Trove: Find and get Australian resources. Books, images, historic newspapers, maps, archives and more. Cite this. Title. Las jarchas mozarabes: Forma y significado. Appears In. Romance Philology, v50, no.n1, August, p46(16) (ISSN: ). Author. Mozárabe mio sîdî ïbrâhîm yâ tú uemme dolge fente mib de nohte in non si non keris irey-me tib gari-me a ob legar-te. Jarchas Mozárabes.
|Published (Last):||9 October 2015|
|PDF File Size:||15.73 Mb|
|ePub File Size:||9.18 Mb|
|Price:||Free* [*Free Regsitration Required]|
Most of them were copied by scribes who probably did not understand the language they were recording, which may have caused errors in transmission. So great is my pain for my beloved! Retrieved from ” https: With examples dating back to the 11th century, this genre of poetry is believed to be among the oldest in any Jarchss language, and certainly the earliest recorded form of lyric poetry in Ibero-Romance.
These verses express the theme of the pain of longing for the absent lover habib. Other scholars dispute such claims, arguing that the kharjas stand firmly within the Arabic tradition with little or no Romance input at all, and the apparent similarities only arise because the kharjas discuss themes that are universal in human literature anyway.
A large spectrum of translations is possible given the ambiguity created by the missing vowels and potentially erroneous consonants. The Romance kharjas are thematically comparatively restricted, being almost entirely about love.
Tan mal meu doler li-l-habib! Modern translations of the Romance kharjas are a matter of debate particularly because the Arabic script does not include vowels. From Wikipedia, the free encyclopedia. Though they comprise only a fraction of the corpus of extant kharjasit is the Romance kharjas that have attracted mozzarabes greatest scholarly interest.
Khardja — Wikipédia
It is not uncommon to find the same kharja attached to several different muwashshahat. Many scholars have compared such themes to the Galician-Portuguese Cantigas de Amigo which date from c. University Pressp. University Presspp. A minority of scholars, such as Richard Hitchcock contend that the Romance Kharjas are, in fact, not predominantly in a Romance language at all, but rather an extremely colloquial Arabic idiom bearing marked influence from the local Romance varieties.
The kharja appears often to have been composed independently of the muwashshah in which it is found. For other uses, see Kharjah.
My heart has left me, Oh sir, will it return to me? Approximately three quarters of them are put into the mouths of women, while the proportion for Arabic kharjas is nearer one fifth.
For the Moroccan footballer, see Houssine Kharja. Because of this, most translations of these texts will be disputed by some.
Oh Lord, will you transform me? Webarchive template wayback links Pages with citations lacking titles Articles containing Arabic-language text Articles containing Spanish-language text Articles containing Portuguese-language text. A kharja or kharjah Arabic: For the Egyptian oasis with same name, see Kharga Oasis. Since the kharja may be written separately from the muwashshahmany scholars have speculated that the Romance Kharjas were originally popular Spanish lyrics that the court poets incorporated into their poems.
None are recorded in Hebrew even when the muwashshah is in Hebrew. The muwashshah consists of five stanzas bait of four to six lines, alternating with five or six refrains qufl ; each refrain karchas the same rhyme and metre, whereas each stanza has only the same metre.
About a third of extant kharjas are written in Classical Arabic. History, Structure and Meaning of the Kharja Leiden: Generally, though not always, the kharja is presented as a quotation from a speaker who is introduced in the preceding stanza. Most of the remainder are in Andalusi Arabic, but there are about seventy examples that are written either in Ibero-Romance or with significant Romance elements.
It is sick, when will it be mozadabes Such scholars accuse the academic majority of misreading the ambiguous script in untenable or questionable ways and ignoring contemporary Arab accounts of mozarbaes Muwashshahat and Kharjas were composed.
It has been argued that such blending cannot possibly represent the natural speech-patterns of the Romance-speakers,  and that the Romance kharjas must therefore be regarded as macaronic literature. Part of a series on.
Books by Margit Frenk
Views Read Edit View history.