[38] Cf. Luis José Velázquez, _Orígenes de la Poesía Castellana_ (Málaga, 1754) ap. C. M. (1889), i. 168: _las cantares y canciones devotas de los peregrinos que iban en romería a visitar la iglesia de Compostela mantuvieron en Galicia el gusto de la poesía en tiempos bárbaros_. A Latin hymn composed in the twelfth century by Aimeric Picaud is printed in _Recuerdos de un Viaje á Santiago de Galicia_ por el P. Fidel Fita y D. Aureliano Fernández-Guerra (Madrid, 1880), p. 45: _Jacobi Gallecia Opem rogat piam Glebe cujus gloria Dat insignem viam Ut precum frequentia Cantet melodiam. Herru Sanctiagu! Grot Sanctiagu! Eultreja esuseja! Deus, adjuva nos!_ [39] Cf. Simão de Vasconcellos, _Cronica da Companhia de Jesu do Estado do Brazil_ (1549-62), 2nd ed. (1865), Bk. I, § 22: _chegamos a huma praça_ [in Santiago de Compostela] _onde vimos hum ajuntamento de mulheres Gallegas com grande risada e galhofa; e querendo o irmão meu companheiro pedir-lhe esmola vio que estavão todas ouvindo a huma que feita pregadora arremedava, como por zombaria, o sermão que eu tinha pregado_. [40] One has but to watch a Rogation procession passing through the fields in the Basque country (which until recently preserved customs of immemorial eld and still calls the Feast of Corpus Christi, introduced by Pope Urban IV in 1262, ‘the New Feast--_Festa Berria_’) to realize the singularly impressive effect of the singing, first the girls’ treble _Ave Ave Ave Maria, Ave Ave Ave Maria_, then the answering bass of the men far behind, _Ave Ave Ave Maria, Ave Ave Ave Maria_ (with the slow ringing of the church bell for a refrain like the _contemplando_ and _tan callando_ in the _Coplas de Manrique_). [41] Cf. Gil Vicente, _Tambor em cada moinho_. It is a curious coincidence that the word _citola_ (the _jogral’s_ fiddle) = mill-clapper. Cf. also _moinante_ in Galicia = _pícaro_. [42] Cf. the _leixapren_ and refrain of the _cantiga_ danced and sung at the end of Gil Vicente’s _Romagem de Aggravados_ (_Por Maio era, por Maio_). The parallelism and _leixapren_ are present also in religious poems by Alfonso X: C. M. 160, 250, 260. Snr. J. J. Nunes has noted that in modern peasant dances, accompanied with song, the dancers sometimes pause while the refrain is sung. [43] C. V. contains many striking pilgrimage songs, sometimes wrongly called _cantigas de ledino_. The word probably originated in a printer’s error (_de ledino for dele dino_) in a line of _Chrisfal: cantou canto de ledino_. [44] Cf. the wailing refrains of C. V. 415, 417; and, for the _form_, compare _e de mi, louçana!_ with _¡ay de mi, Alfama!_ In the _sense_ of the two refrains lies all the difference between the poetry of Portugal and Spain. [45] C. C. B. 135 (= C. A. 389); C. V. 119, 181, 220, 527, 758, 964. [46] _Endurar_, _besonha_, _greu_, _gracir_, _cousir_, _escarnir_, _toste_, _entendedor_, _veiro_ (_varius_, Fr. _vair_, C. M. 213 has _egua veira_), _genta_ (_genser_, _gensor_).