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JOAO See also: troubadour of the See also: time of See also: King
See also: Alphonso III., who is supposed to have been the, first to reduce into See also: prose the See also: story of Amadis de Gaula (q.v.)
.
D
.
Carolina See also: Michaelis de Vasconcellos, in her masterly edition of the Cancioneiro de Ajuda (See also: Halle, 1904, vol
.
1. pp
.
523-524), gives some See also: biographical notes on Joao See also: Lobeira, who is represented in the Colocci Brancuti Canzoniere (Halle, 188o) by five poems (Nos
.
230.233)
.
In number 230, Joao Lobeira uses the same ritournelle that Oriana sings in Amadis de Gaula, and this has led to his being generally considered by See also: modern supporters of the Portuguese See also: case to have been the author of the See also: romance, in preference to Vasco de Lobeira, to whom the prose See also: original was formerly ascribed
.
The folklorist A
.
See also: Thomas Pires (in his Vasco de Lobeira,
See also: Elvas, 1905), following the old tradition, would identify the novelist with a See also: man of that name who flourished in Elvas at the dose of the 14th and beginning of the 15th century, but the documents he publishes contain no reference to this Lobeira being a man of letters
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