Introduction

El libro de buen amor was written by Juan Ruiz in the 1300s. The exact year he wrote it is thought to be 1330, but this has not been proven. This is Juan Ruiz’s only book and his full title is the “Archpriest of Hita”. He lived during the struggle between a Christian and Moorish Spain. El libro de buen amor is one of the longest poems of the style ‘Clerical Art’, and it has 1,728 strophes. The style he used is characterized by the presence of strophes with four verses with consonantal rhyme. Most people assume that this is an autobiographical work about Juan Ruiz’s life, though this has not been confirmed. El libro de buen amor was written in the 14th century, which was a time of conflict between the Christian and Moorish forces during the Middle Ages.

The Middle Ages in Spain lasted from about the year 500 to 1492. Throughout this time, Spain went through many conquests from various groups of people. From Germans to Muslims, attempted conquering of Spain occurred many times during this period. Spanish history began with the Iberian Kingdom having control of the land. This kingdom belonged to the Arianist Visigoths, who were later converted to Catholicism with their king Reccared during the first century B.C. Muslim forces from Northern Africa, especially the Muslim Umayyad dynasty ignited a Muslim versus Christian war, which is known as the Reconquista, also known as the Reconquest. Christian and Muslim groups struggled for a long time and the border between the Christian and Muslim states changed constantly due to the fighting between them. Ultimately, Christian forces prevailed, and Spain is primarily Christian today.

There were also many dynastic struggles that were caused in part by differences in religion. However, there were also dynastic struggles within Spain’s Christian states. For example, the Crown of Aragon and Castile-León had many struggles against one another, in part due to dynastic rivalries. They were also sometimes caused because of disagreements over plots of land conquered or planning to be conquered in the south of Spain that was primarily Muslim.

Most people assume that El Libro de Buen Amor is an autobiographical account of Juan Ruiz’s life, but there is actually no supporting evidence for this claim. There are copies of a document that mentions Juan Ruiz but uses a different last name for him. This document consists of a dispute between the archbishop of Toledo and some parish priests from Madrid. The dispute refers to matters of penance within the church. There was a rebellion being planned, so the archbishop was trying the avoid that rebellion at all costs. The argument went on for many years but was finally resolved thanks to the decision of the canon of Segovia, which was witnessed by the Archpriest of Hita, or Juan Ruiz.

During this time, there was a lot of drama within the church. Different types and levels of priests were arguing over what each had the power to do. Many cases were seen by the papal court, including the priests from Madrid mentioned above, that eventually were excommunicated due to not following court protocol in a timely manner. Again, there were many conflicts not only across religions like Christianity and Islam, but even within Christianity itself. Many people and groups were excommunicated if they didn’t follow the church’s many strict rules. Juan Ruiz helped settled some of these disputes, by being a witness during the trial. This is where historians first see his name in any historical documents. Since his name is included, historians believe he was a real person, but are not completely sure about whether his stories in El Libro de Buen Amor are all actually true and are about him.

Assuming it was an autobiographical account, this would mean that Juan Ruiz studied in theology and science at Toledo and likely knew Arabic due to Moorish control over parts of Spain, Medieval Spanish, and Latin. During this time, many Spaniards learned Arabic due to Moorish control of parts of Spain. Due to his intellectual background, Ruiz likely studied many of the literary works of his time. This leads historians to believe that he may have fictionized parts of his story, using popular literary practices of the time.

Going off the story in El Libro de Buen Amor, Juan Ruiz was first awarded a bureaucratic position in the diocesan curia. Later he eventually worked as a personal secretary to Don Gil de Albornoz, Archbishop, and later Cardinal, of Toledo. Because of his background in this work he was later awarded the prestigious title of Archpriest of Hita, a very small, but also significant town on the border of Christian and Arab towns.

