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diff --git a/16059.txt b/16059.txt new file mode 100644 index 0000000..dde1f7a --- /dev/null +++ b/16059.txt @@ -0,0 +1,13226 @@ +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: ASCII + +*** 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. + + + + + + + + MODERN SPANISH + + LYRICS + + + + _EDITED WITH INTRODUCTION, NOTES AND + VOCABULARY_ + + BY + + ELIJAH CLARENCE HILLS, PH. D., LITT.D. + _Professor of Romance Languages in Colorado College_ + + AND + + S. GRISWOLD MORLEY, PH. D. + _University of Colorado_ + + + + NEW YORK + HENRY HOLT AND COMPANY + + 1913 + + + Page iii + + + + +PREFACE + +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 _siglo de oro_. 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. + +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 _Fiesta de toros_ of Moratin, the _Castellano +leal_ of Rivas and the _Leyenda_ of Zorrilla) are more +narrative than lyric. The _romances_ selected are Page iv +the most lyrical of their kind. A few songs have been +added to illustrate the relation of poetry to music. + +The editors have been constantly in consultation in all +parts of the work, but the preparation of the _Prosody_, +the _Notes_ (including articles on Spanish-American +literature) and the part of the _Introduction_ dealing +with the nineteenth century, was undertaken by Mr. Hills, +while Mr. Morley had in charge the _Introduction_ prior +to 1800, and the _Vocabulary_. 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 Ruben Dario of Nicaragua, Don +Rufino Blanco-Fombona of Venezuela, Professor Carlos +Bransby of the University of California, and Dr. Alfred +Coester of Brooklyn, N.Y. + +E.C.H. + +S.G.M. + + Page v + + + + + CONTENTS + + + PREFACE + INTRODUCTION: + I. Spanish Lyric Poetry to 1800 + II. Spanish Lyric Poetry of the Nineteenth Century + III. Spanish Versification + + + ESPANA + + ROMANCES: + Abenamar + Fonte-frida + El conde Arnaldos + La constancia + El amante desdichado + El prisionero + VINCENTE (GIL) (1470-1540?) + Cancion + TERESA DE JESUS (SANTA) (1515-1582) + Letrilla (que llevaba por registro en su breviario) + LEON (FRAY LUIS DE) (1527-1591) + Vida retirada + ANONIMO + A Cristo crucificado + VEGA (LOPE DE) (1562-1635) + Cancion de la Virgen + Manana + QUEVEDO (FRANCISCO DE) (1580-1645) + Epistola satirica al conde de Olivares + Letrilla satirica + VILLEGAS (ESTEBAN MANUEL DE) (1589-1669) + Cantilena: De un pajarillo + CALDERON DE LA BARCA (PEDRO) (1600-1681) + "Estas que fueron pompa y alegria," + Consejo de Crespo a su hijo + GONZALEZ (FRAY DIEGO) (1733-1794) + El murcielago alevoso page vi + MORATIN (NICOLAS F. DE) (1737-1780) + Fiesta de toros en Madrid + JOVELLANOS (GASPAR M. DE) (1744-1811) + A Arnesto + MELENDEZ VALDES (JUAN) (1754-1817) + Rosana en los fuegos + QUINTANA (MANUEL JOSE) (1772-1857) + Oda a Espana, despues de la revolucion de marzo + SOLIS (DIONISIO) (1774-1834) + La pregunta de la nina + GALLEGO (JUAN NICASIO) (1777-1853) + El Dos de Mayo + MARTINEZ DE LA ROSA (FRANCISCO) (1787-1862) + El nido + RIVAS (DUQUE DE) (1791-1865) + Un castellano leal + AROLAS (PADRE JUAN) (1805-1849) + "Se mas feliz que yo" + ESPRONCEDA (JOSE DE) (1808-1842) + Cancion del pirata + A la patria + ZORRILLA (JOSE) (1817-1893) + Oriental + Indecision + La fuente + A buen juez, mejor testigo + TRUEBA (ANTONIO DE) (1821-1889) + Cantos de pajaro + La perejilera + SELGAS (JOSE) (1821-1882) + La modestia + ALARCON (PEDRO ANTONIO DE) (1833-1891) + El Mont-Blanc + El secreto + BECQUER (GUSTAVO A.) (1836-1870) + Rimas: II + VII + LIII + LXXIII page vii + QUEROL (VINCENTE WENCESLAO) (1836-1889) + En Noche-Buena + CAMPOAMOR (RAMON DE) (1817-1901) + Proximidad del bien + iQuien supiera escribir! + El mayor castigo + NUNEZ DE ARCE (GASPAR) (1834-1903) + iExcelsior! + Tristezas + iSursum Corda! + PALACIO (MANUEL DEL) (1832-1895) + Amor oculto + BARTRINA (JOAQUIN MARIA) (1850-1880) + Arabescos + REINA (MANUEL) (1860-) + La poesia + + ARGENTINA + + ECHEVERRIA (O. ESTEBAN) (1805-1851) + Cancion de Elvira + ANDRADE (OLEGARIO VICTOR) (1838-1882) + Atlantida + Prometeo + OBLIGADO (RAFAEL) (1852-) + En la ribera + + COLOMBIA + + ORTIZ (JOSE JOAQUIN) (1814-1892) + Colombia y Espana + CARO (JOSE EUSEBIO) (1817-1853) + El cipres + MARROQUIN (JOSE MANUEL) (1827-) + Los cazadores y la perrilla + CARO (MIGUEL ANTONIO) (1843-1909) + Vuelta a la patria page viii + ARRIETA (DIOGENES A.) (1848-) + En la tumba de mi hijo + GUTIERREZ PONCE (IGNACIO) (1850-) + Dolora + GARAVITO A. (JOSE MARIA) (1860-) + Volvere manana + + CUBA + + HEREDIA (JOSE MARIA) (1803-1839) + En el teocalli de Cholula + El Niagara + "PLACIDO" (GABRIEL DE LA CONCEPCION VALDES) (1809-1844) + Plegaria a Dios + AVELLANEDA (GERTRUDIS GOMEZ DE) (1814-1873) + A Washington + Al partir + + ECUADOR + + OLMEDO (JOSE JOAQUIN) (1780-1847) + La victoria de Junin + + MEXICO + + PESADO (JOSE JOAQUIN DE) (1801-1861) + Serenata + CALDERON (FERNANDO) (1809-1845) + La rosa marchita + ACUNA (MANUEL) (1849-1873) + Nocturno: A Rosario + PEZA (JUAN DE DIOS) (1852-1910) + Reir llorando + Fusiles y munecas + + NICARAGUA + + DARIO (RUBEN) (1864-) + A Roosevelt + page ix + VENEZUELA + + BELLO (ANDRES) (1781-1865) + A la victoria de Bailen + La agricultura de la zona torrida + PEREZ BONALDE (JUAN ANTONIO) (1846-1892) + Vuelta a la patria + MARTIN DE LA GUARDIA (HERACLIO) (1830-) + Ultima ilusion + + CANCIONES + + La carcelera + Riverana + La cachucha + La valenciana + Cancion devota + La jota gallega + El tragala + Himno de Riego + Himno nacional de Mexico + Himno nacional de Cuba + + NOTES + + VOCABULARY[a] + + [Transcriber's note a: The vocabulary section has + not been submitted for transcription.} + + + + + INTRODUCTION page xi + + + I + + SPANISH LYRIC POETRY TO 1800 + + +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.[1] 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. + +[Footnote 1: The popular epics were written in assonating +lines of variable length. There were also numerous monkish +narrative poems _(mester de clerecia)_ in stanzas of four +Alexandrine lines each, all riming _(cuaderna via)_.] + +If one were to enumerate _ab origine_ the lyric +productions of the Iberian Peninsula he might begin +with the vague references of Strabo to the songs of its +primitive inhabitants, and then pass on to Latin page xii +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. + +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 Provencal manner +and of late happily revived, also lies outside our field. + +Even the Galician poetry, which flourished so freely under +the external stimulus of the Provencal 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 _Cantigas de Santa Maria_. 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 Provencal _canso, +dansa, balada_ and _pastorela_, which had had such a +luxuriant growth in Southern France in the eleventh and +twelfth centuries. A highly elaborated metrical system +mainly distinguishes these writers, but some of page xiii +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 _serranas_ of Ruiz and Santillana, and of +_villancicos_ and eclogues in the sixteenth century. + +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 +_Razon feyta d'amor_ or _Aventura amorosa_ (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 _Cantica de +la Virgen_ of Gonzalo de Berceo (first half of thirteenth +century), with its popular refrain _Eya velar_, is an +oasis in the long religious epics of the amiable monk of +S. Millan 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 _ca_. +1350), possessed a genius sufficiently keen and human to +infuse a personal vigor into stale forms. In his _Libro de +buen amor_ he incorporated lyrics both sacred and profane, +_Loores de Santa Maria_ and _Canticas de serrana_, plainly +in the Galician manner and of complex metrical structure. +The _serranas_ are particularly free and unconventional. +The Chancellor Pero LOPEZ DE AYALA (1332-1407), wise +statesman, brilliant historian and trenchant page xiv +satirist, wrote religious songs in the same style and +still more intricate in versification. They are included +in the didactic poem usually called _El rimado de +palacio_. + +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 _Cancionero_ 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, Sanchez de Talavera, +Macias, Jerena, Juan Rodriguez del Padron 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 Paez de Ribera, Pero Gonzalez de +Uceda and Ferran 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 Boscan. They likewise cultivated the +_metro de arte mayor_, which later became so prominent +(see below, p. lxxv ff.). But the interest of the poets of +the _Cancionero de Baena_ 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. page xv + + +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. + +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 _romances_ (see _Notes_, p. 253), 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. + +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 erotic or historical page xvi +content, for whose many sins Dante was chiefly +responsible, though Petrarch, he of the _Triunfi_, 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 _Proverbios morales_ of the Jew Sem +Tob (_ca_. 1350), in the _Rimado de Palacio_ of Ayala, and +in a few poets of the _Cancionero de Baena_. + +John II was a dilettante who left the government of the +kingdom to his favorite, Alvaro 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. +Inigo LOPEZ DE MENDOZA, MARQUIS OF SANTILLANA (1398-1458) +was the finest type of _grand seigneur_, 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 _serranillas_, the +fine flower of the Provencal-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 _Laberinto +de fortuna_, by which he is best known, is a dull allegory +with much of Dante's apparatus. There are historical +passages where the poet's patriotism leads him page xvii +to a certain rhetorical height, but his good intentions +are weighed down by three millstones: slavish imitation, +the monotonous _arte mayor_ stanza and the deadly +earnestness of his temperament. He enjoyed great renown +and authority for many decades. + +Two anonymous poems of about the same time deserve +mention. The _Danza de la muerte_, the Castilian +representative of a type which appeared all over Europe, +shows death summoning mortals from all stations of +life with ghastly glee. The _Coplas de Mingo Revulgo_, +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. + +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. +Gomez 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 _Coplas por la muerte de su padre_, +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. + +There were numerous more or less successful love-poets +of the conventional type writing in page xviii +octosyllabics and the inevitable imitators of Dante +with their unreadable allegories in _arte mayor_. The +repository for the short poems of these writers is the +_Cancionero general_ 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 +_Dialogo entre el amor y un viejo_ 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 (_Cancionero_, 1508) was a fervent religious +poet and the precursor of the mystics of fifty years +later. + +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 _eglogas, +representaciones_ and _autos_ 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 _villancicos_ and _glosas_ +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 people in his thinking and writing page xix +and some of the songs contained in his plays reproduce the +truest popular savor. + +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, _terza rima_ and blank verse, was Juan +BOSCAN ALMOGAVER (1490?-1542), a Catalan of wealth and +culture. Boscan 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 Boscan 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 _arte mayor_ had sunk by its own weight). + +The first and greatest of Boscan'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 (_eglogas, canciones_, 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. + page xx +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. + +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 Calderon. 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. + +The superficial nature of this literature is exhibited +in the controversy excited by the efforts of Boscan 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. + +The contest was warm at the time, however. Sa 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 Acuna (1500?-1580?) +are two others who supported the new measures. One whose +example had more influence is Diego Hurtado de page xxi +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. + +Cristobal 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. + +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, Gongora, Quevedo and the other great +writers of the seventeenth century. + +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 _canciones_, 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 chord which rouses the page xxii +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 +Gongora 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. + +Beside Herrera stands a totally different spirit, the +Salamancan monk Luis DE LEON (1527-1591). The deep +religious feeling which is one strong trait of Spanish +character has its representatives in Castilian literature +from Berceo down, but Leon 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 +_La vida del campo, Noche serena_ and others of his +compositions. + +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 Malon de Chaide +(1530-1596?). It is curious to note that the stanza +adopted in the great mystical lyrics is one page xxiii +invented by Garcilaso and used in his amatory fifth +_Cancion_. It has the rime-scheme of the Spanish +_quintilla_, but the lines are the Italian eleven-and +seven-syllable (cf. pp. 9-12). Religious poems in more +popular forms are found in the _Romancero espiritual_ +(1612) of Jose de Valdivielso, and in Lope de Vega's +_Rimas sacras_ (1614) and _Romancero espiritual_ (1622). + +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 _Os +Lusiadas_, employed Castilian in many verses with happy +result. + +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 _Guzman de +Alfarache_ (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 _romance_ 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. + +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 GONGORA (1561-1627), a Cordovan page xxiv +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, Gongora the Good and Gongora the +Bad. He began by writing odes in the manner of Herrera and +_romances_ and _villancicos_ 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. +Gongora is merely the Spanish representative of the +movement, which also produced Euphuism in England and +_preciosite_ in France. But he surpassed all previous +writers in the extreme to which he carried the method, and +his _Soledades_ and _Polifemo_ are simply unintelligible +for the inversions and strained metaphors with which they +are overloaded. + +His influence was enormous. Gongorism, or _culteranismo_, +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 Gongora'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. + +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 verse seldom shows signs of corruption. It page xxv +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, +_letrillas, villancicos, romances_, 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. + +The other principal opponent of Gongorism was Francisco +GOMEZ DE QUEVEDO Y VILLEGAS (1580-1645), whose wit and +independence made him formidable. In 1631 he published +the poems of Luis de Leon 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 _romances de +jaques_, 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. + +There were not lacking poets who kept themselves free from +taint of _culteranismo_, though they did not join in +the fight against it. The brothers Argensola (LUPERCIO +LEONARDO DE ARGENSOLA, 1559-1613, BARTOLOME 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 MARTINEZ DE JAUREGUI page xxvi +(1583-1641) wrote a few original poems, but is known +mainly for his excellent translation of Tasso's _Aminta_. +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. + +The lyrics of CALDERON (1600-1681) are to be found mostly +in his _comedias_ and _autos_. 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 _culteranismo_. + +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 page xxvii +the _siglo de oro_ 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. + +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 Alvarez de Toledo +(1662-1714) and Eugenio Gerardo Lobo (1679-1750). + +Some one has said that the poetry of Spain, with the +exception of the _romances_ and the drama of the _siglo +de oro_, 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. + +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 the _siglo de oro_ entire. The _Diario page xxviii +de los literatos_, a journal of criticism founded in 1737, +and the _Poetica_ of Ignacio de Luzan, published in +the same year, struck the first powerful blows. Luzan +(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 +_Satira contra los malos escritores de su tiempo_ (1742) +of Jorge Pitillas (pseudonym of Jose Gerardo de Hervas, d. +1742) was an imitation of Boileau which had great effect. +Blas Antonio Nasarre (1689-1751), Agustin Montiano +(1697-1765) and Luis Jose Velazquez (1722-1772) were +critics who, unable to compose meritorious plays or +verse themselves, cut to pieces the great figures of the +preceding age. + +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 Garcia de la Huerta (1734-1787) was +its most vehement partisan, but he is remembered only for +a tragedy, _Raquel_. + +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 Feijoo +(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. page xxix + +Nicolas FERNANDEZ DE MORATIN (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 _A Pedro +Romero, torero insigne_, some _romances_ and his famous +_quintillas_, the _Fiesta de toros en Madrid_. Other +followers of the French, in a genre not, strictly +speaking, lyric at all, were the two fabulists, Samaniego +and Iriarte. F. Maria de SAMANIEGO (1745-1801) gave to the +traditional stock of apologues, as developed by Phaedrus, +Lokman and La Fontaine, a permanent and popular Castilian +form. Tomas de IRIARTE (1750-1791), a more irritable +personage who spent much time in literary polemics, wrote +original fables (_Fabulas literarias_, 1781) directed not +against the foibles of mankind in general, but against the +world of writers and scholars. + +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 Gonzalez, Jovellanos, Forner, Melendez +Valdes, 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. + +Jose 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 +(_Noches lugubres_, etc.) is not remarkable. FRAY DIEGO +GONZALEZ (1733-1794) is one of the masters of page xxx +idiomatic Castilian in the century. He admired Luis de +Leon 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 _Murcielago alevoso_ 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 +Gonzalez and Melendez Valdes 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 _Epistola al duque de +Veragua_ are strong and dignified. + +Juan MELENDEZ VALDES (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 _Las bodas de Camacho_, on +a subject suggested by Jovellanos (from an episode in _Don +Quijote_, 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. Jose IGLESIAS DE LA CASA +(1748-1791), a native of Salamanca and a priest, wrote +much light satirical verse, epigrams, parodies page xxxi +and _letrillas_ in racy Castilian; he was less successful +in the graver forms. Nicasio ALVAREZ DE CIENFUEGOS +(1764-1809) passes as a disciple of Melendez; 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. Sanchez Barbero +(1764-1819) and Leandro F. de Moratin, the dramatist +(1760-1828). + +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 _La musica_ (1780), in which +one may read in carefully constructed _silvas_ the +definition of diatonic and chromatic scales. + + + II + + SPANISH LYRIC POETRY OF THE NINETEENTH CENTURY + + +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 page xxxii +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. + +Manuel Jose QUINTANA (1772-1857) had preeminently the +"gift of martial music," and great was the influence +of his odes _Al armamento de las provincias contra los +franceses_ and _A Espana despues de la revolucion de +marzo_. He also strengthened the patriotism of his people +by his prose _Vidas de espanoles celebres_ (begun in +1806): the Cid, the Great Captain (Gonzalo de Cordoba), +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. + +The cleric Juan Nicasio GALLEGO (1777-1853) rivaled +Quintana as a writer of patriotic verses. A liberal in +politics like Quintana, Gallego also took the page xxxiii +side of his people against the French invaders and against +the servile Spanish rulers. He is best known by the ode +_El dos de mayo_, in which he exults over the rising of +the Spanish against the French on the second of May, +1808; the ode _A la defensa de Buenos Aires_ against the +English; and the elegy _A la muerte de la duquesa de +Frias_ 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. + +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 Maria de ARJONA (1771-1820), a priest well read in +the Greek and Latin classics, was an imitator of Horace. +Jose Maria 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 LISTA (1775-1848), an educator and page xxxiv +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, _A la muerte de Jesus,_ which abounds in +true poetic feeling. Lista exerted great influence as a +teacher and his _Lecciones de literatura espanola_ did +much to stimulate the study of Spanish letters. Felix Jose +REINOSO (1772-1814), also a priest, imitated Milton in +_octava rima_. 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. + +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 preeminently +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 +Calderon. Spain has always worshiped the past, for Spain +was once great, and the appeal of romanticism was page xxxv +therefore the greater as it drew its material largely +from national sources. + +In 1830 a club known as the Parnasillo was formed in +Madrid to spread the new literary theories, much as the +Cenacle had done in Paris. The members of the Parnasillo +met in a wretched little cafe to avoid public attention. +Here were to be found Breton de los Herreros, Estebanez +Calderon, Mesonero Romanos, Gil y Zarate, 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 _romances_ and the Schlegel +brothers' metrical version of Calderon's dramas had called +attention to the merit of the earlier Spanish literature; +and in France, Abel Hugo translated into French the +_Romancero_ and his brother Victor made Spanish subjects +popular with _Hernani_ and _Ruy Blas_ and the _Legendes +des siecles_. 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.[2] Boehl von Faber,[3] 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 +Calderon's plays performed at Cadiz. And in page xxxvi +1832 Duran published his epoch-making _Romancero_. 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 Martinez de la Rosa, Antonio Alcala Galiano, +the Duke of Rivas and Espronceda. + +[Footnote 2: Cf. _l'Epopee castillane_, Ramon Menendez +Pidal, Paris, 1910, pp. 249-252.] + +[Footnote 3: The father of Fernan Caballero.] + +In this period of transition one of the first prominent +men of letters to show the effects of romanticism was +Francisco MARTINEZ DE LA ROSA (1787-1862). Among his +earlier writings are a _Poetica_ 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, _Conjuracion de +Venecia_ (1834) and _Aben Humeya_ (1836: it had already +been given in French at Paris in 1830), mark the first +public triumph of romanticism in Spain. But Martinez de +la Rosa lacked force and originality and his works merely +paved the way for the greater triumph of the Duke of +Rivas. Angel 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 +_Don Alvaro_ (1835). At first a follower of Moratin 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 _Al +faro de Malta_, the legendary narrative poem _El moro +exposito_ and his _Romances historicos_. The _Romances_ +are more sober in tone and less fantastic,--and it should +be added, less popular to-day,--than the legends of page xxxvii +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. + +Jose de ESPRONCEDA (1808-1842) was preeminently 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. _Canto a +Teresa_) 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 _Diablo mundo_ and the _Estudiante de Salamanca_, +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. + +Jose 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 fancy and they form a page xxxviii +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 _Don Juan Tenorio_, _El Zapatero y el +rey_ and _Traidor, inconfeso y martir_. 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. + +Gertrudis Gomez 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 _Sab_ and _Espatolino_ were popular in their day +but are now fallen into oblivion. Some of her plays, +especially _Baltasar_ and _Munio_, do not lack merit. +Avellaneda is recognized as the foremost poet amongst the +women of nineteenth-century Spain. + +Two of the most successful dramatists of this period, +Garcia Gutierrez and Hartzenbusch, were also lyric poets. +Antonio GARCIA GUTIERREZ (1813-1884), the author of _El +trovador_, published two volumes of mediocre verses. +Juan Eugenio HARTZENBUSCH (1806-1880) was, like Fernan +Caballero, the child of a German father and a Spanish +mother. Though an eminent scholar and critic, he did not +hesitate in his _Amantes de Teruel_ to play to the popular +passion for sentimentality. He produced some lyric verse +of worth. Manuel BRETON DE LOS HERREROS (1796-1873) was +primarily a humorist and satirist, who turned from page xxxix +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 MARQUES 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. + +A marked reaction against the grandiose exaggerations of +later romanticism appears in the works of Jose 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 _Las +cuatro estaciones_ and _El ciego de Buenavista_. Somewhat +of the tradition of the Sevillan school persisted in the +verses of Manuel CANETE and Narciso CAMPILLO (1838-1900) +and in those of the poet and literary critic Jose AMADOR +DE LOS RIOS. + +The Sevillan Gustavo Adolfo BECQUER (1836-1870) wrote +perhaps the most highly polished Spanish verse of the +nineteenth century. His _Rimas_ 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 _Rimas_, a +collection of prose legends. His prose work is page xl +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. +Becquer 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 Becquer's works and especially of +the _Rimas_. Becquer 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 +Becquer. + +Like most writers in Latin lands, Juan VALERA y Alcala +Galiano (1824-1905) and Marcelino MENENDEZ 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 Menendez 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 Menendez y Pelayo became Spain's greatest scholar in +literary history. The popular novelist, Pedro Antonio de +ALARCON (1833-1891), wrote lyrics in which there is a +curious blending of humor and skepticism. page xli +The foremost Spanish poet of the closing years of the +nineteenth century was Ramon de CAMPOAMOR y Campoosorio +(1817-1901) who is recognized as the initiator in Spain +of a new type of verse in his _Doloras_ and _Pequenos +poemas_. The _doloras_ 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 _pequeno poema_ is merely an enlarged +_dolora_. Campoamor disliked Byron and he disliked still +more the sonorous emptiness that is characteristic of too +much Spanish poetry.[4] In philosophy he revered Thomas +a 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. + +[Footnote 4: Menendez y Pelayo (_Ant. Poetas Hisp.-Am._, +I, p. lv) says: "Al fin espanoles somos, y a tal profusion +de luz y a tal estrepito de palabras sonoras no hay entre +nosotros quien resista."] + +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 _Leyendas y poemas_ 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 _Dolores_, 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 _El eclipse, Cartas a Maria_, and _La +fiesta de Venus_, evince a remarkable technical skill +and an unusual correctness of diction; Teodoro page xlii +LLORENTE (cf. p. 279); Jose GALIANO ALCALA whose verses +have delicate feeling and lively imagination; Emilio +FERRARI (b. 1853), the author of _Abelardo e Hipatia_ +and _Aspiracion_; the pessimistic poets, Joaquin Maria de +BARTRINA (1850-1880) and Gabino TEJADO; Salvador RUEDA (b. +1857), author of _El bloque_, _En tropel_ and _Cantos +de la vendimia_; and the poet and dramatist, Eduardo +MARQUINA. + +After the death of Campoamor in the first year of the +twentieth century, the title of _doyen_ of Spanish +letters fell by universal acclaim to Gaspar NUNEZ DE ARCE +(1834-1903). Nunez 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. Nunez de Arce is best known for his +_Gritos del combate_ (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.[5] 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. + +[Footnote 5: Speaking of Nunez de Arce's satire, Juan +Valera says humorously, in _Florilegio de poesias +castellanas del siglo XIX_, Madrid, 1902, Vol. I, p. 247: +"Esta el poeta tan enojado contra la sociedad, contra +nuestra descarriada civilizacion y contra los crimenes y +maldades de ahora, y nos pinta tan perverso, tan vicioso +y tan infeliz al hombre de nuestros dias, atormentado por +dudas, remordimientos, codicias y otras viles pasiones, +que, a mi ver, lejos de avergonzarse este hombre de +descender del mono, debiera ser el mono quien se +avergonzara de haberse humanado."] + +Most writers on the history of European literatures have page xliii 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. + +The _Notes_ to this volume contain historical sketches of +the literatures of Argentina (p. 279), Colombia (p. 285), +Cuba (p. 291), Ecuador and Peru (p. 296), Mexico (p. 307), +and Venezuela (p. 315). 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. + + + III + + SPANISH VERSIFICATION + +Spanish versification is subject to the following general +laws: + +(1) There must be a harmonious flow of syllables, in which +harsh combinations of sounds are avoided. This page xliv +usually requires that stressed syllables be separated by +one or more unstressed syllables.[6] + +[Footnote 6: By stress is meant secondary as well as +primary syllabic stress. Thus, _en nuestra vida_ has +primary stress on _vi-_, and secondary stress on _nues-_.] + +(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.[7] 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. + +[Footnote 7: The unstressed syllable may be lacking, or +there may be two unstressed syllables, after the rhythmic +accent. See under _Syllabication_.] + +(_a_) 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). + +(3) There must be rime of final syllables, or final +vowels, recurring at regular intervals. + +(_a_) In some metrical arrangements of foreign origin the +rimes recur at irregular intervals, or there is no rime +at all. See the _silva_ and _versos sueltos_ under +_Strophes_. + +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.[8] That is, +whether in Spanish verse, with the usual movement, (1) +the alternation of stressed and unstressed syllables is +essential, or whether (2) the mere balancing of page xlv +certain larger blocks of syllables is sufficient. For +instance, in this line of Luis de Leon: + + ya muestra en esperanza el fruto cierto, + +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 _es-_. +Or is _ya muestra en esperanza_ one block, and _el fruto +cierto_ another, with no rhythmic stresses except those on +_-anza_ and _cierto_? + +[Footnote 8: There are in Spanish certain types of verses +in which there is regular ternary movement throughout. +These are treated separately. Cf. p. lxx.] + + +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 _romance_ verse) +the binary movement is almost or quite negligible.[9] + +[Footnote 9: 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. _Romanic +Review, Vol. III_, pp. 301-308): + +Common syllabic arrangements of 8-syllable lines: + +(1) / _ / _ / _ / (_): Esta triste voz oi. + +(2) _ / _ / _ _ / (_): Llorando dicen asi. + +(3) _ / _ _ / _ / (_): Mi cama las duras penas. + +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. + +Common syllabic arrangements of 11-syllable lines: + +(1) _ / _ / _ / _ / _ / (_): Veras con cuanto amor llamar +porfia. + +(2) / _ / _ _ / _ / _ / (_): Cuantas veces el angel me +decia. + +(3) / _ _ / _ / _ / _ / (_): Este matiz que al cielo +desafia. + +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.] + page xlvi +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, Solis: + + Siempre orillas de la fuente + Busco rosas a mi frente, + Pienso en el y me sonrio, + Y entre mi le llamo mio, + Me entristezco de su ausencia, + Y deseo en su presencia + La mas bella parecer. + (p. 53, ll. 6-12) + +The Colombian poet, Jose Eusebio Caro, wrote much verse +thus, under the influence of the English poets. + +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 "_libres_" (cf. +_Lunario sentimental_, Buenos Aires, 1909): + + Luna, quiero cantarte + iOh ilustre anciana de las mitologias! + Con todas las fuerzas de mi arte. + + Deidad que en los antiguos dias + Imprimiste en nuestro polvo tu sandalia, + No alabare el liturgico furor de tus orgias + Ni su erotica didascalia, + Para que alumbres sin mayores ironias, + Al poligloto elogio de las Guias, + Noches sentimentales de _mises_ en Italia. + (_Himno a la luna_) + +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 +_Cantar de mio Cid_, where there is great irregularity in +the number of syllables. And, although in the page xlvii +old _romances_ 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;[10] to French influence; or merely +to the development in the Spanish people of a feeling for +artistic symmetry. + +[Footnote 10: Such as: + + Stabat Mater dolorosa + Juxta crucem lachrymosa + Dum pendebat filius.] + +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 (_Blanco y Negro_, Nov. 5, +1911): + + iComo desembarcan..., como desembarcan + esas pobres gentes...! + Desde la escalera de la nave todo Nueva York abarcan + de un vistazo: muelles, rio, casas, puentes... + Y despues que todos sus cinco sentidos + ponen asombrados en ver la ciudad, + como agradecidos, + miran a la estatua de la Libertad. + iElla es la Madona, ella es la Madona, + que de la Siberia saca a los esclavos, + que a los regicidas la vida perdona, + y que salva a muchos de contribuyentes, pobres, perseguidos, + subditos y esclavos!... + +(_La tierra prometida_) + +Spanish poets have often tried to write verses in +classical meters with the substitution of stress for +quantity. Thus, Villegas in the following hexameters: + + Seis veces el verde soto corono su cabeza + de nardo, de amarillo trebol, de morada vioela, + en tanto que el pecho frio de mi casta Licoris + al rayo del ruego mio deshizo su hielo.[11] + +[Footnote 11: Apparently _trebol_ instead of _trebol_. +These lines are quoted by Eugenio Mele, in _La poesia +barbara in Ispagna_, Bari, 1910.] + page xlviii +Jose Eusebio Caro wrote similar hexameters, and, strange +to say, made alternate lines assonate: + + iCefiro rapido lanzate! irapido empujame y vivo! + iMas redondas mis velas pon: del proscrito a los lados, + haz que tus silbos susurren dulces y dulces suspiren! + iHaz que pronto del patrio suelo se aleje mi barco! + (_En alta mar_) + +The number of these direct imitations is large; but few +succeeded. They are, at best, foreign to the spirit of +Castilian poetry. + +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: + + Recogete--ese panuelo. + (Olmedo, _Folk-lore de Castilla_, p. 133) + + Y el pajaro--era verde. + (Ledesma, _Cancionero salmantino_, p. 53) + +And that musical accents do not necessarily coincide with +syllabic stresses, even at the end of a phrase. Thus, + + iCuantas veces, vida mia, + Te asomaras al balcon![12] + + iCuerpo bueno, alma divina, + Que de fatigas me cuestas! + + iBendiga Dios ese cuerpo, + Tan llenisimo de gracia! + (Hernandez, _Flores de Espana_) + +[Footnote 12: The grave accent mark (`) indicates a strong +musical accent.] + page xlix + +SYLLABICATION + +In most modern Spanish verse there is a fixed number of +syllables in a line up to and including the last stressed +syllable.[13] In counting these syllables consideration +must be given to the following facts: + +[Footnote 13: The number of unstressed syllables at the end +of a line is not fixed. See p. lvi. + +In order to have the correct number of syllables, poets +sometimes (1) shorten a word or (2) shift the accent: + + (1) ?Ya que mi puro _espirtu_ sucias carnes... + (Cabanyes, _A Cintio_) + + (2) Puede querer...? _Abrale_... + (Zorrilla, _Don Juan Tenorio_, primeraa parte, III, 6) + Deben de ser _angeles_. + (Lope de Vega, _El mejor alcalde el rey_, II) + +Note the artificial separation of lines in some dramatic +_romance_-verse: + + ... Soy un cate- + Cumeno muy diligente. + (Calderon, _El Jose de las mujeres_, II) + + De una vil hermana, de un + Falso amigo, de un infame + Criado... + +(Calderon, _No hay burlas con el amor_, III)] + + +(1) SYNERESIS + +Within a word two or three contiguous vowels usually +combine to form a diphthong or a triphthong respectively +(this is called "syneresis"): _bai|le, rey, oi|go, +ciu|dad, cui|da|do, es|tu|diar, es|tu|diais, dien|te, +lim|pio, gra|cio|so, muy, bien, pue|de, buey_, etc. +Exceptions: + +(_a_) A stressed "weak" vowel (_i, u_) may not combine +with a "strong" vowel (_a, e, o_) to form a diphthong: +_di|a_,_ri|e, fri|o, ra|iz, le|i|do, o|i|do, page l +con|ti|nu|a, con|ti|nu|e, con|ti|nu|o, ba|ul, sa|bi|a, +sa|bri|ais, ca|i|ais,_ etc.[14] + +[Footnote 14: 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 _maiz, a|taud, oi|do_, +for _ma|iz, a|ta|ud, o|i|do_, respectively, etc.] + +Exceptions are rare: + + Su|pe | que | se|ria | di|cho|so | + (Calderon, _No hay burlas con el amor_, III) + +Cf. also _rendios_, etc., where the _o_ of _os_ combines +with the _i_ by synalepha. + +(_b_) _ua, uo_, are usually disyllabic, except after _c, +g_, and _j: a|due|a|na, sue|a|ve;_ but _cua|tro, san|ti|guo, +Juan_, etc. Syneresis may occur: _sua|ve_. + +(_c_) _ui_ is usually disyllabic, except in _muy: +flu|i|do_. + +(_d_) 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. + + Que | del | em|pi|r=eo e=n | el | ce|nit | fi|na|ba.[15] + (p. 180, l. 11) + Las | mar|mo|r=ea=s|, y aus|te|ras | es|cul|tu|ras. + (p. 138, l. 22) + La | ne|gra ad|ver|si|dad|, con | fe|rr=ea= | ma|no. + (p. 144, l. 20) + El | tiem|po en|tre | sus | plie|gues | r=o|e=|do|res. + (p. 85, l. 24) page li + Te | van | a ar|mar | do | c=a|e=|ras | in|cau|ta. + (p. 40, l. 24) + La | f=e|a=l|dad | del vi|cio|; pe|ro hu|yo|se...[16] + (p. 39, l. 14) + En | tan | fra|gil | r=ea=|li|dad. + (p. 97, l. 18) + La | sub|li|me | p=oe=|si|a | re|ver|be|ra. + (p. 149,1. 19) + +[Footnote 15: Note that here poetic usage differs from the +rules for syllabication that obtain in prose. Thus, in +_empireo_ the _i_ receives the accent mark, since it is +held to be in the antepenultimate syllable, but in verse +_empireo_ is regularly trisyllabic.] + +[Footnote 16: The _ea_ of _fealdad_ is normally disyllabic +by analogy with _feo_. Cf. (_f_) below.] + +(_e_) Two strong vowels, if one is stressed, are usually +disyllabic: + +_pa|se|a, re|cre|o, ca|no|a,_ etc. + + A|rran|ca a|rran|ca|, Dios | mi|o, + De | la | men|te | del | p=o|e=|ta + Es|te | pen|sa|mien|to im|pi|o + Que en | un | de|li|rio | cr=e|o=. + (p. 83, ll. 7-10) + ?Que | se hi|cie|ron | tus | mu|ros | to|rr=e|a=|dos, + Oh | mi | pa|tria | que|ri|da? + ?Don|de | fue|ron | tus | he|roes | es|for|za|dos, + Tu es|pa|da | no | ven|ci|da? + (p. 78, ll. 1-4) + A|na|cr=e|o=n|te, el | vi|no y | la a|le|gri|a. + (p. 150, l. 4) + S=a|e=|ta | que | vo|la|do|ra... + (p. 121, l. 15) + De o|ro | la | n=a|o= | ga|di|ta|na a|por|ta. + (p. 39, l. 24) + Y | no | se es|me|re en | l=o|a=r|la. + (p. 43, l. 18) + Don|de a | c=a|e=r | vol|ve|ra. + (p. 121, l. 22) + page lii +Syneresis is rare, but may occur,--except in _ea_, _eo_ +and _oa_,--provided the second vowel does not receive a +rhythmic accent: + + Es|cri|ba|no al | c=ae=r | el | sol. + (p. 109, l. 3) + C=ae=n | es|ta|llan|do | de | los | fuer|tes | gon|ces. + (p. 57, l. 19) + Cual | na|ve | r=ea=l | en | triun|fo em|pa|ve|sa|da. + (p. 40, l. 15) + +(_f_) In some words vowels that would normally form a +diphthong are usually disyllabic by analogy with other +forms derived from the same stem: _fi|e_, _fi|o_ (cf. +_fi|o_), _ri|o_, _ri|e|ron_ (cf. _ri|o_), _con|ti|nu|e_ +(cf. _con|ti|nu|o_), _di|a|rio_ (cf. _di|a_), _bri|o|so_ +(cf. _bri|o_), _hu|i_, _hu|i|mos_ (cf. _hu|yo_), etc. + +Syneresis is rare, but possible, as in _brio|so_ for +_bri|o|so_. + +(_g_) Prefixes, except _a_-, usually form separate +syllables: _pre|in|ser|to_, _re|im|pri|mir_, _re|hu|sar_; +but _aho|gar_. If the syllable after _a_-is stressed, +dieresis usually occurs: + + A | los | que a|ho|ra a|cla|ma. + (p. 220, l. 3) + En | la | sub|li|me | so|le|dad | a|ho|ra... + (p. 188, l. 3) + + +(2) DIERESIS + +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: _glo|rio|so_ +or _glo|ri|o|so_, _rui|do_ or _rue|i|do_, etc.[17] See also +(1), _d_, above. + +[Footnote 17: 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.] + page liii +But dieresis is impossible if the diphthong is _ie_ or +_ue_ from Latin _[e]_ and _[o]_ respectively, as in +_bien_, _siente_, _huevo_, _puedo_. + + +(3) SYNALEPHA + +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")[18] as in: + + Cuan|do | re|cuer|do | la | pie|dad | sin|ce|ra + Con | qu=e e=n | m=i e=|dad | pri|me|ra + En|tra|b=a e=n | nues|tras | vie|jas | ca|te|dra|les. + (p. 137, ll. 19-21) + La | cien|c=ia au=|daz|, cuan|do | de | ti | s=e a=|le|ja. + (p. 143, l. 16) + iEs|t=a e=s | Es|pa|n=a! A=|to|ni|t=a y= | mal|tre|cha... + (p. 147, l. 3) + Que | mi | can|tar | so|no|ro + A|com|pa|n=o ha=s|t=a a=|qui|; n=o a=|pri|sio|na|do... + (p. 49, ll. 6-7) + +[Footnote 18: 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 _te|ni|a_ and _ca|no|a_ with: + + A|si al | man|ce|bo in|te|rrum|pe (p. 94, l. 13). + Ni | la | mi|ra|da | que | lan|zo al | sos|la|yo (p. 219, l. 8).] + +The vowels of three words may thus combine if the middle +word is _a_ (or _ha_) (see also (4), _a_): + + Le | di|j=o e=s|t=e a u=|na | mu|jer. + (p. 79, l. 15) + Sal|v=a a e=s|ta | so|cie|dad | des|ven|tu|ra|da. + (p. 143, l. 12) + page liv +(4) HIATUS + +(_a_) Hiatus (i.e. the final vowel of one word and the +initial vowel of the immediately following word form +separate syllables)[19] is caused by the interposition of a +weak unstressed vowel, as in: + + En | sus | re|cuer|dos | de | hiel. + (p. 84, l. 3) + De | sus | a|la|mos | y | huer|tos. + (p. 91, l. 8) + Y hoy | en | sus | can|ta|res | llo|ra. + (p. 84, l. 18) + +[Footnote 19: Note that hiatus between words is equivalent +to dieresis within a word.] + +Note that, similarly, the vowels of three words may not +combine, if the middle word is _y, e_ (or _he_), _o_ (or +_oh_), _u_: + + O|las| de | pla|ta y | a|zul. + (p. 73, l. 12) + Que | la al|ma | no|che | o el | bri|llan|te | di|a. + (p. 180, l. 20) + ?Quien | cal|ma|ra, | iOh Es|pa|na! | tus | pe|sa|res? + (p. 79, l. 7) + +And in all such expressions as: _o|cio|so e | +i|rri|ta|do_, _Se|vi|lla | u O|vie|do_, etc. + +Except when a vowel is repeated: + + Si he es|cu|cha|do | cuan|do ha|bla|bas. + (Calderon, _No hay burlas con el amor_, III) + +In modern Spanish, _h_, being silent, has no effect, +but in older Spanish, _h_ for Latin _f_, being then +pronounced, prevented synalepha, as in: + + Por | el | mes | e|ra | de | ma|yo + cuan|do | ha|ce | la | ca|lor. + (p. 7, l. 1-2) + page lv +Hiatus was common in Old Spanish, except when the first +of two words was the definite article, a personal +pronoun-object or the preposition _de_; or when the vowels +were the same. + +(_b_) 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): + + Pues | en | fin | me | de|jo | una (Calderon). + Ta|les | fue|ron | ya | es|tos | cual | her|mo|so (Herrera). + Tal | de | lo | al|to | tem|pes|tad | des|he|cha (Maury). + No hay | pla|ce|res | en | su | al | ma. + (p. 85, l. 4) + Cuan|do | po|bre | de | a|nos | y | pe|sa|res + (p. 221, l. 9) + Con|ti|go | se | fue | mi | hon|ra. + (p. 103, l. 19) + De | gra|na|das | es|pi|gas|; tu | la | u|va... + (p. 215, l. 5) + Por|que es | pa|ra el | ser | que | a|ma. + (p. 84, l. 9) + Muy | mas | her|mo|sa | la | ha|llan + (p. 44, l. 5) + El | ne|va|do | cue|llo | al|za + (p. 43, l. 4) + Por|que | tam|bien | e|ra| u|so. + (p. 115, l. 9) + Que en | la | bo|ca, y | so|lo | u|no. + (p. 52, l. 26) + Gen|te en | es|te | mon|te | an|da... + Ya | que | de | tu | vis|ta | hu|ye. + (Calderon) + Gi|gan|te | o|la | que el | vien|to...