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diff --git a/16059-h/16059-h.htm b/16059-h/16059-h.htm new file mode 100644 index 0000000..aa59ec0 --- /dev/null +++ b/16059-h/16059-h.htm @@ -0,0 +1,13946 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> + <meta http-equiv="content-type" content="text/html; charset=ISO-8859-1"> + <title>Modern Spanish Lyrics</title> + <meta name="author" content="ELIJAH CLARENCE HILLS and S. GRISWOLD MORLEY"> + +<style type="text/css"> +<!-- + +body {margin-left: 10%; margin-right: 10%} + +h1,h2,h3,h4,h5,h6 {text-align: center;} +p {text-align: justify} +blockquote {text-align: justify} + +hr {width: 50%; text-align: center} +hr.full {width: 100%} +hr.short {width: 20%; text-align: center} + +.note {font-size: 0.8em; margin-left: 10%; margin-right: 10%} +.footnote {font-size: 0.8em; margin-left: 10%; margin-right: 10%} +.side {padding-left: 1px; + float: left; margin-left: 1px; + text-indent: -60px; font-style: italic; text-align: left} + +.lef {float: left} +.mid {text-align: center} +.rig {float: right} +.up {font-size: 0.7em; text-decoration: none} + + + +span.pagenum {font-size: 10pt; left: 91%; right: 2%; position: absolute} +span.linenum {font-size: 12pt; right: 91%; left: 1%; position: absolute} + +.poem {margin-bottom: 1em; margin-left: 10%; margin-right: 10%; + text-align: left} +.poem .stanza {margin: 1em 0em} +.poem .stanza.i {margin: 1em 0em; font-style: italic;} +.poem p {padding-left: 3em; margin: 0px; text-indent: -3em} +.poem p.i2 {margin-left: 1em} +.poem p.i4 {margin-left: 2em} +.poem p.i6 {margin-left: 3em} +.poem p.i8 {margin-left: 4em} +.poem p.i10 {margin-left: 5em} +.poem p.i12 {margin-left: 6em} +.poem p.i14 {margin-left: 7em} +.poem p.i16 {margin-left: 8em} +.poem p.i18 {margin-left: 9em} +.poem p.i20 {margin-left: 10em} +.poem p.i30 {margin-left: 15em} + + + +--> +</style> + +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Modern Spanish Lyrics, by Various + +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: Modern Spanish Lyrics + +Author: Various + +Editor: Elijah Clarence Hills And S. Griswold Morley + +Release Date: June 14, 2005 [EBook #16059] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MODERN SPANISH LYRICS *** + + + + +Produced by Juliet Sutherland, Miranda van de Heijning, +Renald Levesque and the Online Distributed Proofreading +Team. + + + + + + +</pre> + + + +<h1>MODERN SPANISH<br> + +LYRICS</h1> + +<h3><i>EDITED WITH INTRODUCTION, NOTES AND<br> + +VOCABULARY</i></h3> +<br><br> + +<h4>BY</h4> +<br> + +<h2>ELIJAH CLARENCE HILLS, PH. D., LITT.D.</h2> + +<h4><i>Professor of Romance Languages in Colorado College</i></h4> +<br> +<h4>AND</h4> +<br> +<h2>S. GRISWOLD MORLEY, PH. D.</h2> + +<h4><i>University of Colorado</i></h4> + +<br><br> +<h4>NEW YORK<br> +HENRY HOLT AND COMPANY<br> +1913</h4> + + +<p><a id="piiil0" name="piiil0"></a><span class="pagenum">iii</span></p><br><br><br> + + + +<a id="h1" name="h1"></a> +<h3>PREFACE</h3> + + +<p>The present volume aims to furnish American students +of Spanish with a convenient selection of the +Castilian lyrics best adapted to class reading. It was +the intention of the editors to include no poem which +did not possess distinct literary value. On the other +hand, some of the most famous Spanish lyrics do not +seem apt to awaken the interest of the average student: +it is for this reason that scholars will miss the +names of certain eminent poets of the <i>siglo de oro</i>. +The nineteenth century, hardly inferior in merit and +nearer to present-day readers in thought and language, +is much more fully represented. No apology is needed +for the inclusion of poems by Spanish-American writers, +for they will bear comparison both in style and +thought with the best work from the mother Peninsula.</p> + +<p>The Spanish poems are presented chronologically, +according to the dates of their authors. The Spanish-American +poems are arranged according to countries +and chronologically within those divisions. Omissions +are indicated by rows of dots and are due in all cases to +the necessity of bringing the material within the limits +of a small volume. Three poems (the <i>Fiesta de toros</i> of +Moratín, the <i>Castellano leal</i> of Rivas and the <i>Leyenda</i> +of Zorrilla) are more narrative than lyric. The <i>romances</i> <a id="pivl0" name="pivl0"></a><span class="pagenum">iv</span> +selected are the most lyrical of their kind. A +few songs have been added to illustrate the relation +of poetry to music.</p> + +<p>The editors have been constantly in consultation in +all parts of the work, but the preparation of the <i>Prosody</i>, +the <i>Notes</i> (including articles on Spanish-American literature) +and the part of the <i>Introduction</i> dealing with the +nineteenth century, was undertaken by Mr. Hills, +while Mr. Morley had in charge the <i>Introduction</i> prior +to 1800, and the <i>Vocabulary</i>. Aid has been received +from many sources. Special thanks are due to Professor +J.D.M. Ford and Dr. A.F. Whittem of +Harvard University, Don Ricardo Palma of Peru, +Don Rubén Darío of Nicaragua, Don Rufino Blanco-Fombona +of Venezuela, Professor Carlos Bransby of +the University of California, and Dr. Alfred Coester +of Brooklyn, N.Y.</p> + +<p>E.C.H.</p> + +<p>S.G.M.</p> + +<p><a id="pvl0" name="pvl0"></a><span class="pagenum">v</span></p> + + + + +<p>CONTENTS</p> + + +<div class="poem"> <div class="stanza"> +<p><a href="#h1">PREFACE</a></p><br> +<p><a href="#h2">INTRODUCTION</a></p> +<p class="i2"><a href="#h3">I.</a> Spanish Lyric Poetry to 1800</p> +<p class="i2"><a href="#h4">II.</a> Spanish Lyric Poetry of the Nineteenth Century</p> +<p class="i2"><a href="#h5">III.</a> Spanish Versification</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h6">ESPAÑA</a></p> + </div><div class="stanza"> +<p><a href="#h7">ROMANCES:</a></p> +<p class="i2">Abenámar</p> +<p class="i2">Fonte-frida</p> +<p class="i2">El conde Arnaldos</p> +<p class="i2">La constancia</p> +<p class="i2">El amante desdichado</p> +<p class="i2">El prisionero</p> +<p><a href="#h8">VINCENTE (GIL)</a> (1470-1540?)</p> +<p class="i2">Canción</p> +<p><a href="#h9">TERESA DE JESÚS (SANTA)</a> (1515-1582)</p> +<p class="i2">Letrilla (que llevaba por registro en su breviario)</p> +<p><a href="#h10">LEÓN (FRAY LUIS DE)</a> (1527-1591)</p> +<p class="i2">Vida retirada</p> +<p><a href="#h11">ANÓNIMO</a></p> +<p class="i2">Á Cristo crucificado</p> +<p><a href="#h12">VEGA (LOPE DE)</a> (1562-1635)</p> +<p class="i2">Canción de la Virgen</p> +<p class="i2">Mañana</p> +<p><a href="#h13">QUEVEDO (FRANCISCO DE)</a> (1580-1645)</p> +<p class="i2">Epístola satírica al conde de Olivares</p> +<p class="i2">Letrilla satírica</p> +<p><a href="#h14">VILLEGAS (ESTEBAN MANUEL DE)</a> (1589-1669)</p> +<p class="i2">Cantilena: De un pajarillo</p> +<p><a href="#h15">CALDERÓN DE LA BARCA (PEDRO)</a> (1600-1681)</p> +<p class="i2">"Estas que fueron pompa y alegría,"</p> +<p class="i2">Consejo de Crespo á su hijo</p> +<p><a href="#h16">GONZÁLEZ (FRAY DIEGO)</a> (1733-1794)</p> +<p class="i2">El murciélago alevoso</p><a id="pvil0" name="pvil0"></a><span class="pagenum">vi</span> +<p><a href="#h17">MORATÍN (NICOLÁS F. DE)</a> (1737-1780)</p> +<p class="i2">Fiesta de toros en Madrid</p> +<p><a href="#h18">JOVELLANOS (GASPAR M. DE)</a> (1744-1811)</p> +<p class="i2">Á Arnesto</p> +<p><a href="#h19">MELÉNDEZ VALDÉS (JUAN)</a> (1754-1817)</p> +<p class="i2">Rosana en los fuegos</p> +<p><a href="#h20">QUINTANA (MANUEL JOSÉ)</a> (1772-1857)</p> +<p class="i2">Oda á España, después de la revolución de marzo</p> +<p><a href="#h21">SOLÍS (DIONISIO)</a> (1774-1834)</p> +<p class="i2">La pregunta de la niña</p> +<p><a href="#h22">GALLEGO (JUAN NICASIO)</a> (1777-1853)</p> +<p class="i2">El Dos de Mayo</p> +<p><a href="#h23">MARTÍNEZ DE LA ROSA (FRANCISCO)</a> (1787-1862)</p> +<p class="i2">El nido</p> +<p><a href="#h24">RIVAS (DUQUE DE)</a> (1791-1865)</p> +<p class="i2">Un castellano leal</p> +<p><a href="#h25">AROLAS (PADRE JUAN)</a> (1805-1849)</p> +<p class="i2">"Sé más feliz que yo"</p> +<p><a href="#h26">ESPRONCEDA (JOSÉ DE)</a> (1808-1842)</p> +<p class="i2">Canción del pirata</p> +<p class="i2">Á la patria</p> +<p><a href="#h27">ZORRILLA (JOSÉ)</a> (1817-1893)</p> +<p class="i2">Oriental</p> +<p class="i2">Indecisión</p> +<p class="i2">La fuente</p> +<p class="i2">Á buen juez, mejor testigo</p> +<p><a href="#h28">TRUEBA (ANTONIO DE)</a> (1821-1889)</p> +<p class="i2">Cantos de pájaro</p> +<p class="i2">La perejilera</p> +<p><a href="#h29">SELGAS (JOSÉ)</a> (1821-1882)</p> +<p class="i2">La modestia</p> +<p><a href="#h30">ALARCÓN (PEDRO ANTONIO DE)</a> (1833-1891)</p> +<p class="i2">El Mont-Blanc</p> +<p class="i2">El secreto</p> +<p><a href="#h31">BÉCQUER (GUSTAVO A.)</a> (1836-1870)</p> +<p class="i2">Rimas: II</p> +<p class="i8"> VII</p> +<p class="i8"> LIII</p> +<p class="i8"> LXXIII</p><a id="pviil0" name="pviil0"></a><span class="pagenum">vii</span> +<p><a href="#h32">QUEROL (VINCENTE WENCESLAO)</a> (1836-1889)</p> +<p class="i2">En Noche-Buena</p> +<p><a href="#h33">CAMPOAMOR (RAMÓN DE)</a> (1817-1901)</p> +<p class="i2">Proximidad del bien</p> +<p class="i2">¡Quién supiera escribir!</p> +<p class="i2">El mayor castigo</p> +<p><a href="#h34">NÚÑEZ DE ARCE (GASPAR)</a> (1834-1903)</p> +<p class="i2">¡Excelsior!</p> +<p class="i2">Tristezas</p> +<p class="i2">¡Sursum Corda!</p> +<p><a href="#h35">PALACIO (MANUEL DEL)</a> (1832-1895)</p> +<p class="i2">Amor oculto</p> +<p><a href="#h36">BARTRINA (JOAQUÍN MARÍA)</a> (1850-1880)</p> +<p class="i2">Arabescos</p> +<p><a href="#h37">REINA (MANUEL)</a> (1860-)</p> +<p class="i2">La poesía</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h38">ARGENTINA</a></p> + </div><div class="stanza"> +<p><a href="#h39">ECHEVERRÍA (O. ESTEBAN)</a> (1805-1851)</p> +<p class="i2">Canción de Elvira</p> +<p><a href="#h40">ANDRADE (OLEGARIO VICTOR)</a> (1838-1882)</p> +<p class="i2">Atlántida</p> +<p class="i2">Prometeo</p> +<p><a href="#h41">OBLIGADO (RAFAEL)</a> (1852-)</p> +<p class="i2">En la ribera</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h42">COLOMBIA</a></p> + </div><div class="stanza"> +<p><a href="#h43">ORTIZ (JOSÉ JOAQUÍN)</a> (1814-1892)</p> +<p class="i2">Colombia y España</p> +<p><a href="#h44">CARO (JOSÉ EUSEBIO)</a> (1817-1853)</p> +<p class="i2">El ciprés</p> +<p><a href="#h45">MARROQUÍN (JOSÉ MANUEL)</a> (1827-)</p> +<p class="i2">Los cazadores y la perrilla</p> +<p><a href="#h46">CARO (MIGUEL ANTONIO)</a> (1843-1909)</p> +<p class="i2">Vuelta á la patria</p><a id="pviiil0" name="pviiil0"></a><span class="pagenum">viii</span> +<p><a href="#h47">ARRIETA (DIÓGENES A.)</a> (1848-)</p> +<p class="i2">En la tumba de mi hijo</p> +<p><a href="#h48">GUTIÉRREZ PONCE (IGNACIO)</a> (1850-)</p> +<p class="i2">Dolora</p> +<p><a href="#h49">GARAVITO A. (JOSÉ MARÍA)</a> (1860-)</p> +<p class="i2">Volveré mañana</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h50">CUBA</a></p> + </div><div class="stanza"> +<p><a href="#h51">HEREDIA (JOSÉ MARÍA)</a> (1803-1839)</p> +<p class="i2">En el teocalli de Cholula</p> +<p class="i2">El Niágara</p> +<p><a href="#h52">"PLÁCIDO" (GABRIEL DE LA CONCEPCIÓN VALDÉS)</a> (1809-1844)</p> +<p class="i2">Plegaria á Dios</p> +<p><a href="#h53">AVELLANEDA (GERTRUDIS GÓMEZ DE)</a> (1814-1873)</p> +<p class="i2">Á Wáshington</p> +<p class="i2">Al partir</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h54">ECUADOR</a></p> + </div><div class="stanza"> +<p><a href="#h55">OLMEDO (JOSÉ JOAQUÍN)</a> (1780-1847)</p> +<p class="i2">La victoria de Junín</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h56">MÉXICO</a></p> + </div><div class="stanza"> +<p><a href="#h57">PESADO (JOSÉ JOAQUÍN DE)</a> (1801-1861)</p> +<p class="i2">Serenata</p> +<p><a href="#h58">CALDERÓN (FERNANDO)</a> (1809-1845)</p> +<p class="i2">La rosa marchita</p> +<p><a href="#h59">ACUÑA (MANUEL)</a> (1849-1873)</p> +<p class="i2">Nocturno: Á Rosario</p> +<p><a href="#h60">PEZA (JUAN DE DIOS)</a> (1852-1910)</p> +<p class="i2">Reír llorando</p> +<p class="i2">Fusiles y muñecas</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h61">NICARAGUA</a></p> + </div><div class="stanza"> +<p><a href="#h62">DARÍO (RUBÉN)</a> (1864-)</p> +<p class="i2">Á Roosevelt</p> +<a id="pixl0" name="pixl0"></a><span class="pagenum">ix</span> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h63">VENEZUELA</a></p> + </div><div class="stanza"> +<p><a href="#h64">BELLO (ANDRÉS)</a> (1781-1865)</p> +<p class="i2">Á la victoria de Bailén</p> +<p class="i2">La agricultura de la zona tórrida</p> +<p><a href="#h65">PÉREZ BONALDE (JUAN ANTONIO)</a> (1846-1892)</p> +<p class="i2">Vuelta á la patria</p> +<p><a href="#h66">MARTÍN DE LA GUARDIA (HERACLIO)</a> (1830-)</p> +<p class="i2">Ultima ilusión</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h67">CANCIONES</a></p> + </div><div class="stanza"> +<p class="i2"><a href="#h68">La carcelera</a></p> +<p class="i2"><a href="#h69">Riverana</a></p> +<p class="i2"><a href="#h70">La cachucha</a></p> +<p class="i2"><a href="#h71">La valenciana</a></p> +<p class="i2"><a href="#h72">Canción devota</a></p> +<p class="i2"><a href="#h73">La jota gallega</a></p> +<p class="i2"><a href="#h74">El trágala</a></p> +<p class="i2"><a href="#h75">Himno de Riego</a></p> +<p class="i2"><a href="#h76">Himno nacional de México</a></p> +<p class="i2"><a href="#h77">Himno nacional de Cuba</a></p> + </div><div class="stanza"> + </div><div class="stanza"> +<p><a href="#h78">NOTES</a></p> + </div><div class="stanza"> + </div><div class="stanza"> +<p>VOCABULARY[a]</p> + </div><div class="stanza"> +<p>[Transcriber's note a: The vocabulary section has</p> +<p>not been submitted for transcription.}</p> + </div> </div> +<br><br><br> + + + +<p><a id="pxil0" name="pxil0"></a><span class="pagenum">xi</span></p> + +<a id="h2" name="h2"></a> +<h2>INTRODUCTION</h2> +<br> +<a id="h3" name="h3"></a> +<h3>I</h3> + +<h3>SPANISH LYRIC POETRY TO 1800</h3> + + +<p>It has been observed that epic poetry, which is collective +and objective in its nature, always reaches its full +development in a nation sooner than lyric poetry, which +is individual and subjective. Such is certainly the case +in Spain. Numerous popular epics of much merit existed +there in the Middle Ages.<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1"><sup>1</sup></a> Of a popular lyric there are +few traces in the same period; and the Castilian lyric as an +art-form reached its height in the sixteenth, and again in +the nineteenth, centuries. It is necessary always to bear in +mind the distinction between the mysterious product called +popular poetry, which is continually being created but +seldom finds its way into the annals of literature, and artistic +poetry. The chronicler of the Spanish lyric is concerned +with the latter almost exclusively, though he will +have occasion to mention the former not infrequently as +the basis of some of the best artificial creations.</p> + +<blockquote class="footnote"><a id="footnote1" name="footnote1"></a><b>Footnote 1:</b><a href="#footnotetag1"> (return) </a> The popular epics were written in assonating lines of variable length. +There were also numerous monkish narrative poems <i>(mester de clereçia)</i> +in stanzas of four Alexandrine lines each, all riming <i>(cuaderna vía)</i>.</blockquote> + +<p>If one were to enumerate <i>ab origine</i> the lyric productions +of the Iberian Peninsula he might begin with the vague +references of Strabo to the songs of its primitive inhabitants,<a id="pxiil0" name="pxiil0"></a><span class="pagenum">xii</span> + and then pass on to Latin poets of Spanish birth, such +as Seneca, Lucan and Martial. The later Spaniards who +wrote Christian poetry in Latin, as Juvencus and Prudentius, +might then be considered. But in order not to embrace +many diverse subjects foreign to the contents of this collection, +we must confine our inquiry to lyric production in the +language of Castile, which became the dominating tongue +of the Kingdom of Spain.</p> + +<p>Such a restriction excludes, of course, the Arabic lyric, a +highly artificial poetry produced abundantly by the Moors +during their occupation of the south of Spain; it excludes +also the philosophical and religious poetry of the Spanish +Jews, by no means despicable in thought or form. Catalan +poetry, once written in the Provençal manner and of late +happily revived, also lies outside our field.</p> + +<p>Even the Galician poetry, which flourished so freely +under the external stimulus of the Provençal troubadours, +can be included only with regard to its influence upon +Castilian. The Galician dialect, spoken in the northwest +corner of the Peninsula, developed earlier than the Castilian +of the central region, and it was adopted by poets in other +parts for lyric verse. Alfonso X of Castile (reigned 1252-1284) +could write prose in Castilian, but he must needs +employ Galician for his <i>Cantigas de Santa María</i>. The +Portuguese nobles, with King Diniz (reigned 1279-1325) at +their head, filled the idle hours of their bloody and passionate +lives by composing strangely abstract, conventional poems +of love and religion in the manner of the Provençal <i>canso, +dansa, balada</i> and <i>pastorela</i>, which had had such a luxuriant +growth in Southern France in the eleventh and twelfth +centuries. A highly elaborated metrical system mainly<a id="pxiiil0" name="pxiiil0"></a><span class="pagenum">xiii</span> +distinguishes these writers, but some of their work catches +a pleasing lilt which is supposed to represent the imitation +of songs of the people. The popular element in the Galician +productions is slight, but it was to bear important +fruit later, for its spirit is that of the <i>serranas</i> of Ruiz and +Santillana, and of <i>villancicos</i> and eclogues in the sixteenth +century.</p> + +<p>It was probably in the neighborhood of 1350 that lyrics +began to be written in Castilian by the cultured classes of +Leon and Castile, who had previously thought Galician the +only proper tongue for that use, but the influence of the +Galician school persisted long after. The first real lyric in +Castilian is its offspring. This is the anonymous <i>Razón +feyta d'amor</i> or <i>Aventura amorosa</i> (probably thirteenth +century), a dainty story of the meeting of two lovers. It +is apparently an isolated example, ahead of its time, unless, +as is the case with the Castilian epic, more poems are lost +than extant. The often quoted <i>Cántica de la Virgen</i> of +Gonzalo de Berceo (first half of thirteenth century), with +its popular refrain <i>Eya velar</i>, is an oasis in the long religious +epics of the amiable monk of S. Millán de la Cogolla. One +must pass into the succeeding century to find the next +examples of the true lyric. Juan RUIZ, the mischievous +Archpriest of Hita (flourished <i>ca</i>. 1350), possessed a genius +sufficiently keen and human to infuse a personal vigor into +stale forms. In his <i>Libro de buen amor</i> he incorporated +lyrics both sacred and profane, <i>Loores de Santa María</i> and +<i>Cánticas de serrana</i>, plainly in the Galician manner and of +complex metrical structure. The <i>serranas</i> are particularly +free and unconventional. The Chancellor Pero LÓPEZ DE +AYALA (1332-1407), wise statesman, brilliant historian and <a id="pxivl0" name="pxivl0"></a><span class="pagenum">xiv</span> +trenchant satirist, wrote religious songs in the same style +and still more intricate in versification. They are included +in the didactic poem usually called <i>El rimado de palacio</i>.</p> + +<p>Poetry flourished in and about the courts of the monarchs +of the Trastamara family; and what may be supposed a +representative collection of the work done in the reigns of +Henry II (1369-1379), John I (1379-1388), Henry III +(1388-1406) and the minority of John II (1406-1454), is +preserved for us in the <i>Cancionero</i> which Juan Alfonso de +Baena compiled and presented to the last-named king. +Two schools of versifiers are to be distinguished in it. The +older men, such as Villasandino, Sánchez de Talavera, +Macías, Jerena, Juan Rodríguez del Padrón and Baena +himself, continued the artificial Galician tradition, now run +to seed. In others appears the imitation of Italian models +which was to supplant the ancient fashion. Francisco Imperial, +a worshiper of Dante, and other Andalusians such +as Ruy Páez de Ribera, Pero González de Uceda and Ferrán +Manuel de Lando, strove to introduce Italian meters and +ideas. They first employed the Italian hendecasyllable, +although it did not become acclimated till the days of +Boscán. They likewise cultivated the <i>metro de arte mayor</i>, +which later became so prominent (see below, p. lxxv ff.). +But the interest of the poets of the <i>Cancionero de Baena</i> is +mainly historical. In spite of many an illuminating side-light +on manners, of political invective and an occasional +glint of imagination, the amorous platitudes and wire-drawn +love-contests of the Galician school, the stiff allegories of the +Italianates leave us cold. It was a transition period and +the most talented were unable to master the undeveloped +poetic language.<a id="pxvl0" name="pxvl0"></a><span class="pagenum">xv</span></p> + + +<p>The same may be said, in general, of the whole fifteenth +century. Although the language became greatly clarified +toward 1500 it was not yet ready for masterly original +work in verse. Invaded by a flood of Latinisms, springing +from a novel and undigested humanism, encumbered still +with archaic words and set phrases left over from the Galicians, +it required purification at the hands of the real poets +and scholars of the sixteenth century. The poetry of the +fifteenth is inferior to the best prose of the same epoch; it +is not old enough to be quaint and not modern enough to +meet a present-day reader upon equal terms.</p> + +<p>These remarks apply only to artistic poetry. Popular +poetry,—that which was exemplified in the Middle Ages by +the great epics of the Cid, the Infantes de Lara and other +heroes, and in songs whose existence can rather be inferred +than proved,—was never better. It produced the lyrico-epic +<i>romances</i> (see <i>Notes</i>, <a href="#p253l0">p. 253</a>), which, as far as one may +judge from their diction and from contemporary testimony, +received their final form at about this time, though in many +cases of older origin. It produced charming little songs +which some of the later court poets admired sufficiently to +gloss. But the cultured writers, just admitted to the splendid +cultivated garden of Latin literature, despised these +simple wayside flowers and did not care to preserve them +for posterity.</p> + +<p>The artistic poetry of the fifteenth century falls naturally +into three classes, corresponding to three currents of influence; +and all three frequently appear in the work of one +man, not blended, but distinct. One is the conventional +love-poem of the Galician school, seldom containing a fresh +or personal note. Another is the stilted allegory with <a id="pxvil0" name="pxvil0"></a><span class="pagenum">xvi</span> +erotic or historical content, for whose many sins Dante was +chiefly responsible, though Petrarch, he of the <i>Triunfi</i>, and +Boccaccio cannot escape some blame. Third is a vein of +highly moral reflections upon the vanity of life and certainty +of death, sometimes running to political satire. Its roots +may be found in the Book of Job, in Seneca and, nearer +at hand, in the <i>Proverbios morales</i> of the Jew Sem Tob +(<i>ca</i>. 1350), in the <i>Rimado de Palacio</i> of Ayala, and in a +few poets of the <i>Cancionero de Baena</i>.</p> + +<p>John II was a dilettante who left the government of the +kingdom to his favorite, Álvaro de Luna. He gained more +fame in the world of letters than many better kings by +fostering the study of literature and gathering about him +a circle of "court poets" nearly all of noble birth. Only +two names among them all imperatively require mention. +Iñigo LÓPEZ DE MENDOZA, MARQUIS OF SANTILLANA (1398-1458) +was the finest type of <i>grand seigneur</i>, protector of +letters, student, warrior, poet and politician. He wrote +verse in all three of the manners just named, but he will +certainly be longest remembered for his <i>serranillas</i>, the +fine flower of the Provençal-Galician tradition, in which +the poet describes his meeting with a country lass. Santillana +combined the freshest local setting with perfection of +form and left nothing more to be desired in that genre. He +also wrote the first sonnets in Castilian, but they are interesting +only as an experiment, and had no followers. Juan +de MENA (1411-1456) was purely a literary man, without +other distinction of birth or accomplishment. His work +is mainly after the Italian model. The <i>Laberinto de fortuna</i>, +by which he is best known, is a dull allegory with much of +Dante's apparatus. There are historical passages where <a id="pxviil0" name="pxviil0"></a><span class="pagenum">xvii</span> +the poet's patriotism leads him to a certain rhetorical +height, but his good intentions are weighed down by three +millstones: slavish imitation, the monotonous <i>arte mayor</i> +stanza and the deadly earnestness of his temperament. He +enjoyed great renown and authority for many decades.</p> + +<p>Two anonymous poems of about the same time deserve +mention. The <i>Danza de la muerte</i>, the Castilian representative +of a type which appeared all over Europe, shows death +summoning mortals from all stations of life with ghastly +glee. The <i>Coplas de Mingo Revulgo</i>, promulgated during +the reign of Henry IV (1454-1474), are a political satire in +dialogue form, and exhibit for the first time the peculiar +peasant dialect that later became a convention of the pastoral +eclogues and also of the country scenes in the great +drama.</p> + +<p>The second half of the century continues the same tendencies +with a notable development in the fluidity of the +language and an increasing interest in popular poetry. +Gómez Manrique (d. 1491?) was another warrior of a literary +turn whose best verses are of a severely moral nature. His +nephew JORGE MANRIQUE (1440-1478) wrote a single poem +of the highest merit; his scanty other works are forgotten. +The <i>Coplas por la muerte de su padre</i>, beautifully translated +by Longfellow, contain some laments for the writer's personal +loss, but more general reflections upon the instability +of worldly glory. It is not to be thought that this famous +poem is in any way original in idea; the theme had already +been exploited to satiety, but Manrique gave it a superlative +perfection of form and a contemporary application +which left no room for improvement.</p> + +<p>There were numerous more or less successful love-poets <a id="pxviiil0" name="pxviiil0"></a><span class="pagenum">xviii</span> +of the conventional type writing in octosyllabics and the +inevitable imitators of Dante with their unreadable allegories +in <i>arte mayor</i>. The repository for the short poems +of these writers is the <i>Cancionero general</i> of Hernando de +Castillo (1511). It was reprinted many times throughout +the sixteenth century. Among the writers represented in +it one should distinguish, however, Rodrigo de Cota. +His dramatic <i>Diálogo entre el amor y un viejo</i> has real charm, +and has saved his name from the oblivion to which most of +his fellows have justly been consigned. The bishop Ambrosio +Montesino (<i>Cancionero</i>, 1508) was a fervent religious +poet and the precursor of the mystics of fifty years later.</p> + +<p>The political condition of Spain improved immensely +in the reign of Ferdinand and Isabella (1479-1516) and the +country entered upon a period of internal homogeneity and +tranquility which might be expected to foster artistic production. +Such was the case; but literature was not the first +of the arts to reach a highly refined state. The first half +of the sixteenth century is a period of humanistic study, +and the poetical works coming from it were still tentative. +JUAN DEL ENCINA (1469-1533?) is important in the history +of the drama, for his <i>églogas, representaciones</i> and <i>autos</i> are +practically the first Spanish dramas not anonymous. As a +lyric poet Encina excels in the light pastoral; he was a musician +as well as a poet, and his bucolic <i>villancicos</i> and <i>glosas</i> in +stanzas of six-and eight-syllable lines are daintily written +and express genuine love of nature. The Portuguese GIL +VICENTE (1470-1540?) was a follower of Encina at first, but +a much bigger man. Like most of his compatriots of the +sixteenth century he wrote in both Portuguese and Castilian, +though better in the former tongue. He was close to the <a id="pxixl0" name="pxixl0"></a><span class="pagenum">xix</span> +people in his thinking and writing and some of the songs +contained in his plays reproduce the truest popular savor.</p> + +<p>The intimate connection between Spain and Italy during +the period when the armies of the Emperor Charles V +(Charles I of Spain: reigned 1516-1555) were overrunning +the latter country gave a new stimulus to the imitation of +Italian meters and poets which we have seen existed in a +premature state since the reign of John II. The man who +first achieved real success in the hendecasyllable, combined +in sonnets, octaves, <i>terza rima</i> and blank verse, was Juan +BOSCÁN ALMOGAVER (1490?-1542), a Catalan of wealth +and culture. Boscán was handicapped by writing in a +tongue not native to him and by the constant holding of +foreign models before his eyes, and he was not a man of +genius; yet his verse kept to a loftier ideal than had appeared +for a long time and his effort to lift Castilian poetry +from the slough of convention into which it had fallen was +successful. During the rest of the century the impulse +given by Boscán divided Spanish lyrists into two opposing +hosts, the Italianates and those who clung to the native +meters (stanzas of short, chiefly octosyllabic, lines, for the +<i>arte mayor</i> had sunk by its own weight).</p> + +<p>The first and greatest of Boscán's disciples was his close +friend GARCILASO DE LA VEGA (1503-1536) who far surpassed +his master. He was a scion of a most noble family, +a favorite of the emperor, and his adventurous career, +passed mostly in Italy, ended in a soldier's death. His +poems, however (<i>églogas, canciones</i>, sonnets, etc.), take us +from real life into the sentimental world of the Arcadian +pastoral. Shepherds discourse of their unrequited loves +and mourn amid surroundings of an idealized Nature.<a id="pxxl0" name="pxxl0"></a><span class="pagenum">xx</span></p> + +<p>The pure diction, the Vergilian flavor, the classic finish of +these poems made them favorites in Spain from the first, +and their author has always been regarded as a master.</p> + +<p>With Garcilaso begins the golden age of Spanish poetry +and of Spanish literature in general, which may be said to +close in 1681 with the death of Calderón. It was a period +of external greatness, of conquest both in Europe and +beyond the Atlantic, but it contained the germs of future +decay. The strength of the nation was exhausted in futile +warfare, and virile thought was stifled by the Inquisition, +supported by the monarchs. Hence the luxuriant literature +of the time runs in the channels farthest from underlying +social problems; philosophy and political satire are +absent, and the romantic drama, novel and lyric flourish. +But in all external qualities the poetry written during this +period has never been equaled in Spain. Its polish, color +and choiceness of language have been the admiration and +model of later Castilian poets.</p> + +<p>The superficial nature of this literature is exhibited in +the controversy excited by the efforts of Boscán and Garcilaso +to substitute Italian forms for the older Spanish ones. +The discussion dealt with externals; with meters, not ideas. +Both schools delighted in the airy nothings of the conventional +love lyric, and it matters little at this distance whether +they were cast in lines of eleven or eight syllables.</p> + +<p>The contest was warm at the time, however. Sá de +Miranda (1495-1558), the chief exponent of the Italian +school in Portugal, wrote effectively also in Castilian. +Gutierre de Cetina (1518?-1572?) and Fernando de Acuña +(1500?-1580?) are two others who supported the new +measures. One whose example had more influence is <a id="pxxil0" name="pxxil0"></a><span class="pagenum">xxi</span> +Diego Hurtado de Mendoza (1503-1575), a famous diplomat, +humanist and historian. He entertained his idle moments +with verse, writing cleverly in the old style but +turning also toward the new. His sanction for the latter +seems to have proved decisive.</p> + +<p>Cristóbal de CASTILLEJO (1490-1556) was the chief defender +of the native Spanish forms. He employed them +himself in light verse with cleverness, clearness and finish, +and also attacked the innovators with all the resources of +a caustic wit. In this patriotic task he was for a time aided +by an organist of the cathedral at Granada, Gregorio +Silvestre (1520-1569), of Portuguese birth. Silvestre, however, +who is noted for the delicacy of his poems in whatever +style, was later attracted by the popularity of the +Italian meters and adopted them.</p> + +<p>This literary squabble ended in the most natural way, +namely, in the co-existence of both manners in peace and +harmony. Italian forms were definitively naturalized in +Spain, where they have maintained their place ever since. +Subsequent poets wrote in either style or both as they felt +moved, and no one reproached them. Such was the habit +of Lope de Vega, Góngora, Quevedo and the other great +writers of the seventeenth century.</p> + +<p>A Sevillan Italianate was Fernando de HERRERA (1534?-1597), +admirer and annotator of Garcilaso. Although an +ecclesiastic, his poetic genius was more virile than that of +his soldier master. He wrote Petrarchian sonnets to his +platonic lady; but his martial, patriotic spirit appears in +his <i>canciones</i>, especially in those on the battle of Lepanto +and on the expedition of D. Sebastian of Portugal in Africa. +In these stirring odes Herrera touches a sonorous, grandiloquent <a id="pxxiil0" name="pxxiil0"></a><span class="pagenum">xxii</span> +chord which rouses the reader's enthusiasm and +places the writer in the first rank of Spanish lyrists. He is +noteworthy also in that he made an attempt to create a +poetic language by the rejection of vulgar words and the +coinage of new ones. Others, notably Juan de Mena, had +attempted it before, and Góngora afterward carried it to +much greater lengths; but the idea never succeeded in +Castilian to an extent nearly so great as it did in France, +for example; and to-day the best poetical diction does not +differ greatly from good conversational language.</p> + +<p>Beside Herrera stands a totally different spirit, the Salamancan +monk Luis DE LEÓN (1527-1591). The deep religious +feeling which is one strong trait of Spanish character +has its representatives in Castilian literature from Berceo +down, but León was the first to give it fine artistic expression. +The mystic sensation of oneness with the divine, of +aspiration to heavenly joys, breathes in all his writings. He +was also a devoted student of the classics, and his poems +(for which he cared nothing and which were not published +till 1631) show Latin rather than Italian influence. There +is nothing in literature more pure, more serene, more direct +or more polished than <i>La vida del campo, Noche serena</i> and +others of his compositions.</p> + +<p>The other great mystics cared less for literature, either as +a study or an accomplishment. The poems of Saint Theresa +(1515-1582) are few and mostly mediocre. San Juan de la +Cruz, the Ecstatic Doctor (1542-1591), wrote the most +exalted spiritual poems in the language; like all the mystics, +he was strongly attracted by the Song of Songs which +was paraphrased by Pedro Malón de Chaide (1530-1596?). +It is curious to note that the stanza adopted in the great <a id="pxxiiil0" name="pxxiiil0"></a><span class="pagenum">xxiii</span> +mystical lyrics is one invented by Garcilaso and used in his +amatory fifth <i>Canción</i>. It has the rime-scheme of the +Spanish <i>quintilla</i>, but the lines are the Italian eleven-and +seven-syllable (cf. pp. 9-12). Religious poems in more +popular forms are found in the <i>Romancero espiritual</i> (1612) +of José de Valdivielso, and in Lope de Vega's <i>Rimas +sacras</i> (1614) and <i>Romancero espiritual</i> (1622).</p> + +<p>There were numerous secular disciples of Garcilaso at +about the same period. The names most deserving mention +are those of Francisco de la Torre (d. 1594?), Luis Barahona +de Soto (1535?-1595) and Francisco de Figueroa (1536?-1620), +all of whom wrote creditably and sometimes with +distinction in the Italian forms. Luis de Camoens (1524?-1580), +author of the great Portuguese epic <i>Os Lusiadas</i>, +employed Castilian in many verses with happy result.</p> + +<p>These figures lead to the threshold of the seventeenth +century which opened with a tremendous literary output +in many lines. Cervantes was writing his various novels; +the romance of roguery took on new life with <i>Guzmán de +Alfarache</i> (1599); the drama, which had been developing +rather slowly and spasmodically, burst suddenly into full +flower with Lope de Vega and his innumerable followers. +The old meter of the <i>romance</i> was adopted as a favorite +form by all sorts and conditions of poets and was turned +from its primitive epic simplicity to the utmost variety of +subjects, descriptive, lyric and satiric.</p> + +<p>From out this flood of production—for every dramatist +was in a measure a lyric poet, and dramatists were legion—we +can select for consideration only the men most prominent +as lyrists. First in the impulse which he gave to literature +for more than a century following stands Luis de ARGOTE Y <a id="pxxivl0" name="pxxivl0"></a><span class="pagenum">xxiv</span> +GÓNGORA (1561-1627), a Cordovan who chose to be known +by his mother's name. His life was mainly that of a disappointed +place-hunter. His abrupt change of literary +manner has made some say that there were in him two +poets, Góngora the Good and Góngora the Bad. He began +by writing odes in the manner of Herrera and <i>romances</i> and +<i>villancicos</i> which are among the clearest and best. They +did not bring their author fame, however, and he seems +deliberately to have adopted the involved metaphoric style +to which Marini gave his name in Italy. Góngora is merely +the Spanish representative of the movement, which also +produced Euphuism in England and <i>préciosité</i> in France. +But he surpassed all previous writers in the extreme to +which he carried the method, and his <i>Soledades</i> and <i>Polifemo</i> +are simply unintelligible for the inversions and strained +metaphors with which they are overloaded.</p> + +<p>His influence was enormous. Gongorism, or <i>culteranismo</i>, +as it was called at the time, swept the minor poets with it, +and even those who fought the movement most vigorously, +like Lope and Quevedo, were not wholly free from the contagion. +The second generation of dramatists was strongly +affected. Yet there are few lyric poets worth mentioning +among Góngora's disciples for the reason that such a pernicious +system meant certain ruin to those who lacked the +master's talent. The most important names are the Count +of Villamediana (1580-1622), a satirist whose sharp tongue +caused his assassination, and Paravicino y Arteaga (1580-1633), +a court preacher.</p> + +<p>Obviously, such an innovation could not pass without +opposition from clear-sighted men. LOPE DE VEGA (1562-1635) +attacked it whenever opportunity offered, and his <a id="pxxvl0" name="pxxvl0"></a><span class="pagenum">xxv</span> +verse seldom shows signs of corruption. It is impossible +to consider the master-dramatist at length here. He wrote +over 300 sonnets, many excellent eclogues, epistles, and, in +more popular styles, glosses, <i>letrillas, villancicos, romances</i>, +etc. Lope more than any other poet of his time kept his +ear close to the people, and his light poems are full of the +delicious breath of the country.</p> + +<p>The other principal opponent of Gongorism was Francisco +GÓMEZ DE QUEVEDO Y VILLEGAS (1580-1645), whose +wit and independence made him formidable. In 1631 he +published the poems of Luis de León and Francisco de la +Torre as a protest against the baleful mannerism in vogue. +But he himself adopted a hardly less disagreeable style, +called conceptism, which is supposed to have been invented +by Alonso de Ledesma (1552-1623). It consists in a strained +search for unusual thoughts which entails forced paradoxes, +antitheses and epigrams. This system, combined with local +allusions, double meanings and current slang, in which +Quevedo delighted, makes his poems often extremely difficult +of comprehension. His <i>romances de jaques</i>, written in +thieves' jargon, are famous in Spain. Quevedo wrote too +much and carelessly and tried to cover too many fields, but +at his best his caustic wit and fearless vigor place him high.</p> + +<p>There were not lacking poets who kept themselves free +from taint of <i>culteranismo</i>, though they did not join in the +fight against it. The brothers Argensola (LUPERCIO LEONARDO +DE ARGENSOLA, 1559-1613, BARTOLOMÉ LEONARDO +DE ARGENSOLA, 1562-1631), of Aragonese birth, turned to +Horace and other classics as well as to Italy for their inspiration. +Their pure and dignified sonnets, odes and +translations rank high. Juan MARTÍNEZ DE JÁUREGUI <a id="pxxvil0" name="pxxvil0"></a><span class="pagenum">xxvi</span> +(1583-1641) wrote a few original poems, but is known +mainly for his excellent translation of Tasso's <i>Aminta</i>. He +too succumbed to Gongorism at times. The few poems of +Francisco de RIOJA (1586?-1659) are famous for the purity +of their style and their tender melancholy tone. A little +apart is Esteban Manuel de VILLEGAS (1589-1669), an +admirer of the Argensolas, "en versos cortos divino, insufrible +en los mayores," who is known for his attempts +in Latin meters and his successful imitations of Anacreon +and Catullus.</p> + +<p>The lyrics of CALDERÓN (1600-1681) are to be found +mostly in his <i>comedias</i> and <i>autos</i>. There are passages +which display great gifts in the realm of pure poetry, but +too often they are marred by the impertinent metaphors +characteristic of <i>culteranismo</i>.</p> + +<p>His name closes the most brilliant era of Spanish letters. +The decline of literature followed close upon that of the +political power of Spain. The splendid empire of Charles V +had sunk, from causes inherent in the policies of that over-ambitious +monarch, through the somber bigotry of Philip II, +the ineptitude of Philip III, the frivolity of Philip IV, to the +imbecility of Charles II; and the death of the last of the +Hapsburg rulers in 1700 left Spain in a deplorably enfeebled +condition physically and intellectually. The War of the +Succession (1701-1714) exhausted her internal strength still +more, and the final acknowledgment of Philip V (reigned +1701-1746) brought hardly any blessing but that of peace. +Under these circumstances poetry could not thrive; and in +truth the eighteenth century in Spain is an age devoted +more to the discussion of the principles of literature than +to the production of it. At first the decadent remnants of <a id="pxxviil0" name="pxxviil0"></a><span class="pagenum">xxvii</span> +the <i>siglo de oro</i> still survived, but later the French taste, +following the principles formulated by Boileau, prevailed +almost entirely. The history of Spanish poetry in the +eighteenth century is a history of the struggle between +these two forces and ends in the triumph of the latter.</p> + +<p>The effects of Gongorism lasted long in Spain, which, +with its innate propensity to bombast, was more fertile soil +for it than other nations. Innumerable poetasters of the +early eighteenth century enjoyed fame in their day and +some possessed talent; but the obscure and trivial style of +the age from which they could not free themselves deprived +them of any chance of enduring fame. One may mention, +as the least unworthy, Gabriel Álvarez de Toledo (1662-1714) +and Eugenio Gerardo Lobo (1679-1750).</p> + +<p>Some one has said that the poetry of Spain, with the +exception of the <i>romances</i> and the drama of the <i>siglo de oro</i>, +has always drawn its inspiration from some other country. +Add to the exceptions the medieval epic and the statement +would be close to the truth. First Provence through the +medium of Galicia; then Italy and with it ancient Rome; +and lastly France and England, on more than one occasion, +have molded Spanish poetry. The power of the French +classical literature, soon dominant in Europe, could not +long be stayed by the Pyrenees; and Pope, Thomson and +Young were also much admired. Philip V, a Frenchman, +did not endeavor to crush the native spirit in his new home, +but his influence could not but be felt. He established a +Spanish Academy on the model of the French in 1714.</p> + +<p>It was some time before the reaction, based on common +sense and confined to the intellectuals, could take deep root, +and, as was natural, it went too far and condemned much of <a id="pxxviiil0" name="pxxviiil0"></a><span class="pagenum">xxviii</span> +the <i>siglo de oro</i> entire. The <i>Diario de los literatos</i>, a journal +of criticism founded in 1737, and the <i>Poética</i> of Ignacio de +Luzán, published in the same year, struck the first powerful +blows. Luzán (1702-1754) followed in general the precepts +of Boileau, though he was able to praise some of the +good points in the Spanish tradition. His own poems are +frigid. The <i>Sátira contra los malos escritores de su tiempo</i> +(1742) of Jorge Pitillas (pseudonym of José Gerardo de +Hervás, d. 1742) was an imitation of Boileau which had +great effect. Blas Antonio Nasarre (1689-1751), Agustín +Montiano (1697-1765) and Luis José Velázquez (1722-1772) +were critics who, unable to compose meritorious +plays or verse themselves, cut to pieces the great figures +of the preceding age.</p> + +<p>Needless to say, the Gallicizers were vigorously opposed, +but so poor were the original productions of the defenders +of the national manner that their side was necessarily the +losing one. Vicente García de la Huerta (1734-1787) was +its most vehement partisan, but he is remembered only for +a tragedy, <i>Raquel</i>.</p> + +<p>Thus it is seen that during a century of social and industrial +depression Spain did not produce a poet worthy of the +name. The condition of the nation was sensibly bettered +under Charles III (reigned 1759-1788) who did what was +possible to reorganize the state and curb the stifling domination +of the Roman Church and its agents the Jesuits and +the Inquisition. The Benedictine Feijóo (1675-1764) labored +faithfully to inoculate Spain, far behind the rest of +Europe, with an inkling of recent scientific discoveries. +And the budding prosperity, however deceitful it proved, +was reflected in a more promising literary generation.<a id="pxxixl0" name="pxxixl0"></a><span class="pagenum">xxix</span></p> + +<p>Nicolás FERNÁNDEZ DE MORATÍN (1737-1780) followed +the French rules in theory and wrote a few mediocre plays +in accordance with them; but he showed that at heart he +was a good poet and a good Spaniard by his ode <i>Á Pedro +Romero, torero insigne</i>, some <i>romances</i> and his famous <i>quintillas</i>, +the <i>Fiesta de toros en Madrid</i>. Other followers of the +French, in a genre not, strictly speaking, lyric at all, were +the two fabulists, Samaniego and Iriarte. F. María de +SAMANIEGO (1745-1801) gave to the traditional stock of +apologues, as developed by Phaedrus, Lokmân and La Fontaine, +a permanent and popular Castilian form. Tomás de +IRIARTE (1750-1791), a more irritable personage who spent +much time in literary polemics, wrote original fables (<i>Fábulas +literarias</i>, 1781) directed not against the foibles of mankind +in general, but against the world of writers and scholars.</p> + +<p>The best work which was done under the classical French +influence, however, is to be found in the writers of the so-called +Salamancan school, which was properly not a school +at all. The poets who are thus classed together, Cadalso, +Diego González, Jovellanos, Forner, Meléndez Valdés, Cienfuegos, +Iglesias, were personal friends thrown together in +the university or town of Salamanca, but they were not +subjected to a uniform literary training and possessed no +similarity of style or aim as did the men of the later Sevillan +school.</p> + +<p>José de CADALSO (1741-1782), a dashing soldier of great +personal charm killed at the siege of Gibraltar, is sometimes +credited with founding the school of Salamanca. He +was a friend of most of the important writers of his time +and composed interesting prose satires; his verse (<i>Noches +lúgubres</i>, etc.) is not remarkable. FRAY DIEGO GONZÁLEZ <a id="pxxxl0" name="pxxxl0"></a><span class="pagenum">xxx</span> +(1733-1794) is one of the masters of idiomatic Castilian in +the century. He admired Luis de León and imitated him +in paraphrases of the Psalms. The volume of his verse is +small but unsurpassed in surety of taste and evenness of +finish. The <i>Murciélago alevoso</i> has passed into many editions +and become a favorite in Spain. The pure and commanding +figure of JOVELLANOS (1744-1811) dominated the +whole group which listened to his advice with respect. It +was not always sure, for he led Diego González and Meléndez +Valdés astray by persuading them to attempt philosophical +poetry instead of the lighter sort for which they were fitted. +He was in fact a greater man than poet, but his satires and +<i>Epístola al duque de Veragua</i> are strong and dignified.</p> + +<p>Juan MELÉNDEZ VALDÉS (1754-1817) was on the contrary +a greater poet than man. Brilliant from the first, he +was petted by Cadalso and Jovellanos who strove to develop +his talent. In 1780 he won a prize offered by the +Academy for an eclogue. In 1784 his comedy <i>Las bodas de +Camacho</i>, on a subject suggested by Jovellanos (from an +episode in <i>Don Quijote</i>, II, 19-21), won a prize offered by +the city of Madrid, but failed on the stage. His first volume +of poems was published in 1785; later editions appeared in +1797 and 1820. He attached himself to the French party +at the time of the invasion in 1808, incurred great popular +odium and died in France. He is the most fluent, imaginative +poet of the eighteenth century and is especially successful +in the pastoral and anacreontic styles. Fresh descriptions +of nature, enchanting pictures of love, form an oasis in an age +of studied reasonableness. His language has been criticized +for its Gallicisms. José IGLESIAS DE LA CASA (1748-1791), +a native of Salamanca and a priest, wrote much light satirical <a id="pxxxil0" name="pxxxil0"></a><span class="pagenum">xxxi</span> +verse, epigrams, parodies and <i>letrillas</i> in racy Castilian; +he was less successful in the graver forms. Nicasio ÁLVAREZ +DE CIENFUEGOS (1764-1809) passes as a disciple of Meléndez; +he was a passionate, uneven writer whose undisciplined +thought and habit of coining words lead to obscurity. +Politically he opposed the French with unyielding vigor, +barely escaped execution at their hands and died in exile. +The verse of Cienfuegos prepared the way for Quintana. +Differing from him in clarity and polish are Fr. Sánchez +Barbero (1764-1819) and Leandro F. de Moratín, the +dramatist (1760-1828).</p> + +<p>One curious result of rationalistic doctrines was the +"prosaism" into which it led many minor versifiers. These +poetasters, afraid of overstepping the limits of good sense, +tabooed all imagination and described in deliberately prosy +lines the most commonplace events. The movement +reached its height at the beginning of the reign of Charles IV +(1788-1808) and produced such efforts as a poem to the +gout, a nature-poem depicting barn-yard sounds, and even +Iriarte's <i>La música</i> (1780), in which one may read in carefully +constructed <i>silvas</i> the definition of diatonic and chromatic +scales.</p> +<br> + + +<a id="h4" name="h4"></a> +<h3>II</h3> + +<h3>SPANISH LYRIC POETRY OF THE NINETEENTH<br> +CENTURY</h3> + + +<p>Early in the nineteenth century the armies of Napoleon +invaded Spain. There ensued a fierce struggle for the +mastery of the Peninsula, in which the latent strength and +energy of the Spaniards became once more evident. The <a id="pxxxiil0" name="pxxxiil0"></a><span class="pagenum">xxxii</span> +French devastated parts of the country, but they brought +with them many new ideas which, together with the sharpness +of the conflict, served to awaken the Spanish people +from their torpor and to give them a new realization of +national consciousness. During this period of stress and +strife two poets, Quintana and Gallego, urged on and encouraged +their fellow countrymen with patriotic songs.</p> + +<p>Manuel José QUINTANA (1772-1857) had preëminently +the "gift of martial music," and great was the influence of +his odes <i>Al armamento de las provincias contra los franceses</i> +and <i>Á España después de la revolución de marzo</i>. He also +strengthened the patriotism of his people by his prose <i>Vidas +de españoles célebres</i> (begun in 1806): the Cid, the Great +Captain (Gonzalo de Córdoba), Pizarro and others of their +kind. In part a follower of the French philosophers of the +eighteenth century, Quintana sang also of humanity and +progress, as in his ode on the invention of printing. In +politics Quintana was a liberal; in religious beliefs, a materialist. +Campoamor has said of Quintana that he sang +not of faith or pleasures, but of duties. His enemies have +accused him of stirring the colonies to revolt by his bitter +sarcasm directed at past and contemporaneous Spanish +rulers, but this is doubtless an exaggeration. It may be +said that except in his best patriotic poems his verses lack +lyric merit and his ideas are wanting in insight and depth; +but his sincerity of purpose was in the main beyond question +and he occasionally gave expression to striking boldness of +thought and exaltation of feeling. In technique Quintana +was a follower of the Salamancan school.</p> + +<p>The cleric Juan Nicasio GALLEGO (1777-1853) rivaled +Quintana as a writer of patriotic verses. A liberal in politics <a id="pxxxiiil0" name="pxxxiiil0"></a><span class="pagenum">xxxiii</span> +like Quintana, Gallego also took the side of his people +against the French invaders and against the servile Spanish +rulers. He is best known by the ode <i>El dos de mayo</i>, in +which he exults over the rising of the Spanish against the +French on the second of May, 1808; the ode <i>Á la defensa de +Buenos Aires</i> against the English; and the elegy <i>Á la muerte +de la duquesa de Frías</i> in which he shows that he is capable +of deep feeling. Gallego was a close friend of Quintana, +whose salon in Madrid he frequented. Gallego wrote little, +but his works are more correct in language and style than +those of Quintana. It is interesting that although the +writings of these two poets evince a profound dislike and +distrust of the French, yet both were in their art largely +dominated by the influence of French neo-classicism. This +is but another illustration of the relative conservatism of +belles-lettres.</p> + +<p>In the year 1793 there had been formed in Seville by a +group of young writers an Academia de Letras Humanas +to foster the cultivation of letters. The members of this +academy were admirers of Herrera, the Spanish Petrarchist +and patriotic poet of the sixteenth century, and they strove +for a continuation of the tradition of the earlier Sevillan +group. The more important writers of the later Sevillan +school were Arjona, Blanco, Lista and Reinoso. Manuel +María de ARJONA (1771-1820), a priest well read in the +Greek and Latin classics, was an imitator of Horace. José +María BLANCO (1775-1841), known in the history of English +literature as Blanco White, spent much time in England +and wrote in English as well as in Castilian. Ordained a +Catholic priest he later became an Unitarian. The best-known +and most influential writer of the group was Alberto <a id="pxxxivl0" name="pxxxivl0"></a><span class="pagenum">xxxiv</span> +LISTA (1775-1848), an educator and later canon of Seville. +Lista was a skilful artist and like Arjona an admirer and +imitator of Horace; but his ideas lacked depth. His best-known +poem is probably a religious one, <i>Á la muerte de +Jesús,</i> which abounds in true poetic feeling. Lista exerted +great influence as a teacher and his <i>Lecciones de literatura +española</i> did much to stimulate the study of Spanish letters. +Félix José REINOSO (1772-1814), also a priest, imitated +Milton in <i>octava rima</i>. As a whole the influence of the +Sevillan school was healthful. By insisting upon purity of +diction and regularity in versification, the members of the +school helped somewhat to restrain the license and improve +the bad taste prevailing in the Spanish literature of the time. +The Catalonian Manuel de CABANYES (1808-1833) remained +unaffected by the warring literary schools and followed +with passionate enthusiasm the precepts of the ancients +and particularly of Horace.</p> + +<p>In the third decade of the nineteenth century romanticism, +with its revolt against the restrictions of classicism, +with its free play of imagination and emotion, and with +lyricism as its predominant note, flowed freely into Spain +from England and France. Spain had remained preëminently +the home of romanticism when France and England +had turned to classicism, and only in the second half of the +eighteenth century had Spanish writers given to classicism +a reception that was at the best lukewarm. Now romanticism +was welcomed back with open arms, and Spanish +writers turned eagerly for inspiration not only to Chateaubriand, +Victor Hugo and Byron, but also to Lope de Vega +and Calderón. Spain has always worshiped the past, for +Spain was once great, and the appeal of romanticism was <a id="pxxxvl0" name="pxxxvl0"></a><span class="pagenum">xxxv</span> +therefore the greater as it drew its material largely from +national sources.</p> + +<p>In 1830 a club known as the Parnasillo was formed in +Madrid to spread the new literary theories, much as the +Cénacle had done in Paris. The members of the Parnasillo +met in a wretched little café to avoid public attention. +Here were to be found Bretón de los Herreros, Estébanez +Calderón, Mesonero Romanos, Gil y Zárate, Ventura de la +Vega, Espronceda and Larra. The influence of Spanish epic +and dramatic poetry had been important in stimulating the +growth of romanticism in England, Germany and France. +In England, Robert Southey translated into English the +poem and the chronicle of the Cid and Sir Walter Scott +published his Vision of Don Roderick; in Germany, Herder's +translation of some of the Cid <i>romances</i> and the +Schlegel brothers' metrical version of Calderón's dramas +had called attention to the merit of the earlier Spanish +literature; and in France, Abel Hugo translated into +French the <i>Romancero</i> and his brother Victor made +Spanish subjects popular with <i>Hernani</i> and <i>Ruy Blas</i> and +the <i>Légendes des siècles</i>. But Spain, under the despotism +of Ferdinand VII, the "Tyrant of Literature," remained +apparently indifferent or even hostile to its own wonderful +creations, and clung outwardly to French neo-classicism.<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a> +Böhl von Faber,<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a> the German consul at Cadiz, who was +influenced by the Schlegel brothers, had early called attention +to the merit of the Spanish literature of the Golden Age +and had even had some of Calderón's plays performed at <a id="pxxxvil0" name="pxxxvil0"></a><span class="pagenum">xxxvi</span> +Cadiz. And in 1832 Durán published his epoch-making +<i>Romancero</i>. In 1833 Ferdinand VII died and the romantic +movement was hastened by the home-coming of a number +of men who had fled the despotism of the monarch and had +spent some time in England and France, where they had +come into contact with the romanticists of those countries. +Prominent amongst these were Martínez de la Rosa, Antonio +Alcalá Galiano, the Duke of Rivas and Espronceda.</p> + +<blockquote class="footnote"><a id="footnote2" name="footnote2"></a><b>Footnote 2:</b><a href="#footnotetag2"> (return) </a> Cf. <i>l'Épopée castillane</i>, Ramón Menéndez Pidal, Paris, 1910, pp. 249-252.</blockquote> + +<blockquote class="footnote"><a id="footnote3" name="footnote3"></a><b>Footnote 3:</b><a href="#footnotetag3"> (return) </a> The father of Fernán Caballero.</blockquote> + +<p>In this period of transition one of the first prominent men +of letters to show the effects of romanticism was Francisco +MARTÍNEZ DE LA ROSA (1787-1862). Among his earlier +writings are a <i>Poética</i> and several odes in honor of the heroes +of the War of Independence against the French. After +his exile in Paris he returned home imbued with romanticism, +and his two plays, <i>Conjuración de Venecia</i> (1834) and +<i>Abén Humeya</i> (1836: it had already been given in French +at Paris in 1830), mark the first public triumph of romanticism +in Spain. But Martínez de la Rosa lacked force +and originality and his works merely paved the way for +the greater triumph of the Duke of Rivas. Ángel de Saavedra, +DUQUE DE RIVAS (1791-1865), a liberal noble, insured +the definite triumph of romanticism in Spain by the successful +performance of his drama <i>Don Álvaro</i> (1835). At first a +follower of Moratín and Quintana, he turned, after several +years of exile in England, the Isle of Malta and France, to +the new romantic school, and casting off all classical restraints +soon became the acknowledged leader of the Spanish +romanticists. Among his better works are the lyric +<i>Al faro de Malta</i>, the legendary narrative poem <i>El moro +expósito</i> and his <i>Romances históricos</i>. The <i>Romances</i> are +more sober in tone and less fantastic,—and it should be <a id="pxxxviil0" name="pxxxviil0"></a><span class="pagenum">xxxvii</span> +added, less popular to-day,—than the legends of Zorrilla. +After a tempestuous life the Duke of Rivas settled quietly +into the place of director of the Spanish Academy, which +post he held till his death.</p> + +<p>José de ESPRONCEDA (1808-1842) was preëminently a +disciple of Byron, with Byron's mingling of pessimism and +aspiration, and like him in revolt against the established +order of things in politics and social organization. His passionate +outpourings, his brilliant imagery and the music of +his verse give to Espronceda a first place amongst the +Spanish lyrical poets of the nineteenth century. Some of +his shorter lyrics (e.g. <i>Canto á Teresa</i>) are inspired by his +one-time passion for Teresa with whom after her marriage +to another he eloped from London to Paris. The poet's +best known longer works are the <i>Diablo mundo</i> and the +<i>Estudiante de Salamanca</i>, which are largely made up of +detached lyrics in which the subjective note is strikingly +prominent. Espronceda was one of those fortunate few +who shine in the world of letters although they work little. +Both in lyric mastery and in his spirit of revolt, Espronceda +holds the place in Spanish literature that is held in English +by Byron. He is the chief Spanish exponent of a great +revolutionary movement that swept over the world of +letters in the first half of the nineteenth century.</p> + +<p>José ZORRILLA (1817-1893) first won fame by the reading +of an elegy at the burial of Larra. Zorrilla was a most +prolific and spontaneous writer of verses, much of which is +unfinished in form and deficient in philosophical insight. +But in spite of his carelessness and shallowness he rivaled +Espronceda in popularity. His verses are not seldom melodramatic +or childish, but they are rich in coloring and poetic <a id="pxxxviiil0" name="pxxxviiil0"></a><span class="pagenum">xxxviii</span> +fancy and they form a vast enchanted world in which the +Spaniards still delight to wander. His versions of old +Spanish legends are doubtless his most enduring work and +their appeal to Spanish patriotism is not less potent to-day +than when they were written. Zorrilla's dramatic works were +successful on the stage by reason of their primitive vigor, +especially <i>Don Juan Tenorio</i>, <i>El Zapatero y el rey</i> and <i>Traidor, +inconfeso y mártir</i>. This "fantastic and legendary poet" went +to Mexico in 1854 and he remained there several years. +After that date he wrote little and the little lacked merit.</p> + +<p>Gertrudis Gómez de AVELLANEDA (1814-1873) was born in +Cuba but spent most of her life in Spain. Avellaneda was a +graceful writer of lyrics in which there was feeling and melody +but little depth of thought. With her the moving impulse +was love, both human and divine. Her first volume of poems +(1841) probably contains her best work. Her novels <i>Sab</i> and +<i>Espatolino</i> were popular in their day but are now fallen into +oblivion. Some of her plays, especially <i>Baltasar</i> and <i>Munio</i>, +do not lack merit. Avellaneda is recognized as the foremost +poet amongst the women of nineteenth-century Spain.</p> + +<p>Two of the most successful dramatists of this period, +García Gutiérrez and Hartzenbusch, were also lyric poets. +Antonio GARCÍA GUTIÉRREZ (1813-1884), the author of +<i>El trovador</i>, published two volumes of mediocre verses. +Juan Eugenio HARTZENBUSCH (1806-1880) was, like Fernán +Caballero, the child of a German father and a Spanish +mother. Though an eminent scholar and critic, he did not +hesitate in his <i>Amantes de Teruel</i> to play to the popular +passion for sentimentality. He produced some lyric verse +of worth. Manuel BRETÓN DE LOS HERREROS (1796-1873) +was primarily a humorist and satirist, who turned from <a id="pxxxixl0" name="pxxxixl0"></a><span class="pagenum">xxxix</span> +lyric verse to drama as his best medium of expression. He +delighted in holding up to ridicule the excesses of romanticism. +Mention should be made here of two poets who +had been, like Espronceda, pupils of Alberto Lista. The +eclectic poet MARQUÉS DE MOLINS (Mariano Roca de +Togores: 1812-1889) wrote passively in all the literary +genres of his time. VENTURA DE LA VEGA (1807-1865) +was born in Argentina, but came to Spain at an early age. +He was a well-balanced, cautious writer of mediocre verses +that are rather neo-classic than romantic.</p> + +<p>A marked reaction against the grandiose exaggerations +of later romanticism appears in the works of José SELGAS y +Carrasco (1824-1882), a clever writer of simple, sentimental +verses. At one time his poetry was highly praised and +widely read, but for the most part it is to-day censured as +severely as it was once praised. Among the contemporaries +of Selgas were the writer of simple verses and one-time +popular tales, Antonio de TRUEBA (1821-1889) and Eduardo +BUSTILLO, the author of <i>Las cuatro estaciones</i> and <i>El ciego +de Buenavista</i>. Somewhat of the tradition of the Sevillan +school persisted in the verses of Manuel CAÑETE and +Narciso CAMPILLO (1838-1900) and in those of the poet and +literary critic José AMADOR DE LOS RÍOS.</p> + +<p>The Sevillan Gustavo Adolfo BÉCQUER (1836-1870) wrote +perhaps the most highly polished Spanish verse of the nineteenth +century. His <i>Rimas</i> are charged with true poetic +fancy and the sweetest melody, but the many inversions of +word-order that were used to attain to perfection of metrical +form detract not a little from their charm. His writings +are contained in three small volumes in which are found, +together with the <i>Rimas</i>, a collection of prose legends. His <a id="pxll0" name="pxll0"></a><span class="pagenum">xl</span> +prose work is filled with morbid mysticism or fairy-like +mystery. His dreamy prose is often compared to that of +Hoffmann and his verses to those of Heine, although it is +doubtful if he was largely influenced by either of these +German writers. Bécquer sings primarily of idealized human +love. His material life was wretched and it would +seem that his spirit took flight into an enchanted land of its +own creation. Most human beings love to forget at times +their sordid surroundings and wander in dreamland; hence +the enduring popularity of Bécquer's works and especially +of the <i>Rimas</i>. Bécquer has been widely imitated throughout +the Spanish-speaking world, but with little success. In this +connection it should be noted that the Spanish poets who +have most influenced the Spanish literature of the nineteenth +century, both in the Peninsula and in America, are +the Tyrtaean poet Quintana, the two leading romanticists +Espronceda and Zorrilla and the mystic Bécquer.</p> + +<p>Like most writers in Latin lands, Juan VALERA y Alcalá +Galiano (1824-1905) and Marcelino MENÉNDEZ Y PELAYO +(1856-1912) began their literary career with a volume or two +of lyric verses. Valera's verses have perfect metrical form +and evince high scholarship, but they are too learned to be +popular. The lyrics of Menéndez y Pelayo have also more +merit in form than in inspiration and are lacking in human +interest. Both authors turned soon to more congenial +work: Valera became the most versatile and polished of all +nineteenth century Spanish writers of essays and novels; +and Menéndez y Pelayo became Spain's greatest scholar in +literary history. The popular novelist, Pedro Antonio de +ALARCÓN (1833-1891), wrote lyrics in which there is a +curious blending of humor and skepticism. <a id="pxlil0" name="pxlil0"></a><span class="pagenum">xli</span> +The foremost Spanish poet of the closing years of the +nineteenth century was Ramón de CAMPOAMOR y Campoosorio +(1817-1901) who is recognized as the initiator in +Spain of a new type of verse in his <i>Doloras</i> and <i>Pequeños +poemas</i>. The <i>doloras</i> are, for the most part, metrical fables +or epigrams, dramatic or anecdotal in form, in which the +author unites lightness of touch with depth of feeling. The +<i>pequeño poema</i> is merely an enlarged <i>dolora</i>. Campoamor +disliked Byron and he disliked still more the sonorous emptiness +that is characteristic of too much Spanish poetry.<a id="footnotetag4" name="footnotetag4"></a><a href="#footnote4"><sup>4</sup></a> +In philosophy he revered Thomas à Kempis; in form he +aimed at conciseness and directness rather than at artistic +perfection. His poetry lacks enthusiasm and coloring, but +it has dramatic interest.</p> + +<blockquote class="footnote"><a id="footnote4" name="footnote4"></a><b>Footnote 4:</b><a href="#footnotetag4"> (return) </a> Menéndez y Pelayo (<i>Ant. Poetas Hisp.-Am.</i>, I, p. lv) says: "Al fin españoles somos, y á tal profusión de luz y á tal estrépito de palabras +sonoras no hay entre nosotros quien resista."</blockquote> + +<p>The poets Manuel del PALACIO (1832-1895) and Federico +BALART (1831-1905), though quite unlike in genius, won the +esteem of their contemporaries. Palacio wrote excellent +sonnets and epigrams. In his <i>Leyendas y poemas</i> he proved +his mastery of Spanish diction; he had, moreover, the saving +grace of humor which was so noticeably lacking in Zorrilla's +legends. The poet and literary critic, Balart, achieved +fame with his <i>Dolores</i>, in which he mourns with sincere grief +the death of his beloved wife. Mention should also be +made of the following poets who deserve recognition in this +brief review of the history of Spanish lyric poetry: Vicente +Wenceslao QUEROL (1836-1889), a Valencian, whose <i>El +eclipse, Cartas á María</i>, and <i>La fiesta de Venus</i>, evince a +remarkable technical skill and an unusual correctness of diction; <a id="pxliil0" name="pxliil0"></a><span class="pagenum">xlii</span> +Teodoro LLORENTE (cf. p. 279); José GALIANO ALCALÁ +whose verses have delicate feeling and lively imagination; +Emilio FERRARI (b. 1853), the author of <i>Abelardo é Hipatia</i> +and <i>Aspiración</i>; the pessimistic poets, Joaquín María de BARTRINA (1850-1880) and Gabino TEJADO; Salvador RUEDA +(b. 1857), author of <i>El bloque</i>, <i>En tropel</i> and <i>Cantos de la vendimia</i>; and the poet and dramatist, Eduardo MARQUINA.</p> + +<p>After the death of Campoamor in the first year of the +twentieth century, the title of <i>doyen</i> of Spanish letters fell by universal acclaim to Gaspar NÚÑEZ DE ARCE (1834-1903). +Núñez de Arce was a lyric poet, a dramatist and a writer of polemics, but first of all a man of action. With him the solution of political and sociological problems was all-important, and his literary writings were mostly the expression of his sociological and political views. Núñez de +Arce is best known for his <i>Gritos del combate</i> (1875), in which he sings of liberty but opposes anarchy with energy and +courage. As a satirist he attacks the excesses of radicalism +as well as the vices and foibles common to mankind.<a id="footnotetag5" name="footnotetag5"></a><a href="#footnote5"><sup>5</sup></a> As +a poet he is neither original nor imaginative, and often his +ideas are unduly limited; but he writes with a manly vigor +that is rare amongst Spanish lyric poets, most of whom have +given first place to the splendors of rhetoric.</p> + +<blockquote class="footnote"><a id="footnote5" name="footnote5"></a><b>Footnote 5:</b><a href="#footnotetag5"> (return) </a> Speaking of Núñez de Arce's satire, Juan Valera says humorously, in <i>Florilegio de poesías castellanas del siglo XIX</i>, Madrid, 1902, Vol. I, p. 247: «Está el poeta tan enojado contra la sociedad, contra nuestra descarriada civilización y contra los crímenes y maldades de ahora, y nos pinta tan perverso, tan vicioso y tan infeliz al hombre de nuestros +días, atormentado por dudas, remordimientos, codicias y otras viles +pasiones, que, á mi ver, lejos de avergonzarse este hombre de descender del mono, debiera ser el mono quien se avergonzara de haberse humanado.»</blockquote> + +<p>Most writers on the history of European literatures have <a id="pxliiil0" name="pxliiil0"></a><span class="pagenum">xliii</span> +called attention to the fact that at the beginning of the +nineteenth century there was a great outpouring of lyricism, +which infused itself into prose as well as verse. When this +movement had exhausted itself there came by inevitable +reaction a period of materialism, when realism succeeded +romanticism and prose fiction largely replaced verse. And +now sociological and pseudo-scientific writings threaten the +very existence of idealistic literature. And yet through it +all there has been no dearth of poets. Browning in England +and Campoamor in Spain, like many before them, have +given metrical form to the expression of their philosophical +views. And other poets, who had an intuitive aversion to +science, have taken refuge in pure idealism and have created +worlds after their own liking. To-day prose is recognized +as the best medium for the promulgation of scientific or +political teachings, and those who are by nature poets are +turning to art for art's sake. Poetry is less didactic than +formerly, and it is none the less beautiful and inspiring.</p> + +<p>The <a href="#p253l0"><i>Notes</i></a> to this volume contain historical sketches of +the literatures of Argentina <a href="#p279l0">(p. 279)</a>, Colombia <a href="#p285l0">(p. 285)</a>, Cuba +<a href="#p291l0">(p. 291)</a>, Ecuador and Peru <a href="#p296l0">(p. 296)</a>, Mexico <a href="#p307l0">(p. 307)</a>, and +Venezuela <a href="#p315l0">(p. 315)</a>. It is to be regretted that lack of space +has excluded an account of the literatures of other Spanish-American +countries, and especially of Chile and Uruguay.</p> +<br> + + + +<a id="h5" name="h5"></a> + +<h3>III</h3> + +<h3>SPANISH VERSIFICATION</h3> + + +<p>Spanish versification is subject to the following general laws:</p> + +<p>(1) There must be a harmonious flow of syllables, in +which harsh combinations of sounds are avoided. This <a id="pxlivl0" name="pxlivl0"></a><span class="pagenum">xliv</span> +usually requires that stressed syllables be separated by one +or more unstressed syllables.<a id="footnotetag6" name="footnotetag6"></a><a href="#footnote6"><sup>6</sup></a></p> + +<blockquote class="footnote"><a id="footnote6" name="footnote6"></a><b>Footnote 6:</b><a href="#footnotetag6"> (return) </a> By stress is meant secondary as well as primary syllabic stress. Thus, <i>en nuestra vida</i> has primary stress on <i>vi-</i>, and secondary stress on <i>nues-</i>.</blockquote> + +<p>(2) Verse must be divided into phrases, each of which can +be uttered easily as one breath-group. The phrases are +normally of not less than four nor more than eight syllables, +with a rhythmic accent on the next to the last syllable of +each phrase.<a id="footnotetag7" name="footnotetag7"></a><a href="#footnote7"><sup>7</sup></a> Phrases of a fixed number of syllables must +recur at regular intervals. There may or may not be a +pause at the end of the phrase.</p> + +<blockquote class="footnote"><a id="footnote7" name="footnote7"></a><b>Footnote 7:</b><a href="#footnotetag7"> (return) </a> The unstressed syllable may be lacking, or there may be two unstressed syllables, after the rhythmic accent. See under <i>Syllabication</i>.</blockquote> + +<p>(<i>a</i>) In the n-syllable binary line the phrases may recur +at irregular intervals. In lines with regular ternary movement +phrasing is largely replaced by rhythmic pulsation (cf. p. lxx).</p> + +<p>(3) There must be rime of final syllables, or final vowels, +recurring at regular intervals.</p> + +<p>(<i>a</i>) In some metrical arrangements of foreign origin the +rimes recur at irregular intervals, or there is no rime at all. +See the <i>silva</i> and <i>versos sueltos</i> under <i>Strophes</i>.</p> + +<p>Whether normal Spanish verse has, or ever had, binary movement, +with the occasional substitution of a "troche" for an +"iambic," or vice-versa, is in dispute.<a id="footnotetag8" name="footnotetag8"></a><a href="#footnote8"><sup>8</sup></a> That is, whether in +Spanish verse, with the usual movement, (1) the alternation of +stressed and unstressed syllables is essential, or whether (2) the <a id="pxlvl0" name="pxlvl0"></a><span class="pagenum">xlv</span> +mere balancing of certain larger blocks of syllables is sufficient. +For instance, in this line of Luis de León:</p> + +<div class="poem"> <div class="stanza"> +<p>ya muestra en esperanza el fruto cierto,</p> + </div> </div> + +<p>is there regular rhythmic pulsation, much less marked than in +English verse, doubtless,—but still an easily discernible alternation of stressed and unstressed syllables? If so, there must be secondary stress on <i>es-</i>. Or is <i>ya muestra en esperanza</i> one block, and <i>el fruto cierto</i> another, with no rhythmic stresses except those on <i>-anza</i> and <i>cierto</i>?</p> + +<blockquote class="footnote"><a id="footnote8" name="footnote8"></a><b>Footnote 8:</b><a href="#footnotetag8"> (return) </a> There are in Spanish certain types of verses in which there is regular ternary movement throughout. These are treated separately. <a href="#plxxl0">Cf. p. lxx.</a></blockquote> + + +<p>The truth seems to be that symmetry of phrases (the balancing +of large blocks of syllables) is an essential and important part of modern Spanish versification; but that, in musical verse of the ordinary type, there is also a subtle and varied binary movement, while in some recitative verse (notably the dramatic <i>romance</i> verse) the binary movement is almost or quite negligible.<a id="footnotetag9" name="footnotetag9"></a><a href="#footnote9"><sup>9</sup></a></p> + +<blockquote class="footnote"><a id="footnote9" name="footnote9"></a><b>Footnote 9:</b><a href="#footnotetag9"> (return) </a><p> A count of Spanish verses (none from drama), by arbitrarily assuming +three contiguous atonic syllables to be equal to-[/-]-(with secondary stress on the middle syllable), gave the following results (cf. <i>Romanic Review, Vol. III</i>, pp. 301-308):</p> + +<p>Common syllabic arrangements of 8-syllable lines:</p> + +<p>(1) / _ / _ / _ / (_): Esta triste voz oí.</p> + +<p>(2) _ / _ / _ _ / (_): Llorando dicen así.</p> + +<p>(3) _ / _ _ / _ / (_): Mi cama las duras peñas.</p> + +<p>Of 933 lines, 446 (nearly one-half) were in class (1); 257 in class (2); and 191 in class (3). The remaining lines did not belong to any one of these three classes.