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+The Project Gutenberg EBook of El Estudiante de Salamanca and Other
+Selections, by George Tyler Northup
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: El Estudiante de Salamanca and Other Selections
+
+Author: George Tyler Northup
+
+Contributor: Don Jose de Espronceda y Lara
+
+Release Date: May 7, 2005 [EBook #15781]
+
+Language: Spanish / English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EL ESTUDIANTE DE SALAMANCA ***
+
+
+
+
+Produced by Stan Goodman, Miranda van de Heijning, Renald
+Levesque and the Online Distributed Proofreading Team.
+
+
+
+
+
+
+
+[Illustration: D. JOSÉ DE ESPRONCEDA]
+
+  ESPRONCEDA
+
+  EL ESTUDIANTE
+  DE SALAMANCA
+  AND OTHER SELECTIONS
+
+  EDITED BY
+  GEORGE TYLER NORTHUP, PH.D.
+  PROFESSOR OF SPANISH LITERATURE
+  UNIVERSITY OF CHICAGO
+
+
+PREFACE
+
+The selections from Espronceda included in this volume have been edited
+for the benefit of advanced Spanish classes in schools and universities.
+The study of Espronceda, Spain's greatest Romantic poet, offers the best
+possible approach to the whole subject of Romanticism. He is Spain's
+"representative man" in that movement. Furthermore, the wealth of meters
+he uses is such that no other poet provides so good a text for an
+introduction to the study of Spanish versification. The editor has
+therefore treated the biography of Espronceda with some degree of
+completeness, studying his career as one fully representative of the
+historical and literary movements of the period. A treatment of the main
+principles of Spanish versification was also considered indispensable.
+It is assumed that the text will be used only in classes where the
+students are thoroughly familiar with the rudiments of Spanish grammar.
+Therefore only the more difficult points of grammar are dealt with in
+the notes, and little help, outside of the vocabulary, is given the
+student in the translating of difficult passages.
+
+The editor makes no pretense to having established critical texts of
+the poems here printed, although he hopes that some improvement will be
+noted over previous editions. A critical edition of Espronceda's works
+has never been printed. Espronceda himself gave little attention to
+their publication. Hartzenbusch and others intervened as editors in some
+of the earliest editions. Their arbitrary changes have been repeated in
+all subsequent editions. The text of "El Estudiante de Salamanca" has
+been based upon the "Poesías de D. José de Espronceda," Madrid, 1840,
+the so-called _editio princeps_. This edition, however, cannot be
+regarded as wholly authoritative. It was not prepared for the press by
+the poet himself, but by his friend José García de Villalta. Though
+far more authentic in its readings than later editions, it abounds in
+inaccuracies. I have not followed its capricious punctuation, and have
+studied it constantly in connection with other editions, notably the
+edition of 1884 ("Obras Poéticas y Escritos en Prosa," Madrid, 1884). To
+provide a really critical text some future editor must collate the 1840
+text with that version of the poem which appeared in _La Alhambra_, an
+obscure Granada review, for the year 1839. "El Mendigo" and "El Canto
+del Cosaco" I also base upon the 1840 edition, although the former first
+appeared in _La Revista Española_, Sept. 6, 1834. I base the "Canción
+del Pirata" upon the original version published in _El Artista_, Vol. I,
+1835, p. 43. I take the "Soneto" from "El Liceo Artístico y Literario
+Español," 1838. For "A Teresa, Descansa en Paz," I follow the Madrid
+edition of 1884. The text of this, as for the whole of "El Diablo
+Mundo," is more reliable than that of the earlier poems.
+
+I desire to thank Professors Rudolph Schevill, Karl Pietsch, and Milton
+A. Buchanan for helpful suggestions, and the latter more particularly
+for the loan of rare books. The vocabulary is almost entirely the
+work of my wife Emily Cox Northup, whose collaboration is by no means
+restricted to this portion of the book. More than to any other one
+person I am indebted to Mr. Steven T. Byington of the staff of Ginn
+and Company, by whose acute and scholarly observations I have often
+profited.
+
+CONTENTS
+
+  INTRODUCTION
+    THE LIFE OF ESPRONCEDA
+    THE WORKS OF ESPRONCEDA
+    "THE STUDENT OF SALAMANCA"
+    BIBLIOGRAPHICAL NOTE
+    NOTES ON ESPRONCEDA'S VERSIFICATION
+
+  EL ESTUDIANTE DE SALAMANCA
+  CANCIÓN DEL PIRATA
+  EL CANTO DEL COSACO
+  EL MENDIGO
+  SONETO
+  A TERESA
+
+  NOTES
+  VOCABULARY
+
+
+
+
+INTRODUCTION
+
+
+THE LIFE OF ESPRONCEDA
+
+Don José de Espronceda y Lara, Spain's foremost lyric poet of the
+nineteenth century, was born on the 25th of March, 1808, the year of his
+country's heroic revolt against the tyranny of Napoleon. His parents
+were Lieutenant-Colonel Don Juan de Espronceda y Pimentel and Doña María
+del Carmen Delgado y Lara. Both were Andalusians of noble stock, and, as
+we learn from official documents, were held to be Christians of clean
+blood "without taint of Jews, heretics, Moors, or persons punished by
+the Holy Inquisition, and who neither were nor had been engaged in mean
+or low occupations, but in highly honorable ones." This couple of such
+highly satisfactory antecedents had been married four years previously.
+In 1804 Don Juan, a mature widower of fifty-three, was still mourning
+his first wife when he obtained the hand of Doña María, a young widow
+whose first husband, a lieutenant in the same regiment, was recently
+deceased. The marriage was satisfactory in a worldly way, for Doña María
+brought as a dower four hundred thousand reales to be added to the two
+hundred thousand which Don Juan already possessed. By his first marriage
+Don Juan had had a son, Don José de Espronceda y Ramos, who became
+ensign in his father's regiment, then studied in the Artillery School at
+Segovia, and later entered the fashionable Guardia de Corps regiment.
+He died in 1793 at the early age of twenty-one, soon after joining this
+regiment. By the second marriage there were two other children, both of
+whom died in infancy: Francisco, born in 1805, and María, born in 1807.
+During the early months of 1808 the Bourbon cavalry regiment in which
+Don Juan served was stationed in the little hamlet of Villafranca de los
+Barros, Estremadura, and there the future poet was born. We do not know
+where the mother and son found refuge during the stormy years which
+followed. The father was about to begin the most active period of his
+career. We learn from his service record that he won the grade of
+colonel on the field of Bailén; that a year later he recaptured the
+cannon named Libertad at the battle of Consuegra (a feat which won
+him the rank of brigadier), and fought gallantly at Talavera as a
+brother-in-arms of the future Duke of Wellington. The mere enumeration
+of the skirmishes and battles in which he participated would require
+much space. In 1811 he distinguished himself at Medina Sidonia and
+Chiclana, and sought promotion to the rank of field-marshal, which was
+never granted. After the Peninsular War he seems to have been stationed
+in Madrid between 1815 and 1818. His family were probably permanently
+established in that city, for we know that mother and son resided
+there during the time that the brigadier was doing garrison duty in
+Guadalajara (1820-1828), and there is no evidence that they followed him
+to Coruña during his term of service in that city (1818-1820). Possibly
+the old soldier preferred the freedom of barrack life, where his
+authority was unquestioned, to the henpecked existence he led at home.
+"Ella era él y él era ella," says Patricio de Escosura in speaking of
+this couple; for Doña María was something of a shrew. She was a good
+business woman who combined energy with executive ability, as she later
+proved by managing successfully a livery-stable business. But, however
+formidable she may have been to her hostlers, her son José found her
+indulgent. He, the only surviving son of a mature couple, rapidly
+developed into a _niño consentido_, the Spanish equivalent of a
+spoiled child. Parallels are constantly being drawn between Byron and
+Espronceda. It is a curious fact that both poets were reared by mothers
+who were alternately indulgent and severe.
+
+In 1820 the Espronceda family occupied an apartment in the Calle del
+Lobo. It was there and then that Patricio de Escosura firmed his
+intimacy with the future poet. He describes graphically his first
+meeting with the youth who was to be his lifelong friend. He first saw
+José sliding down from a third-story balcony on a tin waterspout. In the
+light of later years Escosura felt that in this boyish prank the child
+was father of the man. The boy who preferred waterspouts to stairways,
+later in life always scorned the beaten path, and "the illogical road,
+no matter how venturesome and hazardous it was, attracted him to it by
+virtue of that sort of fascinating charm which the abyss exercises over
+certain eminently nervous temperaments." The belief that Espronceda
+studied at the Artillery School of Segovia in 1821 appears to rest upon
+the statement of Solís alone. Escosura, who studied there afterwards,
+never speaks of his friend as having attended the same institution.
+Solís may have confused the younger José with his deceased, like-named
+brother, who, we know, actually was a cadet in Segovia. On the other
+hand, Solís speaks with confidence, though without citing the source of
+his information, and nothing would have been more natural than for the
+boy to follow in his elder brother's footsteps, as he did later when he
+joined the Guardia de Corps. However, the matter is of slight moment,
+for if he studied in Segovia at all he cannot have remained there for
+more than a few weeks.
+
+What little education Espronceda was able to acquire in the course of
+his stormy life was gained mostly in the Colegio de San Mateo between
+the years 1820 and 1830. This was a private school patronized by sons of
+the nobility and wealthy middle class. Two of the masters, José Gómez
+Hermosilla and Alberto Lista, were poets of repute. Lista was the best
+teacher of his time in Spain. The wide range of his knowledge astonished
+his pupils, and he appeared to them equally competent in the classics,
+modern languages, mathematics, philosophy and poetics, all of which
+subjects he knew so well that he never had to prepare a lecture
+beforehand. Plainly Lista was not a specialist of the modern stamp; but
+he was something better, a born teacher. In spite of an unprepossessing
+appearance, faulty diction, and a ridiculous Andalusian accent, Lista
+was able to inspire his students and win their affection. It is no
+coincidence that four of the fellow students of the Colegio de San
+Mateo, Espronceda, Felipe Pardo, Ventura de la Vega, and Escosura,
+afterwards became famous in literature.
+
+Espronceda's school reports have been preserved. We learn that he
+studied sacred history, Castilian grammar, Latin, Greek, French,
+English, mythology, history, geography, and fencing, which last he was
+later to turn to practical account. He showed most proficiency in
+French and English, and least in Greek and mathematics. His talent was
+recognized as unusual, his industry slight, his conduct bad. Calleja,
+the principal, writes in true schoolmaster's fashion: "He is wasting the
+very delicate talent which nature gave him, and is wasting, too, the
+opportunity of profiting by the information of his distinguished
+professors." It cannot be denied that Espronceda's conduct left much to
+be desired. According to Escosura he was "bright and mischievous,
+the terror of the whole neighborhood, and the perpetual fever of his
+mother." He soon gained the nickname _buscarruidos_, and attracted
+the notice of police and night watchmen. "In person he was agreeable,
+likable, agile, of clear understanding, sanguine temperament inclined
+to violence; of a petulant, merry disposition, of courage rash even
+bordering upon temerity, and more inclined to bodily exercise than to
+sedentary study." The two friends were much influenced by Calderón at
+this time. The height of their ambition was to be like the gallants of
+a cape-and-sword play, equally ready for a love passage or a fight.
+Lista's influence upon his pupils was not restricted to class exercises.
+In order to encourage them to write original verse and cultivate a taste
+for literature, he founded in April, 1823, the Academy of the Myrtle,
+modeled after the numerous literary academies which throve in Italy and
+Spain during the Renaissance period and later. Lista himself presided,
+assuming the name Anfriso. Was Delio, the name Espronceda assumed in his
+"Serenata" of 1828, his academic designation? The models proposed for
+the youthful aspirants were the best poets of antiquity and such modern
+classicists as Meléndez, Cienfuegos, Jovellanos, and Quintana. Two of
+Espronceda's academic exercises have been preserved. They are as insipid
+and jejune as Goethe's productions of the Leipzig period. As an imitator
+of Horace he was not a success. What he gained from the Academy was the
+habit of writing.
+
+The Academy lasted until 1826, when many of its members had been driven
+into exile; but its later meetings must have seemed tame to spirited
+boys engrossed in the exciting political events of those times. The year
+1823 is famous in Spanish history for the crushing out of liberalism.
+This was effected by means of the Holy Alliance, an infamous association
+of tyrants whose main object was to restore absolutism. Louis XVIII, the
+Bourbon king of France, sent a force of one hundred thousand men under
+the Duke of Angoulême who met with little resistance, and in short order
+nullified all that had been accomplished by the Spanish liberals. Before
+the end of the year Ferdinand VII, who had been virtually deposed, was
+restored to his throne, and the constitution of 1820 had been abolished.
+Espronceda, the son of a hero of the War of Liberation, felt that the
+work of the men of 1808 had been undone. They had exchanged a foreign
+for a domestic tyrant. What his feelings were we may gather from his
+ode in commemoration of the uprising of the Madrid populace against the
+troops of Murat, "Al Dos de Mayo":
+
+    ¡Oh de sangre y valor glorioso día!
+  Mis padres cuando niño me contaron
+  Sus hechos, ¡ay! y en la memoria mía
+  Santos recuerdos de virtud quedaron.
+
+But, as he says later in the poem,
+
+    El trono que erigió vuestra bravura,
+  Sobre huesos de héroes cimentado,
+  Un rey ingrato, de memoria impura,
+  Con eterno baldón dejó manchado.
+    ¡Ay! para herir la libertad sagrada,
+  El Príncipe, borrón de nuestra historia,
+  Llamó en su ayuda la francesa espada,
+  Que segase el laurel de vuestra gloria.
+
+These verses were written in later life; but already in 1827 he dates a
+poem "fourth year after the sale of Spanish liberty."
+
+It was an age of political conspiracy and secret societies. Many
+liberals were members of Masonic lodges, and in addition there were
+circles like the Friends of Liberty, the Friends of the Constitution,
+the Cross of Malta, the Spanish Patriot, and others. Nothing more
+natural than that boys whose age made them ineligible to join these
+organizations should form one of their own. The result was La Sociedad
+de los Numantinos. The prime movers were Miguel Ortiz Amor and Patricio
+de Escosura, who drew up its Draconic constitution. Other founders were
+Espronceda, Ventura de la Vega, and Núñez de Arenas. All told, the
+society had about a dozen members. Their first meetings were held in a
+sand-pit, until the curiosity of the police forced them to seek safer
+quarters. One of the members was an apothecary's apprentice, who,
+unknown to his master, installed the club in the shop cellar. There
+they built an altar bearing all the romantic paraphernalia of skull and
+cross-bones, swords, and pistols. The members stood wrapped in black
+garments, their faces muffled with their long Spanish capes, wearing
+Venetian masks, each one grasping a naked dagger. There they swore
+binding oaths and delivered fiery orations. Red paper lanterns cast a
+weird light over the scene. How tame the sessions of the Myrtle
+must have seemed by comparison! Yet the two organizations throve
+simultaneously.
+
+With the return of Ferdinand in September the persecution of the
+liberals began. The boys witnessed the judicial murder of Riego, the
+hero of the constitutional movement, November 8, 1823. This made the
+impression upon them that might have been expected. That night an
+extraordinary session of the Numantinos was held at which Espronceda
+delivered an impassioned oration. Then all signed a document in which
+the king's death was decreed. Some of the members' parents seem to
+have learned what was happening. The father of Ortiz, the club's first
+president, prudently sent him away to Oñate. Escosura became the second
+president, and held office until September of 1824, when his father sent
+him to France. Espronceda then became the club's third president, but
+his term was brief. The boys had made the mistake of admitting one
+member of mature years whose name we do not know; for, in spite of his
+treachery, the Numantinos even in their old age chivalrously
+refrained from publishing it. This Judas betrayed the secrets of his
+fellow-members, and placed incriminating documents, among them the
+king's "death warrant," in the hands of the police. The latter, however,
+displayed less rigor and more common sense than usual. While all the
+youths implicated were sentenced to long terms of imprisonment in
+various monasteries scattered throughout Spain, nothing more was
+intended than to give the conspirators a salutary scare. They were all
+released after a few weeks of nominal servitude. Ortiz and Escosura, the
+ringleaders, were sentenced to six years of seclusion, and Espronceda
+received a term of five years to be served in the Monastery of San
+Francisco de Guadalajara in the city of Guadalajara. His term was
+pronounced completed after a very few weeks of confinement. That he had
+a father prominent in the government service stood him in good stead,
+and this probably accounts for the fact that his place of confinement
+was in the city where Don Juan was garrisoned. The latter, as an old
+soldier in the wars against Napoleon, sympathized in a general way with
+liberal ideas; yet, placed as he was in a very difficult position, he
+must have found his son's escapades compromising. His record shows that
+he was "purified," that is his loyalty to the crown was certified to, on
+August 8, 1824. He seems to have maintained a "correct" attitude toward
+his rulers to the end, with all the unquestioning obedience of a
+military man.
+
+While undergoing this easy martyrdom Espronceda improved his time by
+beginning what was to be a great patriotic epic, his _Pelayo_. Like many
+another ambitious project, this was never completed. The few fragments
+of it which have been printed date mostly from this time. The style is
+still classic, but it is the pseudo-classicism of his model, Tasso. The
+poet had taken the first step leading to Romanticism. Hence this work
+was not so sterile as his earlier performances. Lista, on seeing the
+fragments, did much to encourage the young author. Some of the octaves
+included in the published version are said on good authority to have
+come from the schoolmaster's pen. Lista's classicism was of the
+broadest. He never condemned Romanticism totally, though he deplored
+its unrestrained extravagances and the antireligious and antidynastic
+tendencies of some of its exponents. He long outlived his brilliant
+pupil, and celebrated his fame in critical articles. After his return
+from exile Espronceda continued to study in a private school which Lista
+had started in the Calle de Valverde. Calleja's Colegio de San Mateo had
+been suppressed by a government which was the sworn enemy of every form
+of enlightenment. The new seminary, however, continued the work of
+the old with little change: While there José carried his mathematical
+studies through higher algebra, conic sections, trigonometry, and
+surveying, and continued Latin, French, English, and Greek. If we may
+judge from later results, a course in rhetoric and poetics must have
+been of greatest benefit to him.
+
+Espronceda's schooling ended in 1826, when he began what Escosura terms
+"his more or less voluntary exile." Escosura thinks he may have been
+implicated in a revolutionary uprising in Estremadura, and this
+conjecture is all but confirmed by a recently found report of the
+Spanish consul in Lisbon, who suspected him of plotting mischief with
+General Mina. If Espronceda was not a revolutionary at this time, he was
+capable of enlisting in any enterprise however rash, as his past and
+subsequent record proves all too clearly, and the authorities were not
+without justification in watching his movements. In a letter dated
+Lisbon, August 24, 1827, he writes to his mother: "Calm yourselves and
+restore papa to health by taking good care of him, and you yourself stop
+thinking so sadly, for now I am not going to leave Portugal." In these
+words the boy seems to be informing his parents that he has given up
+the idea of making a foray from Portugal into Spain as Mina was then
+plotting to do. He had left home without taking leave of his parents,
+made his way to Gibraltar, and taken passage thence to Lisbon on a
+Sardinian sloop. The discomforts of this journey are graphically
+described in one of his prose works, "De Gibraltar a Lisboa: viaje
+histórico." The writer describes with cynical humor the overladen little
+boat with its twenty-nine passengers, their quarrels and seasickness,
+the abominable food, a burial at sea, a tempest. When the ship reached
+Lisbon the ill-assorted company were placed in quarantine. The health
+inspectors demanded a three-peseta fee of each passenger. Espronceda
+paid out a duro and received two pesetas in change. Whereupon he threw
+them into the Tagus, "because I did not want to enter so great a capital
+with so little money." A very similar story has been told of Camoens,
+so that Espronceda was not only a _poseur_ but a very unoriginal one at
+that. Some biographers suspect that while parting with his silver he was
+prudent enough to retain a purse lined with good gold _onzas_. This is
+pure speculation, but it is certain that he knew he could soon expect a
+remittance from home.
+
+Portugal was at the time rent with civil war. The infanta Isabel María
+was acting as regent, and her weak government hesitated to offend the
+king of Spain. The liberal emigrants were kept under surveillance; some
+were imprisoned, others forced to leave the kingdom. Espronceda was
+forced to Live with the other Spanish emigrants in Santarem. There is no
+evidence that he was imprisoned in the Castle of St. George, as has so
+frequently been stated. He appears to have been free to go and come
+within the limits assigned him by the police; but he was constantly
+watched and at last forced to leave the country. It was in Portugal that
+the nineteen-year-old boy made the acquaintance of the Mancha family.
+Don Epifanio Mancha was a colonel in the Spanish army who, unlike the
+elder Espronceda, had been unable to reconcile himself to existing
+conditions. He had two daughters, one of whom, Teresa, was to play a
+large part in Espronceda's life. He undoubtedly made her acquaintance at
+this time. We are told that she embroidered for him an artillery cadet's
+hat; but the acquaintance probably did not proceed far. The statement
+that vows were exchanged, that the Mancha family preceded Espronceda to
+London, that on disembarking he found his Teresa already the bride
+of another, all this is pure legend. As a matter of fact, Espronceda
+preceded the Manchas to London and his elopement with Teresa did not
+take place until 1831, not in England but in France. All this Señor
+Cascales y Muñoz has shown in his recent biography.
+
+Espronceda's expulsion from Portugal was determined upon as early as
+August 14, 1827; but the execution of it was delayed. He must have
+reached England sometime within the last four months of 1827. The first
+of his letters written from London that has been preserved is dated
+December 27 of that year. What his emotions were on passing "the immense
+sea ... which chains me amid the gloomy Britons" may be observed by
+reading his poem entitled "La Entrada del Invierno en Londres." In this
+poem he gives full vent to his homesickness in his "present abode of
+sadness," breathes forth his love for Spain, and bewails the tyrannies
+under which that nation is groaning. It is written in his early classic
+manner and exists in autograph form, dedicated by the "Citizen" José de
+Espronceda to the "Citizen" Balbino Cortés, his companion in exile. The
+date, London, January 1, 1827, is plainly erroneous, though this fact
+has never before been pointed out. We can only suppose that, like many
+another, Espronceda found it difficult to write the date correctly on
+the first day of a new year. We should probably read January 1, 1828.
+When he assures us in the poem: "Four times have I here seen the fields
+robbed of their treasure," he is not to be taken literally. Who will
+begrudge an exiled poet the delight of exaggerating his sufferings?
+
+Five letters written from London to his parents have been preserved,
+thanks to the diligence of the Madrid police who seized them in his
+father's house in their eagerness to follow the movements of this
+dangerous revolutionary. They are the typical letters of a schoolboy.
+The writer makes excuses for his dilatoriness as a correspondent,
+expresses solicitude for the health of his parents, and suggests the
+need of a speedy remittance. In fact _la falta de metálico_ is the
+burden of his song. Living is excessively dear in London. So much so
+that a suit of clothes costs seventeen pounds sterling; but there will
+be a reduction of three pounds if the draft is promptly sent. He asks
+that the manuscript of his "Pelayo" be sent to him, as he now has
+abundant leisure to finish the poem. He asks that the remittances be
+sent to a new agent whom he designates. The first agent was a brute who
+refused to aid him to get credit. He wonders that his father should
+suggest a call upon the Spanish ambassador. Not one word as to his
+political plans, a discretion for which Don Juan must have thanked him
+when these interesting documents fell into the hands of the police.
+
+We have information that in London Espronceda became a fencing-master,
+as many a French _émigré_ had done in the century before. This calling
+brought him in very little. He may have profited by the charity
+fund which the Duke of Wellington had raised to relieve the Spanish
+_emigrados_. His more pressing needs were satisfied by Antonio Hernáiz,
+a friend with whom he had made the journey from Lisbon; but the
+remittances from home came promptly and regularly, and Espronceda must
+have been one of the most favored among the refugees of Somers Town. If
+we may take as autobiographical a statement in "Un Recuerdo," he was
+entertained for a time at the country seat of Lord Ruthven, an old
+companion-in-arms of his father's. Ruthven is not a fictitious name,
+as a glance into the peerage will show. During all this time he was
+improving his acquaintance with Shakespeare, Milton, Byron, and other
+English poets. What is more surprising is that, if we may judge from
+his subsequent speeches as a deputy, he gained at least a superficial
+acquaintance with English political thought and became interested in
+economics. He was a convert to the doctrine of free trade.
+
+Meanwhile the parents, who appear to have formed a bad opinion of a land
+where a suit of clothes cost seventeen pounds, were urging the son to
+go to France. He himself thought of Holland as a land combining the
+advantages of liberty and economy. But before leaving London he required
+a remittance of four thousand reales. This bad news was broken to the
+family bread-winner, not by José himself, but by his banker Orense. The
+debt, it was explained, had been incurred as the result of a slight
+illness. The four thousand reales were duly sent in December, but
+Espronceda lingered in London a few months longer; first because he was
+tempted by the prospect of a good position which he failed to secure,
+and second on account of the impossibility of obtaining a passport to
+France direct. He finally made his way to Paris via Brussels, from which
+city he writes, March 6, 1829. All this effectually dispels the legend
+that he eloped from England with Teresa by way of Cherbourg. The arrival
+in Paris of the revolutionary fencing-master put the Madrid police in a
+flutter. On the seventeenth of that same month the consul in Lisbon had
+reported that Espronceda was planning to join General Mina in an attack
+upon Navarra; and by the middle of April the ambassador to France had
+reported his arrival in Paris. It was then that the brigadier's papers
+were seized. Measures were taken to prevent Espronceda's receiving
+passports for the southern provinces of France, and for any other
+country but England. The friendly offices of Charles X, who had
+succeeded Louis XVIII on the throne of France, checked for a time the
+efforts of the patriotic filibusters. The latter, therefore, must have
+felt that they were aiding their own country as well as France when they
+participated in the July revolution of 1830. Espronceda fought bravely
+for several days at one of the Paris barricades, and wreaked what
+private grudge he may have had against the house of Bourbon. After the
+fall of Charles X, Louis Philippe, whom Espronceda was in after years to
+term _el rey mercader_, became king of France. As Ferdinand refused to
+recognize the new government, the designs of Spanish patriots were
+not hindered but even favored. Espronceda was one of a scant hundred
+visionaries who followed General Joaquín de Pablo over the pass of
+Roncevaux into Navarra. The one hope of success lay in winning over
+recruits on Spanish soil. De Pablo, who found himself facing his old
+regiment of Volunteers of Navarra, started to make a harangue. The reply
+was a salvo of musketry, as a result of which De Pablo fell dead. After
+some skirmishing most of his followers found refuge on French soil,
+among them Espronceda. De Pablo's rout, if less glorious than that of
+Roland on the same battlefield, nevertheless inspired a song. Espronceda
+celebrated his fallen leader's death in the verses "A la Muerte de D.
+Joaquín de Pablo (Chapalangarra) en los Campos de Vera." This poem,
+which purports to have been written on one of the peaks of the French
+Pyrenees which commanded a view of Spanish soil, and when the poet was
+strongly impressed by the events in which he had just participated,
+is nevertheless a weak performance; for Espronceda in 1830 was still
+casting his most impassioned utterances in the classic mold. Ferdinand
+had now been taught a lesson and lost little time in recognizing the new
+régime in France. This bit of diplomacy was so cheap and successful
+that Louis Philippe tried it again, this time on Russia. His government
+favored a plot, hatched in Paris, for the freeing of Poland. Espronceda,
+who had not yet had his fill of crack-brained adventures, enlisted in
+this cause also, desiring to do for Poland what Byron had done for
+Greece; but the czar, wilier than Ferdinand, immediately recognized
+Louis Philippe. The plot was then quietly rendered innocuous. Espronceda
+must have felt himself cruelly sold by the "merchant king."
+
+Espronceda's literary activity was slight during these events, but his
+transformation into a full-fledged Romanticist begins at this time.
+Hugo's "Orientales," which influenced him profoundly, appeared in 1829,
+and the first performance of "Hernani" was February 25, 1830. There
+is no record that he formed important literary friendships in either
+England or France, but, clannish as the _emigrados_ appear to have
+been, an impressionable nature like Espronceda's must have been as much
+stirred by the literary as by the political revolution of 1830; the more
+so as the great love adventure of his life occurred at this time. The
+Mancha family followed the other _emigrados_ to London, just when
+we cannot say. In course of time Teresa contracted a marriage of
+convenience with a Spanish merchant domiciled in London, a certain
+Gregorio de Bayo. Churchman has discovered the following advertisement
+in _El Emigrado Observador_, London, February,1829: "The daughters of
+Colonel Mancha embroider bracelets with the greatest skill, gaining by
+this industry the wherewithal to aid their honorable indigence." From
+this it is argued that the marriage to Don Gregorio and the consequent
+end of the family indigence must have come later than February, 1829.
+Espronceda had met the girl in Lisbon, he may later have resumed the
+acquaintance in London. She may or may not be the Elisa to whom Delio
+sings in the "Serenata." According to Balbino Cortés in an interview
+reported by Solís, Teresa and her husband, while on a visit to Paris in
+October, 1831, happened to lodge at the hotel frequented by Espronceda.
+Shortly afterwards Teresa deserted her husband and an infant son and
+eloped with Espronceda. She followed him to Madrid in 1833, where
+a daughter, Blanca, was born to them in 1834. Within a year Teresa
+abandoned Espronceda and her second child. She sank into the gutter and
+died a pauper in 1839. This sordid romance occupied only about three
+years of Espronceda's life, a much shorter time than had been supposed.
+Churchman was the first to break the long conspiracy of silence which
+withheld from the world Teresa's full name. Cascales y Muñoz has since
+thrown more light upon this episode. But these gentlemen have done
+nothing more than to tell an open secret. Escosura, long ago, all but
+betrayed it in the following pun: "Tendamos el velo de olvido sobre
+esa lamentable flaqueza de un gran corazón," he says, referring to the
+affair with Teresa, "y recordemos, de paso, que el sol mismo, ese astro
+de luz soberano, tan sublimemente cantado por nuestro vate, _manchas_
+tiene que si una parte de su esplendor anublan, a eclipsarlo no bastan."
+Señor Cascales publishes a reproduction of Teresa's portrait. We see
+a face of a certain hard beauty. We are struck with the elaborate
+coiffure, the high forehead, the long nose, the weak mouth. The
+expression is unamiable. It is the face of a termagant ready to abandon
+husband and child. Espronceda seems to have returned to England for a
+brief period in 1832, as we may infer from the fact that the poem
+"A Matilde" is dated London, 1832. Corroboration of this belief was
+discovered by Churchman, who found that the paper on which "Blanca de
+Borbón" was written shows the water-mark of an English firm of that
+date.
+
+In 1833 Ferdinand VII died, and his daughter Isabel II ascended to the
+throne under the regency of her mother Cristina. As the conservatives
+espoused the cause of the pretender, Don Carlos, the regency was forced
+to favor the liberals. The rigid press censorship was abolished, and a
+general amnesty was granted all the victims of Ferdinand's tyranny. In
+politics the year 1833 marks the beginning of the Carlist war, and
+in literature of Spanish Romanticism. Espronceda was one of many
+_emigrados_ who returned to Spain, bringing with them new ideas for the
+revitalizing of Spanish literature. He did not arrive soon enough to
+see his aged father. Brigadier Espronceda's death certificate is dated
+January 10, 1833.
+
+Shortly after José's arrival he joined the fashionable Guardia de Corps
+or royal guard regiment. This step, apparently so inconsistent with
+his revolutionary activities, has puzzled all his biographers. But
+Espronceda was only following the family tradition. His elder brother
+had done the same. Doubtless he believed, in his first enthusiasm, that
+Spain was now completely liberalized. Besides, he was a dandy always
+eager for social distinction, and he had to live down the fact that his
+mother was proprietress of an _establecimiento de coches_. The conduct
+of his fellow-Numantino, Escosura, who had found it possible to accept
+a commission under Ferdinand, is far more surprising. Espronceda's
+snobbishness, if he had any, cannot have been extreme, for he took up
+residence with his mother over the aforementioned livery stable, in the
+Calle de San Miguel. Teresa was prudently lodged under another roof.
+Doña Carmen was as indulgent as ever, and especially desirous that her
+son dress in the most fashionable clothes procurable. What with her
+rent from the house, her widow's pension, and the yield of her business
+venture, she was comfortably circumstanced. When Teresa abandoned the
+child Blanca, Doña Carmen became a mother to her. When Doña Carmen died
+in 1840 everything went to her son.
+
+Espronceda's career as a guardsman was brief. As a result of reading a
+satirical poem at a public banquet, he was cashiered and banished to the
+town of Cuéllar in Old Castile. There he wrote his "Sancho Saldaña o
+el Castellano de Cuéllar," a historical novel in the manner of Walter
+Scott, describing the quarrels of Sancho el Bravo with his father
+Alfonso X. This six-volume work was contracted for in 1834 and completed
+and published the same year. For writing it the author received six
+thousand reales. Many writers in Spain were striving to rival the Wizard
+of the North at this time. Ramón López Soler had set the fashion in
+1830 with "Los Bandos de Castilla." Larra's "Doncel de Don Enrique
+el Doliente" appeared in the same year with "Sancho Saldaña." But
+Espronceda was probably most influenced by his friend Escosura, who had
+printed his "Conde de Candespina" in 1832. The latter's best effort in
+this genre, "Ni Rey ni Roque," 1835, was written when its author was
+undergoing banishment for political reasons in a corner of Andalusia. To
+employ the enforced leisure of political exile in writing a historical
+novel was quite the proper thing to do. The banishment to Cuéllar must
+have taken place in late 1833 or early 1834, for Espronceda's novel is
+unquestionably inspired by his enforced visit to that town, and the
+contract with his publisher is dated in Madrid, February 5, 1834. On
+reading the contract it is apparent that the novel had hardly been begun
+then, as it was to be paid for in installments. Whether it was written
+mostly in Cuéllar or Madrid we do not know and care little. In January
+of that year _El Siglo_ was founded, a radical journal with which
+Espronceda was prominently connected. During the brief existence of this
+incendiary sheet (January 21 until March 7) Espronceda contributed to it
+several political articles. The last issue came out almost wholly blank
+as an object lesson of the censor's activity. There follow a few
+months of agitation and political intrigue, the upshot of which
+was Espronceda's imprisonment for three weeks without trial. After
+protesting in the press and appealing to the queen regent, he was
+released and banished to Badajoz. How long he was absent from the
+capital we do not know, except that this banishment, like the others,
+was of short duration. During all this commotion there was produced at
+the Teatro de la Cruz, in April, an indifferent play, "Ni el Tío ni el
+Sobrino," whose authors were Espronceda and his friend Antonio Ros y
+Olano. It is difficult to paint anything but a confused picture of
+Espronceda's life during the remaining years of this decade. We catch
+glimpses of him debating questions of art and politics at cafés and
+literary _tertulias_ like the Parnasillo, where Mesonero Romanos saw him
+faultlessly attired and "darting epigrams against everything existing,
+past, and future." Córdoba in his memoirs bears witness that he was
+still the _buscarruidos_ of old. Espronceda with Larra, Escosura, Ros
+De Olano, and Córdoba constituted the "Thunder Band" of the Parnasillo
+(_partida del trueno_). After a long literary discussion they would
+sally forth into the streets, each armed with a peashooter and on
+mischief bent. A favorite prank was to tie a chestnut vender's table to
+a waiting cab and then watch the commotion which followed when the cab
+started to move. On one occasion, finding the Duke of Alba's coachman
+asleep on the box, they painted the yellow coach red, so altering it
+that the very owner failed to recognize it when he left the house where
+he had been calling. In politics Espronceda is always a leader in
+revolt, fighting with pen and sword for his none-too-clearly-defined
+principles. Even the Mendizábal ministry, the most advanced that Spain
+has ever had, does not satisfy him. His ideal is a republic and the
+downfall of "the spurious race of Bourbon." His love affairs are equally
+stormy. In literature he is attempting everything, plays, a novel,
+polemical articles, lyric poems, and one supreme work which is to be the
+very epic of humanity.
+
+In 1835 Espronceda became an officer in the National Militia. In August
+of that year the militiamen were defeated in an unsuccessful revolt
+against the Toreno ministry. In 1836 he was equally unfortunate in a
+revolt against the Istúriz ministry. It was then, when pursued by the
+police, that a friend secreted him in the safest possible place, the
+home of a high police official. Espronceda employed his leisure hours in
+this refuge by writing "El Mendigo" and "El Verdugo." Two years later
+he traveled extensively through Andalusia engaged in revolutionary
+propaganda. He was probably trying to bring about a republican form of
+government. In September, 1838, his play "Amor venga sus agravios,"
+written in collaboration with Eugenio Moreno López, was produced at the
+Teatro del Príncipe. Its success was moderate. The next year, while in
+Granada, he and his friend Santos Álvarez were guests of honor at a
+literary soirée. Espronceda's contribution was the reading of "El
+Estudiante de Salamanca." This poem was first printed, at least in part,
+in _La Alhambra_ for 1839. The great political event of this year was
+the ending of the first Carlist war. The victories of the national
+troops were celebrated by a huge public demonstration in Madrid on the
+national holiday, May 2, 1840. For this occasion Espronceda wrote his
+patriotic poem "El Dos de Mayo." Only three days later his volume of
+"Poesías" was placed on sale, and, like Byron, he awoke to find himself
+famous. His old teacher Lista wrote a favorable review. From then on
+Espronceda was a man of note. The Madrid revolution of September 1
+forced an unwilling regent to make Espartero, hero of the Carlist war,
+prime minister. A radical sheet, _El Huracán_, was accused of attacking
+Cristina and of advocating republicanism. Espronceda, though not a
+lawyer, was chosen to defend the journal. This he did with complete
+success. His speech has not come down to us, but we are told that in it
+he appeared in the rôle of an uncompromising republican.
+
+Nevertheless he was soon to compromise. He was now a man of mark, and
+the liberal régime in power were not slow to see that it would be
+advantageous to enlist his services. In November, 1841, he accepted an
+appointment to serve as secretary to the Spanish legation at the Hague.
+He served in this capacity exactly five days. Arriving at the Hague
+on January 29, 1842, he departed for Madrid on February 3. A certain
+Carrasco had been elected deputy of the province of Almería. He was now
+urged to resign to make room for Espronceda. This he did, and Espronceda
+was elected and served in his stead. Of course all this had been
+prearranged. After his return he continued to hold his diplomatic
+position and receive pay for it, a not very honorable course on the part
+of one who pled so eloquently for the abolition of useless offices
+and the reform of the diplomatic service. In this way the Espartero
+government conciliated Espronceda with two offices. Henceforth his
+republicanism was lukewarm. Escosura tells us that concern for his
+daughter Blanca's financial future had rendered him prudent.
+
+I am inclined to think that Espronceda's biographers underrate his
+services in the Chamber of Deputies. The trouble is that in his rôle of
+deputy their hero failed to justify preconceived notions regarding his
+character. Those who looked for revolution in his speeches found only
+sound finance. We seek in vain for anything subversive. There is nothing
+suggestive of the lyric poet or even of the fiery defender of _El
+Huracán_. As a poet he had praised the destructive fury of the Cossacks
+who swept away decadent governments. In defending _El Huracán_ he had
+used the word Cossack as a term of reproach, applying it to those
+self-seeking politicians who were devouring the public funds. By this
+time he had himself become a Cossack on a small scale. Yet we must do
+him the justice to point out that he had had sufficient firmness of
+principle to refuse office under Mendizábal, Istúriz, and the Duque de
+Rivas. Fitzmaurice-Kelly is possibly going too far in intimating that
+he was degenerating into a hidebound conservative and opportunist.
+Something of the old reforming zeal survived. Though many
+disillusionments may have rendered him less eager for a republican form
+of government, his latest utterances show him zealous as ever for social
+and economic reform. Espronceda's parliamentary career lasted less than
+three months (March 1 to May 23, 1842). One can only wonder that in so
+brief a time a man already stricken with a fatal illness should have
+taken so able a part in an assembly in which he was a newcomer. Nor
+should we complain that his speeches lack eloquence. It is fairer to
+give him credit for not falling into the abuse of _palabrería_, the
+besetting sin of most _diputados_.
+
+His views were sober and sound. Travel had given him a wider
+outlook than most of his colleagues possessed. He was the enemy of
+_españolismo_, wanted his nation to take a prominent part in European
+affairs, and no longer to lead the life of a hermit nation. But he is no
+jingo. He speaks against the bill to add fifty thousand to the standing
+army. Spain had passed through too many upheavals. What she needed to
+make her a European power was tranquility and opportunity to develop
+financial strength. Give the producing classes their long-awaited
+innings. But he is bitter against the magnates of the bourse and those
+politicians who legislate to produce an artificial rise in values. The
+true policy is to better the condition of the masses, to encourage
+agriculture and manufactures: even the construction of railways should
+wait until there is first something to haul over them. But manufactures
+should not be protected by a tariff. In his speech against the tariff
+on cotton he shows himself an out and out free-trader. He praises the
+English for their policy of free trade, enlightened self-interest he
+deems it, which tends to make the world one large family. As a writer he
+had inveighed against commercialism. But he now discerns a future where
+commerce shall replace war. He was unable to foresee that in the future
+trade was to be a chief cause of war.
+
+That he was a ready debater is shown by his neat rejoinder to Deputy
+Fontán. This gentleman had made sneering allusions to men of letters
+who dabbled in diplomacy. Far from accepting the remark as a thrust at
+himself, as it was intended, Espronceda resented it as an insult to the
+then American minister Washington Irving, "novelist of the first
+rank, known in Europe through his writings even more than through the
+brilliancy of his diplomatic career."
+
+Espronceda's health had been failing for some months. It is said that
+chronic throat trouble had so weakened his voice as to make his remarks
+in the Cortés scarcely audible. On May 18, 1842, he journeyed on
+horseback to Aranjuez to visit Doña Bernarda Beruete, a young lady to
+whom he was then engaged. Hastily returning to Madrid on the afternoon
+of the same day, so as not to miss a night session of the Cortés, he
+contracted a cold which soon turned into a fatal bronchitis. Others say
+he was taken ill at a reception given by Espartero. He died May 23,
+1842, at the early age of 34. He was honored with a public funeral in
+keeping with his position as deputy and distinguished man of letters.
+His first place of burial was the cemetery of San Nicolás; but in 1902
+his remains, together with those of Larra, were exhumed and reburied in
+the Pantheon for Distinguished Men of the Nineteenth Century, situated
+in the Patio de Santa Gertrudis in the Cementerio de la Sacramental de
+San Justo.
+
+In forming our estimate of the man, we must carefully distinguish
+between the Espronceda of legend and the Espronceda of fact; for a
+legend sprang up during his own lifetime, largely the result of his own
+self-defamation. Like many other Romanticists, Espronceda affected a
+reputation for diabolism. He loved to startle the bourgeois, to pose as
+atheist, rake, deposer of tyrants. Escosura sums up this aspect of his
+character by branding him "a hypocrite of vice." Many have been led
+astray by Ferrer del Río's statement that in drawing the character of
+the seducer, Don Félix de Montemar, Espronceda was painting his own
+portrait. Such criticism would have delighted Espronceda, but the
+imputation was indignantly denied by his close friend Escosura. Modern
+critics are careful to avoid this extreme; but, in the delight of
+supporting a paradox, some are disposed to go too far in the opposite
+direction. Señor Cascales, for instance, is unconvincing when he seeks
+to exonerate Espronceda from all blame in the Teresa episode. Like the
+devil, Espronceda was not so black as he was painted, not so black as
+he painted himself; but he was far from being a Joseph. It is easy to
+minimize the importance of the part he played in the national militia.
+Doubtless much of his plotting was puerile and melodramatic. His
+activities as a revolutionist cannot have greatly affected the course of
+events. But it is unfair to deny him credit for constant willingness
+to risk his life in any cause which seemed noble. That his conduct was
+inconsistent merely proves that he followed no calmly reasoned political
+system. He reflects in his conduct the heated sentiment of the time,
+varying as it did from day to day. He sometimes compromised with his
+ideals, his sense of honor was not always of the highest, but he never
+seems to have grown lukewarm in his desire to serve the people. He is
+a liberal to the last, a liberal with notions of political economy and
+English constitutional practice. His quarrel with the church seems to
+have been political rather than theological. He hated the friars and the
+church's alliance with Carlism. That the last rites were administered to
+him shows that he died a professing Catholic. In appearance Espronceda
+was handsome, if somewhat too effeminate-looking to suggest the
+fire-eater. He never cultivated slovenliness of attire like most
+members of the Romantic school; on the contrary, he was the leading
+representative in Spain of dandyism. To sum up, Espronceda's was a
+tempestuous and very imperfect character. "Siempre fuí el juego de mis
+pasiones," is his own self-analysis. The best that can be said of him
+is that he was a warm, affectionate nature, generous, charitable to the
+poor, a loyal friend, and one actuated by noble, if sometimes mistaken,
+ideals. Years afterward, when Escosura passed in review the little
+circle of the Colegio de San Mateo, Espronceda was the only one of them
+whom he could truly say he loved.
+
+
+THE WORKS OF ESPRONCEDA
+
+Of all the Spanish poets of the period of Romanticism, Espronceda is the
+most commanding figure. Piñeyro, adopting Emerson's phrase, calls him
+the Representative Man of that age of literary and political revolt.
+More than that, criticism is unanimous in considering him Spain's
+greatest lyric poet of the nineteenth century.
+
+First of all he interests as the poet of democracy. The Romantic poets
+were no more zealous seekers for political liberalism than the
+classic poets of the previous generation had been; but their greater
+subjectivity and freedom of expression rendered their appeal more
+vigorous. Espronceda's hatred for absolutism was so intense that in
+moments of excitement he became almost anti-social. The pirate, the
+beggar, the Cossack, were his heroes. The love of this dandy for the
+lower classes cannot be dismissed as mere pose. He keenly sympathized
+with the oppressed, and felt that wholesale destruction must precede
+the work of construction. We look in vain for a reasoned political
+philosophy in his volcanic verse. His outpourings were inspired by the
+irresponsible ravings of groups of café radicals, and the point of view
+constantly changed as public sentiment veered. According to his lights
+he is always a patriot. Liberty and democracy are his chief desires.
+
+Like most Romanticists, Espronceda was intensely subjective. He
+interests by his frank display of his inner moods. Bonilla, in his
+illuminating article "El Pensamiento de Espronceda," states that the
+four essential points in the philosophy of Romanticism were: doubt,
+the first principle of thought; sorrow, the positive reality of life;
+pleasure, the world's illusion; death, the negation of the will to live.
+Espronceda shared all of these ideas. It is often impossible to say how
+much of his suffering is a mere Byronic pose, and how much comes from
+the reaction of an intensely sensitive nature to the hard facts of
+existence. There is evidence that he never lost the zest of living;
+but in his writings he appears as one who has been completely
+disillusionized by literature, love, politics, and every experience
+of life. Truth is the greatest of evils, because truth is always sad;
+"mentira," on the other hand, is merciful and kind. He carries doubt so
+far that he doubts his very doubts. Such a philosophy should logically
+lead to quietism. That pessimism did not in the case of Espronceda
+bring inaction makes one suspect that it was largely affected. There is
+nothing profound in this very commonplace philosophy of despair. It is
+the conventional attitude of hosts of Romanticists who did little
+but re-echo the _Vanitas vanitatum_ of the author of Ecclesiastes.
+Espronceda's thought is too shallow to entitle him to rank high as a
+philosophic poet. In this respect he is inferior even to Campoamor
+and Núñez de Arce. Genuine world-weariness is the outgrowth of a more
+complex civilization than that of Spain. Far from being a Leopardi,
+Espronceda may nevertheless be considered the leading Spanish exponent
+of the _taedium vitae_. He has eloquently expressed this commonplace and
+conventional attitude of mind.
+
+Like so many other writers of the Latin race, Espronceda is more
+admirable for the form in which he clothed his thoughts than for those
+thoughts themselves. He wrote little and carefully. He is remarkable for
+his virtuosity, his harmonious handling of the most varied meters. He
+never, like Zorrilla, produces the effect of careless improvisation. In
+the matter of poetic form Espronceda has been the chief inspiration of
+Spanish poets down to the advent of Rubén Darío. Fitzmaurice-Kelly, with
+his happy knack of hitting off an author's characteristics in a phrase,
+says: "He still stirs us with his elemental force, his resonant musical
+potency of phrase, his communicative ardor for noble causes."
+
+Much harm has been done Espronceda's reputation for originality by those
+critics who fastened upon him the name of "the Spanish Byron." Nothing
+could be more unjust than to consider him the slavish imitator of a
+single author. In literature, as in love, there is safety in numbers,
+and the writer who was influenced by Calderón, Tasso, Milton, Goethe,
+Béranger, Hugo, Shakespeare, and Scott was no mere satellite to Byron.
+Señor Cascales is so sensitive on the point that he is scarcely willing
+to admit that Byron exerted any influence whatsoever upon Espronceda.
+The truth is that Byron did influence Espronceda profoundly, as
+Churchman has sufficiently proved by citing many instances of borrowings
+from the English poet, where resemblance in matters of detail is wholly
+conclusive; but it is another matter to assert that Espronceda was
+always Byronic or had no originality of his own.
+
+In considering Espronceda's writings in detail, we need concern
+ourselves little with his dramatic and prose writings. The quickest road
+to literary celebrity was the writing of a successful play. Espronceda
+seems never to have completely relinquished the hope of achieving such a
+success. His first attempt was a three-act verse comedy, "Ni el Tío ni
+el Sobrino" (1834), written in collaboration with Antonio Ros de Olano.
+Larra censured it for its insipidity and lack of plan. A more ambitious
+effort was "Amor venga sus agravios" (1838), written in collaboration
+with Eugenio Moreno López. This was a five-act costume play, in prose,
+portraying the life at the court of Philip IV. It was produced without
+regard to expense, but with indifferent success. Espronceda's most
+ambitious play was never staged, and has only recently become easily
+accessible: this was "Blanca de Borbón," a historical drama of the times
+of Peter the Cruel in five acts, in verse. The first two acts were
+written in Espronceda's early Classic manner; the last three, written
+at a later period, are Romantic in tone. The influence of "Macbeth" is
+apparent. "Blanca de Borbón" could never be a success on the stage. The
+verse, too, is not worthy of the author. Espronceda was too impetuous
+a writer to comply with the restrictions of dramatic technique. The
+dramatic passages in "El Estudiante de Salamanca" and "El Diablo Mundo"
+are his best compositions in dialogue.
+
+"Sancho Saldaña" is Espronceda's most important prose work. It is a
+historical novel of the thirteenth century, written frankly in imitation
+of Walter Scott's Waverley Novels. The romance contains many tiresome
+descriptions of scenery, and drags along tediously as most old-fashioned
+novels did. But Espronceda had none of Sir Walter's archaeological
+erudition, none of his ability to seize the characteristics of an epoch,
+and above all none of his skill as a creator of interesting characters.
+The personages in "Sancho Saldaña" fail to interest. The most that can
+be said of the work is that among the numerous imitations of Scott's
+novels which appeared at the time it is neither the best nor the worst.
+Of his shorter prose works only two, "De Gibraltar a Lisboa, viaje
+histórico" and "Un Recuerdo," are easily accessible. They are vivid
+portrayals of certain episodes of his exile, and may still be read
+with interest. His most important polemical work is "El Ministerio
+Mendizábal" (Madrid, 1836). In this screed we find the fiery radical
+attacking as unsatisfactory the ultra-liberal Mendizábal. This and
+shorter political articles interest the historian and the biographer,
+but hardly count as literature. His rare attempts at literary criticism
+have even less value.
+
+Espronceda shows true greatness only as a lyric poet. For spirit and
+perfection of form what could be more perfect than the "Canción del
+Pirata"? Like Byron in the "Corsair," he extols the lawless liberty of
+the buccaneer. Byron was here his inspiration rather than Hugo. The
+"Chanson de Pirates" cannot stand comparison with either work. But
+Espronceda's indebtedness to Byron was in this case very slight. He
+has made the theme completely his own. "El Mendigo" and "El Canto del
+Cosaco," both anarchistic in sentiment, were inspired by Béranger. Once
+more Espronceda has improved upon his models, "Les Gueux" and "Le Chant
+du Cosaque." Compare Espronceda's refrain in the "Cossack Song" with
+Béranger's in the work which suggested it:
+
+      ¡Hurra, Cosacos del desierto! ¡Hurra!
+      La Europa os brinda espléndido botín
+      Sangrienta charca sus campiñas sean,
+      De los grajos su ejército festín.
+
+      Hennis d'orgueil, o mon coursier fidèle!
+      Et foule aux pieds les peuples et les rois.
+
+The "Canto del Cosaco" was a prime favorite with the revolutionary youth
+of Spain, who thundered out the "hurras" with telling effect. "El Reo de
+Muerte" and "El Verdugo" are in a similar vein, though much inferior.
+"Serenata," "A la Noche," "El Pescador" (reminiscent of Goethe), "A una
+Estrella," and "A una Rosa, soneto" are lighter works. They make up in
+grace what they lack in vigor. "El Himno al Sol" is the most perfect
+example of Espronceda's Classic manner, and is rightly considered one of
+his masterpieces. It challenges comparison with the Duque de Rivas' very
+similar poem. Of the numerous patriotic poems "Al Dos de Mayo" and "A
+la Patria" deserve especial mention. He attempted satire in "El Pastor
+Clasiquino," recently reprinted by Le Gentil from "El Artista." In
+this poem he assails academic poetry like that produced by his old
+fellow-academicians of the Myrtle. It betrays the peevishness of a
+Romanticist writing when Romanticism was already on the wane.
+
+"El Diablo Mundo," Espronceda's most ambitious work, is commonly
+considered his masterpiece; an unfinished masterpiece, however. Even
+if death had spared him, it is doubtful if he could have finished so
+all-embracing a theme as he proposed:
+
+        Nada menos te ofrezco que un poema
+      Con lances raros y revuelto asunto,
+      De nuestro mundo y sociedad emblema....
+      Fiel traslado ha de ser, cierto trasunto
+      De la vida del hombre y la quimera
+      Tras de que va la humanidad entera.
+        Batallas, tempestades, amoríos,
+      Por mar y tierra, lances, descripciones
+      De campos y ciudades, desafíos,
+      Y el desastre y furor de las pasiones,
+      Goces, dichas, aciertos, desvaríos,
+      Con algunas morales reflexiones
+      Acerca de la vida y de la muerte,
+      De mi propia cosecha, que es mi fuerte.
+
+Adam, hero of the epic, is introduced in Canto I as an aged scholar
+disillusioned with life, but dreading the proximity of Death, with whom
+he converses in a vision. The Goddess of Life grants him the youth of
+Faust and the immortality of the Wandering Jew. Unlike either, he has
+the physical and mental characteristics of an adult joined to the
+naïveté of a child. In Canto III Adam appears in a _casa de huéspedes_,
+naked and poor, oblivious of the past, without the use of language, with
+longings for liberty and action. Here his disillusionment begins. His
+nakedness shocks public morality; and the innocent Adam who is hostile
+to nobody, and in whom the brilliant spectacle of nature produces
+nothing but rejoicing, receives blows, stonings, and imprisonment from
+his neighbors. Childlike he touches the bayonet of one of his captors,
+and is wounded. This symbolizes the world's hostility to the innocent.
+In Canto IV we find Adam in prison. His teachers are criminals. He was
+born for good; society instructs him in evil. In Canto V he experiences
+love with the _manola_ Salada, but sees in this passion nothing but
+impurity. He longs for higher things. Circumstances abase him to crime.
+He joins a band of burglars, and, falling in love with the lady whose
+house they are pillaging, protects her against the gang. In Canto VI he
+continues along his path of sorrow. He enters a house where a beautiful
+girl is dying, while in another room revelers are making merry. This
+leads him to speculate on life's mysteries and to reason for himself.
+The poem ends where Adam has become thoroughly sophisticated. He is now
+like any other man.
+
+Evidently it was the poet's intention to make Adam go through a series
+of adventures in various walks of life, everywhere experiencing
+disillusionment. In spite of the elaborate prospectus quoted above,
+we may agree with Piñeyro that the poet started writing with only the
+haziest outline planned beforehand. Espronceda frankly reveals to us his
+methods of poetic composition:
+
+      ¡Oh cómo cansa el orden! no hay locura
+      Igual a la del lógico severo.
+
+And again:
+
+      Terco escribo en mi loco desvarío
+      Sin ton ni són, y para gusto mío....
+      Sin regla ni compás canta mi lira:
+      Sólo mi ardiente corazón me inspira!
+
+"El Diablo Mundo" is no mere imitation of Byron's "Don Juan" and
+Goethe's "Faust," though the influence of each is marked. It has
+numerous merits and originalities of its own. Inferior as Espronceda
+is to Byron in wit and to Goethe in depth, he can vie with either as a
+harmonious versifier.
+
+The philosophy of "El Diablo Mundo" is the commonplace pessimism of
+Romanticism. The following excerpt shows how the author's skepticism
+leads him to doubt his very doubts; hence his return to a questioning
+acceptance of Christianity:
+
+      Las creencias que abandonas,
+      Los templos, las religiones
+      Que pasaron, y que luego
+      Por mentira reconoces,
+      ¿Son quizá menos mentira
+      Que las que ahora te forges?
+      ¿No serán tal vez verdades
+      Los que tú juzgas errores?
+
+Canto II of "El Diablo Mundo" consists of the poem "A Teresa. Descansa
+en Paz." This has not the slightest connection with the rest of the
+poem, and can only be understood as a separate unity. It is included
+in the present collection because it is the supreme expression of our
+poet's subjective method. As such it stands in excellent contrast to "El
+Estudiante de Salamanca," which is purely objective. No reader knows
+Espronceda who has read merely his objective poems. For self-revelation
+"A Jarifa en una Orgía" alone may be compared with "A Teresa." We may
+agree with Escosura that Espronceda is here giving vent to his rancor
+rather than to his grief, that it is the _menos hidalgo_ of all his
+writings. But for once we may be sure that the poet is writing under the
+stress of genuine emotion. For once he is free from posing.
+
+
+"THE STUDENT OF SALAMANCA"
+
+"El Estudiante de Salamanca" represents the synthesis of two well-known
+Spanish legends, the Don Juan Tenorio legend and the Miguel Mañara
+legend. The first of these may be briefly stated as follows: Don Juan
+Tenorio was a young aristocrat of Seville famous for his dissolute life,
+a gambler, blasphemer, duelist, and seducer of women. Among numerous
+other victims, he deceives Doña Ana de Ulloa, daughter of the Comendador
+de Ulloa. The latter challenges Don Juan to a duel, and falls. Later Don
+Juan enters the church where the Commander lies buried and insults his
+stone statue, after which he invites the statue to sup with him that
+night. At midnight Don Juan and his friends are making merry when a
+knock is heard at the door and the stone guest enters. Don Juan, who
+does not lose his bravery even in the presence of the supernatural,
+plays the host, maintaining his air of insulting banter. At the end of
+the evening the guest departs, offering to repay the hospitality the
+following night if Don Juan will visit his tomb at midnight. Though
+friends try to dissuade him, Don Juan fearlessly accepts the invitation.
+At the appointed hour he visits the tomb. Flames emerge from it, and Don
+Juan pays the penalty of his misdeeds, dying without confession.
+
+This is the outline of the story as told by Tirso de Molina in "El
+Burlador de Sevilla o el Convidado de Piedra." The same theme has been
+treated by Molière, Goldoni, Mozart, Byron, and Zorrilla, to mention but
+a few of the hundreds of writers who have utilized it. In the hands of
+non-Spanish writers the character of Don Juan loses the greater part of
+its essential nobility. To them Don Juan is the type of libertine and
+little more. He was a prime favorite with those Romanticists who, like
+Gautier, felt "Il est indécent et mauvais ton d'être vertueux." But
+as conceived in Spain Don Juan's libertinage is wholly subsidiary and
+incidental. He is a superman whose soaring ambition mounts so high that
+earth cannot satisfy it. The bravest may be permitted to falter in the
+presence of the supernatural; but Don Juan fears neither heaven nor
+hell. His bravery transcends all known standards, and this one virtue,
+though it does not save him from hell, redeems him in popular esteem.
+
+Don Félix de Montemar is the typical Don Juan type, a libertine,
+gambler, blasphemer, heartless seducer, but superhumanly brave. Yet the
+plot of Espronceda's poem bears closer resemblance to the story told of
+Miguel Mañara.
+
+Miguel Mañara (often erroneously spelled Maraña) Vicentelo de Leca
+(1626-1679) was an alderman (_veintecuatro_) of Seville and a knight of
+Calatrava. As a youth his character resembled that of Don Juan. One day
+some hams sent to him from the country were intercepted by the customs.
+He started out to punish the offending officers, but on the way repented
+and thenceforth led a virtuous life. In 1661, after his wife's death,
+he entered the Hermandad de la Caridad, later becoming superior of that
+order. In his will he endowed the brotherhood with all his wealth and
+requested that he be buried under the threshold of the chapel of San
+Jorge. His sole epitaph was to be "Here repose the bones and ashes of
+the worst man who ever existed in the world." Don Miguel's biography was
+written by his friend the Jesuit Juan de Cardeñas and was added to by
+Diego López de Haro, "Breve relación de la muerte, de la vida y virtudes
+de Don Miguel de Mañara," Seville, 1680.
+
+There soon sprang up a legend around the name of Mañara. He is said
+to have fallen in love with the statue on the Giralda tower. On one
+occasion the devil gave him a light for his cigar, reaching across
+the Guadalquivir to do so. Again, he pursued a woman into the very
+cathedral, forcibly pulled aside her mantilla and discovered a skeleton.
+Yet more surprising, he was present, when still alive, at his own
+funeral in the Church of Santiago. But these stories associated with the
+name of Mañara are much older than he. Antonio de Torquemada, "Jardín de
+Flores Curiosas," Salamanca, 1570, tells of an unnamed knight who fell
+in love with a nun. He enters her convent with false keys only to find a
+funeral in progress. On inquiring the name of the deceased, he is told
+that it is himself. He then runs home pursued by two devils in the form
+of dogs who tear him to pieces after he has made pious repentance.
+Cristóbal Bravo turned this story into verse, Toledo, 1572. One or other
+of these versions appears to have been the source of Zorrilla's "El
+Capitán Montoya." Gaspar Cristóbal Lozano, "Soledades de la Vida y
+Desengaños del Mundo" (Madrid, 1663), tells the same story, and is the
+first to name hero and heroine, Lisardo and Teodora. Lozano, too, is the
+first to make the male protagonist a Salamanca student. Lozano's version
+inspired two ballads entitled "Lisardo el Estudiante de Córdova." These
+were reprinted by Durán, _Romancero general_, Vol. I, pp. 264-268, where
+they are readily accessible.
+
+This ballad of Lisardo the Student of Cordova was undoubtedly
+Espronceda's main source in writing "The Student of Salamanca," and to
+it he refers in line 2 with the words _antiguas historias cuentan_. Yet
+the indebtedness was small. Espronceda took from the ballad merely the
+idea of making the hero of the adventure a Salamanca student, and
+the episode of a man witnessing his own funeral. Needless to say
+Espronceda's finished versification owed nothing to the halting meter of
+the original. Lisardo, a Salamanca student, though a native of Cordova,
+falls in love with Teodora, sister of a friend, Claudio. Teodora is
+soon to become a nun. One night he makes love to her and is only mildly
+rebuked. But a ghostly swordsman warns him that he will be slain if he
+does not desist. Nevertheless he continues his wooing in spite of the
+fact that Teodora has become a nun. She agrees to elope. While on his
+way to the convent to carry out this design, his attention is attracted
+by a group of men attacking an individual. This individual proves to be
+himself, Lisardo. Lisardo, then, witnesses his own murder and subsequent
+funeral obsequies. This warning is too terrible not to heed. He gives
+over his attempt at seduction and leads an exemplary life.
+
+There are many other examples in the literature of Spain of the man who
+sees his own funeral. Essentially the same story is told by Lope de
+Vega, "El Vaso de Elección. San Pablo." Bévotte thinks that Mérimée in
+"Les Ames du purgatoire" was the first to combine the Don Juan and the
+Miguel de Mañara legends, so closely alike in spirit, into a single
+work. But Said Armesto finds this fusion already accomplished in a
+seventeenth-century play, "El Niño Diablo." Dumas owed much to Mérimée
+in writing his allegorical play "Don Juan de Maraña," first acted April
+30, 1836. This became immediately popular in Spain. A mutilated Spanish
+version appeared, Tarragona, 1838, Imprenta de Chuliá. It is doubtful
+whether Espronceda owes anything to either of these French works,
+although both works contain gambling scenes very similar to that in
+which Don Félix de Montemar intervened. In the Dumas play Don Juan
+stakes his mistress in a game, as Don Félix did his mistress's portrait.
+It seems likely that Espronceda derived his whole inspiration for this
+scene from Moreto's "San Franco de Sena," which he quotes.
+
+The legend of the man who sees his own funeral belongs to the realm of
+folk-lore. Like superstitions are to be found wherever the Celtic race
+has settled. In Spain they are especially prevalent in Galicia and
+Asturias. There the _estantigua_ or "ancient enemy" appears to those
+soon to die. These spirits, or _almas en pena_, appear wearing
+winding-sheets, bearing candles, a cross, and a bier on which a corpse
+is lying. Don Quijote in attacking the funeral procession probably
+thought he had to do with the _estantigua_. Furthermore, Said Armesto in
+his illuminating study "La Leyenda de Don Juan" proves that the custom
+of saying requiem masses for the living was very ancient in Spain. One
+recalls, too, how Charles V in his retirement at Yuste rehearsed his own
+funeral, actually entering the coffin while mass was being said.
+
+Of all Espronceda's poems "El Estudiante de Salamanca" is the most
+popular. It has a unity and completeness lacking in both the "Pelayo"
+and "El Diablo Mundo." Every poet of the time was busy composing
+_leyendas_. Espronceda attempted this literary form but once, yet of
+all the numerous "legends" written in Spain this is the most fitted
+to survive. Nowhere else has the poet shown equal virtuosity in the
+handling of unusual meters. Nowhere among his works is there greater
+variety or harmony of verse. Though not the most serious, this is the
+most pleasing of his poems. Espronceda follows the Horatian precept
+of starting his story "in the middle of things." In the first part he
+creates the atmosphere of the uncanny, introduces the more important
+characters, and presents a striking situation. Part Second, the most
+admired, is elegiac in nature. It pleases by its simple melancholy. This
+part and the dramatic tableau of Part Three explain the cause of the
+duel with which Part One begins. Part Four resumes the thread of the
+narration where it was broken off in Part One, and ends with the Dance
+of Death which forms the climax of the whole. The character of Don Félix
+de Montemar is vigorously drawn. Originality cannot be claimed for it,
+as it is the conventional Don Juan Tenorio type. The character of Doña
+Elvira hardly merits the high praise of Spanish critics. She is
+a composite portrait of Ophelia, Marguerite, and two of Byron's
+characters, Doña Julia and Haidée, a shadowy, unreal creation, as
+ghostly in life as in death. "The Student of Salamanca" tells a story
+vigorously and sweetly. It does not abound in quotable passages like the
+"Diablo Mundo." It is neither philosophic nor introspective. It teaches
+no lesson. Its merit is its perfection of form.
+
+
+BIBLIOGRAPHICAL NOTE
+
+The best biography of Espronceda is that of José Cascales y Muñoz, "D.
+José de Espronceda, su época, su vida y sus obras," Madrid, 1914. This
+is an expansion of the same author's "Apuntes y Materiales para la
+Biografía de Espronceda," _Revue hispanique_, Vol. XXIII, pp. 5-108. See
+also a shorter article by the same author in _La España Moderna_, Vol.
+CCXXXIV, pp. 27-48. Less critical, but useful, is Antonio Cortón,
+"Espronceda," Madrid, 1906. The very uncritical book by E. Rodríguez
+Solís, "Espronceda: su tiempo, su vida y sus obras," Madrid, 1883, is
+chiefly valuable now as the best source for Espronceda's parliamentary
+speeches. J. Fitzmaurice-Kelly's "Espronceda," _The Modern Language
+Review_, Vol. IV, pp, 20-39, is admirable as a biography and a
+criticism, though partially superseded by later works containing the
+results of new discoveries. P.H. Churchman, "Byron and Espronceda,"
+_Revue hispanique_, Vol. XX, pp. 5-210, gives a short biography, though
+the study is in the main a penetrating investigation of Espronceda's
+sources. E. Piñeyro has written two articles on Espronceda: "Poetas
+Famosos del Siglo XIX," Madrid, 1883, and "El Romanticismo en España,"
+Paris, 1904. This last was first printed in the _Bulletin hispanique_
+for 1903. The older biography of D.A. Ferrer del Río, "Galería de la
+Literatura," Madrid, 1846, still has a certain value; but the most
+important source for Espronceda's youthful adventures is "El Discurso
+del Excmo. Señor D. Patricio de la Escosura, individuo de número de la
+Academia Española, leído ante esta corporación en la sesión pública
+inaugural de 1870," Madrid, 1870. This matter is expanded in five
+very important articles which appeared in "La Ilustración Española y
+Americana" for 1876 (February 8, February 22, June 22, July 8, September
+22), partially reproduced in the book of Cascales y Muñoz. See also
+López Núñez, "José de Espronceda, Biografía Anecdótica," Madrid, 1917
+and A. Donoso, "La Juventud de Espronceda," _Revista Chilena_, July,
+1917. The best study of Espronceda's philosophy is Bonilla y San
+Martín's, "El Pensamiento de Espronceda," _La España Moderna_, Vol.
+CCXXXIV. For a recent short article see Cejador y Frauca, "Historia de
+la Lengua y Literatura Castellana," VII, Madrid, 1917, PP. 177-185.
+
+The best bibliography of Espronceda's writings is that of Churchman, "An
+Espronceda Bibliography," _Revue hispanique_, XVII, pp. 741-777. This
+should be supplemented by reference to Georges Le Gentil, "Les Revues
+littéraires de l'Espagne pendant la première moitié du XIXe siècle,"
+Paris, 1909. The least bad edition of Espronceda's poems is "Obras
+Poéticas y Escritos en Prosa," Madrid, 1884. (The second volume, which
+was to contain the prose writings, never appeared.) See also the "Obras
+Poéticas de Espronceda," Valladolid, 1900, and "Espronceda," Barcelona,
+1906. Also "Páginas Olvidadas de Espronceda," Madrid, 1873. There has
+been a recent reprint of "Sancho Saldaña," Madrid, 1914, Repullés.
+Churchman has published "Blanca de Borbón," _Revue hispanique_, Vol.
+XVII, and also "More Inedita" in the same volume. There is said to be
+an English translation of "The Student of Salamanca," London, 1847. An
+excellent French version is that of R. Foulché-Delbosc, "L'Étudiant de
+Salamanque," Paris, 1893. Mary J. Serrano has made splendid translations
+of "The Pirate" and "To Spain: An Elegy," Warner's Library of the
+World's Best Literature, Vol. XIV.
+
+For a very full treatment and bibliography of the Don Juan Tenorio
+legend see G.G. de Bévotte, "La Légende de Don Juan," Paris, 1911.
+Also Farinelli, _Giornale Storico_, XXVII, and "Homenaje a Menéndez
+y Pelayo," Vol. I, p. 295; A.L. Stiefel, _Jahresberichte für neuere
+deutsche Litteraturgeschichte_, 1898-1899, Vol. I, 7, pp. 74-79.
+
+
+NOTES ON ESPRONCEDA'S VERSIFICATION
+
+
+GENERAL CONSIDERATIONS
+
+To enjoy the work of so musical an artist as Espronceda, the student
+must be able to read his verse in the original. This cannot be done
+without some knowledge of the rules which govern the writing of Spanish
+poetry. It therefore becomes necessary to give some account of the
+elementary principles of Spanish prosody. This is not the place for a
+complete treatment of the subject: only so much will be attempted as is
+necessary for the intelligent comprehension of our author's writings. A
+knowledge of English prosody will hinder rather than help the student;
+for the Spanish poet obeys very different laws from those which govern
+the writer of English verse.
+
+The two essentials of Spanish poetry are (1) a fixed number of syllables
+in each verse (by verse we mean a single line of poetry); (2) a
+rhythmical arrangement of the syllables within the verse. Rime and
+assonance are hardly less important, but are not strictly speaking
+essential.
+
+SYLLABLE-COUNTING
+
+FINAL SYLLABLES
+
+When a verse is stressed on the final syllable, it is called a _verso
+agudo_ or masculine verse.
+
+When a verse is stressed on the next to the last syllable, it is called
+a _verso llano_ or feminine verse.
+
+When a verse is stressed on the second from the last syllable, the
+antepenult, it is called a _verso esdrújulo_.
+
+For the sake of convenience, the _verso llano_ is considered the normal
+verse. Thus, in an eight-syllable verse of this type the final stress
+always falls on the seventh syllable, in a six- syllable verse on the
+fifth syllable, etc., always one short of the last. In the case of the
+_verso agudo_, where the final stress falls on the final syllable, a
+verse having actually seven syllables would nevertheless be counted as
+having eight. One syllable is always added in counting the syllables of
+a _verso agudo_, and, contrariwise, one is always subtracted from the
+total number of actual syllables in a _verso esdrújulo_. These three
+kinds of verses are frequently used together in the same strophe
+(_copla_ or stanza) and held to be of equal length. Thus:
+
+      Turbios sus ojos,
+      Sus graves párpados
+      Flojos caer.
+
+Theoretically these are all five-syllable verses. The first is a _verso
+llano_, the normal verse. It alone has five syllables. The second is a
+_verso esdrújulo_. It actually has six syllables, but theoretically is
+held to have five. The third is a _verso agudo_. It actually has but
+four syllables, but in theory is designated a five-syllable verse. All
+three verses agree in having the final stress fall upon the fourth
+syllable.
+
+It would be simpler if, following the French custom, nothing after the
+final stress were counted; but Spaniards prefer to consider normal
+the verse of average length. It follows from this definition that a
+monosyllabic verse is an impossibility in Spanish. Espronceda writes:
+
+      Leve,
+      Breve
+      Són.
+
+He is not here dropping from dissyllabic to monosyllabic verse, but the
+last verse too must be considered a line of two syllables.
+
+Espronceda never uses a measure of more than twelve syllables in the
+selections included in this book. Serious poets never attempt anything
+longer than a verse of sixteen syllables.
+
+DIPHTHONGIZATION
+
+Spanish vowels are divided into two classes: the strong vowels, _a_,
+_o_, _e_, and the weak vowels, _u_, _i_. According to the Academy rules,
+followed by most grammarians, there can be no diphthongization of two
+strong vowels in the proper pronunciation of prose; only when a strong
+unites with a weak or two weaks unite can diphthongization take place.
+In verse, on the other hand, diphthongization of two strong vowels is
+not only allowable but common. This would probably not be the case if
+the same thing did not have considerable justification in colloquial
+practice. As a matter of fact we frequently hear _ahora_ pronounced
+_áora_ with diphthongization and shift of stress.
+
+Of the three strong vowels, _a_ is "dominant" over _o_ and _e_; _o_ is
+dominant over _e_; and any one of the three is dominant over _u_ or _i_.
+A dominant vowel is one which has the power of attracting to itself the
+stress which, except for diphthongization, would fall on the other
+vowel with which it unites. The vowel losing the stress is called the
+"absorbed" vowel. This principle, which we find exemplified in the
+earliest poetic monuments of the language, must be thoroughly understood
+by the student of modern Spanish verse.
+
+SYNERESIS
+
+Syneresis is the uniting of two or three vowels, each of which is
+ordinarily possessed of full syllabic value, into a diphthong or a
+triphthong, thereby reducing the number of syllables in the word; _h_
+does not interfere with syneresis. Thus, _aérea_ is normally a word of
+four syllables. In this verse it counts as three.
+
+      Mística y aérea dudosa visión (12)
+
+(The numbers in parentheses indicate the syllables in the verse.
+Remember that the figure represents the theoretical number of syllables
+in the line, and indicates the actual number only in the case of
+the _verso llano_. Furthermore, the figure has been determined by a
+comparison with adjacent lines in the same stanzas, verses which offer
+no metrical difficulties.) So likewise in:
+
+      Y en aérea fantástica danza (10)
+
+In the following we have double syneresis, and the word has but two
+syllables:
+
+      Aerea como dorada mariposa (11)
+
+Examples of syneresis after the tonic stress:
+
+      Rechinan girando las férreas veletas (12)
+      Todos atropellándoos en montón (11)
+      Palpa en torno de sí, y el impio jura (11)
+
+_Impio_, usually _impío_, is one of a number of words admitting of two
+stresses. Such are called words of double accentuation. The principle is
+different from that governing the stress-shift explained above. The word
+has its ordinary value in the following:
+
+      «Bienvenida la luz,» dijo el impío (11)
+
+Examples of syneresis before the tonic stress:
+
+      Se siente con sus lágrimas ahogar (11)
+      Tu pecho de roedor remordimiento (11)
+      ¡Ay! El que la triste realidad palpó! (12)
+      Toda la sangre coagulada envía (11)
+      ¿Quién en su propia sangre los ahogó? (11)
+      Tanto delirio a realizar alcanza (11)
+      Ahogar me siento en infernal tortura (11)
+
+Examples of syneresis under stress:
+
+      El blanco ropaje que ondeante se ve (12)
+      Las piedras con las piedras se golpearon (11)
+      Ahora adelante?» Dijo, y en seguida (11)
+
+In the first two examples there is no stress-shift. In the third, the
+stress travels from the _o_ of _Ahora_ to the initial _a_. In the
+following example _ahora_ has three syllables:
+
+      Será más tarde que ahora (8)
+
+The rule regarding syneresis under stress is that it is allowable, with
+or without resulting stress-shift, except when the combinations _éa_,
+_éo_, _óa_, are involved. Espronceda violates the rule in this instance:
+
+      Veame en vuestros brazos y máteme luego (12)
+
+This is a peculiarly violent and harsh syneresis. The stress shifts from
+the first _e_ to the _a_, giving a pronunciation very different from
+that of the usual _véame_. Such a syneresis is more pardonable at the
+beginning of a verse than in any other position; but good modern poets
+strive to avoid such harshnesses. Espronceda sometimes makes _río_
+monosyllabic:
+
+      Los rios su curso natural reprimen (11)
+
+In the poetry of the Middle Ages and Renaissance such pronunciations as
+_teniá_ for _tenía_ are common.
+
+DIERESIS
+
+Dieresis is the breaking up of vowel-combinations in such a way as
+to form an additional syllable in the word. It is the opposite of
+syneresis. Dieresis never occurs in the case of the diphthongs _ie_ and
+_ue_ derived from Latin (e), and (o), in words like _tierra_, _bueno_,
+etc. _Uá_ and _uó_ are regularly dissyllabic except after _c_, _g_, and
+_j_. Examples:
+
+      Y en su blanca luz süave (8)
+      En la playa un adüar (8)
+      En vez de desafïaros (8)
+      Compañero eterno su dolor crüel (12)
+      Grandïosa, satánica figura (11)
+      El carïado, lívido esqueleto (11)
+      La Luna en el mar rïela (8)
+      Cólera, impetuoso torbellino (11)
+      Horas de confianza y de delicias (11)
+      En cárdenos matices cambiaban (11)
+      Rüido de pasos de gente que viene (12)
+
+The same word without dieresis:
+
+      Por las losas deslízase sin ruido (11)
+
+In certain words, such as _cruel_, metrical custom preserves a
+pronunciation in which the adjacent vowels have separate syllabic value.
+Traditional grammar, represented by the Academy, asserts that such is
+the correct pronunciation of these words to this day; but the actual
+speech of the best speakers diphthongizes these vowels, and their
+separation in poetry must rank as a dieresis. In printing poetry it is
+customary to print the mark of dieresis on many words in which dieresis
+is regular as well as on those in which it is exceptional.
+
+SYNALEPHA
+
+Synalepha is the combining into one syllable of two or more adjacent
+vowels or diphthongs of different words. It is the same phenomenon
+as syneresis extended beyond the single word. _H_ does not prevent
+synalepha. The number of synalephas possible in a single verse is
+theoretically limited only by the number of syllables in that verse. A
+simple instance:
+
+      De alguna arruinada iglesia (8)
+
+The number of vowels entering into a synalepha is commonly two or three;
+rarely four, and, by a _tour de force_, even five:
+
+      Ni envidio a Eudoxia ni codicio a Eulalia (11)
+
+Synalepha is not prevented by any mark of punctuation separating the
+two words nor by the caesural pause (see below). In dramatic verse a
+synalepha may even be divided between two speakers. In the short lines
+of "El Mendigo," Espronceda mingles four- with five-syllable verses.
+But as the five-syllable verses begin with vowels and the preceding
+four-syllable verses end with vowels, the former sound no longer than
+the rest. In very short lines synalepha may occur between one verse
+and another following it. See also line 1389 of "El Estudiante de
+Salamanca."
+
+1. The simplest case is where both vowels entering into synalepha occur
+in unstressed syllables:
+
+      Informes, en que se escuchan (8)
+
+When the two vowels coming together are identical, as here, they fuse
+into a single sound (_s'escuchan_), with only a slight gain in the
+quantity of the vowel. _Se_ here has no individual accent in the
+stress-group. Where the vowels in synalepha are different, each is
+sounded, but the stronger or more dominant is the one more distinctly
+heard:
+
+      Vagar, y aúllan los perros (8)
+
+2. The second case is where the vowel or diphthong ending the first word
+in the synalepha bears the stress, and the initial vowel or diphthong
+of the second word is unstressed. Examples which do not involve
+stress-shift:
+
+      Del que mató en desafío (8)
+      Que no he seguido a una dama (8)
+
+(_He_ is without stress in the group.)
+
+                              JUGADOR PRIMERO
+      No tardará.
+
+                              JUGADOR TERCERO
+                  Envido.
+
+                              JUGADOR PRIMERO
+                         Quiero. (8)
+
+In the following examples stress-shift occurs, because the unstressed
+vowel is dominant while the stressed vowel is absorbed. Such
+stress-shifts as these are sanctioned only when they do not coincide
+with a strong rhythmic stress (see below) in the verse. They are less
+offensive at the beginning than at the end:
+
+      Allí en la triste soledad se hallaron (11)
+      Tú el aroma en las flores exhalas (10)
+      Al punto aquí castigaré al medroso (11)
+
+The following are disagreeably harsh:
+
+      Que estas torres llegué a ver (8)
+      ¿De inciertos pesares por qué hacerla esclava (12)
+
+3. The third case is where the second vowel or diphthong bears the
+stress, while the first is unstressed:
+
+      Teñida de ópalo y grana (8)
+
+In cases like these we are dealing with a form of synalepha which,
+if not true elision, approaches it closely. According to Benot, the
+pronunciation is not quite _d'ópalo_, but "there is an attempt at
+elision." In other words, the second vowel or diphthong, if dominant,
+so predominates over the first that it is scarcely audible. Under this
+case, too, there may arise stress-shift:
+
+      Se hizo el bigote, requirió la espada (11)
+
+This is a very bad verse. But such instances are rare in Espronceda and
+good modern poets. They are never sanctioned in connection with a strong
+rhythmic stress. In such a case hiatus (see below) is favored as the
+lesser of two evils.
+
+4. The fourth case is where each of the two vowels bears the stress:
+
+      Así, ante nosotros pasa en ilusión (12)
+
+What happens here is that one of the two stresses becomes subordinate to
+the other, the stress being wholly assumed by the more dominant of the
+two.
+
+Where three or more vowels unite in a synalepha, two things must be
+borne in mind: (1) Stress-shift is not harsh to the Spanish ear, and
+is always permissible, if more than two vowels are involved. This is
+Espronceda's justification in the following:
+
+  Si se murió, a lo hecho, pecho (8)
+  Necesito ahora dinero (8)
+  Su pecho ahogado (5)
+
+(2) The vowels of three words may not combine if the middle word is y,
+e, he, o, or u. Examples:
+
+      ¡Pues no ha hecho mal disparate! (8)
+      Que conduce a esta mansión (8)
+But:  Cuando en sueño | y en silencio (8)
+      Si tal vez suena | o está (8)
+      Alma fiera | e insolente (8)
+
+There is one case in the text where _he_ as middle word does enter into
+synalepha, but this is merely the fusion of three identical vowels:
+
+      Yo me he echado el alma atrás (8)
+
+HIATUS
+
+Hiatus is the breaking up into two syllables of vowel combinations in
+adjacent words capable of entering into synalepha. It is an extension to
+the word-group of dieresis, which applies only to a single word.
+
+Many authorities on Spanish versification recognize as hiatus various
+cases which should not be so classified. In words like _yo, yerro,
+hierro, huevo_, etc., the first phonetic element is in each case a
+semi-vowel, and these semi-vowels have the value of consonants in the
+words cited. To classify the following as examples of hiatus is to be
+phonetically unsound:
+
+      Perdida tengo | yo el alma (8)
+      Ponzoñoso lago de punzante | hielo (12)
+      Me he de quejar de este | yerro (8)
+      Levantóse en su cóncavo | hueco (10)
+      Cual témpanos de | hielo endurecidos (11)
+      Tierno quejido que en el alma | hiere (11)
+
+In none of these cases could there possibly be synalepha. Consequently
+by definition there can be no hiatus.
+
+Hiatus most frequently occurs to avoid the greater cacophony which would
+arise from stress-shift under case 3 of synalepha:
+
+      Era la hora | en que acaso (8)
+
+Lack of hiatus would here produce a stress-shift resulting in an
+unharmonious stressing of two successive syllables.
+
+      Reposaba, y tumba | era (8)
+
+The same principle applies here as in the above, except that the effect
+would be even worse, because the stress shift would come under the
+rhythmic stress. (See below.)
+
+      Su mejilla; es una | ola (8) (Ditto.)
+      ¡Pobres flores de tu | alma! (8)
+
+Probably to give the pronominal adjective greater emphasis.
+
+      Y huyó su | alma a la mansión dichosa (11)
+
+Probably to avoid two successive stresses, though possibly there may be
+dieresis in _mansión_.
+
+      Don Félix, a buena | hora (8)
+
+Again to avoid stress-shift under the rhythmic stress.
+
+      ¡El as! ¡el as! aquí está (8)
+      Y si Dios aquí os envia (8)
+
+In these two examples instead of hiatus there is synalepha with
+stress-shift, but we have to do with case 2 of synalepha, not case 3.
+
+      Que un alma, una vida, | es (8)
+      Cuando | hacia él fatídica figura (11)
+      Y el otro ¡Dios santo! y el otro era | él! (12)
+      ¡Villano! mas esto | es (8)
+      En cada | hijo a contemplar un rey (11)
+
+In some instances hiatus seems to occur for no other reason than to
+preserve the verse-measure:
+
+      Resonando cual lúgubre | eco (10)
+      Y palacios de | oro y de cristal (11)
+      ¡Y tú feliz, que | hallaste en la muerte (11)
+
+In general hiatus is most likely to occur before the principal rhythmic
+stress in a verse; that is, before the final stress.
+
+RHYTHM, RHYTHMIC STRESS, THE CAESURAL PAUSE
+
+In English poetry the foot, rather than the syllable, is the unit. The
+number of feet to a verse is fixed, but the number of syllables varies.
+In Spanish poetry the number of syllables to a verse is fixed, subject
+only to the laws of syllable-counting given above. But if in this
+respect the Spanish poet has less freedom than the English versifier, he
+has infinitely greater liberty in the arrangement of his rhythms. The
+sing-song monotony of regularly recurring beats is intolerable to Latin
+ears. The greater flexibility of Spanish rhythm can best be shown by
+illustrations:
+
+      The Assy'rian came do'wn like the wo'lf on the fo'ld,
+      And his co'horts were gle'aming in pu'rple and go'ld;
+      And the she'en of their spe'ars was like sta'rs on the se'a,
+      When the blu'e wave rolls ni'ghtly on de'ep Galile'e.
+
+Having chosen to write this poem in the anapestic tetrameter, Byron
+never varies the rhythm except to substitute an occasional iambic at the
+beginning of a verse:
+
+      And the're lay the ste'ed with his no'stril all wi'de.
+
+Notice how much more freely Espronceda handles this meter in Spanish:
+
+      Su fo'rma galla'rda dibu'ja en las so'mbras
+      El bla'nco ropaj'e que ondea'nte se ve',
+      Y cua'l si pisa'ra mulli'das alfo'mbras,
+      Deslí'zase le've sin rui'do su pie'.
+
+      Tal vi'mos al ra'yo de la lu'na lle'na
+      Fugiti'va ve'la de le'jos cruza'r
+      Que ya' la' hinche en po'pa la bri'sa sere'na,
+      Que ya' la confu'nde la espu'ma del ma'r.
+
+The first of these stanzas has the true Byronic swing. But note how
+freely the rhythm is handled in the second. Spanish rhythm is so
+flexible and free that little practical advantage is gained by counting
+feet. We distinguish only two sorts of verse-measure, the binary, where
+in general there is stress on one syllable out of two--that is there
+are trochees (__' __) or iambics (__ __') in the verse, or the two
+intermingled--and second the ternary measure, where one of a group of
+three syllables receives the stress. Such a verse is made up of dactyls
+(__' __ __), anapests (__ __ __'), or amphibrachs (__ __' __), or some
+combination of these. Of course, a three-syllable foot is often found in
+binary verse, and, _vice versa_ a two-syllable foot in ternary measure.
+By binary verse we mean only a form of verse in which the twofold
+measure predominates, and by ternary one in which the threefold measure
+predominates. The extract last quoted is an example of ternary verse.
+The following will serve as a specimen of the binary movement:
+
+      En de'rredo'r de u'na me'sa
+      Ha'sta se'is ho'mbres está'n,
+      Fi'ja la vi'sta' en los na'ipes,
+      Mie'ntras jue'gan a'l para'r;
+
+Every word in Spanish has its individual word-accent: _habí'a,
+habla'do_. Now if we join these two words in a phrase, _habí'a
+habla'do_, we note that while each of the words still retains its
+individual word-accent, _hablado_ is more strongly stressed than
+_había_. In addition to its word-accent _hablado_ bears what we term
+a phrase-accent. In any line of verse some of the word-stresses are
+stronger than others, and these stronger stresses are termed rhythmic
+stresses. They correspond to the phrase-stresses of prose. The principal
+rhythmic stress is the last stress of the line. In general the rhythmic
+stress must coincide with a word-stress. It always does except where
+stress-shift comes into play. We have already seen that a stress-shift
+coinciding with the rhythmic stress is intolerable, and hiatus is
+preferred. It is very unharmonious for two stresses to fall together at
+the end of a verse:
+
+      Que estas torres llegué a ver (8)
+
+This is a very bad verse, because _a_ is dominant over _é_ and brings
+about stress-shift, and the two consecutive syllables _a_ and _ver_ are
+both stressed. The result is unharmonious. A syllable bearing stress and
+standing immediately before the final stress is called an obstructing
+syllable (_una sílaba obstruccionista_). Every effort is made by a good
+poet to avoid such a cacophony. The above is a good example of one. I
+have emended llegué to _llegue_ in the text.
+
+A short verse can easily be spoken without pause, but above ten
+syllables it becomes necessary for the reader to rest somewhere within
+the line. The resting-place is called the caesural pause. The longer the
+verse, the greater its importance. It does not prevent synalepha. The
+stress immediately before the caesura must be the second most important
+rhythmic stress of the verse.
+
+RIME AND ASSONANCE
+
+The regularity of the beats in English verse is of itself sufficient to
+indicate when a line of poetry is ended, even though there be no rime to
+mark that end. Hence blank verse has been highly developed by English
+poets, and many, like Milton, have held it to be the noblest form of
+verse. Blank verse is impossible in French, because French with its lack
+of verbal stress has no other device than rime to mark the end of a
+verse. Without rime French blank verse would be indistinguishable from
+rhythmic prose. In Spanish the stress is not so heavy as in the Germanic
+languages, but, on the other hand, is much stronger than in French.
+Spanish blank verse is not unknown, but has never been cultivated with
+great success. It is evident that in this language too, lacking as it
+does regular rhythm in its versification, rime is much more necessary
+than in English. However, an occasional _verso suelto_, or blank verse,
+intermingled with rimed ones, is very common.
+
+Two words rime with one another when there is identity of sound between
+the last stressed vowels and between any letters which may follow these
+vowels. Rime is masculine (in Spanish _rima aguda_) when the last
+syllables bear the stress: _mal_--_cristal_; or feminine when an
+unstressed vowel follows the stressed one (in Spanish _rima llana_):
+_hermosura_--_locura_. Inasmuch as _b_ and _v_ represent the same sound,
+they rime. The weak vowel of a diphthong is ignored for riming purposes;
+thus _vuelo_ rimes with _cielo_. Good poets avoid obvious or easy
+rimes such as those yielded by flexional endings and suffixes. It is
+permissible to rime two identically-spelled words if they are in fact
+different words in meaning: _ven_ (they see) rimes with _vén_ (come).
+
+Assonance is the identity of sound of two or more stressed vowels and
+the final following vowels, if there are any. In case consonants stand
+after the stressed vowel they are disregarded.
+
+Assonance is of two sorts: single assonance (_asonante agudo_),
+_están_--_va_--_parar_--_jamás_, etc.; and double assonance (_asonante
+llano_), _cuentan_--_tierra_--_dejan _or _coronada_--_gasa_--_baña_. In
+assonanced verse the assonanced words end the even lines. The odd are
+usually blank, though sometimes rimed. A _voz aguda_ cannot assonate
+with a _voz llana_, but there is no objection to the introduction of
+_voces esdrújulas_ into _asonante llano_. In this case only the stressed
+and the final vowels of the _esdrújula_ are counted; for example,
+_América_ assonances with _crea_. When diphthongs enter into assonance,
+the weak vowel is ignored: _pleita_ assonances with _pliega_.
+
+Assonance is not unknown in English, especially in popular or folk
+verse; but we generally regard it as a faulty rime. Thus in the British
+national anthem we read:
+
+      Send him victorious,
+      Happy and glorious,
+      Long to reign over us,
+        God save the king!
+
+"Over us" plainly assonates, rather than rimes, with "glorious," but
+this is dangerously close to doggerel. Assonance is unsuited to the
+genius of any language possessed of a rich vowel-system. This is evident
+to any one who has read Archbishop Trench's attempt to render Calderon's
+verse into English assonance.
+
+STROPHES
+
+I shall not attempt to list the innumerable verse-forms to be found in
+Spanish poetry, but shall only indicate the forms used by Espronceda in
+the selections contained in this volume. Some of these are fixed and
+conventional, and others are of his own contrivance. Spanish uses the
+terms _estrofa_ and _copla_ to designate an arrangement of verses in a
+stanza. _Copla_ must not be confused with English "couplet." These are
+general terms; most verse-forms are designated by special names. The
+following verse-forms are found in the selections contained in this
+book:
+
+
+
+"EL ESTUDIANTE DE SALAMANCA"
+
+Lines 1-40. Ballad meter or _verso de romance_ (8 syllables) with
+assonance in _é_-_a_.
+
+Lines 41-48. _Verso de romance_ with assonance in _ó_.
+
+Lines 49-63. Irregular 3-syllable meter with assonance in _ó_ occurring
+irregularly; lines 53 and 55 rime, and 59 and 61 assonate in _é-a_.
+
+Lines 64-75. _Verso de romance_ with assonance in _ó_.
+
+Lines 76-99. Quatrains or _cuartetas_ of 12-syllable verse; rime-scheme
+_abab_ (this arrangement of the rime is called _rima cruzada_);
+alternation of masculine and feminine rime.
+
+Lines 100-139. _Octavillas italianas_ (8-syllable verse); lines 2 and
+3, 6 and 7, 4 and 8 rime; lines 1 and 5 either assonate or are blank
+(_sueltos_).
+
+Lines 140-179. _Octavas reales_ (11-syllable verse); rime-scheme
+_abababcc_; the rimes must be feminine.
+
+Lines 180-257. _Verso de romance_, printed in the form of _cuartetas_;
+assonance in _á-a_.
+
+Lines 258-302. _Quintillas_ (8-syllable verse); the rime-scheme varies;
+the rule is that there shall be two rimes to a _quintilla_, and the same
+rime must not occur in three consecutive verses.
+
+Lines 303-330. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;
+occasionally assonance replaces rime in the even verses.
+
+Lines 331-338. _Octava real_.
+
+Lines 339-370. _Cuartetas_ (11-syllable verse).
+
+Lines 371-418. _Octavas reales_.
+
+Lines 419-434. _Cuartetas_ (11-syllable verse).
+
+Lines 435-454. _Verso de romance_, printed as _cuartetas_; assonance in
+_á_.
+
+Lines 455-558. _Redondillas_ (8-syllable verse); rime-scheme _abba_;
+this arrangement of rimes is called _versos pareados en el centro_.
+
+Lines 559-578. _Cuartetas_ (11-syllable verse); _rima cruzada_.
+
+Lines 579-590. _Redondillas_.
+
+Lines 591-600. _Décima_ (8-syllable verse); rime-scheme _abbaaccddc_.
+
+Lines 601-692. _Redondillas_.
+
+Lines 693-792. _Cuartetas_ (12-syllable verse); odd verses rime; the
+even either form a masculine rime or are in assonance.
+
+Lines 793-820. _Cuartetas_ (8-syllable verse); the rime-scheme varies:
+some _coplas_ are _redondillas_; others have the crossed rime.
+
+Lines 821-884. _Cuartetas_ of 12-syllable verse resumed; same
+rime-scheme as above.
+
+Lines 885-894. _Quintillas_ (8-syllable verse); rime-scheme _abaab_.
+
+Lines 895-910. _Cuartetas_ (11-syllable verse); rime-scheme either
+_abba_ or _abab_.
+
+Lines 911-938. _Cuartetas_ of 12-syllable verse; rime-scheme _abab_;
+even verses form either a masculine rime or assonance.
+
+Lines 939-942. _Cuarteta_ (11-syllable verse); even verses in assonance;
+the odd verses rime.
+
+Lines 943-961. Irregular meter (6-syllable verse); a mixture of rime,
+assonance, and blank verse.
+
+Lines 962-1033. _Verso de romance_; assonance in _á_.
+
+Lines 1034-1063. _Quintillas_.
+
+Lines 1064-1115. _Cuartetas_ (12-syllable verse); rime in the odd
+verses; assonance or masculine rime in the even.
+
+Lines 1116-1145. _Quintillas_.
+
+Lines 1146-1149. _Cuarteta_ (11-syllable verse); rime-scheme _abab_.
+
+Lines 1150-1164. _Quintillas_.
+
+Lines 1165-1196. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;
+feminine rime.
+
+Lines 1197-1364. _Octavas reales_.
+
+Lines 1365-1384. _Quintillas_.
+
+Lines 1385-1390. Irregular blending of 2-and 3-syllable meter; assonance
+and rime; the _crescendo_ effect begins here.
+
+Lines 1391-1399. Irregular 4-syllable meter; assonance and rime.
+
+Lines 1400-1412. Irregular 5-syllable meter; assonance, rime, and blank
+verse.
+
+Lines 1413-1439. Irregular 6-syllable meter; assonance, rime, blank
+verse.
+
+Lines 1440-1447. Irregular 7-syllable meter; assonance, rime, blank
+verse.
+
+Lines 1448-1469. _Verso de romance_; assonance in _é-o_.
+
+Lines 1470-1485. Irregular 9-syllable meter; assonance in _ó_.
+
+Lines 1486-1501. _Cuartetas_ (10-syllable verse); rime-scheme _abab_;
+even verses assonate or form a masculine rime.
+
+Lines 1502-1521. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;
+even verses assonate or form a masculine rime.
+
+Lines 1522-1553. _Cuartetas_ (12-syllable verse); rime-scheme _abab_;
+even verses assonate or form a masculine rime; the _crescendo_ is now at
+its height.
+
+Lines 1554-1569. _Octavillas italianas_ (11-syllable verse); see above
+for description of this verse form.
+
+Lines 1570-1585. _Octavillas italianas_ (10-syllable verse).
+
+Lines 1586-1601. _Octavillas italianas_ (9-syllable verse).
+
+Lines 1602-1617. _Octavillas italianas_ (8-syllable verse).
+
+Lines 1618-1633. _Octavillas italianas_ (7-syllable verse).
+
+Lines 1634-1649. _Octavillas italianas_ (6-syllable verse).
+
+Lines 1650-1661. An irregular 12-verse stanza of 5-syllable verse in
+which verses 3 and 4, 8 and 9 rime as couplets; 6 and 12 also rime;
+the other verses are blank.
+
+Lines 1662-1669. Variant of the _octavilla italiana_; 4-syllable verse;
+verse 6 is blank instead of 5.
+
+Lines 1670-1677. _Octavilla italiana_; 3-syllable verse; rime-scheme
+normal.
+
+Lines 1678-1680. Irregular meter of 2-syllable verse; rime and blank;
+the _diminuendo_ effect ends here.
+
+Lines 1681-1704. _Octavas reales_.
+
+
+
+"CANCIÓN DEL PIRATA"
+
+Lines 1-16. _Octavillas italianas_ (8-syllable verse).
+
+Lines 17-22. _Sextina_ (8-syllable verse, except that verse 2 is a
+_verso quebrado_ or "broken verse" of 4 syllables). The _sextina_
+admits of the greatest variety of form; those in this poem are all of
+the same pattern; rime-scheme _abaccb_.
+
+Lines 23-30. _Octavilla italiana_ (4-syllable verse).
+
+Lines 31-34. _Cuarteta_ (8-syllable verse); verses 1 and 3 are blank;
+2 and 4 assonate.
+
+Lines 35-40. _Sextina_.
+
+Lines 41-48. _Octavilla italiana_, same as above.
+
+Lines 50-55. _Sextina_.
+
+Lines 56-63. _Octavilla italiana_.
+
+Lines 65-70. _Sextina_.
+
+Lines 71-78. _Octavilla italiana_.
+
+Lines 80-85. _Sextina_.
+
+Lines 86-93. _Octavilla italiana_.
+
+Lines 94-97. _Cuarteta_.
+
+
+
+"EL CANTO DEL COSACO"
+
+This poem is written in _cuartetas_ of 11-syllable verse with _rima
+cruzada_. Verses 1 and 3 rime and 2 and 4 assonate, except in the
+refrain, where 1 and 3 are blank.
+
+
+
+"EL MENDIGO"
+
+Lines 1-4. _Cuarteta_ (11-syllable verse); verses 1 and 3 are blank;
+2 and 4 assonate.
+
+Lines 5-10. _Sextina_ (8-syllable verse, except 2, the _verso
+quebrado_, which has 4 syllables); rime-scheme _abcaac_; the _verso
+quebrado_ is blank.
+
+Lines 11-28. Irregular 4-syllable meter; a wholly irregular
+arrangement of rime, assonance, and blank verse.
+
+Lines 29-32. Irregular _cuarteta_ of two 8-syllable verses followed by
+two of 11; verses 1 and 3 are blank; 2 and 4 assonate.
+
+Lines 34-39. _Sextina_, same as above.
+
+Lines 40-57. Irregular 4-syllable meter, same as above.
+
+Lines 58-61. _Cuarteta_, same as the irregular one above.
+
+Lines 63-68. _Sextina_, same as above.
+
+Lines 69-88. Irregular 4-syllable meter, same as above.
+
+Lines 89-92. _Cuarteta_, same as the irregular ones above.
+
+Lines 94-99. _Sextina_, same as above.
+
+Lines 100-117. Irregular 4-syllable meter, same as above.
+
+Lines 118-121. _Cuarteta_, same as the irregular ones above.
+
+Lines 122-125. _Cuarteta_, like the normal one above.
+
+
+
+"SONETO"
+
+Lines 1-14. Sonnet. 11-syllable verse. Rime-scheme _abba, abba, cde,
+cde_.
+
+
+
+"A TERESA. DESCANSA EN PAZ"
+
+Written throughout in _octavas reales_ (11-syllable verse); rime-scheme
+_abababcc_.
+
+
+
+
+BIBLIOGRAPHY
+
+For a fuller treatment of Spanish prosody the student may profitably
+consult the following works:
+
+BENOT. "Prosodía Castellana y Versificación," 3 vols., Madrid, no date.
+
+ROBLES DÉGANO. "Ortología Clásica de la Lengua Castellana," Madrid,
+1905.
+
+BELLO. "Ortología y Arte Métrica" (Vol. 4 of "Obras Completas"), Madrid,
+1890.
+
+For more or less summary treatments of the subject the American student
+may profitably consult:
+
+OLMSTED. "Legends, Tales, and Poems by Gustavo Adolfo Bécquer" (Ginn and
+Company).
+
+FORD. "A Spanish Anthology" (Silver, Burdett and Company).
+
+HILLS and MORLEY. "Modern Spanish Lyrics" (Henry Holt and Company).
+
+
+
+
+"EL ESTUDIANTE DE SALAMANCA"
+AND OTHER SELECTIONS
+FROM ESPRONCEDA
+
+
+
+                                   CUENTO.
+
+                         EL ESTUDIANTE DE SALAMANCA
+
+
+                               PARTE PRIMERA
+
+                              Sus fueros, sus bríos; sus premáticas,
+                              su voluntad.--"Quijote," Parte Primera
+
+            Era más de media noche,
+          Antiguas historias cuentan,
+          Cuando, en sueño y en silencio
+          Lóbrego envuelta la tierra,
+          Los vivos muertos parecen,                               [5]
+          Los muertos la tumba dejan.
+          Era la hora en que acaso
+          Temerosas voces suenan
+          Informes, en que se escuchan
+          Tácitas pisadas huecas,                                 [10]
+          Y pavorosas fantasmas
+          Entre las densas tinieblas
+          Vagan, y aúllan los perros
+          Amedrentados al verlas;
+          En que tal vez la campana                               [15]
+          De alguna arruinada iglesia
+          Da misteriosos sonidos
+          De maldición y anatema,
+          Que los sábados convoca
+          A las brujas a su fiesta.                               [20]
+          El cielo estaba sombrío,
+          No vislumbraba una estrella,
+          Silbaba lúgubre el viento,
+          Y allá en el aire, cual negras
+          Fantasmas, se dibujaban                                 [25]
+          Las torres de las iglesias,
+          Y del gótico castillo
+          Las altísimas almenas,
+          Donde canta o reza acaso
+          Temeroso el centinela                                   [30]
+          Todo en fin a media noche
+          Reposaba, y tumba era
+          De sus dormidos vivientes
+          La antigua ciudad que riega
+          El Tormes, fecundo río,                                 [35]
+          Nombrado de los poetas,
+          La famosa Salamanca,
+          Insigne en armas y letras,
+          Patria de ilustres varones,
+          Noble archivo de las ciencias.                          [40]
+            Súbito rumor de espadas
+          Cruje, y un «¡ay!» se escuchó;
+          Un «¡ay!» moribundo, un «¡ay!»
+          Que penetra el corazón,
+          Que hasta los tuétanos hiela                            [45]
+          Y da al que lo oyó temblor;
+          Un «¡ay!» de alguno que al mundo
+          Pronuncia el último adiós.
+
+                El ruido
+                Cesó,                                             [50]
+                Un hombre
+                Pasó
+                Embozado,
+                Y el sombrero
+                Recatado                                          [55]
+                A los ojos
+                Se caló.
+                Se desliza
+                Y atraviesa
+                Junto al muro                                     [60]
+                De una iglesia,
+                Y en la sombra
+                Se perdió.
+
+            Una calle estrecha y alta,
+          La calle del Ataúd,                                     [65]
+          Cual si de negro crespón
+          Lóbrego eterno capuz
+          La vistiera, siempre oscura
+          Y de noche sin más luz
+          Que la lámpara que alumbra                              [70]
+          Una imagen de Jesús,
+          Atraviesa el embozado,
+          La espada en la mano aún,
+          Que lanzó vivo reflejo
+          Al pasar frente a la cruz.                              [75]
+
+      Cual suele la luna tras lóbrega nube
+    Con franjas de plata bordarla en redor,
+    Y luego si el viento la agita, la sube
+    Disuelta a los aires en blanco vapor,
+
+      Así vaga sombra de luz y de nieblas,                        [80]
+    Mística y aérea dudosa visión,
+    Ya brilla, o la esconden las densas tinieblas,
+    Cual dulce esperanza, cual vana ilusión.
+
+     La calle sombría, la noche ya entrada,
+    La lámpara triste ya pronta a espirar,                        [85]
+    Que a veces alumbra la imagen sagrada,
+    Y a veces se esconde la sombra a aumentar,
+
+      El vago fantasma que acaso aparece,
+    Y acaso se acerca con rápido pie,
+    Y acaso en las sombras tal vez desparece,                     [90]
+    Cual ánima en pena del hombre que fué,
+
+      Al más temerario corazón de acero
+    Recelo inspirara, pusiera pavor;
+    Al más maldiciente feroz bandolero
+    El rezo a los labios trajera el temor.                        [95]
+
+      Mas no al embozado, que aun sangre su espada
+    Destila, el fantasma terror infundió,
+    Y el arma en la mano con fuerza empuñada,
+    Osado a su encuentro despacio avanzó.
+
+            Segundo Don Juan Tenorio,                            [100]
+          Alma fiera e insolente,
+          Irreligioso y valiente,
+          Altanero y reñidor:
+            Siempre el insulto en los ojos,
+          En los labios la ironía,                               [105]
+          Nada teme y todo fía
+          De su espada y su valor.
+
+            Corazón gastado, mofa
+          De la mujer que corteja,
+          Y hoy, despreciándola, deja                            [110]
+          La que ayer se le rindió.
+            Ni el porvenir temió nunca,
+          Ni recuerda en lo pasado
+          La mujer que ha abandonado,
+          Ni el dinero que perdió.                               [115]
+
+            Ni vió el fantasma entre sueños
+          Del que mató en desafío,
+          Ni turbó jamás su brío
+          Recelosa previsión.
+            Siempre en lances y en amores,                       [120]
+          Siempre en báquicas orgías,
+          Mezcla en palabras impías
+          Un chiste a una maldición.
+
+            En Salamanca famoso
+          Por su vida y buen talante,                            [125]
+          Al atrevido estudiante
+          Le señalan entre mil;
+            Fueros le da su osadía,
+          Le disculpa su riqueza,
+          Su generosa nobleza,                                   [130]
+          Su hermosura varonil.
+
+            Que su arrogancia y sus vicios,
+          Caballeresca apostura,
+          Agilidad y bravura
+          Ninguno alcanza a igualar;                             [135]
+            Que hasta en sus crímenes mismos,
+          En su impiedad y altiveza,
+          Pone un sello de grandeza
+          Don Félix de Montemar.
+
+        Bella y más pura que el azul del cielo,                  [140]
+      Con dulces ojos lánguidos y hermosos,
+      Donde acaso el amor brilló entre el velo
+      Del pudor que los cubre candorosos;
+      Tímida estrella que refleja al suelo
+      Rayos de luz brillantes y dudosos,                         [145]
+      Ángel puro de amor que amor inspira,
+      Fué la inocente y desdichada Elvira.
+
+        Elvira, amor del estudiante un día,
+      Tierna y feliz y de su amante ufana,
+      Cuando al placer su corazón se abría,                      [150]
+      Como al rayo del sol rosa temprana,
+      Del fingido amador que la mentía
+      La miel falaz que de sus labios mana
+      Bebe en su ardiente sed, el pecho ajeno
+      De que oculto en la miel hierve el veneno.                 [155]
+
+        Que no descansa de su madre en brazos
+      Más descuidado el candoroso infante
+      Que ella en los falsos lisonjeros lazos
+      Que teje astuto el seductor amante:
+      Dulces caricias, lánguidos abrazos,                        [160]
+      Placeres ¡ay! que duran un instante,
+      Que habrán de ser eternos imagina
+      La triste Elvira en su ilusión divina.
+
+        Que el alma virgen que halagó un encanto
+      Con nacarado sueño en su pureza                            [165]
+      Todo lo juzga verdadero y santo,
+      Presta a todo virtud, presta belleza.
+      Del cielo azul al tachonado manto,
+      Del sol radiante a la inmortal riqueza,
+      Al aire, al campo, a las fragantes flores,                 [170]
+      Ella añade esplendor, vida y colores.
+
+        Cifró en Don Félix la infeliz doncella
+      Toda su dicha, de su amor perdida;
+      Fueron sus ojos a los ojos de ella
+      Astros de gloria, manantial de vida.                       [175]
+      Cuando sus labios con sus labios sella,
+      Cuando su voz escucha embebecida,
+      Embriagada del dios que la enamora,
+      Dulce le mira, extática le adora.
+
+
+                                PARTE SEGUNDA
+
+                               No dirge except the hollow sea's
+                               Mourns o'er the beauty of the Cyclades.
+                                            BYRON, "Don Juan," Canto 4
+
+
+            Está la noche serena                                [180]
+          De luceros coronada,
+          Terso el azul de los cielos
+          Como trasparente gasa.
+
+            Melancólica la luna
+          Va trasmontando la espalda                            [185]
+          Del otero, su alba frente
+          Tímida apenas levanta,
+
+            Y el horizonte ilumina,
+          Pura virgen solitaria,
+          Y en su blanca luz süave                              [190]
+          El cielo y la tierra baña.
+
+            Deslízase el arroyuelo.
