153 Though neghina is the Rumanian version of the biblical tare, it is not the plant usually
accepted in the English-speaking world as being that weed (the darnel), but Ag1'ostemma
gilhago.
us Alternative reading for this verse: (Lo,) his heaven s lighte
elk)
I'm the greatest ruler,
For of me they make
10 Pastry rolls and alms cakes,
(And) services beauteous.
Said the blessed pine:
I'm the greatest ruler,
For of me they make
15 Icons (that are) handsome,
To set out in houses.
Retrain: Lo-rd, come, sing the carol!
As a maiden you've not lived,
You have done no good at all,
You have lost your place in heaven.
Peter's brother came along,
35 Unto Peter thus he said:
Peter, make me room in heaven I
Brother, you have room in heaven.
While in that world you were (living)
You were (but) a shepherd lad,
40 Over there, beside the highway;
To all wayfarers that passed
You gave sustenance with milk
And you fed them (all) with cheese:
You have found a place in heaven.
Retrain: I: Sing, small daughter! : I
lOOb.
Peter walks about in heaven,
Ref"ain
He walks up and he walks down,
Unto him heaven is lightsome. lo3
No one in the world could see him,
5 Only his own father (did).
Said his father (unto him) :
Peter, Peter, father's Peter,
Make me room in heaven too,
Room in heaven near to yours,
10 Near to yours and like your own.
,. d (b . htl )
ng y.
[ 431 ]

Patru din gura-mi graie:
-10 eu drag, taiea, ti-~ face:
Cand n-ai fost p'aeeea lume,
Biral} mare fostu-ti-ai,
15 Pa saraei holitu i-ai,
Pa bogati primitu i-ai,
Bani eu stramburi ll}atu-ti-ai,
Loe d-in rai pierdutu-ti-ai.
Primblii-mi-sa Patru prin rai,
20 Primblii 'n sus !iii primbla 'n jos
Raiu lui ii luminos.
Nime 'n lume nu-l ved'e,
Fara maica ee-!ili d-ave.
Maiea-sa din grai graie:
25 -Petre, Petre, maicii Petre,
Fa-mi !iii mie loe in rai,
Loe in rai langa al tal}.
Lang' al tal} ii ea !iii -a tal).
Patru din gura-mi graie:
30 -10 eu drag, maiea, ti-a!il face:
Cand ti-ai fost p'aeeea lume,
Birtiirita fostu-n-ai,
Cupe miei tinutu-ti-ai,
Bani eu stramburi ly.atu-ti-ai,
35 Loe d-in rai pierdutu-n-ai,
Primbla-mi-sa Patru prin rai,
Primbla 'n sus !iii primbla 'n jos,
Raiu lui ii Iuminos.
Nime 'n Iume nu-I ved'e,
40 Fara sora ee-!ili d-ave.
Sora-sa din grai graie:
-Petre, Petre, sorai' (sic!) Petre,
Fa-mi !Ii mie Ioe in rai,
Loe in rai Ianga al tay.,
45 Lang' al tay. ii ea !ili-a tay..
Patru din gura-mi graie:
-10 eu drag, sora, n-a!il face:
and n-ai fost p'aeeea lume,
Curva mare fostu-n-ai,
50 Garduri marl saritu-ti-ai.
lara eand ti-ai fost nevasta,
Ai sarit !Ii pa fereasta:
Loe d-in rai pierdutu-ti-ai.
Primbla-mi-sa Patru prin rai,
55 Primbla 'n sus !Ii primbla 'n jos
Raiu lui ii luminos.
Nime 'n lume nu-I vede,
Fara frate ee-!ili d-ave.
Frate-sal) din grai graie:
[ 432 ]
elk)
60 -Fa-mi ~i mie Ioe in rai,
Loe in rai langa al tay.,
Lang' al tal) ii ea !ili-a tay..
Patru din gura-mi graie:
-10 eu drag, frat'e, ti-~ face:
65 Cand ti-ai fost p'aeeea lume,
Cioban mare fostu-ti-ai,
Ti-ai pus stana langa drum.
Can saraei pa drum trece,
Tot eu ea!il i-ai saturat,
70 Cu lapte i-ai ada pat,
Loe in rai n-ai eapatat.
r. Doamne joj Domnuluj Doamne!
(86e. Paucine~d if)
lOOc.
Primblii-sa Patru d-in raiy,
r.,
Primblii 'n sus !iii primbla 'n joSY,
I: Primblii 'n sus !iii primbla 'n jOSY : I,
Nime 'n lume nu-l vederie.
5 Nu-l vedea (sic!), nu-I aUze~,
Fara draga taiea lui.
!;ii-I vede ~i-l d-auze,
Pin laerami d'abia zarie,
Pin suspini d'abia graie:
10 Petre, Petre, taieai Petre,
Fa-mi !iii mie loe in rai!
-Loe in rai, taiea, nu-n d-ai.
and n-ai fost p'aeeea lume,
Biray. mare fostu-ti-ai,
15 Legi strambe-ti tinutu-n-ai,
Loe d-in rai pierdutu-ti-ai.
r. Raju mdndru-j luminosy!
(73bb. Nue!loara if)
lOOd.
Seris-o Domnul, e~-o mai scrisy?
Seris-o measa !Ii seaune.
r.,
Prin jur measa cine !iled'e?
Dumnezo eu toti sfintijl'e,
5 Cu toti sfintii panga sam,

(To his father) Peter said:
Dearly I would do it, father,
(But) when in that world you
sojourned
A great village mayor you were;
15 You spoke harshly to the poor,
(But) the rich you entertained;
You took money wrongfully,
You have lost your place in heaven.
Peter walks about in heaven,
20 He walks up and he walks down,
Unto him heaven is lightsome.
None could see him in the world,
Only his own mother (did).
Said his mother (unto him) :
25 Peter, Peter, mother's Peter,
Make me room in heaven too,
Room in heaven near to yours,
Near to yours and like your own.
(To his mother) Peter said:
30 Dearly would I do it, mother,
(But) when in that world you
sojourned
You were keeper of an inn,
Little cups you kept on hand,
You took money crookedly,
35 You have lost your place in heaven.
Peter walks about in heaven,
He walks up and he walks down,
Unto him heaven is lightsome.
No one saw him in the world,
40 Only his own sister (did).
Said his sister (unto him):
Peter, Peter, sister's Peter,
Make me room in heaven too,
Room in heaven next to yours,
45 Near to yours and like your own.
(To his sister) Peter said:
Dearly would I do it, sister,
(But) when in that world you
sojourned
You were a surpassing whore,
50 Over fences tall you leaped;
When you were a married woman
You jumped even through the window,
You have lost your place in heaven.
Peter walks about in heaven,
55 He walks up and he walks down,
Unto him heaven is lightsome.
No one saw him in the world,
Only his own brother (did).
Said his brother (unto him):
[ 433 ]
elk)
60 Make me room in heaven too,
Room in heaven next to yours,
Next to yours and like your own.
(To his brother) Peter said:
Dearly would I do it, brother,
65 (For) when in that world you
sojourned
You were (but) a shepherd great,
Near the road you set your fold;
All the poor who passed that way
With cream cheese you comforted,
70 (And) with milk you slaked (their
thirst) :
Place in heaven you have gained.
Refrain: Lord, hoy, for the Lord
Almighty!
100c.
Peter walks about in heaven,
Refrain
He walks up and he walks down,
He walks up and he walks down.
No one in the world could see him,
5 (None) could see him, (none) could
hear him,
Only his dear father (did);
He both saw and heard him too,
Barely saw him through (his) tears,
Through (his) sobs he barely spoke:
10 Peter, Peter, father's Peter,
Make me room in heaven too!
Father, you've no room in heaven,
(For) while in that world you
sojourned
You were a great village mayor;
15 Crooked were the laws you kept,
You have lost your place in heaven.
Refrain: Beautiful is lightsome heaven!
10Od.
The Lord ruled, what ruled he else?
He ordained a table and chairs.
Refrain
Who is sitting round the table?
(Tis )the Lord and all the saints;
5 With the saints about Him all,

Tlit i~i bey. ~i d'iluescu. 1
Dumnezey. i~i cuvanta:
-Petre, Petre d'a lui Plitru I
Vini-~i frat'e d'a lui Plitru
10 Pli d'aproape pangli raiu,
~ede 'n poartli ~i-~i grliie~te:
-Petre, Petre, frat' d'al mnel},
Fli-mi ~i mie loc in rail
-Cli io, frate, cli ti-a~ face,
15 Da raiu nu te voie~te,
Dumnezey. nu te prime~te:
Cati ai 2 ai fost pli pamanty,
Ca tu crajmari ca ti-ai fost;
Pa ce locuri pa d'aproape,
20 Hoi, bine l~-ai masurat;
Pa ce locuri pa d'epart'e,
Hoi, ral} ca l~-ai masurat,
Masuri dalbe ti-ai stracat,
Loc in rai nu ti-ai cercat.
25 Vini-Q sora d'a lui Patru
Pa d'aproape panga raL
~ede 'n poarta ~i-~i graie~te:
-Petre, Petre, frat' d'a mnel},
Fa-mi ~i mie loc in rai:
30 -Hoi, io, sora, ca ti-a~ face,
Da raiu nu te voie~te,
Dumnezey. nu te prime~te:
Cati ai ai fost pa pamant,
Ca tu, sora, ca ti-ai fost
35 Crajrnarita ravar!jita (sic!);
Pa ce locuri pa d'aproape
Hoi, bine l~-ai masurat,
Pa ce locuri pa d'epart'e
Hoi, ray. ca l~-ai ma·surat,
40 Masuri dalbe ti-ai stracat.
Loc in rai nu ti-ai cercat.
Vini-~i maica d'a lui Patru
Pa d'aproape panga rai.
~ede 'n poarta ~i-~i graie~te:
45 -Petre, Petre, fii d'a mnel},
Fa-mi ~i mie loc in rai!
-10, maica, ca io ti-oi face,
Ca raiul ca te voie~te,
Dumnezel} ca te prime~te:
1 = canta « dalol, ung.).
2 = ani.
3 = del a ojina.
4 = drepte « pray, sl.).
5 = inima.
6 = Sf. Petru.
7 = ~i.
[ 434 ]
elk)
50 Cati ai ai fost pa pamant,
Ca tu, maica, ca ti-ai fost
Crajmarita rava~itii.;
Pa ce locuri pa d'epart'e,
Hoi, bine l~-ai masurat,
55 Masuri dalbe ti-ai cercat,
Loc in rai ca ti-ai cal}tat.
Cli Sambiita dala-y.jun', 3
Tat lucru ti l-ai lasat,
Ceara 'n branci ti -ai apucat,
60 ~i tu, maica, l~-ai facut
Luminele pravu~ele; 4
~i tu, maica, ca l~-ai dus,
D-indi popii l~-o cantat,
Cu ochii l~-ai lacramat;
65 Ca tu, maica, ca l~-ai dus,
D-indi popii l~-o sclujit,
Cu d-irim' 5 ai suspinat.
r. Corind'e-mi Doamn'!
(73h. Ta~ad t/»
lOOe.
Colo sus, colo mai sus~,
I.r.,
Sus in poarta raiului,
z.r.,
Dar in poarta cine ~ed'e?
~ed'e-~i Patru lui Sant'etru. 6
------
5 Da da lucru ce-ji 7 lucreaza ?
Purterea!/te sufi' et' e~t' e (sic!),
------
Cu direapta 'n rai pline~te.
lata vreme ce-ji 7 mai vine?
Vine-~i frate d'a lui Patru
10 ~i 'nca-~i graie~te la poarta:
-Petre, Petre, frat' d'a mnel},
Dibe~ti mine 'n rai cu tine!
-10 te dibesc bucuros,
Da raiu nu te dibe~te,
15 Dumnezel} nu te popte~te,
Ca pan' ai fost pa pamant,
~i tu, frate, fostu-ti-ai,
Biray. mare fostu-ti-ai.

They keep drinking and keep singing.
The Almighty spoke to say:
Peter, Peter, kin of Peter!
Comes along (now) Peter's brother,
10 Near by, to heaven close;
At the gate he's standing, saying:
Peter, Peter, brother mine,
Make me room in heaven too!
Willingly I'd do it, brother,
15 Only heaven doesn't want you,
The Almighty won't receive you.
All the years you were on earth,
You were keeper of an inn;
Unto those (who lived) close to you,
20 Hoy, how rightly you poured out;
Unto those (who lived) far from you,
Hoy, how wrongly you poured out;
Your fair measures you debased,
Room in heaven you've not earned.
25 Comes along (then) Peter's sister,
Near by, to heaven close;
At the gate she's standing, saying:
Peter, Peter, brother mine,
Make me room in heaven too!
30 Hoy, sister, I'd (gladly) do it,
Only heaven doesn't want you,
The Almighty won't receive you.
All the years you were on earth,
You have been, oh sister mine,
35 A drink-pouring tavern keeper;
Unto those (who lived) close to you,
Hoy, how rightly you poured out;
Unto those (who lived) far from you,
Hoy, how wrongly you poured out;
40 Your fair measures you debased,
Room in heaven you've not earned.
Peter's mother comes along (then),
Near by, to heaven close;
At the gate she's standing, saying:
45 Peter, Peter, son of mine,
Make me room in heaven too!
Mother mine, I'll make it for you,
Because heaven wants to have you,
The Almighty will receive you.
[ 435 ]
elk)
50 All the years you were on earth,
You have been, oh mother mine,
A drink-pouring tavern keeper;
Unto those (who lived) far from you,
Hoy, how rightly you poured out;
55 Your fair measures you tried out,
Room in heaven you have sought.
After supper, Saturdays,
All your work you set aside;
Beeswax in your hands you took,
60 And you, mother, made of it
Waxen tapers fair and goodly (?),
And you, mother, carried them
Where priests chanted over them,
With your tears you watered them;
65 And you, mother, carried them
Where the priests did serve with them,
(And) you sighed with (all) your heart.
Refrain: My carol, Lord!
lOOe.
There, on high, there, higher up yet,
Ist Refrain
(Yonder,) up at heaven's gate,
2nd Retrain
But who's sitting in the gateway?
Peter's sitting, ('tis) Saint Peter.
5 But what work is it he's doing?
To the souls the gate he's opening,
Righteously he's filling heaven.
Comes the time (and) who is coming?
(Lo, it's) Peter's brother coming,
10 And (to him) speaks from the gateway:
Peter, Peter, brother mine,
Take me into heaven with you!
Gladly would I take you in,
Only heaven won't receive you,
15 The Almighty will not have you,
Because while you were on earth
You have been, oh brother mine,
You've been a great village mayor,

Rava~ stramt erestatu-ti-ai,
20 Pii siiraci ai d-asuprit,
Pii giizdaci ai 'ngiiduit,
Loe in rai nu ti-ai giitit.
latii vreme ce-ji mai vine,
Vine sora d'a lui Piitru
25 ~i 'ncii-~i graie~te la poartii:
-Petre, Petre, frat' d'a mney,
Dibe~ti mine 'n rai cu tine.
-10 te dibesc bucuros,
Da raiu nu te dibe~te,
30 Dumnezey nu te popte~te,
Cii pan'ai fost pii piimant,
~i tu, sorii, fostu-ti-ai
Crljmiiritii libriiritii,
D-apii 'n yin biigatu-ti-ai,
35 D-itile 1 mici avut-ai,
Ravali stramt crestatu-ti-ai,
Bani asupra luat-ai,
Pii siiraci ai d-asuprit,
Pii giizdaci ai 'ngiiduit,
40 Loe in rai nu ti-ai giitit.
latii vreme ce-ji mai vine,
Vine maica d'a lui Piitru
~i 'ncii-~i griiie~te la poartii:
-Petre, Petre, fii d'a mney,
45 Dibe~ti mine 'n rai cu tine!
-10 te dibesc bucuros,
~i raiul cii te dibe~te,
Cii pan' ai fost pii piimant,
Sambiitii dii la ujinii
50 Dii tiit lucru ti-ai Iii sat,
Maneci dalb~-ai sufulcat,
Dii cearii t~-ai apucat.
~i tu, maicii, ti-ai fiieut
Luminele vriivurele
55 ~i tu, maicii, ti l~-ai dus
Pii la dalbe beserici
Dii sfintele Dumineci.
Panii sc1ujba l?i-o eantat,
Cu d-urechi ai d-ascultat,
60 Cu d-inim' ai suspinat,
Cu d-ochiti ai liicriimat,
Loe in rai eii ti-ai cereat.
I.1'. Co1'ind'eZ'e co1'ind'eZ'e!
2.1'. Corind'eZ'e!
(71f. ~oimi if)
1 = masura « ieee, ung.).
a= ~i.
3 = masura « vajit6, ung.).
4 = vre.un.
[ 436 ]
elk)
1001.
1-5 = 10Od. 1-5
Tiit eete, adivere
~i cy-o manii 'n rai pline.
Vin~-o vreme d1L la-o vreme
Vin~-un frate d;-a lui Piitru, '
10 D-a~a stragii dii la poartii :
11-17 = 100d. 11-15,17,18
Riiva~ul crestatu-ai,
Bani asupra luat-ai,
20 ~i-ai triiit dupii siiraci
~i-ai biiut cu eei giizdaei,
Loc in rai nu ti-ai cereat,
Niei in rai, niei pii piimant.
Vine-ji 2 vreme ee-ji mai vine:
25 Vin~-o sorii d'a lui Piitru,
D-al?a stragii dii la poartii :
27-33 = 100d.26-30, 32, 33
Itie 1 mici avut-ai,
35 Viiitiil} 3 miiritu l-ai
Bani asupra luat-ai,
Loc in rai nu ti-ai eercat,
Nici in rai. nici pii piimant.
Vine-ji vreme ce-ji mai vine:
40 Vin~-o maicii d'a lui Piitru,
D-a~a straga dii la poartii :
42-45 = 100d.44-47
Dumnezel} cii te popte~te.
Cii tu, maieii, liisat-ai
Sambiita dii la ujinii
Tiite, maieii, luerurile,
50 ~i tu, maicii, fiieut-ai
51-59 = 100d. 54-62
60 ~i d-in rai l?i pii piimant.
1'. Corind' e mi Doamn'!
(73c. Var. Urvis if)
100~.
I I. I /TIl
I: Tiit umbla Petre pe raii, 1'. : I rai,
[Tat sulind (sic!) l?i trimbitand]
fTlIII·1
I: Sii-l?i afl'e v'on 4neamd~-aluii : I lui

Wrongful tallies you have kept;
20 The poor people you oppressed,
You showed favor to the rich
You've not readied your plac~ here.
Comes the time (and) who is coming?
(Lo, it's) Peter's sister coming,
25 And (to him) speaks from the gateway:
Peter, Peter, brother mine,
Take me into heaven with you!
Gladly would I take you in,
Only heaven won't receive you,
30 The Almighty will not have you,
Because while you were on earth
You have been, oh sister mine,
(You've been) keeper of a tavern,
You put water in your wine,
35 Measures small you kept on hand,
Wrongful tallies you have kept,
Overmuch money you took,
The poor people you oppressed,
You showed favor to the rich
40 You've not readied your plac~ here.
Comes the time (and) who is coming?
(Lo, it's) Peter's mother coming,
And (to him) speaks from the gateway:
Peter, Peter, son of mine,
45 Take me into heaven with you!
Gladly will I take you in,
Heaven also will receive you,
Because while you were on earth,
Saturdays, (soon) after supper,
50 All your work you set aside,
Your white sleeves you did roll up,
You got busy with the wax,
And you, mother, made yourself
Waxen candles by the bundle,
55 And you, mother, carried them
Unto (each of) the white churches,
For (to have) on holy Sundays;
While they chanted services,
You did listen with your ears,
60 With your heart you heaved a sigh,
With you eyes you did shed tears,
Room in heaven you have earned.
Ist Refrain: The carolings, the carolings!
2nd Refrain: The carolings!
[ 437 ]
elk)
IOOl.
1-5 = 1-5 of 10Od.
He kept reading, he confirmed
Filling heaven with one hand. '
There arrives a time thereafter
Comes along a brother of Pete;'s
10 Thus he calls out from the gate;ay:
11-17 = 11-15, 17, 18 of 100d.
Records (wrongfully) you made,
Money overmuch you took,
20 Made a living off the poor,
Wit~ the wealthy men you drank,
You ve not earned a place in heaven
Not in heaven nor on earth. '
There arrives a time thereafter
25 Comes along a sister of Peter's:
Thus she calls out from the gateway:
27-33, 26-30, 32, 33 of 10Od.
M~asures small you kept on hand,
35 WIth short weights you made (your
sales),
Money overmuch you took,
You've not earned your place in
heaven,
Not in heaven nor on earth.
There arrives a time thereafter
40 (And) along comes Peter's mother
Thus she calls out from the gatew~y:
42-45 = 44-47 of 10Od.
The Almighty will receive you,
Because, mother, you would leave
Of a Saturday, at supper,
Mother, every (other) business,
50 And you, mother, (then) would make
51-59 = 54-62 of 10Od.
60 Both in heaven and on earth.
Refrain: I carol, Lord!
IOOg.
Peter walked about in heaven
Refrain '
Striv.ing hard (?) and trumpeting,
Seekmg out some kin of his.

I: Neam d'~-a lui nu
Ill.l
l}aflat
5 Pan' la poarta raiului,
Acol' era tatal sal}.
Tatal sal} din grai graie:
-Petre, Petre, fatu miiel},
Fa-mi ~i miiie loc in rail
10 -Loc in rai Dumniata n'ai.
Cat ai trait pe pamant,
Tat bd'iral} domnesc ai fost,
Pe saraci tare i-ai tras,
Pe gazdaci afar' i-ai ras.
15 Tat umbla Patru pe rai,
Tat sulind ~i trimbitand,
Sa-~i afla v'on neam d~-a lui.
Neam d~-a lui nu ~i-o aflat
Pan' la poarta raiului,
20 Acol' era maica lui.
Maica-sa din grai graje:
-Petre, Petre, fatu miiel},
Fa-mi ~i miiie loc in rail
-Loc in raj Dumnjata n'aj.
25 Cat ai trait pe pamant,
Tat fagadarif ai fost,
Glajile 1 goale l~-aj dat.
Plata de plin~-aj luat.
Tat umbIa Patru pe raj
30 Tat sulind ~i trimbitand,
Sa-sj afle v'on neam d~-a lui.
N e~m d~-a lui nu ~j-o aflat
Pan' la poarta raiului,
Acol' era sora lui.
35 Sora-sa din grai graje:
-Fa-mj si miiie loc in rai!
-Tu, sor~, loc in raj ai.
Cat ai trait pe pamant,
Ti-o fo' 2 casa langa drum,
40 Pe seto~j j-aj ada pat,
Pe flamanzi i-ai siiturat,
Raiu ti l-aj capatat.
r. Floril'e-on zdalbe!
(61g. Or~ova r/»
1 = paharile « Glas, neml.).
2 = fost.
S = ai.
4 La fon. un ~ir (bis) care nu sa 'ntelege.
elk)
I 1. I IOOh.
~i-o l}aflat~ :I
ILl fIT."1
I: Tot umbla Petru pin rai : I rai
Pan' la poarta raiului,
Nu gasea neamu d~-a lui.
====
Neam d~-a lui nu ~j-o gasitu;
5 Pan' la poarta raiului
Sa 'ntalnea cu muma-sa.
Muma-sa din graj graia:
-Cata-mi, Petre, loc in raj!
-Loc in rai, mama, ca n'aj,
10 Ca cat ai fost pe pamant
11-13 = IOOf. 26-28
Loc in rai n'aj capatat.
15 Tot umbla Petru pin rai,
Pan' la poarta raiului
Nu gasea neamu d~-a luj;
Pan' la poarta rajului
Sa 'ntaInea cu sora-sa.
20 Sora-sa din grai graia:
-Cata-mi, Petre, loc in rai!
-Loc in raj, sora, ca ai,
Ca cat ai fost pe pamant,
Ti-o fost casa langa drum,
25 Hai 3 flamanzi ai saturat,
Pe hai golj i-ai imbracat,
Raiu ti l-ai dipatat.
(123. Chinci~ r/»
IOOi.
I 1. IIILI
I: Parced'ea Petru d'e raiy, r. : I raiy;
I: Taica sal} din grai graj~ :I
4 ________ _
-Da-mj ~i mie loc in raiY!
-Ba tu, taica, nu mi-~i d-ai\l,
------
5 I: Ca tu biral} cat ai fostu : I,
Pa saraci j-ai asuprit,
[ 438 ]

He could find no kin of his
5 Till (he got to) heaven's gate,
(It was) there his father stood.
Said his father (unto him) :
Peter, Peter, son of mine,
Make me room in heaven too!
10 Room in heaven you have none;
All the time you lived on earth,
You were but a lordly mayor;
On the poor you bore down hard,
(From your books) rubbed out the rich.
15 Peter walked about in heaven
Striving hard (and) trumpeting,
Seeking out some kin of his.
He could find no kin of his
Till (he got to) heaven's gate,
20 (It was) there his mother stood.
Said his mother (unto him) :
Peter, Peter, son of mine,
Make me room in heaven too!
Room in heaven you have none;
25 All the time you lived on earth,
You a tavern keeper were;
Empty glasses you gave out,
(But) for full ones you took pay.
Peter walked about in heaven,
30 Striving hard (?) and trumpeting,
Seeking out some kin of his.
He could find no kin of his
Till (he got to) heaven's gate,
(It was) there his sister stood.
35 Said his sister (unto him):
Make me room in heaven too!
Sister, you have room in heaven;
While you lived upon the earth,
By the wayside was your house;
40 (All) the thirsty you have quenched,
(And) the hungry you have fed:
Room in heaven you have gained.
Refrain: White are the blossoms!
154 Author's manuscript footnote: An unintelligible verse (repeated) in the recording.
[ 439 ]
elk)
lOOh.
(All) through heaven Peter walked·
Till (he got to) heaven's gate, '
He could find no kin of his;
He did find no kin of his
5 All the way to heaven's gate,
(Where) his mother he did meet.
Said his mother (unto him) :
Peter, seek me room in heaven!
Mother, you've no room in heaven
10 Because, while you were on earth, '
11-13 = 26-28 of 100f.
Room in heaven you've not gained.
15 (All) through heaven Peter walked·
Till (he got to) heaven's gate, '
He could find no kin of his
All the way to heaven's gate,
(Where) his sister he did meet.
20 Said his sister (unto him) :
Peter, seek me room in heaven!
Sister, you have room in heaven,
Because, while you were on earth,
By the wayside stood your house;
25 Hungry people you have fed,
Naked people you have clothed,
(Thereby) heaven you have gained.
lOOi.
Out of heaven Peter came
Refrain '
Said his father (unto
_ _ _ _ _ _ _ _ _ 154
him) :
Give me too a place in heaven!
Not so, father, you have none,
5 Because, while you were a mayor,
You weighed down upon the poor,
 C I 1)
Pa bogati i-at ascutit lOOj.
~i raj.u ca l-aj. pierdut.
Pru-ced'ea Patru de raj.;
10 Frate-sal) din graj. graia: I I. I
-Da-mi ~i mie loc in raj.! I: -Ia ma, Petre, 'n rai cu t'ine, r. : I
-Ba-tu, frate, ca nu aj.,
ca tu morar cat aj. fost, fill
t'in'!
~i cu pietrii l-aj. umplut
15 ~i raiu ca l-ai pierdut.
Pru-ced'ea Patru de rai; I: -Ba io 'n rai nu t'~-oi
r-r.-I iITl
luare : Ilua:
Sora-sa din grai graia:
-Da-mi ~i mie loc in rail cat ai trait pe pamant,
-Ba tu, sora, nu mi-~i d-ai, Tat bd'iral) domnesc ai fost;
20 ca tu birtii~it' ai fost, 5 Cine mana ti-o umplut,
~i diesu nu l-ai umplut
Dreapta lege i-ai facut;
~i raiu eli l-ai pierdut. Cine mana nu ti-o 'mplut,
r. Raju mO,ndru luminos! Stramba lege i-aj. facut.
(620. Traia~ <f»
r. Raj, raj luminos!
(104i. !dicel tI)

1) ABOUT THE LAST JUDGMENT

DESPRE JUDECATA DIN URMA

lOla. Cu cupe da vin,

Cu japoi 3 da gral):
I I. I IIT.l 20 Al~ii-l d-inchinal),
I: Cel domnu~u-i bunui, I.r. : I bunui. Aljii-l d-intrebal):
2.1'., Ce aj. zabavit, Nicoara, *
Bun gand ~i-o gandit, Da tu n'ai vinit
La ista lucru ?
~i L~i faca d-oaspe~i 25 Ce ma d-ispiti~i vol. Sfinti. *
Tat la zile mari Ca voi bine ~titi.
5 ~i la ztle rare. Bine ca ~i mine,
Chema-~i ce-~i chema; Ca mi-am intalnit
Taji ca mi-ji 2 vine, N ol)a -s cora bij
Numa nu-ji vine 30 Pline-s da suflete.
Sfantu~ul Nicoara. Nu l~-am dat perit:
10 ~i pusera zi, Cele maj. direpte
Zi d'a tria zi; Trece l~-om, petrece
cand i~i fu la zi, Pa su' mana dreapta,
Vazura-l vinind 35 Pa d-u~a-i da raj.:
Cu elilu~u-i dalb, Raj.u-i luminos,
15 Dalbu-i, d-inspumat, Bun loc da popos.
Da sudori ciuntat. Cele maj. gre~ite
Naintea lui i~ie Trece l~-om, petrece

1 = sit
D ~i.
a= pAni~oara « cip6, ung.).

[ 440 ]

(Lightly) you let off the rich,
And (thereby) heaven you've lost.
Out of heaven Peter came,
10 Said his brother (unto him):
Give me too a place in heaven!
Not so, brother, you have none,
For, a miller while you wen:,
You filled up (the sacks) WIth stones,
15 And (thereby) heaven you've lost.
Out of heaven Peter came,
Said his sister (unto him):
Give me too a place in heaven!
Not so, sister, you have none,
20 For an innkeeper you've been
And the measure you've not filled,
And (thereby) heaven y:ou've ~ost.
Refrain: Heaven's beautzfully ht!
1) ABOUT THE LAST JUDGMENT
lOla.
That good gentleman, Ist Refrain
2nd Refrain
Thought a goodly thought,
To call in some guests
On great holidays
5 And on days outstanding.
Of all those he called,
Everybody came;
Only (one) came not:
('Twas) Saint Nicholas;
10 And they set a day,
The third day from thence.
As the (third) day dawned,
(Lo,) they saw him come,
His white horse withal;
15 Foam-flecked was the horse,
With (much) sweating lamed.
Before him they went
16& In the original, too, this verse has eight sylla?les ..
1&8 The corresponding verse of the original text likeWlse has seven syllables.
[ 441 ]
ell)
100j.
Take me into heaven, Peter!
Refrain
Nay, I'll not take you in heaven,
(Because) while you lived on earth
You were only the king's mayor;
5 Unto those who filled your hand,
Rightfully you meted law;
Those who didn't fill your hand,
Crooked rulings got from you.
Refrain: Light, light's paradise!
With beakers of wine
(And) with wheaten rolls;
20 Some saluted him,
Others questioned him:
Nicholas, why did you tarry,155
That you didn't come
To this gathering?
25 Saints, why do you question me? 156
For you know full well.
Well as I myself (know),
That I came upon
Nine ships (under way)
30 That with souls were laden;
I let them not perish:
Those that are more righteous
We'll attend (and) lead them
Beneath our right hand,
35 Into heaven's gate;
Heaven's shining (bright),
A good place of rest.
Those that are more wrongful
We'll attend (and) lead them
 ell)
40 Jos pa scapatat Da tu n'ai vinit,
Pa su' manat stanga, and ti-am poruncit?
Pa d-u~ da lad; 25-31 = lOla. 25-31
ladu-i 'ntunecos, Ci Ill-am d-inturnat
Rli l} loc da popos. ~i Ill-am judecat,
Care Cll-O facut

Faya melodie:
* 35 Da la na~tea (sic!) sa
Pan' la moartea sa.
45 Cruce sfantli 'ntoarsa,- Celea mai gre~ite
~il fi gazda sanatoasli! 10 Ill-am da trimes
I.Y. Doamne! Pa su'-i mana stanga
2.Y. Daj coyinde! 40 Jos pa scapatat
(21b. Urvi~ if) La poarta-i da iad.
Celea mat direpte
10 Ill-am petrecut
tOth. Pa su'-i mana dreapta
Cel domnutu-i bunui, 45 Sus pa raslirit
I.Y., La poartli-i da rai.
Bun gand ~i-o gand'ity,
2.Y.,
~i l-~i faca d-oaspeti
*
Faya melodie:
~il fi slinatos
4-9 = lOla. 4-9
~i 'nca pusa zile
Cu corinda noast' !
I.Y. Doamne!
10-19 = lOla. 11, 13-21
2.Y. Doj corinde!
20 10 am zabavit
Sus pa rasarit (21m. Dumbrlivita de codru if)
22-33 = lOla. 28-30, 32-35,38-42
I.Y. Doamne!
2.Y. Doj coyind'e!
tOld.
(21a. Urvi~ 1) eel Domnutu-i bunui,
I.Y.,
Bun gand ~i-o gand'itu:
tOte. 2.Y.,
1-5 = lOla. 1-5 Sfantli-i Duminec'
D-oaspeti ce-~i chema?
Tat d-oaspeti din cer. Margandu-jp la sclujba,
Catt tlii 0 chemat, 5 D-oaspeti marl chemandu,
Tati i~i al} vinit, Cati imi ca-~i chema,
10 Numa n'o vinit
Sfantutul Nicoarli. Tati iroi ca-ji 2 vine
Pusa-i zi tri zile; Numa nu-ji vine
Cand fu tria zi, Sfantul Sfant Nicoara.
Nicoara sosi. 10-38 = IOle. 12-37, 43, 39, 41
15-18 = lOla. 14-17 39-46 = lOla. 43-44, IOle. 42-44, 46,
Cu cofiti cu Yin lOla. 36-37
20-21 = lOla. 20-21 I.Y. Doamfte!
-Ce ti-at zliblivit, 2.Y. Doj corind'e!
(21£. ~oimi if)

[ 442 ]

40 Toward sunset, down,
Beneath our left hand,
Through the gate of hell;
Hell is in the dark,
An ill place of rest.
Without a tune:
* 35 Since he had been born
45 Holy cross (that's) turning,
Host, good health to you we're
wishing!
Ist Refrain: Lord God!
2nd Refrain: Sing the carols!
tOtb.
(Lo,) the kindly lord
Ist Refrain
A good thought has thought:
2nd Refrain
To ask in some guests
4-9 = 4-9 of lOla.
And (some) days it took him,
11-19 = 11, 13-21 of lOla.
20 I have been delayed,
Up, toward the east,
22-33 = 28-30, 32-35, 38-42 of lOla.
Ist Refrain: Lord God!
2nd Refrain: Sing the carols!
tOle.
1-5 = 1-5 of lOla.
What guests did he ask?
Guests from heaven all.
Of all those he asked,
Everybody came.
5 Only (one) came not:
(,Twas) Saint Nicholas.
Three days off 'twas set;
When the third day came,
Nicholas arrived.
15-18 = 14-17 of lOla.
With pitchers of wine,
20, 21 = 20, 21 of lOla.
Why did you delay,
[ 443 ]
C I 1)
That you did not come
When I ordered you?
25-31 = 25-31 of lOla.
But I turned them back
And I judged them (all):
Each what he had done
Until he had died.
Those (who were) more wrongful
I sent (on their way),
Underneath my left hand,
40 Toward sunset, down
To the gate of hell;
Those (that were) more righteous
I accompanied
Underneath my right hand,
45 Toward sunrise, up
Unto heaven's gate.
*
Without a tune:
A good health to you
With our caroling!
Ist Refrain: Lord God!
2nd Refrain: Sing the carols!
tOld.
(Lo,) the kindly Lord
Ist Refrain
Thought a goodly thought:
2nd Refrain
On a Sunday blest,
As He went to service,
5 Great guests He invited.
Of those that He called,
Everybody came;
(One) alone came not,
Nicholas the Blessed.
10-38 = 12-37, 43, 39, 41 of 10le.
39-46 = 43, 44 of lOla., 42-44, 46 of
10le., 36, 37 of lOla.
Ist Refrain: Lord God!
2nd Refrain: Sing the carols!

IOle.
- - - - - - a-!?t'eapta,
I.r.,
Pan' - - - - - - corab,l
z.r.,
Mult ai zabogit, Nicoara.
-Cum sa nu zabogesc,
5 ca iQ-al1a-mi d-aflatii.
N01J.a porumba!?iii. (sic!)
I: Pline d'e suflet'e : I.
Cari a1J. fost gre!?ite,
~-am indireptat
10 Pe u~a direaptii,
$i Ill-am incaljat
$i Ill-am imbriicat.
I.r. Sfinli!
z.r. Daj corind'e!
(33b. Moi~a if)
IOU.
D-umbra ceriuluiu,
I.r.
I I.
I: 'N poarta raiului, z.r. : 1-lui.
*Dar in poarta cine ~ede,
'N poartii cine !?ed'?
5 Doi domni da cei mari.
Dumnezeu graie:
*-10 jie, Petre, ti-oi da
Tul'incal1ul miel},
Da ii tul'inca,
10 Da ~i-i rastuma
Pa tata lume.
Da s'or aduna
Tat'e suflet'ele
Din tiit'e partile.
15 *Cele mai d'irept'e, Petre,
Trece Ill-om, petrece
Colo sus, mai sus
Pa poartii da rai;
Raiu-i luminos,
1 La fon. 2 ~ir, cari nu sa 'nteleg.
2 La fon. cuvinte, cari nu sa 'nteleg.
ell)
20 Bun loc da popos.
*Cele mai gre~ite, Petre,
Trece Ill-om, petrece
Colo jos, mai jos
Pa poarta da iad;
25 1adu-i 'ntunecos,
Ral} loc da popos.
*Nici-i nu lasa-Ie, Petre,
Suflet'e pierdut'e,
Ci Ill-om jud'eca
30 Da na~terea sa
Pan' la moartea sa.
I.r. Doamne!
z.r. Doj corind'e!
(21r. Cociuba de jos if)
IOI~.
Sfantii-i Dumineca-i
Bun gand ~i-o gandi'tu,
r.,
- - - - - - gand'ity2
D-ospeji l1i-o t'ematy.
5 Cati-o ca-i t'ematy.
Tajii c'al} vinity.
I 111.1 Numai n'o vinit,
Sfantu-i Sfant Nicoarii,
Tiit il d'al1tepta~.
10 Cand i~i fu la zile,
Numa ce-l vazura,
Vinind ce-~i putand
C1J.-un caluj dalbuj,
Dalbu-i da 'nspumat
15 Da sudori ciuntat.
Daca !?i sosi,
Da mana-l prande.
'N casa mi-l trece,
'N casa dupa masa,
20 Cu vinu 'nt'ina,
Bine-l d-intreba:
-Sfantu-i Sfant Nicoara,
Inde-i zebiivit? (sic!)
-Sus pa rasarit
25 Ca ~i-am d-intalnit
[ 444 ]

IOle.
- - - - - - - - - (is) awaiting,
ISt Refrain
Through--------- (?),157
2nd Refrain
Nicholas, long have you tarried. ISS
How should I not tarry,
5 When I came upon
Nine (small) pigeon chicks
(That) with souls (were) burdened?
Those that had been wrongful
I set right (once more)
10 Through the door (that's) rightful,
And I shod them (all)
And I clothed them (too).
ell)
20 A good resting place.
Those (that are) most wrongful,
Peter,161
We shall pass (and) shepherd
Yonder, lower down,
Through the gate of hell;
25 Hell is full of gloom,
An ill resting place.
Nor shall we abandon, Peter,161
Souls (that may be) straying,
But we'll judge them (all),
30 From their (very) birth
Up until their death.
Ist Refrain: Lord God!
2nd Refrain: Sing the carols!

Ist Refrain: Saints! IOlg.

2nd Refrain: Sing the carols!
IOlf.
In the welkin's shade,
Ist Refrain
(Up) at heaven's gate,
2nd Refrain
But who's sitting in the gateway? ISS
Who sits at the gate?
5 Two of the great lords.
The Almighty spoke:
Peter, I shall give to you 159
My own mountain horn,160
So that you may blow,
10 That you might upset
The entire world,
(Thus) to gather in
All the souls (abiding)
From whatever quarter.
15 Those (that are) most righteous,
Peter,161
We shall pass (and) shepherd
Yonder, higher up,
Through the gate of heaven;
Heaven's full of light,
(Lo,) the Blessed Sunday
Thought a kindly thought,
Refrain
- - - - - - - - - thought,162
She called in some guests.
5 Of all those she called
Everybody came;
Only (one) came not:
Nicholas the Blessed,
They kept waiting for him.
10 As the day was breaking,
They (at last) descried him,
Coming up apace,
Riding a white horse;
It was lathered white,
15 (And) with sweating lamed.
When he had arrived,
(Sunday) took his hand,
Led him in the house,
(Set him) at the table,
20 Pledged him with the wine,
Questioned him amain:
Nicholas the Blessed,
Where did you delay?
Toward sunrise, high,
25 Because (there) I met

157 Author's manuscript footnote: Two unintelligible verses in the recording.

158 An eight-syllable verse in the original too.
159 A seven -syllable verse in the original as well.
160 The word tulinca~ul (recte: tulnica~ul )designates a large horn, usually made of bark,
used by Rumanian shepherds for signaling to each other in the mountains. A tulnic may be
all of six feet in length.
161 An eight-syllable verse in the original text too.
162 Author's manuscript footnote: Several unintelligible words in the recording.

[ 445 ]

Nine (seagoing) ships;
Gone astray (and) burdened,
(All) with souls were laden.
The souls (that were) righteous
30 I straightway directed,
To the right-hand side (sent)
To the gate of heaven;
Those (that were) more wrongful
I straightway directed,
35 To the left-hand side (sent)
To the gate of hell.
Retrain: Hoy, the Lord is good!
lOlh.
(Lo,) that kindly Lord, ISt Retrain
2nd Retrain
(Lo,) that kindly Lord
Thought a kindly thought,
Thought a kindly thought.
Everybody came,
5 Everybody came;
But Saint Nicholas the Blessed 163
ISt Refrain: Lord God!
2nd Retrain: Sing the carol!
l02a.
Said the Father to the saints:
Ist Refrain
Saints of mine and my beloved!
2nd Refrain
Who is there that might be found,
Among you and among us,
5 To go yonder, down below,
Down below, there, lower down,
Down into the droughty fields?
183 To this verse, which has eight syllables in the original too, the author's manuscript foot·
note reads: Without the 1st refrain.
[ 446 ]
ell)
They are so dried up with drought,
There is neither grass nor water,
10 (There is) but one quiet wellspring.
Saint Elijah spoke to say:
I am ready, Lord, I'll go;
Only let me have Your staff (?).
See, the staff He let him have,
15 Saint Elijah started out.
(Where) he leant upon the staff (?),
(Lo,) a beauteous spring welled up.
But he floored it handsomely
With a floor of pine tree greenery,
20 (Then) he fenced it prettily,
Ringing it about with switches,
And he wreathed it beauteously
With the sun's own wreath (atop).
But what shade set he on it?
25 ('Twas) a 'tall and boughy tree,
That by autumn is in bud
(And) in springtime blossoms forth;
It bears fruit but doesn't ripen.
(But) why doesn't the fruit ripen?
30 At the foot of the (fair) tree,
There's accustomed, there is wont
A wretch of a Judas cur
Gainst the tree to scratch himself,
(And) he's shriveled up the roots.
35 At the foot of the (fair) tree,
Ruled the Lord, what ruled He else?
He set down a judgment seat.
Who, oh Lord, is to be judged?
All the souls, oh Lord Almighty,
40 From each one of the world's quarters.
(To the body) said the soul:
Body, might you no more be I
Place in heaven seek no more,
Not in heaven nor on earth I
45 But the body answered (back):
Yes, my own beloved soul!
Since we (two) have been apart,
Neither have I sinned (at all).
ISt Refrain: The carols, the carols!
2nd Retrain: The carols!

