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Muchas invenciones, puestas por escrito en los torneos del siglo XV donde nacieron, vinieron a parar en dos cancioneros, el Cancionero general de 1511 [11CG] y British Library MS Add. 10431 [LB1]. Alli, en secciones genericas, aparecen no segun el autor sino como producto de la suerte de participacion en los torneos. Existen, sin embargo, algunas configuraciones significantes, autoriales y otras. Aunque algunas de ellas nos remite al periodo de la trasmision de los torneos a los cancioneros, otras, quiza de mayor interes, sugieren un origen en los torneos mismos.

It is now reasonable to assume that the rubrics in the three earliest surviving editions of the sixteenth-century, anonymous La vida de Lazarillo de Tormes y de sus fortunas y adversidades are apocryphal. This article stresses that, if so, the first tractado epigraph no longer necessarily marks the division between prologue and letter. The prologue probably in fact ended a paragraph earlier. Scholars have long sought to reconcile what now appear as the prologue proper and a factitious extension. The new structure proposed, while by no means abolishing problems in this area, may nonetheless enable us to take a more relaxed view of them.

It is itself traditional to analyse lirica de tipo tradicional in terms of motifs, part of the purpose being to show continuity with kharjas and cantigas de amigo. Some of these motifs are anecdotal. A morenita is concerned about her dark complexion. Lovers meet at dawn. A girl cannot sleep, is closely guarded by her mother, or no quiere ser monja. Others are symbolic: running water, and the wind, of sexuality; the sea, of the penas de amor; a plant, of the girl or her lover. Many of course are both. The lovers meet at the fountain/riverbank, or there is an expedition to the countryside to gather the trWbol. The list is copious, but not necessarily closed. Excuses that are so transparently disingenuous as hardly to constitute an attempt to deceive are the basis of the well known song in which the girl, presumably not without prompting ("Yo me iba, mi madre"), tells of a pilgrimage on which she was "accidentally" united with her lover "so el encina".' She had set out alone "por ir mds devota," left the usual route for reasons unexplained ("tome otro camino, / deje el que tenia"), "found herself" lost in a wood, and, "mezquina," woke at midnight "en los brazos / del que mds queria". A more subtle transparency is found, at least by the mother, in

Love in lirica de tipo tradicional, despite the existence of a Tennysonian "Descendid al valle, la nifia,"' is typically not "of the valley." As Margaret van Antwerp notes, "folk song ... commonly associates love and lovemaking with treetops or other high places and with the act of climbing up to them."2 Her examples, designed to show the parallels between Peninsular traditional song and "the strange, lofty position of the silver goblet in the treetop" in the Raz6n de amor (p. 8), include "Por enjima de la oliva / mirame el Amor, mira" (50), "Arribica, arribica / de un verde sauze / luchava la nifia / con su adorante" (2380), and the romance viejo "A cazar va el caballero;" who