+          Fúlgida cinta de plata,
+          Al resplandor de la luna,
+          Entre franjas de esmeralda.                           [195]
+
+          Argentadas chispas brillan
+          Entre las espesas ramas,
+          Y en el seno de las flores
+          Tal vez aduermen las auras,
+
+            Tal vez despiertas susurran,                        [200]
+          Y al desplegarse sus alas
+          Mecen el blanco azahar,
+          Mueven la aromosa acacia,
+
+            Y agitan ramas y flores,
+          Y en perfumes se embalsaman.                          [205]
+          Tal era pura esta noche
+          Como aquélla en que sus alas
+
+            Los ángeles desplegaron
+          Sobre la primera llama
+          Que amor encendió en el mundo,                        [210]
+          Del Edén en la morada.
+
+           ¡Una mujer! ¿Es acaso
+          Blanca silfa solitaria,
+          Que entre el rayo de la luna
+          Tal vez misteriosa vaga?                              [215]
+
+            Blanco es su vestido, ondea
+          Suelto el cabello a la espalda,
+          Hoja tras hoja las flores
+          Que lleva en su mano arranca.
+
+            Es su paso incierto y tardo,                        [220]
+          Inquietas son sus miradas,
+          Mágico ensueño parece
+          Que halaga engañosa el alma.
+
+            Ora, vedla, mira al cielo,
+          Ora suspira, y se pára;                               [225]
+          Una lágrima sus ojos
+          Brotan acaso y abrasa
+
+            Su mejilla; es una ola
+          Del mar que en fiera borrasca
+          El viento de las pasiones                             [230]
+          Ha alborotado en su alma.
+
+            Tal vez se sienta, tal vez
+          Azorada se levanta;
+          El jardín recorre ansiosa,
+          Tal vez a escuchar se pára.                           [235]
+
+            Es el susurro del viento,
+          Es el murmullo del agua,
+          No es su voz, no es el sonido
+          Melancólico del arpa.
+
+            Son ilusiones que fueron:                           [240]
+          Recuerdos ¡ay! que te engañan,
+          Sombras del bien que pasó....
+          Ya te olvidó el que tú amas.
+
+            Esa noche y esa luna
+          Las mismas son que miraran                            [245]
+          Indiferentes tu dicha,
+          Cual ora ven tu desgracia.
+
+            ¡Ah! llora, sí, ¡pobre Elvira!
+          ¡Triste amante abandonada!
+          Esas hojas de esas flores                             [250]
+          Que distraída tú arrancas,
+
+            ¿Sabes adónde, infeliz,
+          El viento las arrebata?
+          Donde fueron tus amores,
+          Tu ilusión y tu esperanza.                            [255]
+
+            Deshojadas y marchitas,
+          ¡Pobres flores de tu alma!
+          Blanca nube de la aurora,
+          Teñida de ópalo y grana,
+
+            Naciente luz te colora,                             [260]
+          Refulgente precursora
+          De la cándida mañana.
+          Mas ¡ay! que se disipó
+
+            Tu pureza virginal,
+          Tu encanto el aire llevó                              [265]
+          Cual la ventura ideal
+          Que el amor te prometió.
+
+            Hojas del árbol caídas
+          Juguete del viento son;
+          Las ilusiones perdidas                                [270]
+          ¡Ay! son hojas desprendidas
+          Del árbol del corazón!
+
+            ¡El corazón sin amor!
+          Triste páramo cubierto
+          Con la lava del dolor,                                [275]
+          Oscuro, inmenso desierto
+          Donde no nace una flor!
+
+            Distante un bosque sombrío,
+          El sol cayendo en la mar,
+          En la playa un adüar,                                 [280]
+          Y a lo lejos un navío,
+          Viento en popa navegar,
+
+           Óptico vidrio presenta
+          En fantástica ilusión,
+          Y al ojo encantado ostenta                            [285]
+          Gratas visiones que aumenta
+          Rica la imaginación.
+
+            Tú eres, mujer, un fanal
+          Trasparente de hermosura;
+          ¡Ay de ti! si por tu mal                              [290]
+          Rompe el hombre en su locura
+          Tu misterioso cristal!
+
+           Mas ¡ay! dichosa tú, Elvira,
+          En tu misma desventura,
+          Que aun deleites te procura,                          [295]
+          Cuando tu pecho suspira,
+          Tu misteriosa locura:
+
+            Que es la razón un tormento,
+          Y vale más delirar
+          Sin juicio, que el sentimiento                        [300]
+          Cuerdamente analizar,
+          Fijo en él el pensamiento.
+
+        Vedla, allí va, que sueña en su locura
+      Presente el bien que para siempre huyó;
+      Dulces palabras con amor murmura,                         [305]
+      Piensa que escucha al pérfido que amó.
+
+        Vedla, postrada su piedad implora
+      Cual si presente le mirara allí;
+      Vedla, que sola se contempla y llora,
+      Miradla delirante sonreír.                                [310]
+
+        Y su frente en revuelto remolino
+      Ha enturbiado su loco pensamiento,
+      Como nublo que en negro torbellino
+      Encubre el cielo y amontona el viento;
+
+        Y vedla cuidadosa escoger flores,                       [315]
+      Y las lleva mezcladas en la falda,
+      Y, corona nupcial de sus amores,
+      Se entretiene en tejer una guirnalda.
+
+        Y en medio de su dulce desvarío
+      Triste recuerdo el alma le importuna,                     [320]
+      Y al margen va del argentado río,
+      Y allí las flores echa de una en una;
+
+        Y las sigue su vista en la corriente
+      Una tras otra rápidas pasar,
+      Y, confusos sus ojos y su mente,                          [325]
+      Se siente con sus lágrimas ahogar;
+
+        Y de amor canta, y en su tierna queja
+      Entona melancólica canción,
+      Canción que el alma desgarrada deja,
+      Lamento ¡ay! que llaga el corazón:                        [330]
+
+        «¿Qué me valen tu calma y tu terneza,
+      Tranquila noche, solitaria luna,
+      Si no calmáis del hado la crudeza,
+      Ni me dais esperanza de fortuna?
+
+        ¿Qué me valen la gracia y la belleza,                   [335]
+      Y amar como jamás amó ninguna,
+      Si la pasión que el alma me devora,
+      La desconoce aquél que me enamora?»
+
+        Lágrimas interrumpen su lamento,
+      Inclina sobre el pecho su semblante,                      [340]
+      Y de ella en derredor susurra el viento
+      Sus últimas palabras, sollozante.
+
+        Murió de amor la desdichada Elvira,
+      Cándida rosa que agostó el dolor,
+      Süave aroma que el viajero aspira                         [345]
+      Y en sus alas el aura arrebató.
+
+        Vaso de bendición, ricos colores
+      Reflejó en su cristal la luz del día,
+      Mas la tierra empañó sus resplandores,
+      Y el hombre lo rompió con mano impía.                     [350]
+
+        Una ilusión acarició su mente,
+      Alma celeste para amar nacida,
+      Era el amor de su vivir la fuente,
+      Estaba junta a su ilusión su vida.
+
+        Amada del Señor, flor venturosa,                        [355]
+      Llena de amor murió y de juventud;
+      Despertó alegre una alborada hermosa,
+      Y a la tarde durmió en el ataúd.
+
+        Mas despertó también de su locura
+      Al término postrero de su vida,                           [360]
+      Y al abrirse a sus pies la sepultura,
+      Volvió a su mente la razón perdida.
+
+        ¡La razón fría! ¡la verdad amarga!
+      ¡El bien pasado y el dolor presente!...
+      ¡Ella feliz! ¡que de tan dura carga                       [365]
+      Sintió el peso al morir únicamente!
+
+        Y conociendo ya su fin cercano,
+      Su mejilla una lágrima abrasó;
+      Y así al infiel, con temblorosa mano,
+      Moribunda su víctima escribió:                            [370]
+
+        «Voy a morir: perdona si mi acento
+      Vuela importuno a molestar tu oído;
+      Él es, Don Félix, el postrer lamento
+      De la mujer que tanto te ha querido.
+      La mano helada de la muerte siento....                    [375]
+      Adiós: ni amor ni compasión te pido....
+      Oye y perdona si al dejar el mundo,
+      Arranca un ¡ay! su angustia al moribundo.
+
+        «¡Ah! para siempre adiós. Por ti mi vida
+      Dichosa un tiempo resbalar sentí,                         [380]
+      Y la palabra de tu boca oída
+      Éxtasis celestial fué para mí.
+      Mi mente aun goza en la ilusión querida
+      Que para siempre ¡mísera! perdí....
+      ¡Ya todo huyó, despareció contigo!                        [385]
+      ¡Dulces horas de amor, yo las bendigo!
+
+        «Yo las bendigo, sí, felices horas,
+      Presentes siempre en la memoria mía,
+      Imágenes de amor encantadoras
+      Que aun vienen a halagarme en mi agonía.                  [390]
+      Mas ¡ay! volad, huíd, engañadoras
+      Sombras, por siempre; mi postrero día
+      Ha llegado, perdón, perdón, ¡Dios mío!
+      Si aun gozo en recordar mi desvarío.
+
+        «Y tú, Don Félix, si te causa enojos                    [395]
+      Que te recuerde yo mi desventura,
+      Piensa están hartos de llorar mis ojos
+      Lágrimas silenciosas de amargura.
+      Y hoy, al tragar la tumba mis despojos,
+      Concede este consuelo a mi tristura:                      [400]
+      Estos renglones compasivo mira,
+      Y olvida luego para siempre a Elvira.
+
+        «Y jamás turbe mi infeliz memoria
+      Con amargos recuerdos tus placeres;
+      Goces te dé el vivir, triunfos la gloria,                 [405]
+      Dichas el mundo, amor otras mujeres;
+      Y si tal vez mi lamentable historia
+      A tu memoria con dolor trajeres,
+      Llórame, sí; pero palpite exento
+      Tu pecho de roedor remordimiento.                         [410]
+
+        «Adiós, por siempre, adiós: un breve instante
+      Siento de vida, y en mi pecho el fuego
+      Aun arde de mi amor; mi vista errante
+      Vaga desvanecida ... ¡calma luego,
+      Oh muerte, mi inquietud!... ¡Sola ... espirante!...       [415]
+      Ámame; no, perdona; ¡inútil ruego!
+      Adiós, adiós, ¡tu corazón perdí
+      --¡Todo acabó en el mundo para mí!»
+
+        Así escribió su triste despedida
+      Momentos antes de morir, y al pecho                       [420]
+      Se estrechó de su madre dolorida,
+      Que en tanto inunda en lágrimas su lecho.
+
+        Y exhaló luego su postrer aliento,
+      Y a su madre sus brazos se apretaron
+      Con nervioso y convulso movimiento,                       [425]
+      Y sus labios un nombre murmuraron.
+
+        Y huyó su alma a la mansión dichosa
+      Do los ángeles moran.... Tristes flores
+      Brota la tierra en torno de su losa;
+      El céfiro lamenta sus amores.                             [430]
+
+        Sobre ella un sauce su ramaje inclina,
+     Sombra le presta en lánguido desmayo,
+     Y allá en la tarde, cuando el sol declina,
+     Baña su tumba en paz su último rayo....
+
+
+                                PARTE TERCERA
+
+                              CUADRO DRAMÁTICO
+
+                                                     SARGENTO
+                                  ¿Tenéis más que parar?
+                                                      FRANCO
+                                                        Paro los ojos.
+                                  . . . . . . . . . . . . . . . . . .
+                                  Los ojos, sí, los ojos: que descreo
+                                  Del que los hizo para tal empleo.
+                                          MORETO, "San Franco de Sena"
+
+
+                                  PERSONAS
+
+                            D. FÉLIX DE MONTEMAR
+                            D. DIEGO DE PASTRANA
+                            SEIS JUGADORES
+
+
+                En derredor de una mesa                          [435]
+              Hasta seis hombres están,
+              Fija la vista en los naipes,
+              Mientras juegan al parar;
+
+                Y en sus semblantes se pintan
+              El despecho y el afán:                             [440]
+              Por perder desesperados,
+              Avarientos por ganar.
+
+                Reina profundo silencio,
+              Sin que lo rompa jamás
+              Otro ruido que el del oro,                         [445]
+              O una voz para jurar.
+
+                Pálida lámpara alumbra
+              Con trémula claridad
+              Negras de humo las paredes
+              De aquella estancia infernal.                      [450]
+
+                Y el misterioso bramido
+              Se escucha del huracán,
+              Que azota los vidrios frágiles
+              Con sus alas al pasar.
+
+
+                                  ESCENA I
+
+                              JUGADOR PRIMERO
+              El caballo aun no ha salido.                       [455]
+
+                              JUGADOR SEGUNDO
+              ¿Qué carta vino?
+
+                              JUGADOR PRIMERO
+                               La sota.
+
+                              JUGADOR SEGUNDO
+              Pues por poco se alborota.
+
+                              JUGADOR PRIMERO
+              Un caudal llevo perdido.
+              ¡Voto a Cristo!
+
+                              JUGADOR SEGUNDO
+                              No juréis,
+              Que aun no estáis en la agonía.                     [460]
+
+                              JUGADOR PRIMERO
+              No hay suerte como la mía.
+
+                              JUGADOR SEGUNDO
+              ¿Y como cuánto perdéis?
+
+                              JUGADOR PRIMERO
+              Mil escudos y el dinero
+              Que Don Félix me entregó.
+
+                              JUGADOR SEGUNDO
+              ¿Dónde anda?
+
+                              JUGADOR PRIMERO
+                          ¡Qué sé yo!                             [465]
+              No tardará.
+
+                              JUGADOR TERCERO
+                         Envido.
+
+                              JUGADOR PRIMERO
+                                 Quiero.
+
+
+
+                                  ESCENA II
+
+               Galán de talle gentil,
+              La mano izquierda apoyada
+              En el pomo de la espada,
+              Y el aspecto varonil,                               [470]
+               Alta el ala del sombrero
+              Porque descubra la frente,
+              Con airoso continente
+              Entró luego un caballero.
+
+                      JUGADOR PRIMERO (_al que entra_)
+                Don Félix, a buena hora                           [475]
+              Habéis llegado.
+
+                                 D. FÉLIX
+
+                             ¿Perdisteis?
+
+                               JUGADOR PRIMERO
+              El dinero que me disteis
+              Y esta bolsa pecadora.
+
+                               JUGADOR SEGUNDO
+              Don Félix de Montemar
+              Debe perder. El amor                                [480]
+              Le negara su favor
+              Cuando le viera ganar.
+
+                          D. FÉLIX (_con desdén_)
+              Necesito ahora dinero,
+              Y estoy hastiado de amores.
+              (_Al corro con altivez_)
+              Dos mil ducados, señores,                           [485]
+              Por esta cadena quiero.
+                             (_Quítase una cadena que lleva al pecho_.)
+
+                              JUGADOR TERCERO
+              Alta ponéis la tarifa.
+
+                         D. FÉLIX (_con altivez_)
+              La pongo en lo que merece.
+              Si otra duda se os ofrece,
+              Decid. (_Al corro_)                                 [490]
+                     Se vende y se rifa.
+
+                          JUGADOR CUARTO (_aparte_)
+              ¿Y hay quien sufra tal afrenta?
+
+                                D. FÉLIX
+              Entre cinco están hallados.
+              A cuatrocientos ducados
+              Os toca, según mi cuenta.
+              Al as de oros. Allá va.                             [495]
+     (_Va echando cartas que toman los jugadores en silencio_.)
+              Una, dos ... (_Al perdidoso_)
+                           Con vos no cuento.
+
+                              JUGADOR PRIMERO
+              Por el motivo lo siento.
+
+                              JUGADOR TERCERO
+              ¡El as! ¡el as! aquí está.
+
+                              JUGADOR PRIMERO
+              Ya ganó.
+
+                                 D. FÉLIX
+                         Suerte tenéis.
+              A un solo golpe de dados                            [500]
+              Tiro los dos mil ducados.
+
+                              JUGADOR TERCERO
+              ¿En un golpe?
+
+                     JUGADOR PRIMERO (_a Don Félix_)
+                           Los perdéis.
+
+                                 D. FÉLIX
+              Perdida tengo yo el alma,
+              Y no me importa un ardite.
+
+                              JUGADOR TERCERO
+              Tirad.
+
+                                 D. FÉLIX
+                       Al primer envite.                          [505]
+
+                              JUGADOR TERCERO
+              Tirad pronto.
+
+                                 D. FÉLIX
+                           Tened calma:
+              Que os juego más todavía,
+              Y en cien onzas hago el trato,
+              Y os lleváis este retrato
+              Con marco de pedrería.                              [510]
+
+                              JUGADOR TERCERO
+              ¿En cien onzas?
+
+                                D. FÉLIX
+                              ¿Qué dudáis?
+
+                 JUGADOR PRIMERO (_tomando el retrato_)
+              ¡Hermosa mujer!
+
+                              JUGADOR CUARTO
+              No es caro.
+
+                                D. FÉLIX
+                          ¿Queréis pararlas?
+
+                             JUGADOR TERCERO
+                          Las paro.
+              Más ganaré.
+
+                                D. FÉLIX
+                          Si ganáis,  (_Se registra todo_.)
+              No tengo otra joya aquí.                            [515]
+
+                  JUGADOR PRIMERO (_mirando el retrato_)
+              Si esta imagen respirara....
+
+                                D. FÉLIX
+              A estar aquí, la jugara
+              A ella, al retrato y a mí.
+
+                             JUGADOR TERCERO
+              Vengan los dados.
+
+                                D. FÉLIX
+              Tirad.
+
+                             JUGADOR SEGUNDO
+              Por Don Félix cien ducados.                         [520]
+
+                             JUGADOR CUARTO
+              En contra van apostados.
+
+                             JUGADOR QUINTO
+              Cincuenta más. Esperad,
+              No tiréis.
+
+                             JUGADOR SEGUNDO
+              Van los cincuenta.
+
+                             JUGADOR PRIMERO
+              Yo, sin blanca, a Dios le ruego
+              Por Don Félix.
+
+                             JUGADOR QUINTO
+              Hecho el juego.                                      [525]
+
+                             JUGADOR TERCERO
+              ¿Tiro?
+
+                                D. FÉLIX
+                          Tirad con sesenta
+              De a caballo.
+
+  _(Todos se agrupan con ansiedad al rededor de la mesa. El tercer
+ jugador tira los dados.)_
+
+                             JUGADOR CUARTO
+                            ¿Qué ha salido?
+
+                             JUGADOR SEGUNDO
+              ¡Mil demonios, que a los dos
+              Nos lleven!
+
+                    D. FÉLIX _(con calma al primero)_
+
+                          ¡Bien, vive Dios,
+              Vuestros ruegos me han valido!                      [530]
+              Encomendadme otra vez,
+              Don Juan, al diablo; no sea
+              Que si os oye Dios, me vea
+              Cautivo y esclavo en Fez.
+
+                               JUGADOR TERCERO
+              Don Félix, habéis perdido                           [535]
+             Sólo el marco, no el retrato;
+              Que entrar la dama en el trato
+              Vuestra intención no habrá sido.
+
+                                  D. FÉLIX
+              ¿Cuánto dierais por la dama?
+
+                               JUGADOR TERCERO
+              Yo, la vida.                                        [540]
+
+                                  D. FÉLIX
+                            No la quiero.
+              Mirad si me dais dinero,
+              Y os la lleváis.
+
+                               JUGADOR TERCERO
+                             ¡Buena fama
+              Lograréis entre las bellas,
+              Cuando descubran altivas
+              Que vos las hacéis cautivas                         [545]
+              Para en seguida vendellas!
+
+                                 D. FÉLIX
+              Eso a vos no importa nada.
+              ¿Queréis la dama? Os la vendo.
+
+                               JUGADOR TERCERO
+              Yo de pinturas no entiendo.
+
+                            D. FÉLIX _(con cólera)_
+              Vos habláis con demasiada                           [550]
+              Altivez e irreverencia
+              De una mujer ... ¡y si no....!
+
+                               JUGADOR TERCERO
+              De la pintura hablé yo.
+
+                                   TODOS
+              Vamos, paz; no haya pendencia.
+
+                           D. FÉLIX _(sosegado)_
+              Sobre mi palabra os juego                           [555]
+              Mil escudos.
+
+                               JUGADOR TERCERO
+                          Van tirados.
+
+                                  D. FÉLIX
+              A otra suerte de esos dados;
+              Y el diablo les prenda fuego.
+
+
+
+                                 ESCENA III
+
+                Pálido el rostro, cejijunto el ceño,
+              Y torva la mirada, aunque afligida,                 [560]
+              Y en ella un firme y decidido empeño
+              De dar la muerte o de perder la vida,
+                Un hombre entró embozado hasta los ojos,
+              Sobre las juntas cejas el sombrero;
+              Víbrale al rostro el corazón enojos,                [565]
+              El paso firme, el ánimo altanero.
+                Encubierta fatídica figura.--
+              Sed de sangre su espíritu secó,
+              Emponzoñó su alma la amargura,
+              La venganza irritó su corazón.                      [570]
+                Junto a Don Félix llega, y, desatento,
+              No habla a ninguno, ni aun la frente inclina;
+              Y en pie y delante de él y el ojo atento,
+              Con iracundo rostro le examina.
+                Miró también Don Félix al sombrío                 [575]
+              Huésped que en él los ojos enclavó,
+              Y con sarcasmo desdeñoso y frío,
+              Fijos en él los suyos, sonrïó.
+
+                                 D. FÉLIX
+              Buen hombre, ¿de qué tapiz
+              Se ha escapado--el que se tapa--                    [580]
+              Que entre el sombrero y la capa
+              Se os ve apenas la nariz?
+
+                                D. DIEGO
+              Bien, Don Félix, cuadra en vos
+              Esa insolencia importuna.
+
+     D. FÉLIX _(al tercer jugador sin hacer caso de Don Diego)_
+              Perdisteis.                                         [585]
+
+                            JUGADOR TERCERO
+                          Sí. La fortuna
+              Se trocó; tiro y van dos. _(Vuelven a tirar.)_
+
+                              D. FÉLIX
+              Gané otra vez. _(Al embozado)_
+                             No he entendido
+              Qué dijisteis, ni hice aprecio
+              De si hablasteis blando o recio
+              Cuando me habéis respondido.                        [590]
+
+                              D. DIEGO
+              A solas hablar querría.
+
+                              D. FÉLIX
+              Podéis, si os place, empezar,
+              Que por vos no he de dejar
+              Tan honrosa compañía;
+              Y si Dios aquí os envía                             [595]
+              Para hacer mi conversión,
+              No despreciéis la ocasión
+              De convertir tanta gente,
+              Mientras que yo humildemente
+              Aguardo mi absolución.                              [600]
+
+                     D. DIEGO _(desembozándose con ira)_
+              Don Félix, ¿no conocéis
+              A Don Diego de Pastrana?
+
+                                 D. FÉLIX
+              A vos no, mas sí a una hermana
+              Que imagino que tenéis.
+
+                                 D. DIEGO
+              ¿Y no sabéis que murió?                             [605]
+
+                                 D. FÉLIX
+              Téngala Dios en su gloria.
+
+                                 D. DIEGO
+              Pienso que sabéis su historia,
+              Y quién fué quien la mató.
+
+                        D. FÉLIX (_con sarcasmo_)
+              ¡Quizá alguna calentura!
+
+                                 D. DIEGO
+              ¡Mentís vos!                                        [610]
+
+                                 D. FÉLIX
+                           Calma, Don Diego,
+              Que si vos os morís luego,
+              Es tanta mi desventura
+              Que aun me lo habrán de achacar,
+              Y es en vano ese despecho.
+              Si se murió, a lo hecho, pecho.                     [615]
+              Ya no ha de resucitar.
+
+                                 D. DIEGO
+              Os estoy mirando y dudo
+              Si habré de manchar mi espada
+              Con esa sangre malvada,
+              O echaros al cuello un nudo                         [620]
+              Con mis manos, y con mengua,
+              En vez de desafïaros,
+              El corazón arrancaros
+              Y patearos la lengua;
+              Que un alma, una vida, es                           [625]
+              Satisfacción muy ligera,
+              Y os diera mil si pudiera
+              Y os las quitara después.
+              Jugo a mi labio han de dar
+              Abiertas todas tus venas,                           [630]
+              Que toda tu sangre apenas
+              Basta mi sed a calmar.
+              ¡Villano!
+
+  (_Tira de la espada; todos los jugadores se interponen_.)
+
+
+                                  TODOS
+                          Fuera de aquí
+              A armar quimera.
+
+                  D. FÉLIX _(con calma levantándose)_
+                              Tened,
+              Don Diego, la espada, y ved                        [635]
+              Que estoy yo muy sobre mí,
+              Y que me contengo mucho,
+              No sé por qué, pues tan frío
+              En mi colérico brío
+              Vuestras injurias escucho.                         [640]
+
+    D. DIEGO _(con furor reconcentrado y con la espada desnuda)_
+              Salid de aquí; que a fe mía,
+              Que estoy resuelto a mataros,
+              Y no alcanzara a libraros
+              La misma Virgen María.
+              Y es tan cierta mi intención,                      [645]
+              Tan resuelta está mi alma,
+              Que hasta mi cólera calma
+              Mi firme resolución.
+              Venid conmigo.
+
+                                 D. FÉLIX
+                             Allá voy;
+              Pero si os mato, Don Diego,                        [650]
+              Que no me venga otro luego
+              A pedirme cuenta. Soy
+              Con vos al punto. Esperad
+              Cuente el dinero ... _uno_ ... _dos_....
+              _(A Don Diego)_
+              Son mis ganancias; por vos                         [655]
+              Pierdo aquí una cantidad
+              Considerable de oro
+              Que iba a ganar ... ¿y por qué?
+              _Diez_ ... _quince_ ... por no sé qué
+              Cuento de amor ... ¡un tesoro                      [660]
+              Perdido! ... voy al momento.
+              Es un puro disparate
+              Empeñarse en que yo os mate:
+              Lo digo como lo siento.
+
+                                 D. DIEGO
+              Remiso andáis y cobarde                            [665]
+              Y hablador en demasía.
+
+                                 D. FÉLIX
+              Don Diego, más sangre fría.
+              Para reñir nunca es tarde.
+              Y si aun fuera otro el asunto,
+              Yo os perdonara la prisa.                          [670]
+              Pidierais vos una misa
+              Por la difunta, y al punto....
+
+                                 D. DIEGO
+              ¡Mal caballero!...
+
+                                 D. FÉLIX
+                              Don Diego,
+              Mi delito no es gran cosa.
+              Era vuestra hermana hermosa;                       [675]
+              La vi, me amó, creció el juego,
+              Se murió, no es culpa mía;
+              Y admiro vuestro candor,
+              Que no se mueren de amor
+              Las mujeres hoy en día.                            [680]
+
+                                 D. DIEGO
+              ¿Estáis pronto?
+
+                                 D. FÉLIX
+                             Están contados.
+              Vamos andando.
+
+                     D. DIEGO _(con voz solemne)_
+                              ¿Os reís?
+              Pensad que a morir venís.
+
+ D. FÉLIX _(sale tras de él, embolsándose el dinero con indiferencia)_
+              Son mil trescientos ducados.
+
+
+
+                                  ESCENA IV
+
+                                LOS JUGADORES
+
+
+                               JUGADOR PRIMERO
+              Este Don Diego Pastrana                             [685]
+              Es un hombre decidido.
+              Desde Flandes ha venido
+              Sólo a vengar a su hermana.
+
+                               JUGADOR SEGUNDO
+              ¡Pues no ha hecho mal disparate!
+              Me da el corazón su muerte.                         [690]
+
+                               JUGADOR TERCERO
+              ¿Quién sabe? acaso la suerte....
+
+                               JUGADOR CUARTO
+              Me alegraré que lo mate.
+
+
+                               PARTE CUARTA
+
+                        Salió, en fin, de aquel estado, para caer en
+                        el dolor más sombrío, en la más desalentada
+                        desesperación y en la mayor amargura y
+                        desconsuelo que pueden apoderarse de este pobre
+                        corazón humano, que tan positivamente choca y
+                        se quebranta con los males, como con vaguedad
+                        aspira en algunos momentos, casi siempre sin
+                        conseguirlo, a tocar los bienes ligeramente y
+                        de pasada.--"La protección de un sastre,"
+                        novela original por D. MIGUEL DE LOS SANTOS
+                        ÁLVAREZ
+
+                        SPIRITUS QUIDEM PROMPTUS EST; CARO VERO
+                        INFIRMA.--S. MARCOS, "Evangelio"
+
+
+        Vedle, Don Félix es, espada en mano,
+      Sereno el rostro, firme el corazón;
+      También de Elvira el vengativo hermano                     [695]
+      Sin piedad a sus pies muerto cayó.
+
+        Y con tranquila audacia se adelanta
+      Por la calle fatal del Ataúd;
+      Y ni medrosa aparición le espanta,
+      Ni le turba la imagen de Jesús.                            [700]
+
+        La moribunda lámpara que ardía
+      Trémula lanza su postrer fulgor,
+      Y, en honda oscuridad, noche sombría
+      La misteriosa calle encapotó.
+
+        Mueve los pies el Montemar osado                         [705]
+      En las tinieblas con incierto giro,
+      Cuando, ya un trecho de la calle andado,
+      Súbito junto a él oye un suspiro.
+
+        Resbalar por su faz sintió el aliento,
+      Y a su pesar sus nervios se crisparon;                     [710]
+      Mas, pasado el primero movimiento,
+      A su primera rigidez tornaron.
+
+        «¿Quién va?» pregunta con la voz serena.
+      Que ni finge valor, ni muestra miedo,
+      El alma de invencible vigor llena,                         [715]
+      Fïado en su tajante de Toledo.
+
+        Palpa en torno de sí, y el impio jura,
+      Y a mover vuelve la atrevida planta,
+      Cuando hacia él fatídica figura
+      Envuelta en blancas ropas se adelanta.                     [720]
+
+        Flotante y vaga, las espesas nieblas
+      Ya disipa, y se anima, y va creciendo
+      Con apagada luz, ya en las tinieblas
+      Su argentino blancor va apareciendo.
+
+            Ya leve punto de luciente plata,                     [725]
+      Astro de clara lumbre sin mancilla,
+      El horizonte lóbrego dilata
+      Y allá en la sombra en lontananza brilla.
+
+        Los ojos, Montemar, fijos en ella,
+      Con más asombro que temor la mira;                         [730]
+      Tal vez la juzga vagorosa estrella
+      Que en el espacio de los cielos gira;
+
+        Tal vez engaño de sus propios ojos,
+      Forma falaz que en su ilusión creó,
+      O del vino ridículos antojos                               [735]
+      Que al fin su juicio a alborotar subió.
+
+        Mas el vapor del néctar jerezano
+      Nunca su mente a trastornar bastara,
+      Que ya mil veces embriagarse en vano
+      En frenéticas orgias intentara.                            [740]
+
+        «Dios presume asustarme; ¡ojalá fuera»,
+      Dijo entre sí riendo, «el diablo mismo!
+      Que entonces ¡víve Dios! quién soy supiera
+      El cornudo monarca del abismo.»
+
+        Al pronunciar tan insolente ultraje                      [745]
+      La lámpara del Cristo se encendió,
+      Y una mujer, velada en blanco traje,
+      Ante la imagen de rodillas vió.
+
+        «Bienvenida la luz,» dijo el impío,
+      «Gracias a Dios o al diablo;» y, con osada,                [750]
+      Firme intención y temerario brío,
+      El paso vuelve a la mujer tapada.
+
+        Mientras él anda, al parecer se alejan
+      La luz, la imagen, la devota dama;
+      Mas si él se pára, de moverse dejan;                       [755]
+      Y lágrima tras lágrima derrama
+
+        De sus ojos inmóviles la imagen.
+      Mas sin que el miedo ni el dolor que inspira
+      Su planta audaz, ni su impiedad atajen,
+      Rostro a rostro a Jesús Montemar mira.                     [760]
+
+        --La calle parece se mueve y camina,
+      Faltarle la tierra sintió bajo el pie;
+      Sus ojos la muerta mirada fascina
+      Del Cristo, que intensa clavada está en él.
+
+        Y en medio el delirio que embarga su mente,              [765]
+      Y achaca él al vino que al fin le embriagó,
+      La lámpara alcanza con mano insolente
+      Del ara do alumbra la imagen de Dios;
+
+        Y al rostro la acerca, que el cándido lino
+      Encubre, con ánimo asaz descortés;                         [770]
+      Mas la luz apaga viento repentino,
+      Y la blanca dama se puso de pie.
+
+        Empero un momento creyó que veía
+      Un rostro que vagos recuerdos quizá
+      Y alegres memorias confusas traía                          [775]
+      De tiempos mejores que pasaron ya,
+
+        Un rostro de un ángel que vió en un ensueño,
+      Como un sentimiento que el alma halagó,
+      Que anubla la frente con rígido ceño,
+      Sin que lo comprenda jamás la razón.                       [780]
+
+        Su forma gallarda dibuja en las sombras
+      El blanco ropaje que ondeante se ve,
+      Y cual si pisara mullidas alfombras,
+      Deslízase leve sin ruido su pie.
+
+        Tal vimos al rayo de la luna llena                       [785]
+      Fugitiva vela de lejos cruzar,
+      Que ya la hinche en popa la brisa serena,
+      Que ya la confunde la espuma del mar.
+
+        También la esperanza blanca y vaporosa
+      Así ante nosotros pasa en ilusión,                         [790]
+      Y el alma conmueve con ansia medrosa
+      Mientras la rechaza la adusta razón.
+
+                                 D. FÉLIX
+                «¡Qué! ¿sin respuesta me deja?
+              ¿No admitís mi compañía?
+              ¿Será quizá alguna vieja                           [795]
+              Devota?... ¡Chasco sería!
+
+                En vano, dueña, es callar,
+              Ni hacerme señas que no;
+              He resuelto que sí yo,
+              Y os tengo de acompañar.                           [800]
+
+                Y he de saber dónde vais
+              Y si sois hermosa o fea,
+              Quién sois y cómo os llamáis,
+              Y aun cuando imposible sea,
+
+                Y fuerais vos Satanás                            [805]
+              Con sus llamas y sus cuernos,
+              Hasta en los mismos infiernos,
+              Vos delante y yo detrás,
+
+                Hemos de entrar; ¡vive Dios!
+              Y aunque lo estorbara el cielo,                    [810]
+              Que yo he de cumplir mi anhelo
+              Aun a despecho de vos;
+
+                Y perdonadme, señora,
+              Si hay en mi empeño osadía,
+              Mas fuera descortesía                              [815]
+              Dejaros sola a esta hora;
+
+                Y me va en ello mi fama,
+              Que juro a Dios no quisiera
+              Que por temor se creyera
+              Que no he seguido a una dama.»                     [820]
+
+           Del hondo del pecho profundo gemido,
+         Crujido del vaso que estalla al dolor,
+         Que apenas medroso lastima el oído,
+         Pero que punzante rasga el corazón,
+
+           Gemido de amargo recuerdo pasado,                     [825]
+         De pena presente, de incierto pesar,
+         Mortífero aliento, veneno exhalado
+         Del que encubre el alma ponzoñoso mar,
+
+           Gemido de muerte lanzó, y silenciosa
+         La blanca figura su pie resbaló,                        [830]
+         Cual mueve sus alas sílfide amorosa
+         Que apenas las aguas del lago rizó.
+
+           ¡Ay! el que vió acaso perdida en un día
+         La dicha que eterna creyó el corazón,
+         Y en noche de nieblas y en honda agonía                 [835]
+         En un mar sin playas muriendo quedó!...
+
+           Y solo y llevando consigo en su pecho,
+         Compañero eterno su dolor crüel,
+         El mágico encanto del alma deshecho,
+         Su pena, su amigo y su amante más fiel;                 [840]
+
+           ¡Miró sus suspiros llevarlos el viento,
+         Sus lágrimas tristes perderse en el mar,
+         Sin nadie que acuda ni entienda su acento,
+         Insensible el cielo y el mundo a su mal!
+
+           Y ha visto la luna brillar en el cielo                [845]
+         Serena y en calma mientras él lloró,
+         Y ha visto los hombres pasar en el suelo
+         Y nadie a sus quejas los ojos volvió!
+
+           Y él mismo, la befa del mundo temblando,
+         Su pena en su pecho profunda escondió,                  [850]
+         Y dentro en su alma su llanto tragando
+         Con falsa sonrisa su labio vistió!!...
+
+           ¡Ay! quien ha contado las horas que fueron,
+         Horas otro tiempo que abrevió el placer,
+         Y hoy solo y llorando piensa como huyeron               [855]
+         Con ellas por siempre las dichas de ayer;
+
+           Y aquellos placeres, que el triste ha perdido,
+         No huyeron del mundo, que en el mundo están;
+         Y él vive en el mundo do siempre ha vivido,
+         Y aquellos placeres para él no son ya!                  [860]
+
+           ¡Ay del que descubre por fin la mentira!
+         ¡Ay del que la triste realidad palpó!
+         Del que el esqueleto de este mundo mira,
+         Y sus falsas galas loco le arrancó!...
+
+           ¡Ay de aquel que vive sólo en lo pasado!              [865]
+         ¡Ay del que su alma nutre en su pesar!
+         Las horas que huyeron llamará angustiado,
+         Las horas que huyeron jamás tornarán!...
+
+           Quien haya sufrido tan bárbaro duelo,
+         Quien noches enteras contó sin dormir                   [870]
+         En lecho de espinas, maldiciendo al cielo,
+         Horas sempiternas de ansiedad sin fin....
+
+           Quien haya sentido quererse del pecho
+         Saltar a pedazos roto el corazón,
+         Crecer su delirio, crecer su despecho,                  [875]
+         Al cuello cien nudos echarle el dolor,
+
+           Ponzoñoso lago de punzante hielo,
+         Sus lágrimas tristes que cuajó el pesar,
+         Reventando ahogarle, sin hallar consuelo,
+         Ni esperanza nunca, ni tregua en su afán.               [880]
+
+           Aquél, de la blanca fantasma el gemido,
+         Única respuesta que a Don Félix dió,
+         Hubiera, y su inmenso dolor, comprendido,
+         Hubiera pesado su inmenso valor.
+
+                                 D. FÉLIX
+                «Si buscáis algún ingrato,                       [885]
+                Yo me ofrezco agradecido;
+                Pero o miente ese recato,
+                O vos sufrís el mal trato
+                De algún celoso marido.
+
+                  ¿Acerté? ¡Necia manía!                         [890]
+                Es para volverme loco,
+                Si insistís en tal porfía;
+                Con los mudos, reina mía,
+                Yo hago mucho y hablo poco.»
+
+                  Segunda vez importunada en tanto,              [895]
+                Una voz de süave melodía
+                El estudiante oyó que parecía
+                Eco lejano de armonioso canto,
+
+                  De amante pecho lánguido latido,
+                Sentimiento inefable de ternura,                 [900]
+                Suspiro fiel de amor correspondido,
+                El primer sí de la mujer aun pura.
+
+                  «Para mí los amores acabaron;
+                Todo en el mundo para mí acabó;
+                Los lazos que a la tierra me ligaron             [905]
+                El cielo para siempre desató,»
+
+                  Dijo su acento misterioso y tierno,
+                Que de otros mundos la ilusión traía,
+                Eco de los que ya reposo eterno
+                Gozan en paz bajo la tumba fría.                 [910]
+
+      Montemar, atento sólo a su aventura,
+    Que es bella la dama y aun fácil juzgó,
+    Y la hora, la calle y la noche oscura
+    Nuevos incentivos a su pecho son.
+
+      «--Hay riesgo en seguirme.--Mirad ¡qué reparo!             [915]
+    --Quizá luego os pese.--Puede que por vos.
+    --Ofendéis al cielo.--Del diablo me amparo.
+    --Idos, caballero, no tentéis a Dios.
+
+      --Siento me enamora más vuestro despego,
+    Y si Dios se enoja, pardiez que hará mal;                    [920]
+    Veame en vuestros brazos y máteme luego.
+    --¡Vuestra última hora quizá ésta será!...
+
+      Dejad ya, Don Félix, delirios mundanos.
+    --¡Hola, me conoce!--¡Ay! ¡temblad por vos!
+    ¡Temblad no se truequen deleites livianos                    [925]
+    En penas eternas!--Basta de sermón,
+
+      Que yo para oírlos la cuaresma espero;
+    Y hablemos de amores, que es más dulce hablar;
+    Dejad ese tono solemne y severo,
+    Que os juro, señora, que os sienta muy mal.                  [930]
+
+      La vida es la vida: cuando ella se acaba,
+    Acaba con ella también el placer.
+    ¿De inciertos pesares por qué hacerla esclava?
+    Para mí no hay nunca mañana ni ayer.
+
+      Si mañana muero, que sea en mal hora                       [935]
+    O en buena, cual dicen, ¿qué me importa a mí?
+    Goce yo el presente, disfrute yo ahora,
+    Y el diablo me lleve siquiera al morir.
+
+              --¡Cúmplase en fin tu voluntad, Dios mío!--»
+            La figura fatídica exclamó;                          [940]
+            Y en tanto al pecho redoblar su brío
+            Siente Don Félix y camina en pos.
+
+                  Cruzan tristes calles,
+                Plazas solitarias,
+                Arruinados muros,                                [945]
+                Donde sus plegarias
+                Y falsos conjuros,
+                En la misteriosa
+                Noche borrascosa,
+                Maldecida bruja                                  [950]
+
+                  Con ronca voz canta,
+                Y de los sepulcros
+                Los muertos levanta,
+                Y suenan los ecos
+                De sus pasos huecos                              [955]
+                En la soledad;
+                Mientras en silencio
+                Yace la ciudad,
+                Y en lúgubre són
+                Arrulla su sueño                                 [960]
+                Bramando Aquilón.
+
+              Y una calle y otra cruzan,
+            Y más allá y más allá;
+            Ni tiene término el viaje,
+            Ni nunca dejan de andar.                             [965]
+            Y atraviesan, pasan, vuelven,
+            Cien calles quedando atrás,
+            Y paso tras paso siguen,
+            Y siempre adelante van;
+            Y a confundirse ya empieza                           [970]
+            Y a perderse Montemar,
+            Que ni sabe a dó camina,
+            Ni acierta ya dónde está;
+            Y otras calles, otras plazas
+            Recorre, y otra ciudad,                              [975]
+            Y ve fantásticas torres
+            De su eterno pedestal
+            Arrancarse, y sus macizas,
+            Negras masas caminar,
+            Apoyándose en sus ángulos,                           [980]
+            Que en la tierra en desigual,
+            Perezoso tranco fijan;
+            Y a su monótono andar,
+            Las campanas sacudidas
+            Misteriosos dobles dan,                              [985]
+            Mientras en danzas grotescas,
+            Y al estruendo funeral,
+            En derredor cien espectros
+            Danzan con torpe compás;
+            Y las veletas sus frentes                            [990]
+            Bajan ante él al pasar,
+            Los espectros le saludan,
+            Y en cien lenguas de metal,
+            Oye su nombre en los ecos
+            De las campanas sonar.                               [995]
+            Mas luego cesa el estrépito,
+            Y en silencio, en muda paz
+            Todo queda, y desparece
+            De súbito la ciudad:
+            Palacios, templos, se cambian                       [1000]
+            En campos de soledad,
+            Y en un yermo y silencioso,
+            Melancólico arenal,
+            Sin luz, sin aire, sin cielo,
+            Perdido en la inmensidad.                           [1005]
+            Tal vez piensa que camina,
+            Sin poder parar jamás,
+            De extraño empuje llevado
+            Con precipitado afán;
+            Entretanto que su guía,                             [1010]
+            Delante de él sin hablar,
+            Sigue misteriosa, y sigue
+            Con paso rápido, y ya
+            Se remonta ante sus ojos
+            En alas del huracán,                                [1015]
+            Visión sublime, y su frente
+            Ve fosfórica brillar
+            Entre lívidos relámpagos
+            En la densa oscuridad,
+            Sierpes de luz, luminosos                           [1020]
+            Engendros del vendaval;
+            Y cuando duda si duerme,
+            Si tal vez sueña o está
+            Loco, si es tanto prodigio,
+            Tanto delirio verdad,                               [1025]
+            Otra vez en Salamanca
+            Súbito vuélvese a hallar,
+            Distingue los edificios,
+            Reconoce en dónde está,
+            Y en su delirante vértigo                           [1030]
+            Al vino vuelve a culpar,
+            Y jura, y siguen andando,
+            Ella delante, él detrás.
+
+              «¡Vive Dios! dice entre sí,
+            O Satanás se chancea,                               [1035]
+            O no debo estar en mí,
+            O el Málaga que bebí
+            En mi cabeza aun humea.
+
+              «Sombras, fantasmas, visiones....
+            Dale con tocar a muerto,                            [1040]
+            Y en revueltas confusiones,
+            Danzando estos torreones
+            Al compás de tal concierto.
+
+              «Y el juicio voy a perder
+            Entre tantas maravillas.                            [1045]
+            ¡Que estas torres llegue a ver,
+            Como mulas de alquiler,
+            Andando con campanillas!
+
+              «¿Y esta mujer quién será?
+            Mas si es el diablo en persona,                     [1050]
+            ¿A mí qué diantre me da?
+            Y más que el traje en que va
+            En esta ocasión le abona.
+
+              «Noble señora, imagino
+            Que sois nueva en el lugar:                         [1055]
+            Andar así es desatino;
+            O habéis perdido el camino,
+            O esto es andar por andar.
+
+              «Ha dado en no responder,
+            Que es la más rara locura                           [1060]
+            Que puede hallarse en mujer,
+            Y en que yo la he de querer
+            Por su paso de andadura.»
+
+      En tanto Don Félix a tientas seguía,
+    Delante camina la blanca visión,                            [1065]
+    Triplica su espanto la noche sombría,
+    Sus hórridos gritos redobla Aquilón.
+
+      Rechinan girando las férreas veletas,
+    Crujir de cadenas se escucha sonar,
+    Las altas campanas, por el viento inquietas,                [1070]
+    Pausados sonidos en las torres dan.
+
+      Rüido de pasos de gente que viene
+    A compás marchando con sordo rumor,
+    Y de tiempo en tiempo su marcha detiene,
+    Y rezar parece en confuso són,                              [1075]
+
+      Llegó de Don Félix luego a los oídos,
+    Y luego cien luces a lo lejos vió,
+    Y luego en hileras largas divididos,
+    Vió que murmurando con lúgubre voz
+
+      Enlutados bultos andando venían;                          [1080]
+    Y luego más cerca con asombro ve
+    Que un féretro en medio y en hombros traían
+    Y dos cuerpos muertos tendidos en él.
+
+      Las luces, la hora, la noche, profundo,
+    Infernal arcano parece encubrir.                            [1085]
+    Cuando en hondo sueño yace muerto el mundo,
+    Cuando todo anuncia que habrá de morir
+
+      Al hombre que loco la recia tormenta
+    Corrió de la vida, del viento a merced,
+    Cuando una voz triste las horas le cuenta,                  [1090]
+    Y en lodo sus pompas convertidas ve,
+
+      Forzoso es que tenga de diamante el alma
+    Quien no sienta el pecho de horror palpitar,
+    Quien como Don Félix, con serena calma,
+    Ni en Dios ni en el diablo se ponga a pensar.               [1095]
+
+      Así en tardos pasos, todos murmurando,
+    El lúgubre entierro ya cerca llegó,
+    Y la blanca dama, devota rezando,
+    Entrambas rodillas en tierra dobló.
+
+      Calado el sombrero y en pie, indiferente                  [1100]
+    El féretro mira Don Félix pasar,
+    Y al paso pregunta con su aire insolente
+    Los nombres de aquellos que al sepulcro van.
+
+      Mas ¡cuál su sorpresa, su asombro cuál fuera,
+    Cuando horrorizado con espanto ve                           [1105]
+    Que el uno Don Diego de Pastrana era,
+    Y el otro ¡Dios santo! y el otro era él!...
+
+      Él mismo, su imagen, su misma figura,
+    Su mismo semblante, que él mismo era en fin;
+    Y duda, y se palpa, y fría pavura                           [1110]
+    Un punto en sus venas sintió discurrir.
+
+      Al fin era hombre, y un punto temblaron
+    Los nervios del hombre, y un punto temió;
+    Mas pronto su antiguo vigor recobraron,
+    Pronto su fiereza volvió al corazón.                        [1115]
+
+        «Lo que es, dijo, por Pastrana,
+      Bien pensado está el entierro;
+      Mas es diligencia vana
+      Enterrarme a mí, y mañana
+      Me he de quejar de este yerro.                            [1120]
+
+      «Diga, señor enlutado,
+      ¿A quién llevan a enterrar?»
+      «--Al estudiante endiablado
+      Don Félix de Montemar,»
+      Respondió el encapuchado.                                 [1125]
+
+      «--Mientes, truhán.--No por cierto.
+    --Pues decidme a mí quién soy,
+    Si gustáis, porque no acierto
+    Cómo a un mismo tiempo estoy
+    Aquí vivo y allí muerto.                                    [1130]
+
+      «--Yo no os conozco.--Pardiez,
+    Que si me llego a enojar,
+    Tus burlas te haga llorar
+    De tal modo que otra vez
+    Conozcas ya a Montemar.                                     [1135]
+
+      «¡Villano!... mas esto es
+    Ilusión de los sentidos,
+    El mundo que anda al revés,
+    Los diablos entretenidos
+    En hacerme dar traspiés.                                    [1140]
+
+      «¡El fanfarrón de Don Diego!
+    De sus mentiras reniego,
+    Que cuando muerto cayó,
+    Al infierno se fué luego
+    Contando que me mató.»                                      [1145]
+
+      Diciendo así, soltó una carcajada,
+    Y las espaldas con desdén volvió;
+    Se hizo el bigote, requirió la espada,
+    Y a la devota dama se acercó.
+
+      «Conque, en fin, ¿dónde vivís?                            [1150]
+    Que se hace tarde, señora.
+    --Tarde, aun no; de aquí a una hora
+    Lo será.--Verdad decís,
+    Será más tarde que ahora.
+
+      «Esa voz con que hacéis miedo                             [1155]
+    De vos me enamora más.
+    Yo me he echado el alma atrás;
+    Juzgad si me dará un bledo
+    De Dios ni de Satanás.
+
+      «--Cada paso que avanzáis                                 [1160]
+    Lo adelantáis a la muerte,
+    Don Félix. ¿Y no tembláis
+    Y el corazón no os advierte
+    Que a la muerte camináis?»
+
+        Con eco melancólico y sombrío                           [1165]
+      Dijo así la mujer, y el sordo acento,
+      Sonando en torno del mancebo impío,
+      Rugió en la voz del proceloso viento.
+
+      Las piedras con las piedras se golpearon,
+    Bajo sus pies la tierra retembló,                           [1170]
+    Las aves de la noche se juntaron,
+    Y sus alas crujir sobre él sintió;
+
+      Y en la sombra unos ojos fulgurantes
+    Vió en el aire vagar que espanto inspiran,
+    Siempre sobre él saltándose anhelantes,                     [1175]
+    Ojos de horror que sin cesar le miran.
+
+      Y los vió y no tembló; mano a la espada
+    Puso y la sombra intrépido embistió;
+    Y ni sombra encontró ni encontró nada,
+    Sólo fijos en él los ojos vió.                              [1180]
+
+      Y alzó los suyos impaciente al cielo,
+    Y rechinó los dientes y maldijo,
+    Y, en él creciendo el infernal anhelo,
+    Con voz de enojo blasfemando dijo:
+
+      «Seguid, señora, y adelante vamos:                        [1185]
+    Tanto mejor si sois el diablo mismo,
+    Y Dios y el diablo y yo nos conozcamos,
+    Y acábese por fin tanto embolismo.
+
+      «Que de tanto sermón, de farsa tanta,
+    Juro, pardiez, que fatigado estoy;                          [1190]
+    Nada mi firme voluntad quebranta:
+    Sabed, en fin, que, donde vayáis, voy.
+
+    «Un término no más tiene la vida:
+    Término fijo; un paradero el alma:
+    Ahora adelante.» Dijo, y en seguida                         [1195]
+    Camina en pos con decidida calma.
+
+      Y la dama a una puerta se paró,
+    Y era una puerta altísima, y se abrieron
+    Sus hojas en el punto en que llamó,
+    Que a un misterioso impulso obedecieron;                    [1200]
+    Y tras la dama el estudiante entró;
+    Ni pajes ni doncellas acudieron;
+    Y cruzan a la luz de unas bujías
+    Fantásticas, desiertas galerías.
+
+      Y la visión, como engañoso encanto,                       [1205]
+    Por las losas deslízase sin ruido,
+    Toda encubierta bajo el blanco manto
+    Que barre el suelo en pliegues desprendido;
+    Y por el largo corredor en tanto
+    Sigue adelante, y síguela atrevido,                         [1210]
+    Y su temeridad raya en locura,
+    Resuelto Montemar a su aventura.
+
+      Las luces, como antorchas funerales,
+    Lánguida luz y cárdena esparcían,
+    Y en torno, en movimientos desiguales,                      [1215]
+    Las sombras se alejaban o venían
+    Arcos aquí ruinosos, sepulcrales,
+    Urnas allí y estatuas se veían,
+    Rotas columnas, patios mal seguros,
+    Yerbosos, tristes, húmedos y oscuros.                       [1220]
+
+      Todo vago, quimérico y sombrío,
+    Edificio sin base ni cimiento,
+    Ondula cual fantástico navío
+    Que anclado mueve borrascoso viento.
+    En un silencio aterrador y frío                             [1225]
+    Yace allí todo: ni rumor, ni aliento
+    Humano nunca se escuchó: callado,
+    Corre allí el tiempo, en sueño sepultado.
+
+      Las muertas horas a las muertas horas
+    Siguen en el reloj de aquella vida,                         [1230]
+    Sombras de horror girando aterradoras,
+    Que allá aparecen en medrosa huída;
+    Ellas solas y tristes moradoras
+    De aquella negra, funeral guarida,
+    Cual soñada fantástica quimera,                             [1235]
+    Vienen a ver al que su paz altera.
+
+      Y en él enclavan los hundidos ojos
+    Del fondo de la larga galería,
+    Que brillan lejos cual carbones rojos,
+    Y espantaran la misma valentía;                             [1240]
+    Y muestran en su rostro sus enojos
+    Al ver hollada su mansión sombría;
+    Y ora en grupos delante se aparecen,
+    Ora en la sombra allá se desvanecen.
+
+      Grandïosa, satánica figura,                               [1245]
+    Alta la frente, Montemar camina,
+    Espíritu sublime en su locura,
+    Provocando la cólera divina:
+    Fábrica frágil de materia impura,
+    El alma que la alienta y la ilumina                         [1250]
+    Con Dios le iguala, y con osado vuelo
+    Se alza a su trono y le provoca a duelo.
+
+      Segundo Lucifer que se levanta
+    Del rayo vengador la frente herida,
+    Alma rebelde que el temor no espanta,                       [1255]
+    Hollada sí, pero jamás vencida:
+    El hombre, en fin, que en su ansiedad quebranta
+    Su límite a la cárcel de la vida,
+    Y a Dios llama ante él a darle cuenta,
+    Y descubrir su inmensidad intenta.                          [1260]
+
+      Y un báquico cantar tarareando,
+    Cruza aquella quimérica morada,
+    Con atrevida indiferencia andando,
+    Mofa en los labios, y la vista osada;
+    Y el rumor que sus pasos van formando,                      [1265]
+    Y el golpe que al andar le da la espada,
+    Tristes ecos, siguiéndole detrás,
+    Repiten con monótono compás.
+
+      Y aquel extraño y único rüido
+    Que de aquella mansión los ecos llena,                      [1270]
+    En el suelo y los techos repetido,
+    En su profunda soledad resuena;
+    Y espira allá cual funeral gemido
+    Que lanza en su dolor la ánima en pena,
+    Que al fin del corredor largo y oscuro                      [1275]
+    Salir parece de entre el roto muro.
+
+      Y en aquel otro mundo y otra vida,
+    Mundo de sombras, vida que es un sueño,
+    Vida que, con la muerte confundida,
+    Ciñe sus sienes con letal beleño;                           [1280]
+    Mundo, vaga ilusión descolorida
+    De nuestro mundo y vaporoso ensueño,
+    Son aquel ruido y su locura insana
+    La sola imagen de la vida humana.
+
+      Que allá su blanca, misteriosa guía,                      [1285]
+    De la alma dicha la ilusión parece,
+    Que ora acaricia la esperanza impía,
+    Ora al tocarla ya se desvanece;
+    Blanca, flotante nube que en la umbría
+    Noche en alas del céfiro se mece                            [1290]
+    Su airosa ropa, desplegada al viento,
+    Semeja en su callado movimiento;
+
+      Humo süave de quemado aroma
+    Que al aire en ondas a perderse asciende;
+    Rayo de luna que en la parda loma                           [1295]
+    Cual un broche su cima al éter prende;
+    Silfa que con el alba envuelta asoma
+    Y al nebuloso azul sus alas tiende,
+    De negras sombras y de luz teñidas,
+    Entre el alba y la noche confundidas.                       [1300]
+
+      Y ágil, veloz, aérea y vaporosa,
+    Que apenas toca con los pies al suelo,
+    Cruza aquella morada tenebrosa
+    La mágica visión del blanco velo:
+    Imagen fiel de la ilusión dichosa                           [1305]
+    Que acaso el hombre encontrará en el cielo,
+    Pensamiento sin fórmula y sin nombre
+    Que hace rezar y blasfemar al hombre.
+
+      Y al fin del largo corredor llegando,
+    Montemar sigue su callada guía,                             [1310]
+    Y una de mármol negro va bajando
+    De caracol torcida gradería,
+    Larga, estrecha y revuelta, y que girando
+    En torno de él y sin cesar veía
+    Suspendida en el aire y con violento,                       [1315]
+    Veloz, vertiginoso movimiento.
+
+      Y en eterna espiral y en remolino
+    Infinito prolóngase y se extiende,
+    Y el juicio pone en loco desatino
+    A Montemar que en tumbos mil desciende,                     [1320]
+    Y, envuelto en el violento torbellino,
+    Al aire se imagina, y se desprende,
+    Y sin que el raudo movimiento ceda,
+    Mil vueltas dando, a los abismos rueda;
+
+      Y de escalón en escalón cayendo,                          [1325]
+    Blasfema y jura con lenguaje inmundo,
+    Y su furioso vértigo creciendo,
+    Y despeñado rápido al profundo,
+    Los silbos ya del huracán oyendo,
+    Ya ante él pasando en confusión el mundo,                   [1330]
+    Ya oyendo gritos, voces y palmadas,
+    Y aplausos y brutales carcajadas,
+
+      Llantos y ayes, quejas y gemidos,
+    Mofas, sarcasmos, risas y denuestos;
+    Y en mil grupos acá y allá reunidos,                        [1335]
+    Viendo debajo de él, sobre él enhiestos,
+    Hombres, mujeres, todos confundidos,
+    Con sandia pena, con alegres gestos,
+    Que con asombro estúpido le miran
+    Y en el perpetuo remolino giran.                            [1340]
+
+      Siente por fin que de repente pára,
+    Y un punto sin sentido se quedó;
+    Mas luego valeroso se repara,
+    Abrió los ojos y de pie se alzó;
+    Y fué el primer objeto en que pensara                       [1345]
+    La blanca dama, y alredor miró,
+    Y al pie de un triste monumento hallóla
+    Sentada en medio de la estancia, sola.
+
+      Era un negro solemne monumento
+    Que en medio de la estancia se elevaba,                     [1350]
+    Y, a un tiempo a Montemar ¡raro portento!
+    Una tumba y un lecho semejaba:
+    Ya imaginó su loco pensamiento
+    Que abierta aquella tumba le aguardaba;
+    Ya imaginó también que el lecho era                         [1355]
+    Tálamo blando que al esposo espera.
+
+      Y pronto, recobrada su osadía,
+    Y a terminar resuelto su aventura,
+    Al cielo y al infierno desafía
+    Con firme pecho y decisión segura:                          [1360]
+    A la blanca visión su planta guía,
+    Y a descubrirse el rostro la conjura,
+    Y a sus pies Montemar tomando asiento
+    Así la habló con animoso acento:
+
+              «Diablo, mujer o visión,                          [1365]
+            Que, a juzgar por el camino
+            Que conduce a esta mansión,
+            Eres puro desatino
+            O diabólica invención,
+
+              «Siquier de parte de Dios,                        [1370]
+            Siquier de parte del diablo,
+            ¿Quién nos trajo aquí a los dos?
+            Decidme, en fin, ¿quién sois vos?
+            Y sepa yo con quién hablo:
+
+              «Que más que nunca palpita                        [1375]
+            Resuelto mi corazón,
+            Cuando en tanta confusión,
+            Y en tanto arcano que irrita,
+            Me descubre mi razón
+
+              «Que un poder aquí supremo,                       [1380]
+            Invisible se ha mezclado,
+            Poder que siento y no temo,
+            A llevar determinado
+            Esta aventura al extremo.»
+
+                      Fúnebre                                   [1385]
+                    Llanto
+                    De amor
+                    Óyese
+                    En tanto
+                    En son                                      [1390]
+
+                   Flébil, blando
+                 Cual quejido
+                 Dolorido
+                 Que del alma
+                 Se arrancó:                                    [1395]
+                 Cual profundo
+                 ¡Ay! que exhala
+                 Moribundo
+                 Corazón.
+
+               Música triste                                    [1400]
+             Lánguida y vaga,
+             Que a par lastima
+             Y el alma halaga;
+             Dulce armonía
+             Que inspira al pecho                               [1405]
+             Melancolía,
+             Como el murmullo
+             De algún recuerdo
+             De antiguo amor,
+             A un tiempo arrullo                                [1410]
+             Y amarga pena
+             Del corazón.
+
+             Mágico embeleso,
+           Cántico ideal,
+           Que en los aires vaga                                [1415]
+           Y en sonoras ráfagas
+           Aumentado va;
+           Sublime y oscuro,
+           Rumor prodigioso,
+           Sordo acento lúgubre,                                [1420]
+           Eco sepulcral,
+           Músicas lejanas,
+           De enlutado parche
+           Redoble monótono,
+           Cercano huracán,                                     [1425]
+           Que apenas la copa
+           Del árbol menea
+           Y bramando está;
+           Olas alteradas
+           De la mar bravía                                     [1430]
+           En noche sombría,
+           Los vientos en paz,
+           Y cuyo rugido
+           Se mezcla al gemido
+           Del muro que trémulo                                 [1435]
+           Las siente llegar;
+           Pavoroso estrépito,
+           Infalible présago
+           De la tempestad.
+
+      Y, en rápido _crescendo_,                                 [1440]
+    Los lúgubres sonidos
+    Más cerca vanse oyendo
+    Y en ronco rebramar;
+    Cual trueno en las montañas
+    Que retumbando va,                                          [1445]
+    Cual rugen las entrañas
+    De horrísono volcán.
+
+           Y algazara y gritería,
+         Crujir de afilados huesos,
+         Rechinamiento de dientes                               [1450]
+         Y retemblar los cimientos,
+         Y en pavoroso estallido
+         Las losas del pavimento
+         Separando sus junturas
+         Irse poco a poco abriendo,                             [1455]
+         Siente Montemar; y el ruido
+         Más cerca crece, y a un tiempo
+         Escucha chocarse cráneos,
+         Ya descarnados y secos,
+         Temblar en torno la tierra,                            [1460]
+         Bramar combatidos vientos,
+         Rugir las airadas olas,
+         Estallar el ronco trueno,
+         Exhalar tristes quejidos
+         Y prorrumpir en lamentos:                              [1465]
+         Todo en furiosa armonía,
+         Todo en frenético estruendo,
+         Todo en confuso trastorno,
+         Todo mezclado y diverso.
+
+      Y luego el estrépito crece                                [1470]
+    Confuso y mezclado en un són,
+    Que ronco en las bóvedas hondas
+    Tronando furioso zumbó;
+    Y un eco que agudo parece
+    Del ángel del juicio la voz,                                [1475]
+    En tiple, punzante alarido
+    Medroso y sonoro se alzó;
+    Sintió, removidas las tumbas,
+    Crujir a sus pies con fragor,
+
+           Chocar en las piedras los cráneos                    [1480]
+         Con rabia y ahinco feroz,
+         Romper intentando la losa,
+         Y huir de su eterna mansión,
+         Los muertos, de súbito oyendo
+         El alto mandato de Dios.                               [1485]
+
+         Y de pronto en horrendo estampido
+       Desquiciarse la estancia sintió,
+       Y al tremendo tartáreo ruido
+       Cien espectros alzarse miró:
+
+         De sus ojos los huecos fijaron                         [1490]
+       Y sus dedos enjutos en él;
+       Y después entre sí se miraron,
+       Y a mostrarle tornaron después;
+
+         Y, enlazadas las manos siniestras,
+       Con dudoso, espantado ademán                             [1495]
+       Contemplando, y, tendidas sus diestras,
+       Con asombro al osado mortal,
+
+         Se acercaron despacio, y la seca
+       Calavera, mostrando temor,
+       Con inmóvil, irónica mueca                               [1500]
+       Inclinaron, formando en redor.
+
+         Y entonces la visión del blanco velo
+       Al fiero Montemar tendió una mano,
+       Y era su tacto de crispante hielo,
+       Y resistirlo audaz intentó en vano:                      [1505]
+
+         Galvánica, crüel, nerviosa y fría,
+       Histérica y horrible sensación,
+       Toda la sangre coagulada envía
+       Agolpada y helada al corazón....
+
+         Y a su despecho y maldiciendo al cielo,                [1510]
+       De ella apartó su mano Montemar,
+       Y temerario alzándola a su velo,
+       Tirando de él la descubrió la faz.
+
+         _¡Es su esposo!!_ los ecos retumbaron,
+       _¡La esposa al fin que su consorte halló!!_              [1515]
+       Los espectros con júbilo gritaron:
+       _¡Es el esposo de su eterno amor!!_
+
+         Y ella entonces gritó: _¡Mi esposo!!_ ¡Y era
+       (¡Desengaño fatal! ¡triste verdad!)
+       Una sórdida, horrible calavera,                          [1520]
+       La blanca dama del gallardo andar!...
+
+      Luego un caballero de espuela dorada,
+    Airoso, aunque el rostro con mortal color,
+    Traspasado el pecho de fiera estocada,
+    Aun brotando sangre de su corazón,                          [1525]
+
+      Se acerca y le dice, su diestra tendida,
+    Que impávido estrecha también Montemar:
+    «--Al fin, la palabra, que disteis, cumplida,
+    Doña Elvira, vedla, vuestra esposa es ya;
+
+      «Mi muerte os perdono.--Por cierto, Don Diego,            [1530]
+    Repuso Don Félix tranquilo a su vez,
+    Me alegro de veros con tanto sosiego,
+    Que a fe no esperaba volveros a ver.
+
+      «En cuanto a ese espectro que decís mi esposa,
+    Raro casamiento venísme a ofrecer:                          [1535]
+    Su faz no es por cierto ni amable ni hermosa;
+    Mas no se os figure que os quiera ofender.
+
+      «Por mujer la tomo, porque es cosa cierta,
+    Y espero no salga fallido mi plan,
+    Que, en caso tan raro y mi esposa muerta,                   [1540]
+    Tanto como viva no me cansará.
+
+      «Mas antes decidme si Dios o el demonio
+    Me trajo a este sitio, que quisiera ver
+    Al uno u al otro, y en mi matrimonio
+    Tener por padrino siquiera a Luzbel:                        [1545]
+
+      «Cualquiera o entrambos con su corte toda,
+    Estando estos nobles espectros aquí,
+    No perdiera mucho viniendo a mi boda....
+    Hermano Don Diego, ¿no pensáis así?»
+
+      Tal dijo Don Félix con fruncido ceño,                     [1550]
+    En torno arrojando con fiero ademán
+    Miradas audaces de altivo desdeño,
+    Al Dios por quien jura capaz de arrostrar.
+
+      El carïado, lívido esqueleto,
+    Los fríos, largos y asquerosos brazos,                      [1555]
+    Le enreda en tanto en apretados lazos,
+    Y ávido le acaricia en su ansiedad;
+    Y con su boca cavernosa busca
+    La boca a Montemar, y a su mejilla
+    La árida, descarnada y amarilla                             [1560]
+    Junta y refriega repugnante faz.
+
+      Y él, envuelto en sus secas coyunturas,
+    Aun más sus nudos que se aprietan siente,
+    Baña un mar de sudor su ardida frente,
+    Y crece en su impotencia su furor.                          [1565]
+    Pugna con ansia a desasirse en vano,
+    Y cuanto más airado forcejea,
+    Tanto más se le junta y le desea
+    El rudo espectro que le inspira horror.
+
+      Y en furioso, veloz remolino,                             [1570]
+    Y en aérea fantástica danza,
+    Que la mente del hombre no alcanza
+    En su rápido curso a seguir,
+    Los espectros su ronda empezaron,
+    Cual en círculos raudos el viento                           [1575]
+    Remolinos de polvo violento
+    Y hojas secas agita sin fin.
+
+      Y elevando sus áridas manos,
+    Resonando cual lúgubre eco,
+    Levantóse en su cóncavo hueco                               [1580]
+    Semejante a un aullido una voz
+    Pavorosa, monótona, informe,
+    Que pronuncia sin lengua su boca,
+    Cual la voz que del áspera roca
+    En los senos el viento formó.                               [1585]
+
+        «Cantemos, dijeron sus gritos,
+      La gloria, el amor de la esposa,
+      Que enlaza en sus brazos dichosa
+      Por siempre al esposo que amó;
+      Su boca a su boca se junte,                               [1590]
+      Y selle su eterna delicia,
+      Süave, amorosa caricia
+      Y lánguido beso de amor.
+
+        «Y en mútuos abrazos unidos,
+      Y en blando y eterno reposo,                              [1595]
+      La esposa enlazada al esposo,
+      Por siempre descansen en paz;
+      Y en fúnebre luz ilumine
+      Sus bodas fatídica tea,
+      Les brinde deleites, y sea                                [1600]
+      La tumba su lecho nupcial.»
+
+        Mientras, la ronda frenética,
+      Que en raudo giro se agita,
+      Más cada vez precipita
+      Su vértigo sin ceder;                                     [1605]
+      Más cada vez se atropella,
+      Más cada vez se arrebata,
+      Y en círculos se desata
+      Violentos más cada vez;
+
+        Y escapa en rueda quimérica;                            [1610]
+      Y negro punto parece
+      Que en torno se desvanece
+      A la fantástica luz,
+      Y sus lúgubres aullidos
+      Que pavorosos se extienden                                [1615]
+      Los aires rápidos hienden
+      Más prolongados aún.
+
+            Y a tan continuo vértigo,
+          A tan funesto encanto,
+          A tan horrible canto,                                 [1620]
+          A tan tremenda lid,
+          Entre los brazos lúbricos
+          Que aprémianle sujeto
+          Del hórrido esqueleto,
+          Entre caricias mil,                                   [1625]
+
+          Jamás vencido el ánimo,
+          Su cuerpo ya rendido
+          Sintió desfallecido
+          Faltarle Montemar;
+          Y a par que más su espíritu                           [1630]
+          Desmiente su miseria,
+          La flaca, vil materia
+          Comienza a desmayar.
+
+              Y siente un confuso,
+            Loco devaneo,                                       [1635]
+            Languidez, mareo
+            Y angustioso afán;
+            Y sombras y luces,
+            La estancia que gira,
+            Y espíritus mira                                    [1640]
+            Que vienen y van.
+
+              Y luego a lo lejos,
+            Flébil en su oído,
+            Eco dolorido
+            Lánguido sonó,                                      [1645]
+            Cual la melodía
+            Que el aura amorosa
+            Y el agua armoniosa
+            De noche formó;
+
+                Y siente luego                                  [1650]
+              Su pecho ahogado
+              Y desmayado,
+              Turbios sus ojos,
+              Sus graves párpados,
+              Flojos caer;                                      [1655]
+              La frente inclina
+              Sobre su pecho,
+              Y, a su despecho,
+              Siente sus brazos
+              Lánguidos, débiles                                [1660]
+              Desfallecer.
+
+                  Y vió luego
+                Una llama
+                Que se inflama
+                Y murió;                                        [1665]
+                Y perdido
+                Oyó el eco
+                De un gemido
+                Que espiró.
+
+                    Tal, dulce                                  [1670]
+                  Suspira
+                  La lira
+                  Que hirió
+                  En blando
+                  Concento                                      [1675]
+                  Del viento
+                  La voz,
+
+                      Leve,
+                    Breve
+                    Són.                                        [1680]
+
+      En tanto en nubes de carmín y grana
+    Su luz el alba arrebolada envía,
+    Y alegre regocija y engalana
+    Las altas torres el naciente día:
+    Sereno el cielo, calma la mañana,                           [1685]
+    Blanda la brisa, trasparente y fría,
+    Vierte a la tierra el sol con su hermosura
+    Rayos de paz y celestial ventura.
+
+    Y huyó la noche y con la noche huían
+    Sus sombras y quiméricas mujeres,                           [1690]
+    Y a su silencio y calma sucedían
+    El bullicio y rumor de los talleres;
+    Y a su trabajo y a su afán volvían
+    Los hombres y a sus frívolos placeres,
+    Algunos hoy volviendo a su faena.                           [1695]
+    De zozobra y temor el alma llena;
+
+      ¡Que era pública voz, que llanto arranca
+    Del pecho pecador y empedernido,
+    Que en forma de mujer y en una blanca
+    Túnica misteriosa revestido,                                [1700]
+    Aquella noche el diablo a Salamanca
+    Había, en fin, por Montemar venido!...
+    _Y si, lector, dijerdes ser comento,
+    Como me lo contaron, te lo cuento._
+
+
+
+
+                        CANCIÓN DEL PIRATA
+
+    Con diez cañones por banda,
+  Viento en popa, a toda vela,
+  No corta el mar sino vuela
+  Un velero bergantín:
+    Bajel pirata que llaman                                        [5]
+  Por su bravura el _Temido_,
+  En todo mar conocido
+  Del uno al otro confín.
+
+    La luna en el mar rïela,
+  En la lona gime el viento,                                      [10]
+  Y alza en blando movimiento
+  Olas de plata y azul;
+    Y ve el capitán pirata,
+  Cantando alegre en la popa,
+  Asia a un lado, al otro Europa,                                 [15]
+  Y allá a su frente Stambul.[1]
+
+[Nota 1: Nombre que dan los Turcos a Constantinopla]
+
+    «Navega, velero mío,
+        Sin temor,
+  Que ni enemigo navío,
+  Ni tormenta, ni bonanza                                         [20]
+  Tu rumbo a torcer alcanza,
+  Ni a sujetar tu valor.
+
+      «Veinte presas
+    Hemos hecho
+    A despecho                                                    [25]
+    Del Inglés,
+    Y han rendido
+    Sus pendones
+    Cien naciones
+    A mis pies.                                                   [30]
+
+    «Que es mi barco mi tesoro,
+  Que es mi Dios la libertad,
+  Mi ley la fuerza y el viento,
+  Mi única patria la mar.
+
+    «Allá muevan feroz guerra                                     [35]
+        Ciegos reyes
+  Por un palmo más de tierra;
+  Que yo tengo aquí por mío
+  Cuanto abarca el mar bravío,
+  A quien nadie impuso leyes.                                     [40]
+
+      «Y no hay playa,
+    Sea cualquiera,
+    Ni bandera
+    De esplendor,
+    Que no sienta                                                 [45]
+    Mi derecho
+    Y dé pecho
+    A mi valor.
+
+  «Que es mi barco mi tesoro....
+
+  «A la voz de '¡barco viene!'                                    [50]
+        Es de ver
+  Cómo vira y se previene
+  A todo trapo a escapar;
+  Que yo soy el rey del mar,
+  Y mi furia es de temer.                                         [55]
+
+      «En las presas
+    Yo divido
+    Lo cogido
+    Por igual:
+    Sólo quiero                                                   [60]
+    Por riqueza
+    La belleza
+    Sin rival.
+
+  «Que es mi barco mi tesoro....
+
+    «¡Sentenciado estoy a muerte!                                 [65]
+        Yo me río.
+  No me abandone la suerte,
+  Y al mismo que me condena
+  Colgaré de alguna entena,
+  Quizá en su propio navío.                                       [70]
+
+      «Y si caigo,
+    ¿Qué es la vida?
+    Por perdida
+    Ya la di,
+    Cuando el yugo                                                [75]
+    Del esclavo,
+    Como un bravo,
+    Sacudí.
+
+  «Que es mi barco mi tesoro....
+
+    «Son mi música mejor                                          [80]
+        Aquilones;
+  El estrépito y temblor
+  De los cables sacudidos;
+  Del negro mar los bramidos
+  Y el rugir de mis cañones.                                      [85]
+
+      «Y del trueno
+    Al són violento,
+    Y del viento
+    Al rebramar,
+    Yo me duermo                                                  [90]
+    Sosegado,
+    Arrullado
+    Por el mar.
+
+    «Que es mi barco mi tesoro,
+  Que es mi Dios la libertad,                                     [95]
+  Mi ley la fuerza y el viento,
+  Mi única patria la mar.»
+
+
+
+
+                       EL CANTO DEL COSACO
+
+                          Donde sienta mi caballo los pies no vuelve
+                          a nacer yerba.--Palabras de Átila
+
+
+  CORO
+    ¡Hurra, Cosacos del desierto! ¡Hurra!
+  La Europa os brinda espléndido botín:
+  Sangrienta charca sus campiñas sean,
+  De los grajos su ejército festín.
+
+    ¡Hurra! a caballo, hijos de la niebla!                          [5]
+  Suelta la rienda, a combatir volad.
+  ¿Veis esas tierras fértiles? las puebla
+  Gente opulenta, afeminada ya.
+  Casas, palacios, campos y jardines,
+  Todo es hermoso y refulgente allí;                               [10]
+  Son sus hembras celestes serafines,
+  Su sol alumbra un cielo de zafir.
+
+    ¡Hurra, Cosacos del desierto....
+
+    Nuestros sean su oro y sus placeres,
+  Gocemos de ese campo y de ese sol;                               [15]
+  Son sus soldados menos que mujeres,
+  Sus reyes viles mercaderes son.
+    Vedlos huír para esconder su oro,
+  Vedlos cobardes lágrimas verter....
+  ¡Hurra! volad: sus cuerpos, su tesoro                            [20]
+  Huellen nuestros caballos con sus pies.
+
+    ¡Hurra, Cosacos del desierto....
+
+    Dictará allí nuestro capricho leyes,
+  Nuestras casas alcázares serán,
+  Los cetros y coronas de los reyes                                [25]
+  Cual juguetes de niños rodarán.
+    ¡Hurra! volad a hartar nuestros deseos;
+  Las más hermosas nos darán su amor,
+  Y no hallarán nuestros semblantes feos,
+  Que siempre brilla hermoso el vencedor.                          [30]
+
+    ¡Hurra, Cosacos del desierto....
+
+    Desgarraremos la vencida Europa
+  Cual tigres que devoran su ración;
+  En sangre empaparemos nuestra ropa
+  Cual rojo manto de imperial señor.                               [35]
+    Nuestros nobles caballos relinchando
+  Regias habitaciones morarán;
+  Cien esclavos, sus frentes inclinando,
+  Al mover nuestros ojos temblarán.
+
+    ¡Hurra, Cosacos del desierto....                               [40]
+
+    Venid, volad, guerreros del desierto,
+  Como nubes en negra confusión,
+  Todos suelto el bridón, el ojo incierto,
+  Todos atropellándoos en montón.
+    Id, en la espesa niebla confundidos,                           [45]
+  Cual tromba que arrebata el huracán,
+  Cual témpanos de hielo endurecidos
+  Por entre rocas despeñados van.
+
+    ¡Hurra, Cosacos del desierto....
+
+  Nuestros padres un tiempo caminaron                              [50]
+  Hasta llegar a una imperial ciudad;
+  Un sol más puro es fama que encontraron,
+  Y palacios de oro y de cristal.
+    Vadearon el Tibre sus bridones,
+  Yerta a sus pies la tierra enmudeció;                            [55]
+  Su sueño con fantásticas canciones
+  La fada de los triunfos arrulló.
+
+    ¡Hurra, Cosacos del desierto....
+
+  ¡Qué! ¿No sentís la lanza estremecerse,
+  Hambrienta en vuestras manos de matar?                           [60]
+  ¿No veis entre la niebla aparecerse
+  Visiones mil que el parabién nos dan?
+    Escudo de esas míseras naciones
+  Era ese muro que abatido fué;
+  La gloria de Polonia y sus blasones                              [65]
+  En humo y sangre convertidos ved.
+
+    ¡Hurra, Cosacos del desierto....
+
+    ¿Quién en dolor trocó sus alegrías?
+  ¿Quién sus hijos triunfante encadenó?
+  ¿Quién puso fin a sus gloriosos días?                            [70]
+  ¿Quién en su propia sangre los ahogó?
+    ¡Hurra, Cosacos! ¡Gloria al más valiente!
+  Esos hombres de Europa nos verán.
+  ¡Hurra! nuestros caballos en su frente
+  Hondas sus herraduras marcarán.                                  [75]
+
+    ¡Hurra, Cosacos del desierto....
+
+    A cada bote de la lanza ruda,
+  A cada escape en la abrasada lid,
+  La sangrienta ración de carne cruda
+  Bajo la silla sentiréis hervir.                                  [80]
+    Y allá después en templos suntüosos,
+  Sirviéndonos de mesa algún altar,
+  Nuestra sed calmarán vinos sabrosos,
+  Hartará nuestra hambre blanco pan.
+
+    ¡Hurra, Cosacos del desierto....                               [85]
+
+    Y nuestras madres nos verán triunfantes,
+  Y a esa caduca Europa a nuestros pies,
+  Y acudirán de gozo palpitantes,
+  En cada hijo a contemplar un rey.
+    Nuestros hijos sabrán nuestras acciones,                       [90]
+  Las coronas de Europa heredarán,
+  Y a conquistar también otras regiones
+  El caballo y la lanza aprestarán.
+
+    ¡Hurra, Cosacos del desierto! ¡Hurra!
+  La Europa os brinda espléndido botín.                            [95]
+  Sangrienta charca sus campiñas sean,
+  De los grajos su ejército festín.
+
+
+
+
+                            EL MENDIGO
+
+    Mío es el mundo: como el aire libre,
+  Otros trabajan porque coma yo;
+  Todos se ablandan si doliente pido
+  Una limosna por amor de Dios.
+
+        El palacio, la cabaña                                      [5]
+            Son mi asilo,
+      Si del ábrego el furor
+      Troncha el roble en la montaña,
+      O que inunda la campaña
+      El torrente asolador.                                       [10]
+
+          Y a la hoguera
+        Me hacen lado
+        Los pastores
+        Con amor,
+        Y sin pena                                                [15]
+        Y descuidado
+        De su cena
+        Ceno yo;
+        O en la rica
+        Chimenea,                                                 [20]
+        Que recrea
+        Con su olor,
+        Me regalo
+        Codicioso
+        Del banquete                                              [25]
+        Suntüoso
+        Con las sobras
+        De un señor.
+
+      Y me digo: el viento brama,
+    Caiga furioso turbión;                                        [30]
+  Que al són que cruje de la seca leña,
+  Libre me duermo sin rencor ni amor.
+
+    Mío es el mundo: como el aire libre....
+
+      Todos son mis bienhechores,
+        Y por todos                                               [35]
+    A Dios ruego con fervor;
+    De villanos y señores
+    Yo recibo los favores
+    Sin estima y sin amor.
+
+           Ni pregunto                                            [40]
+         Quiénes sean,
+         Ni me obligo
+         A agradecer;
+         Que mis rezos
+         Si desean,                                               [45]
+         Dar limosna
+         Es un deber.
+         Y es pecado
+         La riqueza,
+         La pobreza                                               [50]
+         Santidad;
+         Dios a veces
+         Es mendigo,
+         Y al avaro
+         Da castigo,                                              [55]
+         Que le niegue
+         Caridad.
+
+      Yo soy pobre y se lastiman
+    Todos al verme plañir,
+  Sin ver son mías sus riquezas todas,                            [60]
+  Que mina inagotable es el pedir.
+
+    Mío es el mundo: como el aire libre....
+
+             Mal revuelto y andrajoso,
+               Entre harapos
+       Del lujo sátira soy;                                       [65]
+       Y con mi aspecto asqueroso
+       Me vengo del poderoso,
+       Y adonde va, tras él voy.
+
+           Y a la hermosa
+         Que respira                                              [70]
+         Cien perfumes,
+         Gala, amor,
+         La persigo
+         Hasta que mira,
+         Y me gozo                                                [75]
+         Cuando aspira
+         Mi punzante
+         Mal olor.
+         Y las fiestas
+         Y el contento                                            [80]
+         Con mi acento
+         Turbo yo,
+         Y en la bulla
+         Y la alegría
+         Interrumpen                                              [85]
+         La armonía
+         Mis harapos
+         Y mi voz,
+
+      Mostrando cuán cerca habitan
+    El gozo y el padecer,                                         [90]
+  Que no hay placer sin lágrimas, ni pena
+  Que no transpire en medio del placer.
+
+    Mío es el mundo: como el aire libre....
+
+        Y para mí no hay _mañana_,
+          Ni hay _ayer_;                                          [95]
+      Olvido el bien como el mal,
+      Nada me aflije ni afana;
+      Me es igual para mañana
+      Un palacio, un hospital.
+
+             Vivo ajeno                                          [100]
+           De memorias,
+           De cuidados
+           Libre estoy;
+           Busquen otros
+           Oro y glorias,                                        [105]
+           Yo no pienso
+           Sino en hoy.
+           Y doquiera
+           Vayan leyes,
+           Quiten reyes,                                         [110]
+           Reyes den;
+           Yo soy pobre,
+           Y al mendigo,
+           Por el miedo
+           Del castigo,                                          [115]
+           Todos hacen
+           Siempre bien.
+
+      Y un asilo dondequiera
+    Y un lecho en el hospital
+  Siempre hallaré, y un hoyo donde caiga                         [120]
+  Mi cuerpo miserable al espirar.
+
+    Mío es el mundo: como el aire libre,
+  Otros trabajan porque coma yo;
+  Todos se ablandan, si doliente pido
+  Una limosna por amor de Dios.                                  [125]
+
+
+
+
+                  SONETO
+
+    Fresca, lozana, pura y olorosa,
+  Gala y adorno del pensil florido,
+  Gallarda puesta sobre el ramo erguido,
+  Fragrancia esparce la naciente rosa.
+
+    Mas si el ardiente sol lumbre enojosa                           [5]
+  Vibra del can en llamas encendido,
+  El dulce aroma y el color perdido,
+  Sus hojas lleva el aura presurosa.
+
+    Así brilló un momento mi ventura
+  En alas del amor, y hermosa nube                                 [10]
+  Fingí tal vez de gloria y de alegría.
+
+    Mas ¡ay! que el bien trocóse en amargura,
+  Y deshojada por los aires sube
+  La dulce flor de la esperanza mía.
+
+
+
+
+                               A TERESA
+                           DESCANSA EN PAZ
+
+                             Bueno es el mundo, ¡bueno! ¡bueno! ¡bueno!
+                           Como de Dios al fin obra maestra,
+                           Por todas partes de delicias lleno,
+                           De que Dios ama al hombre hermosa muestra;
+                           Salga la voz alegre de su seno
+                           A celebrar esta vivienda nuestra;
+                          ¡Paz a los hombres! ¡gloria en las alturas!
+                          ¡Cantad en vuestra jaula, crïaturas!
+                          DON MIGUEL DE LOS SANTOS ÁLVAREZ, "María"
+
+
+    ¿Por qué volvéis a la memoria mía,
+  Tristes recuerdos del placer perdido,
+  A aumentar la ansiedad y la agonía
+  De este desierto corazón herido?
+  ¡Ay! que de aquellas horas de alegría,                            [5]
+  Le quedó al corazón sólo un gemido,
+  Y el llanto que al dolor los ojos niegan
+  Lágrimas son de hiel que el alma anegan!
+
+    ¿Dónde volaron ¡ay! aquellas horas
+  De juventud, de amor y de ventura,                               [10]
+  Regaladas de músicas sonoras,
+  Adornadas de luz y de hermosura?
+  Imágenes de oro bullidoras,
+  Sus alas de carmín y nieve pura,
+  Al sol de mi esperanza desplegando,                              [15]
+  Pasaban ¡ay! a mi alredor cantando.
+
+    Gorjeaban los dulces ruiseñores,
+  El sol iluminaba mi alegría,
+  El aura susurraba entre las flores,
+  El bosque mansamente respondía,                                  [20]
+  Las fuentes murmuraban sus amores....
+  ¡Ilusiones que llora el alma mía!
+  ¡Oh! ¡cuán süave resonó en mi oído
+  El bullicio del mundo y su ruïdo!
+
+    Mi vida entonces cual guerrera nave                            [25]
+  Que el puerto deja por la vez primera,
+  Y al soplo de los céfiros süave,
+  Orgullosa despliega su bandera,
+  Y al mar dejando que a sus pies alabe
+  Su triunfo en roncos cantos, va velera                           [30]
+  Una ola tras otra bramadora
+  Hollando y dividiendo vencedora;
+
+    ¡Ay! en el mar del mundo, en ansia ardiente
+  De amor volaba, el sol de la mañana
+  Llevaba yo sobre mi tersa frente,                                [35]
+  Y el alma pura de su dicha ufana.
+  Dentro de ella el amor cual rica fuente,
+  Que entre frescura y arboledas mana,
+  Brotaba entonces abundante río
+  De ilusiones y dulce desvarío.                                   [40]
+
+    Yo amaba todo: un noble sentimiento
+  Exaltaba mi ánimo, y sentía
+  En mi pecho un secreto movimiento,
+  De grandes hechos generoso guía:
+  La libertad con su inmortal aliento,                             [45]
+  Santa diosa, mi espíritu encendía,
+  Contino imaginando en mi fe pura
+  Sueños de gloria al mundo y de ventura:
+
+    El puñal de Catón, la adusta frente
+  Del noble Bruto, la constancia fiera                             [50]
+  Y el arrojo de Scévola valiente,
+  La doctrina de Sócrates severa,
+  La voz atronadora y elocuente
+  Del orador de Atenas, la bandera
+  Contra el tirano macedonio alzando,                              [55]
+  Y al espantado pueblo arrebatando;
+
+    El valor y la fe del caballero,
+  Del trovador el arpa y los cantares,
+  Del gótico castillo el altanero,
+  Antiguo torreón, do sus pesares                                  [60]
+  Cantó tal vez con eco lastimero
+  ¡Ay! arrancada de sus patrios lares,
+  Joven cautiva, al rayo de la luna,
+  Lamentando su ausencia y su fortuna;
+
+    El dulce anhelo del amor que aguarda,                          [65]
+  Tal vez inquieto y con mortal recelo,
+  La forma bella que cruzó gallarda,
+  Allá en la noche entre el medroso velo,
+  La ansiada cita que en llegar se tarda
+  Al impaciente y amoroso anhelo,                                  [70]
+  La mujer y la voz de su dulzura,
+  Que inspira al alma celestial ternura,
+
+    A un tiempo mismo en rápida tormenta
+  Mi alma alborotaban de contino,
+  Cual las olas que azota con violenta                             [75]
+  Cólera, impetüoso torbellino;
+  Soñaba al héroe ya, la plebe atenta
+  En mi voz escuchaba su destino;
+  Ya al caballero, al trovador soñaba,
+  Y de gloria y de amores suspiraba.                               [80]
+
+    Hay una voz secreta, un dulce canto,
+  Que el alma sólo recogida entiende,
+  Un sentimiento misterioso y santo,
+  Que del barro al espíritu desprende,
+  Agreste, vago y solitario encanto,                               [85]
+  Que en inefable amor el alma enciende,
+  Volando tras la imagen peregrina
+  El corazón de su ilusión divina.
+
+    Yo, desterrado en extranjera playa,
+  Con los ojos, extático seguía                                    [90]
+  La nave audaz que argentada raya
+  Volaba al puerto de la patria mía;
+  Yo cuando en Occidente el sol desmaya,
+  Solo y perdido en la arboleda umbría,
+  Oír pensaba el armonioso acento                                  [95]
+  De una mujer, al suspirar del viento.
+
+    ¡Una mujer! En el templado rayo
+  De la mágica luna se colora,
+  Del sol poniente al lánguido desmayo
+  Lejos entre las nubes se evapora;                               [100]
+  Sobre las cumbres que florece el mayo
+  Brilla fugaz al despuntar la aurora,
+  Cruza tal vez por entre el bosque umbrío,
+  Juega en las aguas del sereno río.
+
+    ¡Una mujer! Deslízase en el cielo                             [105]
+  Allá en la noche desprendida estrella;
+  Si aroma el aire recogió en el suelo,
+  Es el aroma que le presta ella.
+  Blanca es la nube que en callado vuelo
+  Cruza la esfera y que su planta huella,                         [110]
+  Y en la tarde la mar olas la ofrece
+  De plata y de zafir donde se mece.
+
+    Mujer que amor en su ilusión figura,
+  Mujer que nada dice a los sentidos,
+  Ensueño de suavísima ternura,                                   [115]
+  Eco que regaló nuestros oídos;
+  De amor la llama generosa y pura,
+  Los goces dulces del placer cumplidos,
+  Que engalana la rica fantasía,
+  Goces que avaro el corazón ansía;                               [120]
+
+    ¡Ay! aquella mujer, tan sólo aquella
+  Tanto delirio a realizar alcanza,
+  Y esa mujer, tan cándida y tan bella,
+  Es mentida ilusión de la esperanza;
+  Es el alma que vívida destella                                  [125]
+  Su luz al mundo cuando en él se lanza,
+  Y el mundo con su magia y galanura
+  Es espejo no más de su hermosura;
+
+    Es el amor que al mismo amor adora,
+  El que creó las sílfides y ondinas,                             [130]
+  La sacra ninfa que bordando mora
+  Debajo de las aguas cristalinas;
+  Es el amor que recordando llora
+  Las arboledas del Edén divinas,
+  Amor de allí arrancado, allí nacido,                            [135]
+  Que busca en vano aquí su bien perdido.
+
+    ¡Oh llama santa! ¡celestial anhelo!
+  ¡Sentimiento purísimo! ¡memoria
+  Acaso triste de un perdido cielo,
+  Quizá esperanza de futura gloria!                               [140]
+  ¡Huyes y dejas llanto y desconsuelo!
+  ¡Oh mujer! que en imagen ilusoria
+  Tan pura, tan feliz, tan placentera,
+  Brindó el amor a mi ilusión primera...!
+
+    ¡Oh Teresa! ¡Oh dolor! Lágrimas mías,                         [145]
+  ¡Ah! ¿dónde estáis que no corréis a mares?
+  ¿Por qué, por qué como en mejores días
+  No consoláis vosotras mis pesares?
+  ¡Oh! los que no sabéis las agonías
+  De un corazón, que penas a millares                             [150]
+  ¡Ay! desgarraron, y que ya no llora,
+  ¡Piedad tened de mi tormento ahora!
+
+    ¡Oh! ¡dichosos mil veces! sí, dichosos,
+  Los que podéis llorar y ¡ay! sin ventura
+  De mí, que, entre suspiros angustiosos,                         [155]
+  Ahogar me siento en infernal tortura!
+  Retuércese entre nudos dolorosos
+  Mi corazón, gimiendo de amargura!...
+  También tu corazón, hecho pavesa,
+  ¡Ay! llegó a no llorar, ¡pobre Teresa!                          [160]
+
+    ¿Quién pensara jamás, Teresa mía,
+  Que fuera eterno manantial de llanto
+  Tanto inocente amor, tanta alegría,
+  Tantas delicias y delirio tanto?
+  ¿Quién pensara jamás llegase un día,                            [165]
+  En que, perdido el celestial encanto,
+  Y caída la venda de los ojos,
+  Cuanto diera placer causara enojos?
+
+    Aun parece, Teresa, que te veo
+  Aerea como dorada mariposa,                                     [170]
+  Ensueño delicioso del deseo,
+  Sobre tallo gentil temprana rosa,
+  Del amor venturoso devaneo,
+  Angélica, purísima y dichosa,
+  Y oigo tu voz dulcísima, y respiro                              [175]
+  Tu aliento perfumado en tu suspiro.
+
+    Y aun miro aquellos ojos que robaron
+  A los cielos su azul, y las rosadas
+  Tintas sobre la nieve, que envidiaron
+  Las de mayo serenas alboradas;                                  [180]
+  Y aquellas horas dulces que pasaron
+  Tan breves ¡ay! como después lloradas,
+  Horas de confïanza y de delicias,
+  De abandono, y de amor y de caricias.
+
+    Que así las horas rápidas pasaban,                            [185]
+  Y pasaba a la par nuestra ventura;
+  Y nunca nuestras ansias las contaban,
+  Tú embriagada en mi amor, yo en tu hermosura;
+  Las horas ¡ay! huyendo nos miraban,
+  Llanto tal vez vertiendo de ternura,                            [190]
+  Que nuestro amor y juventud veían,
+  Y temblaban las horas que vendrían.
+
+    Y llegaron en fin.... ¡Oh! ¿quién impío
+  ¡Ay! agostó la flor de tu pureza?
+  Tú fuiste un tiempo cristalino río,                             [195]
+  Manantial de purísima limpieza;
+  Después torrente de color sombrío,
+  Rompiendo entre peñascos y maleza,
+  Y estanque, en fin, de aguas corrompidas,
+  Entre fétido fango detenidas.                                   [200]
+
+    ¿Cómo caíste despeñado al suelo,
+  Astro de la mañana luminoso?
+  Ángel de luz, ¿quién te arrojó del cielo
+  A este valle de lágrimas odioso?
+  Aun cercaba tu frente el blanco velo                            [205]
+  Del serafín, y, en ondas fulgoroso,
+  Rayos al mundo tu esplendor vertía,
+  Y otro cielo el amor te prometía.
+
+    Mas ¡ay! que es la mujer ángel caído
+  O mujer nada más y lodo inmundo,                                [210]
+  Hermoso ser para llorar nacido,
+  O vivir como autómata en el mundo.
+  Sí, que el demonio en el Edén perdido
+  Abrasara con fuego del profundo
+  La primera mujer, y ¡ay! aquel fuego                            [215]
+  La herencia ha sido de sus hijos luego.
+
+    Brota en el cielo del amor la fuente
+  Que a fecundar el universo mana,
+  Y en la tierra su límpida corriente
+  Sus márgenes con flores engalana;                               [220]
+  Mas ¡ay! huíd: el corazón ardiente
+  Que el agua clara por beber se afana
+  Lágrimas verterá de duelo eterno,
+  Que su raudal lo envenenó el infierno.
+
+    Huíd, si no queréis que llegue un día,                        [225]
+  En que, enredado en retorcidos lazos
+  El corazón, con bárbara porfía
+  Luchéis por arrancároslo a pedazos:
+  En que al cielo en histérica agonía
+  Frenéticos alcéis entrambos brazos,                             [230]
+  Para en vuestra impotencia maldecirle,
+  Y escupiros, tal vez, al escupirle.
+
+    Los años ¡ay! de la ilusión pasaron;
+  Las dulces esperanzas que trajeron
+  Con sus blancos ensueños se llevaron,                           [235]
+  Y el porvenir de oscuridad vistieron:
+  Las rosas de amor se marchitaron,
+  Las flores en abrojos convirtieron,
+  Y de afán tanto y tan soñada gloria
+  Sólo quedó una tumba, una memoria.                              [240]
+
+    ¡Pobre Teresa! al recordarte siento
+  Un pesar tan intenso...! embarga impío
+  Mi quebrantada voz mi sentimiento,
+  Y suspira tu nombre el labio mío:
+  Pára allí su carrera el pensamiento,                            [245]
+  Hiela mi corazón punzante frío,
+  Ante mis ojos la funesta losa,
+  Donde vil polvo tu beldad reposa.
+
+    ¡Y tú feliz, que hallaste en la muerte
+  Sombra a que descansar en tu camino,                            [250]
+  Cuando llegabas, mísera, a perderte,
+  Y era llorar tu único destino:
+  Cuando en tu frente la implacable suerte
+  Grababa de los réprobos el sino...!
+  ¡Feliz! la muerte te arrancó del suelo,                         [255]
+  Y otra vez ángel te volviste al cielo.
+
+    Roída de recuerdos de amargura,
+  Árido el corazón sin ilusiones,
+  La delicada flor de tu hermosura
+  Ajaron del dolor los Aquilones:                                 [260]
+  Sola, y envilecida y sin ventura,
+  Tu corazón secaron las pasiones,
+  Tus hijos, ¡ay! de ti se avergonzaran,
+  Y hasta el nombre de madre te negaran.
+
+    Los ojos escaldados de tu llanto,                             [265]
+  Tu rostro cadavérico y hundido,
+  Único desahogo en tu quebranto,
+  El histérico ¡ay! de tu gemido:
+  ¿Quién, quién pudiera, en infortunio tanto,
+  Envolver tu desdicha en el olvido,                              [270]
+  Disipar tu dolor y recogerte
+  En su seno de paz? ¡Sólo la muerte!
+
+    ¡Y tan joven, y ya tan desgraciada!
+  Espíritu indomable, alma violenta,
+  En ti, mezquina sociedad, lanzada                               [275]
+  A romper tus barreras turbulenta.
+  Nave contra las rocas quebrantada,
+  Allá vaga, a merced de la tormenta,
+  En las olas tal vez náufraga tabla,
+  Que sólo ya de sus grandezas habla.                             [280]
+
+    Un recuerdo de amor que nunca muere
+  Y está en mi corazón; un lastimero
+  Tierno quejido que en el alma hiere,
+  Eco süave de su amor primero:
+  ¡Ay! de tu luz en tanto yo viviere                              [285]
+  Quedará un rayo en mí, blanco lucero,
+  Que iluminaste con tu luz querida
+  La dorada mañana de mi vida.
+
+    Que yo como una flor que en la mañana
+  Abre su cáliz al naciente día,                                  [290]
+  ¡Ay! al amor abrí tu alma temprana,
+  Y exalté tu inocente fantasía:
+  Yo inocente también: ¡oh! ¡cuán ufana
+  Al porvenir mi mente sonreía,
+  Y en alas de mi amor con cuánto anhelo                          [295]
+  Pensé contigo remontarme al cielo!
+
+    Y alegre, audaz, ansioso, enamorado,
+  En tus brazos en lánguido abandono,
+  De glorias y deleites rodeado,
+  Levantar para ti soñé yo un trono:                              [300]
+  Y allí, tú venturosa y yo a tu lado,
+  Vencer del mundo el implacable encono,
+  Y en un tiempo sin horas y medida
+  Ver como un sueño resbalar la vida.
+
+    ¡Pobre Teresa! Cuando ya tus ojos                             [305]
+  Áridos ni una lágrima brotaban,
+  Cuando ya su color tus labios rojos
+  En cárdenos matices cambïaban,
+  Cuando de tu dolor tristes despojos
+  La vida y su ilusión te abandonaban,                            [310]
+  Y consumía lenta calentura
+  Tu corazón al par de tu amargura,
+
+    Si en tu penosa y última agonía
+  Volviste a lo pasado el pensamiento,
+  Si comparaste a tu existencia un día                            [315]
+  Tu triste soledad y tu aislamiento;
+  Si arrojó a tu dolor tu fantasía
+  Tus hijos ¡ay! en tu postrer momento,
+  A otra mujer tal vez acariciando,
+  Madre tal vez a otra mujer llamando,                            [320]
+
+    Si el cuadro de tus breves glorias viste
+  Pasar como fantástica quimera,
+  Y si la voz de tu conciencia oíste
+  Dentro de ti gritándote severa,
+  Si, en fin, entonces tú llorar quisiste,                        [325]
+  Y no brotó una lágrima siquiera
+  Tu seco corazón, y a Dios llamaste,
+  Y no te escuchó Dios, y blasfemaste,
+
+    ¡Oh! ¡crüel! ¡muy crüel! ¡martirio horrendo!
+  ¡Espantosa expiación de tu pecado!                              [330]
+  ¡Sobre un lecho de espinas maldiciendo,
+  Morir el corazón desesperado!
+  ¡Tus mismas manos de dolor mordiendo,
+  Presente a tu conciencia lo pasado,
+  Buscando en vano con los ojos fijos,                            [335]
+  Y extendiendo tus brazos a tus hijos!!
+
+    ¡Oh! ¡crüel! ¡muy crüel!... ¡Ah! yo entre tanto,
+  Dentro del pecho mi dolor oculto,
+  Enjugo de mis párpados el llanto
+  Y doy al mundo el exigido culto:                                [340]
+  Yo escondo con vergüenza mi quebranto,
+  Mi propia pena con mi risa insulto,
+  Y me divierto en arrancar del pecho
+  Mi mismo corazón pedazos hecho.
+
+    Gocemos, sí; la cristalina esfera                             [345]
+  Gira bañada en luz: ¡bella es la vida!
+  ¿Quién a parar alcanza la carrera
+  Del mundo hermoso que al placer convida?
+  Brilla radiante el sol, la primavera
+  Los campos pinta en la estación florida:     [350]
+  Truéquese en risa mi dolor profundo....
+  ¡Que haya un cadáver más! ¿Qué importa al mundo?
+
+
+
+
+                            NOTES
+
+
+
+EL ESTUDIANTE DE SALAMANCA
+
+
+PARTE PRIMERA
+
+Instead of =Cuento=, later editions read =Leyendas=.
+
+The introductory quotation is taken from the "Don Quijote," Part I,
+chap. 45. The words were addressed by Don Quijote to members of the
+rural police who were arresting him for depredations committed on the
+highway. The full sentence in Ormsby's translation reads: "Who was
+he that did not know that knights-errant are independent of all
+jurisdictions, that their law is their sword, their charter their
+prowess, and their edicts their will?" This Spanish declaration of
+independence was frequently used as a slogan by the Romanticists.
+Espronceda is here making the quotation apply more particularly to his
+lawless hero.
+
+=1. Era más de media noche=: the poet begins with a characteristic
+Romantic landscape, gloomy, medieval, fantastic, uncanny. He is trying
+to create a mood of horror. He follows the Horatian precept of beginning
+the plot in the middle (_in medias res_). The situation here introduced
+is not resumed until Part Four is reached. Parts Two and Three supply
+the events leading up to the duel. The Duque de Rivas's "Candil" begins
+in similar fashion:
+
+    Más ha de quinientos años
+  En una torcida calle,
+  Que de Sevilla en el centro
+  Da paso a otras principales;
+    Cerca de la media noche,
+  Cuando la ciudad más grande
+  Es de un grande cementerio
+  En silencio y paz imagen;
+    De dos desnudas espadas
+  Que trababan un combate
+  Turbó el repentino encuentro
+  Las tinieblas impalpables.
+    El crujir de los aceros
+  Sonó por breves instantes
+  Lanzando azules centellas,
+  Meteoro de desastres.
+    Y al gemido _¡Dios me valga!
+  ¡Muerto soy!_ y al golpe grave
+  De un cuerpo que a tierra vino
+  El silencio y paz renacen, etc.
+
+This was first published in "El Liceo," 1838. The Duque de Rivas may
+have been influenced by our text, but such introductions were a Romantic
+commonplace. See M. Fernández y González, "Crónicas romanescas de
+España. Don Miguel de Mañara, memorias del tiempo de Carlos V," Paris,
+1868. The story begins "Era la media noche"; and, later, "Hacía mucho
+tiempo que Sevilla estaba entregada al sueño y al silencio." Espronceda
+is here following his sources closely.
+
+=2. antiguas historias=: not a mere rhetorical statement. These old
+stories actually existed. See the study of sources in the Introduction.
+
+=4. lóbrego=: I follow the reading of the 1840 edition. Later editions
+changed to =lóbrega=, making the adjective agree with =tierra= instead
+of =silencio=. Either reading makes good sense, but in cases of doubt I
+follow the Editio Princeps.
+
+=11. fantasmas=: this noun is usually masculine, but is often feminine
+in popular speech. The distinction between the masculine and feminine
+meanings given in most dictionaries does not apply in Espronceda. He
+uses both genders indifferently.
+
+=19. sábados=: Saturday was the usual day when, according to popular
+belief, witches attended their yearly =aquelarre= or sabbath. The
+favorite meeting-place for Spanish witches was said to be the plain
+around Barahona (Soria).
+
+=27. gótico=: admiration for the Gothic was a characteristic of
+Romanticism.
+
+=37. Salamanca=: the famous university city of Spain. Its founding
+antedates the Carthaginians and the Romans. The university of Palencia
+was transferred to Salamanca by Fernando III in 1239. Neither the
+university nor the city retains much of its ancient importance. See
+Gustave Reynier, "La Vie universitaire dans l'ancienne Espagne," Paris,
+1902.
+
+=38. armas y letras=: these words summarize the Renaissance ideal of
+culture. The perfect gentleman must combine literature and arms. Letters
+were not considered to be apart from active life. Cervantes, Lope de
+Vega, Quevedo, and many others of Spain's great writers of the classic
+period exemplify this ideal.
+
+=53. embozado=: to avoid breathing the cool mountain air of his country,
+a Spaniard frequently draws the corner of his cape over his face,
+concealing it. He is then =embozado=, 'muffled.' When a woman is heavily
+veiled she is =tapada=. This national custom has been effectively used
+by Spanish poets, novelists, and dramatists. It offered a plausible
+excuse for the concealment or confusion of identity.
+
+=64. calle=: this word is the object of =atraviesa=, l. 72.
+
+=65. la calle del Ataúd=: this dismal name does not seem to be of
+Espronceda's own invention. It is found in José Gutiérrez de la Vega's
+"Don Miguel de Mañara," 1851. Espronceda probably used some earlier
+edition of the prose romance of Don Miguel de Mañara.
+
+=96. que=: a relative adverb used with the force of a genitive Translate
+'whose.'
+
+=100. Segundo Don Juan Tenorio=: see the Introduction.
+
+
+PARTE SEGUNDA
+
+The quotation is taken from Byron's "Don Juan," Canto IV, stanza 72, the
+description of Haidée's tomb. I restore the first two words, omitted in
+all previous editions, without which the passage is devoid of meaning.
+The way in which this passage has been garbled was pointed out by
+Piñeyro, "El Romanticismo en España," Paris, 1904.
+
+=181. de luceros coronada=: this verse occurs also in Meléndez Valdés'
+"Rosana en los fuegos." See Foulché-Delbosc, "Quelques Réminiscences
+dans Espronceda," _Revue Hispanique_, XXI, p. 667.
+
+=218. hoja tras hoja=, etc.: in the first part of "Faust," Margarete
+pulls out one by one the petals of a daisy to determine whether or
+not Faust loves her. Is this a reminiscence of Margarete's _Er liebt
+mich--liebt mich nicht?_
+
+=242. pasó=: translate by the English perfect tense. There are many
+other cases in these poems where the preterit had best be rendered by
+the perfect.
+
+=245. miraran=: here and elsewhere the second (=-ra=) tense of the
+imperfect subjunctive is equivalent to a simple past. This use of the
+tense is frequent. At other times this tense is better rendered by a
+pluperfect indicative, when the common subjunctive meaning does not
+serve.
+
+=268.= These verses are the most frequently quoted of the whole poem.
+
+=268. juguete=: I retain, though with some doubt, the reading of the
+original. Later editions have changed to juguetes.
+
+=278.= The thought of these verses is that mean objects may present a
+beautiful appearance when viewed through a telescope. "Distance lends
+enchantment." So woman when viewed through the illusion of fancy is
+better than the woman of reality. This thought is developed farther in
+"A Teresa."
+
+=298.= A frequently recurring thought in Espronceda, typical of Romantic
+pessimism. Truth is man's greatest enemy, he holds. Illusion is
+friendly.
+
+=318.= In this and what follows, Elvira is plainly a copy of Ophelia.
+The influence of Hamlet cannot be doubted. Churchman has pointed out
+that Elvira is a composite of Goethe's Margarete, Shakespeare's Ophelia,
+and the Haidée and Doña Julia of Lord Byron. See "Byron and Espronceda,"
+_Revue Hispanique_, Vol. XX, p. 164.
+
+=324. otra=: I retain the original reading. Later editions erroneously
+read _otras_.
+
+=347. Vaso de bendición=: `blessed vessel,' i.e. an individual
+peculiarly favored with the divine blessing. The phrase _vaso de
+elección_ is commoner, meaning one chosen for a particular mission or
+appointed task. The latter term is frequently applied to the Apostle
+Paul (Acts ix, 15).
+
+=359. Mas despertó también de su locura=, etc.: Ophelia did not recover
+her reason before dying. Likewise she was drowned, while Elvira dies of
+love.
+
+=364. El bien pasado y el dolor presente=: an obvious reminiscence of
+Dante's:
+
+    Nessun maggior dolore
+  Che ricordarsi del tempo felice
+  Nella miseria.--"Inferno," Canto V, ll. 121-123.
+
+There is no greater sorrow than to recall the happy time in the midst of
+misery.
+
+=371.= The letter which follows represents Espronceda's most important
+borrowing from Byron. It is based upon Doña Julia's letter of adieu to
+Don Juan: see "Don Juan," Canto I, stanzas 192-197. The circumstances
+attending the writing of the two letters are entirely different. The
+tone of Doña Julia's letter is cynical; she is a married woman whose sin
+has been discovered and whose husband is forcing her to enter a convent.
+Doña Elvira's letter, written with death in view, is tender and
+pathetic. For details see Churchman, "Byron and Espronceda," _Revue
+Hispanique_, Vol. XX, p. 161.
