Introduction

Juan Ruiz’s masterpiece Libro de Buen Amor was published in the early fourteenth century in the Castile region of modern-day Spain. As an important literary text written in medieval Spanish at a time when most influential writings were in Latin, this piece reflects the beginning of a linguistic shift in Spain. This text consists of a variety of satirical poems and short stories on love with religious morals, reflecting influences from the Christian tradition of Europe as well as from Judaism and Islam. The Jewish and Islamic religious influences in Libro de Buen Amor reflect the changing demographics of Spain at the time and present evidence for the ways that Hebrew and Arabic affected Spanish linguistically. The fact that Libro de Buen Amor was written during a time in Spain when there was a growing unique Spanish identity and increasing outside influences from northern Africa instead of Europe can be used to understand the state of the Spanish language in the text.

The exact date of publication of Libro de Buen Amor is not known but it can be placed roughly in the first half of the fourteenth century. During this time, Alfonso XI ruled in Castile, succeeding the throne from his father Ferdinand IV in 1312 and ruling until 1350. Alfonso X, who ruled before Ferdinand IV, is largely credited with beginning the Castilian literary tradition. Known as Alfonso el Sabio, his court scholars compiled a history of Spain and a “general history”, translated Arabic scientific texts, arranged astronomical tables, and wrote many poems in Castilian (which eventually evolved to modern Spanish). This led to more standardized Castilian syntax and vocabulary and opened the way for future influential literature in Castilian instead of Latin by the time of Alfonso XI’s rule. Throughout the reign of Alfonso X, Ferdinand IV, and Alfonso XI, Spain engaged in religious wars with Muslims from Northern Africa. Spain saw a decisive victory over Morocco in 1340 under Alfonso XI and though Spain came out victorious, this did not stop the Arabic language from influencing the Spanish language as a substratum language. The other religious minority present in Spain was the Jewish people. Generally, the Jewish people were treated with tolerance in Spain until the plague hit in 1348 and they were used as a scapegoat. However, in Juan Ruiz’s time, Judaism and Christianity generally coexisted peacefully and Hebrew, like Arabic, influenced Spanish as a substratum language.

Juan Ruiz lived during the early to mid-fourteenth century and though his birthdate is not known, he died in 1351. This indicates that Libro de Buen Amor was written under the early fourteenth century influences of Alfonso X’s legacy, Alfonso XI’s rule, wars between Christians and Muslims, and before the plague. The Islamic influences on this otherwise very Christian text are clear; Américo Castro says of Ruiz: “Su arte consistió en dar sentido cristiano a hábitos y temas islámicos, y es así paralelo al de las construcciones mudéjares tan frecuentes en su tiempo” (Hamiltion, 2006). Juan Ruiz was a Christian religious figure as the archpriest of Hita, in Guadalajara. Beyond that, very little is known about Ruiz. It is possible that Ruiz was in fact more than one person, though most scholars work under the assumption that he was a single person. Additionally, some believe that he was imprisoned when writing Libro de Buen Amor, though the work does not reflect darkness and solitude that one may expect from a text written in prison; instead, it is satirical, comical, and jovial. Beyond his status as a Castilian religious cleric in the early fourteenth century, there is very little known about Juan Ruiz that can inform the background of the Libro de Buen Amor.

The intended audience of the text is controversial as well. Many believe that it was meant to be accessible to the uneducated public because of the fact that it was written in Spanish and generally transmitted orally. At the time, prestigious literature was still often written in Latin, though this was in the process of changing due to Alfonso X’s influence, so the fact that the text was written in Spanish may have indicated that it was intended to be read by the general Castilian public. Additionally, the fact that it was usually read aloud may have made it accessible to the illiterate public. However, Jeremy N. H. Lawrance argues that the sophistication of Ruiz’s language and details of his subject matter (in particular, Lawrance cites a passage discussing clerical disputes within the Church) indicate that the text was intended for an educated audience. Lawrance also argues that literature was often transmitted orally at this time, even to the educated class. This text was writing at a time of linguistic and social change in Spain so it is difficult to trace the exact intentions and audience of the text.

