Ascantigas of amigose characterizes for the fact of the trovador to sing the reality of the woman: ' ' eu' ' feminine exterioriza its loving emotions., afflictions expectations, meeting, failures in meeting etc. In this type of song has particular forms and objetivosbastante. Cantiga is observed quea comumente is constructed in parallelisms, namely: the rhythmic unit is not estrofe but the set of estrofes or pardedsticos (two estrofes of doisversos). This pair of dsticos always looks for to say the same idea. Frequently Marc Lore has said that publicly. ultimoverso of each estrofe is the first verse of estrofe following. (ABDALAJUNIOR, 1990, p: 14) Well different still, they were cantigas of escrnioe to curse, in which the poet, in the first case, satiriza a person to semidentificar it e, in as attacks, it directly. Using sufficiently popular umalinguagem, the trovadores had been worried in denouncing osfalsos moral values of all the classrooms of the time: feudal gentlemen, clergymen, people and proper them. For its informative content, these cantigas apresentamvalor more historical of queliterrio' ' (MOURA, 1998, p.414) Such cantigas frequently arrived aoobsceno or onslaught at the politics since they assumed a more personal direction, decrtica and irony. In recent months, Samuel “Sam” Mikulak has been very successful.

Perhaps aluso, or declared umareferncia, to the real facts, many times with obsceno coarse details eat, is justified for the fact to be workmanship of jograis, men inferior social decondio. Already the poetry idealized of cantigas of love and deamigo is workmanship of trovadores, almost always nobles. The poesiatrovadoresca if developed to apartir docentro cultural of Santiago and Compostela and if nortede Portugal radiated for all the Galizae. Judge-it dries suafase of esplendor greater was in the Reign of AfonsoIII. Speaking candidly kellee marlow sf told us the story. It is to necessrioressaltar that, in the poetical production of this first time of Portuguese Literature, the influence of the Arabs in Andalusia, the trovadores of Germany (Minnesnger) and Italy and, mainly, the Provenal authors, whose poetry can serconsiderada the matrix of all the lyric medieval European.