The Poetry of Nicolás Núñez

NOTES

• Prison, xxx. See also his ‘Nicolás Núñez's Continuation of the Cárcel de Amor (Burgos, 1496)', in Studies in Spanish Literature of the Golden Age Presented to Edward M. Wilson, ed. R. O. Jones (London: Tamesis, 1973), 357–66, at 359.
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• I follow recent practice in citing cancioneros by the abbreviations, and poems by the numbers, assigned to them in Brian Dutton et al., Catálogo-índice de la poesía cancioneril del siglo XV (Madison: HSMS, 1982).
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• For material printed after Dutton's terminus ad quern of 1520 I refer to Antonio Rodríguez-Moñino, Diccionario bibliográfico de pliegos sueltos poéticos (siglo XVI) (Madrid: Castalia, 1970), and to his Manual bibliográfico de cancioneros y romanceros impresos durante el siglo XVI, 2 vols, ed. Arthur L.-F. Askins (Madrid: Castalia, 1973–74).
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• El humanista español Alonso de Proaza (Valencia: Castalia, 1961), 177–78.
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• The Life and Works of Garci Sánchez de Badajoz (London: Tamesis, 1968), 207.
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• All quotations from 11 CG are from the facsimile, Cancionero general recopilado por Hernando del Castillo (Valencia, 1511), ed. Antonio Rodríguez-Moñino (Madrid: RAE, 1958). The quotation from the Prologue is on fol. +v.
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• 'The Cancionero Poet, Quirós', unpublished MA dissertation, Westfield College, University of London (1969), 11.
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• The unique copy is in the British Library (IA 53247). Nicolás Núñez's romance is edited by Whinnom in Dos opúsculos, and is translated in Prison. The spelling Niculás may be a legitimate variant rather than a mere printing error: it is found in the rubrics to poems A35 and B2, below, and in the list of ‘Los autores cuyas obras van en este cancionero’ (11CG, fol. +8v, col. 3).
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• Poesía, 46. The equivalence of letra (Nicolás Núñez's term) and invención is not, it now seems, exact: see the introduction to Joaquín González Cuenca's forthcoming book, Ceremonial de galanes: primera rebusca de invenciones y letras de justadores, which he generously allowed me to consult in typescript. He classifies Nicolás Núñez's as invenciones, not letras, and edits them with notes. The classic published study of a group of invenciones is Francisco Rico, ‘Un penacho de penas: sobre tres invenciones del Cancionero general', RJ, XVII (1966), 274–84.
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• Dos opúsculos, 59. Whinnom annotates a number of the letras, 87–92; their frequently enigmatic nature is characteristic of the genre.
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• 'Manuscript Love Poetry of the Spanish Fifteenth Century: Developing Standards and Continuing Traditions', unpublished PhD thesis, University of Cambridge (1986), 175–81.
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• Here and in succeeding entries I give the rubric, first line, number of stanzas and/or lines, Dutton ID, textual source (the poem-number following is Dutton's if the source is inventoried in the Catálogo-índice), and details of modern reprintings. I supply accents, punctuation and capitals, and regularize the use of i/j and u/v, where necessary. Foulché-Delbosc published this poem in his Cancionero castellano del siglo XV, II, Nueva Biblioteca de Autores Españoles, XXII (Madrid: Bailly-Bailliere, 1915), no. 871, pp. 478–81.
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• Menéndez y Pelayo, Antología de poetas líricos castellanos, III, Edición Nacional de las Obras Completas de Menéndez Pelayo, XIX (Santander: CSIC, 1944), 173n. Lida, ‘La hipérbole sagrada en la poesía castellana del siglo XV’, RFH, VIII (1946), 121–30; repr. in María Rosa Lida de Malkiel, Estudios sobre la literatura española del siglo XV (Madrid: Porrúa Turanzas, 1977), 291–309, at 308.
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• ‘Las poesías de Suero de Ribera: estudio y edición crítica anotada de los textos', Miscellanea di Studi Ispanici 1968, Istituto di Letteratura Spagnola e Ispano-Americana, Collana di Studi, 16 (Pisa: Università, 1968), 5–138, at 29.
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• ‘Religious Elements in Fifteenth-Century Spanish Cancioneros’, unpublished PhD thesis, University of Cambridge (1985), 29.
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• Attributed to Tapia by Rodríguez-Moñino in the facsimile of 11CG, 163. This is clearly an error of transcription, not reflecting Rodríguez-Moñino's opinion. It is corrected by Roberto de Souza, in an article whose title conceals its very useful compilation of non-linguistic data: ‘Desinencias verbales correspondientes a la persona vos/vosotros en el Cancionero general (Valencia, 1511)', Fi, X (1964 [1966]), 1–95, at 35. The error does not recur in the Manual.
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• Martí de Riquer, Història de la literatura catalana, III (Esplugues de Llobregat: Ariel, 1964), 364.
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• Despite the claim of novelty made by the title, this mid-sixteenth-century cancionero still represents the court poetry of circa 1500. It is edited by Rodríguez-Moñino, Floresta: Joyas Poéticas Españolas, VII (Valencia: Castalia, 1956), and he discusses it (11CG facsimile, 33–38) and lists its contents (Manual, no. 94,1, 377–84).
