D’UN SONET VAU PENSAN

(366.14)

MW, II, 17; Delius, p. 37.

			Tornadas
Order of stanzas	A	1 2 3 4 5 6 (a+b)	7	8
	IK	1 4 2 3 5 6 (a+b)	7	8
	N	1 4 2 3 5 6 (a+b)	8	7
	a	1 4 3 2 5 6 (a+b)	7	8
	C	1 4 3 2 5 9	6b	7
	T	1 9 2 4 5 3	-	8
	R	1 9 4 5 3	-	-
	PS	1 2 4 5 3	6b	7
	Q	1 2 4 3 5	6b	-
	G	1 2 3 4 5	6b	-
	E	1 2 3 4 5	7	6b
	D	1 2 3 4 5	-	7
	M	1 4 3 2 5	6b	7
	V	1 4 5 3 2	-	-
	F	2 3 4 5

The analysis of the stanza order reveals a complete lack of agreement with regard to the sequence of verses. The majority of the MSS. have only five verses with one or two tornadas; from the remainder two groups emerge, namely AIKNa and CRT. The MSS. of the first group each have the usual six verses and two tornadas; C and T each contain five, R four, of these verses, but they all introduce an extra verse (designated by the figure 9 in the above table). There is a certain similarity between the first two lines of this verse and ll. 5 and 6 of v. 2 and the stanza is probably a later interpolation. C, which lacks v. 6 (designated above by 6 (a+ b) to represent the two halves of the stanza) the second half (6b) as a tornada, following it by 7 but omitting 8; there is presumably a relationship between C and the other MSS. using 6b as a tornada, namely, EMPS, GQ (cf. also variants below). CRT are obviously interrelated in so far as they are the only MSS. containing v. 9-a possible explanation is that an early scribe overlooked the first half of v. 6, using the second half which would then appear as a tornada, and a later copyist thought to make good the deficiency of a verse by supplying stanza 9. In the line of tradition followed by C, the tornada 8 has been lost, due probably to the introduction of an extra tornada in 6b, but it is interesting to note that it has been preserved in T, which would appear to link this MS. with AIK.

There are no striking divergences to be observed among the readings, and classification is difficult. The group CRT is maintained with certain variations on the part of C and there is a strong link between V and RT (cf. 22, 25, 33, 39). IK seem to have some connection with these latter MSS. (cf. 11, 21, 23, 25, 27) although they stand with A in v. 6. ADEFG stand against the remaining MSS. in l. 34 and are in close agreement elsewhere; a is probably linked to C (cf. 11, 12, 19). On the whole, however, the variations are insufficiently important to reveal pronounced lines of tradition.

Six coblas unissonans with two tornadas, each of four lines: a b’ a b’ a c c a, lines of six syllables. Maus 270.

Musical setting: G 43 (Rmi, III, 412). See Appx. plate 2.

Base and Orthography: A.