Based on both historical events and on the content of his book, historians believe that many parts of El Libro de Buen Amor are actually true and plausible for this time period. For example, El Libro de Buen Amor says that Juan Ruiz spent time in Alcalá, which would make perfect sense, because that is where many of the trails happened between members of the church. Alcalá was the second archiepiscopal town of the diocese, second only to Toledo. Due to this fact, archbishops went there quite often, thus it’s very plausible that Juan Ruiz would have spent plenty of time in Alcalá. Juan Ruiz also mentioned various other members of the church, from Ferrán García, who was Gutierre Gómez’s messenger to other members of the Madrid clergy. He wanted readers to recognize these names to create a stronger belief in the readers that this was an autobiographical account of Juan Ruiz.

Also, Ruiz employed many different styles of poetry in his work. Some mimics the structure of refrains found in the Bible, poetic forms introduced to Spain by Arabs, and even less sophisticated poetry styles that contained a varying number of syllables. Ruiz strategically uses these different styles to speak about people of different social classes. This story follows Ruiz as he tries to make love connections, of which there are ten. He also explains how one’s zodiac sign affects his love life. This was also a time of transition from long and complicated epic poetry to the types of literature that have origins in French and Italian.

Juan Ruiz employed unique strategies in his writing. Unlike most poets of his time, Juan Ruiz included specific details about the human bodies and their functions of his characters. El Libro de Buen Amor includes small, but significant descriptions of the color, the sounds, the scents, and the humor of life in medieval Spain. These descriptions do a lot to set El Libro de Buen Amor apart from other works of the time. He even brings into El Libro de Buen Amor the practice of really paying attention to and following astrology and star signs, that our modern culture often takes very lightly and even jokes about.

All in all, while we are not one hundred percent certain about the existence and life of Juan Ruiz, it is a concrete fact that El Libro de Buen Amor has done a lot to show the transition of older types of literature to more modern styles. Also, it was clearly heavily influenced by the culture of religion in the Middle Ages. Being Christian, Juan Ruiz gave an intimate look into the strict and complicated religion practices and rules of the time. It brings to the literature of the time, a new perspective about the religious beliefs and the philosophical beliefs of the time. Finally, one of the most striking things about El Libro de Buen Amor is the honesty of Juan Ruiz as he recounts his various tales of failed love while also trying to navigate life in Spain during the fourteenth century.

References:

Destephano, Mark. “Juan Ruiz and the Ultimate Reality and Meaning of Buen Amor.” Ultimate Reality and Meaning, vol. 28, no. 3, 2005, pp. 175–200.

Hernández, Francisco J. “‘ La Coronica.” Classical and Medieval Literature Criticism, edited by Jelena O. Krstovic, vol. 66, Gale, 2004. Literature Resource Center

Joseph T. Snow (2015) El ‘fablar fermoso’ de Juan Ruiz, y sus ecos en La palabra dicha’ de Octavio Paz, Bulletin of Spanish Studies, 92:8-10, 77-90.

 

Featured Text, Modern Transcription, and English Translation

Anna MacDonnell

Featured Text, Modern Spanish Version, English Translation

Featured Text

Gozos de Santa María

33

Virgen, del çielo Reyna,

É del mundo melezina,

Quiérasme oyr muy dina,

Que de tus gozos ayna

Escriva yo prosa dina

Por te servir

34

Dezir t’ he tu alegría,

{21}

Rrogándote todavía

Yo pecador

Que á la grand culpa mía

Non pares mientes, María,

Más al loor.

35

Tú siete gozos oviste:

Primero, quando rresçebiste

Salutaçión

Del ángel, quando oiste:

Ave María, conçebiste

Dios, salvaçión.

36

El segundo fué cunplido,

Quando fué de ti nasçido,

É sin dolor,

De los ángeles servido,

Ffué luego conosçido

Por Salvador.

37

Fué el tu gozo terçero,

Quando vino el luzero

Á mostrar

El camino verdadero

Á los rreyes: conpañero

Fué en guiar.

38

Fué la quarta alegría,

{22}

Quando te dixo, María,

El Grabiel

Que Jesuxristo vernía

É por señal te dezía

Que viera á él.