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• ‘Interpretación’, 367. His comments are amplified in Poesía, 42–43 and 52–53.
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• Antonio Rodríguez-Moñino, Los pliegos poéticos de la Biblioteca Colombina (siglo XVI): estudio bibliográfico, UCPMP, CX (Berkeley: Univ. of California Press, 1976), no. 308, pp. 154–55.
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• A facsimile is published in Pliegos poéticos españoles en la Universidad de Praga, Colección Joyas Bibliográficas, Serie Conmemorativa, VII (Madrid: Dirección General de Archivos y Bibliotecas, 1960), I, pliego vii, pp. 54–55.
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• Suplemento al ‘Cancionero general’ de Hernando del Castillo (Valencia, 1511) que contiene todas las poesías que no figuran en la primera edición y fueron añadidas desde 1514 hasta 1557, ed. Antonio Rodríguez-Moñino (Valencia: Castalia, 1959), no. 208 (the numeration is continuous throughout the volume), p. 172.
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• British Library MS Add. 10431. Dutton's date of circa 1500 (Catálogo-índice, II, 233) is too early; it reflects the opinion of earlier scholars, including R. O. Jones, ‘Encina y el Cancionero del British Museum', Hispanófila, no. 11 (January 1961), 1–21: ‘un manuscrito de finales del siglo XV o principios del XVI’ (1). Patrick Gallagher argues persuasively (The Life and Works of Garci Sánchez de Badajoz, 3–5) for compilation after 11 CG, and his view is confirmed by Barry Ife, who transcribed the entire manuscript; it is to be hoped that his edition will soon be published. I am grateful to Professor Ife for information about the date, and to Professor Dutton for a preprint of a section of LB1 from his forthcoming edition and catalogue of cancionero poetry. My references to, and quotations from, LB1 are based on Dutton's edition of the poems that it attributes to Núñez.
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• Tratado I, Discurso 24 (‘De los conceptos por una propuesta extravagante, y la razón que se da de la paradoja’), Obras completas, ed. Arturo del Hoyo, 2nd ed. (Madrid: Aguilar, 1960), 346. Gracián's comment is: ‘La condicional tiene también aquí lugar con ventaja, y cuando parece que había de templar el exceso de la exageración, lo aumenta. Nicolás Núñez cantó…’ His attributions always derive—Dr Jane Whetnall points out to me—from 11CG's, so add no weight to those in the 11CG rubrics.
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• Hernando del Castillo, Cancionero general: antología temática del amor cortés, ed. Aguirre, Biblioteca Anaya, 92 (Salamanca: Anaya, 1971), 113–14. Burrus, ‘Poets at Play: Love Poetry in the Spanish Cancioneros', unpublished PhD thesis, University of Wisconsin-Madison (1985), 319–21.
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• This pliego is also described by F. J. Norton in Two Spanish Verse Chap-Books: ‘Romançe de Amadís (c. 1515–19), ‘Juyzio hallado y trobado’ (c. 1510), ed. F. J. Norton and Edward M. Wilson (Cambridge: Cambridge U.P., 1969), no. 60, p. 24.
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• Cancionero de poesías varias: manuscrito No. 617 de la Biblioteca Real de Madrid, ed. José J. Labrador, C. Ángel Zorita and Ralph A. DiFranco, Anejos del AFE, Textos, II (Madrid: El Crotalón, 1986 [1987]), 549. The MS has double foliation, the original being given first. This poem is omitted from Dutton's inventory of MP2 because it is in a series of XVIc compositions and was overlooked.
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• Antonio Rodríguez-Moñino, ‘El cancionero manuscrito de Pedro del Pozo (1547)’, BRAE, XXIX (1949), 453–509; XXX (1950), 123–46, 263–312, at XXIX, 484. Dutton does not inventory MR1 because of its late date; the number of the poem is Rodríguez-Moñino's.
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• This is not necessarily because Castillo knew of a third Núñez who was neither Nicolás nor Diego: the appearance in the list of ‘Los autores cuyas obras van en este cancionero’ of Niculás Núñez and Diego Núñez, but not of Núñez (surname only), may indicate that he was unable to decide which of the two (or three) poets of that surname had composed the ‘Núñez’ poems. See his admission of uncertainty quoted at 25, above.
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• El punto de vista narrativo en la ficción sentimental del siglo XV', in Actas del Primer Congreso de la Asociación Hispánica de Literatura Medieval (in press).
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• Convention and Revolt in Poetry, 2nd ed. (London: Constable, 1930, repr. 1938), 76–77.
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• I am very grateful to Dr Jane Tillier and Dr Jane Whetnall for their comments on a first draft, which have enabled me to fill gaps and correct errors. Neither of them, of course, has any responsibility for the opinions I express. While this article was at proof stage, Dr Whetnall drew my attention to a version of D4 (33, above) in Paris, École Nationale Supérieure des Beaux-Arts, MS Jean Masson 56 (PS1), the text of which was kindly supplied by Professor Brian Dutton from his forthcoming edition. This cancionero was copied in Portugal, with substantial orthographic effects. The estribillo and the first and last stanzas of the glosa, with some significant variants, form PS1 37 (fols 36v–37r); this version is anonymous.
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