+
+
+PARTE TERCERA
+
+In giving this quotation from the second act of Moreto's "El Lego del
+Carmen o San Franco de Sena," Espronceda is either quoting erroneously
+or following some edition not known to me. In the Rivadeneyra edition
+the passage is as follows:
+
+  SARGENTO
+  ¿Tiene más que parar?
+
+  FRANCO
+                        Tengo los ojos,
+  Y los juego en lo mismo; que descreo
+  De quien los hizo para tal empleo.
+
+As this play influenced Espronceda, it is well to give a synopsis of it.
+Like the "Rufián dichoso" of Cervantes, the "San Franco de Sena" deals
+with the sinful life and conversion of one who was destined to be a
+saint. Franco of Siena, a youth noted for his wild conduct, falls in
+love with the inappropriately named Lucrecia. He kills her lover Aurelio
+in a duel, and, passing himself off for Aurelio, elopes with her and
+gets possession of her jewels. A cross with a lighted lamp before it is
+placed on a wall to mark the spot where Aurelio fell. One night, as he
+is passing, Franco sacrilegiously attempts to extinguish the light. A
+hand issues from the wall and seizes him by the wrist. Words of warning
+accompany this action. Franco shows neither fear nor compunction. He
+kills all the officers of justice who try to arrest him. Again passing
+the wall, he hears a ghostly voice urge him to try his hand at play,
+for by losing he will win. Franco hopes to win in a material way, and
+decides to follow this advice. He loses all and then stakes his eyes,
+making the blasphemous remark quoted above. He loses and is stricken
+blind. His conversion follows immediately. In the weak third act he
+becomes a Carmelite monk, and his companions in sin experience a like
+change of heart.
+
+The legend of the saint of Siena has many points of similarity with
+the legends of Don Juan Tenorio, Don Miguel de Mañara, and Lisardo the
+Student; but Espronceda has been only slightly influenced by Moreto's
+play. If he gained from it, rather than from Dumas or Mérimée, the idea
+of his gambling scene, he does not follow his model closely. In each
+case a chain is played for, but in Moreto the game is =pintas=, not
+=parar= or dice, and the other details are different. Moreto (1618-1659)
+was one of the most graceful but least original of the dramatists of the
+classic period.
+
+=438.= The game of =parar=, =carteta=, or =andaboba=, as it was
+variously called, was played as follows: The dealer, who also serves as
+banker, places two cards face up at his left. The third card he places
+in front of himself. The fourth card, called the réjouissance card in
+the French form of the game, he places in the middle of the table. The
+players stake on this card whatever bets they desire to make, and these
+the banker is obliged to cover. He then deals a fifth. If this matches
+his own card, he wins all the money staked. If, on the contrary, it
+matches the réjouissance card, those who have staked money upon it win
+from the bank. If it matches neither, it is laid face up on the table,
+and money may be staked upon it precisely as upon the réjouissance card.
+So with all successive cards. The deal ends as soon as the banker's card
+is matched. He then surrenders the bank to the winner, unless the two
+cards laid to his left are matched before the third card dealt, his own,
+is duplicated. In this latter case he is privileged to keep the bank for
+another deal. This game, by reason of its swift action and the large
+number of players who could engage in it, was called =el juego alegre=.
+As results depended upon the turn of a single card, it lent itself
+readily to cheating. It is mentioned in a _pragmática_ of Philip II,
+1575, among a list of games to be prohibited. The modern games of monte
+and baccarat have points of similarity. In France and England the game
+is known as _lansquenet_, and is supposed to have been invented by the
+German _Landsknechte_, mercenary foot-soldiers of the sixteenth
+century. For further information see Hazañas y la Rúa, "Los Rufianes
+de Cervantes," Sevilla, 1906, p. 44, and Monreal, "Cuadros Antiguos,"
+Sevilla, 1906, p. 342. For a similar gambling scene see Tirso de Molina,
+"Tanto es lo de más como lo de menos," Act II, sc. vii.
+
+=455. El Caballo=: to understand what follows some knowledge of Spanish
+playing-cards is necessary. In Spain the =baraja=, or deck, consists,
+according to the game played, of 48 or 40 cards (=cartas, naipes,
+cartones=), and not of 52 as with us. The ten spot is unknown, and when
+the deck consists of but 40 the eight and nine spots are also wanting.
+The =palos=, or suits, are four: =oros= (gold coins, corresponding to
+our diamonds), =copas= (cups, corresponding to our hearts), =espadas=
+(swords, corresponding to our spades), and =bastones= (clubs). These
+figures are not conventionalized. The face cards are three: =el rey=
+(the king), =el caballo= (representing a mounted cavalryman, and
+corresponding in value to our queen), and =la sota= (a standing
+infantryman, sometimes called also =el infante=, and corresponding in
+value to our knave). These figures are unreversible. The First Gambler
+is dealer and banker, as is shown by the fact that he covers the bets
+(line 466). He is losing in spite of the fact that the banker had an
+advantage. The =caballo= is clearly the card that has turned up in front
+of the dealer. The turning up of a second =caballo= would end the deal.
+
+=457. Pues por poco=, etc.: the Second Gambler is mocking the First.
+"You want the =caballo=, and the =sota=, the card next under it in the
+suit, has turned up. This is so close that you should be satisfied." All
+this is implied in his remark.
+
+=459.= The Second Gambler strikes an irreligious note by pretending to
+believe that the First Gambler's oath is a pious remark. He suggests
+that prayer and repentance should be deferred until one is dying.
+Gentlemen of equal rank formerly addressed each other in the second
+person plural.
+
+=466.= The Third Gambler stakes upon the =sota=. Each new card, not
+matching previous ones, was the occasion for new bets.
+
+=480.= An allusion to the world-wide superstition that he who is lucky
+at love is unlucky at cards and vice versa.
+
+=490. Se vende y se rifa=: Don Félix, who has no ready cash, raffles off
+his chain. He places on it a value of 2000 ducats, and announces that
+each of the five gamblers who are in funds must contribute 400 ducats
+to the raffle. The First Gambler, a heavy loser, does not engage in the
+play; and Don Félix, too, enters into this first transaction merely as
+a seller. The chain is to go to the player to whom he deals the ace of
+=oros=, and he himself will get the 2000 ducats. After this he will
+begin to gamble on his own account. The game of =parar= ceased upon the
+entrance of Don Félix.
+
+=491. afrenta=: the affront lies in Don Félix's insolent manner and
+the masterful way in which he forces them to accept his terms without
+question. Indignant as the Fourth Gambler is, he dares not offer open
+objection.
+
+=496=. I restore =una= from the 1840 edition instead of =uno=, found in
+the later prints. The agreement is with =carta=, understood, not with
+=naipe=. So likewise when the cards are dealt out in Moreto's "San
+Franco de Sena," the first numeral is =una=.
+
+=498.= Three is the lucky number. The third card falls to the Third
+Gambler, who wins. The grief of the First Gambler is increased by the
+fact that the winning card would have fallen to him, if he had been in
+the game. Line 496 indicates that D. Félix passes him in dealing.
+
+=500.= Having now come into possession of his 2000 ducats, Don Félix,
+always a reckless gambler, proposes to stake them all upon a single
+throw of the dice.
+
+=516. Si esta imagen respirara=: the First Gambler is so unlucky at
+cards that he may be supposed to be lucky in love. Hence sentimental
+remarks are placed in his mouth.
+
+=520.= The Second Gambler makes a side bet with the Fourth and then a
+second one with the Fifth. These bets will be decided by the same throw
+that decides the bet between Don Félix and the Third Gambler.
+
+=526. Tirad con sesenta=, etc.: "Throw in the name of sixty horsemen."
+Some word like =hombres= or =demonios= needs to be supplied.
+
+=529.= Don Félix, who has again lost, speaks with ironic blasphemy. He
+blames the First Gambler for addressing his prayer to God rather than to
+the devil.
+
+=546. vendellas=: for =venderlas=. In Old Spanish the final =r= of the
+infinitive frequently assimilates to the initial =l= of the enclitic
+pronoun.
+
+=550.= Don Félix's perverted sense of honor will not brook the most
+trivial verbal slight to Elvira on the part of another, although he has
+cruelly wronged her himself by his deeds.
+
+=558.= The First Gambler is not sufficiently blasphemous to invoke the
+devil, and Don Félix does so himself. This invocation changes his luck.
+
+=567. Encubierta fatídica figura=: one of those threadbare phrases
+abused by Spain's romantic poets. Valera in his "Del Romanticismo en
+España y de Espronceda" instances some of these, such as =negro capuz,
+lúgubre són, fúnebre ciprés=, etc. Mesonero Romanos in his "Románticos y
+Romanticismo" ridicules the abuse of the word =fatídica=. Espronceda was
+less frequently guilty of this sort of unoriginality than other less
+gifted poets were.
+
+=610. Mentís vos=: the usual formula for picking a quarrel.
+
+=625, 631. Que=: equivalent to =porque=.
+
+=653. vos=: antiquated for =vosotros=. Don Diego alone is addressed.
+After =Esperad, que= may be understood; such omissions of the
+conjunction are common in poetry. Punctuating differently, we might
+place a period after =Esperad=, in which case =Cuente= might be taken as
+a first person imperative.
+
+=676. juego=: such is the reading of the 1840 edition. Some later editor
+emended to =fuego=. Though this emendation is plausible, the change
+seems to me both unnecessary and unhappy. It is characteristic of Don
+Félix's cool insolence that he should refer to his affair with Elvira as
+a "game" rather than as a "passion."
+
+=692.= The Fourth Gambler's remark is somewhat ambiguous, but the sense
+demands that we take =lo= as referring to Don Félix. Remember that it
+was the Fourth Gambler who had resented Don Félix's overbearing conduct.
+He acted the coward and now talks like a coward. The Third Gambler is
+the most skeptical regarding changes of luck, because he himself has
+experienced the greatest ups and downs of fortune in the game just
+finished.
+
+
+PARTE CUARTA
+
+Miguel de los Santos Álvarez (1818-1892) was a friend and imitator of
+Espronceda and the last surviving member of his school. He was one of
+several who attempted the vain task of completing the "Diablo Mundo."
+He was a guest of honor with Espronceda at the first reading of "El
+Estudiante de Salamanca" at Granada in 1837. His verse is mediocre,
+and he is best known for the _Cuento en prosa_ here quoted. This
+Fitzmaurice-Kelly terms "a charming tale," and Piñeyro praises it
+for the grace and naturalness of its irony. Rubén Darío gives some
+interesting reminiscences of Santos Álvarez in his old age, "La vida
+de Rubén Darío escrita por él mismo", Barcelona, n.d., chap. xxvii.
+Apparently Santos Álvarez never outgrew the bohemianism of his youth.
+
+The second quotation is from Mark xiv, 38: "The spirit truly is ready,
+but the flesh is weak."
+
+=693.= The narrative begun in Part First is now resumed at the point
+where it was interrupted. We now know that it was Don Diego Pastrana who
+lost his life in the duel described in the opening lines.
+
+=717.= The omission of the usual accent of =impio= is intentional and
+indicates how the word should be stressed in this verse. =Impío= is a
+"word of double accentuation". See Introduction.
+
+=729.= Notice how the absolute phrase =Los ojos fijos= is broken by the
+insertion of the proper name. Poets depart from the usual word-order
+with the utmost freedom.
+
+=737. néctar jerezano:= sherry wine.
+
+=738, 740. bastara, intentara=: to be translated as pluperfects.
+
+=766.= It is necessary to supply a =que= to serve as the object of
+=achaca=. This is readily to be inferred from the =que= in the verse
+before, which is, however, used as a subject.
+
+=793.= In this speech of Don Felix's there is rapid alternation between
+direct address, in the second person, and side remarks in the third
+person about the person addressed.
+
+=800. tengo de=: we would have he de in modern prose.
+
+=811.= The =que= in this verse is the =que= regularly following oaths
+and asseverations. Cf. Tobler, "Vermischte Beiträge zur französischen
+Grammatik," Leipzig, 1912, Article 17, pp. 57 f. Tobler gives the
+following example from Calderón: =¡Vive Dios! que no he salido.= ("El
+Mágico Prodigioso," Act III, v. 387.) In these examples, the =¡vive
+dios!= is hardly more than an emphatic =digo=, and is followed by =que=
+just as =digo= would be. Verse 810 is parenthetical.
+
+=828. del=: construe with =mar=.
+
+=833.= For the conclusion of the sentence here begun it is necessary to
+turn to line 883. We have to do with a sentence of 54 lines.
+
+=840.= The 1840 edition lacks the third =su=.
+
+=853. fueron=: 'are past and gone.'
+
+=861. del=: the later editions read =el=. Ditto in lines 862, 863, 866.
+=De= is also omitted in 865.
+
+=868. jamás=: I restore the 1840 reading. Later editions read =y no=.
+
+=916. que=: a conjunction introducing a clause, the verb of which
+(=pese=) has to be supplied.
+
+=921.= The usual accent is intentionally omitted from =veame=. To read
+this verse correctly the second syllable, and not the first, must
+bear the stress. The bad prosody of this verse is discussed in the
+Introduction.
+
+=943.= The Dance of Death begins.
+
+=1012. misteriosa=: late editors wrongly change to =misterioso=.
+Espronceda is using =guía= as a feminine.
+
+=1040. Dale=, etc.: 'plague take the tolling of the passing bell and
+these towers dancing in tangled confusion to the measure of such a
+concert.'
+
+=1046. llegue=: I have emended =llegué= (which I believe Espronceda
+did not intend on account of the "obstructing syllable" which that
+accentuation would give to the verse) to =llegue=. I take =llegue= to be
+the subjunctive of emphatic asseveration. See Bello-Cuervo, "Gramática
+Castellana," paragraph 463. Other editors are perhaps right in
+interpreting the passage differently. They suppress the period after
+=maravillas=, the exclamation point before =Que=, and write =llegué=.
+This makes equally good sense and is just as grammatical, but the verse
+is less harmonious. This last point, however, is not a vital objection.
+The two ways of editing this passage seem to me to offer little choice.
+
+=1062.= Construe =en que= with =ha dado=, above.
+
+=1112.= The quotation from Mark xiv, 38 applies especially to this
+passage. Also to ll. 1626-1633.
+
+=1121.= The three forms of address used by Don Félix in addressing _el
+enlutado_ indicate his change of manner from politeness to insolence. He
+begins with the polite third person singular form. Then, enraged by the
+answer, he is intentionally insulting in verse 1126, wishing to provoke
+a duel. As the other puts up a brave front, he next addresses him as an
+equal (verse 1127) by using the second person plural. This was the
+usual form of address between gentlemen of equal standing during the
+Renaissance period. But, again losing his temper, he relapses into the
+insulting second person singular (verse 1133 and following).
+
+=1133. haga=: an instance of the use of the subjunctive after oaths and
+asseverations. See Bello-Cuervo, "Gramática Castellana," paragraph 463.
+
+=1311. una=: goes with =gradería= in the following verse.
+
+=1385.= Beginning with this verse and ending with l. 1680, the poet
+attempts to indicate the gathering and abating fury of the ghostly revel
+by the successive lengthening and shortening of the verses. The final
+verses also express Don Félix's waning strength. This device is an
+attempt to imitate the _crescendo_ and _diminuendo_ effect of music.
+This whole passage is an obvious imitation of Victor Hugo's "Les
+Djinns," a poem included in "Les Orientales." Nowhere has Espronceda
+shown greater virtuosity in the handling of meter.
+
+=1448.= The nouns and infinitives in this and the following lines are
+objects of =siente=, l. 1456.
+
+=1703. Y si, lector=, etc.: 'And if, reader, you say it is a
+fabrication, I tell it to you as they told it to me.' León Medina,
+"Frases literarias afortunadas," _Revue hispanique_, Vol. XVIII, p. 226,
+states that these two verses are a quotation from Juan de Castellanos,
+an obscure poet of the sixteenth century, author of _Elegías de Varones
+Ilustres de Indias_. (The first three parts of this work may be found
+in Vol. IV of the _Biblioteca de Autores Españoles_; Part IV has been
+edited by Paz y Melia for the _Colección de Escritores Castellanos_,
+Vols. XLIV and XLIX. The passage in question may be found in Canto II,
+octave 8.) Churchman, "Byron and Espronceda," _Revue hispanique_, Vol.
+XX, p. 210, adds the information that Espronceda probably took the lines
+directly from Villalta, who had quoted them in his historical novel _El
+Golpe en Vago_, Madrid, 1835. This is made probable by the fact that
+whereas Castellanos had written correctly =os lo cuento=, Villalta wrote
+=te lo cuento=, Espronceda following him in this grammatical error.
+
+The form =dijerdes=, an old form for the second plural of the future
+subjunctive (modern =dijereis=), represents the syncopation of a still
+older =dijéredes=. Grammatically the pronoun =os= should have been used.
+Evidently both Villalta and Espronceda considered =dijerdes= to be a
+second singular form. A modern editor cannot undertake to correct a
+mistake made by the author. In Old Spanish infinitives could be very
+loosely used. It was not necessary that the subject of a dependent
+infinitive should be the same as that of the verb on which it depended.
+
+The word =comento= here has the meaning "fiction," "fabrication." I find
+this meaning given in none of the dictionaries, but it can readily be
+inferred from the word =comentador=, which had as one of its meanings
+"an inventor of false reports." =Comento=, like Latin _commentum_, has
+as one of its meanings "fiction," "fabrication."
+
+The writers of =leyendas= were fond of stressing the traditional nature
+of their poems. Thus Zorrilla concludes his "Capitán Montoya":
+
+  El pueblo me lo contó
+  Sin notas ni aclaraciones,
+  Con sus mismas espresiones
+  Se lo cuento al pueblo yo.
+
+
+
+
+CANCIÓN DEL PIRATA
+
+=7. en todo mar conocido=: I follow the reading of the text as it
+originally appeared in _El Artista_. The later version of 1840 is
+peculiar in the reading =en todo el mar conocido=. We cannot be certain
+that this is a change made by Espronceda himself.
+
+=84.= Instead of =negro= the 1840 edition reads =ronco=.
+
+
+
+
+EL CANTO DEL COSACO
+
+Attila, king of the Huns, reigned from 433 until his death 453 A.D. He
+is noted for the barbaric ferocity of his campaigns against the Eastern
+and Western Roman Empires and the Germanic kingdoms of the West. In 447
+he ravaged seventy cities in Thrace, Macedonia, and Greece, and all but
+captured Constantinople. In 451 he crossed the Rhine and sacked the
+cities of Belgic Gaul. He was decisively defeated at Troyes by the
+Gothic leader Theodoric in league with the Roman general Aëtius. He then
+entered northern Italy, where he continued his depredations and advanced
+upon Rome. The Emperor Valentinianus II saved the city by paying
+tribute. Legend has it that while in Gaul a hermit called Attila to his
+face the "scourge of God." Attila accepted the designation and replied
+with the remark quoted in the text. This story is not found in Jordanes,
+Priscus, or any of the contemporary historians. Gibbon says: "It is a
+saying worthy of the ferocious pride of Attila that the grass never grew
+on the spot where his horse had trod" ("Decline and Fall of the Roman
+Empire," London, 1897, III, p. 469). This poem is a magnificent
+expression of barbaric battle-lust. Espronceda felt as a youth that
+wholesale destruction must precede the new order of things in Spain and
+Europe.
+
+=50.= The poet hopelessly confuses the exploits of the Huns, the Goths,
+and the Cossacks. Neither the Cossacks nor the Huns ever captured Rome.
+Alaric the Goth took Rome in 410 A.D.
+
+=65.= The principal Cossack invasion of Poland was in the first half of
+the seventeenth century, when Chmielnicki, hetman of the Cossacks, with
+the aid of his Tartar allies ruthlessly devastated the Polish provinces.
+This war has been vividly described by Sienkiewicz in his novel "With
+Fire and Sword."
+
+=79.= The Huns are said to have carried raw meat beneath their saddles
+as they rode. At the end of the day's ride they would eat it.
+
+
+
+
+EL MENDIGO
+
+=108.= The poet has paraphrased the proverb =Allá van leyes do quieren
+reyes=, the idea of which is that a tyrant can twist the law to serve
+the purposes of his tyranny.
+
+
+
+
+A TERESA. DESCANSA EN PAZ
+
+For an account of Teresa, see the Introduction. For Miguel de los Santos
+Álvarez, see the note to "El Estudiante de Salamanca," Part IV.
+
+=41.= The poet describes his three youthful passions: liberty, romantic
+literature, and love.
+
+=49. Catón=: Caius Porcius Cato (95-46 B.C.), commonly called Cato of
+Utica, was a stalwart defender of Roman republicanism against Caesar
+and his party. His suicide after the defeat of the republican cause at
+Thapsus was regarded as an act of stoic heroism.
+
+=50. Bruto=: it is not clear whether the poet refers to Lucius Junius
+Brutus, who drove from power Tarquinius Superbus, founded the Roman
+republic, and displayed his rigid justice by condemning to death his own
+sons, or Marcus Junius Brutus, who assassinated Cæsar in the name of
+liberty.
+
+=51. Scévola=: a hero of early Rome who was captured by the enemy
+and threatened with death by fire if he refused to give important
+information. He replied by deliberately holding his hand in a flame.
+
+=52. Sócrates= (469-400 B.C.): the celebrated Grecian philosopher. He
+believed in the immortality of the soul.
+
+=54. Del orador de Atenas=: Demosthenes (385-322 B.C.), especially
+famous for his Philippics, a series of twelve orations directed against
+Philip of Macedon, the _tirano macedonio_ here alluded to. All these
+classical allusions seem to show that Espronceda, like most of the
+leaders of the French Revolution, was influenced by Plutarch.
+
+=57.= In this octave the poet voices his enthusiasm for the Middle Ages
+and romantic literature in general. In his desire to embrace in his own
+life the careers of knight and troubadour, Espronceda is harking back to
+the "arms and letters" ideal of many of Spain's greatest writers.
+
+=77. Soñaba al héroe=: =con= is the usual complement of =soñar= in
+prose.
+
+=89.= Espronceda's first meeting with Teresa took place in Portugal in
+the beautiful region around Cintra.
+
+=131. La sacra ninfa que bordando=, etc.: according to Menéndez y
+Pelayo, these two verses are taken from the "Fábula de Genil" of
+Pedro Espinosa, an author whom he says Espronceda knew by heart. (See
+"Discursos leídos ante la Real Academia Española en la recepción del
+excmo. señor D. Francisco Rodríguez Marín, el día 27 de octubre de
+1907," Madrid, 1907, p. 86). The verses in question are:
+
+  Corta las aguas con los blancos brazos
+  La ninfa, que con otras ninfas mora
+  Debajo de las aguas cristalinas
+  En aposentos de esmeraldas finas.
+
+And farther down,
+
+  El despreciado dios su dulce amante
+  Con las náyades vido estar bordando.
+
+This in turn, it seems to me, may be reminiscent of Garcilaso de la
+Vega's _Égloga Tercera_. Apparently P. Henríquez Ureña has made this
+discovery independently. See _Revista de Filología Española_, IV, 3, p.
+292.
+
+=170.= The usual accent has been intentionally omitted from =aerea=.
+
+=201.= "How art thou fallen from heaven, O Lucifer, son of the morning."
+Isaiah xiv, 12.
+
+=232.= The story of the man who spits upon himself while trying to spit
+upon the sky is as old as Berceo in Spanish literature.
+
+=238.= One has to supply a =se= with =convirtieron=. This may readily be
+inferred from the preceding verse.
+
+=352.= Foulché-Delbosc thinks that this last verse was suggested by
+Hugo, "Les Feuilles d'automne, XXXV, Soleils couchants." See _Revue
+hispanique_, XXI, p. 667.
+
+
+
+
+
+VOCABULARY
+
+The sign "-" means the word which stands in black type at the head of
+the paragraph; thus, =-se= under =abrir= means =abrirse=.
+
+
+
+  _acc._ = accusative.
+  _adj._ = adjective.
+  _adv._ = adverb.
+  _art._ = article.
+  _card._ = cardinal numeral.
+  _cf._ = compare.
+  _conj._ = conjunction.
+  _dat._ = dative.
+  _dem._ = demonstrative.
+  _f._ = feminine.
+  _impers._ = impersonal.
+  _inf._ = infinitive.
+  _interj._ = interjection.
+  _interrog._ = interrogation, interrogative.
+  _Ital._ = Italian.
+  _m._ = masculine.
+  _neut._ = neuter.
+  _p.p._ = past participle.
+  _pers._ = person, personal.
+  _pl._ = plural.
+  _poss._ = possessive.
+  _pr. n._ = proper noun.
+  _prep._ = preposition.
+  _pron._ = pronoun.
+  _refl._ = reflexive.
+  _rel._ = relative.
+  _sc._ = to wit.
+  _sing._ = singular.
+  _viz._ = namely.
+
+
+
+  =a= _prep._ to, at, on, upon, over, in, towards, with, from, for,
+     around, by, of, when, as; _as sign of the accusative, not to be
+     translated_; =----= + _inf._ if (=---- estar aquí= if she were
+     here); =al= + _inf._ upon, on, at, when.
+  =abandonar= abandon, forsake, leave.
+  =abandono= _m._ abandonment, surrender, yielding.
+  =abarcar= embrace, contain.
+  =abatir= overthrow, lay low.
+  =abierto, -a= open.
+  =abismo= _m._ abyss, hell, bottomless pit.
+  =ablandarse= soften, relent, give.
+  =abonar= improve, warrant, favor, become.
+  =abrasado, -a= burning, hot.
+  =abrasar= burn.
+  =abrazo= _m._ embrace.
+  =ábrego= _m._ southwest wind.
+  =abreviar= shorten.
+  =abrir= open, expand, cut; =--se= open, yawn, unfold, split.
+  =abrojo= _m._ thistle, thorn.
+  =absolución= _f._ absolution.
+  =abundante= _adj._ abundant, abounding, teeming.
+  =acá= _adv._ here, hither.
+  =acabar= end, cease; =--se= come to an end.
+  =acacia= _f._ acacia.
+  =acariciar= cherish, soothe, caress.
+  =acaso= _adv._ perchance, perhaps.
+  =acción= _f._ action, feat.
+  =acento= _m._ accent, voice, words, tone.
+  =acercar= approach, bring near; =--se= approach.
+  =acero= _m._ steel.
+  =acertar= guess aright, tell certainly, ascertain, divine.
+  =acompañar= accompany, follow.
+  =acudir= assist, hasten to assistance, come, appear.
+  =achacar= blame, impute, attribute.
+  =adelantar(se)= advance, proceed, hasten.
+  =adelante= _adv._ onward, on, farther, forward.
+  =ademán= _m._ gesture, attitude, look, manner.
+  =adiós= _m._ adieu, farewell.
+  =admirar= wonder at, admire.
+  =admitir= admit, accept, permit.
+  =adónde= _adv._ where? whither.
+  =adorar= adore.
+  =adormir= drop to sleep.
+  =adornar= adorn.
+  =adorno= _m._ ornament, adornment.
+  =aduar= _m._ camp, camp of gypsies, horde of gypsies.
+  =adusto, -a= austere, sullen, gloomy, solemn.
+  =advertir= warn.
+  =aéreo, -a= ethereal, aerial, airy.
+  =afán= _m._ eager desire, longing, anxiety, effort, toil, difficulty,
+     bustle.
+  =afanar= distress; =--se= desire eagerly, struggle for.
+  =afeminado, -a= effeminate.
+  =afilado, -a= sharp, slender, thin, tapering.
+  =afligido, -a= troubled, distressed.
+  =afligir= pain, grieve.
+  =afrenta= _f._ insult, affront.
+  =ágil= _adj._ nimble, light.
+  =agilidad= _f._ quickness, nimbleness, activity.
+  =agitar= agitate, move, stir, stir up, sway, shake, disturb.
+  =agolpado, -a= curdled.
+  =agolpar= rush, gather.
+  =agonía= _f._ agony, death struggle, pangs of death.
+  =agostar= parch, wither.
+  =agradecer= be grateful, render thanks, be grateful for.
+  =agradecido, -a= thankful, grateful.
+  =agreste= _adj._ wild, rude, rough.
+  =agrupar(se)= cluster.
+  =agua= _f._ water.
+  =aguardar= await, expect.
+  =agudo, -a= sharp, keen.
+  =¡ah!= _interj._ ah!
+  =ahínco= _m._ energy, determination.
+  =ahogar= stifle, smother, drown.
+  =ahora= _adv._ now, at present.
+  =airado, -a= angry.
+  =aire= _m._ air, atmosphere, wind, breeze, manner.
+  =airoso, -a= airy, lively, easy, genteel, elegant, graceful.
+  =aislamiento= _m._ isolation.
+  =ajar= spoil, crumple, fade.
+  =ajeno, -a= of another, ignorant, unaware; =---- de= free from.
+  =ala= _f._ wing, brim.
+  =alabar= praise, extol.
+  =alarido= _m._ cry, shout, shriek.
+  =alba= _f._ dawn.
+  =albo, -a= white.
+  =alborada= _f._ dawn.
+  =alborotar= stir up, agitate, arouse, excite, disturb, confuse;
+     =--se= get excited.
+  =alcanzar= attain, succeed, achieve, reach, obtain, take; =---- a
+     hacer= succeed in doing, be capable of doing.
+  =alcázar= _m._ castle, fortress.
+  =alegrarse= rejoice, be glad.
+  =alegre= _adj._ happy, joyful, merry, beautiful, fair, clear.
+  =alegría= _f._ joy, merriment.
+  =alejarse= move away, recede.
+  =alentar= animate, foster, cherish.
+  =alfombra= _f._ carpet.
+  =algazara= _f._ shout, shouting, hubbub.
+  =alguno, -a= _adj. pron._ some, some one.
+  =aliento= _m._ breath, spirit, exhalation.
+  =alma= _f._ soul, heart, person.
+  =almena= _f._ battlement.
+  =almo, -a= holy.
+  =alquiler= _m._ hire; =de ----= hired, let for hire.
+  =alrededor= _adv._ around; =a mi ----= around me.
+  =altanero, -a= soaring, haughty, arrogant, overbearing, proud.
+  =altar= _m._ altar.
+  =alterar= change, disturb, stir up.
+  =altísimo, -a= very high, lofty.
+  =altivez= _f._ arrogance, presumption.
+  =altiveza= _f._ arrogance, haughtiness.
+  =altivo, -a= haughty, proud, lofty.
+  =alto, -a= high, steep, tall, raised, lofty, erect, loud.
+  =altura= _f._ height; =----s= heavens, on high.
+  =alumbrar= light, shed light, illumine.
+  =Álvarez= _pr. n._ Álvarez.
+  =alzar= raise, lift, hoist; =--se= rise; =--se de pie= rise to one's
+     feet.
+  =allá= _adv._ there, yonder, thither; =---- va= here goes; =---- voy=
+     I am coming; =más ----= farther on, beyond.
+  =allí= _adv._ there.
+  =amable= _adj._ pleasing, lovely, kind.
+  =amado, -a= beloved, loved (one).
+  =amador= _m._ lover.
+  =amante= _adj._ loving.
+  =amante= _m. f._ lover, sweetheart.
+  =amar= love.
+  =amargo, -a= bitter.
+  =amargura= _f._ bitterness, sorrow.
+  =amarillo, -a= yellow.
+  =amedrentar= frighten, terrify.
+  =amigo= _m._ friend.
+  =amontonar= gather, pile up.
+  =amor= _m._ love, lady-love, sweetheart; =----es= love affairs,
+     amours, intrigues.
+  =amoroso, -a= loving, amorous, gentle.
+  =amparar= protect; =--se= be protected, enjoy protection.
+  =analizar= analyze.
+  =anatema= _m. f._ anathema.
+  =anclar= anchor.
+  =andado, -a= traversed.
+  =andadura= _f._ amble; =paso de ----= ambling gait.
+  =andar= go, move, walk, be; =vamos andando= let us be off.
+  =andar= _m._ gait, walk.
+  =andrajoso, -a= tattered.
+  =anegar= drown.
+  =ángel= _m._ angel.
+  =angélico, -a= angelic, heaven-born.
+  =ángulo= _m._ corner.
+  =angustia= _f._ anguish.
+  =angustiado, -a= anguished, distressed.
+  =angustioso, -a= full of anguish, miserable, painful.
+  =anhelante= _adj._ covetous, longing.
+  =anhelo= _m._ desire, longing, yearning.
+  =ánima= _f._ soul.
+  =animarse= take courage, become animated.
+  =ánimo= _m._ spirit, courage, mind, intention.
+  =animoso, -a= spirited, gallant, brave.
+  =ansia= _f._ longing, eagerness, anxiety, anguish.
+  =ansiar= desire, yearn for, long for, crave.
+  =ansiedad= _f._ anxiety, eagerness, longing, anguish.
+  =ansioso, -a= anxious.
+  =ante= _prep._ before.
+  =antes= _adv._ before; =---- de= _prep._ before.
+  =antiguo, -a= old, ancient, former.
+  =antojo= _m._ fancy, caprice.
+  =antorcha= _f._ torch, taper.
+  =anublar= becloud, darken.
+  =anunciar= announce, proclaim.
+  =añadir= add.
+  =año= _m._ year.
+  =apagado, -a= extinguished, softened.
+  =apagar= extinguish.
+  =aparecer(se)= appear.
+  =aparición= _f._ apparition, ghost.
+  =apartar= remove, withdraw.
+  =aparte= _adv._ aside.
+  =apenas= _adv._ hardly, barely.
+  =aplauso= _m._ applause.
+  =apoderarse de= take possession of.
+  =apostar= bet, wager, stake.
+  =apostura= _f._ neatness, spruceness, appearance.
+  =apoyar= rest, support.
+  =aprecio= _m._ regard; =hacer ---- de= note.
+  =apremiar= press.
+  =aprestar= make ready, prepare.
+  =apretado, -a= tight, close.
+  =apretar= press, clutch, tighten.
+  =aquel, -la= _adj. dem._ that.
+  =aquél, -la, aquello= _pron. dem._ that one.
+  =aquí= _adv._ here, now; =de ---- a una hora= an hour hence.
+  =Aquilón= _m._ north wind.
+  =ara= _f._ altar.
+  =árbol= _m._ tree.
+  =arboleda= _f._ grove.
+  =arcano= _m._ secret, mystery.
+  =arco= _m._ arch.
+  =archivo= _m._ archive, repository.
+  =arder= burn, glow.
+  =ardido, -a= burning.
+  =ardiente= _adj._ ardent, burning.
+  =ardite= _m._ ardite (an ancient coin); farthing.
+  =arenal= _m._ sandy place.
+  =argentado, -a= silvery, silvered.
+  =argentino, -a= silvery.
+  =árido, -a= dry, dried up, barren.
+  =arma= _f._ arms, weapon.
+  =armar= arm, start.
+  =armonía= _f._ harmony, music, rhythm, concord, peace.
+  =armonioso, -a= harmonious, melodious.
+  =aroma= _m._ aroma, fragrance, scent, perfume.
+  =aromoso, -a= aromatic, fragrant.
+  =arpa= _f._ harp.
+  =arrancar= tear out, pluck out, wring, wrest, tear away, take away.
+  =arrebatar= bear away, catch, snatch up, attract, captivate, charm;
+  =--se= grow furious, rush headlong, give way to passion.
+  =arrebolar= redden.
+  =arrogancia= _f._ arrogance.
+  =arrojar= throw, cast, cast off.
+  =arrojo= _m._ daring, fearlessness.
+  =arrostrar= face, fight, encounter.
+  =arroyuelo= _m._ little brook, brooklet.
+  =arruinado, -a= ruinous, crumbling.
+  =arrullar= lull.
+  =arrullo= _m._ lullaby.
+  =as= _m._ ace.
+  =asaz= _adv._ enough, sufficiently, very.
+  =ascender= ascend, rise.
+  =así= _adv._ so, thus.
+  =Asia= _f._ Asia.
+  =asiento= _m._ seat.
+  =asilo= _m._ refuge, protection, shelter, haven, asylum.
+  =asolador, -a= destroying, devastating.
+  =asomar= appear.
+  =asombro= _m._ amazement, wonder.
+  =aspecto= _m._ aspect, appearance, sight.
+  =áspero, -a= rough, rugged.
+  =aspirar= breathe, inhale, aspire.
+  =asqueroso, -a= loathsome, filthy.
+  =astro= _m._ heavenly body, orb, star.
+  =astuto, -a= cunning, crafty.
+  =asunto= _m._ affair, business.
+  =asustar= frighten.
+  =atajar= head off, stop, check, confound.
+  =ataúd= _m._ coffin.
+  =Atenas= _pr. n. f._ Athens.
+  =atento, -a= attentive, watchful, heedful, intent.
+  =aterrador, -a= frightening, terrible.
+  =Átila= _pr. n. m._ Attila.
+  =atrás= _adv._ behind, backward.
+  =atravesar= pass through, cross.
+  =atrevido, -a= bold, daring.
+  =atronador, -a= thundering.
+  =atropellar= trample under foot, strike down; =--se= hasten, crowd.
+  =audacia= _f._ audacity.
+  =audaz= _adj._ bold, fearless.
+  =aullar= howl.
+  =aullido= _m._ howl, cry of horror.
+  =aumentar= increase, enlarge, magnify.
+  =aún, aun= _adv._ yet, still, even, nevertheless.
+  =aunque= _conj._ although.
+  =aura= _f._ breeze, zephyr.
+  =aurora= _f._ dawn, break of day, aurora.
+  =ausencia= _f._ absence.
+  =autómata= _m._ automaton, mere machine, puppet.
+  =avanzar= advance, go forward.
+  =avariento, -a= avaricious.
+  =avaro, -a= avaricious, covetous.
+  =avaro= _m._ miser.
+  =ave= _f._ bird.
+  =aventura= _f._ adventure, affair.
+  =avergonzarse de= be ashamed of, blush for.
+  =ávido, -a= eager, covetous.
+  =ay= _interj._ alas, oh; =---- de= alas for.
+  =ay= _m._ groan.
+  =ayer= _adv._ yesterday, lately.
+  =azahar= _m._ orange blossom.
+  =azorar= terrify.
+  =azotar= lash, flog, whip.
+  =azul= _adj._ blue, azure.
+
+
+  =bajar= lower, descend, bow, hang down.
+  =bajel= _m._ ship.
+  =bajo= _prep._ under, beneath.
+  =baldón= _m._ reproach, insult.
+  =banda= _f._ side of a ship.
+  =bandera= _f._ banner, flag.
+  =bandolero= _m._ bandit.
+  =banquete= _m._ banquet.
+  =bañar= bathe.
+  =báquico, -a= Bacchanalian.
+  =bárbaro, -a= barbarous, cruel, fierce.
+  =barco= _m._ vessel, ship; =---- viene a= sail!
+  =barrer= sweep.
+  =barrera= _f._ barrier.
+  =barro= _m._ clay, mud.
+  =base= _f._ base, foundation.
+  =bastar= suffice, be enough.
+  =beber= drink, imbibe.
+  =befa= _f._ scoff, ridicule, taunt.
+  =beldad= _f._ beauty.
+  =beleño= _m._ henbane, poison.
+  =belleza= _f._ beauty.
+  =bello, -a= beautiful, fair.
+  =bendecir= bless, praise.
+  =bendición= _f._ blessing.
+  =bergantín= _m._ brigantine.
+  =beso= _m._ kiss.
+  =bien= _adv._ well, indeed, all right.
+  =bien= _m._ good, good thing, treasure, beloved one, blessing; =hacer
+     ----= give alms, aid.
+  =bienhechor, -a= _m. f._ benefactor.
+  =bienvenido, -a= welcome.
+  =bigote= _m._ mustache; =hacerse el ----= curl one's mustache.
+  =blanca= _f._ blanca (old copper coin).
+  =blanco, -a= white, fair.
+  =blancor= _m._ whiteness.
+  =blando, -a= soft, tender, gentle, pleasing.
+  =blasfemar= blaspheme, curse.
+  =blasón= _m._ blazon, armorial bearings, honor, glory.
+  =bledo= _m._ blite, pigweed; =dar un ---- de= care a straw for.
+  =boca= _f._ mouth, lips.
+  =boda= _f._ marriage, wedding.
+  =bolsa= _f._ purse, money.
+  =bonanza= _f._ fair weather.
+  =bordar= embroider, embellish.
+  =borrasca= _f._ storm, tempest.
+  =borrascoso, -a= tempestuous, stormy.
+  =borrón= _m._ blot, stigma.
+  =bosque= _m._ forest, wood, bosk.
+  =bote= _m._ thrust.
+  =botín= _m._ booty, spoils.
+  =bóveda= _f._ arch, vault, cavern.
+  =bramador, -a= roaring, bellowing, raging.
+  =bramar= roar, rage, bluster, bellow.
+  =bramido= _m._ howling, roaring.
+  =bravío, -a= wild, fierce.
+  =bravo, -a= brave.
+  =bravura= _f._. bravado, fierceness, ferocity, boasting.
+  =brazo= _m._ arm, embrace.
+  =breve= _adj._ brief, short.
+  =bridón= _m._ steed, bridle.
+  =brillante= _adj._ brilliant, bright.
+  =brillar= glisten, shine.
+  =brindar= drink to one's health, offer, pledge.
+  =brío= _m._ strength, courage, mettle, spirit, resolution.
+  =brisa= _f._ breeze.
+  =broche= _m._ clasp, brooch.
+  =brotar= bud, bring forth, put forth, gush forth, shed.
+  =bruja= _f._ witch.
+  =brutal= _adj._ brutal.
+  =Bruto= _pr. n. m._ Brutus.
+  =bueno, -a= good, fine, pleasant.
+  =bujía= _f._ candle, taper.
+  =bulto= _m._ dim form.
+  =bulla= _f._ bustle, throng, noise.
+  =bullicio= _m._ tumult, bustle.
+  =bullidor, -a= restless, merry.
+  =burla= _f._ joke.
+  =buscar= seek, hunt, look for.
+  =buscarruidos= _m._ quarrelsome fellow.
+  =caballeresco, -a= gentlemanly.
+  =caballero= _m._ knight, gentleman, nobleman, sir; =¡mal ----!=
+     scoundrel!
+  =caballo= _m._ horse, steed, figure on horseback in Spanish pack of
+     cards, equivalent to the queen; =a ----= on horseback; =¡a ----!=
+     to horse!
+  =cabaña= _f._ cottage, hut, hovel.
+  =cabello= _m._ hair, locks.
+  =cabeza= _f._ head.
+  =cable= _m._ cable.
+  =cada= _adj._ every, each.
+  =cadáver= _m._ corpse, dead body.
+  =cadavérico, -a= cadaverous.
+  =cadena= _f._ chain.
+  =caduco, -a= worn out, decrepit, broken down.
+  =caer(se)= fall, set, sink, droop.
+  =calar= penetrate; =--se= pull down; =--se el sombrero= pull down
+     one's hat.
+  =calavera= _f._ skull.
+  =calentura= _f._ fever.
+  =caliz= _m._ chalice, calyx.
+  =calma= _f._ calm, quiet, calmness, coolness; =en ----= calm.
+  =calmar= calm, mitigate, soften, still, quiet, slake, cool.
+  =calmo, -a= calm, still.
+  =callado, -a= silent, quiet.
+  =callar= be silent.
+  =calle= _f._ street.
+  =cambiar(se)= change, turn.
+  =caminar= move, walk, go, go on, travel, march.
+  =camino= _m._ road, way, path, journey.
+  =campana= _f._ bell.
+  =campanilla= _f._ little bell.
+  =campaña= _f._ country.
+  =campiña= _f._ field.
+  =campo= _m._ field, country.
+  =can= _m._ dog, dog-star.
+  =canción= _f._ song.
+  =cándido, -a= white, bright, pure.
+  =candor= _m._ ingenuousness.
+  =candoroso, -a= candid, pure, innocent.
+  =cansar= weary, bore.
+  =cantar= sing, chant, sing of.
+  =cantar= _m._ song.
+  =cántico= _m._ canticle, song of praise.
+  =cantidad= _f._ amount, sum.
+  =canto= _m._ singing, song.
+  =cañón= _m._ cannon.
+  =capa= _f._ cape, cloak.
+  =capaz= _adj._ capable.
+  =capitán= _m._ captain.
+  =capricho= _m._ caprice, whim, fancy.
+  =capuz= _m._ cloak, hood, cape.
+  =caracol= _m._ snail, winding staircase; =gradería de ---- torcida=
+     spiral staircase.
+  =carbón= _m._ coal.
+  =carcajada= _f._ burst of laughter; =soltar una ----= burst out
+     laughing.
+  =cárcel= _f._ prison.
+  =cárdeno, -a= livid.
+  =carga= _f._ burden.
+  =cariado, -a= rotten, putrid.
+  =caricia= _f._ caress.
+  =caridad= _f._ charity, alms.
+  =carmín= _m._ carmine.
+  =carne= _f._ flesh.
+  =caro, -a= dear, expensive.
+  =carrera= _f._ course.
+  =carta= _f._ card.
+  =casa= _f._ house, home, building; =---- de huéspedes= lodging-house.
+  =casamiento= _m._ marriage, wedding.
+  =casi= _adv._ almost.
+  =caso= _m._ case, matter, event; =hacer ---- de= take notice of, heed.
+  =castigo= _m._ punishment; =dar ----=punish.
+  =castillo= _m._ castle.
+  =Catón= _pr. n. m._ Cato.
+  =caudal= _m._ fortune, abundance.
+  =causar= cause.
+  =cautivo, -a= _m. f._ captive.
+  =cavernoso, -a= cavernous.
+  =ceder= decrease, slacken, abate, diminish.
+  =céfiro= _m._ zephyr, breeze.
+  =ceja= _f._ eyebrow.
+  =cejijunto, -a= close-knit.
+  =celebrar= celebrate, praise.
+  =celeste= _adj._ celestial, heavenly.
+  =celestial= _adj._ celestial, heavenly.
+  =celoso, -a= jealous.
+  =cena= _f._ supper.
+  =cenar= sup.
+  =centinela= _m. f._ sentinel.
+  =ceñir= gird.
+  =ceño= _m._ frown.
+  =cerca= _adv._ near, close.
+  =cercano, -a= close by, near, approaching.
+  =cercar= encircle, surround.
+  =cesar= cease; =sin ----= incessantly, constantly.
+  =cetro= _m._ scepter.
+  =ciego, -a= blind.
+  =cielo= _m._ sky, heaven.
+  =ciencia= _f._ science, knowledge.
+  =ciento, cien=, _card._ hundred.
+  =cierto, -a= certain, sure, assured; =por ----= certainly, indeed.
+  =cifrar en= place in, fix upon.
+  =cima= _f._ crest, summit, top.
+  =cimiento= _m._ foundation.
+  =cinco= _card._ five.
+  =cincuenta= _card._ fifty.
+  =cinta= _f._ ribbon, band, belt, girdle.
+  =círculo= _m._ circle, circling.
+  =cita= _f._ appointment, meeting, rendezvous.
+  =ciudad= _f._ city.
+  =claridad= _f._ light.
+  =claro, -a= bright, clear, pure.
+  =clavar= nail, fasten, fix.
+  =coagular= coagulate, curdle.
+  =cobarde= _adj._ cowardly.
+  =cobarde= _m._ coward.
+  =codicioso, -a= greedy, eager.
+  =coger= seize, take, catch.
+  =cogido (lo)= booty, plunder.
+  =cólera= _f._ anger, wrath.
+  =colérico, -a= choleric, angry.
+  =colgar= hang.
+  =color= _m._ color, hue, complexion.
+  =colorar= color, tinge; =--se= become colored, color.
+  =columna= _f._ column, pillar.
+  =combatido, -a= contending, struggling.
+  =combatir= combat, attack, contend, fight.
+  =comento= _m._ comment, fiction, fabrication.
+  =comenzar= commence.
+  =comer= eat, dine.
+  =como= _adv._ like, as, how, about; =tan ... ----= as ... as;
+      =---- cuánto= about how much.
+  =cómo= _interrog._ how.
+  =compañero= _m._ companion.
+  =compañía= _f._ company, companionship.
+  =comparar= compare.
+  =compás= _m._ measure, time; =a ----= in time; =al ---- de= in the
+     time of.
+  =compasión= _f._ pity.
+  =compasivo, -a= compassionate, sympathetic.
+  =comprender= comprehend, understand.
+  =con= _prep._ with, in, against, on.
+  =cóncavo, -a= concave, hollow.
+  =cóncavo= _m._ concavity.
+  =conceder= grant, give.
+  =contento= _m._ harmony.
+  =conciencia= _f._ conscience, consciousness.
+  =concierto= _m._ harmony.
+  =condenar= condemn, sentence.
+  =conducir= lead.
+  =confianza= _f._ confidence, intimacy.
+  =confín= _m._ confine, limit, border.
+  =confundir= overwhelm, engulf, confuse, confound, mingle, heap up;
+     =--se= be bewildered, be perplexed.
+  =confusión= _f._ confusion, disorder.
+  =confuso, -a= confused, dim, indistinct, bewildering.
+  =conjurar= conjure, implore.
+  =conjuro= _m._ conjuration, incantation.
+  =conmigo= _pron. pers._ with me.
+  =conmover= stir, affect.
+  =conocer= know, be acquainted with, recognize; =--se= know each other.
+  =conque= _conj._ so then, and so.
+  =conquistar= conquer, subdue.
+  =conseguir= attain, obtain, gain.
+  =consentido, -a= spoiled.
+  =considerable= _adj._ considerable.
+  =consigo= _pron. pers._ with one's self, with himself, _etc._.
+  =consolar= console, comfort.
+  =consorte= _m. f._ husband, wife.
+  =constancia= _f._ constancy, firmness, determination.
+  =Constantinopla= _pr. n. f._ Constantinople.
+  =consuelo= _m._ consolation.
+  =consumir= consume, burn out.
+  =contar= recount, relate, tell, tell off, count, consider, look upon;
+      =---- con= count upon, reckon with; =con vos no cuento= I pass you
+      by.
+  =contemplar= contemplate, behold, gaze at, look at, meditate.
+  =contenerse= restrain one's self, keep one's temper.
+  =contento= _m._ contentment, joy, mirth.
+  =contigo= _pron. pers._ with thee.
+  =continente= _m._ manner, mien, gait.
+  =contino= _adv._ constantly, continually; =de ----= continually.
+  =continuo, -a= continual, constant.
+  =contra= _prep._ against; =en ----= against.
+  =conversión= _f._ conversion, reform.
+  =convertir= convert, reform, change; =--se en= change to, become.
+  =convidar= invite, entice, allure.
+  =convocar= convoke, summon.
+  =convulso, -a= convulsive.
+  =copa= _f._ foliage, branches.
+  =corazón= _m._ heart, breast, love, courage, spirit.
+  =cornudo, -a= horned.
+  =coro= _m._ chorus.
+  =corona= _f._ crown.
+  =coronar= crown.
+  =corredor= _m._ corridor, gallery.
+  =correr= run, meet with, pass, pass away, flow.
+  =corresponder= return, requite, reciprocate.
+  =corriente= _f._ current, stream.
+  =corro= _m._ group, circle.
+  =corromper= pollute.
+  =corrompido, -a= polluted, foul.
+  =cortar= cut.
+  =corte= _f._ court, retinue.
+  =cortejar= court, woo.
+  =cosa= _f._ thing, matter; =gran ----= much.
+  =Cosaco= _m._ Cossack.
+  =cosecha= _f._ harvest; =de mi ----= of my invention.
+  =coyuntura= _f._ joint.
+  =cráneo= _m._ skull.
+  =crear= create.
+  =crecer= grow, rage, increase.
+  =creer= believe, think.
+  =crescendo= _Ital._ crescendo.
+  =crespón= _m._ crape.
+  =criatura= _f._ creature, being, man.
+  =crimen= _m._ crime.
+  =crispante= _adj._ shivery.
+  =crisparse= twitch.
+  =cristal= _m._ crystal, glass.
+  =cristalino, -a= crystalline, transparent, bright.
+  =Cristo= _pr. n. m._ Christ, image of Christ.
+  =crudeza= _f._ severity, cruelty.
+  =crudo, -a= raw.
+  =cruel= _adj._ cruel, intolerable.
+  =crujido= _m._ crackling.
+  =crujir= clash, click, clank, crack, crackle, creak, rustle.
+  =cruz= _f._ cross.
+  =cruzar= cross, pass, pass through, cruise.
+  =cuadrar= befit, suit.
+  =cuadro= _m._ picture, scene.
+  =cuajar= coagulate, coat over.
+  =cual= _adv._ like, as.
+  =cuál= _pron. interrog._ which, which one, what, what one.
+  =cualquier, -a= any whatever; =---- ... que= whoever, whichever,
+     whatever.
+  =cualquiera= _pron._ any one, either one.
+  =cuán= _adv._ how.
+  =cuando= _conj._ when, if, in case; =---- ... ----= now ... now, at
+     one time ... at another.
+  =cuanto= _adv._ as much as, all that; =en ---- a= with regard to, as
+     to;  =---- más ... tanto más= the more ... the more.
+  =cuánto, -a= _prop. interrog._ how much; =como ----= about how much.
+  =cuaresma= _f._ Lent.
+  =cuarto, -a= fourth.
+  =cuatrocientos, -as= four hundred.
+  =cubrir= cover, veil, shroud.
+  =cuello= _m._ neck, throat.
+  =cuenta= _f._ count, reckoning, account; =dar ----= explain, report,
+     give account; =pedir ----= bring to account, demand account of.
+  =cuento= _m._ tale, story.
+  =cuerdamente= _adv._ sensibly.
+  =cuerno= _m._ horn.
+  =cuerpo= _m._ body; =---- muerto= corpse.
+  =cuidado= _m._ care, anxiety.
+  =cuidadoso, -a= careful.
+  =culpa= _f._ fault.
+  =culpar= blame, accuse.
+  =culto= _m._ worship, homage, veneration, respect.
+  =cumbre= _f._ summit, crest, peak.
+  =cumplir= fulfill, accomplish, satisfy, keep; =cúmplase tu voluntad=
+      thy will be done.
+  =curso= _m._ course.
+  =cuyo, -a= _pron. rel._ whose.
+
+
+  =chancearse= joke, jest.
+  =charca= _f._ pool.
+  =chasco= _m._ joke, fiasco, disappointment.
+  =chimenea= _f._ fireplace, hearth, stove.
+  =chispa= _f._ spark, flash.
+  =chiste= _m._ jest.
+  =chocar= strike, combat, clash, encounter, collide.
+
+
+  =dado= _m._ die.
+  =dale= _interj._ (_expressive of displeasure_) hang it, come, again;
+     =---- con tocar a muerto= plague take this funeral tolling.
+  =dama= _f._ lady.
+  =danza= _f._ dance.
+  =danzar= dance.
+  =dar= give, give out, strike, cause, tell, make, grant, pay, render,
+     forebode; =---- en= persist in; =---- por perdida= consider lost;
+     =qué diantre me da= what the deuce do I care.
+  =de= _prep._ of, than, from, by, with, at, to, in, on account of,
+     for, about, on, as; =más ----= past.
+  =debajo de= _prep._ under, underneath.
+  =deber= have to, must, ought, can.
+  =deber= _m._ duty.
+  =débil= _adj._ feeble, weak.
+  =decidido, -a= decided, devoted, determined.
+  =decir= say, speak, tell, call.
+  =decisión= _f._ decision, determination, resolution.
+  =declinar= decline, sink.
+  =dedo= _m._ finger.
+  =dejar= leave, quit, abandon, forsake; =---- de= stop, cease.
+  =delante= _adv._ before, in front, ahead; =---- de= _prep._ in front
+     of, before.
+  =deleite= _m._ pleasure, delight.
+  =delicado, -a= delicate, sweet.
+  =delicia= _f._ delight.
+  =delicioso, -a= delicious, delightful.
+  =delirante= _adj._ delirious, raving.
+  =delirar= rave, dote.
+  =delirio= _m._ delirium, madness, rapture, rant, idle talk.
+  =delito= _m._ crime.
+  =demasía= _f._ excess.
+  =demasiado, -a= too much, too great.
+  =demonio= _m._ devil, demon.
+  =denso, -a= dense, thick.
+  =dentro= _adv._ within; =---- de= _prep._ within.
+  =denuesto= _m._ insult, abuse.
+  =derecho= _m._ right.
+  =derramar= shed.
+  =derredor= _m._ circuit; =en ---- de= round about, around.
+  =desafiar= challenge, defy.
+  =desafío= _m._ duel, combat.
+  =desahogo= _m._ relief, alleviation, comfort.
+  =desalentado, -a= discouraged, abject.
+  =desasirse= disengage one's self, break loose, extricate one's self.
+  =desatar= untie, undo, loosen, let loose; =--se= break loose, break
+     out.
+  =desatento, -a= unmindful, heedless, rude.
+  =desatino= _m._ folly, wildness, reeling.
+  =descansar= rest, repose, sleep.
+  =descarnado, -a= emaciated, fleshless, bare.
+  =descender= descend, go down, sink.
+  =descolorido, -a= colorless, pale.
+  =desconocer= not know, be ignorant of, ignore.
+  =desconsuelo= _m._ trouble, affliction.
+  =descortés= _adj._ discourteous, ill-bred, impudent.
+  =descortesía= _f._ discourtesy.
+  =descreer= disbelieve, deny, discredit, disown.
+  =descubrir= discover, reveal, expose, uncover, make known.
+  =descuidado, -a= care-free.
+  =desde= _prep._ from.
+  =desdén= _m._ disdain, scorn, contempt.
+  =desdeño= _m._ disdain, scorn.
+  =desdeñoso, -a= scornful, contemptuous.
+  =desdicha= _f._ unhappiness, wretchedness, misery.
+  =desdichado, -a= unhappy, unfortunate, wretched.
+  =desear= desire, covet.
+  =desembozar= unmuffle.
+  =desengaño= _m._ disillusion.
+  =deseo= _m._ desire, longing.
+  =desesperación= _f._ despair.
+  =desesperado, -a= desperate, despairing, hopeless.
+  =desfallecer= weaken, swoon, fail, give way.
+  =desgarrar= rend.
+  =desgracia= _f._ misfortune, sorrow, unhappiness.
+  =desgraciado, -a= unfortunate, hapless, miserable.
+  =deshacer= undo, break.
+  =deshojado, -a= leafless, petalless, blighted.
+  =desierto, -a= deserted, lonely.
+  =desierto= _m._ desert.
+  =desigual= _adj._ uneven, dissimilar.
+  =deslizarse= glide along, slip along.
+  =desmayado, -a= faint, swooning.
+  =desmayar= be discouraged, be faint, swoon.
+  =desmayo= _m._ drooping, swooning, faltering.
+  =desmentir= belie, deny, dissemble.
+  =desnudo, -a= naked, unsheathed, drawn.
+  =despacio= _adv._ slowly.
+  =desparecer= disappear, vanish.
+  =despecho= _m._ spite, insolence, anger, despair, dismay; =a ---- de=
+     in spite of; =a su ----= in spite of himself.
+  =despedida= _f._ farewell.
+  =despego= _m._ indifference, coldness, coyness.
+  =despeñado, -a= headlong.
+  =despeñar= precipitate, fling down.
+  =despertar= awaken, arouse, break, dawn.
+  =despierto, -a= awake, brisk.
+  =desplegado, -a= flowing.
+  =desplegar= unfold, unfurl, hoist; =--se= unfold, spread.
+  =despojos= _m. pl._ remains.
+  =despreciar= spurn, neglect, reject.
+  =desprender(se)= fall, tear, separate, issue from, arise, relax one's
+     hold, let go.
+  =desprendido, -a= loosened, falling, torn, broken.
+  =después= _adv._ afterward, then.
+  =despuntar= begin to dawn.
+  =desquiciarse= be unhinged, shake.
+  =destellar= flash, twinkle.
+  =desterrar= banish, exile.
+  =destilar= drip.
+  =destino= _m._ destiny, fate, lot.
+  =desvanecerse= vanish, disappear, fade away.
+  =desvanecido, -a= dizzy, vague, faint.
+  =desvarío= _m._ delirium, raving.
+  =desventura= _f._ misfortune, misery.
+  =detener= detain, stop, halt.
+  =detenido, -a= stagnant.
+  =determinado, -a= determined, resolute, resolved.
+  =detrás= _adv._ behind, after.
+  =devaneo= _m._ giddiness, frenzy, mad passion.
+  =devorar= devour, consume.
+  =devoto, -a= devout, pious.
+  =día= _m._ day; =----s= life; =hoy en ----= nowadays; =un ----= some
+     day, once.
+  =diablo= _m._ devil.
+  =diabólico, -a= diabolical.
+  =diamante= _m._ diamond, adamant.
+  =diantre= _m._ deuce.
+  =dibujar= outline, delineate; =--se= be outlined, throw a shadow, be
+     visible.
+  =dictar= dictate, prescribe.
+  =dicha= _f._ happiness, delight.
+  =dichoso, -a= happy, fortunate, precious, blessed.
+  =Diego= _pr. n. m._ James.
+  =diente= _m._ tooth.
+  =diestra= _f._ right hand.
+  =diez= _card._ ten.
+  =difunto, -a= deceased (one), dead (one).
+  =dilatar= overspread, suffuse, expand.
+  =diligencia= _f._ assiduity, effort, haste, business, affair.
+  =dinero= _m._ money.
+  =Dios= _m._ God.
+  =diosa= _f._ goddess.
+  =disculpar= excuse, exonerate.
+  =discurrir= flow, course.
+  =disfrutar= enjoy, profit, reap the benefit.
+  =disipar= dissipate, scatter, put to flight, drive away; =--se= be
+     dissipated, be scattered.
+  =disolver= dissolve, dissipate, scatter, disperse.
+  =disparate= _m._ folly, piece of folly, blunder.
+  =distante= _adj._ distant, afar.
+  =distinguir= distinguish, see clearly.
+  =distraído, -a= distracted, absentminded.
+  =diverso, -a= various, dissimilar, different.
+  =divertir= amuse.
+  =dividir= divide, separate, cut, cleave.
+  =divino, -a= divine, heavenly.
+  =do= _adv._ where; =a ----= whither, where.
+  =dó= _adv. interrog._ where.
+  =doblar= bend.
+  =doble= _m._ tolling; =dar ----s= toll.
+  =doctrina= _f._ doctrine, wisdom, teaching.
+  =doliente= _adj._ suffering, sorrowful.
+  =dolor= _m._ grief, sorrow, pain, anguish.
+  =dolorido, -a= afflicted, grief-stricken, painful, doleful, heart-sick.
+  =doloroso, -a= painful.
+  =don= _m._ Don, sir.
+  =doncella= _f._ maiden.
+  =donde= _adv._ where.
+  =dónde= _adv. interrog._ where, whither; =en ----= where.
+  =dondequiera= _adv._ everywhere, anywhere.
+  =doquiera= _adv._ wherever, everywhere.
+  =dorado, -a= golden.
+  =dormido, -a= sleeping, slumbering.
+  =dormir= sleep; =--se= go to sleep.
+  =dos= _card._ two; =los ----= both.
+  =dramático, -a= dramatic.
+  =ducado= _m._ ducat (former coin worth about $3).
+  =duda= _f._ doubt.
+  =dudar= doubt, hesitate.
+  =dudoso, -a= doubtful, uncertain, indistinct, nebulous, hesitating.
+  =duelo= _m._ sorrow, grief, duel, combat.
+  =dueña= _f._ duenna.
+  =dulce= _adj._ sweet, soft, gentle, pleasant.
+  =dulcísimo, -a= very sweet.
+  =dulzura= _f._ sweetness.
+  =durar= last, endure.
+  =duro, -a= hard, cruel, unbearable, heavy.
+
+
+  =e= _conj._ and.
+  =eco= _m._ echo.
+  =echar= throw, cast, cast away, deal, put.
+  =Edén= _pr. n. m._ Eden.
+  =edificio= _m._ building, edifice.
+  =ejército= _m._ army.
+  =el, la, lo, los, las=, _art._ the; =---- que=, _etc., pron. rel._ he
+     who(m), the one who(m), who, that which.
+  =él, ella, ello=, _pron. pers._ he, him; she, her; it.
+  =elevar= raise; =--se= rise.
+  =elocuente= _adj._ eloquent.
+  =Elvira= _pr. n. f._ Elvira.
+  =ella= _pron. pers._ she, her, it.
+  =ellas= _pron. pers._ they, them.
+  =embalsamarse= be perfumed.
+  =embargar= overwhelm, seize, overcome, impede.
+  =embebecido, -a= absorbed, enraptured.
+  =embeleso= _m._ rapture.
+  =embestir= assail, attack.
+  =embolismo= _m._ confusion, maze, embarrassment, falsehood.
+  =embolsarse= pocket.
+  =embozado= _m._ muffled one.
+  =embozar= cloak, muffle.
+  =embriagar= intoxicate, transport, enrapture; =--se= get intoxicated.
+  =empañar= dim, tarnish.
+  =empapar= soak, steep.
+  =empedernido, -a= hard-hearted.
+  =empeñarse= persist, insist.
+  =empeño= _m._ determination, desire.
+  =empero= _adv._ however, notwithstanding.
+  =empezar= begin.
+  =empleo= _m._ employment, use.
+  =emponzoñar= poison, taint.
+  =empuje= _m._ impulse.
+  =empuñar= grasp, grip.
+  =en= _prep._ in, into, at, for, among, on, upon, with, of, to, against,
+     by, over, like; =---- que= when.
+  =enamorado, -a= enamored, loving, in love.
+  =enamorar= inspire love, woo; =--se de= fall in love with.
+  =encadenar= enchain, shackle.
+  =encantador, -a= enchanting, delightful.
+  =encantar= charm, delight, fascinate.
+  =encanto= _m._ charm, fascination, enchantment, spell.
+  =encapotar= cloak, cover.
+  =encapuchado, -a= hooded one.
+  =encender= light, kindle, enkindle; =--se= glow.
+  =enclavar= nail, fasten.
+  =encomendar= commend.
+  =encono= _m._ rancor, ill-will, malevolence.
+  =encontrar= meet, meet with, find.
+  =encubrir= cover, conceal, hide.
+  =encuentro= _m._ meeting, encounter; =a su ----= to meet him.
+  =endiablado, -a= diabolical, bedeviled.
+  =endurecer= harden, cake.
+  =enemigo, -a= hostile, unfriendly.
+  =engalanar= adorn.
+  =engañador, -a= deceiving.
+  =engañar= deceive, beguile.
+  =engaño= _m._ deception, illusion.
+  =engañoso, -a= deceptive, false.
+  =engendro= _m._ abortion, monster, progeny.
+  =enhiesto, -a= upright, erect.
+  =enjugar= wipe.
+  =enjuto, -a= lean, wasted, dried up.
+  =enlazar= join, clasp.
+  =enlutado, -a= in mourning, veiled, muffled.
+  =enmudecer= grow dumb, grow silent.
+  =enojarse= be angry, be displeased, get angry.
+  =enojo= _m._ anger, vexation, displeasure, annoyance.
+  =enojoso, -a= troublesome.
+  =enredar= entangle, ensnare.
+  =ensueño= _m._ dream, fantasy, illusion.
+  =entena= _f._ yard, spar.
+  =entender= understand, know, hear; =---- de= be familiar with, be
+     interested in.
+  =entero, -a= entire, whole.
+  =enterrar= bury.
+  =entierro= _m._ funeral, burial, funeral procession.
+  =entonar= sing.
+  =entonces= _adv._ then.
+  =entrada= _f._ entrance, coming, beginning.
+  =entrambos, -as= both.
+  =entrañas= _f. pl._ entrails, bowels, recesses.
+  =entrar= enter, come in, advance, begin.
+  =entre= _prep._ between, among, in, amid, within, to; =---- sí=
+     to himself; =---- tanto= meanwhile; =de ----= out of; =por ----=
+     through, between, among.
+  =entregar= hand over, give, pay.
+  =entretanto= _adv._ meanwhile; =---- que= _conj._ while.
+  =entretener= entertain, divert, amuse, occupy.
+  =enturbiar= disturb, derange, cloud.
+  =envenenar= poison.
+  =enviar= send.
+  =envidar= stake, open a game of cards by staking a sum.
+  =envidiar= envy.
+  =envilecido, -a= degraded, disgraced.
+  =envite= _m._ stake, bet.
+  =envolver= envelop, enwrap, enfold.
+  =erguido, -a= erect, straight.
+  =errante= _adj._ wandering.
+  =escaldar= scald.
+  =escalón= _m._ step.
+  =escapar(se)= escape, flee.
+  =escape= _m._ escape, flight.
+  =escena= _f._ scene.
+  =esclavo, -a= _m. f._ slave.
+  =escoger= choose, select, cull.
+  =esconder= conceal, veil, hide.
+  =escribir= write.
+  =escuchar= hear, listen to, listen; =--se= be heard.
+  =escudo= _m._ escudo (a coin); shield, protection.
+  =escupir= spit upon.
+  =ese, -a= _adj. dem._ that.
+  =ése, -a, eso=, _pron. dem._ that one, that.
+  =esfera= _f._ sphere, heaven, orb.
+  =esmeralda= _f._ emerald.
+  =espacio= _m._ space.
+  =espada= _f._ sword.
+  =espalda= _f._ back, shoulder; =----s= back.
+  =espantado, -a= frightened, astonished.
+  =espantar= frighten, terrify, intimidate.
+  =espanto= _m._ fright, consternation, fear.
+  =espantoso, -a= frightful, horrible.
+  =esparcir= scatter, shed, spread.
+  =espectro= _m._ specter, ghost.
+  =espejo= _m._ mirror.
+  =esperanza= _f._ hope.
+  =esperar= await, wait for, expect, hope.
+  =espeso, -a= thick, dense.
+  =espina= _f._ thorn.
+  =espiral= _f._ spiral line.
+  =espirante= _adj._ dying.
+  =espirar= expire.
+  =espíritu= _m._ spirit, mind, soul, courage; =----s= spirits, demons.
+  =espléndido, -a= splendid.
+  =esplendor= _m._ splendor, magnificence, glory; =de ----= glorious.
+  =esposa= _f._ wife, spouse, betrothed.
+  =esposo= _m._ husband, spouse, betrothed.
+  =espuela= _f._ spur.
+  =espuma= _f._ foam, froth.
+  =esqueleto= _m._ skeleton, framework.
+  =estación= _f._ season.
+  =estado= _m._ state, condition.
+  =estallar= burst, crack, detonate.
+  =estallido= _m._ crackling.
+  =estampido= _m._ report, crash.
+  =estancia= _f._ room, mansion, abode.
+  =estanque= _m._ pond, pool.
+  =estar= be; =---- en sí= be in one's senses.
+  =estatua= _f._ statue.
+  =este, -a= _adj. dem._ this.
+  =éste, -a, esto=, _pron. dem._ this one, this.
+  =estima= _f._ esteem, respect.
+  =estocada= _f._ stab.
+  =estorbar= forbid, hinder.
+  =estrechar= press, clasp.
+  =estrecho, -a= narrow.
+  =estrella= _f._ star.
+  =estremecerse= shake, tremble.
+  =estrépito= _m._ din, clamor, noise.
+  =estruendo= _m._ din, pomp, turmoil, clatter.
+  =estudiante= _m._ student.
+  =estúpido, -a= stupid, dull.
+  =éter= _m._ ether, sky.
+  =eterno, -a= eternal, everlasting.
+  =Europa= _f._ Europe.
+  =evangelio= _m._ gospel.
+  =evaporarse= evaporate, pass away, vanish.
+  =exaltar= exalt, praise.
+  =examinar= examine, scrutinize.
+  =exclamar= exclaim.
+  =exento, -a= free.
+  =exhalar= breathe forth, exhale, emit, utter.
+  =exigir= demand, exact, require.
+  =existencia= _f._ existence, life.
+  =expiación= _f._ expiation, atonement.
+  =éxtasis= _m._ ecstasy.
+  =extático, -a= ecstatic.
+  =extender(se)= extend, stretch out, spread, prolong.
+  =extranjero, -a= foreign.
+  =extraño, -a= strange.
+  =extremo= _m._ end; =llevar al ----= terminate.
+
+
+  =fábrica= _f._ structure.
+  =fácil= _adj._ easy, easily persuaded.
+  =fada= _f._ fairy, sprite.
+  =faena= _f._ task, work, labor, toil.
+  =falaz= _adj._ deceitful, deceptive, fallacious.
+  =falda= _f._ skirt, lap.
+  =falso, -a= false, treacherous, feigned, simulated, mock.
+  =faltar= fail, be missing, be lacking, give way.
+  =fallido, -a= frustrated, amiss.
+  =fama= _f._ reputation, report, rumor; =es ----= it is said.
+  =famoso, -a= famous, renowned, notorious.
+  =fanal= _m._ lantern, light, beacon.
+  =fanfarrón= _m._ boaster, bully.
+  =fango= _m._ mud, mire, slime.
+  =fantasía= _f._ fancy, imagination, caprice, whim.
+  =fantasma= _m. f._ phantom, ghost, specter, scarecrow.
+  =fantástico, -a= fantastic, imaginary.
+  =farsa= _f._ farce, humbug.
+  =fascinar= fascinate.
+  =fatal= _adj._ fatal, ominous, unfortunate.
+  =fatídico, -a= baleful, sinister.
+  =fatigado, -a= weary.
+  =favor= _m._ favor, protection, help.
+  =faz= _f._ face, aspect.
+  =fe= _f._ faith, honor, trust; =a -----= in truth; =a ---- mía= upon
+     my word.
+  =fecundar= fertilize, make fruitful.
+  =fecundo, -a= fecund, teeming.
+  =Félix= _pr. n. m._ Felix.
+  =feliz= _adj._ happy, blessed, fortunate.
+  =feo, -a= ugly, homely.
+  =féretro= _m._ bier.
+  =feroz= _adj._ fierce, cruel.
+  =férreo, -a= iron.
+  =fértil= _adj._ fertile.
+  =fervor= _m._ fervor, ardor, zeal.
+  =festín= _m._ feast, banquet.
+  =fétido, -a= fetid, stinking, foul.
+  =Fez= _pr. n. f._ Fez.
+  =fiado, -a= trusting.
+  =fiar= trust; =---- de= trust in.
+  =fiel= _adj._ faithful, true.
+  =fiereza= _f._ fierceness, hardness.
+  =fiero, -a= fierce, cruel, savage, furious, terrible, rude.
+  =fiesta= _f._ festival, feast, celebration, rejoicing, merriment.
+  =figura= _f._ figure, face, form.
+  =figurar= fashion, sketch, represent; =--se= imagine, fancy.
+  =fijar= fix, fasten, determine.
+  =fijo, -a= fixed, fastened, determined.
+  =fin= _m._ end; =al ----= at last, finally, after all; =en ----= at
+     last, finally, in short, after all; =por ----= at last; =sin ----=
+     endless, endlessly.
+  =fingido, -a= feigned, false.
+  =fingir= feign, imagine.
+  =firme= _adj._ firm, unswerving, unshaken, resolute, stout, stanch.
+  =flaco, -a= frail, weak.
+  =Flandes= _pr. n. f._ Flanders.
+  =flébil= _adj._ mournful.
+  =flojo, -a= feeble, weak.
+  =flor= _f._ flower, blossom.
+  =florecer= blossom, bud, cover with flowers.
+  =florido, -a= blooming, flower-filled, flowery.
+  =flotante= _adj._ floating.
+  =fondo= _m._ depth, farthest end.
+  =forcejear= struggle.
+  =forma= _f._ form, shape, figure.
+  =formar= form, make, engender.
+  =fórmula= _f._ formula, form.
+  =fortuna= _f._ fortune, fate, good fortune.
+  =forzoso, -a= necessary.
+  =fosfórico, -a= phosphorescent.
+  =fragante= _adj._ fragrant.
+  =frágil= _adj._ fragile, frail, weak.
+  =fragor= _m._ crash, noise.
+  =fragrancia= _f._ fragrance.
+  =Franco= _pr. n. m._ Franco.
+  =franja= _f._ fringe, band, border.
+  =frenético, -a= frenzied, mad, furious, frantic.
+  =frente= _f._ brow, face, head, forehead, intellect; =---- a=
+      opposite, in front of, before; =a su ----= straight ahead.
+  =fresco, -a= fresh.
+  =frescura= _f._ coolness, luxuriant verdure, freshness.
+  =frío, -a= cold, indifferent, unsympathetic, unruffled; =sangre fría=
+      sang-froid, coolness, calmness.
+  =frío= _m._ cold.
+  =frívolo, -a= frivolous.
+  =fruncir= knit (the brow).
+  =fuego= _m._ fire, ardor, flame, passion; =prender ----= set fire.
+  =fuente= _f._ spring, fountain, source.
+  =fuera= _adv._ outside; =---- de= _prep._ out of.
+  =fuero= _m._ privilege, statute law.
+  =fuerza= _f._ force, strength, might.
+  =fugaz= _adj._ fleeting.
+  =fugitivo, -a= fugitive, fleeting, fleeing, flying.
+  =fúlgido, -a= bright, resplendent.
+  =fulgor= _m._ gleam.
+  =fulguroso, -a= shining, flashing.
+  =fulgurante= _adj._ shining.
+  =fúnebre= _adj._ funereal, lugubrious, mournful.
+  =funeral= _adj._ funeral, funereal, lugubrious.
+  =funesto, -a= doleful, dismal, sinister, fatal.
+  =furia= _f._ rage.
+  =furioso, -a= furious, mad, raging, violent.
+  =furor= _m._ rage, fury.
+  =futuro, -a= future.
+
+
+  =gala= _f._ grace, gem, choicest part (of a thing); =----s= finery.
+  =galán= _m._ gallant, dandy.
+  =galanura= _f._ elegance, showiness, gorgeousness.
+  =galería= _f._ gallery.
+  =galvánico, -a= galvanic.
+  =gallardo, -a= graceful, bold.
+  =ganancia= _f._ winning.
+  =ganar= win.
+  =gasa= _f._ gauze.
+  =gastar= waste, fling away, wear out.
+  =gemido= _m._ groan, moan, sigh.
+  =gemir= moan, howl, whistle.
+  =generoso, -a= noble, illustrious, excellent, generous.
+  =gente= _f._ people, race, nation.
+  =gentil= _adj._ elegant, handsome, graceful.
+  =gesto= _m._ face, expression, gesture.
+  =girar= revolve, hover, whirl.
+  =giro= _m._ turn, motion, roll, circling.
+  =gloria= _f._ glory, fame, pleasure, bliss, honor, heaven.
+  =glorioso -a= glorious.
+  =goce= _m._ joy.
+  =golpe= _m._ stroke, blow, knock, striking, clash, throw, cast.
+  =golpear(se)= strike, hit, beat.
+  =gorjear= warble, trill.
+  =gótico, -a= Gothic.
+  =gozar= rejoice, take delight, enjoy; =---- de= enjoy; =--se= rejoice.
+  =gozo= _m._ joy, pleasure, delight.
+  =grabar= engrave.
+  =gracia= _f._ grace, charm, gracefulness; =----s= thanks.
+  =gradería= _f._ steps; =---- de caracol torcida= spiral staircase.
+  =grajo= _m._ jackdaw, crow.
+  =grana= _f._ scarlet.
+  =grande= _adj._ great, important.
+  =grandeza= _f._ greatness, grandeur.
+  =grandioso, -a= great, impressive.
+  =grato, -a= pleasing.
+  =grave= _adj._ heavy.
+  =gritar= cry, shout, cry out.
+  =gritería= _f._ outcry, shouting, screaming.
+  =grito= _m._ cry, howl.
+  =grotesco, -a= grotesque.
+  =grupo= _m._ group.
+  =guarida= _f._ den, lurking-place.
+  =guerra= _f._ war; =mover ----= wage war.
+  =guerrero, -a= warlike, of war.
+  =guerrero= _m._ warrior, soldier.
+  =guía= _m. f._ guide, leader.
+  =guiar= guide, direct.
+  =guirnalda= _f._ garland, wreath.
+  =gustar= please.
+
+
+  =haber= have; _impers._ be; =---- de= have to, be to, be going
+       to, must, can; =hay= there is; =no haya= let there not be.
+  =habitación= _f._ dwelling, residence, room, suite.
+  =habitar= live, reside, lie.
+  =hablador, -a= talking, prattling.
+  =hablador, -a= _m. f._ talker, prattler.
+  =hablar= talk, speak, address.
+  =hacer= do, make, effect, bring about, cause, commit; =---- aprecio de=
+       note; =---- bien= give alms, aid; =---- caso de= take notice of,
+       heed; =---- juego= make the bets; =hecho el juego= bets closed;
+       =---- pedazos= break to pieces, tear; =--se= become, turn to, get;
+       =--se el bigote= curl one's mustache; _impers._ =se hace tarde=
+       it is growing late.
+  =hacia= _prep._ toward.
+  =hado= _m._ fate.
+  =halagar= flatter, allure, soothe.
+  =hallar= find; =-se= be.
+  =hambre= _f._ hunger.
+  =hambriento, -a= hungry, eager.
+  =harapo= _m._ rag, tatter.
+  =hartar= satisfy, gratify.
+  =harto, -a= sated.
+  =hasta= _adv._ even; _prep._ to, up to, down to, until, as many as;
+      =---- que= _conj._ until.
+  =hastiar= bore, weary, disgust.
+  =hecho, -a= made, done; =a lo ----, pecho= make the best of it.
+  =hecho= _m._ deed.
+  =helado, -a= icy, cold, frozen.
+  =helar= freeze, congeal.
+  =hembra= _f._ female, woman.
+  =henchir= fill.
+  =hender= cleave.
+  =heredar= inherit.
+  =herencia= _f._ inheritance, heritage.
+  =herir= strike, smite, wound, affect.
+  =hermana= _f._ sister.
+  =hermano= _m._ brother.
+  =hermoso, -a= beautiful, fair.
+  =hermosura= _f._ beauty.
+  =héroe= _m._ hero.
+  =herradura= _f._ horseshoe, hoof-print.
+  =hervir= boil, seethe, swarm.
+  =hidalgo, -a= noble.
+  =hiel= _f._ gall, bitterness.
+  =hielo= _m._ ice.
+  =hijo= _m._ son; =----s= children.
+  =hilera= _f._ file.
+  =hinchar= swell.
+  =histérico, -a= hysterical.
+  =historia= _f._ history, tale, story.
+  =hoguera= _f._ bonfire.
+  =hoja= _f._ leaf, petal, wing of a door.
+  =hola= _interj._ hello.
+  =hollar= tread upon, trample upon, ride over, humble.
+  =hombre= _m._ man; =buen ----= my good fellow.
+  =hombro= _m._ shoulder.
+  =hondo, -a= deep, profound.
+  =hondo= _m._ bottom, depth.
+  =honroso, -a= honorable.
+  =hora= _f._ hour, time; =a buena ----= opportunely; =en mal ---- o
+      en buena= well and good; =----s muertas= idle hours.
+  =horizonte= _m._ horizon.
+  =horrendo, -a= horrible, dreadful.
+  =horrible= _adj._ horrible.
+  =hórrido, -a= hideous, horrible.
+  =horrísono, -a= horrisonous.
+  =horror= _m._ horror, fright.
+  =horrorizado, -a= stricken with horror.
+  =hospital= _m._ hospital, poorhouse.
+  =hoy= _adv._ to-day, now, the present time; =---- en día= nowadays.
+  =hoyo= _m._ hole, grave, pit.
+  =hueco, -a= hollow, resounding, empty.
+  =hueco= _m._ hollow, hole, gap, concavity.
+  =hueso= _m._ bone.
+  =huésped= _m._ guest, stranger; =casa de ----es= lodging-house.
+  =huida= _f._ flight.
+  =huir= flee, escape, disappear.
+  =humano, -a= human.
+  =humear= emit fumes, reek, smoke.
+  =húmedo, -a= damp, wet.
+  =humildemente= _adv._ humbly.
+  =humo= _m._ smoke, fumes.
+  =hundido, -a= sunken, hollow.
+  =hundir= sink.
+  =huracán= _m._ hurricane, storm.
+  =hurra= _interj._ hurrah.
+
+
+  =ideal= _adj._ ideal, imaginary.
+  =iglesia= _f._ church.
+  =igual= _adj._ equal; =me es ----= it is all the same to me;
+     =por ----= equally.
+  =igualar= equal, consider equal.
+  =iluminar= illumine, enlighten, illuminate, light.
+  =ilusión= _f._ illusion, fancy, self-deception, mockery.
+  =ilusorio, -a= illusory, delusive, deceptive.
+  =ilustre= _adj._ illustrious, noble, celebrated, distinguished.
+  =imagen= _f._ image, statue, likeness, picture, conception, fancy,
+      appearance.
+  =imaginación= _f._ imagination, fancy, mind.
+  =imaginar= imagine, fancy, believe, conceive.
+  =impaciente= _adj._ impatient.
+  =impávid, -a= undaunted.
+  =imperial= _adj._ imperial.
+  =impetuoso, -a= violent, fierce.
+  =impiedad= _f._ impiety, impiousness.
+  =impío, -a= impious, profane, wicked, godless.
+  =implacable= _adj._ implacable, relentless.
+  =implorar= implore.
+  =imponer= impose.
+  =importar= _impers._ matter, concern.
+  =importunar= disturb, harass.
+  =importuno, -a= troublesome, ill-timed, vexatious, importunate,
+      unreasonable.
+  =imposible= _adj._ impossible.
+  =impotencia= _f._ helplessness.
+  =impulso= _m._ impulse, force.
+  =impuro, -a= impure, foul.
+  =inagotable= _adj._ never-failing, inexhaustible.
+  =incentivo= _m._ incentive.
+  =incierto, -a= uncertain, unknown, doubtful, unsteady, wandering,
+      restless.
+  =inclinar= incline, bend, bow, droop, nod.
+  =indiferencia= _f._ indifference.
+  =indiferente= _adj._ indifferent.
+  =indomable= _adj._ indomitable.
+  =inefable= _adj._ ineffable, unutterable.
+  =infalible= _adj._ infallible.
+  =infante= _m._ child.
+  =infeliz= _adj._ unhappy, wretched.
+  =infernal= _adj._ infernal.
+  =infiel= _adj._ faithless (one).
+  =infierno= _m._ hell, infernal region.
+  =infinito, -a= infinite, endless.
+  =inflamarse= blaze.
+  =informe= _adj._ ill-shapen, uncanny, inarticulate.
+  =infortunio= _m._ misfortune, misery, calamity.
+  =infundir= infuse, instill, inspire.
+  =inglés, -a= English.
+  =Inglés= _m._ Englishman.
+  =ingrato, -a= ungrateful (one), ingrate.
+  =injuria= _f._ insult.
+  =inmensidad= _f._ immensity, vastness, infinity, unbounded greatness.
+  =inmenso, -a= immense, infinite, vast.
+  =inmortal= _adj._ immortal.
+  =inmóvil= _adj._ motionless, fixed, set, unaffected.
+  =inmundo, -a= dirty, obscene, unclean.
+  =inocente= _adj._ innocent, young.
+  =inquieto, -a= restless, uneasy, anxious, disturbed, agitated.
+  =inquietud= _f._ uneasiness, anxiety, disquietude, restlessness.
+  =insano, -a= insane, mad.
+  =insensible= _adj._ indifferent, without feeling.
+  =insigne= _adj._ renowned, famed, distinguished.
+  =insistir= insist, persist.
+  =insolencia= _f._ insolence.
+  =insolente= _adj._ insolent.
+  =inspirar= inspire, impart.
+  =instante= _m._ instant, moment.
+  =insultar= insult.
+  =insulto= _m._ insult.
+  =intención= _f._ intention, purpose, mind.
+  =intenso, -a= intense, intent, keen.
+  =intentar= attempt, endeavor, try.
+  =interponerse= interpose, intervene.
+  =interrumpir= interrupt.
+  =intrépido, -a= courageous, dauntless.
+  =inundar= flood, deluge.
+  =inútil= _adj._ useless.
+  =invencible= _adj._ invincible.
+  =invención= _f._ invention.
+  =invisible= _adj._ invisible, unseen.
+  =ir= go, be, be at stake; =----= + _gerund_ go on, keep;
+      =---- a= be about to, be going to; =--se= go away, go; =allá voy=
+      I am coming; =me va en ello mi fama= my reputation is at stake in
+      it;   =quién va= who goes there; =vamos= come now, well; =vamos
+      andando= let us be off; =van los cincuenta= I bet fifty.
+  =ira= _f._ anger, ire.
+  =iracundo, -a= wrathful.
+  =ironía= _f._ irony.
+  =irónico, -a= ironical.
+  =irreligioso, -a= irreligious.
+  =irreverencia= _f._ irreverence, disrespect.
+  =irritar= anger, excite, arouse, provoke, nettle, exasperate.
+  =izquierdo, -a= left.
+
+
+  =jamás= _adv._ never, ever.
+  =jardín= _m._ garden.
+  =jaula= _f._ cage.
+  =jerezano, -a= of Jerez.
+  =Jesús= _pr. n. m._ Jesus.
+  =joven= _adj._ young, youthful.
+  =joya= _f._ jewel.
+  =Juan= _pr. n. m._ John.
+  =júbilo= _m._ glee, joy.
+  =juego= _m._ game, sport, play, playing; =hacer ----= make the bets;
+     =hecho el ----= bets closed.
+  =jugador= _m._ player, gambler.
+  =jugar= play, sport, frolic, gamble.
+  =jugo= _m._ juice.
+  =juguete= _m._ plaything, toy, sport.
+  =juicio= _m._ judgment, sense, reason, mind.
+  =juntar= join, unite, touch, knit; =--se= gather, assemble, join,
+     meet, approach.
+  =junto, -a= joined, united, connected.
+  =junto= _adv._ near, close; =---- a= _prep._ near, close to.
+  =juntura= _f._ joint, seam.
+  =jurar= swear.
+  =juventud= _f._ youth.
+  =juzgar= judge, think.
+
+
+  =la= _art. f._ the; _pron. pers. acc._ her, it; _pl._
+      them; _pron. pers. dat._ to her, to it; =---- que= _pron. dem.
+      and rel._ she who, the one who, who.
+  =labio= _m._ lip.
+  =lado= _m._ side, place.
+  =lago= _m._ lake.
+  =lágrima= _f._ tear.
+  =lamentable= _adj._ deplorable.
+  =lamentar= lament, bewail, bemoan.
+  =lamento= _m._ lament, lamentation, wail, wailing cry.
+  =lámpara= _f._ lamp, light.
+  =lance= _m._ incident, love-affair, affair of honor.
+  =languidez= _f._ languor, weakness, faintness.
+  =lánguido, -a= languid, gentle, apathetic, faint, weak, feeble.
+  =lanza= _f._ lance, spear.
+  =lanzar= throw, fling, cast, let loose, emit, utter; =--se= dart, rush.
+  =lares= _m. pl._ lares, home.
+  =largo, -a= long; _pl._ many.
+  =lastimar= hurt, wound, move to pity; =--se= grieve, be sorry, be
+     moved to pity.
+  =lastimero, -a= sad, mournful.
+  =latido= _m._ throbbing.
+  =lava= _f._ lava.
+  =lazo= _m._ bond, tie, knot; toils, web, snare.
+  =le= _pron. pers. dat. acc._ him, her, it.
+  =lector= _m._ reader.
+  =lecho= _m._ bed, couch.
+  =lejano, -a= distant.
+  =lejos= _adv._ far, far away, afar; =a lo ----= in the distance;
+     =de ----= from afar, at a great distance.
+  =lengua= _f._ tongue.
+  =lenguaje= _m._ language, speech, tongue.
+  =lento, -a= slow.
+  =leña= _f._ wood, firewood.
+  =les= _pron. pers. dat. acc._ them.
+  =letal= _adj._ deadly.
+  =letra= _f._ letter; =----s= letters, literature, lore.
+  =levantar= raise, lift up, erect, set up; =--se= rise, get up, stand
+      up.
+  =leve= _adj._ light, slight, delicate.
+  =ley= _f._ law, religion.
+  =libertad= _f._ liberty, freedom.
+  =librar= free, preserve, save.
+  =libre= _adj._ free, open, innocent, alone.
+  =lid= _f._ contest, conflict, fight.
+  =ligar= bind.
+  =ligeramente= _adv._ slightly, lightly.
+  =ligero, -a= slight.
+  =límite= _m._ limit, bound.
+  =limosna= _f._ alms, charity.
+  =límpido, -a= limpid, pure, clear.
+  =limpieza= _f._ limpidity, purity, clearness.
+  =lino= _m._ linen.
+  =lira= _f._ lyre.
+  =lisonjero, -a= flattering, pleasing, cajoling.
+  =liviano, -a= frivolous, lewd.
+  =lívido, -a= livid.
+  =lo= _art. neut._ the; _pron. pers. acc._ it, him; =---- que=
+      _pron. dem. and rel._ what, that which; =---- que es por= as for,
+      when it comes to.
+  =lóbrego, -a= lugubrious, mournful, gloomy, obscure, dismal, dark, sad.
+  =loco, -a= mad, wild, crazy.
+  =locura= _f._ madness, folly.
+  =lodo= _m._ mire.
+  =lograr= attain, gain.
+  =loma= _f._ hillock, ridge.
+  =lona= _f._ canvas.
+  =lontananza= _f._ distance.
+  =los= _art. pl. m._ the; _pron. pers. acc._ them; =---- que=
+      _pron. dem. and rel._ those who, the ones who.
+  =losa= _f._ slab, stone.
+  =lozano, -a= luxuriant, sprightly.
+  =lúbrico, -a= slippery, lewd.
+  =lucero= _m._ bright star, morning star, star.
+  =luciente= _adj._ shining.
+  =Lucifer= _pr. n. m._ Lucifer.
+  =luchar= struggle.
+  =luego= _adv._ then, at once, presently, soon, next, subsequently.
+  =lugar= _m._ place, town.
+  =lúgubre= _adj._ sad, mournful, dismal.
+  =lujo= _m._ luxury, finery.
+  =lumbre= _f._ light.
+  =luminoso, -a= luminous, shining, bright.
+  =luna= _f._ moon.
+  =luz= _f._ light, illumination, flame, taper, lamp.
+  =Luzbel= _pr. n. m._ Lucifer, Satan.
+
+
+  =llagar= wound.
+  =llama= _f._ flame, light.
+  =llamar= call, summon, knock, name, call upon, invoke; =--se= be
+      named; =cómo os llamáis= what is your name.
+  =llanto= _m._ weeping, tears.
+  =llegar= arrive, come; =---- a= come to, succeed in, happen to,
+      reach; _or simply takes the signification of the verb to which it
+      is joined:_ =llegó a ver= he saw.
+  =llenar= fill, pervade.
+  =lleno, -a= full, filled.
+  =llevar= carry, bear, bring, wear, take, carry away; =----= + _p.p._
+      have; =---- al extremo= terminate; =--se algo= take something
+      away.
+  =llorar= weep, mourn, weep for, mourn for.
+
+
+  =macedonio, -a= Macedonian.
+  =macizo, -a= solid, massive.
+  =madre= _f._ mother.
+  =maestro, -a= masterly, principal, main; =obra ----a= masterpiece.
+  =magia= _f._ magic, charm.
+  =mágico, -a= magic, magical, wonderful.
+  =mal= _adv._ badly, ill, hardly, poorly.
+  =mal= _m._ evil, wrong, harm, injury, sorrow, misfortune.
+  =Málaga= _m._ Malaga wine.
+  =maldecido, -a= accursed, wicked.
+  =maldecir= curse.
+  =maldiciente= _adj._ cursing, profane.
+  =maldición= _f._ malediction, curse.
+  =maleza= _f._ underbrush, thicket.
+  =malo, a= bad, wicked, evil, obnoxious, poor; =¡mal caballero!=
+     scoundrel!
+  =malvado, -a= criminal, wicked, insolent.
+  =manantial= _m._ spring, source.
+  =manar= flow, trickle.
+  =mancebo= _m._ young man, youth.
+  =mancilla= _f._ spot, blemish.
+  =mancha= _f._ spot, stain.
+  =manchar= stain.
+  =mandato= _m._ command.
+  =manía= _f._ madness, whim.
+  =mano= _f._ hand.
+  =mansamente= _adv._ gently.
+  =mansión= _f._ mansion, abode.
+  =manto= _m._ mantle, cloak.
+  =mañana= _adv._ to-morrow.
+  =mañana= _f._ morning, morrow.
+  =mar= _m._ (_"Pirata" l. 39_), _f._ (_l. 34_), sea, deep; =a ----es=
+     abundantly.
+  =maravilla= _f._ wonder, marvel, miracle.
+  =marcar= mark, stamp.
+  =marco= _m._ frame.
+  =Marcos= _pr. n. m._ Mark.
+  =marcha= _f._ march.
+  =marchar= walk, march.
+  =marchitado, -a= faded, withered.
+  =marchitarse= wither, fade, die.
+  =mareo= _m._ nausea, dizziness.
+  =margen= _m. f._  edge, brink, bank, border.
+  =María= _pr. n. f._ Mary.
+  =marido= _m._ husband, spouse.
+  =mariposa= _f._ butterfly.
+  =mármol= _m._ marble.
+  =martirio= _m._ martyrdom, torture, grief.
+  =mas= _conj._ but.
+  =más= _adv._ more, most, rather; =---- de= past; =---- que=
+      especially as; =el, la ----= the most; =no ----= only, no longer.
+  =masa= _f._ mass.
+  =matar= kill, slay.
+  =materia= _f._ material, matter.
+  =matiz= _m._ tint, hue.
+  =matrimonio= _m._ marriage.
+  =mayo= _m._ May.
+  =mayor= _adj._ greater; =el, la ----= the greatest.
+  =me= _pron. pers. dat. acc._ me, myself.
+  =mecer= rock, sway; =--se= be rocked, rock.
+  =medida= _f._ measure; =sin ----= unmeasured.
+  =medio, -a= half, middle; =media noche= midnight.
+  =medio= _m._ middle, midst; =en ----= in the midst, nevertheless;
+      =en ---- de= in the midst of.
+  =medroso, -a= terrible, terrifying, timid.
+  =mejilla= _f._ cheek.
+  =mejor= _adj._ better; =el -----= the best.
+  =melancolía= _f._ melancholy.
+  =melancólico, -a= melancholy.
+  =melodía= _f._ melody.
+  =memoria= _f._ memory, mind, remembrance.
+  =mendigo= _m._ beggar, mendicant.
+  =menear= stir, shake.
+  =mengua= _f._ shame, disgrace.
+  =menos= _adv._ less, least; =----- que= less than.
+  =mente= _f._ mind, thought, intellect.
+  =mentido, -a= false.
+  =mentir= lie, deceive.
+  =mentira= _f._ lie, falsehood, falsity.
+  =mercader= _m._ trader, merchant.
+  =merced= _f._ mercy; =a ---- de= at the mercy of.
+  =merecer= merit, deserve, be worth.
+  =mesa= _f._ table.
+  =metal= _m._ metal.
+  =metálico= _m._ cash, money.
+  =mezclar= mix, mingle, unite, jumble; =--se= be mingled, take part,
+     meddle.
+  =mezquino, -a= miserable, wretched, petty.
+  =mi= _adj. poss._ my.
+  =mí= _pron. pers._ me, myself.
+  =miedo= _m._ fear; =hacer ---- de= make afraid of.
+  =miel= _f._ honey.
+  =mientras= _adv._ meanwhile; _conj._ while; =---- que= while.
+  =Miguel= _pr. n. m._ Michael.
+  =mil= _card._ thousand.
+  =millar= _m._ thousand.
+  =mina= _f._ mine, source of supply.
+  =mío, -a= _pron. poss._ my, mine.
+  =mirada= _f._ glance, look, gaze.
+  =mirar= look at, contemplate, regard, see, behold, watch, notice;
+      =--se entre sí= look at each other.
+  =misa= _f._ mass.
+  =miserable= _adj._ miserable, wretched.
+  =miseria= _f._ misery, wretchedness.
+  =mísero, -a= miserable, wretched.
+  =mismo, -a= same, very, self, own.
+  =misterioso, -a= mysterious.
+  =místico, -a= mystical.
+  =modo= _m._ way, manner; =de tal ----= in such a way.
+  =mofa= _f._ sneer, jeer.
+  =mofar de= scoff at, flout.
+  =molestar= trouble, disturb, grate upon.
+  =momento= _m._ moment, instant; =al ----= in a moment, immediately.
+  =monarca= _m._ monarch.
+  =monótono, -a= monotonous, slow, dull.
+  =montaña= _f._ mountain.
+  =Montemar= _pr. n._ Montemar.
+  =montón= _m._ heap.
+  =monumento= _m._ monument.
+  =morada= _f._ abode.
+  =morador, -a= inhabitant.
+  =morar= dwell, abide, inhabit, lodge in.
+  =morder= bite.
+  =Moreto= _pr. n._ Moreto.
+  =moribundo, -a= dying.
+  =morir(se)= die, expire, go out.
+  =mortal= _adj._ mortal, deadly, fatal.
+  =mortal= _m._ mortal, being, man.
+  =mortífero, -a= deadly, noxious.
+  =mostrar= show, point out, indicate.
+  =motivo= _m._ motive, reason, cause.
+  =mover= move, stir, sway, drive; =---- guerra= wage war; =---- la
+      planta= walk; =---- los ojos= roll one's eyes; =---- los pies=
+      walk; =--se= move, walk.
+  =movimiento= _m._ movement, motion, startled movement, agitation,
+      thrill, stirring.
+  =mucho= _adv._ much.
+  =mudo, -a= dumb, silent, still, mute.
+  =mueca= _f._ grimace.
+  =muerte= _f._ death.
+  =muerto, -a= dead, lifeless, dying.
+  =muerto, -a= _m. f._ dead person, corpse.
+  =muestra= _f._ indication, token, proof.
+  =mujer= _f._ woman, wife.
+  =mula= _f._ mule.
+  =mullido, -a= soft.
+  =mundano, -a= worldly, of the world.
+  =mundo= _m._ world, earth, society.
+  =murmullo= _m._ murmuring, rippling.
+  =murmurar= murmur.
+  =muro= _m._ wall.
+  =música= _f._ music, melody.
+  =mutuo, -a= mutual.
+  =muy= _adv._ very, very much.
+
+
+  =nacarado, -a= pearly, nacreous.
+  =nacer= be born, spring up.
+  =naciente= _adj._ nascent, growing, budding, dawning.
+  =nación= _f._ nation.
+  =nada= _pron._ nothing, not anything.
+  =nada= _adv._ not at all, not.
+  =nadie= _pron._ no one, any one.
+  =naipe= _m._ card.
+  =nariz= _f._ nose, nostril.
+  =náufrago, -a= wrecked, coming from a wreck.
+  =nave= _f._ ship, vessel.
+  =navegar= sail.
+  =navío= _m._ ship.
+  =nebuloso, -a= nebulous, hazy.
+  =necesitar= need.
+  =necio, -a= foolish.
+  =néctar= _m._ nectar.
+  =negar= deny, refuse.
+  =negro, -a= black, dark.
+  =nervio= _m._ nerve.
+  =nervioso, -a= nervous.
+  =ni= _conj._ neither, nor, or; =---- ... ----= neither ... nor.
+  =niebla= _f._ mist, haze, fog.
+  =nieve= _f._ snow, extreme whiteness.
+  =ninfa= _f._ nymph.
+  =ninguno, -a= _adj. pron._ no, no one, none, not any.
+  =niño= _m._ child, boy.
+  =no= _adv._ not, no; =que -----= no.
+  =noble= _adj._ noble, eminent, worthy, honorable.
+  =nobleza= _f._ nobility.
+  =noche= _f._ night; =de ----= by night, at night;
+  =media ----= midnight.
+  =nombrar= name, mention.
+  =nombre= _m._ name.
+  =nos= _pron. pers. dat. acc._ us.
+  =nosotros, -as= _pron. pers._ we, us.
+  =novela= _f._ novel.
+  =nube= _f._ cloud.
+  =nublo= _m._ storm cloud.
+  =nudo= _m._ knot, noose.
+  =nuestro, -a= _adj. pron._ our, ours, of ours.
+  =nuevo, -a= new, unfamiliar, newly arrived, fresh, additional.
+  =nunca= _adv._ never, ever.
+  =nupcial= _adj._ nuptial.
+  =nutrir= nourish.
+
+
+  =o= _interj._ oh.
+  =o= _conj._ or, either; =---- ... ----= either ... or.
+  =obedecer= obey.
+  =objeto= _m._ object, thing.
+  =obligarse= bind one's self, be obliged.
+  =obra= _f._ work; =---- maestra= masterpiece.
+  =ocasión= _f._ occasion, time, opportunity.
+  =occidente= _m._ west, occident.
+  =oculto, -a= concealed, hidden, secret.
+  =odioso, -a= odious, hateful.
+  =ofender= offend, make angry, insult.
+  =ofrecer= offer, present; =--se= offer, occur, present itself.
+  =oh= _interj._ oh.
+  =oído= _m._ ear, hearing.
+  =oír= hear, listen, listen to; =--se= be heard.
+  =ojalá= _interj._ would to God.
+  =ojo= _m._ eye, sight.
+  =ola= _f._ wave, billow.
+  =olor= _m._ odor.
+  =oloroso, -a= fragrant.
+  =olvidar= forget.
+  =olvido= _m._ oblivion, forgetfulness, neglect.
+  =onda= _f._ wave.
+  =ondeante= _adj._ waving, flowing.
+  =ondear= wave.
+  =ondina= _f._ undine, water-sprite.
+  =ondular= undulate, rise and fall.
+  =onza= _f._ doubloon (former gold coin, = about $16).
+  =ópalo= _m._ opal.
+  =óptico, -a= optical; =---- vidrio= telescope.
+  =opulento, -a= rich, wealthy.
+  =ora= _conj._ now; =---- ... ----= now ... again, at one time ... at
+     another.
+  =orador= _m._ orator.
+  =orgía= _f._ orgy.
+  =orgulloso, -a= proud, haughty.
+  =original= _adj._ original, curious.
+  =oro= _m._ gold, gold coin, wealth, riches; =----s= diamonds (as a
+     suit of playing-cards).
+  =os= _pron. pers. dat. acc._ you, yourself.
+  =osadía= _f._ boldness, audacity, effrontery.
+  =osado, -a= daring, bold, defiant.
+  =oscuridad= _f._ darkness, obscurity, gloom.
+  =oscuro, -a= dark, gloomy, confused.
+  =ostentar= show, display.
+  =otero= _m._ hill.
+  =otro, -a= _adj. pron._ other, another.
+
+
+  =padecer= _m._ suffering, pain.
+  =padre= _m._ father; =----s= fathers, parents, ancestors.
+  =padrino= _m._ sponsor.
+  =paje= _m._ page.
+  =palabra= _f._ word, promise.
+  =palabrería= _f._ wordiness.
+  =palacio= _m._ palace, mansion.
+  =pálido, -a= pallid, pale, faint.
+  =palmada= _f._ slap, applause, clapping.
+  =palmo= _m._ span (8 inches).
+  =palpar= feel, grope, know; =--se= feel, grope.
+  =palpitante= _adj._ quivering, throbbing.
+  =palpitar= beat, quiver, flutter.
+  =pan= _m._ bread.
+  =par= _adj._ equal; =a ----= alike; =a ---- que= just as,
+      while; =a la ----= at the same time, equally; =al ---- de= like,
+      as well as.
+  =para= _prep._ for, to, in order to; =ser ----= be enough to.
+  =parabién= _m._ congratulation; =dar el ----= congratulate.
+  =paradero= _m._ halting-place, end.
+  =páramo= _m._ paramo, desert, wilderness.
+  =parar= stop, halt, stake; =--se= stop, halt.
+  =parar= _m._ lansquenet (a game of cards).
+  =parche= _m._ drum.
+  =pardiez= _interj._ by God.
+  =pardo, -a= dark gray, brown, dark.
+  =parecer= appear, seem, resemble, look like; =al ----= seemingly,
+     apparently.
+  =pared= _f._ wall.
+  =párpado= _m._ eyelid.
+  =parte= _f._ part; =de ---- de= from, by command of; =por todas
+     ----s= everywhere.
+  =pasada= _f._ passing; =de ----= in passing.
+  =pasado= _m._ past.
+  =pasar= pass, go by, end.
+  =pasión= _f._ passion.
+  =paso= _m._ step, gait, footstep, tread, passing; =---- de andadura=
+      ambling gait; =al ----, de ----,= in passing.
+  =pastor= _m._ shepherd.
+  =Pastrana= _pr. n._ Pastrana.
+  =patear= stamp upon.
+  =patio= _m._ court, courtyard.
+  =patria= _f._ native country, fatherland, home.
+  =patrio, -a= paternal, native.
+  =pausado, -a= deliberate, leisurely.
+  =pavesa= _f._ embers.
+  =pavimiento= _m._ pavement, floor.
+  =pavor= _m._ fear, terror.
+  =pavoroso, -a= frightful, exciting fear, terrifying, terrible.
+  =pavura= _f._ fear, terror.
+  =paz= _f._ peace, quiet.
+  =pecado= _m._ sin.
+  =pecador, -a= sinful, wicked, wretched.
+  =pecho= _m._ breast, chest, bosom, heart, courage; =a lo hecho, ----=
+     make the best of it.
+  =pecho= _m._ tribute; =dar ----= pay tribute. =pedazo= _m._ piece;
+     =a ----s= to pieces, in pieces; =hacer ----s= break to pieces, tear.
+  =pedestal= _m._ pedestal, foundation.
+  =pedir= ask, ask for, beg, demand; =---- cuenta= bring to account,
+      demand account of.
+  =pedrería= _f._ precious stones.
+  =pena= _f._ punishment, penalty, agony, trouble, anxiety, sorrow,
+      pain; =ánima en ----= soul in purgatory.
+  =pendencia= _f._ quarrel, dispute, row.
+  =pendón= _m._ banner, flag.
+  =penetrar= penetrate, pierce.
+  =penoso, -a= painful.
+  =pensamiento= _m._ thought, mind.
+  =pensar= think, consider, plan, mean, intend; =---- en= think of.
+  =pensil= _m._ beautiful garden.
+  =peñasco= _m._ large rock.
+  =perder= lose, squander, ruin, undo; =--se= be lost, go astray,
+      disappear, vanish; =dar por perdido= consider lost.
+  =perdido, -a= lost, ruined, done for, beside one's self, vanished,
+      defeated, wandering.
+  =perdidoso, -a= losing, loser.
+  =perdón= _m._ pardon, forgiveness.
+  =perdonar= pardon, forgive.
+  =peregrino, -a= strange, wonderful.
+  =perezoso, -a= sluggish.
+  =pérfido, -a= perfidious, treacherous.
+  =perfumado, -a= sweet-scented, perfumed.
+  =perfume= _m._ perfume, fragrance, sweet odor.
+  =pero= _conj._ but, however.
+  =perpetuo, -a= perpetual, continual.
+  =perro= _m._ dog.
+  =perseguir= pursue, importune, beset.
+  =persona= _f._ person; =----s= dramatis personae.
+  =pesar= weigh, consider, be valuable, repent.
+  =pesar= _m._ sorrow, trouble, repentance; =a su ----= in spite of
+      himself.
+  =peso= _m._ weight.
+  =pie= _m._ foot; =alzarse de ----= rise to one's feet; =en ----=
+      standing; =mover los ----s= walk; =ponerse de ----= arise, stand up.
+  =piedad= _f._ pity, mercy.
+  =piedra= _f._ stone.
+  =pintar= paint, depict, describe; =--se= be painted, be depicted.
+  =pintura= _f._ picture, painting.
+  =pirata= _m._ pirate.
+  =pisada= _f._ footstep.
+  =pisar= tread upon.
+  =placentero, -a= pleasant, pleasing.
+  =placer= please.
+  =placer= _m._ pleasure, rejoicing.
+  =plan= _m._ plan.
+  =planta= _f._ sole of foot, foot, project, design; =mover la ----= walk.
+  =plañir= sob, whimper, lament.
+  =plata= _f._ silver.
+  =playa= _f._ shore, beach, strand; =sin ----= boundless.
+  =plaza= _f._ square.
+  =plebe= _f._ populace, common people.
+  =plegaria= _f._ prayer.
+  =pliegue= _m._ fold.
+  =poblar= inhabit.
+  =pobre= _adj._ poor.
+  =pobreza= _f._ poverty.
+  =poco= _adv._ little; =---- a ----= little by little, gradually;
+  =por ----= for a trifle.
+  =poder= be able, may, can; _impers._ be possible; =puede que= perhaps,
+     maybe.
+  =poder= _m._ power.
+  =poderoso, -a= powerful, mighty, wealthy.
+  =poeta= _m._ poet.
+  =Polonia= _f._ Poland.
+  =polvo= _m._ dust.
+  =pomo= _m._ pommel, hilt.
+  =pompa= _f._ pomp, splendor.
+  =poner= put, place, instill, fix, set, make, turn, offer, give; =----
+      pavor a uno= make one afraid; =--se a= begin to; =--se de pie=
+      arise, stand up.
+  =poniente= _adj._ setting.
+  =ponzoñoso, -a= poisonous.
+  =popa= _f._ poop, stern; =en ----= astern, aft; =viento en ----=
+      before the wind, with a wind from astern.
+  =por= _prep._ for, on account of, by, to, through, over, across,
+      for the sake of, on, at; _conj._ =---- qué= why.
+  =porfía= _f._ obstinacy, persistence.
+  =porque= _conj._ because, in order that.
+  =portento= _m._ prodigy, miracle, portent.
+  =porvenir= _m._ future.