Libro de Buen Amor was written at a time of great socio-linguistic change in medieval Spain. Following Alfonso X’s Castilian literary tradition, Libro de Buen Amor presents a significant contribution to the beginning of Spanish literature. It reflects the various linguistic influences that Spanish felt from Arabic and Hebrew as well as the importance of Latin Christian tradition in Spain. Though little is known about Juan Ruiz or who Ruiz was writing for, it is clear that Ruiz was writing under the influence of Alfonso X’s legacy and Islamic incursions into Spain.

Featured Text, Modern Standard Transcription, and English Translation

Selected Section of the Text
Original

The bold words will be analyzed in the next section.

Ésta es oraçión qu’el arçipreste fizo a Dios quando començó este libro suyo

 1 Señor Dios, que a los jodíos pueblo de perdiçión
sacaste de cabtivo del poder de Faraón,
a Daniel sacaste del poço de Babilón,
saca a mi coytado d’esta mala presión.

2 Señor, tú diste graçia a Ester la reyna,
ant’el rey Asuero ovo tu graçia digna,
Señor, dame tu graçia e tu merçed ayna,
sácame d’esta laçeria, d’esta presión.

3 Señor, tú que sacaste al Profeta del lago,
de poder de gentiles sacaste a Santiago,
a Santa Marina libreste del vientre del drago,
libra a mí, Dios mío, d’esta presión do yago.

4 Señor, tú que libreste a santa Susaña,
del falso testimonio de la falsa compaña,
líbrame, mi Dios, d’esta y coyta tanmaña,
dame tu misericordia, tira de mí tu saña.

5 A Jonás, el Profeta, del vientre de la ballena
en que moró tres días dentro en la mar llena,
sacástelo tú sano así como de casa buena;
Mexías, tú me salva sin culpa e sin pena.

6 Señor, a los tres niños de muerte los libreste,
del forno del grand fuego sin lesión saqueste,
de las ondas del mar a sant Pedro tomeste:
Señor, de aquesta coyta saca al tu arçipreste.

7 Aun tú que dixiste a los tus servidores,
que con ellos serías ante reyes desidores,
et los darías palabras, que fabrasen mejores,
Señor, tú sey conmigo, guárdame de traydores.

8 El nombre profetizado fuer grande Hemanuel,
Fijo de Dios muy alto Salvador de Israel,
en la salutaçión el ángel Gabriel
te fizo çierta d’esto, tú fuiste çierta d’él.

9 Por esta profeçía e por la salutaçión
por el nombre tan alto Hemanuel salvaçión,
Señora, dame tu graçia, et dame consolaçión,
gáname del tu fijo graçia et bendiçión.

10 Dame graçia, señora de todos los señores,
tira de mí tu saña, tira de mí rencores:
faz que todo se torne sobre los mezcladores,
ayúdame, Gloriosa, Madre de pecadores.

Modern Spanish

English

 

Etymological Comment

Historical Linguistic Analysis of a Selection from Libro de Buen Amor 

            Here I present a historical linguistic analysis of 12 words from Juan Ruiz’s fourteenth century text Libro de Buen Amor. Each entry begins with the Latin etymon of the word, the version from Libro de Buen Amor, and the modern reflex with the stressed syllable in the Latin etymon is underlined. Within each entry I will fill in the other steps of the word’s evolution and explain the processes behind each evolution.

  1. PREHESIONEM /pre-en-si-on-is/ > PRESION /pre-sion/ > PRISIÓN /pri-sjón/

/pre-es-ion-is/ > /pre-es-ion/ via gradual lenition of the word final syllable. First was complete lenition of the voiced bilabial nasal /m/ and then lenition of the word-final high-mid front vowel /e/.

/pre-es-ion/ > /pre-si-on/ via syncope of the unstressed syllable /en/.

/pre-sjón/ > /pri-sjón/ via vowel raising due to /j/ in the following syllable. The high-mid front vowel /e/ raises its place of articulation to a high front vowel /i/.

