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diff --git a/old/55829-h/55829-h.htm b/old/55829-h/55829-h.htm deleted file mode 100644 index c6c1ae5..0000000 --- a/old/55829-h/55829-h.htm +++ /dev/null @@ -1,26310 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" - "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - History of Spanish and Portuguese literature, Volume 1, by Frederick Bouterwek.--a Project Gutenberg eBook - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -a {text-decoration: none} -a:hover {color: red;} -a:visited {color: gray;} - -.antiqua { - font-family: Blackletter, Fraktur, Textur, "Olde English Mt", "Olde English", Gothic, serif; -} - -small { - font-style: normal; - font-size: small} - -body { - padding: 4px; - margin: auto 10%; -} - -p { - text-align: justify; 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- text-align: center} - -.smcap { - font-style: normal; - font-variant: small-caps} - -.caption { - text-align: center} - -/* Images */ -img { - border: none; - max-width: 100%} - -.figcenter { - clear: both; - display: table; - margin: 1em auto; - text-align: center} - -/* Footnotes */ -.footnotes { - margin: 1em auto; - border: 1px solid #333; -} - -.fnanchor { - vertical-align: super; - font-style: normal; - font-weight: normal; - font-size: small; - line-height: .1em; - text-decoration: none; - white-space: nowrap /* keeps footnote on same line as referenced text */} - -.footnote p:first-child { - text-indent: -2.5em; -} - -.footnote p { - margin: 1em; - padding-left: 2.5em; -} - -.label { - width: 2em; - display: inline-block; - text-align: right; - text-decoration: none; -} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - color: #004200; - position: absolute; - right: 5px; - font-style: normal; - font-weight: normal; - font-size: small; - text-align: right; -} /* page numbers */ - -/* Transcriber's notes */ -.transnote { - background-color: #E6E6FA; - border: 1px solid #000; - color: black; - margin: 1em auto; - padding: 1em; -} - -/* Poetry */ - -.poem { - display: table; - margin: auto; -} - -.poem .stanza { - margin: 1em 0em 1em 0em} - .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} - .poem span.i1 {display: block; margin-left: 0.5em; padding-left: 3em; text-indent: -3em;} - .poem span.i2 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} - .poem span.i3 {display: block; margin-left: 1.5em; padding-left: 3em; text-indent: -3em;} - .poem span.i4 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} - .poem span.i5 {display: block; margin-left: 2.5em; padding-left: 3em; text-indent: -3em;} - .poem span.i6 {display: block; margin-left: 3em; padding-left: 3em; text-indent: -3em;} - .poem span.i7 {display: block; margin-left: 3.5em; padding-left: 3em; text-indent: -3em;} - .poem span.i8 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} - .poem span.i10 {display: block; margin-left: 5em; padding-left: 3em; text-indent: -3em;} - .poem span.i12 {display: block; margin-left: 6em; padding-left: 3em; text-indent: -3em;} - .poem span.i13 {display: block; margin-left: 6.5em; padding-left: 3em; text-indent: -3em;} - .poem span.i14 {display: block; margin-left: 7em; padding-left: 3em; text-indent: -3em;} - .poem span.i16 {display: block; margin-left: 8em; padding-left: 3em; text-indent: -3em;} - .poem span.i18 {display: block; margin-left: 9em; padding-left: 3em; text-indent: -3em;} - .poem span.i20 {display: block; margin-left: 10em; padding-left: 3em; text-indent: -3em;} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of History of Spanish and Portuguese -Literature (Vol 1 of 2), by Friedrich Bouterwek - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: History of Spanish and Portuguese Literature (Vol 1 of 2) - -Author: Friedrich Bouterwek - -Translator: Thomasina Ross - -Release Date: October 27, 2017 [EBook #55829] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SPANISH AND PORTUGUESE LITERATURE *** - - - - -Produced by Anita Hammond, Wayne Hammond, Josep Cols Canals -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - -</pre> - - -<p><span class="pagenum" id="Page_i">i</span></p> - -<h1> -HISTORY<br /> - -<small>OF</small><br /> - -SPANISH AND PORTUGUESE<br /> - -<span class="x-large">LITERATURE.</span><br /> -</h1> -<p><span class="pagenum" id="Page_ii">ii</span></p> -<p><span class="pagenum" id="Page_iii">iii</span></p> - -<hr class="chap" /> - -<h2 class="xx-large"> -HISTORY<br /> - -<small>OF</small><br /> - -SPANISH AND PORTUGUESE<br /> - -<span class="x-large">LITERATURE.</span><br /> - -<small>BY</small><br /> - -<span class="x-large">FREDERICK BOUTERWEK.</span><br /> - -<img src="images/hr.jpg" alt="" /><br /> - -<span class="medium">IN TWO VOLUMES.</span><br /> - -<img src="images/hr.jpg" alt="" /><br /> - -<span class="antiqua">Translated from the Original German</span>,<br /> - -<span class="x-large">BY THOMASINA ROSS.</span><br /> - -<img src="images/hr.jpg" alt="" /><br /> - -<span class="medium">VOL. I.<br /> - -SPANISH LITERATURE.</span><br /> - -<img src="images/hr.jpg" alt="" /><br /> - -<span class="large">LONDON:<br /> - -BOOSEY AND SONS, BROAD STREET.<br /> - -1823.</span></h2> - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_iv">iv</span></p> - -<p class="copy">F. Justins, Printer, 41, Brick Lane, Spitalfields. -<span class="pagenum" id="Page_v">v</span></p> - -<hr class="chap" /> - -<h2 id="PREFACE">PREFACE.</h2> - -<p>The growing interest of Spanish and Portuguese -Literature would, perhaps, be thought -a sufficient reason for laying the following -translation before the public, were the merits -of the original work even less conspicuous, -and the deficiency it appears fitted to -supply in our language less sensibly felt. It -is, indeed, extraordinary, that no similar work -has hitherto appeared in a country, where the -subject of which this history treats, has, in the -instances in which it has been partially explored, -always been found a rich source of -pleasure and instruction. But the information -thus collected from the literary stores of Spain -and Portugal, however satisfactory on particular -points, is, from its nature, detached and -incomplete, and seems calculated to increase -<span class="pagenum" id="Page_vi">vi</span> -rather than to diminish the desire for such a -connected and comprehensive view of the -whole subject as M. Bouterwek has exhibited -in his General History of Modern Literature.</p> - -<p>The following volumes on the literature of -Spain and Portugal are extracted from a work, -entitled, <i>Geschichte der Poesie und Beredsamkeit -seit dem Ende der dreizehnten Jahrhunderts</i>, -(History of Poetry and Eloquence from -the close of the thirteenth Century,) in which -M. Bouterwek has taken an historical and -critical survey of the literature of the principal -nations of Europe. The work consists of twelve -volumes, published at different periods at Göttingen; -the first volume having appeared in -1805, and the last, which contains an index to -the whole, in 1819.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">1</a> The two volumes now -translated are the third and fourth of the -German original. -<span class="pagenum" id="Page_vii">vii</span></p> - -<p>If it be admitted that there remains in -English literature a vacant place which ought -to be occupied by a work of this kind, it is -not apprehended that the means now resorted -to for filling up the chasm will be disapproved; -at least the translator is not aware that any -better source could have been found for supplying -the deficiency. In vain, she is persuaded, -would any substitute be sought for in -French, much as that language abounds in -works of criticism. Sismondi in his <i>Litterature -du Midi de l’Europe</i>, implicitly adopts -the judgments passed by Bouterwek on Spanish -and Portuguese literature; and indeed -with respect to that part of his subject he -says very little of importance that is not -directly borrowed from the German critic.<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">2</a> -The <i>Essai sur la Litterature Espagnole</i>, published -in Paris in 1810, and which appears -to have been well received by the French -public, is a gross plagiarism. It is, with some -<span class="pagenum" id="Page_viii">viii</span> -slight additions, merely the translation of an -anonymous English work, entitled, <i>Letters -from an English Traveller in Spain</i>, the -epistolary form being dropped, and the materials -transposed for the purpose of concealing -the theft.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">3</a> The work of M. Bouterwek belongs, -however, to a superior class. To say that -M. Bouterwek has treated his subject with -great perspicuity and precision, would be to -express only a small portion of his merits. Extensive -and laborious as his enquiries have evidently -been, his judgment in the management -of his materials is still more remarkable than -the indefatigable research with which they -must have been obtained. He has not confined -himself to a mere narrative of the progress -and an exemplification of the beauties and -deformities of the literature of which he is -the historian.—The philosophic spirit which -pervades his criticism was not to be circumscribed -within such narrow bounds. He seeks -in the structure of society, the habits of the -people, and the influence of events, for the -causes of the intellectual phenomena he has -<span class="pagenum" id="Page_ix">ix</span> -to describe; and he examines with great candour -and impartiality the effects of mis-government -and arbitrary institutions on poetic genius -and literary taste. Impressed with this favourable -opinion of the work, the translator has -endeavoured to give a true representation of -its contents. In undertaking the translation, -her wish was to preserve the character of -the original, as far as possible, under an -English dress. She began the task with an -anticipation of its difficulty, and she ends it -with a consciousness of the indulgence of -which her labours stand in need; but at the -same time with the hope that she will not be -found to have altogether failed in the object -she had in view.</p> - -<p>The first of the following volumes is devoted -to the history of Spanish, and the second to the -history of Portuguese Literature. The subdivisions -of the work correspond with periods -marked out by certain revolutions in taste, -produced by the rise of eminent writers, or by -other influential circumstances. These epochs -in literary cultivation form convenient resting -places for the student, and contribute to -exhibit in a clear point of view the circumstances -by which the advancement of -polite learning has been accelerated or retarded. -<span class="pagenum" id="Page_x">x</span> -The specimens, which are numerous, -and a great portion of which are selected -from very scarce works, cannot fail to prove -highly acceptable to the lovers of the literature -of Spain and Portugal. For a general -and comprehensive knowledge of that literature -they will be found amply sufficient, -and to those who wish to pursue its study more -in detail, they will afford most useful assistance. -In such a course of study, great advantage may -also be derived from the numerous bibliographical -notes which the author has introduced, -and which are therefore scrupulously retained -in the translation.</p> - -<p>The translator at first intended to give literal -versions of all the specimens extracted from -Spanish and Portuguese authors; but had she -persisted in this plan, the translation could not -have been completed without augmenting the -price of the publication much beyond the rate -to which the publishers were of opinion it -ought to be limited. To have omitted a part -of the extracts in order to give translations of -the rest would have been still more improper, -for the extracts quoted in the notes are all -necessary to the illustration of the text; and -besides such a mutilation would have deprived -the work of a merit which has just been -<span class="pagenum" id="Page_xi">xi</span> -pointed out, namely, that of supplying sufficient -materials for a comprehensive study -of the literature of Spain and Portugal. The -translator has it, however, in contemplation, to -prepare for the press a volume containing -translations of the specimens given by M. -Bouterwek, and of some other pieces from -the Spanish and Portuguese languages. This -volume will not form a mere appendix to the -volumes now published; an endeavour will -be made to render it useful and entertaining as -a separate work.</p> - -<p>It is necessary to observe, that the History -of Italian Literature, which is sometimes referred -to in the notes, is a part of M. -Bouterwek’s General History of Poetry and -Eloquence. It forms the two first volumes of -the German work; some other parts of which -the translator will be prepared to send to -the press, should the merits of the original -procure from the public a favourable reception -for these volumes on Spanish and Portuguese -Literature.</p> - -<p>Notwithstanding that the translator had -considerable assistance in reading and revising -the proofs, she regrets to find that still further -correction would have been desirable. Fortunately, -however, there are few errors in the -<span class="pagenum" id="Page_xii">xii</span> -Spanish and Portuguese extracts; and those -which do occur in the English text, will be -found to be in general of a literal or obvious -nature, altogether incapable of misleading the -intelligent reader. Of the mistakes of the press -which have been observed, tables of errata are -made. If there are others, the translator is -confident, that the persons who are the best -able to correct such faults, will be the most -ready to pardon them. -<span class="pagenum" id="Page_xiii">xiii</span></p> - -<hr class="chap" /> - -<h2 id="TABLE_OF_CONTENTS">TABLE OF CONTENTS.<br /> - -VOL. I.</h2> - -<table class="toc"> - <tr> - <th colspan="2"><span class="large"><a href="#INTRODUCTION">INTRODUCTION.</a></span><br /> - <a href="#GENERAL_VIEW_OF_THE_ORIGIN_OF_ROMANTIC">GENERAL VIEW OF THE ORIGIN OF ROMANTIC POETRY AND - ELOQUENCE IN THE KINGDOMS OF SPAIN AND PORTUGAL.</a></th> - </tr> - <tr> - <td /> - <td class="small tdr"><i>Page</i></td> - </tr> - <tr> - <td><a href="#Recollection_of_the_general">Recollection of the general State of Spain and Portugal, about the middle of the thirteenth century</a></td> - <td class="tdr">1</td> - </tr> - <tr> - <td><a href="#View_of_the_principal_idioms">View of the principal idioms of the romance spoken in the Pyrenean Peninsula</a></td> - <td class="tdr">5</td> - </tr> - <tr> - <td><a href="#Original_separation_of">Original separation of the Catalonian and Limosin poetry from the Castilian and Portuguese</a></td> - <td class="tdr">15</td> - </tr> - <tr> - <td><a href="#National_metres_and_rhymes">National metres and rhymes common to the Spaniards and Portuguese</a></td> - <td class="tdr">20</td> - </tr> - <tr> - <th colspan="2"><span class="large"><a href="#BOOK_I">BOOK I.</a></span><br /> - <a href="#FROM_THE_END_OF_THE_THIRTEENTH">FROM THE END OF THE THIRTEENTH TO THE COMMENCEMENT OF THE SIXTEENTH CENTURY.