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José Marín and a translation of the texts in MU MS 727

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José Marín and a translation of the texts in MU MS 727

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José Marín and a Translation of the Texts in MU MS 727

Maria D. Hernandez

A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
In Partial Fulfillment of the
Requirements for the Degree
Master of Arts in Early Music Performance (Voice)
University of Southern California
August 2018
Abstract
José Marín has been researched well for the past couple decades in the Spanish language,
but his English scholarship is lacking. This thesis seeks to contribute to the English scholarship
of Marín by translating the majority of his music (51/75) in one readily accessible document and
clarify interpretive elements. Four pieces will be chosen to analyze his musical techniques,
observe how they enhance the text, and give readers an idea of what to look for in performing the
rest of his repertoire. It is my hope that with my contribution, Marín’s works will be more widely
discussed and performed in the English-speaking community.

Table of Contents
0. Introduction ......................................................................................................................1
Part I. Marín and the Cambridge Cancionero
Chapter I. José Marín ...........................................................................................................5
1.1 José Marín: A Man of Merit ..............................................................................5
1.2 Musical Activity.................................................................................................6
1.3 El Ladrón Marín ................................................................................................9
1.4 The Cancionero: MU MS 727 .........................................................................14
1.5 Conception of the Manuscript8885493274......................................................15
1.6 List of tonos humanos in MU MS 727.............................................................20
Chapter II. Poetic and Musical Analysis of Four Tonos humanos ....................................23
2.1 Musical Features of José Marín’s tonos...........................................................23
2.2 Aquella Sierra Nevada .....................................................................................24
2.3 No piense menguilla ya....................................................................................27
2.4 Para las Yndias de Clori...................................................................................30
2.5 ¡Que se lleva las almas! ...................................................................................34

Part II. English Translations of the 51 tonos in MU MS 727
Preface................................................................................................................................38
1. Desengañémonos ya...........................................................................................40
2. Amante, ausente y triste .....................................................................................42
3. Aquella sierra nevada.........................................................................................44
4. Después, Anarda, que ausente............................................................................45
5. No piense Menguilla ya .....................................................................................47
6. Diz que era como una nieve ...............................................................................48
7. ¿Quién son aquellos villanos?............................................................................50
8. Para las Yndias de Clori.....................................................................................52
9. Filis, no cantes....................................................................................................53
10. Corazón que en prisión ....................................................................................54
11. Canta jilguerillo................................................................................................56
12. Güélgate quanto quisieres ................................................................................57
13. Mal con mi vida se avienen..............................................................................58
14. Mi señora Mariantaños.....................................................................................59
15. ¡Qué bien canta un ruyseñor! ...........................................................................61
16. Sin duda piensa Menguilla ...............................................................................62
17. Tortolilla, si no es por amor .............................................................................64
18. Van y vienen mis pensamientos.......................................................................65
19. ¡Ô, como pasan los años! .................................................................................66
20. Ya no puedo mas, señora .................................................................................67
21. Filis el miedo a de ser ......................................................................................68
22. ¡Que se lleva las almas! ...................................................................................69
23. Sepan todos que muero ....................................................................................70
24. Pensamiento, que en tu daño............................................................................71
25. Turveme, Çelinda hermosa ..............................................................................72
26. ¡Qué dulcemente suena!...................................................................................73
27. Aora que estais dormida...................................................................................74
28. De amores y de ausençias ................................................................................75
29. Yo vengo a ser mi enemigo..............................................................................76
30. Ya no quiero más Menguilla ............................................................................77
31. Hizo paçes con Anarda ....................................................................................78
32. Ojos, pues me desdeñais ..................................................................................79
33. Flores, ya contra vosotras.................................................................................80
34. Todo eres contradiçiones .................................................................................81
35. Amarilis, yo no entiendo ..................................................................................82
36. Si quieres dar, Marica, en lo çierto ..................................................................83
37. Apostemos, niña, que açierto ...........................................................................84
38. Allá quedarás, serrana ......................................................................................85
39. La verdad de Pero Grullo .................................................................................87
40. Esta mi neçia pasión.........................................................................................89
41. Pronóstico nuevo..............................................................................................90
42. Aunque el mal que padezco .............................................................................91
43. No sé yo cómo es .............................................................................................92
44. Montes del Tajo escuchad................................................................................93
45. Niña ¿cómo en tus mudanças? .........................................................................94
46. Si quieres vivir .................................................................................................95
47. Pastores, saved que quiero ...............................................................................97
48. Del amor las mudanças de Menga ...................................................................98
49. Al son de los arroyuelos...................................................................................99
50. Yo la vi que por mí llorava ............................................................................100
51. Menguilla, yo me muriera ..............................................................................101
Appendix. Translated Documents....................................................................................103
Bibliography.....................................................................................................................110

1

0. Introduction

Those who robbed D. Pedro de Aponte are finally imprisoned. They are three captains of
horses and two clerics; one is called Jusepe Marín, musician of the Incarnation, the best
in Madrid, who killed D. Tomás de Labaña and left to Rome, where he was ordained. The
other cleric is called Diamante, son of a rich merchant, and with them D. Francisco de
Mendoza and one of his servants; already the robbery is being held by the highest luster
of blood; still, in this endeavor, venture and skill were necessary, and the famous ones
that we know well will take advantage [of their situation] without moving a step, for they
are eminent in their offices, they are esteemed, and have in this life everything that they
desire.
1

With this excerpt, Jerónimo de Barrionuevo introduces our featured composer, José
Marín, whose musical contribution was only equaled in fame by his daring escapades. He had a
fascinating life involving thievery and murder, and even fled prison all while being considered as
one of the best contemporary musicians of Madrid in the 17th-century. He was a professional
tenor, probable harpist and guitarist, and composer of some of the most exquisite music of
baroque Spain. There are at least 75 surviving compositions attributed to Marín, not counting
numerous different iterations of these pieces scattered throughout several manuscripts.
2
He
worked under the reign of Philip IV and Carlos II for the Royal Palace of Madrid and the Royal
Monastery of La Encarnación as a tenor, and despite his criminal history he also served as a
clergyman of the church for much of his life.
Marín had remained in relative obscurity until recordings of his music published in the
past three decades reignited interest in his research.
3
Although he, alongside Juan Hidalgo, was
one of the most important composers of secular music in 17th-century Spain, piecing the

1
Jeró nimo de Barrionuevo, Avisos de don Jeró nimo de Barrionuevo (1654-1658) Tomo II, Ed. by A. Paz y Meliá
(Madrid: Printed by M. Tello, 1892), 443-44.
2
As we will visit later, this number is suggested by Gerardo Arriaga, who has researched the music of Marín
extensively.
3
Examples of notable recordings include those made by Rolf Lislevand with Montserrat Figueroa, and the groups
Musica Ficta and Private Musicke.

2

chronology of his life together remains a difficult task; only a few reliable documents exist,
including his publicized death on the Gaceta de Madrid newspaper, and records of his payments
during his servitude for the Real Capilla (the Royal Chapel). Most unfortunate of all, Marín’s
scholarship in English is lacking; there is no full length book or dissertation in which he is the
sole focus.
4
This acts as a deterrent for English speakers, students especially, looking to perform
his work. This thesis seeks to mitigate the lack of English resources.
This thesis provides English translations to all of José Marín’s 51 tonos humanos
available within MU MS 727 located at the Fitzwilliam Museum of Cambridge, including notes
and explanations to assist performers in making interpretive decisions.
5
It will also familiarize
English speakers with Marín and MS 727 using what little documentation exists, while analyzing
musical and textual features and their relationship in select pieces from the manuscript.
Accompanying the translations are practical commentaries that tackle theme, wording and
phrasing, and other elements that can help performers disseminate its meaning; these
commentaries will be useful for even native Spanish speakers struggling with the contemporary
undertones and ideals of 17
th
-century Spanish poetry. In addition, the appendix has a collection
of most of the Spanish documents we will be discussing with accompanying English translations.
The Marín cancionero (MU MS 727) is comprised of 51 tonos humanos, which are
secular solo songs for the voice and accompanied with a continuo instrument like guitar or harp.
The accompaniment of the cancionero is in Italian tablature for the baroque guitar, which is an
unusual feature absent from other manuscripts containing his work. There is speculation that
because the tablature feature does not remain constant in other manuscripts—where his pieces

4
The large bulk of his research is in Spanish by musicologists like Gerardo Arriaga and Ru bén López-Cano.
5
MU MS 727 is also known as the Marín cancionero, Libro de tonos, or the Fitzwilliam cancionero, since it sits in
the Fitzwilliam Museum of Cambridge in the UK.

3

usually only have a ground bass—someone else might have written it;
6
the suggestion that Marín
was a guitarist is not cemented. His music in found in several manuscripts, and some of them are
under another composer’s name (most commonly Juan Hidalgo) or anonymous, but since they
appear to be variations of his works in MS 727, scholars have attributed them to Marín. While
the Marin cancionero does not appear to have an accessible digital facsimile online, the Image
Library at the Fitzwilliam Museum has a digitized microfilm of the entire manuscript available
for purchase for £15; we also have an indispensable anthology with modern transcriptions of all
of Marin’s attributed music published by Spanish musicologist Gerardo Arriaga.
Arriaga’s Tonos humanos y villancicos is an asset to the field of study of Marín.
Published in 2008, it is a critical anthology that contains commentary on Marín’s biographical
information and musical technique, a section of song texts with useful information, and most
remarkable of all: a modern transcription of every piece attributed to Marin and all of their in
existing variations. With seventy-five pieces and seventy-eight variations, the editions contain a
total of 153 transcriptions. Arriaga’s anthology also offers an excellent collection of over thirty
documents in an appendix that have some relation to Marín; these include Spanish transcriptions
of records of payments, primary sources like letters, and later biographies.
7
Another valuable
source is De la Retórica a la Ciencia Cognitiva, Un estudio intersemiótico de los Tonos
Humanos de José Marín (ca. 1618-1699), a doctoral thesis by Rubén López-Cano of well over
900 pages that focuses on the relationship between music and text in his tonos humanos.
This thesis will add to English scholarship of Marín by translating the majority of his
music (51/75), and discuss ideas imperative to text’s interpretation. I have chosen four pieces to
analyze their musical technique and how it enhances the text, and guide readers’ understanding

6
We will discuss this in more detail later.
7
He has transcribed these documents personally. In the appendix of this thesis I’ve translated select documents .

4

and performance practice decisions. It is my hope that in doing so, Marín’s works will be more
widely performed and discussed in the English speaking community.

5

Part I.
Chapter I. Marín and the Cambridge Cancionero
1.1 José Marín: A Man of Merit
On Tuesday, March 17th, 1699, a newspaper called the Gaceta de Madrid publicized
Marín’s death: “José Marín has died, at age 80, known within and outside of Spain for his rare
abilities in the composition and execution of music.”
8
It acknowledged a widespread acclaim for
his musical achievement, and although this would suggest that he was well known,
9
the large
majority of his life is shrouded in absolute mystery and records are far and few as they are
reliable. No record of his birth currently exists, but from the date of his death we can assume that
he was born on either 1618 or 1619. For this reason, his birth date appears inconsistently across a
wide array of publications and recordings. Gerardo Arriaga suggests we settle on 1619.
10
This
chapter will examine existing sources in chronological order in order to map his life events. All
contemporary documents referenced in this thesis and their modern location are available in the
document appendix in their original language; in the following chapters, they are shortened for
discussion.
11

Having appeared in the gazette at all is a merit for Marín; Baltasar Saldoni, a 19th-
century musicologist, describes the honor of being featured in the Gaceta de Madrid:
… moreover take into account that what the gazette says about the merit of Marín, in his
time it only gave news of those who died who were great first class Spaniards, Bishops,
generals and high employees, and of the remaining personalities, whatever their category,
hierarchy, merit or position in society, it made no reference to any of them; therefore it
was a strange event for us to see the announcement in the Official Gazette of the

8
Baltasar Saldoni y Remendo, Diccionario Biográ fico-Bibliográ fico De Efemé rides De Mú sicos Españ oles Tomo II
(Madrid: Printed by A. Perez Dubrull, 1868-80), 82.
9
Famous for his musical talents and infamous for his criminal activity.
10
Gerardo Arriaga, José Marín (ca. 1619-1699), Tonos y villancicos: estudio y edición (Madrid: Instituto
Complutense de Ciencias Musicales, 2008), 19.
11
Many of these documents are provided from Gerardo Arriaga’s own document appendix on page 285.

6

Government, and more so in those times, the death of the presbyter and musician Marín;
irrecusable proof of his non-vulgar talent.
12

Another document located at the Archivo Historico Diocesano in Madrid quoted by both
Arriaga and Saldoni solidifies the exact date of his death, informs us of where he lived, and
reveals he made no post mortem arrangements: “Don Joseph Marín, presbyter clergyman,
parishioner, Postigo de San Martin street,
13
Houses in which lives Juan Narro, soldier of the
guard, received his sacred rites, he died ab intestato
14
on March 8, 1699. He was buried in San
Martin with the license of the vicar, He paid the factory 143 reales.”
15

1.2 Musical Activity
The first recorded date of Marín’s musical activity is on December 11, 1644; he was 25
years old and accepted as a tenor into the Real Capilla (Royal Chapel). He might have also
worked at the Royal Monastery of La Encarnación, a convent in Madrid; a few sources we will
discuss later refer to his work there, and many singers at the Capilla were usually also employed
at the convent.
16
Within the records of payments from the Real Capilla conserved at the Archivo
General de Palacio, there is a gap from 1644-46; Marín’s activity in the chapel during that time
is unavailable.
17
Fortunately, he appears in records through 1647-49. His wages in the year 1647
amount to 10,578 maravedíes, the following year, 7,452, and a total of 13,769 in 1649; wages

12
Saldoni y Remendo, 81-82. ...téngase en cuenta además que lo que dice dicha Gaceta sobre el mérito de Marín , en
cuya época solamente daba noticias de los que fallecían siendo Grandes de España d e primera clase, Obispos,
generales y altos empleados, pues de los demás personajes, fuera cualesquiera su categoría, jerarquía , mérito ó
posición en la sociedad, no hacía referencia alguna de ellos; así es que para nosotros fué un acontecimiento raro el
ver anunciar en la Gaceta Oficial del Gobierno, y aún más en aquellos tiempos, la muerte del presbítero y músico
Marín; prueba irrecusable de su no vulgar talento.
13
The street called Calle del Postigo de San Martin is a short section of housing just blocks away from his
workplaces decades earlier: the Royal Palace of Madrid and the Royal Monastery of La Encarnación.
14
Without a will.
15
Arriaga, 286.
16
Rita Goldberg, “El cancionero de cambridge” Anuario Musical Vol. 41, no. 8 (1986): 175.
17
Arriaga, 19.

7

were received after every tercio or one-third of the year.
18
While this thesis does not go into the
cost of living in 17
th
-century Madrid, it is a fascinating topic of study considering his
documented necessity for money throughout the majority of his life.
19

Marín’s salary was raised on January 1, 1648, no doubt due to his merits as a singer and
the king’s favor: “Joseph Marín was taken as a tenor on December 11, 1644, and on the first of
January, 1648, His Majesty awarded him a raise.” However, on January 18, 1649, he reached out
to Philip IV for economic assistance:
Joseph Marín, servant of Your Majesty in your Real Capilla, said that he has served Your
Majesty for six years with pleasure and with great necessity, with obligations, due to his
meager earnings,
20
seeing himself tight from the delays of his payments, he took, the
occasion from this to make that trip he attempted to the Indies and given the news that
Your Majesty was served he would again serve you with pleasure and to continue he
pleads from your favor an ecclesiastical pension of 300 ducats for through it he will
receive [your] favor.
21

Marín was allegedly experiencing so much financial trouble, that he was going hungry;
the 7,452 maravedíes he earned the previous year was not enough. He pleaded Philip IV for a
pension of 300 ducats to continue his service, since apparently, the king had voiced his
satisfaction with his work. What is comical about this situation is that just five days earlier on
January 13 his payments were doubled. A note next to his first tercio distribution of 9,485
maravedíes for 1649 reads “from the 13
th
of January double.”
22
We cannot be certain why he
pleads for more money five days later on the 18
th
.

18
Arriaga, 19-20. These record payments are available on page 1137 in Listas de Distribuciones q. Ganaron los
Músicos de la Capilla Real y otras personas desde Mayo de 1621 hasta Septiembre de 1693 available in the Archivo
General de Palacio in Madrid.
19
For reference, in the 17th-century, 34 maravedíes equaled 1 real de vellón, 64 maravedíes equaled 1 real de plata,
11 reales de plata equaled 1 ducado (ducat), 16 reales de plata were worth 1 Spanish escudo (gold coin), and 32
reales de plata were worth 1 doblón (doubloon).
20
The Spanish for ‘por lo poco que goça’ or ‘goza,’ means that he enjoying himself with what little he has; it
implies that he makes do with the little he earns.
21
Arriaga, 284.
22
Ibid., 20.

8

Marín’s letter makes some interesting implications; first, he—and the writer of the
letter—claimed to have taken a trip to the Indies, which during that era referred to the Americas.
Although we lack surviving documentation to confirm his travel, see his composition, Para las
Yndias de Clori, for a sprightly metaphorical love song about travelling to the Indies. Second, he
claims to have worked under the king’s service for six years, which conflicts with the recorded
start of his employment in 1646. Either the records are incorrect and he was not officially written
into the roster until 1646, or, as is more probable, he lied to the king, since his name does not
appear in any record list from 1643.
23
Lastly, we see that he had asked the king for a pension of
300 ducats to continue his service; since a reply from the palace has not been found, we cannot
be completely sure of the outcome. Marín claims to have received this pension for an unknown
number of years in a letter from 1692, but his consequent actions in 1649 appear to imply the
opposite. On his record of payment for the second

tercio of 1649, having received 2,013
maravedíes, a note is written next to it: “Despidiose a 9 de Mayo,” or “He-dismissed-himself on
May 9
th
”.
24
Curiously enough, he appears to have had collected 2,271 maravedíes from the
chapel for the third and final tercio, for which he is supposedly dismissed.
25
Marín no longer
appears in records of payment from the Real Capilla after 1649, but we do have an idea of his
activity during the following decade thanks to the sensational letters of Jerónimo de
Barrionuevo.
26

23
Ibid.
24
Ibid.
25
Ibid.
26
Rita Goldberg, 175.

9

1.3 El Ladrón Marín
Madrid, November 1, 1654. Marin tried to escape prison, for having the silversmith
falsely blamed when he took him stolen goods to get rid of. Last Monday the 30th, he
attempted it in the middle of the night... his mother was waiting for him on the road with
a maid that was carrying arms, and herself with doubloons. The jail-keepers went after
them, and caught her quickly, and found him in a retreat with everything he had took with
him.
27

This is the first time Marín is mentioned in the Avisos of Jerónimo de Barrionuevo. On
unknown dates, he had committed a robbery and was subsequently imprisoned; he then
successfully escaped prison, but was promptly recaptured. Two years later, following a massive
robbery, Barrionuevo wrote about the struggles of Marín in great detail after he and his criminal
entourage were caught.
Jerónimo de Barrionuevo (1587–ca.1671) was a writer and playwright, and worked as an
avisador for the court, someone who publicises ‘avisos’ or ‘news’ of current events. His avisos
are invaluable for offering detailed information on the royal family and nobles, as well as on the
economic, political, religious, and cultural events 17th-century Spain. He sent his avisos in
letters to a distant noble of the court, the deán of Zaragoza, to keep him informed of everything
that happened in court.
28
Like modern media, it is important to be wary of news articles that
cover scandalous events, and Barrionuevo’s letters can have elements of exaggeration and
fabrication. Since no other source exists to cross reference these retold events, they should be
taken with some skepticism. On June 21, 1656, Barrionuevo documents Marín’s robbery as
follows:
On the eve of Corpus [Christi], eight masked men entered the home of Don Pedro de

27
Jeró nimo de Barrionuevo, Avisos de don Jeró nimo de Barrionuevo (1654-1658) Tomo I, Ed. by A. Paz y Meliá
(Madrid: Printed by M. Tello, 1892), 121-122.
28
Aviso: warning; a notice. Deán: Priest, or cleric. His Avisos are invaluable for their wide array of information on
the court life of the royal family and nobles, as well as on the economic, political, religious, and cultural current
events of 17th-century Spain.

10

Aponte, a great gambler… they, [the authorities], asked him for a list since they took with
them everything he had: 200 doubloons of 8; 4,000 reales of 8 more, and stuffed into a
large sack bag, chains, rings, jewels; in all, from 12 to 14,000 escudos. They have
imprisoned some young men. Keep yourself ascertained that they will be exposed,
because there are many involved.
29

On the eve of a Christian holiday, Marín and his associates robbed a wealthy gambler
called Pedro de Aponte. Authorities asked him for a list of his stolen goods, since the thieves had
taken everything that he owned. Barrionuevo encouraged Zaragoza to stay self-assured, for the
thieves will be exposed. Indeed, on the 28
th
of June, Barrionuevo writes that the thieves have
been caught:
Those who robbed don Pedro de Aponte are finally imprisoned. They are three captains
of horses and two clerics; one is called Jusepe Marín, musician of La Encarnación, the
best in Madrid, who killed don Tomás de Labaña and left to Rome, where he was
ordained. The other cleric is called Diamante, son of a rich merchant, and with them don
Francisco de Mendoza and one of his servants; already the robbery is being held by the
highest luster of blood; still, in this endeavor, venture and skill were necessary, and the
famous ones that we know well will take advantage [of their situation] without moving a
step, for they are eminent in their offices, they are esteemed, and have in this life
everything that they desire.
30

Now around 37 years old, Marín is claimed to be a musician at the Royal Monastery of
La Encarnación, a troubling statement since Arriaga has scoured the convent’s documents and
has found no records of his payments there whatsoever, nor does he appear in the Real Capilla
after 1649.
31
Marín has apparently resumed his service to the king. The document implies that in
the time lapse between 1650 and 1656, Marín had murdered a man called Tomás de Labaña and
fled to Rome, where he was ordained as a cleric. We know that this did not happen before 1650,
since he is only referred to as a singer and not a man of the church in the Real Capilla records.

29
Barrionuevo, Tomo II, 437.
30
Ibid., Tomo II, 443-44.
31
Arriaga, 21.

11

As for the other cleric involved in the robbery, every thief needs a compinche, an
accomplice, and Marín had Juan Bautista Diamante, a playwright, writer of zarzuelas, and fellow
cleric. Although Diamante is regarded to have been a close friend of Marín, there exist no
documented musical collaborations between them. Their situation escalates following their
capture:
September 20, 1656. They tortured Marin, musician of the Incarnation, for the robbery of
D. Pedro de Aponte. He suffered four turns and two garrotes to the thighs, and he was
stiff, and just wait, today or tomorrow Diamante will get his turn.
32

Last night he was tortured, Diamante, cleric, the audacious and crude one from Puerta del
Sol. He denied everything, like Marin, after receiving another four turns and two garrotes
to the thighs… nothing has resurfaced [from the theft of D. Pedro de Aponte], it being a
theft of more than 12,000 ducats, not counting the jewels, which were worth a little less.
It’s said that the clergymen will go to the galleys… Marín has three or four deaths,
including D. Tomás de Labaña, and Diamante even more.
33

Torture was customary during those times to force a confession out of prisoners, and
condemning criminals to row for the galleys of the king (ships) usually carried a sentence of ten
years. However, scholars like Emilio Cotarelo y Mori are skeptical that these punishments would
have befallen privileged individuals like Marín and Diamante; being leaders of the church
carried certain benefits, and unless the crime was incredibly severe or religious in nature,
members of the church would not be subjected to these harsh conditions.
34
At the same time,
Barrionuevo claims that Marín had several murders under his belt, and authorities may have
decided to take this into account. In any case, both criminals remained silent through their
struggle. Barrionuevo documents the conclusion:
Madrid, September 27, 1656. They sentenced Marin, the musician: suspension of [holy]
orders and exile for 10 years; and if he breaks it, to a castle-prison in Africa, where he
will go entertain and teach singing to Arlaja the Moorish-woman. Don Pedro de Velasco,

32
Barrionuevo, Tomo II, 531. He did not confess to his crimes or reveal the location of the stolen goods.
33
Ibid., Tomo II, 534.
34
Emilio Cotarelo y Mori, Don Juan Bautista Diamante y sus comedias (Alicante: Biblioteca Virtual Miguel de
Cervantes, 2010), http://www.cervantesvirtual.com/nd/ark:/59851/bmcbz6q6.