No~a corabii,
Grele-s, ratacite,
Pline-s da suflete.
Suflete d'irept'e.
30 Le man d'ireptat'e
Pa mana d~-a dreapta.
Pa poarta da rai.
Cele mai gre~ele
Le man d'ireptat'e
35 Pa mana d~-a stanga,
Pa poarta da iadg,.
Y. Jaj Domnufu-j bun!
(12x. Ginta Rohani 1)
10th.
I 1.
I; Cel domnutu-i bun~, I.Y. ; I bunui, 25 Un pom nalt ~i ramurat
2.Y.
Cel domnutu-i bun
I; Bun gand ~i-o gand'itui ; I
Bun gand ~i-o gand'it. -
- - - - - - - 30 Sucuiti-i, 7 sucuit
5 I; Tati-o ca viiiitui : I
Tati-o ca viiiit. -
Numa Sfantu Sant Nicoare 1
I.Y. Doamne!
2.Y. Daj coyind'e!
(21i. Bulz 1)
l02a.
Graie-~i Tatal sfintiloruli:
I.Y.,
-Sfintii miiei ~i dragii miieig!
2.1'.,
Care mi s'ar mai d-aflalele
Dintra voi ~i dintra noig,
5 ~i 2 mi-l meargai colo josuli,
Colo jos, colo mai josuli,
Jos in campii sacato~i?
1 Para refr. I.
2 = sa.
3 = Sf. IIie.
4 = merge.
5 = Pornea « ered, ung.).
6 = de ceo
7 = sa obicinuit « szokott, ung.).
ell)
mi-s da sacato~i,
A~e
Nici ii iarbi'i, nici ii apa,
10 Num' 0 lina da fantana.
Sant'ilie 3 imi graie:
-Gata-s, Doamne, oi me 4 e~,
Numa-mi da tovutul ta~.
Iaca tovu ca el da,
IS Sant'ilie raduie,5
D-in tovu sa 'mproptie,
Mandru izvor izvore.
Da mandru mi-l prunduie
Cu prundu-i da molit verde;
20 Da mandru mi-l ingri'ide
Cu nuiele da inele;
~i mandru mi-l cunune
Cu cununa soarelui.
I rrr.l Dara umbra ce-i pune?
Da cu toamna-i mugurat,
Primavara i cu floare,
Face poame, nu Ie coace.
Dart ce 6 poamele nu coace?
La turpina pomului
Un cana~u-i da Iuda~,
~i da pom s'o scarpanat,
Radacine l~-o sacat.
35 La turpina pomului
Scris-o Domnul c~-o mai scris?
Scris-o scaun da judet.
Ce s'or, Doamne, judeca?
Tate, Doamne, sufletele
40 Din tate partile lumii.
Sufletu din grai graie:
-Fir~-ai, trupe, n'ai mai fit
Loc in rai nu mai cerca,
Nici in rai, nici pa pamant!
45 Da trupu din grai graie:
-Da, suflete, dragu miie~!
Noi da cand n~-am despartit,
Nici pacate n'am facut.
I.Y. Coyind'e, coyind'e!
2.Y. Corind'e!
(7Ia. Urvi~ 1)
[ 447 ]

102b.
Colo 'n sus, Doamne, mai susy,
1'.,
Sus in dalbul rasarity _ _ _ _ __
Mandry-izvor n~-o raduity 1
------
Tat de sfinti de cei mai sfinti.
5 Dumnezey d-inca-i cu ei
~i din grai a!ia graie:
-Sfintii mnei !ii dragii mnei!
Care s'ar put'e d-afla,
~i 2 pogoara colo jos
10 La cei campeni sacato!ii?
Nici ii frunza, nici ij iarba,
Nici ij lina de fclntana.
Sant'ilie 3 imi graie:
-Da-mi, Doamne, paltau 4 my,
15 C' acol' oi pogori ey.
D'intru paltay sa 'mpropt'ie.
Mandru fantana zad'e.
Ba mai mandry-o d-ingrade
Cu nuiele de iedera,
20 Cu stobori de malin verde.
La mijloca!i de fantana
Est'un pomut de aur.
La trupina pomului
Est'un scaun de judet,
25 De s'or, Doamne, judeca.
Tat trupu cu sufletu.
-Fir~-ai, trupe, blasmmat!
Ca pana fusei in tine,
Multa greata-mi fu de tine.
30 -Ba de mine nu ti-o fost:
Ce ai poftit, ti-am gatit,
Ce ai cercat, ti-am caytat.
1'. Doamnt!-o Domnuluj/
(21y. Cociuba de jos t/)
102e.
Colo sus, colo mai susy,
Sus in dalbu rasarity,
1'.,
= izvorlt « ered, ung.).
1
= sa.
2
S = Sf. Ilie.
4 = bfltll, baston « paica, ung.).
e = tot.
e = abia.
[ 448 ]
ell)
Mar~-izvoama sa d-adunii.
Da c~-izvoama sa d-adunii?
------
5 Tat da Sfinti da cei mai Sfinti.
Dumnezey din grai graie~:
-Sfintii mnei !ii dragii mnei!
Ie haidati voi dupa mine
Colo jos, colo mai jos
10 La cel camput, sacacios.
Nici ij frunza, nici ij iarba,
Num' 0 tina !ii-o fclntclna.
~i, zey, ij sa vorove, ca
S'or face doya fantane
15 Stogolite cy-on stogol,
Cy-on stogol da moala verde.
Dar in jur a fantanei
Scris-o Domnul c~-o mai scris?
Scris-o d-izvor curator.
20 Da la mijloc da d-izvor
Scris-o Domnul c~-o mai scris ?
Scris-o pomu raiului.
Da supt umbra celui pom
Scris-o Domnul c~-o mai scris ?
25 Scris-o measa !ii scaune,
Ta' 5 scaune da jud'et.
Ca, zey, ii s'or jud'eca
Ta' trupu cu sifletu,
·Care c~-o facut(ulere)
30 Da n~terea sa(lerema)
Pan 'la moartea sa(lerema).
1'. Coyind'e mi Doamn'/
(731. Coticlet t/)
102d.
Colo 'n jos !ii mai din jos,
Inde-s campii mai frumo!ii,
Mai frumo!ii, mai lumino!ii,
Acolo s'zad'~-o fantana
5 Cu zadut de zmolin verde
De de verd~-abd'e 6 sa ved'e.
Dara d-umbra ce-i pune?
Un pom naltu, rumunat,
Face-!ii poame, nu le-a coace.
lODe ce, Doamne, nu l~-a coace?
N u l~-a coc, ca nu l~-a poci,

t02b.
Lord, up yonder, higher up,
Retrain
Up in the white dawn of day,
(Lo,) a beauteous spring has welled,
Of the holiest of saints.
5 The Lord also is with them,
And (to them) He thusly spoke:
Oh my saints and my beloved!
Who is there that might be found
To descend yonder, below,
10 To those plainsmen seared by drought.
There's no grass nor is there leafage,
Nor a well (that is) untroubled.
Saint Elijah spoke to say:
Let me have Your staff (?), oh Lord,
15 Because I shall go down there.
(Where) he leant upon the staff,
Beauteously a well he made.
Still more beautifully he
Fenced it in with ivy switches,
20 With a hedgerow of green lilac.
In the middle of the wellspring
There is a small golden tree.
At the foot of the (small) tree
(Lo,) there is a judgment seat,
25 (Where) there shall be judged, oh
Lord,
Every body and (its) soul.
Body, may you be accursed!
For, so long as I was in you,
Great has been my loathing for you.
30 Not so, you had none for me:
What you wished, I got for you,
What you sought, I tried for you.
Retrain: LOYd, unto the LOYd!
t02e.
There, above there, higher up yet,
High aloft in the white sunrise,
Retrain
[ 449 ]
ell)
A great surging's being gathered.
But what surging's being gathered?
5 All the saintliest of saints.
The Almighty spoke (to them) :
Saints of mine and my beloved!
After me come on (and) follow,
Down below there, lower down,
10 To that withered little field.
There is neither grass nor leafage,
(There is) but one quiet wellspring.
And, I swear, He so ordained it
That two wells came into being,
15 With a hedgerow hedged about,
With a hedgerow of soft greenery.
But around the (two) wells (going),
The Lord set, what else set He?
He set down a flowing spring.
20 In the middle of the spring,
The Lord set, what else set He?
He set down the tree of heaven.
But beneath that (fair) tree's shade,
The Lord set, what else set He?
25 He a table and some seats set,
All (of them are) judgment seats,
For, I swear, there shall be judged
Every body with (its) soul,
Each (of them for) what it did
30 From the time when it was bom
Up until the time it died.
Retrain: I'm caroling, Loyd!
t02d.
(Lo,) down there, yet lower down,
Where the fields are handsomest,
Handsomest, more lightsome (too),
There a well was in the making,
5 With a coping of green lilac (?),
Yet it's hardly seen for leafage.
But what shade was set on it?
A tall boughy tree (was set) :
It bears fruit (that) doesn't ripen.
10 Why, oh Lord, does it not ripen?
It won't ripen for it can't,
 C II a)
ca la pom 0 sucuitl 20 Tat scaune de jud'et
D-on di.n3.!lu de Iud3.!l. liii s'or, Doamne, jud'eca
liii de pom 5'0 scarpanat. Tat trupu ~i sufletu.
15 liii pomu 5'0 clatinat, -Fir~-ai, trupe, n'ai mai fi,
Rii.dacina i-o sacat Ce locut ca mi-ai gat'it!
liii vA.rvutu 5'0 uscat 25 -Ti-am gat'it ce ai poft'it.
liii poamele i-o picat. r. Corind' e-mi Doamfl4-a; corind'!
Dar din pom ce ~i or face? (73p. Lunc~oara if)

II. TEXTS ABOUT EVENTS DESCRIBED IN THE BIBLE

TEXTE DESPRE INTAMPLARI DES CRISE IN BIBLIE

a) CREATION OF THE WORLD

FACEREA LUMII

l03a. 25 Unu stalput indi-i pus?

Colo 'n sus spre rii.sarit;
Cel cerescu me~terescu-!,
Unu st~lput indi-i pus?
r., Colo 'n jos spre scapatat;
Tri me~teri ca tri ingeri Unu staIput indi-i pus?
30 La mijloc a i~tea lumii.
Fac cieriul ~i pam~ntului. r. Doamfl4-aj DomnuZ nost'!
Facura-l, imi gat'irii.-l -
(21t. Corbe~d if)
5 Pa pam~nt sclobozirii.-lui,
Bine 'n cier nu sa love.- l03b.
Cel cerescu-i me~t'erescu,
Tlip' ingerii tmi cre~tierii.-i r.,
Numai Tatlil nu-mi cre~tea: Tri me~t'eri in tri t'ipuri

Bagli br~nca 'n bonjinar 2 3-5 = I03a. 3-5

10 liii d~-acolo ce scot'e ?
Tri inele 'n tri degete
~i tri biciuri mari de foe;
Pa pam~nt ded~-a zbici
Tat costi~ ~i culmezi~.
15 P'indi zbiciuri c'ajunge,
Pa acole sa face
liiesuri m~ndre a~ezat'e,
Dealuri mari d-alungat'e.
Ingerii de bucurie
20 Tati i~i dedera a scrie
Tat in stele man~ntele
~i luceaflir p'intre ele.
Sus ceriu aradicarii.-l
Pa tri staIpuri argint'e!1te.
1 = s'a obicinuit «
2 = buzunar.
8 = ~i.
Ind'i ceriu nu-ji3 love~t'.
Lovi ceriul doya oara
8-13 = I03a. 7-12
Sa dedera d'a zbici
15 Tat cruci~ ~i culmezi!1.
Ingerii de bucurie
Sa dedera d'a prista
Tat cu stele man~ntele
Cu luceafar p'intre ele
20 ~i soarele cu razele
~i luna cu lumina
~i crucea cu suflet'ele.
r.lo; DomnuZuj, j.o; DoamneZ'e!
(95j. Drii.ge~ti if)
szokott, ung.).

[ 450 ]

Since the tree's become the haunt
Of a wretched Judas cur:
Gainst the tree he's scratched himself,
15 And the tree was shaken up;
It has dried up at the root,
And it's withered at the top,
And the fruit has fallen down.
Of the tree what's to be made (then) ?
II. TEXTS ABOUT EVENTS DESCRIBED IN THE BIBLE
a) CREATION OF THE WORLD
l03a.
(Lo,) the craftsmanship of heaven:
Refrain
Craftsmen three like angels three
Make the sky and (make) the earth.
They have made it, readied it,
5 They have cast the earth below,
(But) it didn't fit the sky.
All the angels grew (amain),
But the Father didn't grow;
In His poke He put His hand,
10 And what brought He forth from
there?
(Lo,) three rings upon three fingers,
And three mighty whips of fire.
He began to scourge the earth
All athwart and crosswise (too);
15 Wheresoever fell the whips,
There there (also) came to be
Beauteous level plains set out,
Towering mountains stretching forth.
(Thereupon,) for joy, the angels
20 All began a-setting out
All the little stars (in order)
And the evening star among them.
(Then) the sky aloft they hoisted,
(Set it) on three silver pillars.
[ 451 ]
C II a)
20 Judgment seats (are to be made),
And, oh Lord, there shall be judged
Every body and (its) soul.
Body, would you were no more:
What a place you've readied me!
25 What you wished, I readied you.
Refrain: My carols, oh Lord, I sing!
25 Where is (now) one pillar set?
There, toward the sunrise high.
Where's another pillar set?
There, toward the sunset low.
Where is a (third) pillar set?
30 In the middle of this world.
Refrain: The Lord is our God!
l03b.
(Lo,) the craftsmanship of heaven:
In three ways three craftsmen (work),
3-5 = 3-5 of l03a.
Where the sky did not fit (nicely).
Once again the sky they fitted,
8-13 = 7-12 of l03a.
He began to whip it (then)
15 All athwart and crosswise (too).
(Thereupon) for joy the angels
Started to besprinkle (?) it
With the little stars all over,
With the evening star among them,
20 And the sun with (all its) sunbeams,
And the moon with (all) the moonlight,
And the cross with (all) the souls (too).
Refrain: Hoy, to the Lord, hoy, the
Almighty!
 C II a)
l03c. La Sfanta Duminecarie 2
5 Sa mi-ji 3 vina pan' la-mine,
D-asta-i sara, sara-i marie, ------
Y.,
I: Sa mi-ji vinii pan' la mine: I,
Sara-i mari~-a lui d-Ajuny,
==== Sa-mi botezu fiul sfant,
Sara-i mari~-a lui d-Ajuny, Fiul sfant p'acest pamant.
Cam pa noaptea lui Craciuny, S'o nascut la rasarit
------ 10 Supt on pom mandru 'n£lorit,
5 S'a nascut ~i-acest Domn bun FIorile I-or cutrupit,
Micucel ~i 'nfa~arel. Vantul bate-mi, leganea
F~a-i dalba de matasa,
~i fiu tare imi cr~tea.
Scutecel de bumbacel, Da de lucru ce-mi croia?
Carpe moi de £lori de mar. 15 Croi ceriul ~i pamantu.
10 Daca mare ca-mi cre~te, Croi ceriul d-in tri zile,
Lucru mandru ce-mi face? Pamantul intr'alte tri;
Face-mi ceriu ~i pamantu. 'Ntinse ceriu pe pamant,
Ceriu-mi face in tri zile Cum l-intinse, nu l-ajunse.
~i pamantu 'n alte tri;
20 Fiul tare sa 'ntrista,
15 'Ntinse ceriu pa pamant, Mana stanga scutura,
Cum l-intinse, nu s'ajunse.
Vai adance-mi aduna,
Tare Domnul sa 'ntrista,
Dealuri nalte inalta,
Mana stanga scutura, Tri inele jos pica,
Tri inele jos pica, 25 Tri la cer sa ridica.
20 Tri la cer sa ridica, 'Ntinse ceril)-a dOl)a oara
Tri ingeri cu tri zmantele. Cum l-intinse, bin' s'ajunse.
Din zmantele cand trazne, Dumnului bine-i paruse
Dealuri mari ca sa face,
~i pa cer mi-l daruia
Vai d-adance ramane.
30 Cu luna ~i cu stelele
25 'Ntinse ceril)-a dOl)a oara,
~i cu doi lucefarei,
Cum l-intinse, bin' l-ajunse. eu lunita langa ei.
Bine Domnului pare Y. ]unelui bun,!:!/
~i pa cer mi-l daruie
(62j. Nuc~oara 1)
Tot cu stele maruntele
30 ~i cu luna cu vedere,
Soarile cu razile, l03e.
Sa lumine vaile I: De cand Domnu s'o nascuty : I,
Pa un 1 umbla oile.
Y.,
Y. L'ey lieu/a d'ot'i#a negril
(81 d. Paucine~d if)
I: ~i pamantu ~i-o facuty : 1
------
l03d. I: ~i ceriul sus ~i-o naltat y : 1
*Poruncit-o, poruncit-o,
-----
Pe tri stalpuri de argint
Y.,
5 Mandru mai 1-0 'mpodobit
Jo(?) Sfanta Marie marie Tat cu stele maruntele
I: Jo Sfanta Marie marie : 1
==== ~i cu luna p'intre ele
~i soare cu razele.
------
1 = unde.
8 La fon. un alt ~ care nu sa 'nteiege.
8 = ~i.

[ 452 ]
 C II a)
l03c. (Make known) unto Blessed Sunday 164
5 That she is to come to (see) me,
'Tis the evening, the great evening,
That she is to come to (see) me,
Refrain To baptize my Holy Son,
'Tis the great eve before Christmas, Holy Son upon this earth.
'Tis the great eve before Christmas. Toward sunrise He was born,
Some time on this night of Christmas
10 Neath a finely blooming tree,
5 Also was this good Lord born,
(And) the blossoms covered Him,
Tiny and all swaddled up. He was rocked by blowing winds,
White (and) silken is the swad~le, And my Son grew up amain.
(And) of cotton are the wrappmgs, But what work did He perform?
Cloths (made) of soft apple blooms.
15 (Both) the sky and earth He fashioned.
10 But as soon as He grew up,
In three days the sky He moulded,
What was the fine work He did? In another three the earth.
(Lo,) the sky and earth He fa~hioned. O'er the earth He stretched the sky,
In three days the sky He fashIOned, As 'twas stretched, 'twas not well
In another three the earth;
fitted.
15 O'er the earth He stretched the sky; 20 Greatly saddened was the Son,
It would not fit as He stretched it.
His left hand He shook about,
Very sad became the Lord,
Deep-set vales He hollowed ?ut,
His left hand He waved about,
Towering hills He made to nse;
(And) three finger rings dropped (Thereupon) three rings dropped down,
down;
25 Three rose up into the sky.
20 Three rose up into the sky: Sky He stretched a second time (then),
Three (fair) angels with three switches.
As He stretched, it fitted nicely.
With the switches when they struck,
(So) the Lord was very happy,
Towering mountains came to be,
He bestowed upon the sky
(And) deep vales were left behind.
30 (Both) the moon and stars (as
25 He stretched out the sky once more presents)
(then),
And withal a couple of lodestars,
As He stretched it, well it fitted.
With a small moon near them.
(Thereupon) the Lord rejoiced,
Refrain: To the good youth!
To the sky He made a gift,
All with little stars (He strewed it),
30 Also with the moon to see by, l03e.
(And) the sun with (all its) beams,
Ever since the Lord was born,
That the valleys might be lit, Refrain
Where the sheep are wont to go.
He has also made the earth,
Refrain: Sing about the black-eyed
And He raised the sky aloft,
maiden!
(Set it) on three silver posts,
5 (And) adorned it beauteously,
l03d. All with little stars (besprinkled),
With the moon also among them,
She commanded, she commanded: And the sun with sunbeams (too).
Refrain
I, the Holy Virgin Mary,
I, the Holy Virgin Mary,

164 Author's manuscript footnote: On the recording (there is) another verse (that is) un-
intelligible.

[ 453 ]

Raza soare d'ind'e raza?
10 D-'ln grad'ina galbanioara
Est~-o scara tat de ciara,
D-ind'e Domnu sa scoboara
Tat la rari la zile marl.
La sfintele Dumineci,
15 La dalbile beserici.
r. !jj-a nos' Domnu-j Dumneze1j!
(100a. Igri!l ¢)
(100a. Sarafola </»
(100b. Cianad ¢)
103f.
De cand Domnu s'a nascuty,
r.,
$i pamantu 1-0 facuty.
[$i ceriul 0 radicat
$i frumos 1-0 zugravit]
5 $i pamant 1-0 boltojity 1
Tat cu st'ele maruntele,
Pe d~-alaturi mai marele
Day.a raze unde raza ?
Raza 'n deal cu cucuruz.
10 Doy.a raze unde raza ?
Raza 'n !les cu holde verzj.
DOl}a raze unde raza ?
Raza 'n cruce de fereasta,
Di pe masa gray. ra varsa.
r. Lili1joara 9j-a nost' Doamne!
(104b. Niere!lteu ¢)
103g.
Asta-i sara lui Craciun~,
D'e cand Domnul s'o nascut~,-
r.,
$i pamantu 1-0 facut
$i cerul I-a radicat~
5 $i 'n tri stalpi 1-0 razimat~.
1 = ?« boltoz, ung.).
2 = iii.
[ 454 ]
C II a)
Da cum cer 1-0 'mpodobd'it?
Var. (Mel. 62u.) :
1-6 = [Asta-i sara lui Craciuny]
D'e cand Domnu s'o nascuty,
r.,
D'e cand Domnu s'o nascuty
$i pamantu 1-0 facuty
$i cerull-o radicaty
$i 'n tri stalpi 1-0 razimaty.
Mai frumos 1-0 'mpodobd'it
Tat cu luna ~i cu soare
$i cu stele maruntele.
*
Rasari graie pana 'n braje
10 $i sacari pan' susuy.aril
Sa §ii, 2 gazda, sanatoasa,
Sa plate!iti colinda noasta
Cl}-on colac da gral} frumos,
Ca fata ll}'-Isus Hristosl
r. (107a.) L'eruj Doamn'!
r. (62u.) Floril'e-s dalbe!
(107a. Idicel </»
(62u. Rapa de sus </»
103h.
De cand Domnu s'o nascuta,
r.,
$i pamantu !li-o facuty,
Mandru mai 1-0 podobity
Tot 'in podoabelenol}a
5 $i cu stele maruntele
$i cu luna cu lumina.
r. !jj-a nos' Doamne Dumnezeu!
(41. Cianad </»

Shines the sun, what does it shine on?
10 (Rising) in the yellow garden
There's a stairway all of beeswax.
There descends the Lord Almighty
On all rare (and) holy feast days,
On (all) holy Sundays (too),
15 (And) to the white churches (goes).
Refrain: The Almighty is our Lewd!
103f.
Ever since the Lord was born,
Refrain
He has also made the earth,
And He raised the sky (as well),
Beautifully painted it,
5 And the earth He covered over
All with little stars (besprinkled),
With some larger ones around them.
(Lo,) where are two sunbeams
beaming?
On a hill with com they beam.
10 (Lo,) where are two sunbeams
beaming?
On green lowland fields they beam.
(Lo,) where are two sunbeams
beaming?
Through the middle of the window,
Spilling wheat upon the table.
Refrain: Our Lord and little lily!
103~.
(1.0,) this is the Christmas evening,
Ever since the Lord was born,
Refrain
And He (also) made the earth,
And He raised the sky (on high),
5 And He propped it on three pillars.
[ 455 ]
C II a)
But how did He grace the sky?
Variant (Mel. 62 u.) :
1-6 = (Lo,) this is the Christmas
night,
Since the Lord was born (to us),
Refrain
Since the Lord was born (to us),
And He made the earth (as well),
And He raised the sky (above),
And He set it on three pillars,
Decked it out more beauteously,
With the moon and sun (upon it)
And with little stars (besprinkled).
*
May the wheat grow to the girdle
10 And the rye up to the armpits I
Host, a goodly health we wish you,
So that you might pay our carol
With a wheaten cake as fine
As the face of Jesus Christ I
Refrain (107a.) Lord, we sing!
Refrain (62u.); White are the flow8f's!
103h.
Ever since the Lord was born,
Refrain
The earth, too, He made Himself,
He adorned it beauteously,
5 All (decked out) with new adornments
And with little stars (besprinkled),
Also with the moon and moonlight.
Refrain: And Our Lewd, Almighty God!

b) THE FALL OF MAN
CADEREA OMULUI
l04a.
Sus la naltu-i cieriuluiy
r.,
La luncil'e soarieluiy
====
Mandra-i masa d'e matasa.
La un corn, Doamne, d'e masa
5 $ed'e-mi, Doamne, cine-mi !led'e?
$ed'e 10nu, Sant laonu;
------
$i a doilea corn de masa
$ede-mi Adam si suspina .
$i a trilea corn de masa '
10 $ed~-o dalba jupuneasa;
$i-a patrilea corn de masa
$ede dragul Dumnezey.
Dar de lucru ce-mi lucra?
J udeea la sufletele,
15 Judeea ~i la Adam.
-$tii tYd-dame, ee ti-am spus,
Can' in rai ea t~-am adus:
Din toti pomii sa mananei,
Da din pomul eoncinit 1
20 Sa nu manei, ea est~-oprit.
Adam rupse ~i-mi raspunse:
-10, Doamne, nu-s vinovat
Poate Ev'a fi gre~it. '
Eva rupse !Ii raspunse:
25 -10, Doamne, nu-s vinovata,
Frunza 'n pom s'o 'mprejurat
$i pe mine m'o 'ndemnat,
D~-o poama din pomi am luat
$i lui Adam ea i-am dat:
30 -Na, Adame, poame buna,
Sa-mi traie~ti mai mult pe lumel
Rupse Domnu !Ii raspunse:
-la-ti, Adame, ee mai ai
$i din rai afarii. hai!
r. Doamne jaj Domnuluj Doamne!
(102£. Nue!loara if)
1 = oprit.
2 = 111 oprit.
8 = incArliontat.
[ 456 ]
C II b)
l04b.
Sus la naltu eieruluiu,
r.,
Su' poal'el'e raiuluiu,
I: SU' poal'el'e raiuluiy : I
Mandra-i masa d'e matasa.
5 Dar la masa d'e matasa,
I: Dar la masa d'e matasa : I
------
$ede-mi dragul Dumnezey
$i din grai a~a-mi graie:
-Mat, Adame, prost Adame,
10 Slobozire 'n rai ti-am dat;
Din toti pomii sa mananei,
Numai din hal eoncinit 2
Sa nu manei, ea-mi est~-oprit.
Dar Adam din grai graie:
15 Doamne, io nu-s vinovat,
Ev' 0 rupt !Ii ie mi-o dat.
Eva rupse ~i-mi raspunse:
-Doamne, io nu-s vinovat,
lud'-o rupt ~i el mi-o dat
20 $i pa pom s'o 'nearlobat. 3
Domnul din grai imi graie!?te:
-leoti ,Adame, tot ee ai
$i din rai afara hai!
$i din ral !Ii din viata
25 $i din raiului dulceata.
r. Junealuj bun, iunea mirelui!
(87b. Gradi~te if)
l04c.
ITl \TIl
I: Dumnezo d-intru 'neeput§, : I -put
I 1. IIIll
I: Lumea!li toat'~-a fa cut§, : I faeut.
ILl fill
I: $i-a zad'it pe Hiristos§, : I -stos,

b) THE FALL OF MAN
l04a.
Up aloft, high in the sky,
Refrain
In the meadows of the sun,
There's a beauteous silken table.
Oh Lord, at one table corner,
5 Sits, oh Lord, who is that sitting?
It is John, Saint John who's sitting.
At the second table corner
Adam's sitting and he's sighing.
And at the third table corner
10 (Lo,) there's sitting a fair lady.
And at the fourth table corner
The dear Lord is sitting down.
But what was He working at?
He on souls was passing judgment,
15 He was judging Adam too:
You know, Adam, what I said
When I brought you into heaven:
You shall eat of every tree,
But of the forbidden tree
20 You'll not eat, for it is banned.
Adam started and made answer:
Lord, I'm not the guilty one.
It may be that Eve has erred.
Eve (then) started and made answer:
25 Lord, it is not I who's guilty,
The tree's leafage gathered close
And upon me it prevailed
From the tree to take a fruit
And to Adam hand it o'er:
30 Take hold of the good fruit, Adam,
In the world may you live longer I
The Lord started and made answer:
Adam, take what's left to you,
And get out of heaven, come!
Refrain: Hoy, Lord, to the Lord
Almighty!
165 Alternative reading for this verse: Ho, you Adam, worthless Adam.
[ 457 ]
C II b)
l04b.
High in the sky's upper reaches,
Refrain
Underneath the skirts of heaven,
Underneath the skirts of heaven,
There's a beauteous silken table;
5 But beside the silken table,
But beside the silken table
The dear Lord is sitting down,
And He thusly spoke to say:
Ho, you Adam, silly Adam,l65
10 I of heaven made you free,
That you eat of every tree,
But of the forbidden one
Not to eat, for it is banned.
Howsoever Adam said:
15 I am not to blame, oh Lord,
It was Eve who plucked and gave me.
Eve began and (thus) made answer:
I am not to blame, oh Lord,
Judas plucked and gave it me,
20 And he coiled about the tree.
The Almighty Lord spoke (thusly):
Take up, Adam all you own,
And get out of heaven, come!
Out of life and out of heaven,
25 Out of heaven's sweetness also.
Refrain: To the good youth, to the young
bridegroom!
l04c.
The Almighty first of all
Made the world and everything,
And He fashioned (Jesus) Christ,
 C II b)
ILl fTIl
I: Pe Adam foart'e frumosa, : I -mos
l04d.

rrlfITl I
I: Dumnezey p'intru 'nceputy, '1'. : I
1. I
5 I: ~i cu Eva i-a 'nsojita, : I -jit
fIT.l
put
I: ~i in
rr.l fIT.l
rai ca i-a bagata, : I -gat
I 1. I fILl
~iun pom oprit 11':-0 dat I: Tata lume 0 facuty : I facut,
~iII':-a zis sa nu mai mance,
ca din rai afar' s'or duce. fI.I fIT.l
I: Hi Adam foart'e frumosy : I -mos
10 -Bucoro~i n'ar llil mancat,
Da ~erpile 'nverinat 2 ~i de branca 1-0 luat,
Sus pe creanga s'o japat 5 Pana 'n rai ce 1-0 biigat,
~i on mar ca 0 luat, Mare poruncii. i-a dat:
Evii 'n mana iI-o dat. -Din tat pomul ~i 4 mananci,
15 ~i Adam inc' 0 gustat. N uma din pom inflorit
Dumnezey s'o suparat ~i 4 nu manci, ca ii oprit.
~i din rai afar' i-a dat 10 Da ~erpile veninos
~i 'n poarta raiului puse A plecat 0 creanga 'n jos
o para de foc aprinsa. ~i-o luat un mar frumos
20 Dumnezey li-ay cuvantat: ~i 1-0 dat la Eva jos.
-Meri, Adame, dela mine, Eva de mar 0 mu~cat
Lapadat de mare bine! 15 ~i la Adam inc' 0 dat.
Merl':-Adam pan' la on loc Dumnezey 0 cuvantat:
Plangan' cu lacrami de foc. -Da tu, Eva, tu muiere,
25 Dumnezey li-ay cuvantat: Tu dl':-aiei josu ii mere;
-Taci, Adame, nu mai plange, Tu, Adame, t'icalos,
Nu varsa lacrami cu sange, 20 Tu dc;:-aiei ii mere jos;
Ca dl':-amu ji-i ca~tiga Dar tu, ~erpe vemnos,
Panea cu sudoarea tao Cand te a dure capu
30 Pe Eva 0 bl1i sta mat : Ie~i in drum ~i-ti afla leacu.
-Eva, can' vei na~te prunci,
S'ai dureri ~i grele munci,
~i-sa llii 3 biirbatului Pa'l'a melodie:
*
Tat supt ascultarea lui. Frunza verde de matasa,-
35 Pe ~erpe 1-0 blastamat: 25 Firc;:-ai, gazda, sanatoasa!
-Sa llii ~erpl':-afurisit, '1'. Doamn', Doamn' ~j-a nos' Doamn'/
Sa te tari pe pamantu; (104j. T1i~ad ¢)
Unde tl':-or gasi-adurmit,
~a llii cu capu ;rrobit;
40 Unde tl':-or gasi culcat, l04e.
Capu sa-ji fie crepat!
(121a. Or~ova 4» I: Dumnezey d'ela 'nceputy,
I 1. II fILl
'1'. : -put

1 = fi.
2 = inveninat.
8 = tii.
1 = sa.
[ 458 ]

Adam (too) most handsomely,
5 And He wedded him to Eve
And He put them (both) in heaven,
And He gave them a banned tree,
Not to eat of it, He told them
Lest they be sent out of heav~n.
10 Fain would they have eaten not,
But (behold) the poisoned snake
Crawled upon a limb aloft
And it plucked an apple off,
Gave it in the hand of Eve;
15 Adam tasted it as well.
Angered was Almighty God,
And from heaven banished them,
And He set in heaven's gateway
A (great) flame of burning fire.
20 The Almighty said to them:
Begone, Adam, from beside me,
(Go,) bereft of great well-being I
Adam went up to a place,
Weeping tears of fire (the while).
25 The Almighty said to them:
Quiet, Adam, weep no longer,
Tears of blood do not be shedding,
For henceforth you are to earn
(Your own) bread with your own
sweat.
30 Upon Eve He set a curse:
When you shall bear children, Eve,
May you labor hard in pain;
May you also always be
Under (your own) husband's rule.
35 On the snake He set a curse:
Serpent, may you be accursed
On the earth to drag yourself;
Wheresoe'er you're found asleep,
May your head (also) be crushed;
40 Where you shall be found to lie,
There (too) may your head be splitl
106 In the ~~ginal, this verse reads: Get out on the highway to seek your remedy. The head-
ache cure Wlttily suggested to the snake is, of course, to get its head crushed by the first
passer-by.
[ 459 ]
C II b)
l04d.
The Almighty, as a start,
Ref,ain
Put together the whole world,
Adam very handsome (made),
And He took him by the hand;
5 Before putting him in heaven,
He gave him a great command:
You shall eat from every tree,
Only from the flowering tree
Do not eat, for it is banned.
10 Ne'ertheless the poisoned snake
Bent a bough toward the ground,
And a handsome apple took,
And to Eve let it drop down.
From the apple Eve (then) bit,
15 And to Adam gave some too.
The Almighty Lord spoke out:
Oh, youEve, you (wretched) woman,
You 11 go hence, from here descending;
You, Adam, mischievous one,
20 You'll go hence from here, below;
As for you, poisonous snake,
Whensoe'er your head shall ache,
Go seek solace on the highway.16G
Without a tune:
*
(Ho, a) green leaf (that is) silken,
25 Host, may you be (always) healthy I
Ref,ain: Lo,d, Lord, and Ou, Lo,dl
l04e.
The Almighty from the start
Ref,ain

fI.I In·1
I: Tata lume ay. facutui : I -cut
I 1.I fTIl
I: $i 'nca cu Isus Hristos~ : I -stos
{Cu -I1-.-IJll.l $i din e1 al} imbucat
I: $i cy. Adam foart'e frumos~ : I-mos
5 $i pe Eva Q-al} zidit,
La 01a1t i-al} inta1nit
$i d-in rai ii al} bagat
$i de mancat Ie al} dat.
-Din tati pomDii sa-ji 1 mananci,
IONumai din ce1 inflorit
N u manca, ca est~-oprit I
Vin~-un !ierpe verinos 2
$i-atarna cranguta 'n jos.
Eva roaru 1-al} 1uat
15 $i lui Adam il al} dat.
Adam odat' al} mU!icat,
Dumnezel} al} cuvantat:
-Tu, Adame, c~-ai 1ucrat?
Porunca ti-o ai ca1cat!
20 Tu, Adame,-i mere jos
$i-i 1ucra ca-l}n pacatos;
$i tu, Eva, jos ii mere
$i-i 1ucra ca !ii -0 muiere
$i-i na~te fii cu durere;
25 ~i tu, !ilerpe verinos,
Numai sa te tragi pe jos;
$erpe, cand t~-a dure capu,
le!ii 1a drum !ii-ti cal}ta leacu!
r. Domnului si-a nos' Domnu!
(64c. Tam; ~are if)
104f.
Dumnezo ~' 0 1asaty,
r.,
Pre Adam ~i pre Eva
====
De mancare ce 1(l-0 daty:
-Din tat pomu1 sa mananci,
5 Numai din pomu 'nflorit
1 = ~i.
S = veninos.
3 = fire-ai.
4 = fie.
[ 460 ]
C II b)
Sa nu manci, ca ii oprit!
Da ~erpe1e verinos
S'al} suit pe mar frumos
$i-a p1ecat 0 creanga 'n jos
10 $i-a 1uat un mar frumos
$i lui Adam 11 0 dat.
Adam in mana 1-0 ll}at
$i 1a Eva inc' al} dat.
15 Eva 'n mana 1-0 1uat
$i din e1 al} imbucat.
$i maru 'n grumaz i-al} stat,
Dumnezo al} cuvantat:
-Mal. Adame, c~-ai 1ucrat,
20 De porunc' 0 ai ca1cat?
-10, Doamne, n'o am ca1cat,
Ca ~erpe1e m'o 'ndemnat.
$i Eva l'al} b1astamat!
-Fil}-ai, ~erpe, b1astamatl
25 Unde t~-or afla cu1cat,
Sa-ti fie capu1 sfarmat;
Unde t~-or afl'adurmit
Sa-ti fie capu1 zdrobd'it!
r. Doamn', Doamn' ~i-a nos' Doamn'!
(104k. Gherla if)
104~.
I: Dumnezeu d-intru 'nceput : I
I: Tata lumea 0 fa cut : I.
Da-o fa cut Domnu Hristos
Pe Adam foarte frumos,
5 $i cu Eva 1-0 'nsotit
$i 1a rai 1-0 slobozit
$i i-a spus sa nu manance,
Ca apoi e1 sa va duce.
Din care pomni 0 mancat, .
10 Bucuros n'ar fi mancat,
Da !ierpile 1-0 'ndemnat.
-§il}-ai, 3 ~erp~-afurisit,
Sa-ti §ie 4 capu zdrobit
La parau Ceanu1ui,
15 La apa lordanu1ui!
(114a. Curtecap 4»

Brought to being the whole world,
Together with Jesus Christ,
{ With
And with Adam, too, most fair,
5 (Lo,) They fashioned Eve as well;
Brought the two together (then),
And in heaven put them (both),
And provided them with food:
You shall eat of every tree,
10 Only of the blooming one
Do not eat, for 'tis forbid I
Comes along a poisoned snake,
And bends down a little bough;
Eve plucked off the apple (then)
15 And to Adam handed it,
Adam took one bite (of it),
(And) the Lord Almighty spoke:
You, Adam, what have you done?
Your command you've set at noughtl
20 Adam, you shall go below,
Like a sinner you shall toil;
And you, Eve, shall go down (also),
And you'll work just like a woman,
And you'll bring forth sons in anguish;
25 As for you, poisonous snake,
You shall crawl but on the ground;
Serpent, when you have a headache,
Seek your ease out on the highway.
Retrain: To the Lord and to Our Lord!
104f.
Thus did the Almighty rule
Retrain
(Both) for Adam and for Eve,
Unto them providing food:
You shall eat of every tree,
5 Only of the flowering tree
187 The obviously garbled place name given in the original text may be Canaan, not Cana.
[ 461 ]
C II b)
Do not cat, for it's forbid!
But the serpent venomous
Nicely climbed the apple tree,
Dipped a bough toward the ground,
10 And a handsome apple took,
And to Adam gave it (then).
Adam took it in his hand
And a mouthful bit of it,
And he handed it to Eve.
15 In her hand Eve took it (too)
And a mouthful bit of it;
In her throat the apple stuck,
(And) the Lord Almighty spoke:
Adam, ho, what have you done
20 (My) command to overstep?
I've not overstepped it, Lord,
For the serpent egged me on.
And Eve set a curse on it:
Serpent, may you be accursed!
25 Wheresoe'er you're found to lie,
There (too) may your head be crushed;
Wheresoe'er you're found asleep,
There (too) may your head be smashed.
Retrain: Lord, Lord, and Our Lord!
104g.
The Almighty from the start
Fashioned the entire world.
The Lord Christ however made
Adam very handsomely,
5 And He mated him with Eve,
And in heaven set them loose,
They were not to eat, He told them,
Because then they would be leaving.
Of the tree from which they ate,
10 Gladly would they not have eaten,
But the serpent egged them on.
Serpent, may you be accursed
That your head might shattered be
At the rivulet of Cana,167
15 At the water of the Jordan!
 C II b)
104h. 5 -Raiule. gradina dulce,
10 din tine nu m'~ duce
,:
fT.lfITl
In grad'ina raiului :, -lui
DQ-amirosu floriloru,
De /ifara facliiloru,

,:
fT.lrn.l
~ed'Q-Adam cu Eva lui: ,lui
De zuru alginiloru.1
10 ~i Adam 0 fost on 2 om.
De trizeci de coIn de nalt,

,:
11.1
Dumnezey. d'in grai graire :, grai:
l----r.--j fTIl 15 La parau Geanului
,: -Du-t'Q~dame, d'ila mille : , min' I
5 lar Adam din grai graia:
-Nu rna 'ndur, DoamnQ-,a rna duce
Dela gradina ta-i dulce, ..........
DQ-amirosu florilor,
De glasul pasarilor,
10 De apa izvoarelor,
DQ-aprinsu facliilor.
Dumnezey. din grai graia:
-Du tQ,-Adame, dela mine,
ca ey. ~ tQ-oi chema,
15 Cu trimbiV oi trimbita,
MorN ton sa vor scula;
~i cat rod a fi din tine,
Toti ay. sa vie la mine
La ziy.a judetului
20 La scaunu Domnului.
Amin, Doamne, slava tie,
Slava, Doamne, ce-a,i l1i tale,
Car' nQ-ai fa cut la rai cale I
(121k. Urisiu de sus ¢)
104i.
rr.l IIT.l
,: Dinaintea raiuluiy :, -lui
I. I.
,: ~i-Adam cu Eva /iede~
~i-l1i pIange cu banuire
DQ-a raiului despa$e:
[ll.l
Ella moarte nu s'o dat;
De trizeci de coIn in sus,
Vint-o B mortea l1i 1-0 dus
Apa Ii 4 lordanului
-§iv-ai Ii, /ierpQ,-afurusutl Un-
-de tQ-oi gasi adU'rrut,
Capu sa-ti §ie 8 zdrobitl
*
Fa1'a melodie:
20 sa §ii,? gazda, sanatoasa,
Sa plat~ti colinda noasta
Cv-on husol1,8 cu doi,
sa ne luam nadragi noi I
(117b. Lechincioara t/»
104j.
Colo josu, mai din jOSIJ
Mandra-i masa de rnatasa.
Da la masa cine-mi /iede?
~ede-mi dragul Dumnezey.
5 ~i judeca la Adam:
-Mai, Adame, prost Adame,
Tu de rai tQ-ai izbiivit
~i de rai l1i de viata
~i dQ-a pomilor dulceata.
10 -Raiule, gradina dulce,
1 rIT.l 10, dQ-aici nu m'~ mai duce
:, /iede De mirosu florilor,
De dulceata pomilor I
1'. Domnuluj Doamnel
(62i. Paucine/id ¢)

1 = albinelor.
a = un.
a = venit-o.
4 = lui.
6 = fire-ai.
e = fie.
7 = fii.
e = vechiu ban de argint « huszas, flng.).

[ 462 ]

104h.
In the garden of paradise,
Adam's sitting with his Eve. 16S
The Almighty said (to him) :
Adam, go away from me I
5 And said Adam (to the Lord) :
Lord, I've not the heart to go
From Your garden (that is) sweetened
By the fragrance of the flowers,
By the voices of the birds,
10 By the waters of the springs,
By the burning of the tayers.
The Almighty said (to him) :
Adam, go out of my presence,
For I'll call you back again;
15 I shall trumpet with the trump,
All the dead will rise (again);
And what fruit of you there might
be 169
(One and) all to me'll be coming
On the Day of Reckoning,
20 To the seat of the Lord God.
Amen, Lord, Yours be the glory,
Praise unto Your works, Almighty,
Who made us a way to heaven!
104i.
(Lo) before (the gate of) heaven,
Both Adam and Eve were sitting
And despondently lamented
O'er their sundering from heaven:
C II b)
5 Paradise, you lovely garden,
I am loath to go and leave you,
(Leave) the fragrance of the flowers,
(And) the flames of (lighted) candles,
(And) the humming of the bees.
10 And (this) Adam was a man:
(Standing) thirty cubits tall,
He did not give in to death;
Over thirty cubits tall,
Death arrived and took him off
15 To the rivulet of Cana,170
To the waters of the Jordan.
Serpent, may you be accursed!
Where- 171
Ever I shall find you sleeping,
Shall your head be split apart.
Without a tune:
*
20 Host, a goodly health we wish you,
That you may reward our carol
With a silver piece or two,
That we might new breeches buy I
104j.
Down there, lower down, below,
There's a beauteous silken table.
But who's sitting at the table?
The beloved Lord sits (there),
5 And to Adam judgment gives:
Oh you Adam, worthless Adam,
You have rid yourself of heaven,
Both of heaven and of living,
Of the fruit trees' sweetness also.
10 Paradise, sweet (beauteous) garden,
I am loath to (go and) leave you,
For the fragrance of your flowers
And the sweetness of your trees.
Refrain: To the Almighty!

Alternative reading for this verse: Adam's living with his Eve. (In Rumanian, the verb
188
a means both to sit and to live or dwell.)
~edea .. .
188 That is what offspring there will be of yours (at that time hvmg or dead).
170 Or pe:haps Canaan-the place name is garbled in the text.
171 Th~ curious'technique of the original text is identically rendered here, the same word
being divided between the two verses.

[ 463 ]
 C II c)
104k. 1041.
I: La grad'ina Zanului : I, I I. I fTIl
'Y., I : Rai, rai, rai grad'ina dulce, 'Y. : I dulci
I: La apa lordanului : I
------ I: Din t'ine nu m'~
rrl rn.l
mai duce : I duci
I: ~ed~-Adam !ii cu Eva-lui: I
------ De dulceata pomilor,
I: I!ii cantay pacat'il'e~ : I D~-amD.inosu 1florilor,
------ 5 De para facliilor,
5 I!ii cantay. cu banuire De zbamet alginilor. 2
D~-a raiului desparjire:
'Y. Domnuluj Domn Dumneze'/f!
-Raiule, gradina dulce,
(101. !dicel rP)
10 din tine nu m'oi duce.

'Y. Romin'/foa'Ya, Romin'/foa'Ya!

(97. Albae 1)

c) THE BIRTH OF CHRIST

NA~TEREA LUI HRISTOS

Noaptea d-int' 0 vreme

105a. (Cf. 109.) Ba maic' 0 love
Trecu mi-ji3 margui 25 Ni!ite munci cam grele
D-oi doi drumareC Fii d'a na~te~.
Drumari ciile-ar fi ? ~i nu-l pute na!ite
Sfantutullosaf Da tropoi da cai,
5 ~i cu Maica Sfanta. Da sunet da frane.
Lua, sa duce 30 Maica-!7i graie:
Tat, pa tari straini, -Blem, losafe, blem,
Pana-ji nimeri Caii ~i lasam
Sara da d -Arjun ~i ~i 5 blastiimam:
10 'N curtea lui Craciun *-Voi, cai, ~i 5 £itt blastiimati
Sala~ i~i cere 35 ~i da Dumnezey
D-ln cum ~i-l !itie. ~i da fiul miley!
Craciun graie: ~i ~i 5 va purtati
*-0 ~ti, (v)oi, mai, !iti, salai, Oase pacatoase
15 Domnul Dumnezey, Pa coastele voastre.
Ce sala~ v'oi da: 40 Maica d-ajunge
Grajdul cailor. 'N iesle boilor,
Maica-!ii graie: Sala~ i~i face
-Blem,410safe, blem, D-tn cum ~i-l ~tie.
20 'N grajdul cailor! Pa maie' ajunge
Sala~ l!ii face 45 Ni!ite munei earn grele
D-in cum !ii !itie. Fii d'a na~tere.
1 = mirosuI.
2 = albinelor.
3 = i?i.
4 = sa mergem (sa umblam).
5 = sa.

[ 464 ]

104k.
In the garden of the Zan,172
By the river Jordan close,
Sojourned Adam with his Eve.
(Lo,) their sins they were bewailing,
5 Dismally they were bemoaning
(Their own) sundering from heaven:
Paradise, delightful garden,
Out of you I'll not be going.
C II c)
1041.
Heaven, heaven, pleasant garden,
Retrain
Nevermore would I forsake you:
For the sweetness of the trees,
For the fragrance of the flowers,
5 For the flame of tapers (lit),
For the buzzing of the bees.
Retrain: To the LOYd Almighty God!

Retrain: Ruddy pokeweed, ruddy

pokeweed! 173

c) THE BIRTH OF CHRIST

Once during the nighttime

105a. (Cf. 109.)
They pass by, they go
The two travelers.
But who might they be?
Saint Joseph (it is)
5 With the Holy Mother.
They set off, they went
All through foreign lands,
Until they arrived
On the Christmas Eve
10 At Christmas's house,
Asked for shelter (there),
As well as could be.
Christmas said (to them):
How I'll lodge you, knows perhaps174
15 The Almighty Lord;
I shall shelter you
In the horses' stall!
(Holy) Mother said:
Let's go, Joseph, go
20 In the horses' stall!
A shelter she made
As well as she could.
The Mother was seized
25 With hard pains of labor,
For to bear her Son;
And she could not bear him
For the horses' stamp,
For the sound of bridles.
30 (Holy) Mother said:
Let's go, Joseph, go,
The horses let's leave,
Let us curse them too:
May you, horses, be accursed 174
35 Both by the Lord God
And by my own Son!
May you also bear
Bones (of) sinful (people)
On those ribs of yours.
40 When the Mother got
To the oxen's byre,
A shelter she made
As well as she could.
The Mother was seized
45 With hard pains of labor,
For to bear her Son.

172 By analogy with other variants of this series, this may be either Cana or Canaan. The
translator is unable to identify, otherwise, gl'adina Zanului.
178 The plant named in this text is Phytolacca decandl'a.
174 In the original, too, this verse has seven syllables.

[ 465 ]
 C II c)
Boii d-abura: Mo~a fiului.
Fiul Sfant na!1te Dumnezev valuie:
Ca !1i-o florice. Uochii-s vazatoq
50 Maica-!1i graie: 95 Branci cuprinsatori,
·-Fir\':-aji d-alduiti voi, boi, Picioar\,:-umbia toare.
~i da Dumnezev I:Y. Doamne!
~i da fiul mi\.el}! 2.r. Daj corinde!
Pa brazda margand (21b. Urvi!1 if)
55 ~i va rugumaji! 1
Cracium graie:
-1e!1iti, sclujni,2 afara, l05b.
Cei salai d'asara D-oi trecu-i. mai margui,
Morti is 0 vii is ? I.r.,
60 Noi am fost in soM,s D-oi doi drumarei.
'N soba calduroasa. 2.r.,
Sclujile-!1i ie!1e, Dar drumari cii\.e-s ?
Lucru ce-ji vede,
La pamant cade, D-una-i Maica Sfanta-i
65 Napoi intorce: 5 Cu Sfantul 1osaf.
-Stapane Craciune, Tare d-insara,
·Ce Iucru !1i-ar pute fi,
Ca d'afara-i vara Maica-!1i cuvanta:
~i d-in casa-i iama. -Stapane Craciune,
70 Craciun naduie, SaIa!1 n\,:-om cerca!
Susu sarie, 10 Craciun cuvanta:
Chei in branci prinde, -O(i) !1ti, (v)oi mai !1ti
Ca mi-or descuie Mandru Dumnezel),
~i 'n braja-!1i prinde Toate ca v'a!1 da:
75 Va Iuri, postavuri. Grajdu cu caii.
~i mandru Ie 'ntinde, 15 Maica-!1i cuvanta:
La maidi d-ajunge. -BIem, 4 Iosafe, blem
Craciun graie: La grajdul cu cai.
·-0, iam-ma, maica, iarta, SaIa!1 i~i face,
80 Ca n'am naduit De cum ~i-I put'e.
10 d'aista lucru. 20 Noapt'e' d-int' 0 vreme
Maica-~i graie: Pa maica ajunge
·-10, ji iert, Craciune, iert, Ni~te munci cam grele
Numai tu-mi adu ~i 5-~i nasc' fiul sfant.
85 La lipsa fapta ~i nu-I put'e na~te
Mo~a fiului. 25 De rosul de cal.
Craciun graie: De sunet de fraie:
-Ciunta-i bolovana Caii roscot'e,
~i da l}ochi-i l}oarM. Munci ingreuie,
90 -Numai tu te du, Maica-~i cuvanta:
Oare va vini 30 BIem, 1osaie, bIem,

1 = sa va rumegati.
a = slugi.
8 = camera « szoba, ung.).
4 = sa mer gem.
~ = sa.