+  =pos= _adv. prep._: =en ----= behind, after.
+  =positivamente= _adv._ positively, certainly.
+  =postrado, -a= prostrate, kneeling.
+  =postrero, -a= last.
+  =precipitado, -a= precipitate, headlong, rash, abrupt.
+  =precipitar(se)= precipitate, hasten, rush headlong, hurry.
+  =precursor, -a= _m. f._ precursor, herald, harbinger.
+  =preguntar= ask, inquire, question.
+  =premática= _f._ pragmatic (a law).
+  =prender= catch, take, bind, fasten; =---- fuego= set fire.
+  =presa= _f._ capture, prize.
+  =présago, -a= presaging, ominous.
+  =présago= _m._ presage, omen.
+  =presentar= present, offer, show.
+  =presente= _adj._ present.
+  =presente= _m._ present.
+  =prestar= lend, give, add, ascribe.
+  =presumir= presume, imagine, dare.
+  =presuroso, -a= prompt, quick, light.
+  =prevenirse= prepare.
+  =previsión= _f._ foresight, foreboding, presentiment.
+  =primavera= _f._ spring.
+  =primero, -a= first, former.
+  =príncipe= _m._ prince.
+  =prisa= _f._ haste.
+  =proceloso, -a= tempestuous.
+  =procurar= procure, obtain, secure.
+  =prodigio= _m._ prodigy, marvel.
+  =prodigioso, -a= extraordinary, exquisite.
+  =profundo, -a= deep, low, profound, great.
+  =profundo= _m._ abyss, hell.
+  =prolongar(se)= prolong, continue, extend.
+  =prometer= promise.
+  =pronto, -a= ready.
+  =pronto= _adv._ quickly, soon; =de ----= suddenly.
+  =pronunciar= pronounce, utter, say.
+  =propio, -a= own.
+  =prorrumpir= break out, burst forth.
+  =protección= _f._ protection.
+  =provocar= provoke, rouse, incite.
+  =público, -a= public, general, common.
+  =pudor= _m._ modesty.
+  =pueblo= _m._ people, town, nation.
+  =puerta= _f._ door, gateway, entrance.
+  =puerto= _m._ harbor, port.
+  =pues= _adv._ then, well; _conj._ for, since.
+  =puesta= _f._ setting.
+  =pugnar= struggle.
+  =punto= _m._ spot, speck, point, moment; =al ----= immediately, at once.
+  =punzante= _adj._ sharp, piercing, pricking, stinging, acrid.
+  =puñal= _m._ dagger.
+  =pureza= _f._ purity, chastity, innocence.
+  =purísimo, -a= very pure, most pure.
+  =puro, -a= pure, chaste, holy, clear, unsullied, unblemished, mere,
+      sheer, absolute.
+
+
+  =que= _conj._ than, for, as, since, that, so that, let; =de ----= that.
+  =que= _pron. rel._ which, that, who, whom; =en ----= when.
+  =qué= _interj._ what, how.
+  =qué= _interrog._ what, why; =por ----= why.
+  =quebrantar= break, transgress, shatter, split, weaken.
+  =quebranto= _m._ affliction, grief, sorrow.
+  =quedar(se)= stay, remain, be left.
+  =queja= _f._ complaint, lamentation, plaintive cry, moan.
+  =quejarse= complain, lament.
+  =quejido= _m._ moan, complaint.
+  =quemado, -a= burning.
+  =quemar= burn.
+  =querer= love, like, desire, want, seek, wish, accept, cover, accept a
+      challenge _or_ bet, be on the point of.
+  =querido, -a= dear, beloved.
+  =quien= _pron. rel._ who, which, whom, one who.
+  =quién= _pron. interrog._ who.
+  =Quijote= _pr. n. m._ Quixote.
+  =quimera= _f._ chimera, fancy, quarrel, row.
+  =quimérico, -a= chimerical, fantastic.
+  =quince= _card._ fifteen.
+  =quinto, -a= fifth.
+  =quitar(se)= take away, remove, take off.
+  =quizá= _adv._ perhaps.
+
+
+  =rabia= _f._ rage, fury.
+  =ración= _f._ ration, allowance of food.
+  =radiante= _adj._ radiant.
+  =ráfaga= _f._ gust, blast, burst.
+  =rama= _f._ branch, bough.
+  =ramaje= _m._ branches.
+  =ramo= _m._ branch.
+  =rápido, -a= rapid, quick, swift, nimble, fleeting.
+  =raro, -a= strange, unusual.
+  =rasgar= tear, rend.
+  =raudal= _m._ torrent, stream.
+  =raudo, -a= rapid, swift, precipitate..
+  =raya= _f._ stripe, streak.
+  =rayar= border upon.
+  =rayo= _m._ ray, thunderbolt, beam, light.
+  =razón= _f._ reason, reasoning.
+  =realidad= _f._ reality.
+  =realizar= realize, make real, bring about.
+  =rebelde= _adj._ rebellious.
+  =rebramar= bellow.
+  =recatado, -a= cautious, careful, prudent.
+  =recato= _m._ modesty, prudence, coyness.
+  =recelo= _m._ misgiving, apprehension, fear.
+  =receloso, -a= distrustful, terrifying, fearsome.
+  =recibir= receive, take, accept.
+  =recio, -a= strong, loud, severe, rigorous.
+  =recobrar= recover.
+  =recoger= gather, collect, take in, receive, shelter.
+  =recogido, -a= retired, absorbed, secluded.
+  =reconcentrado, -a= concentrated, intense.
+  =reconocer= recognize, know.
+  =recordar= remember, recall.
+  =recorrer= pass through, examine.
+  =recrear= delight, gladden.
+  =recuerdo= _m._ recollection, memory.
+  =rechazar= repel, reject.
+  =rechinamiento= _m._ gnashing.
+  =rechinar= creak, gnash.
+  =rededor= _m._ environs; =al ---- de= around.
+  =redoblar= redouble.
+  =redoble= _m._ roll.
+  =redor= _cf._ =rededor=; =en ----= round about.
+  =reflejar= reflect.
+  =reflejo= _m._ light, gleam, glimmer.
+  =refregar= rub.
+  =refulgente= _adj._ resplendent, brilliant.
+  =regalar= make merry, cheer, entertain, delight; =--se= feast, make
+     merry, fare sumptuously.
+  =regar= lave, water.
+  =regio, -a= royal, regal, magnificent.
+  =región= _f._ region, realm.
+  =registrar= examine, scan.
+  =regocijar= gladden, brighten.
+  =reina= _f._ queen.
+  =reinar= reign.
+  =reír= laugh; =--se= laugh; =---se de= laugh at.
+  =relámpago= _m._ lightning flash.
+  =relinchar= whinny, neigh.
+  =reloj= _m._ clock, timepiece.
+  =remiso, -a= slow.
+  =remolino= _m._ whirl, whirling, vortex, eddy, whirlwind.
+  =remontarse= rise, soar, tower.
+  =remordimiento= _m._ remorse.
+  =remover= remove, move, take away.
+  =rencor= _m._ grudge, hatred.
+  =rendido, -a= worn out, overcome.
+  =rendir= surrender, give up, overcome, yield.
+  =renegar de= deny, abhor, denounce, curse, protest against.
+  =renglón= _m._ line.
+  =reñidor, -a= quarrelsome.
+  =reñir= quarrel, fight.
+  =reparar= defend, recover.
+  =reparo= _m._ advice, warning, remark, objection.
+  =repente= _m._ sudden movement; =de ---- suddenly.
+  =repentino, -a= sudden.
+  =repetir= repeat.
+  =reponer= reply.
+  =reposar= repose, rest.
+  =reposo= _m._ rest, sleep.
+  =réprobo, -a= reprobate, wicked one.
+  =repugnante= _adj._ repulsive, loathsome.
+  =requerir= examine, lay hold of.
+  =resbalar= slip away, glide, pass over, touch.
+  =resistir= resist, endure, withstand.
+  =resolución= _f._ resolution, determination.
+  =resolver= resolve, determine.
+  =resonar= resound, ring out, echo.
+  =respirar= breathe, exhale, inhale.
+  =resplandor= _m._ light, radiance, brightness, glow.
+  =responder= respond, reply, answer.
+  =respuesta= _f._ reply, answer.
+  =resucitar= return to life.
+  =resuelto, -a= resolved, determined.
+  =retumbar= tremble.
+  =retorcer= twist; =--se= writhe, be wrung.
+  =retrato= _m._ portrait, picture.
+  =retumbar= resound, reëcho.
+  =reunir= unite, gather.
+  =reventar= burst forth.
+  =revés= _m._ reverse; =al ----= contrariwise.
+  =revestir= clothe, robe.
+  =revuelto, -a= agitated, restless, disordered, topsy-turvy, winding,
+      wrapped, clad.
+  =rey= _m._ king, monarch.
+  =rezar= pray, recite.
+  =rezo= _m._ prayer, devotions.
+  =rico, -a= rich, abundant, plentiful, fine.
+  =ridículo, -a= ridiculous, strange, absurd.
+  =rielar= shimmer, glisten.
+  =rienda= _f._ rein; =a ---- suelta= at full gallop.
+  =riesgo= _m._ danger.
+  =rifar= raffle, bid.
+  =rigidez= _f._ rigidity.
+  =rígido, -a= rigid, severe, rigorous.
+  =río= _m._ river, stream.
+  =riqueza= _f._ richness, riches, wealth.
+  =risa= _f._ laughter.
+  =rival= _m._ rival.
+  =rizar= ripple.
+  =robar= rob; =---- a= steal from.
+  =roble= _m._ oak tree.
+  =roca= _f._ rock, cliff.
+  =rodar= roll, be tossed about, abound.
+  =rodear= surround.
+  =rodilla= _f._ knee; =de -----s= kneeling.
+  =roedor, -a= gnawing.
+  =roer= gnaw, consume, harass.
+  =rogar= pray.
+  =rojo, -a= red, crimson, ruby.
+  =romper= break, break down, destroy, shatter, dash.
+  =ronco, -a= hoarse, raucous, harsh.
+  =ronda= _f._ rounds, circular dance, dance.
+  =ropa= _f._ garment, raiment, clothing.
+  =ropaje= _m._ apparel, gown, robe.
+  =rosa= _f._ rose.
+  =rosado, -a= rosy, roseate.
+  =rostro= _m._ face, countenance.
+  =roto, -a= broken, destroyed, shattered.
+  =rudo, -a= rude, rough, hard.
+  =rueda= _f._ wheel, circle, turn.
+  =ruego= _m._ request, entreaty.
+  =rugido= _m._ roaring.
+  =rugir= roar, bellow.
+  =ruido= _m._ noise, din, sound.
+  =ruinoso, -a= ruinous, crumbling.
+  =ruiseñor= _m._ nightingale.
+  =rumbo= _m._ course.
+  =rumor= _m._ noise, sound.
+
+
+  =sábado= _m._ Saturday, Sabbath.
+  =saber= know, learn, find out.
+  =sabroso, -a= tasty, delicious, palatable.
+  =sacro, -a= holy, sacred.
+  =sacudido, -a= harsh, jerky.
+  =sacudir= shake, shake off, strike.
+  =sagrado, -a= sacred, holy.
+  =Salamanca= _pr. n. f._ Salamanca.
+  =salir= come out, go out, get out, emerge, issue, turn out, appear,
+      show up; =---- de= leave, get out.
+  =saltar(se)= jump, spring, flash.
+  =saludar= salute, greet.
+  =san (santo)= saint.
+  =sandio, -a= foolish, stupid, silly.
+  =sangre= _f._ blood, gore; =---- fría= sangfroid, coolness, calmness.
+  =sangriento, -a= bloody, gory.
+  =santidad= _f._ holiness, godliness.
+  =santo, -a= holy, saint, blessed.
+  =sarcasmo= _m._ sarcasm.
+  =sargento= _m._ sergeant.
+  =sastre= _m._ tailor.
+  =Satanás= _m._ Satan.
+  =satánico, -a= Satanic.
+  =sátira= _f._ satire.
+  =satisfacción= _f._ satisfaction.
+  =sauce= _m._ willow.
+  =Scévola= _pr. n. m._ Scaevola.
+  =se= _pron. refl. 3d pers. dat. acc. m. f. sing. pl._ him, himself,
+      herself, itself, themselves; one another, each other; _dat. of 3d
+      pers. pron._ to you.
+  =secar= parch, consume, dry up, wither.
+  =seco, -a= dry, dried up, barren, withered, lean, bony.
+  =secreto, -a= secret, hidden.
+  =sed= _f._ thirst.
+  =seductor, -a= seducing.
+  =seductor= _m._ seducer.
+  =segar= mow, reap.
+  =seguida= _f._ continuation; =en ----= forthwith, immediately.
+  =seguir= follow, succeed, pursue, go on, continue.
+  =según= _prep._ according to.
+  =segundo, -a= second.
+  =seguro, -a= secure, safe, confident, certain, unfailing, stanch;
+      =mal ----= unsafe, insecure.
+  =seis= _card._ six.
+  =sellar= seal, cover.
+  =sello= _m._ seal, stamp, mark.
+  =semblante= _m._ countenance, face.
+  =semejante= _adj._ similar, like, resembling.
+  =semejar= resemble, be like.
+  =sempiterno, -a= eternal.
+  =Sena= _pr. n. f._ Siena.
+  =seno= _m._ bosom, breast, depths.
+  =sensación= _f._ sensation, feeling.
+  =sentar= suit, place, plant, become, set; =--se= sit down.
+  =sentenciar= condemn.
+  =sentido= _m._ sense; =sin ----= senseless, unconscious.
+  =sentimiento= _m._ sentiment, feeling, emotion, regret, grief.
+  =sentir(se)= feel, regret, be sorry, hear, perceive, foresee.
+  =seña= _f._ sign.
+  =señalar= point out, mark out, make known, name.
+  =señor= _m._ lord, señor, gentleman, sir, Mr..
+  =señora= _f._ lady, madam.
+  =separar= separate, part.
+  =sepulcral= _adj._ sepulchral.
+  =sepulcro= _m._ grave, tomb.
+  =sepultar= bury, entomb.
+  =sepultura= _f._ grave, tomb.
+  =ser= be; =---- para= be enough to; =es de temer= it is to be feared;
+      =es de ver= you should see; =no sea que= lest, for fear that;
+      =sea ... sea= whether ... or.
+  =ser= _m._ being.
+  =serafín= _m._ seraph, angel.
+  =sereno, -a= serene, quiet, calm, placid, fair, peaceful.
+  =sermón= _m._ sermon, talk, advice.
+  =servir= serve; =---- de= serve as; =--se de= make use of.
+  =sesenta= _card._ sixty.
+  =severo, -a= severe, stern, serious, rigorous, strict.
+  =si= _conj._ if, when, whether; =---- no= otherwise, unless;
+      =---- ... ----= whether ... or; =y ---- no= unless, otherwise.
+  =sí= _pron. refl. sing. pl. m. f._ himself, herself, etc..
+  =sí= _adv._ yes, ay, indeed, certainly; =que ----= yes.
+  =sí= _m._ assent, consent.
+  =siempre= _adv._ always, ever.
+  =sien= _f._ temple.
+  =sierpe= _f._ serpent.
+  =silbar= whistle.
+  =silbo= _m._ whistling.
+  =silencio= _m._ silence, quiet, repose.
+  =silencioso, -a= silent.
+  =silfa= _f._ sylph.
+  =sílfide= _f._ sylph.
+  =silla= _f._ saddle.
+  =sin= _prep._ without; =---- que= _conj._ without.
+  =siniestro, -a= left.
+  =sino= _adv. conj._ but, only, except.
+  =sino (signo)= _m._ fate, mark.
+  =siquier, siquiera,= _conj._ whether, although, at least; =no ----=
+     not even; =---- ... ----= whether ... or.
+  =sitio= _m._ place, spot, site.
+  =soberano, -a= sovereign, supreme.
+  =sobra= _f._ surplus; =----s= leavings.
+  =sobre= _prep._ over, above, on, upon; =estar ---- sí= be self-
+     possessed.
+  =sociedad= _f._ society.
+  =Sócrates= _pr. n. m._ Socrates.
+  =sol= _m._ sun.
+  =soldado= _m._ soldier.
+  =soledad= _f._ solitude, loneliness; =de ----= deserted.
+  =solemne= _adj._ solemn, impressive, grave.
+  =soler= be accustomed, be wont.
+  =solitario, -a= solitary, lonely, isolated.
+  =solo, -a= alone, single, solitary, only; =a solas= alone, privately.
+  =sólo= _adv._ only; =tan ----= only.
+  =soltar= let go, loosen, utter; =---- una carcajada= burst out laughing.
+  =sollozante= _adj._ sobbing.
+  =sombra= _f._ shadow, shade, darkness, trace, vestige, wraith, spirit.
+  =sombrero= _m._ hat.
+  =sombrío, -a= somber, dark, overcast, cloudy, gloomy, melancholy,
+     sullen.
+  =són= _m._ sound, noise, manner.
+  =sonar= sound, resound.
+  =soneto= _m._ sonnet.
+  =sonido= _m._ sound, peal.
+  =sonoro, -a= sonorous, resounding, loud, harmonious.
+  =sonreír= smile.
+  =sonrisa= _f._ smile.
+  =soñar= dream, imagine, dream of.
+  =soplo= _m._ gust, breath.
+  =sórdido, -a= dirty, nasty.
+  =sordo, -a= dull, stifled, muffled, quiet.
+  =sorpresa= _f._ surprise.
+  =sosegado, -a= calm, calmed, peaceful.
+  =sosiego= _m._ calmness, peace, quiet.
+  =sota= _f._ jack, knave.
+  =Stambul= _pr. n._ Stamboul.
+  =su= _adj. poss._ his, her, its, their, your.
+  =suave= _adj._ soft, mellow, delicate, gentle.
+  =suavísimo, -a= very soft, very gentle, very sweet.
+  =subir= raise, mount, ascend, climb; =--se= mount, rise.
+  =súbito, -a= sudden.
+  =súbito= _adv._ suddenly; =de ----= suddenly.
+  =sublime= _adj._ sublime, majestic, heroic.
+  =suceder a= succeed, follow.
+  =sudor= _m._ sweat.
+  =suelo= _m._ ground, earth, floor.
+  =suelto, -a= loose, flowing, swift; =a rienda suelta= at full gallop.
+  =sueño= _m._ sleep, slumber, dream, vision, fancy.
+  =suerte= _f._ luck, fortune, fate, lot; =a otra ---- de esos dados=
+     another cast of those dice.
+  =sufrir= suffer, permit, tolerate.
+  =sujetar= subdue, overcome.
+  =sujeto, -a= held fast, conquered.
+  =suntuoso, -a= sumptuous, luxurious.
+  =supremo, -a= supreme.
+  =suspender= suspend, hang.
+  =suspirar= sigh; =---- de= long for.
+  =suspiro= _m._ sigh.
+  =susurrar= whisper, murmur.
+  =susurro= _m._ whispering, murmuring.
+  =suyo, -a= _adj. poss._ his; =el ----= _pron. poss._ his.
+
+
+  =tabla= _f._ board, plank.
+  =tácito, -a= silent, quiet, stealthy.
+  =tacto= _m._ touch.
+  =tachonado, -a= betrimmed.
+  =tajante= _adj._ keen-cutting (_sc._ sword).
+  =tal= _adj. pron._ such, so, thus; =---- vez= perhaps, occasionally,
+     now and then.
+  =tálamo= _m._ bridal couch.
+  =talante= _m._ appearance, disposition.
+  =talle= _m._ figure, appearance.
+  =taller= _m._ factory, workshop.
+  =tallo= _m._ stalk, stem.
+  =también= _adv._ too, moreover, likewise.
+  =tan= _adv._ so, such; =---- ... como= as ... as; =---- sólo= only.
+  =tanto, -a= _adj._ so much, so great; _pl._ so many.
+  =tanto= _adv._ so much, so, such; =cuanto más ... ---- más=
+      the more ... the more; =en ----= while, meanwhile; =entre ----=
+      meanwhile; =---- como= as long as; =---- más= the more.
+  =tapar= cover, veil, muffle.
+  =tapiz= _m._ tapestry.
+  =tararear= hum.
+  =tardar(se)= delay, take long, be long in coming, tarry.
+  =tarde= _adv._ late, too late; =se hace ----= it is growing late.
+  =tarde= _f._ afternoon, evening.
+  =tardo, -a= slow, tardy, sluggish.
+  =tarifa= _f._ tariff, price.
+  =tartáreo, -a= Tartarean, infernal.
+  =te= _pron. pers._ thee, thyself.
+  =tea= _f._ torch.
+  =techo= _m._ roof, ceiling.
+  =tejer= weave, contrive.
+  =temblar= tremble at, fear, quiver, twitch, tremble.
+  =temblor= _m._ trembling, tremor, shiver.
+  =tembloroso, -a= trembling.
+  =temer= fear.
+  =temerario, -a= rash, impetuous, reckless, daring.
+  =temeridad= _f._ rashness.
+  =temeroso, -a= timid, fearful.
+  =temor= _m._ fear.
+  =témpano= _m._ sheet (of ice etc.).
+  =tempestad= _f._ tempest, storm.
+  =templado, -a= softened.
+  =templo= _m._ temple, church.
+  =temprano, -a= early, premature.
+  =tender= stretch out, extend, spread.
+  =tenebroso, -a= shadowy, gloomy.
+  =tener= have, keep, take, grasp; =---- de= + _inf._ be going to, must.
+  =Tenorio= _pr. n. m._ Tenorio.
+  =tentar= tempt.
+  =teñir= tinge, color.
+  =tercero, -a= third.
+  =terco, -a= obstinate.
+  =Teresa= _pr. n. f._ Theresa.
+  =terminar= end, consummate.
+  =término= _m._ term, end.
+  =terneza= _f._ softness.
+  =ternura= _f._ tenderness, affection.
+  =terror= _m._ terror.
+  =terso, -a= smooth, glossy, unwrinkled.
+  =tertulia= _f._ assembly, club.
+  =tesoro= _m._ treasure, wealth, riches.
+  =ti= _pron. pers._ thee.
+  =Tibre= _pr. n. m._ Tiber.
+  =tiempo= _m._ time, period, season; =a un ----= at once, at
+  the same time; =a un ---- mismo= at the very same time; =de ---- en
+  ----= from time to time; =un ----= once, formerly.
+  =tienta= _f._ probe; =a ----s= gropingly, feeling his way.
+  =tierno, -a= tender, soft, affectionate, young.
+  =tierra= _f._ land, country, earth, ground.
+  =tigre= _m._ tiger.
+  =tímido, -a= timid, shy.
+  =tiniebla= _f._ darkness, shadow.
+  =tinta= _f._ tint, hue, color.
+  =tiple= _m._ treble.
+  =tirano= _m._ tyrant.
+  =tirar= throw, throw away, cast, draw, pull, win; =---- de= pull, draw.
+  =tocar= touch, fall to one's share, hit; =---- a muerto= toll a
+      funeral bell; =dale con ---- a muerto= plague take this funeral
+      tolling.
+  =todavía= _adv._ nevertheless, still, yet.
+  =todo, -a= all, every.
+  =todo= _pron._ everything, all; =----s= everybody, all.
+  =todo= _adv._ entirely.
+  =Toledo= _f._ Toledo.
+  =tomar= take, take up.
+  =tono= _m._ tone, manner.
+  =torbellino= _m._ whirlwind.
+  =torcer= twist, wind, bend, turn, divert.
+  =torcido, -a= winding, twisting.
+  =tormenta= _f._ storm, tempest, hurricane, misfortune.
+  =tormento= _m._ torment, torture, anguish.
+  =Tormes= _m._ Tormes.
+  =tornar= return; =---- a= + _inf._ do again, repeat (an act).
+  =torno= _m._ turn; =en ----= round about; =en ---- de= around, about.
+  =torpe= _adj._ slow, dull, awkward.
+  =torre= _f._ tower, spire.
+  =torrente= _m._ torrent, avalanche.
+  =torreón= _m._ strong tower.
+  =tortura= _f._ torture.
+  =torvo, -a= stern, severe, grim.
+  =trabajar= work, toil.
+  =trabajo= _m._ work, task, toil, labor.
+  =traer= bring, bear.
+  =tragar= swallow.
+  =traje= _m._ garb, apparel.
+  =tranco= _m._ stride.
+  =tranquilo, -a= tranquil, calm, peaceful, quiet.
+  =transpirar= transpire, appear.
+  =trapo= _m._ rag, sails; =a todo ----= all sails set.
+  =tras= _prep._ behind, after; =---- de= behind.
+  =traslado= _m._ likeness, imitation.
+  =trasmontar= sink beyond, set.
+  =trasparente= _adj._ transparent, clear.
+  =traspasar= pierce.
+  =traspié= _m._ slip, stumble; =dar ----s= stumble, reel.
+  =trastornar= disorder, confuse, upset.
+  =trastorno= _m._ disorder, confusion, disturbance.
+  =trasunto= _m._ likeness, copy.
+  =trato= _m._ agreement, bargain, treatment.
+  =trecho= _m._ distance.
+  =tregua= _f._ truce, respite.
+  =tremendo, -a= awful, terrible.
+  =trémulo, -a= trembling, flickering.
+  =trescientos, -as= three hundred.
+  =triplicar= triple.
+  =triste= _adj._ sad, sorrowful, dismal, gloomy, cheerless, wretched,
+     sorry.
+  =tristura= _f._ sadness, sorrow.
+  =triunfante= _adj._ triumphant.
+  =triunfo= _m._ triumph, victory, success.
+  =trocar= change; =--se= be changed, change.
+  =tromba= _f._ waterspout.
+  =tronar= thunder.
+  =tronchar= break off a trunk.
+  =trono= _m._ throne.
+  =trovador= _m._ troubadour.
+  =trueno= _m._ thunder.
+  =truhán, -a= scoundrel.
+  =tu= _adj. poss._ thy.
+  =tú= _pron. pers._ thou.
+  =tuétano= _m._ marrow.
+  =tumba= _f._ tomb, grave.
+  =tumbo= _m._ fall, tumble, somersault.
+  =túnica= _f._ tunic, robe.
+  =turbar= disturb, daunt, shake, upset.
+  =turbio, -a= troubled, confused, dim, heavy.
+  =turbión= _m._ squall, heavy shower, hurricane.
+  =turbulento, -a= turbulent, tumultuous, disorderly.
+  =Turco, -a= _m. f._ Turk.
+
+
+  =u= _conj._ (_before_ =o= _or_ =ho=) or.
+  =ufano, -a= proud, content.
+  =último, -a= last, final.
+  =ultraje= _m._ outrage, insult.
+  =umbrío, -a= dark, shady.
+  =un, una= _art._ a, an.
+  =únicamente= _adv._ only.
+  =único, -a= only, sole, singular.
+  =unir= unite, join, bind.
+  =universo= _m._ universe, world.
+  =uno, -a= _adj. pron._ one; =----s= some; =de ----a en ---a=   one by
+     one.
+  =urna= _f._ urn.
+
+
+  =vadear= ford.
+  =vagar= wander, roam, flit, drift, hover.
+  =vago, -a= wandering, wavering, vague, indistinct, hazy.
+  =vagoroso, -a= wandering, errant.
+  =vaguedad= _f._ vagueness; =con ----= vaguely, uncertainly.
+  =valentía= _f._ valor, courage.
+  =valer= be worth, help, avail; =más vale= it is better.
+  =valeroso, -a= valiant, brave.
+  =valiente= _adj._ valiant, brave, arrogant, blustering.
+  =valor= _m._ valor, courage, strength, force, might, amount, value.
+  =valle= _m._ vale.
+  =vano, -a= vain, idle, useless, presumptuous; =en ----= in vain,
+     useless.
+  =vapor= _m._ vapor, mist, fumes.
+  =vaporoso, -a= ethereal, airy, shadowy, misty.
+  =varón= _m._ man.
+  =varonil= _adj._ manly, masculine.
+  =vaso= _m._ glass, vessel, vase.
+  =vate= _m._ bard.
+  =veinte= _card._ twenty.
+  =vela= _f._ sail, ship; =a toda ----= full sail.
+  =velar= veil.
+  =velero, -a= swift-sailing (ship).
+  =veleta= _f._ weathercock, vane.
+  =velo= _m._ veil.
+  =veloz= _adj._ swift.
+  =vena= _f._ vein.
+  =vencedor, -a= conquering, victorious.
+  =vencedor, -a= _m. f._ conqueror, victor.
+  =vencer= conquer, vanquish, overcome, subdue.
+  =vencido, -a= conquered, submissive, subdued.
+  =venda= _f._ bandage.
+  =vendaval= _m._ strong wind from the sea.
+  =vender= sell, set up for sale.
+  =veneno= _m._ poison, venom.
+  =vengador, -a= avenging.
+  =venganza= _f._ vengeance, revenge.
+  =vengar= avenge; =--be revenged.
+  =vengativo, -a= avenging.
+  =venir= come, advance, approach, go; =---- a= succeed in; =vengan
+      los dados= let's have the dice.
+  =ventura= _f._ happiness, fortune; =sin ----= wretched, hapless;
+      =sin ---- de mí= unfortunate me, woe is me.
+  =venturoso, -a= fortunate, happy.
+  =ver= see, behold, realize; =--se= be seen, can be seen, find one's
+      self.
+  =verdad= _f._ truth.
+  =verdadero, -a= true, real, genuine.
+  =vergüenza= _f._ shame.
+  =verter= shed, cast.
+  =vertiginoso, -a= giddy, vertiginous.
+  =vértigo= _m._ vertigo, dizziness, confusion, dizzy course.
+  =vestido= _m._ dress, raiment, robe.
+  =vestir= dress, clothe, garb, enwrap.
+  =vez= _f._ time, turn; =a veces= at times; =cada ---- más=
+      more and more; =en ---- de= instead of; =otra ----= again, once
+      more; =tal ----= perhaps, occasionally, now and then.
+  =viaje= _m._ journey, passage, way, road.
+  =viajero= _m._ traveler.
+  =vibrar= vibrate, dart, cast, throw, flicker.
+  =vicio= _m._ vice.
+  =víctima= _f._ victim.
+  =vida= _f._ life.
+  =vidrio= _m._ glass, window-pane; =óptico ----= telescope.
+  =viejo, -a= _adj._ old.
+  =viejo, -a= _m. f._ old man, old woman.
+  =viento= _m._ wind, breeze; =---- en popa= before the wind,
+      with a wind from astern.
+  =vigor= _m._ vigor, strength, force.
+  =vil= _adj._ vile, base, despicable, mean, paltry.
+  =villano= _m._ low-born one, rustic, villain.
+  =vino= _m._ wine.
+  =violento, -a= violent, impetuous, furious.
+  =virar= tack, put about.
+  =virgen= _adj._ virgin, chaste.
+  =virgen= _f._ virgin.
+  =virginal= _adj._ virginal.
+  =virtud= _f._ power, virtue.
+  =visión= _f._ vision, sight, apparition, phantom.
+  =vislumbrar= descry, glimpse.
+  =vista= _f._ sight, glance, eye, appearance, look.
+  =vívido, -a= vivid, bright.
+  =vivienda= _f._ abode.
+  =viviente= _adj._ living.
+  =viviente= _m._ living being.
+  =vivir= live; =vive Dios= as God lives.
+  =vivir= _m._ life, existence.
+  =vivo, -a= living, alive, bright, quick.
+  =volar= fly, take flight, hasten, vanish, sail.
+  =volcán= _m._ volcano.
+  =voluntad= _f._ will, determination, desire.
+  =volver= return, come back, turn, direct, drive, restore; =---- a=
+      + _inf._ do again; repeat (an act); =--se= return, turn, become.
+  =vos= _pron. pers._ you; yourself.
+  =vosotros, -as= _pron. pers._ you, ye.
+  =votar= vow; =voto a Cristo= by Christ.
+  =voto= _m._ vow, curse.
+  =voz= _f._ voice, word, shout, rumor, opinion.
+  =vuelo= _m._ flight, soaring.
+  =vuelta= _f._ turn; =dar mil ----s= turn a thousand times, whirl a
+     thousand times, revolve a thousand times.
+  =vuestro -a= your.
+
+
+  =y= _conj._ and; =---- ... ----= both ... and.
+  =ya= _adv._ now, already, indeed, then, finally; =no ... ----= no
+     longer; =---- ... ----= now ... now, at one time ... at another.
+  =yacer= lie.
+  =yerba= _f._ grass, weed.
+  =yerboso, -a= grassy, weed-grown.
+  =yermo, -a= waste, desert.
+  =yermo= _m._ wilderness, desert.
+  =yerro= _m._ mistake.
+  =yerto, -a= rigid, motionless, petrified.
+  =yo= _pron. pers._ I.
+  =yugo= _m._ yoke.
+
+
+  =zafir= _m._ sapphire.
+  =zozobra= _f._ worry, anguish, anxiety.
+  =zumbar= resound
+
+
+
+
+
+
+End of the Project Gutenberg EBook of El Estudiante de Salamanca and Other
+Selections, by George Tyler Northup
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@@ -0,0 +1,9838 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+  <meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
+  <title>El Estudiante de Salamanca</title>
+  <meta name="author" content="José de Espronceda">
+
+<style type="text/css">
+<!--
+
+body		{margin-left: 10%; margin-right: 10%}
+
+h1,h2,h3,h4,h5,h6 {text-align: center;}
+p 		{text-align: justify}
+blockquote 	{text-align: justify}
+
+hr 		{width: 50%; text-align: center}
+hr.full 	{width: 100%}
+hr.short	{width: 20%; text-align: center}
+
+.note 		{font-size: 0.8em; margin-left: 10%; margin-right: 10%}
+.footnote 	{font-size: 0.8em; margin-left: 10%; margin-right: 10%}
+.side 		{padding-left: 10px; font-weight: bold; font-size: 75%;
+		 float: right; margin-left: 10px; border-left: thin dashed;
+		 width: 25%; text-indent: 0px; font-style: italic; text-align: left}
+
+.lef		{float: left}
+.mid	 	{text-align: center}
+.rig		{float: right}
+
+span.pagenum 	{font-size: 8pt; left: 91%; right: 1%; position: absolute}
+span.linenum 	{font-size: 0.8em; right: 91%; left: 1%; position: absolute}
+
+.poem 		{margin-bottom: 1em; margin-left: 10%; margin-right: 10%;
+		 text-align: left}
+.poem .stanza 	{margin: 1em 0em}
+.poem .stanza.i	{margin: 1em 0em; font-style: italic;}
+.poem p		{padding-left: 3em; margin: 0px; text-indent: -3em}
+.poem p.i2 	{margin-left: 1em}
+.poem p.i4 	{margin-left: 2em}
+.poem p.i6 	{margin-left: 3em}
+.poem p.i8 	{margin-left: 4em}
+.poem p.i10 	{margin-left: 5em}
+.poem p.i12 	{margin-left: 6em}
+.poem p.i14 	{margin-left: 7em}
+.poem p.i16 	{margin-left: 8em}
+.poem p.i18 	{margin-left: 9em}
+.poem p.i20 	{margin-left: 10em}
+.poem p.i30 	{margin-left: 15em}
+
+-->
+</style>
+
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of El Estudiante de Salamanca and Other
+Selections, by George Tyler Northup
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: El Estudiante de Salamanca and Other Selections
+
+Author: George Tyler Northup
+
+Contributor: Don Jose de Espronceda y Lara
+
+Release Date: May 7, 2005 [EBook #15781]
+
+Language: Spanish / English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EL ESTUDIANTE DE SALAMANCA ***
+
+
+
+
+Produced by Stan Goodman, Miranda van de Heijning, Renald
+Levesque and the Online Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+
+
+<p class="mid"><img alt="" src="images/01.png"></p>
+
+<br>
+
+<h2>ESPRONCEDA</h2>
+<br>
+
+<h1>EL ESTUDIANTE<br>
+DE SALAMANCA<br>
+AND OTHER SELECTIONS</h1>
+<br><br>
+
+<h3>EDITED BY</h3>
+<h2>GEORGE TYLER NORTHUP, PH.D.</h2>
+<h3>PROFESSOR OF SPANISH LITERATURE<br>
+UNIVERSITY OF CHICAGO</h3>
+<br><br>
+
+
+<h3>PREFACE</h3>
+
+<p>The selections from Espronceda included in this volume have
+been edited for the benefit of advanced Spanish classes in
+schools and universities. The study of Espronceda, Spain's
+greatest Romantic poet, offers the best possible approach to the
+whole subject of Romanticism. He is Spain's "representative
+man" in that movement. Furthermore, the wealth of meters
+he uses is such that no other poet provides so good a text for
+an introduction to the study of Spanish versification. The
+editor has therefore treated the biography of Espronceda with
+some degree of completeness, studying his career as one fully
+representative of the historical and literary movements of the
+period. A treatment of the main principles of Spanish versification
+was also considered indispensable. It is assumed that
+the text will be used only in classes where the students are
+thoroughly familiar with the rudiments of Spanish grammar.
+Therefore only the more difficult points of grammar are dealt
+with in the notes, and little help, outside of the vocabulary, is
+given the student in the translating of difficult passages.</p>
+
+<p>The editor makes no pretense to having established critical
+texts of the poems here printed, although he hopes that some
+improvement will be noted over previous editions. A critical
+edition of Espronceda's works has never been printed. Espronceda
+himself gave little attention to their publication. Hartzenbusch
+and others intervened as editors in some of the earliest
+editions. Their arbitrary changes have been repeated in all
+subsequent editions. The text of "El Estudiante de Salamanca"
+has been based upon the "Poesías de D. José de Espronceda,"
+Madrid, 1840, the so-called <i>editio princeps</i>. This edition, however,
+cannot be regarded as wholly authoritative. It was not
+prepared for the press by the poet himself, but by his friend
+José García de Villalta. Though far more authentic in its
+readings than later editions, it abounds in inaccuracies. I have
+not followed its capricious punctuation, and have studied it
+constantly in connection with other editions, notably the edition
+of 1884 ("Obras Poéticas y Escritos en Prosa," Madrid, 1884).
+To provide a really critical text some future editor must collate
+the 1840 text with that version of the poem which appeared in
+<i>La Alhambra</i>, an obscure Granada review, for the year 1839.
+"El Mendigo" and "El Canto del Cosaco" I also base upon
+the 1840 edition, although the former first appeared in <i>La
+Revista Española</i>, Sept. 6, 1834. I base the "Canción del
+Pirata" upon the original version published in <i>El Artista</i>,
+Vol. I, 1835, p. 43. I take the "Soneto" from "El Liceo
+Artístico y Literario Español," 1838. For "A Teresa, Descansa
+en Paz," I follow the Madrid edition of 1884. The text
+of this, as for the whole of "El Diablo Mundo," is more
+reliable than that of the earlier poems.</p>
+
+<p>I desire to thank Professors Rudolph Schevill, Karl Pietsch,
+and Milton A. Buchanan for helpful suggestions, and the latter
+more particularly for the loan of rare books. The vocabulary
+is almost entirely the work of my wife Emily Cox Northup,
+whose collaboration is by no means restricted to this portion
+of the book. More than to any other one person I am indebted
+to Mr. Steven T. Byington of the staff of Ginn and
+Company, by whose acute and scholarly observations I have
+often profited.</p>
+<br><br>
+
+<h3>CONTENTS</h3>
+
+<div class="poem">  <div class="stanza">
+<p><a href="#intro">INTRODUCTION</a></p>
+<p class="i2"><a href="#life">THE LIFE OF ESPRONCEDA</a></p>
+<p class="i2"><a href="#works">THE WORKS OF ESPRONCEDA</a></p>
+<p class="i2"><a href="#student">"THE STUDENT OF SALAMANCA"</a></p>
+<p class="i2"><a href="#biblio">BIBLIOGRAPHICAL NOTE</a></p>
+<p class="i2"><a href="#versif">NOTES ON ESPRONCEDA'S VERSIFICATION</a></p>
+  </div><div class="stanza">
+<p><a href="#a1">EL ESTUDIANTE DE SALAMANCA</a></p>
+<p><a href="#b1">CANCIÓN DEL PIRATA</a></p>
+<p><a href="#c1">EL CANTO DEL COSACO</a></p>
+<p><a href="#d1">EL MENDIGO</a></p>
+<p><a href="#e1">SONETO</a></p>
+<p><a href="#f1">A TERESA</a></p>
+  </div><div class="stanza">
+<p><a href="#notes">NOTES</a></p>
+<p><a href="#vocab">VOCABULARY</a></p>
+  </div>  </div>
+<br><br>
+
+<a name="intro" id="intro"></a>
+<h2>INTRODUCTION</h2>
+
+<a name="life" id="life"></a>
+<h3>THE LIFE OF ESPRONCEDA</h3>
+
+<p>Don José de Espronceda y Lara, Spain's foremost lyric poet
+of the nineteenth century, was born on the 25th of March, 1808,
+the year of his country's heroic revolt against the tyranny of
+Napoleon. His parents were Lieutenant-Colonel Don Juan de
+Espronceda y Pimentel and Doña María del Carmen Delgado
+y Lara. Both were Andalusians of noble stock, and, as we learn
+from official documents, were held to be Christians of clean
+blood "without taint of Jews, heretics, Moors, or persons
+punished by the Holy Inquisition, and who neither were nor
+had been engaged in mean or low occupations, but in highly
+honorable ones." This couple of such highly satisfactory antecedents
+had been married four years previously. In 1804 Don
+Juan, a mature widower of fifty-three, was still mourning his
+first wife when he obtained the hand of Doña María, a young
+widow whose first husband, a lieutenant in the same regiment,
+was recently deceased. The marriage was satisfactory in a
+worldly way, for Doña María brought as a dower four hundred
+thousand reales to be added to the two hundred thousand
+which Don Juan already possessed. By his first marriage Don
+Juan had had a son, Don José de Espronceda y Ramos, who
+became ensign in his father's regiment, then studied in the
+Artillery School at Segovia, and later entered the fashionable
+Guardia de Corps regiment. He died in 1793 at the early age
+of twenty-one, soon after joining this regiment. By the second
+marriage there were two other children, both of whom died in
+infancy: Francisco, born in 1805, and María, born in 1807.
+During the early months of 1808 the Bourbon cavalry regiment
+in which Don Juan served was stationed in the little
+hamlet of Villafranca de los Barros, Estremadura, and there
+the future poet was born. We do not know where the mother
+and son found refuge during the stormy years which followed.
+The father was about to begin the most active period of his
+career. We learn from his service record that he won the grade
+of colonel on the field of Bailén; that a year later he recaptured
+the cannon named Libertad at the battle of Consuegra (a feat
+which won him the rank of brigadier), and fought gallantly at
+Talavera as a brother-in-arms of the future Duke of Wellington.
+The mere enumeration of the skirmishes and battles in which
+he participated would require much space. In 1811 he distinguished
+himself at Medina Sidonia and Chiclana, and sought
+promotion to the rank of field-marshal, which was never granted.
+After the Peninsular War he seems to have been stationed in
+Madrid between 1815 and 1818. His family were probably
+permanently established in that city, for we know that mother
+and son resided there during the time that the brigadier was
+doing garrison duty in Guadalajara (1820-1828), and there is
+no evidence that they followed him to Coruña during his term
+of service in that city (1818-1820). Possibly the old soldier
+preferred the freedom of barrack life, where his authority was
+unquestioned, to the henpecked existence he led at home.
+"Ella era él y él era ella," says Patricio de Escosura in speaking
+of this couple; for Doña María was something of a shrew.
+She was a good business woman who combined energy with
+executive ability, as she later proved by managing successfully
+a livery-stable business. But, however formidable she may have
+been to her hostlers, her son José found her indulgent. He,
+the only surviving son of a mature couple, rapidly developed
+into a <i>niño consentido</i>, the Spanish equivalent of a spoiled
+child. Parallels are constantly being drawn between Byron and
+Espronceda. It is a curious fact that both poets were reared
+by mothers who were alternately indulgent and severe.</p>
+
+<p>In 1820 the Espronceda family occupied an apartment in the
+Calle del Lobo. It was there and then that Patricio de Escosura
+firmed his intimacy with the future poet. He describes graphically
+his first meeting with the youth who was to be his lifelong
+friend. He first saw José sliding down from a third-story balcony
+on a tin waterspout. In the light of later years Escosura felt
+that in this boyish prank the child was father of the man. The
+boy who preferred waterspouts to stairways, later in life always
+scorned the beaten path, and "the illogical road, no matter how
+venturesome and hazardous it was, attracted him to it by virtue
+of that sort of fascinating charm which the abyss exercises over
+certain eminently nervous temperaments." The belief that
+Espronceda studied at the Artillery School of Segovia in 1821
+appears to rest upon the statement of Solís alone. Escosura,
+who studied there afterwards, never speaks of his friend as
+having attended the same institution. Solís may have confused
+the younger José with his deceased, like-named brother, who, we
+know, actually was a cadet in Segovia.  On the other hand,
+Solís speaks with confidence, though without citing the source of
+his information, and nothing would have been more natural than
+for the boy to follow in his elder brother's footsteps, as he did
+later when he joined the Guardia de Corps. However, the matter
+is of slight moment, for if he studied in Segovia at all he
+cannot have remained there for more than a few weeks.</p>
+
+<p>What little education Espronceda was able to acquire in the
+course of his stormy life was gained mostly in the Colegio de San
+Mateo between the years 1820 and 1830. This was a private
+school patronized by sons of the nobility and wealthy middle
+class. Two of the masters, José Gómez Hermosilla and Alberto
+Lista, were poets of repute. Lista was the best teacher of his
+time in Spain. The wide range of his knowledge astonished
+his pupils, and he appeared to them equally competent in
+the classics, modern languages, mathematics, philosophy and
+poetics, all of which subjects he knew so well that he never
+had to prepare a lecture beforehand. Plainly Lista was not a
+specialist of the modern stamp; but he was something better,
+a born teacher. In spite of an unprepossessing appearance,
+faulty diction, and a ridiculous Andalusian accent, Lista was
+able to inspire his students and win their affection. It is no
+coincidence that four of the fellow students of the Colegio de
+San Mateo, Espronceda, Felipe Pardo, Ventura de la Vega, and
+Escosura, afterwards became famous in literature.</p>
+
+<p>Espronceda's school reports have been preserved. We learn
+that he studied sacred history, Castilian grammar, Latin, Greek,
+French, English, mythology, history, geography, and fencing,
+which last he was later to turn to practical account. He showed
+most proficiency in French and English, and least in Greek and
+mathematics. His talent was recognized as unusual, his industry
+slight, his conduct bad. Calleja, the principal, writes in true
+schoolmaster's fashion: "He is wasting the very delicate talent
+which nature gave him, and is wasting, too, the opportunity of
+profiting by the information of his distinguished professors."
+It cannot be denied that Espronceda's conduct left much to be
+desired. According to Escosura he was "bright and mischievous,
+the terror of the whole neighborhood, and the perpetual
+fever of his mother." He soon gained the nickname <i>buscarruidos</i>,
+and attracted the notice of police and night watchmen. "In
+person he was agreeable, likable, agile, of clear understanding,
+sanguine temperament inclined to violence; of a petulant,
+merry disposition, of courage rash even bordering upon temerity,
+and more inclined to bodily exercise than to sedentary study."
+The two friends were much influenced by Calderón at this time.
+The height of their ambition was to be like the gallants of a
+cape-and-sword play, equally ready for a love passage or a fight.
+Lista's influence upon his pupils was not restricted to class
+exercises. In order to encourage them to write original verse
+and cultivate a taste for literature, he founded in April, 1823,
+the Academy of the Myrtle, modeled after the numerous
+literary academies which throve in Italy and Spain during the
+Renaissance period and later. Lista himself presided, assuming
+the name Anfriso. Was Delio, the name Espronceda assumed
+in his "Serenata" of 1828, his academic designation? The
+models proposed for the youthful aspirants were the best poets
+of antiquity and such modern classicists as Meléndez, Cienfuegos,
+Jovellanos, and Quintana. Two of Espronceda's academic exercises
+have been preserved. They are as insipid and jejune as
+Goethe's productions of the Leipzig period. As an imitator of
+Horace he was not a success. What he gained from the
+Academy was the habit of writing.</p>
+
+<p>The Academy lasted until 1826, when many of its members
+had been driven into exile; but its later meetings must have
+seemed tame to spirited boys engrossed in the exciting political
+events of those times. The year 1823 is famous in Spanish
+history for the crushing out of liberalism. This was effected by
+means of the Holy Alliance, an infamous association of tyrants
+whose main object was to restore absolutism. Louis XVIII, the
+Bourbon king of France, sent a force of one hundred thousand
+men under the Duke of Angoulême who met with little resistance,
+and in short order nullified all that had been accomplished
+by the Spanish liberals. Before the end of the year Ferdinand VII,
+who had been virtually deposed, was restored to his throne, and
+the constitution of 1820 had been abolished. Espronceda, the
+son of a hero of the War of Liberation, felt that the work of the
+men of 1808 had been undone. They had exchanged a foreign
+for a domestic tyrant. What his feelings were we may gather
+from his ode in commemoration of the uprising of the Madrid
+populace against the troops of Murat, "Al Dos de Mayo":</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">¡Oh de sangre y valor glorioso día!</p>
+<p>Mis padres cuando niño me contaron</p>
+<p>Sus hechos, ¡ay! y en la memoria mía</p>
+<p>Santos recuerdos de virtud quedaron.</p>
+  </div>  </div>
+
+<p>But, as he says later in the poem,</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">El trono que erigió vuestra bravura,</p>
+<p>Sobre huesos de héroes cimentado,</p>
+<p>Un rey ingrato, de memoria impura,</p>
+<p>Con eterno baldón dejó manchado.</p>
+<p class="i2">¡Ay! para herir la libertad sagrada,</p>
+<p>El Príncipe, borrón de nuestra historia,</p>
+<p>Llamó en su ayuda la francesa espada,</p>
+<p>Que segase el laurel de vuestra gloria.</p>
+  </div>  </div>
+
+<p>These verses were written in later life; but already in 1827 he
+dates a poem "fourth year after the sale of Spanish liberty."</p>
+
+<p>It was an age of political conspiracy and secret societies.
+Many liberals were members of Masonic lodges, and in addition
+there were circles like the Friends of Liberty, the Friends of
+the Constitution, the Cross of Malta, the Spanish Patriot, and
+others. Nothing more natural than that boys whose age made
+them ineligible to join these organizations should form one of
+their own. The result was La Sociedad de los Numantinos.
+The prime movers were Miguel Ortiz Amor and Patricio de
+Escosura, who drew up its Draconic constitution. Other founders
+were Espronceda, Ventura de la Vega, and Núñez de Arenas.
+All told, the society had about a dozen members. Their first
+meetings were held in a sand-pit, until the curiosity of the
+police forced them to seek safer quarters. One of the members
+was an apothecary's apprentice, who, unknown to his master,
+installed the club in the shop cellar. There they built an altar
+bearing all the romantic paraphernalia of skull and cross-bones,
+swords, and pistols. The members stood wrapped in black
+garments, their faces muffled with their long Spanish capes,
+wearing Venetian masks, each one grasping a naked dagger.
+There they swore binding oaths and delivered fiery orations.
+Red paper lanterns cast a weird light over the scene. How tame
+the sessions of the Myrtle must have seemed by comparison!
+Yet the two organizations throve simultaneously.</p>
+
+<p>With the return of Ferdinand in September the persecution
+of the liberals began. The boys witnessed the judicial murder
+of Riego, the hero of the constitutional movement, November
+8, 1823. This made the impression upon them that might have
+been expected. That night an extraordinary session of the
+Numantinos was held at which Espronceda delivered an impassioned
+oration. Then all signed a document in which the king's
+death was decreed. Some of the members' parents seem to
+have learned what was happening. The father of Ortiz, the
+club's first president, prudently sent him away to Oñate.
+Escosura became the second president, and held office until
+September of 1824, when his father sent him to France.
+Espronceda then became the club's third president, but his
+term was brief. The boys had made the mistake of admitting
+one member of mature years whose name we do not know;
+for, in spite of his treachery, the Numantinos even in their old
+age chivalrously refrained from publishing it. This Judas
+betrayed the secrets of his fellow-members, and placed incriminating
+documents, among them the king's "death warrant,"
+in the hands of the police. The latter, however, displayed
+less rigor and more common sense than usual. While all the
+youths implicated were sentenced to long terms of imprisonment
+in various monasteries scattered throughout Spain, nothing
+more was intended than to give the conspirators a salutary
+scare. They were all released after a few weeks of nominal
+servitude. Ortiz and Escosura, the ringleaders, were sentenced
+to six years of seclusion, and Espronceda received a term of
+five years to be served in the Monastery of San Francisco de
+Guadalajara in the city of Guadalajara. His term was pronounced
+completed after a very few weeks of confinement. That he had
+a father prominent in the government service stood him in
+good stead, and this probably accounts for the fact that his
+place of confinement was in the city where Don Juan was
+garrisoned. The latter, as an old soldier in the wars against
+Napoleon, sympathized in a general way with liberal ideas;
+yet, placed as he was in a very difficult position, he must have
+found his son's escapades compromising. His record shows
+that he was "purified," that is his loyalty to the crown was
+certified to, on August 8, 1824. He seems to have maintained
+a "correct" attitude toward his rulers to the end, with all the
+unquestioning obedience of a military man.</p>
+
+<p>While undergoing this easy martyrdom Espronceda improved
+his time by beginning what was to be a great patriotic epic, his
+<i>Pelayo</i>. Like many another ambitious project, this was never
+completed. The few fragments of it which have been printed
+date mostly from this time. The style is still classic, but it is
+the pseudo-classicism of his model, Tasso. The poet had taken
+the first step leading to Romanticism. Hence this work was not
+so sterile as his earlier performances. Lista, on seeing the
+fragments, did much to encourage the young author. Some of
+the octaves included in the published version are said on good
+authority to have come from the schoolmaster's pen. Lista's
+classicism was of the broadest. He never condemned Romanticism
+totally, though he deplored its unrestrained extravagances
+and the antireligious and antidynastic tendencies of some of its
+exponents. He long outlived his brilliant pupil, and celebrated
+his fame in critical articles. After his return from exile Espronceda
+continued to study in a private school which Lista had
+started in the Calle de Valverde. Calleja's Colegio de San
+Mateo had been suppressed by a government which was the
+sworn enemy of every form of enlightenment. The new seminary,
+however, continued the work of the old with little change:
+While there José carried his mathematical studies through
+higher algebra, conic sections, trigonometry, and surveying, and
+continued Latin, French, English, and Greek. If we may judge
+from later results, a course in rhetoric and poetics must have
+been of greatest benefit to him.</p>
+
+<p>Espronceda's schooling ended in 1826, when he began what
+Escosura terms "his more or less voluntary exile." Escosura
+thinks he may have been implicated in a revolutionary uprising
+in Estremadura, and this conjecture is all but confirmed by
+a recently found report of the Spanish consul in Lisbon, who
+suspected him of plotting mischief with General Mina. If
+Espronceda was not a revolutionary at this time, he was capable
+of enlisting in any enterprise however rash, as his past and
+subsequent record proves all too clearly, and the authorities
+were not without justification in watching his movements. In
+a letter dated Lisbon, August 24, 1827, he writes to his mother:
+"Calm yourselves and restore papa to health by taking good
+care of him, and you yourself stop thinking so sadly, for now
+I am not going to leave Portugal." In these words the boy
+seems to be informing his parents that he has given up the
+idea of making a foray from Portugal into Spain as Mina was
+then plotting to do. He had left home without taking leave of
+his parents, made his way to Gibraltar, and taken passage thence
+to Lisbon on a Sardinian sloop. The discomforts of this journey
+are graphically described in one of his prose works, "De
+Gibraltar a Lisboa: viaje histórico." The writer describes with
+cynical humor the overladen little boat with its twenty-nine
+passengers, their quarrels and seasickness, the abominable food,
+a burial at sea, a tempest. When the ship reached Lisbon the
+ill-assorted company were placed in quarantine. The health
+inspectors demanded a three-peseta fee of each passenger.
+Espronceda paid out a duro and received two pesetas in change.
+Whereupon he threw them into the Tagus, "because I did not
+want to enter so great a capital with so little money." A very
+similar story has been told of Camoens, so that Espronceda
+was not only a <i>poseur</i> but a very unoriginal one at that. Some
+biographers suspect that while parting with his silver he was
+prudent enough to retain a purse lined with good gold <i>onzas</i>.
+This is pure speculation, but it is certain that he knew he could
+soon expect a remittance from home.</p>
+
+<p>Portugal was at the time rent with civil war. The infanta
+Isabel María was acting as regent, and her weak government
+hesitated to offend the king of Spain. The liberal emigrants
+were kept under surveillance; some were imprisoned, others
+forced to leave the kingdom. Espronceda was forced to Live
+with the other Spanish emigrants in Santarem. There is no
+evidence that he was imprisoned in the Castle of St. George,
+as has so frequently been stated. He appears to have been
+free to go and come within the limits assigned him by the
+police; but he was constantly watched and at last forced to
+leave the country. It was in Portugal that the nineteen-year-old
+boy made the acquaintance of the Mancha family. Don
+Epifanio Mancha was a colonel in the Spanish army who,
+unlike the elder Espronceda, had been unable to reconcile
+himself to existing conditions. He had two daughters, one of
+whom, Teresa, was to play a large part in Espronceda's life.
+He undoubtedly made her acquaintance at this time. We are
+told that she embroidered for him an artillery cadet's hat; but
+the acquaintance probably did not proceed far. The statement
+that vows were exchanged, that the Mancha family preceded
+Espronceda to London, that on disembarking he found his
+Teresa already the bride of another, all this is pure legend. As
+a matter of fact, Espronceda preceded the Manchas to London
+and his elopement with Teresa did not take place until 1831,
+not in England but in France. All this Señor Cascales y Muñoz
+has shown in his recent biography.</p>
+
+<p>Espronceda's expulsion from Portugal was determined upon
+as early as August 14, 1827; but the execution of it was
+delayed. He must have reached England sometime within the
+last four months of 1827. The first of his letters written from
+London that has been preserved is dated December 27 of that
+year. What his emotions were on passing "the immense sea
+... which chains me amid the gloomy Britons" may be observed
+by reading his poem entitled "La Entrada del Invierno en
+Londres." In this poem he gives full vent to his homesickness
+in his "present abode of sadness," breathes forth his love for
+Spain, and bewails the tyrannies under which that nation is
+groaning. It is written in his early classic manner and exists in
+autograph form, dedicated by the "Citizen" José de Espronceda
+to the "Citizen" Balbino Cortés, his companion in exile. The
+date, London, January 1, 1827, is plainly erroneous, though
+this fact has never before been pointed out. We can only
+suppose that, like many another, Espronceda found it difficult
+to write the date correctly on the first day of a new year. We
+should probably read January 1, 1828. When he assures us in
+the poem: "Four times have I here seen the fields robbed of
+their treasure," he is not to be taken literally. Who will begrudge
+an exiled poet the delight of exaggerating his sufferings?</p>
+
+<p>Five letters written from London to his parents have been
+preserved, thanks to the diligence of the Madrid police who
+seized them in his father's house in their eagerness to follow
+the movements of this dangerous revolutionary. They are the
+typical letters of a schoolboy. The writer makes excuses for
+his dilatoriness as a correspondent, expresses solicitude for the
+health of his parents, and suggests the need of a speedy remittance.
+In fact <i>la falta de metálico</i> is the burden of his song.
+Living is excessively dear in London. So much so that a suit
+of clothes costs seventeen pounds sterling; but there will be a
+reduction of three pounds if the draft is promptly sent. He
+asks that the manuscript of his "Pelayo" be sent to him, as he
+now has abundant leisure to finish the poem. He asks that the
+remittances be sent to a new agent whom he designates. The
+first agent was a brute who refused to aid him to get credit.
+He wonders that his father should suggest a call upon the
+Spanish ambassador. Not one word as to his political plans,
+a discretion for which Don Juan must have thanked him when
+these interesting documents fell into the hands of the police.</p>
+
+<p>We have information that in London Espronceda became
+a fencing-master, as many a French <i>émigré</i> had done in the
+century before. This calling brought him in very little. He
+may have profited by the charity fund which the Duke of
+Wellington had raised to relieve the Spanish <i>emigrados</i>. His
+more pressing needs were satisfied by Antonio Hernáiz, a friend
+with whom he had made the journey from Lisbon; but the
+remittances from home came promptly and regularly, and
+Espronceda must have been one of the most favored among
+the refugees of Somers Town. If we may take as autobiographical
+a statement in "Un Recuerdo," he was entertained
+for a time at the country seat of Lord Ruthven, an old
+companion-in-arms of his father's. Ruthven is not a fictitious
+name, as a glance into the peerage will show. During all this
+time he was improving his acquaintance with Shakespeare,
+Milton, Byron, and other English poets. What is more surprising
+is that, if we may judge from his subsequent speeches
+as a deputy, he gained at least a superficial acquaintance with
+English political thought and became interested in economics.
+He was a convert to the doctrine of free trade.</p>
+
+<p>Meanwhile the parents, who appear to have formed a bad
+opinion of a land where a suit of clothes cost seventeen pounds,
+were urging the son to go to France. He himself thought of
+Holland as a land combining the advantages of liberty and
+economy. But before leaving London he required a remittance
+of four thousand reales. This bad news was broken to the
+family bread-winner, not by José himself, but by his banker
+Orense. The debt, it was explained, had been incurred as the
+result of a slight illness. The four thousand reales were duly
+sent in December, but Espronceda lingered in London a few
+months longer; first because he was tempted by the prospect
+of a good position which he failed to secure, and second on account
+of the impossibility of obtaining a passport to France direct.
+He finally made his way to Paris via Brussels, from which city
+he writes, March 6, 1829. All this effectually dispels the
+legend that he eloped from England with Teresa by way of
+Cherbourg. The arrival in Paris of the revolutionary fencing-master
+put the Madrid police in a flutter. On the seventeenth
+of that same month the consul in Lisbon had reported that
+Espronceda was planning to join General Mina in an attack
+upon Navarra; and by the middle of April the ambassador to
+France had reported his arrival in Paris. It was then that the
+brigadier's papers were seized. Measures were taken to prevent
+Espronceda's receiving passports for the southern provinces of
+France, and for any other country but England. The friendly
+offices of Charles X, who had succeeded Louis XVIII on the
+throne of France, checked for a time the efforts of the patriotic
+filibusters. The latter, therefore, must have felt that they were
+aiding their own country as well as France when they participated
+in the July revolution of 1830. Espronceda fought bravely
+for several days at one of the Paris barricades, and wreaked
+what private grudge he may have had against the house of
+Bourbon. After the fall of Charles X, Louis Philippe, whom
+Espronceda was in after years to term <i>el rey mercader</i>, became
+king of France. As Ferdinand refused to recognize the new
+government, the designs of Spanish patriots were not hindered
+but even favored. Espronceda was one of a scant hundred
+visionaries who followed General Joaquín de Pablo over the
+pass of Roncevaux into Navarra. The one hope of success lay
+in winning over recruits on Spanish soil. De Pablo, who found
+himself facing his old regiment of Volunteers of Navarra, started
+to make a harangue. The reply was a salvo of musketry, as
+a result of which De Pablo fell dead. After some skirmishing
+most of his followers found refuge on French soil, among them
+Espronceda. De Pablo's rout, if less glorious than that of
+Roland on the same battlefield, nevertheless inspired a song.
+Espronceda celebrated his fallen leader's death in the verses
+"A la Muerte de D. Joaquín de Pablo (Chapalangarra) en los
+Campos de Vera." This poem, which purports to have been
+written on one of the peaks of the French Pyrenees which
+commanded a view of Spanish soil, and when the poet was
+strongly impressed by the events in which he had just participated,
+is nevertheless a weak performance; for Espronceda in
+1830 was still casting his most impassioned utterances in the
+classic mold. Ferdinand had now been taught a lesson and
+lost little time in recognizing the new régime in France. This
+bit of diplomacy was so cheap and successful that Louis Philippe
+tried it again, this time on Russia. His government favored
+a plot, hatched in Paris, for the freeing of Poland. Espronceda,
+who had not yet had his fill of crack-brained adventures,
+enlisted in this cause also, desiring to do for Poland what
+Byron had done for Greece; but the czar, wilier than Ferdinand,
+immediately recognized Louis Philippe. The plot was then
+quietly rendered innocuous. Espronceda must have felt himself
+cruelly sold by the "merchant king."</p>
+
+<p>Espronceda's literary activity was slight during these events,
+but his transformation into a full-fledged Romanticist begins at
+this time. Hugo's "Orientales," which influenced him profoundly,
+appeared in 1829, and the first performance of
+"Hernani" was February 25, 1830. There is no record that
+he formed important literary friendships in either England or
+France, but, clannish as the <i>emigrados</i> appear to have been,
+an impressionable nature like Espronceda's must have been as
+much stirred by the literary as by the political revolution
+of 1830; the more so as the great love adventure of his life
+occurred at this time. The Mancha family followed the other
+<i>emigrados</i> to London, just when we cannot say. In course of
+time Teresa contracted a marriage of convenience with a Spanish
+merchant domiciled in London, a certain Gregorio de Bayo.
+Churchman has discovered the following advertisement in
+<i>El Emigrado Observador</i>, London, February,1829: "The
+daughters of Colonel Mancha embroider bracelets with the
+greatest skill, gaining by this industry the wherewithal to aid
+their honorable indigence." From this it is argued that the
+marriage to Don Gregorio and the consequent end of the family
+indigence must have come later than February, 1829. Espronceda
+had met the girl in Lisbon, he may later have resumed
+the acquaintance in London. She may or may not be the Elisa
+to whom Delio sings in the "Serenata." According to Balbino
+Cortés in an interview reported by Solís, Teresa and her husband,
+while on a visit to Paris in October, 1831, happened to
+lodge at the hotel frequented by Espronceda. Shortly afterwards
+Teresa deserted her husband and an infant son and eloped with
+Espronceda. She followed him to Madrid in 1833, where
+a daughter, Blanca, was born to them in 1834. Within a year
+Teresa abandoned Espronceda and her second child. She sank
+into the gutter and died a pauper in 1839. This sordid romance
+occupied only about three years of Espronceda's life, a much
+shorter time than had been supposed. Churchman was the first
+to break the long conspiracy of silence which withheld from the
+world Teresa's full name. Cascales y Muñoz has since thrown
+more light upon this episode. But these gentlemen have done
+nothing more than to tell an open secret. Escosura, long ago,
+all but betrayed it in the following pun: "Tendamos el velo de
+olvido sobre esa lamentable flaqueza de un gran corazón," he
+says, referring to the affair with Teresa, "y recordemos, de
+paso, que el sol mismo, ese astro de luz soberano, tan sublimemente
+cantado por nuestro vate, <i>manchas</i> tiene que si una parte
+de su esplendor anublan, a eclipsarlo no bastan." Señor Cascales
+publishes a reproduction of Teresa's portrait. We see a face
+of a certain hard beauty. We are struck with the elaborate
+coiffure, the high forehead, the long nose, the weak mouth.
+The expression is unamiable. It is the face of a termagant
+ready to abandon husband and child. Espronceda seems to
+have returned to England for a brief period in 1832, as we
+may infer from the fact that the poem "A Matilde" is dated
+London, 1832. Corroboration of this belief was discovered by
+Churchman, who found that the paper on which "Blanca de
+Borbón" was written shows the water-mark of an English firm
+of that date.</p>
+
+<p>In 1833 Ferdinand VII died, and his daughter Isabel II
+ascended to the throne under the regency of her mother Cristina.
+As the conservatives espoused the cause of the pretender,
+Don Carlos, the regency was forced to favor the liberals. The
+rigid press censorship was abolished, and a general amnesty
+was granted all the victims of Ferdinand's tyranny. In politics
+the year 1833 marks the beginning of the Carlist war, and
+in literature of Spanish Romanticism. Espronceda was one of
+many <i>emigrados</i> who returned to Spain, bringing with them new
+ideas for the revitalizing of Spanish literature. He did not arrive
+soon enough to see his aged father. Brigadier Espronceda's
+death certificate is dated January 10, 1833.</p>
+
+<p>Shortly after José's arrival he joined the fashionable Guardia
+de Corps or royal guard regiment. This step, apparently so
+inconsistent with his revolutionary activities, has puzzled all his
+biographers. But Espronceda was only following the family
+tradition. His elder brother had done the same. Doubtless he
+believed, in his first enthusiasm, that Spain was now completely
+liberalized. Besides, he was a dandy always eager for social
+distinction, and he had to live down the fact that his mother
+was proprietress of an <i>establecimiento de coches</i>. The conduct
+of his fellow-Numantino, Escosura, who had found it possible
+to accept a commission under Ferdinand, is far more surprising.
+Espronceda's snobbishness, if he had any, cannot have been
+extreme, for he took up residence with his mother over the
+aforementioned livery stable, in the Calle de San Miguel.
+Teresa was prudently lodged under another roof. Doña Carmen
+was as indulgent as ever, and especially desirous that her son
+dress in the most fashionable clothes procurable. What with
+her rent from the house, her widow's pension, and the yield of
+her business venture, she was comfortably circumstanced.
+When Teresa abandoned the child Blanca, Doña Carmen
+became a mother to her. When Doña Carmen died in 1840
+everything went to her son.</p>
+
+<p>Espronceda's career as a guardsman was brief. As a result
+of reading a satirical poem at a public banquet, he was cashiered
+and banished to the town of Cuéllar in Old Castile. There he
+wrote his "Sancho Saldaña o el Castellano de Cuéllar,"
+a historical novel in the manner of Walter Scott, describing the
+quarrels of Sancho el Bravo with his father Alfonso X. This
+six-volume work was contracted for in 1834 and completed and
+published the same year. For writing it the author received
+six thousand reales. Many writers in Spain were striving to
+rival the Wizard of the North at this time. Ramón López Soler
+had set the fashion in 1830 with "Los Bandos de Castilla."
+Larra's "Doncel de Don Enrique el Doliente" appeared in the
+same year with "Sancho Saldaña." But Espronceda was
+probably most influenced by his friend Escosura, who had
+printed his "Conde de Candespina" in 1832. The latter's best
+effort in this genre, "Ni Rey ni Roque," 1835, was written
+when its author was undergoing banishment for political reasons
+in a corner of Andalusia. To employ the enforced leisure of
+political exile in writing a historical novel was quite the proper
+thing to do. The banishment to Cuéllar must have taken place
+in late 1833 or early 1834, for Espronceda's novel is unquestionably
+inspired by his enforced visit to that town, and the contract
+with his publisher is dated in Madrid, February 5, 1834. On
+reading the contract it is apparent that the novel had hardly
+been begun then, as it was to be paid for in installments.
+Whether it was written mostly in Cuéllar or Madrid we do not
+know and care little. In January of that year <i>El Siglo</i> was
+founded, a radical journal with which Espronceda was prominently
+connected. During the brief existence of this incendiary
+sheet (January 21 until March 7) Espronceda contributed to it
+several political articles. The last issue came out almost wholly
+blank as an object lesson of the censor's activity. There follow
+a few months of agitation and political intrigue, the upshot of
+which was Espronceda's imprisonment for three weeks without
+trial. After protesting in the press and appealing to the queen
+regent, he was released and banished to Badajoz. How long
+he was absent from the capital we do not know, except that
+this banishment, like the others, was of short duration. During
+all this commotion there was produced at the Teatro de la Cruz,
+in April, an indifferent play, "Ni el Tío ni el Sobrino," whose
+authors were Espronceda and his friend Antonio Ros y Olano.
+It is difficult to paint anything but a confused picture of
+Espronceda's life during the remaining years of this decade.
+We catch glimpses of him debating questions of art and politics
+at cafés and literary <i>tertulias</i> like the Parnasillo, where Mesonero
+Romanos saw him faultlessly attired and "darting epigrams
+against everything existing, past, and future." Córdoba in his
+memoirs bears witness that he was still the <i>buscarruidos</i> of old.
+Espronceda with Larra, Escosura, Ros De Olano, and Córdoba
+constituted the "Thunder Band" of the Parnasillo (<i>partida del
+trueno</i>). After a long literary discussion they would sally forth
+into the streets, each armed with a peashooter and on mischief
+bent. A favorite prank was to tie a chestnut vender's table to
+a waiting cab and then watch the commotion which followed
+when the cab started to move. On one occasion, finding the
+Duke of Alba's coachman asleep on the box, they painted the
+yellow coach red, so altering it that the very owner failed to
+recognize it when he left the house where he had been calling.
+In politics Espronceda is always a leader in revolt, fighting
+with pen and sword for his none-too-clearly-defined principles.
+Even the Mendizábal ministry, the most advanced that Spain
+has ever had, does not satisfy him. His ideal is a republic and
+the downfall of "the spurious race of Bourbon." His love
+affairs are equally stormy. In literature he is attempting
+everything, plays, a novel, polemical articles, lyric poems, and
+one supreme work which is to be the very epic of humanity.</p>
+
+<p>In 1835 Espronceda became an officer in the National
+Militia. In August of that year the militiamen were defeated
+in an unsuccessful revolt against the Toreno ministry. In 1836
+he was equally unfortunate in a revolt against the Istúriz
+ministry. It was then, when pursued by the police, that a friend
+secreted him in the safest possible place, the home of a high
+police official. Espronceda employed his leisure hours in this
+refuge by writing "El Mendigo" and "El Verdugo." Two
+years later he traveled extensively through Andalusia engaged
+in revolutionary propaganda. He was probably trying to bring
+about a republican form of government. In September, 1838,
+his play "Amor venga sus agravios," written in collaboration
+with Eugenio Moreno López, was produced at the Teatro del
+Príncipe. Its success was moderate. The next year, while in
+Granada, he and his friend Santos Álvarez were guests of
+honor at a literary soirée. Espronceda's contribution was the
+reading of "El Estudiante de Salamanca." This poem was first
+printed, at least in part, in <i>La Alhambra</i> for 1839. The great
+political event of this year was the ending of the first Carlist
+war. The victories of the national troops were celebrated by
+a huge public demonstration in Madrid on the national holiday,
+May 2, 1840. For this occasion Espronceda wrote his patriotic
+poem "El Dos de Mayo." Only three days later his volume of
+"Poesías" was placed on sale, and, like Byron, he awoke to
+find himself famous. His old teacher Lista wrote a favorable
+review. From then on Espronceda was a man of note. The
+Madrid revolution of September 1 forced an unwilling regent
+to make Espartero, hero of the Carlist war, prime minister. A
+radical sheet, <i>El Huracán</i>, was accused of attacking Cristina
+and of advocating republicanism. Espronceda, though not
+a lawyer, was chosen to defend the journal. This he did with
+complete success. His speech has not come down to us, but
+we are told that in it he appeared in the rôle of an uncompromising
+republican.</p>
+
+<p>Nevertheless he was soon to compromise. He was now
+a man of mark, and the liberal régime in power were not slow
+to see that it would be advantageous to enlist his services. In
+November, 1841, he accepted an appointment to serve as secretary
+to the Spanish legation at the Hague. He served in this
+capacity exactly five days. Arriving at the Hague on January
+29, 1842, he departed for Madrid on February 3. A certain
+Carrasco had been elected deputy of the province of Almería.
+He was now urged to resign to make room for Espronceda.
+This he did, and Espronceda was elected and served in his stead.
+Of course all this had been prearranged. After his return he
+continued to hold his diplomatic position and receive pay for it,
+a not very honorable course on the part of one who pled so
+eloquently for the abolition of useless offices and the reform of
+the diplomatic service. In this way the Espartero government
+conciliated Espronceda with two offices. Henceforth his republicanism
+was lukewarm. Escosura tells us that concern for
+his daughter Blanca's financial future had rendered him prudent.</p>
+
+<p>I am inclined to think that Espronceda's biographers underrate
+his services in the Chamber of Deputies. The trouble is
+that in his rôle of deputy their hero failed to justify preconceived
+notions regarding his character. Those who looked for revolution
+in his speeches found only sound finance. We seek in vain
+for anything subversive. There is nothing suggestive of the
+lyric poet or even of the fiery defender of <i>El Huracán</i>. As a
+poet he had praised the destructive fury of the Cossacks who
+swept away decadent governments. In defending <i>El Huracán</i>
+he had used the word Cossack as a term of reproach, applying
+it to those self-seeking politicians who were devouring the
+public funds. By this time he had himself become a Cossack
+on a small scale. Yet we must do him the justice to point out
+that he had had sufficient firmness of principle to refuse office
+under Mendizábal, Istúriz, and the Duque de Rivas. Fitzmaurice-Kelly
+is possibly going too far in intimating that he was
+degenerating into a hidebound conservative and opportunist.
+Something of the old reforming zeal survived. Though many
+disillusionments may have rendered him less eager for a
+republican form of government, his latest utterances show him
+zealous as ever for social and economic reform. Espronceda's
+parliamentary career lasted less than three months (March 1 to
+May 23, 1842). One can only wonder that in so brief a time
+a man already stricken with a fatal illness should have taken
+so able a part in an assembly in which he was a newcomer.
+Nor should we complain that his speeches lack eloquence. It
+is fairer to give him credit for not falling into the abuse of
+<i>palabrería</i>, the besetting sin of most <i>diputados</i>.</p>
+
+<p>His views were sober and sound. Travel had given him
+a wider outlook than most of his colleagues possessed. He was
+the enemy of <i>españolismo</i>, wanted his nation to take a prominent
+part in European affairs, and no longer to lead the life of
+a hermit nation. But he is no jingo. He speaks against the
+bill to add fifty thousand to the standing army. Spain had
+passed through too many upheavals. What she needed to
+make her a European power was tranquility and opportunity
+to develop financial strength. Give the producing classes their
+long-awaited innings. But he is bitter against the magnates of
+the bourse and those politicians who legislate to produce an
+artificial rise in values. The true policy is to better the condition
+of the masses, to encourage agriculture and manufactures:
+even the construction of railways should wait until there is first
+something to haul over them. But manufactures should not be
+protected by a tariff. In his speech against the tariff on cotton
+he shows himself an out and out free-trader. He praises the
+English for their policy of free trade, enlightened self-interest
+he deems it, which tends to make the world one large family.
+As a writer he had inveighed against commercialism. But he
+now discerns a future where commerce shall replace war. He
+was unable to foresee that in the future trade was to be a
+chief cause of war.</p>
+
+<p>That he was a ready debater is shown by his neat rejoinder
+to Deputy Fontán. This gentleman had made sneering allusions
+to men of letters who dabbled in diplomacy. Far from accepting
+the remark as a thrust at himself, as it was intended, Espronceda
+resented it as an insult to the then American minister
+Washington Irving, "novelist of the first rank, known in
+Europe through his writings even more than through the
+brilliancy of his diplomatic career."</p>
+
+<p>Espronceda's health had been failing for some months. It
+is said that chronic throat trouble had so weakened his voice
+as to make his remarks in the Cortés scarcely audible. On
+May 18, 1842, he journeyed on horseback to Aranjuez to visit
+Doña Bernarda Beruete, a young lady to whom he was then
+engaged. Hastily returning to Madrid on the afternoon of the
+same day, so as not to miss a night session of the Cortés, he
+contracted a cold which soon turned into a fatal bronchitis.
+Others say he was taken ill at a reception given by Espartero.
+He died May 23, 1842, at the early age of 34. He was
+honored with a public funeral in keeping with his position as
+deputy and distinguished man of letters. His first place of
+burial was the cemetery of San Nicolás; but in 1902 his
+remains, together with those of Larra, were exhumed and
+reburied in the Pantheon for Distinguished Men of the Nineteenth
+Century, situated in the Patio de Santa Gertrudis in the
+Cementerio de la Sacramental de San Justo.</p>
+
+<p>In forming our estimate of the man, we must carefully
+distinguish between the Espronceda of legend and the Espronceda
+of fact; for a legend sprang up during his own lifetime,
+largely the result of his own self-defamation. Like many other
+Romanticists, Espronceda affected a reputation for diabolism.
+He loved to startle the bourgeois, to pose as atheist, rake,
+deposer of tyrants. Escosura sums up this aspect of his
+character by branding him "a hypocrite of vice." Many have
+been led astray by Ferrer del Río's statement that in drawing
+the character of the seducer, Don Félix de Montemar, Espronceda
+was painting his own portrait. Such criticism would have
+delighted Espronceda, but the imputation was indignantly
+denied by his close friend Escosura. Modern critics are careful
+to avoid this extreme; but, in the delight of supporting a
+paradox, some are disposed to go too far in the opposite direction.
+Señor Cascales, for instance, is unconvincing when he
+seeks to exonerate Espronceda from all blame in the Teresa
+episode. Like the devil, Espronceda was not so black as he
+was painted, not so black as he painted himself; but he was
+far from being a Joseph. It is easy to minimize the importance
+of the part he played in the national militia. Doubtless much
+of his plotting was puerile and melodramatic. His activities as
+a revolutionist cannot have greatly affected the course of events.
+But it is unfair to deny him credit for constant willingness to
+risk his life in any cause which seemed noble. That his conduct
+was inconsistent merely proves that he followed no calmly
+reasoned political system. He reflects in his conduct the
+heated sentiment of the time, varying as it did from day to
+day. He sometimes compromised with his ideals, his sense of
+honor was not always of the highest, but he never seems to
+have grown lukewarm in his desire to serve the people. He
+is a liberal to the last, a liberal with notions of political economy
+and English constitutional practice. His quarrel with the church
+seems to have been political rather than theological. He hated
+the friars and the church's alliance with Carlism. That the
+last rites were administered to him shows that he died a professing
+Catholic. In appearance Espronceda was handsome,
+if somewhat too effeminate-looking to suggest the fire-eater.
+He never cultivated slovenliness of attire like most members
+of the Romantic school; on the contrary, he was the leading
+representative in Spain of dandyism. To sum up, Espronceda's
+was a tempestuous and very imperfect character. "Siempre
+fuí el juego de mis pasiones," is his own self-analysis. The
+best that can be said of him is that he was a warm, affectionate
+nature, generous, charitable to the poor, a loyal friend, and one
+actuated by noble, if sometimes mistaken, ideals. Years afterward,
+when Escosura passed in review the little circle of the
+Colegio de San Mateo, Espronceda was the only one of them
+whom he could truly say he loved.</p>
+
+<a name="works" id="works"></a>
+<h3>THE WORKS OF ESPRONCEDA</h3>
+
+<p>Of all the Spanish poets of the period of Romanticism,
+Espronceda is the most commanding figure. Piñeyro, adopting
+Emerson's phrase, calls him the Representative Man of that
+age of literary and political revolt. More than that, criticism is
+unanimous in considering him Spain's greatest lyric poet of the
+nineteenth century.</p>
+
+<p>First of all he interests as the poet of democracy. The
+Romantic poets were no more zealous seekers for political
+liberalism than the classic poets of the previous generation had
+been; but their greater subjectivity and freedom of expression
+rendered their appeal more vigorous. Espronceda's hatred for
+absolutism was so intense that in moments of excitement he
+became almost anti-social. The pirate, the beggar, the Cossack,
+were his heroes. The love of this dandy for the lower classes
+cannot be dismissed as mere pose. He keenly sympathized
+with the oppressed, and felt that wholesale destruction must
+precede the work of construction. We look in vain for a
+reasoned political philosophy in his volcanic verse. His outpourings
+were inspired by the irresponsible ravings of groups
+of café radicals, and the point of view constantly changed as
+public sentiment veered. According to his lights he is always
+a patriot. Liberty and democracy are his chief desires.</p>
+
+<p>Like most Romanticists, Espronceda was intensely subjective.
+He interests by his frank display of his inner moods. Bonilla,
+in his illuminating article "El Pensamiento de Espronceda,"
+states that the four essential points in the philosophy of Romanticism
+were: doubt, the first principle of thought; sorrow, the
+positive reality of life; pleasure, the world's illusion; death,
+the negation of the will to live. Espronceda shared all of these
+ideas. It is often impossible to say how much of his suffering
+is a mere Byronic pose, and how much comes from the reaction
+of an intensely sensitive nature to the hard facts of existence.
+There is evidence that he never lost the zest of living; but in
+his writings he appears as one who has been completely disillusionized
+by literature, love, politics, and every experience of
+life. Truth is the greatest of evils, because truth is always sad;
+"mentira," on the other hand, is merciful and kind. He carries
+doubt so far that he doubts his very doubts. Such a philosophy
+should logically lead to quietism. That pessimism did not in
+the case of Espronceda bring inaction makes one suspect that
+it was largely affected. There is nothing profound in this very
+commonplace philosophy of despair. It is the conventional
+attitude of hosts of Romanticists who did little but re-echo the
+<i>Vanitas vanitatum</i> of the author of Ecclesiastes. Espronceda's
+thought is too shallow to entitle him to rank high as a philosophic
+poet. In this respect he is inferior even to Campoamor
+and Núñez de Arce. Genuine world-weariness is the outgrowth
+of a more complex civilization than that of Spain. Far from
+being a Leopardi, Espronceda may nevertheless be considered
+the leading Spanish exponent of the <i>taedium vitae</i>. He has
+eloquently expressed this commonplace and conventional attitude
+of mind.</p>
+
+<p>Like so many other writers of the Latin race, Espronceda is
+more admirable for the form in which he clothed his thoughts
+than for those thoughts themselves. He wrote little and carefully.
+He is remarkable for his virtuosity, his harmonious
+handling of the most varied meters. He never, like Zorrilla,
+produces the effect of careless improvisation. In the matter of
+poetic form Espronceda has been the chief inspiration of Spanish
+poets down to the advent of Rubén Darío. Fitzmaurice-Kelly,
+with his happy knack of hitting off an author's characteristics
+in a phrase, says: "He still stirs us with his elemental force,
+his resonant musical potency of phrase, his communicative
+ardor for noble causes."</p>
+
+<p>Much harm has been done Espronceda's reputation for
+originality by those critics who fastened upon him the name of
+"the Spanish Byron." Nothing could be more unjust than
+to consider him the slavish imitator of a single author. In
+literature, as in love, there is safety in numbers, and the writer
+who was influenced by Calderón, Tasso, Milton, Goethe,
+Béranger, Hugo, Shakespeare, and Scott was no mere satellite
+to Byron. Señor Cascales is so sensitive on the point that he is
+scarcely willing to admit that Byron exerted any influence
+whatsoever upon Espronceda. The truth is that Byron did
+influence Espronceda profoundly, as Churchman has sufficiently
+proved by citing many instances of borrowings from the English
+poet, where resemblance in matters of detail is wholly conclusive;
+but it is another matter to assert that Espronceda was
+always Byronic or had no originality of his own.</p>
+
+<p>In considering Espronceda's writings in detail, we need
+concern ourselves little with his dramatic and prose writings.
+The quickest road to literary celebrity was the writing of
+a successful play. Espronceda seems never to have completely
+relinquished the hope of achieving such a success. His first
+attempt was a three-act verse comedy, "Ni el Tío ni el
+Sobrino" (1834), written in collaboration with Antonio Ros de
+Olano. Larra censured it for its insipidity and lack of plan. A
+more ambitious effort was "Amor venga sus agravios" (1838),
+written in collaboration with Eugenio Moreno López. This was
+a five-act costume play, in prose, portraying the life at the
+court of Philip IV. It was produced without regard to expense,
+but with indifferent success. Espronceda's most ambitious play
+was never staged, and has only recently become easily accessible:
+this was "Blanca de Borbón," a historical drama of the
+times of Peter the Cruel in five acts, in verse. The first two
+acts were written in Espronceda's early Classic manner; the
+last three, written at a later period, are Romantic in tone.
+The influence of "Macbeth" is apparent. "Blanca de Borbón"
+could never be a success on the stage. The verse, too, is not
+worthy of the author. Espronceda was too impetuous a writer
+to comply with the restrictions of dramatic technique. The
+dramatic passages in "El Estudiante de Salamanca" and "El
+Diablo Mundo" are his best compositions in dialogue.</p>
+
+<p>"Sancho Saldaña" is Espronceda's most important prose
+work. It is a historical novel of the thirteenth century, written
+frankly in imitation of Walter Scott's Waverley Novels. The
+romance contains many tiresome descriptions of scenery, and
+drags along tediously as most old-fashioned novels did. But
+Espronceda had none of Sir Walter's archaeological erudition,
+none of his ability to seize the characteristics of an epoch, and
+above all none of his skill as a creator of interesting characters.
+The personages in "Sancho Saldaña" fail to interest. The
+most that can be said of the work is that among the numerous
+imitations of Scott's novels which appeared at the time it is
+neither the best nor the worst. Of his shorter prose works
+only two, "De Gibraltar a Lisboa, viaje histórico" and "Un
+Recuerdo," are easily accessible. They are vivid portrayals of
+certain episodes of his exile, and may still be read with interest.
+His most important polemical work is "El Ministerio Mendizábal"
+(Madrid, 1836). In this screed we find the fiery radical
+attacking as unsatisfactory the ultra-liberal Mendizábal. This
+and shorter political articles interest the historian and the
+biographer, but hardly count as literature. His rare attempts
+at literary criticism have even less value.</p>
+
+<p>Espronceda shows true greatness only as a lyric poet. For
+spirit and perfection of form what could be more perfect than
+the "Canción del Pirata"? Like Byron in the "Corsair," he
+extols the lawless liberty of the buccaneer. Byron was here
+his inspiration rather than Hugo. The "Chanson de Pirates"
+cannot stand comparison with either work. But Espronceda's
+indebtedness to Byron was in this case very slight. He has
+made the theme completely his own. "El Mendigo" and
+"El Canto del Cosaco," both anarchistic in sentiment, were
+inspired by Béranger. Once more Espronceda has improved
+upon his models, "Les Gueux" and "Le Chant du Cosaque."
+Compare Espronceda's refrain in the "Cossack Song" with
+Béranger's in the work which suggested it:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto! ¡Hurra!</p>
+<p class="i2">La Europa os brinda espléndido botín</p>
+<p class="i2">Sangrienta charca sus campiñas sean,</p>
+<p class="i2">De los grajos su ejército festín.</p>
+  </div><div class="stanza">
+<p class="i2">Hennis d'orgueil, o mon coursier fidèle!</p>
+<p class="i2">Et foule aux pieds les peuples et les rois.</p>
+  </div>  </div>
+
+<p>The "Canto del Cosaco" was a prime favorite with the revolutionary
+youth of Spain, who thundered out the "hurras"
+with telling effect. "El Reo de Muerte" and "El Verdugo" are
+in a similar vein, though much inferior. "Serenata," "A la
+Noche," "El Pescador" (reminiscent of Goethe), "A una
+Estrella," and "A una Rosa, soneto" are lighter works. They
+make up in grace what they lack in vigor. "El Himno al Sol"
+is the most perfect example of Espronceda's Classic manner,
+and is rightly considered one of his masterpieces. It challenges
+comparison with the Duque de Rivas' very similar poem. Of
+the numerous patriotic poems "Al Dos de Mayo" and "A la
+Patria" deserve especial mention. He attempted satire in "El
+Pastor Clasiquino," recently reprinted by Le Gentil from
+"El Artista." In this poem he assails academic poetry like that
+produced by his old fellow-academicians of the Myrtle. It
+betrays the peevishness of a Romanticist writing when Romanticism
+was already on the wane.</p>
+
+<p>"El Diablo Mundo," Espronceda's most ambitious work, is
+commonly considered his masterpiece; an unfinished masterpiece,
+however. Even if death had spared him, it is doubtful if he
+could have finished so all-embracing a theme as he proposed:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Nada menos te ofrezco que un poema</p>
+<p class="i2">Con lances raros y revuelto asunto,</p>
+<p class="i2">De nuestro mundo y sociedad emblema....</p>
+<p class="i2">Fiel traslado ha de ser, cierto trasunto</p>
+<p class="i2">De la vida del hombre y la quimera</p>
+<p class="i2">Tras de que va la humanidad entera.</p>
+<p class="i4">Batallas, tempestades, amoríos,</p>
+<p class="i2">Por mar y tierra, lances, descripciones</p>
+<p class="i2">De campos y ciudades, desafíos,</p>
+<p class="i2">Y el desastre y furor de las pasiones,</p>
+<p class="i2">Goces, dichas, aciertos, desvaríos,</p>
+<p class="i2">Con algunas morales reflexiones</p>
+<p class="i2">Acerca de la vida y de la muerte,</p>
+<p class="i2">De mi propia cosecha, que es mi fuerte.</p>
+  </div>  </div>
+
+<p>Adam, hero of the epic, is introduced in Canto I as an aged
+scholar disillusioned with life, but dreading the proximity of
+Death, with whom he converses in a vision. The Goddess of
+Life grants him the youth of Faust and the immortality of the
+Wandering Jew. Unlike either, he has the physical and mental
+characteristics of an adult joined to the naïveté of a child. In
+Canto III Adam appears in a <i>casa de huéspedes</i>, naked and poor,
+oblivious of the past, without the use of language, with longings
+for liberty and action. Here his disillusionment begins. His
+nakedness shocks public morality; and the innocent Adam who
+is hostile to nobody, and in whom the brilliant spectacle of
+nature produces nothing but rejoicing, receives blows, stonings,
+and imprisonment from his neighbors. Childlike he touches
+the bayonet of one of his captors, and is wounded. This
+symbolizes the world's hostility to the innocent. In Canto IV
+we find Adam in prison. His teachers are criminals. He was
+born for good; society instructs him in evil. In Canto V he
+experiences love with the <i>manola</i> Salada, but sees in this passion
+nothing but impurity. He longs for higher things. Circumstances
+abase him to crime. He joins a band of burglars, and,
+falling in love with the lady whose house they are pillaging,
+protects her against the gang. In Canto VI he continues along
+his path of sorrow. He enters a house where a beautiful girl
+is dying, while in another room revelers are making merry.
+This leads him to speculate on life's mysteries and to reason
+for himself. The poem ends where Adam has become thoroughly
+sophisticated. He is now like any other man.</p>
+
+<p>Evidently it was the poet's intention to make Adam go
+through a series of adventures in various walks of life, everywhere
+experiencing disillusionment. In spite of the elaborate
+prospectus quoted above, we may agree with Piñeyro that the
+poet started writing with only the haziest outline planned beforehand.
+Espronceda frankly reveals to us his methods of poetic
+composition:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">¡Oh cómo cansa el orden! no hay locura</p>
+<p class="i2">Igual a la del lógico severo.</p>
+  </div>  </div>
+
+<p>And again:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Terco escribo en mi loco desvarío</p>
+<p class="i2">Sin ton ni són, y para gusto mío....</p>
+<p class="i2">Sin regla ni compás canta mi lira:</p>
+<p class="i2">Sólo mi ardiente corazón me inspira!</p>
+  </div>  </div>
+
+
+<p>"El Diablo Mundo" is no mere imitation of Byron's "Don
+Juan" and Goethe's "Faust," though the influence of each is
+marked. It has numerous merits and originalities of its own.
+Inferior as Espronceda is to Byron in wit and to Goethe in
+depth, he can vie with either as a harmonious versifier.</p>
+
+<p>The philosophy of "El Diablo Mundo" is the commonplace
+pessimism of Romanticism. The following excerpt shows how
+the author's skepticism leads him to doubt his very doubts;
+hence his return to a questioning acceptance of Christianity:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Las creencias que abandonas,</p>
+<p class="i2">Los templos, las religiones</p>
+<p class="i2">Que pasaron, y que luego</p>
+<p class="i2">Por mentira reconoces,</p>
+<p class="i2">¿Son quizá menos mentira</p>
+<p class="i2">Que las que ahora te forges?</p>
+<p class="i2">¿No serán tal vez verdades</p>
+<p class="i2">Los que tú juzgas errores?</p>
+  </div>  </div>
+
+<p>Canto II of "El Diablo Mundo" consists of the poem "A
+Teresa. Descansa en Paz." This has not the slightest connection
+with the rest of the poem, and can only be understood as
+a separate unity. It is included in the present collection because
+it is the supreme expression of our poet's subjective method.
+As such it stands in excellent contrast to "El Estudiante de
+Salamanca," which is purely objective. No reader knows
+Espronceda who has read merely his objective poems. For
+self-revelation "A Jarifa en una Orgía" alone may be compared
+with "A Teresa." We may agree with Escosura that Espronceda
+is here giving vent to his rancor rather than to his grief,
+that it is the <i>menos hidalgo</i> of all his writings. But for once we
+may be sure that the poet is writing under the stress of genuine
+emotion. For once he is free from posing.</p>
+
+<a name="student" id="student"></a>
+<h3>"THE STUDENT OF SALAMANCA"</h3>
+
+<p>"El Estudiante de Salamanca" represents the synthesis of
+two well-known Spanish legends, the Don Juan Tenorio legend
+and the Miguel Mañara legend. The first of these may be
+briefly stated as follows: Don Juan Tenorio was a young
+aristocrat of Seville famous for his dissolute life, a gambler,
+blasphemer, duelist, and seducer of women. Among numerous
+other victims, he deceives Doña Ana de Ulloa, daughter of the
+Comendador de Ulloa. The latter challenges Don Juan to
+a duel, and falls. Later Don Juan enters the church where the
+Commander lies buried and insults his stone statue, after which
+he invites the statue to sup with him that night. At midnight
+Don Juan and his friends are making merry when a knock is
+heard at the door and the stone guest enters. Don Juan, who
+does not lose his bravery even in the presence of the supernatural,
+plays the host, maintaining his air of insulting banter.
+At the end of the evening the guest departs, offering to repay
+the hospitality the following night if Don Juan will visit his
+tomb at midnight. Though friends try to dissuade him, Don
+Juan fearlessly accepts the invitation. At the appointed hour
+he visits the tomb. Flames emerge from it, and Don Juan pays
+the penalty of his misdeeds, dying without confession.</p>
+
+<p>This is the outline of the story as told by Tirso de Molina
+in "El Burlador de Sevilla o el Convidado de Piedra." The
+same theme has been treated by Molière, Goldoni, Mozart,
+Byron, and Zorrilla, to mention but a few of the hundreds of
+writers who have utilized it. In the hands of non-Spanish
+writers the character of Don Juan loses the greater part of its
+essential nobility. To them Don Juan is the type of libertine
+and little more. He was a prime favorite with those Romanticists
+who, like Gautier, felt "Il est indécent et mauvais ton
+d'être vertueux." But as conceived in Spain Don Juan's libertinage
+is wholly subsidiary and incidental. He is a superman
+whose soaring ambition mounts so high that earth cannot
+satisfy it. The bravest may be permitted to falter in the presence
+of the supernatural; but Don Juan fears neither heaven
+nor hell. His bravery transcends all known standards, and this
+one virtue, though it does not save him from hell, redeems
+him in popular esteem.</p>
+
+<p>Don Félix de Montemar is the typical Don Juan type, a
+libertine, gambler, blasphemer, heartless seducer, but superhumanly
+brave. Yet the plot of Espronceda's poem bears
+closer resemblance to the story told of Miguel Mañara.</p>
+
+<p>Miguel Mañara (often erroneously spelled Maraña) Vicentelo
+de Leca (1626-1679) was an alderman (<i>veintecuatro</i>) of Seville
+and a knight of Calatrava. As a youth his character resembled
+that of Don Juan. One day some hams sent to him from the
+country were intercepted by the customs. He started out to
+punish the offending officers, but on the way repented and
+thenceforth led a virtuous life. In 1661, after his wife's death,
+he entered the Hermandad de la Caridad, later becoming
+superior of that order. In his will he endowed the brotherhood
+with all his wealth and requested that he be buried under the
+threshold of the chapel of San Jorge. His sole epitaph was to
+be "Here repose the bones and ashes of the worst man who
+ever existed in the world." Don Miguel's biography was written
+by his friend the Jesuit Juan de Cardeñas and was added to
+by Diego López de Haro, "Breve relación de la muerte, de la
+vida y virtudes de Don Miguel de Mañara," Seville, 1680.</p>
+
+<p>There soon sprang up a legend around the name of Mañara.
+He is said to have fallen in love with the statue on the Giralda
+tower. On one occasion the devil gave him a light for his cigar,
+reaching across the Guadalquivir to do so. Again, he pursued
+a woman into the very cathedral, forcibly pulled aside her
+mantilla and discovered a skeleton. Yet more surprising, he
+was present, when still alive, at his own funeral in the Church
+of Santiago. But these stories associated with the name of
+Mañara are much older than he. Antonio de Torquemada,
+"Jardín de Flores Curiosas," Salamanca, 1570, tells of an unnamed
+knight who fell in love with a nun. He enters her convent
+with false keys only to find a funeral in progress. On inquiring
+the name of the deceased, he is told that it is himself. He then
+runs home pursued by two devils in the form of dogs who tear
+him to pieces after he has made pious repentance. Cristóbal
+Bravo turned this story into verse, Toledo, 1572. One or other
+of these versions appears to have been the source of Zorrilla's
+"El Capitán Montoya." Gaspar Cristóbal Lozano, "Soledades
+de la Vida y Desengaños del Mundo" (Madrid, 1663), tells the
+same story, and is the first to name hero and heroine, Lisardo
+and Teodora. Lozano, too, is the first to make the male
+protagonist a Salamanca student. Lozano's version inspired
+two ballads entitled "Lisardo el Estudiante de Córdova." These
+were reprinted by Durán, <i>Romancero general</i>, Vol. I, pp. 264-268,
+where they are readily accessible.</p>
+
+<p>This ballad of Lisardo the Student of Cordova was undoubtedly
+Espronceda's main source in writing "The Student
+of Salamanca," and to it he refers in line 2 with the words
+<i>antiguas historias cuentan</i>. Yet the indebtedness was small.
+Espronceda took from the ballad merely the idea of making
+the hero of the adventure a Salamanca student, and the episode
+of a man witnessing his own funeral. Needless to say Espronceda's
+finished versification owed nothing to the halting meter
+of the original. Lisardo, a Salamanca student, though a native
+of Cordova, falls in love with Teodora, sister of a friend,
+Claudio. Teodora is soon to become a nun. One night he
+makes love to her and is only mildly rebuked. But a ghostly
+swordsman warns him that he will be slain if he does not
+desist. Nevertheless he continues his wooing in spite of the
+fact that Teodora has become a nun. She agrees to elope.
+While on his way to the convent to carry out this design, his
+attention is attracted by a group of men attacking an individual.
+This individual proves to be himself, Lisardo. Lisardo, then,
+witnesses his own murder and subsequent funeral obsequies.
+This warning is too terrible not to heed. He gives over his
+attempt at seduction and leads an exemplary life.</p>
+
+<p>There are many other examples in the literature of Spain of
+the man who sees his own funeral. Essentially the same story
+is told by Lope de Vega, "El Vaso de Elección. San Pablo."
+Bévotte thinks that Mérimée in "Les Ames du purgatoire" was
+the first to combine the Don Juan and the Miguel de Mañara
+legends, so closely alike in spirit, into a single work. But Said
+Armesto finds this fusion already accomplished in a seventeenth-century
+play, "El Niño Diablo." Dumas owed much to
+Mérimée in writing his allegorical play "Don Juan de Maraña,"
+first acted April 30, 1836. This became immediately popular
+in Spain. A mutilated Spanish version appeared, Tarragona,
+1838, Imprenta de Chuliá. It is doubtful whether Espronceda
+owes anything to either of these French works, although both
+works contain gambling scenes very similar to that in which
+Don Félix de Montemar intervened. In the Dumas play Don
+Juan stakes his mistress in a game, as Don Félix did his mistress's
+portrait. It seems likely that Espronceda derived his
+whole inspiration for this scene from Moreto's "San Franco
+de Sena," which he quotes.</p>
+
+<p>The legend of the man who sees his own funeral belongs to
+the realm of folk-lore. Like superstitions are to be found
+wherever the Celtic race has settled. In Spain they are especially
+prevalent in Galicia and Asturias. There the <i>estantigua</i>
+or "ancient enemy" appears to those soon to die. These spirits,
+or <i>almas en pena</i>, appear wearing winding-sheets, bearing
+candles, a cross, and a bier on which a corpse is lying. Don
+Quijote in attacking the funeral procession probably thought
+he had to do with the <i>estantigua</i>. Furthermore, Said Armesto
+in his illuminating study "La Leyenda de Don Juan" proves
+that the custom of saying requiem masses for the living was
+very ancient in Spain. One recalls, too, how Charles V in
+his retirement at Yuste rehearsed his own funeral, actually
+entering the coffin while mass was being said.</p>
+
+<p>Of all Espronceda's poems "El Estudiante de Salamanca"
+is the most popular. It has a unity and completeness lacking
+in both the "Pelayo" and "El Diablo Mundo." Every poet
+of the time was busy composing <i>leyendas</i>. Espronceda attempted
+this literary form but once, yet of all the numerous "legends"
+written in Spain this is the most fitted to survive. Nowhere
+else has the poet shown equal virtuosity in the handling of
+unusual meters. Nowhere among his works is there greater
+variety or harmony of verse. Though not the most serious,
+this is the most pleasing of his poems. Espronceda follows the
+Horatian precept of starting his story "in the middle of things."
+In the first part he creates the atmosphere of the uncanny,
+introduces the more important characters, and presents a striking
+situation. Part Second, the most admired, is elegiac in
+nature. It pleases by its simple melancholy. This part and the
+dramatic tableau of Part Three explain the cause of the duel
+with which Part One begins. Part Four resumes the thread of
+the narration where it was broken off in Part One, and ends
+with the Dance of Death which forms the climax of the whole.
+The character of Don Félix de Montemar is vigorously drawn.
+Originality cannot be claimed for it, as it is the conventional
+Don Juan Tenorio type. The character of Doña Elvira hardly
+merits the high praise of Spanish critics. She is a composite
+portrait of Ophelia, Marguerite, and two of Byron's characters,
+Doña Julia and Haidée, a shadowy, unreal creation, as ghostly in
+life as in death. "The Student of Salamanca" tells a story vigorously
+and sweetly. It does not abound in quotable passages
+like the "Diablo Mundo." It is neither philosophic nor introspective.
+It teaches no lesson. Its merit is its perfection of form.</p>
+
+<a name="biblio" id="biblio"></a>
+<h3>BIBLIOGRAPHICAL NOTE</h3>
+
+<p>The best biography of Espronceda is that of José Cascales
+y Muñoz, "D. José de Espronceda, su época, su vida y sus
+obras," Madrid, 1914. This is an expansion of the same
+author's "Apuntes y Materiales para la Biografía de Espronceda,"
+<i>Revue hispanique</i>, Vol. XXIII, pp. 5-108. See also
+a shorter article by the same author in <i>La España Moderna</i>,
+Vol. CCXXXIV, pp. 27-48. Less critical, but useful, is
+Antonio Cortón, "Espronceda," Madrid, 1906. The very
+uncritical book by E. Rodríguez Solís, "Espronceda: su tiempo,
+su vida y sus obras," Madrid, 1883, is chiefly valuable now as
+the best source for Espronceda's parliamentary speeches.
+J. Fitzmaurice-Kelly's "Espronceda," <i>The Modern Language
+Review</i>, Vol. IV, pp, 20-39, is admirable as a biography and
+a criticism, though partially superseded by later works containing
+the results of new discoveries. P.H. Churchman, "Byron
+and Espronceda," <i>Revue hispanique</i>, Vol. XX, pp. 5-210,
+gives a short biography, though the study is in the main a
+penetrating investigation of Espronceda's sources. E. Piñeyro
+has written two articles on Espronceda: "Poetas Famosos del
+Siglo XIX," Madrid, 1883, and "El Romanticismo en España,"
+Paris, 1904. This last was first printed in the <i>Bulletin hispanique</i>
+for 1903. The older biography of D.A. Ferrer del Río,
+"Galería de la Literatura," Madrid, 1846, still has a certain
+value; but the most important source for Espronceda's youthful
+adventures is "El Discurso del Excmo. Señor D. Patricio
+de la Escosura, individuo de número de la Academia Española,
+leído ante esta corporación en la sesión pública inaugural de
+1870," Madrid, 1870. This matter is expanded in five very
+important articles which appeared in "La Ilustración Española
+y Americana" for 1876 (February 8, February 22, June 22,
+July 8, September 22), partially reproduced in the book of
+Cascales y Muñoz. See also López Núñez, "José de Espronceda,
+Biografía Anecdótica," Madrid, 1917 and A. Donoso,
+"La Juventud de Espronceda," <i>Revista Chilena</i>, July, 1917.
+The best study of Espronceda's philosophy is Bonilla y San
+Martín's, "El Pensamiento de Espronceda," <i>La España
+Moderna</i>, Vol. CCXXXIV. For a recent short article see
+Cejador y Frauca, "Historia de la Lengua y Literatura Castellana,"
+VII, Madrid, 1917, PP. 177-185.</p>
+
+<p>The best bibliography of Espronceda's writings is that of
+Churchman, "An Espronceda Bibliography," <i>Revue hispanique</i>,
+XVII, pp. 741-777. This should be supplemented by reference
+to Georges Le Gentil, "Les Revues littéraires de l'Espagne
+pendant la première moitié du XIXe siècle," Paris, 1909. The
+least bad edition of Espronceda's poems is "Obras Poéticas y
+Escritos en Prosa," Madrid, 1884. (The second volume, which
+was to contain the prose writings, never appeared.) See also
+the "Obras Poéticas de Espronceda," Valladolid, 1900, and
+"Espronceda," Barcelona, 1906. Also "Páginas Olvidadas de
+Espronceda," Madrid, 1873. There has been a recent reprint
+of "Sancho Saldaña," Madrid, 1914, Repullés. Churchman has
+published "Blanca de Borbón," <i>Revue hispanique</i>, Vol. XVII,
+and also "More Inedita" in the same volume. There is said
+to be an English translation of "The Student of Salamanca,"
+London, 1847. An excellent French version is that of R.
+Foulché-Delbosc, "L'Étudiant de Salamanque," Paris, 1893.
+Mary J. Serrano has made splendid translations of "The Pirate"
+and "To Spain: An Elegy," Warner's Library of the World's
+Best Literature, Vol. XIV.</p>
+
+<p>For a very full treatment and bibliography of the Don Juan
+Tenorio legend see G.G. de Bévotte, "La Légende de Don
+Juan," Paris, 1911. Also Farinelli, <i>Giornale Storico</i>, XXVII,
+and "Homenaje a Menéndez y Pelayo," Vol. I, p. 295; A.L.
+Stiefel, <i>Jahresberichte für neuere deutsche Litteraturgeschichte</i>,
+1898-1899, Vol. I, 7, pp. 74-79.</p>
+
+
+<a name="versif" id="versif"></a>
+<h3>NOTES ON ESPRONCEDA'S<br>
+
+VERSIFICATION</h3>
+
+
+<p>GENERAL CONSIDERATIONS</p>
+
+<p>To enjoy the work of so musical an artist as Espronceda,
+the student must be able to read his verse in the original. This
+cannot be done without some knowledge of the rules which
+govern the writing of Spanish poetry. It therefore becomes
+necessary to give some account of the elementary principles
+of Spanish prosody. This is not the place for a complete
+treatment of the subject: only so much will be attempted as
+is necessary for the intelligent comprehension of our author's
+writings. A knowledge of English prosody will hinder rather
+than help the student; for the Spanish poet obeys very different
+laws from those which govern the writer of English verse.</p>
+
+<p>The two essentials of Spanish poetry are (1) a fixed number
+of syllables in each verse (by verse we mean a single line of
+poetry); (2) a rhythmical arrangement of the syllables within
+the verse. Rime and assonance are hardly less important, but
+are not strictly speaking essential.</p>
+
+
+<p>SYLLABLE-COUNTING</p>
+
+
+<p>FINAL SYLLABLES</p>
+
+<p>When a verse is stressed on the final syllable, it is called
+a <i>verso agudo</i> or masculine verse.</p>
+
+<p>When a verse is stressed on the next to the last syllable, it
+is called a <i>verso llano</i> or feminine verse.</p>
+
+<p>When a verse is stressed on the second from the last syllable,
+the antepenult, it is called a <i>verso esdrújulo</i>.</p>
+
+<p>For the sake of convenience, the <i>verso llano</i> is considered
+the normal verse. Thus, in an eight-syllable verse of this type
+the final stress always falls on the seventh syllable, in a six-
+syllable verse on the fifth syllable, etc., always one short of the
+last. In the case of the <i>verso agudo</i>, where the final stress falls
+on the final syllable, a verse having actually seven syllables
+would nevertheless be counted as having eight. One syllable
+is always added in counting the syllables of a <i>verso agudo</i>, and,
+contrariwise, one is always subtracted from the total number
+of actual syllables in a <i>verso esdrújulo</i>. These three kinds of
+verses are frequently used together in the same strophe (<i>copla</i>
+or stanza) and held to be of equal length. Thus:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Turbios sus ojos,</p>
+<p class="i2">Sus graves párpados</p>
+<p class="i2">Flojos caer.</p>
+  </div>  </div>
+
+<p>Theoretically these are all five-syllable verses. The first is a
+<i>verso llano</i>, the normal verse. It alone has five syllables. The
+second is a <i>verso esdrújulo</i>. It actually has six syllables, but
+theoretically is held to have five. The third is a <i>verso agudo</i>.