</a></th> - </tr> - <tr> - <td><a href="#PROBABLE_PERIOD_OF_THE_FIRST_ROMANCES">Probable period of the first romances</a></td> - <td class="tdr">27</td> - </tr> - <tr> - <td><a href="#POEMA_DEL_CID">Poema del Cid</a></td> - <td class="tdr">28</td> - </tr> - <tr> - <td><a href="#POEMA_DE_ALEXANDRO_MAGNO">Poema de Alexandro Magno</a></td> - <td class="tdr">30<span class="pagenum" id="Page_xiv">xiv</span></td> - </tr> - <tr> - <td><a href="#GONZALO_BERCEO">Gonzalo Berceo</a></td> - <td class="tdr">31</td> - </tr> - <tr> - <td><a href="#ALPHONSO_X">Alphonso X.; his literary merits.—Nicolas and Antonio de los romances, &c.</a></td> - <td class="tdr">32</td> - </tr> - <tr> - <td><a href="#ALPHONSO_XI">Alphonso XI.</a></td> - <td class="tdr">35</td> - </tr> - <tr> - <td><a href="#EARLY_CULTIVATION_OF_CASTILIAN_PROSE">Early cultivation of Castilian prose.—Don Juan Manuel; his Conde Lucanor; his romances</a></td> - <td class="tdr">36</td> - </tr> - <tr> - <td><a href="#SATIRICAL_POEM_OF_JUAN_RUYZ">Satirical poem of Juan Ruyz, arch-priest of Hita</a></td> - <td class="tdr">44</td> - </tr> - <tr> - <td><a href="#MORE_PRECISE_ACCOUNT_OF_THE_ORIGIN">More precise account of the origin of the Spanish poetic - romances and songs.—Probable rise of the romances of - chivalry in prose.—Original relationship of the poetic and - prose romances</a></td> - <td class="tdr">47</td> - </tr> - <tr> - <td><a href="#THE_DIFFERENT_KINDS_OF_POETIC_ROMANCE">The different kinds of poetic romance</a></td> - <td class="tdr">53</td> - </tr> - <tr> - <td><a href="#CASTILIAN_POETRY_IN_THE_THIRTEENTH">Castilian poetry in the thirteenth and fourteenth centuries</a></td> - <td class="tdr">72</td> - </tr> - <tr> - <td><a href="#POETICAL_COURT_OF_JOHN_II">Poetical court of John II.</a></td> - <td class="tdr">76</td> - </tr> - <tr> - <td><a href="#THE_MARQUIS_OF_VILLENA">The Marquis of Villena</a></td> - <td class="tdr">78</td> - </tr> - <tr> - <td><a href="#THE_MARQUIS_OF_SANTILLANA">The Marquis of Santillana—his poetical works—his historical and critical letter</a></td> - <td class="tdr">82</td> - </tr> - <tr> - <td><a href="#JUAN_DE_MENA">Juan de Mena</a></td> - <td class="tdr">90</td> - </tr> - <tr> - <td><a href="#PEREZ_DE_GUZMAN">Perez de Guzman, Rodriguez de Padron, and other Spanish lyric poets of the age of John II.</a></td> - <td class="tdr">100</td> - </tr> - <tr> - <td><a href="#OF_THE_CANCIONERO_GENERAL">Of the Cancionero General, and the different kinds of ancient Spanish songs</a></td> - <td class="tdr">102</td> - </tr> - <tr> - <td><a href="#OF_THE_ROMANCERO_GENERAL">Of the Romancero General</a></td> - <td class="tdr">121</td> - </tr> - <tr> - <td><a href="#FIRST_TRACES_OF_THE_ORIGIN">First traces of the origin of Spanish dramatic poetry in the - Mingo Rebulgo.—Juan del Enzina.—Calistus and Melibœa, - a dramatic tale</a></td> - <td class="tdr">128</td> - </tr> - <tr> - <td><a href="#FURTHER_ACCOUNT_OF_SPANISH_PROSE">Further account of Spanish prose.—Rise of the historical art.—Early progress of the epistolary style</a></td> - <td class="tdr">137</td> - </tr> - <tr> - <td><a href="#JUAN_DE_LA_ENZINAS_ART_OF_CASTILIAN_POETRY">Juan de la Enzina’s Art of Castilian poetry</a></td> - <td class="tdr">145<span class="pagenum" id="Page_xv">xv</span></td> - </tr> - <tr> - <th colspan="2"><span class="large"><a href="#BOOK_II">BOOK II.</a></span><br /> - <a href="#FROM_THE_BEGINNING_OF_THE_SIXTEENTH">FROM THE BEGINNING OF THE SIXTEENTH TO THE LATTER HALF OF THE SEVENTEENTH CENTURY.</a></th> - </tr> - <tr> - <td><a href="#INTRODUCTION"><span class="smcap">Introduction.</span></a>—<a href="#GENERAL_VIEW_OF_THE_STATE">General view of the state of poetical and rhetorical cultivation in Spain during the above period</a></td> - <td class="tdr">148</td> - </tr> - <tr> - <td><a href="#FIRST_SECTION"><span class="smcap">First Section.</span>—History of Spanish poetry and eloquence - from the introduction of the Italian style to the age of - Cervantes and Lope de Vega</a></td> - <td class="tdr">161</td> - </tr> - <tr> - <td><a href="#OCCASION_OF_THE_INTRODUCTION_OF_THE_ITALIAN_STYLE">Occasion of the introduction of the Italian style</a></td> - <td>ibid</td> - </tr> - <tr> - <td><a href="#BOSCAN">Boscan</a></td> - <td class="tdr">162</td> - </tr> - <tr> - <td><a href="#GARCILASO_DE_LA_VEGA">Garcilaso de la Vega</a></td> - <td class="tdr">176</td> - </tr> - <tr> - <td><a href="#DIEGO_DE_MENDOZA">Diego de Mendoza</a></td> - <td class="tdr">186</td> - </tr> - <tr> - <td><a href="#MENDOZAS_ACCOUNT_OF_THE_REBELLION_OF_GRANADA">Mendoza’s account of the rebellion of Granada, the first classical history in Spanish literature</a></td> - <td class="tdr">205</td> - </tr> - <tr> - <td><a href="#SAA_DE_MIRANDA">Saa de Miranda—(Commencement of elevated pastoral poetry in Spanish literature)</a></td> - <td class="tdr">210</td> - </tr> - <tr> - <td><a href="#MONTEMAYOR">Montemayor; his Diana—the first Spanish pastoral romance</a></td> - <td class="tdr">217</td> - </tr> - <tr> - <td><a href="#HERRERA">Herrera; first developement of the ode style in Spanish poetry</a></td> - <td class="tdr">228</td> - </tr> - <tr> - <td><a href="#LUIS_DE_LEON">Luis de Leon</a></td> - <td class="tdr">240</td> - </tr> - <tr> - <td><a href="#MINOR_SPANISH_POETS">Minor Spanish poets during the period of this section, viz. - Acuna—Cetina—Padilla—Gil Polo</a></td> - <td class="tdr">254</td> - </tr> - <tr> - <td><a href="#OBSTACLES_TO_THE_IMITATION">Obstacles to the imitation of the romantic epopee in Spain—Unsuccessful essays in serious epopee—translations of classical epic poetry</a></td> - <td class="tdr">262</td> - </tr> - <tr> - <td><a href="#PROGRESS_OF_THE_ROMANTIC_POETRY">Progress of the romantic poetry.—Castillejo; his contest with the partizans of the Italian style</a></td> - <td class="tdr">267</td> - </tr> - <tr> - <td><a href="#HISTORY_OF_SPANISH_DRAMATIC_POETRY">History of Spanish dramatic poetry during the first half and ten succeeding years of the sixteenth century</a></td> - <td class="tdr">277<span class="pagenum" id="Page_xvi">xvi</span></td> - </tr> - <tr> - <td><a href="#THE_ERUDITE_PARTY">The Erudite party</a></td> - <td class="tdr">279</td> - </tr> - <tr> - <td><a href="#THE_PARTY_OF_THE_DRAMATIC_MORALISTS">The party of the moralists</a></td> - <td class="tdr">281</td> - </tr> - <tr> - <td><a href="#THE_FIRST_NATIONAL_PARTY">The first national party—Torres Naharro</a></td> - <td class="tdr">282</td> - </tr> - <tr> - <td><a href="#THE_SECOND_NATIONAL_PARTY">The second national party—Lope de Rueda; collections of his dramas by Juan Timoneda</a></td> - <td class="tdr">286</td> - </tr> - <tr> - <td><a href="#NAHARRO_OF_TOLEDO">Naharro of Toledo</a></td> - <td class="tdr">289</td> - </tr> - <tr> - <td><a href="#JUAN_DE_LA_CUEVA">Juan de la Cueva; his art of poetry</a></td> - <td class="tdr">290</td> - </tr> - <tr> - <td><a href="#PROBABLE_RISE_OF_THE_SPIRITUAL_DRAMA_IN_SPAIN">Probable rise of the spiritual drama in Spain</a></td> - <td class="tdr">293</td> - </tr> - <tr> - <td><a href="#ENTREMESES_AND_SAYNETES">Entremeses and Saynetes</a></td> - <td class="tdr">294</td> - </tr> - <tr> - <td><a href="#SPANISH_TRAGEDIES">Spanish tragedies, by Geronymo Bermudez</a></td> - <td class="tdr">296</td> - </tr> - <tr> - <td><a href="#HISTORY_OF_SPANISH_PROSE_DURING_THE_FIRST_HALF">History of Spanish prose during the first half and ten succeeding years of the sixteenth century</a></td> - <td class="tdr">303</td> - </tr> - <tr> - <td><a href="#PROSE_ROMANCES_OF_CHIVALRY">Prose romances of chivalry</a></td> - <td class="tdr">304</td> - </tr> - <tr> - <td><a href="#LAZARILLO_DE_TORMES">Romances of knavery—Lazarillo de Tormes</a></td> - <td class="tdr">305</td> - </tr> - <tr> - <td><a href="#TALES_OF_JUAN_TIMONEDA">Tales of Juan Timoneda</a></td> - <td class="tdr">306</td> - </tr> - <tr> - <td><a href="#DIDACTIC_PROSE">Didactic prose</a>—<a href="#PEREZ_DE_OLIVA">Perez de Oliva</a>—<a href="#AMBROSIO_DE_MORALES">Ambrosio de Morales</a>—<a href="#PEDRO_DE_VALLES">Pedro de Valles</a>—<a href="#FRANCISCO_CERVANTES_DE_SALAZAR">Francisco Cervantes de Salazar</a></td> - <td class="tdr">308</td> - </tr> - <tr> - <td><a href="#HISTORICAL_PROSE">Historical prose—Annals of Zurita</a></td> - <td class="tdr">315</td> - </tr> - <tr> - <td><a href="#ORATORICAL_PROSE">Oratorical prose—Perez de Oliva</a></td> - <td class="tdr">320</td> - </tr> - <tr> - <td><a href="#EPISTOLARY_PROSE">Epistolary prose</a></td> - <td class="tdr">321</td> - </tr> - <tr> - <td><a href="#SPANISH_CRITICISM_DURING_THE_PERIOD_OF_THIS_SECTION">Spanish criticism during the period of this section—Alonzo Lopez Pinciano</a></td> - <td class="tdr">323</td> - </tr> - <tr> - <td><a href="#SECOND_SECTION"><small>SECOND SECTION.</small>—History of Spanish poetry and eloquence from the age of Cervantes and Lope de Vega to the middle of the seventeenth century</a></td> - <td class="tdr">327</td> - </tr> - <tr> - <td><a href="#CERVANTES">Cervantes</a></td> - <td>ibid</td> - </tr> - <tr> - <td><a href="#BRIEF_CHARACTER_OF_DON_QUIXOTE">Brief character of Don Quixote</a></td> - <td class="tdr">333</td> - </tr> - <tr> - <td><a href="#THE_MORAL_TALES_OF_CERVANTES">The moral tales of Cervantes</a></td> - <td class="tdr">340</td> - </tr> - <tr> - <td><a href="#THE_GALATEA">The Galatea</a></td> - <td class="tdr">342</td> - </tr> - <tr> - <td><a href="#THE_JOURNEY_TO_PARNASSUS">The journey to Parnassus</a></td> - <td class="tdr">346<span class="pagenum" id="Page_xvii">xvii</span></td> - </tr> - <tr> - <td><a href="#DRAMATIC_WORKS_OF_CERVANTES">Dramatic works of Cervantes</a></td> - <td class="tdr">350</td> - </tr> - <tr> - <td><a href="#THE_ROMANCE_OF_PERSILES_AND_SIGISMUNDA">The romance of Persiles and Sigismunda</a></td> - <td class="tdr">357</td> - </tr> - <tr> - <td><a href="#LOPE_DE_VEGA">Lope de Vega</a></td> - <td class="tdr">359</td> - </tr> - <tr> - <td><a href="#GENERAL_CHARACTERISTICS_OF_HIS_POETRY">General characteristics of his poetry</a></td> - <td class="tdr">363</td> - </tr> - <tr> - <td><a href="#EXPLANATION_OF_THE_IDEA_OF_A_SPANISH_COMEDY">Explanation of the idea of a Spanish comedy as it is exemplified in the dramas of Lope de Vega</a></td> - <td class="tdr">364</td> - </tr> - <tr> - <td><a href="#VARIOUS_SPECIES_OF_DRAMAS_BY_THIS_POET">Various species of dramas by this poet</a></td> - <td class="tdr">368</td> - </tr> - <tr> - <td><a href="#BRIEF_NOTICE_OF_HIS_OTHER_POETIC_WORKS">Brief notice of his other poetic works</a></td> - <td class="tdr">390</td> - </tr> - <tr> - <td><a href="#THE_BROTHERS_LEONARDO_DE_ARGENSOLA">The Brothers Leonardo de Argensola—Classic cultivation of the didactic satire and epistle in Spanish literature</a></td> - <td class="tdr">392</td> - </tr> - <tr> - <td><a href="#TRAGEDIES_BY_THE_ELDER_ARGENSOLA">Tragedies by the elder Argensola</a></td> - <td class="tdr">394</td> - </tr> - <tr> - <td><a href="#EPISTLES_ODES">Epistles, odes, &c. by the younger Argensola</a></td> - <td class="tdr">400</td> - </tr> - <tr> - <td><a href="#CONTINUATION_OF_THE_HISTORY_OF_SPANISH_POETRY">Continuation of the history of Spanish poetry and eloquence, during the age of Cervantes and Lope de Vega</a></td> - <td class="tdr">406</td> - </tr> - <tr> - <td><a href="#FRESH_FAILURES_IN_EPIC_POETRY">Fresh failures in epic poetry—Ercilla’s Araucana</a></td> - <td class="tdr">407</td> - </tr> - <tr> - <td><a href="#LYRIC_AND_BUCOLIC_POETS">Lyric and bucolic poets of the classic school of the sixteenth century</a></td> - <td class="tdr">413</td> - </tr> - <tr> - <td><a href="#VICENTE_ESPINEL">Vicente Espinel</a></td> - <td class="tdr">414</td> - </tr> - <tr> - <td><a href="#CHRISTOVAL_DE_MESA">Christoval de Mesa</a></td> - <td class="tdr">415</td> - </tr> - <tr> - <td><a href="#JUAN_DE_MORALES">Juan de Morales</a></td> - <td class="tdr">416</td> - </tr> - <tr> - <td><a href="#AGUSTIN_DE_TEXADA">Agustin de Texada, &c.</a></td> - <td class="tdr">417</td> - </tr> - <tr> - <td><a href="#RISE_OF_A_NEW">Rise of a new irregular and fantastical style in Spanish poetry</a></td> - <td class="tdr">428</td> - </tr> - <tr> - <td><a href="#GONGORA_AND_HIS_ESTILO_CULTO">Gongora and his Estilo Culto—the Cultoristos—the Conceptistos</a></td> - <td class="tdr">431</td> - </tr> - <tr> - <td><a href="#TWO_DRAMATIC_POETS">Two dramatic poets of the age of Lope de Vega</a></td> - <td class="tdr">441</td> - </tr> - <tr> - <td><a href="#CHRISTOVAL_DE_VIRUES">Christoval de Virues</a></td> - <td class="tdr">442</td> - </tr> - <tr> - <td><a href="#PEREZ_DE_MONTALVAN">Perez de Montalvan</a></td> - <td class="tdr">446</td> - </tr> - <tr> - <td><a href="#NOVELS_IN_THE_AGE_OF_CERVANTES">Novels in the age of Cervantes and Lope de Vega</a></td> - <td class="tdr">450</td> - </tr> - <tr> - <td><a href="#PROGRESSIVE_CULTIVATION_OF_THE_HISTORICAL_ART">Progressive cultivation of the historical art—Mariana</a></td> - <td class="tdr">455<span class="pagenum" id="Page_xviii">xviii</span></td> - </tr> - <tr> - <td><a href="#FLUCTUATION_OF_SPANISH_TASTE">Fluctuation of Spanish taste from the classic to the corrupt style</a></td> - <td class="tdr">459</td> - </tr> - <tr> - <td><a href="#QUEVEDO">Quevedo</a></td> - <td class="tdr">460</td> - </tr> - <tr> - <td><a href="#CHARACTER_OF_HIS_BEST_WORKS">Character of his best works</a></td> - <td class="tdr">465</td> - </tr> - <tr> - <td><a href="#VILLEGAS">Villegas</a></td> - <td class="tdr">475</td> - </tr> - <tr> - <td><a href="#CONTINUATION_OF_THE_HISTORY_OF_LYRIC">Continuation of the history of lyric, bucolic, epic, didactic and satirical poetry, to the close of the period embraced by this section</a></td> - <td class="tdr">485</td> - </tr> - <tr> - <td><a href="#JAUREGUI">Jauregui</a></td> - <td class="tdr">486</td> - </tr> - <tr> - <td><a href="#BORJA_Y_ESQUILLACHE">Borja y Esquillache</a></td> - <td class="tdr">488</td> - </tr> - <tr> - <td><a href="#OTHER_POETS_OF_THIS_PERIOD">Other poets of this period—the Sylvas or Poetic Forests</a></td> - <td class="tdr">492</td> - </tr> - <tr> - <td><a href="#REBOLLEDO">Rebolledo</a></td> - <td class="tdr">493</td> - </tr> - <tr> - <td><a href="#CONTINUATION_OF_THE_HISTORY_OF_THE_SPANISH_DRAMA">Continuation of the history of the Spanish drama</a></td> - <td class="tdr">499</td> - </tr> - <tr> - <td><a href="#CALDERON">Calderon</a></td> - <td class="tdr">500</td> - </tr> - <tr> - <td><a href="#CHARACTER_OF_THE_DIFFERENT_SPECIES">Character of the different species of Calderon’s dramas</a></td> - <td class="tdr">503</td> - </tr> - <tr> - <td><a href="#HISTORY_OF_THE_SPANISH_DRAMA">History of the Spanish drama continued to the close of the period of this section</a></td> - <td class="tdr">521</td> - </tr> - <tr> - <td><a href="#ANTONIO_DE_SOLIS">Antonio de Solis</a></td> - <td class="tdr">524</td> - </tr> - <tr> - <td><a href="#MORETO">Moreto</a></td> - <td class="tdr">526</td> - </tr> - <tr> - <td><a href="#JUAN_DE_HOZ">Juan de Hoz</a></td> - <td>ibid</td> - </tr> - <tr> - <td><a href="#TIRSO_DE_MOLINA">Tirso de Molina</a></td> - <td class="tdr">527</td> - </tr> - <tr> - <td><a href="#FRANCISCO_DE_ROXAS">Francisco de Roxas</a></td> - <td>ibid</td> - </tr> - <tr> - <td><a href="#AGUSTIN_DE_SALAZAR_Y_TORRES">Agustin de Salazar y Torres</a></td> - <td>ibid</td> - </tr> - <tr> - <td><a href="#MIRA_DE_MESCUA">Mira de Mescua</a></td> - <td class="tdr">528</td> - </tr> - <tr> - <td><a href="#COLLECTIONS_OF_SPANISH_DRAMAS">Collections of Spanish dramas published in the seventeenth century</a></td> - <td class="tdr">529</td> - </tr> - <tr> - <td><a href="#CONCLUSION_OF_THE_HISTORY_OF_SPANISH_ELOQUENCE">Conclusion of the history of Spanish eloquence and criticism, within the period of this section</a></td> - <td class="tdr">530</td> - </tr> - <tr> - <td><a href="#ANTONIO_DE_SOLIS_CONSIDERED_AS_A_HISTORIAN">Antonio de Solis considered as a historian</a></td> - <td class="tdr">531<span class="pagenum" id="Page_xix">xix</span></td> - </tr> - <tr> - <td><a href="#INTRODUCTION_OF_GONGORISM">Introduction of Gongorism into Spanish prose—Balthazar Gracian</a></td> - <td class="tdr">533</td> - </tr> - <tr> - <th colspan="2"><a href="#BOOK_III"><span class="large">BOOK III.