[20] + (p. 121, l. 23) + +[Footnote 20: Synalepha is usually to be avoided when it +would bring together two stressed syllables as in _gigante +ola, querido hijo_, etc.] + page lvi +But synalepha is possible (especially of _de o-_): + + To|do e|le|va|ba | mi a|ni|mo in|tran|qui|lo. + (p. 139, l. 22) + Yo | le | da|re|; mas | no en | el | ar|pa | de o|ro... + (p. 49, l. 5) + +And synalepha is the rule, if stress on the initial +syllable is weak: + + A o|tra per|so|na en | Ma|drid. + (p. 36, l. 19) + To|da, to|da e|res | per|fec|ta. + (p. 44, l. 22) + +If the vowels are the same, they usually combine into one: + + Del | sol | en | la al|ta | cum|bre + (p. 49, l. 13) + Tem|blar | en | tor|no | de el|: un | ar|co in|men|so... + (p. 180, l. 10) + + +(5) FINAL SYLLABLES + +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.[21] Thus the following are +considered 8-syllable lines although, in fact, one line +has nine syllables and another has only seven: + + La | sal|pi|ca | con | es|com|bros + De | cas|ti|llos | y | de al|ca|za|res... + Pa|ra | vol|ver | a | bro|tar... + +[Footnote 21: In Spanish, a word stressed on the final +syllable is called _agudo_; a word with one syllable after +the stress is called _grave_ or _llano_; one with two +syllables after the stress, _esdrujulo: farol, pluma, +pajaro_.] + page lvii +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 (_e_) +that may occur in a final unstressed syllable, while in +Spanish there are several (_a, e, o,_ rarely _i, u_). + + +RIME + +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: + + En las presas + Yo divido + Lo cogido + Por igual: + Solo quiero + Por riqueza + La belleza + Sin rival. + (p. 75, ll. 5-12) + + Madre mia, yo soy nina; + No se enfade, no me rina, + Si fiada en su prudencia + Desahogo mi conciencia, + (p. 51, ll. 10-13) + + iCuan solitaria la nacion que un dia + Poblara inmensa gente! + iLa nacion cuyo imperio se extendia + Del ocaso al oriente! + (p. 76, ll. 19-22) + page lviii + iOh tu, que duermes en casto l=echo=, + De sinsabores ajeno el p=echo=, + Y a los encantos de la hermos=ura= + Unes las gracias del coraz=on=, + Deja el descanso, doncella p=ura=, + Y oye los ecos de mi canc=ion=! + (p. 199, ll. 1-6) + +In a diphthong consisting of a strong and a weak vowel +the weak vowel may be disregarded in rime. Cf. above: +_prudencia, conciencia; corazon, cancion; igual, rival_. + +(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.[22] + +[Footnote 22: Assonance is rare in popular English verse, +but it occurs in some household rimes; e. g.: + + Little Tommy Tucker, + He cried for his supper. + What shall little Tommy Tucker have for his supper? + Black-eyed beans and bread and butter. + +Here the assonance is _u-er_ (final unstressed _-er_ in +standard present-day English represents vocalic _r_).] + +Assonance of alternate lines is the usual rime of the +_romances_, as in: + + Cabellos de mi cabeza + lleganme al corvej=o=n; + los cabellos de mi barba + por manteles tengo y=o=: + las unas de las mis manos + por cuchillo tajad=o=r. + (P. 7, ll. 15-20) + +Here the assonance is _o_. + page lix + iAbenamar, Abenamar, + moro de la morer=ia=, + el dia que tu naciste + grandes senales hab=ia=! + Estaba la mar en calma, + la luna estaba crec=i=d=a=: + moro que en tal signo nace, + no debe decir ment=i=r=a=. + (P. 1, 11. 1-8) + +Here the assonance is _i-a_.[23] + +[Footnote 23: The _romances viejos_ were originally in +lines of approximately sixteen syllables, and every line +then had assonance.] + + Del salon en el angulo obscuro, + De su dueno tal vez olvid=a=d=a=, + Silenciosa y cubierta de polvo + Veiase el =a=rp=a=. + iCuanta nota dormia en sus cuerdas, + Como el pajaro duerme en las r=a=m=a=s, + Esperando la mano de nieve + Que sabe arranc=a=rl=a=s! + (P. 122, ll. 12-19) + +Here the assonance is _a-a_. + +The following rules for assonance should be noted: + +_(a)_ In modern Spanish a word stressed on the final +syllable may not assonate with one stressed on a syllable +preceding the final.[24] + +[Footnote 24: In the old _romances_ and in the medieval +epic, _a_ could assonate with _a-a._ In singing these +old verses every line was probably made to end in an +unstressed vowel by adding paragogic _e_ to a final +stressed syllable. Thus, _son_ was sung as _sone, dar_ as +_dare, temi_ as _temie_, etc. Cf. Men. Pel., _Ant._ V, 65; +XI, 86, 92; and Men. Pid., _Cantar de mio Cid_, I, 65 f.] + +_(b)_ A word stressed on the penult may assonate with one page lx stressed on the antepenult. Vowels between the +stressed syllable and the final syllable are disregarded, +as in _cruza, cupula (u-a), bane, margenes, arabes (a-e)._ + +_(c)_ In stressed diphthongs and triphthongs only the +vowels receiving the stress assonate, as in _vale, aire +(a-e), cabellos, suelo (e-o), envolviendo, aposento (e-o), +guardias, alta (a-a), pleito, siento (e-o), mucho, triunfo +(u-o)._ + +_(d)_ In unstressed diphthongs and triphthongs only the +strong vowels assonate, as in _turba, lluvia (u-a), +licencia, quisierais (e-a), pido, continuo (i-o)_. +Similarly, _e_ or _o_, before another strong vowel, is +disregarded in an unstressed diphthong, as in _modo, +erroneo (o-o), crece, heroe (e-e)_. + +_(e)_ In final unstressed syllables, _i_ and _u_ (not in +diphthongs) assonate with _e_ and _o_, respectively, as +in _verde, debil (e-e), amante, facil (a-e), liquido, +espiritu (i-o)_. + +(3) In Spanish blank verse (_versos sueltos, libres, +blancos_) there is usually no rime; or if there be rime +it is merely incidental. Blank verse usually consists of +11-syllable lines. + + iOh! icuanto rostro veo, a mi censura, + De palidez y de rubor cubierto! + Animo, amigos, nadie tema, nadie, + Su punzante aguijon; que yo persigo + En mi satira el vicio, no al vicioso. + (P. 39, ll. 3-7) + +Blank verse is little used in Spanish. It occurs chiefly +in serious satirical or philosophical poems. But separate +_versos sueltos_ are introduced into some varieties of +compositions, such as the _romance, seguidilla, silva_, +etc.[25] + +[Footnote 25: The _versos sueltos_ 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 Nunez de Arce.] + + page lxi +VERSE-MEASURES + +A. VERSE WITH BINARY MOVEMENT[26] + +[Footnote 26: The term "binary" is used here to distinguish +ordinary Spanish verse from that with regular ternary +movement. Cf. p. lxx.] + + +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.[27] + +[Footnote 27: Verses of three or four syllables are +best treated as half-lines, with inner rime (_versos +leoninos_).] + +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 _romances_, 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.[28] + +[Footnote 28: 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.] + + Mis arreos son las armas, + mi descanso el pelear, + mi cama las duras penas, + mi dormir siempre velar + (p. 5, ll. 1-4) + page lxii +Rarely 8-syllable lines are written with a fixed accent on +the third syllable (cf. p. 51, l. 10 f.).[29] There is then +sometimes _pie quebrado_ in alternate lines, as in: + + Hijo mio mucho amado, + Para mientes; + No contrastes a las gentes + Mal su grado. + Ama: e seras amado; + Y podras + Hazer lo que no haras + Desamado.[30] + +[Footnote 29: They are less common in Spanish than in +Italian: + + Sai tu dirme, o fanciullino, + In qual pasco gita sia + La vezzosa Egeria mia + Ch'io pur cerco dal mattino? + (Paolo A. Rolli)] + +[Footnote 30: Note the example of hiatus in this older +Spanish.] + +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 _arte mayor_ verse; but +it consists of two phrases and the position of the inner +rhythmic accent is usually variable. + page lxiii +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. + + Y con diversas flores va esparciendo... (Leon) + Y para envejecerse florecieron... (Calderon) + . . . . . . . . . . . . . . . . . . . . . . . . + Cuna y sepulcro en un boton hallaron... (Calderon) + Se mira al mundo a nuestros pies tendido... (Zorrilla) + +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: + + ?Que tengo yo, | que mi amistad procuras?... (Lope) + Son la verdad y Dios, | Dios verdadero... (Quevedo) + +But in some lines the rhetorical and the rhythmic accents +do not coincide, as in: + + ... pero huyose + El pudor a vivir en las cabanas... (Jovellanos) + Del plectro sabiamente meneado... (Leon) + Que a mi puerta, cubierto de rocio... (Lope) + +The 11-syllable line may be used alone. Cf. the sonnets of +Lope de Vega (p. 14) and Calderon (p. 18), the _Epistola +satirica_ of Quevedo (p. 15), the blank verse of +Jovellanos (p. 38) and Nunez de Arce (p. 144), _et al._ +The neo-classic poets of the eighteenth century and some +of the earlier romanticists even used it in _redondillas_ +or assonated: page lxiv + + En pago de este amor que, mal mi gr=ado=, + Hasta el crimen me lleva en su del=irio=, + Y a no verse por ti menospreci=ado= + Mi virtud elevara hasta el mart=irio=... + + ?Por que de nuevo palida tristeza + Tus rosadas mejillas descol=o=r=a=? + ?Por que tu rostro en lagrimas se inunda? + ?Por que suspiras, nina, y te acong=o=j=a=s? + (Breton de los Herreros, _?Quien es ella?_) + +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: + + iQue descansada vida + la del que huye el mundanal rueido, + y sigue la escondida + senda por donde han ido + los pocos sabios que en el mundo han sido! + +Strophes of three 11-syllable lines and one 5-syllable +line (_versos saficos_) 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:[31] + + Dulce vecino de la verde selva, + Huesped eterno del Abril florido, + Vital aliento de la madre Venus, + Cefiro blando. + (Villegas, _Al cefiro_) + +[Footnote 31: Mele (_op. cit_) states that the Sapphic ode +was introduced into Spain from Italy by Antonio Agustin, +bishop of Tarragona, in the first half of the sixteenth +century, and quotes these lines by Agustin: + + Jupiter torna, como suele, rico: + Cuerno derrama Jove copioeso, + Ya que bien puede el pegaseo monte + Verse y la cumbre. + page lxv +The romanticists used the _versos saficos_ with rime. +Thus, Zorrilla: + + Huye la fuente al manantial ingrata, + El verde musgo en derredor lamiendo, + Y el agua limpia en su cristal retrata + Cuanto va viendo. + (p. 86, ll. 3-6) + +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: + + El frio Boreas y el helado Noto + Apoderados de la mar insana + Anegaron agora en este puerto + Una dichosa nave. + (_iTirsi, Tirsi! vuelve y endereza_) + +The Sapphic strophe of Francisco de la Torre has been not +infrequently imitated. Thus, Becquer: + + Volveran las obscuras golondrinas + En tu balcon sus nidos a colgar, + Y, otra vez, con el ala a sus cristales + Jugando llamaran. + (p. 122, l. 24-p. 123, l. 2)[32] + +[Footnote 32: 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.] + +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, artistic _romances, quintillas,_ page lxvi +etc., in imitation of the Italian _settenario_, as in +Villegas' _Cantilena_ beginning: + + Yo vi sobre un tomillo + Quejarse un pajarillo, + Viendo su nido amado, + De quien era caudillo, + De un labrador robado. + +In present-day songs the 7-syllable line is rather rare, +except in combination with lines of five syllables, as in: + + Camino de Valencia, + Camino largo... + +And: + + A la puerta del cielo + Venden zapatos... + +In these lines there is no fixed inner rhythmic accent. + +The Old Spanish Alexandrine verse-line was composed of two +7-syllable half-lines. In the thirteenth and fourteenth +centuries numerous monkish narrative poems (_mester de +clerecia_) were written in this measure: + + En el nonbre del Padre,--que fizo toda cosa, + E de don Jhesu Christo,--Fijo dela Gloriosa, + Et del Spiritu Sancto,--que egual dellos posa, + De un confessor sancto--quiero fer vna prosa... + (Gonzalo de Berceo) + +The old Alexandrine fell before the rising popularity of +the _arte mayor_ 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. It also has, like its French page lxvii +prototype, alternate couplets of masculine and feminine +lines (_versos agudos_ and _versos llanos_ or _graves_). +Thus, Iriarte: + + En cierta catedral una campana habia + Que solo se tocaba algun solemne dia + Con el mas recio son, con pausado compas, + Cuatro golpes o tres solia dar, no mas. + +There is an inner rhythmic accent on the sixth syllable. +Iriarte also revived the older Alexandrine, but without +hiatus: + + Cuando veo yo algunos,--que de otros escritores + A la sombra se arriman,--y piensan ser autores... + +Recent poets have revived the old Alexandrine.[33] Thus, +Ruben Dario 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: + + Es con voz de la Biblia--o verso de Withman + Que habria que llegar--hasta ti, icazador! + Primitivo y moderno,--sencillo y complicado, + Con un algo de Washington--y mucho de Nemrod... + (p. 211, ll. 1-4) + +[Footnote 33: For their use of this line with ternary +movement, see p. lxxix.] + +Lines of five or six syllables usually have a mingled +binary and ternary movement: + + Una barquera + Halle bizarra, + De pocos anos + Y muchas gracias. + (N. Moratin) + page lxviii + Sali a las diez + A ver a Clori + (No lo acerte): + Horas menguadas + Debe de haber... + (L. Moratin) + +Lines of 5+5 syllables (_versos asclepiadeos_) are +occasionally written: + + Id en las alas--del raudo cefiro, + Humildes versos,--de las floridas + Vegas que diafano--fecunda el Arlas, + Adonde lento--mi patrio rio + Ve los alcazares--de Mantua excelsa. + (L. Moratin) + +The Mexican poet Pesado used the same line in his +_Serenata_: + + iOh tu que duermes--en casto lecho, + De sinsabores--ajeno el pecho, + Y a los encantos--de la hermosura + Unes las gracias--del corazon, + Deja el descanso,--doncella pura, + Y oye los ecos--de mi cancion! + (P. 199, ll. 1-6) + +The same measure appears in a patriotic song, _Himno de +Riego_: + + En las cabezas--el proclamo + La suspirada--constitucion, + Y enarbolando--marcial pendon, + A los leales--acaudillo...[34] + +[Footnote 34: It should be noted that these latter verses, +like most Spanish patriotic songs, are sung with ternary +movement, thus: + + En las cabezas--el proclamo...] + page lxix +This 10-syllable measure is cantabile, and its phrases are +too short and too regular to make good recitative verse. + +_Versos alcaicos_ differ from the _asclepiadeos_ 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): + + Y si los nautas, cantando el pielago, + Con remos hieren y espumas alzan, + Se aduerme a los ecos sus penas + Y a los ecos su batel avanza. + +Juan Luis Estelrich (_Poesias_, 1900) uses _versos +alcaicos_ with the first two lines of each strophe +_esdrujulo_, in imitation of Carducci: + + Carmen, tu nombre trae al espiritu + Vuelo de aromas, susurro de arboles, + Los pios consorcios del cielo, + Y el cantar melodioso del Lacio. + + (_A Carmen Valera._)[35] + +[Footnote 35: Cf. Mele, _op. cit._] + +_Romances_ in lines of 6 + 6 (or 6 + 5) syllables occur +in popular Spanish verse, as in the Asturian _romance_ of +_Don Bueso_, beginning: + + Camina don Bueso--mananita fria + a tierra de moros--a buscar amiga... + +(Men. Pel., _Ant._ X, 56: cf. also _Ant._ XI, 102) + +This measure was also used in _endechas_, as in _Los +comendadores de Cordoba_ (fifteenth century), beginning: + + iLos comendadores,--por mi mal os vi! + Yo vi a vosotros,--vosotros a mi... + page lxx +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: + + Sobre una mesa, cierto dia, + Dando estaba conversacion + A un Abanico y a un Manguito + Un Paraguas o Quitasol... + +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. + + +B. VERSE WITH TERNARY MOVEMENT + +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 _rondel antiguo_ (Nebrija, +quoted by Men. Pel., _Ant._ V. 66) is ternary throughout, +it would seem: + + Despide plazer + y pone tristura; + crece en querer + vuestra hermosura. + +For mixed movements, see the _serranilla_ on p. 45, l. 9 +f. + +In lines with _regular_ ternary movement, properly +speaking, every primary stress receives a rhythmic accent, +and these accents are always separated by two page lxxi +atonic syllables, as in: + + Yo no se como bailan aqui, + Que en mi tierra no bailan ansi... + +Rarely one finds 6-syllable and 9-syllable lines with +regular ternary movement, and these are probably never of +popular origin. Thus: + + Serena la luna + Alumbra en el cielo, + Domina en el suelo + Profunda quietud... + +(Espronceda, _El reo de muerte_, II) + + Y luego el estrepito crece + Confuso y mezclado en un son, + Que ronco en las bovedas hondas + Tronando furioso zumbo... + +(Espronceda, _Estudiante de Salamanca_) + +Formerly the Spanish 10-syllable line occurred usually in +combination with other lines, as in: + + En la calle de Atocha, iliton! + Que vive mi dama; + Yo me llamo Bartolo, iliton! + Litoque, vitoque, y[36] ella Catanla. + --En la calle del Sordo, iliton! + Que vive mi mozo, + Pues a cuanto le pido, iliton! + Litoque, vitoque, que siempre esta sordo. + +[Footnote 36: There is hiatus here.] + +(Quinones de Benavente, _Entremeses, bailes, loas y +sainetes_, quoted by Mila y Fontanals, _Obras completas_, +Vol. V, p. 324 f.) + page lxxii +Calderon used it in the _Vina del Senor_: + + A la vina, a la vina, zagales; + Zagales, venid, venid a la vina. + A la vina, a la vina, zagales, + Y vaya de jira, de bulla y de baile. + Zagales, venid, venid a la vina, + Y vaya de baile, de bulla y de jira. + +A recent number of the _Ilustracion Espanola y Americana _ +(15 Enero, 1911) contains lines of similar construction by +Don Rafael Torrome: + + Al mirar su carita sonriente, + Tan dulce y tan buena, + Siempre observo que mi alma presiente, + Con duelo y con pena, + Que mas tarde este mundo inclemente + Trocara en sentimientos de hiena + Los puros afectos de su alma inocente. + +Iriarte did not hesitate to write fables in these +10-syllable lines alone: + + De sus hijos la torpe Aveturda + El pesado volar conocia... + +And the romanticists of the nineteenth century used it not +infrequently: + + Con inmovil, ironica mueca + Inclinaron formando en redor... + +(Espronceda, _Est. de Sal._) + + Del salon en el angulo obscuro, + De su dueno tal vez olvidada, + Silenciosa y cubierta de polvo, + Veiase el arpa. + (Becquer, _Rima_ VII) + page lxiii +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: + + Entonemos festivos cantares, + Pues el dia feliz ha llegado, + Que del yugo servil aliviado + Goza ya el Espanol libertad. + +(_La Constitucion_) + + Al combate corred, Bayameses, + Que la patria os contempla orgullosa; + No temais una muerte gloriosa, + Que morir por la patria es vivir. + +(Cuban national hymn, cf. p. 251) + +The commoner form of verse with 11-syllable ternary lines +is that popularly called "_de gaita gallega_" (Men. Pel., +_Ant._, V, p. cxcv; X, 141. Cf. also Mila, _op. cit._), +the assumption being that this verse is intimately related +to that type of popular Galician poetry known as the +_muineira_, which was sung to the music of the bagpipe. +These lines are typical of the "_endecasilabos de gaita +gallega_": + + Tanto baile a la puerta del cura, + Tanto baile que me dio calentura; + Tanto baile a la puerta del horno, + Tanto baile que me dieron un bollo.[37] + +[Footnote 34: Many Galician _muineiras_ have been +collected: cf. Mila, _op. cit._; Carolina Michaelis de +Vasconcellos, _Cancioneiro de Ajuda_, Vol. II, Halle, +1904; Jose Perez Ballesteros, _Cancionero popular +gallego_, Madrid, 1885.] + page lxxiv +Menendez y Pelayo (_Ant._ X, 141) gives, in his collection +of _Romances tradicionales de Asturias_, the following one +in ternary 11-syllable lines: + +=La tentacion= + + --iAy, probe Xuana de cuerpo garrido! + iAy, probe Xuana de cuerpo galano! + ?Donde le dexas al tu buen amigo? + ?Donde le dexas al tu buen amado? + --iMuerto le dexo a la orilla del rio, + muerto le dexo a la orilla del vado! + --?Cuanto me das, volveretelo vivo? + ?Cuanto me das, volveretelo sano? + --Doyte las armas y doyte el rocino, + doyte las armas y doyte el caballo. + --No he menester ni armas ni rocino, + no he menester ni armas ni caballo... + +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 _romance_ that "su aparicion en la poesia +popular castellana es un fenomeno singular, aun en +Asturias misma, y hasta ahora no se ha presentado mas +ejemplo que este." Note the apparent shifting of stress in +_armas_. Iriarte and L. Moratin did not scorn to use this +line. + +Iriarte: + + Cierta criada la casa barria + Con una escoba muy sucia y muy vieja... + +Moratin (in the chorus of _Padres del Limbo_): + + Huyan los anos con rapido vuelo; + Goce la tierra durable consuelo; + Mire a los hombres piadoso el Senor... + page lxxv +The 11-syllable line of ternary movement has had less +vogue in artistic verse than those of ten and twelve +syllables.[38] + +[Footnote 38: In _Las hijas del Cid_ E. Marquina has used a +flexible 11-syllable ternary line beginning with either +[\-] - - [\-] or - [\-] - [\-]: + + Sus nombres juntos los llevo en el alma, + Juntos los guarda tambien mi memoria. + +These are blank verses with occasional assonance.] + +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: + + Mancebito, perdone las hembras, + Que comen y beben y no tienen rentas. + --Pues, mocitas, malditas sean ellas, + O cosan o labren o caiganse muertas. + +A song of mingled 11-and 12-syllable lines begins thus: + + Al pasar la barca, me dijo el barquero: + Moza bonita no paga dinero.[39] + +[Footnote 39: Cf. Mila, _op. cit._ In singing _pasar_, +there is apparently a shifting of stress which is not +uncommon in songs.] + +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 _copla +de arte mayor_ in the fifteenth century. The _copla +(metro, versos) de arte mayor_ consists of mingled 12-and +11-syllable lines arranged in strophes of eight lines, +each with consonantal rime according to some definite +scheme. The _arte mayor_ verse attained to its most +perfect form and its greatest popularity in page lxxvi +_El laberinto de la fortuna_ (1444?), by Juan de Mena, of +which the following is a strophe: + + Amores me dieron corona de amores + porque mi nombre por mas bocas ande; + entonces no era mi mal menos grande, + quando me dauan plazer sus dolores; + vencen el seso sus dulces errores, + mas non duran sienpre, segund luego plazen; + pues me fizieron del mal que vos fazen, + sabed al amor desamar, amadores. + +(Strophe 106) + +The old _arte mayor_ verse has these distinguishing +characteristics: + +The line is divided into hemistichs, each of which may +have four, five or six syllables, thus: + + (1) (-) - - - [/-] (-) | (-) - - - [/-] (-), + +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): + + (2) (-) - - - [/-] - - | - - - [/-] (-) + + (3) (-) - - - [/-] | - - - - - [/-] (-). + +Examples of types: + + (1) Las grandes fazanas | de nuestros mayores... (Str. 4) + Vayan de gente | sabidos en gente... (Str. 3) + Reconoceran | maguer que feroce... (Str. 274) + Assi que qualquiera | cuerpo ya muerto... (Str. 244) + Cuya virtud | maguer que reclama... + Sufren que passen | males e vicios... (Str. 232) + + (2) E vi a Pitagoras | que defendia... (Str. 118) + Bien como medico | mucho famoso... (Str. 178) + + (3) Quando el senor | es en necessidad... (Str. 258) + page lxxvii +The initial unstressed syllable of the first hemistich is +lacking in approximately one-third of the lines of the +_Laberinto_. These lines resemble the 11-syllable _gaita +gallega_ 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,[40] +which seems to indicate that the appearance of the _arte +mayor_ verse in Castilian was due to Galician influence. + +[Footnote 40: Cf. these Galician _muineiras_, cited by Mila +y Fontanals (_Romania_, VI, p. 47 f.): + + Cando te vexo | na beira do rio, + Queda o meu corpo | tembrando de frio; + Cando te vexo | d'o monte n'altura, + A todo o mon corpo | lle da calentura. + Isca d'ahi | galina maldita, + Isca d'ahi | non me mate la pita; + Isca d'ahi | galina ladrona, + Isca d'ahi | pra cas de tua dona.] + +Again, as in many Galician songs of this type, the ternary +movement of the old _arte mayor_ verse is not strictly +regular. Approximately nine-tenths of the lines in the +_Laberinto_ may be read with regular ternary movement: + + (-) [/-] - - [/-] (-) | (-) [/-] - - [/-] (-), + +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: + + Por las alturas, | collados y cerros... + Assi que tu eres | la governadora... + +In the remaining lines the commonest movement is: + + (-) - [/-] - [/-] (-) | (-) - [/-] - [/-] (-), + +as in: + +Aquel claro padre, aquel dulce fuente... page lxxviii + +In the second half of the sixteenth century and in the +seventeenth century, the _arte mayor_ 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: + + Amor poderoso en cielo y en tierra, + dulcisima guerra de nuestros sentidos, + ioh, cuantos perdidos con vida inquieta + tu imperio sujeta! + +(From first act of _Dorotea_) + +In the nineteenth century it was restored to favor by +the romanticists.[41] Good examples are: Espronceda, +_El templario_; Avellaneda, _Las siete palabras_; and +Zorrilla, _A un torreon_ (part). Some writers used it even +in the drama (cf. Gil y Zarate, _Guzman el bueno_). The +modern _arte mayor_ verse is written in 12-syllable lines, +usually with regular ternary movement. Thus: + + iOh Antilla dichosa! | ?que magicos sones, + Que luz inefable, | que extrana alegria, + Del cielo destierran los negros crespones, + Prestando a esta noche | la pompa del dia? + + ?Por que tan ufana, | tan bella la luna + Con faz refulgente | comienza su giro, + Y no hay leve sombra | que cruce importuna + Su trono esmaltado | de plata y zafiro? + +(Avellaneda, _Serenata de Cuba_) + +[Footnote 41: Iriarte, of course, had written a fable or +two in _arte mayor_ verse. Cf. _Fabula_ XXXIX.] + page lxxix + Soldados, la Patria | nos llama a la lid; + Juremos por ella | vencer o morir; + Serenos, alegres, | valientes, osados, + Cantemos, soldados, | el himno a la lid: + Ya nuestros acentos | el orbe se admire, + Y en nosotros[42] mire | los hijos del Cid; + Ya nuestros acentos | el orbe se admire, + Y en nosotros mire | los hijos del Cid. + (_Himno de Riego_: cf. p. 242) + +[Footnote 42: Note in _nosotros_ the shifting of stress, +which the musical notation indicates clearly.] + +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 +_Soledad del alma_: + + Sale la aurora risuena, de flores vestida, + Dandole al cielo y al campo variado color; + Todo se anima sintiendo brotar nueva vida, + Cantan las aves, y el aura suspira de amor. + + Huyeron veloces--cual nubes que el viento arrebata-- + Los breves momentos de dicha que el cielo me dio... + ?Por que mi existencia, ya inutil, su curso dilata, + Si el termino ansiado a su espalda perdido dejo? + +Some recent poets have attempted to write ternary +Alexandrine verse. Thus, the Peruvian poet, Jose S. +Chocano (1867-): + + Los Estados Unidos, como argolla de bronce, + contra un clavo sujetan de la America un pie; + y la America debe, si pretende ser libre, + imitarles primero, e igualarles despues. + page lxxx + Imitemos ioh Musa! las crujientes estrofas + que en el Norte se arrastran con la gracia de un tren, + y que giren las rimas como ruedas veloces + y que caigan los versos como varas de riel. + (_La epopeya del Pacifico_) + + +STROPHES + +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. + +I. (1) The _romance_ is the most characteristic and +national of all Spanish meters. The proper _romance_ +consists of 8-syllable lines with assonance in alternate +lines[43] (cf. pp. 1-8, 42, etc.). The structure of the +_romance_ line has already been treated (p. lxi). In the +old _romances_ 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). + +[Footnote 43: Historically, of i6-syllable lines, all +assonating.] + +(2) Alternate assonance may be employed with lines of +any length. With 11-syllable lines the verse is called +_romance heroico_ or _real_. Lines of seven syllables make +_versos anacreonticos_. The name _endecha_ 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 _endecha real_. For examples of alternate assonance +in lines of various lengths, see pp. 122 (2 examples), +123, 137, 160, 177. + +An _estribillo_, or refrain, may be used in any assonating +verse (p. 45). + page lxxxi +(3) The use of alternate assonance in lines of fourteen +syllables (pp. 211, 212) is a none too happy device of the +author. + +(4) The _seguidilla_ 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 _seguidillas_ the stanzas +consist only of the first four lines described. + +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 _agudos_ or _esdrujulos_ +permissible. + +(1) The _redondilla mayor_ consists of four 8-syllable +lines with the rime-scheme _abba_ (pp. 149, 167), or, +less commonly, _abab_ (p. 136). It is a common and +characteristic Spanish meter. The _redondilla menor_ +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 +_redondillas_. + +(2) The _quintilla_ 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). _Quintillas_ 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 _Vida retirada_ (p. 9) is termed _lira_: +cf. _Introduction_, p. xxiii. + page lxxxii +(3) The _decima_ (or _espinela_) is a 10-line strophe +of 8-syllable lines which may be considered as two +_quintillas_; but there should be a pause after the +fourth line, and the rime-scheme is usually as follows: +_abbaaccddc_. + +(4) The _arte mayor_ line has already been described (p. +lxxv). The _copla de arte mayor_ is a stanza of eight such +lines, usually having the rime-scheme _abbaacca_. + +(5) The _octava rima_ (Ital. _ottava rima_) is an Italian +form. Each stanza has eight 11-syllable lines with the +rime-scheme _abababcc_. Examples are found of octaves +employing short lines. A variety of the _octava rima_ is +the _octava bermudina_ with the rime-scheme _abbcdeec_, +the lines in _c_ ending in _agudos_. + +(6) The _soneto_ (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 _abba_, and the tiercets almost always follow +one of two types: either _cde, cde,_ or _cdcdcd_. See pp. +14, 18, 148, etc. + +(7) _Tercetos_ (Italian _terza rima_), the verse used by +Dante in the _Divina Commedia_, are formed of 11-syllable +lines in groups of three, with the rime-scheme _aba, bcb, +cdc_, etc., ending _yzyz_. See p. 15. + +(8) The term _cancion_, 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. + +The same procedure is employed with lines of any length, page lxxxiii +but the poem is not then called _cancion_. +For strophes in 10-syllable lines, see p. 199; in +8-syllable lines, pp. 16, 51, 83, 151; in 7-syllables, p. +202. + +(9) The _silva_ 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' _Cantilena_ (p. 17). + +(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. + +(11) Numerous conventional names are given to poems for +some other characteristic than their metrical structure. +Thus a _glosa_ (gloss) is a poem "beginning with a text, a +line of which enters into each of the stanzas expounding +it." A _letra_ may be a short gloss. The name _letrilla_ +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 _madrigal_ is a short +_silva_ upon a light topic, an expanded conceit. The term +_cantilena_ is given to any short piece of verse intended +to be set to music (p. 17). _Serranillas_, 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 _villancico_ is a popular poem +with a refrain, usually dealing with an episode celebrated +in a church festival (p. 13). + +III. _Versos sueltos, libres_ or _blancos_ (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. + + Page 1 + + + ESPANA + + + ROMANCES + + + ABENAMAR + + iAbenamar, Abenamar, + moro de la moreria, + el dia que tu naciste + grandes senales habia! +5 Estaba la mar en calma, + la luna estaba crecida: + moro que en tal signo nace, + no debe decir mentira.-- + Alli respondiera el moro, +10 bien oireis lo que decia: + --Yo te la dire, senor, + aunque me cueste la vida, + porque soy hijo de un moro + y una cristiana cautiva; +15 siendo yo nino y muchacho + mi madre me lo decia: + que mentira no dijese, + que era grande villania: + por tanto pregunta, rey, page 2 + que la verdad te diria. + --Yo te agradezco, Abenamar + aquesa tu cortesia. + ?Que castillos son aquellos? +5 iAltos son y relucian! + --El Alhambra era, senor, + y la otra la mezquita; + los otros los Alixares, + labrados a maravilla. +10 El moro que los labraba + cien doblas ganaba al dia, + y el dia que no los labra + otras tantas se perdia. + El otro es Generalife, +15 huerta que par no tenia; + el otro Torres Bermejas, + castillo de gran valia.-- + Alli hablo el rey don Juan, + bien oireis lo que decia: +20 --Si tu quisieses, Granada, + contigo me casaria; + darete en arras y dote + a Cordoba y a Sevilla. + --Casada soy, rey don Juan, +25 casada soy, que no viuda; + el moro que a mi me tiene + muy grande bien me queria. page 3 + Fonte-frida, fonte-frida, + fonte-frida y con amor, + do todas las avecicas + van tomar consolacion, +5 sino es la tortolica + que esta viuda y con dolor. + Por alli fuera a pasar + el traidor de ruisenor: + las palabras que le dice +10 llenas son de traicion: + --Si tu quisieses, senora, + yo seria tu servidor. + --Vete de ahi, enemigo, + malo, falso, enganador, +15 que ni poso en ramo verde, + ni en prado que tenga flor; + que si el agua hallo clara, + turbia la bebia yo; + que no quiero haber marido, +20 porque hijos no haya, no: + no quiero placer con ellos, + ni menos consolacion. + iDejame, triste enemigo, + malo, falso, mal traidor, + que no quiero ser tu amiga, +25 ni casar contigo, no. + page 4 + + EL CONDE ARNALDOS + + iQuien hubiese tal ventura + sobre las aguas del mar, + como hubo el conde Arnaldos + la manana de San Juan! +5 Con un falcon en la mano + la caza iba a cazar, + vio venir una galera + que a tierra quiere llegar. + Las velas traia de seda, +10 la jarcia de un cendal, + marinero que la manda + diciendo viene un cantar + que la mar facia en calma, + los vientos hace amainar, +15 los peces que andan nel hondo + arriba los hace andar, + las aves que andan volando + nel mastel las faz posar. + Alli fablo el conde Arnaldos, +20 bien oireis lo que dira: + --Por Dios te ruego, marinero, + digasme ora ese cantar.-- + Respondiole el marinero, + tal respuesta le fue a dar: +25 --Yo no digo esta cancion + sino a quien conmigo va. + page 5 + + LA CONSTANCIA + + Mis arreos son las armas, + mi descanso el pelear, + mi cama las duras penas, + mi dormir siempre velar. +5 Las manidas son escuras, + los caminos por usar, + el cielo con sus mudanzas + ha por bien de me danar, +10 andando de sierra en sierra + por orillas de la mar, + por probar si en mi ventura + hay lugar donde avadar. + Pero por vos, mi senora, + todo se ha de comportar. + + + EL AMANTE DESDICHADO + +15 En los tiempos que me vi + mas alegre y placentero, + yo me partiera de Burgos + para ir a Valladolid: + encontre con un Palmero, +20 quien me hablo, y dijo asi: + --?Donde vas tu, el desdichado? + ?Donde vas? itriste de ti! + iOh persona desgraciada, + en mal punto te conoci! +25 Muerta es tu enamorada, page 6 + muerta es, que yo la vi; + las andas en que la llevan + de negro las vi cubrir, + los responsos que le dicen +5 yo los ayude a decir: + siete condes la lloraban, + caballeros mas de mil, + llorabanla sus doncellas, + llorando dicen asi: +10 --iTriste de aquel caballero + que tal perdida pierde aqui!-- + Desque aquesto oi, mezquino, + en tierra muerto cai, + y por mas de doce horas +15 no tornara, triste, en mi. + Desque hube retornado, + a la sepultura fui, + con lagrimas de mis ojos + llorando decia asi: +20 --Acogeme, mi senora, + acogeme a par de ti.-- + Al cabo de la sepultura + esta triste voz oi: + --Vive, vive, enamorado, +25 vive, pues que yo mori: + Dios te de ventura en armas, + y en amor otro que si, + que el cuerpo come la tierra, + y el alma pena por ti.-- + page 7 + + EL PRISIONERO + + Por el mes era de mayo + cuando hace la calor, + cuando canta la calandria, + y responde el ruisenor, +5 cuando los enamorados + van a servir al amor, + sino yo, triste, cuitado, + que vivo en esta prision, + que ni se cuando es de dia +10 ni cuando las noches son, + sino por un avecilla + que me cantaba al albor. + Matomela un ballestero, + idele Dios mal galardon! +15 Cabellos de mi cabeza + lleganme al corvejon; + los cabellos de mi barba + por manteles tengo yo: + las unas de las mis manos +20 por cuchillo tajador. + Si lo hacia el buen rey, + hacelo como senor: + si lo hace el carcelero, + hacelo como traidor. +25 Mas iquien ahora me diese + un pajaro hablador, + siquiera fuese calandria, page 8 + o tordico o ruisenor: + criado fuese entre damas + y avezado a la razon, + que me lleve una embajada +5 a mi esposa Leonor, + que me envie una empanada, + no de truchas ni salmon, + sino de una lima sorda + y de un pico tajador: + la lima para los hierros, +10 y el pico para el torreon!