12

judge of the Capilla, met him, and thinks that the Vicar will do the same with
Diamante…
35

Madrid, December 27, 1656. All the prisoners from the Aponte robbery, sentenced to
different penalties in the galleys, imprisoned or fined, have been released freely, and as
for Marín, they have him within a tower in the Cárcel de Corte,
36
in the spire, in the
narrowest space, that scarcely fits a man, with shackles weighing 40 pounds, and a chain
of 4 arrobas [or 100 pounds], caged like a bird, so that with his sweet voice he can
entertain himself singing; and it’s said that as soon as he’s released they’ll send him to
the galleys perpetually, if they don’t garrote him for the death of D. Tomás de Labaña
and the many other crimes he’s committed.
37

Everyone had been released, even Diamante, except for Marín, still serving time in his
allegedly small prison. When he steps out of his prison, he will be forced into exile for 10
years—which is considerably better than the galleys at the least. What’s curious about the aviso
from September, is that the judge of the Real Capilla is mentioned: don Pedro de Velasco. His
name does indeed appear within the archives of the institution for that year, granting some
credibility to Barrionuevo’s narrative; although Marín who appears to also be working in the
convent remains missing from the same archives.
38

Marín’s name returns for the last time in one final aviso: in the following year, June 2
nd
,
1657, when another crime has taken place. Authorities went after two criminals the false
silversmith confessed to before he was burned at the stake; when he learned of this, “Marín, the
musician, who was exiled and was going about here undercover, has sought asylum, because no
one sings as well as he on the torture table, and for his cause let no tightness of the throat
39
get to

35
Barrionuevo, Tomo II, 547.
36
Translates to ‘Court Jail,’ located in the Plaza de la Provincia in Madrid. According to La justicia penal de los
Austrias en la Corona de Castilla on page 289, until the year 1674, prisoners would only ever get one meal every 24
hours.
37
Jeró nimo de Barrionuevo, Avisos de don Jeró nimo de Barrionuevo (1654-1658) Tomo III, Ed. by A. Paz y Meliá
(Madrid: Printed by M. Tello, 1892), 138-39.
38
Arriaga, 21.
39
Aprieto de la garganta is a Spanish saying that describes someone who is very stressed and worried, but it
probably refers to any possible torture or death sentence he might be given.

13

him.”
40

In summary, according to Barrionuevo, between 1650 and 1656, after Marín’s service to
the Capilla, he was imprisoned for robbery, fled prison, was recaptured and imprisoned again,
and released or not he murdered at least one man—Barrionuevo claims three or four deaths in
total by 1656—and fled to Italy.
41
There, he was ordained as a holy leader of the church, returned
to serve as a musician for the royal convent, and proceeded to receive universal praise for his
musical talents. He was then involved in a scandalous robbery that ended in torture, a harsh
prison sentence, and a ten year exile. Whether he left Madrid and came back for the June 2
nd

sighting remains undocumented, but he could have well been wandering undercover in the
Madrid for at least the first six months of his exile. These are heavy claims, many of which are
unverifiable. There are instances of credibility here and there, but ultimately, Barrionuevo’s
accounts should be taken with some skepticism.
After this troubling period, no record or document emerges with connection to Marín
until 1692. At around age 73, he sent a letter to Charles II claiming that he had worked at the
Real Capilla for over 14 years, and that he is experiencing poverty. He begged the king for four
doblones a month for the rest of his life, in order to live in comfort. In a margin, it is written that
he was granted his request.
42
Perhaps during the decades following 1656, he returns to the Real
Capilla, although his name remains absent from any payment records.
The next time Marín’s name appears is in 1699 after his death, in the Gaceta de Madrid,
where he is praised for his renowned musical achievement. Having appeared in the gazette
suggests that he had left his thieving habits behind and had become a highly respectable citizen.

40
Cotarelo y Mori.
41
The death of Tomás de Labaña most likely took place during this period; he was forced to flee to Rome, where he
became ordained.
42
Arriaga, 86.

14

1.4 The Cancionero: MU MS 727
Marín’s cancionero is preserved at the Fitzwilliam Museum in Cambridge, UK under the
signature MU MS 727.
43
It is known as the Marín cancionero, Libro de tonos de Jose Marin, or
the Cancionero de Cambridge, and is comprised of 51 tonos humanos composed by José Marín
for solo voice and accompanied by a baroque five-string guitar written in Italian tablature. A
tono humano is secular vocal song for solo or multiple voices and accompaniment; it was
chamber music as well as theater music, where they were interspersed in zarzuelas and
comedias. The tono divino was its sacred counterpart, and both were popular genres in baroque
Spain. The tonos in MS 727 are in the vernacular, and are vibrant, rhythmic, and full of Spanish
character. We will discuss these elements with specific examples in the next chapter. While
several tonos in MS 727 have the characteristics of tonos that belonged on the theater stage,
44
the
only pieces that have been found in extant theatrical works are the following: “La verdad de
Perogrullo” and “Aunque el mal que padezco” in El desterrar los zagales by Gil López de
Armesto y Castro, “Niña, ¿cómo en tus mudanzas?” in Baile famoso de Fulanilis by Juan Vélez
de Guevara, a contrafactum of “No piense Menguilla ya” in Baile de Rompe, Amor, las flechas,
and the estribillo of “Pastores, sabed que quiero” in Amar es saber vencer, y El arte contra el
poder by Antonio de Zamora.
45

At the top of every tono in the manuscript there is a phrase that asks performers to add an
instrumental section before the start of the piece as was the Spanish custom. For example, the
first tono reads “Pasacalles de 3
o
tono de C para este tono.”
46

43
It is worth mentioning again that a digital microfilm of the manuscript can be purchased from the Image Library at
the Fitzwilliam Museum for £15.
44
Such as frequent meter changes, and exaggerated dramatic appeal.
45
Arriaga, 26.
46
Ibid., 33-34.

15

1.5 Conception of the Manuscript
How did the cancionero arrive at a British museum? On a flyleaf in the manuscript, the
following is written: “MU 4 – 1958. Bequeathed by Professor J. B. Trend. May, 1958. Mus Ms
727,” and on folia i we can read his signature, followed by “Joseph Martin Y Banez” in large
letters.
47
Professor John Brande Trend (1887–1958), a British Hispanist with a research focus on
Hispanic topics, taught Spanish at the University of Cambridge. On February 22, 1928, he came
to buy the songbook from a book store in London called Maggs Brothers.
48
How it arrived in
London remains a topic of interest, since somehow, it was removed from the Biblioteca Nacional
de Madrid. The songbook was in a private collection that was donated to the national library in
1894, after the death of its previous owner, Francisco A. Barbieri, whose name we can find on f.
ii
v
: “This manuscript was gifted to me by the gentleman D. Francisco Uhagón, in Madrid, May
1884. Fran.
co
A. Barbieri.” Proof of its presence in the library appears in “La musique en
Espagne (art religeux et art prophane),” in R. Mitjana’s Encyclopédie de la Musique et
Dictionnaire du Conservatoire. Mitjana catalogues the manuscript, stating that the National
Library of Madrid possesses a single volume manuscript of 110 pages which had belonged to
Barbieri; Mitjana then translates a part of its inscription, which we are about to visit.
49

F. iii reveals who the songbook belonged to: “D. Miguel Martin, musician of the king,
within which are the tonos written by fr. Martin Garcia de Olague, a religious man from
Santíssima Trinidad and distinguished organist of said convent and composed by D. Joseph
Marin.” Next to ‘Garcia’ there is the same symbol that refers us back to f. ii
v
, where it is written:
“This Fray Martin was the leading organist of the Cuenca cathedral in the year 1695. B.” Finally,

47
Ibid., 32.
48
Ibid., 33.
49
Ibid., 33.

16

on f. iv is a table listing the 51 compositions in order of their appearance, and at the end on f. v
v

there is a Latin phrase and a name: “Finis coronat opus. Scriptum est ab Antonio de Epila,”
which translates to ‘The end crowns the work. The writing is by Antonio de Epila.’
50

There are many names to discern here as well as a multitude of questions. The most
puzzling of these elements is the repetition of Martin and how the text suggests that several
different Martin personas were a part of the songbook’s conception. Let us start from names we
can discern easily; Francisco Asenjo Barbieri (1823–1894) was a Spanish musicologist and
composer well known for his zarzuelas
51
; he received the songbook in May 1884 from Francisco
Rafael de Uhagón (1858–1927), who was a Spanish historian and manuscript cataloguer. Inside
the songbook, it is written that it belonged to Don Miguel Martin, that a Martín García de Olagüe
had written the tonos, that they were composed by Don Joseph Marin, and finally that the book’s
writing is by Antonio de Épila; in addition, the signature of Joseph Martin Y Banez, most
probably Ibáñez, appears twice.
Arriaga is convinced that Miguel Martin was probably the songbook’s first owner.
Miguel Martin was admitted to the Real Colegio as a choirboy in 1673, and in 1686 admitted as
a treble singer for the Real Capilla. Since it was customary for the Colegio to take boys at age
10, he must have been born around 1663. Like Marin, he pleads for monetary aid from Charles II
in the 1690s and exacerbates the number of years he has been in service for the chapel; four
times he wrote to the king, in 1690 he claimed to have worked 10 years under the king, in 1691,

50
Ibid., 32. The contents of the songbook discussed in this paragraph was transcribed and provided by Arriaga; I
have just translated it. Finis coronat opus is a latin saying that means that a work’s true value can only be
determined after it is finished.
51
John Edwin Henken, “Barbieri, Francisco Asenjo,” Grove Music Online, accessed June 15, 2018,
http:////www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo -
9781561592630-e-0000002006. https://doi-org.libproxy2.usc.edu/10.1093/gmo/9781561592630.article.02006.

17

14 years, in 1693, 14 years, and lastly in 1696, 20 years.
52

As for José Martín Ibáñez, no information is known. However, according to Arriaga, he
could have been another royal singer named Joseph Martín, who entered the Real Colegio in
1680. However, he is by no means José Marín’s alias. A document to the king dated January 22,
1694 from the patriarch of the Capilla says the following: “Joseph Martín, treble, has no voice
nor [the] genius of a musician and is not even aware of it, although it has been 13 years that he
has been in the Colegio,” and he is dismissed the same year with a pension.
53

The final two names that we will review are Fray Martín García de Olagüe and Antonio
de Épila. There is confusion about who is the true copyist of the songbook, and an abundance of
scholarship that either regard García de Olagüe or Épila as the copyist.
54
Some scholars have
hypothesized that García de Olagüe wrote the text to the poetry and Épila copied all the contents
for the songbook; others are convinced that García de Olagüe was the copyist of the book, and
that Épila wrote only the table of contents, since that is the only place his name appears, but to
hire someone to write just the table of contents seems doubtful. Having written ‘Finis coronat
opus. Scriptum est ab Antonio de Épila,” or ‘The end crowns the work. The writing is by
Antonio de Épila,’ Épila makes best argument for the true copyist of the songbook. Arriaga is
convinced as well, and writes that the Latin phrase was a prideful inclusion after his exhaustive
work transcribing all the pieces, writing its table of contents, and finishing his work by writing
his name; furthermore, he insists that the writing on the cover page, in the table of contents, and

52
Arriaga, 37. While there is a possibility that these letters to the king were written by another Miguel Martin,
Arriaga is unconvinced since he is always referred to as cantor tiple from the Capilla, and he has not found another
Capilla treble singer with the same name in that time frame.
53
Ibid., 38.
54
To name a few: Dance and Instrumental Diferencias in Spain During the 17th and Early 18th Centuries (1992) by
Maurice Esses on page 268 names Martín García de Olagüe as the compiler; Teatro lírico español anterior al siglo
XIX (1897) by Felipe Pedrell in a footnote on page xxxii writes that García de Olagüe was most likely the author of
the poetry; in the first modern transcription of Ms 727, José Marín (1619-1699), that was published in 1997, Alicia
Lazaro writes that García de Olagüe was the copyist on p. v.

18

within the transcriptions— although slightly different in style—appear to be by the same hand.
55

Unfortunately, no records of his life have currently been found.
If Antonio de Épila was the true copyist of the songbook—which I will advise is only an
educated opinion—who is Fray Martín García de Olagüe? The songbook claims that he ‘wrote’
the book, that he was the leading organist of the Cuenca cathedral in the year 1695, and that he
was a religious man at a convent called Santísima Trinidad Redención de Cautivos Descalzos de
Madrid and also served as a distinguished organist there. Fortunately enough, the details of his
employment appear to be correct. Musicologist Rita Goldberg confirms that her research found
his signature in documents from the convent in the year 1677, 1680, and 1687, and surmises that
he must have gone to Cuenca between 1687–1695. She adds that this would have put the
conception of the manuscript between 1690–1695.
56
Arriaga adds that on January 5, 1683 the
organist maker Juan de Andueza promised to make an organ for the convent that would satisfy
its organist, fray Martín García de Olagüe, further proving his presence in the convent.
57
The
friar probably stayed in Madrid between 1671–1694 and left after being hired as the leading
organist at the Cuenca cathedral, succeeding Francisco Saiz until January 1711.
58

As for his part in the manuscript, fray Martín García de Olagüe is most probably the
compiler of its contents. He could have very well been the writer of the poetry—although a
handful of songs are attributed to another poet—or he could have also written the Italian
tablature. After all, it has not been fully cemented that Marín was a guitarist, although during that
time it would not have been an unusual instrument of choice for either figures; Martín’s

55
Arriaga, 38.
56
Goldberg, 175. While she writes that the documents with his signature are found at the Archivo Historico
Nacional de Madrid, she does not offer the specific source.
57
Arriaga, 39.
58
Ibid.

19

successor, José de Nebra was an organist as well as a harpist.
59
The tablature could have been
written by Marín, an anonymous guitarist, or Martín.

59
Arriaga, 39.

20

1.6 List of tonos humanos MU MS 727
The following is a list of all the tonos available in MU MS 727 with their page numbers
as Arriaga has indicated. All pieces are in one voice unless specified, and an asterisk (*)
identifies a song that is unique to MS 727 and does not have any existing variation outside this
manuscript. Names in parentheses identify the poet.
1. Desengañémonos ya ..........................................................................................ff. 1–2
v

2. Amante, ausente y triste.....................................................................................ff. 3–4
3. Aquella sierra nevada (Manuel de León Marchante).........................................ff. 4
v
–6
v

4. Después, Anarda, que ausente ...........................................................................ff. 7–8
v

5. No piense Menguilla ya.....................................................................................ff. 9–10
v

6. Dizque era como una nieve ................................................................................ff. 11–12
v

7. ¿Quién son aquellos villanos? (Augustín de Salazar y Torres) .........................ff. 13–13
v

8. Para las Yndias de Clori (*) ..............................................................................ff. 14–14
v

9. Filis, no cantes ...................................................................................................ff. 15–16
v

10. Corazón que en prisión de respetos (Augustín de Salazar y Torres).................ff. 17–18
v

11. Canta, jilguerillo .................................................................................................ff. 19–20
v

12. Güélgate quanto quisieres ..................................................................................ff. 21–22
13. Mal con mi vida se avienen (*) .........................................................................ff. 22
v
–23
v

14. Mi señora Mariantaños (*) ................................................................................ff. 24–25
15. ¡Qué bien canta un Ruyseñor! ............................................................................ff. 25
v
–28
16. Sin duda piensa Menguilla .................................................................................ff. 28
v
–30
v

17. Tortolilla si no es por amor ...............................................................................ff. 31–22
v

18. Van y vienen mis pensamientos .........................................................................ff. 33–34
v

21

19. ¡Ô cómo pasan los años! ...................................................................................ff. 35–36
v

20. Ya no puedo más, señora (Diego de Nájera y Cegrí) ........................................ff. 37–39
21. Filis, el miedo á de ser.......................................................................................ff. 39
v
–40
v

22. ¡Que se lleva las almas! (*) ...............................................................................ff. 41–42
v

23. Sepan todos que muero (*)................................................................................ff. 43–45
v

24. Pensamiento, que en tu daño .............................................................................ff. 46–48
25. Turveme Çelinda hermosa (*) (Antonio Hurtado de Mendoza)........................ff. 48
v
–50
v

26. ¡Qué dulçemente suena! ....................................................................................ff. 51–51
v

27. Aora que estais dormida ....................................................................................ff. 52–53
28. De amores y de ausencias ..................................................................................ff. 53
v
–55
29. Yo vengo a ser mi enemigo (*) .........................................................................ff. 55
v
–57
v

30. Ya no quiero más, Menguilla .............................................................................ff. 58–60
31. Hizo paçes con Anarda ......................................................................................ff. 60
v
–63
v

32. Ojos pues me desdeñais (*) ...............................................................................ff. 64–66
v

33. Flores ya contra vosotras ...................................................................................ff. 67–68
v

34. Todo eres contradiçiones....................................................................................ff. 69–70
v

35. Amarilis yo no entiendo (*) ..............................................................................ff. 71–72
v

36. Si quieres dar, Marica, en lo çierto (*) ..............................................................ff. 73–74
v

37. Apostemos niña, que açierto..............................................................................ff. 75–76
v

38. Allá quedarás, serrana (*) .................................................................................ff. 77–80
39. La verdad de Pero Grullo (*) ............................................................................ff. 81–82
v

40. Esta mi neçia pasión (*) ....................................................................................ff. 83–84
41. Pronóstico nuevo................................................................................................ff. 84
v
–86

22

42. Aunque el mal que padezco (*).........................................................................ff. 86
v
–87
43. No sé yo cómo es ..............................................................................................ff. 87
v
–90
44. Montes del Tajo, escuchad ................................................................................ff. 91–92
v

45. Niña, ¿cómo en tus mudanças? (*) ...................................................................ff. 93–96
46. Si quieres vivir ...................................................................................................ff. 96–98
v

47. Pastores, saved que quiero .................................................................................ff. 99–100
v

48. Del amor las mudanças de Menga (*) ...............................................................ff. 101–102
v

49. Al son de los arroyuelos (Lope de Vega) ..........................................................ff. 103–105
v

50. Yo la vi que por mí llorava (*) ..........................................................................ff. 106–108
51. Menguilla, yo me muriera ..................................................................................ff. 108
v
-110
v

23

Chapter II.
Poetic and Musical Analysis of Four Tonos humanos
2.1 Musical Features of José Marín’s Tonos
Like the tonos of his contemporaries, José Marín’s tonos humanos are exceptionally
lyrical, melodic, rhythmic, and display a near constant chromaticism. Most importantly, the text
is unequivocally tied to musical decisions; there is a speech-like quality to this genre facilitated
by rhythms and melodies. Frequent abrupt changes in rhythm and meter will occur throughout a
piece and introduce a different affect invoked by the text.
Understanding the text of tonos humanos is of monumental importance to the expression
of the piece. Audience members that are not fluent in Spanish should always be provided with a
thoughtful translation, since much of the charm of this music comes from the text. The following
analyses will probe the relationship between the text and music in four select tonos from MS
727.

24

2.2 Aquella sierra nevada
1
a
Copla
Aquella sierra nevada
que densa nube pareçe,
con el rigor del estío
en pardo escollo se buelbe.

2
a

Aquel árbol que desnudan
los rigores del diciembre,
sus desojados cogollos
galán abril reverdeçen.

3
a

Aquel río que el inbierno
manchó su pura corriente,
con el calor del verano
líquida plata se vierte.

4
a

Aquel ruiseñor que, triste,
largo silençio enmudeze,
a la hermosa primavera
revive en selbas alegres

5
a

Todo se trueca y se muda
sin que aya mal permanente
quantas bezes muere el sol
renaçe otras tantas beçes

6
a

Solo en mi mal no ay mudanza,
ni tiempo que le consuele,
ni muerte para mi vida,
ni vida para mi muerte.

Estribillo
Fatigada esperança remedio mortal
qué me quieres qúe me quieres ya
déjame morir morir sin esperar
pues en nada ay firmeça
1
st
Couplet
That snowy mountain range
that looks like a dense cloud,
with the rigor of summer,
into a brown rock it becomes.

2
nd

That tree that’s undressed
by the rigors of December.
it’s desolate whorls
60

gallantly April re-greens.

3
rd

That stream that winter
stained it’s pure currents,
with the heat of summer
liquid silver it pours out.

4
th

That nightingale that sadly
long silence renders it mute,
the beautiful springtime it revives,
in cheerful jungles.

5
th

Everything changes and molts,
without there being any permanent harm,
as many times as the sun dies
just as many more it revives.

6
th

Only in my unwellness is there no change,
no time to console it,
no death for my life,
no life for my death.

Refrain
Fatigued hope, mortal remedy
61

that wants me, that wants me now.
Let me die, die without having to wait
for in nothing is there certainty,

60
A point on a tree from which a branch sprouts that holds several other branches with greenery.
61
Death.

25

si no es en mi mal. if not in my dejectedness.

The original poem is by Juan Manuel de León Merchante (1631-80) and can be found in
Obras poeticas posthumas de el maestro Don Manuel de León Marchante, Classe segunda
(1750) on page 38. This poem is a glossa,
62
and its theme is ‘A una dama esqviva, que mandò à
su Galàn la olvidasse,’ which translates to ‘a dodgy dame, who told her gallant to forget her.’
63

See Rubén López Cano’s dissertation, De la Retórica a la Ciencia Cognitiva Un estudio
intersemiótico de los Tonos Humanos de José Marín (ca. 1618-1699), for an in depth analysis of
this piece.
“Aquella sierra nevada” plays with hope and hopelessness. Time heals nature, but not the
human heart. The mountain, tree, river, and nightingale suffer through winter, but will always
recover by the coming of Spring. There is never any permanent harm done for nature, since time
changes everything. However, the 6
th
copla and estribillo reveal that for the speaker there is no
solace. As López Cano writes:
The voice ceases to refer to the elements of the landscape. He ceases to employ them as
the protagonists of his discourse to make an inflection of himself. He discovers that the
natural law of mutability that governs nature does not apply to his pain. The time that
cures the hardships of the natural landscape, does not deal with the sufferings and
unwellness of the human soul.

The musical line of the coplas are slow and calming; long and repeating notes in 4/4
maintain a sense of stability. The rising melody on “en pardo escollo” comes across as the
curious observation of the speaker; its slow stepwise ascent invites a sense of hope. When the

62
A poetic form that has two parts that are commonly written by two different authors. The first part is a theme that
part two has to ‘gloss on,’ which means to focus on or explain.
63
Manuel de León Marchante, Obras poeticas posthumas de el maestro Don Manuel de León Marchante, Classe
segunda, (Madrid: 1700), 36.

