Abstract
Abstract Galician-Portuguese troubadours were able to bring their compositions to a close by means of one or a series of fiindas. The fiinda can be understood as a conclusive sequence, shorter than a cobra or stanza, which is harmoniously integrated into the composition in terms of both form and content. The principles governing the textual arrangement of the various Galician-Portuguese manuscript songbooks (the medieval A, fragmentary and unfinished, and the Italian apographs B and V of the humanist period) are of considerable help in identifying these final segments in texts where they are present. However, vicissitudes in the transmission of some compositions with fiindas have occasionally led to a blurring or obscuring of these sequences, which in turn may have been an obstacle to the correct perception and identification of the textual structure of fiindas by editors of these texts.
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