1
Sánchez Cantón, «Siete versos inéditos del LBA», RFE, V (1918), 43-45. Moffatt, «Álvar Gómez de Castro's Verses from the LBA», HR, XXV (1957), 247-51. Criado de Val and Naylor (ed.), Libro de Buen Amor (Madrid 1965), xxi-xxii and 601-04. See also Joan Corominas' edition (Madrid 1967), 17-19.
2
The state of the folio is fully and accurately described by Criado and Naylor, xxi-xxii, and plate V shows some of the damage.
3
On the other hand, as Dr Gail Phillips has pointed out to me, there is in this fragment an unusually high concentration of animal references which sum up the qualities of a character in the story, and most of the excerpts incorporate a generalized moral point. Both of these are features often found in popular sermons, and taken in conjunction with the physical state of the MS might well indicate use by an itinerant preacher. The chronological difficulties of such use are, however, considerable.
4
Crónicas generales de España (Catálogo de la Real Biblioteca. Manuscritos, I. Madrid 1898), 8-9.
5
LBA, ed. Ducamin (Toulouse 1901), xxx.
6
Poesía juglaresca y orígenes de las literaturas románicas. Problemas de historia literaria y cultural, 6th ed. (Madrid 1957), 233-39 and 388-92. These sections are virtually identical with those of the first edition, Poesía juglaresca y juglares (1924). On pp. 391-92, the footnote numbers in the text follow the 1924 pagination, and therefore do not correspond to the footnotes.
7
For example: «Menéndez Pidal reprodujo un fragmento del recordatorio o índice usado por un juglar castellano del siglo XV. El texto, lamentablemente destrozado y con numerosas lagunas, nos permite contemplar a un juglar cazurro en acción. Las pocas líneas que restan prueban que se trataba de una "ayuda memoria", breves anotaciones que los juglares llevaban consigo y usarían como bases, como "pies" para recordar sus diferentes recitados y que variarían o ampliarían de acuerdo a su inspiración, al lugar donde se encontraban o al público para el cual actuaban»
(Rodolfo A. Borello, «Notas al LBA», Boletín de Literaturas Hispánicas, III [1961], 5-22, at pp. 17-18). I choose this example not to single out Borello for blame, but rather to show how even a sensitive and scholarly critic can be misled.
8
Juan Luis Alborg, Historia de la literatura española, I, 2nd ed. (Madrid 1970), 251. As with the quotation from Borello, the importance of Alborg's words is that they show the power of the misunderstanding created. It would be easy to produce similar quotations from literary historians far less knowledgeable than Alborg. Among the poem's recent editors, Chiarini does not discuss the question; Menéndez Pidal's view is accepted by Criado de Val and Naylor (xxii), by Corominas (19), and, in a modified form, by Raymond S. Willis, LBA (Princeton 1972), xxii.
9
Ester Pérez de King, «El realismo en las cantigas de serrana de Juan Ruiz, Arcipreste de Hita», Hispania (U. S. A.), XXI (1938), 85-104, at pp. 86-87. Moreover, one hypothetical cazurro has led to others: «Se encargaron, no de enmendar sino de estropear y deturpar su obra gente bárbara como el Cazurro andaluz de x y otros cazurros, entre ellos el leonés T...»
(Corominas, 22-23). There is, of course, no evidence that juglares cazurros were copyists of MSS.
10
«The evidence of early mentions of the Archpriest of Hita or of his work», MLN, LXXV (1960), 33-44, at p. 37.