</span></a></th> - </tr> - <tr> - <td><a href="#HISTORY_OF_SPANISH_LITERATURE">History of Spanish literature from its decline in the latter half of the seventeenth to the end of the eighteenth century</a></td> - <td class="tdr">538</td> - </tr> - <tr> - <th colspan="2"><a href="#CHAP_I">CHAP. I.</a></th> - </tr> - <tr> - <td><a href="#GENERAL_VIEW_OF_THE_STATE_OF_POETICAL">General view of the state of poetical and rhetorical cultivation -in Spain during this period</a></td> - <td class="tdr">540</td> - </tr> - <tr> - <th colspan="2"><a href="#CHAP_II">CHAP. II.</a></th> - </tr> - <tr> - <td><a href="#DECAY_OF_THE_OLD_SPANISH_POETRY">Decay of the old Spanish poetry and eloquence, and introduction of the French style into Spanish literature</a></td> - <td class="tdr">547</td> - </tr> - <tr> - <td><a href="#CANDAMO_ZAMORA_AND_CANIZARES">Candamo, Zamora and Cañizares, dramatists in the old national style</a></td> - <td>ibid</td> - </tr> - <tr> - <td><a href="#DONA_JUANA_INEZ_DE_LA_CRUZ">Doña Juana Inez de la Cruz</a></td> - <td class="tdr">551</td> - </tr> - <tr> - <td><a href="#Gerardo_Lobo">Gerardo Lobo</a></td> - <td class="tdr">556</td> - </tr> - <tr> - <td><a href="#Diffusion_of_the_French_taste">Diffusion of the French taste—Luzan, his art of poetry, &c.</a></td> - <td class="tdr">557</td> - </tr> - <tr> - <td><a href="#LUZANS_POETIC_COMPOSITIONS">Luzan’s poetic compositions</a></td> - <td class="tdr">568</td> - </tr> - <tr> - <td><a href="#MAYANS_Y_SISCAR_BLAS_NASARRE">Mayans y Siscar and Blas Nasarre</a></td> - <td class="tdr">570</td> - </tr> - <tr> - <td><a href="#MONTIANOS_TRAGEDIES">Montiano’s tragedies in the French style</a></td> - <td class="tdr">571</td> - </tr> - <tr> - <td><a href="#VELASQUEZ">Velasquez</a></td> - <td class="tdr">574</td> - </tr> - <tr> - <th><a href="#CHAP_III">CHAP. III.</a></th> - </tr> - <tr> - <td><a href="#CONCLUDING_PERIOD_OF_THE_HISTORY_OF_SPANISH_POETRY">Concluding period of the history of Spanish poetry and eloquence</a></td> - <td class="tdr">575</td> - </tr> - <tr> - <td><a href="#LA_HUERTA">La Huerta</a></td> - <td class="tdr">576</td> - </tr> - <tr> - <td><a href="#His_tragedies">His tragedies</a></td> - <td class="tdr">580<span class="pagenum" id="Page_xx">xx</span></td> - </tr> - <tr> - <td><a href="#His_Spanish_theatre">His Spanish theatre</a></td> - <td class="tdr">584</td> - </tr> - <tr> - <td><a href="#SEDANO">Sedano</a></td> - <td class="tdr">587</td> - </tr> - <tr> - <td><a href="#YRIARTE">Yriarte</a></td> - <td class="tdr">588</td> - </tr> - <tr> - <td><a href="#LEON_DE_ARROYAL">Leon de Arroyal</a></td> - <td class="tdr">593</td> - </tr> - <tr> - <td><a href="#JUAN_MELENDEZ_VALDES">Juan Melendez Valdes</a></td> - <td class="tdr">595</td> - </tr> - <tr> - <td><a href="#BRIEF_NOTICE_OF_SOME">Brief notice of some of the more recent literary productions of Spain</a></td> - <td class="tdr">600</td> - </tr> - <tr> - <td><a href="#CONCLUSION">Conclusion</a></td> - <td class="tdr">605</td> - </tr> -</table> - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_1">1</span></p> - -<h2 id="INTRODUCTION">INTRODUCTION.<br /> - -<span class="large hang" id="GENERAL_VIEW_OF_THE_ORIGIN_OF_ROMANTIC">GENERAL VIEW OF THE ORIGIN OF ROMANTIC -POETRY AND ELOQUENCE, IN THE KINGDOMS -OF SPAIN AND PORTUGAL.</span></h2> - -<p id="Recollection_of_the_general">When modern refinement began, during the -thirteenth century, to emerge from the rudeness -of the middle ages, that part of Europe -which geographers have called the Pyrenean -Peninsula, and which, according to its present -political division, forms Spain and Portugal, -contained four Christian kingdoms and some -Mahometan principalities, to which the title -of kingdom has also been given. More than -five hundred years had elapsed since the -battle of Xerez de la Frontera;<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">4</a> and the -Moors, who, by the result of that conflict, -obtained the dominion of the greater part of -Spain and Portugal, had, by the repeated -victories of the Christians, been, in their turn, -driven back to the southern extremity of the -country, and were obviously not destined to -<span class="pagenum" id="Page_2">2</span> -maintain themselves much longer even in that -quarter.</p> - -<p>During these five centuries of almost uninterrupted -warfare between the race of Moorish -Arabs and the Christians of ancient European -descent, both parties, notwithstanding that -their reciprocal hostility was influenced by -fanaticism, had unconsciously approximated -in mind and in manners. The intervals of -repose, which formed short links in the chain -of their sanguinary conflicts, afforded them -some opportunities for the interchange of the -arts of peace, and they were soon taught to -feel for each other that involuntary respect -which the brave can never withhold from -brave adversaries. Love adventures, in which -the Moorish knight and Christian lady, or -the Christian knight and Moorish lady, respectively -participated, could not be of rare -occurrence. The Arab, who, in his native -deserts, had not been accustomed to impose -on women half the despotic restraints to -which the sex is subject in the harems of -Mahometan cities, was soon disposed to imitate -the gallantry of the descendants of the -Goths; and still more readily did the imagination -of the Christian knight, in a climate -which was far from being ungenial, even to -African invaders, acquire an oriental loftiness. -<span class="pagenum" id="Page_3">3</span> -Thus arose the spirit of Spanish knighthood, -which was, in reality, only a particular form -of the general chivalrous spirit then prevailing -in most of the countries of Europe, -but which, under that form, impressed in an -equal degree, on the old European Spaniard -an oriental, and on the Spanish Moor a -European character.</p> - -<p>In the first period of this long contest -the Arabs carried learning and the arts to a -degree of cultivation far beyond any thing -known in the Christian parts of Spain. Those -wild enthusiasts learned, on the European -soil, to estimate the value of civilized life -with a rapidity as astonishing as that which -distinguished the social improvement of their -brethren, whom they had left behind in -Asia, under the government of the Caliphs. -Before the era of Mahomet, their language -had been cultivated and adapted -to poetry and eloquence, according to the -laws of oriental taste. In Spain, it soon -acquired, even among the conquered Christians, -the superiority over the barbarous -<i>Romance</i>, or dialect of the country, which -was then governed by no rule: for in the -eighth century, when the Moors penetrated -into Spain, the Visigoths, who had been -<span class="pagenum" id="Page_4">4</span> -masters of the territory since the fifth century, -were not yet completely intermixed by -matrimonial alliances with the <i>Provincials</i>, -or descendants of the Roman subjects; and -the new national language, which had grown -out of a corrupt latin, was still the sport of -accident. The conquered Christians, in the -provinces under Moorish dominion, soon forgot -their Romance. They became, indeed, -so habituated to the Arabic, that, according -to the testimony of a bishop of Cordova, -who lived in the ninth century, out of -a thousand Spanish Christians, scarcely one -was to be found capable of repeating the -latin forms of prayer, while many could express -themselves in Arabic with rhetorical -elegance, and compose Arabic verses.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">5</a></p> - -<p>But the Christians who had preserved their -independence, descending from the mountains -of the Asturias, began to repel the invaders, -<span class="pagenum" id="Page_5">5</span> -and in proportion as they extended their -conquests, a wider field was opened for the -Spanish tongue. It remained, nevertheless, -long barren and rude, and was destined to -receive many additions from the rich and elegant -Arabic, before it attained the copiousness -requisite for the wants even of common life.</p> - -<p id="View_of_the_principal_idioms">The circumstances, however, under which -the dialects of the several provinces existed, -did not present those facilities for an improved -national language, on the principle of the -Italian <i>Volgare illustre</i>, of the age of Dante, -which would have enabled a poet of Dante’s -genius, had such then arisen in Spain, to form -out of them one general literary language for -all the Christian states of the Peninsula. It -happened, singularly enough, that about the -beginning of the thirteenth century, the three -principal idioms which were spoken from the -coast of the Atlantic to the Pyrenees, and -from the Bay of Biscay to the Mediterranean, -were represented by three kingdoms perfectly -independent of each other. The Castilian -prevailed exclusively only in the Castiles and -Leon, the latter of which was permanently -united to the former in the year 1230. The -Portuguese was spoken both by the court and -the people of Portugal. In the kingdom of -<span class="pagenum" id="Page_6">6</span> -Arragon, the language in general use was the -Catalonian, a dialect nearly the same as the -Provençal or Limosin of the south of France, -but differing greatly both from the Castilian -and the Portuguese. This language also extended -to the little kingdom of Navarre, but -it was there spoken only by the nobles, who -were of French or Hispano-Gothic origin. -The great body of the population in Navarre -spoke the ancient Cantabrian, called <span class="smcap">Baskian</span>, -<span class="smcap">Vaskian</span>, or <span class="smcap">Biscayan</span>, and which still exists -in the Pyrenees and in the Spanish province -of Biscay.</p> - -<p>The trouble will be repaid if a glance be -now cast on the map, in order to distinguish, -with somewhat more precision than is usually -thought necessary, the respective domains of -the three principal dialects of the Spanish -tongue; for it would be very difficult, if not -impossible, to form any opinion on the contest -maintained between the Spaniards and the -Portuguese relative to the value of their -respective languages, and the influence which -the merits or demerits of these languages have -had on the polite literature of both countries, -without a knowledge of the geographical -boundaries, which, previously to the political -divisions, separated the Portuguese from the -<span class="pagenum" id="Page_7">7</span> -Castilians, and the latter from the Arragonese. -In these questions the Biscayan language is -of no consideration, as it has only an accidental -and unimportant connexion with the -other Spanish dialects, and, besides, bears not -the most remote resemblance to them.<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">6</a></p> - -<p>The mutilated latin spoken along the -Mediterranean on the Spanish shore, from -the Pyrenees as far as Murcia, appears to -have resolved itself, before the period of the -Arabian invasion, into the same language -which extended eastward from the Pyrenees -through the whole of the south of France to -the Italian frontiers, and which, according to -the most remarkable of its provincial forms, -was called the <span class="smcap">Catalonian</span>, the <span class="smcap">Valencian</span>, -the <span class="smcap">Limosin</span>, and the <span class="smcap">Provençal</span>. Of all -the tongues spoken in modern Europe, this -language of the coasts was the first cultivated. -In it the Troubadours sang, and their -lays had all the same character, whether -addressed to the Italians, the French, or the -Spaniards. From Catalonia it probably spread -<span class="pagenum" id="Page_8">8</span> -itself along the chain of the Pyrenees. The -kingdom of Arragon became, after the restoration -of the Spanish romance in that quarter, -its second country; for there both it and the -poetry of the Troubadours were particularly -favoured by the princes and the nobles. But -at the very period of the decline of this -poetry, the kingdom of Arragon was united -to the Castilian dominions. Another kind -of poetry, in the Castilian language, then -obtained encouragement, and the seat of the -government of the united kingdoms was permanently -fixed in Castile. The energetic -development of literary talent among the -Castilians, the bold romantic character of that -people, and that ardent spirit of national pride -which prompted them to make the most of all -their advantages, soon banished the ancient -and in other respects highly esteemed dialect -of Arragon, Catalonia, Valencia, and Murcia, -from literature, law, and the conversation of -the superior classes of society. Finally, -towards the middle of the sixteenth century -the Castilian became, in the strictest sense of -the word, the reigning language of the whole -Spanish monarchy.<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">7</a> -<span class="pagenum" id="Page_9">9</span></p> - -<p>The Castilian tongue (<i>Lengua Castellana</i>), -now called, by way of distinction, the Spanish, -<span class="pagenum" id="Page_10">10</span> -doubtless had its origin before the Moorish -conquest, in the northern and midland parts -of the Peninsula. How far it had originally -spread towards the south, it would not now be -easy to determine; but it came down from the -Asturian mountains with the warriors who -boldly undertook to recover the country of -their fathers. It first resumed its sway in the -kingdoms of Leon and old Castile, where it -is still spoken in the greatest purity.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">8</a> It -then followed step by step, the fortune of the -Castilian arms, until it finally became the -established language of the most southern -provinces, where its progress had been longest -withstood by the Arabic. More recently -cultivated than the Catalonian, it cannot be -doubted that it owes to that dialect a part of -<span class="pagenum" id="Page_11">11</span> -its improvement; but the elevated expression -of its long full-toned words, soon stamped on -it the character of quite a different kind of -romance. The abbreviation of the latin words -which gave the Catalonian language a striking -resemblance to the French, was not agreeable -to the genius of the Castilian, which, in consequence -of its clear sonorous vowels and the -beautiful articulation of its syllables, had, of -all the idioms of the Peninsula, the greatest -affinity to the Italian. Amidst the euphony -of the Castilian syllables, the ear is however -struck with the sound of the German and -Arabic guttural, which is rejected by all the -other nations that speak languages in which -the latin predominates.