1
Asensio [1970: 164]. See also Beau [1959: 219-249].
2
See a summary of this and other questions in Gómez Moreno [1991: 50 ff.]. See also the anthology and study by Castro [1997].
3
See Gómez Muntané [1996] and Knighton [1997].
4
«Después d'esto a las ocho oras vino el señor rey a la cámara de la señora reyna y fueron a los maytines de la misma manera que fueron a las viésperas, y el señor rey, dexando a la señora reyna en la tribuna, deçendió abaxo donde estava puesto su sitial con cortinas; y oyeron los maytines solepnemente, con hórganos y chançonetas y pastores, que entraron a la sazón en la capilla dançando y cantando Gloria yn eçelsis Deo; y dixo la misa del gallo pontifical el Obispo de Fez...»
Quoted in Gómez Moreno [1991: 145]. Also noteworthy is Israel Salvatore Révah [1951]. See also Tess Knighton's chapter in this volume.
5
«Después d'esto venieron ocho romeros, que yrán a Santiago con sus bordones y conchas en un vergantín fecho artefiçialmente, y llegando a la puerta de la sala desenbarcaron; y uno en nombre de todos dio un escripto al señor rey, que dezía asy: [original of poem above].
Y después d'esto cada uno d'estos romeros echaron sus ropetas y carátulas e dieron sus escriptos a las damas y dançaron con ellas». Quoted in Gómez Moreno [1991: 149].
6
Taken from the edition by Surtz [1992: 86].
7
Surtz [1992: 172]. See also Blecua [1983].
8
«The spectators... are confronted in the mystery with the stage version of Matins and Lauds, followed by certain motives taken from the prayers at Prime and Terce and from the Miserere»
[Asensio, 1949: 355].
9
The doubts harboured by Gillet as regards the tune to which the villancico would have been sung can be cleared up by the examples given by Diego Sánchez de Badajoz cited below and also bearing in mind what is said by Ros-Fábregas [1993]. As a starting point, it is worth remembering the interesting observation made by Bruce Wardropper [1958: 135] when he comments on the use of the secular couplet «Callad, fijo mío chiquito» as a lullaby in the Representación del Nascimiento de Nuestro Señor by Gómez Manrique: these lines at the start of the composition would serve as «a signal to remind the nun who had to sing the contrafactum of the tune», since «it was more practical to signal this by means of the opening verse than by reproducing the notes». On this matter, see also Weber de Kurlat [1963: 136-37, n. 45].
10
Beltrán comments on the custom of including a song at the end of a poem in the following terms: «At issue is a procedure with precedents in the Cancionero de Baena, which became widespread at the end of the century in long poems and, by extension, in theatre works. On occasion, the song was replaced by a courtly villancico»
[Beltrán, 1993: 194]. It is a procedure that is perpetuated in the pastoral novel, which includes villancicos as a poetic / musical diversion [Montero, 1996: 130].