+It actually has but four syllables, but in theory is designated
+a five-syllable verse. All three verses agree in having the
+final stress fall upon the fourth syllable.</p>
+
+<p>It would be simpler if, following the French custom, nothing
+after the final stress were counted; but Spaniards prefer to
+consider normal the verse of average length. It follows from
+this definition that a monosyllabic verse is an impossibility in
+Spanish. Espronceda writes:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Leve,</p>
+<p class="i2">Breve</p>
+<p class="i2">Són.</p>
+  </div>  </div>
+
+<p>He is not here dropping from dissyllabic to monosyllabic verse,
+but the last verse too must be considered a line of two syllables.</p>
+
+<p>Espronceda never uses a measure of more than twelve
+syllables in the selections included in this book. Serious poets
+never attempt anything longer than a verse of sixteen syllables.</p>
+
+<p>DIPHTHONGIZATION</p>
+
+<p>Spanish vowels are divided into two classes: the strong
+vowels, <i>a</i>, <i>o</i>, <i>e</i>, and the weak vowels, <i>u</i>, <i>i</i>. According to the
+Academy rules, followed by most grammarians, there can be
+no diphthongization of two strong vowels in the proper pronunciation
+of prose; only when a strong unites with a weak
+or two weaks unite can diphthongization take place. In verse,
+on the other hand, diphthongization of two strong vowels is not
+only allowable but common. This would probably not be the
+case if the same thing did not have considerable justification in
+colloquial practice. As a matter of fact we frequently hear <i>ahora</i>
+pronounced <i>áora</i> with diphthongization and shift of stress.</p>
+
+<p>Of the three strong vowels, <i>a</i> is "dominant" over <i>o</i> and <i>e</i>; <i>o</i>
+is dominant over <i>e</i>; and any one of the three is dominant over
+<i>u</i> or <i>i</i>. A dominant vowel is one which has the power of
+attracting to itself the stress which, except for diphthongization,
+would fall on the other vowel with which it unites. The vowel
+losing the stress is called the "absorbed" vowel. This principle,
+which we find exemplified in the earliest poetic monuments
+of the language, must be thoroughly understood by the
+student of modern Spanish verse.</p>
+
+
+<p>SYNERESIS</p>
+
+<p>Syneresis is the uniting of two or three vowels, each of which
+is ordinarily possessed of full syllabic value, into a diphthong
+or a triphthong, thereby reducing the number of syllables in the
+word; <i>h</i> does not interfere with syneresis. Thus, <i>aérea</i> is normally
+a word of four syllables. In this verse it counts as three.</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Mística y aérea dudosa visión (12)</p>
+  </div>  </div>
+
+<p>(The numbers in parentheses indicate the syllables in the verse.
+Remember that the figure represents the theoretical number of
+syllables in the line, and indicates the actual number only in the
+case of the <i>verso llano</i>. Furthermore, the figure has been determined
+by a comparison with adjacent lines in the same stanzas,
+verses which offer no metrical difficulties.) So likewise in:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Y en aérea fantástica danza (10)</p>
+  </div>  </div>
+
+<p>In the following we have double syneresis, and the word has
+but two syllables:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Aerea como dorada mariposa (11)</p>
+  </div>  </div>
+
+<p>Examples of syneresis after the tonic stress:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Rechinan girando las férreas veletas (12)</p>
+<p class="i2">Todos atropellándoos en montón (11)</p>
+<p class="i2">Palpa en torno de sí, y el impio jura (11)</p>
+  </div>  </div>
+
+<p><i>Impio</i>, usually <i>impío</i>, is one of a number of words admitting
+of two stresses. Such are called words of double accentuation.
+The principle is different from that governing the stress-shift
+explained above. The word has its ordinary value in the
+following:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">«Bienvenida la luz,» dijo el impío (11)</p>
+  </div>  </div>
+
+<p>Examples of syneresis before the tonic stress:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Se siente con sus lágrimas ahogar (11)</p>
+<p class="i2">Tu pecho de roedor remordimiento (11)</p>
+<p class="i2">¡Ay! El que la triste realidad palpó! (12)</p>
+<p class="i2">Toda la sangre coagulada envía (11)</p>
+<p class="i2">¿Quién en su propia sangre los ahogó? (11)</p>
+<p class="i2">Tanto delirio a realizar alcanza (11)</p>
+<p class="i2">Ahogar me siento en infernal tortura (11)</p>
+  </div>  </div>
+
+<p>Examples of syneresis under stress:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">El blanco ropaje que ondeante se ve (12)</p>
+<p class="i2">Las piedras con las piedras se golpearon (11)</p>
+<p class="i2">Ahora adelante?» Dijo, y en seguida (11)</p>
+  </div>  </div>
+
+<p>In the first two examples there is no stress-shift. In the third,
+the stress travels from the <i>o</i> of <i>Ahora</i> to the initial <i>a</i>. In the
+following example <i>ahora</i> has three syllables:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Será más tarde que ahora (8)</p>
+  </div>  </div>
+
+<p>The rule regarding syneresis under stress is that it is allowable,
+with or without resulting stress-shift, except when the combinations
+<i>éa</i>, <i>éo</i>, <i>óa</i>, are involved. Espronceda violates the rule
+in this instance:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Veame en vuestros brazos y máteme luego (12)</p>
+  </div>  </div>
+
+<p>This is a peculiarly violent and harsh syneresis. The stress
+shifts from the first <i>e</i> to the <i>a</i>, giving a pronunciation very
+different from that of the usual <i>véame</i>. Such a syneresis is
+more pardonable at the beginning of a verse than in any other
+position; but good modern poets strive to avoid such harshnesses.
+Espronceda sometimes makes <i>río</i> monosyllabic:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Los rios su curso natural reprimen (11)</p>
+  </div>  </div>
+
+<p>In the poetry of the Middle Ages and Renaissance such pronunciations
+as <i>teniá</i> for <i>tenía</i> are common.</p>
+
+<p>DIERESIS</p>
+
+<p>Dieresis is the breaking up of vowel-combinations in such
+a way as to form an additional syllable in the word. It is the
+opposite of syneresis. Dieresis never occurs in the case of the
+diphthongs <i>ie</i> and <i>ue</i> derived from Latin (e), and (o), in words like
+<i>tierra</i>, <i>bueno</i>, etc. <i>Uá</i> and <i>uó</i> are regularly dissyllabic except
+after <i>c</i>, <i>g</i>, and <i>j</i>. Examples:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Y en su blanca luz süave (8)</p>
+<p class="i2">En la playa un adüar (8)</p>
+<p class="i2">En vez de desafïaros (8)</p>
+<p class="i2">Compañero eterno su dolor crüel (12)</p>
+<p class="i2">Grandïosa, satánica figura (11)</p>
+<p class="i2">El carïado, lívido esqueleto (11)</p>
+<p class="i2">La Luna en el mar rïela (8)</p>
+<p class="i2">Cólera, impetuoso torbellino (11)</p>
+<p class="i2">Horas de confianza y de delicias (11)</p>
+<p class="i2">En cárdenos matices cambiaban (11)</p>
+<p class="i2">Rüido de pasos de gente que viene (12)</p>
+  </div>  </div>
+
+<p>The same word without dieresis:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Por las losas deslízase sin ruido (11)</p>
+  </div>  </div>
+
+<p>In certain words, such as <i>cruel</i>, metrical custom preserves a
+pronunciation in which the adjacent vowels have separate syllabic
+value. Traditional grammar, represented by the Academy,
+asserts that such is the correct pronunciation of these words to
+this day; but the actual speech of the best speakers diphthongizes
+these vowels, and their separation in poetry must rank as
+a dieresis. In printing poetry it is customary to print the mark
+of dieresis on many words in which dieresis is regular as well
+as on those in which it is exceptional.</p>
+
+<p>SYNALEPHA</p>
+
+<p>Synalepha is the combining into one syllable of two or more
+adjacent vowels or diphthongs of different words. It is the
+same phenomenon as syneresis extended beyond the single
+word. <i>H</i> does not prevent synalepha. The number of
+synalephas possible in a single verse is theoretically limited
+only by the number of syllables in that verse. A simple
+instance:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">De alguna arruinada iglesia (8)</p>
+  </div>  </div>
+
+<p>The number of vowels entering into a synalepha is commonly
+two or three; rarely four, and, by a <i>tour de force</i>, even five:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Ni envidio a Eudoxia ni codicio a Eulalia (11)</p>
+  </div>  </div>
+
+<p>Synalepha is not prevented by any mark of punctuation separating
+the two words nor by the caesural pause (see below).
+In dramatic verse a synalepha may even be divided between
+two speakers. In the short lines of "El Mendigo," Espronceda
+mingles four- with five-syllable verses. But as the five-syllable
+verses begin with vowels and the preceding four-syllable verses
+end with vowels, the former sound no longer than the rest. In
+very short lines synalepha may occur between one verse and
+another following it. See also line 1389 of "El Estudiante
+de Salamanca."</p>
+
+<p>1. The simplest case is where both vowels entering into
+synalepha occur in unstressed syllables:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Informes, en que se escuchan (8)</p>
+  </div>  </div>
+
+<p>When the two vowels coming together are identical, as here,
+they fuse into a single sound (<i>s'escuchan</i>), with only a slight
+gain in the quantity of the vowel. <i>Se</i> here has no individual
+accent in the stress-group. Where the vowels in synalepha are
+different, each is sounded, but the stronger or more dominant
+is the one more distinctly heard:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Vagar, y aúllan los perros (8)</p>
+  </div>  </div>
+
+<p>2. The second case is where the vowel or diphthong ending
+the first word in the synalepha bears the stress, and the initial
+vowel or diphthong of the second word is unstressed. Examples
+which do not involve stress-shift:</p>
+
+<div class="poem">  <div class="stanza">
+<p>Del que mató en desafío (8)</p>
+<p>Que no he seguido a una dama (8)</p>
+  </div>  </div>
+
+<p>(<i>He</i> is without stress in the group.)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i10">          JUGADOR PRIMERO</p>
+<p class="i2">No tardará.</p>
+  </div><div class="stanza">
+<p class="i10">          JUGADOR TERCERO</p>
+<p class="i10">    Envido.</p>
+  </div><div class="stanza">
+<p class="i10">          JUGADOR PRIMERO</p>
+<p class="i10">           Quiero. (8)</p>
+  </div>  </div>
+
+<p>In the following examples stress-shift occurs, because the unstressed
+vowel is dominant while the stressed vowel is absorbed.
+Such stress-shifts as these are sanctioned only when they do
+not coincide with a strong rhythmic stress (see below) in the
+verse. They are less offensive at the beginning than at the end:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Allí en la triste soledad se hallaron (11)</p>
+<p class="i2">Tú el aroma en las flores exhalas (10)</p>
+<p class="i2">Al punto aquí castigaré al medroso (11)</p>
+  </div>  </div>
+
+<p>The following are disagreeably harsh:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Que estas torres llegué a ver (8)</p>
+<p class="i2">¿De inciertos pesares por qué hacerla esclava (12)</p>
+  </div>  </div>
+
+<p>3. The third case is where the second vowel or diphthong
+bears the stress, while the first is unstressed:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Teñida de ópalo y grana (8)</p>
+  </div>  </div>
+
+<p>In cases like these we are dealing with a form of synalepha
+which, if not true elision, approaches it closely. According to
+Benot, the pronunciation is not quite <i>d'ópalo</i>, but "there is
+an attempt at elision." In other words, the second vowel or
+diphthong, if dominant, so predominates over the first that
+it is scarcely audible. Under this case, too, there may arise
+stress-shift:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Se hizo el bigote, requirió la espada (11)</p>
+  </div>  </div>
+
+<p>This is a very bad verse. But such instances are rare in
+Espronceda and good modern poets. They are never sanctioned
+in connection with a strong rhythmic stress. In such
+a case hiatus (see below) is favored as the lesser of two evils.</p>
+
+<p>4. The fourth case is where each of the two vowels bears
+the stress:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Así, ante nosotros pasa en ilusión (12)</p>
+  </div>  </div>
+
+<p>What happens here is that one of the two stresses becomes
+subordinate to the other, the stress being wholly assumed by
+the more dominant of the two.</p>
+
+<p>Where three or more vowels unite in a synalepha, two things
+must be borne in mind: (1) Stress-shift is not harsh to the
+Spanish ear, and is always permissible, if more than two vowels
+are involved. This is Espronceda's justification in the following:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Si se murió, a lo hecho, pecho (8)</p>
+<p class="i2">Necesito ahora dinero (8)</p>
+<p class="i2">Su pecho ahogado (5)</p>
+  </div>  </div>
+
+<p>(2) The vowels of three words may not combine if the middle
+word is y, e, he, o, or u. Examples:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4"> ¡Pues no ha hecho mal disparate! (8)</p>
+<p class="i4"> Que conduce a esta mansión (8)</p>
+<p>But: Cuando en sueño | y en silencio (8)</p>
+<p class="i4"> Si tal vez suena | o está (8)</p>
+<p class="i4"> Alma fiera | e insolente (8)</p>
+  </div>  </div>
+
+<p>There is one case in the text where <i>he</i> as middle word does
+enter into synalepha, but this is merely the fusion of three
+identical vowels:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Yo me he echado el alma atrás (8)</p>
+  </div>  </div>
+
+
+<p>HIATUS</p>
+
+<p>Hiatus is the breaking up into two syllables of vowel combinations
+in adjacent words capable of entering into synalepha.
+It is an extension to the word-group of dieresis, which applies
+only to a single word.</p>
+
+<p>Many authorities on Spanish versification recognize as hiatus
+various cases which should not be so classified. In words like
+<i>yo, yerro, hierro, huevo</i>, etc., the first phonetic element is in each
+case a semi-vowel, and these semi-vowels have the value of
+consonants in the words cited. To classify the following as
+examples of hiatus is to be phonetically unsound:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Perdida tengo | yo el alma (8)</p>
+<p class="i2">Ponzoñoso lago de punzante | hielo (12)</p>
+<p class="i2">Me he de quejar de este | yerro (8)</p>
+<p class="i2">Levantóse en su cóncavo | hueco (10)</p>
+<p class="i2">Cual témpanos de | hielo endurecidos (11)</p>
+<p class="i2">Tierno quejido que en el alma | hiere (11)</p>
+  </div>  </div>
+
+<p>In none of these cases could there possibly be synalepha.
+Consequently by definition there can be no hiatus.</p>
+
+<p>Hiatus most frequently occurs to avoid the greater cacophony
+which would arise from stress-shift under case 3 of synalepha:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Era la hora | en que acaso (8)</p>
+  </div>  </div>
+
+<p>Lack of hiatus would here produce a stress-shift resulting in
+an unharmonious stressing of two successive syllables.</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Reposaba, y tumba | era (8)</p>
+  </div>  </div>
+
+<p>The same principle applies here as in the above, except that
+the effect would be even worse, because the stress shift would
+come under the rhythmic stress. (See below.)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Su mejilla; es una | ola (8) (Ditto.)</p>
+<p class="i2">¡Pobres flores de tu | alma! (8)</p>
+  </div>  </div>
+
+<p>Probably to give the pronominal adjective greater emphasis.</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Y huyó su | alma a la mansión dichosa (11)</p>
+  </div>  </div>
+
+<p>Probably to avoid two successive stresses, though possibly there
+may be dieresis in <i>mansión</i>.</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Don Félix, a buena | hora (8)</p>
+  </div>  </div>
+
+<p>Again to avoid stress-shift under the rhythmic stress.</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">¡El as! ¡el as! aquí está (8)</p>
+<p class="i2">Y si Dios aquí os envia (8)</p>
+  </div>  </div>
+
+<p>In these two examples instead of hiatus there is synalepha with
+stress-shift, but we have to do with case 2 of synalepha, not case 3.</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Que un alma, una vida, | es (8)</p>
+<p class="i2">Cuando | hacia él fatídica figura (11)</p>
+<p class="i2">Y el otro ¡Dios santo! y el otro era | él! (12)</p>
+<p class="i2">¡Villano! mas esto | es (8)</p>
+<p class="i2">En cada | hijo a contemplar un rey (11)</p>
+  </div>  </div>
+
+<p>In some instances hiatus seems to occur for no other reason
+than to preserve the verse-measure:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Resonando cual lúgubre | eco (10)</p>
+<p class="i2">Y palacios de | oro y de cristal (11)</p>
+<p class="i2">¡Y tú feliz, que | hallaste en la muerte (11)</p>
+  </div>  </div>
+
+<p>In general hiatus is most likely to occur before the principal
+rhythmic stress in a verse; that is, before the final stress.</p>
+
+<p>RHYTHM, RHYTHMIC STRESS, THE
+CAESURAL PAUSE</p>
+
+<p>In English poetry the foot, rather than the syllable, is the
+unit. The number of feet to a verse is fixed, but the number
+of syllables varies. In Spanish poetry the number of syllables
+to a verse is fixed, subject only to the laws of syllable-counting
+given above. But if in this respect the Spanish poet has less
+freedom than the English versifier, he has infinitely greater
+liberty in the arrangement of his rhythms. The sing-song
+monotony of regularly recurring beats is intolerable to Latin
+ears. The greater flexibility of Spanish rhythm can best be
+shown by illustrations:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">The Assy'rian came do'wn like the wo'lf on the fo'ld,</p>
+<p class="i2">And his co'horts were gle'aming in pu'rple and go'ld;</p>
+<p class="i2">And the she'en of their spe'ars was like sta'rs on the se'a,</p>
+<p class="i2">When the blu'e wave rolls ni'ghtly on de'ep Galile'e.</p>
+  </div>  </div>
+
+<p>Having chosen to write this poem in the anapestic tetrameter,
+Byron never varies the rhythm except to substitute an occasional
+iambic at the beginning of a verse:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">And the're lay the ste'ed with his no'stril all wi'de.</p>
+  </div>  </div>
+
+<p>Notice how much more freely Espronceda handles this meter
+in Spanish:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Su fo'rma galla'rda dibu'ja en las so'mbras</p>
+<p class="i2">El bla'nco ropaj'e que ondea'nte se ve',</p>
+<p class="i2">Y cua'l si pisa'ra mulli'das alfo'mbras,</p>
+<p class="i2">Deslí'zase le've sin rui'do su pie'.</p>
+  </div><div class="stanza">
+<p class="i2">Tal vi'mos al ra'yo de la lu'na lle'na</p>
+<p class="i2">Fugiti'va ve'la de le'jos cruza'r</p>
+<p class="i2">Que ya' la' hinche en po'pa la bri'sa sere'na,</p>
+<p class="i2">Que ya' la confu'nde la espu'ma del ma'r.</p>
+  </div>  </div>
+
+<p>The first of these stanzas has the true Byronic swing. But
+note how freely the rhythm is handled in the second. Spanish
+rhythm is so flexible and free that little practical advantage is
+gained by counting feet. We distinguish only two sorts of verse-measure,
+the binary, where in general there is stress on one
+syllable out of two&mdash;that is there are trochees (__' __) or iambics
+(__ __') in the verse, or the two intermingled&mdash;and second the
+ternary measure, where one of a group of three syllables receives
+the stress. Such a verse is made up of dactyls (__' __ __),
+anapests (__ __ __'), or amphibrachs (__ __' __), or some combination
+of these. Of course, a three-syllable foot is often found
+in binary verse, and, <i>vice versa</i> a two-syllable foot in ternary
+measure. By binary verse we mean only a form of verse in
+which the twofold measure predominates, and by ternary one
+in which the threefold measure predominates. The extract last
+quoted is an example of ternary verse. The following will serve
+as a specimen of the binary movement:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">En de'rredo'r de u'na me'sa</p>
+<p class="i2">Ha'sta se'is ho'mbres está'n,</p>
+<p class="i2">Fi'ja la vi'sta' en los na'ipes,</p>
+<p class="i2">Mie'ntras jue'gan a'l para'r;</p>
+  </div>  </div>
+
+<p>Every word in Spanish has its individual word-accent: <i>habí'a,
+habla'do</i>. Now if we join these two words in a phrase,
+<i>habí'a habla'do</i>, we note that while each of the words still retains
+its individual word-accent, <i>hablado</i> is more strongly stressed
+than <i>había</i>. In addition to its word-accent <i>hablado</i> bears what
+we term a phrase-accent. In any line of verse some of the
+word-stresses are stronger than others, and these stronger stresses
+are termed rhythmic stresses. They correspond to the phrase-stresses
+of prose. The principal rhythmic stress is the last
+stress of the line. In general the rhythmic stress must coincide
+with a word-stress. It always does except where stress-shift
+comes into play. We have already seen that a stress-shift
+coinciding with the rhythmic stress is intolerable, and hiatus
+is preferred. It is very unharmonious for two stresses to fall
+together at the end of a verse:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Que estas torres llegué a ver (8)</p>
+  </div>  </div>
+
+<p>This is a very bad verse, because <i>a</i> is dominant over <i>é</i> and
+brings about stress-shift, and the two consecutive syllables
+<i>a</i> and <i>ver</i> are both stressed. The result is unharmonious.
+A syllable bearing stress and standing immediately before
+the final stress is called an obstructing syllable (<i>una sílaba
+obstruccionista</i>). Every effort is made by a good poet to avoid
+such a cacophony. The above is a good example of one.
+I have emended llegué to <i>llegue</i> in the text.</p>
+
+<p>A short verse can easily be spoken without pause, but above
+ten syllables it becomes necessary for the reader to rest somewhere
+within the line. The resting-place is called the caesural
+pause. The longer the verse, the greater its importance. It
+does not prevent synalepha. The stress immediately before
+the caesura must be the second most important rhythmic stress
+of the verse.</p>
+
+<p>RIME AND ASSONANCE</p>
+
+<p>The regularity of the beats in English verse is of itself
+sufficient to indicate when a line of poetry is ended, even
+though there be no rime to mark that end. Hence blank verse
+has been highly developed by English poets, and many, like
+Milton, have held it to be the noblest form of verse. Blank
+verse is impossible in French, because French with its lack of
+verbal stress has no other device than rime to mark the end
+of a verse. Without rime French blank verse would be indistinguishable
+from rhythmic prose. In Spanish the stress
+is not so heavy as in the Germanic languages, but, on the
+other hand, is much stronger than in French. Spanish blank
+verse is not unknown, but has never been cultivated with
+great success. It is evident that in this language too, lacking
+as it does regular rhythm in its versification, rime is much
+more necessary than in English. However, an occasional <i>verso
+suelto</i>, or blank verse, intermingled with rimed ones, is very
+common.</p>
+
+<p>Two words rime with one another when there is identity of
+sound between the last stressed vowels and between any letters
+which may follow these vowels. Rime is masculine (in Spanish
+<i>rima aguda</i>) when the last syllables bear the stress: <i>mal</i>&mdash;<i>cristal</i>;
+or feminine when an unstressed vowel follows the stressed
+one (in Spanish <i>rima llana</i>): <i>hermosura</i>&mdash;<i>locura</i>. Inasmuch as
+<i>b</i> and <i>v</i> represent the same sound, they rime. The weak vowel
+of a diphthong is ignored for riming purposes; thus <i>vuelo</i> rimes
+with <i>cielo</i>. Good poets avoid obvious or easy rimes such as
+those yielded by flexional endings and suffixes. It is permissible
+to rime two identically-spelled words if they are in fact different
+words in meaning: <i>ven</i> (they see) rimes with <i>vén</i> (come).</p>
+
+<p>Assonance is the identity of sound of two or more stressed
+vowels and the final following vowels, if there are any. In case
+consonants stand after the stressed vowel they are disregarded.</p>
+
+<p>Assonance is of two sorts: single assonance (<i>asonante
+agudo</i>), <i>están</i>&mdash;<i>va</i>&mdash;<i>parar</i>&mdash;<i>jamás</i>, etc.; and double assonance
+(<i>asonante llano</i>), <i>cuentan</i>&mdash;<i>tierra</i>&mdash;<i>dejan </i>or <i>coronada</i>&mdash;<i>gasa</i>&mdash;<i>baña</i>.
+In assonanced verse the assonanced words
+end the even lines. The odd are usually blank, though sometimes
+rimed. A <i>voz aguda</i> cannot assonate with a <i>voz llana</i>,
+but there is no objection to the introduction of <i>voces esdrújulas</i>
+into <i>asonante llano</i>. In this case only the stressed and the
+final vowels of the <i>esdrújula</i> are counted; for example, <i>América</i>
+assonances with <i>crea</i>. When diphthongs enter into assonance,
+the weak vowel is ignored: <i>pleita</i> assonances with <i>pliega</i>.</p>
+
+<p>Assonance is not unknown in English, especially in popular
+or folk verse; but we generally regard it as a faulty rime.
+Thus in the British national anthem we read:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Send him victorious,</p>
+<p class="i2">Happy and glorious,</p>
+<p class="i2">Long to reign over us,</p>
+<p class="i4">God save the king!</p>
+  </div>  </div>
+
+<p>"Over us" plainly assonates, rather than rimes, with "glorious,"
+but this is dangerously close to doggerel. Assonance
+is unsuited to the genius of any language possessed of a
+rich vowel-system. This is evident to any one who has read
+Archbishop Trench's attempt to render Calderon's verse into
+English assonance.</p>
+
+<p>STROPHES</p>
+
+<p>I shall not attempt to list the innumerable verse-forms to be
+found in Spanish poetry, but shall only indicate the forms used
+by Espronceda in the selections contained in this volume.
+Some of these are fixed and conventional, and others are of
+his own contrivance. Spanish uses the terms <i>estrofa</i> and
+<i>copla</i> to designate an arrangement of verses in a stanza.
+<i>Copla</i> must not be confused with English "couplet." These
+are general terms; most verse-forms are designated by special
+names. The following verse-forms are found in the selections
+contained in this book:</p>
+
+
+
+<p><b>"EL ESTUDIANTE DE SALAMANCA"</b></p>
+
+<p>Lines <a href="#a1">1</a>-40. Ballad meter or <i>verso de romance</i> (8 syllables) with
+assonance in <i>é</i>-<i>a</i>.</p>
+
+<p>Lines <a href="#a40">41</a>-48. <i>Verso de romance</i> with assonance in <i>ó</i>.</p>
+
+<p>Lines <a href="#a45">49</a>-63. Irregular 3-syllable meter with assonance in <i>ó</i> occurring
+irregularly; lines 53 and 55 rime, and 59 and 61
+assonate in <i>é-a</i>.</p>
+
+<p>Lines <a href="#a60">64</a>-75. <i>Verso de romance</i> with assonance in <i>ó</i>.</p>
+
+<p>Lines <a href="#a75">76</a>-99. Quatrains or <i>cuartetas</i> of 12-syllable verse; rime-scheme
+<i>abab</i> (this arrangement of the rime is called <i>rima
+cruzada</i>); alternation of masculine and feminine rime.</p>
+
+<p>Lines <a href="#a100">100</a>-139. <i>Octavillas italianas</i> (8-syllable verse); lines 2 and
+3, 6 and 7, 4 and 8 rime; lines 1 and 5 either assonate or are
+blank (<i>sueltos</i>).</p>
+
+<p>Lines <a href="#a140">140</a>-179. <i>Octavas reales</i> (11-syllable verse); rime-scheme
+<i>abababcc</i>; the rimes must be feminine.</p>
+
+<p>Lines <a href="#a180">180</a>-257. <i>Verso de romance</i>, printed in the form of <i>cuartetas</i>;
+assonance in <i>á-a</i>.</p>
+
+<p>Lines <a href="#a255">258</a>-302. <i>Quintillas</i> (8-syllable verse); the rime-scheme
+varies; the rule is that there shall be two rimes to a <i>quintilla</i>,
+and the same rime must not occur in three consecutive verses.</p>
+
+<p>Lines <a href="#a300">303</a>-330. <i>Cuartetas</i> (11-syllable verse); rime-scheme <i>abab</i>;
+occasionally assonance replaces rime in the even verses.</p>
+
+<p>Lines <a href="#a330">331</a>-338. <i>Octava real</i>.</p>
+
+<p>Lines <a href="#a335">339</a>-370. <i>Cuartetas</i> (11-syllable verse).</p>
+
+<p>Lines <a href="#a370">371</a>-418. <i>Octavas reales</i>.</p>
+
+<p>Lines <a href="#a415">419</a>-434. <i>Cuartetas</i> (11-syllable verse).</p>
+
+<p>Lines <a href="#a435">435</a>-454. <i>Verso de romance</i>, printed as <i>cuartetas</i>; assonance
+in <i>á</i>.</p>
+
+<p>Lines <a href="#a455">455</a>-558. <i>Redondillas</i> (8-syllable verse); rime-scheme <i>abba</i>;
+this arrangement of rimes is called <i>versos pareados en el
+centro</i>.</p>
+
+<p>Lines <a href="#a555">559</a>-578. <i>Cuartetas</i> (11-syllable verse); <i>rima cruzada</i>.</p>
+
+<p>Lines <a href="#a575">579</a>-590. <i>Redondillas</i>.</p>
+
+<p>Lines <a href="#a590">591</a>-600. <i>Décima</i> (8-syllable verse); rime-scheme <i>abbaaccddc</i>.</p>
+
+<p>Lines <a href="#a600">601</a>-692. <i>Redondillas</i>.</p>
+
+<p>Lines <a href="#a690">693</a>-792. <i>Cuartetas</i> (12-syllable verse); odd verses rime; the
+even either form a masculine rime or are in assonance.</p>
+
+<p>Lines <a href="#a790">793</a>-820. <i>Cuartetas</i> (8-syllable verse); the rime-scheme varies:
+some <i>coplas</i> are <i>redondillas</i>; others have the crossed rime.</p>
+
+<p>Lines <a href="#a820">821</a>-884. <i>Cuartetas</i> of 12-syllable verse resumed; same rime-scheme
+as above.</p>
+
+<p>Lines <a href="#a885">885</a>-894. <i>Quintillas</i> (8-syllable verse); rime-scheme <i>abaab</i>.</p>
+
+<p>Lines <a href="#a895">895</a>-910. <i>Cuartetas</i> (11-syllable verse); rime-scheme either
+<i>abba</i> or <i>abab</i>.</p>
+
+<p>Lines <a href="#a910">911</a>-938. <i>Cuartetas</i> of 12-syllable verse; rime-scheme <i>abab</i>;
+even verses form either a masculine rime or assonance.</p>
+
+<p>Lines <a href="#a935">939</a>-942. <i>Cuarteta</i> (11-syllable verse); even verses in assonance;
+the odd verses rime.</p>
+
+<p>Lines <a href="#a940">943</a>-961. Irregular meter (6-syllable verse); a mixture of rime,
+assonance, and blank verse.</p>
+
+<p>Lines <a href="#a960">962</a>-1033. <i>Verso de romance</i>; assonance in <i>á</i>.</p>
+
+<p>Lines <a href="#a1030">1034</a>-1063. <i>Quintillas</i>.</p>
+
+<p>Lines <a href="#a1060">1064</a>-1115. <i>Cuartetas</i> (12-syllable verse); rime in the
+odd verses; assonance or masculine rime in the even.</p>
+
+<p>Lines <a href="#a1115">1116</a>-1145. <i>Quintillas</i>.</p>
+
+<p>Lines <a href="#a1145">1146</a>-1149. <i>Cuarteta</i> (11-syllable verse); rime-scheme <i>abab</i>.</p>
+
+<p>Lines <a href="#a1150">1150</a>-1164. <i>Quintillas</i>.</p>
+
+<p>Lines <a href="#a1165">1165</a>-1196. <i>Cuartetas</i> (11-syllable verse); rime-scheme <i>abab</i>;
+feminine rime.</p>
+
+<p>Lines <a href="#a1195">1197</a>-1364. <i>Octavas reales</i>.</p>
+
+<p>Lines <a href="#a1365">1365</a>-1384. <i>Quintillas</i>.</p>
+
+<p>Lines <a href="#a1385">1385</a>-1390. Irregular blending of 2-and 3-syllable meter; assonance and rime; the <i>crescendo</i> effect begins here.</p>
+
+<p>Lines <a href="#a1390">1391</a>-1399. Irregular 4-syllable meter; assonance and rime.</p>
+
+<p>Lines <a href="#a1400">1400</a>-1412. Irregular 5-syllable meter; assonance, rime, and
+blank verse.</p>
+
+<p>Lines <a href="#a1410">1413</a>-1439. Irregular 6-syllable meter; assonance, rime,
+blank verse.</p>
+
+<p>Lines <a href="#a1440">1440</a>-1447. Irregular 7-syllable meter; assonance, rime,
+blank verse.</p>
+
+<p>Lines <a href="#a1445">1448</a>-1469. <i>Verso de romance</i>; assonance in <i>é-o</i>.</p>
+
+<p>Lines <a href="#a1470">1470</a>-1485. Irregular 9-syllable meter; assonance in <i>ó</i>.</p>
+
+<p>Lines <a href="#a1485">1486</a>-1501. <i>Cuartetas</i> (10-syllable verse); rime-scheme <i>abab</i>;
+even verses assonate or form a masculine rime.</p>
+
+<p>Lines <a href="#a1500">1502</a>-1521. <i>Cuartetas</i> (11-syllable verse); rime-scheme <i>abab</i>;
+even verses assonate or form a masculine rime.</p>
+
+<p>Lines <a href="#a1520">1522</a>-1553. <i>Cuartetas</i> (12-syllable verse); rime-scheme <i>abab</i>;
+even verses assonate or form a masculine rime; the <i>crescendo</i>
+is now at its height.</p>
+
+<p>Lines <a href="#a1550">1554</a>-1569. <i>Octavillas italianas</i> (11-syllable verse); see above
+for description of this verse form.</p>
+
+<p>Lines <a href="#a1570">1570</a>-1585. <i>Octavillas italianas</i> (10-syllable verse).</p>
+
+<p>Lines <a href="#a1585">1586</a>-1601. <i>Octavillas italianas</i> (9-syllable verse).</p>
+
+<p>Lines <a href="#a1600">1602</a>-1617. <i>Octavillas italianas</i> (8-syllable verse).</p>
+
+<p>Lines <a href="#a1615">1618</a>-1633. <i>Octavillas italianas</i> (7-syllable verse).</p>
+
+<p>Lines <a href="#a1630">1634</a>-1649. <i>Octavillas italianas</i> (6-syllable verse).</p>
+
+<p>Lines <a href="#a1650">1650</a>-1661. An irregular 12-verse stanza of 5-syllable verse
+in which verses 3 and 4, 8 and 9 rime as couplets; 6 and 12 also
+rime; the other verses are blank.</p>
+
+<p>Lines <a href="#a1660">1662</a>-1669. Variant of the <i>octavilla italiana</i>; 4-syllable verse;
+verse 6 is blank instead of 5.</p>
+
+<p>Lines <a href="#a1670">1670</a>-1677. <i>Octavilla italiana</i>; 3-syllable verse; rime-scheme
+normal.</p>
+
+<p>Lines <a href="#a1675">1678</a>-1680. Irregular meter of 2-syllable verse; rime and
+blank; the <i>diminuendo</i> effect ends here.</p>
+
+<p>Lines <a href="#a1680">1681</a>-1704. <i>Octavas reales</i>.</p>
+<br>
+
+
+
+<p><b>"CANCIÓN DEL PIRATA"</b></p>
+
+
+<p>Lines <a href="#b1">1</a>-16. <i>Octavillas italianas</i> (8-syllable verse).</p>
+
+<p>Lines <a href="#b15">17</a>-22. <i>Sextina</i> (8-syllable verse, except that verse 2 is a <i>verso
+quebrado</i> or "broken verse" of 4 syllables). The <i>sextina</i> admits
+of the greatest variety of form; those in this poem are all of the
+same pattern; rime-scheme <i>abaccb</i>.</p>
+
+<p>Lines <a href="#b20">23</a>-30. <i>Octavilla italiana</i> (4-syllable verse).</p>
+
+<p>Lines <a href="#b30">31</a>-34. <i>Cuarteta</i> (8-syllable verse); verses 1 and 3 are blank;
+2 and 4 assonate.</p>
+
+<p>Lines <a href="#b35">35</a>-40. <i>Sextina</i>.</p>
+
+<p>Lines <a href="#b40">41</a>-48. <i>Octavilla italiana</i>, same as above.</p>
+
+<p>Lines <a href="#b50">50</a>-55. <i>Sextina</i>.</p>
+
+<p>Lines <a href="#b55">56</a>-63. <i>Octavilla italiana</i>.</p>
+
+<p>Lines <a href="#b65">65</a>-70. <i>Sextina</i>.</p>
+
+<p>Lines <a href="#b70">71</a>-78. <i>Octavilla italiana</i>.</p>
+
+<p>Lines <a href="#b80">80</a>-85. <i>Sextina</i>.</p>
+
+<p>Lines <a href="#b85">86</a>-93. <i>Octavilla italiana</i>.</p>
+
+<p>Lines <a href="#b90">94</a>-97. <i>Cuarteta</i>.</p>
+<br>
+
+
+<p><b>"EL CANTO DEL COSACO"</b></p>
+
+<p>This poem is written in <i>cuartetas</i> of 11-syllable verse with <i>rima
+cruzada</i>. Verses <a href="#c1">1</a> and 3 rime and 2 and 4 assonate, except in the
+refrain, where 1 and 3 are blank.</p>
+<br>
+
+
+<p><b>"EL MENDIGO"</b></p>
+
+
+<p>Lines <a href="#d1">1</a>-4. <i>Cuarteta</i> (11-syllable verse); verses 1 and 3 are blank;
+2 and 4 assonate.</p>
+
+<p>Lines <a href="#d5">5</a>-10. <i>Sextina</i> (8-syllable verse, except 2, the <i>verso quebrado</i>,
+which has 4 syllables); rime-scheme <i>abcaac</i>; the <i>verso quebrado</i>
+is blank.</p>
+
+<p>Lines <a href="#d10">11</a>-28. Irregular 4-syllable meter; a wholly irregular arrangement
+of rime, assonance, and blank verse.</p>
+
+<p>Lines <a href="#d25">29</a>-32. Irregular <i>cuarteta</i> of two 8-syllable verses followed by
+two of 11; verses 1 and 3 are blank; 2 and 4 assonate.</p>
+
+<p>Lines <a href="#d30">34</a>-39. <i>Sextina</i>, same as above.</p>
+
+<p>Lines <a href="#d40">40</a>-57. Irregular 4-syllable meter, same as above.</p>
+
+<p>Lines <a href="#d55">58</a>-61. <i>Cuarteta</i>, same as the irregular one above.</p>
+
+<p>Lines <a href="#d60">63</a>-68. <i>Sextina</i>, same as above.</p>
+
+<p>Lines <a href="#d65">69</a>-88. Irregular 4-syllable meter, same as above.</p>
+
+<p>Lines <a href="#d85">89</a>-92. <i>Cuarteta</i>, same as the irregular ones above.</p>
+
+<p>Lines <a href="#d90">94</a>-99. <i>Sextina</i>, same as above.</p>
+
+<p>Lines <a href="#d100">100</a>-117. Irregular 4-syllable meter, same as above.</p>
+
+<p>Lines <a href="#d115">118</a>-121. <i>Cuarteta</i>, same as the irregular ones above.</p>
+
+<p>Lines <a href="#d120">122</a>-125. <i>Cuarteta</i>, like the normal one above.</p>
+<br>
+
+
+
+<p><b>"SONETO"</b></p>
+
+<p>Lines <a href="#e1">1</a>-14. Sonnet. 11-syllable verse. Rime-scheme <i>abba, abba,
+cde, cde</i>.</p>
+<br>
+
+
+<p><b>"A TERESA. DESCANSA EN PAZ"</b></p>
+
+<p>Written <a href="#f1">throughout</a> in <i>octavas reales</i> (11-syllable verse); rime-scheme
+<i>abababcc</i>.</p>
+<br><br><br>
+
+
+<h3>BIBLIOGRAPHY</h3>
+
+<p>For a fuller treatment of Spanish prosody the student may
+profitably consult the following works:</p>
+
+<p>BENOT. "Prosodía Castellana y Versificación," 3 vols., Madrid,
+no date.</p>
+
+<p>ROBLES DÉGANO. "Ortología Clásica de la Lengua Castellana,"
+Madrid, 1905.</p>
+
+<p>BELLO. "Ortología y Arte Métrica" (Vol. 4 of "Obras Completas"),
+Madrid, 1890.</p>
+
+<p>For more or less summary treatments of the subject the
+American student may profitably consult:</p>
+
+<p>OLMSTED. "Legends, Tales, and Poems by Gustavo Adolfo
+Bécquer" (Ginn and Company).</p>
+
+<p>FORD. "A Spanish Anthology" (Silver, Burdett and Company).</p>
+
+<p>HILLS and MORLEY. "Modern Spanish Lyrics" (Henry Holt
+and Company).</p>
+<br><br><br>
+
+
+
+
+<h1>"EL ESTUDIANTE DE SALAMANCA"<br>
+AND OTHER SELECTIONS<br>
+FROM ESPRONCEDA</h1>
+<br><br>
+
+<a id="a1" name="a1"></a>
+
+<h3>CUENTO.</h3>
+
+<h2>EL ESTUDIANTE DE SALAMANCA</h2>
+
+<h4>PARTE PRIMERA</h4>
+
+
+<p><span class="rig">  Sus fueros, sus bríos; sus premáticas, su<br>
+voluntad.&mdash;"Quijote", Parte Primera</span></p><br><br><br>
+<div class="poem">  <div class="stanza">
+<p class="i6">Era más de media noche,</p>
+<p class="i4">Antiguas historias cuentan,</p>
+<p class="i4">Cuando, en sueño y en silencio</p>
+<p class="i4">Lóbrego envuelta la tierra,</p><span class="rig">5</span><a id="a5" name="a5"></a>
+<p class="i4">Los vivos muertos parecen,</p>
+<p class="i4">Los muertos la tumba dejan.</p>
+<p class="i4">Era la hora en que acaso</p>
+<p class="i4">Temerosas voces suenan</p>
+<p class="i4">Informes, en que se escuchan</p><span class="rig">10</span><a id="a10" name="a10"></a>
+<p class="i4">Tácitas pisadas huecas,</p>
+<p class="i4">Y pavorosas fantasmas</p>
+<p class="i4">Entre las densas tinieblas</p>
+<p class="i4">Vagan, y aúllan los perros</p>
+<p class="i4">Amedrentados al verlas;</p><span class="rig">15</span><a id="a15" name="a15"></a>
+<p class="i4">En que tal vez la campana</p>
+<p class="i4">De alguna arruinada iglesia</p>
+<p class="i4">Da misteriosos sonidos</p>
+<p class="i4">De maldición y anatema,</p>
+<p class="i4">Que los sábados convoca</p><span class="rig">20</span><a id="a20" name="a20"></a>
+<p class="i4">A las brujas a su fiesta.</p>
+<p class="i4">El cielo estaba sombrío,</p>
+<p class="i4">No vislumbraba una estrella,</p>
+<p class="i4">Silbaba lúgubre el viento,</p>
+<p class="i4">Y allá en el aire, cual negras</p><span class="rig">25</span><a id="a25" name="a25"></a>
+<p class="i4">Fantasmas, se dibujaban</p>
+<p class="i4">Las torres de las iglesias,</p>
+<p class="i4">Y del gótico castillo</p>
+<p class="i4">Las altísimas almenas,</p>
+<p class="i4">Donde canta o reza acaso</p><span class="rig">30</span><a id="a30" name="a30"></a>
+<p class="i4">Temeroso el centinela</p>
+<p class="i4">Todo en fin a media noche</p>
+<p class="i4">Reposaba, y tumba era</p>
+<p class="i4">De sus dormidos vivientes</p>
+<p class="i4">La antigua ciudad que riega</p><span class="rig">35</span><a id="a35" name="a35"></a>
+<p class="i4">El Tormes, fecundo río,</p>
+<p class="i4">Nombrado de los poetas,</p>
+<p class="i4">La famosa Salamanca,</p>
+<p class="i4">Insigne en armas y letras,</p>
+<p class="i4">Patria de ilustres varones,</p><span class="rig">40</span><a id="a40" name="a40"></a>
+<p class="i4">Noble archivo de las ciencias.</p>
+<p class="i6">Súbito rumor de espadas</p>
+<p class="i4">Cruje, y un «¡ay!» se escuchó;</p>
+<p class="i4">Un «¡ay!» moribundo, un «¡ay!»</p>
+<p class="i4">Que penetra el corazón,</p><span class="rig">45</span><a id="a45" name="a45"></a>
+<p class="i4">Que hasta los tuétanos hiela</p>
+<p class="i4">Y da al que lo oyó temblor;</p>
+<p class="i4">Un «¡ay!» de alguno que al mundo</p>
+<p class="i4">Pronuncia el último adiós.</p>
+  </div><div class="stanza">
+<p class="i6">El ruido</p><span class="rig">50</span><a id="a50" name="a50"></a>
+<p class="i6">Cesó,</p>
+<p class="i6">Un hombre</p>
+<p class="i6">Pasó</p>
+<p class="i6">Embozado,</p>
+<p class="i6">Y el sombrero</p><span class="rig">55</span><a id="a55" name="a55"></a>
+<p class="i6">Recatado</p>
+<p class="i6">A los ojos</p>
+<p class="i6">Se caló.</p>
+<p class="i6">Se desliza</p>
+<p class="i6">Y atraviesa</p><span class="rig">60</span><a id="a60" name="a60"></a>
+<p class="i6">Junto al muro</p>
+<p class="i6">De una iglesia,</p>
+<p class="i6">Y en la sombra</p>
+<p class="i6">Se perdió.</p>
+  </div><div class="stanza">
+<p class="i6">Una calle estrecha y alta,</p><span class="rig">65</span><a id="a65" name="a65"></a>
+<p class="i4">La calle del Ataúd,</p>
+<p class="i4">Cual si de negro crespón</p>
+<p class="i4">Lóbrego eterno capuz</p>
+<p class="i4">La vistiera, siempre oscura</p>
+<p class="i4">Y de noche sin más luz</p><span class="rig">70</span><a id="a70" name="a70"></a>
+<p class="i4">Que la lámpara que alumbra</p>
+<p class="i4">Una imagen de Jesús,</p>
+<p class="i4">Atraviesa el embozado,</p>
+<p class="i4">La espada en la mano aún,</p>
+<p class="i4">Que lanzó vivo reflejo</p><span class="rig">75</span><a id="a75" name="a75"></a>
+<p class="i4">Al pasar frente a la cruz.</p>
+  </div><div class="stanza">
+<p class="i4">Cual suele la luna tras lóbrega nube</p>
+<p class="i2">Con franjas de plata bordarla en redor,</p>
+<p class="i2">Y luego si el viento la agita, la sube</p>
+<p class="i2">Disuelta a los aires en blanco vapor,</p>
+  </div><div class="stanza"><span class="rig">80</span><a id="a80" name="a80"></a>
+<p class="i4">Así vaga sombra de luz y de nieblas,</p>
+<p class="i2">Mística y aérea dudosa visión,</p>
+<p class="i2">Ya brilla, o la esconden las densas tinieblas,</p>
+<p class="i2">Cual dulce esperanza, cual vana ilusión.</p>
+  </div><div class="stanza">
+<p class="i4">La calle sombría, la noche ya entrada,</p><span class="rig">85</span><a id="a85" name="a85"></a>
+<p class="i2">La lámpara triste ya pronta a espirar,</p>
+<p class="i2">Que a veces alumbra la imagen sagrada,</p>
+<p class="i2">Y a veces se esconde la sombra a aumentar,</p>
+  </div><div class="stanza">
+<p class="i4">El vago fantasma que acaso aparece,</p>
+<p class="i2">Y acaso se acerca con rápido pie,</p><span class="rig">90</span><a id="a90" name="a90"></a>
+<p class="i2">Y acaso en las sombras tal vez desparece,</p>
+<p class="i2">Cual ánima en pena del hombre que fué,</p>
+  </div><div class="stanza">
+<p class="i4">Al más temerario corazón de acero</p>
+<p class="i2">Recelo inspirara, pusiera pavor;</p>
+<p class="i2">Al más maldiciente feroz bandolero</p><span class="rig">95</span><a id="a95" name="a95"></a>
+<p class="i2">El rezo a los labios trajera el temor.</p>
+  </div><div class="stanza">
+<p class="i4">Mas no al embozado, que aun sangre su espada</p>
+<p class="i2">Destila, el fantasma terror infundió,</p>
+<p class="i2">Y el arma en la mano con fuerza empuñada,</p>
+<p class="i2">Osado a su encuentro despacio avanzó.</p>
+  </div><div class="stanza"><span class="rig">100</span><a id="a100" name="a100"></a>
+<p class="i8">Segundo Don Juan Tenorio,</p>
+<p class="i6">Alma fiera e insolente,</p>
+<p class="i6">Irreligioso y valiente,</p>
+<p class="i6">Altanero y reñidor:</p>
+<p class="i8">Siempre el insulto en los ojos,</p><span class="rig">105</span><a id="a105" name="a105"></a>
+<p class="i6">En los labios la ironía,</p>
+<p class="i6">Nada teme y todo fía</p>
+<p class="i6">De su espada y su valor.</p>
+  </div><div class="stanza">
+<p class="i8">Corazón gastado, mofa</p>
+<p class="i6">De la mujer que corteja,</p><span class="rig">110</span><a id="a110" name="a110"></a>
+<p class="i6">Y hoy, despreciándola, deja</p>
+<p class="i6">La que ayer se le rindió.</p>
+<p class="i8">Ni el porvenir temió nunca,</p>
+<p class="i6">Ni recuerda en lo pasado</p>
+<p class="i6">La mujer que ha abandonado,</p><span class="rig">115</span><a id="a115" name="a115"></a>
+<p class="i6">Ni el dinero que perdió.</p>
+  </div><div class="stanza">
+<p class="i8">Ni vió el fantasma entre sueños</p>
+<p class="i6">Del que mató en desafío,</p>
+<p class="i6">Ni turbó jamás su brío</p>
+<p class="i6">Recelosa previsión.</p><span class="rig">120</span><a id="a120" name="a120"></a>
+<p class="i8">Siempre en lances y en amores,</p>
+<p class="i6">Siempre en báquicas orgías,</p>
+<p class="i6">Mezcla en palabras impías</p>
+<p class="i6">Un chiste a una maldición.</p>
+  </div><div class="stanza">
+<p class="i8">En Salamanca famoso</p><span class="rig">125</span><a id="a125" name="a125"></a>
+<p class="i6">Por su vida y buen talante,</p>
+<p class="i6">Al atrevido estudiante</p>
+<p class="i6">Le señalan entre mil;</p>
+<p class="i8">Fueros le da su osadía,</p>
+<p class="i6">Le disculpa su riqueza,</p><span class="rig">130</span><a id="a130" name="a130"></a>
+<p class="i6">Su generosa nobleza,</p>
+<p class="i6">Su hermosura varonil.</p>
+  </div><div class="stanza">
+<p class="i8">Que su arrogancia y sus vicios,</p>
+<p class="i6">Caballeresca apostura,</p>
+<p class="i6">Agilidad y bravura</p><span class="rig">135</span><a id="a135" name="a135"></a>
+<p class="i6">Ninguno alcanza a igualar;</p>
+<p class="i8">Que hasta en sus crímenes mismos,</p>
+<p class="i6">En su impiedad y altiveza,</p>
+<p class="i6">Pone un sello de grandeza</p>
+<p class="i6">Don Félix de Montemar.</p>
+  </div><div class="stanza"><span class="rig">140</span><a id="a140" name="a140"></a>
+<p class="i4">Bella y más pura que el azul del cielo,</p>
+<p class="i2">Con dulces ojos lánguidos y hermosos,</p>
+<p class="i2">Donde acaso el amor brilló entre el velo</p>
+<p class="i2">Del pudor que los cubre candorosos;</p>
+<p class="i2">Tímida estrella que refleja al suelo</p><span class="rig">145</span><a id="a145" name="a145"></a>
+<p class="i2">Rayos de luz brillantes y dudosos,</p>
+<p class="i2">Ángel puro de amor que amor inspira,</p>
+<p class="i2">Fué la inocente y desdichada Elvira.</p>
+  </div><div class="stanza">
+<p class="i4">Elvira, amor del estudiante un día,</p>
+<p class="i2">Tierna y feliz y de su amante ufana,</p><span class="rig">150</span><a id="a150" name="a150"></a>
+<p class="i2">Cuando al placer su corazón se abría,</p>
+<p class="i2">Como al rayo del sol rosa temprana,</p>
+<p class="i2">Del fingido amador que la mentía</p>
+<p class="i2">La miel falaz que de sus labios mana</p>
+<p class="i2">Bebe en su ardiente sed, el pecho ajeno</p><span class="rig">155</span><a id="a155" name="a155"></a>
+<p class="i2">De que oculto en la miel hierve el veneno.</p>
+  </div><div class="stanza">
+<p class="i4">Que no descansa de su madre en brazos</p>
+<p class="i2">Más descuidado el candoroso infante</p>
+<p class="i2">Que ella en los falsos lisonjeros lazos</p>
+<p class="i2">Que teje astuto el seductor amante:</p><span class="rig">160</span><a id="a160" name="a160"></a>
+<p class="i2">Dulces caricias, lánguidos abrazos,</p>
+<p class="i2">Placeres ¡ay! que duran un instante,</p>
+<p class="i2">Que habrán de ser eternos imagina</p>
+<p class="i2">La triste Elvira en su ilusión divina.</p>
+  </div><div class="stanza">
+<p class="i4">Que el alma virgen que halagó un encanto</p><span class="rig">165</span><a id="a165" name="a165"></a>
+<p class="i2">Con nacarado sueño en su pureza</p>
+<p class="i2">Todo lo juzga verdadero y santo,</p>
+<p class="i2">Presta a todo virtud, presta belleza.</p>
+<p class="i2">Del cielo azul al tachonado manto,</p>
+<p class="i2">Del sol radiante a la inmortal riqueza,</p><span class="rig">170</span><a id="a170" name="a170"></a>
+<p class="i2">Al aire, al campo, a las fragantes flores,</p>
+<p class="i2">Ella añade esplendor, vida y colores.</p>
+  </div><div class="stanza">
+<p class="i4">Cifró en Don Félix la infeliz doncella</p>
+<p class="i2">Toda su dicha, de su amor perdida;</p>
+<p class="i2">Fueron sus ojos a los ojos de ella</p><span class="rig">175</span><a id="a175" name="a175"></a>
+<p class="i2">Astros de gloria, manantial de vida.</p>
+<p class="i2">Cuando sus labios con sus labios sella,</p>
+<p class="i2">Cuando su voz escucha embebecida,</p>
+<p class="i2">Embriagada del dios que la enamora,</p>
+<p class="i2">Dulce le mira, extática le adora.</p>
+  </div>  </div>
+
+
+
+<h4>PARTE SEGUNDA</h4>
+
+
+<p class="rig">No dirge except the hollow sea's<br>
+Mourns o'er the beauty of the Cyclades.<br>
+BYRON, "Don Juan," Canto 4</p><br><br><br><br>
+
+<div class="poem"><div class="stanza"><span class="rig">180</span><a id="a180" name="a180"></a>
+<p class="i6">Está la noche serena</p>
+<p class="i4">De luceros coronada,</p>
+<p class="i4">Terso el azul de los cielos</p>
+<p class="i4">Como trasparente gasa.</p>
+  </div><div class="stanza">
+<p class="i6">Melancólica la luna</p><span class="rig">185</span><a id="a185" name="a185"></a>
+<p class="i4">Va trasmontando la espalda</p>
+<p class="i4">Del otero, su alba frente</p>
+<p class="i4">Tímida apenas levanta,</p>
+  </div><div class="stanza">
+<p class="i6">Y el horizonte ilumina,</p>
+<p class="i4">Pura virgen solitaria,</p><span class="rig">190</span><a id="a190" name="a190"></a>
+<p class="i4">Y en su blanca luz süave</p>
+<p class="i4">El cielo y la tierra baña.</p>
+  </div><div class="stanza">
+<p class="i6">Deslízase el arroyuelo.</p>
+<p class="i4">Fúlgida cinta de plata,</p>
+<p class="i4">Al resplandor de la luna,</p><span class="rig">195</span><a id="a195" name="a195"></a>
+<p class="i4">Entre franjas de esmeralda.</p>
+  </div><div class="stanza">
+<p class="i6">Argentadas chispas brillan</p>
+<p class="i4">Entre las espesas ramas,</p>
+<p class="i4">Y en el seno de las flores</p>
+<p class="i4">Tal vez aduermen las auras,</p>
+  </div><div class="stanza"><span class="rig">200</span><a id="a200" name="a200"></a>
+<p class="i6">Tal vez despiertas susurran,</p>
+<p class="i4">Y al desplegarse sus alas</p>
+<p class="i4">Mecen el blanco azahar,</p>
+<p class="i4">Mueven la aromosa acacia,</p>
+  </div><div class="stanza">
+<p class="i6">Y agitan ramas y flores,</p><span class="rig">205</span><a id="a205" name="a205"></a>
+<p class="i4">Y en perfumes se embalsaman.</p>
+<p class="i4">Tal era pura esta noche</p>
+<p class="i4">Como aquélla en que sus alas</p>
+  </div><div class="stanza">
+<p class="i6">Los ángeles desplegaron</p>
+<p class="i4">Sobre la primera llama</p><span class="rig">210</span><a id="a210" name="a210"></a>
+<p class="i4">Que amor encendió en el mundo,</p>
+<p class="i4">Del Edén en la morada.</p>
+  </div><div class="stanza">
+<p class="i6">¡Una mujer!  ¿Es acaso</p>
+<p class="i4">Blanca silfa solitaria,</p>
+<p class="i4">Que entre el rayo de la luna</p><span class="rig">215</span><a id="a215" name="a215"></a>
+<p class="i4">Tal vez misteriosa vaga?</p>
+  </div><div class="stanza">
+<p class="i6">Blanco es su vestido, ondea</p>
+<p class="i4">Suelto el cabello a la espalda,</p>
+<p class="i4">Hoja tras hoja las flores</p>
+<p class="i4">Que lleva en su mano arranca.</p>
+  </div><div class="stanza"><span class="rig">220</span><a id="a220" name="a220"></a>
+<p class="i6">Es su paso incierto y tardo,</p>
+<p class="i4">Inquietas son sus miradas,</p>
+<p class="i4">Mágico ensueño parece</p>
+<p class="i4">Que halaga engañosa el alma.</p>
+  </div><div class="stanza">
+<p class="i6">Ora, vedla, mira al cielo,</p><span class="rig">225</span><a id="a225" name="a225"></a>
+<p class="i4">Ora suspira, y se pára;</p>
+<p class="i4">Una lágrima sus ojos</p>
+<p class="i4">Brotan acaso y abrasa</p>
+  </div><div class="stanza">
+<p class="i6">Su mejilla; es una ola</p>
+<p class="i4">Del mar que en fiera borrasca</p><span class="rig">230</span><a id="a230" name="a230"></a>
+<p class="i4">El viento de las pasiones</p>
+<p class="i4">Ha alborotado en su alma.</p>
+  </div><div class="stanza">
+<p class="i6">Tal vez se sienta, tal vez</p>
+<p class="i4">Azorada se levanta;</p>
+<p class="i4">El jardín recorre ansiosa,</p><span class="rig">235</span><a id="a235" name="a235"></a>
+<p class="i4">Tal vez a escuchar se pára.</p>
+  </div><div class="stanza">
+<p class="i6">Es el susurro del viento,</p>
+<p class="i4">Es el murmullo del agua,</p>
+<p class="i4">No es su voz, no es el sonido</p>
+<p class="i4">Melancólico del arpa.</p>
+  </div><div class="stanza"><span class="rig">240</span><a id="a240" name="a240"></a>
+<p class="i6">Son ilusiones que fueron:</p>
+<p class="i4">Recuerdos ¡ay! que te engañan,</p>
+<p class="i4">Sombras del bien que pasó....</p>
+<p class="i4">Ya te olvidó el que tú amas.</p>
+  </div><div class="stanza">
+<p class="i6">Esa noche y esa luna</p><span class="rig">245</span><a id="a245" name="a245"></a>
+<p class="i4">Las mismas son que miraran</p>
+<p class="i4">Indiferentes tu dicha,</p>
+<p class="i4">Cual ora ven tu desgracia.</p>
+  </div><div class="stanza">
+<p class="i6">¡Ah! llora, sí, ¡pobre Elvira!</p>
+<p class="i4">¡Triste amante abandonada!</p><span class="rig">250</span><a id="a250" name="a250"></a>
+<p class="i4">Esas hojas de esas flores</p>
+<p class="i4">Que distraída tú arrancas,</p>
+  </div><div class="stanza">
+<p class="i6">¿Sabes adónde, infeliz,</p>
+<p class="i4">El viento las arrebata?</p>
+<p class="i4">Donde fueron tus amores,</p><span class="rig">255</span><a id="a255" name="a255"></a>
+<p class="i4">Tu ilusión y tu esperanza.</p>
+  </div><div class="stanza">
+<p class="i6">Deshojadas y marchitas,</p>
+<p class="i4">¡Pobres flores de tu alma!</p>
+  </div><div class="stanza">
+<p class="i6">Blanca nube de la aurora,</p>
+<p class="i4">Teñida de ópalo y grana,</p><span class="rig">260</span><a id="a260" name="a260"></a>
+<p class="i4">Naciente luz te colora,</p>
+<p class="i4">Refulgente precursora</p>
+<p class="i4">De la cándida mañana.</p>
+  </div><div class="stanza">
+<p class="i6">Mas ¡ay! que se disipó</p>
+<p class="i4">Tu pureza virginal,</p><span class="rig">265</span><a id="a265" name="a265"></a>
+<p class="i4">Tu encanto el aire llevó</p>
+<p class="i4">Cual la ventura ideal</p>
+<p class="i4">Que el amor te prometió.</p>
+  </div><div class="stanza">
+<p class="i6">Hojas del árbol caídas</p>
+<p class="i4">Juguete del viento son;</p><span class="rig">270</span><a id="a270" name="a270"></a>
+<p class="i4">Las ilusiones perdidas</p>
+<p class="i4">¡Ay! son hojas desprendidas</p>
+<p class="i4">Del árbol del corazón!</p>
+  </div><div class="stanza">
+<p class="i6">¡El corazón sin amor!</p>
+<p class="i4">Triste páramo cubierto</p><span class="rig">275</span><a id="a275" name="a275"></a>
+<p class="i4">Con la lava del dolor,</p>
+<p class="i4">Oscuro, inmenso desierto</p>
+<p class="i4">Donde no nace una flor!</p>
+  </div><div class="stanza">
+<p class="i6">Distante un bosque sombrío,</p>
+<p class="i4">El sol cayendo en la mar,</p><span class="rig">280</span><a id="a280" name="a280"></a>
+<p class="i4">En la playa un adüar,</p>
+<p class="i4">Y a lo lejos un navío,</p>
+<p class="i4">Viento en popa navegar,</p>
+  </div><div class="stanza">
+<p class="i6">Óptico vidrio presenta</p>
+<p class="i4">En fantástica ilusión,</p><span class="rig">285</span><a id="a285" name="a285"></a>
+<p class="i4">Y al ojo encantado ostenta</p>
+<p class="i4">Gratas visiones que aumenta</p>
+<p class="i4">Rica la imaginación.</p>
+  </div><div class="stanza">
+<p class="i6">Tú eres, mujer, un fanal</p>
+<p class="i4">Trasparente de hermosura;</p><span class="rig">290</span><a id="a290" name="a290"></a>
+<p class="i4">¡Ay de ti! si por tu mal</p>
+<p class="i4">Rompe el hombre en su locura</p>
+<p class="i4">Tu misterioso cristal!</p>
+  </div><div class="stanza">
+<p class="i6">Mas ¡ay! dichosa tú, Elvira,</p>
+<p class="i4">En tu misma desventura,</p><span class="rig">295</span><a id="a295" name="a295"></a>
+<p class="i4">Que aun deleites te procura,</p>
+<p class="i4">Cuando tu pecho suspira,</p>
+<p class="i4">Tu misteriosa locura:</p>
+  </div><div class="stanza">
+<p class="i6">Que es la razón un tormento,</p>
+<p class="i4">Y vale más delirar</p><span class="rig">300</span><a id="a300" name="a300"></a>
+<p class="i4">Sin juicio, que el sentimiento</p>
+<p class="i4">Cuerdamente analizar,</p>
+<p class="i4">Fijo en él el pensamiento.</p>
+  </div><div class="stanza">
+<p class="i4">Vedla, allí va, que sueña en su locura</p>
+<p class="i2">Presente el bien que para siempre huyó;</p><span class="rig">305</span><a id="a305" name="a305"></a>
+<p class="i2">Dulces palabras con amor murmura,</p>
+<p class="i2">Piensa que escucha al pérfido que amó.</p>
+  </div><div class="stanza">
+<p class="i4">Vedla, postrada su piedad implora</p>
+<p class="i2">Cual si presente le mirara allí;</p>
+<p class="i2">Vedla, que sola se contempla y llora,</p><span class="rig">310</span><a id="a310" name="a310"></a>
+<p class="i2">Miradla delirante sonreír.</p>
+  </div><div class="stanza">
+<p class="i4">Y su frente en revuelto remolino</p>
+<p class="i2">Ha enturbiado su loco pensamiento,</p>
+<p class="i2">Como nublo que en negro torbellino</p>
+<p class="i2">Encubre el cielo y amontona el viento;</p>
+  </div><div class="stanza"><span class="rig">315</span><a id="a315" name="a315"></a>
+<p class="i4">Y vedla cuidadosa escoger flores,</p>
+<p class="i2">Y las lleva mezcladas en la falda,</p>
+<p class="i2">Y, corona nupcial de sus amores,</p>
+<p class="i2">Se entretiene en tejer una guirnalda.</p>
+  </div><div class="stanza">
+<p class="i4">Y en medio de su dulce desvarío</p><span class="rig">320</span><a id="a320" name="a320"></a>
+<p class="i2">Triste recuerdo el alma le importuna,</p>
+<p class="i2">Y al margen va del argentado río,</p>
+<p class="i2">Y allí las flores echa de una en una;</p>
+  </div><div class="stanza">
+<p class="i4">Y las sigue su vista en la corriente</p>
+<p class="i2">Una tras otra rápidas pasar,</p><span class="rig">325</span><a id="a325" name="a325"></a>
+<p class="i2">Y, confusos sus ojos y su mente,</p>
+<p class="i2">Se siente con sus lágrimas ahogar;</p>
+  </div><div class="stanza">
+<p class="i4">Y de amor canta, y en su tierna queja</p>
+<p class="i2">Entona melancólica canción,</p>
+<p class="i2">Canción que el alma desgarrada deja,</p><span class="rig">330</span><a id="a330" name="a330"></a>
+<p class="i2">Lamento ¡ay! que llaga el corazón:</p>
+  </div><div class="stanza">
+<p class="i4">«¿Qué me valen tu calma y tu terneza,</p>
+<p class="i2">Tranquila noche, solitaria luna,</p>
+<p class="i2">Si no calmáis del hado la crudeza,</p>
+<p class="i2">Ni me dais esperanza de fortuna?</p>
+  </div><div class="stanza"><span class="rig">335</span><a id="a335" name="a335"></a>
+<p class="i4">¿Qué me valen la gracia y la belleza,</p>
+<p class="i2">Y amar como jamás amó ninguna,</p>
+<p class="i2">Si la pasión que el alma me devora,</p>
+<p class="i2">La desconoce aquél que me enamora?»</p>
+  </div><div class="stanza">
+<p class="i4">Lágrimas interrumpen su lamento,</p><span class="rig">340</span><a id="a340" name="a340"></a>
+<p class="i2">Inclina sobre el pecho su semblante,</p>
+<p class="i2">Y de ella en derredor susurra el viento</p>
+<p class="i2">Sus últimas palabras, sollozante.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+  </div><div class="stanza">
+<p class="i4">Murió de amor la desdichada Elvira,</p>
+<p class="i2">Cándida rosa que agostó el dolor,</p><span class="rig">345</span><a id="a345" name="a345"></a>
+<p class="i2">Süave aroma que el viajero aspira</p>
+<p class="i2">Y en sus alas el aura arrebató.</p>
+  </div><div class="stanza">
+<p class="i4">Vaso de bendición, ricos colores</p>
+<p class="i2">Reflejó en su cristal la luz del día,</p>
+<p class="i2">Mas la tierra empañó sus resplandores,</p><span class="rig">350</span><a id="a350" name="a350"></a>
+<p class="i2">Y el hombre lo rompió con mano impía.</p>
+  </div><div class="stanza">
+<p class="i4">Una ilusión acarició su mente,</p>
+<p class="i2">Alma celeste para amar nacida,</p>
+<p class="i2">Era el amor de su vivir la fuente,</p>
+<p class="i2">Estaba junta a su ilusión su vida.</p>
+  </div><div class="stanza"><span class="rig">355</span><a id="a355" name="a355"></a>
+<p class="i4">Amada del Señor, flor venturosa,</p>
+<p class="i2">Llena de amor murió y de juventud;</p>
+<p class="i2">Despertó alegre una alborada hermosa,</p>
+<p class="i2">Y a la tarde durmió en el ataúd.</p>
+  </div><div class="stanza">
+<p class="i4">Mas despertó también de su locura</p><span class="rig">360</span><a id="a360" name="a360"></a>
+<p class="i2">Al término postrero de su vida,</p>
+<p class="i2">Y al abrirse a sus pies la sepultura,</p>
+<p class="i2">Volvió a su mente la razón perdida.</p>
+  </div><div class="stanza">
+<p class="i4">¡La razón fría! ¡la verdad amarga!</p>
+<p class="i2">¡El bien pasado y el dolor presente!...</p><span class="rig">365</span><a id="a365" name="a365"></a>
+<p class="i2">¡Ella feliz! ¡que de tan dura carga</p>
+<p class="i2">Sintió el peso al morir únicamente!</p>
+  </div><div class="stanza">
+<p class="i4">Y conociendo ya su fin cercano,</p>
+<p class="i2">Su mejilla una lágrima abrasó;</p>
+<p class="i2">Y así al infiel, con temblorosa mano,</p><span class="rig">370</span><a id="a370" name="a370"></a>
+<p class="i2">Moribunda su víctima escribió:</p>
+  </div><div class="stanza">
+<p class="i4">«Voy a morir: perdona si mi acento</p>
+<p class="i2">Vuela importuno a molestar tu oído;</p>
+<p class="i2">Él es, Don Félix, el postrer lamento</p>
+<p class="i2">De la mujer que tanto te ha querido.</p><span class="rig">375</span><a id="a375" name="a375"></a>
+<p class="i2">La mano helada de la muerte siento....</p>
+<p class="i2">Adiós: ni amor ni compasión te pido....</p>
+<p class="i2">Oye y perdona si al dejar el mundo,</p>
+<p class="i2">rranca un ¡ay! su angustia al moribundo.</p>
+  </div><div class="stanza">
+<p class="i4">«¡Ah! para siempre adiós. Por ti mi vida</p><span class="rig">380</span><a id="a380" name="a380"></a>
+<p class="i2">Dichosa un tiempo resbalar sentí,</p>
+<p class="i2">Y la palabra de tu boca oída</p>
+<p class="i2">Éxtasis celestial fué para mí.</p>
+<p class="i2">Mi mente aun goza en la ilusión querida</p>
+<p class="i2">Que para siempre ¡mísera! perdí....</p><span class="rig">385</span><a id="a385" name="a385"></a>
+<p class="i2">¡Ya todo huyó, despareció contigo!</p>
+<p class="i2">¡Dulces horas de amor, yo las bendigo!</p>
+  </div><div class="stanza">
+<p class="i4">«Yo las bendigo, sí, felices horas,</p>
+<p class="i2">Presentes siempre en la memoria mía,</p>
+<p class="i2">Imágenes de amor encantadoras</p><span class="rig">390</span><a id="a390" name="a390"></a>
+<p class="i2">Que aun vienen a halagarme en mi agonía.</p>
+<p class="i2">Mas ¡ay! volad, huíd, engañadoras</p>
+<p class="i2">Sombras, por siempre; mi postrero día</p>
+<p class="i2">Ha llegado, perdón, perdón, ¡Dios mío!</p>
+<p class="i2">Si aun gozo en recordar mi desvarío.</p>
+  </div><div class="stanza"><span class="rig">395</span><a id="a395" name="a395"></a>
+<p class="i4">«Y tú, Don Félix, si te causa enojos</p>
+<p class="i2">Que te recuerde yo mi desventura,</p>
+<p class="i2">Piensa están hartos de llorar mis ojos</p>
+<p class="i2">Lágrimas silenciosas de amargura.</p>
+<p class="i2">Y hoy, al tragar la tumba mis despojos,</p><span class="rig">400</span><a id="a400" name="a400"></a>
+<p class="i2">Concede este consuelo a mi tristura:</p>
+<p class="i2">Estos renglones compasivo mira,</p>
+<p class="i2">Y olvida luego para siempre a Elvira.</p>
+  </div><div class="stanza">
+<p class="i4">«Y jamás turbe mi infeliz memoria</p>
+<p class="i2">Con amargos recuerdos tus placeres;</p><span class="rig">405</span><a id="a405" name="a405"></a>
+<p class="i2">Goces te dé el vivir, triunfos la gloria,</p>
+<p class="i2">Dichas el mundo, amor otras mujeres;</p>
+<p class="i2">Y si tal vez mi lamentable historia</p>
+<p class="i2">A tu memoria con dolor trajeres,</p>
+<p class="i2">Llórame, sí; pero palpite exento</p><span class="rig">410</span><a id="a410" name="a410"></a>
+<p class="i2">Tu pecho de roedor remordimiento.</p>
+  </div><div class="stanza">
+<p class="i4">«Adiós, por siempre, adiós: un breve instante</p>
+<p class="i2">Siento de vida, y en mi pecho el fuego</p>
+<p class="i2">Aun arde de mi amor; mi vista errante</p>
+<p class="i2">Vaga desvanecida ... ¡calma luego,</p><span class="rig">415</span><a id="a415" name="a415"></a>
+<p class="i2">Oh muerte, mi inquietud!... ¡Sola ... espirante!...</p>
+<p class="i2">Ámame; no, perdona; ¡inútil ruego!</p>
+<p class="i2">Adiós, adiós, ¡tu corazón perdí</p>
+<p class="i2">&mdash;¡Todo acabó en el mundo para mí!»</p>
+  </div><div class="stanza">
+<p class="i4">Así escribió su triste despedida</p><span class="rig">420</span><a id="a420" name="a420"></a>
+<p class="i2">Momentos antes de morir, y al pecho</p>
+<p class="i2">Se estrechó de su madre dolorida,</p>
+<p class="i2">Que en tanto inunda en lágrimas su lecho.</p>
+  </div><div class="stanza">
+<p class="i4">Y exhaló luego su postrer aliento,</p>
+<p class="i2">Y a su madre sus brazos se apretaron</p><span class="rig">425</span><a id="a425" name="a425"></a>
+<p class="i2">Con nervioso y convulso movimiento,</p>
+<p class="i2">Y sus labios un nombre murmuraron.</p>
+  </div><div class="stanza">
+<p class="i4">Y huyó su alma a la mansión dichosa</p>
+<p class="i2">Do los ángeles moran.... Tristes flores</p>
+<p class="i2">Brota la tierra en torno de su losa;</p><span class="rig">430</span><a id="a430" name="a430"></a>
+<p class="i2">El céfiro lamenta sus amores.</p>
+  </div><div class="stanza">
+<p class="i4">Sobre ella un sauce su ramaje inclina,</p>
+<p class="i2">Sombra le presta en lánguido desmayo,</p>
+<p class="i2">Y allá en la tarde, cuando el sol declina,</p>
+<p class="i2">Baña su tumba en paz su último rayo....</p>
+  </div>  </div>
+
+<h4>PARTE TERCERA</h4>
+
+
+<h4>CUADRO DRAMÁTICO</h4>
+
+
+<p class="rig">SARGENTO<br>
+¿Tenéis más que parar?<br>
+
+FRANCO<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paro los ojos.<br>
+Los ojos, sí, los ojos: que descreo<br>
+Del que los hizo para tal empleo.<br>
+
+MORETO, "San Franco de Sena"</p><br><br><br><br><br><br><br><br><br><br>
+
+
+<h4>PERSONAS</h4>
+
+<p class="mid">D. FÉLIX DE MONTEMAR<br>
+
+D. DIEGO DE PASTRANA<br>
+
+SEIS JUGADORES</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">435</span><a id="a435" name="a435"></a>
+<p class="i6">En derredor de una mesa</p>
+<p class="i4">Hasta seis hombres están,</p>
+<p class="i4">Fija la vista en los naipes,</p>
+<p class="i4">Mientras juegan al parar;</p>
+  </div><div class="stanza">
+<p class="i6">Y en sus semblantes se pintan</p><span class="rig">440</span><a id="a440" name="a440"></a>
+<p class="i4">El despecho y el afán:</p>
+<p class="i4">Por perder desesperados,</p>
+<p class="i4">Avarientos por ganar.</p>
+  </div><div class="stanza">
+<p class="i6">Reina profundo silencio,</p>
+<p class="i4">Sin que lo rompa jamás</p><span class="rig">445</span><a id="a445" name="a445"></a>
+<p class="i4">Otro ruido que el del oro,</p>
+<p class="i4">O una voz para jurar.</p>
+  </div><div class="stanza">
+<p class="i6">Pálida lámpara alumbra</p>
+<p class="i4">Con trémula claridad</p>
+<p class="i4">Negras de humo las paredes</p><span class="rig">450</span><a id="a450" name="a450"></a>
+<p class="i4">De aquella estancia infernal.</p>
+  </div><div class="stanza">
+<p class="i6">Y el misterioso bramido</p>
+<p class="i4">Se escucha del huracán,</p>
+<p class="i4">Que azota los vidrios frágiles</p>
+<p class="i4">Con sus alas al pasar.</p>
+  </div>  </div>
+
+
+<h4>ESCENA I</h4>
+
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">455</span><a id="a455" name="a455"></a>
+<p class="i4">El caballo aun no ha salido.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Qué carta vino?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        La sota.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Pues por poco se alborota.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Un caudal llevo perdido.</p>
+<p class="i4">¡Voto a Cristo!</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        No juréis,</p><span class="rig">460</span><a id="a460" name="a460"></a>
+<p class="i4">Que aun no estáis en la agonía.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">No hay suerte como la mía.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Y como cuánto perdéis?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Mil escudos y el dinero</p>
+<p class="i4">Que Don Félix me entregó.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Dónde anda?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">465</span><a id="a465" name="a465"></a>
+<p class="i20">    ¡Qué sé yo!</p>
+<p class="i4">No tardará.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">    Envido.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i30">              Quiero.</p>
+  </div>  </div>
+
+
+
+<h4>ESCENA II</h4>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Galán de talle gentil,</p>
+<p class="i4">La mano izquierda apoyada</p>
+<p class="i4">En el pomo de la espada,</p><span class="rig">470</span><a id="a470" name="a470"></a>
+<p class="i4">Y el aspecto varonil,</p>
+<p class="i6">Alta el ala del sombrero</p>
+<p class="i4">Porque descubra la frente,</p>
+<p class="i4">Con airoso continente</p>
+<p class="i4">Entró luego un caballero.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO (<i>al que entra</i>)</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">475</span><a id="a475" name="a475"></a>
+<p class="i6">Don Félix, a buena hora</p>
+<p class="i4">Habéis llegado.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        ¿Perdisteis?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">El dinero que me disteis</p>
+<p class="i4">Y esta bolsa pecadora.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Don Félix de Montemar</p><span class="rig">480</span><a id="a480" name="a480"></a>
+<p class="i4">Debe perder. El amor</p>
+<p class="i4">Le negara su favor</p>
+<p class="i4">Cuando le viera ganar.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX (<i>con desdén</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Necesito ahora dinero,</p>
+<p class="i4">Y estoy hastiado de amores.</p>
+<p class="i4">(<i>Al corro con altivez</i>)</p><span class="rig">485</span><a id="a485" name="a485"></a>
+<p class="i4">Dos mil ducados, señores,</p>
+<p class="i4">Por esta cadena quiero.</p>
+<p class="i10">    (<i>Quítase una cadena que lleva al pecho</i>.)</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Alta ponéis la tarifa.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX (<i>con altivez</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">La pongo en lo que merece.</p>
+<p class="i4">Si otra duda se os ofrece,</p><span class="rig">490</span><a id="a490" name="a490"></a>
+<p class="i4">Decid. (<i>Al corro</i>)</p>
+<p class="i20">  Se vende y se rifa.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR CUARTO (<i>aparte</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Y hay quien sufra tal afrenta?</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Entre cinco están hallados.</p>
+<p class="i4">A cuatrocientos ducados</p>
+<p class="i4">Os toca, según mi cuenta.</p><span class="rig">495</span><a id="a495" name="a495"></a>
+<p class="i4">Al as de oros. Allá va.</p>
+<p class="i4">(<i>Va echando cartas que toman los jugadores en silencio</i>.)</p>
+<p class="i4">Una, dos ... (<i>Al perdidoso</i>)</p>
+<p class="i20">    Con vos no cuento.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Por el motivo lo siento.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡El as! ¡el as! aquí está.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Ya ganó.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">      Suerte tenéis.</p><span class="rig">500</span><a id="a500" name="a500"></a>
+<p class="i4">A un solo golpe de dados</p>
+<p class="i4">Tiro los dos mil ducados.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿En un golpe?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO (<i>a Don Félix</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">      Los perdéis.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Perdida tengo yo el alma,</p>
+<p class="i4">Y no me importa un ardite.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Tirad.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">505</span><a id="a505" name="a505"></a>
+<p class="i20">  Al primer envite.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Tirad pronto.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        Tened calma:</p>
+<p class="i4">Que os juego más todavía,</p>
+<p class="i4">Y en cien onzas hago el trato,</p>
+<p class="i4">Y os lleváis este retrato</p><span class="rig">510</span><a id="a510" name="a510"></a>
+<p class="i4">Con marco de pedrería.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿En cien onzas?</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">            ¿Qué dudáis?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO (<i>tomando el retrato</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡Hermosa mujer!</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR CUARTO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        No es caro.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Queréis pararlas?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">                Las paro.</p>
+<p class="i4">Más ganaré.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">  Si ganáis,  (<i>Se registra todo</i>.)</p><span class="rig">515</span><a id="a515" name="a515"></a>
+<p class="i4">No tengo otra joya aquí.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO (<i>mirando el retrato</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Si esta imagen respirara....</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX
+
+<div class="poem">  <div class="stanza">
+<p class="i4">A estar aquí, la jugara</p>
+<p class="i4">A ella, al retrato y a mí.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Vengan los dados.</p>
+  </div>  </div>
+
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">           Tirad.</p>
+  </div>  </div>
+
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">520</span><a id="a520" name="a520"></a>
+<p class="i4">Por Don Félix cien ducados.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR CUARTO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">En contra van apostados.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR QUINTO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Cincuenta más. Esperad,</p>
+<p class="i4">No tiréis.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">    Van los cincuenta.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Yo, sin blanca, a Dios le ruego</p>
+<p class="i4">Por Don Félix.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR QUINTO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">525</span><a id="a525" name="a525"></a>
+<p class="i20">      Hecho el juego.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Tiro?</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">Tirad con sesenta</p>
+<p class="i4">De a caballo.</p>
+  </div>  </div>
+
+<p class="mid"><i>(Todos se agrupan con ansiedad al rededor de la mesa. El tercer jugador tira
+los dados.)</i></p>
+
+<p class="mid">JUGADOR CUARTO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">      ¿Qué ha salido?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡Mil demonios, que a los dos</p>
+<p class="i4">Nos lleven!</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX <i>(con calma al primero)</i></p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        ¡Bien, vive Dios,</p><span class="rig">530</span><a id="a530" name="a530"></a>
+<p class="i4">Vuestros ruegos me han valido!</p>
+<p class="i4">Encomendadme otra vez,</p>
+<p class="i4">Don Juan, al diablo; no sea</p>
+<p class="i4">Que si os oye Dios, me vea</p>
+<p class="i4">Cautivo y esclavo en Fez.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">535</span><a id="a535" name="a535"></a>
+<p class="i4">Don Félix, habéis perdido</p>
+<p class="i4">Sólo el marco, no el retrato;</p>
+<p class="i4">Que entrar la dama en el trato</p>
+<p class="i4">Vuestra intención no habrá sido.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Cuánto dierais por la dama?</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">540</span><a id="a540" name="a540"></a>
+<p class="i4">Yo, la vida.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        No la quiero.</p>
+<p class="i4">Mirad si me dais dinero,</p>
+<p class="i4">Y os la lleváis.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        ¡Buena fama</p>
+<p class="i4">Lograréis entre las bellas,</p>
+<p class="i4">Cuando descubran altivas</p><span class="rig">545</span><a id="a545" name="a545"></a>
+<p class="i4">Que vos las hacéis cautivas</p>
+<p class="i4">Para en seguida vendellas!</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Eso a vos no importa nada.</p>
+<p class="i4">¿Queréis la dama? Os la vendo.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Yo de pinturas no entiendo.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX <i>(con cólera)</i></p>
+
+<div class="poem">  <div class="stanza"><span class="rig">550</span><a id="a550" name="a550"></a>
+<p class="i4">Vos habláis con demasiada</p>
+<p class="i4">Altivez e irreverencia</p>
+<p class="i4">De una mujer ... ¡y si no....!</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">De la pintura hablé yo.</p>
+  </div>  </div>
+
+<p class="mid">TODOS</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Vamos, paz; no haya pendencia.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX <i>(sosegado)</i></p>
+
+<div class="poem">  <div class="stanza"><span class="rig">555</span><a id="a555" name="a555"></a>
+<p class="i4">Sobre mi palabra os juego</p>
+<p class="i4">Mil escudos.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">    Van tirados.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">A otra suerte de esos dados;</p>
+<p class="i4">Y el diablo les prenda fuego.</p>
+  </div>  </div>
+
+
+<h4>ESCENA III</h4>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Pálido el rostro, cejijunto el ceño,</p><span class="rig">560</span><a id="a560" name="a560"></a>
+<p class="i4">Y torva la mirada, aunque afligida,</p>
+<p class="i4">Y en ella un firme y decidido empeño</p>
+<p class="i4">De dar la muerte o de perder la vida,</p>
+<p class="i6">Un hombre entró embozado hasta los ojos,</p>
+<p class="i4">Sobre las juntas cejas el sombrero;</p><span class="rig">565</span><a id="a565" name="a565"></a>
+<p class="i4">Víbrale al rostro el corazón enojos,</p>
+<p class="i4">El paso firme, el ánimo altanero.</p>
+<p class="i6">Encubierta fatídica figura.&mdash;</p>
+<p class="i4">Sed de sangre su espíritu secó,</p>
+<p class="i4">mponzoñó su alma la amargura,</p><span class="rig">570</span><a id="a570" name="a570"></a>
+<p class="i4">La venganza irritó su corazón.</p>
+<p class="i6">Junto a Don Félix llega, y, desatento,</p>
+<p class="i4">No habla a ninguno, ni aun la frente inclina;</p>
+<p class="i4">Y en pie y delante de él y el ojo atento,</p>
+<p class="i4">Con iracundo rostro le examina.</p><span class="rig">575</span><a id="a575" name="a575"></a>
+<p class="i6">Miró también Don Félix al sombrío</p>
+<p class="i4">Huésped que en él los ojos enclavó,</p>
+<p class="i4">Y con sarcasmo desdeñoso y frío,</p>
+<p class="i4">Fijos en él los suyos, sonrïó.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Buen hombre, ¿de qué tapiz</p><span class="rig">580</span><a id="a580" name="a580"></a>
+<p class="i4">Se ha escapado&mdash;el que se tapa&mdash;</p>
+<p class="i4">Que entre el sombrero y la capa</p>
+<p class="i4">Se os ve apenas la nariz?</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Bien, Don Félix, cuadra en vos</p>
+<p class="i4">Esa insolencia importuna.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX <i>(al tercer jugador sin hacer caso de Don Diego)</i></p>
+
+<div class="poem">  <div class="stanza"><span class="rig">585</span><a id="a585" name="a585"></a>
+<p class="i4">Perdisteis.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">      Sí. La fortuna</p>
+<p class="i4">Se trocó; tiro y van dos. <i>(Vuelven a tirar.)</i></p>
+  </div></div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">Gané otra vez. <i>(Al embozado)</i></p>
+<p class="i20">            No he entendido</p>
+<p class="i4">Qué dijisteis, ni hice aprecio</p>
+<p class="i4">De si hablasteis blando o recio</p><span class="rig">590</span><a id="a590" name="a590"></a>
+<p class="i4">Cuando me habéis respondido.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">A solas hablar querría.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Podéis, si os place, empezar,</p>
+<p class="i4">Que por vos no he de dejar</p>
+<p class="i4">Tan honrosa compañía;</p><span class="rig">595</span><a id="a595" name="a595"></a>
+<p class="i4">Y si Dios aquí os envía</p>
+<p class="i4">Para hacer mi conversión,</p>
+<p class="i4">No despreciéis la ocasión</p>
+<p class="i4">De convertir tanta gente,</p>
+<p class="i4">Mientras que yo humildemente</p><span class="rig">600</span><a id="a600" name="a600"></a>
+<p class="i4">Aguardo mi absolución.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO <i>(desembozándose con ira)</i></p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Don Félix, ¿no conocéis</p>
+<p class="i4">A Don Diego de Pastrana?</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">A vos no, mas sí a una hermana</p>
+<p class="i4">Que imagino que tenéis.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">605</span><a id="a605" name="a605"></a>
+<p class="i4">¿Y no sabéis que murió?</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Téngala Dios en su gloria.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Pienso que sabéis su historia,</p>
+<p class="i4">Y quién fué quien la mató.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX (<i>con sarcasmo</i>)</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡Quizá alguna calentura!</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡Mentís vos! </p><span class="rig">610</span><a id="a610" name="a610"></a>
+  </div></div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        Calma, Don Diego,</p>
+<p class="i4">Que si vos os morís luego,</p>
+<p class="i4">Es tanta mi desventura</p>
+<p class="i6">Que aun me lo habrán de achacar,</p>
+<p class="i4">Y es en vano ese despecho.</p><span class="rig">615</span><a id="a615" name="a615"></a>
+<p class="i4">Si se murió, a lo hecho, pecho.</p>
+<p class="i4">Ya no ha de resucitar.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Os estoy mirando y dudo</p>
+<p class="i4">Si habré de manchar mi espada</p>
+<p class="i4">Con esa sangre malvada,</p><span class="rig">620</span><a id="a620" name="a620"></a>
+<p class="i4">O echaros al cuello un nudo</p>
+<p class="i4">Con mis manos, y con mengua,</p>
+<p class="i4">En vez de desafïaros,</p>
+<p class="i4">El corazón arrancaros</p>
+<p class="i4">Y patearos la lengua;</p><span class="rig">625</span><a id="a625" name="a625"></a>
+<p class="i4">Que un alma, una vida, es</p>
+<p class="i4">Satisfacción muy ligera,</p>
+<p class="i4">Y os diera mil si pudiera</p>
+<p class="i4">Y os las quitara después.</p>
+<p class="i4">Jugo a mi labio han de dar</p><span class="rig">630</span><a id="a630" name="a630"></a>
+<p class="i4">Abiertas todas tus venas,</p>
+<p class="i4">Que toda tu sangre apenas</p>
+<p class="i4">Basta mi sed a calmar.</p>
+<p class="i4">¡Villano!</p>
+  </div>  </div>
+
+<p class="mid">(<i>Tira de la espada; todos los jugadores se interponen</i>.)</p>
+
+
+<p class="mid">TODOS</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">          Fuera de aquí</p>
+<p class="i4">A armar quimera.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX <i>(con calma levantándose)</i></p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        Tened,</p><span class="rig">635</span><a id="a635" name="a635"></a>
+<p class="i4">Don Diego, la espada, y ved</p>
+<p class="i4">Que estoy yo muy sobre mí,</p>
+<p class="i4">Y que me contengo mucho,</p>
+<p class="i4">No sé por qué, pues tan frío</p>
+<p class="i4">En mi colérico brío</p><span class="rig">640</span><a id="a640" name="a640"></a>
+<p class="i4">Vuestras injurias escucho.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO <i>(con furor reconcentrado y con la espada desnuda)</i></p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Salid de aquí; que a fe mía,</p>
+<p class="i4">Que estoy resuelto a mataros,</p>
+<p class="i4">Y no alcanzara a libraros</p>
+<p class="i4">La misma Virgen María.</p><span class="rig">645</span><a id="a645" name="a645"></a>
+<p class="i4">Y es tan cierta mi intención,</p>
+<p class="i4">Tan resuelta está mi alma,</p>
+<p class="i4">Que hasta mi cólera calma</p>
+<p class="i4">Mi firme resolución.</p>
+<p class="i4">Venid conmigo.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">            Allá voy;</p><span class="rig">650</span><a id="a650" name="a650"></a>
+<p class="i4">Pero si os mato, Don Diego,</p>
+<p class="i4">Que no me venga otro luego</p>
+<p class="i4">A pedirme cuenta. Soy</p>
+<p class="i4">Con vos al punto. Esperad</p>
+<p class="i4">Cuente el dinero ... <i>uno</i> ... <i>dos</i>....</p>
+<p class="i4"><i>(A Don Diego)</i></p><span class="rig">655</span><a id="a655" name="a655"></a>
+<p class="i4">Son mis ganancias; por vos</p>
+<p class="i4">Pierdo aquí una cantidad</p>
+<p class="i4">Considerable de oro</p>
+<p class="i4">Que iba a ganar ... ¿y por qué?</p>
+<p class="i4"><i>Diez</i> ... <i>quince</i> ... por no sé qué</p><span class="rig">660</span><a id="a660" name="a660"></a>
+<p class="i4">Cuento de amor ... ¡un tesoro</p>
+<p class="i4">Perdido! ... voy al momento.</p>
+<p class="i4">Es un puro disparate</p>
+<p class="i4">Empeñarse en que yo os mate:</p>
+<p class="i4">Lo digo como lo siento.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">665</span><a id="a665" name="a665"></a>
+<p class="i4">Remiso andáis y cobarde</p>
+<p class="i4">Y hablador en demasía.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Don Diego, más sangre fría.</p>
+<p class="i4">Para reñir nunca es tarde.</p>
+<p class="i4">Y si aun fuera otro el asunto,</p><span class="rig">670</span><a id="a670" name="a670"></a>
+<p class="i4">Yo os perdonara la prisa.</p>
+<p class="i4">Pidierais vos una misa</p>
+<p class="i4">Por la difunta, y al punto....</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡Mal caballero!...</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">            Don Diego,</p>
+<p class="i4">Mi delito no es gran cosa.</p><span class="rig">675</span><a id="a675" name="a675"></a>
+<p class="i4">Era vuestra hermana hermosa;</p>
+<p class="i4">La vi, me amó, creció el juego,</p>
+<p class="i4">Se murió, no es culpa mía;</p>
+<p class="i4">Y admiro vuestro candor,</p>
+<p class="i4">Que no se mueren de amor</p><span class="rig">680</span><a id="a680" name="a680"></a>
+<p class="i4">Las mujeres hoy en día.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Estáis pronto?</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">        Están contados.</p>
+<p class="i4">Vamos andando.</p>
+  </div>  </div>
+
+<p class="mid">D. DIEGO <i>(con voz solemne)</i></p>
+
+<div class="poem">  <div class="stanza">
+<p class="i20">              ¿Os reís?</p>
+<p class="i4">Pensad que a morir venís.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX <i>(sale tras de él, embolsándose el dinero con indiferencia)</i></p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Son mil trescientos ducados.</p>
+  </div>  </div>
+
+
+<h4>ESCENA IV</h4>
+
+<p class="mid">LOS JUGADORES</p>
+
+<p class="mid">JUGADOR PRIMERO</p>
+
+<div class="poem">  <div class="stanza"><span class="rig">685</span><a id="a685" name="a685"></a>
+<p class="i4">Este Don Diego Pastrana</p>
+<p class="i4">Es un hombre decidido.</p>
+<p class="i4">Desde Flandes ha venido</p>
+<p class="i4">Sólo a vengar a su hermana.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR SEGUNDO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¡Pues no ha hecho mal disparate!</p><span class="rig">690</span><a id="a690" name="a690"></a>
+<p class="i4">Me da el corazón su muerte.</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR TERCERO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">¿Quién sabe? acaso la suerte....</p>
+  </div>  </div>
+
+<p class="mid">JUGADOR CUARTO</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Me alegraré que lo mate.</p>
+  </div>  </div>
+
+
+
+<h4>PARTE CUARTA</h4>
+
+<p class="rig">Salió, en fin, de aquel estado, para caer en el<br>
+dolor más sombrío, en la más desalentada desesperación<br>
+y en la mayor amargura y desconsuelo<br>
+que pueden apoderarse de este pobre corazón<br>
+humano, que tan positivamente choca y se quebranta<br>
+con los males, como con vaguedad aspira<br>
+en algunos momentos, casi siempre sin conseguirlo,<br>
+a tocar los bienes ligeramente y de pasada.&mdash;"La<br>
+protección de un sastre," novela original<br>
+por D. MIGUEL DE LOS SANTOS ÁLVAREZ<br><br>
+
+SPIRITUS QUIDEM PROMPTUS EST; CARO<br>
+VERO INFIRMA.&mdash;S. MARCOS, "Evangelio"</p><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br>
+
+
+<div class="poem">  <div class="stanza">
+<p class="i4">Vedle, Don Félix es, espada en mano,</p>
+<p class="i2">Sereno el rostro, firme el corazón;</p><span class="rig">695</span><a id="a695" name="a695"></a>
+<p class="i2">También de Elvira el vengativo hermano</p>
+<p class="i2">Sin piedad a sus pies muerto cayó.</p>
+  </div><div class="stanza">
+<p class="i4">Y con tranquila audacia se adelanta</p>
+<p class="i2">Por la calle fatal del Ataúd;</p>
+<p class="i2">Y ni medrosa aparición le espanta,</p><span class="rig">700</span><a id="a700" name="a700"></a>
+<p class="i2">Ni le turba la imagen de Jesús.</p>
+  </div><div class="stanza">
+<p class="i4">La moribunda lámpara que ardía</p>
+<p class="i2">Trémula lanza su postrer fulgor,</p>
+<p class="i2">Y, en honda oscuridad, noche sombría</p>
+<p class="i2">La misteriosa calle encapotó.</p>
+  </div><div class="stanza"><span class="rig">705</span><a id="a705" name="a705"></a>
+<p class="i4">Mueve los pies el Montemar osado</p>
+<p class="i2">En las tinieblas con incierto giro,</p>
+<p class="i2">Cuando, ya un trecho de la calle andado,</p>
+<p class="i2">Súbito junto a él oye un suspiro.</p>
+  </div><div class="stanza">
+<p class="i4">Resbalar por su faz sintió el aliento,</p><span class="rig">710</span><a id="a710" name="a710"></a>
+<p class="i2">Y a su pesar sus nervios se crisparon;</p>
+<p class="i2">Mas, pasado el primero movimiento,</p>
+<p class="i2">A su primera rigidez tornaron.</p>
+  </div><div class="stanza">
+<p class="i4">«¿Quién va?» pregunta con la voz serena.</p>
+<p class="i2">Que ni finge valor, ni muestra miedo,</p><span class="rig">715</span><a id="a715" name="a715"></a>
+<p class="i2">El alma de invencible vigor llena,</p>
+<p class="i2">Fïado en su tajante de Toledo.</p>
+  </div><div class="stanza">
+<p class="i4">Palpa en torno de sí, y el impio jura,</p>
+<p class="i2">Y a mover vuelve la atrevida planta,</p>
+<p class="i2">Cuando hacia él fatídica figura</p><span class="rig">720</span><a id="a720" name="a720"></a>
+<p class="i2">Envuelta en blancas ropas se adelanta.</p>
+  </div><div class="stanza">
+<p class="i4">Flotante y vaga, las espesas nieblas</p>
+<p class="i2">Ya disipa, y se anima, y va creciendo</p>
+<p class="i2">Con apagada luz, ya en las tinieblas</p>
+<p class="i2">Su argentino blancor va apareciendo.</p>
+  </div><div class="stanza"><span class="rig">725</span><a id="a725" name="a725"></a>
+<p class="i4">Ya leve punto de luciente plata,</p>
+<p class="i2">Astro de clara lumbre sin mancilla,</p>
+<p class="i2">El horizonte lóbrego dilata</p>
+<p class="i2">Y allá en la sombra en lontananza brilla.</p>
+  </div><div class="stanza">
+<p class="i4">Los ojos, Montemar, fijos en ella,</p><span class="rig">730</span><a id="a730" name="a730"></a>
+<p class="i2">Con más asombro que temor la mira;</p>
+<p class="i2">Tal vez la juzga vagorosa estrella</p>
+<p class="i2">Que en el espacio de los cielos gira;</p>
+  </div><div class="stanza">
+<p class="i4">Tal vez engaño de sus propios ojos,</p>
+<p class="i2">Forma falaz que en su ilusión creó,</p><span class="rig">735</span><a id="a735" name="a735"></a>
+<p class="i2">O del vino ridículos antojos</p>
+<p class="i2">Que al fin su juicio a alborotar subió.</p>
+  </div><div class="stanza">
+<p class="i4">Mas el vapor del néctar jerezano</p>
+<p class="i2">Nunca su mente a trastornar bastara,</p>
+<p class="i2">Que ya mil veces embriagarse en vano</p><span class="rig">740</span><a id="a740" name="a740"></a>
+<p class="i2">En frenéticas orgias intentara.</p>
+  </div><div class="stanza">
+<p class="i4">«Dios presume asustarme; ¡ojalá fuera»,</p>
+<p class="i2">Dijo entre sí riendo, «el diablo mismo!</p>
+<p class="i2">Que entonces ¡víve Dios! quién soy supiera</p>
+<p class="i2">El cornudo monarca del abismo.»</p>
+  </div><div class="stanza"><span class="rig">745</span><a id="a745" name="a745"></a>
+<p class="i4">Al pronunciar tan insolente ultraje</p>
+<p class="i2">La lámpara del Cristo se encendió,</p>
+<p class="i2">Y una mujer, velada en blanco traje,</p>
+<p class="i2">Ante la imagen de rodillas vió.</p>
+  </div><div class="stanza">
+<p class="i4">«Bienvenida la luz,» dijo el impío,</p><span class="rig">750</span><a id="a750" name="a750"></a>
+<p class="i2">«Gracias a Dios o al diablo;» y, con osada,</p>
+<p class="i2">Firme intención y temerario brío,</p>
+<p class="i2">El paso vuelve a la mujer tapada.</p>
+  </div><div class="stanza">
+<p class="i4">Mientras él anda, al parecer se alejan</p>
+<p class="i2">La luz, la imagen, la devota dama;</p><span class="rig">755</span><a id="a755" name="a755"></a>
+<p class="i2">Mas si él se pára, de moverse dejan;</p>
+<p class="i2">Y lágrima tras lágrima derrama</p>
+  </div><div class="stanza">
+<p class="i4">De sus ojos inmóviles la imagen.</p>
+<p class="i2">Mas sin que el miedo ni el dolor que inspira</p>
+<p class="i2">Su planta audaz, ni su impiedad atajen,</p><span class="rig">760</span><a id="a760" name="a760"></a>
+<p class="i2">Rostro a rostro a Jesús Montemar mira.</p>
+  </div><div class="stanza">
+<p class="i4">&mdash;La calle parece se mueve y camina,</p>
+<p class="i2">Faltarle la tierra sintió bajo el pie;</p>
+<p class="i2">Sus ojos la muerta mirada fascina</p>
+<p class="i2">Del Cristo, que intensa clavada está en él.</p>
+  </div><div class="stanza"><span class="rig">765</span><a id="a765" name="a765"></a>
+<p class="i4">Y en medio el delirio que embarga su mente,</p>
+<p class="i2">Y achaca él al vino que al fin le embriagó,</p>
+<p class="i2">La lámpara alcanza con mano insolente</p>
+<p class="i2">Del ara do alumbra la imagen de Dios;</p>
+  </div><div class="stanza">
+<p class="i4">Y al rostro la acerca, que el cándido lino</p><span class="rig">770</span><a id="a770" name="a770"></a>
+<p class="i2">Encubre, con ánimo asaz descortés;</p>
+<p class="i2">Mas la luz apaga viento repentino,</p>
+<p class="i2">Y la blanca dama se puso de pie.</p>
+  </div><div class="stanza">
+<p class="i4">Empero un momento creyó que veía</p>
+<p class="i2">Un rostro que vagos recuerdos quizá</p><span class="rig">775</span><a id="a775" name="a775"></a>
+<p class="i2">Y alegres memorias confusas traía</p>
+<p class="i2">De tiempos mejores que pasaron ya,</p>
+  </div><div class="stanza">
+<p class="i4">Un rostro de un ángel que vió en un ensueño,</p>
+<p class="i2">Como un sentimiento que el alma halagó,</p>
+<p class="i2">Que anubla la frente con rígido ceño,</p><span class="rig">780</span><a id="a780" name="a780"></a>
+<p class="i2">Sin que lo comprenda jamás la razón.</p>
+  </div><div class="stanza">
+<p class="i4">Su forma gallarda dibuja en las sombras</p>
+<p class="i2">El blanco ropaje que ondeante se ve,</p>
+<p class="i2">Y cual si pisara mullidas alfombras,</p>
+<p class="i2">Deslízase leve sin ruido su pie.</p>
+  </div><div class="stanza"><span class="rig">785</span><a id="a785" name="a785"></a>
+<p class="i4">Tal vimos al rayo de la luna llena</p>
+<p class="i2">Fugitiva vela de lejos cruzar,</p>
+<p class="i2">Que ya la hinche en popa la brisa serena,</p>
+<p class="i2">Que ya la confunde la espuma del mar.</p>
+  </div><div class="stanza">
+<p class="i4">También la esperanza blanca y vaporosa</p><span class="rig">790</span><a id="a790" name="a790"></a>
+<p class="i2">Así ante nosotros pasa en ilusión,</p>
+<p class="i2">Y el alma conmueve con ansia medrosa</p>
+<p class="i2">Mientras la rechaza la adusta razón.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i6">«¡Qué! ¿sin respuesta me deja?</p>
+<p class="i4">¿No admitís mi compañía?</p><span class="rig">795</span><a id="a795" name="a795"></a>
+<p class="i4">¿Será quizá alguna vieja</p>
+<p class="i4">Devota?... ¡Chasco sería!</p>
+  </div><div class="stanza">
+<p class="i6">En vano, dueña, es callar,</p>
+<p class="i4">Ni hacerme señas que no;</p>
+<p class="i4">He resuelto que sí yo,</p><span class="rig">800</span><a id="a800" name="a800"></a>
+<p class="i4">Y os tengo de acompañar.</p>
+  </div><div class="stanza">
+<p class="i6">Y he de saber dónde vais</p>
+<p class="i4">Y si sois hermosa o fea,</p>
+<p class="i4">Quién sois y cómo os llamáis,</p>
+<p class="i4">Y aun cuando imposible sea,</p>
+  </div><div class="stanza"><span class="rig">805</span><a id="a805" name="a805"></a>
+<p class="i6">Y fuerais vos Satanás</p>
+<p class="i4">Con sus llamas y sus cuernos,</p>
+<p class="i4">Hasta en los mismos infiernos,</p>
+<p class="i4">Vos delante y yo detrás,</p>
+  </div><div class="stanza">
+<p class="i6">Hemos de entrar; ¡vive Dios!</p><span class="rig">810</span><a id="a810" name="a810"></a>
+<p class="i4">Y aunque lo estorbara el cielo,</p>
+<p class="i4">Que yo he de cumplir mi anhelo</p>
+<p class="i4">Aun a despecho de vos;</p>
+  </div><div class="stanza">
+<p class="i6">Y perdonadme, señora,</p>
+<p class="i4">Si hay en mi empeño osadía,</p><span class="rig">815</span><a id="a815" name="a815"></a>
+<p class="i4">Mas fuera descortesía</p>
+<p class="i4">Dejaros sola a esta hora;</p>
+  </div><div class="stanza">
+<p class="i6">Y me va en ello mi fama,</p>
+<p class="i4">Que juro a Dios no quisiera</p>
+<p class="i4">Que por temor se creyera</p><span class="rig">820</span><a id="a820" name="a820"></a>
+<p class="i4">Que no he seguido a una dama.»</p>
+  </div><div class="stanza">
+<p class="i4">Del hondo del pecho profundo gemido,</p>
+<p class="i2">Crujido del vaso que estalla al dolor,</p>
+<p class="i2">Que apenas medroso lastima el oído,</p>
+<p class="i2">Pero que punzante rasga el corazón,</p>
+  </div><div class="stanza"><span class="rig">825</span><a id="a825" name="a825"></a>
+<p class="i4">Gemido de amargo recuerdo pasado,</p>
+<p class="i2">De pena presente, de incierto pesar,</p>
+<p class="i2">Mortífero aliento, veneno exhalado</p>
+<p class="i2">Del que encubre el alma ponzoñoso mar,</p>
+  </div><div class="stanza">
+<p class="i4">Gemido de muerte lanzó, y silenciosa</p><span class="rig">830</span><a id="a830" name="a830"></a>
+<p class="i2">La blanca figura su pie resbaló,</p>
+<p class="i2">Cual mueve sus alas sílfide amorosa</p>
+<p class="i2">Que apenas las aguas del lago rizó.</p>
+  </div><div class="stanza">
+<p class="i4">¡Ay! el que vió acaso perdida en un día</p>
+<p class="i2">La dicha que eterna creyó el corazón,</p><span class="rig">835</span><a id="a835" name="a835"></a>
+<p class="i2">Y en noche de nieblas y en honda agonía</p>
+<p class="i2">En un mar sin playas muriendo quedó!...</p>
+  </div><div class="stanza">
+<p class="i4">Y solo y llevando consigo en su pecho,</p>
+<p class="i2">Compañero eterno su dolor crüel,</p>
+<p class="i2">El mágico encanto del alma deshecho,</p><span class="rig">840</span><a id="a840" name="a840"></a>
+<p class="i2">Su pena, su amigo y su amante más fiel;</p>
+  </div><div class="stanza">
+<p class="i4">¡Miró sus suspiros llevarlos el viento,</p>
+<p class="i2">Sus lágrimas tristes perderse en el mar,</p>