</p> + +<p>Common syllabic arrangements of 11-syllable lines:</p> + +<p>(1) _ / _ / _ / _ / _ / (_): Verás con cuánto amor llamar porfía.</p> + +<p>(2) / _ / _ _ / _ / _ / (_): Cuántas veces el ángel me decía.</p> + +<p>(3) / _ _ / _ / _ / _ / (_): Este matiz que al cielo desafía.</p> + +<p>Of 402 lines, 216 (slightly more than one-half) were in class (1); 94 were in class (2); and 75 in class (3). The remaining lines did not belong to any one of these three classes. Note that, in these arrangements of the 11-syllable lines, the irregularities in rhythm are found only in the first four syllables.</p></blockquote> + +<p><a id="pxlvil0" name="pxlvil0"></a><span class="pagenum">xlvi</span></p> + +<p>Some poets have used at times a quite regular binary movement +in Spanish verse; but they have had few or no followers, as the +effect was too monotonous to please the Spanish ear. Thus, +Solís:</p> + +<div class="poem"> <div class="stanza"> +<p>Siempre orillas de la fuente</p> +<p>Busco rosas á mi frente,</p> +<p>Pienso en él y me sonrío,</p> +<p>Y entre mí le llamo mío,</p> +<p>Me entristezco de su ausencia,</p> +<p>Y deseo en su presencia</p> +<p>La más bella parecer.</p> +<p class="i6"><a href="#p53l5">(p. 53, li. 6-12)</a></p> + </div> </div> + +<p>The Colombian poet, José Eusebio Caro, wrote much verse thus, +under the influence of the English poets.</p> + +<p>On the other hand, some recent "decadent" poets have written +verses in which the principle of symmetry of phrases, or of a +fixed number of syllables, is abandoned, and rhythm and rime +are considered sufficient to make the lines musical. Thus, +Leopoldo Lugones (born 1875?), of Argentina, in verses which he +calls «<i>libres</i>» (cf. <i>Lunario sentimental</i>, Buenos Aires, 1909):</p> + +<div class="poem"> <div class="stanza"> +<p>Luna, quiero cantarte</p> +<p>¡Oh ilustre anciana de las mitologías!</p> +<p>Con todas las fuerzas de mi arte.</p> + </div><div class="stanza"> +<p>Deidad que en los antiguos días</p> +<p>Imprimiste en nuestro polvo tu sandalia,</p> +<p>No alabaré el litúrgico furor de tus orgías</p> +<p>Ni su erótica didascalia,</p> +<p>Para que alumbres sin mayores ironías,</p> +<p>Al polígloto elogio de las Guías,</p> +<p>Noches sentimentales de <i>mises</i> en Italia.</p> +<p class="i10">(<i>Himno á la luna</i>)</p> + </div> </div> + +<p>This is largely a harking back to primitive conditions, for in the oldest Castilian narrative verse the rule of "counted syllables" apparently did not prevail. Cf. the <i>Cantar de mío Cid</i>, where there is great irregularity in the number of syllables. And, although <a id="pxlviil0" name="pxlviil0"></a><span class="pagenum">xlvii</span> +in the old <i>romances</i> the half-lines of eight syllables largely predominate, +many are found with seven or nine syllables, and some with +even fewer or more. The adoption of the rule of "counted syllables" +in Spanish may have been due to one or more of several +causes: to the influence of medieval Latin rhythmic songs;<a id="footnotetag10" name="footnotetag10"></a><a href="#footnote10"><sup>10</sup></a> to +French influence; or merely to the development in the Spanish +people of a feeling for artistic symmetry.</p> + +<blockquote class="footnote"><a id="footnote10" name="footnote10"></a><b>Footnote 10:</b><a href="#footnotetag10"> (return) </a> Such as: + +<div class="poem"> <div class="stanza"> +<p>Stabat Mater dolorosa</p> +<p>Juxta crucem lachrymosa</p> +<p>Dum pendebat filius.</p> + </div> </div> + +</blockquote> + +<p>Other poets of to-day write verses in which the line contains +a fixed number of syllables or any multiple of that number. +Thus, Julio Sesto (<i>Blanco y Negro</i>, Nov. 5, 1911):</p> + +<div class="poem"> <div class="stanza"> +<p>¡Cómo desembarcan..., cómo desembarcan</p> +<p>esas pobres gentes...!</p> +<p>Desde la escalera de la nave todo Nueva York abarcan</p> +<p>de un vistazo: muelles, río, casas, puentes...</p> +<p>Y después que todos sus cinco sentidos</p> +<p>ponen asombrados en ver la ciudad,</p> +<p>como agradecidos,</p> +<p>miran á la estatua de la Libertad.</p> +<p>¡Ella es la Madona, ella es la Madona,</p> +<p>que de la Siberia saca á los esclavos,</p> +<p>que á los regicidas la vida perdona,</p> +<p>y que salva á muchos de contribuyentes, pobres, perseguidos,</p> +<p>subditos y esclavos!...</p> +<p class="i20">(<i>La tierra prometida</i>)</p> + </div> </div> + + + +<p>Spanish poets have often tried to write verses in classical meters +with the substitution of stress for quantity. Thus, Villegas in +the following hexameters:</p> + +<div class="poem"> <div class="stanza"> +<p>Seis veces el verde soto coronó su cabeza</p> +<p>de nardo, de amarillo trebol, de morada viöla,</p> +<p>en tanto que el pecho frío de mi casta Licoris</p> +<p>al rayo del ruëgo mío deshizo su hielo.<a id="footnotetag11" name="footnotetag11"></a><a href="#footnote11"><sup>11</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote11" name="footnote11"></a><b>Footnote 11:</b><a href="#footnotetag11"> (return) </a> Apparently <i>trebol</i> instead of <i>trébol</i>. These lines are quoted by +Eugenio Mele, in <i>La poesia barbara in Ispagna</i>, Bari, 1910.</blockquote> + +<p><a id="pxlviiil0" name="pxlviiil0"></a><span class="pagenum">xlviii</span></p> + +<p>José Eusebio Caro wrote similar hexameters, and, strange to +say, made alternate lines assonate:</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">¡Céfiro rápido lánzate! ¡rápido empújame y vivo!</p> +<p>¡Más redondas mis velas pon: del proscrito á los lados,</p> +<p>haz que tus silbos susurren dulces y dulces suspiren!</p> +<p class="i2">¡Haz que pronto del patrio suelo se aleje mi barco!</p> +<p class="i30">(<i>En alta mar</i>)</p> + </div> </div> + +<p>The number of these direct imitations is large; but few succeeded. They are, at best, foreign to the spirit of Castilian +poetry.</p> + +<p>In singing Spanish verses two facts are of especial interest: +that, where the rules of prosody require synalepha, hiatus sometimes occurs (especially in opera), thus:</p> + +<div class="poem"> <div class="stanza"> +<p>Recógete—ese pañuelo.</p> +<p>(Olmedo, <i>Folk-lore de Castilla</i>, p. 133)</p> + </div><div class="stanza"> +<p>Y el pájaro—era verde.</p> +<p>(Ledesma, <i>Cancionero salmantino</i>, p. 53)</p> + </div> </div> + +<p>And that musical accents do not necessarily coincide with syllabic stresses, even at the end of a phrase. Thus,</p> + +<div class="poem"> <div class="stanza"> +<p>¡Cuántas vèces, vida mìa,</p> +<p>Te asomàrás al balcòn!<a id="footnotetag12" name="footnotetag12"></a><a href="#footnote12"><sup>12</sup></a></p> + </div><div class="stanza"> +<p>¡Cuerpo buèno, alma divìna,</p> +<p>Qué de fàtigas me cuèstas!</p> + </div><div class="stanza"> +<p>¡Bendiga Dios ese cuerpò,</p> +<p>Tan llenísimo de gracià!</p> +<p>(Hernández, <i>Flores de España</i>)</p> + </div> </div> + +<blockquote class="footnote"><a id="footnote12" name="footnote12"></a><b>Footnote 12:</b><a href="#footnotetag12"> (return) </a> The grave accent mark (`) indicates a strong musical accent.</blockquote> + +<p><a id="pxlixl0" name="pxlixl0"></a><span class="pagenum">xlix</span></p> + + + + +<p>SYLLABICATION</p> + + +<p>In most modern Spanish verse there is a fixed number of +syllables in a line up to and including the last stressed +syllable.<a id="footnotetag13" name="footnotetag13"></a><a href="#footnote13"><sup>13</sup></a> In counting these syllables consideration must +be given to the following facts:</p> + +<blockquote class="footnote"><a id="footnote13" name="footnote13"></a><b>Footnote 13:</b><a href="#footnotetag13"> (return) </a><p>The number of unstressed syllables at the end of a line is not fixed. +See p. lvi.</p> + +<p>In order to have the correct number of syllables, poets sometimes +(1) shorten a word or (2) shift the accent:</p> + +<div class="poem"> <div class="stanza"> +<p>(1) ¿Ya qué mi puro <i>espirtu</i> sucias carnes...</p> +<p class="i6">(Cabanyes, <i>Á Cintio</i>)</p> + </div> </div> + +<div class="poem"> <div class="stanza"> +<p>(2) Puede querer...? <i>Abralé</i>...</p> +<p class="i6">(Zorrilla, <i>Don Juan Tenorio</i>, primera parte, III, 6)</p> +<p class="i4">Deben de ser <i>angeles</i>.</p> +<p class="i6">(Lope de Vega, <i>El mejor alcalde el rey</i>, II)</p> + </div> </div> + +<p>Note the artificial separation of lines in some dramatic <i>romance</i>-verse:</p> + +<div class="poem"> <div class="stanza"> +<p class="i4">... Soy un cate-</p> +<p>Cúmeno muy diligente.</p> +<p>(Calderón, <i>El José de las mujeres</i>, II)</p> + </div><div class="stanza"> +<p>De una vil hermana, de un</p> +<p>Falso amigo, de un infame</p> +<p>Criado...</p> + </div> </div> + +<p>(Calderón, <i>No hay burlas con el amor</i>, III)</blockquote> + + +<p><b>(1) SYNERESIS</b></p> + +<p>Within a word two or three contiguous vowels usually +combine to form a diphthong or a triphthong respectively +(this is called "syneresis"): <i>bai|le, rey, oi|go, ciu|dad, +cui|da|do, es|tu|diar, es|tu|diáis, dien|te, lim|pio, gra|cio|so, +muy, bien, pue|de, buey</i>, etc. +Exceptions:</p> + +<p>(<i>a</i>) A stressed "weak" vowel (<i>i, u</i>) may not combine +with a "strong" vowel (<i>a, e, o</i>) to form a diphthong: <i>dí|a</i>, <a id="pll0" name="pll0"></a><span class="pagenum">l</span> +<i>rí|e, frí|o, ra|íz, le|í|do, o|í|do, con|ti|nú|a, con|ti|nú|e, con|ti|nú|o, +ba|úl, sa|bí|a, sa|brí|ais, ca|í|ais,</i> etc.<a id="footnotetag14" name="footnotetag14"></a><a href="#footnote14"><sup>14</sup></a></p> + +<blockquote class="footnote"><a id="footnote14" name="footnote14"></a><b>Footnote 14:</b><a href="#footnotetag14"> (return) </a> Note that in these combinations the weak vowel receives the accent +mark. Some Spanish-American poets have sinned grievously, by reason +of their local pronunciation, in diphthongizing a strong vowel with a +following stressed weak vowel, as <i>maiz, a|taud, oi|do</i>, for <i>ma|íz, a|ta|úd, +o|í|do</i>, respectively, etc.</blockquote> + +<p>Exceptions are rare:</p> + +<div class="poem"> <div class="stanza"> +<p>Su|pe | que | se|ría | di|cho|so |</p> +<p>(Calderón, <i>No hay burlas con el amor</i>, III)</p> + </div> </div> + +<p>Cf. also <i>rendíos</i>, etc., where the <i>o</i> of <i>os</i> combines with +the <i>í</i> by synalepha.</p> + +<p>(<i>b</i>) <i>uá, uó</i>, are usually disyllabic, except after <i>c, g</i>, and +<i>j: a|dü|a|na, sü|a|ve;</i> but <i>cua|tro, san|ti|guó, Juan</i>, etc. +Syneresis may occur: <i>sua|ve</i>.</p> + +<p>(<i>c</i>) <i>úi</i> is usually disyllabic, except in <i>muy: flú|i|do</i>.</p> + +<p>(<i>d</i>) Two unstressed strong vowels, if they follow the +stress, regularly form a diphthong; but if they precede they +may form a diphthong or they may be dissyllabic, usually +at the option of the poet.</p> + +<div class="poem"> <div class="stanza"> +<p>Que | del | em|pí|r<b>eo e</b>n | el | ce|nit | fi|na|ba.<a id="footnotetag15" name="footnotetag15"></a><a href="#footnote15"><sup>15</sup></a></p> +<p class="i2"><a href="#p180l10">(p. 180, l. 11)</a></p> +<p>Las | mar|mó|r<b>ea</b>s|, y aus|te|ras | es|cul|tu|ras.</p> +<p class="i2"><a href="#p138l20">(p. 138, l. 22)</a></p> +<p>La | ne|gra ad|ver|si|dad|, con | fé|rr<b>ea</b> | ma|no.</p> +<p class="i2"><a href="#p144l20">(p. 144, l. 20)</a></p> +<p>El | tiem|po en|tre | sus | plie|gues | r<b>o|e</b>|do|res.</p> +<p class="i2"><a href="#p85l20">(p. 85, l. 24)</a></p><a id="plil0" name="plil0"></a><span class="pagenum">li</span> +<p>Te | van | á ar|mar | do | c<b>a|e</b>|rás | in|cau|ta.</p> +<p class="i2"><a href="#p40l20">(p. 40, l. 24)</a></p> +<p>La | f<b>e|a</b>l|dad | del vi|cio|; pe|ro hu|yó|se...<a id="footnotetag16" name="footnotetag16"></a><a href="#footnote16"><sup>16</sup></a></p> +<p class="i2"><a href="#p39l10">(p. 39, l. 14)</a></p> +<p>En | tan | frá|gil | r<b>ea</b>|li|dad.</p> +<p class="i2"><a href="#p97l15">(p. 97, l. 18)</a></p> +<p>La | sub|li|me | p<b>oe</b>|sí|a | re|ver|be|ra.</p> +<p class="i2"><a href="#p149l15">(p. 149,1. 19)</a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote15" name="footnote15"></a><b>Footnote 15:</b><a href="#footnotetag15"> (return) </a> Note that here poetic usage differs from the rules for syllabication +that obtain in prose. Thus, in <i>empíreo</i> the <i>í</i> receives the accent mark, +since it is held to be in the antepenultimate syllable, but in verse <i>empíreo</i> +is regularly trisyllabic.</blockquote> + +<blockquote class="footnote"><a id="footnote16" name="footnote16"></a><b>Footnote 16:</b><a href="#footnotetag16"> (return) </a> The <i>ea</i> of <i>fealdad</i> is normally disyllabic by analogy with <i>feo</i>. Cf. +(<i>f</i>) below.</blockquote> + +<p>(<i>e</i>) Two strong vowels, if one is stressed, are usually +disyllabic:</p> + +<p><i>pa|se|a, re|cre|o, ca|no|a,</i> etc.</p> + +<div class="poem"> <div class="stanza"> +<p>A|rran|ca a|rran|ca|, Dios | mí|o,</p> +<p>De | la | men|te | del | p<b>o|e</b>|ta</p> +<p>Es|te | pen|sa|mien|to im|pí|o</p> +<p>Que en | un | de|li|rio | cr<b>e|ó</b>.</p> +<p class="i2"><a href="#p83l5">(p. 83, li. 7-10)</a></p> +<p>¿Qué | se hi|cie|ron | tus | mu|ros | to|rr<b>e|a</b>|dos,</p> +<p class="i4">Oh | mi | pa|tria | que|ri|da?</p> +<p>¿Dón|de | fue|ron | tus | hé|roes | es|for|za|dos,</p> +<p class="i4">Tu es|pa|da | no | ven|ci|da?</p> +<p class="i2"><a href="#p78l0">(p. 78, li. 1-4)</a></p> +<p>A|na|cr<b>e|o</b>n|te, el | vi|no y | la a|le|grí|a.</p> +<p class="i2"><a href="#p150l0">(p. 150, l. 4)</a></p> +<p>S<b>a|e</b>|ta | que | vo|la|do|ra...</p> +<p class="i2"><a href="#p121l15">(p. 121, l. 15)</a></p> +<p>De o|ro | la | n<b>a|o</b> | ga|di|ta|na a|por|ta.</p> +<p class="i2"><a href="#p39l20">(p. 39, l. 24)</a></p> +<p>Y | no | se es|me|re en | l<b>o|a</b>r|la.</p> +<p class="i2"><a href="#p43l15">(p. 43, l. 18)</a></p> +<p>Don|de á | c<b>a|e</b>r | vol|ve|rá.</p> +<p class="i2"><a href="#p121l20">(p. 121, l. 22)</a></p> + </div> </div> + +<p><a id="pliil0" name="pliil0"></a><span class="pagenum">lii</span></p> + +<p>Syneresis is rare, but may occur,—except in <i>éa</i>, <i>éo</i> and +<i>óa</i>,—provided the second vowel does not receive a rhythmic +accent:</p> + +<div class="poem"> <div class="stanza"> +<p>Es|cri|ba|no al | c<b>ae</b>r | el | sol.</p> +<p class="i10"> <a href="#p109l0">(p. 109, l. 3)</a></p> +<p>C<b>ae</b>n | es|ta|llan|do | de | los | fuer|tes | gon|ces.</p> +<p class="i10"> <a href="#p57l15">(p. 57, l. 19)</a></p> +<p>Cual | na|ve | r<b>ea</b>l | en | triun|fo em|pa|ve|sa|da.</p> +<p class="i10"> <a href="#p40l15">(p. 40, l. 15)</a></p> + </div> </div> + + +<p>(<i>f</i>) In some words vowels that would normally form a +diphthong are usually disyllabic by analogy with other +forms derived from the same stem: <i>fi|é</i>, <i>fi|ó</i> (cf. <i>fí|o</i>), <i>ri|ó</i>, +<i>ri|e|ron</i> (cf. <i>rí|o</i>), <i>con|ti|nu|é</i> (cf. <i>con|ti|nú|o</i>), <i>di|a|rio</i> (cf. <i>dí|a</i>), +<i>bri|o|so</i> (cf. <i>brí|o</i>), <i>hu|í</i>, <i>hu|i|mos</i> (cf. <i>hu|yo</i>), etc.</p> + +<p>Syneresis is rare, but possible, as in <i>brio|so</i> for <i>bri|o|so</i>.</p> + +<p>(<i>g</i>) Prefixes, except <i>a</i>-, usually form separate syllables: +<i>pre|in|ser|to</i>, <i>re|im|pri|mir</i>, <i>re|hu|sar</i>; but <i>aho|gar</i>. If the +syllable after <i>a</i>-is stressed, dieresis usually occurs:</p> + +<div class="poem"> <div class="stanza"> +<p>Á | los | que a|ho|ra a|cla|ma.</p> +<p class="i10"> <a href="#p220l0">(p. 220, l. 3)</a></p> +<p>En | la | sub|li|me | so|le|dad | a|ho|ra...</p> +<p class="i10"> <a href="#p188l0">(p. 188, l. 3)</a></p> + </div> </div> + + +<p><b>(2) DIERESIS</b></p> + +<p>By poetic license vowels that normally form one syllable +may often be dissolved into separate syllables (this is called +"dieresis") at the will of the poet: <i>glo|rio|so</i> or <i>glo|rï|o|so</i>, +<i>rui|do</i> or <i>rü|i|do</i>, etc.<a id="footnotetag17" name="footnotetag17"></a><a href="#footnote17"><sup>17</sup></a> See also (1), <i>d</i>, above.</p> + +<blockquote class="footnote"><a id="footnote17" name="footnote17"></a><b>Footnote 17:</b><a href="#footnotetag17"> (return) </a> Note that the dieresis mark is generally used in dieresis of two weak +vowels, or of strong and weak vowels where the strong vowel is stressed.</blockquote> + +<p><a id="pliiil0" name="pliiil0"></a><span class="pagenum">liii</span></p> + +<p>But dieresis is impossible if the diphthong is <i>ie</i> or <i>ue</i> from +Latin <i>[e]</i> and <i>[o]</i> respectively, as in <i>bien</i>, <i>siente</i>, <i>huevo</i>, <i>puedo</i>.</p> + + +<p><b>(3) SYNALEPHA</b></p> + +<p>The final vowel or diphthong of one word and the initial +vowel or diphthong of an immediately following word in the +same line usually combine to form one syllable (this is called +"synalepha")<a id="footnotetag18" name="footnotetag18"></a><a href="#footnote18"><sup>18</sup></a> as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Cuan|do | re|cuer|do | la | pie|dad | sin|ce|ra</p> +<p class="i2">Con | qu<b>e e</b>n | m<b>i e</b>|dad | pri|me|ra</p> +<p>En|tra|b<b>a e</b>n | nues|tras | vie|jas | ca|te|dra|les.</p> +<p class="i10"> <a href="#p137l15">(p. 137, li. 19-21)</a></p> +<p>La | cien|c<b>ia au</b>|daz|, cuan|do | de | ti | s<b>e a</b>|le|ja.</p> +<p class="i10"> <a href="#p143l15">(p. 143, l. 16)</a></p> +<p>¡És|t<b>a e</b>s | Es|pa|ñ<b>a! A</b>|tó|ni|t<b>a y</b> | mal|tre|cha...</p> +<p class="i10"> <a href="#p147l0">(p. 147, l. 3)</a></p> +<p>Que | mi | can|tar | so|no|ro</p> +<p>A|com|pa|ñ<b>ó ha</b>s|t<b>a a</b>|quí|; n<b>o a</b>|pri|sio|na|do...</p> +<p class="i10"> <a href="#p49l5">(p. 49, li. 6-7)</a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote18" name="footnote18"></a><b>Footnote 18:</b><a href="#footnotetag18"> (return) </a><p>Note that the union of vowels in separate words is called synalepha, +while the union of vowels within a word is called syneresis. But synalepha +may occur in combinations of vowels in which syneresis would +be impossible. Compare <i>te|ní|a</i> and <i>ca|no|a</i> with:</p> + +<div class="poem"> <div class="stanza"> +<p>A|sí al | man|ce|bo in|te|rrum|pe <a href="#p94l10">(p. 94, l. 13)</a>.</p> +<p>Ni | la | mi|ra|da | que | lan|zó al | sos|la|yo <a href="#p219l5">(p. 219, l. 8).</a></p> + </div> </div> +</blockquote> + +<p>The vowels of three words may thus combine if the +middle word is <i>a</i> (or <i>ha</i>) (see also (4), <i>a</i>):</p> + +<div class="poem"> <div class="stanza"> +<p>Le | di|j<b>o é</b>s|t<b>e á u</b>|na | mu|jer.</p> +<p class="i10"> <a href="#p79l15">(p. 79, l. 15).</a></p> +<p>Sal|v<b>a á e</b>s|ta | so|cie|dad | des|ven|tu|ra|da.</p> +<p class="i10"> <a href="#p143l10">(p. 143, l. 12).</a></p> + </div> </div> + + +<p><a id="plivl0" name="plivl0"></a><span class="pagenum">liv</span></p> + + +<p><b>(4) HIATUS</b></p> + +<p>(<i>a</i>) Hiatus (i.e. the final vowel of one word and the +initial vowel of the immediately following word form separate +syllables)<a id="footnotetag19" name="footnotetag19"></a><a href="#footnote19"><sup>19</sup></a> is caused by the interposition of a weak +unstressed vowel, as in:</p> + +<div class="poem"> <div class="stanza"> +<p>En | sus | re|cuer|dos | de | hiel.</p> +<p class="i2"><a href="#p84l0">(p. 84, l. 3)</a></p> +<p>De | sus | á|la|mos | y | huer|tos.</p> +<p class="i2"><a href="#p91l5">(p. 91, l. 8)</a></p> +<p>Y hoy | en | sus | can|ta|res | llo|ra.</p> +<p class="i2"><a href="#p84l15">(p. 84, l. 18)</a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote19" name="footnote19"></a><b>Footnote 19:</b><a href="#footnotetag19"> (return) </a> Note that hiatus between words is equivalent to dieresis within a +word.</blockquote> + +<p>Note that, similarly, the vowels of three words may not +combine, if the middle word is <i>y, é</i> (or <i>he</i>), <i>ó</i> (or <i>oh</i>), <i>ú</i>:</p> + +<div class="poem"> <div class="stanza"> +<p>O|las| de | pla|ta y | a|zul.</p> +<p class="i2"><a href="#p73l10">(p. 73, l. 12)</a></p> +<p>Que | la al|ma | no|che | ó el | bri|llan|te | di|a.</p> +<p class="i2"><a href="#p180l20">(p. 180, l. 20)</a></p> +<p>¿Quién | cal|ma|rá, | ¡Oh Es|pa|ña! | tus | pe|sa|res?</p> +<p class="i2"><a href="#p79l5">(p. 79, l. 7)</a></p> + </div> </div> + +<p>And in all such expressions as: <i>o|cio|so é | i|rri|ta|do</i>, +<i>Se|vi|lla | ú O|vie|do</i>, etc.</p> + +<p>Except when a vowel is repeated:</p> + +<div class="poem"> <div class="stanza"> +<p>Si he es|cu|cha|do | cuan|do ha|bla|bas.</p> +<p class="i2">(Calderón, <i>No hay burlas con el amor</i>, III)</p> + </div> </div> + +<p>In modern Spanish, <i>h</i>, being silent, has no effect, but in older +Spanish, <i>h</i> for Latin <i>f</i>, being then pronounced, prevented synalepha, +as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Por | el | mes | e|ra | de | ma|yo</p> +<p>cuan|do | ha|ce | la | ca|lor.</p> +<p class="i2"><a href="#p7l0">(p. 7, l. 1-2)</a></p> + </div> </div> + + + + +<p><a id="plvl0" name="plvl0"></a><span class="pagenum">lv</span></p> + +<p>Hiatus was common in Old Spanish, except when the first of two +words was the definite article, a personal pronoun-object or the +preposition <i>de</i>; or when the vowels were the same.</p> + +<p>(<i>b</i>) Hiatus is usual when the initial vowel of the second +word has a strong accent (usually the rhythmic accent at +the end of a line or phrase):</p> + +<div class="poem"> <div class="stanza"> +<p>Pues | en | fin | me | de|jó | una (Calderón).</p> +<p>Ta|les | fue|ron | ya | és|tos | cual | her|mo|so (Herrera).</p> +<p>Tal | de | lo | al|to | tem|pes|tad | des|he|cha (Maury).</p> +<p>No hay | pla|ce|res | en | su | al | ma.</p> +<p class="i2"><a href="#p85l0">(p. 85, l. 4)</a></p> +<p>Cuan|do | po|bre | de | a|ños | y | pe|sa|res</p> +<p class="i2"><a href="#p221l5">(p. 221, l. 9)</a></p> +<p>Con|ti|go | se | fué | mi | hon|ra.</p> +<p class="i2"><a href="#p103l15">(p. 103, l. 19)</a></p> +<p>De | gra|na|das | es|pi|gas|; tú | la | u|va...</p> +<p class="i2"><a href="#p215l5">(p. 215, l. 5)</a></p> +<p>Por|que es | pa|ra el | ser | que | a|ma.</p> +<p class="i2"><a href="#p84l5">(p. 84, l. 9)</a></p> +<p>Muy | más | her|mo|sa | la | ha|llan</p> +<p class="i2"><a href="#p44l5">(p. 44, l. 5)</a></p> +<p>El | ne|va|do | cue|llo | al|za</p> +<p class="i2"><a href="#p43l0">(p. 43, l. 4)</a></p> +<p>Por|que | tam|bién | e|ra| u|so.</p> +<p class="i2"><a href="#p115l5">(p. 115, l. 9)</a></p> +<p>Que en | la | bo|ca, y | só|lo | u|no.</p> +<p class="i2"><a href="#p52l25">(p. 52, l. 26)</a></p> +<p>Gen|te en | es|te | mon|te | an|da...</p> +<p>Ya | que | de | tu | vis|ta | hu|ye.</p> +<p class="i2">(Calderón)</p> +<p>Gi|gan|te | o|la | que el | vien|to...<a id="footnotetag20" name="footnotetag20"></a><a href="#footnote20"><sup>20</sup></a></p> +<p class="i2"><a href="#p121l20">(p. 121, l. 23)</a></p> + </div> </div> + + +<blockquote class="footnote"><a id="footnote20" name="footnote20"></a><b>Footnote 20:</b><a href="#footnotetag20"> (return) </a> Synalepha is usually to be avoided when it would bring together +two stressed syllables as in <i>gigante ola, querido hijo</i>, etc.</blockquote> + +<p><a id="plvil0" name="plvil0"></a><span class="pagenum">lvi</span></p> + +<p>But synalepha is possible (especially of <i>de o-</i>):</p> + +<div class="poem"> <div class="stanza"> +<p>To|do e|le|va|ba | mi á|ni|mo in|tran|qui|lo.</p> +<p class="i2"><a href="#p139l20">(p. 139, l. 22)</a></p> +<p>Yo | le | da|ré|; mas | no en | el | ar|pa | de o|ro...</p> +<p class="i2"><a href="#p49l5">(p. 49, l. 5)</a></p> + </div> </div> + +<p>And synalepha is the rule, if stress on the initial syllable +is weak:</p> + +<div class="poem"> <div class="stanza"> +<p>Á o|tra per|so|na en | Ma|drid.</p> +<p class="i2"><a href="#p36l15">(p. 36, l. 19)</a></p> +<p>To|da, to|da e|res | per|fec|ta.</p> +<p class="i2"><a href="#p44l20">(p. 44, l. 22)</a></p> + </div> </div> + +<p>If the vowels are the same, they usually combine into one:</p> + +<div class="poem"> <div class="stanza"> +<p>Del | sol | en | la al|ta | cum|bre</p> +<p class="i2"><a href="#p49l10">(p. 49, l. 13)</a></p> +<p>Tem|blar | en | tor|no | de él|: un | ar|co in|men|so...</p> +<p class="i2"><a href="#p180l10">(p. 180, l. 10)</a></p> + </div> </div> + + +<p><b>(5) FINAL SYLLABLES</b></p> + +<p>In estimating the number of syllables in a Spanish verse-line +one final unstressed syllable after the last stressed +syllable is counted whether it be present or not; or, if there +be two unstressed syllables at the end of the line, only one +is counted.<a id="footnotetag21" name="footnotetag21"></a><a href="#footnote21"><sup>21</sup></a> Thus the following are considered 8-syllable +lines although, in fact, one line has nine syllables and +another has only seven:</p> + +<div class="poem"> <div class="stanza"> +<p>La | sal|pi|ca | con | es|com|bros</p> +<p>De | cas|ti|llos | y | de al|cá|za|res...</p> +<p>Pa|ra | vol|ver | á | bro|tar...</p> + </div> </div> + +<blockquote class="footnote"><a id="footnote21" name="footnote21"></a><b>Footnote 21:</b><a href="#footnotetag21"> (return) </a> In Spanish, a word stressed on the final syllable is called +<i>agudo</i>; a word with one syllable after the stress is called <i>grave</i> or +<i>llano</i>; one with two syllables after the stress, <i>esdrújulo: farol, pluma, +pájaro</i>.</blockquote> + +<p><a id="plviil0" name="plviil0"></a><span class="pagenum">lvii</span></p> + + +<p>This system of counting syllables obtains in Spanish because +there is one and only one unstressed syllable at the end of most +verse-lines. It would, perhaps, be more logical to stop the count +with the last stressed syllable, as the French do. For instance, +a Spanish 11-syllable line would be called a "feminine" 10-syllable +line by the French; but the French language has only one +vowel (<i>e</i>) that may occur in a final unstressed syllable, while in +Spanish there are several (<i>a, e, o,</i> rarely <i>i, u</i>).</p> + + +<p><b>RIME</b></p> + +<p>Spanish poetry may be in rimed verse or in blank verse. +(1) Rimed verse may have "consonance," in which there +is rime of the last stressed vowel and of any consonants and +vowels that may follow in the line, as in:</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">En las presas</p> +<p>Yo divido</p> +<p>Lo cogido</p> +<p>Por igual:</p> +<p>Sólo quiero</p> +<p>Por riqueza</p> +<p>La belleza</p> +<p>Sin rival.</p> +<p class="i2"><a href="#p75l5">(p. 75, li. 5-12)</a></p> + </div> </div> + +<div class="poem"> <div class="stanza"> +<p>Madre mía, yo soy niña;</p> +<p>No se enfade, no me riña,</p> +<p>Si fiada en su prudencia</p> +<p>Desahogo mi conciencia,</p> +<p class="i2"><a href="#p51l10">(p. 51, li. 10-13)</a></p> + </div> </div> + +<div class="poem"> <div class="stanza"> +<p>¡Cuán solitaria la nación que un día</p> +<p>Poblara inmensa gente!</p> +<p>¡La nación cuyo imperio se extendía</p> +<p>Del ocaso al oriente!</p> +<p class="i2"><a href="#p76l15">(p. 76, li. 19-22)</a></p> + </div> </div> + +<p><a id="plviiil0" name="plviiil0"></a><span class="pagenum">lviii</span></p> + +<div class="poem"> <div class="stanza"> +<p class="i2">¡Oh tú, que duermes en casto l<b>echo</b>,</p> +<p>De sinsabores ajeno el p<b>echo</b>,</p> +<p>Y á los encantos de la hermos<b>ura</b></p> +<p>Unes las gracias del coraz<b>ón</b>,</p> +<p>Deja el descanso, doncella p<b>ura</b>,</p> +<p>Y oye los ecos de mi canc<b>ión</b>!</p> +<p class="i2"><a href="#p199l0">(P. 199, li. 1-6)</a></p> + </div> </div> + + + +<p>In a diphthong consisting of a strong and a weak +vowel the weak vowel may be disregarded in rime. Cf. +above: <i>prudencia, conciencia; corazón, canción; igual, rival</i>.</p> + +<p>(2) Or rimed verse may have "assonance," in which +there is rime of the last accented vowel and of any final +vowel that may follow in the line, but not of consonants.<a id="footnotetag22" name="footnotetag22"></a><a href="#footnote22"><sup>22</sup></a></p> + +<blockquote class="footnote"><a id="footnote22" name="footnote22"></a><b>Footnote 22:</b><a href="#footnotetag22"> (return) </a><p>Assonance is rare in popular English verse, but it occurs in some +household rimes; e. g.:</p> + +<div class="poem"> <div class="stanza"> +<p>Little Tommy Tucker,</p> +<p>He cried for his supper.</p> +<p>What shall little Tommy Tucker have for his supper?</p> +<p>Black-eyed beans and bread and butter.</p> + </div> </div> + +<p>Here the assonance is <i>ú-er</i> (final unstressed <i>-er</i> in standard present-day +English represents vocalic <i>r</i>).</p></blockquote> + +<p>Assonance of alternate lines is the usual rime of the +<i>romances</i>, as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Cabellos de mi cabeza</p> +<p>lléganme al corvej<b>ó</b>n;</p> +<p>los cabellos de mi barba</p> +<p>por manteles tengo y<b>o</b>:</p> +<p>las uñas de las mis manos</p> +<p>por cuchillo tajad<b>o</b>r.</p> +<p class="i4"><a href="#p7l15">(P. 7, li. 15-20)</a></p> + </div> </div> + + + +<p>Here the assonance is <i>o</i>.</p> + +<p><a id="plixl0" name="plixl0"></a><span class="pagenum">lix</span></p> + +<div class="poem"> <div class="stanza"> +<p>¡Abenámar, Abenámar,</p> +<p>moro de la morer<b>ía</b>,</p> +<p>el día que tú naciste</p> +<p>grandes señales hab<b>ía</b>!</p> +<p>Estaba la mar en calma,</p> +<p>la luna estaba crec<b>i</b>d<b>a</b>:</p> +<p>moro que en tal signo nace,</p> +<p>no debe decir ment<b>i</b>r<b>a</b>.</p> +<p class="i4"><a href="#p1l0">(P. 1, li. 1-8)</a></p> + </div> </div> + + + +<p>Here the assonance is <i>í-a</i>.<a id="footnotetag23" name="footnotetag23"></a><a href="#footnote23"><sup>23</sup></a></p> + +<blockquote class="footnote"><a id="footnote23" name="footnote23"></a><b>Footnote 23:</b><a href="#footnotetag23"> (return) </a> The <i>romances viejos</i> were originally in lines of approximately +sixteen syllables, and every line then had assonance.</blockquote> + +<div class="poem"> <div class="stanza"> +<p class="i2">Del salón en el ángulo obscuro,</p> +<p>De su dueño tal vez olvid<b>a</b>d<b>a</b>,</p> +<p>Silenciosa y cubierta de polvo</p> +<p class="i6">Veíase el <b>a</b>rp<b>a</b>.</p> +<p class="i2">¡Cuánta nota dormía en sus cuerdas,</p> +<p>Como el pájaro duerme en las r<b>a</b>m<b>a</b>s,</p> +<p>Esperando la mano de nieve</p> +<p class="i6">Qué sabe arranc<b>a</b>rl<b>a</b>s!</p> +<p class="i4"><a href="#p122l10">(P. 122, li. 12-19)</a></p> + </div> </div> + + + +<p>Here the assonance is <i>á-a</i>.</p> + +<p>The following rules for assonance should be noted:</p> + +<p><i>(a)</i> In modern Spanish a word stressed on the final +syllable may not assonate with one stressed on a syllable +preceding the final.<a id="footnotetag24" name="footnotetag24"></a><a href="#footnote24"><sup>24</sup></a></p> + +<blockquote class="footnote"><a id="footnote24" name="footnote24"></a><b>Footnote 24:</b><a href="#footnotetag24"> (return) </a> In the old <i>romances</i> and in the medieval epic, <i>á</i> could assonate with +<i>á-a.</i> In singing these old verses every line was probably made to end +in an unstressed vowel by adding paragogic <i>e</i> to a final stressed syllable. +Thus, <i>son</i> was sung as <i>sone, dar</i> as <i>dare, temí</i> as <i>temíe</i>, etc. Cf. Men. Pel., +<i>Ant.</i> V, 65; XI, 86, 92; and Men. Pid., <i>Cantar de mío Cid</i>, I, 65 f.</blockquote> + +<p><i>(b)</i> A word stressed on the penult may assonate with one <a id="plxl0" name="plxl0"></a><span class="pagenum">lx</span> +stressed on the antepenult. Vowels between the stressed +syllable and the final syllable are disregarded, as in <i>cruza, +cúpula (ú-a), bañe, márgenes, árabes (á-e).</i></p> + +<p><i>(c)</i> In stressed diphthongs and triphthongs only the +vowels receiving the stress assonate, as in <i>vale, aire (á-e), +cabellos, suelo (é-o), envolviendo, aposento (é-o), guardias, +alta (á-a), pleito, siento (é-o), mucho, triunfo (ú-o).</i></p> + +<p><i>(d)</i> In unstressed diphthongs and triphthongs only the +strong vowels assonate, as in <i>turba, lluvia (ú-a), licencia, +quisierais (é-a), pido, continuo (í-o)</i>. Similarly, <i>e</i> or <i>o</i>, +before another strong vowel, is disregarded in an unstressed +diphthong, as in <i>modo, erróneo (ó-o), crece, héroe (é-e)</i>.</p> + +<p><i>(e)</i> In final unstressed syllables, <i>i</i> and <i>u</i> (not in diphthongs) +assonate with <i>e</i> and <i>o</i>, respectively, as in <i>verde, +débil (é-e), amante, fácil (á-e), líquido, espíritu (í-o)</i>.</p> + +<p>(3) In Spanish blank verse (<i>versos sueltos, libres, blancos</i>) +there is usually no rime; or if there be rime it is merely +incidental. Blank verse usually consists of 11-syllable lines.</p> + +<div class="poem"> <div class="stanza"> +<p>¡Oh! ¡cuánto rostro veo, á mi censura,</p> +<p>De palidez y de rubor cubierto!</p> +<p>Ánimo, amigos, nadie tema, nadie,</p> +<p>Su punzante aguijón; que yo persigo</p> +<p>En mi sátira el vicio, no al vicioso,</p> +<p class="i4"><a href="#p39l0">(P. 39, ll. 3-7)</a></p> + </div> </div> + + + + +<p>Blank verse is little used in Spanish. It occurs chiefly +in serious satirical or philosophical poems. But separate +<i>versos sueltos</i> are introduced into some varieties of compositions, +such as the <i>romance, seguidilla, silva</i>, etc.<a id="footnotetag25" name="footnotetag25"></a><a href="#footnote25"><sup>25</sup></a></p> + +<blockquote class="footnote"><a id="footnote25" name="footnote25"></a><b>Footnote 25:</b><a href="#footnotetag25"> (return) </a> The <i>versos sueltos</i> are, with regard to the absence of rime, in imitation +of classic Greek and Latin verse. They came into Spain by way of +Italy during the Renaissance movement. Abjured by the romanticists, +they were restored to favor by Núñez de Arce.</blockquote> + +<p><a id="plxil0" name="plxil0"></a><span class="pagenum">lxi</span></p> + + + +<p><b>VERSE-MEASURES</b></p> + +<p><b>A. VERSE WITH BINARY MOVEMENT</b><a id="footnotetag26" name="footnotetag26"></a><a href="#footnote26"><sup>26</sup></a></p> + +<blockquote class="footnote"><a id="footnote26" name="footnote26"></a><b>Footnote 26:</b><a href="#footnotetag26"> (return) </a> The term "binary" is used here to distinguish ordinary Spanish +verse from that with regular ternary movement. Cf. p. lxx.</blockquote> + + +<p>In modern Spanish this verse is commonly found in lines +of seven, eight or eleven syllables. It may occur in +lines of any length; but in lines of five or six syllables +the binary and ternary movements are generally +mingled. In Old Spanish binary lines of approximately +8+8 and 7+7 syllables were common, and lines of +6+6, or of nine, syllables were then, as now, also +occasionally used.<a id="footnotetag27" name="footnotetag27"></a><a href="#footnote27"><sup>27</sup></a></p> + +<blockquote class="footnote"><a id="footnote27" name="footnote27"></a><b>Footnote 27:</b><a href="#footnotetag27"> (return) </a> Verses of three or four syllables are best treated as half-lines, with +inner rime (<i>versos leonínos</i>).</blockquote> + +<p>The most popular measure, and the one of most importance +in the history of Spanish verse, is the 8+8-syllable line +of the old <i>romances</i>, which was later divided into two +8-syllable lines, and became the most common measure in +the drama and in popular songs. This line usually has only +one rhythmic accent, which falls on the seventh syllable.<a id="footnotetag28" name="footnotetag28"></a><a href="#footnote28"><sup>28</sup></a></p> + +<blockquote class="footnote"><a id="footnote28" name="footnote28"></a><b>Footnote 28:</b><a href="#footnotetag28"> (return) </a> By "rhythmic accent" is meant the musical accent on the last +stressed syllable of a phrase and not syllabic stresses that may occur +within a phrase.</blockquote> + +<div class="poem"> <div class="stanza"> +<p>Mis arreos son las armas,</p> +<p>mi descanso el pelear,</p> +<p>mi cama las duras peñas,</p> +<p>mi dormir siempre velar</p> +<p class="i2"><a href="#p5l0">(p. 5, li. 1-4)</a></p> + </div> </div> + +<p><a id="plxiil0" name="plxiil0"></a><span class="pagenum">lxii</span></p> + +<p>Rarely 8-syllable lines are written with a fixed accent on +the third syllable <a href="#p51l10">(cf. p. 51, l. 10 f.)</a>.<a id="footnotetag29" name="footnotetag29"></a><a href="#footnote29"><sup>29</sup></a> There is then sometimes +<i>pie quebrado</i> in alternate lines, as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Hijo mío mucho amado,</p> +<p class="i2">Para mientes;</p> +<p>No contrastes á las gentes</p> +<p class="i2">Mal su grado.</p> +<p>Ama: é serás amado;</p> +<p class="i2">Y podrás</p> +<p>Hazer lo que no harás</p> +<p class="i2">Desamado.<a id="footnotetag30" name="footnotetag30"></a><a href="#footnote30"><sup>30</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote29" name="footnote29"></a><b>Footnote 29:</b><a href="#footnotetag29"> (return) </a> They are less common in Spanish than in Italian: + +<div class="poem"> <div class="stanza"> +<p>Sai tu dirme, o fanciullino,</p> +<p>In qual pasco gita sia</p> +<p>La vezzosa Egeria mia</p> +<p>Ch'io pur cerco dal mattino?</p> +<p class="i4">(Paolo A. Rolli)</p> + </div> </div> +</blockquote> + +<blockquote class="footnote"><a id="footnote30" name="footnote30"></a><b>Footnote 30:</b><a href="#footnotetag30"> (return) </a> Note the example of hiatus in this older Spanish.</blockquote> + +<p>Next to the popular 8-syllable line the most important +measure in modern Spanish verse is that of eleven syllables, +with binary movement, which came to Spain from Italy in +the fifteenth century, and was generally accepted by the +writers of the Siglo de Oro. This 11-syllable line, though +of foreign origin, has held the boards as the chief erudite +measure in Spanish verse for four centuries, and taken all +in all it is the noblest metrical form for serious poems in +modern Spanish. A striking peculiarity of the line is its +flexibility. It is not divided into hemistichs as were its +predecessors, the 14-syllable Alexandrine and the 12-syllable +<i>arte mayor</i> verse; but it consists of two phrases and the +position of the inner rhythmic accent is usually variable.</p> + +<p><a id="plxiiil0" name="plxiiil0"></a><span class="pagenum">lxiii</span></p> + +<p>A well constructed line of this type has a rhythmic accent +on the sixth syllable, or a rhythmic accent on the fourth +syllable (usually with syllabic stress on the eighth), beside +the necessary accent in the tenth position. Generally the +inner accent falls on the sixth syllable approximately twice +as often as on the fourth.</p> + +<div class="poem"> <div class="stanza"> +<p>Y con diversas flòres va esparcièndo... (León)</p> +<p>Y para envejecèrse florecièron... (Calderón)</p> +<p>. . . . . . . . . . . . . . . . . . . . . . . .</p> +<p>Cuna y sepùlcro en un botón hallàron... (Calderón)</p> +<p>Se mira al mùndo á nuestros pies tendìdo... (Zorrilla)</p> + </div> </div> + +<p>Logically, the close of the first phrase should coincide +with the end of the word that receives the inner rhythmic +accent, and this is usually so, as in:</p> + +<div class="poem"> <div class="stanza"> +<p>¿Qué tengo yò, | que mi amistad procùras?... (Lope)</p> +<p>Son la verdad y Diòs, | Dios verdadèro... (Quevedo)</p> + </div> </div> + +<p>But in some lines the rhetorical and the rhythmic accents +do not coincide, as in:</p> + +<div class="poem"> <div class="stanza"> +<p class="i8">... pero huyóse</p> +<p>El pudor á vivìr en las cabànas... (Jovellanos)</p> +<p>Del plectro sabiamènte meneàdo... (León)</p> +<p>Que á mi puerta, cubièrto de rocìo... (Lope)</p> + </div> </div> + +<p>The 11-syllable line may be used alone. Cf. the sonnets +of Lope de Vega <a href="#p14l0">(p. 14)</a> and Calderón <a href="#p18l0">(p. 18)</a>, the <i>Epístola +satírica</i> of Quevedo <a href="#p15l0">(p. 15)</a>, the blank verse of Jovellanos +<a href="#p38l0">(p. 38)</a> and Núñez de Arce <a href="#p144l0">(p. 144)</a>, <i>et al.</i> The neo-classic +poets of the eighteenth century and some of the earlier +romanticists even used it in <i>redondillas</i> or assonated:<a id="plxivl0" name="plxivl0"></a><span class="pagenum">lxiv</span></p> + +<div class="poem"> <div class="stanza"> +<p>En pago de este amor que, mal mi gr<b>ado</b>,</p> +<p>Hasta el crimen me lleva en su del<b>irio</b>,</p> +<p>Y á no verse por ti menospreci<b>ado</b></p> +<p>Mi virtud elevara hasta el mart<b>irio</b>...</p> + </div><div class="stanza"> +<p>¿Por qué de nuevo pálida tristeza</p> +<p>Tus rosadas mejillas descol<b>o</b>r<b>a</b>?</p> +<p>¿Por qué tu rostro en lágrimas se inunda?</p> +<p>¿Por qué suspiras, niña, y te acong<b>o</b>j<b>a</b>s?</p> +<p>(Bretón de los Herreros, <i>¿Quién es ella?</i>)</p> + </div> </div> + +<p>But the poets of the Siglo de Oro and the neo-classic poets +generally used it in combination with 7-syllable lines, as in +Leon's verses:</p> + +<div class="poem"> <div class="stanza"> +<p>¡Qué descansada vida</p> +<p>la del que huye el mundanal rüido,</p> +<p>y sigue la escondida</p> +<p>senda por donde han ido</p> +<p>los pocos sabios que en el mundo han sido!</p> + </div> </div> + +<p>Strophes of three 11-syllable lines and one 5-syllable line +(<i>versos sáficos</i>) are not uncommon in highly lyric poems. +Usually, in the long lines, the inner accent falls on the +fourth syllable, with syllabic stress on the eighth, and with +cesura after the fifth syllable. Thus:<a id="footnotetag31" name="footnotetag31"></a><a href="#footnote31"><sup>31</sup></a></p> + +<div class="poem"> <div class="stanza"> +<p>Dulce vecino de la verde selva,</p> +<p>Huésped eterno del Abril florido,</p> +<p>Vital aliento de la madre Venus,</p> +<p class="i2">Céfiro blando.</p> +<p class="i2">(Villegas, <i>Al céfiro</i>)</p> + </div> </div> + +<blockquote class="footnote"><a id="footnote31" name="footnote31"></a><b>Footnote 31:</b><a href="#footnotetag31"> (return) </a><p>Mele (<i>op. cit</i>) states that the Sapphic ode was introduced into Spain +from Italy by Antonio Agustín, bishop of Tarragona, in the first half of +the sixteenth century, and quotes these lines by Agustín:</p> + +<div class="poem"> <div class="stanza"> +<p>Júpiter torna, como suele, rico:</p> +<p>Cuerno derrama Jove copiöso,</p> +<p>Ya que bien puede el pegaseo monte</p> +<p class="i2">Verse y la cumbre.</p> + </div> </div></blockquote> + + +<p><a id="plxvl0" name="plxvl0"></a><span class="pagenum">lxv</span></p> + + +<p>The romanticists used the <i>versos sáficos</i> with rime. Thus, +Zorrilla:</p> + +<div class="poem"> <div class="stanza"> +<p>Huye la fuente al manantial ingrata,</p> +<p>El verde musgo en derredor lamiendo,</p> +<p>Y el agua limpia en su cristal retrata</p> +<p class="i8">Cuanto va viendo.</p> +<p class="i2"><a href="#p86l0">(p. 86, li. 3-6)</a></p> + </div> </div> + +<p>In the Sapphic strophe of Francisco de la Torre (d. 1594), +the short line has seven syllables, and the long line may +have inner rhythmic accent on the sixth, or on the fourth +syllable. Thus:</p> + +<div class="poem"> <div class="stanza"> +<p>El frío Bóreas y el helado Noto</p> +<p>Apoderados de la mar insana</p> +<p>Anegaron agora en este puerto</p> +<p class="i8">Una dichosa nave.</p> +<p>(<i>¡Tirsi, Tirsi! vuelve y endereza</i>)</p> + </div> </div> + +<p>The Sapphic strophe of Francisco de la Torre has been not +infrequently imitated. Thus, Bécquer:</p> + +<div class="poem"> <div class="stanza"> +<p>Volverán las obscuras golondrinas</p> +<p>En tu balcón sus nidos á colgar,</p> +<p>Y, otra vez, con el ala á sus cristales</p> +<p class="i8">Jugando llamarán.</p> +<p class="i2"><a href="#p122l20">(p. 122, l. 24--p. 123, l. 2)</a><a id="footnotetag32" name="footnotetag32"></a><a href="#footnote32"><sup>32</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote32" name="footnote32"></a><b>Footnote 32:</b><a href="#footnotetag32"> (return) </a> These long lines are especially cantabile, as most are accented on +the third and sixth syllables. Only one is accented on the fourth and +eighth.</blockquote> + + + +<p>The 7-syllable line is commonly used in combination with +those of eleven syllables (see above). In the seventeenth +century, particularly, the 7-syllable line was used in anacreontics, <a id="plxvil0" name="plxvil0"></a><span class="pagenum">lxvi</span> +artistic <i>romances, quintillas,</i> etc., in imitation of the +Italian <i>settenario</i>, as in Villegas' <i>Cantilena</i> beginning:</p> + +<div class="poem"> <div class="stanza"> +<p>Yo vi sobre un tomillo</p> +<p>Quejarse un pajarillo,</p> +<p>Viendo su nido amado,</p> +<p>De quien era caudillo,</p> +<p>De un labrador robado.</p> + </div> </div> + +<p>In present-day songs the 7-syllable line is rather rare, except +in combination with lines of five syllables, as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Camino de Valencia,</p> +<p class="i2">Camino largo...</p> + </div> </div> + +<p>And:</p> + +<div class="poem"> <div class="stanza"> +<p>Á la puerta del cielo</p> +<p class="i2">Venden zapatos...</p> + </div> </div> + +<p>In these lines there is no fixed inner rhythmic accent.</p> + +<p>The Old Spanish Alexandrine verse-line was composed of +two 7-syllable half-lines. In the thirteenth and fourteenth +centuries numerous monkish narrative poems (<i>mester de +clereçía</i>) were written in this measure:</p> + +<div class="poem"> <div class="stanza"> +<p>En el nonbre del Padre,—que fizo toda cosa,</p> +<p>E de don Jhesu Christo,—Fijo dela Gloriosa,</p> +<p>Et del Spiritu Sancto,—que egual dellos posa,</p> +<p>De un confessor sancto—quiero fer vna prosa...</p> +<p>(Gonzalo de Berceo)</p> + </div> </div> + +<p>The old Alexandrine fell before the rising popularity of +the <i>arte mayor</i> verse early in the fifteenth century. In the +eighteenth century a 13-syllable Alexandrine appears in +Spanish in imitation of the classic French line. This later +Spanish Alexandrine is not composed of two distinct half-lines. <a id="plxviil0" name="plxviil0"></a><span class="pagenum">lxvii</span> +It also has, like its French prototype, alternate +couplets of masculine and feminine lines (<i>versos agudos</i> and +<i>versos llanos</i> or <i>graves</i>). Thus, Iriarte:</p> + +<div class="poem"> <div class="stanza"> +<p>En cierta catedral una campana había</p> +<p>Que sólo se tocaba algún solemne día</p> +<p>Con el más recio son, con pausado compás,</p> +<p>Cuatro golpes ó tres solía dar, no más.</p> + </div> </div> + +<p>There is an inner rhythmic accent on the sixth syllable. +Iriarte also revived the older Alexandrine, but without +hiatus:</p> + +<div class="poem"> <div class="stanza"> +<p>Cuando veo yo algunos,—que de otros escritores</p> +<p>Á la sombra se arriman,—y piensan ser autores...</p> + </div> </div> + +<p>Recent poets have revived the old Alexandrine.<a id="footnotetag33" name="footnotetag33"></a><a href="#footnote33"><sup>33</sup></a> Thus, +Rubén Darío uses it, even retaining the hiatus between +the half-lines; but instead of grouping the lines in quatrains +with monorime, as the old monks did, he uses assonance +in alternate lines, which is, so far as I know, without +precedent:</p> + +<div class="poem"> <div class="stanza"> +<p>Es con voz de la Biblia—ó verso de Withman</p> +<p>Que habría que llegar—hasta ti, ¡cazador!</p> +<p>Primitivo y moderno,—sencillo y complicado,</p> +<p>Con un algo de Wáshington—y mucho de Nemrod...</p> +<p class="i4"><a href="#p211l0">(p. 211, li. 1-4)</a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote33" name="footnote33"></a><b>Footnote 33:</b><a href="#footnotetag33"> (return) </a> For their use of this line with ternary movement, see p. lxxix.</blockquote> + +<p>Lines of five or six syllables usually have a mingled binary +and ternary movement:</p> + +<div class="poem"> <div class="stanza"> +<p>Una barquera</p> +<p>Hallé bizarra,</p> +<p>De pocos años</p> +<p>Y muchas gracias.</p> +<p class="i2">(N. Moratín)</p> + </div> </div> + +<p><a id="plxviiil0" name="plxviiil0"></a><span class="pagenum">lxviii</span></p> + +<div class="poem"> <div class="stanza"> +<p>Salí á las diez</p> +<p>Á ver á Clori</p> +<p>(No lo acerté):</p> +<p>Horas menguadas</p> +<p>Debe de haber...</p> +<p class="i2">(L. Moratín)</p> + </div> </div> + +<p>Lines of 5+5 syllables (<i>versos asclepiadeos</i>) are occasionally +written:</p> + +<div class="poem"> <div class="stanza"> +<p>Id en las alas—del raudo céfiro,</p> +<p>Humildes versos,—de las floridas</p> +<p>Vegas que diáfano—fecunda el Arlas,</p> +<p>Adonde lento—mi patrio río</p> +<p>Ve los alcázares—de Mantua excelsa.</p> +<p class="i2">(L. Moratín)</p> + </div> </div> + + +<p>The Mexican poet Pesado used the same line in his +<i>Serenata</i>:</p> + +<div class="poem"> <div class="stanza"> +<p>¡Oh tú que duermes—en casto lecho,</p> +<p>De sinsabores—ajeno el pecho,</p> +<p>Y á los encantos—de la hermosura</p> +<p>Unes las gracias—del corazón,</p> +<p>Deja el descanso,—doncella pura,</p> +<p>Y oye los ecos—de mi canción!</p> +<p class="i4"><a href="#p199l0">(P. 199, ll. 1-6)</a></p> + </div> </div> + +<p>The same measure appears in a patriotic song, <i>Himno de +Riego</i>:</p> + +<div class="poem"> <div class="stanza"> +<p>En las cabezas—él proclamó</p> +<p>La suspirada—constitución,</p> +<p>Y enarbolando—marcial pendón,</p> +<p>Á los leales—acaudilló...<a id="footnotetag34" name="footnotetag34"></a><a href="#footnote34"><sup>34</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote34" name="footnote34"></a><b>Footnote 34:</b><a href="#footnotetag34"> (return) </a><p>It should be noted that these latter verses, like most Spanish patriotic +songs, are sung with ternary movement, thus:</p> + +<div class="poem"> <div class="stanza"> +<p>Èn las cabèzas—èl proclamò...</p> + </div> </div></blockquote> + + +<p><a id="plxixl0" name="plxixl0"></a><span class="pagenum">lxix</span></p> + +<p>This 10-syllable measure is cantabile, and its phrases are +too short and too regular to make good recitative verse.</p> + +<p><i>Versos alcaicos</i> differ from the <i>asclepiadeos</i> in that the +former have, in a strophe, two lines of 5 + 5, one of nine, +and one of ten syllables. Thus, in these lines of Victorio +Giner (who probably introduced this strophe into Spain +in the second half of the nineteenth century):</p> + +<div class="poem"> <div class="stanza"> +<p>Y si los nautas, cantando el piélago,</p> +<p>Con remos hieren y espumas alzan,</p> +<p class="i2">Se aduerme á los ecos sus penas</p> +<p>Y á los ecos su batel avanza.</p> + </div> </div> + +<p>Juan Luis Estelrich (<i>Poesías</i>, 1900) uses <i>versos alcaicos</i> with +the first two lines of each strophe <i>esdrújulo</i>, in imitation of +Carducci:</p> + +<div class="poem"> <div class="stanza"> +<p>Carmen, tu nombre trae al espíritu</p> +<p>Vuelo de aromas, susurro de árboles,</p> +<p class="i2">Los píos consorcios del cielo,</p> +<p>Y el cantar melodioso del Lacio.</p> + </div><div class="stanza"> +<p>(<i>Á Carmen Valera.</i>)<a id="footnotetag35" name="footnotetag35"></a><a href="#footnote35"><sup>35</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote35" name="footnote35"></a><b>Footnote 35:</b><a href="#footnotetag35"> (return) </a> Cf. Mele, <i>op. cit.</i></blockquote> + +<p><i>Romances</i> in lines of 6 + 6 (or 6 + 5) syllables occur in +popular Spanish verse, as in the Asturian <i>romance</i> of <i>Don +Bueso</i>, beginning:</p> + +<div class="poem"> <div class="stanza"> +<p>Camina don Bueso—mañanita fría</p> +<p>á tierra de moros—á buscar amiga...</p> + </div> </div> + +<p>(Men. Pel., <i>Ant.</i> X, 56: cf. also <i>Ant.</i> XI, 102)</p> + +<p>This measure was also used in <i>endechas</i>, as in <i>Los comendadores +de Córdoba</i> (fifteenth century), beginning:</p> + +<div class="poem"> <div class="stanza"> +<p>¡Los comendadores,—por mi mal os vi!</p> +<p>Yo vi á vosotros,—vosotros á mí...</p> + </div> </div> + +<p><a id="plxxl0" name="plxxl0"></a><span class="pagenum">lxx</span></p> + +<p>The 9-syllable line was not well received in Spain, and +it has been little used. Iriarte, in his desire to vary the +metrical constructions of his fables, used it at least once:</p> + +<div class="poem"> <div class="stanza"> +<p>Sobre una mesa, cierto día,</p> +<p>Dando estaba conversación</p> +<p>Á un Abanico y á un Manguito</p> +<p>Un Paraguas ó Quitasol...</p> + </div> </div> + +<p>There is certainly no fixed inner rhythmic accent in these +lines. The fact seems to be that the 9-syllable line is too +long to be uttered comfortably in one phrase, or breath-group, +and it is too short to be regularly divided into parts +by cesura.</p> + + + + +<p><b>B. VERSE WITH TERNARY MOVEMENT</b></p> + + +<p>Verse with regular ternary movement may occur in lines +of any length, but it is commonly found only in lines of ten, +eleven or twelve syllables. Many ternary lines of five and +six syllables are found, but they are almost invariably +mingled with binary lines. This <i>rondel antiguo</i> (Nebrija, +quoted by Men. Pel., <i>Ant.</i> V. 66) is ternary throughout, +it would seem:</p> + +<div class="poem"> <div class="stanza"> +<p>Despide plazer</p> +<p>y pone tristura;</p> +<p>crece en querer</p> +<p>vuestra hermosura.</p> + </div> </div> + +<p>For mixed movements, see the <i>serranilla</i> on p. 45, l. 9 f.</p> + +<p>In lines with <i>regular</i> ternary movement, properly speaking, +every primary stress receives a rhythmic accent, and <a id="plxxil0" name="plxxil0"></a><span class="pagenum">lxxi</span> +these accents are always separated by two atonic syllables, +as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Yo no sè como bàilan aquì,</p> +<p>Que en mi tièrra no bàilan ansì...</p> + </div> </div> + +<p>Rarely one finds 6-syllable and 9-syllable lines with regular +ternary movement, and these are probably never of popular +origin. Thus:</p> + +<div class="poem"> <div class="stanza"> +<p>Serèna la lùna</p> +<p>Alùmbra en el cièlo,</p> +<p>Domìna en el suèlo</p> +<p>Profùnda quietùd...</p> + </div> </div> + +<p>(Espronceda, <i>El reo de muerte</i>, II)</p> + +<div class="poem"> <div class="stanza"> +<p>Y luègo el estrèpito crèce</p> +<p>Confùso y mezclàdo en un sòn,</p> +<p>Que rònco en las bòvedas hòndas</p> +<p>Tronàndo furiòso zumbò...</p> + </div> </div> + +<p>(Espronceda, <i>Estudiante de Salamanca</i>)</p> + +<p>Formerly the Spanish 10-syllable line occurred usually in +combination with other lines, as in:</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">En la calle de Atòcha, ¡litòn!</p> +<p class="i6">Que vìve mi dàma;</p> +<p class="i2">Yo me llàmo Bartòlo, ¡litòn!</p> +<p>Litòque, vitòque, y<a id="footnotetag36" name="footnotetag36"></a><a href="#footnote36"><sup>36</sup></a> èlla Catànla.</p> +<p>—En la càlle del Sòrdo, ¡litòn!</p> +<p class="i4"> Que vìve mi mòzo,</p> +<p class="i2">Pues á cuànto le pìdo, ¡litòn!</p> +<p>Litòque, vitòque, que sièmpre está sòrdo.</p> + </div> </div> + +<blockquote class="footnote"><a id="footnote36" name="footnote36"></a><b>Footnote 36:</b><a href="#footnotetag36"> (return) </a> There is hiatus here.</blockquote> + +<p>(Quiñones de Benavente, <i>Entremeses, bailes, loas y sainetes</i>, quoted +by Milá y Fontanals, <i>Obras completas</i>, Vol. V, p. 324 f.)</p> + +<p><a id="plxxiil0" name="plxxiil0"></a><span class="pagenum">lxxii</span></p> + +<p>Calderón used it in the <i>Viña del Señor</i>:</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">Á la vìña, á la vìña, zagàles;</p> +<p>Zagàles, venìd, venìd á la vìña.</p> +<p class="i2">Á la vìña, á la vìña, zagàles,</p> +<p>Y vàya de jìra, de bùlla y de bàile.</p> +<p>Zagàles, venìd, venìd á la vìña,</p> +<p>Y vàya de bàile, de bùlla y de jìra.</p> + </div> </div> + +<p>A recent number of the <i>Ilustración Española y Americana +</i> (15 Enero, 1911) contains lines of similar construction by +Don Rafael Torromé:</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">Al miràr su carìta sonriènte,</p> +<p class="i6">Tan dùlce y tan buèna,</p> +<p class="i2">Siempre obsèrvo que mi àlma presiènte,</p> +<p class="i6">Con duèlo y con pèna,</p> +<p class="i2">Que más tàrde este mùndo inclemènte</p> +<p class="i2">Trocarà en sentimièntos de hièna</p> +<p>Los pùros afèctos de su àlma inocènte.</p> + </div> </div> + +<p>Iriarte did not hesitate to write fables in these 10-syllable +lines alone:</p> + +<div class="poem"> <div class="stanza"> +<p>De sus hìjos la tòrpe Avetùrda</p> +<p>El pesàdo volàr conocìa...</p> + </div> </div> + +<p>And the romanticists of the nineteenth century used it not +infrequently:</p> + +<div class="poem"> <div class="stanza"> +<p>Con inmòvil, irònica muèca</p> +<p>Inclinàron formàndo en redòr...</p> + </div> </div> + +<p>(Espronceda, <i>Est. de Sal.</i>)</p> + +<div class="poem"> <div class="stanza"> +<p>Del salòn en el àngulo obscùro,</p> +<p>De su duèño tal vèz olvidàda,</p> +<p>Silenciòsa y cubièrta de pòlvo,</p> +<p class="i2">Veìase el àrpa.</p> + </div> </div> + +<p>(Bécquer, <i>Rima</i> VII)</p> + +<p><a id="plxxiiil0" name="plxxiiil0"></a><span class="pagenum">lxxiii</span></p> + +<p>In the nineteenth century this line came to be popular in +patriotic songs which are sung by the multitude, while the +crash of the drum marks the rhythmic accents:</p> + +<div class="poem"> <div class="stanza"> +<p>Entonèmos festìvos cantàres,</p> +<p>Pues el dìa felìz ha llegàdo,</p> +<p>Que del yùgo servìl aliviàdo</p> +<p>Goza yà el Españòl libertàd.</p> + </div> </div> + +<p>(<i>La Constitución</i>)</p> + +<div class="poem"> <div class="stanza"> +<p>Al combàte corrèd, Bayamèses,</p> +<p>Que la pàtria os contèmpla orgullòsa;</p> +<p>No temàis una muèrte gloriòsa,</p> +<p>Que morìr por la pàtria es vivìr.</p> + </div> </div> + +<p>(Cuban national hymn, cf. p. 251)</p> + +<p>The commoner form of verse with 11-syllable ternary +lines is that popularly called "<i>de gaita gallega</i>" (Men. Pel., +<i>Ant.</i>, V, p. cxcv; X, 141. Cf. also Milá, <i>op. cit.</i>), the +assumption being that this verse is intimately related to +that type of popular Galician poetry known as the <i>muiñeira</i>, +which was sung to the music of the bagpipe. These lines +are typical of the "<i>endecasílabos de gaita gallega</i>":</p> + +<div class="poem"> <div class="stanza"> +<p>Tànto bailè á la puèrta del cùra,</p> +<p>Tànto bailè que me diò calentùra;</p> +<p>Tànto bailè á la puèrta del hòrno,</p> +<p>Tànto bailè que me dièron un bòllo.<a id="footnotetag37" name="footnotetag37"></a><a href="#footnote37"><sup>37</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote37" name="footnote37"></a><b>Footnote 37:</b><a href="#footnotetag37"> (return) </a> Many Galician <i>muiñeiras</i> have been collected: cf. Milá, <i>op. cit.</i>; +Carolina Michaëlis de Vasconcellos, <i>Cancioneiro de Ajuda</i>, Vol. II, +Halle, 1904; José Pérez Ballesteros, <i>Cancionero popular gallego</i>, Madrid, +1885.</blockquote> + +<p><a id="plxxivl0" name="plxxivl0"></a><span class="pagenum">lxxiv</span></p> + +<p>Menéndez y Pelayo (<i>Ant.</i> X, 141) gives, in his collection +of <i>Romances tradicionales de Asturias</i>, the following one in +ternary 11-syllable lines:</p> + + + +<div class="poem"> <div class="stanza"> +<p class="i12">La tentación</p><br> +<p>—¡Ày, probe Xuàna de cuèrpo garrido!</p> +<p>¡Ày, probe Xuàna de cuèrpo galàno!</p> +<p>¿Dònde le dèxas al tù buen amigo?</p> +<p>¿Dònde le dèxas al tù buen amàdo?</p> +<p>—¡Muèrto le dèxo á la orìlla del rìo,</p> +<p>muèrto le dèxo á la orìlla del vàdo!</p> +<p>—¿Cuànto me dàs, volverètelo vìvo?</p> +<p>¿Cuànto me dàs, volverètelo sàno?</p> +<p>—Dòyte las àrmas y dòyte el rocìno,</p> +<p>dòyte las àrmas y dòyte el cabàllo.</p> +<p>—No hè menestèr ni armàs ni rocìno,</p> +<p>no hè menestèr ni armàs ni cabàllo...</p> + </div> </div> + +<p>It should be noted that this poem has assonance of the odd +and of the even lines. Men. Pel. says of this popular 11-syllable +<i>romance</i> that «su aparición en la poesía popular +castellana es un fenómeno singular, aun en Asturias misma, +y hasta ahora no se ha presentado más ejemplo que éste.» +Note the apparent shifting of stress in <i>armas</i>. Iriarte and +L. Moratin did not scorn to use this line.</p> + + + +<div class="poem"> <div class="stanza"> + +<p>Iriarte:</p><br> +<p>Cièrta criàda la càsa barrìa</p> +<p>Còn una escòba muy sùcia y muy vièja...</p> + </div> </div> + +<p>Moratin (in the chorus of <i>Padres del Limbo</i>):</p> + +<div class="poem"> <div class="stanza"> +<p>Hùyan los àños con ràpido vuèlo;</p> +<p>Gòce la tièrra duràble consuèlo;</p> +<p>Mìre á los hòmbres piadòso el Señòr...</p> + </div> </div> + +<p><a id="plxxvl0" name="plxxvl0"></a><span class="pagenum">lxxv</span></p> + +<p>The 11-syllable line of ternary movement has had less vogue +in artistic verse than those of ten and twelve syllables.<a id="footnotetag38" name="footnotetag38"></a><a href="#footnote38"><sup>38</sup></a></p> + +<blockquote class="footnote"><a id="footnote38" name="footnote38"></a><b>Footnote 38:</b><a href="#footnotetag38"> (return) </a><p>In <i>Las hijas del Cid</i> E. Marquina has used a flexible 11-syllable +ternary line beginning with either [\-] – – [\-] or – [\-] – [\-]:</p> + +<div class="poem"> <div class="stanza"> +<p>Sus nòmbres jùntos los llèvo en el alma,</p> +<p>Jùntos los guàrda tambièn mi memòria.</p> + </div> </div> + +<p>These are blank verses with occasional assonance.</blockquote> + +<p>The Spanish ternary 12-syllable line was formerly used +chiefly in combination with lines of ten or eleven syllables. +Some examples of mingled 10-and 12-syllable lines have +already been given above. Another is:</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">Mancebìto, perdòne las hèmbras,</p> +<p>Que còmen y bèben y no tienen rèntas.</p> +<p>—Pues, mocìtas, maldìtas sean èllas,</p> +<p class="i2">Ó còsan ó làbren ó càiganse muèrtas.</p> + </div> </div> + +<p>A song of mingled 11-and 12-syllable lines begins thus:</p> + +<div class="poem"> <div class="stanza"> +<p>Al pàsar la bàrca, me dìjo el barquèro:</p> +<p>Mòza bonìta no pàga dinero.<a id="footnotetag39" name="footnotetag39"></a><a href="#footnote39"><sup>39</sup></a></p> + </div> </div> + +<blockquote class="footnote"><a id="footnote39" name="footnote39"></a><b>Footnote 39:</b><a href="#footnotetag39"> (return) </a> Cf. Milá, <i>op. cit.</i> In singing <i>pasar</i>, there is apparently a shifting of +stress which is not uncommon in songs.</blockquote> + +<p>Efforts have been made from time to time to use the +ternary movements in erudite verse, but these, for the most +part, have proven futile. The most serious and the most +successful attempt appears in the use of the <i>copla de arte +mayor</i> in the fifteenth century. The <i>copla (metro, versos) +de arte mayor</i> consists of mingled 12-and 11-syllable lines +arranged in strophes of eight lines, each with consonantal +rime according to some definite scheme. The <i>arte mayor</i> +verse attained to its most perfect form and its greatest <a id="plxxvil0" name="plxxvil0"></a><span class="pagenum">lxxvi</span> +popularity in <i>El laberinto de la fortuna</i> (1444?), by Juan +de Mena, of which the following is a strophe:</p> + +<div class="poem"> <div class="stanza"> +<p>Amores me dieron corona de amores</p> +<p>porque mi nombre por más bocas ande;</p> +<p>entonçes no era mi mal menos grande,</p> +<p>quando me dauan plazer sus dolores;</p> +<p>vençen el seso sus dulçes errores,</p> +<p>mas non duran sienpre, segund luego plazen;</p> +<p>pues me fizieron del mal que vos fazen,</p> +<p>sabed al amor desamar, amadores.</p> +<p class="i30">(Strophe 106)</p> + </div> </div> + + + +<p>The old <i>arte mayor</i> verse has these distinguishing characteristics:</p> + +<p>The line is divided into hemistichs, each of which may +have four, five or six syllables, thus:</p> + +<div class="poem"> <div class="stanza"> +<p>(1) (-) - - - [/-] (-) | (-) - - - [/-] (-),</p> + </div> </div> + +<p>except that the final syllable of the first hemistich and the +initial syllable of the second may not both be lacking. +These arrangements may also occur (the third is rare):</p> + +<div class="poem"> <div class="stanza"> +<p>(2) (-) - - - [/-] - - | - - - [/-] (-)</p> + </div><div class="stanza"> +<p>(3) (-) - - - [/-] | - - - - - [/-] (-).</p> + </div> </div> + +<p>Examples of types:</p> + +<div class="poem"> <div class="stanza"> +<p>(1) Las grandes fazañas | de nuestros mayores... (Str. 4)</p> +<p class="i4">Vayan de gente | sabidos en gente... (Str. 3)</p> +<p class="i4">Reconocerán | maguer que feroce... (Str. 274)</p> +<p class="i4">Assí que qualquiera | cuerpo ya muerto... (Str. 244)</p> +<p class="i4">Cuya virtud | maguer que reclama...</p> +<p class="i4">Sufren que passen | males e viçios... (Str. 232)</p> + </div><div class="stanza"> +<p>(2) E ví á Pitágoras | que defendía... (Str. 118)</p> +<p class="i4">Bien como médico | mucho famoso... (Str. 178)</p> + </div><div class="stanza"> +<p>(3) Quando el señor | es en neçessidad... (Str. 258)</p> + </div> </div> + +<p><a id="plxxviil0" name="plxxviil0"></a><span class="pagenum">lxxvii</span></p> + +<p>The initial unstressed syllable of the first hemistich is lacking +in approximately one-third of the lines of the <i>Laberinto</i>. +These lines resemble the 11-syllable <i>gaita gallega</i> verse, and +the others resemble the popular Galician 12-syllable ternary +line, for in both the final unstressed syllable of the first +hemistich may fall,<a id="footnotetag40" name="footnotetag40"></a><a href="#footnote40"><sup>40</sup></a> which seems to indicate that the appearance +of the <i>arte mayor</i> verse in Castilian was due to +Galician influence.</p> + +<blockquote class="footnote"><a id="footnote40" name="footnote40"></a><b>Footnote 40:</b><a href="#footnotetag40"> (return) </a><p>Cf. these Galician <i>muiñeiras</i>, cited by Milá y Fontanals (<i>Romanía</i>, +VI, p. 47 f.):</p> + +<div class="poem"> <div class="stanza"> +<p class="i2">Càndo te vèxo | na bèira do rìo,</p> +<p class="i2">Quèda o meu còrpo | tembràndo de frìo;</p> +<p class="i2">Càndo te vèxo | d'o mònte n'altùra,</p> +<p class="i2">A tòdo o mon córpo | lle dà calentùra.</p> +<p class="i2">Ìsca d'ahì | galìña maldìta,</p> +<p class="i2">Ìsca d'ahì | non me màte la pìta;</p> +<p class="i2">Ìsca d'ahì | galìña ladròna,</p> +<p class="i2">Ìsca d'ahì | pra càs de tua dòna.</p> + </div> </div></blockquote> + + +<p>Again, as in many Galician songs of this type, the ternary +movement of the old <i>arte mayor</i> verse is not strictly regular. +Approximately nine-tenths of the lines in the <i>Laberinto</i> may +be read with regular ternary movement:</p> + +<div class="poem"> <div class="stanza"> +<p>(-) [/-] - - [/-] (-) | (-) [/-] - - [/-] (-),</p> + </div> </div> + +<p>by giving a rhythmic accent to a syllable with secondary +stress or to a middle syllable in a group of atonics, in a +not inconsiderable number of lines, as in:</p> + +<div class="poem"> <div class="stanza"> +<p>Pòr las altùras, | collàdos y cèrros...</p> +<p>Assì que tu ères | la gòvernadòra...</p> + </div> </div> + +<p>In the remaining lines the commonest movement is:</p> + +<div class="poem"> <div class="stanza"> +<p>(-) - [/-] - [/-] (-) | (-) - [/-] - [/-] (-),</p> + </div> </div> + +<p>as in:</p> + +<p>Aquel claro padre, aquel dulce fuente... +<a id="plxxviiil0" name="plxxviiil0"></a><span class="pagenum">lxxviii</span></p> + +<p>In the second half of the sixteenth century and in the +seventeenth century, the <i>arte mayor</i> verse was out of fashion, +although it appeared occasionally, as in these lines of +Lope de Vega (a variety of the Sapphic strophe), with +inner rime:</p> + +<div class="poem"> <div class="stanza"> +<p>Amor poderoso en cielo y en tierra,</p> +<p>dulcísima guerra de nuestros sentidos,</p> +<p>¡oh, cuántos perdidos con vida inquiëta</p> +<p class="i6">tu imperio sujeta!</p> + </div> </div> + +<p>(From first act of <i>Dorotea</i>)</p> + +<p>In the nineteenth century it was restored to favor by the +romanticists.<a id="footnotetag41" name="footnotetag41"></a><a href="#footnote41"><sup>41</sup></a> Good examples are: Espronceda, <i>El templario</i>; +Avellaneda, <i>Las siete palabras</i>; and Zorrilla, <i>Á un +torreón</i> (part). Some writers used it even in the drama +(cf. Gil y Zárate, <i>Guzmán el bueno</i>). The modern <i>arte +mayor</i> verse is written in 12-syllable lines, usually with +regular ternary movement. Thus:</p> + +<div class="poem"> <div class="stanza"> +<p>¡Oh Antìlla dichòsa! | ¿qué màgicos sònes,</p> +<p>Qué lùz inefàble, | qué extràña alegrìa,</p> +<p>Del cièlo destièrran los nègros crespònes,</p> +<p>Prestàndo á esta nòche | la pòmpa del dìa?</p> + </div><div class="stanza"> +<p>¿Por qué tan ufàna, | tan bèlla la lùna</p> +<p>Con fàz refulgènte | comiènza su gìro,</p> +<p>Y no hày leve sòmbra | que crùce importùna</p> +<p>Su tròno esmaltàdo | de plàta y zafìro?</p> + </div> </div> + +<p>(Avellaneda, <i>Serenata de Cuba</i>)</p> + +<blockquote class="footnote"><a id="footnote41" name="footnote41"></a><b>Footnote 41:</b><a href="#footnotetag41"> (return) </a> Iriarte, of course, had written a fable or two in <i>arte mayor</i> verse. +Cf. <i>Fábula</i> XXXIX.</blockquote> + +<p><a id="plxxixl0" name="plxxixl0"></a><span class="pagenum">lxxix</span></p> + +<div class="poem"> <div class="stanza"> +<p>Soldàdos, la Pàtria | nos llàma á la lìd;</p> +<p>Jurèmos por èlla | vencèr ó morìr;</p> +<p>Serènos, alègres, | valièntes, osàdos,</p> +<p>Cantèmos, soldàdos, | el hìmno á la lìd:</p> +<p>Ya nuèstros acèntos | el òrbe se admìre,</p> +<p>Y en nòsotros<a id="footnotetag42" name="footnotetag42"></a><a href="#footnote42"><sup>42</sup></a> mìre | los hìjos del Cìd;</p> +<p>Ya nuèstros acèntos | el òrbe se admìre,</p> +<p>Y en nòsotros mìre | los hìjos del Cìd.</p> + </div> </div> + +<p>(<i>Himno de Riego</i>: cf. p. 242)</p> + +<blockquote class="footnote"><a id="footnote42" name="footnote42"></a><b>Footnote 42:</b><a href="#footnotetag42"> (return) </a> Note in <i>nosotros</i> the shifting of stress, which the musical notation +indicates clearly.</blockquote> + +<p>Lines of fourteen and fifteen syllables with ternary movement +are never popular, and in artistic verse they are exceedingly +rare. Avellaneda used these measures in <i>Soledad +del alma</i>:</p> + +<div class="poem"> <div class="stanza"> +<p>Sàle la auròra risuèña, de flòres vestìda,</p> +<p>Dàndole al cièlo y al càmpo variàdo colòr;</p> +<p>Tòdo se anìma sintièndo brotàr nueva vìda,</p> +<p>Càntan las àves, y el àura suspìra de amòr.</p> + </div><div class="stanza"> +<p>Huyèron velòces—cual nùbes que el viènto arrebàta—</p> +<p>Los brèves momèntos de dìcha que el cièlo me diò...</p> +<p>¿Por què mi existència, ya inùtil, su cùrso dilàta,</p> +<p>Si el tèrmino ansiàdo á su espàlda perdìdo dejò?</p> + </div> </div> + +<p>Some recent poets have attempted to write ternary Alexandrine +verse. Thus, the Peruvian poet, José S. Chocano +(1867-):</p> + +<div class="poem"> <div class="stanza"> +<p class="i4">Los Estados Unidos, como argolla de bronce,</p> +<p>contra un clavo sujetan de la América un pie;</p> +<p>y la América debe, si pretende ser libre,</p> +<p>imitarles primero, é igualarles después.</p> + </div> </div> + +<p><a id="plxxxl0" name="plxxxl0"></a><span class="pagenum">lxxx</span></p> + +<div class="poem"> <div class="stanza"> +<p>Imitemos ¡oh Musa! las crujientes estrofas</p> +<p>que en el Norte se arrastran con la gracia de un tren,</p> +<p>y que giren las rimas como ruedas veloces</p> +<p>y que caigan los versos como varas de riel.</p> + </div> </div> + +<p>(<i>La epopeya del Pacífico</i>)</p> + + +<p><b>STROPHES</b></p> + +<p>There are certain conventional combinations of line and +rime known by special names. Those used in modern +Spanish may best be considered under the heads (I) Assonance, +(II) Consonantal Rime, and (III) No Rime.</p> + +<p>I. (1) The <i>romance</i> is the most characteristic and national +of all Spanish meters. The proper <i>romance</i> consists +of 8-syllable lines with assonance in alternate lines<a id="footnotetag43" name="footnotetag43"></a><a href="#footnote43"><sup>43</sup></a> (cf. +pp. 1-8, 42, etc.). The structure of the <i>romance</i> line has +already been treated (p. lxi). In the old <i>romances</i> there +was no division into stanzas, but poets from the end of the +sixteenth century on regularly employ a pause after every +fourth line, thereby creating a series of quatrains (pp. 42, +60, etc.), except in the drama (p. 19).</p> + +<blockquote class="footnote"><a id="footnote43" name="footnote43"></a><b>Footnote 43:</b><a href="#footnotetag43"> (return) </a> Historically, of i6-syllable lines, all assonating.</blockquote> + +<p>(2) Alternate assonance may be employed with lines of +any length. With 11-syllable lines the verse is called <i>romance heroico</i> +or <i>real</i>. Lines of seven syllables make <i>versos +anacreónticos</i>. The name <i>endecha</i> is given to some assonated +verse of either six (p. 124) or seven syllables. When +the first three lines of a stanza are of seven syllables and the +last of eleven, the verse is called <i>endecha real</i>. For examples +of alternate assonance in lines of various lengths, see pp. 122 +(2 examples), 123, 137, 160, 177.</p> + +<p>An <i>estribillo</i>, or refrain, may be used in any assonating +verse (p. 45).</p> + +<p><a id="plxxxil0" name="plxxxil0"></a><span class="pagenum">lxxxi</span></p> + +<p>(3) The use of alternate assonance in lines of fourteen +syllables (pp. 211, 212) is a none too happy device of the +author.</p> + +<p>(4) The <i>seguidilla</i> is usually a stanza of seven lines of +seven and five syllables in length, in this order: 7, 5, 7, 5; +5, 7, 5. There is usually a pause after the fourth line; lines +2 and 4 have one assonance and lines 5 and 7 another. +The assonances change from one stanza to another. See +pp. 112 and 120. In some <i>seguidillas</i> the stanzas consist +only of the first four lines described.</p> + +<p>II. The native Spanish strophes are usually combinations +of 8-syllable or shorter lines. The 11-syllable line, itself an +importation from Italy, brought with it many well-known +Italian strophes. In none of the pure Italian forms are +lines ending in <i>agudos</i> or <i>esdrújulos</i> permissible.</p> + +<p>(1) The <i>redondilla mayor</i> consists of four 8-syllable lines +with the rime-scheme <i>abba</i> (pp. 149, 167), or, less commonly, +<i>abab</i> (p. 136). It is a common and characteristic +Spanish meter. The <i>redondilla menor</i> has the same form +expressed in lines of less than eight syllables. The same +rime-schemes are found with lines of seven or of eleven +(pp. 117, 207) syllables, and with combinations of eleven +and seven (p. 134), or eleven and five (p. 86) syllables; +but they are not properly called <i>redondillas</i>.</p> + +<p>(2) The <i>quintilla</i> is a 5-line strophe, usually of 8-syllable +lines. Only two rimes are used in one stanza, and not more +than two lines having the same rime should stand together +(pp. 26, 114). <i>Quintillas</i> are sometimes written with lines +of other lengths. Examples with eleven and seven syllables +are found on pp. 128, 133 and 148. The stanza used in +<i>Vida retirada</i> (p. 9) is termed <i>lira</i>: cf. <i>Introduction</i>, p. xxiii.</p> + +<p><a id="plxxxiil0" name="plxxxiil0"></a><span class="pagenum">lxxxii</span></p> + +<p>(3) The <i>décima</i> (or <i>espinela</i>) is a 10-line strophe of 8-syllable +lines which may be considered as two <i>quintillas</i>; +but there should be a pause after the fourth line, and the +rime-scheme is usually as follows: <i>abbaaccddc</i>.</p> + +<p>(4) The <i>arte mayor</i> line has already been described +(p. lxxv). The <i>copla de arte mayor</i> is a stanza of eight such +lines, usually having the rime-scheme <i>abbaacca</i>.</p> + +<p>(5) The <i>octava rima</i> (Ital. <i>ottava rima</i>) is an Italian +form. Each stanza has eight 11-syllable lines with the +rime-scheme <i>abababcc</i>. Examples are found of octaves +employing short lines. A variety of the <i>octava rima</i> is the +<i>octava bermudina</i> with the rime-scheme <i>abbcdeec</i>, the lines +in <i>c</i> ending in <i>agudos</i>.</p> + +<p>(6) The <i>soneto</i> (sonnet) is formed of fourteen 11-syllable +lines. In the Siglo de Oro it appears as a much stricter +form than the English sonnet of the corresponding period. +The quatrains have the regular construction <i>abba</i>, and the +tiercets almost always follow one of two types: either <i>cde, +cde,</i> or <i>cdcdcd</i>. See pp. 14, 18, 148, etc.</p> + +<p>(7) <i>Tercetos</i> (Italian <i>terza rima</i>), the verse used by Dante +in the <i>Divina Commedia</i>, are formed of 11-syllable lines in +groups of three, with the rime-scheme <i>aba, bcb, cdc</i>, etc., +ending <i>yzyz</i>. See p. 15.</p> + +<p>(8) The term <i>canción</i>, which means any lyrical composition, +is also applied specifically to a verse form in which +the poet invents a typical strophe, with a certain length of +line and order of rimes, and adheres to this type of stanza +throughout the whole poem. The lines are of eleven and +seven syllables,—the Italian structure. Of such nature +are the poems on pp. 8, 20, 71, 137 (bottom), 174, 190.</p> + +<p>The same procedure is employed with lines of any length, <a id="plxxxiiil0" name="plxxxiiil0"></a><span class="pagenum">lxxxiii</span> +but the poem is not then called <i>canción</i>. For strophes in +10-syllable lines, see p. 199; in 8-syllable lines, pp. 16, 51, +83, 151; in 7-syllables, p. 202.</p> + +<p>(9) The <i>silva</i> is a free composition of 11-and 7-syllable +lines. Most of the lines rime, but without any fixed order, +and lines are often left unrimed. See pp. 46, 54, 152, 214 +(bottom), etc. A similar freely riming poem in lines of +seven syllables is Villegas' <i>Cantilena</i> (p. 17).</p> + +<p>(10) The Asclepiadean verse (p. lxviii) and the Sapphic +(p. lxiv) and Alcaic (p. lxix) strophes have already been +described. These may be rimed, or in blank verse.</p> + +<p>(11) Numerous conventional names are given to poems +for some other characteristic than their metrical structure. +Thus a <i>glosa</i> (gloss) is a poem "beginning with a text, a +line of which enters into each of the stanzas expounding it." +A <i>letra</i> may be a short gloss. The name <i>letrilla</i> is applied +sometimes to a little poem in short lines which may be set +to music (p. 9), and sometimes to a strophic poem with a +refrain (p. 16). A <i>madrigal</i> is a short <i>silva</i> upon a light +topic, an expanded conceit. The term <i>cantilena</i> is given +to any short piece of verse intended to be set to music +(p. 17). <i>Serranillas</i>, in which is described the meeting of +a gentleman with a rustic maiden, are famous for the examples +written by Juan Ruiz and the Marquis of Santillana. +A <i>villancico</i> is a popular poem with a refrain, usually dealing +with an episode celebrated in a church festival (p. 13).</p> + +<p>III. <i>Versos sueltos, libres</i> or <i>blancos</i> (blank verse) are +formed, as in English, of 11-syllable lines, with occasionally +a shorter line thrown in. There is no rime, but sometimes +a couplet may mark the close of an idea. See pp. 38 +and 144, and cf. also p. lx.</p> + + +<a id="h6" name="h6"></a> +<p><a id="p1l0" name="p1l0"></a><span class="pagenum">1</span></p> +<br><br> + + +<h2>ESPAÑA</h2> + +<a id="h7" name="h7"></a> + +<h3>ROMANCES</h3> + + + + +<div class="poem"> <div class="stanza"> +<p class="i2">ABENÁMAR</p><br> +<p>Abenámar, Abenámar,</p> +<p>moro de la morería,</p> +<p>el día que tú naciste</p> +<p>grandes señales había!</p><a id="p1l5" name="p1l5"></a><span class="linenum">5</span> +<p>Estaba la mar en calma,</p> +<p>la luna estaba crecida:</p> +<p>moro que en tal signo nace,</p> +<p>no debe decir mentira.—</p> +<p>Allí respondiera el moro,</p><a id="p1l10" name="p1l10"></a><span class="linenum">10</span> +<p>bien oiréis lo que decía:</p> +<p>—Yo te la diré, señor,</p> +<p>aunque me cueste la vida,</p> +<p>porque soy hijo de un moro</p> +<p>y una cristiana cautiva;</p><a id="p1l15" name="p1l15"></a><span class="linenum">15</span> +<p>siendo yo niño y muchacho</p> +<p>mi madre me lo decía:</p> +<p>que mentira no dijese,</p> +<p>que era grande villanía:</p><a id="p2l0" name="p2l0"></a><span class="pagenum">2</span> +<p>por tanto pregunta, rey,</p> +<p>que la verdad te diría.</p> +<p>—Yo te agradezco, Abenámar</p> +<p>aquesa tu cortesía.</p> +<p>¿Qué castillos son aquéllos?</p><a id="p2l5" name="p2l5"></a><span class="linenum">5</span> +<p>¡Altos son y relucían!</p> +<p>—El Alhambra era, señor,</p> +<p>y la otra la mezquita;</p> +<p>los otros los Alixares,</p> +<p>labrados á maravilla.</p><a id="p2l10" name="p2l10"></a><span class="linenum">10</span> +<p>El moro que los labraba</p> +<p>cien doblas ganaba al día,</p> +<p>y el día que no los labra</p> +<p>otras tantas se perdía.</p> +<p>El otro es Generalife,</p><a id="p2l15" name="p2l15"></a><span class="linenum">15</span> +<p>huerta que par no tenía;</p> +<p>el otro Torres Bermejas,</p> +<p>castillo de gran valía.