Manuscritos e incunables en el entorno de los Reyes Católicos: el cancionero EM6. (Spanish)

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  • Author(s): LLUÍS MARTOS, JOSEP
  • Source:
    RILCE. Revista de Filología Hispánica; jan-jun2021, Vol. 37 Issue 1, p319-346, 28p
  • Additional Information
    • Alternate Title:
      Manuscripts and Incunabula in the Environment of the Catholic Kings: The cancionero EM6. (English)
    • Abstract:
      This work studies the external data and the internal ones of the cancionero EM6, which is an important novelty, having received very little codicological attention. This is the text of the so-called philology. This is, however, the starting point for a methodology that combines historiographical techniques with philological ones: the so-called material philology. Thus, the different sections of this cancionero are analyzed with ecdotic and philological criteria, from which the following is concluded: a) The textual stage of the Coplas de la vita Christi is immediately before its printed version and should be singled out in front of the testimony of the cancionero SA4a; b) the works that are copied next have differences of order, of duplicity and of mutilations with respect to the print form by Centenera in 1483, but they are undoubtedly a codex descriptus of this; c) it is delimited and confirms the materiality of the three printed sewn after Íñigo de Mendoza's cancionero, whose dating coincides with the period of Isabel as queen of Portugal; d) it is determined that, like the three printed forms incorporated into this manuscript, the copy of the Repertorio de los tiempos comes from the incunabulum printed by Fadrique de Basilea in 1493 and not the one produced by Juan de Burgos in 1495. As a main conclusion, this cancionero is framed in the environment of the Catholic Monarchs and is attributed to Martín de Mendieta, a chamber man of the queen and of the Princess Isabel, from whom he keeps part of her personal books a few years after her death. [ABSTRACT FROM AUTHOR]
    • Abstract:
      Este trabajo estudia los datos externos e internos del cancionero EM6, lo que supone una importante novedad, al haber recibido muy poca atención codicológica. Este es, sin embargo, el punto de partida para una metodología que combina las técnicas historiográficas con las filológicas: la llamada filología material. Así, se analizan las diferentes secciones de este cancionero con criterios ecdóticos y filológicos, de lo que se concluye lo siguiente: a) el estadio textual de las Coplas de la vita Christi es inmediatamente anterior a su versión impresa y debe singularizarse frente al testimonio del cancionero SA4a; b) las obras que se copian a continuación presentan diferencias de orden, de duplicidad y de mutilaciones respecto del impreso de Centenera de 1483, pero son indudablemente un codex descriptus de este; c) se delimita y confirma la materialidad de los tres impresos cosidos tras el cancionero de Íñigo de Mendoza, cuya datación coincide con el periodo de Isabel como reina de Portugal; d) se determina que, como los tres impresos incorporados a este manuscrito, la copia del Repertorio de los tiempos proviene del incunable impreso por Fadrique de Basilea en 1493 y no del producido por Juan de Burgos en 1495. Como conclusión principal, se enmarca este cancionero en el entorno de los Reyes Católicos y se atribuye a Martín de Mendieta, un hombre de cámara de la reina y de la princesa Isabel, de cuyos libros personales custodia una parte unos años después de su muerte. [ABSTRACT FROM AUTHOR]
    • Abstract:
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