<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">9</a> -<span class="pagenum" id="Page_12">12</span></p> - -<p>The romance, out of which the present -Portuguese language has grown, was probably -spoken along the coast of the Atlantic -long before a kingdom of Portugal was -founded. Though far more nearly allied to -the Castilian dialect than to the Catalonian, -it resembles the latter in the remarkable -abbreviation of words, both in the grammatical -structure and in the pronunciation. At -the same time it is strikingly distinguished -from the Castilian by the total rejection of the -guttural, by the great abundance of its hissing -sounds, and by a nasal pronunciation common -to no people in Europe except the French -and the Portuguese. In the Spanish province -of Galicia, only politically separated from -Portugal, this dialect known under the name -of <i>Lingoa Gallega</i> is still as indigenous as in -Portugal itself, and was at an early period, so -highly esteemed, that Alphonso X. king of -Castile, surnamed the Wise, (<i>El Sabio</i>,) -composed verses in it. But the Galician -modification of this dialect of the western -<span class="pagenum" id="Page_13">13</span> -shores of the Peninsula has sunk, like the -Catalonian romance of the opposite coast, -into a mere provincial idiom, in consequence -of the language of the Castilian court being -adopted by the higher classes in Galicia.<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">10</a> -Indeed the Portuguese language, which in -its present state of improvement must no -longer be confounded with the popular idiom -of Galicia, would have experienced great -difficulty in obtaining a literary cultivation, -had not Portugal, which, even in the twelfth -century, formed an independent kingdom, -constantly vied in arts and in arms with -<span class="pagenum" id="Page_14">14</span> -Castile, and during the sixty years of her -union with Spain, from 1580 to 1640, zealously -maintained her particular national character.<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">11</a> -<span class="pagenum" id="Page_15">15</span></p> - -<p id="Original_separation_of">After accurately distinguishing these three -principal idioms of the Romance, which formed -the early spoken and written language of the -Peninsula,<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">12</a> it will be more readily perceived -why the Catalonian and Limosin poetry could -not maintain itself in competition with the -Spanish and Portuguese, which were of more -recent growth, and why the poetry of Spain -and that of Portugal have, from their first -rise, preserved nearly the same character and -passed through the same periods of splendour -and decay. The Catalonian poetry was, from -its origin, inseparably united with the language -of the Troubadours, throughout its territories, -from the Italian to the Castilian frontiers. -While the <i>Cours d’Amour</i>, the festal meetings, -and various other gallant exhibitions -prevailed, in which the <span class="smcap">Gaya Ciencia</span>, or -Joyous Art, of these bards of love and chivalry -flourished, and in which the bards themselves -bore a brilliant part as masters of the ceremonies, -the language and the poetry gave -reciprocal importance to each other. When, -however, the romantic spirit had exhausted -<span class="pagenum" id="Page_16">16</span> -itself in these modes, when another sort of -gallantry came into vogue, and finally, when -a more cultivated style of poetry, entirely new -to Spain, was introduced from Italy, and propagated -with the Castilian language, the -poets of Catalonia, Arragon, and Valencia -began to write verses in the new manner, and -to disown their mother tongue in their compositions. -This literary phenomenon, which -has its epoch only in the sixteenth century, -cannot be attributed to political dependence -alone; for hitherto the ancient national poetry -of the Castilians had continued foreign to -the inhabitants of the Arragonian provinces, -individual imitators excepted, even after these -provinces were united with the Castiles. But -when the Arragonese, in their zeal to vie with -the Castilians in the reform of their ancient -poetry, began to write verses in the Castilian -language, their success was facilitated by the -relationship which had long subsisted between -the old Provençal poetry, the sister of the -Limosin, and the Italian, which in the -sixteenth century became the model of the -Spanish and Portuguese.<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">13</a> -<span class="pagenum" id="Page_17">17</span></p> - -<p>The ancient Castilian poetry was as closely -allied to the Portuguese and the Galician, as -it was distinctly separated from the Limosin. -The Troubadours had, it is true, chaunted -their lays at the courts of Castile and Portugal, -but the national taste in both kingdoms -preferred different accents, other metrical -combinations, and was accustomed to quite -another kind of poetry of its own creation. -No Troubadours were needed in these countries; -for the common national poetry, which was -unknown to the Arragonian provinces, formed -a connecting tie for the Castilians, Portuguese, -and Galicians, as it was the faithful mirror of -their genius and character. However much -the Castilians might dislike the Portuguese -tongue, and the Portuguese, in their turn, the -Castilian, their poetry continued essentially -the same; and the languages of both countries -deviated, at all times, far more from the -Limosin romance, than ever they differed from -each other. Besides, the old Galician idiom, -which was scarcely distinguishable from the -<span class="pagenum" id="Page_18">18</span> -old Portuguese,<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">14</a> was originally a favourite -with the Castilians; and when it ceased to be -a literary language, the political conflicts of -the Spaniards and the Portuguese did not -destroy the poetical harmony of the two -nations. The Castilians, indeed, constantly -maintained the opinion, that the Portuguese -language was incapable of giving appropriate -expression to heroic sentiments; but the Portuguese -contradicted this assertion, not merely -by words, but by deeds.<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">15</a></p> - -<p>The old Castilian, Portuguese, and Galician -poetry was, under its own peculiar forms, still -more popular and strictly national than was -the Provençal, or than the Italian after it -has ever been. It was not destined to be -recited in courtly circles, before lords and -<span class="pagenum" id="Page_19">19</span> -ladies. It arose amidst the clang of arms, -and was fostered by constantly reiterated relations -of warlike feats and love adventures, -transmitted from mouth to mouth; while almost -every one who either witnessed or participated -in those feats and adventures, wished to give -them traditional circulation in the vehicle of -easy verse. So common was the practice -among all ranks of composing verses, particularly -in Portugal, that the historian, Manuel -de Faria y Sousa, thought himself, at a later -period, justified in calling every mountain in -that country a Parnassus, and every fountain -a Hippocrene.<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">16</a> The poems called Romances -took their name from the national language; -and it is probable that the same name was at -first given to all kinds of amatory and heroic -ballads, the taste for which, however rapidly -those productions increased and supplanted -each other, appears to have been insatiable. -To mark with critical precision the limits of -the different species of poetic composition, -<span class="pagenum" id="Page_20">20</span> -was never contemplated by the authors of -the Romances, but they very carefully distinguished, -in their national verse, several -kinds of measure and forms of rhyme, which -differed widely from the Provençal and -Limosin; and having touched on this subject, -it will, perhaps, be most convenient here to -introduce a brief description of the nature of -the verse common to the ancient Castilian, -Portuguese, and Galician poetry.</p> - -<p id="National_metres_and_rhymes">Of the metrical compositions common to -the ancient Castilians and Portuguese, the -most peculiarly national were the <small>REDONDILLAS</small>. -All verses, consisting of four trochaic -feet, appear to have been originally comprehended -under the name of <i>redondillas</i>,<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">17</a> -which, however, came at length to be, in -preference, usually applied to one particular -species of this description of verse. To a -people so romantic and chivalrous, and at the -<span class="pagenum" id="Page_21">21</span> -same time so fond of their national poetry, -as the Spaniards and Portuguese, nothing -could be more agreeable than verses of this -sort, which, in languages such as theirs, -could be composed on the spur of the occasion, -and which to the charm of simplicity -add the beauty of a sonorous harmony.<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">18</a> It -is difficult to suppose that the redondillas -have been formed in imitation of bisected -hexameters, as some Spanish authors have -imagined.<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">19</a> They may, with more probability, -be considered a relic of the songs of -the Roman soldiers, which were doubtless -often heard in these countries, and which -must have left recollections, the impressions -of which would be easily communicated by -the romanized natives to their conquerors, -the Visigoths.<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">20</a> In such verses, every individual -<span class="pagenum" id="Page_22">22</span> -could, without restraint, pour forth -the feelings which love and gallantry dictated, -accompanied by his guitar; as little attention -was paid to correctness in the distinction -of long and short syllables as in the rhyme. -When one of the poetic narratives, distinguished -by the name of Romances, was sung, -line followed line without constraint, the -expression flowing with careless freedom, as -feeling gave it birth. When, however, romantic -sentiments were to be clothed in a -popular lyric dress, to exhibit the playful -turns of the ideas under still more pleasing -forms, it was found advantageous to introduce -divisions and periods, which gave rise to regular -strophes (<i>estancias</i> and <i>coplas</i>). Lines -were, for the sake of variety, shortened by -halving them; and thus the tender and impressive -melody of the rhythm was sometimes -considerably heightened. Seduced by -the example of the Arabs, something excellent -was supposed to be accomplished when a -single sonorous and unvarying rhyme was -<span class="pagenum" id="Page_23">23</span> -rendered prominent throughout all the verses -of a long romance.<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">21</a> Through other romances, -however, pairs of rhymeless verses -were allowed to glide amidst a variety of -rhymed ones. At length, at a later period, -it was observed, that in point of elegance, -the <i>redondilla</i> was improved, rather than -injured by the change which was produced; -when, instead of perfect rhymes, imperfect -ones, or sounds echoing vowels but not consonants, -were heard in the terminating syllables. -Hence arose the distinction between -<span class="pagenum" id="Page_24">24</span> -<i>consonant</i> and <i>assonant</i> verses, which has -been cultivated into a rhythmical beauty unknown -to other nations.<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">22</a> Thus varied, and -yet ever simple, the redondilla has been still -more valuable to Spanish and Portuguese -versification, than the hexameter was to the -poetry of Greece and Rome. It has even -become the prevailing measure of dramatic -poetry.</p> - -<p>The period of the invention of the redondillas -was also nearly that of the dactylic -stanzas, called <i>versos de arte mayor</i>, because -their composition was considered an art of -a superior order. They had their origin, -according to some authorities, in Galicia -and Portugal.<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">23</a> This metrical form is, however, -found in several of the most ancient -Castilian poems. As the inventors of these -stanzas were ignorant of the true principles -of prosody, the attention paid to purity in -<span class="pagenum" id="Page_25">25</span> -the rhythm of the dactyles was even less than -in the rhymes of the redondillas. They -contented themselves with dealing out eleven -or twelve syllables, and left the dactylic measure -to accident. This may account for these -verses falling into disuse, as the progressive -improvement of taste, which allowed the -redondillas to maintain their original consideration, -was not reconcilable with the half -dancing, half hobbling rhymed lines of the -<i>versos de arte mayor</i>.<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">24</a></p> - -<p>Besides the above national modes of -rhythm and rhyme, common to Castilians, -Galicians, and Portuguese, the form of the -sonnet was also known in the west of Spain -and Portugal long before the imitation of -Italian poetry was thought of in those parts -of the Peninsula. It had doubtless been -acquired through the intervention of Provençal -<span class="pagenum" id="Page_26">26</span> -and Limosin poets. But the character -of the sonnet was not sufficiently popular for -the old Spaniards and Portuguese, and they -were never fond of that kind of poetic composition. -Not less adverse to the taste of -the country was the long protracted alexandrine. -Monkish rhymesters, who forced their -imitations of latin doggrels on the nation, -introduced this kind of verse into the Spanish -language, in the thirteenth or perhaps even -in the twelfth century, but certainly at a -period anterior to its appearance in any other -modern tongue. It soon, however, sunk into -disesteem, and was neglected.</p> - -<p>Thus, during the progress of their civilization, -the Spaniards and the Portuguese co-operated -in cultivating the same spirit and -form of poetry. What is, notwithstanding, -dissimilar in the polite literature of the two -countries, and what is peculiar to each, will, -with other subjects, become matter for consideration -in the following sheets. -<span class="pagenum" id="Page_27">27</span></p> - -<hr class="chap" /> - -<h2 class="xx-large" id="HISTORY">HISTORY<br /> - -<small>OF</small><br /> - -<span class="x-large">SPANISH LITERATURE.</span></h2> - -<hr class="tb" /> - -<h2 id="BOOK_I">BOOK I.<br /> - -<span class="large" id="FROM_THE_END_OF_THE_THIRTEENTH">FROM THE END OF THE THIRTEENTH TO THE COMMENCEMENT -OF THE SIXTEENTH CENTURY.</span></h2> - -<p class="figcenter"><img src="images/hr.jpg" alt="" /></p> - -<h3 id="PROBABLE_PERIOD_OF_THE_FIRST_ROMANCES">PROBABLE PERIOD OF THE FIRST ROMANCES.</h3> - -<p>The origin of Castilian poetry is lost in the obscurity -of the middle ages. The poetic spirit which then -awoke in the north of Spain, doubtless first manifested -itself in romances and popular songs. <i>Rodrigo -Diaz de Vivar</i>, called <i>El Campeador</i>, (the Champion), -and still better known by the Arabic title of the -<i>Cid</i>, (the Lord or Leader), assisted in founding the -kingdom of Castile for his prince, Ferdinand I. about -the year 1036, and the name and the exploits of that -favorite hero of the nation were probably celebrated -during his own age in imperfect redondillas. That -some of the many romances which record anecdotes of -the life of the Cid may be the offspring of that period, is -a conjecture which, to say the least of it, has never been -<span class="pagenum" id="Page_28">28</span> -disproved; and indeed the whole character impressed -upon Spanish poetry from its rise, denotes that the era -which gave birth to the first songs of chivalry must be -very remote. In the form, however, in which these -romances now exist, it does not appear that even the -oldest can be referred to the twelfth, far less to the -eleventh century.