+<p class="i2">Sin nadie que acuda ni entienda su acento,</p>
+<p class="i2">Insensible el cielo y el mundo a su mal!</p>
+  </div><div class="stanza"><span class="rig">845</span><a id="a845" name="a845"></a>
+<p class="i4">Y ha visto la luna brillar en el cielo</p>
+<p class="i2">Serena y en calma mientras él lloró,</p>
+<p class="i2">Y ha visto los hombres pasar en el suelo</p>
+<p class="i2">Y nadie a sus quejas los ojos volvió!</p>
+  </div><div class="stanza">
+<p class="i4">Y él mismo, la befa del mundo temblando,</p><span class="rig">850</span><a id="a850" name="a850"></a>
+<p class="i2">Su pena en su pecho profunda escondió,</p>
+<p class="i2">Y dentro en su alma su llanto tragando</p>
+<p class="i2">Con falsa sonrisa su labio vistió!!...</p>
+  </div><div class="stanza">
+<p class="i4">¡Ay! quien ha contado las horas que fueron,</p>
+<p class="i2">Horas otro tiempo que abrevió el placer,</p><span class="rig">855</span><a id="a855" name="a855"></a>
+<p class="i2">Y hoy solo y llorando piensa como huyeron</p>
+<p class="i2">Con ellas por siempre las dichas de ayer;</p>
+  </div><div class="stanza">
+<p class="i4">Y aquellos placeres, que el triste ha perdido,</p>
+<p class="i2">No huyeron del mundo, que en el mundo están;</p>
+<p class="i2">Y él vive en el mundo do siempre ha vivido,</p><span class="rig">860</span><a id="a860" name="a860"></a>
+<p class="i2">Y aquellos placeres para él no son ya!</p>
+  </div><div class="stanza">
+<p class="i4">¡Ay del que descubre por fin la mentira!</p>
+<p class="i2">¡Ay del que la triste realidad palpó!</p>
+<p class="i2">Del que el esqueleto de este mundo mira,</p>
+<p class="i2">Y sus falsas galas loco le arrancó!...</p>
+  </div><div class="stanza"><span class="rig">865</span><a id="a865" name="a865"></a>
+<p class="i4">¡Ay de aquel que vive sólo en lo pasado!</p>
+<p class="i2">¡Ay del que su alma nutre en su pesar!</p>
+<p class="i2">Las horas que huyeron llamará angustiado,</p>
+<p class="i2">Las horas que huyeron jamás tornarán!...</p>
+  </div><div class="stanza">
+<p class="i2">Quien haya sufrido tan bárbaro duelo,</p><span class="rig">870</span><a id="a870" name="a870"></a>
+<p class="i2">Quien noches enteras contó sin dormir</p>
+<p class="i2">En lecho de espinas, maldiciendo al cielo,</p>
+<p class="i2">Horas sempiternas de ansiedad sin fin....</p>
+  </div><div class="stanza">
+<p class="i4">Quien haya sentido quererse del pecho</p>
+<p class="i2">Saltar a pedazos roto el corazón,</p><span class="rig">875</span><a id="a875" name="a875"></a>
+<p class="i2">Crecer su delirio, crecer su despecho,</p>
+<p class="i2">Al cuello cien nudos echarle el dolor,</p>
+  </div><div class="stanza">
+<p class="i4">Ponzoñoso lago de punzante hielo,</p>
+<p class="i2">Sus lágrimas tristes que cuajó el pesar,</p>
+<p class="i2">Reventando ahogarle, sin hallar consuelo,</p><span class="rig">880</span><a id="a880" name="a880"></a>
+<p class="i2">Ni esperanza nunca, ni tregua en su afán.</p>
+  </div><div class="stanza">
+<p class="i4">Aquél, de la blanca fantasma el gemido,</p>
+<p class="i2">Única respuesta que a Don Félix dió,</p>
+<p class="i2">Hubiera, y su inmenso dolor, comprendido,</p>
+<p class="i2">Hubiera pesado su inmenso valor.</p>
+  </div>  </div>
+
+<p class="mid">D. FÉLIX</p>
+
+<div class="poem"><div class="stanza"><span class="rig">885</span><a id="a885" name="a885"></a>
+<p class="i6">«Si buscáis algún ingrato,</p>
+<p class="i4">Yo me ofrezco agradecido;</p>
+<p class="i4">Pero o miente ese recato,</p>
+<p class="i4">O vos sufrís el mal trato</p>
+<p class="i4">De algún celoso marido.</p>
+  </div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">890</span><a id="a890" name="a890"></a>
+<p class="i6">¿Acerté? ¡Necia manía!</p>
+<p class="i4">Es para volverme loco,</p>
+<p class="i4">Si insistís en tal porfía;</p>
+<p class="i4">Con los mudos, reina mía,</p>
+<p class="i4">Yo hago mucho y hablo poco.»</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">895</span><a id="a895" name="a895"></a>
+<p class="i6">Segunda vez importunada en tanto,</p>
+<p class="i4">Una voz de süave melodía</p>
+<p class="i4">El estudiante oyó que parecía</p>
+<p class="i4">Eco lejano de armonioso canto,</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">De amante pecho lánguido latido,</p><span class="rig">900</span><a id="a900" name="a900"></a>
+<p class="i4">Sentimiento inefable de ternura,</p>
+<p class="i4">Suspiro fiel de amor correspondido,</p>
+<p class="i4">El primer sí de la mujer aun pura.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Para mí los amores acabaron;</p>
+<p class="i4">Todo en el mundo para mí acabó;</p><span class="rig">905</span><a id="a905" name="a905"></a>
+<p class="i4">Los lazos que a la tierra me ligaron</p>
+<p class="i4">El cielo para siempre desató,»</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Dijo su acento misterioso y tierno,</p>
+<p class="i4">Que de otros mundos la ilusión traía,</p>
+<p class="i4">Eco de los que ya reposo eterno</p><span class="rig">910</span><a id="a910" name="a910"></a>
+<p class="i4">Gozan en paz bajo la tumba fría.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Montemar, atento sólo a su aventura,</p>
+<p class="i2">Que es bella la dama y aun fácil juzgó,</p>
+<p class="i2">Y la hora, la calle y la noche oscura</p>
+<p class="i2">Nuevos incentivos a su pecho son.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">915</span><a id="a915" name="a915"></a>
+<p class="i4">«&mdash;Hay riesgo en seguirme.&mdash;Mirad ¡qué reparo!</p>
+<p class="i2">&mdash;Quizá luego os pese.&mdash;Puede que por vos.</p>
+<p class="i2">&mdash;Ofendéis al cielo.&mdash;Del diablo me amparo.</p>
+<p class="i2">&mdash;Idos, caballero, no tentéis a Dios.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">&mdash;Siento me enamora más vuestro despego,</p><span class="rig">920</span><a id="a920" name="a920"></a>
+<p class="i2">Y si Dios se enoja, pardiez que hará mal;</p>
+<p class="i2">Veame en vuestros brazos y máteme luego.</p>
+<p class="i2">&mdash;¡Vuestra última hora quizá ésta será!...</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Dejad ya, Don Félix, delirios mundanos.</p>
+<p class="i2">&mdash;¡Hola, me conoce!&mdash;¡Ay! ¡temblad por vos!</p><span class="rig">925</span><a id="a925" name="a925"></a>
+<p class="i2">¡Temblad no se truequen deleites livianos</p>
+<p class="i2">En penas eternas!&mdash;Basta de sermón,</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Que yo para oírlos la cuaresma espero;</p>
+<p class="i2">Y hablemos de amores, que es más dulce hablar;</p>
+<p class="i2">Dejad ese tono solemne y severo,</p><span class="rig">930</span><a id="a930" name="a930"></a>
+<p class="i2">Que os juro, señora, que os sienta muy mal.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">La vida es la vida: cuando ella se acaba,</p>
+<p class="i2">Acaba con ella también el placer.</p>
+<p class="i2">¿De inciertos pesares por qué hacerla esclava?</p>
+<p class="i2">Para mí no hay nunca mañana ni ayer.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">935</span><a id="a935" name="a935"></a>
+<p class="i4">Si mañana muero, que sea en mal hora</p>
+<p class="i2">O en buena, cual dicen, ¿qué me importa a mí?</p>
+<p class="i2">Goce yo el presente, disfrute yo ahora,</p>
+<p class="i2">Y el diablo me lleve siquiera al morir.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">&mdash;¡Cúmplase en fin tu voluntad, Dios mío!&mdash;»</p><span class="rig">940</span><a id="a940" name="a940"></a>
+<p class="i4">La figura fatídica exclamó;</p>
+<p class="i4">Y en tanto al pecho redoblar su brío</p>
+<p class="i4">Siente Don Félix y camina en pos.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i10">Cruzan tristes calles,</p>
+<p class="i8">Plazas solitarias,</p><span class="rig">945</span><a id="a945" name="a945"></a>
+<p class="i8">Arruinados muros,</p>
+<p class="i8">Donde sus plegarias</p>
+<p class="i8">Y falsos conjuros,</p>
+<p class="i8">En la misteriosa</p>
+<p class="i8">Noche borrascosa,</p><span class="rig">950</span><a id="a950" name="a950"></a>
+<p class="i8">Maldecida bruja</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i10">Con ronca voz canta,</p>
+<p class="i8">Y de los sepulcros</p>
+<p class="i8">Los muertos levanta,</p>
+<p class="i8">Y suenan los ecos</p><span class="rig">955</span><a id="a955" name="a955"></a>
+<p class="i8">De sus pasos huecos</p>
+<p class="i8">En la soledad;</p>
+<p class="i8">Mientras en silencio</p>
+<p class="i8">Yace la ciudad,</p>
+<p class="i8">Y en lúgubre són</p><span class="rig">960</span><a id="a960" name="a960"></a>
+<p class="i8">Arrulla su sueño</p>
+<p class="i8">Bramando Aquilón.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Y una calle y otra cruzan,</p>
+<p class="i4">Y más allá y más allá;</p>
+<p class="i4">Ni tiene término el viaje,</p><span class="rig">965</span><a id="a965" name="a965"></a>
+<p class="i4">Ni nunca dejan de andar.</p>
+<p class="i4">Y atraviesan, pasan, vuelven,</p>
+<p class="i4">Cien calles quedando atrás,</p>
+<p class="i4">Y paso tras paso siguen,</p>
+<p class="i4">Y siempre adelante van;</p><span class="rig">970</span><a id="a970" name="a970"></a>
+<p class="i4">Y a confundirse ya empieza</p>
+<p class="i4">Y a perderse Montemar,</p>
+<p class="i4">Que ni sabe a dó camina,</p>
+<p class="i4">Ni acierta ya dónde está;</p>
+<p class="i4">Y otras calles, otras plazas</p><span class="rig">975</span><a id="a975" name="a975"></a>
+<p class="i4">Recorre, y otra ciudad,</p>
+<p class="i4">Y ve fantásticas torres</p>
+<p class="i4">De su eterno pedestal</p>
+<p class="i4">Arrancarse, y sus macizas,</p>
+<p class="i4">Negras masas caminar,</p><span class="rig">980</span><a id="a980" name="a980"></a>
+<p class="i4">Apoyándose en sus ángulos,</p>
+<p class="i4">Que en la tierra en desigual,</p>
+<p class="i4">Perezoso tranco fijan;</p>
+<p class="i4">Y a su monótono andar,</p>
+<p class="i4">Las campanas sacudidas</p><span class="rig">985</span><a id="a985" name="a985"></a>
+<p class="i4">Misteriosos dobles dan,</p>
+<p class="i4">Mientras en danzas grotescas,</p>
+<p class="i4">Y al estruendo funeral,</p>
+<p class="i4">En derredor cien espectros</p>
+<p class="i4">Danzan con torpe compás;</p><span class="rig">990</span><a id="a990" name="a990"></a>
+<p class="i4">Y las veletas sus frentes</p>
+<p class="i4">Bajan ante él al pasar,</p>
+<p class="i4">Los espectros le saludan,</p>
+<p class="i4">Y en cien lenguas de metal,</p>
+<p class="i4">Oye su nombre en los ecos</p><span class="rig">995</span><a id="a995" name="a995"></a>
+<p class="i4">De las campanas sonar.</p>
+<p class="i4">Mas luego cesa el estrépito,</p>
+<p class="i4">Y en silencio, en muda paz</p>
+<p class="i4">Todo queda, y desparece</p>
+<p class="i4">De súbito la ciudad:</p><span class="rig">1000</span><a id="a1000" name="a1000"></a>
+<p class="i4">Palacios, templos, se cambian</p>
+<p class="i4">En campos de soledad,</p>
+<p class="i4">Y en un yermo y silencioso,</p>
+<p class="i4">Melancólico arenal,</p>
+<p class="i4">Sin luz, sin aire, sin cielo,</p><span class="rig">1005</span><a id="a1005" name="a1005"></a>
+<p class="i4">Perdido en la inmensidad.</p>
+<p class="i4">Tal vez piensa que camina,</p>
+<p class="i4">Sin poder parar jamás,</p>
+<p class="i4">De extraño empuje llevado</p>
+<p class="i4">Con precipitado afán;</p><span class="rig">1010</span><a id="a1010" name="a1010"></a>
+<p class="i4">Entretanto que su guía,</p>
+<p class="i4">Delante de él sin hablar,</p>
+<p class="i4">Sigue misteriosa, y sigue</p>
+<p class="i4">Con paso rápido, y ya</p>
+<p class="i4">Se remonta ante sus ojos</p><span class="rig">1015</span><a id="a1015" name="a1015"></a>
+<p class="i4">En alas del huracán,</p>
+<p class="i4">Visión sublime, y su frente</p>
+<p class="i4">Ve fosfórica brillar</p>
+<p class="i4">Entre lívidos relámpagos</p>
+<p class="i4">En la densa oscuridad,</p><span class="rig">1020</span><a id="a1020" name="a1020"></a>
+<p class="i4">Sierpes de luz, luminosos</p>
+<p class="i4">Engendros del vendaval;</p>
+<p class="i4">Y cuando duda si duerme,</p>
+<p class="i4">Si tal vez sueña o está</p>
+<p class="i4">Loco, si es tanto prodigio,</p><span class="rig">1025</span><a id="a1025" name="a1025"></a>
+<p class="i4">Tanto delirio verdad,</p>
+<p class="i4">Otra vez en Salamanca</p>
+<p class="i4">Súbito vuélvese a hallar,</p>
+<p class="i4">Distingue los edificios,</p>
+<p class="i4">Reconoce en dónde está,</p><span class="rig">1030</span><a id="a1030" name="a1030"></a>
+<p class="i4">Y en su delirante vértigo</p>
+<p class="i4">Al vino vuelve a culpar,</p>
+<p class="i4">Y jura, y siguen andando,</p>
+<p class="i4">Ella delante, él detrás.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«¡Vive Dios! dice entre sí,</p><span class="rig">1035</span><a id="a1035" name="a1035"></a>
+<p class="i4">O Satanás se chancea,</p>
+<p class="i4">O no debo estar en mí,</p>
+<p class="i4">O el Málaga que bebí</p>
+<p class="i4">En mi cabeza aun humea.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Sombras, fantasmas, visiones....</p><span class="rig">1040</span><a id="a1040" name="a1040"></a>
+<p class="i4">Dale con tocar a muerto,</p>
+<p class="i4">Y en revueltas confusiones,</p>
+<p class="i4">Danzando estos torreones</p>
+<p class="i4">Al compás de tal concierto.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Y el juicio voy a perder</p><span class="rig">1045</span><a id="a1045" name="a1045"></a>
+<p class="i4">Entre tantas maravillas.</p>
+<p class="i4">¡Que estas torres llegue a ver,</p>
+<p class="i4">Como mulas de alquiler,</p>
+<p class="i4">Andando con campanillas!</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«¿Y esta mujer quién será?</p><span class="rig">1050</span><a id="a1050" name="a1050"></a>
+<p class="i4">Mas si es el diablo en persona,</p>
+<p class="i4">¿A mí qué diantre me da?</p>
+<p class="i4">Y más que el traje en que va</p>
+<p class="i4">En esta ocasión le abona.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Noble señora, imagino</p><span class="rig">1055</span><a id="a1055" name="a1055"></a>
+<p class="i4">Que sois nueva en el lugar:</p>
+<p class="i4">Andar así es desatino;</p>
+<p class="i4">O habéis perdido el camino,</p>
+<p class="i4">O esto es andar por andar.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Ha dado en no responder,</p><span class="rig">1060</span><a id="a1060" name="a1060"></a>
+<p class="i4">Que es la más rara locura</p>
+<p class="i4">Que puede hallarse en mujer,</p>
+<p class="i4">Y en que yo la he de querer</p>
+<p class="i4">Por su paso de andadura.»</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">En tanto Don Félix a tientas seguía,</p><span class="rig">1065</span><a id="a1065" name="a1065"></a>
+<p class="i2"> Delante camina la blanca visión,</p>
+<p class="i2"> Triplica su espanto la noche sombría,</p>
+<p class="i2"> Sus hórridos gritos redobla Aquilón.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Rechinan girando las férreas veletas,</p>
+<p class="i2"> Crujir de cadenas se escucha sonar,</p><span class="rig">1070</span><a id="a1070" name="a1070"></a>
+<p class="i2"> Las altas campanas, por el viento inquietas,</p>
+<p class="i2"> Pausados sonidos en las torres dan.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Rüido de pasos de gente que viene</p>
+<p class="i2">A compás marchando con sordo rumor,</p>
+<p class="i2">Y de tiempo en tiempo su marcha detiene,</p><span class="rig">1075</span><a id="a1075" name="a1075"></a>
+<p class="i2">Y rezar parece en confuso són,</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Llegó de Don Félix luego a los oídos,</p>
+<p class="i2">Y luego cien luces a lo lejos vió,</p>
+<p class="i2">Y luego en hileras largas divididos,</p>
+<p class="i2">Vió que murmurando con lúgubre voz</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1080</span><a id="a1080" name="a1080"></a>
+<p class="i4">Enlutados bultos andando venían;</p>
+<p class="i2">Y luego más cerca con asombro ve</p>
+<p class="i2">Que un féretro en medio y en hombros traían</p>
+<p class="i2">Y dos cuerpos muertos tendidos en él.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Las luces, la hora, la noche, profundo,</p><span class="rig">1085</span><a id="a1085" name="a1085"></a>
+<p class="i2">Infernal arcano parece encubrir.</p>
+<p class="i2">Cuando en hondo sueño yace muerto el mundo,</p>
+<p class="i2">Cuando todo anuncia que habrá de morir</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Al hombre que loco la recia tormenta</p>
+<p class="i2">Corrió de la vida, del viento a merced,</p><span class="rig">1090</span><a id="a1090" name="a1090"></a>
+<p class="i2">Cuando una voz triste las horas le cuenta,</p>
+<p class="i2">Y en lodo sus pompas convertidas ve,</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Forzoso es que tenga de diamante el alma</p>
+<p class="i2">Quien no sienta el pecho de horror palpitar,</p>
+<p class="i2">Quien como Don Félix, con serena calma,</p><span class="rig">1095</span><a id="a1095" name="a1095"></a>
+<p class="i2">Ni en Dios ni en el diablo se ponga a pensar.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Así en tardos pasos, todos murmurando,</p>
+<p class="i2">El lúgubre entierro ya cerca llegó,</p>
+<p class="i2">Y la blanca dama, devota rezando,</p>
+<p class="i2">Entrambas rodillas en tierra dobló.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1100</span><a id="a1100" name="a1100"></a>
+<p class="i4">Calado el sombrero y en pie, indiferente</p>
+<p class="i2">El féretro mira Don Félix pasar,</p>
+<p class="i2">Y al paso pregunta con su aire insolente</p>
+<p class="i2">Los nombres de aquellos que al sepulcro van.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Mas ¡cuál su sorpresa, su asombro cuál fuera,</p><span class="rig">1105</span><a id="a1105" name="a1105"></a>
+<p class="i2">Cuando horrorizado con espanto ve</p>
+<p class="i2">Que el uno Don Diego de Pastrana era,</p>
+<p class="i2">Y el otro ¡Dios santo! y el otro era él!...</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Él mismo, su imagen, su misma figura,</p>
+<p class="i2">Su mismo semblante, que él mismo era en fin;</p><span class="rig">1110</span><a id="a1110" name="a1110"></a>
+<p class="i2">Y duda, y se palpa, y fría pavura</p>
+<p class="i2">Un punto en sus venas sintió discurrir.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Al fin era hombre, y un punto temblaron</p>
+<p class="i2">Los nervios del hombre, y un punto temió;</p>
+<p class="i2">Mas pronto su antiguo vigor recobraron,</p><span class="rig">1115</span><a id="a1115" name="a1115"></a>
+<p class="i2">Pronto su fiereza volvió al corazón.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Lo que es, dijo, por Pastrana,</p>
+<p class="i4">Bien pensado está el entierro;</p>
+<p class="i4">Mas es diligencia vana</p>
+<p class="i4">Enterrarme a mí, y mañana</p><span class="rig">1120</span><a id="a1120" name="a1120"></a>
+<p class="i4">Me he de quejar de este yerro.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Diga, señor enlutado,</p>
+<p class="i4">¿A quién llevan a enterrar?»</p>
+<p class="i4">«&mdash;Al estudiante endiablado</p>
+<p class="i4">Don Félix de Montemar,»</p><span class="rig">1125</span><a id="a1125" name="a1125"></a>
+<p class="i4">Respondió el encapuchado.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«&mdash;Mientes, truhán.&mdash;No por cierto.</p>
+<p class="i2">&mdash;Pues decidme a mí quién soy,</p>
+<p class="i2">Si gustáis, porque no acierto</p>
+<p class="i2">Cómo a un mismo tiempo estoy</p><span class="rig">1130</span><a id="a1130" name="a1130"></a>
+<p class="i2">Aquí vivo y allí muerto.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«&mdash;Yo no os conozco.&mdash;Pardiez,</p>
+<p class="i4">Que si me llego a enojar,</p>
+<p class="i4">Tus burlas te haga llorar</p>
+<p class="i4">De tal modo que otra vez</p><span class="rig">1135</span><a id="a1135" name="a1135"></a>
+<p class="i4">Conozcas ya a Montemar.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«¡Villano!... mas esto es</p>
+<p class="i4">Ilusión de los sentidos,</p>
+<p class="i4">El mundo que anda al revés,</p>
+<p class="i4">Los diablos entretenidos</p><span class="rig">1140</span><a id="a1140" name="a1140"></a>
+<p class="i4">En hacerme dar traspiés.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«¡El fanfarrón de Don Diego!</p>
+<p class="i4">De sus mentiras reniego,</p>
+<p class="i4">Que cuando muerto cayó,</p>
+<p class="i4">Al infierno se fué luego</p><span class="rig">1145</span><a id="a1145" name="a1145"></a>
+<p class="i4">Contando que me mató.»</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Diciendo así, soltó una carcajada,</p>
+<p class="i4">Y las espaldas con desdén volvió;</p>
+<p class="i4">Se hizo el bigote, requirió la espada,</p>
+<p class="i4">Y a la devota dama se acercó.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1150</span><a id="a1150" name="a1150"></a>
+<p class="i6">«Conque, en fin, ¿dónde vivís?</p>
+<p class="i4">Que se hace tarde, señora.</p>
+<p class="i4">&mdash;Tarde, aun no; de aquí a una hora</p>
+<p class="i4">Lo será.&mdash;Verdad decís,</p>
+<p class="i4">Será más tarde que ahora.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1155</span><a id="a1155" name="a1155"></a>
+<p class="i6">«Esa voz con que hacéis miedo</p>
+<p class="i4">De vos me enamora más.</p>
+<p class="i4">Yo me he echado el alma atrás;</p>
+<p class="i4">Juzgad si me dará un bledo</p>
+<p class="i4">De Dios ni de Satanás.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1160</span><a id="a1160" name="a1160"></a>
+<p class="i6">«&mdash;Cada paso que avanzáis</p>
+<p class="i4">Lo adelantáis a la muerte,</p>
+<p class="i4">Don Félix. ¿Y no tembláis</p>
+<p class="i4">Y el corazón no os advierte</p>
+<p class="i4">Que a la muerte camináis?»</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1165</span><a id="a1165" name="a1165"></a>
+<p class="i4">Con eco melancólico y sombrío</p>
+<p class="i2">Dijo así la mujer, y el sordo acento,</p>
+<p class="i2">Sonando en torno del mancebo impío,</p>
+<p class="i2">Rugió en la voz del proceloso viento.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Las piedras con las piedras se golpearon,</p><span class="rig">1170</span><a id="a1170" name="a1170"></a>
+<p class="i2">Bajo sus pies la tierra retembló,</p>
+<p class="i2">Las aves de la noche se juntaron,</p>
+<p class="i2">Y sus alas crujir sobre él sintió;</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y en la sombra unos ojos fulgurantes</p>
+<p class="i2">Vió en el aire vagar que espanto inspiran,</p><span class="rig">1175</span><a id="a1175" name="a1175"></a>
+<p class="i2">Siempre sobre él saltándose anhelantes,</p>
+<p class="i2">Ojos de horror que sin cesar le miran.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y los vió y no tembló; mano a la espada</p>
+<p class="i2">Puso y la sombra intrépido embistió;</p>
+<p class="i2">Y ni sombra encontró ni encontró nada,</p><span class="rig">1180</span><a id="a1180" name="a1180"></a>
+<p class="i2">Sólo fijos en él los ojos vió.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y alzó los suyos impaciente al cielo,</p>
+<p class="i2">Y rechinó los dientes y maldijo,</p>
+<p class="i2">Y, en él creciendo el infernal anhelo,</p>
+<p class="i2">Con voz de enojo blasfemando dijo:</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1185</span><a id="a1185" name="a1185"></a>
+<p class="i4">«Seguid, señora, y adelante vamos:</p>
+<p class="i2">Tanto mejor si sois el diablo mismo,</p>
+<p class="i2">Y Dios y el diablo y yo nos conozcamos,</p>
+<p class="i2">Y acábese por fin tanto embolismo.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«Que de tanto sermón, de farsa tanta,</p><span class="rig">1190</span><a id="a1190" name="a1190"></a>
+<p class="i2">Juro, pardiez, que fatigado estoy;</p>
+<p class="i2">Nada mi firme voluntad quebranta:</p>
+<p class="i2">Sabed, en fin, que, donde vayáis, voy.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«Un término no más tiene la vida:</p>
+<p class="i2">Término fijo; un paradero el alma:</p><span class="rig">1195</span><a id="a1195" name="a1195"></a>
+<p class="i2">Ahora adelante.» Dijo, y en seguida</p>
+<p class="i2">Camina en pos con decidida calma.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y la dama a una puerta se paró,</p>
+<p class="i2">Y era una puerta altísima, y se abrieron</p>
+<p class="i2">Sus hojas en el punto en que llamó,</p><span class="rig">1200</span><a id="a1200" name="a1200"></a>
+<p class="i2">Que a un misterioso impulso obedecieron;</p>
+<p class="i2">Y tras la dama el estudiante entró;</p>
+<p class="i2">Ni pajes ni doncellas acudieron;</p>
+<p class="i2">Y cruzan a la luz de unas bujías</p>
+<p class="i2">Fantásticas, desiertas galerías.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1205</span><a id="a1205" name="a1205"></a>
+<p class="i4">Y la visión, como engañoso encanto,</p>
+<p class="i2">Por las losas deslízase sin ruido,</p>
+<p class="i2">Toda encubierta bajo el blanco manto</p>
+<p class="i2">Que barre el suelo en pliegues desprendido;</p>
+<p class="i2">Y por el largo corredor en tanto</p><span class="rig">1210</span><a id="a1210" name="a1210"></a>
+<p class="i2">Sigue adelante, y síguela atrevido,</p>
+<p class="i2">Y su temeridad raya en locura,</p>
+<p class="i2">Resuelto Montemar a su aventura.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Las luces, como antorchas funerales,</p>
+<p class="i2">Lánguida luz y cárdena esparcían,</p><span class="rig">1215</span><a id="a1215" name="a1215"></a>
+<p class="i2">Y en torno, en movimientos desiguales,</p>
+<p class="i2">Las sombras se alejaban o venían</p>
+<p class="i2">Arcos aquí ruinosos, sepulcrales,</p>
+<p class="i2">Urnas allí y estatuas se veían,</p>
+<p class="i2">Rotas columnas, patios mal seguros,</p><span class="rig">1220</span><a id="a1220" name="a1220"></a>
+<p class="i2">Yerbosos, tristes, húmedos y oscuros.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Todo vago, quimérico y sombrío,</p>
+<p class="i2">Edificio sin base ni cimiento,</p>
+<p class="i2">Ondula cual fantástico navío</p>
+<p class="i2">Que anclado mueve borrascoso viento.</p><span class="rig">1225</span><a id="a1225" name="a1225"></a>
+<p class="i2">En un silencio aterrador y frío</p>
+<p class="i2">Yace allí todo: ni rumor, ni aliento</p>
+<p class="i2">Humano nunca se escuchó: callado,</p>
+<p class="i2">Corre allí el tiempo, en sueño sepultado.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Las muertas horas a las muertas horas</p><span class="rig">1230</span><a id="a1230" name="a1230"></a>
+<p class="i2">Siguen en el reloj de aquella vida,</p>
+<p class="i2">Sombras de horror girando aterradoras,</p>
+<p class="i2">Que allá aparecen en medrosa huída;</p>
+<p class="i2">Ellas solas y tristes moradoras</p>
+<p class="i2">De aquella negra, funeral guarida,</p><span class="rig">1235</span><a id="a1235" name="a1235"></a>
+<p class="i2">Cual soñada fantástica quimera,</p>
+<p class="i2">Vienen a ver al que su paz altera.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y en él enclavan los hundidos ojos</p>
+<p class="i2">Del fondo de la larga galería,</p>
+<p class="i2">Que brillan lejos cual carbones rojos,</p><span class="rig">1240</span><a id="a1240" name="a1240"></a>
+<p class="i2">Y espantaran la misma valentía;</p>
+<p class="i2">Y muestran en su rostro sus enojos</p>
+<p class="i2">Al ver hollada su mansión sombría;</p>
+<p class="i2">Y ora en grupos delante se aparecen,</p>
+<p class="i2">Ora en la sombra allá se desvanecen.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1245</span><a id="a1245" name="a1245"></a>
+<p class="i4">Grandïosa, satánica figura,</p>
+<p class="i2">Alta la frente, Montemar camina,</p>
+<p class="i2">Espíritu sublime en su locura,</p>
+<p class="i2">Provocando la cólera divina:</p>
+<p class="i2">Fábrica frágil de materia impura,</p><span class="rig">1250</span><a id="a1250" name="a1250"></a>
+<p class="i2">El alma que la alienta y la ilumina</p>
+<p class="i2">Con Dios le iguala, y con osado vuelo</p>
+<p class="i2">Se alza a su trono y le provoca a duelo.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Segundo Lucifer que se levanta</p>
+<p class="i2">Del rayo vengador la frente herida,</p><span class="rig">1255</span><a id="a1255" name="a1255"></a>
+<p class="i2">Alma rebelde que el temor no espanta,</p>
+<p class="i2">Hollada sí, pero jamás vencida:</p>
+<p class="i2">El hombre, en fin, que en su ansiedad quebranta</p>
+<p class="i2">Su límite a la cárcel de la vida,</p>
+<p class="i2">Y a Dios llama ante él a darle cuenta,</p><span class="rig">1260</span><a id="a1260" name="a1260"></a>
+<p class="i2">Y descubrir su inmensidad intenta.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y un báquico cantar tarareando,</p>
+<p class="i2">Cruza aquella quimérica morada,</p>
+<p class="i2">Con atrevida indiferencia andando,</p>
+<p class="i2">Mofa en los labios, y la vista osada;</p><span class="rig">1265</span><a id="a1265" name="a1265"></a>
+<p class="i2">Y el rumor que sus pasos van formando,</p>
+<p class="i2">Y el golpe que al andar le da la espada,</p>
+<p class="i2">Tristes ecos, siguiéndole detrás,</p>
+<p class="i2">Repiten con monótono compás.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y aquel extraño y único rüido</p><span class="rig">1270</span><a id="a1270" name="a1270"></a>
+<p class="i2">Que de aquella mansión los ecos llena,</p>
+<p class="i2">En el suelo y los techos repetido,</p>
+<p class="i2">En su profunda soledad resuena;</p>
+<p class="i2">Y espira allá cual funeral gemido</p>
+<p class="i2">Que lanza en su dolor la ánima en pena,</p><span class="rig">1275</span><a id="a1275" name="a1275"></a>
+<p class="i2">Que al fin del corredor largo y oscuro</p>
+<p class="i2">Salir parece de entre el roto muro.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y en aquel otro mundo y otra vida,</p>
+<p class="i2">Mundo de sombras, vida que es un sueño,</p>
+<p class="i2">Vida que, con la muerte confundida,</p><span class="rig">1280</span><a id="a1280" name="a1280"></a>
+<p class="i2">Ciñe sus sienes con letal beleño;</p>
+<p class="i2">Mundo, vaga ilusión descolorida</p>
+<p class="i2">De nuestro mundo y vaporoso ensueño,</p>
+<p class="i2">Son aquel ruido y su locura insana</p>
+<p class="i2">La sola imagen de la vida humana.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1285</span><a id="a1285" name="a1285"></a>
+<p class="i4">Que allá su blanca, misteriosa guía,</p>
+<p class="i2">De la alma dicha la ilusión parece,</p>
+<p class="i2">Que ora acaricia la esperanza impía,</p>
+<p class="i2">Ora al tocarla ya se desvanece;</p>
+<p class="i2">Blanca, flotante nube que en la umbría</p><span class="rig">1290</span><a id="a1290" name="a1290"></a>
+<p class="i2">Noche en alas del céfiro se mece</p>
+<p class="i2">Su airosa ropa, desplegada al viento,</p>
+<p class="i2">Semeja en su callado movimiento;</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Humo süave de quemado aroma</p>
+<p class="i2">Que al aire en ondas a perderse asciende;</p><span class="rig">1295</span><a id="a1295" name="a1295"></a>
+<p class="i2">Rayo de luna que en la parda loma</p>
+<p class="i2">Cual un broche su cima al éter prende;</p>
+<p class="i2">Silfa que con el alba envuelta asoma</p>
+<p class="i2">Y al nebuloso azul sus alas tiende,</p>
+<p class="i2">De negras sombras y de luz teñidas,</p><span class="rig">1300</span><a id="a1300" name="a1300"></a>
+<p class="i2">Entre el alba y la noche confundidas.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y ágil, veloz, aérea y vaporosa,</p>
+<p class="i2">Que apenas toca con los pies al suelo,</p>
+<p class="i2">Cruza aquella morada tenebrosa</p>
+<p class="i2">La mágica visión del blanco velo:</p><span class="rig">1305</span><a id="a1305" name="a1305"></a>
+<p class="i2">Imagen fiel de la ilusión dichosa</p>
+<p class="i2">Que acaso el hombre encontrará en el cielo,</p>
+<p class="i2">Pensamiento sin fórmula y sin nombre</p>
+<p class="i2">Que hace rezar y blasfemar al hombre.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y al fin del largo corredor llegando,</p><span class="rig">1310</span><a id="a1310" name="a1310"></a>
+<p class="i2">Montemar sigue su callada guía,</p>
+<p class="i2">Y una de mármol negro va bajando</p>
+<p class="i2">De caracol torcida gradería,</p>
+<p class="i2">Larga, estrecha y revuelta, y que girando</p>
+<p class="i2">En torno de él y sin cesar veía</p><span class="rig">1315</span><a id="a1315" name="a1315"></a>
+<p class="i2">Suspendida en el aire y con violento,</p>
+<p class="i2">Veloz, vertiginoso movimiento.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y en eterna espiral y en remolino</p>
+<p class="i2">Infinito prolóngase y se extiende,</p>
+<p class="i2">Y el juicio pone en loco desatino</p><span class="rig">1320</span><a id="a1320" name="a1320"></a>
+<p class="i2">A Montemar que en tumbos mil desciende,</p>
+<p class="i2">Y, envuelto en el violento torbellino,</p>
+<p class="i2">Al aire se imagina, y se desprende,</p>
+<p class="i2">Y sin que el raudo movimiento ceda,</p>
+<p class="i2">Mil vueltas dando, a los abismos rueda;</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1325</span><a id="a1325" name="a1325"></a>
+<p class="i4">Y de escalón en escalón cayendo,</p>
+<p class="i2">Blasfema y jura con lenguaje inmundo,</p>
+<p class="i2">Y su furioso vértigo creciendo,</p>
+<p class="i2">Y despeñado rápido al profundo,</p>
+<p class="i2">Los silbos ya del huracán oyendo,</p><span class="rig">1330</span><a id="a1330" name="a1330"></a>
+<p class="i2">Ya ante él pasando en confusión el mundo,</p>
+<p class="i2">Ya oyendo gritos, voces y palmadas,</p>
+<p class="i2">Y aplausos y brutales carcajadas,</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Llantos y ayes, quejas y gemidos,</p>
+<p class="i2">Mofas, sarcasmos, risas y denuestos;</p><span class="rig">1335</span><a id="a1335" name="a1335"></a>
+<p class="i2">Y en mil grupos acá y allá reunidos,</p>
+<p class="i2">Viendo debajo de él, sobre él enhiestos,</p>
+<p class="i2">Hombres, mujeres, todos confundidos,</p>
+<p class="i2">Con sandia pena, con alegres gestos,</p>
+<p class="i2">Que con asombro estúpido le miran</p><span class="rig">1340</span><a id="a1340" name="a1340"></a>
+<p class="i2">Y en el perpetuo remolino giran.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Siente por fin que de repente pára,</p>
+<p class="i2">Y un punto sin sentido se quedó;</p>
+<p class="i2">Mas luego valeroso se repara,</p>
+<p class="i2">Abrió los ojos y de pie se alzó;</p><span class="rig">1345</span><a id="a1345" name="a1345"></a>
+<p class="i2">Y fué el primer objeto en que pensara</p>
+<p class="i2">La blanca dama, y alredor miró,</p>
+<p class="i2">Y al pie de un triste monumento hallóla</p>
+<p class="i2">Sentada en medio de la estancia, sola.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Era un negro solemne monumento</p><span class="rig">1350</span><a id="a1350" name="a1350"></a>
+<p class="i2">Que en medio de la estancia se elevaba,</p>
+<p class="i2">Y, a un tiempo a Montemar ¡raro portento!</p>
+<p class="i2">Una tumba y un lecho semejaba:</p>
+<p class="i2">Ya imaginó su loco pensamiento</p>
+<p class="i2">Que abierta aquella tumba le aguardaba;</p><span class="rig">1355</span><a id="a1355" name="a1355"></a>
+<p class="i2">Ya imaginó también que el lecho era</p>
+<p class="i2">Tálamo blando que al esposo espera.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y pronto, recobrada su osadía,</p>
+<p class="i2">Y a terminar resuelto su aventura,</p>
+<p class="i2">Al cielo y al infierno desafía</p><span class="rig">1360</span><a id="a1360" name="a1360"></a>
+<p class="i2">Con firme pecho y decisión segura:</p>
+<p class="i2">A la blanca visión su planta guía,</p>
+<p class="i2">Y a descubrirse el rostro la conjura,</p>
+<p class="i2">Y a sus pies Montemar tomando asiento</p>
+<p class="i2">Así la habló con animoso acento:</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1365</span><a id="a1365" name="a1365"></a>
+<p class="i6">«Diablo, mujer o visión,</p>
+<p class="i4">Que, a juzgar por el camino</p>
+<p class="i4">Que conduce a esta mansión,</p>
+<p class="i4">Eres puro desatino</p>
+<p class="i4">O diabólica invención,</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1370</span><a id="a1370" name="a1370"></a>
+<p class="i6">«Siquier de parte de Dios,</p>
+<p class="i4">Siquier de parte del diablo,</p>
+<p class="i4">¿Quién nos trajo aquí a los dos?</p>
+<p class="i4">Decidme, en fin, ¿quién sois vos?</p>
+<p class="i4">Y sepa yo con quién hablo:</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1375</span><a id="a1375" name="a1375"></a>
+<p class="i6">«Que más que nunca palpita</p>
+<p class="i4">Resuelto mi corazón,</p>
+<p class="i4">Cuando en tanta confusión,</p>
+<p class="i4">Y en tanto arcano que irrita,</p>
+<p class="i4">Me descubre mi razón</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1380</span><a id="a1380" name="a1380"></a>
+<p class="i6">«Que un poder aquí supremo,</p>
+<p class="i4">Invisible se ha mezclado,</p>
+<p class="i4">Poder que siento y no temo,</p>
+<p class="i4">A llevar determinado</p>
+<p class="i4">Esta aventura al extremo.»</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1385</span><a id="a1385" name="a1385"></a>
+<p class="i12">Fúnebre</p>
+<p class="i10">Llanto</p>
+<p class="i10">De amor</p>
+<p class="i10">Óyese</p>
+<p class="i10">En tanto</p><span class="rig">1390</span><a id="a1390" name="a1390"></a>
+<p class="i10">En son</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i10">    Flébil, blando</p>
+<p class="i8">Cual quejido</p>
+<p class="i8">Dolorido</p>
+<p class="i8">Que del alma</p><span class="rig">1395</span><a id="a1395" name="a1395"></a>
+<p class="i8">Se arrancó:</p>
+<p class="i8">Cual profundo</p>
+<p class="i8">¡Ay! que exhala</p>
+<p class="i8">Moribundo</p>
+<p class="i8">Corazón.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1400</span><a id="a1400" name="a1400"></a>
+<p class="i8">Música triste</p>
+<p class="i6">Lánguida y vaga,</p>
+<p class="i6">Que a par lastima</p>
+<p class="i6">Y el alma halaga;</p>
+<p class="i6">Dulce armonía</p><span class="rig">1405</span><a id="a1405" name="a1405"></a>
+<p class="i6">Que inspira al pecho</p>
+<p class="i6">Melancolía,</p>
+<p class="i6">Como el murmullo</p>
+<p class="i6">De algún recuerdo</p>
+<p class="i6">De antiguo amor,</p><span class="rig">1410</span><a id="a1410" name="a1410"></a>
+<p class="i6">A un tiempo arrullo</p>
+<p class="i6">Y amarga pena</p>
+<p class="i6">Del corazón.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Mágico embeleso,</p>
+<p class="i4">Cántico ideal,</p><span class="rig">1415</span><a id="a1415" name="a1415"></a>
+<p class="i4">Que en los aires vaga</p>
+<p class="i4">Y en sonoras ráfagas</p>
+<p class="i4">Aumentado va;</p>
+<p class="i4">Sublime y oscuro,</p>
+<p class="i4">Rumor prodigioso,</p><span class="rig">1420</span><a id="a1420" name="a1420"></a>
+<p class="i4">Sordo acento lúgubre,</p>
+<p class="i4">Eco sepulcral,</p>
+<p class="i4">Músicas lejanas,</p>
+<p class="i4">De enlutado parche</p>
+<p class="i4">Redoble monótono,</p><span class="rig">1425</span><a id="a1425" name="a1425"></a>
+<p class="i4">Cercano huracán,</p>
+<p class="i4">Que apenas la copa</p>
+<p class="i4">Del árbol menea</p>
+<p class="i4">Y bramando está;</p>
+<p class="i4">Olas alteradas</p><span class="rig">1430</span><a id="a1430" name="a1430"></a>
+<p class="i4">De la mar bravía</p>
+<p class="i4">En noche sombría,</p>
+<p class="i4">Los vientos en paz,</p>
+<p class="i4">Y cuyo rugido</p>
+<p class="i4">Se mezcla al gemido</p><span class="rig">1435</span><a id="a1435" name="a1435"></a>
+<p class="i4">Del muro que trémulo</p>
+<p class="i4">Las siente llegar;</p>
+<p class="i4">Pavoroso estrépito,</p>
+<p class="i4">Infalible présago</p>
+<p class="i4">De la tempestad.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1440</span><a id="a1440" name="a1440"></a>
+<p class="i4">Y, en rápido <i>crescendo</i>,</p>
+<p class="i2">Los lúgubres sonidos</p>
+<p class="i2">Más cerca vanse oyendo</p>
+<p class="i2">Y en ronco rebramar;</p>
+<p class="i2">Cual trueno en las montañas</p><span class="rig">1445</span><a id="a1445" name="a1445"></a>
+<p class="i2">Que retumbando va,</p>
+<p class="i2">Cual rugen las entrañas</p>
+<p class="i2">De horrísono volcán.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Y algazara y gritería,</p>
+<p class="i4">Crujir de afilados huesos,</p><span class="rig">1450</span><a id="a1450" name="a1450"></a>
+<p class="i4">Rechinamiento de dientes</p>
+<p class="i4">Y retemblar los cimientos,</p>
+<p class="i4">Y en pavoroso estallido</p>
+<p class="i4">Las losas del pavimento</p>
+<p class="i4">Separando sus junturas</p><span class="rig">1455</span><a id="a1455" name="a1455"></a>
+<p class="i4">Irse poco a poco abriendo,</p>
+<p class="i4">Siente Montemar; y el ruido</p>
+<p class="i4">Más cerca crece, y a un tiempo</p>
+<p class="i4">Escucha chocarse cráneos,</p>
+<p class="i4">Ya descarnados y secos,</p><span class="rig">1460</span><a id="a1460" name="a1460"></a>
+<p class="i4">Temblar en torno la tierra,</p>
+<p class="i4">Bramar combatidos vientos,</p>
+<p class="i4">Rugir las airadas olas,</p>
+<p class="i4">Estallar el ronco trueno,</p>
+<p class="i4">Exhalar tristes quejidos</p><span class="rig">1465</span><a id="a1465" name="a1465"></a>
+<p class="i4">Y prorrumpir en lamentos:</p>
+<p class="i4">Todo en furiosa armonía,</p>
+<p class="i4">Todo en frenético estruendo,</p>
+<p class="i4">Todo en confuso trastorno,</p>
+<p class="i4">Todo mezclado y diverso.</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1470</span><a id="a1470" name="a1470"></a>
+<p class="i4">Y luego el estrépito crece</p>
+<p class="i2">Confuso y mezclado en un són,</p>
+<p class="i2">Que ronco en las bóvedas hondas</p>
+<p class="i2">Tronando furioso zumbó;</p>
+<p class="i2">Y un eco que agudo parece</p><span class="rig">1475</span><a id="a1475" name="a1475"></a>
+<p class="i2">Del ángel del juicio la voz,</p>
+<p class="i2">En tiple, punzante alarido</p>
+<p class="i2">Medroso y sonoro se alzó;</p>
+<p class="i2">Sintió, removidas las tumbas,</p>
+<p class="i2">Crujir a sus pies con fragor,</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1480</span><a id="a1480" name="a1480"></a>
+<p class="i8">Chocar en las piedras los cráneos</p>
+<p class="i6">Con rabia y ahinco feroz,</p>
+<p class="i6">Romper intentando la losa,</p>
+<p class="i6">Y huir de su eterna mansión,</p>
+<p class="i6">Los muertos, de súbito oyendo</p><span class="rig">1485</span><a id="a1485" name="a1485"></a>
+<p class="i6">El alto mandato de Dios.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Y de pronto en horrendo estampido</p>
+<p class="i4">Desquiciarse la estancia sintió,</p>
+<p class="i4">Y al tremendo tartáreo ruido</p>
+<p class="i4">Cien espectros alzarse miró:</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1490</span><a id="a1490" name="a1490"></a>
+<p class="i6">De sus ojos los huecos fijaron</p>
+<p class="i4">Y sus dedos enjutos en él;</p>
+<p class="i4">Y después entre sí se miraron,</p>
+<p class="i4">Y a mostrarle tornaron después;</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Y, enlazadas las manos siniestras,</p><span class="rig">1495</span><a id="a1495" name="a1495"></a>
+<p class="i4">Con dudoso, espantado ademán</p>
+<p class="i4">Contemplando, y, tendidas sus diestras,</p>
+<p class="i4">Con asombro al osado mortal,</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Se acercaron despacio, y la seca</p>
+<p class="i4">Calavera, mostrando temor,</p><span class="rig">1500</span><a id="a1500" name="a1500"></a>
+<p class="i4">Con inmóvil, irónica mueca</p>
+<p class="i4">Inclinaron, formando en redor.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Y entonces la visión del blanco velo</p>
+<p class="i4">Al fiero Montemar tendió una mano,</p>
+<p class="i4">Y era su tacto de crispante hielo,</p><span class="rig">1505</span><a id="a1505" name="a1505"></a>
+<p class="i4">Y resistirlo audaz intentó en vano:</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Galvánica, crüel, nerviosa y fría,</p>
+<p class="i4">Histérica y horrible sensación,</p>
+<p class="i4">Toda la sangre coagulada envía</p>
+<p class="i4">Agolpada y helada al corazón....</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1510</span><a id="a1510" name="a1510"></a>
+<p class="i6">Y a su despecho y maldiciendo al cielo,</p>
+<p class="i4">De ella apartó su mano Montemar,</p>
+<p class="i4">Y temerario alzándola a su velo,</p>
+<p class="i4">Tirando de él la descubrió la faz.</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6"><i>¡Es su esposo!!</i> los ecos retumbaron,</p><span class="rig">1515</span><a id="a1515" name="a1515"></a>
+<p class="i4"><i>¡La esposa al fin que su consorte halló!!</i></p>
+<p class="i4">Los espectros con júbilo gritaron:</p>
+<p class="i4"><i>¡Es el esposo de su eterno amor!!</i></p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Y ella entonces gritó: <i>¡Mi esposo!!</i> ¡Y era</p>
+<p class="i4">(¡Desengaño fatal! ¡triste verdad!)</p><span class="rig">1520</span><a id="a1520" name="a1520"></a>
+<p class="i4">Una sórdida, horrible calavera,</p>
+<p class="i4">La blanca dama del gallardo andar!...</p>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Luego un caballero de espuela dorada,</p>
+<p class="i2">Airoso, aunque el rostro con mortal color,</p>
+<p class="i2">Traspasado el pecho de fiera estocada,</p><span class="rig">1525</span><a id="a1525" name="a1525"></a>
+<p class="i2">Aun brotando sangre de su corazón,</p>
+</div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Se acerca y le dice, su diestra tendida,</p>
+<p class="i2">Que impávido estrecha también Montemar:</p>
+<p class="i2">«&mdash;Al fin, la palabra, que disteis, cumplida,</p>
+<p class="i2">Doña Elvira, vedla, vuestra esposa es ya;</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1530</span><a id="a1530" name="a1530"></a>
+<p class="i4">«Mi muerte os perdono.&mdash;Por cierto, Don Diego,</p>
+<p class="i2">Repuso Don Félix tranquilo a su vez,</p>
+<p class="i2">Me alegro de veros con tanto sosiego,</p>
+<p class="i2">Que a fe no esperaba volveros a ver.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«En cuanto a ese espectro que decís mi esposa,</p><span class="rig">1535</span><a id="a1535" name="a1535"></a>
+<p class="i2">Raro casamiento venísme a ofrecer:</p>
+<p class="i2">Su faz no es por cierto ni amable ni hermosa;</p>
+<p class="i2">Mas no se os figure que os quiera ofender.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«Por mujer la tomo, porque es cosa cierta,</p>
+<p class="i2">Y espero no salga fallido mi plan,</p><span class="rig">1540</span><a id="a1540" name="a1540"></a>
+<p class="i2">Que, en caso tan raro y mi esposa muerta,</p>
+<p class="i2">Tanto como viva no me cansará.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«Mas antes decidme si Dios o el demonio</p>
+<p class="i2">Me trajo a este sitio, que quisiera ver</p>
+<p class="i2">Al uno u al otro, y en mi matrimonio</p><span class="rig">1545</span><a id="a1545" name="a1545"></a>
+<p class="i2">Tener por padrino siquiera a Luzbel:</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">«Cualquiera o entrambos con su corte toda,</p>
+<p class="i2">Estando estos nobles espectros aquí,</p>
+<p class="i2">No perdiera mucho viniendo a mi boda....</p>
+<p class="i2">Hermano Don Diego, ¿no pensáis así?»</p>
+</div></div>
+
+<div class="poem"><div class="stanza"><span class="rig">1550</span><a id="a1550" name="a1550"></a>
+<p class="i4">Tal dijo Don Félix con fruncido ceño,</p>
+<p class="i2">En torno arrojando con fiero ademán</p>
+<p class="i2">Miradas audaces de altivo desdeño,</p>
+<p class="i2">Al Dios por quien jura capaz de arrostrar.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">El carïado, lívido esqueleto,</p><span class="rig">1555</span><a id="a1555" name="a1555"></a>
+<p class="i2">Los fríos, largos y asquerosos brazos,</p>
+<p class="i2">Le enreda en tanto en apretados lazos,</p>
+<p class="i2">Y ávido le acaricia en su ansiedad;</p>
+<p class="i2">Y con su boca cavernosa busca</p>
+<p class="i2">La boca a Montemar, y a su mejilla</p><span class="rig">1560</span><a id="a1560" name="a1560"></a>
+<p class="i2">La árida, descarnada y amarilla</p>
+<p class="i2">Junta y refriega repugnante faz.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y él, envuelto en sus secas coyunturas,</p>
+<p class="i2">Aun más sus nudos que se aprietan siente,</p>
+<p class="i2">Baña un mar de sudor su ardida frente,</p><span class="rig">1565</span><a id="a1565" name="a1565"></a>
+<p class="i2">Y crece en su impotencia su furor.</p>
+<p class="i2">Pugna con ansia a desasirse en vano,</p>
+<p class="i2">Y cuanto más airado forcejea,</p>
+<p class="i2">Tanto más se le junta y le desea</p>
+<p class="i2">El rudo espectro que le inspira horror.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1570</span><a id="a1570" name="a1570"></a>
+<p class="i4">Y en furioso, veloz remolino,</p>
+<p class="i2">Y en aérea fantástica danza,</p>
+<p class="i2">Que la mente del hombre no alcanza</p>
+<p class="i2">En su rápido curso a seguir,</p>
+<p class="i2">Los espectros su ronda empezaron,</p><span class="rig">1575</span><a id="a1575" name="a1575"></a>
+<p class="i2">Cual en círculos raudos el viento</p>
+<p class="i2">Remolinos de polvo violento</p>
+<p class="i2">Y hojas secas agita sin fin.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y elevando sus áridas manos,</p>
+<p class="i2">Resonando cual lúgubre eco,</p><span class="rig">1580</span><a id="a1580" name="a1580"></a>
+<p class="i2">Levantóse en su cóncavo hueco</p>
+<p class="i2">Semejante a un aullido una voz</p>
+<p class="i2">Pavorosa, monótona, informe,</p>
+<p class="i2">Que pronuncia sin lengua su boca,</p>
+<p class="i2">Cual la voz que del áspera roca</p><span class="rig">1585</span><a id="a1585" name="a1585"></a>
+<p class="i2">En los senos el viento formó.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Cantemos, dijeron sus gritos,</p>
+<p class="i4">La gloria, el amor de la esposa,</p>
+<p class="i4">Que enlaza en sus brazos dichosa</p>
+<p class="i4">Por siempre al esposo que amó;</p><span class="rig">1590</span><a id="a1590" name="a1590"></a>
+<p class="i4">Su boca a su boca se junte,</p>
+<p class="i4">Y selle su eterna delicia,</p>
+<p class="i4">Süave, amorosa caricia</p>
+<p class="i4">Y lánguido beso de amor.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">«Y en mútuos abrazos unidos,</p><span class="rig">1595</span><a id="a1595" name="a1595"></a>
+<p class="i4">Y en blando y eterno reposo,</p>
+<p class="i4">La esposa enlazada al esposo,</p>
+<p class="i4">Por siempre descansen en paz;</p>
+<p class="i4">Y en fúnebre luz ilumine</p>
+<p class="i4">Sus bodas fatídica tea,</p><span class="rig">1600</span><a id="a1600" name="a1600"></a>
+<p class="i4">Les brinde deleites, y sea</p>
+<p class="i4">La tumba su lecho nupcial.»</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i6">Mientras, la ronda frenética,</p>
+<p class="i4">Que en raudo giro se agita,</p>
+<p class="i4">Más cada vez precipita</p><span class="rig">1605</span><a id="a1605" name="a1605"></a>
+<p class="i4">Su vértigo sin ceder;</p>
+<p class="i4">Más cada vez se atropella,</p>
+<p class="i4">Más cada vez se arrebata,</p>
+<p class="i4">Y en círculos se desata</p>
+<p class="i4">Violentos más cada vez;</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1610</span><a id="a1610" name="a1610"></a>
+<p class="i4">Y escapa en rueda quimérica;</p>
+<p class="i2">Y negro punto parece</p>
+<p class="i2">Que en torno se desvanece</p>
+<p class="i2">A la fantástica luz,</p>
+<p class="i2">Y sus lúgubres aullidos</p><span class="rig">1615</span><a id="a1615" name="a1615"></a>
+<p class="i2">Que pavorosos se extienden</p>
+<p class="i2">Los aires rápidos hienden</p>
+<p class="i2">Más prolongados aún.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i8">Y a tan continuo vértigo,</p>
+<p class="i6">A tan funesto encanto,</p><span class="rig">1620</span><a id="a1620" name="a1620"></a>
+<p class="i6">A tan horrible canto,</p>
+<p class="i6">A tan tremenda lid,</p>
+<p class="i6">Entre los brazos lúbricos</p>
+<p class="i6">Que aprémianle sujeto</p>
+<p class="i6">Del hórrido esqueleto,</p><span class="rig">1625</span><a id="a1625" name="a1625"></a>
+<p class="i6">Entre caricias mil,</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i8">Jamás vencido el ánimo,</p>
+<p class="i6">Su cuerpo ya rendido</p>
+<p class="i6">Sintió desfallecido</p>
+<p class="i6">Faltarle Montemar;</p><span class="rig">1630</span><a id="a1630" name="a1630"></a>
+<p class="i6">Y a par que más su espíritu</p>
+<p class="i6">Desmiente su miseria,</p>
+<p class="i6">La flaca, vil materia</p>
+<p class="i6">Comienza a desmayar.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i10"> Y siente un confuso,</p><span class="rig">1635</span><a id="a1635" name="a1635"></a>
+<p class="i8">Loco devaneo,</p>
+<p class="i8">Languidez, mareo</p>
+<p class="i8">Y angustioso afán;</p>
+<p class="i8">Y sombras y luces,</p>
+<p class="i8">La estancia que gira,</p><span class="rig">1640</span><a id="a1640" name="a1640"></a>
+<p class="i8">Y espíritus mira</p>
+<p class="i8">Que vienen y van.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i10"> Y luego a lo lejos,</p>
+<p class="i8">Flébil en su oído,</p>
+<p class="i8">Eco dolorido</p><span class="rig">1645</span><a id="a1645" name="a1645"></a>
+<p class="i8">Lánguido sonó,</p>
+<p class="i8">Cual la melodía</p>
+<p class="i8">Que el aura amorosa</p>
+<p class="i8">Y el agua armoniosa</p>
+<p class="i8">De noche formó;</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1650</span><a id="a1650" name="a1650"></a>
+<p class="i12">Y siente luego</p>
+<p class="i10">Su pecho ahogado</p>
+<p class="i10">Y desmayado,</p>
+<p class="i10">Turbios sus ojos,</p>
+<p class="i10">Sus graves párpados,</p>
+<p class="i10">Flojos caer;</p>
+<p class="i10">La frente inclina</p>
+<p class="i10">Sobre su pecho,</p>
+<p class="i10">Y, a su despecho,</p>
+<p class="i10">Siente sus brazos</p><span class="rig">1660</span><a id="a1660" name="a1660"></a>
+<p class="i10">Lánguidos, débiles</p>
+<p class="i10">Desfallecer.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i14">      Y vió luego</p>
+<p class="i12">Una llama</p>
+<p class="i12">Que se inflama</p><span class="rig">1665</span><a id="a1665" name="a1665"></a>
+<p class="i12">Y murió;</p>
+<p class="i12">Y perdido</p>
+<p class="i12">Oyó el eco</p>
+<p class="i12">De un gemido</p>
+<p class="i12">Que espiró.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza"><span class="rig">1670</span><a id="a1670" name="a1670"></a>
+<p class="i16">Tal, dulce</p>
+<p class="i14">Suspira</p>
+<p class="i14">La lira</p>
+<p class="i14">Que hirió</p>
+<p class="i14">En blando</p><span class="rig">1675</span><a id="a1675" name="a1675"></a>
+<p class="i14">Concento</p>
+<p class="i14">Del viento</p>
+<p class="i14">La voz,</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i18">Leve,</p>
+<p class="i16">Breve</p><span class="rig">1680</span><a id="a1680" name="a1680"></a>
+<p class="i16">Són.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">En tanto en nubes de carmín y grana</p>
+<p class="i2">Su luz el alba arrebolada envía,</p>
+<p class="i2">Y alegre regocija y engalana</p>
+<p class="i2">Las altas torres el naciente día:</p><span class="rig">1685</span><a id="a1685" name="a1685"></a>
+<p class="i2">Sereno el cielo, calma la mañana,</p>
+<p class="i2">Blanda la brisa, trasparente y fría,</p>
+<p class="i2">Vierte a la tierra el sol con su hermosura</p>
+<p class="i2">Rayos de paz y celestial ventura.</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">Y huyó la noche y con la noche huían</p><span class="rig">1690</span><a id="a1690" name="a1690"></a>
+<p class="i2">Sus sombras y quiméricas mujeres,</p>
+<p class="i2">Y a su silencio y calma sucedían</p>
+<p class="i2">El bullicio y rumor de los talleres;</p>
+<p class="i2">Y a su trabajo y a su afán volvían</p>
+<p class="i2">Los hombres y a sus frívolos placeres,</p><span class="rig">1695</span><a id="a1695" name="a1695"></a>
+<p class="i2">Algunos hoy volviendo a su faena.</p>
+<p class="i2">De zozobra y temor el alma llena;</p>
+  </div>  </div>
+
+<div class="poem"><div class="stanza">
+<p class="i4">¡Que era pública voz, que llanto arranca</p>
+<p class="i2">Del pecho pecador y empedernido,</p>
+<p class="i2">Que en forma de mujer y en una blanca</p><span class="rig">1700</span><a id="a1700" name="a1700"></a>
+<p class="i2">Túnica misteriosa revestido,</p>
+<p class="i2">Aquella noche el diablo a Salamanca</p>
+<p class="i2">Había, en fin, por Montemar venido!...</p>
+<p class="i2"><i>Y si, lector, dijerdes ser comento,</i></p>
+<p class="i2"><i>Como me lo contaron, te lo cuento.</i></p>
+  </div>  </div>
+<br><br><br>
+
+<a id="b1" name="b1"></a>
+
+<h2>CANCIÓN DEL PIRATA</h2>
+
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Con diez cañones por banda,</p>
+<p>Viento en popa, a toda vela,</p>
+<p>No corta el mar sino vuela</p>
+<p>Un velero bergantín:</p><span class="rig">5</span><a id="b5" name="b5"></a>
+<p class="i2">Bajel pirata que llaman</p>
+<p>Por su bravura el <i>Temido</i>,</p>
+<p>En todo mar conocido</p>
+<p>Del uno al otro confín.</p>
+  </div><div class="stanza">
+<p class="i2">La luna en el mar rïela,</p><span class="rig">10</span><a id="b10" name="b10"></a>
+<p>En la lona gime el viento,</p>
+<p>Y alza en blando movimiento</p>
+<p>Olas de plata y azul;</p>
+<p class="i2">Y ve el capitán pirata,</p>
+<p>Cantando alegre en la popa,</p><span class="rig">15</span><a id="b15" name="b15"></a>
+<p>Asia a un lado, al otro Europa,</p>
+<p>Y allá a su frente Stambul.<sup>1</sup></p>
+  </div>  </div>
+
+<p>[Nota 1: Nombre que dan los Turcos a Constantinopla]</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">«Navega, velero mío,</p>
+<p class="i6">Sin temor,</p>
+<p>Que ni enemigo navío,</p><span class="rig">20</span><a id="b20" name="b20"></a>
+<p>Ni tormenta, ni bonanza</p>
+<p>Tu rumbo a torcer alcanza,</p>
+<p>Ni a sujetar tu valor.</p>
+  </div><div class="stanza">
+<p class="i6">«Veinte presas</p>
+<p class="i4">Hemos hecho</p><span class="rig">25</span><a id="b25" name="b25"></a>
+<p class="i4">A despecho</p>
+<p class="i4">Del Inglés,</p>
+<p class="i4">Y han rendido</p>
+<p class="i4">Sus pendones</p>
+<p class="i4">Cien naciones</p><span class="rig">30</span><a id="b30" name="b30"></a>
+<p class="i4">A mis pies.</p>
+  </div><div class="stanza">
+<p class="i2">«Que es mi barco mi tesoro,</p>
+<p>Que es mi Dios la libertad,</p>
+<p>Mi ley la fuerza y el viento,</p>
+<p>Mi única patria la mar.</p>
+  </div><div class="stanza"><span class="rig">35</span><a id="b35" name="b35"></a>
+<p class="i2">«Allá muevan feroz guerra</p>
+<p class="i6">Ciegos reyes</p>
+<p>Por un palmo más de tierra;</p>
+<p>Que yo tengo aquí por mío</p>
+<p>Cuanto abarca el mar bravío,</p><span class="rig">40</span><a id="b40" name="b40"></a>
+<p>A quien nadie impuso leyes.</p>
+  </div><div class="stanza">
+<p class="i6">«Y no hay playa,</p>
+<p class="i4">Sea cualquiera,</p>
+<p class="i4">Ni bandera</p>
+<p class="i4">De esplendor,</p><span class="rig">45</span><a id="b45" name="b45"></a>
+<p class="i4">Que no sienta</p>
+<p class="i4">Mi derecho</p>
+<p class="i4">Y dé pecho</p>
+<p class="i4">A mi valor.</p>
+  </div><div class="stanza">
+<p>«Que es mi barco mi tesoro....</p>
+  </div><div class="stanza"><span class="rig">50</span><a id="b50" name="b50"></a>
+<p>«A la voz de '¡barco viene!'</p>
+<p class="i6">Es de ver</p>
+<p>Cómo vira y se previene</p>
+<p>A todo trapo a escapar;</p>
+<p>Que yo soy el rey del mar,</p><span class="rig">55</span><a id="b55" name="b55"></a>
+<p>Y mi furia es de temer.</p>
+  </div><div class="stanza">
+<p class="i6">«En las presas</p>
+<p class="i4">Yo divido</p>
+<p class="i4">Lo cogido</p>
+<p class="i4">Por igual:</p><span class="rig">60</span><a id="b60" name="b60"></a>
+<p class="i4">Sólo quiero</p>
+<p class="i4">Por riqueza</p>
+<p class="i4">La belleza</p>
+<p class="i4">Sin rival.</p>
+  </div><div class="stanza">
+<p class="i2">«Que es mi barco mi tesoro....</p>
+  </div><div class="stanza"><span class="rig">65</span><a id="b65" name="b65"></a>
+<p class="i2">«¡Sentenciado estoy a muerte!</p>
+<p class="i6">Yo me río.</p>
+<p>No me abandone la suerte,</p>
+<p>Y al mismo que me condena</p>
+<p>Colgaré de alguna entena,</p><span class="rig">70</span><a id="b70" name="b70"></a>
+<p>Quizá en su propio navío.</p>
+  </div><div class="stanza">
+<p class="i6">«Y si caigo,</p>
+<p class="i4">¿Qué es la vida?</p>
+<p class="i4">Por perdida</p>
+<p class="i4">Ya la di,</p><span class="rig">75</span><a id="b75" name="b75"></a>
+<p class="i4">Cuando el yugo</p>
+<p class="i4">Del esclavo,</p>
+<p class="i4">Como un bravo,</p>
+<p class="i4">Sacudí.</p>
+  </div><div class="stanza">
+<p class="i2">«Que es mi barco mi tesoro....</p>
+  </div><div class="stanza"><span class="rig">80</span><a id="b80" name="b80"></a>
+<p class="i2">«Son mi música mejor</p>
+<p class="i6">Aquilones;</p>
+<p>El estrépito y temblor</p>
+<p>De los cables sacudidos;</p>
+<p>Del negro mar los bramidos</p><span class="rig">85</span><a id="b85" name="b85"></a>
+<p>Y el rugir de mis cañones.</p>
+  </div><div class="stanza">
+<p class="i4">«Y del trueno</p>
+<p class="i4">Al són violento,</p>
+<p class="i4">Y del viento</p>
+<p class="i4">Al rebramar,</p><span class="rig">90</span><a id="b90" name="b90"></a>
+<p class="i4">Yo me duermo</p>
+<p class="i4">Sosegado,</p>
+<p class="i4">Arrullado</p>
+<p class="i4">Por el mar.</p>
+  </div><div class="stanza">
+<p class="i2">«Que es mi barco mi tesoro,</p><span class="rig">95</span><a id="b95" name="b95"></a>
+<p>Que es mi Dios la libertad,</p>
+<p>Mi ley la fuerza y el viento,</p>
+<p>Mi única patria la mar.»</p>
+  </div>  </div>
+<br><br><br>
+
+
+<a id="c1" name="c1"></a>
+
+<h2>EL CANTO DEL COSACO</h2>
+
+
+<p class="rig">Donde sienta mi caballo los pies no vuelve<br>
+a nacer yerba.&mdash;Palabras de Átila</p><br><br><br>
+
+<h4>CORO</h4>
+
+<div class="poem"><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto! ¡Hurra!</p>
+<p>La Europa os brinda espléndido botín:</p>
+<p>Sangrienta charca sus campiñas sean,</p>
+<p>De los grajos su ejército festín.</p>
+  </div><div class="stanza"><span class="rig">5</span><a id="c5" name="c5"></a>
+<p class="i2">¡Hurra! a caballo, hijos de la niebla!</p>
+<p>Suelta la rienda, a combatir volad.</p>
+<p>¿Veis esas tierras fértiles? las puebla</p>
+<p>Gente opulenta, afeminada ya.</p>
+<p>Casas, palacios, campos y jardines,</p><span class="rig">10</span><a id="c10" name="c10"></a>
+<p>Todo es hermoso y refulgente allí;</p>
+<p>Son sus hembras celestes serafines,</p>
+<p>Su sol alumbra un cielo de zafir.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">Nuestros sean su oro y sus placeres,</p><span class="rig">15</span><a id="c15" name="c15"></a>
+<p>Gocemos de ese campo y de ese sol;</p>
+<p>Son sus soldados menos que mujeres,</p>
+<p>Sus reyes viles mercaderes son.</p>
+<p class="i2">Vedlos huír para esconder su oro,</p>
+<p>Vedlos cobardes lágrimas verter....</p><span class="rig">20</span><a id="c20" name="c20"></a>
+<p>¡Hurra! volad: sus cuerpos, su tesoro</p>
+<p>Huellen nuestros caballos con sus pies.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">Dictará allí nuestro capricho leyes,</p>
+<p>Nuestras casas alcázares serán,</p><span class="rig">25</span><a id="c25" name="c25"></a>
+<p>Los cetros y coronas de los reyes</p>
+<p>Cual juguetes de niños rodarán.</p>
+<p class="i2">¡Hurra! volad a hartar nuestros deseos;</p>
+<p>Las más hermosas nos darán su amor,</p>
+<p>Y no hallarán nuestros semblantes feos,</p><span class="rig">30</span><a id="c30" name="c30"></a>
+<p>Que siempre brilla hermoso el vencedor.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">Desgarraremos la vencida Europa</p>
+<p>Cual tigres que devoran su ración;</p>
+<p>En sangre empaparemos nuestra ropa</p><span class="rig">35</span><a id="c35" name="c35"></a>
+<p>Cual rojo manto de imperial señor.</p>
+<p class="i2">Nuestros nobles caballos relinchando</p>
+<p>Regias habitaciones morarán;</p>
+<p>Cien esclavos, sus frentes inclinando,</p>
+<p>Al mover nuestros ojos temblarán.</p>
+  </div><div class="stanza"><span class="rig">40</span><a id="c40" name="c40"></a>
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">Venid, volad, guerreros del desierto,</p>
+<p>Como nubes en negra confusión,</p>
+<p>Todos suelto el bridón, el ojo incierto,</p>
+<p>Todos atropellándoos en montón.</p><span class="rig">45</span><a id="c45" name="c45"></a>
+<p class="i2">Id, en la espesa niebla confundidos,</p>
+<p>Cual tromba que arrebata el huracán,</p>
+<p>Cual témpanos de hielo endurecidos</p>
+<p>Por entre rocas despeñados van.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza"><span class="rig">50</span><a id="c50" name="c50"></a>
+<p class="i2">Nuestros padres un tiempo caminaron</p>
+<p>Hasta llegar a una imperial ciudad;</p>
+<p>Un sol más puro es fama que encontraron,</p>
+<p>Y palacios de oro y de cristal.</p>
+<p class="i2">Vadearon el Tibre sus bridones,</p><span class="rig">55</span><a id="c55" name="c55"></a>
+<p>Yerta a sus pies la tierra enmudeció;</p>
+<p>Su sueño con fantásticas canciones</p>
+<p>La fada de los triunfos arrulló.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">¡Qué! ¿No sentís la lanza estremecerse,</p><span class="rig">60</span><a id="c60" name="c60"></a>
+<p>Hambrienta en vuestras manos de matar?</p>
+<p>¿No veis entre la niebla aparecerse</p>
+<p>Visiones mil que el parabién nos dan?</p>
+<p class="i2">Escudo de esas míseras naciones</p>
+<p>Era ese muro que abatido fué;</p><span class="rig">65</span><a id="c65" name="c65"></a>
+<p>La gloria de Polonia y sus blasones</p>
+<p>En humo y sangre convertidos ved.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">¿Quién en dolor trocó sus alegrías?</p>
+<p>¿Quién sus hijos triunfante encadenó?</p><span class="rig">70</span><a id="c70" name="c70"></a>
+<p>¿Quién puso fin a sus gloriosos días?</p>
+<p>¿Quién en su propia sangre los ahogó?</p>
+<p class="i2">¡Hurra, Cosacos! ¡Gloria al más valiente!</p>
+<p>Esos hombres de Europa nos verán.</p>
+<p>¡Hurra! nuestros caballos en su frente</p><span class="rig">75</span><a id="c75" name="c75"></a>
+<p>Hondas sus herraduras marcarán.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">A cada bote de la lanza ruda,</p>
+<p>A cada escape en la abrasada lid,</p>
+<p>La sangrienta ración de carne cruda</p><span class="rig">80</span><a id="c80" name="c80"></a>
+<p>Bajo la silla sentiréis hervir.</p>
+<p class="i2">Y allá después en templos suntüosos,</p>
+<p>Sirviéndonos de mesa algún altar,</p>
+<p>Nuestra sed calmarán vinos sabrosos,</p>
+<p>Hartará nuestra hambre blanco pan.</p>
+  </div><div class="stanza"><span class="rig">85</span><a id="c85" name="c85"></a>
+<p class="i2">¡Hurra, Cosacos del desierto....</p>
+  </div><div class="stanza">
+<p class="i2">Y nuestras madres nos verán triunfantes,</p>
+<p>Y a esa caduca Europa a nuestros pies,</p>
+<p>Y acudirán de gozo palpitantes,</p>
+<p>En cada hijo a contemplar un rey.</p><span class="rig">90</span><a id="c90" name="c90"></a>
+<p class="i2">Nuestros hijos sabrán nuestras acciones,</p>
+<p>Las coronas de Europa heredarán,</p>
+<p>Y a conquistar también otras regiones</p>
+<p>El caballo y la lanza aprestarán.</p>
+  </div><div class="stanza">
+<p class="i2">¡Hurra, Cosacos del desierto! ¡Hurra!</p><span class="rig">95</span><a id="c95" name="c95"></a>
+<p>La Europa os brinda espléndido botín.</p>
+<p>Sangrienta charca sus campiñas sean,</p>
+<p>De los grajos su ejército festín.</p>
+  </div>  </div>
+<br><br><br>
+<a id="d1" name="d1"></a>
+
+
+
+<h2>EL MENDIGO</h2>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Mío es el mundo: como el aire libre,</p>
+<p>Otros trabajan porque coma yo;</p>
+<p>Todos se ablandan si doliente pido</p>
+<p>Una limosna por amor de Dios.</p>
+  </div><div class="stanza"><span class="rig">5</span><a id="d5" name="d5"></a>
+<p class="i6">El palacio, la cabaña</p>
+<p class="i8">Son mi asilo,</p>
+<p class="i4">Si del ábrego el furor</p>
+<p class="i4">Troncha el roble en la montaña,</p>
+<p class="i4">O que inunda la campaña</p><span class="rig">10</span><a id="d10" name="d10"></a>
+<p class="i4">El torrente asolador.</p>
+  </div><div class="stanza">
+<p class="i10">Y a la hoguera</p>
+<p class="i8">Me hacen lado</p>
+<p class="i8">Los pastores</p>
+<p class="i8">Con amor,</p><span class="rig">15</span><a id="d15" name="d15"></a>
+<p class="i8">Y sin pena</p>
+<p class="i8">Y descuidado</p>
+<p class="i8">De su cena</p>
+<p class="i8">Ceno yo;</p>
+<p class="i8">O en la rica</p><span class="rig">20</span><a id="d20" name="d20"></a>
+<p class="i8">Chimenea,</p>
+<p class="i8">Que recrea</p>
+<p class="i8">Con su olor,</p>
+<p class="i8">Me regalo</p>
+<p class="i8">Codicioso</p><span class="rig">25</span><a id="d25" name="d25"></a>
+<p class="i8">Del banquete</p>
+<p class="i8">Suntüoso</p>
+<p class="i8">Con las sobras</p>
+<p class="i8">De un señor.</p>
+  </div><div class="stanza">
+<p class="i6">Y me digo: el viento brama,</p><span class="rig">30</span><a id="d30" name="d30"></a>
+<p class="i4">Caiga furioso turbión;</p>
+<p>Que al són que cruje de la seca leña,</p>
+<p>Libre me duermo sin rencor ni amor.</p>
+  </div><div class="stanza">
+<p class="i2">Mío es el mundo: como el aire libre....</p>
+  </div><div class="stanza">
+<p class="i6">Todos son mis bienhechores,</p><span class="rig">35</span><a id="d35" name="d35"></a>
+<p class="i8">Y por todos</p>
+<p class="i4">A Dios ruego con fervor;</p>
+<p class="i4">De villanos y señores</p>
+<p class="i4">Yo recibo los favores</p>
+<p class="i4">Sin estima y sin amor.</p>
+  </div><div class="stanza"><span class="rig">40</span><a id="d40" name="d40"></a>
+<p class="i10">Ni pregunto</p>
+<p class="i8">Quiénes sean,</p>
+<p class="i8">Ni me obligo</p>
+<p class="i8">A agradecer;</p>
+<p class="i8">Que mis rezos</p><span class="rig">45</span><a id="d45" name="d45"></a>
+<p class="i8">Si desean,</p>
+<p class="i8">Dar limosna</p>
+<p class="i8">Es un deber.</p>
+<p class="i8">Y es pecado</p>
+<p class="i8">La riqueza,</p><span class="rig">50</span><a id="d50" name="d50"></a>
+<p class="i8">La pobreza</p>
+<p class="i8">Santidad;</p>
+<p class="i8">Dios a veces</p>
+<p class="i8">Es mendigo,</p>
+<p class="i8">Y al avaro</p><span class="rig">55</span><a id="d55" name="d55"></a>
+<p class="i8">Da castigo,</p>
+<p class="i8">Que le niegue</p>
+<p class="i8">Caridad.</p>
+  </div><div class="stanza">
+<p class="i6">Yo soy pobre y se lastiman</p>
+<p class="i4">Todos al verme plañir,</p><span class="rig">60</span><a id="d60" name="d60"></a>
+<p>Sin ver son mías sus riquezas todas,</p>
+<p>Que mina inagotable es el pedir.</p>
+  </div><div class="stanza">
+<p class="i2">Mío es el mundo: como el aire libre....</p>
+  </div><div class="stanza">
+<p class="i6">Mal revuelto y andrajoso,</p>
+<p class="i10">  Entre harapos</p><span class="rig">65</span><a id="d65" name="d65"></a>
+<p class="i4">Del lujo sátira soy;</p>
+<p class="i4">Y con mi aspecto asqueroso</p>
+<p class="i4">Me vengo del poderoso,</p>
+<p class="i4">Y adonde va, tras él voy.</p>
+  </div><div class="stanza">
+<p class="i10">Y a la hermosa</p><span class="rig">70</span><a id="d70" name="d70"></a>
+<p class="i8">Que respira</p>
+<p class="i8">Cien perfumes,</p>
+<p class="i8">Gala, amor,</p>
+<p class="i8">La persigo</p>
+<p class="i8">Hasta que mira,</p><span class="rig">75</span><a id="d75" name="d75"></a>
+<p class="i8">Y me gozo</p>
+<p class="i8">Cuando aspira</p>
+<p class="i8">Mi punzante</p>
+<p class="i8">Mal olor.</p>
+<p class="i8">Y las fiestas</p><span class="rig">80</span><a id="d80" name="d80"></a>
+<p class="i8">Y el contento</p>
+<p class="i8">Con mi acento</p>
+<p class="i8">Turbo yo,</p>
+<p class="i8">Y en la bulla</p>
+<p class="i8">Y la alegría</p><span class="rig">85</span><a id="d85" name="d85"></a>
+<p class="i8">Interrumpen</p>
+<p class="i8">La armonía</p>
+<p class="i8">Mis harapos</p>
+<p class="i8">Y mi voz,</p>
+  </div><div class="stanza">
+<p class="i6">Mostrando cuán cerca habitan</p><span class="rig">90</span><a id="d90" name="d90"></a>
+<p class="i4">El gozo y el padecer,</p>
+<p>Que no hay placer sin lágrimas, ni pena</p>
+<p>Que no transpire en medio del placer.</p>
+  </div><div class="stanza">
+<p class="i2">Mío es el mundo: como el aire libre....</p>
+  </div><div class="stanza">
+<p class="i6">Y para mí no hay <i>mañana</i>,</p><span class="rig">95</span><a id="d95" name="d95"></a>
+<p class="i8">Ni hay <i>ayer</i>;</p>
+<p class="i4">Olvido el bien como el mal,</p>
+<p class="i4">Nada me aflije ni afana;</p>
+<p class="i4">Me es igual para mañana</p>
+<p class="i4">Un palacio, un hospital.</p>
+  </div><div class="stanza"><span class="rig">100</span><a id="d100" name="d100"></a>
+<p class="i10">Vivo ajeno</p>
+<p class="i8">De memorias,</p>
+<p class="i8">De cuidados</p>
+<p class="i8">Libre estoy;</p>
+<p class="i8">Busquen otros</p><span class="rig">105</span><a id="d105" name="d105"></a>
+<p class="i8">Oro y glorias,</p>
+<p class="i8">Yo no pienso</p>
+<p class="i8">Sino en hoy.</p>
+<p class="i8">Y doquiera</p>
+<p class="i8">Vayan leyes,</p><span class="rig">110</span><a id="d110" name="d110"></a>
+<p class="i8">Quiten reyes,</p>
+<p class="i8">Reyes den;</p>
+<p class="i8">Yo soy pobre,</p>
+<p class="i8">Y al mendigo,</p>
+<p class="i8">Por el miedo</p><span class="rig">115</span><a id="d115" name="d115"></a>
+<p class="i8">Del castigo,</p>
+<p class="i8">Todos hacen</p>
+<p class="i8">Siempre bien.</p>
+  </div><div class="stanza">
+<p class="i6">Y un asilo dondequiera</p>
+<p class="i4">Y un lecho en el hospital</p><span class="rig">120</span><a id="d120" name="d120"></a>
+<p>Siempre hallaré, y un hoyo donde caiga</p>
+<p>Mi cuerpo miserable al espirar.</p>
+  </div><div class="stanza">
+<p class="i2">Mío es el mundo: como el aire libre,</p>
+<p>Otros trabajan porque coma yo;</p>
+<p>Todos se ablandan, si doliente pido</p><span class="rig">125</span><a id="d125" name="d125"></a>
+<p>Una limosna por amor de Dios.</p>
+  </div>  </div>
+<br><br><br>
+<a id="e1" name="e1"></a>
+
+
+<h2>SONETO</h2>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Fresca, lozana, pura y olorosa,</p>
+<p>Gala y adorno del pensil florido,</p>
+<p>Gallarda puesta sobre el ramo erguido,</p>
+<p>Fragrancia esparce la naciente rosa.</p>
+  </div><div class="stanza"><span class="rig">5</span><a id="e5" name="e5"></a>
+<p class="i2">Mas si el ardiente sol lumbre enojosa</p>
+<p>Vibra del can en llamas encendido,</p>
+<p>El dulce aroma y el color perdido,</p>
+<p>Sus hojas lleva el aura presurosa.</p>
+  </div><div class="stanza">
+<p class="i2">Así brilló un momento mi ventura</p><span class="rig">10</span><a id="e10" name="e10"></a>
+<p>En alas del amor, y hermosa nube</p>
+<p>Fingí tal vez de gloria y de alegría.</p>
+  </div><div class="stanza">
+<p class="i2">Mas ¡ay! que el bien trocóse en amargura,</p>
+<p>Y deshojada por los aires sube</p>
+<p>La dulce flor de la esperanza mía.</p>
+  </div>  </div>
+<br><br><br>
+
+<a id="f1" name="f1"></a>
+
+<h2>A TERESA<br>
+
+DESCANSA EN PAZ</h2>
+
+
+<p class="rig">Bueno es el mundo, ¡bueno! ¡bueno! ¡bueno!<br>
+Como de Dios al fin obra maestra,<br>
+Por todas partes de delicias lleno,<br>
+De que Dios ama al hombre hermosa muestra;<br>
+Salga la voz alegre de su seno<br>
+A celebrar esta vivienda nuestra;<br>
+¡Paz a los hombres! ¡gloria en las alturas!<br>
+¡Cantad en vuestra jaula, crïaturas!<br>
+DON MIGUEL DE LOS SANTOS ÁLVAREZ, "María"</p>
+<br><br><br><br><br><br><br><br><br><br><br><br>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">¿Por qué volvéis a la memoria mía,</p>
+<p>Tristes recuerdos del placer perdido,</p>
+<p>A aumentar la ansiedad y la agonía</p>
+<p>De este desierto corazón herido?</p><span class="rig">5</span><a id="f5" name="f5"></a>
+<p>¡Ay! que de aquellas horas de alegría,</p>
+<p>Le quedó al corazón sólo un gemido,</p>
+<p>Y el llanto que al dolor los ojos niegan</p>
+<p>Lágrimas son de hiel que el alma anegan!</p>
+  </div><div class="stanza">
+<p class="i2">¿Dónde volaron ¡ay! aquellas horas</p><span class="rig">10</span><a id="f10" name="f10"></a>
+<p>De juventud, de amor y de ventura,</p>
+<p>Regaladas de músicas sonoras,</p>
+<p>Adornadas de luz y de hermosura?</p>
+<p>Imágenes de oro bullidoras,</p>
+<p>Sus alas de carmín y nieve pura,</p><span class="rig">15</span><a id="f15" name="f15"></a>
+<p>Al sol de mi esperanza desplegando,</p>
+<p>Pasaban ¡ay! a mi alredor cantando.</p>
+  </div><div class="stanza">
+<p class="i2">Gorjeaban los dulces ruiseñores,</p>
+<p>El sol iluminaba mi alegría,</p>
+<p>El aura susurraba entre las flores,</p><span class="rig">20</span><a id="f20" name="f20"></a>
+<p>El bosque mansamente respondía,</p>
+<p>Las fuentes murmuraban sus amores....</p>
+<p>¡Ilusiones que llora el alma mía!</p>
+<p>¡Oh! ¡cuán süave resonó en mi oído</p>
+<p>El bullicio del mundo y su ruïdo!</p>
+  </div><div class="stanza"><span class="rig">25</span><a id="f25" name="f25"></a>
+<p class="i2">Mi vida entonces cual guerrera nave</p>
+<p>Que el puerto deja por la vez primera,</p>
+<p>Y al soplo de los céfiros süave,</p>
+<p>Orgullosa despliega su bandera,</p>
+<p>Y al mar dejando que a sus pies alabe</p><span class="rig">30</span><a id="f30" name="f30"></a>
+<p>Su triunfo en roncos cantos, va velera</p>
+<p>Una ola tras otra bramadora</p>
+<p>Hollando y dividiendo vencedora;</p>
+  </div><div class="stanza">
+<p class="i2">¡Ay! en el mar del mundo, en ansia ardiente</p>
+<p>De amor volaba, el sol de la mañana</p><span class="rig">35</span><a id="f35" name="f35"></a>
+<p>Llevaba yo sobre mi tersa frente,</p>
+<p>Y el alma pura de su dicha ufana.</p>
+<p>Dentro de ella el amor cual rica fuente,</p>
+<p>Que entre frescura y arboledas mana,</p>
+<p>Brotaba entonces abundante río</p><span class="rig">40</span><a id="f40" name="f40"></a>
+<p>De ilusiones y dulce desvarío.</p>
+  </div><div class="stanza">
+<p class="i2">Yo amaba todo: un noble sentimiento</p>
+<p>Exaltaba mi ánimo, y sentía</p>
+<p>En mi pecho un secreto movimiento,</p>
+<p>De grandes hechos generoso guía:</p><span class="rig">45</span><a id="f45" name="f45"></a>
+<p>La libertad con su inmortal aliento,</p>
+<p>Santa diosa, mi espíritu encendía,</p>
+<p>Contino imaginando en mi fe pura</p>
+<p>Sueños de gloria al mundo y de ventura:</p>
+  </div><div class="stanza">
+<p class="i2">El puñal de Catón, la adusta frente</p><span class="rig">50</span><a id="f50" name="f50"></a>
+<p>Del noble Bruto, la constancia fiera</p>
+<p>Y el arrojo de Scévola valiente,</p>
+<p>La doctrina de Sócrates severa,</p>
+<p>La voz atronadora y elocuente</p>
+<p>Del orador de Atenas, la bandera</p><span class="rig">55</span><a id="f55" name="f55"></a>
+<p>Contra el tirano macedonio alzando,</p>
+<p>Y al espantado pueblo arrebatando;</p>
+  </div><div class="stanza">
+<p class="i2">El valor y la fe del caballero,</p>
+<p>Del trovador el arpa y los cantares,</p>
+<p>Del gótico castillo el altanero,</p><span class="rig">60</span><a id="f60" name="f60"></a>
+<p>Antiguo torreón, do sus pesares</p>
+<p>Cantó tal vez con eco lastimero</p>
+<p>¡Ay! arrancada de sus patrios lares,</p>
+<p>Joven cautiva, al rayo de la luna,</p>
+<p>Lamentando su ausencia y su fortuna;</p>
+  </div><div class="stanza"><span class="rig">65</span><a id="f65" name="f65"></a>
+<p class="i2">El dulce anhelo del amor que aguarda,</p>
+<p>Tal vez inquieto y con mortal recelo,</p>
+<p>La forma bella que cruzó gallarda,</p>
+<p>Allá en la noche entre el medroso velo,</p>
+<p>La ansiada cita que en llegar se tarda</p><span class="rig">70</span><a id="f70" name="f70"></a>
+<p>Al impaciente y amoroso anhelo,</p>
+<p>La mujer y la voz de su dulzura,</p>
+<p>Que inspira al alma celestial ternura,</p>
+  </div><div class="stanza">
+<p class="i2">A un tiempo mismo en rápida tormenta</p>
+<p>Mi alma alborotaban de contino,</p><span class="rig">75</span><a id="f75" name="f75"></a>
+<p>Cual las olas que azota con violenta</p>
+<p>Cólera, impetüoso torbellino;</p>
+<p>Soñaba al héroe ya, la plebe atenta</p>
+<p>En mi voz escuchaba su destino;</p>
+<p>Ya al caballero, al trovador soñaba,</p><span class="rig">80</span><a id="f80" name="f80"></a>
+<p>Y de gloria y de amores suspiraba.</p>
+  </div><div class="stanza">
+<p class="i2">Hay una voz secreta, un dulce canto,</p>
+<p>Que el alma sólo recogida entiende,</p>
+<p>Un sentimiento misterioso y santo,</p>
+<p>Que del barro al espíritu desprende,</p><span class="rig">85</span><a id="f85" name="f85"></a>
+<p>Agreste, vago y solitario encanto,</p>
+<p>Que en inefable amor el alma enciende,</p>
+<p>Volando tras la imagen peregrina</p>
+<p>El corazón de su ilusión divina.</p>
+  </div><div class="stanza">
+<p class="i2">Yo, desterrado en extranjera playa,</p><span class="rig">90</span><a id="f90" name="f90"></a>
+<p>Con los ojos, extático seguía</p>
+<p>La nave audaz que argentada raya</p>
+<p>Volaba al puerto de la patria mía;</p>
+<p>Yo cuando en Occidente el sol desmaya,</p>
+<p>Solo y perdido en la arboleda umbría,</p><span class="rig">95</span><a id="f95" name="f95"></a>
+<p>Oír pensaba el armonioso acento</p>
+<p>De una mujer, al suspirar del viento.</p>
+  </div><div class="stanza">
+<p class="i2">¡Una mujer! En el templado rayo</p>
+<p>De la mágica luna se colora,</p>
+<p>Del sol poniente al lánguido desmayo</p><span class="rig">100</span><a id="f100" name="f100"></a>
+<p>Lejos entre las nubes se evapora;</p>
+<p>Sobre las cumbres que florece el mayo</p>
+<p>Brilla fugaz al despuntar la aurora,</p>
+<p>Cruza tal vez por entre el bosque umbrío,</p>
+<p>Juega en las aguas del sereno río.</p>
+  </div><div class="stanza"><span class="rig">105</span><a id="f105" name="f105"></a>
+<p class="i2">¡Una mujer! Deslízase en el cielo</p>
+<p>Allá en la noche desprendida estrella;</p>
+<p>Si aroma el aire recogió en el suelo,</p>
+<p>Es el aroma que le presta ella.</p>
+<p>Blanca es la nube que en callado vuelo</p><span class="rig">110</span><a id="f110" name="f110"></a>
+<p>Cruza la esfera y que su planta huella,</p>
+<p>Y en la tarde la mar olas la ofrece</p>
+<p>De plata y de zafir donde se mece.</p>
+  </div><div class="stanza">
+<p class="i2">Mujer que amor en su ilusión figura,</p>
+<p>Mujer que nada dice a los sentidos,</p><span class="rig">115</span><a id="f115" name="f115"></a>
+<p>Ensueño de suavísima ternura,</p>
+<p>Eco que regaló nuestros oídos;</p>
+<p>De amor la llama generosa y pura,</p>
+<p>Los goces dulces del placer cumplidos,</p>
+<p>Que engalana la rica fantasía,</p><span class="rig">120</span><a id="f120" name="f120"></a>
+<p>Goces que avaro el corazón ansía;</p>
+  </div><div class="stanza">
+<p class="i2">¡Ay! aquella mujer, tan sólo aquella</p>
+<p>Tanto delirio a realizar alcanza,</p>
+<p>Y esa mujer, tan cándida y tan bella,</p>
+<p>Es mentida ilusión de la esperanza;</p><span class="rig">125</span><a id="f125" name="f125"></a>
+<p>Es el alma que vívida destella</p>
+<p>Su luz al mundo cuando en él se lanza,</p>
+<p>Y el mundo con su magia y galanura</p>
+<p>Es espejo no más de su hermosura;</p>
+  </div><div class="stanza">
+<p class="i2">Es el amor que al mismo amor adora,</p><span class="rig">130</span><a id="f130" name="f130"></a>
+<p>El que creó las sílfides y ondinas,</p>
+<p>La sacra ninfa que bordando mora</p>
+<p>Debajo de las aguas cristalinas;</p>
+<p>Es el amor que recordando llora</p>
+<p>Las arboledas del Edén divinas,</p><span class="rig">135</span><a id="f135" name="f135"></a>
+<p>Amor de allí arrancado, allí nacido,</p>
+<p>Que busca en vano aquí su bien perdido.</p>
+  </div><div class="stanza">
+<p class="i2">¡Oh llama santa! ¡celestial anhelo!</p>
+<p>¡Sentimiento purísimo! ¡memoria</p>
+<p>Acaso triste de un perdido cielo,</p><span class="rig">140</span><a id="f140" name="f140"></a>
+<p>Quizá esperanza de futura gloria!</p>
+<p>¡Huyes y dejas llanto y desconsuelo!</p>
+<p>¡Oh mujer! que en imagen ilusoria</p>
+<p>Tan pura, tan feliz, tan placentera,</p>
+<p>Brindó el amor a mi ilusión primera...!</p>
+  </div><div class="stanza"><span class="rig">145</span><a id="f145" name="f145"></a>
+<p class="i2">¡Oh Teresa! ¡Oh dolor! Lágrimas mías,</p>
+<p>¡Ah! ¿dónde estáis que no corréis a mares?</p>
+<p>¿Por qué, por qué como en mejores días</p>
+<p>No consoláis vosotras mis pesares?</p>
+<p>¡Oh! los que no sabéis las agonías</p><span class="rig">150</span><a id="f150" name="f150"></a>
+<p>De un corazón, que penas a millares</p>
+<p>¡Ay! desgarraron, y que ya no llora,</p>
+<p>¡Piedad tened de mi tormento ahora!</p>
+  </div><div class="stanza">
+<p class="i2">¡Oh! ¡dichosos mil veces! sí, dichosos,</p>
+<p>Los que podéis llorar y ¡ay! sin ventura</p><span class="rig">155</span><a id="f155" name="f155"></a>
+<p>De mí, que, entre suspiros angustiosos,</p>
+<p>Ahogar me siento en infernal tortura!</p>
+<p>Retuércese entre nudos dolorosos</p>
+<p>Mi corazón, gimiendo de amargura!...</p>
+<p>También tu corazón, hecho pavesa,</p><span class="rig">160</span><a id="f160" name="f160"></a>
+<p>¡Ay! llegó a no llorar, ¡pobre Teresa!</p>
+  </div><div class="stanza">
+<p class="i2">¿Quién pensara jamás, Teresa mía,</p>
+<p>Que fuera eterno manantial de llanto</p>
+<p>Tanto inocente amor, tanta alegría,</p>
+<p>Tantas delicias y delirio tanto?</p><span class="rig">165</span><a id="f165" name="f165"></a>
+<p>¿Quién pensara jamás llegase un día,</p>
+<p>En que, perdido el celestial encanto,</p>
+<p>Y caída la venda de los ojos,</p>
+<p>Cuanto diera placer causara enojos?</p>
+  </div><div class="stanza">
+<p class="i2">Aun parece, Teresa, que te veo</p><span class="rig">170</span><a id="f170" name="f170"></a>
+<p>Aerea como dorada mariposa,</p>
+<p>Ensueño delicioso del deseo,</p>
+<p>Sobre tallo gentil temprana rosa,</p>
+<p>Del amor venturoso devaneo,</p>
+<p>Angélica, purísima y dichosa,</p><span class="rig">175</span><a id="f175" name="f175"></a>
+<p>Y oigo tu voz dulcísima, y respiro</p>
+<p>Tu aliento perfumado en tu suspiro.</p>
+  </div><div class="stanza">
+<p class="i2">Y aun miro aquellos ojos que robaron</p>
+<p>A los cielos su azul, y las rosadas</p>
+<p>Tintas sobre la nieve, que envidiaron</p><span class="rig">180</span><a id="f180" name="f180"></a>
+<p>Las de mayo serenas alboradas;</p>
+<p>Y aquellas horas dulces que pasaron</p>
+<p>Tan breves ¡ay! como después lloradas,</p>
+<p>Horas de confïanza y de delicias,</p>
+<p>De abandono, y de amor y de caricias.</p>
+  </div><div class="stanza"><span class="rig">185</span><a id="f185" name="f185"></a>
+<p class="i2">Que así las horas rápidas pasaban,</p>
+<p>Y pasaba a la par nuestra ventura;</p>
+<p>Y nunca nuestras ansias las contaban,</p>
+<p>Tú embriagada en mi amor, yo en tu hermosura;</p>
+<p>Las horas ¡ay! huyendo nos miraban,</p><span class="rig">190</span><a id="f190" name="f190"></a>
+<p>Llanto tal vez vertiendo de ternura,</p>
+<p>Que nuestro amor y juventud veían,</p>
+<p>Y temblaban las horas que vendrían.</p>
+  </div><div class="stanza">
+<p class="i2">Y llegaron en fin.... ¡Oh! ¿quién impío</p>
+<p>¡Ay! agostó la flor de tu pureza?</p><span class="rig">195</span><a id="f195" name="f195"></a>
+<p>Tú fuiste un tiempo cristalino río,</p>
+<p>Manantial de purísima limpieza;</p>
+<p>Después torrente de color sombrío,</p>
+<p>Rompiendo entre peñascos y maleza,</p>
+<p>Y estanque, en fin, de aguas corrompidas,</p><span class="rig">200</span><a id="f200" name="f200"></a>
+<p>Entre fétido fango detenidas.</p>
+  </div><div class="stanza">
+<p class="i2">¿Cómo caíste despeñado al suelo,</p>
+<p>Astro de la mañana luminoso?</p>
+<p>Ángel de luz, ¿quién te arrojó del cielo</p>
+<p>A este valle de lágrimas odioso?</p><span class="rig">205</span><a id="f205" name="f205"></a>
+<p>Aun cercaba tu frente el blanco velo</p>
+<p>Del serafín, y, en ondas fulgoroso,</p>
+<p>Rayos al mundo tu esplendor vertía,</p>
+<p>Y otro cielo el amor te prometía.</p>
+  </div><div class="stanza">
+<p class="i2">Mas ¡ay! que es la mujer ángel caído</p><span class="rig">210</span><a id="f210" name="f210"></a>
+<p>O mujer nada más y lodo inmundo,</p>
+<p>Hermoso ser para llorar nacido,</p>
+<p>O vivir como autómata en el mundo.</p>
+<p>Sí, que el demonio en el Edén perdido</p>
+<p>Abrasara con fuego del profundo</p><span class="rig">215</span><a id="f215" name="f215"></a>
+<p>La primera mujer, y ¡ay! aquel fuego</p>
+<p>La herencia ha sido de sus hijos luego.</p>
+  </div><div class="stanza">
+<p class="i2">Brota en el cielo del amor la fuente</p>
+<p>Que a fecundar el universo mana,</p>
+<p>Y en la tierra su límpida corriente</p><span class="rig">220</span><a id="f220" name="f220"></a>
+<p>Sus márgenes con flores engalana;</p>
+<p>Mas ¡ay! huíd: el corazón ardiente</p>
+<p>Que el agua clara por beber se afana</p>
+<p>Lágrimas verterá de duelo eterno,</p>
+<p>Que su raudal lo envenenó el infierno.</p>
+  </div><div class="stanza"><span class="rig">225</span><a id="f225" name="f225"></a>
+<p>Huíd, si no queréis que llegue un día,</p>
+<p>En que, enredado en retorcidos lazos</p>
+<p>El corazón, con bárbara porfía</p>
+<p>Luchéis por arrancároslo a pedazos:</p>
+<p>En que al cielo en histérica agonía</p><span class="rig">230</span><a id="f230" name="f230"></a>
+<p>Frenéticos alcéis entrambos brazos,</p>
+<p>Para en vuestra impotencia maldecirle,</p>
+<p>Y escupiros, tal vez, al escupirle.</p>
+  </div><div class="stanza">
+<p class="i2">Los años ¡ay! de la ilusión pasaron;</p>
+<p>Las dulces esperanzas que trajeron</p><span class="rig">235</span><a id="f235" name="f235"></a>
+<p>Con sus blancos ensueños se llevaron,</p>
+<p>Y el porvenir de oscuridad vistieron:</p>
+<p>Las rosas de amor se marchitaron,</p>
+<p>Las flores en abrojos convirtieron,</p>
+<p>Y de afán tanto y tan soñada gloria</p><span class="rig">240</span><a id="f240" name="f240"></a>
+<p>Sólo quedó una tumba, una memoria.</p>
+  </div><div class="stanza">
+<p class="i2">¡Pobre Teresa! al recordarte siento</p>
+<p>Un pesar tan intenso...! embarga impío</p>
+<p>Mi quebrantada voz mi sentimiento,</p>
+<p>Y suspira tu nombre el labio mío:</p><span class="rig">245</span><a id="f245" name="f245"></a>
+<p>Pára allí su carrera el pensamiento,</p>
+<p>Hiela mi corazón punzante frío,</p>
+<p>Ante mis ojos la funesta losa,</p>
+<p>Donde vil polvo tu beldad reposa.</p>
+  </div><div class="stanza">
+<p class="i2">¡Y tú feliz, que hallaste en la muerte</p><span class="rig">250</span><a id="f250" name="f250"></a>
+<p>Sombra a que descansar en tu camino,</p>
+<p>Cuando llegabas, mísera, a perderte,</p>
+<p>Y era llorar tu único destino:</p>
+<p>Cuando en tu frente la implacable suerte</p>
+<p>Grababa de los réprobos el sino...!</p><span class="rig">255</span><a id="f255" name="f255"></a>
+<p>¡Feliz! la muerte te arrancó del suelo,</p>
+<p>Y otra vez ángel te volviste al cielo.</p>
+  </div><div class="stanza">
+<p class="i2">Roída de recuerdos de amargura,</p>
+<p>Árido el corazón sin ilusiones,</p>
+<p>La delicada flor de tu hermosura</p><span class="rig">260</span><a id="f260" name="f260"></a>
+<p>Ajaron del dolor los Aquilones:</p>
+<p>Sola, y envilecida y sin ventura,</p>
+<p>Tu corazón secaron las pasiones,</p>
+<p>Tus hijos, ¡ay! de ti se avergonzaran,</p>
+<p>Y hasta el nombre de madre te negaran.</p>
+  </div><div class="stanza"><span class="rig">265</span><a id="f265" name="f265"></a>
+<p class="i2">Los ojos escaldados de tu llanto,</p>
+<p>Tu rostro cadavérico y hundido,</p>
+<p>Único desahogo en tu quebranto,</p>
+<p>El histérico ¡ay! de tu gemido:</p>
+<p>¿Quién, quién pudiera, en infortunio tanto,</p><span class="rig">270</span><a id="f270" name="f270"></a>
+<p>Envolver tu desdicha en el olvido,</p>
+<p>Disipar tu dolor y recogerte</p>
+<p>En su seno de paz? ¡Sólo la muerte!</p>
+  </div><div class="stanza">
+<p class="i2">¡Y tan joven, y ya tan desgraciada!</p>
+<p>Espíritu indomable, alma violenta,</p><span class="rig">275</span><a id="f275" name="f275"></a>
+<p>En ti, mezquina sociedad, lanzada</p>
+<p>A romper tus barreras turbulenta.</p>
+<p>Nave contra las rocas quebrantada,</p>
+<p>Allá vaga, a merced de la tormenta,</p>
+<p>En las olas tal vez náufraga tabla,</p><span class="rig">280</span><a id="f280" name="f280"></a>
+<p>Que sólo ya de sus grandezas habla.</p>
+  </div><div class="stanza">
+<p class="i2">Un recuerdo de amor que nunca muere</p>
+<p>Y está en mi corazón; un lastimero</p>
+<p>Tierno quejido que en el alma hiere,</p>
+<p>Eco süave de su amor primero:</p><span class="rig">285</span><a id="f285" name="f285"></a>
+<p>¡Ay! de tu luz en tanto yo viviere</p>
+<p>Quedará un rayo en mí, blanco lucero,</p>
+<p>Que iluminaste con tu luz querida</p>
+<p>La dorada mañana de mi vida.</p>
+  </div><div class="stanza">
+<p class="i2">Que yo como una flor que en la mañana</p><span class="rig">290</span><a id="f290" name="f290"></a>
+<p>Abre su cáliz al naciente día,</p>
+<p>¡Ay! al amor abrí tu alma temprana,</p>
+<p>Y exalté tu inocente fantasía:</p>
+<p>Yo inocente también: ¡oh! ¡cuán ufana</p>
+<p>Al porvenir mi mente sonreía,</p><span class="rig">295</span><a id="f295" name="f295"></a>
+<p>Y en alas de mi amor con cuánto anhelo</p>
+<p>Pensé contigo remontarme al cielo!</p>
+  </div><div class="stanza">
+<p class="i2">Y alegre, audaz, ansioso, enamorado,</p>
+<p>En tus brazos en lánguido abandono,</p>
+<p>De glorias y deleites rodeado,</p><span class="rig">300</span><a id="f300" name="f300"></a>
+<p>Levantar para ti soñé yo un trono:</p>
+<p>Y allí, tú venturosa y yo a tu lado,</p>
+<p>Vencer del mundo el implacable encono,</p>
+<p>Y en un tiempo sin horas y medida</p>
+<p>Ver como un sueño resbalar la vida.</p>
+  </div><div class="stanza"><span class="rig">305</span><a id="f305" name="f305"></a>
+<p class="i2">¡Pobre Teresa! Cuando ya tus ojos</p>
+<p>Áridos ni una lágrima brotaban,</p>
+<p>Cuando ya su color tus labios rojos</p>
+<p>En cárdenos matices cambïaban,</p>
+<p>Cuando de tu dolor tristes despojos</p><span class="rig">310</span><a id="f310" name="f310"></a>
+<p>La vida y su ilusión te abandonaban,</p>
+<p>Y consumía lenta calentura</p>
+<p>Tu corazón al par de tu amargura,</p>
+  </div><div class="stanza">
+<p class="i2">Si en tu penosa y última agonía</p>
+<p>Volviste a lo pasado el pensamiento,</p><span class="rig">315</span><a id="f315" name="f315"></a>
+<p>Si comparaste a tu existencia un día</p>
+<p>Tu triste soledad y tu aislamiento;</p>
+<p>Si arrojó a tu dolor tu fantasía</p>
+<p>Tus hijos ¡ay! en tu postrer momento,</p>
+<p>A otra mujer tal vez acariciando,</p><span class="rig">320</span><a id="f320" name="f320"></a>
+<p>Madre tal vez a otra mujer llamando,</p>
+  </div><div class="stanza">
+<p class="i2">Si el cuadro de tus breves glorias viste</p>
+<p>Pasar como fantástica quimera,</p>
+<p>Y si la voz de tu conciencia oíste</p>
+<p>Dentro de ti gritándote severa,</p><span class="rig">325</span><a id="f325" name="f325"></a>
+<p>Si, en fin, entonces tú llorar quisiste,</p>
+<p>Y no brotó una lágrima siquiera</p>
+<p>Tu seco corazón, y a Dios llamaste,</p>
+<p>Y no te escuchó Dios, y blasfemaste,</p>
+  </div><div class="stanza">
+<p class="i2">¡Oh! ¡crüel! ¡muy crüel! ¡martirio horrendo!</p><span class="rig">330</span><a id="f330" name="f330"></a>
+<p>¡Espantosa expiación de tu pecado!</p>
+<p>¡Sobre un lecho de espinas maldiciendo,</p>
+<p>Morir el corazón desesperado!</p>
+<p>¡Tus mismas manos de dolor mordiendo,</p>
+<p>Presente a tu conciencia lo pasado,</p><span class="rig">335</span><a id="f335" name="f335"></a>
+<p>Buscando en vano con los ojos fijos,</p>
+<p>Y extendiendo tus brazos a tus hijos!!</p>
+  </div><div class="stanza">
+<p class="i2">¡Oh! ¡crüel! ¡muy crüel!... ¡Ah! yo entre tanto,</p>
+<p>Dentro del pecho mi dolor oculto,</p>
+<p>Enjugo de mis párpados el llanto</p><span class="rig">340</span><a id="f340" name="f340"></a>
+<p>Y doy al mundo el exigido culto:</p>
+<p>Yo escondo con vergüenza mi quebranto,</p>
+<p>Mi propia pena con mi risa insulto,</p>
+<p>Y me divierto en arrancar del pecho</p>
+<p>Mi mismo corazón pedazos hecho.</p>
+  </div><div class="stanza"><span class="rig">345</span><a id="f345" name="f345"></a>
+<p class="i2">Gocemos, sí; la cristalina esfera</p>
+<p>Gira bañada en luz: ¡bella es la vida!</p>
+<p>¿Quién a parar alcanza la carrera</p>
+<p>Del mundo hermoso que al placer convida?</p>
+<p>Brilla radiante el sol, la primavera</p><span class="rig">350</span><a id="f350" name="f350"></a>
+<p>Los campos pinta en la estación florida:</p>
+<p>Truéquese en risa mi dolor profundo....</p>
+<p>¡Que haya un cadáver más! ¿Qué importa al mundo?</p>
+  </div>  </div>
+<br><br><br>
+
+
+<a name="notes" id="notes"></a>
+<h2>NOTES</h2>
+
+
+<h4>EL ESTUDIANTE DE SALAMANCA</h4>
+
+<p><a href="#a1">PARTE PRIMERA</a></p>
+
+
+<p>Instead of <b>Cuento</b>, later editions read <b>Leyendas</b>.</p>
+
+<p>The introductory quotation is taken from the "Don Quijote," Part I,
+chap. 45. The words were addressed by Don Quijote to members of the
+rural police who were arresting him for depredations committed on the
+highway. The full sentence in Ormsby's translation reads: "Who was
+he that did not know that knights-errant are independent of all jurisdictions,
+that their law is their sword, their charter their prowess, and
+their edicts their will?" This Spanish declaration of independence was
+frequently used as a slogan by the Romanticists. Espronceda is here
+making the quotation apply more particularly to his lawless hero.</p>
+
+<p><a href="#a1"><b>1. </b></a><b>Era más de media noche</b>: the poet begins with a characteristic
+Romantic landscape, gloomy, medieval, fantastic, uncanny. He is trying
+to create a mood of horror. He follows the Horatian precept of
+beginning the plot in the middle (<i>in medias res</i>). The situation here
+introduced is not resumed until Part Four is reached. Parts Two and
+Three supply the events leading up to the duel. The Duque de Rivas's
+"Candil" begins in similar fashion:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Más ha de quinientos años</p>
+<p>En una torcida calle,</p>
+<p>Que de Sevilla en el centro</p>
+<p>Da paso a otras principales;</p>
+<p class="i2">Cerca de la media noche,</p>
+<p>Cuando la ciudad más grande</p>
+<p>Es de un grande cementerio</p>
+<p>En silencio y paz imagen;</p>
+<p class="i2">De dos desnudas espadas</p>
+<p>Que trababan un combate</p>
+<p>Turbó el repentino encuentro</p>
+<p>Las tinieblas impalpables.</p>
+<p class="i2">El crujir de los aceros</p>
+<p>Sonó por breves instantes</p>
+<p>Lanzando azules centellas,</p>
+<p>Meteoro de desastres.</p>
+<p class="i2">Y al gemido <i>¡Dios me valga!</i></p>
+<p><i>¡Muerto soy!</i> y al golpe grave</p>
+<p>De un cuerpo que a tierra vino</p>
+<p>El silencio y paz renacen, etc.</p>
+  </div>  </div>
+
+<p>This was first published in "El Liceo," 1838. The Duque de Rivas may
+have been influenced by our text, but such introductions were a Romantic
+commonplace. See M. Fernández y González, "Crónicas romanescas
+de España. Don Miguel de Mañara, memorias del tiempo de Carlos V,"
+Paris, 1868. The story begins "Era la media noche"; and, later, "Hacía
+mucho tiempo que Sevilla estaba entregada al sueño y al silencio."
+Espronceda is here following his sources closely.</p>
+
+<p><a href="#a1"><b>2. </b></a><b>antiguas historias</b>: not a mere rhetorical statement. These old
+stories actually existed. See the study of sources in the Introduction.</p>
+
+<p><a href="#a1"><b>4. </b></a><b>lóbrego</b>: I follow the reading of the 1840 edition. Later editions
+changed to <b>lóbrega</b>, making the adjective agree with <b>tierra</b> instead of
+<b>silencio</b>. Either reading makes good sense, but in cases of doubt I
+follow the Editio Princeps.</p>
+
+<p><a href="#a10"><b>11. </b></a><b>fantasmas</b>: this noun is usually masculine, but is often feminine
+in popular speech. The distinction between the masculine and feminine
+meanings given in most dictionaries does not apply in Espronceda.
+He uses both genders indifferently.</p>
+
+<p><a href="#a15"><b>19. </b></a><b>sábados</b>: Saturday was the usual day when, according to popular
+belief, witches attended their yearly <b>aquelarre</b> or sabbath. The
+favorite meeting-place for Spanish witches was said to be the plain
+around Barahona (Soria).</p>
+
+<p><a href="#a25"><b>27. </b></a><b>gótico</b>: admiration for the Gothic was a characteristic of Romanticism.</p>
+
+<p><a href="#a35"><b>37. </b></a><b>Salamanca</b>: the famous university city of Spain. Its founding
+antedates the Carthaginians and the Romans. The university of Palencia
+was transferred to Salamanca by Fernando III in 1239. Neither the
+university nor the city retains much of its ancient importance. See
+Gustave Reynier, "La Vie universitaire dans l'ancienne Espagne,"
+Paris, 1902.</p>
+
+<p><a href="#a35"><b>38. </b></a><b>armas y letras</b>: these words summarize the Renaissance ideal
+of culture. The perfect gentleman must combine literature and arms.