26

phrase is repeated higher, it is a declaration absent of any doubt. The final note in the voice held
for five measures at the end is an expression of time.
Within the estribillo, the musical expression of the text truly shines. Word painting
dominates this section; the meter has changed to 3/4 and “fatigued hope” is expressed in repeated
quarter notes on the same note. It truly paints the image of fatigue. “Hope” is called out
sorrowfully in a half-step descent to F#, and “mortal remedy,” or death, finishes with a half-step
ascent to F. The effect is chilling, as it implies there is no hope. The phrase repeats, but ends with
a major second; Spanish composers preferred to end their phrases in Major.
Abruptly, the meter switches back to 4/4, and the voice leaps high past an octave and
screams out, “what do you want from me?” Then in a hopeless lament, the speaker begs hope to
let him die. There is a stark imitation of the human voice in both these sections. In the first he
lashes out in anger abruptly, changing the meter with his outburst, but this display of energy was
only for a second. He returns to his calmer, much more hopeless, disposition and asks for death.
‘Morir’ is painted mournfully with long whole notes descending towards the next section.
The meter switches again to 3/4. In this final section of the estribillo he complains about
his pains with a high pitched melody that seems to portray wailing. The descending half-steps on
‘firmness’ is word painting; the intention is to create a lack of firmness.
This piece is filled with elements of word-painting, and the expression of the text is
enhanced through the realistic intonations of the human voice. Expression of the text is at the
forefront of the Marin’s compositional technique, as this piece exemplifies.

27

2.3 No piense menguilla ya
1
a
Copla
No piense Menguilla ya
que me muero por sus ojos,
que é sido vovo hasta aquí
y no quiero ser más vovo.

2
a

¿Para qué es buena una niña
tan mal hallada entre pocos,
que no está bien con el fénix
porque le han dicho que es solo?

3
a

El mal gusto de Menguilla
es una casa de locos;
el tema manda el deseo,
¡vaya la rraçón al rollo!

4
a

Mucho abandona lo vano,
si poco estima lo hermoso
la que, por ser familiar,
no repara en ser demonio.

5
a

Yo no é de querer en bulla,
que es una fiesta de toros
donde a silbos se condena
quien piensa que es más dichoso.

6
a

Desigualdad y capricho
no deja el manco ni cojo,
porque a quenta de lo lindo
no admite lo liçençioso.

Estribillo
¡Ó, que lindo modo
para que la dejen
unos por otros!
1
st
Couplet
Do not think now, Menguilla,
that I die for your eyes,
for I have been a fool up to this point,
and I do not want to be a fool any longer.

2
nd

For what good is a girl
that is found misplaced among few,
that is in bad standing with the Phoenix
because they have told her that it is alone.

3
rd

Menguilla’s bad taste,
is a house of crazy people,
the theme commands desire,
reason can go to heck.

4
th

Much does she abandon what is vain,
if she so little esteems what is beautiful
she who, in order to be familiar,
does not care in becoming a demon.

5
th

I will not love in this commotion,
this is a party of bulls,
where whistles condemn
those who think themselves most lucky.

6
th

Inequality and whim
does not leave the one-armed and lame,
because in account of the beautiful
they do not admit the licentious.

Refrain
Oh, what a beautiful way,
so that they leave her
ones for others.

28

“No piense Menguilla ya” is a satirical piece, an ‘anti-lament’ as López-Cano calls it.
64

The narrator had once loved Menguilla, but he is fed up. He complains about her behavior and
the crowd of suitors that pursue her with whistles and loud enthusiasm.
Menguilla is an endearing nickname for a woman called Dominga. In lyrical tradition, the
nickname represents village women and shepherdesses of mountainous regions and tends to
appear in comical settings.
65
In first stanza, the narrator parodies a commonplace metaphor in
contemporary literature: dying from the gaze of your beloved; which we will see in various other
texts. Using ‘bobo’ establishes the burlesque style of the text; it translates better to dumb or
stupid than fool, which carries less of a comical appeal.
The reference to the phoenix is solicited as a way to convey that Menguilla does not want
to remain chaste. The phoenix was not only a symbol of sacrifice and rebirth, but of chastity as
well. Elizabeth I of England used the phoenix and a myriad of other symbols as emblems and
decorations to communicate her pure virginity. In the second stanza, the speaker is asking the
audience, ‘what good is a girl that associates with a bad crowd, who does not find the phoenix
agreeable because she has been told that he is alone?’ Menguilla does not want to be chaste,
since she will end up alone; she definitely enjoys the company of her suitors, as the estribillo
implies.
Fed up, the speaker yells out ‘let reason go to heck!’ The crowd that pursues Menguilla is
equivalent to a madhouse: loud, and boisterous. Our protagonist will not love in this commotion,
which begs the question: was he seeing Menguilla? While he could have been a rejected suitor,

64
See his dissertation for an in depth analysis (p. 830).
65
Rafael Ernesto Costarelli, “Antroponimia en la antigua lírica popular hispánica (siglos xv a xvii). Notas para un
cancionero basado en los nombres,” Revista de Literatura Española Medieval y del Renacimiento (LEMIR) Vol. 16,
no. 3 (2012), 263. http://parnaseo.uv.es/Lemir/Revista/Revista16/03_Costarelli_Rafael.pdf.

29

his complaints are far too self-entitled. In the next stanza he states that while her suitors find her
beautiful, they fail to admit her more ‘licentious’ habits. He might have either been on the
receiving end of her infidelity, or his eyes were opened as an observer or past suitor. In the
estribillo, his demeanor changes. He is much more carefree: he is happy to see that she will get
exactly what she deserves, as other men come to the same realization and abandon her one by
one, like a dance.
The vibrant harmony and melody of the coplas in G Major lends itself well to the text,
and the liveliness of the song is enhanced by its imitation of the natural intonations of the human
voice. The leap from ‘no’ to ‘piense’ at the start of the first phrase, and the A at ‘ya’ that desires
resolution to G are examples of its imitation of the human voice. ‘Que me muero’ is a static
fleeting moment; by staying on the same note it conveys that he is unmovable from his decision,
but the quick eighth notes on ‘que me’ suggest some anxiety, or at least some frustration. He has
probably not stood up to Menguilla before, so this addition may give the impression that he is
nervous. The repeating second half of the copla, as I mentioned before, cements the burlesque
style of the poetry; his declarative rising line at mm. 12 sounds more like a child complaining
that he did not get his way. ‘Aqui,’ ‘here,’ is held as a half note to make his expression more
dramatic. The hemiola on the word ‘mas’ which translates to ‘no more’ cuts off ‘ser’ as an
expression of word painting.
The estribillo was written with vengeance in mind. He preaches the karma that will befall
Menguilla in a sweet, sarcastic tone of voice. In what sounds like jesting, the speaker changes
notes on the upbeat in ‘para que la dejen unos por otros’; this section is imitating a dance, which
provides the audience with great imagery since the text is about men that come and leave her one
by one.

30

2.4 Para las Yndias de Clori
1
a
Copla
Para las Yndias de Clori
se embarca mi pensamiento,
que sin calma de suspiros
save navegar despreçios.
Mucho lo temo.

2
a

Ya se engolfa por mi llanto,
en el alma descojiendo
sus flámulas al cuydado
por divisas del respeto.
Mucho [lo temo.]

3
a

Mas ¡ay!, que Clori, a su vista,
porque nadie tome puerto,
con oro inunda christal,
con çafiros flecha incendios.
Mucho [lo temo.]

4
a

Un rubí que guarda perlas
respira fragante aliento,
cuyas auras introduzen
tempestades al sosiego.
Mucho [lo temo.]

5
a

En covardes atençiones
llevó su mayor empleo,
valiéndose
66
de covardes
cuando soliçita riesgo.
Mucho [lo temo.]
1
st
Couplet
To the Indies of Clori,
my thoughts embark,
that without calm sighs
it knows how to navigate disdains.
Much do I fear it.
67

2
nd
Already it is engulfed from my weeping,
in my soul unfolding
its pennants to the danger,
for guarantee of respect.
Much do I fear it.

3
rd
More so! That Clori, at her sight,
because no one takes dock,
with gold she inundates crystal,
with sapphires, she shoots arrows that cause fires,
Much do I fear it.

4
th
A ruby that guards pearls
breathes a fresh scent,
your breaths introduce
tempests to my tranquility.
Much do I fear it.
68

5
th
In cowardly attentions
she took as her greatest endeavor,
valuing herself from cowards,
when it requires risk.
Much do I fear it.

66
To receive value from something.
67
He’s afraid of the journey; he fears drowning.
68
Ruby: lips. Pearls: teeth. Auras: air that one exhales. Sosiego: the state of tranquility/calmness of someone or
something.

31

“Para las Yndias de Clori” is about a man sailing on a perilous journey to reach a
woman; it is a vivid allegory for his struggles as he tries to summon the courage to approach her.
The man daydreams of Clori, and he is prepared: disdainful gestures will not discourage him.
And yet, the estribillo, which repeats itself after every copla is his audible expression of fear
towards this woman. Although he said he knows ‘how to navigate disdains,’ there is a storm in
his soul; the ocean waves are his tears, and they begin to engulf him. His fears must have been
caused by her disdain in previous encounters. He raises the ships pennants as a declaration of
war; he demands respect—although it appears as though he’s demanding his own respect, rather
than Clori’s.
No one approaches Clori. Gold could refer to her skin, or the wealth she displays—the
gifts from other suitors.
69
This would certainly cause the storm in these men’s souls to become
even more tumultuous. Their tears would inundate them further. The sapphires are her eyes,
which shoot ‘fires.’ Flecha is an arrow, but it is also the verb for shooting an arrow. There are
two references here, first, of the bow and arrow, where people fell in love by looking into each
other’s eyes (see Glossary), and the second is that similar to the other texts we’ve visited, her
eyes are also implied to be suns. The arrows of love coming from her eyes will set fire to the
men’s ships. They are understandably intimidated, and dare not approach Clori.
In the 4
th
copla, a ruby represents her lips, and the pearls it guards are her teeth. The
speaker notes how her breath is a pleasant scent; he wants to kiss her, but he is overcome with so
much desire that he fears losing control. His composure is broken apart by his want of Clori, who
enjoys the attention of these cowardly and uncomposed men. The speaker advises her not value
herself from these cowards; they are not cowards at all, since their position requires great risk.

69
Since Clori is being represented as the Indies, or the Americas, it makes sense to refer to her wealthy nature.

32

As my historically informed colleague, Dr. Marylin Winkle keenly informs me, Chloris is
also the Greek goddess of springtime, and a nymph abducted by the west wind Zephyrus; after
marrying him, she becomes a minor goddess. While there is little springtime reference in this
context, there is a sense that Clori is not only difficult, but fickle; proud of her many suitors.
Chloris was often a fleeting, fickle, and cruel woman for male characters, and metaphorically,
that is exactly what spring is. Dr. Winkle also adds that anyone who had received a humanist
education in this period would have known how to use classical allusions for contemporary
morals; for example, her golden skin, with this allusion in mind could not only imply her wealthy
nature, but could refer to browning leaves that signal the change in season.
70

The musical line of this piece is filled with chromaticism and expressive gestures of
anxiety. It is in C major and begins with an ascending chromatic line on ‘Para las Yndias de
Clori se embarca.’ By starting on E, the rising musical line produces an affect of eagerness and
impatience, and also acts as word painting for his thoughts sailing off. The descending line at ‘mi
pensamiento’ from D to B, a minor third, hints at something ominous, and indeed, the following
phrase word paints waves moving back and forth. ‘Without the calmness of sighs, [my thoughts]
know how to navigate disdains,’ is sung on an agitated musical line. The piece is in 3/4, and a
quarter note precedes a half note for most of the measures of this phrase; each note bears a single
syllable. The resulting effect is a colorful expression of anxiety. The quick jump to the 2
nd
beat
highlights his desperate breathing, as well as paints the waves of the ocean. The phrase reaches a
climax by climbing chromatically with a quarter to half wavelike rhythm to E5; on ‘gar’ of
‘navegar,’ the rhythm breaks from its repetition, and turns into half to quarter momentarily

70
Dr. Marylin Winkle received her DMA in Early Music with Musicology as her academic field from the University
of Southern California in Spring 2018. The origins of Chloris, the goddess of springtime, can be found in Ovid’s
Fasti vol. 5 on ff. 193.

33

before descending stepwise in dotted half notes down to C, effectively conveying his confidence
in ‘navigating disdains.’
Yet, it is only a ruse, in the estribillo the speaker expresses the reality of his fear, ‘much
do I fear it.’ The phrase is repeated four times, and the first half repeats, giving performers the
opportunity to present them differently. This section was inspired by the intonations of the
human voice; we can tell the speaker retracts into themselves because of the musical choices.
‘Much do I’ starts with a dotted quarter on C that drops to an eighth note a step below on B, and
comes back up to a quarter note on C. The tonic would normally create resolution or surety, but
by wavering to B and leaping a minor third down to A for ‘fear-it,’ the measures create a sense
of instability; they convey the speaker’s doubt. The phrase is repeated again, but with a different,
more declarative affect. The line starts on the upbeat and descends chromatically from F5 to C5.
While there is also a sense of doubt in this phrase, by dramatically declaring his fear and ending
on a resolute C we are given the impression that he is well aware of his fear. He appears to be
admitting his fear in order to move forward. In the previous phrase he sounded hesitant, but he
disallows himself any thoughts of retreat; he cuts off his train of thought by coming in on the
upbeat more declaratively.
The speaker may be a coward, like the other suitors that fear approaching Clori, but they
are all brave for pushing through their fear and seeking her out regardless. Clori doesn’t seem to
acknowledge their bravery, and the speaker addresses this: their bravery should indeed be
acknowledged. Similar to the fear of crossing the ocean and reaching the Americas (Indies), by
admitting his fear of crossing his ocean of doubts to reach Clori, he is admitting his bravery.

34

2.5 ¡Que se lleva las almas!
Estribillo
¡Que se lleva las almas,
que despreçia las vidas!
—¿Quién, quién?
—Clori divina.
Esconde las flechas,
el arco retira,
Amor, que te pierdes
si la benda te quitas.

1
a
Copla
Al prado vaja Clori,
del sol en la caŷda,
llevando en dos auroras
duplicada la luz del nuevo día.

2
a

Bolbió a cojer la noche
las sombras ya veçinas,
y al ber sus resplandores,
por milagro creyó que amanecía.

3
a
Las flores, las estrellas,
en tropas divididas,
las unas la esperavan,
las otras de sus rayos se escondìan.

4
a

Las aves y las fuentes
doblaron la armonía;
las unas, con el canto
las otras, plaçenteras, con la risa.

5
a

La hermosa primavera,
en su adorno vestida,
fragançias y colores
uniformes en él se competían.
Refrain
What takes away souls,
what devalues lives!
Who, who?
Clori divine.
It hides its arrows,
the bow withdraws,
Love, that disappears
if you take the blindfold off.

1
st
Couplet
To the meadow descends Clori,
as the sun is setting,
taking in two dawns
the duplicated light of a new day.

2
nd
Night fell once again
the shadows already near,
and at seeing [her] radiances,
by miracle it thought it was dawning.

3
rd
The flowers, the stars,
were divided troops,
one waited for her,
the other hid from her rays.

4
th
The birds and the springs
doubled the harmony,
one, with their singing,
the other, pleasant, with laughter.

5
th
The beautiful Spring,
in its adornment dressed,
fragrances and colors,
competed uniformly within itself.

35

‘Que se lleva las Almas’ is about a young woman who steals the hearts of men. A
narrator follows her trail into the woods and personifies the flowers, streams, shadows, stars, and
even Spring as they react to her eyes, which metaphorically turn into sources of radiance.
The tono begins with a narrator asking the audience: what takes away souls, and what
devalues lives? While these two lines appear to translate rather morbidly, they refer to one-sided
love found and scorned. Souls in this context refer to men who are swayed by love to pursue
Clori; she sways them away into her sphere, where they are promptly despreçiados and
rejected.
71
“Esconde las flechas, el arco retira” is a phrase that does not specifically point out
who does this; it appears to be Love, since it is part of the same train of thought, but I believe
that from the following stanzas that we will read, where there is a lot of reference to Clori’s
captivating and frightening eyes, that it also refers to her eyes. For centuries, the bow and arrow
was a contemporary allusion to the way people fell in love: an arrow shoots from the eye to
someone else’s left eye straight down to the heart, and there is a rope attached; when that
person’s gaze turns, the recipient’s heart is tugged towards them. In this setting, the arrows are
being hidden, the bow is retracted, whether by Love or Clori, the message is clear at the end.
Love hides itself, disappears, when you take the blindfold off; love is blind.
In the coplas, she descends into a meadow, which could be a metaphor for the town if we
were to interpret the various personified entities in the meadow as her suitors. The two dawns
refer to her two eyes. In the 2
nd
copla, night has fallen and shadows are personified; they creep
forward, and at seeing the light in her eyes, by miracle—a complement to divine Clori—they
think that dawn is already here. The next three stanzas are all nature orientated. Her eyes are the
sun for the ‘troops’ of flowers and stars in the meadow; flowers on earth wait for the sun to rise

71
To be devalued through disdain or scorn. See glossary for an explanation.

36

again, but stars in the heavens naturally fade away from the light of the sun. In the 4
th
copla,
birds and streams form a harmony; the birds sing, while the stream’s pleasant trickle imitates
laughter. The final copla is about the beautiful Spring, who is female since she is referred with
feminine adjectives hermosa and vestida. The vibrant fragrances and colors of Spring compete
with each other, but they are always at a draw and equally as formidable.
The music builds into the introduction with a speechlike melody in D major, which is
accomplished through rhythms that imitate speech patterns; the delivery comes across as a
captivating storytelling voice. The fleeting eighth note on ‘que’ adds a level of anxiety and
excitement to the phrase; if it were a quarter note, like the next note, it would create a sense of
stability that the piece appears to want to avoid. The final word of the first two lines are reached
by a leap from D to A, the dominant, which effectively creates the intonation of a question that
desires resolution.
72
We can observe that the guitar imitates the phrases after the voice cuts off; a
call and response effect that keeps listeners on their toes. The next line, ‘¿Quién?,’ is repeated
three times and always comes in on the upbeat; this incites a sense of urgency. Then, in the same
rhythmic pattern as the first two lines of the poem, the musical line descends chromatically from
D5 to D4, offering resolution as the narrator reveals that the culprit is Clori.
The music then undergoes a drastic change in mode and affect: in the relative minor, the
narrator’s voice turns anxious in agitated repetition. On mm. 16, the musical line of “Esconde las
flechas,” is repeated for “el arco retira,” each finishing on the leading tone, A#, above a
dominant F# major chord; the leading tone serves to maintain the sense of urgency. Once again
the two phrases repeat themselves but a third higher, raising the tension before concluding on a

72
The text above has exclamation points although I am perceiving it as a question, it is because as I explain in the
prologue to the translations in Part II of this thesis, there is no punctuation in MS 727: all of the punctuation marks
have been added from the punctuation in the poetry section of Arriaga’s anthology, who has looked through all
variations of these songs in manuscripts that do carry punctuation, and has made sense of their expression.

37

major B chord; a B minor chord would not have been used, since it was customary for 17th-
century Spanish composers to end their phrases on a major chord.
The finale of the estribillo is a treat. Another change in affect occurs at mm. 25. “Amor
que te pierdes” is arranged melodically to give the speechlike impression of bittersweet loss. Its
first iteration is hopeful, a feeling that is facilitated by the G#; however, the line and text are then
repeated identically a step down, giving the impression of losing hope. Abruptly, the rhythmic
line goes from triple to duple, “if you the blindfold,” and then back to triple, “remove.” The
effect is a well-timed warning. The minor 6
th
interval from E to C natural on “blindfold” in mm.
30 is powerful and captivating, more so when it resolves just a half step down to B before
leaping another minor 6
th
and resolving down into a lengthy grand finale. This gesture restores
stability on the word “remove,” effectively putting emphasis on the moral of its story.
The coplas in this piece comprise just nine repeating measures in D major; this is the
most speechlike part of the song. The melody imitates the human voice as every syllable presents
itself as a different note in chromatic fashion, and the affect is innocent, warm, and playful.

38

Part II.

English Translations of the 51 tonos in MU MS 727

Preface

The following section translates all 51 Spanish texts present in MU MS 727 into English.
The Spanish texts provided are borrowed from pages 206–255 of Gerardo Arriaga’s own poetry
section in his anthology Tonos y villancicos.
73
He has transcribed these texts exclusively from
MU MS 727, but his added punctuation and minor text alterations for clarity—within his poetry
section, not his transcriptions—makes for an incredibly useful and practical reading of this
poetry.
74

Translations have been kept as direct and literal as possible, for clarity of its original
intent, unless it interferes with the translation of the phrase. Certain words, phrases, and idioms
are explained in footnotes and commentaries. Brackets ([ ]) imply an additional word not present
in the original poetry, and was added for clarity.
Reoccurring Subjects
Before starting, this section will cover some subjects worth mentioning in advance.
Expressions
Despreçios appear in the majority of these poems. It is contempt, a received gesture that
severely disrespects and devalues another, with the intention of humiliating or rejecting. To
despreçiar is to devalue someone; implies an air of superiority. The men in these poems suffer
despreçios from the women they woo, and it is for this reason that they are upset, fearful, or
sorrowful.

73
Arriaga, 203.
74
Arriaga, 203. Translation: ‘In the edition of the poetry, generally for every piece there appears one poem, the one
that I considered the best copied; in the first 51 numbers, these poems are taken from the Libro de tonos [Mu Ms
727], since the compiler of this source, as has been already said, is very careful in the edition of this poetic text.’

39

References to a bow and arrow will appear frequently through these texts. The bow and
arrow was a contemporary allusion to how people fell in love; an arrow shoots from the eye to
another’s left eye, down to the heart. A rope is attached so that when that persons gaze turns, the
recipient’s heart is tugged towards them.
Women’s Names
The majority of these texts are about love from a male perspective, usually a lament
about love lost or unreciprocated. Clori, like Filis, and Amarilis, are all names of idealized
women that in Petrarchan fashion, are unavailable or indisposed to an admirer. Lope de Vega
and Gongora use these names commonly in their poems, often for real women they pursued.
Additionally, Chloris is also the Greek goddess of springtime.
75
She was originally a nymph
abducted by Zephyrus, the God of the west wind, and consequently became a minor goddess.
Menguilla and Marica are nicknames. Menguilla is a hypocorism of the Spanish name
Dominga, and Menga, and Minguilla are other contractions. Maria turns into Marica, or
Mariquita. They are endearing nicknames. These nicknames, as scholars have researched, can
define character archetypes. Rafael Ernesto Costarelli in a publication for the magazine,
Literatura Española Medieval y del Renacimiento, researched instances of these nicknames
throughout the Siglo de Oro. Marica and Mariquita are nicknames used for carefree and cheating
women. They’re also particularly used to show a woman in a sexually active role. Meanwhile,
Menguilla and Menga are names of villanas, village women, and they are often serranas; a sierra
is a mountain range, so ‘una serrana’ is a woman who lives near mountains. They can also be
‘pastoras,’ shepherds that travel near the mountains. Menga appears in more serious or idealistic
settings, while Menguilla is used in comical and burlesque contexts.
76

75
As my colleague, Dr. Marylin Winkle, has kindly pointed out. See page 32 of this thesis.
76
Costarelli.

40

1. Desengañémonos ya
77

Desengañémonos ya,
mal pagado
78
pensamiento,
que a la vista del agravio
no á de estar el gusto çiego.

No á de ser una fineza
79

de una falsedad trofeo,
que desluçe
80
una mentira
la verdad de un rendimiento.
81

Una esperança sin fruto
que en flor se la lleva el biento,
ya que burló
82
con lo berde
83

escarmiente con lo seco.

Favor que mereçen tantos
a cualquiera cave menos,
porque no queda pagado
ni aún el que está más contento.

Estribillo
Que obstinarse
84
en las sombras
de los despreçios
es desayrar las luçes
del escarmiento.
85

Let us disillusion ourselves already,
unrewarded thought,
for at the sight of grievance
pleasure should not be blind.

A kind-gesture from falsehood
should not be a trophy,
86

for the truth of a yield
reveals a lie.
87

A hope without fruit
that in bloom is blown away by the wind,
having been cocky with what is green,
it learns its lesson with what is barren.

Favor that is deserved by many
to anyone it fits less,
because no one is left [well] paid
not even the one that is most happy.