-- + Oidolo habia el rey, + mandole quitar la prision. + + + DON GIL VICENTE + + + CANCION + + Muy graciosa es la doncella: +15 icomo es bella y hermosa! + Digas tu, el marinero + que en las naves vivias, + si la nave o la vela o la estrella + es tan bella. +20 Digas tu, el caballero + que las armas vestias, + si el caballo o las armas o la guerra + es tan bella. + Digas tu, el pastorcico page 9 + que el ganadico guardas, + si el ganado o los valles, o la sierra + es tan bella. + + + SANTA TERESA DE JESUS + + LETRILLA QUE LLEVABA POR + REGISTRO EN SU BREVIARIO + + Nada te turbe; +5 nada te espante; + todo se pasa; + Dios no se muda, + la paciencia todo lo alcanza. + Quien a Dios tiene, +10 nada le falta. + Solo Dios basta. + + + FRAY LUIS DE LEON + + VIDA RETIRADA + + iQue descansada vida + la del que huye el mundanal rueido, + y sigue la escondida +15 senda por donde han ido + los pocos sabios que en el mundo han sido! + Que no le enturbia el pecho + de los soberbios grandes el estado, page 10 + ni del dorado techo + se admira, fabricado + del sabio moro, en jaspes sustentado. + No cura si la fama +5 canta con voz su nombre pregonera, + ni cura si encarama + la lengua lisonjera + lo que condena la verdad sincera. + ?Que presta a mi contento +10 si soy del vano dedo senalado? + si en busca de este viento + ando desalentado + con ansias vivas, y mortal cuidado? + iOh campo, oh monte, oh rio! +15 ioh secreto seguro deleitoso! + roto casi el navio, + a vuestro almo reposo + huyo de aqueste mar tempestueoso. + Un no rompido sueno, +20 un dia puro, alegre, libre quiero; + no quiero ver el ceno + vanamente severo + de quien la sangre ensalza o el dinero. + Despiertenme las aves +25 con su cantar sueave no aprendido, + no los cuidados graves + de que es siempre seguido + quien al ajeno arbitrio esta atenido. + Vivir quiero conmigo, page 11 + gozar quiero del bien que debo al cielo, + a solas sin testigo, + libre de amor, de celo, + de odio, de esperanzas, de recelo. +5 Del monte en la ladera + por mi mano plantado tengo un huerto + que con la primavera + de bella flor cubierto + ya muestra en esperanza el fruto cierto. +10 Y como codiciosa + de ver y acrecentar su hermosura, + desde la cumbre airosa + una fontana pura + hasta llegar corriendo se apresura. +15 Y luego sosegada + el paso entre los arboles torciendo, + el suelo de pasada + de verdura vistiendo, + y con diversas flores va esparciendo. +20 El aire el huerto orea, + y ofrece mil olores al sentido, + los arboles menea + con un manso rueido + que del oro y del cetro pone olvido. +25 Tenganse su tesoro + los que de un flaco leno se confian: + no es mio ver el lloro + de los que desconfian + cuando el cierzo y el abrego porfian. page 12 + La combatida antena + cruje, y en ciega noche el claro dia + se torna, al cielo suena +5 confusa voceria, + y la mar enriquecen a porfia. + A mi una pobrecilla + mesa de amable paz bien abastada + me baste, y la vajilla + de fino oro labrada +10 sea de quien la mar no teme airada. + Y mientras miserable- + mente se estan los otros abrasando + en sed insaciable + del no durable mando, +15 tendido yo a la sombra este cantando; + A la sombra tendido + de yedra y lauro eterno coronado, + puesto el atento oido + al son dulce acordado +20 del plectro sabiamente meneado. + + + ANONIMO + + A CRISTO CRUCIFICADO + + No me mueve, mi Dios, para quererte + El cielo que me tienes prometido, + Ni me mueve el infierno tan temido + Para dejar por eso de ofenderte. page 13 + Tu me mueves, Senor; mueveme el verte + Clavado en una cruz y escarnecido; + Mueveme ver tu cuerpo tan herido; + Muevenme tus afrentas y tu muerte. +5 Mueveme, al fin, tu amor, y en tal manera, + Que aunque no hubiera cielo, yo te amara. + Y aunque no hubiera infierno, te temiera. + No me tienes que dar porque te quiera; + Pues aunque lo que espero no esperara. +10 Lo mismo que te quiero te quisiera. + + + DON LOPE FELIX DE VEGA CARPIO + + CANCION DE LA VIRGEN + + Pues andais en las palmas, + Angeles santos, + Que se duerme mi nino, + Tened los ramos. +15 Palmas de Belen + Que mueven airados + Los furiosos vientos, + Que suenan tanto, + No le hagais ruido, +20 Corred mas paso; + Que se duerme mi nino, + Tened los ramos. + El nino divino, + Que esta cansado page 14 + De llorar en la tierra, + Por su descanso + Sosegar quiere un poco + Del tierno llanto; +5 Que se duerme mi nino, + Tened los ramos. + Rigurosos hielos + Le estan cercando, + Ya veis que no tengo +10 Con que guardarlo: + Angeles divinos, + Que vais volando, + Que se duerme mi nino, + Tened los ramos. + + + MANANA + +15 ?Que tengo yo, que mi amistad procuras? + ?Que interes se te sigue, Jesus mio, + Que a mi puerta, cubierto de rocio, + Pasas las noches del invierno escuras? + iOh cuanto fueron mis entranas duras, +20 Pues no te abri! iQue extrano desvario, + Si de mi ingratitud el hielo frio + Seco las llagas de tus plantas puras! + iCuantas veces el angel me decia: + "Alma, asomate agora a la ventana; +25 Veras con cuanto amor llamar porfia!" + Y icuantas, hermosura soberana, page 15 + "Manana le abriremos," respondia! + Para lo mismo responder manana. + + + DON FRANCISCO DE QUEVEDO + + EPISTOLA SATIRICA Y CENSORIA + +Contra las costumbres presentes de los castellanos, escrita al +Conde-Duque de Olivares. + + No he de callar, por mas que con el dedo, + Ya tocando la boca, o ya la frente, +5 Silencio avises o amenaces miedo. + ?No ha de haber un espiritu valiente? + ?Siempre se ha de sentir lo que se dice? + ?Nunca se ha de decir lo que se siente? + Hoy sin miedo que libre escandalice +10 Puede hablar el ingenio, asegurado + De que mayor poder le atemorice. + En otros siglos pudo ser pecado + Severo estudio y la verdad desnuda, + Y romper el silencio el bien hablado. +15 Pues sepa quien lo niega y quien lo duda + Que es lengua la verdad de Dios severo + Y la lengua de Dios nunca fue muda. + Son la verdad y Dios, Dios verdadero: + Ni eternidad divina los separa, +20 Ni de los dos alguno fue primero. + page 16 + + LETRILLA SATIRICA + + Poderoso caballero + Es don Dinero. + Madre, yo al oro me humillo: + El es mi amante y mi amado, +5 Pues de puro enamorado, + De contino anda amarillo; + Que pues, doblon o sencillo, + Hace todo cuanto quiero, + Poderoso caballero +10 Es don Dinero. + Nace en las Indias honrado, + Donde el mundo le acompana; + Viene a morir en Espana + Y es en Genova enterrado. +15 Y pues quien le trae al lado + Es hermoso, aunque sea fiero, + Poderoso caballero + Es don Dinero. + Es galan y es como un oro, +20 Tiene quebrado el color, + Persona de gran valor, + Tan cristiano como moro; + Pues que da y quita el decoro + Y quebranta cualquier fuero, +25 Poderoso caballero + Es don Dinero. + Son sus padres principales page 17 + Y es de nobles descendiente, + Porque en las venas de Oriente + Todas las sangres son reales: + Y pues es quien hace iguales +5 Al duque y al ganadero, + Poderoso caballero + Es don Dinero. + + + DON ESTEBAN MANUEL DE VILLEGAS + + CANTILENA: DE UN PAJARILLO + + Yo vi sobre un tomillo + Quejarse un pajarillo, +10 Viendo su nido amado, + De quien era caudillo, + De un labrador robado. + Vile tan congojado + Por tal atrevimiento +15 Dar mil quejas al viento, + Para que al cielo santo + Lleve su tierno llanto, + Lleve su triste acento. + Ya con triste armonia, +20 Esforzando el intento, + Mil quejas repetia; + Ya cansado callaba, + Y al nuevo sentimiento page 18 + Ya sonoro volvia. + Ya circular volaba, + Ya rastrero corria, + Ya pues de rama en rama +5 Al rustico seguia; + Y saltando en la grama, + Parece que decia: + "Dame, rustico fiero, + Mi dulce compania"; +10 Y que le respondia + El rustico: "No quiero." + + + DON PEDRO CALDERON DE LA BARCA + + SONETO + + Estas que fueron pompa y alegria + Despertando al albor de la manana, + A la tarde seran lastima vana +15 Durmiendo en brazos de la noche fria. + Este matiz que al cielo desafia, + Iris listado de oro, nieve y grana, + Sera escarmiento de la vida humana: + iTanto se emprende en termino de un dia! +20 A florecer las rosas madrugaron, + Y para envejecerse florecieron: + Cuna y sepulcro en un boton hallaron. + Tales los hombres sus fortunas vieron: + En un dia nacieron y expiraron; +25 Que pasados los siglos, horas fueron. + page 19 + + CONSEJO DE CRESPO A SU HIJO + EL ALCALDE DE ZALAMEA (11, 21) + + Por la gracia de Dios, Juan, + Eres de linaje limpio + Mas que el sol, pero villano: + Lo uno y lo otro te digo, +5 Aquello, porque no humilles + Tanto tu orgullo y tu brio, + Que dejes, desconfiado, + De aspirar con cuerdo arbitrio + A ser mas; lo otro, porque +10 No vengas, desvanecido, + A ser menos: igualmente + Usa de entrambos designios + Con humildad; porque siendo + Humilde, con recto juicio +15 Acordaras lo mejor; + Y como tal, en olvido + Pondras cosas que suceden + Al reves en los altivos. + iCuantos, teniendo en el mundo +20 Algun defecto consigo, + Le han borrado por humildes! + Y ia cuantos, que no han tenido + Defecto, se le han hallado, + Por estar ellos mal vistos! +25 Se cortes sobremanera, + Se liberal y esparcido; page 20 + Que el sombrero y el dinero + Son los que hacen los amigos; + Y no vale tanto el oro + Que el sol engendra en el indio +5 Suelo que conduce el mar, + Como ser uno bienquisto. + No hables mal de las mujeres: + La mas humilde, te digo + Que es digna de estimacion, +10 Porque, al fin, dellas nacimos. + + + FRAY DIEGO GONZALEZ + + EL MURCIELAGO ALEVOSO + + INVECTIVA + + Estaba Mirta bella + Cierta noche formando en su aposento, + Con gracioso talento, + Una tierna cancion, y porque en ella +15 Satisfacer a Delio meditaba, + Que de su fe dudaba, + Con vehemente expresion le encarecia + El fuego que en su casto pecho ardia. + Y estando divertida, +20 Un murcielago fiero, isuerte insana! + Entro por la ventana; + Mirta dejo la pluma, sorprendida, page 21 + Temio, gimio, dio voces, vino gente; + Y al querer diligente + Ocultar la cancion, los versos bellos + De borrones lleno, por recogellos. +5 Y Delio, noticioso + Del caso que en su dano habia pasado, + Justamente enojado + Con el fiero murcielago alevoso, + Que habia la cancion interrumpido, +10 Y a su Mirta afligido, + En colera y furor se consumia, + Y asi a la ave funesta maldecia: + "Oh monstruo de ave y bruto, + Que cifras lo peor de bruto y ave, +15 Vision nocturna grave, + Nuevo horror de las sombras, nuevo luto, + De la luz enemigo declarado, + Nuncio desventurado + De la tiniebla y de la noche fria, +20 ?Que tienes tu que hacer donde esta el dia? + "Tus obras y figura + Maldigan de comun las otras aves, + Que canticos sueaves + Tributan cada dia a la alba pura; +25 Y porque mi ventura interrumpiste, + Y a su autor afligiste, + Todo el mal y desastre te suceda + Que a un murcielago vil suceder pueda. + "La lluvia repetida, page 22 + Que viene de lo alto arrebatada, + Tan solo reservada + A las noches, se oponga a tu salida; + O el relampago pronto reluciente +5 Te ciegue y amedrente; + O soplando del Norte recio el viento, + No permita un mosquito a tu alimento. + "La duena melindrosa, + Tras el tapiz do tienes tu manida, +10 Te juzgue, inadvertida, + Por telarana sucia y asquerosa, + Y con la escoba al suelo te derribe; + Y al ver que bulle y vive, + Tan fiera y tan ridicula figura, +15 Suelte la escoba y huya con presura. + "Y luego sobrevenga + El jugueton gatillo bullicioso, + Y primero medroso + Al verte, se retire y se contenga, +20 Y bufe y se espeluce horrorizado, + Y alce el rabo esponjado, + Y el espinazo en arco suba al cielo, + Y con los pies apenas toque el suelo. + "Mas luego recobrado, +25 Y del primer horror convalecido, + El pecho al suelo unido, + Traiga el rabo del uno al otro lado, + Y cosido en la tierra, observe atento; + Y cada movimiento page 23 + Que en ti llegue a notar su perspicacia, + Le provoque al asalto y le de audacia. + "En fin sobre ti venga, + Te acometa y ultraje sin recelo, +5 Te arrastre por el suelo, + Y a costa de tu dano se entretenga; + Y por caso las unas afiladas + En tus alas clavadas, + Por echarte de si con sobresalto, +10 Te arroje muchas veces a lo alto + "Y acuda a tus chillidos + El muchacho, y convoque a sus iguales, + Que con los animales + Suelen ser comunmente desabridos; +15 Que a todos nos doto naturaleza + De entranas de fiereza, + Hasta que ya la edad o la cultura + Nos dan humanidad y mas cordura. + "Entre con algazara +20 La pueril tropa, al dano prevenida, + Y lazada oprimida + Te echen al cuello con fiereza rara; + Y al oirte chillar alcen el grito + Y te llamen maldito; +25 Y creyendote al fin del diablo imagen, + Te abominen, te escupan y te ultrajen. + "Luego por las telillas + De tus alas te claven al postigo, + Y se burlen contigo, page 24 + Y al hocico te apliquen candelillas, + Y se rian con duros corazones + De tus gestos y acciones, + Y a tus tristes querellas ponderadas +5 Correspondan con fiesta y carcajadas. + "Y todos bien armados + De piedras, de navajas, de aguijones, + De clavos, de punzones, + De palos por los cabos afilados +10 (De diversion y fiesta ya rendidos), + Te embistan atrevidos, + Y te quiten la vida con presteza, + Consumando en el modo su fiereza. + "Te puncen y te sajen, +15 Te tundan, te golpeen, te martillen, + Te piquen, te acribillen, + Te dividan, te corten y te rajen, + Te desmiembren, te partan, te degueellen, + Te hiendan, te desuellen, +20 Te estrujen, te aporreen, te magullen, + Te deshagan, confundan y aturrullen. + "Y las supersticiones + De las viejas creyendo realidades, + Por ver curiosidades, +25 En tu sangre humedezcan algodones, + Para encenderlos en la noche obscura, + Creyendo sin cordura + Que veran en el aire culebrinas + Y otras tristes visiones peregrinas. page 25 + "Muerto ya, te dispongan + El entierro, te lleven arrastrando, + Gori, gori, cantando, + Y en dos filas delante se compongan, +5 Y otros, fingiendo voces lastimeras, + Sigan de planideras, + Y dirijan entierro tan gracioso + Al muladar mas sucio y asqueroso; + "Y en aquella basura +10 Un hoyo hondo y capaz te faciliten, + Y en el te depositen, + Y alli te den debida sepultura; + Y para hacer eterna tu memoria, + Compendiada tu historia +15 Pongan en una losa duradera, + Cuya letra dira de esta manera: + + _Epitafio_ + + "Aqui yace el murcielago alevoso, + Que al sol horrorizo y ahuyento el dia, + De pueril sana triunfo lastimoso, +20 Con cruel muerte pago su alevosia: + No sigas, caminante, presuroso, + Hasta decir sobre esta losa fria: + Acontezca tal fin y tal estrella + A aquel que mal hiciere a Mirta bella." + page 26 + + DON NICOLAS F. DE MORATIN + + FIESTA DE TOROS EN MADRID + + Madrid, castillo famoso + Que al rey moro alivia el miedo, + Arde en fiestas en su coso + Por ser el natal dichoso +5 De Alimenon de Toledo. + Su bravo alcaide Aliatar, + De la hermosa Zaida amante, + Las ordena celebrar + Por si la puede ablandar +10 El corazon de diamante. + Paso, vencida a sus ruegos, + Desde Aravaca a Madrid; + Hubo pandorgas y fuegos, + Con otros nocturnos juegos +15 Que dispuso el adalid. + Y en adargas y colores, + En las cifras y libreas, + Mostraron los amadores, + Y en pendones y preseas, +20 La dicha de sus amores. + Vinieron las moras bellas + De toda la cercania, + Y de lejos muchas de ellas: + Las mas apuestas doncellas +25 Que Espana entonces tenia. page 27 + Aja de Jetafe vino, + Y Zahara la de Alcorcon, + En cuyo obsequio muy fino + Corrio de un vuelo el camino +5 El moraicel de Alcabon; + Jarifa de Almonacid, + Que de la Alcarria en que habita + Llevo a asombrar a Madrid + Su amante Audalla, adalid +10 Del castillo de Zorita. + De Adamuz y la famosa + Meco llegaron alli + Dos, cada cual mas hermosa, + Y Fatima la preciosa, +15 Hija de Ali el alcadi. + El ancho circo se llena + De multitud clamorosa, + Que atiende a ver en la arena + La sangrienta lid dudosa, +20 Y todo en torno resuena. + La bella Zaida ocupo + Sus dorados miradores + Que el arte afiligrano, + Y con espejos y flores +25 Y damascos adorno. + Anafiles y atabales, + Con militar armonia, + Hicieron salva, y senales + De mostrar su valentia page 28 + Los moros mas principales. + No en las vegas de Jarama + Pacieron la verde grama + Nunca animales tan fieros, +5 Junto al puente que se llama, + Por sus peces, de Viveros, + Como los que el vulgo vio + Ser lidiados aquel dia; + Y en la fiesta que gozo, +10 la popular alegria + Muchas heridas costo. + Salio un toro del toril + Y a Tarfe tiro por tierra, + Y luego a Benalguacil; +15 Despues con Hamete cierra + El temeron de Conil. + Traia un ancho liston + Con uno y otro matiz + Hecho un lazo por airon, +20 Sobre la inhiesta cerviz + Clavado con un arpon. + Todo galan pretendia + Ofrecerle vencedor + A la dama que servia: +25 Por eso perdio Almanzor + El potro que mas queria. + El alcaide muy zambrero + De Guadalajara, huyo + Mal herido al golpe fiero, page 29 + Y desde un caballo overo + El moro de Horche cayo. + Todos miran a Aliatar, + Que, aunque tres toros ha muerto, +5 No se quiere aventurar, + Porque en lance tan incierto + El caudillo no ha de entrar. + Mas viendo se culparia, + Va a ponersele delante: +10 La fiera le acometia, + Y sin que el rejon la plante + Le mato una yegua pia. + Otra monta acelerado: + Le embiste el toro de un vuelo, +15 Cogiendole entablerado; + Rodo el bonete encarnado + Con las plumas por el suelo. + Dio vuelta hiriendo y matando + A los de a pie que encontrara, +20 El circo desocupando, + Y emplazandose, se para, + Con la vista amenazando. + Nadie se atreve a salir: + La plebe grita indignada, +25 Las damas se quieren ir, + Porque la fiesta empezada + No puede ya proseguir. + Ninguno al riesgo se entrega + Y esta en medio el toro fijo, page 30 + Cuando un portero que llega + De la puerta de la Vega, + Hinco la rodilla, y dijo: + Sobre un caballo alazano, +5 Cubierto de galas y oro, + Demanda licencia urbano + Para alancear a un toro + Un caballero cristiano. + Mucho le pesa a Aliatar; +10 Pero Zaida dio respuesta + Diciendo que puede entrar, + Porque en tan solemne fiesta + Nada se debe negar. + Suspenso el concurso entero +15 Entre dudas se embaraza, + Cuando en un potro ligero + Vieron entrar en la plaza + Un bizarro caballero, + Sonrosado, albo color, +20 Belfo labio, juveniles + Alientos, inquieto ardor, + En el florido verdor + De sus lozanos abriles. + Cuelga la rubia guedeja +25 Por donde el almete sube, + Cual mirarse tal vez deja + Del sol la ardiente madeja + Entre cenicienta nube; + Gorguera de anchos follajes, page 31 + De una cristiana primores; + En el yelmo los plumajes + Por los visos y celajes + Vergel de diversas flores; +5 En la cuja gruesa lanza, + Con recamado pendon, + Y una cifra a ver se alcanza, + Que es de desesperacion, + O a lo menos de venganza. +10 En el arzon de la silla + Ancho escudo reverbera + Con blasones de Castilla, + Y el mote dice a la orilla: + _Nunca mi espada venciera_. +15 Era el caballo galan, + El bruto mas generoso, + De mas gallardo ademan: + Cabos negros, y brioso, + Muy tostado, y alazan, +20 Larga cola recogida + En las piernas descarnadas, + Cabeza pequena, erguida, + Las narices dilatadas, + Vista feroz y encendida. +25 Nunca en el ancho rodeo + Que da Betis con tal fruto + Pudo fingir el deseo + Mas bella estampa de bruto, + Ni mas hermoso paseo. page 32 + Dio la vuelta al rededor; + Los ojos que le veian + Lleva prendados de amor: + iAla te salve! decian, +5 iDete el Profeta favor! + Causaba lastima y grima + Su tierna edad floreciente: + Todos quieren que se exima + Del riesgo, y el solamente +10 Ni recela ni se estima. + Las doncellas, al pasar, + Hacen de ambar y alcanfor + Pebeteros exhalar, + Vertiendo pomos de olor, +15 De jazmines y azahar. + Mas cuando en medio se para, + Y de mas cerca le mira + La cristiana esclava Aldara, + Con su senora se encara, +20 Y asi la dice, y suspira: + --Senora, suenos no son; + Asi los cielos, vencidos + De mi ruego y afliccion, + Acerquen a mis oidos +25 Las campanas de Leon, + Como ese doncel, que ufano + Tanto asombro viene a dar + A todo el pueblo africano, + Es Rodrigo de Bivar, page 33 + El soberbio castellano.-- + Sin descubrirle quien es, + La Zaida desde una almena + Le hablo una noche cortes, +5 Por donde se abrio despues + El cubo de la Almudena; + Y supo que, fugitivo + De la corte de Fernando, + El cristiano, apenas vivo, +10 Esta a Jimena adorando + Y en su memoria cautivo. + Tal vez a Madrid se acerca + Con frecuentes correrias + Y todo en torno la cerca; +15 Observa sus saetias, + Arroyadas y ancha alberca. + Por eso le ha conocido: + Que en medio de aclamaciones, + El caballo ha detenido +20 Delante de sus balcones, + Y la saluda rendido. + La mora se puso en pie + Y sus doncellas detras: + El alcaide que lo ve, +25 Enfurecido ademas, + Muestra cuan celoso este. + Suena un rumor placentero + Entre el vulgo de Madrid: + No habra mejor caballero, page 34 + Dicen, en el mundo entero, + Y algunos le llaman Cid. + Crece la algazara, y el, + Torciendo las riendas de oro, +5 Marcha al combate crueel: + Alza el galope, y al toro + Busca en sonoro tropel. + El bruto se le ha encarado + Desde que le vio llegar, +10 De tanta gala asombrado, + Y al rededor le ha observado + Sin moverse de un lugar. + Cual flecha se disparo + Despedida de la cuerda, +15 De tal suerte le embistio; + Detras de la oreja izquierda + La aguda lanza le hirio. + Brama la fiera burlada; + Segunda vez acomete, +20 De espuma y sudor banada, + Y segunda vez la mete + Sutil la punta acerada. + Pero ya Rodrigo espera + Con heroico atrevimiento, +25 El pueblo mudo y atento: + Se engalla el toro y altera, + Y finje acometimiento. + La arena escarba ofendido, + Sobre la espalda la arroja page 35 + Con el hueso retorcido; + El suelo huele y le moja + En ardiente resoplido. + La cola inquieto menea, +5 La diestra oreja mosquea, + Vase retirando atras, + Para que la fuerza sea + Mayor, y el impetu mas. + El que en esta ocasion viera +10 De Zaida el rostro alterado, + Claramente conociera + Cuanto le cuesta cuidado + El que tanto riesgo espera. + Mas iay, que le embiste horrendo +15 El animal espantoso! + Jamas penasco tremendo + Del Caucaso cavernoso + Se desgaja, estrago haciendo, + Ni llama asi fulminante +20 Cruza en negra obscuridad + Con relampagos delante, + Al estrepito tronante + De sonora tempestad, + Como el bruto se abalanza +25 Con terrible ligereza; + Mas rota con gran pujanza + La alta nuca, la fiereza + Y el ultimo aliento lanza. + La confusa voceria page 36 + Que en tal instante se oyo + Fue tanta, que parecia + Que honda mina revento, + O el monte y valle se hundia. +5 A caballo como estaba + Rodrigo, el lazo alcanzo + Con que el toro se adornaba: + En su lanza le clavo + Y a los balcones llegaba. +10 Y alzandose en los estribos, + Le alarga a Zaida, diciendo: + --Sultana, aunque bien entiendo + Ser favores excesivos, + Mi corto don admitiendo; +15 Si no os dignaredes ser + Con el benigna, advertid + Que a mi me basta saber + Que no le debo ofrecer + A otra persona en Madrid.-- +20 Ella, el rostro placentero, + Dijo, y turbada:--Senor, + Yo le admito y le venero, + Por conservar el favor + De tan gentil caballero.-- +25 Y besando el rico don, + Para agradar al doncel, + Le prende con aficion + Al lado del corazon + Por brinquino y por joyel. page 37 + Pero Aliatar el caudillo + De envidia ardiendo se ve, + Y, tremulo y amarillo, + Sobre un tremecen rosillo +5 Lozaneandose fue. + Y en ronca voz:--Castellano, + Le dice, con mas decoros + Suelo yo dar de mi mano, + Si no penachos de toros, +10 Las cabezas del cristiano. + Y si vinieras de guerra + Cual vienes de fiesta y gala, + Vieras que en toda la tierra, + Al valor que dentro encierra +15 Madrid, ninguno se iguala.-- + --Asi, dijo el de Bivar, + Respondo--; y la lanza al ristre + Pone, y espera a Aliatar; + Mas sin que nadie administre +20 Orden, tocaron a armar. + Ya fiero bando con gritos + Su muerte o prision pedia, + Cuando se oyo en los distritos + Del monte de Leganitos +25 Del Cid la trompeteria. + Entre la Monclova y Soto + Tercio escogido embosco, + Que, viendo como tardo, + Se acerca, oyo el alboroto, page 38 + Y al muro se abalanzo. + Y si no vieran salir + Por la puerta a su senor, + Y Zaida a le despedir, +5 Iban la fuerza a embestir: + Tal era ya su furor. + El alcaide, recelando + Que en Madrid tenga partido, + Se templo disimulando, +10 Y por el parque florido + Salio con el razonando. + Y es fama que, a la bajada, + Juro por la cruz el Cid + De su vencedora espada +15 De no quitar la celada + Hasta que gane a Madrid. + + DON GASPAR MELCHOR DE JOVELLANOS + + A ARNESTO + + ?Quis tam patiens ut teneat se? + JUVENAL + + Dejame, Arnesto, dejame que llore + Los fieros males de mi patria, deja + Que su rueina y perdicion lamente; +20 Y si no quieres que en el centro obscuro + De esta prision la pena me consuma, + Dejame al menos que levante el grito + Contra el desorden: deja que a la tinta page 39 + Mezclando miel y acibar, siga indocil + Mi pluma el vuelo del bufon de Aquino. + iOh! icuanto rostro veo, a mi censura, + De palidez y de rubor cubierto! +5 Animo, amigos, nadie tema, nadie, + Su punzante aguijon; que yo persigo + En mi satira el vicio, no al vicioso. + + Ya la notoriedad es el mas noble + Atributo del vicio, y nuestras Julias, +10 Mas que ser malas quieren parecerlo. + Hubo un tiempo en que andaba la modestia + Dorando los delitos; hubo un tiempo + En que el recato timido cubria + La fealdad del vicio; pero huyose +15 El pudor a vivir en las cabanas. + + iOh infamia! ioh siglo! ioh corrupcion! Matronas + Castellanas, ?quien pudo vuestro claro + Pundonor eclipsar? ?Quien de Lucrecias + En Lais os volvio? ?Ni el proceloso +20 Oceano, ni, lleno de peligros, + El Lilibeo, ni las arduas cumbres + De Pirene pudieron guareceros + Del contagio fatal? Zarpa prenada + De oro la nao gaditana, aporta +25 A las orillas galicas, y vuelve + Llena de objetos futiles y vanos; page 40 + Y entre los signos de extranjera pompa + Ponzona esconde y corrupcion, compradas + Con el sudor de las iberas frentes; + Y tu, misera Espana, tu la esperas +5 Sobre la playa, y con afan recoges + La pestilente carga, y la repartes + Alegre entre tus hijos. Viles plumas, + Gasas y cintas, flores y penachos +10 Te trae en cambio de la sangre tuya; + De tu sangre ioh baldon! y acaso, acaso + De tu virtud y honestidad. Repara + Cual la liviana juventud los busca. + Mira cual va con ellos engreida + La impudente doncella; su cabeza, +15 Cual nave real en triunfo empavesada, + Vana presenta del favonio al soplo + La mies de plumas y de airones, y anda + Loca, buscando en la lisonja el premio + De su indiscreto afan. iAy triste! guarte, +20 Guarte, que esta cercano el precipicio. + El astuto amador ya en asechanza + Te atisba y sigue con lascivos ojos; + La adulacion y la caricia el lazo + Te van a armar, do caeras incauta, +25 En el tu oprobio y perdicion hallando. + iAy cuanto, cuanto de amargura y lloro + Te costaran tus galas! iCuan tardio + Sera y esteril tu arrepentimiento! + Ya ni el rico Brasil, ni las cavernas page 41 + Del nunca exhausto Potosi no bastan + A saciar el hidropico deseo, + La ansiosa sed de vanidad y pompa. + Todo lo agotan: cuesta un sombrerillo +5 Lo que antes un Estado, y se consume5 + En un festin la dote de una infanta; + Todo lo tragan; la riqueza unida + Va a la indigencia; pide y pordiosea + El noble, engana, empena, malbarata, +10 Quiebra y perece, y el logrero goza + Los pinguees patrimonios, premio un dia + Del generoso afan de altos abuelos. + iOh ultraje! ioh mengua! todo se trafica: + Parentesco, amistad, favor, influjo, +15 Y hasta el honor, deposito sagrado, + O se vende o se compra. Y tu, belleza, + Don el mas grato que dio al hombre el cielo, + No eres ya premio del valor, ni paga + Del peregrino ingenio; la florida +20 Juventud, la ternura, el rendimiento + Del constante amador ya no te alcanzan. + Ya ni te das al corazon, ni sabes + De el recibir adoracion y ofrendas. + Rindeste al oro. La vejez hedionda, +25 La sucia palidez, la faz adusta, + Fiera y terrible, con igual derecho + Vienen sin susto a negociar contigo. + Daste al barato, y tu rosada frente, + Tus suaves besos y tus dulces brazos, page 42 + Corona un tiempo del amor mas puro, + Son ya una vil y torpe mercancia. + + + DON JUAN MELENDEZ VALDES + + ROSANA EN LOS FUEGOS + + Del sol llevaba la lumbre, + Y la alegria del alba, +5 En sus celestiales ojos + La hermosisima Rosana, + Una noche que a los fuegos + Salio la fiesta de Pascua + Para abrasar todo el valle +10 En mil amorosas ansias. + Por do quiera que camina + Lleva tras si la manana, + Y donde se vuelve rinde + La libertad de mil almas. +15 El cefiro la acaricia + Y mansamente la halaga, + Los Amores la rodean + Y las Gracias la acompanan. + Y ella, asi como en el valle +20 Descuella la altiva palma + Cuando sus verdes pimpollos + Hasta las nubes levanta; + O cual vid de fruto llena + Que con el olmo se abraza, page 43 + Y sus vastagos extiende + Al arbitrio de las ramas; + Asi entre sus companeras + El nevado cuello alza, +5 Sobresaliendo entre todas + Cual fresca rosa entre zarzas. + Todos los ojos se lleva + Tras si, todo lo avasalla; + De amor mata a los pastores +10 Y de envidia a las zagalas. + Ni las musicas se atienden, + Ni se gozan las lumbradas; + Que todos corren por verla + Y al verla todos se abrasan. +15 iQue de suspiros se escuchan! + iQue de vivas y de salvas! + No hay zagal que no la admire + Y no se esmere en loarla. + Cual absorto la contempla +20 Y a la aurora la compara + Cuando mas alegre sale + Y el cielo en albores bana; + Cual al fresco y verde aliso + Que crece al margen del agua, +25 Cuando mas pomposo en hojas + En su cristal se retrata; + Cual a la luna, si muestra + Llena su esfera de plata, + Y asoma por los collados page 44 + De luceros coronada. + Otros pasmados la miran + Y mudamente la alaban, + Y cuanto mas la contemplan +5 Muy mas hermosa la hallan. + Que es como el cielo su rostro + Cuando en la noche callada + Brilla con todas sus luces + Y los ojos embaraza. +10 iAy, que de envidias se encienden! + iAy, que de celos que causa + En las serranas del Tormes + Su perfeccion sobrehumana! + Las mas hermosas la temen, +15 Mas sin osar murmurarla; + Que como el oro mas puro + No sufre una leve mancha. + Bien haya tu gentileza, + Una y mil veces bien haya, +20 Y abrase la envidia al pueblo, + Hermosisima aldeana. + Toda, toda eres perfecta, + Toda eres donaire y gracia, + El amor vive en tus ojos +25 Y la gloria esta en tu cara. + La libertad me has robado, + Yo la doy por bien robada, + Mas recibe el don benigna + Que mi humildad te consagra. page 45 + Esto un zagal la decia + Con razones mal formadas, + Que salio libre a los fuegos + Y volvio cautivo a casa. +5 Y desde entonces perdido + El dia a sus puertas le halla; + Ayer le canto esta letra + Echandole la alborada: + Linda zagaleja +10 De cuerpo gentil, + _Muerome de amores + Desde que te vi_. + Tu talle, tu aseo, + Tu gala y donaire, +15 No tienen, serrana, + Igual en el valle. + Del cielo son ellos + Y tu un serafin: + _Muerome de amores +20 Desde que te vi_. + De amores me muero, + Sin que nada baste + A darme la vida + Que alla te llevaste, +25 Si ya no te dueles, + Benigna, de mi; + _Que muero de amores + Desde que te vi_. + page 46 + + DON MANUEL JOSE QUINTANA + + ODA A ESPANA, DESPUES DE + LA REVOLUCION DE MARZO + + ?Que era, decidme, la nacion que un dia + Reina del mundo proclamo el destino, + La que a todas las zonas extendia + Su cetro de oro y su blason divino? +5 Volabase a occidente, + Y el vasto mar Atlantico sembrado + Se hallaba de su gloria y su fortuna. + Do quiera Espana: en el preciado seno +10 De America, en el Asia, en los confines + Del Africa, alli Espana. El soberano + Vuelo de la atrevida fantasia + Para abarcarla se cansaba en vano; + La tierra sus mineros le rendia, + Sus perlas y coral el Oceano, +15 Y donde quier que revolver sus olas + El intentase, a quebrantar su furia + Siempre encontraba costas espanolas. + Ora en el cieno del oprobio hundida, + Abandonada a la insolencia ajena, +20 Como esclava en mercado, ya aguardaba + La ruda argolla y la servil cadena. + iQue de plagas! ioh Dios! Su aliento impuro, + La pestilente fiebre respirando, + Infesto el aire, emponzono la vida; page 47 + La hambre enflaquecida + Tendio sus brazos lividos, ahogando + Cuanto el contagio perdono; tres veces + De Jano el templo abrimos, +5 Y a la trompa de Marte aliento dimos; + Tres veces iay! Los dioses tutelares + Su escudo nos negaron, y nos vimos + Rotos en tierra y rotos en los mares. + ?Que en tanto tiempo viste +10 Por tus inmensos terminos, oh Iberia? + ?Que viste ya sino funesto luto, + Honda tristeza, sin igual miseria, + De tu vil servidumbre acerbo fruto? + Asi rota la vela, abierto el lado, +15 Pobre bajel a naufragar camina, + De tormenta en tormenta despenado, + Por los yermos del mar; ya ni en su popa + Las guirnaldas se ven que antes le ornaban, + Ni en senal de esperanza y de contento +20 La flamula riendo al aire ondea. + Ceso en su dulce canto el pasajero, + Ahogo su voceria + El ronco marinero, + Terror de muerte en torno le rodea, +25 Terror de muerte silencioso y frio; + Y el va a estrellarse al aspero bajio. + Llega el momento, en fin; tiende su mano + El tirano del mundo al occidente, + Y fiero exclama: "El occidente es mio." page 48 + Barbaro gozo en su cenuda frente + Resplandecio, como en el seno obscuro + De nube tormentosa en el estio + Relampago fugaz brilla un momento +5 Que anade horror con su fulgor sombrio. + Sus guerreros feroces + Con gritos de soberbia el viento llenan; + Gimen los yunques, los martillos suenan, + Arden las forjas. iOh vergueenza! ?Acaso +10 Pensais que espadas son para el combate + Las que mueven sus manos codiciosas? + No en tanto os estimeis: grillos, esposas, + Cadenas son que en vergonzosos lazos + Por siempre amarren tan inertes brazos. +15 Estremeciose Espana + Del indigno rumor que cerca oia, + Y al grande impulso de su justa sana + Rompio el volcan que en su interior hervia. + Sus despotas antiguos +20 Consternados y palidos se esconden; + Resuena el eco de venganza en torno, + Y del Tajo las margenes responden: + "iVenganza!" ?Donde estan, sagrado rio, + Los colosos de oprobio y de vergueenza +25 Que nuestro bien en su insolencia ahogaban; + Su gloria fue, nuestro esplendor comienza; + Y tu, orgulloso y fiero, + Viendo que aun hay Castilla y castellanos, + Precipitas al mar tus rubias ondas, page 49 + iOh triunfo! iOh gloria! iOh celestial momento! + ?Con que puede ya dar el labio mio + El nombre augusto de la patria al viento? +5 Yo le dare; mas no en el arpa de oro + Que mi cantar sonoro + Acompano hasta aqui; no aprisionado + En estrecho recinto, en que se apoca + El numen en el pecho +10 Y el aliento fatidico en la boca. + Desenterrad la lira de Tirteo, + Y el aire abierto a la radiante lumbre + Del sol, en la alta cumbre + Del riscoso y pinifero Fuenfria, +15 Alli volare yo, y alli cantando + Con voz que atruene en rededor la sierra, + Lanzare por los campos castellanos + Los ecos de la gloria y de la guerra. + iGuerra, nombre tremendo, ahora sublime, +20 Unico asilo y sacrosanto escudo + Al impetu sanudo + Del fiero Atila que a occidente oprime! + iGuerra, guerra, espanoles! En el Betis + Ved del Tercer Fernando alzarse airada +25 La augusta sombra; su divina frente + Mostrar Gonzalo en la imperial Granada; + Blandir el Cid su centelleante espada, + Y alla sobre los altos Pirineos, + Del hijo de Jimena page 50 + Animarse los miembros giganteos. + En torvo ceno y desdenosa pena + Ved como cruzan por los aires vanos; + Y el valor exhalando que se encierra +5 Dentro del hueco de sus tumbas frias, + En fiera y ronca voz pronuncian: "iGuerra! + iPues que! ?Con faz serena + Vierais los campos devastar opimos, + Eterno objeto de ambicion ajena, +10 Herencia inmensa que afanando os dimos? + Despertad, raza de heroes: el momento + Llego ya de arrojarse a la victoria; + Que vuestro nombre eclipse nuestro nombre, + Que vuestra gloria humille nuestra gloria. +15 No ha sido en el gran dia 15 + El altar de la patria alzado en vano + Por vuestra mano fuerte. + Juradlo, ella os lo manda: _iAntes la muerte + Que consentir jamas ningun tirano!_" +20 Si, yo lo juro, venerables sombras; + Yo lo juro tambien, y en este instante + Ya me siento mayor. Dadme una lanza, + Cenidme el casco fiero y refulgente; + Volemos al combate, a la venganza; +25 Y el que niegue su pecho a la esperanza, + Hunda en el polvo la cobarde frente. + Tal vez el gran torrente + De la devastacion en su carrera + Me llevara. ?Que importa? ?Por ventura page 51 + No se muere una vez? ?No ire, expirando, + A encontrar nuestros inclitos mayores? + "iSalud, oh padres de la patria mia, + Yo les dire, salud! La heroica Espana +5 De entre el estrago universal y horrores + Levanta la cabeza ensangrentada, + Y vencedora de su mal destino, + Vuelve a dar a la tierra amedrentada + + + DON DIONISIO SOLIS + + LA PREGUNTA DE LA NINA + +10 Madre mia, yo soy nina; + No se enfade, no me rina, + Si fiada en su prudencia + Desahogo mi conciencia, + Y contarle solicito +15 Mi desdicha o mi delito, + Aunque muerta de rubor. + Pues Blasillo el otro dia, + Cuando mismo anochecia, + Y cantando descuidada +20 Conducia mi manada, + En el bosque, por acaso, + Me salio solito al paso, + Mas hermoso que el amor. + Se me acerca temeroso, page 52 + Me saluda carinoso, + Me repite que soy linda, + Que no hay pecho que no rinda, + Que si rio, que si lloro, +5 A los hombres enamoro, + Y que mato con mirar. + Con estilo cortesano + Se apodera de mi mano, + Y entre dientes, madre mia, +10 No se bien que me pedia; + Yo entendi que era una rosa, + Pero el dijo que era otra cosa, + Que yo no le quise dar. + ?Sabe usted lo que decia +15 El taimado que queria? + Con vergueenza lo confieso, + Mas no hay duda que era un beso + Y fue tanto mi sonrojo, + Que irritada de su arrojo, +20 No se como no mori. + Mas mi pecho enternecido + De mirarle tan rendido, + Al principio resistiendo, + El instando, yo cediendo, +25 Fue por fin tan importuno, + Que en la boca, y solo uno, + Que me diera permiti. + Desde entonces, si le miro, + Yo no se por que suspiro, page 53 + Ni por que si a Clori mira + Se me abrasa el rostro en ira; + Ni por que, si con cuidado + Se me pone junto al lado, +5 Me estremezco de placer. + Siempre orillas de la fuente + Busco rosas a mi frente, + Pienso en el y me sonrio, + Y entre mi le llamo mio, +10 Me entristezco de su ausencia, + Y deseo en su presencia + La mas bella parecer. + Confundida, peno y dudo, + Y por eso a usted acudo; +15 Digame, querida madre, + Si sentia por mi padre + Este placido tormento, + Esta dulce que yo siento + Deliciosa enfermedad. +20 Diga usted con que se cura + O mi amor, o mi locura, + Y si puede por un beso, + Sin que pase a mas exceso, + Una nina enamorarse, +25 Y que trate de casarse + A los quince de su edad. + page 54 + + DON JUAN NICASIO GALLEGO + + EL DOS DE MAYO + + Noche, lobrega noche, eterno asilo + Del miserable que, esquivando el sueno, + En tu silencio pavoroso gime: + No desdenes mi voz; letal beleno +5 Presta a mis sienes, y en tu horror sublime + Empapada la ardiente fantasia, + Da a mi pincel fatidicos colores + Con que el tremendo dia + Trace al furor de vengadora tea, +10 Y el odio irrite de la patria mia, + Y escandalo y terror al orbe sea. + iDia de execracion! La destructora + Mano del tiempo le arrojo al averno; + Mas ?quien el sempiterno +15 Clamor con que los ecos importuna + La madre Espana en enlutado arreo + Podra atajar? Junto al sepulcro frio, + Al palido lucir de opaca luna, + Entre cipreses funebres la veo: +20 Tremula, yerta, descenido el manto, + Los ojos moribundos + Al cielo vuelve, que le oculta el llanto; + Roto y sin brillo el cetro de dos mundos + Yace entre el polvo, y el leon guerrero +25 Lanza a sus pies rugido lastimero. page 55 + iAy, que cual debil planta + Que agota en su furor horrido viento, + De victimas sin cuento + Lloro la destruccion Mantua afligida! +5 Yo vi, yo vi su juventud florida + Correr inerme al huesped ominoso. + ?Mas que su generoso + Esfuerzo pudo? El perfido caudillo + En quien su honor y su defensa fia, +10 La condeno al cuchillo. + ?Quien iay! la alevosia, + La horrible asolacion habra que cuente, + Que, hollando de amistad los santos fueros, + Hizo furioso en la indefensa gente +15 Ese tropel de tigres carniceros? + Por las henchidas calles + Gritando se despena + La infame turba que abrigo en su seno, + Rueda alla rechinando la curena, +20 Aca retumba el espantoso trueno, + Alli el joven lozano, + El mendigo infeliz, el venerable + Sacerdote pacifico, el anciano + Que con su arada faz respeto imprime, +25 Juntos amarra su dogal tirano. + En balde, en balde gime, + De los duros satelites en torno, + La triste madre, la afligida esposa. + Con doliente clamor, la pavorosa page 56 + Fatal descarga suena, + Que a luto y llanto eterno la condena. + iCuanta escena de muerte! icuanto estrago! + iCuantos ayes doquier! Despavorido +5 Mirad ese infelice + Quejarse al adalid empedernido + De otra cuadrilla atroz. "iAh! ?Que te hice?" + Exclama el triste en lagrimas deshecho: + "Mi pan y mi mansion parti contigo, +10 Te abri mis brazos, te cedi mi lecho, + Temple tu sed, y me llame tu amigo; + ?Y ahora pagar podras nuestro hospedaje + Sincero, franco, sin doblez ni engano, + Con dura muerte y con indigno ultraje?" +15 iPerdido suplicar! iinutil ruego! + El monstruo infame a sus ministros mira, + Y con tremenda voz gritando: "ifuego!" + Tinto en su sangre el desgraciado expira. + Y en tanto ?do se esconden? +20 ?Do estan ioh cara patria! tus soldados, + Que a tu clamor de muerte no responden? + Presos, encarcelados + Por jefes sin honor, que, haciendo alarde + De su perfidia y dolo, +25 A merced de los vandalos te dejan, + Como entre hierros el leon, forcejean + Con inutil afan. Vosotros solo, + Fuerte Daoiz, intrepido Velarde, + Que osando resistir al gran torrente page 57 + Dar supisteis en flor la dulce vida + Con firme pecho y con serena frente; + Si de mi libre musa +5 Jamas el eco adormecio a tiranos, + Ni vil lisonja emponzono su aliento, + Alla del alto asiento, + Al que la accion magnanima os eleva, + El himno oid que a vuestro nombre entona, + Mientras la fama aligera le lleva +10 Del mar de hielo a la abrasada zona. + Mas iay! que en tanto sus funestas alas + Por la opresa metropoli tendiendo, + La yerma asolacion sus plazas cubre, + Y al aspero silbar de ardientes balas, +15 Y al ronco son de los prenados bronces, + Nuevo fragor y estrepito sucede. + ?Ois como, rompiendo + De moradores timidos las puertas, + Caen estallando de los fuertes gonces? +20 iCon que espantoso estruendo + Los duenos buscan, que medrosos huyen! + Cuanto encuentran destruyen, + Bramando, los atroces forajidos, + Que el robo infame y la matanza ciegan. +25 ?No veis cual se despliegan, + Penetrando en los hondos aposentos, + De sangre y oro y lagrimas sedientos? + Rompen, talan, destrozan + Cuanto se ofrece a su sangrienta espada. page 58 + Aqui, matando al dueno, se alborozan, + Hieren alli su esposa acongojada; + La familia asolada + Yace expirando, y con feroz sonrisa +5 Sorben voraces el fatal tesoro. + Suelta, a otro lado, la madeja de oro, + Mustio el dulce carmin de su mejilla, + Y en su frente marchita la azucena, + Con voz turbada y anhelante lloro, +10 De su verdugo ante los pies se humilla + Timida virgen, de amargura llena; + Mas con furor de hiena, + Alzando el corvo alfanje damasquino, + Hiende su cuello el barbaro asesino. +15 iHorrible atrocidad!... Treguas ioh musa! + Que ya la voz rehusa + Embargada en suspiros mi garganta. + Y en ignominia tanta, + ?Sera que rinda el espanol bizarro +20 La indomita cerviz a la cadena? + No, que ya en torno suena + De Palas fiera el sanguinoso carro, + Y el latigo estallante + Los caballos flamigeros hostiga. +25 Ya el duro peto y el arnes brillante + Visten los fuertes hijos de Pelayo. + Fuego arrojo su ruginoso acero: + "iVenganza y guerra!" resono en su tumba; + "iVenganza y guerra!" repitio Moncayo; page 59 + Y al grito heroico que en los aires zumba, + "iVenganza y guerra!" claman Turia y Duero. + Guadalquivir guerrero + Alza al belico son la regia frente, +5 Y del Patron valiente + Blandiendo altivo la nudosa lanza, + Corre gritando al mar: "iGuerra y venganza!" + iOh sombras infelices +10 De los que aleve y barbara cuchilla + Robo a los dulces lares! + iSombras inultas que en fugaz gemido + Cruzais los anchos campos de Castilla! + La heroica Espana, en tanto que al bandido + Que a fuego y sangre, de insolencia ciego, +15 Brindo felicidad, a sangre y fuego + Le retribuye el don, sabra piadosa + Daros solemne y noble monumento. + Alli en padron cruento + De oprobio y mengua, que perpetuo dure, +20 La vil traicion del despota se lea, + Y altar eterno sea + Donde todo Espanol al monstruo jure + Rencor de muerte que en sus venas cunda, + Y a cien generaciones se difunda. + page 60 + + DON FRANCISCO MARTINEZ DE LA ROSA + + EL NIDO + + ?Donde vas, zagal cruel, + Donde vas con ese nido, + Riyendo tu mientras pian + Esos tristes pajarillos? +5 Su madre los dejo solos + En este momento mismo, + Para buscarles sustento + Y darselo con su pico... + Mirala cuan azorada +10 Echa menos a sus hijos, + Salta de un arbol en otro, + Va, torna, vuela sin tino: + Al cielo favor demanda + Con acento dolorido; +15 Mientras ellos en tu mano + Baten el ala al oirlo... + iTu tambien tuviste madre, + Y la perdiste aun muy nino, + Y te encontraste en la tierra +20 Sin amparo y sin abrigo!