Weekend Notes.

We had house guests from Texas who had been hiking the Appalachian Trail for the past month this weekend. I smoked a pork loin and we had several salads, including a French lentil, goat cheese & arugula salad which was quite nice along with a Martín Codax albariño. This was for Saturday evening.

Sunday we drove to Williamsburg by way of Surrey, crossing on the ferry. We wandered around Merchant’s Square and had a light lunch at Barrett’s off their brunch menu. It was odd that they brought out sticky buns before the meal. We only ate half of one each, leaving two, much to the chagrin of one of the other tables.

“They didn’t eat all of their sticky buns… I can’t b’lieve it!!”

Tough cookies, folks.


2 thoughts on “Weekend Notes.

    1. I looked him up:
      Martín Codax “was a Galician medieval jogral (non-noble composer and performer — as opposed to a trobador), possibly from Vigo, Galicia in present day Spain. He may have been active during the middle of the thirteenth century, judging from scriptological analysis (Monteagudo 2008). He is one of only two out of a total of 88 authors of cantigas de amigo who uses only the archaic strophic form aaB (a rhymed distich followed by a refrain). And he also employs an archaic rhyme-system whereby i~o / a~o are used in alternating strophes. In addition Martin Codax consistently deploys a strict parallelistic technique known as leixa-pren (see the example below; the order of the third and fourth strophes is inverted in the Pergaminho Vindel but the correct order appears in the Cancioneiro da Biblioteca Nacional and the Cancioneiro da Vaticana). His dates, however, remain unknown and there is no documentary biographical information concerning the poet.

      The body of work attributed to him consists of seven cantigas d’ amigo which appear in the Galician-Portuguese songbooks and in the Vindel parchment. In all three manuscripts he is listed as the author of the compositions, and in all three the number and the order of the songs is the same. This provides important evidence to support the view that the order of other poets’ songs in the cancioneiros (songbooks) should not automatically be dismissed as random or attributed to later compilers. Rather, the identity of the poems and their order in all witnesses supports the view that the seven songs of Codax reflect an original performance set, and that the sets of poems by some other poets might also have been organized for performance.

      This parchment was discovered by chance: the antiquarian bookseller and bibliophile Pero Vindel in Madrid found it among his holdings in 1913; it had been used as the cover of a copy of Cicero’s De Officiis.”

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