For to remain obstinate in the shadows
of contempt
is to disregard the lights
of the lesson.

The distraught speaker of the poem is struggling with the unreciprocated affections they
have for someone. No genders are assigned, but for simplicity’s sake we will observe the speaker
as a man. The first stanza voices his grievance, which the estribillo reveals to be despreçios.

77
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 693.
78
Mal pagado: literally ‘badly paid’; used to regard something that hasn’t received its rightful dues.
79
Fineza: finesse, delicacy, or refinement and elegance; it is a compliment on the excellence someone displays; also
an act of kindness.
80
Desluçe: to make unattractive, take away its shine, tarnish, or discredit.
81
Rendimiento in Ms 265; translates to yield; the return from someone’s efforts.
82
Burló, from burlarse: to make fun of, to deceive, or to elude a pursuer.
83
En lo berde in Ms 265; ‘in the green,’ as opposed to ‘with’ (con).
84
Obstinado: stubborn; obstinarse: stubbornly persist.
85
Arriaga, 206.
86
Literally translated: A finesse should not be from a falsehood trophy.
87
This and the previous line’s translations are switched for clarity in English; original translation: for it reveals a lie,
the truth of a sentiment.

41

Despreçios are injuries to someone’s person by means of disdain, scorn, or something that
lowers their self-worth. He is saying feelings of love should not be blind to these injuries, and
out of frustration from the fruitless fantasies his hopes and thoughts have created—mal pagado
pensamiento here means that his thoughts have not reaped what they desired from reality—he
comes to the conclusion that he should stop lying to himself (desengañémonos).
In the second stanza, una fineza can be the quality of someone delicate, good mannered,
or skilled; it can also be a gesture of kindness or friendliness. The first half is better understood
after rearranging the Spanish: una fineza de una falsedad no á de ser trofeo; a kind gesture or
skillful quality displayed from falsehood should not be regarded with merit. The truth of the
speakers yield will tarnish the shine of the trophy and reveal the lie. Rendimiento refers to his
yield of her affections; the reality of the ‘return,’ will shed light on her dishonesty.
The third stanza continues on the theme of his yield. His hope is like a flower from a fruit
tree; before it could bear fruit, the wind blew it away. Berde (verde) or green refers to something
positive, or prosperous; escarmentar is to reflect upon an undesirable situation and learn from its
harsh lesson. Everyone deserves favor—from the one they love—but it’s never enough; no one is
left satisfied completely from just favor, not even the one who is most happy receiving it.
To stubbornly pursue someone who devalues you, or to persist lamenting your injuries is
the same as disregarding the difficult lessons from this harsh experience.

42

2. Amante, ausente y triste

Amante, ausente y triste,
Fili,
88
de ti me quejo,
que este pequeño alibio
me permitió el tormento.

Suspiros desdichados
89

en despreçiados ruegos
indicios son ques ya
imposible el remedio.
90

No viva quien porfía
contra un desdén severo
ignorando que haçe
ofensa el rendimiento.
91

Quien busca desengaños
cerca está de ser cuerdo,
mas no aquel que se halla
esclavo de sus hieros.

Desdén y ausençia llora
piadosos, aunque fieros,
porque alguno á de darme
la muerte que deseo.

Estribillo
Que vivir amante
de tus despreçios
es infamar la fuerza
de mis tormentos.
92

Lover, absent and sorrowful,
Phyllis, I make plaint of you,
for this small relief
my torment allowed.

Miserable sighs,
in unwanted pleas
they are hints of
an impossible reconciliation.

They do not live, those who argue
against a severe disdain,
ignoring that the yield
creates offense.

Whoever searches for deceits
is close to being sane,
but not the one who finds themselves
a slave of their chains.
93

Disdain and absence cry,
pleading, although fierce,
because one of them ought to give me
the death that I desire.

That to live as lover
of your disregards,
is slander to the strength
of my torments.
94

88
Either name, Phyllis, or term of endearment, ‘darling.’
89
Translates to unfortunate, unhappy.
90
Directly translates to: ‘they are hints that already impossible is a remedy.’
91
Rendimiento: yield; the return from someone’s efforts.
92
Arriaga, 207.
93
A cautious and sane person will be actively perceptive of lies and deceits, unlike a naive person who will be a
slave to his own feelings, the result of either his prospective lover’s lies or his own disillusionment.
94
The strength of his torments from being this woman is enough to leave her; to stay as her lover is an insult to his
resolve.

43

The speaker of this poem is experiencing the great torment of unrequited affection. The
man complains about Filis’ coldness and despreçios; her replies are disdainful, and leave him
feeling devalued. And yet, her absence fills him with an equally formidable desire to die, as
copla five elucidates. In the estribillo, he expresses his fortitude to cease being her lover, since it
is the same as loving her disdainful gestures; in doing so, he will not slander the strength of his
torments.

44

3. Aquella sierra nevada
95

Aquella sierra nevada
que densa nube pareçe,
con el rigor del estío
en pardo escollo se buelbe.

Aquel árbol que desnudan
los rigores del diçiembre,
sus desojados cogollos
galán abril reverdeçen.

Aquel río que el inbierno
manchó su pura corriente,
con el calor del verano
líquida plata se vierte.

Aquel ruyseñor que, triste,
largo silençio enmudeze,
a la hermosa primavera
reçive en selbas alegres.

Todo se trueca y se muda
sin que aya mal permanente;
quantas bezes muere el sol,
renaçe otras tantas beçes

Sólo en mi mal no ay mudança,
ni tiempo que le consuele,
ni tiempo para mi vida,
ni vida para mi muerte.

Estribillo
Fatigada esperança,
remedio mortal:
¿qué me quieres ya?
Déjame morir
sin esperar,
pues en nada ay firmeça
si no es en mi mal.
96

That snowy mountain range
that looks like a dense cloud,
with the rigor of summer,
into a brown rock it becomes.

That tree that’s undressed
by the rigors of December,
its desolate whorls
97

the-gallant April re-greens.

That stream that winter
stained its pure currents,
with the heat of summer
liquid silver it pours out.

That nightingale that, sadly,
long silence renders it mute,
the beautiful springtime it revives
in cheerful jungles.

Everything changes and molts,
without there being any permanent harm;
as many times as the sun dies
just as many more it revives.

Only in my unwellness is there no change,
no time to console it,
no time for my life,
no life for my death.

Fatigued hope,
mortal remedy:
98

What do you want from me already?
Let me die,
without having to wait,
for in nothing is there firmness,
if not in my dejectedness.

95
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 725.
96
Arriaga, 208. See Chapter 2 for an in depth poetic commentary and musical analysis of this piece.
97
A point on a tree from which a branch sprouts that holds several other branches with greenery.
98
Death.

45

4. Después, Anarda, que ausente
Después, Anarda, que ausente
de tus dos soles estoy,
en la noche de mi pena
sombra me paraçe el sol.

Sólo veo que no veo
sino en la ymaginaçion,
que en tu ausençia a la memoria
la vista se me pasó.

Desde aquí te estoy mirando,
aunque te ve mi atención
muy lejos para el alivio,
muy çerca para el dolor.

Tal vez el desdén escucha
lo que la fineza vio,
99

porque sin ojos ni oŷdos,
¿por dónde se irá el favor?

Mis lágrimas i suspiros
no escucharás, porque son
ellos vozes sin palabras;
ellas, palabras sin voz.

Estribillo
¡Pues válgame
100
Amor!
¿Qué á menester un ausente
a todo el poder de un Dios?
101

Later, Anarda, while absent
from your two suns,
102

in the darkest hour of my suffering
103

the sun seems but a shadow.

I only see that I cannot see
if not in my imagination,
that in your absence, in memory
the sight passed me.

From here I watch you,
although my attention sees you
too far for relief,
too close for pain.

Perhaps disdain listens
to what fineness saw,
because without eyes or ears,
where does favor go?

My tears and sighs,
you won’t hear, because they are
voices without words;
words without voice.

Then bless me Love!
104

What does an absentee need
with all the power of a God?

A man laments his distance from a woman he loves called Anarda. There are hints of
cowardice since he does not appear to approach her, but that may be because she responded to
his favor with disdain, as copla four implies. Válgame Amor comes from Válgame Dios, a phrase

99
In MS 727, ‘porque la fineza vio’ or ‘why fineness saw’ is replaced with ‘lo que’ from a different manuscript for
clarity of meaning.
100
See commentary.
101
Arriaga, 209.
102
Her eyes.
103
This is a poetic translation; direct translation: “I am in the the night of my pain.”
104
He asks the power of love to help and bless him.

46

used to ask God for His protection or blessings; válgame is a compound word made from valer
(worth) and me (to/for me). By shouting válgame Amor, he is asking love to make him worthy, to
help him accomplish something on his own.

47

5. No piense menguilla ya
105

No piense Menguilla ya
que me muero por sus ojos,
que é sido vovo hasta aquí
y no quiero ser más vovo.

¿Para qué es buena una niña
tan mal hallada entre pocos,
que no está vien con el Fénix
porque le an dicho que es solo?

El mal gusto de Menguilla
es una casa de locos;
el tema manda el deseo,
¡vaya la rraçón al rollo!
106

Mucho abandona lo vano,
si poco estima lo hermoso
la que, por ser familiar,
no repara
107
en ser demonio.

Yo no é de querer en bulla,
108

que es una fiesta de toros
donde a silbos se condena
quien piensa que es más dichoso.

Desigualdad y capricho
no deja el manco ni cojo,
porque a quenta de lo lindo
no admite lo liçençioso.

Estribillo
¡Ó, que lindo modo
para que la dejen
unos por otros!
109

Do not think now, Menguilla,
that I die for your eyes,
for I have been a fool up to this point,
and I do not want to be a fool any longer.

What good is a girl
that is found misplaced among few,
that is in bad standing with the Phoenix
110

because they have told her that he is alone?

Menguilla’s bad taste,
is a house of crazy people,
the theme commands desire,
reason can go to heck!

Much does she abandon what is vain,
if she so little esteems what is beautiful
she who, for the sake of being familiar,
does not care if she becomes a demon.

I will not love in this commotion,
this is a party of bulls
where whistles condemn
those who think themselves most lucky.

Inequality and whim
does not leave the one-armed and lame,
because in account of the beautiful
they do not admit the licentious.

Oh, [in] what a beautiful way,
so that they leave her
ones for others.

105
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 831. See 4.2 of this
thesis for a poetic commentary and musical analysis of this piece.
106
Vaya la/el (blank) al rollo: (blank) can go to heck. Expression of frustration, indicating that something is a pain
to deal with.
107
No reparar is not to fix, but this line is actually an idiom. No reparar en gastos means not to fixate on the cost of
something, especially when it is for something worth the cost. Therefore, no reparar en ser demonio is not to fixate
on appearing like a demon while accomplishing your goals.
108
En bulla means loudly.
109
Arriaga, 210. Speaker of the poem is sarcastically commenting that this is a great way for this to end; these
people will leave her, one by one. It is although he’s saying: ‘I see this happening. You’ll see.’
110
Phoenix represents chastity. See commentary in section 4.2 of this thesis.

48

6. Diz que era como una nieve

Dizque era como una nieve
Marica la de Berlinches,
y viene el Demonio y ¿qué haçe?
Que su mal gusto la tizne.
111

Era Marica en su aldea
la que inbentó los esguinçes,
y quiso dar en ser onça,
112

cansada ya de ser tigre.

Llegó Venito de fuera,
çagal de pocos abriles,
113

muy pobre para mudable
y muy berde para firme.

Deste coraçón se paga,
porque tal bez lo que eligen
las presumidas de hermosas
algún diablo se lo dize.

Con este quiere casarse
para que nadie la embidie,
aprisionando lo hermoso
con retención de lo libre.

Para la Beca
114
de esposo
le hace puebras de apaçible,
pues antes para cordero
que para pastor le elije.

Estribillo
Porque a todos dize
que es para ella
el peor ninguno,
They say that she was like the snow,
Marica, the one from Berlinches,
then the devil comes along and what does he do?
Smeared her with his bad taste.

It was Marica in her village
who invented sprains,
and decided in being a jaguar,
already tired of being a tiger.
116

Venito arrived from elsewhere,
storyteller of a few Aprils,
too poor to be fickle,
and too green to be steady.

From this heart it is paid,
117

for perhaps what the ones
presumed to be pretty choose
some devil has told them.

She wants to marry this one
so that no one envies her,
imprisoning what is beautiful,
with retention of what is free.

For the distinction of husband,
she tests his passiveness,
for first as a lamb
rather than a shepherd does he suit her.

Because to everyone she says
that for her,
the worst [man], no one,

111
Soot, or smut. Like white snow Marica was smudged with the devil’s bad taste.
112
She came to the conclusion that she wanted to be a jaguar;
113
Phrase that means he doesn’t have much experience.
114
Award, accolade.
116
I am unsure of the implications. Esguinçes are sprains: a tear of the ligament that connects bones and joints. Were
the men injuring themselves turning to see her? The 2
nd
two lines here imply that was at the top of the food chain
(romantically speaking; she was highly sought after), and wanted to go lower. Note that both tigers and jaguars have
markings on them, which reference her the ‘tizne’ the devil smeared her with.
117
The heart pays for what it chooses.

49

el mejor cualquiera.
115
the best [man], who ever.

Alternative poetry for this piece is available in the Guerra Manuscript (MS 252, no. 24),
and in MC/3881 located at the Biblioteca Nacional de España.
Marica was once a pure, beautiful young woman who became dirtied by the devil’s bad
taste in decisions, or so it is rumored as a response to her questionable lifestyle choices. It is
probably time for her to be married, so she picks out Venito since he is inexperienced and
passive; finding a ‘sheep’ for a husband gives her the freedom to be involved in extramarital
affairs.

115
Arriaga, 211.

50

7. ¿Quién son aquellos villanos?

—¿Quién son aquellos villanos,
vastardos hijos de Venus,
que como neçios
118
maliçian
y temen como discretos?
— Áspides son açules,
que no son çelos.

—¿Quién son aquellos temores
que dudosamente el pecho
por ber sin son ciertos muere
y muere al ber que son ciertos?
— Áspides son açules…

—¿Quién son aquellos peligros
en quién el más fino afecto
ni peligra ni confía
entre confiança y riesgo?
— Áspides son açules…

—¿Quién son aquellos pesares
que con repetido anelo
se pasan al coraçón
sin salir del pensamiento?
— Áspides son açules…

—¿Quién son aquellas sospechas
que pasándose a tormentos
del dueño deven quejarse
pero no quejarse al dueño?
— Áspides son açules…
119

—Who are those villains,
bastard sons of Venus,
that like foolish ones conspire,
and fear like discreet ones?
—Vipers are blue,
for they are not jealous.
120

Who are those fears,
that doubtfully the chest
dies to see if they are true,
and dies to realize that they are true?
121

—Vipers are blue…

What are those dangers,
to whom the most elegant gesture
neither risks it, nor trusts it,
between trust and risk?
122

—Vipers are blue…

What are those burdens,
that with repeated longing,
go straight to the heart,
without leaving my thoughts?
—Vipers are blue…

What are those suspicions,
that turn into torments,
they should complain of the owner,
but not complain to the owner?
—Vipers are blue…

118
Foolish.
119
Arriaga, 212.
120
See commentary below.
121
To catch a glimpse of the truth would kill the character, for he would die if it is true.
122
He doesn’t want to risk himself to any danger. This could be interpreted as an anxious piece about a man
complaining about a fickle woman, where he would be between risk and a good place with her; he is not 100%
convinced by her loyalty.

51

I have not been able to decipher the meaning of ‘Áspides son açules, que no son çelos.’
Aspids are a highly venomous viper indigenous to Europe, and found to the north of Spain and
the majority of France and Italy. The music implies that this phrase is an insult to those ‘villains’
and bad thoughts the speaker calls out in the coplas, since there is a pause in the musical line
between áspides and son açules. Why these villains are blue serpents, and why they are ‘not
jealous’ are questions that I am unable to answer. Although, I do have a theory; this species of
snake is found to the north of Spain, by the border to France, whose royal color emblem is the
blue Fleur-de-lis. Could this piece be insulting the French? Not very likely. ‘Blue’ most likely
has a connotation that escapes my research.

52

8. Para las Yndias de Clori

Para las Yndias de Clori
se embarca mi pensamiento,
que sin calma de suspiros
save navegar despreçios.
Mucho lo temo.

Ya se engolfa por mi llanto,
en el alma descojiendo
sus flámulas al cuydado
por divisas del respeto.
Mucho [lo temo.]

Mas ¡ay!, que Clori, a su vista,
porque nadie tome puerto,
con oro inunda christal,
con çafiros flecha incendios.
Mucho [lo temo.]

Un rubí que guarda perlas
respira fragante aliento,
cuyas auras introduzen
tempestades al sosiego.
Mucho [lo temo.]

En covardes atençiones
llevó su mayor empleo,
valiéndose
123
de covardes
cuando soliçita riesgo.
Mucho [lo temo.]
124

To the Indies of Clori,
my thoughts embark,
that without calm sighs
it knows how to navigate disdains.
Much do I fear it.
125

Already it is engulfed from my weeping,
in my soul unfolding
its pennants to the danger,
for guarantee of respect.
Much do I fear it.

More so! That Clori, at her sight,
because no one takes dock,
with gold she inundates crystal,
with sapphires, she shoots arrows that cause fires,
Much do I fear it.

A ruby that guards pearls
breathes a fresh scent,
your breaths introduce
tempests to my tranquility.
Much do I fear it.

In cowardly attentions
she took as her greatest endeavor,
valuing herself from cowards
when it requires risk.
Much do I fear it.

See 4.4 for an in depth analysis of this piece.

123
To receive value from something.
124
Arriaga, 213.
125
He’s afraid of the journey; he fears drowning.

53

9. Filis, no cantes
126

Filis, no cantes,
disfraçando rigores
con suavidades.

Tan sonoras tiranías
esa brebe flor esparçe,
que son violençias acordes
asta tus ecos fragantes.

Nunca tus luçeros miro
sin que tus arcos disparen,
127

como flechas imbisibles,
armonías penetrantes.

Yo vien sé que de tus ojos
es el movimiento grave
muda emulaçión canora
128

de los orbes celestiales.

Sobra la voz al conçento,
pues de tu silençio naçen
claúsulas que el alma entiende,
términos que ignora el arte.

Corre un belo a tantas luzes
en proporción de lo frágil;
no mires con tanto imperio,
129

y si as de mirar, no cantes.
130

Phyllis, do not sing,
disguising hardship
with softness.

Such sonorous tyrannies
that small flower spreads,
for even your fragrant echoes
are violent accords.
131

Never do I look at your stars
132

without your bows shooting,
like invisible arrows,
penetrating harmonies.

I know well that from your eyes
the movement is [a] grave
muted melodious emulation
of the celestial orbs.

The voice is extra to the consent,
133

for from your silence are born
clauses that the soul understands,
terms that art ignores.
134

Spread a veil on so many lights,
in proportion of the fragile;
do not look with so much grandeur,
and if you are to look, do not sing.

126
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 817.
127
The bow and arrow was a contemporary allusion to how people fell in love; an arrow shoots from the eye to
another’s left eye, down to the heart. A rope is attached so that when that persons gaze turns, the recipient’s heart is
tugged towards them.
128
Canora: something pleasant and melodious; not restricted to music.
129
Imperio: used as an adjective here to mean haughtiness or pride.
130
Arriaga, 214.
131
Last two lines switched for clarity. Direct translation: “for they are violent accords / even your fragrant echoes.”
132
Her eyes.
133
Could be concert, and not consent.
134
Or ‘terms that that ignores art.’

54

10. Corazón que en prisión

Corazón que en prisión de respetos
cautivo te miras:
ya que el laço de tanta cadena
te oprime y fatiga,
suspira, descansa,
alienta,
135
respira.

¿De qué le sirve a tu inçendio
el llanto que soliçita,
si el agua llamas ençiende
sobre no apagar çeniças?

En el ayre hallarás más remedio,
si vien lo esaminas,
pues es paso a la esfera del fuego
que amante acarizias.
Suspira, [descansa
alienta, respira.]

¿Qué mudas, flecheras vozes
tu sosiego tiranizan,
que al mal curada llaga
con dulçe crueldad aviva?

Pero cobra alentado las alas
que un tiempo vatías,
que es morir del remedio buscarle
en la covardía.
Suspira, [descansa
alienta, respira.]

¡Qué banamente engañado
viviste si presumías
que leves descuydos vorran
los cuydados de una vida!

Pero ya el desengaño te muestra
quán mal se acredita
deslucir aparente lisonja
verdad escondida.
Heart that in a prison of attentions
captive you see yourself:
now that the snare of so many chains
oppresses and fatigues you,
sigh, rest,
hope, breathe.

What is the use to your fire
the crying that it solicits,
if the water feeds the fire
and does not even put out the cinders?

In the air you will find better remedy,
if you examine it well,
for it is a step in the sphere of fire
of that love you cherish.
Sigh, rest,
hope, breathe.

What mute, arrow-like voices
tyrannize your peace,
that rekindle a poorly healed wound
with sweet cruelty?
137

But your wings will pay the price
that once you flapped,
for it is to die to find remedy
within cowardice.
Sigh, rest,
hope, breathe.

How well lied-to
you lived if you presumed
that carelessness erases
the cautiousness in life!

But now disillusionment demonstrates to you
how bad it is credited
to tarnish apparent flattery
hidden truth.

135
Aliento has two different meanings in Spanish, one is the breath you exhale, aliento, and the other is alienta, a
word that means to encourage or lift in spirit.
137
Direct translation: ‘that at a badly cured wound / with sweet cruelty it rekindles.’

55

Suspira, [descansa
alienta, respira.]

Pena que al sueño se rinde
vien puede engañar la vista,
mas si descansa en el alma
nunca estará vien dormida.

Rompe, pues, coraçón, el cuydado
que te martiriza,
que no es vien que al partido de infausta
tus ansias se rindan;
suspira, [descansa
alienta, respira.]
136

Sigh, rest,
hope, breathe.

Shame that surrenders to the dream
well can it deceive sight,
even more if it rests in the soul
she
138
will never sleep well.

Break, then, heart, the carefulness
that torments you,
it is not good in part of your unhappiness
that your anxieties surrender;
sigh, rest,
hope, breathe.

This is a love poem by Agustín de Salazar y Torres (1636-1675) about someone dealing
with a broken heart. The narrator addresses a heart with pity. The heart sees itself as a captive,
ensnared by many heavy chains. It feels oppressed and fatigued. As we continue reading, we
learn that the speaker has been engañado, lied to. In the 2
nd
copla, the narrator suggests that
crying will do no good and won’t douse the cinders that plague their heartbreak, it will only
recall memories that stir up painful fires. They need to stop crying and confront their pain.
It is a reflection of the heart within a character that’s been betrayed and left heartbroken,
but who ultimately dug their own grave by ignoring the sad truth of their broken relationship.
The poem always offers a cure to grief at the end of every copla; life moves on with every breath
we take.

136
Arriaga, 216.
138
Pena is being referred to here, and is grammatically female.

56

11. Canta jilguerillo

Canta, jilguerillo,
tiernas suavidades
antes que tu dicha
buele por el ayre,
y en tristes açentos
trueques tus pesares,
y tus dulces ecos
lleguen a desayres.

Clarín que al alva madrugas
al tiempo que el alva sale,
139

saludando con tu voz
los arroyos y los valles.

Del alva la luz anunçias
que alegre mudando naçe,
las pardas, obscuras sombras
en reflejos y çelajes.

Albriçias darán las rosas,
que, siendo del prado esmalte,
de ella reçiven en perlas
quanto brillan en corales.