-- + Las lagrimas se le saltan + Al cuitado pastorcillo, + Y vergonzoso y confuso + Deja en el arbol el nido. + page 61 + + DON ANGEL DE SAAVEDRA, DUQUE DE RIVAS + + UN CASTELLANO LEAL + + ROMANCE PRIMERO + + "Hola, hidalgos y escuderos + De mi alcurnia y mi blason, + Mirad como bien nacidos + De mi sangre y casa en pro. +5 "Esas puertas se defiendan; + Que no ha de entrar, vive Dios, + Por ellas, quien no estuviere + Mas limpio que lo esta el sol. + "No profane mi palacio +10 Un fementido traidor + Que contra su Rey combate + Y que a su patria vendio. + "Pues si el es de Reyes primo, + Primo de Reyes soy yo; +15 Y conde de Benavente + Si el es duque de Borbon; + "Llevandole de ventaja + Que nunca jamas mancho + La traicion mi noble sangre, +20 Y haber nacido espanol." + + Asi atronaba la calle + Una ya cascada voz, page 62 + Que de un palacio salia + Cuya puerta se cerro; + Y a la que estaba a caballo + Sobre un negro pisador, +5 Siendo en su escudo las lises + Mas bien que timbre baldon, + Y de pajes y escuderos + Llevando un tropel en pos + Cubiertos de ricas galas, +10 El gran duque de Borbon: + El que lidiando en Pavia, + Mas que valiente, feroz, + Gozose en ver prisionero + A su natural senor; +15 Y que a Toledo ha venido, + Ufano de su traicion, + Para recibir mercedes + Y ver al Emperador. + + ROMANCE SEGUNDO + + En una anchurosa cuadra +20 Del alcazar de Toledo, + Cuyas paredes adornan + Ricos tapices flamencos, + Al lado de una gran mesa, + Que cubre de terciopelo +25 Napolitano tapete + Con borlones de oro y flecos; + Ante un sillon de respaldo page 63 + Que entre bordado arabesco + Los timbres de Espana ostenta + Y el aguila del imperio, + De pie estaba Carlos Quinto, +5 Que en Espana era primero, + Con gallardo y noble talle, + Con noble y tranquilo aspecto. + + De brocado de oro y blanco + Viste tabardo tudesco, +10 De rubias martas orlado, + Y desabrochado y suelto, + Dejando ver un justillo + De raso jalde, cubierto + Con primorosos bordados +15 Y costosos sobrepuestos, + Y la excelsa y noble insignia + Del Toison de oro, pendiendo + De una preciosa cadena + En la mitad de su pecho. +20 Un birrete de velludo + Con un blanco airon, sujeto + Por un joyel de diamantes + Y un antiguo camafeo, + Descubre por ambos lados, +25 Tanta majestad cubriendo, + Rubio, cual barba y bigote, + Bien atusado el cabello. + Apoyada en la cadera page 64 + La potente diestra ha puesto, + Que aprieta dos guantes de ambar + Y un primoroso mosquero, + Y con la siniestra halaga +5 De un mastin muy corpulento, + Blanco y las orejas rubias, + El ancho y carnoso cuello. + + Con el Condestable insigne, + Apaciguador del reino, +10 De los pasados disturbios + Acaso esta discurriendo; + O del trato que dispone + Con el Rey de Francia preso, + O de asuntos de Alemania +15 Agitada por Lutero; + Cuando un tropel de caballos + Oye venir a lo lejos + Y ante el alcazar pararse, + Quedando todo en silencio. +20 En la antecamara suena + Rumor impensado luego, + Abrese al fin la mampara + Y entra el de Borbon soberbio, + Con el semblante de azufre +25 Y con los ojos de fuego, + Bramando de ira y de rabia + Que enfrena mal el respeto; + Y con balbuciente lengua, page 65 + Y con mal borrado ceno, + Acusa al de Benavente, + Un desagravio pidiendo. + + Del espanol Condestable +5 Latio con orgullo el pecho, + Ufano de la entereza + De su esclarecido deudo. + Y aunque advertido procura + Disimular cual discreto, +10 A su noble rostro asoman + La aprobacion y el contento. + El Emperador un punto + Quedo indeciso y suspenso, + Sin saber que responderle +15 Al frances, de enojo ciego. + Y aunque en su interior se goza + Con el proceder violento + Del conde de Benavente, + De altas esperanzas lleno +20 Por tener tales vasallos, + De noble lealtad modelos, + Y con los que el ancho mundo + Sera a sus glorias estrecho, + Mucho al de Borbon le debe +25 Y es fuerza satisfacerlo: + Le ofrece para calmarlo + Un desagravio completo. + Y, llamando a un gentil-hombre, page 66 + Con el semblante severo + Manda que el de Benavente + Venga a su presencia presto. + + ROMANCE TERCERO + + Sostenido por sus pajes +5 Desciende de su litera + El conde de Benavente + Del alcazar a la puerta. + Era un viejo respetable, + Cuerpo enjuto, cara seca, +10 Con dos ojos como chispas, + Cargados de largas cejas, + Y con semblante muy noble, + Mas de gravedad tan seria + Que veneracion de lejos +15 Y miedo causa de cerca. + Eran su traje unas calzas + De purpura de Valencia, + Y de recamado ante + Un coleto a la leonesa: +20 De fino lienzo gallego + Los punos y la gorguera, + Unos y otra guarnecidos + Con randas barcelonesas: + Un birreton de velludo +25 Con su cintillo de perlas, + Y el gaban de pano verde + Con alamares de seda. page 67 + Tan solo de Calatrava + La insignia espanola lleva; + Que el Toison ha despreciado + Por ser orden extranjera. + +5 Con paso tardo, aunque firme, + Sube por las escaleras, + Y al verle, las alabardas + Un golpe dan en la tierra; + Golpe de honor, y de aviso +10 De que en el alcazar entra + Un Grande, a quien se le debe + Todo honor y reverencia. + Al llegar a la antesala, + Los pajes que estan en ella +15 Con respeto le saludan + Abriendo las anchas puertas. + Con grave paso entra el conde + Sin que otro aviso preceda, + Salones atravesando +20 Hasta la camara regia. + + Pensativo esta el Monarca, + Discurriendo como pueda + Componer aquel disturbio + Sin hacer a nadie ofensa. +25 Mucho al de Borbon le debe, + Aun mucho mas de el espera, + Y al de Benavente mucho page 68 + Considerar le interesa. + Dilacion no admite el caso, + No hay quien dar consejo pueda + Y Villalar y Pavia +5 A un tiempo se le recuerdan. + En el sillon asentado + Y el codo sobre la mesa, + Al personaje recibe, + Que comedido se acerca. + +10 Grave el conde le saluda + Con una rodilla en tierra, + Mas como Grande del reino + Sin descubrir la cabeza. + El Emperador benigno +15 Que alce del suelo le ordena, + Y la platica dificil + Con sagacidad empieza. + Y entre severo y afable + Al cabo le manifiesta +20 Que es el que a Borbon aloje + Voluntad suya resuelta. + Con respeto muy profundo, + Pero con la voz entera, + Respondele Benavente, +25 Destocando la cabeza: + "Soy, senor, vuestro vasallo, + Vos sois mi rey en la tierra, + A vos ordenar os cumple page 69 + De mi vida y de mi hacienda. + "Vuestro soy, vuestra mi casa, + De mi disponed y de ella, + Pero no toqueis mi honra +5 Y respetad mi conciencia. + "Mi casa Borbon ocupe + Puesto que es voluntad vuestra, + Contamine sus paredes, + Sus blasones envilezca; +10 "Que a mi me sobra en Toledo + Donde vivir, sin que tenga + Que rozarme con traidores, + Cuyo solo aliento infesta. + Y en cuanto el deje mi casa, +15 Antes de tornar yo a ella, + Purificare con fuego + Sus paredes y sus puertas." + Dijo el conde, la real mano + Beso, cubrio su cabeza, +20 Y retirose bajando + A do estaba su litera. + Y a casa de un su pariente + Mando que le condujeran, + Abandonando la suya +25 Con cuanto dentro se encierra. + Quedo absorto Carlos Quinto + De ver tan noble firmeza, + Estimando la de Espana + Mas que la imperial diadema. + page 70 + ROMANCE CUARTO + + Muy pocos dias el duque + Hizo mansion en Toledo, + Del noble conde ocupando + Los honrados aposentos. +5 Y la noche en que el palacio + Dejo vacio, partiendo, + Con su sequito y sus pajes, + Orgulloso y satisfecho, + Turbo la apacible luna +10 Un vapor blanco y espeso + Que de las altas techumbres + Se iba elevando y creciendo: + A poco rato tornose + En humo confuso y denso +15 Que en nubarrones obscuros + Ofuscaba el claro cielo; + Despues en ardientes chispas, + Y en un resplandor horrendo +20 Que iluminaba los valles + Dando en el Tajo reflejos, + Y al fin su furor mostrando + En embravecido incendio + Que devoraba altas torres + Y derrumbaba altos techos. +25 Resonaron las campanas, + Conmoviose todo el pueblo, + De Benavente el palacio page 71 + Presa de las llamas viendo. + El Emperador confuso + Corre a procurar remedio, + En atajar tanto dano +5 Mostrando tenaz empeno. + En vano todo: tragose + Tantas riquezas el fuego, + A la lealtad castellana + Levantando un monumento. +10 Aun hoy unos viejos muros + Del humo y las llamas negros + Recuerdan accion tan grande + En la famosa Toledo. + + + PADRE JUAN AROLAS + + SE MAS FELIZ QUE YO + + Sobre pupila azul, con sueno leve, +15 Tu parpado cayendo amortecido, + Se parece a la pura y blanca nieve + Que sobre las violetas reposo: + Yo el sueno del placer nunca he dormido: + Se mas feliz que yo. +20 Se asemeja tu voz en la plegaria + Al canto del zorzal de indiano suelo + Que sobre la pagoda solitaria + Los himnos de la tarde suspiro: page 72 + Yo solo esta oracion dirijo al cielo: + Se mas feliz que yo. + Es tu aliento la esencia mas fragante + De los lirios del Arno caudaloso +5 Que brotan sobre un junco vacilante + Cuando el cefiro blando los mecio: + Yo no gozo su aroma delicioso: + Se mas feliz que yo. + El amor, que es espiritu de fuego, +10 Que de callada noche se aconseja + Y se nutre con lagrimas y ruego, + En tus purpureos labios se escondio: + El te guarde el placer y a mi la queja: + Se mas feliz que yo. +15 Bella es tu juventud en sus albores + Como un campo de rosas del Oriente; + Al angel del recuerdo pedi flores + Para adornar tu sien, y me las dio; + Yo decia al ponerlas en tu frente: +20 Se mas feliz que yo. + Tu mirada vivaz es de paloma; + Como la adormidera del desierto + Causas dulce embriaguez, huri de aroma + Que el cielo de topacio abandono: +25 Mi suerte es dura, mi destino incierto: + Se mas feliz que yo. + page 73 + + DON JOSE DE ESPRONCEDA + + CANCION DEL PIRATA + + Con diez canones por banda, + Viento en popa a toda vela, + No corta el mar, sino vuela + Un velero bergantin: +5 Bajel pirata que llaman, + Por su bravura, el _Temido_, + En todo mar conocido + Del uno al otro confin. + La luna en el mar riela, +10 En la lona gime el viento, + Y alza en blando movimiento + Olas de plata y azul; + Y ve el capitan pirata, + Cantando alegre en la popa, +15 Asia a un lado, al otro Europa, + Y alla a su frente Stambul, + "Navega, velero mio, + Sin temor; + Que ni enemigo navio, +20 Ni tormenta, ni bonanza + Tu rumbo a torcer alcanza, + Ni a sujetar tu valor. + "Veinte presas + Hemos hecho page 74 + A despecho + Del ingles, + Y han rendido + Sus pendones +5 Cien naciones5 + A mis pies." + _Que es mi barco mi tesoro, + Que es mi Dios la libertad, + Mi ley la fuerza y el viento, +10 Mi unica patria la mar._ + + "Alla muevan feroz guerra + Ciegos reyes + Por un palmo mas de tierra: + Que yo tengo aqui por mio +15 Cuanto abarca el mar bravio, + A quien nadie impuso leyes. + "Y no hay playa, + Sea cual quiera, + Ni bandera +20 De esplendor, + Que no sienta + Mi derecho, + Y de pecho + A mi valor." +25 _Que es mi barco mi tesoro..._ + + "A la voz de "ibarco viene!" + Es de ver page 75 + Como vira y se previene + A todo trapo a escapar; + Que yo soy el rey del mar, + Y mi furia es de temer. +5 "En las presas + Yo divido + Lo cogido + Por igual: + Solo quiero +10 Por riqueza + La belleza + Sin rival." + _Que es mi barco mi tesoro..._ + + "iSentenciado estoy a muerte! +15 Yo me rio: + No me abandone la suerte, + Y al mismo que me condena + Colgare de alguna entena, + Quiza en su propio navio. +20 "Y si caigo, + ?Que es la vida? + Por perdida + Ya la di, + Cuando el yugo +25 Del esclavo, + Como un bravo, + Sacudi." + _Que es mi barco mi tesoro..._ + page 76 + "Son mi musica mejor + Aquilones: + El estrepito y temblor + De los cables sacudidos, +5 Del negro mar los bramidos + Y el rugir de mis canones. + "Y del trueno + Al son violento + Y del viento +10 Al rebramar, + Yo me duermo + Sosegado, + Arrullado + Por el mar." +15 _Que es mi barco mi tesoro, + Que es mi Dios la libertad, + Mi ley la fuerza y el viento, + Mi unica patria la mar._ + + + A LA PATRIA + + iCuan solitaria la nacion que un dia +20 Poblara inmensa gente! + iLa nacion cuyo imperio se extendia + Del ocaso al oriente! + + iLagrimas viertes, infeliz, ahora, + Soberana del mundo, +25 Y nadie de tu faz encantadora + Borra el dolor profundo! page 77 + + Obscuridad y luto tenebroso + En ti vertio la muerte, + Y en su furor el despota sanoso + Se complacio en tu suerte. + +5 No perdono lo hermoso, patria mia; + Cayo el joven guerrero, + Cayo el anciano, y la segur impia + Manejo placentero. + + So la rabia cayo la virgen pura +10 Del despota sombrio, + Como eclipsa la rosa su hermosura + En el sol del estio. + + iOh vosotros, del mundo habitadores, + Contemplad mi tormento! +15 ?Igualarse podran iah! que dolores + Al dolor que yo siento? + + Yo, desterrado de la patria mia, + De una patria que adoro, + Perdida miro su primer valia +20 Y sus desgracias lloro..... + + Tendio sus brazos la agitada Espana, + Sus hijos implorando; + Sus hijos fueron, mas traidora sana + Desbarato su bando. page 78 + + ?Que se hicieron tus muros torreados, + Oh mi patria querida? + ?Donde fueron tus heroes esforzados, + Tu espada no vencida? + +5 iAy! de tus hijos en la humilde frente + Esta el rubor grabado: + A sus ojos, caidos tristemente, + El llanto esta agolpado. + + Un tiempo Espana fue; cien heroes fueron +10 En tiempos de ventura, + Y las naciones timidas la vieron + Vistosa en hermosura. + + Cual cedro que en el Libano se ostenta, + Su frente se elevaba; +15 Como el trueno a la virgen amedrenta, + Su voz las aterraba. + + Mas hora, como piedra en el desierto, + Yaces desamparada, + Y el justo desgraciado vaga incierto +20 Alla en tierra apartada. + + Cubren su antigua pompa y poderio + Pobre hierba y arena, + Y el enemigo que temblo a su brio + Burla y goza en su pena. page 79 + + Virgenes, destrenzad la cabellera + Y dadla al vago viento; + Acompanad con arpa lastimera + Mi lugubre lamento. + +5 Desterrados ioh Dios! de nuestros lares + Lloremos duelo tanto: + ?Quien calmara ioh Espana! tus pesares? + ?Quien secara tu llanto? + + + DON JOSE ZORRILLA + + ORIENTAL + + Corriendo van por la vega +10 A las puertas de Granada + Hasta cuarenta gomeles + Y el capitan que los manda. + Al entrar en la ciudad, + Parando en su yegua blanca, +15 Le dijo este a una mujer + Que entre sus brazos lloraba: + --Enjuga el llanto, cristiana, + No me atormentes asi, + Que tengo yo, mi sultana, +20 Un nuevo Eden para ti. + Tengo un palacio en Granada, + Tengo jardines y flores, + Tengo una fuente dorada + Con mas de cien surtidores. page 80 + Y en la vega del Genil + Tengo parda fortaleza, + Que sera reina entre mil + Cuando encierre tu belleza. +5 Y sobre toda una orilla + Extiendo mi senorio; + Ni en Cordoba ni en Sevilla + Hay un parque como el mio. +10 Alli la altiva palmera + Y el encendido granado, + Junto a la frondosa higuera + Cubren el valle y collado. + Alli el robusto nogal, + Alli el nopalo amarillo, +15 Alli el sombrio moral + Crecen al pie del castillo. + Y olmos tengo en mi alameda + Que hasta el cielo se levantan, + Y en redes de plata y seda +20 Tengo pajaros que cantan. + Y tu mi sultana eres, + Que desiertos mis salones + Estan, mi haren sin mujeres, + Mis oidos sin canciones. +25 Yo te dare terciopelos + Y perfumes orientales; + De Grecia te traere velos + Y de Cachemira chales. + Y te dare blancas plumas page 81 + Para que adornes tu frente, + Mas blancas que las espumas + De nuestros mares de oriente; + Y perlas para el cabello, +5 Y banos para el calor, + Y collares para el cuello; + Para los labios... iamor!-- + --?Que me valen tus riquezas, + Respondiole la cristiana, +10 Si me quitas a mi padre, + Mis amigos y mis damas? + Vuelveme, vuelveme, moro, + A mi padre y a mi patria, + Que mis torres de Leon +15 Valen mas que tu Granada.-- + Escuchola en paz el moro, + Y manoseando su barba, + Dijo, como quien medita, + En la mejilla una lagrima: +20 Si tus castillos mejores + Que nuestros jardines son, + Y son mas bellas tus flores, + Por ser tuyas, en Leon, + Y tu diste tus amores +25 A alguno de tus guerreros, + Huri del Eden, no llores; + Vete con tus caballeros.-- + Y dandola su caballo + Y la mitad de su guardia page 82 + El capitan de los moros + Volvio en silencio la espalda. + + + INDECISION + + iBello es vivir, la vida es la armonia! + Luz, penascos, torrentes y cascadas, +5 Un sol de fuego iluminando el dia, + Aire de aromas, flores apinadas: + Y en medio de la noche majestuosa + Esa luna de plata, esas estrellas, + Lamparas de la tierra perezosa, +10 Que se ha dormido en paz debajo de ellas. + iBello es vivir! Se ve en el horizonte + Asomar el crepusculo que nace; + Y la neblina que corona el monte + En el aire flotando se deshace; +15 Y el inmenso tapiz del firmamento + Cambia su azul en franjas de colores; + Y susurran las hojas en el viento, + Y desatan su voz los ruisenores. + + Si hay huracanes y aquilon que brama, +20 Si hay un invierno de humedad vestido, + Hay una hoguera a cuya roja llama + Se alza un festin con su discorde ruido. + Y una pintada y fresca primavera, + Con su manto de luz y orla de flores, page 83 + Que cubre de verdor la ancha pradera + Donde brotan arroyos saltadores. + + iBello es vivir, la vida es la armonia! + Luz, penascos, torrentes y cascadas, +5 Un sol de fuego iluminando el dia, + Aire de aromas, flores apinadas. + + Arranca, arranca, Dios mio, + De la mente del poeta + Este pensamiento impio +10 Que en un delirio creo; + Sin un instante de calma, + En su olvido y amargura, + No puede sonar su alma + Placeres que no gozo. +15 iAy del poeta! su llanto + Fue la inspiracion sublime + Con que arrebato su canto + Hasta los cielos tal vez; + Solitaria flor que el viento +20 Con impuro soplo azota, + El arrastra su tormento + Escrito sobre la tez. + Porque tu, ioh Dios! le robaste + Cuanto los hombres adoran; +25 Tu en el mundo le arrojaste + Para que muriera en el; + Tu le dijiste que el hombre page 84 + Era en la tierra su _hermano_; + Mas el no encuentra ese nombre + En sus recuerdos de hiel. + Tu le has dicho que eligiera +5 Para el viaje de la vida + Una hermosa companera + Con quien partir su dolor; + Mas iay! que la busca en vano; + Porque es para el ser que ama +10 Como un inmundo gusano + Sobre el tallo de una flor. + Canta la luz y las flores, + Y el amor en las mujeres, + Y el placer en los amores, +15 Y la calma en el placer: + Y sin esperanza adora + Una belleza escondida, + Y hoy en sus cantares llora + Lo que alegre canto ayer. +20 El con los siglos rodando + Canta su afan a los siglos, + Y los siglos van pasando + Sin curarse de su afan. + iMaldito el nombre de gloria +25 Que en tu colera le diste! + Sentados en su memoria + Recuerdos de hierro estan. + El dia alumbra su pena, + La noche alarga su duelo, page 85 + La aurora escribe en el cielo + Su sentencia de vivir: + Fabulas son los placeres, + No hay placeres en su alma, +5 No hay amor en las mujeres, + Tarda la hora de morir. + Hay sol que alumbra, mas quema: + Hay flores que se marchitan, + Hay recuerdos que se agitan +10 Fantasmas de maldicion. + Si tiene una voz que canta, + Al arrancarla del pecho + Deja fuego en la garganta, + Vacio en el corazon. + +15 iBello es vivir! Sobre gigante roca + Se mira el mundo a nuestros pies tendido, + La frente altiva con las nubes toca... + Todo creado para el hombre ha sido. + iBello es vivir! Que el hombre descuidado +20 En los bordes se duerme de la vida, + Y de locura y suenos embriagado + En un festin el porvenir olvida. + iBello es vivir! Vivamos y cantemos: + El tiempo entre sus pliegues roedores +25 Ha de llevar el bien que no gocemos, + Y ha de apagar placeres y dolores. + Cantemos de nosotros olvidados, + Hasta que el son de la fatal campana page 86 + Toque a morir... Cantemos descuidados, + Que el sol de ayer no alumbrara manana. + + + LA FUENTE + + Huye la fuente al manantial ingrata + El verde musgo en derredor lamiendo, +5 Y el agua limpia en su cristal retrata + Cuanto va viendo. + El cesped mece y las arenas moja + Do mil caprichos al pasar dibuja, + Y ola tras ola murmurando arroja, +10 Riza y empuja. + Lecho mullido la presenta el valle, + Fresco abanico el abedul pomposo, + Canas y juncos retirada calle, + Sombra y reposo. +15 Brota en la altura la fecunda fuente; + ?Y a que su empeno, si al bajar la cuesta + Halla del rio en el raudal rugiente + Tumba funesta? + + + A BUEN JUEZ MEJOR TESTIGO + + Tradicion de Toledo + + + I + + Entre pardos nubarrones +20 Pasando la blanca luna, + Con resplandor fugitivo, page 87 + La baja tierra no alumbra. + La brisa con frescas alas + Juguetona no murmura, + Y las veletas no giran +5 Entre la cruz y la cupula. + Tal vez un palido rayo + La opaca atmosfera cruza, + Y unas en otras las sombras + Confundidas se dibujan. +10 Las almenas de las torres + Un momento se columbran, + Como lanzas de soldados + Apostados en la altura. + Reverberan los cristales +15 La tremula llama turbia, + Y un instante entre las rocas + Riela la fuente oculta. + Los alamos de la vega + Parecen en la espesura +20 De fantasmas apinados + Medrosa y gigante turba; + Y alguna vez desprendida + Gotea pesada lluvia, + Que no despierta a quien duerme, +25 Ni a quien medita importuna. + Yace Toledo en el sueno + Entre las sombras confusa, + Y el Tajo a sus pies pasando + Con pardas ondas la arrulla. page 88 + El monotono murmullo + Sonar perdido se escucha, + Cual si por las hondas calles + Hirviera del mar la espuma. +5 iQue dulce es dormir en calma + Cuando a lo lejos susurran + Los alamos que se mecen, + Las aguas que se derrumban! + Se suenan bellos fantasmas +10 Que el sueno del triste endulzan, + Y en tanto que suena el triste, + No le aqueja su amargura. + Tan en calma y tan sombria + Como la noche que enluta +15 La esquina en que desemboca + Una callejuela oculta, + Se ve de un hombre que aguarda + La vigilante figura, + Y tan a la sombra vela +20 Que entre la sombra se ofusca. + Frente por frente a sus ojos + Un balcon a poca altura + Deja escapar por los vidrios + La luz que dentro le alumbra; +25 Mas ni en el claro aposento, + Ni en la callejuela obscura + El silencio de la noche + Rumor sospechoso turba. + Paso asi tan largo tiempo, page 89 + Que pudiera haberse duda + De si es hombre, o solamente + Mentida ilusion nocturna; + Pero es hombre, y bien se ve, +5 Porque con planta segura + Ganando el centro a la calle + Resuelto y audaz pregunta: + --?Quien va?--y a corta distancia + El igual compas se escucha +10 De un caballo que sacude + Las sonoras herraduras. + ?Quien va? repite, y cercana + Otra voz menos robusta + Responde:--Un hidalgo icalle! +15 Y el paso el bruto apresura. + --Tengase el hidalgo,--el hombre + Replica, y la espada empuna. + --Ved mas bien si me hareis calle + (Repusieron con mesura) +20 Que hasta hoy a nadie se tuvo + Iban de Vargas y Acuna. + --Pase el Acuna y perdone:-- + Dijo el mozo en faz de fuga, + Pues teniendose el embozo +25 Sopla un silbato, y se oculta. + Paro el jinete a una puerta, + Y con precaucion difusa + Salio una nina al balcon + Que llama interior alumbra. page 90 + --iMi padre!--clamo en voz baja, + Y el viejo en la cerradura + Metio la llave pidiendo + A sus gentes que le acudan. +5 Un negro por ambas bridas + Tomo la cabalgadura, + Cerrose detras la puerta + Y quedo la calle muda. + En esto desde el balcon, +10 Como quien tal acostumbra, + Un mancebo por las rejas + De la calle se asegura. + Asio el brazo al que apostado + Hizo cara a Iban de Acuna, +15 Y huyeron, en el embozo + Velando la catadura. + + II + + Clara, apacible y serena + Pasa la siguiente tarde, + Y el sol tocando su ocaso +20 Apaga su luz gigante: + Se ve la imperial Toledo + Dorada por los remates, + Como una ciudad de grana + Coronada de cristales. +25 El Tajo por entre rocas + Sus anchos cimientos lame, + Dibujando en las arenas page 91 + Las ondas con que las bate. + Y la ciudad se retrata + En las ondas desiguales, + Como en prendas de que el rio +5 Tan afanoso la bane. + A lo lejos en la vega + Tiende galan por sus margenes, + De sus alamos y huertos + El pintoresco ropaje, +10 Y porque su altiva gala + Mas a los ojos halague, + La salpica con escombros + De castillos y de alcazares. + Un recuerdo es cada piedra +15 Que toda una historia vale, + Cada colina un secreto + De principes o galanes. + Aqui se bano la hermosa + Por quien dejo su rey culpable +20 Amor, fama, reino y vida + En manos de musulmanes. + Alli recibio Galiana + A su receloso amante + En esa cuesta que entonces +25 Era un plantel de azahares. + Alla por aquella torre, + Que hicieron puerta los arabes, + Subio el Cid sobre Babieca + Con su gente y su estandarte. page 92 + Mas lejos se ve el castillo + De San Servando, o Cervantes + Donde nada se hizo nunca + Y nada al presente se hace. +5 A este lado esta la almena + Por do saco vigilante + El conde Don Peranzules + Al rey, que supo una tarde + Fingir tan tenaz modorra, +10 Que, politico y constante, + Tuvo siempre el brazo quedo + Las palmas al horadarle. + Alli esta el circo romano, + Gran cifra de un pueblo grande, +15 Y aqui la antigua Basilica + De bizantinos pilares, + Que oyo en el primer concilio + Las palabras de los Padres + Que velaron por la Iglesia +20 Perseguida o vacilante. + La sombra en este momento + Tiende sus turbios cendales + Por todas esas memorias + De las pasadas edades, +25 Y del Cambron y Visagra + Los caminos desiguales, + Camino a los Toledanos + Hacia las murallas abren. + Los labradores se acercan page 93 + Al fuego de sus hogares, + Cargados con sus aperos, + Cansados de sus afanes. + Los ricos y sedentarios +5 Se tornan con paso grave, + Calado el ancho sombrero, + Abrochados los gabanes; + Y los clerigos y monjes + Y los prelados y abades +10 Sacudiendo el leve polvo + De capelos y sayales. + Quedase solo un mancebo + De impetuosos ademanes, + Que se pasea ocultando +15 Entre la capa el semblante. + Los que pasan le contemplan + Con decision de evitarle, + Y el contempla a los que pasan + Como si a alguien aguardase. +20 Los timidos aceleran + Los pasos al divisarle, + Cual temiendo de seguro + Que les proponga un combate; + Y los valientes le miran +25 Cual si sintieran dejarle + Sin que libres sus estoques + En rina sonora dancen. + Una mujer tambien sola + Se viene el llano adelante, page 94 + La luz del rostro escondida + En tocas y tafetanes. + Mas en lo leve del paso, + Y en lo flexible del talle, +5 Puede a traves de los velos + Una hermosa adivinarse. + Vase derecha al que aguarda, + Y el al encuentro la sale + Diciendo... cuanto se dicen +10 En las citas los amantes. + Mas ella, galanterias + Dejando severa aparte, + Asi al mancebo interrumpe + En voz decisiva y grave: + +15 "Abreviemos de razones, + Diego Martinez; mi padre, + Que un hombre ha entrado en su ausencia + Dentro mi aposento sabe: + Y asi quien mancha mi honra, +20 Con la suya me la lave; + O dadme mano de esposo, + O libre de vos dejadme." + Mirola Diego Martinez + Atentamente un instante, +25 Y echando a un lado el embozo, + Repuso palabras tales: + "Dentro de un mes, Ines mia, + Parto a la guerra de Flandes; page 95 + Al ano estare de vuelta + Y contigo en los altares. + Honra que yo te desluzca, + Con honra mia se lave; +5 Que por honra vuelven honra + Hidalgos que en honra nacen. + --Juralo,--exclamo la nina. + --Mas que mi palabra vale + No te valdra un juramento. +10 --Diego, la palabra es aire. + --iVive Dios que estas tenaz! + Dalo por jurado y baste. + --No me basta; que olvidar + Puedes la palabra en Flandes. +15 --iVoto a Dios! ?que mas pretendes? + --Que a los pies de aquella imagen + Lo jures como cristiano + Del santo Cristo delante." + Vacilo un punto Martinez, +20 Mas porfiando que jurase, + Llevole Ines hacia el templo + Que en medio la vega yace. + Enclavado en un madero, + En duro y postrero trance, +25 Cenida la sien de espinas, + Descolorido el semblante, + Viase alli un crucifijo + Tenido de negra sangre, + A quien Toledo devota page 96 + Acude hoy en sus azares. + Ante sus plantas divinas + Llegaron ambos amantes, + Y haciendo Ines que Martinez +5 Los sagrados pies tocase, + Preguntole: + --Diego, ?juras + A tu vuelta desposarme? + Contesto el mozo: + --iSi juro! + Y ambos del templo se salen. + + III + +10 Paso un dia y otro dia, + Un mes y otro mes paso, + Y un ano pasado habia, + Mas de Flandes no volvia + Diego, que a Flandes partio. +15 Lloraba la bella Ines + Su vuelta aguardando en vano, + Oraba un mes y otro mes + Del crucifijo a los pies + Do puso el galan su mano. +20 Todas las tardes venia + Despues de traspuesto el sol, + Y a Dios llorando pedia + La vuelta del espanol, + Y el espanol no volvia. +25 Y siempre al anochecer, page 97 + Sin duena y sin escudero, + En un manto una mujer + El campo salia a ver + Al alto del _Miradero_. +5 iAy del triste que consume + Su existencia en esperar! + iAy del triste que presume + Que el duelo con que el se abrume + Al ausente ha de pesar! +10 La esperanza es de los cielos + Precioso y funesto don, + Pues los amantes desvelos + Cambian la esperanza en celos, + Que abrasan el corazon. +15 Si es cierto lo que se espera, + Es un consuelo en verdad; + Pero siendo una quimera, + En tan fragil realidad + Quien espera desespera. +20 Asi Ines desesperaba + Sin acabar de esperar, + Y su tez se marchitaba, + Y su llanto se secaba + Para volver a brotar. +25 En vano a su confesor + Pidio remedio o consejo + Para aliviar su dolor; + Que mal se cura el amor + Con las palabras de un viejo. page 98 + En vano a Iban acudia, + Llorosa y desconsolada; + El padre no respondia; + Que la lengua le tenia +5 Su propia deshonra atada. + Y ambos maldicen su estrella, + Callando el padre severo + Y suspirando la bella, + Porque nacio mujer ella, +10 Y el viejo nacio altanero. + Dos anos al fin pasaron + En esperar y gemir, + Y las guerras acabaron, + Y los de Flandes tornaron +15 A sus tierras a vivir. + Paso un dia y otro dia, + Un mes y otro mes paso, + Y el tercer ano corria; + Diego a Flandes se partio, +20 Mas de Flandes no volvia. + Era una tarde serena, + Doraba el sol de occidente + Del Tajo la vega amena, + Y apoyada en una almena +25 Miraba Ines la corriente. + Iban las tranquilas olas + Las riberas azotando + Bajo las murallas solas, + Musgo, espigas y amapolas page 99 + Ligeramente doblando. + Algun olmo que escondido + Crecio entre la hierba blanda, + Sobre las aguas tendido +5 Se reflejaba perdido + En su cristalina banda. + Y algun ruisenor colgado + Entre su fresca espesura + Daba al aire embalsamado +10 Su cantico regalado + Desde la enramada obscura. + Y algun pez con cien colores, + Tornasolada la escama, + Saltaba a besar las flores, +15 Que exhalan gratos olores, + A las puntas de una rama. + Y alla en el tremulo fondo + El torreon se dibuja + Como el contorno redondo +20 Del hueco sombrio y hondo + Que habita nocturna bruja. + Asi la nina lloraba + El rigor de su fortuna, + Y asi la tarde pasaba +25 Y al horizonte trepaba + La consoladora luna. + A lo lejos por el llano + En confuso remolino + Vio de hombres tropel lejano page 100 + Que en pardo polvo liviano + Dejan envuelto el camino. + Bajo Ines del torreon, + Y llegando recelosa +5 A las puertas del Cambron, + Sintio latir zozobrosa + Mas inquieto el corazon. + Tan galan como altanero + Dejo ver la escasa luz +10 Por bajo el arco primero + Un hidalgo caballero + En un caballo andaluz; + Jubon negro acuchillado, + Banda azul, lazo en la hombrera, +15 Y sin pluma al diestro lado + El sombrero derribado + Tocando con la gorguera; + Bombacho gris guarnecido, + Bota de ante, espuela de oro, +20 Hierro al cinto suspendido, + Y a una cadena prendido + Agudo cuchillo moro. + Vienen tras este jinete + Sobre potros jerezanos +25 De lanceros hasta siete, + Y en adarga y coselete + Diez peones castellanos. + Asiose a su estribo Ines + Gritando:--iDiego, eres tu!-- page 101 + Y el viendola de traves + Dijo--iVoto a Belcebu, + Que no me acuerdo, quien es!-- + Dio la triste un alarido +5 Tal respuesta al escuchar, + Y a poco perdio el sentido, + Sin que mas voz ni gemido + Volviera en tierra a exhalar. + Frunciendo ambas a dos cejas +10 Encomendola a su gente, + Diciendo:--iMalditas viejas + Que a las mozas malamente + Enloquecen con consejas!-- + Y aplicando el capitan +15 A su potro las espuelas + El rostro a Toledo dan, + Y a trote cruzando van + Las obscuras callejuelas. + + IV + + Asi por sus altos fines +20 Dispone y permite el cielo + Que puedan mudar al hombre + Fortuna, poder y tiempo. + A Flandes partio Martinez + De soldado aventurero, +25 Y por su suerte y hazanas + Alli capitan le hicieron. + Segun alzaba en honores page 102 + Alzabase en pensamientos, + Y tanto ayudo en la guerra + Con su valor y altos hechos, + Que el mismo rey a su vuelta +5 Le armo en Madrid caballero, + Tomandole a su servicio + Por capitan de lanceros. + Y otro no fue que Martinez + Quien ha poco entro en Toledo, +10 Tan orgulloso y ufano + Cual salio humilde y pequeno. + Ni es otro a quien se dirige, + Cobrado el conocimiento, + La amorosa Ines de Vargas, +15 Que vive por el muriendo. + Mas el, que olvidando todo + Olvido su nombre mesmo, + Puesto que hoy Diego Martinez + Es el capitan Don Diego, +20 Ni se ablanda a sus caricias, + Ni cura de sus lamentos; + Diciendo que son locuras + De gentes de poco seso; + Que ni el prometio casarse +25 Ni penso jamas en ello. + iTanto mudan a los hombres + Fortuna, poder y tiempo! + En vano porfiaba Ines + Con amenazas y ruegos; page 103 + Cuanto mas ella importuna + Esta Martinez severo. + Abrazada a sus rodillas + Enmaranado el cabello, +5 La hermosa nina lloraba + Prosternada por el suelo. + Mas todo empeno es inutil, + Porque el capitan Don Diego + No ha de ser Diego Martinez +10 Como lo era en otro tiempo. + Y asi llamando a su gente, + De amor y piedad ajeno, + Mandoles que a Ines llevaran + De grado o de valimiento. +15 Mas ella antes que la asieran, 15 + Cesando un punto en su duelo, + Asi hablo, el rostro lloroso + Hacia Martinez volviendo: + "Contigo se fue mi honra, +20 Conmigo tu juramento; 20 + Pues buenas prendas son ambas, + En buen fiel las pesaremos." + Y la faz descolorida + En la mantilla envolviendo, +25 A pasos desatentados 25 + Saliose del aposento. + page 104 + V + + Era entonces de Toledo + Por el rey gobernador + El justiciero y valiente + Don Pedro Ruiz de Alarcon. +5 Muchos anos por su patria + El buen viejo peleo; + Cercenado tiene un brazo, + Mas entero el corazon. + La mesa tiene delante, +10 Los jueces en derredor, + Los corchetes a la puerta + Y en la derecha el baston. + Esta, como presidente + Del tribunal superior, +15 Entre un dosel y una alfombra + Reclinado en un sillon, + Escuchando con paciencia + La casi asmatica voz +20 Con que un tetrico escribano + Solfea una apelacion. + Los asistentes bostezan + Al murmullo arrullador, + Los jueces medio dormidos + Hacen pliegues al ropon, +25 Los escribanos repasan + Sus pergaminos al sol, + Los corchetes a una moza page 105 + Guinan en un corredor, + Y abajo en Zocodover + Gritan en discorde son + Los que en el mercado venden +5 Lo vendido y el valor. + Una mujer en tal punto, + En faz de grande afliccion, + Rojos de llorar los ojos, + Ronca de gemir la voz, +10 Suelto el cabello y el manto, + Tomo plaza en el salon + Diciendo a gritos: "iJusticia, + Jueces; justicia, senor!" + Y a los pies se arroja humilde +15 De Don Pedro de Alarcon, + En tanto que los curiosos + Se agitan al rededor. + Alzola cortes Don Pedro + Calmando la confusion +20 Y el tumultuoso murmullo + Que esta escena ocasiono, + Diciendo: + --Mujer, ?que quieres? + --Quiero justicia, senor. + --?De que? + --De una prenda hurtada. +25 --?Que prenda? + --Mi corazon. + --?Tu le diste? page 106 + --Le preste. + --?Y no te le han vuelto? + --No. + --?Tienes testigos? + --Ninguno. + --?Y promesa? + --iSi, por Dios! + Que al partirse de Toledo +5 Un juramento empeno. + --?Quien es el? + --Diego Martinez. + --?Noble? + --Y capitan, senor. + --Presentadme al capitan, + Que cumplira si juro.-- +10 Quedo en silencio la sala, + Y a poco en el corredor + Se oyo de botas y espuelas + El acompasado son. + Un portero, levantando +15 El tapiz, en alta voz + Dijo:--El capitan Don Diego.-- + Y entro luego en el salon + Diego Martinez, los ojos + Llenos de orgullo y furor. +20 --?Sois el capitan Don Diego, + Dijole Don Pedro, vos?-- + Contesto altivo y sereno + Diego Martinez: page 107 + --Yo soy. + --?Conoceis a esta muchacha? + --Ha tres anos, salvo error. + --?Hicisteisla juramento + De ser su marido?-- + --No. +5 --?Jurais no haberlo jurado? + --Si juro.-- + --Pues id con Dios. + --iMiente!--clamo Ines llorando + De despecho y de rubor. + --Mujer, ipiensa lo que dices!... +10 --Digo que miente, juro. + --?Tienes testigos? + --Ninguno. + --Capitan, idos con Dios, + Y dispensad que acusado + Dudara de vuestro honor.-- +15 Torno Martinez la espalda + Con brusca satisfaccion, + E Ines, que le vio partirse, + Resuelta y firme grito: + --Llamadle, tengo un testigo. +20 Llamadle otra vez, senor.-- + Volvio el capitan Don Diego, + Sentose Ruiz de Alarcon, + La multitud aquietose + Y la de Vargas siguio: +25 --Tengo un testigo a quien nunca page 108 + Falto verdad ni razon. + --?Quien? + --Un hombre que de lejos + Nuestras palabras oyo, + Mirandonos desde arriba. +5 --?Estaba en algun balcon? + --No, que estaba en un suplicio + Donde ha tiempo que expiro. + --?Luego es muerto? + --No, que vive. + --Estais loca, ivive Dios! +10 ?Quien fue? + --El CRISTO de la Vega + A cuya faz perjuro.-- + Pusieronse en pie los jueces + Al nombre del Redentor, + Escuchando con asombro +15 Tan excelsa apelacion. + Reino un profundo silencio + De sorpresa y de pavor, + Y Diego bajo los ojos + De vergueenza y confusion. +20 Un instante con los jueces + Don Pedro en secreto hablo, + Y levantose diciendo + Con respetuosa voz: + "La ley es ley para todos, +25 Tu testigo es el mejor, + Mas para tales testigos page 109 + No hay mas tribunal que Dios. + Haremos... lo que sepamos; + Escribano, al caer el sol + Al CRISTO que esta en la vega +5 Tomareis declaracion." + + VI + + Es una tarde serena, + Cuya luz tornasolada + Del purpurino horizonte + Blandamente se derrama. +10 Placido aroma las flores + Sus hojas plegando exhalan, + Y el cefiro entre perfumes + Mece las tremulas alas. + Brillan abajo en el valle +15 Con suave rumor las aguas, + Y las aves en la orilla + Despidiendo al dia cantan. + Alla por el _Miradero_ + Por el Cambron y Visagra +20 Confuso tropel de gente + Del Tajo a la vega baja. + Vienen delante Don Pedro + De Alarcon, Iban de Vargas, + Su hija Ines, los escribanos, +25 Los corchetes y los guardias; + Y detras monjes, hidalgos, + Mozas, chicos y canalla. page 110 + Otra turba de curiosos + En la vega les aguarda, + Cada cual comentariando + El caso segun le cuadra. +5 Entre ellos esta Martinez + En apostura bizarra, + Calzadas espuelas de oro, + Valona de encaje blanca, + Bigote a la borgonona, +10 Melena desmelenada, + El sombrero guarnecido + Con cuatro lazos de plata, + Un pie delante del otro, + Y el puno en el de la espada. +15 Los plebeyos de reojo + Le miran de entre las capas, + Los chicos al uniforme + Y las mozas a la cara. + Llegado el gobernador +20 Y gente que le acompana, + Entraron todos al claustro + Que iglesia y patio separa. + Encendieron ante el CRISTO + Cuatro cirios y una lampara, +25 Y de hinojos un momento + Le rezaron en voz baja. + + Esta el CRISTO de la Vega + La cruz en tierra posada, + Los pies alzados del suelo page 111 + Poco menos de una vara; + Hacia la severa imagen + Un notario se adelanta, + De modo que con el rostro +5 Al pecho santo llegaba. + A un lado tiene a Martinez, + A otro lado a Ines de Vargas, + Detras al gobernador + Con sus jueces y sus guardias. +10 Despues de leer dos veces + La acusacion entablada, + El notario a Jesucristo + Asi demando en voz alta: + --"_Jesus, Hijo de Maria, +15 Ante nos esta manana + Citado como testigo + Por boca de Ines de Vargas, + ?Jurais ser cierto que un dia + A vuestras divinas plantas +20 Juro a Ines Diego Martinez + Por su mujer desposarla?_" + + Asida a un _brazo_ desnudo + Una _mano_ atarazada + Vino a posar en los autos +25 La seca y hendida palma, + Y alla en los aires "iSi JURO!" + Clamo una voz mas que humana. + + Alzo la turba medrosa + La vista a la imagen santa... page 112 + Los labios tenia abiertos, + Y una mano desclavada. + + CONCLUSION + + Las vanidades del mundo + Renuncio alli mismo Ines, +5 Y espantado de si propio + Diego Martinez tambien. + Los escribanos temblando + Dieron de esta escena fe, + Firmando como testigos +10 Cuantos hubieron poder. + Fundose un aniversario + Y una capilla con el, + Y Don Pedro de Alarcon + El altar ordeno hacer, +15 Donde hasta el tiempo que corre, + Y en cada un ano una vez, + Con la mano desclavada + El crucifijo se ve. + + + DON ANTONIO DE TRUEBA + + CANTOS DE PAJARO + + Tengo yo un pajarillo +20 Que el dia pasa + Cantando entre las flores + De mi ventana; page 113 + Y un canto alegre + A todo pasajero + Dedica siempre. + Tiene mi pajarillo +5 Siempre armonias + Para alegrar el alma + Del que camina... + iOh cielo santo, + Por que no haran los hombres +10 Lo que los pajaros! + Cuando mi pajarillo + Cantos entona, + Pasajeros ingratos + Cantos le arrojan: +15 Mas no por eso 15 + Niega sus armonias + Al pasajero. + Tiende las leves alas, + Cruza las nubes +20 Y canta junto al cielo + Con voz mas dulce: + "Paz a los hombres + Y gloria al que en la altura + Rige los orbes!" +25 Y yo sigo el ejemplo + Del ave mansa + Que canta entre las flores + De mi ventana, + Porque es sabido page 114 + Que poetas y pajaros + Somos lo mismo. + + + LA PEREJILERA + + Al salir el sol dorado + Esta manana te vi +5 Cogiendo, nina, en tu huerto + Matitas de perejil. + Para verte mas de cerca + En el huerto me meti, + Y sabras que eche de menos +10 Mi corazon al salir. + Tu debiste de encontrarle, + Que en el huerto le perdi. + "Damele, perejilera, + Que te le vengo a pedir." + + + DON JOSE SELGAS Y CARRASCO + + LA MODESTIA + +15 Por las flores proclamado + Rey de una hermosa pradera, + Un clavel afortunado + Dio principio a su reinado + Al nacer la primavera. +20 Con majestad soberana + Llevaba y con noble brio + El regio manto de grana, page 115 + Y sobre la frente ufana + La corona de rocio. + Su comitiva de honor + Mandaba, por ser costumbre, +5 El cefiro volador, + Y habia en su servidumbre + Hierbas y malvas de olor. + Su voluntad poderosa, + Porque tambien era uso, +10 Quiso una flor para esposa, + Y regiamente dispuso + Elegir la mas hermosa. + Como era costumbre y ley, + Y porque causa delicia +15 En la numerosa grey, + Pronto corrio la noticia + Por los estados del rey. + Y en revuelta actividad + Cada flor abre el arcano +20 De su fecunda beldad, + Por prender la voluntad + Del hermoso soberano. + Y hasta las menos apuestas + Engalanarse se vian +25 Con harta envidia, dispuestas + A ver las solemnes fiestas + Que celebrarse debian. + Lujosa la Corte brilla: + El rey, admirado, duda, page 116 + Cuando ocultarse sencilla + Vio una tierna florecilla + Entre la hierba menuda. + + Y por si el regio esplendor +5 De su corona le inquieta, + Preguntale con amor: + --"?Como te llamas?"--"Violeta," + Dijo temblando la flor. + + --"?Y te ocultas cuidadosa +10 Y no luces tus colores, + Violeta dulce y medrosa, + Hoy que entre todas las flores + Va el rey a elegir esposa?" + +15 Siempre temblando la flor, + Aunque llena de placer, + Suspiro y dijo: "Senor, + Yo no puedo merecer + Tan distinguido favor." + + El rey, suspenso, la mira +20 Y se inclina dulcemente; + Tanta modestia le admira; + Su blanda esencia respira, + Y dice alzando la frente: + + "Me depara mi ventura +25 Esposa noble y apuesta; page 117 + Sepa, si alguno murmura, + Que la mejor hermosura + Es la hermosura modesta." + + Dijo, y el aura afanosa +5 Publico en forma de ley, + Con voz dulce y melodiosa, + Que la violeta es la esposa + Elegida por el rey. + + Hubo magnificas fiestas, +10 Ambos esposos se dieron + Pruebas de amor manifiestas, + Y en aquel reinado fueron + Todas las flores modestas. + + + DON PEDRO A. DE ALARCON + + EL MONT-BLANC + + iHeme al fin en la cumbre soberana!... +15 iNieve perpetua..., soledad doquiera!... + ?Quien sino el hombre, en su soberbia insana, + A hollar estos desiertos se atreviera? + Aqui enmudece hasta la voz del viento...; + Profundo mar parece el horizonte..., +20 Unica playa el alto firmamento..., + Anclada nave el solitario monte. + iNada en torno de mi!... iTodo a mis plantas! page 118 + Obscuros bosques, relucientes rios, + Lagos, campinas, paramos, gargantas... + iEuropa entera yace a los pies mios! + iY cuan pequena la terrestre vida, +5 Cuan relegado el humanal imperio + Se ve desde estos hielos donde anida + El _Monte Blanco_, el rey del hemisferio! + iDe aqui tiende su cetro sobre el mundo! + El Danubio opulento, el Po anchuroso, +10 El luengo Rhin y el Rodano profundo, + Hijos son de los hijos del Coloso. + Debajo de el... los Alpes se eslabonan + Como escabeles de su trono inmenso: + Debajo de el... las nubes se amontonan +15 Cual humo leve de quemado incienso. + iSobre el... los cielos nada mas! La tarde + Le invidia al verlo de fulgor cenido... + Llega la noche, y aun su frente arde + Con reflejos de un sol por siempre hundido. +20 Alla turnan con raudo movimiento + Una y otra estacion... El permanece + Mudo, inmovil, esteril. iMonumento + De la implacable eternidad parece! + Ni el oso atroz ni el traicionero lobo +25 Huellan jamas su excelsitud nevada... + Huerfano vive del calor del globo... + iEn el principia el reino de la nada! + Por eso, ufano de su horror profundo, + Dichoso aqui mi corazon palpita... page 119 + iAqui solo con Dios..., fuera del mundo! + iSolo, bajo la boveda infinita! + iY que sueave, deleitosa calma + Brinda a mi pecho esta region inerte!... +5 Asi concibe fatigada el alma + El tardo bien de la benigna muerte. + iMorir aqui! De los poblados valles + No retornar a la angustiosa vida: + No escuchar mas los lastimosos ayes +10 De la cuitada humanidad caida: + Desparecer, huyendo de la tierra, + Desde esta cima que se acerca al cielo: + Por siempre desertar de aquella guerra, + De eterna libertad tendiendo el vuelo... +15 Tal ansia acude al corazon llagado, + Al mirarte, ioh _Mont-Blanc!_, erguir la frente + Sobre un misero mundo atribulado + Por el cierzo y el rayo y el torrente. + iTu nada temes! De tu imperio yerto +20 Solo Dios es senor, fuerza y medida: + iComo el ancho Oceano y el Desierto, + Tu vives solo de tu propia vida! + La tierra acaba en tu glacial palacio; + Tuya es la azul inmensidad aerea: +25 Tu ves mas luz, mas astros, mas espacio...; + iParte eres ya de la mansion eterea! + iAdios! Retorno al mundo... Acaso un dia + Ya de la tierra el corazon no lata, + Y sobre su haz inanimada y fria page 120 + Tiendas tu manto de luciente plata... + Sera entonces tu reino silencioso + Cuanto hoy circunda y cubre el Oceano... + iAdios!... Impera en tanto desdenoso +5 Sobre la insania del orgullo humano. + + + EL SECRETO + + "_iYo no quiero morirme!_" + --Dice la nina, + Tendiendo hacia su madre + Dos manecitas +10 Calenturientas, + Cual dos blancos jazmines + Que el viento seca... + Un silencio de muerte + La madre guarda... +15 iAy! isi hablara, vertiera + Mares de lagrimas! + Besa a la nina, + iY aun le fingen sus labios + Una sonrisa! +20 Del cuello de la madre + La hija se cuelga + Y, pegada a su oido, + Palida y tremula, + Con sordo acento, +25 Dicele horrorizada: + --"_Oye un secreto:_ page 121 + _?Sabes por que a morirme + Le temo tanto? + Porque luego me llevan, + Toda de blanco, +5 Al cementerio..., + iY de verme alli sola + Va a darme miedo!_" + --"_Hija de mis entranas!