39

El quinto fué de grant dolçor,

Quando al tu fijo Señor

Viste sobir

Al çielo, á su Padre mayor,

E tu fincaste con amor

De á él yr.

40

No es el sesto de olvidar:

Los discípulos vino alunbrar

Con espanto,

Tú estavas en ese lugar,

Del çielo viste y entrar

Spritu Santo.

41

El seteno non ha par,

Quando por ti quiso enbiar

Dios tu Padre,

Al çielo te fizo pujar,

Con él te fizo assentar

Como á Madre.

{23}

42

Señora, oy’ al pecador:

Ca tu fijo el Salvador

Por nos diçió

Del çielo, en ti morador,

El que pariste, blanca flor,

Por nos nasçió.

43

A nosotros pecadores

Non aborrescas,

Pues por nos ser merescas

Madre de Dios;

Ant’él connusco parescas,

Nuestras almas le ofrescas,

Ruegal’ por nos.

 

Modern version:

 

Gozos de Santa María

 

  1. Virgen, del cielo reína,

Y del mundo medicina,

Quiérsame oír,

Que de tus gozos, continua

Escriba yo prosa, y digna,

Por te servir

 

  1. Escribiré tu alegría

Rogándote, todavía,

Yo, pecador,

Que a la grande culpa mía

No pares mientes, María,

Mal al loor.

 

  1. Tú siete gozos tuviste.

El primero: Recibiste

Salutación

Del ángel, cuando le oíste:

“Ave María, pariste

La Salvación”

 

  1. El segundo fue cumplido

Cuando fue de ti nacido

Y sin dolor;

De los ángeles servido

Fue, y más tarde conocido por Salvador.

 

  1. Ocurrió el gozo tercero

Cuando allí vino el lucero

A demostrar

El camino verdadero

A los reyes: compañero

Fue en guiar

 

  1. Y fue tu cuarta alegría,

cuando te dijo, María,

San Gabriel

Que tu Hijo ya vivía,

Y la señal te decía

Que era él.

 

  1. El quinto fue gran dulzor:

Cuando a tu Hijo el Señor

Viste subir

Al cielo, al Padre mayor,

Y quedaste, con amor

De hasta Él ir.

 

  1. No es el sexto de olvidar:

Tú estabas en el lugar;

Con espanto,

Del cielo viste allí entrar

-a apóstoles alumbrar-

Espíritu Santo.

 

  1. No tiene él séptimo par:

Al querer por ti enviar

Dios tu Padre,

Al cielo te hizo elevar,

Y con Él te hizo sentar

Como a Madre

 

  1. Oye, Madre, al pecador,

Porque tu Hijo, el Salvador,

Por nos bajó

Del cielo, en ti morador:

Lo pariste, blanca flor:

Por nos murió.

 

  1. Pecadores no aborrezcas,

Y por ellos ser merezcas

Madre de Dios;

Con nosotros almas le ofrezcas.

¡Ruega por nos!

 

English Translation:

The Joy of Saint Mary

33

Thou Virgin queen of heaven’s band,

Thou balm and comfort of this land,

I pay Thee, listen while I stand

And sing to Thee in verses bland

Those joys that came at God’s command;

Thus may I serve.

34

For I shall sing Thy happiness

And with an humble heart confess

My sinful days,

But, gracious Mary, this I press,

Do Thou from heaven come to bless

The song I raise.

35

Thou wast with seven pleasures blestl

An angel’s greeting was the best-

A salutation

For Thou at His divine behest

Conceivedst a God within Thy breast

For our salvation.

36

The second joy beyond compare

Came when Thou didst that angel bear

From labor free

While radiant angels in the air,

Sweet singing, did the babe declare,

Our Lord to be.

 

 

37

The third befell that time a star

Appeared where God’s high pathways are

To light the way

For Magian kings who from afar

Came searching for those gates ajar

Where Jesus lay.

 

38

Then came to Thee the fourth delight

When angel Gabriel, shining white,

Cried, “Mary, Hail!”