—</p> +<p>Allí habló el rey don Juan,</p> +<p>bien oiréis lo que decía:</p><a id="p2l20" name="p2l20"></a><span class="linenum">20</span> +<p>—Si tú quisieses, Granada,</p> +<p>contigo me casaría;</p> +<p>daréte en arras y dote</p> +<p>á Córdoba y á Sevilla.</p> +<p>—Casada soy, rey don Juan,</p><a id="p2l25" name="p2l25"></a><span class="linenum">25</span> +<p>casada soy, que no viuda;</p> +<p>el moro que á mí me tiene</p><a id="p3l0" name="p3l0"></a><span class="pagenum">3</span> +<p>muy grande bien me quería.</p> +<p>Fonte-frida, fonte-frida,</p> +<p>fonte-frida y con amor,</p> +<p>do todas las avecicas</p> +<p>van tomar consolación,</p><a id="p3l5" name="p3l5"></a><span class="linenum">5</span> +<p>sino es la tortolica</p> +<p>que está viuda y con dolor.</p> +<p>Por allí fuera á pasar</p> +<p>el traidor de ruiseñor:</p> +<p>las palabras que le dice</p><a id="p3l10" name="p3l10"></a><span class="linenum">10</span> +<p>llenas son de traición:</p> +<p>—Si tú quisieses, señora,</p> +<p>yo sería tu servidor.</p> +<p>—Vete de ahí, enemigo,</p> +<p>malo, falso, engañador,</p><a id="p3l15" name="p3l15"></a><span class="linenum">15</span> +<p>que ni poso en ramo verde,</p> +<p>ni en prado que tenga flor;</p> +<p>que si el agua hallo clara,</p> +<p>turbia la bebía yo;</p> +<p>que no quiero haber marido,</p><a id="p3l20" name="p3l20"></a><span class="linenum">20</span> +<p>porque hijos no haya, no:</p> +<p>no quiero placer con ellos,</p> +<p>ni menos consolación.</p> +<p>¡Déjame, triste enemigo,</p> +<p>malo, falso, mal traidor,</p><a id="p3l25" name="p3l25"></a><span class="linenum">25</span> +<p>que no quiero ser tu amiga,</p> +<p>ni casar contigo, no.</p> +</div></div> + +<p><a id="p4l0" name="p4l0"></a><span class="pagenum">4</span></p> + + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EL CONDE ARNALDOS</p><br> +<p>¡Quién hubiese tal ventura</p> +<p>sobre las aguas del mar,</p> +<p>como hubo el conde Arnaldos</p> +<p>la mañana de San Juan!</p><a id="p4l5" name="p4l5"></a><span class="linenum">5</span> +<p>Con un falcón en la mano</p> +<p>la caza iba á cazar,</p> +<p>vió venir una galera</p> +<p>que á tierra quiere llegar.</p> +<p>Las velas traía de seda,</p><a id="p4l10" name="p4l10"></a><span class="linenum">10</span> +<p>la jarcia de un cendal,</p> +<p>marinero que la manda</p> +<p>diciendo viene un cantar</p> +<p>que la mar facía en calma,</p> +<p>los vientos hace amainar,</p><a id="p4l15" name="p4l15"></a><span class="linenum">15</span> +<p>los peces que andan nel hondo</p> +<p>arriba los hace andar,</p> +<p>las aves que andan volando</p> +<p>nel mástel las faz posar.</p> +<p>Allí fabló el conde Arnaldos,</p><a id="p4l20" name="p4l20"></a><span class="linenum">20</span> +<p>bien oiréis lo que dirá:</p> +<p>—Por Dios te ruego, marinero,</p> +<p>dígasme ora ese cantar.—</p> +<p>Respondióle el marinero,</p> +<p>tal respuesta le fué á dar:</p><a id="p4l25" name="p4l25"></a><span class="linenum">25</span> +<p>—Yo no digo esta canción</p> +<p>sino á quien conmigo va.</p> + </div> </div> + +<p><a id="p5l0" name="p5l0"></a><span class="pagenum">5</span></p> + + + +<div class="poem"> <div class="stanza"> +<p class="i4">LA CONSTANCIA</p><br> +<p>Mis arreos son las armas,</p> +<p>mi descanso el pelear,</p> +<p>mi cama las duras peñas,</p> +<p>mi dormir siempre velar.</p><a id="p5l5" name="p5l5"></a><span class="linenum">5</span> +<p>Las manidas son escuras,</p> +<p>los caminos por usar,</p> +<p>el cielo con sus mudanzas</p> +<p>ha por bien de me dañar,</p> +<p>andando de sierra en sierra</p><a id="p5l10" name="p5l10"></a><span class="linenum">10</span> +<p>por orillas de la mar,</p> +<p>por probar si en mi ventura</p> +<p>hay lugar donde avadar.</p> +<p>Pero por vos, mi señora,</p> +<p>todo se ha de comportar.</p> + </div> </div> + + + + + +<div class="poem"> <div class="stanza"> +<p>EL AMANTE DESDICHADO</p><br> +<a id="p5l15" name="p5l15"></a><span class="linenum">15</span> +<p class="i2">En los tiempos que me vi</p> +<p>más alegre y placentero,</p> +<p>yo me partiera de Burgos</p> +<p>para ir á Valladolid:</p> +<p>encontré con un Palmero,</p><a id="p5l20" name="p5l20"></a><span class="linenum">20</span> +<p>quien me habló, y dijo así:</p> +<p>—¿Dónde vas tú, el desdichado?</p> +<p>¿Dónde vas? ¡triste de ti!</p> +<p>¡Oh persona desgraciada,</p> +<p>en mal punto te conocí!</p><a id="p5l25" name="p5l25"></a><span class="linenum">25</span><a id="p6l0" name="p6l0"></a><span class="pagenum">6</span> +<p>Muerta es tu enamorada,</p> +<p>muerta es, que yo la vi;</p> +<p>las andas en que la llevan</p> +<p>de negro las vi cubrir,</p> +<p>los responsos que le dicen</p><a id="p6l5" name="p6l5"></a><span class="linenum">5</span> +<p>yo los ayudé á decir:</p> +<p>siete condes la lloraban,</p> +<p>caballeros más de mil,</p> +<p>llorábanla sus doncellas,</p> +<p>llorando dicen así:</p><a id="p6l10" name="p6l10"></a><span class="linenum">10</span> +<p>—¡Triste de aquel caballero</p> +<p>que tal pérdida pierde aquí!—</p> +<p>Desque aquesto oí, mezquino,</p> +<p>en tierra muerto caí,</p> +<p>y por más de doce horas</p><a id="p6l15" name="p6l15"></a><span class="linenum">15</span> +<p>no tornara, triste, en mí.</p> +<p>Desque hube retornado,</p> +<p>á la sepultura fuí,</p> +<p>con lágrimas de mis ojos</p> +<p>llorando decía así:</p><a id="p6l20" name="p6l20"></a><span class="linenum">20</span> +<p>—Acógeme, mi señora,</p> +<p>acógeme á par de ti.—</p> +<p>Al cabo de la sepultura</p> +<p>esta triste voz oí:</p> +<p>—Vive, vive, enamorado,</p><a id="p6l25" name="p6l25"></a><span class="linenum">25</span> +<p>vive, pues que yo morí:</p> +<p>Dios te dé ventura en armas,</p> +<p>y en amor otro que sí,</p> +<p>que el cuerpo come la tierra,</p> +<p>y el alma pena por ti.—</p> + </div> </div> + +<p><a id="p7l0" name="p7l0"></a><span class="pagenum">7</span></p> + + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EL PRISIONERO</p><br> +<p>Por el mes era de mayo</p> +<p>cuando hace la calor,</p> +<p>cuando canta la calandria,</p> +<p>y responde el ruiseñor,</p><a id="p7l5" name="p7l5"></a><span class="linenum">5</span> +<p>cuando los enamorados</p> +<p>van á servir al amor,</p> +<p>sino yo, triste, cuitado,</p> +<p>que vivo en esta prisión,</p> +<p>que ni sé cuándo es de día</p><a id="p7l10" name="p7l10"></a><span class="linenum">10</span> +<p>ni cuándo las noches son,10</p> +<p>sino por un avecilla</p> +<p>que me cantaba al albor.</p> +<p>Matómela un ballestero,</p> +<p>¡déle Dios mal galardón!</p><a id="p7l15" name="p7l15"></a><span class="linenum">15</span> +<p>Cabellos de mi cabeza15</p> +<p>lléganme al corvejón;</p> +<p>los cabellos de mi barba</p> +<p>por manteles tengo yo:</p> +<p>las uñas de las mis manos</p><a id="p7l20" name="p7l20"></a><span class="linenum">20</span> +<p>por cuchillo tajador.</p> +<p>Si lo hacía el buen rey,</p> +<p>hácelo como señor:</p> +<p>si lo hace el carcelero,</p> +<p>hácelo como traidor.</p><a id="p7l25" name="p7l25"></a><span class="linenum">25</span> +<p>Mas ¡quién ahora me diese</p> +<p>un pájaro hablador,</p><a id="p8l0" name="p8l0"></a><span class="pagenum">8</span> +<p>siquiera fuese calandria,</p> +<p>ó tordico ó ruiseñor:</p> +<p>criado fuese entre damas</p> +<p>y avezado á la razón,</p> +<p>que me lleve una embajada</p><a id="p8l5" name="p8l5"></a><span class="linenum">5</span> +<p>á mi esposa Leonor,</p> +<p>que me envíe una empanada,</p> +<p>no de truchas ni salmón,</p> +<p>sino de una lima sorda</p> +<p>y de un pico tajador:</p><a id="p8l10" name="p8l10"></a><span class="linenum">10</span> +<p>la lima para los hierros,</p> +<p>y el pico para el torreón!—</p> +<p>Oídolo había el rey,</p> +<p>mandóle quitar la prisión.</p> + </div> </div> +<br> +<a id="h8" name="h8"></a> + +<h4>DON GIL VINCENTE</h4> + + +<div class="poem"> <div class="stanza"> +<p class="i6"><b>CANCIÓN</b></p><br> +<p class="i2">Muy graciosa es la doncella:</p><a id="p8l15" name="p8l15"></a><span class="linenum">15</span> +<p>¡cómo es bella y hermosa!</p> +<p class="i2">Digas tú, el marinero</p> +<p>que en las naves vivías,</p> +<p>si la nave ó la vela ó la estrella</p> +<p>es tan bella.</p><a id="p8l20" name="p8l20"></a><span class="linenum">20</span> +<p class="i2">Digas tú, el caballero</p> +<p>que las armas vestías,</p> +<p>si el caballo ó las armas ó la guerra</p> +<p>es tan bella.</p><a id="p9l0" name="p9l0"></a><span class="pagenum">9</span> +<p class="i2">Digas tú, el pastorcico</p> +<p>que el ganadico guardas,</p> +<p>si el ganado ó los valles, ó la sierra</p> +<p>es tan bella.</p> + </div> </div> +<br> +<a id="h9" name="h9"></a> + + +<h4>SANTA TERESA DE JESÚS</h4> + + + +<div class="poem"> <div class="stanza"> +<p>LETRILLA QUE LLEVABA</p> +<p>POR REGISTRO EN SU BREVIARIO</p><br> + +<p>Nada te turbe;</p><a id="p9l5" name="p9l5"></a><span class="linenum">5</span> +<p>nada te espante;</p> +<p>todo se pasa;</p> +<p>Dios no se muda,</p> +<p>la paciencia todo lo alcanza.</p> +<p>Quien á Dios tiene,</p><a id="p9l10" name="p9l10"></a><span class="linenum">10</span> +<p class="i4">nada le falta.</p> +<p class="i2">Solo Dios basta.</p> + </div> </div> +<br> +<a id="h10" name="h10"></a> + + + +<h4>FRAY LUIS DE LEÓN</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i4">VIDA RETIRADA</p><br> + +<p class="i2">¡Qué descansada vida</p> +<p>la del que huye el mundanal rüido,</p> +<p>y sigue la escondida</p><a id="p9l15" name="p9l15"></a><span class="linenum">15</span> +<p>senda por donde han ido</p> +<p>los pocos sabios que en el mundo han sido!</p> +<p class="i2">Que no le enturbia el pecho</p><a id="p10l0" name="p10l0"></a><span class="pagenum">10</span> +<p>de los soberbios grandes el estado,</p> +<p>ni del dorado techo</p> +<p>se admira, fabricado</p> +<p>del sabio moro, en jaspes sustentado.</p> +<p class="i2">No cura si la fama</p><a id="p10l5" name="p10l5"></a><span class="linenum">5</span> +<p>canta con voz su nombre pregonera,</p> +<p>ni cura si encarama</p> +<p>la lengua lisonjera</p> +<p>lo que condena la verdad sincera.</p> +<p class="i2">¿Qué presta á mi contento</p><a id="p10l10" name="p10l10"></a><span class="linenum">10</span> +<p>si soy del vano dedo señalado?</p> +<p>si en busca de este viento</p> +<p>ando desalentado</p> +<p>con ansias vivas, y mortal cuidado?</p> +<p class="i2">¡Oh campo, oh monte, oh río!</p><a id="p10l15" name="p10l15"></a><span class="linenum">15</span> +<p>¡oh secreto seguro deleitoso!</p> +<p>roto casi el navío,</p> +<p>á vuestro almo reposo</p> +<p>huyo de aqueste mar tempestüoso.</p> +<p class="i2">Un no rompido sueño,</p><a id="p10l20" name="p10l20"></a><span class="linenum">20</span> +<p>un día puro, alegre, libre quiero;</p> +<p>no quiero ver el ceño</p> +<p>vanamente severo</p> +<p>de quien la sangre ensalza ó el dinero.</p> +<p class="i2">Despiértenme las aves</p><a id="p10l25" name="p10l25"></a><span class="linenum">25</span> +<p>con su cantar süave no aprendido,</p> +<p>no los cuidados graves</p> +<p>de que es siempre seguido</p> +<p>quien al ajeno arbitrio está atenido.</p><a id="p11l0" name="p11l0"></a><span class="pagenum">11</span> +<p class="i2">Vivir quiero conmigo,</p> +<p>gozar quiero del bien que debo al cielo,</p> +<p>á solas sin testigo,</p> +<p>libre de amor, de celo,</p> +<p>de odio, de esperanzas, de recelo.</p><a id="p11l5" name="p11l5"></a><span class="linenum">5</span> +<p class="i2">Del monte en la ladera</p> +<p>por mi mano plantado tengo un huerto</p> +<p>que con la primavera</p> +<p>de bella flor cubierto</p> +<p>ya muestra en esperanza el fruto cierto.</p><a id="p11l10" name="p11l10"></a><span class="linenum">10</span> +<p class="i2">Y como codiciosa</p> +<p>de ver y acrecentar su hermosura,</p> +<p>desde la cumbre airosa</p> +<p>una fontana pura</p> +<p>hasta llegar corriendo se apresura.</p><a id="p11l15" name="p11l15"></a><span class="linenum">15</span> +<p class="i2">Y luego sosegada</p> +<p>el paso entre los árboles torciendo,</p> +<p>el suelo de pasada</p> +<p>de verdura vistiendo,</p> +<p>y con diversas flores va esparciendo.</p><a id="p11l20" name="p11l20"></a><span class="linenum">20</span> +<p class="i2">El aire el huerto orea,</p> +<p>y ofrece mil olores al sentido,</p> +<p>los árboles menea</p> +<p>con un manso rüido</p> +<p>que del oro y del cetro pone olvido.</p><a id="p11l25" name="p11l25"></a><span class="linenum">25</span> +<p class="i2">Ténganse su tesoro</p> +<p>los que de un flaco leño se confían:</p> +<p>no es mío ver el lloro</p> +<p>de los que desconfían</p><a id="p12l0" name="p12l0"></a><span class="pagenum">12</span> +<p>cuando el cierzo y el ábrego porfían.</p> +<p class="i2">La combatida antena</p> +<p>cruje, y en ciega noche el claro día</p> +<p>se torna, al cielo suena</p> +<p>confusa vocería,</p><a id="p12l5" name="p12l5"></a><span class="linenum">5</span> +<p>y la mar enriquecen á porfía.</p> +<p class="i2">Á mí una pobrecilla</p> +<p>mesa de amable paz bien abastada</p> +<p>me baste, y la vajilla</p> +<p>de fino oro labrada</p><a id="p12l10" name="p12l10"></a><span class="linenum">10</span> +<p>sea de quien la mar no teme airada.</p> +<p class="i2">Y mientras miserable-</p> +<p>mente se están los otros abrasando</p> +<p>en sed insaciable</p> +<p>del no durable mando,</p><a id="p12l15" name="p12l15"></a><span class="linenum">15</span> +<p>tendido yo á la sombra esté cantando;</p> +<p class="i2">Á la sombra tendido</p> +<p>de yedra y lauro eterno coronado,</p> +<p>puesto el atento oído</p> +<p>al son dulce acordado</p><a id="p12l20" name="p12l20"></a><span class="linenum">20</span> +<p>del plectro sabiamente meneado.</p> + </div> </div> + + +<br> +<a id="h11" name="h11"></a> +<h4>ANÓNIMO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i6">Á CRISTO CRUCIFICADO</p><br> +<p>No me mueve, mi Dios, para quererte</p> +<p>El cielo que me tienes prometido,</p> +<p>Ni me mueve el infierno tan temido</p><a id="p13l0" name="p13l0"></a><span class="pagenum">13</span> +<p>Para dejar por eso de ofenderte.</p> +<p class="i2">Tú me mueves, Señor; muéveme el verte</p> +<p>Clavado en una cruz y escarnecido;</p> +<p>Muéveme ver tu cuerpo tan herido;</p> +<p>Muévenme tus afrentas y tu muerte.</p><a id="p13l5" name="p13l5"></a><span class="linenum">5</span> +<p class="i2">Muéveme, al fin, tu amor, y en tal manera,</p> +<p>Que aunque no hubiera cielo, yo te amara.</p> +<p>Y aunque no hubiera infierno, te temiera.</p> +<p class="i2">No me tienes que dar porque te quiera;</p> +<p>Pues aunque lo que espero no esperara.</p><a id="p13l10" name="p13l10"></a><span class="linenum">10</span> +<p>Lo mismo que te quiero te quisiera.</p> + </div> </div> + + +<br> +<a id="h12" name="h12"></a> +<h4>DON LOPE FÉLIX DE VEGA CARPIO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>CANCIÓN DE LA VIRGEN</p><br> +<p class="i2">Pues andáis en las palmas,</p> +<p>Ángeles santos,</p> +<p>Que se duerme mi niño,</p> +<p>Tened los ramos.</p><a id="p13l15" name="p13l15"></a><span class="linenum">15</span> +<p class="i2">Palmas de Belén</p> +<p>Que mueven airados</p> +<p>Los furiosos vientos,</p> +<p>Que suenan tanto,</p> +<p>No le hagáis ruido,</p><a id="p13l20" name="p13l20"></a><span class="linenum">20</span> +<p>Corred más paso;</p> +<p>Que se duerme mi niño,</p> +<p>Tened los ramos.</p> +<p class="i2">El niño divino,</p><a id="p14l0" name="p14l0"></a><span class="pagenum">14</span> +<p>Que está cansado</p> +<p>De llorar en la tierra,</p> +<p>Por su descanso</p> +<p>Sosegar quiere un poco</p> +<p>Del tierno llanto;</p><a id="p14l5" name="p14l5"></a><span class="linenum">5</span> +<p>Que se duerme mi niño,</p> +<p>Tened los ramos.</p> +<p class="i2">Rigurosos hielos</p> +<p>Le están cercando,</p> +<p>Ya veis que no tengo</p><a id="p14l10" name="p14l10"></a><span class="linenum">10</span> +<p>Con que guardarlo:</p> +<p>Ángeles divinos,</p> +<p>Que vais volando,</p> +<p>Que se duerme mi niño,</p> +<p>Tened los ramos.</p> + </div> </div> + + + +<div class="poem"> <div class="stanza"> +<p class="i12">MAÑANA</p><br> +<a id="p14l15" name="p14l15"></a><span class="linenum">15</span> +<p class="i2">¿Qué tengo yo, que mi amistad procuras?</p> +<p>¿Qué interés se te sigue, Jesús mío,</p> +<p>Que á mi puerta, cubierto de rocío,</p> +<p>Pasas las noches del invierno escuras?</p> +<p class="i2">¡Oh cuánto fueron mis entrañas duras,</p><a id="p14l20" name="p14l20"></a><span class="linenum">20</span> +<p>Pues no te abrí! ¡Qué extraño desvarío,</p> +<p>Si de mi ingratitud el hielo frío</p> +<p>Secó las llagas de tus plantas puras!</p> +<p class="i2">¡Cuántas veces el ángel me decía:</p> +<p>«Alma, asómate agora á la ventana;</p><a id="p14l25" name="p14l25"></a><span class="linenum">25</span> +<p>Verás con cuánto amor llamar porfía!»</p><a id="p15l0" name="p15l0"></a><span class="pagenum">15</span> +<p class="i2">Y ¡cuántas, hermosura soberana,</p> +<p>«Mañana le abriremos,» respondía!</p> +<p>Para lo mismo responder mañana.</p> + </div> </div> + + +<br> +<a id="h13" name="h13"></a> +<h4>DON FRANCISCO DE QUEVEDO</h4> + +<p class="mid">EPÍSTOLA SATÍRICA Y CENSORIA<br> + +Contra las costumbres presentes de los castellanos,<br> +escrita al Conde-Duque de Olivares.</p> + + +<div class="poem"> <div class="stanza"> +<p class="i2">No he de callar, por más que con el dedo,</p> +<p>Ya tocando la boca, ó ya la frente,</p><a id="p15l5" name="p15l5"></a><span class="linenum">5</span> +<p>Silencio avises ó amenaces miedo.</p> +<p class="i2">¿No ha de haber un espíritu valiente?</p> +<p>¿Siempre se ha de sentir lo que se dice?</p> +<p>¿Nunca se ha de decir lo que se siente?</p> +<p class="i2">Hoy sin miedo que libre escandalice</p><a id="p15l10" name="p15l10"></a><span class="linenum">10</span> +<p>Puede hablar el ingenio, asegurado</p> +<p>De que mayor poder le atemorice.</p> +<p class="i2">En otros siglos pudo ser pecado</p> +<p>Severo estudio y la verdad desnuda,</p> +<p>Y romper el silencio el bien hablado.</p><a id="p15l15" name="p15l15"></a><span class="linenum">15</span> +<p class="i2">Pues sepa quien lo niega y quien lo duda</p> +<p>Que es lengua la verdad de Dios severo</p> +<p>Y la lengua de Dios nunca fué muda.</p> +<p class="i2">Son la verdad y Dios, Dios verdadero:</p> +<p>Ni eternidad divina los separa,</p><a id="p15l20" name="p15l20"></a><span class="linenum">20</span> +<p>Ni de los dos alguno fué primero.</p> + </div> </div> + +<p><a id="p16l0" name="p16l0"></a><span class="pagenum">16</span></p> + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">LETRILLA SATÍRICA</p><br> + +<p class="i2">Poderoso caballero</p> +<p>Es don Dinero.</p> +<p class="i2">Madre, yo al oro me humillo:</p> +<p>Él es mi amante y mi amado,</p><a id="p16l5" name="p16l5"></a><span class="linenum">5</span> +<p>Pues de puro enamorado,</p> +<p>De contino anda amarillo;</p> +<p>Que pues, doblón ó sencillo,</p> +<p>Hace todo cuanto quiero,</p> +<p>Poderoso caballero</p><a id="p16l10" name="p16l10"></a><span class="linenum">10</span> +<p>Es don Dinero.</p> +<p class="i2">Nace en las Indias honrado,</p> +<p>Donde el mundo le acompaña;</p> +<p>Viene á morir en España</p> +<p>Y es en Génova enterrado.</p><a id="p16l15" name="p16l15"></a><span class="linenum">15</span> +<p>Y pues quien le trae al lado</p> +<p>Es hermoso, aunque sea fiero,</p> +<p>Poderoso caballero</p> +<p>Es don Dinero.</p> +<p class="i2">Es galán y es como un oro,</p><a id="p16l20" name="p16l20"></a><span class="linenum">20</span> +<p>Tiene quebrado el color,</p> +<p>Persona de gran valor,</p> +<p>Tan cristiano como moro;</p> +<p>Pues que da y quita el decoro</p> +<p>Y quebranta cualquier fuero,</p><a id="p16l25" name="p16l25"></a><span class="linenum">25</span> +<p>Poderoso caballero</p> +<p>Es don Dinero.</p><a id="p17l0" name="p17l0"></a><span class="pagenum">17</span> +<p class="i2">Son sus padres principales</p> +<p>Y es de nobles descendiente,</p> +<p>Porque en las venas de Oriente</p> +<p>Todas las sangres son reales:</p> +<p>Y pues es quien hace iguales</p><a id="p17l5" name="p17l5"></a><span class="linenum">5</span> +<p>Al duque y al ganadero,</p> +<p>Poderoso caballero</p> +<p>Es don Dinero.</p> + </div> </div> + +<br> +<a id="h14" name="h14"></a> +<h4>DON ESTEBAN MANUEL DE VILLEGAS</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>CANTILENA: DE UN PAJARILLO</p><br> +<p class="i2">Yo vi sobre un tomillo</p> +<p>Quejarse un pajarillo,</p><a id="p17l10" name="p17l10"></a><span class="linenum">10</span> +<p>Viendo su nido amado,</p> +<p>De quien era caudillo,</p> +<p>De un labrador robado.</p> +<p>Vile tan congojado</p> +<p>Por tal atrevimiento</p><a id="p17l15" name="p17l15"></a><span class="linenum">15</span> +<p>Dar mil quejas al viento,</p> +<p>Para que al cielo santo</p> +<p>Lleve su tierno llanto,</p> +<p>Lleve su triste acento.</p> +<p>Ya con triste armonía,</p><a id="p17l20" name="p17l20"></a><span class="linenum">20</span> +<p>Esforzando el intento,</p> +<p>Mil quejas repetía;</p> +<p>Ya cansado callaba,</p><a id="p18l0" name="p18l0"></a><span class="pagenum">18</span> +<p>Y al nuevo sentimiento</p> +<p>Ya sonoro volvía.</p> +<p>Ya circular volaba,</p> +<p>Ya rastrero corría,</p> +<p>Ya pues de rama en rama</p><a id="p18l5" name="p18l5"></a><span class="linenum">5</span> +<p>Al rústico seguía;</p> +<p>Y saltando en la grama,</p> +<p>Parece que decía:</p> +<p>«Dame, rústico fiero,</p> +<p>Mi dulce compañía»;</p><a id="p18l10" name="p18l10"></a><span class="linenum">10</span> +<p>Y que le respondía</p> +<p>El rústico: «No quiero.»</p> + </div> </div> +<br> + + +<a id="h15" name="h15"></a> +<h4>DON PEDRO CALDERÓN DE LA BARCA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i10">SONETO</p><br> +<p class="i2">Estas que fueron pompa y alegría</p> +<p>Despertando al albor de la mañana,</p> +<p>Á la tarde serán lástima vana</p><a id="p18l15" name="p18l15"></a><span class="linenum">15</span> +<p>Durmiendo en brazos de la noche fría.</p> +<p class="i2">Este matiz que al cielo desafía,</p> +<p>Iris listado de oro, nieve y grana,</p> +<p>Será escarmiento de la vida humana:</p> +<p>¡Tanto se emprende en término de un día!</p><a id="p18l20" name="p18l20"></a><span class="linenum">20</span> +<p class="i2">Á florecer las rosas madrugaron,</p> +<p>Y para envejecerse florecieron:</p> +<p>Cuna y sepulcro en un botón hallaron.</p> +<p class="i2">Tales los hombres sus fortunas vieron:</p> +<p>En un día nacieron y expiraron;</p><a id="p18l25" name="p18l25"></a><span class="linenum">25</span> +<p>Que pasados los siglos, horas fueron.</p> + </div> </div> + +<p><a id="p19l0" name="p19l0"></a><span class="pagenum">19</span></p> +<br> + + + + + +<div class="poem"> <div class="stanza"> +<p>CONSEJO DE CRESPO A SU HIJO</p> +<p>EL ALCALDE DE ZALAMEA (11, 21)</p><br> + +<p>Por la gracia de Dios, Juan,</p> +<p>Eres de linaje limpio</p> +<p>Más que el sol, pero villano:</p> +<p>Lo uno y lo otro te digo,</p><a id="p19l5" name="p19l5"></a><span class="linenum">5</span> +<p>Aquello, porque no humilles</p> +<p>Tanto tu orgullo y tu brío,</p> +<p>Que dejes, desconfiado,</p> +<p>De aspirar con cuerdo arbitrio</p> +<p>Á ser más; lo otro, porque</p><a id="p19l10" name="p19l10"></a><span class="linenum">10</span> +<p>No vengas, desvanecido,</p> +<p>Á ser menos: igualmente</p> +<p>Usa de entrambos designios</p> +<p>Con humildad; porque siendo</p> +<p>Humilde, con recto juicio</p><a id="p19l15" name="p19l15"></a><span class="linenum">15</span> +<p>Acordarás lo mejor;</p> +<p>Y como tal, en olvido</p> +<p>Pondrás cosas que suceden</p> +<p>Al revés en los altivos.</p> +<p>¡Cuántos, teniendo en el mundo</p><a id="p19l20" name="p19l20"></a><span class="linenum">20</span> +<p>Algún defecto consigo,</p> +<p>Le han borrado por humildes!</p> +<p>Y ¡a cuántos, que no han tenido</p> +<p>Defecto, se le han hallado,</p> +<p>Por estar ellos mal vistos!</p><a id="p19l25" name="p19l25"></a><span class="linenum">25</span> +<p>Sé cortés sobremanera,</p><a id="p20l0" name="p20l0"></a><span class="pagenum">20</span> +<p>Sé liberal y esparcido;</p> +<p>Que el sombrero y el dinero</p> +<p>Son los que hacen los amigos;</p> +<p>Y no vale tanto el oro</p> +<p>Que el sol engendra en el indio</p><a id="p20l5" name="p20l5"></a><span class="linenum">5</span> +<p>Suelo que conduce el mar,</p> +<p>Como ser uno bienquisto.</p> +<p>No hables mal de las mujeres:</p> +<p>La más humilde, te digo</p> +<p>Que es digna de estimación,</p><a id="p20l10" name="p20l10"></a><span class="linenum">10</span> +<p>Porque, al fin, dellas nacimos.</p> + </div> </div> + + + + +<br> +<a id="h16" name="h16"></a> +<h4>FRAY DIEGO GONZÁLEZ</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EL MURCIÉLAGO ALEVOSO</p><br> + +<p class="i12">INVECTIVA</p><br> +<p class="i2">Estaba Mirta bella</p> +<p>Cierta noche formando en su aposento,</p> +<p>Con gracioso talento,</p> +<p>Una tierna canción, y porque en ella</p><a id="p20l15" name="p20l15"></a><span class="linenum">15</span> +<p>Satisfacer á Delio meditaba,</p> +<p>Que de su fe dudaba,</p> +<p>Con vehemente expresión le encarecía</p> +<p>El fuego que en su casto pecho ardía.</p> +<p class="i2">Y estando divertida,</p><a id="p20l20" name="p20l20"></a><span class="linenum">20</span> +<p>Un murciélago fiero, ¡suerte insana!</p> +<p>Entró por la ventana;</p><a id="p21l0" name="p21l0"></a><span class="pagenum">21</span> +<p>Mirta dejó la pluma, sorprendida,</p> +<p>Temió, gimió, dio voces, vino gente;</p> +<p>Y al querer diligente</p> +<p>Ocultar la canción, los versos bellos</p> +<p>De borrones llenó, por recogellos.</p><a id="p21l5" name="p21l5"></a><span class="linenum">5</span> +<p class="i2">Y Delio, noticioso</p> +<p>Del caso que en su daño había pasado,</p> +<p>Justamente enojado</p> +<p>Con el fiero murciélago alevoso,</p> +<p>Que había la canción interrumpido,</p><a id="p21l10" name="p21l10"></a><span class="linenum">10</span> +<p>Y á su Mirta afligido,</p> +<p>En cólera y furor se consumía,</p> +<p>Y así á la ave funesta maldecía:</p> +<p class="i2">«Oh monstruo de ave y bruto,</p> +<p>Que cifras lo peor de bruto y ave,</p><a id="p21l15" name="p21l15"></a><span class="linenum">15</span> +<p>Visión nocturna grave,</p> +<p>Nuevo horror de las sombras, nuevo luto,</p> +<p>De la luz enemigo declarado,</p> +<p>Nuncio desventurado</p> +<p>De la tiniebla y de la noche fría,</p><a id="p21l20" name="p21l20"></a><span class="linenum">20</span> +<p>¿Qué tienes tú que hacer donde está el día?</p> +<p class="i2">«Tus obras y figura</p> +<p>Maldigan de común las otras aves,</p> +<p>Que cánticos süaves</p> +<p>Tributan cada día á la alba pura;</p><a id="p21l25" name="p21l25"></a><span class="linenum">25</span> +<p>Y porque mi ventura interrumpiste,</p> +<p>Y á su autor afligiste,</p> +<p>Todo el mal y desastre te suceda</p> +<p>Que á un murciélago vil suceder pueda.</p><a id="p22l0" name="p22l0"></a><span class="pagenum">22</span> +<p class="i2">«La lluvia repetida,</p> +<p>Que viene de lo alto arrebatada,</p> +<p>Tan sólo reservada</p> +<p>Á las noches, se oponga á tu salida;</p> +<p>Ó el relámpago pronto reluciente</p><a id="p22l5" name="p22l5"></a><span class="linenum">5</span> +<p>Te ciegue y amedrente;</p> +<p>Ó soplando del Norte recio el viento,</p> +<p>No permita un mosquito á tu alimento.</p> +<p class="i2">«La dueña melindrosa,</p> +<p>Tras el tapiz do tienes tu manida,</p><a id="p22l10" name="p22l10"></a><span class="linenum">10</span> +<p>Te juzgue, inadvertida,</p> +<p>Por telaraña sucia y asquerosa,</p> +<p>Y con la escoba al suelo te derribe;</p> +<p>Y al ver que bulle y vive,</p> +<p>Tan fiera y tan ridícula figura,</p><a id="p22l15" name="p22l15"></a><span class="linenum">15</span> +<p>Suelte la escoba y huya con presura.</p> +<p class="i2">«Y luego sobrevenga</p> +<p>El juguetón gatillo bullicioso,</p> +<p>Y primero medroso</p> +<p>Al verte, se retire y se contenga,</p><a id="p22l20" name="p22l20"></a><span class="linenum">20</span> +<p>Y bufe y se espeluce horrorizado,</p> +<p>Y alce el rabo esponjado,</p> +<p>Y el espinazo en arco suba al cielo,</p> +<p>Y con los pies apenas toque el suelo.</p> +<p class="i2">«Mas luego recobrado,</p><a id="p22l25" name="p22l25"></a><span class="linenum">25</span> +<p>Y del primer horror convalecido,</p> +<p>El pecho al suelo unido,</p> +<p>Traiga el rabo del uno al otro lado,</p> +<p>Y cosido en la tierra, observe atento;</p><a id="p23l0" name="p23l0"></a><span class="pagenum">23</span> +<p>Y cada movimiento</p> +<p>Que en ti llegue á notar su perspicacia,</p> +<p>Le provoque al asalto y le dé audacia.</p> +<p class="i2">«En fin sobre ti venga,</p> +<p>Te acometa y ultraje sin recelo,</p><a id="p23l5" name="p23l5"></a><span class="linenum">5</span> +<p>Te arrastre por el suelo, 5</p> +<p>Y á costa de tu daño se entretenga;</p> +<p>Y por caso las uñas afiladas</p> +<p>En tus alas clavadas,</p> +<p>Por echarte de sí con sobresalto,</p><a id="p23l10" name="p23l10"></a><span class="linenum">10</span> +<p>Te arroje muchas veces á lo alto 10</p> +<p class="i2">«Y acuda á tus chillidos</p> +<p>El muchacho, y convoque á sus iguales,</p> +<p>Que con los animales</p> +<p>Suelen ser comúnmente desabridos;</p><a id="p23l15" name="p23l15"></a><span class="linenum">15</span> +<p>Que á todos nos dotó naturaleza 15</p> +<p>De entrañas de fiereza,</p> +<p>Hasta que ya la edad ó la cultura</p> +<p>Nos dan humanidad y más cordura.</p> +<p class="i2">«Entre con algazara</p><a id="p23l20" name="p23l20"></a><span class="linenum">20</span> +<p>La pueril tropa, al daño prevenida, 20</p> +<p>Y lazada oprimida</p> +<p>Te echen al cuello con fiereza rara;</p> +<p>Y al oirte chillar alcen el grito</p> +<p>Y te llamen maldito;</p><a id="p23l25" name="p23l25"></a><span class="linenum">25</span> +<p>Y creyéndote al fin del diablo imagen, 25</p> +<p>Te abominen, te escupan y te ultrajen.</p> +<p class="i2">«Luego por las telillas</p> +<p>De tus alas te claven al postigo,</p><a id="p24l0" name="p24l0"></a><span class="pagenum">24</span> +<p>Y se burlen contigo,</p> +<p>Y al hocico te apliquen candelillas,</p> +<p>Y se rían con duros corazones</p> +<p>De tus gestos y acciones,</p> +<p>Y á tus tristes querellas ponderadas</p><a id="p24l5" name="p24l5"></a><span class="linenum">5</span> +<p>Correspondan con fiesta y carcajadas.</p> +<p class="i2">«Y todos bien armados</p> +<p>De piedras, de navajas, de aguijones,</p> +<p>De clavos, de punzones,</p> +<p>De palos por los cabos afilados</p><a id="p24l10" name="p24l10"></a><span class="linenum">10</span> +<p>(De diversión y fiesta ya rendidos),</p> +<p>Te embistan atrevidos,</p> +<p>Y te quiten la vida con presteza,</p> +<p>Consumando en el modo su fiereza.</p> +<p class="i2">«Te puncen y te sajen,</p><a id="p24l15" name="p24l15"></a><span class="linenum">15</span> +<p>Te tundan, te golpeen, te martillen,</p> +<p>Te piquen, te acribillen,</p> +<p>Te dividan, te corten y te rajen,</p> +<p>Te desmiembren, te partan, te degüellen,</p> +<p>Te hiendan, te desuellen,</p><a id="p24l20" name="p24l20"></a><span class="linenum">20</span> +<p>Te estrujen, te aporreen, te magullen,</p> +<p>Te deshagan, confundan y aturrullen.</p> +<p class="i2">«Y las supersticiones</p> +<p>De las viejas creyendo realidades,</p> +<p>Por ver curiosidades,</p><a id="p24l25" name="p24l25"></a><span class="linenum">25</span> +<p>En tu sangre humedezcan algodones,</p> +<p>Para encenderlos en la noche obscura,</p> +<p>Creyendo sin cordura</p> +<p>Que verán en el aire culebrinas</p><a id="p25l0" name="p25l0"></a><span class="pagenum">25</span> +<p>Y otras tristes visiones peregrinas.</p> +<p class="i2">«Muerto ya, te dispongan</p> +<p>El entierro, te lleven arrastrando,</p> +<p>Gori, gori, cantando,</p> +<p>Y en dos filas delante se compongan,</p><a id="p25l5" name="p25l5"></a><span class="linenum">5</span> +<p>Y otros, fingiendo voces lastimeras,</p> +<p>Sigan de plañideras,</p> +<p>Y dirijan entierro tan gracioso</p> +<p>Al muladar más sucio y asqueroso;</p> +<p class="i2">«Y en aquella basura</p><a id="p25l10" name="p25l10"></a><span class="linenum">10</span> +<p>Un hoyo hondo y capaz te faciliten,</p> +<p>Y en él te depositen,</p> +<p>Y allí te den debida sepultura;</p> +<p>Y para hacer eterna tu memoria,</p> +<p>Compendiada tu historia</p><a id="p25l15" name="p25l15"></a><span class="linenum">15</span> +<p>Pongan en una losa duradera,</p> +<p>Cuya letra dirá de esta manera:</p> + </div><div class="stanza"> +<p><i>Epitafio</i></p> + </div><div class="stanza"> +<p class="i2">«Aquí yace el murciélago alevoso,</p> +<p>Que al sol horrorizó y ahuyentó el día,</p> +<p>De pueril saña triunfo lastimoso,</p><a id="p25l20" name="p25l20"></a><span class="linenum">20</span> +<p>Con cruel muerte pagó su alevosía:</p> +<p>No sigas, caminante, presuroso,</p> +<p>Hasta decir sobre esta losa fría:</p> +<p>Acontezca tal fin y tal estrella</p> +<p>Á aquel que mal hiciere á Mirta bella.»</p> + </div> </div> + + +<p><a id="p26l0" name="p26l0"></a><span class="pagenum">26</span></p> + +<br> +<a id="h17" name="h17"></a> +<h4>DON NICOLÁS F. DE MORATÍN</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i2">FIESTA DE TOROS EN MADRID</p><br> +<p class="i2">Madrid, castillo famoso</p> +<p>Que al rey moro alivia el miedo,</p> +<p>Arde en fiestas en su coso</p> +<p>Por ser el natal dichoso</p><a id="p26l5" name="p26l5"></a><span class="linenum">5</span> +<p>De Alimenón de Toledo.</p> +<p class="i2">Su bravo alcaide Aliatar,</p> +<p>De la hermosa Zaida amante,</p> +<p>Las ordena celebrar</p> +<p>Por si la puede ablandar</p><a id="p26l10" name="p26l10"></a><span class="linenum">10</span> +<p>El corazón de diamante.</p> +<p class="i2">Pasó, vencida á sus ruegos,</p> +<p>Desde Aravaca á Madrid;</p> +<p>Hubo pandorgas y fuegos,</p> +<p>Con otros nocturnos juegos</p><a id="p26l15" name="p26l15"></a><span class="linenum">15</span> +<p>Que dispuso el adalid.</p> +<p class="i2">Y en adargas y colores,</p> +<p>En las cifras y libreas,</p> +<p>Mostraron los amadores,</p> +<p>Y en pendones y preseas,</p><a id="p26l20" name="p26l20"></a><span class="linenum">20</span> +<p>La dicha de sus amores.</p> +<p class="i2">Vinieron las moras bellas</p> +<p>De toda la cercanía,</p> +<p>Y de lejos muchas de ellas:</p> +<p>Las más apuestas doncellas</p><a id="p26l25" name="p26l25"></a><span class="linenum">25</span><a id="p27l0" name="p27l0"></a><span class="pagenum">27</span> +<p>Que España entonces tenía.</p> +<p class="i2">Aja de Jetafe vino,</p> +<p>Y Zahara la de Alcorcón,</p> +<p>En cuyo obsequio muy fino</p> +<p>Corrió de un vuelo el camino</p><a id="p27l5" name="p27l5"></a><span class="linenum">5</span> +<p>El moraicel de Alcabón;</p> +<p class="i2">Jarifa de Almonacid,</p> +<p>Que de la Alcarria en que habita</p> +<p>Llevó á asombrar á Madrid</p> +<p>Su amante Audalla, adalid</p><a id="p27l10" name="p27l10"></a><span class="linenum">10</span> +<p>Del castillo de Zorita.</p> +<p class="i2">De Adamuz y la famosa</p> +<p>Meco llegaron allí</p> +<p>Dos, cada cual más hermosa,</p> +<p>Y Fátima la preciosa,</p><a id="p27l15" name="p27l15"></a><span class="linenum">15</span> +<p>Hija de Alí el alcadí.</p> +<p class="i2">El ancho circo se llena</p> +<p>De multitud clamorosa,</p> +<p>Que atiende á ver en la arena</p> +<p>La sangrienta lid dudosa,</p><a id="p27l20" name="p27l20"></a><span class="linenum">20</span> +<p>Y todo en torno resuena.</p> +<p class="i2">La bella Zaida ocupó</p> +<p>Sus dorados miradores</p> +<p>Que el arte afiligranó,</p> +<p>Y con espejos y flores</p><a id="p27l25" name="p27l25"></a><span class="linenum">25</span> +<p>Y damascos adornó.</p> +<p class="i2">Añafiles y atabales,</p> +<p>Con militar armonía,</p> +<p>Hicieron salva, y señales</p><a id="p28l0" name="p28l0"></a><span class="pagenum">28</span> +<p>De mostrar su valentía</p> +<p>Los moros más principales.</p> +<p class="i2">No en las vegas de Jarama</p> +<p>Pacieron la verde grama</p> +<p>Nunca animales tan fieros,</p><a id="p28l5" name="p28l5"></a><span class="linenum">5</span> +<p>Junto al puente que se llama,</p> +<p>Por sus peces, de Viveros,</p> +<p class="i2">Como los que el vulgo vió</p> +<p>Ser lidiados aquel día;</p> +<p>Y en la fiesta que gozó,</p><a id="p28l10" name="p28l10"></a><span class="linenum">10</span> +<p>la popular alegría</p> +<p>Muchas heridas costó.</p> +<p class="i2">Salió un toro del toril</p> +<p>Y á Tarfe tiró por tierra,</p> +<p>Y luego á Benalguacil;</p><a id="p28l15" name="p28l15"></a><span class="linenum">15</span> +<p>Después con Hamete cierra</p> +<p>El temerón de Conil.</p> +<p class="i2">Traía un ancho listón</p> +<p>Con uno y otro matiz</p> +<p>Hecho un lazo por airón,</p><a id="p28l20" name="p28l20"></a><span class="linenum">20</span> +<p>Sobre la inhiesta cerviz</p> +<p>Clavado con un arpón.</p> +<p class="i2">Todo galán pretendía</p> +<p>Ofrecerle vencedor</p> +<p>Á la dama que servía:</p><a id="p28l25" name="p28l25"></a><span class="linenum">25</span> +<p>Por eso perdió Almanzor</p> +<p>El potro que más quería.</p> +<p class="i2">El alcaide muy zambrero</p> +<p>De Guadalajara, huyó</p><a id="p29l0" name="p29l0"></a><span class="pagenum">29</span> +<p>Mal herido al golpe fiero,</p> +<p>Y desde un caballo overo</p> +<p>El moro de Horche cayó.</p> +<p class="i2">Todos miran á Aliatar,</p> +<p>Que, aunque tres toros ha muerto,</p><a id="p29l5" name="p29l5"></a><span class="linenum">5</span> +<p>No se quiere aventurar,</p> +<p>Porque en lance tan incierto</p> +<p>El caudillo no ha de entrar.</p> +<p class="i2">Mas viendo se culparía,</p> +<p>Va á ponérsele delante:</p><a id="p29l10" name="p29l10"></a><span class="linenum">10</span> +<p>La fiera le acometía,</p> +<p>Y sin que el rejón la plante</p> +<p>Le mató una yegua pía.</p> +<p class="i2">Otra monta acelerado:</p> +<p>Le embiste el toro de un vuelo,</p><a id="p29l15" name="p29l15"></a><span class="linenum">15</span> +<p>Cogiéndole entablerado;</p> +<p>Rodó el bonete encarnado</p> +<p>Con las plumas por el suelo.</p> +<p class="i2">Dió vuelta hiriendo y matando</p> +<p>Á los de á pie que encontrara,</p><a id="p29l20" name="p29l20"></a><span class="linenum">20</span> +<p>El circo desocupando,</p> +<p>Y emplazándose, se para,</p> +<p>Con la vista amenazando.</p> +<p class="i2">Nadie se atreve á salir:</p> +<p>La plebe grita indignada,</p><a id="p29l25" name="p29l25"></a><span class="linenum">25</span> +<p>Las damas se quieren ir,</p> +<p>Porque la fiesta empezada</p> +<p>No puede ya proseguir.</p> +<p class="i2">Ninguno al riesgo se entrega</p><a id="p30l0" name="p30l0"></a><span class="pagenum">30</span> +<p>Y está en medio el toro fijo,</p> +<p>Cuando un portero que llega</p> +<p>De la puerta de la Vega,</p> +<p>Hincó la rodilla, y dijo:</p> +<p class="i2">Sobre un caballo alazano,</p><a id="p30l5" name="p30l5"></a><span class="linenum">5</span> +<p>Cubierto de galas y oro, 5</p> +<p>Demanda licencia urbano</p> +<p>Para alancear á un toro</p> +<p>Un caballero cristiano.</p> +<p class="i2">Mucho le pesa á Aliatar;</p><a id="p30l10" name="p30l10"></a><span class="linenum">10</span> +<p>Pero Zaida dió respuesta 10</p> +<p>Diciendo que puede entrar,</p> +<p>Porque en tan solemne fiesta</p> +<p>Nada se debe negar.</p> +<p class="i2">Suspenso el concurso entero</p><a id="p30l15" name="p30l15"></a><span class="linenum">15</span> +<p>Entre dudas se embaraza, 15</p> +<p>Cuando en un potro ligero</p> +<p>Vieron entrar en la plaza</p> +<p>Un bizarro caballero,</p> +<p class="i2">Sonrosado, albo color,</p><a id="p30l20" name="p30l20"></a><span class="linenum">20</span> +<p>Belfo labio, juveniles 20</p> +<p>Alientos, inquieto ardor,</p> +<p>En el florido verdor</p> +<p>De sus lozanos abriles.</p> +<p class="i2">Cuelga la rubia guedeja</p><a id="p30l25" name="p30l25"></a><span class="linenum">25</span> +<p>Por donde el almete sube, 25</p> +<p>Cual mirarse tal vez deja</p> +<p>Del sol la ardiente madeja</p> +<p>Entre cenicienta nube;</p><a id="p31l0" name="p31l0"></a><span class="pagenum">31</span> +<p class="i2">Gorguera de anchos follajes,</p> +<p>De una cristiana primores;</p> +<p>En el yelmo los plumajes</p> +<p>Por los visos y celajes</p> +<p>Vergel de diversas flores;</p><a id="p31l5" name="p31l5"></a><span class="linenum">5</span> +<p class="i2">En la cuja gruesa lanza,</p> +<p>Con recamado pendón,</p> +<p>Y una cifra á ver se alcanza,</p> +<p>Que es de desesperación,</p> +<p>Ó á lo menos de venganza.</p><a id="p31l10" name="p31l10"></a><span class="linenum">10</span> +<p class="i2">En el arzón de la silla</p> +<p>Ancho escudo reverbera</p> +<p>Con blasones de Castilla,</p> +<p>Y el mote dice á la orilla:</p> +<p><i>Nunca mi espada venciera</i>.</p><a id="p31l15" name="p31l15"></a><span class="linenum">15</span> +<p class="i2">Era el caballo galán,</p> +<p>El bruto más generoso,</p> +<p>De más gallardo ademán:</p> +<p>Cabos negros, y brioso,</p> +<p>Muy tostado, y alazán,</p><a id="p31l20" name="p31l20"></a><span class="linenum">20</span> +<p class="i2">Larga cola recogida</p> +<p>En las piernas descarnadas,</p> +<p>Cabeza pequeña, erguida,</p> +<p>Las narices dilatadas,</p> +<p>Vista feroz y encendida.</p><a id="p31l25" name="p31l25"></a><span class="linenum">25</span> +<p class="i2">Nunca en el ancho rodeo</p> +<p>Que da Betis con tal fruto</p> +<p>Pudo fingir el deseo</p> +<p>Más bella estampa de bruto,</p><a id="p32l0" name="p32l0"></a><span class="pagenum">32</span> +<p>Ni más hermoso paseo.</p> +<p class="i2">Dió la vuelta al rededor;</p> +<p>Los ojos que le veían</p> +<p>Lleva prendados de amor:</p> +<p>¡Alá te salve! decían,</p><a id="p32l5" name="p32l5"></a><span class="linenum">5</span> +<p>¡Déte el Profeta favor! 5</p> +<p class="i2">Causaba lástima y grima</p> +<p>Su tierna edad floreciente:</p> +<p>Todos quieren que se exima</p> +<p>Del riesgo, y él solamente</p><a id="p32l10" name="p32l10"></a><span class="linenum">10</span> +<p>Ni recela ni se estima. 10</p> +<p class="i2">Las doncellas, al pasar,</p> +<p>Hacen de ámbar y alcanfor</p> +<p>Pebeteros exhalar,</p> +<p>Vertiendo pomos de olor,</p><a id="p32l15" name="p32l15"></a><span class="linenum">15</span> +<p>De jazmines y azahar. 15</p> +<p class="i2">Mas cuando en medio se para,</p> +<p>Y de más cerca le mira</p> +<p>La cristiana esclava Aldara,</p> +<p>Con su señora se encara,</p><a id="p32l20" name="p32l20"></a><span class="linenum">20</span> +<p>Y así la dice, y suspira: 20</p> +<p class="i2">—Señora, sueños no son;</p> +<p>Así los cielos, vencidos</p> +<p>De mi ruego y aflicción,</p> +<p>Acerquen á mis oídos</p><a id="p32l25" name="p32l25"></a><span class="linenum">25</span> +<p>Las campanas de León, 25</p> +<p class="i2">Como ese doncel, que ufano</p> +<p>Tanto asombro viene á dar</p> +<p>Á todo el pueblo africano,</p><a id="p33l0" name="p33l0"></a><span class="pagenum">33</span> +<p>Es Rodrigo de Bivar,</p> +<p>El soberbio castellano.—</p> +<p class="i2">Sin descubrirle quién es,</p> +<p>La Zaida desde una almena</p> +<p>Le habló una noche cortés,</p><a id="p33l5" name="p33l5"></a><span class="linenum">5</span> +<p>Por donde se abrió después</p> +<p>El cubo de la Almudena;</p> +<p class="i2">Y supo que, fugitivo</p> +<p>De la corte de Fernando,</p> +<p>El cristiano, apenas vivo,</p><a id="p33l10" name="p33l10"></a><span class="linenum">10</span> +<p>Está á Jimena adorando</p> +<p>Y en su memoria cautivo.</p> +<p class="i2">Tal vez á Madrid se acerca</p> +<p>Con frecuentes correrías</p> +<p>Y todo en torno la cerca;</p><a id="p33l15" name="p33l15"></a><span class="linenum">15</span> +<p>Observa sus saetías,</p> +<p>Arroyadas y ancha alberca.</p> +<p class="i2">Por eso le ha conocido:</p> +<p>Que en medio de aclamaciones,</p> +<p>El caballo ha detenido</p><a id="p33l20" name="p33l20"></a><span class="linenum">20</span> +<p>Delante de sus balcones,</p> +<p>Y la saluda rendido.</p> +<p class="i2">La mora se puso en pie</p> +<p>Y sus doncellas detrás:</p> +<p>El alcaide que lo ve,</p><a id="p33l25" name="p33l25"></a><span class="linenum">25</span> +<p>Enfurecido además,</p> +<p>Muestra cuán celoso esté.</p> +<p class="i2">Suena un rumor placentero</p> +<p>Entre el vulgo de Madrid:</p><a id="p34l0" name="p34l0"></a><span class="pagenum">34</span> +<p>No habrá mejor caballero,</p> +<p>Dicen, en el mundo entero,</p> +<p>Y algunos le llaman Cid.</p> +<p class="i2">Crece la algazara, y él,</p> +<p>Torciendo las riendas de oro,</p><a id="p34l5" name="p34l5"></a><span class="linenum">5</span> +<p>Marcha al combate crüel:</p> +<p>Alza el galope, y al toro</p> +<p>Busca en sonoro tropel.</p> +<p class="i2">El bruto se le ha encarado</p> +<p>Desde que le vió llegar,</p><a id="p34l10" name="p34l10"></a><span class="linenum">10</span> +<p>De tanta gala asombrado,</p> +<p>Y al rededor le ha observado</p> +<p>Sin moverse de un lugar.</p> +<p class="i2">Cual flecha se disparó</p> +<p>Despedida de la cuerda,</p><a id="p34l15" name="p34l15"></a><span class="linenum">15</span> +<p>De tal suerte le embistió;</p> +<p>Detrás de la oreja izquierda</p> +<p>La aguda lanza le hirió.</p> +<p class="i2">Brama la fiera burlada;</p> +<p>Segunda vez acomete,</p><a id="p34l20" name="p34l20"></a><span class="linenum">20</span> +<p>De espuma y sudor bañada,</p> +<p>Y segunda vez la mete</p> +<p>Sutil la punta acerada.</p> +<p class="i2">Pero ya Rodrigo espera</p> +<p>Con heroico atrevimiento,</p><a id="p34l25" name="p34l25"></a><span class="linenum">25</span> +<p>El pueblo mudo y atento:</p> +<p>Se engalla el toro y altera,</p> +<p>Y finje acometimiento.</p> +<p class="i2">La arena escarba ofendido,</p><a id="p35l0" name="p35l0"></a><span class="pagenum">35</span> +<p>Sobre la espalda la arroja</p> +<p>Con el hueso retorcido;</p> +<p>El suelo huele y le moja</p> +<p>En ardiente resoplido.</p> +<p class="i2">La cola inquieto menea,</p><a id="p35l5" name="p35l5"></a><span class="linenum">5</span> +<p>La diestra oreja mosquea,</p> +<p>Vase retirando atrás,</p> +<p>Para que la fuerza sea</p> +<p>Mayor, y el ímpetu más.</p> +<p class="i2">El que en esta ocasión viera</p><a id="p35l10" name="p35l10"></a><span class="linenum">10</span> +<p>De Zaida el rostro alterado,</p> +<p>Claramente conociera</p> +<p>Cuanto le cuesta cuidado</p> +<p>El que tanto riesgo espera.</p> +<p class="i2">Mas ¡ay, que le embiste horrendo</p><a id="p35l15" name="p35l15"></a><span class="linenum">15</span> +<p>El animal espantoso!</p> +<p>Jamás peñasco tremendo</p> +<p>Del Cáucaso cavernoso</p> +<p>Se desgaja, estrago haciendo,</p> +<p class="i2">Ni llama así fulminante</p><a id="p35l20" name="p35l20"></a><span class="linenum">20</span> +<p>Cruza en negra obscuridad</p> +<p>Con relámpagos delante,</p> +<p>Al estrépito tronante</p> +<p>De sonora tempestad,</p> +<p class="i2">Como el bruto se abalanza</p><a id="p35l25" name="p35l25"></a><span class="linenum">25</span> +<p>Con terrible ligereza;</p> +<p>Mas rota con gran pujanza</p> +<p>La alta nuca, la fiereza</p> +<p>Y el último aliento lanza.</p><a id="p36l0" name="p36l0"></a><span class="pagenum">36</span> +<p class="i2">La confusa vocería</p> +<p>Que en tal instante se oyó</p> +<p>Fué tanta, que parecía</p> +<p>Que honda mina reventó,</p> +<p>Ó el monte y valle se hundía.</p><a id="p36l5" name="p36l5"></a><span class="linenum">5</span> +<p class="i2">Á caballo como estaba</p> +<p>Rodrigo, el lazo alcanzó</p> +<p>Con que el toro se adornaba:</p> +<p>En su lanza le clavó</p> +<p>Y á los balcones llegaba.</p><a id="p36l10" name="p36l10"></a><span class="linenum">10</span> +<p class="i2">Y alzándose en los estribos,</p> +<p>Le alarga á Zaida, diciendo:</p> +<p>—Sultana, aunque bien entiendo</p> +<p>Ser favores excesivos,</p> +<p>Mi corto don admitiendo;</p><a id="p36l15" name="p36l15"></a><span class="linenum">15</span> +<p class="i2">Si no os dignáredes ser</p> +<p>Con él benigna, advertid</p> +<p>Que á mí me basta saber</p> +<p>Que no le debo ofrecer</p> +<p>Á otra persona en Madrid.—</p><a id="p36l20" name="p36l20"></a><span class="linenum">20</span> +<p class="i2">Ella, el rostro placentero,</p> +<p>Dijo, y turbada:—Señor,</p> +<p>Yo le admito y le venero,</p> +<p>Por conservar el favor</p> +<p>De tan gentil caballero.—</p><a id="p36l25" name="p36l25"></a><span class="linenum">25</span> +<p class="i2">Y besando el rico don,</p> +<p>Para agradar al doncel,</p> +<p>Le prende con afición</p> +<p>Al lado del corazón</p><a id="p37l0" name="p37l0"></a><span class="pagenum">37</span> +<p>Por brinquiño y por joyel.</p> +<p class="i2">Pero Aliatar el caudillo</p> +<p>De envidia ardiendo se ve,</p> +<p>Y, trémulo y amarillo,</p> +<p>Sobre un tremecén rosillo</p><a id="p37l5" name="p37l5"></a><span class="linenum">5</span> +<p>Lozaneándose fué.</p> +<p class="i2">Y en ronca voz:—Castellano,</p> +<p>Le dice, con más decoros</p> +<p>Suelo yo dar de mi mano,</p> +<p>Si no penachos de toros,</p><a id="p37l10" name="p37l10"></a><span class="linenum">10</span> +<p>Las cabezas del cristiano.</p> +<p class="i2">Y si vinieras de guerra</p> +<p>Cual vienes de fiesta y gala,</p> +<p>Vieras que en toda la tierra,</p> +<p>Al valor que dentro encierra</p><a id="p37l15" name="p37l15"></a><span class="linenum">15</span> +<p>Madrid, ninguno se iguala.—</p> +<p>—Así, dijo el de Bivar,</p> +<p>Respondo—; y la lanza al ristre</p> +<p>Pone, y espera á Aliatar;</p> +<p>Mas sin que nadie administre</p><a id="p37l20" name="p37l20"></a><span class="linenum">20</span> +<p>Orden, tocaron á armar.</p> +<p class="i2">Ya fiero bando con gritos</p> +<p>Su muerte ó prisión pedía,</p> +<p>Cuando se oyó en los distritos</p> +<p>Del monte de Leganitos</p><a id="p37l25" name="p37l25"></a><span class="linenum">25</span> +<p>Del Cid la trompetería.</p> +<p class="i2">Entre la Monclova y Soto</p> +<p>Tercio escogido emboscó,</p> +<p>Que, viendo como tardó,</p><a id="p38l0" name="p38l0"></a><span class="pagenum">38</span> +<p>Se acerca, oyó el alboroto,</p> +<p>Y al muro se abalanzó.</p> +<p class="i2">Y si no vieran salir</p> +<p>Por la puerta á su señor,</p> +<p>Y Zaida á le despedir,</p><a id="p38l5" name="p38l5"></a><span class="linenum">5</span> +<p>Iban la fuerza á embestir:</p> +<p>Tal era ya su furor.</p> +<p class="i2">El alcaide, recelando</p> +<p>Que en Madrid tenga partido,</p> +<p>Se templó disimulando,</p><a id="p38l10" name="p38l10"></a><span class="linenum">10</span> +<p>Y por el parque florido</p> +<p>Salió con él razonando.</p> +<p class="i2">Y es fama que, á la bajada,</p> +<p>Juró por la cruz el Cid</p> +<p>De su vencedora espada</p><a id="p38l15" name="p38l15"></a><span class="linenum">15</span> +<p>De no quitar la celada</p> +<p>Hasta que gane á Madrid.</p> + </div> </div> + + +<br> +<a id="h18" name="h18"></a> +<h4>DON GASPAR MELCHOR DE JOVELLANOS</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>Á ARNESTO</p><br> + +<p>¿Quis tam patiens ut teneat se?</p> + +<p class="i30">JUVENAL</p><br> +<p class="i2">Déjame, Arnesto, déjame que llore</p> +<p>Los fieros males de mi patria, deja</p> +<p>Que su rüina y perdición lamente;</p><a id="p38l20" name="p38l20"></a><span class="linenum">20</span> +<p>Y si no quieres que en el centro obscuro</p> +<p>De esta prisión la pena me consuma,</p> +<p>Déjame al menos que levante el grito</p><a id="p39l0" name="p39l0"></a><span class="pagenum">39</span> +<p>Contra el desorden: deja que á la tinta</p> +<p>Mezclando miel y acíbar, siga indócil</p> +<p>Mi pluma el vuelo del bufón de Aquino.</p> +<p>¡Oh! ¡cuánto rostro veo, á mi censura,</p> +<p>De palidez y de rubor cubierto!</p><a id="p39l5" name="p39l5"></a><span class="linenum">5</span> +<p>Ánimo, amigos, nadie tema, nadie,</p> +<p>Su punzante aguijón; que yo persigo</p> +<p>En mi sátira el vicio, no al vicioso.</p> + </div><div class="stanza"> +<p>Ya la notoriedad es el más noble</p> +<p>Atributo del vicio, y nuestras Julias,</p><a id="p39l10" name="p39l10"></a><span class="linenum">10</span> +<p>Más que ser malas quieren parecerlo.</p> +<p>Hubo un tiempo en que andaba la modestia</p> +<p>Dorando los delitos; hubo un tiempo</p> +<p>En que el recato tímido cubría</p> +<p>La fealdad del vicio; pero huyóse</p><a id="p39l15" name="p39l15"></a><span class="linenum">15</span> +<p>El pudor á vivir en las cabañas.</p> + </div><div class="stanza"> +<p>¡Oh infamia! ¡oh siglo! ¡oh corrupción! Matronas</p> +<p>Castellanas, ¿quién pudo vuestro claro</p> +<p>Pundonor eclipsar? ¿Quién de Lucrecias</p> +<p>En Laís os volvió? ¿Ni el proceloso</p><a id="p39l20" name="p39l20"></a><span class="linenum">20</span> +<p>Océano, ni, lleno de peligros,</p> +<p>El Lilibeo, ni las arduas cumbres</p> +<p>De Pirene pudieron guareceros</p> +<p>Del contagio fatal? Zarpa preñada</p> +<p>De oro la nao gaditana, aporta</p><a id="p39l25" name="p39l25"></a><span class="linenum">25</span> +<p>Á las orillas gálicas, y vuelve</p><a id="p40l0" name="p40l0"></a><span class="pagenum">40</span> +<p>Llena de objetos fútiles y vanos;</p> +<p>Y entre los signos de extranjera pompa</p> +<p>Ponzoña esconde y corrupción, compradas</p> +<p>Con el sudor de las iberas frentes;</p> +<p>Y tú, mísera España, tú la esperas</p><a id="p40l5" name="p40l5"></a><span class="linenum">5</span> +<p>Sobre la playa, y con afán recoges</p> +<p>La pestilente carga, y la repartes</p> +<p>Alegre entre tus hijos. Viles plumas,</p> +<p>Gasas y cintas, flores y penachos</p> +<p>Te trae en cambio de la sangre tuya;</p><a id="p40l10" name="p40l10"></a><span class="linenum">10</span> +<p>De tu sangre ¡oh baldón! y acaso, acaso</p> +<p>De tu virtud y honestidad. Repara</p> +<p>Cual la liviana juventud los busca.</p> +<p>Mira cual va con ellos engreída</p> +<p>La impudente doncella; su cabeza,</p><a id="p40l15" name="p40l15"></a><span class="linenum">15</span> +<p>Cual nave real en triunfo empavesada,</p> +<p>Vana presenta del favonio al soplo</p> +<p>La mies de plumas y de airones, y anda</p> +<p>Loca, buscando en la lisonja el premio</p> +<p>De su indiscreto afán. ¡Ay triste! guarte,</p><a id="p40l20" name="p40l20"></a><span class="linenum">20</span> +<p>Guarte, que está cercano el precipicio.</p> +<p>El astuto amador ya en asechanza</p> +<p>Te atisba y sigue con lascivos ojos;</p> +<p>La adulación y la caricia el lazo</p> +<p>Te van á armar, do caerás incauta,</p><a id="p40l25" name="p40l25"></a><span class="linenum">25</span> +<p>En él tu oprobio y perdición hallando.</p> +<p>¡Ay cuánto, cuánto de amargura y lloro</p> +<p>Te costarán tus galas! ¡Cuán tardío</p> +<p>Será y estéril tu arrepentimiento!</p><a id="p41l0" name="p41l0"></a><span class="pagenum">41</span> +<p>Ya ni el rico Brasil, ni las cavernas</p> +<p>Del nunca exhausto Potosí no bastan</p> +<p>Á saciar el hidrópico deseo,</p> +<p>La ansiosa sed de vanidad y pompa.</p> +<p>Todo lo agotan: cuesta un sombrerillo</p><a id="p41l5" name="p41l5"></a><span class="linenum">5</span> +<p>Lo que antes un Estado, y se consume</p> +<p>En un festín la dote de una infanta;</p> +<p>Todo lo tragan; la riqueza unida</p> +<p>Va á la indigencia; pide y pordiosea</p> +<p>El noble, engaña, empeña, malbarata,</p><a id="p41l10" name="p41l10"></a><span class="linenum">10</span> +<p>Quiebra y perece, y el logrero goza</p> +<p>Los pingües patrimonios, premio un día</p> +<p>Del generoso afán de altos abuelos.</p> +<p>¡Oh ultraje! ¡oh mengua! todo se trafica:</p> +<p>Parentesco, amistad, favor, influjo,</p><a id="p41l15" name="p41l15"></a><span class="linenum">15</span> +<p>Y hasta el honor, depósito sagrado,</p> +<p>Ó se vende ó se compra. Y tú, belleza,</p> +<p>Don el más grato que dió al hombre el cielo,</p> +<p>No eres ya premio del valor, ni paga</p> +<p>Del peregrino ingenio; la florida</p><a id="p41l20" name="p41l20"></a><span class="linenum">20</span> +<p>Juventud, la ternura, el rendimiento</p> +<p>Del constante amador ya no te alcanzan.</p> +<p>Ya ni te das al corazón, ni sabes</p> +<p>De él recibir adoración y ofrendas.</p> +<p>Ríndeste al oro. La vejez hedionda,</p><a id="p41l25" name="p41l25"></a><span class="linenum">25</span> +<p>La sucia palidez, la faz adusta,</p> +<p>Fiera y terrible, con igual derecho</p> +<p>Vienen sin susto á negociar contigo.</p> +<p>Daste al barato, y tu rosada frente,</p><a id="p42l0" name="p42l0"></a><span class="pagenum">42</span> +<p>Tus suaves besos y tus dulces brazos,</p> +<p>Corona un tiempo del amor más puro,</p> +<p>Son ya una vil y torpe mercancía.</p> + </div> </div> + + +<br> +<a id="h19" name="h19"></a> +<h4>DON JUAN MELÉNDEZ VALDÉS</h4> + + +<div class="poem"> <div class="stanza"> +<p>ROSANA EN LOS FUEGOS</p> + </div><div class="stanza"> +<p class="i2">Del sol llevaba la lumbre,</p> +<p>Y la alegría del alba,</p><a id="p42l5" name="p42l5"></a><span class="linenum">5</span> +<p>En sus celestiales ojos</p> +<p>La hermosísima Rosana,</p> +<p>Una noche que á los fuegos</p> +<p>Salió la fiesta de Pascua</p> +<p>Para abrasar todo el valle</p><a id="p42l10" name="p42l10"></a><span class="linenum">10</span> +<p>En mil amorosas ansias.</p> +<p>Por do quiera que camina</p> +<p>Lleva tras sí la mañana,</p> +<p>Y donde se vuelve rinde</p> +<p>La libertad de mil almas.</p><a id="p42l15" name="p42l15"></a><span class="linenum">15</span> +<p>El céfiro la acaricia</p> +<p>Y mansamente la halaga,</p> +<p>Los Amores la rodean</p> +<p>Y las Gracias la acompañan.</p> +<p>Y ella, así como en el valle</p><a id="p42l20" name="p42l20"></a><span class="linenum">20</span> +<p>Descuella la altiva palma</p> +<p>Cuando sus verdes pimpollos</p> +<p>Hasta las nubes levanta;</p> +<p>Ó cual vid de fruto llena</p><a id="p43l0" name="p43l0"></a><span class="pagenum">43</span> +<p>Que con el olmo se abraza,</p> +<p>Y sus vástagos extiende</p> +<p>Al arbitrio de las ramas;</p> +<p>Así entre sus compañeras</p> +<p>El nevado cuello alza,</p><a id="p43l5" name="p43l5"></a><span class="linenum">5</span> +<p>Sobresaliendo entre todas</p> +<p>Cual fresca rosa entre zarzas.</p> +<p>Todos los ojos se lleva</p> +<p>Tras sí, todo lo avasalla;</p> +<p>De amor mata á los pastores</p><a id="p43l10" name="p43l10"></a><span class="linenum">10</span> +<p>Y de envidia á las zagalas.</p> +<p>Ni las músicas se atienden,</p> +<p>Ni se gozan las lumbradas;</p> +<p>Que todos corren por verla</p> +<p>Y al verla todos se abrasan.</p><a id="p43l15" name="p43l15"></a><span class="linenum">15</span> +<p>¡Qué de suspiros se escuchan!</p> +<p>¡Qué de vivas y de salvas!</p> +<p>No hay zagal que no la admire</p> +<p>Y no se esmere en loarla.</p> +<p>Cual absorto la contempla</p><a id="p43l20" name="p43l20"></a><span class="linenum">20</span> +<p>Y á la aurora la compara</p> +<p>Cuando más alegre sale</p> +<p>Y el cielo en albores baña;</p> +<p>Cual al fresco y verde aliso</p> +<p>Que crece al margen del agua,</p><a id="p43l25" name="p43l25"></a><span class="linenum">25</span> +<p>Cuando más pomposo en hojas</p> +<p>En su cristal se retrata;</p> +<p>Cual á la luna, si muestra</p> +<p>Llena su esfera de plata,</p><a id="p44l0" name="p44l0"></a><span class="pagenum">44</span> +<p>Y asoma por los collados</p> +<p>De luceros coronada.</p> +<p>Otros pasmados la miran</p> +<p>Y mudamente la alaban,</p> +<p>Y cuanto más la contemplan</p><a id="p44l5" name="p44l5"></a><span class="linenum">5</span> +<p>Muy más hermosa la hallan.</p> +<p>Que es como el cielo su rostro</p> +<p>Cuando en la noche callada</p> +<p>Brilla con todas sus luces</p> +<p>Y los ojos embaraza.</p><a id="p44l10" name="p44l10"></a><span class="linenum">10</span> +<p>¡Ay, qué de envidias se encienden!</p> +<p>¡Ay, qué de celos que causa</p> +<p>En las serranas del Tormes</p> +<p>Su perfección sobrehumana!</p> +<p>Las más hermosas la temen,</p><a id="p44l15" name="p44l15"></a><span class="linenum">15</span> +<p>Mas sin osar murmurarla;</p> +<p>Que como el oro más puro</p> +<p>No sufre una leve mancha.</p> +<p>Bien haya tu gentileza,</p> +<p>Una y mil veces bien haya,</p><a id="p44l20" name="p44l20"></a><span class="linenum">20</span> +<p>Y abrase la envidia al pueblo,</p> +<p>Hermosísima aldeana.</p> +<p>Toda, toda eres perfecta,</p> +<p>Toda eres donaire y gracia,</p> +<p>El amor vive en tus ojos</p><a id="p44l25" name="p44l25"></a><span class="linenum">25</span> +<p>Y la gloria está en tu cara.</p> +<p>La libertad me has robado,</p> +<p>Yo la doy por bien robada,</p> +<p>Mas recibe el don benigna</p><a id="p45l0" name="p45l0"></a><span class="pagenum">45</span> +<p>Que mi humildad te consagra.</p> +<p>Esto un zagal la decía</p> +<p>Con razones mal formadas,</p> +<p>Que salió libre á los fuegos</p> +<p>Y volvió cautivo á casa.</p><a id="p45l5" name="p45l5"></a><span class="linenum">5</span> +<p>Y desde entonces perdido</p> +<p>El día á sus puertas le halla;</p> +<p>Ayer le cantó esta letra</p> +<p>Echándole la alborada:</p> +<p class="i2">Linda zagaleja</p><a id="p45l10" name="p45l10"></a><span class="linenum">10</span> +<p>De cuerpo gentil,</p> +<p><i>Muérome de amores</i></p> +<p><i>Desde que te vi</i>.</p> +<p class="i2">Tu talle, tu aseo,</p> +<p>Tu gala y donaire,</p><a id="p45l15" name="p45l15"></a><span class="linenum">15</span> +<p>No tienen, serrana,</p> +<p>Igual en el valle.</p> +<p>Del cielo son ellos</p> +<p>Y tú un serafín:</p> +<p><i>Muérome de amores</i></p><a id="p45l20" name="p45l20"></a><span class="linenum">20</span> +<p><i>Desde que te vi</i>.</p> +<p class="i2">De amores me muero,</p> +<p>Sin que nada baste</p> +<p>Á darme la vida</p> +<p>Que allá te llevaste,</p><a id="p45l25" name="p45l25"></a><span class="linenum">25</span> +<p>Si ya no te dueles,</p> +<p>Benigna, de mí;</p> +<p><i>Que muero de amores</i></p> +<p><i>Desde que te vi</i>.</p> + </div> </div> + +<p><a id="p46l0" name="p46l0"></a><span class="pagenum">46</span></p> +<br> + +<a id="h20" name="h20"></a> +<h4>DON MANUEL JOSÉ QUINTANA</h4> + +<p class="mid">ODA Á ESPAÑA, DESPUÉS DE LA REVOLUCIÓN<br> +DE MARZO</p> + + +<div class="poem"> <div class="stanza"> +<p class="i2">¿Qué era, decidme, la nación que un día</p> +<p>Reina del mundo proclamó el destino,</p> +<p>La que á todas las zonas extendía</p> +<p>Su cetro de oro y su blasón divino?</p><a id="p46l5" name="p46l5"></a><span class="linenum">5</span> +<p>Volábase á occidente,</p> +<p>Y el vasto mar Atlántico sembrado</p> +<p>Se hallaba de su gloria y su fortuna.</p> +<p>Do quiera España: en el preciado seno</p> +<p>De América, en el Asia, en los confines</p><a id="p46l10" name="p46l10"></a><span class="linenum">10</span> +<p>Del África, allí España. El soberano</p> +<p>Vuelo de la atrevida fantasía</p> +<p>Para abarcarla se cansaba en vano;</p> +<p>La tierra sus mineros le rendía,</p> +<p>Sus perlas y coral el Oceano,</p><a id="p46l15" name="p46l15"></a><span class="linenum">15</span> +<p>Y donde quier que revolver sus olas</p> +<p>Él intentase, á quebrantar su furia</p> +<p>Siempre encontraba costas españolas.</p> +<p class="i2">Ora en el cieno del oprobio hundida,</p> +<p>Abandonada á la insolencia ajena,</p><a id="p46l20" name="p46l20"></a><span class="linenum">20</span> +<p>Como esclava en mercado, ya aguardaba</p> +<p>La ruda argolla y la servil cadena.</p> +<p>¡Qué de plagas! ¡oh Dios! Su aliento impuro,</p> +<p>La pestilente fiebre respirando,</p><a id="p47l0" name="p47l0"></a><span class="pagenum">47</span> +<p>Infestó el aire, emponzoñó la vida;</p> +<p>La hambre enflaquecida</p> +<p>Tendió sus brazos lívidos, ahogando</p> +<p>Cuanto el contagio perdonó; tres veces</p> +<p>De Jano el templo abrimos,</p><a id="p47l5" name="p47l5"></a><span class="linenum">5</span> +<p>Y á la trompa de Marte aliento dimos;</p> +<p>Tres veces ¡ay! Los dioses tutelares</p> +<p>Su escudo nos negaron, y nos vimos</p> +<p>Rotos en tierra y rotos en los mares.</p> +<p>¿Qué en tanto tiempo viste</p><a id="p47l10" name="p47l10"></a><span class="linenum">10</span> +<p>Por tus inmensos términos, oh Iberia?</p> +<p>¿Qué viste ya sino funesto luto,</p> +<p>Honda tristeza, sin igual miseria,</p> +<p>De tu vil servidumbre acerbo fruto?</p> +<p class="i2">Así rota la vela, abierto el lado,</p><a id="p47l15" name="p47l15"></a><span class="linenum">15</span> +<p>Pobre bajel á naufragar camina,</p> +<p>De tormenta en tormenta despeñado,</p> +<p>Por los yermos del mar; ya ni en su popa</p> +<p>Las guirnaldas se ven que antes le ornaban,</p> +<p>Ni en señal de esperanza y de contento</p><a id="p47l20" name="p47l20"></a><span class="linenum">20</span> +<p>La flámula rïendo al aire ondea.</p> +<p>Cesó en su dulce canto el pasajero,</p> +<p>Ahogó su vocería</p> +<p>El ronco marinero,</p> +<p>Terror de muerte en torno le rodea,</p><a id="p47l25" name="p47l25"></a><span class="linenum">25</span> +<p>Terror de muerte silencioso y frío;</p> +<p>Y él va á estrellarse al áspero bajío.</p> +<p class="i2">Llega el momento, en fin; tiende su mano</p> +<p>El tirano del mundo al occidente,</p><a id="p48l0" name="p48l0"></a><span class="pagenum">48</span> +<p>Y fiero exclama: «El occidente es mío.»</p> +<p>Bárbaro gozo en su ceñuda frente</p> +<p>Resplandeció, como en el seno obscuro</p> +<p>De nube tormentosa en el estío</p> +<p>Relámpago fugaz brilla un momento</p><a id="p48l5" name="p48l5"></a><span class="linenum">5</span> +<p>Que añade horror con su fulgor sombrío.</p> +<p>Sus guerreros feroces</p> +<p>Con gritos de soberbia el viento llenan;</p> +<p>Gimen los yunques, los martillos suenan,</p> +<p>Arden las forjas. ¡Oh vergüenza! ¿Acaso</p><a id="p48l10" name="p48l10"></a><span class="linenum">10</span> +<p>Pensáis que espadas son para el combate</p> +<p>Las que mueven sus manos codiciosas?</p> +<p>No en tanto os estiméis: grillos, esposas,</p> +<p>Cadenas son que en vergonzosos lazos</p> +<p>Por siempre amarren tan inertes brazos.</p><a id="p48l15" name="p48l15"></a><span class="linenum">15</span> +<p class="i2">Estremecióse España </p> +<p>Del indigno rumor que cerca oía,</p> +<p>Y al grande impulso de su justa saña</p> +<p>Rompió el volcán que en su interior hervía.</p> +<p>Sus déspotas antiguos</p><a id="p48l20" name="p48l20"></a><span class="linenum">20</span> +<p>Consternados y pálidos se esconden;</p> +<p>Resuena el eco de venganza en torno,</p> +<p>Y del Tajo las márgenes responden:</p> +<p>«¡Venganza!» ¿Dónde están, sagrado río,</p> +<p>Los colosos de oprobio y de vergüenza</p><a id="p48l25" name="p48l25"></a><span class="linenum">25</span> +<p>Que nuestro bien en su insolencia ahogaban;</p> +<p>Su gloria fué, nuestro esplendor comienza;</p> +<p>Y tú, orgulloso y fiero,</p> +<p>Viendo que aun hay Castilla y castellanos,</p><a id="p49l0" name="p49l0"></a><span class="pagenum">49</span> +<p>Precipitas al mar tus rubias ondas,</p> +<p class="i2">¡Oh triunfo! ¡Oh gloria! ¡Oh celestial momento!</p> +<p>¿Con que puede ya dar el labio mío</p> +<p>El nombre augusto de la patria al viento?</p><a id="p49l5" name="p49l5"></a><span class="linenum">5</span> +<p>Yo le daré; mas no en el arpa de oro5</p> +<p>Que mi cantar sonoro</p> +<p>Acompañó hasta aquí; no aprisionado</p> +<p>En estrecho recinto, en que se apoca</p> +<p>El numen en el pecho</p><a id="p49l10" name="p49l10"></a><span class="linenum">10</span> +<p>Y el aliento fatídico en la boca.10</p> +<p>Desenterrad la lira de Tirteo,</p> +<p>Y el aire abierto á la radiante lumbre</p> +<p>Del sol, en la alta cumbre</p> +<p>Del riscoso y pinífero Fuenfría,</p><a id="p49l15" name="p49l15"></a><span class="linenum">15</span> +<p>Allí volaré yo, y allí cantando15</p> +<p>Con voz que atruene en rededor la sierra,</p> +<p>Lanzaré por los campos castellanos</p> +<p>Los ecos de la gloría y de la guerra.</p> +<p class="i2">¡Guerra, nombre tremendo, ahora sublime,</p><a id="p49l20" name="p49l20"></a><span class="linenum">20</span> +<p>Único asilo y sacrosanto escudo20</p> +<p>Al ímpetu sañudo</p> +<p>Del fiero Atila que á occidente oprime!</p> +<p>¡Guerra, guerra, españoles! En el Betis</p> +<p>Ved del Tercer Fernando alzarse airada</p><a id="p49l25" name="p49l25"></a><span class="linenum">25</span> +<p>La augusta sombra; su divina frente</p> +<p>Mostrar Gonzalo en la imperial Granada;</p> +<p>Blandir el Cid su centelleante espada,</p> +<p>Y allá sobre los altos Pirineos,</p><a id="p50l0" name="p50l0"></a><span class="pagenum">50</span> +<p>Del hijo de Jimena</p> +<p>Animarse los miembros giganteos.</p> +<p>En torvo ceño y desdeñosa pena</p> +<p>Ved como cruzan por los aires vanos;</p> +<p>Y el valor exhalando que se encierra</p><a id="p50l5" name="p50l5"></a><span class="linenum">5</span> +<p>Dentro del hueco de sus tumbas frías,</p> +<p>En fiera y ronca voz pronuncian: «¡Guerra!</p> +<p class="i2">¡Pues qué! ¿Con faz serena</p> +<p>Vierais los campos devastar opimos,</p> +<p>Eterno objeto de ambición ajena,</p><a id="p50l10" name="p50l10"></a><span class="linenum">10</span> +<p>Herencia inmensa que afanando os dimos?</p> +<p>Despertad, raza de héroes: el momento</p> +<p>Llegó ya de arrojarse á la victoria;</p> +<p>Que vuestro nombre eclipse nuestro nombre,</p> +<p>Que vuestra gloría humille nuestra gloria.</p><a id="p50l15" name="p50l15"></a><span class="linenum">15</span> +<p>No ha sido en el gran día</p> +<p>El altar de la patria alzado en vano</p> +<p>Por vuestra mano fuerte.</p> +<p>Juradlo, ella os lo manda: <i>¡Antes la muerte</i></p> +<p><i>Que consentir jamás ningún tirano!</i>»</p><a id="p50l20" name="p50l20"></a><span class="linenum">20</span> +<p class="i2">Sí, yo lo juro, venerables sombras;</p> +<p>Yo lo juro también, y en este instante</p> +<p>Ya me siento mayor. Dadme una lanza,</p> +<p>Ceñidme el casco fiero y refulgente;</p> +<p>Volemos al combate, á la venganza;</p><a id="p50l25" name="p50l25"></a><span class="linenum">25</span> +<p>Y el que niegue su pecho á la esperanza,</p> +<p>Hunda en el polvo la cobarde frente.</p> +<p>Tal vez el gran torrente</p> +<p>De la devastación en su carrera</p><a id="p51l0" name="p51l0"></a><span class="pagenum">51</span> +<p>Me llevará. ¿Qué importa? ¿Por ventura</p> +<p>No se muere una vez? ¿No iré, expirando,</p> +<p>Á encontrar nuestros ínclitos mayores?</p> +<p>«¡Salud, oh padres de la patria mía,</p> +<p>Yo les diré, salud! La heroica España</p><a id="p51l5" name="p51l5"></a><span class="linenum">5</span> +<p>De entre el estrago universal y horrores</p> +<p>Levanta la cabeza ensangrentada,</p> +<p>Y vencedora de su mal destino,</p> +<p>Vuelve á dar á la tierra amedrentada</p> +<p>Su cetro de oro y su blasón divino.»</p> + </div> </div> + + +<br> +<a id="h21" name="h21"></a> +<h4>DON DIONISIO SOLÍS</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>LA PREGUNTA DE LA NIÑA</p><br> +<a id="p51l10" name="p51l10"></a><span class="linenum">10</span> +<p class="i2">Madre mía, yo soy niña;</p> +<p>No se enfade, no me riña,</p> +<p>Si fiada en su prudencia</p> +<p>Desahogo mi conciencia,</p> +<p>Y contarle solicito</p><a id="p51l15" name="p51l15"></a><span class="linenum">15</span> +<p>Mi desdicha ó mi delito,</p> +<p>Aunque muerta de rubor.</p> +<p class="i2">Pues Blasillo el otro día,</p> +<p>Cuando mismo anochecía,</p> +<p>Y cantando descuidada</p><a id="p51l20" name="p51l20"></a><span class="linenum">20</span> +<p>Conducía mi manada,</p> +<p>En el bosque, por acaso,</p> +<p>Me salió solito al paso,</p> +<p>Más hermoso que el amor.</p><a id="p52l0" name="p52l0"></a><span class="pagenum">52</span> +<p class="i2">Se me acerca temeroso,</p> +<p>Me saluda cariñoso,</p> +<p>Me repite que soy linda,</p> +<p>Que no hay pecho que no rinda,</p> +<p>Que si río, que si lloro,</p><a id="p52l5" name="p52l5"></a><span class="linenum">5</span> +<p>Á los hombres enamoro,</p> +<p>Y que mato con mirar.</p> +<p class="i2">Con estilo cortesano</p> +<p>Se apodera de mi mano,</p> +<p>Y entre dientes, madre mía,</p><a id="p52l10" name="p52l10"></a><span class="linenum">10</span> +<p>No sé bien qué me pedía;</p> +<p>Yo entendí que era una rosa,</p> +<p>Pero él dijo que era otra cosa,</p> +<p>Que yo no le quise dar.</p> +<p class="i2">¿Sabe usted lo que decía</p><a id="p52l15" name="p52l15"></a><span class="linenum">15</span> +<p>El taimado que quería?</p> +<p>Con vergüenza lo confieso,</p> +<p>Mas no hay duda que era un beso</p> +<p>Y fue tanto mi sonrojo,</p> +<p>Que irritada de su arrojo,</p><a id="p52l20" name="p52l20"></a><span class="linenum">20</span> +<p>No sé como no morí.</p> +<p class="i2">Mas mi pecho enternecido</p> +<p>De mirarle tan rendido,</p> +<p>Al principio resistiendo,</p> +<p>Él instando, yo cediendo,</p><a id="p52l25" name="p52l25"></a><span class="linenum">25</span> +<p>Fue por fin tan importuno,</p> +<p>Que en la boca, y sólo uno,</p> +<p>Que me diera permití.</p> +<p class="i2">Desde entonces, si le miro,</p><a id="p53l0" name="p53l0"></a><span class="pagenum">53</span> +<p>Yo no sé por qué suspiro,</p> +<p>Ni por qué si á Clori mira</p> +<p>Se me abrasa el rostro en ira;</p> +<p>Ni por qué, si con cuidado</p> +<p>Se me pone junto al lado,</p><a id="p53l5" name="p53l5"></a><span class="linenum">5</span> +<p>Me estremezco de placer.</p> +<p class="i2">Siempre orillas de la fuente</p> +<p>Busco rosas á mi frente,</p> +<p>Pienso en él y me sonrío,</p> +<p>Y entre mí le llamo mío,</p><a id="p53l10" name="p53l10"></a><span class="linenum">10</span> +<p>Me entristezco de su ausencia,</p> +<p>Y deseo en su presencia</p> +<p>La más bella parecer.</p> +<p class="i2">Confundida, peno y dudo,</p> +<p>Y por eso á usted acudo;</p><a id="p53l15" name="p53l15"></a><span class="linenum">15</span> +<p>Dígame, querida madre,</p> +<p>Si sentía por mi padre</p> +<p>Este plácido tormento,</p> +<p>Esta dulce que yo siento</p> +<p>Deliciosa enfermedad.</p><a id="p53l20" name="p53l20"></a><span class="linenum">20</span> +<p class="i2">Diga usted con qué se cura</p> +<p>Ó mi amor, ó mi locura,</p> +<p>Y si puede por un beso,</p> +<p>Sin que pase á más exceso,</p> +<p>Una niña enamorarse,</p><a id="p53l25" name="p53l25"></a><span class="linenum">25</span> +<p>Y que trate de casarse</p> +<p>Á los quince de su edad.</p> + </div> </div> +<br> + +<p><a id="p54l0" name="p54l0"></a><span class="pagenum">54</span></p> + +<a id="h22" name="h22"></a> +<h4>DON JUAN NICASIO GALLEGO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">EL DOS DE MAYO</p><br> +<p class="i2">Noche, lóbrega noche, eterno asilo</p> +<p>Del miserable que, esquivando el sueño,</p> +<p>En tu silencio pavoroso gime:</p> +<p>No desdeñes mi voz; letal beleño</p><a id="p54l5" name="p54l5"></a><span class="linenum">5</span> +<p>Presta á mis sienes, y en tu horror sublime</p> +<p>Empapada la ardiente fantasía,</p> +<p>Da á mi pincel fatídicos colores</p> +<p>Con que el tremendo día</p> +<p>Trace al furor de vengadora tea,</p><a id="p54l10" name="p54l10"></a><span class="linenum">10</span> +<p>Y el odio irrite de la patria mía,</p> +<p>Y escándalo y terror al orbe sea.</p> +<p class="i2">¡Día de execración! La destructora</p> +<p>Mano del tiempo le arrojó al averno;</p> +<p>Mas ¿quién el sempiterno</p><a id="p54l15" name="p54l15"></a><span class="linenum">15</span> +<p>Clamor con que los ecos importuna</p> +<p>La madre España en enlutado arreo</p> +<p>Podrá atajar? Junto al sepulcro frío,</p> +<p>Al pálido lucir de opaca luna,</p> +<p>Entre cipreses fúnebres la veo:</p><a id="p54l20" name="p54l20"></a><span class="linenum">20</span> +<p>Trémula, yerta, desceñido el manto,</p> +<p>Los ojos moribundos</p> +<p>Al cielo vuelve, que le oculta el llanto;</p> +<p>Roto y sin brillo el cetro de dos mundos</p> +<p>Yace entre el polvo, y el león guerrero</p><a id="p54l25" name="p54l25"></a><span class="linenum">25</span><a id="p55l0" name="p55l0"></a><span class="pagenum">55</span> +<p>Lanza á sus pies rugido lastimero.</p> +<p class="i2">¡Ay, que cual débil planta</p> +<p>Que agota en su furor hórrido viento,</p> +<p>De víctimas sin cuento</p> +<p>Lloró la destrucción Mantua afligida!</p><a id="p55l5" name="p55l5"></a><span class="linenum">5</span> +<p>Yo vi, yo vi su juventud florida</p> +<p>Correr inerme al huésped ominoso.</p> +<p>¿Mas qué su generoso</p> +<p>Esfuerzo pudo? El pérfido caudillo</p> +<p>En quien su honor y su defensa fía,</p><a id="p55l10" name="p55l10"></a><span class="linenum">10</span> +<p>La condenó al cuchillo.</p> +<p>¿Quién ¡ay! la alevosía,</p> +<p>La horrible asolación habrá que cuente,</p> +<p>Que, hollando de amistad los santos fueros,</p> +<p>Hizo furioso en la indefensa gente</p><a id="p55l15" name="p55l15"></a><span class="linenum">15</span> +<p>Ese tropel de tigres carniceros?</p> +<p class="i2">Por las henchidas calles</p> +<p>Gritando se despeña</p> +<p>La infame turba que abrigó en su seno,</p> +<p>Rueda allá rechinando la cureña,</p><a id="p55l20" name="p55l20"></a><span class="linenum">20</span> +<p>Acá retumba el espantoso trueno,</p> +<p>Allí el joven lozano,</p> +<p>El mendigo infeliz, el venerable</p> +<p>Sacerdote pacífico, el anciano</p> +<p>Que con su arada faz respeto imprime,</p><a id="p55l25" name="p55l25"></a><span class="linenum">25</span> +<p>Juntos amarra su dogal tirano.</p> +<p>En balde, en balde gime,</p> +<p>De los duros satélites en torno,</p> +<p>La triste madre, la afligida esposa.</p><a id="p56l0" name="p56l0"></a><span class="pagenum">56</span> +<p>Con doliente clamor, la pavorosa</p> +<p>Fatal descarga suena,</p> +<p>Que á luto y llanto eterno la condena.</p> +<p class="i2">¡Cuánta escena de muerte! ¡cuánto estrago!</p> +<p>¡Cuántos ayes doquier! Despavorido</p><a id="p56l5" name="p56l5"></a><span class="linenum">5</span> +<p>Mirad ese infelice</p> +<p>Quejarse al adalid empedernido</p> +<p>De otra cuadrilla atroz. «¡Ah! ¿Qué te hice?»</p> +<p>Exclama el triste en lágrimas deshecho:</p> +<p>«Mi pan y mi mansión partí contigo,</p><a id="p56l10" name="p56l10"></a><span class="linenum">10</span> +<p>Te abrí mis brazos, te cedí mi lecho,</p> +<p>Templé tu sed, y me llamé tu amigo;</p> +<p>¿Y ahora pagar podrás nuestro hospedaje</p> +<p>Sincero, franco, sin doblez ni engaño,</p> +<p>Con dura muerte y con indigno ultraje?»</p><a id="p56l15" name="p56l15"></a><span class="linenum">15</span> +<p>¡Perdido suplicar! ¡inútil ruego!</p> +<p>El monstruo infame á sus ministros mira,</p> +<p>Y con tremenda voz gritando: «¡fuego!»</p> +<p>Tinto en su sangre el desgraciado expira.</p> +<p class="i2">Y en tanto ¿dó se esconden?</p><a id="p56l20" name="p56l20"></a><span class="linenum">20</span> +<p>¿Dó están ¡oh cara patria! tus soldados,</p> +<p>Que á tu clamor de muerte no responden?</p> +<p>Presos, encarcelados</p> +<p>Por jefes sin honor, que, haciendo alarde</p> +<p>De su perfidia y dolo,</p><a id="p56l25" name="p56l25"></a><span class="linenum">25</span> +<p>Á merced de los vándalos te dejan,</p> +<p>Como entre hierros el león, forcejean</p> +<p>Con inútil afán. Vosotros sólo,</p> +<p>Fuerte Daoiz, intrépido Velarde,</p><a id="p57l0" name="p57l0"></a><span class="pagenum">57</span> +<p>Que osando resistir al gran torrente</p> +<p>Dar supisteis en flor la dulce vida</p> +<p>Con firme pecho y con serena frente;</p> +<p>Si de mi libre musa</p> +<p>Jamás el eco adormeció á tiranos,</p><a id="p57l5" name="p57l5"></a><span class="linenum">5</span> +<p>Ni vil lisonja emponzoñó su aliento,</p> +<p>Allá del alto asiento,</p> +<p>Al que la acción magnánima os eleva,</p> +<p>El himno oid que á vuestro nombre entona,</p> +<p>Mientras la fama alígera le lleva</p><a id="p57l10" name="p57l10"></a><span class="linenum">10</span> +<p>Del mar de hielo á la abrasada zona.</p> +<p class="i2">Mas ¡ay! que en tanto sus funestas alas</p> +<p>Por la opresa metrópoli tendiendo,</p> +<p>La yerma asolación sus plazas cubre,</p> +<p>Y al áspero silbar de ardientes balas,</p><a id="p57l15" name="p57l15"></a><span class="linenum">15</span> +<p>Y al ronco son de los preñados bronces,</p> +<p>Nuevo fragor y estrépito sucede.</p> +<p>¿Oís cómo, rompiendo</p> +<p>De moradores tímidos las puertas,</p> +<p>Caen estallando de los fuertes gonces?</p><a id="p57l20" name="p57l20"></a><span class="linenum">20</span> +<p>¡Con qué espantoso estruendo</p> +<p>Los dueños buscan, que medrosos huyen!</p> +<p>Cuanto encuentran destruyen,</p> +<p>Bramando, los atroces forajidos,</p> +<p>Que el robo infame y la matanza ciegan.</p><a id="p57l25" name="p57l25"></a><span class="linenum">25</span> +<p>¿No veis cuál se despliegan,</p> +<p>Penetrando en los hondos aposentos,</p> +<p>De sangre y oro y lágrimas sedientos?</p> +<p class="i2">Rompen, talan, destrozan</p><a id="p58l0" name="p58l0"></a><span class="pagenum">58</span> +<p>Cuanto se ofrece á su sangrienta espada.</p> +<p>Aquí, matando al dueño, se alborozan,</p> +<p>Hieren allí su esposa acongojada;</p> +<p>La familia asolada</p> +<p>Yace expirando, y con feroz sonrisa</p><a id="p58l5" name="p58l5"></a><span class="linenum">5</span> +<p>Sorben voraces el fatal tesoro.</p> +<p>Suelta, á otro lado, la madeja de oro,</p> +<p>Mustio el dulce carmín de su mejilla,</p> +<p>Y en su frente marchita la azucena,</p> +<p>Con voz turbada y anhelante lloro,</p><a id="p58l10" name="p58l10"></a><span class="linenum">10</span> +<p>De su verdugo ante los pies se humilla</p> +<p>Tímida virgen, de amargura llena;</p> +<p>Mas con furor de hiena,</p> +<p>Alzando el corvo alfanje damasquino,</p> +<p>Hiende su cuello el bárbaro asesino.</p><a id="p58l15" name="p58l15"></a><span class="linenum">15</span> +<p class="i2">¡Horrible atrocidad!... Treguas ¡oh musa!</p> +<p>Que ya la voz rehusa</p> +<p>Embargada en suspiros mi garganta.</p> +<p>Y en ignominia tanta,</p> +<p>¿Será que rinda el español bizarro</p><a id="p58l20" name="p58l20"></a><span class="linenum">20</span> +<p>La indómita cerviz á la cadena?</p> +<p>No, que ya en torno suena</p> +<p>De Palas fiera el sanguinoso carro,</p> +<p>Y el látigo estallante</p> +<p>Los caballos flamígeros hostiga.