<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">25</a></p> - -<h3 id="POEMA_DEL_CID">POEMA DEL CID.</h3> - -<p>Some examples of Old Castilian verse, which are -held to be more ancient than any known romance -or ballad in that language, have been preserved.<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">26</a> -Of these the rhymed chronicle, Of the Exile and -Return of the Cid, (<i>Poema del Cid, el Campeador</i>), -<span class="pagenum" id="Page_29">29</span> -is considered the oldest. This chronicle can scarcely -be called a poem; and that it could not have been -the result of a poetic essay made in the spirit of -the national taste, is evident, from the nature of the -verse, which is a kind of rude alexandrine. It is the -more difficult to speak with any certainty respecting its -age, as there also exists a very old prose account of the -Cid, which corresponds in all the principal facts with -this rhymed chronicle. Though it may be true that -the author lived about the middle of the twelfth century, -as his editor Sanchez supposes, still it is not with -this work that the history of Spanish poetry ought to -commence. As a philological curiosity, the rhymed -chronicle is highly valuable; but any thing like poetry -which it contains must be considered as a consequence -of the poetic character of the nation to which the versifier -belonged, and of the internal interest of the subject. -The events are narrated in the order in which -they succeed each other, and the whole work scarcely -exhibits a single mark of invention. The small portion -of poetical colouring with which the dryness of the -relation is occasionally relieved, is the result of the chivalrous -cordiality of the writer’s tone, and of a few -happy traits in the description of some of the situations.<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">27</a> -<span class="pagenum" id="Page_30">30</span></p> - -<h3 id="POEMA_DE_ALEXANDRO_MAGNO">POEMA DE ALEXANDRO MAGNO.</h3> - -<p>Still less of the character of poetry belongs to the -fabulous chronicle of Alexander the Great (<i>Poema de -Alexandro Magno</i>), respecting the origin and age of -which the Spanish critics are far from being agreed. -Whether it be, as some pretend, a Spanish original of -the twelfth or thirteenth century, or as others assert, -the translation of a French work of the same age, in -verse, or, what is still more probable, a versified translation -of a latin legend, with the manufacture of which -some monk had occupied his solitary hours, are questions -which a writer of the history of Spanish poetry -cannot, with propriety, stop to discuss, even though -alexandrine verse should, as some suppose, have taken -its name from this chronicle. Next to stringing together -his rhymes,<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">28</a> the chief object of the author probably was -to dress the biography of Alexander the Great in the -costume of chivalry. Accordingly he relates how the -<i>Infante</i> Alexander, whose birth was distinguished by -<span class="pagenum" id="Page_31">31</span> -numerous prodigies, seemed, while yet a youth a -Hercules; how he was taught to read in his seventh -year; how he then every day learned a lesson in the -seven liberal arts, and maintained a daily disputation -thereon; and many other wonders of this sort.<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">29</a> Alexander’s -officers are counts and barons. The real history -only feebly glimmers through a grotesque compound of -puerile fictions and distorted facts. But perhaps this -mode of treating the materials is not to be laid to the -account of the versifier.</p> - -<h3 id="GONZALO_BERCEO">GONZALO BERCEO.</h3> - -<p>There are some prayers, monastic rules, and legends -in Castilian alexandrines, which are regarded as of very -ancient date, but they were probably composed by -Gonzalo Berceo, a benedictine, about the middle of -the thirteenth century. Spanish authors have made -the dates of the birth and death of this monk objects -of very minute research, and have exerted great industry -in recovering his rude verses.<a id="FNanchor_30" href="#Footnote_30" class="fnanchor">30</a> In this field, -<span class="pagenum" id="Page_32">32</span> -however, the poetical historian can find nothing worth -the gleaning.</p> - -<h3 id="ALPHONSO_X"><span class="smcap">ALPHONSO X.; HIS LITERARY MERITS—NICOLAS -AND ANTONIO DE LOS ROMANCES</span>, &c.</h3> - -<p>The names of several early writers of rude Castilian -verse are recorded by different authors. A notice, -however, of the literary merits of Alphonso X. called -the <i>Wise</i>, by which is meant the learned, forms the -most suitable commencement for a history of Spanish -poetry. This sovereign, who was a very extraordinary -man, for the age in which he lived, was ambitious, -among his other distinctions, of being a poet. -Scarcely any romance or song of true poetic feeling can -be attributed to him; but he loved to embody his science -and learning in verse. He disclosed his Alchymical -Secrets in the dactylic stanzas, called <i>versos de arte -mayor</i>. Alchymy was his favourite study; and if his -assertions in verse may be relied on, he several times -made gold, and in times of difficulty turned his power -of producing that precious metal to his own advantage. -His verses are, in some degree, harmonious, and ingeniously -constructed; but no trait of poetic description -enlivens the dry and uninteresting precepts he details.<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">31</a> -<span class="pagenum" id="Page_33">33</span> -It is not, therefore, on account of his rhymes that -Alphonso the Wise deserves to be placed at the head of -the Castilian poets. His claim to occupy that station -can only be founded on the attention he devoted to -the cultivation of the Castilian language, an attention -which is easily recognized even in his unpoetic verses, -and which could not fail to prove a most powerful -incitement to emulation, since he who set the example -was the king of the country, and possessed a reputation -for learning which was flattering to the national pride. -The greater purity and precision which was thus introduced -into the dialect of Castile and Leon, enabled the -poetic genius of the nation to unfold itself with increasing -vigour and freedom. But the benefits which -Alphonso conferred on the Spanish language and literature, -did not stop here. The bible was, by his command, -<span class="pagenum" id="Page_34">34</span> -rendered into Castilian; and a Paraphrase of -Scripture History accompanied the translation. A -General Chronicle of Spain, and a History of the -Conquest of the Holy Land, founded on the work of -William of Tyre, were also written by his order. -Finally, he introduced the use of the national language -into legal and judicial proceedings. No direct interest -was, however, taken by Alphonso in the improvement -of the popular Castilian poetry. He probably thought -it too destitute of art and learning to deserve much -consideration. It appears to have been on this account, -and not from vanity, that he favoured the Troubadours, -assembled at his court, in whose more elegant verse his -praises were unceasingly proclaimed.<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">32</a> His influence -had an extensive operation; but his death, which happened -in the year 1284, was no loss to the national -bards of Castile, who still sung their Romances in -obscurity.</p> - -<p>The history of Spanish poetry continues barren of -names until towards the end of the fourteenth century; -and yet, according to all literary probability, the greater -part of the ancient Castilian romances, which have, in -the progress of time, been collected, and have undergone -more or less improvement, were composed at a -much earlier period. One Nicolas, and an abbot -named Antonio, are mentioned as celebrated writers -of romances in the thirteenth century, anterior to the -<span class="pagenum" id="Page_35">35</span> -reign of Alphonso X.<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">33</a> But until the period of the -invention of printing, no regard was paid by the -learned, or by those who wished to be considered -learned, to popular ballads; and when the attention of -men of letters began at last to be directed to the old -romances, the authors were either forgotten, or no -trouble was taken to preserve or recover their names. -With a view, therefore, to the convenience of historical -arrangement, a particular account of the ancient romance -poetry of Castile may, with propriety, be -postponed until the period when the first instance of -literary publicity, which was given to it, must be -recorded. In the mean while, some little known, -though not unimportant memorials of the state of -poetical and rhetorical culture in the fourteenth -century, may here be brought to recollection.</p> - -<h3 id="ALPHONSO_XI">ALPHONSO XI.</h3> - -<p>That the example of Alphonso X. operated powerfully -among the grandees of Castile, cannot be doubted; -and to its influence must, in a great measure, be -attributed the encouragement given to the cultivation -of knowledge by Alphonso XI. This prince, amidst -all the troubles of his busy reign, maintained the -character of a protector of learning, and endeavoured -to distinguish himself as a writer in his native tongue. -<span class="pagenum" id="Page_36">36</span> -In the accounts of his labours given by Spanish authors, -he is stated to have composed a General Chronicle -in Redondillas,<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">34</a> which is either lost, or still remains -buried in some of the old archives of Spain. However -slight may be the merits of this work, in a -poetical point of view, it is rendered interesting by -the circumstance, that the king chose for the rhythmic -structure of his narrative, the easy flowing verse of -the romances, instead of stiff monkish alexandrines, -and the ungraceful dactylic stanzas. This brought -the redondillas more into favour. Alphonso XI. also -caused books to be written in Castilian prose, among -which were a kind of Peerage, or Register of the -noble families of Castile, with an account of their -hereditary estates and possessions, and a Hunting -Book, (<i>Libro de Monteria</i>,) in the composition of -which several persons assisted. Though rhetorical art -might derive no advantage from these books, they -contributed to give consideration to the national -dialect, and to incite persons of rank to engage in -literary labour.</p> - -<h3 id="EARLY_CULTIVATION_OF_CASTILIAN_PROSE">EARLY CULTIVATION OF CASTILIAN PROSE—DON -JUAN MANUEL; HIS CONDE LUCANOR; HIS -ROMANCES.</h3> - -<p>But the most valuable monument of the cultivation -of Spanish eloquence in the fourteenth century is <i>El -Conde Lucanor</i>, a book of moral and political maxims, -<span class="pagenum" id="Page_37">37</span> -written by Don Juan Manuel, a Castilian prince. This -Don Juan was one of the most distinguished men of his -age.<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">35</a> He was descended, in a collateral line with the -reigning family of Castile, from king Ferdinand III. -usually called the <span class="smcap">Saint</span>. He served his sovereign -Alphonso XI. with chivalrous fidelity, and by the judicious -policy of his conduct, retained the favour of that -prince, who certainly had reason to regard him with -jealousy. After distinguishing himself by a number of -honourable and gallant deeds, Alphonso appointed him -governor (<i>adelantado mayor</i>) of the country bordering -on the Moorish kingdom of Grenada. In this station -he became the terror of the hereditary enemy of Castile. -He made an irruption into Grenada, and defeated the -Moorish king in a great battle. After this brilliant -victory, he always acted one of the first parts in the -internal troubles of Castile, and during twenty years -conducted the war against the Moors. He died in -1362, leaving behind him some of the ripest fruits of -his experience in his <i>Count Lucanor</i>. A Spanish book, -so full of sound practical good sense, of a character so -truly unostentatious, and clothed in a simple, homely, -but far from inanimate garb, could scarcely be expected -to belong to the fourteenth century. In estimating the -<span class="pagenum" id="Page_38">38</span> -merit of this work, it ought also to be recollected, that -at the period in which it appeared, the taste for the -wild tales of chivalry called romances had begun to -prevail. Amadis de Gaul, the prototype of all subsequent -knight-errantry romances, had then obtained -general circulation. There is, however, in the <i>Count -Lucanor</i>, no trace of romantic extravagance, none of -the dreaming flights of an irregular imagination; for -in every passage of the book the author shews himself -a man of the world and an observer of human nature. -In the course of his long experience he had formed -maxims for the conduct of life which he was desirous -of pursuing. He gave to many of these axioms a -laconic expression in verse; and, to impress them the -more forcibly, invented his <i>Count Lucanor</i>, a prince -conscious of too limited an understanding to trust to -his own judgment in cases of difficulty. He gives the -Count a minister (<i>consejero</i>), whose wisdom fortunately -supplies the deficiency of his master’s intellect. -When the Count asks advice of his minister, the -latter relates a story, or sometimes a fable. The -application comes at the close, and the narrative is -the commentary of the verse or couplet with which it -terminates. In this manner forty-nine moral and -political tales are told. They are not of equal merit; -but though some are inferior to others, the difference -is not great, and they have all the same rhetorical -form. Sometimes it is the idea that gives the chief -interest, sometimes the execution. Among the versified -maxims are the following. -<span class="pagenum" id="Page_39">39</span></p> - -<p>“If you have done something good in little, do -it also in great, as the good will never die.”<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">36</a></p> - -<p>“He who advises you to be reserved to your -friends, wishes to betray you without witnesses.”<a id="FNanchor_37" href="#Footnote_37" class="fnanchor">37</a></p> - -<p>“Hazard not your wealth on a poor man’s advice.”<a id="FNanchor_38" href="#Footnote_38" class="fnanchor">38</a></p> - -<p>“He who has got a good seat should not leave it.”<a id="FNanchor_39" href="#Footnote_39" class="fnanchor">39</a></p> - -<p>“He who praises you for what you have not, -wishes to take from you what you have.”