And promised Thee the blessed sight

Of Jesus in His godly might,

And without fail.

 

39

The fifth which was of sweetness great

Befell as Christ was caught up straight

In ecstasy

Unto His Father’s glad estate

Whilst Thou below didst longing wait

With Him to be.

 

40

No joy but one can e’er displace

The sixth, for then on Jesus’ face

There shone a light.

Thou, too, wast in that sacred place

And saw the Ghost of Holy Grace

In radiance bright.

 

41

None with the seventh can compare

For then God sent for Thee to share

His holy throne

And up in His vast kingdom there,

Christ’s mother, thou shalt ever wear

A crown alone.

42

Oh lady, hear a sinner’s cry

Because for us Thy son on high

Came down to earth

And left his heaven in the sky

While Thou, white flower to whom we sigh

Didst give Him birth.

 

43

Though we be sinners, hate us not,

Since for our sakes Christ was begot

And Thou wast made

God’s mother-pray for our sad lot,

Ah pray, when in God’s balance caught,

Our souls are weighed.

Etymological Context

Phonetic Analysis

Medicus combined with suffix “-ina” > melezina > medicina

  1. ME-DI-KUS-INA > ME-LI-KUS-INA by the sporadic change of the unstressed antepenultimate syllable consonant /d/ to /l/
  2. ME-LI-KUS-INA > ME-LI-KI-NA by deletion of unstressed syllable /us/
  3. ME-LI-KI-NA > ME-LI-TSI-NA by the palatalization of /k+i/ to /dz/ because it’s voiced for being an intervocalic position and it’s affricate aveolar voiceless through velar assimilation and frontness of vowel by compromised articulation [melizina]
  4. ME-LI-TSI-NA > ME-LE-TSI-NA by evolution of the unstressed syllable vowel /i/ high front to /e/ high mid front [melezina] (Old Spanish version)
  5. ME-LE-TSI-NA > ME-LE-SI-NA fricative- alveolar-voiceless OR >ME-LE-ƟI-NA fricative-interdental-voiceless (ceceantes varieties) by palatalization through velar assimilation and frontness of vowel by compromised articulation [melesina]
  6. ME-LE-SI-NA OR >ME-LE-ƟI-NA > ME-LI-SI-NA OR >ME-LI-ƟI-NA by the evolution of the unstressed syllable vowel /e/ high mid front to /i/ high front
  7. ME-LI-SI-NA OR >ME-LI-ƟI-NA > ME-DI-SI-NA OR >ME-DI-ƟI-NA by the evolution of the unstressed antepenultimate syllable consonant /l/ to /d/

***”Medicina” was the culstism competing with the vernacular form. That is, “medicina” is not derived from “MELIZINA”; this vernacular form just did not persist.***

Quando > quando > cuando- graphemic evolution phenomena

  1. KWAN-DO > KWAN-DO this word stays the same in Latin and old Spanish, but it modern Spanish, the word beginning /q/ evolves into /c/. Thus, this is a graphemic/spelling difference, not a pronunciation difference.

Complitus > cunplido > cumplido

  1. KOM-PLI-TUS > KUM-PLI-TUS by the hypercorrection by the influence of etymon “cum”, the prefix that forms this verb, changing /o/ mid high back to /u/ high back
  2. KUM-PLI-TUS > KUN-PLI-TUS when the consonant cluster /MP/ evolves to /NP/
  3. KUN-PLI-TUS > KUN-PLI-TU by word final loss of /s/
  4. KUN-PLI-TU > KUN-PLI-DU by evolution of /t/ to /d/
  5. KUN-PLI-DU > KUN-PLI-DO by evolution of word final /u/ high back to /o/ mid high back. This is the Old Spanish version [cunplido]
  6. KUN-PLI-DO > KUM-PLI-DO when the cluster /NP/ evolves to /MP/ [cumplido]