</p><a id="p58l25" name="p58l25"></a><span class="linenum">25</span> +<p>Ya el duro peto y el arnés brillante</p> +<p>Visten los fuertes hijos de Pelayo.</p> +<p>Fuego arrojó su ruginoso acero:</p> +<p>«¡Venganza y guerra!» resonó en su tumba;</p><a id="p59l0" name="p59l0"></a><span class="pagenum">59</span> +<p>«¡Venganza y guerra!» repitió Moncayo;</p> +<p>Y al grito heroico que en los aires zumba,</p> +<p>«¡Venganza y guerra!» claman Turia y Duero.</p> +<p>Guadalquivir guerrero</p> +<p>Alza al bélico son la regia frente,</p><a id="p59l5" name="p59l5"></a><span class="linenum">5</span> +<p>Y del Patrón valiente</p> +<p>Blandiendo altivo la nudosa lanza,</p> +<p>Corre gritando al mar: «¡Guerra y venganza!»</p> +<p class="i2">¡Oh sombras infelices</p> +<p>De los que aleve y bárbara cuchilla</p><a id="p59l10" name="p59l10"></a><span class="linenum">10</span> +<p>Robó á los dulces lares!</p> +<p>¡Sombras inultas que en fugaz gemido</p> +<p>Cruzáis los anchos campos de Castilla!</p> +<p>La heroica España, en tanto que al bandido</p> +<p>Que á fuego y sangre, de insolencia ciego,</p><a id="p59l15" name="p59l15"></a><span class="linenum">15</span> +<p>Brindó felicidad, á sangre y fuego</p> +<p>Le retribuye el don, sabrá piadosa</p> +<p>Daros solemne y noble monumento.</p> +<p>Allí en padrón cruento</p> +<p>De oprobio y mengua, que perpetuo dure,</p><a id="p59l20" name="p59l20"></a><span class="linenum">20</span> +<p>La vil traición del déspota se lea,</p> +<p>Y altar eterno sea</p> +<p>Donde todo Español al monstruo jure</p> +<p>Rencor de muerte que en sus venas cunda,</p> +<p>Y á cien generaciones se difunda.</p> + </div> </div> + +<p><a id="p60l0" name="p60l0"></a><span class="pagenum">60</span></p> + +<br> +<a id="h23" name="h23"></a> +<h4>DON FRANCISCO MARTÍNEZ DE LA ROSA</h4> + + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">EL NIDO</p><br> +<p>¿Dónde vas, zagal cruel,</p> +<p>Dónde vas con ese nido,</p> +<p>Riyendo tú mientras pían</p> +<p>Esos tristes pajarillos?</p><a id="p60l5" name="p60l5"></a><span class="linenum">5</span> +<p>Su madre los dejó solos</p> +<p>En este momento mismo,</p> +<p>Para buscarles sustento</p> +<p>Y dárselo con su pico...</p> +<p>Mírala cuán azorada</p><a id="p60l10" name="p60l10"></a><span class="linenum">10</span> +<p>Echa menos á sus hijos,</p> +<p>Salta de un árbol en otro,</p> +<p>Va, torna, vuela sin tino:</p> +<p>Al cielo favor demanda</p> +<p>Con acento dolorido;</p><a id="p60l15" name="p60l15"></a><span class="linenum">15</span> +<p>Mientras ellos en tu mano</p> +<p>Baten el ala al oirlo...</p> +<p>¡Tú también tuviste madre,</p> +<p>Y la perdiste aun muy niño,</p> +<p>Y te encontraste en la tierra</p><a id="p60l20" name="p60l20"></a><span class="linenum">20</span> +<p>Sin amparo y sin abrigo!—</p> +<p>Las lágrimas se le saltan</p> +<p>Al cuitado pastorcillo,</p> +<p>Y vergonzoso y confuso</p> +<p>Deja en el árbol el nido.</p> + </div> </div> + + +<p><a id="p61l0" name="p61l0"></a><span class="pagenum">61</span></p> + +<br> +<a id="h24" name="h24"></a> +<h4>DON ÁNGEL DE SAAVEDRA, DUQUE DE<br> +RIVAS</h4> + + +<div class="poem"> <div class="stanza"> +<p><b>UN CASTELLANO LEAL</b></p><br> + +<p>ROMANCE PRIMERO</p><br> +<p class="i2">«Holá, hidalgos y escuderos</p> +<p>De mi alcurnia y mi blasón,</p> +<p>Mirad como bien nacidos</p> +<p>De mi sangre y casa en pro.</p><a id="p61l5" name="p61l5"></a><span class="linenum">5</span> +<p class="i2">«Esas puertas se defiendan;</p> +<p>Que no ha de entrar, vive Dios,</p> +<p>Por ellas, quien no estuviere</p> +<p>Más limpio que lo está el sol.</p> +<p class="i2">«No profane mi palacio</p><a id="p61l10" name="p61l10"></a><span class="linenum">10</span> +<p>Un fementido traidor</p> +<p>Que contra su Rey combate</p> +<p>Y que á su patria vendió.</p> +<p class="i2">«Pues si él es de Reyes primo,</p> +<p>Primo de Reyes soy yo;</p><a id="p61l15" name="p61l15"></a><span class="linenum">15</span> +<p>Y conde de Benavente</p> +<p>Si él es duque de Borbón;</p> +<p class="i2">«Llevándole de ventaja</p> +<p>Que nunca jamás manchó</p> +<p>La traición mi noble sangre,</p><a id="p61l20" name="p61l20"></a><span class="linenum">20</span> +<p>Y haber nacido español.»</p> + </div><div class="stanza"> +<p class="i2">Así atronaba la calle</p><a id="p62l0" name="p62l0"></a><span class="pagenum">62</span> +<p>Una ya cascada voz,</p> +<p>Que de un palacio salía</p> +<p>Cuya puerta se cerró;</p> +<p class="i2">Y á la que estaba á caballo</p> +<p>Sobre un negro pisador,</p><a id="p62l5" name="p62l5"></a><span class="linenum">5</span> +<p>Siendo en su escudo las lises</p> +<p>Más bien que timbre baldón,</p> +<p class="i2">Y de pajes y escuderos</p> +<p>Llevando un tropel en pos</p> +<p>Cubiertos de ricas galas,</p><a id="p62l10" name="p62l10"></a><span class="linenum">10</span> +<p>El gran duque de Borbón:</p> +<p class="i2">El que lidiando en Pavía,</p> +<p>Más que valiente, feroz,</p> +<p>Gozóse en ver prisionero</p> +<p>Á su natural señor;</p><a id="p62l15" name="p62l15"></a><span class="linenum">15</span> +<p class="i2">Y que á Toledo ha venido,</p> +<p>Ufano de su traición,</p> +<p>Para recibir mercedes</p> +<p>Y ver al Emperador.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p>ROMANCE SEGUNDO</p> + </div><div class="stanza"> +<p class="i2">En una anchurosa cuadra</p><a id="p62l20" name="p62l20"></a><span class="linenum">20</span> +<p>Del alcázar de Toledo,</p> +<p>Cuyas paredes adornan</p> +<p>Ricos tapices flamencos,</p> +<p class="i2">Al lado de una gran mesa,</p> +<p>Que cubre de terciopelo</p><a id="p62l25" name="p62l25"></a><span class="linenum">25</span> +<p>Napolitano tapete</p> +<p>Con borlones de oro y flecos;</p><a id="p63l0" name="p63l0"></a><span class="pagenum">63</span> +<p class="i2">Ante un sillón de respaldo</p> +<p>Que entre bordado arabesco</p> +<p>Los timbres de España ostenta</p> +<p>Y el águila del imperio,</p> +<p class="i2">De pie estaba Carlos Quinto,</p><a id="p63l5" name="p63l5"></a><span class="linenum">5</span> +<p>Que en España era primero,</p> +<p>Con gallardo y noble talle,</p> +<p>Con noble y tranquilo aspecto.</p> + </div><div class="stanza"> +<p class="i2">De brocado de oro y blanco</p> +<p>Viste tabardo tudesco,</p><a id="p63l10" name="p63l10"></a><span class="linenum">10</span> +<p>De rubias martas orlado, </p> +<p>Y desabrochado y suelto,</p> +<p class="i2">Dejando ver un justillo</p> +<p>De raso jalde, cubierto</p> +<p>Con primorosos bordados</p><a id="p63l15" name="p63l15"></a><span class="linenum">15</span> +<p>Y costosos sobrepuestos,</p> +<p class="i2">Y la excelsa y noble insignia</p> +<p>Del Toisón de oro, pendiendo</p> +<p>De una preciosa cadena</p> +<p>En la mitad de su pecho.</p><a id="p63l20" name="p63l20"></a><span class="linenum">20</span> +<p class="i2">Un birrete de velludo</p> +<p>Con un blanco airón, sujeto</p> +<p>Por un joyel de diamantes</p> +<p>Y un antiguo camafeo,</p> +<p class="i2">Descubre por ambos lados,</p><a id="p63l25" name="p63l25"></a><span class="linenum">25</span> +<p>Tanta majestad cubriendo,</p> +<p>Rubio, cual barba y bigote,</p> +<p>Bien atusado el cabello.</p><a id="p64l0" name="p64l0"></a><span class="pagenum">64</span> +<p class="i2">Apoyada en la cadera</p> +<p>La potente diestra ha puesto,</p> +<p>Que aprieta dos guantes de ámbar</p> +<p>Y un primoroso mosquero,</p> +<p class="i2">Y con la siniestra halaga</p><a id="p64l5" name="p64l5"></a><span class="linenum">5</span> +<p>De un mastín muy corpulento,</p> +<p>Blanco y las orejas rubias,</p> +<p>El ancho y carnoso cuello.</p> + </div><div class="stanza"> +<p class="i2">Con el Condestable insigne,</p> +<p>Apaciguador del reino,</p><a id="p64l10" name="p64l10"></a><span class="linenum">10</span> +<p>De los pasados disturbios</p> +<p>Acaso está discurriendo;</p> +<p class="i2">Ó del trato que dispone</p> +<p>Con el Rey de Francia preso,</p> +<p>Ó de asuntos de Alemania</p><a id="p64l15" name="p64l15"></a><span class="linenum">15</span> +<p>Agitada por Lutero;</p> +<p class="i2">Cuando un tropel de caballos</p> +<p>Oye venir á lo lejos</p> +<p>Y ante el alcázar pararse,</p> +<p>Quedando todo en silencio.</p><a id="p64l20" name="p64l20"></a><span class="linenum">20</span> +<p class="i2">En la antecámara suena</p> +<p>Rumor impensado luego,</p> +<p>Ábrese al fin la mampara</p> +<p>Y entra el de Borbón soberbio,</p> +<p class="i2">Con el semblante de azufre</p><a id="p64l25" name="p64l25"></a><span class="linenum">25</span> +<p>Y con los ojos de fuego,</p> +<p>Bramando de ira y de rabia</p> +<p>Que enfrena mal el respeto;</p><a id="p65l0" name="p65l0"></a><span class="pagenum">65</span> +<p class="i2">Y con balbuciente lengua,</p> +<p>Y con mal borrado ceño,</p> +<p>Acusa al de Benavente,</p> +<p>Un desagravio pidiendo.</p> + </div><div class="stanza"> +<p class="i2">Del español Condestable</p><a id="p65l5" name="p65l5"></a><span class="linenum">5</span> +<p>Latió con orgullo el pecho,</p> +<p>Ufano de la entereza</p> +<p>De su esclarecido deudo.</p> +<p class="i2">Y aunque advertido procura</p> +<p>Disimular cual discreto,</p><a id="p65l10" name="p65l10"></a><span class="linenum">10</span> +<p>Á su noble rostro asoman</p> +<p>La aprobación y el contento.</p> +<p class="i2">El Emperador un punto</p> +<p>Quedó indeciso y suspenso,</p> +<p>Sin saber qué responderle</p><a id="p65l15" name="p65l15"></a><span class="linenum">15</span> +<p>Al francés, de enojo ciego.</p> +<p class="i2">Y aunque en su interior se goza</p> +<p>Con el proceder violento</p> +<p>Del conde de Benavente,</p> +<p>De altas esperanzas lleno</p><a id="p65l20" name="p65l20"></a><span class="linenum">20</span> +<p class="i2">Por tener tales vasallos,</p> +<p>De noble lealtad modelos,</p> +<p>Y con los que el ancho mundo</p> +<p>Será á sus glorias estrecho,</p> +<p class="i2"> Mucho al de Borbón le debe</p><a id="p65l25" name="p65l25"></a><span class="linenum">25</span> +<p>Y es fuerza satisfacerlo:</p> +<p>Le ofrece para calmarlo</p> +<p>Un desagravio completo.</p><a id="p66l0" name="p66l0"></a><span class="pagenum">66</span> +<p class="i2">Y, llamando á un gentil-hombre,</p> +<p>Con el semblante severo</p> +<p>Manda que el de Benavente</p> +<p>Venga á su presencia presto.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p>ROMANCE TERCERO</p> + </div><div class="stanza"> +<p class="i2">Sostenido por sus pajes</p><a id="p66l5" name="p66l5"></a><span class="linenum">5</span> +<p>Desciende de su litera</p> +<p>El conde de Benavente</p> +<p>Del alcázar á la puerta.</p> +<p class="i2">Era un viejo respetable,</p> +<p>Cuerpo enjuto, cara seca,</p><a id="p66l10" name="p66l10"></a><span class="linenum">10</span> +<p>Con dos ojos como chispas,</p> +<p>Cargados de largas cejas,</p> +<p class="i2">Y con semblante muy noble,</p> +<p>Mas de gravedad tan seria</p> +<p>Que veneración de lejos</p><a id="p66l15" name="p66l15"></a><span class="linenum">15</span> +<p>Y miedo causa de cerca.</p> +<p class="i2">Eran su traje unas calzas</p> +<p>De púrpura de Valencia,</p> +<p>Y de recamado ante</p> +<p>Un coleto á la leonesa:</p><a id="p66l20" name="p66l20"></a><span class="linenum">20</span> +<p class="i2">De fino lienzo gallego20</p> +<p>Los puños y la gorguera,</p> +<p>Unos y otra guarnecidos</p> +<p>Con randas barcelonesas:</p> +<p class="i2">Un birretón de velludo</p><a id="p66l25" name="p66l25"></a><span class="linenum">25</span> +<p>Con su cintillo de perlas,</p> +<p>Y el gabán de paño verde</p> +<p>Con alamares de seda.</p><a id="p67l0" name="p67l0"></a><span class="pagenum">67</span> +<p class="i2">Tan sólo de Calatrava</p> +<p>La insignia española lleva;</p> +<p>Que el Toisón ha despreciado</p> +<p>Por ser orden extranjera.</p> + </div><div class="stanza"><a id="p67l5" name="p67l5"></a><span class="linenum">5</span> +<p class="i2">Con paso tardo, aunque firme,</p> +<p>Sube por las escaleras,</p> +<p>Y al verle, las alabardas</p> +<p>Un golpe dan en la tierra;</p> +<p class="i2">Golpe de honor, y de aviso</p><a id="p67l10" name="p67l10"></a><span class="linenum">10</span> +<p>De que en el alcázar entra</p> +<p>Un Grande, á quien se le debe</p> +<p>Todo honor y reverencia.</p> +<p class="i2">Al llegar á la antesala,</p> +<p>Los pajes que están en ella</p><a id="p67l15" name="p67l15"></a><span class="linenum">15</span> +<p>Con respeto le saludan</p> +<p>Abriendo las anchas puertas.</p> +<p class="i2">Con grave paso entra el conde</p> +<p>Sin que otro aviso preceda,</p> +<p>Salones atravesando</p><a id="p67l20" name="p67l20"></a><span class="linenum">20</span> +<p>Hasta la cámara regia.</p> + </div><div class="stanza"> +<p class="i2">Pensativo está el Monarca,</p> +<p>Discurriendo como pueda</p> +<p>Componer aquel disturbio</p> +<p>Sin hacer á nadie ofensa.</p><a id="p67l25" name="p67l25"></a><span class="linenum">25</span> +<p class="i2">Mucho al de Borbón le debe,</p> +<p>Aun mucho más de él espera,</p><a id="p68l0" name="p68l0"></a><span class="pagenum">68</span> +<p>Y al de Benavente mucho</p> +<p>Considerar le interesa.</p> +<p class="i2">Dilación no admite el caso,</p> +<p>No hay quien dar consejo pueda</p> +<p>Y Villalar y Pavía</p><a id="p68l5" name="p68l5"></a><span class="linenum">5</span> +<p>Á un tiempo se le recuerdan.</p> +<p class="i2">En el sillón asentado</p> +<p>Y el codo sobre la mesa,</p> +<p>Al personaje recibe,</p> +<p>Que comedido se acerca.</p> + </div><div class="stanza"><a id="p68l10" name="p68l10"></a><span class="linenum">10</span> +<p class="i2">Grave el conde le saluda</p> +<p>Con una rodilla en tierra,</p> +<p>Mas como Grande del reino</p> +<p>Sin descubrir la cabeza.</p> +<p class="i2">El Emperador benigno</p><a id="p68l15" name="p68l15"></a><span class="linenum">15</span> +<p>Que alce del suelo le ordena,</p> +<p>Y la plática difícil</p> +<p>Con sagacidad empieza.</p> +<p class="i2">Y entre severo y afable</p> +<p>Al cabo le manifiesta</p><a id="p68l20" name="p68l20"></a><span class="linenum">20</span> +<p>Que es el que á Borbón aloje</p> +<p>Voluntad suya resuelta.</p> +<p class="i2">Con respeto muy profundo,</p> +<p>Pero con la voz entera,</p> +<p>Respóndele Benavente,</p><a id="p68l25" name="p68l25"></a><span class="linenum">25</span> +<p>Destocando la cabeza:</p> +<p class="i2">«Soy, señor, vuestro vasallo,</p> +<p>Vos sois mi rey en la tierra,</p><a id="p69l0" name="p69l0"></a><span class="pagenum">69</span> +<p>Á vos ordenar os cumple</p> +<p>De mi vida y de mi hacienda.</p> +<p class="i2">«Vuestro soy, vuestra mi casa,</p> +<p>De mí disponed y de ella,</p> +<p>Pero no toquéis mi honra</p><a id="p69l5" name="p69l5"></a><span class="linenum">5</span> +<p>Y respetad mi conciencia.</p> +<p class="i2">«Mi casa Borbón ocupe</p> +<p>Puesto que es voluntad vuestra,</p> +<p>Contamine sus paredes,</p> +<p>Sus blasones envilezca;</p><a id="p69l10" name="p69l10"></a><span class="linenum">10</span> +<p class="i2">«Que á mí me sobra en Toledo</p> +<p>Donde vivir, sin que tenga</p> +<p>Que rozarme con traidores,</p> +<p>Cuyo solo aliento infesta.</p> +<p class="i2">Y en cuanto él deje mi casa,</p><a id="p69l15" name="p69l15"></a><span class="linenum">15</span> +<p>Antes de tornar yo á ella,</p> +<p>Purificaré con fuego</p> +<p>Sus paredes y sus puertas.»</p> +<p class="i2">Dijo el conde, la real mano</p> +<p>Besó, cubrió su cabeza,</p><a id="p69l20" name="p69l20"></a><span class="linenum">20</span> +<p>Y retiróse bajando</p> +<p>Á do estaba su litera.</p> +<p class="i2">Y á casa de un su pariente</p> +<p>Mandó que le condujeran,</p> +<p>Abandonando la suya</p><a id="p69l25" name="p69l25"></a><span class="linenum">25</span> +<p>Con cuanto dentro se encierra.</p> +<p class="i2">Quedó absorto Carlos Quinto</p> +<p>De ver tan noble firmeza,</p> +<p>Estimando la de España</p> +<p>Más que la imperial diadema.</p><a id="p70l0" name="p70l0"></a><span class="pagenum">70</span> + </div><div class="stanza"> + + </div><div class="stanza"> +<p>ROMANCE CUARTO</p> + </div><div class="stanza"> +<p class="i2">Muy pocos días el duque</p> +<p>Hizo mansión en Toledo,</p> +<p>Del noble conde ocupando</p> +<p>Los honrados aposentos.</p><a id="p70l5" name="p70l5"></a><span class="linenum">5</span> +<p class="i2">Y la noche en que el palacio</p> +<p>Dejó vacío, partiendo,</p> +<p>Con su séquito y sus pajes,</p> +<p>Orgulloso y satisfecho,</p> +<p class="i2">Turbó la apacible luna</p><a id="p70l10" name="p70l10"></a><span class="linenum">10</span> +<p>Un vapor blanco y espeso </p> +<p>Que de las altas techumbres</p> +<p>Se iba elevando y creciendo:</p> +<p class="i2">Á poco rato tornóse</p> +<p>En humo confuso y denso</p><a id="p70l15" name="p70l15"></a><span class="linenum">15</span> +<p>Que en nubarrones obscuros</p> +<p>Ofuscaba el claro cielo;</p> +<p class="i2">Después en ardientes chispas,</p> +<p>Y en un resplandor horrendo</p> +<p>Que iluminaba los valles</p><a id="p70l20" name="p70l20"></a><span class="linenum">20</span> +<p>Dando en el Tajo reflejos,</p> +<p class="i2">Y al fin su furor mostrando</p> +<p>En embravecido incendio</p> +<p>Que devoraba altas torres</p> +<p>Y derrumbaba altos techos.</p><a id="p70l25" name="p70l25"></a><span class="linenum">25</span> +<p class="i2">Resonaron las campanas,</p> +<p>Conmovióse todo el pueblo,</p><a id="p71l0" name="p71l0"></a><span class="pagenum">71</span> +<p>De Benavente el palacio</p> +<p>Presa de las llamas viendo.</p> +<p class="i2">El Emperador confuso</p> +<p>Corre á procurar remedio,</p> +<p>En atajar tanto daño</p><a id="p71l5" name="p71l5"></a><span class="linenum">5</span> +<p>Mostrando tenaz empeño.</p> +<p class="i2">En vano todo: tragóse</p> +<p>Tantas riquezas el fuego,</p> +<p>Á la lealtad castellana</p> +<p>Levantando un monumento.</p><a id="p71l10" name="p71l10"></a><span class="linenum">10</span> +<p class="i2">Aun hoy unos viejos muros</p> +<p>Del humo y las llamas negros</p> +<p>Recuerdan acción tan grande</p> +<p>En la famosa Toledo.</p> + </div> </div> + + + +<br> +<a id="h25" name="h25"></a> +<h4>PADRE JUAN AROLAS</h4> + + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">SÉ MÁS FELIZ QUE YO</p><br> +<p class="i2">Sobre pupila azul, con sueño leve,</p><a id="p71l15" name="p71l15"></a><span class="linenum">15</span> +<p>Tu párpado cayendo amortecido,</p> +<p>Se parece á la pura y blanca nieve</p> +<p>Que sobre las violetas reposó:</p> +<p>Yo el sueño del placer nunca he dormido:</p> +<p class="i8">Sé más feliz que yo.</p><a id="p71l20" name="p71l20"></a><span class="linenum">20</span> +<p class="i2">Se asemeja tu voz en la plegaria</p> +<p>Al canto del zorzal de indiano suelo</p> +<p>Que sobre la pagoda solitaria</p><a id="p72l0" name="p72l0"></a><span class="pagenum">72</span> +<p>Los himnos de la tarde suspiró:</p> +<p>Yo sólo esta oración dirijo al cielo:</p> +<p class="i8">Sé más feliz que yo.</p> +<p class="i2">Es tu aliento la esencia más fragante</p> +<p>De los lirios del Arno caudaloso</p><a id="p72l5" name="p72l5"></a><span class="linenum">5</span> +<p>Que brotan sobre un junco vacilante</p> +<p>Cuando el céfiro blando los meció:</p> +<p>Yo no gozo su aroma delicioso:</p> +<p class="i8">Sé más feliz que yo.</p> +<p class="i2">El amor, que es espíritu de fuego,</p><a id="p72l10" name="p72l10"></a><span class="linenum">10</span> +<p>Que de callada noche se aconseja</p> +<p>Y se nutre con lágrimas y ruego,</p> +<p>En tus purpúreos labios se escondió:</p> +<p>Él te guarde el placer y a mí la queja:</p> +<p class="i8">Sé más feliz que yo.</p><a id="p72l15" name="p72l15"></a><span class="linenum">15</span> +<p class="i2">Bella es tu juventud en sus albores</p> +<p>Como un campo de rosas del Oriente;</p> +<p>Al ángel del recuerdo pedí flores</p> +<p>Para adornar tu sien, y me las dió;</p> +<p>Yo decía al ponerlas en tu frente:</p><a id="p72l20" name="p72l20"></a><span class="linenum">20</span> +<p class="i8">Sé más feliz que yo.</p> +<p class="i2">Tu mirada vivaz es de paloma;</p> +<p>Como la adormidera del desierto</p> +<p>Causas dulce embriaguez, hurí de aroma</p> +<p>Que el cielo de topacio abandonó:</p><a id="p72l25" name="p72l25"></a><span class="linenum">25</span> +<p>Mi suerte es dura, mi destino incierto:</p> +<p class="i8">Sé más feliz que yo.</p> + </div> </div> + +<p><a id="p73l0" name="p73l0"></a><span class="pagenum">73</span></p> + +<br> +<a id="h26" name="h26"></a> +<h4>DON JOSÉ DE ESPRONCEDA</h4> + + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">CANCIÓN DEL PIRATA</p><br> +<p class="i2">Con diez cañones por banda,</p> +<p>Viento en popa á toda vela,</p> +<p>No corta el mar, sino vuela</p> +<p>Un velero bergantín:</p><a id="p73l5" name="p73l5"></a><span class="linenum">5</span> +<p class="i2">Bajel pirata que llaman,</p> +<p>Por su bravura, el <i>Temido</i>,</p> +<p>En todo mar conocido</p> +<p>Del uno al otro confín.</p> +<p class="i2">La luna en el mar rïela,</p><a id="p73l10" name="p73l10"></a><span class="linenum">10</span> +<p>En la lona gime el viento,</p> +<p>Y alza en blando movimiento</p> +<p>Olas de plata y azul;</p> +<p class="i2">Y ve el capitán pirata,</p> +<p>Cantando alegre en la popa,</p><a id="p73l15" name="p73l15"></a><span class="linenum">15</span> +<p>Asia á un lado, al otro Europa,</p> +<p>Y allá á su frente Stambul,</p> +<p class="i6">«Navega, velero mío,</p> +<p class="i10"> Sin temor;</p> +<p class="i4">Que ni enemigo navío,</p><a id="p73l20" name="p73l20"></a><span class="linenum">20</span> +<p class="i4">Ni tormenta, ni bonanza</p> +<p class="i4">Tu rumbo á torcer alcanza,</p> +<p class="i4">Ni á sujetar tu valor.</p> +<p class="i10">«Veinte presas</p><a id="p74l0" name="p74l0"></a><span class="pagenum">74</span> +<p class="i8">Hemos hecho</p> +<p class="i8">Á despecho</p> +<p class="i8">Del inglés,</p> +<p class="i8">Y han rendido</p> +<p class="i8">Sus pendones</p><a id="p74l5" name="p74l5"></a><span class="linenum">5</span> +<p class="i8">Cien naciones</p> +<p class="i8">Á mis pies.»</p> +<p class="i2"><i>Que es mi barco mi tesoro,</i></p> +<p><i>Que es mi Dios la libertad,</i></p> +<p><i>Mi ley la fuerza y el viento,</i></p><a id="p74l10" name="p74l10"></a><span class="linenum">10</span> +<p><i>Mi única patria la mar.</i></p> + </div><div class="stanza"> +<p class="i2">«Allá muevan feroz guerra</p> +<p class="i8">Ciegos reyes</p> +<p>Por un palmo más de tierra:</p> +<p>Que yo tengo aquí por mío</p><a id="p74l15" name="p74l15"></a><span class="linenum">15</span> +<p>Cuanto abarca el mar bravío,</p> +<p>Á quien nadie impuso leyes.</p> +<p class="i6">«Y no hay playa,</p> +<p class="i4">Sea cual quiera,</p> +<p class="i4">Ni bandera</p><a id="p74l20" name="p74l20"></a><span class="linenum">20</span> +<p class="i4">De esplendor,</p> +<p class="i4">Que no sienta</p> +<p class="i4">Mi derecho,</p> +<p class="i4">Y dé pecho</p> +<p class="i4">Á mi valor.»</p><a id="p74l25" name="p74l25"></a><span class="linenum">25</span> +<p class="i2"><i>Que es mi barco mi tesoro...</i></p> + </div><div class="stanza"> +<p class="i2">«Á la voz de «¡barco viene!»</p><a id="p75l0" name="p75l0"></a><span class="pagenum">75</span> +<p class="i8">Es de ver</p> +<p>Cómo vira y se previene</p> +<p>Á todo trapo á escapar;</p> +<p>Que yo soy el rey del mar,</p> +<p>Y mi furia es de temer.</p><a id="p75l5" name="p75l5"></a><span class="linenum">5</span> +<p class="i6">«En las presas</p> +<p class="i4">Yo divido</p> +<p class="i4">Lo cogido</p> +<p class="i4">Por igual:</p> +<p class="i4">Sólo quiero</p><a id="p75l10" name="p75l10"></a><span class="linenum">10</span> +<p class="i4">Por riqueza</p> +<p class="i4">La belleza</p> +<p class="i4">Sin rival.»</p> +<p class="i2"><i>Que es mi barco mi tesoro...</i></p> + </div><div class="stanza"> +<p class="i2">«¡Sentenciado estoy á muerte!</p><a id="p75l15" name="p75l15"></a><span class="linenum">15</span> +<p class="i6">Yo me río:</p> +<p>No me abandone la suerte,</p> +<p>Y al mismo que me condena</p> +<p>Colgaré de alguna entena,</p> +<p>Quizá en su propio navío.</p><a id="p75l20" name="p75l20"></a><span class="linenum">20</span> +<p class="i6">«Y si caigo,</p> +<p class="i4">¿Qué es la vida?</p> +<p class="i4">Por perdida</p> +<p class="i4">Ya la di,</p> +<p class="i4">Cuando el yugo</p><a id="p75l25" name="p75l25"></a><span class="linenum">25</span> +<p class="i4">Del esclavo,</p> +<p class="i4">Como un bravo,</p> +<p class="i4">Sacudí.»</p> +<p class="i2"><i>Que es mi barco mi tesoro...</i></p><a id="p76l0" name="p76l0"></a><span class="pagenum">76</span> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">«Son mi música mejor</p> +<p class="i8">Aquilones:</p> +<p>El estrépito y temblor</p> +<p>De los cables sacudidos,</p><a id="p76l5" name="p76l5"></a><span class="linenum">5</span> +<p>Del negro mar los bramidos</p> +<p>Y el rugir de mis cañones.</p> +<p class="i6">«Y del trueno</p> +<p class="i4">Al son violento</p> +<p class="i4">Y del viento</p><a id="p76l10" name="p76l10"></a><span class="linenum">10</span> +<p class="i4">Al rebramar,</p> +<p class="i4">Yo me duermo</p> +<p class="i4">Sosegado,</p> +<p class="i4">Arrullado</p> +<p class="i4">Por el mar.»</p><a id="p76l15" name="p76l15"></a><span class="linenum">15</span> +<p class="i2"><i>Que es mi barco mi tesoro,</i></p> +<p><i>Que es mi Dios la libertad,</i></p> +<p><i>Mi ley la fuerza y el viento,</i></p> +<p><i>Mi única patria la mar.</i></p> + </div> </div> + + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">Á LA PATRIA</p><br> +<p class="i2">¡Cuan solitaria la nación que un día</p><a id="p76l20" name="p76l20"></a><span class="linenum">20</span> +<p>Poblara inmensa gente!</p> +<p>¡La nación cuyo imperio se extendía</p> +<p>Del ocaso al oriente!</p> + </div><div class="stanza"> +<p class="i2">¡Lágrimas viertes, infeliz, ahora,</p> +<p>Soberana del mundo,</p><a id="p76l25" name="p76l25"></a><span class="linenum">25</span> +<p>Y nadie de tu faz encantadora</p><a id="p77l0" name="p77l0"></a><span class="pagenum">77</span> +<p>Borra el dolor profundo!</p> + </div><div class="stanza"> +<p class="i2">Obscuridad y luto tenebroso</p> +<p>En ti vertió la muerte,</p> +<p>Y en su furor el déspota sañoso</p> +<p>Se complació en tu suerte.</p> + </div><div class="stanza"><a id="p77l5" name="p77l5"></a><span class="linenum">5</span> +<p class="i2">No perdonó lo hermoso, patria mía;</p> +<p>Cayó el joven guerrero,</p> +<p>Cayó el anciano, y la segur impía</p> +<p>Manejó placentero.</p> + </div><div class="stanza"> +<p class="i2">So la rabia cayó la virgen pura</p><a id="p77l10" name="p77l10"></a><span class="linenum">10</span> +<p>Del déspota sombrío,</p> +<p>Como eclipsa la rosa su hermosura</p> +<p>En el sol del estío.</p> + </div><div class="stanza"> +<p class="i2">¡Oh vosotros, del mundo habitadores,</p> +<p>Contemplad mi tormento!</p><a id="p77l15" name="p77l15"></a><span class="linenum">15</span> +<p>¿Igualarse podrán ¡ah! qué dolores</p> +<p>Al dolor que yo siento?</p> + </div><div class="stanza"> +<p class="i2">Yo, desterrado de la patria mía,</p> +<p>De una patria que adoro,</p> +<p>Perdida miro su primer valía</p><a id="p77l20" name="p77l20"></a><span class="linenum">20</span> +<p>Y sus desgracias lloro.....</p> + </div><div class="stanza"> +<p class="i2">Tendió sus brazos la agitada España,</p> +<p>Sus hijos implorando;</p> +<p>Sus hijos fueron, mas traidora saña</p><a id="p78l0" name="p78l0"></a><span class="pagenum">78</span> +<p>Desbarató su bando.</p> + </div><div class="stanza"> +<p class="i2">¿Qué se hicieron tus muros torreados,</p> +<p>Oh mi patria querida?</p> +<p>¿Dónde fueron tus héroes esforzados,</p> +<p>Tu espada no vencida?</p> + </div><div class="stanza"><a id="p78l5" name="p78l5"></a><span class="linenum">5</span> +<p class="i2">¡Ay! de tus hijos en la humilde frente</p> +<p>Está el rubor grabado:</p> +<p>Á sus ojos, caídos tristemente,</p> +<p>El llanto está agolpado.</p> + </div><div class="stanza"> +<p class="i2">Un tiempo España fué; cien héroes fueron</p><a id="p78l10" name="p78l10"></a><span class="linenum">10</span> +<p>En tiempos de ventura,</p> +<p>Y las naciones tímidas la vieron</p> +<p>Vistosa en hermosura.</p> + </div><div class="stanza"> +<p class="i2">Cual cedro que en el Líbano se ostenta,</p> +<p>Su frente se elevaba;</p><a id="p78l15" name="p78l15"></a><span class="linenum">15</span> +<p>Como el trueno á la virgen amedrenta,</p> +<p>Su voz las aterraba.</p> + </div><div class="stanza"> +<p class="i2">Mas hora, como piedra en el desierto,</p> +<p>Yaces desamparada,</p> +<p>Y el justo desgraciado vaga incierto</p><a id="p78l20" name="p78l20"></a><span class="linenum">20</span> +<p>Allá en tierra apartada.</p> + </div><div class="stanza"> +<p class="i2">Cubren su antigua pompa y poderío</p> +<p>Pobre hierba y arena,</p> +<p>Y el enemigo que tembló á su brío</p><a id="p79l0" name="p79l0"></a><span class="pagenum">79</span> +<p>Burla y goza en su pena.</p> + </div><div class="stanza"> +<p class="i2">Vírgenes, destrenzad la cabellera</p> +<p>Y dadla al vago viento;</p> +<p>Acompañad con arpa lastimera</p> +<p>Mi lúgubre lamento.</p> + </div><div class="stanza"><a id="p79l5" name="p79l5"></a><span class="linenum">5</span> +<p class="i2">Desterrados ¡oh Dios! de nuestros lares</p> +<p>Lloremos duelo tanto:</p> +<p>¿Quién calmará ¡oh España! tus pesares?</p> +<p>¿Quién secará tu llanto?</p> + </div> </div> + + + +<br> +<a id="h27" name="h27"></a> +<h4>DON JOSÉ ZORRILLA</h4> + + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">ORIENTAL</p><br> +<p class="i2">Corriendo van por la vega</p><a id="p79l10" name="p79l10"></a><span class="linenum">10</span> +<p>Á las puertas de Granada</p> +<p>Hasta cuarenta gomeles</p> +<p>Y el capitán que los manda.</p> +<p class="i2">Al entrar en la ciudad,</p> +<p>Parando en su yegua blanca,</p><a id="p79l15" name="p79l15"></a><span class="linenum">15</span> +<p>Le dijo éste á una mujer</p> +<p>Que entre sus brazos lloraba:</p> +<p class="i2">—Enjuga el llanto, cristiana,</p> +<p>No me atormentes así,</p> +<p>Que tengo yo, mi sultana,</p><a id="p79l20" name="p79l20"></a><span class="linenum">20</span> +<p>Un nuevo Edén para ti.</p> +<p class="i2">Tengo un palacio en Granada,</p> +<p>Tengo jardines y flores,</p> +<p>Tengo una fuente dorada</p><a id="p80l0" name="p80l0"></a><span class="pagenum">80</span> +<p>Con más de cien surtidores.</p> +<p class="i2">Y en la vega del Genil</p> +<p>Tengo parda fortaleza,</p> +<p>Que será reina entre mil</p> +<p>Cuando encierre tu belleza.</p><a id="p80l5" name="p80l5"></a><span class="linenum">5</span> +<p class="i2">Y sobre toda una orilla</p> +<p>Extiendo mi señorío;</p> +<p>Ni en Córdoba ni en Sevilla</p> +<p>Hay un parque como el mío.</p> +<p class="i2">Allí la altiva palmera</p><a id="p80l10" name="p80l10"></a><span class="linenum">10</span> +<p>Y el encendido granado,</p> +<p>Junto á la frondosa higuera</p> +<p>Cubren el valle y collado.</p> +<p class="i2">Allí el robusto nogal,</p> +<p>Allí el nópalo amarillo,</p><a id="p80l15" name="p80l15"></a><span class="linenum">15</span> +<p>Allí el sombrío moral</p> +<p>Crecen al pie del castillo.</p> +<p class="i2">Y olmos tengo en mi alameda</p> +<p>Que hasta el cielo se levantan,</p> +<p>Y en redes de plata y seda</p><a id="p80l20" name="p80l20"></a><span class="linenum">20</span> +<p>Tengo pájaros que cantan.</p> +<p class="i2">Y tú mi sultana eres,</p> +<p>Que desiertos mis salones</p> +<p>Están, mi harén sin mujeres,</p> +<p>Mis oídos sin canciones.</p><a id="p80l25" name="p80l25"></a><span class="linenum">25</span> +<p class="i2">Yo te daré terciopelos</p> +<p>Y perfumes orientales;</p> +<p>De Grecia te traeré velos</p> +<p>Y de Cachemira chales.</p><a id="p81l0" name="p81l0"></a><span class="pagenum">81</span> +<p class="i2">Y te daré blancas plumas</p> +<p>Para que adornes tu frente,</p> +<p>Más blancas que las espumas</p> +<p>De nuestros mares de oriente;</p> +<p class="i2">Y perlas para el cabello,</p><a id="p81l5" name="p81l5"></a><span class="linenum">5</span> +<p>Y baños para el calor,</p> +<p>Y collares para el cuello;</p> +<p>Para los labios... ¡amor!—</p> +<p class="i2">—¿Qué me valen tus riquezas,</p> +<p>Respondióle la cristiana,</p><a id="p81l10" name="p81l10"></a><span class="linenum">10</span> +<p>Si me quitas á mi padre,</p> +<p>Mis amigos y mis damas?</p> +<p class="i2">Vuélveme, vuélveme, moro,</p> +<p>Á mi padre y á mi patria,</p> +<p>Que mis torres de León</p><a id="p81l15" name="p81l15"></a><span class="linenum">15</span> +<p>Valen más que tu Granada.—</p> +<p class="i2">Escuchóla en paz el moro,</p> +<p>Y manoseando su barba,</p> +<p>Dijo, como quien medita,</p> +<p>En la mejilla una lágrima:</p><a id="p81l20" name="p81l20"></a><span class="linenum">20</span> +<p class="i2">Si tus castillos mejores</p> +<p>Que nuestros jardines son,</p> +<p>Y son más bellas tus flores,</p> +<p>Por ser tuyas, en León,</p> +<p class="i2">Y tú diste tus amores</p><a id="p81l25" name="p81l25"></a><span class="linenum">25</span> +<p>Á alguno de tus guerreros,</p> +<p>Hurí del Edén, no llores;</p> +<p>Vete con tus caballeros.—</p> +<p class="i2">Y dándola su caballo</p><a id="p82l0" name="p82l0"></a><span class="pagenum">82</span> +<p>Y la mitad de su guardia</p> +<p>El capitán de los moros</p> +<p>Volvió en silencio la espalda.</p> + </div> </div> + + + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">INDECISIÓN</p><br> +<p class="i2">¡Bello es vivir, la vida es la armonía!</p> +<p>Luz, peñascos, torrentes y cascadas,</p><a id="p82l5" name="p82l5"></a><span class="linenum">5</span> +<p>Un sol de fuego iluminando el día,</p> +<p>Aire de aromas, flores apiñadas:</p> +<p class="i2">Y en medio de la noche majestuosa</p> +<p>Esa luna de plata, esas estrellas,</p> +<p>Lámparas de la tierra perezosa,</p><a id="p82l10" name="p82l10"></a><span class="linenum">10</span> +<p>Que se ha dormido en paz debajo de ellas.</p> +<p class="i2">¡Bello es vivir! Se ve en el horizonte</p> +<p>Asomar el crepúsculo que nace;</p> +<p>Y la neblina que corona el monte</p> +<p>En el aire flotando se deshace;</p><a id="p82l15" name="p82l15"></a><span class="linenum">15</span> +<p class="i2">Y el inmenso tapiz del firmamento</p> +<p>Cambia su azul en franjas de colores;</p> +<p>Y susurran las hojas en el viento,</p> +<p>Y desatan su voz los ruiseñores.</p> + </div><div class="stanza"> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Si hay huracanes y aquilón que brama,</p><a id="p82l20" name="p82l20"></a><span class="linenum">20</span> +<p>Si hay un invierno de humedad vestido,</p> +<p>Hay una hoguera á cuya roja llama</p> +<p>Se alza un festín con su discorde ruido.</p> +<p class="i2">Y una pintada y fresca primavera,</p><a id="p83l0" name="p83l0"></a><span class="pagenum">83</span> +<p>Con su manto de luz y orla de flores,</p> +<p>Que cubre de verdor la ancha pradera</p> +<p>Donde brotan arroyos saltadores.</p> + </div><div class="stanza"> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">¡Bello es vivir, la vida es la armonía!</p> +<p>Luz, peñascos, torrentes y cascadas,</p><a id="p83l5" name="p83l5"></a><span class="linenum">5</span> +<p>Un sol de fuego iluminando el día,</p> +<p>Aire de aromas, flores apiñadas.</p> + </div><div class="stanza"> +<p class="i6">Arranca, arranca, Dios mío,</p> +<p class="i4">De la mente del poeta</p> +<p class="i4">Este pensamiento impío</p><a id="p83l10" name="p83l10"></a><span class="linenum">10</span> +<p class="i4">Que en un delirio creó;</p> +<p class="i4">Sin un instante de calma,</p> +<p class="i4">En su olvido y amargura,</p> +<p class="i4">No puede soñar su alma</p> +<p class="i4">Placeres que no gozó.</p><a id="p83l15" name="p83l15"></a><span class="linenum">15</span> +<p class="i6">¡Ay del poeta! su llanto</p> +<p class="i4">Fué la inspiración sublime</p> +<p class="i4">Con que arrebató su canto</p> +<p class="i4">Hasta los cielos tal vez;</p> +<p class="i4">Solitaria flor que el viento</p><a id="p83l20" name="p83l20"></a><span class="linenum">20</span> +<p class="i4">Con impuro soplo azota, </p> +<p class="i4">Él arrastra su tormento</p> +<p class="i4">Escrito sobre la tez.</p> +<p class="i6">Porque tú, ¡oh Dios! le robaste</p> +<p class="i4">Cuanto los hombres adoran;</p><a id="p83l25" name="p83l25"></a><span class="linenum">25</span> +<p class="i4">Tú en el mundo le arrojaste</p> +<p class="i4">Para que muriera en él;</p><a id="p84l0" name="p84l0"></a><span class="pagenum">84</span> +<p class="i4">Tú le dijiste que el hombre</p> +<p class="i4">Era en la tierra su <i>hermano</i>;</p> +<p class="i4">Mas él no encuentra ese nombre</p> +<p class="i4">En sus recuerdos de hiel.</p> +<p class="i6">Tú le has dicho que eligiera</p><a id="p84l5" name="p84l5"></a><span class="linenum">5</span> +<p class="i4">Para el viaje de la vida</p> +<p class="i4">Una hermosa compañera</p> +<p class="i4">Con quien partir su dolor;</p> +<p class="i4">Mas ¡ay! que la busca en vano;</p> +<p class="i4">Porque es para el ser que ama</p><a id="p84l10" name="p84l10"></a><span class="linenum">10</span> +<p class="i4">Como un inmundo gusano</p> +<p class="i4">Sobre el tallo de una flor.</p> +<p class="i6">Canta la luz y las flores,</p> +<p class="i4">Y el amor en las mujeres,</p> +<p class="i4">Y el placer en los amores,</p><a id="p84l15" name="p84l15"></a><span class="linenum">15</span> +<p class="i4">Y la calma en el placer:</p> +<p class="i4">Y sin esperanza adora</p> +<p class="i4">Una belleza escondida,</p> +<p class="i4">Y hoy en sus cantares llora</p> +<p class="i4">Lo que alegre cantó ayer.</p><a id="p84l20" name="p84l20"></a><span class="linenum">20</span> +<p class="i6">Él con los siglos rodando</p> +<p class="i4">Canta su afán á los siglos,</p> +<p class="i4">Y los siglos van pasando</p> +<p class="i4">Sin curarse de su afán.</p> +<p class="i4">¡Maldito el nombre de gloria</p><a id="p84l25" name="p84l25"></a><span class="linenum">25</span> +<p class="i4">Que en tu cólera le diste!</p> +<p class="i4">Sentados en su memoria</p> +<p class="i4">Recuerdos de hierro están.</p> +<p class="i6">El día alumbra su pena,</p><a id="p85l0" name="p85l0"></a><span class="pagenum">85</span> +<p class="i4">La noche alarga su duelo,</p> +<p class="i4">La aurora escribe en el cielo</p> +<p class="i4">Su sentencia de vivir:</p> +<p class="i4">Fábulas son los placeres,</p> +<p class="i4">No hay placeres en su alma,</p><a id="p85l5" name="p85l5"></a><span class="linenum">5</span> +<p class="i4">No hay amor en las mujeres,</p> +<p class="i4">Tarda la hora de morir.</p> +<p class="i6">Hay sol que alumbra, mas quema:</p> +<p class="i4">Hay flores que se marchitan,</p> +<p class="i4">Hay recuerdos que se agitan</p><a id="p85l10" name="p85l10"></a><span class="linenum">10</span> +<p class="i4">Fantasmas de maldición.</p> +<p class="i4">Si tiene una voz que canta,</p> +<p class="i4">Al arrancarla del pecho</p> +<p class="i4">Deja fuego en la garganta,</p> +<p class="i4">Vacío en el corazón.</p> + </div><div class="stanza"><a id="p85l15" name="p85l15"></a><span class="linenum">15</span> +<p class="i2">¡Bello es vivir! Sobre gigante roca</p> +<p>Se mira el mundo á nuestros pies tendido,</p> +<p>La frente altiva con las nubes toca...</p> +<p>Todo creado para el hombre ha sido.</p> +<p class="i2">¡Bello es vivir! Que el hombre descuidado</p><a id="p85l20" name="p85l20"></a><span class="linenum">20</span> +<p>En los bordes se duerme de la vida,</p> +<p>Y de locura y sueños embriagado</p> +<p>En un festín el porvenir olvida.</p> +<p class="i2"> ¡Bello es vivir! Vivamos y cantemos:</p> +<p>El tiempo entre sus pliegues roedores</p><a id="p85l25" name="p85l25"></a><span class="linenum">25</span> +<p>Ha de llevar el bien que no gocemos,</p> +<p>Y ha de apagar placeres y dolores.</p> +<p class="i2">Cantemos de nosotros olvidados,</p><a id="p86l0" name="p86l0"></a><span class="pagenum">86</span> +<p>Hasta que el son de la fatal campana</p> +<p>Toque á morir... Cantemos descuidados,</p> +<p>Que el sol de ayer no alumbrará mañana.</p> + </div> </div> + + + +<div class="poem"> <div class="stanza"> +<p class="i10">LA FUENTE</p><br> +<p class="i2">Huye la fuente al manantial ingrata</p> +<p>El verde musgo en derredor lamiendo,</p><a id="p86l5" name="p86l5"></a><span class="linenum">5</span> +<p>Y el agua limpia en su cristal retrata</p> +<p class="i8">Cuanto va viendo.</p> +<p class="i2">El césped mece y las arenas moja</p> +<p>Do mil caprichos al pasar dibuja,</p> +<p>Y ola tras ola murmurando arroja,</p><a id="p86l10" name="p86l10"></a><span class="linenum">10</span> +<p class="i8">Riza y empuja.</p> +<p class="i2">Lecho mullido la presenta el valle,</p> +<p>Fresco abanico el abedul pomposo,</p> +<p>Cañas y juncos retirada calle,</p> +<p class="i8">Sombra y reposo.</p><a id="p86l15" name="p86l15"></a><span class="linenum">15</span> +<p class="i2">Brota en la altura la fecunda fuente;</p> +<p>¿Y á qué su empeño, si al bajar la cuesta</p> +<p>Halla del río en el raudal rugiente</p> +<p class="i8">Tumba funesta?</p> + </div> </div> +<br> + + + + + + +<div class="poem"> <div class="stanza"> +<p>Á BUEN JUEZ MEJOR TESTIGO</p> +<p class="i4">Tradición de Toledo</p><br> +<p class="i10">I</p> + </div><div class="stanza"> +<p>Entre pardos nubarrones</p><a id="p86l20" name="p86l20"></a><span class="linenum">20</span> +<p>Pasando la blanca luna,</p><a id="p87l0" name="p87l0"></a><span class="pagenum">87</span> +<p>Con resplandor fugitivo,7</p> +<p>La baja tierra no alumbra.</p> +<p>La brisa con frescas alas</p> +<p>Juguetona no murmura,</p> +<p>Y las veletas no giran</p><a id="p87l5" name="p87l5"></a><span class="linenum">5</span> +<p>Entre la cruz y la cúpula.</p> +<p>Tal vez un pálido rayo</p> +<p>La opaca atmósfera cruza,</p> +<p>Y unas en otras las sombras</p> +<p>Confundidas se dibujan.</p><a id="p87l10" name="p87l10"></a><span class="linenum">10</span> +<p>Las almenas de las torres</p> +<p>Un momento se columbran,</p> +<p>Como lanzas de soldados</p> +<p>Apostados en la altura.</p> +<p>Reverberan los cristales</p><a id="p87l15" name="p87l15"></a><span class="linenum">15</span> +<p>La trémula llama turbia, </p> +<p>Y un instante entre las rocas</p> +<p>Rïela la fuente oculta.</p> +<p>Los álamos de la vega</p> +<p>Parecen en la espesura</p><a id="p87l20" name="p87l20"></a><span class="linenum">20</span> +<p>De fantasmas apiñados</p> +<p>Medrosa y gigante turba;</p> +<p>Y alguna vez desprendida</p> +<p>Gotea pesada lluvia,</p> +<p>Que no despierta á quien duerme,</p><a id="p87l25" name="p87l25"></a><span class="linenum">25</span> +<p>Ni á quien medita importuna.</p> +<p>Yace Toledo en el sueño</p> +<p>Entre las sombras confusa,</p> +<p>Y el Tajo á sus pies pasando</p><a id="p88l0" name="p88l0"></a><span class="pagenum">88</span> +<p>Con pardas ondas la arrulla.</p> +<p>El monótono murmullo</p> +<p>Sonar perdido se escucha,</p> +<p>Cual si por las hondas calles</p> +<p>Hirviera del mar la espuma.</p><a id="p88l5" name="p88l5"></a><span class="linenum">5</span> +<p>¡Qué dulce es dormir en calma</p> +<p>Cuando á lo lejos susurran</p> +<p>Los álamos que se mecen,</p> +<p>Las aguas que se derrumban!</p> +<p>Se sueñan bellos fantasmas</p><a id="p88l10" name="p88l10"></a><span class="linenum">10</span> +<p>Que el sueño del triste endulzan,</p> +<p>Y en tanto que sueña el triste,</p> +<p>No le aqueja su amargura.</p> +<p class="i2">Tan en calma y tan sombría</p> +<p>Como la noche que enluta</p><a id="p88l15" name="p88l15"></a><span class="linenum">15</span> +<p>La esquina en que desemboca</p> +<p>Una callejuela oculta,</p> +<p>Se ve de un hombre que aguarda</p> +<p>La vigilante figura,</p> +<p>Y tan á la sombra vela</p><a id="p88l20" name="p88l20"></a><span class="linenum">20</span> +<p>Que entre la sombra se ofusca.</p> +<p>Frente por frente á sus ojos</p> +<p>Un balcón á poca altura</p> +<p>Deja escapar por los vidrios</p> +<p>La luz que dentro le alumbra;</p><a id="p88l25" name="p88l25"></a><span class="linenum">25</span> +<p>Mas ni en el claro aposento,</p> +<p>Ni en la callejuela obscura</p> +<p>El silencio de la noche</p> +<p>Rumor sospechoso turba.</p><a id="p89l0" name="p89l0"></a><span class="pagenum">89</span> +<p>Pasó así tan largo tiempo,</p> +<p>Que pudiera haberse duda</p> +<p>De si es hombre, ó solamente</p> +<p>Mentida ilusión nocturna;</p> +<p>Pero es hombre, y bien se ve,</p><a id="p89l5" name="p89l5"></a><span class="linenum">5</span> +<p>Porque con planta segura</p> +<p>Ganando el centro á la calle</p> +<p>Resuelto y audaz pregunta:</p> +<p>—¿Quién va?—y á corta distancia</p> +<p>El igual compás se escucha</p><a id="p89l10" name="p89l10"></a><span class="linenum">10</span> +<p>De un caballo que sacude</p> +<p>Las sonoras herraduras.</p> +<p>¿Quién va? repite, y cercana</p> +<p>Otra voz menos robusta</p> +<p>Responde:—Un hidalgo ¡calle!</p><a id="p89l15" name="p89l15"></a><span class="linenum">15</span> +<p>Y el paso el bruto apresura.</p> +<p>—Téngase el hidalgo,—el hombre</p> +<p>Replica, y la espada empuña.</p> +<p>—Ved más bien si me haréis calle</p> +<p>(Repusieron con mesura)</p><a id="p89l20" name="p89l20"></a><span class="linenum">20</span> +<p>Que hasta hoy á nadie se tuvo</p> +<p>Ibán de Vargas y Acuña.</p> +<p>—Pase el Acuña y perdone:—</p> +<p>Dijo el mozo en faz de fuga,</p> +<p>Pues teniéndose el embozo</p><a id="p89l25" name="p89l25"></a><span class="linenum">25</span> +<p>Sopla un silbato, y se oculta.</p> +<p>Paró el jinete á una puerta,</p> +<p>Y con precaución difusa</p> +<p>Salió una niña al balcón</p><a id="p90l0" name="p90l0"></a><span class="pagenum">90</span> +<p>Que llama interior alumbra.</p> +<p>—¡Mi padre!—clamó en voz baja,</p> +<p>Y el viejo en la cerradura</p> +<p>Metió la llave pidiendo</p> +<p>Á sus gentes que le acudan.</p><a id="p90l5" name="p90l5"></a><span class="linenum">5</span> +<p>Un negro por ambas bridas</p> +<p>Tomó la cabalgadura,</p> +<p>Cerróse detrás la puerta</p> +<p>Y quedó la calle muda.</p> +<p>En esto desde el balcón,</p><a id="p90l10" name="p90l10"></a><span class="linenum">10</span> +<p>Como quien tal acostumbra,</p> +<p>Un mancebo por las rejas</p> +<p>De la calle se asegura.</p> +<p>Asió el brazo al que apostado</p> +<p>Hizo cara á Ibán de Acuña,</p><a id="p90l15" name="p90l15"></a><span class="linenum">15</span> +<p>Y huyeron, en el embozo</p> +<p>Velando la catadura.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i8">II</p> + </div><div class="stanza"> +<p>Clara, apacible y serena</p> +<p>Pasa la siguiente tarde,</p> +<p>Y el sol tocando su ocaso</p><a id="p90l20" name="p90l20"></a><span class="linenum">20</span> +<p>Apaga su luz gigante:</p> +<p>Se ve la imperial Toledo</p> +<p>Dorada por los remates,</p> +<p>Como una ciudad de grana</p> +<p>Coronada de cristales.</p><a id="p90l25" name="p90l25"></a><span class="linenum">25</span> +<p>El Tajo por entre rocas</p> +<p>Sus anchos cimientos lame,</p><a id="p91l0" name="p91l0"></a><span class="pagenum">91</span> +<p>Dibujando en las arenas</p> +<p>Las ondas con que las bate.</p> +<p>Y la ciudad se retrata</p> +<p>En las ondas desiguales,</p> +<p>Como en prendas de que el río</p><a id="p91l5" name="p91l5"></a><span class="linenum">5</span> +<p>Tan afanoso la bañe.</p> +<p>Á lo lejos en la vega</p> +<p>Tiende galán por sus márgenes,</p> +<p>De sus álamos y huertos</p> +<p>El pintoresco ropaje,</p><a id="p91l10" name="p91l10"></a><span class="linenum">10</span> +<p>Y porque su altiva gala</p> +<p>Más á los ojos halague,</p> +<p>La salpica con escombros</p> +<p>De castillos y de alcázares.</p> +<p>Un recuerdo es cada piedra</p><a id="p91l15" name="p91l15"></a><span class="linenum">15</span> +<p>Que toda una historia vale,</p> +<p>Cada colina un secreto</p> +<p>De príncipes ó galanes.</p> +<p>Aquí se bañó la hermosa</p> +<p>Por quien dejó su rey culpable</p><a id="p91l20" name="p91l20"></a><span class="linenum">20</span> +<p>Amor, fama, reino y vida</p> +<p>En manos de musulmanes.</p> +<p>Allí recibió Galiana</p> +<p>Á su receloso amante</p> +<p>En esa cuesta que entonces</p><a id="p91l25" name="p91l25"></a><span class="linenum">25</span> +<p>Era un plantel de azahares.</p> +<p>Allá por aquella torre,</p> +<p>Que hicieron puerta los árabes,</p> +<p>Subió el Cid sobre Babieca</p><a id="p92l0" name="p92l0"></a><span class="pagenum">92</span> +<p>Con su gente y su estandarte.</p> +<p>Más lejos se ve el castillo</p> +<p>De San Servando, ó Cervantes</p> +<p>Donde nada se hizo nunca</p> +<p>Y nada al presente se hace.</p><a id="p92l5" name="p92l5"></a><span class="linenum">5</span> +<p>Á este lado está la almena</p> +<p>Por do sacó vigilante</p> +<p>El conde Don Peranzules</p> +<p>Al rey, que supo una tarde</p> +<p>Fingir tan tenaz modorra,</p><a id="p92l10" name="p92l10"></a><span class="linenum">10</span> +<p>Que, político y constante,</p> +<p>Tuvo siempre el brazo quedo</p> +<p>Las palmas al horadarle.</p> +<p>Allí está el circo romano,</p> +<p>Gran cifra de un pueblo grande,</p><a id="p92l15" name="p92l15"></a><span class="linenum">15</span> +<p>Y aquí la antigua Basílica</p> +<p>De bizantinos pilares,</p> +<p>Que oyó en el primer concilio</p> +<p>Las palabras de los Padres</p> +<p>Que velaron por la Iglesia</p><a id="p92l20" name="p92l20"></a><span class="linenum">20</span> +<p>Perseguida ó vacilante.</p> +<p>La sombra en este momento</p> +<p>Tiende sus turbios cendales</p> +<p>Por todas esas memorias</p> +<p>De las pasadas edades,</p><a id="p92l25" name="p92l25"></a><span class="linenum">25</span> +<p>Y del Cambrón y Visagra</p> +<p>Los caminos desiguales,</p> +<p>Camino á los Toledanos</p> +<p>Hacia las murallas abren.</p><a id="p93l0" name="p93l0"></a><span class="pagenum">93</span> +<p>Los labradores se acercan</p> +<p>Al fuego de sus hogares,</p> +<p>Cargados con sus aperos,</p> +<p>Cansados de sus afanes.</p> +<p>Los ricos y sedentarios</p><a id="p93l5" name="p93l5"></a><span class="linenum">5</span> +<p>Se tornan con paso grave,</p> +<p>Calado el ancho sombrero,</p> +<p>Abrochados los gabanes;</p> +<p>Y los clérigos y monjes</p> +<p>Y los prelados y abades</p><a id="p93l10" name="p93l10"></a><span class="linenum">10</span> +<p>Sacudiendo el leve polvo</p> +<p>De capelos y sayales.</p> +<p>Quédase sólo un mancebo</p> +<p>De impetuosos ademanes,</p> +<p>Que se pasea ocultando</p><a id="p93l15" name="p93l15"></a><span class="linenum">15</span> +<p>Entre la capa el semblante.</p> +<p>Los que pasan le contemplan</p> +<p>Con decisión de evitarle,</p> +<p>Y él contempla á los que pasan</p> +<p>Como si á alguien aguardase.</p><a id="p93l20" name="p93l20"></a><span class="linenum">20</span> +<p>Los tímidos aceleran</p> +<p>Los pasos al divisarle,</p> +<p>Cual temiendo de seguro</p> +<p>Que les proponga un combate;</p> +<p>Y los valientes le miran</p><a id="p93l25" name="p93l25"></a><span class="linenum">25</span> +<p>Cual si sintieran dejarle</p> +<p>Sin que libres sus estoques</p> +<p>En riña sonora dancen.</p> +<p>Una mujer también sola</p><a id="p94l0" name="p94l0"></a><span class="pagenum">94</span> +<p>Se viene el llano adelante,</p> +<p>La luz del rostro escondida</p> +<p>En tocas y tafetanes.</p> +<p>Mas en lo leve del paso,</p> +<p>Y en lo flexible del talle,</p><a id="p94l5" name="p94l5"></a><span class="linenum">5</span> +<p>Puede á través de los velos</p> +<p>Una hermosa adivinarse.</p> +<p>Vase derecha al que aguarda,</p> +<p>Y él al encuentro la sale</p> +<p>Diciendo... cuanto se dicen</p><a id="p94l10" name="p94l10"></a><span class="linenum">10</span> +<p>En las citas los amantes.</p> +<p>Mas ella, galanterías</p> +<p>Dejando severa aparte,</p> +<p>Así al mancebo interrumpe</p> +<p>En voz decisiva y grave:</p> + </div><div class="stanza"><a id="p94l15" name="p94l15"></a><span class="linenum">15</span> +<p class="i2">«Abreviemos de razones,</p> +<p>Diego Martínez; mi padre,</p> +<p>Que un hombre ha entrado en su ausencia</p> +<p>Dentro mi aposento sabe:</p> +<p>Y así quien mancha mi honra,</p><a id="p94l20" name="p94l20"></a><span class="linenum">20</span> +<p>Con la suya me la lave;</p> +<p>Ó dadme mano de esposo,</p> +<p>Ó libre de vos dejadme.»</p> +<p>Miróla Diego Martínez</p> +<p>Atentamente un instante,</p><a id="p94l25" name="p94l25"></a><span class="linenum">25</span> +<p>Y echando á un lado el embozo,</p> +<p>Repuso palabras tales:</p> +<p>«Dentro de un mes, Inés mía,</p><a id="p95l0" name="p95l0"></a><span class="pagenum">95</span> +<p>Parto á la guerra de Flandes;</p> +<p>Al año estaré de vuelta</p> +<p>Y contigo en los altares.</p> +<p>Honra que yo te desluzca,</p> +<p>Con honra mía se lave;</p><a id="p95l5" name="p95l5"></a><span class="linenum">5</span> +<p>Que por honra vuelven honra</p> +<p>Hidalgos que en honra nacen.</p> +<p>—Júralo,—exclamó la niña.</p> +<p>—Más que mi palabra vale</p> +<p>No te valdrá un juramento.</p><a id="p95l10" name="p95l10"></a><span class="linenum">10</span> +<p>—Diego, la palabra es aire.</p> +<p>—¡Vive Dios que estás tenaz!</p> +<p>Dalo por jurado y baste.</p> +<p>—No me basta; que olvidar</p> +<p>Puedes la palabra en Flandes.</p><a id="p95l15" name="p95l15"></a><span class="linenum">15</span> +<p>—¡Voto á Dios! ¿qué más pretendes?</p> +<p>—Que á los pies de aquella imagen</p> +<p>Lo jures como cristiano</p> +<p>Del santo Cristo delante.»</p> +<p>Vaciló un punto Martínez,</p><a id="p95l20" name="p95l20"></a><span class="linenum">20</span> +<p>Mas porfiando que jurase,</p> +<p>Llevóle Inés hacia el templo</p> +<p>Que en medio la vega yace.</p> +<p>Enclavado en un madero,</p> +<p>En duro y postrero trance,</p><a id="p95l25" name="p95l25"></a><span class="linenum">25</span> +<p>Ceñida la sien de espinas,</p> +<p>Descolorido el semblante,</p> +<p>Víase allí un crucifijo</p> +<p>Teñido de negra sangre,</p><a id="p96l0" name="p96l0"></a><span class="pagenum">96</span> +<p>Á quien Toledo devota</p> +<p>Acude hoy en sus azares.</p> +<p>Ante sus plantas divinas</p> +<p>Llegaron ambos amantes,</p> +<p>Y haciendo Inés que Martínez</p><a id="p96l5" name="p96l5"></a><span class="linenum">5</span> +<p>Los sagrados pies tocase,</p> +<p>Preguntóle:</p> +<p class="i10"> —Diego, ¿juras</p> +<p>Á tu vuelta desposarme?</p> +<p>Contestó el mozo:</p> +<p class="i10"> —¡Sí juro!</p> +<p>Y ambos del templo se salen.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i8">III</p> + </div><div class="stanza"><a id="p96l10" name="p96l10"></a><span class="linenum">10</span> +<p>Pasó un día y otro día,</p> +<p>Un mes y otro mes pasó,</p> +<p>Y un año pasado había,</p> +<p>Mas de Flandes no volvía</p> +<p>Diego, que á Flandes partió.</p><a id="p96l15" name="p96l15"></a><span class="linenum">15</span> +<p class="i2">Lloraba la bella Inés</p> +<p>Su vuelta aguardando en vano,</p> +<p>Oraba un mes y otro mes</p> +<p>Del crucifijo á los pies</p> +<p>Do puso el galán su mano.</p><a id="p96l20" name="p96l20"></a><span class="linenum">20</span> +<p class="i2">Todas las tardes venía</p> +<p>Después de traspuesto el sol,</p> +<p>Y á Dios llorando pedía</p> +<p>La vuelta del español,</p> +<p>Y el español no volvía.</p><a id="p96l25" name="p96l25"></a><span class="linenum">25</span><a id="p97l0" name="p97l0"></a><span class="pagenum">97</span> +<p class="i2"> Y siempre al anochecer,</p> +<p>Sin dueña y sin escudero,</p> +<p>En un manto una mujer</p> +<p>El campo salía á ver</p> +<p>Al alto del <i>Miradero</i>.</p><a id="p97l5" name="p97l5"></a><span class="linenum">5</span> +<p class="i2">¡Ay del triste que consume</p> +<p>Su existencia en esperar!</p> +<p>¡Ay del triste que presume</p> +<p>Que el duelo con que él se abrume</p> +<p>Al ausente ha de pesar!</p><a id="p97l10" name="p97l10"></a><span class="linenum">10</span> +<p class="i2">La esperanza es de los cielos</p> +<p>Precioso y funesto don,</p> +<p>Pues los amantes desvelos</p> +<p>Cambian la esperanza en celos,</p> +<p>Que abrasan el corazón.</p><a id="p97l15" name="p97l15"></a><span class="linenum">15</span> +<p class="i2">Si es cierto lo que se espera,</p> +<p>Es un consuelo en verdad;</p> +<p>Pero siendo una quimera,</p> +<p>En tan frágil realidad</p> +<p>Quien espera desespera.</p><a id="p97l20" name="p97l20"></a><span class="linenum">20</span> +<p class="i2">Así Inés desesperaba</p> +<p>Sin acabar de esperar,</p> +<p>Y su tez se marchitaba,</p> +<p>Y su llanto se secaba</p> +<p>Para volver á brotar.</p><a id="p97l25" name="p97l25"></a><span class="linenum">25</span> +<p class="i2">En vano á su confesor</p> +<p>Pidió remedio ó consejo</p> +<p>Para aliviar su dolor;</p> +<p>Que mal se cura el amor</p><a id="p98l0" name="p98l0"></a><span class="pagenum">98</span> +<p>Con las palabras de un viejo.</p> +<p class="i2">En vano á Ibán acudía,</p> +<p>Llorosa y desconsolada;</p> +<p>El padre no respondía;</p> +<p>Que la lengua le tenía</p><a id="p98l5" name="p98l5"></a><span class="linenum">5</span> +<p>Su propia deshonra atada.</p> +<p class="i2">Y ambos maldicen su estrella,</p> +<p>Callando el padre severo</p> +<p>Y suspirando la bella,</p> +<p>Porque nació mujer ella,</p><a id="p98l10" name="p98l10"></a><span class="linenum">10</span> +<p>Y el viejo nació altanero.</p> +<p class="i2">Dos años al fin pasaron</p> +<p>En esperar y gemir,</p> +<p>Y las guerras acabaron,</p> +<p>Y los de Flandes tornaron</p><a id="p98l15" name="p98l15"></a><span class="linenum">15</span> +<p>Á sus tierras á vivir.</p> +<p class="i2">Pasó un día y otro día,</p> +<p>Un mes y otro mes pasó,</p> +<p>Y el tercer año corría;</p> +<p>Diego á Flandes se partió,</p><a id="p98l20" name="p98l20"></a><span class="linenum">20</span> +<p>Mas de Flandes no volvía.</p> +<p class="i2">Era una tarde serena,</p> +<p>Doraba el sol de occidente</p> +<p>Del Tajo la vega amena,</p> +<p>Y apoyada en una almena</p><a id="p98l25" name="p98l25"></a><span class="linenum">25</span> +<p>Miraba Inés la corriente.</p> +<p class="i2">Iban las tranquilas olas</p> +<p>Las riberas azotando</p> +<p>Bajo las murallas solas,</p><a id="p99l0" name="p99l0"></a><span class="pagenum">99</span> +<p>Musgo, espigas y amapolas</p> +<p>Ligeramente doblando.</p> +<p class="i2">Algún olmo que escondido</p> +<p>Creció entre la hierba blanda,</p> +<p>Sobre las aguas tendido</p><a id="p99l5" name="p99l5"></a><span class="linenum">5</span> +<p>Se reflejaba perdido</p> +<p>En su cristalina banda.</p> +<p class="i2">Y algún ruiseñor colgado</p> +<p>Entre su fresca espesura</p> +<p>Daba al aire embalsamado</p><a id="p99l10" name="p99l10"></a><span class="linenum">10</span> +<p>Su cántico regalado</p> +<p>Desde la enramada obscura.</p> +<p class="i2">Y algún pez con cien colores,</p> +<p>Tornasolada la escama,</p> +<p>Saltaba á besar las flores,</p><a id="p99l15" name="p99l15"></a><span class="linenum">15</span> +<p>Que exhalan gratos olores,</p> +<p>Á las puntas de una rama.</p> +<p class="i2">Y allá en el trémulo fondo</p> +<p>El torreón se dibuja</p> +<p>Como el contorno redondo</p><a id="p99l20" name="p99l20"></a><span class="linenum">20</span> +<p>Del hueco sombrío y hondo</p> +<p>Que habita nocturna bruja.</p> +<p class="i2">Así la niña lloraba</p> +<p>El rigor de su fortuna,</p> +<p>Y así la tarde pasaba</p><a id="p99l25" name="p99l25"></a><span class="linenum">25</span> +<p>Y al horizonte trepaba</p> +<p>La consoladora luna.</p> +<p class="i2">Á lo lejos por el llano</p> +<p>En confuso remolino</p><a id="p100l0" name="p100l0"></a><span class="pagenum">100</span> +<p>Vió de hombres tropel lejano</p> +<p>Que en pardo polvo liviano</p> +<p>Dejan envuelto el camino.</p> +<p class="i2">Bajó Inés del torreón,</p> +<p>Y llegando recelosa</p><a id="p100l5" name="p100l5"></a><span class="linenum">5</span> +<p>Á las puertas del Cambrón,</p> +<p>Sintió latir zozobrosa</p> +<p>Más inquieto el corazón.</p> +<p class="i2">Tan galán como altanero</p> +<p>Dejó ver la escasa luz</p><a id="p100l10" name="p100l10"></a><span class="linenum">10</span> +<p>Por bajo el arco primero</p> +<p>Un hidalgo caballero</p> +<p>En un caballo andaluz;</p> +<p class="i2">Jubón negro acuchillado,</p> +<p>Banda azul, lazo en la hombrera,</p><a id="p100l15" name="p100l15"></a><span class="linenum">15</span> +<p>Y sin pluma al diestro lado</p> +<p>El sombrero derribado</p> +<p>Tocando con la gorguera;</p> +<p class="i2">Bombacho gris guarnecido,</p> +<p>Bota de ante, espuela de oro,</p><a id="p100l20" name="p100l20"></a><span class="linenum">20</span> +<p>Hierro al cinto suspendido,</p> +<p>Y á una cadena prendido</p> +<p>Agudo cuchillo moro.</p> +<p class="i2">Vienen tras este jinete</p> +<p>Sobre potros jerezanos</p><a id="p100l25" name="p100l25"></a><span class="linenum">25</span> +<p>De lanceros hasta siete,</p> +<p>Y en adarga y coselete</p> +<p>Diez peones castellanos.</p> +<p class="i2"> Asióse á su estribo Inés</p><a id="p101l0" name="p101l0"></a><span class="pagenum">101</span> +<p>Gritando:—¡Diego, eres tú!—</p> +<p>Y él viéndola de través</p> +<p>Dijo—¡Voto á Belcebú,</p> +<p>Que no me acuerdo, quién es!—</p> +<p class="i2">Dió la triste un alarido</p><a id="p101l5" name="p101l5"></a><span class="linenum">5</span> +<p>Tal respuesta al escuchar,</p> +<p>Y á poco perdió el sentido,</p> +<p>Sin que más voz ni gemido</p> +<p>Volviera en tierra á exhalar.</p> +<p class="i2">Frunciendo ambas á dos cejas</p><a id="p101l10" name="p101l10"></a><span class="linenum">10</span> +<p>Encomendóla á su gente,</p> +<p>Diciendo:—¡Malditas viejas</p> +<p>Que á las mozas malamente</p> +<p>Enloquecen con consejas!—</p> +<p class="i2">Y aplicando el capitán</p><a id="p101l15" name="p101l15"></a><span class="linenum">15</span> +<p>Á su potro las espuelas</p> +<p>El rostro á Toledo dan,</p> +<p>Y á trote cruzando van</p> +<p>Las obscuras callejuelas.</p> + </div><div class="stanza"> +<p class="i8">IV</p> + </div><div class="stanza"> +<p class="i2">Así por sus altos fines</p><a id="p101l20" name="p101l20"></a><span class="linenum">20</span> +<p>Dispone y permite el cielo</p> +<p>Que puedan mudar al hombre</p> +<p>Fortuna, poder y tiempo.</p> +<p>Á Flandes partió Martínez</p> +<p>De soldado aventurero,</p><a id="p101l25" name="p101l25"></a><span class="linenum">25</span> +<p>Y por su suerte y hazañas</p> +<p>Allí capitán le hicieron.</p><a id="p102l0" name="p102l0"></a><span class="pagenum">102</span> +<p>Según alzaba en honores</p> +<p>Alzábase en pensamientos,</p> +<p>Y tanto ayudó en la guerra</p> +<p>Con su valor y altos hechos,</p> +<p>Que el mismo rey á su vuelta</p><a id="p102l5" name="p102l5"></a><span class="linenum">5</span> +<p>Le armó en Madrid caballero,</p> +<p>Tomándole á su servicio</p> +<p>Por capitán de lanceros.</p> +<p>Y otro no fué que Martínez</p> +<p>Quien ha poco entró en Toledo,</p><a id="p102l10" name="p102l10"></a><span class="linenum">10</span> +<p>Tan orgulloso y ufano</p> +<p>Cual salió humilde y pequeño.</p> +<p>Ni es otro á quien se dirige,</p> +<p>Cobrado el conocimiento,</p> +<p>La amorosa Inés de Vargas,</p><a id="p102l15" name="p102l15"></a><span class="linenum">15</span> +<p>Que vive por él muriendo.</p> +<p>Mas él, que olvidando todo</p> +<p>Olvidó su nombre mesmo,</p> +<p>Puesto que hoy Diego Martínez</p> +<p>Es el capitán Don Diego,</p><a id="p102l20" name="p102l20"></a><span class="linenum">20</span> +<p>Ni se ablanda á sus caricias,</p> +<p>Ni cura de sus lamentos;</p> +<p>Diciendo que son locuras</p> +<p>De gentes de poco seso;</p> +<p>Que ni él prometió casarse</p><a id="p102l25" name="p102l25"></a><span class="linenum">25</span> +<p>Ni pensó jamás en ello.</p> +<p>¡Tanto mudan á los hombres</p> +<p>Fortuna, poder y tiempo!</p> +<p>En vano porfiaba Inés</p><a id="p103l0" name="p103l0"></a><span class="pagenum">103</span> +<p>Con amenazas y ruegos;</p> +<p>Cuanto más ella importuna</p> +<p>Está Martínez severo.</p> +<p>Abrazada á sus rodillas</p> +<p>Enmarañado el cabello,</p><a id="p103l5" name="p103l5"></a><span class="linenum">5</span> +<p>La hermosa niña lloraba</p> +<p>Prosternada por el suelo.</p> +<p>Mas todo empeño es inútil,</p> +<p>Porque el capitán Don Diego</p> +<p>No ha de ser Diego Martínez</p><a id="p103l10" name="p103l10"></a><span class="linenum">10</span> +<p>Como lo era en otro tiempo.</p> +<p>Y así llamando á su gente,</p> +<p>De amor y piedad ajeno,</p> +<p>Mandóles que á Inés llevaran</p> +<p>De grado ó de valimiento.</p><a id="p103l15" name="p103l15"></a><span class="linenum">15</span> +<p>Mas ella antes que la asieran,</p> +<p>Cesando un punto en su duelo,</p> +<p>Así habló, el rostro lloroso</p> +<p>Hacia Martínez volviendo:</p> +<p>«Contigo se fué mi honra,</p><a id="p103l20" name="p103l20"></a><span class="linenum">20</span> +<p>Conmigo tu juramento;</p> +<p>Pues buenas prendas son ambas,</p> +<p>En buen fiel las pesaremos.»</p> +<p>Y la faz descolorida</p> +<p>En la mantilla envolviendo,</p><a id="p103l25" name="p103l25"></a><span class="linenum">25</span> +<p>Á pasos desatentados</p> +<p>Salióse del aposento.</p> + </div> </div> + +<p><a id="p104l0" name="p104l0"></a><span class="pagenum">104</span></p> + +<div class="poem"> <div class="stanza"> +<p class="i8">V</p> + </div><div class="stanza"> +<p class="i2">Era entonces de Toledo</p> +<p>Por el rey gobernador</p> +<p>El justiciero y valiente</p> +<p>Don Pedro Ruiz de Alarcón.</p><a id="p104l5" name="p104l5"></a><span class="linenum">5</span> +<p>Muchos años por su patria</p> +<p>El buen viejo peleó;</p> +<p>Cercenado tiene un brazo,</p> +<p>Mas entero el corazón.</p> +<p>La mesa tiene delante,</p><a id="p104l10" name="p104l10"></a><span class="linenum">10</span> +<p>Los jueces en derredor,</p> +<p>Los corchetes á la puerta</p> +<p>Y en la derecha el bastón.</p> +<p>Está, como presidente</p> +<p>Del tribunal superior,</p><a id="p104l15" name="p104l15"></a><span class="linenum">15</span> +<p>Entre un dosel y una alfombra</p> +<p>Reclinado en un sillón,</p> +<p>Escuchando con paciencia</p> +<p>La casi asmática voz</p> +<p>Con que un tétrico escribano</p><a id="p104l20" name="p104l20"></a><span class="linenum">20</span> +<p>Solfea una apelación.</p> +<p>Los asistentes bostezan</p> +<p>Al murmullo arrullador,</p> +<p>Los jueces medio dormidos</p> +<p>Hacen pliegues al ropón,</p><a id="p104l25" name="p104l25"></a><span class="linenum">25</span> +<p>Los escribanos repasan</p> +<p>Sus pergaminos al sol,</p><a id="p105l0" name="p105l0"></a><span class="pagenum">105</span> +<p>Los corchetes á una moza</p> +<p>Guiñan en un corredor,</p> +<p>Y abajo en Zocodover</p> +<p>Gritan en discorde son</p> +<p>Los que en el mercado venden</p><a id="p105l5" name="p105l5"></a><span class="linenum">5</span> +<p>Lo vendido y el valor.</p> +<p class="i2">Una mujer en tal punto,</p> +<p>En faz de grande aflicción,</p> +<p>Rojos de llorar los ojos,</p> +<p>Ronca de gemir la voz,</p><a id="p105l10" name="p105l10"></a><span class="linenum">10</span> +<p>Suelto el cabello y el manto,</p> +<p>Tomó plaza en el salón</p> +<p>Diciendo á gritos: «¡Justicia,</p> +<p>Jueces; justicia, señor!»</p> +<p>Y á los pies se arroja humilde</p><a id="p105l15" name="p105l15"></a><span class="linenum">15</span> +<p>De Don Pedro de Alarcón,</p> +<p>En tanto que los curiosos</p> +<p>Se agitan al rededor.</p> +<p>Alzóla cortés Don Pedro</p> +<p>Calmando la confusión</p><a id="p105l20" name="p105l20"></a><span class="linenum">20</span> +<p>Y el tumultuoso murmullo</p> +<p>Que esta escena ocasionó,</p> +<p>Diciendo:</p> +<p class="i10"> —Mujer, ¿qué quieres?</p> +<p>—Quiero justicia, señor.</p> +<p>—¿De qué?</p> +<p class="i10"> —De una prenda hurtada.</p><a id="p105l25" name="p105l25"></a><span class="linenum">25</span> +<p>—¿Qué prenda?</p> +<p class="i10"> —Mi corazón.</p><a id="p106l0" name="p106l0"></a><span class="pagenum">106</span> +<p>—¿Tú le diste?</p> +<p class="i10"> —Le presté.</p> +<p>—¿Y no te le han vuelto?</p> +<p class="i10"> —No.</p> +<p>—¿Tienes testigos?</p> +<p class="i10"> —Ninguno.</p> +<p>—¿Y promesa?</p> +<p class="i10"> —¡Sí, por Dios!</p> +<p>Que al partirse de Toledo</p><a id="p106l5" name="p106l5"></a><span class="linenum">5</span> +<p>Un juramento empeñó.</p> +<p>—¿Quién es él?</p> +<p class="i10"> —Diego Martínez.</p> +<p>—¿Noble?</p> +<p class="i10">—Y capitán, señor.</p> +<p>—Presentadme al capitán,</p> +<p>Que cumplirá si juró.—</p><a id="p106l10" name="p106l10"></a><span class="linenum">10</span> +<p>Quedó en silencio la sala,</p> +<p>Y á poco en el corredor</p> +<p>Se oyó de botas y espuelas</p> +<p>El acompasado son.</p> +<p>Un portero, levantando</p><a id="p106l15" name="p106l15"></a><span class="linenum">15</span> +<p>El tapiz, en alta voz</p> +<p>Dijo:—El capitán Don Diego.—</p> +<p>Y entró luego en el salón</p> +<p>Diego Martínez, los ojos</p> +<p>Llenos de orgullo y furor.</p><a id="p106l20" name="p106l20"></a><span class="linenum">20</span> +<p>—¿Sois el capitán Don Diego,</p> +<p>Díjole Don Pedro, vos?—</p> +<p>Contestó altivo y sereno</p><a id="p107l0" name="p107l0"></a><span class="pagenum">107</span> +<p>Diego Martínez:</p> +<p class="i10"> —Yo soy.</p> +<p>—¿Conocéis á esta muchacha?</p> +<p>—Ha tres años, salvo error.</p> +<p>—¿Hicísteisla juramento</p> +<p>De ser su marido?—</p> +<p class="i10"> —No.</p><a id="p107l5" name="p107l5"></a><span class="linenum">5</span> +<p>—¿Juráis no haberlo jurado?</p> +<p>—Sí juro.—</p> +<p class="i10"> —Pues id con Dios.</p> +<p>—¡Miente!—clamó Inés llorando</p> +<p>De despecho y de rubor.</p> +<p>—Mujer, ¡piensa lo que dices!...</p><a id="p107l10" name="p107l10"></a><span class="linenum">10</span> +<p>—Digo que miente, juró.</p> +<p>—¿Tienes testigos?</p> +<p class="i10"> —Ninguno.</p> +<p>—Capitán, idos con Dios,</p> +<p>Y dispensad que acusado</p> +<p>Dudara de vuestro honor.—</p><a id="p107l15" name="p107l15"></a><span class="linenum">15</span> +<p class="i2">Tornó Martínez la espalda</p> +<p>Con brusca satisfacción,</p> +<p>É Inés, que le vió partirse,</p> +<p>Resuelta y firme gritó:</p> +<p>—Llamadle, tengo un testigo.</p><a id="p107l20" name="p107l20"></a><span class="linenum">20</span> +<p>Llamadle otra vez, señor.—</p> +<p>Volvió el capitán Don Diego,</p> +<p>Sentóse Ruiz de Alarcón,</p> +<p>La multitud aquietóse</p> +<p>Y la de Vargas siguió:</p><a id="p107l25" name="p107l25"></a><span class="linenum">25</span><a id="p108l0" name="p108l0"></a><span class="pagenum">108</span> +<p>—Tengo un testigo á quien nunca </p> +<p>Faltó verdad ni razón.</p> +<p>—¿Quién?</p> +<p class="i10">—Un hombre que de lejos</p> +<p>Nuestras palabras oyó,</p> +<p>Mirándonos desde arriba.</p><a id="p108l5" name="p108l5"></a><span class="linenum">5</span> +<p>—¿Estaba en algún balcón?</p> +<p>—No, que estaba en un suplicio</p> +<p>Donde ha tiempo que expiró.</p> +<p>—¿Luego es muerto?</p> +<p class="i10"> —No, que vive.</p> +<p>—Estáis loca, ¡vive Dios!</p><a id="p108l10" name="p108l10"></a><span class="linenum">10</span> +<p>¿Quién fué?</p> +<p class="i10"> —El CRISTO de la Vega</p> +<p>Á cuya faz perjuró.—</p> +<p class="i2">Pusiéronse en pie los jueces</p> +<p>Al nombre del Redentor,</p> +<p>Escuchando con asombro</p><a id="p108l15" name="p108l15"></a><span class="linenum">15</span> +<p>Tan excelsa apelación.</p> +<p>Reinó un profundo silencio</p> +<p>De sorpresa y de pavor,</p> +<p>Y Diego bajó los ojos</p> +<p>De vergüenza y confusión.</p><a id="p108l20" name="p108l20"></a><span class="linenum">20</span> +<p>Un instante con los jueces</p> +<p>Don Pedro en secreto habló,</p> +<p>Y levantóse diciendo</p> +<p>Con respetuosa voz:</p> +<p class="i2">«La ley es ley para todos,</p><a id="p108l25" name="p108l25"></a><span class="linenum">25</span> +<p>Tu testigo es el mejor,</p><a id="p109l0" name="p109l0"></a><span class="pagenum">109</span> +<p>Mas para tales testigos</p> +<p>No hay más tribunal que Dios.</p> +<p>Haremos... lo que sepamos;</p> +<p>Escribano, al caer el sol</p> +<p>Al CRISTO que está en la vega</p><a id="p109l5" name="p109l5"></a><span class="linenum">5</span> +<p>Tomaréis declaración.»</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i8">VI</p> + </div><div class="stanza"> +<p class="i2">Es una tarde serena,</p> +<p>Cuya luz tornasolada</p> +<p>Del purpurino horizonte</p> +<p>Blandamente se derrama.</p><a id="p109l10" name="p109l10"></a><span class="linenum">10</span> +<p>Plácido aroma las flores</p> +<p>Sus hojas plegando exhalan,</p> +<p>Y el céfiro entre perfumes</p> +<p>Mece las trémulas alas.</p> +<p>Brillan abajo en el valle</p><a id="p109l15" name="p109l15"></a><span class="linenum">15</span> +<p>Con suave rumor las aguas,</p> +<p>Y las aves en la orilla</p> +<p>Despidiendo al día cantan.</p> +<p class="i2">Allá por el <i>Miradero</i></p> +<p>Por el Cambrón y Visagra</p><a id="p109l20" name="p109l20"></a><span class="linenum">20</span> +<p>Confuso tropel de gente</p> +<p>Del Tajo á la vega baja.</p> +<p>Vienen delante Don Pedro</p> +<p>De Alarcón, Ibán de Vargas,</p> +<p>Su hija Inés, los escribanos,</p><a id="p109l25" name="p109l25"></a><span class="linenum">25</span> +<p>Los corchetes y los guardias;</p> +<p>Y detrás monjes, hidalgos,</p><a id="p110l0" name="p110l0"></a><span class="pagenum">110</span> +<p>Mozas, chicos y canalla.</p> +<p>Otra turba de curiosos</p> +<p>En la vega les aguarda,</p> +<p>Cada cual comentariando</p> +<p>El caso según le cuadra.</p><a id="p110l5" name="p110l5"></a><span class="linenum">5</span> +<p>Entre ellos está Martínez</p> +<p>En apostura bizarra,</p> +<p>Calzadas espuelas de oro,</p> +<p>Valona de encaje blanca,</p> +<p>Bigote á la borgoñona,</p><a id="p110l10" name="p110l10"></a><span class="linenum">10</span> +<p>Melena desmelenada,</p> +<p>El sombrero guarnecido</p> +<p>Con cuatro lazos de plata,</p> +<p>Un pie delante del otro,</p> +<p>Y el puño en el de la espada.</p><a id="p110l15" name="p110l15"></a><span class="linenum">15</span> +<p>Los plebeyos de reojo</p> +<p>Le miran de entre las capas,</p> +<p>Los chicos al uniforme</p> +<p>Y las mozas á la cara.</p> +<p>Llegado el gobernador</p><a id="p110l20" name="p110l20"></a><span class="linenum">20</span> +<p>Y gente que le acompaña,</p> +<p>Entraron todos al claustro</p> +<p>Que iglesia y patio separa.</p> +<p>Encendieron ante el CRISTO</p> +<p>Cuatro cirios y una lámpara,</p><a id="p110l25" name="p110l25"></a><span class="linenum">25</span> +<p>Y de hinojos un momento</p> +<p>Le rezaron en voz baja.</p> + </div><div class="stanza"> +<p class="i2">Está el CRISTO de la Vega</p> +<p>La cruz en tierra posada,</p><a id="p111l0" name="p111l0"></a><span class="pagenum">111</span> +<p>Los pies alzados del suelo</p> +<p>Poco menos de una vara;</p> +<p>Hacia la severa imagen</p> +<p>Un notario se adelanta,</p> +<p>De modo que con el rostro</p><a id="p111l5" name="p111l5"></a><span class="linenum">5</span> +<p>Al pecho santo llegaba.</p> +<p>Á un lado tiene á Martínez,</p> +<p>Á otro lado á Inés de Vargas,</p> +<p>Detrás al gobernador</p> +<p>Con sus jueces y sus guardias.</p><a id="p111l10" name="p111l10"></a><span class="linenum">10</span> +<p>Después de leer dos veces</p> +<p>La acusación entablada,</p> +<p>El notario á Jesucristo</p> +<p>Así demandó en voz alta:</p> +<p>—«<i>Jesús, Hijo de María,</i></p><a id="p111l15" name="p111l15"></a><span class="linenum">15</span> +<p><i>Ante nos esta mañana</i></p> +<p><i>Citado como testigo</i></p> +<p><i>Por boca de Inés de Vargas,</i></p> +<p><i>¿Juráis ser cierto que un día</i></p> +<p><i>Á vuestras divinas plantas</i></p><a id="p111l20" name="p111l20"></a><span class="linenum">20</span> +<p><i>Juró á Inés Diego Martínez</i></p> +<p><i>Por su mujer desposarla?</i>»</p> + </div><div class="stanza"> +<p class="i2">Asida á un <i>brazo</i> desnudo</p> +<p>Una <i>mano</i> atarazada</p> +<p>Vino á posar en los autos</p><a id="p111l25" name="p111l25"></a><span class="linenum">25</span> +<p>La seca y hendida palma,</p> +<p>Y allá en los aires «¡Sí JURO!»</p> +<p>Clamó una voz más que humana.</p> + </div><div class="stanza"> +<p class="i2">Alzó la turba medrosa</p><a id="p112l0" name="p112l0"></a><span class="pagenum">112</span> +<p>La vista á la imagen santa...</p> +<p>Los labios tenía abiertos,</p> +<p>Y una mano desclavada.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i6">CONCLUSIÓN</p> + </div><div class="stanza"> +<p class="i2">Las vanidades del mundo</p> +<p>Renunció allí mismo Inés,</p><a id="p112l5" name="p112l5"></a><span class="linenum">5</span> +<p>Y espantado de sí propio</p> +<p>Diego Martínez también.</p> +<p>Los escribanos temblando</p> +<p>Dieron de esta escena fe,</p> +<p>Firmando como testigos</p><a id="p112l10" name="p112l10"></a><span class="linenum">10</span> +<p>Cuantos hubieron poder.</p> +<p>Fundóse un aniversario</p> +<p>Y una capilla con él,</p> +<p>Y Don Pedro de Alarcón</p> +<p>El altar ordenó hacer,</p><a id="p112l15" name="p112l15"></a><span class="linenum">15</span> +<p>Donde hasta el tiempo que corre,</p> +<p>Y en cada un año una vez,</p> +<p>Con la mano desclavada</p> +<p>El crucifijo se ve.</p> + </div> </div> + + +<br> +<a id="h28" name="h28"></a> +<h4>DON ANTONIO DE TRUEBA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>CANTOS DE PÁJARO</p><br> +<p class="i2">Tengo yo un pajarillo</p><a id="p112l20" name="p112l20"></a><span class="linenum">20</span> +<p>Que el día pasa</p> +<p>Cantando entre las flores</p><a id="p113l0" name="p113l0"></a><span class="pagenum">113</span> +<p>De mi ventana;</p> +<p>Y un canto alegre</p> +<p>Á todo pasajero</p> +<p>Dedica siempre.</p> +<p>Tiene mi pajarillo</p><a id="p113l5" name="p113l5"></a><span class="linenum">5</span> +<p>Siempre armonías</p> +<p>Para alegrar el alma</p> +<p>Del que camina...</p> +<p>¡Oh cielo santo,</p> +<p>Por qué no harán los hombres</p><a id="p113l10" name="p113l10"></a><span class="linenum">10</span> +<p>Lo que los pájaros! </p> +<p>Cuando mi pajarillo</p> +<p>Cantos entona,</p> +<p>Pasajeros ingratos</p> +<p>Cantos le arrojan:</p><a id="p113l15" name="p113l15"></a><span class="linenum">15</span> +<p>Mas no por eso</p> +<p>Niega sus armonías</p> +<p>Al pasajero.</p> +<p>Tiende las leves alas,</p> +<p>Cruza las nubes</p><a id="p113l20" name="p113l20"></a><span class="linenum">20</span> +<p>Y canta junto al cielo</p> +<p>Con voz más dulce:</p> +<p>«Paz á los hombres</p> +<p>Y gloria al que en la altura</p> +<p>Rige los orbes!»</p><a id="p113l25" name="p113l25"></a><span class="linenum">25</span> +<p>Y yo sigo el ejemplo</p> +<p>Del ave mansa</p> +<p>Que canta entre las flores</p> +<p>De mi ventana,</p><a id="p114l0" name="p114l0"></a><span class="pagenum">114</span> +<p>Porque es sabido</p> +<p>Que poetas y pájaros</p> +<p>Somos lo mismo.</p> + </div> </div> + + + +<div class="poem"> <div class="stanza"> +<p class="i4">LA PEREJILERA</p><br> +<p class="i2">Al salir el sol dorado</p> +<p>Esta mañana te vi</p><a id="p114l5" name="p114l5"></a><span class="linenum">5</span> +<p>Cogiendo, niña, en tu huerto</p> +<p>Matitas de perejil.</p> +<p class="i2">Para verte más de cerca</p> +<p>En el huerto me metí,</p> +<p>Y sabrás que eché de menos</p><a id="p114l10" name="p114l10"></a><span class="linenum">10</span> +<p>Mi corazón al salir.</p> +<p class="i2">Tú debiste de encontrarle,</p> +<p>Que en el huerto le perdí.</p> +<p>«Dámele, perejilera,</p> +<p>Que te le vengo á pedir.»</p> + </div> </div> + +<br> +<a id="h29" name="h29"></a> +<h4>DON JOSÉ SELGAS Y CARRASCO</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i4">LA MODESTIA</p><br> +<a id="p114l15" name="p114l15"></a><span class="linenum">15</span> +<p class="i2">Por las flores proclamado</p> +<p>Rey de una hermosa pradera,</p> +<p>Un clavel afortunado</p> +<p>Dió principio á su reinado</p> +<p>Al nacer la primavera.</p><a id="p114l20" name="p114l20"></a><span class="linenum">20</span> +<p class="i2">Con majestad soberana</p> +<p>Llevaba y con noble brío</p><a id="p115l0" name="p115l0"></a><span class="pagenum">115</span> +<p>El regio manto de grana,</p> +<p>Y sobre la frente ufana</p> +<p>La corona de rocío.</p> +<p class="i2">Su comitiva de honor</p> +<p>Mandaba, por ser costumbre,</p><a id="p115l5" name="p115l5"></a><span class="linenum">5</span> +<p>El céfiro volador,</p> +<p>Y había en su servidumbre</p> +<p>Hierbas y malvas de olor.</p> +<p class="i2">Su voluntad poderosa,</p> +<p>Porque también era uso,</p><a id="p115l10" name="p115l10"></a><span class="linenum">10</span> +<p>Quiso una flor para esposa,</p> +<p>Y regiamente dispuso</p> +<p>Elegir la más hermosa.</p> +<p class="i2">Como era costumbre y ley,</p> +<p>Y porque causa delicia</p><a id="p115l15" name="p115l15"></a><span class="linenum">15</span> +<p>En la numerosa grey,</p> +<p>Pronto corrió la noticia</p> +<p>Por los estados del rey.</p> +<p class="i2">Y en revuelta actividad</p> +<p>Cada flor abre el arcano</p><a id="p115l20" name="p115l20"></a><span class="linenum">20</span> +<p>De su fecunda beldad,</p> +<p>Por prender la voluntad</p> +<p>Del hermoso soberano.</p> +<p class="i2">Y hasta las menos apuestas</p> +<p>Engalanarse se vían</p><a id="p115l25" name="p115l25"></a><span class="linenum">25</span> +<p>Con harta envidia, dispuestas</p> +<p>Á ver las solemnes fiestas</p> +<p>Que celebrarse debían.</p> +<p class="i2">Lujosa la Corte brilla:</p><a id="p116l0" name="p116l0"></a><span class="pagenum">116</span> +<p>El rey, admirado, duda,</p> +<p>Cuando ocultarse sencilla</p> +<p>Vió una tierna florecilla</p> +<p>Entre la hierba menuda.</p> + </div><div class="stanza"> +<p class="i2">Y por si el regio esplendor</p><a id="p116l5" name="p116l5"></a><span class="linenum">5</span> +<p>De su corona le inquieta,</p> +<p>Pregúntale con amor:</p> +<p>—«¿Cómo te llamas?»—«Violeta,»</p> +<p>Dijo temblando la flor.