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diff --git a/15781-h/15781-h.htm b/15781-h/15781-h.htm new file mode 100644 index 0000000..5a377f4 --- /dev/null +++ b/15781-h/15781-h.htm @@ -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—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, <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>—<i>cristal</i>; +or feminine when an unstressed vowel follows the stressed +one (in Spanish <i>rima llana</i>): <i>hermosura</i>—<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>—<i>va</i>—<i>parar</i>—<i>jamás</i>, etc.; and double assonance +(<i>asonante llano</i>), <i>cuentan</i>—<i>tierra</i>—<i>dejan </i>or <i>coronada</i>—<i>gasa</i>—<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.—"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">—¡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> + 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.—</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—el que se tapa—</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.—"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.—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">—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">«—Hay riesgo en seguirme.—Mirad ¡qué reparo!</p> +<p class="i2">—Quizá luego os pese.—Puede que por vos.</p> +<p class="i2">—Ofendéis al cielo.—Del diablo me amparo.</p> +<p class="i2">—Idos, caballero, no tentéis a Dios.</p> + </div> </div> + +<div class="poem"><div class="stanza"> +<p class="i4">—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">—¡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">—¡Hola, me conoce!—¡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!—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">—¡Cúmplase en fin tu voluntad, Dios mío!—»</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">«—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">«—Mientes, truhán.—No por cierto.</p> +<p class="i2">—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">«—Yo no os conozco.—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">—Tarde, aun no; de aquí a una hora</p> +<p class="i4">Lo será.—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">«—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">«—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.—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.—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—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.—"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>——</b> + <i>inf.</i> if (<b>—— 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>—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>—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>—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>—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>—— 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>—se</b> get excited.</p> +<p><b>alcanzar</b> attain, succeed, achieve, reach, obtain, take; <b>—— 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 ——</b> hired, let for hire.</p> +<p><b>alredor</b> <i>adv.</i> around; <b>a mi ——</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>——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>—se</b> rise; <b>—se de pie</b> rise to one's feet.</p> +<p><b>allá</b> <i>adv.</i> there, yonder, thither; <b>—— va</b> here goes; <b>—— voy</b> I am coming; <b>más ——</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>——es</b> love affairs, amours, intrigues.</p> +<p><b>amoroso, -a</b> loving, amorous, gentle.</p> +<p><b>amparar</b> protect; <b>—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 ——</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>—— 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 —— 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 —— 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>—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>—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>—— 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>—— 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 ——</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 ——</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 —— 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 ——!</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 ——</b> on horseback; <b>¡a ——!</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>—se</b> pull down; <b>—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 ——</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 —— 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 ——</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>—— 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 —— de</b> take notice of, heed.</p> +<p><b>castigo</b> <i>m.</i> punishment; <b>dar ——</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 ——</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 ——</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>—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 ... ——</b> as ... as; <b>—— 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 ——</b> in time; <b>al —— 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>—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>—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>—— 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 ——</b> continually.</p> +<p><b>continuo, -a</b> continual, constant.</p> +<p><b>contra</b> <i>prep.</i> against; <b>en ——</b> against.</p> +<p><b>conversión</b> <i>f.</i> conversion, reform.</p> +<p><b>convertir</b> convert, reform, change; <b>—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 ——</b> much.</p> +<p><b>Cosaco</b> <i>m.</i> Cossack.</p> +<p><b>cosecha</b> <i>f.</i> harvest; <b>de mi ——</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>—— ... 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>—— ... ——</b> now ... now, at one time ... at another.</p> +<p><b>cuanto</b> <i>adv.</i> as much as, all that; <b>en —— a</b> with regard to, as to; <b>—— más ... tanto más</b> the more ... the more.</p> +<p><b>cuánto, -a</b> <i>prop. interrog.</i> how much; <b>como ——</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 ——</b> explain, report, give account; <b>pedir ——</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>—— 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>—— 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>—— en</b> persist in; <b>—— 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 ——</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>—— de</b> stop, cease.</p> +<p><b>delante</b> <i>adv.</i> before, in front, ahead; <b>—— 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>—— 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 —— 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>—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 —— de</b> in spite of; <b>a su ——</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>—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>——s</b> life; <b>hoy en ——</b> nowadays; <b>un ——</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>—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>—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 ——</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 ——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 ——</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>—se</b> go to sleep.