Old Spanish, or Old Castilian, is an early form of the Spanish language that was spoken from 10th Century until 15th Century, before the consonantic readjustment occurred and evolution into modern Spanish.

Contents 1 Phonetics and phonology 2 Morphology and syntax 3 Sample text 4 See also 5 External links

Phonetics and phonology

The phonologic system of the Old Spanish shared similarities with the modern Romance languages. The Romance languages (sometimes referred to as Romanic languages, or Neolatin languages) are a branch of the Indo-European language family comprising all Amongst the consonants, there were three pairs of sibilants, voicelesses, and sonorants:

• Voiceless alveolar affricate (/ts/): represented by the phoneme ç
• Voiced alveolar affricate (/dz/): represented by the phoneme z
• Voiceless apicoalveolar fricative:represented by the s
• Voiced apicoalveolar fricative: represented by the phoneme z

• Voiceless postalveolar affricate: represented by the phoneme x (pronounced as the digraph sh)
• Voiced postalveolar affricate: represented by the phoneme j

In Old Spanish the voiceless velar fricative [x], corresponding to the letter j or g (before e and i), didn't exist, nor did the voiceless dental fricative that are actually written as the letter z and c (before e and i). A sibilant is a type of Fricative or Affricate Consonant, made by directing a jet of air through a narrow channel in the Vocal tract towards Voice or voicing is a term used in Phonetics and Phonology to characterize speech sounds, with sounds described as either voiceless In Phonetics and Phonology, a sonorant is a Speech sound that is produced without turbulent airflow in the Vocal tract. The voiceless alveolar affricate is a type of Consonantal sound used in some spoken Languages The symbol in the International Phonetic Alphabet Ç, ç ( C - Cedilla) is a letter of Albanian, Turkish, Azerbaijani, Turkmen, Tatar, Kurdish language The voiced alveolar affricate is a type of Consonantal sound used in some spoken Languages The symbol in the International Phonetic Alphabet The voiceless alveolar fricatives are Consonantal sounds The symbol in the International Phonetic Alphabet that represents these sounds depends on whether a The voiced alveolar fricatives are Consonantal sounds The symbol in the International Phonetic Alphabet that represents these sounds depends on whether a Sibilant The voiceless palato-alveolar affricate or domed postalveolar affricate is a type of Consonantal sound used in some spoken Languages It is The voiced palato-alveolar affricate, also described as voiced domed postalveolar affricate, is a type of Consonantal sound used in some spoken Languages The voiceless dental non-sibilant fricative is a type of Consonantal sound used in some spoken Languages The symbol in the International Phonetic

The letter v was pronounced as a fricative consonant. It is not known if it was bilabial or labiodental. The letter f represented its phonetic value but also represented an aspiration (as the English h) that later disappeared as a pronunciation, but it is now represented by an etymological h.

Examples:

• fasta (Modern Spanish: "hasta")
  
• fablar (Modern Spanish: "hablar")
  
• facer (Modern Spanish: "hacer")

Morphology and syntax

In Old Spanish the perfect tenses of the movement verbs, such as ir (to go) and venir (to come), were formed using the auxiliary verb "ser" (to be). The perfect aspect is variously considered either an aspect or tense which calls a listener's attention to the consequences generated by an action rather than the Example: Las mugieres son llegadas a Castiella (Las mujeres han llegado a Castilla).

Possession was expressed by the auxiliary verb "aver" (haber). Example: Pedro dos fijas ha (Pedro tiene dos hijas).

In the present perfect tense, the past participle has to agree with the gender and number of the direct object. The present perfect tense is a Perfect tense used to express action that has been completed with respect to the present In Linguistics, a participle (from Latin participium, a Calque of Greek μετοχη "partaking" is a derivative of a non-finite In Linguistics, grammatical genders, sometimes also called Noun classes are classes of nouns reflected in the behavior of associated words every noun must belong In linguistics grammatical number is a Grammatical category of nouns pronouns and adjective and verb agreement that expresses count distinctions (such as "one" An object in Grammar is a Sentence element and part of the sentence predicate. Example: María ha cantadas dos canciones (María ha cantado dos canciones).

Personal pronouns and substantives can be placed after the verb in any tense or mood (as in the verses from the Spanish epic poem Cantar de Mio Cid). Personal pronouns are Pronouns used as substitutes for proper or common Nouns. Grammatical mood is one of a set of distinctive Verb forms that are used to signal modality. El Cantar de Mio Cid is the oldest preserved Spanish epic poem ( epopeya)

Generally, an unstressed pronoun and a verb in the simple sentences combined into one word. A simple sentence is a sentence structure that contains one Independent clause and no Dependent clauses Examples The singer In a compound sentence, the pronoun was localized in the beginning of the clause. A dependent clause cannot stand alone as a sentence. In itself a dependent clause does not express a complete Thought; therefore it is usually attached to an Example: la mánole va besar = la mano le va a besar (Le va a besar la mano).