<a id="FNanchor_40" href="#Footnote_40" class="fnanchor">40</a></p> - -<p>This last axiom is deduced from the well-known -fable of the fox and the raven. It is curious to observe -the resemblance between the unconscious artless simplicity -with which Don Juan Manuel relates his fable, -and the finely-studied simplicity with which the -elegant La Fontaine tells the same story. Who would -expect to find in an old Spanish book of the fourteenth -century, the same knowledge of the world and mankind, -as distinguished the refined age of Louis XIV.<a id="FNanchor_41" href="#Footnote_41" class="fnanchor">41</a> -<span class="pagenum" id="Page_40">40</span></p> - -<p>This work appears to have been preserved without -alteration, as it was originally written. It is only -<span class="pagenum" id="Page_41">41</span> -occasionally that the difference of the language in -single words,<a id="FNanchor_42" href="#Footnote_42" class="fnanchor">42</a> betrays the officious industry of some -<span class="pagenum" id="Page_42">42</span> -transcriber. In a short preface, the author gives a -candid explanation of the object of this collection of -tales.</p> - -<p>Don Juan Manuel was also the author of a Chronicle -(<i>Chronica de España</i>); the Book of the Sages, -(<i>Libro de los Sabios</i>); a Book of Chivalry, (<i>Libro -del Caballero</i>); and several other works in prose of a -similar nature.<a id="FNanchor_43" href="#Footnote_43" class="fnanchor">43</a> It appears that these works are now -lost, though they were preserved in manuscript in the -sixteenth century. A collection of Don Juan Manuel’s -poems also existed at that time, according to the -express testimony of Argote y Molina, who published -<i>El Conde Lucanor</i> in the sixteenth century, -and intended to publish those poems likewise. He -calls them coplas; and they certainly were not alexandrines. -After this testimony, it can scarcely be doubted -that some of the romances and songs, which are -attributed, in the <i>Cancionero general</i>, to a Don Juan -Manuel, have this prince for their author.<a id="FNanchor_44" href="#Footnote_44" class="fnanchor">44</a> But if -such be the fact, then how many of the similar -<span class="pagenum" id="Page_43">43</span> -romances which are still preserved, may, considering -the greater antiquity of their form, be yet more -ancient! -<span class="pagenum" id="Page_44">44</span></p> - -<h3 id="SATIRICAL_POEM_OF_JUAN_RUYZ">SATIRICAL POEM OF JUAN RUYZ, ARCH-PRIEST OF -HITA.</h3> - -<p>Don Juan Manuel had for his contemporary the -author of an allegorical satire, written in Castilian -<span class="pagenum" id="Page_45">45</span> -alexandrines, or in a kind of verse which may be called -doggrel. The result of the researches of the Spanish -critics ascribes this very singular work to Juan Ruiz, -<span class="pagenum" id="Page_46">46</span> -arch-priest of Hita, in Castile.<a id="FNanchor_45" href="#Footnote_45" class="fnanchor">45</a> This writer evidently -possessed a lively imagination; he has personified with -great drollery Lent, the Carnival, and Breakfast, under -the titles of <i>Doña Quaresma</i>, <i>Don Carnal</i>, and -<i>Don Almuerzo</i>; and these and other personages -are placed in a very edifying connection with <i>Don -Amor</i>. The object of the satire is thus apparent, -but the execution is as unskilful as the language is -rude. Only a part of the work has been preserved.<a id="FNanchor_46" href="#Footnote_46" class="fnanchor">46</a> -<span class="pagenum" id="Page_47">47</span></p> - -<p>He, however, who has to record the developement -of true poetic genius, must hasten from this and other -examples of monastic humour and rugged versification, -in order to speak with something like historical precision -of the romances and other lyric compositions -which form the real commencement of Spanish poetry.</p> - -<h3 id="MORE_PRECISE_ACCOUNT_OF_THE_ORIGIN">MORE PRECISE ACCOUNT OF THE ORIGIN OF THE -SPANISH POETIC ROMANCES AND SONGS—PROBABLE -RISE OF THE ROMANCES OF CHIVALRY IN -PROSE—ORIGINAL RELATIONSHIP OF THE POETIC -AND THE PROSE ROMANCES.</h3> - -<p>The latter half of the fourteenth century is the -period when the history of the Spanish romances and -songs, the unknown authors of which yet live in their -verse, though still very defective, begins to acquire -some degree of certainty.<a id="FNanchor_47" href="#Footnote_47" class="fnanchor">47</a> In the absence, however, -of that particular information which would be desirable, -it becomes necessary to take a view of the -manner of thinking of the Spaniards of that age, in -order to connect the general idea which ought to be -formed of their literary culture, with those scattered -notices which must supply the place of a more -systematic account. It will here be recollected that -the cultivation of Spanish literature received at its -<span class="pagenum" id="Page_48">48</span> -commencement a national poetic impulse. In constant -conflict with the Moors, and acquainted with oriental -manners and compositions, the Spaniards felt the proper -distinction between poetry and prose, less readily -than that distinction was perceived by any other -people on the first attempt to give a determinate -form to their literature. Popular songs of every kind -were probably indigenous in the Peninsula. The -patriotic Spaniards, like many other ancient nations, -were fond of preserving the memory of remarkable -events in ballads. They also began, at a very early -period, to consider it of importance to record public -transactions in prose. The example of their learned -king Alphonso X. who caused a collection of old -national chronicles to be made, gave birth to many -similar compilations of the history of the country. -But historical criticism, and the historical art, were -then equally unknown. As the giving to an accredited -fact a poetical dress in a song fit to be sung to -a guitar, was not thought inconsistent with the spirit -of genuine national history, still less could the relating -of a fabricated story as a real event in history seem -hostile to the spirit of poetry. Thus the <i>historical -romance</i> in verse, and the <i>chivalric romance</i> in prose, -derived their origin from the confounding of the -limits of epic and historical composition. The history -of Spanish poetical romance is therefore intimately -interwoven with the history of the prose chivalric -romance.</p> - -<p>Whoever may have been the author of <i>Amadis -de Gaul</i>, his genius lives in his invention; this -<span class="pagenum" id="Page_49">49</span> -work soon obscured, even in France, all the other -histories of knights-errant written in latin or french, -by many of which it had been preceded. From the -very careful investigations of several Spanish and -Portuguese writers, it appears that the name of the -real author of the first or genuine Amadis was Vasco -Lobeira, or, according to the Spanish orthography -and pronunciation, Lobera, a native of Portugal, who -flourished about the end of the thirteenth century, and -lived to 1325. It is probable, however, that before the -period at which the work obtained its highest celebrity -both in Spain and France, it had passed through the -hands of several emendators, and it is therefore impossible -to know how much of the book, as it now -exists, belongs to the original author, and how far it -is indebted to the labours of Spanish or French -editors.<a id="FNanchor_48" href="#Footnote_48" class="fnanchor">48</a> From these circumstances too, it appears -that the work could scarcely be generally known in -Spain before the middle of the fourteenth century; -and its influence on the national literature must, on -that account, have been the greater; for it would be -operating with all the force of novelty, precisely at -the time when the poetic genius of the nation began -to display itself in youthful vigour. What other book -<span class="pagenum" id="Page_50">50</span> -could have produced an effect so fascinating on the -minds of the Spanish nobles, as Amadis de Gaul? -The monstrous perversions of history and geography -in that work, did not disturb the illusion of readers -who knew little or nothing of either history or geography. -The prolixity of the narrative gave as little -offence as the stiff formality of the style. Indeed the -virtues of gothic chivalry appear more pure as they -shine through the formal stateliness of the narration. -The author has borrowed nothing from the Arabian -tale-tellers, except the attraction of fairy machinery. -This was, however, a powerful charm, and gave an -epic-colouring to the Amadis, which, joined to the -pathetic descriptions of romantic heroism, produced -an influence over the imagination and feelings of the -age which no former work had possessed. The moral -character of the plan and execution is strangely blended -with a peculiar kind of delicately veiled licence, which -appears to have very well accorded with the spirit of -Spanish chivalry. While the gentle knights, amidst -innumerable adventures of love and heroism, observe -as the chief law of chivalry, the most inviolable fidelity -in all situations towards females as well as males, they -and the ladies with whom they have pledged their -faith, by a secret betrothing, live together without -scruple before marriage, as husband and wife. But -a picture, so true and glowing, of the noblest heroic -feelings and the most unshaken fidelity,—circumscribing -with no anxious care the boundaries of love’s -dominion, yet admitting no offensively indecorous or -immoral trait,—displaying the enthusiastic flights of -<span class="pagenum" id="Page_51">51</span> -an imagination often exalted beyond nature, but -redeemed by an ingenuous simplicity of description -with which even a refined taste must be delighted,—well -deserved at the time of its appearance that -favour which it continued for ages to enjoy. It is -obvious that more of Spanish than of French features -enter into the character of the chivalry exhibited in -this work. The romantic self-torment of Amadis on -the <i>Peña pobre</i> (barren rock) is one of the striking -Spanish traits. Even the name Beltenebros, given -on this occasion by a pious hermit to the disconsolate -knight, contributes to prove that the work is not of -French origin; for the French paraphrastic translation, -<i>Le beau tenebreux</i>, is not only in itself very insipid, -but poor Amadis appears quite ridiculous when made -to pronounce it from his own mouth as his name.<a id="FNanchor_49" href="#Footnote_49" class="fnanchor">49</a></p> - -<p>When the Amadis, after being widely circulated, -became the object of numerous imitations, the particular -account of which may be left to the explorers of -literary curiosities, it was no longer possible for the -<span class="pagenum" id="Page_52">52</span> -prose romance of knight-errantry and the ballad romance -to disown their relationship. At this period the -romance poetry obtained a consideration which it had -not previously enjoyed. Songs which were formerly -disregarded were now carefully noted down. Those -poetic romances, the materials for which are taken from -histories of knights-errant, are among the oldest of the -Spanish ballads which have been preserved in the -ancient language and form. Some are imitations from -the Spanish Amadis, others are translations from the -French; and it may here be observed, that the Spaniards -and the French possessed at this period a body -of romantic literature, which was throughout its -whole extent nearly the same to both countries.—With -the old poetic romances, derived from books of -chivalry, are closely connected the most ancient of -the historical ballads founded on the history of the -country. The latter, it may be presumed, soon transferred -their national tone and character into the former. -But it was not until after they had given to each other -a reciprocal support, that the historical romance found -a place in Spanish literature. They also mutually -declined from the height of their common celebrity, -and at last sunk again into the obscurity attached to -pieces of mere popular recreation. In this way, however, -they have retained an oral currency among the -common people down to the present age. The Spanish -critics notice them too briefly, as if they were afraid -to depreciate the dignity of their literature by dwelling -on the antiquated and homely effusions of the poetic -genius of their unlettered ancestors. But a people -free from this prejudice who can admire simple and -<span class="pagenum" id="Page_53">53</span> -natural, as well as learned and artificial poetry, and -who set little or no value on the latter, when it entirely -separates itself from the former, will be disposed -to see justice more impartially distributed to the old -Spanish romances.<a id="FNanchor_50" href="#Footnote_50" class="fnanchor">50</a></p> - -<h3 id="THE_DIFFERENT_KINDS_OF_POETIC_ROMANCE">THE DIFFERENT KINDS OF POETIC ROMANCE.</h3> - -<p>The romances composed on subjects derived from -the fictions of chivalry, which have been preserved in -the collections, are distinguished by the old forms of -the language, and the primitive mode of repeating a -single rhyme, which often becomes a mere assonance, -from the romances of a later date, though even these -have long since been called old. Amadis de Gaul appears -to have contributed very little to this kind of ballad.<a id="FNanchor_51" href="#Footnote_51" class="fnanchor">51</a> -The great number and the longest of the romances are -<span class="pagenum" id="Page_54">54</span> -taken from the fabulous adventures of Charlemagne and -his Paladins. In them we again meet with the twelve -peers of France, who figure in the poems of Boyardo -and Ariosto, with the addition of Don Gayferos, the -Moor Calaynos, and other poetic characters, to -whom the Spanish public were the more readily disposed -to grant an historical existence, in consequence -<span class="pagenum" id="Page_55">55</span> -of the chivalric history of Charlemagne’s Paladins -(who are represented to have fought like the Spaniards -against the Moors,) being held in great respect as a -supplemental part of Spanish National History. In -progress of time, however, the romance of the Moor -Calaynos became the subject of a proverb, employed -to denote verses in an old exploded and vulgar style.<a id="FNanchor_52" href="#Footnote_52" class="fnanchor">52</a> -The ballad of the <i>Conde Alarcos</i>, who with his own -hands strangled his lady in satisfaction to the honour, -and in obedience to the commands of his king, appears -to have had its origin in some romantic work of chivalry. -This and two other romances which relate -how the youthful Don Gayferos avenged the death of -his father, are among the best to which knight-errantry -has given birth; though in the remaining specimens of -this kind of ballad, the poetic genius of the age occasionally -displays itself in all its energetic simplicity. -The authors of these romances paid little regard to -ingenuity of invention, and still less to correctness of -execution. When an impressive story of poetical -character was found, the subject and the interest belonging -to it were seized with so much truth and -feeling, that the parts of the little piece, the brief -labour of untutored art, linked themselves together, -as it were, spontaneously; and the imagination of the -bard had no higher office than to give to the situations -<span class="pagenum" id="Page_56">56</span> -a suitable colouring and effect. This he performed -without study or effort, and painted them more or less -successfully according to the inspiration, good or bad, -of the moment. These antique, racy effusions of a -pregnant poetic imagination, scarcely conscious of its -own productive power, are nature’s genuine offspring. -To recount their easily recognized defects and faults -is as superfluous, as it would be impossible by any -critical study to imitate a single trait of that noble -simplicity which constitutes their highest charm.