Acceso usuarios
Josep Lluís Martos Sánchez 
The Maldit is Joan Roís de Corella’s only poem that appears in all of the manuscript witnesses of his poetry, which is a good indication of its literary success. This article reviews the variations of the poem throughout these manuscripts in order to focus on the process of rewriting, which reaches its maximum development in the version transmitted in the cancionero known as the Jardinet d’orats. The variants of all of the witnesses are discussed from ecdotic perspectives and the focus is on the double version of the tornada. The article demonstrates that the maldit is Joan Roís de Corella’s poem in which there is the greatest development and the greatest adherence to troubadouresque techniques. The person responsible for the version in the Jardinet d’orats does not notice these formal characteristics, which disappear in the process of rewriting, and this is the principal argument for considering it apocryphal. The literary character of the poem, like the Valencian environment in which it was produced, respond to a certain collectivity, which a different poet took advantage to generate the rewriting of Joan Roís de Corella’s maldit.
