It is the suffering of the man who assumes, ahead of the loved one, the paper of vassal, the servant. The woman becomes distant, inaccessible, coming close itself to the medieval cult to the Immaculate one. As the conventions of the love gracious, the trovador does not disclose the name of the lady, but mia gentleman launches hand of conventional expressions -, mia owner (mine lady) expressions these that serve to identify cantiga of love. 3.3.CANTIGA OF FRIEND: The roots of cantiga of friend meet in the folclricas traditions of the proper Iberian peninsula, reason for which is more spontaneous than of love. The trovador, so to speak, mounts a scene, where the central figure is a woman who speaks of the loving suffering, in sight of the absence of the friend (boyfriend). The boyfriends appear the same in feeling level, in contrast of cantiga of love. We can observe realism traces, a certain narrative tone, but what more flame the attention is the descriptive aspect of these cantigas. The expression that identifies this modality of the trovadoresca poetry is mia gentleman, or mio friend.

A time that if it inspires in popular reasons, obeys a simpler structure, using refro. Already parallelism consists of repeating with variant minims thought the same. In agreement with the environments that portray, they are classified in: Pastorales (pastoral life), Pilgrimages (religious peregrinations), Barcarolas (maritime landscape) and Bailias (bailados dances and). 3.4.CANTIGAS SATIRICAL: They are divided in two parts: ) Cantiga de Escrnio – she is that one that makes critical to shunting lines of the social behavior tax for the time. The satire is indirect, dosed between the irony and the sarcasm. b) Cantiga de Maldizer – the direct one predominates critical and the irreverncia appears of the first one to the last line of the poem. It can reach exactly an offence degree, becoming to be valid a coarse language.