Nascitus > nasçido > nacido

  1. NAS-KI-TUS > NAS-KI-DUS by the epenthesis of /d/
  2. NAS-KI-DUS > NAS-KI-DU by loss of word final /s/
  3. NAS-KI-DU > NAS-KI-DO by the evolution of word final /u/ high back to /o/ high mid back
  4. NAS-KI-DO > NAS-TSI-DO by the palatalization of /k+i/ to /ts/ affricate aveolar voiceless through velar assimilation and frontness of vowel by compromised articulation [nasçido] this is the old Spanish version
  5. NAS-TSI-DO > NA-TSI-DO by the syncope of /s/ fricative aveolar voiceless
  6. NA-TSI-DO > NA-SI-DO fricative- alveolar-voiceless OR NA-ƟI-DO fricative-interdental-voiceless (ceceantes varieties) by degeminization [nacido] this is modern Spanish

Dixit > Dixo > dijo

  1. DI-KSIT > DI-KSI by syncope of word final /t/
  2. DI-KSI > DI-KSO by evolution of word final /i/ high front to /o/ high mid back [dixo] this is the old Spanish version
  3. DI-KSO > DI-XO by the palatalization of /-ks/ to /x/ through compromised articulation [dijo] this is the modern Spanish version. /x/ underwent a change of pronunciation from /dj/ to /j/

Filius > fijo > hijo

  1. FI-LI-US > FI-LI after syncope of word final /u/ high back and /s/ fricative alveolar voiceless
  2. FI-LI > FI- λI after palatalization of /l+i/ to /λ/ also known as a yod
  3. FI-λO > FI-XO by evolution of /λ/ to /x/ which sounds the same as /j/ from old Spanish to new Spanish which is caused by delateralization which changes intervocalic consonants
  4. FI-JO > HÍ-XO by evolution of word beginning /f/ to /h/ [hijo] this is the modern Spanish version

Spiritus > Spritu > espíritu

  1. SPI-RI-TUS > SPRI-TUS by syncope of the unstressed vowel /i/ high front. (Stressed vowel is the antepenultimate /spri/)
  2. SPRI-TUS > SPRI-TU by the loss of word final /s/ fricative-alveolar-voiceless [spritu] this is the old Spanish version
  3. SPRI-TU > ES-PRI-TU by the epenthesis of word beginning /e/ high mid front
  4. ES-PRI-TU > ES-PÍ-RI-TU by the epenthesis of interconsonantal /i/ high front, this syllable becomes the stressed syllable [espíritu] this is the modern Spanish version. Probably the cultism “espíritu” was a competing form with the vernacular based on regular phonetic evolution “spíritu”.

Septimus > seteno > séptimo

  1. SEP-TI-MUS > SE-TI-MUS by lenition of /p/
  2. SE-TI-MUS > SE-TI-MU by los of word final /s/ fricative alveolar voiceless
  3. SE-TI-MU > SE-TI-MO by evolution of word final vowel /u/ high back to /i/ high front
  4. SE-TI-MO > SE-TI-NO by regular change of intervocalic /M/ to /N/
  5. SE-TI-NO > SE-TE-NO by evolution of penultimate short syllable vowel /i/ high front to /e/ high mid front [seteno] this is the old Spanish version
  6. SE-TE-NO > SE-TE-MO by the change of intervocalic /N/ to /M/
  7. SE-TE-MO > SE-TI-MO by the evolution of the penultimate syllable vowel /e/ high mid front to /i/ high front
  8. SE-TI-MO > SÉP-TI-MO by the epenthesis of /p/ [séptimo] this is the modern Spanish version