_ + (Grita la madre) +10 _Dios querra que me vivas...; + Y, aunque te mate, + Descuida, hermosa; + Que tu en el cementerio + No estaras sola._" + + + DON GUSTAVO ADOLFO BECQUER + + RIMAS + + II + +15 Saeta que voladora + Cruza, arrojada al azar, + Sin adivinarse donde + Temblando se clavara; + Hoja que del arbol seca +20 Arrebata el vendaval, + Sin que nadie acierte el surco + Donde a caer volvera; + Gigante ola que el viento page 122 + Riza y empuja en el mar, + Y rueda y pasa, y no sabe + Que playa buscando va; + Luz que en cercos temblorosos +5 Brilla, proxima a expirar, + Ignorandose cual de ellos + El ultimo brillara; + Eso soy yo, que al acaso + Cruzo el mundo, sin pensar +10 De donde vengo, ni adonde + Mis pasos me llevaran. + + VII + + Del salon en el angulo obscuro, + De su dueno tal vez olvidada, + Silenciosa y cubierta de polvo +15 Veiase el arpa. + iCuanta nota dormia en sus cuerdas + Como el pajaro duerme en las ramas, + Esperando la mano de nieve + Que sabe arrancarlas! +20 iAy! pense; icuantas veces el genio + Asi duerme en el fondo del alma, + Y una voz, como Lazaro, espera + Que le diga: "Levantate y anda!" + + LIII + + Volveran las obscuras golondrinas +25 En tu balcon sus nidos a colgar, page 123 + Y, otra vez, con el ala a sus cristales + Jugando llamaran; + + Pero aquellas que el vuelo refrenaban + Tu hermosura y mi dicha a contemplar, +5 Aquellas que aprendieron nuestros nombres... + Esas... ino volveran! + + Volveran las tupidas madreselvas + De tu jardin las tapias a escalar, + Y otra vez a la tarde, aun mas hermosas, +10 Sus flores se abriran; + + Pero aquellas, cuajadas de rocio, + Cuyas gotas mirabamos temblar + Y caer, como lagrimas del dia... + Esas... ino volveran! + +15 Volveran del amor en tus oidos + Las palabras ardientes a sonar; + Tu corazon de su profundo sueno + Tal vez despertara; + + Pero mudo y absorto y de rodillas, +20 Como se adora a Dios ante su altar, + Como yo te he querido... desenganate, + iAsi no te querran! + page 124 + LXXIII + + Cerraron sus ojos + Que aun tenia abiertos; + Taparon su cara + Con un blanco lienzo; +5 y unos sollozando, + Otros en silencio, + De la triste alcoba + Todos se salieron. + + La luz, que en un vaso +10 Ardia en el suelo, + Al muro arrojaba + La sombra del lecho; + Y entre aquella sombra + Veiase a intervalos +15 Dibujarse rigida + La forma del cuerpo. + + Despertaba el dia + Y a su albor primero + Con sus mil rueidos +20 Despertaba el pueblo. + Ante aquel contraste + De vida y misterios, + De luz y tinieblas, + Medite un momento: +25 "_iDios mio, que solos + Se quedan los muertos!_" + page 125 + De la casa en hombros + Llevaronla al templo, + Y en una capilla + Dejaron el feretro. +5 Alli rodearon + Sus palidos restos + De amarillas velas + Y de panos negros. + + Al dar de las animas +10 El toque postrero, + Acabo una vieja + Sus ultimos rezos; + Cruzo la ancha nave, + Las puertas gimieron, +15 Y el santo recinto + Quedose desierto. + + De un reloj se oia + Compasado el pendulo, + Y de algunos cirios +20 El chisporroteo. + Tan medroso y triste, + Tan obscuro y yerto + Todo se encontraba... + Que pense un momento: +25 "_iDios mio, que solos + Se quedan los muertos!_" + page 126 + De la alta campana + La lengua de hierro, + Le dio, volteando, + Su adios lastimero. +5 El luto en las ropas, + Amigos y deudos + Cruzaron en fila, + Formando el cortejo. + + Del ultimo asilo, +10 Obscuro y estrecho, + Abrio la piqueta + El nicho a un extremo. + Alli la acostaron, + Tapiaronle luego, +15 Y con un saludo + Despidiose el duelo. + + La piqueta al hombro, + El sepulturero + Cantando entre dientes +20 Se perdio a lo lejos. + La noche se entraba, + Reinaba el silencio; + Perdido en las sombras, + Medite un momento: +25 _"iDios mio, que solos + Se quedan los muertos!"_ + page 127 + En las largas noches + Del helado invierno, + Cuando las maderas + Crujir hace el viento +5 Y azota los vidrios + El fuerte aguacero, + De la pobre nina + A solas me acuerdo. + + Alli cae la lluvia +10 Con un son eterno; + Alli la combate + El soplo del cierzo. + iDel humedo muro + Tendida en el hueco, +15 Acaso de frio + Se hielan sus huesos!... + + ?Vuelve el polvo al polvo? + ?Vuela el alma al cielo? + ?Todo es vil materia, +20 Podredumbre y cieno? + iNo se: pero hay algo + Que explicar no puedo, + Que al par nos infunde + Repugnancia y duelo, +25 Al dejar tan tristes, + Tan solos los muertos! + page 128 + + DON VICENTE W. QUEROL + + EN NOCHE-BUENA + + A mis ancianos padres + + I + + Un ano mas en el hogar paterno + Celebramos la fiesta del Dios-Nino, + Simbolo augusto del amor eterno, + Cuando cubre los montes el invierno +5 Con su manto de armino. 5 + + II + + Como en el dia de la fausta boda + O en el que el santo de los padres llega, + La turba alegre de los ninos juega, + Y en la ancha sala la familia toda +10 De noche se congrega. 10 + + III + + La roja lumbre de los troncos brilla + Del pequeno dormido en la mejilla, + Que con timido afan su madre besa; + Y se refleja alegre en la vajilla +15 De la dispuesta mesa. + + IV + + A su sobrino, que lo escucha atento, + Mi hermana dice el pavoroso cuento, page 129 + Y mi otra hermana la cancion modula + Que, o bien surge vibrante, o bien ondula + Prolongada en el viento. + + V + + Mi madre tiende las rugosas manos +5 Al nieto que huye por la blanda alfombra; + Hablan de pie mi padre y mis hermanos, + Mientras yo, recatandome en la sombra, + Pienso en hondos arcanos. + + VI + + Pienso que de los dias de ventura +10 Las horas van apresurando el paso, + Y que empana el oriente niebla obscura, + Cuando aun el rayo tremulo fulgura + Ultimo del ocaso. + + VII + + iPadres mios, mi amor! iComo envenena +15 Las breves dichas el temor del dano! + Hoy presidis nuestra modesta cena, + Pero en el porvenir... yo se que un ano + Vendra sin Noche-Buena. + + VIII + + Vendra, y las que hoy son risas y alborozo +20 Seran muda afliccion y hondo sollozo. + No cantara mi hermana, y mi sobrina + No escuchara la historia peregrina + Que le da miedo y gozo. + page 130 + IX + + No dara nuestro hogar rojos destellos + Sobre el limpio cristal de la vajilla, + Y, si alguien osa hablar, sera de aquellos + Que hoy honran nuestra fiesta tan sencilla +5 Con sus blancos cabellos. + + X + + Blancos cabellos cuya amada hebra + Es cual corona de laurel de plata, + Mejor que esas coronas que celebra + La vil lisonja, la ignorancia acata, +10 Y el infortunio quiebra. + + XI + + iPadres mios, mi amor! Cuando contemplo + La sublime bondad de vuestro rostro, + Mi alma a los trances de la vida templo, + Y ante esa imagen para orar me postro, +15 Cual me postro en el templo. + + XII + + Cada arruga que surca ese semblante + Es del trabajo la profunda huella, + O fue un dolor de vuestro pecho amante. + La historia fiel de una epoca distante +20 Puedo leer yo en ella. + + XIII + + La historia de los tiempos sin ventura + En que luchasteis con la adversa suerte, page 131 + Y en que, tras negras horas de amargura, + Mi madre se sintio mas noble y pura + Y mi padre mas fuerte. + + XIV + + Cuando la noche toda en la cansada +5 Labor tuvisteis vuestros ojos fijos, + Y, al venceros el sueno a la alborada, + Fuerzas os dio posar vuestra mirada + En los dormidos hijos. + + XV + + Las lagrimas correr una tras una +10 Con noble orgullo por mi faz yo siento, + Pensando que hayan sido por fortuna, + Esas honradas manos mi sustento + Y esos brazos mi cuna. + + XVI + + iPadres mios, mi amor! Mi alma quisiera +15 Pagaros hoy la que en mi edad primera + Sufristeis sin gemir lenta agonia, + Y que cada dolor de entonces fuera + Germen de una alegria. + + XVII + + Entonces vuestro mal curaba el gozo +20 De ver al hijo convertirse en mozo, + Mientras que al verme yo en vuestra presencia + Siento mi dicha ahogada en el sollozo + De una temida ausencia. + page 132 + XVIII + + Si el vigor juvenil volver de nuevo + Pudiese a vuestra edad, ?por que estas penas? + Yo os daria mi sangre de mancebo, + Tornando asi con ella a vuestras venas +5 Esta vida que os debo. + + XIX + + Que de tal modo la afliccion me embarga + Pensando en la posible despedida, + Que imagino ha de ser tarea amarga + Llevar la vida, como inutil carga, +10 Despues de vuestra vida. + + XX + + Ese plazo fatal, sordo, inflexible, + Miro acercarse con profundo espanto, + Y en dudas grita el corazon sensible: + --"Si aplacar al destino es imposible, +15 ?Para que amarnos tanto?" + + XXI + + Para estar juntos en la vida eterna + Cuando acabe esta vida transitoria: + Si Dios, que el curso universal gobierna, + Nos devuelve en el cielo esta union tierna, +20 Yo no aspiro a mas gloria. + + XXII + + Pero en tanto, buen Dios, mi mejor palma + Sera que prolongueis la dulce calma page 133 + Que hoy nuestro hogar en su recinto encierra: + Para marchar yo solo por la tierra + No hay fuerzas en mi alma. + + + DON RAMON DE CAMPOAMOR + + PROXIMIDAD DEL BIEN + + En el tiempo en que el mundo informe estaba, + Creo el Senor, cuando por dicha extrema +5 El paraiso terrenal formaba, + Un fruto que del mal era el emblema + Y otro fruto que el bien simbolizaba. + + Del miserable Adan al mismo lado +10 El Senor coloco del bien el fruto; + Pero Adan nunca el bien hallo, ofuscado, + Porque es del hombre misero atributo + Huir del bien, del mal siempre arrastrado. + + El fruto que del mal el simbolo era +15 Puso Dios escondido y muy lejano; + Pero Adan lo encontraba donde quiera, + Abandonando en su falaz quimera, + Por el lejano mal, el bien cercano. + + iAh! siempre el hombre en su ilusion maldita +20 Su misma dicha en despreciar se empena, page 134 + Y al seguirla tenaz, tenaz la evita, + Y aunque en su mismo corazon palpita, + iLejos, muy lejos, con afan la suena! + + + iQUIEN SUPIERA ESCRIBIR! + + I + + --Escribidme una carta, senor Cura. +5 --Ya se para quien es. + --?Sabeis quien es, porque una noche obscura + Nos visteis juntos?--Pues. + + --Perdonad; mas...--No extrano ese tropiezo. + La noche... la ocasion... +10 Dadme pluma y papel. Gracias. Empiezo: + _Mi querido Ramon_: + + --?Querido?... Pero, en fin, ya lo habeis puesto... + --Si no quereis...--iSi, si! + --_iQue triste estoy!_ ? No es eso?--Por supuesto. +15 --_iQue triste estoy sin ti!_ + + _Una congoja, al empezar, me viene_... + --?Como sabeis mi mal? + --Para un viejo, una nina siempre tiene + El pecho de cristal. + +20 _?Que es sin ti el mundo? Un valle de amargura. + ?Y contigo? Un eden._ + --Haced la letra clara, senor Cura; + Que lo entienda eso bien. + page 135 + --_El beso aquel que de marchar a punto + Te di_...--?Como sabeis?... + --Cuando se va y se viene y se esta junto + Siempre... no os afrenteis. + +5 _Y si volver tu afecto no procura,_ + _Tanto me haras sufrir..._ + --?Sufrir y nada mas? No, senor Cura, + iQue me voy a morir! + + --?Morir? ?Sabeis que es ofender al cielo?... +10 --Pues, si, senor, imorir! + --Yo no pongo _morir_.--iQue hombre de hielo! + iQuien supiera escribir! + + II + + iSenor Rector, senor Rector! en vano + Me quereis complacer, +15 Si no encarnan los signos de la mano + Todo el ser de mi ser. + + Escribidle, por Dios, que el alma mia + Ya en mi no quiere estar; + Que la pena no me ahoga cada dia... +20 Porque puedo llorar. + + Que mis labios, las rosas de su aliento, + No se saben abrir; + Que olvidan de la risa el movimiento + A fuerza de sentir. + page 136 + Que mis ojos, que el tiene por tan bellos, + Cargados con mi afan, + Como no tienen quien se mire en ellos, + Cerrados siempre estan. + +5 Que es, de cuantos tormentos he sufrido, + La ausencia el mas atroz; + Que es un perpetuo sueno de mi oido + El eco de su voz... + + Que siendo por su causa, el alma mia +10 iGoza tanto en sufrir!... + Dios mio icuantas cosas le diria + Si supiera escribir!... + + III + + EPILOGO + + --Pues senor, ibravo amor! Copio y concluyo: + _A don Ramon_... En fin, +15 Que es inutil saber para esto, arguyo, + Ni el griego ni el latin. + + + EL MAYOR CASTIGO + + Cuando de Virgilio en pos + Fue el Dante al infierno a dar, + Su conciencia, hija de Dios, +20 Dejo a la puerta al entrar. + + Despues que a salir volvio, + Su conciencia el Dante hallando, page 137 + Con ella otra vez cargo, + Mas dijo asi suspirando: + Del infierno en lo profundo, + No vi tan atroz sentencia +5 Como es la de ir por el mundo + Cargado con la conciencia. + + + DON GASPAR NUNEZ DE ARCE + + iEXCELSIOR! + + ?Por que los corazones miserables, + Por que las almas viles, + En los fieros combates de la vida +10 Ni luchan ni resisten? + + El espiritu humano es mas constante + Cuanto mas se levanta: + Dios puso el fango en la llanura, y puso + La roca en la montana. + +15 La blanca nieve que en los hondos valles + Derritese ligera, + En las altivas cumbres permanece + Inmutable y eterna. + + + TRISTEZAS + + Cuando recuerdo la piedad sincera +20 Con que en mi edad primera + Entraba en nuestras viejas catedrales, page 138 + Donde postrado ante la cruz de hinojos + Alzaba a Dios mis ojos, + Sonando en las venturas celestiales; + + Hoy que mi frente atonito golpeo, + Y con febril deseo 5 + Busco los restos de mi fe perdida, + Por hallarla otra vez, radiante y bella + Como en la edad aquella, + iDesgraciado de mi! diera la vida. + +10 iCon que profundo amor, nino inocente, + Prosternaba mi frente + En las losas del templo sacrosanto! + Llenabase mi joven fantasia + De luz, de poesia, +15 De mudo asombro, de terrible espanto. + + Aquellas altas bovedas que al cielo + Levantaban mi anhelo; + Aquella majestad solemne y grave; + Aquel pausado canto, parecido +20 A un doliente gemido, + Que retumbaba en la espaciosa nave; + + Las marmoreas y austeras esculturas + De antiguas sepulturas, + Aspiracion del arte a lo infinito; page 139 + La luz que por los vidrios de colores + Sus tibios resplandores + Quebraba en los pilares de granito; + + Haces de donde en curva fugitiva, +5 Para formar la ojiva, + Cada ramal subiendo se separa, + Cual del rumor de multitud que ruega, + Cuando a los cielos llega, + Surge cada oracion distinta y clara; + +10 En el gotico altar inmoble y fijo + El santo crucifijo, + Que extiende sin vigor sus brazos yertos, + Siempre en la sorda lucha de la vida, + Tan aspera y renida, +15 Para el dolor y la humildad abiertos; + + El mistico clamor de la campana + Que sobre el alma humana + De las caladas torres se despena, + Y anuncia y lleva en sus aladas notas +20 Mil promesas ignotas + Al triste corazon que sufre o suena; + + Todo elevaba mi animo intranquilo + A mas sereno asilo: + Religion, arte, soledad, misterio... page 140 + Todo en el templo secular hacia + Vibrar el alma mia, + Como vibran las cuerdas de un salterio. + + Y a esta voz interior que solo entiende +5 Quien credulo se enciende + En fervoroso y celestial carino, + Envuelta en sus flotantes vestiduras + Volaba a las alturas, + Virgen sin mancha, mi oracion de nino. + +10 Su rauda, viva y luminosa huella + Como fugaz centella + Traspasaba el espacio, y ante el puro + Resplandor de sus alas de querube, + Rasgabase la nube +15 Que me ocultaba el inmortal seguro. + + iOh anhelo de esta vida transitoria! + iOh perdurable gloria! + iOh sed inextinguible del deseo! + iOh cielo, que antes para mi tenias +20 Fulgores y armonias, + Y hoy tan obscuro y desolado veo! + + Ya no templas mis intimos pesares, + Ya al pie de tus altares + Como en mis anos de candor no acudo. page 141 + Para llegar a ti perdi el camino, + Y errante peregrino + Entre tinieblas desespero y dudo. + + Voy espantado sin saber por donde; +5 Grito, y nadie responde + A mi angustiada voz; alzo los ojos + Y a penetrar la lobreguez no alcanzo; + medrosamente avanzo, + Y me hieren el alma los abrojos. + +10 Hijo del siglo, en vano me resisto + A su impiedad, ioh Cristo! + Su grandeza satanica me oprime. + Siglo de maravillas y de asombros, + Levanta sobre escombros +15 Un Dios sin esperanza, un Dios que gime. + + iY ese Dios no eres tu! No tu serena + Faz, de consuelos llena, + Alumbra y guia nuestro incierto paso. + Es otro Dios incognito y sombrio: +20 Su cielo es el vacio, + Sacerdote el error, ley el Acaso. + + iAy! No recuerda el animo suspenso + Un siglo mas inmenso, + Mas rebelde a tu voz, mas atrevido; page 142 + Entre nubes de fuego alza su frente, + Como Luzbel, potente; + Pero tambien, como Luzbel, caido. + +5 A medida que marcha y que investiga + Es mayor su fatiga, + Es su noche mas honda y mas obscura, + Y pasma, al ver lo que padece y sabe, + Como en su seno cabe + Tanta grandeza y tanta desventura. + +10 Como la nave sin timon y rota + Que el ronco mar azota, + Incendia el rayo y la borrasca mece + En pielago ignorado y proceloso, + Nuestro siglo--coloso, +15 Con la luz que le abrasa, resplandece. + + iY esta la playa mistica tan lejos!... + A los tristes reflejos + Del sol poniente se colora y brilla. + El huracan arrecia, el bajel arde, +20 Y es tarde, es iay! muy tarde + Para alcanzar la sosegada orilla. + + ?Que es la ciencia sin fe? Corcel sin freno, + A todo yugo ajeno, + Que al impulso del vertigo se entrega, page 143 + Y a traves de intrincadas espesuras, + Desbocado y a obscuras, + Avanza sin cesar y nunca llega. + + iLlegar! ?Adonde?... El pensamiento humano +5 En vano lucha, en vano + Su ley oculta y misteriosa infringe. + En la lumbre del sol sus alas quema, + Y no aclara el problema, + No penetra el enigma de la Esfinge. + +10 iSalvanos, Cristo, salvanos, si es cierto + Que tu poder no ha muerto! + Salva a esta sociedad desventurada, + Que bajo el peso de su orgullo mismo + Rueda al profundo abismo +15 Acaso mas enferma que culpada. + + La ciencia audaz, cuando de ti se aleja, + En nuestras almas deja + El germen de reconditos dolores. + Como al tender el vuelo hacia la altura, +20 Deja su larva impura + El insecto en el caliz de las flores. + + Si en esta confusion honda y sombria + Es, Senor, todavia + Raudal de vida tu palabra santa, page 144 + Di a nuestra fe desalentada y yerta: + --iAnimate y despierta! + Como dijiste a Lazaro:--iLevanta!-- + + + iSURSUM CORDA! + + INTRODUCCION + + A mi buen amigo el ilustre poeta Manuel Reina + + I. A ESPANA + + Nunca mi labio a la servil lisonja +5 Parias rindio. Ni el exito ruidoso, + Ni la soberbia afortunada, oyeron + Falaz encomio de mi humilde Musa. + Diome su austeridad la honrada tierra + Donde naci, y el presuroso tiempo +10 Que arrastra y lleva en sus revueltas olas + Las grandezas humanas al olvido, + A mi pesar me ensena que en el mundo + Tan solo a dos excelsas majestades + Puedo, sin mengua, levantar mi canto; +15 La Verdad y el Dolor. + En estas horas + De febril inquietud, ?quien, Patria mia, + Merece como tu la pobre ofrenda + De mi respeto y de mi amor? Postrada + En los escombros de tu antigua gloria, +20 La negra adversidad, con ferrea mano, + Comprime los latidos de tu pecho page 145 + Y el aire que respiras envenena. + Como tigre feroz clavo sus garras + La catastrofe en ti, y en tus heridas + Entranas sacia su voraz instinto. +5 ?Quien, al mirar tus lastimas, no llora? + ?Puede haber hombre tan perverso y duro, + Ni aun concebido en crapulosa orgia + Por hembra impura, que impasible vea + Morir sin fe, desesperado y solo, +10 Al dulce bien que le llevo en su seno? + iNo existe, no! + Perdona si movido + Por la ciega pasion, alla en lejanos + Y borrascosos dias, cuando airada + Mi voz como fatidico anatema +15 Trono en la tempestad, quizas injusto + Contigo pude ser. Pero hoy, que sufres, + Hoy que, Job de la Historia, te retuerces + En tu lecho de angustia, arrepentido + Y llena el alma de mortal congoja, +20 Acudo ansioso a consolar tus penas, + A combatir con los inmundos buitres, + Avidos del festin, que en torno giran + De tu ulcerado cuerpo, y si lo mandas, + iOh, noble martir! a morir contigo. +25 Pero ?quien habla de morir? ?Acaso + No eres, Patria, inmortal? Tendras eclipses + Como los tiene el sol. Sombras tenaces, + Cual hiperborea noche larga y fria, page 146 + Sobre ti pesaran, mientras no llegue + Tu santa redencion. iHora dichosa + En que veras con jubilo y ternura + Nacer el alba, el tenebroso espacio +5 Inundarse de luz, la tierra encinta + Estremecerse en extasis materno, + De armonias, aromas y colores + Poblarse el aire, y palpitar en todo + La plenitud eterna de la vida! +10 iTen esperanza y fe! Descubridora + De mundos, madre de indomada prole, + Tu no puedes morir, iDios no lo quiere! + Aun tienes que cumplir altos destinos. + Busca en el seno de la paz bendita +15 Reparador descanso, hasta que cobren + Tus musculos salud, y en cuanto sientas + El hervor de tu sangre renovada, + Ponte en pie, sacudiendo tu marasmo, + Que como losa del sepulcro, oprime +20 Tu enferma voluntad. Surge del fondo + De tu aislamiento secular, y marcha + Con paso firme y corazon resuelto + Sin mirar hacia atras, siempre adelante. + Sean la escuela y el taller y el surco +25 Los solos campos de batalla en donde + Tu razon y tus fuerzas ejercites. + Entra en las lides del trabajo y vence, + Que entonces de laureles coronada, + Mas fecunda, mas prospera y mas grande, page 147 + Seguiras, fulgurando, tu camino + Por los arcos triunfales de la Historia. + + II. A AMERICA + + iEsta es Espana! Atonita y maltrecha + Bajo el peso brutal de su infortunio, +5 Inerte yace la matrona augusta 5 + Que en otros siglos fatigo a la fama. + La que surco los mares procelosos + Buscandote atrevida en el misterio, + Hasta que un dia, deslumbrando al mundo, +10 Surgiste, como Venus, de las ondas. 10 + Cegada por tu esplendida hermosura, + Al engarzarte en su imperial diadema + Espana te oprimio; mas no la culpes, +15 Porque ?cuando la barbara conquista + Justa y humana fue? Tambien clemente 15 + Te dio su sangre, su robusto idioma, + Sus leyes y su Dios. iTe lo dio todo, + Menos la libertad! Pues mal pudiera + Darte el unico bien que no tenia. + +20 Contemplala vencida y humillada 20 + Por la doblez y el oro, y si te mueven + A generosa lastima sus males, + El tragico desplome de una gloria + Que es tambien tuya, acorrela en su duelo. +25 iEs tu madre infeliz! No la abandone 25 + Tu amor, en tan inmensa desventura. + page 148 + + DON MANUEL DEL PALACIO + + AMOR OCULTO + + Ya de mi amor la confesion sincera + Oyeron tus calladas celosias, + Y fue testigo de las ansias mias + La luna, de los tristes companera. + +5 Tu nombre dice el ave placentera + A quien visito yo todos los dias, + Y alegran mis sonadas alegrias + El valle, el monte, la comarca entera. + + Solo tu mi secreto no conoces, +10 Por mas que el alma con latido ardiente, + Sin yo quererlo, te lo diga a voces; + + Y acaso has de ignorarlo eternamente, + Como las ondas de la mar veloces + La ofrenda ignoran que les da la fuente. + + + DON JOAQUIN MARIA BARTRINA + + ARABESCOS Y COMPOSICIONES INTIMAS + +15 Oyendo hablar a un hombre, facil es + Acertar donde vio la luz del sol; + Si os alaba a Inglaterra, sera ingles, + Si os habla mal de Prusia, es un frances, + Y si habla mal de Espana, es espanol. + page 149 + Si cumplir con lealtad + Nuestra ultima voluntad + Es sagrada obligacion, + Cuando mis ojos se cierren, +5 He de mandar que me entierren + Dentro de tu corazon. + + Para matar la inocencia, + Para envenenar la dicha, + Es un gran punal la pluma +10 Y un gran veneno la tinta. + + Quien vive siempre entre pena + Y remordimiento y dudas, + No sabe ver mas que a Judas + En el cuadro de la cena. + + + DON MANUEL REINA + + LA POESIA + + A Teodoro Llorente + +15 Como el raudal que corre en la pradera + Copia en su espejo pajaros y flores, + La alada mariposa de colores, + El verde arbusto y la radiante esfera, + La sublime poesia reverbera +20 Combates, glorias, risas y dolores, + Odio y amor, tinieblas y esplendores, page 150 + El cielo, el campo, el mar... ila vida entera! + iAsi Homero es la lid; Virgilio, el dia; + Esquilo, la tormenta bramadora; + Anacreonte, el vino y la alegria; +5 Dante, la noche con su negro arcano; + Calderon, el honor; Milton, la aurora; + Shakespeare, el triste corazon humano! + page 151 + + + ARGENTINA + + + DON ESTEBAN ECHEVERRIA + + CANCION DE ELVIRA + + Crecio acaso arbusto tierno + A orillas de un manso rio, + Y su ramaje sombrio + Muy ufano se extendio; +5 Mas en el sanudo invierno + Subio el rio cual torrente, + Y en su tumida corriente + El tierno arbusto llevo. + + Reflejando nieve y grana, +10 Nacio garrida y pomposa + En el desierto una rosa, + Gala del prado y amor; + Mas lanzo con furia insana + Su soplo inflamado el viento, +15 Y se llevo en un momento + Su vana pompa y frescor. + Asi dura todo bien... + Asi los dulces amores, page 152 + Como las lozanas flores, + Se marchitan en su albor; + Y en el incierto vaiven + De la fortuna inconstante, +5 Nace y muere en un instante + La esperanza del amor. + + + DON OLEGARIO V. ANDRADE + + ATLANTIDA + + Canto al porvenir de la raza latina en America + + VII + + iSiglos pasaron sobre el mundo, y siglos + Guardaron el secreto! + Lo presintio Platon cuando sentado +10 En las rocas de Engina contemplaba + Las sombras que en silencio descendian + A posarse en las cumbres del Himeto; + Y el misterioso dialogo entablaba + Con las olas inquietas +15 iQue a sus pies se arrastraban y gemian! + Adivino su nombre, hija postrera + Del tiempo, destinada + A celebrar las bodas del futuro + En sus campos de eterna primavera, +20 iY la llamo la Atlantida sonada! + page 153 + Pero Dios reservaba + La empresa ruda al genio renaciente + De la latina raza, idomadora + De pueblos, combatiente +5 De las grandes batallas de la historia! + Y cuando fue la hora, + Colon aparecio sobre la nave + Del destino del mundo portadora-- + Y la nave avanzo. Y el Oceano, +10 Hurano y turbulento, + Lanzo al encuentro del bajel latino + Los negros aquilones, + iY a su frente rugiendo el torbellino, + Jinete en el relampago sangriento! +15 Pero la nave fue, y el hondo arcano + Cayo roto en pedazos; + iY desperto la Atlantida sonada + De un pobre visionario entre los brazos! + + Era lo que buscaba +20 El genio inquieto de la vieja raza, + Debelador de tronos y coronas, + iEra lo que sonaba! + iAmbito y luz en apartadas zonas! + Helo armado otra vez, no ya arrastrando +25 El sangriento sudario del pasado + Ni de negros recuerdos bajo el peso, + Sino en pos de grandiosas ilusiones, + iLa libertad, la gloria y el progreso! + page 154 + iNada le falta ya! lleva en el seno + El insondable afan del infinito, + iY el infinito por doquier lo llama + De las montanas con el hondo grito +5 Y de los mares con la voz de trueno! + Tiene el altar que Roma + Quiso en vano construir con los escombros + Del templo egipcio y la pagoda indiana, + iAltar en que profese eternamente +10 Un culto solo la conciencia humana! + iY el Andes, con sus gradas ciclopeas, + Con sus rojas antorchas de volcanes, + Sera el altar de fulgurantes velos + En que el himno inmortal de las ideas +15 La tierra entera elevara a los cielos! + + VIII + + iCampo inmenso a su afan! Alla dormidas + Bajo el arco triunfal de mil colores + Del tropico esplendente, + Las Antillas levantan la cabeza +20 De la naciente luz a los albores, + Como bandadas de aves fugitivas + Que arrullaron al mar con sus extranas + Canciones planideras, + Y que secan al sol las blancas alas +25 iPara emprender el vuelo a otras riberas! + + iAlla Mejico esta! sobre dos mares + Alzada cual granitica atalaya, page 155 + iParece que aun espia + La castellana flota que se acerca + Del golfo azteca a la arenosa playa! + Y mas alla Colombia adormecida +5 Del Tequendama al retemblar profundo, + iColombia la opulenta + Que parece llevar en las entranas + La inagotable juventud del mundo! + + iSalve, zona feliz! region querida +10 Del almo sol que tus encantos cela, + Inmenso hogar de animacion y vida, + iCuna del gran Bolivar! iVenezuela! + Todo en tu suelo es grande, + Los astros que te alumbran desde arriba +15 Con eterno, sangriento centelleo, + El genio, el heroismo, + iVolcan que hizo erupcion con ronco estruendo + En la cumbre inmortal de San Mateo! + + Tendida al pie del Ande, +20 Viuda infeliz sobre entreabierta huesa, + Yace la Roma de los Incas, rota + La vieja espada en la contienda grande, + La frente hundida en la tiniebla obscura, + iMas no ha muerto el Peru! que la derrota +25 Germen es en los pueblos varoniles + De redencion futura-- + entonces cuando llegue, page 156 + Para su suelo, la estacion propicia + Del trabajo que cura y regenera, + Y brille al fin el sol de la justicia + Tras largos dias de vergueenza y lloro, +5 iEl rojo manto que a su espalda flota + Las mieses bordaran con flores de oro! + + iBolivia! la heredera del gigante + Nacido al pie del Avila, su genio + Inquieto y su valor constante +10 Tiene para las luchas de la vida; + Suena en batallas hoy, pero no importa, + Suena tambien en anchos horizontes + En que en vez de curenas y canones + iSienta rodar la audaz locomotora +15 Cortando valles y escalando montes! + Y Chile el vencedor, fuerte en la guerra, + Pero mas fuerte en el trabajo, vuelve + A colgar en el techo + Las vengadoras armas, convencido +20 De que es esteril siempre la victoria + De la fuerza brutal sobre el derecho. + El Uruguay que combatiendo entrega + Su seno a las caricias del progreso, + El Brasil que recibe +25 Del mar Atlante el estruendoso beso + Y a quien solo le falta + El ser mas libre, para ser mas grande, + iY la region bendita, page 157 + Sublime desposada de la gloria, + Que bana el Plata y que limita el Ande! + + iDe pie para cantarla! que es la patria, + La patria bendecida, +5 Siempre en pos de sublimes ideales, + iEl pueblo joven que arrullo en la cuna + El rumor de los himnos inmortales! + Y que hoy llama al festin de su opulencia + A cuantos rinden culto +10 A la sagrada libertad, hermana + Del arte, del progreso y de la ciencia-- + iLa patria! que ensancho sus horizontes + Rompiendo las barreras + Que en otrora su espiritu aterraron, +15 iY a cuyo paso en los nevados montes + Del Genesis los ecos despertaron! + iLa patria! que, olvidada + De la civil querella, arrojo lejos + El fratricida acero +20 Y que lleva orgullosa + La corona de espigas en la frente, + iMenos pesada que el laurel guerrero! + iLa patria! en ella cabe + Cuanto de grande el pensamiento alcanza, +25 En ella el sol de redencion se enciende, + Ella al encuentro del futuro avanza, + Y su mano, del Plata desbordante + iLa inmensa copa a las naciones tiende! + page 158 + IX + + iAmbito inmenso, abierto + De la latina raza al hondo anhelo! + iEl mar, el mar gigante, la montana + En eterno coloquio con el cielo... +5 Y mas alla desierto! + Aca rios que corren desbordados, + Alli valles que ondean + Como rios eternos de verdura, +10 Los bosques a los bosques enlazados, + iDoquier la libertad, doquier la vida + Palpitando en el aire, en la pradera + Y en explosion magnifica encendida! + + iAtlantida encantada + Que Platon presintio! promesa de oro +15 Del porvenir humano--Reservado + A la raza fecunda, + Cuyo seno engendro para la historia + Los Cesares del genio y de la espada-- + Aqui va a realizar lo que no pudo +20 Del mundo antiguo en los escombros yertos + iLa mas bella vision de sus visiones! + iAl himno colosal de los desiertos + La eterna comunion de las naciones! + page 159 + + PROMETEO + + VII + + iArriba, pensadores! que en la lucha + Se templa y fortalece + Vuestra raza inmortal, nunca domada, + Que lleva por celeste distintivo +5 La chispa de la audacia en la mirada + Y anhelos infinitos en el alma; + iEn cuya frente altiva + Se confunden y enlazan + El laurel rumoroso de la gloria +10 Y del dolor la mustia siempre-viva! + + iArriba, pensadores! + iQue el espiritu humano sale ileso + Del cadalso y la hoguera! + Vuestro heraldo triunfal es el progreso +15 Y la verdad la suspirada meta + De vuestro afan gigante. + iArriba! ique ya asoma el claro dia + En que el error y el fanatismo expiren + Con doliente y confuso clamoreo! +20 iAve de esa alborada es el poeta, + Hermano de las aguilas del Caucaso, + Que secaron piadosas con sus alas + La ensangrentada faz de Prometeo! + page 160 + + DON RAFAEL OBLIGADO + + EN LA RIBERA + + Ven, sigue de la mano + Al que te amo de nino; + Ven, y juntos lleguemos hasta el bosque + Que esta en la margen del paterno rio. + +5 iOh, cuanto eres hermosa, + mi amada, en este sitio! + Solo por ti, y a reflejar tu frente, + Corriendo baja el Parana tranquilo. + + Para besar tu huella +10 Fue siempre tan sumiso, + Que, en viendote llegar, hasta la playa + Manda sus olas sin hacer rueido. + + Por eso, porque te ama, + Somos grandes amigos; +15 Luego, sabe decirte aquellas cosas + Que nunca brotan de los labios mios. + + El ano que tu faltas, + La flor de sus seibos, + Como cansada de esperar tus sienes, +20 Cuelga sus ramos de carmin marchitos. + page 161 + Por la tersa corriente, + Risuenos y furtivos, + Como sueltas guirnaldas, no navegan + Los verdes camalotes florecidos. + +5 Solo inclinan los sauces + Su ramaje sombrio, + Y las aves mas tristes, en sus copas + Gimiendo tejen sus ocultos nidos. + + Pero llegas..., y el agua, +10 El bosque, el cielo mismo, + Es como una explosion de mil colores, + Y el aire rompe en sonorosos himnos. + + Asi la primavera, + Del tropico vecino +15 Desciende, y canta, repartiendo flores, + Y colgando en las vides los racimos. + + iCual suenan gratamente, + Acordes, en un ritmo, + Del agua el melancolico murmullo +20 Y el leve susurrar de tu vestido! + + iOh, si me fuera dado + Guardar en mis oidos, + Para siempre, esta musica del alma, + Esta union de tu ser y de mis rios! + page 162 + + COLOMBIA + + + DON JOSE JOAQUIN ORTIZ + + COLOMBIA Y ESPANA + + iOh! ireposad en vuestras quietas tumbas, + Augustos padres de la patria mia, + Pues bien lo mereceis! La grande obra + De redencion al fin esta cumplida; +5 Y no llegue a turbar vuestro reposo + El tumulto de lucha fratricida. + + Hoy a vuestros sepulcros hace sombra + La bandera del iris, enlazada + A la de los castillos y leones; +10 Que el odio no es eterno + En los pobres humanos corazones; + Y llego el dia en que la madre Espana + Estrechase a Colombia entre sus brazos, + Depuesta ya la sana; +15 No sierva, no senora; + Libres las dos como las hizo el cielo. + iAh! ?ni como podria page 163 + Hallarse la hija siempre separada + Del dulce hogar paterno, + Ni consentir la carinosa madre + Que tal apartamiento fuera eterno? + +5 En esos anos de la ausencia fiera, + El recuerdo de Espana + Seguianos doquiera. + Todo nos es comun: su Dios, el nuestro; + La sangre que circula por sus venas +10 Y el hermoso lenguaje; + Sus artes, nuestras artes; la armonia + De sus cantos, la nuestra; sus reveses + Nuestros tambien, y nuestras + Las glorias de Bailen y de Pavia. + +15 Si a veces distraidos + Fijabamos los ojos + A contemplar las hijas de Colombia; + En el porte elegante, + En el puro perfil de su semblante, +20 En su mirada ardiente y en el dejo + Meloso de la voz, eran retrato + De sus nobles abuelas; + Copia feliz de gracia soberana, + En que agradablemente se veia +25 El decoro y nobleza castellana + Y el donaire y la sal de Andalucia; + Y entonces exclamabamos: Un nombre page 164 + Terrible, Espana, tienes; ipero suena + Que dulcemente al corazon del hombre! + + iOh! ique esta santa alianza eterna sea, + Y el pendon de Castilla y de Colombia +5 Unidos siempre el universo vea! + Y que al iviva Colombia! que repiten + El aureo Tajo, y Ebro y Manzanares, + iResponda el eco que rodando vaya + Por los tranquilos mares +10 A la iberica playa + De iviva Espana! con que el Ande atruena + El Cauca, el Orinoco, el Magdalena! + + + DON JOSE EUSEBIO CARO + + EL CIPRES + + iArbol sagrado, que la obscura frente, + Inmovil, majestuoso, +15 Sobre el sepulcro humilde y silencioso + Despliegas hacia el cielo tristemente! + Tu, si, tu solamente + Al tiempo en que se duerme el rey del mundo + Tras las altas montanas de occidente, +20 Me ves triste vagando + Entre las negras tumbas, + Con los ojos en llanto humedecidos, + Mi orfandad y miseria lamentando. page 165 + Y cuando ya de la apacible luna + La luz de perla en tu verdor se acoge, + Solo tu tronco escucha mis gemidos, + Solo tu pie mis lagrimas recoge. + +5 iAy! hubo un tiempo en que feliz y ufano + Al seno paternal me abandonaba; + En que con blanda mano + Una madre amorosa + De mi ninez las lagrimas secaba... +10 iY hoy, huerfano, del mundo desechado, + Aqui en mi patria misma + Solitario viajero, + Desde lejos contemplo acongojado + Sobre los techos de mi hogar primero +15 El humo blanquear del extranjero! + Entre el bullicio de los pueblos busco + Mis tiernos padres para mi perdidos; + iVanamente!... Los rostros de los hombres + Me son desconocidos. +20 Y sus manes, empero, noche y dia + Presentes a mis ojos afligidos + Contino estan; contino sus acentos + Vienen a resonar en mis oidos. + + iSi, funeral cipres! Cuando la noche +25 Con su callada sombra te rodea, + Cuando escondido el solitario buho + En tus obscuros ramos aletea; page 166 + La sombra de mi padre por tus hojas + Vagando me parece, + Que a velar por los dias de su hijo + Del reino de los muertos se aparece. +5 Y si el viento sacude impetueoso + Tu elevada cabeza, + Y a su furor con susurrar medroso + Respondes pavoroso; + En los tristes silbidos +10 Que en torno de ti giran, + A los paternos manes + Escucho, que dulcisimos suspiran. + + iArbol augusto de la muerte! iNunca + Tus verdores abata el boreas ronco! +15 iNunca enemiga, venenosa sierpe + Se enrosque en torno de tu pardo tronco! + iJamas el rayo ardiente + Abrase tu alta frente! + iSiempre inmoble y sereno +20 Por las concavas nubes + Oigas rodar el impotente trueno! + Vive, si, vive; y cuando ya mis ojos + Cerrar el dedo de la muerte quiera; + Cuando esconderse mire en occidente +25 Al sol por vez postrera, + Morire sosegado + A tu tronco abrazado. + Tu mi sepulcro ampararas piadoso page 167 + De las roncas tormentas; + Y mi ceniza entonce agradecida, + En restaurantes jugos convertida, + Por tus delgadas venas penetrando, +5 Te hara reverdecer, te dara vida. + + Quiza sabiendo el infeliz destino + Que oprimio mi existencia desdichada, + Sobre mi pobre tumba abandonada + Una lagrima vierta el peregrino. + + + DON JOSE MANUEL MARROQUIN + + LOS CAZADORES Y LA PERRILLA + +10 Es flaca sobremanera + Toda humana prevision, + Pues en mas de una ocasion + Sale lo que no se espera. + + Salio al campo una manana +15 Un experto cazador, + El mas habil y el mejor + Alumno que tuvo Diana. + + Seguiale gran cuadrilla + De ejercitados monteros, +20 De ojeadores, ballesteros + Y de mozos de trailla; + page 168 + Van todos apercibidos + De las armas necesarias, + Y llevan de castas varias + Perros diestros y atrevidos, + +5 Caballos de noble raza, + Cornetas de monte: en fin, + Cuanto exige Moratin + En su poema _La Caza_. + + Levantan pronto una pieza, +10 Un jabali corpulento, + Que huye veloz, rabo a viento, + Y rompiendo la maleza. + + Todos siguen con gran bulla + Tras la cerdosa alimana, +15 Pero ella se da tal mana + Que a todos los aturrulla; + + Y aunque gastan todo el dia + En paradas, idas, vueltas, + Y carreras y revueltas, +20 Es vana tanta porfia. + + Ahora que los lectores + Han visto de que manera + Pudo burlarse la fiera + De los tales cazadores, + page 169 + Oigan lo que acontecio, + Y aunque es suceso que admira, + No piensen, no, que es mentira, + Que lo cuenta quien lo vio: + +5 Al pie de uno de los cerros + Que batieron aquel dia, + Una viejilla vivia, + Que oyo ladrar a los perros; + + Y con gana de saber +10 En que parara la fiesta, + Iba subiendo la cuesta + A eso del anochecer: + + Con ella iba una perrilla... + Mas sin pasar adelante, +15 Es preciso que un instante + Gastemos en describilla: + + Perra de canes decana + Y entre perras protoperra, + Era tenida en su tierra +20 Por perra antediluviana; + + Flaco era el animalejo, + El mas flaco de los canes, + Era el rastro, eran los manes + De un cuasi-semi-ex-gozquejo; + page 170 + Sarnosa era... digo mal; + No era una perra sarnosa, + Era una sarna perrosa + Y en figura de animal; + +5 Era, otrosi, derrengada; + La derribaba un resuello; + Puede decirse que aquello + No era perra ni era nada. + + A ver, pues, la batahola +10 La vieja al cerro subia, + De la perra en compania, + Que era lo mismo que ir sola. + + Por donde iba, hizo la suerte + Que se hubiese el jabali +15 Escondido, por si asi + Se libraba de la muerte; + + Empero, sintiendo luego + Que por ahi andaba gente, + Tuvo por cosa prudente +20 Tomar las de Villadiego; + + La vieja entonces al ver + Que escapaba por la loma, + iSus! dijo por pura broma, + Y la perra echo a correr. + page 171 + Y aquella perra extenuada, + Sombra de perra que fue, + De la cual se dijo que + No era perra ni era nada; + +5 Aquella perrilla, si, + iCosa es de volverse loco! + No pudo coger tampoco + Al maldito jabali. + + + DON MIGUEL ANTONIO CARO + + LA VUELTA A LA PATRIA + + Mirad al peregrino +10 iCuan doliente y trocado! + Apoyandose lento en su cayado + iQue solitario va por su camino! + + En su primer manana, + Alma alegre y cantora +15 Abandono el hogar, como a la aurora + Deja su nido la avecilla ufana. + + Aire y luz, vida y flores, + Busco en la vasta y fria + Region que la inocente fantasia +20 Adornaba con magicos fulgores. + page 172 + Ve el mundo, oye el rueido + De las grandes ciudades, + Y solo vanidad de vanidades + Halla doquier su espiritu afligido + +5 Materia da a su llanto + Cuanto el hombre le ofrece; + Ya la risa en sus labios no florece, + Y olvido la nativa voz del canto. + + Hizose pensativo; +10 Las nubes y las olas + Sus confidentes son, y trata a solas + El sitio mas repuesto y mas esquivo. + + A su penar responde + En la noche callada, +15 La estrella que declina fatigada + Y en el materno pielago se esconde. + + _iVuelve, vuelve a tu centro!_ + Natura al infelice + Clama; _ivuelve!