<a id="FNanchor_53" href="#Footnote_53" class="fnanchor">53</a> -<span class="pagenum" id="Page_57">57</span></p> - -<p>The simplicity of the old historical romances is -still more remarkable. They form altogether a mere -<span class="pagenum" id="Page_58">58</span> -collection of anecdotes of Spanish history, from the -invasion of the Moors, to the period when the authors -<span class="pagenum" id="Page_59">59</span> -of the romances flourished. Neither the materials nor -the interest of the situations owe any thing to the -invention of these simple bards. They never ventured -to embellish with fictitious circumstances, stories which -were already in themselves interesting, lest they -should deprive their ballads of historical credit. In -<span class="pagenum" id="Page_60">60</span> -the historical romances the story displays none of -those entanglements and developements which distinguish -some of the longer romances of chivalry. They -are simple pictures of single situations only. The -poetic representation of the details which give effect -to the situation is almost the only merit which can be -attributed to the narrators, and they employed no -critical study to obtain it. In this way were thousands -of these romances destined to be composed, and partly -preserved, partly forgotten, without one of their authors -acquiring the reputation of a great poet. It was -regarded rather as an instance of good fortune than -a proof of talent, when the author of a romance was -particularly successful in painting an interesting situation. -In general their efforts did not carry them -beyond mediocrity, but mediocrity was not discouraged, -for it depended entirely on accident, or perhaps some -secondary causes, whether a romance became popular -or sunk into oblivion. It would require a separate -treatise to discuss in a satisfactory manner, the degree -of merit which belongs to these national ballads, the -immense number of which defies calculation. Many -little, and upon the whole very unimportant specimens -are still worthy of preservation, on account of some -one single trait which each exhibits. Others, on the -contrary, excite attention by the happy combination -of a number of traits in themselves minute and of -little value; again, a third class is distinguished by a -sonorous rhythm not to be found in the rest. Unfortunately, -no literary critic has yet taken the trouble to -arrange these pieces in anything like a chronological -<span class="pagenum" id="Page_61">61</span> -order. Until this be done, it cannot be discovered -how the historical romance gradually advanced from its -original rudeness to the degree of relative beauty -which it at last attained, though it could not rise to -classic perfection, as that kind of composition never -acquired the rank or consideration of classic poetry -in Spain.</p> - -<p>Among the most ancient historical romances are -several, the subjects of which have been taken from -the earliest periods of Spanish history, anterior to the -age of the Cid. Like the romances derived from the -prose works of chivalry, they have only a single rhyme -which interchanges with blank verse, and which is -frequently lost in a simple assonance.<a id="FNanchor_54" href="#Footnote_54" class="fnanchor">54</a> The romances -of the Cid, of which more than a hundred still exist, -are either of a more recent date, or have, at least, been -in a great measure modernized.<a id="FNanchor_55" href="#Footnote_55" class="fnanchor">55</a> In some a series of -regularly arranged assonances may be perceived.<a id="FNanchor_56" href="#Footnote_56" class="fnanchor">56</a> -<span class="pagenum" id="Page_62">62</span> -Others are divided into stanzas, with a burden repeated -<span class="pagenum" id="Page_63">63</span> -at the close of each.<a id="FNanchor_57" href="#Footnote_57" class="fnanchor">57</a> In the greater part, however, -the rhyme almost wholly disappears, and only an -<span class="pagenum" id="Page_64">64</span> -accidental assonance occasionally occurs. This form -also prevails in most of the romances founded on the -history of the Moors. Their number is very great, -perhaps greater than that of those derived from events -of Spanish history; and this abundance might well -excite as much astonishment in the critic as it has -given offence to some orthodox Spaniards.<a id="FNanchor_58" href="#Footnote_58" class="fnanchor">58</a> But even -the Spaniards of old Castilian origin found a certain -poetic charm in the oriental manners of the Moors. -On the other hand, the European chivalry, in so far as -it was adopted by the Moors, became more imposing -from its union with oriental luxury, which favoured -the display of splendid armour, waving plumes, and -<span class="pagenum" id="Page_65">65</span> -emblematical ornaments of every kind. The Moorish -principalities or kingdoms were even more agitated by -internal troubles, and acts of violence, than the christian -states; and in the former, particularly, when different -races powerfully opposed each other, the lives of celebrated -warriors were more fertile in interesting anecdotes -than in the latter. The Christian warriors, it -also appears, had sufficient generosity to allow justice -to be done, at least to the distinguished leaders of -their enemies, who are described in an old romance, as -<i>gentlemen, though infidels</i>.<a id="FNanchor_59" href="#Footnote_59" class="fnanchor">59</a> Besides, all these romances, -whether of Moorish or Spanish history, whether -more ancient or more modern, present nearly the -same unsophisticated character and the same artless style -of composition. The subject is generally founded on -a single fact. Thus, for example, <i>Roderick</i>, or <i>Don -Rodrigo</i>, the last king of the Goths in Spain, before -the Moorish invasion, takes flight after his total overthrow, -and bewails his own and his country’s fate; -and this is sufficient for a romance.<a id="FNanchor_60" href="#Footnote_60" class="fnanchor">60</a> The Cid -<span class="pagenum" id="Page_66">66</span> -returns victorious from his exile, alights from his -horse before a church, and delivers a short energetic -<span class="pagenum" id="Page_67">67</span> -speech; this again forms the whole subject of a romance.<a id="FNanchor_61" href="#Footnote_61" class="fnanchor">61</a> -In others, with equal simplicity of story:— -<span class="pagenum" id="Page_68">68</span> -the king joins the hands of the Cid and Ximena, -invests him with fiefs of castles and territories, the -names of which are all recorded, and thus makes -preparation for the marriage of the lovers.—The Cid -lays aside his armour and puts on his wedding -garments, which are minutely described from the hat -<span class="pagenum" id="Page_69">69</span> -to the boots.—At a tournament the Moorish knight -Ganzul enters the lists on a fiery steed; the beautiful -Zayda, who has been unfaithful to him, once more -yields up her heart to her lover, and confesses to the -Moorish ladies who surround her the emotion she -experiences.<a id="FNanchor_62" href="#Footnote_62" class="fnanchor">62</a>—The Moorish hero Abenzulema, who -has filled the prisons with Christian knights,<a id="FNanchor_63" href="#Footnote_63" class="fnanchor">63</a> being -<span class="pagenum" id="Page_70">70</span> -exiled by his jealous prince, takes leave of his beloved -Balaja.<a id="FNanchor_64" href="#Footnote_64" class="fnanchor">64</a> Such is the nature of a countless number -of these ballads. In general, the ornaments of the -armour, and the device of the knight, which must harmonize -with these ornaments, are minutely described. -Were an artist of genius to study these interesting -situations, he would open to himself a new field for -historical painting.</p> - -<p>There is a kind of mythological romance in which -the heroes of Greece appear in Spanish costume, which -may be regarded as an imitation of the species already -described. The history of the siege of Troy, having -<span class="pagenum" id="Page_71">71</span> -been clothed in the garb of a chivalric romance, it -followed, as a matter of course, that the Grecian -heroes should be exhibited as knights-errant in the -poetic romances. It is obvious, on examination, that -most of these mythological romances are very old.<a id="FNanchor_65" href="#Footnote_65" class="fnanchor">65</a> -Even christianity is made to contribute to this kind of -composition, and anecdotes from the bible are related -in the favourite romance form; as, for example, the -lamentation of king David on the death of his son -Absalom.<a id="FNanchor_66" href="#Footnote_66" class="fnanchor">66</a> -<span class="pagenum" id="Page_72">72</span></p> - -<h3 id="CASTILIAN_POETRY_IN_THE_THIRTEENTH">CASTILIAN POETRY IN THE THIRTEENTH AND -FOURTEENTH CENTURIES.</h3> - -<p>In ancient Spanish poetry the strictly lyric romances -do not form a different class from the narrative romances. -On the contrary, these kinds are inseparably -confounded. In like manner, no essential distinction -between what was called a <i>cancion</i> (song), and a -lyric romance, was established either in theory or -in practice. A custom prevailed of classing, without -distinction, under the general name of romance, any -lyric expression of the feelings which ran on, in the -<span class="pagenum" id="Page_73">73</span> -popular manner, in a string of redondillas, without -distinct strophes, and which, in that respect resembled -the greater part of the narrative romances. -When, however, the composition was divided into little -strophes, or coplas, it was usually called a <i>cancion</i>, -a term employed in nearly the same indeterminate -sense as the word <i>song</i> in English, or <i>lied</i> in German, -but which does not correspond with the Italian <i>canzone</i>. -The same name, however, came afterwards to -be applied to lyric pieces of greater research and more -elevated character, if they were divided into strophes. -Compositions in coplas must have been common in -Spain about the middle of the fourteenth century; for -the traces of their origin lead back to the ancient -Spanish custom of accompanying such songs, in the -true style of national poetry, with dances. The -saraband is one of those old national dances, during -the performance of which coplas were sung. Hence -the Spanish proverb denoting antiquated and trivial -poetry, when it is said of verses that “they are not -worth as much as the coplas of the saraband,” in -the same way as the romance of Calainos is quoted -proverbially.<a id="FNanchor_67" href="#Footnote_67" class="fnanchor">67</a> But many lyric compositions which -are preserved in the collections of the most ancient -of the pieces known by the general name of romances, -are probably of an older date than those in coplas -<span class="pagenum" id="Page_74">74</span> -which appear in the <i>Cancioneros</i>. They have, like -the older romances, only a single rhyme, alternating -with assonances and blank verses; but, independently -of this proof, their old language, which corresponds -so naturally with the ingenuous simplicity of their -manner, is sufficient to mark their antiquity.<a id="FNanchor_68" href="#Footnote_68" class="fnanchor">68</a> -<span class="pagenum" id="Page_75">75</span></p> - -<p>The Castilian lyric poetry seems to have begun to -confer reputation on those who cultivated it, in the -latter half of the fourteenth century. The Marquis -of Santillana, who lived in the first half of the -fifteenth century, relates that his grandfather composed -very good songs, and among others some, the first lines -of which he quotes.<a id="FNanchor_69" href="#Footnote_69" class="fnanchor">69</a> According to the statement -of the Marquis, a Spanish jew, named Rabbi Santo, -celebrated as the author of maxims in verse, flourished -about the same time. He also informs us, that during -the reign of John I. from 1379 to 1390, Alfonso -Gonzales de Castro, and some other poets, were -esteemed for their lyric compositions. But all these -names, so honoured in their own age, were forgotten -in the commencement of the fifteenth century, when -under the reign of John II. there arose a new race -of poets, who outshone all their predecessors. -<span class="pagenum" id="Page_76">76</span></p> - -<h3 id="POETICAL_COURT_OF_JOHN_II">POETICAL COURT OF JOHN II.</h3> - -<p>The Spanish authors make the reign of John II. -the commencement of an epoch in their poetry. But -though some poetic essays of greater compass than had -previously been undertaken, were then produced, still -this period ought really to be regarded only as that in -which the ancient poetry received its last improvement, -and by no means as constituting a new era. The old -national muse of Castile continued the favourite of -many of the grandees of the kingdom who were -ambitious, in imitation of Alphonso X. of uniting the -reputation of learning to the fame of their poetry, but -who had more true poetic feeling than that monarch. -These noble authors thought they could acquire little -honour by devoting their attention to the composition -of romances, properly so called, but preferred distinguishing -themselves by giving to lyric poetry a -higher degree of art in its forms, and more ingenuity -of invention. As a consequence of this taste, they -displayed a particular fondness for allegory, and -ingenious difficulties and subtilties of every kind -were the great objects of their labours. Their best -works are some compositions in which they seem -unconsciously to have allowed nature to speak, and -these specimens possess about the same value as the -anonymous romances. They brought the dactylic -stanzas (<i>versos de arte mayor</i>,) again into vogue, -because such artificial strophes had a more learned -air than the easy flowing redondillas. Mythological -illusions and moral sentences were, with these authors, -<span class="pagenum" id="Page_77">77</span> -the usual substitutes for true poetic dignity. But -barbarous as was their taste, nature, which they -wished to renounce, sometimes worked so powerfully -within them, that she triumphed over the pedantic -refinement to which they had surrendered their understandings;—and -the graceful facility of the popular -manner occasionally appeared in their writings. In -this way the ancient national poetry became amalgamated -with works distinguished for laborious efforts -of art, and ultimately attained a higher degree of -consideration. There resulted, however, no revolution -in the literature of Spain; and it cannot be said, that -the authors of the age of John II. formed an epoch, -unless it be for having introduced, with more success -than Alphonso X. learning and philosophy into the -sphere of poetry; and for having, besides, by their -united endeavours, given to the ancient lyric forms of -their maternal language, that sort of improvement -which, consistently with the spirit of the age, they -were capable of receiving, and which finally brought -them to their highest state of perfection.