**There are not “reverse” changes, but competing forms, some of them cultisms**

Caelum > çielo > cielo

  1. KAE-LUM > KAE-LU by loss of word final /m/
  2. KAE-LU > KE-LU by the degemination of Latin dipthong /ae/ to /e/ high mid front
  3. KE-LU > KIE-LU by regular dipthongization of /e/ mid high front to /ie/ in Spanish
  4. KIE-LU > KIE-LO by the evolution of word final /u/ high back to /o/ high mid back
  5. KIE-LO > TSIE-LO by the palatalization of /k+i/ to /ts/ affricate alveolar voiceless through velar assimilation and frontness of vowel by compromised articulation [çielo] this is the old Spanish version
  6. TSIE-LO > SIE-LO OR > ƟIE-LO by the disassimulation and it becomes interdental to stay more different of all newly created palatal sounds, all pronounced too close together, it merges with the already existing /s/ by way of /ts/ affricate alveolar voiceless to /s/ fricative alveolar voiceless or /Ɵ/ fricative interdental voiceless [cielo] this is the modern Spanish version

 

Adsedentare > assenter > sentar

  1. AD-SE-DEN-TA-RE > AD-SE-DEN-TAR through loss of word final /e/ high mid front
  2. AD-SE-DEN-TAR > AD-SEEN-TAR by loss of intervocalic /d/
  3. AD-SEEN-TAR > AD-SEN-TAR by assimilation of /ee/ to /e/ high mid front
  4. AD-SEN-TAR > AS-SEN-TAR through assimilation of /d/ to /s/
  5. AS-SEN-TAR > AS-SEN-TER by evolution of a competing form in -er, reinterpreted as a second class.conjugation, of interconsonantal /a/ low center to /e/ high mid front [assenter] this is the old Spanish version
  6. AS-SEN-TER > AS-EN-TER by the degeminization of /s/
  7. AS-EN-TER > SEN-TER by the syncope of unstressed vowel /a/ low center
  8. SEN-TER > SEN-TAR by the competition between interpretation of verb as first or second class/conjugation. This is based on phonetic evolution neither regular nor sporadic of interconsonantal /e/ high mid front to /a/ low center [sentar] this is the modern Spanish version

Merescat > Meresca > merezca

  1. ME-RES-CAT > ME-RES-CA by loss of word final /t/ this is the Old Spanish version
  2. ME-RES-CA > ME-RETS-CA by evolution of /s/ to /ts/, which represents the grapheme “z”

Inviare > Enbiar > enviar

  1. IN-WI-ARE > EN-WI-ARE by the evolution of the unstressed vowel /i/ high front to /e/ high mid front
  2. EN-WI-ARE > EN-BI-ARE by the evolution of /v/ to /b/ in Spanish
  3. EN-BI-ARE > EN-BI-AR by the loss of word final /e/ high mid front [enbiar] this is the old Spanish version which is [enviar] in the modern Spanish version, which is just a graphemic change- the sound doesn’t change.

Verb Morphology Analysis

DICERE [DI-KE-RE] > DEZIR [DE-DZIR] > DECIR [DE-ƟIR] OR [DE-SIR]

The text includes the infinitive of the verb dezir. The verb dezir belongs to class III which were rhizotonic (stressed on the root). Class III was later abolished and verbs in class III assimilated to either class II or IV. The verb dezir assimilated to class IV, which is why the ending of dicere (-ere) evolved to dezir and decir (-ir). Palatalization induced vowel raising raises a point in place of stress in the stem. Therefore, the stem part of the verb changed from di- to de-. Originally stress induced allomorphy, the stem changed-boot pattern was then adapted by analogy. Thus in the conjugated forms of dezir, the stem changed-boot pattern goes from de- to di-. The way that the modern Spanish ‘c’ is pronounced is based on whether the speaker is accustomed to using seseante or ceceante varieties.

SCRIBAM [S-KRI-BAM] > ESCRIVA [ES-KRI-BA] > ESCRIBA [ES-KRI-BA]

This text includes the first person singular subjunctive form of the verb escrivir in Old Spanish. The verb escrivir belongs to the IV class due to its -ir ending and also the fact that it is not rhizotonic (the stress isn’t on the root). During the change from classical Latin to Old Spanish, an /e/ mid high front, was inserted into the beginning, as is to be expected in words that begin with /s/ in Latin. The /b/ in the Latin version changed to “v” in the Old Spanish version because the letter “v” in Spanish is pronounced like the letter “b” in Latin- /b/. The likely reason that the modern Spanish version reverted to the Latin spelling is due to hypercorrection.