[ 466 ]
 C II c)
The beeves breathed (on her), The Son's godmother.
Holy Son was born God provides a cover:
Like a little bloom. Seeing are the eyes,
50 (Holy) Mother said: 95 Catching are the hands,
Blessings, oxen, be on you,175 Feet are (fit for) walking.
Both from the Lord God Ist Refrain: Lord God!
And from my own Son! 2nd Refrain: Sing the carol!
Going on the furrow,
55 May you chew your cud!
Christmas spoke to say: l05b.
Go outside, you servants, Two went by, walked onward,
(See if) last night's lodgers Refrain
Be dead or alive. The two wayfarers.
60 We were in the chamber, But who are the two?
In the warmful chamber. One's the Holy Mother,
The servants went out, 5 Saint Joseph's with her.
(At) the thing they saw Night was falling fast,
They fell to the ground. Said the Mother (then):
65 They came back (and said): (Look you,) Master Christmas,
(Behold,) Master Christmas, Shelter we would seek!
What might well the matter be? 175 10 Christmas said (to her):
For outside it's summer Maybe it is known
And indoors it's winter. To Almighty God
70 Christmas had a doubt, All I'd give to you:
He leaped to his feet, (There's )the horses' stall.
Keys took in his hand, 15 (Holy) Mother said:
Storerooms he unlocked,176 Come, Joseph, let's go
And took in his arms To the horses' stall.
75 Veilings (and fine) cloths; She bedded herself
He laid them out nicely As well as she could.
As he reached the Mother. 20 At one time of nighttide
Christmas spoke to say: The Mother was taken
Oh, forgive me, Mother, pardon,177 With sore pangs of labor,
80 For I inkled not Holy Son to bear.
This thing (was afoot). But she could not bear Him
(Holy) Mother said: 25 For the horses' champ,
Christmas, I've forgiven you,175 For the sound of bridles;
Only bring to me (Lo,) the horses stamped,
85 What is missing yet: 178 Made the labor worse,
The Son's godmother. (And) the Mother said:
Christmas said (to her): 30 Come, Joseph, let's go,
She's lame as a pebble
And her eyes are sightless.
90 Only let you go,
Maybe she will come,

175 In the original text, as here, this is a seven-syllable verse.

178 An error of transcription gives a garbled and meaningless verse here. The verse should
read: Cama,i descuie.
177 In the original, as here, this verse has eight syllables.
178 This verse, as it stands, is supplied by the translator. The odd wording of the original
allows a suspicion of garbling, either in the version recorded here or in the transcription thereof.

[ 467 ]
 C II c)
Caii ~i1 Hisam Ie ie~i cam 'nfara,
~i ~i 1 bliistamam: Cil. d~-afara-i vara
*Fir~-ati blastamatL voi, cai, ~i d-in casa-i iama.
~i de Dumnezel} Craciun pricepand
35 ~i de fiul mnel}! 80 ~i el sa tapa
Satiu ~i1 n'aveti. Pan' camari d~-al' sa' 2
Num' odata 'ntr' an, ~i mi-~i d-apuca
Zil}a lui Ispas, Valuri postavuri
~i atunci num' un cias. ~i Ie a~teme
40 Maica sa duci~ 85 D~-ale curtea sa
La grajdul cu boi, Pana la maica
Sala~ i~i face, ~i 'n genunchii sta,
De cum ~i-l put'e. Mandru sa ruga:
Noapt'e' d-intr' 0 vreme -0 iarta -rna, maica,
45 Pa maica ajunge 90 Ca io n'am ~tiut,
Ni~te munci cum grele Ca-i maica taroasa. 3
~i-~i 1 nasc' fiul sfant. Ca a~ fi ~tiut,
Boi 0 d-abura, 10 ti-a~ fi cotat 4
Munci i-o d-u~ura. Casa calduroasa
50 Zuori sa face, 95 ~i perini frumoase.
Fiul sfant na~t'e Maica-~i cuvanta:
Dalb ca £lorice. -10 te iert, Craciune,
Maica-i d-alduie: Numai tu mi-~i ada
*-Fir~-ati alduiti, vol. boi, Moa~a fiului,
55 ~i de Dumnezel} 100 Moa~a ~i nana~i,
~i de fiul mnel}, Stani de bolovani.
Pa brazda margand
Cu gura rumpand, *
Gazda, esti in casa ?
Pana-~i or pranzi
60 Dalbeti plugarei, Fir~-ai sanatoase!
Ril.reti vil.cil.rei, I.Y. Doamne me!
N egreti porcarei, 2.Y. Mey doj coyind'em!
~i vor ~uiera (21 u. Lunqoara ¢)
D'intr' un munte 'nt'altu.
65 La curtea Craciun, lOSe.
Craciun cuvanta
Cata sluga sa: Lua-i sa ducere
Maica-i purce-;--S; gre~
-Ie ie~i, sluga, ie~i,
Y.,
Ie ie~i cam 'nafara,
D'-ind'i-~i rlimere
70 ~i1 vezi, nu-i ved'e,
Cei salai d~-asara, Sara lui d-Ajuny
Poate c'or fi morti 5 La curt'ea-l' 6 Craciuny.
De frig, de pripoq ? D-acolo-~i merge,
Sluga-~i cuvanta:
75 -Stapane Craciune, Salu~u-~i cerelima
Craciun graiek:
1 = sa.
2 = de-ale sale.
3 = insarcinata « terhes, ung.).
4 = cautat.
5 = purcede.
6 = lui.

[ 468 ]
 C II c)
Let's the horses leave Go outside a little,
And let's curse them too: For outdoors it's summer
Horses, may you be accursed! 179 And indoors it's winter.
Both by God (above) Christmas understood,
35 And by my own Son! 80 And went running off
May you eat your fill Through his storerooms (all),
Only once a year, And he gathered up
On Ascension Day, Linens (and fine) cloths,
And then but an hour. And he spread them out
40 (Holy) Mother went 85 From his house (along)
To the oxen's byre, To the Mother's place.
She bedded herself On his knees he went,
As well as she could. Handsomely he prayed:
At one time of nighttide Oh, forgive me, Mother,
45 The Mother was taken 90 For I didn't know
With sore pangs of labor, Mother was expectant;
Holy Son to bear. For if I had known
The beeves breathed on her, I'd have sought for you
Eased her labor pains. Housing (that was) warmful
50 Dawn of day arrived, 95 And some handsome pillows.
Holy Son was born (Holy) Mother said:
Like a blossom fair. I forgive you, Christmas,
Mother blessed (the beeves): But you are to fetch me
Blessings, oxen, be on you,lSO A nurse lS2 for the Son,
55 Both from God (above) 100 Nurse and godparents,
And from my own Son, Slabs of rockery.
As you walk the furrow,
Plucking with your mouth,
While the plowmen fair
*
Are you in the house, host?
60 (And) the cowherds lone May good health attend you!
(And) the swineherds black ISt Retrain: Lord ot mine!
Have their midday meal,lSl 2nd Retrain: I go caroling!
And they'll whistle (then)
From mountain to mountain.
65 At Christmas's house, I05e.
Christmas spoke to say She set out, she walked,
To his hired man: Heavy was the Mother,
Go out, hired man, Retrain
Go outside a little, She arrived (at last)
70 See if you can't get On the eve (of Christmas)
Sight of last night's lodgers; 5 At Christmas's house.
Maybe they are dead There she went (inside),
Of cold (and) of want. (And) for shelter asked.
Said the hired man: Christmas said (to her):
75 (Behold,) Master Christmas,

179 This is a seven-syllable verse in the original text too.

180 This is a seven-syllable verse in the original too.
181 In the translation, this verse has been transposed. In the original it precedes verse 60.
182 As previously noted, moa~a means both midwife and old woman (hence, by extension,
possibly godmother).

[ 469 ]
 C II c)
-~t'i-ma Dumnezel} Casa calduroasa
10 Sala!iu-!ii ij-al1 da~, Si-o perina groasa.
Salai is cam mul~i; -10 nu ij-oi ierta,
Poate da v'iti duce 'n 60 Pana mi-i d-aduce
Grajdul cu caii. Moalla fiului.
Acolo-!ii merge, -Cum ~i-o oi d-aduce:
15 Bine-!ii d-a!it'erne. Ciunta-i bolovana
La cap ce-!ii pune ? ~i da \,lochi ii \,loarbii.
T'ita l d-inflorita. 65 Tatal nu Iasa,
Bin' al} hod'init Ci mi-I valuie
Pana Ia d-o vreme. Picioar' umblatoare
20 Da daia d'o vreme ~i branci pranzatoare, 2
Pa maica prind'e Vochii vazatori,
Ni!it'e munci cam grele. 70 Nevasta faleap,
Cai 0 froznoie, MOal1a fiului.
Muncile 'ngral}ie. r./oj Domno joj Domina!
25 Lua-i. sa duce (25. Dragellti if)
In grajdul cu boi.
Bine-!ii d-a~t'erne.
La cap ce pune ? l05d.
T'ita l d-inflorita. Mai, mergu-~i. mai merg!!1!
30 Bin' al} hod'init D-oi, doi drumarei
Pana Ia d-o vreme Pa varf d-alburei.
Da daia d-o vreme
Pa maica prind'e Drumari cine smt?
Ni!ite munci cam grele. 5 D-unu-i Sfant IosM,
35 Boi 0 d-abura\,l, D-una-i Maica Sfanta.
Munci 0 d-u!iura\,l,
Pa fiul na!it'e Sara ce-i prinde~,
Craciun graie Sara de J oi mare,
Ciitii scluga sa: Maica-mi griiie:
40 -Ie ie!ii cam 'nafarii,
Cei salai dl'l-asara 10 -Du-te, du, Iosafe,
Moqi is 0 vii is? ~i saIal1 ne cere!
Scluga Ili iellie, Iosaf sa duce,
Napoi sa 'ntorce Salall ne cere.
45 In cot Ili 'n genunchi Craciun graie:
~i mi-!ii cuvanta: 15 - 0 !iti-va, mai Ilti
-Hoi. june Craciune, Dragu Domn din cer,
Ce mi-ar put'e fi, Ce saiall v'oi da,
Ca dl'l-afara-i vara ca sobeIe 3 -s pline
50 ~i d-in casa-i iama ? De salai dl'l-asara
Craciun i~ie 20 ~i dl'l-alalta sara.
~i mi-~i cuvanta? Toate e\,l v'oi da:
-Hoi, iam-mi, maica, Grajdu cailor,
Ca nu tl'l-am !itiut. Iesiea boilor,
55 ca de tl'l-am vrut !iti, Tarcu oilor.
T'ei i~i am vrut da, 25 Noaptea d-intre' 0 vreme

1 = chita.
2 = prinzatoare.
3 = camerele « szoba, ung.).

[ 470 ]
 C II c)
The Almighty knows (Also) a warm chamber,
10 I would give you shelter, A thick pillow likewise.
(But) I've many guests; I'll forgive you not
You'll go, peradventure, 60 Till you shall have brought me
In the horses' stall. Midwife for the Son.
Thither she did go, How am I to fetch her?
15 Bedded herself well. She's lame as a boulder
What set by her head? And her eyes are sightless.
A flowering posy. 65 Father left it not,
Nicely rested she But he covered it:
For a while (of respite). Walking feet (He gave her),
20 But after a respite Also hands (for) holding,
The Mother was seized Seeing eyes (withal),
With hard pains of labor. 70 Showy married woman,
Restless were the horses, Midwife for the Son. lS3
Labor pains they worsened. Retrain: Hoy, oh Lord, hoy, God above!
25 She set out, went off
To the oxen's byre,
Bedded herself well. l05d.
What set by her head? Ho, they walk, they're going,
A flowering posy. The two travelers,
30 Nicely rested she On a hilltop white.
For a while (of respite). Who're the travelers?
But after a respite 5 Saint Joseph is one,
The Mother was seized One's the Holy Mother.
With hard pains of labor. Evening caught them up,
35 The beeves breathed on her, Maundy Thursday evening,
Eased the labor pains, (And) the Mother spoke:
(And) she bore the Son. 10 You go ahead, Joseph,
Christmas spoke to say And for us ask shelter!
To his hireling: Joseph went ahead
40 Go outside a little, (And) for shelter asked.
(See if) last night's lodgers Christmas said (to him) :
Be dead or alive. 15 Peradventure knows
Hireling went out, The dear Lord above
Back he came again How I'll shelter you.
45 On elbows and knees Full are (all) the chambers
And said (unto him) : Since last night with lodgers,
Hoy, you youthful Christmas, 20 Since the night before, too.
What might it (well) be, All I'll give to you
For outside it's summer, (Is) the horses' stall
50 In the house it's winter? (Or) the oxen's byre,
Christmas went outside (Or) the sheepfold (else).
And he spoke to say: 25 At one time of nighttide
Hoy, forgive me, Mother,
For I knew you not.
55 Had I wished to know,
I'd have got you keys,

183 The exact sense of the final seven verses is not at all clear to the translator, and the
above rendition is at best a tentative one.

[ 471 ]

Hi maic' 0 love
Ni~te munci cam grele,
Ca fil) mic sa nasca.
Caii roscoie~te,
30 Pa maic' 0 'ngral)e~te.
Maica-mi graie:
-0, ie-te, 10sil.fe,
$i te du, Iosil.fe,
'N tarcu oilor,
35 De sala~ ne fa.
Maica sa duce,
In sala~ durme.
Noaptea d-intr' 0 vreme
Pa maica love
40 Ni~te munci cam grele
Ca fiu mic sa nasca.
Miei ~beruie,
Pa maic' 0 'ngral)ie.
Maica-mi graie:
45 -0, ie-te, 10sil.fe,
$i te du, 10sil.fe,
'N ieslea boilor
$i sala~ ne fa.
*$i pa oi sa Ie lasam
50 $i pa cai sa-i blastamam
-Mai cal. fir~-ati blastamati
$i de Dumnezel),
$i d~-un fil) d~-a mnel)!
*Pa spatele voastre, cal.
55 S'umble l)oase pacatoase,
$i voL cai, sa n'aveti sat,
Num' odata 'n an,
'N zil)a de Ispas
$i atunci un cias.
60 *Voi, oi, sa fiti sparioase!
I.r. Doamne!
2.r. Doi corinde!
(21k. Var. 1 Beiu~ ¢)
lOSe.
°I.r.,
trecu-~i, mai margy,
D-oi doi drumareiy.
2.r.,
[ 472 ]
C II c)
Drumari cine s;lnt?
4-6 = l05b. 4-6
In sara lui d-Ajunui
Pa ce fel margand-
'N curtea lui Craciun.
10 Maica-mi graie-~
Pa sm.ntul 10sil.f:
*-Ei du-te, mai du,
La Craciun batrany,
Sala~ di mi ceq.
15 10sil.f sa duce
La Craciun batrany,
Sala~ di cere.
Craciun graie:
-$ti-va Dumnezel)
20-23 = l05d. 17-19,21
$i cl)-a boilor
25 Sala~ sa-l faceti.
Di cum it spune,
10saf sa duce,
La maica spune.
Maica graie:
30 *-Ei, du-te, mai, du, 10safe,
'N grajdul cailor,
Sala~ di ne fa.
10sil.f sa duce,
Salas di-l face,
35 Di c~m fii-l pute.
Maica sa duce
Sa sa hodineasca,
Ca fiu sfant sa nasca.
39-42 = l05d. 25-28
43-45 = l05b. 24-26
De tropot d~-a lor.
Maica-mi graie
Pa Sfantul 10sil.f:
*-Ei, du-te, mai du, Iosafe,
50 Salas di ne fa
'N i~slea boilor.
Maica sa duce
Sa sa hodinesca,
Ca fil) sfant sa nasca.
55, 56 = l05b. 48, 49
$i fil) sfant na~te
 C II c)
The Mother was struck Who're the wayfarers?
With sore pangs of labor, 4-6 = 4-6 of 105b.
Her small Son a-bearing. (It was) Christmas Eve;
Restless were the horses, In that way they came
30 They distressed the Mother. To Christmas's house.
Said the Mother (then) : 10 Said the (Holy) Mother
Oh, bestir you, Joseph, To Saint Joseph (then):
And go (over), Joseph, Go along, go on,
To the sheepfold (go), To Old Christmas (go),
35 Shelter make for us. Shelter ask for me.
Off the Mother went, 15 Joseph went (ahead),
In the shelter slept. To Old Christmas (spoke),
At one time of nighttide Shelter asked of him.
The Mother was struck Christmas said (to him):
40 With sore pangs of labor, The Lord God will know
Her small Son a-bearing. 20--23 = 17-19,21 of 10Sd.
Bleating were the lambs, And that of the beeves,186
They distressed the Mother. 25 To take shelter there.
Said the Mother (then) : Of what he had said,
45 Oh, bestir you, Joseph, Joseph went away
And go (over), Joseph, (And) the Mother told.
To the oxen's byre, Said the Mother (then):
Shelter make for us, 30 Well, you go on, go on, Joseph,187
And let us forsake the sheep,184 To the horses' stall,
50 And the horses let us curse: Make us shelter (there).
Horses, may you be accursed Joseph went along,
By Almighty God Made a shelter up
And by my own Son! 35 As well as he could.
On your withers, horses, may (There) the Mother went
55 (Only) sinful bones go (riding); So as to get rested
May you never eat your fill For the Holy Son's birth.
More than once a year, 39-42 = 25-28 of 105d.
On Ascension Day, 43-45 = 24-26 of 105h.
And then but an hour. For their stamping (noise).
60 You, sheep, may you be (Holy) Mother said
fainthearted! 185 To Saint Joseph (then):
Well, you go on, go on, Joseph,187
Ist Refrain: Lord God! 50 Shelter make for us
2nd Refrain: Sing the carol! In the oxen's byre.
(There) the Mother went
So as to get rested
I05e. For the Holy Son's birth.
They went by, kept going, 55, 56 = 48, 49 of 105h.
ISt Refrain Holy Son was born
The two wayfarers.
2nd Retrain
184 Verses 49-51,54-56 have the same number of syllables as their Rumanian-text counter-
parts.
185 The corresponding verse of the originalllkewise has eight syllables.
186 Although the text line is not noted in the original transcription, it is clear that verse 22
of l05d. should be included here, immediately preceding this verse.
187 This eight-syllable verse, with the same petulant content, is found in the original too.

[ 473 ]
 C II c)
Ca ~i-o florid!. 15 -LasatL cai d\:-a crumpani,
$i 'n petcoav\:-a troseoti,
I.r. Doamne! Aburiti, de rna 'ncalziti,
2.r. Daj corinde! $i suflati, de-mi ajutati.
(211. Camp if) Ca ii daea auzira,
(21k. Var. 2t Camp </>l 20 $i mai tare crumpanira
$i 'n petcoave troscotira.
Maica Sfanta sa lua
I05f. $i 'n cea iescle sa biiga,
*Mandra steal}a ee rasare, $i din gura cuvanta:
Hoi hoL drumari, hoi! 25 -LasatL boi, d\:-a rumega
Drumari cin~-or fi ? Si 'n coame d~-a hurduca,
AburitL de rna 'ncalzitL
Domnul Sfant Iosafe $i suflatL de-mi ajutati.
5 $i eu Maiea Sfanta. Boii daca auzira,
Sus pe drumul mare 30 Aburira ~i-o 'ncalzira
Maica sa duce $i suflara 9i-ajutara.
Pana la Craciun. Maica Sfanta sa lua,
Maica-~i graie: Boii binecuvanta:
10 -Du-te, mai, Iosafe, -Fir\:-asi, voi boi, alduiti
Pana la Craciun 35 De mine, de Dumnezel},
$i sala~ ne cere. Mai tare de fiul miel}!
Iosaf sa duce 'N urma voastra ereasca dara:
$i sala~ cere, Creasea graul 9i sacara
15 Craciun ii dade. Cu iama, cu primavara.
40 Maica Sfanta sa Iua
I.r. Doamne! $i pre eail blastama:
2.r. Daj corinde! -Fir\:-atL voi cal, blastamati
(21k. Var. 3 Lele~d if) De mine, de Dumnezel},
Mai tare de fiul miel}!
45 Ca voL cal, sa n'aveti sas
I05g. Numa 'n zil}a de Ispas,
-Buna sara lui Craciuny! $i-atuneia numai un eias.
Lasa-ma lontru sa tuny, (45a. Cherpeni9 <p)

Lasa-ma lontru sa tun,

Da-mi sala~ dupa cuptor. I05h.
Sara mare d'e Craeiuny,
5 Da-mi sala~ dupa cuptor, r.,
Ca sa nasc' un domnitor, Buni d-ospeti ea nimerear~,

Ca sa nasc' un domnitor, La Craciun saIa~ cerea~.

Oamenilor d'~-ajutory Craciun saIa9 nu Ie da~.

-El} sala~, nu pot sa-ti dal}, 5 I: $i cerea la Craciuneasa : I

10 Du-te 'n stava eailor
Sal} in iesclea boilor. Craciuneasa Ie dedea
Maica Sfanta sa lua In ni j Iocul curtii.
$i 'n cea stava sa biiga Da de focul ce l~-o da ?
$i din gura cuvanta: L~-al} dat mar ~i l~-al} dat par,

t Numai randuri 1.-3 (I. str.) ;;i 4.5.

[ 474 ]

Like a little bloom.
Ist Retrain: Lord God!
2nd Retrain: Sing the carol! 188
105f.
Beauteous (is) the star that's rising:
Hoy, hoy, waymates, hoy!
Who're the wanderers?
(They're) the lord Saint Joseph
5 And the Holy Mother.
Up upon the highway
Did the Mother go
To Christmas's house.
(Holy) Mother said:
10 Go along, you, Joseph,
Up to Christmas (go),
Shelter ask for us.
Joseph went along
And for shelter asked;
15 Christmas gave (it) him.
Ist Retrain: Lord God!
2nd Retrain: Sing the carol!
105~.
A good evening unto Christmas!
Let me get inside (your mansion),
Let me get inside (your house),
Shelter me behind the stove,
5 Shelter me behind the stove,
That I might a ruler bear,
That I might a ruler bear,
To mankind to be of comfort.
Shelter I can't give to you,
10 To the horses' stable go,
Or else to the oxen's byre.
(So) the Holy Mother went,
To that stable made her way,
And she (thusly) spoke to say:
188 Author's manuscript footnote: Only verses 1-3 (the first stanza) and verses 4 and 5 in
Mel. No. 21k. Var. 2.
[ 475 ]
C II c)
15 Horses, leave your crunching be,
With your hooves no longer stamp;
Blow (on me) to warm me up,
Breathe (on me) to comfort me.
(But) the horses, when they heard
(her),
20 Went on crunching all the louder,
With their hooves (the harder)
stamping.
(Then) the Holy Mother rose,
To that byre made her way,
And she (thusly) spoke to say:
25 Oxen, chew your cud no more,
And no longer clash your horns;
Blow (on me) to warm me up,
Breathe (on me) to comfort me.
When they heard (her say), the oxen
30 (Straightway) with their blowing
warmed her,
And they breathed and comforted her.
(Then) the Holy Mother rose
(And) the oxen she did bless:
Oxen, blessings be on you
35 From myself (and) from the Lord,
Even more so from my Son!
In your wake may there grow bounty,
May the wheat and rye be growing,
(Both) in winter (and) in springtime.
40 (Then) the Holy Mother rose
And the horses she accursed:
Horses, may you be accursed
By myself (and) by the Lord,
Even more so by my Son!
45 May you never eat your fill
But upon Ascension Day,
And then only for an hour.
105h.
(It was) the great Christmas evening,
Retrain
There arrived some goodly guests
(And) of Christmas asked for shelter,
Christmas wouldn't give them shelter;
5 And they asked of Lady Christmas,
Lady Christmas gave (it) them
In the middle of the yard.
But what (wood) gave she for fire?
Pear and apple wood she gave,

10 A trile-ay dat de sanger.
Da cand fu miezu de noapte
In eantatoq de coeo~,
Grey pe maiea d-ajungea
Griele munci ~i griele griji.
15 ~i maica ca sa lua
La griijdutul cailor
~i 'n iesclele sa liisa.
Y.Domnuluj Doamne!
(62e. Petro~an if)
1051.
Asta-i sara, sara mare,
Sa cantam, sa colind'em (sic!),
Asta-i sara lui Ajun,
Mane ziya lui Craeiun.
====
5 Maica Sfanta sa primbla,
Loe de na~tire cayta,
Umblii 'n sus ~i umblii 'n jos,
Cand e tIlmpul racuros.
------
La Craciun sa ducea
mo~
10 ~i din grai a~a griiia:
-Buna sara, mo~ Craciunl
C'am nimerit la om bun.
N'ai sa-mi dai sala~luire,
Sa va nasc' 0 mantuire?
15 Mo~ Criiciun din grai graia:
-Ey sal~ nu iti poci da;
Du-te 'n grajdul cailor
Or in iesclea boilor,
Acolo vei putea na~te,
20 S'ai noroc sa n~ti in pace!
Maica Sfanta grey ofta,
'N grajdul cailor intra.
Dar eaii ca tropoteay,
Durerile ti mareay..
25 Maica Sfanta grey ofta
~i din grai a~a graia:
-Fir~-aij, vio eai, blastamati,
Sa 'naveij voi nici cand sat,
Numa 'n ziya d'tnaltarii
30 Nici atunci indestulaq I
Maica Sfanta grey. ofta,
'N iesclea boilor intra.
Dar boii ca rumegay.,
1 = fiu.
[ 476 ]
C II c)
Durerile Ii miireay.
35 Maica Sfanta grey ofta
~i din grai a~a griiia:
-Boilor, ma ascultati
~i mai mult nu rumegaij I
Dar boii c'o ascultay
40 ~i mai mult nu rumegay.
Ciasul cel dorit sosea,
Maica Sfanta cii na~tea
Pe fiul Isus Hristos,
Sa ne fie de folos!
(125. Bistra if)
105j.
Buna ziy.a lui Craciuny,
Y.,
Lui Criieiun celui biitranl
Maica Sfant' cu { ~;~~ marsii,
Ca fiul sfant sa sa nasca,
5 La ostrovul cailor.
Dar caii cat Ii zaririi,
Din picioare tropotira
~i pe gura sfornaira
Maica Sfant' cu { ~;~~ marsii,
10 Ca fiul sfant sa sa nasca,
La ostrovul boilor.
~i boii cat ii zarira,
Ei cu gura aburira
~i in coarne spriginirii.
15 Maica Sfant' din grai graia:
-Fire-ati, boi, blagosloviti,
De mine, de Dumnezey.,
Mai tare de fiul miey!
Y. Domnuluj Doamne!
(67a.b. Bistra if)
105k.
I: Maica Sfanta s'o luat : I,
S'O luat ~i-o preumblat
====
I: Pan' la iesle boilor : 1
~i d'in grai a~' -0 griiit:
------
5 -Maneati, boi, pricepeij voi,
Sa sa nasca un §iy 1 sfant.

10 For a third, she gave them
dogwood. 1SD
When it was the crack of midnight,
At the crowing of the cock,
Sorely was the Mother seized
By hard pangs and woeful cares;
15 And the Mother made her way
To the horses' stable (then)
In the manger she lay down.
Refrain: To the Almighty!
C II c)
(And )her labor pains increased.
35 Deep the Holy Mother sighed,
And she thusly spoke (to them) :
Oxen, heedful be of me
And no longer chew your cud!
But the oxen heeded her
40 And no longer chewed their cud.
The awaited hour came,
(And) the Holy Mother gave
Birth to her Son, Jesus Christ,
To be solace unto us!

I05i. l05j.
'Tis the evening, the great evening Unto Christmas a good day,
To go singing, caroling; 190 Refrain
This is the (great) Christmas Eve, Unto Christmas a good day,
Tomorrow (is) Christmas Day.
5 (Lo,) the Holy Mother walked, Holy Mother went With{ j~:;'h,
Sought a place for giving birth; That she might the Holy Son bear,
She walked up and she walked down, 5 To the stable of the horses. 19B
When the weather chilly is. But the horses, as they saw them,
To Old Christmas 191 she went (then), With their feet began a-stamping,
10 And (to him) she thusly spoke: With their mouth began a-snorting.
Old Man Christmas, a good eve,
Since I've found a kindly man. Holy Mother went withl ~~ih, J
Have you not shelter to give me, 10 That she might the Holy Son bear,
That I might redemption bear you? To the byre of the oxen. 1UB
15 Old Man Christmas said (to her) : And the oxen, as they saw them,
Shelter I can't give to you; From their mouth they set to
Go into the horses' stall breathing,
Or the oxen's manger else, With their horns provided shoring.
You'll be able to give birth there: 15 Said the Holy Mother (then):
20 Luck to you for peaceful bearing! Oxen, may you blessed be
Deep the Holy Mother sighed, By myself (and) by the Lord,
Went into the horses' stall. Even more 50 by my Son!
But the horses stamped (their feet), Refrain: To the Almighty!
(And) her labor pains increased.
25 Deep the Holy Mother sighed, I05k.
And she thusly spoke (to them) :
Horses, may you be accursed Holy Mother rose to go,
That you never sated be Rose to go (and) walked (her way),
Except on Ascension Thursday, To the oxen's manger (went),
30 Even then not surfeited! And she thusly spoke her say:
Deep the Holy Mother sighed, 5 Oxen, eat (and) understand:
Went into the oxen's byre. Holy Son is to be born.
But the oxen chewed their cud,
189 The wood specified in the text is indeed Comus sanguinea.
190 Alternative reading for this verse (with the insertion of a colon at the end of the preceding
one): Let's go singing, caroling.
191 MOl Criiciun is the Rumanian counterpart of Santa Claus or Father Christmas.
19B In this text, instead of the usual word for stable and that for byre, we find in each of
these verses the word ostrovul, which means island.

[ 477 ]
 C II c)
Boii nu s'o priceput, De mine, de fiul mieT),
~iul sfant nu s'o nascut. Mai tare de Dumnezey
Maica Sfanta s'o luat In tot anul cat~-odata
10 Pan' la ieslea oilor 25 Sa va ieie lana toata.
$i din grai a~'-o grait: Luara-sa, dusara-sa,
-MancatL oi, pricepeti VOl, Tot margand ~i hodinind,
Sa sa nasca un §iy sfant. Cu soarele vorovind
Ele nu s'o priceput, La grajdutul boilor.
15 ~iul sfant nu s'o nascut. 30 Cand pre Hristos il na~tea,
Maica Sfanta s'o luat Boii mandru l-aburea,
Pan' la ieslea cailor Maica Sfant' a~a zicea:
$i din grai a~'-o grait: -Fir~-ati, boi, blagoslaviti
-Mancati, cal, ce Yeti manca De mine, de fiul miey,
20 $i va puneti a culca. 35 Mai tare de Dumnezey!
$i caii s'o priceput, $i vol, boi, s'aveti hodina
~iul sfant ca s'o nascut. $i la pranz ~i la u jina .
*~iul stant p'acest pamant. (45t. Albac ¢)
$i ceriul 0 radicat
25 In tri stalpuri de argint
$i frumos 1-0 'mpodobit 105m.
Cu luna ~i cu lumnina In grad'ina Grecilory,
$i cu stele maruntele. r.,
(75a. Urisiu de sus q" ¢)
Pe supt umbra nucilory,
1051. Primbla mi sa Maica Sfanm

Luara-sa, dusara-sa, CT)-O sugna 2 verde d'easchisa,

Tot margand ~i hodinind,
Cu soarele vorovind,
La grajdutu cailOL
5 Cand pre Hristos il na~tea,
Caii in ziereL~i batea,
Maica Sfant' ai?a zicea:
-Fir~-ati, cal, voi blastamati
De mine, de fiul miey,
10 Mai tare de Dumnezey!
$i voi, cai, sa n'aveti sat
Pana 'n ziT)a de Ispas,
$i-atuncia numai un cias.
Luara-sa, dusara-sa,
15 Tot margand ~i hodinind,
Cu soarele vorovind,
La strunguta oilor.
Cand pre Hristos il na~tea,
Oile sa sparia,
20 Maica Sfant' a~a zicea:
-Fir~-ati voi, ai, blastamati
5 Ca-i sa nasca ziul 3 sfanty,
Ziul sfant p'aiest pamanty.
!;ii d~-acia-mi purcedea
La grajdutul cailor.
r. Doamne daj Domnuluj Doamne!
(87d. Petro~an ¢)
105n.
I: PreumbHi-sa Maica Sfanta : I,
r.,
Cu rot'ie verd'e 'ntins'
I: Pan' la umbruta d'e t'ei : 1
$i d'in grai a~'o grait:

1 = fiere.
S = rochie « szoknya, ung.).
3 = fiul.

[ 478 ]

(But) they didn't understand,
Holy Son was not brought forth.
Holy Mother rose to go,
10 To the sheepfold (made her way),
And she thusly spoke her say:
Eat, you sheep (and) understand:
Holy Son is to be born.
(But) they didn't understand,
15 Holy Son was not brought forth.
Holy Mother rose to go,
To the horses' manger (went),
And she thusly spoke her say:
Horses, eat what you must eat,
20 And to sleeping set yourselves.
And the horses understood,
(So) the Holy Son was born,
On this earth the Holy Son;
And the sky He raised aloft,
25 (Set it) on threee silver shafts,
And adorned it beauteously
With the moon and with the sunlight
And with little stars (besprinkled).
1051.
She arose, she went her way,
Walking on and taking rest,
(And) communing with the sun,
To the horses' stable (went).
5 As she was a-bearing Christ,
(Lo,) the horses stamped their shoes.
Thus the Holy Mother said:
May you horses be accursed
By myself (and) by my Son,
10 (And) more strongly yet by God!
May you never eat your fill
Till Ascension Day (comes by),
And then only for an hour.
She arose, she went her way,
15 Walking on and taking rest,
(And) communing with the sun,
To the sheepfold (going in).
As she was a-bearing Christ,
(Lo,) the sheep took (sudden) fright.
20 Thus the Holy Mother said:
May you be accursed, sheep,
193 Possible alternative reading for this verse: And therefore she made her way.
194 This is, of course, the linden(Tilia plat yphyllos) , not the Citrus aurantifolia.
[ 479 ]
C II c)
By myself (and) by my Son,
(And) more strongly yet by God!
Once a year (without a surcease)
25 May they all your wool take from you.
She arose, she went her way,
Walking on and taking rest,
(And) communing with the sun,
To the oxens' byre (went).
30 As she was a-bearing Christ,
Nicely breathed the beeves on Him.
Thus the Holy Mother said:
May you oxen blessed be
By myself (and) by my Son,
35 (And) more strongly yet by God!
And may you be rested, oxen,
Both at midday and at supper.
105m.
In the garden of the Greeks,
Refrain
Neath the shade of walnut trees,
Walks about the Holy Mother
In a green gown (that is) opened,
5 To bring forth the Holy Son,
Holy Son upon this earth.
And from here she made her way193
(Going) to the horses' stall.
Refrain: To the Lord, to the Almighty!
105n.
(Lo,) the Holy Mother's strolling
Refrain
In a green gown (that is) outspread,
To the shadow of the lime tree,194
And she thusly spoke to say:

5 -Stai, tu tei~or, in loe,
Sa ai bine !?i noroe,
Sa nasea fiutul sfimt.
Tei~or in loe n'o stat.
Maiea ray s'o alinat
10 !;Ii pe tei 1-0 bliistiimat,
Sa nu stea frunza pe el
Vara de ealdura mare
Nici iama de raeoare;
Ciildura sa-l galbineasea,
15 De raeoare sa topeasea.
!;Ii d~-aeolo s'a luat
Pan' la umbruta de plop
;;i din grat a~'o grait:
-Stiii, tu plopu~or, d-in loe,
20 Sa ai bine ~i noroe,
Sa nasea fiutul sfant.
Plopu~or in loe n'o stat
Maiea nu s'o a!?ezat
!;Ii pe ell-o blastiimat
25 Togmai ea pe eelalat.
!;Ii d~-aeolo s'o luat
Pana la umbra de brad
!;Ii din grai a!?'o grait:
-Stai, tu bradu~or, in loe,
30 Sa ai bine !?i noroe,
Sa nasea fiutul sfant.
Bradu!?or in loe 0 stat,
Maiea bin' s'o alinat
!;Ii fiy sfant mi s'o nascut.
35 !;li pe brad 1-0 alduit:
-Sa fi, brade, alduit,
D'intre lemne mai cinstit,
Sa steie frunza pe tine
Vara de caldura mare,
40 Ba !?i iama de racoare,
De caldura sa tot creasca,
De racoare sa 'nverzeasca,
Lumea toatii te cunoascii!
r. Domiiilor #-a nos' Doamn'!
(73ii. Urisiu de sus if)
1050.
Pe su' poala ceriuluiu,
1'.,
Plimba-~i Maica Domnuluiu,
[ 480 ]
C II c)
Plimba 'n sus ~i plimba In josui,
D'escinsa ~i d'esplet'itii -
5 !;Ii far d'e tot naciijitii.
!;Ii mi-o lotI d~-a purcedea-rie
Sus pe plai, Doamne, de rai.
Can' fu la mijloc de plai,
Puse jos sa hodineasca
10 Sy-o tufa de plop!?Or verde.
Maica Sfant' ~a-mi graia: -A-
-pleaca, ploape, c10mbile
!;li mi 'ngroa!?a umbrile!
Plop!?Or sama nu-~i baga,
15 Clombile-~i Ie ajuta,
Maica Sfanta bliistiima:
Fir~-ai, ploape, blastiimat
De mine, de fiul sfimt,
Car~-ar na~te pe pamant I
20 !;Ii mi-o lot d~-a purcedea
Sus de plai, Doamne, de rai.
Can' fu la var~or de plai,
Puse jos sa hodineasca
Sy-o tufa de tisa verde.
25 Maica Sfant' ~a-mi graia: -A-
-pleadi, tisa, c10mbile
!;Ii mi 'n gro~a umbrile!
Tisa sama mi-~i baga,
Clombile-!?i Ie apleca,
30 Umbrile mi Ie 'ngro~a,
Fiul Sfant ca mi-zi 2 na!?tea.
Maica Sfant' 0 alduia:
-Fir~-ai, tisa, alduitii
De mine, de fiul sfant,
35 Car~-o nascut pe pamant!
Fie iama, fie vara,
Frunza tiit verde sa steie
Pana 'n zi de judecare!
r. Doamne l'er Domnuluj Doamne!
( 102c. Ciarbal if)
105p.
Sus la naltu cieriuluiu,
1'.,
La luncil'e soarieluiy,

5 Little lime tree, quiet stay,
That you might have ease and luck,
That the Holy Son be born.
(But) the lime tree stayed not still,
(So) the Mother rested ill,
10 And the lime tree she accursed:
That (its) leaf stay not on it
(Either) for great heat in summer
Or yet for the chill in winter,
That the heat might tum it yellow,
15 That from chillness it might wither.
And she went away from there
Till (she reached) the poplar's shade,
And she thusly spoke to say:
Little poplar, quiet stay,
20 That you might have ease and luck,
That the Holy Son be born.
(But) the poplar stayed not still,
(So) the Mother rested not,196
And she set a curse on it
25 Just as on the other one.
And she went away from there
Till (she reached) the pine tree's shade,
And she thusly spoke to say:
Little pine tree, quiet stay,
30 That you might have ease and luck,
That the Holy Son be born.
(Lo,) the pine tree quiet stayed,
(So) the Mother rested well,
And the Holy Son was born.
35 And she blessed the pine tree (then) :
Pine tree, blessings be on you,
The most honored among woods,
May (your) leaf upon you stay
(Both) for the great heat in summer
40 And for chilliness in winter.
May the heat make it grow larger,
May the cold make it wax greener,
So that the whole world might know
you!
Refrain: Gentlemen and Our Lord!
1050.
Neath the edging of the sky
Refrain
Walks the Mother of the Lord;
116 Alternative reading for this verse: (So) the Mother sat not down.
[ 481 ]
C II c)
She walks up and she walks down,
With her hair down, and ungirdled,
5 And exceedingly unhappy.
And she set out on her way
Up the heights of heaven, Lord.
When she reached the midway mark,
She lay down for to get rested,
10 Underneath a green-leaved poplar.
Thusly spoke the Holy Mother:
Bend (your) limbs down, poplar tree,
And make thicker shade for me!
(But) the poplar heeded not,
15 It raised up its limbs (instead).
Cursed the Holy Mother (then):
Poplar, may you be accursed
By me, by the Holy Son
Who'll be born upon the earth!
20 And she set out on her way
Up the heights of heaven, Lord.
At the summit when she came,
She lay down for to get rested,
Underneath a green-leaved yew tree.
25 Thusly spoke the Holy Mother;
Yew tree, downward bend (your) limbs,
And make thicker shade for me!
(Lo,) the yew tree heeded her,
Downward it did bend its limbs,
30 (And) made thicker shade (for her).
(Thus) the Holy Son was born.
Holy Mother blessed the yew:
Yew tree, blessings be upon you,
From me (and) the Holy Son,
35 Who was born upon the earth!
Be it winter, be it summer,
Ever green shall stay your leafage,
Up until the Day of Judgment!
Refrain: Sing the Lord, the Lord
Almighty!
105p.
In the soaring sky on high,
Refrain
By the meadows of the sun,

I: La luncil'e soarieluiuu : I,
D-und'e-i joadi soariel'erie,
5 Soariel'e cu razel'e-rie, -
~i cu Maica Domnului.
Mai mergea cat mat mergea,
Pan' la plop imi d-ajungea,
~i din grai a~a-mi graia:
10 -Ploape, ploape, verde ploape,
la radicii poalele,
~i a~eaza-ti varvurile
~i pe min' m' acopere,
Ca sa nasca fiul sfant
15 Oamenilor pe pamant.
Plopu daca-mi d-auzea,
Nici in sama n'o punea,
Maica sta ~i-mi blastama.
~i d~-acia, d'incolea,
20 Mai mergea, cat mat mergea,
Pan' la tisa d-ajungea
~i din grai a~a-mi graia:
-Tisa, tisa, verde tisa,
la radica poalele
25 ~i a~eaza-ti varvurile
~i pe min' m' acopere,
Ca sa nasca fiul sfant
Oamenilor pe pamant.
Tisa deca-mi d-auzea,
30 Bine 'n sama mi-o punea,
Maica SfAnt' 0 alduia.
r. Doamne jaj Domnuluj Doamnel
(81 b. Paucine~d 1)
105r.
Pa ce verd'e dumbravitii
Primbla mi-sa, cili' sa primbla?
Primbla mi-sa Maica Sfantii
Pan' rat'iti verzuti d'eschise.
5 ~i-miropie d'in po~chine-rie,l
Pana e ajunge-rie - Sa-l boteaza 'n Iegea lor,
Su' poala de ploput verde
~i din gur' a11a-mi graie:
-Ploape, ploape, nalte ploape,
1 = pojghite.
Z = pJaiu?
[ 482 ]
C II c)
10 la suce~te-ti c10ambele
Pan' a na~te fiul sfant.
Ploput daca-mi d-auze,
Sus, mai sus Ie radica,
Maica Sfantii blastiima:
15 -Fir~-ai. ploape, bIastiimat
De min' ~i de fiul mie~,
Mai vartos de Dumnezel}!
Bate vantul, nu mai bate,
Frunza ta 'n loc sa nu steie!
20 ~i-mi rope din po~chine,
Pana ea cand ajunge
Su' poala de t'isa verde
~i din gur' a11a-mi graie:
-Tisa, tisa, verde tisa,
25 la suce11te-ti c10ambele
Pan' a na11te fiul sfant,
Fiul sfant p'acest pamant.
Tisa daca-l d-auze,
jos, mai jos Ie aciuia,
30 Maica Sfant' 0 alduie
-Fir~-ai, t'isa, alduitii
De min' ~i de fiul mie~,
Mai vartos de Dumneze~!
Fie iama, fie vara,
35 Fronza ta verde sa steie,
lama sa nu ve~tejeasca,
Primavara sa 'mpupeasca!
r., Doamne daj Domnuluj Doamnel
(81a. Var. Paucine~d 1)
105s.
Primbla mi-sa, Doamne, primbIa,
D-al'~o, Maica Domnuluiu
Pi su' d-umbra pomuluiu.
Pana maica sa-mi primbla-rie.
5 Fil} d'in maica ca-mt n~t'e-~.
D-al'~o, cMii ~i pagMii
Dupa Maica sa-mi primbla,
Doar' pa fiy. I-or d-apuca,
10 Legea lor ~i limba lor.
Fiul dete d-a scanci,
Maica-mi det~-a pusteni
Cam pa plagea 2 (sic!) raiului,

By the meadows of the sun,
Where the sun is wont to dance,
5 (E'en )the sun with (all its) beams,
(Walked) the Mother of the Lord.
She walked onward for a while,
Till she reached the poplar tree,
And she thusly spoke (to it) :
10 Poplar, poplar, green-leaved poplar,
Come, lift up your nether limbs,
And your topmost tips set (downward)
And (a) shelter (make for) me,
That the Holy Son be born
15 To mankind upon the earth.
When the poplar heard (her say),
Unto her it paid no heed,
(And) the Mother stood and cursed.
And from here, from over there,
20 She walked onward for a while,
Till she came upon the yew,
And she thusly spoke (to it) :
Yew tree, yew tree, green-leaved yew
tree,
Come, lift up your nether limbs,
25 And your topmost tips set (downward)
And (a) shelter (make for) me,
That the Holy Son be born
To mankind upon the earth.
When the yew tree heard (her say),
30 It paid goodly heed to her;
Holy Mother blessed it (then).
Retrain: Lord, hoy, to the Lord
Almighty!
105r.
Through that little green-leaved
thicket,
She is walking, who is walking?
'Tis the Holy Mother walking,
Through some spreading green-leaved
willows,
5 And she rips apart her kerchief (?),
Until she could make her way
To the foot of a green poplar,
And she thusly spoke her say:
Poplar, poplar, towering poplar,
[ 483 ]
C II c)
10 Twist your limbs (toward the ground)
Till the Holy Son is born.
(But) the poplar, when it heard,
High (and) higher lifted them.
Cursed the Holy Mother (then) :
15 Poplar, may you be accursed
By myself and by my Son,
Even harder yet by God!
Blows the wind (or) blows no longer,
May your leafage ne'er be quiet!
20 And she rips apart her kerchief (?)
Until she could make her way
To the foot of a green yew tree,
And she thusly spoke her say:
Yew tree, yew tree, green-leaved yew
tree,
25 Twist your limbs (toward the ground)
Till the Holy Son is born,
On this earth, the Holy Son.
(And) the yew tree, when it heard,
Low (and) lower settled them.
30 Blessed the Holy Mother (then):
Yew tree, blessed may you be
By myself and by my Son,
Even stronger yet by God!
Be it winter, be it summer,
35 Always may your leafage green stay;
May it not grow sere in winter,
May it bring forth buds in springtime!
Retrain: Lord, give to the Lord
Almighty!
105s.
She is walking, Lord, she's walking,
Woe is me, the Holy Mother,
In the shadow of the tree.
While the Mother walked about,
5 She gave birth unto the Son.
Woe is me, the curs and heathens
Were a-walking after her,
Seeking for to seize the Son,
To baptize Him in their faith,
10 (In) their faith and (in) their tongue.
(Lo,) the Son began to cry,
(And) the Mother to make haste,
(Upward) toward heaven's heights;