De la ardiente edad del sol
gozas el aura süave,
140

donde logras lo que luze,
sin que temas lo que abrase.
141

Sing little goldfinch,
tender softnesses,
before your luck
flies [away] through the air,
and in sad undertones
barter your burdens,
and your sweet echoes
turn into scorn.

Clarion, that rises at dawn
at the first crack of dawn,
saluting with your voice
the streams and the valleys.

From the dawn you announce the light
that happily changing is born,
the brown, dark shadows
in reflections and cloudscapes.

The roses will give gifts,
that, being from the glazing meadow,
from her they receive in pearls
all their shine in corals.
142

Of the ardent age of the sun,
you enjoy the sensation slowly,
where you achieve what looks [well],
without fearing what you embrace.

139
Translates directly to at the time that dawn comes out.
140
Could also mean ‘soft aura,’ or ‘soft sensation,’ but in the context of the burning sun, it makes little sense.
141
Arriaga, 219.
142
The roses are as brilliant in the meadow as pearls that sparkle in corals.

57

12. Güélgate quanto quisieres

Güélgate quanto quisieres,
Jileta, con tu desdén,
que no as de lograr conmigo
lo amargo de tu esquivez.

Yo soliçito favores,
despreçios no é menester,
porque yo solo me basto
para dejar de querer.

Yo quisiera averiguar
de qué servirá un desdén
que, ministro del rigor,
desalienta el mereçer.

Quiero solo y quando quiero,
sin más pretesto ni ley;
si te pareçiera mal,
a mí me pareçe vien.

Y la que así me quisiere
hallará siempre en mi fe
cariños de mil en mil,
mudanças de diez en diez.

Estribillo
No niegues, Jileta,
que amor save hazer
143

que oy sean mudanzas
firmezas de ayer.
144

Put yourself on strike whenever you want,
Jileta, with your disdain,
because you will not achieve with me
the bitterness of your evasion.

I request favors,
I don’t deserve disdains,
because I alone am enough
to stop loving.

I want to ascertain
of what use is a disdain
that, [being the] minister of hardship,
discourages what is deserved.

I love only and when I want to love,
without any excuses or [you laying down the] law;
if you perceive this badly,
I think it very good.

And the one that loves me like this
will always receive, by my faith,
my affections in thousands and thousands,
fickleness in tens and tens.
145

Do not deny, Jileta,
for love knows how to do
may the changes of today
be the firmnesses of yesterday.

143
Sexual connotations; ‘love knows how to do.’
144
Arriaga, 220.
145
Much affection, little fickleness. Mudanças: changes.

58

13. Mal con mi vida se avienen
Mal con mi vida se avienen,
Lisi, tus desigualdades;
veras para los desvíos,
y para atraer, donayres.
Si as de matarme,
más vale nunca que tarde.

¡Que tu sinrraçón tirana
y mi livertad covarde
me obligue a llamar desdenes
lo que el bulgo sequedades…!
Si as [de matarme,
más vale nunca que tarde.]

Este volcán de mi pecho
que sin consumirse arde
no le permita al inçendio
los alivios de exalarse.
Si as [de matarme,
más vale nunca que tarde.]

¡Que el cuydado y la fineza
como imbisible se pasen,
y que sea tu descuydo
ydioma que persüade!
Si as [de matarme,
más vale nunca que tarde.]

Este padezer callando,
este sufrir sin quejarse,
mas que mérito a tu culto
lo es de mujeres vulgares.
Si as [de matarme,
más vale nunca que tarde.]

¿Qué has de hazer de tus despreçios,
qué has de hazer de tus crueldades,
si quando las soliçito
me allo vien con maltratarme?
Si as [de matarme,
más vale nunca que tarde.]
146

Badly does it come together with my life
Lisi, all your imbalances;
you will see towards detours,
and to attract, flattery.
If you are to kill me,
its better be never than tardy.

That your reasonless tyranny
and my cowardly liberty
obliges me to call out [your] disdains,
your vulgar dryness…!
If you are to kill me,
its better be never than tardy.

This volcano in my chest
that even without consuming itself burns
it does not permit the fire
the reliefs of dispersing.
If you are to kill me,
its better be never than tardy.

May carefulness and delicacy
pass as though invisible,
and may your negligence be
language that persuades!
If you are to kill me,
its better be never than tardy.

Enduring this pain quietly,
this suffering without complaining,
it is a merit to your cult,
as it is of vulgar women.
If you are to kill me,
its better be never than tardy.

What are you going to do with your scorns,
what are you going to do with your cruelty,
if when I solicit them
they found it well to mistreat-me?
If you are to kill me,
its better be never than tardy.

146
Arriaga, 221.

59

14. Mi señora Mariantaños

Mi señora Mariantaños,
en la eternidad de un mes,
pregunta como la quise,
147

i ignoro qué responder,
porque yo no sé
donde anda el amor,
sin qué ni porqué.
148

Usted era fea adrede
y fue fáçil sin querer,
y vino a ser mi ocasión,
que pudo más que Luzbel,
porque yo no sé
quándo en lo peor,
se halló qué escoger.

Efectos de avorreçida
la deslumbravan tal vez,
pues quando la quise mal
fue quando quise muy bien,
porque yo no sé
que aya voluntad,
a más no poder.

Si era esquiva, se quedava
a solas con su esquivez,
y nunca pudo su ardid
hecharme el ruego a perder,
porque yo no sé
quál será peor,
huir o bençer.

Obravan sus buenas mañas
entre cariçia y desdén,
y yo tube por desvío
lo que ella entendió atraer,
porque yo no sé
juzgar del amor,

My lady Mariantaños,
in the eternity of a month,
asks how I loved her,
and I ignore what to say,
because I do not know
where the love has gone,
without what or why.

You were ugly on purpose
and you were easy unintentionally,
and you became my occasion,
perhaps more than Luzbel,
because I will not know
until the worst comes,
the realization of which to choose.

Effects of her aversion
dazzled others perhaps,
for when I loved her badly
was when I loved her very well,
because now I do not know
if there is will,
or even any power.
150

If she was dodgy, she would stay
alone with her dodginess,
and never would her scheme
make me throw my pleas aside,
for I do not know
what is worse,
to run or triumph.

Her good manners worked
between tender caresses and disdains,
and I had, by changing my trajectory,
what she understood to attract,
because I do not know
how to play the game of love,

147
This phrase can be a little more rhetorical and accusatory in nature: ‘How did you love me? Look at how you
loved me this entire time.’ Usually, the answer is they did not, or an action or choice they made failed to show it.
148
Spanish colloquial phrase, which means love left without saying a word.
150
His will is close to be breaking; he does not know what to do. He wants to be with the ‘ugly’ girl, but he is
smitten with the ‘bad’ girl, Luzbel.

60

si no es él por él.

Ni más ni menos la quise,
con que podrá conozer
que, si fué mi amor caval,
lo que me vendió compré,
porque yo no sé
dejar de pagar,
lo que fué bender.
149

if it is not love then I will do it for love.
151

I did not love her too much or too little,
with which she can recognize
that, if my love was hallow,
what she sold me, I bought,
because I do not know
how to stop paying [for],
what was to-sell.

149
Arriaga, 221.
151
Redundant; love for the sake of love. ‘If I am not going to do this in love, I’m going to do it for the sake of love.’

61

15. ¡Qué bien canta un ruyseñor!

¡Qué bien canta un ruyseñor
desde aquel verde laurel!
No deve de tener çelos,
pues puede cantar tan bien.

Amores canta, sin duda,
que aun lo yrraçional se ve
regoçijarse al favor
y entristeçerse al desdén.

Algunas paçes publica,
que en el amor más crüel
suele ser arrullo oy
lo que fue jemido

ayer.

Dichoso tú que en el sol
las primeras luçes ves,
quando a çelebrar tu dicha
puedes madrugar con él.

Buen árbol as escojido
para asegurar tu fee,
si los rayos de unos çelos
puede un laurel defender.

Estribillo
Ruyseñor, que a la aurora
contento te ves:
canta favores
al amanezer,
antes que te anochezca
llorando un desdén,
que quien no quiere vien,
ni save qué es pesar
ni qué es plazer.
152

How well sings a nightingale
from that green laurel!
It should not have any jealousy
for it can sing so well.

It sings about love, no doubt,
although the irrational can be seen
rejoicing to the favor
and saddening to scorn.

Some peace it publishes,
that in the most cruel love
it is usually a coo today
what was groaned-about yesterday.

Happily you that in the sun,
the first lights you see,
when to celebrate your luck
you can rise early with him.
153

What a good tree you have chosen
to secure your faith,
if the rays of some jealousy
can a laurel defend [from].

Nightingale, that at dawn
looks so happy:
sing favors
during sunrise,
before night falls on you
weeping a disdain,
for whom does not love well,
nor knows what is heavy
nor what is pleasure.

152
Arriaga, 222.
153
Him: the sun. Spanish sol is male.

62

16. Sin duda piensa Menguilla
154

Sin duda piensa Menguilla
que avorrezer es amar,
pues quando dize que quiere
entonçes maltrata más.

Desluçe su
155
ingratud
el afecto más leal,
porque enquentra en su despreçio
mérito su vanidad.

Siempre que la llego a ver
en su condiçión
156
está:
el rigor, uno que uno;
el amor, otro que tal.
157

Auque voluntad no tiene,
si quiere desobligar
para desazer la ajena
save hazer su voluntad.

Quien adora su velleza
y quien la vé no dirá
que pudo a tanta hermosura
tanta fineza ygualar.

Porque se cansa de un neçio
no á permitido jamás
que le diga un entendido
158

la primera neçedad.

A vezes con lo que obliga
quiere y no puede engañar,
porque anda con la fineza
Without doubt Menguilla thinks
that to detest is to love,
for when she says that she loves
then she mistreats more.

Her ungratefulness is tarnished [by]
the most loyal affection,
because she finds in her depreciation
merit to her vanity.
162

Always, when I get to see her,
in her [proper] condition she is in:
rigor,
163
one by one,
love, the same story.

Although she has no will,
if she wants to disoblige
to undo another’s
she knows how to exercise her will.

Those who adore her beauty
and those who see her will not say
what could have made all that beauty
match so much kindness.

Because a fool is tiring
she has never permitted
for an expert to tell her
[her] first foolishness.

Sometimes, with what she demands,
she wants to but cannot fool others,
Because along with finesse

154
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 879.
155
In the poem, ‘su’ can mean either ‘you’ or ‘her’; it’s used for third person, but it is also a formal way to refer to
someone in second person.
156
Translates to ‘in her condition she is’; it’s a Spanish phrase that can mean someone is in their best condition, or in
a proper, well put together state. In this context, it most likely means she is in her normal state, of being as equally
difficult as loving.
157
‘Otro que tal’ is a Spanish phrase that is used to say that someone has the same negative characteristics as
another person regarded to in the conversation.
158
Entendido: someone who is knowing or understanding of something.
162
She takes the speaker’s loyalty for granted, and he is upset with that.
163
Rigors in this context means to be demanding or difficult.

63

corrida
159
su falsedad.

No se queje de ofendida,
pues á dado
160
en despreçiar,
porque no es ygual la queja
si es la raçón desigual.

Ser querida y ser crüel,
aunque se pueden juntar,
no ay buena correspondencia
de mala conformidad.

Mal hallada vive y teme
que la olvide su galán,
que aunque save que es divino,
vien conoze que es mortal.

Si logra su desdén
y adoro su crueldad,
¿que más quiere, si no quiero más?
161

her falsehood runs.

Do not complain of being offended,
for you are one to depreciate,
because the complaint is not the same,
if the reason is unmatched.

To be loved and to be cruel,
although they could be put together,
there will never be good correspondence
in bad compliance.

Uneasily she lives and fears
that her gallant may forget her,
that although she knows he is divine,
she knows well that he is mortal.

If her disdain succeeds
and I adore its cruelty,
What else does she want, if I want nothing more?

159
Something that exceeds in weight or is too much for the medium in which it is being expressed; ‘ink has run.’
160
‘A dado’ is a phrase that can mean ‘given,’ but also ‘you have gotten to.’ ‘A dado a despreçiar’ c an mean that she
has given disdainful gestures, or has gotten to the point of devaluing others.
161
Arriaga, 223.

64

17. Tortolilla, si no es por amor
164

Tortolilla, si no es por amor,
yo no sé por qué puede ser
jemir y llorar
al amanecer.

Haçer gala del pesar,
y del plaçer el sentir;
cantar sólo por jemir,
jemir sólo por cantar;
padezer y madrugar
a lisonjear el dolor,
tortolilla…

En el mayor sufrimiento
hallar el descanso tivio
y la pena del alivio
ser gloria del sufrimiento;
padezer en el tormento
de hacer la gloria mayor,
tortolilla…
165

Little turtledove, if it is not for love,
I do not know the reason why
you moan and cry
at dawn.

To host a ball of sorrow,
and with [its] pleasure to feel;
to sing only to moan,
to moan only to sing;
to suffer and rise early,
to flatter this pain,
little turtledove…

In the greatest suffering
you will find a warm break
and the pain from relief
be the glory of suffering;
to suffer in this torment
to make the glory greater,
little turtledove…

164
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 785.
165
Arriaga, 224.

65

18. Van y vienen mis pensamientos

Ban y vienen mis pensamientos
como las olas del mar,
mi pena con las que vienen,
mi dicha con las que van.

Siempre el desengaño
á sido leal,
y si a mí me busca,
me viene a engañar.

¡Dónde á de ir un triste
para descansar,
si en troje de alivio
encüentra el pesar!

De mis pensamientos
lloro la crueldad,
pues me lleva el bien
y me deja el mal.

Cadena de engaños
es prisión fatal:
ruego al desengaño
me dé livertad.

Las ondas que advierto
de puro christal
el veneno esconden
en su claridad.

Si las olas fingen,
¿quién aguardará
de los pensamientos
oculta verdad?

Ban y vienen…
166

My thoughts come and go,
like the waves of the sea,
my pain with the waves that come in,
my luck with the waves that leave.

Disillusionment has always
been loyal,
and if it seeks me out,
it comes to deceive me.

Where can a sad one go,
to rest,
if in the trojan relief
it finds sorrow!

From my thoughts
I cry [this] cruelty,
for it takes what is good
and leaves me what is bad.

Chain of disillusions
is a fatal prison:
I plea to disillusionment,
to give me freedom.

The waves that I warn
of pure crystal
venom they hide
in its clearness.

If the waves are pretending,
who can keep
from thoughts
the hidden truth?

They come and go…

166
Arriaga, 226.

66

19. ¡Ô, como pasan los años!

¡Ô como pasan los años
çagaleja,
167

y la edad, quando se aleja,
que deja de desengaños!

Tirano, injusto rigor
de una ley tan permitida,
sacrificar una vida
a las aras del Amor.
¡Y esto lo llaman favor
siendo el mas duro tormento
que viva entendimiento
a costa de sus engaños!

Solo de Fili el despego
restauró mi livertad;
aora digo que es verdad
pues a dado vista a un çiego;
redimieron mi sosiego
de mi dueño los enojos;
no busco piadosos ojos,
pues más devo a los estraños.
168

Oh how the years pass,
zagaleja
and age, as you get older,
leaves disillusionment behind.

Tyrant, unjust hardship,
of a law so permitted,
to sacrifice a life
to the winds of Love.
And this they call favor,
being the most difficult torment
may understanding [this] live,
169

at the price of its lies!

Only the detachment from Phyllis
restored my liberty;
now I say that it is true,
for this has given sight to a blinded one;
170

and remedied my pain
as I am the owner of my anger;
I no longer look within [your] pitiful eyes,
for more do I owe strangers’.
171

167
A woman who is single; nickname, and term of endearment.
168
Arriaga, 227.
169
Character knows he is going to fall in love anyways, so he is rather sarcastic about it; he knows falling in love
will be like losing part of your life, but it is something he has to do regardless.
170
Leaving Phyllis has restored his sight, because love is blind.
171
He owes more to stranger’s eyes, not blinded by love; they could give honest comments about their relationship.

67

20. Ya no puedo más, señora

Ya no puedo más, señora,
que en las lides de mi pecho,
vanamente resistida
vençio la pena al silençio.

Ardo, y quieres que, oprimido,
aun no respire el silençio;
si te disgustan los humos,
¿por qúe ocasionas los fuegos?

Perdona tú si, atrevido
a la ley de tu respeto,
mis tristes desconfianzas
tomaran nombre de zelos.

No del tósigo tirano
se valga el rigor severo;
yo quiero vever tus rayos,
no fulmines tus inçendios.

No mis intentos perdidos
agas ajenos contentos,
que no sirve el embidiarlos,
pues me basta el no tenerlos.

Mas ¡ ay!, que acaso te enojan
mis quejas; yo te prometo
tener, a quejas y a dichas,
lavios mudos y ojos çiegos.

Estribillo:
Y aunque sea vivir
morir de amores
ni dar prisa al vivir
que el tiempo corre.
172

I cannot no more, my lady,
that in the struggles of my chest,
vainly resisted
pain has triumphed over silence.

I burn, and you still
173
want me, oppressed,
to not even breathe in my silence;
if you dislike the smoke,
why trigger the fires?

Forgive me if overstepping
the law of your respect,
my sorrowful distrustfulness
should take the name of jealousy.
174

Do not let a venomous tyrant
make use of severe rigor;
175

I want to drink your fury,
176

Do not suppress your fires.

Do not let my failed efforts
make others happy;
it’s not worth envying them,
after all it’s enough not having them.
177

And oh! In case they anger you,
my complaints that is; I promise you,
whether complaints or praise
to keep my lips sealed and turn a blind eye.

And although it is to live
to die from loves
why make haste to live
if time moves quick enough.

172
Arriaga, 228.
173
‘Still’ does not belong but translates the line better.
174
This man is furious; he is being sarcastic. He is prepared to receive her complaints of his own grievances as just
‘jealousy.’
175
‘Severe rigors’ might have sexual connotations, which the woman could use to manipulate the man.
176
Rayos translates to ‘rays,’ but in this context, the rays are her fury.
177
He is saying, ‘why waste my time envying them (others), if I am just as happy without having succeeded.’

68

21. Filis el miedo a de ser

Filis, el miedo á de ser
quien más explique mi amor,
que ¿quándo no fué el temor
el lenguaje del querer?
Y a mi entender
tus ojos lo an de parlar,
que ojos que saven matar,
¿por qué no se an de temer?
178

Tú piensas agradezer
las finezas con olvidos,
y por tus ojos vellidos
179

piensas que te an de querer,
y abrá de ser
en quien los quiera mirar,
que ojos…

De tu soverano arder
mal me defiende el huir,
pues es quitarle al vivir
la mayor dicha del ber,
conque é de hazer
mi defensa de mi amar,
que ojos…

De mi amante padezer
no quieras, Fili, bengarte,
que si es ofensa el amarte
yo solo te he de ofender,
y no ay poder
que me lo pueda estorbar,
180

que ojos…
181

Phyllis, fear must be
the one best to explain my love,
For when was fear not
the language of loving?
To my understanding
your eyes ought to speak it,
for eyes that know how to kill,
why shouldn’t they be feared?

You think to be grateful
for fine things with forgetfulness,
182

and for your long-lashed eyes
you think they ought to love you.
and so it will be,
for whomever wants to see them,
for eyes…

Of your sovereign fire
fleeing does not defend me well,
for it is to take away from living
the greatest luck of seeing,
with which I will make
my defense of my loving,
183

for eyes…

Of my suffering love
do not seek out, Phyllis, revenge,
that if it is an offense to love you
I alone should offend you,
and there is no power
that can get in my way,
for eyes…

178
Could also translate to “because they are not to be feared,’ or ‘should not be feared.’
179
‘Ojos vellidos’ translates to ‘hairy eyes,’ which refers to her attractive eyelashes.
180
Direct trans.: ‘that can to me hinder it.’ The speaker uses ‘me’ meaning ‘myself,’ which does not have an English
equivalent. The English translation provided is less literal, but expresses the meaning better.
181
Arriaga, 229.
182
He complains that she repays fine things or kind gestures by forgetting about them.
183
Love is blind; seeing is his defense against love.

69

22. ¡Que se lleva las almas!

Estribillo
¡Que se lleva las almas,
que despreçia las vidas!
—¿Quién, quién?
—Clori divina.
Esconde las flechas,
el arco retira,
Amor, que te pierdes
si la benda te quitas.

Al prado vaja Clori,
del sol en la caŷda,
llevando en dos auroras
duplicada la luz del nuevo día.

Bolbió a cojer la noche
las sombras ya veçinas,
y al ber sus resplandores,
por milagro creyó que amanecía.

Las flores, las estrellas,
en tropas divididas,
las unas la esperavan,
las otras de sus rayos se escondìan.

Las aves y las fuentes
doblaron la armonía;
las unas, con el canto
las otras, plaçenteras, con la risa.

La hermosa primavera,
184

en su adorno vestida,
fragançias y colores
uniformes en él se competían.
185

What takes away souls,
what devalues lives!
Who, who?
Clori divine.
It hides its arrows,
the bow withdraws,
Love, that disappears
if you take the blindfold off.

To the meadow descends Clori,
as the sun is setting,
taking in two dawns
the duplicated light of a new day.

Night fell once again
the shadows already near,
and at seeing [her] radiances,
by miracle it thought it was dawning.

The flowers, the stars,
were divided troops,
one waited for her,
the other hid from her rays.

The birds and the springs
doubled the harmony,
one, with their singing,
the other, pleasant, with laughter.

The beautiful Spring,
in its adornment dressed,
fragrances and colors,
competed uniformly within itself.

184
Chloris is the Greek goddess of springtime; she was a nymph abducted by Zephyrus, god of the west wind, and
marries him. The first line of the text could suggest the wind is what is taking away souls, and if you ‘remove’ the
blindfold, by say, opening your eyes, you cannot see the wind the same way as you felt it; love has disappeared. This
is just one possible interpretation.
185
Arriaga, 230.

70

23. Sepan todos que muero de un desdén
186

Sepan todos que muero
de un desdén que quiero.

Quiero un desdén apaçible,
y si ay ángeles acá,
un ángel que quiero está
mas a lla de lo imposible.
Quiero sufrir lo insufrible
de amar y no perecer,
de sembrar y no coger:
pues é de morir primero.

Al sol le qüento las benas
luçientes, que llaman rayos,
y temo menos desmayos
contando rayos por penas.
187

Ya de mi amor las cadenas
arrastran
188
mi livertad,
y en el çielo, de piedad,
189

aun no he mirado un luçero.

De altura tan singular
es la causa de mi empleo,
y con el bano deseo
aún no la llego a igualar;
190

de mí me puedo quejar
si, conoçiéndome humano,
de amor lo que es soverano,
prudente, no desespero.
191

All of you should know that I die
from a disdain
192
that I love.

I gently love a disdainful one,
and if there are angels here,
193

an angel that I love is
well beyond the impossible.
I want to suffer the insufferable,
to love and not lose,
to sow and not reap:
for I might die
194
first.

I count the veins of the sun
those bright beams they call rays,
and I fear fainting less
counting rays rather than my pains.
Already these chains of my love
have taken my freedom,
and in the merciful heavens,
have I yet to see a bright star.

To such heights have I taken
the exceptional cause of my pursuit.
and with vain desire
I’ve still yet to reach her;
I can pity myself
If, knowing myself as a human,
of the sovereignty of love,
wisely, I will not despair.

186
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 763.
187
‘Penas,’ can mean embarrassment or pain.
188
To pull or drag (on the floor usually).
189
‘Cielo de piedad,’ or sky of mercy, is a reference to God’s mercy one pleads for from the heavens.
190
Line directly translates to ‘yet I have not arrived to equal her.’
191
Arriaga, 230-31.
192
Desdén directly translates to disdain, but here refers to the action or person that commited the indifferent gesture.
Character therefore ‘dies’ from such a gesture or attitude.
193
‘Here’ refers to the earth: ‘if there are angels on earth.’
194
Die from waiting for her love (hyperbole); to succumb to his pain from an unrequited love.