</p> + </div><div class="stanza"> +<p class="i2">—«¿Y te ocultas cuidadosa</p><a id="p116l10" name="p116l10"></a><span class="linenum">10</span> +<p>Y no luces tus colores,</p> +<p>Violeta dulce y medrosa,</p> +<p>Hoy que entre todas las flores</p> +<p>Va el rey á elegir esposa?»</p> + </div><div class="stanza"> +<p class="i2">Siempre temblando la flor,</p><a id="p116l15" name="p116l15"></a><span class="linenum">15</span> +<p>Aunque llena de placer,</p> +<p>Suspiró y dijo: «Señor,</p> +<p>Yo no puedo merecer</p> +<p>Tan distinguido favor.»</p> + </div><div class="stanza"> +<p class="i2">El rey, suspenso, la mira</p><a id="p116l20" name="p116l20"></a><span class="linenum">20</span> +<p>Y se inclina dulcemente; </p> +<p>Tanta modestia le admira;</p> +<p>Su blanda esencia respira,</p> +<p>Y dice alzando la frente:</p> + </div><div class="stanza"> +<p class="i2">«Me depara mi ventura</p><a id="p116l25" name="p116l25"></a><span class="linenum">25</span><a id="p117l0" name="p117l0"></a><span class="pagenum">117</span> +<p>Esposa noble y apuesta;</p> +<p>Sepa, si alguno murmura,</p> +<p>Que la mejor hermosura</p> +<p>Es la hermosura modesta.»</p> + </div><div class="stanza"> +<p class="i2">Dijo, y el aura afanosa</p><a id="p117l5" name="p117l5"></a><span class="linenum">5</span> +<p>Publicó en forma de ley,</p> +<p>Con voz dulce y melodiosa,</p> +<p>Que la violeta es la esposa</p> +<p>Elegida por el rey.</p> + </div><div class="stanza"> +<p class="i2">Hubo magníficas fiestas,</p><a id="p117l10" name="p117l10"></a><span class="linenum">10</span> +<p>Ambos esposos se dieron</p> +<p>Pruebas de amor manifiestas,</p> +<p>Y en aquel reinado fueron</p> +<p>Todas las flores modestas.</p> + </div> </div> + + +<br> +<a id="h30" name="h30"></a> +<h4>DON PEDRO A. DE ALARCÓN</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">EL MONT-BLANC</p><br> +<p class="i2">¡Heme al fin en la cumbre soberana!...</p><a id="p117l15" name="p117l15"></a><span class="linenum">15</span> +<p>¡Nieve perpetua..., soledad doquiera!...</p> +<p>¿Quién sino el hombre, en su soberbia insana,</p> +<p>Á hollar estos desiertos se atreviera?</p> +<p class="i2">Aquí enmudece hasta la voz del viento...;</p> +<p>Profundo mar parece el horizonte...,</p><a id="p117l20" name="p117l20"></a><span class="linenum">20</span> +<p>Única playa el alto firmamento...,</p> +<p>Anclada nave el solitario monte.</p><a id="p118l0" name="p118l0"></a><span class="pagenum">118</span> +<p class="i2">¡Nada en torno de mí!... ¡Todo á mis plantas!</p> +<p>Obscuros bosques, relucientes ríos,</p> +<p>Lagos, campiñas, páramos, gargantas...</p> +<p>¡Europa entera yace á los pies míos!</p> +<p class="i2">¡Y cuán pequeña la terrestre vida,</p><a id="p118l5" name="p118l5"></a><span class="linenum">5</span> +<p>Cuán relegado el humanal imperio</p> +<p>Se ve desde estos hielos donde anida</p> +<p>El <i>Monte Blanco</i>, el rey del hemisferio!</p> +<p class="i2">¡De aquí tiende su cetro sobre el mundo!</p> +<p>El Danubio opulento, el Po anchuroso,</p><a id="p118l10" name="p118l10"></a><span class="linenum">10</span> +<p>El luengo Rhin y el Ródano profundo,</p> +<p>Hijos son de los hijos del Coloso.</p> +<p class="i2">Debajo de él... los Alpes se eslabonan</p> +<p>Como escabeles de su trono inmenso:</p> +<p>Debajo de él... las nubes se amontonan</p><a id="p118l15" name="p118l15"></a><span class="linenum">15</span> +<p>Cual humo leve de quemado incienso.</p> +<p class="i2">¡Sobre él... los cielos nada más! La tarde</p> +<p>Le invidia al verlo de fulgor ceñido...</p> +<p>Llega la noche, y aún su frente arde</p> +<p>Con reflejos de un sol por siempre hundido.</p><a id="p118l20" name="p118l20"></a><span class="linenum">20</span> +<p class="i2">Allá turnan con raudo movimiento</p> +<p>Una y otra estación... Él permanece</p> +<p>Mudo, inmóvil, estéril. ¡Monumento</p> +<p>De la implacable eternidad parece!</p> +<p class="i2">Ni el oso atroz ni el traicionero lobo</p><a id="p118l25" name="p118l25"></a><span class="linenum">25</span> +<p>Huellan jamás su excelsitud nevada... </p> +<p>Huérfano vive del calor del globo...</p> +<p>¡En él principia el reino de la nada!</p> +<p class="i2">Por eso, ufano de su horror profundo,</p><a id="p119l0" name="p119l0"></a><span class="pagenum">119</span> +<p>Dichoso aquí mi corazón palpita...</p> +<p>¡Aquí solo con Dios..., fuera del mundo!</p> +<p>¡Solo, bajo la bóveda infinita!</p> +<p class="i2">¡Y qué süave, deleitosa calma</p> +<p>Brinda á mi pecho esta región inerte!...</p><a id="p119l5" name="p119l5"></a><span class="linenum">5</span> +<p>Así concibe fatigada el alma</p> +<p>El tardo bien de la benigna muerte.</p> +<p class="i2">¡Morir aquí! De los poblados valles</p> +<p>No retornar á la angustiosa vida:</p> +<p>No escuchar más los lastimosos ayes</p><a id="p119l10" name="p119l10"></a><span class="linenum">10</span> +<p>De la cuitada humanidad caída:</p> +<p class="i2">Desparecer, huyendo de la tierra,</p> +<p>Desde esta cima que se acerca al cielo:</p> +<p>Por siempre desertar de aquella guerra,</p> +<p>De eterna libertad tendiendo el vuelo...</p><a id="p119l15" name="p119l15"></a><span class="linenum">15</span> +<p class="i2">Tal ansia acude al corazón llagado,</p> +<p>Al mirarte, ¡oh <i>Mont-Blanc!</i>, erguir la frente</p> +<p>Sobre un mísero mundo atribulado</p> +<p>Por el cierzo y el rayo y el torrente.</p> +<p class="i2">¡Tú nada temes! De tu imperio yerto</p><a id="p119l20" name="p119l20"></a><span class="linenum">20</span> +<p>Sólo Dios es señor, fuerza y medida:</p> +<p>¡Cómo el ancho Océano y el Desierto,</p> +<p>Tú vives sólo de tu propia vida!</p> +<p class="i2">La tierra acaba en tu glacial palacio;</p> +<p>Tuya es la azul inmensidad aérea:</p><a id="p119l25" name="p119l25"></a><span class="linenum">25</span> +<p>Tú ves más luz, más astros, más espacio...;</p> +<p>¡Parte eres ya de la mansión etérea!</p> +<p class="i2">¡Adiós! Retorno al mundo... Acaso un día</p> +<p>Ya de la tierra el corazón no lata,</p><a id="p120l0" name="p120l0"></a><span class="pagenum">120</span> +<p>Y sobre su haz inanimada y fría</p> +<p>Tiendas tu manto de luciente plata...</p> +<p class="i2">Será entonces tu reino silencioso</p> +<p>Cuanto hoy circunda y cubre el Oceano...</p> +<p class="i2">¡Adiós!... Impera en tanto desdeñoso</p><a id="p120l5" name="p120l5"></a><span class="linenum">5</span> +<p>Sobre la insania del orgullo humano.</p> + </div> </div> + + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EL SECRETO</p><br> +<p>«<i>¡Yo no quiero morirme!</i>»</p> +<p class="i2">—Dice la niña,</p> +<p>Tendiendo hacia su madre</p> +<p class="i2">Dos manecitas</p><a id="p120l10" name="p120l10"></a><span class="linenum">10</span> +<p class="i2">Calenturientas,</p> +<p>Cual dos blancos jazmines</p> +<p class="i2">Que el viento seca...</p> +<p>Un silencio de muerte</p> +<p class="i2">La madre guarda...</p><a id="p120l15" name="p120l15"></a><span class="linenum">15</span> +<p>¡Ay! ¡si hablara, vertiera</p> +<p class="i2">Mares de lágrimas!</p> +<p class="i2">Besa á la niña,</p> +<p>¡Y aun le fingen sus labios</p> +<p class="i2">Una sonrisa!</p><a id="p120l20" name="p120l20"></a><span class="linenum">20</span> +<p>Del cuello de la madre</p> +<p class="i2">La hija se cuelga</p> +<p>Y, pegada á su oído,</p> +<p class="i2">Pálida y trémula,</p> +<p class="i2">Con sordo acento,</p><a id="p120l25" name="p120l25"></a><span class="linenum">25</span> +<p>Dícele horrorizada:</p><a id="p121l0" name="p121l0"></a><span class="pagenum">121</span> +<p class="i2">—«<i>Oye un secreto:</i></p> +<p><i>¿Sabes por qué á morirme</i></p> +<p class="i2">Le temo tanto?</p> +<p>Porque luego me llevan,</p> +<p class="i2">Toda de blanco,</p><a id="p121l5" name="p121l5"></a><span class="linenum">5</span> +<p class="i2">Al cementerio...,</p> +<p>¡Y de verme allí sola</p> +<p class="i2">Va á darme miedo!»</p> +<p>—«<i>Hija de mis entrañas!</i></p> +<p class="i2">(Grita la madre)</p><a id="p121l10" name="p121l10"></a><span class="linenum">10</span> +<p><i>Dios querrá que me vivas...;</i></p> +<p class="i2"><i>Y, aunque te mate,</i></p> +<p class="i2"><i>Descuida, hermosa;</i></p> +<p><i>Que tú en el cementerio</i></p> +<p class="i2"><i>No estarás sola.</i>»</p> + </div> </div> + + +<br> +<a id="h31" name="h31"></a> +<h4>DON GUSTAVO ADOLFO BÉCQUER</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i6">RIMAS</p><br> +<p class="i8">II</p> + </div><div class="stanza"><a id="p121l15" name="p121l15"></a><span class="linenum">15</span> +<p class="i2">Saeta que voladora</p> +<p>Cruza, arrojada al azar,</p> +<p>Sin adivinarse dónde</p> +<p>Temblando se clavará;</p> +<p class="i2">Hoja que del árbol seca</p><a id="p121l20" name="p121l20"></a><span class="linenum">20</span> +<p>Arrebata el vendaval,</p> +<p>Sin que nadie acierte el surco</p> +<p>Donde á caer volverá;</p><a id="p122l0" name="p122l0"></a><span class="pagenum">122</span> +<p class="i2">Gigante ola que el viento</p> +<p>Riza y empuja en el mar,</p> +<p>Y rueda y pasa, y no sabe</p> +<p>Qué playa buscando va;</p> +<p class="i2">Luz que en cercos temblorosos</p><a id="p122l5" name="p122l5"></a><span class="linenum">5</span> +<p>Brilla, próxima á expirar,</p> +<p>Ignorándose cuál de ellos</p> +<p>El último brillará;</p> +<p class="i2">Eso soy yo, que al acaso</p> +<p>Cruzo el mundo, sin pensar</p><a id="p122l10" name="p122l10"></a><span class="linenum">10</span> +<p>De dónde vengo, ni adónde</p> +<p>Mis pasos me llevarán.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10"> VII</p> + </div><div class="stanza"> +<p class="i2">Del salón en el ángulo obscuro,</p> +<p>De su dueño tal vez olvidada,</p> +<p>Silenciosa y cubierta de polvo</p><a id="p122l15" name="p122l15"></a><span class="linenum">15</span> +<p class="i4"> Veíase el arpa.</p> +<p class="i2">¡Cuánta nota dormía en sus cuerdas</p> +<p>Como el pájaro duerme en las ramas,</p> +<p>Esperando la mano de nieve</p> +<p class="i4"> Que sabe arrancarlas!</p><a id="p122l20" name="p122l20"></a><span class="linenum">20</span> +<p class="i2">¡Ay! pensé; ¡cuántas veces el genio</p> +<p>Así duerme en el fondo del alma,</p> +<p>Y una voz, como Lázaro, espera</p> +<p>Que le diga: «Levántate y anda!»</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10"> LIII</p> + </div><div class="stanza"> +<p>Volverán las obscuras golondrinas</p><a id="p122l25" name="p122l25"></a><span class="linenum">25</span><a id="p123l0" name="p123l0"></a><span class="pagenum">123</span> +<p>En tu balcón sus nidos á colgar,</p> +<p>Y, otra vez, con el ala á sus cristales</p> +<p class="i6"> Jugando llamarán;</p> + </div><div class="stanza"> +<p>Pero aquellas que el vuelo refrenaban</p> +<p>Tu hermosura y mi dicha á contemplar,</p><a id="p123l5" name="p123l5"></a><span class="linenum">5</span> +<p>Aquellas que aprendieron nuestros nombres...</p> +<p class="i6"> Ésas... ¡no volverán!</p> + </div><div class="stanza"> +<p>Volverán las tupidas madreselvas</p> +<p>De tu jardín las tapias á escalar,</p> +<p>Y otra vez á la tarde, aun más hermosas,</p><a id="p123l10" name="p123l10"></a><span class="linenum">10</span> +<p class="i6"> Sus flores se abrirán;</p> + </div><div class="stanza"> +<p>Pero aquellas, cuajadas de rocío,</p> +<p>Cuyas gotas mirábamos temblar</p> +<p>Y caer, como lágrimas del día...</p> +<p class="i6"> Ésas... ¡no volverán!</p> + </div><div class="stanza"><a id="p123l15" name="p123l15"></a><span class="linenum">15</span> +<p>Volverán del amor en tus oídos</p> +<p>Las palabras ardientes á sonar;</p> +<p>Tu corazón de su profundo sueño</p> +<p class="i6"> Tal vez despertará;</p> + </div><div class="stanza"> +<p>Pero mudo y absorto y de rodillas,</p><a id="p123l20" name="p123l20"></a><span class="linenum">20</span> +<p>Como se adora á Dios ante su altar,</p> +<p>Como yo te he querido... desengáñate,</p> +<p class="i6"> ¡Así no te querrán!</p> + </div> </div> + +<p><a id="p124l0" name="p124l0"></a><span class="pagenum">124</span></p> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">LXXIII</p><br> +<p class="i2">Cerraron sus ojos</p> +<p>Que aun tenía abiertos;</p> +<p>Taparon su cara</p> +<p>Con un blanco lienzo;</p><a id="p124l5" name="p124l5"></a><span class="linenum">5</span> +<p>y unos sollozando,</p> +<p>Otros en silencio,</p> +<p>De la triste alcoba</p> +<p>Todos se salieron.</p> + </div><div class="stanza"> +<p class="i2">La luz, que en un vaso</p><a id="p124l10" name="p124l10"></a><span class="linenum">10</span> +<p>Ardía en el suelo,</p> +<p>Al muro arrojaba</p> +<p>La sombra del lecho;</p> +<p>Y entre aquella sombra</p> +<p>Veíase á intervalos</p><a id="p124l15" name="p124l15"></a><span class="linenum">15</span> +<p>Dibujarse rígida</p> +<p>La forma del cuerpo.</p> + </div><div class="stanza"> +<p class="i2">Despertaba el día</p> +<p>Y á su albor primero</p> +<p>Con sus mil rüidos</p><a id="p124l20" name="p124l20"></a><span class="linenum">20</span> +<p>Despertaba el pueblo.</p> +<p>Ante aquel contraste</p> +<p>De vida y misterios,</p> +<p>De luz y tinieblas,</p> +<p>Medité un momento:</p><a id="p124l25" name="p124l25"></a><span class="linenum">25</span> +<p>«<i>¡Dios mío, qué solos</i></p> +<p><i>Se quedan los muertos!</i>»</p><a id="p125l0" name="p125l0"></a><span class="pagenum">125</span> + </div><div class="stanza"> +<p class="i2">De la casa en hombros</p> +<p>Lleváronla al templo,</p> +<p>Y en una capilla</p> +<p>Dejaron el féretro.</p><a id="p125l5" name="p125l5"></a><span class="linenum">5</span> +<p>Allí rodearon</p> +<p>Sus pálidos restos</p> +<p>De amarillas velas</p> +<p>Y de paños negros.</p> + </div><div class="stanza"> +<p class="i2">Al dar de las ánimas</p><a id="p125l10" name="p125l10"></a><span class="linenum">10</span> +<p>El toque postrero,</p> +<p>Acabó una vieja</p> +<p>Sus últimos rezos;</p> +<p>Cruzó la ancha nave,</p> +<p>Las puertas gimieron,</p><a id="p125l15" name="p125l15"></a><span class="linenum">15</span> +<p>Y el santo recinto</p> +<p>Quedóse desierto.</p> + </div><div class="stanza"> +<p class="i2">De un reloj se oía</p> +<p>Compasado el péndulo,</p> +<p>Y de algunos cirios</p><a id="p125l20" name="p125l20"></a><span class="linenum">20</span> +<p>El chisporroteo.</p> +<p>Tan medroso y triste,</p> +<p>Tan obscuro y yerto</p> +<p>Todo se encontraba...</p> +<p>Que pensé un momento:</p><a id="p125l25" name="p125l25"></a><span class="linenum">25</span> +<p>«<i>¡Dios mío, qué solos</i></p> +<p><i>Se quedan los muertos!</i>»</p><a id="p126l0" name="p126l0"></a><span class="pagenum">126</span> + + </div><div class="stanza"> +<p class="i2">De la alta campana</p> +<p>La lengua de hierro,</p> +<p>Le dió, volteando,</p> +<p>Su adiós lastimero.</p><a id="p126l5" name="p126l5"></a><span class="linenum">5</span> +<p>El luto en las ropas,</p> +<p>Amigos y deudos</p> +<p>Cruzaron en fila,</p> +<p>Formando el cortejo.</p> + </div><div class="stanza"> +<p class="i2">Del último asilo,</p><a id="p126l10" name="p126l10"></a><span class="linenum">10</span> +<p>Obscuro y estrecho,</p> +<p>Abrió la piqueta</p> +<p>El nicho á un extremo.</p> +<p>Allí la acostaron,</p> +<p>Tapiáronle luego,</p><a id="p126l15" name="p126l15"></a><span class="linenum">15</span> +<p>Y con un saludo</p> +<p>Despidióse el duelo.</p> + </div><div class="stanza"> +<p class="i2">La piqueta al hombro,</p> +<p>El sepulturero</p> +<p>Cantando entre dientes</p><a id="p126l20" name="p126l20"></a><span class="linenum">20</span> +<p>Se perdió á lo lejos.</p> +<p>La noche se entraba,</p> +<p>Reinaba el silencio;</p> +<p>Perdido en las sombras,</p> +<p>Medité un momento:</p><a id="p126l25" name="p126l25"></a><span class="linenum">25</span> +<p><i>«¡Dios mío, qué solos</i></p> +<p><i>Se quedan los muertos!»</i></p><a id="p127l0" name="p127l0"></a><span class="pagenum">127</span> + + </div><div class="stanza"> +<p class="i2">En las largas noches</p> +<p>Del helado invierno,</p> +<p>Cuando las maderas</p> +<p>Crujir hace el viento</p><a id="p127l5" name="p127l5"></a><span class="linenum">5</span> +<p>Y azota los vidrios</p> +<p>El fuerte aguacero,</p> +<p>De la pobre niña</p> +<p>Á solas me acuerdo.</p> + </div><div class="stanza"> +<p class="i2">Allí cae la lluvia</p><a id="p127l10" name="p127l10"></a><span class="linenum">10</span> +<p>Con un son eterno;</p> +<p>Allí la combate</p> +<p>El soplo del cierzo.</p> +<p>¡Del húmedo muro</p> +<p>Tendida en el hueco,</p><a id="p127l15" name="p127l15"></a><span class="linenum">15</span> +<p>Acaso de frío</p> +<p>Se hielan sus huesos!...</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">¿Vuelve el polvo al polvo?</p> +<p>¿Vuela el alma al cielo?</p> +<p>¿Todo es vil materia,</p><a id="p127l20" name="p127l20"></a><span class="linenum">20</span> +<p>Podredumbre y cieno?</p> +<p>¡No sé: pero hay algo</p> +<p>Que explicar no puedo,</p> +<p>Que al par nos infunde</p> +<p>Repugnancia y duelo,</p><a id="p127l25" name="p127l25"></a><span class="linenum">25</span> +<p>Al dejar tan tristes,</p> +<p>Tan solos los muertos!</p> + </div> </div> + +<p><a id="p128l0" name="p128l0"></a><span class="pagenum">128</span></p> + + + +<a id="h32" name="h32"></a> +<h4>DON VICENTE W. QUEROL</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i6">EN NOCHE-BUENA</p><br> + +<p class="i6">Á mis ancianos padres</p><br> + +<p class="i14"> I</p> + </div><div class="stanza"> +<p class="i2">Un año más en el hogar paterno</p> +<p>Celebramos la fiesta del Dios-Niño,</p> +<p>Símbolo augusto del amor eterno,</p> +<p>Cuando cubre los montes el invierno</p><a id="p128l5" name="p128l5"></a><span class="linenum">5</span> +<p class="i8">Con su manto de armiño.</p> + </div><div class="stanza"> +<p class="i14"> II</p> + </div><div class="stanza"> +<p class="i2">Como en el día de la fausta boda</p> +<p>Ó en el que el santo de los padres llega,</p> +<p>La turba alegre de los niños juega,</p> +<p>Y en la ancha sala la familia toda</p><a id="p128l10" name="p128l10"></a><span class="linenum">10</span> +<p class="i8">De noche se congrega.</p> + </div><div class="stanza"> +<p class="i14"> III</p> + </div><div class="stanza"> +<p class="i2">La roja lumbre de los troncos brilla</p> +<p>Del pequeño dormido en la mejilla,</p> +<p>Que con tímido afán su madre besa;</p> +<p>Y se refleja alegre en la vajilla</p><a id="p128l15" name="p128l15"></a><span class="linenum">15</span> +<p class="i8">De la dispuesta mesa.</p> + </div><div class="stanza"> +<p class="i14"> IV</p> + </div><div class="stanza"> +<p class="i2">Á su sobrino, que lo escucha atento,</p><a id="p129l0" name="p129l0"></a><span class="pagenum">129</span> +<p>Mi hermana dice el pavoroso cuento,</p> +<p>Y mi otra hermana la canción modula</p> +<p>Que, ó bien surge vibrante, ó bien ondula</p> +<p class="i8">Prolongada en el viento.</p> + </div><div class="stanza"> +<p class="i14"> V</p> + </div><div class="stanza"> +<p class="i2">Mi madre tiende las rugosas manos</p><a id="p129l5" name="p129l5"></a><span class="linenum">5</span> +<p>Al nieto que huye por la blanda alfombra;</p> +<p>Hablan de pie mi padre y mis hermanos,</p> +<p>Mientras yo, recatándome en la sombra,</p> +<p class="i8">Pienso en hondos arcanos.</p> + </div><div class="stanza"> +<p class="i14"> VI</p> + </div><div class="stanza"> +<p class="i2">Pienso que de los días de ventura</p><a id="p129l10" name="p129l10"></a><span class="linenum">10</span> +<p>Las horas van apresurando el paso,</p> +<p>Y que empaña el oriente niebla obscura,</p> +<p>Cuando aun el rayo trémulo fulgura</p> +<p class="i8">Último del ocaso.</p> + </div><div class="stanza"> +<p class="i14"> VII</p> + </div><div class="stanza"> +<p class="i2">¡Padres míos, mi amor! ¡Cómo envenena</p><a id="p129l15" name="p129l15"></a><span class="linenum">15</span> +<p>Las breves dichas el temor del daño!</p> +<p>Hoy presidís nuestra modesta cena,</p> +<p>Pero en el porvenir... yo sé que un año</p> +<p class="i8">Vendrá sin Noche-Buena.</p> + </div><div class="stanza"> +<p class="i14"> VIII</p> + </div><div class="stanza"> +<p class="i2">Vendrá, y las que hoy son risas y alborozo</p><a id="p129l20" name="p129l20"></a><span class="linenum">20</span> +<p>Serán muda aflicción y hondo sollozo.</p> +<p>No cantará mi hermana, y mi sobrina</p> +<p>No escuchará la historia peregrina</p> +<p class="i8">Que le da miedo y gozo.</p><a id="p130l0" name="p130l0"></a><span class="pagenum">130</span> + </div><div class="stanza"> +<p class="i14"> IX</p> + </div><div class="stanza"> +<p class="i2">No dará nuestro hogar rojos destellos</p> +<p>Sobre el limpio cristal de la vajilla,</p> +<p>Y, si alguien osa hablar, será de aquellos</p> +<p>Que hoy honran nuestra fiesta tan sencilla</p><a id="p130l5" name="p130l5"></a><span class="linenum">5</span> +<p class="i8">Con sus blancos cabellos.</p> + </div><div class="stanza"> +<p class="i14"> X</p> + </div><div class="stanza"> +<p class="i2">Blancos cabellos cuya amada hebra</p> +<p>Es cual corona de laurel de plata,</p> +<p>Mejor que esas coronas que celebra</p> +<p>La vil lisonja, la ignorancia acata,</p><a id="p130l10" name="p130l10"></a><span class="linenum">10</span> +<p class="i8">Y el infortunio quiebra.</p> + </div><div class="stanza"> +<p class="i14"> XI</p> + </div><div class="stanza"> +<p class="i2">¡Padres míos, mi amor! Cuando contemplo</p> +<p>La sublime bondad de vuestro rostro,</p> +<p>Mi alma a los trances de la vida templo,</p> +<p>Y ante esa imagen para orar me postro,</p><a id="p130l15" name="p130l15"></a><span class="linenum">15</span> +<p class="i8">Cual me postro en el templo.</p> + </div><div class="stanza"> +<p class="i14"> XII</p> + </div><div class="stanza"> +<p class="i2">Cada arruga que surca ese semblante</p> +<p>Es del trabajo la profunda huella,</p> +<p>Ó fue un dolor de vuestro pecho amante.</p> +<p>La historia fiel de una época distante</p><a id="p130l20" name="p130l20"></a><span class="linenum">20</span> +<p class="i8">Puedo leer yo en ella.</p> + </div><div class="stanza"> +<p class="i14"> XIII</p> + </div><div class="stanza"> +<p class="i2">La historia de los tiempos sin ventura</p><a id="p131l0" name="p131l0"></a><span class="pagenum">131</span> +<p>En que luchasteis con la adversa suerte,</p> +<p>Y en que, tras negras horas de amargura,</p> +<p>Mi madre se sintió más noble y pura</p> +<p class="i8">Y mi padre más fuerte.</p> + </div><div class="stanza"> +<p class="i14"> XIV</p> + </div><div class="stanza"> +<p class="i2">Cuando la noche toda en la cansada</p><a id="p131l5" name="p131l5"></a><span class="linenum">5</span> +<p>Labor tuvisteis vuestros ojos fijos,</p> +<p>Y, al venceros el sueño á la alborada,</p> +<p>Fuerzas os dió posar vuestra mirada</p> +<p class="i8">En los dormidos hijos.</p> + </div><div class="stanza"> +<p class="i14"> XV</p> + </div><div class="stanza"> +<p class="i2">Las lágrimas correr una tras una</p><a id="p131l10" name="p131l10"></a><span class="linenum">10</span> +<p>Con noble orgullo por mi faz yo siento,</p> +<p>Pensando que hayan sido por fortuna,</p> +<p>Esas honradas manos mi sustento</p> +<p class="i8">Y esos brazos mi cuna.</p> + </div><div class="stanza"> +<p class="i14"> XVI</p> + </div><div class="stanza"> +<p class="i2">¡Padres míos, mi amor! Mi alma quisiera</p><a id="p131l15" name="p131l15"></a><span class="linenum">15</span> +<p>Pagaros hoy la que en mi edad primera</p> +<p>Sufristeis sin gemir lenta agonía,</p> +<p>Y que cada dolor de entonces fuera</p> +<p class="i8">Germen de una alegría.</p> + </div><div class="stanza"> +<p class="i14"> XVII</p> + </div><div class="stanza"> +<p class="i2">Entonces vuestro mal curaba el gozo</p><a id="p131l20" name="p131l20"></a><span class="linenum">20</span> +<p>De ver al hijo convertirse en mozo,</p> +<p>Mientras que al verme yo en vuestra presencia</p> +<p>Siento mi dicha ahogada en el sollozo</p> +<p class="i8">De una temida ausencia.</p><a id="p132l0" name="p132l0"></a><span class="pagenum">132</span> + + </div><div class="stanza"> +<p class="i14"> XVIII</p> + </div><div class="stanza"> +<p class="i2">Si el vigor juvenil volver de nuevo</p> +<p>Pudiese á vuestra edad, ¿por qué estas penas?</p> +<p>Yo os daría mi sangre de mancebo,</p> +<p>Tornando así con ella á vuestras venas</p><a id="p132l5" name="p132l5"></a><span class="linenum">5</span> +<p class="i8">Esta vida que os debo.</p> + </div><div class="stanza"> +<p class="i14"> XIX</p> + </div><div class="stanza"> +<p class="i2">Que de tal modo la aflicción me embarga</p> +<p>Pensando en la posible despedida,</p> +<p>Que imagino ha de ser tarea amarga</p> +<p>Llevar la vida, como inútil carga,</p><a id="p132l10" name="p132l10"></a><span class="linenum">10</span> +<p class="i8">Después de vuestra vida. </p> + </div><div class="stanza"> +<p class="i14"> XX</p> + </div><div class="stanza"> +<p class="i2">Ese plazo fatal, sordo, inflexible,</p> +<p>Miro acercarse con profundo espanto,</p> +<p>Y en dudas grita el corazón sensible:</p> +<p>—«Si aplacar al destino es imposible,</p><a id="p132l15" name="p132l15"></a><span class="linenum">15</span> +<p class="i8">¿Para qué amarnos tanto?»</p> + </div><div class="stanza"> +<p class="i14"> XXI</p> + </div><div class="stanza"> +<p class="i2">Para estar juntos en la vida eterna</p> +<p>Cuando acabe esta vida transitoria:</p> +<p>Si Dios, que el curso universal gobierna,</p> +<p>Nos devuelve en el cielo esta unión tierna,</p><a id="p132l20" name="p132l20"></a><span class="linenum">20</span> +<p class="i8">Yo no aspiro á más gloria.</p> + </div><div class="stanza"> +<p class="i14"> XXII</p> + </div><div class="stanza"> +<p class="i2">Pero en tanto, buen Dios, mi mejor palma</p><a id="p133l0" name="p133l0"></a><span class="pagenum">133</span> +<p>Será que prolonguéis la dulce calma</p> +<p>Que hoy nuestro hogar en su recinto encierra:</p> +<p>Para marchar yo solo por la tierra</p> +<p class="i8">No hay fuerzas en mi alma.</p> + </div> </div> + + +<br> +<a id="h33" name="h33"></a> +<h4>DON RAMÓN DE CAMPOAMOR</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">PROXIMIDAD DEL BIEN</p><br> +<p class="i2">En el tiempo en que el mundo informe estaba,</p> +<p>Creó el Señor, cuando por dicha extrema</p><a id="p133l5" name="p133l5"></a><span class="linenum">5</span> +<p>El paraíso terrenal formaba,</p> +<p>Un fruto que del mal era el emblema</p> +<p>Y otro fruto que el bien simbolizaba.</p> + </div><div class="stanza"> +<p class="i2">Del miserable Adán al mismo lado</p><a id="p133l10" name="p133l10"></a><span class="linenum">10</span> +<p>El Señor colocó del bien el fruto;</p> +<p>Pero Adán nunca el bien halló, ofuscado,</p> +<p>Porque es del hombre mísero atributo</p> +<p>Huir del bien, del mal siempre arrastrado.</p> + </div><div class="stanza"> +<p class="i2">El fruto que del mal el símbolo era</p><a id="p133l15" name="p133l15"></a><span class="linenum">15</span> +<p>Puso Dios escondido y muy lejano;</p> +<p>Pero Adán lo encontraba donde quiera,</p> +<p>Abandonando en su falaz quimera,</p> +<p>Por el lejano mal, el bien cercano.</p> + </div><div class="stanza"> +<p class="i2">¡Ah! siempre el hombre en su ilusión maldita</p><a id="p133l20" name="p133l20"></a><span class="linenum">20</span><a id="p134l0" name="p134l0"></a><span class="pagenum">134</span> +<p>Su misma dicha en despreciar se empeña,</p> +<p>Y al seguirla tenaz, tenaz la evita,</p> +<p>Y aunque en su mismo corazón palpita,</p> +<p>¡Lejos, muy lejos, con afán la sueña!</p> + </div> </div> +<br> + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">¡QUIÉN SUPIERA ESCRIBIR!</p><br> + +<p class="i18">I</p><br> +<p>—Escribidme una carta, señor Cura.</p><a id="p134l5" name="p134l5"></a><span class="linenum">5</span> +<p class="i8">—Ya sé para quién es.</p> +<p>—¿Sabéis quién es, porque una noche obscura</p> +<p class="i8">Nos visteis juntos?—Pues.</p> + </div><div class="stanza"> +<p>—Perdonad; mas...—No extraño ese tropiezo.</p> +<p class="i8">La noche... la ocasión...</p><a id="p134l10" name="p134l10"></a><span class="linenum">10</span> +<p>Dadme pluma y papel. Gracias. Empiezo:</p> +<p class="i8"><i>Mi querido Ramón</i>:</p> + </div><div class="stanza"> +<p>—¿Querido?... Pero, en fin, ya lo habéis puesto...</p> +<p class="i8">—Si no queréis...—¡Sí, sí!</p> +<p>—<i>¡Qué triste estoy!</i> ¿ No es eso?—Por supuesto.</p><a id="p134l15" name="p134l15"></a><span class="linenum">15</span> +<p class="i8">—<i>¡Qué triste estoy sin ti!</i></p> + </div><div class="stanza"> +<p><i>Una congoja, al empezar, me viene</i>...</p> +<p class="i8">—¿Cómo sabéis mi mal?</p> +<p>—Para un viejo, una niña siempre tiene</p> +<p class="i8">El pecho de cristal.</p><a id="p134l20" name="p134l20"></a><span class="linenum">20</span> + </div><div class="stanza"> +<p>¿Qué es sin ti el mundo? Un valle de amargura.</p> +<p class="i8">¿Y contigo? Un edén.</p> +<p>—Haced la letra clara, señor Cura;</p> +<p class="i8">Que lo entienda eso bien.</p><a id="p135l0" name="p135l0"></a><span class="pagenum">135</span> + + </div><div class="stanza"> +<p>—<i>El beso aquel que de marchar á punto</i></p> +<p class="i8"><i>Te di</i>...—¿Cómo sabéis?...</p> +<p>—Cuando se va y se viene y se está junto</p> +<p class="i8">Siempre... no os afrentéis.</p> + </div><div class="stanza"><a id="p135l5" name="p135l5"></a><span class="linenum">5</span> +<p><i>Y si volver tu afecto no procura,</i></p> +<p class="i8"><i>Tanto me harás sufrir...</i></p> +<p>—¿Sufrir y nada más? No, señor Cura,</p> +<p class="i8">¡Que me voy á morir!</p> + </div><div class="stanza"> +<p>—¿Morir? ¿Sabéis que es ofender al cielo?...</p><a id="p135l10" name="p135l10"></a><span class="linenum">10</span> +<p class="i6"> —Pues, sí, señor, ¡morir!</p> +<p>—Yo no pongo <i>morir</i>.—¡Qué hombre de hielo!</p> +<p class="i8">¡Quién supiera escribir!</p> + </div><div class="stanza"> + +<p class="i18">II</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p>¡Señor Rector, señor Rector! en vano</p> +<p class="i8">Me queréis complacer,</p><a id="p135l15" name="p135l15"></a><span class="linenum">15</span> +<p>Si no encarnan los signos de la mano</p> +<p class="i8">Todo el ser de mi ser.</p> + </div><div class="stanza"> +<p>Escribidle, por Dios, que el alma mía</p> +<p class="i8">Ya en mí no quiere estar;</p> +<p>Que la pena no me ahoga cada día...</p><a id="p135l20" name="p135l20"></a><span class="linenum">20</span> +<p class="i8">Porque puedo llorar.</p> + </div><div class="stanza"> +<p>Que mis labios, las rosas de su aliento,</p> +<p class="i8">No se saben abrir;</p> +<p>Que olvidan de la risa el movimiento</p> +<p class="i8">Á fuerza de sentir.</p><a id="p136l0" name="p136l0"></a><span class="pagenum">136</span> + + </div><div class="stanza"> +<p>Que mis ojos, que él tiene por tan bellos,</p> +<p class="i8">Cargados con mi afán,</p> +<p>Como no tienen quien se mire en ellos,</p> +<p class="i8">Cerrados siempre están.</p> + </div><div class="stanza"><a id="p136l5" name="p136l5"></a><span class="linenum">5</span> +<p>Que es, de cuantos tormentos he sufrido,5</p> +<p class="i8">La ausencia el más atroz;</p> +<p>Que es un perpetuo sueño de mi oído</p> +<p class="i8">El eco de su voz...</p> + </div><div class="stanza"> +<p>Que siendo por su causa, el alma mía</p><a id="p136l10" name="p136l10"></a><span class="linenum">10</span> +<p class="i8">¡Goza tanto en sufrir!...</p> +<p>Dios mío ¡cuántas cosas le diría</p> +<p class="i8">Si supiera escribir!...</p> + </div><div class="stanza"> + +<p class="i18">III</p> + </div><div class="stanza"> +<p class="i14">EPÍLOGO</p> + </div><div class="stanza"> + +<p>—Pues señor, ¡bravo amor! Copio y concluyo:</p> +<p class="i8"><i>Á don Ramón</i>... En fin,</p><a id="p136l15" name="p136l15"></a><span class="linenum">15</span> +<p>Que es inútil saber para esto, arguyo,</p> +<p class="i8">Ni el griego ni el latín.</p> + </div> </div> +<br> + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EL MAYOR CASTIGO</p><br> +<p class="i2">Cuando de Virgilio en pos</p> +<p>Fué el Dante al infierno á dar,</p> +<p>Su conciencia, hija de Dios,</p><a id="p136l20" name="p136l20"></a><span class="linenum">20</span> +<p>Dejó á la puerta al entrar.</p> + </div><div class="stanza"> +<p class="i2">Después que á salir volvió,</p><a id="p137l0" name="p137l0"></a><span class="pagenum">137</span> +<p>Su conciencia el Dante hallando,</p> +<p>Con ella otra vez cargó,</p> +<p>Mas dijo así suspirando:</p> +<p class="i2">Del infierno en lo profundo,</p> +<p>No vi tan atroz sentencia</p><a id="p137l5" name="p137l5"></a><span class="linenum">5</span> +<p>Como es la de ir por el mundo</p> +<p>Cargado con la conciencia.</p> + </div> </div> + +<br> +<a id="h34" name="h34"></a> +<h4>DON GASPAR NÚÑEZ DE ARCE</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i10">¡EXCELSIOR!</p><br> +<p>¿Por qué los corazones miserables,</p> +<p class="i4">Por qué las almas viles,</p> +<p>En los fieros combates de la vida</p><a id="p137l10" name="p137l10"></a><span class="linenum">10</span> +<p class="i4">Ni luchan ni resisten?</p> + </div><div class="stanza"> +<p>El espíritu humano es más constante</p> +<p class="i4">Cuanto más se levanta:</p> +<p>Dios puso el fango en la llanura, y puso</p> +<p class="i4">La roca en la montaña.</p> + </div><div class="stanza"><a id="p137l15" name="p137l15"></a><span class="linenum">15</span> +<p>La blanca nieve que en los hondos valles</p> +<p class="i4">Derrítese ligera,</p> +<p>En las altivas cumbres permanece</p> +<p class="i4">Inmutable y eterna.</p> + </div> </div> + + + +<div class="poem"> <div class="stanza"> +<p class="i10">TRISTEZAS</p><br> +<p class="i2">Cuando recuerdo la piedad sincera</p><a id="p137l20" name="p137l20"></a><span class="linenum">20</span> +<p class="i8">Con que en mi edad primera</p><a id="p138l0" name="p138l0"></a><span class="pagenum">138</span> +<p>Entraba en nuestras viejas catedrales,</p> +<p>Donde postrado ante la cruz de hinojos</p> +<p class="i8">Alzaba á Dios mis ojos,</p> +<p>Soñando en las venturas celestiales;</p> + </div><div class="stanza"> +<p class="i2">Hoy que mi frente atónito golpeo,</p><a id="p138l5" name="p138l5"></a><span class="linenum">5</span> +<p class="i8">Y con febril deseo</p> +<p>Busco los restos de mi fe perdida,</p> +<p>Por hallarla otra vez, radiante y bella</p> +<p class="i8">Como en la edad aquella,</p> +<p>¡Desgraciado de mí! diera la vida.</p> + </div><div class="stanza"><a id="p138l10" name="p138l10"></a><span class="linenum">10</span> +<p class="i2">¡Con qué profundo amor, niño inocente,</p> +<p class="i8">Prosternaba mi frente</p> +<p>En las losas del templo sacrosanto!</p> +<p>Llenábase mi joven fantasía</p> +<p class="i8">De luz, de poesía,</p><a id="p138l15" name="p138l15"></a><span class="linenum">15</span> +<p>De mudo asombro, de terrible espanto.</p> + </div><div class="stanza"> +<p class="i2">Aquellas altas bóvedas que al cielo</p> +<p class="i8">Levantaban mi anhelo;</p> +<p>Aquella majestad solemne y grave;</p> +<p>Aquel pausado canto, parecido</p><a id="p138l20" name="p138l20"></a><span class="linenum">20</span> +<p class="i8">Á un doliente gemido,</p> +<p>Que retumbaba en la espaciosa nave;</p> + </div><div class="stanza"> +<p class="i2">Las marmóreas y austeras esculturas</p> +<p class="i8">De antiguas sepulturas,</p><a id="p139l0" name="p139l0"></a><span class="pagenum">139</span> +<p>Aspiración del arte á lo infinito;</p> +<p>La luz que por los vidrios de colores</p> +<p class="i8">Sus tibios resplandores</p> +<p>Quebraba en los pilares de granito;</p> + </div><div class="stanza"> +<p class="i2">Haces de donde en curva fugitiva,</p><a id="p139l5" name="p139l5"></a><span class="linenum">5</span> +<p class="i8">Para formar la ojiva,</p> +<p>Cada ramal subiendo se separa,</p> +<p>Cual del rumor de multitud que ruega,</p> +<p class="i8">Cuando á los cielos llega,</p> +<p>Surge cada oración distinta y clara;</p><a id="p139l10" name="p139l10"></a><span class="linenum">10</span> + </div><div class="stanza"> +<p class="i2">En el gótico altar inmoble y fijo</p> +<p class="i8">El santo crucifijo,</p> +<p>Que extiende sin vigor sus brazos yertos,</p> +<p>Siempre en la sorda lucha de la vida,</p> +<p class="i8">Tan áspera y reñida,</p><a id="p139l15" name="p139l15"></a><span class="linenum">15</span> +<p>Para el dolor y la humildad abiertos;</p> + </div><div class="stanza"> +<p class="i2">El místico clamor de la campana</p> +<p class="i6"> Que sobre el alma humana</p> +<p>De las caladas torres se despeña,</p> +<p>Y anuncia y lleva en sus aladas notas</p><a id="p139l20" name="p139l20"></a><span class="linenum">20</span> +<p class="i6"> Mil promesas ignotas</p> +<p>Al triste corazón que sufre ó sueña;</p> + </div><div class="stanza"> +<p class="i2">Todo elevaba mi ánimo intranquilo</p> +<p class="i6"> Á más sereno asilo:</p><a id="p140l0" name="p140l0"></a><span class="pagenum">140</span> +<p>Religión, arte, soledad, misterio...</p> +<p>Todo en el templo secular hacía</p> +<p class="i8">Vibrar el alma mía,</p> +<p>Como vibran las cuerdas de un salterio.</p> + </div><div class="stanza"> +<p class="i2">Y á esta voz interior que sólo entiende</p><a id="p140l5" name="p140l5"></a><span class="linenum">5</span> +<p class="i8">Quien crédulo se enciende</p> +<p>En fervoroso y celestial cariño,</p> +<p>Envuelta en sus flotantes vestiduras</p> +<p class="i8">Volaba á las alturas,</p> +<p>Virgen sin mancha, mi oración de niño.</p> + </div><div class="stanza"><a id="p140l10" name="p140l10"></a><span class="linenum">10</span> +<p class="i2">Su rauda, viva y luminosa huella</p> +<p class="i8">Como fugaz centella</p> +<p>Traspasaba el espacio, y ante el puro</p> +<p>Resplandor de sus alas de querube,</p> +<p class="i8">Rasgábase la nube</p><a id="p140l15" name="p140l15"></a><span class="linenum">15</span> +<p>Que me ocultaba el inmortal seguro.</p> + </div><div class="stanza"> +<p class="i2">¡Oh anhelo de esta vida transitoria!</p> +<p class="i8">¡Oh perdurable gloria!</p> +<p>¡Oh sed inextinguible del deseo!</p> +<p>¡Oh cielo, que antes para mí tenías</p><a id="p140l20" name="p140l20"></a><span class="linenum">20</span> +<p class="i8">Fulgores y armonías,</p> +<p>Y hoy tan obscuro y desolado veo!</p> + </div><div class="stanza"> +<p class="i2">Ya no templas mis íntimos pesares,</p> +<p class="i8">Ya al pie de tus altares</p><a id="p141l0" name="p141l0"></a><span class="pagenum">141</span> +<p>Como en mis años de candor no acudo. page</p> +<p>Para llegar á ti perdí el camino,</p> +<p class="i8">Y errante peregrino</p> +<p>Entre tinieblas desespero y dudo.</p> + </div><div class="stanza"> +<p class="i2">Voy espantado sin saber por dónde;</p><a id="p141l5" name="p141l5"></a><span class="linenum">5</span> +<p class="i8">Grito, y nadie responde</p> +<p>Á mi angustiada voz; alzo los ojos</p> +<p>Y á penetrar la lobreguez no alcanzo;</p> +<p class="i8">medrosamente avanzo,</p> +<p>Y me hieren el alma los abrojos.</p> + </div><div class="stanza"><a id="p141l10" name="p141l10"></a><span class="linenum">10</span> +<p class="i2">Hijo del siglo, en vano me resisto</p> +<p class="i8">Á su impiedad, ¡oh Cristo!</p> +<p>Su grandeza satánica me oprime.</p> +<p>Siglo de maravillas y de asombros,</p> +<p class="i8">Levanta sobre escombros</p><a id="p141l15" name="p141l15"></a><span class="linenum">15</span> +<p>Un Dios sin esperanza, un Dios que gime.</p> + </div><div class="stanza"> +<p class="i2">¡Y ese Dios no eres tú! No tu serena</p> +<p class="i8">Faz, de consuelos llena,</p> +<p>Alumbra y guía nuestro incierto paso.</p> +<p>Es otro Dios incógnito y sombrío:</p><a id="p141l20" name="p141l20"></a><span class="linenum">20</span> +<p class="i8">Su cielo es el vacío,</p> +<p>Sacerdote el error, ley el Acaso.</p> + </div><div class="stanza"> +<p class="i2">¡Ay! No recuerda el ánimo suspenso</p> +<p class="i8">Un siglo más inmenso,</p><a id="p142l0" name="p142l0"></a><span class="pagenum">142</span> +<p>Más rebelde á tu voz, más atrevido;</p> +<p>Entre nubes de fuego alza su frente,</p> +<p class="i8">Como Luzbel, potente;</p> +<p>Pero también, como Luzbel, caído.</p> + </div><div class="stanza"> +<p class="i2">Á medida que marcha y que investiga</p><a id="p142l5" name="p142l5"></a><span class="linenum">5</span> +<p class="i8">Es mayor su fatiga,</p> +<p>Es su noche más honda y más obscura,</p> +<p>Y pasma, al ver lo que padece y sabe,</p> +<p class="i8">Cómo en su seno cabe</p> +<p>Tanta grandeza y tanta desventura.</p><a id="p142l10" name="p142l10"></a><span class="linenum">10</span> + </div><div class="stanza"> +<p class="i2">Como la nave sin timón y rota</p> +<p class="i8">Que el ronco mar azota,</p> +<p>Incendia el rayo y la borrasca mece</p> +<p>En piélago ignorado y proceloso,</p> +<p class="i8">Nuestro siglo—coloso,</p><a id="p142l15" name="p142l15"></a><span class="linenum">15</span> +<p>Con la luz que le abrasa, resplandece.</p> + </div><div class="stanza"> +<p class="i2">¡Y está la playa mística tan lejos!...</p> +<p class="i8">Á los tristes reflejos</p> +<p>Del sol poniente se colora y brilla.</p> +<p>El huracán arrecia, el bajel arde,</p><a id="p142l20" name="p142l20"></a><span class="linenum">20</span> +<p class="i8">Y es tarde, es ¡ay! muy tarde</p> +<p>Para alcanzar la sosegada orilla.</p> + </div><div class="stanza"> +<p class="i2">¿Qué es la ciencia sin fe? Corcel sin freno,</p> +<p class="i8">Á todo yugo ajeno,</p><a id="p143l0" name="p143l0"></a><span class="pagenum">143</span> +<p>Que al impulso del vértigo se entrega,</p> +<p>Y á través de intrincadas espesuras,</p> +<p class="i8">Desbocado y á obscuras,</p> +<p>Avanza sin cesar y nunca llega.</p> + </div><div class="stanza"> +<p class="i2">¡Llegar! ¿Adónde?... El pensamiento humano</p><a id="p143l5" name="p143l5"></a><span class="linenum">5</span> +<p class="i8">En vano lucha, en vano</p> +<p>Su ley oculta y misteriosa infringe.</p> +<p>En la lumbre del sol sus alas quema,</p> +<p class="i8">Y no aclara el problema,</p> +<p>No penetra el enigma de la Esfinge.</p><a id="p143l10" name="p143l10"></a><span class="linenum">10</span> + </div><div class="stanza"> +<p class="i2">¡Sálvanos, Cristo, sálvanos, si es cierto</p> +<p class="i8">Que tu poder no ha muerto!</p> +<p>Salva á esta sociedad desventurada,</p> +<p>Que bajo el peso de su orgullo mismo</p> +<p class="i8">Rueda al profundo abismo</p><a id="p143l15" name="p143l15"></a><span class="linenum">15</span> +<p>Acaso más enferma que culpada.</p> + </div><div class="stanza"> +<p class="i2">La ciencia audaz, cuando de ti se aleja,</p> +<p class="i8">En nuestras almas deja</p> +<p>El germen de recónditos dolores.</p> +<p>Como al tender el vuelo hacia la altura,</p><a id="p143l20" name="p143l20"></a><span class="linenum">20</span> +<p class="i8">Deja su larva impura</p> +<p>El insecto en el cáliz de las flores.</p> + </div><div class="stanza"> +<p class="i2">Si en esta confusión honda y sombría</p> +<p class="i8">Es, Señor, todavía</p><a id="p144l0" name="p144l0"></a><span class="pagenum">144</span> +<p>Raudal de vida tu palabra santa,</p> +<p>Di á nuestra fe desalentada y yerta:</p> +<p class="i8">—¡Anímate y despierta!</p> +<p>Como dijiste á Lázaro:—¡Levanta!—</p> + </div> </div> +<br> + + + +<div class="poem"> <div class="stanza"> +<p class="i6">¡SURSUM CORDA!</p><br> + +<p class="i8">INTRODUCCIÓN</p><br> + +<p>Á mi buen amigo el ilustre poeta Manuel Reina</p><br> + +<p class="i10">I. Á ESPAÑA</p><br> +<p class="i2">Nunca mi labio á la servil lisonja</p><a id="p144l5" name="p144l5"></a><span class="linenum">5</span> +<p>Parias rindió. Ni el éxito ruidoso,</p> +<p>Ni la soberbia afortunada, oyeron</p> +<p>Falaz encomio de mi humilde Musa.</p> +<p>Dióme su austeridad la honrada tierra</p> +<p>Donde nací, y el presuroso tiempo</p><a id="p144l10" name="p144l10"></a><span class="linenum">10</span> +<p>Que arrastra y lleva en sus revueltas olas</p> +<p>Las grandezas humanas al olvido,</p> +<p>Á mi pesar me enseña que en el mundo</p> +<p>Tan sólo á dos excelsas majestades</p> +<p>Puedo, sin mengua, levantar mi canto;</p><a id="p144l15" name="p144l15"></a><span class="linenum">15</span> +<p>La Verdad y el Dolor.</p> +<p class="i10"> En estas horas</p> +<p>De febril inquietud, ¿quién, Patria mía,</p> +<p>Merece como tú la pobre ofrenda</p> +<p>De mi respeto y de mi amor? Postrada</p> +<p>En los escombros de tu antigua gloria,</p><a id="p144l20" name="p144l20"></a><span class="linenum">20</span> +<p>La negra adversidad, con férrea mano,</p><a id="p145l0" name="p145l0"></a><span class="pagenum">145</span> +<p>Comprime los latidos de tu pecho</p> +<p>Y el aire que respiras envenena.</p> +<p>Como tigre feroz clavó sus garras</p> +<p>La catástrofe en ti, y en tus heridas</p> +<p>Entrañas sacia su voraz instinto.</p><a id="p145l5" name="p145l5"></a><span class="linenum">5</span> +<p>¿Quién, al mirar tus lástimas, no llora?</p> +<p>¿Puede haber hombre tan perverso y duro,</p> +<p>Ni aun concebido en crapulosa orgía</p> +<p>Por hembra impura, que impasible vea</p> +<p>Morir sin fe, desesperado y solo,</p><a id="p145l10" name="p145l10"></a><span class="linenum">10</span> +<p>Al dulce bien que le llevó en su seno?</p> +<p>¡No existe, no!</p> +<p class="i10"> Perdona si movido</p> +<p>Por la ciega pasión, allá en lejanos</p> +<p>Y borrascosos días, cuando airada</p> +<p>Mi voz como fatídico anatema</p><a id="p145l15" name="p145l15"></a><span class="linenum">15</span> +<p>Tronó en la tempestad, quizás injusto</p> +<p>Contigo pude ser. Pero hoy, que sufres,</p> +<p>Hoy que, Job de la Historia, te retuerces</p> +<p>En tu lecho de angustia, arrepentido</p> +<p>Y llena el alma de mortal congoja,</p><a id="p145l20" name="p145l20"></a><span class="linenum">20</span> +<p>Acudo ansioso á consolar tus penas,</p> +<p>Á combatir con los inmundos buitres,</p> +<p>Ávidos del festín, que en torno giran</p> +<p>De tu ulcerado cuerpo, y si lo mandas,</p> +<p>¡Oh, noble mártir! á morir contigo.</p><a id="p145l25" name="p145l25"></a><span class="linenum">25</span> +<p class="i2">Pero ¿quién habla de morir? ¿Acaso</p> +<p>No eres, Patria, inmortal? Tendrás eclipses</p> +<p>Como los tiene el sol. Sombras tenaces,</p><a id="p146l0" name="p146l0"></a><span class="pagenum">146</span> +<p>Cual hiperbórea noche larga y fría,</p> +<p>Sobre ti pesarán, mientras no llegue</p> +<p>Tu santa redención. ¡Hora dichosa</p> +<p>En que verás con júbilo y ternura</p> +<p>Nacer el alba, el tenebroso espacio</p><a id="p146l5" name="p146l5"></a><span class="linenum">5</span> +<p>Inundarse de luz, la tierra encinta</p> +<p>Estremecerse en éxtasis materno,</p> +<p>De armonías, aromas y colores</p> +<p>Poblarse el aire, y palpitar en todo</p> +<p>La plenitud eterna de la vida!</p><a id="p146l10" name="p146l10"></a><span class="linenum">10</span> +<p class="i2">¡Ten esperanza y fe! Descubridora</p> +<p>De mundos, madre de indomada prole,</p> +<p>Tú no puedes morir, ¡Dios no lo quiere!</p> +<p>Aun tienes que cumplir altos destinos.</p> +<p>Busca en el seno de la paz bendita</p><a id="p146l15" name="p146l15"></a><span class="linenum">15</span> +<p>Reparador descanso, hasta que cobren</p> +<p>Tus músculos salud, y en cuanto sientas</p> +<p>El hervor de tu sangre renovada,</p> +<p>Ponte en pie, sacudiendo tu marasmo,</p> +<p>Que como losa del sepulcro, oprime</p><a id="p146l20" name="p146l20"></a><span class="linenum">20</span> +<p>Tu enferma voluntad. Surge del fondo</p> +<p>De tu aislamiento secular, y marcha</p> +<p>Con paso firme y corazón resuelto</p> +<p>Sin mirar hacia atrás, siempre adelante.</p> +<p>Sean la escuela y el taller y el surco</p><a id="p146l25" name="p146l25"></a><span class="linenum">25</span> +<p>Los solos campos de batalla en donde</p> +<p>Tu razón y tus fuerzas ejercites.</p> +<p>Entra en las lides del trabajo y vence,</p> +<p>Que entonces de laureles coronada,</p><a id="p147l0" name="p147l0"></a><span class="pagenum">147</span> +<p>Más fecunda, más próspera y más grande,</p> +<p>Seguirás, fulgurando, tu camino</p> +<p>Por los arcos triunfales de la Historia.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">II. Á AMÉRICA</p> + </div><div class="stanza"> +<p class="i2">¡Ésta es España! Atónita y maltrecha</p> +<p>Bajo el peso brutal de su infortunio,</p><a id="p147l5" name="p147l5"></a><span class="linenum">5</span> +<p>Inerte yace la matrona augusta</p> +<p>Que en otros siglos fatigó á la fama.</p> +<p>La que surcó los mares procelosos</p> +<p>Buscándote atrevida en el misterio,</p> +<p>Hasta que un día, deslumbrando al mundo,</p><a id="p147l10" name="p147l10"></a><span class="linenum">10</span> +<p>Surgiste, como Venus, de las ondas.</p> +<p>Cegada por tu espléndida hermosura,</p> +<p>Al engarzarte en su imperial diadema</p> +<p>España te oprimió; mas no la culpes,</p> +<p>Porque ¿cuándo la bárbara conquista</p><a id="p147l15" name="p147l15"></a><span class="linenum">15</span> +<p>Justa y humana fué? También clemente</p> +<p>Te dió su sangre, su robusto idioma,</p> +<p>Sus leyes y su Dios. ¡Te lo dió todo,</p> +<p>Menos la libertad! Pues mal pudiera</p> +<p>Darte el único bien que no tenía.</p><a id="p147l20" name="p147l20"></a><span class="linenum">20</span> + </div><div class="stanza"> +<p class="i2">Contémplala vencida y humillada</p> +<p>Por la doblez y el oro, y si te mueven</p> +<p>Á generosa lástima sus males,</p> +<p>El trágico desplome de una gloría</p> +<p>Que es también tuya, acórrela en su duelo.</p><a id="p147l25" name="p147l25"></a><span class="linenum">25</span> +<p>¡Es tu madre infeliz! No la abandone</p> +<p>Tu amor, en tan inmensa desventura.</p> + </div> </div> + +<p><a id="p148l0" name="p148l0"></a><span class="pagenum">148</span></p> + + + +<br> +<a id="h35" name="h35"></a> +<h4>DON MANUEL DEL PALACIO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">AMOR OCULTO</p><br> +<p class="i2">Ya de mi amor la confesión sincera</p> +<p>Oyeron tus calladas celosías,</p> +<p>Y fué testigo de las ansias mías</p> +<p>La luna, de los tristes compañera.</p><a id="p148l5" name="p148l5"></a><span class="linenum">5</span> + </div><div class="stanza"> +<p class="i2">Tu nombre dice el ave placentera</p> +<p>Â quien visito yo todos los días,</p> +<p>Y alegran mis soñadas alegrías</p> +<p>El valle, el monte, la comarca entera.</p> + </div><div class="stanza"> +<p class="i2">Sólo tú mi secreto no conoces,</p><a id="p148l10" name="p148l10"></a><span class="linenum">10</span> +<p>Por más que el alma con latido ardiente,</p> +<p>Sin yo quererlo, te lo diga a voces;</p> + </div><div class="stanza"> +<p class="i2">Y acaso has de ignorarlo eternamente,</p> +<p>Como las ondas de la mar veloces</p> +<p>La ofrenda ignoran que les da la fuente.</p> + </div> </div> + + +<br> +<a id="h36" name="h36"></a> +<h4>DON JOAQUÍN MARÍA BARTRINA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>ARABESCOS Y COMPOSICIONES ÍNTIMAS</p><br> +<a id="p148l15" name="p148l15"></a><span class="linenum">15</span> +<p class="i2">Oyendo hablar á un hombre, fácil es</p> +<p>Acertar dónde vió la luz del sol;</p> +<p>Si os alaba á Inglaterra, será inglés,</p> +<p>Si os habla mal de Prusia, es un francés,</p> +<p>Y si habla mal de España, es español.</p><a id="p149l0" name="p149l0"></a><span class="pagenum">149</span> + + </div><div class="stanza"> +<p class="i2">Si cumplir con lealtad</p> +<p>Nuestra última voluntad</p> +<p>Es sagrada obligación,</p> +<p>Cuando mis ojos se cierren,</p><a id="p149l5" name="p149l5"></a><span class="linenum">5</span> +<p>He de mandar que me entierren</p> +<p>Dentro de tu corazón.</p> + </div><div class="stanza"> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Para matar la inocencia,</p> +<p>Para envenenar la dicha,</p> +<p>Es un gran puñal la pluma</p><a id="p149l10" name="p149l10"></a><span class="linenum">10</span> +<p>Y un gran veneno la tinta.</p> + </div><div class="stanza"> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Quien vive siempre entre pena</p> +<p>Y remordimiento y dudas,</p> +<p>No sabe ver más que á Judas</p> +<p>En el cuadro de la cena.</p><a id="p149l15" name="p149l15"></a><span class="linenum">15</span> + </div> </div> + +<br> +<a id="h37" name="h37"></a> +<h4>DON MANUEL REINA</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i10">LA POESÍA</p><br> + + +<p class="i6">Á Teodoro Llorente</p><br> +<p class="i2">Como el raudal que corre en la pradera</p> +<p>Copia en su espejo pájaros y flores,</p> +<p>La alada mariposa de colores,</p> +<p>El verde arbusto y la radiante esfera,</p> +<p class="i2">La sublime poesía reverbera</p><a id="p149l20" name="p149l20"></a><span class="linenum">20</span> +<p>Combates, glorias, risas y dolores,</p><a id="p150l0" name="p150l0"></a><span class="pagenum">150</span> +<p>Odio y amor, tinieblas y esplendores,</p> +<p>El cielo, el campo, el mar... ¡la vida entera!</p> +<p class="i2">¡Así Homero es la lid; Virgilio, el día;</p> +<p>Esquilo, la tormenta bramadora;</p> +<p>Anacreonte, el vino y la alegría;</p><a id="p150l5" name="p150l5"></a><span class="linenum">5</span> +<p class="i2">Dante, la noche con su negro arcano;</p> +<p>Calderón, el honor; Milton, la aurora;</p> +<p>Shakespeare, el triste corazón humano!</p> + </div> </div> +<br><br> + +<p><a id="p151l0" name="p151l0"></a><span class="pagenum">151</span></p> + +<a id="h38" name="h38"></a> +<h2>ARGENTINA</h2> + + +<br> +<a id="h39" name="h39"></a> +<h4>DON ESTEBAN ECHEVERRÍA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">CANCIÓN DE ELVIRA</p><br> +<p class="i2">Creció acaso arbusto tierno</p> +<p>Á orillas de un manso río,</p> +<p>Y su ramaje sombrío</p> +<p>Muy ufano se extendió;</p><a id="p151l5" name="p151l5"></a><span class="linenum">5</span> +<p>Mas en el sañudo invierno</p> +<p>Subió el río cual torrente,</p> +<p>Y en su túmida corriente</p> +<p>El tierno arbusto llevó.</p> + </div><div class="stanza"> +<p class="i2">Reflejando nieve y grana,</p><a id="p151l10" name="p151l10"></a><span class="linenum">10</span> +<p>Nació garrida y pomposa</p> +<p>En el desierto una rosa,</p> +<p>Gala del prado y amor;</p> +<p>Mas lanzó con furia insana</p> +<p>Su soplo inflamado el viento,</p><a id="p151l15" name="p151l15"></a><span class="linenum">15</span> +<p>Y se llevó en un momento </p> +<p>Su vana pompa y frescor.</p> +<p class="i2">Así dura todo bien...</p><a id="p152l0" name="p152l0"></a><span class="pagenum">152</span> +<p>Así los dulces amores,</p> +<p>Como las lozanas flores,</p> +<p>Se marchitan en su albor;</p> +<p>Y en el incierto vaivén</p> +<p>De la fortuna inconstante,</p><a id="p152l5" name="p152l5"></a><span class="linenum">5</span> +<p>Nace y muere en un instante</p> +<p>La esperanza del amor.</p> + </div> </div> + + +<br> +<a id="h40" name="h40"></a> +<h4>DON OLEGARIO V. ANDRADE</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i14">ATLÁNTIDA</p><br> + +<p>Canto al porvenir de la raza latina en América</p><br> + + +<p class="i18">VII</p><br> +<p class="i2">¡Siglos pasaron sobre el mundo, y siglos</p> +<p>Guardaron el secreto!</p> +<p>Lo presintió Platón cuando sentado</p><a id="p152l10" name="p152l10"></a><span class="linenum">10</span> +<p>En las rocas de Engina contemplaba</p> +<p>Las sombras que en silencio descendían</p> +<p>Á posarse en las cumbres del Himeto;</p> +<p>Y el misterioso diálogo entablaba</p> +<p>Con las olas inquietas</p><a id="p152l15" name="p152l15"></a><span class="linenum">15</span> +<p>¡Que á sus pies se arrastraban y gemían!</p> +<p>Adivinó su nombre, hija postrera</p> +<p>Del tiempo, destinada</p> +<p>Á celebrar las bodas del futuro</p> +<p>En sus campos de eterna primavera,</p><a id="p152l20" name="p152l20"></a><span class="linenum">20</span> +<p>¡Y la llamó la Atlántida soñada!</p><a id="p153l0" name="p153l0"></a><span class="pagenum">153</span> + + </div><div class="stanza"> +<p class="i2">Pero Dios reservaba</p> +<p>La empresa ruda al genio renaciente</p> +<p>De la latina raza, ¡domadora</p> +<p>De pueblos, combatiente</p><a id="p153l5" name="p153l5"></a><span class="linenum">5</span> +<p>De las grandes batallas de la historia!</p> +<p>Y cuando fué la hora,</p> +<p>Colón apareció sobre la nave</p> +<p>Del destino del mundo portadora—</p> +<p>Y la nave avanzó. Y el Océano,</p><a id="p153l10" name="p153l10"></a><span class="linenum">10</span> +<p>Huraño y turbulento,</p> +<p>Lanzó al encuentro del bajel latino</p> +<p>Los negros aquilones,</p> +<p>¡Y á su frente rugiendo el torbellino,</p> +<p>Jinete en el relámpago sangriento!</p><a id="p153l15" name="p153l15"></a><span class="linenum">15</span> +<p>Pero la nave fué, y el hondo arcano</p> +<p>Cayó roto en pedazos;</p> +<p>¡Y despertó la Atlántida soñada</p> +<p>De un pobre visionario entre los brazos!</p> + </div><div class="stanza"> +<p class="i2">Era lo que buscaba</p><a id="p153l20" name="p153l20"></a><span class="linenum">20</span> +<p>El genio inquieto de la vieja raza,</p> +<p>Debelador de tronos y coronas,</p> +<p>¡Era lo que soñaba!</p> +<p>¡Ámbito y luz en apartadas zonas!</p> +<p>Helo armado otra vez, no ya arrastrando</p><a id="p153l25" name="p153l25"></a><span class="linenum">25</span> +<p>El sangriento sudario del pasado</p> +<p>Ni de negros recuerdos bajo el peso,</p> +<p>Sino en pos de grandiosas ilusiones,</p> +<p>¡La libertad, la gloria y el progreso!</p><a id="p154l0" name="p154l0"></a><span class="pagenum">154</span> + + </div><div class="stanza"> +<p class="i2">¡Nada le falta ya! lleva en el seno</p> +<p>El insondable afán del infinito,</p> +<p>¡Y el infinito por doquier lo llama</p> +<p>De las montañas con el hondo grito</p><a id="p154l5" name="p154l5"></a><span class="linenum">5</span> +<p>Y de los mares con la voz de trueno!</p> +<p>Tiene el altar que Roma</p> +<p>Quiso en vano construir con los escombros</p> +<p>Del templo egipcio y la pagoda indiana,</p> +<p>¡Altar en que profese eternamente</p><a id="p154l10" name="p154l10"></a><span class="linenum">10</span> +<p>Un culto solo la conciencia humana!</p> +<p>¡Y el Andes, con sus gradas ciclopeas,</p> +<p>Con sus rojas antorchas de volcanes,</p> +<p>Será el altar de fulgurantes velos</p> +<p>En que el himno inmortal de las ideas</p><a id="p154l15" name="p154l15"></a><span class="linenum">15</span> +<p>La tierra entera elevará á los cielos!</p> + </div><div class="stanza"> +<p class="i16"> VIII</p> + </div><div class="stanza"> +<p>¡Campo inmenso á su afán! Allá dormidas</p> +<p>Bajo el arco triunfal de mil colores</p> +<p>Del trópico esplendente,</p> +<p>Las Antillas levantan la cabeza</p><a id="p154l20" name="p154l20"></a><span class="linenum">20</span> +<p>De la naciente luz á los albores,</p> +<p>Como bandadas de aves fugitivas</p> +<p>Que arrullaron al mar con sus extrañas</p> +<p>Canciones plañideras,</p> +<p>Y que secan al sol las blancas alas</p><a id="p154l25" name="p154l25"></a><span class="linenum">25</span> +<p>¡Para emprender el vuelo á otras riberas!</p> + </div><div class="stanza"> +<p> ¡Allá Méjico está! sobre dos mares</p><a id="p155l0" name="p155l0"></a><span class="pagenum">155</span> +<p>Alzada cual granítica atalaya,</p> +<p>¡Parece que aun espía</p> +<p>La castellana flota que se acerca</p> +<p>Del golfo azteca á la arenosa playa!</p> +<p>Y más allá Colombia adormecida</p><a id="p155l5" name="p155l5"></a><span class="linenum">5</span> +<p>Del Tequendama al retemblar profundo,</p> +<p>¡Colombia la opulenta</p> +<p>Que parece llevar en las entrañas</p> +<p>La inagotable juventud del mundo!</p> + </div><div class="stanza"> +<p class="i2">¡Salve, zona feliz! región querida</p><a id="p155l10" name="p155l10"></a><span class="linenum">10</span> +<p>Del almo sol que tus encantos cela,</p> +<p>Inmenso hogar de animación y vida,</p> +<p>¡Cuna del gran Bolívar! ¡Venezuela!</p> +<p>Todo en tu suelo es grande,</p> +<p>Los astros que te alumbran desde arriba</p><a id="p155l15" name="p155l15"></a><span class="linenum">15</span> +<p>Con eterno, sangriento centelleo,</p> +<p>El genio, el heroísmo,</p> +<p>¡Volcán que hizo erupción con ronco estruendo</p> +<p>En la cumbre inmortal de San Mateo!</p> + </div><div class="stanza"> +<p class="i2">Tendida al pie del Ande,</p><a id="p155l20" name="p155l20"></a><span class="linenum">20</span> +<p>Viuda infeliz sobre entreabierta huesa,</p> +<p>Yace la Roma de los Incas, rota</p> +<p>La vieja espada en la contienda grande,</p> +<p>La frente hundida en la tiniebla obscura,</p> +<p>¡Mas no ha muerto el Perú! que la derrota</p><a id="p155l25" name="p155l25"></a><span class="linenum">25</span> +<p>Germen es en los pueblos varoniles</p> +<p>De redención futura—</p><a id="p156l0" name="p156l0"></a><span class="pagenum">156</span> +<p>entonces cuando llegue,</p> +<p>Para su suelo, la estación propicia</p> +<p>Del trabajo que cura y regenera,</p> +<p>Y brille al fin el sol de la justicia</p> +<p>Tras largos días de vergüenza y lloro,</p><a id="p156l5" name="p156l5"></a><span class="linenum">5</span> +<p>¡El rojo manto que á su espalda flota</p> +<p>Las mieses bordarán con flores de oro!</p> + </div><div class="stanza"> +<p class="i2">¡Bolivia! la heredera del gigante</p> +<p>Nacido al pie del Ávila, su genio</p> +<p>Inquieto y su valor constante</p><a id="p156l10" name="p156l10"></a><span class="linenum">10</span> +<p>Tiene para las luchas de la vida;</p> +<p>Sueña en batallas hoy, pero no importa,</p> +<p>Sueña también en anchos horizontes</p> +<p>En que en vez de cureñas y cañones</p> +<p>¡Sienta rodar la audaz locomotora</p><a id="p156l15" name="p156l15"></a><span class="linenum">15</span> +<p>Cortando valles y escalando montes!</p> +<p>Y Chile el vencedor, fuerte en la guerra,</p> +<p>Pero más fuerte en el trabajo, vuelve</p> +<p>Á colgar en el techo</p> +<p>Las vengadoras armas, convencido</p><a id="p156l20" name="p156l20"></a><span class="linenum">20</span> +<p>De que es estéril siempre la victoria</p> +<p>De la fuerza brutal sobre el derecho.</p> +<p>El Uruguay que combatiendo entrega</p> +<p>Su seno á las caricias del progreso,</p> +<p>El Brasil que recibe</p><a id="p156l25" name="p156l25"></a><span class="linenum">25</span> +<p>Del mar Atlante el estruendoso beso</p> +<p>Y á quien sólo le falta</p> +<p>El ser más libre, para ser más grande,</p><a id="p157l0" name="p157l0"></a><span class="pagenum">157</span> +<p>¡Y la región bendita,</p> +<p>Sublime desposada de la gloria,</p> +<p>Que baña el Plata y que limita el Ande!</p> + </div><div class="stanza"> +<p class="i2">¡De pie para cantarla! que es la patria,</p> +<p>La patria bendecida,</p><a id="p157l5" name="p157l5"></a><span class="linenum">5</span> +<p>Siempre en pos de sublimes ideales,</p> +<p>¡El pueblo joven que arrulló en la cuna</p> +<p>El rumor de los himnos inmortales!</p> +<p>Y que hoy llama al festín de su opulencia</p> +<p>Á cuantos rinden culto</p><a id="p157l10" name="p157l10"></a><span class="linenum">10</span> +<p>Á la sagrada libertad, hermana</p> +<p>Del arte, del progreso y de la ciencia—</p> +<p>¡La patria! que ensanchó sus horizontes</p> +<p>Rompiendo las barreras</p> +<p>Que en otrora su espíritu aterraron,</p><a id="p157l15" name="p157l15"></a><span class="linenum">15</span> +<p>¡Y á cuyo paso en los nevados montes</p> +<p>Del Génesis los ecos despertaron!</p> +<p>¡La patria! que, olvidada</p> +<p>De la civil querella, arrojó lejos</p> +<p>El fratricida acero</p><a id="p157l20" name="p157l20"></a><span class="linenum">20</span> +<p>Y que lleva orgullosa</p> +<p>La corona de espigas en la frente,</p> +<p>¡Menos pesada que el laurel guerrero!</p> +<p>¡La patria! en ella cabe</p> +<p>Cuanto de grande el pensamiento alcanza,</p><a id="p157l25" name="p157l25"></a><span class="linenum">25</span> +<p>En ella el sol de redención se enciende,</p> +<p>Ella al encuentro del futuro avanza,</p> +<p>Y su mano, del Plata desbordante</p> +<p>¡La inmensa copa á las naciones tiende!</p><a id="p158l0" name="p158l0"></a><span class="pagenum">158</span> + + </div><div class="stanza"> +<p class="i16"> IX</p> + </div><div class="stanza"> +<p class="i2">¡Ámbito inmenso, abierto</p> +<p>De la latina raza al hondo anhelo!</p> +<p>¡El mar, el mar gigante, la montaña</p> +<p>En eterno coloquio con el cielo...</p><a id="p158l5" name="p158l5"></a><span class="linenum">5</span> +<p>Y más allá desierto!</p> +<p>Acá ríos que corren desbordados,</p> +<p>Allí valles que ondean</p> +<p>Como ríos eternos de verdura,</p> +<p>Los bosques á los bosques enlazados,</p><a id="p158l10" name="p158l10"></a><span class="linenum">10</span> +<p>¡Doquier la libertad, doquier la vida</p> +<p>Palpitando en el aire, en la pradera</p> +<p>Y en explosión magnífica encendida!</p> + </div><div class="stanza"> +<p class="i2">¡Atlántida encantada</p> +<p>Que Platón presintió! promesa de oro</p><a id="p158l15" name="p158l15"></a><span class="linenum">15</span> +<p>Del porvenir humano—Reservado</p> +<p>Á la raza fecunda,</p> +<p>Cuyo seno engendró para la historia</p> +<p>Los Césares del genio y de la espada—</p> +<p>Aquí va á realizar lo que no pudo</p><a id="p158l20" name="p158l20"></a><span class="linenum">20</span> +<p>Del mundo antiguo en los escombros yertos</p> +<p>¡La más bella visión de sus visiones!</p> +<p>¡Al himno colosal de los desiertos</p> +<p>La eterna comunión de las naciones!</p> + </div> </div> + +<p><a id="p159l0" name="p159l0"></a><span class="pagenum">159</span></p> + + + + +<div class="poem"> <div class="stanza"> +<p class="i12">PROMETEO</p><br> +<p class="i16">VII</p><br> +<p class="i2">¡Arriba, pensadores! que en la lucha</p> +<p>Se templa y fortalece</p> +<p>Vuestra raza inmortal, nunca domada,</p> +<p>Que lleva por celeste distintivo</p><a id="p159l5" name="p159l5"></a><span class="linenum">5</span> +<p>La chispa de la audacia en la mirada</p> +<p>Y anhelos infinitos en el alma;</p> +<p>¡En cuya frente altiva</p> +<p>Se confunden y enlazan</p> +<p>El laurel rumoroso de la gloria</p><a id="p159l10" name="p159l10"></a><span class="linenum">10</span> +<p>Y del dolor la mustia siempre-viva!</p> + </div><div class="stanza"> +<p class="i2">¡Arriba, pensadores!</p> +<p>¡Que el espíritu humano sale ileso</p> +<p>Del cadalso y la hoguera!</p> +<p>Vuestro heraldo triunfal es el progreso</p><a id="p159l15" name="p159l15"></a><span class="linenum">15</span> +<p>Y la verdad la suspirada meta</p> +<p>De vuestro afán gigante.</p> +<p>¡Arriba! ¡que ya asoma el claro día</p> +<p>En que el error y el fanatismo expiren</p> +<p>Con doliente y confuso clamoreo!</p><a id="p159l20" name="p159l20"></a><span class="linenum">20</span> +<p>¡Ave de esa alborada es el poeta,</p> +<p>Hermano de las águilas del Cáucaso,</p> +<p>Que secaron piadosas con sus alas</p> +<p>La ensangrentada faz de Prometeo!</p> + </div> </div> + +<p><a id="p160l0" name="p160l0"></a><span class="pagenum">160</span></p> + +<br> +<a id="h41" name="h41"></a> +<h4>DON RAFAEL OBLIGADO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i6">EN LA RIBERA</p><br> +<p>Ven, sigue de la mano</p> +<p>Al que te amó de niño;</p> +<p>Ven, y juntos lleguemos hasta el bosque</p> +<p>Que está en la margen del paterno río.</p><a id="p160l5" name="p160l5"></a><span class="linenum">5</span> + </div><div class="stanza"> +<p>¡Oh, cuánto eres hermosa,</p> +<p>mi amada, en este sitio!</p> +<p>Sólo por ti, y á reflejar tu frente,</p> +<p>Corriendo baja el Paraná tranquilo.</p> + </div><div class="stanza"> +<p>Para besar tu huella</p><a id="p160l10" name="p160l10"></a><span class="linenum">10</span> +<p>Fue siempre tan sumiso,</p> +<p>Que, en viéndote llegar, hasta la playa</p> +<p>Manda sus olas sin hacer rüido.</p> + </div><div class="stanza"> +<p>Por eso, porque te ama,</p> +<p>Somos grandes amigos;</p><a id="p160l15" name="p160l15"></a><span class="linenum">15</span> +<p>Luego, sabe decirte aquellas cosas</p> +<p>Que nunca brotan de los labios míos.</p> + </div><div class="stanza"> +<p>El año que tú faltas,</p> +<p>La flor de sus seíbos,</p> +<p>Como cansada de esperar tus sienes,</p><a id="p160l20" name="p160l20"></a><span class="linenum">20</span> +<p>Cuelga sus ramos de carmín marchitos.</p><a id="p161l0" name="p161l0"></a><span class="pagenum">161</span> + + </div><div class="stanza"> +<p>Por la tersa corriente,</p> +<p>Risueños y furtivos,</p> +<p>Como sueltas guirnaldas, no navegan</p> +<p>Los verdes camalotes florecidos.</p> + </div><div class="stanza"><a id="p161l5" name="p161l5"></a><span class="linenum">5</span> +<p>Sólo inclinan los sauces</p> +<p>Su ramaje sombrío,</p> +<p>Y las aves más tristes, en sus copas</p> +<p>Gimiendo tejen sus ocultos nidos.</p> + </div><div class="stanza"> +<p>Pero llegas..., y el agua,</p><a id="p161l10" name="p161l10"></a><span class="linenum">10</span> +<p>El bosque, el cielo mismo,</p> +<p>Es como una explosión de mil colores,</p> +<p>Y el aire rompe en sonorosos himnos.</p> + </div><div class="stanza"> +<p>Así la primavera,</p> +<p>Del trópico vecino</p><a id="p161l15" name="p161l15"></a><span class="linenum">15</span> +<p>Desciende, y canta, repartiendo flores,</p> +<p>Y colgando en las vides los racimos.</p> + </div><div class="stanza"> +<p>¡Cuál suenan gratamente,</p> +<p>Acordes, en un ritmo,</p> +<p>Del agua el melancólico murmullo</p><a id="p161l20" name="p161l20"></a><span class="linenum">20</span> +<p>Y el leve susurrar de tu vestido!</p> + </div><div class="stanza"> +<p>¡Oh, si me fuera dado</p> +<p>Guardar en mis oídos,</p> +<p>Para siempre, esta música del alma,</p> +<p>Esta unión de tu ser y de mis ríos!</p> + </div> </div> + +<p><a id="p162l0" name="p162l0"></a><span class="pagenum">162</span></p> +<br><br> +<a id="h42" name="h42"></a> +<h2>COLOMBIA</h2> + +<br> +<a id="h43" name="h43"></a> +<h4>DON JOSÉ JOAQUÍN ORTIZ</h4> + + + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">COLOMBIA Y ESPAÑA</p><br> +<p class="i2">¡Oh! ¡reposad en vuestras quietas tumbas,</p> +<p>Augustos padres de la patria mía,</p> +<p>Pues bien lo merecéis! La grande obra</p> +<p>De redención al fin está cumplida;</p><a id="p162l5" name="p162l5"></a><span class="linenum">5</span> +<p>Y no llegue á turbar vuestro reposo</p> +<p>El tumulto de lucha fratricida.</p> + </div><div class="stanza"> +<p class="i2">Hoy á vuestros sepulcros hace sombra</p> +<p>La bandera del iris, enlazada</p> +<p>Á la de los castillos y leones;</p><a id="p162l10" name="p162l10"></a><span class="linenum">10</span> +<p>Que el odio no es eterno</p> +<p>En los pobres humanos corazones;</p> +<p>Y llegó el día en que la madre España</p> +<p>Estrechase á Colombia entre sus brazos,</p> +<p>Depuesta ya la saña;</p><a id="p162l15" name="p162l15"></a><span class="linenum">15</span> +<p>No sierva, no señora;</p> +<p>Libres las dos como las hizo el cielo.</p><a id="p163l0" name="p163l0"></a><span class="pagenum">163</span> +<p>¡Ah! ¿ni cómo podría</p> +<p>Hallarse la hija siempre separada</p> +<p>Del dulce hogar paterno,</p> +<p>Ni consentir la cariñosa madre</p> +<p>Que tal apartamiento fuera eterno?</p><a id="p163l5" name="p163l5"></a><span class="linenum">5</span> + </div><div class="stanza"> +<p class="i2">En esos años de la ausencia fiera,</p> +<p>El recuerdo de España</p> +<p>Seguíanos doquiera.</p> +<p>Todo nos es común: su Dios, el nuestro;</p> +<p>La sangre que circula por sus venas</p><a id="p163l10" name="p163l10"></a><span class="linenum">10</span> +<p>Y el hermoso lenguaje;</p> +<p>Sus artes, nuestras artes; la armonía</p> +<p>De sus cantos, la nuestra; sus reveses</p> +<p>Nuestros también, y nuestras</p> +<p>Las glorias de Bailén y de Pavía.</p><a id="p163l15" name="p163l15"></a><span class="linenum">15</span> + </div><div class="stanza"> +<p class="i2">Si á veces distraídos</p> +<p>Fijábamos los ojos</p> +<p>Á contemplar las hijas de Colombia;</p> +<p>En el porte elegante,</p> +<p>En el puro perfil de su semblante,</p><a id="p163l20" name="p163l20"></a><span class="linenum">20</span> +<p>En su mirada ardiente y en el dejo</p> +<p>Meloso de la voz, eran retrato</p> +<p>De sus nobles abuelas;</p> +<p>Copia feliz de gracia soberana,</p> +<p>En que agradablemente se veía</p><a id="p163l25" name="p163l25"></a><span class="linenum">25</span> +<p>El decoro y nobleza castellana </p> +<p>Y el donaire y la sal de Andalucía;</p><a id="p164l0" name="p164l0"></a><span class="pagenum">164</span> +<p>Y entonces exclamábamos: Un nombre</p> +<p>Terrible, España, tienes; ¡pero suena</p> +<p>Qué dulcemente al corazón del hombre!</p> + </div><div class="stanza"> +<p class="i2">¡Oh! ¡que esta santa alianza eterna sea,</p> +<p>Y el pendón de Castilla y de Colombia</p><a id="p164l5" name="p164l5"></a><span class="linenum">5</span> +<p>Unidos siempre el universo vea!</p> +<p>Y que al ¡viva Colombia! que repiten</p> +<p>El áureo Tajo, y Ebro y Manzanares,</p> +<p>¡Responda el eco que rodando vaya</p> +<p>Por los tranquilos mares</p><a id="p164l10" name="p164l10"></a><span class="linenum">10</span> +<p>Á la ibérica playa</p> +<p>De ¡viva España! con que el Ande atruena</p> +<p>El Cauca, el Orinoco, el Magdalena!</p> + </div> </div> +<br> + +<a id="h44" name="h44"></a> +<h4>DON JOSÉ EUSEBIO CARO</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i10">EL CIPRÉS</p><br> +<p class="i2">¡Árbol sagrado, que la obscura frente,</p> +<p>Inmóvil, majestuoso,</p><a id="p164l15" name="p164l15"></a><span class="linenum">15</span> +<p>Sobre el sepulcro humilde y silencioso</p> +<p>Despliegas hacia el cielo tristemente!</p> +<p>Tú, sí, tú solamente</p> +<p>Al tiempo en que se duerme el rey del mundo</p> +<p>Tras las altas montañas de occidente,</p><a id="p164l20" name="p164l20"></a><span class="linenum">20</span> +<p>Me ves triste vagando</p> +<p>Entre las negras tumbas,</p> +<p>Con los ojos en llanto humedecidos,</p><a id="p165l0" name="p165l0"></a><span class="pagenum">165</span> +<p>Mi orfandad y miseria lamentando.</p> +<p>Y cuando ya de la apacible luna</p> +<p>La luz de perla en tu verdor se acoge,</p> +<p>Sólo tu tronco escucha mis gemidos,</p> +<p>Sólo tu pie mis lágrimas recoge.</p><a id="p165l5" name="p165l5"></a><span class="linenum">5</span> + </div><div class="stanza"> +<p class="i2">¡Ay! hubo un tiempo en que feliz y ufano</p> +<p>Al seno paternal me abandonaba;</p> +<p>En que con blanda mano</p> +<p>Una madre amorosa</p> +<p>De mi niñez las lágrimas secaba...</p><a id="p165l10" name="p165l10"></a><span class="linenum">10</span> +<p>¡Y hoy, huérfano, del mundo desechado,</p> +<p>Aquí en mi patria misma</p> +<p>Solitario viajero,</p> +<p>Desde lejos contemplo acongojado</p> +<p>Sobre los techos de mi hogar primero</p><a id="p165l15" name="p165l15"></a><span class="linenum">15</span> +<p>El humo blanquear del extranjero!</p> +<p>Entre el bullicio de los pueblos busco</p> +<p>Mis tiernos padres para mí perdidos;</p> +<p>¡Vanamente!... Los rostros de los hombres</p> +<p>Me son desconocidos.</p><a id="p165l20" name="p165l20"></a><span class="linenum">20</span> +<p>Y sus manes, empero, noche y día</p> +<p>Presentes á mis ojos afligidos</p> +<p>Contino están; contino sus acentos</p> +<p>Vienen á resonar en mis oídos.</p> + </div><div class="stanza"> +<p class="i2">¡Sí, funeral ciprés! Cuando la noche</p><a id="p165l25" name="p165l25"></a><span class="linenum">25</span> +<p>Con su callada sombra te rodea,</p> +<p>Cuando escondido el solitario buho</p><a id="p166l0" name="p166l0"></a><span class="pagenum">166</span> +<p>En tus obscuros ramos aletea;</p> +<p>La sombra de mi padre por tus hojas</p> +<p>Vagando me parece,</p> +<p>Que á velar por los días de su hijo</p> +<p>Del reino de los muertos se aparece.</p><a id="p166l5" name="p166l5"></a><span class="linenum">5</span> +<p>Y si el viento sacude impetüoso</p> +<p>Tu elevada cabeza,</p> +<p>Y á su furor con susurrar medroso</p> +<p>Respondes pavoroso;</p> +<p>En los tristes silbidos</p><a id="p166l10" name="p166l10"></a><span class="linenum">10</span> +<p>Que en torno de ti giran,</p> +<p>Á los paternos manes</p> +<p>Escucho, que dulcísimos suspiran.</p> + </div><div class="stanza"> +<p class="i2">¡Árbol augusto de la muerte! ¡Nunca</p> +<p>Tus verdores abata el bóreas ronco!</p><a id="p166l15" name="p166l15"></a><span class="linenum">15</span> +<p>¡Nunca enemiga, venenosa sierpe</p> +<p>Se enrosque en torno de tu pardo tronco!</p> +<p>¡Jamás el rayo ardiente</p> +<p>Abrase tu alta frente!</p> +<p>¡Siempre inmoble y sereno</p><a id="p166l20" name="p166l20"></a><span class="linenum">20</span> +<p>Por las cóncavas nubes</p> +<p>Oigas rodar el impotente trueno!</p> +<p>Vive, sí, vive; y cuando ya mis ojos</p> +<p>Cerrar el dedo de la muerte quiera;</p> +<p>Cuando esconderse mire en occidente</p><a id="p166l25" name="p166l25"></a><span class="linenum">25</span> +<p>Al sol por vez postrera,</p> +<p>Moriré sosegado</p> +<p>Á tu tronco abrazado.</p><a id="p167l0" name="p167l0"></a><span class="pagenum">167</span> +<p>Tú mi sepulcro ampararás piadoso</p> +<p>De las roncas tormentas;</p> +<p>Y mi ceniza entonce agradecida,</p> +<p>En restaurantes jugos convertida,</p> +<p>Por tus delgadas venas penetrando,</p><a id="p167l5" name="p167l5"></a><span class="linenum">5</span> +<p>Te hará reverdecer, te dará vida.</p> + </div><div class="stanza"> +<p class="i2">Quizá sabiendo el infeliz destino</p> +<p>Que oprimió mi existencia desdichada,</p> +<p>Sobre mi pobre tumba abandonada</p> +<p>Una lágrima vierta el peregrino.</p> + </div> </div> + + +<br> +<a id="h45" name="h45"></a> +<h4>DON JOSÉ MANUEL MARROQUÍN</h4> + + + +<div class="poem"> <div class="stanza"> +<p>LOS CAZADORES Y LA PERRILLA</p><br><a id="p167l10" name="p167l10"></a><span class="linenum">10</span> +<p class="i2">Es flaca sobremanera</p> +<p>Toda humana previsión,</p> +<p>Pues en más de una ocasión</p> +<p>Sale lo que no se espera.</p> + </div><div class="stanza"> +<p class="i2">Salió al campo una mañana</p><a id="p167l15" name="p167l15"></a><span class="linenum">15</span> +<p>Un experto cazador,</p> +<p>El más hábil y el mejor</p> +<p>Alumno que tuvo Diana.</p> + </div><div class="stanza"> +<p class="i2">Seguíale gran cuadrilla</p> +<p>De ejercitados monteros,</p><a id="p167l20" name="p167l20"></a><span class="linenum">20</span> +<p>De ojeadores, ballesteros</p> +<p>Y de mozos de traílla;</p><a id="p168l0" name="p168l0"></a><span class="pagenum">168</span> + + </div><div class="stanza"> +<p class="i2">Van todos apercibidos</p> +<p>De las armas necesarias,</p> +<p>Y llevan de castas varias</p> +<p>Perros diestros y atrevidos,</p><a id="p168l5" name="p168l5"></a><span class="linenum">5</span> + </div><div class="stanza"> +<p class="i2">Caballos de noble raza,</p> +<p>Cornetas de monte: en fin,</p> +<p>Cuanto exige Moratín</p> +<p>En su poema <i>La Caza</i>.</p> + </div><div class="stanza"> +<p class="i2">Levantan pronto una pieza,</p><a id="p168l10" name="p168l10"></a><span class="linenum">10</span> +<p>Un jabalí corpulento,</p> +<p>Que huye veloz, rabo á viento,</p> +<p>Y rompiendo la maleza.</p> + </div><div class="stanza"> +<p class="i2">Todos siguen con gran bulla</p> +<p>Tras la cerdosa alimaña,</p><a id="p168l15" name="p168l15"></a><span class="linenum">15</span> +<p>Pero ella se da tal maña</p> +<p>Que á todos los aturrulla;</p> + </div><div class="stanza"> +<p class="i2">Y aunque gastan todo el día</p> +<p>En paradas, idas, vueltas,</p> +<p>Y carreras y revueltas,</p><a id="p168l20" name="p168l20"></a><span class="linenum">20</span> +<p>Es vana tanta porfía.</p> + </div><div class="stanza"> +<p class="i2">Ahora que los lectores</p> +<p>Han visto de qué manera</p> +<p>Pudo burlarse la fiera</p> +<p>De los tales cazadores,</p><a id="p169l0" name="p169l0"></a><span class="pagenum">169</span> + + </div><div class="stanza"> +<p class="i2">Oigan lo que aconteció,</p> +<p>Y aunque es suceso que admira,</p> +<p>No piensen, no, que es mentira,</p> +<p>Que lo cuenta quien lo vio:</p> + </div><div class="stanza"><a id="p169l5" name="p169l5"></a><span class="linenum">5</span> +<p class="i2">Al pie de uno de los cerros</p> +<p>Que batieron aquel día,</p> +<p>Una viejilla vivía,</p> +<p>Que oyó ladrar a los perros;</p> + </div><div class="stanza"> +<p class="i2">Y con gana de saber</p><a id="p169l10" name="p169l10"></a><span class="linenum">10</span> +<p>En qué parara la fiesta,</p> +<p>Iba subiendo la cuesta</p> +<p>Á eso del anochecer:</p> + </div><div class="stanza"> +<p class="i2">Con ella iba una perrilla...</p> +<p>Mas sin pasar adelante,</p><a id="p169l15" name="p169l15"></a><span class="linenum">15</span> +<p>Es preciso que un instante</p> +<p>Gastemos en describilla:</p> + </div><div class="stanza"> +<p class="i2">Perra de canes decana</p> +<p>Y entre perras protoperra,</p> +<p>Era tenida en su tierra</p><a id="p169l20" name="p169l20"></a><span class="linenum">20</span> +<p>Por perra antediluviana;</p> + </div><div class="stanza"> +<p class="i2">Flaco era el animalejo,</p> +<p>El más flaco de los canes,</p> +<p>Era el rastro, eran los manes</p> +<p>De un cuasi-semi-ex-gozquejo;</p><a id="p170l0" name="p170l0"></a><span class="pagenum">170</span> + + </div><div class="stanza"> +<p class="i2">Sarnosa era... digo mal;</p> +<p>No era una perra sarnosa,</p> +<p>Era una sarna perrosa</p> +<p>Y en figura de animal;</p> + </div><div class="stanza"><a id="p170l5" name="p170l5"></a><span class="linenum">5</span> +<p class="i2">Era, otrosí, derrengada;</p> +<p>La derribaba un resuello;</p> +<p>Puede decirse que aquello</p> +<p>No era perra ni era nada.</p> + </div><div class="stanza"> +<p class="i2">Á ver, pues, la batahola</p><a id="p170l10" name="p170l10"></a><span class="linenum">10</span> +<p>La vieja al cerro subía,</p> +<p>De la perra en compañía,</p> +<p>Que era lo mismo que ir sola.