Nicliiri nu hodine.
15 Pana ie cand ajunge
La mijlocu plaiului,
Puse 'n jos sa-mi hodineasca
Sub d-umbra de plopuj verde.
Plopuj verde dac' 0 vede,
20 Cu c10ambele mi-o zbice,
Rea d-umbrija imi face,
Maica din gura-mi graie:
-Fir~-ai, plopuj, blastamat
De mine, de fiuj sfant,
25 Car~-o nascut pe pamant.
Dete Maic' a pusteni
Cam pa plagea raiului,
Nicairi nu-mi hodine.
Pana ie cand ajunge
30 La capatu plaiului,
Puse 'n jos sa hodineasca
Sub d-umbrii de tisa verde.
Tisa verde dac' 0 vede,
Cu c1oambel~-o acopere,
35 Buna d-umbra mi-~i face.
Dete Maic' d-aldui:
-Fir~-ai. tisa, alduita
De mine, de fiul sfant,
Car~-o nascut pa pamant!
40 Fie vara, fie iama,
Frunza ta verde sa steie!
1'., [oj /lorj dalbe 'n doj d'e mary!
(82a. Var. Paucine~d)
I05t.
C'o nascut, Doamn~,-o
1'.,
C'o nascut un fiul sfanty,
D'un fiu sfant pa ist pamanty,
~i n'o ~t'im d'-ind'~-o
5 Colo jos, colo mai jOSY
D-inde-i locu sacatos.
~i fiul sa d-obosise,
Maica Sfanta 'n poala-l puse,
Tat il duse, cat il duse
lOLa d-umbra da plopuj verde.
1 = sa.
2 La fon.: Supt un cier ... nascuty.
C II c)
~i fiul sa d-obosise,
Maica Sfanta jos il puse,
Plop verde d-umbra nu-i dede
Maica Sfanta 'n poala-l puse,
15 Tat il duse, cat il duse
La d-umbra da loaza verde.
~i fiul sa d-obosise,
Maica Sfanta jos il puse,
Loaza verde d-umbra-i dede.
20 Maica Sfanta-~i graira:
-Fir~-ai, loaza, d-alduita,
~i1 fii iama ca vara!
Plopuj, ~i 1 fii blastamat,
~i 1 fii vara ca iama!
r. Ca-~j /loril'lJ.-a marului!
(44c. ~oimi if)
l05u.
Si-o nascutu, mni-o nascuty,
1'.,
Ca ~i-o nascut d-on fiu sfanty.
~i nu ~tim indi-o nascuty ?
tn brajii la Tatal Sfant.
5 Maica Sfanta 'n braja-l prinse,
Tat il duse, cat il duse,
Fiul mic sa obosise.
8-10 = lOSt. 12, 10. 13
Maica Sfanta 'n braja-l prinse,
Tat il duse, cat il duse,
Fiul mic sa d-obosise.
nascuty, 14-21 = lOSt. 18, 16, 19-24
r. Ca-~j floril'lJ.-a maruluj!
(44b. Ginta-Rohani if)
l05v.
nascuty. Nascut-o, Doamne, nascuty,
r.,
[Fiul sfantu s-o nascutyJ2
Supt un cier pe ast pamanty,
Suptu-i soare ce rasare.
5 Maica Sfanta 'n braja-l duse
6,7= lOSt. 16, 19
[ 484 ]

Nowhere took she any rest
15 Until she had made her way
To the middle of the heights;
(There) she sat down to get rested
In the shade of a green poplar.
The green poplar, when it saw her,
20 With (its) limbs it whipped (at) her,196
Wretched shade it made (for her).
Said the (Holy) Mother (then):
Poplar, may you be accursed
By me (and) the Holy Son,
25 Who was born upon the earth.
(Holy) Mother hastened off,
(Upward) toward heaven's heights;
Nowhere took she any rest
Until she had made her way
30 To the summit of the heights;
(There) she sat down to get rested
In the shade of a green yew tree.
The green yew tree, when it saw her,
With its limbs it covered her,
35 Goodly shade it made (for her).
Blessed the (Holy) Mother (then):
Yew tree, blessings be upon you
From me (and) the Holy Son,
Who was born upon the earth!
40 Be it summer, be it winter,
Ever green shall be your leafage!
Retrain: Hoy, white blossoms ot the
apple/
I05t.
There was born, Lord, there was born,
Retrain
There was born a Holy Son,
On this earth a Holy Son;
We don't know where lie was born.
5 Down below there, lower down,
Where it is a droughty place.
And the (Holy) Son gr~w weary,
In her lap the Mother put Him,
Carried Him until she got Him
10 To the shade of a green poplar.
198 Alternative reading for this verse: With (its) limbs it dried her up.
197 Specifically, wasa designates the grapevine; but generically it may refer to any variety of
vines. Here it obviously designates ivy.
198 The word cier (recte: cer) means both sky and a variety of oak (Quercus cerns). Articu-
lated, as it is in this text, the latter meaning seems to be intended.
199 Author's manuscript footnote: In the recording: Neath an oak ••• born.
C II c)
And the (Holy) Son grew weary,
Down the Holy Mother set Him,
The green poplar no shade gave Him.
In her lap the Mother put Him,
15 Carried Him until she got Him
To the shade of a green ivy.197
And the (Holy) Son grew weary,
Down the Holy Mother set Him,
(Goodly) shade the green vine gave
Him.
20 (Thereat) said the Holy Mother:
Blessings be upon you, ivy;
Be in winter as in summer!
Poplar, may you be accursed:
Be in summer as in winter!
Retrain: Like the blooms ot apple tree!
I05u.
He was born, He has been born,
Retrain
For the Holy Son's been born;
We know not: where was He born?
In the Holy Father's arms.
5 In her arms the Holy Mother
Took Him and a while she carried,
(For) the little Son was wearied.
8-10 = 12, 10, 13 of I05t.
In her arms the Holy Mother
Took Him and a while she carried,
(For) the little Son was wearied.
14-21 = 18, 16, 19-24 of I05t.
Retrain: Like the blooms ot apple tree!
I05v.
He was born, Lord, He was born,
Retrain
He was born, the Holy Son,
Neath an oak 198 upon this earth,199
(And) beneath the sun that's rising.
5 In her arms the Mother bore Him
6,7= 16, 19 of I05t.
[ 485 ]

Maiea Sfa,nta 'n brata-l duse
9, 10 = 105t. 16, 19
Maiea Sfanta-l?i d-alduie:
12-15 = 105t. 21-24
r. Ca-~j jloril'e miiruluj!
(44a. Dumbravita de Codru if)
l05x.*
Poruncit-o, poruncit-o,
r"
Io(?) Sfanta Marie Marie
I: 10 Sfa,nta Marie Marie: I
La Sfanta Dumineearie,
5 Ie d'e bine sa sa gat'e-
Sa-mi boteze un fiu sfant,
Car' l?i-o naseut pe pamant.
Ie de bine sa gata,
Frumos dar imi radica
10 ~i sa dara d'a pleea~
Pa eel plai picior de rai.
Cand ie d-imi ea d-ajunge
13-14 = 105s. 16-17
15 S\I-O tufa de ploput verde.
16-18 = 105s. 19-21
Maiea-mi det~-a blastama:
20-22= 105s.23-25
Fie vara, fie iarna,
Bata vantu, fie 'neet,
25 Frunza te sa nu mai ste.
Iar sa dara d'a pleeam
Pa eel plai picior de rai.
Cand F~ d-imi ea d-ajunge
La un alt mijloe de pIal.
30 Puse 'n jos sa hodineasea
S\I-O tufa de tisa verde.
32-39 = 105s.33-40
40 Iar sa dara d'a pleeam
Pa eel plai picior de rai.
Candu ie ea-mi d-ajunge
La eapatu plaiului
La fantana raiului,
45 Puse jos sa hodineasea
~i sa dara d'a spalara
~i pa fata l?i pa brata
~i 'n fantana sa uita,
1 = ~i.
2 = fiu.
[ 486 ]
C II c)
Mandra floare mi-jp vede.
50 Puse mana l?i 0 franse,
Peste daruri ea mi-o puse.
Iar sa dara d'a pleea~
Pa eararea raiului.
Cand ie ea s'apropia
55 De eurti alb~-a lui Craeiun,
Vede fiul botezat,
Botezat 'Ii 'nere'itinat.
Ie de eiuda 'Ii d~-obida,
Dete 'n Iordan sa s'arunee,
60 Sa s'arunee sa sa 'neee.
GraiIonu, Sant!aonu:
-Sariti, Sfinti. l?i n'o lasareti.
C'o fi zi mare ea noi,
~i-o fi zi\la Pa'itilor
65 ~i zi\la Rusalelor.
r. Doamne joj Domnuluj Doamne!
(102e. Rau de mori if)
l06a.
I I. I
I: Colo 'n jos 'Ii mai d-in jOSlJ, r. : I
I II. I
in (sic!) jos
ILl rrr.l
I : Est' ~-o dalM manast'ire : I -stir'.
'N manastire cine 'iede?
Maica Sfanta, de cete~te,
5 Pe Dumneze\l pomine'ite.
Vin~-o dalba randune.
-Randune, suflet~-a me,
Ce veste n~-aduei din tara?
-Veste buna, nu prea buna:
10 Umbla Marie Ficioara,
Umbla sa sa betegeasea,
Umbla, ca pruncu sa nasea,
Nime 'n lume nu 0 lasa.
Sa luara 'ntr' 0 poiata,
15 S'o naseut un §i\l2 frumos,
Numile i-a fost Hristos.
D-unde §iu sa na'ite,
Din taeiuni flaeari arde,
D-in gradele luminele,
20 Din paita luminita.
r. Floril'e dalbe!
(61h. Voinieeni ¢)

In her arms the Mother bore Him
9,10= 190fl05t.
Blessed the Holy Mother (then):
12-15 = 21-24 of lOSt.
Refrain: Like the blooms of apple tree!
l05x.
She commanded, she commanded:
Refrain
I, the Blessed Virgin Mary,
I, the Blessed Virgin Mary,
Unto Holy Sunday (saying):
5 Let her for good (deeds) get readied,
To baptize my Holy Son,
Who was born upon (this) earth.
For good (deeds) she readied her,
She took up a handsome gift,
10 And upon her way she started
O'er that height (at) heaven's foot.
When (however) she arrived
13-14 = 16-17 of lOSs.
15 At the foot of a green poplar.
16-18 = 19-21 of lOSs.
Mother (Sunday) cursed (it then) :
20--22 = 23-25 of lOSs.
Be it summer, be it winter,
Be there wind or be it still,
25 May your leafage ne'er be quiet.
Once more on her way she started
O'er the heights (at) heaven's foot.
When (however) she arrived
At another middling height,
30 She lay down for to get rested
At the foot of a green yew tree.
32-39 = 33--40 of lOSs.
40 Once more on her way she started
O'er the heights (at) heaven's foot.
When (however) she arrived
At the summit of the heights,
By the side of heaven's well,
45 She lay down for to get rested;
Thereupon she started washing
Both her arms and visage (bathing),
And looked (down) into the well;
[ 487 ]
C II c)
Saw a beauteous flower (there).
50 She put out her hand and plucked it,
O'er the (other) gifts she laid it.
Once more on her way she started,
(Walking) upon heaven's path.
As she started drawing near
55 Unto Christmas's white house,
(Lo,) she saw the Son baptized,
All baptized, a Christian made.
She, for anger and vexation,
Made to leap into the Jordan,
60 To jnmp in, herself a-drowning.
John, Saint John, spoke out (however)
Leap up, saints, and do not let her;
She might be, like us, a feast,
And she could be Easter Day
65 And the day of Pentecost.
Refrain: Lord, hoy, for the Lord
Almighty!
l06a.
There below, and lower down,
Refrain
There is a white monastery.
Who sits in the monastery?
(Tis) the Holy Mother, reading
5 (And) of the Almighty thinking.
A white swallow comes along:
(Little) swallow, soul of mine,
From the land what tidings bring you?
Goodly tidings, not too goodly:
10 Wandering's the Virgin Mary,
(Fit) to lame herself she's walking,
For to bear her babe she's wand'ring;
No one in the world will have her.
In a cattle shed she went,
15 And gave birth to a fair Son,
(And) His name was (Jesus) Christ.
As the Son was being born,
From (dead) embers flames burned up,
From the hurdles, little candles,
20 From the straw, a little taper.
Refrain: La, the white blossoms!

l06b.
I
I: Coborit-o, coborit!,
I.
Y. : -rit!
I: tngeru Domnului Sfan~ : I
I: Pe turnu besericii-~
La icoana Precistii.
5 Icoana mni-l intrebara :
Ce vest~-ai adus in tara?
-Veste bun' 0 fost ~i iara:
Maria Ficioara fata
1-0 sosit vremea sa nasca,
10 $i umblii din casa 'n casa,
Nime 'n lume nu 0 lasa.
Cand 0 fo' de catra sara,
tntr' un grajd sa a~ezara;
$i-o nascut pe fan uscat
15 Pe Hristos mare 'mparat.
Frumos nume ~i i-a pus:
Isus Hristos eel de sus:
Frumos nume ~i i-a dat:
Isus Hristos imparat.
Y. Floril'e dalbe!
(62f. Or~ova </»
l06c.
Coborit-o coborltl!,
Y.,
Sfanta,
t ngeru IUl. D omnu { Sfant-
tngeru lui Domnu Sfantl!
Pe turnu bisericei (sic!),
5 Pe turnu bisericii-~ (sic!)
La icoane Precistii
Icoan' a prins a 'ntrebare:
-Ce vest~ai adus in tara?
-Veste bun' 0 fost ~i iara :
10 Maria fata Ficioara
1-0 vinit vremea sa nasca,
$i umbla din casa 'n casa
$i nime 'n lume n'o lasa.
Cand i col' de catra sara,
1 = fiut.
C II c)
15 tntr' un grajd sa a~ezara.
II ITIl
Y.Doamn', Doamn' ~:i-a nos' Doamn'!
(l04h. Hodac </»
l06d.
:I I: Sulcina verde 'nvrajity : I,
Y.,
I: Sa ridic' 0
I----r.-J fILl
slujbii-i sfanta : I sfant'.
I: Slujba-i sfanta, cin~-o
ILl
cant! : I
rrr-I
cant'? 0
Canta noya popt'i biitrani
5 $i ~epte calugarei
$i ~ase dieciii
Gral-mi eel preot mai mare:
-Ia-mi ie~iti 0 tar' afarii,
De vedeti ce n'ati vazut:
10 Clopot galbin tinganind,
C'o nascut ~i fiul sfant,
Fiul sfant pr~-acest pamant.
Leaganel de d-argintel,
Bate vantulleaganul,
15 Ploaie ploy.a de ni-l scalde,
Ninge, ninge de ni-l unga.
Y. ~i-a nos' Domnul Dumneze1J!
(75b. Niere~teu ¢)
l07a.
Asta-i sara mare,
Mare d'e Craciuny:
S'o nascut un §iyt,1
I: ?,iy far d'e pacat'e
5 D'in Maica Curat'.
Tri lngeri din ceri
De vest~-o ay prins,
Lor ca l-ay cerut:
-Da ni-l noya, maica,
10 Sa ti-l botezam,
Sa ti-l cre~tinam.
Lor ca Ii l-ay dat,
[ 488 ]

l06b.
He descended, he came down,
Refrain
Of the Holy Lord the angel,
On the steeple of the church,
To the Virgin's icon (came).
5 Asked of him the (holy) icon:
In the land, what tidings brought you?
Once again 'twas goodly tidings:
(La,) the (Holy) Virgin Mary's
Time to bear her Babe's upon her,
10 And from house to house she's going;
No one in the world will have her.
When the time drew toward evening,
In a stable she did settle,
And on dry hay she gave birth
15 To Christ, the great emperor.
Handsome name bestowed on Him:
Jesus Christ from up above;
Beauteous name she gave to Him:
Jesus Christ, the Emperor.
Refrain: La, the white blossoms!
l06c.
He descended, he descended,
Refrain
Of the Holy Lord the angel,
Of the Holy Lord the angel,
On the tower of the church,
5 On the steeple of the church,
To the Virgin's icon (down).
(La,) the icon started asking:
In the land, what tidings brought you?
Once more it has been good tidings:
10 (Lo,) the (Holy) Virgin Mary's
Time to bear her child's upon her,
And from house to house she wanders, 10 That we may baptize,
And none in the world will have her.
As the evening started falling,
200 Alternate reading for this verse: Green sweet clover, stemmed a-growing.
C II c)
15 She took shelter in a stable.
Refrain: Lord, Lord, and Our Lord!
l06d.
Green sweet clover, fraught with
witchcraft, 200
Refrain
They are singing holy service.
Who is singing holy service?
Nine old priests are singing it,
5 Also seven little monks,
And six deacons (chant with them).
Said the oldest of the priests:
Let you go outside a little,
To see what you've not (yet) seen:
10 ('Tis) a yellow bell that rings,
For the Holy Son was born,
On this earth the Holy Son;
(In) a silver cradle (lies),
On the cradle blows the wind,
15 Rain is raining for to bathe Him,
Snow is snowing to anoint Him.
Refrain: And Our Lord Almighty too!
l07a.
This is a great evening,
Great (evening) of Christmas:
A small Son was born,
Free of sins (the) Son (is),
5 Of the Mother pure.
Three angels of heaven
Tidings got of it,
Asked for Him of her:
Give Him to us, Mother,
Christen Him for you.
She gave Him to them,
[ 489 ]
 C II d)
'N poala l-al} luat, 'N ginl 1-0 bot'ezat,
La ral} di l-al} dus,
15 La ral} la lordan. 'N gin 1-0 bot'ezat!,
'N lapte l-al} sdildat, I: Cequl sa-l domneasc' : I,
'N gin 1 l-al} botezat,
Scump nume i-al} dat: 5 Ceriu ~i pamantu.
Isusu-i Hristos, Fain 2 nume i-a pus:
20 Isus fil} de sus, Isus Hiristos;
Cequ sa-I domneasca, Fain nume i-a dat:
Ceriu l/i pamantu Isus imparat.
;ii pe noi pe toU. I.Y. L'eyul'e!
(4. Urisiu de sus if) 2.Y. L'e l'eyul'e!
(23b. Orl/ova 4»
t07b.

I.Y.,

JIl Jll.l
I: 'N lapt'e 1-0 scaldat~ : 1-dat,
2.Y.,

d) THE THREE MAGI

CEI TREI CRA! DE LA RASARIT

t08a. De fumu tiimailor,

De zgomonul 3 sfintilor,
Ce sara-i da asta sara? De zvonu ald'inil'or,4
Y.,
D~-amirosu florilor.
Ca-i sara nascutului, 20 Sus napoi sa Intorceal)
;ii spuneal}, precum vedeal}:
Cand s'al} nascut fiul sfanty, -Noi pre Domnu I-am vazut:
Fiut mic infa~atel,
Fiul sfantu-i pa pamantu-i Fal/atel de bumbacel,
------ 25 Falla alba de matasa.
5 In iesclile boilor, Tot Irod nu sa 'ncredea,
In florile fanului. Sus la curti i~i trimitea,
Cati pari in iescle eral}, Sus de curti n' appropt'ial}
Toti faclii aprin~i ardeal}; De doi miluri de pamant
Cate nuiele 'ngradite, 30 De para faciiilor,
10 Toate-s mandre l/i 'nfrunzite. De fumu tamailor,
Tot Irod nu sa 'ncredea, De sgomonul sfintilor,
Sus la curti il/i trimitea. De zvonu ald'inilor,
Sus de curti n' apropt'ial) D~-amirosu florilor.
De un milu de pamant 35 Sus napoi sa intorceal}
15 De para facliilor,

1 = vin.
2 = ales « fajn, ung. < fein, nem/.).
3 = sgomotul.
4 = albinelor.

[ 490 ]

In their lap they took Him,
To the river bore Him,
15 To the river Jordan;
They bathed Him in milk, 5 O'er the earth and heaven;
Christened Him in wine,
Gave Him precious name:
He is Jesus Christ,
20 Jesus, lofty Son.
He shall rule o'er heaven,
(Over) heaven and earth (too),
(Rule) both earth and heaven.
l07b.
Ist Refrain
They bathed Him in milk,
2nd Refrain
d) THE THREE MAGI
l08a.
(Say,) what evening is this evening?
Refrain
'Tis the evening of the Birth,
20
When the Holy Son was born;
On (this) earth the Holy Son is
5 In the manger of the beeves,
Mid the flowers of the hay.
Of the manger, all the stakes
25
Were so many candles lit;
(And) the switches of the fencing
10 All were beauteous and in leafage.
Herod still would not believe;
(Men) he sent up to the court.
Closer up they couldn't get
30
Than a mile above the earth,
15 For the blazing of the candles,
35
[ 491 ]
C II d)
Christened Him in wine,
Christened Him in wine,
To rule over heaven,
Gave Him a fine name:
(Called Him) Jesus Christ;
Named Him a fine name:
Jesus Emperor.
Ist Refrain: Carol we!
2nd Refrain: Sing, carol we!
For the smoking of the incense,
For the rumor of the saints,
For the buzzing of the bees,
For the fragrance of the flowers.
Back they turned (from up) above,
And they told what they had seen:
We have seen the (Holy) Lord,
The small Son in swaddling clothes,
(All in) cotton swaddling clothes,
(Wrapped about in) white silk
wrappings.
Herod still would not believe,
He sent (others) to the court.
Closer up they couldn't get
Than two miles above the earth,
For the blazing of the candles,
For the smoking of the incense,
For the rumor of the saints,
For the buzzing of the bees,
For the fragrance of the flowers.
Back they turned (from up) above,

$i spunealJ, precum vedealJ:
-Noi pre Domnu I-am vazut:
Holtera~u-i prin ora~
Cu iedira 'n chivarea,
40 Cum ii randul junilor,
Junilor pe la Craciun.
Tot Irod nu sa 'ncredea,
Sus la curti i~i trimetea.
Sus de curti n'apropt'ialJ
45 De tri miluri de pamant
De para facIiilor,
De fumul tamailor,
De sgomonul sfintilor,
De zvonu ald'inilor,
50 D~-amirosu florilor.
Sus napoi sa intorcealJ
$i spunealJ, precum vedealJ:
-Noi pre Domnu I-am vazut,
Cum ii omlJ-amniaza om,
55 Cand i~i da pe batrineatii
$i mestidi 'ncarunte~te.
Atunci Irod sa 'ncredea,
Foarte bine-i daruia
Cu tri margini de tamaie
60 $i cu tri iar de facIie.
r. Domn d'in cerj!
(36. Fene~ if)
l08b.
Sus la curt'ea lui Craciun~,
r.,
Lui Craciun celui batrann,
Frumos lumina sa ved~ui,
Ca mi-o nascut fiul sfantn
5 Fiul sfant pre iast pamantui.
*- - - - - - - - - - De tri miluri de pamant
NealJa ninge d'e mi-l unge,
Ploaie plolJa d'e mi-l scalda,
Tri zi norii mi-l apleaca,
10 Vantu-mi bat'e ~i-Ileagana.
StealJa 'n cer mi s'o ivit,
Vestea 'n tara mi-o sosit,
Vestea 'n tara, pasta tara
1 = soli.
[ 492 ]
C II d)
La cel Hirod imparatu.
15 Liverzi verzi mi-or inverzit,
Codri-z negrii mi-o 'nfrunzit,
Campii-z dalbi mi-o d-influrit,
Vestea 'n tara mio sosit,
Vestea 'n tara pasta tara
20 La cel Hirod imparatu.
Nici a~e nu sa 'ncrede, A
Doilea sulurF d-imi gate,
Le gat'e, Ie trimite
La cel Hirod imparatu.
25 Sa gat'e ~i sa duce-re
$i nu-mi poci apropia-!:§
De tri miluri de pamant
De zvonu albinilor
De grohotu broa~telor,
30 De vopaie focului.
r. L'eruj Doamne!
(52a. Ciarbal if)
l08e.
Da ce sara-i d-asta sara?
r.,
Sara-i mare lui d-Ajunn
D'espre zilJa lu' Craciunn.
D'e can' DomnullJo nascutn,
5 St'ea~a mar~-o riisarit~,
Rasaritn, luminatn
$i n~-o binecuvantat.
Iar ~i Domnul ca ~i-un domn
Gat'e sol ~i-l trimite
10 La curti dalb~-a lui Craciun.
N u pute apropia
De grohotu broa~telor.
Iar' ~i Domnul ca ~i-un domn
15 Iar napoi de sa 'ntorcea,
Gate sol ~i-l trimite
La curti dalb~-a lui Craciun.
Nu pute apropia
De tri miluri pamant
20 De ~uieru ~erpilor.
Iar ~i Domnul ca ~i-un domn
Iar napoi de sa 'ntorcea

And they told what they had seen:
We have seen the (Holy) Lord,
He's a young man about town, 201
Ivy on His helmet (wears),
40 As young lads are wont to do,
Around Christmas, the young lads.
Herod still would not believe,
He sent (others) to the court.
Closer up they couldn't get
45 Than three miles above the earth,
For the blazing of the candles,
For the smoking of the incense,
For the rumor of the saints,
For the buzzing of the bees,
50 For the fragrance of the flowers.
Back they turned (from up) above,
And they told what they had seen:
We have seen the (Holy) Lord
As a man of middle age,
55 When old age he is approaching,
And (his hair) starts to get hoary.202
Thereupon Herod believed,
Very well rewarded them
With three hundredweights of
incense 203
60 And another three of candles.
Refrain: Lord of heaven!
lOSb.
High up, at the house of Christmas,
Refrain
(At the house) of Old Man Christmas,
Beauteous lighting could be seen,
For the Holy Son was born,
5 Holy Son upon this earth.
Snow is snowing to anoint Him,
Rain is raining for to bathe Him,
Three days by the clouds He's suckled,
10 Wind is blowing and it rocks Him.
The star's risen in the sky,
Tidings in the land have come,
Tidings in the land (and) o'er it,
C II d)
To the emperor, that Herod.
15 (Lo,) the orchards have waxed green,
The black forests have grown leaves,
The white fields have blossomed out,
Tidings in the land have come,
Tidings in the land (and) o'er it
20 To the emperor, that Herod.
Even so, he trusted not,
Once more readied messengers,
Readied them (and) sent them off
To the emperor, that Herod.
25 They got ready, off they started,
They could not get any closer
Than three miles above the earth,
For the croaking of the frogs,
For the blazing of the fire.
Refrain: Lord, I carol!
lOSe.
But what evening is this evening?
Refrain
It is the great eve of Christmas,
(Drawing) toward Christmas Day.
Ever since the Lord was born,
5 The great star is risen up;
It is risen (and) it's shining,
Bringing blessings unto us.
And the Lord, too, like a king,
Readied, sent a herald off
10 To Christmas's mansion white.
He could not get nearer
Than three miles above the earth,
For the croaking of the frogs.
And the Lord, too, like a king,
15 When (the herald) had returned,
Readied, sent a herald off
To Christmas's mansion white.
He could get no nearer
Than three miles above the earth,
20 For the hissing of the snakes.
And the Lord, too, like a king,
When (the herald) had returned,

201 This is a quite literal translation of the original verse. Oddly familiar and modern though
it sounds, it is a sheer coincidence of sense, since there is no exact equivalent in Rumanian of
"a man about town." In other words, coining an unusual phrase, the anonymous composer of
this ballad has hit on the notion of "young man about town."
202 This verse is erroneously transcribed; it should read: !ji mi-este cd 'ncdrunte§te.
203 The word 1nargini (edges, by extension: snippets or tag-ends) is apparently meant to
stand for mdfi (the plural of maid), obsolete measures of weight of approximately 50 kilograms,
formerly used in Hungary.

[ 493 ]

Gat'e sol l/i-l trimite
La curti dalb~-a lui Craciun.
25 Nu pute d-apropia
De tri miluq de pamant
De boarea facliilor
De duhu tamA.ilor.
r. Leruj Doamne!
(52b. Ferel/d 4»
IOSd.
I I.
I: Colo jos, colo mai susy, 1'. : I susy
I: Mult zgomotu-i, Doamne, stra.nsy : I
I: Tat d'ai Sfinti da cei mai sfinna : I,
Cy-aposotoij invaluiti.
5 $i d-Irodu Ie gat'e
Tri catane scaliireti
Cu tri caii-s buni domnel/ij,
Cu d-armele 'mparatel/ti.
Luara-sa, dusara-sa.
10 Cu tri banii jidovel/ti
La tA.rgu da TA.rgovel/ti.
Dac' acolo sosie,
Tati-a-tri il/i tA.rguie.
Da unul il/i tA.rguie
15 Tat d-aurii strecurati;
D-a doile i!/i ta.rguie
Tat tamA,ie d' -acea dalba ;
D-a trile i!/i ta.rguie
Tat zmimuta da cea scumpa.
20 Luara-sa, dusara-sa
Colo sus, colo mai jos,
D-inde-s campi! mai frumo!/i
Mai frumol1i, mai florico!/i.
D-acolo nu poci strabate
25 Da mnirosu florilor,
Da zMngu d-albinilor.
1 margeJe?
C II d)
$i d'acolo sa 'ntumara,
Luara-sa, dusara-sa
Colo sus, colo mai jos,
30 D-inde-s cA.mpii mai frumol/i,
Mai frumol/i mai sacatol/i.
Dac' acolo sosie,
Tati-a tri Ie aprinde,
Fumu 'n sus sa inalta,
35 Cequ 'n josu sa liisa,
Fiul sfA.ntu s'arata,
Cum ii pruncu mai sobol.
D-a doile i!/i s'arata,
I Ill.l
40
Cum ij fecior mai fecior,
Da-i mai drag boierilor.
D-a trile i!/i s'arata,
Cum ii yomu mniez da yom,
CA.nd strabate, 'ncaruntel/te,
$i mi-l/i calcii legi direpte.
45 Luara-sa, dusara-sa
Sfadindu-sa, pildindu-sa,
ca ij veste ce !ii-or duce
La d-Irodu d-imparatu,
Ca credere n'or d-ave
50 $i lor capu l~-or taie.
1'. Domnuluj Doamne!
(58a. Dumbravita de codru if)
lOSe.
Crescut-o, rasarit-o-qe
Doya stele luminoa8e."
1'.,
Steaya mA.ndr' araduie-~,l
Filozofii dupa e-qe
5 PA.n' la curtea lui Pilat.
Steaya sta !ii sa salta,
Filozofij 'n luntru 'ntrara,
Buna ziya buna -!ii dara.
$i Pilatu-i d-intreba:
[ 494 ]

Readied, sent a herald off
To Christmas's mansion white.
25 He could get no nearer
Than three miles above the earth,
For the reek of candles (lit),
For the smell of incenses.
Refrain: Lord, I carol!
lOSd.
(Lo,) down there, there, higher up,
Refrain
There's much noise, Lord, there are
gathered
But the holiest of saints,
With apostles ringed about.
5 (Behold,) Herod fitted out
Three (fine) mounted fighting men
With three lordly horses fine,
With the emperor's own arms.
They set out, they made their way,
10 Took along three Jewish pence,
To the fair of Targoveshti. 204
Just as soon as they got there,
All three made their purchases.
One (of them) bought for himself
15 Only (finest) sifted gold;
For himself the second bought
Only incense of the whitest;
(And) the third bought for himself
Only the most precious myrrh.
20 They set out, they made their way
(Both) up there (and) down there (too),
Where the fairest meadows are,
Fairest (and) most flowery.
Thence they could go through no
longer,
25 For the fragrance of the flowers,
For the buzzing of the bees.
C II d)
And they turned about from thither,
They set out, they made their way
(Both) up there (and) down there (too),
30 Where the fairest meadows are,
Handsomest (and) droughtiest.
Just as soon as they got there,
All three lit (the things they'd
bought);
(Lo,) the smoke rose up on high,
35 (While) the sky sank lower down,
(And) the Holy Son appeared
As most ratlike is a babe. 205
He appeared a second time
As most youthlike is a youth,
40 As he's best loved by the lords. 206
A third time He showed Himself
As a man of middling years,
When he gets on (and) grows hoary,
And within straight rules walks (fitly).
45 They set out, they made their way,
Quarreling (and) taking counsel
What report to bring back with them
To (their master,) Emperor Herod,
For they wouldn't be believed,
50 And beheaded they would be.
Refrain: To the Almighty!
lOSe.
There have waxed (and) there have
risen
Two stars (very) brightly shining.
Refrain
Onward the fine star proceeded,
The philosophers behind it,
5 All the way to Pilate's court.
The star stopped and leaped (about),
In went the philosophers.
A good day they gave in greeting,
Whereat Pilate asked of them:

204 Targove$ti (three syllables, with the accent on the last one) is apparently meant to
designate Tirgovi~te (four syllables, with the accent on the second one), the ancient capital of
Wallachia, now but a second-rate city. The name, however, is obviously chosen merely for
alliterative purposes: tdrg (fair, market, or town, a targui (to shop or buy).
205 This odd way of describing a babe in arms, which will be encountered again in several of
the texts that follow, has, of course, no pejorative implications. It should be noted that the
word sobol is commonly accepted in Rumanian to signify a mole (Talpa europaea), and obvious-
ly "molelike" most aptly describes a newborn baby. However, just as in Moldavia sobol de-
signates the sable, in Oltenia and in the Banat (these texts originate in the latter province) it
denotes the common rat.
206 It is hardly necessary to stress that there is nothing "abnormal" implied in this verse.
What it is meant to convey is simply "as a lord would wish his son to be."

[ 495 ]

10 -Ce cercati vol, filozofi?
-Ca nol, Pilate, cercam,
C'am auzit c'o nascut
D'un fil} sfant pa ist pamant,
$i nu-l ~tim d-ind~-o nascut.
15 -Nu-i d-aici d-in curte' me,
Poate 'n curte' lui Irod.
Steal}a mandr' araduie,
Filozofii dupa ie,
Pan' la curtea lui Irod.
20 Steal}a sta ~i sa salta,
Filozofii luntru 'ntrara,
Buna zil}a buna-~i dara.
$i d-Irodu-i d-intrebara:
-Ce cercati vol, filozofi?
25 -Ca noi, d-Iroade, cercam,
C'am auzit c'o nascut
D'un fil} sfant pa ist pamant,
$i nu-l i?tim d-ind~-o nascut.
-Nu-i d-aici d-in curte' me,
30 Poate 'n curtea lui Craciun.
Stel}a mandr' araduie,
Filozofii dupa ie
Pan' la curtea lui Craciun.
Steal}a sta i?i sa salta,
35 Filozofii 'n luntru 'ntrara.
Buna zil}a buna -~i dara.
$i Craciunu-i d-intrebara:
-Ce cercati vol, filozofi?
-Ca noL Craciune, cercam,
40 C'am auzit e'o naseut
D-un fil} sfant pa ist pamant
$i nu-l ~tim d-ind~-o nascut.
-Treee 'n luntru ~i 'ndarat:
Matatel d-infa~atel,
45 Fa~e dalbe de matasa,
Scuteea~ de bumbiiea~,
Leganai? de miergana~.l
Neal}a ninge, mandru-l unge,
Ploaie calda bine-l scalda,
50 Sufla vantu dupa mare
$i leagana ~i mai tare;
Sufla vantu din sanin
$i leagana cat'ilin.
Steal}a mandr' ariiduie,
55 Filozofii dupa ie
La targu la Targoveci;
1 = margele?
2 = pornea « indul, ung.).
[ 496 ]
C II d)
Mandru targu -9i targuie:
D-o tri majii de tamaie
$i alte tri de faclii
60 $i pa fiul sfant cinste,
Maica Sfanta-i?i graira :
-Cinsteasca -va Dumnezel},
Cum cinstiti voi fiu miel}!
r. Corind' e mi Doamn'!
(73c. $oimi if)
108f.
Iei?it-o, Doamne, iei?it-o
o stea mandra luminoasa
Cu dou' raze sus pa cer
$i cu d-una-i pa pamant.
5 $i steal}a indaluie,2
Filozofii dupa ie,
Colo jos, colo mai jos,
Jos in curtea lui d-Irod.
-Buna zil}a, sfant d-Iroade!
10 -Sana t0 9i vol, filosofi!
Ce cercati vol, filosofi?
-Noi, d-Iroade, ca cercam,
Ca ni s'o d-ascuns steal}a,
Ba nu i?tim d-indi-o cerca.
15 Pasati vol, tri filozofi,
Colo sus, colo mai sus,
Sus in curtea lui Craciun.
Dae' aeolo SOSle:
-Buna zil}a, stant Craeiune!
20 -Sanatoi?i vol, filozofi!
-Ct' cercati vol, filozofi?
Nol, Craciune, ca eeream,
Ca ni s'o d-aseuns steal}a
Ba nu i?tim d-indi-o cerca.
25 Da steal}a Ii sa ive-@
In tri randurl, in tri chipuri:
Cand s'arat' ad-una oara,
Cum ii omu jumatate
De strabate 'ncaruntat,
30 Da-i mai bun de l'egi direpte;
Cand s'arat' a dOl}a oara,
Cum ii pruncu mai sobolu
De li-i drag oaminilor.
Cand s'arat' a tria oara,
35 Scutecai? de bumbiicai?
Legana~ de iergana~,

10 What seek you, philosophers?
Pilate, (this is) what we seek:
We have heard that there was born
On this earth a Holy Son,
And we know not where He's born.
15 He is not here, in my court;
Maybe (He's) at Herod's court.
The fine star got under way,
The philosophers behind,
All the way to Herod's court.
20 The star stopped and leaped (about),
In went the philosophers.
A good day they gave in greeting,
Whereat Herod asked of them:
What seek you, philosophers?
25 Herod, (this is) what we seek:
We have heard that there was born
On this earth a Holy Son,
And we know not where He's born.
He is not here, in my court;
30 Maybe (He's) at Christmas' court.
The fine star got under way,
The philosophers behind,
All the way to Christmas' court.
The star stopped and leaped (about),
35 In went the philosophers.
A good day they gave in greeting,
Whereat Christmas asked of them:
What seek you, philosophers?
Christmas, (this is) what we seek:
40 We have heard that there was born
On this earth a Holy Son,
And we know not where He's born.
Go inside and (come) back (here).
(Lo, the) tiny (babe) wrapped up,
45 (Wrapped about in)white silks waddles,
(In) a cotton longcloth (too),
(Lying in) a crib of pearl.2 07
Snows the snow, nicely anoints Him,
(And the) warm rain nicely bathes
Him;
50 From the sea, the wind is blowing,
And it rocks (Him) still more strongly;
Blows the wind out of the blue,
And it rocks (Him) evenly.
The fine star got under way,
55 The philosophers behind,
To the fair at Targovetch; 208
207 The material specified in the original text may be coral (margean), though pearl (miir-
garitar) seems somewhat more likely.
208 See footnote 202 concerning
C II d)
Beauteous purchases they made
Of three hundredweights of incense
And another three of candles,
60 To the Holy Son made gift.
Said the Holy Mother (then):
May the Lord begift you (too),
Just as you begift my Son!
Refrain: I carol, Lord!
IOSf.
There's come up, Lord, there's arisen
A fine star (that's) lighting brightly,
With two beams up in the sky,
And with one upon the earth.
5 And the star got under way,
The philosophers pursued,
There below, there, lower down,
Into Herod's court, below.
A good day to you, Saint Herod!
10 Health to you, philosophers!
What seek you, philosophers?
We, Herod, are seeking (now),
For the star is hid from us;
Yet we know not where to seek.
15 Seek on, three philosophers,
There, above, there, higher up,
At the court of Christmas, high.
When they got unto that place,
A good day to you, Saint Christmas!
20 Health to you, philosophers!
What seek you, philosophers?
We, Christmas, are seeking (now),
For the star is hid from us;
Yet we know not where to seek.
25 But the star appeared to them:
Thrice (they saw it) in three guises:
It appeared to them the first time
As a man (of) middling (years) is,
When (his hair) starts going grey,
30 When he's best at righteous rulings.
It appeared a second time (then)
As a babe (that) is most ratlike
(And) by people most beloved.
It appeared to them a third time
35 (Wrapped in) cotton swaddling clothes,
(In a) crib of linen sheet,
Targove~ti.
[ 497 ]
 C II d)
Cu d-o margea de tamaie Ca ne 'nchinam fiului cu
~i cu-d-una de faclie. Doi colaci de gralJ mandru
r. Corinde mi Doamn'l ~i cu d-alti doi de d-argintu.
(73d. Urvi~ if) r. Corinde mi Doamn'l
(73m. Dumbravita de codru if)
l08g.
,: Crescut-o ~i-mi rasarit-o : ,.
l08h.
r., Rasarit-o, rasarit-o,
r.,
D-o ste mandra luminoasa.
Pana stealJa rasare, D-o stea mandra luminoasa.
Filosclovi pa caIii cete. Nime 'n lume n'o mai vede,
5 Mandra stealJ' araduie 1 Numai doi-tri filozofi.
Tat saItand ~i luminand,
Filosclovi isteti marge. r. Hoi lele ler flori de marl
Cand i~i era la d-un loc, (42b. Delan </»
La d-un loc, ca la mijloc,
10 Pa la curtea lui Irod, l08i.
Stea1)a sta, mandru-mi salta,
Filosclovi in curte 'ntra, Mare-i sara d-in asara,
Zi1)a buna, Doamne,-~i da. r.,
~i d-Irod a~e graie:
C'o nascut ~i Domnul Sfant,
15 --Ce cercati VOl, filosclovi?
-Noi, d-Iroade, ne cercam Domnul Sfant pa ast pamant
Dup' un filJ sfant c~-o nascut, In ieslele boilor,
Ca nu ~tim d-ind~-o nascut, 5 In turii?tea oilor,
Suptu-i ceri pa ist pamant, In jocutu mneilor.
20 Suptu-i soare ce rasare. Jidovgii 0 d-oblicit,
~i d-Irod a~e graie
Man' un sol nebotezat
-Ia cercati. doara-l d-aflati Cn cizme negre 'nca1tat,
~i la mine-mi veste dati. 10 Cu par galbin retezat.
Mandra stealJ' a raduie Nu putur' apropt'ie
25 Tat saltand ~i luminand, De fumu tamailor,
Filosclovi isteti marge. De para facliilor,
Cand ii?i era la d-un loc, De zbarnet albinilor,
La d-un loc ca la mijloc 15 D~-amninosu florilor.
Pa la curtea lui Craciun,
30 StealJa sta, mandru-mi salta, r. Ler Doamnelel
Filosclovi in curte 'ntra, (53b. Idicel </»
ZilJa buna, Doamne,-i?i da,
~i Craciun-i d-intreba: l08j.
-Ce cercati voi, filosclovi?
35 -Noi, Craciune, ne cercam 'N Vifleimul jidovescy,
Dup' un filJ sfant c~-o nascut, r.,
Ca nu ~tim d-ind~-o nascut. S'o nascut Domnul cieriescy,
~i Craciun a~a graia:
-Poate 'n iesclea boilor, I: S'o nascut Domnul cieriescy : ,.
40 D-in £lorile finului
In paile graului. ., Cand atunci imparatea-rie

1 = pornea « ered, ung.).

[ 498 ]

With a hundredweight of incense
And another one of candles.
Refrain: I'm caroling, Lord!
108g.
There has waxed and there is risen
A star beautiful (and) lightsome.
Refrain
E'en before the star arose,
Wise men read (of it) in books. 209
5 The fine star got under way,
Leaping up and giving light,
The wise men went (after it).
When it came unto a place,
To a place as though midway,
10 To the court of Herod nigh,
The star stopped, leaped wondrously,
(And) the wise men went inside;
A good day they gave, oh Lord,
And thus Herod spoke (to them) :
15 Wise men, what is it you seek?
We, Herod, are seeking (hard)
For a Holy Son that's born,
For we know not where He's born,
Neath the sky, upon this earth,
20 (And) beneath the sun that rises.
And thus Herod spoke (to them) :
Go on seeking, find Him out,
And send tidings unto me.
The fine star got under way,
25 Leaping up and giving light,
The wise men went (after it).
When it came unto a place,
To a place as though midway,
To the court of Christmas nigh,
30 The star stopped, leaped wondrously,
(And) the wise men went inside;
A good day they gave, oh Lord,
Thereat Christmas asked of them;
Wise men, what is it you seek?
35 We, Christmas, are seeking (hard)
For a Holy Son that's born,
For we know not where He's born.
Whereat Christmas thusly spoke:
Maybe in the oxen's stall,
40 Mid the blossoms of the hay,
(And) amidst the straw of wheat.
BOD The word carle (plural: carli) means both book and letter (missive) in Rumanian. Hence
an alternative reading for this verse is: Letters (of it) wise men read.
C II d)
We the Holy Son do worship
With two handsome wheaten cakes,
With two or more of silver (made).
Refrain: I'm caroling, Lord!
108b.
There is risen, there is risen
Refrain
A star beautiful (and) lightsome.
Nobody on earth can see it
But two-three philosophers.
Refrain: Hoy, lass, apple blossoms sing!
1081.
A great evening is this evening,
Refrain
For the Holy Lord was born,
On this earth the Holy Lord,
In the manger of the beeves,
5 In the chaff (left) for the sheep,
Mid the gamboling of lambs,
(But) the Jews got wind of it,
An unchristened herald sent,
With black top boots on his feet,
10 With (his) yellow hair cut (short).
He could not get close (enough),
For the smoke of incenses,
For the flaming of the candles,
For the buzzing of the bees,
15 For the fragrance of the flowers.
Refrain: To the Lord sing!
108j.
(Lo,) in Jewish Bethlehem
There was born the Lord of Heaven,
There was born the Lord of Heaven,
At the time when 'twas the reign
[ 499 ]
 C II d)
5 Iirod crai ~i poruncia-rie, Ca sa taie pe Hristos.
------ Pe Hristos nu l-alJ. tiiiat,
I: Iirod crai !?i poruncia-rie : 1: Tatal Sfant 1-0 aparat.
- Veste mar\::-am auzit (114b. Vidra de mijloc ¢)
Cam de catii rasarit:
Oastea mare s'o izvit 108m.
10 !;ii spre e~l) caliitorit
Magii dela rasarit. Tri era! dela rasarity
A lor cale para sind Cu steal,1' al,1 calatority.
Pe alte cale s'al) dus,
Lui Irod nimic n'al) spus. and stalJ. craii de hodina
4--6 = l08k.4--6
1'. D-oj iunelui t'ine1'jely (sic!) De na~terea d\::-un crai mare.
(81e. Nuc~oara ¢)
(45b. Tritul de jos ¢)

108k.
I: Tri crai dela rasarit : 1
I: Cu steal) 'al,1 calatorit : I·
====
La Rusale d-o ajuns,
Steal)' acolo s'o ascuns.
5 -Noi nu 'ntrebiim de 'mparat,
Ci 'ntrebam de craiu nost',
C' astazi Domnu s'o nascut
D-in ieslili boilor
Infa~at cu fan uscat.
108n.
Tri crai d'ela rasarity
Cu st'eal,1 alJ. caliitorit.
====
Cand in cal'e-~i purcedea-~,
St'eal,1a 'n cal'e 'ngaduia.
5 La Ierusalion s'o dusy,
St'ealJ.a 'n cal'e s'o ascuns.
!;ii Ii-or fost lor d-intrebare
D'\::-o n~tiri d\::-un crai mare.

(121h. Denta ¢) (l14c. Petro~an ¢)

1081. 1080.
Tri crai d'ela rasarity I I. I [If.l
Cu steal,1' al,1 calatorit. I: Tri crai dela riisarity, 1'. : 1-rit,
Cand in cale-~i purcedea,
StealJ.a 'n cale 'ngaduia.
If.l fII.l
I: NOl,1a stele s'or ivity : 1ivit
5 In Ierusalion s'o dusy,
Steal)a 'n cale s'o ascuns.
!;ii li-o fost lor d-intrebaty I 1. I rn.l
D\::-o na!?tir' d\::-un imparat: I: Din curjel\::-a lui Davidy : 1David.
-Unde stiti ca s'al,1 nascut
10 Un crai tanar de curand? I 1.
I: Fiul plange ~i-mi canta, ~i :1 canta,
I fTIl
Ina poi ~i-o intumat.
Oastea lui 0 riidicat,
Multi coconi mici al) taiat: I 1. I rrr.l
Doisprezece mii de prunci 5 I: Cum plange, slova stricar~ : I strica.
15 De doi ani mai mici in jos,
1'. Domnu 'n ce1'jy!
(53a. Mana~tiur r{»

[ 500 ]
 C II d)
5 Of King Herod, (who) commanded, So that Christ might be cut (down).
Of King Herod, (who) commanded. (Behold,) Christ was not cut (down),
We have goodly tidings heard: God the Father shielded Him.
That toward the rising sun,
A great star has shown itself,210
10 And toward it there set out 108m.
The (three) Wise Men of the east. Three kings (coming) from the east
(But), forsaking their own way, With the star went traveling.
By another way they went, As the kings for rest were stopping,
(And) to Herod they said nought. 4-6 = 4-6 of 108k.
Of the birth of a great ruler.
Refrain: Sing unto the youthful
youngster!
108n.
108k. Three kings (coming) from the east
(Lo,) three kings out of the east With the star went traveling.
With the star went traveling. As they were upon the way,
When they reached Jerusalem, (Lo,) the star eased off (its pace).
There the star concealed itself. 5 To Jerusalem they went,
(Lo,) the star hid on its way.
5 We seek not the emperor, And they had to go round asking
But we ask about our King, Of the birth of a great ruler.
For today the Lord was born
In the manger of the beeves,
(And was) swaddled in dry hay.
1080.
Three kings (coming) from the east
Refrain
1081.
Three kings from the rising sun Stars have shown themselves to us 211
With the star went traveling. (Coming) out of David's mansion.
As they went upon their way,
The star lingered on its way. Weeping, singing was the Son,
5 They entered Jerusalem,
(Lo,) the star hid on the way. 5 When He wept, He marred the writing.
And they had to ask (around)
Concerning an emperor's birth: Refrain: Lord in heaven!
Where know you that there was born
10 A young king not long ago?
Back he made his way again,
(And) his army he aroused;
Many infants he cut (down):
(There were slain) twelve thousand
babes,
15 (Infants,) less than two years old,

210 There is an error of transcription in this verse: Oastea mare (the great army) should read
o stea mare (A great star).
211 The initial Noua stele allows an alternative reading for this verse, albeit a somewhat
improbable one: Nine stars into sight have come. The word noua means both "to us" and
"nine" (9).

