Archive Tape Name: reel15a NA NA National Science Foundation, Digital Library Initiative Phase 2 Maurice Amado Foundation University of California at Davis Samuel G. Armistead Bruce Rosenstock NA Samuel G. Armistead Samuel G. Armistead University of California
Spanish and Classics Dept. University of California at Davis Davis, CA 95616

Textual transcription of this tape and corresponding audio file are available for purposes of research, teaching, and appreciation. In some cases, either the transcriptions, the audio file, or both may be used only with the permission of Samuel G. Armistead send requests to address given above.

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 This transcription is taken from Archive tape named Reel 15, Side A, recorded on 1962-08-13 and finishing on 1962-08-28, whose digital audio file is named reel15a. The tape was recorded in Tetuán/Casablanca. Samuel G. Armistead interviewed and taped session 1962-08-13 -- 1962-08-28 INFNAME informant Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-1. Simi Salama Informant identified as inf1 in reel15a-10. [unknown] [unknown] Informant identified as inf1 in reel15a-11. Simi Salama Informant identified as inf1 in reel15a-12. [unknown] [unknown] Informant identified as inf2 in reel15a-12. Dora de Ayach Bergel Informant identified as inf3 in reel15a-12. Simi Salama Informant identified as inf1 in reel15a-13. [unknown] [unknown] Informant identified as inf2 in reel15a-13. Dora de Ayach Bergel Informant identified as inf3 in reel15a-13. Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-2. Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-3. Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-4. Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-5. Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-6. Saadia [Mrs. Isaac] Cohen Informant identified as inf1 in reel15a-7. Simi Salama Informant identified as inf1 in reel15a-8. Simi Salama Informant identified as inf1 in reel15a-9.

The "Folk Literature of the Sephardic Jews Multimedia Digital LIbrary" is funded by a three-year grant from the National Science Foundation, Digital Library Initiative Phase 2 and the Maurice Amado Foundation. The goal is to create a web-accessible archive of the Sephardic oral literature collected by Samuel G. Armistead, Joseph H. Silverman and Israel J. Katz in fieldwork conducted since 1957.

Commentary on transcriptions has been provided by Samuel G. Armistead, who is solely responsible for identifying the ballad-titles and other genres of this folk literature.

The orthographic conventions used in transcribing these files are based upon those of Samuel G. Armistead. We have attempted to represent all variations from the pronunciation of modern Castilian Spanish and our orthography therefore captures phonetic phenomena which use of modern Spanish orthography would otherwise obscure. The full description of our conventions is available on the home page of the website.

 1962-08-13 -- 1962-08-28 Tetuán/Casablanca reel15a-12 Karen L. Olson Supervised the editing of all transcriptions. Corinne Pubill Editor/Transcriber Cinthya M. Miranda Editor/Transcriber Corinne Pubill --> Editor/Transcriber University of California, Shields Library Samuel G. Armistead
Spanish and Classics Dept. University of California at Davis Davis, CA 95616
Ballad Title Not Yet Identified conversación. la inf. traduce un texto al inglés (probablemente del griego) inf1 ... flirt. And he or she dries up, withers. Samuel G. Armistead O.K. inf1 He wanted to [ word ] and he goes to his mother [ phrse ] : "Tell me, tell me, my mother, what's going to become of me." "Easy, calm down, John ... I don't know, because I am an old woman, [ word ] and I am all drying up ... Too old for this kind of situation." And then he goes to his sister-in-law. And he asks, again, of course. "Tell me, tell me, my sister-in-law what's going to become of me." "Calm down, calm down ..." Samuel G. Armistead This is not the same story at all. corte de cinta. se mencionan números de páginas conversación inf1 Maida is sitting in su saraje in [ word ] room of John's home. She is holding a mirror in her hands and she is regarding her attractive features. She is speaking to the mirror and says: "My mirror, [ corte de cinta ] how beautiful you make me, mirror, neither beautiful nor ugly nor aged. If I only had Kosta for one evening, I'd make him into a man. Behold, there's Kostas passing by, below the window, by the window. "Dear Kosta [ se corrige ] Hello, Kosta, you, good fellow. Come upstairs!" "I am leery, my love, because I am afraid of John." "Listen, Kosta, John is not here. He went, alone, he went out hunting." She didn't finish saying these words when John came. "Come down, Maida, and open the door to take the game." "I am leery John, for I'm, I'm weary," it's the same word, "for I fear the game, the hunt. Take it John to your mother, who is used to it." It says used to it, ah?. Samuel G. Armistead [] inf1 I think he gives it the rein, he pulls the rein or jerks the rein or... to lead the horse away. Samuel G. Armistead Yeah, that's alright. That's fine. inf1 Yeah, right. He goes to his mother: "Come down, my mother, and open the door and take the game." "I am afraid, John. I am afraid of the hunt, the game. Take it, John, to Maida who is used to it, she's accustomed to it." "My mother, but, mother, Maida is afraid of it also." "John, Maida married you, but she took Kosta for her man, her lover." He hits his horse again and goes to his home. He hits the door, kicks the door, and he goes upstairs. He grabs a sword and takes her head off. And he puts the head on a little plate. In religious, religion now is the ..." corte de cinta conversación inf1 He took her to the miller. That is the millow, the miller? Samuel G. Armistead Yeah, it is. inf1 And grind, I guess, the head, make the bones. Samuel G. Armistead What's "korovas"? inf1 I don't know. [ word ] But it ... Samuel G. Armistead [ phrase ] inf1 Makes bones, "asprad," something, "kokinadi," makes the head, "kokinadi," would be like rouge. Make rouge from it, and make powder from the bones. Samuel G. Armistead That's right. inf1 So that ... Oh! yes. [ corte de cinta ] What a vengeance ... So that the brunettes may come by to put on powder, and the ... Samuel G. Armistead ... beautiful ones. inf1 Yeah, beautiful ones. To put on the rouge. corte de cinta resumen: Se trata de la historia de un hombre, John, que quiere saber lo que le va a pasar en el futuro. Primero, se lo pregunta a su madre. Ella le dice que tiene que calmarse y que no puede contestarle porque es demasiado vieja para esa clase de situaciones. Entonces, él le hace la misma pregunta a su cuñada, quien le pide también que se calme. Maida está sentada en casa de John y tiene en sus manos un espejo con el que admira su atractivo rostro (ni viejo ni marcado por la edad). Habla con el espejo y le dice que si tuviera a Kosta, aunque sólo fuera por una noche, lo haría hombre. Ve pasar a Kosta por la ventana, lo saluda y le dice que suba. Él le contesta que le tiene miedo a John. Maida le dice que John no está en casa, sino que se ha ido a casar, solo. No acababa de decir estas palabras cuando entra John y le pide a Maida que baje y abra la puerta para tomar lo que él ha cazado. Ella le contesta que le tiene miedo a la presa y le pide que se la lleve a su madre, quien está acostumbrada a esas cosas. John va entonces a la casa de su madre y se la ofrece, pero la madre le contesta que tiene miedo de la presa y le dice que se la lleve a Maida, quien está acostumbrada a esas cosas. John le cuenta que Maida le tiene miedo también y su madre le dice que Maida se ha casado con él, pero ha tomado a Kosta por amante. John se va otra vez a su casa a caballo. Abre la puerta y sube al primer piso, coge su espada y le corta la cabeza a Maida, la pone en un plato pequeño y convierte los huesos en polvo. (La informante explica que el polvo de los huesos era usado como maquillaje por las mujeres bellas de complexión oscura--morenas.)