</p> + </div><div class="stanza"> +<p class="i2">Por donde iba, hizo la suerte</p> +<p>Que se hubiese el jabalí</p><a id="p170l15" name="p170l15"></a><span class="linenum">15</span> +<p>Escondido, por si así</p> +<p>Se libraba de la muerte;</p> + </div><div class="stanza"> +<p class="i2">Empero, sintiendo luego</p> +<p>Que por ahí andaba gente,</p> +<p>Tuvo por cosa prudente</p><a id="p170l20" name="p170l20"></a><span class="linenum">20</span> +<p>Tomar las de Villadiego;</p> + </div><div class="stanza"> +<p class="i2">La vieja entonces al ver</p> +<p>Que escapaba por la loma,</p> +<p>¡Sus! dijo por pura broma,</p> +<p>Y la perra echó á correr.</p><a id="p171l0" name="p171l0"></a><span class="pagenum">171</span> + + </div><div class="stanza"> +<p class="i2">Y aquella perra extenuada,</p> +<p>Sombra de perra que fué,</p> +<p>De la cual se dijo que</p> +<p>No era perra ni era nada;</p> + </div><div class="stanza"><a id="p171l5" name="p171l5"></a><span class="linenum">5</span> +<p class="i2">Aquella perrilla, sí,</p> +<p>¡Cosa es de volverse loco!</p> +<p>No pudo coger tampoco</p> +<p>Al maldito jabalí.</p> + </div> </div> + + +<br> +<a id="h46" name="h46"></a> +<h4>DON MIGUEL ANTONIO CARO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p>LA VUELTA A LA PATRIA</p><br> +<p class="i2">Mirad al peregrino</p><a id="p171l10" name="p171l10"></a><span class="linenum">10</span> +<p class="i2">¡Cuán doliente y trocado!</p> +<p>Apoyándose lento en su cayado</p> +<p>¡Qué solitario va por su camino!</p> + </div><div class="stanza"> +<p class="i2">En su primer mañana,</p> +<p class="i2">Alma alegre y cantora</p><a id="p171l15" name="p171l15"></a><span class="linenum">15</span> +<p>Abandonó el hogar, como á la aurora</p> +<p>Deja su nido la avecilla ufana.</p> + </div><div class="stanza"> +<p class="i2">Aire y luz, vida y flores,</p> +<p class="i2">Buscó en la vasta y fría</p> +<p>Región que la inocente fantasía</p><a id="p171l20" name="p171l20"></a><span class="linenum">20</span> +<p>Adornaba con mágicos fulgores.</p><a id="p172l0" name="p172l0"></a><span class="pagenum">172</span> + + </div><div class="stanza"> +<p class="i2">Ve el mundo, oye el rüido</p> +<p class="i2">De las grandes ciudades,</p> +<p>Y sólo vanidad de vanidades</p> +<p>Halla doquier su espíritu afligido</p> + </div><div class="stanza"><a id="p172l5" name="p172l5"></a><span class="linenum">5</span> +<p class="i2">Materia da á su llanto</p> +<p class="i2">Cuanto el hombre le ofrece;</p> +<p>Ya la risa en sus labios no florece,</p> +<p>Y olvidó la nativa voz del canto.</p> + </div><div class="stanza"> +<p class="i2">Hízose pensativo;</p><a id="p172l10" name="p172l10"></a><span class="linenum">10</span> +<p class="i2">Las nubes y las olas</p> +<p>Sus confidentes son, y trata á solas</p> +<p>El sitio más repuesto y más esquivo.</p> + </div><div class="stanza"> +<p class="i2">Á su penar responde</p> +<p class="i2">En la noche callada,</p><a id="p172l15" name="p172l15"></a><span class="linenum">15</span> +<p>La estrella que declina fatigada</p> +<p>Y en el materno piélago se esconde.</p> + </div><div class="stanza"> +<p class="i2"><i>¡Vuelve, vuelve á tu centro!</i></p> +<p class="i2">Natura al infelice</p> +<p>Clama; <i>¡vuelve!</i> una voz también le dice</p><a id="p172l20" name="p172l20"></a><span class="linenum">20</span> +<p>Que habla siempre con él, amiga, adentro,</p> + </div><div class="stanza"> +<p class="i2">¡Ay triste! En lontananza</p> +<p class="i2">Ve los pasados días,</p> +<p>Y en gozar otra vez sus alegrías</p> +<p>Concentra reanimado la esperanza.</p><a id="p173l0" name="p173l0"></a><span class="pagenum">173</span> + + </div><div class="stanza"> +<p class="i2">¡Imposible! ¡Locura!...</p> +<p class="i2">¿Cuándo pudo á su fuente</p> +<p>Retroceder el mísero torrente</p> +<p>Que probó de los mares la amargura?</p> + </div><div class="stanza"><a id="p173l5" name="p173l5"></a><span class="linenum">5</span> +<p class="i2">Ya sube la colina</p> +<p class="i2">Con mal seguro paso;</p> +<p>Del sol poniente al resplandor escaso</p> +<p>El valle de la infancia se domina.</p> + </div><div class="stanza"> +<p class="i2">¡Ay! Ese valle umbrío</p><a id="p173l10" name="p173l10"></a><span class="linenum">10</span> +<p class="i2">Que la paterna casa</p> +<p>Guarece; ese rumor con que acompasa</p> +<p>Sus blandos tumbos el sagrado río;</p> + </div><div class="stanza"> +<p class="i2">Esa aura embalsamada</p> +<p class="i2">Que sus sienes orea,</p><a id="p173l15" name="p173l15"></a><span class="linenum">15</span> +<p>¿A un corazón enfermo que desea</p> +<p>Su antigua soledad, no dicen nada?</p> + </div><div class="stanza"> +<p class="i2">El pobre peregrino</p> +<p class="i2">Ni oye, ni ve, ni siente;</p> +<p>De la Patria la imagen en su mente</p><a id="p173l20" name="p173l20"></a><span class="linenum">20</span> +<p>No existe ya, sino ideal divino.</p> + </div><div class="stanza"> +<p class="i2">Invisible le toca</p> +<p class="i2">Y sus párpados cierra</p> +<p>Ángel piadoso, y la ilusión destierra,</p> +<p>Y el dulce sonreir vuelve á su boca.</p><a id="p174l0" name="p174l0"></a><span class="pagenum">174</span> + + </div><div class="stanza"> +<p class="i2">¡Qué muda despedida!</p> +<p class="i2">¿Quién muerto le creyera?</p> +<p>¡Mirando está la Patria verdadera!</p> +<p>¡Está durmiendo el sueño de la vida!</p> + </div> </div> + + +<br> +<a id="h47" name="h47"></a> +<h4>DON DIÓGENES A. ARRIETA</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EN LA TUMBA DE MI HIJO</p><br> +<a id="p174l5" name="p174l5"></a><span class="linenum">5</span> +<p class="i2">¡Espejismos del alma dolorida!...</p> +<p>¡Hermosas esperanzas de la vida</p> +<p>Que disipa la muerte con crueldad!</p> +<p class="i2">Para engañar las penas nos forjamos</p> +<p>Imágenes de dicha, y luego damos</p><a id="p174l10" name="p174l10"></a><span class="linenum">10</span> +<p>Á la Ilusión el nombre de Verdad.</p> + </div><div class="stanza"> +<p class="i2">Aquí te llamo y nadie me responde:</p> +<p>Sorda y cruel, la tierra que te esconde</p> +<p>Ni el eco de mi voz devolverá.</p> +<p class="i2">Así la Eternidad: sombría y muda,</p><a id="p174l15" name="p174l15"></a><span class="linenum">15</span> +<p>El odio ni el amor, la fe y la duda</p> +<p>En sus abismos nada alcanzarán.</p> + </div><div class="stanza"> +<p class="i2">Otros alienten la creencia vana</p> +<p>De que es posible á la esperanza humana</p> +<p>De la muerte sacar vida y amor.</p><a id="p174l20" name="p174l20"></a><span class="linenum">20</span> +<p class="i2">Si es cruel la verdad, yo la prefiero...</p> +<p>¡Me duele el corazón, pero no quiero</p> +<p>Consolar con mentiras mi dolor!</p><a id="p175l0" name="p175l0"></a><span class="pagenum">175</span> + + </div><div class="stanza"> +<p class="i2">¡Hijo querido, la esperanza mía!</p> +<p>Animaste mi hogar tan sólo un día,</p> +<p>No volvemos á vernos ya los dos...</p> +<p class="i2">Pues que la ley se cumpla del destino:</p><a id="p175l5" name="p175l5"></a><span class="linenum">5</span> +<p>Tomo mi cruz y sigo mi camino...</p> +<p>¡Luz de mi hogar y mi esperanza, adiós!</p> + </div> </div> + + +<br> +<a id="h48" name="h48"></a> +<h4>DON IGNACIO GUTIÉRREZ PONCE</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i10">DOLORA</p><br> +<p class="i2">El ángel de mi cielo, mi María,</p> +<p>Que á la primera vuelta de las flores</p> +<p>Tres años cumplirá, medrosa un día</p><a id="p175l10" name="p175l10"></a><span class="linenum">10</span> +<p>Buscó refugio en mis abiertos brazos,</p> +<p>Y cuando entre caricias y entre abrazos,</p> +<p>Que prodigué, con paternal empeño,</p> +<p>Hubo al fin disipado sus temores,</p> +<p>Trocando así en sonrisas sus clamores,</p><a id="p175l15" name="p175l15"></a><span class="linenum">15</span> +<p>Cerró los ojos en tranquilo sueño.</p> + </div><div class="stanza"> +<p class="i2">En silencio quedó la estancia mía;</p> +<p>Y sintiéndome ansioso</p> +<p>De no turbar el infantil reposo</p> +<p>De mi bien, en mi pecho reclinado,</p><a id="p175l20" name="p175l20"></a><span class="linenum">20</span> +<p>Inmóviles mis miembros mantenía,</p> +<p>Y mi amoroso corazón latía</p> +<p>Al ritmo de su aliento sosegado.</p><a id="p176l0" name="p176l0"></a><span class="pagenum">176</span> + + </div><div class="stanza"> +<p class="i2">Sobre su faz serena,</p> +<p>Regadas como límpido rocío</p> +<p>En el cáliz de pálida azucena,</p> +<p>Brillaban gotas del reciente lloro,</p><a id="p176l5" name="p176l5"></a><span class="linenum">5</span> +<p>Y las guedejas de oro</p> +<p>Del undoso cabello</p> +<p>Caían arropando su albo cuello.</p> + </div><div class="stanza"> +<p class="i2">Así nos sorprendió mi tierna esposa.</p> +<p>Que á la par temerosa</p><a id="p176l10" name="p176l10"></a><span class="linenum">10</span> +<p>De interrumpir mi sueño de ventura,</p> +<p>Con paso leve recorrió el estrado</p> +<p>Y sin sentirla yo, vino á mi lado.</p> + </div><div class="stanza"> +<p class="i2">Aquella dulce calma</p> +<p>Que reinaba entre mí y en torno mío,</p><a id="p176l15" name="p176l15"></a><span class="linenum">15</span> +<p>Llenóme al fin de arrobamiento el alma.</p> +<p>Y se quedó mi mente</p> +<p>Enajenada en éxtasis creciente.</p> + </div><div class="stanza"> +<p class="i2">Absorto siempre en ella,</p> +<p>Con íntimo lenguaje la decía:</p><a id="p176l20" name="p176l20"></a><span class="linenum">20</span> +<p>«Eres botón de flor embalsamado</p> +<p>Con aromas del cielo todavía.»</p> +<p>Y al verla así, tan bella,</p> +<p>Con plácido embeleso</p> +<p>Á su rosada frente</p><a id="p176l25" name="p176l25"></a><span class="linenum">25</span> +<p>Fuíme inclinando para darla un beso;</p><a id="p177l0" name="p177l0"></a><span class="pagenum">177</span> + + </div><div class="stanza"> +<p class="i2">Pero escuché, de súbito, á mi lado,</p> +<p>Algo como un sollozo;</p> +<p>Y mirando con ojos sorprendidos,</p> +<p>Hallé los de mi esposa humedecidos</p><a id="p177l5" name="p177l5"></a><span class="linenum">5</span> +<p>Por inefable gozo...</p> +<p>«No la despiertes,» díjome sencilla,</p> +<p>Y me acercó su cándida mejilla.</p> + </div> </div> + + +<br> +<a id="h49" name="h49"></a> +<h4>DON JOSÉ MARÍA GARAVITO A.</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">VOLVERÉ MAÑANA</p><br> +<p class="i16">I</p> + </div><div class="stanza"> +<p class="i2">—¡Adiós! ¡adiós! Lucero de mis noches,</p> +<p>—Dijo un soldado al pie de una ventana,—</p><a id="p177l10" name="p177l10"></a><span class="linenum">10</span> +<p>¡Me voy!... pero no llores, alma mía,</p> +<p class="i8">Que volveré mañana.</p> +<p class="i2">Ya se asoma la estrella de la aurora,</p> +<p>Ya se divisa en el oriente el alba,</p> +<p>Y en mi cuartel tambores y cornetas</p><a id="p177l15" name="p177l15"></a><span class="linenum">15</span> +<p class="i8">Están tocando <i>diana</i>. </p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i16">II</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Horas después, cuando la negra noche</p> +<p>Cubrió de luto el campo de batalla,</p> +<p>Á la luz del vivac pálida y triste,</p> +<p class="i8">Un joven expiraba.</p><a id="p177l20" name="p177l20"></a><span class="linenum">20</span> +<p>Alguna cosa de <i>ella</i> el centinela</p><a id="p178l0" name="p178l0"></a><span class="pagenum">178</span> +<p>Al mirarlo morir, dijo en voz baja...</p> +<p>Alzó luego el fusil, bajó los ojos</p> +<p class="i8">Y se enjugó dos lágrimas.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i16">III</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Hoy cuentan por doquier gentes medrosas,</p> +<p>Que cuando asoma en el oriente el alba,</p><a id="p178l5" name="p178l5"></a><span class="linenum">5</span> +<p>Y en el cuartel tambores y cornetas</p> +<p class="i8">Están tocando <i>diana</i>...</p> +<p class="i2">Se ve vagar la misteriosa sombra,</p> +<p>Que se detiene al pie de una ventana</p> +<p>Y murmura: no llores, alma mía,</p><a id="p178l10" name="p178l10"></a><span class="linenum">10</span> +<p class="i8">Que volveré mañana.</p> + </div> </div> + +<p><a id="p179l0" name="p179l0"></a><span class="pagenum">179</span></p> + + +<br><br> +<a id="h50" name="h50"></a> +<h2>CUBA</h2> + + +<br> +<a id="h51" name="h51"></a> +<h4>DON JOSÉ MARÍA HEREDIA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">EN EL TEOCALLI DE CHOLULA</p><br> +<p class="i2">¡Cuánto es bella la tierra que habitaban</p> +<p>Los aztecas valientes! En su seno</p> +<p>En una estrecha zona concentrados</p> +<p>Con asombro se ven todos los climas</p><a id="p179l5" name="p179l5"></a><span class="linenum">5</span> +<p>Que hay desde el polo al ecuador. Sus llanos</p> +<p>Cubren á par de las doradas mieses</p> +<p>Las cañas deliciosas. El naranjo</p> +<p>Y la piña y el plátano sonante,</p> +<p>Hijos del suelo equinoccial, se mezclan</p><a id="p179l10" name="p179l10"></a><span class="linenum">10</span> +<p>Á la frondosa vid, al pino agreste,</p> +<p>Y de Minerva al árbol majestuoso.</p> +<p>Nieve eternal corona las cabezas</p> +<p>De Iztaccíhual purísimo, Orizaba</p> +<p>Y Popocatepec; sin que el invierno</p><a id="p179l15" name="p179l15"></a><span class="linenum">15</span> +<p>Toque jamás con destructora mano</p> +<p>Los campos fertilísimos, do ledo</p> +<p>Los mira el indio en púrpura ligera</p> +<p>Y oro teñirse, reflejando el brillo</p> +<p>Del Sol en occidente, que sereno</p><a id="p179l20" name="p179l20"></a><span class="linenum">20</span><a id="p180l0" name="p180l0"></a><span class="pagenum">180</span> +<p>En hielo eterno y perennal verdura</p> +<p>Á torrentes vertió su luz dorada,</p> +<p>Y vió á naturaleza conmovida</p> +<p>Con su dulce calor hervir en vida.</p> + </div><div class="stanza"> +<p class="i2">Era la tarde: su ligera brisa</p><a id="p180l5" name="p180l5"></a><span class="linenum">5</span> +<p>Las alas en silencio ya plegaba</p> +<p>Y entre la hierba y árboles dormía,</p> +<p>Mientras el ancho sol su disco hundía</p> +<p>Detrás de Iztaccíhual. La nieve eterna</p> +<p>Cual disuelta en mar de oro, semejaba</p><a id="p180l10" name="p180l10"></a><span class="linenum">10</span> +<p>Temblar en torno de él: un arco inmenso</p> +<p>Que del empíreo en el cenit finaba</p> +<p>Como espléndido pórtico del cielo</p> +<p>De luz vestido y centellante gloria,</p> +<p>De sus últimos rayos recibía</p><a id="p180l15" name="p180l15"></a><span class="linenum">15</span> +<p>Los colores riquísimos. Su brillo</p> +<p>Desfalleciendo fué: la blanca luna</p> +<p>Y de Venus la estrella solitaria</p> +<p>En el cielo desierto se veían.</p> +<p>¡Crepúsculo feliz! Hora más bella</p><a id="p180l20" name="p180l20"></a><span class="linenum">20</span> +<p>Que la alma noche ó el brillante día.</p> +<p>¡Cuánto es dulce tu paz al alma mía!</p> + </div><div class="stanza"> +<p class="i2">Hallábame sentado en la famosa</p> +<p>Choluteca pirámide. Tendido</p> +<p>El llano inmenso que ante mí yacía,</p><a id="p180l25" name="p180l25"></a><span class="linenum">25</span> +<p>Los ojos á espaciarse convidaba.</p> +<p>¡Qué silencio! ¡qué paz! ¡Oh! ¿quién diría</p> +<p>Que en estos bellos campos reina alzada</p><a id="p181l0" name="p181l0"></a><span class="pagenum">181</span> +<p>La bárbara opresión, y que esta tierra</p> +<p>Brota mieses tan ricas, abonada</p> +<p>Con sangre de hombres, en que fué inundada</p> +<p>Por la superstición y por la guerra?...</p> + </div><div class="stanza"> +<p class="i2">Bajó la noche en tanto. De la esfera</p><a id="p181l5" name="p181l5"></a><span class="linenum">5</span> +<p>El leve azul, obscuro y más obscuro</p> +<p>Se fué tornando: la movible sombra</p> +<p>De las nubes serenas, que volaban</p> +<p>Por el espacio en alas de la brisa,</p> +<p>Era visible en el tendido llano.</p><a id="p181l10" name="p181l10"></a><span class="linenum">10</span> +<p>Iztaccíhual purísimo volvía</p> +<p>Del argentado rayo de la luna</p> +<p>El plácido fulgor, y en el oriente</p> +<p>Bien como puntos de oro centellaban</p> +<p>Mil estrellas y mil... ¡Oh! yo os saludo,</p><a id="p181l15" name="p181l15"></a><span class="linenum">15</span> +<p>Fuentes de luz, que de la noche umbría</p> +<p>Ilumináis el velo,</p> +<p>Y sois del firmamento poesía.</p> + </div><div class="stanza"> +<p class="i2">Al paso que la luna declinaba,</p> +<p>Y al ocaso fulgente descendía</p><a id="p181l20" name="p181l20"></a><span class="linenum">20</span> +<p>Con lentitud, la sombra se extendía</p> +<p>Del Popocatepec, y semejaba</p> +<p>Fantasma colosal. El arco obscuro</p> +<p>Á mí llegó, cubrióme, y su grandeza</p> +<p>Fué mayor y mayor, hasta que al cabo</p><a id="p181l25" name="p181l25"></a><span class="linenum">25</span> +<p>En sombra universal veló la tierra.</p> + </div><div class="stanza"> +<p class="i2">Volví los ojos al volcán sublime,</p><a id="p182l0" name="p182l0"></a><span class="pagenum">182</span> +<p>Que velado en vapores transparentes,</p> +<p>Sus inmensos contornos dibujaba</p> +<p>De occidente en el cielo.</p> +<p>¡Gigante del Anáhuac! ¿cómo el vuelo</p> +<p>De las edades rápidas no imprime</p><a id="p182l5" name="p182l5"></a><span class="linenum">5</span> +<p>Alguna huella en tu nevada frente?</p> +<p>Corre el tiempo veloz, arrebatando</p> +<p>Años y siglos como el norte fiero</p> +<p>Precipita ante sí la muchedumbre</p> +<p>De las olas del mar. Pueblos y reyes</p><a id="p182l10" name="p182l10"></a><span class="linenum">10</span> +<p>Viste hervir á tus pies, que combatían</p> +<p>Cual hora combatimos, y llamaban</p> +<p>Eternas sus ciudades, y creían</p> +<p>Fatigar á la tierra con su gloria.</p> +<p>Fueron: de ellos no resta ni memoria.</p><a id="p182l15" name="p182l15"></a><span class="linenum">15</span> +<p>¿Y tú eterno serás? Tal vez un día</p> +<p>De tus profundas bases desquiciado</p> +<p>Caerás; abrumará tu gran ruina</p> +<p>Al yermo Anáhuac; alzaránse en ella</p> +<p>Nuevas generaciones y orgullosas,</p><a id="p182l20" name="p182l20"></a><span class="linenum">20</span> +<p>Que fuiste negarán...</p> + </div><div class="stanza"> +<p class="i10"> Todo perece</p> +<p>Por ley universal. Aun este mundo</p> +<p>Tan bello y tan brillante que habitamos,</p> +<p>Es el cadáver pálido y deforme</p> +<p>De otro mundo que fue...</p> + </div><div class="stanza"><a id="p182l25" name="p182l25"></a><span class="linenum">25</span> +<p class="i2">En tal contemplación embebecido</p> +<p>Sorprendióme el sopor. Un largo sueño,</p><a id="p183l0" name="p183l0"></a><span class="pagenum">183</span> +<p>De glorias engolfadas y perdidas</p> +<p>En la profunda noche de los tiempos,</p> +<p>Descendió sobre mí. La agreste pompa</p> +<p>De los reyes aztecas desplegóse</p> +<p>Á mis ojos atónitos. Veía</p><a id="p183l5" name="p183l5"></a><span class="linenum">5</span> +<p>Entre la muchedumbre silenciosa</p> +<p>De emplumados caudillos levantarse</p> +<p>El déspota salvaje en rico trono,</p> +<p>De oro, perlas y plumas recamado;</p> +<p>Y al son de caracoles belicosos</p><a id="p183l10" name="p183l10"></a><span class="linenum">10</span> +<p>Ir lentamente caminando al templo</p> +<p>La vasta procesión, do la aguardaban</p> +<p>Sacerdotes horribles, salpicados</p> +<p>Con sangre humana rostros y vestidos.</p> +<p>Con profundo estupor el pueblo esclavo</p><a id="p183l15" name="p183l15"></a><span class="linenum">15</span> +<p>Las bajas frentes en el polvo hundía,</p> +<p>Y ni mirar á su señor osaba,</p> +<p>De cuyos ojos férvidos brotaba</p> +<p>La saña del poder.</p> + </div><div class="stanza"> +<p class="i10"> Tales ya fueron</p> +<p>Tus monarcas, Anáhuac, y su orgullo:</p><a id="p183l20" name="p183l20"></a><span class="linenum">20</span> +<p>Su vil superstición y tiranía</p> +<p>En el abismo del no ser se hundieron.</p> +<p>Sí, que la muerte, universal señora,</p> +<p>Hiriendo á par al déspota y esclavo,</p> +<p>Escribe la igualdad sobre la tumba.</p><a id="p183l25" name="p183l25"></a><span class="linenum">25</span> +<p>Con su manto benéfico el olvido</p> +<p>Tu insensatez oculta y tus furores</p> +<p>Á la raza presente y la futura.</p><a id="p184l0" name="p184l0"></a><span class="pagenum">184</span> +<p>Esta inmensa estructura</p> +<p>Vió á la superstición más inhumana</p> +<p>En ella entronizarse. Oyó los gritos</p> +<p>De agonizantes víctimas, en tanto</p> +<p>Que el sacerdote, sin piedad ni espanto,</p><a id="p184l5" name="p184l5"></a><span class="linenum">5</span> +<p>Les arrancaba el corazón sangriento;</p> +<p>Miró el vapor espeso de la sangre</p> +<p>Subir caliente al ofendido cielo</p> +<p>Y tender en el sol fúnebre velo,</p> +<p>Y escuchó los horrendos alaridos</p><a id="p184l10" name="p184l10"></a><span class="linenum">10</span> +<p>Con que los sacerdotes sofocaban</p> +<p>El grito del dolor.</p> + </div><div class="stanza"> +<p class="i10"> Muda y desierta</p> +<p>Ahora te ves, Pirámide. ¡Más vale</p> +<p>Que semanas de siglos yazgas yerma,</p> +<p>Y la superstición á quien serviste</p><a id="p184l15" name="p184l15"></a><span class="linenum">15</span> +<p>En el abismo del infierno duerma!</p> +<p>Á nuestros nietos últimos, empero,</p> +<p>Sé lección saludable; y hoy al hombre</p> +<p>Que ciego en su saber fútil y vano</p> +<p>Al cielo, cual Titán, truena orgulloso,</p><a id="p184l20" name="p184l20"></a><span class="linenum">20</span> +<p>Sé ejemplo ignominioso</p> +<p>De la demencia y del furor humano.</p> + </div> </div> +<br> + + + + +<div class="poem"> <div class="stanza"> +<p class="i10">EL NIÁGARA</p><br> +<p>Templad mi lira, dádmela, que siento</p> +<p>En mi alma estremecida y agitada</p> +<p>Arder la inspiración. ¡Oh! ¡cuánto tiempo</p><a id="p184l25" name="p184l25"></a><span class="linenum">25</span><a id="p185l0" name="p185l0"></a><span class="pagenum">185</span> +<p>En tinieblas pasó, sin que mi frente</p> +<p>Brillase con su luz!... Niágara undoso,</p> +<p>Tu sublime terror sólo podría</p> +<p>Tornarme el don divino, que ensañada</p> +<p>Me robó del dolor la mano impía.</p> + </div><div class="stanza"><a id="p185l5" name="p185l5"></a><span class="linenum">5</span> +<p class="i2">Torrente prodigioso, calma, calla</p> +<p>Tu trueno aterrador: disipa un tanto</p> +<p>Las tinieblas que en torno te circundan;</p> +<p>Déjame contemplar tu faz serena,</p> +<p>Y de entusiasmo ardiente mi alma llena.</p><a id="p185l10" name="p185l10"></a><span class="linenum">10</span> +<p>Yo digno soy de contemplarte: siempre</p> +<p>Lo común y mezquino desdeñando,</p> +<p>Ansié por lo terrífico y sublime.</p> +<p>Al despeñarse el huracán furioso,</p> +<p>Al retumbar sobre mi frente el rayo,</p><a id="p185l15" name="p185l15"></a><span class="linenum">15</span> +<p>Palpitando gocé: vi al Océano,</p> +<p>Azotado por austro proceloso,</p> +<p>Combatir mi bajel, y ante mis plantas</p> +<p>Vórtice hirviendo abrir, y amé el peligro.</p> +<p>Mas del mar la fiereza</p><a id="p185l20" name="p185l20"></a><span class="linenum">20</span> +<p>En mi alma no produjo</p> +<p>La profunda impresión que tu grandeza.</p> + </div><div class="stanza"> +<p class="i2">Sereno corres, majestuoso; y luego</p> +<p>En ásperos peñascos quebrantado,</p> +<p>Te abalanzas violento, arrebatado,</p><a id="p185l25" name="p185l25"></a><span class="linenum">25</span> +<p>Como el destino irresistible y ciego.</p> +<p>¿Qué voz humana describir podría</p><a id="p186l0" name="p186l0"></a><span class="pagenum">186</span> +<p>De la sirte rugiente</p> +<p>La aterradora faz? El alma mía</p> +<p>En vago pensamiento se confunde</p> +<p>Al mirar esa férvida corriente,</p> +<p>Que en vano quiere la turbada vista</p><a id="p186l5" name="p186l5"></a><span class="linenum">5</span> +<p>En su vuelo seguir al borde obscuro</p> +<p>Del precipicio altísimo: mil olas,</p> +<p>Cual pensamiento rápidas pasando,</p> +<p>Chocan, y se enfurecen,</p> +<p>Y otras mil y otras mil ya las alcanzan,</p><a id="p186l10" name="p186l10"></a><span class="linenum">10</span> +<p>Y entre espuma y fragor desaparecen.</p> + </div><div class="stanza"> +<p class="i2">¡Ved! ¡llegan, saltan! El abismo horrendo</p> +<p>Devora los torrentes despeñados:</p> +<p>Crúzanse en él mil iris, y asordados</p> +<p>Vuelven los bosques el fragor tremendo.</p><a id="p186l15" name="p186l15"></a><span class="linenum">15</span> +<p>En las rígidas peñas</p> +<p>Rómpese el agua: vaporosa nube</p> +<p>Con elástica fuerza</p> +<p>Llena el abismo en torbellino, sube,</p> +<p>Gira en torno, y al éter</p><a id="p186l20" name="p186l20"></a><span class="linenum">20</span> +<p>Luminosa pirámide levanta,</p> +<p>Y por sobre los montes que le cercan</p> +<p>Al solitario cazador espanta.</p> + </div><div class="stanza"> +<p class="i2">Mas ¿qué en ti busca mi anhelante vista</p> +<p>Con inútil afán? ¿Por qué no miro</p><a id="p186l25" name="p186l25"></a><span class="linenum">25</span> +<p>Al rededor de tu caverna inmensa</p> +<p>Las palmas ¡ay! las palmas deliciosas,</p><a id="p187l0" name="p187l0"></a><span class="pagenum">187</span> +<p>Que en las llanuras de mi ardiente patria</p> +<p>Nacen del sol á la sonrisa, y crecen,</p> +<p>Y al soplo de las brisas del Océano</p> +<p>Bajo un cielo purísimo se mecen?</p> + </div><div class="stanza"> +<p class="i2">Este recuerdo á mi pesar me viene...</p><a id="p187l5" name="p187l5"></a><span class="linenum">5</span> +<p>Nada ¡oh Niágara! falta á tu destino,</p> +<p>Ni otra corona que el agreste pino</p> +<p>Á tu terrible majestad conviene.</p> +<p>La palma y mirto y delicada rosa</p> +<p>Muelle placer inspiren y ocio blando</p><a id="p187l10" name="p187l10"></a><span class="linenum">10</span> +<p>En frívolo jardín: á ti la suerte</p> +<p>Guardó más digno objeto, más sublime.</p> +<p>El alma libre, generosa, fuerte,</p> +<p>Viene, te ve, se asombra,</p> +<p>El mezquino deleite menosprecia</p><a id="p187l15" name="p187l15"></a><span class="linenum">15</span> +<p>Y aun se siente elevar cuando te nombra.</p> + </div><div class="stanza"> +<p class="i2">¡Omnipotente Dios! En otros climas</p> +<p>Vi monstruos execrables,</p> +<p>Blasfemando tu nombre sacrosanto,</p> +<p>Sembrar error y fanatismo impío,</p><a id="p187l20" name="p187l20"></a><span class="linenum">20</span> +<p>Los campos inundar con sangre y llanto,</p> +<p>De hermanos atizar la infanda guerra,</p> +<p>Y desolar frenéticos la tierra.</p> +<p>Vilos, y el pecho se inflamó á su vista</p> +<p>En grave indignación. Por otra parte</p><a id="p187l25" name="p187l25"></a><span class="linenum">25</span> +<p>Vi mentidos filósofos, que osaban</p> +<p>Escrutar tus misterios, ultrajarte,</p><a id="p188l0" name="p188l0"></a><span class="pagenum">188</span> +<p>Y de impiedad al lamentable abismo</p> +<p>Á los míseros hombres arrastraban.</p> +<p>Por eso te buscó mi débil mente</p> +<p>En la sublime soledad: ahora</p> +<p>Entera se abre á ti; tu mano siente</p><a id="p188l5" name="p188l5"></a><span class="linenum">5</span> +<p>En esta inmensidad que me circunda,</p> +<p>Y tu profunda voz hiere mi seno</p> +<p>De este raudal en el eterno trueno.</p> + </div><div class="stanza"> +<p class="i2">¡Asombroso torrente!</p> +<p>¡Cómo tu vista el ánimo enajena</p><a id="p188l10" name="p188l10"></a><span class="linenum">10</span> +<p>Y de terror y admiración me llena!</p> +<p>¿Dó tu origen está? ¿Quién fertiliza</p> +<p>Por tantos siglos tu inexhausta fuente?</p> +<p>¿Qué poderosa mano</p> +<p>Hace que al recibirte</p><a id="p188l15" name="p188l15"></a><span class="linenum">15</span> +<p>No rebose en la tierra el Océano?</p> + </div><div class="stanza"> +<p class="i2">Abrió el Señor su mano omnipotente;</p> +<p>Cubrió tu faz de nubes agitadas,</p> +<p>Dió su voz á tus aguas despeñadas,</p> +<p>Y ornó con su arco tu terrible frente.</p><a id="p188l20" name="p188l20"></a><span class="linenum">20</span> +<p>¡Ciego, profundo, infatigable corres,</p> +<p>Como el torrente obscuro de los siglos</p> +<p>En insondable eternidad!... ¡Al hombre</p> +<p>Huyen así las ilusiones gratas,</p> +<p>Los florecientes días,</p><a id="p188l25" name="p188l25"></a><span class="linenum">25</span> +<p>Y despierta al dolor!... ¡Ay! agostada</p><a id="p189l0" name="p189l0"></a><span class="pagenum">189</span> +<p>Yace mi juventud; mi faz, marchita;</p> +<p>Y la profunda pena que me agita</p> +<p>Ruga mi frente de dolor nublada.</p> + </div><div class="stanza"> +<p class="i2">Nunca tanto sentí como este día</p> +<p>Mi soledad y mísero abandono</p><a id="p189l5" name="p189l5"></a><span class="linenum">5</span> +<p>Y lamentable desamor... ¿Podría</p> +<p>En edad borrascosa</p> +<p>Sin amor ser feliz? ¡Oh! si una hermosa</p> +<p>Mi cariño fijase,</p> +<p>Y de este abismo al borde turbulento</p><a id="p189l10" name="p189l10"></a><span class="linenum">10</span> +<p>Mi vago pensamiento</p> +<p>Y ardiente admiración acompañase!</p> +<p>¡Cómo gozara, viéndola cubrirse</p> +<p>De leve palidez, y ser más bella</p> +<p>En su dulce terror, y sonreirse</p><a id="p189l15" name="p189l15"></a><span class="linenum">15</span> +<p>Al sostenerla mis amantes brazos...</p> +<p>Delirios de virtud... ¡Ay! ¡Desterrado,</p> +<p>Sin patria, sin amores,</p> +<p>Sólo miro ante mí llanto y dolores!</p> + </div><div class="stanza"> +<p class="i2">¡Niágara poderoso!</p><a id="p189l20" name="p189l20"></a><span class="linenum">20</span> +<p>¡Adiós! ¡adiós! Dentro de pocos años</p> +<p>Ya devorado habrá la tumba fría</p> +<p>Á tu débil cantor. ¡Duren mis versos</p> +<p>Cual tu gloria inmortal! ¡Pueda piadoso,</p> +<p>Viéndote algún viajero,</p><a id="p189l25" name="p189l25"></a><span class="linenum">25</span> +<p>Dar un suspiro á la memoria mía!</p> +<p>Y al abismarse Febo en occidente,</p><a id="p190l0" name="p190l0"></a><span class="pagenum">190</span> +<p>Feliz yo vuele do el Señor me llama,</p> +<p>Y al escuchar los ecos de mi fama,</p> +<p>Alce en las nubes la radiosa frente.</p> + </div> </div> + + +<br> +<a id="h52" name="h52"></a> +<h4>«PLÁCIDO» (DON GABRIEL DE LA CONCEPCIÓN VALDÉS)</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">PLEGARIA Á DIOS</p><br> +<p class="i2">¡Ser de inmensa bondad! ¡Dios poderoso!</p> +<p>Â vos acudo en mi dolor vehemente...</p><a id="p190l5" name="p190l5"></a><span class="linenum">5</span> +<p>Extended vuestro brazo omnipotente;</p> +<p>Rasgad de la calumnia el velo odioso;</p> +<p>Y arrancad este sello ignominioso</p> +<p>Con que el mundo manchar quiere mi frente.</p> + </div><div class="stanza"> +<p class="i2">¡Rey de los Reyes! ¡Dios de mis abuelos!</p><a id="p190l10" name="p190l10"></a><span class="linenum">10</span> +<p>¡Vos solo sois mi defensor! ¡Dios mío!...</p> +<p>Todo lo puede quien al mar sombrío</p> +<p>Olas y peces dio, luz á los cielos,</p> +<p>Fuego al sol, giro al aire, al norte hielos,</p> +<p>Vida á las plantas, movimiento al río.</p> + </div><div class="stanza"><a id="p190l15" name="p190l15"></a><span class="linenum">15</span> +<p class="i2">Todo lo podéis vos; todo fenece,</p> +<p>Ó se reanima á vuestra voz sagrada;</p> +<p>Fuera de vos, Señor, el todo es nada</p> +<p>Que en la insondable eternidad perece;</p> +<p>Y aun esa misma nada os obedece,</p><a id="p190l20" name="p190l20"></a><span class="linenum">20</span> +<p>Pues de ella fué la humanidad creada.</p><a id="p191l0" name="p191l0"></a><span class="pagenum">191</span> + + </div><div class="stanza"> +<p class="i2">Yo no os puedo engañar, Dios de clemencia;</p> +<p>Y pues vuestra eternal sabiduría</p> +<p>Ve al través de mi cuerpo el alma mía</p> +<p>Cual del aire á la clara transparencia,</p><a id="p191l5" name="p191l5"></a><span class="linenum">5</span> +<p>Estorbad que humillada la inocencia</p> +<p>Bata sus palmas la calumnia impía.</p> + </div><div class="stanza"> +<p class="i2">Estorbadlo, Señor, por la preciosa</p> +<p>Sangre vertida, que la culpa sella</p> +<p>Del pecado de Adán, ó por aquella</p><a id="p191l10" name="p191l10"></a><span class="linenum">10</span> +<p>Madre cándida, dulce y amorosa,</p> +<p>Cuando envuelta en pesar, mustia y llorosa,</p> +<p>Siguió tu muerte como helíaca estrella.</p> + </div><div class="stanza"> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Mas si cuadra á tu suma omnipotencia</p> +<p>Que yo perezca cual malvado impío,</p><a id="p191l15" name="p191l15"></a><span class="linenum">15</span> +<p>Y que los hombres mi cadáver frío</p> +<p>Ultrajen con maligna complacencia...</p> +<p>¡Suene tu voz, y acabe mi existencia!...</p> +<p>¡Cúmplase en mí tu voluntad, Dios mío!</p> + </div> </div> + + +<br> +<a id="h53" name="h53"></a> +<h4>DOÑA GERTRUDIS GÓMEZ DE AVELLANEDA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i10">Á WÁSHINGTON</p><br> +<p class="i2">No en lo pasado a tu virtud modelo,</p><a id="p191l20" name="p191l20"></a><span class="linenum">20</span> +<p>Ni copia al porvenir dará la historia,</p> +<p>Ni otra igual en grandeza á tu memoria</p><a id="p192l0" name="p192l0"></a><span class="pagenum">192</span> +<p>Difundirán los siglos en su vuelo.</p> +<p class="i2">Miró la Europa ensangrentar su suelo</p> +<p>Al genio de la guerra y la victoria,</p> +<p>Pero le cupo á América la gloria</p> +<p>De que al genio del bien le diera el cielo.</p><a id="p192l5" name="p192l5"></a><span class="linenum">5</span> +<p class="i2">Que audaz conquistador goce en su ciencia</p> +<p>Mientras al mundo en páramo convierte,</p> +<p>Y se envanezca cuando á siervos mande;</p> +<p class="i2">¡Mas los pueblos sabrán en su conciencia</p> +<p>Que el que los rige libres sólo es fuerte;</p><a id="p192l10" name="p192l10"></a><span class="linenum">10</span> +<p>Que el que los hace grandes sólo es grande!</p> + </div> </div> + + + + +<div class="poem"> <div class="stanza"> +<p class="i12">AL PARTIR</p><br> +<p class="i2">¡Perla del mar! ¡Estrella de Occidente!</p> +<p>¡Hermosa Cuba! Tu brillante cielo</p> +<p>La noche cubre con su opaco velo,</p> +<p>Como cubre el dolor mi triste frente.</p><a id="p192l15" name="p192l15"></a><span class="linenum">15</span> +<p class="i2">¡Voy á partir!... La chusma diligente</p> +<p>Para arrancarme del nativo suelo</p> +<p>Las velas iza, y pronta á su desvelo</p> +<p>La brisa acude de tu zona ardiente.</p> +<p class="i2">¡Adiós, patria feliz, Edén querido!</p><a id="p192l20" name="p192l20"></a><span class="linenum">20</span> +<p>Doquier que el hado en su furor me impela,</p> +<p>Tu dulce nombre halagará mi oído.</p> +<p class="i2">¡Adiós!... ¡ya cruje la turgente vela...</p> +<p>El ancla se alza... el buque estremecido</p> +<p>Las olas corta y silencioso vuela!</p> + </div> </div> + +<p><a id="p193l0" name="p193l0"></a><span class="pagenum">193</span></p> + +<br><br> +<a id="h54" name="h54"></a> +<h2>ECUADOR</h2> + +<br> +<a id="h55" name="h55"></a> +<h4>DON JOSÉ JOAQUÍN OLMEDO</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i6">LA VICTORIA DE JUNÍN</p><br> + + +<p class="i10">Canto á Bolívar</p><br> +<p class="i2">El trueno horrendo, que en fragor revienta</p> +<p>Y sordo retumbando se dilata</p> +<p>Por la inflamada esfera,</p> +<p>Al Dios anuncia que en el cielo impera.</p> + </div><div class="stanza"><a id="p193l5" name="p193l5"></a><span class="linenum">5</span> +<p class="i2">Y el rayo que en Junín rompe y ahuyenta</p> +<p>La hispana muchedumbre,</p> +<p>Que más feroz que nunca amenazaba</p> +<p>Á sangre y fuego eterna servidumbre,</p> +<p>Y el canto de victoria</p><a id="p193l10" name="p193l10"></a><span class="linenum">10</span> +<p>Que en ecos mil discurre, ensordeciendo</p> +<p>El hondo valle y enriscada cumbre,</p> +<p>Proclaman á Bolívar en la tierra</p> +<p>Árbitro de la paz y de la guerra.</p> + </div><div class="stanza"> +<p class="i2">Las soberbias pirámides que al cielo</p><a id="p193l15" name="p193l15"></a><span class="linenum">15</span> +<p>El arte humano osado levantaba</p><a id="p194l0" name="p194l0"></a><span class="pagenum">194</span> +<p>Para hablar á los siglos y naciones,</p> +<p>Templos, do esclavas manos</p> +<p>Deificaban en pompa á sus tiranos,</p> +<p>Ludibrio son del tiempo, que con su ala</p> +<p>Débil las toca, y las derriba al suelo,</p><a id="p194l5" name="p194l5"></a><span class="linenum">5</span> +<p>Después que en fácil juego el fugaz viento</p> +<p>Borró sus mentirosas inscripciones;</p> +<p>Y bajo los escombros confundido</p> +<p>Entre las sombras del eterno olvido</p> +<p>¡Oh de ambición y de miseria ejemplo!</p><a id="p194l10" name="p194l10"></a><span class="linenum">10</span> +<p>El sacerdote yace, el dios y el templo.</p> + </div><div class="stanza"> +<p class="i2">Mas los sublimes montes, cuya frente</p> +<p>Á la región etérea se levanta,</p> +<p>Que ven las tempestades á su planta</p> +<p>Brillar, rugir, romperse, disiparse;</p><a id="p194l15" name="p194l15"></a><span class="linenum">15</span> +<p>Los Andes... las enormes, estupendas</p> +<p>Moles sentadas sobre bases de oro,</p> +<p>La tierra con su peso equilibrando,</p> +<p>Jamás se moverán. Ellos, burlando</p> +<p>De ajena envidia y del protervo tiempo</p><a id="p194l20" name="p194l20"></a><span class="linenum">20</span> +<p>La furia y el poder, serán eternos</p> +<p>De Libertad y de Victoria heraldos,</p> +<p>Que con eco profundo</p> +<p>Á la postrera edad dirán del mundo:</p> +<p>«Nosotros vimos de Junín el campo;</p><a id="p194l25" name="p194l25"></a><span class="linenum">25</span> +<p>Vimos que al desplegarse</p> +<p>Del Perú y de Colombia las banderas,</p> +<p>Se turban las legiones altaneras,</p><a id="p195l0" name="p195l0"></a><span class="pagenum">195</span> +<p>Huye el fiero español despavorido,</p> +<p>Ó pide paz rendido.</p> +<p>Venció Bolívar: el Perú fué libre;</p> +<p>Y en triunfal pompa Libertad sagrada</p> +<p>En el templo del Sol fué colocada.»</p> + </div><div class="stanza"><a id="p195l5" name="p195l5"></a><span class="linenum">5</span> +<p class="i2">¿Quién es aquel que el paso lento mueve</p> +<p>Sobre el collado que á Junín domina?</p> +<p>¿Que el campo desde allí mide, y el sitio</p> +<p>Del combatir y del vencer desina?</p> +<p>¿Que la hueste contraria observa, cuenta,</p><a id="p195l10" name="p195l10"></a><span class="linenum">10</span> +<p>Y en su mente la rompe y desordena,</p> +<p>Y á los más bravos á morir condena,</p> +<p>Cual águila caudal que se complace</p> +<p>Del alto cielo en divisar su presa</p> +<p>Que entre el rebaño mal segura pace?</p><a id="p195l15" name="p195l15"></a><span class="linenum">15</span> +<p>¿Quién el que ya desciende</p> +<p>Pronto y apercibido á la pelea?</p> +<p>Preñada en tempestades le rodea</p> +<p>Nube tremenda: el brillo de su espada</p> +<p>Es el vivo reflejo de la gloria;</p><a id="p195l20" name="p195l20"></a><span class="linenum">20</span> +<p>Su voz un trueno; su mirada un rayo.</p> +<p>¿Quién aquel que, al trabarse la batalla,</p> +<p>Ufano como nuncio de victoria,</p> +<p>Un corcel impetuoso fatigando,</p> +<p>Discurre sin cesar por toda parte?...</p><a id="p195l25" name="p195l25"></a><span class="linenum">25</span> +<p>¿Quién, sino el hijo de Colombia y Marte?</p> + </div><div class="stanza"> +<p class="i2">Sonó su voz: «Peruanos,</p><a id="p196l0" name="p196l0"></a><span class="pagenum">196</span> +<p>Mirad allí los duros opresores</p> +<p>De vuestra patria. Bravos colombianos,</p> +<p>En cien crudas batallas vencedores,</p> +<p>Mirad allí los enemigos fieros</p> +<p>Que buscando venís desde Orinoco:</p><a id="p196l5" name="p196l5"></a><span class="linenum">5</span> +<p>Suya es la fuerza, y el valor es vuestro,</p> +<p>Vuestra será la gloria;</p> +<p>Pues lidiar con valor y por la patria</p> +<p>Es el mejor presagio de victoria.</p> +<p>Acometed: que siempre</p><a id="p196l10" name="p196l10"></a><span class="linenum">10</span> +<p>De quien se atreve más el triunfo ha sido:</p> +<p>Quien no espera vencer, ya está vencido.»</p> + </div><div class="stanza"> +<p class="i2">Dice; y al punto, cual fugaces carros</p> +<p>Que, dada la señal, parten, y en densos</p> +<p>De arena y polvo torbellinos ruedan,</p><a id="p196l15" name="p196l15"></a><span class="linenum">15</span> +<p>Arden los ejes, se estremece el suelo,</p> +<p>Estrépito confuso asorda el cielo,</p> +<p>Y en medio del afán cada cual teme</p> +<p>Que los demás adelantarse puedan;</p> +<p>Así los ordenados escuadrones,</p><a id="p196l20" name="p196l20"></a><span class="linenum">20</span> +<p>Que del iris reflejan los colores</p> +<p>Ó la imagen del sol en sus pendones,</p> +<p>Se avanzan á la lid. ¡Oh! ¡quién temiera,</p> +<p>Quién, que su ímpetu mismo los perdiera!</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">Tal el héroe brillaba</p><a id="p196l25" name="p196l25"></a><span class="linenum">25</span> +<p>Por las primeras filas discurriendo.</p> +<p>Se oye su voz, su acero resplandece</p><a id="p197l0" name="p197l0"></a><span class="pagenum">197</span> +<p>Do más la pugna y el peligro crece;</p> +<p>Nada le puede resistir... Y es fama,</p> +<p>¡Oh portento inaudito!</p> +<p>Que el bello nombre de Colombia escrito</p> +<p>Sobre su frente en torno despedía</p><a id="p197l5" name="p197l5"></a><span class="linenum">5</span> +<p>Rayos de luz tan viva y refulgente,</p> +<p>Que deslumbrado el español desmaya,</p> +<p>Tiembla, pierde la voz, el movimiento:</p> +<p>Sólo para la fuga tiene aliento.</p> + </div><div class="stanza"> +<p class="i2">Así, cuando en la noche algún malvado</p><a id="p197l10" name="p197l10"></a><span class="linenum">10</span> +<p>Va á descargar el brazo levantado,</p> +<p>Si de improviso lanza un rayo el cielo,</p> +<p>Se pasma, y el puñal trémulo suelta;</p> +<p>Hielo mortal á su furor sucede;</p> +<p>Tiembla y horrorizado retrocede.</p><a id="p197l15" name="p197l15"></a><span class="linenum">15</span> +<p>Ya no hay más combatir. El enemigo</p> +<p>El campo todo y la victoria cede.</p> +<p>Huye cual ciervo herido; y á donde huye</p> +<p>Allí encuentra la muerte. Los caballos</p> +<p>Que fueron su esperanza en la pelea,</p><a id="p197l20" name="p197l20"></a><span class="linenum">20</span> +<p>Heridos, espantados, por el campo</p> +<p>Ó entre las filas vagan, salpicando</p> +<p>El suelo en sangre que su crin gotea;</p> +<p>Derriban al jinete, lo atropellan,</p> +<p>Y las catervas van despavoridas,</p><a id="p197l25" name="p197l25"></a><span class="linenum">25</span> +<p>Ó unas en otras con terror se estrellan.</p> + </div><div class="stanza"> +<p class="i2">Crece la confusión, crece el espanto,</p><a id="p198l0" name="p198l0"></a><span class="pagenum">198</span> +<p>Y al impulso del aire, que vibrando</p> +<p>Sube en clamores y alaridos lleno,</p> +<p>Tremen las cumbres que respeta el trueno.</p> +<p>Y discurriendo el vencedor en tanto</p> +<p>Por cimas de cadáveres y heridos,</p><a id="p198l5" name="p198l5"></a><span class="linenum">5</span> +<p>Postra al que huye, perdona á los rendidos.</p> + </div><div class="stanza"> +<p class="i2">¡Padre del universo, sol radioso,</p> +<p>Dios del Perú, modera omnipotente</p> +<p>El ardor de tu carro impetüoso,</p> +<p>Y no escondas tu luz indeficiente!...</p><a id="p198l10" name="p198l10"></a><span class="linenum">10</span> +<p>¡Una hora más de luz!... Pero esta hora</p> +<p>No fué la del Destino. El dios oía</p> +<p>El voto de su pueblo, y de la frente</p> +<p>El cerco de diamantes desceñía.</p> +<p>En fugaz rayo el horizonte dora,</p><a id="p198l15" name="p198l15"></a><span class="linenum">15</span> +<p>En mayor disco menos luz ofrece,</p> +<p>Y veloz tras los Andes se obscurece.</p> + </div><div class="stanza"> +<p class="i2">Tendió su manto lóbrego la noche,</p> +<p>Y las reliquias del perdido bando,</p> +<p>Con sus tristes y atónitos caudillos,</p><a id="p198l20" name="p198l20"></a><span class="linenum">20</span> +<p>Corren sin saber dónde espavoridas,</p> +<p>Y de su sombra misma se estremecen;</p> +<p>Y al fin en las tinieblas ocultando</p> +<p>Su afrenta y su pavor, desaparecen.</p> + </div><div class="stanza"> +<p class="i2">¡Victoria por la patria! ¡oh Dios! ¡Victoria!</p><a id="p198l25" name="p198l25"></a><span class="linenum">25</span> +<p>¡Triunfo á Colombia y á Bolívar gloria!</p> + </div> </div> + + +<p><a id="p199l0" name="p199l0"></a><span class="pagenum">199</span></p> + +<br><br> +<a id="h56" name="h56"></a> +<h2>MÉXICO</h2> + +<br> +<a id="h57" name="h57"></a> +<h4>DON JOSÉ JOAQUÍN DE PESADO</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i8">LA SERENATA</p><br> +<p class="i2">¡Oh, tú, que duermes en casto lecho,</p> +<p>De sinsabores ajeno el pecho,</p> +<p>Y á los encantos de la hermosura</p> +<p>Unes las gracias del corazón,</p><a id="p199l5" name="p199l5"></a><span class="linenum">5</span> +<p>Deja el descanso, doncella pura,</p> +<p>Y oye los ecos de mi canción!</p> +<p class="i2">¿Quién en la tierra la dicha alcanza?</p> +<p>Iba mi vida sin esperanza,</p> +<p>Cual nave errante sin ver su estrella,</p><a id="p199l10" name="p199l10"></a><span class="linenum">10</span> +<p>Cuando me inundas en claridad;</p> +<p>Y desde entonces, gentil doncella,</p> +<p>Me revelaste felicidad.</p> +<p class="i2">¡Oh, si las ansias decir pudiera</p> +<p>Que siente el alma, desde que viera</p><a id="p199l15" name="p199l15"></a><span class="linenum">15</span> +<p>Ese semblante que amor inspira</p> +<p>Y los hechizos de tu candor!</p> +<p>Mas, rudo el labio, torpe la lira,</p> +<p>Decir no puede lo que es amor.</p><a id="p200l0" name="p200l0"></a><span class="pagenum">200</span> +<p class="i2">Del Iris puede pintarse el velo;</p> +<p>Del sol los rayos, la luz del cielo;</p> +<p>La negra noche, la blanca aurora;</p> +<p>Mas no tus gracias ni tu poder,</p> +<p>Ni menos puede de quien te adora</p><a id="p200l5" name="p200l5"></a><span class="linenum">5</span> +<p>Decirse el llanto y el padecer.</p> + </div><div class="stanza"> +<p class="i2">Amor encuentra doquier que vuelva</p> +<p>La vista en torno; la verde selva,</p> +<p>Florido el prado y el bosque umbrío,</p> +<p>La tierna hierba, la hermosa ñor,</p><a id="p200l10" name="p200l10"></a><span class="linenum">10</span> +<p>Y la cascada, y el claro río,</p> +<p>Todos me dicen: amor, amor.</p> +<p class="i2">Cuando te ausentas, el campo triste</p> +<p>De luto y sombras luego se viste;</p> +<p>Mas si regresas, la primavera</p><a id="p200l15" name="p200l15"></a><span class="linenum">15</span> +<p>Hace sus galas todas lucir:</p> +<p>¡Oh, nunca, nunca de esta ribera,</p> +<p>Doncella hermosa, quieras partir!</p> + </div></div> + +<br> +<a id="h58" name="h58"></a> +<h4>DON FERNANDO CALDERÓN</h4> + +<div class="poem"><div class="stanza"> +<p>LA ROSA MARCHITA</p><br> +<p>¿Eres tú, triste rosa,</p> +<p>La que ayer difundía</p><a id="p200l20" name="p200l20"></a><span class="linenum">20</span> +<p>Balsámica ambrosía,</p> +<p>Y tu altiva cabeza levantando</p><a id="p201l0" name="p201l0"></a><span class="pagenum">201</span> +<p>Eras la reina de la selva umbría?</p> +<p>¿Por qué tan pronto, dime,</p> +<p>Hoy triste y desolada</p> +<p>Te encuentras de tus galas despojada?</p> + </div><div class="stanza"> +<p>Ayer viento süave</p><a id="p201l5" name="p201l5"></a><span class="linenum">5</span> +<p>Te halagó cariñoso;</p> +<p>Ayer alegre el ave</p> +<p>Su cántico armonioso</p> +<p>Ejercitaba, sobre ti posando;</p> +<p>Tú, rosa, le inspirabas,</p><a id="p201l10" name="p201l10"></a><span class="linenum">10</span> +<p>Y á cantar sus amores le excitabas.</p> + </div><div class="stanza"> +<p>Tal vez el fatigado peregrino,</p> +<p>Al pasar junto á ti, quiso cortarte:</p> +<p>Tal vez quiso llevarte</p> +<p>Algún amante á su ardoroso seno;</p><a id="p201l15" name="p201l15"></a><span class="linenum">15</span> +<p>Pero al ver tu hermosura,</p> +<p>La compasión sintieron,</p> +<p>Y su atrevida mano detuvieron.</p> + </div><div class="stanza"> +<p>Hoy nadie te respeta:</p> +<p>El furioso aquilón te ha deshojado.</p><a id="p201l20" name="p201l20"></a><span class="linenum">20</span> +<p>Ya nada te ha quedado</p> +<p>¡Oh reina de las flores!</p> +<p>De tu brillo y tus colores.</p> + </div><div class="stanza"> +<p>La fiel imagen eres</p> +<p>De mi triste fortuna:</p><a id="p201l25" name="p201l25"></a><span class="linenum">25</span> +<p>¡Ay! todos mis placeres,</p> +<p>Todas mis esperanzas una á una</p><a id="p202l0" name="p202l0"></a><span class="pagenum">202</span> +<p>Arrancándome ha ido</p> +<p>Un destino funesto, cual tus hojas</p> +<p>Arrancó el huracán embravecido!</p> + </div><div class="stanza"> +<p>¿Y qué, ya triste y sola,</p> +<p>No habrá quien te dirija una mirada?</p><a id="p202l5" name="p202l5"></a><span class="linenum">5</span> +<p>¿Estarás condenada</p> +<p>Á eterna soledad y amargo lloro?</p> +<p>No, que existe un mortal sobre la tierra,</p> +<p>Un joven infeliz, desesperado,</p> +<p>Á quien horrible suerte ha condenado</p><a id="p202l10" name="p202l10"></a><span class="linenum">10</span> +<p>Á perpetuo gemir: ven, pues, ¡oh rosa!</p> +<p>Ven á mi amante seno, en él reposa</p> +<p>Y ojalá de mis besos la pureza</p> +<p>Resucitar pudiera tu belleza.</p> + </div><div class="stanza"> +<p>Ven, ven, ¡oh triste rosa!</p><a id="p202l15" name="p202l15"></a><span class="linenum">15</span> +<p>Si es mi suerte á la tuya semejante,</p> +<p>Burlemos su porfía;</p> +<p>Ven, todas mis caricias serán tuyas,</p> +<p>Y tu última fragancia será mía.</p> + </div></div> + + +<br> +<a id="h59" name="h59"></a> +<h4>DON MANUEL ACUÑA</h4> + +<div class="poem"><div class="stanza"> +<p class="i4">NOCTURNO</p> + </div><div class="stanza"> + +<p>Á Rosario</p> + </div><div class="stanza"> +<p class="i10">I</p> + </div><div class="stanza"> +<p>¡Pues bien! yo necesito</p> +<p>Decirte que te adoro,</p><a id="p203l0" name="p203l0"></a><span class="pagenum">203</span> +<p>Decirte que te quiero</p> +<p>Con todo el corazón;</p> +<p>Que es mucho lo que sufro,</p> +<p>Que es mucho lo que lloro,</p> +<p>Que ya no puedo tanto,</p><a id="p203l5" name="p203l5"></a><span class="linenum">5</span> +<p>Y al grito en que te imploro</p> +<p>Te imploro y te hablo en nombre</p> +<p>De mi última ilusión.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">II</p> + </div><div class="stanza"> +<p class="i2">Yo quiero que tú sepas</p> +<p>Que ya hace muchos días</p><a id="p203l10" name="p203l10"></a><span class="linenum">10</span> +<p>Estoy enfermo y pálido</p> +<p>De tanto no dormir;</p> +<p>Que ya se han muerto todas</p> +<p>Las esperanzas mías;</p> +<p>Que están mis noches negras,</p><a id="p203l15" name="p203l15"></a><span class="linenum">15</span> +<p>Tan negras y sombrías,</p> +<p>Que ya no sé ni dónde</p> +<p>Se alzaba el porvenir.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">III</p> + </div><div class="stanza"> +<p class="i2">De noche, cuando pongo</p> +<p>Mis sienes en la almohada</p><a id="p203l20" name="p203l20"></a><span class="linenum">20</span> +<p>Y hacia otro mundo quiero</p> +<p>Mi espíritu volver,</p> +<p>Camino mucho, mucho,</p> +<p>Y al fin de la jornada</p> +<p>Las formas de mi madre</p><a id="p203l25" name="p203l25"></a><span class="linenum">25</span><a id="p204l0" name="p204l0"></a><span class="pagenum">204</span> +<p>Se pierden en la nada,</p> +<p>Y tú de nuevo vuelves</p> +<p>En mi alma á aparecer.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">IV</p> + </div><div class="stanza"> +<p>Comprendo que tus besos</p> +<p>Jamás han de ser míos;</p><a id="p204l5" name="p204l5"></a><span class="linenum">5</span> +<p>Comprendo que en tus ojos</p> +<p>No me he de ver jamás;</p> +<p>Y te amo, y en mis locos</p> +<p>Y ardientes desvarios</p> +<p>Bendigo tus desdenes,</p><a id="p204l10" name="p204l10"></a><span class="linenum">10</span> +<p>Adoro tus desvíos,</p> +<p>Y en vez de amarte menos,</p> +<p>Te quiero mucho más.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">V</p> + </div><div class="stanza"> +<p>Á veces pienso en darte</p> +<p>Mi eterna despedida,</p><a id="p204l15" name="p204l15"></a><span class="linenum">15</span> +<p>Borrarte en mis recuerdos</p> +<p>Y hundirte en mi pasión;</p> +<p>Mas si es en vano todo</p> +<p>Y el alma no te olvida,</p> +<p>¡Qué quieres tú que yo haga,</p><a id="p204l20" name="p204l20"></a><span class="linenum">20</span> +<p>Pedazo de mi vida;</p> +<p>Qué quieres tú que yo haga</p> +<p>Con este corazón!</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">VI</p> + </div><div class="stanza"> +<p>Y luego que ya estaba</p><a id="p205l0" name="p205l0"></a><span class="pagenum">205</span> +<p>Concluido tu santuario,</p> +<p>Tu lámpara encendida,</p> +<p>Tu velo en el altar,</p> +<p>El sol de la mañana</p> +<p>Detrás del campanario,</p><a id="p205l5" name="p205l5"></a><span class="linenum">5</span> +<p>Chispeando las antorchas,</p> +<p>Humeando el incensario,</p> +<p>Y abierta allá á lo lejos</p> +<p>La puerta del hogar...</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">VII</p> + </div><div class="stanza"> +<p class="i2">¡Qué hermoso hubiera sido</p><a id="p205l10" name="p205l10"></a><span class="linenum">10</span> +<p>Vivir bajo aquel techo,</p> +<p>Los dos unidos siempre</p> +<p>Y amándonos los dos;</p> +<p>Tu siempre enamorada,</p> +<p>Yo siempre satisfecho,</p><a id="p205l15" name="p205l15"></a><span class="linenum">15</span> +<p>Los dos una sola alma,</p> +<p>Los dos un solo pecho,</p> +<p>Y en medio de nosotros</p> +<p>Mi madre como un Dios!</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">VIII</p> + </div><div class="stanza"> +<p class="i2">¡Figúrate qué hermosas</p><a id="p205l20" name="p205l20"></a><span class="linenum">20</span> +<p>Las horas de esa vida!</p> +<p>¡Qué dulce y bello el viaje</p> +<p>Por una tierra así!</p> +<p>Y yo soñaba en eso,</p> +<p>Mi santa prometida.</p><a id="p206l0" name="p206l0"></a><span class="pagenum">206</span> +<p>Y al delirar en eso 25</p> +<p>Con la alma estremecida,</p> +<p>Pensaba yo en ser bueno</p> +<p>Por ti, no más por ti.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">IX</p> + </div><div class="stanza"> +<p>Bien sabe Dios que ése era</p><a id="p206l5" name="p206l5"></a><span class="linenum">5</span> +<p>Mi más hermoso sueño,</p> +<p>Mi afán y mi esperanza,</p> +<p>Mi dicha y mi placer;</p> +<p>¡Bien sabe Dios que en nada</p> +<p>Cifraba yo mi empeño,</p><a id="p206l10" name="p206l10"></a><span class="linenum">10</span> +<p>Sino en amarte mucho</p> +<p>Bajo el hogar risueño</p> +<p>Que me envolvió en sus besos</p> +<p>Cuando me vio nacer!</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i10">X</p> + </div><div class="stanza"> +<p>Ésa era mi esperanza...</p><a id="p206l15" name="p206l15"></a><span class="linenum">15</span> +<p>Mas ya que á sus fulgores</p> +<p>Se opone el hondo abismo</p> +<p>Que existe entre los dos,</p> +<p>¡Adiós por la vez última,</p> +<p>Amor de mis amores;</p><a id="p206l20" name="p206l20"></a><span class="linenum">20</span> +<p>La luz de mis tinieblas,</p> +<p>La esencia de mis flores;</p> +<p>Mi lira de poeta,</p> +<p>Mi juventud, adiós!</p> + </div> </div> + + +<p><a id="p207l0" name="p207l0"></a><span class="pagenum">207</span></p> + + +<br> +<a id="h60" name="h60"></a> +<h4>DON JUAN DE DIOS PEZA</h4> + + + +<div class="poem"> <div class="stanza"> +<p class="i8">REIR LLORANDO</p><br> +<p>¡Cuántos hay que, cansados de la vida,</p> +<p>Enfermos de pesar, muertos de tedio,</p> +<p>Hacen reir como el actor suicida,</p> +<p>Sin encontrar, para su mal, remedio!</p> + </div><div class="stanza"><a id="p207l5" name="p207l5"></a><span class="linenum">5</span> +<p>¡Ay! ¡Cuántas veces al reir se llora!</p> +<p>¡Nadie en lo alegre de la risa fíe,</p> +<p>Porque en los seres que el dolor devora</p> +<p>El alma llora cuando el rostro ríe!</p> + </div><div class="stanza"> +<p>Si se muere la fe, si huye la calma,</p><a id="p207l10" name="p207l10"></a><span class="linenum">10</span> +<p>Si sólo abrojos nuestra planta pisa,</p> +<p>Lanza á la faz la tempestad del alma</p> +<p>Un relámpago triste: la sonrisa.</p> + </div><div class="stanza"> +<p>El carnaval del mundo engaña tanto,</p> +<p>Que las vidas son breves mascaradas;</p><a id="p207l15" name="p207l15"></a><span class="linenum">15</span> +<p>Aquí aprendemos á reir con llanto,</p> +<p>Y también á llorar con carcajadas.</p> + </div> </div> +<br> + + + +<div class="poem"> <div class="stanza"> +<p class="i6">FUSILES Y MUÑECAS</p><br> +<p class="i2">Juan y Margot, dos ángeles hermanos,</p> +<p>Que embellecen mi hogar con sus cariños,</p> +<p>Se entretienen con juegos tan humanos</p><a id="p207l20" name="p207l20"></a><span class="linenum">20</span> +<p>Que parecen personas desde niños.</p><a id="p208l0" name="p208l0"></a><span class="pagenum">208</span> + + </div><div class="stanza"> +<p class="i2">Mientras Juan, de tres años, es soldado</p> +<p>Y monta en una caña endeble y hueca,</p> +<p>Besa Margot con labios de granado</p> +<p>Los labios de cartón de su muñeca.</p> + </div><div class="stanza"><a id="p208l5" name="p208l5"></a><span class="linenum">5</span> +<p class="i2">Lucen los dos sus inocentes galas,</p> +<p>Y alegres sueñan en tan dulces lazos:</p> +<p>Él, que cruza sereno entre las balas;</p> +<p>Ella, que arrulla un niño entre sus brazos.</p> + </div><div class="stanza"> +<p class="i2">Puesto al hombro el fusil de hoja de lata,</p><a id="p208l10" name="p208l10"></a><span class="linenum">10</span> +<p>El kepis de papel sobre la frente,</p> +<p>Alienta al niño en su inocencia grata</p> +<p>El orgullo viril de ser valiente.</p> + </div><div class="stanza"> +<p class="i2">Quizá piensa, en sus juegos infantiles,</p> +<p>Que en este mundo que su afán recrea,</p><a id="p208l15" name="p208l15"></a><span class="linenum">15</span> +<p>Son como el suyo todos los fusiles</p> +<p>Con que la torpe humanidad pelea.</p> + </div><div class="stanza"> +<p class="i2">Que pesan poco, que sin odios lucen,</p> +<p>Que es igual el más débil al más fuerte,</p> +<p>Y que, si se disparan, no producen</p><a id="p208l20" name="p208l20"></a><span class="linenum">20</span> +<p>Humo, fragor, consternación y muerte.</p> + </div><div class="stanza"> +<p class="i2">¡Oh misteriosa condición humana!</p> +<p>Siempre lo opuesto buscas en la tierra:</p> +<p>Ya delira Margot por ser anciana,</p> +<p>Y Juan que vive en paz ama la guerra.</p><a id="p209l0" name="p209l0"></a><span class="pagenum">209</span> + + </div><div class="stanza"> +<p class="i2">Mirándolos jugar, me aflijo y callo;</p> +<p>¡Cuál será sobre el mundo su fortuna?</p> +<p>Sueña el niño con armas y caballo,</p> +<p>La niña con velar junto á la cuna.</p> + </div><div class="stanza"><a id="p209l5" name="p209l5"></a><span class="linenum">5</span> +<p class="i2">El uno corre de entusiasmo ciego,</p> +<p>La niña arrulla á su muñeca inerme,</p> +<p>Y mientras grita el uno: Fuego, Fuego,</p> +<p>La otra murmura triste: Duerme, Duerme.</p> + </div><div class="stanza"> +<p class="i2">Á mi lado ante juegos tan extraños</p><a id="p209l10" name="p209l10"></a><span class="linenum">10</span> +<p>Concha, la primogénita, me mira:</p> +<p>¡Es toda una persona de seis años</p> +<p>Que charla, que comenta y que suspira!</p> + </div><div class="stanza"> +<p class="i2">¿Por qué inclina su lánguida cabeza</p> +<p>Mientras deshoja inquieta algunas flores?</p><a id="p209l15" name="p209l15"></a><span class="linenum">15</span> +<p>¿Será la que ha heredado mi tristeza?</p> +<p>¿Será la que comprende mis dolores?</p> + </div><div class="stanza"> +<p class="i2">Cuando me rindo del dolor al peso,</p> +<p>Cuando la negra duda me avasalla,</p> +<p>Se me cuelga del cuello, me da un beso,</p><a id="p209l20" name="p209l20"></a><span class="linenum">20</span> +<p>Se le saltan las lágrimas, y calla.</p> + </div><div class="stanza"> +<p class="i2">Sueltas sus trenzas claras y sedosas,</p> +<p>Y oprimiendo mi mano entre sus manos,</p> +<p>Parece que medita en muchas cosas</p> +<p>Al mirar como juegan sus hermanos...</p><a id="p210l0" name="p210l0"></a><span class="pagenum">210</span> + + </div><div class="stanza"> +<p class="i2">¡Inocencia! ¡Niñez! ¡Dichosos nombres!</p> +<p>Amo tus goces, busco tus cariños;</p> +<p>¡Cómo han de ser los sueños de los hombres</p> +<p>Más dulces que los sueños de los niños!</p> + </div> </div> + +<p><a id="p211l0" name="p211l0"></a><span class="pagenum">211</span></p> + +<br><br> +<a id="h61" name="h61"></a> +<h2>NICARAGUA</h2> + + +<br> +<a id="h62" name="h62"></a> +<h4>DON RUBÉN DARÍO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">Á ROOSEVELT</p><br> +<p>Es con voz de la Biblia ó verso de Walt Whitman</p> +<p>Que habría que llegar hasta ti, ¡cazador!</p> +<p>Primitivo y moderno, sencillo y complicado,</p> +<p>Con un algo de Wáshington y mucho de Nemrod.</p><a id="p211l5" name="p211l5"></a><span class="linenum">5</span> +<p>Eres los Estados Unidos,</p> +<p>Eres el futuro invasor</p> +<p>De la América ingenua que tiene sangre indígena,</p> +<p>Que aun reza á Jesucristo y aun habla en español.</p> + </div><div class="stanza"> +<p>Eres soberbio y fuerte ejemplar de tu raza;</p><a id="p211l10" name="p211l10"></a><span class="linenum">10</span> +<p>Eres culto, eres hábil; te opones á Tolstoy.</p> +<p>Y domando caballos ó asesinando tigres,</p> +<p>Eres un Alejandro Nabucodonosor.</p> +<p>(Eres un profesor de Energía</p> +<p>Como dicen los locos de hoy.)</p> + </div><div class="stanza"><a id="p211l15" name="p211l15"></a><span class="linenum">15</span> +<p>Crees que la vida es incendio,</p> +<p>Que el progreso es erupción,</p> +<p>Que en donde pones la bala</p><a id="p212l0" name="p212l0"></a><span class="pagenum">212</span> +<p>El porvenir pones.</p> +<p class="i30"> No.</p> +<p>Los Estados Unidos son potentes y grandes.</p> +<p>Cuando ellos se estremecen hay un hondo temblor</p> +<p>Que pasa por las vértebras enormes de los Andes.</p><a id="p212l5" name="p212l5"></a><span class="linenum">5</span> +<p>Si clamáis, se oye como el rugir de un león.</p> +<p>Ya Hugo á Grant lo dijo: «Las estrellas son vuestras.»</p> +<p>(Apenas brilla alzándose el argentino sol</p> +<p>Y la estrella chilena se levanta...) Sois ricos;</p> +<p>Juntáis al culto de Hércules el culto de Mamnón;</p><a id="p212l10" name="p212l10"></a><span class="linenum">10</span> +<p>Y alumbrando el camino de la fácil conquista,</p> +<p>La Libertad levanta su antorcha en Nueva York.</p> + </div><div class="stanza"> +<p>Mas la América nuestra que tenía poetas</p> +<p>Desde los viejos tiempos de Netzhualcoyolt,</p> +<p>Que ha guardado las huellas de los pies del gran Baco,</p><a id="p212l15" name="p212l15"></a><span class="linenum">15</span> +<p>Que el alfabeto pánico en un tiempo aprendió,</p> +<p>Que consultó los astros, que conoció la atlántida</p> +<p>Cuyo nombre nos llega resonando en Platón,</p> +<p>Que desde los remotos momentos de su vida</p> +<p>Vive de luz, de fuego, de perfume y de amor,</p><a id="p212l20" name="p212l20"></a><span class="linenum">20</span> +<p>La América del grande Moctezuma, del Inca,</p> +<p>La América fragante de Cristóbal Colón,</p> +<p>La América católica, la América española,</p> +<p>La América en que dijo el noble Guatemoc:</p> +<p>«Yo no estoy en un lecho de rosas»; esa América</p><a id="p212l25" name="p212l25"></a><span class="linenum">25</span> +<p>Que tiembla de huracanes y que vive de amor,</p> +<p>Hombres de ojos sajones y alma bárbara, vive</p> +<p>Y sueña. Y ama y vibra; y es la hija del Sol.</p><a id="p213l0" name="p213l0"></a><span class="pagenum">213</span> +<p>Tened cuidado. ¡Vive la América española!</p> +<p>Hay mil cachorros sueltos del león español.</p> +<p>Se necesitaría, Roosevelt, ser Dios mismo,</p> +<p>El Riflero terrible y el fuerte cazador,</p> +<p>Para poder tenernos en vuestras férreas garras.</p> + </div><div class="stanza"><a id="p213l5" name="p213l5"></a><span class="linenum">5</span> +<p>Y, pues contáis con todo, falta una cosa: ¡Dios! 5</p> + </div> </div> + +<p><a id="p214l0" name="p214l0"></a><span class="pagenum">214</span></p> + + +<br><br> +<a id="h63" name="h63"></a> +<h2>VENEZUELA</h2> + +<br> +<a id="h64" name="h64"></a> +<h4>DON ANDRÉS BELLO</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i4">Á LA VICTORIA DE BAILÉN</p><br> +<p>Rompe el León soberbio la cadena</p> +<p>Con que atarle pensó la felonía,</p> +<p>Y sacude con noble bizarría</p> +<p>Sobre el robusto cuello la melena.</p> + </div><div class="stanza"><a id="p214l5" name="p214l5"></a><span class="linenum">5</span> +<p class="i2">La espuma del furor sus labios llena</p> +<p>Y á los rugidos que indignado envía</p> +<p>El tigre tiembla en la caverna umbría,</p> +<p>Y todo el bosque atónito resuena.</p> + </div><div class="stanza"> +<p class="i2">El León despertó; ¡temblad, traidores!</p><a id="p214l10" name="p214l10"></a><span class="linenum">10</span> +<p>Lo que vejez creísteis, fué descanso;</p> +<p>Las juveniles fuerzas guarda enteras</p> + </div><div class="stanza"> +<p class="i2">Perseguid, alevosos cazadores,</p> +<p>Á la tímida liebre, al ciervo manso;</p> +<p>No insultéis al monarca de las fieras</p> + </div> </div> +<br> + + + +<p>LA AGRICULTURA DE LA ZONA TÓRRIDA</p> + + +<div class="poem"> <div class="stanza"><a id="p214l15" name="p214l15"></a><span class="linenum">15</span> +<p> ¡Salve, fecunda zona,</p><a id="p215l0" name="p215l0"></a><span class="pagenum">215</span> +<p>Que al sol enamorado circunscribes</p> +<p>El vago curso, y cuanto ser se anima</p> +<p>En cada vario clima,</p> +<p>Acariciada de su luz, concibes!</p> +<p>Tú tejes al verano su guirnalda</p><a id="p215l5" name="p215l5"></a><span class="linenum">5</span> +<p>De granadas espigas; tú la uva</p> +<p>Das á la hirviente cuba:</p> +<p>No de purpúrea flor, ó roja, ó gualda,</p> +<p>Á tus florestas bellas</p> +<p>Falta matiz alguno; y bebe en ellas</p><a id="p215l10" name="p215l10"></a><span class="linenum">10</span> +<p>Aromas mil el viento;</p> +<p>Y greyes van sin cuento</p> +<p>Paciendo tu verdura, desde el llano</p> +<p>Que tiene por lindero el horizonte,</p> +<p>Hasta el erguido monte,</p><a id="p215l15" name="p215l15"></a><span class="linenum">15</span> +<p>De inaccesible nieve siempre cano.</p> +<p>Tú das la caña hermosa,</p> +<p>De do la miel se acendra,</p> +<p>Por quien desdeña el mundo los panales:</p> +<p>Tú en urnas de coral cuajas la almendra</p><a id="p215l20" name="p215l20"></a><span class="linenum">20</span> +<p>Que en la espumante jícara rebosa:</p> +<p>Bulle carmín viviente en tus nopales,</p> +<p>Que afrenta fuera al múrice de Tiro;</p> +<p>Y de tu añil la tinta generosa</p> +<p>Émula es de la lumbre del zafiro;</p><a id="p215l25" name="p215l25"></a><span class="linenum">25</span> +<p>El vino es tuyo, que la herida agave</p> +<p>Para los hijos vierte</p> +<p>Del Anáhuac feliz; y la hoja es tuya</p> +<p>Que, cuando de süave</p><a id="p216l0" name="p216l0"></a><span class="pagenum">216</span> +<p>Humo en espiras vagarosas huya,</p> +<p>Solazará el fastidio al ocio inerte.</p> +<p>Tú vistes de jazmines</p> +<p>El arbusto sabeo,</p> +<p>Y el perfume le das que en los festines</p><a id="p216l5" name="p216l5"></a><span class="linenum">5</span> +<p>La fiebre insana templará á Lieo.</p> +<p>Para tus hijos la procera palma</p> +<p>Su vario feudo cría,</p> +<p>Y el ananás sazona su ambrosía:</p> +<p>Su blanco pan la yuca,</p><a id="p216l10" name="p216l10"></a><span class="linenum">10</span> +<p>Sus rubias pomas la patata educa,</p> +<p>Y el algodón despliega al aura leve</p> +<p>Las rosas de oro y el vellón de nieve.</p> +<p>Tendida para ti la fresca parcha</p> +<p>En enramadas de verdor lozano,</p><a id="p216l15" name="p216l15"></a><span class="linenum">15</span> +<p>Cuelga de sus sarmientos trepadores</p> +<p>Nectáreos globos y franjadas flores;</p> +<p>Y para ti el maíz, jefe altanero</p> +<p>De la espigada tribu, hinche su grano;</p> +<p>Y para ti el banano</p><a id="p216l20" name="p216l20"></a><span class="linenum">20</span> +<p>Desmaya al peso de su dulce carga;</p> +<p>El banano, primero</p> +<p>De cuantos concedió bellos presentes</p> +<p>Providencia á las gentes</p> +<p>Del ecuador feliz con mano larga.</p><a id="p216l25" name="p216l25"></a><span class="linenum">25</span> +<p>No ya de humanas artes obligado</p> +<p>El premio rinde opimo:</p> +<p>No es á la podadera, no al arado</p> +<p>Deudor de su racimo;</p><a id="p217l0" name="p217l0"></a><span class="pagenum">217</span> +<p>Escasa industria bástale, cual puede</p> +<p>Hurtar á sus fatigas mano esclava:</p> +<p>Crece veloz, y cuando exhausto acaba,</p> +<p>Adulta prole en torno le sucede.</p> + </div><div class="stanza"> + </div><div class="stanza"> +<p> ¡Oh! ¡Los que afortunados poseedores</p><a id="p217l5" name="p217l5"></a><span class="linenum">5</span> +<p>Habéis nacido de la tierra hermosa</p> +<p>En que reseña hacer de sus favores,</p> +<p>Como para ganaros y atraeros,</p> +<p>Quiso naturaleza bondadosa!</p> +<p>Romped el duro encanto</p><a id="p217l10" name="p217l10"></a><span class="linenum">10</span> +<p>Que os tiene entre murallas prisioneros.</p> +<p>El vulgo de las artes laborioso,</p> +<p>El mercader que, necesario al lujo,</p> +<p>Al lujo necesita,</p> +<p>Los que anhelando van tras el señuelo</p><a id="p217l15" name="p217l15"></a><span class="linenum">15</span> +<p>Del alto cargo y del honor ruidoso,</p> +<p>La grey de aduladores parasita,</p> +<p>Gustosos pueblen ese infecto caos;</p> +<p>El campo es vuestra herencia: en él gozaos.</p> +<p>¿Amáis la libertad? El campo habita:</p><a id="p217l20" name="p217l20"></a><span class="linenum">20</span> +<p>No allá donde el magnate</p> +<p>Entre armados satélites se mueve,</p> +<p>Y de la moda, universal señora,</p> +<p>Va la razón al triunfal carro atada,</p> +<p>Y á la fortuna la insensata plebe,</p><a id="p217l25" name="p217l25"></a><span class="linenum">25</span> +<p>Y el noble al aura popular adora.</p> +<p>¿Ó la virtud amáis? ¡Ah! ¡Que el retiro,</p><a id="p218l0" name="p218l0"></a><span class="pagenum">218</span> +<p>La solitaria calma</p> +<p>En que, juez de sí misma, pasa el alma</p> +<p>Á las acciones muestra,</p> +<p>Es de la vida la mejor maestra!</p> +<p>¿Buscáis durables goces,</p><a id="p218l5" name="p218l5"></a><span class="linenum">5</span> +<p>Felicidad, cuanta es al hombre dada</p> +<p>Y á su terreno asiento, en que vecina</p> +<p>Está la risa al llanto, y siempre ¡ah! siempre,</p> +<p>Donde halaga la flor, punza la espina?</p> +<p>Id á gozar la suerte campesina;</p><a id="p218l10" name="p218l10"></a><span class="linenum">10</span> +<p>La regalada paz, que ni rencores,</p> +<p>Al labrador, ni envidias acibaran;</p> +<p>La cama que mullida le preparan</p> +<p>El contento, el trabajo, el aire puro;</p> +<p>Y el sabor de los fáciles manjares,</p><a id="p218l15" name="p218l15"></a><span class="linenum">15</span> +<p>Que dispendiosa gula no le aceda;</p> +<p>Y el asilo seguro</p> +<p>De sus patrios hogares</p> +<p>Que á la salud y al regocijo hospeda.</p> +<p>El aura respirad de la montaña,</p><a id="p218l20" name="p218l20"></a><span class="linenum">20</span> +<p>Que vuelve al cuerpo laso</p> +<p>El perdido vigor, que á la enojosa</p> +<p>Vejez retarda el paso,</p> +<p>Y el rostro á la beldad tiñe de rosa.</p> +<p>¿Es allí menos blanda por ventura</p><a id="p218l25" name="p218l25"></a><span class="linenum">25</span> +<p>De amor la llama, que templó el recato? </p> +<p>¿Ó menos aficiona la hermosura</p> +<p>Que de extranjero ornato</p> +<p>Y afeites impostores no se cura?</p><a id="p219l0" name="p219l0"></a><span class="pagenum">219</span> +<p>¿Ó el corazón escucha indiferente</p> +<p>El lenguaje inocente</p> +<p>Que los afectos sin disfraz expresa</p> +<p>Y á la intención ajusta la promesa?</p> +<p>No del espejo al importuno ensayo</p><a id="p219l5" name="p219l5"></a><span class="linenum">5</span> +<p>La risa se compone, el paso, el gesto;</p> +<p>No falta allí carmín al rostro honesto</p> +<p>Que la modestia y la salud colora,</p> +<p>Ni la mirada que lanzó al soslayo</p> +<p>Tímido amor, la senda al alma ignora.</p><a id="p219l10" name="p219l10"></a><span class="linenum">10</span> +<p>¿Esperaréis que forme</p> +<p>Más venturosos lazos himeneo,</p> +<p>Do el interés barata,</p> +<p>Tirano del deseo,</p> +<p>Ajena mano y fe por nombre ó plata,</p><a id="p219l15" name="p219l15"></a><span class="linenum">15</span> +<p>Que do conforme gusto, edad conforme,</p> +<p>Y elección libre, y mutuo ardor los ata?</p> + </div><div class="stanza"> + </div><div class="stanza"> + </div><div class="stanza"> +<p class="i2">¡Oh jóvenes naciones, que ceñida</p> +<p>Alzáis sobre el atónito Occidente</p> +<p>De tempranos laureles la cabeza!</p><a id="p219l20" name="p219l20"></a><span class="linenum">20</span> +<p>Honrad al campo, honrad la simple vida</p> +<p>Del labrador y su frugal llaneza.</p> +<p>Así tendrán en vos perpetuamente</p> +<p>La libertad morada,</p> +<p>Y freno la ambición, y la ley templo.</p><a id="p219l25" name="p219l25"></a><span class="linenum">25</span> +<p>Las gentes á la senda </p> +<p>De la inmortalidad, ardua y fragosa,</p> +<p>Se animarán, citando vuestro ejemplo.</p><a id="p220l0" name="p220l0"></a><span class="pagenum">220</span> +<p>Lo emulará celosa</p> +<p>Vuestra posteridad, y nuevos nombres</p> +<p>Añadiendo la fama</p> +<p>Á los que ahora aclama,</p> +<p>«Hijos son éstos, hijos</p><a id="p220l5" name="p220l5"></a><span class="linenum">5</span> +<p>(Pregonará á los hombres)</p> +<p>De los que vencedores superaron</p> +<p>De los Andes la cima:</p> +<p>De los que en Boyacá, los que en la arena</p> +<p>De Maipo y en Junín, y en la campaña</p><a id="p220l10" name="p220l10"></a><span class="linenum">10</span> +<p>Gloriosa de Apurima,</p> +<p>Postrar supieron al león de España.»</p> + </div> </div> + + +<br> +<a id="h65" name="h65"></a> +<h4>DON JUAN A. PÉREZ BONALDE</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i8">VUELTA Á LA PATRIA</p><br> + +<p>Á mi hermana Elodia</p><br> +<p class="i2">¡Tierra! grita en la prora el navegante,</p> +<p>Y confusa y distante,</p> +<p>Una línea indecisa</p><a id="p220l15" name="p220l15"></a><span class="linenum">15</span> +<p>Entre brumas y ondas se divisa.</p> +<p class="i2">Poco á poco del seno</p> +<p>Destacándose va, del horizonte,</p> +<p>Sobre el éter sereno</p> +<p>La cumbre azul de un monte;</p><a id="p220l20" name="p220l20"></a><span class="linenum">20</span> +<p class="i2">Y así como el bajel se va acercando,</p> +<p>Va extendiéndose el cerro</p><a id="p221l0" name="p221l0"></a><span class="pagenum">221</span> +<p>Y unas formas extrañas va tomando:</p> +<p>Formas que he visto cuando</p> +<p>Soñaba con la dicha en mi destierro.</p> + </div><div class="stanza"> +<p class="i2">Ya la vista columbra</p> +<p>Las riberas bordadas de palmares,</p><a id="p221l5" name="p221l5"></a><span class="linenum">5</span> +<p>Y una brisa cargada con la esencia</p> +<p>De silvestres violetas y azahares</p> +<p>En mi memoria alumbra</p> +<p>El recuerdo feliz de mi inocencia,</p> +<p>Cuando pobre de años y pesares</p><a id="p221l10" name="p221l10"></a><span class="linenum">10</span> +<p>Y rico de ilusiones y alegría,</p> +<p>Bajo las palmas retozar solía</p> +<p>Oyendo el arrullar de las palomas,</p> +<p>Bebiendo luz y respirando aromas.</p> + </div><div class="stanza"> +<p class="i2">Hay algo en esos rayos brilladores</p><a id="p221l15" name="p221l15"></a><span class="linenum">15</span> +<p>Que juegan por la atmósfera azulada,</p> +<p>Que me habla de ternuras y de amores</p> +<p>De una dicha pasada;</p> +<p>Y el viento al suspirar entre las cuerdas</p> +<p>Parece que me dice:—¿No te acuerdas?...</p><a id="p221l20" name="p221l20"></a><span class="linenum">20</span> +<p class="i2">Ese cielo, ese mar, esos cocales,</p> +<p>Ese monte que dora</p> +<p>El sol de las regiones tropicales...</p> +<p>¡Luz! ¡luz al fin! los reconozco ahora;</p> +<p>Son ellos, son los mismos de mi infancia,</p><a id="p221l25" name="p221l25"></a><span class="linenum">25</span> +<p>Y esas playas que al sol del mediodía</p> +<p>Brillan á la distancia,</p> +<p>¡Oh inefable alegría!</p><a id="p222l0" name="p222l0"></a><span class="pagenum">222</span> +<p>Son las riberas de la patria mía.</p> +<p class="i2">Ya muerde el fondo de la mar hirviente</p> +<p>Del ancla el férreo diente;</p> +<p>Ya se acercan los botes desplegando</p> +<p>Al aire puro y blando</p> +<p>La enseña tricolor del pueblo mío.<a id="p222l5" name="p222l5"></a><span class="linenum">5</span> 5</p> +<p>¡Á tierra! ¡á tierra! ¡Ó la emoción me ahoga,</p> +<p>Ó se adueña de mi alma el desvarío!</p> + </div><div class="stanza"> +<p class="i2">Llevado en alas de mi ardiente anhelo,</p> +<p>Me lanzo presuroso al barquichuelo</p><a id="p222l10" name="p222l10"></a><span class="linenum">10</span> +<p>Que á las riberas del hogar me invita.</p> +<p>Todo es grata armonía: los suspiros</p> +<p>De la onda de zafir que el remo agita,</p> +<p>De las marinas aves</p> +<p>Los caprichosos giros,</p><a id="p222l15" name="p222l15"></a><span class="linenum">15</span> +<p>Y las notas süaves</p> +<p>Y el timbre lisonjero,</p> +<p>Y la magia que toma,</p> +<p>Hasta en labios del tosco marinero,</p> +<p>El dulce son de mi nativo idioma.</p> + </div><div class="stanza"><a id="p222l20" name="p222l20"></a><span class="linenum">20</span> +<p class="i2">¡Volad, volad veloces,</p> +<p>Ondas, aves y voces!</p> +<p>Id á la tierra en donde el alma tengo,</p> +<p>Y decidle que vengo</p> +<p>Á reposar, cansado caminante,</p><a id="p222l25" name="p222l25"></a><span class="linenum">25</span> +<p>Del hogar á la sombra un solo instante</p> +<p>Decidle que en mi anhelo, en mi delirio</p><a id="p223l0" name="p223l0"></a><span class="pagenum">223</span> +<p>Por llegar á la orilla, el pecho siente</p> +<p>De Tántalo el martirio;</p> +<p>Decidle, en fin, que mientra estuve ausente</p> +<p>Ni un día, ni un instante la he olvidado,</p> +<p>Y llevadle este beso que os confío,</p><a id="p223l5" name="p223l5"></a><span class="linenum">5</span> +<p>Tributo adelantado</p> +<p>Que desde el fondo de mi ser le envío.</p> +<p class="i2">¡Boga, boga remero! ¡Así! ¡Llegamos!</p> +<p>¡Oh, emoción hasta ahora no sentida!</p> +<p>Ya piso el santo suelo en que probamos</p><a id="p223l10" name="p223l10"></a><span class="linenum">10</span> +<p>El almíbar primero de la vida.</p> +<p class="i2">Tras ese monte azul, cuya alta cumbre</p> +<p>Lanza reto de orgullo</p> +<p>Al zafir de los cielos,</p> +<p>Está el pueblo gentil donde al arrullo</p><a id="p223l15" name="p223l15"></a><span class="linenum">15</span> +<p>Del maternal amor rasgué los velos</p> +<p>Que me ocultaban la primera lumbre.</p> +<p>¡En marcha, en marcha, postillón; agita</p> +<p>El látigo inclemente!</p> +<p>Y á más andar el coche diligente</p><a id="p223l20" name="p223l20"></a><span class="linenum">20</span> +<p>Por la orilla del mar se precipita.</p> + </div><div class="stanza"> +<p class="i2">No hay peña ni ensenada que en mi mente</p> +<p>No venga á despertar una memoria;</p> +<p>Ni hay ola que en la arena humedecida</p> +<p>No escriba con espuma alguna historia</p><a id="p223l25" name="p223l25"></a><span class="linenum">25</span> +<p>De los felices tiempos de mi vida.</p> +<p>Todo me habla de sueños y cantares,</p> +<p>De paz, de amor y de tranquilos bienes;</p><a id="p224l0" name="p224l0"></a><span class="pagenum">224</span> +<p>Y el aura fugitiva de los mares</p> +<p>Que viene, leda, á acariciar mis sienes,</p> +<p>Me susurra al oído</p> +<p>Con misterioso acento: ¡Bienvenido!</p> + </div> </div> + + +<br> +<a id="h66" name="h66"></a> +<h4>DON HERACLIO MARTÍN DE LA GUARDIA</h4> + + + + +<div class="poem"> <div class="stanza"> +<p class="i10">ÚLTIMA ILUSIÓN</p><br> +<p class="i2">Cayó empuñando el invencible acero</p><a id="p224l5" name="p224l5"></a><span class="linenum">5</span> +<p>Que coronó de lauros la victoria,</p> +<p>Terror de extraños, de su patria gloria,</p> +<p>En traidora asechanza el caballero.</p> +<p class="i2">"—Llevad mi espada al pueblo por quien muero,</p> +<p>Y airado el pueblo vengue mi memoria...</p><a id="p224l10" name="p224l10"></a><span class="linenum">10</span> +<p>Este anillo á... mi amor... La negra historia</p> +<p>Á mi madre callad."—Dijo el guerrero.</p> + </div><div class="stanza"> +<p class="i2">Sucumbió el héroe... ¡Sacrificio vano!</p> +<p>Que al suspiro final de su agonía</p> +<p>Besaba el pueblo la traidora mano:</p><a id="p224l15" name="p224l15"></a><span class="linenum">15</span> +<p class="i2">¡Á otro amador la amada sonreía!</p> +<p>Sólo la madre en su dolor tirano</p> +<p>Al guerrero lloraba noche y día.</p> + </div> </div> + +<p><a id="p225l0" name="p225l0"></a><span class="pagenum">225</span></p> + + + +<br><br> +<a id="h67" name="h67"></a> + + +<a id="h68" name="h68"></a> + + +<p class="mid"><img alt="" src="images/01.png"></p> + + +<div class="poem"> <div class="stanza"> +<p>Carcelera, Carcelera,</p> +<p>Carcelera de mi vida,</p> +<p>desátame las cadenas</p> +<p>y échame la despedida.</p> + </div> </div> + +<p><a id="p226l0" name="p226l0"></a><span class="pagenum">226</span></p> + + + +<a id="h69" name="h69"></a> + + +<p class="mid"><img alt="" src="images/02.png"></p> + +<div class="poem"> <div class="stanza"> +<p>Ya se murió el burro que acarreaba la vinagre;</p> +<p>Ya lo llevó Dios de esta vida miserable.</p> +<p class="i2">|:Que tu ru ru ru ru</p> +<p class="i4">Que tu ru ru ru ru.:|</p> +<p>Él era valiente, él era mohino;</p> +<p>Él era el alivio de todo Villarino.