[ 501 ]

e) THE BAPTISM OF CHRIST
BOTEZAREA LUI HRISTOS
109. [Cf. 105x.]
Poran~it-o,l poran~it-o,
Y.,
lo(?) Santa Marie Marea
La Santa DumiIleca-rie
D'e bii\.e sa sa gat'easca,
5 Sa-mi bot'eza fiul sfanty,
Fiul sfant p'acest pamantu.
Dumineca sa gat'e,
Frumos dar ca mi-~i gat'e
$i sa ll}ara ~i pleca
10 Cam pa plagea (sic!) 2 raiului.
Can' Duminec' ajunge
La miljocu plaiului,
La fantana raiului,
Puse 'n jos sa hodineasca
15 Pa piatra fantanii
$i sa da ~i sa spala
$i pe fata ~i pe brata
$i pa dalba de pelita.
Cand imi fu ~i p'a plecare,
20 Ea 'n fantana sa d-uita,
Lucru mandru ce-mi vede:
Vede-mi dOl}a-tri flori sfante,
Tot din rai is rasarite.
'Ntinse mana ~i Ie franse,
25 Pa cest dar frumos Ie puse.
$i sa ll}ara ~i-mi pleca
Cam pe plagea raiului.
Can' Duminec' ajunge
La capatu plaiului,
30 Puse 'n jos sa-mi hodineasca,
Gasi fil} mic botezat
Tot de lonul, Sant laonu.
Ea de ciuda ~i d~-obida
Dete 'n mare sa sa nece.
35 Grai lonu, Sant laonu:
-Sariti, sfinti. sa n'o lasati!
10 de mic I-am botezat,
1 [Ed.: = poruncit-o.]
2 = plaiu?
3 = sa.
4 = tot.
[ 502 ]
C II e)
De mare I-am cununat,
$i-om fi nana~i d-impreuna,
40 Nana~u lui Dumnezel}.
Y. Domnuluj daj Domnuluj Doamne!
(85b. Paucinei?d ¢)
llOa.
Colo-i jos, colo-i mai josy,
Jos in d-umbra-i ceriului,
Y.,
D-oaspeti mari ce sa gata ?
Gata -~i Maica ~i 3-~i bot' eaza
5 $i-~i bot'eaza-i fiul sau,
Moai?ii mari ce-i?i aduce?
Craciuneasa cea frumoasa.
N ana~ mare ea ce-i?i chiama ?
Pa d-Iaon, pa Sfant laon.
10 Cinste mandra ce-~i pui\.e ?
Doi colaci is d-arginte~ti.
$i 'nca doi is d-aurei?ti,
Ta' 4 din ~apte-s d-impletiti
$i din opt is cununiti.
15 Hoi, bine s'or d-ospata,
De fil} micut s'or uita.
Fiu 'n ceruri sa 'nalta
Peste dari 1/i peste mari,
Peste cele case mari;
20 OJ, bine-s acuperitei
Tat cu tegle mohorlte,
Pa din lontru-s jugravite.
Pa fil} micut nu-l ~tie,
Fara, Doamne, ce-l ~tie?
25 DOl}a zile albe sfint'e.
Una-i Sfanta Dumineca,
Una-i zil}a lui Craciuny.
Catra fil} ca sa duce
Tat in coate 1/i 'n genunche,
 C II e)

e) THE BAPTISM OF CHRIST

109. As (a) grown (man) married Him:

She commanded, she commanded:
Refrain
I, the Holy Virgin Mary,212
(Send word) unto Holy Sunday
For good (things) herself to ready:
5 To baptize my Holy Son,
On this earth the Holy Son.
(Holy) Sunday trimmed herself,
Readied (too) a handsome gift,
And set out upon her way,
10 Along heaven's uplands (went).
(Then,) when Holy Sunday came
To the middle of the heights,
By the side of heaven's well,
She sat down for to get rested
15 On the coping of the well;
And she sat and washed herself,
(Bathed) her face and (bathed) her
arms too,
And her fair white skin (washed also).
When the time came to go onward,213
20 She looked down into the well,
(Lo,) a beauteous thing she saw:
Saw two (or) three holy flowers
All (of them) in heaven growing.
She stretched out her hand and
plucked them,
25 On that handsome gift she set them,214
And set out upon her way,
Along heaven's uplands (went).
(Then,) when Holy Sunday came
To the summit of the heights,
30 She sat down for to get rested,
Found the little Son baptized
By Saint John (had been,) by John.
In her anger and vexation,
In the sea she set to drowning.
35 John, Saint John spoke out a -saying:
Leap up, saints, don't let her (drown)!
As a babe I have baptized Him,
We'll be godparents together,
40 Godparents of (the Lord) God.
Refrain: Give to the Lord, to the
Almighty!
1l0a.
There below, there, lower down,
Neath the shadow of the sky,
Refrain
For great guests, what's readying?
(Holy) Mother's getting ready
5 For to have her Son baptized.
What godmother is she getting?
('Tis) the beauteous Lady Christmas.
What godfather is she getting?
(It is) John, (it is) Saint John.
10 What fine gifts has she set out?
There are silver pastries two
And another two of gold;
They are braided sevenfold,
And are eightfold wreathed about.
15 Hoy, they will be faring well,
The small Son they will forget.
Unto heaven rose the Son,
Over lands (?) and over seas,
(And) above those houses tall:
20 Hoy, how nicely they are roofed,
All with darkling tiles (are covered),
(And) inside they're painted over.
The small Son they didn't know.
Who alone knows Him, oh Lord?
25 Two white holy days (alone do) :
One (of them) is Holy Sunday,
One (of them) is Christmas Day.
Toward the Son they made their way
On their knees and on their elbows,

212 The phrase Santa (recte: Stanta) Maria Mare, found in this text and in others, should be
correctly translated as Saint Mary the Greater, since it corresponds exactly to this way of
designating saints in the Christian hagiology, to distinguish them from the "lesser" ones with
the same name.
213 A possible alternative reading for this verse would be: When it came to bending over.
214 Alternative reading for this verse: O'er that gift she set them nicely.

[ 503 ]

30 Ca lume !1i 1 nu-l jud'ece.
ca 'n lume s'a jud'eca
Tat trupul cu sufletul
~i ceriul cu pamwtul.
r. Corind'e mi Doamn'/
(73b. Coticlet ¢)
110b.
Rasaritl,!.-Oi soarelui
Razamul pamantului,
r.,
Mwdru d-izvor d-izvore-l'e
Tat a sfinti d-apostoli~. -
5 Maiea Sfanta-i sa riid'ica
Pe mijlocu lumii-l'e:
-D-intre voi, sfinti, d-intre noi
Care s'ar put'e afla,
~il boteze fiu miel,!.,
10 Fiu miel,!. ~i finu sal,!.?
-Boteza-ti-l-oi el,!., maiea,
Ca-s laonu, Sant laon.
r. Corind'e mi Doamn'/
(73a. Sambii!1ag ¢)
f) JUDAS' BETRAYAL AND CHRIST'S CRUCIFIXION
TRADAREA LUI IUDA ~I PUNEREA PE CRUCE A LUI HRISTOS
112a.
Tri cocosi negri cantara,
r.,
Zori de zil,!.a ravarsara.
Zori de zil,!.a ravarsara
~i-atunci luda s'o sculara,
5 ~i-atunci luda s'o seulara,
Pe Hristos 11 sarutara
Sarutara !1i-l vandura
La paganii de J idovi.
1 = sa.
2 = rastigne~te.
3 = nevinovat.
4 = vina.
[ 504 ]
C II £)
111.
Pe marginea raului
La apa lordanului
Vedeti lucruri minunate
De toti sfintii la udat'.
5 Astazi !1i domnul laon
Vine el citra lordan;
lar daca s'apropia,
Domnul Hristos ii graia:
-0 mielu lui Dumnezel,!.,
10 Care mi t~-am dorit el,!.,
Mie-mi trebue botez
Cu tin' sa ma luminez.
-Doamne, niei cum nu cutez
Sa 'ndraznesc sa te botez,
15 Ca m'oi arde pe pamant,
Ca iarba uscata 'n vant.
-Vino, !1i nu te mira,
C'~a este voia mea.
laon s'a apropriat,
20 Mwa !1i-o ariidicat,
Pe Hristos 1-0 botezat
Din lordanul cel curat.
(117a. Cooc ¢)
Dar Jidovii un' 1-0 dus?
10 Catra curtea lui Pilat
~i din grai a!1' 0 grait:
-Rastand'e!1te 2 mi-l, Pilate!
Dar Pilat ~a zicea:
-Ba io uu l-oi rastand'i,
15 Ca-i sWge neginovat,3
~i-i pacat pe jos varsat.
~i stragar' a dOl,!.a oarn:
-Rastand'e!1te mi-l, Pilate!
Dar Pilat a!1a zice:
20 -Ba io nu l-oi rastand'i,
C'acarcat I-am judecat,
Gina 4 'ntr' insu n'am aflat.

30 That He might not judge them also;Z16 111.
For on earth there shall be judged
Every body with (its) soul,
And the sky and earth (as well).
Refrain: I'm caroling, Lord!
110b.
(At) the rising of the sun,
(That's) the mainstay of the earth,
Refrain
A fine stream was welling forth,
All of saints and of apostles.
5 (Lo,) the Holy Mother rises
In the midst of (all these) people:
Among you, saints, among us,
Who (is there that) might be found
To baptize my Son (for me),
10 Son of mine and godson his ?
I'll baptize Him for you, Mother,
Because I am John, Saint John.
Refrain: I'm caroling, Lord!
C II £)
(Lo,) upon the river's bank,
By the side of Jordan's stream,
Wondrous things your eyes encounter,
Praised by all the saints (of heaven).
5 On this day, Lord John as well
To the Jordan makes his way;
And, as nearer he drew,
The Lord Christ said unto him:
Oh, (you) lamb of (the Lord) God,
10 Whom I have been yearning for,
(Lo,) I need to be baptized
(And) by you enlightened be.
Lord, I nohow have the daring
To make bold to christen You,
15 For I'd burn upon the earth
Like the dry grass in the wind.
Come along and marvel not,
Because thus is (set) my will.
(Thereupon, too) John drew near,
20 (And) he lifted up his hand,
(Jesus) Christ he did baptize
In the Jordan's cleanly stream.

f) JUDAS' BETRAYAL AND CHRIST'S CRUCIFIXION

112a. But where led Him off the Jews?

Three black cocks set up a crowing,
Refrain
Ushered in the dawn of morning,
They set off the dawn of morning,
Thereupon (also) rose Judas,
5 Thereupon (also) rose Judas,
(And) a kiss he gave to Jesus,
Gave a kiss to Him and sold Him,
(Sold Him) to the heathen Jews.
10 (They led Him) to Pilate's court,
And (to Pilate) thus they said:
Crucify Him for us, Pilate!
Pilate spoke however thus:
I'll not crucify Him, nay,
15 Because it is guiltless blood,
And to shed it is a sin.Zl6
And a second time they shouted:
Crucify Him for us, Pilate!
Pilate spoke however thus:
20 I'll not crucify Him, nay;
Though I've tried Him thoroughly,
I have found no guilt in Him.

215 As transcribed, this verse reads textually: So that the world might not judge Him. At
a pinch, this might be taken to have been intended to mean: So that He might not the world
judge. However, the sense given in the translation seems to be a more acceptable one than
either of the others.
218 In Rumanian, the phrase e pacat means both "it is a sin" and "it is a pity." Hence this
verse may read: 'Twere a pity it to shed.

[ 505 ]

Mai str~gar' a tria oara,
Mai cu foc !1i mai cu para :
25 -Rastand'e!1te mi-l, Pilate,
C'acesta Ie face toatel
Ca de nu ni-l rastand'i,
Noua 'mparat nu ni-i §i.I
Dar Pilat s'o tulburat,
30 Pe Hristos 1-0 riidicat
P~ 0 cruce dalbii de brad;
Cununa de spcini i-o pus,
Cu sulita 1-0 strapuns,
S~ngele pe stalp 0 curs.
35 ~i Hristos a!/' 0 str~gat,
Tat pam~nt' 0 tramurat,
Pcetrile s'o despcicat,
Luna s'o 'mbracat in s~nge,
tngeri 0 'nceput a pl~nge.
40 Cele stele maruntele
Ele-!1i pl~ngea mai cu jele,
Ca vide canoane grele
Pentru lui Adam gre!/ele.
y. Domniloy si-a nos' Doamn'!
(64f. Or!/ova tfo)
112b.
C~nd cocosij !1i-o c~taty,
Iuda 'n sus ca s'o sculaty.
Iuda-!1i be, Iuda-!/i da bani,
Graie cat' 2 a lui dujmani:
5 -Da mi-ti da trizeci d'arginti,
Va voi da !1i 3-1 rastag-niti.
Rast~gnea-l amu Pilaty
Pa cruce dalbii da brady
~i la groapa 11 duce
10 Cu Jidovi alature.
Jidovi in fata-l scuipe
Lui. Doamne, 'nca-i mai face
Cuie d-arse de otel,
~i lui, Doamne, ii biit'e
15 ~i pin talpe !1i pin palme,
Cu sulita-l strapunge.
1 = fi.
S = catra.
S = sa.
4 = pietrele.
5 = ~i.
8 = nevinovat.
[ 506 ]
C II f)
S~ngile pa stalp curge,
Maica Sf~nta sprijone.
Nu trabii s~nge varsat,
20 Ca nu-i s~nge vinovat,
Ci dela Dumnezey. dat.
Soarile s'o 'ntunecat,
Pam~ntu s'o tremurat,
T'etrile 4 s'o despicat,
25 Luna-i invascuta 'n s~nge,
Stelile 'ncepur' a pl~nge.
-Plangeij, stele manuntele,
Ca vedeti chinzaie grele.
Pentr' a voastre mari pacate
30 Multe chinuri am rabdat;
Pentr' a voastra mantuire
Am rabdat !1i-o rastagnire.
(121d. Lunc!1oara if)
112c.
I: Tri crai d~-a pamantului : I
I: Vinu-ji 5 la 'nchinarea lui: I.
I: Hristos capu !/i-o plecat : I,
I: CU d-amar glas !/i-o strtgat : I.
5 [Strtgat-ay. a 'ntaia oara:]
-I: Rastigneste 11, Pilat: I !-
-I: Ba io nu l-oi rastigni : I.
Ii sange ned'inovat, 6
Nu trabii pe gios varsat.
10 Strtgat-ay. a doy.a oara:
-Rastigne!/te 11, Pilat!
Ca de nu l-ei rastigni,
Noy.a 'mparat nu ni-i Xi. I
-De mni-ti da trizeci d~-arginti,
15 Vi l-oi da sa-l rastigniti.
La mana s'o suflucat,
Apa 'n blid !1i 0 tumat,
Cu sulita 1-0 strapuns,
Sangele 'n vale !/i-o curs.
20 Tri picuri 0 picurat,
Pamantu s'o tremurat,
Soarele s'o 'ntunecat,

Yet a third time (more) they shouted,
Harder blazing, with more fire:
25 Crucify Him for us, Pilate,
Because He does all (the evils)!
Either set Him on the cross
Or our emperor be no more!
Thereat Pilate was distressed,
30 (Jesus) Christ he set aloft
Upon a white cross of pine;
Crown of thorns on Him he set,
With a spear he pierced Him through
(So that) blood ran down the stake.
35 Thereat Christ so (loudly) cried,
The entire earth did quake,
Stones were split asunder (too);
The moon draped itself in blood (then),
(And) the angels started weeping,
40 (And among) the stars (the) smallest
Still more sadly set to weeping,
At the sight of such hard torments
(Suffered) for the sins of Adam.
Refrain: Gentlemen and Our Lord!
112b.
Even as the roosters crowed,
Judas rose upon his feet.
Judas drank, Judas spent money,
To his enemies he spoke:
5 I'll for thirty silver pieces
Give Him you to crucify.
Pilate crucified Him now
Upon a white cross of pine.
To the grave they carried Him,
10 With the Jews (going) along.
In His face the Jews did spit;
Lord, they also made for Him
Tempered nails (fashioned) of steel,
And they hammered them, oh Lord, 20 Three drops dripped (upon the ground),
15 Through His soles and through His
palms (too),
With a spear they pierced Him
through.
[ 507 ]
C II f)
Down the pillar ran the blood,
Holy Mother stemmed (the flow) :
Blood ought not to have been spilt,
20 For it isn't guilty blood,
But it's given by the Lord.
(Thereupon) the sun grew dark,
(And) the earth to quaking set,
Stones were split asunder (too);
25 The moon cloaked itself in blood (then)
(And) the stars (all) started weeping.
Little stars, let you be weeping,
For hard torments you are seeing.
(It is) for your grievous sinning
30 (That) I've suffered many pangs;
For (the sake of) your redemption
I have borne a crucifixion.
112c.
(Lo,) three rulers of the earth
Are coming to worship Him.
(Jesus) Christ bowed down His head,
In a bitter voice they cried.
5 The first time they shouted (loudly):
Pilate, set Him on the cross!
I'll not set Him on the cross,
(For His blood) is blameless blood,
(And) it ought not to be spilled.
10 (Loud) a second time they shouted:
Pilate, set Him on the cross!
If you crucify Him not,
You'll not be our emperor.
I'll for thirty silver pieces
15 Give Him you to crucify.
(Thereat) he rolled up his sleeves,
Water in a dish he poured,
With a spear he pierced Him through,
(And) the blood came pouring down.
(And) the earth to quaking set;
Darkened was the sun (as well),

Luna 'n sange s'o 'mbracat.
Stelele s'o prins a plange
25 Vadzand pe Hristos in sange.
*
Ramaai, gazda, vesel bun,
Ca-i ajuns Sfantu Craciun;
~i, gazdoaie, sanatoasa
In asta dzil)a frumoasa!
(12Ig. Comlau~a <p)
C II f)
Pantre ele minta creata,-
Doamne, da gazdei viata !
Pantre ele caragele,-
Doamne, da gazdei put'ere!
35 Pantre ele busuioc,-
Doamne, da gazdei noroc!
~i te 'ntoarce cruce 'n masa, -
~i 2 fi, gazda sanatoasa,
Ca ~i-asculti corinda noasta
40 Si 'cu noi, 'cu amandoi
~i cu cati is panga noi!

112d. (121c. Gro~i if)

Ce-i sara da asta sara,?
Ca-i sara nascutului, 112e.
Ca s'o nascut fiul sfanty I: La 0pciatra 3 roslovata : I
Oare d'-ind'i pa pamant, ~ed'e maica suparat'.
====
I: ~i yin sfintii ~i 0 'ntreaba : I
5 D-in ieslel'e boilor,
-Ce ~ezi, maica, suparat'?
D-in floril'e fanului.
Coco~i negri ~i-or cantat
5 -Cum n'oi §i 4 io suparata!
luda d'in pat s'o sculat,
Tri coco~i negri-o cantat,
S'o sculat, s'o t'eptanat 1
luda 'n talpa s'o sculat:
10 Si pe Hristos 1-0 d-aflat
"Rastigne~te ni-l, Pilat!
Dupa masa d-a~ezat.
Ca de nu ni-l rastigne~ti,
luda-~i iubitor de bani
10 NOl)a 'mparat nu ne e~ti!"
Graie catra lui dujmani:
-Dati-mi trizeci de arginti,
(73cc. Idicel if)
15 Ca vi-l dal) sa-l rastagniti-
Jidovii-~i facura sfat,
Trizeci d'e arginti i-a dat. 112f.
Jidovii d-a~' 0 strlgat:
-Rastagne~te ni-l, Pilat! III f1I.l
[I : Tri coponi 5 mandru cantara : I -tar',
20 Ca d'e nu li-i rastagni,
NOl)a Pilat nu ni-i fi.
~i Pilat s'o suparat,
Maneci dalb~-o sufulcat,
ILl f1I.l
I: Zori de zil)a ravarsara : I -sar',]
Palmi peste d-obraz i-a dat.
25 Hristos capu ~i-o plecat,
Ca nu-i sange vinovat.
I 1. I[IT.l
I: Pe luda din somn sculara, r. : I-Iar',
Stelele 'ncepur' a plange,
Luna 'n sange s'o 'mbracat,
Soarile s'o 'ntunecat, Luara-sa, dusara-sa,
30 Pamant s'o cutremurat. 5 Pe Hristos ajunsara-sa.
Pe cruce de brad I-or pus,
*
1 = pieptenat
2 = sa.
a = piatra.
4 = fi.
S = caponi.

[ 508 ]

The moon cloaked itself in blood.
(All) the stars (then) started weeping,
25 Seeing (Jesus) Christ all bloodstained.
* Almighty!
Remain, host, of goodly cheer,
Because Christmas Day is here;
To the hostess a good health, too,
Upon this fine day (of feasting)!
IUd.
(Say), what evening is this evening?
'Tis the evening of the Birth,
For the Holy Son was born.
Whereabouts upon the earth?
5 In the manger of the beeves,
Mid the flowers of the hay.
(Lo,) the black roosters have crowed,
Judas out of bed arose,
He arose, he combed himself,
10 And discovered (Jesus) Christ
At the table sitting down.
Judas, (who was) fond of money,
Said unto His enemies:
I'll for thirty silver pieces
15 Give Him you to crucify.
'Mong themselves the Jews conferred,
Thirty silver pieces gave.
(Thereupon) the Jews cried thus:
Pilate, set Him on the cross!
20 Either set Him on the cross,
Or our Pilate no more be.
And (most) angry Pilate got,
(His) white sleeves he (then) rolled up,
(And) he slapped Him in the face.
25 (Jesus) Christ bowed down His head,
For (His) blood was innocent.
(All) the stars began a-weeping,
The moon cloaked itself in blood,
(And) the sun grew dark (as well),
30 (While) the earth to quaking set.
[ 509 ]
C II f)
In the midst of curly spearmint,
Grant the host (long) life, Almighty!
In the midst of marigolds,
Grant the host strength, Lord
35 In the midst of basil (sprigs),
Lord, (good) luck grant to the host!
Cross, turn round about the table;
Host, may you (good) health be
granted,
For you listen to our carol;
40 And (the same) to both of us
And to all who are with us!
112e.
By a boulder (that's) upended,
Sits the Mother sorrowing.
And the saints (all) come and ask her:
Mother, why d'you sit so sad?
5 How am I not to be woeful?
(Behold,) three black cocks have
crowed,
Judas to his feet arose:
Pilate, set Him on the cross!
Either set Him on the cross,
10 Or no more our emperor be!
112f.
Beautifully crowed three capons,
(And) the dawn of day spilled over.
From (his) sleep they woke up Judas.
Refrain
He set out, he made his way,
5 (And) with (Jesus) Christ caught up,
Set Him on a cross of pine,

S~ngile pe cruc~-o curs.
S~ngile-i nevinovat,
Pe jos nu traM pradat.
10 Luna 'n s~nge s'o scaldat,
Soarile s'o 'ntunecat,
T'etrile 1 s'or despicat,
Ceq in patru s'o crepat,
Fiul sf~nt sus 0 zburat.
Y. DomnuZ Doamne!
(52e. Jgri!1 t/»
lUg.
Sus la curt'ea cea domneasca,
Y.,
Cina Hiristos la masa,
I: Cina Hiristos la masa : I.
Hiristos gat'! cu dna
5 !;'i sa d'et'e la hod'ina,
I: !;'i sa d'et'e la hod'ina : I
Supt un porn m~dru 'nflurit,
FIorile I-or cutrupt'it
!;'i luda 1-0 'n!1eluit.
10 luda-i primitor de bani
!;'i ceru la cei dujmani:
-Dati inli voi trizeci de-arginn,
Ca pe Hiristos vi-l vand.
Jidovii banii pune-~,
15 Pe Hiristos rastind'e~,
Sus pe cruce mi-l punenl,
Cu sulita-l impungenl,
S~ngele din el pornere.
Ingerii 'ncepur' a-mi p~nge,
20 De ce cur~-at~ta s~nge,
Ca nu-i s~nge vinovat,
Ci de Jivovi rastind'eat.
Luna 'n sange sa scaldara,
Pjetrile sa raspicara.
Y. Doamne joj Domnuluj Doamnel
(86b. Nuc!1oara ¢)
1 = pietrele.
1= afara.
3 = cea.
4 = catra.
[ 510 ]
C II f)
112h.
and Hristos dna Ia masa,
Y.,
Sta~ Jidovii dapa (sic!) casa.
C~nd Hristos gatea cu dna,
lesia 'fara 2 la odina.
5 Jidovii de loc il prind,
Pe cruce de brad I-or pus,
Cununa de spini i-or pus,
Cuie 'n piept ca i-or Mtut.
S~ngile tare curgea,
10 Lumea din grai imi graia:
-S~ngile nevinovat
Nu-i iertat in jos versat.
Iar Hristos a!1' a grait:
-Voi n'an fi mai botezati,
15 Jidovi cu noi mestecan,
Lumea fi sa sa fereasca,
De Jidovi sa sa pazeasca,
ca Jidov dujmanu nostu.
Y. Daj DomnuZuj Doamne!
(40. Jadani ¢)
lUi.
Sus la curtea, ha 3 domneasca
Hiristos cina la masa,
I: Hiristos dna Ia masa : I,
[Jidovii-s pi dupa casa.]
5 Hiristos gat'! cu dna,
Trecu sub porn in grad'ina,
I: Trecu sub porn in grad'ina : I.
Toma, iubitor de bani,
Graie cat' 4 a lui dujmani:
10 -Dati-mi voi trizeci d~-arginti
Sa vi-l da~ sa-l rast~gnin?
Jidovii banii pune,
Pa Hiristosu-l ras~gne.
Pa cruce de brad 1-0 pus,
15 Cu sulita 1-0 strapuns,

(And) the blood ran down the cross.
(But) the blood is innocent,
It ought not to be spilled forth.
10 (Lo,) the moon was bathed in blood,
Darkened was the sun (as well),
(And) the stones were split apart;
Into four the sky was rent,
Upward flew the Holy Son.
Refrain: Lord Almighty!
112g.
Up (there) at the lordly mansion,
Refrain
Christ has supper at the table,
Christ has supper at the table.
(Behold,) Christ wound up (His)
supper .
5 And betook Himself to restmg,
And betook Himself to resting
Neath a fine blossoming tree;
(But) the blossoms covered Him,
And Judas betrayed Him (then).
10 Judas fond of money is, .
And he asked those enemIes:
Give me thirty silver pieces,
That I might sell Christ to you.
(So,) the Jews paid out the money,
15 Christ upon the cross they set,
Set Him high upon the cross,
With a spear they pierced Him
through
(So that) blood flowed forth ~om Him.
(All) the angels started weepmg,
20 (Awed) that so much blood was
flowing,
For it isn't guilty blood,
But by Jews set on the cross.
(Lo,) the moon was bathed in blood
(too),
(And) the stones were split asunder.
Refrain: Lord, hoy, to the Lord
Almighty!
[ 511 ]
C II f)
112h.
While at table Christ had supper,
Refrain
(Lo,) behind the house the Jews stood.
When Christ finished having supper,
He went out for to get rested.
5 The Jews caught Him 0!l the spot,
Set Him on a cross of pme,
Crowned Him with a crown of thorns,
Hammered nails into His breast.
Blood was flowing forth amain,
10 (Thereat all) the people said:
Blood (that's) free of (any) guilt
'Tis forbidden for to shed.
Christ spoke thusly (thereupon):
May you no more be baptized,
15 Jews, (nor yet) mixed up with us;
Let the people heed (hereafter),
Of the Jews let them be wary,
For the Jew (is) our foema~.
Refrain: Give the Lord Almzghty!
112i.
Up (there) at the lordly mansion,
Christ had supper at the table,
Christ had supper at the table, .
The Jews were behind the manSlOn.
5 Christ (when He had) finished supper,
Neath the tree went in the garden,
Neath the tree went in the garden;
Thomas fond of money (was),
Said unto His enemies:
10 I'll for thirty silver pieces
Give Him you to crucify.
The Jews paid the money out,
They set Christ upon the cross,
Set Him on a cross of pine,
15 With a spear they pierced Him
through,
 C II f)
Sangile pa cruc!:(-o curs, Sangele nevinovat
Ingerii pornir!<-a plange, N'ar trebui jos varsat.
De ce cur!<-atata sange, r. Sj-a nos' Doamne Dumneze1J!
Ca nu-i sange vinovat, (100d. Seceani 4»
20 Ci de Jidovi rastangeat.
r. Doamne '1oj Domnuluj Doamne!
(102b. Var. 1 Rau de mori tI) 1121.
Col'ea sus ~i mai d'in susy,
112j. r.,
Su' pomu d-Argimuluiy
I I. I \Til
I: Cand cina Hristos la masa, Y. : 1mas', I: Su' pomu d-Argimuluiy : 1

I I. II II. I Ce veste, ce minunaty,

I: Ingerii-s pa la fereasta : 1fereast': 5 P'o cruciulita d'e brady,

Cind 5'0 lasat de cinaty I: P'o cruciulita d'e brady: I

Ingerii 'n rai a~ intrat.
Pa Hristos sa-1 rastigneasca.
5 $i de mana 1-0 luat Strag' un J idov de cu totii:
$i 1-0 dus din sat in sat -Rastind'e~te mi-l, Pilate,
Pana la casa de sfat 10 Ca hasta 1!:(-a facut toat'e!
$i-aco10 jos 1-0 lasat. Pilat din gura-mi graie:
Cunune de st'inp i-a pus, -Dati-mi voi trizeci d!<-arginti!
10 Cu suliFi 1-0 strapuns, J idovii banii-i pune,
Cu braut de st'ini 1-0 'ncins, Pilat tar' sa mania,
Sange ~i apa i-a curs; 15 Manici dalbe-mi sufu1ca,
$i 'n pahar il sprijone De Hristos sa-~i apuca,
$i iara-i da lui de be. Sus pa cruce mi-1 0 pus
15 $i de mnil'2 ~i de biinat Cu sulita I-or impuns,
Soarile 5'0 'ntunecat, Sangele pa cruc!:(-o curs.
Luna 'n sange s'o 'mbracat. 20-25 = 112g. 17-20, 112d. 28-29
r. FloYile-s dalbe! r. Domnuluj Doamne!
(62a. Gherla tI) (62g. Paucinei?d tI)

112k. 112m.
1: Cind Hristos cina la masa : I, Din Ficioara s'al). nascuty,
Y., Y.,
Domnu Hristos pa pamanty.
I: Jidovii stal). dupa casa : I.
Lui Irod i-a fost urit,
====
I: Cand Hristos gata cu cina : I, Cu Iuda sa sfatuia:
5 -Dati-mi mie pe Hristos,
Merge sub porn in griidina. Ca va da~ trizeci de zloti.
SIuda dupa el s'o dus, Cand arginti-i numara,
Cu sulita l-a~ impuns, Pe Hristosu-1 desbraca;
Sangele pe cruc!:(-a~ curs. $i d'acol0 I-a luat,

1 = spini.
2 = mila.

[ 512 ]

(And) the blood flowed down the cross.
(All) the angels started weeping,
Because so much blood was flowing,
For it wasn't guilty blood,
20 But by Jews 'twas crucified.
Refrain: Lord God, hoy, to the
Almighty!
112j.
While at table Christ had supper,
Angels hovered round the window;
When with supper He had done,
Into heaven the angels went.
5 And they took Him by the hand,
Led Him through the villages;
(They came) to the council house,
And there set Him down (again).
Crown of thorns they set on Him,
10 With a spear they pierced Him
through,
Girt Him with a belt of thorns,
Blood and water flowed from Him;
In a glass they gathered it,
Gave it Him to drink again.
15 And for pity and for woe,
(Lo,) the (very) sun went dark,
(And) the moon was cloaked in blood.
Refrain: Lo, the white blossoms!
112k.
While at table Christ had supper,
Refrain
(La,) the Jews behind the house stood;
When with supper Christ had finished,
He went out into the garden,
5 Judas followed neath the tree.
With a spear they pierced Him
through,
(And) the blood ran down the cross.
C II f)
(His) blood, (which is) free from guilt,
On the ground should not be shed.
Refrain: And Our Lord, Almighty God!
1121.
High up yonder, higher up,
Refrain
Underneath the alder tree,217
Underneath the alder tree,
(Lo,) what tidings, what a wonder:
5 On a little cross of pine,
On a little cross of pine,
Christ they would be crucifying.
Among all, one Jew cries out:
Pilate, crucify Him for me,
10 For this one has done all (evils)!
(Thereupon) Pilate spoke out:
Thirty silver pieces give!
(Lo,) the Jew the money paid,
Very angry Pilate grew,
15 (And) he rolled up (his) white sleeves,
Upon Christ he laid his hands,
On the cross set Him aloft;
With a spear he pierced Him through,
Down the cross the blood flowed forth.
20-25 = 17-20 of lUg., 28-29 of
IUd.
Refrain: To the Almighty!
112m.
Of the Virgin there was born
Refrain
The Lord Christ upon the earth.
Hateful (this) to Herod was,
With Judas he talked it o'er:
5 Christ deliver unto me,
For I'll give you thirty zlots.
When the silver was paid out,
Of His garments Christ he stripped,
And from there he led Him off,

217 In the transcription, the tree is identified as "d'Argimului", as though to indicate the
proper name of a place or person qualifying the tree. No such identification was found possible
by the translator, who is inclined to see here a corrupt form of aninului or arinului. Both anin
and arin designate the alder or birch tree (Alnus) in Rumanian.

[ 513 ]

10 $i 1-0 dus la lui Pilat,
$i d'acolo I-a luat
Si 1-0 dus la GoIgovta,
Dila GoIgovta la Ana,
Dila Ana la Pilat,
15 $i-acolo l-al) judecat,
Pe cruce di brad l-ay pus,
Cununa di spini i-ay pus,
Cu sulita I-ay impuns,
Tot l-ay 'mpuns !?i l-al) strapuns,
20 SA.nge !?i apa i-ay curs.
r. Lilioara fi-a nos' Doamn'!
(104c. Mice!?ti 1)
tUn.
I I.
I: Din Ficioara s'o nascut!, r. : 1nascut
II.
I: Domnul SfA.nt fara 'nceput! : 1
fILl
'nceput.
Lui Irod i-o fost urit,
Cu Iuda s'o sfatuit.
SIuda iubitor de bani
L-o vA.ndut la doi dujmani
L-o dat pe trizeci d~-arginti.
CA.n' argintu jos 1-0 pus,
Pe Hristos din pom 1-0 prins
10 $i la Gurgusta 1-0 dus,
Dela Gurgusta Ia Ana,
Deia Ana la Caiafa.
Val'. (Mel. 104d.)
1-3 = 1:D'in Ficioara s'o nascutai, r. : 1
rn.l
nascut
Domnul SfA.nt iaiast pamA.ntai,
D'in Ficioara s'o nascut.
C II f)
1120.
I: CA.nd Hristos cina la masa : I,
1'.,
I: Stal) Evrei dupa casa : I.
I: Domnul Hristos dupa cina : I
S'a dus supt pom in gradina.
SIuda !?i-acolo a 'ntrat
$i I-a prins !?i I-a legat,
L-a legat !?i I-a purtat
Pe Ia curtea lui Pilat,
Pe Ia casa ai de sfat.
10 $i sfatul a hotarlt,
Pe Hristos I-a rastignit.
I rn.l
Pe cruce de brad l-ay pus,
Cu sulita I-al) strapuns.
SA.ngile pe stA.lp a curs,
15 Luna 'n sA.nge sa 'mbracat,
I Soarile s'a 'ntunecat,
Petrile s'al) despicat,
Muntii s'al) cutremurat.
r. Sara-j marea lui: CraC'jun!
(73dd. Petro!?an)
112p.
Sara marea lui Craciuny!
CAnd dna Hristos Ia masa,
1'.,
$i Evre! in jur d'e casa
_________ 1
I : lara Hristos dupa cina : I
5 I: S'a pus un pom in grad'ina : I.
I I. I
I: I uda 'n - - 2 !?i-o intraty : I
-
r. Sara marea luj Cracjun!
(73ee. Petro!?an 1)
-

r. (95g.) Vila verde de mar verde! 112r.

(104d.) L'il'i1joara ~i-a nos' Doamne! Tri coco!?i negri 0 cA.ntat,
(95g., 104e. Idicel </» Zori d'e ziy' 0 ravarsat.

1 La fon. un ~ir, care nu se inteiege.

2 La fon. 2 sil., carl nu se inteleg.

[ 514 ]

10 And to Pilate carried Him·
And from there he led Him 'off
And took Him to Golgotha, '
From Golgotha unto Annas,
From Annas to Pilate (back);
15 They passed judgment on Him there
Set Him on a cross of pine,
Set a crown of thorns on Him
With a spear they pierced Hi~
through,
Through and through they pierced
Him (then),
20 Blood and water flowed from Him.
Refrain: Little lily and Our Lord!
11ln.
Of the Virgin there was born
Refrain
The eternal Holy Lord. 218
Hateful unto Herod 'twas
He with Judas counsel to~k.
5 Judas (who) for money cared
Sold Him to two enemies
Him for thirty pence he gave.
When the silver was set down,
He caught Christ beneath a tree,219
10 And took Him to Golgotha,
(Then) from Golgotha to Annas,
(And) from Annas to Caiaphas.
Variant (Mel. 104d.) :
1-3 = Of the Virgin there was born
Retrain
On this earth the Holy Lord,
Of the Virgin He was born.
Retrain: (95g) A green shoot ot the green
apple!
(104d.) Little lily and Our Lord!
C II f)
1120.
While. at table Christ was supping,
Refrazn
Jews behind the house were standing.
The Lord Christ, after (His) supper,
' Neath the tree went, in the garden.
5 Judas entered there as well
And he caught and tied Hi~ up,
Bound Him fast and led Him forth
(Took Him) unto Pilate's court, '
(Took Him) to the council house;
10 And the council judgment passed,
It set Christ upon the cross,
Set Him on a cross of pine,
With a spear they pierced Him
through.
Down the stake the blood flowed forth
15 (And) in blood the moon was cloaked;
Darkened was the sun (as well),
(And) the stones were split apart,
Mountains set to shuddering.
Refrain: It is the great Christmas night!
11lp.
(Lo, 'tis) the great Christmas Eve!
While at table Christ had supper,
Retrain
The Jews too about
_________ 220 the house (stood),
And Christ, after (He had) supper,
5 Neath a tree lay in the garden.
Judas - - - - _221 entered (also),
Refrain: Lo, 'tis the great Christmas
Eve!
112r.
(Behold,) three black cocks have
crowed,
Dawn has overspread (the sky).

218 In the original, textually: The Holy Lord without a beginning

219 In the original, textually: "He caught Christ out of the tree." .
220 Author's manuscript footnote: An unintelligible verse in the recording
221 Author's manuscript footnote: Two unintelligible syllables (are missin~ here).

[ 515 ]
 C II f)
Dorni, Pilat'e, 0 nu dorni? - 0 fiule prea mnelJ dulce,
Da d'e dorni, inca t'e scoala, lOCum tl;(-O rastanit pe cruce!
Ie-mi desehide oehii tal,
5 Ca 1 Dumnezeu cu uoile De vezi lumea eu dan~ii;
Pan' fanate jidod'e~ti. Ie-mt desehide-ti gurita,
~i tati jidod'i sa sculara, De graie~te eu dansa.
Tati cu lanci ~i cu topoare. 15 De jele ~i de banat
Luna 'n sange s'o 'mbraeat,
Soarile s'o 'ntuneeat,
(121f. Mana~tiurul unguresc 4» Stelile de jumatate
~i ele-s intuneeate.
(121b. Bala 4»
113a.
[- - - - - - - -- 114a.
rr.l iTIl
I: Ce rna ispit'iti : I -t'iti,J I I. I
I: Pe prundu maririi 2 (sic!) sale, r. : I
I: Ca voi bine ~t'iti : I,
fITl
ILlIII./ sale
I: Ca 1-0 rastanghi~ : I -ghit.
Estl;(-o manastire mare;
I: Pe cruce d'e brad!! : I. Niei d'e mare nu-i pre mare,
I 1. I fill I I
5 I: Pin talpi ~i pin palmi© : I palmi 1.
I: Far' din cieri pana 'n pamanty : I
I: Cuie d'e piroane : I I II. I
pamant;
(12i. !dicel 4»
5 Niei de lata nu-i pre lata,
Far' cuprinde lumea toata.
113b. Iar in dinsa cine ~ede?
ITllTIl
I: La grad'ina raiuluiy : I -lui
~epte popt'i, ~epte dieci
~i pl;(-atatia petrieci. 3
10 Diecelu cel mai mic
/T.I tIT.l
I: Mandra cruce sa rid'ica : I rid'ic'. Mandre clopote trage,
Mare oaste radica.
~i naintea oasteii
fI.l
jIT.j Yin tri me~teri me~terand,
I: Da, ZO, aia cui 0 facy : I fac? 15 Cruce de brad i~i fiicand,
I. I I JIf.l Sa-l puie pe §iul 4 sfant.
I: Lui Hristos, sa rastigneasdi : I -nease' ~i napoi al oasteii
Yin tri me~teri me~terand,
5 Cu piron sa-l pironeasea. Cuie de otel facand,
Maiea Sfanta ~i eurata 20 Sa bata pe §iul sfant
Langa eruee-i razamata Cam pin palme, cam pin talpe,
~i din grai a~a graiE~: Cam pin tate buharele.

1 [Ed.: Pseudo-upbeat particle.]

2 = marii.
3 = patriarci.
4 = fiu!.

[ 516 ]

Pilate, do you sleep or not?
Even if you sleep, get up,
5 Because God (walks) with the sheep
Through the Jewish grazing lands.
Thereat all the Jews arose,
All with lances and with axes.
113a.
Why d'you question me,
Since you know full well
He was crucified
On a cross of pine?
5 Through the soles and palms
Nails of spikes (were driven),
113b.
In the garden of paradise,
A fine cross is being raised.
But, I swear, for whom's it made?
('Tis) for Christ, to crucify Him,
5 (And) with spikes to spike Him (on it).
(Lo,) the Mother pure and holy,
She beside the cross is leaning
And she thusly ~peaks her say:
[ 517 ]
C II f)
Oh, sweet Son of mine (beloved),
10 How upon the cross they've set You!
Come on, open up Your eyes,
For to see the world with them;
Come on, open up Your mouth,
For to speak (to me) with it.
15 (Lo,) for sorrowing and grief,
The moon's cloaked itself in blood,
(And) the sun is darkened o'er,
(And) of (all) the stars one half
Also are in darkness shrouded.
114a.
On the gravel of the seashore
Refrain
There is a great monastery.
As to height, it's not too lofty,
Only from the sky to earth;
5 Its breadth isn't too great either,
It begirds the whole world only.
Who lives in it, howsoever?
Seven deacons, seven priests,
And as many patriarchs.
10 (Lo,) the youngest deacon (then)
Set to ringing beauteous bells,
(And) aroused a mighty host.
Also, in the army's van,
Come three craftsmen plying crafts,
15 Fashioning a cross of pine,
Holy Son to set on it.
Also, in the army's rear,
Come three craftsmen plying crafts,
Fashioning some nails of steel,
20 To make fast the Holy Son,
Through the palms and soles (to
hammer),
Through the swelling breasts (to drive
them).
 C II g)
Care cui cum il bate, ~i p~-atatia patriarci.
Sangele tare ie~ie.
r. Liliuoara si-a nos' Doamn'! r. Zurel d'e zur!
(104£. ChibuEutul de campie if) (121r. !dicel if)

114b. 114c.
I: Colo 'n jos ~i mal d'in jOSY, r. : I, [---------
Jos pe prundu marii-!3<,]
1 : Est~-o dalba manastire : 1
Jos pe prundu marii-~,
Cu paretii de hiirtie, r.,
Cu oltaru de tamaie, Iest~-o dalba manastire,
5 Cu u~a de sfanta ruga. --====
Slujba sfanta cin~-o cantil ? Est~-o dalba manastire
Dar 0 canta Maica S£anta,
Nova popci, nova dieci
5-11 = 114b.3-9
(104a. Orsova r/»

g) CHRIST'S ASCENSION
URCAREA LUI HRISTOS LA CER

115a. Far' arapa la caput

~i-a ramuta 2 la cijmuta.
1: Coborit-o Dumnezeu : 1 (45s. Idicel r/»

I: Cv-o turmuta d'e oi d-albe : I,

115b.
Raturile l'e pa~te.
Nime 'n lume nu-l vide,
I I. I rn.l
I: Pin ruget'e, pin £aget'e, r. : 1£aget'e
5 Far' un cane de Jidov.
El de mana 1-0 luat D-umbla-sa, pre(d)umbla sa-re,
~i 'n t'emnita 1-0 bagat. D-umbla-~i Domnul Dumnezev
Pe t'emnit' 0 pus lacate,
Pe lacate stan de pt'atra. 1 D-umbla-~i Domnul Dumnezev
10 Dumnezev c'a~' olasat, 5 CV-o turmuta d'e voi dalbe
Ca cieriu s'o tulburat,
Tomna 'n t'emnit' 0 traznit, 6-12 = 115a. 3-9
Pt'atra 'n patru s'o zdrobd'it Sa nu iasa nici-odata.
~i Dumnezev c'o ie~it,
15 Sus la cieri ca s'o naltat r. Daj colinde-ijj ,Doamn'!
~i 'ngere~te 0 cantat. (69. !dicel if)
Catra lnger! s'o rugat
Sa mature cieri de stele
~i raiu de gozurele. 115c.
20 Tri vori pin mar~-o umblat, I: Zur zur zur dalbe surori : I,
Nimnica nu ~i-o udat
1 = piatr1i.
2 = tureac « rama, ung.).

[ 518 ]
 C II g)
As each nail they hammered (in), And as many patriarchs.
Blood came gushing forth amain.
Refrain: Little lily and Our Lord! Refrain: Whir a small whir!

114b.
Low down yonder, lower down,
Refrain
There is a white monastery,
With the walls (made all) of paper,
With the altar (made) of incense,
5 With the door of saintly prayer. 222
Who is chanting holy service?
But the Holy Mother chants it,
(With) nine deacons (and) nine priests,
114c.
On the pebbly seashore low,
On the pebbly seashore low,
Refrain
There is a white monastery,
There is a white monastery.
5-11 = 3-9 of U4b.
Refrain: Little lily and Our Lord!

g) CHRIST'S ASCENSION

115a. Only just his jerkin sleeve 224

And the legging of His top boot.
Down the Lord Almighty came
With a little flock of white sheep,
Grazing in the meadowlands. 115b.
No one saw Him in the world
Through the brambles, through the
5 But a wretched Jewish cur.
beeches,
By the hand he seized Him (then)
Refrain
And he put Him in a jail;
Goes a-walking, goes a-strolling,
On the jail he set some padlocks,
Goes the Lord Almighty on,
O'er the padlocks a stone boulder.
Goes the Lord Almighty on,
10 Since he left the Lord like that,223
5 With a little flock of white sheep.
(Sorely) troubled was the sky,
6-12 = 3-9 of U5a.
Sent a bolt right on the jail;
So that He might ne'er come out
Into four the stone was split, (more).
And the Lord came out (again);
15 Up into the sky He rose,
Refrain: Sing the carol, Lord!
And He sang as angels do.
Of the angels He (then) asked
From the sky to sweep the stars, 115c.
And the chaff (to sweep) from heaven.
Whir, whir, whir, the sisters fair
20 He walked through the sea three times,
Nothing wetted of Himself

222 Whereas ruga means prayer, rug means both bramble and pyre. Hence this verse may
very well have been intended to read: With the door of holy bramble. The probably least likely
alternative is: With the door of holy pyre.
223 Alternative reading for this verse: Since the Lord allowed it thus.
224 Possible alternative reading for this verse: Only of His wing the tip.