_ una voz tambien le dice +20 Que habla siempre con el, amiga, adentro, + + iAy triste! En lontananza + Ve los pasados dias, + Y en gozar otra vez sus alegrias + Concentra reanimado la esperanza. + page 173 + iImposible! iLocura!... + ?Cuando pudo a su fuente + Retroceder el misero torrente + Que probo de los mares la amargura? + +5 Ya sube la colina + Con mal seguro paso; + Del sol poniente al resplandor escaso + El valle de la infancia se domina. + +10 iAy! Ese valle umbrio + Que la paterna casa + Guarece; ese rumor con que acompasa + Sus blandos tumbos el sagrado rio; + + Esa aura embalsamada + Que sus sienes orea, +15 ?A un corazon enfermo que desea + Su antigua soledad, no dicen nada? + + El pobre peregrino + Ni oye, ni ve, ni siente; + De la Patria la imagen en su mente +20 No existe ya, sino ideal divino. + + Invisible le toca + Y sus parpados cierra + Angel piadoso, y la ilusion destierra, + Y el dulce sonreir vuelve a su boca. + page 174 + iQue muda despedida! + ?Quien muerto le creyera? + iMirando esta la Patria verdadera! + iEsta durmiendo el sueno de la vida! + + + DON DIOGENES A. ARRIETA + + EN LA TUMBA DE MI HIJO + +5 iEspejismos del alma dolorida!... + iHermosas esperanzas de la vida + Que disipa la muerte con crueldad! + Para enganar las penas nos forjamos + Imagenes de dicha, y luego damos +10 A la Ilusion el nombre de Verdad. + + Aqui te llamo y nadie me responde: + Sorda y cruel, la tierra que te esconde + Ni el eco de mi voz devolvera. + Asi la Eternidad: sombria y muda, +15 El odio ni el amor, la fe y la duda + En sus abismos nada alcanzaran. + + Otros alienten la creencia vana + De que es posible a la esperanza humana + De la muerte sacar vida y amor. +20 Si es cruel la verdad, yo la prefiero... + iMe duele el corazon, pero no quiero + Consolar con mentiras mi dolor! + page 175 + iHijo querido, la esperanza mia! + Animaste mi hogar tan solo un dia, + No volvemos a vernos ya los dos... + Pues que la ley se cumpla del destino: + Tomo mi cruz y sigo mi camino... + iLuz de mi hogar y mi esperanza, adios! + + + DON IGNACIO GUTIERREZ PONCE + + DOLORA + + El angel de mi cielo, mi Maria, + Que a la primera vuelta de las flores + Tres anos cumplira, medrosa un dia +10 Busco refugio en mis abiertos brazos, + Y cuando entre caricias y entre abrazos, + Que prodigue, con paternal empeno, + Hubo al fin disipado sus temores, + Trocando asi en sonrisas sus clamores, +15 Cerro los ojos en tranquilo sueno. + + En silencio quedo la estancia mia; + Y sintiendome ansioso + De no turbar el infantil reposo + De mi bien, en mi pecho reclinado, +20 Inmoviles mis miembros mantenia, + Y mi amoroso corazon latia + Al ritmo de su aliento sosegado. + page 176 + Sobre su faz serena, + Regadas como limpido rocio + En el caliz de palida azucena, + Brillaban gotas del reciente lloro, +5 Y las guedejas de oro + Del undoso cabello + Caian arropando su albo cuello. + + Asi nos sorprendio mi tierna esposa. + Que a la par temerosa +10 De interrumpir mi sueno de ventura, + Con paso leve recorrio el estrado + Y sin sentirla yo, vino a mi lado. + + Aquella dulce calma + Que reinaba entre mi y en torno mio, +15 Llenome al fin de arrobamiento el alma. + Y se quedo mi mente + Enajenada en extasis creciente. + + Absorto siempre en ella, + Con intimo lenguaje la decia: +20 "Eres boton de flor embalsamado + Con aromas del cielo todavia." + Y al verla asi, tan bella, + Con placido embeleso + A su rosada frente +25 Fuime inclinando para darla un beso; + page 177 + Pero escuche, de subito, a mi lado, + Algo como un sollozo; + Y mirando con ojos sorprendidos, + Halle los de mi esposa humedecidos +5 Por inefable gozo... + "No la despiertes," dijome sencilla, + Y me acerco su candida mejilla. + + + DON JOSE MARIA GARAVITO A. + + VOLVERE MANANA + + I + + --iAdios! iadios! Lucero de mis noches, + --Dijo un soldado al pie de una ventana,-- +10 iMe voy!... pero no llores, alma mia, + Que volvere manana. + Ya se asoma la estrella de la aurora, + Ya se divisa en el oriente el alba, + Y en mi cuartel tambores y cornetas +15 Estan tocando _diana_. + + II + + Horas despues, cuando la negra noche + Cubrio de luto el campo de batalla, + A la luz del vivac palida y triste, + Un joven expiraba. +20 Alguna cosa de _ella_ el centinela + Al mirarlo morir, dijo en voz baja... page 178 + Alzo luego el fusil, bajo los ojos + Y se enjugo dos lagrimas. + + III + + Hoy cuentan por doquier gentes medrosas, + Que cuando asoma en el oriente el alba, +5 Y en el cuartel tambores y cornetas + Estan tocando _diana_... + Se ve vagar la misteriosa sombra, + Que se detiene al pie de una ventana + Y murmura: no llores, alma mia, +10 Que volvere manana. + page 179 + + + CUBA + + DON JOSE MARIA HEREDIA + + EN EL TEOCALLI DE CHOLULA + + iCuanto es bella la tierra que habitaban + Los aztecas valientes! En su seno + En una estrecha zona concentrados + Con asombro se ven todos los climas +5 Que hay desde el polo al ecuador. Sus llanos + Cubren a par de las doradas mieses + Las canas deliciosas. El naranjo + Y la pina y el platano sonante, + Hijos del suelo equinoccial, se mezclan +10 A la frondosa vid, al pino agreste, + Y de Minerva al arbol majestuoso. + Nieve eternal corona las cabezas + De Iztaccihual purisimo, Orizaba +15 Y Popocatepec; sin que el invierno + Toque jamas con destructora mano + Los campos fertilisimos, do ledo + Los mira el indio en purpura ligera + Y oro tenirse, reflejando el brillo + Del Sol en occidente, que sereno +20 En hielo eterno y perennal verdura page 180 + A torrentes vertio su luz dorada, + Y vio a naturaleza conmovida + Con su dulce calor hervir en vida. + + Era la tarde: su ligera brisa +5 Las alas en silencio ya plegaba + Y entre la hierba y arboles dormia, + Mientras el ancho sol su disco hundia + Detras de Iztaccihual. La nieve eterna + Cual disuelta en mar de oro, semejaba +10 Temblar en torno de el: un arco inmenso + Que del empireo en el cenit finaba + Como esplendido portico del cielo + De luz vestido y centellante gloria, + De sus ultimos rayos recibia +15 Los colores riquisimos. Su brillo + Desfalleciendo fue: la blanca luna + Y de Venus la estrella solitaria + En el cielo desierto se veian. + iCrepusculo feliz! Hora mas bella +20 Que la alma noche o el brillante dia. + iCuanto es dulce tu paz al alma mia! + + Hallabame sentado en la famosa + Choluteca piramide. Tendido + El llano inmenso que ante mi yacia, +25 Los ojos a espaciarse convidaba. + iQue silencio! ique paz! iOh! ?quien diria + Que en estos bellos campos reina alzada + La barbara opresion, y que esta tierra page 181 + Brota mieses tan ricas, abonada + Con sangre de hombres, en que fue inundada + Por la supersticion y por la guerra?... + + Bajo la noche en tanto. De la esfera +5 El leve azul, obscuro y mas obscuro + Se fue tornando: la movible sombra + De las nubes serenas, que volaban + Por el espacio en alas de la brisa, + Era visible en el tendido llano. +10 Iztaccihual purisimo volvia + Del argentado rayo de la luna + El placido fulgor, y en el oriente + Bien como puntos de oro centellaban + Mil estrellas y mil... iOh! yo os saludo, +15 Fuentes de luz, que de la noche umbria + Iluminais el velo, + Y sois del firmamento poesia. + + Al paso que la luna declinaba, + Y al ocaso fulgente descendia +20 Con lentitud, la sombra se extendia + Del Popocatepec, y semejaba + Fantasma colosal. El arco obscuro + A mi llego, cubriome, y su grandeza +25 Fue mayor y mayor, hasta que al cabo + En sombra universal velo la tierra. + + Volvi los ojos al volcan sublime, + Que velado en vapores transparentes, page 182 + Sus inmensos contornos dibujaba + De occidente en el cielo. + iGigante del Anahuac! ?como el vuelo + De las edades rapidas no imprime +5 Alguna huella en tu nevada frente? + Corre el tiempo veloz, arrebatando + Anos y siglos como el norte fiero + Precipita ante si la muchedumbre + De las olas del mar. Pueblos y reyes +10 Viste hervir a tus pies, que combatian + Cual hora combatimos, y llamaban + Eternas sus ciudades, y creian + Fatigar a la tierra con su gloria. + Fueron: de ellos no resta ni memoria. +15 ?Y tu eterno seras? Tal vez un dia + De tus profundas bases desquiciado + Caeras; abrumara tu gran ruina + Al yermo Anahuac; alzaranse en ella + Nuevas generaciones y orgullosas, +20 Que fuiste negaran... + Todo perece + Por ley universal. Aun este mundo + Tan bello y tan brillante que habitamos, + Es el cadaver palido y deforme + De otro mundo que fue... + +25 En tal contemplacion embebecido + Sorprendiome el sopor. Un largo sueno, + De glorias engolfadas y perdidas page 183 + En la profunda noche de los tiempos, + Descendio sobre mi. La agreste pompa + De los reyes aztecas desplegose +5 A mis ojos atonitos. Veia + De emplumados caudillos levantarse + El despota salvaje en rico trono, + De oro, perlas y plumas recamado; + Y al son de caracoles belicosos +10 Ir lentamente caminando al templo + La vasta procesion, do la aguardaban + Sacerdotes horribles, salpicados + Con sangre humana rostros y vestidos. + Con profundo estupor el pueblo esclavo +15 Las bajas frentes en el polvo hundia, + Y ni mirar a su senor osaba, + De cuyos ojos fervidos brotaba + La sana del poder. + Tales ya fueron + Tus monarcas, Anahuac, y su orgullo: +20 Su vil supersticion y tirania + En el abismo del no ser se hundieron. + Si, que la muerte, universal senora, + Hiriendo a par al despota y esclavo, + Escribe la igualdad sobre la tumba. +25 Con su manto benefico el olvido + Tu insensatez oculta y tus furores + A la raza presente y la futura. + Esta inmensa estructura page 184 + Vio a la supersticion mas inhumana + En ella entronizarse. Oyo los gritos + De agonizantes victimas, en tanto + Que el sacerdote, sin piedad ni espanto, +5 Les arrancaba el corazon sangriento; + Miro el vapor espeso de la sangre + Subir caliente al ofendido cielo + Y tender en el sol funebre velo, + Y escucho los horrendos alaridos +10 Con que los sacerdotes sofocaban + El grito del dolor. + + Muda y desierta + Ahora te ves, Piramide. iMas vale + Que semanas de siglos yazgas yerma, + Y la supersticion a quien serviste +15 En el abismo del infierno duerma! + A nuestros nietos ultimos, empero, + Se leccion saludable; y hoy al hombre + Que ciego en su saber futil y vano + Al cielo, cual Titan, truena orgulloso, +20 Se ejemplo ignominioso + De la demencia y del furor humano. + + + EL NIAGARA + + Templad mi lira, dadmela, que siento + En mi alma estremecida y agitada + Arder la inspiracion. iOh! icuanto tiempo +25 En tinieblas paso, sin que mi frente page 185 + Brillase con su luz!... Niagara undoso, + Tu sublime terror solo podria + Tornarme el don divino, que ensanada + Me robo del dolor la mano impia. + +5 Torrente prodigioso, calma, calla + Tu trueno aterrador: disipa un tanto + Las tinieblas que en torno te circundan; + Dejame contemplar tu faz serena, + Y de entusiasmo ardiente mi alma llena. +10 Yo digno soy de contemplarte: siempre + Lo comun y mezquino desdenando, + Ansie por lo terrifico y sublime. + Al despenarse el huracan furioso, + Al retumbar sobre mi frente el rayo, +15 Palpitando goce: vi al Oceano, + Azotado por austro proceloso, + Combatir mi bajel, y ante mis plantas + Vortice hirviendo abrir, y ame el peligro. + Mas del mar la fiereza +20 En mi alma no produjo + La profunda impresion que tu grandeza. + + Sereno corres, majestuoso; y luego + En asperos penascos quebrantado, + Te abalanzas violento, arrebatado, +25 Como el destino irresistible y ciego. + ?Que voz humana describir podria + De la sirte rugiente page 186 + La aterradora faz? El alma mia + En vago pensamiento se confunde + Al mirar esa fervida corriente, + Que en vano quiere la turbada vista +5 En su vuelo seguir al borde obscuro + Del precipicio altisimo: mil olas, + Cual pensamiento rapidas pasando, + Chocan, y se enfurecen, + Y otras mil y otras mil ya las alcanzan, +10 Y entre espuma y fragor desaparecen. + + iVed! illegan, saltan! El abismo horrendo + Devora los torrentes despenados: + Cruzanse en el mil iris, y asordados + Vuelven los bosques el fragor tremendo. +15 En las rigidas penas + Rompese el agua: vaporosa nube + Con elastica fuerza + Llena el abismo en torbellino, sube, + Gira en torno, y al eter +20 Luminosa piramide levanta, + Y por sobre los montes que le cercan + Al solitario cazador espanta. + + Mas ?que en ti busca mi anhelante vista + Con inutil afan? ?Por que no miro +25 Al rededor de tu caverna inmensa + Las palmas iay! las palmas deliciosas, + Que en las llanuras de mi ardiente patria page 187 + Nacen del sol a la sonrisa, y crecen, + Y al soplo de las brisas del Oceano + Bajo un cielo purisimo se mecen? + + Este recuerdo a mi pesar me viene... +5 Nada ioh Niagara! falta a tu destino, + Ni otra corona que el agreste pino + A tu terrible majestad conviene. + La palma y mirto y delicada rosa + Muelle placer inspiren y ocio blando +10 En frivolo jardin: a ti la suerte + Guardo mas digno objeto, mas sublime. + El alma libre, generosa, fuerte, + Viene, te ve, se asombra, + El mezquino deleite menosprecia +15 Y aun se siente elevar cuando te nombra. + + iOmnipotente Dios! En otros climas + Vi monstruos execrables, + Blasfemando tu nombre sacrosanto, + Sembrar error y fanatismo impio, +20 Los campos inundar con sangre y llanto, + De hermanos atizar la infanda guerra, + Y desolar freneticos la tierra. + Vilos, y el pecho se inflamo a su vista + En grave indignacion. Por otra parte +25 Vi mentidos filosofos, que osaban + Escrutar tus misterios, ultrajarte, + Y de impiedad al lamentable abismo page 188 + A los miseros hombres arrastraban. + Por eso te busco mi debil mente + En la sublime soledad: ahora + Entera se abre a ti; tu mano siente +5 En esta inmensidad que me circunda, + Y tu profunda voz hiere mi seno + De este raudal en el eterno trueno. + + iAsombroso torrente! + iComo tu vista el animo enajena +10 Y de terror y admiracion me llena! + ?Do tu origen esta? ?Quien fertiliza + Por tantos siglos tu inexhausta fuente? + ?Que poderosa mano + Hace que al recibirte +15 No rebose en la tierra el Oceano? + + Abrio el Senor su mano omnipotente; + Cubrio tu faz de nubes agitadas, + Dio su voz a tus aguas despenadas, + Y orno con su arco tu terrible frente. +20 iCiego, profundo, infatigable corres, + Como el torrente obscuro de los siglos + En insondable eternidad!... iAl hombre + Huyen asi las ilusiones gratas, + Los florecientes dias, +25 Y despierta al dolor!... iAy! agostada + Yace mi juventud; mi faz, marchita; page 189 + Y la profunda pena que me agita + Ruga mi frente de dolor nublada. + + Nunca tanto senti como este dia + Mi soledad y misero abandono +5 Y lamentable desamor... ?Podria + En edad borrascosa + Sin amor ser feliz? iOh! si una hermosa + Mi carino fijase, + Y de este abismo al borde turbulento +10 Mi vago pensamiento + Y ardiente admiracion acompanase! + iComo gozara, viendola cubrirse + De leve palidez, y ser mas bella + En su dulce terror, y sonreirse +15 Al sostenerla mis amantes brazos... + Delirios de virtud... iAy! iDesterrado, + Sin patria, sin amores, + Solo miro ante mi llanto y dolores! + + iNiagara poderoso! +20 iAdios! iadios! Dentro de pocos anos + Ya devorado habra la tumba fria + A tu debil cantor. iDuren mis versos + Cual tu gloria inmortal! iPueda piadoso, + Viendote algun viajero, +25 Dar un suspiro a la memoria mia! + Y al abismarse Febo en occidente, + Feliz yo vuele do el Senor me llama, page 190 + Y al escuchar los ecos de mi fama, + Alce en las nubes la radiosa frente. + + + "PLACIDO" (DON GABRIEL DE LA CONCEPCION VALDES) + + PLEGARIA A DIOS + + iSer de inmensa bondad! iDios poderoso! + A vos acudo en mi dolor vehemente... +5 Extended vuestro brazo omnipotente; + Rasgad de la calumnia el velo odioso; + Y arrancad este sello ignominioso + Con que el mundo manchar quiere mi frente. + + iRey de los Reyes! iDios de mis abuelos! +10 iVos solo sois mi defensor! iDios mio!... + Todo lo puede quien al mar sombrio + Olas y peces dio, luz a los cielos, + Fuego al sol, giro al aire, al norte hielos, + Vida a las plantas, movimiento al rio. + +15 Todo lo podeis vos; todo fenece, + O se reanima a vuestra voz sagrada; + Fuera de vos, Senor, el todo es nada + Que en la insondable eternidad perece; + Y aun esa misma nada os obedece, +20 Pues de ella fue la humanidad creada. + page 191 + Yo no os puedo enganar, Dios de clemencia; + Y pues vuestra eternal sabiduria + Ve al traves de mi cuerpo el alma mia + Cual del aire a la clara transparencia, +5 Estorbad que humillada la inocencia + Bata sus palmas la calumnia impia. + + Estorbadlo, Senor, por la preciosa + Sangre vertida, que la culpa sella + Del pecado de Adan, o por aquella +10 Madre candida, dulce y amorosa, + Cuando envuelta en pesar, mustia y llorosa, + Siguio tu muerte como heliaca estrella. + + Mas si cuadra a tu suma omnipotencia + Que yo perezca cual malvado impio, +15 Y que los hombres mi cadaver frio + Ultrajen con maligna complacencia... + iSuene tu voz, y acabe mi existencia!... + iCumplase en mi tu voluntad, Dios mio! + + + DONA GERTRUDIS GOMEZ DE AVELLANEDA + + A WASHINGTON + + No en lo pasado a tu virtud modelo, +20 Ni copia al porvenir dara la historia, + Ni otra igual en grandeza a tu memoria + Difundiran los siglos en su vuelo. page 192 + Miro la Europa ensangrentar su suelo + Al genio de la guerra y la victoria, + Pero le cupo a America la gloria + De que al genio del bien le diera el cielo. +5 Que audaz conquistador goce en su ciencia + Mientras al mundo en paramo convierte, + Y se envanezca cuando a siervos mande; + iMas los pueblos sabran en su conciencia + Que el que los rige libres solo es fuerte; +10 Que el que los hace grandes solo es grande! + + AL PARTIR + + iPerla del mar! iEstrella de Occidente! + iHermosa Cuba! Tu brillante cielo + La noche cubre con su opaco velo, + Como cubre el dolor mi triste frente. +15 iVoy a partir!... La chusma diligente + Para arrancarme del nativo suelo + Las velas iza, y pronta a su desvelo + La brisa acude de tu zona ardiente. + iAdios, patria feliz, Eden querido! + Doquier que el hado en su furor me impela, +20 Tu dulce nombre halagara mi oido. + iAdios!... iya cruje la turgente vela... + El ancla se alza... el buque estremecido + Las olas corta y silencioso vuela! + page 193 + + + ECUADOR + + + DON JOSE JOAQUIN OLMEDO + + LA VICTORIA DE JUNIN + + Canto a Bolivar + + El trueno horrendo, que en fragor revienta + Y sordo retumbando se dilata + Por la inflamada esfera, + Al Dios anuncia que en el cielo impera. + +5 Y el rayo que en Junin rompe y ahuyenta + La hispana muchedumbre, + Que mas feroz que nunca amenazaba + A sangre y fuego eterna servidumbre, + Y el canto de victoria +10 Que en ecos mil discurre, ensordeciendo + El hondo valle y enriscada cumbre, + Proclaman a Bolivar en la tierra + Arbitro de la paz y de la guerra. + + Las soberbias piramides que al cielo +15 El arte humano osado levantaba + Para hablar a los siglos y naciones, page 194 + Templos, do esclavas manos + Deificaban en pompa a sus tiranos, + Ludibrio son del tiempo, que con su ala + Debil las toca, y las derriba al suelo, +5 Despues que en facil juego el fugaz viento + Borro sus mentirosas inscripciones; + Y bajo los escombros confundido + Entre las sombras del eterno olvido + iOh de ambicion y de miseria ejemplo! +10 El sacerdote yace, el dios y el templo. + + Mas los sublimes montes, cuya frente + A la region eterea se levanta, + Que ven las tempestades a su planta + Brillar, rugir, romperse, disiparse; +15 Los Andes... las enormes, estupendas + Moles sentadas sobre bases de oro, + La tierra con su peso equilibrando, + Jamas se moveran. Ellos, burlando + De ajena envidia y del protervo tiempo +20 La furia y el poder, seran eternos + De Libertad y de Victoria heraldos, + Que con eco profundo + A la postrera edad diran del mundo: + "Nosotros vimos de Junin el campo; +25 Vimos que al desplegarse + Del Peru y de Colombia las banderas, + Se turban las legiones altaneras, + Huye el fiero espanol despavorido, page 195 + O pide paz rendido. + Vencio Bolivar: el Peru fue libre; + Y en triunfal pompa Libertad sagrada + En el templo del Sol fue colocada." + +5 ?Quien es aquel que el paso lento mueve + Sobre el collado que a Junin domina? + ?Que el campo desde alli mide, y el sitio + Del combatir y del vencer desina? + ?Que la hueste contraria observa, cuenta, +10 Y en su mente la rompe y desordena, + Y a los mas bravos a morir condena, + Cual aguila caudal que se complace + Del alto cielo en divisar su presa + Que entre el rebano mal segura pace? +15 ?Quien el que ya desciende + Pronto y apercibido a la pelea? + Prenada en tempestades le rodea + Nube tremenda: el brillo de su espada + Es el vivo reflejo de la gloria; +20 Su voz un trueno; su mirada un rayo. + ?Quien aquel que, al trabarse la batalla, + Ufano como nuncio de victoria, + Un corcel impetuoso fatigando, + Discurre sin cesar por toda parte?... +25 ?Quien, sino el hijo de Colombia y Marte? + + Sono su voz: "Peruanos, + Mirad alli los duros opresores page 196 + De vuestra patria. Bravos colombianos, + En cien crudas batallas vencedores, + Mirad alli los enemigos fieros + Que buscando venis desde Orinoco: +5 Suya es la fuerza, y el valor es vuestro, + Vuestra sera la gloria; + Pues lidiar con valor y por la patria + Es el mejor presagio de victoria. + Acometed: que siempre +10 De quien se atreve mas el triunfo ha sido: + Quien no espera vencer, ya esta vencido." + + Dice; y al punto, cual fugaces carros + Que, dada la senal, parten, y en densos + De arena y polvo torbellinos ruedan, +15 Arden los ejes, se estremece el suelo, + Estrepito confuso asorda el cielo, + Y en medio del afan cada cual teme + Que los demas adelantarse puedan; + Asi los ordenados escuadrones, +20 Que del iris reflejan los colores + O la imagen del sol en sus pendones, + Se avanzan a la lid. iOh! iquien temiera, + Quien, que su impetu mismo los perdiera! + + Tal el heroe brillaba +25 Por las primeras filas discurriendo. + Se oye su voz, su acero resplandece + Do mas la pugna y el peligro crece; page 197 + Nada le puede resistir... Y es fama, + iOh portento inaudito! + Que el bello nombre de Colombia escrito + Sobre su frente en torno despedia +5 Rayos de luz tan viva y refulgente, + Que deslumbrado el espanol desmaya, + Tiembla, pierde la voz, el movimiento: + Solo para la fuga tiene aliento. + + Asi, cuando en la noche algun malvado +10 Va a descargar el brazo levantado, + Si de improviso lanza un rayo el cielo, + Se pasma, y el punal tremulo suelta; + Hielo mortal a su furor sucede; + Tiembla y horrorizado retrocede. +15 Ya no hay mas combatir. El enemigo + El campo todo y la victoria cede. + Huye cual ciervo herido; y a donde huye + Alli encuentra la muerte. Los caballos + Que fueron su esperanza en la pelea, +20 Heridos, espantados, por el campo + O entre las filas vagan, salpicando + El suelo en sangre que su crin gotea; + Derriban al jinete, lo atropellan, + Y las catervas van despavoridas, +25 O unas en otras con terror se estrellan. + + Crece la confusion, crece el espanto, + Y al impulso del aire, que vibrando page 198 + Sube en clamores y alaridos lleno, + Tremen las cumbres que respeta el trueno. + Y discurriendo el vencedor en tanto + Por cimas de cadaveres y heridos, +5 Postra al que huye, perdona a los rendidos. + + iPadre del universo, sol radioso, + Dios del Peru, modera omnipotente + El ardor de tu carro impetueoso, + Y no escondas tu luz indeficiente!... +10 iUna hora mas de luz!... Pero esta hora + No fue la del Destino. El dios oia + El voto de su pueblo, y de la frente + El cerco de diamantes descenia. + En fugaz rayo el horizonte dora, +15 En mayor disco menos luz ofrece, + Y veloz tras los Andes se obscurece. + + Tendio su manto lobrego la noche, + Y las reliquias del perdido bando, + Con sus tristes y atonitos caudillos, +20 Corren sin saber donde espavoridas, + Y de su sombra misma se estremecen; + Y al fin en las tinieblas ocultando + Su afrenta y su pavor, desaparecen. + + iVictoria por la patria! ioh Dios! iVictoria! +25 iTriunfo a Colombia y a Bolivar gloria! + page 199 + + + MEXICO + + + DON JOSE JOAQUIN DE PESADO + + LA SERENATA + + iOh, tu, que duermes en casto lecho, + De sinsabores ajeno el pecho, + Y a los encantos de la hermosura + Unes las gracias del corazon, +5 Deja el descanso, doncella pura, + Y oye los ecos de mi cancion! + ?Quien en la tierra la dicha alcanza? + Iba mi vida sin esperanza, + Cual nave errante sin ver su estrella, +10 Cuando me inundas en claridad; + Y desde entonces, gentil doncella, + Me revelaste felicidad. + iOh, si las ansias decir pudiera + Que siente el alma, desde que viera +15 Ese semblante que amor inspira + Y los hechizos de tu candor! + Mas, rudo el labio, torpe la lira, + Decir no puede lo que es amor. + Del Iris puede pintarse el velo; page 200 + Del sol los rayos, la luz del cielo; + La negra noche, la blanca aurora; + Mas no tus gracias ni tu poder, + Ni menos puede de quien te adora +5 Decirse el llanto y el padecer. + + Amor encuentra doquier que vuelva + La vista en torno; la verde selva, + Florido el prado y el bosque umbrio, + La tierna hierba, la hermosa nor, +10 Y la cascada, y el claro rio, + Todos me dicen: amor, amor. + Cuando te ausentas, el campo triste + De luto y sombras luego se viste; + Mas si regresas, la primavera +15 Hace sus galas todas lucir: + iOh, nunca, nunca de esta ribera, + Doncella hermosa, quieras partir! + + + DON FERNANDO CALDERON + + LA ROSA MARCHITA + + ?Eres tu, triste rosa, + La que ayer difundia +20 Balsamica ambrosia, + Y tu altiva cabeza levantando + Eras la reina de la selva umbria? page 201 + ?Por que tan pronto, dime, + Hoy triste y desolada + Te encuentras de tus galas despojada? + + Ayer viento sueave +5 Te halago carinoso; + Ayer alegre el ave + Su cantico armonioso + Ejercitaba, sobre ti posando; + Tu, rosa, le inspirabas, +10 Y a cantar sus amores le excitabas. + + Tal vez el fatigado peregrino, + Al pasar junto a ti, quiso cortarte: + Tal vez quiso llevarte + Algun amante a su ardoroso seno; +15 Pero al ver tu hermosura, + La compasion sintieron, + Y su atrevida mano detuvieron. + + Hoy nadie te respeta: + El furioso aquilon te ha deshojado. +20 Ya nada te ha quedado + iOh reina de las flores! + De tu brillo y tus colores. + + La fiel imagen eres + De mi triste fortuna: +25 iAy! todos mis placeres, + Todas mis esperanzas una a una + Arrancandome ha ido page 202 + Un destino funesto, cual tus hojas + Arranco el huracan embravecido! + + ?Y que, ya triste y sola, + No habra quien te dirija una mirada? +5 ?Estaras condenada + A eterna soledad y amargo lloro? + No, que existe un mortal sobre la tierra, + Un joven infeliz, desesperado, + A quien horrible suerte ha condenado +10 A perpetuo gemir: ven, pues, ioh rosa! + Ven a mi amante seno, en el reposa + Y ojala de mis besos la pureza + Resucitar pudiera tu belleza. + + Ven, ven, ioh triste rosa! +15 Si es mi suerte a la tuya semejante, + Burlemos su porfia; + Ven, todas mis caricias seran tuyas, + Y tu ultima fragancia sera mia. + + + DON MANUEL ACUNA + + NOCTURNO + + A Rosario + + I + + iPues bien! yo necesito +20 Decirte que te adoro, + Decirte que te quiero page 203 + Con todo el corazon; + Que es mucho lo que sufro, + Que es mucho lo que lloro, + Que ya no puedo tanto, +5 Y al grito en que te imploro + Te imploro y te hablo en nombre + De mi ultima ilusion. + + II + + Yo quiero que tu sepas + Que ya hace muchos dias +10 Estoy enfermo y palido + De tanto no dormir; + Que ya se han muerto todas + Las esperanzas mias; + Que estan mis noches negras, +15 Tan negras y sombrias, + Que ya no se ni donde + Se alzaba el porvenir. + + III + + De noche, cuando pongo + Mis sienes en la almohada +20 Y hacia otro mundo quiero + Mi espiritu volver, + Camino mucho, mucho, + Y al fin de la jornada + Las formas de mi madre +25 Se pierden en la nada, page 204 + Y tu de nuevo vuelves + En mi alma a aparecer. + + IV + + Comprendo que tus besos + Jamas han de ser mios; +5 Comprendo que en tus ojos + No me he de ver jamas; + Y te amo, y en mis locos + Y ardientes desvarios + Bendigo tus desdenes, +10 Adoro tus desvios, + Y en vez de amarte menos, + Te quiero mucho mas. + + V + + A veces pienso en darte + Mi eterna despedida, +15 Borrarte en mis recuerdos + Y hundirte en mi pasion; + Mas si es en vano todo + Y el alma no te olvida, + iQue quieres tu que yo haga, +20 Pedazo de mi vida; + Que quieres tu que yo haga + Con este corazon! + + VI + + Y luego que ya estaba + Concluido tu santuario, page 205 + Tu lampara encendida, + Tu velo en el altar, + El sol de la manana + Detras del campanario, +5 Chispeando las antorchas, + Humeando el incensario, + Y abierta alla a lo lejos + La puerta del hogar... + + VII + + iQue hermoso hubiera sido +10 Vivir bajo aquel techo, + Los dos unidos siempre + Y amandonos los dos; + Tu siempre enamorada, + Yo siempre satisfecho, +15 Los dos una sola alma, + Los dos un solo pecho, + Y en medio de nosotros + Mi madre como un Dios! + + VIII + + iFigurate que hermosas +20 Las horas de esa vida! + iQue dulce y bello el viaje + Por una tierra asi! + Y yo sonaba en eso, + Mi santa prometida. +25 Y al delirar en eso page 206 + Con la alma estremecida, + Pensaba yo en ser bueno + Por ti, no mas por ti. + + IX + + Bien sabe Dios que ese era +5 Mi mas hermoso sueno, + Mi afan y mi esperanza, + Mi dicha y mi placer; + iBien sabe Dios que en nada + Cifraba yo mi empeno, +10 Sino en amarte mucho + Bajo el hogar risueno + Que me envolvio en sus besos + Cuando me vio nacer! + + X + + Esa era mi esperanza... +15 Mas ya que a sus fulgores + Se opone el hondo abismo + Que existe entre los dos, + iAdios por la vez ultima, + Amor de mis amores; +20 La luz de mis tinieblas, + La esencia de mis flores; + Mi lira de poeta, + Mi juventud, adios! + page 207 + + DON JUAN DE DIOS PEZA + + REIR LLORANDO + + iCuantos hay que, cansados de la vida, + Enfermos de pesar, muertos de tedio, + Hacen reir como el actor suicida, + Sin encontrar, para su mal, remedio! + +5 iAy! iCuantas veces al reir se llora! + iNadie en lo alegre de la risa fie, + Porque en los seres que el dolor devora + El alma llora cuando el rostro rie! + + Si se muere la fe, si huye la calma, +10 Si solo abrojos nuestra planta pisa, + Lanza a la faz la tempestad del alma + Un relampago triste: la sonrisa. + + El carnaval del mundo engana tanto, + Que las vidas son breves mascaradas; +15 Aqui aprendemos a reir con llanto, + Y tambien a llorar con carcajadas. + + FUSILES Y MUNECAS + + Juan y Margot, dos angeles hermanos, + Que embellecen mi hogar con sus carinos, + Se entretienen con juegos tan humanos +20 Que parecen personas desde ninos. + page 208 + Mientras Juan, de tres anos, es soldado + Y monta en una cana endeble y hueca, + Besa Margot con labios de granado + Los labios de carton de su muneca. + +5 Lucen los dos sus inocentes galas, + Y alegres suenan en tan dulces lazos: + El, que cruza sereno entre las balas; + Ella, que arrulla un nino entre sus brazos. + +10 Puesto al hombro el fusil de hoja de lata, + El kepis de papel sobre la frente, + Alienta al nino en su inocencia grata + El orgullo viril de ser valiente. + + Quiza piensa, en sus juegos infantiles, + Que en este mundo que su afan recrea, +15 Son como el suyo todos los fusiles + Con que la torpe humanidad pelea. + + Que pesan poco, que sin odios lucen, + Que es igual el mas debil al mas fuerte, + Y que, si se disparan, no producen +20 Humo, fragor, consternacion y muerte. + + iOh misteriosa condicion humana! + Siempre lo opuesto buscas en la tierra: + Ya delira Margot por ser anciana, + Y Juan que vive en paz ama la guerra. + page 209 + Mirandolos jugar, me aflijo y callo; + iCual sera sobre el mundo su fortuna? + Suena el nino con armas y caballo, + La nina con velar junto a la cuna. + +5 El uno corre de entusiasmo ciego, + La nina arrulla a su muneca inerme, + Y mientras grita el uno: Fuego, Fuego, + La otra murmura triste: Duerme, Duerme. + + A mi lado ante juegos tan extranos +10 Concha, la primogenita, me mira: + iEs toda una persona de seis anos + Que charla, que comenta y que suspira! + + ?Por que inclina su languida cabeza + Mientras deshoja inquieta algunas flores? +15 ?Sera la que ha heredado mi tristeza? + ?Sera la que comprende mis dolores? + + Cuando me rindo del dolor al peso, + Cuando la negra duda me avasalla, + Se me cuelga del cuello, me da un beso, +20 Se le saltan las lagrimas, y calla. + + Sueltas sus trenzas claras y sedosas, + Y oprimiendo mi mano entre sus manos, + Parece que medita en muchas cosas + Al mirar como juegan sus hermanos... + page 210 + iInocencia! iNinez! iDichosos nombres! + Amo tus goces, busco tus carinos; + iComo han de ser los suenos de los hombres + Mas dulces que los suenos de los ninos! + page 211 + + + NICARAGUA + + + DON RUBEN DARIO + + A ROOSEVELT + + Es con voz de la Biblia o verso de Walt Whitman + Que habria que llegar hasta ti, icazador! + Primitivo y moderno, sencillo y complicado, + Con un algo de Washington y mucho de Nemrod. +5 Eres los Estados Unidos, + Eres el futuro invasor + De la America ingenua que tiene sangre indigena, + Que aun reza a Jesucristo y aun habla en espanol. + + Eres soberbio y fuerte ejemplar de tu raza; +10 Eres culto, eres habil; te opones a Tolstoy. + Y domando caballos o asesinando tigres, + Eres un Alejandro Nabucodonosor. + (Eres un profesor de Energia + Como dicen los locos de hoy.) + +15 Crees que la vida es incendio, + Que el progreso es erupcion, + Que en donde pones la bala + El porvenir pones. page 212 + No. + Los Estados Unidos son potentes y grandes. + Cuando ellos se estremecen hay un hondo temblor + Que pasa por las vertebras enormes de los Andes. +5 Si clamais, se oye como el rugir de un leon. + Ya Hugo a Grant lo dijo: "Las estrellas son vuestras." + (Apenas brilla alzandose el argentino sol + Y la estrella chilena se levanta...) Sois ricos; + Juntais al culto de Hercules el culto de Mamnon; +10 Y alumbrando el camino de la facil conquista,0 + La Libertad levanta su antorcha en Nueva York. + + Mas la America nuestra que tenia poetas + Desde los viejos tiempos de Netzhualcoyolt, + Que ha guardado las huellas de los pies del gran Baco, +15 Que el alfabeto panico en un tiempo aprendio, + Que consulto los astros, que conocio la atlantida + Cuyo nombre nos llega resonando en Platon, + Que desde los remotos momentos de su vida + Vive de luz, de fuego, de perfume y de amor, +20 La America del grande Moctezuma, del Inca, + La America fragante de Cristobal Colon, + La America catolica, la America espanola, + La America en que dijo el noble Guatemoc: + "Yo no estoy en un lecho de rosas"; esa America +25 Que tiembla de huracanes y que vive de amor, + Hombres de ojos sajones y alma barbara, vive + Y suena. Y ama y vibra; y es la hija del Sol. + Tened cuidado. iVive la America espanola! page 213 + Hay mil cachorros sueltos del leon espanol. + Se necesitaria, Roosevelt, ser Dios mismo, + El Riflero terrible y el fuerte cazador, + Para poder tenernos en vuestras ferreas garras. + +5 Y, pues contais con todo, falta una cosa: iDios! + page 214 + + + VENEZUELA + + + DON ANDRES BELLO + + A LA VICTORIA DE BAILEN + + Rompe el Leon soberbio la cadena + Con que atarle penso la felonia, + Y sacude con noble bizarria + Sobre el robusto cuello la melena. + +5 La espuma del furor sus labios llena + Y a los rugidos que indignado envia + El tigre tiembla en la caverna umbria, + Y todo el bosque atonito resuena. + +10 El Leon desperto; itemblad, traidores! + Lo que vejez creisteis, fue descanso; + Las juveniles fuerzas guarda enteras + + Perseguid, alevosos cazadores, + A la timida liebre, al ciervo manso; + No insulteis al monarca de las fieras + + LA AGRICULTURA DE LA ZONA TORRIDA + +15 iSalve, fecunda zona, + Que al sol enamorado circunscribes page 215 + El vago curso, y cuanto ser se anima + En cada vario clima, + Acariciada de su luz, concibes! + Tu tejes al verano su guirnalda +5 De granadas espigas; tu la uva + Das a la hirviente cuba: + No de purpurea flor, o roja, o gualda, + A tus florestas bellas + Falta matiz alguno; y bebe en ellas +10 Aromas mil el viento; + Y greyes van sin cuento + Paciendo tu verdura, desde el llano + Que tiene por lindero el horizonte, + Hasta el erguido monte, +15 De inaccesible nieve siempre cano. + Tu das la cana hermosa, + De do la miel se acendra, + Por quien desdena el mundo los panales: + Tu en urnas de coral cuajas la almendra +20 Que en la espumante jicara rebosa: + Bulle carmin viviente en tus nopales, + Que afrenta fuera al murice de Tiro; + Y de tu anil la tinta generosa + Emula es de la lumbre del zafiro; +25 El vino es tuyo, que la herida agave + Para los hijos vierte + Del Anahuac feliz; y la hoja es tuya + Que, cuando de sueave + Humo en espiras vagarosas huya, page 216 + Solazara el fastidio al ocio inerte. + Tu vistes de jazmines + El arbusto sabeo, + Y el perfume le das que en los festines +5 La fiebre insana templara a Lieo. + Para tus hijos la procera palma + Su vario feudo cria, + Y el ananas sazona su ambrosia: + Su blanco pan la yuca, +10 Sus rubias pomas la patata educa, + Y el algodon despliega al aura leve + Las rosas de oro y el vellon de nieve. + Tendida para ti la fresca parcha + En enramadas de verdor lozano, +15 Cuelga de sus sarmientos trepadores + Nectareos globos y franjadas flores; + Y para ti el maiz, jefe altanero + De la espigada tribu, hinche su grano; + Y para ti el banano +20 Desmaya al peso de su dulce carga; + El banano, primero + De cuantos concedio bellos presentes + Providencia a las gentes + Del ecuador feliz con mano larga. +25 No ya de humanas artes obligado + El premio rinde opimo: + No es a la podadera, no al arado + Deudor de su racimo; + Escasa industria bastale, cual puede page 217 + Hurtar a sus fatigas mano esclava: + Crece veloz, y cuando exhausto acaba, + Adulta prole en torno le sucede. + + iOh! iLos que afortunados poseedores +5 Habeis nacido de la tierra hermosa + En que resena hacer de sus favores, + Como para ganaros y atraeros, + Quiso naturaleza bondadosa! + Romped el duro encanto +10 Que os tiene entre murallas prisioneros. + El vulgo de las artes laborioso, + El mercader que, necesario al lujo, + Al lujo necesita, + Los que anhelando van tras el senuelo +15 Del alto cargo y del honor ruidoso, + La grey de aduladores parasita, + Gustosos pueblen ese infecto caos; + El campo es vuestra herencia: en el gozaos. + ?Amais la libertad? El campo habita: +20 No alla donde el magnate + Entre armados satelites se mueve, + Y de la moda, universal senora, + Va la razon al triunfal carro atada, + Y a la fortuna la insensata plebe, +25 Y el noble al aura popular adora. + ?O la virtud amais? iAh! iQue el retiro, + La solitaria calma page 218 + En que, juez de si misma, pasa el alma + A las acciones muestra, + Es de la vida la mejor maestra! + ?Buscais durables goces, +5 Felicidad, cuanta es al hombre dada + Y a su terreno asiento, en que vecina + Esta la risa al llanto, y siempre iah! siempre, + Donde halaga la flor, punza la espina? + Id a gozar la suerte campesina; +10 La regalada paz, que ni rencores, + Al labrador, ni envidias acibaran; + La cama que mullida le preparan + El contento, el trabajo, el aire puro; + Y el sabor de los faciles manjares, +15 Que dispendiosa gula no le aceda; + Y el asilo seguro + De sus patrios hogares + Que a la salud y al regocijo hospeda. + El aura respirad de la montana, +20 Que vuelve al cuerpo laso + El perdido vigor, que a la enojosa + Vejez retarda el paso, + Y el rostro a la beldad tine de rosa. + ?Es alli menos blanda por ventura +25 De amor la llama, que templo el recato? + ?O menos aficiona la hermosura + Que de extranjero ornato + Y afeites impostores no se cura? + ?O el corazon escucha indiferente page 219 + El lenguaje inocente + Que los afectos sin disfraz expresa + Y a la intencion ajusta la promesa? + No del espejo al importuno ensayo +5 La risa se compone, el paso, el gesto; + No falta alli carmin al rostro honesto + Que la modestia y la salud colora, + Ni la mirada que lanzo al soslayo + Timido amor, la senda al alma ignora. +10 ?Esperareis que forme + Mas venturosos lazos himeneo, + Do el interes barata, + Tirano del deseo, + Ajena mano y fe por nombre o plata, +15 Que do conforme gusto, edad conforme, + Y eleccion libre, y mutuo ardor los ata? + + iOh jovenes naciones, que cenida + Alzais sobre el atonito Occidente + De tempranos laureles la cabeza! +20 Honrad al campo, honrad la simple vida + Del labrador y su frugal llaneza. + Asi tendran en vos perpetuamente + La libertad morada, + Y freno la ambicion, y la ley templo. +25 Las gentes a la senda + De la inmortalidad, ardua y fragosa, + Se animaran, citando vuestro ejemplo. + Lo emulara celosa page 220 + Vuestra posteridad, y nuevos nombres + Anadiendo la fama + A los que ahora aclama, + "Hijos son estos, hijos +5 (Pregonara a los hombres) + De los que vencedores superaron + De los Andes la cima: + De los que en Boyaca, los que en la arena + De Maipo y en Junin, y en la campana +10 Gloriosa de Apurima, + Postrar supieron al leon de Espana." + + + DON JUAN A. PEREZ BONALDE + + VUELTA A LA PATRIA + + A mi hermana Elodia + + iTierra! grita en la prora el navegante, + Y confusa y distante, + Una linea indecisa +15 Entre brumas y ondas se divisa. + Poco a poco del seno + Destacandose va, del horizonte, + Sobre el eter sereno + La cumbre azul de un monte; +20 Y asi como el bajel se va acercando, + Va extendiendose el cerro + Y unas formas extranas va tomando: page 221 + Formas que he visto cuando + Sonaba con la dicha en mi destierro. + + Ya la vista columbra + Las riberas bordadas de palmares, +5 Y una brisa cargada con la esencia + De silvestres violetas y azahares + En mi memoria alumbra + El recuerdo feliz de mi inocencia, + Cuando pobre de anos y pesares +10 Y rico de ilusiones y alegria, + Bajo las palmas retozar solia + Oyendo el arrullar de las palomas, + Bebiendo luz y respirando aromas. + + Hay algo en esos rayos brilladores +15 Que juegan por la atmosfera azulada, + Que me habla de ternuras y de amores + De una dicha pasada; + Y el viento al suspirar entre las cuerdas + Parece que me dice:--?No te acuerdas?... +20 Ese cielo, ese mar, esos cocales, + Ese monte que dora + El sol de las regiones tropicales... + iLuz! iluz al fin! los reconozco ahora; + Son ellos, son los mismos de mi infancia, +25 Y esas playas que al sol del mediodia + Brillan a la distancia, + iOh inefable alegria! + Son las riberas de la patria mia. + page 222 + Ya muerde el fondo de la mar hirviente + Del ancla el ferreo diente; + Ya se acercan los botes desplegando + Al aire puro y blando +5 La ensena tricolor del pueblo mio. + iA tierra! ia tierra! iO la emocion me ahoga, + O se aduena de mi alma el desvario! + + Llevado en alas de mi ardiente anhelo, + Me lanzo presuroso al barquichuelo +10 Que a las riberas del hogar me invita. + Todo es grata armonia: los suspiros + De la onda de zafir que el remo agita, + De las marinas aves + Los caprichosos giros, +15 Y las notas sueaves + Y el timbre lisonjero, + Y la magia que toma, + Hasta en labios del tosco marinero, + El dulce son de mi nativo idioma. + +20 iVolad, volad veloces, + Ondas, aves y voces! + Id a la tierra en donde el alma tengo, + Y decidle que vengo + A reposar, cansado caminante, +25 Del hogar a la sombra un solo instante. + Decidle que en mi anhelo, en mi delirio + Por llegar a la orilla, el pecho siente page 223 + De Tantalo el martirio; + Decidle, en fin, que mientra estuve ausente + Ni un dia, ni un instante la he olvidado, + Y llevadle este beso que os confio, +5 Tributo adelantado + Que desde el fondo de mi ser le envio. + iBoga, boga remero! iAsi! iLlegamos! + iOh, emocion hasta ahora no sentida! + Ya piso el santo suelo en que probamos +10 El almibar primero de la vida. + Tras ese monte azul, cuya alta cumbre + Lanza reto de orgullo + Al zafir de los cielos, + Esta el pueblo gentil donde al arrullo +15 Del maternal amor rasgue los velos + Que me ocultaban la primera lumbre. + iEn marcha, en marcha, postillon; agita + El latigo inclemente! + Y a mas andar el coche diligente +20 Por la orilla del mar se precipita. + + No hay pena ni ensenada que en mi mente + No venga a despertar una memoria; + Ni hay ola que en la arena humedecida + No escriba con espuma alguna historia +25 De los felices tiempos de mi vida. + Todo me habla de suenos y cantares, + De paz, de amor y de tranquilos bienes; + Y el aura fugitiva de los mares page 224 + Que viene, leda, a acariciar mis sienes, + Me susurra al oido + Con misterioso acento: iBienvenido! + + + + +DON HERACLIO MARTIN DE LA GUARDIA + + ULTIMA ILUSION + + + Cayo empunando el invencible acero +5 Que corono de lauros la victoria, + Terror de extranos, de su patria gloria, + En traidora asechanza el caballero. + "--Llevad mi espada al pueblo por quien muero, + Y airado el pueblo vengue mi memoria... +10 Este anillo a... mi amor... La negra historia + A mi madre callad."