</p> +<p class="i2">|:Que tu ru ru ru ru</p> +<p class="i4">Que tu ru ru ru ru.:|</p> + </div> </div> + +<p><a id="p227l0" name="p227l0"></a><span class="pagenum">227</span></p> + + + +<a id="h70" name="h70"></a> + + +<p class="mid"><img alt="" src="images/03.png"></p> + + + +<p><a id="p228l0" name="p228l0"></a><span class="pagenum">228</span></p> +<p class="mid"><img alt="" src="images/04.png"></p> + + + +<p><a id="p229l0" name="p229l0"></a><span class="pagenum">229</span></p> +<p class="mid"><img alt="" src="images/05.png"></p> + +<div class="poem"> <div class="stanza"> +<p>Yo tengo una cachuchita</p> +<p>que me la dió un cachuchero,</p> +<p>el que quiera cachuchita</p> +<p>que se gaste su dinero.</p> +<p>Vámonos, china del alma,</p> +<p>vámonos á Gibraltar</p> +<p>para ver á los moritos</p> +<p>que se quieren embarcar!</p> + </div> </div> + + +<p><a id="p230l0" name="p230l0"></a><span class="pagenum">230</span></p> + +<a id="h71" name="h71"></a> + + +<p class="mid"><img alt="" src="images/06.png"></p> + + + +<p><a id="p231l0" name="p231l0"></a><span class="pagenum">231</span></p> +<p class="mid"><img alt="" src="images/07.png"></p> + + + +<p><a id="p232l0" name="p232l0"></a><span class="pagenum">232</span></p> +<p class="mid"><img alt="" src="images/08.png"></p> + + + + + +<div class="poem"> <div class="stanza"> +<p>Camino de Valencia,</p> +<p>camino de Valencia,</p> +<p>camino largo,</p> +<p>con las tunas yo me iré,</p> +<p>con las bueñas volveré,</p> +<p>camino largo;</p> +<p>á la sombra de un pino,</p> +<p>á la sombra de un pino,</p> +<p>niña, te aguardo,</p> +<p>con las feas yo me iré,</p> +<p>con las lindas volveré,</p> +<p>¡niña, te aguardo!</p> + </div> </div> + + +<p><a id="p233l0" name="p233l0"></a><span class="pagenum">233</span></p> + +<a id="h72" name="h72"></a> + + +<p class="mid"><img alt="" src="images/09.png"></p> + + + +<p class="mid"><img alt="" src="images/10.png"></p> + + +<div class="poem"> <div class="stanza"> +<p>Á la puerta del Cielo venden zapatos</p> +<p>para los angelitos que van descalzos.</p> +<p>María, adoraros quería</p> +<p>y os quiero, adorar el cordero,</p> +<p>¡claveles, colorados y verdes,</p> +<p>morados, verdes y colorados!</p> + </div> </div> + +<p><a id="p235l0" name="p235l0"></a><span class="pagenum">235</span></p> + +<a id="h73" name="h73"></a> + + +<p class="mid"><img alt="" src="images/11.png"></p> + + + +<p><a id="p236l0" name="p236l0"></a><span class="pagenum">236</span></p> +<p class="mid"><img alt="" src="images/12.png"></p> + + + +<p><a id="p237l0" name="p237l0"></a><span class="pagenum">237</span></p> +<p class="mid"><img alt="" src="images/13.png"></p> + +<div class="poem"> <div class="stanza"> +<p>Tanto bailé la jota gallega,</p> +<p class="i4">¡ole, ole, ole, ole!</p> +<p>tanto bailé que me enamoré de ella,</p> + </div> <div class="poem"> <div class="stanza"> +<p class="i4">¡ole, ole, ole!</p> +<p>tanto bailé que me enamoré,</p> +<p class="i4">¡ole, ole, ole, ole!</p> +<p>tanto bailé que me enamoré,</p> +<p class="i4">¡ole, ole, ole, ole!</p> +<p>tanto bailé la jota gallega,</p> +<p class="i4">¡ole, ole, ole, ole!</p> +<p>tanto bailé que me enamoré de ella,</p> +<p class="i4">¡ole, ole, ole!</p> + </div> </div> </div> + + + + + + + + +<p><a id="p238l0" name="p238l0"></a><span class="pagenum">238</span></p> + +<a id="h74" name="h74"></a> + + +<p class="mid"><img alt="" src="images/14.png"></p> + + + +<p><a id="p239l0" name="p239l0"></a><span class="pagenum">239</span></p> +<p class="mid"><img alt="" src="images/15.png"></p> + + + +<p><a id="p240l0" name="p240l0"></a><span class="pagenum">240</span></p> +<p class="mid"><img alt="" src="images/16.png"></p> + + + +<p><a id="p241l0" name="p241l0"></a><span class="pagenum">241</span></p> +<p class="mid"><img alt="" src="images/17.png"></p> + + + + + + + + +<div class="poem"> <div class="stanza"> +<p>Tú que no quieres lo que queremos,</p> +<p>la ley preciosa do está el bien nuestro,</p> + </div> </div> +<div class="poem"> <div class="stanza"> +<p>trágala, trágala, trágala, perro,</p> +<p>trágala, trágala, trágala, perro.</p> + </div> </div> +<div class="poem"> <div class="stanza"> +<p>Tú de la panza mísero siervo</p> +<p>que la ley odias de tus abuelos,</p> +<p>por que en acíbar y lloro han vuelto</p> +<p>tus gollerías y regodeos.</p> + </div> </div> + +<p><a id="p242l0" name="p242l0"></a><span class="pagenum">242</span></p> + +<a id="h75" name="h75"></a> + + +<p class="mid"><img alt="" src="images/18.png"></p> + + + +<p><a id="p243l0" name="p243l0"></a><span class="pagenum">243</span></p> +<p class="mid"><img alt="" src="images/19.png"></p> + + + +<p><a id="p244l0" name="p244l0"></a><span class="pagenum">244</span></p> +<p class="mid"><img alt="" src="images/20.png"></p> + + + +<p><a id="p245l0" name="p245l0"></a><span class="pagenum">245</span></p> +<p class="mid"><img alt="" src="images/21.png"></p> + + + +<p><a id="p246l0" name="p246l0"></a><span class="pagenum">246</span></p> +<p class="mid"><img alt="" src="images/22.png"></p> + + + + + + +<div class="poem"> <div class="stanza"> +<p>Soldados, la Patria nos llama á la lid,</p> +<p>juremos por ella vencer ó morir. Serenos,</p> +<p>alegres, valientes, osados,</p> +<p>cantemos, soldados, el himno á la lid,</p> +<br> +<p>y á nuestros acentos</p> +<p>el orbe se admire y en nosotros </p> +<p>mire los hijos del Cid,</p> +<p>y á nuestros acentos</p> +<p>el orbe se admire y en nosotros</p> +<p>mire los hijos del Cid.</p> +<P> Sol-etc.</p> + </div> </div> + + +<p><a id="p247l0" name="p247l0"></a><span class="pagenum">247</span></p> + +<a id="h76" name="h76"></a> + + +<p class="mid"><img alt="" src="images/23.png"></p> + + + +<p><a id="p248l0" name="p248l0"></a><span class="pagenum">248</span></p> +<p class="mid"><img alt="" src="images/24.png"></p> + + +<p><a id="p249l0" name="p249l0"></a><span class="pagenum">249</span></p> +<p class="mid"><img alt="" src="images/25.png"></p> + + + +<p><a id="p250l0" name="p250l0"></a><span class="pagenum">250</span></p> +<p class="mid"><img alt="" src="images/26.png"></p> + + + + + +<div class="poem"> <div class="stanza"> +<p>Mexicanos al grito de guerra</p> +<p>El acero aprestad y el bridón,</p> +<p>y retiemble en sus centros la tierra</p> +<p>al sonoro rugir del cañon.</p> +<p>Y retiemble en sus centros la tierra</p> +<p>al sonoro rugir del cañón.</p> +<p>Ciña ¡oh patria! tus sienes de oliva</p> +<p>De la paz el arcángel divino,</p> +<p>Que en el ciélo tu eterno destino</p> +<p>por el dedo de Dios se escribió.</p> +<p>Mas si osare un extraño enemigo</p> +<p>profanar con su planta tu suelo</p> +<p>piensa ¡oh patria querida! que el cielo</p> +<p>un soldado en cada hijo te dió,</p> +<p>un soldado en cada hijo te dió.</p> + </div> </div> + +<p><a id="p251l0" name="p251l0"></a><span class="pagenum">251</span></p> + +<a id="h77" name="h77"></a> + + + + + +<p class="mid"><img alt="" src="images/27.png"></p> + +<p><a id="p252l0" name="p252l0"></a><span class="pagenum">252</span></p> + +<p class="mid"><img alt="" src="images/28.png"></p> + +<div class="poem"> <div class="stanza"> +<p>1. ¡Al combate corred Bayameses!</p> +<p class="i2"> Que la patria os contempla orgullosa;</p> +<p class="i2"> No temáis una muerte gloriosa,</p> +<p class="i2"> Que morir por la patria es vivir.</p> +<p class="i2"> En cadenas vivir es vivir</p> +<p class="i2"> En oprobio y afrenta sumido.</p> +<p class="i2"> Del clarín escuchad el sonido;</p> +<p class="i2"> Á las armas, valientes, corred!</p> + </div><div class="stanza"> +<p>2. No temáis al gobierno extranjero</p> +<p class="i2"> Que es cobarde cual todo tirano,</p> +<p class="i2"> No resiste el empuje cubano,</p> +<p class="i2"> Para siempre su imperio cayó.</p> +<p class="i2"> Sea bendita la noche serena</p> +<p class="i2"> En que en alegres campos de Yara</p> +<p class="i2"> El clarín de la guerra sonara</p> +<p class="i2"> Y el cubano ser libre juró.</p> + </div><div class="stanza"> +<p>3. No se nuble jamás esa estrella</p> +<p class="i2"> Que las hijas de Cuba bordaron</p> +<p class="i2"> Y que nobles cubanos alzaron</p> +<p class="i2"> En su libre y feliz pabellón.</p> +<p class="i2"> ¡Gloria y nombre á los hijos de Cuba!</p> +<p class="i2"> ¡Gloria y nombre al valiente Aguilera!</p> +<p class="i2"> ¡Viva! ¡Viva! la alegre bandera</p> +<p class="i2"> Que en los campos de Yara se alzó.</p> + </div> </div> + + + +<p><a id="p253l0" name="p253l0"></a><span class="pagenum">253</span></p> + + +<br><br> +<a id="h78" name="h78"></a> +<h2>NOTES</h2> + +<p>The heavy figures refer to pages of the text; the light figures to lines.</p> + + +<p><i>ROMANCES</i>. The Spanish <i>romances viejos</i>, which correspond +in form and spirit to the early English and Scotch ballads, exist in +great number and variety. Anonymous and widely known among +the people, they represent as well as any literary product can the +spirit of the Spanish nation of the period, in the main stern and +martial, but sometimes tender and plaintive. Most of them +were written in the fifteenth and sixteenth centuries; the earliest +to which a date can be assigned is <i>Cercada tiene á Baeza</i>, which +must have been composed soon after 1368. Others may have +their roots in older events, but have undergone constant modification +since that time. The <i>romance popular</i> is still alive in Spain +and many have recently been collected from oral tradition (cf. +Menéndez y Pelayo, <i>Antología</i>, vol. X).</p> + +<p>The <i>romances</i> were once thought to be relics of very old lyrico-epic +songs which, gathering material in the course of time, became +the long epics that are known to have existed in Spain in the +twelfth to fourteenth centuries (such as the <i>Poema del Cid</i>, and +the lost <i>cantares</i> of <i>Bernardo del Carpio</i>, the <i>Infantes de Lara</i> and +<i>Fernán González</i>). But modern investigation has shown conclusively +that no such age can be ascribed to the <i>romances</i> in their +present form, and that in so far as they have any relation with +the epic cycles just cited they are rather descendants of them +than ancestors,—striking passages remembered by the people +and handed down by them in constantly changing form. Many +are obviously later in origin; such are the <i>romances fronterizos</i>, +springing from episodes of the Moorish wars, and the <i>romances +novelescos</i>, which deal with romantic incidents of daily life. The +<i>romances juglarescos</i> are longer poems, mostly concerned with <a id="p254l0" name="p254l0"></a><span class="pagenum">254</span> +Charlemagne and his peers, veritable degenerate epics, composed +by itinerant minstrels to be sung in streets and taverns to throngs +of apprentices and rustics. They have not the spontaneity and +vigor which characterize the better <i>romances viejos</i>.</p> + +<p>A few of the <i>romances</i> were printed in the <i>Cancionero general</i> +of 1511, and more in loose sheets (<i>pliegos sueltos</i>) not much later +in date; but the great collections which contain nearly all the +best we know were the <i>Cancionero de romances "sin año,"</i> +(shortly before 1550), the <i>Cancionero de romances</i> of 1550 and +the <i>Silva de varios romances</i> (3 parts, 1550). The most comprehensive +modern collection is that of A. Durán, <i>Romancero general</i>, +2 vols., Madrid, 1849-1851 (vols. 10 and 16 of the <i>Biblioteca de +Autores españoles</i>). The best selected is the <i>Primavera y flor de +romances</i> of Wolf and Hofmann (Berlin, 1856), reprinted in +vols. VIII and IX of Menéndez y Pelayo's <i>Antología de poetas líricos +castellanos</i>. This contains nearly all the oldest and best <i>romances</i>, +and includes poems from <i>pliegos sueltos</i> and the second part of +the <i>Silva</i>, which were not known to Durán. Menéndez y Pelayo, +in his <i>Apéndices á la Primavera y flor (Antol.</i> vol. IX) has given +still more texts, notably from the third part of the <i>Silva</i>, one of +the rarest books in the world. The fundamental critical works on +the <i>romances</i> are: F. Wolf, <i>Ueber die Romanzenpoesie der Spanier</i> +(in <i>Studien</i>, Berlin, 1859); Milá y Fontanals, <i>De la poesía heroico-popular +castellana</i> (1874); and Menéndez y Pelayo, <i>Tratado de +los romances viejos</i> (vols. XI and XII of the <i>Antología</i>, Madrid, +1903-1906).</p> + +<p>The <i>romances</i>, as usually printed, are in octosyllabic lines, +with a fixed accent on the seventh syllable of each and assonance +in alternate lines.</p> + +<p>Many English translators have tried their hand at Spanish +ballads, as Thomas Rodd (1812), J. C. Lockhart (1823), John +Bowring (1824), J.Y. Gibson (1887) and others. Lockhart's +versions are the best known and the least literal.</p> + +<p>In the six <i>romances</i> included in this collection the lyrical quality <a id="p255l0" name="p255l0"></a><span class="pagenum">255</span> +predominates above the narrative (cf. the many rimes in-<i>or</i> in +<i>Fonte-frida</i> and <i>El prisionero</i>). <i>Abenámar</i> is properly a frontier +ballad, and <i>La constancia</i>, perhaps, belongs with the Carolingian +cycle; but the rest are detached poems of a romantic nature. +(See S.G. Morley's <i>Spanish Ballads</i>, New York, 1911.)</p> + +<p><a href="#p1l0"><b>1.—Abenámar</b></a> is one of a very few <i>romances</i> which are supposed +to have their origin in Moorish popular poetry. The +Christian king referred to is Juan II, who defeated the Moors +at La Higueruela, near Granada, in 1431. It is said that on +the morning of the battle he questioned one of his Moorish +allies, Yusuf Ibn Alahmar, concerning the conspicuous objects +of Granada. The poem was utilized by Chateaubriand for +two passages of <i>Les aventures du dernier Abencérage</i>.</p> + +<p><a href="#p1l0">1. <b>Abenámar</b></a> = <i>Ibn Alahmar</i>: see above.</p> + +<p><a href="#p1l5">9.</a> The verbal forms in-<i>ara</i> and-<i>iera</i> were used then as now +as the equivalent of the pluperfect or the preterit indicative.</p> + +<p><a href="#p1l10">11. <b>la</b>:</a> <i>la verdad</i> is probably understood. Cf. p. 2, l. I.</p> + +<p><a href="#p2l0"><b>2.—1. diría</b></a> = <i>diré</i>. In the <i>romances</i> the conditional often +replaces the future, usually to fit the assonance.</p> + +<p><a href="#p2l5">5. <b>relucían:</b></a> in the old ballads the imperfect indicative is +often used to express loosely past time or even present time.</p> + +<p><a href="#p2l5">6. <b>El Alhambra:</b></a> in the language of the old ballads <i>el</i>, not +<i>la</i>, is used before a feminine noun with initial-<i>a</i> or <i>e</i>-, whether +the accent be on the first syllable or not.</p> + +<p><a href="#p2l25">25. <b>viuda</b></a> in old Spanish was pronounced <i>viuda</i> and assonated +in <i>í-a</i>. This expletive <b>que</b> is common in Spanish: do +not translate.</p> + +<p><a href="#p2l25">27. <b>grande</b></a> merely strengthens <b>bien</b>.</p> + +<p><a href="#p3l0"><b>3.—Fonte-frida</b></a> is a poem of erotic character, much admired +for its suave melancholy. Probably it is merely an +allegorical fragment of a longer poem now lost. It is one of +those printed in the <i>Cancionero general</i> of 1511. It was well +translated by Bowring. There is also a metrical version in +Ticknor, I, III. This theme is found in the <i>Physiologus</i>, a <a id="p256l0" name="p256l0"></a><span class="pagenum">256</span> +medieval bestiary. One of these animal stories relates that +the turtle-dove has but one mate and if this mate dies the +dove remains faithful to its memory. Cf. <i>Mod. Lang. Notes</i>, +June, 1904 (<i>Turtel-Taube</i>), and February, 1906.</p> + +<p><a href="#p3l0">3. In <b>avecicas</b></a> and <b>tortolica</b> the diminutive ending-<i>ica</i> +seems to be quite equivalent to-<i>ito</i>. Cf. Knapp's <i>Span. +Gram., 760a</i>.</p> + +<p><a href="#p3l0">4. <b>van tomar</b></a> = <i>van á tomar</i>.</p> + +<p><a href="#p3l5">7. <b>fuera</b>:</a> note that <i>fué</i> (or <b>fuera</b>) <b>á pasar</b> = <i>pasó</i>. This usage +is now archaic, although it is still sometimes used by modern +poets: see <a href="#p136l15">p. 136, l. 18.</a></p> + +<p><a href="#p3l15">18. <b>bebía</b>:</a> see note, p. 2, l. 5.</p> + +<p><a href="#p3l15">19. <b>haber</b></a>, in the ballads, often = <i>tener</i>. See also <b>haya</b> in +the following line.</p> + +<p><a href="#p4l0"><b>4.—El Conde Arnaldos</b>.</a> Lockhart says of "Count Arnaldos," +"I should be inclined to suppose that</p> + +<div class="poem"> <div class="stanza"> +<p>'More is meant than meets the ear,'</p> + </div> </div> + +<p>—that some religious allegory is intended to be shadowed +forth." Others have thought the same, and the strong mystic +strain in Spanish character may bear out the opinion. In order +that the reader may judge for himself he should have before +him the mysterious song itself, which, omitted in the earliest +version, is thus given in the <i>Cancionero de romances</i> of 1550, +to follow line 18 of the poem:</p> + +<div class="poem"> <div class="stanza"> +<p>—Galera, la mi galera,</p> +<p>Dios te me guarde de mal,</p> +<p>de los peligros del mundo</p> +<p>sobre aguas de la mar,</p> +<p>de los llanos de Almería,</p> +<p>del estrecho de Gibraltar,</p> +<p>y del golfo de Venecia,</p> +<p>y de los bancos de Flandes,</p> +<p>y del golfo de León,</p> +<p>donde suelen peligrar.</p> + </div> </div> + +<p><a id="p257l0" name="p257l0"></a><span class="pagenum">257</span></p> + +<p>Popular poems which merely extol the power of music over +animals are not uncommon.</p> + +<p><a href="#p4l0">1. <b>¡Quién hubiese!</b></a> <i>would that one might have</i>! or <i>would that +I might have</i>! Note <b>¡quién me diese!</b> (p. 7, 1. 25), <i>would that +some one would give me</i>!: this is the older meaning of <i>quién</i> in +these expressions. Note also <b>¡Quién supiera escribir!</b> (p.134), +<i>would that I could write</i>! where the modern usage occurs.</p> + +<p><a href="#p4l20">22. <b>dígasme</b></a> = <i>dime</i> This use of the pres. subj. with the +force of an imperative is not uncommon in older Spanish.</p> + +<p><a href="#p4l20">24.<b>le fué á dar</b>:</a> see note, p. 3,1. 7.</p> + +<p><a href="#p5l0"><b>5.—La constancia</b>.</a> These few lines, translated by Lockhart +as "The Wandering Knight's Song," are only part of a +lost ballad which began:</p> + +<div class="poem"> <div class="stanza"> +<p>Á las armas, Moriscote,</p> +<p>si las has en voluntad.</p> + </div> </div> + +<p>Six lines of it have recently been recovered (Menéndez y +Pelayo, <i>Antología</i>, IX, 211). It seems to have dealt with an +incursion of the French into Spain, and the lines here given +are spoken by the hero Moriscote, when called upon to defend +his country. Don Quijote quotes the first two lines of this +ballad, Part I, Cap. II.</p> + +<p><a href="#p5l5">8. <b>de me dañar</b></a> = <i>de dañarme</i>.</p> + +<p><a href="#p5l10">13. <b>vos</b></a> was formerly used in Spanish as <i>usted</i> is now used,—in +formal address.</p> + +<p><b>El amante desdichado</b>. Named by Lockhart "Valladolid." +It is one of the few old <i>romances</i> which have kept alive in +oral tradition till the present day, and are still repeated by +the Spanish peasantry (cf. <i>Antología</i>, X, 132, 192).</p> + +<p><a href="#p7l0"><b>7.—El prisionero</b>.</a> Twelve lines of this poem were printed +in 1511. It seems to be rather troubadouresque than +popular in origin, but it became very well known later. +Lockhart's version is called "The Captive Knight and the +Blackbird."</p> + +<p><a id="p258l0" name="p258l0"></a><span class="pagenum">258</span></p> + +<p><a href="#p7l15">16.</a> This line is too short by one syllable, or has archaic +hiatus. See <i>Versification</i>,(4) a.</p> + +<p><a href="#p7l15">19. <b>las mis manos:</b></a> in old Spanish the article was often +used before a possessive adjective that preceded its noun. +This usage is now archaic or dialectic.</p> + +<p><a href="#p7l20">21. <b>hacía</b></a> is here exactly equivalent to <b>hace</b> in 1. 23: see +note, p. 2, 1. 5.</p> + +<p><a href="#p7l25">25. <b>quien...me diese</b>:</a> see note, p. 4, 1. I.</p> + +<p><a href="#p8l10"><b>8.—12. Oídolo había</b></a> = <i>lo había oído</i>.</p> + +<p><a href="#p8l10">13.</a> This line is too long by one syllable.</p> + +<p><a href="#p8l10">14.</a> Gil Vicente (1470?-1540?), a Portuguese poet who +wrote dramas in both Portuguese and Castilian. A strong +creative artist and thinker, Vicente is the greatest dramatist +of Portugal and one of the great literary figures of the Peninsula. +This Canción to the Madonna occurs in <i>El auto de la +Sibila Casandra</i>, a religious pastoral drama. Vicente himself +wrote music for the song, which was intended to accompany +a dance. John Bowring made a very good metrical translation +of the song (<i>Ancient Poetry and Romances of Spain</i>, 1824, +p. 315). Another may be found in Ticknor's <i>History of Spanish +Literature,</i> I, 259.</p> + +<p><a href="#p8l15">16. <b>digas tú</b>:</a> see note, p. 4, I. 22. <b>el marinero</b>: omit <b>el</b> in +translation. In the Spanish of the ballads the article is regularly used with a noun in the vocative.</p> + +<p><a href="#p8l20">24. <b>pastorcico</b>:</a> see note, p. 3, I. 3.</p> + +<p><a href="#p9l0"><b>9.</b></a>—Santa Teresa de Jesús (1515-1582), born at Ávila; +became a Carmelite nun and devoted her life to reforming +her Order and founding convents and monasteries. Saint +Theresa believed herself inspired of God, and her devotional +and mystic writings have a tone of authority. Her chief +works in prose are the <i>Castillo interior</i> and the <i>Camino de +perfección</i>. She is one of the greatest of Spanish mystics, and +her influence is still potent (cf. Juan Valera, <i>Pepita Jiménez</i>; +Huysmans, <i>En route; et al.</i>). Cf. <i>Bibl. de Aut. Esp.</i>, vols. 53 <a id="p259l0" name="p259l0"></a><span class="pagenum">259</span> +and 55, for her works. This <i>Letrilla</i> has been translated by +Longfellow ("Santa Teresa's Book-Mark," Riverside ed., 1886, +VI., 216.)</p> + +<p><a href="#p9l0"><b>9.</b></a>—Fray Luis Ponce de León (1527-1591), born at Belmonte; +educated at the University of Salamanca; became an +Augustinian monk. While a professor at the same university +he was accused by the Inquisition and imprisoned from 1572 +to 1576, while his trial proceeded. He was acquitted, and he +taught till his death, which occurred just after he had been +chosen Vicar-General of his Order. The greatest of the mystic +poets, he wrote as well religious works in prose (<i>Los nombres +de Cristo, La perfecta casada</i>), and in verse translated Virgil, +Horace and other classical authors and parts of the Old +Testament. In gentleness of character and in the purity in +which he wrote his native tongue, he resembles the Frenchman +Pascal. His poems are in vol. 37 of the <i>Bibl. de Aut. Esp.</i> +Cf. Ticknor, Period II, Cap. IX, and <i>Introduction</i>, p. xxii. +<b>La vida retirada</b> is written in imitation of Horace's <i>Beatus ille</i>.</p> + +<p><a href="#p9l15"><b>9.</b>—17 to <b>10</b>.—3.</a> In these lines there is much poetic inversion +of word-order. The logical order would be: <i>Que</i> ('for') <i>el estado +de los soberbios grandes no le enturbia el pecho, ni se admira del dorado techo, en jaspes sustentado, fabricado del sabio moro</i>.</p> + +<p><a href="#p10l5">5. <b>pregonera</b></a>, as its gender indicates, modifies <b>voz</b>.</p> + +<p><a href="#p12l10"><b>12</b>.—10.</a> In the sixteenth century great fortunes were made +by Spaniards who exploited the mines of their American colonies +across the seas.</p> + +<p><a href="#p12l10">11.</a> Note, this unusual <i>enjambement</i>; but the <i>mente</i> of adverbs +still has largely the force of a separate word.</p> + +<p><b>Soneto: Á Cristo Crucificado</b>. This famous sonnet has +been ascribed to Saint Theresa and to various other writers, +but without sufficient proof. Cf. Fouché-Delbosc in <i>Revue +Hispanique</i>, II, 120-145; and <i>ibid.</i>, VI, 56-57. The poem +was translated by J.Y. Gibson (<i>The Cid Ballads</i>, etc., 1887, +II, 144), and there is also a version attributed to Dryden.</p> + +<p><a id="p260l0" name="p260l0"></a><span class="pagenum">260</span></p> + +<p><a href="#p13l0"><b>13</b>.</a>—Lope Félix de Vega Carpio (1562-1635) was the most +fertile playwright ever known to the world. Alone he created +the Spanish drama almost out of nothing. Born at Madrid, +where he spent most of his life, Lope was an infant prodigy who +fulfilled the promise of his youth. His first play was written +at the age of thirteen. He fought against the Portuguese in +the expedition of 1583 and took part in the disastrous Armada +of 1588. His life was marked by unending literary success, +numerous love-affairs and occasional punishments therefor. +In 1614 he was ordained priest. For the last twenty years of +his life he was the acknowledged dictator of Spanish letters.</p> + +<p>Lope's writings include some 2000 plays, of which perhaps +500 are extant, epics, pastorals, parodies, short stories and +minor poems beyond telling. He undertook to write in every +genre attempted by another and seldom scored a complete +failure. His <i>Obras completas</i> are being published by the +Spanish Academy (1890-); vol. 1 contains his life by Barrera. +Most of his non-dramatic poems are in vol. 38 of the <i>Bibl. de +Aut. Esp.</i>; others are in vols. 16 and 35. There is a <i>Life</i> in +English by H.A. Rennert (1904). Cf. also <i>Introduction</i>, p. xxiv.</p> + +<p><b>Canción de la Virgen</b> is a lullaby sung by the Madonna +to her sleeping child in a palm grove. The song occurs in +Lope's pastoral, <i>Los pastores de Belén</i> (1612). In Ticknor +(II, 177), there is a metrical translation of the <i>Canción</i>.</p> + +<p>The palm has great significance in the Roman Catholic +Church. On Palm Sunday,—the last Sunday of Lent,—branches +of the palm-tree are blessed and are carried in a +solemn procession, in commemoration of the triumphal entry +of Jesus into Jerusalem (cf. John, xii).</p> + +<p><a href="#p13l10">14.</a> Ticknor translates these lines as follows:</p> + +<div class="poem"> <div class="stanza"> +<p>Holy angels and blest,</p> +<p>Through these palms as you sweep,</p> +<p>Hold their branches at rest,</p> +<p>For my babe is asleep.</p> + </div> </div> + +<p><a id="p261l0" name="p261l0"></a><span class="pagenum">261</span></p> + +<p>The literal meaning is: <i>Since you are moving among the palms, +holy angels, hold the branches, for my child sleeps</i>. When the +wind blows through the palm-trees their leaves rustle loudly.</p> + +<p><a href="#p14l0"><b>14.—Mañana</b>:</a> translated by Longfellow (Riverside ed., +1886, VI, 204).</p> + +<p><a href="#p15l0"><b>15.</b></a>—Francisco Gómez de Quevedo y Villegas (1580-1645), +the greatest satirist in Spanish literature, was one of the +very few men of his time who dared criticize the powers that +were. He was born in the province of Santander and was a +precocious student at Alcalá. His brilliant mind and his +honesty led him to Sicily and Naples, as a high official under +the viceroy, and to Venice and elsewhere on private missions; +his plain-speaking tongue and ready sword procured him numerous +enemies and therefore banishments. He was confined +in a dungeon from 1639 to 1643 at the instance of +Olivares, at whom some of his sharpest verses were directed.</p> + +<p>Quevedo was a statesman and lover of his country driven +into pessimism by the ineptitude which he saw about him. +He wrote hastily on many subjects and lavished a bitter, +biting wit on all. His best-known works in prose are the picaresque +novel popularly called <i>El gran tacaño</i> (1626) and the +<i>Sueños</i> (1627). His <i>Obras completas</i> are in course of publication +at Seville (1898-); his poems are in vol. 69 of the <i>Bibl. +de Aut. Esp.</i> Cf. E. Mérimée, <i>Essai sur la vie et les oeuvres de +Francisco de Quevedo</i> (Paris, 1886), and <i>Introduction</i>, p. xxv. +For a modern portrayal of one side of Quevedo's character, +see Bréton de los Herreros, ¿<i>Quién es ella</i>?</p> + +<p><b>Epístola satírica</b>: this epistle was addressed to Don Gaspar +de Guzmán, Conde-Duque de Olivares (d. 1645), the favorite +and prime minister of Philip IV. It is a remarkably bold +protest, for it was published in 1639 when Olivares was at the +height of his power. His disgrace did not occur till 1643.</p> + +<p><a href="#p15l5">8.</a> Note the double meaning of <b>sentir</b>,—'to feel' and 'to +regret.'</p> + +<p><a id="p262l0" name="p262l0"></a><span class="pagenum">262</span></p> + +<p><a href="#p15l5">9. <b>libre</b></a> modifies <b>ingenio</b>. Translate: <i>its freedom</i>.</p> + +<p><a href="#p15l15">16. <b>Que es lengua la verdad de Dios severo</b></a> = <i>que la verdad +es lengua de Dios severo</i>.</p> + +<p><a href="#p16l0"><b>16.—Letrilla Satírica</b></a> was published in 1640.</p> + +<p><a href="#p16l10">.14</a> Genoa was then, as now, an important seaport and +commercial center. As the Spaniards bought many manufactured +articles from Genoa, much of their money was +"buried" there.</p> + +<p><a href="#p17l0"><b>17.</b></a>—Esteban Manuel de Villegas (d. 1669) was a lawyer +who wrote poetry only in his extreme youth. His <i>Eróticas ó +Amatorias</i> were published in 1617, and he says himself that +they were written at fourteen and polished at twenty. Later +the cares of life prevented him from increasing the poetical +fame that he gained thus early. He had a reputation for +excessive vanity, due partly to the picture of the rising sun +which he placed upon the title-page of his poems with the +motto <i>Me surgente, quid istae</i>? <i>Istae</i> referred to Lope, Quevedo +and others. Villegas' poems may be found in vol. 42 +of the <i>Bibl. de Aut. Esp.</i> Cf. Menéndez y Pelayo, <i>Hist. de +los heterodoxos españoles</i>, III, 859-875.</p> + +<p>There is a parody of this well-known <b>cantilena</b> by Iglesias +in the <i>Bibl. de Aut. Esp.</i>, vol. 61, p. 477.</p> + +<p><a href="#p18l0"><b>18.</b></a>—Pedro Calderón de la Barca Henao de la Barreda y +Riaño (1600-1681) was the greatest representative of the second +generation of playwrights in the <i>Siglo de oro</i>. He took +some part in the nation's foreign wars, but his life was spent +mostly without event at court as the favorite dramatist of +the aristocracy. He became a priest in 1651 and was made +chaplain of honor to Philip IV in 1663. There are extant +over two hundred of his dramatic works, <i>comedias, autos, +entremeses</i>, etc. Calderón constructed his plots more carefully +than Lope and was stronger in exalted lyric and religious +passages; but he was more mannered, more tainted +with Gongorism and less skilled in creating characters.</p> + +<p><a id="p263l0" name="p263l0"></a><span class="pagenum">263</span></p> + +<p>His <i>Comedias</i> are contained in vols. 7, 9, 12 and 14 of the +<i>Bibl. de Aut. Esp.</i>; a few of his <i>autos</i> are in vol. 58, and some +of his poems are in vols. 14 and 35. Cf. also <i>Poesías inéditas</i>, +Madrid, 1881; Menéndez y Pelayo, <i>Calderón y su teatro</i>, +Madrid, 1884; R.C. Trench, <i>Calderón</i>, London, 1880.</p> + +<p>The sonnet, <i>Estas que fueron...</i>, is found in <i>El príncipe +constante</i>, II.</p> + +<p><a href="#p20l0"><b>20.</b></a>—Diego Tadeo González (1733-1794) was born at Ciudad-Rodrigo. +He entered the order of Augustinians at eighteen, +and filled various important offices within the Order +during his life. His duties took him to Seville, Salamanca +and Madrid. From youth he showed a particular bent for +poetry, and Horace and Luis de León were his admiration. +He was an intimate friend of Jovellanos, who induced him +to forsake light subjects and attempt a didactic poem, <i>Las +edades</i>, which was left unfinished. Fray Diego's modest and +lovable character and his friendly relations with other men of +letters made him an attractive figure. His poems are in +vol. 61 of the <i>Bibl. de Aut. Esp.</i> Cf. <i>Introduction</i>, p. xxx.</p> + +<p><a href="#p20l10">11.</a>— <b>Mirta</b> was a lady with whom the author long corresponded +and to whom he addressed many poems. <b>Delio</b> +(l. 15) was the name by which Fray Diego González was +known among his literary intimates: Jovellanos was called +"Jovino"; Meléndez Valdés, "Batilo"; etc.</p> + +<p><a href="#p21l0"><b>21</b>.—4. <b>recogellos</b></a> = <i>recogerlos</i>.</p> + +<p><a href="#p21l10">12. <b>á la ave</b>:</a> a more usual construction would be <i>al ave</i>, +although the sound wouhd be approximately the same in either +case. See also below in line 24, <b>á la alba</b>.</p> + +<p><a href="#p22l0"><b>22</b>—4. <b>reluciente</b>:</a>, modified by an adverb, here = <i>reluciendo</i>.</p> + +<p><a href="#p22l5">6. <b>recio</b>:</a> a predicate adjective with the force of an adverb.</p> + +<p><a href="#p26l0"><b>26.</b></a>—Nicolás Fernández de Moratín (1737-1780) was born +in Madrid of a noble Asturian family. He studied for the +law and practised it in Madrid, but irregularly, devoting most <a id="p264l0" name="p264l0"></a><span class="pagenum">264</span> +of his time to literary work. Besides his poems in the national +style (see <i>Introduction</i>, p. xxix) he wrote an epic on the burning +of the ships of Cortés and several plays in the French +manner, of which only one, <i>Hormesinda</i> (1770), ever had a +stage production. His works, with his <i>Life</i> written by his +son Leandro, are printed in vol. 2 of the <i>Bibl. de Ant. +Esp.</i></p> + +<p><b>Fiesta de toros en Madrid</b>. Baedeker's guide-book to +Spain and Portugal says: "Bull-fights were instituted for the +encouragement of proficiency in the use of martial weapons +and for the celebration of festal occasions, and were a prerogative +of the aristocracy down to the sixteenth century. +As the mounted <i>caballero</i> encountered the bull, armed only +with a lance, accidents were very frequent. No less than ten +knights lost their lives at a single <i>Fiesta de Toros</i> in 1512. +The present form of the sport, so much less dangerous for the +man and so much more cruel for the beast, was adopted about +the beginning of the seventeenth century. The construction, +in 1749, of the first great <i>Plaza de Toros</i> in Madrid definitely +converted the once chivalrous sport into a public spectacle, +in which none took part but professional <i>Toreros</i>." The padded +<i>picador</i> of to-day, astride a blinded, worn-out old hack, is +the degenerate successor of the knight of old. In the seventeenth +century bull-fights in Madrid were sometimes given +in the <i>Plaza Mayor</i> (or <i>Plaza de la Constitución</i>).</p> + +<p><a href="#p26l5">6. <b>Aliatar</b>:</a> this, like most of the names of persons in this +poem, is fictitious; but in form these words are of Arabic +origin, and it is probable that Moratin borrowed most of +them from the <i>romances moriscos</i>. The names of places, it +should be noticed, are also Arabic, but the places still retain +these names. See <b>Alimenón</b>, and all names of places, in the +<i>Vocab.</i></p> + +<p><a href="#p28l15"><b>28</b>.—19. <b>Hecho un lazo por airón</b></a>, <i>tied in a knot [to look] +like a crest of plumes</i>. This was doubtless the forerunner of <a id="p265l0" name="p265l0"></a><span class="pagenum">265</span> +the modern <i>banderilla</i> (barbed dart ornamented with streamers +of colored paper).</p> + +<p><a href="#p30l25"><b>30.</b>—26-28.</a> <b>Cual... nube</b> = <i>cual la ardiente madeja del +sol deja mirarse tal vez entre cenicienta nube</i>.</p> + +<p><a href="#p31l10"><b>31.</b>—12. <b>blasones de Castilla</b>:</a> as at this time (in the reign +of Alfonso VI) León and Castile were united, the <b>blasones</b> +were probably two towers (for Castile) and two lions (for +León), each one occupying a corner of the shield.</p> + +<p><a href="#p31l10">14. <b>Nunca mi espada venciera</b></a> apparently means: <i>Never +did he conquer my sword</i>. This may refer to any adversary, +or to some definite adversary in a previous combat.</p> + +<p><a href="#p31l25">26.</a> The best bulls raised for bull-fights come from the +valley of the Guadalquivir.</p> + +<p><a href="#p32l20"><b>32.</b>—22-26.</a> <b>Así... acerquen á..., Como</b>, <i>may... bring +to..., just as surely as</i>.</p> + +<p><a href="#p33l5"><b>33.</b>—8.</a> Fernando I: see in <i>Vocab.</i></p> + +<p><a href="#p35l25"><b>35.</b>—28.</a> The stanzas of pages 34 and 35 are probably +known to every Spaniard: schoolboys commit them to memory +for public recitation.</p> + +<p><a href="#p36l15"><b>36.</b>—15.</a> <b>dignáredes</b> = <i>dignareis</i>. In modern Spanish the +<i>d</i> (from Lat. <i>t</i>) of the 2d pers. plur. verb endings has fallen.</p> + +<p><a href="#p38l0"><b>38.</b>—4.</a> <b>Y... despedir</b> = <i>y [si no vieran] á Zaida que le +despedía.</i></p> + +<p><a href="#p38l10">13.</a> <b>cruz</b>: the cross of a sword is the guard which, crossing +the hilt at right angles, gives the sword the shape of a cross. +The cross swords were held in especial veneration by the medieval +Christians.</p> + +<p>Gaspar Melchor de Jovellanos (<i>or</i> Jove-Llanos) (1744-1811) +was one of the loftiest characters and most unselfish statesmen +ever produced by Spain. Educated for the law, he filled +with distinction important judicial offices in Seville and Madrid. +In 1780 he was made a member of the Council of Orders. +He attached himself to the fortunes of Count Cabarrús, and +when that statesman fell from power in 1790, Jovellanos was <a id="p266l0" name="p266l0"></a><span class="pagenum">266</span> +exiled to his home in Gijón (Asturias). There he devoted +himself to the betterment of his native province. In 1797 +the favorite, Godoy, made him <i>ministro de gracia y justicia</i>; +but he could not be other than an enemy of the corrupt +"Prince of the Peace," and in 1798 he was again sent home. +In 1801 he was seized and imprisoned in Majorca and was +not released till the invasion of Spain by the French in 1808. +He refused flattering offers of office under the French, and was +the most active member of the <i>Junta Central</i> which organized +the Spanish cortes. Unjustly criticized for his labors he retired +home, whence he was driven by a sudden incursion of +the French. He died a few days after in an inn at Vega +(Asturias).</p> + +<p>Jovellanos' best literary work is really his political prose, +such as the <i>Informe sobre un proyecto de ley agraria</i> (1787) and +<i>Defensa de la junta central</i> (1810). His <i>Delincuente honrado</i> +(1773), a <i>comédie larmoyante</i> after the manner of Diderot's +<i>Fils naturel</i>, had wide success on the stage. His works are +in vols. 46 and 50 of the <i>Bibl. de Aut. Esp.</i> Cf. E. Mérimée, +<i>Jovellanos</i>, in the <i>Revue hispanique</i>, I, pp. 34-68.</p> + +<p><b>¿Quis tam patiens ut teneat se?</b> <i>who is so long-suffering as +to control himself?</i></p> + +<p><a href="#p38l20">21.</a> <b>prisión</b>: see mention above of Jovellanos' imprisonment +in Majorca.</p> + +<p><a href="#p39l0"><b>39.</b>—2.</a> It is scarcely accurate to call Juvenal a <b>bufón</b>, +since he was rather a scornful, austere satirist of indignation.</p> + +<p><a href="#p40l25"><b>40.</b>—26.</a> <b>cuánto de</b> is an unusual expression; but if the +line read: <i>¡Ay, cuánta amargura y cuánto lloro</i>, it would lack +one syllable.</p> + +<p><a href="#p41l0"><b>41.</b>—4-6.</a> <b>cuesta... infanta</b>. Evidently the world has +changed little in a hundred years!</p> + +<p><a href="#p42l0"><b>42.</b></a>—Juan Meléndez Valdés (1754-1817) was born in the +district of Badajoz (Estremadura). He studied law at Salamanca, +where he was guided in letters by Cadalso. In 1780 <a id="p267l0" name="p267l0"></a><span class="pagenum">267</span> +he won a prize offered by the Academy for the best eclogue. +He then accepted a professorship at Salamanca offered him +by Jovellanos. Literary success led him to petition a position +under the government which, involving as it did loss of +independence, proved fatal to his character. He filled honorably +important judicial posts in Saragossa and Valladolid, +but court intrigue and the caprices of Godoy brought him +many trials and undeserved punishments. In 1808 he accepted +a position under the French, and nearly lost his life +from popular indignation. Later his vacillations were pitiful: +he wrote spirited poems now for the French and now against +them. When they were finally expelled in 1813, he left the +country with them and died in poverty and sorrow in Montpellier.</p> + +<p>Most of his poems are in vol. 63 of the <i>Bibl. de Aut. Esp.</i>; +others have been published in the <i>Revue hispanique</i>, vols. I. +and IV. Cf. his Life by Quintana in <i>Bibl. de Aut. Esp.</i>, +vol. 19; E. Mérimée, <i>Meléndez Valdés</i>, in <i>Revue hispanique</i>, +I, 166-195; <i>Introduction</i>, p. xxx.</p> + +<p><a href="#p44l5"><b>44.</b>—5.</a> <b>Muy más</b>: this use of <i>muy</i> is not uncommon in +the older classics, but the usual expression now is <i>mucho más</i>.</p> + +<p><a href="#p44l25">28.</a> <b>benigna</b>: see note, p. 22, l. 6.</p> + +<p><a href="#p46l0"><b>46.</b></a>—Manuel José Quintana (1772-1857) was born in +Madrid. He went to school in Cordova and later studied law +at Salamanca. He fled from Madrid upon the coming of the +French. In the reign of Ferdinand VII he was for a time confined +in the Bastile of Pamplona on account of his liberal +ideas. After the liberal triumph of 1834 he held various public +offices, including that of Director General of Public Instruction. +In 1855 he was publicly crowned in the Palace of the +Senate.</p> + +<p>See <a href="#pxxxiil0"><i>Introduction</i></a>, p. xxxii; Ticknor, III, 332-334; Blanco +García, <i>La literatura española en el siglo XIX</i>, 2d ed., Madrid, +1899, I, 1-13; Menéndez y Pelayo, <i>D. Manuel José Quintana</i>, <a id="p268l0" name="p268l0"></a><span class="pagenum">268</span> +<i>La poesía lírica al principiar el siglo XIX</i>, Madrid, 1887; +E. Piñeyro, <i>M.-J. Quintana</i>, Chartres, 1892; Juan Valera, +<i>Florilegio de poesías castellanas</i>, Madrid, 1903, V, 32-38. His +works are in vols. 19 and 67 of <i>Bibl. de Aut. Esp.</i></p> + +<p>The Spanish people, goaded by the subservience of +Charles IV and his prime minister and favorite, Godoy, to +the French, rose in March, 1808, swept away Godoy, forced +the king to abdicate and placed his son Ferdinand upon the +throne. It was believed that this change of rulers would +check French influence in the Peninsula, but Ferdinand was +forced by Napoleon into a position more servile than that +occupied formerly by Charles.</p> + +<p><a href="#p46l0">2.</a> Note the free word-order in Spanish which permits, as +in this line, the subject to follow the verb, the object to +precede.</p> + +<p><a href="#p46l10">14.</a> <b>Oceano</b>: note the omission of the accent on <i>e</i>, that the +word may rime with <b>soberano</b> and <b>vano</b>; but here <b>oceano</b> +still has four syllables.</p> + +<p><a href="#p47l25"><b>47.</b>—28.</a> <b>tirano del mundo</b> = Napoleon Bonaparte.</p> + +<p><a href="#p48l20"><b>48.</b>—24.</a> By <b>los colosos de oprobio y de vergüenza</b> are +probably meant Charles IV and Godoy.</p> + +<p><a href="#p49l25"><b>49.</b>—29.</a> <b>hijo de Jimena</b>: see <i>Jimena</i> and <i>Bernardo del +Carpio</i>, in <i>Vocab.</i></p> + +<p><a href="#p50l0"><b>50.</b>—2.</a> <b>En... y</b>, <i>with a... and in</i>.</p> + +<p><a href="#p51l0"><b>51.</b></a>—Dionisio Solís y Villanueva (1774-1834) was born in +Cordova: he never rose higher in life than to be prompter in +a theater. He fought against the French, and he was exiled +for a time by Ferdinand VII. Solís wrote some plays and +translated many from other languages into Spanish. The +best that can be said of Solís as a poet is that his work +is spontaneous and in parts pleasing. Cf. Blanco García, +I, 50 and 61-63; Valera, <i>Florilegio</i>, V, 44-46.</p> + +<p><a href="#p53l15"><b>53.</b>—18-19.</a> <b>Esta... enfermedad</b> = <i>esta dulce deliciosa +enfermedad que yo siento</i>.</p> + +<p><a id="p269l0" name="p269l0"></a><span class="pagenum">269</span></p> + +<p><a href="#p53l25">25.</a> si puede (here meaning <i>if it is possible</i>) is understood +before <b>que trate</b>.</p> + +<p><a href="#p54l0"><b>54.</b></a>—Juan Nicasio Gallego (1777-1853) was born at Zamora. +He was ordained a priest: later he went to court, and +was appointed Director of His Majesty's Pages. He frequented +the salon of his friend Quintana, and was elected +deputy from Cadiz. In 1814, during the reign of Ferdinand +VII, Gallego was imprisoned for his liberal ideas and +later was banished from Spain. He spent some years in +France and returned to Spain in 1828. Later he was appointed +Perpetual Secretary of the Spanish Academy.</p> + +<p>See <a href="#pxxxiil0"><i>Introduction</i></a>, p. xxxii; Blanco García, I, 13 f.; Valera, +<i>Florilegio</i>, V, 38-44. His poems are in vol. 67 of the <i>Bibl. de +Aut. Esp.</i> There is also an edition of his poems by the Academia +de la Lengua, Madrid, 1854.</p> + +<p><b>El Dos de Mayo</b>: on the second of May, 1808, the Spanish +people, unarmed and without strong leaders, rose against +Napoleon's veteran troops. Aided by the English, they drove +out the French after a long and bloody war, thus proving +to the world that the old Spanish spirit of independence +was still alive. This war is known to the Spaniards as the +<i>Guerra de la independencia</i> and to the English as the Peninsular +War. The popular uprising began with the seizure of +a powder magazine in Madrid by Velarde and Daoiz (see in +<i>Vocab.</i>). These men and their followers were killed and the +magazine was retaken by the French, but the incident roused +the Spanish people to action.</p> + +<p><a href="#p54l5">9.</a> al furor, <i>in the glare</i>.</p> + +<p><a href="#p55l0"><b>55.</b>—4.</a> <b>Mantua</b>: a poetic appellation of Madrid. Cf. +article by Prof. Milton A. Buchanan in <i>Romanic Review</i>, 1910, +p. 211 f. See also p. xxxiii, <i>Introduction</i> to this volume.</p> + +<p><a href="#p55l10">11-12.</a> <b>¿Quién habrá... que cuente</b>, <i>who may there be to tell...</i></p> + +<p><a href="#p58l25"><b>58.</b>—26 to <b>59.</b></a>—3. Note how the poet refers to the various +parts of the Spanish peninsula: <b>hijos de Pelayo</b> = the <a id="p270l0" name="p270l0"></a><span class="pagenum">270</span> +Spaniards in general, or perhaps those of northernmost Spain; +<b>Moncayo</b> = Aragon, Navarre and Castile; <b>Turia</b> = Valencia; +<b>Duero</b> = Old Castile, Leon and Portugal; and <b>Guadalquivir</b> = +Andalusia. See <b>Pelayo</b> and <b>Moncayo</b> and these names of +rivers in <i>Vocab.</i></p> + +<p><a href="#p59l5">5.</a> <b>Patrón</b> = Santiago, or St. James, the patron saint of +Spain. According to the legend James "the Greater," son of +Zebedee, preached in Spain, and after his death his body was +taken there and buried at Santiago de Campostela. It was +believed that he often appeared in the battle-fields fighting +with the Spaniards against the Moslems.</p> + +<p><a href="#p59l10">14-15.</a> <b>á... brindó felicidad</b>, <i>drank in fire and blood a +toast to her prosperity</i>.</p> + +<p><a href="#p60l0"><b>60.</b></a>—Francisco Martínez de la Rosa (1787-1862) was born +at Granada. During the War of Independence he was sent +to England to plead for the support of that country against +the French. Later he was exiled by Ferdinand VII, and was +for five years a prisoner of state in a Spanish prison on the +African coast. After his release he became prominent in politics, +and was forced to flee to France. In 1834 he was called +into power by the queen regent, Maria Cristina. He represented +his country at Paris, and later at Rome, and held several +important posts as cabinet minister.</p> + +<p>See <a href="#pxxxvil0"><i>Introduction</i></a>, p. xxxvi; Menéndez y Pelayo, <i>Estudios de +crítica literaria</i>, Madrid, 1884, pp. 223, f.; Blanco García, I, +115-128; Juan Valera, <i>Florilegio</i>, V, 56-63. His <i>Obras completas</i>, +2 vols., ed. Baudry, were published at Paris in 1845. +Several of his articles of literary criticism are in vols. 5, 7, 20 +and 61 of the <i>Bibl. de Aut. Esp.</i></p> + +<p><a href="#p60l0">3.</a> <b>riyendo</b> = <i>riendo</i>.</p> + +<p><a href="#p61l0"><b>61.</b></a>—Angel de Saavedra, Duque de Rivas (1791-1865) was +born at Cordova. He prepared for a military career. By reason +of his liberal ideas he was compelled to leave Spain and +went to England, France and the Island of Malta. He returned<a id="p271l0" name="p271l0"></a><span class="pagenum">271</span> + to Spain in 1834 and became a cabinet minister, but +was again forced to flee the country. Later he was welcomed +back and represented Spain at Naples. He retired from politics +and was appointed Director of the Spanish Academy.</p> + +<p>See <a href="#pxxxvil0"><i>Introduction</i></a>, p. xxxvi; Blanco García, I, 129-153; Juan +Valera, <i>Florilegio</i>, V, 184-195. His <i>Obras completas</i>, in 5 vols., +were published by the Spanish Academy, Madrid, 1854-1855, +with introductory essays by Pastor Díaz and Cañete. His +works were also published in the <i>Colección de Escritores castellanos</i>, +1894-.</p> + +<p><a href="#p61l0">4.</a> <b>De... pro</b> = <i>en pro de mi sangre y casa</i>.</p> + +<p><a href="#p62l0"><b>62.</b>—3.</a> <b>á la que</b>: translate, <i>before which</i>.</p> + +<p><a href="#p62l10">10.</a> <b>duque de Borbón</b> is the subject of <b>estaba</b>, l. 3.</p> + +<p><a href="#p62l15">18.</a> <b>Empérador</b> = Charles V.</p> + +<p><a href="#p64l5"><b>64.</b>—8.</a> <b>Condestable</b> = Velasco, Constable of Spain, who +in 1521 defeated the <i>comuneros</i> who had rebelled against the +rule of Charles V.</p> + +<p><a href="#p65l20"><b>65.</b>—22.</a> <b>Y con los que</b>, <i>with whom</i>.</p> + +<p><a href="#p65l20">23.</a> <b>estrecho</b> stands in antithesis to <b>ancho</b>: <i>for his glory the +broad world will be narrow</i>.</p> + +<p><a href="#p66l15"><b>66.</b>—18-19.</a> <b>Y... leonesa</b> = <i>y un coleto á la leonesa de recamado +ante</i>.</p> + +<p><a href="#p68l20"><b>68.</b>—20-21.</a> <b>Que... resuelta</b> = <i>que es voluntad suya resuelta +(el) que aloje á Borbón</i>.</p> + +<p><a href="#p69l20"><b>69.</b>—22</a>. <b>de un su pariente</b> is archaic. The regular expression +to-day would be <i>de un pariente suyo</i>.</p> + +<p><a href="#p71l0"><b>71.</b></a>—Juan Arolas (1805-1849) was born in Barcelona, but +spent most of his life in Valencia. In 1821, when sixteen +years old, Arolas, much against the wishes of his parents, +joined a monastic order. Arolas wrote in all the literary genres +of his time, but he distinguished himself most as a poet by +his romantic "oriental" and love poems.</p> + +<p>Cf. <i>El P. Arolas, su vida y sus versos</i>, Madrid, 1898, by José +R. Lomba y Pedraja; Blanco García, I, 186-189; Juan Valera, <a id="p272l0" name="p272l0"></a><span class="pagenum">272</span> +<i>Florilegio</i>, V, 121-130. A new edition of Arolas' verses was +published at Valencia in 1883.</p> + +<p><a href="#p73l0"><b>73.</b></a>—José de Espronceda (1808-1842), Spain's greatest +romantic poet, was born in Almendralejo (Badajoz). At the +Colegio de San Mateo Espronceda was considered a precocious +but wayward pupil. His poetic gifts won for him the lasting +friendship of his teacher, Alberto Lista. At an early age he +became a member of a radical secret society, Los Numantinos. +Sent into exile to a monastery in Guadalajara, he there composed +the fragmentary heroic poem <i>Pelayo</i>. After his release +he went to Lisbon and then to London. Enamored of Teresa, +though another's wife, he fled with her to Paris, where he +took an active part in the revolution of 1830. Espronceda +returned to Spain in 1833, and engaged in journalism and +politics. Worn out by his tempestuous life, he died at the +early age of thirty-four years.</p> + +<p>See <a href="#pxxxviil0"><i>Introduction</i></a>, p. xxxvii; E. Rodríguez Solís, <i>Espronceda, +su tiempo, su vida y sus obras</i>, Madrid, 1883; Blanco García, +I, 154-171; Juan Valera, <i>Florilegio</i>, V, 197-207; Antonio Cortón, +<i>Espronceda</i>, Madrid, 1906; Philip H. Churchman, <i>Espronceda's +Blanca de Borbón, Revue hisp.</i>, 1907; and <i>Byron and +Espronceda, ibid.</i>, 1909. For his poems, see <i>Obras poéticas</i>, +in the <i>Biblioteca amena é instructiva</i>, Barcelona, 1882; <i>Obras +poéticas y escritos en prosa, colección ordenada por D. Patricio +de la Escosura</i>, Madrid, 1884.</p> + +<p><a href="#p79l0"><b>79.</b></a>—José de Zorrilla (1817-1893) was born in Valladolid. +After receiving his secondary education in the Jesuit Semanario +de Nobles he began the study of law; but he soon turned +to the more congenial pursuit of belles-lettres. In 1855 he +went to Mexico where he resided eleven years. Though a most +productive writer, Zorrilla spent most of his life in penury +until, in his old age, he received from the government an annual +pension of 30,000 reales. He became a member of the Spanish +Academy in 1885, and four years later he was "crowned" <a id="p273l0" name="p273l0"></a><span class="pagenum">273</span> +in Granada. Zorrilla died in Madrid in his seventy-sixth +year.</p> + +<p>See <a href="#pxxxviil0"><i>Introduction</i></a>, p. xxxvii; an autobiography, <i>Recuerdos del +tiempo viejo</i>, 3 vols.; Fernández Flórez, <i>D. José Zorrilla</i>, in +<i>Autores dramáticos contemporáneos</i>, 1881, vol. I; Blanco García, +I, 197-216; Juan Valera, <i>Florilegio</i>, V, 258-270. For his works, +see <i>Poesías</i>, 8 vols., Madrid, 1838-1840; <i>Obras</i>, edition Baudry, +3 vols., Paris, 1852; <i>Poesías escogidas</i>, published by the Academia +de la lengua, Madrid, 1894; <i>Obras dramáticas y líricas</i>, +Madrid, 1895.</p> + +<p><a href="#p85l10"><b>85.</b>—10.</a> <b>Fantasmas</b> = <i>como fantasmas</i>.</p> + +<p><a href="#p86l15"><b>86.</b></a>—<b>Á Buen Juez Mejor Testigo</b>, <i>A Good Judge, But a Better +Witness</i>. In Berceo's <i>Milagros de Nuestra Señora</i> there is +a similar legend of a crucifix summoned as witness.</p> + +<p><a href="#p91l0"><b>91.</b>—4-5.</a> <b>Como... bañe</b>: this passage is obscure, but +the meaning seems to be, <i>as a pledge that the river should so +zealously bathe it</i>.</p> + +<p><a href="#p91l15">18. </a><b>la hermosa</b>, according to tradition, was Florinda, daughter +of Count Julian. Roderick (Roderico or Rodrigo), the +last king of the Goths in Spain, saw Florinda bathing in the +Tagus, conceived a passion for her and dishonored her. In +revenge Julian is said to have brought the Saracens into +Spain.</p> + +<p><a href="#p91l25">27. </a><b>puerta</b>: this may refer to the Puerta Visagra Antigua, +an ancient Arabic gate of the ninth century, now closed.</p> + +<p><a href="#p92l10"><b>92.</b>—12.</a> <b>Las... horadarle</b> = <i>al horadarle las palmas (al +rey)</i>. According to tradition Alfonso, who became afterward +King Alfonso VI of Leon and Castile, when a refugee at the +court of Alimenón, the Moorish king of Toledo, overheard the +Moorish sovereign and his advisers talking about the defences +of the city. The Moors said that the Christians, by a siege, +could probably starve Toledo into submission. Upon perceiving +Alfonso near at hand apparently asleep, the Moors, +to prove whether he was really asleep or not, poured molten <a id="p274l0" name="p274l0"></a><span class="pagenum">274</span> +lead into his hand, and he had sufficient will power to remain +motionless while the lead burned a hole through it.</p> + +<p>Mariana (<i>Historia de España, Libro IX, Cap. VIII</i>) relates +this story, but rejects it and says that the real cause of +Alfonso's nickname ("<i>el rey de la mano horadada</i>") was his +extreme generosity.</p> + +<p><a href="#p92l10">13.</a> <b>circo romano</b>: to the east of the <i>Hospital de San Juan +Bautista</i> of Toledo lies the suburb of Covachuelas, the houses +of which conceal the ruins of a Roman amphitheater.</p> + +<p><a href="#p92l15">15.</a> <b>Basílica</b>: in the lower <i>Vega</i>, to the northwest of Toledo, +is the hermitage of <i>El Cristo de la Vega</i>, formerly known as the +<i>Basílica de Santa Leocadia</i>, which dated from the fourth century. +This edifice was the meeting-place of several Church +councils. The ancient building was destroyed by the Moors +and has been repeatedly rebuilt.</p> + +<p><a href="#p95l20"><b>95.</b>—21.</a> <b>el templo</b>: the <i>Ermita del Cristo de la Vega</i>. See +preceding note.</p> + +<p><a href="#p95l25">27.</a> <b>Víase</b> = <i>veíase</i>: <i>vía</i>, for <i>veía</i>, is not uncommon in poetry.</p> + +<p><a href="#p105l0"><b>105.</b>—3-5.</a> <b>Gritan... valor</b> = <i>los que en el mercado venden, +gritan en discorde son</i> <b>lo vendido y el valor</b> (= <i>what they have +for sale and its price</i>).</p> + +<p><a href="#p107l10"><b>107.</b>—13-14.</a> <b>y... honor</b> = <i>y dispensad que (yo) dudara +de vuestro honor acusado</i>.</p> + +<p><a href="#p108l10"><b>108.</b>—10.</a> See note, p. 92, l. 15.</p> + +<p><a href="#p112l15"><b>112.</b>—16.</a> <b>cada un año</b> = <i>cada año</i>.</p> + +<p>Antonio de Trueba (1821-1889) was born at Montellano +(Viscaya). At the age of fifteen or sixteen years he removed +to Madrid and engaged in commerce. In 1862 he was appointed +Archivist and Chronicler of the Señorío de Vizcaya, +which post he held for ten years. Trueba, best known as a +writer of short stories, published two volumes of mediocre +verses which achieved considerable popularity during the +author's lifetime, but are now nearly forgotten.</p> + +<p>Cf. <i>Notas autobiográficas</i> in <i>La Ilustración Española y <a id="p275l0" name="p275l0"></a><span class="pagenum">275</span> +Americana</i>, Enero 30, 1889; Blanco García, II, 26-28 and 301-308; +Juan Valera, <i>Florilegio</i>, V, 307-311. For his verses, see +<i>El libro de los cantares</i> (1851) and <i>El libro de las montañas</i> +(1867).</p> + +<p><a href="#p113l10"><b>113.</b>—14.</a> <b>Cantos</b>: note the double meaning of <i>canto</i>.</p> + +<p><a href="#p114l0"><b>114.</b></a>—José Selgas y Carrasco (1821-1882) was born in +Murcia. A writer on the staff of the satirical and humorous +journal, <i>El Padre Cobos</i>, Selgas won the attention of the public +by his ironical and reactionary articles and was elevated to +an important political office by Martínez Campos. He is the +author of two volumes of verses, <i>La Primavera</i> (1850) and +<i>El estío</i>.</p> + +<p>See <a href="#pxxxixl0"><i>Introduction</i></a>, p. xxxix; and Blanco García, II, 19-23 and +244-250. For Selgas' verses, see his <i>Poesías</i>, Madrid, 1882-1883.</p> + +<p><a href="#p117l0"><b>117.</b></a>—Pedro Antonio de Alarcón (1833-1891) was born in +Guadix. He studied law, served as a volunteer in an African +war and became a writer on the staff of several revolutionary +journals. His writings, which at first were sentimental or +radical, became more subdued in tone and more conservative +with his advancing years. In 1877 he was elected to membership +in the Spanish Academy. Primarily a journalist and +novelist, Alarcón published a volume of humorous and descriptive +verses, some of which have merit.</p> + +<p>Cf. Blanco García, II, 62-63 and 452-467; and articles in +the <i>Nuevo Teatro Crítico</i> (Sept., Oct. and Nov., 1891). For +his verses, see <i>Poesías serias y humorísticas</i>, 3d ed., Madrid, +1885.</p> + +<p><a href="#p121l0"><b>121.</b></a>—Gustavo Adolfo Bécquer (1836-1870) was born in +Seville, and became an orphan in his tenth year. When eighteen +years of age he went penniless to Madrid, where he earned +a precarious living by writing for journals and by doing +literary hack-work.</p> + +<p>See <a href="#pxxxixl0"><i>Introduction</i></a>, p. xxxix; Blanco García, II, 79-86 and 274-277. <a id="p276l0" name="p276l0"></a><span class="pagenum">276</span> +For his works, see his <i>Obras</i>, 5th ed., Madrid, 1898 +(with a <i>Prólogo</i> by Correa: the <i>Rimas</i> are in vol. III).</p> + +<p><a href="#p122l10"><b>122.</b>—12-13.</a> <b>Del salón... olvidada</b> = <i>en el ángulo obscuro +del salón, tal vez olvidada de su dueño</i>. Bécquer, in his striving +after complicated metrical arrangements, often inverts the +word-order in his verse. See also <i>Introduction, Versification</i>, +p. lxxii.</p> + +<p><a href="#p122l15">19.</a> <b>arrancarlas</b>: <b>las</b> refers to <b>Cuánta nota</b>, which seems to +have here the force of a plural.</p> + +<p><a href="#p122l20">24.</a> See <i>Introduction, Versification</i>, <a href="#plxvl0">p. lxv.</a></p> + +<p><a href="#p124l10"><b>124.</b>—14.</a> <b>intérvalo</b>: the standard form is <i>intervalo</i>.</p> + +<p><a href="#p126l10"><b>126.</b>—12.</a> <b>El nicho á un extremo</b>: the meaning is, <i>one end +of the recess</i>, in which the coffin will be placed. The graveyards +of Spain and Spanish America have lofty walls with niches +or recesses large enough to contain coffins. After receiving +the coffin, the niche is sealed with a slab that bears the epitaph +of the deceased.</p> + +<p><a href="#p128l0"><b>128.</b></a>—The Valencian Vicente W. Querol (1836-1889) gave +most of his time to commerce, but he occasionally wrote +verses that had the merit of correctness of language and +strong feeling.</p> + +<p>Cf. Blanco Garcia, II, 376-378. For his verses, see <i>Rimas</i> +(<i>Prólogo</i> by Pedro A. de Alarcón), 1877; <i>La fiesta de Venus</i>, +in the <i>Almanaque de la Ilustración</i>, 1878.</p> + +<p><a href="#p128l5">7.</a> <b>Ó en el que</b> = <i>ó en el día en que</i>: the reference is to the +anniversaries of the wedding day and the saints' days of the +parents.</p> + +<p><a href="#p129l15"><b>129.</b>—19.</a> <b>las que... son</b>, <i>what is...</i></p> + +<p><a href="#p131l15"><b>131.</b>—15-16.</a> <b>la que... agonía</b> = <i>la lenta agonía que sufristeis...</i></p> + +<p><a href="#p133l0"><b>133.</b></a>—Ramón de Campoamor y Campoosorio (1817-1901) +was born in Navia (Asturias). He studied medicine but soon +turned to poetry and politics. A pronounced conservative, +he won favor with the government and received appointment <a id="p277l0" name="p277l0"></a><span class="pagenum">277</span> +to several important offices including that of governor of +Alicante and Valencia.</p> + +<p>Cf. <a href="#pxlil0"><i>Introduction</i></a>, p. xli; Juan Valera, <i>Obras poéticas de +Campoamor</i>, in <i>Estudios críticos sobre literatura</i>, Seville, 1884; +Peseux-Richard, in the <i>Revue hispanique</i>, I, 236 f.; Blanco +García, II, Cap. V. For his works, see <i>Doloras y cantares</i>, +16th ed., Madrid, 1882; <i>Los pequeños poemas</i>, Madrid, 1882-1883; +<i>Poética</i>, 1883; <i>El drama universal</i>, 3d ed., Madrid, 1873; +<i>El licenciado Torralba</i>, Madrid, 1888; <i>Obras escogidas</i>, Leipzig, +1885-1886; <i>Obras completas</i>, 8 vols., Madrid, 1901-03.</p> + +<p><a href="#p135l0"><b>135.</b>—3.</a> <b>se va y se viene y se está</b>: note the use of <b>se</b> in +the sense of <i>people</i>, or an indefinite <i>we</i>.</p> + +<p><a href="#p135l5">5.</a> <b>Y... procura</b> = <i>y si tu afecto no procura volver</i>.</p> + +<p><a href="#p136l15"><b>136.</b>—18.</a> See note, p. 3, l. 7.</p> + +<p><a href="#p137l0"><b>137.</b></a>—Valladolid was the birthplace of Gaspar Núñez de +Arce (1834-1903). When a child, he removed with his family +to Toledo. At the age of nineteen years he entered upon a +journalistic career in Madrid. As a member of the Progresista +party, Núñez de Arce was appointed Civil Governor of Barcelona, +and afterward he became a cabinet minister.</p> + +<p>Cf. <a href="#pxliil0"><i>Introduction</i></a>, p. xlii; Menéndez y Pelayo's essay in +<i>Estudios de crítica literaria</i>, 1884; Juan Valera's essay on the +<i>Gritos del combate, Revista europea</i>, 1875, no. 60; Blanco +García, Cap. XVIII; José del Castillo, <i>Núñez de Arce, +Apuntes para su biografía</i>, Madrid, 1904. For his works, see +<i>Gritos del combate</i>, 8th ed., 1891; <i>Obras dramáticas</i>, Madrid, +1879. Most of his longer poems are in separate pamphlets, +published by M. Murillo and Fernando Fe, Madrid, 1895-1904.</p> + +<p><a href="#p137l0"><b>137.</b></a>—<b>Tristezas</b> shows unmistakably the influence of the +French poet Alfred de Musset, and especially perhaps of his +<i>Rolla</i> and <i>Confession d'un enfant du siècle</i>.</p> + +<p><a href="#p138l15"><b>138.</b>—16 f.</a> Compare with the author's <i>La duda</i> and <i>Miserere</i>, +and Bécquer's <i>La ajorca de oro</i>.</p> + +<p><a id="p278l0" name="p278l0"></a><span class="pagenum">278</span></p> + +<p><a href="#p142l0"><b>142.</b>—1-3.</a> The poet seems to compare the nineteenth century, +amidst the flames of furnaces and engines, to the fallen +archangel in hell.</p> + +<p><a href="#p142l15">16.</a> <b>mística</b>, that is, of communion with God, heavenly.</p> + +<p><a href="#p144l0"><b>144.</b></a>—<b>¡Sursum Corda!</b>: the lines given are merely the introduction +to the poem, and form about one fourth of the +entire work. They were written soon after the Spanish-American +War. See <i>Sursum Corda!</i>, Madrid, 1904; and +also Juan Valera's <i>Florilegio</i>, IV, 413 f.</p> + +<p><a href="#p144l5">8.</a> The plains of Old Castile may well be called "austere."</p> + +<p><a href="#p145l10"><b>145.</b>—10-16.</a> Cf. <i>Á España</i> (1860) and <i>Á Castelar</i> (1873).</p> + +<p><a href="#p147l10"><b>147.</b>—11-19</a>. There are few stronger lines than these in all +Spanish poetry.</p> + +<p><a href="#p148l0"><b>148.</b></a>—Manuel del Palacio (1832-1895) was born in Lérida. +His parents removed to Granada, and there he joined a club +of young men known as La Cuerda. Going to Madrid, he +devoted himself to journalism and politics, first as a radical +and later as a conservative.</p> + +<p>Cf. Blanco Garcia, II, 40. For his works, see his <i>Obras</i>, +Madrid, 1884; <i>Veladas de otoño</i>, 1884; <i>Huelgas diplomáticas</i>, 1887.</p> + +<p><a href="#p148l5">5.</a> <b>el ave placentera</b>: a well-known Spanish-American poet +calls this a mere <i>ripio</i> (stop-gap), and says it may mean one +bird as well as another.</p> + +<p>The Catalan Joaquín María Bartrina (born at Reus in +1850) published in 1876 a volume of pessimistic and iconoclastic +verses, entitled <i>Algo</i>. After his death (1880) his +works were published under the title of <i>Obras en prosa y verso, +escogidas y coleccionadas por J. Sardá</i>, Barcelona, 1881. Cf. +Blanco García, II, 349-350.</p> + +<p><a href="#p148l15"><b>148.</b>—15-19.</a> These lines give expression to the pessimism +that has obtained in Spain for two centuries past.</p> + +<p><a href="#p149l10"><b>149.</b>—14.</a> The reference is, of course, to the paintings, of +which there are many, of "The Last Supper" of Jesus.</p> + +<p>Manuel Reina (1860-) was born in Puente Genil. Like <a id="p279l0" name="p279l0"></a><span class="pagenum">279</span> +Bartrina, Reina is an imitator of Núñez de Arce, in that he +sings of the degeneracy of mankind. He undertook, with but +little success, to revive the eleven-syllable <i>romance</i> of the +neo-classic Spanish tragedy of the eighteenth century.</p> + +<p>Cf. Blanco García, II, 354-355. For his verses, see <i>Andantes +y allegros</i> and <i>Cromos y acuarelas, cantos de nuestra época, con +un prólogo de D. José Fernández Bremón</i>.</p> + +<p>The Valencian Teodoro Llorente (b. 1836) is best known for +his translations of the works of modern poets. He is also the +author of verses (<i>Amorosas</i>, <i>Versos de la juventud</i>, <i>et al.</i>).</p> + +<p><a href="#p151l0"><b>151</b>.</a>—<b>Argentina.</b> The development of letters was slower +in Argentina than in Mexico, Peru and Colombia, since Argentina +was colonized and settled later than the others. During +the colonial period there was little literary production in the +territory now known as Argentina. Only one work of this +period deserves mention. This is <i>Argentina y conquista del +río de la Plata</i>, etc. (Lisbon, 1602), by Martín del Barco Centenera, +a long work in poor verses and of little historical +value. During the first decade of the nineteenth century +there was an outpouring of lyric verses in celebration of the +defeat of the English by the Spaniards at Buenos Aires, but +to all of these Gallego's ode <i>Á la defensa de Buenos Aires</i> is +infinitely superior.</p> + +<p>During the revolutionary period the best-known writers, +all of whom may be roughly classified as neo-classicists, were: +Vicente López Planes (1784-1856), author of the Argentine +national hymn; Esteban Luca (1786-1824); Juan C. Lafinur +(1797-1824); Juan Antonio Miralla (d. 1825); and, lastly, the +most eminent poet of this period, Juan Cruz Varela (1794-1839), +author of the dramas <i>Dido</i> and <i>Argía</i>, and of the ode +<i>Triunfo de Ituzaingó</i> (<i>Poesías</i>, Buenos Aires, 1879).</p> + +<p>The first Argentine poet of marked ability, and one of the +greatest that his country has produced, was the romanticist +(who introduced romanticism into Argentina directly from <a id="p280l0" name="p280l0"></a><span class="pagenum">280</span> +France), Esteban Echeverría (1805-1851), author of <i>Los Consuelos</i> +(1834), <i>Rimas</i> (1837) and <i>La cautiva</i>. The latter poem +is distinctively "American," as it is full of local color. Juan +Valera, in his letter to Rafael Obligado (<i>Cartas americanas, primera +serie</i>), says truly that Echeverría "marks the point of departure +of the Argentine national literature." (<i>Obras completas</i>, +5 vols., Buenos Aires, 1870-74).</p> + +<p>Other poets of the early period of independence are: the +literary critic, Juan María Gutiérrez (1809-1878), one-time +rector of the University of Buenos Aires and editor of an +anthology, <i>América poética</i> (Valparaíso, 1846); Dr. Claudio +Mamerto Cuenca (1812-1866; cf. <i>Obras poéticas escogidas</i>, +Paris, 1889); and José Mármol (1818-1871), author of <i>El +peregrino</i> and of the best of Argentine novels, <i>Amalia</i> (<i>Obras +poéticas y dramáticas, coleccionadas por José Domingo Cortés</i>, +3d ed., Paris, 1905).</p> + +<p>In parenthesis be it said that Argentina also claims as her +own the poet Ventura de la Vega (1807-1865), who was born +in Buenos Aires, as Mexico claims Juan Ruiz de Alarcón, and +as Gertrudis Gómez de Avellaneda is claimed by Cuba.</p> + +<p>As in Spain Ferdinand VII had driven into exile most of +the prominent writers of his period, so the despotic president, +Juan Manuel Rosas (1793-1877: fell from power in 1852), +drove from Argentina many men of letters, including Varela, +Echeverría and Mármol.</p> + +<p>Down to the middle of the nineteenth century it may be +said that the Spanish-American writers followed closely the +literary movements of the mother country. Everywhere +across the sea there were imitators of Meléndez Valdés and +Cienfuegos, of Quintana, of Espronceda and Zorrilla. During +the early years of romanticism some Spanish-American poets,—notably +the Argentine Echeverría,—turned for inspiration +directly to the French writers of the period; but, in the +main, the Spanish influence was predominant. The Spanish-American <a id="p281l0" name="p281l0"></a><span class="pagenum">281</span>281 +verses, for the most part, showed insufficient preparation +and were marred by many inaccuracies of diction; +but here and there a group of writers appeared,—as in Colombia,—who +rivaled in artistic excellence the poets of Spain. +In the second half of the nineteenth century the Spanish-American +writers became more independent in thought and +speech. It is true that many imitated the mysticism of +Bécquer or the pessimism of Núñez de Arce, but many more +turned for inspiration to native subjects or to the literary works +of other lands than Spain, and particularly of France and +Italy.</p> + +<p>The extreme in local color was reached in the "<i>literatura +gauchesca</i>," which consists of collections of popular or semi-popular +ballads in the dialect of the <i>gauchos</i>, or cowboys +and "ranchers," of the Pampas. The best of these collections,—<i>Martín +Fierro</i> (1872), by José Fernández,—is more artistic +than popular. This long poem, which in its language reminds +the English reader of Lowell's <i>Biglow Papers</i>, is the best-known +and the most widely read work by an Argentine +author.</p> + +<p>The greatest Argentine poets of the second half of the century +have been Andrade and Obligado. Olegario Víctor Andrade +(1838-1882), the author of <i>Prometeo</i> and <i>Atlántida</i>, is +generally recognized as one of the foremost modern poets of +Spanish America, and probably the greatest poet that Argentina +has as yet given to the world. In art, Andrade was a +disciple of Victor Hugo; in philosophy, he was a believer in +modern progress and freedom of thought; but above all else +was his loyal patriotism to Argentina. Andrade's verses have +inspiration and enthusiasm, but they are too didactic and they +are marred by occasional incorrectness of speech. <i>Atlantida</i>, +a hymn to the future of the Latin race in America, is the poet's +last and noblest work (<i>Obras</i>, Buenos Aires, 1887).</p> + +<p>It is said of Rafael Obligado (1852-) that he is more <a id="p282l0" name="p282l0"></a><span class="pagenum">282</span> +elegant and correct than Andrade, but his muse has less inspiration. +He has, moreover, the distinction of showing almost +no French influence, which is rare to-day among Spanish-American +writers. Juan Valera regrets Obligado's excessive +"Americanism," and laments the fact that the poet uses many +words of local origin that he, Valera, does not understand. +The poet's better works are, for the most part, descriptions of +the beauties of nature or the legendary tales of his native +land (<i>Poesías</i>, Buenos Aires, 1885).</p> + +<p>Among recent poets, two have especially distinguished +themselves. Leopoldo Díaz (1868-) began as a disciple +of Heredia, and has become a pronounced Hellenist, now a +rare phenomenon in Spanish America. Besides many sonnets +imbued with classicism, he has written odes to the <i>conquistadores</i> +and to <i>Atlántida conquistada</i>. Like Darío, Blanco-Fombona +and many other Spanish-American poets of to-day, +Diaz resides in Europe; but, unlike the others, he lives in +Morges instead of Paris (<i>Sonetos</i>, Buenos Aires, 1888; <i>Bajo-relieves</i>, +Buenos Aires, 1895; <i>et al.</i>). A complete "<i>modernista</i>" +(he would probably scorn the title of "decadent") is Leopoldo +Lugones (1875?-), whose earlier verses are steeped in +an erotic sensualism rare in the works of Spanish-American +poets. He seeks to be original and writes verses on every conceivable +theme and in all kinds of metrical arrangements. +Thus, in <i>Lunario sentimental</i> there are verses, essays and +dramatic sketches, all addressed to the moon. For an example +of his <i>versos libres</i>, see <i>Introduction</i> to this volume, p. xlvi +(<i>Las montañas de oro, Los crepúsculos del jardín</i>; <i>Lunario +sentimental</i>, Buenos Aires, 1909; <i>Odas seculares</i>, Buenos Aires, +1910).</p> + +<p>For studies of Argentine literature, see Blanco García, +<i>Hist. Lit. Esp.</i>, III, pp. 380 f.; Menéndez y Pelayo, <i>Ant. +Poetas Hisp.-Am.</i>, IV, pp. lxxxix f.; Juan Valera, <i>Poesía +argentina</i>, in <i>Cartas americanas, primera serie</i>, Madrid, 1889, pp. 51-119; <a id="p283l0" name="p283l0"></a><span class="pagenum">283</span> +<i>Literatura argentina</i>, Buenos Aires, 1903; <i>Poetas argentinos</i>, +Buenos Aires, 1904; <i>Antología argentina</i>, B.T. Martínez, +Buenos Aires, 1890-91; <i>Compendio de literatura +argentina</i>, E. Alonso Criado, Buenos Aires, 1908; <i>Miscelánea</i>, +by Santiago Estrada; <i>La lira argentina</i>, Buenos Aires, 1824. +Other important works, treating of Spanish-American literature, +are: <i>Biblioteca hispano-americana</i> (1493-1810), José +Toribio Medina, 6 vols., Santiago de Chile, 1898-1902; +<i>Bibliography of Spanish-American Literature</i>, Alfred Coester, +<i>Romanic Review</i>, III, 1; <i>Escritores hispano-americanos</i>, Manuel +Cañete, Madrid, 1884; <i>Escritores y poetas sud-americanos</i>, +Francisco Sosa, Mex., 1890; <i>Juicio crítico de poetas hispano-americanos</i>, +M.L. Amunátegui, Santiago de Chile, 1861; <i>La +joven literatura hispano-americana</i>, Manuel Ugarte, Paris, +1906.</p> + +<p>Echeverría: see preceding note.</p> + +<p><b>Canción de Elvira.</b> This Gutiérrez calls the "song of the +American Ophelia."</p> + +<p><a href="#p152l0"><b>152.</b></a>—Andrade: see note to p. 151.</p> + +<p><a href="#p152l15">18.</a> <b>Á celebrar las bodas</b>, <i>to be the bride</i>.</p> + +<p><a href="#p153l0"><b>153.</b>—3.</a> The Argentines, especially, seem to take delight +in calling themselves a Latin, rather than a Spanish, race. +This may be due to the fact that fully one third of the population +of Argentine is Italian. Both Juan Valera and +Menéndez y Pelayo have chided the Argentines for speaking +of themselves as a <i>raza latino-americana</i>, instead of <i>hispano-americana</i>.</p> + +<p><a href="#p153l15">15.</a> <b>arcano</b>, <i>secret</i>, seems to have the force here of a <i>secret +ark</i>, or <i>secret sanctuary</i>, which is broken open that its secrets +may be disclosed.</p> + +<p><a href="#p154l5"><b>154.</b>—6-10.</a> These lines refer, of course, to the Christian +religion, spoken of symbolically as an <i>altar</i>, which has replaced +the heterogeneous pagan cults of ancient Rome, and which +the Spaniards first brought to America.</p> + +<p><a id="p284l0" name="p284l0"></a><span class="pagenum">284</span></p> + +<p><a href="#p154l10">11.</a> <b>ciclopeas</b>: note the omission of the accent on <i>o</i> that +the word may rime with <b>ideas</b>.</p> + +<p><a href="#p155l5"><b>155.</b>—5.</a> <b>Tequendama</b>: see in the <i>Vocab</i>. Several Colombian +poets, including Don José Joaquín Ortiz and Doña Agripina +Montes del Valle, have written odes to this famous +waterfall. See Menéndez y Pelayo, <i>Ant. Poetas Hisp.-Am.</i>, +II; and <i>Parnaso colombiano</i>, II, Bogotá, 1887.</p> + +<p><a href="#p155l15">17-18.</a> A revolutionary hero, Antonio Ricaurte (b. 1786), +blew up the Spanish powder magazine on the summit of a +hill near San Mateo, and lost his life in the explosion. See +<b>Mateo</b> in <i>Vocab</i>.</p> + +<p><a href="#p156l5"><b>156.</b>—5.</a> The colors of the Peruvian flag are red and white, +mainly red. The red,—symbolical of bloodshed,—shall +be largely replaced by the golden color of ripening grain,—symbolical +of industry.</p> + +<p><a href="#p156l5">8.</a> Caracas, where Bolivar was born, lies at the foot of +Mount Ávila.</p> + +<p><a href="#p156l10">11.</a> This line, and line 16, would indicate that <b>Atlántida</b> was +written soon after the war, begun in 1876, between Chile and +the allied forces of Bolivia and Peru, in which Chile was +victorious.</p> + +<p><a href="#p156l10">12-15.</a> When this was written there was little immediate +prospect of other railways than the narrow-gage road from +Oruro to the Chilean frontier, about five hundred miles in +length; but now Bolivia has the promise of becoming the +railway center of lines connecting both Argentina and Chile +with Peru. These lines are now completed or building.</p> + +<p><a href="#p156l25">27.</a> Andrade died in 1882, and seven years after his death, +in 1889, the emperor Dom Pedro II was deposed, and a republican +form of government was adopted by Brazil.</p> + +<p><a href="#p157l0"><b>157.</b></a>—3. Andrade now sings of his own country, hence +<b>¡De pie para cantarla!</b></p> + +<p><a href="#p157l5">8.</a> There is a larger immigration of Europeans into Argentina +than into any other South-American country. The <a id="p285l0" name="p285l0"></a><span class="pagenum">285</span> +immigrants come mostly from northern Italy and from +Spain.</p> + +<p><a href="#p157l10">12-16.</a> As the <b>Atlántida</b> was the last poetic work of Andrade, +these lines may refer to the treaty of 1881 between Argentina +and Chile, by which Argentina acquired all the territory east +of the Andes, including Patagonia and the eastern part of +Tierra del Fuego.</p> + +<p>By the conquest and settlement of the broad plains (<i>pampas</i>) +and the frozen region of the south, a new world was +created, much as in the United States of America a new world +was created by the acquirement and settlement of the western +plains, mountain lands and Pacific coast.</p> + +<p><a href="#p157l20">21.</a> Vast areas in Argentina are given over to the cultivation +of wheat, barley and oats.</p> + +<p><a href="#p159l0"><b>159.</b></a>—These are the last stanzas of <b>Prometeo</b>, a poem in +which the author addresses the human mind and urges it to +break its bonds and free itself from tyranny and prejudice: +see also in <i>Vocab</i>.</p> + +<p><a href="#p160l0"><b>160.</b></a>—Obligado: see note to p. 151.</p> + +<p><a href="#p162l0"><b>162.</b></a>—<b>Colombia.