[ 519 ]
 D
I: Nu pasese eu zoril'e : 1 Ie la Jidovi Q-alergat,
10 !?i pe Jidovi i-a seulat
I: ca sa 'mpup eu floril'e : 1 Cu saeuri ~i eu topoara,
------ Pe Dumnezel} sa-l omoara.
[Coborit-o, eoborit] Dumnezel} ea s'o trezit,
5 I: Dumnezo eu l}ail'e : 1 Num' odat' -0 fluerat
15 !?i oile s'o 'nturnat,
Pe fanate jidove~ti. Sus la cieri ca s'o 'naltat.
Nime 'n lume nu-l vazura, (45d. Bala if»
Num' 0 fata de Jidovi.

D. RELIGIOUS LYRICS
POEZII RELIGIOASE

116a. 10 Frumos in eer s'o naltat,

Mandru rai s'o luminat.
I: Tat am, Doamne, d-auzity : I, (73z. Turt if»
Ca ~i-al} naseut xiul1 sfant,

I: Noi nu ~t'im d'-und'\:-al} naseuty : I: 117.

La taullui Iordan.
I: Seulati, frati, nu mai durmiti : I,
5 I: D'-aeolo ea-l bot'ezarai : 1
Mandra (sic!) nume ee-i d:aflara? I: Ca-i de graba sa porniti : 1:

I: Tat Iuon lui Sfant Iuonui : 1 I: La ora~ul jidovese : 1

Nan~ullui Dumnezel}.
Fa~e, fa~e ee-i d-aflara ?
10 !?i leganut de eiareal}( ?)
Sa sa legine pe lin,
Pe linut, eatiganut.
(73y. Tarna mare if)
-
I: S'a naseut Domnul eerese : I,
5 Pruneut mit, infa~iat.
~i tot plange ne 'neetat
Pentr' a lui Adam paeat.
(49. Bistra if)

116b. 118.
Tat am, Doamne, d'-auzity, Sus la eurt'ea lui Craeiuny,
Ca ~i-o naseut Xiul sfanty, 'Y.,
Noi nu ~t'im d'\:-und'\:-o naseut. Buna lumina sa ved'e.

Pe supt eer pe iast pamanty Nu-i lumina ea lumina,

5 Sluga domnu ~i-o manaty Ci-o naseut un t'inar sfanty.
La Irod mare 'mparat.
------ 5 I: Ci-o naseut un t'inar sfanty : 1
-Ce ti-ai, maiea, targuity?
Nova maja d'e tamale Noi nu ~t'im und'\:-a naseuty.
!?i tamaie s'o d'-aprins, Ba, zo, noi bine 0 ~t'imy:

1 = fiu!.

[ 520 ]

Are not holding up the dawn,
For it's budding with the blooms.
He descended, He came down,
5 The Almighty with the sheep,
On the hayfields of the Jews.
Noone in the world did see Him,
But a Jewish maiden (did).
D
She went running to the Jews,
10 And the Jews she did arouse,
With (their) axes and (their) hatchets,
For to murder the Almighty.
The Almighty roused Himself,
(And) He whistled only once,225
15 And the sheep turned back (again),
(And) to heaven they rose up.

D. RELIGIOUS LVRIeS

116a. 10 It rose nicely to the sky,

Beauteously was heaven lit.
We have come to hear, oh Lord,
That the Holy Son was born;
We don't know where He was born. 117.
(He was born) at Jordan's pool.
Wake up, brothers, sleep no more,
5 (It was) there (that) they baptized
For there's haste that you set off:
Him.
In the city of the Jews
What fine name did they find for
Him? 226 Is the Lord of Heaven born,
5 (As) a babe in swaddling clothes;
(It was) John, (it was) Saint John,
And He weeps unceasingly
Godfather of Our Lord.
On account of Adam's sin.
Swaddle, swaddle, found they for
Him?
10 And an oaken (?) cradle (too), 118.
That He softly might be rocked,
High up, at the court of Christmas,
Softly (rocked, and) evenly.
Retrain
A fine light can be seen (shining).
116b. It is not a light as lights are,
But a holy youngster's born,
(Lo,) we have been hearing, Lord,
That the Holy Son was born; 5 But a holy youngster's born.
We don't know where He was born.
We know not where He was born.
Nay, I swear, we know full well:
Neath the sky, upon this earth,
5 Did the Lord His servant send
To Herod the emperor.
Mother, what is it you've bought?
(Lo,) nine hundredweights of incense,
And the incense has caught fire;

laiAlternative reading for this verse: All at once a whistle gave.

us This verse, literally translated here, was obviously intended to read: Who was it a fine
name found Him?

[ 521 ]
 D
Fiu1 sfantu ne na~tea sa-I domneasca,
Ca l1i cieriu1
D-in iesc1e1ea boilor Pe noi sa ne stapa.neasca.
Pa paile grau1ui,
10 Pa £lori1e fanu1ui,
Mitute1, fa~iete1, 10 ~i
*
sa 'nvart~-o cruce 'n masa; -
Leganior de pa1t'inor. Sa l1ii,2 gazda, sanatoasa,
1'. Domnuluj Doamne! Pista an mai vese10asa,
(60. Rau de mori if) Ca vara, ca primavara,
Ca l1i toamna cea bogata!
Var. (Mel. 121m.):
119. 1-6 = Asta-i sara d'e Craciuni!"
Prin ora~u1 Vifleimy Ca s'o nascut Domnul Sfant,
Viniti, voi toti, sa-I ved'emy, ~i-o nascut pe fan uscatA
D'e ingeri incunjurat.
C'astazi noy.a s'o nascuty Haidati, boieri, sa-I vid'emA,
_________ 1
Cu lordan sa-1 bot'ezam,

Un crai tanar de curandy. (450., 121m. Libaniel1d if)

5 S'o suit d'in vita lui
Tri crai a pamantu1ui.
Cu1ca-te, crai ingeresc, 120b.
Cu1ca-t'e pe fan uscat Asta-i sara d'e Craciun~,
~i 'n scut'ece 'nfal1urat. 1'.,
10 F~e da1be d'e matasa,
Scut'ece1 d'e bumbace1, Ca s'o nascut Domnu1 Sfant!,
Aur, zmirda l1i tamaie
~i faclii d'e 1eturd'ie. ~i-o nascut pe fan usca14,
Fal'a melodie:
~i-o 'nchinam cu sana tate D'e ingeri incunjura14.
15 Gazdei l1i casei.
Var. (Mel. 118a.): 5-14 = 120a.5-14
1-3 = tn ora~u1 Vifl8.im, FI01'j dalbe d'e mar4!
1'.
tn oral1u1 Viflaimy (64g. Libaniel1d if)
VeniU voi toti sa-1 vedemy,
(451. Vidra de mij10c if)
(118a. Petrol1an if) 121.
Steay.a sus rasare
Ca 0 taina mare;
120a. Steay.a s'o ivity
I: Asta-i sara d'e CraciunA : I, De1a rasarit.

Ca s'o nascut Domnu1 Sfant!. 5 Atuncia tri crai

~i-o nascut pe fan usca14, Bin~-a1} socotit,
Dupa stea s'ay. dus
D'e ingeri incunjurat. Pana c~-ay. ajuns.
5 HaidaU, boieri, sa-I videmA, Daca ay. ajuns,
Cu lordan sa-I bot'ezam 10 Buna vest~-a1} spus
Sus 1a cier sa-11na1tam, Lui Adam, Avram

1 Un i?ir la fon., care nu se tntelege.

2 = fii.

[ 522 ]

Holy Son was born to us
In the manger of the beeves,
On the wheat straw (He was born),
10 Mid the flowers of the hay,
Tiny, (wrapped) in swaddling clothes, 10 Let the cross turn round the table:
(In a) maple cradle (rocked).
Refrain: To the Almighty!
119.
Through the town of Bethlehem,
Come on, all of you, let's see Him,
For today was born to us
_ _ _ _ _ _ _ _ _ 227
A young king but latterly.
5 There have risen of His stock
Three great rulers of the earth.
King of angels, slumber on,
On the dry hay, slumber on,
Wrapped about in swaddling clothes.
10 Of white silk (is made His) swaddle,
(He'S in) cotton smallclothes (dressed);
(He has) gold (and) myrrh and incense,
Tapers (fit) for holy service.
Without a tune:
With good health, we pledge (our
carol)
15 To the house and to the household.
Variant (Mel. 118a.):
1-3 = In the town of Bethlehem,
In the town of Bethlehem,
Come on, let us see Him all.
120a.
(Behold,) this is Christmas evening,
For the Holy Lord was born,
And on dry hay He was born,
(And) with angels ringed about.
5 Come along, my lords, let's see Him,
In the Jordan christen Him;
Let us raise Him to the sky,
227 Author's manuscript footnote: An unintelligible verse in the recording.
D
So that He'll rule heaven also,
Over us set up His lordship.
*
Host, a good health we are wishing;
O'er the year may you be merry
Like the summer, like the springtime,
(And) like autumn bountiful!
Variant (Mel. 121m.):
1-6 = (Behold,) this is Christmas
evening,
For the Holy Lord was born.
He was born upon dry hay,
(And) by angels ringed about.
Come along, lords, let us see
Him,
Christen Him with jordan's
water.
120b.
(Behold,) this is Christmas evening,
Refrain
For the Holy Lord was born,
He was born upon dry hay,
(And) by angels ringed about.
Refrain: White are apple blossoms!
121.
High the star arises
Like a mighty myst'ry;
The star showed itself
(Coming) from the east.
5 Thereupon three kings
Wisely reckoned; they
Went after the star
Until they arrived.
Once they had arrived,
10 The good news they told
Adam, Abraham,
[ 523 ]

$i lui David crai:
-Nascut-a Hristos
Lumii de folos!
(29. $ebi~ if)
122a.
Doamne Isuse Hristoase,
Tu e~ti nOl}a zoq frumoase.
$i raza prea luminoasa,
Ca din ceri t~-ai pogont,
5 Din fecioara t~-ai nascut,
Cu oameni ai petrecut.
Pentrl}-a noastra mantuire
Ra bda-~i, Doamne. rastignire;
Pentrl}-a lui Adam gre~ala
10 Toata lumea fu 'n pierzala.
Adam pentru c~-a gre~it,
Domnul din rai 1-0 gonit.
- 0 Isus, lumina dulce,
Din rai nu rna 'ndur a duce,
15 D~-a mirosu £lorilor,
De zbarnu albinilor,
De arsu luminilor.
o Isus, lumina nalta,
Ochii no~t' la tine cal}ta,
20 Ca luminezi lumea toata
Cu lumina cea bogata
Tu, Isus, lumina sfanta
Nu lasa pe noi osandii.
(45f. $ebi~ if)
122b.
1-2 = 122a. 1-2
$i raza prea luminoasa
Tu din ceri t~-ai pogonty
5 $i pre pamant ai venity,
Cu oameni ti-ai petrecuty.
Rabda-~i, Doamne rastandirea,l
Ca sa ne scoti din pierire.
(45g. Ciarbal if)
10 Care l-al} fost prorocit
1 = rastignirea.
2 = aratat.
[ 524 ]
D
122c.
1-2 = 122a. 1-2
Tu e~ti raza cea curata
$i lumin' adevarata.
(45k. Bistra if)
122d.
I: 0 Isuse Hiristoase : I,
I: Rasarit-ai zoq frumoase : 1
I: $i raza prea luminoasa : I.
Tu din ceri ai pogont
5 La noi, Doamne, pe pamant.
T~-ai 'ratat 2 in chip de sluga
$i n~-ai scos pe noi din munca.
(45t. Albac if)
122e.
1-2 = 122a. 1-2
[3-4 = 122b. 3-4]
I: Tu e~ti raza cea curata,
$i lumin' adeverata. : 1
(45v. Sanmic1au~ul mare if)
123.
Isus Hristos, zori d'irept'e,
Ce d'in ceri t'~-ai pogonty?
D'ela Tatal ai venity.
Tatal Sfant d'int' inaltime
5 sfanta ~i-al} trimis
Po~ta
Pre Arhanghelul Gavril.
La cia Sfanta Viergurita
Deci sala~ bun ~i-al} gatit
$i cuvantul s'al} 'mplinit,
Acei proroci de demult,
Ca va na~te din Viergura

And King David (too):
(Lo,) Christ has been born,
Solace to the world!
122a.
Jesus Christ, oh Lord Almighty,
You are our beauteous daybreak
And our shining beam most lightsome,
For from heaven You carne down,
5 Of the Virgin You were born,
Among men You did sojourn.
For the sake of our redemption,
Lord, You suffered crucifixion;
For the wrongdoing of Adam,
10 All the world was in perdition.
Because Adam had transgressed,
God drove him from paradise.
Jesus, (shining) light of sweetness,
I can't bear for to leave heaven,
15 For the fragrance of the flowers,
For the humming of the bees,
For the tapers' burning (light).
Light (shining) above, oh Jesus,
Toward You our eyes are seeking,
20 Because the whole world You lighten
With a light (so) richly (shining).
You (most) holy light, oh Jesus.
Let not judgment (fall) upon us.
122b.
1-2 = 1-2 of 122a.
And most brightly shining sunbeam,
You descended out of heaven,
5 And, upon the earth arriving,
With mankind You have sojourned.
Lord, You suffered crucifixion
To redeem us from perdition.
D
122c.
1-2 = 1-2 of 122a.
You're the beam (that is) untarnished
And the light of truthfulness.
122d.
Jesus Christ, (beloved Savior,)
You have brought a beauteous
dawning
And a beam most brightly shining.
Out of heaven You carne down
5 To us, Lord, upon the earth,
Showed Yourself as 'twere a servant,
And from tribulation saved us.
122e.
1-2 = 1-2 of 122a.
3-4 = 3-4 of 122b.
5 You're the beam (that is) untarnished
And the light of truthfulness.
123.
Jesus Christ, dawn of perfection,
Who carne down (to us) from
heaven,228
From the Father You proceeded.
From the heights, the Holy Father
5 Sent forth (with) the blessed news 229
The Archangel Gabriel,
(Sent him) to the Holy Virgin;
So, good shelter she prepared,
And the word was (thus) fulfilled,
10 That had been the prophecy
Of the prophets long ago:
That there'd be born of a virgin

228 In the transcription, this verse appears in the form of a query: Why did You descend
from heaven? Somehow, this doesn't ring true; indeed, throughout the rest of this item the
punctuation of the transcription alters what -to the translator-seems to have been the
purport of the original text. Suitable changes have therefore been made in the translated
version.
229 This verse in the original reads textually: Did send off the holy mail. This oddly tech-
nical note is amusingly effective, coming as it does in the middle of a no less technical theological
exposition.

[ 525 ]
 D
Bun slobozitorul nostru, 10 Sa ne fie de folos!
Ca mai nainte toij eram Va1'. (Mel. 127b.):
5 In gre~ala lui Adam 1-2 = /: Patru pastori sa 'ntalnira : I,
In vr' 0 ~ase mii de ani. 1'.,
Deei noi totL ere~tinilor,
Sa lal"ldam pre Dumnezel"l. I: ~i a~a sa sfatuira : I:
(45j. Vidra de sus if)
1'. (127a.) Raza soa1'eluj, Iloa1'ea soa1'e-
lui!
124. (127b.) Raza soa1'eluj, SMa soa1'eluj!
1'.
[Cotl in sus ~i cot in jOSY], (127a. Bistra if)
I I. I r-rr.-l (127b. Albae if)
/: Cot aeolo, ee-i ved'e-~ : / ved'e:
125b.
fT.l [ll.l Patru pastori sa horbira 2
/ : Vad 0 masa rot'ilana : / -lan'
Cu sora sa trandafire:
-Haidaij fratilor, sa mergem,
rrl fll.l
/: D'e ingeri imprejurata : / -rat.
Flori frumoase sa eulegem,
5 Sa faeem 0 eununiti'i,
5 [D-asupra ingerilor,] Cununita tat eu vita,
S'o trimetem la Hristos
fI.l
[TIl In ora~u eel frumos.
/: Zor zor zor, eamput eu £loriY : / £lori 10 Hiristos n'a vrut sa nasea
In paluta 'mparateasea.
Ba ala nu-i camp eu flori, 1'. Raj, 1'aj luminos!
Da-i eununa lui Hristos, (104i. Idieel if)
Tat sa 'ntoaree 'n sus ~i 'n gios
10 Dupa luna cum razbuna,
Dupa soare cum rasare, 126.
Dnpa stele en vedere.
(73aa. Comlau~a 4» I 1. I
/: Hai eu tojii sa suimy, 1'. : / suim
!TIl
125a.
/: Patru pastori sa 'ntal:iiira : /, /: In ora~ul Viflaimy : / -im,
rn [TIl
1'.,
Patru pastori sa 'ntalnira, If.IIll.l
I: Pa Marie s'o cinstimy : / -stirn.
/: ~i a~a sa sfatuira :/
~i a~a sa sfatuira: NoL Marie, til-om cinstl,
5 Da ne temem e'om gre~i,
5 -Haidati, fratilor, sa mergem, Ca e~ti imbracata 'n soare
Floricele sa eulegem ~i tH luna la picioare.
~i sa faeem 0 eununa Sfanta e~ti si sfant' ai fost,
~i-o 'mpletim eu voie buna, C'ai dat tata lui Hristos,
S'o trimetem la Hristos,

1 = caut.
S = vorbira.

[ 526 ]

Our own goodly Redeemer;
For we all had been before
5 Neath (the curse of) Adam's sin
For about six thousand years.
Therefore, Christians, all of us
Unto God let us give praise.
124.
I look up and I look down,
I seek yonder what's to see.
(Lo,) I see a wheel-shaped table
That surrounded is by angels.
5 (And) above the angels, (see,)
Quick, quick, quick, a field of flowers.
Nay, that is no field of flowers,
But it is the crown of Christ:
It keeps turning, up and down,
10 Toward the moon, as it is setting (?),
Toward the sun, as it is rising,
Toward the stars, as they are
showing (?).
12Sa.
(Lo,) four shepherds met together,
Refrain
(Lo,) four shepherds met together,
And they counseled thus together,
And they counseled thus together:
5 Come on, brothers, let's be going
Little flowers for to gather,
And a wreath let us be making;
With rejoicing let us braid it,
Let us send it unto Christ,
D
10 So that it might profit us 1230
Variant (Mel. 127b.):
1-2 = (Lo,) four shepherds met
together,
Refrain
And thus counseled they
together:
Refrain (127a.): Sunbeam (shining
bright), flower of the sun!
Refrain (127b.): Sunbeam (shining
bright), sister of the sun!
12Sb.
(Lo,) four shepherds made agreement
With the rose, (who was) their sister:
Come on, brothers, let's be going,
Let us gather beauteous flowers,
5 Let us fashion a small garland,
With some vine (leaves), a small
garland,
Let us send it unto Christ,
In the city beautiful.
Christ did not wish to be bom
10 In the palace of an emperor.
Refrain: Light, light paradise!
126.
Come on, let us all climb up
Refrain
To the town of Bethlehem,
Unto Mary let's bring giftS. 281
Mary, we shall bring you gifts,
5 But we fear we might do wrong,
For the sun provides your raiment,
And the moon provides your footstool.
You are holy, you were blessed,
For you've given breast to Christ,

ISOAlternative reading for this verse: So that He might comfort us.

lSISince a cinsti means both "to honor" and "to treat (or to begift)", this verse has the
following alternative reading: Let us honor Mary (there). In that hypothesis, the next verse
should read: Mary, we shall honor you. The translator is unable to decide with any certainty
which sense of the verb is intended in the original text.

[ 527 ]
 D
10 Lui Mantuitoru nost'. Aeol' nu traM nimrue
r. Hoj l'er 110rj d'e mar! 10 Far' sufletu drept ~i sfant.
(64b. Ghelar 4» I.r. Doru m'o da ios!
3.r. Lumea me, lumea met
(113. Or!10va 4»
127.
I 1. I fII.l 12Sb.
[I : Astazi am vazut minuoa : / minuo',
/: La sfar!1itu lumiii-re :I
/: Care inger 0 spunea : I r.,

I: Despre mese a Hristos : IJ I : Trimbita-vor ingerii-~ : I,

/: Foart'e s'a~ 'mplirut frumos : /. Trimbita-vor toti odatii :
Sa sa stranga la olaltii.
5 /: Und'e est~-aeuma i-om: / 5 Domnii ~i bogart vor plange,
Cum s'or judeeat pin sange.
I: Tat cum 0 fost Solomon: I, ~i-aeol' nu traM nimie,
Nice aur, nic!:l-argint,
Ca sa-mi eante aleluia N umai suflet drept !1i sfant.
Din eantaril!:l-aeestuia.
Aeum yom eanta !1i no! 10 0 Marie, sfantii e!1ti,
10 In timpine !1i 'n cimpoi. Sfantii e~ti ~i sfant' ai fost,
Vine fratiorul mie~, C'ai dat tata la Hristos,
Vine la gradina ta; Car' pe noi din iad n~-o seos.
Ca-i inflorit roada tao r. Corind'e ma Doamn'!
Din eel drept s'a~ rasarit, (730. Bala 4»
15 Ca sa s'arat' ~i taina,
Taina eea din veehi aseunsa
~i de inger ne~tiuta,
129.
eel ce dii 'n lume viap, I: ;;i 'nveseli,1 iubit cre~t'ine : I,
EI poarta fieior in brap. r.,
(122a. Albae if)
[Iaeatii Craeiun i~i vine!]
/: ~i 'nveseli, iu' 2 vinovaty (sic!) : I
12Sa.
fTlfIT.l
I: In patru eomuti d'e lume, I.r. : 13.r.,
/: ~i la bunul imparaty : II

5 Est~-un tum in Vifleim

[La tat ~omu d-a lui nume] Aproape de Rusalin;
/: Sa mearga la jud'eeatii : I, In varvutu tumului
Seris-ti fata Domnului.
/: Cei vii eu eei morn d'odatii : / Tot intreaM d'i~ti tri erai:
Care ealea ea tra rai?
5 Sa mearga la judeeata.
Judeeata-i mare price, r. Leruj Doamn'!
Domnii ~i 'mparati or plange. (107e. Niere!1teu if)
Judeeata-i Vifleim,

1 = tnvesele;;te.
2 = iubit.

[ 528 ]

10 Unto our Redeemer (blest).
Refrain: Hoy, sing apple blooms!
127.
On this day we've seen a wonder:
What the angel had foretold
Of Messiah (and of) Christ,232
Beauteously has been fulfilled.
5 Where is there a man this day
Such as Solomon has been,
For to sing me halleluia
From the latter's Song of Songs?
Now we shall play (music) too,
10 With the bagpipes and the drums.
Come on, little brother mine,
To your garden come along,
For your fruit is (all) in bloom.
It's grown out of righteousness,
15 To display the mystery,
Myst'ry that of old is hidden
And unknown unto the angel:
He who life unto the world gives
In His arms a Son is bearing.
D
Nothing (else) is needed there
10 But a fair and saintly soul.
Ist Refrain: Yearn may fell me down!
2nd Refrain: World of mine, world of
mine!
12Sb.
When the world comes to an end,
Retrain
Angels will be trumpeting;
They will trumpet all together,
That (the people all) may gather.
5 Lords and rich men will be weeping
At the bloody judgment meted.
And there nothing shall avail,
Neither silver nor yet gold,
But a just and saintly soul.
10 Oh Maria, you are blest;
You are blest and you were blest,
For you've given breast to Christ,
Who has brought us out of hell.
Retrain: I'm caroling, Lord!

12Sa.
In (all of) the world's four corners,
Ht Refrain, 2nd Refrain
All who bear the name of mankind (?)
(Shall be called) to go to judgment;
Both the quick and dead together
5 (Shall be called) to go to judgment.
Trials are a mighty issue;
Lords and emp'rors will be weeping.
Bethlehem's the judgment (seat) :
10 Which to heaven is the way?
129.
Be rejoiced, beloved Christian,
(For,) behold, Christmas is coming!
And rejoice, beloved sinner,233
And (you) goodly emperor!
5 There's a tower in Bethlehem,
Near unto Jerusalem;
On the steeple of the tower,
Pictured is the face of God.
It keeps asking these three kings: 234

Retrain: Lord, I sing!

232 An error of transcription gives mese a, which is meaningless in the context of this verse,
for Mesia (Messiah). Translated, mese a means "tables of".
238 This verse is translated in accordance with the author's footnote, which interprets iu'
vinovat as standing for iubit (e) vinovat. If, however, this odd phrase is meant to be nevinovat,
the verse would read: And rejoice, you who are blameless.
234 Alternative reading for this verse: They keep asking, these three kings.

[ 529 ]

130.
1. Marire 'ntru eei de sus,
lngerii eantare ay adus,
ca Hristos cat' s'ay naseut,
Lumea eu dari ay umplut.
I: ca e filJ. de DumnezelJ.,
Sfant e ea !1i Tatal sa y :1·
2. Mama pruneull-alJ. 'nfa!1at
l;)i in iesle l-ay eu1cat;
El eu raza de paeat
In ~I~ alJ. Iuminat.
I: ca e filJ. de DumnezelJ.,
Sfant e ea !1i Tatal salJ. : I.
3. Voi pastori, aeum pIeeaij
I: l;)i in fluier fluierati : I,
$i eu ingeri il c3ytati,
I: C'astazi fiul Domnu1 Sfant
S'alJ. eoborit pre pamant : I.
4. $i voi turmea cum eaytaij,
I: $i Ia eeriu1 sa sa1tati : I
l;)i pe Hristos sa-l ealJ.tati,
I: C'astazi fiul Domnul Sfant
S'alJ. eoborit pre pamant : I.
(132b. Moneasa 1)
131.
1. Rafila, nu tangui, nu pIange
Vazandu fiii tai in sange,
Caei ei nu vor pieri
Mai vartos vor inflorl
I: Tatalui eerese : I.
2. Astazi Hristos in Vifleim s'ay naseut, 1. Tri erai dala rasaritu
lar Irod suparat s'alJ. faeut.
Naseut-o e1 saraeu,
Suparat s'o bugatu.
Ei Irodu, ei Irod.
(130. Rogoz 1)
132a.
1. Tri erai de1a rasarit
1 = renume « hir, ung.).
2 = ban de 20 crei~ari « huszas,
3 = maietec « majas, ung.).
D
Cu steau' ay eaUltorit,
Ca sa-I vada, sa-l eunoascA
$i pe Domnu sa-I cinsteasc'.
2. Vifleimulludei
Unde eanta tngerii;
lngerii frumos cantlJ.u,
Heruvimii laudalJ..
3. Detera toti a eanta,
ca gazda eolae nll-o da;
Gazda eolaeu nll-aduee,
Fara earnat nu nil-om duee.
4. Mare hire,l mai parinte,
De huso!1i 2 ne vinll-aminte,
De huso~i !1i de baneute,
Aeareatll-o fi de muite.
5. Dar aeele Ie-om primi,
De eolaei om pomeni,
P'inga eolae sa euvine
Vr'o cintite de Yin pline.
6. ~i vr'o doya de vinars,
Ca sa-I zmucim pe sub nas,
Sa nu bem sa ne 'mbatam
l;)i de eoasta sa uitam.
7. P'inga eoaste !1i un !10~
$i 0 barba de fuior,
Sa ne faeem ni!1te ate,
Sa ne carpim ni!1te zdreante.
(l1Sb. Sebi~ 1)
132b.
Cu stealJ.' alJ. ealatority,
Ca sa-1 vad' !1i sa-I eunoasc3
$i pre Hristos sa-1 cinsteasea.
2. Maio!1 3 mire, mai parint'e,
Cu huso!1i 2 !1i vill-amint'e.
Cu huso!1i nll-ar einst!,
Cu zloti nll-ar vesell-~.
ung.).
[ 530 ]
 D
130. With the star went journeying,
So that they might see Him, know
1. Glory unto those on high:
Him,
(La,) the angels have brought song (to
us) 235 And the Lord that they might worship.
That Christ has, by being born,
2. (In) Judea's Bethlehem,
Overwhelmed the world with gifts;
Where angels are wont to sing,
For He is (the) Son of God,
Angels beautifully sang,
Holy as His Father is.
(And) the cherubim gave praise.
2. (La,) the Mother swathed the Babe,
3. Everyone began to sing,
In the manger laid Him down;
In the shelter shone His beam,236 That the host might give us cake.
Cake to us the host is bringing,
(Cleansing it) with light of sin;
We'll not go without some sausage.
For He is (the) Son of God,
Holy as His Father is.
4. Goodly tidings, oh my father,
Come to mind, of silver pieces,
3. Shepherds, go now on your way,
About dimes and silver pieces;
Let you pipe upon your pipes,
Be they howsoever many.
And with angels seek Him out,
For today Lord Holy Son
5. As a present we'll accept them;
Has come down upon the earth.
(But) our thoughts will be on cakes.
With the pastry would be fitting,
4. And, as you seek out your flock,237
And leap upward to the sky, Say, a pint with (good) wine brimming,
Let you likewise Christ seek out;
For today Lord Holy Son
6. And of brandy a couple more,
Has come down upon the earth. To be snatched up neath the nose.
Let us not drink to get drunk,
And forget about the chop.
131.
1. Rachel, weep not (and) be not 7. With the chops, a whisper (?) more:
complaining 238 (Goes) a hank of hemp or flax,
Upon your sons in blood beholding, That into some thread we'd fashion,
For they shall perish not, On our rags to sew some patches.
(But) flourish more mightily
For the Lord above.
132b.
2. On this day Christ has been born in
Bethlehem, l. Three kings from the rising (sun)
Whereat Herod (sorely) angered was. With the star went journeying,
(Because) He was born poorly, For to see Him and to know Him,
The wealthy were offended: And to Christ bring their devotion.
Hey, you Herod! Herod, hey!
2. With some liver sausage, father,
With some dimes (of us) be thinking.
132a. He'd begift us with some dimes,
l. Three kings (coming) from the east With some zlots he'd gladden us.
235 In the original, too, this verse has nine syllables.
236 In the translation, the content of this verse and the following one has been redistributed.
237 Alternative reading for this verse: And you, as you tend your flock.
238 The highly unusual scansion of the original text is faithfully reproduced, verse by verse,
in the translation.

[ 531 ]
 E
3. De aeum pana 'n vecie Ciledu1 4 eu slugile,
Mila Domnului sa fie,
Ca n~-am seos dela robie 4. Aeum sa sa bueure,
$i n~-am dus la 'mparatie. C'o ajuns 0 na~tere,
(115a. Rogoz ¢) Na~terea lui Hiristos,
Sa ne fie do f010s!
(115d. Bistra ¢)
132c.
1. Noi aeum ortaci10r,
$i voi, buni dieci10r, 133.
Laudati ~i eantati 1. Noi pastori, oamini saraci,
$i va bueurati! Da ger ~i da frig maneati,

2. Dati dara toti a eanta, 2. Vazand eeriu luminandy,

Ca gazda eolae n~-o da; St'eal}a naiinte margandy,

Gazda eolae n~-o d-aduee, 3. tngerii frumos eantandy.

Far' un earnat nu n~-om duee. [tngerii frumos eanta-~J :
Irod fi mi-~i lal}daty.
3. Maio~,l vere~,2 hop parint'e
Huso~u 3 ne vin~-amint'e. 4. De aeum pana 'n vecie,
Mila Domnului ~i 5 fie!
Gazda eu j upaneasa, (45n. Rogoz ¢)

E. HUMOROUS TEXTS
TEXTE DE HAZ

134. r. (Mel. 73nn.) Negura, negura,

dibra dobra jelimbra,
I: J os { in + { romaneasea
la tara rumaneasea: I Frunza verd' e jed' era!
r. (Mel. 7300.) Ielimbra, ielimbra,
r., tibra dobra ielimbra,
Frunza verd'e (sic!) ied'era!
I: Est'~-o grad'ina domneasea : I. (73mm. Urisiu de sus ¢)
(73nn. Curtecap <p)
Is Da domnu-so Iuoana~y :I (7300. Voiniceni ¢)
S'o faeut ealugara~
5 La colid'ie la Blaj;
$i doamna sa Iuonita
135.
S'o fiicut ealugarita
La colid'e la Bistrita.
rrl fIT.l
I: Pa dampu malaiului, r. : I -lui
r. (Mel. 73mm.) Negura, negura,
dambra dobra jelibra,
Foaje verd'r;.a jed'era!
1 = maietec « majas, ung.).
a = si'mgerete « veres, ung.).
3 = ban de 20 creitari « huszas, ung.).
4 = familie « csaiad, ung.).
5 = sa.

[ 532 ]

3. Everlastingly hereafter
May God's mercy be prevailing,
For from bondage He has freed us,
And we've gone unto (His) kingdom.
132c.
1. (Let) us, fellows, at this time,239
And you, worthy deacons (too),
Praises bring, and let's sing,
And rejoicing be!
E
Family (?) and servants too,
4. Be rejoicing at this time,
For a birth has come to pass,
(And it is) the birth of Christ:
May it comfort (all of) us!
133.
1. (Lo,) we shepherds, poorly men,
Eaten up by frost and cold,

2. Therefore, let's all start to sing,
For the host will give us cake;
(Lo,) the host will bring us pastry:
We'll not go without a sausage.
3. Liver sausage (and) black pudding,
Hop, father, of dimes remind us.
(May) the host with (his good) wife,
2. See the sky all lighting up,
(And) the star ahead proceeding,
3. (Hear) the angels sweetly singing.
Beautifully sang the angels:
Let (some) praise be given Herod.
4. Everlastingly hereafter
May God's mercy be prevailing!

E. HUMOROUS TEXTS

134. Refrain (Mel. 73nn.): Mistiness,

mistiness,
Down in the Wallachian country240 _________ 243
Refrain Green leaf of the ivy, hoI
(Lo,) there is a lordly garden;
Refrain (Mel. 7300.): - - - - --
But its master, little Johnny, _________ 243
Has gone off to be a monk
Green leaf of the ivy, hoI
5 At the monast'ry in Blaj; 241
And its lady, little Janet,
Has entered a cloister, likewise, 135.
She's a nun in Bistritza. 242 O'er the hill of cornmeal mush,
Refrain (Mel. 73mm.): Mistiness, Refrain
mistiness,
_________ 243
Green leaf of the ivy, hoI

239 Verse for verse, the scansion of the translation corresponds to that of the original text.
240 Tara romtlneasca, literally "the Rumanian land," is the ancient name for the principality
of Wallachia.
241 Ancient city of Transylvania, capital of Tarnava Mare district.
242 Bistrita is the name of several towns and rivers of Rumania. There are two monasteries
of that name, one each in Neamt and Valcea districts.
243 The refrain is only partly in Rumanian, the missing words being apparently meaning-
less (see fn. 3).

[ 533 ]
 F
I: Pa dosu 'ntorsurilory : I 136.
I: Pa fata scoverzilory : I r.,
------ Capu calului-
I: Fug~-on malai, ce mai fuge : I. Oala tiganului.
Ochii calului-
5 -Stai. malaiu, nu te duce, Feriestele, tiganului.
Ca te scald in lapte dulce. 5 Matile calului-
-Ba io, zelJ, ca io n'oi sta, Carnatii tiganului.
Ca ma turte!?ti pa lopata, Burta calului-
Faci cu mine hop in vatra, Pierina tiganului.
10 Cu taciuni m'acuparai, Pielea calului-
Di tigani ma 'ncunjurai. 10 Poneava tiganului.
Unu rade, altu plange, Pula calului-
Altu baga ghiara 'n foe Tragacea tiganului.
$i scoate malai necopt. Spinarea alului-
15 Vin\:-o dalM jupaneasa Scara tiganului.
$i puse pita pa masa 15 Curu calului-
Bocalu tiga;'ului.
$i malaiu su lavita
'Ncunjurat di !?apte mate. Coada calului-
Pest'iriu tiganului.

$i te, malai, vesele!?te,

* 20
Copicile calului-
Colacii tiganului.
20 C'o 'nchinam cu sana tate ! r .. Prea junaler, prea tu~pandel
r. Hoj l'er, hoi mi l'er! $z pre prumbarjel, haj haj revla-devla.
(106. Murani 1)
(Ma. Savar!?in 4»

F. UNCLASSIFIABLE FRAGMENTS
FRAGMENTE CE NU SE POT CLASIFICA

137. 138.
Sfant soare rasare I: Rasarit-o, rasarity : I,
'N toate laturile, r.,
r.,
I: Un pom nalt, inramuraty : I
'N toate laturile,
'N toate vadurile. $i de nalt e pana 'n ceq
5 Mai ro~u rasare $i de larg prejur pamant
$i la asta casa
D-io crujp de fereasta r. Corind'e mi-~i, Doamn',
Jur-prejur de masa Bun corind'e!
(73s. Traia!? q,)
r. OJ Domnuluj Doamne!
(12v. Petro~an 1)

1 = cruci.

[ 534 ]

On the back of the turned furrows,
O'er the face of cornmeal cakes,
Runs a corncake: how it's running!
5 Hold on, corncake, do not leave (me),
For in sweet milk I shall bathe you.
No, I swear, I will not stop,
For you'll squash me on the shovel,
Make me go, hop, in the oven,
10 Cover me with embers (too),
(And) with gypsies ring me round.
One is laughing, one is weeping,
One his claw puts in the fire,
Pulls the corncake out unbaked.
15 Comes along a beauteous lady,
Sets the loaf upon the table,
And the corncake neath the settle,
Ringed about by seven kittens.
*
And you, corncake, of good cheer be,
20 For with (good) health we bepledge
Refrain: Hoy, sing! Carol, boy!
F. UNCLASSIFIABLE FRAGMENTS
137.
Holy sun arises
Over all the places,
Refrain
Over all the places,
Over all the crossings.
5 More ruddy it rises
Also o'er this cottage,
Through the window's middle,
Round about the table.
Refrain: Hoy, for the Almighty!
244 In this text, there is no attempt to achieve either meter or rhyme, beyond the crude pair-
ing of calului (of the horse) and tiganului (of the gypsy).
245 The dashes represent unintelligible words (see fns. 3, 243 above and the author's note
to mus. ex. No. 106 in Part 1).
F
136.
Refrain
The horse's skull: 244
The gypsy's pot.
The horse's eyes:
The gypsy's windows.
5 The horse's guts:
The gypsy's sausages.
The horse's belly:
The gypsy's pillow.
The horse's hide:
10 The gypsy's sheet.
The horse's pizzle:
The gypsy's trigger.
The horse's back:
The gypsy's ladder.
15 The horse's arse:
The gypsy's jug.
The horse's tail:
The gypsy's napkin (?).
The horse's hooves:
20 The gypsy's cakes.
Refrain: Too - - - - -, too - - - --
And too swarthy, hoy hoy - - - - _.245
138.
There has sprung up, there's grown
upward
Refrain
A tall tree with spreading branches;
And it's tall up to the sky,
And its width goes round the earth,
Refrain: I would carol, Lord,
Goodly carols!
[ 535 ]
 G

G. ROMANY TEXTS
TEXTE .
TIGANE~TI

139. 5 Thandre khangiri dilias

Sucar mni!1e vo cardeas
I: Socoi tele mai teler~ : I, La lyechichi stindias ponilei.
r., (45r. Niere!1teu if)
I: Socoi tele sobar~ola : 1?
------ 140b.
Daie khanhiri lemonesri U!1t'e nU!1t'e!!! Romal~,
Pale late con be!1ela? U!1t'e nust'e Romale~
5 Le be~l 0 sfant ondel.
====
Pe do duito con be!1ela? Thedikhen so hadikheny
Daii lede leseri Sar hu l'e 10 sfant okhamy
Voche pU!1ca ache la!1,
Andro rupuno ve!1ghiijas, 5 Peloi trate mome nate.
10 Rupune cierbos chunas,
Le delesche !1istinghias. (45u. Rapa de sus t/»
Ondel lache !1istindias
Le siilinta Ie milienta.
r., ? 141.
(78a. Niere!1teu if) I: !?uturoma !1Ovaldo, r. : 1

140a. I: Tai!1in barD conalo : 1

Dusten dusten de Romale ------
I: --------- :11
I: Thedhikhen so nadhikhean» : 1 Lituroma tai tun~
Eta vela vri oda!1.
r. FIOf'ile-s dalbe!
I: Sar phuiel 0 somnal del» : I.
(62ff. I~ t/»
Tre scarate mome leata.

1 La fon. un sir, care ou se totelege.

[ 536 ]
 G

G. ROMANY TEXTS

139. 246 5 And the (holy) church He's entered,

At the top and at the bottom:
Refrain
What is growing at the bottom?
(Lo,) it is a church of beeswax.
Who is sitting there, beside it?
5 The Almighty's sitting there.
Who's the second one there sitting?
'Tis the Holy Virgin, (see,)
She has taken up a gun,
She's been in the silver woods,
10 She has caught the silver stag,
To the Lord she's given it.
(Lo,) the Lord repaid the gift
Hundredfold and thousandfold.
Refrain: ? 247
140a. 248
Get up, get up, all you Gypsies I
See what you've not seen before:
How the goodly Lord's descending
On a taper and a stairway
And the World He has begifted:
Beauteous service sang in summer.
140b. 249
Get up, get up, all you Gypsies I
Get up, get up, all you Gypsies!
See what you have never seen yet:
How the holy sun's descending
5 On a taper, on a stairway.
141. 250
Do it six times, Gypsy lad:
Refrain
A great mooner you will be.
_________ 251
Take it, Gypsy, and run off:
She took me before the judge.
Refrain: White are the blossoms!

a46 The translation of No. 139 was made from the unmetered and unrhymed German
version included in the original typescript, and must therefore be regarded as approximate.
The meter, however, corresponds as closely as possible to the Romany original.
247 According to the author's note to the corresponding melody (mus. ex. No. 78a.), the
refrain is unintelligible from the recording.
248 The translation of the Romany text was made from the unmetered and unrhymed ver-
sions, one in German and one in Rumanian (the latter initialed "C. Br.": Constantin BrAiloiu),
which are included in the original typescript draft of the texts. The meter follows the original
as closely as possible.
249 This rendering is largely conjectural. Various Romany experts consulted confessed their
inability to make complete sense of the original, which is apparently either badly garbled or
else in some unidentifiable local patois of the Romany. The second and fourth verses, which
thoroughly baffled the Romany experts consulted, show some similarity to the corresponding
verses of No. 140a. Hence the tentative translation given here.
250 This item, which has a refrain in Rumanian, baffled the Romany experts consulted. Thus,
six in the first verse might be sixty, according to one authority, who also surmised that moone,.
in the second verse could be "some sort of slang expression." This rendition is compiled from
patchy guesswork and divergent versions.
a51 Author's manuscript footnote: "An unintelligible verse in the recording."

[ 537 ]
 H

H. APPENDIX
APENDICE

142. r. Domnuluj Doamne Doamn'!

(39. Petro~an 1)
MMeciii, mMecai
Sfantai Dumi:il.ica
(2. Petro~an 1) 148.
Colo 'n sus la rasarity
Est~-un mar mare 'nflority
143.
10 davui un fiy.,
(45m. Denta 1)
1'.,
10 d-avui un fiy
r. Domnul Doamne! 149.
(3c. Sarafola 1) Izbavirea n~-ay. sosM
D'ela Domnul cel prea Sfant.
144.
I: 'Ntreabii mi sa 'ntreaba : I, (45p. Mice~ti .p?)
r.
r. lair Domnuluj Doamne! 150.
(5b. Igri~ .p) 1'.,
Colo 'n josul, mai d'in jOSY
145.
r. Floril'e-s dalbe!
Hoi ~edu-i ~i-mi ~edui, (62v. Petro~an 1)
I.r.,
Tot doi Domni di cery,
2.1'.,
La poarta di rai.
151.
Nascut-o d-un domn tanary,
I.r. Doamne! r.,
2.1'.Dai corinde! Din curti bune-a domnii buni
(2Ie. Budureasa 1)
r. Corinde, corindele!
146. (7Ic. Budureasa 1)
I: La lina fantana, r. : 1
==== 152.
r. Dair Domnuluj Doamne!
(27. Sarafola 1) Colo 'n jos pe mare 'n joSY.
r.,
~apt'e sat'e jidove~ti
147.
Colo 'n josul, mai d'in joSY,
====
r. HajUno Uno l'erujlin'!
r., (8Ih. !dicel .p)

[ 538 ]
 H

H. APPENDIX

142. Refrain: To the Almighty Lord!

Early morn, early morn,
Sunday's a holy day
143.
I (too) once had a son,
Refrain
I once had a son
Refrain: Lord Almighty!
144.
Questioning (and) asking:
Refrain
Refrain: To the Lord Almighty!
145.
Ho, they're sitting, sitting,
ISt Refrain
Two lords out of heaven,
2nd Refrain
(Up) at heaven's gate.
ISt Refrain: Lord God!
2nd Refrain: Sing the carols!
146.
At a quiet well-spring,
Refrain
Refrain: To the Lord Almighty!
148.
Over there, toward the sunrise,
A large apple tree is blooming.
149.
Unto us redemption came
From the very holy Lord.
150.
Refrain
Down below there, lower down yet,
Refrain: White are the flowers!
151.
Of a young lord was delivered,
Refrain
From good courts of goodly lords
Refrain: Singing carols, caroling!
152.
Down below there, by the seashore,
Refrain
Seven Jewish villages
Refrain: Come, softly, softly, caroling!

147.
Down below there, lower down yet,
Refrain

[ 539 ]

153.
Tomnai sara d'e Ajunu,
1'.,
PrimbIa-mi s'acest domn bunu
Dintr' 0 curt'e 'ntr' alta curt'e.
1'. Doamne joj Domnuluj Doamn'l
(86h. Petrol/an ()
154.
Cam supt vita vinului,
Supt umbra gut'iului
====
(87c. Petrol/an if)
155.
Dimineata lui Craciunu,
1'.,
Dimineata lui Craciunu
=====
Si-a lui domnului cel bunu
1'. Flo1'ile-s dalbe, leI' de mary!
(93. Petril/ t/)
156.
Pe dealu Colnuoari,
1'.,
Pe dealu Colnuoar'
II.
rrr.l Rlisarita lumii
I: Und'~-a nascut Fiul SfAntu : 1SfAnt.
1'. Le1'uluj ~j-a ma1'ului!
(9Sh. Moi!ja </»
157.
Noi acum ortacilor,
Voi diecij bunilor
Laudati l/i cAntati
~i va-mi bucuratil
(llSc. Ciarbal t/)
158.
I: Colo sus la rasaritu, 1'. :
====
I: Est' un mar mAndru 'nfloritu : I.
H
Da su' poala marului
~ed'e Petru l/i SAnt'ietru.
1'. Cununa da vdnaJel'e!
(116. Valcani </»
159.
Acum am vazut minunea,
Care Inger 0 spunea,
Acum toat'e s'ay. 'mplinitu,
Precum 'say. fost prorocitu.
(121i. Petrol/an t/)
====
160.
1: Tri crai dela rasaritu : 1
fTl fIT.l
I: CU steay.' ay. caIatoritu : 1-rit.
(121j. Ciarbal t/)
161.
Secina ghecina l/oi dobrana,
Tomnan durma durmina,
Lemn verd'e d'e ied'era.
(128b. Ra.u de mori t/)
162.
1. Na!jtirea ta Hristoasa (sic!)
Dumnezeu nostru,
I
Lumina cuno!jt'inta,
2. Ca 'n-tru dAnsa c~i ce
~erbea stelelor
Da la steay.a s'ay. 'nvatat.
~i sa 'nchina tie
Soarelui dreptatii,
3. ~i sa t'e cunoasca pre t'ine
Rlisaritul cel da sus,
Doamne, marire tie I
(131. Rogoz t/)
1
[ 540 ]

153.
Right upon the Eve of Christmas,
Retrain
This good lord about is walking
From one yard into the other.
Retrain: Ho, to the Almighty Lord!
154.
Somewhat underneath the grapevine,
In the shadow of the quince tree.
H
But beneath the apple's branches
There sits Peter and Saint Peter.
Retrain: (Ho,) a wreath ot woodland
tlags (made)!253
159.
Now we have beheld the wonder
Which the angel had foretold;
All those things have come to pass
now,
Just as prophets have foretold them.

155. 160.
Christmas Day (it is this) morning, Three wise men out of the East (came),
Retrain Following the star, they travelled.
Christmas Day (it is this) morning
And to the good lord belonging
Retrain: White are the blossoms ot the 161.
apple! _________ 254

156. Green wood of the ivy vine.

On the hill of - - - - _252
Retrain
On the hill of - - - - -
Where the Holy Son was born.
Retrain: Caroling about the apple!
157.
(Come on,) fellows, (all of) us,
(And) you, singers, (who are) good.
Let us praise, and let's sing,
And let's joyful be!
158.
Up above there, toward sunrise,
Retrain
A fine apple tree is blooming,
162.
1. Thy (wondrous) birth, Christ Jesus,
Our Lord Almighty,
To the world (brought) dawning
The light (that is of) knowledge,
2. Because, through it, those who
Served the stars (above)
From the star have knowledge gained,
And bowed down before Thee,
(Thou,) the sun of justice,
3. That they might acknowledge Thee
also
(As) the dawning from above:
Glory to Thee, Lord God!