--Dijo el guerrero. + + Sucumbio el heroe... iSacrificio vano! + Que al suspiro final de su agonia + Besaba el pueblo la traidora mano: +15 iA otro amador la amada sonreia! + Solo la madre en su dolor tirano + Al guerrero lloraba noche y dia. + + page 225 + + + + + + CANCIONES + + +[Illustration: Music] + + La Carcelera + + Carcelera, Carcelera, + Carcelera de mi vida, + desatame las cadenas + y echame la despedida. + + page 226 + + +[Illustration: Music] + + Riverana + + Ya se murio el burro que acarreaba la vinagre; + Ya lo llevo Dios de esta vida miserable. + |:Que tu ru ru ru ru + Que tu ru ru ru ru.:| + El era valiente, el era mohino; + El era el alivio de todo Villarino. + |:Que tu ru ru ru ru + Que tu ru ru ru ru.:| + + page 227 +[Illustration: Music] + page 228 +[Illustration: Music] + page 229 +[Illustration: Music] + + La Cachucha + + Yo tengo una cachuchita + que me la dio un cachuchero, + el que quiera cachuchita + que se gaste su dinero. + Vamonos, china del alma, + vamonos a Gibraltar + para ver a los moritos + que se quieren embarcar! + + page 230 +[Illustration: Music] + page 231 +[Illustration: music] + page 232 +[Illustration: Music] + + La Valenciana. + + Camino de Valencia, + camino de Valencia, + camino largo, + con las tunas yo me ire, + con las buenas volvere, + camino largo; + a la sombra de un pino, + a la sombra de un pino, + nina, te aguardo, + con las feas yo me ire, + con las lindas volvere, + inina, te aguardo! + + page 233 +[Illustration: Music] + page 234 +[Illustration: Music] + + Cancion Devota + + A la puerta del Cielo venden zapatos + para los angelitos que van descalzos. + Maria, adoraros queria + y os quiero, adorar el cordero, + iclaveles, colorados y verdes, + morados, verdes y colorados! + + page 235 +[Illustration: Music] + page 236 +[Illustration: Music] + page 237 +[Illustration: Music] + + La Jota Gallega + + Tanto baile la jota gallega, + iole, ole, ole, ole! + tanto baile que me enamore de ella, + iole, ole, ole! + tanto baile que me enamore, + iole, ole, ole, ole! + tanto baile que me enamore, + iole, ole, ole, ole! + tanto baile la jota gallega, + iole, ole, ole, ole! + tanto baile que me enamore de ella, + iole, ole, ole! + + page 238 +[Illustration: Music] + page 239 +[Illustration: Music] + page 240 +[Illustration: Music] + page 241 +[Illustration: Music] + + + El Tragala + + CANCION A LOS PANCISTAS + + Tu que no quieres lo que queremos, + la ley preciosa do esta el bien nuestro, + tragala, tragala, tragala, perro, + tragala, tragala, tragala, perro. + Tu de la panza misero siervo que la ley + odias de tus abuelos, + que la ley odias de tus abuelos + por que en acibar y lloro han vuelto + tus gollerias y regodeos. + + page 242 +[Illustration: Music] + page 243 +[Illustration: Music] + page 244 +[Illustration: Music] + page 245 +[Illustration: Music] + page 246 +[Illustration: Music] + + + Himno De Riego. + + Soldados, la Patria nos llama a la lid, + juremos por ella vencer o morir. Serenos, + alegres, valientes, osados, cantemos, + soldados, el himno a la lid, + y a nuestros acentos el orbe se admire + y en nosotros mire los hijos del Cid, + y a nuestros acentos el orbe se admire + y en nosotros mire los hijos del Cid. + Sol-etc. + + + page 247 +[Illustration: Music] + page 248 +[Illustration: Music] + page 249 +[Illustration: Music] + page 250 +[Illustration: Music] + + + Himno Nacional De Mexico + + JAIME NUNO + + Mexicanos al grito de guerra + El acero aprestad y el bridon, + y retiemble en sus centros la tierra + al sonoro rugir del canon. + Y retiemble en sus centros la tierra + al sonoro rugir del canon. + Cina ioh patria! tus sienes de oliva + + De la paz el arcangel divino, + Que en el cielo tu eterno destino + por el dedo de Dios se escribio. + Mas si osare un extrano enemigo + profanar con su planta tu suelo + piensa ioh patria querida! que el cielo + un soldado en cada hijo te dio, + un soldado en cada hijo te dio. + + page 251 +[Illustration: Music] + page 252 +[Illustration: Music] + + + Himno Nacional De Cuba + + (HIMNO DE BAYAMO) + + PEDRO FIGUEREDO + + 1. iAl combate corred Bayameses! + Que la patria os contempla orgullosa; + No temais una muerte gloriosa, + Que morir por la patria es vivir. + En cadenas vivir es vivir + En oprobio y afrenta sumido. + Del clarin escuchad el sonido; + A las armas, valientes, corred! + + 2. No temais al gobierno extranjero + Que es cobarde cual todo tirano, + No resiste el empuje cubano, + Para siempre su imperio cayo. + Sea bendita la noche serena + En que en alegres campos de Yara + El clarin de la guerra sonara + Y el cubano ser libre juro. + + 3. No se nuble jamas esa estrella + Que las hijas de Cuba bordaron + Y que nobles cubanos alzaron + En su libre y feliz pabellon. + iGloria y nombre a los hijos de Cuba! + iGloria y nombre al valiente Aguilera! + iViva! iViva! la alegre bandera + Que en los campos de Yara se alzo. + + + page 253 + + + +NOTES + +The heavy figures refer to pages of the text; the light +figures to lines. + +[Transcriber's note: In this text file, the bold characters are +represented by the enclosure in a pair of = sign.] + + +_ROMANCES_. The Spanish _romances viejos_, 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 _Cercada tiene +a Baeza_, 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 +_romance popular_ is still alive in Spain and many have +recently been collected from oral tradition (cf. Menendez +y Pelayo, _Antologia_, vol. X). + +The _romances_ 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 _Poema del Cid_, and the lost _cantares_ of +_Bernardo del Carpio_, the _Infantes de Lara_ and +_Fernan Gonzalez_). But modern investigation has shown +conclusively that no such age can be ascribed to the +_romances_ 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 _romances +fronterizos_, springing from episodes of the Moorish wars, +and the _romances novelescos_, which deal with romantic +incidents of daily life. The _romances juglarescos_ are +longer poems, mostly concerned with Charlemagne page 254 +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 +_romances viejos_. + +A few of the _romances_ were printed in the _Cancionero +general_ of 1511, and more in loose sheets (_pliegos +sueltos_) not much later in date; but the great +collections which contain nearly all the best we know were +the _Cancionero de romances "sin ano,"_ (shortly before +1550), the _Cancionero de romances_ of 1550 and the +_Silva de varios romances_ (3 parts, 1550). The most +comprehensive modern collection is that of A. Duran, +_Romancero general_, 2 vols., Madrid, 1849-1851 (vols. 10 +and 16 of the _Biblioteca de Autores espanoles_). The best +selected is the _Primavera y flor de romances_ of Wolf and +Hofmann (Berlin, 1856), reprinted in vols. VIII and IX +of Menendez y Pelayo's _Antologia de poetas liricos +castellanos_. This contains nearly all the oldest and best +_romances_, and includes poems from _pliegos sueltos_ and +the second part of the _Silva_, which were not known to +Duran. Menendez y Pelayo, in his _Apendices a la Primavera +y flor (_Antol._ vol. IX) has given still more texts, +notably from the third part of the _Silva_, one of the +rarest books in the world. The fundamental critical works +on the _romances_ are: F. Wolf, _Ueber die Romanzenpoesie +der Spanier_ (in _Studien_, Berlin, 1859); Mila y +Fontanals, _De la poesia heroico-popular castellana_ +(1874); and Menendez y Pelayo, _Tratado de los romances +viejos_ (vols. XI and XII of the _Antologia_, Madrid, +1903-1906). + +The _romances_, as usually printed, are in octosyllabic +lines, with a fixed accent on the seventh syllable of each +and assonance in alternate lines. + +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. + +In the six _romances_ included in this collection the +lyrical quality predominates above the narrative page 255 +(cf. the many rimes in-_or_ in _Fonte-frida_ and _El +prisionero_). _Abenamar_ is properly a frontier ballad, +and _La constancia_, perhaps, belongs with the Carolingian +cycle; but the rest are detached poems of a romantic +nature. (See S.G. Morley's _Spanish Ballads_, New York, +1911.) + +=1.--Abenamar= is one of a very few _romances_ 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 _Les aventures du +dernier Abencerage_. + +=I. Abenamar= = _Ibn Alahmar_: see above. + +9. The verbal forms in-_ara_ and-_iera_ were used then as +now as the equivalent of the pluperfect or the preterit +indicative. + +=II. la=: _la verdad_ is probably understood. Cf. p. 2, l. +I. + +=2.--I. diria= = _dire_. In the _romances_ the conditional +often replaces the future, usually to fit the assonance. + +5. =relucian:= in the old ballads the imperfect indicative +is often used to express loosely past time or even present +time. + +6. =El Alhambra:= in the language of the old ballads _el_, +not _la_, is used before a feminine noun with initial-_a_ +or _e_-, whether the accent be on the first syllable or +not. + +25. =viuda= in old Spanish was pronounced _viuda_ and +assonated in _i-a_. This expletive =que= is common in +Spanish: do not translate. + +27. =grande= merely strengthens =bien=. + +=3.--Fonte-frida= 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 _Cancionero general_ of 1511. It +was well translated by Bowring. There is also a metrical +version in Ticknor, I, III. This theme is found in the +_Physiologus_, a medieval bestiary. One of these page 256 +animal stories relates that the turtle-dove has but one +mate and if this mate dies the dove remains faithful +to its memory. Cf. _Mod. Lang. Notes_, June, 1904 +(_Turtel-Taube_), and February, 1906. + +3. In =avecicas= and =tortolica= the diminutive +ending-_ica_ seems to be quite equivalent to-_ito_. Cf. +Knapp's _Span. Gram., 760a_. + +4. =van tomar= = _van a tomar_. + +7. =fuera=: note that _fue_ (or =fuera=) =a pasar= = +_paso_. This usage is now archaic, although it is still +sometimes used by modern poets: see p. 136, l. 18. + +18. =bebia=: see note, p. 2, l. 5. + +19. =haber=, in the ballads, often = _tener_. See also +=haya= in the following line. + +=4=.--=El Conde Arnaldos=. Lockhart says of "Count +Arnaldos," "I should be inclined to suppose that + + 'More is meant than meets the ear,' + +--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 +_Cancionero de romances_ of 1550, to follow line 18 of the +poem: + + --Galera, la mi galera, + Dios te me guarde de mal, + de los peligros del mundo + sobre aguas de la mar, + de los llanos de Almeria, + del estrecho de Gibraltar, + y del golfo de Venecia, + y de los bancos de Flandes, + y del golfo de Leon, + donde suelen peligrar. + page 257 +Popular poems which merely extol the power of music over +animals are not uncommon. + +=I. iQuien hubiese!= _would that one might have_! or +_would that I might have_! Note =iquien me diese!= (p. 7, +1. 25), _would that some one would give me_!: this is the +older meaning of _quien_ in these expressions. Note also +=iQuien supiera escribir!= (p.134), _would that I could +write_! where the modern usage occurs. + +22. =digasme= = _dime_ This use of the pres. subj. with +the force of an imperative is not uncommon in older +Spanish. + +24.=le fue a dar=: see note, p. 3,1. 7. + +=5.=--=La constancia=. These few lines, translated by +Lockhart as "The Wandering Knight's Song," are only part +of a lost ballad which began: + + A las armas, Moriscote, + si las has en voluntad. + +Six lines of it have recently been recovered (Menendez y +Pelayo, _Antologia_, 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. + +8. =de me danar= = _de danarme_. + +13. =vos= was formerly used in Spanish as _usted_ is now +used,--in formal address. + +=El amante desdichado=. Named by Lockhart "Valladolid." It +is one of the few old _romances_ which have kept alive +in oral tradition till the present day, and are still +repeated by the Spanish peasantry (cf. _Antologia_, X, +132, 192). + +=7.=--=El prisionero=. 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." + page 258 +16. This line is too short by one syllable, or has archaic +hiatus. See _Versification_,(4) a. + +19. =las mis manos:= in old Spanish the article was often +used before a possessive adjective that preceded its noun. +This usage is now archaic or dialectic. + +21. =hacia= is here exactly equivalent to =hace= in 1. 23: +see note, p. 2, 1. 5. + +25. =quien...me diese=: see note, p. 4, 1. I. + +=8.=--12. =Oidolo habia= = _lo habia oido_. + +13. This line is too long by one syllable. + +14. 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 Cancion to the Madonna occurs in _El +auto de la Sibila Casandra_, 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 (_Ancient Poetry and +Romances of Spain_, 1824, p. 315). Another may be found in +Ticknor's _History of Spanish Literature,_ I, 259. + +16. =digas tu=: see note, p. 4, I. 22. =el marinero=: omit +=el= in translation. In the Spanish of the ballads the +article is regularly used with a noun in the vocative. + +24. =pastorcico=: see note, p. 3, I. 3. + +=9.=--Santa Teresa de Jesus (1515-1582), born at Avila; +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 _Castillo interior_ and +the _Camino de perfeccion_. She is one of the greatest of +Spanish mystics, and her influence is still potent (cf. +Juan Valera, _Pepita Jimenez_; Huysmans, _En route; et +al._). Cf. _Bibl. de Aut. Esp._, vols. 53 and page 259 +55, for her works. This _Letrilla_ has been translated by +Longfellow ("Santa Teresa's Book-Mark," Riverside ed., +1886, VI., 216.) + +=9.=--Fray Luis Ponce de Leon (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 (_Los nombres de Cristo, La +perfecta casada_), 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 _Bibl. +de Aut. Esp._ Cf. Ticknor, Period II, Cap. IX, and +_Introduction_, p. xxii. =La vida retirada= is written in +imitation of Horace's _Beatus ille_. + +=9=.--17 to =10=.--3. In these lines there is much poetic +inversion of word-order. The logical order would be: _Que_ +('for') _el estado de los soberbios grandes no le enturbia +el pecho, ni se admira del dorado techo, en jaspes +sustentado, fabricado del sabio moro_. + +5. =pregonera=, as its gender indicates, modifies =voz=. + +=12=.--10. In the sixteenth century great fortunes were +made by Spaniards who exploited the mines of their +American colonies across the seas. + +II. Note, this unusual _enjambement_; but the _mente_ of +adverbs still has largely the force of a separate word. + +=Soneto: A Cristo Crucificado=. This famous sonnet has +been ascribed to Saint Theresa and to various other +writers, but without sufficient proof. Cf. Fouche-Delbosc +in _Revue Hispanique_, II, 120-145; and _ibid._, VI, +56-57. The poem was translated by J.Y. Gibson (_The Cid +Ballads_, etc., 1887, II, 144), and there is also a +version attributed to Dryden. + page 260 +=13=.--Lope Felix 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. + +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 _Obras completas_ 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 _Bibl. de Aut. Esp._; others are in vols. +16 and 35. There is a _Life_ in English by H.A. Rennert +(1904). Cf. also _Introduction_, p. xxiv. + +=Cancion de la Virgen= is a lullaby sung by the Madonna +to her sleeping child in a palm grove. The song occurs +in Lope's pastoral, _Los pastores de Belen_ (1612). In +Ticknor (II, 177), there is a metrical translation of the +_Cancion_. + +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). + +14. Ticknor translates these lines as follows: + + Holy angels and blest, + Through these palms as you sweep, + Hold their branches at rest, + For my babe is asleep. + page 261 +The literal meaning is: _Since you are moving among the +palms, holy angels, hold the branches, for my child +sleeps_. When the wind blows through the palm-trees their +leaves rustle loudly. + +=14.=--=Manana=: translated by Longfellow (Riverside ed., +1886, VI, 204). + +=15.=--Francisco Gomez 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 Alcala. 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. + +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 _El gran tacano_ (1626) +and the _Suenos_ (1627). His _Obras completas_ are in +course of publication at Seville (1898-); his poems are in +vol. 69 of the _Bibl. de Aut. Esp._ Cf. E. Merimee, _Essai +sur la vie et les oeuvres de Francisco de Quevedo_ (Paris, +1886), and _Introduction_, p. xxv. For a modern portrayal +of one side of Quevedo's character, see Breton de los +Herreros, ?_Quien es ella_? + +=Epistola satirica=: this epistle was addressed to Don +Gaspar de Guzman, 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. + +8. Note the double meaning of =sentir=,--'to feel' and 'to +regret.' + page 262 +9. =libre= modifies =ingenio=. Translate: _its freedom_. + +16. =Que es lengua la verdad de Dios severo= = _que la +verdad es lengua de Dios severo_. + +=16.=--=Letrilla Satirica= was published in 1640. + +14. 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. + +=17.=--Esteban Manuel de Villegas (d. 1669) was a lawyer +who wrote poetry only in his extreme youth. His _Eroticas +o Amatorias_ 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 _Me surgente, quid istae_? +_Istae_ referred to Lope, Quevedo and others. Villegas' +poems may be found in vol. 42 of the _Bibl. de Aut. +Esp._ Cf. Menendez y Pelayo, _Hist. de los heterodoxos +espanoles_, III, 859-875. + +There is a parody of this well-known =cantilena= by +Iglesias in the _Bibl. de Aut. Esp._, vol. 61, p. 477. + +=18.=--Pedro Calderon de la Barca Henao de la Barreda y +Riano (1600-1681) was the greatest representative of the +second generation of playwrights in the _Siglo de oro_. 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, +_comedias, autos, entremeses_, etc. Calderon 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. + page 263 +His _Comedias_ are contained in vols. 7, 9, 12 and 14 of +the _Bibl. de Aut. Esp._; a few of his _autos_ are in vol. +58, and some of his poems are in vols. 14 and 35. Cf. +also _Poesias ineditas_, Madrid, 1881; Menendez y Pelayo, +_Calderon y su teatro_, Madrid, 1884; R.C. Trench, +_Calderon_, London, 1880. + +The sonnet, _Estas que fueron..._, is found in _El +principe constante_, II. + +=20.=--Diego Tadeo Gonzalez (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 Leon were his +admiration. He was an intimate friend of Jovellanos, +who induced him to forsake light subjects and attempt a +didactic poem, _Las edades_, 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 _Bibl. de Aut. +Esp._ Cf. _Introduction_, p. xxx. + +II. =Mirta= was a lady with whom the author long +corresponded and to whom he addressed many poems. =Delio= +(l. 15) was the name by which Fray Diego Gonzalez was +known among his literary intimates: Jovellanos was called +"Jovino"; Melendez Valdes, "Batilo"; etc. + +=21=.--4. =recogellos= = _recogerlos_. + +12. =a la ave=: a more usual construction would be _al +ave_, although the sound wouhd be approximately the same +in either case. See also below in line 24, =a la alba=. + +=22=.--4. =reluciente=, modified by an adverb, here = +_reluciendo_. + +6. =recio=: a predicate adjective with the force of an +adverb. + +=26.=--Nicolas Fernandez de Moratin (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 of his time to literary work. Besides his page 264 +poems in the national style (see _Introduction_, p. xxix) +he wrote an epic on the burning of the ships of Cortes and +several plays in the French manner, of which only one, +_Hormesinda_ (1770), ever had a stage production. His +works, with his _Life_ written by his son Leandro, are +printed in vol. 2 of the _Bibl. de Ant. Esp._ + +=Fiesta de toros en Madrid=. 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 _caballero_ encountered +the bull, armed only with a lance, accidents were very +frequent. No less than ten knights lost their lives at a +single _Fiesta de Toros_ 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 _Plaza de Toros_ in Madrid definitely +converted the once chivalrous sport into a public +spectacle, in which none took part but professional +_Toreros_." The padded _picador_ 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 _Plaza Mayor_ (or +_Plaza de la Constitucion_). + +6. =Aliatar=: 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 _romances moriscos_. The names of +places, it should be noticed, are also Arabic, but the +places still retain these names. See =Alimenon=, and all +names of places, in the _Vocab._ + +=28=.--19. =Hecho un lazo por airon=, _tied in a knot [to +look] like a crest of plumes_. This was doubtless the +forerunner of the modern _banderilla_ (barbed page 265 +dart ornamented with streamers of colored paper). + +=30.=--26-28. =Cual... nube= = _cual la ardiente madeja +del sol deja mirarse tal vez entre cenicienta nube_. + +=31.=--12. =blasones de Castilla=: as at this time (in the +reign of Alfonso VI) Leon and Castile were united, the +=blasones= were probably two towers (for Castile) and +two lions (for Leon), each one occupying a corner of the +shield. + +14. =Nunca mi espada venciera= apparently means: _Never +did he conquer my sword_. This may refer to any adversary, +or to some definite adversary in a previous combat. + +26. The best bulls raised for bull-fights come from the +valley of the Guadalquivir. + +=32.=--22-26. =Asi... acerquen a..., Como=, _may... bring +to..., just as surely as_. + +=33.=--8. Fernando I: see in _Vocab._ + +=35.=--28. The stanzas of pages 34 and 35 are probably +known to every Spaniard: schoolboys commit them to memory +for public recitation. + +=36.=--15. =dignaredes= = _dignareis_. In modern Spanish +the _d_ (from Lat. _t_) of the 2d pers. plur. verb endings +has fallen. + +=38.=--4. =Y... despedir= = _y [si no vieran] a Zaida que +le despedia._ + +13. =cruz=: 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. + +Gaspar Melchor de Jovellanos (_or_ 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 Cabarrus, and when that statesman +fell from power in 1790, Jovellanos was exiled to page 266 +his home in Gijon (Asturias). There he devoted himself +to the betterment of his native province. In 1797 the +favorite, Godoy, made him _ministro de gracia y justicia_; +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 _Junta +Central_ 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). + +Jovellanos' best literary work is really his political +prose, such as the _Informe sobre un proyecto de ley +agraria_ (1787) and _Defensa de la junta central_ (1810). +His _Delincuente honrado_ (1773), a _comedie larmoyante_ +after the manner of Diderot's _Fils naturel_, had wide +success on the stage. His works are in vols. 46 and 50 of +the _Bibl. de Aut. Esp._ Cf. E. Merimee, _Jovellanos_, in +the _Revue hispanique_, I, pp. 34-68. + +=?Quis tam patiens ut teneat se?= _who is so +long-suffering as to control himself?_ + +21. =prision=: see mention above of Jovellanos' +imprisonment in Majorca. + +=39.=--2. It is scarcely accurate to call Juvenal a +=bufon=, since he was rather a scornful, austere satirist +of indignation. + +=40.=--26. =cuanto de= is an unusual expression; but if +the line read: _iAy, cuanta amargura y cuanto lloro_, it +would lack one syllable. + +=41.=--4-6. =cuesta... infanta=. Evidently the world has +changed little in a hundred years! + +=42.=--Juan Melendez Valdes (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 he won a prize offered by the Academy for page 267 +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. + +Most of his poems are in vol. 63 of the _Bibl. de +Aut. Esp._; others have been published in the _Revue +hispanique_, vols. I. and IV. Cf. his Life by Quintana +in _Bibl. de Aut. Esp._, vol. 19; E. Merimee, +_Melendez Valdes_, in _Revue hispanique_, I, 166-195; +_Introduction_, p. xxx. + +=44.=--5. =Muy mas=: this use of _muy_ is not uncommon in +the older classics, but the usual expression now is _mucho +mas_. + +28. =benigna=: see note, p. 22, l. 6. + +=46.=--Manuel Jose 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. + +See _Introduction_, p. xxxii; Ticknor, III, 332-334; +Blanco Garcia, _La literatura espanola en el siglo XIX_, +2d ed., Madrid, 1899, I, 1-13; Menendez y Pelayo, _D. +Manuel Jose Quintana_, _La poesia lirica al page 268 +principiar el siglo XIX_, Madrid, 1887; E. Pineyro, _M.-J. +Quintana_, Chartres, 1892; Juan Valera, _Florilegio de +poesias castellanas_, Madrid, 1903, V, 32-38. His works +are in vols. 19 and 67 of _Bibl. de Aut. Esp._ + +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. + +2. Note the free word-order in Spanish which permits, as +in this line, the subject to follow the verb, the object +to precede. + +14. =Oceano=: note the omission of the accent on _e_, that +the word may rime with =soberano= and =vano=; but here +=oceano= still has four syllables. + +=47.=--28. =tirano del mundo= = Napoleon Bonaparte. + +=48.=--24. By =los colosos de oprobio y de vergueenza= are +probably meant Charles IV and Godoy. + +=49.=--29. =hijo de Jimena=: see _Jimena_ and _Bernardo +del Carpio_, in _Vocab._ + +=50.=--2. =En... y=, _with a... and in_. + +=51.=--Dionisio Solis 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. Solis wrote some plays +and translated many from other languages into Spanish. The +best that can be said of Solis as a poet is that his work +is spontaneous and in parts pleasing. Cf. Blanco Garcia, +I, 50 and 61-63; Valera, _Florilegio_, V, 44-46. + +=53.=--18-19. =Esta... enfermedad= = _esta dulce deliciosa +enfermedad que yo siento_. + page 269 +25. si puede (here meaning _if it is possible_) is +understood before =que trate=. + +=54.=--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. + +See _Introduction_, p. xxxii; Blanco Garcia, I, 13 f.; +Valera, _Florilegio_, V, 38-44. His poems are in vol. 67 +of the _Bibl. de Aut. Esp._ There is also an edition of +his poems by the Academia de la Lengua, Madrid, 1854. + +=El Dos de Mayo=: 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 _Guerra de la independencia_ 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 _Vocab._). These men and their followers +were killed and the magazine was retaken by the French, +but the incident roused the Spanish people to action. + +9. al furor, _in the glare_. + +=55.=--4. =Mantua=: a poetic appellation of Madrid. Cf. +article by Prof. Milton A. Buchanan in _Romanic Review_, +1910, p. 211 f. See also p. xxxiii, _Introduction_ to this +volume. + +11-12. =?Quien habra... que cuente=, _who may there be to +tell..._ + +=58.=--26 to =59.=--3. Note how the poet refers to the +various parts of the Spanish peninsula: =hijos de Pelayo= += the Spaniards in general, or perhaps those page 270 +of northernmost Spain; =Moncayo= = Aragon, Navarre and +Castile; =Turia= = Valencia; =Duero= = Old Castile, Leon +and Portugal; and =Guadalquivir= = Andalusia. See =Pelayo= +and =Moncayo= and these names of rivers in _Vocab._ + +5. =Patron= = 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. + +14-15. =a... brindo felicidad=, _drank in fire and blood a +toast to her prosperity_. + +=60.=--Francisco Martinez 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. + +See _Introduction_, p. xxxvi; Menendez y Pelayo, _Estudios +de critica literaria_, Madrid, 1884, pp. 223, f.; Blanco +Garcia, I, 115-128; Juan Valera, _Florilegio_, V, 56-63. +His _Obras completas_, 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 _Bibl. de +Aut. Esp._ + +3. =riyendo= = _riendo_. + +=61.=--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 to Spain in 1834 and became a cabinet page 271 +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. + +See _Introduction_, p. xxxvi; Blanco Garcia, I, 129-153; +Juan Valera, _Florilegio_, V, 184-195. His _Obras +completas_, in 5 vols., were published by the Spanish +Academy, Madrid, 1854-1855, with introductory essays by +Pastor Diaz and Canete. His works were also published in +the _Coleccion de Escritores castellanos_, 1894-. + +4. =De... pro= = _en pro de mi sangre y casa_. + +=62.=--3. =a la que=: translate, _before which_. + +10. =duque de Borbon= is the subject of =estaba=, l. 3. + +18. =Emperador= = Charles V. + +=64.=--8. =Condestable= = Velasco, Constable of Spain, who +in 1521 defeated the _comuneros_ who had rebelled against +the rule of Charles V. + +=65.=--22. =Y con los que=, _with whom_. + +23. =estrecho= stands in antithesis to =ancho=: _for his +glory the broad world will be narrow_. + +=66.=--18-19. =Y... leonesa= = _y un coleto a la leonesa +de recamado ante_. + +=68.=--20-21. =Que... resuelta= = _que es voluntad suya +resuelta (el) que aloje a Borbon_. + +=69.=--22. =de un su pariente= is archaic. The regular +expression to-day would be _de un pariente suyo_. + +=71.=--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. + +Cf. _El P. Arolas, su vida y sus versos_, Madrid, 1898, by +Jose R. Lomba y Pedraja; Blanco Garcia, I, 186-189; Juan +Valera, _Florilegio_, V, 121-130. A new edition page 272 +of Arolas' verses was published at Valencia in 1883. + +=73.=--Jose 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 +_Pelayo_. 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. + +See _Introduction_, p. xxxvii; E. Rodriguez Solis, +_Espronceda, su tiempo, su vida y sus obras_, Madrid, +1883; Blanco Garcia, I, 154-171; Juan Valera, +_Florilegio_, V, 197-207; Antonio Corton, _Espronceda_, +Madrid, 1906; Philip H. Churchman, _Espronceda's Blanca +de Borbon, Revue hisp._, 1907; and _Byron and Espronceda, +ibid._, 1909. For his poems, see _Obras poeticas_, in the +_Biblioteca amena e instructiva_, Barcelona, 1882; _Obras +poeticas y escritos en prosa, coleccion ordenada por D. +Patricio de la Escosura_, Madrid, 1884. + +=79.=--Jose 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" in Granada. page 273 +Zorrilla died in Madrid in his seventy-sixth year. + +See _Introduction_, p. xxxvii; an autobiography, +_Recuerdos del tiempo viejo_, 3 vols.; Fernandez +Florez, _D. Jose Zorrilla_, in _Autores dramaticos +contemporaneos_, 1881, vol. I; Blanco Garcia, I, 197-216; +Juan Valera, _Florilegio_, V, 258-270. For his works, see +_Poesias_, 8 vols., Madrid, 1838-1840; _Obras_, edition +Baudry, 3 vols., Paris, 1852; _Poesias escogidas_, +published by the Academia de la lengua, Madrid, 1894; +_Obras dramaticas y liricas_, Madrid, 1895. + +=85.=--10. =Fantasmas= = _como fantasmas_. + +=86.=--=A Buen Juez Mejor Testigo=, _A Good Judge, But a +Better Witness_. In Berceo's _Milagros de Nuestra Senora_ +there is a similar legend of a crucifix summoned as +witness. + +=91.=--4-5. =Como... bane=: this passage is obscure, but +the meaning seems to be, _as a pledge that the river +should so zealously bathe it_. + +18. =la hermosa=, 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. + +27. =puerta=: this may refer to the Puerta Visagra +Antigua, an ancient Arabic gate of the ninth century, now +closed. + +=92.=--12. =Las... horadarle= = _al horadarle las palmas +(al rey)_. According to tradition Alfonso, who became +afterward King Alfonso VI of Leon and Castile, when a +refugee at the court of Alimenon, 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 lead into page 274 +his hand, and he had sufficient will power to remain +motionless while the lead burned a hole through it. + +Mariana (_Historia de Espana, Libro IX, Cap. VIII_) +relates this story, but rejects it and says that the +real cause of Alfonso's nickname ("_el rey de la mano +horadada_") was his extreme generosity. + +13. =circo romano=: to the east of the _Hospital de San +Juan Bautista_ of Toledo lies the suburb of Covachuelas, +the houses of which conceal the ruins of a Roman +amphitheater. + +15. =Basilica=: in the lower _Vega_, to the northwest +of Toledo, is the hermitage of _El Cristo de la Vega_, +formerly known as the _Basilica de Santa Leocadia_, 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. + +=95.=--21. =el templo=: the _Ermita del Cristo de la +Vega_. See preceding note. + +27. =Viase= = _veiase_: _via_, for _veia_, is not uncommon +in poetry. + +=105.=--3-5. =Gritan... valor= = _los que en el mercado +venden, gritan en discorde son_ =lo vendido y el valor= (= +_what they have for sale and its price_). + +=107.=--13-14. =y... honor= = _y dispensad que (yo) dudara +de vuestro honor acusado_. + +=108.=--10. See note, p. 92, l. 15. + +=112.=--16. =cada un ano= = _cada ano_. + +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 Senorio 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. + +Cf. _Notas autobiograficas_ in _La Ilustracion Espanola y page 275 +Americana_, Enero 30, 1889; Blanco Garcia, II, +26-28 and 301-308; Juan Valera, _Florilegio_, V, 307-311. +For his verses, see _El libro de los cantares_ (1851) and +_El libro de las montanas_ (1867). + +=113.=--14. =Cantos=: note the double meaning of _canto_. + +=114.=--Jose Selgas y Carrasco (1821-1882) was born +in Murcia. A writer on the staff of the satirical and +humorous journal, _El Padre Cobos_, Selgas won the +attention of the public by his ironical and reactionary +articles and was elevated to an important political office +by Martinez Campos. He is the author of two volumes of +verses, _La Primavera_ (1850) and _El estio_. + +See _Introduction_, p. xxxix; and Blanco Garcia, II, +19-23 and 244-250. For Selgas' verses, see his _Poesias_, +Madrid, 1882-1883. + +=117.=--Pedro Antonio de Alarcon (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, Alarcon published a volume of +humorous and descriptive verses, some of which have merit. + +Cf. Blanco Garcia, II, 62-63 and 452-467; and articles in +the _Nuevo Teatro Critico_ (Sept., Oct. and Nov., 1891). +For his verses, see _Poesias serias y humoristicas_, 3d +ed., Madrid, 1885. + +=121.=--Gustavo Adolfo Becquer (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. + +See _Introduction_, p. xxxix; Blanco Garcia, II, 79-86 and +274-277. For his works, see his _Obras_, 5th ed., page 276 +Madrid, 1898 (with a _Prologo_ by Correa: the _Rimas_ are +in vol. III). + +=122.=--12-13. =Del salon... olvidada= = _en el angulo +obscuro del salon, tal vez olvidada de su dueno_. Becquer, +in his striving after complicated metrical arrangements, +often inverts the word-order in his verse. See also +_Introduction, Versification_, p. lxxii. + +19. =arrancarlas=: =las= refers to =Cuanta nota=, which +seems to have here the force of a plural. + +24. See _Introduction, Versification_, p. lxv. + +=124.=--14. =intervalo=: the standard form is _intervalo_. + +=126.=--12. =El nicho a un extremo=: the meaning is, _one +end of the recess_, 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. + +=128.=--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. + +Cf. Blanco Garcia, II, 376-378. For his verses, see +_Rimas_ (_Prologo_ by Pedro A. de Alarcon), 1877; _La +fiesta de Venus_, in the _Almanaque de la Ilustracion_, +1878. + +7. =O en el que= = _o en el dia en que_: the reference is +to the anniversaries of the wedding day and the saints' +days of the parents. + +=129.=--19. =las que... son=, _what is..._ + +=131.=--15-16. =la que... agonia= = _la lenta agonia que +sufristeis..._ + +=133.=--Ramon 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 page 277 +to several important offices including that of +governor of Alicante and Valencia. + +Cf. _Introduction_, p. xli; Juan Valera, _Obras poeticas +de Campoamor_, in _Estudios criticos sobre literatura_, +Seville, 1884; Peseux-Richard, in the _Revue hispanique_, +I, 236 f.; Blanco Garcia, II, Cap. V. For his works, +see _Doloras y cantares_, 16th ed., Madrid, 1882; _Los +pequenos poemas_, Madrid, 1882-1883; _Poetica_, 1883; _El +drama universal_, 3d ed., Madrid, 1873; _El licenciado +Torralba_, Madrid, 1888; _Obras escogidas_, Leipzig, +1885-1886; _Obras completas_, 8 vols., Madrid, 1901-03. + +=135.=--3. =se va y se viene y se esta=: note the use of +=se= in the sense of _people_, or an indefinite _we_. + +5. =Y... procura= = _y si tu afecto no procura volver_. + +=136.=--18. See note, p. 3, l. 7. + +=137.=--Valladolid was the birthplace of Gaspar Nunez 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, Nunez de Arce was appointed Civil +Governor of Barcelona, and afterward he became a cabinet +minister. + +Cf. _Introduction_, p. xlii; Menendez y Pelayo's essay in +_Estudios de critica literaria_, 1884; Juan Valera's essay +on the _Gritos del combate, Revista europea_, 1875, no. +60; Blanco Garcia, Cap. XVIII; Jose del Castillo, _Nunez +de Arce, Apuntes para su biografia_, Madrid, 1904. For his +works, see _Gritos del combate_, 8th ed., 1891; _Obras +dramaticas_, Madrid, 1879. Most of his longer poems are in +separate pamphlets, published by M. Murillo and Fernando +Fe, Madrid, 1895-1904. + +=137.=--=Tristezas= shows unmistakably the influence of +the French poet Alfred de Musset, and especially perhaps +of his _Rolla_ and _Confession d'un enfant du siecle_. + +=138.=--16 f. Compare with the author's _La duda_ and +_Miserere_, and Becquer's _La ajorca de oro_. + page 278 +=142.=--1-3. The poet seems to compare the nineteenth +century, amidst the flames of furnaces and engines, to the +fallen archangel in hell. + +16. =mistica=, that is, of communion with God, heavenly. + +=144.=--=iSursum Corda!=: 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 _Sursum Corda!_, Madrid, 1904; +and also Juan Valera's _Florilegio_, IV, 413 f. + +8. The plains of Old Castile may well be called "austere." + +=145.=--10-16. Cf. _A Espana_ (1860) and _A Castelar_ +(1873). + +=147.=--11-19. There are few stronger lines than these in +all Spanish poetry. + +=148.=--Manuel del Palacio (1832-1895) was born in Lerida. +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. + +Cf. Blanco Garcia, II, 40. For his works, see his +_Obras_, Madrid, 1884; _Veladas de otono_, 1884; _Huelgas +diplomaticas_, 1887. + +5. =el ave placentera=: a well-known Spanish-American poet +calls this a mere _ripio_ (stop-gap), and says it may mean +one bird as well as another. + +The Catalan Joaquin Maria Bartrina (born at Reus in 1850) +published in 1876 a volume of pessimistic and iconoclastic +verses, entitled _Algo_. After his death (1880) his works +were published under the title of _Obras en prosa y verso, +escogidas y coleccionadas por J. Sarda_, Barcelona, 1881. +Cf. Blanco Garcia, II, 349-350. + +=148.=--15-19. These lines give expression to the +pessimism that has obtained in Spain for two centuries +past. + +=149.=--14. The reference is, of course, to the paintings, +of which there are many, of "The Last Supper" of Jesus. + +Manuel Reina (1860-) was born in Puente Genil. Like page 279 +Bartrina, Reina is an imitator of Nunez de Arce, in +that he sings of the degeneracy of mankind. He undertook, +with but little success, to revive the eleven-syllable +_romance_ of the neo-classic Spanish tragedy of the +eighteenth century. + +Cf. Blanco Garcia, II, 354-355. For his verses, see +_Andantes y allegros_ and _Cromos y acuarelas, cantos +de nuestra epoca, con un prologo de D. Jose Fernandez +Bremon_. + +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 (_Amorosas_, _Versos de la juventud_, +_et al._). + +=151=.--=Argentina.= 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 +_Argentina y conquista del rio de la Plata_, etc. (Lisbon, +1602), by Martin 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 _A la defensa de Buenos Aires_ is +infinitely superior. + +During the revolutionary period the best-known writers, +all of whom may be roughly classified as neo-classicists, +were: Vicente Lopez 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 _Dido_ and +_Argia_, and of the ode _Triunfo de Ituzaingo_ (_Poesias_, +Buenos Aires, 1879). + +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 France), Esteban Echeverria page 280 +(1805-1851), author of _Los Consuelos_ (1834), _Rimas_ +(1837) and _La cautiva_. The latter poem is distinctively +"American," as it is full of local color. Juan Valera, in +his letter to Rafael Obligado (_Cartas americanas, primera +serie_), says truly that Echeverria "marks the point of +departure of the Argentine national literature." (_Obras +completas_, 5 vols., Buenos Aires, 1870-74). + +Other poets of the early period of independence are: +the literary critic, Juan Maria Gutierrez (1809-1878), +one-time rector of the University of Buenos Aires and +editor of an anthology, _America poetica_ (Valparaiso, +1846); Dr. Claudio Mamerto Cuenca (1812-1866; cf. _Obras +poeticas escogidas_, Paris, 1889); and Jose Marmol +(1818-1871), author of _El peregrino_ and of the best of +Argentine novels, _Amalia_ (_Obras poeticas y dramaticas, +coleccionadas por Jose Domingo Cortes_, 3d ed., Paris, +1905). + +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 +Alarcon, and as Gertrudis Gomez de Avellaneda is claimed +by Cuba. + +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, Echeverria and Marmol. + +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 Melendez Valdes +and Cienfuegos, of Quintana, of Espronceda and +Zorrilla. During the early years of romanticism +some Spanish-American poets,--notably the Argentine +Echeverria,--turned for inspiration directly to the French +writers of the period; but, in the main, the Spanish +influence was predominant. The Spanish-American page 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 Becquer or the pessimism of Nunez 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. + +The extreme in local color was reached in the "_literatura +gauchesca_," which consists of collections of popular or +semi-popular ballads in the dialect of the _gauchos_, or +cowboys and "ranchers," of the Pampas. The best of +these collections,--_Martin Fierro_ (1872), by Jose +Fernandez,--is more artistic than popular. This long +poem, which in its language reminds the English reader of +Lowell's _Biglow Papers_, is the best-known and the most +widely read work by an Argentine author. + +The greatest Argentine poets of the second half of the +century have been Andrade and Obligado. Olegario Victor +Andrade (1838-1882), the author of _Prometeo_ and +_Atlantida_, 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. _Atlantida_, +a hymn to the future of the Latin race in America, is +the poet's last and noblest work (_Obras_, Buenos Aires, +1887). + +It is said of Rafael Obligado (1852-) that he is more page 282 +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 (_Poesias_, +Buenos Aires, 1885). + +Among recent poets, two have especially distinguished +themselves. Leopoldo Diaz (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 +_conquistadores_ and to _Atlantida conquistada_. Like +Dario, 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 (_Sonetos_, +Buenos Aires, 1888; _Bajo-relieves_, Buenos Aires, 1895; +_et al._). A complete "_modernista_" (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 _Lunario sentimental_ there are +verses, essays and dramatic sketches, all addressed to +the moon. For an example of his _versos libres_, see +_Introduction_ to this volume, p. xlvi (_Las montanas de +oro, Los crepusculos del jardin_; _Lunario sentimental_, +Buenos Aires, 1909; _Odas seculares_, Buenos Aires, 1910). + +For studies of Argentine literature, see Blanco Garcia, +_Hist. Lit. Esp._, III, pp. 380 f.; Menendez y Pelayo, +_Ant. Poetas Hisp.-Am._, IV, pp. lxxxix f.; Juan Valera, +_Poesia argentina_, in _Cartas americanas, primera serie_, +Madrid, 1889, pp. 51-119; _Literatura argentina_, page 283 +Buenos Aires, 1903; _Poetas argentinos_, Buenos Aires, +1904; _Antologia argentina_, B.T. Martinez, Buenos Aires, +1890-91; _Compendio de literatura argentina_, E. Alonso +Criado, Buenos Aires, 1908; _Miscelanea_, by Santiago +Estrada; _La lira argentina_, Buenos Aires, 1824. Other +important works, treating of Spanish-American literature, +are: _Biblioteca hispano-americana_ (1493-1810), Jose +Toribio Medina, 6 vols., Santiago de Chile, 1898-1902; +_Bibliography of Spanish-American Literature_, Alfred +Coester, _Romanic Review_, III, 1; _Escritores +hispano-americanos_, Manuel Canete, Madrid, 1884; +_Escritores y poetas sud-americanos_, Francisco Sosa, +Mex., 1890; _Juicio critico de poetas hispano-americanos_, +M.L. Amunategui, Santiago de Chile, 1861; _La joven +literatura hispano-americana_, Manuel Ugarte, Paris, 1906. + +Echeverria: see preceding note. + +=Cancion de Elvira.= This Gutierrez calls the "song of the +American Ophelia." + +=152.=--Andrade: see note to p. 151. + +18. =A celebrar las bodas=, _to be the bride_. + +=153.=--3. 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 Menendez y Pelayo have chided the Argentines +for speaking of themselves as a _raza latino-americana_, +instead of _hispano-americana_. + +15. =arcano=, _secret_, seems to have the force here of a +_secret ark_, or _secret sanctuary_, which is broken open +that its secrets may be disclosed. + +=154.=--6-10. These lines refer, of course, to the +Christian religion, spoken of symbolically as an _altar_, +which has replaced the heterogeneous pagan cults of +ancient Rome, and which the Spaniards first brought to +America. + page 284 +11. =ciclopeas=: note the omission of the accent on _o_ +that the word may rime with =ideas=. + +=155.=--5. =Tequendama=: see in the _Vocab_. Several +Colombian poets, including Don Jose Joaquin Ortiz and +Dona Agripina Montes del Valle, have written odes to this +famous waterfall. See Menendez y Pelayo, _Ant. Poetas +Hisp.