RECEPISTE [RE-KE-PIS-TE] > RREÇIBISTE [RE-TSI-BIS-TE] > RECIBISTE [RE-SI-BIS-TE] OR [RE-ƟI-BIS-TE]

This text includes the second person singular preterit version of the verb rreçibir which belongs to the IV class due to its -ir endings and that it is not rhizotonic. The Latin beginning of /r/ evolved into /rr/ in Old Spanish, but just graphemically because it’s a graphemic representation of multivabrant /r/. In modern Spanish, the /rr/ graphemic representation assimilated into the /r/ because in modern Spanish all /r/ that begin words are multivabrant, so there doesn’t need to be a distinction. The evolution of Latin /p/ to Spanish /b/ was caused by lenition. Then, the unstressed /e/ mid high front that is placed after the “c”, evolved to /i/ high front in Old Spanish. After this change the Latin word had /k+i/ which naturally evolves to /ts/ “ç” in Old Spanish through palatalization and then to /s/ “c” (seseantes) or /Ɵ/ “c” (ceceantes) in modern Spanish, depending on the region the speaker is from.

SUBIRE [SU-BI-RE] > SOBIR [SO-BIR] > SUBIR [SU-BIR]

The text includes the infinitive of sobir which belonged to class III of verbs which later was eliminated and turned into either class II or IV. This verb evolved into class IV due to its -ir ending. The word final /e/ high mid back in the Latin version was lost when the verb evolved into Old Spanish. Palatalization-induced vowel raising causes the change from the Latin /u/ high back to Old Spanish /o/ mid high back. Originally stress induced allomorphy, the stem changed-boot pattern was then adapted by analogy. Thus, in the conjugated forms of sobir, the stem changed-boot pattern goes from so- to su-. The modern Spanish version however contains a hypercorrection and it reverted to the Latin vowel /u/ high back because it was a long vowel and is used the conjugations.

 

INVIARE [IN-WIA-RE] > ENBIAR [EN-BI-AR] > ENVIAR [EN-BI-AR]

In the text the infinitive verb enbiar is used which belongs to the verb class I due to its -ar ending. In the change from Latin to Old Spanish, the Latin word final /e/ high mid front was lost. Then, there was the regular evolution of the prefix “in-” in the Latin version to “en-” in the Spanish version. The “v” in the Latin etymon, pronounced /w/ evolved to /b/ in Old Spanish due to fortition. The /b/ in Old Spanish stays /b/ in modern Spanish, but the morpheme reverts to the Latin “v” due to hypercorrection.

 

STABAS [S-TÁ-BAS] > ESTAVAS [ES-TÁ-BAS] > ESTABAS [ES-TÁ-BAS]

The conjugated second person singular imperfect verb estavas comes from the Latin infinitive stare which belongs to verb class I due to the -are ending. In Latin, Old Spanish, and modern Spanish, the penultimate syllable /a/ low center is the stressed syllable. During the change from classical Latin to Old Spanish, an /e/ mid high front, was inserted into the beginning, as is to be expected in words that begin with /s/ in Latin. The /b/ in the Latin version changed to “v” in the Old Spanish version because the letter “v” in Spanish is pronounced like the letter “b” in Latin- /b/. The likely reason that the modern Spanish version reverted to the Latin spelling is due to hypercorrection.

Analysis of noun/adjective morphology

Phrase: de ti nasçido

Modern translation: de ti nacido

The old Spanish second singular non-subject ‘ti’ /ti/ comes from Latin ‘te’ /e/, a short high mid front. Because the high mid front was short in latin, it was more vulnerable to vowel evolution. Thus, in old Spanish the non-subject second singular changed from ‘te’ in Latin to ‘ti’ in both Old Spanish and the Modern Spanish translation.