252 In both forms (Colnuoari and Colnuoar'), the final word of this verse is utterly meaning-
less to the translator.
253 The flower referred to is Iris variegata, which commonly grows wild in woods through-
out Rumania.
254 The first two verses of this refrain are meaningless, and have respectively ten and seven
syllables of jingle. The reader is referred to fn. 3 (Text No. If.) in which the same refrain occurs
with a slight change in the last verse.

[ 541 ]

163.
1. Marire 'ntru cei de sus,
Lui Dumneze]).,
!;Ii pre pamant fii in pace I
Astaz ingerul vine
Cu prea buna vestire;
Taina mare va spune,
Fecioara prune va nast'e.
H
164.
1. Tri crai da Persida-i
Irod cum i-a]). vazut,
Margand Ie dansa
'Mparati-a de muIt:
-Pentru ce voi umblati,
Pre care Ie cercati?
Straina 'mparatie!

2. Cum poate-aceasta sa fie, (133. Rogoz ¢)

Ca de blirblit nu !itie;
Dumneze]). adevarat,
MeIu!iiel nevinovat.

3. PastoriIor, fluerati,
Cantare n~-a 0 cantati
Cu ingeri !ii cu harhangeli!

(132a. Rogoz ¢)
====

[ 542 ]

163.
1. Glory among those above,
Unto the Lord,
And upon earth peace prevailing!
This day the angel cometh
With the most gladsome tidings,
The great myst'ry disclosing:
The Virgin shall have offspring.
H
164.
1. Three lords from Persia (came),
(But) Herod, seeing them,
On their way going,255
Had long been reigning:
Why are you traveling?
What things try ye (to find)
(What) alien empire (seek ye) ?

2. How can this thing be, (however,)

For of man she lacks knowledge?
(It is the) true God, indeed,
('Tis) the Lamb of Innocence.

3. You shepherds (all), play your pipes,

(And) strike up this song of mine
With angels and with archangels!

255 The concluding five verses of this fragment are oddly disjointed in the original version,
hence the above translation is somewhat conjectural. The unusual meter of the original is,
however, rendered as closely as possible.

[ 543 ]
 INDEX OF REFRAINS *
[Text Numbers in Parenthesis are Listed in H. Appendix]

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. withoutl with
Variants

1. 1 Doamne 6 32 1 1
2 Domnule 73 19 1 1
3 Domnili - Domnili 87h. 23a. 1 1
4 Domnul Doamne
(Domni Doamn') 6Oc., 87m., 112£., (143) 3c., 52e., 81j., 111e. 4 4
(Domnule Doamne)
5 101 Doamnul, loi Doamn' ~

(101 Domno, 101 Domina) 48b., lOSe. 12y.,25 2 2

,...., 6 Doamn~-a Domnului 102b. 21y. 1 1 ~
7 . {Doamne 35a., 38a., 48g., 52, 51, 58a.b., 59a., 60, o
:f Domnulul (Doamn') 57, 59b., 69a., 82h., 6li.k., 62c.g.-i.1.x.,
~ 84c.,93d., l04j., 66, 65, 66a., 67a.b.,
105h.j., 108d., 118, Mar.6a.c.
-~
1211. 10 19 ~.
8 Domnului Doamne - Domnului 51
Doamne 6Od., 64a., 75 62dd.,ee.gg. 1 3
9 Domnului ~i Doamne 1Oa., SOb., 91b. lOc. 1 1
10 Sa., 1Ob., 14a.b., 5a.b., 6, 8-9, 10a.b.,
(Oi) }
I~ . 31a.-c., 43-44, 46, 11, 12a.-d.o.s.-v.y.
(Dol) Domnulul Doamne 48b.-d.f.,50a.,71b., z.aa., 13-15, 27-28,
(Dail 81, 87a.b.d., 88, 91c., 40
(loi Domnul ioi Doamn') 112h., 137, (144),
(146) 13 26
11
I :~:]} Domnului Doamne: I 12, 34d., 41b. 12£., 68, 111a. 3 3
• [The signsrr.lfIl.1 indicate an immediate repetition of the refrain; I: :1 indicates that the repetition occurs after the performance of one or
more proper text lines].
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. without I with
Variants
(1.) 12 Dai Domnului Doamne
Domnului dai Doamne 87i. 7a.
13 1. Doamne
2. Ioi Domnului Doamne 10j., 16, 91a. 33a., 34a.b. 2 3
14 I : Oi Domnului Doamne : I 64a. 62dd. var. 1 1
15 Ai Domnului, iai Domno 60a. 118b. 1 1
16 loi Domnului, ioi Doamnel'e
(Ioi Domnutu, ioi Doamner!<) 93h., 103b. 95j.k. 2 1-1
17 Id., 7£., 8, llb., 19, 46a., 81a.b., 82a. ::;!
Doamne
(Domnul dai
dai) 40, 59b., 67a., 77b., var., 82b., 83c., 84
Domnuluiu . v
~
CJ\
~
(
I
{iOi) Domnulul Doamn[e]
(Doamne iai)
82d.e., 83f., 84d.h.,
85, 92a., 95a., 100b.,
104a. , 105m.o.p.r.s.
a.b., 85b., 86b.-e.h.,
87d., 89. 102a.-j.
c
'--'
rer) x., 109, 112g.i., (153) 10 25
-~
18 Domnului Domnului Doamne la.g., 14c., 65a.b., 62p.r.s., 73hh.ll., e.
82e. Mar. 1 3 6 5l
19 1. Domnului Domnului Doamne
2. Domnului Doamne 53h., 69b., 84£. 62ii.jj. 2
20 Doamne, Doamne, Domnului Doamne 35b. 87a. 1
21 Domniei Domnului Doamne 87g. 17 1
22 Domnului Doamne Doamn' (147) 39 1
23 Domnului Domn Dumnezey. 1041. 101 1
24 Doamne Domnul Dumnezey. 93i. 1OOc. 1
25 Dai Domnului buna
(Iai Domnutui bun) 91£., 101g. 12x.cc. 2
":-1
-=I~.-'I l-rLl
26 I: Doamne dragut Doamne: I Doamn' 98f. 26b. 1
27 Domnului Doamne drag Doamne l\:-or 98a. 18 1
28 Domnului nostru 87c., 9ge. 3a.b. 2
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. without I with
Variants

(I.) 29 D I .. '{ Doamn[eJ 68a., 83i., 84s., 92d., 64c.-f., 73ii.jj., 104g.,
omnu Ul ~l-a nos Domnu 104e., 105n., 112a. Mar. lOa., 14 3 9
(Domnilor ~i-a nos' Doamn')
30 I: $i-a nostrui Domnului Doamne: I 64a. 119 1 1
31
: : : : : r'~"' 53b., 56, 93f.g., 41, 73x., 75b., 95f.,
94a., 103e.h., 106d., 1OOa. b.d.e.g.i.
oi~ no,' {Doamne-i
($i-a nus' Domnu. Dumnezel}) 112k. 5 9 ~

Domnu-l ::l
p..
Domnul ~
CJ1 I I. I rrrl o
......
,.j:>. 96b. lllc. 1 1
()'\
32 I : Domnul Domnulij. nostry : I nost'
~
33 Doamn~-ai Domnul nost' 103 21t. 1 1 (1)

34 Domnului Doamne Domn d'~-a nost' 84i. 88a. 1 1 §'

35 Doamn' Doamn' 1ii-a nos' Doamn' 87n., 104d.f., 106c. 63, 104h.j.k. 2 4 S·
(fl
36 Hristos Domnul nost' 94b. 21aa., Mar. 11 2 2
37 o Hristos ii. Domn 55a. 73n. 1 1
38
Domn d'in{ ~:~ 108a.o. 36, 53a., 59c. 3 3
(Domnu 'n ceriy)
39 L'il'il)oara ~i-a nos[tJ Doamn[eJ 41a., 84c., 103f., 112 104a.-d.f.
(Lilil}an ~i-a nos' Doamn[uJ) m.n., 114a.c. 1 5

II. 40 Lerul'ui
[Lerului ~i-a maruluiJ 5b., [(156)J 22, [95h.J 1 1
41 1. L'erul'e
2. Le l' eru!' e 107b. 23b. 1 1
42 Hoi !'er hoi mi I'er 135 64a. 1 1
43 Ler Doamnele 180i· 53b. 1 1
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. without I with
Variants

(II.) 44 L'er Domniale- L'er Domniale 58a. 55 1 1

45 L'erui Doamne 37, 60e., 78b., 80, 52a.-d., 107a.-e.
841., 92f., 95b., 103
g., 108b.c., 129 2 9
46 L'erui Doamne - L'erui Doamn[e)
(Leru-mi Doamne - Leru-mi Doamn') lla., 32g., 54, 82a.b. 54, 56a.-c., 109 3 5
47 9, 109., 78a., 99£. 12h., 24, 57, 66b.,
(Hoi)
Oi } l'erui Doamne Mar. 13a. 5 5 1-1
~
(Hai)
48 , : Hai lerui Doamn[e) : , 18 73hh. 1 1 ~
CI1 49 1. Da leru-mi Doamne o
~ 2. Hoi lerui Ie. 90 1 1
50 Hoi da l'erui Doamne[o)
(Hoi da l'erui Doamn[e))
-~
(Hai dai l'erui Doamn[e)) 45, 65c., 74, 91g.-i. 7b., 12e., 30a.b., 38 ~.
a., 70 5 6 51
51 ':Hai leru-mi Doamne hai:' 83g. 62hh. 1 1
52 Hai lerui lerui Doamn[e)
(Hoi leru leru-mi Doamn[e)) 23a., 59c. 16a.,43 2 2
53 Hoi l'eru-mi dai l'erui Doamn[e)
(Hoi lerui doi l'erui Doamn[e)) 7g., 84g. 74b., 81c. 2 2
54 Haida ler l1i lerui Doamn[e) Mar. 8, 13d. 2 2
55 1. Doamnea
2. L'eruia l'erui Doamn' 93c. 20 1 1
56 Hoi ler Domnij ler 48e. 12g. 1 1
57 Haia ler iara ler Mar. 4 1 1
58 Domnii ler Domnului bun 93e. 91 1 1
59 Hai ler hop dai lerui Doamn' 7a. 74a. 1 1
60 Hai lino l'erui Doamn[e) 23b. 16b. 1 1
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. withoutJ with
Variants

(II.) 61 Haida ler boieTi

(Hoida l'er boieTi) 10e.d. 112a.b. 1 2

III. 62 D'imiiieata lui Craciunl} 79b. 73v., Mar. 13b. 1 2

63 Lumiiiioara 32d. 50 1 1
64 $i raiu s'o luminat Mar. 13c. 1 1
65 Rai rai luminos 100j., 125b. 104i. 1 I
66 Railui celluminosy
[Raiul'e gradina dulce 59b 83b., Mar. 14 var. 2 2 2 5.
-
.--. Noi d'in t'iiie nu n~-om duci'] ~
Cll 67 Raiu mandru luminos
<t (Raiu mandru-i Luminosy 100e.i. 610., 73bb. 2 2
a
L-J
68 Zuorile zor - Zuorile zor ::0
(Zuarel de zur - Zuarel de zur) 84c.m.u., 114b. 1210.p.r. 1 3
(Zurel de zur - Zurel de zur) ~
s·
69 Raza soarelui, florea soarelui Vl

(Raza soarelui, sora soarelui) I 25a. 127a.b. I 2

IV. 70 D-oi junelui t'ineriely Ig., 7b.c., 108j. 81e., 81e. var., 86f.,
{Sal} junelui tinerelui) 86f. var. 2 4
(D-oi junel, d-oi t'inerely)
71 Junelui junela~y 7d. 88b. I 1
72 Juiielui buny lb., 7e., 24, 82h., 62j.-n.
103d. 1 5
73 Jun~-a luni junel bun 47 37b. I 1
74 Junil'e juiielui buny
(Junel'e junel'e buny) 34g., (154) 87c., 88c. 2 2
75 Junealui bun junea mirelui l04b. 87b. I I
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. withoutl with
Variants

V. 76 (Ler ficuta) toOa. 86a. var. 1 1

77 Ficiorita d'ot'icita 30 92a. 1 1
78
(ficuta) d'ot'iti negri
L'er (ficol'eo)
r~ I 28a.f., 32c.f., to3c. 73gg., 8Id.f., 92b.,
(ficuta d'ot'itia negri) 95c. 4 5
(fet'ita d'ot'itii!-s negri)
79 Luminioara d'ot'ijs negri
g-uminioarai ot'izi neg') 29,32a. 95a.1. 1 2
r-1
80 ieriyoara d'ot'iti negri 28b.c. 95d.e. 1 2
81 Leana lleanA d'ochi~i-s negri 25 92d. 1 1
CJ1.
,j>.
Ja.
\()
82 Da ll'eana fata dalbii
L....J
(Da-Il'iana fata draga) 27,28h. 62t.,84c. 2 2
83 Draga lleana - Draga TIe ana Mar. 19 1 1 ~
84 Oi I'eno I'eno Mar. 7 1 1 S·
fIl
85 . . {lero !ino
Lmo Lmo rujmalino lId., 82d., 84j. 76,80,92c. 3 3
(Lino-mi lino I'ero-mi lino)
86 Linu-i lin ~i iara linu Mar.9b. 1 1
[Frunzii verde rozmalin]
87 Linu linu numai lin' Mar. lOb. 1 1
[Frunza verde rojmalin]
88 Hai lino lino I'erui lin' (152) 8Ih. 1 1
{Lina lina rujulina
89 Mai lin~-or mai lin~-or verziii 2I,28g. 83a. 1 1
90 Lina lior lina lior draga 77a., 82£. I02k.1. 2 2
91 Lino Lino l~-armo Lino 33 103 1 1
92 Hai lena lena marmaleno 92c. Sc. 1 1
93 L'er doi l' er nevasta 84r. 38b. 1 1
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. without I with
Variants

VI. 94 { FIorile!
Soarilel 99a.d. 21v.z. 1 2
95 Ie., 11£., 36b., 53e. 61a.-h.1., 62a.b.d.-
mmTIe
(Floril'e-s) } e.g., 58d., 59a., 65 f., 62f. var., 62k.u.
(Florilor) dalbe d., 83a.e., 92b., 93 v.y.z., Mar. 6b., 9a. 4 22
(Floril~-on) j., 100g., 103g., 106
(Floril'e'n) a.b., 112j., (150)
96 FIorile dalbe - FIorile dalbe Ih., 34e., 58e., 61, 62aa.-cc.ff., 108, 110 1-4

(Florile-s dalbe - Floril'e-s dalb') 76, 82e., 141 3 6

,.--, 97 Florieele dalbe - Florieele dabel 20 121n. 1 1 ~
(J1 98 Flori dalbe d'e mar 17, 53a., 120 37a.e., Mg. 2 3 s..
(J1 53b. Illd. 1 1
o 99 I : Flori dalbe de mar: I
'--'
100 FIorile dabel de mar Mar. 12 1 1
101 Florile-[s] flori dalbe d'e mar 1Of.,34f. 79b., 8li. 2 2 ~
102 Hoi len flori dalbe d'e mar He. 42a. 1 1 ~.
103 I : Flori dalbe ler di mar: I 26 Illb. 1 1 til
104 Florile-s dalbe de ler mary (155) 93 1 1
105 Hoi ler flori de mar 126 64b. 1 1
106 Hoi lele ler flori de mar 108h. 42b. 1 1
107 L'er flori dalbe l'er da mary
(H . fl . d lb {l'er da mar) 3a.b., 83b. 95i., 10Of.h. 2 3
01 OIl a e lor de mar)
108 Ca-l?i floril'e marului 105a.t.v. 44a.-c. 1 3
(Ca-l?i floril'~-a marulu!)
109 ~i-is floril'e d'~-a doi mier!y lIe. 82a. 1 1
110 loi flori dalbe 'n doi de mary 105s. 82a. var. 1 1

VII. 111 Maru-i rOl?u padurietu 14d., 100a., 112g. 86a. 1 1

112 Marului, marului Doamn' 53f. 98 1 1
 (ontinued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. withoutl with
Variants

(VII.) 113 Lerului !li-a marului 22b. 79a., 95h. 2 2

114 Vita verde de mar verde 112n. 97e. 1 1
115 Cet'ina cet'imoara 34a.,72 85a. 1 1
116 Cununa d'e flori vinete 32e. 81g. 1 1
117 Cununa de vinetele 28d. 86g. 1 1
118 Cununa da vanatel'e (158) 116 1 1
119 Cununa d~-aur 34c. 72 1 1
1-4

VIII. 120 5.
",rind'[e]
.---. C . d' (corind'el'e) 87j.1., 89a.b., 96a., 1a.b., 71c.-e.g. 2 6 ~
CJl
CJl
!
onn e (corind'eli)
(-mi corind'e)
(151)
s..
121 1. Corind'e corind'e
2. Corind'e 83d., toOc., 102a. 71a., b.f. 1 3 ~
(1. Corind'e!li corind'e 2. Corind'e) E.
::l
(1. Corinde'l'e corind'el'e 2. Corind'el'e) Vl

122 Dai col'inda 63b., 82g. 59b.d. 2 2

(Dai corind'e)
123 1. Doamne[i] (Soare) 42a., 86, 90a.b., 93 21a.-k., 21k. 1. var.,
2. Doi corind'e[iJ (Dai corind'ei) a.b., 98b.-e., 99b.c. 21k. 2. var., 21k. 3.
(1. Sfintiei 2. Hai corind'e) g., 101a.-f.h., 105a. var., 21 l.-p.r.s.x.,
d.-f., (145) 33b., Mar. 5, 16 2 25
124 Corind'e Doamiie 83c. 61j. 1 1
125 {mi Doamn[e] 38b., 63a., 64a., 84 73a.-h., j.-m., o. 1 13
Corind'e (-mi-!li Doamne) p.t., 92e.g., 97a.-c.,
(rna Doamn') lOOd.f., 102c., 108e.
f.g., 11Oa.b., 128b.
126 1. Sfinti
2. Corind'e-mi Doamn' 98h. 73i. 1 1
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. withoutl with
Variants

(VII!.) 127 Dai Colinde-~i Doamn'

(Hal corinde-l' Doamn') 115b. 69, Mar. 15 2 2
128 Corindam Doamne corindam 840. 73u. 1 1
129 { -mi D","",,<-"; 'orind' [, J Mb., 87k., 102d., 73p.r.s.ff. 1 4
C . d' (mi-~i Doamne, corind'[e]) 138
onn e (mi-~i Doamn', bun
corind' [e])
(Corinde-l Doamne corind'[eJ) H
130 Dai Corinde lerui Doamne 2 96 1 1 ::l
131 1. Doamne me (Floarile ) (Soarile) 99a.d., 105b. 21u.v.z. 1 3 ~
2. Mer doi corind'eme o
CJ1
CJ1 132 Corind'el'e cei Domno Sfanta Mari' 39 105 1 1
~
90b. 21x. 1 1
133 { Soare
$oimi
-
134 Sara-i marea lui Cracium 1120.p. 73dd.ee. 1 2 .....
~
::l
(Jl
135 Carcai carcai 53d. 34 1 1
136 Rominyoara Rominyoara 104k. 97 1 1
{Radui radui radui boi
137 Domnui 28e. 77 1 J
138 Dermiana dermiana mi Doamne 84b. 92e. 1 1
139 1. Doru m'o da jos
2. Lumea me, lumea me 128a. 113 1 1
140 Iara-i dunca negru-i voda,
Iara-i dunca carul voda 51 99a. 1 1

141
1I:l rrr.l
I : Darul Doamne carel voda: I voda 51 99b. 1 1
142 Prea junaler prea fu~pandel
$i pre prumbariel hai hai revla devla 136 106 1 1
 (continued)

No. of Melodies
Group No. Refrain Text No. Mus. Ex. No. withoutl with
Variants

(VII!.) 143 { d~mbra d b {ielibra

Negura, negura, dibra o ra ielimbra 134 73mm.nn. 1 2
{Foaie verd~-a ied'era
(Frunza verd'e ied'era)
144 lelimbra ielimbra tibra dobra ielimbra
Frunza verde ied'era 134 7300. 1 1
145 ~ecina brecina ~oidobrana ~oidobrana
Durmina curmina lemn verd'e ca ied'era If. 128a. 1 1 I-!

~ecina ghecina ~oidobrana 5.

,..-, 146 Tomnan durma durmina (161) 128b. 1 1 ~
01 Lemn verd'e d'e ied'era s.
~ Doamneyt,
'--'
147 Zdr~nc m~druto, zdr~c dulcuto, 15 129 1 1
zdr~c zdranc zdr~cu ~
D rD v d .{Domnul' S·
raga 1 oamne al Domnului rJl
 LIST OF MELODIES AND TEXTS WITHOUT
REFRAINS

Mus. Ex. No. TEXT No.

2, 4, 12i.-n.p.r.x.bb.dd., 16c., 22, 26
a.c.d., 29, 31, 45a.-v., 48-49, 66c., 68c.,
73t.y.z.aa.cc.nn.rr.ss., 75a., 94a.b.,
95a.-c., 102m., 114a.--d., 115a.--d.,
117a.b., 118a., 120, 121a.-m., 122a.b.,
123-126, 130-131, 132a.b., 133
4a.b., 5b., lOe.h.i., 13, 22a., 23c., 31d.
e., 32b.c., 34b., 36a., 41a., 48a., 49, 55
b., 58b., 60b., 62, 67b., 68b., 70, 71a.,
79a., 83h., 84k.n.v., 87e.f., 91d.e., 93
k.-m., 98g., 100h., 104c.g.-i., 105g.i.
k.l., 107a., 108k.-n., 111, 112b.-e.r.,
113a.b., 115a.c., 116a.b., 117, 119,
120a., 121, 122a.--d.e., 123, 124, 127,
130-131, 132a.-c., 133, 140a.b., (142),
(148-149), (154), (157), (159-164)

[ 554 ]
 Notes to the Texts

lc.· The performer did not know the remainder of the text.
4a.. The first syllables of lines 9 and 12 are sung on an upbeat (see note to
mus. ex. No. 12bb.).
7b.c.· The first syllable is sung on an upbeat.
lIe.· Lines 15-23 do not belong here (cf. text No. 87j.k.).
42b.· At line 30 (goes with the first melody line) the first refrain is omitted.
SOb.· Lines 38-43 seem to stem from a deer Colinda and were apparently
transferred erroneously to this poem.
53e.· Lines 6 and 7 seem to be a contemporary allusion to the war (especially
in view of the time these texts were collected).
7tb." [The note is missing.]
82i.· Lines 1-7 were apparently taken over erroneously from another Colinda
text.
90b.· Beginning with line 10 ~oimi! is used as the refrain.
93a. • At line 41 the first refrain is omitted.
93b.· At lines 46 and 52 the first refrain is omitted.
93c.· At lines 9, 11, 13, and 15 Doamneal (first refrain) is replaced by Fii.
98b.· At line 10 the first refrain is omitted.
98d.e.· Doamnel as first refrain only in the first melody stanza; elsewhere,
S/inli!
99a.· Lines 1, 2, and 20 have Soarilel as the refrain.
99g.· At line 3 the first refrain is omitted.
lOla.· At lines 22 and 25 the first refrain is omitted.
10lf.· At lines 3, 7, 15, 21, and 27 the first refrain is omitted.
102c.· Lines 29-31 must originally have come from a text with lines consisting
of six syllables (cf. text No. 101£., lines 29-31), hence the unusual addi-
tion of three syllables to each line.
103d. Lines 1-8 come from text No. 109; their inclusion here seems to be
erroneous.
105a.· At lines 14, 34, 51, 67, 79, and 83 the first refrain is omitted.
lOSe.· At lines 12, 30, and 49 the first refrain is omitted.
105f.· At line 1 the first refrain is omitted.
105k.· Lines 23-28 come from a different text; their inclusion here seems to be
erroneous (cf. note to text No. 103).
105x.· Properly speaking, this text is a combination of text Nos. 105 and 109.
108b.· Recording: unintelligible text line.

[ 555 ]
 Appendix I
by Benjamin Suchoff

ADDENDA

The recent reprint of Melodien der rumiinischen Colinde (Weihnachts-

lieder) as the fourth volume in the series Bela Bartok Ethnomusikologische
Schriften F aksmile-Nachdrucke,l edited by Denijs Dille,2 contains
supplementary material that is pertinent to the present publication. 3
Although the editor's description of his source materials is rather
superficial, they can be chronologically categorized in terms of our own
discussion of the Colinde manuscripts 4 as follows:
1. The holographic "London" copy of the Preface, Introduction to
Part One and the Notes to the Melodies, in German, and the Music
Examples. 5 This copy-the second draft-was prepared by Bartok
between 1925 and 1926 for his intended publisher, Oxford University
Press, and is ostensibly a duplicate of the one he sent to the Rumanian
Academy of Fine Arts (Bucharest) about that time 6
2. Holographic drafts in Hungarian and in German of the Notes to
the Melodies, written after Bartok had revised the Colinde melodies in
1934.

1 Published by Editio Musica, Budapest, in 1968.

S Director, the Budapest Bart6k-Archivs.
3 This volume apparently arrived at American bookshops in 1970, during the last proof.
reading stage of the present publication, but in time for a thorough survey and utilization of
its contents.
4 See pp. ix-xiii above.
5 Bart6k brought Part Two (Texts) with him when he emigrated to America in October,
1940.
6 The Budapest source materials were not made available for our comparative survey of
manuscripts. The Bucharest materials, on the other hand, were microfilmed for our use but
apparently were not made available for the Budapest reprint publication.

[ 557 ]
 Appendix I

3. Typescript drafts (original and carbon copy) of the Preface and

Introduction to Part One, prepared in 1934 as printer's copy, with
holographic corrections.
4. The author's own corrected, published copy of the Colinde. 7
5. The complete texts in the form of a typescript draft, in which the
diacritical marks are placed below semi-vowels. This draft, then, is the
original version of the carbon copy (our Draft 5: see p. xii above)
Bartok brought with him to America. According to Dr. Dille, the
original version was typed after 1935, is corrected on some pages in
Bartok's hand, and was in the possession of Zoltan Kodaly.
In addition to acquiring the previously missing Notes to melody
Nos. 21h.*, 73bb.**, 81b.*, and 99b.*, the following emendations to the
Music Examples were obtained after the studied examination of Dr.
Dille's editorial notes:
No.4: (31) added to performer's data.
No. Sa.: str. to read 2. str. above the first measure of the second staff.
No.6: 1913 to read 1912.
No. 12k.: M.F. 956c to read M.F. 856c.
No. 19: 1913 to read 1914.
No. 20: 1911 to read 1912.
No. 61i.: .I. to read .I on beat :3 of the second measure.
No. 62ff.: XII. to read XI.
No. 71e.: 3. str. to read 2. str. above the first measure of the second
stall·
No. 73s.: F. 1654c to read F. 1564c.
No. 73gg.: 1914 to read 1913.
516 to read 156 as metronome mark. 8
No. 85b.: 1914 to read 1913.
No. 106: 9 Pitch designation and record number added,
110 to read 116 as metronome mark.
7 A second such copy (cf. pp. ix-x above).
8 Dr. Dille suggests replacing the eighth-note by a sixteenth-note in the original M.M. =
516 marking, since the preliminary draft version of this melody shows M.M. tJ = 129 in 2/4
meter. But the revised 3/8 time sign and the other melodies sung by this performer (average
tempo for the five other pieces is 156) indicate that we are dealing with a slip of the author's
pen here-516 should be transposed to read 156.
9 This melody contains a number of grace notes, and a profusion of marginal notations for
the following six stanzas that were recorded appear as holographic additions also. The skeleton
form of the melody, however, remains unchanged. Since this source material came to hand
after our revised version of the Colinde melodies had been engraved, the reader should consult
the reproduction of melody No. 106 on p. 432 of Dr. Dille's edition.

[ 558 ]
 Appendix I

No. 109: hyphen instead of extensor between the second and third text
syllables in the third measure.
No. 114c.: Hyphen instead of extensor in the text portion underlying
the first measure.
No. 117a.: Extensor instead of dashes between the first two words of the
third measure in the second staff.

[ 559 ]
 Appendix II
by Benjamin Suchoff

LEXICOGRAPHICAL INDEX OF MELODIES

The purpose of this computer-derived tabulation (below) is to provide

the reader with a simple and rapid method of locating Colinda melody
lines or of comparing this material with others for possible borrowings.
In order to make comparisons with other tunes it is only necessary to
calculate the first seven intervals of a melody section or incipit. The
calculations should ignore or omit from consideration the chromatic
quality of the obtained intervals, repeated notes, and rests. Ascending
intervals should be indicated by a plus sign, descending ones by a minus
sign (for example, an ascending diatonic scale would yield an interval
sequence of +2 +2 +2 +2 +2 +2 +2; half-steps and whole steps are
designated alike as seconds).
Compare the derived calculation with the interval sequences published
here. If a complete match is found (or a significant subset of an interval
sequence) or a similar contour, refer to the respective melody in the
Colinda music examples for further analysis. 1
To facilitate use of the Index the following explanation of column
headings is offered: 2

1 For example, the incipit of (Gruber's) Silent Night is comprised of an ascending second
(+2), a descending second (-2), and a descending third (-3). This sequence (+2 -2 -3),
according to our Index, can be found in melody Nos. 12e., 21b., 61i., and 102d. The latter two
melodies have Doamne refrains with the same intervallic size and quality as the Silent Night
incipit. In fact, the rhythmic similarity (syllabic structure, too) of the refrain in melody
No. 21b. seems to indicate a strong variant relationship.
S The reader interested in further details concerning data processing techniques in folk song
research should refer to my articles "Computer Applications to Bart6k's Serbo·Croatian
Material," Tempo (London) No. 80, Spring 1967; "Computerized Folk Song Research and the
Problem of Variants," Computers and the Humanities (New York), March, 1968; "Some

[ 560 ]
 Appendix II
I ndex No. - The lexicographical order of the 1,150 interval sequences,
in which plus precedes minus and lesser precedes greater intervallic
size.
Class. - The system devised by Bartok for the classification of the
melodies. Capital letters indicate the type (or absence) of syllabic
structure, Roman numerals specify the number of melody lines:
Class A (six-syllable lines) Class B (eight-syllable lines)
I - two melody-lines I - one melody-line
II - three melody-lines II - two melody-lines
III - four melody-lines III - three melody-lines
IV - four melody lines
Class C: Indeterminate form, mostly with text stanza structure
With regard to content-structure (that is, position and type of a
melody section or line) see Table 3 in the author's Introduction to Part
One (p. 23) or refer to the desired music example.
Melody No. - The Colinda melodies as numbered by Bartok in this
volume and in Vol. V (Maramure~ County). The latter are prefixed here
with the capital letter M.
Interval Sequence.- The melodic contour of a melody section (carried
out to a maximum of seven positions) expressed in plus or minus
numerical figures. Index No. 11, for instance, shows a melody section
(string No. 1,041, from melody No. 124) containing four successive
seconds in ascending order, followed by two descending seconds
(+2 +2 +2 +2 -2 -2).
StringNo.- The individual melody sections considered to be of differ-
ent content-structure (for the most part determined by Bartok himself;
see Table 3, p. 23). String Nos. 1-1,080 represent the single content-
structures derived from Colinda melodies Nos. 1-133, string Nos.
1,081-1,150 have been derived from the Maramure~ (Vol. V) Colinda
melodies Nos. 1-19.

Problems in Computer-Oriented Bart6kian Ethnomusicology," Ethnomusicology, September,

1969; "Computer-Oriented Comparative Musicology," The Computer aud Music (ed. H. B.
Lincoln), Cornell University Press, 1970.

[ 561 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

BIV 118a. +2 953

2 BIll 57 +2+2 345

3 BIll 58a. +2+2 348
4 BIll 59c. +2+2 356
5 BIll 64b. +2+2 462

6 BIll 104g. +2+2+2 863

7 BIll 104h. +2+2+2 866
8 BIll 104i. +2+2+2 869
9 BIV llle. +2+2+2 909
10 BIV 114a. +2+2+2 922

11 BIV 124 +2+2+2+2-2-2 1041

12 BIl 45t. +2+2+2+2-4 312

13 All 3a. +2+2+2-2 8

14 All 16c. +2+2+2-2 124
15 BIll 99b. +2+2+2-2 786
16 AlII M15 +2+2+2-2 1133

17 BIll 7300. +2+2+2-2+2-2 626

18 All 21b. +2+2+2-2+2-2-3 137

19 All 5b. +2+2+2-2-2 20

20 All 21f. +2+2+2-2-2 145
21 BIl 45u. +2+2+2-2-2 314
22 BIV 125 +2+2+2-2-2 1045

23 BIll 73b. +2+2+2-2-2+2 513

24 BIll 73c. +2+2+2-2-2+2 516
25 BIV 126 +2+2+2-2-2+2 1049

26 BIll 61k. +2+2+2-2-2+2+2 384

27 BIll 102a. +2+2+2-2-2+2-3 817

28 BIll 73y. +2+2+2-2-2-2 574

29 BIV 1210. +2+2+2-2-2-2 1021

30 All 23b. +2+2+2-2-2-2+2 192

31 BIll 95h. +2+2+2-2-2-2+2 767

32 BIll 95£. +2+2+2-2-2-2-2 763

33 BIll 95g. +2+2+2-2-2-2-4 765

[ 562 ]
 LexiCographical Index
Index Melody String
No. Class No. Interval Sequence No.

34 BIll 73kk. +2+2+2-2-2-4 609

35 BIIl 73ll. +2+2+2-2-2-4 613

36 AI 2 +2+2+2-2-3 5
37 BIV 121h. +2+2+2-2-3 995
38 BIV 127a. +2+2+2-2-3 1055
39 BIV M12 +2+2+2-2-3 1112

40 BIV 121c. +2+2+2-2-3+2-2 975

41 BIll 73cc. +2+2+2-3 586

42 BIll 93 +2+2+2-3 745

43 BIV 122b. +2+2+2-3+2+2 1035

44 BII 41 +2+2+2-3+2-2 264

45 BIll 95c. +2+2+2-3+2-2-2 757

46 BIV 12lf. +2+2+2-3-2+2 989

47 BIll 95k. +2+2+2-3-2+2+2 773

48 BIll l04g. +2+2+2-3-2-2 864

49 BIll 95a. +2+2+2-3-2-3 753

50 BIll 95d. +2+2+2-3-2-3 759
51 BIll 95e. +2+2+2-3-2-3 760

52 BIll 73a. +2+2+2-3+3-2 510

53 BlV 12lf. +2+2+2-3-3 988

54 BlV 127b. +2+2+2-3-3 1056

55 BIV 121£. +2+2+2-3-3+3 987

55bis C 132b. +2+2+2-4+4 1075

56 BIll 73z. +2+2+2-5+3+2 577

57 All 3b. +2+2-2 11

58 AIl 3c. +2+2-2 14
59 AIl 7b. +2+2-2 30
60 AIl 12j. +2+2-2 66
61 AlII 26c. +2+2-2 211
62 AlII 27 +2+2-2 218
63 BIII 59b. +2+2-2 354

[ 563 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

64 BIV 118b. +2+2-2+2 956

65 BIV 127a. +2+2-2+2+2-2-2 1053

66 BII 56c. +2+2-2+2-2+2-2 344

67 BIll 73jj. +2+2-2+2-2-3-3 606

68 BIll 73ii. +2+2-2+2-2-4-2 602

69 AlII 29 +2+2-2+2+3 224

70 BIll 100d. +2+2-2+2-3+3 797

71 AIr 12£. +2+2-2-2 56
72 AIr 12n. +2+2-2-2 77
73 All 18 +2+2-2-2 128
74 AIlI 29 +2+2-2-2 222
75 AlII 30a. +2+2-2-2 228
76 AlII 32 +2+2-2-2 236
77 BIll 62c. +2+2-2-2 394
78 BIll 62d. +2+2-2-2 395
79 BIrI 62h. +2+2-2-2 403
80 BIIr 62j. +2+2-2-2 407
81 BIll 62r. +2+2-2-2 421
82 BIIr 62v. +2+2-2-2 429
83 BIll 62x. +2+2-2-2 431
84 BIrI 62dd. +2+2-2-2 444
85 BIll 62£f. +2+2-2-2 448
86 BIV 121a. +2+2-2-2 970
87 BIV 121e. +2+2-2-2 986
88 BIV M3 +2+2-2-2 1086
89 BIV M18 +2+2-2-2 1144

90 BIV 122a. +2+2-2-2+2+2 1033

91 BIV 125 +2+2-2-2+2+2+2 1046

92 BIll 104a. +2+2-2-2+2+2-2 844

93 BIll 104b. +2+2-2-2+2+2-2 847
94 BIll 104d. +2+2-2-2+2+2-2 853
95 BIIl 104e. +2+2-2-2+2+2-2 856
96 BlIr 104f. +2+2-2-2+2+2-2 859
97 BIll 104h. +2+2-2-2+2+2-2 865
98 BIll 104j. +2+2-2-2+2+2-2 871
99 BIll 104k. +2+2-2-2+2+2-2 874
100 BIV 121r. +2+2-2-2+2+2-2 1031

[ 564 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

101 BIll 62v. +2+2-2-2+2-3 430

102 BIll 73r. +2+2-2-2+2-3+2 560

103 BIll 62c. +2+2-2-2+2-4 393

104 Bll 44b. +2+2-2-2-2 273

105 Bll 44c. +2+2-2-2-2 275
106 C 130 +2+2-2-2-2 1067

107 BIV 115b. +2+2-2-2-2+2 935

108 BIll 92a. +2+2-2-2-2+3 735

109 BIV 110 +2+2-2-2-2-3 898

110 BIV 127a. +2+2-2-2+3+3+2 1054

III BIll 84c. +2+2-2-2-3 693

112 BIll 62g. +2+2-2-2-4+2 401

113 BIV 121b. +2+2-2+3-2-2 974

114 BIV 121i. +2+2-2+3-2-2-2 1001

115 BIV 121r. +2+2-2+3-2-2-2 1029

116 BIV 1210. +2+2-2+3-2-2-3 1023

117 BIll 73cc. +2+2-2+3-3-4 584

118 BII! 62a. +2+2-2-3 390

119 BIll 62b. +2+2-2-3 392
120 BIll 62£. +2+2-2-3 400
121 BIll 62g. +2+2-2-3 402
122 BIII 62u. +2+2-2-3 428
123 BIll 62y. +2+2-2-3 433
124 BIll 62bb. +2+2-2-3 440
125 BIll 62cc. +2+2-2-3 442

126 All 5c. +2+2-2-3+2 22

127 BIll 62t. +2+2-2-3+2 426

128 BIII 102d. +2+2-2-3+2-4-2 823

129 AIl 8 +2+2-2-4 32

130 BII 45v. +2+2+3+2 316

[ 565 ]
 Lexicographical Index

Index Melody String

No. Class
No. Interval Sequence No.

131 BII 45f. +2+2+3+2-3+2-4 286

132 BII 451. +2+2+3+2-3+2-4 298

133 BII 45n. +2+2+3+2-3-2-2 302

134 All 211. +2+2+3-2-2-2 157

135 BIll 67a. +2+2+3-2-2-2 483
136 BIll M14 +2+2+3-2-2-2 1128

137 BIll 90 +2+2+3-2-2-2-2 730

138 BIll 61f. +2+2+3-2-2-3 373

139 BIV 114b. +2+2+3-2-4 923

140 BIll 95j. +2+2+3-3-2 770

141 BIIl 73h. +2+2+3-3-2-3 531

142 BII 37b. +2+2-3 252

143 BIll 951. +2+2-3 775

144 All 12c. +2+2-3+2 49

145 All 12d. +2+2-3+2 52
146 All 21a. +2+2-3+2 135
147 BIll 621. +2+2-3+2 412

148 BIll 100e. +2+2-3+2+2-3 794

149 BIll 100g. +2+2-3+2+2-3 806

150 BIIl 86g. +2+2-3+2-2 711

151 BIll 94b. +2+2-3+2-2 751

152 BIll 104f. +2+2-3+2-2-2 861

153 BIll 104h. +2+2-3+2-2-2-2 867

154 BIIl 95b. +2+2-3+2-3 755

155 BIV 108 +2+2-3+2-3-2 893

156 BII 42b. +2+2-3-2 268

157 BIIl 62aa. +2+2-3-2 438

158 BIll 81h. +2+2-3-2+2 673

159 BIll 92d. +2+2-3-2+2 741

[ 566 ]
 Lexicographical Index
Index Melody String
Class Interval Sequence No.
No. No.

160 AlI 12bb. +2+2-3-2-2 103

161 AlII 30b. +2+2-3-2-2 229
162 BIll 73mm. +2+2-3-2-2 620

163 BIll 102c. +2+2-3-2-2-2 821

164 BUI 62n. +2+2-3+3 416

165 BIII 94a. +2+2-3+3-2-2 748

166 BIV 116 +2+2-3+3+3 944

167 BIII 73t. +2+2-3+3-3 564

168 AII 12k. +2+2-3-3 68

169 AIII 30a. +2+2-3-3 226
170 AlII MIS +2+2-3-3 1132

171 BII 38b. +2+2-3-3-2 257

172 BIll 70 +2+2-3-4+2-3 491

173 AlI 14 +2+2-4 113

174 AUI 26d. +2+2-4 214

175 AU Sa. +2+2-4+2 18

176 BIU 85b. +2+2-4-2 696

177 BIll 72 +2+2-4+3-2-4 508

178 AlI 23a. +2+2-4+3-4 190

179 BUI 73ii. +2+2-5-2+2 604

180 BIV 123 +2+2-6+4+2+2-6 1037

181 AU 12s. +2-2 86

182 AlI 16c. +2-2 122
183 AlII 30b. +2-2 231
184 BIII 60 +2-2 360
185 BUI 62j. +2-2 408
186 BIU 73b. +2-2 515
187 BIU 73c. +2-2 518
188 BUI 73e. +2-2 524
189 BIU 73hh. +2-2 598
190 BUI 96 +2-2 776
191 BIV 121h. +2-2 998

[ 567 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

192 BIll 62m. +2-2+2 414

193 BIV 121 1. +2-2+2 1011

194 All 12p. +2-2+2-2 82

195 All 14 +2-2+2-2 111
196 All 18 +2-2+2-2 129
197 BIll 71a. +2-2+2-2 493
198 BIll 73i. +2-2+2-2 535

199 BIl 56a. +2-2+2-2+2-3-4 342

200 BIl 56b. +2-2+2-2+2-3-4 343

201 BIll 86h. +2-2+2-2-2+2 712

202 BIll 102a. +2-2+2-2-2-2 818

203 BIll 71c. +2-2+2+3 498

204 BIll 71g. +2-2+2+3-4 507

205 BIll 62e. +2-2+2-3 398

206 BIll M9a. +2-2+2-3 1104

207 BIll 102j. +2-2+2-3-2-2-2 835

208 BIll 62s. +2-2+2+4-4-2 424

209 All 20 +2-2+2-4 133

210 BIll 66c. +2-2+2-4-2 480

211 All 6 +2-2-2 24

212 All 12j. +2-2-2 65
213 All 16a. +2-2-2 116
214 All 22 +2-2-2 186
215 BIV 114b. +2-2-2 925
216 All 12c. +2-2-2 1150

217 BIll 61g. +2-2-2+2 375

218 BIV 124 +2-2-2+2 1043

219 BIV 109 +2-2-2+2+2-2-2 895

220 BIll 98 +2-2-2+2-2-2 783

221 BIll 73a. +2-2-2+2+3-2 511

[ 568 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

222 BIll 73y. +2-2-2+2-3+2 576

223 BIll M14 +2-2-2+2-3+2 1130

224 All 21£. +2-2-2-2 146

225 AlII 30a. +2-2-2-2 227
226 BIll 61h. +2-2-2-2 378
227 BIll 611. +2-2-2-2 387
228 BIll 64c. +2-2-2-2 464
229 BIll 91 +2-2-2-2 732
230 BIll Mtoa. +2-2-2-2 1108

231 Bll 51 +2-2-2-2+2 332

232 BIll M8 +2-2-2-2+2 1101

233 C 130 +2-2-2-2+2+2 1066

234 All 21y. +2-2-2-2+2-2 180

235 Bll 37c. +2-2-2-2+2-2 255

236 BIll 82b. +2-2-2-2+2-2-2 680

237 BIV 121j. +2-2-2-2+2-2+3 1004

238 BIll 62a. +2-2-2-2-2 389

239 BIll 62e. +2-2-2-2-2 397
240 BIll 62cc. +2-2-2-2-2 441
241 BIll 64d. +2-2-2-2-2 466
242 BIll M9b. +2-2-2-2-2 1105

243 BIll 97 +2-2-2-2-2-2 779

244 BlV 125 +2-2-2-2-2-2+3 1044

245 BIll 62b. +2-2-2-2-3 391

246 BIll 611. +2-2-2-2-3+4+2 386
247 BIll 61g. +2-2-2-2-3+4-3 374
248 All 211. +2-2-2-2-4 158

249 BIll 8li. +2-2-2-2+5 675

250 BIV 121i. +2-2-2+3-2 999

251 BIll 73nn. +2-2-2+3-4 624

252 BIll 64f. +2-2-2-3+2 470

[ 569 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

253 All 16a. +2-2-2-3-2 117

254 BIll 107a. +2-2+3-2-2-2 883

255 BIll 107b. +2-2+3-2-2-2 886

256 BIll 88a. +2-2+3-2-4 723

257 Bll 39 +2-2+3-3 260

258 All 12e. +2-2-3 53

259 All 21b. +2-2-3 138
260 BIll 61i. +2-2-3 380
261 BIll 102d. +2-2-3 824

262 BIll 102g. +2-2-3+2 830

263 BIll M6c. +2-2-3+2 1096

264 BIll 71b. +2-2-3+2+2-2-2 495

265 BIll 64g. +2-2-3+2-2 472

266 BIll 1021. +2-2-3+2-2 840

267 BIll 88b. +2-2-3+2-2-2 725

268 BIV 117a. +2-2-3+2-2+4-2 947

269 BIV 117a. +2-2-3+2-3 948

270 BIV 114c. +2-2-3-2 927

271 BIrr 84a. +2-2-3-2-2 688

272 BIll 620. +2-2-3+3 418

273 BIll 73pp. +2-2-3+3+2+2-3 629

274 All 21r. +2-2-3+3+2-2-3 167

275 BIll M4 +2-2-3+3+2-4 1088

276 BIll 102k. +2-2-3+3-2-2 838

277 BIl 38a. +2-2-3-3 256

278 BIll 81e. +2-2-3+5-5 667

279 BIll 81g. +2-2-3+5-5 671

280 Bll Ml +2-2+4-2-2-2 1082

[ 570 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

281 BII 55 +2-2+4-3-3+2-2 341

282 BIll 61£. +2-2-4 372

283 BIll 70 +2-2-4 492

284 BIll 61d. +2-2+5-4+3+3 367

285 BIll 104k. +2+3 875

286 BII 45m. +2+3+2+2-3-2-2 300

287 BIl 45d. +2+3+2+2-3-3 282

288 Bll 45e. +2+3+2+2-3-3 284
289 Bll 45i. +2+3+2+2-3-3 292

290 BII 45c. +2+3+2-2+2-4 280

291 BII 50 +2+3+2-3 329

292 BII 45j. +2+3+2-3+3-4 294

293 BII 44a. +2+3+2-4+2-3 271

294 BIll 95j. +2+3+2-4-2+3+2 771

295 BII 450 +2+3+2-4+3-3 304

296 All 12cc. +2+3-2 105

297 BIll 62aa. +2+3-2+2-4 437

298 BIll 67e. +2+3-2+2-4+4-2 369

299 AlII 25 +2+3-2-2 198

300 BIV 121h. +2+3-2-2+2 997

301 BIll 67b. +2+3-2-2-2 486

302 BII 46b. +2+3-2+3-2-3 323

303 BII 46a. +2+3-2+3-3-2 321

304 BIll 61a. +2+3-2+3-5+4-2 361

305 BII 52c. +2+3-2-3+2+3+2 337

306 BIV 120 +2+3-2-3+2+3-2 963

[ 571 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

307 BlI 45g. +2+3+3-3+2-4 288

308 BlI 45k. +2+3+3-3+2-4 296

309 BIV 112a. +2+3-3+3+2-4-2 910

310 BlI 37a. +2+3-4+2-2-2-3 251

311 BIll 73z. +2+3-5+2-3+2 579

312 AI lb. +2-3 4

313 All 12r. +2-3 84
314 All 21aa. +2-3 185
315 BIll 61i. +2-3 381

316 All 21z. +2-3+2+2-2-4 182

317 BIll 71£. +2-3+2+2-3 505

318 BIll 86a. +2-3+2+2-3 699
319 BIll 86d. +2-3+2+2-3 704

320 BIll 87b. +2-3+2+2-3-3 717

321 All 21t. +2-3+2-2 172

322 All 21y. +2-3+2-2 181
323 BIll 81f. +2-3+2-2 668

324 BlI 52c. +2-3+2-3+2-2+2 335

325 BIll 62hh. +2-3+2-3+3 452

326 BlI 46a. +2-3+2-4+2 320

327 BIV 117b. +2-3-2+2+2+2-2 951

328 All 17 +2-3-2+2-3 125

329 BII 44a. +2-3-2-2+2-3 270

330 BIll 80 +2-3-2+3-2-2 657

331 BIll 59a. +2-3-2+3-3+2-2 351

332 All 121. +2-3-2-3 72

333 BIV 120 +2-3-2-3+2 966

334 BIll 89 +2-3+3+2-2-2 729

[ 572 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

335 BIll 92b. +2-3+3-2-2+2 737

336 BIll 80 +2-3+3-2-2+3 656
337 BIll 73jj. +2-3+4+2-2 607
338 BIll M6c. +2+4+2 1095
339 BII 45b. +2+4+2-3+2-4 278
340 AliI 34a. +2+4+2-3-2 244
341 All 12b. +2+4-2 46
342 BIV 114c. +2+4-4-3+5-4 926
343 All 21u. +2-4 175
344 BIll 77 +2-4+2-3-2 644
345 BIll 71e. +2-4+3+2-2 501
346 BIll 87c. +2+5+2-2-2-2 718
347 BII 45h. +2+5-2+2-3+2-4 290
348 BIV 114d. +2-5+3-2 928
349 BIll 92b. +2-5+4+2-6 736
350 BIll 71d. +2-5+4+3-2-5 499
351 All 12v. -2 92
352 AlII 26a. -2 203
353 BIll 62z. -2 435
354 BIV 110 -2 899
355 BIV 114a. -2 920
356 BIll M6b. -2 1094
357 AlII 26b. -2+2 207
358 All 12b. -2+2 1151

359 BIll 58b. -2+2+2 350

360 BIll M13a. -2+2+2 1120
361 All 5b. -2+2+2+2 21
362 BIll 104c. -2+2+2+2 851

[ 573 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

363 BIll 104e. -2+2+2+2 857

364 BIV lila. -2+2+2+2 901

365 BIV 121m. -2+2+2+2-2-2 1013

366 BIll 62i. -2+2+2+2-3 405

367 BIV 121k. -2+2+2+2-3 1006

368 BIll 730. -2+2+2+2-3-3+3 552

369 BIll 104d. -2+2+2+2-4 854

370 BIll 102i. -2+2+2-2 834

371 BIll MlOb. -2+2+2-2+2 1110

372 All 12x. -2+2+2-2-2 94

373 C 132b. -2+2+2-2-2 1076

374 BIll M9a. -2+2+2-2-2-2 1103

375 BIV 1211. -2+2+2-2-2-2+2 1009

376 BII 49 -2+2+2-2-3+2 327

377 BIll 82a. -2+2+2+3-2 679

378 BIll 86e. -2+2+2+3-3-2 707

379 All 12cc. -2+2+2-3 104

380 BIll 102£. -2+2+2-3+2 828

381 BIV 127b. -2+2+2-3+2-2-2 1057

382 All 21t. -2+2+2-3-3+2+2 171

383 BIll 62ii. -2+2+2-4+2 453

384 AI la. -2+2-2 2

385 All 16b. -2+2-2 119
386 BIll 73a. -2+2-2 512
387 BIll 73i. -2+2-2 534
388 BIll 106 -2+2-2 879
389 BIV liSa. -2+2-2 932
390 BIV 115d. -2+2-2 940

391 BIll 86d. -2+2-2+2 705

[ 574 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

392 BIll 73kk. -2+2-2+2+2 610

393 BIll 7311. -2+2-2+2+2 614

394 BIll 78d. -2+2-2+2-2 649

395 BIll 100e. -2+2-2+2-2+2+2 800

396 BIll 104g. -2+2-2+2-2+2+2 862

397 AlII 33b. -2+2-2+2-2-2-2 241

398 BIll 76 -2+2-2+2-2-2-4 643

399 BIll 73mm. -2+2-2+2-3 618

400 BIll 61h. -2+2-2+2-3-3 377

401 BIll 74b. -2+2-2-2 635

402 BIll 100a. -2+2-2-2 790
403 BIll 100b. -2+2-2-2 793
404 BIll 101 -2+2-2-2 814
405 BIV 115c. -2+2-2-2 938
406 BIV M12 -2+2-2-2 1114

407 All lOc. -2+2-2-2+2 40

408 All 8 -2+2-2-2-2 31

409 AlII 33b. -2+2-2-2-2 242
410 BIll 62jj. -2+2-2-2-2 456
411 BIll 69 -2+2-2-2-2 489

412 BIll 102h. -2+2-2-2-2-2+3 831

413 BIll 73nn. -2+2-2+3-4 622

414 BIV 119 -2+2-2-3 962

415 BIV 126 -2+2-2-3+3 1050

416 All 10c. -2+2-2-3+4 41

417 BIll 73n. -2+2+3-2 550

418 BIll 104£. -2+2+3-2 860

419 All 12cc. -2+2+3-2-2 106

420 BIll 73gg. -2+2+3-2-2-2 597

[ 575 ]
 Lexicographical Index

Index Melody String

Class No.
Interval Sequence No.
No.