  1. IUDAEUS /iu-daj-us/ > JODIOS /jo-dí-os/ > JUDÍOS /xu-dí-os/

/iu-dae-us/ > /iu-daj-os/ via typical evolution of the word-final high back vowel /u/ to the high-mid back vowel /o/.

/iu-daj-os/ > /xu-daj-os/ via palatization. This is the original creation of a yod, where  /i+vowel/, in this case /iu/, becomes /x/.

/xu-daj-os/ > /xo-daj-os/ via regular evolution of the short stressed high back vowel /u/ to the high-mid back vowel /o/.

/jo-daj-os/ > /jo-dí-os/ via an exceptional evolution of the unstressed dipthong /ae/ to the high front vowel /i/.

/jo-dí-os/ > /ju-dí-os/ via vowel raising due to /j/ in the following syllable. The high-mid back vowel /o/ raises its place of articulation to a high back vowel /o/.

  1. REGINA /re-gi-na/ > REYNA /rei-na/ > REÍNA /rei-na/

/re-gi-na/ > /rei-na/ via complete lenition of the intervocalic lingua-velar voiced stop /g/.

The form “REYNA” which appears in Libro de Buen Amor is pronounced /rej-na/, same as the modern reflex. The stressed high front vowel /i/ is long in the original Latin so it undergoes typical evolution and does not change.

  1. TAM MAGNAM /tam mag-nam/ > TANMAÑA /tan-ma-ha/ > TAMAÑA /ta-ma-ha/

/tam mag-nam/ > /tam-mag-na/ via complete lenition of the word final voiced bilabial nasal /m/.

/tam-mag-na/ > /tan-mag-na/ via dissimilation of the consonant cluster /mm/ to /nm/.

/tan-mag-na/ > /tan-ma-ha/ via palatization of the consonant cluster /gn/ to the lingua-velar voiced nasal /h/.

/tan-ma-ha/ > /ta-ma-ha/ via complete lenition of the lingua-alveolar voiced nasal /n/ to resolve the /nm/ consonant cluster due to its preconsonantal position.

The stressed low center vowel /a/ evolves regularly so it does not change.

  1. FUR

/fur-nus/ > /fur-nu/ via complete lenition of the word final lingua-alveolar voiceless fricative /s/.

/fur-nu/ > fur-no/ via regular evolution of the word final high back vowel /u/ to the high-mid back vowel /o/.

/fur-no/ > /for-no/ via regular evolution of the stressed short high back vowel /u/ to the high-mid back vowel /o/.

/for-no/> /hor-no/ via lenition of the voiceless labiodental fricative /f/ to the voiceless glottal fricative /h/.

/hor-no/> /or-no/ via complete lenition of the voiceless glottal fricative /h/.

  1. COMPANIA /com-pa-nja/ > COMPAÑA /com-pa-ha/ > COMPAÑA /com-pa-ha/

/com-pa-nja/ > /com-pa-ha/ via palatization of the voiced lingua-alveolar nasal /n/ to the voiced lingua-velar nasal /h/. This is platalization by assimilation to place of articulation of yod /j/.

The stressed vowel is the low center /a/ so it follows regular evolution and does not change.

  1. TRADITORES /tra-di-to-res/ > TRAYDORES /trai-do-res/ > TRAIDORES /trai-do-res/

/tra-di-to-res/ > /trai-to-res/ via complete lenition of the voiced lingua-alveolar stop /d/ due to its intervocalic position.

/trai-to-res/ > /trai-do-res/ via partial lenition of the intervocalic voiceless lingua-alveolar stop /t/.

The form “TRAYDORES” which appears in Libro de Buen Amor is pronounced /trai-do-res/, same as the modern reflex. The stressed syllable is the high-mid back vowel /o/ and it does not change so it must be long in the Latin etymon according to standard evolution.

  1. FILIUS /fi-li-us/ > FIJO /fi-jo/ > HIJO /i-jo/

/fi-li-us/ > /fi-li-u/ via complete lenition of the word final lingua-alveolar voiceless fricative /s/.