71

24. Pensamiento, que en tu daño

Pensamiento, que en tu daño
fabricas memorias banas:
huye de lo que te açercas,
si es tan malo lo que alcanças.

Si a la luminosa antorcha
bas a examinar, repara
que siendo sola una luz
te ofreçe colores varias.

¿A qué garçota en el viento
se vio el color de la gala?
¿Quién la dulçe filomena
195

conoçe si jime o canta?

El incauto peçeçillo,
con el color de sus mallas,
¿quién le conoció en la mano
si le examinó en el agua?

¿Quándo no se an pareçido,
si al ingenio las retrata,
con una verdad desnuda
una mentira aseada?

Estribillo
Si puede ver Fenisa
tu dicha o tu desgraçia,
no es la elecçión dudosa:
mira lo que te agrada.
196

Thought, that in your pain
you fabricate vain memories:
run from what you near,
if it is so bad what you reach for.

If you go examine
the shining torch, be cautious
for it being only one light,
it offers you various colors.

Which little egret
197
in the wind
saw the color of the gala?
Who does sweet Filomena
know, if they cry or sing?

The incautious little fish,
with the colors of its fins,
who recognized it in their hand
if they examined it in the water?

When have they not seemed similar,
if the ingenious pictures them alike,
with a naked truth,
a neat lie?

If you can see, Fenisa,
your luck or your misfortunes,
it is not a dubious choice:
see what fancies you.

195
From the Greek name Philomena, that means ‘loved.’
196
Arriaga, 231.
197
A species of heron; can also be plumage that adorns hats.

72

25. Turveme, Çelinda hermosa

Turveme, Çelinda hermosa,
turveme de veros oy.
¡Qué justo, pues fue respeto;
que forçoso, pues fue amor!

Atreverme a tantas luçes
fuera obscura presunción;
çiego de quereros, sí;
mas desalumbrado, no.

El sol visto frente a frente,
embaraça el resplandor,
y en bos, Çelinda, es lo menos
el ser más que todo el sol.

En la raçón de quereros
o quantas mi amor halló
amaros fuera más grande;
ser en bano es la mayor.

Dulçe turbaçión,
calle todo y el alma no,
pues siendo callado
digo lo que quiero,
¿qué más quiero yo?
198

Move me, beautiful Celinda,
really move me today,
How fair, for it was respect;
how unavoidable, for it was love!

To overstep my bounds in so many lights
would be an obscure presumption,
blind from loving you, yes;
but to be dazed,
199
no.

The sun I have seen face to face,
impregnates the radiance,
200

and in you, Celinda, is at the least
a being that is more than all the sun.
201

In reason of loving you,
oh, how many my love found,
to love you would be the greatest,
the majority are in vain.
202

Sweet tumult,
I silenced all, but not the soul,
for by being quiet
I say what I want,
what else can I long for.

198
Arriaga, 232.
199
‘Desalumbrado’ is to be blinded from too much light.
200
The randiance comes from the sun; without the sun there is no radiance.
201
‘El ser’ means ‘to be’; she is a being that is more than all the sun in the speaker’s eyes.
202
In his affections, he’s tried to find reasons or excuses to love Celinda; his biggest reason is simply because he
loves her, and he comments that majority of his excuses are all in vain.

73

26. ¡Qué dulçemente suena!

¡Qué dulçemente suena
entre estos berdes sauçes,
animada tïorba,
un ruyseñor, emvidia de las aves!

Sus quiebros son suspiros
y endechas
203
sus compases,
que ya en su triste suerte
sólo el alivio de la pena cave.

Mira bulgares plumas
de estrellas coronarse
porque hallaron propiçia
de su ambiçión la vanidad del ayre.

No envidia su fortuna,
pero siente el ultraje
204

que, armado de rigores,
el torpe olvido a sus blasones haçe.

En el silençio mudo
pasó la mayor parte
de el siglo de su vida,
que es de discretos el quejarse tarde.

¡Suspende el llanto triste,
ó ruyseñor süave,
pues ver que los laureles
sólo se hiçieron para los covardes!
205

How sweetly it sounds,
in between these green willow trees,
[an] animated theorbo,
206

a nightingale, the envy of birds.

Its trills are sighs,
and dirges [are] its measures,
that now in its sad luck,
only the relief of pain fits.

It looks at vulgar feathers,
crowning itself with stars,
because they found it propitious,
from its ambition, the vanity of the air.
207

It does not envy its fortune,
but it feels the insult
that, armed with hardships,
it clumsily
208
forgets its coat of arms.

In mute silence
it spent the majority of the time
of the century of its life,
209

for it is of discrete ones to complain late.

Suspend the sad weeping,
oh sweet nightingale,
for see that the laurels,
were only made for cowards!

203
A sad song; a lament.
204
Grave and violent insult.
205
Arriaga, 232.
206
Writer is comparing the sound of a theorbo to the nightingale.
207
Feathers are a metaphor for the woman’s pretentious airs; her ambition found the vanity of the air propitious, or
favorable.
208
‘Torpe’ refers to something that has difficulty moving, understanding, or doing something.
209
Or ‘It spent the majority of its lifetime in silence, since it is the tendency of those who are reserved to complain
late.’

74

27. Aora que estais dormida

Aora que estais dormida
y me encubren las tinieblas,
a buestros unbrales
210
llego,
señora, a deçir mis penas.

Si a la muerte ymita el sueño,
mis desdichas favorezca,
contra el tiempo que estáis viva,
este rato que estáis muerta.

No es buestro oýdo mi alivio
ni es buestra pena mi ofensa,
porque quien padeze y calla
más allá de vos se queja.

A lágrimas que no ablandan
bástales por çentro piedras,
y a suspiros que no obligan,
hierros oygan y no orejas.

Dormir y olbidar las ansias
que a estas oras te desvelan,
que para no ser piadosa
no os é menester despierta.
211

Now that you are asleep
and the darkness covers me,
to your thresholds I arrive,
madam, to speak my pains.

If death imitates sleep,
my misfortunes favor,
against the time that you are alive,
this little while that you are dead.

Your ear is not my relief
nor is your pain my offense,
for who suffers and is silent
beyond you, they complain.

To tears that do not soften
it is enough, for their centers are stones,
and to sighs that do not oblige,
irons hear, and not ears.

To sleep and forget anxieties,
that at these hours keep you up,
that in order to not be devout,
it is not necessary for you to be awake.

210
Most likely ‘umbrales’ for sill or threshold. In this context it means reaching the start of the process that is
voicing his complaints.
211
Arriaga, 233-4.

75

28. De amores y de ausençias

De amores y de ausençias
se queja un desdichado,
con palabras de fuego,
con suspiros de llanto:

“Yo triste, no esperava
del tiempo afortunado
venturas que tan presto
llegan a desengaños.

Divertirme procuro
y en mis tritezas paso,
con número de penas,
lo mejor de mis años.

No los campos floridos
me alegran, que es en bano,
si está marchito el gusto,
buscar floridos campos.

Pastorçillo que gozas
alegre despreçiando
ynjurias de ynbierno,
desdenes de verano,

[si gozas de tu amada
los rústicos abrazos
dame tu dicha y toma
mi suerte y mis cuydados.]
212

Estribillo
Amor, en estremos tales,
no quiero tus plaçeres
por tus pesares.
213

Of love and absences
complains an unhappy one,
with words of fire,
with sighs of weeping:

I sadly, was not expecting
of time so fortunate
ventures that so hastily
come to be disillusions.

I procure to enjoy myself,
and in my sorrows I go through,
with a number of misfortunes,
the best of my years.

Not [even] the flourishing fields
make me happy, for it is in vain,
if it is withered, my want,
to find flourishing fields.

Little shepherd that is blissful
happily disregarding
injuries from winter,
disdains from summer,

if you enjoy from your lover
rustic embraces
give me your luck and take
my luck and my carefulness.

Love, in such extremes,
I do not want your pleasures
for your burdens.

212
Arriaga adds this copla from a different manuscript, since the poem is incomplete without it.
213
Arriaga, 234.

76

29. Yo vengo a ser mi enemigo

Yo vengo a ser mi enemigo,
pues no os haçierto a obligar,
conque por vos vengo a estar
mal con vos y mal con migo.

En mi amorosa querella
nunca está el dolor en calma,
conque amor que está en el alma
no sale sin salir ella.

Aborreçido de ti,
de mi pena desespero
viendo que por tí me muero
y no me muero por mí.

Mal podré, Clori, dejar
de amarte si é menester
olbidarme de querer
y olbidarme de olbidar.

En mi pena repetida,
con ser su dolor tan fuerte,
no me doliera la muerte
lo que me duele la vida.

y pues no puedo vivir
y nada á de remediarme,
deja, Clori, de matarme,
que yo me sabré morir.

Estribillo
¡Ay de mí, pues llego
a ser tan infeliz
que por vivir muriendo
no me dejan vivir!
214

I come to be my enemy,
for I do not get you to oblige,
so for you I come to be
badly with you and badly with me.

In my loving complaint
never is the pain calm,
so love that is in the soul
does not come out without her leaving.

Sick of you,
from my pains I despair
seeing that for you I die
and I do not die for me.

Badly, Clori, will I manage to stop
loving you if it is necessary,
forgetting to love
and forgetting to forget.

In my repeated pain,
with its hurt being so strong,
death would not hurt me,
what hurts my life.
215

and so I cannot live,
and nothing ought to remedy me,
stop killing me, Clori,
for I will know myself how to die.

Oh, what is to become of me
for I come to be so unhappy
that by living [as a] dying [man]
they do not let me live!
216

214
Arriaga, 235.
215
He means that the pain of living is far stronger than he thinks the pain of death would be.
216
They would be love, pains, and possibly Clori.

77

30. Ya no quiero más Menguilla

Ya no quiero más, Menguilla,
que tus traiçiones me maten,
que por quien no lo agradeçe,
mejor es que Dios me guarde.

Qualquiera desdén me yela
por más que el amor me abrase;
no á de estar mi fée en el fuego
y tu fineza en el ayre.

Mudanças hallará en todos
la que no es fina con nadie,
pues sus sinraçones dejan
que las espadas la guarden.

Tu amor tendré, i algo menos,
todo lo que nos durare,
porque quien no te mereze
no será vien que te iguale.

Vivir pretendo, y vivir
como escarmentado amante,
no vien loco en el quererte
no vien cuerdo en olvidarte.

Estribillo
Y pues mudanzas, niña,
vien te parezen
yo vaylaré contigo
al son que me içieres.
217

I do not want anymore, Menguilla,
for your betrayals to kill me,
that for someone who does not appreciate it,
better would it be for God to guard me.

Whichever disdain freezes me
for as much as love embraces me;
my faith should not be in the fire,
and your finesse in the air.

Whims you will find in everyone,
she who is not refined with anyone,
for her unreasonableness leaves
swords to guard her.

Your love I will have, and something less,
everything that will last us,
for who does not deserve you,
it would not be good if they equal you.

To live pretending, and to live
like a lover who has learned their lesson,
not too crazy in loving you,
not too rational in forgetting you.

Well then, whims, girl,
well you perceive them,
I will dance with you,
to the song you make me.

217
Arriaga, 235-6.

78

31. Hizo paçes con Anarda

Hizo paçes con Anarda
aunque ofendido, Pascual,
que no es amor el amor
que no save perdonar.

La discreta ley de amante
disculpa a su culpa da,
que es mal gusto del vivir
defenderse de olvidar.

Fïado en su sentimiento,
La bolbió a ver el çagal,
pero no supo la pena
bolber por la livertad.

Murmúranle en el aldea
culpando su liviandad,
y el que le murmura menos,
es el que la ofende más.

Quien de Anarda no conoze
el imperio çelestial,
guárdese de que le mire
y guárdese de mirar.

Estribillo
Yo sé que no reñirán,
que en la hermosura, enamora
la sinrraçón mucho más.
218

He made peace with Anarda,
although offended, Pascual,
for it is not love the love
that knows not how to forgive.

The discreet law of a lover
apologies for their faults they give,
for it is bad taste to live
defending from neglect.

Trusting in his feelings,
the lad saw her again,
but the pain did not know
how to return for liberty.

They gossip about her in the village,
blaming her frivolousness,
and who gossips about her less
is who offends her most.

Who does not recognize in Anarda
the celestial empire,
beware of what you see in her,
and beware of looking.

I know that they will not quarrel,
for in beauty, it enamours
unreasonableness much more.

218
Arriaga, 236.

79

32. Ojos, pues me desdeñáis
219

Ojos, pues me desdeñáis,
no me miréis,
pues no quiero que logréis
el ver como me matáis.
220

Coplas
Çese el çeño y el rigor,
ojos, mirad que es locura
arriesgar buestra hermosura
por hazerme un disfavor;
si no os corrige el temor
de la gala que os quitáis,
no me miréis…

Y si el mostraros severos
es no más que por matarme,
podéis la pena escusarme,
pues moriré de no veros;
pero si no é de deveros
que de mí os compadezcais,
221

no me miréis…
222

Eyes, you trick me,
do not look at me,
for I do not want you to achieve
in seeing how they kill me.

Cease the grimace and the rigor,
eyes, see that it is craziness
to risk your beauty
to do me a disfavor;
if you do not correct the fear
of the gallantry that you remove,
do not look at me…

And if your severe demonstration
is no more than to kill me,
you will have to excuse me this pain,
for I will die if I do not see you;
but if I am not to see you,
take pity on me,
do not look at me…

219
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 647.
220
All words ending in ‘eis’ and ais’ retain the accent on the latter half of the word: [ma.’taɪs], [lo.’greɪs].
221
Compadezcais: compassion.
222
Arriaga, 237.

80

33. Flores, ya contra vosotras

Flores, ya contra bosotras
armado el octubre viene
de tanto çierço volante,
de tanto christal corriente.

Mucho admiro que del susto
ya esté amarillo lo verde,
y el escarmiento
223
a lo hermoso
antes que el aviso llegue.

¡Qué lejos estáis de mayo!
¡Qué çerca estáis de noviembre!,
que halla, quien busca el socorro,
más veçino el riesgo siempre.

Lástima halláis, no remedio,
porque buestro mal se ausente,
que haçe mayor la desdicha
quien sólo se compadeze.

Flores, el naçer hermosas
aqueste
224
peligro tiene,
que es golosina lo lindo
de la injuria de la suerte.
225

Estribillo
¡Mas quando no suçede
el morir triste del vivir alegre!
226

Flowers
227
, now against you,
October comes armed,
with many gusts of the north wind,
with much crystal currents.
228

Much I admire that from their fright,
the greenery is already yellow,
and the lesson of the beautiful,
before the warning arrives.
229

How far are you from May,
how close are you to November,
because there are [always] those who seek help,
for risk is always closer.

Pity [that] you find no remedy,
because your illness is absent,
because it makes greater the misery,
those who alone pity themselves.

Flowers in being born beautiful,
here you have this danger,
for you are the sweet on top of the beautiful,
so much so that it is like an insult to my luck.

When does it not happen,
to die sorrowful of living happily!

223
Learning a lesson from a negative experience.
224
Short for aquí este, ‘here this.’
225
‘Que es golosina lo lindo de la injuria de la suerte’ directly translates to ‘that it is a candy what is beautiful of the
injury of luck,’ or ‘from the injury of luck.’
226
Arriaga, 237-8.
227
Metaphor for love.
228
‘de tanto çierço volante, de tanto christal corriente,’ directly translates to, ‘of so much north wind blowing, of so
much crystal current.’
229
The lesson here is that the speaker is already yellow, not green and naive; they are wary of the ‘beautiful’
opposite sex, even before any warning flags make themselves seen.

81

34. Todo eres contradiçiones

Todo eres contradiçiones,
Amor, Amor, linçe y çiego,
hijo de Padres oscuros,
padre de nobles deseos.

Osadamente ejerçitas
el sumo tirano imperio
desde las plantas humildes
asta los dioses supremos.

Los vivos arpones de oro
guarda para un blando pecho,
y para un diamante duro,
los tiros de plomo hierto.

Covarde, rendir te dejas
de la obstinaçión de un yelo,
preçiándose de su triunfo
quien se burló de tu fuego.

Estribillo
Guárdense todos,
que aunque es dulçe el riesgo,
en la nieve se esconde
su mayor fuego.
230

You are all contradictions,
Love, Love, lynx and blind love,
son of dark parents,
father of noble wishes.

Boldly you exercise
the sums of the tyrant empire
from the humble plants
to the supreme gods.

The lively harpoons of gold
are kept for a soft chest,
and for a hard diamond,
the shots of grinded lead.

Coward, you allow yourself to surrender
with the obstinacy of a piece of ice,
valuing themselves off its triumph,
those who mocked your fire.

Be wary, all,
that although the risk is sweet,
in the snow it hides
its greatest fire.

230
Arriaga, 238.

82

35. Amarilis, yo no entiendo

Amarilis, yo no entiendo
las piedades del rigor,
pues no me quieren matar,
queriendo morirme yo.

Morir de querer es vida
del que ama y muere mejor,
que haçer vida de la muerte
es dicha de la elecçión.

Preeminençias de agasajos
en mí tu altivez logró,
que en tan hermoso desdén
está de más el favor.

¿Quándo a rrayos, quándo a perlas,
del alva embidia del sol,
luçes más sin çegar menos
los ojos de la atención?

Yo muero de lo que vivo,
que siempre se eternizó
un mal que save también
haçer alivio el dolor.

Estribillo
Y digo a mi amor:
sólo quiero çegar a sus rayos
para ver mejor.
231

Amaryllis, I do not understand
the pieties of rigor,
for they do not want to kill me,
[although] I am wanting to die.

To die for love is life
for those who love and die better,
that to make life of death,
is lucky from the choice.

Premonitions of flattery,
in me, your haughtiness accomplished,
that in such beautiful disdain,
favor is also there.

When of rays, when of pearls,
the dawn envies from the sun,
you look better by blinding less
[your] eyes from attention?

I die from what I live,
that always it eternalized
an illness that knows also
how to make relief of the pain.

And I say to my love,
I only want to blind your rays,
so that I can see better.

231
Arriaga, 238.

83

36. Si quieres dar, Marica, en lo çierto

Si quieres dar, Marica, en lo çierto,
quiéreme más y dímelo menos.

Coplas
Si quieres a mi fortuna
coronarla de una vez,
primero lo sientas diez
que me lo confieses una,
y para no ser alguna
de las comunes del pueblo,
quiéreme [más y dímelo menos.]

Sávete que mucha gente
que no save de sentir
piensas que hablar y dezir
es lo mismo que se siente,
mas yo que soy inoçente,
a mi pretensión me atengo:
quiéreme [más y dímelo menos.]

Una ley para sentillo;
para sentillo otra ley…
¡Niña por vida del Rey
que marea el estilillo!
Ya me canso de deçillo:
si quieres no gastar tiempo
quiéreme [más y dímelo menos.]
232

If you want to come by the truth, Marica,
love me more and say it less.

If you want my fortune
to crown it for once,
first feel it ten times,
before you confess to it to me once,
and to not be just any
of the common ones of town,
love me more and say it less.

Know that many people
that do not know about feelings,
think that to speak and to say
is the same as what is felt,
more so that I, as innocent as I am,
to my pretensions I hold on to,
love me more and say it less.

A law to feel it,
to feel it another law,
girl, for the life of the king,
that dizzies my style,
233

I tire of saying it,
if you do not want to waste your time,
love me more and say it less.

232
Arriaga, 239.
233
Her indecisiveness is dizzying him.

84

37. Apostemos, niña, que açierto
234

Apostemos, niña, que açierto
qué tenéis en el pensamiento.

Pensará buestro rigor
en no querer vien jamás,
y que yo en quereros más
logro el haçierto mayor;
esto adivina el temor
con luz del entendimiento.
Apostemos, [niña, que açierto
qué tenéis en el pensamiento].

Pensará buestra crueldad
que sólo en buestra hermosura
aliviará mi locura
tan aguda enfermedad,
y pues a tanta verdad
solo deve el vençimiento,
apostemos, [niña, que açierto
qué tenéis en el pensamiento].

Pensará buestro desdén
que, aunque es mi pena mortal,
nunca yo podré estar mal
con mal que me está tan bien,
y pues mis ojos no ven
lo oculto de buestro intento,
apostemos, [niña, que açierto
qué tenéis en el pensamiento].
235

Let us make a bet, girl, that I guess
what you have in your thoughts.

Your rigor must think
in not to love well ever,
and that I in loving you more
achieve the greatest feat;
this guesses the fear
with light of understanding.
Let us make a bet, girl, that I guess
what you have in your thoughts.

Your cruelty must think
that only in your beauty
will my craziness be alleviated
such an acute illness,
and so to much truth
only defeat is owed,
let us make a bet, girl, that I guess
what you have in your thoughts.

Your disdain must think
that, although my pain is mortal,
never will I be unwell,
with this unwellness that I bear so well,
and so, my eyes do not see
what is hidden in your intents,
let us make a bet, girl, that I guess
what you have in your thoughts.

234
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 903.
235
Arriaga, 240.

85

38. Allá quedarás, serrana

Allá quedarás, serrana,
la de los ojos traydores,
que con alma de mujer
eres muerte de los hombres.

Huyan de tí mis sentidos
porque ni lloren ni gozen
por naturaleza, celos;
por acçidente, favores.

No más, coraçón de nieve,
no más, entrañas de roble,
contra quien crueldades tantas
en mi silençio dan vozes.

Basta el estrago que as hecho
en mis esperanças, Clori;
quédate para peñasco
y guárdate para bronçe.

Rayo te temen los ayres,
fiera te llaman los montes,
236

sirena te escucha el Tajo
y áspid te aclaman las flores.

Ya hallé en los ojos de Filis
mayor piedad que en tu nombre,
y no es pequeña bentaja
trocar estrellas por soles.

Estribillo
¡Toquen a fuego!
¡A fuego toquen!
¡Viva Filis
y muera Clori!,
que a rrayos de nieve,
de çelos y amores
ençiende las peñas
Over there you will stay, serrana,
238

the one with the traitorous eyes,
that with the soul of a woman
you are death to men.

Run from yourselves my senses
so they do not cry or nor enjoy
by nature, jealousy;
by accident, favors.

No more, heart of snow,
no more, insides of oak,
against whom many cruelties
in my silence are given voice.

Cease the havoc that you have caused,
in my hopes, Clori;
stay yourself as a boulder,
and save yourself for bronze.

The airs fear you lightning,
the wilderness call you fierce,
the Tajo
239
hears you mermaid,
and the flowers claim you an aspid.

Already I have found in the eyes of Phyllis,
more piety than in your name,
and it is not a small advantage
to exchange stars for suns.

Touch the fire!
240

Touch the fire!
Long live Phyllis
and death to Clori!
that through rays of snow,
of jealousy and loves
ignite the rocks

236
Can mean a few things in geographic terms: can be an uncultivated area (wilderness), an elevated region with
hills, or mountainous, or all of these things together.
238
A serrana is a woman living near a sierra. She is a farmer or a shepherdess. Has connotations of regarding a
woman that is exceptionally beautiful.
239
Tajo is the Tagus River, and the longest river in the Iberian peninsula.
240
Toquen is asking a group of people to touch, so it would be: ‘touch the fire all of you, to the fire, touch it.’

86

y abrasa los montes,
y ecos del valle
¡muera!, responden;
¡muera!, diçen las fuentes
y rruyseñores.
237

and embraces the mountains,
and echoes of the valley
die!, they respond;
die!, say the fountains
and nightingales.

237
Arriaga, 241.

87

39. La verdad de Perogrullo
241

La verdad de Pero Grullo,
que tan çelebrada es,
todos la saven deçir,
pero ninguno entender.
Yo te la diré:
es una simpleza
que maliçia es.