421 BIll 61k. -2+2-3 385

422 BIll 67a. -2+2-3 482
423 BIll 67b. -2+2-3 485
424 BIll 95e. -2+2-3 761
425 BIll 100c. -2+2-3 796

426 AlII 33a. -2+2-3+2 238

427 BIll 86f. -2+2-3+2-2 709

428 BIll 81£. -2+2-3+2+4-4 669

429 All 12c. -2+2-3-2-2 1152

430 All 21v. -2+2-3+3-2+2-3 176

431 BI 36 -2+2-3+3-2+2-3 249

432 BIll 7311. -2+2-3+3-3 616

433 BIl M2 -2+2-3-3 1083

434 BIll 81j. -2+2-3-3+2+2 676

435 All 21d. -2+2-4 142

436 BIll 62m. -2+2-4 413

437 BIll 951. -2+2-4+2 774

438 BIV 118b. -2+2-4+2+3 957

439 BIll 59d. -2+2-4-2 357

440 BIll 62ii. -2+2-4-2 454

441 BIl 45t. -2+2-5+2-2 313

442 BIV 122a. -2+2-5+2-2 1034

443 All 21a. -2-2 136

444 All 21n. -2-2 612
445 All 210. -2-2 164
446 All 21p. -2-2 166
447 All 21r. -2-2 168
448 All 21s. -2-2 170
449 All 21z. -2-2 183
450 AlII 26b. -2-2 205
451 AlII 26d. -2-2 215
452 BIll 69 -2-2 490
453 BIll 73p. -2-2 557
454 BIll 78b. -2-2 650

[ 576 ]
 Lexicographical Index
Index Melody String
Class No. Interval Sequence No.
No.

455 BIV 112a. -2-2 912

456 BIV 121n. -2-2 1020
457 BIV 1210. -2-2 1024
458 BIV 121r. -2-2 1030
459 Alii M17 -2-2 1136

460 All 12e. -2-2+2 55

461 All 12i. -2-2+2 64
462 BIV M19 -2-2+2 1146

463 All 6 -2-2+2+2 25

464 AlI 17 -2-2+2+2 126
465 Bill MlOb. -2-2+2+2 1109

466 Bill 73m. -2-2+2+2+2-2 547

467 Bill 73r. -2-2+2+2+2-2 559

468 Bill 73h. -2-2+2+2+2-3 532

469 BII 45v. -2-2+2+2-2 319

470 BIV 121d. -2-2+2+2-2-2 982

471 BIV 121m. -2-2+2+2-2-2 1014

472 C 133 -2-2+2+2-2-2-2 1079

473 BIll 75a. -2-2+2+2-2-5 636

474 BIV 1211. -2-2+2+2-3-2 1010

475 BIll 73cc. -2-2+2+2-4+2-3 585

476 BIll 96 -2-2+2-2 778

477 BIV 123 -2-2+2-2 1040

478 AlI 16a. -2-2+2-2-2 118

479 All 16b. -2-2+2-2-2 121
480 BIll 62hh. -2-2+2-2-2 451
481 BIll 73dd. -2-2+2-2-2 589
482 BIV 111b. -2-2+2-2-2 902
483 BIV 121a. -2-2+2-2-2 968
484 BIV 121b. -2-2+2-2-2 972

485 BIll 102b. -2-2+2-2-2+2 820

486 BIV 121h. -2-2+2-2-2+2 996

487 BII 45e. -2-2+2-2-2-2 285

488 Bill 62ff. -2-2+2-2-2-2 447

[ 577 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

489 BIll 58b. -2-2+2-2-2-2-2 349

490 BIll 107d. -2-2+2-2-2-3+5 890
491 BIII 73u. -2-2+2+3 568
492 BIII 73b. -2-2+2+3-2 514
493 BIl 44b. -2-2+2-3 272
494 BIll 73g. -2-2+2-3 530
495 BIll 81g. -2-2+2-3 670
496 BIV 116 -2-2+2-3 943
497 BIV 121d. -2-2+2-3 980
498 BIV 1210. -2-2+2-3 1022
499 BIV 128b. -2-2+2-3 1060
500 BIll 73bb. -2-2+2-3+2 583
501 BIll 102b. -2-2+2-3+2 819
502 BIll 100e. -2-2+2-3+2-2 802

503 AII 12f. -2-2+2-3-2 57

504 BIll 64c. -2-2+2-3-2+3 463
505 BIIl 73t. -2-2+2-4 565
506 BlV 121m. -2-2+2-4 1016
507 BIll 92c. -2-2+2-4-2+4+2 739
508 AII 12n. -2-2-2 78
509 AIl 21j. -2-2-2 154
510 All 21k. -2-2-2 156
511 AII 21m. -2-2-2 160
512 AlII 29 -2-2-2 225
513 AlII 30b. -2-2-2 230
514 BII 45p. -2-2-2 307
515 BIl 45v. -2-2-2 317
516 BIll 62u. -2-2-2 427
517 BIll 95c. -2-2-2 756
518 BIll 95d. -2-2-2 758
519 BIll 104j. -2-2-2 873
520 BIll 105 -2-2-2 878
521 BIV 112b. -2-2-2 915
522 BIV 121n. -2-2-2 1018
523 BIV 121p. -2-2-2 1026
524 BlV 121p. -2-2-2 1028
525 BIV M12 -2-2-2 1113

[ 578 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

526 All 21g. -2-2-2+2 148

527 BIl 45a. -2-2-2+2 277

528 BIll 100f. -2-2-2+2+2 804

529 BIll 73ee. -2-2-2+2-2 592

530 BIll lOOe. -2-2-2+2-2+2+2 801

531 BIV 121g. -2-2-2+2-2-2 992

532 BIV 121l. -2-2-2+2-2-2 1012

533 BIll 73ff. -2-2-2+2+3-2 595

534 All 12d. -2-2-2+2-3 51

535 All 14 -2-2-2+2-3 112
536 BIll 59b. -2-2-2+2-3 353
537 BIV 114d. -2-2-2+2-3 929

538 BIll M7 -2-2-2+2+4-4 1099

539 BIll 73ff. -2-2-2+2+5-2-3 594

540 All 3c. -2-2-2-2 13

541 All 12h. -2-2-2-2 61
542 All 21e. -2-2-2-2 144
543 AlII 26d. -2-2-2-2 213
544 BIll 61a. -2-2-2-2 362
545 BIll 61d. -2-2-2-2 368
546 BIll 64a. -2-2-2-2 459
547 BIll 75b. -2-2-2-2 640
548 BIV 113 -2-2-2-2 917
549 All M16 -2-2-2-2 1139

550 AlII 33a. -2-2-2-2-2 239

551 BIll 73hh. -2-2-2-2-2 599

552 All 12z. -2-2-2-2+3 99

553 All 12aa. -2-2-2-2+3 101

554 BII M1 -2-2-2-2+3-2-2 1081

555 All 19 -2-2-2-2+3+3 131

556 BIll 92a. -2-2-2-2+4-4 734

557 All 7b. -2-2-2-2-4 29

[ 579 ]
 Lexicographical Index
Index Melody String
Class
No. Interval Sequence No.
No.

558 BIV 120 -2-2-2-2+5-3 965

559 BIll 73j. -2-2-2+3-2 538

560 BIII 63 -2-2-2+3-2-2 457

561 BIll M8 -2-2-2+3-2-3 1102

562 BIll 73dd. -2-2-2+3+3-2-2 588

563 BII 53a. -2-2-2+3+3-2-4 338

564 BIll 62z. -2-2-2-3 436

565 BIII M13c. -2-2-2+4+2 1117

566 BIII 73x. -2-2-2+4-2 572

567 BIll M13b. -2-2-2+4-2+2+2 1115

568 BIII 81d. -2-2-2+4-2-2 664

569 BIll 73ee. -2-2-2+4-2-3 591

570 BIll 73g. -2-2-2+4-3+2+3 529

571 BIll 92e. -2-2-2+4-4 742

572 AIl 4 -2-2-2+5+2 16

573 C 133 -2-2-2+6-2-2 1080

574 BIll 73ee. -2-2-2+8-3-2-3 590

575 BIII l04a. -2-2+3+2+2 845

576 BIll l04b. -2-2+3+2+2-4 848

577 BIll 75b. -2-2+3+2-2-4 639

578 AIl 12t. -2-2+3-2 88

579 AIl 21n. -2-2+3-2-2 161

580 AIl 21x. -2-2+3-2-2 178
581 BII 47 -2-2+3-2-2 324
582 BIll 74a. -2-2+3-2-2 633
583 BIV 115c. -2-2+3-2-2 936
584 BIV 129 -2-2+3-2-2 1064

[ 580 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

585 All 17 -2-2+3-2-2-2 127

586 BIV 117b. -2-2+3-2-2-2 952

587 BIV 117b. -2-2+3-2-2-2+3 949

588 All 21p. -2-2+3-2-2+3 165

589 BIll 73nn. -2-2+3-2-2+3+2 623

590 BIll 7300. -2-2+3-2-2+3+2 627

591 BIl 52e. -2-2+3-2-2-3+2 336

592 BIll 73mm. -2-2+3-2-2+5-2 619

593 BIV 117a. -2-2+3-2-3+3 945

594 All 9 -2-2+3-2-5 33

595 All 12p. -2-2+3+3-2 83

596 All 12v. -2-2+3+3-2 93

597 BIll 73s. -2-2+3+3-2-2 562

598 BIll 73kk. -2-2+3-3 612

599 BIll 86e. -2-2+3-3-2-2 706

600 BIV 113 -2-2+3-3+3 918

601 C 132a. -2-2+3-3+3-3 1073

602 BIll 73dd. -2-2+3+4-3-2-3 587

603 BIll 73ee. -2-2+3+4-4-3 593

604 All 3b. -2-2+3-4 12

605 BIll 80 -2-2+3-4 657
606 BIll 92d. -2-2+3-4 740

607 ALII 27 -2-2-3 217

608 BIll 64g. -2-2-3+2 471

609 BIll 97 -2-2-3+2+2-3 780

610 BIll 95f. -2-2-3+2-2 762

611 BIV 121i. -2-2-3+2-2 1002

[ 581 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

612 BIll 100a. -2-2-3+2-2+2+3 789

613 AlII 32 -2-2-3+2+4-2-4 237

614 BII 45s. -2-2-3+3-2+2-3 311

615 BII 45u. -2-2-3+3-2+2-3 315

616 BII 45r. -2-2-3+3+3-5 309

617 BIll 100i. -2-2-3+4-2 812

618 BIV 121c. -2-2-3+4-2-2 976

619 AII M5 -2-2-3+4-2-3+3 1090

620 BIll 87d. -2-2-3+4-4 721

621 All lOb. -2-2-3+5-2 39

622 All 12x. -2-2+4-2+2 95

623 BIll 73d. -2-2+4-2+2 520

624 BIll 73c. -2-2+4-2-2+2-2 517

625 BIII 107e. -2-2-4+3+2-2-2 892

626 BII! lO7a. -2-2-4+3-3+4-2 882

627 BIll 107c. -2-2-4+3-3+4-2 888

628 BIll 73t. -2-2-4+4 566

629 All 12j. -2-2+5 67

630 BN 119 -2+3 960

631 BlI 45p. -2+3+2+2-2-2 306

632 BIII 73f. -2+3+2-2 526

633 BII 37b. -2+3+2-3-2-2-2 253

634 BIll 73n. -2+3-2-2 551

635 BIll 100g. -2+3-2-2 808

636 ElV 121e. -2+3-2-2-2 984

637 AlII M17 -2+3-2-3 1141

[ 582 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

638 BIll M13c. -2+3-2-3+2 1118

639 BlV 118a. -2+3-2-3-3+4 954

640 BII 37c. -2+3+3 254

641 BIll 80 -2+3+3 656

642 BIV 111b. -2+3+3-2 903

643 BIV 114b. -2+3-3-3+2-2 924

644 BIll M6a. -2+3-4 1092

645 AlII M17 -2+3-4 1134

646 BII 42b. -2+3-4+2-3 267

647 BIll 84c. -2+3-4-2 692

648 BIll 64d. -2+3-4-2+3 465

649 All 11 -2-3 42

650 All 22 -2-3 188
651 BIV 126 -2-3 1051

652 BIV 121r. -2-3+2 1032

653 All 21t. -2-3+2+2-2+2-3 173

654 BIll 88a. -2-3+2+2-3 722

655 BIV 125 -2-3+2+2-3 1047

656 BIV llSb. -2-3+2+2-4 934

657 BIll 75a. -2-3+2-2 637

658 BIll 88c. -2-3+2-2 726
659 BlV 121i. -2-3+2-2 1000

660 BIll 100d. -2-3+2-2+2+2 798

661 BII 451. -2-3+2-2-2+2-3 299

662 BII 45m. -2-3+2-2-2+2-3 301

663 BIll 62d. -2-3+2-2-2-2 396

664 All 210. -2-3+2+3-2-3+2 163

665 AlII 26c. -2-3+2-3 209

[ 583 ]
 Lexicographical Index
Index Melody String
Class No. Interval Sequence No.
No.

666 BIV 121m. -2-3+2-3-2+2+3 1015

667 All 16c. -2-3-2 123

668 BIl 52a. -2-3-2+2+3-3-2 333

669 BII 41 -2-3-2+4-2-4 263

670 BIII 73z. -2-3-2+5-2-2 578

671 BIV 126 -2-3+3 1048

672 BIll M13d. -2-3+3-2+2 1125

673 BIV 118b. -2-3+3-2-2 958

674 BIV M18 -2-3+3-2-2-2 1142

675 BIll 62k. -2-3+3-2-2-2+3 409

676 AI 2 -2-3+3-4 6
677 BIll 730. -2-3+3-4 554

678 BIV 121k. -2-3+3-4+2+3 1008

679 AII 21s. -2-3+4-2-3 169

680 BIll 99a. -2-3+4-2-3 785

681 BIll 87c. -2-3+4-4 719

682 BIll 57 -2-3+5-3 346

683 BIV 118a. -2-3+5-4-2 955

684 BIV 123 -2+4 1038

685 BIll 71b. -2+4+2+2 496

686 BIl 49 -2+4+2+2-2-2 328

687 BIll 82b. -2+4+2-2+2 681

688 BIll 731. -2+4-2+2 544

689 BIII 73p. -2+4-2+2 556
690 C 132a. -2+4-2+2 1071

691 BIV 123 -2+4-2-2 1039

[ 584 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

692 C 132a. -2+4-2-2-3+3-2 1072

693 BIll 59d. -2+4-4 358

694 BIll 78b. -2+4-4+3-2-2 651

695 BIll M13e. -2+4-5+2-3+2 1127

696 All 16b. -2-4 120

697 BIV 108 -2-4 894

698 AlII 31 -2-4+2 235

699 BIll 62x. -2-4+2+2-2-2 432

700 BIll 87a. -2-4+2-2+2 715

701 BIll 79b. -2-4+2+3-2-2 655

702 BIl 45f. -2-4+3+2-4+2-3 287

703 BII 45n. -2-4+3-2+2-3 303

704 BIll 95g. -2-4+3-2-2 764

705 BIll 73u. -2-4+3-4+4+2 570

706 BIll 730. -2-4+4+2-4+3 553

707 BIl 45b. -2-4+4-2-2+2-3 279

708 BII 45c. -2-4+4-2-2+2-3 281
709 BII 45h. -2-4+4-2-2+2-3 291

710 BIl 45k. -2-4+4-2-2-2 297

711 BIl 48 -2-4+5-3 326

712 BIll 65 -2+5 474

713 BIll 81d. -2+5 665
714 BIV 128b. -2+5 1061

715 BIll 73ii. -2+5-2 603

716 BIll 73kk. -2+5-2 611
717 BIll 7311. -2+5-2 615

718 BIll M14 -2+5-2+2 1129

719 BUI 73e. -2+5-2-2-2 523

[ 585 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

720 All lOa. -2-5 36

721 BIll 102e. -2-5+2+3-3-2 827
722 BIll M13a. -2-5+3-2-3+2 1121
723 BIV 111e. -2-5+4+2-3-3 908
724 BII 45g. -2-5+4-2-2+2-3 289
725 BIII 95h. -2-5+4-2-2-2 766
726 BIV 111d. -2-5+4-2-3 906
727 BIll 71d. -2+6+3-4-5 500
728 All 12g. +3 58
729 BIV 112a. +3 911
730 BIV M19 +3+2 1145
731 All 21c. +3+2+2-3+2 139
732 BIll 620. +3+2+2-3-2 417
733 BIll M7 +3+2+2-3-3 1097
734 BIll 62k. +3+2-2 410
735 BIll 611. +3+2-2+2-2-2 388
736 BIV 121e. +3+2-2-2 983
737 BIV M18 +3+2-2-2 1137
738 BIll 62t. +3+2-2-2-2 425
739 BlII 95i. +3+2-2-2-4 769
740 BIV 121n. +3+2-2-3 1017
741 BIV 119 +3+2-2-3-3 961
742 BIV M3 +3+2-2-4 1085
743 BIV liSa. +3+2+3-2 930
744 All 12n. +3+2-3 79

[ 586 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

745 Brr 45a. +3+2-3+2-3 276

746 BIll 64a. +3+2-3-2 460
747 BIll 84a. +3+2-3-2 689
748 All 13 +3+2-3-3 109
749 AlII 24 +3-2 195
750 AlII 26a. +3-2 202
751 AlII 33b. +3-2 243
752 BIll 104j. +3-2 872
753 BIV 121p. +3-2 1027
754 Bll 45s. +3-2+2+2-2-2 310

755 BIll 94b. +3-2+2+2-3-3+2 749

756 All 12y. +3-2+2-2-2 96

757 Bll 51 +3-2+2-2-2 331
758 BIV 121g. +3-2+2-2-2 994
759 AlII M15 +3-2+2-2-2 1131

760 All 12e. +3-2+2-3 54

761 BIll 64£. +3-2+2-3 469
762 BIV 121f. +3-2+2-3 990
763 BIll 66a. +3-2+2-3+2-2 475
764 BIll 100d. +3-2+2-3+2-2 799
765 BIll 75b. +3-2+2-3-2 641
766 BIll 68 +3-2+2-3+3-2 487
767 BIll 62p. +3-2+2-4 419
768 BIll 95b. +3-2+2-4 754
769 AlII 24 +3-2-2 197
770 AlII 26b. +3-2-2 206
771 AlII 26d. +3-2-2 212
772 Bll 40 +3-2-2 262
773 BIll 62s. +3-2-2 423
774 BIll 66a. +3-2-2 476
775 BIll 73d. +3-2-2 521
776 BIrr 73i. +3-2-2 536
777 BIll 73j. +3-2-2 539
778 BIll 73k. +3-2-2 542
779 BIll 73m. +3-2-2 548
780 BIll 86b. +3-2-2 701

[ 587 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

781 BIll 100i. +3-2-2 813

782 All M5 +3-2-2 1089

783 BIV 121d. +3-2-2+2 979

784 BIV 121e. +3-2-2+2 985

785 BIll 81h. +3-2-2+2-2 672

786 BIll 91 +3-2-2+2-2 733
787 BIll 100h. +3-2-2+2-2 811
788 BIV 121a. +3-2-2+2-2 969

789 BIll 104e. +3-2-2+2-2-2 858

790 BIll 58a. +3-2-2+2-2-3 347

791 BIll 67b. +3-2-2+2-2-3 484

792 BIV 121n. +3-2-2+2-3 1019

793 BIll 83a. +3-2-2+2-3+2 682

794 BIll 83b. +3-2-2+2-3+2 684

795 All lOb. +3-2-2-2 38

796 AlII 29 +3-2-2-2 223
797 BIll 62gg. +3-2-2-2 449
798 BIll 99a. +3-2-2-2 784

799 BIll 73s. +3-2-2-2+2 563

800 BIll 102h. +3-2-2-2+2 832

801 BIII 81i. +3-2-2-2+2-2 674

802 BIll 104a. +3-2-2-2+2-2-2 846

803 BIll 104d. +3-2-2-2+2-3 855

804 BIII 104c. +3-2-2-2+2-3-2 852

805 BIII 62bb. +3-2-2-2-2 439

806 BIll 102e. +3-2-2-2-2 825

807 BIll 100h. +3-2-2-2-3+2+2 810

808 BIll 81c. +3-2-2+3-2 659

809 All 21d. +3-2-2+3-2-2 141

810 All 21e. +3-2-2+3-2-2 143
811 All 21aa. +3-2-2+3-2-2 184
812 BIV 121c. +3-2-2+3-2-2 978

[ 588 ]
 Lexicographical Index

Index Melody String

Class Interval Sequence No.
No. No.

813 BIV 128a. +3-2-2+3-2-2-2 1059

814 All 21u. +3-2-2+3-2-2+3 174

815 All 23a. +3-2-2+3-2-2-3 189

816 All 23a. +3-2-2+3-2-3+2 191

817 Bill 85b. +3-2-2+3-2-4 697

818 Bill 73x. +3-2-2+3+3-5 573

819 All 9 +3-2-2+3-4 34

820 BIll 90 +3-2-2+3-4 731

821 BIll 101 +3-2-2+3-5 816

822 BII 42a. +3-2-2-3 266

823 BIll 102i. +3-2-2-3 833

824 BIll 73hh. +3-2-2-3+2+2-2 600

825 BIll 107b. +3-2-2+4-2-2-3 884

826 BIll 76 +3-2-2-4+4-3 642

827 BII 45r. +3-2+3-2-2 308

828 BIII 62r. +3-2+3-2-2-2 422

829 BIV 121a. +3-2+3-2-2-2 967
830 BIV 121b. +3-2+3-2-2-2 971
831 BlV 121b. +3-2+3-2-2-2 973
832 BIV 121p. +3-2+3-2-2-2 1025

833 AlII 27 +3-2+3-3 216

834 BIII 62h. +3-2-3+2 404

835 BIll 62i. +3-2-3+2 406
836 BIll 62gg. +3-2-3+2 450
837 BIll 73f. +3-2-3+2 527
838 BIll 73h. +3-2-3+2 533

839 BIll 86c. +3-2-3+2+2+2 702

840 BIll 100f. +3-2-3+2+2-2 805

841 BIll 82a. +3-2-3+2-2+2 678

[ 589 ]
 Lexicographical Index

Index Melody String

No. Class No. Interval Sequence
No.

842 BIll 104i. +3-2-3+3-3 870

843 BIll 100h. +3-2-3+3-3+2+2 809

844 BIll 85a. +3-2-4 695

845 BIll 75a. +3-2-4+3-2 638

846 BIll M13a. +3-2-4+3-3-2 1119

847 BIll 107b. +3-2-4+3-3+4-2 885

848 BIll 101 +3-2-5+4+2-2 815

849 BIll 81j. +3+3 677

850 All 4 +3+3+2-2-2 15

851 BIll 73u. +3+3+2-3+3-2 567

852 All 12d. +3+3-2 50

853 All 15 +3+3-2 114
854 AlII 34b. +3+3-2 246

855 All 12a. +3+3-2+2-2 44

856 BIll 73gg. +3+3-2-2-2-2 596

857 BIll 88b. +3+3-2-2-2-2 724

858 BIll 84b. +3+3-2-3-2 691

859 BIV 112b. +3+3-3 914

860 All 12dd. +3+3-3-2 107

861 BIll 64e. +3+3-3-2+2-3 467

862 BIV 127a. +3+3-3+3+2-2-3 1052

863 BIll 73mm. +3+3-3+3-2-2 617

864 All 20 +3-3 134

865 BIV 121g. +3-3+2 991

866 BIll 61g. +3-3+2+2-2 376

867 BIll 64e. +3-3+2+2-3 468

[ 590 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence
No.

868 All 7a. +3-3+2-2 26

869 BIll 102c. +3-3+2-2-2 822

870 BIll 104b. +3-3+2-2-2 849
871 BIll 104k. +3-3+2-2-2 876

872 BIll 74b. +3-3+2-2-2-2 634

873 BIV lila. +3-3+2-2-2-2 900

874 BIll 83a. +3-3+2-3 683

875 BIV 112b. +3-3+2-3-2 913

876 All 13 +3-3-2 110

877 BIll 62n. +3-3-2 415
878 BlV 128a. +3-3-2 1058

879 BIll 65 +3-3-2+2+2-2 473

880 BIll 81e. +3-3-2+2-2 666

881 BIll 102j. +3-3-2+2+3 836

882 BIll 106 +3-3-2-2 880

883 AlII 31 +3-3-2-2-4 233

884 BIll 86g. +3-3-2+3-2-2 710

885 BIll 86b. +3-3+3-2-2-2 700

886 BIll 79a. +3-3+3-2-2-2-2 652

887 BIll 86a. +3-3+3-2-2-3 698

888 BIll 103 +3-3+3-2-2-3-3 842

889 BIll 67a. +3-3+3-3-2-2 481

890 BIll 74a. +3-3+3-3-3 632

891 BII 54 +3-3+3-3-3+2 340

892 BIV 129 +3-3-3+3-2-2+2 1063

893 BlV 121j. +3-3+5+2-2-3 1003

894 BIll 71e. +3-3+5-2 502

[ 591 ]
 Lexicographical Index

Index Melody String

No. Class No. Interval Sequence No.

895 AlII 34b. +3-4 247

896 BIll 103 +3-4 843

897 ElV M19 +3-4+2+2-2-3 1147

898 BIll 85a. +3-4+2-2 694

899 ElV 121j. +3-4+2-2-2+2 1005

900 ElII 7300. +3-4+2-3 628

901 ElV M19 +3-4-2 1148

902 AlII 33a. +3-4+4+2 240

903 BIll 99b. +3-5+2+2+2-2 787

904 All 21x. -3 179

905 ElV 109 -3 896

906 ElII 59a. -3+2 352

907 BIll 62ee. -3+2 445
908 ElV 11Sd. -3+2 941
909 ElV 128b. -3+2 1062
910 C 131 -3+2 1068

911 All 4 -3+2+2 17

912 All 12m. -3+2+2-2 74

913 AlII 28 -3+2+2-2+2 220

914 BIll 102e. -3+2+2-2-2 826

915 BIll 102g. -3+2+2-2-4 829

916 All 12u. -3+2+2+3 91

917 All 12t. -3+2+2+3-2 89

918 BIll 86c. -3+2+2-3+2 703

919 ElV llSc. -3+2+2-3+2 937

920 BII 38b. -3+2+2-3-2 258

921 AlII 24 -3+2-2 196

922 AlII 25 -3+2-2 199

[ 592 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

923 BIll 78a. -3+2-2 647

924 BIV 124 -3+2-2 1042

925 BII 44c. -3+2-2+2-3 274

926 All 21c. -3+2-2-2 140

927 BIll 62dd. -3+2-2-2 443
928 BIll 62jj. -3+2-2-2 455

929 BII 45j. -3+2-2-2+2-3 295

930 Bill 100g. -3+2-2-2-2+2+2 807

931 BIV 120 -3+2-2-3+3-2-4 964

932 BIll 59c. -3+2-2-3+5-2-2 355

933 BIll 81c. -3+2-2+5-2 660

934 All 15 -3+2+3 115

935 C 131 -3+2+3-4+2 1069

936 All 3a. -3+2-3 9

937 BIll 73ss. -3+2-3+3+2+2-3 631

938 All 5c. -3+2-4+4 23

939 Bill 81b. -3+2+5-2 658

940 All lOa. -3-2 35

941 All 21h. -3-2 150
942 AlII 26a. -3-2 201

943 AIl 5a. -3-2+2+2+2 19

944 All 12s. -3-2+2+3 87

945 All 12bb. -3-2+2+3-2 102

946 BIll 96 -3-2+2+3-3+3-3 777

947 Bill 102k. -3-2+2-3+2+3-2 837

948 All 12m. -3-2-2+2 75

949 BIll 1021. -3-2-2+2+2+2-2 839

[ 593 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

950 BIll 100b. -3-2-2+2+3 792

951 BIll 94a. -3-2-2+2+4-2 747

952 BIll 94b. -3-2-2+2+4-2 750

953 All 23b. -3-2-2-2 193

954 BlI 43 -3-2-2-2+3+2+2 269

955 All 12u. -3-2-2+3-2 90

956 BIll 73y. -3-2-2+5-2-2 575

957 All 120. -3-2+3+2 81

958 All 12a. -3-2+3+3-2 45

959 All 12r. -3-2+3+3-2 85

960 All 11 -3-2+4 43

961 BIll 72 -3-2+4-2 509

962 BIll 73k. -3-2+4-2 541

963 All 12k. -3+3 70

964 BIll 66b. -3+3 478

965 BIll 73bb. -3+3+2-3+2-5 582

966 BIll 89 -3+3+2-3-3+2-3 728

967 BIll M7 -3+3-2 1098

968 All 7a. -3+3-2-2-2 27

969 BIll 62£. -3+3-2-2-2 399
970 BIll 73e. -3+3-2-2-2 522
971 BIll 83b. -3+3-2-2-2 685

972 BIll 62p. -3+3-2-2-2-2 420

973 BIll 105 -3+3-2-2-3 877

974 AI 1a. -3+3-2-3

975 BIV 117b. -3+3-2-3+2 950

976 BIll 95k. -3+3-3-2 772

977 BIll 621. -3+3-4 411

[ 594 ]
 Lexicographical Index
Index Melody String
Class
No. Interval Sequence No.
No.

978 BIV 115a. -3+3-5 931

979 BIll 73aa. -3+3-5+2-3+2 581

980 All 12k. -3-3 69

981 All 12g. -3-3+2-3 59

982 BIl 37a. -3+4+2 250

983 BIV 117a. -3+4-2-3 946

984 BIl 42a. -3+4-2-3-2 265

985 BIV 114a. -3+4-2-3-2 921

986 BIll 86h. -3+4+3-2-3 713

987 BIl 45d. -3-4+4-2+2-4 283

988 Bll 45i. -3-4+4-2-2+2-3 293

989 BIll 73rr. -3+5-2-2 630

990 BIll 73g. -3+5-3+2+2 528

991 All 12y. -3+5-3-2 97

992 All 120. +4 80

993 BIV lllc. +4 905

994 BIV Illd. +4+2 907

995 C 133 +4+2+2-2+2-3 1078

996 BIV 119 +4+2+2-2-2-3 959

997 C 132a. +4+2+2-3-3 1070

998 AlII 31 +4+2-2 232

999 BIll 62ee. +4+2-2 446

1000 All 21m. +4+2-2+2-2-2+3 159

1001 BIll 73f. +4+2-2-2 525

1002 All 121. +4+2-3 71

1003 BIll 73d. +4-2+2 519

[ 595 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

1004 BIV 115d. +4-2+2+2+2-2 939

1005 BII 40 +4-2+2+2-2-2-2 261
1006 BIll 61h. +4-2+2+2-2-4 363
1007 BIll M6a. +4-2+2+2+4 1091
1008 All 12z. +4-2+2-3 98
1009 BIll 61c. +4-2+2-3+2 365
1010 BIll 95a. +4-2+2-3-2 752
1011 BIll 94a. +4-2+2-4-2-2 746
1012 BIll 73k. +4-2-2 540
1013 BIll 83c. +4-2-2 686
1014 BIll M13d. +4-2-2 1124
1015 All 12aa. +4-2-2+2 100
1016 C 130 +4-2-2+2+2-2-2 1065
1017 BIll 78a. +4-2-2+2-2-2-2 646
1018 BIV 121d. +4-2-2-2+2 981
1019 BIV 121g. +4-2-2-2+2 993
1020 BIV M18 +4-2-2-2+2 1143
1021 All lOa. +4-2-2-2+4 37
1022 BIll 104c. +4-2-2-2+4-2-2 850
1023 All 20 +4-2-2+3-2-2 132
1024 All 21g. +4-2-2+3-2-2 147

1025 BIV 121c. +4-2-2+3-2-2-3 977

1026 BII 47 +4-2-3 325
1027 BIll 78a. +4-2-3+2-2-2 648

1028 BIll M10a. +4-2-3+2-2+3 1107

1029 BIll 95i. +4-2-3-2 768

1030 BIll 104i. +4-2-3+3-3+2 868

[ 596 ]
 Lexicographical Index

Index Melody String

Class No. Interval Sequence No.
No.

1031 BIll 61j. +4-2-3+4+2 382

1032 BIV 115b. +4+3-2 933

1033 BIll 102m. +4+3-2+2-3 841

1034 BIll M6b. +4+3-3+3 1093

1035 C I 32b. +4+3-3-3-2 1074

1036 BIll 61i. +4+3-3+4+2 379

1037 BIll 100b. +4-3 791

1038 BIll 98 +4-3+2+2 782

1039 All 3a. +4-3+2-3 7

1040 All 3b. +4-3+2-3 10

1041 BIll 62y. +4-3-2+2-2 434

1042 BIll 71a. +4-3+3 494

1043 AlII 28 +4-3+3+2 221

1044 BIll 71£. +4-3+3-2 504

1045 BIll M8 +4-3+3-2-3-2 1100

1046 AlII MI7 +4-4-2+3-3 1135

1047 Bn 46b. +4-4+3+2-4-2 322

1048 AI lb. +4-4+3-2-3 3

1049 AlII 26c. +4-4+3-3 210

1050 BIll 61£. +4-4+4 371

1051 BIll 100£. +4-4+4-2+2+2 803

1052 BIl 52b. +4-5-3-2+2+3-3 334

1053 All 21v. -4+2 177

1054 BIll 100c. -4+2 795

1055 All 23b. -4+2+2 194

[ 597 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

1056 BIl 45v. -4+2+2+2 318

1057 BIll 79b. -4+2+2-2-2+2 654
1058 C 132b. -4+2+2-2-4+4 1077
1059 BII 39 -4+2+2-3 259
1060 BIll 68 -4+2+3-2 488
1061 BIll 61c. -4-2 366
1062 All 2li. -4-2+2 152
1063 AlII 34a. -4-2+2+2 245
1064 BIll 61b. -4-2+2-2 364
1065 BIll 67e. -4-2+2-2 370
1066 All 12b. -4-2+2+4-2 1149
1067 All M16 -4+3+2 1140
1068 BIll 61j. -4+3-2 383
1069 BIll 64b. -4+3-2-2-2-4 461
1070 All 12dd. -4+3+3-2 108
1071 BIl M2 -4+3-3+3-2-2 1084
1072 BIll 73n. -4+4+2-2-3 549
1073 BIll 71c. -4+4-4 497
1074 BIll 73jj. -4+4-4 608
1075 BIll 98 -4+4-4+2-2 781
1076 BIll 77 -4+4-4+4+2+2 645
1077 AlII 28 -4+4-5-2 219
1078 All 22 -4+5-2 187
1079 BIV MIl -4+5-2-2-2 1111
1080 BIll M9b. +5+2+2-2-2-2 1106

[ 598 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

1081 All 1211. +5+2-2-2 60

1082 All 19 +5+2-2-2 130

1083 BIll 73m. +5+2-2-2-2 546

1084 BIll 73p. +5+2-2-2-2 555
1085 BIll 73r. +5+2-2-2-2 558
1086 BIll 73u. +5+2-2-2-2 569
1087 BIll 73aa. +5+2-2-2-2 580

1088 BIll 107a. +5+2-2-2-3 881

1089 BIll 107c. +5+2-2-2-3 887
1090 BIll 107d. +5+2-2-2-3 889

1091 AlII 26a. +5+2-2-3 200

1092 AlII 26b. +5+2-2-3 204

1093 BIll 731. +5+2-3 543

1094 BIll M4 +5+2-3+2 1087

1095 BIll 73j. +5+2-3+2-2 537

1096 BIll 73x. +5+2-3-2 571

1097 BIll 73nn. +5+2-3-2-3 621

1098 All 12i. +5-2 63

1099 All 12m. +5-2 73

1100 All 120. +5-2+2 76

1101 AlII 26c. +5-2+2 208
1102 BIll 107e. +5-2+2+2-2-2-2 891

1103 All M16 +5-2+2-2-2+2 1138

1104 All 21k. +5-2+2-2-2-2 155

1105 BIll 60 +5-2+2-2-2-2 359

1106 BIV 113 +5-2+2-2-2+3 916

1107 All 21h. +5-2+2-2-3 149

1108 All 2li. +5-2+2-2-3 151

1109 BIll 7300. +5-2+2-3 625

1110 BIll 87d. +5-2+2-3+2 720

[ 599 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

1111 BIll 87b. +5-2+2-3-3 716

1112 BIll 92e. +5-2-2+2 743
1113 BIll 92c. +5-2-2+2+2 738
1114 All 7b. +5-2-2-2 28
1115 BII 53b. +5-2-2-2+4-2-2 339
1116 BIll 87a. +5-2-2+3 714
1117 All 21j. +5-2-2+3-2-3+2 153
1118 BIll 66b. +5-2-2-3 477
1119 BIII 71f. +5-2-3+3-2-3 503
1120 AlII 31 +5-2-4 234
1121 BIll 73jj. +5+3-2-2-3 605
1122 BIll 86f. +5+3-3-2+2+2+2 708
1123 BIll 73ii. +5+3-3-2-5 601
1124 BUI 84b. +5-3+2-3-2 690

1125 BIll 71g. +5-3-2+2-2 506

1126 BIll 93 +5-3-2-2 744
1127 BIII 79b. +5-3+3 655
1128 BIII 100a. +5-3+4-2-3 788
1129 BIll 63 +5-4+2 458
1130 BIll M13b. +5-4+2+2+2 1122
1131 BIll 66c. +5-4-2 479
1132 BIll M13e. +5-4+4-2-2-3 1126
1133 BIll 83c. +5-5+2+2+3-3+2 687
1134 BIll M13d. +5-5+4-2 1123

[ 600 ]
 Lexicographical Index
Index Melody String
No. Class No. Interval Sequence No.

1135 BIV 122b. -5+2+2-2-2 1036

1136 BIV 121k. -5-2+2+2-2-2 1007
1137 BIV 111c. -5+4+2-5 904
1138 BI 35 -5+4-2-3+3+2-4 248
1139 BI! 50 -5+6-2-4+2 330
1140 BIll 73s. +6+2-2-2-2 561
1141 BIll 79a. +6-2 653
1142 BIV 116 +6-2-2-2+3 942
1143 BIll 88c. +6-3+2-2 727
1144 BI! 450. -6+4-3-2 305
1145 BIll M13c. +8-4+2+3 1116

11%)
1147
AI!
BIll
12h.
731.
62
545
1148 • BIV 109 897
1149 BIV 113 919

• These strings are comprised of repeated notes (gIl only.

[ 601 ]
 Index

Alexandru, Tiberiu, ix n., xxxii n., Gypsies, 25, 39

xxxv n., 38 n.
Alexici, Gheorghe, 204 Harmat and Sik, 31 n.
Amsterdam University Library, viii, Hungarian Academy of Sciences (Bu-
xi, 3 n. dapest), viii, xi
Ani din Bihor (Bart6k), viii, xxxi, Hungarian Folk Music (Bart6k) 7, 29
xxxiii, xxxiv, 1 n., 32, 33 n., 36 n.
Hungarian influence, 32-33
Basel University Library, vii, xi, 3 n.
Bator, Victor, ix, xxxv Institute of Folklore (Bucharest), xxxi,
Beu, Octavian, xxxv n. xxxii
BriHloiu, Constantin, viii n., ix n., xi
n., xii n., xv n., xviii n., xxv n., Kisdi, 31 n.
xxvi n., xxix n., 1 n., 2 n., 15, 34 n. Kodaly, Z6ltan, xxxi n., 2, 36 n.
Budapest National Museum, 38 Kolatka, 2
"Bulgarian" rhythm, 2, 31, 32 Koleda, 2, 30 n.
Kuba, L., 192
Caesurae, 15-16 Kuckertz, Josef, xxxvii-xxxviii
Cantata Pro/ana (Bart6k), xxxv Kuhac, Fr. S., 36 n.
Cdntece, 201 Kunst, Jaap, xxxvi n.
Cantece de Stea, see Songs
Change song, 25, 28-29, 188 ff. Lenart, F., 31 n.
Ciorogariu, P., 34 n. Lorenz, Karl xxxviii
Colinda custom, xxxi-xxxiii
Comi~el, Emilia, xxxiin., xxxvi-xxxvii
M elodien der rumanischen Colinde
Content-structure, 22-24, 27-28, 29,
(Bart6k), vii n., viii, xxxv, xxxviii,
30
34 n., 557
Cucu, Gh., 2 n·
"Musikdialekt der Rumanen von
Demeny,Janos, xxxv n. Hunyad" (Bart6k), 30 n.
Dille, Denijs, 557, 558
Doine, 201 New York Bart6k Archive, vii n.,
Dor/szenen see Village Scenes xxxviii n.
Dragoi, Sabin, 1 n., 2 n., 34 n.
Parlando Cdntec melodies, 30
Erdelyi Magyarsag. NePdalok (B. Bar- Parry Collection, ix n.
t6k and Z. Kod3.ly), 33 Plugu~or, see Songs

[ 603 ]
 Index
Refrains, 10-11, 26-28, 202
RegoMs, see Songs
Regos, see Songs
Rhythm
and Stanza Structure, 10-15
"Bulgarian", 2, 31, 32
Parlando-rubato, 12, 29 n., 39
Sapphic, 15
Tempo giusto, 12, 29, 39
Riegler-Dinu, Emil, xxxvi
Rosetti, AI., xxx-xxxi, 1 n., 200, 201-
202
Rumanian Academy of Fine Arts, ix
Scale structure, 17-22, 29-31
Serbo-Croatian Folk Songs (B. Bart6k
and A. B. Lord), xxxvii, 30 n., 36 n.,
188n., 192n.
Societatea Compozitorilul Romani
(Bucharest), 15
Songs
Cd-ntec de Stea, 1, 2, 190, 195, 196
Change, 25, 28-29, 188 ff.
Plugu~or, xxxiii, 200
RegoMs, 209 n.
Regos, 209 n.
StOll, Wassil, 31 n., 192
Suchoff, Benjamin, vii n., ix, 561 n.
Syllable extension, 8-10, 11
[ 604 ]
"Tabulation of [Serbo-Croatian] Ma-
terial" (Bart6k), ix n., x, xvi D.,
xvii n., 30 n., 35 n., 36 n.
Teodorescu, C. Dem., 1 D.
Teodorescu, Eugene C., xxiv n.
Text types, 199-202
Transylvania, viii, xxxvi
Turca dance, xxxi, 1, 2
Upbeat syllables, 9-10
Variant melodies, 34-36
Hungarian, 36 n.
Rumanian, 34 n.
Serbo-Croatian, 35 n., 36 n.
Variant texts, 205-211
Czech, 210 n.
Hungarian, 209n., 211 n.
Rumanian, 209 n.
Slovak, 211 n.
Village Scenes (Bart6k), 188
Volksmusik der Rumanen von M ara-
mure~ (Bart6k), viii, 1, 7, 32, 34, 561
Western European influence, 30-31
Ziegler, Mrs. M., 39