In 14th- to early 16th-c. Sp. poetry the f. is the approximate equivalent of the remate (q.v.) of the later canción petrarquista . Lang says: “Like the Provençal tornada , the f. serves as a conclusion to a poem, and with the tornada and kindred forms, such as the envoi , the desfecha , the estribote and others, this stanza was originally, in all probability, a sequence to a musical composition. According to the Leys d’Amors , the tornada repeats in its rhyme-order the second part of the last stanza in case this has the same number of verses; otherwise it may have one verse more or less than the last half-stanza. In the Portuguese… the ƒ., which is regarded as essential to a perfect composition, may have from one to four verses, and must rhyme with the last stanza or, if the poem be a cantiga de refram , with the refrain. The practitioners of the Cancionero de Baena (ca. 1450) appear to have followed the example of the Provençals and Catalans.”—H. R. Lang, “Las formas estróficas y términos métricos del Cancionero de Baena,” Estudios eruditos “in memoriam” de Adolfo Bonillay San Martin , ?.
User Comments Add a comment…