We can expect either 100 or 130 strophes to have disappeared in the lacuna, given that part of the pages were probably filled with prose. On the 6 or 8 pages that once filled up the lacuna both the end of the poem Sigrdrífomál from strophe 38 and onwards and a ‘long’ Siguðarkviða, except for the last 18.5 strophes, must have got room. Four pages of a poem in the style of Brot af Sigurðarkviðu, that is, ‘A fragment of the poem about Sigurd’, contain c. Originally the manuscript consisted of 96 or 98 pages, but today only 90 pages remain since there is a lacuna between page 64 and 65. Some are pure poetry, some mix prose and poetry and two are just prose. Some texts are monologues, mo, some have a prose introduction, pi, others a prose epilogue, pe. The manuscript consists of two major parts each divided in to two smaller ones and traditionally (in printed editions) it is divided into sections as listed below. The original collection was based on several different sources and its compilation is dated to the first half of the 13th century CE. Some alterations may nevertheless have been made when the copy was produced. The actual vellum is a copy of a lost original.
In the manuscript, the prose is thought to have been added in the process of compiling the poetry. Many of the terms defined beloAv are susceptible of wider application, but through out this article they will be limited to the meanings given.This week On the Reading Rest I have Codex Regius – well a copy printed from the web: Ĭodex Regius is a manuscript, a compilation of more or less ancient Old Norse texts, mostly poems. liv-lvii, may also be consul ted with interest. The introduction to Morel-Fatio's édition of Culderón's El Mágico prodigioso (Heilbronn, 1877) pp. A more complete account may be found in the introduction to Ford's Spanish Anthology (New York, 1901) where the more exhaustive treatises on Spanish prosody are named. It will be necessary first to recapitúlate in the briefest possible way the names of the common Spanish verse-forms, of which there is such an unusual variety for dramatic composition.
The internai structure of the line (hiatus, synaloepha, etc.), is not studied hère. The results cannot be called conclusive in that respect, but they furnish an inference of some weight, and besides are not wholly barren of interest in themselves, inasmuch as they serve to ¡Ilústrate the methods of composition of the dramatists of the. It was originally undertaken with the hope of casting some light upon certain plays of disputed authorship, notably El Condenado por desconfiado. This investigation consists in an attempt to note the différent forms of verse employed by the friar-dramatist, Gabriel Téllez, or Tirso de Molina, as he is more commonly known, and the proportion in which they appear in his plays and in particular to discover, if possible, any characleristic use which might serve to distinguish his tvork from that of other con- temporary play-wrights.
THE USE OF VERSE-FORMS (STROPHES) BY TIRSO DE MOLINA