Phrase: El Segundo

Modern translation: el Segundo

The old Spanish ‘el’ definite article comes from unstressed definite article in Latin ‘Ille’. Because it was unstressed in Latin, the /-ll-/ reduced to /l/ instead of palatalizing to (gamma). This should yield Old Spanish ‘ele’, but my version of the Old Spanish text uses ‘el’ which is also the Modern Version. Going off the evolution to ‘ele’ the redundant first syllable was lost in all forms except the masculine singular, which is why the modern version of ‘ille’ is ‘el’.

Phrase: Al çielo

Modern Translation: al cielo

The Old Spanish ‘çielo’ comes from Latin ‘caelum’. ‘Caelum’ is a masculine noun and belongs to the 2nd declension which is masculine. After the reconstructed popular Latin two-case system, the 2nd declension stays masculine, but the noun could be either nomitive or non-nomitive. In Spanish, both options in the Latin two-case system yield the same ending to words which is /o/ mid high back. Therefore, it is to be expected that the Old Spanish ‘çielo’ is masculine, as is the modern translation ‘cielo’.

Phrase: quarta alegría

Modern Translation: cuarta alegría

The Old Spanish word quarta comes from the Latin word ‘quartus’. ‘Quartus’ belongs to the second declension and is masculine. After the reconstructed popular Latin two-case system, the 2nd declension stays masculine, but the noun could be either nomitive or non-nomitive. In Spanish, both options in the Latin two-case system yield the same ending to words which is /o/ mid high back. The old Spanish word ‘quarta’ would be expected to be masculine and be ‘quarto’. However, since ‘quarta’ is a descriptive word, based on Spanish grammar rules, the descriptive word needs to match the gender of the noun that it is describing. Since in this example, ‘quarta’ is describing ‘alegría’ (a feminine noun), ‘quarta’ needs to have a feminine ending to match ‘alegría’.

Phrase: por te servir

Modern translation: por servirte

The Old Spanish second singular light non-subject pronoun ‘te’ comes from the Latin non-subject pronoun ‘te’ with /e/ short high mid front. What is interesting about the pronoun use in Latin and Old Spanish is the position of the pronoun before the verb. In Modern Spanish, the pronoun is usually placed after the verb if it is an infinitive.

Phrase: Á los reyes

Modern translation: Á los reyes

The Old Spanish plural definite article ‘los’ comes from the unstressed plural definite article in Latin ‘illos’. Because it was unstressed in Latin, the /-ll-/ reduced to /l/ instead of palatalizing to (gamma). This should yield Old Spanish ‘elos’, but my version of the Old Spanish text uses ‘los’ which is also the Modern Version. Going off the evolution to ‘elos’ the redundant first syllable was lost in all forms except the masculine singular. Therefore, the more modern version in Spanish is ‘los’.

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Explanation of Pronunciation

  • The Old Spanish pronunciation of ‘x’ is /sh/. But over time, due to a consonant shift where sibilant consonants became non-sibilant fricative sounds,
    • /ʃ/ “x” > /x/ fricative velar voiceless “ja, o, u” and “ge, gi”
    • In Modern Spanish ‘x’ is pronounced /ks/, except in a few words like “México” /méxico/.
  • In Old Spanish the letter ‘ç’ and ‘c+i, e’ are pronounced like /ts/ but later evolved to ‘c’ which is the phonemes of the seseantes varieties /Ɵ/ or /s/ depending on where the word is being spoken.
  • In old Spanish the letter ‘z’ pronounced like /dz/ later evolved to /s/ in Modern Spanish.
  • The Old Spanish pronunciation of ‘j’, ‘g’, and ‘i’ was /Ʒ/ This evolved to /x/ in Modern Spanish pronounced like the letter ‘h’.
  • The Old Spanish pronunciation of ‘v’ is like the /b/ in Modern Spanish. This sound change from Latin stayed consistent through old to modern Spanish. There is a difference between /b/ (word initial, or after nasal consonant) and /β/ (other contexts) and how you pronounce the ‘v’ depends on its position in the word.