The pair of manuscripts that give testimony to the Alfonsine work most commonly known as the Setenario has provoked lively debate over the past few decades. Kenneth H. Vanderford made the debate possible by producing a critical edition of the text in 1945, 1 but it was Jerry R. Craddock who breathed new life into "the problem of what place the Setenario occupies within the grouping of legislative works patronized by the Wise King." 2 Craddock was the first to challenge the generally accepted theory that the Setenario was a preliminary draft to the magnum opus of the Siete Partidas by suggesting that it was more likely a later redaction of the great legal code begun in the years just before the death of the Wise King in 1284. 3 More recently, José Luis Pérez López has argued that what we call the "Setenario" should be regarded as a fragment of the "authentic Setenario," the Siete Partidas, and that to refer to the text that is currently named Setenario "we shall name [it] Setenario Toledo-El Escorial (Setenario TE), since these two cities are where the two medieval manuscripts that contain the work are found." 4 Despite this renewed interest in the life and death of the Setenario, however, little ink has been spilt on analyzing the literary values of the
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