Archive Tape Name: ta52b 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.

Any republication or other use of these materials must acknowledge their source and their copyright by Samuel G. Armistead.

 This transcription is taken from Archive tape named Tangier 52 Side B, recorded on 1962-09-17, whose digital audio file is named ta52b. The tape was recorded in Tangier. Samuel G. Armistead interviewed and taped session 1962-09-17 INFNAME informant Oro Melul Informant identified as inf1 in ta52b-1. Luna Benaim Informant identified as inf1 in ta52b-2. Oro Melul Informant identified as inf1 in ta52b-3. Oro Melul Informant identified as inf1 in ta52b-4. Luna Benaim Informant identified as inf1 in ta52b-5.

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.

 1962-09-17 Tangier ta52b-3 Karen L. Olson Supervised the editing of all transcriptions. Editor/Transcriber 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 canción. inf1 Y acabóse Elena, Elena y acabóse de almorzzare. Se asomó a la ventana, por ver quién pasa y quién volve. Se asomó a la ventana, por ver quién pasa y quién volve. Miró viner un cabayero tan galán y bien hablado. Miró viner un cabayero tan galán y bien hablado. -- ¿Quién es ese, cuál es ese que se pasa y no me habla? -- ¿Quién es ese y cuál es ese que se pasa y no me habla? -- Paris soy, la mi señora, Paris, vuestro enamorado. -- Paris soy, la mi señora, Paris, vuestro enamorado. Sien navíos traigo al puerto de oro y almisque cargado[s]. Sien navíos traigo al puerto de oro y almisque cargado[s]. -- Si vos paresis [ word ] razzón es ire a mirarlo. -- Si pos vos paresió, Paris, razzón es ire a mira[r]lo. -- Cogió sus onzze donzzeyas, [E]lena, Elena fue a mirarlo. Cogió sus onzze donzzeyas, Elena, Elena fu' a mirarlo. -- ¿Ande 'stá las mansanas de oro? ¿Dónde 'stá el barco afletado? -- ¿A do las mansanas de oro? ¿A do lel barco afletado? -- Pariremos a un niño y ese es el barco afletado. -- Pariremos a un niño, ese es el barco afletado. Pariremos a una niña, esas son las mansanas de oro. -- Pariremos una niña, 'sas son las mansanas de oro. -- Como 'so oyó Elena, Elena, muerta cayó en un desmayo. Como 'so oyera Elena, Elena, muerta cayó en un desmayo. Dala a comer sebada y a beber agua d' un charco. conversación inf1 Fin. Samuel G. Armistead Está muy bien. corte de cinta