Latin	Old Spanish	Modern Spanish
acceptare, captare, effectus, respectus	acetar, catar, efeto, respeto	aceptar, captar, efecto, respecto y respeto
et, non, nos, hic	e, et; non, no; nós; í	y, e; no; nosotros; ahí
stabat; habui, habebat; facere, fecisti	estava; ove, avié; far/fer/fazer, feziste	estaba; hube, había; hacer, hiciste
hominem, mulier, infans	omne; mugier, muger; ifante	hombre, mujer, infante
cras, mane (maneana); nunquam	cras, man, mañana; nunqua	mañana, nunca
quando, quid, qui (quem), quo modo	quando, que, qui, commo/cuemo	cuando, que, quien, como

Sample text

The following is a sample from Cantar de Mio Cid (verses 330-365). El Cantar de Mio Cid is the oldest preserved Spanish epic poem ( epopeya) The first column contains the original Old Spanish text, and the second column is in modern Spanish.

–Ya Señor glorioso, Padre que en çielo estás, Fezist çielo e tierra, el terçero el mar, Fezist estrellas e luna, e el sol pora escalentar, Prisist encarnaçión en Santa María madre, En Beleem apareçist, commo fue tu veluntad, Pastores te glorificaron, oviéronte a laudare, Tres reyes de Arabia te vinieron adorar, Melchior e Gaspar e Baltasar, oro e tus e mirra Te ofreçieron, commo fue tu veluntad. Salvest a Jonás quando cayó en la mar, Salvest a Daniel con los leones en la mala cárçel, Salvest dentro en Roma al señor San Sabastián, Salvest a Santa Susaña del falso criminal, Por tierra andidiste treinta e dos años, Señor spirital, Mostrando los miráclos, por én avemos qué fablar, Del agua fezist vino e de la piedra pan, Resuçitest a Lázaro, ca fue tu voluntad, A los judíos te dexeste prender, do dizen monte Calvarie Pusiéronte en cruz, por nombre en Golgotá, Dos ladrones contigo, éstos de señas partes, El uno es en paraíso, ca el otro non entró allá, Estando en la cruz vertud fezist muy grant, Longinos era çiego, que nunquas’ vio alguandre, Diot’ con la lança en el costado, dont ixió la sangre, Corrió la sangre por el astil ayuso, las manos se ovo de untar, Alçólas arriba, llególas a la faz, Abrió sos ojos, cató a todas partes, En ti crovo al ora, por end es salvo de mal. En el monumento resuçitest e fust a los infiernos, Commo fue tu voluntad, Quebranteste las puertas e saqueste los padres santos. Tú eres rey de los reyes e de tod el mundo padre, A ti adoro e creo de toda voluntad, E ruego a San Peidro que me ajude a rogar Por mio Çid el Campeador, que Dios le curie de mal, Quando oy nos partimos, en vida nos faz juntar. –

–Oh, Señor glorioso, Padre que en cielo estás, Hiciste cielo y tierra, el tercero el mar, Hiciste estrellas y luna, y el sol para calentar, Te encarnaste en Santa María madre, En Belén apareciste, como fue tu voluntad, Pastores te glorificaron, te tuvieron que alabar, Tres reyes de Arabia te vinieron a adorar, Melchor y Gaspar y Baltasar, oro e incienso y mirra Te ofrecieron, como fue tu voluntad. Salvaste a Jonás cuando cayó en la mar, Salvaste a Daniel con los leones en la mala cárcel, Salvaste dentro de Roma al señor San Sebastián, Salvaste a Santa Susana del falso criminal, Por tierra anduviste treinta y dos años, Señor espiritual, Mostrando los milagros, por ende tenemos qué hablar, Del agua hiciste vino y de la piedra pan, Resucitaste a Lázaro, porque fue tu voluntad, A los judíos te dejaste prender, donde dicen monte Calvario Te pusieron en cruz, por nombre en Golgotá, Dos ladrones contigo, éstos de sendas partes, El uno es en paraíso, porque el otro no entró allá, Estando en la cruz virtud hiciste muy grande, Longinos era ciego, que nunca se vio jamás, Te dio con la lanza en el costado, donde salió la sangre, Corrió la sangre por el astil abajo, las manos se las tuvo que untar, Las alzó arriba, las elevó a la faz, Abrió sus ojos, miró a todas partes, En ti creyó entonces, por ende es salvado de mal. En el monumento resucitaste y fuiste a los infiernos, Como fue tu voluntad, Quebrantaste las puertas y sacaste los padres santos. Tú eres rey de los reyes y de todo el mundo padre, A ti te adoro y creo de toda voluntad, Y ruego a San Pedro que me ayude a rogar Por mi Cid el Campeador, que Dios le cure de mal, Cuando hoy nos partamos, en vida haznos juntar. –

See also

• History of the Spanish language
• Cantar de Mio Cid

External links

• An explanation of the development of Mediæval Spanish sibilants in Castile and Andalusia.

The Spanish language developed from Vulgar Latin, with loan-words from Basque in the north and Arabic in the southern part of the Iberian El Cantar de Mio Cid is the oldest preserved Spanish epic poem ( epopeya)

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