Archive Tape Name: ta54b 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 54 Side B, recorded on 1962-09-18, whose digital audio file is named ta54b. The tape was recorded in Tangier. Samuel G. Armistead interviewed and taped session 1962-09-18 INFNAME informant Oro Melul Informant identified as inf1 in ta54b-1. Oro Melul Informant identified as inf1 in ta54b-2. Oro Melul Informant identified as inf1 in ta54b-3. Oro Melul Informant identified as inf1 in ta54b-4. Celia Azerrad Informant identified as inf1 in ta54b-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.

 1962-09-18 Tangier ta54b-5 Karen L. Olson Supervised the editing of all transcriptions. Editor/Transcriber 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 inf1 La empiesa. inf2 Ya la empieso. canción. inf1 DJuliana [e]n su castiyo con el morito Galiane juegando iban a los dado[s] por de más gusto tomare. ¡Ay! De que Juliana juega, gana una siudas y máse. De que el morito perdía, las mano[s] la iba a besare. En falda de Juliana, el moro vensido cae. -- Y arso los ojozz ar sielo cuanto y má[s] los pude alsare. ¡Ay! Por aquel lugar de arriba, un paje yo vi asomarse. Descalso viene, descalso, de sus uñas corren sangre. Su cabeyo a la sintura que paresía un salvaje. ¡Ay! Comiendo la yerba verde, bebiendo agua de un charcale. -- ¡Arriba, Carmel, arriba! ¡Arriba, comerás carne! Comerá[s] a ese salvaje, que anda por esos lugare[s]. -- No soy salvaje, señora, ni lo traigo en mi linaje. Siete año[s] hasen, siete, que ando por esto[s] lugare[s] en busca de Juliana, hija del rey don Lushgare, que era mi enamorada desde el vientre de su madre. -- Y como eso oyóDJuliana, sentárase a yorare. Lágrimas de los sus ojo[s] en fases del moro caen. fin de cinta. continúa en el archivo ta55a-1