/fi-li-u/ > /fi-li-o/ via regular evolution of the word final high back vowel /u/ to the high-mid back vowel /o/.

/fi-li-o/ > /fi-jo/ via compromised articulation of voiced lingua-alveolar liquid /l/ due to merging sounds.

/fi-jo/ > /hi-jo/ via lenition of the voiceless labiodental fricative /f/ to the voiceless glottal fricative /h/.

/hi-jo/> /i-jo/ via complete lenition of the voiceless glottal fricative /h/.

The stressed high front vowel /i/ does not change so it must be long in the Latin etymon according to standard evolution.

  1. CERTAM /ker-tam/ > ÇIERTA /tsier-ta/ > CIERTA /sier-ta/

/ker-tam/ > /ker-ta/ via complete lenition of the word final voicless bilabial nasal /m/.

/ker-ta/ > /kier-ta/ via regular evolution of the stressed low-mid front vowel /e/. The vowel dipthongizes so it must be short in the original Latin etymon.

/kier-ta/ > /tsier-ta/ via palatization of voiceless lingua-velar stop /k/. It evolves to the affricate middle/old Spanish stage voiceless alveolar affricate /ts/.

/tsier-ta/ > /sier-ta/ via deaffrication of the voiceless alveolar affricate /ts/ to the voiceless lingua-alveolar fricative /s/.

  1. PUTEUS /pu-te-us/ > POÇO /po-tso/ > POZO /po- ( /po-so/ in seseantes varieties)

/pu-te-us/ > /pu-teu/ via complete lenition of the word final lingua-alveolar voiceless fricative /s/.

/pu-teu/ > /pu-tju/ via typical evolution of Latin diphthongs.

/pu-tju/ > /pu-tsu/ via palatization of the yod /ju/ to the affricate middle/old Spanish stage voiceless alveolar affricate /ts/.

/pu-tsu/ > /po-tsu/ via regular evolution of the short high back vowel /u/ to the mid-high back vowel /o/.

/po-tsu/ > /po-tso/ via regular evolution of the stressed high back vowel /u/ to the high-mid back vowel /o/.

/po-tso/ > /po-Ɵo/ via final palatalization to the modern Spanish voiceless lingua-dental fricative /Ɵ/ or voiceless lingua alveolar fricative /s/ in seseanates varieties.

  1. GRATIA /gra-ti-a/ > GRAÇIA /gra-tsia/ > GRACIA /gra-sja/ (seseantes) or /gra-Ɵja/

/gra-ti-a/ > /gra-tsia/ via palatalization.

/gra-tsia/ > /gra- Ɵia/ via via final palatalization to the modern Spanish voiceless lingua-dental fricative /Ɵ/ or voiceless lingua alveolar fricative /s/ in seseanates varieties.

The stressed low center vowel /a/ evolves regularly so it does not change.

  1. MESSIAS /mes-si-as/ > MEXÍAS /me-ʃi-as/ > MESÍAS /me-sí-as/

/mes-si-as/ > /me-si-as/ via assimilation of the cluster /ss/.

/me-si-as/ > /me-ʃi-as/ via palatization of the voiceless lingua-alveolar fricative /s/ to the voiceless post-alveolar fricative /ʃ/.

/me-ʃi-as/ > /me-si-as/ via exceptional palatization of the voiceless post-alveolar fricative /ʃ/ to the voiceless lingua-laveolar fricative /s/.The typical evolution would have been to a voiceless velar fricative /j/.

The stressed vowel is the high front vowel /i/, as indicated by the written accent mark in the modern reflex. Because it is in the penultimate syllable and is in an open syllable, it must be long. It follows regular evolution and it does not change.

Audio Recording

Here I present a reading of the first seven stanza’s of Juan Ruiz’s Libro de Buen Amor. he main differences in pronunciation between middle and modern Spanish are represented by the grapheme “ç” which represents the voiceless alveolar affricate /ts/ and the grapheme “x” which represents the voiceless post-alveolar fricative /ʃ/. The grapheme “y” is pronounced the same as the grapheme “i” in modern Spanish; it is the high front vowel /i/.