Iberian Alborada. The Woman’s Song at the Dawn, 11th-17th Century

The aim of the article is to define the genre of alborada, referring to its oldest Iberian forms, Mozarabic and Portuguese, and showing its evolution in the Early Modern Castilian poetry. This study will therefore serve as a basis for delineating the genre, which was present also in other European literatures, i.a. Polish from Renaissance to Romanticism. Iberian songs discussed here display a clear structure established in a long tradition and exploit the theme of lovers meeting at dawn, originating in the folk tradition, and implemented in Medieval formal courtly genres of kharja, cantiga de amigo (examples of Pero Meogo and Dom Dinis), and in 15th-century villancico, and entering other genres, most prominently sonnets, during the Renaissance. These multiple formal changes result in a gradual evolution of the lyrical subject of the alborada - the original complaint of a girl in love, a girl who is active and fighting for her happiness, has been transformed into a song of adoration and regret of a he-lover who serenades at nights for a lady who is mute and confined to the frame of her window. By this token, the history of the lyrical genre reflects the gradual removal of voices and subjectivity from women.

Artykuł powstał w ramach realizacji projektu badawczego „Od paraklausithyronu do serenady” nr 2012/07/B/HS2/01297 finansowanego ze środków Narodowego Centrum Nauki.

The aim of the article is to define the genre of alborada, referring to its oldest Iberian forms, Mozarabic and Portuguese, and showing its evolution in the Early Modern Castilian poetry. This study will therefore serve as a basis for delineating the genre, which was present also in other European literatures, i.a. Polish from Renaissance to Romanticism. Iberian songs discussed here display a clear structure established in a long tradition and exploit the theme of lovers meeting at dawn, originating in the folk tradition, and implemented in Medieval formal courtly genres of kharja, cantiga de amigo (examples of Pero Meogo and Dom Dinis), and in 15th-century villancico, and entering other genres, most prominently sonnets, during the Renaissance. These multiple formal changes result in a gradual evolution of the lyrical subject of the alborada - the original complaint of a girl in love, a girl who is active and fighting for her happiness, has been transformed into a song of adoration and regret of a he-lover who serenades at nights for a lady who is mute and confined to the frame of her window. By this token, the history of the lyrical genre reflects the gradual removal of voices and subjectivity from women.

Artykuł powstał w ramach realizacji projektu badawczego „Od paraklausithyronu do serenady” nr 2012/07/B/HS2/01297 finansowanego ze środków Narodowego Centrum Nauki.