-Am._, II; and _Parnaso colombiano_, II, Bogota, +1887. + +17-18. 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 =Mateo= in _Vocab_. + +=156.=--5. 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. + +8. Caracas, where Bolivar was born, lies at the foot of +Mount Avila. + +11. This line, and line 16, would indicate that +=Atlantida= was written soon after the war, begun in 1876, +between Chile and the allied forces of Bolivia and Peru, +in which Chile was victorious. + +12-15. 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. + +27. 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. + +=157.=--3. Andrade now sings of his own country, hence +=iDe pie para cantarla!= + +8. There is a larger immigration of Europeans into +Argentina than into any other South-American country. The page 285 +immigrants come mostly from northern Italy and +from Spain. + +12-16. As the =Atlantida= 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. + +By the conquest and settlement of the broad plains +(_pampas_) 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. + +21. Vast areas in Argentina are given over to the +cultivation of wheat, barley and oats. + +=159.=--These are the last stanzas of =Prometeo=, 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 _Vocab_. + +=160.=--Obligado: see note to p. 151. + +=162.=--=Colombia.= Colombia was formerly known as Nueva +Granada, and its inhabitants are still sometimes called +_Granadinos_. 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 +Bogota, to-day generally known simply as Bogota. It is at +an elevation of 8700 feet above the level of the page 286 +sea, and has a cool and equable climate. + +It is generally conceded that the literary production of +Colombia has excelled that of any other Spanish-American +country. Menendez y Pelayo (_Ant. Poetas Hisp.-Am._, +III, _Introd._) speaks of Bogota 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 +_Cartas americanas (primera serie_, 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 Garcia characterizes Colombia as one of +the most Spanish of American countries. + +During the colonial period, however, Nueva Granada +produced few literary works. Gonzalo Jimenez de Quesada, +the _conquistador_ of New Granada, wrote memoirs, entitled +_Ratos de Suesca_ (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 _Elegias de varones ilustres de Indias_ (the +first part only was published in 1589), occupies all of +vol. IV of the _Bibl. de Aut. Esp._ The fourth part is +contained in two volumes of the _Coleccion de Escritores +Castellanos_, under the title of _Historia del Nuevo Reino +de Granada_. + +In the seventeenth century the colonists were still too +busy with the conquest and settlement of the country to +spare time for the cultivation of letters. A long page 287 +epic poem, the _Poema heroico de San Ignacio de Loyola_, +with much Gongorism and little merit, was published +at Madrid in 1696, after the death of the author, the +Colombian Hernando Dominguez Camargo. A few short lyrics +by the same author also appeared in the _Ramillete de +varias flores poeticas_ (Madrid, 1676) of Jacinto Evia of +Ecuador. + +Early in the eighteenth century Sor Francisca Josefa de la +Concepcion, "Madre Castillo" (d. 1742), wrote an account +of her life and her _Sentimientos espirituales_, in which +there is much of the mysticism of Saint Theresa. + +About 1738 the printing-press was brought to Bogota 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 Jose 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 Jose 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 _Lamentaciones de Puben_ by the canon Jose Maria +Grueso (1779-1835) and _El placer publico de Santa Fe_ +(Bogota, 1804) by Jose Maria Salazar (1785-1828). + +During the revolutionary period two poets stand +preeminent. Dr. Jose Fernandez 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 (_Poesias_, +Havana, 1822; London, 1828). The "Chenier" of Colombia was +Luis Vargas Tejada (1802-1829), the author of patriotic +verses, some of which were directed against page 288 +Bolivar, and of neo-classic tragedies. He died by drowning +at the age of twenty-seven (_Poesias_, Bogota, 1855). + +The four most noted poets of Colombia are J.E. Caro, +Arboleda, Ortiz and Gutierrez Gonzalez. A forceful lyric +poet was Jose 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. _El cipres_); 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 +(_Obras escogidas_, Bogota, 1873; _Poesias_, Madrid, +1885). + +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 _Gonzalo de Oyon_ 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 (_Poesias, +coleccion formada sobre los manuscritos originales, con +prologo por M.A. Caro_, New York, 1883). + +The educator and journalist Jose Joaquin Ortiz (1814-1892) page 289 +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 (_Poesias_, Bogota, +1880). + +The poet Gregorio Gutierrez Gonzalez, "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 (_A Julia_, _?Por que no canto?_ +_Una lagrima_, _et al._) that are the delight of Colombian +young ladies. His fame will doubtless depend on the rustic +Georgic poem, _Memoria sobre el cultivo del maiz en +Antioquia_. This work is an interesting and remarkably +poetic description of the homely life and labors of the +Antioquian country folk (_Poesias_, Bogota, 1881; Paris, +1908). + +The minor poets of this generation are legion. Among these +are: Manuel Maria Madiedo (b. 1815), a sociologist; German +Gutierrez de Pineres (1816-1872), author of melancholy +verses; Jose Maria Rojas Garrido (1824-1883), a noted +orator, one-time president of Colombia; Joaquin Pablo +Posada (1825-1880), perhaps the most clever versifier of +Spanish America, but whose _decimas_ were mostly written +in quest of money; Ricardo Carrasquilla (b. 1827), +an educator and author of genial verses; Jose Manuel +Marroquin (b. 1827), a poet and author of articles on +customs and a foremost humorist of South America (he was +president when Colombia lost Panama); Jose Maria Samper +(b. 1828), a most voluminous writer; Rafael Nunez +(1825-1897), a philosopher and skeptic, and one-time +president of the Republic; Santiago Perez (1830-1900), +educator, journalist and one-time president; Jose Maria +Vergara y Vergara (1831-1872), a Catholic poet and +author of a volume of sentimental verses (_Libro de los +cantares_); Rafael Pombo (1833-1912), an eminent classical +scholar and literary critic, and "perpetual secretary" of +the Colombian Academy; Diego Fallon (b. 1834), page 290 +son of an English father, and author of several highly +finished and beautiful poems; Pinzon Rico (b. 1834), +author of popular, romantic songs; Cesar Conto (b. 1836), +a jurist and educator; Jorge Isaacs (1837-1895), better +known as author of the novel _Maria_; and Felipe Perez (b. +1834). + +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 Jose 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. + +Other poets of the closing years of the century are: +Diogenes Arrieta (b. 1848), a journalist and educator; +Ignacio Gutierrez Ponce (1850), a physician; Antonio Gomez +Restrepo (b. 1856), a lawyer and politician; Jose Maria +Garavito A. (b. 1860); Jose Rivas Groot (b. 1864), an +educator and literary critic, and editor of _La lira +nueva_; Joaquin Gonzalez 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 Rios (1870-), a philosophic +poet and liberal journalist. + +The "modernista" poet Jose Asuncion 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 +(_Poesias, con Prologo de Miguelde Unamuno_, Barcelona, +1908). + + References: Cf.: Menendez y Pelayo, _Ant. Poetas + Hisp.-Amer._, III, p. 1 f.; Blanco Garcia, III, 332 + f.; Juan Valera, _Cartas Am., primera serie_, p. 121 + f.; _Historia de la literatura (1538-1820) en Nueva + Granada_, Jose Maria Vergara y Vergara, Bogota, 1867; + _Apuntes sobre bibliografia colombiana, con page 291 + muestras escogidas en prosa y verso_, Isidoro Laverde + Amaya, Bogota, 1882; _Parnaso colombiano_, J.M. + Vergara y Vergara, 3 vols.; _La lira granadina_, J.M. + Vergara y Vergara, Bogota, 1865; _Parnaso colombiano_, + Julio Anez, _con Prologo de Jose Rivas Groot_, 2 + vols., Bogota, 1886-87; _La lira nueva_, J.M. Rivas + Groot, Bogota, 1886; _Antologia colombiana,_ Emiliano + Isaza, Paris, 1895. + +Ortiz: see preceding note. + +=Colombia y Espana=: 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. + +8. The colors of the Colombian flag are yellow, blue and +red. + +9. The colors of the Spanish flag are red and yellow. On +the Spanish arms two castles (for _Castilla_) and two +lions (for _Leon_) are pictured. + +=164.=--J.E. Caro: see note to p. 162. + +=167.=--Marroquin: see note to p. 162. + +=Los cazadores y la perrilla=: compare with Goldsmith's +"Elegy on the Death of a Mad Dog." + +=168.=--7. =Moratin=: see note to p. 26. _La caza_ is in +_Bibl. de Aut. Esp._, II, 49 f. + +=169.=--16. =describilla=, archaic or poetic for +_describirla_. + +=171.=--M.A. Caro: see note to p. 162. + +=174.=--14-16. =sombria... alcanzaran= = _(siendo la +Eternidad) sombria y eterna, ni el odio ni el amor, ni la +fe ni la duda, alcanzaran nada en sus abismos_. + +=179.=--=Cuba.= 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 y San Ambrosio was page 292 +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 (_Poesias_, N.Y., 1829; Havana, +1852). Inferior to Zequeira was Manuel Justo de Rubalcava +(1769-1805), the author of bucolic poems and sonnets +(_Poesias_, Santiago de Cuba, 1848). + +The Cuban poet Don Jose Maria 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. + +Heredia was most unhappy in the United States. He admired page 293 +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. + +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 _Niagara_, _El Teocalli de Cholula_, _En una +tempestad_ and _Al sol_. In these poems the predominant +note is that of gentle melancholy. In Cuba his best known +verses are the two patriotic hymns: _A Emilia_ and _El +himno del desterrado_. 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 Menendez y Pelayo +refused to include them in his _Anthology_. Heredia +undertook to write several plays, but without success. +Some translations of dramatic works, however, were well +received, and especially those of Ducis' _Abufar_, +Chenier's _Tibere_, Jouy's _Sila_, Voltaire's _Mahomet_ +and Alfieri's _Saul_. The Garnier edition (Paris, 1893) of +Heredia's _Poesias_ contains an interesting introduction +by the critic Elias Zerolo (_Poesias_, N.Y., 1825; Toluca, +1832; N.Y., 1875; Paris, 1893). + +The mulatto poet Gabriel de la Concepcion Valdes, +better known by his pen-name "Placido" (1809-1844), an +uncultivated comb-maker, wrote verses which were mostly +commonplace and often incorrect; but some evince +remarkable sublimity and dignity (cf. _Plegaria page 294 +a Dios_). Cf. _Poesias_, 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 Gomez +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 _Introduction_ to this volume, p. +xxxviii. Next only to Heredia, the most popular Cuban poet +is Jose Jacinto Milanes 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 (_Obras_, 4 vols., Havana, 1846; N.Y., 1865). + +A lawyer, educator and patriot, Rafael Maria Mendive y +Daumy (1821-1886) wrote musical verse in which there +is spontaneity and true poetic feeling (_Pasionarias_, +Havana, 1847; _Poesias_, Madrid, 1860; Havana, 1883). +Joaquin 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 (_Poesias_, Havana, +1857). A poet of sorrow, Juan Clemente Zenea,--"Adolfo de +la Azucena" (1832-1871),--wrote verses that are marked by +tender melancholy (_Poesias_, Havana, 1855; N.Y., 1872, +1874). + +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 Joaquin +Luaces avoided trouble by living in retirement and veiling +his patriotic songs with mythological names. On the other +hand Jose Jacinto Milanes lost his reason at the early age +of thirty years, Jose Maria Heredia and Rafael Mendive +fled the country and lived in exile; while Gabriel +Valdes and Juan Clemente Zenea were shot by order of the +governor-general. + +Since the disappearance of the "Pleiad," the most popular page 295 +Cuban poets have been Julian del Casal, a skeptic +and a Parnassian poet who wrote pleasing but empty verses +(_Hojas al viento_, _Nieve_, _Bustos y Rimas_); and +Francisco Sellen, whose philosophy is to conceal suffering +and to put one's hand to the plow again (_Libro intimo_, +Havana, 1865; _Poesias_, N.Y., 1890). Jose Marti +(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 (_Flor y +lava_, Paris, 1910(?)). + + References: Menendez y Pelayo, _Ant. Poetas + Hisp.-Am._, II, p. 1 f.; Blanco Garcia, III, p. + 290 f.; E.C. Hills, _Bardos cubanos_ (contains a + bibliography), Boston, 1901; Aurelio Mitjans, _Estudio + sobre el movimiento cientifico y literario en Cuba_, + Havana, 1890; Bachiller y Morales, _Apuntes para la + historia de las letras y de la instruccion publica de + la Isla de Cuba_, Havana, 1859; _La poesia lirica en + Cuba_, M. Gonzalez del Valle, Barcelona, 1900; _Cuba + poetica_, Havana, 1858; _Parnaso cubano_, Havana, + 1881. + +Heredia: see preceding note. + +5. 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. + +13-14. =Iztaccihual= and =Popocatepec= are the popular +names of these mountains, but their official names are +_Iztaccihuatel_ and _Popocatepetel_. These words are of +Nahuatlan origin: see in _Vocab_. + +16--18. =do... tenirse= = _donde el indio ledo los mira +tenirse en purpura ligera y oro_. + +=181=.--3. 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. + +21. Note that the moon set behind =Popocatepec=, a little +to the south of west from Cholula, while the sun sank +behind =Iztaccihual=, a little to the north of page 296 +west from the city. This might well occur in summer. + +=182.=--14. =Fueron= (lit. _they were_), _they are no +more_. In this Latinism the preterit denotes that a thing +or condition that once existed no longer exists. Cf. _fuit +Ilium_ (_AEneid_, II, 325), "Troy is no more." + +=186.=--4-5. =Que... seguir= = _que, en su vuelo, la +turbada vista quiere en vano seguir_. + +=190.=--"Placido": see note to p. 179. + +=Plegaria a Dios=: this beautiful prayer was written a few +days before the poet's death. It is said that "Placido" +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. + +=191.=--4. =del... transparencia= = _a_ (in) _la clara +transparencia del aire_. + +Avellaneda: see _Introduction_, p. xxxviii. + +19. =No... modelo= = _(la historia) no [dio] modelo a tu +virtud en lo pasado_. + +21. =otra= = _otra copia_. + +=192.=--1-2. =Miro... victoria= = _la Europa miro al genio +de la guerra y la victoria ensangrentar su suelo_. The +=genio= was Napoleon Bonaparte. + +4. =Al... cielo= = _el cielo le diera al genio del bien_. +Note that =le= is dative and =al genio= accusative. This +otherwise admirable sonnet is marred by the numerous +inversions of the word-order. + +=193.=--=Ecuador= 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 Bogota. The early Spanish colonists +repeatedly wrote of the beautiful scenery and the "eternal +spring" of Quito. + page 297 +All of the present Ecuador belonged to the Virreinato del +Peru till 1721, after which date Quito and the contiguous +territory were governed from Bogota. 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. + +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 _Ramillete de varias flores +poeticas_ which contains, beside those by Evia, verses +by Antonio Bastidas, a Jesuit teacher, and by Hernando +Dominguez Camargo, a Colombian. The verses are mediocre +or worse, and, as the date would imply, are imbued with +culteranism. + +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 _El ocioso de Faenza_. +These volumes contain poems by Bautista Aguirre of +Guayaquil, Jose Orozco (_La conquista de Menorca_, an epic +poem in four cantos), Ramon Viescas (sonnets, _romances_, +_decimas_, etc.) and others, most of whom were Jesuits. + +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 page 298 +_El nuevo Luciano_, 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. + +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, Jose Joaquin 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 Peru. +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. + +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 Graeco-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 _La victoria de Junin_, which is filled +with sweet-sounding phrases and beautiful images, but +is logically inconsistent and improbable. Even page 299 +Bolivar, the "Libertador," censured Olmedo in a letter for +using the _machina_ 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." + +The _Canto al general Flores_ is considered by some +critics to be the poet's most finished work, though of +less substance and inspiration than _La victoria de +Junin_. 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, _A +un amigo en el nacimiento de su primogenito_, 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 (_Poesias_, Valparaiso, 1848, Paris, 1853; +_Poesias ineditas_, Lima, 1861). + +For a time after Olmedo's muse had become mute, little +verse of merit was produced in Ecuador. Gabriel Garcia +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, _Quejas_, 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 (_Poesias_, Paris, 1870; page 300 +_Cantos americanos_, Paris, 1866; _Cien sonetos_, 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 Leon Mera (1832-1894) +was one of the most prominent literary historians and +critics of the Republic. Besides his _Poesias_ (2d +ed., Barcelona, 1893), Leon Mera left a popular novel, +_Cumanda_ (Quito, 1876; Madrid, 1891), an _Ojeada +historico-critica sobre la poesia ecuatoriana_ (2d ed., +Barcelona, 1893), and a volume of _Cantares del Pueblo_ +(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. + +A younger generation that has already done some good +work in poetry includes Vicente Pedrahita, Luis Cordero, +Quintiliano Sanchez and Remigio Crespo y Toral. + +References: Men. Pel., _Ant. Poetas Hisp.-Amer._, III, p. +lxxxiii f.; Blanco Garcia, III, 350 f.; _Ensayo sobre la +literatura ecuatoriana_, Dr. Pablo Herrera, Quito, 1860; +_Ojeada historico-critica sobre la poesia ecuatoriana_, +Juan Leon Mera, Quito, 1868, 2d ed., Barcelona, 1893; +_Escritores espanoles e hispano-americanos_, Canete, +Madrid, 1884; _Lira ecuatoriana_, Vicente Emilio +Molestina, Guayaquil, 1865; _Nueva lira ecuat._, Juan Abel +Echeverria, Quito, 1879; _Parnaso ecuat._, Manuel Gallegos +Naranjo, Quito, 1879; _America poetica_, Juan Maria +Gutierrez, Valparaiso, 1846 (the best of the early +anthologies: contains a few poems by Olmedo); _Antologia +ecuat._, published by the Academy of Ecuador, with a +second volume entitled _Cantares del pueblo ecuat._ +(Edited by Juan Leon Mera), both Quito, 1892. + +=Peru.= 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 Peru +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 in character and appearance, was the page 301 +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. + +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, Montevideo and Santiago de Chile, and by page 302 +relatively small and conservative towns such as Bogota. + +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, _Florida del +Inca_, _Comentarios reales_ and _Historia general del +Peru_. 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. Menendez y Pelayo (_Ant. Poetas Hisp.-Amer._, III, +_Introd._) considers Garcilasso, or Garcilaso, and Alarcon +the two truly classic writers that America has given to +Spanish literature. + +In the Golden Age of Spanish letters several Peruvian +poets were known to Spaniards. Cervantes, in the _Canto de +Caliope_ and Lope de Vega in the _Laurel del Apolo_ +make mention of several Peruvians who had distinguished +themselves by their verses. + +An unknown poetess of Huanuco, Peru, who signed herself +"Amarilis," wrote a clever _silva_ in praise of Lope, +which the latter answered in the epistle _Belardo a +Amarilis_. This _silva_ of "Amarilis" is the best poetic +composition of the early colonial period. Another poetess +of the period, also anonymous, wrote in _terza rima_ a +_Discurso en loor de la poesia_, which mentions by name +most of the Peruvian poets then living. + +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 Mexia, who made the happiest of Spanish +translations of Ovid's _Heroides_; Diego de Ojeda, +the best of Spanish sacred-epic poets, author of the +_Cristiada_; Juan Galvez; Luis de Belmonte, author of _La +Hispalica_; Diego de Avalos y Figueroa whose page 303 +_Miscelanea austral_ (Lima, 1603) contains a long poem in +_ottava rima_ entitled _Defensa de damas_; and others. +These men exerted great influence, and to them was largely +due the peculiarly Andalusian flavor of Peruvian poetry. + +The best Gongoristic _Poetics_ came from Peru. This is the +_Apologetico en favor de D. Luis de Gongora_ (Lima, 1694), +by Dr. Juan de Espinosa Medrano. + +In the eighteenth century the poetic compositions of Peru +were chiefly "_versos de circunstancias_" by "_poetas de +ocasion_." 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 _Lima fundada_ (Lima, 1732). He wrote several +dramas, one of which, _Rodoguna_, 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. + +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. + +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. From his teacher he acquired a fondness page 304 +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 _Poesias y +escritos en prosa_ (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, Jose (1820-1873), wrote a +few short poems, but his verses are relatively limited +and amateurish. Manuel Ascension Segura (1805-1871) wrote +clever farces filled with descriptions of local customs, +somewhat after the type of the modern _genero chico_ +(_Articulos, poesias y comedias_, Lima, 1866). + +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), Nicolas Corpancho (1830-1863), Luis Benjamin +Cisneros (b. 1837), Carlos Augusto Salaverry (1830-1891), +Manuel Ascension Segura (b. 1805), Clemente Althaus +(1835-1881), Adolfo Garcia (1830-1883), Constantino +Carrasco (1841-1877) and others, see the introduction to +the _Poesias_ (Lima, 1887) of Ricardo Palma (1833-___: +till 1912 director of the national library of Peru).] + +Not often could the romanticists of America go back to page 305 +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, _Ollanta_. 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 (Valdes?). 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. + +The two men of that generation who have most distinguished +themselves are Pedro Paz-Soldan 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 _Tradiciones peruanas_ (Lima, 1875 and +1899). + +The strongest representative of the present-day +"_modernistas_" in Peru is Jose Santos Chocano +(1867-___), a disciple of Dario. Chocano writes with much +grandiloquence. His many sonnets are mostly prosaic, but +some are finished and musical (cf. _La magnolia_). He +is more Christian (cf. _Evangeleida_) than most of his +contemporaries, and he sings of the _conquistadores_ with +true admiration [cf. _En la aldea_, Lima, 1895; _Iras +santas_, Lima, 1895; _Alma America_ (_Prologo_ de Miguel +de Unamuno), Madrid, 1906; _La selva virgen_, Paris, 1901; +_Fiat lux_, Paris, 1908]. + +A younger man is Edilberto Zegarra Ballon of Arequipa +(1880-___), author of _Vibraciones, Poemas, el al._ His +verse is simpler and less rugged than that of the more +virile Chocano. + + References: Men. Pel., _Ant. Poetas Hisp.-Amer._, III, + p. cxlix f.; Blanco Garcia, III, 362 f.; _Diccionario + historico y biografico del Peru, formado y redactado + por Manuel de Mendiburu_, 9 vols., Lima, 1874-80; + _Coleccion de documentos literarios del Peru_, 11 + vols., Manuel de Odriozola, Lima, 1863-74; page 306 + _America poetica_, Juan Maria Gutierrez, Valparaiso, + 1846; _Parnaso peruano_, J.D. Cortes, Paris, 1875; _La + Bohemia limena de 1848 a 1860, Prologo de Poesias de + Ricardo Palma_, Lima, 1887; _Lira americana,_ Ricardo + Palma, Paris, 1865. + +=193.=--Olmedo: see preceding note. + +8. =A=, _with_. + +=194.=--15-17. The following is a translation of a note to +these lines which is given in _Poesias de Olmedo_, 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?" + +=195.=--4. 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. + +25. 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." + +26. 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. + page 307 +=196.=--21. See note to p. 162, l. 8. The Peruvian flag +has an image of the _sun_ in its center. + +23. 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. + +=198.=--10. 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. + +11. =El dios oia=: 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). + +=199.=--=Mexico.= The Virreinato de Nueva Espana 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 Mexia (went to Mexico in 1596); +Gutierre de Cetina, Juan de la Cueva, and Mateo Aleman +(published _Ortografia castellana_ in Mexico in 1609). +_Certamenes poeticos_ ("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). + +The first native poet deserving of the name was Francisco page 308 +de Terrazas (cf. Cervantes, _Canto de Caliope_, +1584), who left in manuscript sonnets and other lyrics and +an unfinished epic poem, _Nuevo mundo y conquista_. It is +interesting that in the works of Terrazas and other native +poets of the sixteenth century the Spaniards are called +"_soberbios_," "_malos_," etc. Antonio Saavedra Guzman was +the first in Mexico to write in verse a chronicle of +the conquest (_El peregrino indiano_, Madrid, 1599). +_Coloquios espirituales_ (published posthumously in 1610), +_autos_ of the "morality" type, with much local color and +partly in dialect, were written by Fernan Gonzalez 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 Bartolome de Alba, +of native descent, and performed, _viz._: _El animal +profeta y dichoso parricida_ and _La madre de la Mejor_. + +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. _Grandeza mexicana_, Mex., +1604; Madrid, 1821, 1829 and 1837; N.Y., 1828; Mex., +1860). The great dramatist, Juan Ruiz de Alarcon +(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. + +Next only to Avellaneda the most distinguished +Spanish-American poetess is the Mexican nun, Sor Juana +Ines de la Cruz (1651-1695), whose worldly name was Juana +Ines de Asbaje y Ramirez 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 and wit attracted much page 309 +attention; but she soon renounced the worldly life of the +court and joined a religious order. In the convent of San +Jeronimo 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 _autos_ and dramas. Her poems were first published +under the bombastic title of _Inundacion castalida de la +unica poetisa, Musa decima, Sor Juana Ines de la Cruz_, +Madrid, 1689 (vol. II, Seville, 1691; vol. III, Madrid, +1700). + +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 (_La elocuencia del silencio_, Madrid, +1738); Francisco Ruiz de Leon (_Hernandia_, 1755, based on +the _Conquista de Mexico_ by Solis); and the priest Jorge +Jose Sartorio (1746-1828: _Poesias sagradas y profanas_, 7 +vols., Puebla, 1832). The Franciscan Manuel de Navarrete +(1768-1809) is considered by Pimentel superior to Sor +Juana Ines 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., _Hist. Poesia Mex._, p. 442). Navarrete wrote in +a variety of styles. His verses are harmonious, but +_altisonante_ and often incorrect. His best page 310 +lyrics, like those of Cienfuegos, have the personal +note of the romanticists to follow (_Entretenimientos +poeticos_, Mex., 1823, Paris, 1835; _Poesias_, Mex., +1905). + +There were no eminent Mexican poets during the +revolutionary period. Andres 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 Sanchez de Tagle (1782-1847), a statesman given to +philosophic meditation, but a poor versifier (_Poesias_, +1852); and Francisco Ortega (1793-1849), an ardent +republican, who opposed Iturbide when the latter had +himself proclaimed emperor of Mexico in 1821 (_Poesias +liricas_, 1839; cf. _A Iturbide en su coronacion_). To +these should be added Joaquin Maria del Castillo y Lanzas +(1781-1878), one-time minister to the United States +(_Ocios juveniles_, Philadelphia, 1835); and the priest +Anastasio Maria Ochoa (1783-1833), who translated French, +Italian, and Latin (Ovid's _Heroides_) works, and wrote +some humorous verses (_Poesias_, N.Y., 1828: contains two +dramas). + +Next to Alarcon, 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 Moratin and Breton. His best comedy is _La +indulgencia para todos_ (cf. _Teatro original_, Paris, +1822; _Teatro escogido_, Bruxelles, 1825; _Obras +dramaticas_, _Bibl. Aut. Mex._, vols. 22, 24, 26, 45, +Mex.,-1899). + +Romanticism came into Mexico through Spain. It was +probably introduced by Ignacio Rodriguez Galvan +(1816-1842), a translator, lyric poet, and page 311 +dramatist. His lyrics have the merit of sincerity; +pessimism is the prevailing tone and there is much +invective. His _Profecias de Guatimoc_ is considered the +masterpiece of Mexican romanticism (_Obras_, 2 vols., +Mex., 1851; Paris, 1883). Another well-known romantic +lyricist and dramatist is Fernando Calderon (1809-1845), +who was more correct in form than Rodriguez Galvan +(_Poesias_, Mex., 1844 and 1849; Paris, 1883; Mex., 1902). + +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 Jose Joaquin 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 _Aztecas_, 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: _Mi amada en la +misa del alba_, which reminds one of Melendez Valdes in +_Rosana en los fuegos_; _Elegia al angel de la guardia de +Elisa_; and parts of _La revelacion_ in _octavas reales_). +Montes de Oca and Menendez y Pelayo consider Pesado the +greatest of Mexican poets; but Pimentel does not (p. 694). +Cf. _Poesias originales y traducciones_, Mex., 1839-40 +(most complete), 1886 (introduction of Montes de Oca); +_Biografia de Pesado_, by Jose Maria Roa Barcena, 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 (_Poesias_, Mex., 1849). + page 312 +Minor poets of this period are: Alejandro Arango +(1821-1883), an imitator of Leon (_Versos_, 1879; _Ensayo +historico sobre Fr. Luis de Leon_, Mex., 1866); Ignacio +Ramirez (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 (_Poesias_, Mex., +1889, and _Lecciones de literatura_, Mex., 1884); +and Ignacio M. Altamarino (1834-1893), an erotic and +descriptive poet (_Obras_, Mex., 1899). + +The most popular Mexican poets during the second half of +the nineteenth century have been Acuna, Flores, Peza and +Gutierrez Najera. A materialistic iconoclast, Manuel Acuna +(1849-1873) was uneven and incorrect in language, but +capable of deep poetic feeling. In his _Poesias_ (Garnier, +Paris, 8th ed.) there are two short poems that may live: +_Nocturno_, a passionate expression of disappointment +in love; and _Ante un cadaver_, a poem of dogmatic +materialism. Acuna committed suicide at the age of +twenty-four years. Manuel Maria Flores (1840-1885), an +erotic poet largely influenced by Musset, is very popular +in Mexico (_Pasionarias_, 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 (_Poesias completas: El +arpa del amor_, 1891; _Hogar y patria_, 1891; _Leyendas_, +1898; _Flores del alma; Recuerdos y esperanzas_, 1899, +Garnier, Paris). The romantic pessimist, Manuel Gutierrez +Najera (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 Gutierrez Najera above all other Mexican poets +(_Poesias_, Paris, 1909, 2 vols.). + + References: Menendez y Pelayo, _Ant. Poetas + Hisp.-Amer._, I, p. xiv f.: Blanco Garcia, III, 304 + f.; Francisco Pimentel, _Historia critica de la page 313 + poesia en Mexico_, Mex., 1892; _Biblioteca + hispano-americana septentrional_, D. Jose Mariano + Beristain de Souza, Mex., 1816-21, 3 vols. (has more + than 4000 titles),--reprinted by Fortino Hipolito de + Vera, Amecameca, 1883; _Bibliografia mexicana del + siglo XVI (catalogo razonado de los libros impresos + in Mexico de 1539 a 1600)_; _Biografias de mexicanos + distinguidos_, D. Francisco Sosa, Mex., 1884; _Poetas + yucatecos y tabasquenos_, D. Manuel Sanchez Marmol y + D. Alonso de Regil y Peon, Merida de Yucatan, 1861; + _Poetisas mexicanas_, Bogota, 1889; _Coleccion + de poesias mexicanas_, Paris, 1836; _El parnaso + mexicano_, 36 vols., R.B. Ortega, Mex., 1886; + _Biblioteca de autores mexicanos_, some 75 vols. to + 1911, Mex.; _Antologia de poetas mexicanos_, publ. by + Acad. Mex., Mex., 1894; _Poetas mexicanos_, Carlos + G. Amezaga, Buenos Aires, 1896; _Los trovadores de + Mexico_, Barcelona, 1900. + +Pesado: see preceding note. + +=La Serenata=: see _Introduction, Versification_, p. +lxviii. + +=200.=--6-11. These lines of Pesado are similar to those +found in the first stanzas of _Su alma_ by Milanes. See +Hills' _Bardos cubanos_ (Boston, 1901), p. 69. + +Calderon: see note to p. 199. + +=202.=--Acuna: see note to p. 199. + +=204.=--15. The language is obscure, but the meaning seems +to be: _borrarte (a ti que estas) en mis recuerdos_. + +19. The forced synalepha of =yo haga= is discordant and +incorrect. + +=204.=--23 to =205.=--8. 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. + +=208.=--1. =la alma=, by poetic license, since _el alma_ +would make the line too long by one syllable. + +=207.=--Peza: see note to p. 199. + +=211.=--Dario: with the appearance in 1888 of a small +volume of prose and verse entitled _Azul_, by Ruben Dario +(1864-) of Nicaragua, there triumphed in Spanish America +the "movement of emancipation," the "literary page 314 +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. + +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 Dario, and of +Jose 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 Senor Dario, in a +recent letter to the writer of these _Notes_, said: "I +do not think to-day as I did when I wrote those verses" +(Dario: _Epistolas y poemas_, 1885; _Abrojos_, 1887; +_Azul_, 1888; _Cantos de vida y esperanza_, Madrid, 1905; +_El canto errante_, Madrid, 1907). + page 315 +=212.=--8. Argentina and Chile are the most progressive of +the Spanish-American States. The Argentine flag is blue +and white, with a _sun_ in the center; the flag of Chile +has a white and a red bar, and in one corner a white +_star_ on a blue background. + +11. This refers, of course, to the colossal bronze Statue +of Liberty by the French sculptor, Frederic Bartholdi, +which stands in New York harbor. + +14. In a letter to the writer of these _Notes_, Senor +Dario 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." + +16. =Que consulto los astros=: the ancient Peruvians and +Mexicans had made considerable progress in the study of +astronomy. + +=214.=--=Venezuela.= During the colonial period the +development of literary culture was slower in the +Capitania 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. + +Poetry in Venezuela begins with Bello, for the works +of his predecessors had little merit. Andres 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 page 316 +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 _Censor americano_ (1820), the _Biblioteca +americana_ (1823) and the _Repertorio americano_ +(1826-27), and in these he published many of his most +important works. Here appeared his studies of Old French +and of the _Song of My Cid_, his excellent translation of +fourteen cantos of Boiardo's _Orlando innamorato_, several +important articles on Spanish syntax and prosody, and the +best of all his poems, the _Silvas americanas_. + +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 _Spanish Grammar_ and +his _Principles of International Law_, 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 _Grammar_, especially, has been +extraordinarily successful, and the edition with notes by +Jose Rufino Cuervo is still the best text-book of Spanish +grammar we have. In the _Grammar_ Bello sought to free +Castilian from Latin terminology; but he desired, most of +all, to correct the abuses so common to writers page 317 +of the period and to establish linguistic unity in Spanish +America. + +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 _La Priere pour tous_ (from +the _Feuilles d'automne_), is amongst his finest and most +popular verses. + +It is interesting that Andres Bello, the foremost +of Spanish-American scholars in linguistics and in +international law, should also have been a preeminent +poet, and yet all critics, except possibly a few of the +present-day "_modernistas_," place his _American Silvas_ +amongst the best poetic compositions of all Spanish +America. The _Silvas_ are two in number: the _Alocucion +a la poesia_ and the _Silva a la agricultura de la zona +torrida_. 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 _Silvas_ are in +some degree imitations of Virgil's _Georgics_, and they +are the best of Spanish imitations. Menendez y Pelayo, who +is not too fond of American poets, is willing to admit +(_Ant._, 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 _Poesias de Andres +Bello_, Madrid, 1882) classifies the _Silvas_ 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 _Alocucion_, which +is largely historical, in that it introduces and sings +the praises of towns and persons that won fame in the +revolutionary wars. The _Silva a la agricultura_, page 318 +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 _Rusticatio Mexicana_ by Father +Landivar of Guatemala. And yet there is very little in +the _Silvas_ that is directly imitative. The _Silva a +la agricultura de la zona torrida_, 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 (_Obras completas_, Santiago de +Chile, 1881-93). + +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 Maria 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 (_Poesias_, Paris, +1888). + +General Antonio Ros de Olano (1802-1887) also removed to page 319 +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 (_Poesias_, Madrid, +1886), Ros de Olano wrote _El doctor Lanuela_ (1863) and +other novels. Both Baralt and Ros de Olano were identified +with literary movements in Spain rather than in Venezuela. + +Jose Heriberto Garcia de Quevedo (1819-1871) was a +cultivated and ambitious scholar who collaborated with +Zorrilla in _Maria_, _Ira de Dios_ and _Un cuento +de amores_. Among his better works are the three +philosophical poems: _Delirium_, _La segunda vida_ and _El +proscrito_ (_Obras poeticas y literarias_, Paris, 1863). +Among the lesser writers of this period are Antonio Maitin +(1804-1874), the best of Venezuelan romanticists (cf. _El +canto funebre_, a poem of domestic love); Abigail Lozano +(1821-1866), a romanticist and author of musical but +empty verses ("_versos altisonantes_"); Jose Ramon Yepes +(1822-1881), an army officer and the author of legends +in verse, besides the inevitable _Poesias_; Eloy Escobar +(1824-1889), an elegiac poet; and Francisco G. Pardo +(1829-1872), a mediocre imitator of Zorrilla. + +Next to Bello alone, the most distinguished poet of +Venezuela is Jose Perez 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 (_Estrofas_, N.Y., 1877; _El poema del Niagara_, +N.Y., 1880). At least two other writers of the second half +of the nineteenth century deserve mention: Miguel Sanchez +Pesquera and Jacinto Gutierrez Coll. + +Among the present-day writers of Venezuela, Luis Lopez +Mendez was one of the first to introduce into Spanish +America a knowledge of the philosophy and metrical +theories of Paul Verlaine. Manuel Diaz Rodriguez +(1868-___) has written little verse; but he is the best +known Venezuelan novelist of to-day [_Sangre page 320 +patricia, Camino de perfeccion_ (essays), _Idolos rotos_, +_Cuentos_, 2 vols., _Confidencias de Psiquis_, _Cuentos de +color_, _Sensaciones de viaje_, _De mis romerias_]. +The most influential of the younger writers is Rufino +Blanco-Fombona, who was expelled from his native country +by the present _andino_ ("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 Dario and a pronounced _modernista_. His _Letras y +letrados de Hispano-America_ 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: +_Cuentos de poeta_, Maracaibo, 1900; _Mas alla de los +horizontes_, Madrid, 1903; _Cuentos americanos_, Madrid, +1904; _El hombre de hierro_, Caracas, 1907; _Letras +y letrados de Hispano-America_, Paris, 1908. Verses: +_Patria_, Caracas, 1895; _Trovadores y trovas_, Caracas, +1899; _Pequena opera lirica_, Madrid, 1904; _Cantos de la +prision_, Paris, 1911). + + References: Menendez y Pelayo, _Ant. Poetas + Hisp.-Amer._, II, p. cx f.; Blanco Garcia, III, p. 321 + f.; _Resena historica de la literatura venezolana_ + (1888) and _Estado actual de la literatura en + Venezuela_ (1892), both by Julio Calcano, Caracas; _La + literatura venezolana en el siglo XIX_, Gonzalo Picon + Febres, Caracas, 1906; _Parnaso venezolano_, 12 + vols., Julio Calcano, Caracas, 1892; _Biblioteca de + escritores venezolanos_, Jose Maria Rojas, Paris, + 1875; _Parnaso venezolano_, Barcelona, 1906. + +Bello: see preceding note. + +1. The _Lion_ symbolizes Spain, since from the medieval +kingdom of Leon modern Spain sprang. The battle of Bailen +(see in _Vocab._) took place in 1808 when Bello was +twenty-seven years of age and still loyal to Spain. + +=214.=--16 to =215.=--3. =Que... concibes= = _que +circunscribes el vago curso_ =al= _(= del) sol enamorado, +y (tu), acariciada de su luz, concibes_ =cuanto page 321 +ser= (= every being that) _se anima en cada vario clima._ + +18. The use of =quien= referring to inanimate objects is +now archaic. + +=216.=--19 to =217.=--3. 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. + +6-8. =En que... bondadosa!= = _en que (la) naturaleza +bondadosa quiso hacer resena de sus favores..._ + +9. The student should compare this and the following lines +with _Vida retirada_ by Fray Luis de Leon, p. 9. + +19. The rime requires =habita=, instead of _habitad_. + +22-23. =Y... atada= = _y la razon va atada al triunfal +carro de la moda, universal senora_. + +=219.=--10-16. =?Esperareis... ata?= = _?esperareis que +(el) himeneo forme mas venturosos lazos do el interes, +tirano del deseo, barata ajena mano y fe por nombre o +plata, que do conforme gusto, conforme edad, y_ (= both) +_eleccion libre y_ (= and) _mutuo ardor ata los lazos?_ +Note that, by poetic license, =ata= agrees in number with +the nearest subject, although it has two. + +=220.=--8-11. 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 _A la victoria de Bailen_. + +Perez Bonalde: see note to p. 214. + +=222.=--5. The Venezuelan flag is yellow, blue and red +with seven small white stars in the center. + +=225.=--=La carcelera=: the words and music of this +song and of the first that follows are taken from the +_Cancionero salmantino_ (Damaso Ledesma), Madrid, 1907. + +=227.=--=La cachucha=: the words and music of this song +and of the five that immediately follow are taken page 322 +from _Poesias populares_ (Tomas Segarra), Leipzig, 1862. + +=238.=--=El tragala=: (lit., _the swallow it_) a song with +which the Spanish liberals taunted the partizans of an +absolute government. + +=242.=--=Himno de Riego=: 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. _Versification_, p. lxxix. + +=251.=--=Himno Nacional de Cuba=, called also the =Himno +de Bayamo=, on account of the importance of Bayamo (see +in _Vocab._) in the Cuban revolution of 1868. Note the +ternary movement of this song, and see _Versification_, p. +lxxiii. + + + + + +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.txt or 16059.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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