Pues dime, Velilla hermosa,
¿porque dizes a mi fée
que tú quando quieres más
es quando quieres más vien?
Yo te la diré:
porque quiere mal
la que quiere bien.

Querer vien por querer mal
yo no entiendo cómo es,
que yo, por quererte más,
más no te puedo querer.
Yo te la diré:
esto es tropezar;
esotro, caer.

¿Cómo la dicha a mis ojos
niegas de llegarte a ver,
si mi fineza te obliga,
como as dicho alguna vez?
Yo te la diré:
sin quererte mal
no te puedo ber.

¿Por qué al bulgo de los neçios
as bendido tu altivez,
haçiendo a la discreçión
ultrages con tu desdén?
Yo te la diré:
porque más que uno
The truth of Pero Grullo,
243

that so celebrated it is,
everyone knows how to tell it,
but no one knows how to understand it.
I will tell you:
it is a simple thing,
because it is malice.

So tell me, beautiful Velilla,
why do you tell my faith
that you when you love most,
is when you love the best?
I will tell you:
for she loves badly
she who loves well.

Loving well for loving badly,
I do not understand how it is,
that I for loving you more,
more can I not love you.
I will tell you:
this is to trip;
it is another, to fall.

How has luck to my eyes,
you refuse to be seen,
if my fineness forces you,
as you have said sometimes?
I will tell you,
without loving you badly
I cannot see you.

Why from the tease of the foolish-ones,
you have sold your haughtiness,
making discretion
outrages with your disdain?
I will tell you:
because more than one

241
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 860.
243
John Collins, A dictionary of Spanish Proverbs Translated into English (London: C. Roworth and Sons, 1834),
382. This dictionary helps explain this Spanish character of folklore on page 382: “Verdad de Pedro Grullo, que á la
mano cerrada la llama puño. —‘The truth of Peter Grullo, when his hand is closed, he calls it a fist.’— It intimates,
that a person has told something as news which everyone knows. It is applicable to a person who is fond of making
much of trifles; and according to our proverb, ‘Making mountains out of mole-hills.’”

88

diz que saven diez.

Fieles amantes despreçias,
no sé, Velilla por qué,
y cómo a ser fiel no haçiertas,
haçertando a ser infiel.
Yo te la diré:
ni el fiel de la Villa
save ser fiel.

La que vale para más
para menos viene a ser,
buscando a la estimaçión
disculpas de mala ley.
Yo te la diré:
la que tiene más
más llega a tener
242

they say that ten know.
244

Loyal lovers you reject,
I don’t know, Velilla, why,
and as you cannot be faithful,
myself trying to be faithful,
I will tell you:
not even the faithful one in town
knows how to be faithful.

The one that is worth the most,
comes to be the cheapest,
looking for the estimation,
apologies of bad faith,
I will tell you:
she that has the most,
will come to have more.

242
Arriaga, 242.
244
This is a phrase that means that many others know something better than yourself.

89

40. Esta mi neçia pasión

Esta mi neçia pasión,
tirana del albedrío,
aun no encuentra desvarío
para engañar la raçón;
tales sus efectos son,
pues digo, al dolor postrado:
desdichado
del que no vive engañado.

Quien por tu alago fingido,
si al fin viene a ser alago,
y quien dio nombre de estrago
a amor mal correspondido,
el desengaño, admitido
fue sólo de un pecho elado;
desdichado
[del que no vive engañado].

Amor, deydad que no niego,
arder sus aras permite,
y el sacrifiçio no admite,
llegando convista el ruego;
si el que sacrifica çiego
es de su mayor agrado,
desdichado
[del que no vive engan ̂ ado].

Medios a su amor deçente
pide el amante cariño,
mas culpar es desaliño,
Clori, amantes accidentes;
si an de creer quanto mientes
y quedar empeor estado,
desdichado
[del que no vive engañado].
245

This is my stubborn passion,
tyrant of willpower,
still it does not find delirium
to cheat reason,
such its effects are,
so I say to this pain prostrated:
unlucky
are those that do not live disillusioned.

Who for your fake flattery,
if in the end comes to be flattered,
246

and who gave the name of havoc
to love badly corresponded,
the disillusion, admitted
was only from a frozen chest;
unlucky
are those that do not live disillusioned.

Love, [by the] Gods, that I do not deny
permitting it to burn in its interest,
and the sacrifice does not admit,
to arrive with view of the pleas,
if he who sacrifices blindly,
does so of his greatest pleasure,
unlucky
are those that do not live disillusioned.

Through means of their decent love
the lover asks for affection,
more so [that] blame is unkempt,
247

Clori, accidental lovers;
if they are to believe your lies
and to stay in a worse state,
unlucky
are those that do not live disillusioned.

245
Arriaga, 243.
246
These two lines mean that who is disillusioned from flattery, if in the end they come to be flattered?
247
This most likely means that blame is ineffective.

90

41. Pronóstico nuevo

Pronóstico nuevo
del çielo de Clori,
el juiçio sin juyçio,
el orden sin orden;
con vista se vende,
los çiegos le compren.

Coplas
Por ser señora del año,
su falsedad con los hombres
será estéril de piedades
y fértil de sinraçones.

Muestras de amorosos frutos
dará el sentimiento dóçil,
pero llegará a cojer
ningún fruto y muchas flores.

Porque entra el sol en su cassa
descubrirá sus trayçiones,
mas no podrá conservar
con sentidos los traydores.

Mudanças no abrá en su imperio,
falso eclipse abrá en sus soles,
y en su çielo se verán
fijas las exsalaçiones.

Guerras moverán crüeles
sus sutiles presumçiones,
mas quedarán castigados
de su sequedad al golpe.

Este vatiçinio haçe
un alma que la conoze,
y por ser de Clori el juiçio,
no es sujeto a correcçiones.
248

New forecast
of the skies of Clori,
the trial without trial,
the order without order;
with sight it sells,
the blind ones buy from her.

For being the lady of the year,
her falseness with men
will be sterile of mercies
and fertile with unreason.

Samples of amorous fruits
will invoke a docile sentiment,
but they will come to receive
no fruits and many flowers.

Because the sun enters in their homes,
they will discover her betrayals,
and she will not be able to conserve
with senses the traitors.

There will be no whims in her empire,
her suns will have false eclipses,
and in her sky will be seen
fixed the exaltations.

Wars will move cruel ones
their subtle presumptions,
what’s more they will be punished
of their dryness by blows.
249

This prediction is made by
a soul that knows her,
and because the trial is Clori’s,
she is not subject to corrections.
250

248
Arriaga, 244.
249
Through physical hits, al golpe, will the punishment be carried out.
250
Clori is not subject to corrections because her trial is held by a soul that loves her.

91

42. Aunque el mal que padezco

Aunque el mal que padezco
le adora mi fee,
porque ofende a un despreçio
estoy mal con él.
¡Ay de quien
por fineza quisiera
dejar de querer!

Yo no entiendo este afecto,
Amarilis, pues
ni con él desespero
ni espero con él.
¡Ay de quien
[por fineza quisiera
dejar de querer!]

Si es dichoso en su afecto
quien consigue un vien,
yo lo soy, pues consigo
el de padecer.
¡Ay de quien
[por fineza quisiera
dejar de querer!]

Quando el voto es preçiso,
dígame por qué
sacrifiçio sin ruego
ofende a un desdén.
¡Ay de quien
[por fineza quisiera
dejar de querer!]
251

Although the illness that I suffer
my faith adores,
because it offends a contemptful [gesture],
I am in bad terms with it.
Oh, who,
252

for grandeur wants
to stop loving!

I do not understand this affection,
Amaryllis, for
not even with it do I desperate,
nor do I wait with it.
Oh, who,
for grandeur wants
to stop loving!

They are indeed lucky in their affections
those who attain a good [one],
I am [lucky], for I manage to attain
that which pains.
Oh, who,
for grandeur wants
to stop loving!

When the vote is precise,
tell me why
sacrifice without plea
offends a disdain.
Oh, who,
for grandeur wants
to stop loving!

251
Arriaga, 246.
252
‘Ay de quien’ is a phrase that is a lament and criticism of other people.

92

43. No sé yo cómo es
253

No sé yo cómo es,
que quiero y no quiero
y quisiera querer.

Coplas
Yo siento un no sé qué diga
ansioso de elar y arder,
que con él no haçierto a estar
y no puedo estar sin él;
no sé yo cómo es.

Una atençión descuydada,
un temor que ignora ley,
un sacrifiçio sin culto
y una adoraçión sin fee,
no sé yo cómo es.

Un escuchar, un oír
sin sobresalto el desdén;
haçer cuydado el descuydo
y dudar para creer,
no sé yo cómo es.

¿Qué desaliñada flecha
abrió el coraçón, crüel,
que me alaga siendo mal
y atormenta siendo vien?
no sé yo cómo es.

Miro sin odio la culpa,
y con odio alguna vez;
huyo el peligro y lo busco,
y sólo llego a entender
que quiero [y no quiero
yquisiera querer].
254

I do not know how it is,
that I want and do not want,
and I want to want.

I feel something, I do not know what it says,
anxious from freezing and burning,
that with him I am unable to be with,
and I cannot be without him.
I do not know how it is.

A careless attention,
a fear that ignores the law,
a sacrifice without a cult,
255

and an adoration without faith.
I do not know how it is.

To listen, to hear,
256

without shock, the disdain;
to be careful of carelessness,
and doubt to believe,
I do not know how it is.

How unkempt is the arrow
[that] opened the heart, cruel,
that flatters me being bad,
and torments me being good?
I do not know how it is.

I see guilt without hate,
and sometimes with hate;
I flee from the danger and I seek it,
and I only come to understand,
that I want and do not want,
and I want to want.

253
Arriaga, 248. Extra copla not present in the Fitzwilliam manuscript:
Las sinrazones de Lisi,
hermosa quanto ynfiel,
quieren estorbar la yra
y acusan la sencillez.
Lisi’s [choices from] lack of reason,
beautiful as she is unfaithful,
want to bother wrath
and accuse simplicity.

254
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 800.
255
Comical; speaker is saying they make a sacrifice without belonging to any cult.
256
Poetry is actually saying: ‘a listen, a hear.’

93

44. Montes del Tajo escuchad
257

Montes del Tajo, escuchad,
que buelbo a cantar mis penas;
lisonjas son de las aguas
y suspensión de las selbas.

Lo mismo pienso cantaros,
que, sin mudarse la ofensa,
pero importa que se muden
del instrumento las cuerdas.

Secos y elados os visteis,
y el tiempo todo lo trueca;
muy bien lo veis en las aguas,
si os estáis mirando en ellas.

Ya ora miráis las fuentes
de hierba y flores cubiertas,
y mis tritezas y agravios
nunca ben su primavera.

¿Qué queréis, selbas, que os diga
de mí qué aguardais que sienta,
pues ni los males se acavan
ni los años lo remedian?

Estribillo despacio:
¿Quándo veré el remedio de mis penas,
si donde acava un mal otro comiença?
258

Tagus mountains, listen,
for I sing my pains again,
flatteries are from the waters,
and suspensions
259
from the jungles.

The same I think to sing you,
that, without changing the offense,
but it matters that it changes,
an instrument, its cords.
260

Dry and cold you see it,
and time twists everything;
very well you see it in the waters,
if you are looking in them.

And now look at the fountains
of grass and flowers covered,
and my sorrows and grievances
[will] never see their spring.

What would you want jungles, for me to say,
what are you waiting for me to feel,
for not even do the pains end
nor can the years remedy them?

Slow refrain:
When will I see the remedy, of my grievances,
if where a pain ends, another begins?

257
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 755.
258
Arriaga, 249.
259
This probably refers to the suspended plants that cover trees in a forest.
260
Speaker sings without changing the offenses they brooding over; they do change the chords of the instrument,
however.

94

45. Niña ¿como en tus mudanças?

Niña, ¿como en tus mudanças
tan fáciles como libres
a qualquier viento te muebes,
de qualquier fuego te ríes?

Creyóte mi amor constante,
siendo esquiba o apaçible;
o ya firme en los desdenes,
o ya en los favores firme.

Mas no tan fácil el çierço
sacude juncos humildes
como tu gusto mudable
a qualquier viento se rinde.

Mas con tan libre albedrío
y tu condiçión tan libre,
quando busques quien te quiera
quizá hallarás quién te olbide.
261

Estribillo
Oy te toca, niña,
mudanzas amor;
mira cómo vaylas
quando mude el son.

Coplilla
Suele amor tener
gana de vaylar,
y suele mudar
el son del querer;
mudanças de ayer
son firmezas oy,
mira cómo baylas
quando mude el son.
262

Girl, how in your whims
as easy as they are free,
do you move to any breeze,
do you laugh at any fire?

Believe my love is constant,
while elusive or placid;
or firm in indifference,
or firm in approval.

For not as easily does the cold north wind
shakes humble rushes,
263

as your fickle tastes
give in to any breeze.
264

More so with your free will
and your condition so free,
when you find who will love you
perhaps you will find whom will forget you.

Today it is your turn, girl,
whims [of] love;
look how you dance
when the music changes.

Little stanza
Usually love has
a desire to dance,
and usually changes
the music of love;
whims of yesterday
are firmnesses today,
look how you dance
when the music changes.
There are two more available versions of the poetry, one in the Guerra manuscript, and
the other in Madrid, under M. 1262, f. 218v.

261
Directly translates to forget.
262
Arriaga, 249-50.
263
The plant.
264
The cold north wind finds it harder to move juncos than her fickleness.

95

46. Si quieres vivir

Si quieres vivir,
dolor a callar,
tormento a sufrir;
que el jemir
y el suspirar
es morir
y pareçe alentar.

Apaçible sentimiento
las ansias al pecho deja,
que aquel ayre deja queja
desayra el merecimiento,
y pues fallece el aliento
sin alibiar el sentir,
si quieres vivir
dolor acallar
tormento asufrir.

En su pasión reverente
muestra la verdad desnuda,
porque la pena más muda
fineza es más eloqüente;
no ay otro modo deçente
sin ofender ni arriesgar,
que el jemir
y el suspirar
es morir
y parece

alentar.

Tu padezer se reprima
sin que al lavio en quejas vaya,
que quanto en la voz desmaya
en el coracón anima,
y pues tu alivio lastima
más que su arpón puede herir,
si quieres vivir
dolor acallar
tormento asufrir.

En quien adora sufriendo
y su mal disimulando
If you want to live,
silence the pain,
suffer the torment,
for to moan
and to sigh
is to die,
and it feels encouraging.

Peaceful sentiment
leaves anxieties to the chest,
for that air leaves complaints
discourages merit,
and so hope dies
without healing the feeling.
if you want to live,
silence the pain,
suffer the torment.

In its reverent passion,
it shows the naked truth,
because the most muted pain
finesse is more eloquent;
there is no other decent method,
without offending or risking,
for to moan
and to sigh
is to die,
and it feels encouraging.

Your suffering is suppressed
without even reaching the lips as complaints,
that what faints in the voice
is animated in the heart,
and so your relief hurts
more than its
266
harpoon could wound,
If you want to live,
silence the pain,
suffer the torment.

In whoever adores suffering
and its bad cloaking

266
‘Su’ is possessive, so it’s not ‘the’ harpoon, it is someone’s or something’s harpoon; it could belong to suffering,
the speaker, or the one who caused the speaker’s pain.

96

ay un dolor que está hablando
todo lo que está sintiendo;
así publicar pretendo
mi respectivo adorar,
que el jemir
y el suspirar
es morir
y parece

alentar.
265

there is a pain that is speaking
everything that it is feeling;
publicizing it in this way, I pretend,
my respective adoration,
for to moan
and to sigh
is to die,
and it feels encouraging.

265
Arriaga, 251.

97

47. Pastores, saved que quiero

Pastores saved que quiero
y no me atrevo a explicar,
porque me an de haçer matar
en saviendo que me muero.

Coplas
Al çielo adoro, y si callo,
es atención y no miedo,
que solo temo sus rayos
por iras, no por incendios.

En el preçipiçio está
tan alto mi pensamiento
que de urna y solio le sirve
toda la región del fuego.

Ni a la pena que me aflige
pudiera ygualar el premio,
porque pasa mi delito
mas allá de mi deseo.

Sólo en mi afecto se va
sin obligaçión mi afecto,
que sea la adoraçión
prinçipio del sacrilegio.

Quiero quejarme, y el ¡ay!
267

no se atreve a lo que quiero,
y es que asta el común alivio
tiene a mi pena respeto.

También me niega el amor
el sagrado de su templo
porque ni entre milagros
hallen disculpas mis yerros.

Pastores, no me entendéis,
y que no entendáis pretendo,
que será ariesgar mi juiçio
el publicar mi silençio.
268

Shepherds know that I love
and I do not dare to explain,
because they ought to kill me
in knowing that am dying.

The sky I adore, and if I keep quiet,
it is attention and not fear,
that I only fear its rays
for furies, not for fires.

In the precipice it is
so high, my thought,
that of urn and throne
269

all the region of fire serve it.

Nor the pain that afflicts me
could equal the prize,
because my offense passes
beyond my desire.

Only in my affections does it go
without obligation, my affection,
may adoration be
the principle of sacrilege.

I want to complain and this pain!,
does not dare [to come out] the way I want it to,
and it is that even the common relief
has respect for my pain.

Love also denies me
the sacredness of its temple,
because not even in miracles
could my irons find apologies.

Shepherds, do not understand me,
and I pretend not to understand,
for it would risk my reason,
to publicize my silence.

267
A cry of pain, or from a sudden realization; ‘oh.’
268
Arriaga, 252.
269
By saying his thought serves as urn and throne, he turns it into something sacred.

98

48. Del amor las mudanças de Menga

Del amor las mudanças de Menga
a Favio, su esposo, tristeças le dan,
y en sus penas, elige la ausencia:
corto remedio, larga enfermedad.

El baylar con todos Menguilla
sólo es porque se puede encontrar
con un son que el amor la repique,
donde mudanças no puede formar.

Este bayle que a todos agrada,
aunque ninguno le pueda hazertar,
alternando en sus bueltas le dejan
unos por otros para descansar.

Si la dizen que bayle despaçio
ella responde que no puede más,
que el pandero de Favio la obliga
y el cascavel del qualquiera galán.

¡O, bien ayan los Favios y Mengas
que a qualquier son procuran baylar,
y en paçífico acorde instrumento
forman el bayle con comodidad!

Estribillo
¡Ay, que se ausenta,
ay, que la deja,
ay, que se va!
Si çelosos despechos le llevan
despechos çelosos le bolberán.
270

The whims of love of Menga
bring sadness to her husband, Fabio,
and in his pains he chooses abscense,
short relief, long illness.

To dance with everyone, Menguilla,
is only because you can find her
with a song that love peals
271
for her,
where whims cannot form.

This dance that pleases everyone,
although no one can get it right,
alternating in its turns they leave it
one for others in order to rest.
272

If they tell her to dance slower
she responds that she cannot anymore,
that Favio’s tambourine forces her
and the jingle-bells of any gallant.

Oh! Well will they find, the Favios and Mengas,
that to any song they procure to dance,
and in [the] peaceful accord instrument,
they comfortably form a dance.

Oh! That he makes himself absent,
Oh! That he leaves her.
Oh! That he is leaving.
273

If jealous spite take them,
spiteful jealousy will turn them.

270
Arriaga, 252-3.
271
Peal: loud ringing of a bell or bells.
272
Could either refer to the dance, or the young woman.
273
This ‘Oh!’ section here can play out in different ways. There is no ‘he’ in the original poetry, just a vague regard
for something leaving her ‘la deja,’ and for something leaving elsewhere ‘se va.’

99

49. Al son de los arroyuelos

Estribillo
Al son de los arroyuelos
cantan las aves de flor en flor
que no ay más gloria que amor
ni mayor pena que çelos.

Coplas
Por estas selbas amenas,
al son de arroyos sonoros,
cantan las aves a coros
de çelos y amor las penas;
suenan del agua las venas,
instrumento natural,
y como el dulce cristal
ba desatando los yelos,
al son de los…

Arroyos mormuradores
de la fé de amor perjura
por hilos de plata pura
ensartan perlas las flores;
todo es çelos, todo amores,
y mientras que lloro yo
el agua que amor me dió
de sus çelosos desvelos,
al son de los…
274

To the music of the rivulet
275

sing the birds from flower to flower,
for there is no more glory than love,
nor greater grief than jealousy.

Through these balmy jungles,
to the music of the sounding rivulets,
sing the birds in choruses
the pains of jealousy and love;
the veins of the water sound,
[as a] natural instrument,
and like the sweet crystal,
it-goes loosening the ice.
to the music of…

Murmuring streams
of the faith of love it perjured,
through threads of pure silver
flowers thread pearls;
276

everything is jealousy, everything [is] love,
and whilst I cry
the water that love gave me
from its jealous wakefulness,
to the music of…

274
Arriaga, 253.
275
Rivulet: a very small stream.
276
Flowers are threading the pearls using silver string.

100

50. Yo la vi que por mí llorava

Yo la vi que por mí llorava
a la niña abrasada de amor,
mas después que por ella me muero,
ella ríe y lloro yo.

Yo la vi que, navegando
en el mar de amor y çelos,
naufragavan sus desvelos
en perlas que iva llorando;
dulçemente suspirando
al fiero mar se entregó,
mas después [que por ella me muero
ella ríe y lloro yo.]

Yo la ví, esperando el día,
dar a la aurora arrevol
quando de çelos el sol
sus luçes obscureçía,
y en su rostro amaneçía
si en el alma anocheció,
mas después [que por ella me muero
ella ríe y lloro yo.]

Yo la ví con tal desbelo
que sólo de amor vivía;
277

su más ardiente porfía
era acreditar su çelo;
desconfianza y reçelo
mi lucha en su afecto vió,
mas después [que por ella me muero
ella ríe y lloro yo.]

Yo la ví, siendo el primor
del afecto más constante,
falsear en su semblante
las armas del pundonor,
y con las flechas de Amor
ella misma se ofendió,
mas después…
278

I saw that she was crying for me,
the girl hugged by love,
although later on I die for her,
she laughs and I cry.
279

I saw her navigating
in the sea of love and jealousy,
her anxieties sinking,
in pearls that she was crying;
sweetly sighing
to the fierce sea she submitted herself.
Although later on for her I die,
she laughs and I cry.

I saw her waiting for the day
to give the dawn arrival,
when of jealousy the sun
the light, it darkened,
and in her visage the dawn came,
if in the soul, night fell.
Although later on for her I die,
she laughs and I cry.

I saw her with such sleeplessness,
that only love sustained her,
her most ardent obstinacy,
was to give credit to her jealousy;
distrust and suspicion
my fight in her affections I saw.
Although later on for her I die,
she laughs and I cry.

I saw her being the best example
of affections most constant,
to fake in your facade
the weapons of pride,
and with arrows of Love
she offended herself.
Although later…

277
Directly translates to ‘that only of love she lived.’
278
Arriaga, 254.
279
Although he gives in to her crocodile tears and gives her everything she wants as implied by ‘por ella me muero,’
after she has gotten her way, she laughs and he cries, because she is not sincere in her affections for him.

101

51. Menguilla, yo me muriera
280

Menguilla,
281
yo me muriera
de buena gana
282
a tu çeño,
283

mas temo que no as de hazerme
ni aun onrras después de muerto.

Si es discreçión el morirse
de la herida de un despreçio,
284

permíteme que sea vovo
el rato que no me muero.

La mitad me moriré,
si gustas, por tus despegos,
si

esto de morirse todo
no me puede hazer provecho.
285

Ésto no, con tu liçencia,
bueno está, niña, lo bueno,
286

y me estoy muriendo ya
de ver que bendrás en ello.

Pero no as de venir,
Menguilla, en este conçierto,
porque si das en matarme
lo as de lograr, y no ay medio.