</p> +<p><b>dos</b> <i>card.</i> two; <b>los ——</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>—— 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>—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>—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>—— que</b> when.</p> +<p><b>enamorado, -a</b> enamored, loving, in love.</p> +<p><b>enamorar</b> inspire love, woo; <b>—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>—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 ——</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>—— 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>—— sí</b> to himself; <b>—— tanto</b> meanwhile; <b>de ——</b> out of; <b>por ——</b> through, between, among.</p> +<p><b>entregar</b> hand over, give, pay.</p> +<p><b>entretanto</b> <i>adv.</i> meanwhile; <b>—— 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>—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>——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>——s</b> spirits, demons.</p> +<p><b>espléndido, -a</b> splendid.</p> +<p><b>esplendor</b> <i>m.</i> splendor, magnificence, glory; <b>de ——</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>—— 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 ——</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 ——</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 ——-</b> in truth; <b>a —— 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>—— 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>—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 ——</b> at last, finally, after all; <b>en ——</b> at last, finally, in short, after all; <b>por ——</b> at last; <b>sin ——</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>—— a</b> opposite, in front of, before; <b>a su ——</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 ——</b> set fire.</p> +<p><b>fuente</b> <i>f.</i> spring, fountain, source.</p> +<p><b>fuera</b> <i>adv.</i> outside; <b>—— 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>——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>—— de</b> enjoy; <b>—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>——s</b> thanks.</p> +<p><b>gradería</b> <i>f.</i> steps; <b>—— 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 ——</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>—— 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>—— aprecio de</b> note; <b>—— bien</b> give alms, aid; <b>—— caso de</b> take notice of, heed; <b>—— juego</b> make the bets; <b>hecho el juego</b> bets closed; <b>—— pedazos</b> break to pieces, tear; <b>—se</b> become, turn to, get; <b>—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>—— 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 ——, 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>——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 ——</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 ——</b> opportunely; <b>en mal —— o en buena</b> well and good; <b>——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>—— 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 ——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 ——</b> it is all the same to me; <b>por ——</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>——</b> + <i>gerund</i> go on, keep; <b>—— a</b> be about to, be going to; <b>—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 ——</b> make the bets; <b>hecho el ——</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>—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>—— 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>—— 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>—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>—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 ——</b> in the distance; <b>de ——</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>——s</b> letters, literature, lore.</p> +<p><b>levantar</b> raise, lift up, erect, set up; <b>—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>—— que</b> <i>pron. dem. and rel.</i> what, that which; <b>—— 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>—— 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>—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>—— 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>——</b> + <i>p. p.</i> have; <b>—— al extremo</b> terminate; <b>—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 ——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 ——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>—— de</b> past; <b>—— que</b> especially as; <b>el, la ——</b> the most; <b>no ——</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 ——</b> the greatest.</p> +<p><b>me</b> <i>pron. pers. dat. acc.</i> me, myself.</p> +<p><b>mecer</b> rock, sway; <b>—se</b> be rocked, rock.</p> +<p><b>medida</b> <i>f.</i> measure; <b>sin ——</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 ——</b> in the midst, nevertheless; <b>en —— 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 ——-</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>——- 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 —— 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>—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 —— 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>—— 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>—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 ——</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 ——</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>—— guerra</b> wage war; <b>—— la planta</b> walk; <b>—— los ojos</b> roll one's eyes; <b>—— los pies</b> walk; <b>—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>—— ... ——</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 ——-</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 ——</b> by night, at night;</p> +<p><b>media ——</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>—— ... ——</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>—— 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>—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>—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>—— vidrio</b> telescope.</p> +<p><b>opulento, -a</b> rich, wealthy.</p> +<p><b>ora</b> <i>conj.</i> now; <b>—— ... ——</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>——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>——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>—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 ——</b> alike; <b>a —— que</b> just as, while; <b>a la ——</b> at the same time, equally; <b>al —— de</b> like, as well as.</p> +<p><b>para</b> <i>prep.</i> for, to, in order to; <b>ser ——</b> be enough to.</p> +<p><b>parabién</b> <i>m.</i> congratulation; <b>dar el ——</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>—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 ——</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 —— de</b> from, by command of; <b>por todas ——s</b> everywhere.</p> +<p><b>pasada</b> <i>f.</i> passing; <b>de ——</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>—— de andadura</b> ambling gait; <b>al ——, de ——,</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, ——</b> make the best of it.</p> +<p><b>pecho</b> <i>m.</i> tribute; <b>dar ——</b> pay tribute.</p> +<p><b>pedazo</b> <i>m.</i> piece; <b>a ——s</b> to pieces, in pieces; <b>hacer ——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>—— 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 ——</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>—— 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>—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>——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 ——</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 ——</b> rise to one's feet; <b>en ——</b> standing; <b>mover los ——s</b> walk; <b>ponerse de ——</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>—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 ——</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 ——</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>—— a ——</b> little by little, gradually;</p> +<p><b>por ——</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>—— pavor a uno</b> make one afraid; <b>—se a</b> begin to; <b>—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 ——</b> astern, aft; <b>viento en ——</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>—— 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 ——</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>—— 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 ——</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 ——</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 ——</b> that.</p> +<p><b>que</b> <i>pron. rel.</i> which, that, who, whom; <b>en ——</b> when.</p> +<p><b>qué</b> <i>interj.</i> what, how.</p> +<p><b>qué</b> <i>interrog.</i> what, why; <b>por ——</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 —— 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 ——</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>—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>—se</b> laugh; <b>—-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 ——</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>—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 ——</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 —— 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>—— 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 ——-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>—— 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>—— 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 ——</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 ——</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>—se</b> sit down.</p> +<p><b>sentenciar</b> condemn.</p> +<p><b>sentido</b> <i>m.</i> sense; <b>sin ——</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>—— 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>—— de</b> serve as; <b>—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>—— no</b> otherwise, unless; <b>—— ... ——</b> whether ... or; <b>y —— 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 ——</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>—— 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 ——</b> not even; <b>—— ... ——</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>——s</b> leavings.</p> +<p><b>sobre</b> <i>prep.</i> over, above, on, upon; <b>estar —— 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 ——</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 ——</b> only.</p> +<p><b>soltar</b> let go, loosen, utter; <b>—— 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>—se</b> mount, rise.</p> +<p><b>súbito, -a</b> sudden.</p> +<p><b>súbito</b> <i>adv.</i> suddenly; <b>de ——</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 —— 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>—— 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 ——</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>—— 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>—— ... como</b> as ... as; <b>—— 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 ... —— más</b> the more ... the more; <b>en ——</b> while, meanwhile; <b>entre ——</b> meanwhile; <b>—— como</b> as long as; <b>—— 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 ——</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>—— 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 ——</b> at once, at the same time; <b>a un —— mismo</b> at the very same time; <b>de —— en ——</b> from time to time; <b>un ——</b> once, formerly.</p> +<p><b>tienta</b> <i>f.</i> probe; <b>a ——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>—— de</b> pull, draw.</p> +<p><b>tocar</b> touch, fall to one's share, hit; <b>—— a muerto</b> toll a funeral bell; <b>dale con —— 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>——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>—— a</b> + <i>inf.</i> do again, repeat (an act).</p> +<p><b>torno</b> <i>m.</i> turn; <b>en ——</b> round about; <b>en —— 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 ——</b> all sails set.</p> +<p><b>tras</b> <i>prep.</i> behind, after; <b>—— 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 ——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>—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>——s</b> some; <b>de ——a en —-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 ——</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 ——</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 ——</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>—be</b> revenged.</p> +<p><b>vengativo, -a</b> avenging.</p> +<p><b>venir</b> come, advance, approach, go; <b>—— 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 ——</b> wretched, hapless; <b>sin —— 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>—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 —— más</b> more and more; <b>en —— de</b> instead of; <b>otra ——</b> again, once more; <b>tal ——</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 ——</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>—— 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>—— a</b> + <i>inf.</i> do again; repeat (an act); <b>—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 ——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>—— ... ——</b> both ... and.</p> +<p><b>ya</b> <i>adv.</i> now, already, indeed, then, finally; <b>no ... ——</b> no longer; <b>—— ... ——</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 *** + +***** This file should be named 15781-h.htm or 15781-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/7/8/15781/ + +Produced by Stan Goodman, Miranda van de Heijning, Renald +Levesque and the Online Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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