+Letters were not considered to be apart from active life. Cervantes,
+Lope de Vega, Quevedo, and many others of Spain's great writers of
+the classic period exemplify this ideal.</p>
+
+<p><a href="#a50"><b>53. </b></a><b>embozado</b>: to avoid breathing the cool mountain air of his
+country, a Spaniard frequently draws the corner of his cape over
+his face, concealing it. He is then <b>embozado</b>, 'muffled.' When a woman
+is heavily veiled she is <b>tapada</b>. This national custom has been effectively
+used by Spanish poets, novelists, and dramatists. It offered a
+plausible excuse for the concealment or confusion of identity.</p>
+
+<p><a href="#a60"><b>64. </b></a><b>calle</b>: this word is the object of <b>atraviesa</b>, l. 72.</p>
+
+<p><a href="#a65"><b>65. </b></a><b>la calle del Ataúd</b>: this dismal name does not seem to be of
+Espronceda's own invention. It is found in José Gutiérrez de la Vega's
+"Don Miguel de Mañara," 1851. Espronceda probably used some
+earlier edition of the prose romance of Don Miguel de Mañara.</p>
+
+<p><a href="#a95"><b>96. </b></a><b>que</b>: a relative adverb used with the force of a genitive
+Translate 'whose.'</p>
+
+<p><a href="#a100"><b>100. </b></a><b>Segundo Don Juan Tenorio</b>: see the Introduction.</p>
+
+
+
+<p>PARTE SEGUNDA</p>
+
+<p><a href="#a175">The quotation</a> is taken from Byron's "Don Juan," Canto IV,
+stanza 72, the description of Haidée's tomb. I restore the first two
+words, omitted in all previous editions, without which the passage is
+devoid of meaning. The way in which this passage has been garbled
+was pointed out by Piñeyro, "El Romanticismo en España," Paris, 1904.</p>
+
+<p><a href="#a180"><b>181. </b></a><b>de luceros coronada</b>: this verse occurs also in Meléndez
+Valdés' "Rosana en los fuegos." See Foulché-Delbosc, "Quelques
+Réminiscences dans Espronceda," <i>Revue Hispanique</i>, XXI, p. 667.</p>
+
+<p><a href="#a215"><b>218. </b></a><b>hoja tras hoja</b>, etc.: in the first part of "Faust," Margarete
+pulls out one by one the petals of a daisy to determine whether or
+not Faust loves her. Is this a reminiscence of Margarete's <i>Er liebt
+mich&mdash;liebt mich nicht?</i></p>
+
+<p><a href="#a240"><b>242. </b></a><b>pasó</b>: translate by the English perfect tense. There are many
+other cases in these poems where the preterit had best be rendered by
+the perfect.</p>
+
+<p><a href="#a245"><b>245. </b></a><b>miraran</b>: here and elsewhere the second (<b>-ra</b>) tense of the
+imperfect subjunctive is equivalent to a simple past. This use of the
+tense is frequent. At other times this tense is better rendered by a pluperfect
+indicative, when the common subjunctive meaning does not serve.</p>
+
+<p><a href="#a265"><b>268. </b></a>These verses are the most frequently quoted of the whole poem.</p>
+
+<p><a href="#a265"><b>268. </b></a><b>juguete</b>: I retain, though with some doubt, the reading of the
+original. Later editions have changed to juguetes.</p>
+
+<p><a href="#a275"><b>278. </b></a>The thought of these verses is that mean objects may present
+a beautiful appearance when viewed through a telescope. "Distance
+lends enchantment." So woman when viewed through the illusion of
+fancy is better than the woman of reality. This thought is developed
+farther in "A Teresa."</p>
+
+<p><a href="#a295"><b>298. </b></a>A frequently recurring thought in Espronceda, typical of
+Romantic pessimism. Truth is man's greatest enemy, he holds.
+Illusion is friendly.</p>
+
+<p><a href="#a315"><b>318. </b></a>In this and what follows, Elvira is plainly a copy of Ophelia.
+The influence of Hamlet cannot be doubted. Churchman has pointed
+out that Elvira is a composite of Goethe's Margarete, Shakespeare's
+Ophelia, and the Haidée and Doña Julia of Lord Byron. See "Byron
+and Espronceda," <i>Revue Hispanique</i>, Vol. XX, p. 164.</p>
+
+<p><a href="#a320"><b>324. </b></a><b>otra</b>: I retain the original reading. Later editions erroneously
+read <i>otras</i>.</p>
+
+<p><a href="#a345"><b>347. </b></a><b>Vaso de bendición</b>: `blessed vessel,' i.e. an individual peculiarly
+favored with the divine blessing. The phrase <i>vaso de elección</i> is
+commoner, meaning one chosen for a particular mission or appointed
+task. The latter term is frequently applied to the Apostle Paul
+(Acts ix, 15).</p>
+
+<p><a href="#a355"><b>359. </b></a><b>Mas despertó también de su locura</b>, etc.: Ophelia did not
+recover her reason before dying. Likewise she was drowned, while
+Elvira dies of love.</p>
+
+<p><a href="#a360"><b>364. </b></a><b>El bien pasado y el dolor presente</b>: an obvious reminiscence
+of Dante's:</p>
+
+<div class="poem">  <div class="stanza">
+<p class="i2">Nessun maggior dolore</p>
+<p>Che ricordarsi del tempo felice</p>
+<p>Nella miseria.&mdash;"Inferno," Canto V, ll. 121-123.</p>
+  </div>  </div>
+
+<p>There is no greater sorrow than to recall the happy time in the midst of misery.</p>
+
+<p><a href="#a370"><b>371. </b></a>The letter which follows represents Espronceda's most important
+borrowing from Byron. It is based upon Doña Julia's letter of
+adieu to Don Juan: see "Don Juan," Canto I, stanzas 192-197. The
+circumstances attending the writing of the two letters are entirely
+different. The tone of Doña Julia's letter is cynical; she is a married
+woman whose sin has been discovered and whose husband is forcing
+her to enter a convent. Doña Elvira's letter, written with death in
+view, is tender and pathetic. For details see Churchman, "Byron and
+Espronceda," <i>Revue Hispanique</i>, Vol. XX, p. 161.</p>
+
+<p>PARTE TERCERA</p>
+
+<p>In giving <a href="#a430">this quotation</a> from the second act of Moreto's "El Lego
+del Carmen o San Franco de Sena," Espronceda is either quoting
+erroneously or following some edition not known to me. In the
+Rivadeneyra edition the passage is as follows:</p>
+
+<div class="poem">  <div class="stanza">
+<p>SARGENTO</p>
+<p>¿Tiene más que parar?</p>
+  </div><div class="stanza">
+<p>FRANCO</p>
+<p class="i10">            Tengo los ojos,</p>
+<p>Y los juego en lo mismo; que descreo</p>
+<p>De quien los hizo para tal empleo.</p>
+  </div>  </div>
+
+<p>As this play influenced Espronceda, it is well to give a synopsis of
+it. Like the "Rufián dichoso" of Cervantes, the "San Franco de
+Sena" deals with the sinful life and conversion of one who was destined
+to be a saint. Franco of Siena, a youth noted for his wild conduct,
+falls in love with the inappropriately named Lucrecia. He kills her
+lover Aurelio in a duel, and, passing himself off for Aurelio, elopes
+with her and gets possession of her jewels. A cross with a lighted
+lamp before it is placed on a wall to mark the spot where Aurelio fell.
+One night, as he is passing, Franco sacrilegiously attempts to extinguish
+the light. A hand issues from the wall and seizes him by the wrist.
+Words of warning accompany this action. Franco shows neither fear
+nor compunction. He kills all the officers of justice who try to arrest
+him. Again passing the wall, he hears a ghostly voice urge him to try
+his hand at play, for by losing he will win. Franco hopes to win in a
+material way, and decides to follow this advice. He loses all and then
+stakes his eyes, making the blasphemous remark quoted above. He
+loses and is stricken blind. His conversion follows immediately. In
+the weak third act he becomes a Carmelite monk, and his companions
+in sin experience a like change of heart.</p>
+
+<p>The legend of the saint of Siena has many points of similarity with
+the legends of Don Juan Tenorio, Don Miguel de Mañara, and Lisardo
+the Student; but Espronceda has been only slightly influenced by
+Moreto's play. If he gained from it, rather than from Dumas or
+Mérimée, the idea of his gambling scene, he does not follow his model
+closely. In each case a chain is played for, but in Moreto the game is
+<b>pintas</b>, not <b>parar</b> or dice, and the other details are different. Moreto
+(1618-1659) was one of the most graceful but least original of the
+dramatists of the classic period.</p>
+
+<p><a href="#a435"><b>438. </b></a>The game of <b>parar</b>, <b>carteta</b>, or <b>andaboba</b>, as it was variously
+called, was played as follows: The dealer, who also serves as banker,
+places two cards face up at his left. The third card he places in front
+of himself. The fourth card, called the réjouissance card in the French
+form of the game, he places in the middle of the table. The players
+stake on this card whatever bets they desire to make, and these the
+banker is obliged to cover. He then deals a fifth. If this matches his
+own card, he wins all the money staked. If, on the contrary, it matches
+the réjouissance card, those who have staked money upon it win from
+the bank. If it matches neither, it is laid face up on the table, and
+money may be staked upon it precisely as upon the réjouissance card.
+So with all successive cards. The deal ends as soon as the banker's
+card is matched. He then surrenders the bank to the winner, unless
+the two cards laid to his left are matched before the third card dealt,
+his own, is duplicated. In this latter case he is privileged to keep the
+bank for another deal. This game, by reason of its swift action and
+the large number of players who could engage in it, was called <b>el juego
+alegre</b>. As results depended upon the turn of a single card, it lent itself
+readily to cheating. It is mentioned in a <i>pragmática</i> of Philip II, 1575,
+among a list of games to be prohibited. The modern games of monte
+and baccarat have points of similarity. In France and England the
+game is known as <i>lansquenet</i>, and is supposed to have been invented
+by the German <i>Landsknechte</i>, mercenary foot-soldiers of the sixteenth
+century. For further information see Hazañas y la Rúa, "Los Rufianes
+de Cervantes," Sevilla, 1906, p. 44, and Monreal, "Cuadros Antiguos,"
+Sevilla, 1906, p. 342. For a similar gambling scene see Tirso de
+Molina, "Tanto es lo de más como lo de menos," Act II, sc. vii.</p>
+
+<p><a href="#a455"><b>455. </b></a><b>El Caballo</b>: to understand what follows some knowledge of
+Spanish playing-cards is necessary. In Spain the <b>baraja</b>, or deck, consists,
+according to the game played, of 48 or 40 cards (<b>cartas, naipes,
+cartones</b>), and not of 52 as with us. The ten spot is unknown, and when
+the deck consists of but 40 the eight and nine spots are also wanting.
+The <b>palos</b>, or suits, are four: <b>oros</b> (gold coins, corresponding to our
+diamonds), <b>copas</b> (cups, corresponding to our hearts), <b>espadas</b> (swords,
+corresponding to our spades), and <b>bastones</b> (clubs). These figures are
+not conventionalized. The face cards are three: <b>el rey</b> (the king), <b>el
+caballo</b> (representing a mounted cavalryman, and corresponding in value
+to our queen), and <b>la sota</b> (a standing infantryman, sometimes called
+also <b>el infante</b>, and corresponding in value to our knave). These figures
+are unreversible. The First Gambler is dealer and banker, as is shown
+by the fact that he covers the bets (line 466). He is losing in spite of
+the fact that the banker had an advantage. The <b>caballo</b> is clearly the
+card that has turned up in front of the dealer. The turning up of a
+second <b>caballo</b> would end the deal.</p>
+
+<p><a href="#a455"><b>457. </b></a><b>Pues por poco</b>, etc.: the Second Gambler is mocking the First.
+"You want the <b>caballo</b>, and the <b>sota</b>, the card next under it in the suit,
+has turned up. This is so close that you should be satisfied." All this
+is implied in his remark.</p>
+
+<p><a href="#a455"><b>459. </b></a>The Second Gambler strikes an irreligious note by pretending
+to believe that the First Gambler's oath is a pious remark. He suggests
+that prayer and repentance should be deferred until one is dying.
+Gentlemen of equal rank formerly addressed each other in the second
+person plural.</p>
+
+<p><a href="#a465"><b>466. </b></a>The Third Gambler stakes upon the <b>sota</b>. Each new card, not
+matching previous ones, was the occasion for new bets.</p>
+
+<p><a href="#a480"><b>480. </b></a>An allusion to the world-wide superstition that he who is lucky
+at love is unlucky at cards and vice versa.</p>
+
+<p><a href="#a490"><b>490. </b></a><b>Se vende y se rifa</b>: Don Félix, who has no ready cash, raffles
+off his chain. He places on it a value of 2000 ducats, and announces
+that each of the five gamblers who are in funds must contribute
+400 ducats to the raffle. The First Gambler, a heavy loser, does not
+engage in the play; and Don Félix, too, enters into this first transaction
+merely as a seller. The chain is to go to the player to whom he
+deals the ace of <b>oros</b>, and he himself will get the 2000 ducats. After
+this he will begin to gamble on his own account. The game of <b>parar</b>
+ceased upon the entrance of Don Félix.</p>
+
+<p><a href="#a490"><b>491. </b></a><b>afrenta</b>: the affront lies in Don Félix's insolent manner and
+the masterful way in which he forces them to accept his terms without
+question. Indignant as the Fourth Gambler is, he dares not offer
+open objection.</p>
+
+<p><a href="#a495"><b>496. </b></a>I restore <b>una</b> from the 1840 edition instead of <b>uno</b>, found in the
+later prints. The agreement is with <b>carta</b>, understood, not with <b>naipe</b>.
+So likewise when the cards are dealt out in Moreto's "San Franco de
+Sena," the first numeral is <b>una</b>.</p>
+
+<p><a href="#a495"><b>498. </b></a>Three is the lucky number. The third card falls to the Third
+Gambler, who wins. The grief of the First Gambler is increased by the
+fact that the winning card would have fallen to him, if he had been in
+the game. Line 496 indicates that D. Félix passes him in dealing.</p>
+
+<p><a href="#a500"><b>500. </b></a>Having now come into possession of his 2000 ducats, Don
+Félix, always a reckless gambler, proposes to stake them all upon a
+single throw of the dice.</p>
+
+<p><a href="#a515"><b>516. </b></a><b>Si esta imagen respirara</b>: the First Gambler is so unlucky at
+cards that he may be supposed to be lucky in love. Hence sentimental
+remarks are placed in his mouth.</p>
+
+<p><a href="#a520"><b>520. </b></a>The Second Gambler makes a side bet with the Fourth and then
+a second one with the Fifth. These bets will be decided by the same
+throw that decides the bet between Don Félix and the Third Gambler.</p>
+
+<p><a href="#a525"><b>526. </b></a><b>Tirad con sesenta</b>, etc.: "Throw in the name of sixty horsemen."
+Some word like <b>hombres</b> or <b>demonios</b> needs to be supplied.</p>
+
+<p><a href="#a525"><b>529. </b></a>Don Félix, who has again lost, speaks with ironic blasphemy.
+He blames the First Gambler for addressing his prayer to God rather
+than to the devil.</p>
+
+<p><a href="#a545"><b>546. </b></a><b>vendellas</b>: for <b>venderlas</b>. In Old Spanish the final <b>r</b> of the
+infinitive frequently assimilates to the initial <b>l</b> of the enclitic pronoun.</p>
+
+<p><a href="#a550"><b>550. </b></a>Don Félix's perverted sense of honor will not brook the most
+trivial verbal slight to Elvira on the part of another, although he has
+cruelly wronged her himself by his deeds.</p>
+
+<p><a href="#a555"><b>558. </b></a>The First Gambler is not sufficiently blasphemous to invoke the
+devil, and Don Félix does so himself. This invocation changes his luck.</p>
+
+<p><a href="#a565"><b>567. </b></a><b>Encubierta fatídica figura</b>: one of those threadbare phrases
+abused by Spain's romantic poets. Valera in his "Del Romanticismo en
+España y de Espronceda" instances some of these, such as <b>negro
+capuz, lúgubre són, fúnebre ciprés</b>, etc. Mesonero Romanos in his
+"Románticos y Romanticismo" ridicules the abuse of the word <b>fatídica</b>.
+Espronceda was less frequently guilty of this sort of unoriginality than
+other less gifted poets were.</p>
+
+<p><a href="#a610"><b>610. </b></a><b>Mentís vos</b>: the usual formula for picking a quarrel.</p>
+
+<p><a href="#a625"><b>625</b></a><b>, 631. Que</b>: equivalent to <b>porque</b>.</p>
+
+<p><a href="#a650"><b>653. </b></a><b>vos</b>: antiquated for <b>vosotros</b>. Don Diego alone is addressed.
+After <b>Esperad, que</b> may be understood; such omissions of the conjunction
+are common in poetry. Punctuating differently, we might place
+a period after <b>Esperad</b>, in which case <b>Cuente</b> might be taken as a first
+person imperative.</p>
+
+<p><a href="#a675"><b>676. </b></a><b>juego</b>: such is the reading of the 1840 edition. Some later editor
+emended to <b>fuego</b>. Though this emendation is plausible, the change
+seems to me both unnecessary and unhappy. It is characteristic of
+Don Félix's cool insolence that he should refer to his affair with Elvira
+as a "game" rather than as a "passion."</p>
+
+<p><a href="#a690"><b>692. </b></a>The Fourth Gambler's remark is somewhat ambiguous, but the
+sense demands that we take <b>lo</b> as referring to Don Félix. Remember
+that it was the Fourth Gambler who had resented Don Félix's overbearing
+conduct. He acted the coward and now talks like a coward.
+The Third Gambler is the most skeptical regarding changes of luck,
+because he himself has experienced the greatest ups and downs of
+fortune in the game just finished.</p>
+
+
+<p><a href="#a690">PARTE CUARTA</a></p>
+
+<p>Miguel de los Santos Álvarez (1818-1892) was a friend and imitator
+of Espronceda and the last surviving member of his school. He was
+one of several who attempted the vain task of completing the "Diablo
+Mundo." He was a guest of honor with Espronceda at the first reading
+of "El Estudiante de Salamanca" at Granada in 1837. His verse is
+mediocre, and he is best known for the <i>Cuento en prosa</i> here quoted.
+This Fitzmaurice-Kelly terms "a charming tale," and Piñeyro praises
+it for the grace and naturalness of its irony. Rubén Darío gives some
+interesting reminiscences of Santos Álvarez in his old age, "La vida
+de Rubén Darío escrita por él mismo", Barcelona, n.d., chap. xxvii.
+Apparently Santos Álvarez never outgrew the bohemianism of his youth.</p>
+
+<p>The second quotation is from Mark xiv, 38: "The spirit truly is
+ready, but the flesh is weak."</p>
+
+<p><a href="#a690"><b>693. </b></a>The narrative begun in Part First is now resumed at the point
+where it was interrupted. We now know that it was Don Diego Pastrana
+who lost his life in the duel described in the opening lines.</p>
+
+<p><a href="#a715"><b>717. </b></a>The omission of the usual accent of <b>impio</b> is intentional and
+indicates how the word should be stressed in this verse. <b>Impío</b> is a
+"word of double accentuation". See Introduction.</p>
+
+<p><a href="#a725"><b>729. </b></a>Notice how the absolute phrase <b>Los ojos fijos</b> is broken by the
+insertion of the proper name. Poets depart from the usual word-order
+with the utmost freedom.</p>
+
+<p><a href="#a735"><b>737. </b></a><b>néctar jerezano:</b> sherry wine.</p>
+
+<p><a href="#a735"><b>738, </b></a><b>740. bastara, intentara</b>: to be translated as pluperfects.</p>
+
+<p><a href="#a765"><b>766. </b></a>It is necessary to supply a <b>que</b> to serve as the object of <b>achaca</b>.
+This is readily to be inferred from the <b>que</b> in the verse before, which is,
+however, used as a subject.</p>
+
+<p><a href="#a790"><b>793. </b></a>In this speech of Don Felix's there is rapid alternation between
+direct address, in the second person, and side remarks in the
+third person about the person addressed.</p>
+
+<p><a href="#a800"><b>800. </b></a><b>tengo de</b>: we would have he de in modern prose.</p>
+
+<p><a href="#a810"><b>811. </b></a>The <b>que</b> in this verse is the <b>que</b> regularly following oaths
+and asseverations. Cf. Tobler, "Vermischte Beiträge zur französischen
+Grammatik," Leipzig, 1912, Article 17, pp. 57 f. Tobler gives the following
+example from Calderón: <b>¡Vive Dios! que no he salido.</b> ("El
+Mágico Prodigioso," Act III, v. 387.) In these examples, the <b>¡vive dios!</b>
+is hardly more than an emphatic <b>digo</b>, and is followed by <b>que</b> just as
+<b>digo</b> would be. Verse 810 is parenthetical.</p>
+
+<p><a href="#a825"><b>828. </b></a><b>del</b>: construe with <b>mar</b>.</p>
+
+<p><a href="#a830"><b>833. </b></a>For the conclusion of the sentence here begun it is necessary
+to turn to line 883. We have to do with a sentence of 54 lines.</p>
+
+<p><a href="#a840"><b>840. </b></a>The 1840 edition lacks the third <b>su</b>.</p>
+
+<p><a href="#a850"><b>853. </b></a><b>fueron</b>: 'are past and gone.'</p>
+
+<p><a href="#a860"><b>861. </b></a><b>del</b>: the later editions read <b>el</b>. Ditto in lines 862, 863, 866.
+<b>De</b> is also omitted in 865.</p>
+
+<p><a href="#a865"><b>868. </b></a><b>jamás</b>: I restore the 1840 reading. Later editions read <b>y no</b>.</p>
+
+<p><a href="#a915"><b>916. </b></a><b>que</b>: a conjunction introducing a clause, the verb of which
+(<b>pese</b>) has to be supplied.</p>
+
+<p><a href="#a920"><b>921. </b></a>The usual accent is intentionally omitted from <b>veame</b>. To read
+this verse correctly the second syllable, and not the first, must bear the
+stress. The bad prosody of this verse is discussed in the Introduction.</p>
+
+<p><a href="#a940"><b>943. </b></a>The Dance of Death begins.</p>
+
+<p><a href="#a1010"><b>1012. </b></a><b>misteriosa</b>: late editors wrongly change to <b>misterioso</b>. Espronceda
+is using <b>guía</b> as a feminine.</p>
+
+<p><a href="#a1040"><b>1040. </b></a><b>Dale</b>, etc.: 'plague take the tolling of the passing bell and
+these towers dancing in tangled confusion to the measure of such
+a concert.'</p>
+
+<p><a href="#a1045"><b>1046. </b></a><b>llegue</b>: I have emended <b>llegué</b> (which I believe Espronceda
+did not intend on account of the "obstructing syllable" which that
+accentuation would give to the verse) to <b>llegue</b>. I take <b>llegue</b> to be the
+subjunctive of emphatic asseveration. See Bello-Cuervo, "Gramática
+Castellana," paragraph 463. Other editors are perhaps right in interpreting
+the passage differently. They suppress the period after <b>maravillas</b>,
+the exclamation point before <b>Que</b>, and write <b>llegué</b>. This makes equally
+good sense and is just as grammatical, but the verse is less harmonious.
+This last point, however, is not a vital objection. The two ways of
+editing this passage seem to me to offer little choice.</p>
+
+<p><a href="#a1060"><b>1062. </b></a>Construe <b>en que</b> with <b>ha dado</b>, above.</p>
+
+<p><a href="#a1110"><b>1112. </b></a>The quotation from Mark xiv, 38 applies especially to this
+passage. Also to ll. 1626-1633.</p>
+
+<p><a href="#a1120"><b>1121. </b></a>The three forms of address used by Don Félix in addressing
+<i>el enlutado</i> indicate his change of manner from politeness to insolence.
+He begins with the polite third person singular form. Then, enraged
+by the answer, he is intentionally insulting in verse 1126, wishing to
+provoke a duel. As the other puts up a brave front, he next addresses
+him as an equal (verse 1127) by using the second person plural. This
+was the usual form of address between gentlemen of equal standing
+during the Renaissance period. But, again losing his temper, he relapses
+into the insulting second person singular (verse 1133 and following).</p>
+
+<p><a href="#a1130"><b>1133. </b></a><b>haga</b>: an instance of the use of the subjunctive after oaths
+and asseverations. See Bello-Cuervo, "Gramática Castellana," paragraph
+463.</p>
+
+<p><a href="#a1310"><b>1311. </b></a><b>una</b>: goes with <b>gradería</b> in the following verse.</p>
+
+<p><a href="#a1385"><b>1385. </b></a>Beginning with this verse and ending with l. 1680, the poet
+attempts to indicate the gathering and abating fury of the ghostly revel
+by the successive lengthening and shortening of the verses. The final
+verses also express Don Félix's waning strength. This device is an
+attempt to imitate the <i>crescendo</i> and <i>diminuendo</i> effect of music. This
+whole passage is an obvious imitation of Victor Hugo's "Les Djinns,"
+a poem included in "Les Orientales." Nowhere has Espronceda
+shown greater virtuosity in the handling of meter.</p>
+
+<p><a href="#a1445"><b>1448. </b></a>The nouns and infinitives in this and the following lines are
+objects of <b>siente</b>, l. 1456.</p>
+
+<p><a href="#a1700"><b>1703. </b></a><b>Y si, lector</b>, etc.: 'And if, reader, you say it is a fabrication,
+I tell it to you as they told it to me.' León Medina, "Frases
+literarias afortunadas," <i>Revue hispanique</i>, Vol. XVIII, p. 226, states
+that these two verses are a quotation from Juan de Castellanos, an
+obscure poet of the sixteenth century, author of <i>Elegías de Varones
+Ilustres de Indias</i>. (The first three parts of this work may be found in
+Vol. IV of the <i>Biblioteca de Autores Españoles</i>; Part IV has been edited
+by Paz y Melia for the <i>Colección de Escritores Castellanos</i>, Vols. XLIV
+and XLIX. The passage in question may be found in Canto II,
+octave 8.) Churchman, "Byron and Espronceda," <i>Revue hispanique</i>,
+Vol. XX, p. 210, adds the information that Espronceda probably took
+the lines directly from Villalta, who had quoted them in his historical
+novel <i>El Golpe en Vago</i>, Madrid, 1835. This is made probable by the
+fact that whereas Castellanos had written correctly <b>os lo cuento</b>, Villalta
+wrote <b>te lo cuento</b>, Espronceda following him in this grammatical error.</p>
+
+<p>The form <b>dijerdes</b>, an old form for the second plural of the future
+subjunctive (modern <b>dijereis</b>), represents the syncopation of a still older
+<b>dijéredes</b>. Grammatically the pronoun <b>os</b> should have been used. Evidently
+both Villalta and Espronceda considered <b>dijerdes</b> to be a second
+singular form. A modern editor cannot undertake to correct a mistake
+made by the author. In Old Spanish infinitives could be very loosely
+used. It was not necessary that the subject of a dependent infinitive
+should be the same as that of the verb on which it depended.</p>
+
+<p>The word <b>comento</b> here has the meaning "fiction," "fabrication." I
+find this meaning given in none of the dictionaries, but it can readily
+be inferred from the word <b>comentador</b>, which had as one of its meanings
+"an inventor of false reports." <b>Comento</b>, like Latin <i>commentum</i>, has
+as one of its meanings "fiction," "fabrication."</p>
+
+<p>The writers of <b>leyendas</b> were fond of stressing the traditional nature
+of their poems. Thus Zorrilla concludes his "Capitán Montoya":</p>
+
+<div class="poem">  <div class="stanza">
+<p>El pueblo me lo contó</p>
+<p>Sin notas ni aclaraciones,</p>
+<p>Con sus mismas espresiones</p>
+<p>Se lo cuento al pueblo yo.</p>
+  </div>  </div>
+<br>
+
+
+
+<p><b>CANCIÓN DEL PIRATA</b></p>
+
+<p><a href="#b5"><b>7. </b></a><b>en todo mar conocido</b>: I follow the reading of the text as it
+originally appeared in <i>El Artista</i>. The later version of 1840 is peculiar
+in the reading <b>en todo el mar conocido</b>. We cannot be certain that this
+is a change made by Espronceda himself.</p>
+
+<p><a href="#b80"><b>84. </b></a>Instead of <b>negro</b> the 1840 edition reads <b>ronco</b>.</p>
+<br>
+
+
+
+<p><b>EL CANTO DEL COSACO</b></p>
+
+<p><a href="#c1"><b>Attila,</b></a> king of the Huns, reigned from 433 until his death 453 A.D.
+He is noted for the barbaric ferocity of his campaigns against the
+Eastern and Western Roman Empires and the Germanic kingdoms of
+the West. In 447 he ravaged seventy cities in Thrace, Macedonia, and
+Greece, and all but captured Constantinople. In 451 he crossed the
+Rhine and sacked the cities of Belgic Gaul. He was decisively defeated
+at Troyes by the Gothic leader Theodoric in league with the Roman
+general Aëtius. He then entered northern Italy, where he continued
+his depredations and advanced upon Rome. The Emperor Valentinianus
+II saved the city by paying tribute. Legend has it that while in
+Gaul a hermit called Attila to his face the "scourge of God." Attila
+accepted the designation and replied with the remark quoted in the text.
+This story is not found in Jordanes, Priscus, or any of the contemporary
+historians. Gibbon says: "It is a saying worthy of the ferocious pride
+of Attila that the grass never grew on the spot where his horse had
+trod" ("Decline and Fall of the Roman Empire," London, 1897, III,
+p. 469). This poem is a magnificent expression of barbaric battle-lust.
+Espronceda felt as a youth that wholesale destruction must precede
+the new order of things in Spain and Europe.</p>
+
+<p><a href="#c50"><b>50.</b></a> The poet hopelessly confuses the exploits of the Huns, the
+Goths, and the Cossacks. Neither the Cossacks nor the Huns ever
+captured Rome. Alaric the Goth took Rome in 410 A.D.</p>
+
+<p><a href="#c65"><b>65.</b></a> The principal Cossack invasion of Poland was in the first half
+of the seventeenth century, when Chmielnicki, hetman of the Cossacks,
+with the aid of his Tartar allies ruthlessly devastated the Polish provinces.
+This war has been vividly described by Sienkiewicz in his novel
+"With Fire and Sword."</p>
+
+<p><a href="#c75"><b>79.</b></a> The Huns are said to have carried raw meat beneath their saddles
+as they rode. At the end of the day's ride they would eat it.</p>
+<br>
+
+
+
+<p><b>EL MENDIGO</b></p>
+
+<p><a href="#d105"><b>108.</b></a> The poet has paraphrased the proverb <b>Allá van leyes do quieren
+reyes</b>, the idea of which is that a tyrant can twist the law to serve the
+purposes of his tyranny.</p>
+<br>
+
+
+
+<p><b>A TERESA. DESCANSA EN PAZ</b></p>
+
+<p>For an account of Teresa, see the Introduction. For Miguel de los
+Santos Álvarez, see the note to "El Estudiante de Salamanca," Part IV.</p>
+
+<p><a href="#f40"><b>41. </b></a>The poet describes his three youthful passions: liberty, romantic
+literature, and love.</p>
+
+<p><a href="#f45"><b>49. </b></a><b>Catón</b>: Caius Porcius Cato (95-46 B.C.), commonly called Cato
+of Utica, was a stalwart defender of Roman republicanism against
+Caesar and his party. His suicide after the defeat of the republican
+cause at Thapsus was regarded as an act of stoic heroism.</p>
+
+<p><a href="#f50"><b>50. </b></a><b>Bruto</b>: it is not clear whether the poet refers to Lucius Junius
+Brutus, who drove from power Tarquinius Superbus, founded the
+Roman republic, and displayed his rigid justice by condemning to
+death his own sons, or Marcus Junius Brutus, who assassinated Cæsar
+in the name of liberty.</p>
+
+<p><a href="#f50"><b>51. </b></a><b>Scévola</b>: a hero of early Rome who was captured by the enemy
+and threatened with death by fire if he refused to give important information.
+He replied by deliberately holding his hand in a flame.</p>
+
+<p><a href="#f50"><b>52. </b></a><b>Sócrates</b> (469-400 B.C.): the celebrated Grecian philosopher.
+He believed in the immortality of the soul.</p>
+
+<p><a href="#f50"><b>54. </b></a><b>Del orador de Atenas</b>: Demosthenes (385-322 B.C.), especially
+famous for his Philippics, a series of twelve orations directed against
+Philip of Macedon, the <i>tirano macedonio</i> here alluded to. All these
+classical allusions seem to show that Espronceda, like most of the
+leaders of the French Revolution, was influenced by Plutarch.</p>
+
+<p><a href="#f55"><b>57. </b></a>In this octave the poet voices his enthusiasm for the Middle
+Ages and romantic literature in general. In his desire to embrace in
+his own life the careers of knight and troubadour, Espronceda is harking
+back to the "arms and letters" ideal of many of Spain's greatest writers.</p>
+
+<p><a href="#f75"><b>77. </b></a><b>Soñaba al héroe</b>: <b>con</b> is the usual complement of <b>soñar</b> in prose.</p>
+
+<p><a href="#f85"><b>89. </b></a>Espronceda's first meeting with Teresa took place in Portugal
+in the beautiful region around Cintra.</p>
+
+<p><a href="#f130"><b>131. </b></a><b>La sacra ninfa que bordando</b>, etc.: according to Menéndez y
+Pelayo, these two verses are taken from the "Fábula de Genil" of
+Pedro Espinosa, an author whom he says Espronceda knew by heart.
+(See "Discursos leídos ante la Real Academia Española en la recepción
+del excmo. señor D. Francisco Rodríguez Marín, el día 27 de octubre
+de 1907," Madrid, 1907, p. 86). The verses in question are:</p>
+
+<div class="poem">  <div class="stanza">
+<p>Corta las aguas con los blancos brazos</p>
+<p>La ninfa, que con otras ninfas mora</p>
+<p>Debajo de las aguas cristalinas</p>
+<p>En aposentos de esmeraldas finas.</p>
+  </div>  </div>
+
+<p>And farther down,</p>
+
+<div class="poem">  <div class="stanza">
+<p>El despreciado dios su dulce amante</p>
+<p>Con las náyades vido estar bordando.</p>
+  </div>  </div>
+
+<p>This in turn, it seems to me, may be reminiscent of Garcilaso de la
+Vega's <i>Égloga Tercera</i>. Apparently P. Henríquez Ureña has made this
+discovery independently. See <i>Revista de Filología Española</i>, IV, 3, p. 292.</p>
+
+<p><a href="#f170"><b>170. </b></a>The usual accent has been intentionally omitted from <b>aerea</b>.</p>
+
+<p><a href="#f200"><b>201. </b></a>"How art thou fallen from heaven, O Lucifer, son of the
+morning." Isaiah xiv, 12.</p>
+
+<p><a href="#f230"><b>232. </b></a>The story of the man who spits upon himself while trying to
+spit upon the sky is as old as Berceo in Spanish literature.</p>
+
+<p><a href="#f235"><b>238. </b></a>One has to supply a <b>se</b> with <b>convirtieron</b>. This may readily be
+inferred from the preceding verse.</p>
+
+<p><a href="#f350"><b>352. </b></a>Foulché-Delbosc thinks that this last verse was suggested by
+Hugo, "Les Feuilles d'automne, XXXV, Soleils couchants." See
+<i>Revue hispanique</i>, XXI, p. 667.</p>
+<br><br><br>
+
+
+<a name="vocab" id="vocab"></a>
+
+<h2>VOCABULARY</h2>
+
+<p>The sign "-" means the word which stands in black type at the head of the
+paragraph; thus, <b>-se</b> under <b>abrir</b> means <b>abrirse</b>.</p>
+
+
+
+<div class="poem">  <div class="stanza">
+<p><i>acc.</i> = accusative.</p>
+<p><i>adj.</i> = adjective.</p>
+<p><i>adv.</i> = adverb.</p>
+<p><i>art.</i> = article.</p>
+<p><i>card.</i> = cardinal numeral.</p>
+<p><i>cf.</i> = compare.</p>
+<p><i>conj.</i> = conjunction.</p>
+<p><i>dat.</i> = dative.</p>
+<p><i>dem.</i> = demonstrative.</p>
+<p><i>f.</i> = feminine.</p>
+<p><i>impers.</i> = impersonal.</p>
+<p><i>inf.</i> = infinitive.</p>
+<p><i>interj.</i> = interjection.</p>
+<p><i>interrog.</i> = interrogation, interrogative.</p>
+<p><i>Ital.</i> = Italian.</p>
+<p><i>m.</i> = masculine.</p>
+<p><i>neut.</i> = neuter.</p>
+<p><i>p.p.</i> = past participle.</p>
+<p><i>pers.</i> = person, personal.</p>
+<p><i>pl.</i> = plural.</p>
+<p><i>poss.</i> = possessive.</p>
+<p><i>pr. n.</i> = proper noun.</p>
+<p><i>prep.</i> = preposition.</p>
+<p><i>pron.</i> = pronoun.</p>
+<p><i>refl.</i> = reflexive.</p>
+<p><i>rel.</i> = relative.</p>
+<p><i>sc.</i> = to wit.</p>
+<p><i>sing.</i> = singular.</p>
+<p><i>viz.</i> = namely.</p>
+  </div>  </div>
+<br><br>
+
+
+<div class="poem">  <div class="stanza">
+<p><b>a</b> <i>prep.</i> to, at, on, upon, over, in, towards, with, from, for, around, by, of, when, as; <i>as sign of the accusative, not to be translated</i>; <b>&mdash;&mdash;</b> + <i>inf.</i> if (<b>&mdash;&mdash; estar aquí</b> if she were here); <b>al</b> + <i>inf.</i> upon, on, at, when.</p>
+<p><b>abandonar</b> abandon, forsake, leave.</p>
+<p><b>abandono</b> <i>m.</i> abandonment, surrender, yielding.</p>
+<p><b>abarcar</b> embrace, contain.</p>
+<p><b>abatir</b> overthrow, lay low.</p>
+<p><b>abierto, -a</b> open.</p>
+<p><b>abismo</b> <i>m.</i> abyss, hell, bottomless pit.</p>
+<p><b>ablandarse</b> soften, relent, give.</p>
+<p><b>abonar</b> improve, warrant, favor, become.</p>
+<p><b>abrasado, -a</b> burning, hot.</p>
+<p><b>abrasar</b> burn.</p>
+<p><b>abrazo</b> <i>m.</i> embrace.</p>
+<p><b>ábrego</b> <i>m.</i> southwest wind.</p>
+<p><b>abreviar</b> shorten.</p>
+<p><b>abrir</b> open, expand, cut; <b>&mdash;se</b> open, yawn, unfold, split.</p>
+<p><b>abrojo</b> <i>m.</i> thistle, thorn.</p>
+<p><b>absolución</b> <i>f.</i> absolution.</p>
+<p><b>abundante</b> <i>adj.</i> abundant, abounding, teeming.</p>
+<p><b>acá</b> <i>adv.</i> here, hither.</p>
+<p><b>acabar</b> end, cease; <b>&mdash;se</b> come to an end.</p>
+<p><b>acacia</b> <i>f.</i> acacia.</p>
+<p><b>acariciar</b> cherish, soothe, caress.</p>
+<p><b>acaso</b> <i>adv.</i> perchance, perhaps.</p>
+<p><b>acción</b> <i>f.</i> action, feat.</p>
+<p><b>acento</b> <i>m.</i> accent, voice, words, tone.</p>
+<p><b>acercar</b> approach, bring near; <b>&mdash;se</b> approach.</p>
+<p><b>acero</b> <i>m.</i> steel.</p>
+<p><b>acertar</b> guess aright, tell certainly, ascertain, divine.</p>
+<p><b>acompañar</b> accompany, follow.</p>
+<p><b>acudir</b> assist, hasten to assistance, come, appear.</p>
+<p><b>achacar</b> blame, impute, attribute.</p>
+<p><b>adelantar(se)</b> advance, proceed, hasten.</p>
+<p><b>adelante</b> <i>adv.</i> onward, on, farther, forward.</p>
+<p><b>ademán</b> <i>m.</i> gesture, attitude, look, manner.</p>
+<p><b>adiós</b> <i>m.</i> adieu, farewell.</p>
+<p><b>admirar</b> wonder at, admire.</p>
+<p><b>admitir</b> admit, accept, permit.</p>
+<p><b>adónde</b> <i>adv.</i> where? whither?</p>
+<p><b>adorar</b> adore.</p>
+<p><b>adormir</b> drop to sleep.</p>
+<p><b>adornar</b> adorn.</p>
+<p><b>adorno</b> <i>m.</i> ornament, adornment.</p>
+<p><b>aduar</b> <i>m.</i> camp, camp of gypsies, horde of gypsies.</p>
+<p><b>adusto, -a</b> austere, sullen, gloomy, solemn.</p>
+<p><b>advertir</b> warn.</p>
+<p><b>aéreo, -a</b> ethereal, aerial, airy.</p>
+<p><b>afán</b> <i>m.</i> eager desire, longing, anxiety, effort, toil, difficulty, bustle.</p>
+<p><b>afanar</b> distress; <b>&mdash;se</b> desire eagerly, struggle for.</p>
+<p><b>afeminado, -a</b> effeminate.</p>
+<p><b>afilado, -a</b> sharp, slender, thin, tapering.</p>
+<p><b>afligido, -a</b> troubled, distressed.</p>
+<p><b>afligir</b> pain, grieve.</p>
+<p><b>afrenta</b> <i>f.</i> insult, affront.</p>
+<p><b>ágil</b> <i>adj.</i> nimble, light.</p>
+<p><b>agilidad</b> <i>f.</i> quickness, nimbleness, activity.</p>
+<p><b>agitar</b> agitate, move, stir, stir up, sway, shake, disturb.</p>
+<p><b>agolpado, -a</b> curdled.</p>
+<p><b>agolpar</b> rush, gather.</p>
+<p><b>agonía</b> <i>f.</i> agony, death struggle, pangs of death.</p>
+<p><b>agostar</b> parch, wither.</p>
+<p><b>agradecer</b> be grateful, render thanks, be grateful for.</p>
+<p><b>agradecido, -a</b> thankful, grateful.</p>
+<p><b>agreste</b> <i>adj.</i> wild, rude, rough.</p>
+<p><b>agrupar(se)</b> cluster.</p>
+<p><b>agua</b> <i>f.</i> water.</p>
+<p><b>aguardar</b> await, expect.</p>
+<p><b>agudo, -a</b> sharp, keen.</p>
+<p><b>¡ah!</b> <i>interj.</i> ah!</p>
+<p><b>ahinco</b> <i>m.</i> energy, determination.</p>
+<p><b>ahogar</b> stifle, smother, drown.</p>
+<p><b>ahora</b> <i>adv.</i> now, at present.</p>
+<p><b>airado, -a</b> angry.</p>
+<p><b>aire</b> <i>m.</i> air, atmosphere, wind, breeze, manner.</p>
+<p><b>airoso, -a</b> airy, lively, easy, genteel, elegant, graceful.</p>
+<p><b>aislamiento</b> <i>m.</i> isolation.</p>
+<p><b>ajar</b> spoil, crumple, fade.</p>
+<p><b>ajeno, -a</b> of another, ignorant, unaware; <b>&mdash;&mdash; de</b> free from.</p>
+<p><b>ala</b> <i>f.</i> wing, brim.</p>
+<p><b>alabar</b> praise, extol.</p>
+<p><b>alarido</b> <i>m.</i> cry, shout, shriek.</p>
+<p><b>alba</b> <i>f.</i> dawn.</p>
+<p><b>albo, -a</b> white.</p>
+<p><b>alborada</b> <i>f.</i> dawn.</p>
+<p><b>alborotar</b> stir up, agitate, arouse, excite, disturb, confuse; <b>&mdash;se</b> get excited.</p>
+<p><b>alcanzar</b> attain, succeed, achieve, reach, obtain, take; <b>&mdash;&mdash; a hacer</b> succeed in doing, be capable of doing.</p>
+<p><b>alcázar</b> <i>m.</i> castle, fortress.</p>
+<p><b>alegrarse</b> rejoice, be glad.</p>
+<p><b>alegre</b> <i>adj.</i> happy, joyful, merry, beautiful, fair, clear.</p>
+<p><b>alegría</b> <i>f.</i> joy, merriment.</p>
+<p><b>alejarse</b> move away, recede.</p>
+<p><b>alentar</b> animate, foster, cherish.</p>
+<p><b>alfombra</b> <i>f.</i> carpet.</p>
+<p><b>algazara</b> <i>f.</i> shout, shouting, hubbub.</p>
+<p><b>alguno, -a</b> <i>adj. pron.</i> some, some one.</p>
+<p><b>aliento</b> <i>m.</i> breath, spirit, exhalation.</p>
+<p><b>alma</b> <i>f.</i> soul, heart, person.</p>
+<p><b>almena</b> <i>f.</i> battlement.</p>
+<p><b>almo, -a</b> holy.</p>
+<p><b>alquiler</b> <i>m.</i> hire; <b>de &mdash;&mdash;</b> hired, let for hire.</p>
+<p><b>alredor</b> <i>adv.</i> around; <b>a mi &mdash;&mdash;</b> around me.</p>
+<p><b>altanero, -a</b> soaring, haughty, arrogant, overbearing, proud.</p>
+<p><b>altar</b> <i>m.</i> altar.</p>
+<p><b>alterar</b> change, disturb, stir up.</p>
+<p><b>altísimo, -a</b> very high, lofty.</p>
+<p><b>altivez</b> <i>f.</i> arrogance, presumption.</p>
+<p><b>altiveza</b> <i>f.</i> arrogance, haughtiness.</p>
+<p><b>altivo, -a</b> haughty, proud, lofty.</p>
+<p><b>alto, -a</b> high, steep, tall, raised, lofty, erect, loud.</p>
+<p><b>altura</b> <i>f.</i> height; <b>&mdash;&mdash;s</b> heavens, on high.</p>
+<p><b>alumbrar</b> light, shed light, illumine.</p>
+<p><b>Álvarez</b> <i>pr. n.</i> Álvarez.</p>
+<p><b>alzar</b> raise, lift, hoist; <b>&mdash;se</b> rise; <b>&mdash;se de pie</b> rise to one's feet.</p>
+<p><b>allá</b> <i>adv.</i> there, yonder, thither; <b>&mdash;&mdash; va</b> here goes; <b>&mdash;&mdash; voy</b> I am coming; <b>más &mdash;&mdash;</b> farther on, beyond.</p>
+<p><b>allí</b> <i>adv.</i> there.</p>
+<p><b>amable</b> <i>adj.</i> pleasing, lovely, kind.</p>
+<p><b>amado, -a</b> beloved, loved (one).</p>
+<p><b>amador</b> <i>m.</i> lover.</p>
+<p><b>amante</b> <i>adj.</i> loving.</p>
+<p><b>amante</b> <i>m. f.</i> lover, sweetheart.</p>
+<p><b>amar</b> love.</p>
+<p><b>amargo, -a</b> bitter.</p>
+<p><b>amargura</b> <i>f.</i> bitterness, sorrow.</p>
+<p><b>amarillo, -a</b> yellow.</p>
+<p><b>amedrentar</b> frighten, terrify.</p>
+<p><b>amigo</b> <i>m.</i> friend.</p>
+<p><b>amontonar</b> gather, pile up.</p>
+<p><b>amor</b> <i>m.</i> love, lady-love, sweetheart; <b>&mdash;&mdash;es</b> love affairs, amours, intrigues.</p>
+<p><b>amoroso, -a</b> loving, amorous, gentle.</p>
+<p><b>amparar</b> protect; <b>&mdash;se</b> be protected, enjoy protection.</p>
+<p><b>analizar</b> analyze.</p>
+<p><b>anatema</b> <i>m. f.</i> anathema.</p>
+<p><b>anclar</b> anchor.</p>
+<p><b>andado, -a</b> traversed.</p>
+<p><b>andadura</b> <i>f.</i> amble; <b>paso de &mdash;&mdash;</b> ambling gait.</p>
+<p><b>andar</b> go, move, walk, be; <b>vamos andando</b> let us be off.</p>
+<p><b>andar</b> <i>m.</i> gait, walk.</p>
+<p><b>andrajoso, -a</b> tattered.</p>
+<p><b>anegar</b> drown.</p>
+<p><b>ángel</b> <i>m.</i> angel.</p>
+<p><b>angélico, -a</b> angelic, heaven-born.</p>
+<p><b>ángulo</b> <i>m.</i> corner.</p>
+<p><b>angustia</b> <i>f.</i> anguish.</p>
+<p><b>angustiado, -a</b> anguished, distressed.</p>
+<p><b>angustioso, -a</b> full of anguish, miserable, painful.</p>
+<p><b>anhelante</b> <i>adj.</i> covetous, longing.</p>
+<p><b>anhelo</b> <i>m.</i> desire, longing, yearning.</p>
+<p><b>ánima</b> <i>f.</i> soul.</p>
+<p><b>animarse</b> take courage, become animated.</p>
+<p><b>ánimo</b> <i>m.</i> spirit, courage, mind, intention.</p>
+<p><b>animoso, -a</b> spirited, gallant, brave.</p>
+<p><b>ansia</b> <i>f.</i> longing, eagerness, anxiety, anguish.</p>
+<p><b>ansiar</b> desire, yearn for, long for, crave.</p>
+<p><b>ansiedad</b> <i>f.</i> anxiety, eagerness, longing, anguish.</p>
+<p><b>ansioso, -a</b> anxious.</p>
+<p><b>ante</b> <i>prep.</i> before.</p>
+<p><b>antes</b> <i>adv.</i> before; <b>&mdash;&mdash; de</b> <i>prep.</i> before.</p>
+<p><b>antiguo, -a</b> old, ancient, former.</p>
+<p><b>antojo</b> <i>m.</i> fancy, caprice.</p>
+<p><b>antorcha</b> <i>f.</i> torch, taper.</p>
+<p><b>anublar</b> becloud, darken.</p>
+<p><b>anunciar</b> announce, proclaim.</p>
+<p><b>añadir</b> add.</p>
+<p><b>año</b> <i>m.</i> year.</p>
+<p><b>apagado, -a</b> extinguished, softened.</p>
+<p><b>apagar</b> extinguish.</p>
+<p><b>aparecer(se)</b> appear.</p>
+<p><b>aparición</b> <i>f.</i> apparition, ghost.</p>
+<p><b>apartar</b> remove, withdraw.</p>
+<p><b>aparte</b> <i>adv.</i> aside.</p>
+<p><b>apenas</b> <i>adv.</i> hardly, barely.</p>
+<p><b>aplauso</b> <i>m.</i> applause.</p>
+<p><b>apoderarse de</b> take possession of.</p>
+<p><b>apostar</b> bet, wager, stake.</p>
+<p><b>apostura</b> <i>f.</i> neatness, spruceness, appearance.</p>
+<p><b>apoyar</b> rest, support.</p>
+<p><b>aprecio</b> <i>m.</i> regard; <b>hacer &mdash;&mdash; de</b> note.</p>
+<p><b>apremiar</b> press.</p>
+<p><b>aprestar</b> make ready, prepare.</p>
+<p><b>apretado, -a</b> tight, close.</p>
+<p><b>apretar</b> press, clutch, tighten.</p>
+<p><b>aquel, -la</b> <i>adj. dem.</i> that.</p>
+<p><b>aquél, -la, aquello</b> <i>pron. dem.</i> that one.</p>
+<p><b>aquí</b> <i>adv.</i> here, now; <b>de &mdash;&mdash; a una hora</b> an hour hence.</p>
+<p><b>Aquilón</b> <i>m.</i> north wind.</p>
+<p><b>ara</b> <i>f.</i> altar.</p>
+<p><b>árbol</b> <i>m.</i> tree.</p>
+<p><b>arboleda</b> <i>f.</i> grove.</p>
+<p><b>arcano</b> <i>m.</i> secret, mystery.</p>
+<p><b>arco</b> <i>m.</i> arch.</p>
+<p><b>archivo</b> <i>m.</i> archive, repository.</p>
+<p><b>arder</b> burn, glow.</p>
+<p><b>ardido, -a</b> burning.</p>
+<p><b>ardiente</b> <i>adj.</i> ardent, burning.</p>
+<p><b>ardite</b> <i>m.</i> ardite (an ancient coin); farthing.</p>
+<p><b>arenal</b> <i>m.</i> sandy place.</p>
+<p><b>argentado, -a</b> silvery, silvered.</p>
+<p><b>argentino, -a</b> silvery.</p>
+<p><b>árido, -a</b> dry, dried up, barren.</p>
+<p><b>arma</b> <i>f.</i> arms, weapon.</p>
+<p><b>armar</b> arm, start.</p>
+<p><b>armonía</b> <i>f.</i> harmony, music, rhythm, concord, peace.</p>
+<p><b>armonioso, -a</b> harmonious, melodious.</p>
+<p><b>aroma</b> <i>m.</i> aroma, fragrance, scent, perfume.</p>
+<p><b>aromoso, -a</b> aromatic, fragrant.</p>
+<p><b>arpa</b> <i>f.</i> harp.</p>
+<p><b>arrancar</b> tear out, pluck out, wring, wrest, tear away, take away.</p>
+<p><b>arrebatar</b> bear away, catch, snatch up, attract, captivate, charm; <b>&mdash;se</b> grow furious, rush headlong, give way to passion.</p>
+<p><b>arrebolar</b> redden.</p>
+<p><b>arrogancia</b> <i>f.</i> arrogance.</p>
+<p><b>arrojar</b> throw, cast, cast off.</p>
+<p><b>arrojo</b> <i>m.</i> daring, fearlessness.</p>
+<p><b>arrostrar</b> face, fight, encounter.</p>
+<p><b>arroyuelo</b> <i>m.</i> little brook, brooklet.</p>
+<p><b>arruinado, -a</b> ruinous, crumbling.</p>
+<p><b>arrullar</b> lull.</p>
+<p><b>arrullo</b> <i>m.</i> lullaby.</p>
+<p><b>as</b> <i>m.</i> ace.</p>
+<p><b>asaz</b> <i>adv.</i> enough, sufficiently, very.</p>
+<p><b>ascender</b> ascend, rise.</p>
+<p><b>así</b> <i>adv.</i> so, thus.</p>
+<p><b>Asia</b> <i>f.</i> Asia.</p>
+<p><b>asiento</b> <i>m.</i> seat.</p>
+<p><b>asilo</b> <i>m.</i> refuge, protection, shelter, haven, asylum.</p>
+<p><b>asolador, -a</b> destroying, devastating.</p>
+<p><b>asomar</b> appear.</p>
+<p><b>asombro</b> <i>m.</i> amazement, wonder.</p>
+<p><b>aspecto</b> <i>m.</i> aspect, appearance, sight.</p>
+<p><b>áspero, -a</b> rough, rugged.</p>
+<p><b>aspirar</b> breathe, inhale, aspire.</p>
+<p><b>asqueroso, -a</b> loathsome, filthy.</p>
+<p><b>astro</b> <i>m.</i> heavenly body, orb, star.</p>
+<p><b>astuto, -a</b> cunning, crafty.</p>
+<p><b>asunto</b> <i>m.</i> affair, business.</p>
+<p><b>asustar</b> frighten.</p>
+<p><b>atajar</b> head off, stop, check, confound.</p>
+<p><b>ataúd</b> <i>m.</i> coffin.</p>
+<p><b>Atenas</b> <i>pr. n. f.</i> Athens.</p>
+<p><b>atento, -a</b> attentive, watchful, heedful, intent.</p>
+<p><b>aterrador, -a</b> frightening, terrible.</p>
+<p><b>Átila</b> <i>pr. n. m.</i> Attila.</p>
+<p><b>atrás</b> <i>adv.</i> behind, backward.</p>
+<p><b>atravesar</b> pass through, cross.</p>
+<p><b>atrevido, -a</b> bold, daring.</p>
+<p><b>atronador, -a</b> thundering.</p>
+<p><b>atropellar</b> trample under foot, strike down; <b>&mdash;se</b> hasten, crowd.</p>
+<p><b>audacia</b> <i>f.</i> audacity.</p>
+<p><b>audaz</b> <i>adj.</i> bold, fearless.</p>
+<p><b>aullar</b> howl.</p>
+<p><b>aullido</b> <i>m.</i> howl, cry of horror.</p>
+<p><b>aumentar</b> increase, enlarge, magnify.</p>
+<p><b>aún, aun</b> <i>adv.</i> yet, still, even, nevertheless.</p>
+<p><b>aunque</b> <i>conj.</i> although.</p>
+<p><b>aura</b> <i>f.</i> breeze, zephyr.</p>
+<p><b>aurora</b> <i>f.</i> dawn, break of day, aurora.</p>
+<p><b>ausencia</b> <i>f.</i> absence.</p>
+<p><b>autómata</b> <i>m.</i> automaton, mere machine, puppet.</p>
+<p><b>avanzar</b> advance, go forward.</p>
+<p><b>avariento, -a</b> avaricious.</p>
+<p><b>avaro, -a</b> avaricious, covetous.</p>
+<p><b>avaro</b> <i>m.</i> miser.</p>
+<p><b>ave</b> <i>f.</i> bird.</p>
+<p><b>aventura</b> <i>f.</i> adventure, affair.</p>
+<p><b>avergonzarse de</b> be ashamed of, blush for.</p>
+<p><b>ávido, -a</b> eager, covetous.</p>
+<p><b>ay</b> <i>interj.</i> alas, oh; <b>&mdash;&mdash; de</b> alas for.</p>
+<p><b>ay</b> <i>m.</i> groan.</p>
+<p><b>ayer</b> <i>adv.</i> yesterday, lately.</p>
+<p><b>azahar</b> <i>m.</i> orange blossom.</p>
+<p><b>azorar</b> terrify.</p>
+<p><b>azotar</b> lash, flog, whip.</p>
+<p><b>azul</b> <i>adj.</i> blue, azure.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>bajar</b> lower, descend, bow, hang down.</p>
+<p><b>bajel</b> <i>m.</i> ship.</p>
+<p><b>bajo</b> <i>prep.</i> under, beneath.</p>
+<p><b>baldón</b> <i>m.</i> reproach, insult.</p>
+<p><b>banda</b> <i>f.</i> side of a ship.</p>
+<p><b>bandera</b> <i>f.</i> banner, flag.</p>
+<p><b>bandolero</b> <i>m.</i> bandit.</p>
+<p><b>banquete</b> <i>m.</i> banquet.</p>
+<p><b>bañar</b> bathe.</p>
+<p><b>báquico, -a</b> Bacchanalian.</p>
+<p><b>bárbaro, -a</b> barbarous, cruel, fierce.</p>
+<p><b>barco</b> <i>m.</i> vessel, ship; <b>&mdash;&mdash; viene a</b> sail!</p>
+<p><b>barrer</b> sweep.</p>
+<p><b>barrera</b> <i>f.</i> barrier.</p>
+<p><b>barro</b> <i>m.</i> clay, mud.</p>
+<p><b>base</b> <i>f.</i> base, foundation.</p>
+<p><b>bastar</b> suffice, be enough.</p>
+<p><b>beber</b> drink, imbibe.</p>
+<p><b>befa</b> <i>f.</i> scoff, ridicule, taunt.</p>
+<p><b>beldad</b> <i>f.</i> beauty.</p>
+<p><b>beleño</b> <i>m.</i> henbane, poison.</p>
+<p><b>belleza</b> <i>f.</i> beauty.</p>
+<p><b>bello, -a</b> beautiful, fair.</p>
+<p><b>bendecir</b> bless, praise.</p>
+<p><b>bendición</b> <i>f.</i> blessing.</p>
+<p><b>bergantín</b> <i>m.</i> brigantine.</p>
+<p><b>beso</b> <i>m.</i> kiss.</p>
+<p><b>bien</b> <i>adv.</i> well, indeed, all right.</p>
+<p><b>bien</b> <i>m.</i> good, good thing, treasure, beloved one, blessing; <b>hacer &mdash;&mdash;</b> give alms, aid.</p>
+<p><b>bienhechor, -a</b> <i>m. f.</i> benefactor.</p>
+<p><b>bienvenido, -a</b> welcome.</p>
+<p><b>bigote</b> <i>m.</i> mustache; <b>hacerse el &mdash;&mdash;</b> curl one's mustache.</p>
+<p><b>blanca</b> <i>f.</i> blanca (old copper coin).</p>
+<p><b>blanco, -a</b> white, fair.</p>
+<p><b>blancor</b> <i>m.</i> whiteness.</p>
+<p><b>blando, -a</b> soft, tender, gentle, pleasing.</p>
+<p><b>blasfemar</b> blaspheme, curse.</p>
+<p><b>blasón</b> <i>m.</i> blazon, armorial bearings, honor, glory.</p>
+<p><b>bledo</b> <i>m.</i> blite, pigweed; <b>dar un &mdash;&mdash; de</b> care a straw for.</p>
+<p><b>boca</b> <i>f.</i> mouth, lips.</p>
+<p><b>boda</b> <i>f.</i> marriage, wedding.</p>
+<p><b>bolsa</b> <i>f.</i> purse, money.</p>
+<p><b>bonanza</b> <i>f.</i> fair weather.</p>
+<p><b>bordar</b> embroider, embellish.</p>
+<p><b>borrasca</b> <i>f.</i> storm, tempest.</p>
+<p><b>borrascoso, -a</b> tempestuous, stormy.</p>
+<p><b>borrón</b> <i>m.</i> blot, stigma.</p>
+<p><b>bosque</b> <i>m.</i> forest, wood, bosk.</p>
+<p><b>bote</b> <i>m.</i> thrust.</p>
+<p><b>botín</b> <i>m.</i> booty, spoils.</p>
+<p><b>bóveda</b> <i>f.</i> arch, vault, cavern.</p>
+<p><b>bramador, -a</b> roaring, bellowing, raging.</p>
+<p><b>bramar</b> roar, rage, bluster, bellow.</p>
+<p><b>bramido</b> <i>m.</i> howling, roaring.</p>
+<p><b>bravío, -a</b> wild, fierce.</p>
+<p><b>bravo, -a</b> brave.</p>
+<p><b>bravura</b> <i>f.</i>. bravado, fierceness, ferocity, boasting.</p>
+<p><b>brazo</b> <i>m.</i> arm, embrace.</p>
+<p><b>breve</b> <i>adj.</i> brief, short.</p>
+<p><b>bridón</b> <i>m.</i> steed, bridle.</p>
+<p><b>brillante</b> <i>adj.</i> brilliant, bright.</p>
+<p><b>brillar</b> glisten, shine.</p>
+<p><b>brindar</b> drink to one's health, offer, pledge.</p>
+<p><b>brío</b> <i>m.</i> strength, courage, mettle, spirit, resolution.</p>
+<p><b>brisa</b> <i>f.</i> breeze.</p>
+<p><b>broche</b> <i>m.</i> clasp, brooch.</p>
+<p><b>brotar</b> bud, bring forth, put forth, gush forth, shed.</p>
+<p><b>bruja</b> <i>f.</i> witch.</p>
+<p><b>brutal</b> <i>adj.</i> brutal.</p>
+<p><b>Bruto</b> <i>pr. n. m.</i> Brutus.</p>
+<p><b>bueno, -a</b> good, fine, pleasant.</p>
+<p><b>bujía</b> <i>f.</i> candle, taper.</p>
+<p><b>bulto</b> <i>m.</i> dim form.</p>
+<p><b>bulla</b> <i>f.</i> bustle, throng, noise.</p>
+<p><b>bullicio</b> <i>m.</i> tumult, bustle.</p>
+<p><b>bullidor, -a</b> restless, merry.</p>
+<p><b>burla</b> <i>f.</i> joke.</p>
+<p><b>buscar</b> seek, hunt, look for.</p>
+<p><b>buscarruidos</b> <i>m.</i> quarrelsome fellow.</p>
+<br><br>
+<p><b>caballeresco, -a</b> gentlemanly.</p>
+<p><b>caballero</b> <i>m.</i> knight, gentleman, nobleman, sir; <b>¡mal &mdash;&mdash;!</b> scoundrel!</p>
+<p><b>caballo</b> <i>m.</i> horse, steed, figure on horseback in Spanish pack of cards, equivalent to the queen; <b>a &mdash;&mdash;</b> on horseback; <b>¡a &mdash;&mdash;!</b> to horse!</p>
+<p><b>cabaña</b> <i>f.</i> cottage, hut, hovel.</p>
+<p><b>cabello</b> <i>m.</i> hair, locks.</p>
+<p><b>cabeza</b> <i>f.</i> head.</p>
+<p><b>cable</b> <i>m.</i> cable.</p>
+<p><b>cada</b> <i>adj.</i> every, each.</p>
+<p><b>cadáver</b> <i>m.</i> corpse, dead body.</p>
+<p><b>cadavérico, -a</b> cadaverous.</p>
+<p><b>cadena</b> <i>f.</i> chain.</p>
+<p><b>caduco, -a</b> worn out, decrepit, broken down.</p>
+<p><b>caer(se)</b> fall, set, sink, droop.</p>
+<p><b>calar</b> penetrate; <b>&mdash;se</b> pull down; <b>&mdash;se el sombrero</b> pull down one's hat.</p>
+<p><b>calavera</b> <i>f.</i> skull.</p>
+<p><b>calentura</b> <i>f.</i> fever.</p>
+<p><b>caliz</b> <i>m.</i> chalice, calyx.</p>
+<p><b>calma</b> <i>f.</i> calm, quiet, calmness, coolness; <b>en &mdash;&mdash;</b> calm.</p>
+<p><b>calmar</b> calm, mitigate, soften, still, quiet, slake, cool.</p>
+<p><b>calmo, -a</b> calm, still.</p>
+<p><b>callado, -a</b> silent, quiet.</p>
+<p><b>callar</b> be silent.</p>
+<p><b>calle</b> <i>f.</i> street.</p>
+<p><b>cambiar(se)</b> change, turn.</p>
+<p><b>caminar</b> move, walk, go, go on, travel, march.</p>
+<p><b>camino</b> <i>m.</i> road, way, path, journey.</p>
+<p><b>campana</b> <i>f.</i> bell.</p>
+<p><b>campanilla</b> <i>f.</i> little bell.</p>
+<p><b>campaña</b> <i>f.</i> country.</p>
+<p><b>campiña</b> <i>f.</i> field.</p>
+<p><b>campo</b> <i>m.</i> field, country.</p>
+<p><b>can</b> <i>m.</i> dog, dog-star.</p>
+<p><b>canción</b> <i>f.</i> song.</p>
+<p><b>cándido, -a</b> white, bright, pure.</p>
+<p><b>candor</b> <i>m.</i> ingenuousness.</p>
+<p><b>candoroso, -a</b> candid, pure, innocent.</p>
+<p><b>cansar</b> weary, bore.</p>
+<p><b>cantar</b> sing, chant, sing of.</p>
+<p><b>cantar</b> <i>m.</i> song.</p>
+<p><b>cántico</b> <i>m.</i> canticle, song of praise.</p>
+<p><b>cantidad</b> <i>f.</i> amount, sum.</p>
+<p><b>canto</b> <i>m.</i> singing, song.</p>
+<p><b>cañón</b> <i>m.</i> cannon.</p>
+<p><b>capa</b> <i>f.</i> cape, cloak.</p>
+<p><b>capaz</b> <i>adj.</i> capable.</p>
+<p><b>capitán</b> <i>m.</i> captain.</p>
+<p><b>capricho</b> <i>m.</i> caprice, whim, fancy.</p>
+<p><b>capuz</b> <i>m.</i> cloak, hood, cape.</p>
+<p><b>caracol</b> <i>m.</i> snail, winding staircase; <b>gradería de &mdash;&mdash; torcida</b> spiral staircase.</p>
+<p><b>carbón</b> <i>m.</i> coal.</p>
+<p><b>carcajada</b> <i>f.</i> burst of laughter; <b>soltar una &mdash;&mdash;</b> burst out laughing.</p>
+<p><b>cárcel</b> <i>f.</i> prison.</p>
+<p><b>cárdeno, -a</b> livid.</p>
+<p><b>carga</b> <i>f.</i> burden.</p>
+<p><b>cariado, -a</b> rotten, putrid.</p>
+<p><b>caricia</b> <i>f.</i> caress.</p>
+<p><b>caridad</b> <i>f.</i> charity, alms.</p>
+<p><b>carmín</b> <i>m.</i> carmine.</p>
+<p><b>carne</b> <i>f.</i> flesh.</p>
+<p><b>caro, -a</b> dear, expensive.</p>
+<p><b>carrera</b> <i>f.</i> course.</p>
+<p><b>carta</b> <i>f.</i> card.</p>
+<p><b>casa</b> <i>f.</i> house, home, building; <b>&mdash;&mdash; de huéspedes</b> lodging-house.</p>
+<p><b>casamiento</b> <i>m.</i> marriage, wedding.</p>
+<p><b>casi</b> <i>adv.</i> almost.</p>
+<p><b>caso</b> <i>m.</i> case, matter, event; <b>hacer &mdash;&mdash; de</b> take notice of, heed.</p>
+<p><b>castigo</b> <i>m.</i> punishment; <b>dar &mdash;&mdash;</b>punish.</p>
+<p><b>castillo</b> <i>m.</i> castle.</p>
+<p><b>Catón</b> <i>pr. n. m.</i> Cato.</p>
+<p><b>caudal</b> <i>m.</i> fortune, abundance.</p>
+<p><b>causar</b> cause.</p>
+<p><b>cautivo, -a</b> <i>m. f.</i> captive.</p>
+<p><b>cavernoso, -a</b> cavernous.</p>
+<p><b>ceder</b> decrease, slacken, abate, diminish.</p>
+<p><b>céfiro</b> <i>m.</i> zephyr, breeze.</p>
+<p><b>ceja</b> <i>f.</i> eyebrow.</p>
+<p><b>cejijunto, -a</b> close-knit.</p>
+<p><b>celebrar</b> celebrate, praise.</p>
+<p><b>celeste</b> <i>adj.</i> celestial, heavenly.</p>
+<p><b>celestial</b> <i>adj.</i> celestial, heavenly.</p>
+<p><b>celoso, -a</b> jealous.</p>
+<p><b>cena</b> <i>f.</i> supper.</p>
+<p><b>cenar</b> sup.</p>
+<p><b>centinela</b> <i>m. f.</i> sentinel.</p>
+<p><b>ceñir</b> gird.</p>
+<p><b>ceño</b> <i>m.</i> frown.</p>
+<p><b>cerca</b> <i>adv.</i> near, close.</p>
+<p><b>cercano, -a</b> close by, near, approaching.</p>
+<p><b>cercar</b> encircle, surround.</p>
+<p><b>cesar</b> cease; <b>sin &mdash;&mdash;</b> incessantly, constantly.</p>
+<p><b>cetro</b> <i>m.</i> scepter.</p>
+<p><b>ciego, -a</b> blind.</p>
+<p><b>cielo</b> <i>m.</i> sky, heaven.</p>
+<p><b>ciencia</b> <i>f.</i> science, knowledge.</p>
+<p><b>ciento, cien</b>, <i>card.</i> hundred.</p>
+<p><b>cierto, -a</b> certain, sure, assured; <b>por &mdash;&mdash;</b> certainly, indeed.</p>
+<p><b>cifrar en</b> place in, fix upon.</p>
+<p><b>cima</b> <i>f.</i> crest, summit, top.</p>
+<p><b>cimiento</b> <i>m.</i> foundation.</p>
+<p><b>cinco</b> <i>card.</i> five.</p>
+<p><b>cincuenta</b> <i>card.</i> fifty.</p>
+<p><b>cinta</b> <i>f.</i> ribbon, band, belt, girdle.</p>
+<p><b>círculo</b> <i>m.</i> circle, circling.</p>
+<p><b>cita</b> <i>f.</i> appointment, meeting, rendezvous.</p>
+<p><b>ciudad</b> <i>f.</i> city.</p>
+<p><b>claridad</b> <i>f.</i> light.</p>
+<p><b>claro, -a</b> bright, clear, pure.</p>
+<p><b>clavar</b> nail, fasten, fix.</p>
+<p><b>coagular</b> coagulate, curdle.</p>
+<p><b>cobarde</b> <i>adj.</i> cowardly.</p>
+<p><b>cobarde</b> <i>m.</i> coward.</p>
+<p><b>codicioso, -a</b> greedy, eager.</p>
+<p><b>coger</b> seize, take, catch.</p>
+<p><b>cogido (lo)</b> booty, plunder.</p>
+<p><b>cólera</b> <i>f.</i> anger, wrath.</p>
+<p><b>colérico, -a</b> choleric, angry.</p>
+<p><b>colgar</b> hang.</p>
+<p><b>color</b> <i>m.</i> color, hue, complexion.</p>
+<p><b>colorar</b> color, tinge; <b>&mdash;se</b> become colored, color.</p>
+<p><b>columna</b> <i>f.</i> column, pillar.</p>
+<p><b>combatido, -a</b> contending, struggling.</p>
+<p><b>combatir</b> combat, attack, contend, fight.</p>
+<p><b>comento</b> <i>m.</i> comment, fiction, fabrication.</p>
+<p><b>comenzar</b> commence.</p>
+<p><b>comer</b> eat, dine.</p>
+<p><b>como</b> <i>adv.</i> like, as, how, about; <b>tan ... &mdash;&mdash;</b> as ... as; <b>&mdash;&mdash; cuánto</b> about how much.</p>
+<p><b>cómo</b> <i>interrog.</i> how.</p>
+<p><b>compañero</b> <i>m.</i> companion.</p>
+<p><b>compañía</b> <i>f.</i> company, companionship.</p>
+<p><b>comparar</b> compare.</p>
+<p><b>compás</b> <i>m.</i> measure, time; <b>a &mdash;&mdash;</b> in time; <b>al &mdash;&mdash; de</b> in the time of.</p>
+<p><b>compasión</b> <i>f.</i> pity.</p>
+<p><b>compasivo, -a</b> compassionate, sympathetic.</p>
+<p><b>comprender</b> comprehend, understand.</p>
+<p><b>con</b> <i>prep.</i> with, in, against, on.</p>
+<p><b>cóncavo, -a</b> concave, hollow.</p>
+<p><b>cóncavo</b> <i>m.</i> concavity.</p>
+<p><b>conceder</b> grant, give.</p>
+<p><b>contento</b> <i>m.</i> harmony.</p>
+<p><b>conciencia</b> <i>f.</i> conscience, consciousness.</p>
+<p><b>concierto</b> <i>m.</i> harmony.</p>
+<p><b>condenar</b> condemn, sentence.</p>
+<p><b>conducir</b> lead.</p>
+<p><b>confianza</b> <i>f.</i> confidence, intimacy.</p>
+<p><b>confín</b> <i>m.</i> confine, limit, border.</p>
+<p><b>confundir</b> overwhelm, engulf, confuse, confound, mingle, heap up; <b>&mdash;se</b> be bewildered, be perplexed.</p>
+<p><b>confusión</b> <i>f.</i> confusion, disorder.</p>
+<p><b>confuso, -a</b> confused, dim, indistinct, bewildering.</p>
+<p><b>conjurar</b> conjure, implore.</p>
+<p><b>conjuro</b> <i>m.</i> conjuration, incantation.</p>
+<p><b>conmigo</b> <i>pron. pers.</i> with me.</p>
+<p><b>conmover</b> stir, affect.</p>
+<p><b>conocer</b> know, be acquainted with, recognize; <b>&mdash;se</b> know each other.</p>
+<p><b>conque</b> <i>conj.</i> so then, and so.</p>
+<p><b>conquistar</b> conquer, subdue.</p>
+<p><b>conseguir</b> attain, obtain, gain.</p>
+<p><b>consentido, -a</b> spoiled.</p>
+<p><b>considerable</b> <i>adj.</i> considerable.</p>
+<p><b>consigo</b> <i>pron. pers.</i> with one's self, with himself, <i>etc.</i>.</p>
+<p><b>consolar</b> console, comfort.</p>
+<p><b>consorte</b> <i>m. f.</i> husband, wife.</p>
+<p><b>constancia</b> <i>f.</i> constancy, firmness, determination.</p>
+<p><b>Constantinopla</b> <i>pr. n. f.</i> Constantinople.</p>
+<p><b>consuelo</b> <i>m.</i> consolation.</p>
+<p><b>consumir</b> consume, burn out.</p>
+<p><b>contar</b> recount, relate, tell, tell off, count, consider, look upon; <b>&mdash;&mdash; con</b> count upon, reckon with; <b>con vos no cuento</b> I pass you by.</p>
+<p><b>contemplar</b> contemplate, behold, gaze at, look at, meditate.</p>
+<p><b>contenerse</b> restrain one's self, keep one's temper.</p>
+<p><b>contento</b> <i>m.</i> contentment, joy, mirth.</p>
+<p><b>contigo</b> <i>pron. pers.</i> with thee.</p>
+<p><b>continente</b> <i>m.</i> manner, mien, gait.</p>
+<p><b>contino</b> <i>adv.</i> constantly, continually; <b>de &mdash;&mdash;</b> continually.</p>
+<p><b>continuo, -a</b> continual, constant.</p>
+<p><b>contra</b> <i>prep.</i> against; <b>en &mdash;&mdash;</b> against.</p>
+<p><b>conversión</b> <i>f.</i> conversion, reform.</p>
+<p><b>convertir</b> convert, reform, change; <b>&mdash;se en</b> change to, become.</p>
+<p><b>convidar</b> invite, entice, allure.</p>
+<p><b>convocar</b> convoke, summon.</p>
+<p><b>convulso, -a</b> convulsive.</p>
+<p><b>copa</b> <i>f.</i> foliage, branches.</p>
+<p><b>corazón</b> <i>m.</i> heart, breast, love, courage, spirit.</p>
+<p><b>cornudo, -a</b> horned.</p>
+<p><b>coro</b> <i>m.</i> chorus.</p>
+<p><b>corona</b> <i>f.</i> crown.</p>
+<p><b>coronar</b> crown.</p>
+<p><b>corredor</b> <i>m.</i> corridor, gallery.</p>
+<p><b>correr</b> run, meet with, pass, pass away, flow.</p>
+<p><b>corresponder</b> return, requite, reciprocate.</p>
+<p><b>corriente</b> <i>f.</i> current, stream.</p>
+<p><b>corro</b> <i>m.</i> group, circle.</p>
+<p><b>corromper</b> pollute.</p>
+<p><b>corrompido, -a</b> polluted, foul.</p>
+<p><b>cortar</b> cut.</p>
+<p><b>corte</b> <i>f.</i> court, retinue.</p>
+<p><b>cortejar</b> court, woo.</p>
+<p><b>cosa</b> <i>f.</i> thing, matter; <b>gran &mdash;&mdash;</b> much.</p>
+<p><b>Cosaco</b> <i>m.</i> Cossack.</p>
+<p><b>cosecha</b> <i>f.</i> harvest; <b>de mi &mdash;&mdash;</b> of my invention.</p>
+<p><b>coyuntura</b> <i>f.</i> joint.</p>
+<p><b>cráneo</b> <i>m.</i> skull.</p>
+<p><b>crear</b> create.</p>
+<p><b>crecer</b> grow, rage, increase.</p>
+<p><b>creer</b> believe, think.</p>
+<p><b>crescendo</b> <i>Ital.</i> crescendo.</p>
+<p><b>crespón</b> <i>m.</i> crape.</p>
+<p><b>criatura</b> <i>f.</i> creature, being, man.</p>
+<p><b>crimen</b> <i>m.</i> crime.</p>
+<p><b>crispante</b> <i>adj.</i> shivery.</p>
+<p><b>crisparse</b> twitch.</p>
+<p><b>cristal</b> <i>m.</i> crystal, glass.</p>
+<p><b>cristalino, -a</b> crystalline, transparent, bright.</p>
+<p><b>Cristo</b> <i>pr. n. m.</i> Christ, image of Christ.</p>
+<p><b>crudeza</b> <i>f.</i> severity, cruelty.</p>
+<p><b>crudo, -a</b> raw.</p>
+<p><b>cruel</b> <i>adj.</i> cruel, intolerable.</p>
+<p><b>crujido</b> <i>m.</i> crackling.</p>
+<p><b>crujir</b> clash, click, clank, crack, crackle, creak, rustle.</p>
+<p><b>cruz</b> <i>f.</i> cross.</p>
+<p><b>cruzar</b> cross, pass, pass through, cruise.</p>
+<p><b>cuadrar</b> befit, suit.</p>
+<p><b>cuadro</b> <i>m.</i> picture, scene.</p>
+<p><b>cuajar</b> coagulate, coat over.</p>
+<p><b>cual</b> <i>adv.</i> like, as.</p>
+<p><b>cuál</b> <i>pron. interrog.</i> which, which one, what, what one.</p>
+<p><b>cualquier, -a</b> any whatever; <b>&mdash;&mdash; ... que</b> whoever, whichever, whatever.</p>
+<p><b>cualquiera</b> <i>pron.</i> any one, either one.</p>
+<p><b>cuán</b> <i>adv.</i> how.</p>
+<p><b>cuando</b> <i>conj.</i> when, if, in case; <b>&mdash;&mdash; ... &mdash;&mdash;</b> now ... now, at one time ... at another.</p>
+<p><b>cuanto</b> <i>adv.</i> as much as, all that; <b>en &mdash;&mdash; a</b> with regard to, as to; <b>&mdash;&mdash; más ... tanto más</b> the more ... the more.</p>
+<p><b>cuánto, -a</b> <i>prop. interrog.</i> how much; <b>como &mdash;&mdash;</b> about how much.</p>
+<p><b>cuaresma</b> <i>f.</i> Lent.</p>
+<p><b>cuarto, -a</b> fourth.</p>
+<p><b>cuatrocientos, -as</b> four hundred.</p>
+<p><b>cubrir</b> cover, veil, shroud.</p>
+<p><b>cuello</b> <i>m.</i> neck, throat.</p>
+<p><b>cuenta</b> <i>f.</i> count, reckoning, account; <b>dar &mdash;&mdash;</b> explain, report, give account; <b>pedir &mdash;&mdash;</b> bring to account, demand account of.</p>
+<p><b>cuento</b> <i>m.</i> tale, story.</p>
+<p><b>cuerdamente</b> <i>adv.</i> sensibly.</p>
+<p><b>cuerno</b> <i>m.</i> horn.</p>
+<p><b>cuerpo</b> <i>m.</i> body; <b>&mdash;&mdash; muerto</b> corpse.</p>
+<p><b>cuidado</b> <i>m.</i> care, anxiety.</p>
+<p><b>cuidadoso, -a</b> careful.</p>
+<p><b>culpa</b> <i>f.</i> fault.</p>
+<p><b>culpar</b> blame, accuse.</p>
+<p><b>culto</b> <i>m.</i> worship, homage, veneration, respect.</p>
+<p><b>cumbre</b> <i>f.</i> summit, crest, peak.</p>
+<p><b>cumplir</b> fulfill, accomplish, satisfy, keep; <b>cúmplase tu voluntad</b> thy will be done.</p>
+<p><b>curso</b> <i>m.</i> course.</p>
+<p><b>cuyo, -a</b> <i>pron. rel.</i> whose.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>chancearse</b> joke, jest.</p>
+<p><b>charca</b> <i>f.</i> pool.</p>
+<p><b>chasco</b> <i>m.</i> joke, fiasco, disappointment.</p>
+<p><b>chimenea</b> <i>f.</i> fireplace, hearth, stove.</p>
+<p><b>chispa</b> <i>f.</i> spark, flash.</p>
+<p><b>chiste</b> <i>m.</i> jest.</p>
+<p><b>chocar</b> strike, combat, clash, encounter, collide.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>dado</b> <i>m.</i> die.</p>
+<p><b>dale</b> <i>interj.</i> (<i>expressive of displeasure</i>) hang it, come, again; <b>&mdash;&mdash; con tocar a muerto</b> plague take this funeral tolling.</p>
+<p><b>dama</b> <i>f.</i> lady.</p>
+<p><b>danza</b> <i>f.</i> dance.</p>
+<p><b>danzar</b> dance.</p>
+<p><b>dar</b> give, give out, strike, cause, tell, make, grant, pay, render, forebode; <b>&mdash;&mdash; en</b> persist in; <b>&mdash;&mdash; por perdida</b> consider lost; <b>qué diantre me da</b> what the deuce do I care.</p>
+<p><b>de</b> <i>prep.</i> of, than, from, by, with, at, to, in, on account of, for, about, on, as; <b>más &mdash;&mdash;</b> past.</p>
+<p><b>debajo de</b> <i>prep.</i> under, underneath.</p>
+<p><b>deber</b> have to, must, ought, can.</p>
+<p><b>deber</b> <i>m.</i> duty.</p>
+<p><b>débil</b> <i>adj.</i> feeble, weak.</p>
+<p><b>decidido, -a</b> decided, devoted, determined.</p>
+<p><b>decir</b> say, speak, tell, call.</p>
+<p><b>decisión</b> <i>f.</i> decision, determination, resolution.</p>
+<p><b>declinar</b> decline, sink.</p>
+<p><b>dedo</b> <i>m.</i> finger.</p>
+<p><b>dejar</b> leave, quit, abandon, forsake; <b>&mdash;&mdash; de</b> stop, cease.</p>
+<p><b>delante</b> <i>adv.</i> before, in front, ahead; <b>&mdash;&mdash; de</b> <i>prep.</i> in front of, before.</p>
+<p><b>deleite</b> <i>m.</i> pleasure, delight.</p>
+<p><b>delicado, -a</b> delicate, sweet.</p>
+<p><b>delicia</b> <i>f.</i> delight.</p>
+<p><b>delicioso, -a</b> delicious, delightful.</p>
+<p><b>delirante</b> <i>adj.</i> delirious, raving.</p>
+<p><b>delirar</b> rave, dote.</p>
+<p><b>delirio</b> <i>m.</i> delirium, madness, rapture, rant, idle talk.</p>
+<p><b>delito</b> <i>m.</i> crime.</p>
+<p><b>demasía</b> <i>f.</i> excess.</p>
+<p><b>demasiado, -a</b> too much, too great.</p>
+<p><b>demonio</b> <i>m.</i> devil, demon.</p>
+<p><b>denso, -a</b> dense, thick.</p>
+<p><b>dentro</b> <i>adv.</i> within; <b>&mdash;&mdash; de</b> <i>prep.</i> within.</p>
+<p><b>denuesto</b> <i>m.</i> insult, abuse.</p>
+<p><b>derecho</b> <i>m.</i> right.</p>
+<p><b>derramar</b> shed.</p>
+<p><b>derredor</b> <i>m.</i> circuit; <b>en &mdash;&mdash; de</b> round about, around.</p>
+<p><b>desafiar</b> challenge, defy.</p>
+<p><b>desafío</b> <i>m.</i> duel, combat.</p>
+<p><b>desahogo</b> <i>m.</i> relief, alleviation, comfort.</p>
+<p><b>desalentado, -a</b> discouraged, abject.</p>
+<p><b>desasirse</b> disengage one's self, break loose, extricate one's self.</p>
+<p><b>desatar</b> untie, undo, loosen, let loose; <b>&mdash;se</b> break loose, break out.</p>
+<p><b>desatento, -a</b> unmindful, heedless, rude.</p>
+<p><b>desatino</b> <i>m.</i> folly, wildness, reeling.</p>
+<p><b>descansar</b> rest, repose, sleep.</p>
+<p><b>descarnado, -a</b> emaciated, fleshless, bare.</p>
+<p><b>descender</b> descend, go down, sink.</p>
+<p><b>descolorido, -a</b> colorless, pale.</p>
+<p><b>desconocer</b> not know, be ignorant of, ignore.</p>
+<p><b>desconsuelo</b> <i>m.</i> trouble, affliction.</p>
+<p><b>descortés</b> <i>adj.</i> discourteous, ill-bred, impudent.</p>
+<p><b>descortesía</b> <i>f.</i> discourtesy.</p>
+<p><b>descreer</b> disbelieve, deny, discredit, disown.</p>
+<p><b>descubrir</b> discover, reveal, expose, uncover, make known.</p>
+<p><b>descuidado, -a</b> care-free.</p>
+<p><b>desde</b> <i>prep.</i> from.</p>
+<p><b>desdén</b> <i>m.</i> disdain, scorn, contempt.</p>
+<p><b>desdeño</b> <i>m.</i> disdain, scorn.</p>
+<p><b>desdeñoso, -a</b> scornful, contemptuous.</p>
+<p><b>desdicha</b> <i>f.</i> unhappiness, wretchedness, misery.</p>
+<p><b>desdichado, -a</b> unhappy, unfortunate, wretched.</p>
+<p><b>desear</b> desire, covet.</p>
+<p><b>desembozar</b> unmuffle.</p>
+<p><b>desengaño</b> <i>m.</i> disillusion.</p>
+<p><b>deseo</b> <i>m.</i> desire, longing.</p>
+<p><b>desesperación</b> <i>f.</i> despair.</p>
+<p><b>desesperado, -a</b> desperate, despairing, hopeless.</p>
+<p><b>desfallecer</b> weaken, swoon, fail, give way.</p>
+<p><b>desgarrar</b> rend.</p>
+<p><b>desgracia</b> <i>f.</i> misfortune, sorrow, unhappiness.</p>
+<p><b>desgraciado, -a</b> unfortunate, hapless, miserable.</p>
+<p><b>deshacer</b> undo, break.</p>
+<p><b>deshojado, -a</b> leafless, petalless, blighted.</p>
+<p><b>desierto, -a</b> deserted, lonely.</p>
+<p><b>desierto</b> <i>m.</i> desert.</p>
+<p><b>desigual</b> <i>adj.</i> uneven, dissimilar.</p>
+<p><b>deslizarse</b> glide along, slip along.</p>
+<p><b>desmayado, -a</b> faint, swooning.</p>
+<p><b>desmayar</b> be discouraged, be faint, swoon.</p>
+<p><b>desmayo</b> <i>m.</i> drooping, swooning, faltering.</p>
+<p><b>desmentir</b> belie, deny, dissemble.</p>
+<p><b>desnudo, -a</b> naked, unsheathed, drawn.</p>
+<p><b>despacio</b> <i>adv.</i> slowly.</p>
+<p><b>desparecer</b> disappear, vanish.</p>
+<p><b>despecho</b> <i>m.</i> spite, insolence, anger, despair, dismay; <b>a &mdash;&mdash; de</b> in spite of; <b>a su &mdash;&mdash;</b> in spite of himself.</p>
+<p><b>despedida</b> <i>f.</i> farewell.</p>
+<p><b>despego</b> <i>m.</i> indifference, coldness, coyness.</p>
+<p><b>despeñado, -a</b> headlong.</p>
+<p><b>despeñar</b> precipitate, fling down.</p>
+<p><b>despertar</b> awaken, arouse, break, dawn.</p>
+<p><b>despierto, -a</b> awake, brisk.</p>
+<p><b>desplegado, -a</b> flowing.</p>
+<p><b>desplegar</b> unfold, unfurl, hoist; <b>&mdash;se</b> unfold, spread.</p>
+<p><b>despojos</b> <i>m. pl.</i> remains.</p>
+<p><b>despreciar</b> spurn, neglect, reject.</p>
+<p><b>desprender(se)</b> fall, tear, separate, issue from, arise, relax one's hold, let go.</p>
+<p><b>desprendido, -a</b> loosened, falling, torn, broken.</p>
+<p><b>después</b> <i>adv.</i> afterward, then.</p>
+<p><b>despuntar</b> begin to dawn.</p>
+<p><b>desquiciarse</b> be unhinged, shake.</p>
+<p><b>destellar</b> flash, twinkle.</p>
+<p><b>desterrar</b> banish, exile.</p>
+<p><b>destilar</b> drip.</p>
+<p><b>destino</b> <i>m.</i> destiny, fate, lot.</p>
+<p><b>devanecerse</b> vanish, disappear, fade away.</p>
+<p><b>desvanecido, -a</b> dizzy, vague, faint.</p>
+<p><b>desvarío</b> <i>m.</i> delirium, raving.</p>
+<p><b>desventura</b> <i>f.</i> misfortune, misery.</p>
+<p><b>detener</b> detain, stop, halt.</p>
+<p><b>detenido, -a</b> stagnant.</p>
+<p><b>determinado, -a</b> determined, resolute, resolved.</p>
+<p><b>detrás</b> <i>adv.</i> behind, after.</p>
+<p><b>devaneo</b> <i>m.</i> giddiness, frenzy, mad passion.</p>
+<p><b>devorar</b> devour, consume.</p>
+<p><b>devoto, -a</b> devout, pious.</p>
+<p><b>día</b> <i>m.</i> day; <b>&mdash;&mdash;s</b> life; <b>hoy en &mdash;&mdash;</b> nowadays; <b>un &mdash;&mdash;</b> some day, once.</p>
+<p><b>diablo</b> <i>m.</i> devil.</p>
+<p><b>diabólico, -a</b> diabolical.</p>
+<p><b>diamante</b> <i>m.</i> diamond, adamant.</p>
+<p><b>diantre</b> <i>m.</i> deuce.</p>
+<p><b>dibujar</b> outline, delineate; <b>&mdash;se</b> be outlined, throw a shadow, be visible.</p>
+<p><b>dictar</b> dictate, prescribe.</p>
+<p><b>dicha</b> <i>f.</i> happiness, delight.</p>
+<p><b>dichoso, -a</b> happy, fortunate, precious, blessed.</p>
+<p><b>Diego</b> <i>pr. n. m.</i> James.</p>
+<p><b>diente</b> <i>m.</i> tooth.</p>
+<p><b>diestra</b> <i>f.</i> right hand.</p>
+<p><b>diez</b> <i>card.</i> ten.</p>
+<p><b>difunto, -a</b> deceased (one), dead (one).</p>
+<p><b>dilatar</b> overspread, suffuse, expand.</p>
+<p><b>diligencia</b> <i>f.</i> assiduity, effort, haste, business, affair.</p>
+<p><b>dinero</b> <i>m.</i> money.</p>
+<p><b>Dios</b> <i>m.</i> God.</p>
+<p><b>diosa</b> <i>f.</i> goddess.</p>
+<p><b>disculpar</b> excuse, exonerate.</p>
+<p><b>discurrir</b> flow, course.</p>
+<p><b>disfrutar</b> enjoy, profit, reap the benefit.</p>
+<p><b>disipar</b> dissipate, scatter, put to flight, drive away; <b>&mdash;se</b> be dissipated, be scattered.</p>
+<p><b>disolver</b> dissolve, dissipate, scatter, disperse.</p>
+<p><b>disparate</b> <i>m.</i> folly, piece of folly, blunder.</p>
+<p><b>distante</b> <i>adj.</i> distant, afar.</p>
+<p><b>distinguir</b> distinguish, see clearly.</p>
+<p><b>distraído, -a</b> distracted, absentminded.</p>
+<p><b>diverso, -a</b> various, dissimilar, different.</p>
+<p><b>divertir</b> amuse.</p>
+<p><b>dividir</b> divide, separate, cut, cleave.</p>
+<p><b>divino, -a</b> divine, heavenly.</p>
+<p><b>do</b> <i>adv.</i> where; <b>a &mdash;&mdash;</b> whither, where.</p>
+<p><b>dó</b> <i>adv. interrog.</i> where.</p>
+<p><b>doblar</b> bend.</p>
+<p><b>doble</b> <i>m.</i> tolling; <b>dar &mdash;&mdash;s</b> toll.</p>
+<p><b>doctrina</b> <i>f.</i> doctrine, wisdom, teaching.</p>
+<p><b>doliente</b> <i>adj.</i> suffering, sorrowful.</p>
+<p><b>dolor</b> <i>m.</i> grief, sorrow, pain, anguish.</p>
+<p><b>dolorido, -a</b> afflicted, grief-stricken, painful, doleful, heart-sick.</p>
+<p><b>doloroso, -a</b> painful.</p>
+<p><b>don</b> <i>m.</i> Don, sir.</p>
+<p><b>doncella</b> <i>f.</i> maiden.</p>
+<p><b>donde</b> <i>adv.</i> where.</p>
+<p><b>dónde</b> <i>adv. interrog.</i> where, whither; <b>en &mdash;&mdash;</b> where.</p>
+<p><b>dondequiera</b> <i>adv.</i> everywhere, anywhere.</p>
+<p><b>doquiera</b> <i>adv.</i> wherever, everywhere.</p>
+<p><b>dorado, -a</b> golden.</p>
+<p><b>dormido, -a</b> sleeping, slumbering.</p>
+<p><b>dormir</b> sleep; <b>&mdash;se</b> go to sleep.</p>
+<p><b>dos</b> <i>card.</i> two; <b>los &mdash;&mdash;</b> both.</p>
+<p><b>dramático, -a</b> dramatic.</p>
+<p><b>ducado</b> <i>m.</i> ducat (former coin worth about $3).</p>
+<p><b>duda</b> <i>f.</i> doubt.</p>
+<p><b>dudar</b> doubt, hesitate.</p>
+<p><b>dudoso, -a</b> doubtful, uncertain, indistinct, nebulous, hesitating.</p>
+<p><b>duelo</b> <i>m.</i> sorrow, grief, duel, combat.</p>
+<p><b>dueña</b> <i>f.</i> duenna.</p>
+<p><b>dulce</b> <i>adj.</i> sweet, soft, gentle, pleasant.</p>
+<p><b>dulcísimo, -a</b> very sweet.</p>
+<p><b>dulzura</b> <i>f.</i> sweetness.</p>
+<p><b>durar</b> last, endure.</p>
+<p><b>duro, -a</b> hard, cruel, unbearable, heavy.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>e</b> <i>conj.</i> and.</p>
+<p><b>eco</b> <i>m.</i> echo.</p>
+<p><b>echar</b> throw, cast, cast away, deal, put.</p>
+<p><b>Edén</b> <i>pr. n. m.</i> Eden.</p>
+<p><b>edificio</b> <i>m.</i> building, edifice.</p>
+<p><b>ejército</b> <i>m.</i> army.</p>
+<p><b>el, la, lo, los, las</b>, <i>art.</i> the; <b>&mdash;&mdash; que</b>, <i>etc., pron. rel.</i> he who(m), the one who(m), who, that which.</p>
+<p><b>él, ella, ello</b>, <i>pron. pers.</i> he, him; she, her; it.</p>
+<p><b>elevar</b> raise; <b>&mdash;se</b> rise.</p>
+<p><b>elocuente</b> <i>adj.</i> eloquent.</p>
+<p><b>Elvira</b> <i>pr. n. f.</i> Elvira.</p>
+<p><b>ella</b> <i>pron. pers.</i> she, her, it.</p>
+<p><b>ellas</b> <i>pron. pers.</i> they, them.</p>
+<p><b>embalsamarse</b> be perfumed.</p>
+<p><b>embargar</b> overwhelm, seize, overcome, impede.</p>
+<p><b>embebecido, -a</b> absorbed, enraptured.</p>
+<p><b>embeleso</b> <i>m.</i> rapture.</p>
+<p><b>embestir</b> assail, attack.</p>
+<p><b>embolismo</b> <i>m.</i> confusion, maze, embarrassment, falsehood.</p>
+<p><b>embolsarse</b> pocket.</p>
+<p><b>embozado</b> <i>m.</i> muffled one.</p>
+<p><b>embozar</b> cloak, muffle.</p>
+<p><b>embriagar</b> intoxicate, transport, enrapture; <b>&mdash;se</b> get intoxicated.</p>
+<p><b>empañar</b> dim, tarnish.</p>
+<p><b>empapar</b> soak, steep.</p>
+<p><b>empedernido, -a</b> hard-hearted.</p>
+<p><b>empeñarse</b> persist, insist.</p>
+<p><b>empeño</b> <i>m.</i> determination, desire.</p>
+<p><b>empero</b> <i>adv.</i> however, notwithstanding.</p>
+<p><b>empezar</b> begin.</p>
+<p><b>empleo</b> <i>m.</i> employment, use.</p>
+<p><b>emponzoñar</b> poison, taint.</p>
+<p><b>empuje</b> <i>m.</i> impulse.</p>
+<p><b>empuñar</b> grasp, grip.</p>
+<p><b>en</b> <i>prep.</i> in, into, at, for, among, on, upon, with, of, to, against, by, over, like; <b>&mdash;&mdash; que</b> when.</p>
+<p><b>enamorado, -a</b> enamored, loving, in love.</p>
+<p><b>enamorar</b> inspire love, woo; <b>&mdash;se de</b> fall in love with.</p>
+<p><b>encadenar</b> enchain, shackle.</p>
+<p><b>encantador, -a</b> enchanting, delightful.</p>
+<p><b>encantar</b> charm, delight, fascinate.</p>
+<p><b>encanto</b> <i>m.</i> charm, fascination, enchantment, spell.</p>
+<p><b>encapotar</b> cloak, cover.</p>
+<p><b>encapuchado, -a</b> hooded one.</p>
+<p><b>encender</b> light, kindle, enkindle; <b>&mdash;se</b> glow.</p>
+<p><b>enclavar</b> nail, fasten.</p>
+<p><b>encomendar</b> commend.</p>
+<p><b>encono</b> <i>m.</i> rancor, ill-will, malevolence.</p>
+<p><b>encontrar</b> meet, meet with, find.</p>
+<p><b>encubrir</b> cover, conceal, hide.</p>
+<p><b>encuentro</b> <i>m.</i> meeting, encounter; <b>a su &mdash;&mdash;</b> to meet him.</p>
+<p><b>endiablado, -a</b> diabolical, bedeviled.</p>
+<p><b>endurecer</b> harden, cake.</p>
+<p><b>enemigo, -a</b> hostile, unfriendly.</p>
+<p><b>engalanar</b> adorn.</p>
+<p><b>engañador, -a</b> deceiving.</p>
+<p><b>engañar</b> deceive, beguile.</p>
+<p><b>engaño</b> <i>m.</i> deception, illusion.</p>
+<p><b>engañoso, -a</b> deceptive, false.</p>
+<p><b>engendro</b> <i>m.</i> abortion, monster, progeny.</p>
+<p><b>enhiesto, -a</b> upright, erect.</p>
+<p><b>enjugar</b> wipe.</p>
+<p><b>enjuto, -a</b> lean, wasted, dried up.</p>
+<p><b>enlazar</b> join, clasp.</p>
+<p><b>enlutado, -a</b> in mourning, veiled, muffled.</p>
+<p><b>enmudecer</b> grow dumb, grow silent.</p>
+<p><b>enojarse</b> be angry, be displeased, get angry.</p>
+<p><b>enojo</b> <i>m.</i> anger, vexation, displeasure, annoyance.</p>
+<p><b>enojoso, -a</b> troublesome.</p>
+<p><b>enredar</b> entangle, ensnare.</p>
+<p><b>ensueño</b> <i>m.</i> dream, fantasy, illusion.</p>
+<p><b>entena</b> <i>f.</i> yard, spar.</p>
+<p><b>entender</b> understand, know, hear; <b>&mdash;&mdash; de</b> be familiar with, be interested in.</p>
+<p><b>entero, -a</b> entire, whole.</p>
+<p><b>enterrar</b> bury.</p>
+<p><b>entierro</b> <i>m.</i> funeral, burial, funeral procession.</p>
+<p><b>entonar</b> sing.</p>
+<p><b>entonces</b> <i>adv.</i> then.</p>
+<p><b>entrada</b> <i>f.</i> entrance, coming, beginning.</p>
+<p><b>entrambos, -as</b> both.</p>
+<p><b>entrañas</b> <i>f. pl.</i> entrails, bowels, recesses.</p>
+<p><b>entrar</b> enter, come in, advance, begin.</p>
+<p><b>entre</b> <i>prep.</i> between, among, in, amid, within, to; <b>&mdash;&mdash; sí</b> to himself; <b>&mdash;&mdash; tanto</b> meanwhile; <b>de &mdash;&mdash;</b> out of; <b>por &mdash;&mdash;</b> through, between, among.</p>
+<p><b>entregar</b> hand over, give, pay.</p>
+<p><b>entretanto</b> <i>adv.</i> meanwhile; <b>&mdash;&mdash; que</b> <i>conj.</i> while.</p>
+<p><b>entretener</b> entertain, divert, amuse, occupy.</p>
+<p><b>enturbiar</b> disturb, derange, cloud.</p>
+<p><b>envenenar</b> poison.</p>
+<p><b>enviar</b> send.</p>
+<p><b>envidar</b> stake, open a game of cards by staking a sum.</p>
+<p><b>envidiar</b> envy.</p>
+<p><b>envilecido, -a</b> degraded, disgraced.</p>
+<p><b>envite</b> <i>m.</i> stake, bet.</p>
+<p><b>envolver</b> envelop, enwrap, enfold.</p>
+<p><b>erguido, -a</b> erect, straight.</p>
+<p><b>errante</b> <i>adj.</i> wandering.</p>
+<p><b>escaldar</b> scald.</p>
+<p><b>escalón</b> <i>m.</i> step.</p>
+<p><b>escapar(se)</b> escape, flee.</p>
+<p><b>escape</b> <i>m.</i> escape, flight.</p>
+<p><b>escena</b> <i>f.</i> scene.</p>
+<p><b>esclavo, -a</b> <i>m. f.</i> slave.</p>
+<p><b>escoger</b> choose, select, cull.</p>
+<p><b>esconder</b> conceal, veil, hide.</p>
+<p><b>escribir</b> write.</p>
+<p><b>escuchar</b> hear, listen to, listen; <b>&mdash;se</b> be heard.</p>
+<p><b>escudo</b> <i>m.</i> escudo (a coin); shield, protection.</p>
+<p><b>escupir</b> spit upon.</p>
+<p><b>ese, -a</b> <i>adj. dem.</i> that.</p>
+<p><b>ése, -a, eso</b>, <i>pron. dem.</i> that one, that.</p>
+<p><b>esfera</b> <i>f.</i> sphere, heaven, orb.</p>
+<p><b>esmeralda</b> <i>f.</i> emerald.</p>
+<p><b>espacio</b> <i>m.</i> space.</p>
+<p><b>espada</b> <i>f.</i> sword.</p>
+<p><b>espalda</b> <i>f.</i> back, shoulder; <b>&mdash;&mdash;s</b> back.</p>
+<p><b>espantado, -a</b> frightened, astonished.</p>
+<p><b>espantar</b> frighten, terrify, intimidate.</p>
+<p><b>espanto</b> <i>m.</i> fright, consternation, fear.</p>
+<p><b>espantoso, -a</b> frightful, horrible.</p>
+<p><b>esparcir</b> scatter, shed, spread.</p>
+<p><b>espectro</b> <i>m.</i> specter, ghost.</p>
+<p><b>espejo</b> <i>m.</i> mirror.</p>
+<p><b>esperanza</b> <i>f.</i> hope.</p>
+<p><b>esperar</b> await, wait for, expect, hope.</p>
+<p><b>espeso, -a</b> thick, dense.</p>
+<p><b>espina</b> <i>f.</i> thorn.</p>
+<p><b>espiral</b> <i>f.</i> spiral line.</p>
+<p><b>espirante</b> <i>adj.</i> dying.</p>
+<p><b>espirar</b> expire.</p>
+<p><b>espíritu</b> <i>m.</i> spirit, mind, soul, courage; <b>&mdash;&mdash;s</b> spirits, demons.</p>
+<p><b>espléndido, -a</b> splendid.</p>
+<p><b>esplendor</b> <i>m.</i> splendor, magnificence, glory; <b>de &mdash;&mdash;</b> glorious.</p>
+<p><b>esposa</b> <i>f.</i> wife, spouse, betrothed.</p>
+<p><b>esposo</b> <i>m.</i> husband, spouse, betrothed.</p>
+<p><b>espuela</b> <i>f.</i> spur.</p>
+<p><b>espuma</b> <i>f.</i> foam, froth.</p>
+<p><b>esqueleto</b> <i>m.</i> skeleton, framework.</p>
+<p><b>estación</b> <i>f.</i> season.</p>
+<p><b>estado</b> <i>m.</i> state, condition.</p>
+<p><b>estallar</b> burst, crack, detonate.</p>
+<p><b>estallido</b> <i>m.</i> crackling.</p>
+<p><b>estampido</b> <i>m.</i> report, crash.</p>
+<p><b>estancia</b> <i>f.</i> room, mansion, abode.</p>
+<p><b>estanque</b> <i>m.</i> pond, pool.</p>
+<p><b>estar</b> be; <b>&mdash;&mdash; en sí</b> be in one's senses.</p>
+<p><b>estatua</b> <i>f.</i> statue.</p>
+<p><b>este, -a</b> <i>adj. dem.</i> this.</p>
+<p><b>éste, -a, esto</b>, <i>pron. dem.</i> this one, this.</p>
+<p><b>estima</b> <i>f.</i> esteem, respect.</p>
+<p><b>estocada</b> <i>f.</i> stab.</p>
+<p><b>estorbar</b> forbid, hinder.</p>
+<p><b>estrechar</b> press, clasp.</p>
+<p><b>estrecho, -a</b> narrow.</p>
+<p><b>estrella</b> <i>f.</i> star.</p>
+<p><b>estremecerse</b> shake, tremble.</p>
+<p><b>estrépito</b> <i>m.</i> din, clamor, noise.</p>
+<p><b>estruendo</b> <i>m.</i> din, pomp, turmoil, clatter.</p>
+<p><b>estudiante</b> <i>m.</i> student.</p>
+<p><b>estúpido, -a</b> stupid, dull.</p>
+<p><b>éter</b> <i>m.</i> ether, sky.</p>
+<p><b>eterno, -a</b> eternal, everlasting.</p>
+<p><b>Europa</b> <i>f.</i> Europe.</p>
+<p><b>evangelio</b> <i>m.</i> gospel.</p>
+<p><b>evaporarse</b> evaporate, pass away, vanish.</p>
+<p><b>exaltar</b> exalt, praise.</p>
+<p><b>examinar</b> examine, scrutinize.</p>
+<p><b>exclamar</b> exclaim.</p>
+<p><b>exento, -a</b> free.</p>
+<p><b>exhalar</b> breathe forth, exhale, emit, utter.</p>
+<p><b>exigir</b> demand, exact, require.</p>
+<p><b>existencia</b> <i>f.</i> existence, life.</p>
+<p><b>expiación</b> <i>f.</i> expiation, atonement.</p>
+<p><b>éxtasis</b> <i>m.</i> ecstasy.</p>
+<p><b>extático, -a</b> ecstatic.</p>
+<p><b>extender(se)</b> extend, stretch out, spread, prolong.</p>
+<p><b>extranjero, -a</b> foreign.</p>
+<p><b>extraño, -a</b> strange.</p>
+<p><b>extremo</b> <i>m.</i> end; <b>llevar al &mdash;&mdash;</b> terminate.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>fábrica</b> <i>f.</i> structure.</p>
+<p><b>fácil</b> <i>adj.</i> easy, easily persuaded.</p>
+<p><b>fada</b> <i>f.</i> fairy, sprite.</p>
+<p><b>faena</b> <i>f.</i> task, work, labor, toil.</p>
+<p><b>falaz</b> <i>adj.</i> deceitful, deceptive, fallacious.</p>
+<p><b>falda</b> <i>f.</i> skirt, lap.</p>
+<p><b>falso, -a</b> false, treacherous, feigned, simulated, mock.</p>
+<p><b>faltar</b> fail, be missing, be lacking, give way.</p>
+<p><b>fallido, -a</b> frustrated, amiss.</p>
+<p><b>fama</b> <i>f.</i> reputation, report, rumor; <b>es &mdash;&mdash;</b> it is said.</p>
+<p><b>famoso, -a</b> famous, renowned, notorious.</p>
+<p><b>fanal</b> <i>m.</i> lantern, light, beacon.</p>
+<p><b>fanfarrón</b> <i>m.</i> boaster, bully.</p>
+<p><b>fango</b> <i>m.</i> mud, mire, slime.</p>
+<p><b>fantasía</b> <i>f.</i> fancy, imagination, caprice, whim.</p>
+<p><b>fantasma</b> <i>m. f.</i> phantom, ghost, specter, scarecrow.</p>
+<p><b>fantástico, -a</b> fantastic, imaginary.</p>
+<p><b>farsa</b> <i>f.</i> farce, humbug.</p>
+<p><b>fascinar</b> fascinate.</p>
+<p><b>fatal</b> <i>adj.</i> fatal, ominous, unfortunate.</p>
+<p><b>fatídico, -a</b> baleful, sinister.</p>
+<p><b>fatigado, -a</b> weary.</p>
+<p><b>favor</b> <i>m.</i> favor, protection, help.</p>
+<p><b>faz</b> <i>f.</i> face, aspect.</p>
+<p><b>fe</b> <i>f.</i> faith, honor, trust; <b>a &mdash;&mdash;-</b> in truth; <b>a &mdash;&mdash; mía</b> upon my word.</p>
+<p><b>fecundar</b> fertilize, make fruitful.</p>
+<p><b>fecundo, -a</b> fecund, teeming.</p>
+<p><b>Félix</b> <i>pr. n. m.</i> Felix.</p>
+<p><b>feliz</b> <i>adj.</i> happy, blessed, fortunate.</p>
+<p><b>feo, -a</b> ugly, homely.</p>
+<p><b>féretro</b> <i>m.</i> bier.</p>
+<p><b>feroz</b> <i>adj.</i> fierce, cruel.</p>
+<p><b>férreo, -a</b> iron.</p>
+<p><b>fértil</b> <i>adj.</i> fertile.</p>
+<p><b>fervor</b> <i>m.</i> fervor, ardor, zeal.</p>
+<p><b>festín</b> <i>m.</i> feast, banquet.</p>
+<p><b>fétido, -a</b> fetid, stinking, foul.</p>
+<p><b>Fez</b> <i>pr. n. f.</i> Fez.</p>
+<p><b>fiado, -a</b> trusting.</p>
+<p><b>fiar</b> trust; <b>&mdash;&mdash; de</b> trust in.</p>
+<p><b>fiel</b> <i>adj.</i> faithful, true.</p>
+<p><b>fiereza</b> <i>f.</i> fierceness, hardness.</p>
+<p><b>fiero, -a</b> fierce, cruel, savage, furious, terrible, rude.</p>
+<p><b>fiesta</b> <i>f.</i> festival, feast, celebration, rejoicing, merriment.</p>
+<p><b>figura</b> <i>f.</i> figure, face, form.</p>
+<p><b>figurar</b> fashion, sketch, represent; <b>&mdash;se</b> imagine, fancy.</p>
+<p><b>fijar</b> fix, fasten, determine.</p>
+<p><b>fijo, -a</b> fixed, fastened, determined.</p>
+<p><b>fin</b> <i>m.</i> end; <b>al &mdash;&mdash;</b> at last, finally, after all; <b>en &mdash;&mdash;</b> at last, finally, in short, after all; <b>por &mdash;&mdash;</b> at last; <b>sin &mdash;&mdash;</b> endless, endlessly.</p>
+<p><b>fingido, -a</b> feigned, false.</p>
+<p><b>fingir</b> feign, imagine.</p>
+<p><b>firme</b> <i>adj.</i> firm, unswerving, unshaken, resolute, stout, stanch.</p>
+<p><b>flaco, -a</b> frail, weak.</p>
+<p><b>Flandes</b> <i>pr. n. f.</i> Flanders.</p>
+<p><b>flébil</b> <i>adj.</i> mournful.</p>
+<p><b>flojo, -a</b> feeble, weak.</p>
+<p><b>flor</b> <i>f.</i> flower, blossom.</p>
+<p><b>florecer</b> blossom, bud, cover with flowers.</p>
+<p><b>florido, -a</b> blooming, flower-filled, flowery.</p>
+<p><b>flotante</b> <i>adj.</i> floating.</p>
+<p><b>fondo</b> <i>m.</i> depth, farthest end.</p>
+<p><b>forcejear</b> struggle.</p>
+<p><b>forma</b> <i>f.</i> form, shape, figure.</p>
+<p><b>formar</b> form, make, engender.</p>
+<p><b>fórmula</b> <i>f.</i> formula, form.</p>
+<p><b>fortuna</b> <i>f.</i> fortune, fate, good fortune.</p>
+<p><b>forzoso, -a</b> necessary.</p>
+<p><b>fosfórico, -a</b> phosphorescent.</p>
+<p><b>fragante</b> <i>adj.</i> fragrant.</p>
+<p><b>frágil</b> <i>adj.</i> fragile, frail, weak.</p>
+<p><b>fragor</b> <i>m.</i> crash, noise.</p>
+<p><b>fragrancia</b> <i>f.</i> fragrance.</p>
+<p><b>Franco</b> <i>pr. n. m.</i> Franco.</p>
+<p><b>franja</b> <i>f.</i> fringe, band, border.</p>
+<p><b>frenético, -a</b> frenzied, mad, furious, frantic.</p>
+<p><b>frente</b> <i>f.</i> brow, face, head, forehead, intellect; <b>&mdash;&mdash; a</b> opposite, in front of, before; <b>a su &mdash;&mdash;</b> straight ahead.</p>
+<p><b>fresco, -a</b> fresh.</p>
+<p><b>frescura</b> <i>f.</i> coolness, luxuriant verdure, freshness.</p>
+<p><b>frío, -a</b> cold, indifferent, unsympathetic, unruffled; <b>sangre fría</b> sang-froid, coolness, calmness.</p>
+<p><b>frío</b> <i>m.</i> cold.</p>
+<p><b>frívolo, -a</b> frivolous.</p>
+<p><b>fruncir</b> knit (the brow).</p>
+<p><b>fuego</b> <i>m.</i> fire, ardor, flame, passion; <b>prender &mdash;&mdash;</b> set fire.</p>
+<p><b>fuente</b> <i>f.</i> spring, fountain, source.</p>
+<p><b>fuera</b> <i>adv.</i> outside; <b>&mdash;&mdash; de</b> <i>prep.</i> out of.</p>
+<p><b>fuero</b> <i>m.</i> privilege, statute law.</p>
+<p><b>fuerza</b> <i>f.</i> force, strength, might.</p>
+<p><b>fugaz</b> <i>adj.</i> fleeting.</p>
+<p><b>fugitivo, -a</b> fugitive, fleeting, fleeing, flying.</p>
+<p><b>fúlgido, -a</b> bright, resplendent.</p>
+<p><b>fulgor</b> <i>m.</i> gleam.</p>
+<p><b>fulgoroso, -a</b> shining, flashing.</p>
+<p><b>fulgurante</b> <i>adj.</i> shining.</p>
+<p><b>fúnebre</b> <i>adj.</i> funereal, lugubrious, mournful.</p>
+<p><b>funeral</b> <i>adj.</i> funeral, funereal, lugubrious.</p>
+<p><b>funesto, -a</b> doleful, dismal, sinister, fatal.</p>
+<p><b>furia</b> <i>f.</i> rage.</p>
+<p><b>furioso, -a</b> furious, mad, raging, violent.</p>
+<p><b>furor</b> <i>m.</i> rage, fury.</p>
+<p><b>futuro, -a</b> future.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>gala</b> <i>f.</i> grace, gem, choicest part (of a thing); <b>&mdash;&mdash;s</b> finery.</p>
+<p><b>galán</b> <i>m.</i> gallant, dandy.</p>
+<p><b>galanura</b> <i>f.</i> elegance, showiness, gorgeousness.</p>
+<p><b>galería</b> <i>f.</i> gallery.</p>
+<p><b>galvánico, -a</b> galvanic.</p>
+<p><b>gallardo, -a</b> graceful, bold.</p>
+<p><b>ganancia</b> <i>f.</i> winning.</p>
+<p><b>ganar</b> win.</p>
+<p><b>gasa</b> <i>f.</i> gauze.</p>
+<p><b>gastar</b> waste, fling away, wear out.</p>
+<p><b>gemido</b> <i>m.</i> groan, moan, sigh.</p>
+<p><b>gemir</b> moan, howl, whistle.</p>
+<p><b>generoso, -a</b> noble, illustrious, excellent, generous.</p>
+<p><b>gente</b> <i>f.</i> people, race, nation.</p>
+<p><b>gentil</b> <i>adj.</i> elegant, handsome, graceful.</p>
+<p><b>gesto</b> <i>m.</i> face, expression, gesture.</p>
+<p><b>girar</b> revolve, hover, whirl.</p>
+<p><b>giro</b> <i>m.</i> turn, motion, roll, circling.</p>
+<p><b>gloria</b> <i>f.</i> glory, fame, pleasure, bliss, honor, heaven.</p>
+<p><b>glorioso -a</b> glorious.</p>
+<p><b>goce</b> <i>m.</i> joy.</p>
+<p><b>golpe</b> <i>m.</i> stroke, blow, knock, striking, clash, throw, cast.</p>
+<p><b>golpear(se)</b> strike, hit, beat.</p>
+<p><b>gorjear</b> warble, trill.</p>
+<p><b>gótico, -a</b> Gothic.</p>
+<p><b>gozar</b> rejoice, take delight, enjoy; <b>&mdash;&mdash; de</b> enjoy; <b>&mdash;se</b> rejoice.</p>
+<p><b>gozo</b> <i>m.</i> joy, pleasure, delight.</p>
+<p><b>grabar</b> engrave.</p>
+<p><b>gracia</b> <i>f.</i> grace, charm, gracefulness; <b>&mdash;&mdash;s</b> thanks.</p>
+<p><b>gradería</b> <i>f.</i> steps; <b>&mdash;&mdash; de caracol torcida</b> spiral staircase.</p>
+<p><b>grajo</b> <i>m.</i> jackdaw, crow.</p>
+<p><b>grana</b> <i>f.</i> scarlet.</p>
+<p><b>grande</b> <i>adj.</i> great, important.</p>
+<p><b>grandeza</b> <i>f.</i> greatness, grandeur.</p>
+<p><b>grandioso, -a</b> great, impressive.</p>
+<p><b>grato, -a</b> pleasing.</p>
+<p><b>grave</b> <i>adj.</i> heavy.</p>
+<p><b>gritar</b> cry, shout, cry out.</p>
+<p><b>gritería</b> <i>f.</i> outcry, shouting, screaming.</p>
+<p><b>grito</b> <i>m.</i> cry, howl.</p>
+<p><b>grotesco, -a</b> grotesque.</p>
+<p><b>grupo</b> <i>m.</i> group.</p>
+<p><b>guarida</b> <i>f.</i> den, lurking-place.</p>
+<p><b>guerra</b> <i>f.</i> war; <b>mover &mdash;&mdash;</b> wage war.</p>
+<p><b>guerrero, -a</b> warlike, of war.</p>
+<p><b>guerrero</b> <i>m.</i> warrior, soldier.</p>
+<p><b>guía</b> <i>m. f.</i> guide, leader.</p>
+<p><b>guiar</b> guide, direct.</p>
+<p><b>guirnalda</b> <i>f.</i> garland, wreath.</p>
+<p><b>gustar</b> please.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>haber</b> have; <i>impers.</i> be; <b>&mdash;&mdash; de</b> have to, be to, be going to, must, can; <b>hay</b> there is; <b>no haya</b> let there not be.</p>
+<p><b>habitación</b> <i>f.</i> dwelling, residence, room, suite.</p>
+<p><b>habitar</b> live, reside, lie.</p>
+<p><b>hablador, -a</b> talking, prattling.</p>
+<p><b>hablador, -a</b> <i>m. f.</i> talker, prattler.</p>
+<p><b>hablar</b> talk, speak, address.</p>
+<p><b>hacer</b> do, make, effect, bring about, cause, commit; <b>&mdash;&mdash; aprecio de</b> note; <b>&mdash;&mdash; bien</b> give alms, aid; <b>&mdash;&mdash; caso de</b> take notice of, heed; <b>&mdash;&mdash; juego</b> make the bets; <b>hecho el juego</b> bets closed; <b>&mdash;&mdash; pedazos</b> break to pieces, tear; <b>&mdash;se</b> become, turn to, get; <b>&mdash;se el bigote</b> curl one's mustache; <i>impers.</i> <b>se hace tarde</b> it is growing late.</p>
+<p><b>hacia</b> <i>prep.</i> toward.</p>
+<p><b>hado</b> <i>m.</i> fate.</p>
+<p><b>halagar</b> flatter, allure, soothe.</p>
+<p><b>hallar</b> find; <b>-se</b> be.</p>
+<p><b>hambre</b> <i>f.</i> hunger.</p>
+<p><b>hambriento, -a</b> hungry, eager.</p>
+<p><b>harapo</b> <i>m.</i> rag, tatter.</p>
+<p><b>hartar</b> satisfy, gratify.</p>
+<p><b>harto, -a</b> sated.</p>
+<p><b>hasta</b> <i>adv.</i> even; <i>prep.</i> to, up to, down to, until, as many as; <b>&mdash;&mdash; que</b> <i>conj.</i> until.</p>
+<p><b>hastiar</b> bore, weary, disgust.</p>
+<p><b>hecho, -a</b> made, done; <b>a lo &mdash;&mdash;, pecho</b> make the best of it.</p>
+<p><b>hecho</b> <i>m.</i> deed.</p>
+<p><b>helado, -a</b> icy, cold, frozen.</p>
+<p><b>helar</b> freeze, congeal.</p>
+<p><b>hembra</b> <i>f.</i> female, woman.</p>
+<p><b>henchir</b> fill.</p>
+<p><b>hender</b> cleave.</p>
+<p><b>heredar</b> inherit.</p>
+<p><b>herencia</b> <i>f.</i> inheritance, heritage.</p>
+<p><b>herir</b> strike, smite, wound, affect.</p>
+<p><b>hermana</b> <i>f.</i> sister.</p>
+<p><b>hermano</b> <i>m.</i> brother.</p>
+<p><b>hermoso, -a</b> beautiful, fair.</p>
+<p><b>hermosura</b> <i>f.</i> beauty.</p>
+<p><b>héroe</b> <i>m.</i> hero.</p>
+<p><b>herradura</b> <i>f.</i> horseshoe, hoof-print.</p>
+<p><b>hervir</b> boil, seethe, swarm.</p>
+<p><b>hidalgo, -a</b> noble.</p>
+<p><b>hiel</b> <i>f.</i> gall, bitterness.</p>
+<p><b>hielo</b> <i>m.</i> ice.</p>
+<p><b>hijo</b> <i>m.</i> son; <b>&mdash;&mdash;s</b> children.</p>
+<p><b>hilera</b> <i>f.</i> file.</p>
+<p><b>hinchar</b> swell.</p>
+<p><b>histérico, -a</b> hysterical.</p>
+<p><b>historia</b> <i>f.</i> history, tale, story.</p>
+<p><b>hoguera</b> <i>f.</i> bonfire.</p>
+<p><b>hoja</b> <i>f.</i> leaf, petal, wing of a door.</p>
+<p><b>hola</b> <i>interj.</i> hello.</p>
+<p><b>hollar</b> tread upon, trample upon, ride over, humble.</p>
+<p><b>hombre</b> <i>m.</i> man; <b>buen &mdash;&mdash;</b> my good fellow.</p>
+<p><b>hombro</b> <i>m.</i> shoulder.</p>
+<p><b>hondo, -a</b> deep, profound.</p>
+<p><b>hondo</b> <i>m.</i> bottom, depth.</p>
+<p><b>honroso, -a</b> honorable.</p>
+<p><b>hora</b> <i>f.</i> hour, time; <b>a buena &mdash;&mdash;</b> opportunely; <b>en mal &mdash;&mdash; o en buena</b> well and good; <b>&mdash;&mdash;s muertas</b> idle hours.</p>
+<p><b>horizonte</b> <i>m.</i> horizon.</p>
+<p><b>horrendo, -a</b> horrible, dreadful.</p>
+<p><b>horrible</b> <i>adj.</i> horrible.</p>
+<p><b>hórrido, -a</b> hideous, horrible.</p>
+<p><b>horrísono, -a</b> horrisonous.</p>
+<p><b>horror</b> <i>m.</i> horror, fright.</p>
+<p><b>horrorizado, -a</b> stricken with horror.</p>
+<p><b>hospital</b> <i>m.</i> hospital, poorhouse.</p>
+<p><b>hoy</b> <i>adv.</i> to-day, now, the present time; <b>&mdash;&mdash; en día</b> nowadays.</p>
+<p><b>hoyo</b> <i>m.</i> hole, grave, pit.</p>
+<p><b>hueco, -a</b> hollow, resounding, empty.</p>
+<p><b>hueco</b> <i>m.</i> hollow, hole, gap, concavity.</p>
+<p><b>hueso</b> <i>m.</i> bone.</p>
+<p><b>huésped</b> <i>m.</i> guest, stranger; <b>casa de &mdash;&mdash;es</b> lodging-house.</p>
+<p><b>huída</b> <i>f.</i> flight.</p>
+<p><b>huir</b> flee, escape, disappear.</p>
+<p><b>humano, -a</b> human.</p>
+<p><b>humear</b> emit fumes, reek, smoke.</p>
+<p><b>húmedo, -a</b> damp, wet.</p>
+<p><b>humildemente</b> <i>adv.</i> humbly.</p>
+<p><b>humo</b> <i>m.</i> smoke, fumes.</p>
+<p><b>hundido, -a</b> sunken, hollow.</p>
+<p><b>hundir</b> sink.</p>
+<p><b>huracán</b> <i>m.</i> hurricane, storm.</p>
+<p><b>hurra</b> <i>interj.</i> hurrah.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>ideal</b> <i>adj.</i> ideal, imaginary.</p>
+<p><b>iglesia</b> <i>f.</i> church.</p>
+<p><b>igual</b> <i>adj.</i> equal; <b>me es &mdash;&mdash;</b> it is all the same to me; <b>por &mdash;&mdash;</b> equally.</p>
+<p><b>igualar</b> equal, consider equal.</p>
+<p><b>iluminar</b> illumine, enlighten, illuminate, light.</p>
+<p><b>ilusión</b> <i>f.</i> illusion, fancy, self-deception, mockery.</p>
+<p><b>ilusorio, -a</b> illusory, delusive, deceptive.</p>
+<p><b>ilustre</b> <i>adj.</i> illustrious, noble, celebrated, distinguished.</p>
+<p><b>imagen</b> <i>f.</i> image, statue, likeness, picture, conception, fancy, appearance.</p>
+<p><b>imaginación</b> <i>f.</i> imagination, fancy, mind.</p>
+<p><b>imaginar</b> imagine, fancy, believe, conceive.</p>
+<p><b>impaciente</b> <i>adj.</i> impatient.</p>
+<p><b>impávid, -a</b> undaunted.</p>
+<p><b>imperial</b> <i>adj.</i> imperial.</p>
+<p><b>impetuoso, -a</b> violent, fierce.</p>
+<p><b>impiedad</b> <i>f.</i> impiety, impiousness.</p>
+<p><b>impío, -a</b> impious, profane, wicked, godless.</p>
+<p><b>implacable</b> <i>adj.</i> implacable, relentless.</p>
+<p><b>implorar</b> implore.</p>
+<p><b>imponer</b> impose.</p>
+<p><b>importar</b> <i>impers.</i> matter, concern.</p>
+<p><b>importunar</b> disturb, harass.</p>
+<p><b>importuno, -a</b> troublesome, ill-timed, vexatious, importunate, unreasonable.</p>
+<p><b>imposible</b> <i>adj.</i> impossible.</p>
+<p><b>impotencia</b> <i>f.</i> helplessness.</p>
+<p><b>impulso</b> <i>m.</i> impulse, force.</p>
+<p><b>impuro, -a</b> impure, foul.</p>
+<p><b>inagotable</b> <i>adj.</i> never-failing, inexhaustible.</p>
+<p><b>incentivo</b> <i>m.</i> incentive.</p>
+<p><b>incierto, -a</b> uncertain, unknown, doubtful, unsteady, wandering, restless.</p>
+<p><b>inclinar</b> incline, bend, bow, droop, nod.</p>
+<p><b>indiferencia</b> <i>f.</i> indifference.</p>
+<p><b>indiferente</b> <i>adj.</i> indifferent.</p>
+<p><b>indomable</b> <i>adj.</i> indomitable.</p>
+<p><b>inefable</b> <i>adj.</i> ineffable, unutterable.</p>
+<p><b>infalible</b> <i>adj.</i> infallible.</p>
+<p><b>infante</b> <i>m.</i> child.</p>
+<p><b>infeliz</b> <i>adj.</i> unhappy, wretched.</p>
+<p><b>infernal</b> <i>adj.</i> infernal.</p>
+<p><b>infiel</b> <i>adj.</i> faithless (one).</p>
+<p><b>infierno</b> <i>m.</i> hell, infernal region.</p>
+<p><b>infinito, -a</b> infinite, endless.</p>
+<p><b>inflamarse</b> blaze.</p>
+<p><b>informe</b> <i>adj.</i> ill-shapen, uncanny, inarticulate.</p>
+<p><b>infortunio</b> <i>m.</i> misfortune, misery, calamity.</p>
+<p><b>infundir</b> infuse, instill, inspire.</p>
+<p><b>inglés, -a</b> English.</p>
+<p><b>Inglés</b> <i>m.</i> Englishman.</p>
+<p><b>ingrato, -a</b> ungrateful (one), ingrate.</p>
+<p><b>injuria</b> <i>f.</i> insult.</p>
+<p><b>inmensidad</b> <i>f.</i> immensity, vastness, infinity, unbounded greatness.</p>
+<p><b>inmenso, -a</b> immense, infinite, vast.</p>
+<p><b>inmortal</b> <i>adj.</i> immortal.</p>
+<p><b>inmóvil</b> <i>adj.</i> motionless, fixed, set, unaffected.</p>
+<p><b>inmundo, -a</b> dirty, obscene, unclean.</p>
+<p><b>inocente</b> <i>adj.</i> innocent, young.</p>
+<p><b>inquieto, -a</b> restless, uneasy, anxious, disturbed, agitated.</p>
+<p><b>inquietud</b> <i>f.</i> uneasiness, anxiety, disquietude, restlessness.</p>
+<p><b>insano, -a</b> insane, mad.</p>
+<p><b>insensible</b> <i>adj.</i> indifferent, without feeling.</p>
+<p><b>insigne</b> <i>adj.</i> renowned, famed, distinguished.</p>
+<p><b>insistir</b> insist, persist.</p>
+<p><b>insolencia</b> <i>f.</i> insolence.</p>
+<p><b>insolente</b> <i>adj.</i> insolent.</p>
+<p><b>inspirar</b> inspire, impart.</p>
+<p><b>instante</b> <i>m.</i> instant, moment.</p>
+<p><b>insultar</b> insult.</p>
+<p><b>insulto</b> <i>m.</i> insult.</p>
+<p><b>intención</b> <i>f.</i> intention, purpose, mind.</p>
+<p><b>intenso, -a</b> intense, intent, keen.</p>
+<p><b>intentar</b> attempt, endeavor, try.</p>
+<p><b>interponerse</b> interpose, intervene.</p>
+<p><b>interrumpir</b> interrupt.</p>
+<p><b>intrépido, -a</b> courageous, dauntless.</p>
+<p><b>inundar</b> flood, deluge.</p>
+<p><b>inútil</b> <i>adj.</i> useless.</p>
+<p><b>invencible</b> <i>adj.</i> invincible.</p>
+<p><b>invención</b> <i>f.</i> invention.</p>
+<p><b>invisible</b> <i>adj.</i> invisible, unseen.</p>
+<p><b>ir</b> go, be, be at stake; <b>&mdash;&mdash;</b> + <i>gerund</i> go on, keep; <b>&mdash;&mdash; a</b> be about to, be going to; <b>&mdash;se</b> go away, go; <b>allá voy</b> I am coming; <b>me va en ello mi fama</b> my reputation is at stake in it; <b>quién va</b> who goes there; <b>vamos</b> come now, well; <b>vamos andando</b> let us be off; <b>van los cincuenta</b> I bet fifty.</p>
+<p><b>ira</b> <i>f.</i> anger, ire.</p>
+<p><b>iracundo, -a</b> wrathful.</p>
+<p><b>ironía</b> <i>f.</i> irony.</p>
+<p><b>irónico, -a</b> ironical.</p>
+<p><b>irreligioso, -a</b> irreligious.</p>
+<p><b>irreverencia</b> <i>f.</i> irreverence, disrespect.</p>
+<p><b>irritar</b> anger, excite, arouse, provoke, nettle, exasperate.</p>
+<p><b>izquierdo, -a</b> left.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>jamás</b> <i>adv.</i> never, ever.</p>
+<p><b>jardín</b> <i>m.</i> garden.</p>
+<p><b>jaula</b> <i>f.</i> cage.</p>
+<p><b>jerezano, -a</b> of Jerez.</p>
+<p><b>Jesús</b> <i>pr. n. m.</i> Jesus.</p>
+<p><b>joven</b> <i>adj.</i> young, youthful.</p>
+<p><b>joya</b> <i>f.</i> jewel.</p>
+<p><b>Juan</b> <i>pr. n. m.</i> John.</p>
+<p><b>júbilo</b> <i>m.</i> glee, joy.</p>
+<p><b>juego</b> <i>m.</i> game, sport, play, playing; <b>hacer &mdash;&mdash;</b> make the bets; <b>hecho el &mdash;&mdash;</b> bets closed.</p>
+<p><b>jugador</b> <i>m.</i> player, gambler.</p>
+<p><b>jugar</b> play, sport, frolic, gamble.</p>
+<p><b>jugo</b> <i>m.</i> juice.</p>
+<p><b>juguete</b> <i>m.</i> plaything, toy, sport.</p>
+<p><b>juicio</b> <i>m.</i> judgment, sense, reason, mind.</p>
+<p><b>juntar</b> join, unite, touch, knit; <b>&mdash;se</b> gather, assemble, join, meet, approach.</p>
+<p><b>junto, -a</b> joined, united, connected.</p>
+<p><b>junto</b> <i>adv.</i> near, close; <b>&mdash;&mdash; a</b> <i>prep.</i> near, close to.</p>
+<p><b>juntura</b> <i>f.</i> joint, seam.</p>
+<p><b>jurar</b> swear.</p>
+<p><b>juventud</b> <i>f.</i> youth.</p>
+<p><b>juzgar</b> judge, think.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>la</b> <i>art. f.</i> the; <i>pron. pers. acc.</i> her, it; <i>pl.</i> them; <i>pron. pers. dat.</i> to her, to it; <b>&mdash;&mdash; que</b> <i>pron. dem. and rel.</i> she who, the one who, who.</p>
+<p><b>labio</b> <i>m.</i> lip.</p>
+<p><b>lado</b> <i>m.</i> side, place.</p>
+<p><b>lago</b> <i>m.</i> lake.</p>
+<p><b>lágrima</b> <i>f.</i> tear.</p>
+<p><b>lamentable</b> <i>adj.</i> deplorable.</p>
+<p><b>lamentar</b> lament, bewail, bemoan.</p>
+<p><b>lamento</b> <i>m.</i> lament, lamentation, wail, wailing cry.</p>
+<p><b>lámpara</b> <i>f.</i> lamp, light.</p>
+<p><b>lance</b> <i>m.</i> incident, love-affair, affair of honor.</p>
+<p><b>languidez</b> <i>f.</i> languor, weakness, faintness.</p>
+<p><b>lánguido, -a</b> languid, gentle, apathetic, faint, weak, feeble.</p>
+<p><b>lanza</b> <i>f.</i> lance, spear.</p>
+<p><b>lanzar</b> throw, fling, cast, let loose, emit, utter; <b>&mdash;se</b> dart, rush.</p>
+<p><b>lares</b> <i>m. pl.</i> lares, home.</p>
+<p><b>largo, -a</b> long; <i>pl.</i> many.</p>
+<p><b>lastimar</b> hurt, wound, move to pity; <b>&mdash;se</b> grieve, be sorry, be moved to pity.</p>
+<p><b>lastimero, -a</b> sad, mournful.</p>
+<p><b>latido</b> <i>m.</i> throbbing.</p>
+<p><b>lava</b> <i>f.</i> lava.</p>
+<p><b>lazo</b> <i>m.</i> bond, tie, knot; toils, web, snare.</p>
+<p><b>le</b> <i>pron. pers. dat. acc.</i> him, her, it.</p>
+<p><b>lector</b> <i>m.</i> reader.</p>
+<p><b>lecho</b> <i>m.</i> bed, couch.</p>
+<p><b>lejano, -a</b> distant.</p>
+<p><b>lejos</b> <i>adv.</i> far, far away, afar; <b>a lo &mdash;&mdash;</b> in the distance; <b>de &mdash;&mdash;</b> from afar, at a great distance.</p>
+<p><b>lengua</b> <i>f.</i> tongue.</p>
+<p><b>lenguaje</b> <i>m.</i> language, speech, tongue.</p>
+<p><b>lento, -a</b> slow.</p>
+<p><b>leña</b> <i>f.</i> wood, firewood.</p>
+<p><b>les</b> <i>pron. pers. dat. acc.</i> them.</p>
+<p><b>letal</b> <i>adj.</i> deadly.</p>
+<p><b>letra</b> <i>f.</i> letter; <b>&mdash;&mdash;s</b> letters, literature, lore.</p>
+<p><b>levantar</b> raise, lift up, erect, set up; <b>&mdash;se</b> rise, get up, stand up.</p>
+<p><b>leve</b> <i>adj.</i> light, slight, delicate.</p>
+<p><b>ley</b> <i>f.</i> law, religion.</p>
+<p><b>libertad</b> <i>f.</i> liberty, freedom.</p>
+<p><b>librar</b> free, preserve, save.</p>
+<p><b>libre</b> <i>adj.</i> free, open, innocent, alone.</p>
+<p><b>lid</b> <i>f.</i> contest, conflict, fight.</p>
+<p><b>ligar</b> bind.</p>
+<p><b>ligeramente</b> <i>adv.</i> slightly, lightly.</p>
+<p><b>ligero, -a</b> slight.</p>
+<p><b>límite</b> <i>m.</i> limit, bound.</p>
+<p><b>limosna</b> <i>f.</i> alms, charity.</p>
+<p><b>límpido, -a</b> limpid, pure, clear.</p>
+<p><b>limpieza</b> <i>f.</i> limpidity, purity, clearness.</p>
+<p><b>lino</b> <i>m.</i> linen.</p>
+<p><b>lira</b> <i>f.</i> lyre.</p>
+<p><b>lisonjero, -a</b> flattering, pleasing, cajoling.</p>
+<p><b>liviano, -a</b> frivolous, lewd.</p>
+<p><b>lívido, -a</b> livid.</p>
+<p><b>lo</b> <i>art. neut.</i> the; <i>pron. pers. acc.</i> it, him; <b>&mdash;&mdash; que</b> <i>pron. dem. and rel.</i> what, that which; <b>&mdash;&mdash; que es por</b> as for, when it comes to.</p>
+<p><b>lóbrego, -a</b> lugubrious, mournful, gloomy, obscure, dismal, dark, sad.</p>
+<p><b>loco, -a</b> mad, wild, crazy.</p>
+<p><b>locura</b> <i>f.</i> madness, folly.</p>
+<p><b>lodo</b> <i>m.</i> mire.</p>
+<p><b>lograr</b> attain, gain.</p>
+<p><b>loma</b> <i>f.</i> hillock, ridge.</p>
+<p><b>lona</b> <i>f.</i> canvas.</p>
+<p><b>lontananza</b> <i>f.</i> distance.</p>
+<p><b>los</b> <i>art. pl. m.</i> the; <i>pron. pers. acc.</i> them; <b>&mdash;&mdash; que</b> <i>pron. dem. and rel.</i> those who, the ones who.</p>
+<p><b>losa</b> <i>f.</i> slab, stone.</p>
+<p><b>lozano, -a</b> luxuriant, sprightly.</p>
+<p><b>lúbrico, -a</b> slippery, lewd.</p>
+<p><b>lucero</b> <i>m.</i> bright star, morning star, star.</p>
+<p><b>luciente</b> <i>adj.</i> shining.</p>
+<p><b>Lucifer</b> <i>pr. n. m.</i> Lucifer.</p>
+<p><b>luchar</b> struggle.</p>
+<p><b>luego</b> <i>adv.</i> then, at once, presently, soon, next, subsequently.</p>
+<p><b>lugar</b> <i>m.</i> place, town.</p>
+<p><b>lúgubre</b> <i>adj.</i> sad, mournful, dismal.</p>
+<p><b>lujo</b> <i>m.</i> luxury, finery.</p>
+<p><b>lumbre</b> <i>f.</i> light.</p>
+<p><b>luminoso, -a</b> luminous, shining, bright.</p>
+<p><b>luna</b> <i>f.</i> moon.</p>
+<p><b>luz</b> <i>f.</i> light, illumination, flame, taper, lamp.</p>
+<p><b>Luzbel</b> <i>pr. n. m.</i> Lucifer, Satan.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>llagar</b> wound.</p>
+<p><b>llama</b> <i>f.</i> flame, light.</p>
+<p><b>llamar</b> call, summon, knock, name, call upon, invoke; <b>&mdash;se</b> be named; <b>cómo os llamáis</b> what is your name.</p>
+<p><b>llanto</b> <i>m.</i> weeping, tears.</p>
+<p><b>llegar</b> arrive, come; <b>&mdash;&mdash; a</b> come to, succeed in, happen to, reach; <i>or simply takes the signification of the verb to which it is joined:</i> <b>llegó a ver</b> he saw.</p>
+<p><b>llenar</b> fill, pervade.</p>
+<p><b>lleno, -a</b> full, filled.</p>
+<p><b>llevar</b> carry, bear, bring, wear, take, carry away; <b>&mdash;&mdash;</b> + <i>p. p.</i> have; <b>&mdash;&mdash; al extremo</b> terminate; <b>&mdash;se algo</b> take something away.</p>
+<p><b>llorar</b> weep, mourn, weep for, mourn for.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>macedonio, -a</b> Macedonian.</p>
+<p><b>macizo, -a</b> solid, massive.</p>
+<p><b>madre</b> <i>f.</i> mother.</p>
+<p><b>maestro, -a</b> masterly, principal, main; <b>obra &mdash;&mdash;a</b> masterpiece.</p>
+<p><b>magia</b> <i>f.</i> magic, charm.</p>
+<p><b>mágico, -a</b> magic, magical, wonderful.</p>
+<p><b>mal</b> <i>adv.</i> badly, ill, hardly, poorly.</p>
+<p><b>mal</b> <i>m.</i> evil, wrong, harm, injury, sorrow, misfortune.</p>
+<p><b>Málaga</b> <i>m.</i> Malaga wine.</p>
+<p><b>maldecido, -a</b> accursed, wicked.</p>
+<p><b>maldecir</b> curse.</p>
+<p><b>maldiciente</b> <i>adj.</i> cursing, profane.</p>
+<p><b>maldición</b> <i>f.</i> malediction, curse.</p>
+<p><b>maleza</b> <i>f.</i> underbrush, thicket.</p>
+<p><b>malo, a</b> bad, wicked, evil, obnoxious, poor; <b>¡mal caballero!</b> scoundrel!</p>
+<p><b>malvado, -a</b> criminal, wicked, insolent.</p>
+<p><b>manantial</b> <i>m.</i> spring, source.</p>
+<p><b>manar</b> flow, trickle.</p>
+<p><b>mancebo</b> <i>m.</i> young man, youth.</p>
+<p><b>mancilla</b> <i>f.</i> spot, blemish.</p>
+<p><b>mancha</b> <i>f.</i> spot, stain.</p>
+<p><b>manchar</b> stain.</p>
+<p><b>mandato</b> <i>m.</i> command.</p>
+<p><b>manía</b> <i>f.</i> madness, whim.</p>
+<p><b>mano</b> <i>f.</i> hand.</p>
+<p><b>mansamente</b> <i>adv.</i> gently.</p>
+<p><b>mansión</b> <i>f.</i> mansion, abode.</p>
+<p><b>manto</b> <i>m.</i> mantle, cloak.</p>
+<p><b>mañana</b> <i>adv.</i> to-morrow.</p>
+<p><b>mañana</b> <i>f.</i> morning, morrow.</p>
+<p><b>mar</b> <i>m.</i> (<i>"Pirata" l. 39</i>), <i>f.</i> (<i>l. 34</i>), sea, deep; <b>a &mdash;&mdash;es</b> abundantly.</p>
+<p><b>maravilla</b> <i>f.</i> wonder, marvel, miracle.</p>
+<p><b>marcar</b> mark, stamp.</p>
+<p><b>marco</b> <i>m.</i> frame.</p>
+<p><b>Marcos</b> <i>pr. n. m.</i> Mark.</p>
+<p><b>marcha</b> <i>f.</i> march.</p>
+<p><b>marchar</b> walk, march.</p>
+<p><b>marchitado, -a</b> faded, withered.</p>
+<p><b>marchitarse</b> wither, fade, die.</p>
+<p><b>mareo</b> <i>m.</i> nausea, dizziness.</p>
+<p><b>margen</b> <i>m. f.</i>  edge, brink, bank, border.</p>
+<p><b>María</b> <i>pr. n. f.</i> Mary.</p>
+<p><b>marido</b> <i>m.</i> husband, spouse.</p>
+<p><b>mariposa</b> <i>f.</i> butterfly.</p>
+<p><b>mármol</b> <i>m.</i> marble.</p>
+<p><b>martirio</b> <i>m.</i> martyrdom, torture, grief.</p>
+<p><b>mas</b> <i>conj.</i> but.</p>
+<p><b>más</b> <i>adv.</i> more, most, rather; <b>&mdash;&mdash; de</b> past; <b>&mdash;&mdash; que</b> especially as; <b>el, la &mdash;&mdash;</b> the most; <b>no &mdash;&mdash;</b> only, no longer.</p>
+<p><b>masa</b> <i>f.</i> mass.</p>
+<p><b>matar</b> kill, slay.</p>
+<p><b>materia</b> <i>f.</i> material, matter.</p>
+<p><b>matiz</b> <i>m.</i> tint, hue.</p>
+<p><b>matrimonio</b> <i>m.</i> marriage.</p>
+<p><b>mayo</b> <i>m.</i> May.</p>
+<p><b>mayor</b> <i>adj.</i> greater; <b>el, la &mdash;&mdash;</b> the greatest.</p>
+<p><b>me</b> <i>pron. pers. dat. acc.</i> me, myself.</p>
+<p><b>mecer</b> rock, sway; <b>&mdash;se</b> be rocked, rock.</p>
+<p><b>medida</b> <i>f.</i> measure; <b>sin &mdash;&mdash;</b> unmeasured.</p>
+<p><b>medio, -a</b> half, middle; <b>media noche</b> midnight.</p>
+<p><b>medio</b> <i>m.</i> middle, midst; <b>en &mdash;&mdash;</b> in the midst, nevertheless; <b>en &mdash;&mdash; de</b> in the midst of.</p>
+<p><b>medroso, -a</b> terrible, terrifying, timid.</p>
+<p><b>mejilla</b> <i>f.</i> cheek.</p>
+<p><b>mejor</b> <i>adj.</i> better; <b>el &mdash;&mdash;-</b> the best.</p>
+<p><b>melancolía</b> <i>f.</i> melancholy.</p>
+<p><b>melancólico, -a</b> melancholy.</p>
+<p><b>melodía</b> <i>f.</i> melody.</p>
+<p><b>memoria</b> <i>f.</i> memory, mind, remembrance.</p>
+<p><b>mendigo</b> <i>m.</i> beggar, mendicant.</p>
+<p><b>menear</b> stir, shake.</p>
+<p><b>mengua</b> <i>f.</i> shame, disgrace.</p>
+<p><b>menos</b> <i>adv.</i> less, least; <b>&mdash;&mdash;- que</b> less than.</p>
+<p><b>mente</b> <i>f.</i> mind, thought, intellect.</p>
+<p><b>mentido, -a</b> false.</p>
+<p><b>mentir</b> lie, deceive.</p>
+<p><b>mentira</b> <i>f.</i> lie, falsehood, falsity.</p>
+<p><b>mercader</b> <i>m.</i> trader, merchant.</p>
+<p><b>merced</b> <i>f.</i> mercy; <b>a &mdash;&mdash; de</b> at the mercy of.</p>
+<p><b>merecer</b> merit, deserve, be worth.</p>
+<p><b>mesa</b> <i>f.</i> table.</p>
+<p><b>metal</b> <i>m.</i> metal.</p>
+<p><b>metálico</b> <i>m.</i> cash, money.</p>
+<p><b>mezclar</b> mix, mingle, unite, jumble; <b>&mdash;se</b> be mingled, take part, meddle.</p>
+<p><b>mezquino, -a</b> miserable, wretched, petty.</p>
+<p><b>mi</b> <i>adj. poss.</i> my.</p>
+<p><b>mí</b> <i>pron. pers.</i> me, myself.</p>
+<p><b>miedo</b> <i>m.</i> fear; <b>hacer &mdash;&mdash; de</b> make afraid of.</p>
+<p><b>miel</b> <i>f.</i> honey.</p>
+<p><b>mientras</b> <i>adv.</i> meanwhile; <i>conj.</i> while; <b>&mdash;&mdash; que</b> while.</p>
+<p><b>Miguel</b> <i>pr. n. m.</i> Michael.</p>
+<p><b>mil</b> <i>card.</i> thousand.</p>
+<p><b>millar</b> <i>m.</i> thousand.</p>
+<p><b>mina</b> <i>f.</i> mine, source of supply.</p>
+<p><b>mío, -a</b> <i>pron. poss.</i> my, mine.</p>
+<p><b>mirada</b> <i>f.</i> glance, look, gaze.</p>
+<p><b>mirar</b> look at, contemplate, regard, see, behold, watch, notice; <b>&mdash;se entre sí</b> look at each other.</p>
+<p><b>misa</b> <i>f.</i> mass.</p>
+<p><b>miserable</b> <i>adj.</i> miserable, wretched.</p>
+<p><b>miseria</b> <i>f.</i> misery, wretchedness.</p>
+<p><b>mísero, -a</b> miserable, wretched.</p>
+<p><b>mismo, -a</b> same, very, self, own.</p>
+<p><b>misterioso, -a</b> mysterious.</p>
+<p><b>místico, -a</b> mystical.</p>
+<p><b>modo</b> <i>m.</i> way, manner; <b>de tal &mdash;&mdash;</b> in such a way.</p>
+<p><b>mofa</b> <i>f.</i> sneer, jeer.</p>
+<p><b>mofar de</b> scoff at, flout.</p>
+<p><b>molestar</b> trouble, disturb, grate upon.</p>
+<p><b>momento</b> <i>m.</i> moment, instant; <b>al &mdash;&mdash;</b> in a moment, immediately.</p>
+<p><b>monarca</b> <i>m.</i> monarch.</p>
+<p><b>monótono, -a</b> monotonous, slow, dull.</p>
+<p><b>montaña</b> <i>f.</i> mountain.</p>
+<p><b>Montemar</b> <i>pr. n.</i> Montemar.</p>
+<p><b>montón</b> <i>m.</i> heap.</p>
+<p><b>monumento</b> <i>m.</i> monument.</p>
+<p><b>morada</b> <i>f.</i> abode.</p>
+<p><b>morador, -a</b> inhabitant.</p>
+<p><b>morar</b> dwell, abide, inhabit, lodge in.</p>
+<p><b>morder</b> bite.</p>
+<p><b>Moreto</b> <i>pr. n.</i> Moreto.</p>
+<p><b>moribundo, -a</b> dying.</p>
+<p><b>morir(se)</b> die, expire, go out.</p>
+<p><b>mortal</b> <i>adj.</i> mortal, deadly, fatal.</p>
+<p><b>mortal</b> <i>m.</i> mortal, being, man.</p>
+<p><b>mortífero, -a</b> deadly, noxious.</p>
+<p><b>mostrar</b> show, point out, indicate.</p>
+<p><b>motivo</b> <i>m.</i> motive, reason, cause.</p>
+<p><b>mover</b> move, stir, sway, drive; <b>&mdash;&mdash; guerra</b> wage war; <b>&mdash;&mdash; la planta</b> walk; <b>&mdash;&mdash; los ojos</b> roll one's eyes; <b>&mdash;&mdash; los pies</b> walk; <b>&mdash;se</b> move, walk.</p>
+<p><b>movimiento</b> <i>m.</i> movement, motion, startled movement, agitation, thrill, stirring.</p>
+<p><b>mucho</b> <i>adv.</i> much.</p>
+<p><b>mudo, -a</b> dumb, silent, still, mute.</p>
+<p><b>mueca</b> <i>f.</i> grimace.</p>
+<p><b>muerte</b> <i>f.</i> death.</p>
+<p><b>muerto, -a</b> dead, lifeless, dying.</p>
+<p><b>muerto, -a</b> <i>m. f.</i> dead person, corpse.</p>
+<p><b>muestra</b> <i>f.</i> indication, token, proof.</p>
+<p><b>mujer</b> <i>f.</i> woman, wife.</p>
+<p><b>mula</b> <i>f.</i> mule.</p>
+<p><b>mullido, -a</b> soft.</p>
+<p><b>mundano, -a</b> worldly, of the world.</p>
+<p><b>mundo</b> <i>m.</i> world, earth, society.</p>
+<p><b>murmullo</b> <i>m.</i> murmuring, rippling.</p>
+<p><b>murmurar</b> murmur.</p>
+<p><b>muro</b> <i>m.</i> wall.</p>
+<p><b>música</b> <i>f.</i> music, melody.</p>
+<p><b>mutuo, -a</b> mutual.</p>
+<p><b>muy</b> <i>adv.</i> very, very much.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>nacarado, -a</b> pearly, nacreous.</p>
+<p><b>nacer</b> be born, spring up.</p>
+<p><b>naciente</b> <i>adj.</i> nascent, growing, budding, dawning.</p>
+<p><b>nación</b> <i>f.</i> nation.</p>
+<p><b>nada</b> <i>pron.</i> nothing, not anything.</p>
+<p><b>nada</b> <i>adv.</i> not at all, not.</p>
+<p><b>nadie</b> <i>pron.</i> no one, any one.</p>
+<p><b>naipe</b> <i>m.</i> card.</p>
+<p><b>nariz</b> <i>f.</i> nose, nostril.</p>
+<p><b>náufrago, -a</b> wrecked, coming from a wreck.</p>
+<p><b>nave</b> <i>f.</i> ship, vessel.</p>
+<p><b>navegar</b> sail.</p>
+<p><b>navío</b> <i>m.</i> ship.</p>
+<p><b>nebuloso, -a</b> nebulous, hazy.</p>
+<p><b>necesitar</b> need.</p>
+<p><b>necio, -a</b> foolish.</p>
+<p><b>néctar</b> <i>m.</i> nectar.</p>
+<p><b>negar</b> deny, refuse.</p>
+<p><b>negro, -a</b> black, dark.</p>
+<p><b>nervio</b> <i>m.</i> nerve.</p>
+<p><b>nervioso, -a</b> nervous.</p>
+<p><b>ni</b> <i>conj.</i> neither, nor, or; <b>&mdash;&mdash; ... &mdash;&mdash;</b> neither ... nor.</p>
+<p><b>niebla</b> <i>f.</i> mist, haze, fog.</p>
+<p><b>nieve</b> <i>f.</i> snow, extreme whiteness.</p>
+<p><b>ninfa</b> <i>f.</i> nymph.</p>
+<p><b>ninguno, -a</b> <i>adj. pron.</i> no, no one, none, not any.</p>
+<p><b>niño</b> <i>m.</i> child, boy.</p>
+<p><b>no</b> <i>adv.</i> not, no; <b>que &mdash;&mdash;-</b> no.</p>
+<p><b>noble</b> <i>adj.</i> noble, eminent, worthy, honorable.</p>
+<p><b>nobleza</b> <i>f.</i> nobility.</p>
+<p><b>noche</b> <i>f.</i> night; <b>de &mdash;&mdash;</b> by night, at night;</p>
+<p><b>media &mdash;&mdash;</b> midnight.</p>
+<p><b>nombrar</b> name, mention.</p>
+<p><b>nombre</b> <i>m.</i> name.</p>
+<p><b>nos</b> <i>pron. pers. dat. acc.</i> us.</p>
+<p><b>nosotros, -as</b> <i>pron. pers.</i> we, us.</p>
+<p><b>novela</b> <i>f.</i> novel.</p>
+<p><b>nube</b> <i>f.</i> cloud.</p>
+<p><b>nublo</b> <i>m.</i> storm cloud.</p>
+<p><b>nudo</b> <i>m.</i> knot, noose.</p>
+<p><b>nuestro, -a</b> <i>adj. pron.</i> our, ours, of ours.</p>
+<p><b>nuevo, -a</b> new, unfamiliar, newly arrived, fresh, additional.</p>
+<p><b>nunca</b> <i>adv.</i> never, ever.</p>
+<p><b>nupcial</b> <i>adj.</i> nuptial.</p>
+<p><b>nutrir</b> nourish.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>o</b> <i>interj.</i> oh.</p>
+<p><b>o</b> <i>conj.</i> or, either; <b>&mdash;&mdash; ... &mdash;&mdash;</b> either ... or.</p>
+<p><b>obedecer</b> obey.</p>
+<p><b>objeto</b> <i>m.</i> object, thing.</p>
+<p><b>obligarse</b> bind one's self, be obliged.</p>
+<p><b>obra</b> <i>f.</i> work; <b>&mdash;&mdash; maestra</b> masterpiece.</p>
+<p><b>ocasión</b> <i>f.</i> occasion, time, opportunity.</p>
+<p><b>occidente</b> <i>m.</i> west, occident.</p>
+<p><b>oculto, -a</b> concealed, hidden, secret.</p>
+<p><b>odioso, -a</b> odious, hateful.</p>
+<p><b>ofender</b> offend, make angry, insult.</p>
+<p><b>ofrecer</b> offer, present; <b>&mdash;se</b> offer, occur, present itself.</p>
+<p><b>oh</b> <i>interj.</i> oh.</p>
+<p><b>oído</b> <i>m.</i> ear, hearing.</p>
+<p><b>oír</b> hear, listen, listen to; <b>&mdash;se</b> be heard.</p>
+<p><b>ojalá</b> <i>interj.</i> would to God.</p>
+<p><b>ojo</b> <i>m.</i> eye, sight.</p>
+<p><b>ola</b> <i>f.</i> wave, billow.</p>
+<p><b>olor</b> <i>m.</i> odor.</p>
+<p><b>oloroso, -a</b> fragrant.</p>
+<p><b>olvidar</b> forget.</p>
+<p><b>olvido</b> <i>m.</i> oblivion, forgetfulness, neglect.</p>
+<p><b>onda</b> <i>f.</i> wave.</p>
+<p><b>ondeante</b> <i>adj.</i> waving, flowing.</p>
+<p><b>ondear</b> wave.</p>
+<p><b>ondina</b> <i>f.</i> undine, water-sprite.</p>
+<p><b>ondular</b> undulate, rise and fall.</p>
+<p><b>onza</b> <i>f.</i> doubloon (former gold coin, = about $16).</p>
+<p><b>ópalo</b> <i>m.</i> opal.</p>
+<p><b>óptico, -a</b> optical; <b>&mdash;&mdash; vidrio</b> telescope.</p>
+<p><b>opulento, -a</b> rich, wealthy.</p>
+<p><b>ora</b> <i>conj.</i> now; <b>&mdash;&mdash; ... &mdash;&mdash;</b> now ... again, at one time ... at another.</p>
+<p><b>orador</b> <i>m.</i> orator.</p>
+<p><b>orgía</b> <i>f.</i> orgy.</p>
+<p><b>orgulloso, -a</b> proud, haughty.</p>
+<p><b>original</b> <i>adj.</i> original, curious.</p>
+<p><b>oro</b> <i>m.</i> gold, gold coin, wealth, riches; <b>&mdash;&mdash;s</b> diamonds (as a suit of playing-cards).</p>
+<p><b>os</b> <i>pron. pers. dat. acc.</i> you, yourself.</p>
+<p><b>osadía</b> <i>f.</i> boldness, audacity, effrontery.</p>
+<p><b>osado, -a</b> daring, bold, defiant.</p>
+<p><b>oscuridad</b> <i>f.</i> darkness, obscurity, gloom.</p>
+<p><b>oscuro, -a</b> dark, gloomy, confused.</p>
+<p><b>ostentar</b> show, display.</p>
+<p><b>otero</b> <i>m.</i> hill.</p>
+<p><b>otro, -a</b> <i>adj. pron.</i> other, another.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>padecer</b> <i>m.</i> suffering, pain.</p>
+<p><b>padre</b> <i>m.</i> father; <b>&mdash;&mdash;s</b> fathers, parents, ancestors.</p>
+<p><b>padrino</b> <i>m.</i> sponsor.</p>
+<p><b>paje</b> <i>m.</i> page.</p>
+<p><b>palabra</b> <i>f.</i> word, promise.</p>
+<p><b>palabrería</b> <i>f.</i> wordiness.</p>
+<p><b>palacio</b> <i>m.</i> palace, mansion.</p>
+<p><b>pálido, -a</b> pallid, pale, faint.</p>
+<p><b>palmada</b> <i>f.</i> slap, applause, clapping.</p>
+<p><b>palmo</b> <i>m.</i> span (8 inches).</p>
+<p><b>palpar</b> feel, grope, know; <b>&mdash;se</b> feel, grope.</p>
+<p><b>palpitante</b> <i>adj.</i> quivering, throbbing.</p>
+<p><b>palpitar</b> beat, quiver, flutter.</p>
+<p><b>pan</b> <i>m.</i> bread.</p>
+<p><b>par</b> <i>adj.</i> equal; <b>a &mdash;&mdash;</b> alike; <b>a &mdash;&mdash; que</b> just as, while; <b>a la &mdash;&mdash;</b> at the same time, equally; <b>al &mdash;&mdash; de</b> like, as well as.</p>
+<p><b>para</b> <i>prep.</i> for, to, in order to; <b>ser &mdash;&mdash;</b> be enough to.</p>
+<p><b>parabién</b> <i>m.</i> congratulation; <b>dar el &mdash;&mdash;</b> congratulate.</p>
+<p><b>paradero</b> <i>m.</i> halting-place, end.</p>
+<p><b>páramo</b> <i>m.</i> paramo, desert, wilderness.</p>
+<p><b>parar</b> stop, halt, stake; <b>&mdash;se</b> stop, halt.</p>
+<p><b>parar</b> <i>m.</i> lansquenet (a game of cards).</p>
+<p><b>parche</b> <i>m.</i> drum.</p>
+<p><b>pardiez</b> <i>interj.</i> by God.</p>
+<p><b>pardo, -a</b> dark gray, brown, dark.</p>
+<p><b>parecer</b> appear, seem, resemble, look like; <b>al &mdash;&mdash;</b> seemingly, apparently.</p>
+<p><b>pared</b> <i>f.</i> wall.</p>
+<p><b>párpado</b> <i>m.</i> eyelid.</p>
+<p><b>parte</b> <i>f.</i> part; <b>de &mdash;&mdash; de</b> from, by command of; <b>por todas &mdash;&mdash;s</b> everywhere.</p>
+<p><b>pasada</b> <i>f.</i> passing; <b>de &mdash;&mdash;</b> in passing.</p>
+<p><b>pasado</b> <i>m.</i> past.</p>
+<p><b>pasar</b> pass, go by, end.</p>
+<p><b>pasión</b> <i>f.</i> passion.</p>
+<p><b>paso</b> <i>m.</i> step, gait, footstep, tread, passing; <b>&mdash;&mdash; de andadura</b> ambling gait; <b>al &mdash;&mdash;, de &mdash;&mdash;,</b> in passing.</p>
+<p><b>pastor</b> <i>m.</i> shepherd.</p>
+<p><b>Pastrana</b> <i>pr. n.</i> Pastrana.</p>
+<p><b>patear</b> stamp upon.</p>
+<p><b>patio</b> <i>m.</i> court, courtyard.</p>
+<p><b>patria</b> <i>f.</i> native country, fatherland, home.</p>
+<p><b>patrio, -a</b> paternal, native.</p>
+<p><b>pausado, -a</b> deliberate, leisurely.</p>
+<p><b>pavesa</b> <i>f.</i> embers.</p>
+<p><b>pavimiento</b> <i>m.</i> pavement, floor.</p>
+<p><b>pavor</b> <i>m.</i> fear, terror.</p>
+<p><b>pavoroso, -a</b> frightful, exciting fear, terrifying, terrible.</p>
+<p><b>pavura</b> <i>f.</i> fear, terror.</p>
+<p><b>paz</b> <i>f.</i> peace, quiet.</p>
+<p><b>pecado</b> <i>m.</i> sin.</p>
+<p><b>pecador, -a</b> sinful, wicked, wretched.</p>
+<p><b>pecho</b> <i>m.</i> breast, chest, bosom, heart, courage; <b>a lo hecho, &mdash;&mdash;</b> make the best of it.</p>
+<p><b>pecho</b> <i>m.</i> tribute; <b>dar &mdash;&mdash;</b> pay tribute.</p>
+<p><b>pedazo</b> <i>m.</i> piece; <b>a &mdash;&mdash;s</b> to pieces, in pieces; <b>hacer &mdash;&mdash;s</b> break to pieces, tear.</p>
+<p><b>pedestal</b> <i>m.</i> pedestal, foundation.</p>
+<p><b>pedir</b> ask, ask for, beg, demand; <b>&mdash;&mdash; cuenta</b> bring to account, demand account of.</p>
+<p><b>pedrería</b> <i>f.</i> precious stones.</p>
+<p><b>pena</b> <i>f.</i> punishment, penalty, agony, trouble, anxiety, sorrow, pain; <b>ánima en &mdash;&mdash;</b> soul in purgatory.</p>
+<p><b>pendencia</b> <i>f.</i> quarrel, dispute, row.</p>
+<p><b>pendón</b> <i>m.</i> banner, flag.</p>
+<p><b>penetrar</b> penetrate, pierce.</p>
+<p><b>penoso, -a</b> painful.</p>
+<p><b>pensamiento</b> <i>m.</i> thought, mind.</p>
+<p><b>pensar</b> think, consider, plan, mean, intend; <b>&mdash;&mdash; en</b> think of.</p>
+<p><b>pensil</b> <i>m.</i> beautiful garden.</p>
+<p><b>peñasco</b> <i>m.</i> large rock.</p>
+<p><b>perder</b> lose, squander, ruin, undo; <b>&mdash;se</b> be lost, go astray, disappear, vanish; <b>dar por perdido</b> consider lost.</p>
+<p><b>perdido, -a</b> lost, ruined, done for, beside one's self, vanished, defeated, wandering.</p>
+<p><b>perdidoso, -a</b> losing, loser.</p>
+<p><b>perdón</b> <i>m.</i> pardon, forgiveness.</p>
+<p><b>perdonar</b> pardon, forgive.</p>
+<p><b>peregrino, -a</b> strange, wonderful.</p>
+<p><b>perezoso, -a</b> sluggish.</p>
+<p><b>pérfido, -a</b> perfidious, treacherous.</p>
+<p><b>perfumado, -a</b> sweet-scented, perfumed.</p>
+<p><b>perfume</b> <i>m.</i> perfume, fragrance, sweet odor.</p>
+<p><b>pero</b> <i>conj.</i> but, however.</p>
+<p><b>perpetuo, -a</b> perpetual, continual.</p>
+<p><b>perro</b> <i>m.</i> dog.</p>
+<p><b>perseguir</b> pursue, importune, beset.</p>
+<p><b>persona</b> <i>f.</i> person; <b>&mdash;&mdash;s</b> dramatis personae.</p>
+<p><b>pesar</b> weigh, consider, be valuable, repent.</p>
+<p><b>pesar</b> <i>m.</i> sorrow, trouble, repentance; <b>a su &mdash;&mdash;</b> in spite of himself.</p>
+<p><b>peso</b> <i>m.</i> weight.</p>
+<p><b>pie</b> <i>m.</i> foot; <b>alzarse de &mdash;&mdash;</b> rise to one's feet; <b>en &mdash;&mdash;</b> standing; <b>mover los &mdash;&mdash;s</b> walk; <b>ponerse de &mdash;&mdash;</b> arise, stand up.</p>
+<p><b>piedad</b> <i>f.</i> pity, mercy.</p>
+<p><b>piedra</b> <i>f.</i> stone.</p>
+<p><b>pintar</b> paint, depict, describe; <b>&mdash;se</b> be painted, be depicted.</p>
+<p><b>pintura</b> <i>f.</i> picture, painting.</p>
+<p><b>pirata</b> <i>m.</i> pirate.</p>
+<p><b>pisada</b> <i>f.</i> footstep.</p>
+<p><b>pisar</b> tread upon.</p>
+<p><b>placentero, -a</b> pleasant, pleasing.</p>
+<p><b>placer</b> please.</p>
+<p><b>placer</b> <i>m.</i> pleasure, rejoicing.</p>
+<p><b>plan</b> <i>m.</i> plan.</p>
+<p><b>planta</b> <i>f.</i> sole of foot, foot, project, design; <b>mover la &mdash;&mdash;</b> walk.</p>
+<p><b>plañir</b> sob, whimper, lament.</p>
+<p><b>plata</b> <i>f.</i> silver.</p>
+<p><b>playa</b> <i>f.</i> shore, beach, strand; <b>sin &mdash;&mdash;</b> boundless.</p>
+<p><b>plaza</b> <i>f.</i> square.</p>
+<p><b>plebe</b> <i>f.</i> populace, common people.</p>
+<p><b>plegaria</b> <i>f.</i> prayer.</p>
+<p><b>pliegue</b> <i>m.</i> fold.</p>
+<p><b>poblar</b> inhabit.</p>
+<p><b>pobre</b> <i>adj.</i> poor.</p>
+<p><b>pobreza</b> <i>f.</i> poverty.</p>
+<p><b>poco</b> <i>adv.</i> little; <b>&mdash;&mdash; a &mdash;&mdash;</b> little by little, gradually;</p>
+<p><b>por &mdash;&mdash;</b> for a trifle.</p>
+<p><b>poder</b> be able, may, can; <i>impers.</i> be possible; <b>puede que</b> perhaps, maybe.</p>
+<p><b>poder</b> <i>m.</i> power.</p>
+<p><b>poderoso, -a</b> powerful, mighty, wealthy.</p>
+<p><b>poeta</b> <i>m.</i> poet.</p>
+<p><b>Polonia</b> <i>f.</i> Poland.</p>
+<p><b>polvo</b> <i>m.</i> dust.</p>
+<p><b>pomo</b> <i>m.</i> pommel, hilt.</p>
+<p><b>pompa</b> <i>f.</i> pomp, splendor.</p>
+<p><b>poner</b> put, place, instill, fix, set, make, turn, offer, give; <b>&mdash;&mdash; pavor a uno</b> make one afraid; <b>&mdash;se a</b> begin to; <b>&mdash;se de pie</b> arise, stand up.</p>
+<p><b>poniente</b> <i>adj.</i> setting.</p>
+<p><b>ponzoñoso, -a</b> poisonous.</p>
+<p><b>popa</b> <i>f.</i> poop, stern; <b>en &mdash;&mdash;</b> astern, aft; <b>viento en &mdash;&mdash;</b> before the wind, with a wind from astern.</p>
+<p><b>por</b> <i>prep.</i> for, on account of, by, to, through, over, across, for the sake of, on, at; <i>conj.</i> <b>&mdash;&mdash; qué</b> why.</p>
+<p><b>porfía</b> <i>f.</i> obstinacy, persistence.</p>
+<p><b>porque</b> <i>conj.</i> because, in order that.</p>
+<p><b>portento</b> <i>m.</i> prodigy, miracle, portent.</p>
+<p><b>porvenir</b> <i>m.</i> future.</p>
+<p><b>pos</b> <i>adv. prep.</i>: <b>en &mdash;&mdash;</b> behind, after.</p>
+<p><b>positivamente</b> <i>adv.</i> positively, certainly.</p>
+<p><b>postrado, -a</b> prostrate, kneeling.</p>
+<p><b>postrero, -a</b> last.</p>
+<p><b>precipitado, -a</b> precipitate, headlong, rash, abrupt.</p>
+<p><b>precipitar(se)</b> precipitate, hasten, rush headlong, hurry.</p>
+<p><b>precursor, -a</b> <i>m. f.</i> precursor, herald, harbinger.</p>
+<p><b>preguntar</b> ask, inquire, question.</p>
+<p><b>premática</b> <i>f.</i> pragmatic (a law).</p>
+<p><b>prender</b> catch, take, bind, fasten; <b>&mdash;&mdash; fuego</b> set fire.</p>
+<p><b>presa</b> <i>f.</i> capture, prize.</p>
+<p><b>présago, -a</b> presaging, ominous.</p>
+<p><b>présago</b> <i>m.</i> presage, omen.</p>
+<p><b>presentar</b> present, offer, show.</p>
+<p><b>presente</b> <i>adj.</i> present.</p>
+<p><b>presente</b> <i>m.</i> present.</p>
+<p><b>prestar</b> lend, give, add, ascribe.</p>
+<p><b>presumir</b> presume, imagine, dare.</p>
+<p><b>presuroso, -a</b> prompt, quick, light.</p>
+<p><b>prevenirse</b> prepare.</p>
+<p><b>previsión</b> <i>f.</i> foresight, foreboding, presentiment.</p>
+<p><b>primavera</b> <i>f.</i> spring.</p>
+<p><b>primero, -a</b> first, former.</p>
+<p><b>príncipe</b> <i>m.</i> prince.</p>
+<p><b>prisa</b> <i>f.</i> haste.</p>
+<p><b>proceloso, -a</b> tempestuous.</p>
+<p><b>procurar</b> procure, obtain, secure.</p>
+<p><b>prodigio</b> <i>m.</i> prodigy, marvel.</p>
+<p><b>prodigioso, -a</b> extraordinary, exquisite.</p>
+<p><b>profundo, -a</b> deep, low, profound, great.</p>
+<p><b>profundo</b> <i>m.</i> abyss, hell.</p>
+<p><b>prolongar(se)</b> prolong, continue, extend.</p>
+<p><b>prometer</b> promise.</p>
+<p><b>pronto, -a</b> ready.</p>
+<p><b>pronto</b> <i>adv.</i> quickly, soon; <b>de &mdash;&mdash;</b> suddenly.</p>
+<p><b>pronunciar</b> pronounce, utter, say.</p>
+<p><b>propio, -a</b> own.</p>
+<p><b>prorrumpir</b> break out, burst forth.</p>
+<p><b>protección</b> <i>f.</i> protection.</p>
+<p><b>provocar</b> provoke, rouse, incite.</p>
+<p><b>público, -a</b> public, general, common.</p>
+<p><b>pudor</b> <i>m.</i> modesty.</p>
+<p><b>pueblo</b> <i>m.</i> people, town, nation.</p>
+<p><b>puerta</b> <i>f.</i> door, gateway, entrance.</p>
+<p><b>puerto</b> <i>m.</i> harbor, port.</p>
+<p><b>pues</b> <i>adv.</i> then, well; <i>conj.</i> for, since.</p>
+<p><b>puesta</b> <i>f.</i> setting.</p>
+<p><b>pugnar</b> struggle.</p>
+<p><b>punto</b> <i>m.</i> spot, speck, point, moment; <b>al &mdash;&mdash;</b> immediately, at once.</p>
+<p><b>punzante</b> <i>adj.</i> sharp, piercing, pricking, stinging, acrid.</p>
+<p><b>puñal</b> <i>m.</i> dagger.</p>
+<p><b>pureza</b> <i>f.</i> purity, chastity, innocence.</p>
+<p><b>purísimo, -a</b> very pure, most pure.</p>
+<p><b>puro, -a</b> pure, chaste, holy, clear, unsullied, unblemished, mere, sheer, absolute.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>que</b> <i>conj.</i> than, for, as, since, that, so that, let; <b>de &mdash;&mdash;</b> that.</p>
+<p><b>que</b> <i>pron. rel.</i> which, that, who, whom; <b>en &mdash;&mdash;</b> when.</p>
+<p><b>qué</b> <i>interj.</i> what, how.</p>
+<p><b>qué</b> <i>interrog.</i> what, why; <b>por &mdash;&mdash;</b> why.</p>
+<p><b>quebrantar</b> break, transgress, shatter, split, weaken.</p>
+<p><b>quebranto</b> <i>m.</i> affliction, grief, sorrow.</p>
+<p><b>quedar(se)</b> stay, remain, be left.</p>
+<p><b>queja</b> <i>f.</i> complaint, lamentation, plaintive cry, moan.</p>
+<p><b>quejarse</b> complain, lament.</p>
+<p><b>quejido</b> <i>m.</i> moan, complaint.</p>
+<p><b>quemado, -a</b> burning.</p>
+<p><b>quemar</b> burn.</p>
+<p><b>querer</b> love, like, desire, want, seek, wish, accept, cover, accept a challenge <i>or</i> bet, be on the point of.</p>
+<p><b>querido, -a</b> dear, beloved.</p>
+<p><b>quien</b> <i>pron. rel.</i> who, which, whom, one who.</p>
+<p><b>quién</b> <i>pron. interrog.</i> who.</p>
+<p><b>Quijote</b> <i>pr. n. m.</i> Quixote.</p>
+<p><b>quimera</b> <i>f.</i> chimera, fancy, quarrel, row.</p>
+<p><b>quimérico, -a</b> chimerical, fantastic.</p>
+<p><b>quince</b> <i>card.</i> fifteen.</p>
+<p><b>quinto, -a</b> fifth.</p>
+<p><b>quitar(se)</b> take away, remove, take off.</p>
+<p><b>quizá</b> <i>adv.</i> perhaps.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>rabia</b> <i>f.</i> rage, fury.</p>
+<p><b>ración</b> <i>f.</i> ration, allowance of food.</p>
+<p><b>radiante</b> <i>adj.</i> radiant.</p>
+<p><b>ráfaga</b> <i>f.</i> gust, blast, burst.</p>
+<p><b>rama</b> <i>f.</i> branch, bough.</p>
+<p><b>ramaje</b> <i>m.</i> branches.</p>
+<p><b>ramo</b> <i>m.</i> branch.</p>
+<p><b>rápido, -a</b> rapid, quick, swift, nimble, fleeting.</p>
+<p><b>raro, -a</b> strange, unusual.</p>
+<p><b>rasgar</b> tear, rend.</p>
+<p><b>raudal</b> <i>m.</i> torrent, stream.</p>
+<p><b>raudo, -a</b> rapid, swift, precipitate..</p>
+<p><b>raya</b> <i>f.</i> stripe, streak.</p>
+<p><b>rayar</b> border upon.</p>
+<p><b>rayo</b> <i>m.</i> ray, thunderbolt, beam, light.</p>
+<p><b>razón</b> <i>f.</i> reason, reasoning.</p>
+<p><b>realidad</b> <i>f.</i> reality.</p>
+<p><b>realizar</b> realize, make real, bring about.</p>
+<p><b>rebelde</b> <i>adj.</i> rebellious.</p>
+<p><b>rebramar</b> bellow.</p>
+<p><b>recatado, -a</b> cautious, careful, prudent.</p>
+<p><b>recato</b> <i>m.</i> modesty, prudence, coyness.</p>
+<p><b>recelo</b> <i>m.</i> misgiving, apprehension, fear.</p>
+<p><b>receloso, -a</b> distrustful, terrifying, fearsome.</p>
+<p><b>recibir</b> receive, take, accept.</p>
+<p><b>recio, -a</b> strong, loud, severe, rigorous.</p>
+<p><b>recobrar</b> recover.</p>
+<p><b>recoger</b> gather, collect, take in, receive, shelter.</p>
+<p><b>recogido, -a</b> retired, absorbed, secluded.</p>
+<p><b>reconcentrado, -a</b> concentrated, intense.</p>
+<p><b>reconocer</b> recognize, know.</p>
+<p><b>recordar</b> remember, recall.</p>
+<p><b>recorrer</b> pass through, examine.</p>
+<p><b>recrear</b> delight, gladden.</p>
+<p><b>recuerdo</b> <i>m.</i> recollection, memory.</p>
+<p><b>rechazar</b> repel, reject.</p>
+<p><b>rechinamiento</b> <i>m.</i> gnashing.</p>
+<p><b>rechinar</b> creak, gnash.</p>
+<p><b>rededor</b> <i>m.</i> environs; <b>al &mdash;&mdash; de</b> around.</p>
+<p><b>redoblar</b> redouble.</p>
+<p><b>redoble</b> <i>m.</i> roll.</p>
+<p><b>redor</b> <i>cf.</i> <b>rededor</b>; <b>en &mdash;&mdash;</b> round about.</p>
+<p><b>reflejar</b> reflect.</p>
+<p><b>reflejo</b> <i>m.</i> light, gleam, glimmer.</p>
+<p><b>refregar</b> rub.</p>
+<p><b>refulgente</b> <i>adj.</i> resplendent, brilliant.</p>
+<p><b>regalar</b> make merry, cheer, entertain, delight; <b>&mdash;se</b> feast, make merry, fare sumptuously.</p>
+<p><b>regar</b> lave, water.</p>
+<p><b>regio, -a</b> royal, regal, magnificent.</p>
+<p><b>región</b> <i>f.</i> region, realm.</p>
+<p><b>registrar</b> examine, scan.</p>
+<p><b>regocijar</b> gladden, brighten.</p>
+<p><b>reina</b> <i>f.</i> queen.</p>
+<p><b>reinar</b> reign.</p>
+<p><b>reír</b> laugh; <b>&mdash;se</b> laugh; <b>&mdash;-se de</b> laugh at.</p>
+<p><b>relámpago</b> <i>m.</i> lightning flash.</p>
+<p><b>relinchar</b> whinny, neigh.</p>
+<p><b>reloj</b> <i>m.</i> clock, timepiece.</p>
+<p><b>remiso, -a</b> slow.</p>
+<p><b>remolino</b> <i>m.</i> whirl, whirling, vortex, eddy, whirlwind.</p>
+<p><b>remontarse</b> rise, soar, tower.</p>
+<p><b>remordimiento</b> <i>m.</i> remorse.</p>
+<p><b>remover</b> remove, move, take away.</p>
+<p><b>rencor</b> <i>m.</i> grudge, hatred.</p>
+<p><b>rendido, -a</b> worn out, overcome.</p>
+<p><b>rendir</b> surrender, give up, overcome, yield.</p>
+<p><b>renegar de</b> deny, abhor, denounce, curse, protest against.</p>
+<p><b>renglón</b> <i>m.</i> line.</p>
+<p><b>reñidor, -a</b> quarrelsome.</p>
+<p><b>reñir</b> quarrel, fight.</p>
+<p><b>reparar</b> defend, recover.</p>
+<p><b>reparo</b> <i>m.</i> advice, warning, remark, objection.</p>
+<p><b>repente</b> <i>m.</i> sudden movement; <b>de &mdash;&mdash;</b> suddenly.</p>
+<p><b>repentino, -a</b> sudden.</p>
+<p><b>repetir</b> repeat.</p>
+<p><b>reponer</b> reply.</p>
+<p><b>reposar</b> repose, rest.</p>
+<p><b>reposo</b> <i>m.</i> rest, sleep.</p>
+<p><b>réprobo, -a</b> reprobate, wicked one.</p>
+<p><b>repugnante</b> <i>adj.</i> repulsive, loathsome.</p>
+<p><b>requerir</b> examine, lay hold of.</p>
+<p><b>resbalar</b> slip away, glide, pass over, touch.</p>
+<p><b>resistir</b> resist, endure, withstand.</p>
+<p><b>resolución</b> <i>f.</i> resolution, determination.</p>
+<p><b>resolver</b> resolve, determine.</p>
+<p><b>resonar</b> resound, ring out, echo.</p>
+<p><b>respirar</b> breathe, exhale, inhale.</p>
+<p><b>resplandor</b> <i>m.</i> light, radiance, brightness, glow.</p>
+<p><b>responder</b> respond, reply, answer.</p>
+<p><b>respuesta</b> <i>f.</i> reply, answer.</p>
+<p><b>resucitar</b> return to life.</p>
+<p><b>resuelto, -a</b> resolved, determined.</p>
+<p><b>retumbar</b> tremble.</p>
+<p><b>retorcer</b> twist; <b>&mdash;se</b> writhe, be wrung.</p>
+<p><b>retrato</b> <i>m.</i> portrait, picture.</p>
+<p><b>retumbar</b> resound, reëcho.</p>
+<p><b>reunir</b> unite, gather.</p>
+<p><b>reventar</b> burst forth.</p>
+<p><b>revés</b> <i>m.</i> reverse; <b>al &mdash;&mdash;</b> contrariwise.</p>
+<p><b>revestir</b> clothe, robe.</p>
+<p><b>revuelto, -a</b> agitated, restless, disordered, topsy-turvy, winding, wrapped, clad.</p>
+<p><b>rey</b> <i>m.</i> king, monarch.</p>
+<p><b>rezar</b> pray, recite.</p>
+<p><b>rezo</b> <i>m.</i> prayer, devotions.</p>
+<p><b>rico, -a</b> rich, abundant, plentiful, fine.</p>
+<p><b>ridículo, -a</b> ridiculous, strange, absurd.</p>
+<p><b>rielar</b> shimmer, glisten.</p>
+<p><b>rienda</b> <i>f.</i> rein; <b>a &mdash;&mdash; suelta</b> at full gallop.</p>
+<p><b>riesgo</b> <i>m.</i> danger.</p>
+<p><b>rifar</b> raffle, bid.</p>
+<p><b>rigidez</b> <i>f.</i> rigidity.</p>
+<p><b>rígido, -a</b> rigid, severe, rigorous.</p>
+<p><b>río</b> <i>m.</i> river, stream.</p>
+<p><b>riqueza</b> <i>f.</i> richness, riches, wealth.</p>
+<p><b>risa</b> <i>f.</i> laughter.</p>
+<p><b>rival</b> <i>m.</i> rival.</p>
+<p><b>rizar</b> ripple.</p>
+<p><b>robar</b> rob; <b>&mdash;&mdash; a</b> steal from.</p>
+<p><b>roble</b> <i>m.</i> oak tree.</p>
+<p><b>roca</b> <i>f.</i> rock, cliff.</p>
+<p><b>rodar</b> roll, be tossed about, abound.</p>
+<p><b>rodear</b> surround.</p>
+<p><b>rodilla</b> <i>f.</i> knee; <b>de &mdash;&mdash;-s</b> kneeling.</p>
+<p><b>roedor, -a</b> gnawing.</p>
+<p><b>roer</b> gnaw, consume, harass.</p>
+<p><b>rogar</b> pray.</p>
+<p><b>rojo, -a</b> red, crimson, ruby.</p>
+<p><b>romper</b> break, break down, destroy, shatter, dash.</p>
+<p><b>ronco, -a</b> hoarse, raucous, harsh.</p>
+<p><b>ronda</b> <i>f.</i> rounds, circular dance, dance.</p>
+<p><b>ropa</b> <i>f.</i> garment, raiment, clothing.</p>
+<p><b>ropaje</b> <i>m.</i> apparel, gown, robe.</p>
+<p><b>rosa</b> <i>f.</i> rose.</p>
+<p><b>rosado, -a</b> rosy, roseate.</p>
+<p><b>rostro</b> <i>m.</i> face, countenance.</p>
+<p><b>roto, -a</b> broken, destroyed, shattered.</p>
+<p><b>rudo, -a</b> rude, rough, hard.</p>
+<p><b>rueda</b> <i>f.</i> wheel, circle, turn.</p>
+<p><b>ruego</b> <i>m.</i> request, entreaty.</p>
+<p><b>rugido</b> <i>m.</i> roaring.</p>
+<p><b>rugir</b> roar, bellow.</p>
+<p><b>ruido</b> <i>m.</i> noise, din, sound.</p>
+<p><b>ruinoso, -a</b> ruinous, crumbling.</p>
+<p><b>ruiseñor</b> <i>m.</i> nightingale.</p>
+<p><b>rumbo</b> <i>m.</i> course.</p>
+<p><b>rumor</b> <i>m.</i> noise, sound.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>sábado</b> <i>m.</i> Saturday, Sabbath.</p>
+<p><b>saber</b> know, learn, find out.</p>
+<p><b>sabroso, -a</b> tasty, delicious, palatable.</p>
+<p><b>sacro, -a</b> holy, sacred.</p>
+<p><b>sacudido, -a</b> harsh, jerky.</p>
+<p><b>sacudir</b> shake, shake off, strike.</p>
+<p><b>sagrado, -a</b> sacred, holy.</p>
+<p><b>Salamanca</b> <i>pr. n. f.</i> Salamanca.</p>
+<p><b>salir</b> come out, go out, get out, emerge, issue, turn out, appear, show up; <b>&mdash;&mdash; de</b> leave, get out.</p>
+<p><b>saltar(se)</b> jump, spring, flash.</p>
+<p><b>saludar</b> salute, greet.</p>
+<p><b>san (santo)</b> saint.</p>
+<p><b>sandio, -a</b> foolish, stupid, silly.</p>
+<p><b>sangre</b> <i>f.</i> blood, gore; <b>&mdash;&mdash; fría</b> sangfroid, coolness, calmness.</p>
+<p><b>sangriento, -a</b> bloody, gory.</p>
+<p><b>santidad</b> <i>f.</i> holiness, godliness.</p>
+<p><b>santo, -a</b> holy, saint, blessed.</p>
+<p><b>sarcasmo</b> <i>m.</i> sarcasm.</p>
+<p><b>sargento</b> <i>m.</i> sergeant.</p>
+<p><b>sastre</b> <i>m.</i> tailor.</p>
+<p><b>Satanás</b> <i>m.</i> Satan.</p>
+<p><b>satánico, -a</b> Satanic.</p>
+<p><b>sátira</b> <i>f.</i> satire.</p>
+<p><b>satisfacción</b> <i>f.</i> satisfaction.</p>
+<p><b>sauce</b> <i>m.</i> willow.</p>
+<p><b>Scévola</b> <i>pr. n. m.</i> Scaevola.</p>
+<p><b>se</b> <i>pron. refl. 3d pers. dat. acc. m. f. sing. pl.</i> him, himself, herself, itself, themselves; one another, each other; <i>dat. of 3d pers. pron.</i> to you.</p>
+<p><b>secar</b> parch, consume, dry up, wither.</p>
+<p><b>seco, -a</b> dry, dried up, barren, withered, lean, bony.</p>
+<p><b>secreto, -a</b> secret, hidden.</p>
+<p><b>sed</b> <i>f.</i> thirst.</p>
+<p><b>seductor, -a</b> seducing.</p>
+<p><b>seductor</b> <i>m.</i> seducer.</p>
+<p><b>segar</b> mow, reap.</p>
+<p><b>seguida</b> <i>f.</i> continuation; <b>en &mdash;&mdash;</b> forthwith, immediately.</p>
+<p><b>seguir</b> follow, succeed, pursue, go on, continue.</p>
+<p><b>según</b> <i>prep.</i> according to.</p>
+<p><b>segundo, -a</b> second.</p>
+<p><b>seguro, -a</b> secure, safe, confident, certain, unfailing, stanch; <b>mal &mdash;&mdash;</b> unsafe, insecure.</p>
+<p><b>seis</b> <i>card.</i> six.</p>
+<p><b>sellar</b> seal, cover.</p>
+<p><b>sello</b> <i>m.</i> seal, stamp, mark.</p>
+<p><b>semblante</b> <i>m.</i> countenance, face.</p>
+<p><b>semejante</b> <i>adj.</i> similar, like, resembling.</p>
+<p><b>semejar</b> resemble, be like.</p>
+<p><b>sempiterno, -a</b> eternal.</p>
+<p><b>Sena</b> <i>pr. n. f.</i> Siena.</p>
+<p><b>seno</b> <i>m.</i> bosom, breast, depths.</p>
+<p><b>sensación</b> <i>f.</i> sensation, feeling.</p>
+<p><b>sentar</b> suit, place, plant, become, set; <b>&mdash;se</b> sit down.</p>
+<p><b>sentenciar</b> condemn.</p>
+<p><b>sentido</b> <i>m.</i> sense; <b>sin &mdash;&mdash;</b> senseless, unconscious.</p>
+<p><b>sentimiento</b> <i>m.</i> sentiment, feeling, emotion, regret, grief.</p>
+<p><b>sentir(se)</b> feel, regret, be sorry, hear, perceive, foresee.</p>
+<p><b>seña</b> <i>f.</i> sign.</p>
+<p><b>señalar</b> point out, mark out, make known, name.</p>
+<p><b>señor</b> <i>m.</i> lord, señor, gentleman, sir, Mr..</p>
+<p><b>señora</b> <i>f.</i> lady, madam.</p>
+<p><b>separar</b> separate, part.</p>
+<p><b>sepulcral</b> <i>adj.</i> sepulchral.</p>
+<p><b>sepulcro</b> <i>m.</i> grave, tomb.</p>
+<p><b>sepultar</b> bury, entomb.</p>
+<p><b>sepultura</b> <i>f.</i> grave, tomb.</p>
+<p><b>ser</b> be; <b>&mdash;&mdash; para</b> be enough to; <b>es de temer</b> it is to be feared; <b>es de ver</b> you should see; <b>no sea que</b> lest, for fear that; <b>sea ... sea</b> whether ... or.</p>
+<p><b>ser</b> <i>m.</i> being.</p>
+<p><b>serafín</b> <i>m.</i> seraph, angel.</p>
+<p><b>sereno, -a</b> serene, quiet, calm, placid, fair, peaceful.</p>
+<p><b>sermón</b> <i>m.</i> sermon, talk, advice.</p>
+<p><b>servir</b> serve; <b>&mdash;&mdash; de</b> serve as; <b>&mdash;se de</b> make use of.</p>
+<p><b>sesenta</b> <i>card.</i> sixty.</p>
+<p><b>severo, -a</b> severe, stern, serious, rigorous, strict.</p>
+<p><b>si</b> <i>conj.</i> if, when, whether; <b>&mdash;&mdash; no</b> otherwise, unless; <b>&mdash;&mdash; ... &mdash;&mdash;</b> whether ... or; <b>y &mdash;&mdash; no</b> unless, otherwise.</p>
+<p><b>sí</b> <i>pron. refl. sing. pl. m. f.</i> himself, herself, etc..</p>
+<p><b>sí</b> <i>adv.</i> yes, ay, indeed, certainly; <b>que &mdash;&mdash;</b> yes.</p>
+<p><b>sí</b> <i>m.</i> assent, consent.</p>
+<p><b>siempre</b> <i>adv.</i> always, ever.</p>
+<p><b>sien</b> <i>f.</i> temple.</p>
+<p><b>sierpe</b> <i>f.</i> serpent.</p>
+<p><b>silbar</b> whistle.</p>
+<p><b>silbo</b> <i>m.</i> whistling.</p>
+<p><b>silencio</b> <i>m.</i> silence, quiet, repose.</p>
+<p><b>silencioso, -a</b> silent.</p>
+<p><b>silfa</b> <i>f.</i> sylph.</p>
+<p><b>sílfide</b> <i>f.</i> sylph.</p>
+<p><b>silla</b> <i>f.</i> saddle.</p>
+<p><b>sin</b> <i>prep.</i> without; <b>&mdash;&mdash; que</b> <i>conj.</i> without.</p>
+<p><b>siniestro, -a</b> left.</p>
+<p><b>sino</b> <i>adv. conj.</i> but, only, except.</p>
+<p><b>sino (signo)</b> <i>m.</i> fate, mark.</p>
+<p><b>siquier, siquiera,</b> <i>conj.</i> whether, although, at least; <b>no &mdash;&mdash;</b> not even; <b>&mdash;&mdash; ... &mdash;&mdash;</b> whether ... or.</p>
+<p><b>sitio</b> <i>m.</i> place, spot, site.</p>
+<p><b>soberano, -a</b> sovereign, supreme.</p>
+<p><b>sobra</b> <i>f.</i> surplus; <b>&mdash;&mdash;s</b> leavings.</p>
+<p><b>sobre</b> <i>prep.</i> over, above, on, upon; <b>estar &mdash;&mdash; sí</b> be self-possessed.</p>
+<p><b>sociedad</b> <i>f.</i> society.</p>
+<p><b>Sócrates</b> <i>pr. n. m.</i> Socrates.</p>
+<p><b>sol</b> <i>m.</i> sun.</p>
+<p><b>soldado</b> <i>m.</i> soldier.</p>
+<p><b>soledad</b> <i>f.</i> solitude, loneliness; <b>de &mdash;&mdash;</b> deserted.</p>
+<p><b>solemne</b> <i>adj.</i> solemn, impressive, grave.</p>
+<p><b>soler</b> be accustomed, be wont.</p>
+<p><b>solitario, -a</b> solitary, lonely, isolated.</p>
+<p><b>solo, -a</b> alone, single, solitary, only; <b>a solas</b> alone, privately.</p>
+<p><b>sólo</b> <i>adv.</i> only; <b>tan &mdash;&mdash;</b> only.</p>
+<p><b>soltar</b> let go, loosen, utter; <b>&mdash;&mdash; una carcajada</b> burst out laughing.</p>
+<p><b>sollozante</b> <i>adj.</i> sobbing.</p>
+<p><b>sombra</b> <i>f.</i> shadow, shade, darkness, trace, vestige, wraith, spirit.</p>
+<p><b>sombrero</b> <i>m.</i> hat.</p>
+<p><b>sombrío, -a</b> somber, dark, overcast, cloudy, gloomy, melancholy, sullen.</p>
+<p><b>són</b> <i>m.</i> sound, noise, manner.</p>
+<p><b>sonar</b> sound, resound.</p>
+<p><b>soneto</b> <i>m.</i> sonnet.</p>
+<p><b>sonido</b> <i>m.</i> sound, peal.</p>
+<p><b>sonoro, -a</b> sonorous, resounding, loud, harmonious.</p>
+<p><b>sonreír</b> smile.</p>
+<p><b>sonrisa</b> <i>f.</i> smile.</p>
+<p><b>soñar</b> dream, imagine, dream of.</p>
+<p><b>soplo</b> <i>m.</i> gust, breath.</p>
+<p><b>sórdido, -a</b> dirty, nasty.</p>
+<p><b>sordo, -a</b> dull, stifled, muffled, quiet.</p>
+<p><b>sorpresa</b> <i>f.</i> surprise.</p>
+<p><b>sosegado, -a</b> calm, calmed, peaceful.</p>
+<p><b>sosiego</b> <i>m.</i> calmness, peace, quiet.</p>
+<p><b>sota</b> <i>f.</i> jack, knave.</p>
+<p><b>Stambul</b> <i>pr. n.</i> Stamboul.</p>
+<p><b>su</b> <i>adj. poss.</i> his, her, its, their, your.</p>
+<p><b>suave</b> <i>adj.</i> soft, mellow, delicate, gentle.</p>
+<p><b>suavísimo, -a</b> very soft, very gentle, very sweet.</p>
+<p><b>subir</b> raise, mount, ascend, climb; <b>&mdash;se</b> mount, rise.</p>
+<p><b>súbito, -a</b> sudden.</p>
+<p><b>súbito</b> <i>adv.</i> suddenly; <b>de &mdash;&mdash;</b> suddenly.</p>
+<p><b>sublime</b> <i>adj.</i> sublime, majestic, heroic.</p>
+<p><b>suceder a</b> succeed, follow.</p>
+<p><b>sudor</b> <i>m.</i> sweat.</p>
+<p><b>suelo</b> <i>m.</i> ground, earth, floor.</p>
+<p><b>suelto, -a</b> loose, flowing, swift; <b>a rienda suelta</b> at full gallop.</p>
+<p><b>sueño</b> <i>m.</i> sleep, slumber, dream, vision, fancy.</p>
+<p><b>suerte</b> <i>f.</i> luck, fortune, fate, lot; <b>a otra &mdash;&mdash; de esos dados</b> another cast of those dice.</p>
+<p><b>sufrir</b> suffer, permit, tolerate.</p>
+<p><b>sujetar</b> subdue, overcome.</p>
+<p><b>sujeto, -a</b> held fast, conquered.</p>
+<p><b>suntuoso, -a</b> sumptuous, luxurious.</p>
+<p><b>supremo, -a</b> supreme.</p>
+<p><b>suspender</b> suspend, hang.</p>
+<p><b>suspirar</b> sigh; <b>&mdash;&mdash; de</b> long for.</p>
+<p><b>suspiro</b> <i>m.</i> sigh.</p>
+<p><b>susurrar</b> whisper, murmur.</p>
+<p><b>susurro</b> <i>m.</i> whispering, murmuring.</p>
+<p><b>suyo, -a</b> <i>adj. poss.</i> his; <b>el &mdash;&mdash;</b> <i>pron. poss.</i> his.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>tabla</b> <i>f.</i> board, plank.</p>
+<p><b>tácito, -a</b> silent, quiet, stealthy.</p>
+<p><b>tacto</b> <i>m.</i> touch.</p>
+<p><b>tachonado, -a</b> betrimmed.</p>
+<p><b>tajante</b> <i>adj.</i> keen-cutting (<i>sc.</i> sword).</p>
+<p><b>tal</b> <i>adj. pron.</i> such, so, thus; <b>&mdash;&mdash; vez</b> perhaps, occasionally, now and then.</p>
+<p><b>tálamo</b> <i>m.</i> bridal couch.</p>
+<p><b>talante</b> <i>m.</i> appearance, disposition.</p>
+<p><b>talle</b> <i>m.</i> figure, appearance.</p>
+<p><b>taller</b> <i>m.</i> factory, workshop.</p>
+<p><b>tallo</b> <i>m.</i> stalk, stem.</p>
+<p><b>también</b> <i>adv.</i> too, moreover, likewise.</p>
+<p><b>tan</b> <i>adv.</i> so, such; <b>&mdash;&mdash; ... como</b> as ... as; <b>&mdash;&mdash; sólo</b> only.</p>
+<p><b>tanto, -a</b> <i>adj.</i> so much, so great; <i>pl.</i> so many.</p>
+<p><b>tanto</b> <i>adv.</i> so much, so, such; <b>cuanto más ... &mdash;&mdash; más</b> the more ... the more; <b>en &mdash;&mdash;</b> while, meanwhile; <b>entre &mdash;&mdash;</b> meanwhile; <b>&mdash;&mdash; como</b> as long as; <b>&mdash;&mdash; más</b> the more.</p>
+<p><b>tapar</b> cover, veil, muffle.</p>
+<p><b>tapiz</b> <i>m.</i> tapestry.</p>
+<p><b>tararear</b> hum.</p>
+<p><b>tardar(se)</b> delay, take long, be long in coming, tarry.</p>
+<p><b>tarde</b> <i>adv.</i> late, too late; <b>se hace &mdash;&mdash;</b> it is growing late.</p>
+<p><b>tarde</b> <i>f.</i> afternoon, evening.</p>
+<p><b>tardo, -a</b> slow, tardy, sluggish.</p>
+<p><b>tarifa</b> <i>f.</i> tariff, price.</p>
+<p><b>tartáreo, -a</b> Tartarean, infernal.</p>
+<p><b>te</b> <i>pron. pers.</i> thee, thyself.</p>
+<p><b>tea</b> <i>f.</i> torch.</p>
+<p><b>techo</b> <i>m.</i> roof, ceiling.</p>
+<p><b>tejer</b> weave, contrive.</p>
+<p><b>temblar</b> tremble at, fear, quiver, twitch, tremble.</p>
+<p><b>temblor</b> <i>m.</i> trembling, tremor, shiver.</p>
+<p><b>tembloroso, -a</b> trembling.</p>
+<p><b>temer</b> fear.</p>
+<p><b>temerario, -a</b> rash, impetuous, reckless, daring.</p>
+<p><b>temeridad</b> <i>f.</i> rashness.</p>
+<p><b>temeroso, -a</b> timid, fearful.</p>
+<p><b>temor</b> <i>m.</i> fear.</p>
+<p><b>témpano</b> <i>m.</i> sheet (of ice etc.).</p>
+<p><b>tempestad</b> <i>f.</i> tempest, storm.</p>
+<p><b>templado, -a</b> softened.</p>
+<p><b>templo</b> <i>m.</i> temple, church.</p>
+<p><b>temprano, -a</b> early, premature.</p>
+<p><b>tender</b> stretch out, extend, spread.</p>
+<p><b>tenebroso, -a</b> shadowy, gloomy.</p>
+<p><b>tener</b> have, keep, take, grasp; <b>&mdash;&mdash; de</b> + <i>inf.</i> be going to, must.</p>
+<p><b>Tenorio</b> <i>pr. n. m.</i> Tenorio.</p>
+<p><b>tentar</b> tempt.</p>
+<p><b>teñir</b> tinge, color.</p>
+<p><b>tercero, -a</b> third.</p>
+<p><b>terco, -a</b> obstinate.</p>
+<p><b>Teresa</b> <i>pr. n. f.</i> Theresa.</p>
+<p><b>terminar</b> end, consummate.</p>
+<p><b>término</b> <i>m.</i> term, end.</p>
+<p><b>terneza</b> <i>f.</i> softness.</p>
+<p><b>ternura</b> <i>f.</i> tenderness, affection.</p>
+<p><b>terror</b> <i>m.</i> terror.</p>
+<p><b>terso, -a</b> smooth, glossy, unwrinkled.</p>
+<p><b>tertulia</b> <i>f.</i> assembly, club.</p>
+<p><b>tesoro</b> <i>m.</i> treasure, wealth, riches.</p>
+<p><b>ti</b> <i>pron. pers.</i> thee.</p>
+<p><b>Tibre</b> <i>pr. n. m.</i> Tiber.</p>
+<p><b>tiempo</b> <i>m.</i> time, period, season; <b>a un &mdash;&mdash;</b> at once, at the same time; <b>a un &mdash;&mdash; mismo</b> at the very same time; <b>de &mdash;&mdash; en &mdash;&mdash;</b> from time to time; <b>un &mdash;&mdash;</b> once, formerly.</p>
+<p><b>tienta</b> <i>f.</i> probe; <b>a &mdash;&mdash;s</b> gropingly, feeling his way.</p>
+<p><b>tierno, -a</b> tender, soft, affectionate, young.</p>
+<p><b>tierra</b> <i>f.</i> land, country, earth, ground.</p>
+<p><b>tigre</b> <i>m.</i> tiger.</p>
+<p><b>tímido, -a</b> timid, shy.</p>
+<p><b>tiniebla</b> <i>f.</i> darkness, shadow.</p>
+<p><b>tinta</b> <i>f.</i> tint, hue, color.</p>
+<p><b>tiple</b> <i>m.</i> treble.</p>
+<p><b>tirano</b> <i>m.</i> tyrant.</p>
+<p><b>tirar</b> throw, throw away, cast, draw, pull, win; <b>&mdash;&mdash; de</b> pull, draw.</p>
+<p><b>tocar</b> touch, fall to one's share, hit; <b>&mdash;&mdash; a muerto</b> toll a funeral bell; <b>dale con &mdash;&mdash; a muerto</b> plague take this funeral tolling.</p>
+<p><b>todavía</b> <i>adv.</i> nevertheless, still, yet.</p>
+<p><b>todo, -a</b> all, every.</p>
+<p><b>todo</b> <i>pron.</i> everything, all; <b>&mdash;&mdash;s</b> everybody, all.</p>
+<p><b>todo</b> <i>adv.</i> entirely.</p>
+<p><b>Toledo</b> <i>f.</i> Toledo.</p>
+<p><b>tomar</b> take, take up.</p>
+<p><b>tono</b> <i>m.</i> tone, manner.</p>
+<p><b>torbellino</b> <i>m.</i> whirlwind.</p>
+<p><b>torcer</b> twist, wind, bend, turn, divert.</p>
+<p><b>torcido, -a</b> winding, twisting.</p>
+<p><b>tormenta</b> <i>f.</i> storm, tempest, hurricane, misfortune.</p>
+<p><b>tormento</b> <i>m.</i> torment, torture, anguish.</p>
+<p><b>Tormes</b> <i>m.</i> Tormes.</p>
+<p><b>tornar</b> return; <b>&mdash;&mdash; a</b> + <i>inf.</i> do again, repeat (an act).</p>
+<p><b>torno</b> <i>m.</i> turn; <b>en &mdash;&mdash;</b> round about; <b>en &mdash;&mdash; de</b> around, about.</p>
+<p><b>torpe</b> <i>adj.</i> slow, dull, awkward.</p>
+<p><b>torre</b> <i>f.</i> tower, spire.</p>
+<p><b>torrente</b> <i>m.</i> torrent, avalanche.</p>
+<p><b>torreón</b> <i>m.</i> strong tower.</p>
+<p><b>tortura</b> <i>f.</i> torture.</p>
+<p><b>torvo, -a</b> stern, severe, grim.</p>
+<p><b>trabajar</b> work, toil.</p>
+<p><b>trabajo</b> <i>m.</i> work, task, toil, labor.</p>
+<p><b>traer</b> bring, bear.</p>
+<p><b>tragar</b> swallow.</p>
+<p><b>traje</b> <i>m.</i> garb, apparel.</p>
+<p><b>tranco</b> <i>m.</i> stride.</p>
+<p><b>tranquilo, -a</b> tranquil, calm, peaceful, quiet.</p>
+<p><b>transpirar</b> transpire, appear.</p>
+<p><b>trapo</b> <i>m.</i> rag, sails; <b>a todo &mdash;&mdash;</b> all sails set.</p>
+<p><b>tras</b> <i>prep.</i> behind, after; <b>&mdash;&mdash; de</b> behind.</p>
+<p><b>traslado</b> <i>m.</i> likeness, imitation.</p>
+<p><b>trasmontar</b> sink beyond, set.</p>
+<p><b>trasparente</b> <i>adj.</i> transparent, clear.</p>
+<p><b>traspasar</b> pierce.</p>
+<p><b>traspié</b> <i>m.</i> slip, stumble; <b>dar &mdash;&mdash;s</b> stumble, reel.</p>
+<p><b>trastornar</b> disorder, confuse, upset.</p>
+<p><b>trastorno</b> <i>m.</i> disorder, confusion, disturbance.</p>
+<p><b>trasunto</b> <i>m.</i> likeness, copy.</p>
+<p><b>trato</b> <i>m.</i> agreement, bargain, treatment.</p>
+<p><b>trecho</b> <i>m.</i> distance.</p>
+<p><b>tregua</b> <i>f.</i> truce, respite.</p>
+<p><b>tremendo, -a</b> awful, terrible.</p>
+<p><b>trémulo, -a</b> trembling, flickering.</p>
+<p><b>trescientos, -as</b> three hundred.</p>
+<p><b>triplicar</b> triple.</p>
+<p><b>triste</b> <i>adj.</i> sad, sorrowful, dismal, gloomy, cheerless, wretched, sorry.</p>
+<p><b>tristura</b> <i>f.</i> sadness, sorrow.</p>
+<p><b>triunfante</b> <i>adj.</i> triumphant.</p>
+<p><b>triunfo</b> <i>m.</i> triumph, victory, success.</p>
+<p><b>trocar</b> change; <b>&mdash;se</b> be changed, change.</p>
+<p><b>tromba</b> <i>f.</i> waterspout.</p>
+<p><b>tronar</b> thunder.</p>
+<p><b>tronchar</b> break off a trunk.</p>
+<p><b>trono</b> <i>m.</i> throne.</p>
+<p><b>trovador</b> <i>m.</i> troubadour.</p>
+<p><b>trueno</b> <i>m.</i> thunder.</p>
+<p><b>truhán, -a</b> scoundrel.</p>
+<p><b>tu</b> <i>adj. poss.</i> thy.</p>
+<p><b>tú</b> <i>pron. pers.</i> thou.</p>
+<p><b>tuétano</b> <i>m.</i> marrow.</p>
+<p><b>tumba</b> <i>f.</i> tomb, grave.</p>
+<p><b>tumbo</b> <i>m.</i> fall, tumble, somersault.</p>
+<p><b>túnica</b> <i>f.</i> tunic, robe.</p>
+<p><b>turbar</b> disturb, daunt, shake, upset.</p>
+<p><b>turbio, -a</b> troubled, confused, dim, heavy.</p>
+<p><b>turbión</b> <i>m.</i> squall, heavy shower, hurricane.</p>
+<p><b>turbulento, -a</b> turbulent, tumultuous, disorderly.</p>
+<p><b>Turco, -a</b> <i>m. f.</i> Turk.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>u</b> <i>conj.</i> (<i>before</i> <b>o</b> <i>or</i> <b>ho</b>) or.</p>
+<p><b>ufano, -a</b> proud, content.</p>
+<p><b>último, -a</b> last, final.</p>
+<p><b>ultraje</b> <i>m.</i> outrage, insult.</p>
+<p><b>umbrío, -a</b> dark, shady.</p>
+<p><b>un, una</b> <i>art.</i> a, an.</p>
+<p><b>únicamente</b> <i>adv.</i> only.</p>
+<p><b>único, -a</b> only, sole, singular.</p>
+<p><b>unir</b> unite, join, bind.</p>
+<p><b>universo</b> <i>m.</i> universe, world.</p>
+<p><b>uno, -a</b> <i>adj. pron.</i> one; <b>&mdash;&mdash;s</b> some; <b>de &mdash;&mdash;a en &mdash;-a</b> one by one.</p>
+<p><b>urna</b> <i>f.</i> urn.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>vadear</b> ford.</p>
+<p><b>vagar</b> wander, roam, flit, drift, hover.</p>
+<p><b>vago, -a</b> wandering, wavering, vague, indistinct, hazy.</p>
+<p><b>vagoroso, -a</b> wandering, errant.</p>
+<p><b>vaguedad</b> <i>f.</i> vagueness; <b>con &mdash;&mdash;</b> vaguely, uncertainly.</p>
+<p><b>valentía</b> <i>f.</i> valor, courage.</p>
+<p><b>valer</b> be worth, help, avail; <b>más vale</b> it is better.</p>
+<p><b>valeroso, -a</b> valiant, brave.</p>
+<p><b>valiente</b> <i>adj.</i> valiant, brave, arrogant, blustering.</p>
+<p><b>valor</b> <i>m.</i> valor, courage, strength, force, might, amount, value.</p>
+<p><b>valle</b> <i>m.</i> vale.</p>
+<p><b>vano, -a</b> vain, idle, useless, presumptuous; <b>en &mdash;&mdash;</b> in vain, useless.</p>
+<p><b>vapor</b> <i>m.</i> vapor, mist, fumes.</p>
+<p><b>vaporoso, -a</b> ethereal, airy, shadowy, misty.</p>
+<p><b>varón</b> <i>m.</i> man.</p>
+<p><b>varonil</b> <i>adj.</i> manly, masculine.</p>
+<p><b>vaso</b> <i>m.</i> glass, vessel, vase.</p>
+<p><b>vate</b> <i>m.</i> bard.</p>
+<p><b>veinte</b> <i>card.</i> twenty.</p>
+<p><b>vela</b> <i>f.</i> sail, ship; <b>a toda &mdash;&mdash;</b> full sail.</p>
+<p><b>velar</b> veil.</p>
+<p><b>velero, -a</b> swift-sailing (ship).</p>
+<p><b>veleta</b> <i>f.</i> weathercock, vane.</p>
+<p><b>velo</b> <i>m.</i> veil.</p>
+<p><b>veloz</b> <i>adj.</i> swift.</p>
+<p><b>vena</b> <i>f.</i> vein.</p>
+<p><b>vencedor, -a</b> conquering, victorious.</p>
+<p><b>vencedor, -a</b> <i>m. f.</i> conqueror, victor.</p>
+<p><b>vencer</b> conquer, vanquish, overcome, subdue.</p>
+<p><b>vencido, -a</b> conquered, submissive, subdued.</p>
+<p><b>venda</b> <i>f.</i> bandage.</p>
+<p><b>vendaval</b> <i>m.</i> strong wind from the sea.</p>
+<p><b>vender</b> sell, set up for sale.</p>
+<p><b>veneno</b> <i>m.</i> poison, venom.</p>
+<p><b>vengador, -a</b> avenging.</p>
+<p><b>venganza</b> <i>f.</i> vengeance, revenge.</p>
+<p><b>vengar</b> avenge; <b>&mdash;be</b> revenged.</p>
+<p><b>vengativo, -a</b> avenging.</p>
+<p><b>venir</b> come, advance, approach, go; <b>&mdash;&mdash; a</b> succeed in; <b>vengan los dados</b> let's have the dice.</p>
+<p><b>ventura</b> <i>f.</i> happiness, fortune; <b>sin &mdash;&mdash;</b> wretched, hapless; <b>sin &mdash;&mdash; de mí</b> unfortunate me, woe is me.</p>
+<p><b>venturoso, -a</b> fortunate, happy.</p>
+<p><b>ver</b> see, behold, realize; <b>&mdash;se</b> be seen, can be seen, find one's self.</p>
+<p><b>verdad</b> <i>f.</i> truth.</p>
+<p><b>verdadero, -a</b> true, real, genuine.</p>
+<p><b>vergüenza</b> <i>f.</i> shame.</p>
+<p><b>verter</b> shed, cast.</p>
+<p><b>vertiginoso, -a</b> giddy, vertiginous.</p>
+<p><b>vértigo</b> <i>m.</i> vertigo, dizziness, confusion, dizzy course.</p>
+<p><b>vestido</b> <i>m.</i> dress, raiment, robe.</p>
+<p><b>vestir</b> dress, clothe, garb, enwrap.</p>
+<p><b>vez</b> <i>f.</i> time, turn; <b>a veces</b> at times; <b>cada &mdash;&mdash; más</b> more and more; <b>en &mdash;&mdash; de</b> instead of; <b>otra &mdash;&mdash;</b> again, once more; <b>tal &mdash;&mdash;</b> perhaps, occasionally, now and then.</p>
+<p><b>viaje</b> <i>m.</i> journey, passage, way, road.</p>
+<p><b>viajero</b> <i>m.</i> traveler.</p>
+<p><b>vibrar</b> vibrate, dart, cast, throw, flicker.</p>
+<p><b>vicio</b> <i>m.</i> vice.</p>
+<p><b>víctima</b> <i>f.</i> victim.</p>
+<p><b>vida</b> <i>f.</i> life.</p>
+<p><b>vidrio</b> <i>m</i> glass, window-pane; <b>óptico &mdash;&mdash;</b> telescope.</p>
+<p><b>viejo, -a</b> <i>adj.</i> old.</p>
+<p><b>viejo, -a</b> <i>m. f.</i> old man, old woman.</p>
+<p><b>viento</b> <i>m.</i> wind, breeze; <b>&mdash;&mdash; en popa</b> before the wind, with a wind from astern.</p>
+<p><b>vigor</b> <i>m.</i> vigor, strength, force.</p>
+<p><b>vil</b> <i>adj.</i> vile, base, despicable, mean, paltry.</p>
+<p><b>villano</b> <i>m.</i> low-born one, rustic, villain.</p>
+<p><b>vino</b> <i>m.</i> wine.</p>
+<p><b>violento, -a</b> violent, impetuous, furious.</p>
+<p><b>virar</b> tack, put about.</p>
+<p><b>virgen</b> <i>adj.</i> virgin, chaste.</p>
+<p><b>virgen</b> <i>f.</i> virgin.</p>
+<p><b>virginal</b> <i>adj.</i> virginal.</p>
+<p><b>virtud</b> <i>f.</i> power, virtue.</p>
+<p><b>visión</b> <i>f.</i> vision, sight, apparition, phantom.</p>
+<p><b>vislumbrar</b> descry, glimpse.</p>
+<p><b>vista</b> <i>f.</i> sight, glance, eye, appearance, look.</p>
+<p><b>vívido, -a</b> vivid, bright.</p>
+<p><b>vivienda</b> <i>f.</i> abode.</p>
+<p><b>viviente</b> <i>adj.</i> living.</p>
+<p><b>viviente</b> <i>m.</i> living being.</p>
+<p><b>vivir</b> live; <b>vive Dios</b> as God lives.</p>
+<p><b>vivir</b> <i>m.</i> life, existence.</p>
+<p><b>vivo, -a</b> living, alive, bright, quick.</p>
+<p><b>volar</b> fly, take flight, hasten, vanish, sail.</p>
+<p><b>volcán</b> <i>m.</i> volcano.</p>
+<p><b>voluntad</b> <i>f.</i> will, determination, desire.</p>
+<p><b>volver</b> return, come back, turn, direct, drive, restore; <b>&mdash;&mdash; a</b> + <i>inf.</i> do again; repeat (an act); <b>&mdash;se</b> return, turn, become.</p>
+<p><b>vos</b> <i>pron. pers.</i> you; yourself.</p>
+<p><b>vosotros, -as</b> <i>pron. pers.</i> you, ye.</p>
+<p><b>votar</b> vow; <b>voto a Cristo</b> by Christ.</p>
+<p><b>voto</b> <i>m.</i> vow, curse.</p>
+<p><b>voz</b> <i>f.</i> voice, word, shout, rumor, opinion.</p>
+<p><b>vuelo</b> <i>m.</i> flight, soaring.</p>
+<p><b>vuelta</b> <i>f.</i> turn; <b>dar mil &mdash;&mdash;s</b> turn a thousand times, whirl a thousand times, revolve a thousand times.</p>
+<p><b>vuestro -a</b> your.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>y</b> <i>conj.</i> and; <b>&mdash;&mdash; ... &mdash;&mdash;</b> both ... and.</p>
+<p><b>ya</b> <i>adv.</i> now, already, indeed, then, finally; <b>no ... &mdash;&mdash;</b> no longer; <b>&mdash;&mdash; ... &mdash;&mdash;</b> now ... now, at one time ... at another.</p>
+<p><b>yacer</b> lie.</p>
+<p><b>yerba</b> <i>f.</i> grass, weed.</p>
+<p><b>yerboso, -a</b> grassy, weed-grown.</p>
+<p><b>yermo, -a</b> waste, desert.</p>
+<p><b>yermo</b> <i>m.</i> wilderness, desert.</p>
+<p><b>yerro</b> <i>m.</i> mistake.</p>
+<p><b>yerto, -a</b> rigid, motionless, petrified.</p>
+<p><b>yo</b> <i>pron. pers.</i> I.</p>
+<p><b>yugo</b> <i>m.</i> yoke.</p>
+  </div><div class="stanza">
+  </div><div class="stanza">
+  </div><div class="stanza">
+
+<br>
+<p><b>zafir</b> <i>m.</i> sapphire.</p>
+<p><b>zozobra</b> <i>f.</i> worry, anguish, anxiety.</p>
+<p><b>zumbar</b> resound</p>
+  </div>  </div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of El Estudiante de Salamanca and Other
+Selections, by George Tyler Northup
+
+*** END OF THIS PROJECT GUTENBERG EBOOK EL ESTUDIANTE DE SALAMANCA ***
+
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