</b> Colombia was formerly known as Nueva +Granada, and its inhabitants are still sometimes called <i>Granadinos</i>. +An older and larger Colombia was organized in 1819, +toward the close of the revolutionary war; but this state was +later divided into three independent countries, viz., Venezuela, +Nueva Granada and Ecuador. In 1861 Nueva Granada assumed +the name of Estados Unidos de Colombia, and only +recently the Colombian part of the Isthmus of Panama +established itself as an independent republic. The present +Colombia has, therefore, only about one third the area of the +older state of the same name. In treating of literature, the +terms Colombia and Colombian are restricted to the present-day +Colombia and the older Nueva Granada. The capital +of the Republic is Santa Fe de Bogotá, to-day generally +known simply as Bogotá. It is at an elevation of 8700 feet <a id="p286l0" name="p286l0"></a><span class="pagenum">286</span> +above the level of the sea, and has a cool and equable +climate.</p> + +<p>It is generally conceded that the literary production of +Colombia has excelled that of any other Spanish-American +country. Menéndez y Pelayo (<i>Ant. Poetas Hisp.-Am.</i>, III, +<i>Introd.</i>) speaks of Bogotá as the "Athens of South America," +and says further: "the Colombian Parnassus to-day excels in +quality, if not in quantity, that of any other region of the New +World." And Juan Valera in his <i>Cartas americanas (primera serie</i>, +p. 121 f.) says: "Of all the people of South America the Bogotanos +are the most devoted to letters, sciences and arts"; and +again: "In spite of the extraordinary ease with which verses +are made in Colombia, and although Colombia is a democratic +republic, her poetry is aristocratic, cultivated and ornate." +Blanco García characterizes Colombia as one of the most +Spanish of American countries.</p> + +<p>During the colonial period, however, Nueva Granada produced +few literary works. Gonzalo Jiménez de Quesada, the +<i>conquistador</i> of New Granada, wrote memoirs, entitled <i>Ratos +de Suesca</i> (1573?), of little historical value. The most important +work of the period is the chronicles in verse of Juan de +Castellanos (b. 1522? in the Spanish province of Seville). This +work is largely epic in character; and, with its 150,000 lines, +it is the longest poem in the Spanish language. Though for +the most part prosaic and inexact, yet it has some passages of +high poetic worth, and it throws much light on the lives of the +early colonists. The first three parts of the poem, under the +title of <i>Elegías de varones ilustres de Indias</i> (the first part only +was published in 1589), occupies all of vol. IV of the <i>Bibl. de +Aut. Esp.</i> The fourth part is contained in two volumes of the +<i>Colección de Escritores Castellanos</i>, under the title of <i>Historia +del Nuevo Reino de Granada</i>.</p> + +<p>In the seventeenth century the colonists were still too busy +with the conquest and settlement of the country to spare time <a id="p287l0" name="p287l0"></a><span class="pagenum">287</span> +for the cultivation of letters. A long epic poem, the <i>Poema +heroico de San Ignacio de Loyola</i>, with much Gongorism and +little merit, was published at Madrid in 1696, after the death +of the author, the Colombian Hernando Domínguez Camargo. +A few short lyrics by the same author also appeared in the +<i>Ramillete de varias flores poéticas</i> (Madrid, 1676) of Jacinto +Evia of Ecuador.</p> + +<p>Early in the eighteenth century Sor Francisca Josefa de la +Concepción, "Madre Castillo" (d. 1742), wrote an account of +her life and her <i>Sentimientos espirituales</i>, in which there is +much of the mysticism of Saint Theresa.</p> + +<p>About 1738 the printing-press was brought to Bogotá by +the Jesuits, and after this date there was an important intellectual +awakening. Many colleges and universities had already +been founded,—the first in 1554. The distinguished +Spanish botanist José Celestino Mutis, in 1762, took the chair +of mathematics and astronomy in the Colegio del Rosario, +and under him were trained many scientists, including Francisco +José de Caldas. An astronomical observatory was established, +the first in America. In 1777 a public library was +organized, and a theater in 1794. And of great influence was +the visit of Humboldt in 1801. Among the works published +in the second half of the eighteenth century mention should +be made of the <i>Lamentaciones de Pubén</i> by the canon José +María Grueso (1779-1835) and <i>El placer público de Santa +Fe</i> (Bogotá, 1804) by José María Salazar (1785-1828).</p> + +<p>During the revolutionary period two poets stand preeminent. +Dr. José Fernández Madrid (d. 1830) was a physician +and statesman, and for a short time president of the Republic. +His lyrics are largely the expression of admiration for Bolivar +and of hatred toward Spain: his verses are usually sonorous +and correct (<i>Poesías</i>, Havana, 1822; London, 1828). The +"Chénier" of Colombia was Luis Vargas Tejada (1802-1829), +the author of patriotic verses, some of which were directed <a id="p288l0" name="p288l0"></a><span class="pagenum">288</span> +against Bolivar, and of neo-classic tragedies. He died by +drowning at the age of twenty-seven (<i>Poesías</i>, Bogotá, 1855).</p> + +<p>The four most noted poets of Colombia are J.E. Caro, +Arboleda, Ortiz and Gutiérrez González. A forceful lyric +poet was José Eusebio Caro (1817-1853), a philosopher and +statesman, a man of moral greatness and a devout Christian. +In the bloody political struggles of his day he sacrificed his +estate and his life to his conception of right. He sang of God, +love, liberty and nature with exaltation; but all his writings +evince long meditation. Like many Spanish-American poets of +his day Caro was influenced by Byron. In his earlier verses +he had imitated the style of Quintana (cf. <i>El ciprés</i>); but later, +under the influence of romantic poets, he attempted to introduce +into Spanish prosody new metrical forms. Probably as +a result of reading English poetry, he wrote verses of 8 and +11 syllables with regular alternation of stressed and unstressed +syllables, which is rare in Spanish. So fond did he become of +lines with regular binary movement throughout that he recast +several of his earlier verses (<i>Obras escogidas</i>, Bogotá, 1873; +<i>Poesías</i>, Madrid, 1885).</p> + +<p>Julio Arboleda (1817-1861), "Don Julio," was one of the +most polished and inspired poets of Colombia. He was an +intimate friend of Caro and like him a journalist and politician. +He was a good representative of the chivalrous and +aristocratic type of Colombian writers of the first half of the +nineteenth century. His best work is the narrative poem +<i>Gonzalo de Oyón</i> which, though incomplete, is the noblest epic +poem that a native Spanish-American poet has yet given to +the world. After studying in Europe he engaged in journalism +and politics. He took part in several civil wars. A candidate +for the presidency of the Republic, he was assassinated +before election (<i>Poesías, colección formada sobre los manuscritos +originales, con prólogo por M.A. Caro</i>, New York, 1883).</p> + +<p>The educator and journalist José Joaquín Ortiz (1814-1892) <a id="p289l0" name="p289l0"></a><span class="pagenum">289</span> +imitated Quintana in form but not in ideas. Though +a defender of neo-classicism, he did not entirely reject romanticism. +Ortiz was an ultra-catholic, sincere and ascetic. +His verses are impetuous and grandiloquent, but often lacking +depth of thought (<i>Poesías</i>, Bogotá, 1880).</p> + +<p>The poet Gregorio Gutiérrez González, "Antioco" (1820-1872), +was a jurist and politician. He began as an imitator of +Espronceda and Zorrilla and is the author of several sentimental +poems (<i>Á Julia</i>, <i>¿Por qué no canto?</i> <i>Una lágrima</i>, <i>et +al.</i>) that are the delight of Colombian young ladies. His fame +will doubtless depend on the rustic Georgic poem, <i>Memoria +sobre el cultivo del maíz en Antioquia</i>. This work is an interesting +and remarkably poetic description of the homely life +and labors of the Antioquian country folk (<i>Poesías</i>, Bogotá, +1881; Paris, 1908).</p> + +<p>The minor poets of this generation are legion. Among +these are: Manuel María Madiedo (b. 1815), a sociologist; +Germán Gutiérrez de Piñeres (1816-1872), author of melancholy +verses; José María Rojas Garrido (1824-1883), a noted +orator, one-time president of Colombia; Joaquín Pablo Posada +(1825-1880), perhaps the most clever versifier of Spanish +America, but whose <i>décimas</i> were mostly written in quest of +money; Ricardo Carrasquilla (b. 1827), an educator and +author of genial verses; José Manuel Marroquín (b. 1827), a +poet and author of articles on customs and a foremost humorist +of South America (he was president when Colombia lost +Panama); José María Samper (b. 1828), a most voluminous +writer; Rafael Núñez (1825-1897), a philosopher and skeptic, +and one-time president of the Republic; Santiago Pérez (1830-1900), +educator, journalist and one-time president; José María +Vergara y Vergara (1831-1872), a Catholic poet and author of +a volume of sentimental verses (<i>Libro de los cantares</i>); Rafael +Pombo (1833-1912), an eminent classical scholar and literary +critic, and "perpetual secretary" of the Colombian Academy; <a id="p290l0" name="p290l0"></a><span class="pagenum">290</span> +Diego Fallón (b. 1834), son of an English father, and author +of several highly finished and beautiful poems; Pinzón Rico +(b. 1834), author of popular, romantic songs; César Conto (b. +1836), a jurist and educator; Jorge Isaacs (1837-1895), better +known as author of the novel <i>María</i>; and Felipe Pérez (b. +1834).</p> + +<p>In the second half of the nineteenth century, the most +eminent man of letters in Colombia has been Miguel Antonio +Caro (1843-1909), a son of J.E. Caro. A neo-Catholic and +"traditionalist," a learned literary critic and a poet, the +younger Caro, like Bello before him and like his distinguished +contemporary Rufino José Cuervo, has worked for purity of +diction and classical ideals in literature. Caro is also the +translator of several classic works, including one of Virgil +which is recognized as the best in Spanish.</p> + +<p>Other poets of the closing years of the century are: Diógenes +Arrieta (b. 1848), a journalist and educator; Ignacio Gutiérrez +Ponce (1850), a physician; Antonio Gómez Restrepo (b. 1856), +a lawyer and politician; José María Garavito A. (b. 1860); +José Rivas Groot (b. 1864), an educator and literary critic, +and editor of <i>La lira nueva</i>; Joaquín González Camargo +(b. 1865), a physician; Agripina Montes del Valle (b. about +the middle of the nineteenth century) noted for her ode to +the Tequendama waterfall, and Justo Pastor Ríos (1870-), +a philosophic poet and liberal journalist.</p> + +<p>The "modernista" poet José Asunción Silva (1860-1896) +was a sweet singer, but he brought no message. He was fond +of odd forms, such as lines of 8+8, 8+8+8 and 8+8+4 syllables +(<i>Poesías, con Prólogo de Miguelde Unamuno</i>, Barcelona, +1908).</p> + +<blockquote><p> +References: Cf.: Menéndez y Pelayo, <i>Ant. Poetas Hisp.-Amer.</i>, III, +p. 1 f.; Blanco García, III, 332 f.; Juan Valera, <i>Cartas Am., primera serie</i>, +p. 121 f.; <i>Historia de la literatura (1538-1820) en Nueva Granada</i>, José +María Vergara y Vergara, Bogotá, 1867; <i>Apuntes sobre bibliografía colombiana, <a id="p291l0" name="p291l0"></a><span class="pagenum">291</span> +con muestras escogidas en prosa y verso</i>, Isidoro Laverde Amaya, +Bogotá, 1882; <i>Parnaso colombiano</i>, J.M. Vergara y Vergara, 3 vols.; +<i>La lira granadina</i>, J.M. Vergara y Vergara, Bogotá, 1865; <i>Parnaso +colombiano</i>, Julio Áñez, <i>con Prólogo de José Rivas Groot</i>, 2 vols., Bogotá, +1886-87; <i>La lira nueva</i>, J.M. Rivas Groot, Bogotá, 1886; <i>Antología +colombiana,</i> Emiliano Isaza, Paris, 1895. +</p></blockquote> + +<p>Ortiz: see preceding note.</p> + +<p><b>Colombia y España</b>: In this poem, dated July 20, 1882, +the poet begins by recalling the war of independence that +he witnessed as a boy and the heroic figure of Bolivar; then +he laments the fratricidal struggles that rent the older and +larger Colombia; and, finally, in the verses that are here +given, he rejoices over the friendly treaty just made by the +mother country, Spain, and Colombia, her daughter.</p> + +<p><a href="#p162l5">8.</a> The colors of the Colombian flag are yellow, blue and +red.</p> + +<p><a href="#p162l5">9.</a> The colors of the Spanish flag are red and yellow. On +the Spanish arms two castles (for <i>Castilla</i>) and two lions (for +<i>León</i>) are pictured.</p> + +<p><a href="#p164l0"><b>164.</b></a>—J.E. Caro: see note to p. 162.</p> + +<p><a href="#p167l0"><b>167.</b></a>—Marroquin: see note to p. 162.</p> + +<p><a href="#p167l0"><b>Los cazadores y la perrilla</b>:</a> compare with Goldsmith's +"Elegy on the Death of a Mad Dog."</p> + +<p><a href="#p168l5"><b>168.</b>—7.</a> <b>Moratín</b>: see note to p. 26. <i>La caza</i> is in <i>Bibl. +de Aut. Esp.</i>, II, 49 f.</p> + +<p><a href="#p169l15"><b>169.</b>—16.</a> <b>describilla</b>, archaic or poetic for <i>describirla</i>.</p> + +<p><a href="#p171l0"><b>171.</b></a>—M.A. Caro: see note to p. 162.</p> + +<p><a href="#p174l10"><b>174.</b>—14-16.</a> <b>sombría... alcanzarán</b> = <i>(siendo la Eternidad) +sombría y eterna, ni el odio ni el amor, ni la fe ni la duda, +alcanzarán nada en sus abismos</i>.</p> + +<p><a href="#p179l0"><b>179.</b></a>—<b>Cuba.</b> Although the literary output of Cuba is +greater than that of some other Spanish-American countries, +yet during the colonial period there was in Cuba a dearth of +both prose and verse. The Colegio Semanario de San Carlos <a id="p292l0" name="p292l0"></a><span class="pagenum">292</span> +y San Ambrosio was founded in 1689 as a theological seminary +and was reorganized with lay instruction in 1769. The University +of Havana was established by a papal bull in 1721 +and received royal sanction in 1728; but for many years it +gave instruction only in theological subjects. The first book +printed in Cuba dates from 1720. Not till the second half of +the eighteenth century did poets of merit appear in the island. +Manuel de Zequeira y Arango (1760-1846) wrote chiefly +heroic odes (<i>Poesías</i>, N.Y., 1829; Havana, 1852). Inferior to +Zequeira was Manuel Justo de Rubalcava (1769-1805), the +author of bucolic poems and sonnets (<i>Poesías</i>, Santiago de +Cuba, 1848).</p> + +<p>The Cuban poet Don José María Heredia (1803-1839) is +better known in Europe and in the United States than Bello +and Olmedo, since his poems are universal in their appeal. +He is especially well known in the United States, where he +lived in exile for over two years (1823-1825), at first in Boston +and later in New York, and wrote his famous ode to Niagara. +Born in Cuba, he studied in Santo Domingo and in +Caracas (1812-1817), as well as in his native island. Accused +of conspiracy against the Spanish government, he fled to the +United States in 1823, and there eked out a precarious existence +by giving private lessons. In 1825 he went to Mexico, +where he was well received and where he held several important +posts, including those of member of Congress and +judge of the superior court. In Heredia's biography two facts +should be stressed: that he studied for five years in Caracas, +the city that produced Bolivar and Bello, respectively the +greatest general and the greatest scholar of Spanish America; +and that he spent only twelve years, all told, in Cuba. As +he lived for fourteen years in Mexico, that country also claims +him as her own, while Caracas points to him with pride as +another child of her older educational system.</p> + +<p>Heredia was most unhappy in the United States. He admired <a id="p293l0" name="p293l0"></a><span class="pagenum">293</span> + the political institutions of this country; but he disliked +the climate of New York, and he despaired of learning English. +Unlike Bello and Olmedo he was not a classical scholar. His +acquaintance with the Latin poets was limited, and seldom +does a Virgilian or Horatian expression occur in his verses. +Rather did he stand for the manner of Chateaubriand in +France and Cienfuegos in Spain. Though strictly speaking +not a romantic poet, he was a close precursor of that movement. +His language is not seldom incorrect or lacking in +sobriety and restraint; but his numbers are musical and his +thought springs directly from imaginative exaltation.</p> + +<p>Heredia's poorest verses are doubtless his early love-songs: +his best are those in which the contemplation of nature leads +the poet to meditation on human existence, as in <i>Niágara</i>, <i>El +Teocalli de Cholula</i>, <i>En una tempestad</i> and <i>Al sol</i>. In these +poems the predominant note is that of gentle melancholy. In +Cuba his best known verses are the two patriotic hymns: +<i>Á Emilia</i> and <i>El himno del desterrado</i>. These were written +before the poet was disillusioned by his later experiences in +the turbulent Mexico of the second and third decades of the +nineteenth century, and they are so virulent in their expression +of hatred of Spain that Menéndez y Pelayo refused to +include them in his <i>Anthology</i>. Heredia undertook to write +several plays, but without success. Some translations of +dramatic works, however, were well received, and especially +those of Ducis' <i>Abufar</i>, Chénier's <i>Tibère</i>, Jouy's <i>Sila</i>, Voltaire's +<i>Mahomet</i> and Alfieri's <i>Saul</i>. The Garnier edition +(Paris, 1893) of Heredia's <i>Poesías</i> contains an interesting +introduction by the critic Elías Zerolo (<i>Poesías</i>, N.Y., 1825; +Toluca, 1832; N.Y., 1875; Paris, 1893).</p> + +<p>The mulatto poet Gabriel de la Concepción Valdés, better +known by his pen-name "Plácido" (1809-1844), an +uncultivated comb-maker, wrote verses which were mostly +commonplace and often incorrect; but some evince remarkable <a id="p294l0" name="p294l0"></a><span class="pagenum">294</span> +sublimity and dignity (cf. <i>Plegaria á Dios</i>). Cf. <i>Poesías</i>, +Matanzas, 1838; Matanzas, 1842; Veracruz, 1845; Paris, 1857; +Havana, 1886. The greatest Cuban poetess, and perhaps +the most eminent poetess who has written in the Castilian +language, is Gertrudis Gómez de Avellaneda y Arteaga (1814-1873). +Since Avellaneda spent most of her life in Spain, an +account of her life and work is given in the <i>Introduction</i> to +this volume, p. xxxviii. Next only to Heredia, the most popular +Cuban poet is José Jacinto Milanés y Fuentes (1814-1863), +who gave in simple verse vivid descriptions of local landscapes +and customs. A resigned and touching sadness characterizes +his best verse (<i>Obras</i>, 4 vols., Havana, 1846; N.Y., 1865).</p> + +<p>A lawyer, educator and patriot, Rafael María Mendive y +Daumy (1821-1886) wrote musical verse in which there is +spontaneity and true poetic feeling (<i>Pasionarias</i>, Havana, +1847; <i>Poesías</i>, Madrid, 1860; Havana, 1883). Joaquín Lorenzo +Luaces (1826-1867) was more learned than most Cuban poets +and fond of philosophizing. Some of his verse has force and +gives evidence of careful study; but much is too pedantic to +be popular (<i>Poesías</i>, Havana, 1857). A poet of sorrow, Juan +Clemente Zenea,—"Adolfo de la Azucena" (1832-1871),—wrote +verses that are marked by tender melancholy (<i>Poesías</i>, +Havana, 1855; N.Y., 1872, 1874).</p> + +<p>Heredia was not the only Cuban poet to suffer persecution. +Of the seven leading Cuban poets, often spoken of as "the +Cuban Pleiad," Avellaneda removed to Spain, where she married +and spent her life in tranquillity; and Joaquín Luaces +avoided trouble by living in retirement and veiling his patriotic +songs with mythological names. On the other hand +José Jacinto Milanés lost his reason at the early age of thirty +years, José María Heredia and Rafael Mendive fled the country +and lived in exile; while Gabriel Valdés and Juan Clemente +Zenea were shot by order of the governor-general.</p> + +<p>Since the disappearance of the "Pleiad," the most popular <a id="p295l0" name="p295l0"></a><span class="pagenum">295</span> +Cuban poets have been Julián del Casal, a skeptic and a +Parnassian poet who wrote pleasing but empty verses (<i>Hojas +al viento</i>, <i>Nieve</i>, <i>Bustos y Rimas</i>); and Francisco Sellén, whose +philosophy is to conceal suffering and to put one's hand to +the plow again (<i>Libro íntimo</i>, Havana, 1865; <i>Poesías</i>, N.Y., +1890). José Martí (1853-1895) spent most of his life in exile; +but he returned to Cuba and died in battle against the Spanish +forces. He wrote excellent prose, but few verses (<i>Flor y lava</i>, +Paris, 1910(?)).</p> + +<blockquote><p> +References: Menéndez y Pelayo, <i>Ant. Poetas Hisp.-Am.</i>, II, p. 1 f.; +Blanco García, III, p. 290 f.; E.C. Hills, <i>Bardos cubanos</i> (contains a +bibliography), Boston, 1901; Aurelio Mitjans, <i>Estudio sobre el movimiento +científico y literario en Cuba</i>, Havana, 1890; Bachiller y Morales, <i>Apuntes +para la historia de las letras y de la instrucción pública de la Isla de Cuba</i>, +Havana, 1859; <i>La poesía lírica en Cuba</i>, M. González del Valle, Barcelona, +1900; <i>Cuba poética</i>, Havana, 1858; <i>Parnaso cubano</i>, Havana, +1881. +</p></blockquote> + +<p>Heredia: see preceding note.</p> + +<p><a href="#p179l5">5.</a> This is quite true. On the coast of central and southern +Mexico the climate is tropical; on the central plateau it is +temperate; and on the mountain slopes, as at the foot of +Popocatepetl, it is frigid.</p> + +<p><a href="#p179l10">13-14.</a> <b>Iztaccíhual</b> and <b>Popocatepec</b> are the popular names +of these mountains, but their official names are <i>Iztaccíhuatel</i> +and <i>Popocatépetel</i>. These words are of Nahuatlan origin: see +in <i>Vocab</i>.</p> + +<p><a href="#p179l15">16—18.</a> <b>do... teñirse</b> = <i>donde el indio ledo los mira teñirse +en púrpura ligera y oro</i>.</p> + +<p><a href="#p181l0"><b>181</b>.—3.</a> This poem was written in the fourth decade of +the nineteenth century, when Mexico was torn by civil war. +There was peace only when some military leader assumed despotic +power.</p> + +<p><a href="#p181l20">21.</a> Note that the moon set behind <b>Popocatepec</b>, a little to +the south of west from Cholula, while the sun sank behind <a id="p296l0" name="p296l0"></a><span class="pagenum">296</span> +<b>Iztaccíhual</b>, a little to the north of west from the city. This +might well occur in summer.</p> + +<p><a href="#p182l10"><b>182.</b>—14.</a> <b>Fueron</b> (lit. <i>they were</i>), <i>they are no more</i>. In +this Latinism the preterit denotes that a thing or condition +that once existed no longer exists. Cf. <i>fuit Ilium</i> (<i>Æneid</i>, II, +325), "Troy is no more."</p> + +<p><a href="#p186l0"><b>186.</b>—4-5.</a> <b>Que... seguir</b> = <i>que, en su vuelo, la turbada +vista quiere en vano seguir</i>.</p> + +<p><a href="#p190l0"><b>190.</b></a>—"Plácido": see note to p. 179.</p> + +<p><a href="#p190l0"><b>Plegaria á Dios</b></a>: this beautiful prayer was written a few +days before the poet's death. It is said that "Plácido" +recited aloud the last stanza on his way to the place of execution, +and that he slipped to a friend in the crowd a scrap of +cloth on which the prayer was written.</p> + +<p><a href="#p191l0"><b>191.</b>—4</a>. <b>del... transparencia</b> = <i>á</i> (in) <i>la clara transparencia +del aire</i>.</p> + +<p>Avellaneda: see <a href="#pxxxviiil0"><i>Introduction</i></a>, p. xxxviii.</p> + +<p><a href="#p191l15">19.</a> <b>No... modelo</b> = <i>(la historia) no [dió] modelo á tu virtud +en lo pasado</i>.</p> + +<p><a href="#p191l20">21.</a> <b>otra</b> = <i>otra copia</i>.</p> + +<p><a href="#p192l0"><b>192.</b>—1-2.</a> <b>Miró... victoria</b> = <i>la Europa miró al genio de +la guerra y la victoria ensangrentar su suelo</i>. The <b>genio</b> was +Napoleon Bonaparte.</p> + +<p><a href="#p192l0">4.</a> <b>Al... cielo</b> = <i>el cielo le diera al genio del bien</i>. Note that +<b>le</b> is dative and <b>al genio</b> accusative. This otherwise admirable +sonnet is marred by the numerous inversions of the word-order.</p> + +<p><a href="#p193l0"><b>193.</b></a>—<b>Ecuador</b> is a relatively small and mountainous +country, lying, as the name implies, directly on the equator. +The two principal cities are Guayaquil, a port on the Pacific +coast, and Quito, the capital. Quito is beautifully situated +on a plateau 9300 feet above the level of the sea. The +climate is mild and salubrious, and drier than at Bogotá. +The early Spanish colonists repeatedly wrote of the beautiful +scenery and the "eternal spring" of Quito.</p> + +<p><a id="p297l0" name="p297l0"></a><span class="pagenum">297</span></p> + +<p>All of the present Ecuador belonged to the Virreinato del +Perú till 1721, after which date Quito and the contiguous territory +were governed from Bogotá. In 1824 Guayaquil and +southern Ecuador were forcibly annexed to the first Colombia +by Bolivar. Six years later Ecuador separated from Colombia +and organized as a separate state.</p> + +<p>In the territory now known as Ecuador the first colleges +were established about the middle of the sixteenth century, +by the Franciscans, for the natives, and by the Jesuits, as +elsewhere in America, for the sons of Spaniards. Several +chronicles by priests and other explorers were written during +the early years of the colonial period; but no poet appears +before the seventeenth century. In 1675 the Jesuit Jacinto +de Evia published at Madrid his <i>Ramillete de varias flores +poéticas</i> which contains, beside those by Evia, verses by Antonio +Bastidas, a Jesuit teacher, and by Hernando Domínguez +Camargo, a Colombian. The verses are mediocre or worse, +and, as the date would imply, are imbued with culteranism.</p> + +<p>The best verses of the eighteenth century were collected by +the priest Juan de Velasco (1727-1819) and published in six +volumes under the title of <i>El ocioso de Faenza</i>. These volumes +contain poems by Bautista Aguirre of Guayaquil, José Orozco +(<i>La conquista de Menorca</i>, an epic poem in four cantos), +Ramón Viescas (sonnets, <i>romances</i>, <i>décimas</i>, etc.) and others, +most of whom were Jesuits.</p> + +<p>The expulsion of the Jesuits in 1767 caused the closure of +several colleges in Ecuador, and for a time seriously hampered +the work of classical education. But even before the edict of +expulsion scientific study had been stimulated by the coming +of French and Spanish scholars to measure a degree of the +earth's surface at the equator. The coming of Humboldt in +1801 still further encouraged inquiry and research. The new +spirit was given concrete expression by Dr. Francisco Eugenio +de Santa Cruz y Espejo, a physician of native descent, in <a id="p298l0" name="p298l0"></a><span class="pagenum">298</span> +<i>El nuevo Luciano</i>, a work famous in the literary and the political +history of South America. In this work Dr. Espejo attacked +the prevailing educational and economic systems of the +colonies, and his doctrine did much to start the movement +toward secession from the mother country.</p> + +<p>Although the poetry of Ecuador is of relatively little importance +as compared with that of several other American countries, +yet Ecuador gave to the world one of the greatest +of American poets, José Joaquín de Olmedo. In the Americas +that speak Castilian, Olmedo has only two peers among the +classic poets, the Venezuelan Bello and the Cuban Heredia. +Olmedo was born in Guayaquil in 1780, when that city still +formed part of the Virreinato del Perú. Consequently, two +countries claim him,—Peru, because he was born a Peruvian, +and because, furthermore, he received his education at the +Universidad de San Marcos in Lima; and Ecuador, since +Guayaquil became permanently a part of that republic, and +Olmedo identified himself with the social and political life +of that country. In any case, Olmedo, as a poetic genius, +looms suddenly on the horizon of Guayaquil, and for a time +after his departure there was not only no one to take his place, +but there were few followers of note.</p> + +<p>Olmedo ranks as one of the great poetic artists of Spanish +literature at the beginning of the nineteenth century. He is +of the same semi-classic school as Quintana, and like him devoted +to artistic excellence and lyric grandiloquence. The +poems of Olmedo are few in number for so skilled an artist, +and thoroughly imbued with the Græco-Latin classical spirit. +His prosody nears perfection; but is marred by an occasional +abuse of verbal endings in rime, and the inadvertent employment +of assonance where there should be none, a fault common +to most of the earlier Spanish-American poets. Olmedo's +greatest poem is <i>La victoria de Junín</i>, which is filled with +sweet-sounding phrases and beautiful images, but is logically <a id="p299l0" name="p299l0"></a><span class="pagenum">299</span> +inconsistent and improbable. Even Bolivar, the "Libertador," +censured Olmedo in a letter for using the <i>machina</i> of the appearance +at night before the combined Colombian and Peruvian +armies of Huaina-Capac the Inca, "showing himself to +be a talkative mischief-maker where he should have been +lighter than ether, since he comes from heaven," and instead +of desiring the restoration of the Inca dynasty, preferring +"strange intruders who, though avengers of his blood, are +descendants of those who destroyed his empire."</p> + +<p>The <i>Canto al general Flores</i> is considered by some critics to +be the poet's most finished work, though of less substance +and inspiration than <i>La victoria de Junín</i>. This General +Flores was a successful revolutionary leader during the early +days of the Republic; and he was later as bitterly assailed by +Olmedo as he is here praised. Of a different type is the philosophic +poem, <i>Á un amigo en el nacimiento de su primogénito</i>, +which is filled with sincere sympathy and deep meditation as +to the future. With the coming of middle age Olmedo's +poetic vein had apparently been exhausted, and the Peruvian +bard Felipe Pardo addressed to him an ode in which he +sought, though to no avail, to stimulate the older poet to +renewed activity (<i>Poesías</i>, Valparaíso, 1848, Paris, 1853; +<i>Poesías inéditas</i>, Lima, 1861).</p> + +<p>For a time after Olmedo's muse had become mute, little +verse of merit was produced in Ecuador. Gabriel García +Moreno (1821-1875), once president of the Republic and a +champion of Catholicism, wrote a few strong satires in the +style of Jovellanos. Dolores Veintemilla de Galindo (1831-1857), +who committed suicide on account of domestic infelicity, +left a short poem, <i>Quejas</i>, which is unique in the older +Spanish-American literature by reason of its frank confession +of feeling. The reflexive and didactic poet Numa P. Llona +(1832-___) was the author of passionate outpourings of +doubt and despair after the fashion of Byron and Leopardi <a id="p300l0" name="p300l0"></a><span class="pagenum">300</span> +(<i>Poesías</i>, Paris, 1870; <i>Cantos americanos</i>, Paris, 1866; <i>Cien +sonetos</i>, Quito, 1881). The gentle, melancholy bard, Julio +Zalumbide (1833-1887), at first a skeptic and afterwards a +devout believer in Christianity, wrote musical verse in correct +language but of little force. Juan León Mera (1832-1894) was +one of the most prominent literary historians and critics of +the Republic. Besides his <i>Poesías</i> (2d ed., Barcelona, 1893), +León Mera left a popular novel, <i>Cumandá</i> (Quito, 1876; Madrid, +1891), an <i>Ojeada histórico-crítica sobre la poesía ecuatoriana</i> +(2d ed., Barcelona, 1893), and a volume of <i>Cantares del +Pueblo</i> (Quito, 1892), published by the Academia del Ecuador, +which contains, in addition to many semi-popular songs +in Castilian, a few in the Quichua language.</p> + +<p>A younger generation that has already done some good +work in poetry includes Vicente Pedrahita, Luis Cordero, +Quintiliano Sánchez and Remigio Crespo y Toral.</p> + +<blockquote> +<p>References: Men. Pel., <i>Ant. Poetas Hisp.-Amer.</i>, III, p. lxxxiii f.; +Blanco García, III, 350 f.; <i>Ensayo sobre la literatura ecuatoriana</i>, +Dr. Pablo Herrera, Quito, 1860; <i>Ojeada histórico-crítica sobre la poesía +ecuatoriana</i>, Juan León Mera, Quito, 1868, 2d ed., Barcelona, 1893; +<i>Escritores españoles é hispano-americanos</i>, Cañete, Madrid, 1884; <i>Lira +ecuatoriana</i>, Vicente Emilio Molestina, Guayaquil, 1865; <i>Nueva lira +ecuat.</i>, Juan Abel Echeverría, Quito, 1879; <i>Parnaso ecuat.</i>, Manuel +Gallegos Naranjo, Quito, 1879; <i>América poética</i>, Juan María Gutiérrez, +Valparaíso, 1846 (the best of the early anthologies: contains a few +poems by Olmedo); <i>Antología ecuat.</i>, published by the Academy of Ecuador, +with a second volume entitled <i>Cantares del pueblo ecuat.</i> (Edited by +Juan León Mera), both Quito, 1892.</p></blockquote> + + +<p><b>Peru.</b> The literature of Ecuador is so closely associated +with that of Peru, that the one cannot be properly treated +without some account of the other. The Virreinato del Perú +was the wealthiest and most cultivated Spanish colony in +South America, and in North America only Mexico rivaled it +in influence. Lima, an attractive city, thoroughly Andalusian <a id="p301l0" name="p301l0"></a><span class="pagenum">301</span> +in character and appearance, was the site of important institutions +of learning, such as the famed Universidad de San +Marcos. It had, moreover, a printing-press toward the close +of the sixteenth century, a public theater by 1602, and a +gazette by the end of the seventeenth century. The spread +of learning in colonial Peru may be illustrated by the fact +that the Jesuits alone, at the time of their expulsion in +1767, had twelve colleges and universities in Peru, the +oldest of which dated from the middle of the sixteenth +century and offered courses in philosophy, law, medicine +and theology.</p> + +<p>The Peruvians seem to have been content with their lot as +a favored Spanish colony, and they declared for independence +only when incited to do so and aided by Bolivar of Colombia +and San Martin of Buenos Aires. After the revolution, Peru +was torn by internal discord rather more than other Spanish-American +countries during the period of adolescence; and it +was its misfortune to lose territory after territory. Bolivar +took northern Peru, including the valuable seaport of Guayaquil, +and made it a part of the first Colombia; and largely +through the influence of Bolivar much of Upper Peru was made +a separate republic, that of Bolivia. Lastly, Chile, for centuries +a dependency of Peru, became independent and even wrested a +considerable stretch of the litoral from her former mistress. +It is hard to realize that Peru, to-day relatively weak among +the American countries, was once the heart of a vast Inca +empire and later the colony whose governors ruled the territories +of Argentina and Chile to the south, and of Ecuador and +Colombia to the north. With the decline of wealth and political +influence there has come to Peru a decadence in letters. +Lima is still a center of cultivation, a city in which the Castilian +language and Spanish customs have been preserved +with remarkable fidelity; but its importance is completely +eclipsed by such growing commercial centers as Buenos Aires, <a id="p302l0" name="p302l0"></a><span class="pagenum">302</span> +Montevideo and Santiago de Chile, and by relatively small +and conservative towns such as Bogotá.</p> + +<p>In the sixteenth century Garcilasso Inga de la Vega (his +mother was an "Inga," or Inca, princess), who had been well +trained in the Latin classics by Spanish priests, wrote in +excellent prose his famous works, <i>Florida del Inca</i>, <i>Comentarios +reales</i> and <i>Historia general del Perú</i>. The second work, +partly historical and largely imaginary, purports to be a +history of the ancient Incas, and pictures the old Peru as an +earthly paradise. This work has had great influence over +Peruvian and Colombian poets. Menéndez y Pelayo (<i>Ant. +Poetas Hisp.-Amer.</i>, III, <i>Introd.</i>) considers Garcilasso, or +Garcilaso, and Alarcón the two truly classic writers that +America has given to Spanish literature.</p> + +<p>In the Golden Age of Spanish letters several Peruvian poets +were known to Spaniards. Cervantes, in the <i>Canto de Calíope</i> +and Lope de Vega in the <i>Laurel del Apolo</i> make mention of +several Peruvians who had distinguished themselves by their +verses.</p> + +<p>An unknown poetess of Huanuco, Peru, who signed herself +"Amarilis," wrote a clever <i>silva</i> in praise of Lope, which the +latter answered in the epistle <i>Belardo á Amarilis</i>. This <i>silva</i> +of "Amarilis" is the best poetic composition of the early colonial +period. Another poetess of the period, also anonymous, +wrote in <i>terza rima</i> a <i>Discurso en loor de la poesía</i>, which +mentions by name most of the Peruvian poets then living.</p> + +<p>Toward the close of the sixteenth century and in the early +decades of the seventeenth century, several Spanish scholars, +mostly Andalusians of the Sevillan school, went to Peru, and +there continued literary work. Among these were Diego +Mexía, who made the happiest of Spanish translations of +Ovid's <i>Heroides</i>; Diego de Ojeda, the best of Spanish sacred-epic +poets, author of the <i>Cristiada</i>; Juan Gálvez; Luis de +Belmonte, author of <i>La Hispálica</i>; Diego de Avalos y Figueroa <a id="p303l0" name="p303l0"></a><span class="pagenum">303</span> +whose <i>Miscelánea austral</i> (Lima, 1603) contains a long poem +in <i>ottava rima</i> entitled <i>Defensa de damas</i>; and others. These +men exerted great influence, and to them was largely due the +peculiarly Andalusian flavor of Peruvian poetry.</p> + +<p>The best Gongoristic <i>Poetics</i> came from Peru. This is the +<i>Apologético en favor de D. Luis de Góngora</i> (Lima, 1694), by +Dr. Juan de Espinosa Medrano.</p> + +<p>In the eighteenth century the poetic compositions of Peru +were chiefly "<i>versos de circunstancias</i>" by "<i>poetas de ocasión</i>." +Many volumes of these were published, but no one reads them +to-day. Their greatest fault is excessive culteranism, which +survived in the colonies a half-century after it had passed +away from the mother country. The most learned man of the +eighteenth century in Peru was Pedro de Peralta Barnuevo, +the erudite author of some fifty volumes of history, science +and letters. His best known poem is the epic <i>Lima fundada</i> +(Lima, 1732). He wrote several dramas, one of which, <i>Rodoguna</i>, +is Corneille's play adapted to the Spanish stage, and +has the distinction of being one of the first imitations of the +French stage in Spanish letters. All in all, the literary output +of Peru during the seventeenth and eighteenth centuries is +disappointingly small in quantity and poor in quality, in view +of the important position held by this flourishing colony. The +Peruvian writers, then and now, lack in sustained effort.</p> + +<p>During and immediately following the revolutionary period, +the greatest poet is Olmedo, who was born and educated in +Peru and became a citizen first of the primitive Colombia +and then of Ecuador, only as his native city, Guayaquil, +formed a part of one political division after another. It is +customary, however, to consider Olmedo a poet of Ecuador, +and it is so done in this volume.</p> + +<p>After Olmedo, the commanding figure among the classical +poets of Peru is Felipe Pardo y Aliaga (1806-1868). Pardo +was educated in Spain, where he studied with Alberto Lista. <a id="p304l0" name="p304l0"></a><span class="pagenum">304</span> +From his teacher he acquired a fondness for classical studies +and a conservatism in letters that he retained throughout his +life. In his later years he was induced to adopt some of the +metrical forms invented or revived by the romanticists, but +in spirit he remained a conservative and a classicist. He had +a keen sense of wit and a lively imagination which made even +his political satires interesting reading. Besides his <i>Poesías y +escritos en prosa</i> (Paris, 1869), Pardo left a number of comedies +portraying local types and scenes which are clever attempts +at imitation of Spanish drama. As with all the earlier +poets of Spanish America, literature was only a side-play to +Pardo, although it probably took his time and attention even +more than the law, which was his profession. A younger +brother, José (1820-1873), wrote a few short poems, but his +verses are relatively limited and amateurish. Manuel Ascensión +Segura (1805-1871) wrote clever farces filled with descriptions +of local customs, somewhat after the type of the modern +<i>género chico</i> (<i>Artículos, poesías y comedias</i>, Lima, 1866).</p> + +<p>The romantic movement came directly from Spain to Peru +and obtained a foothold only well on toward the close of the +first half of the century. The leader of the Bohemian romanticists +of Lima was a Spaniard from Santander, Fernando +Velarde. Around him clustered a group of young men who +imitated Espronceda and Zorrilla and Velarde with great enthusiasm. +For an account of the "Bohemians" of the fourth +and fifth decades in Lima [Numa Pompilio Llona (b. 1832), +Nicolás Corpancho (1830-1863), Luis Benjamín Cisneros +(b. 1837), Carlos Augusto Salaverry (1830-1891), Manuel +Ascensión Segura (b. 1805), Clemente Althaus (1835-1881), +Adolfo García (1830-1883), Constantino Carrasco (1841-1877) +and others, see the introduction to the <i>Poesías</i> (Lima, 1887) +of Ricardo Palma (1833-___: till 1912 director of the national +library of Peru).]</p> + +<p>Not often could the romanticists of America go back to <a id="p305l0" name="p305l0"></a><span class="pagenum">305</span> +indigenous legend for inspiration as their Spanish cousins so +often did; but this Constantino Carrasco undertook to do in +his translation of the famous Quichua drama, <i>Ollanta</i>. It was +long claimed, and many still believe, that this is an ancient +indigenous play; but to-day the more thoughtful critics are +inclined to consider it an imitation of the Spanish classical +drama, perhaps written in the Quichua language by some +Spanish priest (Valdés?). The 8-syllable lines, the rime-scheme +and the spirit of the play all suggest Spanish influence. +In parenthesis it should be added that Quichua +verse is still cultivated artificially in Peru and Ecuador.</p> + +<p>The two men of that generation who have most distinguished +themselves are Pedro Paz-Soldán y Unanue, "Juan de Arona" +(1839-1894), a poet of satire and humor; and Ricardo Palma +(1833-___) a leading scholar and literary critic, best known +for his prose <i>Tradiciones peruanas</i> (Lima, 1875 and 1899).</p> + +<p>The strongest representative of the present-day "<i>modernistas</i>" +in Peru is José Santos Chocano (1867-___), a disciple +of Darío. Chocano writes with much grandiloquence. His +many sonnets are mostly prosaic, but some are finished and +musical (cf. <i>La magnolia</i>). He is more Christian (cf. <i>Evangeleida</i>) +than most of his contemporaries, and he sings of the +<i>conquistadores</i> with true admiration [cf. <i>En la aldea</i>, Lima, +1895; <i>Iras santas</i>, Lima, 1895; <i>Alma América</i> (<i>Prólogo</i> de +Miguel de Unamuno), Madrid, 1906; <i>La selva virgen</i>, Paris, +1901; <i>Fiat lux</i>, Paris, 1908].</p> + +<p>A younger man is Edilberto Zegarra Ballón of Arequipa +(1880-___), author of <i>Vibraciones, Poemas, el al.</i> His verse +is simpler and less rugged than that of the more virile +Chocano.</p> + +<blockquote><p> +References: Men. Pel., <i>Ant. Poetas Hisp.-Amer.</i>, III, p. cxlix f.; +Blanco García, III, 362 f.; <i>Diccionario histórico y biográfico del Perú, +formado y redactado por Manuel de Mendíburu</i>, 9 vols., Lima, 1874-80; +<i>Colección de documentos literarios del Perú</i>, 11 vols., Manuel de Odriozola, <a id="p306l0" name="p306l0"></a><span class="pagenum">306</span> +Lima, 1863-74; <i>América poética</i>, Juan María Gutiérrez, Valparaíso, +1846; <i>Parnaso peruano</i>, J.D. Cortés, Paris, 1875; <i>La Bohemia limeña +de 1848 á 1860, Prólogo de Poesías de Ricardo Palma</i>, Lima, 1887; <i>Lira +americana,</i> Ricardo Palma, Paris, 1865. +</p></blockquote> + +<p><a href="#p193l0"><b>193.</b></a>—Olmedo: see preceding note.</p> + +<p><a href="#p193l5">8.</a> <b>Á</b>, <i>with</i>.</p> + +<p><a href="#p194l15"><b>194.</b>—15-17.</a> The following is a translation of a note to +these lines which is given in <i>Poesías de Olmedo</i>, Garnier Hermanos, +Paris, 1896: "Physicists have attempted to explain the +equilibrium that is maintained by the earth in spite of the +difference of mass in its two hemispheres" (northern and +southern). "May not the enormous weight of the Andes be +one of the data with which this curious problem of physical +geography can be solved?"</p> + +<p><a href="#p195l0"><b>195.</b>—4.</a> The religion of the ancient Peruvians, before they +were converted to Christianity by the Spaniards, was based +on the worship of the sun. The chief temple of the sun was +at Cuzco.</p> + +<p><a href="#p195l25">25.</a> Bolivar was a native of Caracas, Venezuela; but, when +this poem was written, Colombia comprised most of the present +States of Venezuela, Colombia, Panama and Ecuador. +Moreover, Colombia is probably used somewhat figuratively +by the poet to designate the "land of Columbus."</p> + +<p><a href="#p195l25">26.</a> The Peruvians and the Colombians were allies. It is +an interesting fact that in the war for independence waged +by the Spanish Americans against Spain, the leaders of the +Americans were nearly all of Spanish descent, while the majority +of the rank and file of the American soldiery was Indian. +To this day, a majority of the population of Spanish +America, excepting only Chile, Argentina and the West +Indian Islands, is indigenous, and their poets still sing of "indigenous +America," but they sing in the Spanish tongue! See +p. 211, l. 7.</p> + +<p><a id="p307l0" name="p307l0"></a><span class="pagenum">307</span></p> + +<p><a href="#p196l20"><b>196.</b>—21.</a> See note to p. 162, l. 8. The Peruvian flag has +an image of the <i>sun</i> in its center.</p> + +<p><a href="#p196l20">23.</a> It is reported that the first onslaught of the Spanish-American +cavalry failed, partly by reason of their impetuousness, +and that they would probably have been defeated if +Bolivar had not rallied them and led them on to victory.</p> + +<p><a href="#p198l10"><b>198.</b>—10.</a> The battle of Junin began at about five o'clock in +the afternoon, and it is said that only night saved the Spaniards +from complete destruction.</p> + +<p><a href="#p198l10">11.</a> <b>El dios oía</b>: destiny did not permit the god to stay his +course for an hour, but the god left behind him his circlet of +diamonds (the stars).</p> + +<p><a href="#p199l0"><b>199.</b></a>—<b>Mexico.</b> The Virreinato de Nueva España was a +favored colony, where Spanish culture took deepest root. It +had the first institution of learning in America (opened in +1553 by decree of Charles I) and the first printing-press +(1540?). Some 116 books were printed in Mexico City during +the sixteenth century, most of which were catechisms or grammars +and dictionaries in the native languages. In the sixteenth +and seventeenth centuries several Spanish poets, +mostly Sevillans, went to Mexico. Among these were Diego +Mexía (went to Mexico in 1596); Gutierre de Cetina, Juan de +la Cueva, and Mateo Alemán (published <i>Ortografía castellana</i> +in Mexico in 1609). <i>Certámenes poéticos</i> ("poetic contests") +were held in Mexico, as in other Spanish colonies, from time +to time. The first of importance occurred in Mexico City in +1583, to which seven bishops lent the dignity of their presence +and in which three hundred poets (?) competed. After +the discovery and conquest of the Philippines, great opulence +came to Mexico on account of its being on a direct route of +Pacific trade between Europe and Asia, and Mexico became +an emporium of Asiatic goods (note introduction of Mexican +dollar into China).</p> + +<p>The first native poet deserving of the name was Francisco <a id="p308l0" name="p308l0"></a><span class="pagenum">308</span> +de Terrazas (cf. Cervantes, <i>Canto de Calíope</i>, 1584), who left +in manuscript sonnets and other lyrics and an unfinished epic +poem, <i>Nuevo mundo y conquista</i>. It is interesting that in the +works of Terrazas and other native poets of the sixteenth +century the Spaniards are called "<i>soberbios</i>," "<i>malos</i>," etc. +Antonio Saavedra Guzmán was the first in Mexico to write +in verse a chronicle of the conquest (<i>El peregrino indiano</i>, +Madrid, 1599). <i>Coloquios espirituales</i> (published posthumously +in 1610), <i>autos</i> of the "morality" type, with much local +color and partly in dialect, were written by Fernán González +Eslava, whom Pimentel considers the best sacred dramatic +poet of Mexico. Sacred dramatic representations had been +given in Spanish and in the indigenous languages almost from +the time of the conquest. According to Beristain, at least +two plays of Lope were done into Nahuatl by Bartolomé de +Alba, of native descent, and performed, <i>viz.</i>: <i>El animal profeta +y dichoso parricida</i> and <i>La madre de la Mejor</i>.</p> + +<p>The first poet whose verses are genuinely American, exotic +and rich in color like the land in which written (a rare quality +in the Spanish poetry of the period), was Bernardo de Balbuena +(1568-1627: born in Spain; educated in Mexico). Balbuena +had a strong descriptive faculty, but his work lacked +restraint (cf. <i>Grandeza mexicana</i>, Mex., 1604; Madrid, 1821, +1829 and 1837; N.Y., 1828; Mex., 1860). The great dramatist, +Juan Ruiz de Alarcón (1581?-1639), was born and educated +in Mexico; but as he wrote in Spain, and his dramas are +Spanish in feeling, he is best treated as a Spanish poet.</p> + +<p>Next only to Avellaneda the most distinguished Spanish-American +poetess is the Mexican nun, Sor Juana Inés de la +Cruz (1651-1695), whose worldly name was Juana Inés de +Asbaje y Ramírez de Cantillana. Sor Juana had intellectual +curiosity in an unusual degree and early began the study of +Latin and other languages. When still a young girl she became +a maid-in-waiting in the viceroy's palace, where her beauty <a id="p309l0" name="p309l0"></a><span class="pagenum">309</span> +and wit attracted much attention; but she soon renounced the +worldly life of the court and joined a religious order. In the +convent of San Jerónimo she turned for solace to books, and +in time she accumulated a library of four thousand volumes. +Upon being reproved by a zealous bishop for reading worldly +books, she sold her entire library and gave the proceeds to the +poor. Sor Juana's better verses are of two kinds: those that +give evidence of great cleverness and mental acuteness, and +those that have the ring of spontaneity and sincerity. As an +exponent of erotic mysticism, she is most interesting. In the +most passionate of her erotic verses there is an apparent sincerity +which makes it difficult for the lay reader to believe +that she had not been profoundly influenced by human love,—as +when she gives expression to the feelings of a loving wife +for a dead husband, or laments the absence of a lover or tells +of a great jealousy. In addition to her lyrics Sor Juana wrote +several <i>autos</i> and dramas. Her poems were first published +under the bombastic title of <i>Inundación castálida de la única +poetisa, Musa décima, Sor Juana Inés de la Cruz</i>, Madrid, 1689 +(vol. II, Seville, 1691; vol. III, Madrid, 1700).</p> + +<p>During the first half of the eighteenth century the traditions +of the preceding century persisted; but in the second +half there came the neo-classic reaction. Among the best of +the prosaic poets of the century are: Miguel de Reyna Zeballos +(<i>La elocuencia del silencio</i>, Madrid, 1738); Francisco Ruiz de +León (<i>Hernandía</i>, 1755, based on the <i>Conquista de México</i> by +Solís); and the priest Jorge José Sartorio (1746-1828: <i>Poesías +sagradas y profanas</i>, 7 vols., Puebla, 1832). The Franciscan +Manuel de Navarrete (1768-1809) is considered by Pimentel +superior to Sor Juana Inés de la Cruz as a philosophic poet +(the writer of this article does not so consider him) and is +called the "restorer of lyric and objective poetry in Mexico" +(cf. Pim., <i>Hist. Poesía Mex.</i>, p. 442). Navarrete wrote in a +variety of styles. His verses are harmonious, but <i>altisonante</i> <a id="p310l0" name="p310l0"></a><span class="pagenum">310</span> +and often incorrect. His best lyrics, like those of Cienfuegos, +have the personal note of the romanticists to follow (<i>Entretenimientos +poéticos</i>, Mex., 1823, Paris, 1835; <i>Poesías</i>, Mex., +1905).</p> + +<p>There were no eminent Mexican poets during the revolutionary +period. Andrés Quintana Roo (1787-1851) was a +lawyer and journalist and president of the congress which +made the first declaration of independence. Pimentel (p. +309) calls him an eminent poet and one of the best of +the period. Two of the most important in the period are: +Manuel Sánchez de Tagle (1782-1847), a statesman given to +philosophic meditation, but a poor versifier (<i>Poesías</i>, 1852); +and Francisco Ortega (1793-1849), an ardent republican, who +opposed Iturbide when the latter had himself proclaimed emperor +of Mexico in 1821 (<i>Poesías líricas</i>, 1839; cf. <i>Á Iturbide +en su coronación</i>). To these should be added Joaquín María +del Castillo y Lanzas (1781-1878), one-time minister to the +United States (<i>Ocios juveniles</i>, Philadelphia, 1835); and the +priest Anastasio María Ochoa (1783-1833), who translated +French, Italian, and Latin (Ovid's <i>Heroides</i>) works, and wrote +some humorous verses (<i>Poesías</i>, N.Y., 1828: contains two +dramas).</p> + +<p>Next to Alarcón, the greatest dramatist that Mexico has +produced is Manuel Eduardo de Gorostiza (1789-1851), who +wrote few lyric verses, but many dramas in verse and prose. +His plays, which are full of humorous contrasts, were written +during his residence in Spain and are, for the most part, +typically Spanish in all respects. Gorostiza, in manner and +style, is considered a bridge between Moratín and Bretón. +His best comedy is <i>La indulgencia para todos</i> (cf. <i>Teatro +original</i>, Paris, 1822; <i>Teatro escogido</i>, Bruxelles, 1825; <i>Obras +dramáticas</i>, <i>Bibl. Aut. Mex.</i>, vols. 22, 24, 26, 45, Mex.,-1899).</p> + +<p>Romanticism came into Mexico through Spain. It was +probably introduced by Ignacio Rodríguez Galván (1816-1842), <a id="p311l0" name="p311l0"></a><span class="pagenum">311</span> +a translator, lyric poet, and dramatist. His lyrics have the +merit of sincerity; pessimism is the prevailing tone and there +is much invective. His <i>Profecías de Guatimoc</i> is considered +the masterpiece of Mexican romanticism (<i>Obras</i>, 2 vols., Mex., +1851; Paris, 1883). Another well-known romantic lyricist and +dramatist is Fernando Calderón (1809-1845), who was more +correct in form than Rodríguez Galvan (<i>Poesías</i>, Mex., 1844 +and 1849; Paris, 1883; Mex., 1902).</p> + +<p>The revival of letters in Mexico is generally attributed to +the conservative poets Pesado and Carpio, both of whom +sought to be classic, although they were not altogether so in +practise. Probably the best known Mexican poet, though +certainly not the most inspired, is José Joaquín Pesado +(1801-1861). He translated much from Latin, French and +Italian, and in some cases failed to acknowledge his indebtedness +(cf. Pimentel, p. 694). His best translations are of the +Psalms. The <i>Aztecas</i>, which were published as a translation +of, or an adaptation from, indigenous legends, are mostly +original with Pesado in all probability. He is an unusually +even writer, and some of his verses are good (cf. certain sonnets: +<i>Mi amada en la misa del alba</i>, which reminds one of +Meléndez Valdés in <i>Rosana en los fuegos</i>; <i>Elegía al ángel de +la guardia de Elisa</i>; and parts of <i>La revelación</i> in <i>octavas reales</i>). +Montes de Oca and Menéndez y Pelayo consider Pesado the +greatest of Mexican poets; but Pimentel does not (p. 694). +Cf. <i>Poesías originales y traducciones</i>, Mex., 1839-40 (most +complete), 1886 (introduction of Montes de Oca); <i>Biografía de +Pesado</i>, by José María Roa Bárcena, Mex., 1878. Manuel +Carpio (1791-1860) began to write verses after he had reached +the age of forty years, and there is, consequently, a certain +ripeness of thought and also a lack of feeling in his poetry. +His verses are chiefly narrative or descriptive and generally +treat of biblical subjects. His language is usually correct, +but often prosaic (<i>Poesías</i>, Mex., 1849).</p> + +<p><a id="p312l0" name="p312l0"></a><span class="pagenum">312</span></p> + +<p>Minor poets of this period are: Alejandro Arango (1821-1883), +an imitator of León (<i>Versos</i>, 1879; <i>Ensayo histórico +sobre Fr. Luis de León</i>, Mex., 1866); Ignacio Ramírez (1818-1879), +of Indian race, who was a free lance in religion and +politics, and largely responsible for the separation of Church +and State in Mexico (<i>Poesías</i>, Mex., 1889, and <i>Lecciones de +literatura</i>, Mex., 1884); and Ignacio M. Altamarino (1834-1893), +an erotic and descriptive poet (<i>Obras</i>, Mex., 1899).</p> + +<p>The most popular Mexican poets during the second half of +the nineteenth century have been Acuña, Flores, Peza and +Gutiérrez Nájera. A materialistic iconoclast, Manuel Acuña +(1849-1873) was uneven and incorrect in language, but capable +of deep poetic feeling. In his <i>Poesías</i> (Garnier, Paris, +8th ed.) there are two short poems that may live: <i>Nocturno</i>, +a passionate expression of disappointment in love; and <i>Ante +un cadáver</i>, a poem of dogmatic materialism. Acuña committed +suicide at the age of twenty-four years. Manuel +María Flores (1840-1885), an erotic poet largely influenced +by Musset, is very popular in Mexico (<i>Pasionarias</i>, Paris, +1911). Probably the most widely read poet of the period is +Juan de Dios Peza (1852-1910). His verses are often incorrect +and weak, as he improvised much; but they are interesting, +as they usually treat of homely topics (<i>Poesías completas: +El arpa del amor</i>, 1891; <i>Hogar y patria</i>, 1891; <i>Leyendas</i>, 1898; +<i>Flores del alma; Recuerdos y esperanzas</i>, 1899, Garnier, Paris). +The romantic pessimist, Manuel Gutiérrez Nájera (d. 1888), +was tormented throughout life by the vain quest of happiness +and the thirst of truth. His verses, which are often elegiac +or fantastic, are highly admired by the younger generation of +Mexican poets. In a letter to the writer of this article, Blanco-Fombona +praises Gutiérrez Nájera above all other Mexican +poets (<i>Poesías</i>, Paris, 1909, 2 vols.).</p> + +<blockquote><p> +References: Menéndez y Pelayo, <i>Ant. Poetas Hisp.-Amer.</i>, I, p. xiv f.: +Blanco García, III, 304 f.; Francisco Pimentel, <i>Historia crítica de la <a id="p313l0" name="p313l0"></a><span class="pagenum">313</span> +poesía en México</i>, Mex., 1892; <i>Biblioteca hispano-americana septentrional</i>, +D. José Mariano Beristain de Souza, Mex., 1816-21, 3 vols. (has more +than 4000 titles),—reprinted by Fortino Hipólito de Vera, Amecameca, +1883; <i>Bibliografía mexicana del siglo XVI (catálogo razonado de los libros +impresos in México de 1539 á 1600)</i>; <i>Biografías de mexicanos distinguidos</i>, +D. Francisco Sosa, Mex., 1884; <i>Poetas yucatecos y tabasqueños</i>, D. Manuel +Sánchez Mármol y D. Alonso de Regil y Peón, Mérida de Yucatán, +1861; <i>Poetisas mexicanas</i>, Bogotá, 1889; <i>Colección de poesias mexicanas</i>, +Paris, 1836; <i>El parnaso mexicano</i>, 36 vols., R.B. Ortega, Mex., 1886; +<i>Biblioteca de autores mexicanos</i>, some 75 vols. to 1911, Mex.; <i>Antología +de poetas mexicanos</i>, publ. by Acad. Mex., Mex., 1894; <i>Poetas mexicanos</i>, +Carlos G. Amézaga, Buenos Aires, 1896; <i>Los trovadores de México</i>, +Barcelona, 1900. +</p></blockquote> + +<p>Pesado: see preceding note.</p> + +<p><b>La Serenata</b>: see <i>Introduction, Versification</i>, p. lxviii.</p> + +<p><a href="#p200l5"><b>200.</b>—6-11.</a> These lines of Pesado are similar to those +found in the first stanzas of <i>Su alma</i> by Milanés. See Hills' +<i>Bardos cubanos</i> (Boston, 1901), p. 69.</p> + +<p>Calderón: see note to p. 199.</p> + +<p><a href="#p202l15"><b>202.</b></a>—Acuña: see note to p. 199.</p> + +<p><a href="#p204l15"><b>204.</b>—15.</a> The language is obscure, but the meaning seems +to be: <i>borrarte (á ti que estás) en mis recuerdos</i>.</p> + +<p><a href="#p204l15">19.</a> The forced synalepha of <b>yo haga</b> is discordant and +incorrect.</p> + +<p><a href="#p204l20"><b>204.</b>—23 to <b>205.</b>—8.</a> That is, when the altar was ready +for the marriage ceremony, and the home awaited the bride. +The reference, apparently, is to a marriage at an early hour +in the morning,—a favored time for marriages in Spanish +lands.</p> + +<p><a href="#p206l0"><b>206.</b>—1.</a> <b>la alma</b>, by poetic license, since <i>el alma</i> would +make the line too long by one syllable.</p> + +<p><a href="#p207l0"><b>207.</b></a>—Peza: see note to p. 199.</p> + +<p><a href="#p211l0"><b>211.</b></a>—Darío: with the appearance in 1888 of a small volume +of prose and verse entitled <i>Azul</i>, by Rubén Darío (1864-) +of Nicaragua, there triumphed in Spanish America the "movement <a id="p314l0" name="p314l0"></a><span class="pagenum">314</span> +of emancipation," the "literary revolution," which the +"decadents" had already initiated in France. As romanticism +had been a revolt against the empty formalism of later neo-classicism, +so "decadence" was a reaction against the hard, +marmoreal forms of the "Parnasse," and in its train there +came inevitably a general attack on poetic traditions. This +movement was hailed with joy by the young men of Latin +America, who are by nature more emotional and who live in +a more voluptuous environment than their cousins in Spain; +for they had come to chafe at the coldness of contemporary +Spanish poetry, at its lack of color and its "petrified metrical +forms." With the success of the movement there was for a +time a reign of license, when poet vied with poet in defying +the time-honored rules, not only of versification, but also of +vocabulary and syntax. But as in France, so in Spanish +America, "decadence" has had its day, although traces of +its passing are everywhere in evidence, and the best that was +in it still lingers.</p> + +<p>To-day the Spanish-American poets are turning their attention +more and more to the study of sociological problems +or to the cementing of racial solidarity. These notes ring +clear in some recent poems of Darío, and of José S. Chocano +of Peru and Rufino Blanco-Fombona of Venezuela. The +lines given in the text are an ode which was addressed to +Mr. Roosevelt when he was president of the United States from +1901 to 1909. The meter of the poem is mainly the Old Spanish +Alexandrine, but with a curious intermingling of lines of +nine, ten and eight syllables, and with assonance of the even +lines throughout. In all fairness it should be stated here that +Señor Darío, in a recent letter to the writer of these <i>Notes</i>, said: +"I do not think to-day as I did when I wrote those verses" +(Darío: <i>Epístolas y poemas</i>, 1885; <i>Abrojos</i>, 1887; <i>Azul</i>, 1888; +<i>Cantos de vida y esperanza</i>, Madrid, 1905; <i>El canto errante</i>, +Madrid, 1907).</p> + +<p><a id="p315l0" name="p315l0"></a><span class="pagenum">315</span></p> + +<p><a href="#p212l5"><b>212.</b>—8.</a> Argentina and Chile are the most progressive +of the Spanish-American States. The Argentine flag is blue +and white, with a <i>sun</i> in the center; the flag of Chile has a +white and a red bar, and in one corner a white <i>star</i> on a blue +background.</p> + +<p><a href="#p212l10">11.</a> This refers, of course, to the colossal bronze Statue of +Liberty by the French sculptor, Frédéric Bartholdi, which +stands in New York harbor.</p> + +<p><a href="#p212l10">14.</a> In a letter to the writer of these <i>Notes</i>, Senor Darío +explains this passage as follows: "Bacchus, or Dionysius, after +the conquest of India (I refer to the semi-historical and not +to the mythological Bacchus) is supposed to have gone to +other and unknown countries. I imagine that those unknown +countries were America. Pan, who accompanied Bacchus on +his journey, taught those new men the alphabet. All this +is related to the tradition of the arrival of bearded men, +strangely dressed, in the American countries.... These traditions +exist in the South as well as the North."</p> + +<p><a href="#p212l15">16.</a> <b>Que consultó los astros</b>: the ancient Peruvians and Mexicans +had made considerable progress in the study of astronomy.</p> + +<p><a href="#p214l0"><b>214.</b></a>—<b>Venezuela.</b> During the colonial period the development +of literary culture was slower in the Capitanía de Caracas +than in Colombia, Peru and Mexico. The Colegio de Santa +Rosa, which was founded at Caracas in 1696, was made a +university in 1721. Not till 1806 was the first printing-press +set up in the colony.</p> + +<p>Poetry in Venezuela begins with Bello, for the works of his +predecessors had little merit. Andrés Bello (1781-1865) was +the most consummate master of poetic diction among Spanish-American +poets, although he lacked the brilliancy of Olmedo +and the spontaneity of Heredia. Born in Caracas and educated +in the schools of his native city, Bello was sent to England in +the year 1810 to further the cause of the revolution, and he +remained in that country till 1829, when he was called to <a id="p316l0" name="p316l0"></a><span class="pagenum">316</span> +Chile to take service in the Department of Foreign Affairs. +His life may, therefore, be divided into three distinct periods. +In Caracas he studied chiefly the Latin and Spanish classics +and the elements of international law, and he made metrical +translations of Virgil and Horace. Upon arriving in England +at the age of twenty-nine years, he gave himself with enthusiasm +to the study of Greek, Italian and French, as well as to +English. Bello joined with the Spanish and Hispano-American +scholars in London in the publication of several literary +reviews, notably the <i>Censor americano</i> (1820), the <i>Biblioteca +americana</i> (1823) and the <i>Repertorio americano</i> (1826-27), and +in these he published many of his most important works. +Here appeared his studies of Old French and of the <i>Song of +My Cid</i>, his excellent translation of fourteen cantos of Boiardo's +<i>Orlando innamorato</i>, several important articles on Spanish +syntax and prosody, and the best of all his poems, the <i>Silvas +americanas</i>.</p> + +<p>In 1829, when already forty-eight years of age, Bello removed +to Chile, and there entered upon the happiest period +of his life. Besides working in a government office, he gave +private lessons until in 1831 he was made rector of the College +of Santiago. In the year 1843 the University of Chile was +established at Santiago and Bello became its first rector. He +held this important post till his death twenty-two years later +at the ripe age of eighty-four. During this third and last +period of his life Bello completed and published his <i>Spanish +Grammar</i> and his <i>Principles of International Law</i>, works +which, with occasional slight revisions, have been used as +standard text-books in Spanish America and to some extent +in Spain, to the present day. The <i>Grammar</i>, especially, has +been extraordinarily successful, and the edition with notes +by José Rufino Cuervo is still the best text-book of Spanish +grammar we have. In the <i>Grammar</i> Bello sought to free +Castilian from Latin terminology; but he desired, most of all, <a id="p317l0" name="p317l0"></a><span class="pagenum">317</span> +to correct the abuses so common to writers of the period and +to establish linguistic unity in Spanish America.</p> + +<p>Bello wrote little original verse during these last years of +his life. At one time he became exceedingly fond of Victor +Hugo and even tried to imitate him; but his classical training +and methodical habits made success impossible. His best +poetic work during his residence in Chile, however, are translations +of Victor Hugo, and his free metrical rendering of +<i>La Prière pour tous</i> (from the <i>Feuilles d'automne</i>), is amongst +his finest and most popular verses.</p> + +<p>It is interesting that Andrés Bello, the foremost of Spanish-American +scholars in linguistics and in international law, +should also have been a preëminent poet, and yet all critics, +except possibly a few of the present-day "<i>modernistas</i>," place +his <i>American Silvas</i> amongst the best poetic compositions of +all Spanish America. The <i>Silvas</i> are two in number: the <i>Alocución +á la poesía</i> and the <i>Silva á la agricultura de la zona +tórrida</i>. The first is fragmentary: apparently the poet despaired +of completing it, and he embodied in the second poem +an elaboration of those passages of the first work which describe +nature in the tropics. The <i>Silvas</i> are in some degree +imitations of Virgil's <i>Georgics</i>, and they are the best of Spanish +imitations. Menéndez y Pelayo, who is not too fond of +American poets, is willing to admit (<i>Ant.</i>, II, p. cxlii) that +Bello is, "in descriptive and Georgic verse, the most Virgilian +of our (Spanish) poets." Caro, in his splendid biography of +Bello (in Miguel Antonio Caro's introduction to the <i>Poesías +de Andrés Bello</i>, Madrid, 1882) classifies the <i>Silvas</i> as "scientific +poetry," which is quite true if this sort of poetry gives +an esthetic conception of nature, expressed in beautiful terms +and adorned with descriptions of natural objects. It is less +true of the <i>Alocución</i>, which is largely historical, in that it +introduces and sings the praises of towns and persons that +won fame in the revolutionary wars. The <i>Silva á la agricultura</i>, <a id="p318l0" name="p318l0"></a><span class="pagenum">318</span> +which is both descriptive and moral, may be best described +in the words of Caro. It is, says this distinguished +critic, "an account of the beauty and wealth of nature in the +tropics, and an exhortation to those who live in the equator +that, instead of wasting their strength in political and domestic +dissensions, they should devote themselves to agricultural +pursuits." Bello's interest in nature had doubtless been stimulated +by the coming of Humboldt to Caracas in the first +decade of the nineteenth century. In his attempt to express +his feeling for nature in poetic terms, he probably felt the +influence not only of Virgil, but also of Arriaza, and of the +several poems descriptive of nature written in Latin by Jesuit +priests, such as the once famous <i>Rusticatio Mexicana</i> by Father +Landivar of Guatemala. And yet there is very little in the +<i>Silvas</i> that is directly imitative. The <i>Silva á la agricultura +de la zona tórrida</i>, especially, is an extraordinarily successful +attempt to give expression in Virgilian terms to the exotic life +of the tropics, and in this it is unique in Spanish literature. +The beautiful descriptive passages in this poem, the noble +ethical precepts and the severely pure diction combine to +make it a classic that will long hold an honored place in +Spanish-American letters (<i>Obras completas</i>, Santiago de Chile, +1881-93).</p> + +<p>During the revolutionary period the most distinguished +poets, after Bello, of that part of the greater Colombia which +later formed the separate republic of Venezuela, were Baralt +and Ros de Olano. Rafael María Baralt (1810-1860) took +part in the revolutionary movement of secession from the +first Colombia; but later he removed to Spain and became a +Spanish citizen. His verses are usually correct, but lack feeling. +He is best known as a historian and maker of dictionaries. +Baralt was elected to membership in the Spanish Academy +(<i>Poesías</i>, Paris, 1888).</p> + +<p>General Antonio Ros de Olano (1802-1887) also removed to <a id="p319l0" name="p319l0"></a><span class="pagenum">319</span> +Spain and won high rank in the Spanish army. He joined the +romantic movement and became a follower of Espronceda. +Besides a volume of verses (<i>Poesías</i>, Madrid, 1886), Ros de +Olano wrote <i>El doctor Lañuela</i> (1863) and other novels. Both +Baralt and Ros de Olano were identified with literary movements +in Spain rather than in Venezuela.</p> + +<p>José Heriberto García de Quevedo (1819-1871) was a cultivated +and ambitious scholar who collaborated with Zorrilla +in <i>María</i>, <i>Ira de Dios</i> and <i>Un cuento de amores</i>. Among his +better works are the three philosophical poems: <i>Delirium</i>, +<i>La segunda vida</i> and <i>El proscrito</i> (<i>Obras poéticas y literarias</i>, +Paris, 1863). Among the lesser writers of this period are +Antonio Maitín (1804-1874), the best of Venezuelan romanticists +(cf. <i>El canto fúnebre</i>, a poem of domestic love); Abigail +Lozano (1821-1866), a romanticist and author of musical but +empty verses ("<i>versos altisonantes</i>"); José Ramón Yepes (1822-1881), +an army officer and the author of legends in verse, besides +the inevitable <i>Poesías</i>; Eloy Escobar (1824-1889), an +elegiac poet; and Francisco G. Pardo (1829-1872), a mediocre +imitator of Zorrilla.</p> + +<p>Next to Bello alone, the most distinguished poet of Venezuela +is José Pérez Bonalde (1846-1892), who was a good German +scholar and left, besides his original verses, excellent translations +of German poets. His metrical versions of Heine, especially, +exerted considerable influence over the growth of +literary feeling in Spanish America (<i>Estrofas</i>, N.Y., 1877; <i>El +poema del Niágara</i>, N.Y., 1880). At least two other writers +of the second half of the nineteenth century deserve mention: +Miguel Sánchez Pesquera and Jacinto Gutiérrez Coll.</p> + +<p>Among the present-day writers of Venezuela, Luis López +Méndez was one of the first to introduce into Spanish America +a knowledge of the philosophy and metrical theories of Paul +Verlaine. Manuel Díaz Rodríguez (1868-___) has written +little verse; but he is the best known Venezuelan novelist of <a id="p320l0" name="p320l0"></a><span class="pagenum">320</span> +to-day [<i>Sangre patricia, Camino de perfección</i> (essays), <i>Ídolos +rotos</i>, <i>Cuentos</i>, 2 vols., <i>Confidencias de Psiquis</i>, <i>Cuentos de +color</i>, <i>Sensaciones de viaje</i>, <i>De mis romerías</i>]. The most influential +of the younger writers is Rufino Blanco-Fombona, who +was expelled from his native country by the present <i>andino</i> +("mountaineer") government and now lives in exile in Paris. +At first a disciple of Musset and then of Heine and Maupassant, +he is now an admirer of Darío and a pronounced <i>modernista</i>. +His <i>Letras y letrados de Hispano-America</i> is the best recent +work of literary criticism by a Spanish-American author. +Blanco-Fombona is a singer of youthful ambition, force and +robust love. His verses have rich coloring, but are at times +erotic or lacking in restraint (prose works: <i>Cuentos de poeta</i>, +Maracaibo, 1900; <i>Más allá de los horizontes</i>, Madrid, 1903; +<i>Cuentos americanos</i>, Madrid, 1904; <i>El hombre de hierro</i>, Caracas, +1907; <i>Letras y letrados de Hispano-America</i>, Paris, 1908. +Verses: <i>Patria</i>, Caracas, 1895; <i>Trovadores y trovas</i>, Caracas, +1899; <i>Pequeña ópera lírica</i>, Madrid, 1904; <i>Cantos de la prisión</i>, +Paris, 1911).</p> + +<blockquote><p> +References: Menéndez y Pelayo, <i>Ant. Poetas Hisp.-Amer.</i>, II, p. cx f.; +Blanco García, III, p. 321 f.; <i>Reseña histórica de la literatura venezolana</i> +(1888) and <i>Estado actual de la literatura en Venezuela</i> (1892), both by +Julio Calcaño, Caracas; <i>La literatura venezolana en el siglo XIX</i>, +Gonzalo Picón Febres, Caracas, 1906; <i>Parnaso venezolano</i>, 12 vols., +Julio Calcaño, Caracas, 1892; <i>Biblioteca de escritores venezolanos</i>, José +María Rojas, Paris, 1875; <i>Parnaso venezolano</i>, Barcelona, 1906. +</p></blockquote> + +<p>Bello: see preceding note.</p> + +<p><a href="#p214l0">1.</a> The <i>Lion</i> symbolizes Spain, since from the medieval +kingdom of Leon modern Spain sprang. The battle of Bailén +(see in <i>Vocab.</i>) took place in 1808 when Bello was twenty-seven +years of age and still loyal to Spain.</p> + +<p><a href="#p214l15"><b>214.</b>—16 to <b>215.</b>—3.</a> <b>Que... concibes</b> = <i>que circunscribes +el vago curso</i> <b>al</b> <i>(= del) sol enamorado, y (tú), acariciada de su <a id="p321l0" name="p321l0"></a><span class="pagenum">321</span> +luz, concibes</i> <b>cuanto ser</b> (= every being that) <i>se anima en cada +vario clima.</i></p> + +<p><a href="#p215l15">18.</a> The use of <b>quien</b> referring to inanimate objects is +now archaic.</p> + +<p><a href="#p216l15"><b>216.</b>—19 to <b>217.</b>—3.</a> It is said that the banana gives +nourishment to more human beings than does any other +plant. The fruit is taken when it is still green, before the +starch has turned to sugar, and it is boiled, or baked, or it +is ground and made into a coarse bread.</p> + +<p><a href="#p217l5">6-8.</a> <b>En que... bondadosa!</b> = <i>en que (la) naturaleza bondadosa +quiso hacer reseña de sus favores...</i></p> + +<p><a href="#p217l5">9.</a> The student should compare this and the following lines +with <i>Vida retirada</i> by Fray Luis de León, p. 9.</p> + +<p><a href="#p217l15">19.</a> The rime requires <b>habita</b>, instead of <i>habitad</i>.</p> + +<p><a href="#p217l20">22-23.</a> <b>Y... atada</b> = <i>y la razón va atada al triunfal carro +de la moda, universal señora</i>.</p> + +<p><a href="#p219l10"><b>219.</b>—10-16.</a> <b>¿Esperaréis... ata?</b> = <i>¿esperaréis que (el) +himeneo forme más venturosos lazos do el interés, tirano del +deseo, barata ajena mano y fe por nombre ó plata, que do conforme +gusto, conforme edad, y</i> (= both) <i>elección libre y</i> (= and) +<i>mutuo ardor ata los lazos?</i> Note that, by poetic license, <b>ata</b> +agrees in number with the nearest subject, although it has two.</p> + +<p><a href="#p220l5"><b>220.</b>—8-11.</a> As this poem was written after the Spanish-American +colonies had revolted against the mother country, +Bello no longer rejoices at the success of Spanish arms nor +grieves over their losses, as he had done when he wrote <i>Á la +victoria de Bailén</i>.</p> + +<p>Pérez Bonalde: see note to p. 214.</p> + +<p><a href="#p222l5"><b>222.</b>—5.</a> The Venezuelan flag is yellow, blue and red with +seven small white stars in the center.</p> + +<p><a href="#p225l0"><b>225.</b></a>—<b>La carcelera</b>: the words and music of this song and of +the first that follows are taken from the <i>Cancionero salmantino</i> +(Dámaso Ledesma), Madrid, 1907.</p> + +<p><a href="#p227l0"><b>227.</b></a>—<b>La cachucha</b>: the words and music of this song and <a id="p322l0" name="p322l0"></a><span class="pagenum">322</span> +of the five that immediately follow are taken from <i>Poesías +populares</i> (Tomás Segarra), Leipzig, 1862.</p> + +<p><a href="#p238l0"><b>238.</b></a>—<b>El trágala</b>: (lit., <i>the swallow it</i>) a song with which the +Spanish liberals taunted the partizans of an absolute government.</p> + +<p><a href="#p242l0"><b>242.</b></a>—<b>Himno de Riego</b>: a song to the liberal general, Rafael +de Riego (1784-1823), who initiated the revolution of 1820 in +Spain and proclaimed at Cabezas de San Juan the constitution +of 1812. Cf. <i>Versification</i>, p. lxxix.</p> + +<p><a href="#p251l0"><b>251.</b></a>—<b>Himno Nacional de Cuba</b>, called also the <b>Himno de +Bayamo</b>, on account of the importance of Bayamo (see in +<i>Vocab.</i>) in the Cuban revolution of 1868. Note the ternary +movement of this song, and see <i>Versification</i>, p. lxxiii. + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Modern Spanish Lyrics, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK MODERN SPANISH LYRICS *** + +***** This file should be named 16059-h.htm or 16059-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/6/0/5/16059/ + +Produced by Juliet Sutherland, 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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