Si yo muriera en tu graçia
sí moría muy contento
porque, de tejas
287
abajo,
eres del amor el çielo.
288

Menguilla, I would die
willing at your scornful-gaze,
more do I fear that you do me
no honors after I have died.

If it is discretion to die
from the wound of a disdain,
permit me to be a fool
the while that I do not die.

Half of me will die,
if it pleases you, from your detachment,
since this of dying completely
can do me no good.
292

That this is without your permission,
enough is enough girl,
and I am dying already
to think you will agree to it.

But do not come,
Menguilla, to this gathering,
because if you are to kill me,
you might achieve it, and there’s no middle-ground.

If I died in your graces
I would die happily,
because from the ceiling down,
you are the heavens of [my] love.

280
Dr. Rubén López-Cano has an in depth analysis of this piece in his thesis in Spanish on page 896.
281
Endearing nickname for a woman called Dominga; farmer or shepherdess.
282
To do something with positivity, or a good air; the opposite ‘mala gana’ is to do something almost grudgingly, or
while complaining, making it obvious that they really don’t want to do it.
283
A signal made with the eyes. Scowl; frown.
284
A disdainful gesture that devalues victim. See preface.
285
Provecho: a resulting beneficial or positive effect; advantage.
286
Sarah Cary Becker and Federico Mora, Spanish idioms with their English equivalents, embracing nearly ten
thousand phrases (Boston: Ginn, 1899), 96. Idiom for enough is enough.
287
Roof tiles.
288
‘Cielo’ is a term of endearment, and it’s curious to see how effectively the author knits it into the poem. Of love,
the young woman is his sky, and he juxtaposes that to his roof; he means that her love is his roof, his shelte r, and his
everything, so it felt appropriate to translate as heavens.
292
Lines 3-4 in couplet 3 directly translate to ‘since ‘this’ of dying completely can do me no advantage.’ This is
satire; he pokes fun at dying completely. This is probably ridiculing or making a spin on contemporary poetic
constructs where the men ‘die’ out of love or rejection, examples of which are abundant in this manuscript.

102

El matar adredemente,
eso lo haçe un veneno,
un puñal, un susto, un ayre,
289

y no eres tú nada de esto.

Estribillo
Ni yo de aquellos de andar cada día
cátale vivo y cátale muerto,
290

que de una vez quiero saver lo que vivo
y saber lo que muero.
291

To kill deliberately,
that’s done by poison,
by dagger, by fear, a draft,
and you are none of this.

I’m not like others that wander about every day,
by your example I live and by your example I die,
for once, I would rather know [for] what I live,
and know [for] what I die.

This is a satirical love poem; the speaker preaches his love and infatuation about a
woman he nicknames Menguilla. Metaphors of death are present in every stanza, which stem
from her disdainfulness or rejections. The tone of the poem is satirical, and quite humorous, as
the selection of words that he uses to describe the relationship between the two is clearly one
sided. He desperately wants her affections while trying to retain his pride as a man that does not
want to bend over for her, but at the same time we can see him going back and forth in every
copla trying to figure out how and where to make his stand. In the end, he comes to terms with
the fact that his affections, while recognized, will not be reciprocated in the way he expects. He
decides that while he will continue to seek her affections, he will get a definitive answer to where
he stands in this matter.

289
‘An air’; a phrase that can mean a series of medical conditions caused by a sudden change in temperature that
can lead to bronchial spasm, bilateral paralysis of the face, neck, and torso, and other unpleasant experiences.
290
Unsure of what this phrase truly implies.
291
Arriaga, 255.

103

Translated Document Appendix

The following table are records from the Royal Palace, and Royal Chapel. These were translated
from Spanish from Arriaga’s own document appendix in his Anthology. He has transcribed these
documents directly and provides his own edits to improve the legibility of the text.

Joseph Marín fue recibido por cantor tenor en
11 de diziembre de 644 y en primero de henero
de 648 le hizo su Magestad merced de otra
plaza ordinaria por vía de aumento.
E-Mpa, Expedientes personales,
Caja 633/19, 3
v
.
293

89. Joseph Marín, treinta mil ciento y
cinq[uen]ta y un m[a]r[avedíe]s, los catorze
mil y quatrocientos de gaxes y novezientos y
noventa y uno de resto de distribuciones que
ganó hasta fin del primer tercio del año de
seiscientos y quarenta y siete, y los catorze mil
stezientos y sesenta de los gaxes de la plaza
segunda que goça por vía de aument, del
segundo tercio de seiscientos y quarenta y
ocho.
Joseph Marín [rubricado]; 30,151
[maravedíes]. Son 886 R.[eal]es. [y] 27
m[a]r[avedíe]s.
Nomina de los criados de la R[ea]l Capilla de
su Mag.[esta]d y lo q. a cada uno toco en el
tercio primero de 648.
E-Mn,
ms. 14018
19
(10), f. 11.
294

M[adri]d a 18 de hen[er]o de 1649
Descreto de su M[a]g[esta]d con vn
mem[oria]l de Joseph Marin, cantor de la
R[ea]l Capp[ill]a
Vereis el memorial incluso de Juseph marin
que me sirue en mi real capilla en que pide
trecientos ducados de pension eclesiastica y
me diréis lo que se os ofreciere y paraciere
cerca dello.

Joseph Marín was received as a tenor on
December 11, 1644, and on the first of January,
1648, His Majesty awarded him a raise.
Archivo Geleral de Palacio, Palacio Real,
Personal records,
Box 633/19, 3
v
.

89. Joseph Marin, thirty thousand and one
hundred and fifty one maravedíes, the fourteen
thousand and four hundred of wages and nine
hundred and ninety one of the rest of his
distributions that he earned until the end of the
first term of the year of 1947, and the fourteen
thousand seven hundred and sixty of wages of
his raise that he earned of the second term of
1648.

Joseph Marín, rubricated; 30,151 maravedíes.
They are 886 reales and 27 maravedíes.

Appointed servants of the Real Capilla of His
Majesty and what each earned in the first term
of 1648.
National Library of Madrid,
ms. 14018
19
(10), f. 11.

Madrid, January 18, 1649
I [ask for the] discretion of His Majesty with a
memorial of Joseph Marin, singer of the Real
Capilla.
[Here] you will see the memorial included
from Juseph Marin who serves me in my Real
Capilla in which he pleads for 300 ducats as
ecclesiastical pension and you will tell me
what you will offer him and I will respond to
him.

293
Arriaga, 285.
294
Ibid.

104

M[adri]d. 18 de hen[er]o 1649. Al Patriarca

Señor:
Jusepe Marin, criado de V[uestra] Mag[esta]d
en su R[ea]l Capilla dice que ha que sirve a
V[uestra] Mag[esta]d seis años con mucho
gusto y con grande necesidad, con
obligaçiones, assi por lo poco que goça, como
por las dilaçiones de las pagas viendose
apretado, sin tener que comer, tomo, ocasion
della para hazer el viaxe que intento a las indias
y teniendo notiçia que V[uestra] Mag[esta]d
era servido le sirviese a buelto con mucho
gusto de servirle y p[ar]a continuarlo le
supp[li]ca le haga m[e]r[ce]d de 300 d[ucad]os
de pension ecc[lesiástic]a que en ello
R[ecibir]a M[e]r[ce]d

Señor:
Jusepe Marin criado de V Mag.d
Supp[li]ca a V[uestra] Mag[esta]d Le haga
m[e]r[ce]d de 300 du[cad]os de pension
eclesiástica en consi[deraci]on de sus seruiçios
y necess[ida]d”
E-Mpa, Capilla Real,
Caja 120, leg. 1.
295
Madrid. January 18, 1649. To the Patriarch

Sir:
Joseph Marín, servant of Your Majesty in your
Real Capilla, said that he has served Your
Majesty for six years with pleasure and with
great necessity, with obligations, due to his
meager earnings,
296
seeing himself tight from
the delays of his payments, he took, the
occasion from this to make that trip he
attempted to the Indies and given the news that
Your Majesty was served he would again serve
you with pleasure and to continue he pleads
from your favor an ecclesiastical pension of
300 ducats for through it he will receive [your]
favor.

Sir:
Jusepe Marin, servant of Your Majesty pleads
that His Majesty gives him mercy of 300
ducats of ecclestical pension in consideration
of his services and necessities.

Archivo Geleral de Palacio, Capilla Real,
Box 120, leg. 1.

Jeronimo de Barrionuevo’s Avisos

[C]XXV.
Fuga intentada del ladrón Marín.
Madrid y Noviembre 1 de 1654.

“Marín se quiso salir de la cárcel, por haberle
el platero monedero falso culpado en que le
llevó el hurto para que lo deshiciese. Lunes 30
del pasado, lo intentó a medianoche por las
necesarias y corral, con escalas y garabatos.
Esperábale su madre, en la calle con una criada
cargada de armas, y ella de doblones. Salieron
CXXV.
The thief Marín attempted to escape prison.
Madrid, November 1, 1654.

Marin tried to escape prison, for having the
silversmith falsely blamed when he took him
stolen goods to get rid of. Last Monday the
30th, he attempted it in the middle of the
night... his mother was waiting for him on the
road with a maid that was carrying arms, and
herself with doubloons. The jail-keepers went

295
Ibid.. Arriaga writes that we do not know if the 300 ducats were awarded to Marín or not, since he has yet to find
a reply from the patriarch.
296
The Spanish for ‘por lo poco que goça’ or ‘goza,’ means that he enjoying himself with what little he has; it
implies that he makes do with the little he earns.

105

los porteros y la cogieron en volandas, y dieron
con él en un retiro y con todo cuanto llevaba.
Todo pasa por acá desta suerte.”
297

Madrid y junio 21 de 1656:

Víspera del Corpus entraron ocho
enmascarados en casa de don Pedro de Aponte,
gran tahúr. Vivía en un jardín suyo al Hospital
General, junto a la Galera de las mujeres, y le
pidieron por una lista que llevaban todo cuanto
tenía: 200 doblones de a 8; 4.000 reales de a 8
más, entalegados, cadenas, sortijas, joyas; en
efecto, de 12 a 14.000 escudos. Han preso
algunos caballeros mozos. Tiénese por cierto se
han descubrir, por ser muchos los que andan en
la danza.
298

CXLVII.
Prenden á los que robaron á D. Pedro de
Aponte.
Madrid y Junio 28 de l656.

Ya están presos los que hicieron el hurto de
Don Pedro de Aponte. Son tres capitanes de
caballos y dos clérigos; el uno se llama Jusepe
Marín, músico de la Encarnación, el mejor que
hay en Madrid, el que mató a D. Tomás de
Labaña y se fué a Roma, donde se ordenó. El
otro clérigo se llama Diamante, hijo de un
mercader rico, y con ellos D. Francisco de
Mendoza y un criado suyo, que ya el robo se
tiene por el mayor lustre de la sangre, si bien
aun en esto es menester ventura y maña, y los
famosos y que mejor se saben aprovechará pie
quedo, por eminentes en su oficio, son
estimados, teniendo en esta vida todo cuanto
desean. Lo que en la otra será, Dios lo sabe.
299

after them, and caught her quickly, and found
him in a retreat with everything he had took
with him. Everything happens over here by this
luck.

Madrid, June 21, 1656.

On the eve of Corpus [Christi], eight masked
men entered the home of Don Pedro de Aponte,
a great gambler. He lived in a garden of his
next to the General Hospital, and adjacent to
the women’s Prison, and they asked him for a
list since they took with them everything he
had: 200 doubloons of 8; 4,000 reales of 8
more, and stuffed into a large sack bag, chains,
rings, jewels; in all, from 12 to 14,000 escudos.
They have imprisoned some young men. Keep
yourself ascertained that they will be exposed,
because there are many involved.

CXLVII.
They caught those who robbed D. Pedro de
Aponte.
Madrid, June 28, 1656.

Those who robbed D. Pedro de Aponte are
finally imprisoned. They are three captains of
horses and two clerics; one is called Jusepe
Marín, musician of the Incarnation, the best in
Madrid, who killed D. Tomás de Labaña and
left to Rome, where he was ordained. The other
cleric is called Diamante, son of a rich
merchant, and with them D. Francisco de
Mendoza and one of his servants; already the
robbery is being held by the highest luster of
blood; still, in this endeavor, venture and skill
were necessary, and the famous ones that we
know well will take advantage [of their
situation] without moving a step, for they are
eminent in their offices, they are esteemed, and

297
Barrionuevo, Tomo I, 121-122.
298
Ibid., Tomo II, 437. Entalegalar: to put into a talego or large sack bag. ‘En la danza,’ or ‘in that dance,’ is a
colloquial term to refer to someone or a group of individuals who are involved in a suspicious turn of events.
299
Ibid., 443-444.

106

CLVI.
El músico Marín y Diamante en el tormento.
Madrid y Septiembre 20 de 1656.

Dieron tormento a Marin, músico de la
Encarnación, por el hurto de D. Pedro de
Aponte. Sufrió cuatro vueltas y dos garrotes en
los muslos, y tuvo tieso, y á Diamante de hoy a
mañana espérase le darán. El mundo está de
suerte que, si no es robando, no se puede vivir,
y sólo lo pagan los ladroncillos y rateros, que
los peces grandes rompen la red y salen y
entran cuando se les antoja, sin que para ellos
haya puerta ni bolsa que no esté patente.
300

Diamante en el tormento: otros castigos á los
que robaron á D. Pedro de Aponte.

Anoche dieron tormento á Diamante, clérigo,
el guapo y crudo de la Puerta del Sol. Negó
como Marin, habiéndole dado otras cuatro
vueltas y dos garrotes á los muslos. Hoy han
ido á visitarle todos los temerarios, y á D.
Francisco de Mendoza le han condenado en
diez años de galera al remo, sin sueldo, y á D.
José de Villanueva en otros diez al Peñón. Á
Montemayor, criado del Almirante, le dieron
por libre, y á una mozuela, llamada Luisilla,
que le dio á D. Francisco de Mendoza las joyas
de la de Villahermosa, á la Galera por seis años.
Toda esta gente se halló en el hurto de D. Pedro
de Aponte, de que no ha parecido nada, siendo
el hurto de más de 12.000 ducados, fuera de las
joyas, que son poco menos. Dícese echarán los
clérigos á galeras, y á bien escapar, de los
reinos, que Marin tiene tres ó cuatro muertes, y
entre ellas la de Don Tomás de Lobaña, y
Diamante más.”
301

have in this life everything that they desire.
What in the other will happen, God knows.

CLVI.
The musician Marín and Diamante tortured.
Madrid, September 20, 1656.

They tortured Marin, musician of the
Incarnation, for the robbery of D. Pedro de
Aponte. He suffered four turns and two
garrotes to the thighs, and he was stiff,
306
and
just wait, today or tomorrow Diamante will get
his turn. The world is in such luck that, if not
thieving, there’s no way to live, and only petty
thieves and filchers pay for it, that the big fish
break the net and leave and enter as they please,
that to them there is no door or bag that is
patented.

Diamante tortured: other punishments to those
who robbed D. Pedro de Aponte.

Last night he was tortured, Diamante, cleric,
the handsome and crude one from Puerta del
Sol. He denied everything, like Marin, after
receiving another four turns and two garrotes
to the thighs. Today, his fellow thieves went to
visit him, and D. Francisco de Mendoza has
been condemned to 10 years rowing in the
galleys, without pay, and D. José de Villanueva
another 10 at Peñón. Montemayor, servant of
the admiral, has been freed, and a young
woman, called Luisilla, who gave D. Francisco
de Mendoza the jewels of the villa, to the
galleys for six years. All these people were
deemed to be part the theft of D. Pedro de
Aponte, from which nothing has resurfaced, it
being a theft of more than 12,000 ducats, not
counting the jewels, which were worth a little
less. It’s said that the clergymen will go to the
galleys… Marín has three or four deaths,
including D. Tomás de Labaña, and Diamante

300
Barrionuevo, Tomo II, 531.
301
Ibid., 534-35.
306
He did not confess to his crimes or reveal the location of the stolen goods.

107

CLVII.
Sentencia de Marín el músico.
Madrid 27 de Septiembre de 1656.

Sentenciaron á Marin el músico en suspensión
de órdenes y destierro por diez años; y si lo
quebrantare, á un castillo cerrado de África
donde vaya á entretener y enseñar á cantar á la
mora Arlaja. Conoció de él D. Pedro de
Velasco, juez de la Capilla, y se cree hará el
Vicario lo mismo de Diamante, si bien se le han
arrimado no sé qué muertes no muy bien
hechas de sopetón
302
, como llaman los
crudos.
303

CLXX.
Libertad á los presos por el hurto de Aponte:
dura prisión de Marín.
Madrid y Diciembre 27 de 1656.

A todos los presos del hurto de Aponte,
condenados en diferentes penas de galeras,
presidios y dinero, les han soltado libremente,
y á Marin le tienen en una torre de la cárcel de
corte, en el chapitel, en lo más estrecho, que
apenas cabe un hombre, con unos grillos de 40
libras y una cadena de cuatro arrobas,
enjaulado como pájaro, para que con la dulce
voz que tiene pueda entretenerse cantando; y se
dice que, á buen librar, le enviarán á galeras
perpetuas, si no le dan algún garrote, por la
muerte de D. Tomás de Labaña y otros muchos
delitos que tiene hechos.
304

even more.

CLVII.
The sentence of Marín, the musician.
Madrid, September 27, 1656.

They sentenced Marin, the musician:
suspension of [holy] orders and exile for 10
years; and if he breaks it, to a castle-prison in
Africa, where he will go entertain and teach
singing to Arlaja the moorish-woman. Don
Pedro de Velasco, judge of the Capilla, met
him, and thinks that the Vicar will do the same
with Diamante, if well they have estimated [his
number of deaths] I do not know how many
murders not well done and in a hurry, as those
who are crude call them.

CLXX.
Freedom to the prisoners of the Aponte
robbery: difficult imprisonment of Marín.
Madrid, December 27, 1656.

All the prisoners from the Aponte robbery,
sentenced to different penalties in the galleys,
imprisoned or fined, have been released freely,
and as for Marín, they have him within a tower
in the prison of Corte, in the spire, in the
narrowest space, that scarcely fits a man, with
shackles weighing 40 pounds, and a chain of 4
arrobas [or 100 pounds], caged like a bird, so
that with his sweet voice he can entertain
himself singing; and it’s said that as soon as
he’s released they’ll send him to the galleys
perpetually, if they don’t garrote him for the
death of D. Tomás de Labaña and the many
other crimes he’s committed.

302
Hechas de sopetón is an idiom; to do something quickly and carelessly. Barrionuevo means that those who refer
to deaths as such are crude.
303
Barrionuevo, Tomo II, 547.
304
Jeró nimo de Barrionuevo, Avisos de don Jeró nimo de Barrionuevo (1654-1658) Tomo III, Ed. by A. Paz y Meliá
(Madrid: Printed by M. Tello, 1892), 138-39.

108

CLXXXV.
Prisión de un clérigo, ladrón sacrilego, y del
licenciado Agüero: acógese á un asilo Marín el
músico.
Madrid y Junio 2 de 1657.

“Han preso en Valladolid á Juan Gómez,
clérigo valentísimo, hombre de muchas
fuerzas, que fué el que hurtó aquí el copón de
San Marcos del Santísimo Sacramento, famoso
ladron, y con él al licenciado Agüero, hombre
insigne también en el arte de la garduña.
Dejólos culpados el platero que quemaron los
días pasados por monedero falso. Han ido por
ellos, y en sabiéndolo Marin el músico, que
estaba desterrado y andaba aquí encubierto, se
ha acogido, porque no canten mejor que él en
el potro, y por su causa no le venga algún
aprieto de garganta.”
305

CLXXXV.
Imprisonment of a cleric, sacrilegious thief,
and of the licensed Agüero: Marín the musician
has sought asylum.
Madrid, June 2, 1657.

In Valladolid, they have imprisoned Juan
Gómez, courageous clergyman, a man of many
strengths, who was the one who stole the
ciborium of Saint Mark of the Blessed
Sacrament here, famous thief, and with him the
licensed Agüero, a distinguished man also in
the art of the garduña.
307
The silversmith that
was burned some days ago for having
distributed the stolen money left them accused.
They have gone after the two men, and in
knowing this, Marín, the musician, who was
exiled and was going about here undercover,
has sought asylum, because no one sings as
well as he on the torture table, and for his cause
let no tightness of the throat
308
get to him.”
309

Extra
Gaceta de Madrid del mártes 17 de Marzo de
1699.—Murió D. José Marin, de edad de
ochenta años, conocido dentro y fuera de
España por su rara habilidad en la
composición y execucion de la música.
310

Don Joseph Marin clerigo Presbitero,

Parrochiano calle del postigo de S.
n
Martin,
Cassas en que viue Juan Narro soldado de la
guarda, rezibio los s.
tos
Sacramentos, murió
abintestato En 8. de Marzo de 1699.
Madrid Gazette from Tuesday, March 17,
1699.—José Marín has died, at age 80, known
within and outside of Spain for his rare
abilities in the composition and execution of
music.

Don Joseph Marín, presbyter clergyman,
parishioner, Postigo de San Martin street,
313

Houses in which lives Juan Narro, soldier of
the guard, received his sacred rites, he died ab
intestato
314
on March 8, 1699.

305
Jeró nimo de Barrionuevo, Avisos de don Jeró nimo de Barrionuevo (1654-1658) Tomo IV, Ed. by A. Paz y Meliá
(Madrid: Printed by M. Tello, 1892), 288-89.
307
Garduña today refers to a beech marten, a mammal indigenous to Spain and most of Europe that looks like a
weasel, but it also refers to a secretive criminal society that saw its roots with the Spanish Inquisition under the rule
of Ferdinand II in the middle ages. See The Secret Societies of All Ages and Countries, Volume 1 by Charles
William Heckethorn, page 260.
308
Aprieto de la garganta is a Spanish saying that describes someone who is very stressed and worried.
309
Cotarelo y Mori.
310
Saldoni y Remendo, 82.
313
The street called Calle del Postigo de San Martin is a short section of housing just blocks away from his
workplaces decades earlier: the Royal Palace of Madrid and the Royal Monastery of La Encarnación.
314
Without a will.

109

Enterrosse en S
n
Martin Con lizenzia del S.
r311

vicario Pago a la f.[ábric]a 143 [reales].
312

He was buried in San Martin with the license
of the vicar, He paid the factory 143 reales.

311
S.
r
is short for señor, which means Mr. or sir.
312
Arriaga, 286.

110

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Abstract (if available)

Abstract José Marín has been well researched for the past couple decades in the Spanish language, but his English scholarship is lacking. This thesis seeks to contribute to the English scholarship of Marín by translating the majority of his music (51/75) in one readily accessible document and clarify interpretive elements. Four pieces will be chosen to analyze his musical techniques, observe how they enhance the text, and give readers an idea of what to look for in performing the rest of his repertoire. It is my hope that with my contribution, Marín’s works will be more widely discussed and performed in the English-speaking community.

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Asset Metadata

Creator Hernandez, Maria De Los Angeles (author)

Core Title José Marín and a translation of the texts in MU MS 727

School Thornton School of Music

Degree Master of Arts

Degree Program Early Music Performance

Publication Date 08/13/2018

Defense Date 08/13/2018

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 17th century,early music,José Marín,Manuscript,Marin,MS 727,MU MS 727,Music,OAI-PMH Harvest,Spanish,tono,tono humano,tonos humanos

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Gilbert, Adam Knight (committee chair), Gilbert, Rotem (committee member), Yoshida, Jason (committee member)

Creator Email hernanmd@usc.edu,pikameiser@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-66423

Unique identifier UC11671446

Identifier etd-HernandezM-6736.pdf (filename),usctheses-c89-66423 (legacy record id)

Legacy Identifier etd-HernandezM-6736.pdf

Dmrecord 66423

Document Type Thesis

Format application/pdf (imt)

Rights Hernandez, Maria De Los Angeles

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA