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diff --git a/15781-8.txt b/15781-8.txt new file mode 100644 index 0000000..9358f69 --- /dev/null +++ b/15781-8.txt @@ -0,0 +1,8952 @@ +The Project Gutenberg EBook of El Estudiante de Salamanca and Other +Selections, by George Tyler Northup + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: El Estudiante de Salamanca and Other Selections + +Author: George Tyler Northup + +Contributor: Don Jose de Espronceda y Lara + +Release Date: May 7, 2005 [EBook #15781] + +Language: Spanish / English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK EL ESTUDIANTE DE SALAMANCA *** + + + + +Produced by Stan Goodman, Miranda van de Heijning, Renald +Levesque and the Online Distributed Proofreading Team. + + + + + + + +[Illustration: D. JOSÉ DE ESPRONCEDA] + + ESPRONCEDA + + EL ESTUDIANTE + DE SALAMANCA + AND OTHER SELECTIONS + + EDITED BY + GEORGE TYLER NORTHUP, PH.D. + PROFESSOR OF SPANISH LITERATURE + UNIVERSITY OF CHICAGO + + +PREFACE + +The selections from Espronceda included in this volume have been edited +for the benefit of advanced Spanish classes in schools and universities. +The study of Espronceda, Spain's greatest Romantic poet, offers the best +possible approach to the whole subject of Romanticism. He is Spain's +"representative man" in that movement. Furthermore, the wealth of meters +he uses is such that no other poet provides so good a text for an +introduction to the study of Spanish versification. The editor has +therefore treated the biography of Espronceda with some degree of +completeness, studying his career as one fully representative of the +historical and literary movements of the period. A treatment of the main +principles of Spanish versification was also considered indispensable. +It is assumed that the text will be used only in classes where the +students are thoroughly familiar with the rudiments of Spanish grammar. +Therefore only the more difficult points of grammar are dealt with in +the notes, and little help, outside of the vocabulary, is given the +student in the translating of difficult passages. + +The editor makes no pretense to having established critical texts of +the poems here printed, although he hopes that some improvement will be +noted over previous editions. A critical edition of Espronceda's works +has never been printed. Espronceda himself gave little attention to +their publication. Hartzenbusch and others intervened as editors in some +of the earliest editions. Their arbitrary changes have been repeated in +all subsequent editions. The text of "El Estudiante de Salamanca" has +been based upon the "Poesías de D. José de Espronceda," Madrid, 1840, +the so-called _editio princeps_. This edition, however, cannot be +regarded as wholly authoritative. It was not prepared for the press by +the poet himself, but by his friend José García de Villalta. Though +far more authentic in its readings than later editions, it abounds in +inaccuracies. I have not followed its capricious punctuation, and have +studied it constantly in connection with other editions, notably the +edition of 1884 ("Obras Poéticas y Escritos en Prosa," Madrid, 1884). To +provide a really critical text some future editor must collate the 1840 +text with that version of the poem which appeared in _La Alhambra_, an +obscure Granada review, for the year 1839. "El Mendigo" and "El Canto +del Cosaco" I also base upon the 1840 edition, although the former first +appeared in _La Revista Española_, Sept. 6, 1834. I base the "Canción +del Pirata" upon the original version published in _El Artista_, Vol. I, +1835, p. 43. I take the "Soneto" from "El Liceo Artístico y Literario +Español," 1838. For "A Teresa, Descansa en Paz," I follow the Madrid +edition of 1884. The text of this, as for the whole of "El Diablo +Mundo," is more reliable than that of the earlier poems. + +I desire to thank Professors Rudolph Schevill, Karl Pietsch, and Milton +A. Buchanan for helpful suggestions, and the latter more particularly +for the loan of rare books. The vocabulary is almost entirely the +work of my wife Emily Cox Northup, whose collaboration is by no means +restricted to this portion of the book. More than to any other one +person I am indebted to Mr. Steven T. Byington of the staff of Ginn +and Company, by whose acute and scholarly observations I have often +profited. + +CONTENTS + + INTRODUCTION + THE LIFE OF ESPRONCEDA + THE WORKS OF ESPRONCEDA + "THE STUDENT OF SALAMANCA" + BIBLIOGRAPHICAL NOTE + NOTES ON ESPRONCEDA'S VERSIFICATION + + EL ESTUDIANTE DE SALAMANCA + CANCIÓN DEL PIRATA + EL CANTO DEL COSACO + EL MENDIGO + SONETO + A TERESA + + NOTES + VOCABULARY + + + + +INTRODUCTION + + +THE LIFE OF ESPRONCEDA + +Don José de Espronceda y Lara, Spain's foremost lyric poet of the +nineteenth century, was born on the 25th of March, 1808, the year of his +country's heroic revolt against the tyranny of Napoleon. His parents +were Lieutenant-Colonel Don Juan de Espronceda y Pimentel and Doña María +del Carmen Delgado y Lara. Both were Andalusians of noble stock, and, as +we learn from official documents, were held to be Christians of clean +blood "without taint of Jews, heretics, Moors, or persons punished by +the Holy Inquisition, and who neither were nor had been engaged in mean +or low occupations, but in highly honorable ones." This couple of such +highly satisfactory antecedents had been married four years previously. +In 1804 Don Juan, a mature widower of fifty-three, was still mourning +his first wife when he obtained the hand of Doña María, a young widow +whose first husband, a lieutenant in the same regiment, was recently +deceased. The marriage was satisfactory in a worldly way, for Doña María +brought as a dower four hundred thousand reales to be added to the two +hundred thousand which Don Juan already possessed. By his first marriage +Don Juan had had a son, Don José de Espronceda y Ramos, who became +ensign in his father's regiment, then studied in the Artillery School at +Segovia, and later entered the fashionable Guardia de Corps regiment. +He died in 1793 at the early age of twenty-one, soon after joining this +regiment. By the second marriage there were two other children, both of +whom died in infancy: Francisco, born in 1805, and María, born in 1807. +During the early months of 1808 the Bourbon cavalry regiment in which +Don Juan served was stationed in the little hamlet of Villafranca de los +Barros, Estremadura, and there the future poet was born. We do not know +where the mother and son found refuge during the stormy years which +followed. The father was about to begin the most active period of his +career. We learn from his service record that he won the grade of +colonel on the field of Bailén; that a year later he recaptured the +cannon named Libertad at the battle of Consuegra (a feat which won +him the rank of brigadier), and fought gallantly at Talavera as a +brother-in-arms of the future Duke of Wellington. The mere enumeration +of the skirmishes and battles in which he participated would require +much space. In 1811 he distinguished himself at Medina Sidonia and +Chiclana, and sought promotion to the rank of field-marshal, which was +never granted. After the Peninsular War he seems to have been stationed +in Madrid between 1815 and 1818. His family were probably permanently +established in that city, for we know that mother and son resided +there during the time that the brigadier was doing garrison duty in +Guadalajara (1820-1828), and there is no evidence that they followed him +to Coruña during his term of service in that city (1818-1820). Possibly +the old soldier preferred the freedom of barrack life, where his +authority was unquestioned, to the henpecked existence he led at home. +"Ella era él y él era ella," says Patricio de Escosura in speaking of +this couple; for Doña María was something of a shrew. She was a good +business woman who combined energy with executive ability, as she later +proved by managing successfully a livery-stable business. But, however +formidable she may have been to her hostlers, her son José found her +indulgent. He, the only surviving son of a mature couple, rapidly +developed into a _niño consentido_, the Spanish equivalent of a +spoiled child. Parallels are constantly being drawn between Byron and +Espronceda. It is a curious fact that both poets were reared by mothers +who were alternately indulgent and severe. + +In 1820 the Espronceda family occupied an apartment in the Calle del +Lobo. It was there and then that Patricio de Escosura firmed his +intimacy with the future poet. He describes graphically his first +meeting with the youth who was to be his lifelong friend. He first saw +José sliding down from a third-story balcony on a tin waterspout. In the +light of later years Escosura felt that in this boyish prank the child +was father of the man. The boy who preferred waterspouts to stairways, +later in life always scorned the beaten path, and "the illogical road, +no matter how venturesome and hazardous it was, attracted him to it by +virtue of that sort of fascinating charm which the abyss exercises over +certain eminently nervous temperaments." The belief that Espronceda +studied at the Artillery School of Segovia in 1821 appears to rest upon +the statement of Solís alone. Escosura, who studied there afterwards, +never speaks of his friend as having attended the same institution. +Solís may have confused the younger José with his deceased, like-named +brother, who, we know, actually was a cadet in Segovia. On the other +hand, Solís speaks with confidence, though without citing the source of +his information, and nothing would have been more natural than for the +boy to follow in his elder brother's footsteps, as he did later when he +joined the Guardia de Corps. However, the matter is of slight moment, +for if he studied in Segovia at all he cannot have remained there for +more than a few weeks. + +What little education Espronceda was able to acquire in the course of +his stormy life was gained mostly in the Colegio de San Mateo between +the years 1820 and 1830. This was a private school patronized by sons of +the nobility and wealthy middle class. Two of the masters, José Gómez +Hermosilla and Alberto Lista, were poets of repute. Lista was the best +teacher of his time in Spain. The wide range of his knowledge astonished +his pupils, and he appeared to them equally competent in the classics, +modern languages, mathematics, philosophy and poetics, all of which +subjects he knew so well that he never had to prepare a lecture +beforehand. Plainly Lista was not a specialist of the modern stamp; but +he was something better, a born teacher. In spite of an unprepossessing +appearance, faulty diction, and a ridiculous Andalusian accent, Lista +was able to inspire his students and win their affection. It is no +coincidence that four of the fellow students of the Colegio de San +Mateo, Espronceda, Felipe Pardo, Ventura de la Vega, and Escosura, +afterwards became famous in literature. + +Espronceda's school reports have been preserved. We learn that he +studied sacred history, Castilian grammar, Latin, Greek, French, +English, mythology, history, geography, and fencing, which last he was +later to turn to practical account. He showed most proficiency in +French and English, and least in Greek and mathematics. His talent was +recognized as unusual, his industry slight, his conduct bad. Calleja, +the principal, writes in true schoolmaster's fashion: "He is wasting the +very delicate talent which nature gave him, and is wasting, too, the +opportunity of profiting by the information of his distinguished +professors." It cannot be denied that Espronceda's conduct left much to +be desired. According to Escosura he was "bright and mischievous, +the terror of the whole neighborhood, and the perpetual fever of his +mother." He soon gained the nickname _buscarruidos_, and attracted +the notice of police and night watchmen. "In person he was agreeable, +likable, agile, of clear understanding, sanguine temperament inclined +to violence; of a petulant, merry disposition, of courage rash even +bordering upon temerity, and more inclined to bodily exercise than to +sedentary study." The two friends were much influenced by Calderón at +this time. The height of their ambition was to be like the gallants of +a cape-and-sword play, equally ready for a love passage or a fight. +Lista's influence upon his pupils was not restricted to class exercises. +In order to encourage them to write original verse and cultivate a taste +for literature, he founded in April, 1823, the Academy of the Myrtle, +modeled after the numerous literary academies which throve in Italy and +Spain during the Renaissance period and later. Lista himself presided, +assuming the name Anfriso. Was Delio, the name Espronceda assumed in his +"Serenata" of 1828, his academic designation? The models proposed for +the youthful aspirants were the best poets of antiquity and such modern +classicists as Meléndez, Cienfuegos, Jovellanos, and Quintana. Two of +Espronceda's academic exercises have been preserved. They are as insipid +and jejune as Goethe's productions of the Leipzig period. As an imitator +of Horace he was not a success. What he gained from the Academy was the +habit of writing. + +The Academy lasted until 1826, when many of its members had been driven +into exile; but its later meetings must have seemed tame to spirited +boys engrossed in the exciting political events of those times. The year +1823 is famous in Spanish history for the crushing out of liberalism. +This was effected by means of the Holy Alliance, an infamous association +of tyrants whose main object was to restore absolutism. Louis XVIII, the +Bourbon king of France, sent a force of one hundred thousand men under +the Duke of Angoulême who met with little resistance, and in short order +nullified all that had been accomplished by the Spanish liberals. Before +the end of the year Ferdinand VII, who had been virtually deposed, was +restored to his throne, and the constitution of 1820 had been abolished. +Espronceda, the son of a hero of the War of Liberation, felt that the +work of the men of 1808 had been undone. They had exchanged a foreign +for a domestic tyrant. What his feelings were we may gather from his +ode in commemoration of the uprising of the Madrid populace against the +troops of Murat, "Al Dos de Mayo": + + ¡Oh de sangre y valor glorioso día! + Mis padres cuando niño me contaron + Sus hechos, ¡ay! y en la memoria mía + Santos recuerdos de virtud quedaron. + +But, as he says later in the poem, + + El trono que erigió vuestra bravura, + Sobre huesos de héroes cimentado, + Un rey ingrato, de memoria impura, + Con eterno baldón dejó manchado. + ¡Ay! para herir la libertad sagrada, + El Príncipe, borrón de nuestra historia, + Llamó en su ayuda la francesa espada, + Que segase el laurel de vuestra gloria. + +These verses were written in later life; but already in 1827 he dates a +poem "fourth year after the sale of Spanish liberty." + +It was an age of political conspiracy and secret societies. Many +liberals were members of Masonic lodges, and in addition there were +circles like the Friends of Liberty, the Friends of the Constitution, +the Cross of Malta, the Spanish Patriot, and others. Nothing more +natural than that boys whose age made them ineligible to join these +organizations should form one of their own. The result was La Sociedad +de los Numantinos. The prime movers were Miguel Ortiz Amor and Patricio +de Escosura, who drew up its Draconic constitution. Other founders were +Espronceda, Ventura de la Vega, and Núñez de Arenas. All told, the +society had about a dozen members. Their first meetings were held in a +sand-pit, until the curiosity of the police forced them to seek safer +quarters. One of the members was an apothecary's apprentice, who, +unknown to his master, installed the club in the shop cellar. There +they built an altar bearing all the romantic paraphernalia of skull and +cross-bones, swords, and pistols. The members stood wrapped in black +garments, their faces muffled with their long Spanish capes, wearing +Venetian masks, each one grasping a naked dagger. There they swore +binding oaths and delivered fiery orations. Red paper lanterns cast a +weird light over the scene. How tame the sessions of the Myrtle +must have seemed by comparison! Yet the two organizations throve +simultaneously. + +With the return of Ferdinand in September the persecution of the +liberals began. The boys witnessed the judicial murder of Riego, the +hero of the constitutional movement, November 8, 1823. This made the +impression upon them that might have been expected. That night an +extraordinary session of the Numantinos was held at which Espronceda +delivered an impassioned oration. Then all signed a document in which +the king's death was decreed. Some of the members' parents seem to +have learned what was happening. The father of Ortiz, the club's first +president, prudently sent him away to Oñate. Escosura became the second +president, and held office until September of 1824, when his father sent +him to France. Espronceda then became the club's third president, but +his term was brief. The boys had made the mistake of admitting one +member of mature years whose name we do not know; for, in spite of his +treachery, the Numantinos even in their old age chivalrously +refrained from publishing it. This Judas betrayed the secrets of his +fellow-members, and placed incriminating documents, among them the +king's "death warrant," in the hands of the police. The latter, however, +displayed less rigor and more common sense than usual. While all the +youths implicated were sentenced to long terms of imprisonment in +various monasteries scattered throughout Spain, nothing more was +intended than to give the conspirators a salutary scare. They were all +released after a few weeks of nominal servitude. Ortiz and Escosura, the +ringleaders, were sentenced to six years of seclusion, and Espronceda +received a term of five years to be served in the Monastery of San +Francisco de Guadalajara in the city of Guadalajara. His term was +pronounced completed after a very few weeks of confinement. That he had +a father prominent in the government service stood him in good stead, +and this probably accounts for the fact that his place of confinement +was in the city where Don Juan was garrisoned. The latter, as an old +soldier in the wars against Napoleon, sympathized in a general way with +liberal ideas; yet, placed as he was in a very difficult position, he +must have found his son's escapades compromising. His record shows that +he was "purified," that is his loyalty to the crown was certified to, on +August 8, 1824. He seems to have maintained a "correct" attitude toward +his rulers to the end, with all the unquestioning obedience of a +military man. + +While undergoing this easy martyrdom Espronceda improved his time by +beginning what was to be a great patriotic epic, his _Pelayo_. Like many +another ambitious project, this was never completed. The few fragments +of it which have been printed date mostly from this time. The style is +still classic, but it is the pseudo-classicism of his model, Tasso. The +poet had taken the first step leading to Romanticism. Hence this work +was not so sterile as his earlier performances. Lista, on seeing the +fragments, did much to encourage the young author. Some of the octaves +included in the published version are said on good authority to have +come from the schoolmaster's pen. Lista's classicism was of the +broadest. He never condemned Romanticism totally, though he deplored +its unrestrained extravagances and the antireligious and antidynastic +tendencies of some of its exponents. He long outlived his brilliant +pupil, and celebrated his fame in critical articles. After his return +from exile Espronceda continued to study in a private school which Lista +had started in the Calle de Valverde. Calleja's Colegio de San Mateo had +been suppressed by a government which was the sworn enemy of every form +of enlightenment. The new seminary, however, continued the work of +the old with little change: While there José carried his mathematical +studies through higher algebra, conic sections, trigonometry, and +surveying, and continued Latin, French, English, and Greek. If we may +judge from later results, a course in rhetoric and poetics must have +been of greatest benefit to him. + +Espronceda's schooling ended in 1826, when he began what Escosura terms +"his more or less voluntary exile." Escosura thinks he may have been +implicated in a revolutionary uprising in Estremadura, and this +conjecture is all but confirmed by a recently found report of the +Spanish consul in Lisbon, who suspected him of plotting mischief with +General Mina. If Espronceda was not a revolutionary at this time, he was +capable of enlisting in any enterprise however rash, as his past and +subsequent record proves all too clearly, and the authorities were not +without justification in watching his movements. In a letter dated +Lisbon, August 24, 1827, he writes to his mother: "Calm yourselves and +restore papa to health by taking good care of him, and you yourself stop +thinking so sadly, for now I am not going to leave Portugal." In these +words the boy seems to be informing his parents that he has given up +the idea of making a foray from Portugal into Spain as Mina was then +plotting to do. He had left home without taking leave of his parents, +made his way to Gibraltar, and taken passage thence to Lisbon on a +Sardinian sloop. The discomforts of this journey are graphically +described in one of his prose works, "De Gibraltar a Lisboa: viaje +histórico." The writer describes with cynical humor the overladen little +boat with its twenty-nine passengers, their quarrels and seasickness, +the abominable food, a burial at sea, a tempest. When the ship reached +Lisbon the ill-assorted company were placed in quarantine. The health +inspectors demanded a three-peseta fee of each passenger. Espronceda +paid out a duro and received two pesetas in change. Whereupon he threw +them into the Tagus, "because I did not want to enter so great a capital +with so little money." A very similar story has been told of Camoens, +so that Espronceda was not only a _poseur_ but a very unoriginal one at +that. Some biographers suspect that while parting with his silver he was +prudent enough to retain a purse lined with good gold _onzas_. This is +pure speculation, but it is certain that he knew he could soon expect a +remittance from home. + +Portugal was at the time rent with civil war. The infanta Isabel María +was acting as regent, and her weak government hesitated to offend the +king of Spain. The liberal emigrants were kept under surveillance; some +were imprisoned, others forced to leave the kingdom. Espronceda was +forced to Live with the other Spanish emigrants in Santarem. There is no +evidence that he was imprisoned in the Castle of St. George, as has so +frequently been stated. He appears to have been free to go and come +within the limits assigned him by the police; but he was constantly +watched and at last forced to leave the country. It was in Portugal that +the nineteen-year-old boy made the acquaintance of the Mancha family. +Don Epifanio Mancha was a colonel in the Spanish army who, unlike the +elder Espronceda, had been unable to reconcile himself to existing +conditions. He had two daughters, one of whom, Teresa, was to play a +large part in Espronceda's life. He undoubtedly made her acquaintance at +this time. We are told that she embroidered for him an artillery cadet's +hat; but the acquaintance probably did not proceed far. The statement +that vows were exchanged, that the Mancha family preceded Espronceda to +London, that on disembarking he found his Teresa already the bride +of another, all this is pure legend. As a matter of fact, Espronceda +preceded the Manchas to London and his elopement with Teresa did not +take place until 1831, not in England but in France. All this Señor +Cascales y Muñoz has shown in his recent biography. + +Espronceda's expulsion from Portugal was determined upon as early as +August 14, 1827; but the execution of it was delayed. He must have +reached England sometime within the last four months of 1827. The first +of his letters written from London that has been preserved is dated +December 27 of that year. What his emotions were on passing "the immense +sea ... which chains me amid the gloomy Britons" may be observed by +reading his poem entitled "La Entrada del Invierno en Londres." In this +poem he gives full vent to his homesickness in his "present abode of +sadness," breathes forth his love for Spain, and bewails the tyrannies +under which that nation is groaning. It is written in his early classic +manner and exists in autograph form, dedicated by the "Citizen" José de +Espronceda to the "Citizen" Balbino Cortés, his companion in exile. The +date, London, January 1, 1827, is plainly erroneous, though this fact +has never before been pointed out. We can only suppose that, like many +another, Espronceda found it difficult to write the date correctly on +the first day of a new year. We should probably read January 1, 1828. +When he assures us in the poem: "Four times have I here seen the fields +robbed of their treasure," he is not to be taken literally. Who will +begrudge an exiled poet the delight of exaggerating his sufferings? + +Five letters written from London to his parents have been preserved, +thanks to the diligence of the Madrid police who seized them in his +father's house in their eagerness to follow the movements of this +dangerous revolutionary. They are the typical letters of a schoolboy. +The writer makes excuses for his dilatoriness as a correspondent, +expresses solicitude for the health of his parents, and suggests the +need of a speedy remittance. In fact _la falta de metálico_ is the +burden of his song. Living is excessively dear in London. So much so +that a suit of clothes costs seventeen pounds sterling; but there will +be a reduction of three pounds if the draft is promptly sent. He asks +that the manuscript of his "Pelayo" be sent to him, as he now has +abundant leisure to finish the poem. He asks that the remittances be +sent to a new agent whom he designates. The first agent was a brute who +refused to aid him to get credit. He wonders that his father should +suggest a call upon the Spanish ambassador. Not one word as to his +political plans, a discretion for which Don Juan must have thanked him +when these interesting documents fell into the hands of the police. + +We have information that in London Espronceda became a fencing-master, +as many a French _émigré_ had done in the century before. This calling +brought him in very little. He may have profited by the charity +fund which the Duke of Wellington had raised to relieve the Spanish +_emigrados_. His more pressing needs were satisfied by Antonio Hernáiz, +a friend with whom he had made the journey from Lisbon; but the +remittances from home came promptly and regularly, and Espronceda must +have been one of the most favored among the refugees of Somers Town. If +we may take as autobiographical a statement in "Un Recuerdo," he was +entertained for a time at the country seat of Lord Ruthven, an old +companion-in-arms of his father's. Ruthven is not a fictitious name, +as a glance into the peerage will show. During all this time he was +improving his acquaintance with Shakespeare, Milton, Byron, and other +English poets. What is more surprising is that, if we may judge from +his subsequent speeches as a deputy, he gained at least a superficial +acquaintance with English political thought and became interested in +economics. He was a convert to the doctrine of free trade. + +Meanwhile the parents, who appear to have formed a bad opinion of a land +where a suit of clothes cost seventeen pounds, were urging the son to +go to France. He himself thought of Holland as a land combining the +advantages of liberty and economy. But before leaving London he required +a remittance of four thousand reales. This bad news was broken to the +family bread-winner, not by José himself, but by his banker Orense. The +debt, it was explained, had been incurred as the result of a slight +illness. The four thousand reales were duly sent in December, but +Espronceda lingered in London a few months longer; first because he was +tempted by the prospect of a good position which he failed to secure, +and second on account of the impossibility of obtaining a passport to +France direct. He finally made his way to Paris via Brussels, from which +city he writes, March 6, 1829. All this effectually dispels the legend +that he eloped from England with Teresa by way of Cherbourg. The arrival +in Paris of the revolutionary fencing-master put the Madrid police in a +flutter. On the seventeenth of that same month the consul in Lisbon had +reported that Espronceda was planning to join General Mina in an attack +upon Navarra; and by the middle of April the ambassador to France had +reported his arrival in Paris. It was then that the brigadier's papers +were seized. Measures were taken to prevent Espronceda's receiving +passports for the southern provinces of France, and for any other +country but England. The friendly offices of Charles X, who had +succeeded Louis XVIII on the throne of France, checked for a time the +efforts of the patriotic filibusters. The latter, therefore, must have +felt that they were aiding their own country as well as France when they +participated in the July revolution of 1830. Espronceda fought bravely +for several days at one of the Paris barricades, and wreaked what +private grudge he may have had against the house of Bourbon. After the +fall of Charles X, Louis Philippe, whom Espronceda was in after years to +term _el rey mercader_, became king of France. As Ferdinand refused to +recognize the new government, the designs of Spanish patriots were +not hindered but even favored. Espronceda was one of a scant hundred +visionaries who followed General Joaquín de Pablo over the pass of +Roncevaux into Navarra. The one hope of success lay in winning over +recruits on Spanish soil. De Pablo, who found himself facing his old +regiment of Volunteers of Navarra, started to make a harangue. The reply +was a salvo of musketry, as a result of which De Pablo fell dead. After +some skirmishing most of his followers found refuge on French soil, +among them Espronceda. De Pablo's rout, if less glorious than that of +Roland on the same battlefield, nevertheless inspired a song. Espronceda +celebrated his fallen leader's death in the verses "A la Muerte de D. +Joaquín de Pablo (Chapalangarra) en los Campos de Vera." This poem, +which purports to have been written on one of the peaks of the French +Pyrenees which commanded a view of Spanish soil, and when the poet was +strongly impressed by the events in which he had just participated, +is nevertheless a weak performance; for Espronceda in 1830 was still +casting his most impassioned utterances in the classic mold. Ferdinand +had now been taught a lesson and lost little time in recognizing the new +régime in France. This bit of diplomacy was so cheap and successful +that Louis Philippe tried it again, this time on Russia. His government +favored a plot, hatched in Paris, for the freeing of Poland. Espronceda, +who had not yet had his fill of crack-brained adventures, enlisted in +this cause also, desiring to do for Poland what Byron had done for +Greece; but the czar, wilier than Ferdinand, immediately recognized +Louis Philippe. The plot was then quietly rendered innocuous. Espronceda +must have felt himself cruelly sold by the "merchant king." + +Espronceda's literary activity was slight during these events, but his +transformation into a full-fledged Romanticist begins at this time. +Hugo's "Orientales," which influenced him profoundly, appeared in 1829, +and the first performance of "Hernani" was February 25, 1830. There +is no record that he formed important literary friendships in either +England or France, but, clannish as the _emigrados_ appear to have +been, an impressionable nature like Espronceda's must have been as much +stirred by the literary as by the political revolution of 1830; the more +so as the great love adventure of his life occurred at this time. The +Mancha family followed the other _emigrados_ to London, just when +we cannot say. In course of time Teresa contracted a marriage of +convenience with a Spanish merchant domiciled in London, a certain +Gregorio de Bayo. Churchman has discovered the following advertisement +in _El Emigrado Observador_, London, February,1829: "The daughters of +Colonel Mancha embroider bracelets with the greatest skill, gaining by +this industry the wherewithal to aid their honorable indigence." From +this it is argued that the marriage to Don Gregorio and the consequent +end of the family indigence must have come later than February, 1829. +Espronceda had met the girl in Lisbon, he may later have resumed the +acquaintance in London. She may or may not be the Elisa to whom Delio +sings in the "Serenata." According to Balbino Cortés in an interview +reported by Solís, Teresa and her husband, while on a visit to Paris in +October, 1831, happened to lodge at the hotel frequented by Espronceda. +Shortly afterwards Teresa deserted her husband and an infant son and +eloped with Espronceda. She followed him to Madrid in 1833, where +a daughter, Blanca, was born to them in 1834. Within a year Teresa +abandoned Espronceda and her second child. She sank into the gutter and +died a pauper in 1839. This sordid romance occupied only about three +years of Espronceda's life, a much shorter time than had been supposed. +Churchman was the first to break the long conspiracy of silence which +withheld from the world Teresa's full name. Cascales y Muñoz has since +thrown more light upon this episode. But these gentlemen have done +nothing more than to tell an open secret. Escosura, long ago, all but +betrayed it in the following pun: "Tendamos el velo de olvido sobre +esa lamentable flaqueza de un gran corazón," he says, referring to the +affair with Teresa, "y recordemos, de paso, que el sol mismo, ese astro +de luz soberano, tan sublimemente cantado por nuestro vate, _manchas_ +tiene que si una parte de su esplendor anublan, a eclipsarlo no bastan." +Señor Cascales publishes a reproduction of Teresa's portrait. We see +a face of a certain hard beauty. We are struck with the elaborate +coiffure, the high forehead, the long nose, the weak mouth. The +expression is unamiable. It is the face of a termagant ready to abandon +husband and child. Espronceda seems to have returned to England for a +brief period in 1832, as we may infer from the fact that the poem +"A Matilde" is dated London, 1832. Corroboration of this belief was +discovered by Churchman, who found that the paper on which "Blanca de +Borbón" was written shows the water-mark of an English firm of that +date. + +In 1833 Ferdinand VII died, and his daughter Isabel II ascended to the +throne under the regency of her mother Cristina. As the conservatives +espoused the cause of the pretender, Don Carlos, the regency was forced +to favor the liberals. The rigid press censorship was abolished, and a +general amnesty was granted all the victims of Ferdinand's tyranny. In +politics the year 1833 marks the beginning of the Carlist war, and +in literature of Spanish Romanticism. Espronceda was one of many +_emigrados_ who returned to Spain, bringing with them new ideas for the +revitalizing of Spanish literature. He did not arrive soon enough to +see his aged father. Brigadier Espronceda's death certificate is dated +January 10, 1833. + +Shortly after José's arrival he joined the fashionable Guardia de Corps +or royal guard regiment. This step, apparently so inconsistent with +his revolutionary activities, has puzzled all his biographers. But +Espronceda was only following the family tradition. His elder brother +had done the same. Doubtless he believed, in his first enthusiasm, that +Spain was now completely liberalized. Besides, he was a dandy always +eager for social distinction, and he had to live down the fact that his +mother was proprietress of an _establecimiento de coches_. The conduct +of his fellow-Numantino, Escosura, who had found it possible to accept +a commission under Ferdinand, is far more surprising. Espronceda's +snobbishness, if he had any, cannot have been extreme, for he took up +residence with his mother over the aforementioned livery stable, in the +Calle de San Miguel. Teresa was prudently lodged under another roof. +Doña Carmen was as indulgent as ever, and especially desirous that her +son dress in the most fashionable clothes procurable. What with her +rent from the house, her widow's pension, and the yield of her business +venture, she was comfortably circumstanced. When Teresa abandoned the +child Blanca, Doña Carmen became a mother to her. When Doña Carmen died +in 1840 everything went to her son. + +Espronceda's career as a guardsman was brief. As a result of reading a +satirical poem at a public banquet, he was cashiered and banished to the +town of Cuéllar in Old Castile. There he wrote his "Sancho Saldaña o +el Castellano de Cuéllar," a historical novel in the manner of Walter +Scott, describing the quarrels of Sancho el Bravo with his father +Alfonso X. This six-volume work was contracted for in 1834 and completed +and published the same year. For writing it the author received six +thousand reales. Many writers in Spain were striving to rival the Wizard +of the North at this time. Ramón López Soler had set the fashion in +1830 with "Los Bandos de Castilla." Larra's "Doncel de Don Enrique +el Doliente" appeared in the same year with "Sancho Saldaña." But +Espronceda was probably most influenced by his friend Escosura, who had +printed his "Conde de Candespina" in 1832. The latter's best effort in +this genre, "Ni Rey ni Roque," 1835, was written when its author was +undergoing banishment for political reasons in a corner of Andalusia. To +employ the enforced leisure of political exile in writing a historical +novel was quite the proper thing to do. The banishment to Cuéllar must +have taken place in late 1833 or early 1834, for Espronceda's novel is +unquestionably inspired by his enforced visit to that town, and the +contract with his publisher is dated in Madrid, February 5, 1834. On +reading the contract it is apparent that the novel had hardly been begun +then, as it was to be paid for in installments. Whether it was written +mostly in Cuéllar or Madrid we do not know and care little. In January +of that year _El Siglo_ was founded, a radical journal with which +Espronceda was prominently connected. During the brief existence of this +incendiary sheet (January 21 until March 7) Espronceda contributed to it +several political articles. The last issue came out almost wholly blank +as an object lesson of the censor's activity. There follow a few +months of agitation and political intrigue, the upshot of which +was Espronceda's imprisonment for three weeks without trial. After +protesting in the press and appealing to the queen regent, he was +released and banished to Badajoz. How long he was absent from the +capital we do not know, except that this banishment, like the others, +was of short duration. During all this commotion there was produced at +the Teatro de la Cruz, in April, an indifferent play, "Ni el Tío ni el +Sobrino," whose authors were Espronceda and his friend Antonio Ros y +Olano. It is difficult to paint anything but a confused picture of +Espronceda's life during the remaining years of this decade. We catch +glimpses of him debating questions of art and politics at cafés and +literary _tertulias_ like the Parnasillo, where Mesonero Romanos saw him +faultlessly attired and "darting epigrams against everything existing, +past, and future." Córdoba in his memoirs bears witness that he was +still the _buscarruidos_ of old. Espronceda with Larra, Escosura, Ros +De Olano, and Córdoba constituted the "Thunder Band" of the Parnasillo +(_partida del trueno_). After a long literary discussion they would +sally forth into the streets, each armed with a peashooter and on +mischief bent. A favorite prank was to tie a chestnut vender's table to +a waiting cab and then watch the commotion which followed when the cab +started to move. On one occasion, finding the Duke of Alba's coachman +asleep on the box, they painted the yellow coach red, so altering it +that the very owner failed to recognize it when he left the house where +he had been calling. In politics Espronceda is always a leader in +revolt, fighting with pen and sword for his none-too-clearly-defined +principles. Even the Mendizábal ministry, the most advanced that Spain +has ever had, does not satisfy him. His ideal is a republic and the +downfall of "the spurious race of Bourbon." His love affairs are equally +stormy. In literature he is attempting everything, plays, a novel, +polemical articles, lyric poems, and one supreme work which is to be the +very epic of humanity. + +In 1835 Espronceda became an officer in the National Militia. In August +of that year the militiamen were defeated in an unsuccessful revolt +against the Toreno ministry. In 1836 he was equally unfortunate in a +revolt against the Istúriz ministry. It was then, when pursued by the +police, that a friend secreted him in the safest possible place, the +home of a high police official. Espronceda employed his leisure hours in +this refuge by writing "El Mendigo" and "El Verdugo." Two years later +he traveled extensively through Andalusia engaged in revolutionary +propaganda. He was probably trying to bring about a republican form of +government. In September, 1838, his play "Amor venga sus agravios," +written in collaboration with Eugenio Moreno López, was produced at the +Teatro del Príncipe. Its success was moderate. The next year, while in +Granada, he and his friend Santos Álvarez were guests of honor at a +literary soirée. Espronceda's contribution was the reading of "El +Estudiante de Salamanca." This poem was first printed, at least in part, +in _La Alhambra_ for 1839. The great political event of this year was +the ending of the first Carlist war. The victories of the national +troops were celebrated by a huge public demonstration in Madrid on the +national holiday, May 2, 1840. For this occasion Espronceda wrote his +patriotic poem "El Dos de Mayo." Only three days later his volume of +"Poesías" was placed on sale, and, like Byron, he awoke to find himself +famous. His old teacher Lista wrote a favorable review. From then on +Espronceda was a man of note. The Madrid revolution of September 1 +forced an unwilling regent to make Espartero, hero of the Carlist war, +prime minister. A radical sheet, _El Huracán_, was accused of attacking +Cristina and of advocating republicanism. Espronceda, though not a +lawyer, was chosen to defend the journal. This he did with complete +success. His speech has not come down to us, but we are told that in it +he appeared in the rôle of an uncompromising republican. + +Nevertheless he was soon to compromise. He was now a man of mark, and +the liberal régime in power were not slow to see that it would be +advantageous to enlist his services. In November, 1841, he accepted an +appointment to serve as secretary to the Spanish legation at the Hague. +He served in this capacity exactly five days. Arriving at the Hague +on January 29, 1842, he departed for Madrid on February 3. A certain +Carrasco had been elected deputy of the province of Almería. He was now +urged to resign to make room for Espronceda. This he did, and Espronceda +was elected and served in his stead. Of course all this had been +prearranged. After his return he continued to hold his diplomatic +position and receive pay for it, a not very honorable course on the part +of one who pled so eloquently for the abolition of useless offices +and the reform of the diplomatic service. In this way the Espartero +government conciliated Espronceda with two offices. Henceforth his +republicanism was lukewarm. Escosura tells us that concern for his +daughter Blanca's financial future had rendered him prudent. + +I am inclined to think that Espronceda's biographers underrate his +services in the Chamber of Deputies. The trouble is that in his rôle of +deputy their hero failed to justify preconceived notions regarding his +character. Those who looked for revolution in his speeches found only +sound finance. We seek in vain for anything subversive. There is nothing +suggestive of the lyric poet or even of the fiery defender of _El +Huracán_. As a poet he had praised the destructive fury of the Cossacks +who swept away decadent governments. In defending _El Huracán_ he had +used the word Cossack as a term of reproach, applying it to those +self-seeking politicians who were devouring the public funds. By this +time he had himself become a Cossack on a small scale. Yet we must do +him the justice to point out that he had had sufficient firmness of +principle to refuse office under Mendizábal, Istúriz, and the Duque de +Rivas. Fitzmaurice-Kelly is possibly going too far in intimating that +he was degenerating into a hidebound conservative and opportunist. +Something of the old reforming zeal survived. Though many +disillusionments may have rendered him less eager for a republican form +of government, his latest utterances show him zealous as ever for social +and economic reform. Espronceda's parliamentary career lasted less than +three months (March 1 to May 23, 1842). One can only wonder that in so +brief a time a man already stricken with a fatal illness should have +taken so able a part in an assembly in which he was a newcomer. Nor +should we complain that his speeches lack eloquence. It is fairer to +give him credit for not falling into the abuse of _palabrería_, the +besetting sin of most _diputados_. + +His views were sober and sound. Travel had given him a wider +outlook than most of his colleagues possessed. He was the enemy of +_españolismo_, wanted his nation to take a prominent part in European +affairs, and no longer to lead the life of a hermit nation. But he is no +jingo. He speaks against the bill to add fifty thousand to the standing +army. Spain had passed through too many upheavals. What she needed to +make her a European power was tranquility and opportunity to develop +financial strength. Give the producing classes their long-awaited +innings. But he is bitter against the magnates of the bourse and those +politicians who legislate to produce an artificial rise in values. The +true policy is to better the condition of the masses, to encourage +agriculture and manufactures: even the construction of railways should +wait until there is first something to haul over them. But manufactures +should not be protected by a tariff. In his speech against the tariff +on cotton he shows himself an out and out free-trader. He praises the +English for their policy of free trade, enlightened self-interest he +deems it, which tends to make the world one large family. As a writer he +had inveighed against commercialism. But he now discerns a future where +commerce shall replace war. He was unable to foresee that in the future +trade was to be a chief cause of war. + +That he was a ready debater is shown by his neat rejoinder to Deputy +Fontán. This gentleman had made sneering allusions to men of letters +who dabbled in diplomacy. Far from accepting the remark as a thrust at +himself, as it was intended, Espronceda resented it as an insult to the +then American minister Washington Irving, "novelist of the first +rank, known in Europe through his writings even more than through the +brilliancy of his diplomatic career." + +Espronceda's health had been failing for some months. It is said that +chronic throat trouble had so weakened his voice as to make his remarks +in the Cortés scarcely audible. On May 18, 1842, he journeyed on +horseback to Aranjuez to visit Doña Bernarda Beruete, a young lady to +whom he was then engaged. Hastily returning to Madrid on the afternoon +of the same day, so as not to miss a night session of the Cortés, he +contracted a cold which soon turned into a fatal bronchitis. Others say +he was taken ill at a reception given by Espartero. He died May 23, +1842, at the early age of 34. He was honored with a public funeral in +keeping with his position as deputy and distinguished man of letters. +His first place of burial was the cemetery of San Nicolás; but in 1902 +his remains, together with those of Larra, were exhumed and reburied in +the Pantheon for Distinguished Men of the Nineteenth Century, situated +in the Patio de Santa Gertrudis in the Cementerio de la Sacramental de +San Justo. + +In forming our estimate of the man, we must carefully distinguish +between the Espronceda of legend and the Espronceda of fact; for a +legend sprang up during his own lifetime, largely the result of his own +self-defamation. Like many other Romanticists, Espronceda affected a +reputation for diabolism. He loved to startle the bourgeois, to pose as +atheist, rake, deposer of tyrants. Escosura sums up this aspect of his +character by branding him "a hypocrite of vice." Many have been led +astray by Ferrer del Río's statement that in drawing the character of +the seducer, Don Félix de Montemar, Espronceda was painting his own +portrait. Such criticism would have delighted Espronceda, but the +imputation was indignantly denied by his close friend Escosura. Modern +critics are careful to avoid this extreme; but, in the delight of +supporting a paradox, some are disposed to go too far in the opposite +direction. Señor Cascales, for instance, is unconvincing when he seeks +to exonerate Espronceda from all blame in the Teresa episode. Like the +devil, Espronceda was not so black as he was painted, not so black as +he painted himself; but he was far from being a Joseph. It is easy to +minimize the importance of the part he played in the national militia. +Doubtless much of his plotting was puerile and melodramatic. His +activities as a revolutionist cannot have greatly affected the course of +events. But it is unfair to deny him credit for constant willingness +to risk his life in any cause which seemed noble. That his conduct was +inconsistent merely proves that he followed no calmly reasoned political +system. He reflects in his conduct the heated sentiment of the time, +varying as it did from day to day. He sometimes compromised with his +ideals, his sense of honor was not always of the highest, but he never +seems to have grown lukewarm in his desire to serve the people. He is +a liberal to the last, a liberal with notions of political economy and +English constitutional practice. His quarrel with the church seems to +have been political rather than theological. He hated the friars and the +church's alliance with Carlism. That the last rites were administered to +him shows that he died a professing Catholic. In appearance Espronceda +was handsome, if somewhat too effeminate-looking to suggest the +fire-eater. He never cultivated slovenliness of attire like most +members of the Romantic school; on the contrary, he was the leading +representative in Spain of dandyism. To sum up, Espronceda's was a +tempestuous and very imperfect character. "Siempre fuí el juego de mis +pasiones," is his own self-analysis. The best that can be said of him +is that he was a warm, affectionate nature, generous, charitable to the +poor, a loyal friend, and one actuated by noble, if sometimes mistaken, +ideals. Years afterward, when Escosura passed in review the little +circle of the Colegio de San Mateo, Espronceda was the only one of them +whom he could truly say he loved. + + +THE WORKS OF ESPRONCEDA + +Of all the Spanish poets of the period of Romanticism, Espronceda is the +most commanding figure. Piñeyro, adopting Emerson's phrase, calls him +the Representative Man of that age of literary and political revolt. +More than that, criticism is unanimous in considering him Spain's +greatest lyric poet of the nineteenth century. + +First of all he interests as the poet of democracy. The Romantic poets +were no more zealous seekers for political liberalism than the +classic poets of the previous generation had been; but their greater +subjectivity and freedom of expression rendered their appeal more +vigorous. Espronceda's hatred for absolutism was so intense that in +moments of excitement he became almost anti-social. The pirate, the +beggar, the Cossack, were his heroes. The love of this dandy for the +lower classes cannot be dismissed as mere pose. He keenly sympathized +with the oppressed, and felt that wholesale destruction must precede +the work of construction. We look in vain for a reasoned political +philosophy in his volcanic verse. His outpourings were inspired by the +irresponsible ravings of groups of café radicals, and the point of view +constantly changed as public sentiment veered. According to his lights +he is always a patriot. Liberty and democracy are his chief desires. + +Like most Romanticists, Espronceda was intensely subjective. He +interests by his frank display of his inner moods. Bonilla, in his +illuminating article "El Pensamiento de Espronceda," states that the +four essential points in the philosophy of Romanticism were: doubt, +the first principle of thought; sorrow, the positive reality of life; +pleasure, the world's illusion; death, the negation of the will to live. +Espronceda shared all of these ideas. It is often impossible to say how +much of his suffering is a mere Byronic pose, and how much comes from +the reaction of an intensely sensitive nature to the hard facts of +existence. There is evidence that he never lost the zest of living; +but in his writings he appears as one who has been completely +disillusionized by literature, love, politics, and every experience +of life. Truth is the greatest of evils, because truth is always sad; +"mentira," on the other hand, is merciful and kind. He carries doubt so +far that he doubts his very doubts. Such a philosophy should logically +lead to quietism. That pessimism did not in the case of Espronceda +bring inaction makes one suspect that it was largely affected. There is +nothing profound in this very commonplace philosophy of despair. It is +the conventional attitude of hosts of Romanticists who did little +but re-echo the _Vanitas vanitatum_ of the author of Ecclesiastes. +Espronceda's thought is too shallow to entitle him to rank high as a +philosophic poet. In this respect he is inferior even to Campoamor +and Núñez de Arce. Genuine world-weariness is the outgrowth of a more +complex civilization than that of Spain. Far from being a Leopardi, +Espronceda may nevertheless be considered the leading Spanish exponent +of the _taedium vitae_. He has eloquently expressed this commonplace and +conventional attitude of mind. + +Like so many other writers of the Latin race, Espronceda is more +admirable for the form in which he clothed his thoughts than for those +thoughts themselves. He wrote little and carefully. He is remarkable for +his virtuosity, his harmonious handling of the most varied meters. He +never, like Zorrilla, produces the effect of careless improvisation. In +the matter of poetic form Espronceda has been the chief inspiration of +Spanish poets down to the advent of Rubén Darío. Fitzmaurice-Kelly, with +his happy knack of hitting off an author's characteristics in a phrase, +says: "He still stirs us with his elemental force, his resonant musical +potency of phrase, his communicative ardor for noble causes." + +Much harm has been done Espronceda's reputation for originality by those +critics who fastened upon him the name of "the Spanish Byron." Nothing +could be more unjust than to consider him the slavish imitator of a +single author. In literature, as in love, there is safety in numbers, +and the writer who was influenced by Calderón, Tasso, Milton, Goethe, +Béranger, Hugo, Shakespeare, and Scott was no mere satellite to Byron. +Señor Cascales is so sensitive on the point that he is scarcely willing +to admit that Byron exerted any influence whatsoever upon Espronceda. +The truth is that Byron did influence Espronceda profoundly, as +Churchman has sufficiently proved by citing many instances of borrowings +from the English poet, where resemblance in matters of detail is wholly +conclusive; but it is another matter to assert that Espronceda was +always Byronic or had no originality of his own. + +In considering Espronceda's writings in detail, we need concern +ourselves little with his dramatic and prose writings. The quickest road +to literary celebrity was the writing of a successful play. Espronceda +seems never to have completely relinquished the hope of achieving such a +success. His first attempt was a three-act verse comedy, "Ni el Tío ni +el Sobrino" (1834), written in collaboration with Antonio Ros de Olano. +Larra censured it for its insipidity and lack of plan. A more ambitious +effort was "Amor venga sus agravios" (1838), written in collaboration +with Eugenio Moreno López. This was a five-act costume play, in prose, +portraying the life at the court of Philip IV. It was produced without +regard to expense, but with indifferent success. Espronceda's most +ambitious play was never staged, and has only recently become easily +accessible: this was "Blanca de Borbón," a historical drama of the times +of Peter the Cruel in five acts, in verse. The first two acts were +written in Espronceda's early Classic manner; the last three, written +at a later period, are Romantic in tone. The influence of "Macbeth" is +apparent. "Blanca de Borbón" could never be a success on the stage. The +verse, too, is not worthy of the author. Espronceda was too impetuous +a writer to comply with the restrictions of dramatic technique. The +dramatic passages in "El Estudiante de Salamanca" and "El Diablo Mundo" +are his best compositions in dialogue. + +"Sancho Saldaña" is Espronceda's most important prose work. It is a +historical novel of the thirteenth century, written frankly in imitation +of Walter Scott's Waverley Novels. The romance contains many tiresome +descriptions of scenery, and drags along tediously as most old-fashioned +novels did. But Espronceda had none of Sir Walter's archaeological +erudition, none of his ability to seize the characteristics of an epoch, +and above all none of his skill as a creator of interesting characters. +The personages in "Sancho Saldaña" fail to interest. The most that can +be said of the work is that among the numerous imitations of Scott's +novels which appeared at the time it is neither the best nor the worst. +Of his shorter prose works only two, "De Gibraltar a Lisboa, viaje +histórico" and "Un Recuerdo," are easily accessible. They are vivid +portrayals of certain episodes of his exile, and may still be read +with interest. His most important polemical work is "El Ministerio +Mendizábal" (Madrid, 1836). In this screed we find the fiery radical +attacking as unsatisfactory the ultra-liberal Mendizábal. This and +shorter political articles interest the historian and the biographer, +but hardly count as literature. His rare attempts at literary criticism +have even less value. + +Espronceda shows true greatness only as a lyric poet. For spirit and +perfection of form what could be more perfect than the "Canción del +Pirata"? Like Byron in the "Corsair," he extols the lawless liberty of +the buccaneer. Byron was here his inspiration rather than Hugo. The +"Chanson de Pirates" cannot stand comparison with either work. But +Espronceda's indebtedness to Byron was in this case very slight. He +has made the theme completely his own. "El Mendigo" and "El Canto del +Cosaco," both anarchistic in sentiment, were inspired by Béranger. Once +more Espronceda has improved upon his models, "Les Gueux" and "Le Chant +du Cosaque." Compare Espronceda's refrain in the "Cossack Song" with +Béranger's in the work which suggested it: + + ¡Hurra, Cosacos del desierto! ¡Hurra! + La Europa os brinda espléndido botín + Sangrienta charca sus campiñas sean, + De los grajos su ejército festín. + + Hennis d'orgueil, o mon coursier fidèle! + Et foule aux pieds les peuples et les rois. + +The "Canto del Cosaco" was a prime favorite with the revolutionary youth +of Spain, who thundered out the "hurras" with telling effect. "El Reo de +Muerte" and "El Verdugo" are in a similar vein, though much inferior. +"Serenata," "A la Noche," "El Pescador" (reminiscent of Goethe), "A una +Estrella," and "A una Rosa, soneto" are lighter works. They make up in +grace what they lack in vigor. "El Himno al Sol" is the most perfect +example of Espronceda's Classic manner, and is rightly considered one of +his masterpieces. It challenges comparison with the Duque de Rivas' very +similar poem. Of the numerous patriotic poems "Al Dos de Mayo" and "A +la Patria" deserve especial mention. He attempted satire in "El Pastor +Clasiquino," recently reprinted by Le Gentil from "El Artista." In +this poem he assails academic poetry like that produced by his old +fellow-academicians of the Myrtle. It betrays the peevishness of a +Romanticist writing when Romanticism was already on the wane. + +"El Diablo Mundo," Espronceda's most ambitious work, is commonly +considered his masterpiece; an unfinished masterpiece, however. Even +if death had spared him, it is doubtful if he could have finished so +all-embracing a theme as he proposed: + + Nada menos te ofrezco que un poema + Con lances raros y revuelto asunto, + De nuestro mundo y sociedad emblema.... + Fiel traslado ha de ser, cierto trasunto + De la vida del hombre y la quimera + Tras de que va la humanidad entera. + Batallas, tempestades, amoríos, + Por mar y tierra, lances, descripciones + De campos y ciudades, desafíos, + Y el desastre y furor de las pasiones, + Goces, dichas, aciertos, desvaríos, + Con algunas morales reflexiones + Acerca de la vida y de la muerte, + De mi propia cosecha, que es mi fuerte. + +Adam, hero of the epic, is introduced in Canto I as an aged scholar +disillusioned with life, but dreading the proximity of Death, with whom +he converses in a vision. The Goddess of Life grants him the youth of +Faust and the immortality of the Wandering Jew. Unlike either, he has +the physical and mental characteristics of an adult joined to the +naïveté of a child. In Canto III Adam appears in a _casa de huéspedes_, +naked and poor, oblivious of the past, without the use of language, with +longings for liberty and action. Here his disillusionment begins. His +nakedness shocks public morality; and the innocent Adam who is hostile +to nobody, and in whom the brilliant spectacle of nature produces +nothing but rejoicing, receives blows, stonings, and imprisonment from +his neighbors. Childlike he touches the bayonet of one of his captors, +and is wounded. This symbolizes the world's hostility to the innocent. +In Canto IV we find Adam in prison. His teachers are criminals. He was +born for good; society instructs him in evil. In Canto V he experiences +love with the _manola_ Salada, but sees in this passion nothing but +impurity. He longs for higher things. Circumstances abase him to crime. +He joins a band of burglars, and, falling in love with the lady whose +house they are pillaging, protects her against the gang. In Canto VI he +continues along his path of sorrow. He enters a house where a beautiful +girl is dying, while in another room revelers are making merry. This +leads him to speculate on life's mysteries and to reason for himself. +The poem ends where Adam has become thoroughly sophisticated. He is now +like any other man. + +Evidently it was the poet's intention to make Adam go through a series +of adventures in various walks of life, everywhere experiencing +disillusionment. In spite of the elaborate prospectus quoted above, +we may agree with Piñeyro that the poet started writing with only the +haziest outline planned beforehand. Espronceda frankly reveals to us his +methods of poetic composition: + + ¡Oh cómo cansa el orden! no hay locura + Igual a la del lógico severo. + +And again: + + Terco escribo en mi loco desvarío + Sin ton ni són, y para gusto mío.... + Sin regla ni compás canta mi lira: + Sólo mi ardiente corazón me inspira! + +"El Diablo Mundo" is no mere imitation of Byron's "Don Juan" and +Goethe's "Faust," though the influence of each is marked. It has +numerous merits and originalities of its own. Inferior as Espronceda +is to Byron in wit and to Goethe in depth, he can vie with either as a +harmonious versifier. + +The philosophy of "El Diablo Mundo" is the commonplace pessimism of +Romanticism. The following excerpt shows how the author's skepticism +leads him to doubt his very doubts; hence his return to a questioning +acceptance of Christianity: + + Las creencias que abandonas, + Los templos, las religiones + Que pasaron, y que luego + Por mentira reconoces, + ¿Son quizá menos mentira + Que las que ahora te forges? + ¿No serán tal vez verdades + Los que tú juzgas errores? + +Canto II of "El Diablo Mundo" consists of the poem "A Teresa. Descansa +en Paz." This has not the slightest connection with the rest of the +poem, and can only be understood as a separate unity. It is included +in the present collection because it is the supreme expression of our +poet's subjective method. As such it stands in excellent contrast to "El +Estudiante de Salamanca," which is purely objective. No reader knows +Espronceda who has read merely his objective poems. For self-revelation +"A Jarifa en una Orgía" alone may be compared with "A Teresa." We may +agree with Escosura that Espronceda is here giving vent to his rancor +rather than to his grief, that it is the _menos hidalgo_ of all his +writings. But for once we may be sure that the poet is writing under the +stress of genuine emotion. For once he is free from posing. + + +"THE STUDENT OF SALAMANCA" + +"El Estudiante de Salamanca" represents the synthesis of two well-known +Spanish legends, the Don Juan Tenorio legend and the Miguel Mañara +legend. The first of these may be briefly stated as follows: Don Juan +Tenorio was a young aristocrat of Seville famous for his dissolute life, +a gambler, blasphemer, duelist, and seducer of women. Among numerous +other victims, he deceives Doña Ana de Ulloa, daughter of the Comendador +de Ulloa. The latter challenges Don Juan to a duel, and falls. Later Don +Juan enters the church where the Commander lies buried and insults his +stone statue, after which he invites the statue to sup with him that +night. At midnight Don Juan and his friends are making merry when a +knock is heard at the door and the stone guest enters. Don Juan, who +does not lose his bravery even in the presence of the supernatural, +plays the host, maintaining his air of insulting banter. At the end of +the evening the guest departs, offering to repay the hospitality the +following night if Don Juan will visit his tomb at midnight. Though +friends try to dissuade him, Don Juan fearlessly accepts the invitation. +At the appointed hour he visits the tomb. Flames emerge from it, and Don +Juan pays the penalty of his misdeeds, dying without confession. + +This is the outline of the story as told by Tirso de Molina in "El +Burlador de Sevilla o el Convidado de Piedra." The same theme has been +treated by Molière, Goldoni, Mozart, Byron, and Zorrilla, to mention but +a few of the hundreds of writers who have utilized it. In the hands of +non-Spanish writers the character of Don Juan loses the greater part of +its essential nobility. To them Don Juan is the type of libertine and +little more. He was a prime favorite with those Romanticists who, like +Gautier, felt "Il est indécent et mauvais ton d'être vertueux." But +as conceived in Spain Don Juan's libertinage is wholly subsidiary and +incidental. He is a superman whose soaring ambition mounts so high that +earth cannot satisfy it. The bravest may be permitted to falter in the +presence of the supernatural; but Don Juan fears neither heaven nor +hell. His bravery transcends all known standards, and this one virtue, +though it does not save him from hell, redeems him in popular esteem. + +Don Félix de Montemar is the typical Don Juan type, a libertine, +gambler, blasphemer, heartless seducer, but superhumanly brave. Yet the +plot of Espronceda's poem bears closer resemblance to the story told of +Miguel Mañara. + +Miguel Mañara (often erroneously spelled Maraña) Vicentelo de Leca +(1626-1679) was an alderman (_veintecuatro_) of Seville and a knight of +Calatrava. As a youth his character resembled that of Don Juan. One day +some hams sent to him from the country were intercepted by the customs. +He started out to punish the offending officers, but on the way repented +and thenceforth led a virtuous life. In 1661, after his wife's death, +he entered the Hermandad de la Caridad, later becoming superior of that +order. In his will he endowed the brotherhood with all his wealth and +requested that he be buried under the threshold of the chapel of San +Jorge. His sole epitaph was to be "Here repose the bones and ashes of +the worst man who ever existed in the world." Don Miguel's biography was +written by his friend the Jesuit Juan de Cardeñas and was added to by +Diego López de Haro, "Breve relación de la muerte, de la vida y virtudes +de Don Miguel de Mañara," Seville, 1680. + +There soon sprang up a legend around the name of Mañara. He is said +to have fallen in love with the statue on the Giralda tower. On one +occasion the devil gave him a light for his cigar, reaching across +the Guadalquivir to do so. Again, he pursued a woman into the very +cathedral, forcibly pulled aside her mantilla and discovered a skeleton. +Yet more surprising, he was present, when still alive, at his own +funeral in the Church of Santiago. But these stories associated with the +name of Mañara are much older than he. Antonio de Torquemada, "Jardín de +Flores Curiosas," Salamanca, 1570, tells of an unnamed knight who fell +in love with a nun. He enters her convent with false keys only to find a +funeral in progress. On inquiring the name of the deceased, he is told +that it is himself. He then runs home pursued by two devils in the form +of dogs who tear him to pieces after he has made pious repentance. +Cristóbal Bravo turned this story into verse, Toledo, 1572. One or other +of these versions appears to have been the source of Zorrilla's "El +Capitán Montoya." Gaspar Cristóbal Lozano, "Soledades de la Vida y +Desengaños del Mundo" (Madrid, 1663), tells the same story, and is the +first to name hero and heroine, Lisardo and Teodora. Lozano, too, is the +first to make the male protagonist a Salamanca student. Lozano's version +inspired two ballads entitled "Lisardo el Estudiante de Córdova." These +were reprinted by Durán, _Romancero general_, Vol. I, pp. 264-268, where +they are readily accessible. + +This ballad of Lisardo the Student of Cordova was undoubtedly +Espronceda's main source in writing "The Student of Salamanca," and to +it he refers in line 2 with the words _antiguas historias cuentan_. Yet +the indebtedness was small. Espronceda took from the ballad merely the +idea of making the hero of the adventure a Salamanca student, and +the episode of a man witnessing his own funeral. Needless to say +Espronceda's finished versification owed nothing to the halting meter of +the original. Lisardo, a Salamanca student, though a native of Cordova, +falls in love with Teodora, sister of a friend, Claudio. Teodora is +soon to become a nun. One night he makes love to her and is only mildly +rebuked. But a ghostly swordsman warns him that he will be slain if he +does not desist. Nevertheless he continues his wooing in spite of the +fact that Teodora has become a nun. She agrees to elope. While on his +way to the convent to carry out this design, his attention is attracted +by a group of men attacking an individual. This individual proves to be +himself, Lisardo. Lisardo, then, witnesses his own murder and subsequent +funeral obsequies. This warning is too terrible not to heed. He gives +over his attempt at seduction and leads an exemplary life. + +There are many other examples in the literature of Spain of the man who +sees his own funeral. Essentially the same story is told by Lope de +Vega, "El Vaso de Elección. San Pablo." Bévotte thinks that Mérimée in +"Les Ames du purgatoire" was the first to combine the Don Juan and the +Miguel de Mañara legends, so closely alike in spirit, into a single +work. But Said Armesto finds this fusion already accomplished in a +seventeenth-century play, "El Niño Diablo." Dumas owed much to Mérimée +in writing his allegorical play "Don Juan de Maraña," first acted April +30, 1836. This became immediately popular in Spain. A mutilated Spanish +version appeared, Tarragona, 1838, Imprenta de Chuliá. It is doubtful +whether Espronceda owes anything to either of these French works, +although both works contain gambling scenes very similar to that in +which Don Félix de Montemar intervened. In the Dumas play Don Juan +stakes his mistress in a game, as Don Félix did his mistress's portrait. +It seems likely that Espronceda derived his whole inspiration for this +scene from Moreto's "San Franco de Sena," which he quotes. + +The legend of the man who sees his own funeral belongs to the realm of +folk-lore. Like superstitions are to be found wherever the Celtic race +has settled. In Spain they are especially prevalent in Galicia and +Asturias. There the _estantigua_ or "ancient enemy" appears to those +soon to die. These spirits, or _almas en pena_, appear wearing +winding-sheets, bearing candles, a cross, and a bier on which a corpse +is lying. Don Quijote in attacking the funeral procession probably +thought he had to do with the _estantigua_. Furthermore, Said Armesto in +his illuminating study "La Leyenda de Don Juan" proves that the custom +of saying requiem masses for the living was very ancient in Spain. One +recalls, too, how Charles V in his retirement at Yuste rehearsed his own +funeral, actually entering the coffin while mass was being said. + +Of all Espronceda's poems "El Estudiante de Salamanca" is the most +popular. It has a unity and completeness lacking in both the "Pelayo" +and "El Diablo Mundo." Every poet of the time was busy composing +_leyendas_. Espronceda attempted this literary form but once, yet of +all the numerous "legends" written in Spain this is the most fitted +to survive. Nowhere else has the poet shown equal virtuosity in the +handling of unusual meters. Nowhere among his works is there greater +variety or harmony of verse. Though not the most serious, this is the +most pleasing of his poems. Espronceda follows the Horatian precept +of starting his story "in the middle of things." In the first part he +creates the atmosphere of the uncanny, introduces the more important +characters, and presents a striking situation. Part Second, the most +admired, is elegiac in nature. It pleases by its simple melancholy. This +part and the dramatic tableau of Part Three explain the cause of the +duel with which Part One begins. Part Four resumes the thread of the +narration where it was broken off in Part One, and ends with the Dance +of Death which forms the climax of the whole. The character of Don Félix +de Montemar is vigorously drawn. Originality cannot be claimed for it, +as it is the conventional Don Juan Tenorio type. The character of Doña +Elvira hardly merits the high praise of Spanish critics. She is +a composite portrait of Ophelia, Marguerite, and two of Byron's +characters, Doña Julia and Haidée, a shadowy, unreal creation, as +ghostly in life as in death. "The Student of Salamanca" tells a story +vigorously and sweetly. It does not abound in quotable passages like the +"Diablo Mundo." It is neither philosophic nor introspective. It teaches +no lesson. Its merit is its perfection of form. + + +BIBLIOGRAPHICAL NOTE + +The best biography of Espronceda is that of José Cascales y Muñoz, "D. +José de Espronceda, su época, su vida y sus obras," Madrid, 1914. This +is an expansion of the same author's "Apuntes y Materiales para la +Biografía de Espronceda," _Revue hispanique_, Vol. XXIII, pp. 5-108. See +also a shorter article by the same author in _La España Moderna_, Vol. +CCXXXIV, pp. 27-48. Less critical, but useful, is Antonio Cortón, +"Espronceda," Madrid, 1906. The very uncritical book by E. Rodríguez +Solís, "Espronceda: su tiempo, su vida y sus obras," Madrid, 1883, is +chiefly valuable now as the best source for Espronceda's parliamentary +speeches. J. Fitzmaurice-Kelly's "Espronceda," _The Modern Language +Review_, Vol. IV, pp, 20-39, is admirable as a biography and a +criticism, though partially superseded by later works containing the +results of new discoveries. P.H. Churchman, "Byron and Espronceda," +_Revue hispanique_, Vol. XX, pp. 5-210, gives a short biography, though +the study is in the main a penetrating investigation of Espronceda's +sources. E. Piñeyro has written two articles on Espronceda: "Poetas +Famosos del Siglo XIX," Madrid, 1883, and "El Romanticismo en España," +Paris, 1904. This last was first printed in the _Bulletin hispanique_ +for 1903. The older biography of D.A. Ferrer del Río, "Galería de la +Literatura," Madrid, 1846, still has a certain value; but the most +important source for Espronceda's youthful adventures is "El Discurso +del Excmo. Señor D. Patricio de la Escosura, individuo de número de la +Academia Española, leído ante esta corporación en la sesión pública +inaugural de 1870," Madrid, 1870. This matter is expanded in five +very important articles which appeared in "La Ilustración Española y +Americana" for 1876 (February 8, February 22, June 22, July 8, September +22), partially reproduced in the book of Cascales y Muñoz. See also +López Núñez, "José de Espronceda, Biografía Anecdótica," Madrid, 1917 +and A. Donoso, "La Juventud de Espronceda," _Revista Chilena_, July, +1917. The best study of Espronceda's philosophy is Bonilla y San +Martín's, "El Pensamiento de Espronceda," _La España Moderna_, Vol. +CCXXXIV. For a recent short article see Cejador y Frauca, "Historia de +la Lengua y Literatura Castellana," VII, Madrid, 1917, PP. 177-185. + +The best bibliography of Espronceda's writings is that of Churchman, "An +Espronceda Bibliography," _Revue hispanique_, XVII, pp. 741-777. This +should be supplemented by reference to Georges Le Gentil, "Les Revues +littéraires de l'Espagne pendant la première moitié du XIXe siècle," +Paris, 1909. The least bad edition of Espronceda's poems is "Obras +Poéticas y Escritos en Prosa," Madrid, 1884. (The second volume, which +was to contain the prose writings, never appeared.) See also the "Obras +Poéticas de Espronceda," Valladolid, 1900, and "Espronceda," Barcelona, +1906. Also "Páginas Olvidadas de Espronceda," Madrid, 1873. There has +been a recent reprint of "Sancho Saldaña," Madrid, 1914, Repullés. +Churchman has published "Blanca de Borbón," _Revue hispanique_, Vol. +XVII, and also "More Inedita" in the same volume. There is said to be +an English translation of "The Student of Salamanca," London, 1847. An +excellent French version is that of R. Foulché-Delbosc, "L'Étudiant de +Salamanque," Paris, 1893. Mary J. Serrano has made splendid translations +of "The Pirate" and "To Spain: An Elegy," Warner's Library of the +World's Best Literature, Vol. XIV. + +For a very full treatment and bibliography of the Don Juan Tenorio +legend see G.G. de Bévotte, "La Légende de Don Juan," Paris, 1911. +Also Farinelli, _Giornale Storico_, XXVII, and "Homenaje a Menéndez +y Pelayo," Vol. I, p. 295; A.L. Stiefel, _Jahresberichte für neuere +deutsche Litteraturgeschichte_, 1898-1899, Vol. I, 7, pp. 74-79. + + +NOTES ON ESPRONCEDA'S VERSIFICATION + + +GENERAL CONSIDERATIONS + +To enjoy the work of so musical an artist as Espronceda, the student +must be able to read his verse in the original. This cannot be done +without some knowledge of the rules which govern the writing of Spanish +poetry. It therefore becomes necessary to give some account of the +elementary principles of Spanish prosody. This is not the place for a +complete treatment of the subject: only so much will be attempted as is +necessary for the intelligent comprehension of our author's writings. A +knowledge of English prosody will hinder rather than help the student; +for the Spanish poet obeys very different laws from those which govern +the writer of English verse. + +The two essentials of Spanish poetry are (1) a fixed number of syllables +in each verse (by verse we mean a single line of poetry); (2) a +rhythmical arrangement of the syllables within the verse. Rime and +assonance are hardly less important, but are not strictly speaking +essential. + +SYLLABLE-COUNTING + +FINAL SYLLABLES + +When a verse is stressed on the final syllable, it is called a _verso +agudo_ or masculine verse. + +When a verse is stressed on the next to the last syllable, it is called +a _verso llano_ or feminine verse. + +When a verse is stressed on the second from the last syllable, the +antepenult, it is called a _verso esdrújulo_. + +For the sake of convenience, the _verso llano_ is considered the normal +verse. Thus, in an eight-syllable verse of this type the final stress +always falls on the seventh syllable, in a six- syllable verse on the +fifth syllable, etc., always one short of the last. In the case of the +_verso agudo_, where the final stress falls on the final syllable, a +verse having actually seven syllables would nevertheless be counted as +having eight. One syllable is always added in counting the syllables of +a _verso agudo_, and, contrariwise, one is always subtracted from the +total number of actual syllables in a _verso esdrújulo_. These three +kinds of verses are frequently used together in the same strophe +(_copla_ or stanza) and held to be of equal length. Thus: + + Turbios sus ojos, + Sus graves párpados + Flojos caer. + +Theoretically these are all five-syllable verses. The first is a _verso +llano_, the normal verse. It alone has five syllables. The second is a +_verso esdrújulo_. It actually has six syllables, but theoretically is +held to have five. The third is a _verso agudo_. It actually has but +four syllables, but in theory is designated a five-syllable verse. All +three verses agree in having the final stress fall upon the fourth +syllable. + +It would be simpler if, following the French custom, nothing after the +final stress were counted; but Spaniards prefer to consider normal +the verse of average length. It follows from this definition that a +monosyllabic verse is an impossibility in Spanish. Espronceda writes: + + Leve, + Breve + Són. + +He is not here dropping from dissyllabic to monosyllabic verse, but the +last verse too must be considered a line of two syllables. + +Espronceda never uses a measure of more than twelve syllables in the +selections included in this book. Serious poets never attempt anything +longer than a verse of sixteen syllables. + +DIPHTHONGIZATION + +Spanish vowels are divided into two classes: the strong vowels, _a_, +_o_, _e_, and the weak vowels, _u_, _i_. According to the Academy rules, +followed by most grammarians, there can be no diphthongization of two +strong vowels in the proper pronunciation of prose; only when a strong +unites with a weak or two weaks unite can diphthongization take place. +In verse, on the other hand, diphthongization of two strong vowels is +not only allowable but common. This would probably not be the case if +the same thing did not have considerable justification in colloquial +practice. As a matter of fact we frequently hear _ahora_ pronounced +_áora_ with diphthongization and shift of stress. + +Of the three strong vowels, _a_ is "dominant" over _o_ and _e_; _o_ is +dominant over _e_; and any one of the three is dominant over _u_ or _i_. +A dominant vowel is one which has the power of attracting to itself the +stress which, except for diphthongization, would fall on the other +vowel with which it unites. The vowel losing the stress is called the +"absorbed" vowel. This principle, which we find exemplified in the +earliest poetic monuments of the language, must be thoroughly understood +by the student of modern Spanish verse. + +SYNERESIS + +Syneresis is the uniting of two or three vowels, each of which is +ordinarily possessed of full syllabic value, into a diphthong or a +triphthong, thereby reducing the number of syllables in the word; _h_ +does not interfere with syneresis. Thus, _aérea_ is normally a word of +four syllables. In this verse it counts as three. + + Mística y aérea dudosa visión (12) + +(The numbers in parentheses indicate the syllables in the verse. +Remember that the figure represents the theoretical number of syllables +in the line, and indicates the actual number only in the case of +the _verso llano_. Furthermore, the figure has been determined by a +comparison with adjacent lines in the same stanzas, verses which offer +no metrical difficulties.) So likewise in: + + Y en aérea fantástica danza (10) + +In the following we have double syneresis, and the word has but two +syllables: + + Aerea como dorada mariposa (11) + +Examples of syneresis after the tonic stress: + + Rechinan girando las férreas veletas (12) + Todos atropellándoos en montón (11) + Palpa en torno de sí, y el impio jura (11) + +_Impio_, usually _impío_, is one of a number of words admitting of two +stresses. Such are called words of double accentuation. The principle is +different from that governing the stress-shift explained above. The word +has its ordinary value in the following: + + «Bienvenida la luz,» dijo el impío (11) + +Examples of syneresis before the tonic stress: + + Se siente con sus lágrimas ahogar (11) + Tu pecho de roedor remordimiento (11) + ¡Ay! El que la triste realidad palpó! (12) + Toda la sangre coagulada envía (11) + ¿Quién en su propia sangre los ahogó? (11) + Tanto delirio a realizar alcanza (11) + Ahogar me siento en infernal tortura (11) + +Examples of syneresis under stress: + + El blanco ropaje que ondeante se ve (12) + Las piedras con las piedras se golpearon (11) + Ahora adelante?» Dijo, y en seguida (11) + +In the first two examples there is no stress-shift. In the third, the +stress travels from the _o_ of _Ahora_ to the initial _a_. In the +following example _ahora_ has three syllables: + + Será más tarde que ahora (8) + +The rule regarding syneresis under stress is that it is allowable, with +or without resulting stress-shift, except when the combinations _éa_, +_éo_, _óa_, are involved. Espronceda violates the rule in this instance: + + Veame en vuestros brazos y máteme luego (12) + +This is a peculiarly violent and harsh syneresis. The stress shifts from +the first _e_ to the _a_, giving a pronunciation very different from +that of the usual _véame_. Such a syneresis is more pardonable at the +beginning of a verse than in any other position; but good modern poets +strive to avoid such harshnesses. Espronceda sometimes makes _río_ +monosyllabic: + + Los rios su curso natural reprimen (11) + +In the poetry of the Middle Ages and Renaissance such pronunciations as +_teniá_ for _tenía_ are common. + +DIERESIS + +Dieresis is the breaking up of vowel-combinations in such a way as +to form an additional syllable in the word. It is the opposite of +syneresis. Dieresis never occurs in the case of the diphthongs _ie_ and +_ue_ derived from Latin (e), and (o), in words like _tierra_, _bueno_, +etc. _Uá_ and _uó_ are regularly dissyllabic except after _c_, _g_, and +_j_. Examples: + + Y en su blanca luz süave (8) + En la playa un adüar (8) + En vez de desafïaros (8) + Compañero eterno su dolor crüel (12) + Grandïosa, satánica figura (11) + El carïado, lívido esqueleto (11) + La Luna en el mar rïela (8) + Cólera, impetuoso torbellino (11) + Horas de confianza y de delicias (11) + En cárdenos matices cambiaban (11) + Rüido de pasos de gente que viene (12) + +The same word without dieresis: + + Por las losas deslízase sin ruido (11) + +In certain words, such as _cruel_, metrical custom preserves a +pronunciation in which the adjacent vowels have separate syllabic value. +Traditional grammar, represented by the Academy, asserts that such is +the correct pronunciation of these words to this day; but the actual +speech of the best speakers diphthongizes these vowels, and their +separation in poetry must rank as a dieresis. In printing poetry it is +customary to print the mark of dieresis on many words in which dieresis +is regular as well as on those in which it is exceptional. + +SYNALEPHA + +Synalepha is the combining into one syllable of two or more adjacent +vowels or diphthongs of different words. It is the same phenomenon +as syneresis extended beyond the single word. _H_ does not prevent +synalepha. The number of synalephas possible in a single verse is +theoretically limited only by the number of syllables in that verse. A +simple instance: + + De alguna arruinada iglesia (8) + +The number of vowels entering into a synalepha is commonly two or three; +rarely four, and, by a _tour de force_, even five: + + Ni envidio a Eudoxia ni codicio a Eulalia (11) + +Synalepha is not prevented by any mark of punctuation separating the +two words nor by the caesural pause (see below). In dramatic verse a +synalepha may even be divided between two speakers. In the short lines +of "El Mendigo," Espronceda mingles four- with five-syllable verses. +But as the five-syllable verses begin with vowels and the preceding +four-syllable verses end with vowels, the former sound no longer than +the rest. In very short lines synalepha may occur between one verse +and another following it. See also line 1389 of "El Estudiante de +Salamanca." + +1. The simplest case is where both vowels entering into synalepha occur +in unstressed syllables: + + Informes, en que se escuchan (8) + +When the two vowels coming together are identical, as here, they fuse +into a single sound (_s'escuchan_), with only a slight gain in the +quantity of the vowel. _Se_ here has no individual accent in the +stress-group. Where the vowels in synalepha are different, each is +sounded, but the stronger or more dominant is the one more distinctly +heard: + + Vagar, y aúllan los perros (8) + +2. The second case is where the vowel or diphthong ending the first word +in the synalepha bears the stress, and the initial vowel or diphthong +of the second word is unstressed. Examples which do not involve +stress-shift: + + Del que mató en desafío (8) + Que no he seguido a una dama (8) + +(_He_ is without stress in the group.) + + JUGADOR PRIMERO + No tardará. + + JUGADOR TERCERO + Envido. + + JUGADOR PRIMERO + Quiero. (8) + +In the following examples stress-shift occurs, because the unstressed +vowel is dominant while the stressed vowel is absorbed. Such +stress-shifts as these are sanctioned only when they do not coincide +with a strong rhythmic stress (see below) in the verse. They are less +offensive at the beginning than at the end: + + Allí en la triste soledad se hallaron (11) + Tú el aroma en las flores exhalas (10) + Al punto aquí castigaré al medroso (11) + +The following are disagreeably harsh: + + Que estas torres llegué a ver (8) + ¿De inciertos pesares por qué hacerla esclava (12) + +3. The third case is where the second vowel or diphthong bears the +stress, while the first is unstressed: + + Teñida de ópalo y grana (8) + +In cases like these we are dealing with a form of synalepha which, +if not true elision, approaches it closely. According to Benot, the +pronunciation is not quite _d'ópalo_, but "there is an attempt at +elision." In other words, the second vowel or diphthong, if dominant, +so predominates over the first that it is scarcely audible. Under this +case, too, there may arise stress-shift: + + Se hizo el bigote, requirió la espada (11) + +This is a very bad verse. But such instances are rare in Espronceda and +good modern poets. They are never sanctioned in connection with a strong +rhythmic stress. In such a case hiatus (see below) is favored as the +lesser of two evils. + +4. The fourth case is where each of the two vowels bears the stress: + + Así, ante nosotros pasa en ilusión (12) + +What happens here is that one of the two stresses becomes subordinate to +the other, the stress being wholly assumed by the more dominant of the +two. + +Where three or more vowels unite in a synalepha, two things must be +borne in mind: (1) Stress-shift is not harsh to the Spanish ear, and +is always permissible, if more than two vowels are involved. This is +Espronceda's justification in the following: + + Si se murió, a lo hecho, pecho (8) + Necesito ahora dinero (8) + Su pecho ahogado (5) + +(2) The vowels of three words may not combine if the middle word is y, +e, he, o, or u. Examples: + + ¡Pues no ha hecho mal disparate! (8) + Que conduce a esta mansión (8) +But: Cuando en sueño | y en silencio (8) + Si tal vez suena | o está (8) + Alma fiera | e insolente (8) + +There is one case in the text where _he_ as middle word does enter into +synalepha, but this is merely the fusion of three identical vowels: + + Yo me he echado el alma atrás (8) + +HIATUS + +Hiatus is the breaking up into two syllables of vowel combinations in +adjacent words capable of entering into synalepha. It is an extension to +the word-group of dieresis, which applies only to a single word. + +Many authorities on Spanish versification recognize as hiatus various +cases which should not be so classified. In words like _yo, yerro, +hierro, huevo_, etc., the first phonetic element is in each case a +semi-vowel, and these semi-vowels have the value of consonants in the +words cited. To classify the following as examples of hiatus is to be +phonetically unsound: + + Perdida tengo | yo el alma (8) + Ponzoñoso lago de punzante | hielo (12) + Me he de quejar de este | yerro (8) + Levantóse en su cóncavo | hueco (10) + Cual témpanos de | hielo endurecidos (11) + Tierno quejido que en el alma | hiere (11) + +In none of these cases could there possibly be synalepha. Consequently +by definition there can be no hiatus. + +Hiatus most frequently occurs to avoid the greater cacophony which would +arise from stress-shift under case 3 of synalepha: + + Era la hora | en que acaso (8) + +Lack of hiatus would here produce a stress-shift resulting in an +unharmonious stressing of two successive syllables. + + Reposaba, y tumba | era (8) + +The same principle applies here as in the above, except that the effect +would be even worse, because the stress shift would come under the +rhythmic stress. (See below.) + + Su mejilla; es una | ola (8) (Ditto.) + ¡Pobres flores de tu | alma! (8) + +Probably to give the pronominal adjective greater emphasis. + + Y huyó su | alma a la mansión dichosa (11) + +Probably to avoid two successive stresses, though possibly there may be +dieresis in _mansión_. + + Don Félix, a buena | hora (8) + +Again to avoid stress-shift under the rhythmic stress. + + ¡El as! ¡el as! aquí está (8) + Y si Dios aquí os envia (8) + +In these two examples instead of hiatus there is synalepha with +stress-shift, but we have to do with case 2 of synalepha, not case 3. + + Que un alma, una vida, | es (8) + Cuando | hacia él fatídica figura (11) + Y el otro ¡Dios santo! y el otro era | él! (12) + ¡Villano! mas esto | es (8) + En cada | hijo a contemplar un rey (11) + +In some instances hiatus seems to occur for no other reason than to +preserve the verse-measure: + + Resonando cual lúgubre | eco (10) + Y palacios de | oro y de cristal (11) + ¡Y tú feliz, que | hallaste en la muerte (11) + +In general hiatus is most likely to occur before the principal rhythmic +stress in a verse; that is, before the final stress. + +RHYTHM, RHYTHMIC STRESS, THE CAESURAL PAUSE + +In English poetry the foot, rather than the syllable, is the unit. The +number of feet to a verse is fixed, but the number of syllables varies. +In Spanish poetry the number of syllables to a verse is fixed, subject +only to the laws of syllable-counting given above. But if in this +respect the Spanish poet has less freedom than the English versifier, he +has infinitely greater liberty in the arrangement of his rhythms. The +sing-song monotony of regularly recurring beats is intolerable to Latin +ears. The greater flexibility of Spanish rhythm can best be shown by +illustrations: + + The Assy'rian came do'wn like the wo'lf on the fo'ld, + And his co'horts were gle'aming in pu'rple and go'ld; + And the she'en of their spe'ars was like sta'rs on the se'a, + When the blu'e wave rolls ni'ghtly on de'ep Galile'e. + +Having chosen to write this poem in the anapestic tetrameter, Byron +never varies the rhythm except to substitute an occasional iambic at the +beginning of a verse: + + And the're lay the ste'ed with his no'stril all wi'de. + +Notice how much more freely Espronceda handles this meter in Spanish: + + Su fo'rma galla'rda dibu'ja en las so'mbras + El bla'nco ropaj'e que ondea'nte se ve', + Y cua'l si pisa'ra mulli'das alfo'mbras, + Deslí'zase le've sin rui'do su pie'. + + Tal vi'mos al ra'yo de la lu'na lle'na + Fugiti'va ve'la de le'jos cruza'r + Que ya' la' hinche en po'pa la bri'sa sere'na, + Que ya' la confu'nde la espu'ma del ma'r. + +The first of these stanzas has the true Byronic swing. But note how +freely the rhythm is handled in the second. Spanish rhythm is so +flexible and free that little practical advantage is gained by counting +feet. We distinguish only two sorts of verse-measure, the binary, where +in general there is stress on one syllable out of two--that is there +are trochees (__' __) or iambics (__ __') in the verse, or the two +intermingled--and second the ternary measure, where one of a group of +three syllables receives the stress. Such a verse is made up of dactyls +(__' __ __), anapests (__ __ __'), or amphibrachs (__ __' __), or some +combination of these. Of course, a three-syllable foot is often found in +binary verse, and, _vice versa_ a two-syllable foot in ternary measure. +By binary verse we mean only a form of verse in which the twofold +measure predominates, and by ternary one in which the threefold measure +predominates. The extract last quoted is an example of ternary verse. +The following will serve as a specimen of the binary movement: + + En de'rredo'r de u'na me'sa + Ha'sta se'is ho'mbres está'n, + Fi'ja la vi'sta' en los na'ipes, + Mie'ntras jue'gan a'l para'r; + +Every word in Spanish has its individual word-accent: _habí'a, +habla'do_. Now if we join these two words in a phrase, _habí'a +habla'do_, we note that while each of the words still retains its +individual word-accent, _hablado_ is more strongly stressed than +_había_. In addition to its word-accent _hablado_ bears what we term +a phrase-accent. In any line of verse some of the word-stresses are +stronger than others, and these stronger stresses are termed rhythmic +stresses. They correspond to the phrase-stresses of prose. The principal +rhythmic stress is the last stress of the line. In general the rhythmic +stress must coincide with a word-stress. It always does except where +stress-shift comes into play. We have already seen that a stress-shift +coinciding with the rhythmic stress is intolerable, and hiatus is +preferred. It is very unharmonious for two stresses to fall together at +the end of a verse: + + Que estas torres llegué a ver (8) + +This is a very bad verse, because _a_ is dominant over _é_ and brings +about stress-shift, and the two consecutive syllables _a_ and _ver_ are +both stressed. The result is unharmonious. A syllable bearing stress and +standing immediately before the final stress is called an obstructing +syllable (_una sílaba obstruccionista_). Every effort is made by a good +poet to avoid such a cacophony. The above is a good example of one. I +have emended llegué to _llegue_ in the text. + +A short verse can easily be spoken without pause, but above ten +syllables it becomes necessary for the reader to rest somewhere within +the line. The resting-place is called the caesural pause. The longer the +verse, the greater its importance. It does not prevent synalepha. The +stress immediately before the caesura must be the second most important +rhythmic stress of the verse. + +RIME AND ASSONANCE + +The regularity of the beats in English verse is of itself sufficient to +indicate when a line of poetry is ended, even though there be no rime to +mark that end. Hence blank verse has been highly developed by English +poets, and many, like Milton, have held it to be the noblest form of +verse. Blank verse is impossible in French, because French with its lack +of verbal stress has no other device than rime to mark the end of a +verse. Without rime French blank verse would be indistinguishable from +rhythmic prose. In Spanish the stress is not so heavy as in the Germanic +languages, but, on the other hand, is much stronger than in French. +Spanish blank verse is not unknown, but has never been cultivated with +great success. It is evident that in this language too, lacking as it +does regular rhythm in its versification, rime is much more necessary +than in English. However, an occasional _verso suelto_, or blank verse, +intermingled with rimed ones, is very common. + +Two words rime with one another when there is identity of sound between +the last stressed vowels and between any letters which may follow these +vowels. Rime is masculine (in Spanish _rima aguda_) when the last +syllables bear the stress: _mal_--_cristal_; or feminine when an +unstressed vowel follows the stressed one (in Spanish _rima llana_): +_hermosura_--_locura_. Inasmuch as _b_ and _v_ represent the same sound, +they rime. The weak vowel of a diphthong is ignored for riming purposes; +thus _vuelo_ rimes with _cielo_. Good poets avoid obvious or easy +rimes such as those yielded by flexional endings and suffixes. It is +permissible to rime two identically-spelled words if they are in fact +different words in meaning: _ven_ (they see) rimes with _vén_ (come). + +Assonance is the identity of sound of two or more stressed vowels and +the final following vowels, if there are any. In case consonants stand +after the stressed vowel they are disregarded. + +Assonance is of two sorts: single assonance (_asonante agudo_), +_están_--_va_--_parar_--_jamás_, etc.; and double assonance (_asonante +llano_), _cuentan_--_tierra_--_dejan _or _coronada_--_gasa_--_baña_. In +assonanced verse the assonanced words end the even lines. The odd are +usually blank, though sometimes rimed. A _voz aguda_ cannot assonate +with a _voz llana_, but there is no objection to the introduction of +_voces esdrújulas_ into _asonante llano_. In this case only the stressed +and the final vowels of the _esdrújula_ are counted; for example, +_América_ assonances with _crea_. When diphthongs enter into assonance, +the weak vowel is ignored: _pleita_ assonances with _pliega_. + +Assonance is not unknown in English, especially in popular or folk +verse; but we generally regard it as a faulty rime. Thus in the British +national anthem we read: + + Send him victorious, + Happy and glorious, + Long to reign over us, + God save the king! + +"Over us" plainly assonates, rather than rimes, with "glorious," but +this is dangerously close to doggerel. Assonance is unsuited to the +genius of any language possessed of a rich vowel-system. This is evident +to any one who has read Archbishop Trench's attempt to render Calderon's +verse into English assonance. + +STROPHES + +I shall not attempt to list the innumerable verse-forms to be found in +Spanish poetry, but shall only indicate the forms used by Espronceda in +the selections contained in this volume. Some of these are fixed and +conventional, and others are of his own contrivance. Spanish uses the +terms _estrofa_ and _copla_ to designate an arrangement of verses in a +stanza. _Copla_ must not be confused with English "couplet." These are +general terms; most verse-forms are designated by special names. The +following verse-forms are found in the selections contained in this +book: + + + +"EL ESTUDIANTE DE SALAMANCA" + +Lines 1-40. Ballad meter or _verso de romance_ (8 syllables) with +assonance in _é_-_a_. + +Lines 41-48. _Verso de romance_ with assonance in _ó_. + +Lines 49-63. Irregular 3-syllable meter with assonance in _ó_ occurring +irregularly; lines 53 and 55 rime, and 59 and 61 assonate in _é-a_. + +Lines 64-75. _Verso de romance_ with assonance in _ó_. + +Lines 76-99. Quatrains or _cuartetas_ of 12-syllable verse; rime-scheme +_abab_ (this arrangement of the rime is called _rima cruzada_); +alternation of masculine and feminine rime. + +Lines 100-139. _Octavillas italianas_ (8-syllable verse); lines 2 and +3, 6 and 7, 4 and 8 rime; lines 1 and 5 either assonate or are blank +(_sueltos_). + +Lines 140-179. _Octavas reales_ (11-syllable verse); rime-scheme +_abababcc_; the rimes must be feminine. + +Lines 180-257. _Verso de romance_, printed in the form of _cuartetas_; +assonance in _á-a_. + +Lines 258-302. _Quintillas_ (8-syllable verse); the rime-scheme varies; +the rule is that there shall be two rimes to a _quintilla_, and the same +rime must not occur in three consecutive verses. + +Lines 303-330. _Cuartetas_ (11-syllable verse); rime-scheme _abab_; +occasionally assonance replaces rime in the even verses. + +Lines 331-338. _Octava real_. + +Lines 339-370. _Cuartetas_ (11-syllable verse). + +Lines 371-418. _Octavas reales_. + +Lines 419-434. _Cuartetas_ (11-syllable verse). + +Lines 435-454. _Verso de romance_, printed as _cuartetas_; assonance in +_á_. + +Lines 455-558. _Redondillas_ (8-syllable verse); rime-scheme _abba_; +this arrangement of rimes is called _versos pareados en el centro_. + +Lines 559-578. _Cuartetas_ (11-syllable verse); _rima cruzada_. + +Lines 579-590. _Redondillas_. + +Lines 591-600. _Décima_ (8-syllable verse); rime-scheme _abbaaccddc_. + +Lines 601-692. _Redondillas_. + +Lines 693-792. _Cuartetas_ (12-syllable verse); odd verses rime; the +even either form a masculine rime or are in assonance. + +Lines 793-820. _Cuartetas_ (8-syllable verse); the rime-scheme varies: +some _coplas_ are _redondillas_; others have the crossed rime. + +Lines 821-884. _Cuartetas_ of 12-syllable verse resumed; same +rime-scheme as above. + +Lines 885-894. _Quintillas_ (8-syllable verse); rime-scheme _abaab_. + +Lines 895-910. _Cuartetas_ (11-syllable verse); rime-scheme either +_abba_ or _abab_. + +Lines 911-938. _Cuartetas_ of 12-syllable verse; rime-scheme _abab_; +even verses form either a masculine rime or assonance. + +Lines 939-942. _Cuarteta_ (11-syllable verse); even verses in assonance; +the odd verses rime. + +Lines 943-961. Irregular meter (6-syllable verse); a mixture of rime, +assonance, and blank verse. + +Lines 962-1033. _Verso de romance_; assonance in _á_. + +Lines 1034-1063. _Quintillas_. + +Lines 1064-1115. _Cuartetas_ (12-syllable verse); rime in the odd +verses; assonance or masculine rime in the even. + +Lines 1116-1145. _Quintillas_. + +Lines 1146-1149. _Cuarteta_ (11-syllable verse); rime-scheme _abab_. + +Lines 1150-1164. _Quintillas_. + +Lines 1165-1196. _Cuartetas_ (11-syllable verse); rime-scheme _abab_; +feminine rime. + +Lines 1197-1364. _Octavas reales_. + +Lines 1365-1384. _Quintillas_. + +Lines 1385-1390. Irregular blending of 2-and 3-syllable meter; assonance +and rime; the _crescendo_ effect begins here. + +Lines 1391-1399. Irregular 4-syllable meter; assonance and rime. + +Lines 1400-1412. Irregular 5-syllable meter; assonance, rime, and blank +verse. + +Lines 1413-1439. Irregular 6-syllable meter; assonance, rime, blank +verse. + +Lines 1440-1447. Irregular 7-syllable meter; assonance, rime, blank +verse. + +Lines 1448-1469. _Verso de romance_; assonance in _é-o_. + +Lines 1470-1485. Irregular 9-syllable meter; assonance in _ó_. + +Lines 1486-1501. _Cuartetas_ (10-syllable verse); rime-scheme _abab_; +even verses assonate or form a masculine rime. + +Lines 1502-1521. _Cuartetas_ (11-syllable verse); rime-scheme _abab_; +even verses assonate or form a masculine rime. + +Lines 1522-1553. _Cuartetas_ (12-syllable verse); rime-scheme _abab_; +even verses assonate or form a masculine rime; the _crescendo_ is now at +its height. + +Lines 1554-1569. _Octavillas italianas_ (11-syllable verse); see above +for description of this verse form. + +Lines 1570-1585. _Octavillas italianas_ (10-syllable verse). + +Lines 1586-1601. _Octavillas italianas_ (9-syllable verse). + +Lines 1602-1617. _Octavillas italianas_ (8-syllable verse). + +Lines 1618-1633. _Octavillas italianas_ (7-syllable verse). + +Lines 1634-1649. _Octavillas italianas_ (6-syllable verse). + +Lines 1650-1661. An irregular 12-verse stanza of 5-syllable verse in +which verses 3 and 4, 8 and 9 rime as couplets; 6 and 12 also rime; +the other verses are blank. + +Lines 1662-1669. Variant of the _octavilla italiana_; 4-syllable verse; +verse 6 is blank instead of 5. + +Lines 1670-1677. _Octavilla italiana_; 3-syllable verse; rime-scheme +normal. + +Lines 1678-1680. Irregular meter of 2-syllable verse; rime and blank; +the _diminuendo_ effect ends here. + +Lines 1681-1704. _Octavas reales_. + + + +"CANCIÓN DEL PIRATA" + +Lines 1-16. _Octavillas italianas_ (8-syllable verse). + +Lines 17-22. _Sextina_ (8-syllable verse, except that verse 2 is a +_verso quebrado_ or "broken verse" of 4 syllables). The _sextina_ +admits of the greatest variety of form; those in this poem are all of +the same pattern; rime-scheme _abaccb_. + +Lines 23-30. _Octavilla italiana_ (4-syllable verse). + +Lines 31-34. _Cuarteta_ (8-syllable verse); verses 1 and 3 are blank; +2 and 4 assonate. + +Lines 35-40. _Sextina_. + +Lines 41-48. _Octavilla italiana_, same as above. + +Lines 50-55. _Sextina_. + +Lines 56-63. _Octavilla italiana_. + +Lines 65-70. _Sextina_. + +Lines 71-78. _Octavilla italiana_. + +Lines 80-85. _Sextina_. + +Lines 86-93. _Octavilla italiana_. + +Lines 94-97. _Cuarteta_. + + + +"EL CANTO DEL COSACO" + +This poem is written in _cuartetas_ of 11-syllable verse with _rima +cruzada_. Verses 1 and 3 rime and 2 and 4 assonate, except in the +refrain, where 1 and 3 are blank. + + + +"EL MENDIGO" + +Lines 1-4. _Cuarteta_ (11-syllable verse); verses 1 and 3 are blank; +2 and 4 assonate. + +Lines 5-10. _Sextina_ (8-syllable verse, except 2, the _verso +quebrado_, which has 4 syllables); rime-scheme _abcaac_; the _verso +quebrado_ is blank. + +Lines 11-28. Irregular 4-syllable meter; a wholly irregular +arrangement of rime, assonance, and blank verse. + +Lines 29-32. Irregular _cuarteta_ of two 8-syllable verses followed by +two of 11; verses 1 and 3 are blank; 2 and 4 assonate. + +Lines 34-39. _Sextina_, same as above. + +Lines 40-57. Irregular 4-syllable meter, same as above. + +Lines 58-61. _Cuarteta_, same as the irregular one above. + +Lines 63-68. _Sextina_, same as above. + +Lines 69-88. Irregular 4-syllable meter, same as above. + +Lines 89-92. _Cuarteta_, same as the irregular ones above. + +Lines 94-99. _Sextina_, same as above. + +Lines 100-117. Irregular 4-syllable meter, same as above. + +Lines 118-121. _Cuarteta_, same as the irregular ones above. + +Lines 122-125. _Cuarteta_, like the normal one above. + + + +"SONETO" + +Lines 1-14. Sonnet. 11-syllable verse. Rime-scheme _abba, abba, cde, +cde_. + + + +"A TERESA. DESCANSA EN PAZ" + +Written throughout in _octavas reales_ (11-syllable verse); rime-scheme +_abababcc_. + + + + +BIBLIOGRAPHY + +For a fuller treatment of Spanish prosody the student may profitably +consult the following works: + +BENOT. "Prosodía Castellana y Versificación," 3 vols., Madrid, no date. + +ROBLES DÉGANO. "Ortología Clásica de la Lengua Castellana," Madrid, +1905. + +BELLO. "Ortología y Arte Métrica" (Vol. 4 of "Obras Completas"), Madrid, +1890. + +For more or less summary treatments of the subject the American student +may profitably consult: + +OLMSTED. "Legends, Tales, and Poems by Gustavo Adolfo Bécquer" (Ginn and +Company). + +FORD. "A Spanish Anthology" (Silver, Burdett and Company). + +HILLS and MORLEY. "Modern Spanish Lyrics" (Henry Holt and Company). + + + + +"EL ESTUDIANTE DE SALAMANCA" +AND OTHER SELECTIONS +FROM ESPRONCEDA + + + + CUENTO. + + EL ESTUDIANTE DE SALAMANCA + + + PARTE PRIMERA + + Sus fueros, sus bríos; sus premáticas, + su voluntad.--"Quijote," Parte Primera + + Era más de media noche, + Antiguas historias cuentan, + Cuando, en sueño y en silencio + Lóbrego envuelta la tierra, + Los vivos muertos parecen, [5] + Los muertos la tumba dejan. + Era la hora en que acaso + Temerosas voces suenan + Informes, en que se escuchan + Tácitas pisadas huecas, [10] + Y pavorosas fantasmas + Entre las densas tinieblas + Vagan, y aúllan los perros + Amedrentados al verlas; + En que tal vez la campana [15] + De alguna arruinada iglesia + Da misteriosos sonidos + De maldición y anatema, + Que los sábados convoca + A las brujas a su fiesta. [20] + El cielo estaba sombrío, + No vislumbraba una estrella, + Silbaba lúgubre el viento, + Y allá en el aire, cual negras + Fantasmas, se dibujaban [25] + Las torres de las iglesias, + Y del gótico castillo + Las altísimas almenas, + Donde canta o reza acaso + Temeroso el centinela [30] + Todo en fin a media noche + Reposaba, y tumba era + De sus dormidos vivientes + La antigua ciudad que riega + El Tormes, fecundo río, [35] + Nombrado de los poetas, + La famosa Salamanca, + Insigne en armas y letras, + Patria de ilustres varones, + Noble archivo de las ciencias. [40] + Súbito rumor de espadas + Cruje, y un «¡ay!» se escuchó; + Un «¡ay!» moribundo, un «¡ay!» + Que penetra el corazón, + Que hasta los tuétanos hiela [45] + Y da al que lo oyó temblor; + Un «¡ay!» de alguno que al mundo + Pronuncia el último adiós. + + El ruido + Cesó, [50] + Un hombre + Pasó + Embozado, + Y el sombrero + Recatado [55] + A los ojos + Se caló. + Se desliza + Y atraviesa + Junto al muro [60] + De una iglesia, + Y en la sombra + Se perdió. + + Una calle estrecha y alta, + La calle del Ataúd, [65] + Cual si de negro crespón + Lóbrego eterno capuz + La vistiera, siempre oscura + Y de noche sin más luz + Que la lámpara que alumbra [70] + Una imagen de Jesús, + Atraviesa el embozado, + La espada en la mano aún, + Que lanzó vivo reflejo + Al pasar frente a la cruz. [75] + + Cual suele la luna tras lóbrega nube + Con franjas de plata bordarla en redor, + Y luego si el viento la agita, la sube + Disuelta a los aires en blanco vapor, + + Así vaga sombra de luz y de nieblas, [80] + Mística y aérea dudosa visión, + Ya brilla, o la esconden las densas tinieblas, + Cual dulce esperanza, cual vana ilusión. + + La calle sombría, la noche ya entrada, + La lámpara triste ya pronta a espirar, [85] + Que a veces alumbra la imagen sagrada, + Y a veces se esconde la sombra a aumentar, + + El vago fantasma que acaso aparece, + Y acaso se acerca con rápido pie, + Y acaso en las sombras tal vez desparece, [90] + Cual ánima en pena del hombre que fué, + + Al más temerario corazón de acero + Recelo inspirara, pusiera pavor; + Al más maldiciente feroz bandolero + El rezo a los labios trajera el temor. [95] + + Mas no al embozado, que aun sangre su espada + Destila, el fantasma terror infundió, + Y el arma en la mano con fuerza empuñada, + Osado a su encuentro despacio avanzó. + + Segundo Don Juan Tenorio, [100] + Alma fiera e insolente, + Irreligioso y valiente, + Altanero y reñidor: + Siempre el insulto en los ojos, + En los labios la ironía, [105] + Nada teme y todo fía + De su espada y su valor. + + Corazón gastado, mofa + De la mujer que corteja, + Y hoy, despreciándola, deja [110] + La que ayer se le rindió. + Ni el porvenir temió nunca, + Ni recuerda en lo pasado + La mujer que ha abandonado, + Ni el dinero que perdió. [115] + + Ni vió el fantasma entre sueños + Del que mató en desafío, + Ni turbó jamás su brío + Recelosa previsión. + Siempre en lances y en amores, [120] + Siempre en báquicas orgías, + Mezcla en palabras impías + Un chiste a una maldición. + + En Salamanca famoso + Por su vida y buen talante, [125] + Al atrevido estudiante + Le señalan entre mil; + Fueros le da su osadía, + Le disculpa su riqueza, + Su generosa nobleza, [130] + Su hermosura varonil. + + Que su arrogancia y sus vicios, + Caballeresca apostura, + Agilidad y bravura + Ninguno alcanza a igualar; [135] + Que hasta en sus crímenes mismos, + En su impiedad y altiveza, + Pone un sello de grandeza + Don Félix de Montemar. + + Bella y más pura que el azul del cielo, [140] + Con dulces ojos lánguidos y hermosos, + Donde acaso el amor brilló entre el velo + Del pudor que los cubre candorosos; + Tímida estrella que refleja al suelo + Rayos de luz brillantes y dudosos, [145] + Ángel puro de amor que amor inspira, + Fué la inocente y desdichada Elvira. + + Elvira, amor del estudiante un día, + Tierna y feliz y de su amante ufana, + Cuando al placer su corazón se abría, [150] + Como al rayo del sol rosa temprana, + Del fingido amador que la mentía + La miel falaz que de sus labios mana + Bebe en su ardiente sed, el pecho ajeno + De que oculto en la miel hierve el veneno. [155] + + Que no descansa de su madre en brazos + Más descuidado el candoroso infante + Que ella en los falsos lisonjeros lazos + Que teje astuto el seductor amante: + Dulces caricias, lánguidos abrazos, [160] + Placeres ¡ay! que duran un instante, + Que habrán de ser eternos imagina + La triste Elvira en su ilusión divina. + + Que el alma virgen que halagó un encanto + Con nacarado sueño en su pureza [165] + Todo lo juzga verdadero y santo, + Presta a todo virtud, presta belleza. + Del cielo azul al tachonado manto, + Del sol radiante a la inmortal riqueza, + Al aire, al campo, a las fragantes flores, [170] + Ella añade esplendor, vida y colores. + + Cifró en Don Félix la infeliz doncella + Toda su dicha, de su amor perdida; + Fueron sus ojos a los ojos de ella + Astros de gloria, manantial de vida. [175] + Cuando sus labios con sus labios sella, + Cuando su voz escucha embebecida, + Embriagada del dios que la enamora, + Dulce le mira, extática le adora. + + + PARTE SEGUNDA + + No dirge except the hollow sea's + Mourns o'er the beauty of the Cyclades. + BYRON, "Don Juan," Canto 4 + + + Está la noche serena [180] + De luceros coronada, + Terso el azul de los cielos + Como trasparente gasa. + + Melancólica la luna + Va trasmontando la espalda [185] + Del otero, su alba frente + Tímida apenas levanta, + + Y el horizonte ilumina, + Pura virgen solitaria, + Y en su blanca luz süave [190] + El cielo y la tierra baña. + + Deslízase el arroyuelo. + Fúlgida cinta de plata, + Al resplandor de la luna, + Entre franjas de esmeralda. [195] + + Argentadas chispas brillan + Entre las espesas ramas, + Y en el seno de las flores + Tal vez aduermen las auras, + + Tal vez despiertas susurran, [200] + Y al desplegarse sus alas + Mecen el blanco azahar, + Mueven la aromosa acacia, + + Y agitan ramas y flores, + Y en perfumes se embalsaman. [205] + Tal era pura esta noche + Como aquélla en que sus alas + + Los ángeles desplegaron + Sobre la primera llama + Que amor encendió en el mundo, [210] + Del Edén en la morada. + + ¡Una mujer! ¿Es acaso + Blanca silfa solitaria, + Que entre el rayo de la luna + Tal vez misteriosa vaga? [215] + + Blanco es su vestido, ondea + Suelto el cabello a la espalda, + Hoja tras hoja las flores + Que lleva en su mano arranca. + + Es su paso incierto y tardo, [220] + Inquietas son sus miradas, + Mágico ensueño parece + Que halaga engañosa el alma. + + Ora, vedla, mira al cielo, + Ora suspira, y se pára; [225] + Una lágrima sus ojos + Brotan acaso y abrasa + + Su mejilla; es una ola + Del mar que en fiera borrasca + El viento de las pasiones [230] + Ha alborotado en su alma. + + Tal vez se sienta, tal vez + Azorada se levanta; + El jardín recorre ansiosa, + Tal vez a escuchar se pára. [235] + + Es el susurro del viento, + Es el murmullo del agua, + No es su voz, no es el sonido + Melancólico del arpa. + + Son ilusiones que fueron: [240] + Recuerdos ¡ay! que te engañan, + Sombras del bien que pasó.... + Ya te olvidó el que tú amas. + + Esa noche y esa luna + Las mismas son que miraran [245] + Indiferentes tu dicha, + Cual ora ven tu desgracia. + + ¡Ah! llora, sí, ¡pobre Elvira! + ¡Triste amante abandonada! + Esas hojas de esas flores [250] + Que distraída tú arrancas, + + ¿Sabes adónde, infeliz, + El viento las arrebata? + Donde fueron tus amores, + Tu ilusión y tu esperanza. [255] + + Deshojadas y marchitas, + ¡Pobres flores de tu alma! + Blanca nube de la aurora, + Teñida de ópalo y grana, + + Naciente luz te colora, [260] + Refulgente precursora + De la cándida mañana. + Mas ¡ay! que se disipó + + Tu pureza virginal, + Tu encanto el aire llevó [265] + Cual la ventura ideal + Que el amor te prometió. + + Hojas del árbol caídas + Juguete del viento son; + Las ilusiones perdidas [270] + ¡Ay! son hojas desprendidas + Del árbol del corazón! + + ¡El corazón sin amor! + Triste páramo cubierto + Con la lava del dolor, [275] + Oscuro, inmenso desierto + Donde no nace una flor! + + Distante un bosque sombrío, + El sol cayendo en la mar, + En la playa un adüar, [280] + Y a lo lejos un navío, + Viento en popa navegar, + + Óptico vidrio presenta + En fantástica ilusión, + Y al ojo encantado ostenta [285] + Gratas visiones que aumenta + Rica la imaginación. + + Tú eres, mujer, un fanal + Trasparente de hermosura; + ¡Ay de ti! si por tu mal [290] + Rompe el hombre en su locura + Tu misterioso cristal! + + Mas ¡ay! dichosa tú, Elvira, + En tu misma desventura, + Que aun deleites te procura, [295] + Cuando tu pecho suspira, + Tu misteriosa locura: + + Que es la razón un tormento, + Y vale más delirar + Sin juicio, que el sentimiento [300] + Cuerdamente analizar, + Fijo en él el pensamiento. + + Vedla, allí va, que sueña en su locura + Presente el bien que para siempre huyó; + Dulces palabras con amor murmura, [305] + Piensa que escucha al pérfido que amó. + + Vedla, postrada su piedad implora + Cual si presente le mirara allí; + Vedla, que sola se contempla y llora, + Miradla delirante sonreír. [310] + + Y su frente en revuelto remolino + Ha enturbiado su loco pensamiento, + Como nublo que en negro torbellino + Encubre el cielo y amontona el viento; + + Y vedla cuidadosa escoger flores, [315] + Y las lleva mezcladas en la falda, + Y, corona nupcial de sus amores, + Se entretiene en tejer una guirnalda. + + Y en medio de su dulce desvarío + Triste recuerdo el alma le importuna, [320] + Y al margen va del argentado río, + Y allí las flores echa de una en una; + + Y las sigue su vista en la corriente + Una tras otra rápidas pasar, + Y, confusos sus ojos y su mente, [325] + Se siente con sus lágrimas ahogar; + + Y de amor canta, y en su tierna queja + Entona melancólica canción, + Canción que el alma desgarrada deja, + Lamento ¡ay! que llaga el corazón: [330] + + «¿Qué me valen tu calma y tu terneza, + Tranquila noche, solitaria luna, + Si no calmáis del hado la crudeza, + Ni me dais esperanza de fortuna? + + ¿Qué me valen la gracia y la belleza, [335] + Y amar como jamás amó ninguna, + Si la pasión que el alma me devora, + La desconoce aquél que me enamora?» + + Lágrimas interrumpen su lamento, + Inclina sobre el pecho su semblante, [340] + Y de ella en derredor susurra el viento + Sus últimas palabras, sollozante. + + Murió de amor la desdichada Elvira, + Cándida rosa que agostó el dolor, + Süave aroma que el viajero aspira [345] + Y en sus alas el aura arrebató. + + Vaso de bendición, ricos colores + Reflejó en su cristal la luz del día, + Mas la tierra empañó sus resplandores, + Y el hombre lo rompió con mano impía. [350] + + Una ilusión acarició su mente, + Alma celeste para amar nacida, + Era el amor de su vivir la fuente, + Estaba junta a su ilusión su vida. + + Amada del Señor, flor venturosa, [355] + Llena de amor murió y de juventud; + Despertó alegre una alborada hermosa, + Y a la tarde durmió en el ataúd. + + Mas despertó también de su locura + Al término postrero de su vida, [360] + Y al abrirse a sus pies la sepultura, + Volvió a su mente la razón perdida. + + ¡La razón fría! ¡la verdad amarga! + ¡El bien pasado y el dolor presente!... + ¡Ella feliz! ¡que de tan dura carga [365] + Sintió el peso al morir únicamente! + + Y conociendo ya su fin cercano, + Su mejilla una lágrima abrasó; + Y así al infiel, con temblorosa mano, + Moribunda su víctima escribió: [370] + + «Voy a morir: perdona si mi acento + Vuela importuno a molestar tu oído; + Él es, Don Félix, el postrer lamento + De la mujer que tanto te ha querido. + La mano helada de la muerte siento.... [375] + Adiós: ni amor ni compasión te pido.... + Oye y perdona si al dejar el mundo, + Arranca un ¡ay! su angustia al moribundo. + + «¡Ah! para siempre adiós. Por ti mi vida + Dichosa un tiempo resbalar sentí, [380] + Y la palabra de tu boca oída + Éxtasis celestial fué para mí. + Mi mente aun goza en la ilusión querida + Que para siempre ¡mísera! perdí.... + ¡Ya todo huyó, despareció contigo! [385] + ¡Dulces horas de amor, yo las bendigo! + + «Yo las bendigo, sí, felices horas, + Presentes siempre en la memoria mía, + Imágenes de amor encantadoras + Que aun vienen a halagarme en mi agonía. [390] + Mas ¡ay! volad, huíd, engañadoras + Sombras, por siempre; mi postrero día + Ha llegado, perdón, perdón, ¡Dios mío! + Si aun gozo en recordar mi desvarío. + + «Y tú, Don Félix, si te causa enojos [395] + Que te recuerde yo mi desventura, + Piensa están hartos de llorar mis ojos + Lágrimas silenciosas de amargura. + Y hoy, al tragar la tumba mis despojos, + Concede este consuelo a mi tristura: [400] + Estos renglones compasivo mira, + Y olvida luego para siempre a Elvira. + + «Y jamás turbe mi infeliz memoria + Con amargos recuerdos tus placeres; + Goces te dé el vivir, triunfos la gloria, [405] + Dichas el mundo, amor otras mujeres; + Y si tal vez mi lamentable historia + A tu memoria con dolor trajeres, + Llórame, sí; pero palpite exento + Tu pecho de roedor remordimiento. [410] + + «Adiós, por siempre, adiós: un breve instante + Siento de vida, y en mi pecho el fuego + Aun arde de mi amor; mi vista errante + Vaga desvanecida ... ¡calma luego, + Oh muerte, mi inquietud!... ¡Sola ... espirante!... [415] + Ámame; no, perdona; ¡inútil ruego! + Adiós, adiós, ¡tu corazón perdí + --¡Todo acabó en el mundo para mí!» + + Así escribió su triste despedida + Momentos antes de morir, y al pecho [420] + Se estrechó de su madre dolorida, + Que en tanto inunda en lágrimas su lecho. + + Y exhaló luego su postrer aliento, + Y a su madre sus brazos se apretaron + Con nervioso y convulso movimiento, [425] + Y sus labios un nombre murmuraron. + + Y huyó su alma a la mansión dichosa + Do los ángeles moran.... Tristes flores + Brota la tierra en torno de su losa; + El céfiro lamenta sus amores. [430] + + Sobre ella un sauce su ramaje inclina, + Sombra le presta en lánguido desmayo, + Y allá en la tarde, cuando el sol declina, + Baña su tumba en paz su último rayo.... + + + PARTE TERCERA + + CUADRO DRAMÁTICO + + SARGENTO + ¿Tenéis más que parar? + FRANCO + Paro los ojos. + . . . . . . . . . . . . . . . . . . + Los ojos, sí, los ojos: que descreo + Del que los hizo para tal empleo. + MORETO, "San Franco de Sena" + + + PERSONAS + + D. FÉLIX DE MONTEMAR + D. DIEGO DE PASTRANA + SEIS JUGADORES + + + En derredor de una mesa [435] + Hasta seis hombres están, + Fija la vista en los naipes, + Mientras juegan al parar; + + Y en sus semblantes se pintan + El despecho y el afán: [440] + Por perder desesperados, + Avarientos por ganar. + + Reina profundo silencio, + Sin que lo rompa jamás + Otro ruido que el del oro, [445] + O una voz para jurar. + + Pálida lámpara alumbra + Con trémula claridad + Negras de humo las paredes + De aquella estancia infernal. [450] + + Y el misterioso bramido + Se escucha del huracán, + Que azota los vidrios frágiles + Con sus alas al pasar. + + + ESCENA I + + JUGADOR PRIMERO + El caballo aun no ha salido. [455] + + JUGADOR SEGUNDO + ¿Qué carta vino? + + JUGADOR PRIMERO + La sota. + + JUGADOR SEGUNDO + Pues por poco se alborota. + + JUGADOR PRIMERO + Un caudal llevo perdido. + ¡Voto a Cristo! + + JUGADOR SEGUNDO + No juréis, + Que aun no estáis en la agonía. [460] + + JUGADOR PRIMERO + No hay suerte como la mía. + + JUGADOR SEGUNDO + ¿Y como cuánto perdéis? + + JUGADOR PRIMERO + Mil escudos y el dinero + Que Don Félix me entregó. + + JUGADOR SEGUNDO + ¿Dónde anda? + + JUGADOR PRIMERO + ¡Qué sé yo! [465] + No tardará. + + JUGADOR TERCERO + Envido. + + JUGADOR PRIMERO + Quiero. + + + + ESCENA II + + Galán de talle gentil, + La mano izquierda apoyada + En el pomo de la espada, + Y el aspecto varonil, [470] + Alta el ala del sombrero + Porque descubra la frente, + Con airoso continente + Entró luego un caballero. + + JUGADOR PRIMERO (_al que entra_) + Don Félix, a buena hora [475] + Habéis llegado. + + D. FÉLIX + + ¿Perdisteis? + + JUGADOR PRIMERO + El dinero que me disteis + Y esta bolsa pecadora. + + JUGADOR SEGUNDO + Don Félix de Montemar + Debe perder. El amor [480] + Le negara su favor + Cuando le viera ganar. + + D. FÉLIX (_con desdén_) + Necesito ahora dinero, + Y estoy hastiado de amores. + (_Al corro con altivez_) + Dos mil ducados, señores, [485] + Por esta cadena quiero. + (_Quítase una cadena que lleva al pecho_.) + + JUGADOR TERCERO + Alta ponéis la tarifa. + + D. FÉLIX (_con altivez_) + La pongo en lo que merece. + Si otra duda se os ofrece, + Decid. (_Al corro_) [490] + Se vende y se rifa. + + JUGADOR CUARTO (_aparte_) + ¿Y hay quien sufra tal afrenta? + + D. FÉLIX + Entre cinco están hallados. + A cuatrocientos ducados + Os toca, según mi cuenta. + Al as de oros. Allá va. [495] + (_Va echando cartas que toman los jugadores en silencio_.) + Una, dos ... (_Al perdidoso_) + Con vos no cuento. + + JUGADOR PRIMERO + Por el motivo lo siento. + + JUGADOR TERCERO + ¡El as! ¡el as! aquí está. + + JUGADOR PRIMERO + Ya ganó. + + D. FÉLIX + Suerte tenéis. + A un solo golpe de dados [500] + Tiro los dos mil ducados. + + JUGADOR TERCERO + ¿En un golpe? + + JUGADOR PRIMERO (_a Don Félix_) + Los perdéis. + + D. FÉLIX + Perdida tengo yo el alma, + Y no me importa un ardite. + + JUGADOR TERCERO + Tirad. + + D. FÉLIX + Al primer envite. [505] + + JUGADOR TERCERO + Tirad pronto. + + D. FÉLIX + Tened calma: + Que os juego más todavía, + Y en cien onzas hago el trato, + Y os lleváis este retrato + Con marco de pedrería. [510] + + JUGADOR TERCERO + ¿En cien onzas? + + D. FÉLIX + ¿Qué dudáis? + + JUGADOR PRIMERO (_tomando el retrato_) + ¡Hermosa mujer! + + JUGADOR CUARTO + No es caro. + + D. FÉLIX + ¿Queréis pararlas? + + JUGADOR TERCERO + Las paro. + Más ganaré. + + D. FÉLIX + Si ganáis, (_Se registra todo_.) + No tengo otra joya aquí. [515] + + JUGADOR PRIMERO (_mirando el retrato_) + Si esta imagen respirara.... + + D. FÉLIX + A estar aquí, la jugara + A ella, al retrato y a mí. + + JUGADOR TERCERO + Vengan los dados. + + D. FÉLIX + Tirad. + + JUGADOR SEGUNDO + Por Don Félix cien ducados. [520] + + JUGADOR CUARTO + En contra van apostados. + + JUGADOR QUINTO + Cincuenta más. Esperad, + No tiréis. + + JUGADOR SEGUNDO + Van los cincuenta. + + JUGADOR PRIMERO + Yo, sin blanca, a Dios le ruego + Por Don Félix. + + JUGADOR QUINTO + Hecho el juego. [525] + + JUGADOR TERCERO + ¿Tiro? + + D. FÉLIX + Tirad con sesenta + De a caballo. + + _(Todos se agrupan con ansiedad al rededor de la mesa. El tercer + jugador tira los dados.)_ + + JUGADOR CUARTO + ¿Qué ha salido? + + JUGADOR SEGUNDO + ¡Mil demonios, que a los dos + Nos lleven! + + D. FÉLIX _(con calma al primero)_ + + ¡Bien, vive Dios, + Vuestros ruegos me han valido! [530] + Encomendadme otra vez, + Don Juan, al diablo; no sea + Que si os oye Dios, me vea + Cautivo y esclavo en Fez. + + JUGADOR TERCERO + Don Félix, habéis perdido [535] + Sólo el marco, no el retrato; + Que entrar la dama en el trato + Vuestra intención no habrá sido. + + D. FÉLIX + ¿Cuánto dierais por la dama? + + JUGADOR TERCERO + Yo, la vida. [540] + + D. FÉLIX + No la quiero. + Mirad si me dais dinero, + Y os la lleváis. + + JUGADOR TERCERO + ¡Buena fama + Lograréis entre las bellas, + Cuando descubran altivas + Que vos las hacéis cautivas [545] + Para en seguida vendellas! + + D. FÉLIX + Eso a vos no importa nada. + ¿Queréis la dama? Os la vendo. + + JUGADOR TERCERO + Yo de pinturas no entiendo. + + D. FÉLIX _(con cólera)_ + Vos habláis con demasiada [550] + Altivez e irreverencia + De una mujer ... ¡y si no....! + + JUGADOR TERCERO + De la pintura hablé yo. + + TODOS + Vamos, paz; no haya pendencia. + + D. FÉLIX _(sosegado)_ + Sobre mi palabra os juego [555] + Mil escudos. + + JUGADOR TERCERO + Van tirados. + + D. FÉLIX + A otra suerte de esos dados; + Y el diablo les prenda fuego. + + + + ESCENA III + + Pálido el rostro, cejijunto el ceño, + Y torva la mirada, aunque afligida, [560] + Y en ella un firme y decidido empeño + De dar la muerte o de perder la vida, + Un hombre entró embozado hasta los ojos, + Sobre las juntas cejas el sombrero; + Víbrale al rostro el corazón enojos, [565] + El paso firme, el ánimo altanero. + Encubierta fatídica figura.-- + Sed de sangre su espíritu secó, + Emponzoñó su alma la amargura, + La venganza irritó su corazón. [570] + Junto a Don Félix llega, y, desatento, + No habla a ninguno, ni aun la frente inclina; + Y en pie y delante de él y el ojo atento, + Con iracundo rostro le examina. + Miró también Don Félix al sombrío [575] + Huésped que en él los ojos enclavó, + Y con sarcasmo desdeñoso y frío, + Fijos en él los suyos, sonrïó. + + D. FÉLIX + Buen hombre, ¿de qué tapiz + Se ha escapado--el que se tapa-- [580] + Que entre el sombrero y la capa + Se os ve apenas la nariz? + + D. DIEGO + Bien, Don Félix, cuadra en vos + Esa insolencia importuna. + + D. FÉLIX _(al tercer jugador sin hacer caso de Don Diego)_ + Perdisteis. [585] + + JUGADOR TERCERO + Sí. La fortuna + Se trocó; tiro y van dos. _(Vuelven a tirar.)_ + + D. FÉLIX + Gané otra vez. _(Al embozado)_ + No he entendido + Qué dijisteis, ni hice aprecio + De si hablasteis blando o recio + Cuando me habéis respondido. [590] + + D. DIEGO + A solas hablar querría. + + D. FÉLIX + Podéis, si os place, empezar, + Que por vos no he de dejar + Tan honrosa compañía; + Y si Dios aquí os envía [595] + Para hacer mi conversión, + No despreciéis la ocasión + De convertir tanta gente, + Mientras que yo humildemente + Aguardo mi absolución. [600] + + D. DIEGO _(desembozándose con ira)_ + Don Félix, ¿no conocéis + A Don Diego de Pastrana? + + D. FÉLIX + A vos no, mas sí a una hermana + Que imagino que tenéis. + + D. DIEGO + ¿Y no sabéis que murió? [605] + + D. FÉLIX + Téngala Dios en su gloria. + + D. DIEGO + Pienso que sabéis su historia, + Y quién fué quien la mató. + + D. FÉLIX (_con sarcasmo_) + ¡Quizá alguna calentura! + + D. DIEGO + ¡Mentís vos! [610] + + D. FÉLIX + Calma, Don Diego, + Que si vos os morís luego, + Es tanta mi desventura + Que aun me lo habrán de achacar, + Y es en vano ese despecho. + Si se murió, a lo hecho, pecho. [615] + Ya no ha de resucitar. + + D. DIEGO + Os estoy mirando y dudo + Si habré de manchar mi espada + Con esa sangre malvada, + O echaros al cuello un nudo [620] + Con mis manos, y con mengua, + En vez de desafïaros, + El corazón arrancaros + Y patearos la lengua; + Que un alma, una vida, es [625] + Satisfacción muy ligera, + Y os diera mil si pudiera + Y os las quitara después. + Jugo a mi labio han de dar + Abiertas todas tus venas, [630] + Que toda tu sangre apenas + Basta mi sed a calmar. + ¡Villano! + + (_Tira de la espada; todos los jugadores se interponen_.) + + + TODOS + Fuera de aquí + A armar quimera. + + D. FÉLIX _(con calma levantándose)_ + Tened, + Don Diego, la espada, y ved [635] + Que estoy yo muy sobre mí, + Y que me contengo mucho, + No sé por qué, pues tan frío + En mi colérico brío + Vuestras injurias escucho. [640] + + D. DIEGO _(con furor reconcentrado y con la espada desnuda)_ + Salid de aquí; que a fe mía, + Que estoy resuelto a mataros, + Y no alcanzara a libraros + La misma Virgen María. + Y es tan cierta mi intención, [645] + Tan resuelta está mi alma, + Que hasta mi cólera calma + Mi firme resolución. + Venid conmigo. + + D. FÉLIX + Allá voy; + Pero si os mato, Don Diego, [650] + Que no me venga otro luego + A pedirme cuenta. Soy + Con vos al punto. Esperad + Cuente el dinero ... _uno_ ... _dos_.... + _(A Don Diego)_ + Son mis ganancias; por vos [655] + Pierdo aquí una cantidad + Considerable de oro + Que iba a ganar ... ¿y por qué? + _Diez_ ... _quince_ ... por no sé qué + Cuento de amor ... ¡un tesoro [660] + Perdido! ... voy al momento. + Es un puro disparate + Empeñarse en que yo os mate: + Lo digo como lo siento. + + D. DIEGO + Remiso andáis y cobarde [665] + Y hablador en demasía. + + D. FÉLIX + Don Diego, más sangre fría. + Para reñir nunca es tarde. + Y si aun fuera otro el asunto, + Yo os perdonara la prisa. [670] + Pidierais vos una misa + Por la difunta, y al punto.... + + D. DIEGO + ¡Mal caballero!... + + D. FÉLIX + Don Diego, + Mi delito no es gran cosa. + Era vuestra hermana hermosa; [675] + La vi, me amó, creció el juego, + Se murió, no es culpa mía; + Y admiro vuestro candor, + Que no se mueren de amor + Las mujeres hoy en día. [680] + + D. DIEGO + ¿Estáis pronto? + + D. FÉLIX + Están contados. + Vamos andando. + + D. DIEGO _(con voz solemne)_ + ¿Os reís? + Pensad que a morir venís. + + D. FÉLIX _(sale tras de él, embolsándose el dinero con indiferencia)_ + Son mil trescientos ducados. + + + + ESCENA IV + + LOS JUGADORES + + + JUGADOR PRIMERO + Este Don Diego Pastrana [685] + Es un hombre decidido. + Desde Flandes ha venido + Sólo a vengar a su hermana. + + JUGADOR SEGUNDO + ¡Pues no ha hecho mal disparate! + Me da el corazón su muerte. [690] + + JUGADOR TERCERO + ¿Quién sabe? acaso la suerte.... + + JUGADOR CUARTO + Me alegraré que lo mate. + + + PARTE CUARTA + + Salió, en fin, de aquel estado, para caer en + el dolor más sombrío, en la más desalentada + desesperación y en la mayor amargura y + desconsuelo que pueden apoderarse de este pobre + corazón humano, que tan positivamente choca y + se quebranta con los males, como con vaguedad + aspira en algunos momentos, casi siempre sin + conseguirlo, a tocar los bienes ligeramente y + de pasada.--"La protección de un sastre," + novela original por D. MIGUEL DE LOS SANTOS + ÁLVAREZ + + SPIRITUS QUIDEM PROMPTUS EST; CARO VERO + INFIRMA.--S. MARCOS, "Evangelio" + + + Vedle, Don Félix es, espada en mano, + Sereno el rostro, firme el corazón; + También de Elvira el vengativo hermano [695] + Sin piedad a sus pies muerto cayó. + + Y con tranquila audacia se adelanta + Por la calle fatal del Ataúd; + Y ni medrosa aparición le espanta, + Ni le turba la imagen de Jesús. [700] + + La moribunda lámpara que ardía + Trémula lanza su postrer fulgor, + Y, en honda oscuridad, noche sombría + La misteriosa calle encapotó. + + Mueve los pies el Montemar osado [705] + En las tinieblas con incierto giro, + Cuando, ya un trecho de la calle andado, + Súbito junto a él oye un suspiro. + + Resbalar por su faz sintió el aliento, + Y a su pesar sus nervios se crisparon; [710] + Mas, pasado el primero movimiento, + A su primera rigidez tornaron. + + «¿Quién va?» pregunta con la voz serena. + Que ni finge valor, ni muestra miedo, + El alma de invencible vigor llena, [715] + Fïado en su tajante de Toledo. + + Palpa en torno de sí, y el impio jura, + Y a mover vuelve la atrevida planta, + Cuando hacia él fatídica figura + Envuelta en blancas ropas se adelanta. [720] + + Flotante y vaga, las espesas nieblas + Ya disipa, y se anima, y va creciendo + Con apagada luz, ya en las tinieblas + Su argentino blancor va apareciendo. + + Ya leve punto de luciente plata, [725] + Astro de clara lumbre sin mancilla, + El horizonte lóbrego dilata + Y allá en la sombra en lontananza brilla. + + Los ojos, Montemar, fijos en ella, + Con más asombro que temor la mira; [730] + Tal vez la juzga vagorosa estrella + Que en el espacio de los cielos gira; + + Tal vez engaño de sus propios ojos, + Forma falaz que en su ilusión creó, + O del vino ridículos antojos [735] + Que al fin su juicio a alborotar subió. + + Mas el vapor del néctar jerezano + Nunca su mente a trastornar bastara, + Que ya mil veces embriagarse en vano + En frenéticas orgias intentara. [740] + + «Dios presume asustarme; ¡ojalá fuera», + Dijo entre sí riendo, «el diablo mismo! + Que entonces ¡víve Dios! quién soy supiera + El cornudo monarca del abismo.» + + Al pronunciar tan insolente ultraje [745] + La lámpara del Cristo se encendió, + Y una mujer, velada en blanco traje, + Ante la imagen de rodillas vió. + + «Bienvenida la luz,» dijo el impío, + «Gracias a Dios o al diablo;» y, con osada, [750] + Firme intención y temerario brío, + El paso vuelve a la mujer tapada. + + Mientras él anda, al parecer se alejan + La luz, la imagen, la devota dama; + Mas si él se pára, de moverse dejan; [755] + Y lágrima tras lágrima derrama + + De sus ojos inmóviles la imagen. + Mas sin que el miedo ni el dolor que inspira + Su planta audaz, ni su impiedad atajen, + Rostro a rostro a Jesús Montemar mira. [760] + + --La calle parece se mueve y camina, + Faltarle la tierra sintió bajo el pie; + Sus ojos la muerta mirada fascina + Del Cristo, que intensa clavada está en él. + + Y en medio el delirio que embarga su mente, [765] + Y achaca él al vino que al fin le embriagó, + La lámpara alcanza con mano insolente + Del ara do alumbra la imagen de Dios; + + Y al rostro la acerca, que el cándido lino + Encubre, con ánimo asaz descortés; [770] + Mas la luz apaga viento repentino, + Y la blanca dama se puso de pie. + + Empero un momento creyó que veía + Un rostro que vagos recuerdos quizá + Y alegres memorias confusas traía [775] + De tiempos mejores que pasaron ya, + + Un rostro de un ángel que vió en un ensueño, + Como un sentimiento que el alma halagó, + Que anubla la frente con rígido ceño, + Sin que lo comprenda jamás la razón. [780] + + Su forma gallarda dibuja en las sombras + El blanco ropaje que ondeante se ve, + Y cual si pisara mullidas alfombras, + Deslízase leve sin ruido su pie. + + Tal vimos al rayo de la luna llena [785] + Fugitiva vela de lejos cruzar, + Que ya la hinche en popa la brisa serena, + Que ya la confunde la espuma del mar. + + También la esperanza blanca y vaporosa + Así ante nosotros pasa en ilusión, [790] + Y el alma conmueve con ansia medrosa + Mientras la rechaza la adusta razón. + + D. FÉLIX + «¡Qué! ¿sin respuesta me deja? + ¿No admitís mi compañía? + ¿Será quizá alguna vieja [795] + Devota?... ¡Chasco sería! + + En vano, dueña, es callar, + Ni hacerme señas que no; + He resuelto que sí yo, + Y os tengo de acompañar. [800] + + Y he de saber dónde vais + Y si sois hermosa o fea, + Quién sois y cómo os llamáis, + Y aun cuando imposible sea, + + Y fuerais vos Satanás [805] + Con sus llamas y sus cuernos, + Hasta en los mismos infiernos, + Vos delante y yo detrás, + + Hemos de entrar; ¡vive Dios! + Y aunque lo estorbara el cielo, [810] + Que yo he de cumplir mi anhelo + Aun a despecho de vos; + + Y perdonadme, señora, + Si hay en mi empeño osadía, + Mas fuera descortesía [815] + Dejaros sola a esta hora; + + Y me va en ello mi fama, + Que juro a Dios no quisiera + Que por temor se creyera + Que no he seguido a una dama.» [820] + + Del hondo del pecho profundo gemido, + Crujido del vaso que estalla al dolor, + Que apenas medroso lastima el oído, + Pero que punzante rasga el corazón, + + Gemido de amargo recuerdo pasado, [825] + De pena presente, de incierto pesar, + Mortífero aliento, veneno exhalado + Del que encubre el alma ponzoñoso mar, + + Gemido de muerte lanzó, y silenciosa + La blanca figura su pie resbaló, [830] + Cual mueve sus alas sílfide amorosa + Que apenas las aguas del lago rizó. + + ¡Ay! el que vió acaso perdida en un día + La dicha que eterna creyó el corazón, + Y en noche de nieblas y en honda agonía [835] + En un mar sin playas muriendo quedó!... + + Y solo y llevando consigo en su pecho, + Compañero eterno su dolor crüel, + El mágico encanto del alma deshecho, + Su pena, su amigo y su amante más fiel; [840] + + ¡Miró sus suspiros llevarlos el viento, + Sus lágrimas tristes perderse en el mar, + Sin nadie que acuda ni entienda su acento, + Insensible el cielo y el mundo a su mal! + + Y ha visto la luna brillar en el cielo [845] + Serena y en calma mientras él lloró, + Y ha visto los hombres pasar en el suelo + Y nadie a sus quejas los ojos volvió! + + Y él mismo, la befa del mundo temblando, + Su pena en su pecho profunda escondió, [850] + Y dentro en su alma su llanto tragando + Con falsa sonrisa su labio vistió!!... + + ¡Ay! quien ha contado las horas que fueron, + Horas otro tiempo que abrevió el placer, + Y hoy solo y llorando piensa como huyeron [855] + Con ellas por siempre las dichas de ayer; + + Y aquellos placeres, que el triste ha perdido, + No huyeron del mundo, que en el mundo están; + Y él vive en el mundo do siempre ha vivido, + Y aquellos placeres para él no son ya! [860] + + ¡Ay del que descubre por fin la mentira! + ¡Ay del que la triste realidad palpó! + Del que el esqueleto de este mundo mira, + Y sus falsas galas loco le arrancó!... + + ¡Ay de aquel que vive sólo en lo pasado! [865] + ¡Ay del que su alma nutre en su pesar! + Las horas que huyeron llamará angustiado, + Las horas que huyeron jamás tornarán!... + + Quien haya sufrido tan bárbaro duelo, + Quien noches enteras contó sin dormir [870] + En lecho de espinas, maldiciendo al cielo, + Horas sempiternas de ansiedad sin fin.... + + Quien haya sentido quererse del pecho + Saltar a pedazos roto el corazón, + Crecer su delirio, crecer su despecho, [875] + Al cuello cien nudos echarle el dolor, + + Ponzoñoso lago de punzante hielo, + Sus lágrimas tristes que cuajó el pesar, + Reventando ahogarle, sin hallar consuelo, + Ni esperanza nunca, ni tregua en su afán. [880] + + Aquél, de la blanca fantasma el gemido, + Única respuesta que a Don Félix dió, + Hubiera, y su inmenso dolor, comprendido, + Hubiera pesado su inmenso valor. + + D. FÉLIX + «Si buscáis algún ingrato, [885] + Yo me ofrezco agradecido; + Pero o miente ese recato, + O vos sufrís el mal trato + De algún celoso marido. + + ¿Acerté? ¡Necia manía! [890] + Es para volverme loco, + Si insistís en tal porfía; + Con los mudos, reina mía, + Yo hago mucho y hablo poco.» + + Segunda vez importunada en tanto, [895] + Una voz de süave melodía + El estudiante oyó que parecía + Eco lejano de armonioso canto, + + De amante pecho lánguido latido, + Sentimiento inefable de ternura, [900] + Suspiro fiel de amor correspondido, + El primer sí de la mujer aun pura. + + «Para mí los amores acabaron; + Todo en el mundo para mí acabó; + Los lazos que a la tierra me ligaron [905] + El cielo para siempre desató,» + + Dijo su acento misterioso y tierno, + Que de otros mundos la ilusión traía, + Eco de los que ya reposo eterno + Gozan en paz bajo la tumba fría. [910] + + Montemar, atento sólo a su aventura, + Que es bella la dama y aun fácil juzgó, + Y la hora, la calle y la noche oscura + Nuevos incentivos a su pecho son. + + «--Hay riesgo en seguirme.--Mirad ¡qué reparo! [915] + --Quizá luego os pese.--Puede que por vos. + --Ofendéis al cielo.--Del diablo me amparo. + --Idos, caballero, no tentéis a Dios. + + --Siento me enamora más vuestro despego, + Y si Dios se enoja, pardiez que hará mal; [920] + Veame en vuestros brazos y máteme luego. + --¡Vuestra última hora quizá ésta será!... + + Dejad ya, Don Félix, delirios mundanos. + --¡Hola, me conoce!--¡Ay! ¡temblad por vos! + ¡Temblad no se truequen deleites livianos [925] + En penas eternas!--Basta de sermón, + + Que yo para oírlos la cuaresma espero; + Y hablemos de amores, que es más dulce hablar; + Dejad ese tono solemne y severo, + Que os juro, señora, que os sienta muy mal. [930] + + La vida es la vida: cuando ella se acaba, + Acaba con ella también el placer. + ¿De inciertos pesares por qué hacerla esclava? + Para mí no hay nunca mañana ni ayer. + + Si mañana muero, que sea en mal hora [935] + O en buena, cual dicen, ¿qué me importa a mí? + Goce yo el presente, disfrute yo ahora, + Y el diablo me lleve siquiera al morir. + + --¡Cúmplase en fin tu voluntad, Dios mío!--» + La figura fatídica exclamó; [940] + Y en tanto al pecho redoblar su brío + Siente Don Félix y camina en pos. + + Cruzan tristes calles, + Plazas solitarias, + Arruinados muros, [945] + Donde sus plegarias + Y falsos conjuros, + En la misteriosa + Noche borrascosa, + Maldecida bruja [950] + + Con ronca voz canta, + Y de los sepulcros + Los muertos levanta, + Y suenan los ecos + De sus pasos huecos [955] + En la soledad; + Mientras en silencio + Yace la ciudad, + Y en lúgubre són + Arrulla su sueño [960] + Bramando Aquilón. + + Y una calle y otra cruzan, + Y más allá y más allá; + Ni tiene término el viaje, + Ni nunca dejan de andar. [965] + Y atraviesan, pasan, vuelven, + Cien calles quedando atrás, + Y paso tras paso siguen, + Y siempre adelante van; + Y a confundirse ya empieza [970] + Y a perderse Montemar, + Que ni sabe a dó camina, + Ni acierta ya dónde está; + Y otras calles, otras plazas + Recorre, y otra ciudad, [975] + Y ve fantásticas torres + De su eterno pedestal + Arrancarse, y sus macizas, + Negras masas caminar, + Apoyándose en sus ángulos, [980] + Que en la tierra en desigual, + Perezoso tranco fijan; + Y a su monótono andar, + Las campanas sacudidas + Misteriosos dobles dan, [985] + Mientras en danzas grotescas, + Y al estruendo funeral, + En derredor cien espectros + Danzan con torpe compás; + Y las veletas sus frentes [990] + Bajan ante él al pasar, + Los espectros le saludan, + Y en cien lenguas de metal, + Oye su nombre en los ecos + De las campanas sonar. [995] + Mas luego cesa el estrépito, + Y en silencio, en muda paz + Todo queda, y desparece + De súbito la ciudad: + Palacios, templos, se cambian [1000] + En campos de soledad, + Y en un yermo y silencioso, + Melancólico arenal, + Sin luz, sin aire, sin cielo, + Perdido en la inmensidad. [1005] + Tal vez piensa que camina, + Sin poder parar jamás, + De extraño empuje llevado + Con precipitado afán; + Entretanto que su guía, [1010] + Delante de él sin hablar, + Sigue misteriosa, y sigue + Con paso rápido, y ya + Se remonta ante sus ojos + En alas del huracán, [1015] + Visión sublime, y su frente + Ve fosfórica brillar + Entre lívidos relámpagos + En la densa oscuridad, + Sierpes de luz, luminosos [1020] + Engendros del vendaval; + Y cuando duda si duerme, + Si tal vez sueña o está + Loco, si es tanto prodigio, + Tanto delirio verdad, [1025] + Otra vez en Salamanca + Súbito vuélvese a hallar, + Distingue los edificios, + Reconoce en dónde está, + Y en su delirante vértigo [1030] + Al vino vuelve a culpar, + Y jura, y siguen andando, + Ella delante, él detrás. + + «¡Vive Dios! dice entre sí, + O Satanás se chancea, [1035] + O no debo estar en mí, + O el Málaga que bebí + En mi cabeza aun humea. + + «Sombras, fantasmas, visiones.... + Dale con tocar a muerto, [1040] + Y en revueltas confusiones, + Danzando estos torreones + Al compás de tal concierto. + + «Y el juicio voy a perder + Entre tantas maravillas. [1045] + ¡Que estas torres llegue a ver, + Como mulas de alquiler, + Andando con campanillas! + + «¿Y esta mujer quién será? + Mas si es el diablo en persona, [1050] + ¿A mí qué diantre me da? + Y más que el traje en que va + En esta ocasión le abona. + + «Noble señora, imagino + Que sois nueva en el lugar: [1055] + Andar así es desatino; + O habéis perdido el camino, + O esto es andar por andar. + + «Ha dado en no responder, + Que es la más rara locura [1060] + Que puede hallarse en mujer, + Y en que yo la he de querer + Por su paso de andadura.» + + En tanto Don Félix a tientas seguía, + Delante camina la blanca visión, [1065] + Triplica su espanto la noche sombría, + Sus hórridos gritos redobla Aquilón. + + Rechinan girando las férreas veletas, + Crujir de cadenas se escucha sonar, + Las altas campanas, por el viento inquietas, [1070] + Pausados sonidos en las torres dan. + + Rüido de pasos de gente que viene + A compás marchando con sordo rumor, + Y de tiempo en tiempo su marcha detiene, + Y rezar parece en confuso són, [1075] + + Llegó de Don Félix luego a los oídos, + Y luego cien luces a lo lejos vió, + Y luego en hileras largas divididos, + Vió que murmurando con lúgubre voz + + Enlutados bultos andando venían; [1080] + Y luego más cerca con asombro ve + Que un féretro en medio y en hombros traían + Y dos cuerpos muertos tendidos en él. + + Las luces, la hora, la noche, profundo, + Infernal arcano parece encubrir. [1085] + Cuando en hondo sueño yace muerto el mundo, + Cuando todo anuncia que habrá de morir + + Al hombre que loco la recia tormenta + Corrió de la vida, del viento a merced, + Cuando una voz triste las horas le cuenta, [1090] + Y en lodo sus pompas convertidas ve, + + Forzoso es que tenga de diamante el alma + Quien no sienta el pecho de horror palpitar, + Quien como Don Félix, con serena calma, + Ni en Dios ni en el diablo se ponga a pensar. [1095] + + Así en tardos pasos, todos murmurando, + El lúgubre entierro ya cerca llegó, + Y la blanca dama, devota rezando, + Entrambas rodillas en tierra dobló. + + Calado el sombrero y en pie, indiferente [1100] + El féretro mira Don Félix pasar, + Y al paso pregunta con su aire insolente + Los nombres de aquellos que al sepulcro van. + + Mas ¡cuál su sorpresa, su asombro cuál fuera, + Cuando horrorizado con espanto ve [1105] + Que el uno Don Diego de Pastrana era, + Y el otro ¡Dios santo! y el otro era él!... + + Él mismo, su imagen, su misma figura, + Su mismo semblante, que él mismo era en fin; + Y duda, y se palpa, y fría pavura [1110] + Un punto en sus venas sintió discurrir. + + Al fin era hombre, y un punto temblaron + Los nervios del hombre, y un punto temió; + Mas pronto su antiguo vigor recobraron, + Pronto su fiereza volvió al corazón. [1115] + + «Lo que es, dijo, por Pastrana, + Bien pensado está el entierro; + Mas es diligencia vana + Enterrarme a mí, y mañana + Me he de quejar de este yerro. [1120] + + «Diga, señor enlutado, + ¿A quién llevan a enterrar?» + «--Al estudiante endiablado + Don Félix de Montemar,» + Respondió el encapuchado. [1125] + + «--Mientes, truhán.--No por cierto. + --Pues decidme a mí quién soy, + Si gustáis, porque no acierto + Cómo a un mismo tiempo estoy + Aquí vivo y allí muerto. [1130] + + «--Yo no os conozco.--Pardiez, + Que si me llego a enojar, + Tus burlas te haga llorar + De tal modo que otra vez + Conozcas ya a Montemar. [1135] + + «¡Villano!... mas esto es + Ilusión de los sentidos, + El mundo que anda al revés, + Los diablos entretenidos + En hacerme dar traspiés. [1140] + + «¡El fanfarrón de Don Diego! + De sus mentiras reniego, + Que cuando muerto cayó, + Al infierno se fué luego + Contando que me mató.» [1145] + + Diciendo así, soltó una carcajada, + Y las espaldas con desdén volvió; + Se hizo el bigote, requirió la espada, + Y a la devota dama se acercó. + + «Conque, en fin, ¿dónde vivís? [1150] + Que se hace tarde, señora. + --Tarde, aun no; de aquí a una hora + Lo será.--Verdad decís, + Será más tarde que ahora. + + «Esa voz con que hacéis miedo [1155] + De vos me enamora más. + Yo me he echado el alma atrás; + Juzgad si me dará un bledo + De Dios ni de Satanás. + + «--Cada paso que avanzáis [1160] + Lo adelantáis a la muerte, + Don Félix. ¿Y no tembláis + Y el corazón no os advierte + Que a la muerte camináis?» + + Con eco melancólico y sombrío [1165] + Dijo así la mujer, y el sordo acento, + Sonando en torno del mancebo impío, + Rugió en la voz del proceloso viento. + + Las piedras con las piedras se golpearon, + Bajo sus pies la tierra retembló, [1170] + Las aves de la noche se juntaron, + Y sus alas crujir sobre él sintió; + + Y en la sombra unos ojos fulgurantes + Vió en el aire vagar que espanto inspiran, + Siempre sobre él saltándose anhelantes, [1175] + Ojos de horror que sin cesar le miran. + + Y los vió y no tembló; mano a la espada + Puso y la sombra intrépido embistió; + Y ni sombra encontró ni encontró nada, + Sólo fijos en él los ojos vió. [1180] + + Y alzó los suyos impaciente al cielo, + Y rechinó los dientes y maldijo, + Y, en él creciendo el infernal anhelo, + Con voz de enojo blasfemando dijo: + + «Seguid, señora, y adelante vamos: [1185] + Tanto mejor si sois el diablo mismo, + Y Dios y el diablo y yo nos conozcamos, + Y acábese por fin tanto embolismo. + + «Que de tanto sermón, de farsa tanta, + Juro, pardiez, que fatigado estoy; [1190] + Nada mi firme voluntad quebranta: + Sabed, en fin, que, donde vayáis, voy. + + «Un término no más tiene la vida: + Término fijo; un paradero el alma: + Ahora adelante.» Dijo, y en seguida [1195] + Camina en pos con decidida calma. + + Y la dama a una puerta se paró, + Y era una puerta altísima, y se abrieron + Sus hojas en el punto en que llamó, + Que a un misterioso impulso obedecieron; [1200] + Y tras la dama el estudiante entró; + Ni pajes ni doncellas acudieron; + Y cruzan a la luz de unas bujías + Fantásticas, desiertas galerías. + + Y la visión, como engañoso encanto, [1205] + Por las losas deslízase sin ruido, + Toda encubierta bajo el blanco manto + Que barre el suelo en pliegues desprendido; + Y por el largo corredor en tanto + Sigue adelante, y síguela atrevido, [1210] + Y su temeridad raya en locura, + Resuelto Montemar a su aventura. + + Las luces, como antorchas funerales, + Lánguida luz y cárdena esparcían, + Y en torno, en movimientos desiguales, [1215] + Las sombras se alejaban o venían + Arcos aquí ruinosos, sepulcrales, + Urnas allí y estatuas se veían, + Rotas columnas, patios mal seguros, + Yerbosos, tristes, húmedos y oscuros. [1220] + + Todo vago, quimérico y sombrío, + Edificio sin base ni cimiento, + Ondula cual fantástico navío + Que anclado mueve borrascoso viento. + En un silencio aterrador y frío [1225] + Yace allí todo: ni rumor, ni aliento + Humano nunca se escuchó: callado, + Corre allí el tiempo, en sueño sepultado. + + Las muertas horas a las muertas horas + Siguen en el reloj de aquella vida, [1230] + Sombras de horror girando aterradoras, + Que allá aparecen en medrosa huída; + Ellas solas y tristes moradoras + De aquella negra, funeral guarida, + Cual soñada fantástica quimera, [1235] + Vienen a ver al que su paz altera. + + Y en él enclavan los hundidos ojos + Del fondo de la larga galería, + Que brillan lejos cual carbones rojos, + Y espantaran la misma valentía; [1240] + Y muestran en su rostro sus enojos + Al ver hollada su mansión sombría; + Y ora en grupos delante se aparecen, + Ora en la sombra allá se desvanecen. + + Grandïosa, satánica figura, [1245] + Alta la frente, Montemar camina, + Espíritu sublime en su locura, + Provocando la cólera divina: + Fábrica frágil de materia impura, + El alma que la alienta y la ilumina [1250] + Con Dios le iguala, y con osado vuelo + Se alza a su trono y le provoca a duelo. + + Segundo Lucifer que se levanta + Del rayo vengador la frente herida, + Alma rebelde que el temor no espanta, [1255] + Hollada sí, pero jamás vencida: + El hombre, en fin, que en su ansiedad quebranta + Su límite a la cárcel de la vida, + Y a Dios llama ante él a darle cuenta, + Y descubrir su inmensidad intenta. [1260] + + Y un báquico cantar tarareando, + Cruza aquella quimérica morada, + Con atrevida indiferencia andando, + Mofa en los labios, y la vista osada; + Y el rumor que sus pasos van formando, [1265] + Y el golpe que al andar le da la espada, + Tristes ecos, siguiéndole detrás, + Repiten con monótono compás. + + Y aquel extraño y único rüido + Que de aquella mansión los ecos llena, [1270] + En el suelo y los techos repetido, + En su profunda soledad resuena; + Y espira allá cual funeral gemido + Que lanza en su dolor la ánima en pena, + Que al fin del corredor largo y oscuro [1275] + Salir parece de entre el roto muro. + + Y en aquel otro mundo y otra vida, + Mundo de sombras, vida que es un sueño, + Vida que, con la muerte confundida, + Ciñe sus sienes con letal beleño; [1280] + Mundo, vaga ilusión descolorida + De nuestro mundo y vaporoso ensueño, + Son aquel ruido y su locura insana + La sola imagen de la vida humana. + + Que allá su blanca, misteriosa guía, [1285] + De la alma dicha la ilusión parece, + Que ora acaricia la esperanza impía, + Ora al tocarla ya se desvanece; + Blanca, flotante nube que en la umbría + Noche en alas del céfiro se mece [1290] + Su airosa ropa, desplegada al viento, + Semeja en su callado movimiento; + + Humo süave de quemado aroma + Que al aire en ondas a perderse asciende; + Rayo de luna que en la parda loma [1295] + Cual un broche su cima al éter prende; + Silfa que con el alba envuelta asoma + Y al nebuloso azul sus alas tiende, + De negras sombras y de luz teñidas, + Entre el alba y la noche confundidas. [1300] + + Y ágil, veloz, aérea y vaporosa, + Que apenas toca con los pies al suelo, + Cruza aquella morada tenebrosa + La mágica visión del blanco velo: + Imagen fiel de la ilusión dichosa [1305] + Que acaso el hombre encontrará en el cielo, + Pensamiento sin fórmula y sin nombre + Que hace rezar y blasfemar al hombre. + + Y al fin del largo corredor llegando, + Montemar sigue su callada guía, [1310] + Y una de mármol negro va bajando + De caracol torcida gradería, + Larga, estrecha y revuelta, y que girando + En torno de él y sin cesar veía + Suspendida en el aire y con violento, [1315] + Veloz, vertiginoso movimiento. + + Y en eterna espiral y en remolino + Infinito prolóngase y se extiende, + Y el juicio pone en loco desatino + A Montemar que en tumbos mil desciende, [1320] + Y, envuelto en el violento torbellino, + Al aire se imagina, y se desprende, + Y sin que el raudo movimiento ceda, + Mil vueltas dando, a los abismos rueda; + + Y de escalón en escalón cayendo, [1325] + Blasfema y jura con lenguaje inmundo, + Y su furioso vértigo creciendo, + Y despeñado rápido al profundo, + Los silbos ya del huracán oyendo, + Ya ante él pasando en confusión el mundo, [1330] + Ya oyendo gritos, voces y palmadas, + Y aplausos y brutales carcajadas, + + Llantos y ayes, quejas y gemidos, + Mofas, sarcasmos, risas y denuestos; + Y en mil grupos acá y allá reunidos, [1335] + Viendo debajo de él, sobre él enhiestos, + Hombres, mujeres, todos confundidos, + Con sandia pena, con alegres gestos, + Que con asombro estúpido le miran + Y en el perpetuo remolino giran. [1340] + + Siente por fin que de repente pára, + Y un punto sin sentido se quedó; + Mas luego valeroso se repara, + Abrió los ojos y de pie se alzó; + Y fué el primer objeto en que pensara [1345] + La blanca dama, y alredor miró, + Y al pie de un triste monumento hallóla + Sentada en medio de la estancia, sola. + + Era un negro solemne monumento + Que en medio de la estancia se elevaba, [1350] + Y, a un tiempo a Montemar ¡raro portento! + Una tumba y un lecho semejaba: + Ya imaginó su loco pensamiento + Que abierta aquella tumba le aguardaba; + Ya imaginó también que el lecho era [1355] + Tálamo blando que al esposo espera. + + Y pronto, recobrada su osadía, + Y a terminar resuelto su aventura, + Al cielo y al infierno desafía + Con firme pecho y decisión segura: [1360] + A la blanca visión su planta guía, + Y a descubrirse el rostro la conjura, + Y a sus pies Montemar tomando asiento + Así la habló con animoso acento: + + «Diablo, mujer o visión, [1365] + Que, a juzgar por el camino + Que conduce a esta mansión, + Eres puro desatino + O diabólica invención, + + «Siquier de parte de Dios, [1370] + Siquier de parte del diablo, + ¿Quién nos trajo aquí a los dos? + Decidme, en fin, ¿quién sois vos? + Y sepa yo con quién hablo: + + «Que más que nunca palpita [1375] + Resuelto mi corazón, + Cuando en tanta confusión, + Y en tanto arcano que irrita, + Me descubre mi razón + + «Que un poder aquí supremo, [1380] + Invisible se ha mezclado, + Poder que siento y no temo, + A llevar determinado + Esta aventura al extremo.» + + Fúnebre [1385] + Llanto + De amor + Óyese + En tanto + En son [1390] + + Flébil, blando + Cual quejido + Dolorido + Que del alma + Se arrancó: [1395] + Cual profundo + ¡Ay! que exhala + Moribundo + Corazón. + + Música triste [1400] + Lánguida y vaga, + Que a par lastima + Y el alma halaga; + Dulce armonía + Que inspira al pecho [1405] + Melancolía, + Como el murmullo + De algún recuerdo + De antiguo amor, + A un tiempo arrullo [1410] + Y amarga pena + Del corazón. + + Mágico embeleso, + Cántico ideal, + Que en los aires vaga [1415] + Y en sonoras ráfagas + Aumentado va; + Sublime y oscuro, + Rumor prodigioso, + Sordo acento lúgubre, [1420] + Eco sepulcral, + Músicas lejanas, + De enlutado parche + Redoble monótono, + Cercano huracán, [1425] + Que apenas la copa + Del árbol menea + Y bramando está; + Olas alteradas + De la mar bravía [1430] + En noche sombría, + Los vientos en paz, + Y cuyo rugido + Se mezcla al gemido + Del muro que trémulo [1435] + Las siente llegar; + Pavoroso estrépito, + Infalible présago + De la tempestad. + + Y, en rápido _crescendo_, [1440] + Los lúgubres sonidos + Más cerca vanse oyendo + Y en ronco rebramar; + Cual trueno en las montañas + Que retumbando va, [1445] + Cual rugen las entrañas + De horrísono volcán. + + Y algazara y gritería, + Crujir de afilados huesos, + Rechinamiento de dientes [1450] + Y retemblar los cimientos, + Y en pavoroso estallido + Las losas del pavimento + Separando sus junturas + Irse poco a poco abriendo, [1455] + Siente Montemar; y el ruido + Más cerca crece, y a un tiempo + Escucha chocarse cráneos, + Ya descarnados y secos, + Temblar en torno la tierra, [1460] + Bramar combatidos vientos, + Rugir las airadas olas, + Estallar el ronco trueno, + Exhalar tristes quejidos + Y prorrumpir en lamentos: [1465] + Todo en furiosa armonía, + Todo en frenético estruendo, + Todo en confuso trastorno, + Todo mezclado y diverso. + + Y luego el estrépito crece [1470] + Confuso y mezclado en un són, + Que ronco en las bóvedas hondas + Tronando furioso zumbó; + Y un eco que agudo parece + Del ángel del juicio la voz, [1475] + En tiple, punzante alarido + Medroso y sonoro se alzó; + Sintió, removidas las tumbas, + Crujir a sus pies con fragor, + + Chocar en las piedras los cráneos [1480] + Con rabia y ahinco feroz, + Romper intentando la losa, + Y huir de su eterna mansión, + Los muertos, de súbito oyendo + El alto mandato de Dios. [1485] + + Y de pronto en horrendo estampido + Desquiciarse la estancia sintió, + Y al tremendo tartáreo ruido + Cien espectros alzarse miró: + + De sus ojos los huecos fijaron [1490] + Y sus dedos enjutos en él; + Y después entre sí se miraron, + Y a mostrarle tornaron después; + + Y, enlazadas las manos siniestras, + Con dudoso, espantado ademán [1495] + Contemplando, y, tendidas sus diestras, + Con asombro al osado mortal, + + Se acercaron despacio, y la seca + Calavera, mostrando temor, + Con inmóvil, irónica mueca [1500] + Inclinaron, formando en redor. + + Y entonces la visión del blanco velo + Al fiero Montemar tendió una mano, + Y era su tacto de crispante hielo, + Y resistirlo audaz intentó en vano: [1505] + + Galvánica, crüel, nerviosa y fría, + Histérica y horrible sensación, + Toda la sangre coagulada envía + Agolpada y helada al corazón.... + + Y a su despecho y maldiciendo al cielo, [1510] + De ella apartó su mano Montemar, + Y temerario alzándola a su velo, + Tirando de él la descubrió la faz. + + _¡Es su esposo!!_ los ecos retumbaron, + _¡La esposa al fin que su consorte halló!!_ [1515] + Los espectros con júbilo gritaron: + _¡Es el esposo de su eterno amor!!_ + + Y ella entonces gritó: _¡Mi esposo!!_ ¡Y era + (¡Desengaño fatal! ¡triste verdad!) + Una sórdida, horrible calavera, [1520] + La blanca dama del gallardo andar!... + + Luego un caballero de espuela dorada, + Airoso, aunque el rostro con mortal color, + Traspasado el pecho de fiera estocada, + Aun brotando sangre de su corazón, [1525] + + Se acerca y le dice, su diestra tendida, + Que impávido estrecha también Montemar: + «--Al fin, la palabra, que disteis, cumplida, + Doña Elvira, vedla, vuestra esposa es ya; + + «Mi muerte os perdono.--Por cierto, Don Diego, [1530] + Repuso Don Félix tranquilo a su vez, + Me alegro de veros con tanto sosiego, + Que a fe no esperaba volveros a ver. + + «En cuanto a ese espectro que decís mi esposa, + Raro casamiento venísme a ofrecer: [1535] + Su faz no es por cierto ni amable ni hermosa; + Mas no se os figure que os quiera ofender. + + «Por mujer la tomo, porque es cosa cierta, + Y espero no salga fallido mi plan, + Que, en caso tan raro y mi esposa muerta, [1540] + Tanto como viva no me cansará. + + «Mas antes decidme si Dios o el demonio + Me trajo a este sitio, que quisiera ver + Al uno u al otro, y en mi matrimonio + Tener por padrino siquiera a Luzbel: [1545] + + «Cualquiera o entrambos con su corte toda, + Estando estos nobles espectros aquí, + No perdiera mucho viniendo a mi boda.... + Hermano Don Diego, ¿no pensáis así?» + + Tal dijo Don Félix con fruncido ceño, [1550] + En torno arrojando con fiero ademán + Miradas audaces de altivo desdeño, + Al Dios por quien jura capaz de arrostrar. + + El carïado, lívido esqueleto, + Los fríos, largos y asquerosos brazos, [1555] + Le enreda en tanto en apretados lazos, + Y ávido le acaricia en su ansiedad; + Y con su boca cavernosa busca + La boca a Montemar, y a su mejilla + La árida, descarnada y amarilla [1560] + Junta y refriega repugnante faz. + + Y él, envuelto en sus secas coyunturas, + Aun más sus nudos que se aprietan siente, + Baña un mar de sudor su ardida frente, + Y crece en su impotencia su furor. [1565] + Pugna con ansia a desasirse en vano, + Y cuanto más airado forcejea, + Tanto más se le junta y le desea + El rudo espectro que le inspira horror. + + Y en furioso, veloz remolino, [1570] + Y en aérea fantástica danza, + Que la mente del hombre no alcanza + En su rápido curso a seguir, + Los espectros su ronda empezaron, + Cual en círculos raudos el viento [1575] + Remolinos de polvo violento + Y hojas secas agita sin fin. + + Y elevando sus áridas manos, + Resonando cual lúgubre eco, + Levantóse en su cóncavo hueco [1580] + Semejante a un aullido una voz + Pavorosa, monótona, informe, + Que pronuncia sin lengua su boca, + Cual la voz que del áspera roca + En los senos el viento formó. [1585] + + «Cantemos, dijeron sus gritos, + La gloria, el amor de la esposa, + Que enlaza en sus brazos dichosa + Por siempre al esposo que amó; + Su boca a su boca se junte, [1590] + Y selle su eterna delicia, + Süave, amorosa caricia + Y lánguido beso de amor. + + «Y en mútuos abrazos unidos, + Y en blando y eterno reposo, [1595] + La esposa enlazada al esposo, + Por siempre descansen en paz; + Y en fúnebre luz ilumine + Sus bodas fatídica tea, + Les brinde deleites, y sea [1600] + La tumba su lecho nupcial.» + + Mientras, la ronda frenética, + Que en raudo giro se agita, + Más cada vez precipita + Su vértigo sin ceder; [1605] + Más cada vez se atropella, + Más cada vez se arrebata, + Y en círculos se desata + Violentos más cada vez; + + Y escapa en rueda quimérica; [1610] + Y negro punto parece + Que en torno se desvanece + A la fantástica luz, + Y sus lúgubres aullidos + Que pavorosos se extienden [1615] + Los aires rápidos hienden + Más prolongados aún. + + Y a tan continuo vértigo, + A tan funesto encanto, + A tan horrible canto, [1620] + A tan tremenda lid, + Entre los brazos lúbricos + Que aprémianle sujeto + Del hórrido esqueleto, + Entre caricias mil, [1625] + + Jamás vencido el ánimo, + Su cuerpo ya rendido + Sintió desfallecido + Faltarle Montemar; + Y a par que más su espíritu [1630] + Desmiente su miseria, + La flaca, vil materia + Comienza a desmayar. + + Y siente un confuso, + Loco devaneo, [1635] + Languidez, mareo + Y angustioso afán; + Y sombras y luces, + La estancia que gira, + Y espíritus mira [1640] + Que vienen y van. + + Y luego a lo lejos, + Flébil en su oído, + Eco dolorido + Lánguido sonó, [1645] + Cual la melodía + Que el aura amorosa + Y el agua armoniosa + De noche formó; + + Y siente luego [1650] + Su pecho ahogado + Y desmayado, + Turbios sus ojos, + Sus graves párpados, + Flojos caer; [1655] + La frente inclina + Sobre su pecho, + Y, a su despecho, + Siente sus brazos + Lánguidos, débiles [1660] + Desfallecer. + + Y vió luego + Una llama + Que se inflama + Y murió; [1665] + Y perdido + Oyó el eco + De un gemido + Que espiró. + + Tal, dulce [1670] + Suspira + La lira + Que hirió + En blando + Concento [1675] + Del viento + La voz, + + Leve, + Breve + Són. [1680] + + En tanto en nubes de carmín y grana + Su luz el alba arrebolada envía, + Y alegre regocija y engalana + Las altas torres el naciente día: + Sereno el cielo, calma la mañana, [1685] + Blanda la brisa, trasparente y fría, + Vierte a la tierra el sol con su hermosura + Rayos de paz y celestial ventura. + + Y huyó la noche y con la noche huían + Sus sombras y quiméricas mujeres, [1690] + Y a su silencio y calma sucedían + El bullicio y rumor de los talleres; + Y a su trabajo y a su afán volvían + Los hombres y a sus frívolos placeres, + Algunos hoy volviendo a su faena. [1695] + De zozobra y temor el alma llena; + + ¡Que era pública voz, que llanto arranca + Del pecho pecador y empedernido, + Que en forma de mujer y en una blanca + Túnica misteriosa revestido, [1700] + Aquella noche el diablo a Salamanca + Había, en fin, por Montemar venido!... + _Y si, lector, dijerdes ser comento, + Como me lo contaron, te lo cuento._ + + + + + CANCIÓN DEL PIRATA + + Con diez cañones por banda, + Viento en popa, a toda vela, + No corta el mar sino vuela + Un velero bergantín: + Bajel pirata que llaman [5] + Por su bravura el _Temido_, + En todo mar conocido + Del uno al otro confín. + + La luna en el mar rïela, + En la lona gime el viento, [10] + Y alza en blando movimiento + Olas de plata y azul; + Y ve el capitán pirata, + Cantando alegre en la popa, + Asia a un lado, al otro Europa, [15] + Y allá a su frente Stambul.[1] + +[Nota 1: Nombre que dan los Turcos a Constantinopla] + + «Navega, velero mío, + Sin temor, + Que ni enemigo navío, + Ni tormenta, ni bonanza [20] + Tu rumbo a torcer alcanza, + Ni a sujetar tu valor. + + «Veinte presas + Hemos hecho + A despecho [25] + Del Inglés, + Y han rendido + Sus pendones + Cien naciones + A mis pies. [30] + + «Que es mi barco mi tesoro, + Que es mi Dios la libertad, + Mi ley la fuerza y el viento, + Mi única patria la mar. + + «Allá muevan feroz guerra [35] + Ciegos reyes + Por un palmo más de tierra; + Que yo tengo aquí por mío + Cuanto abarca el mar bravío, + A quien nadie impuso leyes. [40] + + «Y no hay playa, + Sea cualquiera, + Ni bandera + De esplendor, + Que no sienta [45] + Mi derecho + Y dé pecho + A mi valor. + + «Que es mi barco mi tesoro.... + + «A la voz de '¡barco viene!' [50] + Es de ver + Cómo vira y se previene + A todo trapo a escapar; + Que yo soy el rey del mar, + Y mi furia es de temer. [55] + + «En las presas + Yo divido + Lo cogido + Por igual: + Sólo quiero [60] + Por riqueza + La belleza + Sin rival. + + «Que es mi barco mi tesoro.... + + «¡Sentenciado estoy a muerte! [65] + Yo me río. + No me abandone la suerte, + Y al mismo que me condena + Colgaré de alguna entena, + Quizá en su propio navío. [70] + + «Y si caigo, + ¿Qué es la vida? + Por perdida + Ya la di, + Cuando el yugo [75] + Del esclavo, + Como un bravo, + Sacudí. + + «Que es mi barco mi tesoro.... + + «Son mi música mejor [80] + Aquilones; + El estrépito y temblor + De los cables sacudidos; + Del negro mar los bramidos + Y el rugir de mis cañones. [85] + + «Y del trueno + Al són violento, + Y del viento + Al rebramar, + Yo me duermo [90] + Sosegado, + Arrullado + Por el mar. + + «Que es mi barco mi tesoro, + Que es mi Dios la libertad, [95] + Mi ley la fuerza y el viento, + Mi única patria la mar.» + + + + + EL CANTO DEL COSACO + + Donde sienta mi caballo los pies no vuelve + a nacer yerba.--Palabras de Átila + + + CORO + ¡Hurra, Cosacos del desierto! ¡Hurra! + La Europa os brinda espléndido botín: + Sangrienta charca sus campiñas sean, + De los grajos su ejército festín. + + ¡Hurra! a caballo, hijos de la niebla! [5] + Suelta la rienda, a combatir volad. + ¿Veis esas tierras fértiles? las puebla + Gente opulenta, afeminada ya. + Casas, palacios, campos y jardines, + Todo es hermoso y refulgente allí; [10] + Son sus hembras celestes serafines, + Su sol alumbra un cielo de zafir. + + ¡Hurra, Cosacos del desierto.... + + Nuestros sean su oro y sus placeres, + Gocemos de ese campo y de ese sol; [15] + Son sus soldados menos que mujeres, + Sus reyes viles mercaderes son. + Vedlos huír para esconder su oro, + Vedlos cobardes lágrimas verter.... + ¡Hurra! volad: sus cuerpos, su tesoro [20] + Huellen nuestros caballos con sus pies. + + ¡Hurra, Cosacos del desierto.... + + Dictará allí nuestro capricho leyes, + Nuestras casas alcázares serán, + Los cetros y coronas de los reyes [25] + Cual juguetes de niños rodarán. + ¡Hurra! volad a hartar nuestros deseos; + Las más hermosas nos darán su amor, + Y no hallarán nuestros semblantes feos, + Que siempre brilla hermoso el vencedor. [30] + + ¡Hurra, Cosacos del desierto.... + + Desgarraremos la vencida Europa + Cual tigres que devoran su ración; + En sangre empaparemos nuestra ropa + Cual rojo manto de imperial señor. [35] + Nuestros nobles caballos relinchando + Regias habitaciones morarán; + Cien esclavos, sus frentes inclinando, + Al mover nuestros ojos temblarán. + + ¡Hurra, Cosacos del desierto.... [40] + + Venid, volad, guerreros del desierto, + Como nubes en negra confusión, + Todos suelto el bridón, el ojo incierto, + Todos atropellándoos en montón. + Id, en la espesa niebla confundidos, [45] + Cual tromba que arrebata el huracán, + Cual témpanos de hielo endurecidos + Por entre rocas despeñados van. + + ¡Hurra, Cosacos del desierto.... + + Nuestros padres un tiempo caminaron [50] + Hasta llegar a una imperial ciudad; + Un sol más puro es fama que encontraron, + Y palacios de oro y de cristal. + Vadearon el Tibre sus bridones, + Yerta a sus pies la tierra enmudeció; [55] + Su sueño con fantásticas canciones + La fada de los triunfos arrulló. + + ¡Hurra, Cosacos del desierto.... + + ¡Qué! ¿No sentís la lanza estremecerse, + Hambrienta en vuestras manos de matar? [60] + ¿No veis entre la niebla aparecerse + Visiones mil que el parabién nos dan? + Escudo de esas míseras naciones + Era ese muro que abatido fué; + La gloria de Polonia y sus blasones [65] + En humo y sangre convertidos ved. + + ¡Hurra, Cosacos del desierto.... + + ¿Quién en dolor trocó sus alegrías? + ¿Quién sus hijos triunfante encadenó? + ¿Quién puso fin a sus gloriosos días? [70] + ¿Quién en su propia sangre los ahogó? + ¡Hurra, Cosacos! ¡Gloria al más valiente! + Esos hombres de Europa nos verán. + ¡Hurra! nuestros caballos en su frente + Hondas sus herraduras marcarán. [75] + + ¡Hurra, Cosacos del desierto.... + + A cada bote de la lanza ruda, + A cada escape en la abrasada lid, + La sangrienta ración de carne cruda + Bajo la silla sentiréis hervir. [80] + Y allá después en templos suntüosos, + Sirviéndonos de mesa algún altar, + Nuestra sed calmarán vinos sabrosos, + Hartará nuestra hambre blanco pan. + + ¡Hurra, Cosacos del desierto.... [85] + + Y nuestras madres nos verán triunfantes, + Y a esa caduca Europa a nuestros pies, + Y acudirán de gozo palpitantes, + En cada hijo a contemplar un rey. + Nuestros hijos sabrán nuestras acciones, [90] + Las coronas de Europa heredarán, + Y a conquistar también otras regiones + El caballo y la lanza aprestarán. + + ¡Hurra, Cosacos del desierto! ¡Hurra! + La Europa os brinda espléndido botín. [95] + Sangrienta charca sus campiñas sean, + De los grajos su ejército festín. + + + + + EL MENDIGO + + Mío es el mundo: como el aire libre, + Otros trabajan porque coma yo; + Todos se ablandan si doliente pido + Una limosna por amor de Dios. + + El palacio, la cabaña [5] + Son mi asilo, + Si del ábrego el furor + Troncha el roble en la montaña, + O que inunda la campaña + El torrente asolador. [10] + + Y a la hoguera + Me hacen lado + Los pastores + Con amor, + Y sin pena [15] + Y descuidado + De su cena + Ceno yo; + O en la rica + Chimenea, [20] + Que recrea + Con su olor, + Me regalo + Codicioso + Del banquete [25] + Suntüoso + Con las sobras + De un señor. + + Y me digo: el viento brama, + Caiga furioso turbión; [30] + Que al són que cruje de la seca leña, + Libre me duermo sin rencor ni amor. + + Mío es el mundo: como el aire libre.... + + Todos son mis bienhechores, + Y por todos [35] + A Dios ruego con fervor; + De villanos y señores + Yo recibo los favores + Sin estima y sin amor. + + Ni pregunto [40] + Quiénes sean, + Ni me obligo + A agradecer; + Que mis rezos + Si desean, [45] + Dar limosna + Es un deber. + Y es pecado + La riqueza, + La pobreza [50] + Santidad; + Dios a veces + Es mendigo, + Y al avaro + Da castigo, [55] + Que le niegue + Caridad. + + Yo soy pobre y se lastiman + Todos al verme plañir, + Sin ver son mías sus riquezas todas, [60] + Que mina inagotable es el pedir. + + Mío es el mundo: como el aire libre.... + + Mal revuelto y andrajoso, + Entre harapos + Del lujo sátira soy; [65] + Y con mi aspecto asqueroso + Me vengo del poderoso, + Y adonde va, tras él voy. + + Y a la hermosa + Que respira [70] + Cien perfumes, + Gala, amor, + La persigo + Hasta que mira, + Y me gozo [75] + Cuando aspira + Mi punzante + Mal olor. + Y las fiestas + Y el contento [80] + Con mi acento + Turbo yo, + Y en la bulla + Y la alegría + Interrumpen [85] + La armonía + Mis harapos + Y mi voz, + + Mostrando cuán cerca habitan + El gozo y el padecer, [90] + Que no hay placer sin lágrimas, ni pena + Que no transpire en medio del placer. + + Mío es el mundo: como el aire libre.... + + Y para mí no hay _mañana_, + Ni hay _ayer_; [95] + Olvido el bien como el mal, + Nada me aflije ni afana; + Me es igual para mañana + Un palacio, un hospital. + + Vivo ajeno [100] + De memorias, + De cuidados + Libre estoy; + Busquen otros + Oro y glorias, [105] + Yo no pienso + Sino en hoy. + Y doquiera + Vayan leyes, + Quiten reyes, [110] + Reyes den; + Yo soy pobre, + Y al mendigo, + Por el miedo + Del castigo, [115] + Todos hacen + Siempre bien. + + Y un asilo dondequiera + Y un lecho en el hospital + Siempre hallaré, y un hoyo donde caiga [120] + Mi cuerpo miserable al espirar. + + Mío es el mundo: como el aire libre, + Otros trabajan porque coma yo; + Todos se ablandan, si doliente pido + Una limosna por amor de Dios. [125] + + + + + SONETO + + Fresca, lozana, pura y olorosa, + Gala y adorno del pensil florido, + Gallarda puesta sobre el ramo erguido, + Fragrancia esparce la naciente rosa. + + Mas si el ardiente sol lumbre enojosa [5] + Vibra del can en llamas encendido, + El dulce aroma y el color perdido, + Sus hojas lleva el aura presurosa. + + Así brilló un momento mi ventura + En alas del amor, y hermosa nube [10] + Fingí tal vez de gloria y de alegría. + + Mas ¡ay! que el bien trocóse en amargura, + Y deshojada por los aires sube + La dulce flor de la esperanza mía. + + + + + A TERESA + DESCANSA EN PAZ + + Bueno es el mundo, ¡bueno! ¡bueno! ¡bueno! + Como de Dios al fin obra maestra, + Por todas partes de delicias lleno, + De que Dios ama al hombre hermosa muestra; + Salga la voz alegre de su seno + A celebrar esta vivienda nuestra; + ¡Paz a los hombres! ¡gloria en las alturas! + ¡Cantad en vuestra jaula, crïaturas! + DON MIGUEL DE LOS SANTOS ÁLVAREZ, "María" + + + ¿Por qué volvéis a la memoria mía, + Tristes recuerdos del placer perdido, + A aumentar la ansiedad y la agonía + De este desierto corazón herido? + ¡Ay! que de aquellas horas de alegría, [5] + Le quedó al corazón sólo un gemido, + Y el llanto que al dolor los ojos niegan + Lágrimas son de hiel que el alma anegan! + + ¿Dónde volaron ¡ay! aquellas horas + De juventud, de amor y de ventura, [10] + Regaladas de músicas sonoras, + Adornadas de luz y de hermosura? + Imágenes de oro bullidoras, + Sus alas de carmín y nieve pura, + Al sol de mi esperanza desplegando, [15] + Pasaban ¡ay! a mi alredor cantando. + + Gorjeaban los dulces ruiseñores, + El sol iluminaba mi alegría, + El aura susurraba entre las flores, + El bosque mansamente respondía, [20] + Las fuentes murmuraban sus amores.... + ¡Ilusiones que llora el alma mía! + ¡Oh! ¡cuán süave resonó en mi oído + El bullicio del mundo y su ruïdo! + + Mi vida entonces cual guerrera nave [25] + Que el puerto deja por la vez primera, + Y al soplo de los céfiros süave, + Orgullosa despliega su bandera, + Y al mar dejando que a sus pies alabe + Su triunfo en roncos cantos, va velera [30] + Una ola tras otra bramadora + Hollando y dividiendo vencedora; + + ¡Ay! en el mar del mundo, en ansia ardiente + De amor volaba, el sol de la mañana + Llevaba yo sobre mi tersa frente, [35] + Y el alma pura de su dicha ufana. + Dentro de ella el amor cual rica fuente, + Que entre frescura y arboledas mana, + Brotaba entonces abundante río + De ilusiones y dulce desvarío. [40] + + Yo amaba todo: un noble sentimiento + Exaltaba mi ánimo, y sentía + En mi pecho un secreto movimiento, + De grandes hechos generoso guía: + La libertad con su inmortal aliento, [45] + Santa diosa, mi espíritu encendía, + Contino imaginando en mi fe pura + Sueños de gloria al mundo y de ventura: + + El puñal de Catón, la adusta frente + Del noble Bruto, la constancia fiera [50] + Y el arrojo de Scévola valiente, + La doctrina de Sócrates severa, + La voz atronadora y elocuente + Del orador de Atenas, la bandera + Contra el tirano macedonio alzando, [55] + Y al espantado pueblo arrebatando; + + El valor y la fe del caballero, + Del trovador el arpa y los cantares, + Del gótico castillo el altanero, + Antiguo torreón, do sus pesares [60] + Cantó tal vez con eco lastimero + ¡Ay! arrancada de sus patrios lares, + Joven cautiva, al rayo de la luna, + Lamentando su ausencia y su fortuna; + + El dulce anhelo del amor que aguarda, [65] + Tal vez inquieto y con mortal recelo, + La forma bella que cruzó gallarda, + Allá en la noche entre el medroso velo, + La ansiada cita que en llegar se tarda + Al impaciente y amoroso anhelo, [70] + La mujer y la voz de su dulzura, + Que inspira al alma celestial ternura, + + A un tiempo mismo en rápida tormenta + Mi alma alborotaban de contino, + Cual las olas que azota con violenta [75] + Cólera, impetüoso torbellino; + Soñaba al héroe ya, la plebe atenta + En mi voz escuchaba su destino; + Ya al caballero, al trovador soñaba, + Y de gloria y de amores suspiraba. [80] + + Hay una voz secreta, un dulce canto, + Que el alma sólo recogida entiende, + Un sentimiento misterioso y santo, + Que del barro al espíritu desprende, + Agreste, vago y solitario encanto, [85] + Que en inefable amor el alma enciende, + Volando tras la imagen peregrina + El corazón de su ilusión divina. + + Yo, desterrado en extranjera playa, + Con los ojos, extático seguía [90] + La nave audaz que argentada raya + Volaba al puerto de la patria mía; + Yo cuando en Occidente el sol desmaya, + Solo y perdido en la arboleda umbría, + Oír pensaba el armonioso acento [95] + De una mujer, al suspirar del viento. + + ¡Una mujer! En el templado rayo + De la mágica luna se colora, + Del sol poniente al lánguido desmayo + Lejos entre las nubes se evapora; [100] + Sobre las cumbres que florece el mayo + Brilla fugaz al despuntar la aurora, + Cruza tal vez por entre el bosque umbrío, + Juega en las aguas del sereno río. + + ¡Una mujer! Deslízase en el cielo [105] + Allá en la noche desprendida estrella; + Si aroma el aire recogió en el suelo, + Es el aroma que le presta ella. + Blanca es la nube que en callado vuelo + Cruza la esfera y que su planta huella, [110] + Y en la tarde la mar olas la ofrece + De plata y de zafir donde se mece. + + Mujer que amor en su ilusión figura, + Mujer que nada dice a los sentidos, + Ensueño de suavísima ternura, [115] + Eco que regaló nuestros oídos; + De amor la llama generosa y pura, + Los goces dulces del placer cumplidos, + Que engalana la rica fantasía, + Goces que avaro el corazón ansía; [120] + + ¡Ay! aquella mujer, tan sólo aquella + Tanto delirio a realizar alcanza, + Y esa mujer, tan cándida y tan bella, + Es mentida ilusión de la esperanza; + Es el alma que vívida destella [125] + Su luz al mundo cuando en él se lanza, + Y el mundo con su magia y galanura + Es espejo no más de su hermosura; + + Es el amor que al mismo amor adora, + El que creó las sílfides y ondinas, [130] + La sacra ninfa que bordando mora + Debajo de las aguas cristalinas; + Es el amor que recordando llora + Las arboledas del Edén divinas, + Amor de allí arrancado, allí nacido, [135] + Que busca en vano aquí su bien perdido. + + ¡Oh llama santa! ¡celestial anhelo! + ¡Sentimiento purísimo! ¡memoria + Acaso triste de un perdido cielo, + Quizá esperanza de futura gloria! [140] + ¡Huyes y dejas llanto y desconsuelo! + ¡Oh mujer! que en imagen ilusoria + Tan pura, tan feliz, tan placentera, + Brindó el amor a mi ilusión primera...! + + ¡Oh Teresa! ¡Oh dolor! Lágrimas mías, [145] + ¡Ah! ¿dónde estáis que no corréis a mares? + ¿Por qué, por qué como en mejores días + No consoláis vosotras mis pesares? + ¡Oh! los que no sabéis las agonías + De un corazón, que penas a millares [150] + ¡Ay! desgarraron, y que ya no llora, + ¡Piedad tened de mi tormento ahora! + + ¡Oh! ¡dichosos mil veces! sí, dichosos, + Los que podéis llorar y ¡ay! sin ventura + De mí, que, entre suspiros angustiosos, [155] + Ahogar me siento en infernal tortura! + Retuércese entre nudos dolorosos + Mi corazón, gimiendo de amargura!... + También tu corazón, hecho pavesa, + ¡Ay! llegó a no llorar, ¡pobre Teresa! [160] + + ¿Quién pensara jamás, Teresa mía, + Que fuera eterno manantial de llanto + Tanto inocente amor, tanta alegría, + Tantas delicias y delirio tanto? + ¿Quién pensara jamás llegase un día, [165] + En que, perdido el celestial encanto, + Y caída la venda de los ojos, + Cuanto diera placer causara enojos? + + Aun parece, Teresa, que te veo + Aerea como dorada mariposa, [170] + Ensueño delicioso del deseo, + Sobre tallo gentil temprana rosa, + Del amor venturoso devaneo, + Angélica, purísima y dichosa, + Y oigo tu voz dulcísima, y respiro [175] + Tu aliento perfumado en tu suspiro. + + Y aun miro aquellos ojos que robaron + A los cielos su azul, y las rosadas + Tintas sobre la nieve, que envidiaron + Las de mayo serenas alboradas; [180] + Y aquellas horas dulces que pasaron + Tan breves ¡ay! como después lloradas, + Horas de confïanza y de delicias, + De abandono, y de amor y de caricias. + + Que así las horas rápidas pasaban, [185] + Y pasaba a la par nuestra ventura; + Y nunca nuestras ansias las contaban, + Tú embriagada en mi amor, yo en tu hermosura; + Las horas ¡ay! huyendo nos miraban, + Llanto tal vez vertiendo de ternura, [190] + Que nuestro amor y juventud veían, + Y temblaban las horas que vendrían. + + Y llegaron en fin.... ¡Oh! ¿quién impío + ¡Ay! agostó la flor de tu pureza? + Tú fuiste un tiempo cristalino río, [195] + Manantial de purísima limpieza; + Después torrente de color sombrío, + Rompiendo entre peñascos y maleza, + Y estanque, en fin, de aguas corrompidas, + Entre fétido fango detenidas. [200] + + ¿Cómo caíste despeñado al suelo, + Astro de la mañana luminoso? + Ángel de luz, ¿quién te arrojó del cielo + A este valle de lágrimas odioso? + Aun cercaba tu frente el blanco velo [205] + Del serafín, y, en ondas fulgoroso, + Rayos al mundo tu esplendor vertía, + Y otro cielo el amor te prometía. + + Mas ¡ay! que es la mujer ángel caído + O mujer nada más y lodo inmundo, [210] + Hermoso ser para llorar nacido, + O vivir como autómata en el mundo. + Sí, que el demonio en el Edén perdido + Abrasara con fuego del profundo + La primera mujer, y ¡ay! aquel fuego [215] + La herencia ha sido de sus hijos luego. + + Brota en el cielo del amor la fuente + Que a fecundar el universo mana, + Y en la tierra su límpida corriente + Sus márgenes con flores engalana; [220] + Mas ¡ay! huíd: el corazón ardiente + Que el agua clara por beber se afana + Lágrimas verterá de duelo eterno, + Que su raudal lo envenenó el infierno. + + Huíd, si no queréis que llegue un día, [225] + En que, enredado en retorcidos lazos + El corazón, con bárbara porfía + Luchéis por arrancároslo a pedazos: + En que al cielo en histérica agonía + Frenéticos alcéis entrambos brazos, [230] + Para en vuestra impotencia maldecirle, + Y escupiros, tal vez, al escupirle. + + Los años ¡ay! de la ilusión pasaron; + Las dulces esperanzas que trajeron + Con sus blancos ensueños se llevaron, [235] + Y el porvenir de oscuridad vistieron: + Las rosas de amor se marchitaron, + Las flores en abrojos convirtieron, + Y de afán tanto y tan soñada gloria + Sólo quedó una tumba, una memoria. [240] + + ¡Pobre Teresa! al recordarte siento + Un pesar tan intenso...! embarga impío + Mi quebrantada voz mi sentimiento, + Y suspira tu nombre el labio mío: + Pára allí su carrera el pensamiento, [245] + Hiela mi corazón punzante frío, + Ante mis ojos la funesta losa, + Donde vil polvo tu beldad reposa. + + ¡Y tú feliz, que hallaste en la muerte + Sombra a que descansar en tu camino, [250] + Cuando llegabas, mísera, a perderte, + Y era llorar tu único destino: + Cuando en tu frente la implacable suerte + Grababa de los réprobos el sino...! + ¡Feliz! la muerte te arrancó del suelo, [255] + Y otra vez ángel te volviste al cielo. + + Roída de recuerdos de amargura, + Árido el corazón sin ilusiones, + La delicada flor de tu hermosura + Ajaron del dolor los Aquilones: [260] + Sola, y envilecida y sin ventura, + Tu corazón secaron las pasiones, + Tus hijos, ¡ay! de ti se avergonzaran, + Y hasta el nombre de madre te negaran. + + Los ojos escaldados de tu llanto, [265] + Tu rostro cadavérico y hundido, + Único desahogo en tu quebranto, + El histérico ¡ay! de tu gemido: + ¿Quién, quién pudiera, en infortunio tanto, + Envolver tu desdicha en el olvido, [270] + Disipar tu dolor y recogerte + En su seno de paz? ¡Sólo la muerte! + + ¡Y tan joven, y ya tan desgraciada! + Espíritu indomable, alma violenta, + En ti, mezquina sociedad, lanzada [275] + A romper tus barreras turbulenta. + Nave contra las rocas quebrantada, + Allá vaga, a merced de la tormenta, + En las olas tal vez náufraga tabla, + Que sólo ya de sus grandezas habla. [280] + + Un recuerdo de amor que nunca muere + Y está en mi corazón; un lastimero + Tierno quejido que en el alma hiere, + Eco süave de su amor primero: + ¡Ay! de tu luz en tanto yo viviere [285] + Quedará un rayo en mí, blanco lucero, + Que iluminaste con tu luz querida + La dorada mañana de mi vida. + + Que yo como una flor que en la mañana + Abre su cáliz al naciente día, [290] + ¡Ay! al amor abrí tu alma temprana, + Y exalté tu inocente fantasía: + Yo inocente también: ¡oh! ¡cuán ufana + Al porvenir mi mente sonreía, + Y en alas de mi amor con cuánto anhelo [295] + Pensé contigo remontarme al cielo! + + Y alegre, audaz, ansioso, enamorado, + En tus brazos en lánguido abandono, + De glorias y deleites rodeado, + Levantar para ti soñé yo un trono: [300] + Y allí, tú venturosa y yo a tu lado, + Vencer del mundo el implacable encono, + Y en un tiempo sin horas y medida + Ver como un sueño resbalar la vida. + + ¡Pobre Teresa! Cuando ya tus ojos [305] + Áridos ni una lágrima brotaban, + Cuando ya su color tus labios rojos + En cárdenos matices cambïaban, + Cuando de tu dolor tristes despojos + La vida y su ilusión te abandonaban, [310] + Y consumía lenta calentura + Tu corazón al par de tu amargura, + + Si en tu penosa y última agonía + Volviste a lo pasado el pensamiento, + Si comparaste a tu existencia un día [315] + Tu triste soledad y tu aislamiento; + Si arrojó a tu dolor tu fantasía + Tus hijos ¡ay! en tu postrer momento, + A otra mujer tal vez acariciando, + Madre tal vez a otra mujer llamando, [320] + + Si el cuadro de tus breves glorias viste + Pasar como fantástica quimera, + Y si la voz de tu conciencia oíste + Dentro de ti gritándote severa, + Si, en fin, entonces tú llorar quisiste, [325] + Y no brotó una lágrima siquiera + Tu seco corazón, y a Dios llamaste, + Y no te escuchó Dios, y blasfemaste, + + ¡Oh! ¡crüel! ¡muy crüel! ¡martirio horrendo! + ¡Espantosa expiación de tu pecado! [330] + ¡Sobre un lecho de espinas maldiciendo, + Morir el corazón desesperado! + ¡Tus mismas manos de dolor mordiendo, + Presente a tu conciencia lo pasado, + Buscando en vano con los ojos fijos, [335] + Y extendiendo tus brazos a tus hijos!! + + ¡Oh! ¡crüel! ¡muy crüel!... ¡Ah! yo entre tanto, + Dentro del pecho mi dolor oculto, + Enjugo de mis párpados el llanto + Y doy al mundo el exigido culto: [340] + Yo escondo con vergüenza mi quebranto, + Mi propia pena con mi risa insulto, + Y me divierto en arrancar del pecho + Mi mismo corazón pedazos hecho. + + Gocemos, sí; la cristalina esfera [345] + Gira bañada en luz: ¡bella es la vida! + ¿Quién a parar alcanza la carrera + Del mundo hermoso que al placer convida? + Brilla radiante el sol, la primavera + Los campos pinta en la estación florida: [350] + Truéquese en risa mi dolor profundo.... + ¡Que haya un cadáver más! ¿Qué importa al mundo? + + + + + NOTES + + + +EL ESTUDIANTE DE SALAMANCA + + +PARTE PRIMERA + +Instead of =Cuento=, later editions read =Leyendas=. + +The introductory quotation is taken from the "Don Quijote," Part I, +chap. 45. The words were addressed by Don Quijote to members of the +rural police who were arresting him for depredations committed on the +highway. The full sentence in Ormsby's translation reads: "Who was +he that did not know that knights-errant are independent of all +jurisdictions, that their law is their sword, their charter their +prowess, and their edicts their will?" This Spanish declaration of +independence was frequently used as a slogan by the Romanticists. +Espronceda is here making the quotation apply more particularly to his +lawless hero. + +=1. Era más de media noche=: the poet begins with a characteristic +Romantic landscape, gloomy, medieval, fantastic, uncanny. He is trying +to create a mood of horror. He follows the Horatian precept of beginning +the plot in the middle (_in medias res_). The situation here introduced +is not resumed until Part Four is reached. Parts Two and Three supply +the events leading up to the duel. The Duque de Rivas's "Candil" begins +in similar fashion: + + Más ha de quinientos años + En una torcida calle, + Que de Sevilla en el centro + Da paso a otras principales; + Cerca de la media noche, + Cuando la ciudad más grande + Es de un grande cementerio + En silencio y paz imagen; + De dos desnudas espadas + Que trababan un combate + Turbó el repentino encuentro + Las tinieblas impalpables. + El crujir de los aceros + Sonó por breves instantes + Lanzando azules centellas, + Meteoro de desastres. + Y al gemido _¡Dios me valga! + ¡Muerto soy!_ y al golpe grave + De un cuerpo que a tierra vino + El silencio y paz renacen, etc. + +This was first published in "El Liceo," 1838. The Duque de Rivas may +have been influenced by our text, but such introductions were a Romantic +commonplace. See M. Fernández y González, "Crónicas romanescas de +España. Don Miguel de Mañara, memorias del tiempo de Carlos V," Paris, +1868. The story begins "Era la media noche"; and, later, "Hacía mucho +tiempo que Sevilla estaba entregada al sueño y al silencio." Espronceda +is here following his sources closely. + +=2. antiguas historias=: not a mere rhetorical statement. These old +stories actually existed. See the study of sources in the Introduction. + +=4. lóbrego=: I follow the reading of the 1840 edition. Later editions +changed to =lóbrega=, making the adjective agree with =tierra= instead +of =silencio=. Either reading makes good sense, but in cases of doubt I +follow the Editio Princeps. + +=11. fantasmas=: this noun is usually masculine, but is often feminine +in popular speech. The distinction between the masculine and feminine +meanings given in most dictionaries does not apply in Espronceda. He +uses both genders indifferently. + +=19. sábados=: Saturday was the usual day when, according to popular +belief, witches attended their yearly =aquelarre= or sabbath. The +favorite meeting-place for Spanish witches was said to be the plain +around Barahona (Soria). + +=27. gótico=: admiration for the Gothic was a characteristic of +Romanticism. + +=37. Salamanca=: the famous university city of Spain. Its founding +antedates the Carthaginians and the Romans. The university of Palencia +was transferred to Salamanca by Fernando III in 1239. Neither the +university nor the city retains much of its ancient importance. See +Gustave Reynier, "La Vie universitaire dans l'ancienne Espagne," Paris, +1902. + +=38. armas y letras=: these words summarize the Renaissance ideal of +culture. The perfect gentleman must combine literature and arms. Letters +were not considered to be apart from active life. Cervantes, Lope de +Vega, Quevedo, and many others of Spain's great writers of the classic +period exemplify this ideal. + +=53. embozado=: to avoid breathing the cool mountain air of his country, +a Spaniard frequently draws the corner of his cape over his face, +concealing it. He is then =embozado=, 'muffled.' When a woman is heavily +veiled she is =tapada=. This national custom has been effectively used +by Spanish poets, novelists, and dramatists. It offered a plausible +excuse for the concealment or confusion of identity. + +=64. calle=: this word is the object of =atraviesa=, l. 72. + +=65. la calle del Ataúd=: this dismal name does not seem to be of +Espronceda's own invention. It is found in José Gutiérrez de la Vega's +"Don Miguel de Mañara," 1851. Espronceda probably used some earlier +edition of the prose romance of Don Miguel de Mañara. + +=96. que=: a relative adverb used with the force of a genitive Translate +'whose.' + +=100. Segundo Don Juan Tenorio=: see the Introduction. + + +PARTE SEGUNDA + +The quotation is taken from Byron's "Don Juan," Canto IV, stanza 72, the +description of Haidée's tomb. I restore the first two words, omitted in +all previous editions, without which the passage is devoid of meaning. +The way in which this passage has been garbled was pointed out by +Piñeyro, "El Romanticismo en España," Paris, 1904. + +=181. de luceros coronada=: this verse occurs also in Meléndez Valdés' +"Rosana en los fuegos." See Foulché-Delbosc, "Quelques Réminiscences +dans Espronceda," _Revue Hispanique_, XXI, p. 667. + +=218. hoja tras hoja=, etc.: in the first part of "Faust," Margarete +pulls out one by one the petals of a daisy to determine whether or +not Faust loves her. Is this a reminiscence of Margarete's _Er liebt +mich--liebt mich nicht?_ + +=242. pasó=: translate by the English perfect tense. There are many +other cases in these poems where the preterit had best be rendered by +the perfect. + +=245. miraran=: here and elsewhere the second (=-ra=) tense of the +imperfect subjunctive is equivalent to a simple past. This use of the +tense is frequent. At other times this tense is better rendered by a +pluperfect indicative, when the common subjunctive meaning does not +serve. + +=268.= These verses are the most frequently quoted of the whole poem. + +=268. juguete=: I retain, though with some doubt, the reading of the +original. Later editions have changed to juguetes. + +=278.= The thought of these verses is that mean objects may present a +beautiful appearance when viewed through a telescope. "Distance lends +enchantment." So woman when viewed through the illusion of fancy is +better than the woman of reality. This thought is developed farther in +"A Teresa." + +=298.= A frequently recurring thought in Espronceda, typical of Romantic +pessimism. Truth is man's greatest enemy, he holds. Illusion is +friendly. + +=318.= In this and what follows, Elvira is plainly a copy of Ophelia. +The influence of Hamlet cannot be doubted. Churchman has pointed out +that Elvira is a composite of Goethe's Margarete, Shakespeare's Ophelia, +and the Haidée and Doña Julia of Lord Byron. See "Byron and Espronceda," +_Revue Hispanique_, Vol. XX, p. 164. + +=324. otra=: I retain the original reading. Later editions erroneously +read _otras_. + +=347. Vaso de bendición=: `blessed vessel,' i.e. an individual +peculiarly favored with the divine blessing. The phrase _vaso de +elección_ is commoner, meaning one chosen for a particular mission or +appointed task. The latter term is frequently applied to the Apostle +Paul (Acts ix, 15). + +=359. Mas despertó también de su locura=, etc.: Ophelia did not recover +her reason before dying. Likewise she was drowned, while Elvira dies of +love. + +=364. El bien pasado y el dolor presente=: an obvious reminiscence of +Dante's: + + Nessun maggior dolore + Che ricordarsi del tempo felice + Nella miseria.--"Inferno," Canto V, ll. 121-123. + +There is no greater sorrow than to recall the happy time in the midst of +misery. + +=371.= The letter which follows represents Espronceda's most important +borrowing from Byron. It is based upon Doña Julia's letter of adieu to +Don Juan: see "Don Juan," Canto I, stanzas 192-197. The circumstances +attending the writing of the two letters are entirely different. The +tone of Doña Julia's letter is cynical; she is a married woman whose sin +has been discovered and whose husband is forcing her to enter a convent. +Doña Elvira's letter, written with death in view, is tender and +pathetic. For details see Churchman, "Byron and Espronceda," _Revue +Hispanique_, Vol. XX, p. 161. + + +PARTE TERCERA + +In giving this quotation from the second act of Moreto's "El Lego del +Carmen o San Franco de Sena," Espronceda is either quoting erroneously +or following some edition not known to me. In the Rivadeneyra edition +the passage is as follows: + + SARGENTO + ¿Tiene más que parar? + + FRANCO + Tengo los ojos, + Y los juego en lo mismo; que descreo + De quien los hizo para tal empleo. + +As this play influenced Espronceda, it is well to give a synopsis of it. +Like the "Rufián dichoso" of Cervantes, the "San Franco de Sena" deals +with the sinful life and conversion of one who was destined to be a +saint. Franco of Siena, a youth noted for his wild conduct, falls in +love with the inappropriately named Lucrecia. He kills her lover Aurelio +in a duel, and, passing himself off for Aurelio, elopes with her and +gets possession of her jewels. A cross with a lighted lamp before it is +placed on a wall to mark the spot where Aurelio fell. One night, as he +is passing, Franco sacrilegiously attempts to extinguish the light. A +hand issues from the wall and seizes him by the wrist. Words of warning +accompany this action. Franco shows neither fear nor compunction. He +kills all the officers of justice who try to arrest him. Again passing +the wall, he hears a ghostly voice urge him to try his hand at play, +for by losing he will win. Franco hopes to win in a material way, and +decides to follow this advice. He loses all and then stakes his eyes, +making the blasphemous remark quoted above. He loses and is stricken +blind. His conversion follows immediately. In the weak third act he +becomes a Carmelite monk, and his companions in sin experience a like +change of heart. + +The legend of the saint of Siena has many points of similarity with +the legends of Don Juan Tenorio, Don Miguel de Mañara, and Lisardo the +Student; but Espronceda has been only slightly influenced by Moreto's +play. If he gained from it, rather than from Dumas or Mérimée, the idea +of his gambling scene, he does not follow his model closely. In each +case a chain is played for, but in Moreto the game is =pintas=, not +=parar= or dice, and the other details are different. Moreto (1618-1659) +was one of the most graceful but least original of the dramatists of the +classic period. + +=438.= The game of =parar=, =carteta=, or =andaboba=, as it was +variously called, was played as follows: The dealer, who also serves as +banker, places two cards face up at his left. The third card he places +in front of himself. The fourth card, called the réjouissance card in +the French form of the game, he places in the middle of the table. The +players stake on this card whatever bets they desire to make, and these +the banker is obliged to cover. He then deals a fifth. If this matches +his own card, he wins all the money staked. If, on the contrary, it +matches the réjouissance card, those who have staked money upon it win +from the bank. If it matches neither, it is laid face up on the table, +and money may be staked upon it precisely as upon the réjouissance card. +So with all successive cards. The deal ends as soon as the banker's card +is matched. He then surrenders the bank to the winner, unless the two +cards laid to his left are matched before the third card dealt, his own, +is duplicated. In this latter case he is privileged to keep the bank for +another deal. This game, by reason of its swift action and the large +number of players who could engage in it, was called =el juego alegre=. +As results depended upon the turn of a single card, it lent itself +readily to cheating. It is mentioned in a _pragmática_ of Philip II, +1575, among a list of games to be prohibited. The modern games of monte +and baccarat have points of similarity. In France and England the game +is known as _lansquenet_, and is supposed to have been invented by the +German _Landsknechte_, mercenary foot-soldiers of the sixteenth +century. For further information see Hazañas y la Rúa, "Los Rufianes +de Cervantes," Sevilla, 1906, p. 44, and Monreal, "Cuadros Antiguos," +Sevilla, 1906, p. 342. For a similar gambling scene see Tirso de Molina, +"Tanto es lo de más como lo de menos," Act II, sc. vii. + +=455. El Caballo=: to understand what follows some knowledge of Spanish +playing-cards is necessary. In Spain the =baraja=, or deck, consists, +according to the game played, of 48 or 40 cards (=cartas, naipes, +cartones=), and not of 52 as with us. The ten spot is unknown, and when +the deck consists of but 40 the eight and nine spots are also wanting. +The =palos=, or suits, are four: =oros= (gold coins, corresponding to +our diamonds), =copas= (cups, corresponding to our hearts), =espadas= +(swords, corresponding to our spades), and =bastones= (clubs). These +figures are not conventionalized. The face cards are three: =el rey= +(the king), =el caballo= (representing a mounted cavalryman, and +corresponding in value to our queen), and =la sota= (a standing +infantryman, sometimes called also =el infante=, and corresponding in +value to our knave). These figures are unreversible. The First Gambler +is dealer and banker, as is shown by the fact that he covers the bets +(line 466). He is losing in spite of the fact that the banker had an +advantage. The =caballo= is clearly the card that has turned up in front +of the dealer. The turning up of a second =caballo= would end the deal. + +=457. Pues por poco=, etc.: the Second Gambler is mocking the First. +"You want the =caballo=, and the =sota=, the card next under it in the +suit, has turned up. This is so close that you should be satisfied." All +this is implied in his remark. + +=459.= The Second Gambler strikes an irreligious note by pretending to +believe that the First Gambler's oath is a pious remark. He suggests +that prayer and repentance should be deferred until one is dying. +Gentlemen of equal rank formerly addressed each other in the second +person plural. + +=466.= The Third Gambler stakes upon the =sota=. Each new card, not +matching previous ones, was the occasion for new bets. + +=480.= An allusion to the world-wide superstition that he who is lucky +at love is unlucky at cards and vice versa. + +=490. Se vende y se rifa=: Don Félix, who has no ready cash, raffles off +his chain. He places on it a value of 2000 ducats, and announces that +each of the five gamblers who are in funds must contribute 400 ducats +to the raffle. The First Gambler, a heavy loser, does not engage in the +play; and Don Félix, too, enters into this first transaction merely as +a seller. The chain is to go to the player to whom he deals the ace of +=oros=, and he himself will get the 2000 ducats. After this he will +begin to gamble on his own account. The game of =parar= ceased upon the +entrance of Don Félix. + +=491. afrenta=: the affront lies in Don Félix's insolent manner and +the masterful way in which he forces them to accept his terms without +question. Indignant as the Fourth Gambler is, he dares not offer open +objection. + +=496=. I restore =una= from the 1840 edition instead of =uno=, found in +the later prints. The agreement is with =carta=, understood, not with +=naipe=. So likewise when the cards are dealt out in Moreto's "San +Franco de Sena," the first numeral is =una=. + +=498.= Three is the lucky number. The third card falls to the Third +Gambler, who wins. The grief of the First Gambler is increased by the +fact that the winning card would have fallen to him, if he had been in +the game. Line 496 indicates that D. Félix passes him in dealing. + +=500.= Having now come into possession of his 2000 ducats, Don Félix, +always a reckless gambler, proposes to stake them all upon a single +throw of the dice. + +=516. Si esta imagen respirara=: the First Gambler is so unlucky at +cards that he may be supposed to be lucky in love. Hence sentimental +remarks are placed in his mouth. + +=520.= The Second Gambler makes a side bet with the Fourth and then a +second one with the Fifth. These bets will be decided by the same throw +that decides the bet between Don Félix and the Third Gambler. + +=526. Tirad con sesenta=, etc.: "Throw in the name of sixty horsemen." +Some word like =hombres= or =demonios= needs to be supplied. + +=529.= Don Félix, who has again lost, speaks with ironic blasphemy. He +blames the First Gambler for addressing his prayer to God rather than to +the devil. + +=546. vendellas=: for =venderlas=. In Old Spanish the final =r= of the +infinitive frequently assimilates to the initial =l= of the enclitic +pronoun. + +=550.= Don Félix's perverted sense of honor will not brook the most +trivial verbal slight to Elvira on the part of another, although he has +cruelly wronged her himself by his deeds. + +=558.= The First Gambler is not sufficiently blasphemous to invoke the +devil, and Don Félix does so himself. This invocation changes his luck. + +=567. Encubierta fatídica figura=: one of those threadbare phrases +abused by Spain's romantic poets. Valera in his "Del Romanticismo en +España y de Espronceda" instances some of these, such as =negro capuz, +lúgubre són, fúnebre ciprés=, etc. Mesonero Romanos in his "Románticos y +Romanticismo" ridicules the abuse of the word =fatídica=. Espronceda was +less frequently guilty of this sort of unoriginality than other less +gifted poets were. + +=610. Mentís vos=: the usual formula for picking a quarrel. + +=625, 631. Que=: equivalent to =porque=. + +=653. vos=: antiquated for =vosotros=. Don Diego alone is addressed. +After =Esperad, que= may be understood; such omissions of the +conjunction are common in poetry. Punctuating differently, we might +place a period after =Esperad=, in which case =Cuente= might be taken as +a first person imperative. + +=676. juego=: such is the reading of the 1840 edition. Some later editor +emended to =fuego=. Though this emendation is plausible, the change +seems to me both unnecessary and unhappy. It is characteristic of Don +Félix's cool insolence that he should refer to his affair with Elvira as +a "game" rather than as a "passion." + +=692.= The Fourth Gambler's remark is somewhat ambiguous, but the sense +demands that we take =lo= as referring to Don Félix. Remember that it +was the Fourth Gambler who had resented Don Félix's overbearing conduct. +He acted the coward and now talks like a coward. The Third Gambler is +the most skeptical regarding changes of luck, because he himself has +experienced the greatest ups and downs of fortune in the game just +finished. + + +PARTE CUARTA + +Miguel de los Santos Álvarez (1818-1892) was a friend and imitator of +Espronceda and the last surviving member of his school. He was one of +several who attempted the vain task of completing the "Diablo Mundo." +He was a guest of honor with Espronceda at the first reading of "El +Estudiante de Salamanca" at Granada in 1837. His verse is mediocre, +and he is best known for the _Cuento en prosa_ here quoted. This +Fitzmaurice-Kelly terms "a charming tale," and Piñeyro praises it +for the grace and naturalness of its irony. Rubén Darío gives some +interesting reminiscences of Santos Álvarez in his old age, "La vida +de Rubén Darío escrita por él mismo", Barcelona, n.d., chap. xxvii. +Apparently Santos Álvarez never outgrew the bohemianism of his youth. + +The second quotation is from Mark xiv, 38: "The spirit truly is ready, +but the flesh is weak." + +=693.= The narrative begun in Part First is now resumed at the point +where it was interrupted. We now know that it was Don Diego Pastrana who +lost his life in the duel described in the opening lines. + +=717.= The omission of the usual accent of =impio= is intentional and +indicates how the word should be stressed in this verse. =Impío= is a +"word of double accentuation". See Introduction. + +=729.= Notice how the absolute phrase =Los ojos fijos= is broken by the +insertion of the proper name. Poets depart from the usual word-order +with the utmost freedom. + +=737. néctar jerezano:= sherry wine. + +=738, 740. bastara, intentara=: to be translated as pluperfects. + +=766.= It is necessary to supply a =que= to serve as the object of +=achaca=. This is readily to be inferred from the =que= in the verse +before, which is, however, used as a subject. + +=793.= In this speech of Don Felix's there is rapid alternation between +direct address, in the second person, and side remarks in the third +person about the person addressed. + +=800. tengo de=: we would have he de in modern prose. + +=811.= The =que= in this verse is the =que= regularly following oaths +and asseverations. Cf. Tobler, "Vermischte Beiträge zur französischen +Grammatik," Leipzig, 1912, Article 17, pp. 57 f. Tobler gives the +following example from Calderón: =¡Vive Dios! que no he salido.= ("El +Mágico Prodigioso," Act III, v. 387.) In these examples, the =¡vive +dios!= is hardly more than an emphatic =digo=, and is followed by =que= +just as =digo= would be. Verse 810 is parenthetical. + +=828. del=: construe with =mar=. + +=833.= For the conclusion of the sentence here begun it is necessary to +turn to line 883. We have to do with a sentence of 54 lines. + +=840.= The 1840 edition lacks the third =su=. + +=853. fueron=: 'are past and gone.' + +=861. del=: the later editions read =el=. Ditto in lines 862, 863, 866. +=De= is also omitted in 865. + +=868. jamás=: I restore the 1840 reading. Later editions read =y no=. + +=916. que=: a conjunction introducing a clause, the verb of which +(=pese=) has to be supplied. + +=921.= The usual accent is intentionally omitted from =veame=. To read +this verse correctly the second syllable, and not the first, must +bear the stress. The bad prosody of this verse is discussed in the +Introduction. + +=943.= The Dance of Death begins. + +=1012. misteriosa=: late editors wrongly change to =misterioso=. +Espronceda is using =guía= as a feminine. + +=1040. Dale=, etc.: 'plague take the tolling of the passing bell and +these towers dancing in tangled confusion to the measure of such a +concert.' + +=1046. llegue=: I have emended =llegué= (which I believe Espronceda +did not intend on account of the "obstructing syllable" which that +accentuation would give to the verse) to =llegue=. I take =llegue= to be +the subjunctive of emphatic asseveration. See Bello-Cuervo, "Gramática +Castellana," paragraph 463. Other editors are perhaps right in +interpreting the passage differently. They suppress the period after +=maravillas=, the exclamation point before =Que=, and write =llegué=. +This makes equally good sense and is just as grammatical, but the verse +is less harmonious. This last point, however, is not a vital objection. +The two ways of editing this passage seem to me to offer little choice. + +=1062.= Construe =en que= with =ha dado=, above. + +=1112.= The quotation from Mark xiv, 38 applies especially to this +passage. Also to ll. 1626-1633. + +=1121.= The three forms of address used by Don Félix in addressing _el +enlutado_ indicate his change of manner from politeness to insolence. He +begins with the polite third person singular form. Then, enraged by the +answer, he is intentionally insulting in verse 1126, wishing to provoke +a duel. As the other puts up a brave front, he next addresses him as an +equal (verse 1127) by using the second person plural. This was the +usual form of address between gentlemen of equal standing during the +Renaissance period. But, again losing his temper, he relapses into the +insulting second person singular (verse 1133 and following). + +=1133. haga=: an instance of the use of the subjunctive after oaths and +asseverations. See Bello-Cuervo, "Gramática Castellana," paragraph 463. + +=1311. una=: goes with =gradería= in the following verse. + +=1385.= Beginning with this verse and ending with l. 1680, the poet +attempts to indicate the gathering and abating fury of the ghostly revel +by the successive lengthening and shortening of the verses. The final +verses also express Don Félix's waning strength. This device is an +attempt to imitate the _crescendo_ and _diminuendo_ effect of music. +This whole passage is an obvious imitation of Victor Hugo's "Les +Djinns," a poem included in "Les Orientales." Nowhere has Espronceda +shown greater virtuosity in the handling of meter. + +=1448.= The nouns and infinitives in this and the following lines are +objects of =siente=, l. 1456. + +=1703. Y si, lector=, etc.: 'And if, reader, you say it is a +fabrication, I tell it to you as they told it to me.' León Medina, +"Frases literarias afortunadas," _Revue hispanique_, Vol. XVIII, p. 226, +states that these two verses are a quotation from Juan de Castellanos, +an obscure poet of the sixteenth century, author of _Elegías de Varones +Ilustres de Indias_. (The first three parts of this work may be found +in Vol. IV of the _Biblioteca de Autores Españoles_; Part IV has been +edited by Paz y Melia for the _Colección de Escritores Castellanos_, +Vols. XLIV and XLIX. The passage in question may be found in Canto II, +octave 8.) Churchman, "Byron and Espronceda," _Revue hispanique_, Vol. +XX, p. 210, adds the information that Espronceda probably took the lines +directly from Villalta, who had quoted them in his historical novel _El +Golpe en Vago_, Madrid, 1835. This is made probable by the fact that +whereas Castellanos had written correctly =os lo cuento=, Villalta wrote +=te lo cuento=, Espronceda following him in this grammatical error. + +The form =dijerdes=, an old form for the second plural of the future +subjunctive (modern =dijereis=), represents the syncopation of a still +older =dijéredes=. Grammatically the pronoun =os= should have been used. +Evidently both Villalta and Espronceda considered =dijerdes= to be a +second singular form. A modern editor cannot undertake to correct a +mistake made by the author. In Old Spanish infinitives could be very +loosely used. It was not necessary that the subject of a dependent +infinitive should be the same as that of the verb on which it depended. + +The word =comento= here has the meaning "fiction," "fabrication." I find +this meaning given in none of the dictionaries, but it can readily be +inferred from the word =comentador=, which had as one of its meanings +"an inventor of false reports." =Comento=, like Latin _commentum_, has +as one of its meanings "fiction," "fabrication." + +The writers of =leyendas= were fond of stressing the traditional nature +of their poems. Thus Zorrilla concludes his "Capitán Montoya": + + El pueblo me lo contó + Sin notas ni aclaraciones, + Con sus mismas espresiones + Se lo cuento al pueblo yo. + + + + +CANCIÓN DEL PIRATA + +=7. en todo mar conocido=: I follow the reading of the text as it +originally appeared in _El Artista_. The later version of 1840 is +peculiar in the reading =en todo el mar conocido=. We cannot be certain +that this is a change made by Espronceda himself. + +=84.= Instead of =negro= the 1840 edition reads =ronco=. + + + + +EL CANTO DEL COSACO + +Attila, king of the Huns, reigned from 433 until his death 453 A.D. He +is noted for the barbaric ferocity of his campaigns against the Eastern +and Western Roman Empires and the Germanic kingdoms of the West. In 447 +he ravaged seventy cities in Thrace, Macedonia, and Greece, and all but +captured Constantinople. In 451 he crossed the Rhine and sacked the +cities of Belgic Gaul. He was decisively defeated at Troyes by the +Gothic leader Theodoric in league with the Roman general Aëtius. He then +entered northern Italy, where he continued his depredations and advanced +upon Rome. The Emperor Valentinianus II saved the city by paying +tribute. Legend has it that while in Gaul a hermit called Attila to his +face the "scourge of God." Attila accepted the designation and replied +with the remark quoted in the text. This story is not found in Jordanes, +Priscus, or any of the contemporary historians. Gibbon says: "It is a +saying worthy of the ferocious pride of Attila that the grass never grew +on the spot where his horse had trod" ("Decline and Fall of the Roman +Empire," London, 1897, III, p. 469). This poem is a magnificent +expression of barbaric battle-lust. Espronceda felt as a youth that +wholesale destruction must precede the new order of things in Spain and +Europe. + +=50.= The poet hopelessly confuses the exploits of the Huns, the Goths, +and the Cossacks. Neither the Cossacks nor the Huns ever captured Rome. +Alaric the Goth took Rome in 410 A.D. + +=65.= The principal Cossack invasion of Poland was in the first half of +the seventeenth century, when Chmielnicki, hetman of the Cossacks, with +the aid of his Tartar allies ruthlessly devastated the Polish provinces. +This war has been vividly described by Sienkiewicz in his novel "With +Fire and Sword." + +=79.= The Huns are said to have carried raw meat beneath their saddles +as they rode. At the end of the day's ride they would eat it. + + + + +EL MENDIGO + +=108.= The poet has paraphrased the proverb =Allá van leyes do quieren +reyes=, the idea of which is that a tyrant can twist the law to serve +the purposes of his tyranny. + + + + +A TERESA. DESCANSA EN PAZ + +For an account of Teresa, see the Introduction. For Miguel de los Santos +Álvarez, see the note to "El Estudiante de Salamanca," Part IV. + +=41.= The poet describes his three youthful passions: liberty, romantic +literature, and love. + +=49. Catón=: Caius Porcius Cato (95-46 B.C.), commonly called Cato of +Utica, was a stalwart defender of Roman republicanism against Caesar +and his party. His suicide after the defeat of the republican cause at +Thapsus was regarded as an act of stoic heroism. + +=50. Bruto=: it is not clear whether the poet refers to Lucius Junius +Brutus, who drove from power Tarquinius Superbus, founded the Roman +republic, and displayed his rigid justice by condemning to death his own +sons, or Marcus Junius Brutus, who assassinated Cæsar in the name of +liberty. + +=51. Scévola=: a hero of early Rome who was captured by the enemy +and threatened with death by fire if he refused to give important +information. He replied by deliberately holding his hand in a flame. + +=52. Sócrates= (469-400 B.C.): the celebrated Grecian philosopher. He +believed in the immortality of the soul. + +=54. Del orador de Atenas=: Demosthenes (385-322 B.C.), especially +famous for his Philippics, a series of twelve orations directed against +Philip of Macedon, the _tirano macedonio_ here alluded to. All these +classical allusions seem to show that Espronceda, like most of the +leaders of the French Revolution, was influenced by Plutarch. + +=57.= In this octave the poet voices his enthusiasm for the Middle Ages +and romantic literature in general. In his desire to embrace in his own +life the careers of knight and troubadour, Espronceda is harking back to +the "arms and letters" ideal of many of Spain's greatest writers. + +=77. Soñaba al héroe=: =con= is the usual complement of =soñar= in +prose. + +=89.= Espronceda's first meeting with Teresa took place in Portugal in +the beautiful region around Cintra. + +=131. La sacra ninfa que bordando=, etc.: according to Menéndez y +Pelayo, these two verses are taken from the "Fábula de Genil" of +Pedro Espinosa, an author whom he says Espronceda knew by heart. (See +"Discursos leídos ante la Real Academia Española en la recepción del +excmo. señor D. Francisco Rodríguez Marín, el día 27 de octubre de +1907," Madrid, 1907, p. 86). The verses in question are: + + Corta las aguas con los blancos brazos + La ninfa, que con otras ninfas mora + Debajo de las aguas cristalinas + En aposentos de esmeraldas finas. + +And farther down, + + El despreciado dios su dulce amante + Con las náyades vido estar bordando. + +This in turn, it seems to me, may be reminiscent of Garcilaso de la +Vega's _Égloga Tercera_. Apparently P. Henríquez Ureña has made this +discovery independently. See _Revista de Filología Española_, IV, 3, p. +292. + +=170.= The usual accent has been intentionally omitted from =aerea=. + +=201.= "How art thou fallen from heaven, O Lucifer, son of the morning." +Isaiah xiv, 12. + +=232.= The story of the man who spits upon himself while trying to spit +upon the sky is as old as Berceo in Spanish literature. + +=238.= One has to supply a =se= with =convirtieron=. This may readily be +inferred from the preceding verse. + +=352.= Foulché-Delbosc thinks that this last verse was suggested by +Hugo, "Les Feuilles d'automne, XXXV, Soleils couchants." See _Revue +hispanique_, XXI, p. 667. + + + + + +VOCABULARY + +The sign "-" means the word which stands in black type at the head of +the paragraph; thus, =-se= under =abrir= means =abrirse=. + + + + _acc._ = accusative. + _adj._ = adjective. + _adv._ = adverb. + _art._ = article. + _card._ = cardinal numeral. + _cf._ = compare. + _conj._ = conjunction. + _dat._ = dative. + _dem._ = demonstrative. + _f._ = feminine. + _impers._ = impersonal. + _inf._ = infinitive. + _interj._ = interjection. + _interrog._ = interrogation, interrogative. + _Ital._ = Italian. + _m._ = masculine. + _neut._ = neuter. + _p.p._ = past participle. + _pers._ = person, personal. + _pl._ = plural. + _poss._ = possessive. + _pr. n._ = proper noun. + _prep._ = preposition. + _pron._ = pronoun. + _refl._ = reflexive. + _rel._ = relative. + _sc._ = to wit. + _sing._ = singular. + _viz._ = namely. + + + + =a= _prep._ to, at, on, upon, over, in, towards, with, from, for, + around, by, of, when, as; _as sign of the accusative, not to be + translated_; =----= + _inf._ if (=---- estar aquí= if she were + here); =al= + _inf._ upon, on, at, when. + =abandonar= abandon, forsake, leave. + =abandono= _m._ abandonment, surrender, yielding. + =abarcar= embrace, contain. + =abatir= overthrow, lay low. + =abierto, -a= open. + =abismo= _m._ abyss, hell, bottomless pit. + =ablandarse= soften, relent, give. + =abonar= improve, warrant, favor, become. + =abrasado, -a= burning, hot. + =abrasar= burn. + =abrazo= _m._ embrace. + =ábrego= _m._ southwest wind. + =abreviar= shorten. + =abrir= open, expand, cut; =--se= open, yawn, unfold, split. + =abrojo= _m._ thistle, thorn. + =absolución= _f._ absolution. + =abundante= _adj._ abundant, abounding, teeming. + =acá= _adv._ here, hither. + =acabar= end, cease; =--se= come to an end. + =acacia= _f._ acacia. + =acariciar= cherish, soothe, caress. + =acaso= _adv._ perchance, perhaps. + =acción= _f._ action, feat. + =acento= _m._ accent, voice, words, tone. + =acercar= approach, bring near; =--se= approach. + =acero= _m._ steel. + =acertar= guess aright, tell certainly, ascertain, divine. + =acompañar= accompany, follow. + =acudir= assist, hasten to assistance, come, appear. + =achacar= blame, impute, attribute. + =adelantar(se)= advance, proceed, hasten. + =adelante= _adv._ onward, on, farther, forward. + =ademán= _m._ gesture, attitude, look, manner. + =adiós= _m._ adieu, farewell. + =admirar= wonder at, admire. + =admitir= admit, accept, permit. + =adónde= _adv._ where? whither. + =adorar= adore. + =adormir= drop to sleep. + =adornar= adorn. + =adorno= _m._ ornament, adornment. + =aduar= _m._ camp, camp of gypsies, horde of gypsies. + =adusto, -a= austere, sullen, gloomy, solemn. + =advertir= warn. + =aéreo, -a= ethereal, aerial, airy. + =afán= _m._ eager desire, longing, anxiety, effort, toil, difficulty, + bustle. + =afanar= distress; =--se= desire eagerly, struggle for. + =afeminado, -a= effeminate. + =afilado, -a= sharp, slender, thin, tapering. + =afligido, -a= troubled, distressed. + =afligir= pain, grieve. + =afrenta= _f._ insult, affront. + =ágil= _adj._ nimble, light. + =agilidad= _f._ quickness, nimbleness, activity. + =agitar= agitate, move, stir, stir up, sway, shake, disturb. + =agolpado, -a= curdled. + =agolpar= rush, gather. + =agonía= _f._ agony, death struggle, pangs of death. + =agostar= parch, wither. + =agradecer= be grateful, render thanks, be grateful for. + =agradecido, -a= thankful, grateful. + =agreste= _adj._ wild, rude, rough. + =agrupar(se)= cluster. + =agua= _f._ water. + =aguardar= await, expect. + =agudo, -a= sharp, keen. + =¡ah!= _interj._ ah! + =ahínco= _m._ energy, determination. + =ahogar= stifle, smother, drown. + =ahora= _adv._ now, at present. + =airado, -a= angry. + =aire= _m._ air, atmosphere, wind, breeze, manner. + =airoso, -a= airy, lively, easy, genteel, elegant, graceful. + =aislamiento= _m._ isolation. + =ajar= spoil, crumple, fade. + =ajeno, -a= of another, ignorant, unaware; =---- de= free from. + =ala= _f._ wing, brim. + =alabar= praise, extol. + =alarido= _m._ cry, shout, shriek. + =alba= _f._ dawn. + =albo, -a= white. + =alborada= _f._ dawn. + =alborotar= stir up, agitate, arouse, excite, disturb, confuse; + =--se= get excited. + =alcanzar= attain, succeed, achieve, reach, obtain, take; =---- a + hacer= succeed in doing, be capable of doing. + =alcázar= _m._ castle, fortress. + =alegrarse= rejoice, be glad. + =alegre= _adj._ happy, joyful, merry, beautiful, fair, clear. + =alegría= _f._ joy, merriment. + =alejarse= move away, recede. + =alentar= animate, foster, cherish. + =alfombra= _f._ carpet. + =algazara= _f._ shout, shouting, hubbub. + =alguno, -a= _adj. pron._ some, some one. + =aliento= _m._ breath, spirit, exhalation. + =alma= _f._ soul, heart, person. + =almena= _f._ battlement. + =almo, -a= holy. + =alquiler= _m._ hire; =de ----= hired, let for hire. + =alrededor= _adv._ around; =a mi ----= around me. + =altanero, -a= soaring, haughty, arrogant, overbearing, proud. + =altar= _m._ altar. + =alterar= change, disturb, stir up. + =altísimo, -a= very high, lofty. + =altivez= _f._ arrogance, presumption. + =altiveza= _f._ arrogance, haughtiness. + =altivo, -a= haughty, proud, lofty. + =alto, -a= high, steep, tall, raised, lofty, erect, loud. + =altura= _f._ height; =----s= heavens, on high. + =alumbrar= light, shed light, illumine. + =Álvarez= _pr. n._ Álvarez. + =alzar= raise, lift, hoist; =--se= rise; =--se de pie= rise to one's + feet. + =allá= _adv._ there, yonder, thither; =---- va= here goes; =---- voy= + I am coming; =más ----= farther on, beyond. + =allí= _adv._ there. + =amable= _adj._ pleasing, lovely, kind. + =amado, -a= beloved, loved (one). + =amador= _m._ lover. + =amante= _adj._ loving. + =amante= _m. f._ lover, sweetheart. + =amar= love. + =amargo, -a= bitter. + =amargura= _f._ bitterness, sorrow. + =amarillo, -a= yellow. + =amedrentar= frighten, terrify. + =amigo= _m._ friend. + =amontonar= gather, pile up. + =amor= _m._ love, lady-love, sweetheart; =----es= love affairs, + amours, intrigues. + =amoroso, -a= loving, amorous, gentle. + =amparar= protect; =--se= be protected, enjoy protection. + =analizar= analyze. + =anatema= _m. f._ anathema. + =anclar= anchor. + =andado, -a= traversed. + =andadura= _f._ amble; =paso de ----= ambling gait. + =andar= go, move, walk, be; =vamos andando= let us be off. + =andar= _m._ gait, walk. + =andrajoso, -a= tattered. + =anegar= drown. + =ángel= _m._ angel. + =angélico, -a= angelic, heaven-born. + =ángulo= _m._ corner. + =angustia= _f._ anguish. + =angustiado, -a= anguished, distressed. + =angustioso, -a= full of anguish, miserable, painful. + =anhelante= _adj._ covetous, longing. + =anhelo= _m._ desire, longing, yearning. + =ánima= _f._ soul. + =animarse= take courage, become animated. + =ánimo= _m._ spirit, courage, mind, intention. + =animoso, -a= spirited, gallant, brave. + =ansia= _f._ longing, eagerness, anxiety, anguish. + =ansiar= desire, yearn for, long for, crave. + =ansiedad= _f._ anxiety, eagerness, longing, anguish. + =ansioso, -a= anxious. + =ante= _prep._ before. + =antes= _adv._ before; =---- de= _prep._ before. + =antiguo, -a= old, ancient, former. + =antojo= _m._ fancy, caprice. + =antorcha= _f._ torch, taper. + =anublar= becloud, darken. + =anunciar= announce, proclaim. + =añadir= add. + =año= _m._ year. + =apagado, -a= extinguished, softened. + =apagar= extinguish. + =aparecer(se)= appear. + =aparición= _f._ apparition, ghost. + =apartar= remove, withdraw. + =aparte= _adv._ aside. + =apenas= _adv._ hardly, barely. + =aplauso= _m._ applause. + =apoderarse de= take possession of. + =apostar= bet, wager, stake. + =apostura= _f._ neatness, spruceness, appearance. + =apoyar= rest, support. + =aprecio= _m._ regard; =hacer ---- de= note. + =apremiar= press. + =aprestar= make ready, prepare. + =apretado, -a= tight, close. + =apretar= press, clutch, tighten. + =aquel, -la= _adj. dem._ that. + =aquél, -la, aquello= _pron. dem._ that one. + =aquí= _adv._ here, now; =de ---- a una hora= an hour hence. + =Aquilón= _m._ north wind. + =ara= _f._ altar. + =árbol= _m._ tree. + =arboleda= _f._ grove. + =arcano= _m._ secret, mystery. + =arco= _m._ arch. + =archivo= _m._ archive, repository. + =arder= burn, glow. + =ardido, -a= burning. + =ardiente= _adj._ ardent, burning. + =ardite= _m._ ardite (an ancient coin); farthing. + =arenal= _m._ sandy place. + =argentado, -a= silvery, silvered. + =argentino, -a= silvery. + =árido, -a= dry, dried up, barren. + =arma= _f._ arms, weapon. + =armar= arm, start. + =armonía= _f._ harmony, music, rhythm, concord, peace. + =armonioso, -a= harmonious, melodious. + =aroma= _m._ aroma, fragrance, scent, perfume. + =aromoso, -a= aromatic, fragrant. + =arpa= _f._ harp. + =arrancar= tear out, pluck out, wring, wrest, tear away, take away. + =arrebatar= bear away, catch, snatch up, attract, captivate, charm; + =--se= grow furious, rush headlong, give way to passion. + =arrebolar= redden. + =arrogancia= _f._ arrogance. + =arrojar= throw, cast, cast off. + =arrojo= _m._ daring, fearlessness. + =arrostrar= face, fight, encounter. + =arroyuelo= _m._ little brook, brooklet. + =arruinado, -a= ruinous, crumbling. + =arrullar= lull. + =arrullo= _m._ lullaby. + =as= _m._ ace. + =asaz= _adv._ enough, sufficiently, very. + =ascender= ascend, rise. + =así= _adv._ so, thus. + =Asia= _f._ Asia. + =asiento= _m._ seat. + =asilo= _m._ refuge, protection, shelter, haven, asylum. + =asolador, -a= destroying, devastating. + =asomar= appear. + =asombro= _m._ amazement, wonder. + =aspecto= _m._ aspect, appearance, sight. + =áspero, -a= rough, rugged. + =aspirar= breathe, inhale, aspire. + =asqueroso, -a= loathsome, filthy. + =astro= _m._ heavenly body, orb, star. + =astuto, -a= cunning, crafty. + =asunto= _m._ affair, business. + =asustar= frighten. + =atajar= head off, stop, check, confound. + =ataúd= _m._ coffin. + =Atenas= _pr. n. f._ Athens. + =atento, -a= attentive, watchful, heedful, intent. + =aterrador, -a= frightening, terrible. + =Átila= _pr. n. m._ Attila. + =atrás= _adv._ behind, backward. + =atravesar= pass through, cross. + =atrevido, -a= bold, daring. + =atronador, -a= thundering. + =atropellar= trample under foot, strike down; =--se= hasten, crowd. + =audacia= _f._ audacity. + =audaz= _adj._ bold, fearless. + =aullar= howl. + =aullido= _m._ howl, cry of horror. + =aumentar= increase, enlarge, magnify. + =aún, aun= _adv._ yet, still, even, nevertheless. + =aunque= _conj._ although. + =aura= _f._ breeze, zephyr. + =aurora= _f._ dawn, break of day, aurora. + =ausencia= _f._ absence. + =autómata= _m._ automaton, mere machine, puppet. + =avanzar= advance, go forward. + =avariento, -a= avaricious. + =avaro, -a= avaricious, covetous. + =avaro= _m._ miser. + =ave= _f._ bird. + =aventura= _f._ adventure, affair. + =avergonzarse de= be ashamed of, blush for. + =ávido, -a= eager, covetous. + =ay= _interj._ alas, oh; =---- de= alas for. + =ay= _m._ groan. + =ayer= _adv._ yesterday, lately. + =azahar= _m._ orange blossom. + =azorar= terrify. + =azotar= lash, flog, whip. + =azul= _adj._ blue, azure. + + + =bajar= lower, descend, bow, hang down. + =bajel= _m._ ship. + =bajo= _prep._ under, beneath. + =baldón= _m._ reproach, insult. + =banda= _f._ side of a ship. + =bandera= _f._ banner, flag. + =bandolero= _m._ bandit. + =banquete= _m._ banquet. + =bañar= bathe. + =báquico, -a= Bacchanalian. + =bárbaro, -a= barbarous, cruel, fierce. + =barco= _m._ vessel, ship; =---- viene a= sail! + =barrer= sweep. + =barrera= _f._ barrier. + =barro= _m._ clay, mud. + =base= _f._ base, foundation. + =bastar= suffice, be enough. + =beber= drink, imbibe. + =befa= _f._ scoff, ridicule, taunt. + =beldad= _f._ beauty. + =beleño= _m._ henbane, poison. + =belleza= _f._ beauty. + =bello, -a= beautiful, fair. + =bendecir= bless, praise. + =bendición= _f._ blessing. + =bergantín= _m._ brigantine. + =beso= _m._ kiss. + =bien= _adv._ well, indeed, all right. + =bien= _m._ good, good thing, treasure, beloved one, blessing; =hacer + ----= give alms, aid. + =bienhechor, -a= _m. f._ benefactor. + =bienvenido, -a= welcome. + =bigote= _m._ mustache; =hacerse el ----= curl one's mustache. + =blanca= _f._ blanca (old copper coin). + =blanco, -a= white, fair. + =blancor= _m._ whiteness. + =blando, -a= soft, tender, gentle, pleasing. + =blasfemar= blaspheme, curse. + =blasón= _m._ blazon, armorial bearings, honor, glory. + =bledo= _m._ blite, pigweed; =dar un ---- de= care a straw for. + =boca= _f._ mouth, lips. + =boda= _f._ marriage, wedding. + =bolsa= _f._ purse, money. + =bonanza= _f._ fair weather. + =bordar= embroider, embellish. + =borrasca= _f._ storm, tempest. + =borrascoso, -a= tempestuous, stormy. + =borrón= _m._ blot, stigma. + =bosque= _m._ forest, wood, bosk. + =bote= _m._ thrust. + =botín= _m._ booty, spoils. + =bóveda= _f._ arch, vault, cavern. + =bramador, -a= roaring, bellowing, raging. + =bramar= roar, rage, bluster, bellow. + =bramido= _m._ howling, roaring. + =bravío, -a= wild, fierce. + =bravo, -a= brave. + =bravura= _f._. bravado, fierceness, ferocity, boasting. + =brazo= _m._ arm, embrace. + =breve= _adj._ brief, short. + =bridón= _m._ steed, bridle. + =brillante= _adj._ brilliant, bright. + =brillar= glisten, shine. + =brindar= drink to one's health, offer, pledge. + =brío= _m._ strength, courage, mettle, spirit, resolution. + =brisa= _f._ breeze. + =broche= _m._ clasp, brooch. + =brotar= bud, bring forth, put forth, gush forth, shed. + =bruja= _f._ witch. + =brutal= _adj._ brutal. + =Bruto= _pr. n. m._ Brutus. + =bueno, -a= good, fine, pleasant. + =bujía= _f._ candle, taper. + =bulto= _m._ dim form. + =bulla= _f._ bustle, throng, noise. + =bullicio= _m._ tumult, bustle. + =bullidor, -a= restless, merry. + =burla= _f._ joke. + =buscar= seek, hunt, look for. + =buscarruidos= _m._ quarrelsome fellow. + =caballeresco, -a= gentlemanly. + =caballero= _m._ knight, gentleman, nobleman, sir; =¡mal ----!= + scoundrel! + =caballo= _m._ horse, steed, figure on horseback in Spanish pack of + cards, equivalent to the queen; =a ----= on horseback; =¡a ----!= + to horse! + =cabaña= _f._ cottage, hut, hovel. + =cabello= _m._ hair, locks. + =cabeza= _f._ head. + =cable= _m._ cable. + =cada= _adj._ every, each. + =cadáver= _m._ corpse, dead body. + =cadavérico, -a= cadaverous. + =cadena= _f._ chain. + =caduco, -a= worn out, decrepit, broken down. + =caer(se)= fall, set, sink, droop. + =calar= penetrate; =--se= pull down; =--se el sombrero= pull down + one's hat. + =calavera= _f._ skull. + =calentura= _f._ fever. + =caliz= _m._ chalice, calyx. + =calma= _f._ calm, quiet, calmness, coolness; =en ----= calm. + =calmar= calm, mitigate, soften, still, quiet, slake, cool. + =calmo, -a= calm, still. + =callado, -a= silent, quiet. + =callar= be silent. + =calle= _f._ street. + =cambiar(se)= change, turn. + =caminar= move, walk, go, go on, travel, march. + =camino= _m._ road, way, path, journey. + =campana= _f._ bell. + =campanilla= _f._ little bell. + =campaña= _f._ country. + =campiña= _f._ field. + =campo= _m._ field, country. + =can= _m._ dog, dog-star. + =canción= _f._ song. + =cándido, -a= white, bright, pure. + =candor= _m._ ingenuousness. + =candoroso, -a= candid, pure, innocent. + =cansar= weary, bore. + =cantar= sing, chant, sing of. + =cantar= _m._ song. + =cántico= _m._ canticle, song of praise. + =cantidad= _f._ amount, sum. + =canto= _m._ singing, song. + =cañón= _m._ cannon. + =capa= _f._ cape, cloak. + =capaz= _adj._ capable. + =capitán= _m._ captain. + =capricho= _m._ caprice, whim, fancy. + =capuz= _m._ cloak, hood, cape. + =caracol= _m._ snail, winding staircase; =gradería de ---- torcida= + spiral staircase. + =carbón= _m._ coal. + =carcajada= _f._ burst of laughter; =soltar una ----= burst out + laughing. + =cárcel= _f._ prison. + =cárdeno, -a= livid. + =carga= _f._ burden. + =cariado, -a= rotten, putrid. + =caricia= _f._ caress. + =caridad= _f._ charity, alms. + =carmín= _m._ carmine. + =carne= _f._ flesh. + =caro, -a= dear, expensive. + =carrera= _f._ course. + =carta= _f._ card. + =casa= _f._ house, home, building; =---- de huéspedes= lodging-house. + =casamiento= _m._ marriage, wedding. + =casi= _adv._ almost. + =caso= _m._ case, matter, event; =hacer ---- de= take notice of, heed. + =castigo= _m._ punishment; =dar ----=punish. + =castillo= _m._ castle. + =Catón= _pr. n. m._ Cato. + =caudal= _m._ fortune, abundance. + =causar= cause. + =cautivo, -a= _m. f._ captive. + =cavernoso, -a= cavernous. + =ceder= decrease, slacken, abate, diminish. + =céfiro= _m._ zephyr, breeze. + =ceja= _f._ eyebrow. + =cejijunto, -a= close-knit. + =celebrar= celebrate, praise. + =celeste= _adj._ celestial, heavenly. + =celestial= _adj._ celestial, heavenly. + =celoso, -a= jealous. + =cena= _f._ supper. + =cenar= sup. + =centinela= _m. f._ sentinel. + =ceñir= gird. + =ceño= _m._ frown. + =cerca= _adv._ near, close. + =cercano, -a= close by, near, approaching. + =cercar= encircle, surround. + =cesar= cease; =sin ----= incessantly, constantly. + =cetro= _m._ scepter. + =ciego, -a= blind. + =cielo= _m._ sky, heaven. + =ciencia= _f._ science, knowledge. + =ciento, cien=, _card._ hundred. + =cierto, -a= certain, sure, assured; =por ----= certainly, indeed. + =cifrar en= place in, fix upon. + =cima= _f._ crest, summit, top. + =cimiento= _m._ foundation. + =cinco= _card._ five. + =cincuenta= _card._ fifty. + =cinta= _f._ ribbon, band, belt, girdle. + =círculo= _m._ circle, circling. + =cita= _f._ appointment, meeting, rendezvous. + =ciudad= _f._ city. + =claridad= _f._ light. + =claro, -a= bright, clear, pure. + =clavar= nail, fasten, fix. + =coagular= coagulate, curdle. + =cobarde= _adj._ cowardly. + =cobarde= _m._ coward. + =codicioso, -a= greedy, eager. + =coger= seize, take, catch. + =cogido (lo)= booty, plunder. + =cólera= _f._ anger, wrath. + =colérico, -a= choleric, angry. + =colgar= hang. + =color= _m._ color, hue, complexion. + =colorar= color, tinge; =--se= become colored, color. + =columna= _f._ column, pillar. + =combatido, -a= contending, struggling. + =combatir= combat, attack, contend, fight. + =comento= _m._ comment, fiction, fabrication. + =comenzar= commence. + =comer= eat, dine. + =como= _adv._ like, as, how, about; =tan ... ----= as ... as; + =---- cuánto= about how much. + =cómo= _interrog._ how. + =compañero= _m._ companion. + =compañía= _f._ company, companionship. + =comparar= compare. + =compás= _m._ measure, time; =a ----= in time; =al ---- de= in the + time of. + =compasión= _f._ pity. + =compasivo, -a= compassionate, sympathetic. + =comprender= comprehend, understand. + =con= _prep._ with, in, against, on. + =cóncavo, -a= concave, hollow. + =cóncavo= _m._ concavity. + =conceder= grant, give. + =contento= _m._ harmony. + =conciencia= _f._ conscience, consciousness. + =concierto= _m._ harmony. + =condenar= condemn, sentence. + =conducir= lead. + =confianza= _f._ confidence, intimacy. + =confín= _m._ confine, limit, border. + =confundir= overwhelm, engulf, confuse, confound, mingle, heap up; + =--se= be bewildered, be perplexed. + =confusión= _f._ confusion, disorder. + =confuso, -a= confused, dim, indistinct, bewildering. + =conjurar= conjure, implore. + =conjuro= _m._ conjuration, incantation. + =conmigo= _pron. pers._ with me. + =conmover= stir, affect. + =conocer= know, be acquainted with, recognize; =--se= know each other. + =conque= _conj._ so then, and so. + =conquistar= conquer, subdue. + =conseguir= attain, obtain, gain. + =consentido, -a= spoiled. + =considerable= _adj._ considerable. + =consigo= _pron. pers._ with one's self, with himself, _etc._. + =consolar= console, comfort. + =consorte= _m. f._ husband, wife. + =constancia= _f._ constancy, firmness, determination. + =Constantinopla= _pr. n. f._ Constantinople. + =consuelo= _m._ consolation. + =consumir= consume, burn out. + =contar= recount, relate, tell, tell off, count, consider, look upon; + =---- con= count upon, reckon with; =con vos no cuento= I pass you + by. + =contemplar= contemplate, behold, gaze at, look at, meditate. + =contenerse= restrain one's self, keep one's temper. + =contento= _m._ contentment, joy, mirth. + =contigo= _pron. pers._ with thee. + =continente= _m._ manner, mien, gait. + =contino= _adv._ constantly, continually; =de ----= continually. + =continuo, -a= continual, constant. + =contra= _prep._ against; =en ----= against. + =conversión= _f._ conversion, reform. + =convertir= convert, reform, change; =--se en= change to, become. + =convidar= invite, entice, allure. + =convocar= convoke, summon. + =convulso, -a= convulsive. + =copa= _f._ foliage, branches. + =corazón= _m._ heart, breast, love, courage, spirit. + =cornudo, -a= horned. + =coro= _m._ chorus. + =corona= _f._ crown. + =coronar= crown. + =corredor= _m._ corridor, gallery. + =correr= run, meet with, pass, pass away, flow. + =corresponder= return, requite, reciprocate. + =corriente= _f._ current, stream. + =corro= _m._ group, circle. + =corromper= pollute. + =corrompido, -a= polluted, foul. + =cortar= cut. + =corte= _f._ court, retinue. + =cortejar= court, woo. + =cosa= _f._ thing, matter; =gran ----= much. + =Cosaco= _m._ Cossack. + =cosecha= _f._ harvest; =de mi ----= of my invention. + =coyuntura= _f._ joint. + =cráneo= _m._ skull. + =crear= create. + =crecer= grow, rage, increase. + =creer= believe, think. + =crescendo= _Ital._ crescendo. + =crespón= _m._ crape. + =criatura= _f._ creature, being, man. + =crimen= _m._ crime. + =crispante= _adj._ shivery. + =crisparse= twitch. + =cristal= _m._ crystal, glass. + =cristalino, -a= crystalline, transparent, bright. + =Cristo= _pr. n. m._ Christ, image of Christ. + =crudeza= _f._ severity, cruelty. + =crudo, -a= raw. + =cruel= _adj._ cruel, intolerable. + =crujido= _m._ crackling. + =crujir= clash, click, clank, crack, crackle, creak, rustle. + =cruz= _f._ cross. + =cruzar= cross, pass, pass through, cruise. + =cuadrar= befit, suit. + =cuadro= _m._ picture, scene. + =cuajar= coagulate, coat over. + =cual= _adv._ like, as. + =cuál= _pron. interrog._ which, which one, what, what one. + =cualquier, -a= any whatever; =---- ... que= whoever, whichever, + whatever. + =cualquiera= _pron._ any one, either one. + =cuán= _adv._ how. + =cuando= _conj._ when, if, in case; =---- ... ----= now ... now, at + one time ... at another. + =cuanto= _adv._ as much as, all that; =en ---- a= with regard to, as + to; =---- más ... tanto más= the more ... the more. + =cuánto, -a= _prop. interrog._ how much; =como ----= about how much. + =cuaresma= _f._ Lent. + =cuarto, -a= fourth. + =cuatrocientos, -as= four hundred. + =cubrir= cover, veil, shroud. + =cuello= _m._ neck, throat. + =cuenta= _f._ count, reckoning, account; =dar ----= explain, report, + give account; =pedir ----= bring to account, demand account of. + =cuento= _m._ tale, story. + =cuerdamente= _adv._ sensibly. + =cuerno= _m._ horn. + =cuerpo= _m._ body; =---- muerto= corpse. + =cuidado= _m._ care, anxiety. + =cuidadoso, -a= careful. + =culpa= _f._ fault. + =culpar= blame, accuse. + =culto= _m._ worship, homage, veneration, respect. + =cumbre= _f._ summit, crest, peak. + =cumplir= fulfill, accomplish, satisfy, keep; =cúmplase tu voluntad= + thy will be done. + =curso= _m._ course. + =cuyo, -a= _pron. rel._ whose. + + + =chancearse= joke, jest. + =charca= _f._ pool. + =chasco= _m._ joke, fiasco, disappointment. + =chimenea= _f._ fireplace, hearth, stove. + =chispa= _f._ spark, flash. + =chiste= _m._ jest. + =chocar= strike, combat, clash, encounter, collide. + + + =dado= _m._ die. + =dale= _interj._ (_expressive of displeasure_) hang it, come, again; + =---- con tocar a muerto= plague take this funeral tolling. + =dama= _f._ lady. + =danza= _f._ dance. + =danzar= dance. + =dar= give, give out, strike, cause, tell, make, grant, pay, render, + forebode; =---- en= persist in; =---- por perdida= consider lost; + =qué diantre me da= what the deuce do I care. + =de= _prep._ of, than, from, by, with, at, to, in, on account of, + for, about, on, as; =más ----= past. + =debajo de= _prep._ under, underneath. + =deber= have to, must, ought, can. + =deber= _m._ duty. + =débil= _adj._ feeble, weak. + =decidido, -a= decided, devoted, determined. + =decir= say, speak, tell, call. + =decisión= _f._ decision, determination, resolution. + =declinar= decline, sink. + =dedo= _m._ finger. + =dejar= leave, quit, abandon, forsake; =---- de= stop, cease. + =delante= _adv._ before, in front, ahead; =---- de= _prep._ in front + of, before. + =deleite= _m._ pleasure, delight. + =delicado, -a= delicate, sweet. + =delicia= _f._ delight. + =delicioso, -a= delicious, delightful. + =delirante= _adj._ delirious, raving. + =delirar= rave, dote. + =delirio= _m._ delirium, madness, rapture, rant, idle talk. + =delito= _m._ crime. + =demasía= _f._ excess. + =demasiado, -a= too much, too great. + =demonio= _m._ devil, demon. + =denso, -a= dense, thick. + =dentro= _adv._ within; =---- de= _prep._ within. + =denuesto= _m._ insult, abuse. + =derecho= _m._ right. + =derramar= shed. + =derredor= _m._ circuit; =en ---- de= round about, around. + =desafiar= challenge, defy. + =desafío= _m._ duel, combat. + =desahogo= _m._ relief, alleviation, comfort. + =desalentado, -a= discouraged, abject. + =desasirse= disengage one's self, break loose, extricate one's self. + =desatar= untie, undo, loosen, let loose; =--se= break loose, break + out. + =desatento, -a= unmindful, heedless, rude. + =desatino= _m._ folly, wildness, reeling. + =descansar= rest, repose, sleep. + =descarnado, -a= emaciated, fleshless, bare. + =descender= descend, go down, sink. + =descolorido, -a= colorless, pale. + =desconocer= not know, be ignorant of, ignore. + =desconsuelo= _m._ trouble, affliction. + =descortés= _adj._ discourteous, ill-bred, impudent. + =descortesía= _f._ discourtesy. + =descreer= disbelieve, deny, discredit, disown. + =descubrir= discover, reveal, expose, uncover, make known. + =descuidado, -a= care-free. + =desde= _prep._ from. + =desdén= _m._ disdain, scorn, contempt. + =desdeño= _m._ disdain, scorn. + =desdeñoso, -a= scornful, contemptuous. + =desdicha= _f._ unhappiness, wretchedness, misery. + =desdichado, -a= unhappy, unfortunate, wretched. + =desear= desire, covet. + =desembozar= unmuffle. + =desengaño= _m._ disillusion. + =deseo= _m._ desire, longing. + =desesperación= _f._ despair. + =desesperado, -a= desperate, despairing, hopeless. + =desfallecer= weaken, swoon, fail, give way. + =desgarrar= rend. + =desgracia= _f._ misfortune, sorrow, unhappiness. + =desgraciado, -a= unfortunate, hapless, miserable. + =deshacer= undo, break. + =deshojado, -a= leafless, petalless, blighted. + =desierto, -a= deserted, lonely. + =desierto= _m._ desert. + =desigual= _adj._ uneven, dissimilar. + =deslizarse= glide along, slip along. + =desmayado, -a= faint, swooning. + =desmayar= be discouraged, be faint, swoon. + =desmayo= _m._ drooping, swooning, faltering. + =desmentir= belie, deny, dissemble. + =desnudo, -a= naked, unsheathed, drawn. + =despacio= _adv._ slowly. + =desparecer= disappear, vanish. + =despecho= _m._ spite, insolence, anger, despair, dismay; =a ---- de= + in spite of; =a su ----= in spite of himself. + =despedida= _f._ farewell. + =despego= _m._ indifference, coldness, coyness. + =despeñado, -a= headlong. + =despeñar= precipitate, fling down. + =despertar= awaken, arouse, break, dawn. + =despierto, -a= awake, brisk. + =desplegado, -a= flowing. + =desplegar= unfold, unfurl, hoist; =--se= unfold, spread. + =despojos= _m. pl._ remains. + =despreciar= spurn, neglect, reject. + =desprender(se)= fall, tear, separate, issue from, arise, relax one's + hold, let go. + =desprendido, -a= loosened, falling, torn, broken. + =después= _adv._ afterward, then. + =despuntar= begin to dawn. + =desquiciarse= be unhinged, shake. + =destellar= flash, twinkle. + =desterrar= banish, exile. + =destilar= drip. + =destino= _m._ destiny, fate, lot. + =desvanecerse= vanish, disappear, fade away. + =desvanecido, -a= dizzy, vague, faint. + =desvarío= _m._ delirium, raving. + =desventura= _f._ misfortune, misery. + =detener= detain, stop, halt. + =detenido, -a= stagnant. + =determinado, -a= determined, resolute, resolved. + =detrás= _adv._ behind, after. + =devaneo= _m._ giddiness, frenzy, mad passion. + =devorar= devour, consume. + =devoto, -a= devout, pious. + =día= _m._ day; =----s= life; =hoy en ----= nowadays; =un ----= some + day, once. + =diablo= _m._ devil. + =diabólico, -a= diabolical. + =diamante= _m._ diamond, adamant. + =diantre= _m._ deuce. + =dibujar= outline, delineate; =--se= be outlined, throw a shadow, be + visible. + =dictar= dictate, prescribe. + =dicha= _f._ happiness, delight. + =dichoso, -a= happy, fortunate, precious, blessed. + =Diego= _pr. n. m._ James. + =diente= _m._ tooth. + =diestra= _f._ right hand. + =diez= _card._ ten. + =difunto, -a= deceased (one), dead (one). + =dilatar= overspread, suffuse, expand. + =diligencia= _f._ assiduity, effort, haste, business, affair. + =dinero= _m._ money. + =Dios= _m._ God. + =diosa= _f._ goddess. + =disculpar= excuse, exonerate. + =discurrir= flow, course. + =disfrutar= enjoy, profit, reap the benefit. + =disipar= dissipate, scatter, put to flight, drive away; =--se= be + dissipated, be scattered. + =disolver= dissolve, dissipate, scatter, disperse. + =disparate= _m._ folly, piece of folly, blunder. + =distante= _adj._ distant, afar. + =distinguir= distinguish, see clearly. + =distraído, -a= distracted, absentminded. + =diverso, -a= various, dissimilar, different. + =divertir= amuse. + =dividir= divide, separate, cut, cleave. + =divino, -a= divine, heavenly. + =do= _adv._ where; =a ----= whither, where. + =dó= _adv. interrog._ where. + =doblar= bend. + =doble= _m._ tolling; =dar ----s= toll. + =doctrina= _f._ doctrine, wisdom, teaching. + =doliente= _adj._ suffering, sorrowful. + =dolor= _m._ grief, sorrow, pain, anguish. + =dolorido, -a= afflicted, grief-stricken, painful, doleful, heart-sick. + =doloroso, -a= painful. + =don= _m._ Don, sir. + =doncella= _f._ maiden. + =donde= _adv._ where. + =dónde= _adv. interrog._ where, whither; =en ----= where. + =dondequiera= _adv._ everywhere, anywhere. + =doquiera= _adv._ wherever, everywhere. + =dorado, -a= golden. + =dormido, -a= sleeping, slumbering. + =dormir= sleep; =--se= go to sleep. + =dos= _card._ two; =los ----= both. + =dramático, -a= dramatic. + =ducado= _m._ ducat (former coin worth about $3). + =duda= _f._ doubt. + =dudar= doubt, hesitate. + =dudoso, -a= doubtful, uncertain, indistinct, nebulous, hesitating. + =duelo= _m._ sorrow, grief, duel, combat. + =dueña= _f._ duenna. + =dulce= _adj._ sweet, soft, gentle, pleasant. + =dulcísimo, -a= very sweet. + =dulzura= _f._ sweetness. + =durar= last, endure. + =duro, -a= hard, cruel, unbearable, heavy. + + + =e= _conj._ and. + =eco= _m._ echo. + =echar= throw, cast, cast away, deal, put. + =Edén= _pr. n. m._ Eden. + =edificio= _m._ building, edifice. + =ejército= _m._ army. + =el, la, lo, los, las=, _art._ the; =---- que=, _etc., pron. rel._ he + who(m), the one who(m), who, that which. + =él, ella, ello=, _pron. pers._ he, him; she, her; it. + =elevar= raise; =--se= rise. + =elocuente= _adj._ eloquent. + =Elvira= _pr. n. f._ Elvira. + =ella= _pron. pers._ she, her, it. + =ellas= _pron. pers._ they, them. + =embalsamarse= be perfumed. + =embargar= overwhelm, seize, overcome, impede. + =embebecido, -a= absorbed, enraptured. + =embeleso= _m._ rapture. + =embestir= assail, attack. + =embolismo= _m._ confusion, maze, embarrassment, falsehood. + =embolsarse= pocket. + =embozado= _m._ muffled one. + =embozar= cloak, muffle. + =embriagar= intoxicate, transport, enrapture; =--se= get intoxicated. + =empañar= dim, tarnish. + =empapar= soak, steep. + =empedernido, -a= hard-hearted. + =empeñarse= persist, insist. + =empeño= _m._ determination, desire. + =empero= _adv._ however, notwithstanding. + =empezar= begin. + =empleo= _m._ employment, use. + =emponzoñar= poison, taint. + =empuje= _m._ impulse. + =empuñar= grasp, grip. + =en= _prep._ in, into, at, for, among, on, upon, with, of, to, against, + by, over, like; =---- que= when. + =enamorado, -a= enamored, loving, in love. + =enamorar= inspire love, woo; =--se de= fall in love with. + =encadenar= enchain, shackle. + =encantador, -a= enchanting, delightful. + =encantar= charm, delight, fascinate. + =encanto= _m._ charm, fascination, enchantment, spell. + =encapotar= cloak, cover. + =encapuchado, -a= hooded one. + =encender= light, kindle, enkindle; =--se= glow. + =enclavar= nail, fasten. + =encomendar= commend. + =encono= _m._ rancor, ill-will, malevolence. + =encontrar= meet, meet with, find. + =encubrir= cover, conceal, hide. + =encuentro= _m._ meeting, encounter; =a su ----= to meet him. + =endiablado, -a= diabolical, bedeviled. + =endurecer= harden, cake. + =enemigo, -a= hostile, unfriendly. + =engalanar= adorn. + =engañador, -a= deceiving. + =engañar= deceive, beguile. + =engaño= _m._ deception, illusion. + =engañoso, -a= deceptive, false. + =engendro= _m._ abortion, monster, progeny. + =enhiesto, -a= upright, erect. + =enjugar= wipe. + =enjuto, -a= lean, wasted, dried up. + =enlazar= join, clasp. + =enlutado, -a= in mourning, veiled, muffled. + =enmudecer= grow dumb, grow silent. + =enojarse= be angry, be displeased, get angry. + =enojo= _m._ anger, vexation, displeasure, annoyance. + =enojoso, -a= troublesome. + =enredar= entangle, ensnare. + =ensueño= _m._ dream, fantasy, illusion. + =entena= _f._ yard, spar. + =entender= understand, know, hear; =---- de= be familiar with, be + interested in. + =entero, -a= entire, whole. + =enterrar= bury. + =entierro= _m._ funeral, burial, funeral procession. + =entonar= sing. + =entonces= _adv._ then. + =entrada= _f._ entrance, coming, beginning. + =entrambos, -as= both. + =entrañas= _f. pl._ entrails, bowels, recesses. + =entrar= enter, come in, advance, begin. + =entre= _prep._ between, among, in, amid, within, to; =---- sí= + to himself; =---- tanto= meanwhile; =de ----= out of; =por ----= + through, between, among. + =entregar= hand over, give, pay. + =entretanto= _adv._ meanwhile; =---- que= _conj._ while. + =entretener= entertain, divert, amuse, occupy. + =enturbiar= disturb, derange, cloud. + =envenenar= poison. + =enviar= send. + =envidar= stake, open a game of cards by staking a sum. + =envidiar= envy. + =envilecido, -a= degraded, disgraced. + =envite= _m._ stake, bet. + =envolver= envelop, enwrap, enfold. + =erguido, -a= erect, straight. + =errante= _adj._ wandering. + =escaldar= scald. + =escalón= _m._ step. + =escapar(se)= escape, flee. + =escape= _m._ escape, flight. + =escena= _f._ scene. + =esclavo, -a= _m. f._ slave. + =escoger= choose, select, cull. + =esconder= conceal, veil, hide. + =escribir= write. + =escuchar= hear, listen to, listen; =--se= be heard. + =escudo= _m._ escudo (a coin); shield, protection. + =escupir= spit upon. + =ese, -a= _adj. dem._ that. + =ése, -a, eso=, _pron. dem._ that one, that. + =esfera= _f._ sphere, heaven, orb. + =esmeralda= _f._ emerald. + =espacio= _m._ space. + =espada= _f._ sword. + =espalda= _f._ back, shoulder; =----s= back. + =espantado, -a= frightened, astonished. + =espantar= frighten, terrify, intimidate. + =espanto= _m._ fright, consternation, fear. + =espantoso, -a= frightful, horrible. + =esparcir= scatter, shed, spread. + =espectro= _m._ specter, ghost. + =espejo= _m._ mirror. + =esperanza= _f._ hope. + =esperar= await, wait for, expect, hope. + =espeso, -a= thick, dense. + =espina= _f._ thorn. + =espiral= _f._ spiral line. + =espirante= _adj._ dying. + =espirar= expire. + =espíritu= _m._ spirit, mind, soul, courage; =----s= spirits, demons. + =espléndido, -a= splendid. + =esplendor= _m._ splendor, magnificence, glory; =de ----= glorious. + =esposa= _f._ wife, spouse, betrothed. + =esposo= _m._ husband, spouse, betrothed. + =espuela= _f._ spur. + =espuma= _f._ foam, froth. + =esqueleto= _m._ skeleton, framework. + =estación= _f._ season. + =estado= _m._ state, condition. + =estallar= burst, crack, detonate. + =estallido= _m._ crackling. + =estampido= _m._ report, crash. + =estancia= _f._ room, mansion, abode. + =estanque= _m._ pond, pool. + =estar= be; =---- en sí= be in one's senses. + =estatua= _f._ statue. + =este, -a= _adj. dem._ this. + =éste, -a, esto=, _pron. dem._ this one, this. + =estima= _f._ esteem, respect. + =estocada= _f._ stab. + =estorbar= forbid, hinder. + =estrechar= press, clasp. + =estrecho, -a= narrow. + =estrella= _f._ star. + =estremecerse= shake, tremble. + =estrépito= _m._ din, clamor, noise. + =estruendo= _m._ din, pomp, turmoil, clatter. + =estudiante= _m._ student. + =estúpido, -a= stupid, dull. + =éter= _m._ ether, sky. + =eterno, -a= eternal, everlasting. + =Europa= _f._ Europe. + =evangelio= _m._ gospel. + =evaporarse= evaporate, pass away, vanish. + =exaltar= exalt, praise. + =examinar= examine, scrutinize. + =exclamar= exclaim. + =exento, -a= free. + =exhalar= breathe forth, exhale, emit, utter. + =exigir= demand, exact, require. + =existencia= _f._ existence, life. + =expiación= _f._ expiation, atonement. + =éxtasis= _m._ ecstasy. + =extático, -a= ecstatic. + =extender(se)= extend, stretch out, spread, prolong. + =extranjero, -a= foreign. + =extraño, -a= strange. + =extremo= _m._ end; =llevar al ----= terminate. + + + =fábrica= _f._ structure. + =fácil= _adj._ easy, easily persuaded. + =fada= _f._ fairy, sprite. + =faena= _f._ task, work, labor, toil. + =falaz= _adj._ deceitful, deceptive, fallacious. + =falda= _f._ skirt, lap. + =falso, -a= false, treacherous, feigned, simulated, mock. + =faltar= fail, be missing, be lacking, give way. + =fallido, -a= frustrated, amiss. + =fama= _f._ reputation, report, rumor; =es ----= it is said. + =famoso, -a= famous, renowned, notorious. + =fanal= _m._ lantern, light, beacon. + =fanfarrón= _m._ boaster, bully. + =fango= _m._ mud, mire, slime. + =fantasía= _f._ fancy, imagination, caprice, whim. + =fantasma= _m. f._ phantom, ghost, specter, scarecrow. + =fantástico, -a= fantastic, imaginary. + =farsa= _f._ farce, humbug. + =fascinar= fascinate. + =fatal= _adj._ fatal, ominous, unfortunate. + =fatídico, -a= baleful, sinister. + =fatigado, -a= weary. + =favor= _m._ favor, protection, help. + =faz= _f._ face, aspect. + =fe= _f._ faith, honor, trust; =a -----= in truth; =a ---- mía= upon + my word. + =fecundar= fertilize, make fruitful. + =fecundo, -a= fecund, teeming. + =Félix= _pr. n. m._ Felix. + =feliz= _adj._ happy, blessed, fortunate. + =feo, -a= ugly, homely. + =féretro= _m._ bier. + =feroz= _adj._ fierce, cruel. + =férreo, -a= iron. + =fértil= _adj._ fertile. + =fervor= _m._ fervor, ardor, zeal. + =festín= _m._ feast, banquet. + =fétido, -a= fetid, stinking, foul. + =Fez= _pr. n. f._ Fez. + =fiado, -a= trusting. + =fiar= trust; =---- de= trust in. + =fiel= _adj._ faithful, true. + =fiereza= _f._ fierceness, hardness. + =fiero, -a= fierce, cruel, savage, furious, terrible, rude. + =fiesta= _f._ festival, feast, celebration, rejoicing, merriment. + =figura= _f._ figure, face, form. + =figurar= fashion, sketch, represent; =--se= imagine, fancy. + =fijar= fix, fasten, determine. + =fijo, -a= fixed, fastened, determined. + =fin= _m._ end; =al ----= at last, finally, after all; =en ----= at + last, finally, in short, after all; =por ----= at last; =sin ----= + endless, endlessly. + =fingido, -a= feigned, false. + =fingir= feign, imagine. + =firme= _adj._ firm, unswerving, unshaken, resolute, stout, stanch. + =flaco, -a= frail, weak. + =Flandes= _pr. n. f._ Flanders. + =flébil= _adj._ mournful. + =flojo, -a= feeble, weak. + =flor= _f._ flower, blossom. + =florecer= blossom, bud, cover with flowers. + =florido, -a= blooming, flower-filled, flowery. + =flotante= _adj._ floating. + =fondo= _m._ depth, farthest end. + =forcejear= struggle. + =forma= _f._ form, shape, figure. + =formar= form, make, engender. + =fórmula= _f._ formula, form. + =fortuna= _f._ fortune, fate, good fortune. + =forzoso, -a= necessary. + =fosfórico, -a= phosphorescent. + =fragante= _adj._ fragrant. + =frágil= _adj._ fragile, frail, weak. + =fragor= _m._ crash, noise. + =fragrancia= _f._ fragrance. + =Franco= _pr. n. m._ Franco. + =franja= _f._ fringe, band, border. + =frenético, -a= frenzied, mad, furious, frantic. + =frente= _f._ brow, face, head, forehead, intellect; =---- a= + opposite, in front of, before; =a su ----= straight ahead. + =fresco, -a= fresh. + =frescura= _f._ coolness, luxuriant verdure, freshness. + =frío, -a= cold, indifferent, unsympathetic, unruffled; =sangre fría= + sang-froid, coolness, calmness. + =frío= _m._ cold. + =frívolo, -a= frivolous. + =fruncir= knit (the brow). + =fuego= _m._ fire, ardor, flame, passion; =prender ----= set fire. + =fuente= _f._ spring, fountain, source. + =fuera= _adv._ outside; =---- de= _prep._ out of. + =fuero= _m._ privilege, statute law. + =fuerza= _f._ force, strength, might. + =fugaz= _adj._ fleeting. + =fugitivo, -a= fugitive, fleeting, fleeing, flying. + =fúlgido, -a= bright, resplendent. + =fulgor= _m._ gleam. + =fulguroso, -a= shining, flashing. + =fulgurante= _adj._ shining. + =fúnebre= _adj._ funereal, lugubrious, mournful. + =funeral= _adj._ funeral, funereal, lugubrious. + =funesto, -a= doleful, dismal, sinister, fatal. + =furia= _f._ rage. + =furioso, -a= furious, mad, raging, violent. + =furor= _m._ rage, fury. + =futuro, -a= future. + + + =gala= _f._ grace, gem, choicest part (of a thing); =----s= finery. + =galán= _m._ gallant, dandy. + =galanura= _f._ elegance, showiness, gorgeousness. + =galería= _f._ gallery. + =galvánico, -a= galvanic. + =gallardo, -a= graceful, bold. + =ganancia= _f._ winning. + =ganar= win. + =gasa= _f._ gauze. + =gastar= waste, fling away, wear out. + =gemido= _m._ groan, moan, sigh. + =gemir= moan, howl, whistle. + =generoso, -a= noble, illustrious, excellent, generous. + =gente= _f._ people, race, nation. + =gentil= _adj._ elegant, handsome, graceful. + =gesto= _m._ face, expression, gesture. + =girar= revolve, hover, whirl. + =giro= _m._ turn, motion, roll, circling. + =gloria= _f._ glory, fame, pleasure, bliss, honor, heaven. + =glorioso -a= glorious. + =goce= _m._ joy. + =golpe= _m._ stroke, blow, knock, striking, clash, throw, cast. + =golpear(se)= strike, hit, beat. + =gorjear= warble, trill. + =gótico, -a= Gothic. + =gozar= rejoice, take delight, enjoy; =---- de= enjoy; =--se= rejoice. + =gozo= _m._ joy, pleasure, delight. + =grabar= engrave. + =gracia= _f._ grace, charm, gracefulness; =----s= thanks. + =gradería= _f._ steps; =---- de caracol torcida= spiral staircase. + =grajo= _m._ jackdaw, crow. + =grana= _f._ scarlet. + =grande= _adj._ great, important. + =grandeza= _f._ greatness, grandeur. + =grandioso, -a= great, impressive. + =grato, -a= pleasing. + =grave= _adj._ heavy. + =gritar= cry, shout, cry out. + =gritería= _f._ outcry, shouting, screaming. + =grito= _m._ cry, howl. + =grotesco, -a= grotesque. + =grupo= _m._ group. + =guarida= _f._ den, lurking-place. + =guerra= _f._ war; =mover ----= wage war. + =guerrero, -a= warlike, of war. + =guerrero= _m._ warrior, soldier. + =guía= _m. f._ guide, leader. + =guiar= guide, direct. + =guirnalda= _f._ garland, wreath. + =gustar= please. + + + =haber= have; _impers._ be; =---- de= have to, be to, be going + to, must, can; =hay= there is; =no haya= let there not be. + =habitación= _f._ dwelling, residence, room, suite. + =habitar= live, reside, lie. + =hablador, -a= talking, prattling. + =hablador, -a= _m. f._ talker, prattler. + =hablar= talk, speak, address. + =hacer= do, make, effect, bring about, cause, commit; =---- aprecio de= + note; =---- bien= give alms, aid; =---- caso de= take notice of, + heed; =---- juego= make the bets; =hecho el juego= bets closed; + =---- pedazos= break to pieces, tear; =--se= become, turn to, get; + =--se el bigote= curl one's mustache; _impers._ =se hace tarde= + it is growing late. + =hacia= _prep._ toward. + =hado= _m._ fate. + =halagar= flatter, allure, soothe. + =hallar= find; =-se= be. + =hambre= _f._ hunger. + =hambriento, -a= hungry, eager. + =harapo= _m._ rag, tatter. + =hartar= satisfy, gratify. + =harto, -a= sated. + =hasta= _adv._ even; _prep._ to, up to, down to, until, as many as; + =---- que= _conj._ until. + =hastiar= bore, weary, disgust. + =hecho, -a= made, done; =a lo ----, pecho= make the best of it. + =hecho= _m._ deed. + =helado, -a= icy, cold, frozen. + =helar= freeze, congeal. + =hembra= _f._ female, woman. + =henchir= fill. + =hender= cleave. + =heredar= inherit. + =herencia= _f._ inheritance, heritage. + =herir= strike, smite, wound, affect. + =hermana= _f._ sister. + =hermano= _m._ brother. + =hermoso, -a= beautiful, fair. + =hermosura= _f._ beauty. + =héroe= _m._ hero. + =herradura= _f._ horseshoe, hoof-print. + =hervir= boil, seethe, swarm. + =hidalgo, -a= noble. + =hiel= _f._ gall, bitterness. + =hielo= _m._ ice. + =hijo= _m._ son; =----s= children. + =hilera= _f._ file. + =hinchar= swell. + =histérico, -a= hysterical. + =historia= _f._ history, tale, story. + =hoguera= _f._ bonfire. + =hoja= _f._ leaf, petal, wing of a door. + =hola= _interj._ hello. + =hollar= tread upon, trample upon, ride over, humble. + =hombre= _m._ man; =buen ----= my good fellow. + =hombro= _m._ shoulder. + =hondo, -a= deep, profound. + =hondo= _m._ bottom, depth. + =honroso, -a= honorable. + =hora= _f._ hour, time; =a buena ----= opportunely; =en mal ---- o + en buena= well and good; =----s muertas= idle hours. + =horizonte= _m._ horizon. + =horrendo, -a= horrible, dreadful. + =horrible= _adj._ horrible. + =hórrido, -a= hideous, horrible. + =horrísono, -a= horrisonous. + =horror= _m._ horror, fright. + =horrorizado, -a= stricken with horror. + =hospital= _m._ hospital, poorhouse. + =hoy= _adv._ to-day, now, the present time; =---- en día= nowadays. + =hoyo= _m._ hole, grave, pit. + =hueco, -a= hollow, resounding, empty. + =hueco= _m._ hollow, hole, gap, concavity. + =hueso= _m._ bone. + =huésped= _m._ guest, stranger; =casa de ----es= lodging-house. + =huida= _f._ flight. + =huir= flee, escape, disappear. + =humano, -a= human. + =humear= emit fumes, reek, smoke. + =húmedo, -a= damp, wet. + =humildemente= _adv._ humbly. + =humo= _m._ smoke, fumes. + =hundido, -a= sunken, hollow. + =hundir= sink. + =huracán= _m._ hurricane, storm. + =hurra= _interj._ hurrah. + + + =ideal= _adj._ ideal, imaginary. + =iglesia= _f._ church. + =igual= _adj._ equal; =me es ----= it is all the same to me; + =por ----= equally. + =igualar= equal, consider equal. + =iluminar= illumine, enlighten, illuminate, light. + =ilusión= _f._ illusion, fancy, self-deception, mockery. + =ilusorio, -a= illusory, delusive, deceptive. + =ilustre= _adj._ illustrious, noble, celebrated, distinguished. + =imagen= _f._ image, statue, likeness, picture, conception, fancy, + appearance. + =imaginación= _f._ imagination, fancy, mind. + =imaginar= imagine, fancy, believe, conceive. + =impaciente= _adj._ impatient. + =impávid, -a= undaunted. + =imperial= _adj._ imperial. + =impetuoso, -a= violent, fierce. + =impiedad= _f._ impiety, impiousness. + =impío, -a= impious, profane, wicked, godless. + =implacable= _adj._ implacable, relentless. + =implorar= implore. + =imponer= impose. + =importar= _impers._ matter, concern. + =importunar= disturb, harass. + =importuno, -a= troublesome, ill-timed, vexatious, importunate, + unreasonable. + =imposible= _adj._ impossible. + =impotencia= _f._ helplessness. + =impulso= _m._ impulse, force. + =impuro, -a= impure, foul. + =inagotable= _adj._ never-failing, inexhaustible. + =incentivo= _m._ incentive. + =incierto, -a= uncertain, unknown, doubtful, unsteady, wandering, + restless. + =inclinar= incline, bend, bow, droop, nod. + =indiferencia= _f._ indifference. + =indiferente= _adj._ indifferent. + =indomable= _adj._ indomitable. + =inefable= _adj._ ineffable, unutterable. + =infalible= _adj._ infallible. + =infante= _m._ child. + =infeliz= _adj._ unhappy, wretched. + =infernal= _adj._ infernal. + =infiel= _adj._ faithless (one). + =infierno= _m._ hell, infernal region. + =infinito, -a= infinite, endless. + =inflamarse= blaze. + =informe= _adj._ ill-shapen, uncanny, inarticulate. + =infortunio= _m._ misfortune, misery, calamity. + =infundir= infuse, instill, inspire. + =inglés, -a= English. + =Inglés= _m._ Englishman. + =ingrato, -a= ungrateful (one), ingrate. + =injuria= _f._ insult. + =inmensidad= _f._ immensity, vastness, infinity, unbounded greatness. + =inmenso, -a= immense, infinite, vast. + =inmortal= _adj._ immortal. + =inmóvil= _adj._ motionless, fixed, set, unaffected. + =inmundo, -a= dirty, obscene, unclean. + =inocente= _adj._ innocent, young. + =inquieto, -a= restless, uneasy, anxious, disturbed, agitated. + =inquietud= _f._ uneasiness, anxiety, disquietude, restlessness. + =insano, -a= insane, mad. + =insensible= _adj._ indifferent, without feeling. + =insigne= _adj._ renowned, famed, distinguished. + =insistir= insist, persist. + =insolencia= _f._ insolence. + =insolente= _adj._ insolent. + =inspirar= inspire, impart. + =instante= _m._ instant, moment. + =insultar= insult. + =insulto= _m._ insult. + =intención= _f._ intention, purpose, mind. + =intenso, -a= intense, intent, keen. + =intentar= attempt, endeavor, try. + =interponerse= interpose, intervene. + =interrumpir= interrupt. + =intrépido, -a= courageous, dauntless. + =inundar= flood, deluge. + =inútil= _adj._ useless. + =invencible= _adj._ invincible. + =invención= _f._ invention. + =invisible= _adj._ invisible, unseen. + =ir= go, be, be at stake; =----= + _gerund_ go on, keep; + =---- a= be about to, be going to; =--se= go away, go; =allá voy= + I am coming; =me va en ello mi fama= my reputation is at stake in + it; =quién va= who goes there; =vamos= come now, well; =vamos + andando= let us be off; =van los cincuenta= I bet fifty. + =ira= _f._ anger, ire. + =iracundo, -a= wrathful. + =ironía= _f._ irony. + =irónico, -a= ironical. + =irreligioso, -a= irreligious. + =irreverencia= _f._ irreverence, disrespect. + =irritar= anger, excite, arouse, provoke, nettle, exasperate. + =izquierdo, -a= left. + + + =jamás= _adv._ never, ever. + =jardín= _m._ garden. + =jaula= _f._ cage. + =jerezano, -a= of Jerez. + =Jesús= _pr. n. m._ Jesus. + =joven= _adj._ young, youthful. + =joya= _f._ jewel. + =Juan= _pr. n. m._ John. + =júbilo= _m._ glee, joy. + =juego= _m._ game, sport, play, playing; =hacer ----= make the bets; + =hecho el ----= bets closed. + =jugador= _m._ player, gambler. + =jugar= play, sport, frolic, gamble. + =jugo= _m._ juice. + =juguete= _m._ plaything, toy, sport. + =juicio= _m._ judgment, sense, reason, mind. + =juntar= join, unite, touch, knit; =--se= gather, assemble, join, + meet, approach. + =junto, -a= joined, united, connected. + =junto= _adv._ near, close; =---- a= _prep._ near, close to. + =juntura= _f._ joint, seam. + =jurar= swear. + =juventud= _f._ youth. + =juzgar= judge, think. + + + =la= _art. f._ the; _pron. pers. acc._ her, it; _pl._ + them; _pron. pers. dat._ to her, to it; =---- que= _pron. dem. + and rel._ she who, the one who, who. + =labio= _m._ lip. + =lado= _m._ side, place. + =lago= _m._ lake. + =lágrima= _f._ tear. + =lamentable= _adj._ deplorable. + =lamentar= lament, bewail, bemoan. + =lamento= _m._ lament, lamentation, wail, wailing cry. + =lámpara= _f._ lamp, light. + =lance= _m._ incident, love-affair, affair of honor. + =languidez= _f._ languor, weakness, faintness. + =lánguido, -a= languid, gentle, apathetic, faint, weak, feeble. + =lanza= _f._ lance, spear. + =lanzar= throw, fling, cast, let loose, emit, utter; =--se= dart, rush. + =lares= _m. pl._ lares, home. + =largo, -a= long; _pl._ many. + =lastimar= hurt, wound, move to pity; =--se= grieve, be sorry, be + moved to pity. + =lastimero, -a= sad, mournful. + =latido= _m._ throbbing. + =lava= _f._ lava. + =lazo= _m._ bond, tie, knot; toils, web, snare. + =le= _pron. pers. dat. acc._ him, her, it. + =lector= _m._ reader. + =lecho= _m._ bed, couch. + =lejano, -a= distant. + =lejos= _adv._ far, far away, afar; =a lo ----= in the distance; + =de ----= from afar, at a great distance. + =lengua= _f._ tongue. + =lenguaje= _m._ language, speech, tongue. + =lento, -a= slow. + =leña= _f._ wood, firewood. + =les= _pron. pers. dat. acc._ them. + =letal= _adj._ deadly. + =letra= _f._ letter; =----s= letters, literature, lore. + =levantar= raise, lift up, erect, set up; =--se= rise, get up, stand + up. + =leve= _adj._ light, slight, delicate. + =ley= _f._ law, religion. + =libertad= _f._ liberty, freedom. + =librar= free, preserve, save. + =libre= _adj._ free, open, innocent, alone. + =lid= _f._ contest, conflict, fight. + =ligar= bind. + =ligeramente= _adv._ slightly, lightly. + =ligero, -a= slight. + =límite= _m._ limit, bound. + =limosna= _f._ alms, charity. + =límpido, -a= limpid, pure, clear. + =limpieza= _f._ limpidity, purity, clearness. + =lino= _m._ linen. + =lira= _f._ lyre. + =lisonjero, -a= flattering, pleasing, cajoling. + =liviano, -a= frivolous, lewd. + =lívido, -a= livid. + =lo= _art. neut._ the; _pron. pers. acc._ it, him; =---- que= + _pron. dem. and rel._ what, that which; =---- que es por= as for, + when it comes to. + =lóbrego, -a= lugubrious, mournful, gloomy, obscure, dismal, dark, sad. + =loco, -a= mad, wild, crazy. + =locura= _f._ madness, folly. + =lodo= _m._ mire. + =lograr= attain, gain. + =loma= _f._ hillock, ridge. + =lona= _f._ canvas. + =lontananza= _f._ distance. + =los= _art. pl. m._ the; _pron. pers. acc._ them; =---- que= + _pron. dem. and rel._ those who, the ones who. + =losa= _f._ slab, stone. + =lozano, -a= luxuriant, sprightly. + =lúbrico, -a= slippery, lewd. + =lucero= _m._ bright star, morning star, star. + =luciente= _adj._ shining. + =Lucifer= _pr. n. m._ Lucifer. + =luchar= struggle. + =luego= _adv._ then, at once, presently, soon, next, subsequently. + =lugar= _m._ place, town. + =lúgubre= _adj._ sad, mournful, dismal. + =lujo= _m._ luxury, finery. + =lumbre= _f._ light. + =luminoso, -a= luminous, shining, bright. + =luna= _f._ moon. + =luz= _f._ light, illumination, flame, taper, lamp. + =Luzbel= _pr. n. m._ Lucifer, Satan. + + + =llagar= wound. + =llama= _f._ flame, light. + =llamar= call, summon, knock, name, call upon, invoke; =--se= be + named; =cómo os llamáis= what is your name. + =llanto= _m._ weeping, tears. + =llegar= arrive, come; =---- a= come to, succeed in, happen to, + reach; _or simply takes the signification of the verb to which it + is joined:_ =llegó a ver= he saw. + =llenar= fill, pervade. + =lleno, -a= full, filled. + =llevar= carry, bear, bring, wear, take, carry away; =----= + _p.p._ + have; =---- al extremo= terminate; =--se algo= take something + away. + =llorar= weep, mourn, weep for, mourn for. + + + =macedonio, -a= Macedonian. + =macizo, -a= solid, massive. + =madre= _f._ mother. + =maestro, -a= masterly, principal, main; =obra ----a= masterpiece. + =magia= _f._ magic, charm. + =mágico, -a= magic, magical, wonderful. + =mal= _adv._ badly, ill, hardly, poorly. + =mal= _m._ evil, wrong, harm, injury, sorrow, misfortune. + =Málaga= _m._ Malaga wine. + =maldecido, -a= accursed, wicked. + =maldecir= curse. + =maldiciente= _adj._ cursing, profane. + =maldición= _f._ malediction, curse. + =maleza= _f._ underbrush, thicket. + =malo, a= bad, wicked, evil, obnoxious, poor; =¡mal caballero!= + scoundrel! + =malvado, -a= criminal, wicked, insolent. + =manantial= _m._ spring, source. + =manar= flow, trickle. + =mancebo= _m._ young man, youth. + =mancilla= _f._ spot, blemish. + =mancha= _f._ spot, stain. + =manchar= stain. + =mandato= _m._ command. + =manía= _f._ madness, whim. + =mano= _f._ hand. + =mansamente= _adv._ gently. + =mansión= _f._ mansion, abode. + =manto= _m._ mantle, cloak. + =mañana= _adv._ to-morrow. + =mañana= _f._ morning, morrow. + =mar= _m._ (_"Pirata" l. 39_), _f._ (_l. 34_), sea, deep; =a ----es= + abundantly. + =maravilla= _f._ wonder, marvel, miracle. + =marcar= mark, stamp. + =marco= _m._ frame. + =Marcos= _pr. n. m._ Mark. + =marcha= _f._ march. + =marchar= walk, march. + =marchitado, -a= faded, withered. + =marchitarse= wither, fade, die. + =mareo= _m._ nausea, dizziness. + =margen= _m. f._ edge, brink, bank, border. + =María= _pr. n. f._ Mary. + =marido= _m._ husband, spouse. + =mariposa= _f._ butterfly. + =mármol= _m._ marble. + =martirio= _m._ martyrdom, torture, grief. + =mas= _conj._ but. + =más= _adv._ more, most, rather; =---- de= past; =---- que= + especially as; =el, la ----= the most; =no ----= only, no longer. + =masa= _f._ mass. + =matar= kill, slay. + =materia= _f._ material, matter. + =matiz= _m._ tint, hue. + =matrimonio= _m._ marriage. + =mayo= _m._ May. + =mayor= _adj._ greater; =el, la ----= the greatest. + =me= _pron. pers. dat. acc._ me, myself. + =mecer= rock, sway; =--se= be rocked, rock. + =medida= _f._ measure; =sin ----= unmeasured. + =medio, -a= half, middle; =media noche= midnight. + =medio= _m._ middle, midst; =en ----= in the midst, nevertheless; + =en ---- de= in the midst of. + =medroso, -a= terrible, terrifying, timid. + =mejilla= _f._ cheek. + =mejor= _adj._ better; =el -----= the best. + =melancolía= _f._ melancholy. + =melancólico, -a= melancholy. + =melodía= _f._ melody. + =memoria= _f._ memory, mind, remembrance. + =mendigo= _m._ beggar, mendicant. + =menear= stir, shake. + =mengua= _f._ shame, disgrace. + =menos= _adv._ less, least; =----- que= less than. + =mente= _f._ mind, thought, intellect. + =mentido, -a= false. + =mentir= lie, deceive. + =mentira= _f._ lie, falsehood, falsity. + =mercader= _m._ trader, merchant. + =merced= _f._ mercy; =a ---- de= at the mercy of. + =merecer= merit, deserve, be worth. + =mesa= _f._ table. + =metal= _m._ metal. + =metálico= _m._ cash, money. + =mezclar= mix, mingle, unite, jumble; =--se= be mingled, take part, + meddle. + =mezquino, -a= miserable, wretched, petty. + =mi= _adj. poss._ my. + =mí= _pron. pers._ me, myself. + =miedo= _m._ fear; =hacer ---- de= make afraid of. + =miel= _f._ honey. + =mientras= _adv._ meanwhile; _conj._ while; =---- que= while. + =Miguel= _pr. n. m._ Michael. + =mil= _card._ thousand. + =millar= _m._ thousand. + =mina= _f._ mine, source of supply. + =mío, -a= _pron. poss._ my, mine. + =mirada= _f._ glance, look, gaze. + =mirar= look at, contemplate, regard, see, behold, watch, notice; + =--se entre sí= look at each other. + =misa= _f._ mass. + =miserable= _adj._ miserable, wretched. + =miseria= _f._ misery, wretchedness. + =mísero, -a= miserable, wretched. + =mismo, -a= same, very, self, own. + =misterioso, -a= mysterious. + =místico, -a= mystical. + =modo= _m._ way, manner; =de tal ----= in such a way. + =mofa= _f._ sneer, jeer. + =mofar de= scoff at, flout. + =molestar= trouble, disturb, grate upon. + =momento= _m._ moment, instant; =al ----= in a moment, immediately. + =monarca= _m._ monarch. + =monótono, -a= monotonous, slow, dull. + =montaña= _f._ mountain. + =Montemar= _pr. n._ Montemar. + =montón= _m._ heap. + =monumento= _m._ monument. + =morada= _f._ abode. + =morador, -a= inhabitant. + =morar= dwell, abide, inhabit, lodge in. + =morder= bite. + =Moreto= _pr. n._ Moreto. + =moribundo, -a= dying. + =morir(se)= die, expire, go out. + =mortal= _adj._ mortal, deadly, fatal. + =mortal= _m._ mortal, being, man. + =mortífero, -a= deadly, noxious. + =mostrar= show, point out, indicate. + =motivo= _m._ motive, reason, cause. + =mover= move, stir, sway, drive; =---- guerra= wage war; =---- la + planta= walk; =---- los ojos= roll one's eyes; =---- los pies= + walk; =--se= move, walk. + =movimiento= _m._ movement, motion, startled movement, agitation, + thrill, stirring. + =mucho= _adv._ much. + =mudo, -a= dumb, silent, still, mute. + =mueca= _f._ grimace. + =muerte= _f._ death. + =muerto, -a= dead, lifeless, dying. + =muerto, -a= _m. f._ dead person, corpse. + =muestra= _f._ indication, token, proof. + =mujer= _f._ woman, wife. + =mula= _f._ mule. + =mullido, -a= soft. + =mundano, -a= worldly, of the world. + =mundo= _m._ world, earth, society. + =murmullo= _m._ murmuring, rippling. + =murmurar= murmur. + =muro= _m._ wall. + =música= _f._ music, melody. + =mutuo, -a= mutual. + =muy= _adv._ very, very much. + + + =nacarado, -a= pearly, nacreous. + =nacer= be born, spring up. + =naciente= _adj._ nascent, growing, budding, dawning. + =nación= _f._ nation. + =nada= _pron._ nothing, not anything. + =nada= _adv._ not at all, not. + =nadie= _pron._ no one, any one. + =naipe= _m._ card. + =nariz= _f._ nose, nostril. + =náufrago, -a= wrecked, coming from a wreck. + =nave= _f._ ship, vessel. + =navegar= sail. + =navío= _m._ ship. + =nebuloso, -a= nebulous, hazy. + =necesitar= need. + =necio, -a= foolish. + =néctar= _m._ nectar. + =negar= deny, refuse. + =negro, -a= black, dark. + =nervio= _m._ nerve. + =nervioso, -a= nervous. + =ni= _conj._ neither, nor, or; =---- ... ----= neither ... nor. + =niebla= _f._ mist, haze, fog. + =nieve= _f._ snow, extreme whiteness. + =ninfa= _f._ nymph. + =ninguno, -a= _adj. pron._ no, no one, none, not any. + =niño= _m._ child, boy. + =no= _adv._ not, no; =que -----= no. + =noble= _adj._ noble, eminent, worthy, honorable. + =nobleza= _f._ nobility. + =noche= _f._ night; =de ----= by night, at night; + =media ----= midnight. + =nombrar= name, mention. + =nombre= _m._ name. + =nos= _pron. pers. dat. acc._ us. + =nosotros, -as= _pron. pers._ we, us. + =novela= _f._ novel. + =nube= _f._ cloud. + =nublo= _m._ storm cloud. + =nudo= _m._ knot, noose. + =nuestro, -a= _adj. pron._ our, ours, of ours. + =nuevo, -a= new, unfamiliar, newly arrived, fresh, additional. + =nunca= _adv._ never, ever. + =nupcial= _adj._ nuptial. + =nutrir= nourish. + + + =o= _interj._ oh. + =o= _conj._ or, either; =---- ... ----= either ... or. + =obedecer= obey. + =objeto= _m._ object, thing. + =obligarse= bind one's self, be obliged. + =obra= _f._ work; =---- maestra= masterpiece. + =ocasión= _f._ occasion, time, opportunity. + =occidente= _m._ west, occident. + =oculto, -a= concealed, hidden, secret. + =odioso, -a= odious, hateful. + =ofender= offend, make angry, insult. + =ofrecer= offer, present; =--se= offer, occur, present itself. + =oh= _interj._ oh. + =oído= _m._ ear, hearing. + =oír= hear, listen, listen to; =--se= be heard. + =ojalá= _interj._ would to God. + =ojo= _m._ eye, sight. + =ola= _f._ wave, billow. + =olor= _m._ odor. + =oloroso, -a= fragrant. + =olvidar= forget. + =olvido= _m._ oblivion, forgetfulness, neglect. + =onda= _f._ wave. + =ondeante= _adj._ waving, flowing. + =ondear= wave. + =ondina= _f._ undine, water-sprite. + =ondular= undulate, rise and fall. + =onza= _f._ doubloon (former gold coin, = about $16). + =ópalo= _m._ opal. + =óptico, -a= optical; =---- vidrio= telescope. + =opulento, -a= rich, wealthy. + =ora= _conj._ now; =---- ... ----= now ... again, at one time ... at + another. + =orador= _m._ orator. + =orgía= _f._ orgy. + =orgulloso, -a= proud, haughty. + =original= _adj._ original, curious. + =oro= _m._ gold, gold coin, wealth, riches; =----s= diamonds (as a + suit of playing-cards). + =os= _pron. pers. dat. acc._ you, yourself. + =osadía= _f._ boldness, audacity, effrontery. + =osado, -a= daring, bold, defiant. + =oscuridad= _f._ darkness, obscurity, gloom. + =oscuro, -a= dark, gloomy, confused. + =ostentar= show, display. + =otero= _m._ hill. + =otro, -a= _adj. pron._ other, another. + + + =padecer= _m._ suffering, pain. + =padre= _m._ father; =----s= fathers, parents, ancestors. + =padrino= _m._ sponsor. + =paje= _m._ page. + =palabra= _f._ word, promise. + =palabrería= _f._ wordiness. + =palacio= _m._ palace, mansion. + =pálido, -a= pallid, pale, faint. + =palmada= _f._ slap, applause, clapping. + =palmo= _m._ span (8 inches). + =palpar= feel, grope, know; =--se= feel, grope. + =palpitante= _adj._ quivering, throbbing. + =palpitar= beat, quiver, flutter. + =pan= _m._ bread. + =par= _adj._ equal; =a ----= alike; =a ---- que= just as, + while; =a la ----= at the same time, equally; =al ---- de= like, + as well as. + =para= _prep._ for, to, in order to; =ser ----= be enough to. + =parabién= _m._ congratulation; =dar el ----= congratulate. + =paradero= _m._ halting-place, end. + =páramo= _m._ paramo, desert, wilderness. + =parar= stop, halt, stake; =--se= stop, halt. + =parar= _m._ lansquenet (a game of cards). + =parche= _m._ drum. + =pardiez= _interj._ by God. + =pardo, -a= dark gray, brown, dark. + =parecer= appear, seem, resemble, look like; =al ----= seemingly, + apparently. + =pared= _f._ wall. + =párpado= _m._ eyelid. + =parte= _f._ part; =de ---- de= from, by command of; =por todas + ----s= everywhere. + =pasada= _f._ passing; =de ----= in passing. + =pasado= _m._ past. + =pasar= pass, go by, end. + =pasión= _f._ passion. + =paso= _m._ step, gait, footstep, tread, passing; =---- de andadura= + ambling gait; =al ----, de ----,= in passing. + =pastor= _m._ shepherd. + =Pastrana= _pr. n._ Pastrana. + =patear= stamp upon. + =patio= _m._ court, courtyard. + =patria= _f._ native country, fatherland, home. + =patrio, -a= paternal, native. + =pausado, -a= deliberate, leisurely. + =pavesa= _f._ embers. + =pavimiento= _m._ pavement, floor. + =pavor= _m._ fear, terror. + =pavoroso, -a= frightful, exciting fear, terrifying, terrible. + =pavura= _f._ fear, terror. + =paz= _f._ peace, quiet. + =pecado= _m._ sin. + =pecador, -a= sinful, wicked, wretched. + =pecho= _m._ breast, chest, bosom, heart, courage; =a lo hecho, ----= + make the best of it. + =pecho= _m._ tribute; =dar ----= pay tribute. =pedazo= _m._ piece; + =a ----s= to pieces, in pieces; =hacer ----s= break to pieces, tear. + =pedestal= _m._ pedestal, foundation. + =pedir= ask, ask for, beg, demand; =---- cuenta= bring to account, + demand account of. + =pedrería= _f._ precious stones. + =pena= _f._ punishment, penalty, agony, trouble, anxiety, sorrow, + pain; =ánima en ----= soul in purgatory. + =pendencia= _f._ quarrel, dispute, row. + =pendón= _m._ banner, flag. + =penetrar= penetrate, pierce. + =penoso, -a= painful. + =pensamiento= _m._ thought, mind. + =pensar= think, consider, plan, mean, intend; =---- en= think of. + =pensil= _m._ beautiful garden. + =peñasco= _m._ large rock. + =perder= lose, squander, ruin, undo; =--se= be lost, go astray, + disappear, vanish; =dar por perdido= consider lost. + =perdido, -a= lost, ruined, done for, beside one's self, vanished, + defeated, wandering. + =perdidoso, -a= losing, loser. + =perdón= _m._ pardon, forgiveness. + =perdonar= pardon, forgive. + =peregrino, -a= strange, wonderful. + =perezoso, -a= sluggish. + =pérfido, -a= perfidious, treacherous. + =perfumado, -a= sweet-scented, perfumed. + =perfume= _m._ perfume, fragrance, sweet odor. + =pero= _conj._ but, however. + =perpetuo, -a= perpetual, continual. + =perro= _m._ dog. + =perseguir= pursue, importune, beset. + =persona= _f._ person; =----s= dramatis personae. + =pesar= weigh, consider, be valuable, repent. + =pesar= _m._ sorrow, trouble, repentance; =a su ----= in spite of + himself. + =peso= _m._ weight. + =pie= _m._ foot; =alzarse de ----= rise to one's feet; =en ----= + standing; =mover los ----s= walk; =ponerse de ----= arise, stand up. + =piedad= _f._ pity, mercy. + =piedra= _f._ stone. + =pintar= paint, depict, describe; =--se= be painted, be depicted. + =pintura= _f._ picture, painting. + =pirata= _m._ pirate. + =pisada= _f._ footstep. + =pisar= tread upon. + =placentero, -a= pleasant, pleasing. + =placer= please. + =placer= _m._ pleasure, rejoicing. + =plan= _m._ plan. + =planta= _f._ sole of foot, foot, project, design; =mover la ----= walk. + =plañir= sob, whimper, lament. + =plata= _f._ silver. + =playa= _f._ shore, beach, strand; =sin ----= boundless. + =plaza= _f._ square. + =plebe= _f._ populace, common people. + =plegaria= _f._ prayer. + =pliegue= _m._ fold. + =poblar= inhabit. + =pobre= _adj._ poor. + =pobreza= _f._ poverty. + =poco= _adv._ little; =---- a ----= little by little, gradually; + =por ----= for a trifle. + =poder= be able, may, can; _impers._ be possible; =puede que= perhaps, + maybe. + =poder= _m._ power. + =poderoso, -a= powerful, mighty, wealthy. + =poeta= _m._ poet. + =Polonia= _f._ Poland. + =polvo= _m._ dust. + =pomo= _m._ pommel, hilt. + =pompa= _f._ pomp, splendor. + =poner= put, place, instill, fix, set, make, turn, offer, give; =---- + pavor a uno= make one afraid; =--se a= begin to; =--se de pie= + arise, stand up. + =poniente= _adj._ setting. + =ponzoñoso, -a= poisonous. + =popa= _f._ poop, stern; =en ----= astern, aft; =viento en ----= + before the wind, with a wind from astern. + =por= _prep._ for, on account of, by, to, through, over, across, + for the sake of, on, at; _conj._ =---- qué= why. + =porfía= _f._ obstinacy, persistence. + =porque= _conj._ because, in order that. + =portento= _m._ prodigy, miracle, portent. + =porvenir= _m._ future. + =pos= _adv. prep._: =en ----= behind, after. + =positivamente= _adv._ positively, certainly. + =postrado, -a= prostrate, kneeling. + =postrero, -a= last. + =precipitado, -a= precipitate, headlong, rash, abrupt. + =precipitar(se)= precipitate, hasten, rush headlong, hurry. + =precursor, -a= _m. f._ precursor, herald, harbinger. + =preguntar= ask, inquire, question. + =premática= _f._ pragmatic (a law). + =prender= catch, take, bind, fasten; =---- fuego= set fire. + =presa= _f._ capture, prize. + =présago, -a= presaging, ominous. + =présago= _m._ presage, omen. + =presentar= present, offer, show. + =presente= _adj._ present. + =presente= _m._ present. + =prestar= lend, give, add, ascribe. + =presumir= presume, imagine, dare. + =presuroso, -a= prompt, quick, light. + =prevenirse= prepare. + =previsión= _f._ foresight, foreboding, presentiment. + =primavera= _f._ spring. + =primero, -a= first, former. + =príncipe= _m._ prince. + =prisa= _f._ haste. + =proceloso, -a= tempestuous. + =procurar= procure, obtain, secure. + =prodigio= _m._ prodigy, marvel. + =prodigioso, -a= extraordinary, exquisite. + =profundo, -a= deep, low, profound, great. + =profundo= _m._ abyss, hell. + =prolongar(se)= prolong, continue, extend. + =prometer= promise. + =pronto, -a= ready. + =pronto= _adv._ quickly, soon; =de ----= suddenly. + =pronunciar= pronounce, utter, say. + =propio, -a= own. + =prorrumpir= break out, burst forth. + =protección= _f._ protection. + =provocar= provoke, rouse, incite. + =público, -a= public, general, common. + =pudor= _m._ modesty. + =pueblo= _m._ people, town, nation. + =puerta= _f._ door, gateway, entrance. + =puerto= _m._ harbor, port. + =pues= _adv._ then, well; _conj._ for, since. + =puesta= _f._ setting. + =pugnar= struggle. + =punto= _m._ spot, speck, point, moment; =al ----= immediately, at once. + =punzante= _adj._ sharp, piercing, pricking, stinging, acrid. + =puñal= _m._ dagger. + =pureza= _f._ purity, chastity, innocence. + =purísimo, -a= very pure, most pure. + =puro, -a= pure, chaste, holy, clear, unsullied, unblemished, mere, + sheer, absolute. + + + =que= _conj._ than, for, as, since, that, so that, let; =de ----= that. + =que= _pron. rel._ which, that, who, whom; =en ----= when. + =qué= _interj._ what, how. + =qué= _interrog._ what, why; =por ----= why. + =quebrantar= break, transgress, shatter, split, weaken. + =quebranto= _m._ affliction, grief, sorrow. + =quedar(se)= stay, remain, be left. + =queja= _f._ complaint, lamentation, plaintive cry, moan. + =quejarse= complain, lament. + =quejido= _m._ moan, complaint. + =quemado, -a= burning. + =quemar= burn. + =querer= love, like, desire, want, seek, wish, accept, cover, accept a + challenge _or_ bet, be on the point of. + =querido, -a= dear, beloved. + =quien= _pron. rel._ who, which, whom, one who. + =quién= _pron. interrog._ who. + =Quijote= _pr. n. m._ Quixote. + =quimera= _f._ chimera, fancy, quarrel, row. + =quimérico, -a= chimerical, fantastic. + =quince= _card._ fifteen. + =quinto, -a= fifth. + =quitar(se)= take away, remove, take off. + =quizá= _adv._ perhaps. + + + =rabia= _f._ rage, fury. + =ración= _f._ ration, allowance of food. + =radiante= _adj._ radiant. + =ráfaga= _f._ gust, blast, burst. + =rama= _f._ branch, bough. + =ramaje= _m._ branches. + =ramo= _m._ branch. + =rápido, -a= rapid, quick, swift, nimble, fleeting. + =raro, -a= strange, unusual. + =rasgar= tear, rend. + =raudal= _m._ torrent, stream. + =raudo, -a= rapid, swift, precipitate.. + =raya= _f._ stripe, streak. + =rayar= border upon. + =rayo= _m._ ray, thunderbolt, beam, light. + =razón= _f._ reason, reasoning. + =realidad= _f._ reality. + =realizar= realize, make real, bring about. + =rebelde= _adj._ rebellious. + =rebramar= bellow. + =recatado, -a= cautious, careful, prudent. + =recato= _m._ modesty, prudence, coyness. + =recelo= _m._ misgiving, apprehension, fear. + =receloso, -a= distrustful, terrifying, fearsome. + =recibir= receive, take, accept. + =recio, -a= strong, loud, severe, rigorous. + =recobrar= recover. + =recoger= gather, collect, take in, receive, shelter. + =recogido, -a= retired, absorbed, secluded. + =reconcentrado, -a= concentrated, intense. + =reconocer= recognize, know. + =recordar= remember, recall. + =recorrer= pass through, examine. + =recrear= delight, gladden. + =recuerdo= _m._ recollection, memory. + =rechazar= repel, reject. + =rechinamiento= _m._ gnashing. + =rechinar= creak, gnash. + =rededor= _m._ environs; =al ---- de= around. + =redoblar= redouble. + =redoble= _m._ roll. + =redor= _cf._ =rededor=; =en ----= round about. + =reflejar= reflect. + =reflejo= _m._ light, gleam, glimmer. + =refregar= rub. + =refulgente= _adj._ resplendent, brilliant. + =regalar= make merry, cheer, entertain, delight; =--se= feast, make + merry, fare sumptuously. + =regar= lave, water. + =regio, -a= royal, regal, magnificent. + =región= _f._ region, realm. + =registrar= examine, scan. + =regocijar= gladden, brighten. + =reina= _f._ queen. + =reinar= reign. + =reír= laugh; =--se= laugh; =---se de= laugh at. + =relámpago= _m._ lightning flash. + =relinchar= whinny, neigh. + =reloj= _m._ clock, timepiece. + =remiso, -a= slow. + =remolino= _m._ whirl, whirling, vortex, eddy, whirlwind. + =remontarse= rise, soar, tower. + =remordimiento= _m._ remorse. + =remover= remove, move, take away. + =rencor= _m._ grudge, hatred. + =rendido, -a= worn out, overcome. + =rendir= surrender, give up, overcome, yield. + =renegar de= deny, abhor, denounce, curse, protest against. + =renglón= _m._ line. + =reñidor, -a= quarrelsome. + =reñir= quarrel, fight. + =reparar= defend, recover. + =reparo= _m._ advice, warning, remark, objection. + =repente= _m._ sudden movement; =de ---- suddenly. + =repentino, -a= sudden. + =repetir= repeat. + =reponer= reply. + =reposar= repose, rest. + =reposo= _m._ rest, sleep. + =réprobo, -a= reprobate, wicked one. + =repugnante= _adj._ repulsive, loathsome. + =requerir= examine, lay hold of. + =resbalar= slip away, glide, pass over, touch. + =resistir= resist, endure, withstand. + =resolución= _f._ resolution, determination. + =resolver= resolve, determine. + =resonar= resound, ring out, echo. + =respirar= breathe, exhale, inhale. + =resplandor= _m._ light, radiance, brightness, glow. + =responder= respond, reply, answer. + =respuesta= _f._ reply, answer. + =resucitar= return to life. + =resuelto, -a= resolved, determined. + =retumbar= tremble. + =retorcer= twist; =--se= writhe, be wrung. + =retrato= _m._ portrait, picture. + =retumbar= resound, reëcho. + =reunir= unite, gather. + =reventar= burst forth. + =revés= _m._ reverse; =al ----= contrariwise. + =revestir= clothe, robe. + =revuelto, -a= agitated, restless, disordered, topsy-turvy, winding, + wrapped, clad. + =rey= _m._ king, monarch. + =rezar= pray, recite. + =rezo= _m._ prayer, devotions. + =rico, -a= rich, abundant, plentiful, fine. + =ridículo, -a= ridiculous, strange, absurd. + =rielar= shimmer, glisten. + =rienda= _f._ rein; =a ---- suelta= at full gallop. + =riesgo= _m._ danger. + =rifar= raffle, bid. + =rigidez= _f._ rigidity. + =rígido, -a= rigid, severe, rigorous. + =río= _m._ river, stream. + =riqueza= _f._ richness, riches, wealth. + =risa= _f._ laughter. + =rival= _m._ rival. + =rizar= ripple. + =robar= rob; =---- a= steal from. + =roble= _m._ oak tree. + =roca= _f._ rock, cliff. + =rodar= roll, be tossed about, abound. + =rodear= surround. + =rodilla= _f._ knee; =de -----s= kneeling. + =roedor, -a= gnawing. + =roer= gnaw, consume, harass. + =rogar= pray. + =rojo, -a= red, crimson, ruby. + =romper= break, break down, destroy, shatter, dash. + =ronco, -a= hoarse, raucous, harsh. + =ronda= _f._ rounds, circular dance, dance. + =ropa= _f._ garment, raiment, clothing. + =ropaje= _m._ apparel, gown, robe. + =rosa= _f._ rose. + =rosado, -a= rosy, roseate. + =rostro= _m._ face, countenance. + =roto, -a= broken, destroyed, shattered. + =rudo, -a= rude, rough, hard. + =rueda= _f._ wheel, circle, turn. + =ruego= _m._ request, entreaty. + =rugido= _m._ roaring. + =rugir= roar, bellow. + =ruido= _m._ noise, din, sound. + =ruinoso, -a= ruinous, crumbling. + =ruiseñor= _m._ nightingale. + =rumbo= _m._ course. + =rumor= _m._ noise, sound. + + + =sábado= _m._ Saturday, Sabbath. + =saber= know, learn, find out. + =sabroso, -a= tasty, delicious, palatable. + =sacro, -a= holy, sacred. + =sacudido, -a= harsh, jerky. + =sacudir= shake, shake off, strike. + =sagrado, -a= sacred, holy. + =Salamanca= _pr. n. f._ Salamanca. + =salir= come out, go out, get out, emerge, issue, turn out, appear, + show up; =---- de= leave, get out. + =saltar(se)= jump, spring, flash. + =saludar= salute, greet. + =san (santo)= saint. + =sandio, -a= foolish, stupid, silly. + =sangre= _f._ blood, gore; =---- fría= sangfroid, coolness, calmness. + =sangriento, -a= bloody, gory. + =santidad= _f._ holiness, godliness. + =santo, -a= holy, saint, blessed. + =sarcasmo= _m._ sarcasm. + =sargento= _m._ sergeant. + =sastre= _m._ tailor. + =Satanás= _m._ Satan. + =satánico, -a= Satanic. + =sátira= _f._ satire. + =satisfacción= _f._ satisfaction. + =sauce= _m._ willow. + =Scévola= _pr. n. m._ Scaevola. + =se= _pron. refl. 3d pers. dat. acc. m. f. sing. pl._ him, himself, + herself, itself, themselves; one another, each other; _dat. of 3d + pers. pron._ to you. + =secar= parch, consume, dry up, wither. + =seco, -a= dry, dried up, barren, withered, lean, bony. + =secreto, -a= secret, hidden. + =sed= _f._ thirst. + =seductor, -a= seducing. + =seductor= _m._ seducer. + =segar= mow, reap. + =seguida= _f._ continuation; =en ----= forthwith, immediately. + =seguir= follow, succeed, pursue, go on, continue. + =según= _prep._ according to. + =segundo, -a= second. + =seguro, -a= secure, safe, confident, certain, unfailing, stanch; + =mal ----= unsafe, insecure. + =seis= _card._ six. + =sellar= seal, cover. + =sello= _m._ seal, stamp, mark. + =semblante= _m._ countenance, face. + =semejante= _adj._ similar, like, resembling. + =semejar= resemble, be like. + =sempiterno, -a= eternal. + =Sena= _pr. n. f._ Siena. + =seno= _m._ bosom, breast, depths. + =sensación= _f._ sensation, feeling. + =sentar= suit, place, plant, become, set; =--se= sit down. + =sentenciar= condemn. + =sentido= _m._ sense; =sin ----= senseless, unconscious. + =sentimiento= _m._ sentiment, feeling, emotion, regret, grief. + =sentir(se)= feel, regret, be sorry, hear, perceive, foresee. + =seña= _f._ sign. + =señalar= point out, mark out, make known, name. + =señor= _m._ lord, señor, gentleman, sir, Mr.. + =señora= _f._ lady, madam. + =separar= separate, part. + =sepulcral= _adj._ sepulchral. + =sepulcro= _m._ grave, tomb. + =sepultar= bury, entomb. + =sepultura= _f._ grave, tomb. + =ser= be; =---- para= be enough to; =es de temer= it is to be feared; + =es de ver= you should see; =no sea que= lest, for fear that; + =sea ... sea= whether ... or. + =ser= _m._ being. + =serafín= _m._ seraph, angel. + =sereno, -a= serene, quiet, calm, placid, fair, peaceful. + =sermón= _m._ sermon, talk, advice. + =servir= serve; =---- de= serve as; =--se de= make use of. + =sesenta= _card._ sixty. + =severo, -a= severe, stern, serious, rigorous, strict. + =si= _conj._ if, when, whether; =---- no= otherwise, unless; + =---- ... ----= whether ... or; =y ---- no= unless, otherwise. + =sí= _pron. refl. sing. pl. m. f._ himself, herself, etc.. + =sí= _adv._ yes, ay, indeed, certainly; =que ----= yes. + =sí= _m._ assent, consent. + =siempre= _adv._ always, ever. + =sien= _f._ temple. + =sierpe= _f._ serpent. + =silbar= whistle. + =silbo= _m._ whistling. + =silencio= _m._ silence, quiet, repose. + =silencioso, -a= silent. + =silfa= _f._ sylph. + =sílfide= _f._ sylph. + =silla= _f._ saddle. + =sin= _prep._ without; =---- que= _conj._ without. + =siniestro, -a= left. + =sino= _adv. conj._ but, only, except. + =sino (signo)= _m._ fate, mark. + =siquier, siquiera,= _conj._ whether, although, at least; =no ----= + not even; =---- ... ----= whether ... or. + =sitio= _m._ place, spot, site. + =soberano, -a= sovereign, supreme. + =sobra= _f._ surplus; =----s= leavings. + =sobre= _prep._ over, above, on, upon; =estar ---- sí= be self- + possessed. + =sociedad= _f._ society. + =Sócrates= _pr. n. m._ Socrates. + =sol= _m._ sun. + =soldado= _m._ soldier. + =soledad= _f._ solitude, loneliness; =de ----= deserted. + =solemne= _adj._ solemn, impressive, grave. + =soler= be accustomed, be wont. + =solitario, -a= solitary, lonely, isolated. + =solo, -a= alone, single, solitary, only; =a solas= alone, privately. + =sólo= _adv._ only; =tan ----= only. + =soltar= let go, loosen, utter; =---- una carcajada= burst out laughing. + =sollozante= _adj._ sobbing. + =sombra= _f._ shadow, shade, darkness, trace, vestige, wraith, spirit. + =sombrero= _m._ hat. + =sombrío, -a= somber, dark, overcast, cloudy, gloomy, melancholy, + sullen. + =són= _m._ sound, noise, manner. + =sonar= sound, resound. + =soneto= _m._ sonnet. + =sonido= _m._ sound, peal. + =sonoro, -a= sonorous, resounding, loud, harmonious. + =sonreír= smile. + =sonrisa= _f._ smile. + =soñar= dream, imagine, dream of. + =soplo= _m._ gust, breath. + =sórdido, -a= dirty, nasty. + =sordo, -a= dull, stifled, muffled, quiet. + =sorpresa= _f._ surprise. + =sosegado, -a= calm, calmed, peaceful. + =sosiego= _m._ calmness, peace, quiet. + =sota= _f._ jack, knave. + =Stambul= _pr. n._ Stamboul. + =su= _adj. poss._ his, her, its, their, your. + =suave= _adj._ soft, mellow, delicate, gentle. + =suavísimo, -a= very soft, very gentle, very sweet. + =subir= raise, mount, ascend, climb; =--se= mount, rise. + =súbito, -a= sudden. + =súbito= _adv._ suddenly; =de ----= suddenly. + =sublime= _adj._ sublime, majestic, heroic. + =suceder a= succeed, follow. + =sudor= _m._ sweat. + =suelo= _m._ ground, earth, floor. + =suelto, -a= loose, flowing, swift; =a rienda suelta= at full gallop. + =sueño= _m._ sleep, slumber, dream, vision, fancy. + =suerte= _f._ luck, fortune, fate, lot; =a otra ---- de esos dados= + another cast of those dice. + =sufrir= suffer, permit, tolerate. + =sujetar= subdue, overcome. + =sujeto, -a= held fast, conquered. + =suntuoso, -a= sumptuous, luxurious. + =supremo, -a= supreme. + =suspender= suspend, hang. + =suspirar= sigh; =---- de= long for. + =suspiro= _m._ sigh. + =susurrar= whisper, murmur. + =susurro= _m._ whispering, murmuring. + =suyo, -a= _adj. poss._ his; =el ----= _pron. poss._ his. + + + =tabla= _f._ board, plank. + =tácito, -a= silent, quiet, stealthy. + =tacto= _m._ touch. + =tachonado, -a= betrimmed. + =tajante= _adj._ keen-cutting (_sc._ sword). + =tal= _adj. pron._ such, so, thus; =---- vez= perhaps, occasionally, + now and then. + =tálamo= _m._ bridal couch. + =talante= _m._ appearance, disposition. + =talle= _m._ figure, appearance. + =taller= _m._ factory, workshop. + =tallo= _m._ stalk, stem. + =también= _adv._ too, moreover, likewise. + =tan= _adv._ so, such; =---- ... como= as ... as; =---- sólo= only. + =tanto, -a= _adj._ so much, so great; _pl._ so many. + =tanto= _adv._ so much, so, such; =cuanto más ... ---- más= + the more ... the more; =en ----= while, meanwhile; =entre ----= + meanwhile; =---- como= as long as; =---- más= the more. + =tapar= cover, veil, muffle. + =tapiz= _m._ tapestry. + =tararear= hum. + =tardar(se)= delay, take long, be long in coming, tarry. + =tarde= _adv._ late, too late; =se hace ----= it is growing late. + =tarde= _f._ afternoon, evening. + =tardo, -a= slow, tardy, sluggish. + =tarifa= _f._ tariff, price. + =tartáreo, -a= Tartarean, infernal. + =te= _pron. pers._ thee, thyself. + =tea= _f._ torch. + =techo= _m._ roof, ceiling. + =tejer= weave, contrive. + =temblar= tremble at, fear, quiver, twitch, tremble. + =temblor= _m._ trembling, tremor, shiver. + =tembloroso, -a= trembling. + =temer= fear. + =temerario, -a= rash, impetuous, reckless, daring. + =temeridad= _f._ rashness. + =temeroso, -a= timid, fearful. + =temor= _m._ fear. + =témpano= _m._ sheet (of ice etc.). + =tempestad= _f._ tempest, storm. + =templado, -a= softened. + =templo= _m._ temple, church. + =temprano, -a= early, premature. + =tender= stretch out, extend, spread. + =tenebroso, -a= shadowy, gloomy. + =tener= have, keep, take, grasp; =---- de= + _inf._ be going to, must. + =Tenorio= _pr. n. m._ Tenorio. + =tentar= tempt. + =teñir= tinge, color. + =tercero, -a= third. + =terco, -a= obstinate. + =Teresa= _pr. n. f._ Theresa. + =terminar= end, consummate. + =término= _m._ term, end. + =terneza= _f._ softness. + =ternura= _f._ tenderness, affection. + =terror= _m._ terror. + =terso, -a= smooth, glossy, unwrinkled. + =tertulia= _f._ assembly, club. + =tesoro= _m._ treasure, wealth, riches. + =ti= _pron. pers._ thee. + =Tibre= _pr. n. m._ Tiber. + =tiempo= _m._ time, period, season; =a un ----= at once, at + the same time; =a un ---- mismo= at the very same time; =de ---- en + ----= from time to time; =un ----= once, formerly. + =tienta= _f._ probe; =a ----s= gropingly, feeling his way. + =tierno, -a= tender, soft, affectionate, young. + =tierra= _f._ land, country, earth, ground. + =tigre= _m._ tiger. + =tímido, -a= timid, shy. + =tiniebla= _f._ darkness, shadow. + =tinta= _f._ tint, hue, color. + =tiple= _m._ treble. + =tirano= _m._ tyrant. + =tirar= throw, throw away, cast, draw, pull, win; =---- de= pull, draw. + =tocar= touch, fall to one's share, hit; =---- a muerto= toll a + funeral bell; =dale con ---- a muerto= plague take this funeral + tolling. + =todavía= _adv._ nevertheless, still, yet. + =todo, -a= all, every. + =todo= _pron._ everything, all; =----s= everybody, all. + =todo= _adv._ entirely. + =Toledo= _f._ Toledo. + =tomar= take, take up. + =tono= _m._ tone, manner. + =torbellino= _m._ whirlwind. + =torcer= twist, wind, bend, turn, divert. + =torcido, -a= winding, twisting. + =tormenta= _f._ storm, tempest, hurricane, misfortune. + =tormento= _m._ torment, torture, anguish. + =Tormes= _m._ Tormes. + =tornar= return; =---- a= + _inf._ do again, repeat (an act). + =torno= _m._ turn; =en ----= round about; =en ---- de= around, about. + =torpe= _adj._ slow, dull, awkward. + =torre= _f._ tower, spire. + =torrente= _m._ torrent, avalanche. + =torreón= _m._ strong tower. + =tortura= _f._ torture. + =torvo, -a= stern, severe, grim. + =trabajar= work, toil. + =trabajo= _m._ work, task, toil, labor. + =traer= bring, bear. + =tragar= swallow. + =traje= _m._ garb, apparel. + =tranco= _m._ stride. + =tranquilo, -a= tranquil, calm, peaceful, quiet. + =transpirar= transpire, appear. + =trapo= _m._ rag, sails; =a todo ----= all sails set. + =tras= _prep._ behind, after; =---- de= behind. + =traslado= _m._ likeness, imitation. + =trasmontar= sink beyond, set. + =trasparente= _adj._ transparent, clear. + =traspasar= pierce. + =traspié= _m._ slip, stumble; =dar ----s= stumble, reel. + =trastornar= disorder, confuse, upset. + =trastorno= _m._ disorder, confusion, disturbance. + =trasunto= _m._ likeness, copy. + =trato= _m._ agreement, bargain, treatment. + =trecho= _m._ distance. + =tregua= _f._ truce, respite. + =tremendo, -a= awful, terrible. + =trémulo, -a= trembling, flickering. + =trescientos, -as= three hundred. + =triplicar= triple. + =triste= _adj._ sad, sorrowful, dismal, gloomy, cheerless, wretched, + sorry. + =tristura= _f._ sadness, sorrow. + =triunfante= _adj._ triumphant. + =triunfo= _m._ triumph, victory, success. + =trocar= change; =--se= be changed, change. + =tromba= _f._ waterspout. + =tronar= thunder. + =tronchar= break off a trunk. + =trono= _m._ throne. + =trovador= _m._ troubadour. + =trueno= _m._ thunder. + =truhán, -a= scoundrel. + =tu= _adj. poss._ thy. + =tú= _pron. pers._ thou. + =tuétano= _m._ marrow. + =tumba= _f._ tomb, grave. + =tumbo= _m._ fall, tumble, somersault. + =túnica= _f._ tunic, robe. + =turbar= disturb, daunt, shake, upset. + =turbio, -a= troubled, confused, dim, heavy. + =turbión= _m._ squall, heavy shower, hurricane. + =turbulento, -a= turbulent, tumultuous, disorderly. + =Turco, -a= _m. f._ Turk. + + + =u= _conj._ (_before_ =o= _or_ =ho=) or. + =ufano, -a= proud, content. + =último, -a= last, final. + =ultraje= _m._ outrage, insult. + =umbrío, -a= dark, shady. + =un, una= _art._ a, an. + =únicamente= _adv._ only. + =único, -a= only, sole, singular. + =unir= unite, join, bind. + =universo= _m._ universe, world. + =uno, -a= _adj. pron._ one; =----s= some; =de ----a en ---a= one by + one. + =urna= _f._ urn. + + + =vadear= ford. + =vagar= wander, roam, flit, drift, hover. + =vago, -a= wandering, wavering, vague, indistinct, hazy. + =vagoroso, -a= wandering, errant. + =vaguedad= _f._ vagueness; =con ----= vaguely, uncertainly. + =valentía= _f._ valor, courage. + =valer= be worth, help, avail; =más vale= it is better. + =valeroso, -a= valiant, brave. + =valiente= _adj._ valiant, brave, arrogant, blustering. + =valor= _m._ valor, courage, strength, force, might, amount, value. + =valle= _m._ vale. + =vano, -a= vain, idle, useless, presumptuous; =en ----= in vain, + useless. + =vapor= _m._ vapor, mist, fumes. + =vaporoso, -a= ethereal, airy, shadowy, misty. + =varón= _m._ man. + =varonil= _adj._ manly, masculine. + =vaso= _m._ glass, vessel, vase. + =vate= _m._ bard. + =veinte= _card._ twenty. + =vela= _f._ sail, ship; =a toda ----= full sail. + =velar= veil. + =velero, -a= swift-sailing (ship). + =veleta= _f._ weathercock, vane. + =velo= _m._ veil. + =veloz= _adj._ swift. + =vena= _f._ vein. + =vencedor, -a= conquering, victorious. + =vencedor, -a= _m. f._ conqueror, victor. + =vencer= conquer, vanquish, overcome, subdue. + =vencido, -a= conquered, submissive, subdued. + =venda= _f._ bandage. + =vendaval= _m._ strong wind from the sea. + =vender= sell, set up for sale. + =veneno= _m._ poison, venom. + =vengador, -a= avenging. + =venganza= _f._ vengeance, revenge. + =vengar= avenge; =--be revenged. + =vengativo, -a= avenging. + =venir= come, advance, approach, go; =---- a= succeed in; =vengan + los dados= let's have the dice. + =ventura= _f._ happiness, fortune; =sin ----= wretched, hapless; + =sin ---- de mí= unfortunate me, woe is me. + =venturoso, -a= fortunate, happy. + =ver= see, behold, realize; =--se= be seen, can be seen, find one's + self. + =verdad= _f._ truth. + =verdadero, -a= true, real, genuine. + =vergüenza= _f._ shame. + =verter= shed, cast. + =vertiginoso, -a= giddy, vertiginous. + =vértigo= _m._ vertigo, dizziness, confusion, dizzy course. + =vestido= _m._ dress, raiment, robe. + =vestir= dress, clothe, garb, enwrap. + =vez= _f._ time, turn; =a veces= at times; =cada ---- más= + more and more; =en ---- de= instead of; =otra ----= again, once + more; =tal ----= perhaps, occasionally, now and then. + =viaje= _m._ journey, passage, way, road. + =viajero= _m._ traveler. + =vibrar= vibrate, dart, cast, throw, flicker. + =vicio= _m._ vice. + =víctima= _f._ victim. + =vida= _f._ life. + =vidrio= _m._ glass, window-pane; =óptico ----= telescope. + =viejo, -a= _adj._ old. + =viejo, -a= _m. f._ old man, old woman. + =viento= _m._ wind, breeze; =---- en popa= before the wind, + with a wind from astern. + =vigor= _m._ vigor, strength, force. + =vil= _adj._ vile, base, despicable, mean, paltry. + =villano= _m._ low-born one, rustic, villain. + =vino= _m._ wine. + =violento, -a= violent, impetuous, furious. + =virar= tack, put about. + =virgen= _adj._ virgin, chaste. + =virgen= _f._ virgin. + =virginal= _adj._ virginal. + =virtud= _f._ power, virtue. + =visión= _f._ vision, sight, apparition, phantom. + =vislumbrar= descry, glimpse. + =vista= _f._ sight, glance, eye, appearance, look. + =vívido, -a= vivid, bright. + =vivienda= _f._ abode. + =viviente= _adj._ living. + =viviente= _m._ living being. + =vivir= live; =vive Dios= as God lives. + =vivir= _m._ life, existence. + =vivo, -a= living, alive, bright, quick. + =volar= fly, take flight, hasten, vanish, sail. + =volcán= _m._ volcano. + =voluntad= _f._ will, determination, desire. + =volver= return, come back, turn, direct, drive, restore; =---- a= + + _inf._ do again; repeat (an act); =--se= return, turn, become. + =vos= _pron. pers._ you; yourself. + =vosotros, -as= _pron. pers._ you, ye. + =votar= vow; =voto a Cristo= by Christ. + =voto= _m._ vow, curse. + =voz= _f._ voice, word, shout, rumor, opinion. + =vuelo= _m._ flight, soaring. + =vuelta= _f._ turn; =dar mil ----s= turn a thousand times, whirl a + thousand times, revolve a thousand times. + =vuestro -a= your. + + + =y= _conj._ and; =---- ... ----= both ... and. + =ya= _adv._ now, already, indeed, then, finally; =no ... ----= no + longer; =---- ... ----= now ... now, at one time ... at another. + =yacer= lie. + =yerba= _f._ grass, weed. + =yerboso, -a= grassy, weed-grown. + =yermo, -a= waste, desert. + =yermo= _m._ wilderness, desert. + =yerro= _m._ mistake. + =yerto, -a= rigid, motionless, petrified. + =yo= _pron. pers._ I. + =yugo= _m._ yoke. + + + =zafir= _m._ sapphire. + =zozobra= _f._ worry, anguish, anxiety. + =zumbar= resound + + + + + + +End of the Project Gutenberg EBook of El Estudiante de Salamanca and Other +Selections, by George Tyler Northup + +*** END OF THIS PROJECT GUTENBERG EBOOK EL ESTUDIANTE DE SALAMANCA *** + +***** This file should be named 15781-8.txt or 15781-8.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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