</p> - -<p>But this period of brilliant improvement in the -ancient national poetry of Spain is, in another respect, -more memorable than the writers on Spanish literature -appear to have regarded it. During the whole period -the Castilian monarchy was convulsed by internal -troubles. Even in the last ten years of the fourteenth -century, the powerful barons of the kingdom had -almost wrested the sceptre from the hands of John I. -and Henry III. Under John II. the celebrated patron -of poetry, who reigned from 1407 to 1454, the -<span class="pagenum" id="Page_78">78</span> -monarchy was more than once menaced with destruction. -The grandees sported with the royal prerogatives, -and John II. had not sufficient firmness -of character to render his authority respected. In -the difficult situations in which he was involved, he -derived, in a certain measure, his security from his -love of literature, which yielded a valuable return for -the favours he had bestowed. It won and preserved -for him the attachment of many of the most considerable -noblemen of the country, who formed around -him a poetical court, which was not without influence -on public affairs. It would not be easy to find in the -history of states and of literature, another instance of -a similar court, with the members composing it, at -once poets, warriors, and statesmen, surrounding and -supporting a learned sovereign, in spite of his imbecility, -during a period of civil commotion. This -phenomenon proves the supremacy of the poetic spirit -at this time in Spain, since it was not to be subdued -even by the spirit of political faction, which is always -hostile to poetry, and which was, at this time, particularly -powerful.</p> - -<h3 id="THE_MARQUIS_OF_VILLENA">THE MARQUIS OF VILLENA.</h3> - -<p>Previously to this period, before the poets had -rendered the court of John II. the most brilliant -society of the age, an eminent nobleman, the Marquis -Enrique de Villena, was distinguished for his -literary efforts. He sought to adorn his erudition -with the lyric graces of the Limosin Troubadours, -<span class="pagenum" id="Page_79">79</span> -who had then attained their highest and final celebrity -at the court of Arragon; and, thus united, to adapt -both the learning and the poetry to the Castilian taste. -He seemed called by birth to the performance of this -task; for he was descended by the paternal side from -the kings of Arragon, and by the maternal from those -of Castile. His reputation for metaphysical and natural -knowledge was so great, that he came, at last, in that -ignorant age, to be regarded as a magician, and on that -account he and his books were never mentioned but -with horror. His talent for poetic invention was, -however, an object of particular admiration with many -of the poets of the age of John II. and among others -of the Marquis de Santillana and Juan de Mena.</p> - -<p>The Marquis of Villena was the author of an -allegorical drama, which was performed at the court of -Arragon in celebration of a marriage, and which may, -therefore, be supposed to have been written in the -Limosin rather than in the Castilian language. -Among the characters stated to have been introduced -into this drama, are <i>Justice</i>, <i>Truth</i>, <i>Peace</i>, and <i>Clemency</i>.<a id="FNanchor_70" href="#Footnote_70" class="fnanchor">70</a> -Rhetorical and poetical competitions were -instituted at Toulouse, in the year 1324, under the -name of the <i>Floral Games</i>, to foster, by prizes and -gallant ceremonies, the Troubadour spirit. This institution, -which was soon after imitated in Arragon, was -transplanted by the Marquis of Villena to Castile, but -the result of that enterprize was not successful.<a id="FNanchor_71" href="#Footnote_71" class="fnanchor">71</a> The -<span class="pagenum" id="Page_80">80</span> -Marquis died at Madrid in 1434. A work supposed to -have been printed at Burgos in 1499, under the title of -<i>Los trabajos de Hercules</i>, (The Labours of Hercules), -used formerly to be quoted as one of his poems; but -from more recent investigations, it appears that this -pretended poem was a mythological tale in prose.<a id="FNanchor_72" href="#Footnote_72" class="fnanchor">72</a> A -translation of the Æneid by the Marquis, is besides -mentioned, but this work appears also to be lost. A -kind of art of poetry, which he wrote under the title -of <i>La Gaya Ciencia</i>, has been more fortunate; for it -has been partially preserved, and is still regarded with -respect as the oldest work of the kind in the Spanish -language.<a id="FNanchor_73" href="#Footnote_73" class="fnanchor">73</a> This treatise, however, does not deserve -to be called an Art of Poetry, except in a very limited -sense. It must have been intended as a necessary -instruction, in the first place, for the Marquis of -Santillana, to whom it is directly addressed, and doubtless, -in the next, for the other members of the Institute -of the Gay Science, (<i>El Consistorio de la gaya Ciencia</i>), -which the Marquis of Villena had formed in Castile. -In conformity with this object, the author relates the -history of the Institute, endeavours to prove its utility, -takes that opportunity of expressing his opinion on the -object of poetry in general, and concludes with laying -down the principles of Castilian prosody. These principles -<span class="pagenum" id="Page_81">81</span> -appear to have been particularly useful with reference -to the conflict which then subsisted between the Castilian -and Limosin tongues. Among his general -observations on poetry, he says—“Great are the -benefits which this science confers on civil society, by -banishing indolence, and employing noble minds in -laudable speculations: other nations have, accordingly, -wished for and established among themselves, schools -of this science, by which it has been diffused over -different parts of the world.”<a id="FNanchor_74" href="#Footnote_74" class="fnanchor">74</a> It is obvious that this -active nobleman was full of zeal for the improvement -of the poetry of his country, and for the honour of -that art which was cultivated with method and dignity -in the Arragonian provinces, but which in Castile, -where it was left to itself, appeared to stand in need -of direction and encouragement. The difference -between science and art was not more clearly perceived -by the Marquis of Villena than by the other -poets and men of learning of his age; and to distinguish -the Castilian forms of romantic poetry from -the Limosin, did not appear to him necessary. Thus, -while his labours contributed to heighten the respect -in which poetry and liberal pursuits were held, they -had only an indirect influence on the improvement of -Castilian poetry. -<span class="pagenum" id="Page_82">82</span></p> - -<h3 id="THE_MARQUIS_OF_SANTILLANA">THE MARQUIS OF SANTILLANA; HIS POETICAL -WORKS; HIS HISTORICAL AND CRITICAL LETTER.</h3> - -<p>After the death of the Marquis of Villena, his -pupil, Don Iñigo Lopez de Mendoza, Marquis of -Santa Juliana, or Santillana, appears at the head of -the brilliant society of poets who adorned the court -of John II. Whenever a Marquis of Santillana is -mentioned in the history of Spanish literature, without -any more particular description, it is this nobleman -that is meant. He was born in the year 1398. His -elevated rank and great fortune, joined to the military -and political talents by which he was distinguished -from youth upwards, placed him in a situation in -which he was called upon to perform a principal -part among the nobles of Castile. His intellectual culture -had for its basis the philosophy of Socrates; and -his strict morality procured him no less celebrity than -his sound understanding and love of science.<a id="FNanchor_75" href="#Footnote_75" class="fnanchor">75</a> This -uncommon union of rank, influence, character, talents, -and learning, could not fail to render the Marquis of -Santillana highly respected; and he was indeed regarded -as so extraordinary a man, that foreigners are -said to have undertaken journies to Castile for the -sole purpose of seeing him. He was greatly esteemed -<span class="pagenum" id="Page_83">83</span> -by king John, who, during the civil wars, constantly -received from him, in return, the homage which was -due to a protector of learning, though the Marquis -was not always of that prince’s party. After the -death of John II. in the latter years of his life, this -eminent man assisted with his counsels Henry IV. -under whom the regal authority in Castile was subsequently -almost annihilated. He died in the year -1458.</p> - -<p>The Marquis of Santillana possessed no uncommon -poetic talent. But he studied to give to the poetry of -his age a moral tendency, to extend its sphere by -allegorical invention, and to adorn poetic description -with the stores of learning. Two poems, in which he -has best succeeded in realizing these objects, are also -the most celebrated of his works. The first is an -elegy on the death of the Marquis of Villena;<a id="FNanchor_76" href="#Footnote_76" class="fnanchor">76</a> a -lyric allegory in twenty-five dactylic stanzas, constructed -according to the ancient form. The idea is -very simple, and the commencement of the piece -brings to recollection the hell of Dante, of which it -is probably an imitation.<a id="FNanchor_77" href="#Footnote_77" class="fnanchor">77</a> The poet loses himself in -<span class="pagenum" id="Page_84">84</span> -a desert, finds himself surrounded by wild and frightful -animals, advances forward, hears dismal tones of -lamentation, and finally discovers some nymphs in -mourning, who bewail the loss and chaunt the merits -of the deceased Marquis of Villena. On this poem, -which does not discover much ingenuity of invention, -the Marquis of Santillana probably expended all his -stock of learning. He cites as many deities and -ancient authors, as the nature of his work will permit -him to notice.<a id="FNanchor_78" href="#Footnote_78" class="fnanchor">78</a> Such a display of erudition had -never before been seen in the Castilian language. No -genial poetic spirit is to be found except in the -descriptions and in some other scattered passages of -<span class="pagenum" id="Page_85">85</span> -this lyric allegory;<a id="FNanchor_79" href="#Footnote_79" class="fnanchor">79</a> but the verse is not destitute -of harmony. The other considerable poem of the -Marquis, consists of a series of moral reflections, -occasioned by the unfortunate fate of Don Alvaro de -Luna, the favourite of John II.; the Marquis called -this work, <i>El doctrinal de Privados</i>, (the Manual of -Favourites.) It must be regarded as the earliest -didactic poem in the Spanish language, unless that -title be given to any series of moral maxims in verse. -The work which is divided into fifty-three stanzas -in redondillas, receives a poetic colouring from the -<span class="pagenum" id="Page_86">86</span> -manner in which the shade of Don Alvaro is introduced -confessing his faults, and uttering those moral -truths, which the author wished to impress on the -hearts of the restless Castilians.<a id="FNanchor_80" href="#Footnote_80" class="fnanchor">80</a> He was less successful -<span class="pagenum" id="Page_87">87</span> -in his love songs composed in the Castilian -manner, to which he unfortunately thought a new -dignity would be given, by rendering them the -vehicles of learned allusions. He possessed, however, -the art of reconciling this pedantry with a pleasing -style of versification.<a id="FNanchor_81" href="#Footnote_81" class="fnanchor">81</a> A kind of hymn, which he -composed, under the title of <i>Los Gozos de neustra -Señora</i>, (the Joys of our Lady) has been preserved, but -it possesses no poetic merit.<a id="FNanchor_82" href="#Footnote_82" class="fnanchor">82</a> He also wrote a collection -of proverbs and maxims in verse, for the use of -the Prince Royal of Castile, who afterwards ascended -<span class="pagenum" id="Page_88">88</span> -a tottering throne under the title of Henry IV.<a id="FNanchor_83" href="#Footnote_83" class="fnanchor">83</a> -However low a critical examination might reduce the -value of these works, still the Marquis of Santillana -deserves to retain the place assigned to him in the -history of Spanish literature by his contemporaries, -by whom he was generally admired, as the “representative -of the honour of poetry.”</p> - -<p>Among the literary remains of the Marquis of -Santillana, the critical and historical letter is particularly -remarkable. This letter, which is frequently -mentioned in the early accounts of Spanish poetry,<a id="FNanchor_84" href="#Footnote_84" class="fnanchor">84</a> -<span class="pagenum" id="Page_89">89</span> -is instructive in various respects. It affords the means -of accurately observing the infancy of Spanish criticism -in that age, for the Marquis has added to the letter -a collection of his ingenious maxims, (<i>decires</i>,) and -of his poems for Don Pedro, a Portuguese prince; -and from the embarrassment evinced by the Marquis -when he attempts to give the prince an account of -the rise of Castilian poetry, it is obvious, that with -respect to the real origin of that poetry, less was -understood at that time than is known at the present -day. Poetry, or the gay science, is, according to the -Marquis of Santillana, “an invention of useful things, -which being enveloped in a beautiful veil, are arranged, -exposed, and concealed according to a certain calculation, -measurement, and weight.”<a id="FNanchor_85" href="#Footnote_85" class="fnanchor">85</a> Thus, allegory -appeared to him to belong to the essence of poetry. -He could scarcely have imbibed this opinion from -Dante. In Spain, as well as in Italy and France, it -seems to have issued forth from the monkish cells, -when endeavours were made to unite poetry with philosophy, -and to make the poetic art the symbol of -knowledge, in order to ensure to it estimation among -the learned. The allegorical spirit which pervades the -half gothic poetry of that period, is therefore inseparably -connected with the characteristic origin of -modern poetry. The Marquis of Santillana would -<span class="pagenum" id="Page_90">90</span> -have come to a totally different conclusion, had he -taken an unprejudiced view of the genuine national -poetry of his country. But he imagined he was -laying down a principle which would ennoble it, when, -according to his theory, he held allegory to be indispensable. -Without scruple, therefore, he confounded the -Castilian and Limosin poetry together in one mass. -Respecting the origin of the former, he entered into -no investigation. He commences the history of poetry -with Moses, Joshua, David, Solomon, and Job,<a id="FNanchor_86" href="#Footnote_86" class="fnanchor">86</a> gives -a copious account of the changes which the art of the -Troubadours had undergone in the Arragonian provinces, -and adds a notice of some of the earliest -Galician and Portuguese poets: among the Castilian -poets, he mentions king Alphonso and some others, -without saying a syllable on the subject of the ancient -romances.</p> - -<h3 id="JUAN_DE_MENA">JUAN DE MENA.</h3> - -<p>Juan de Mena, who is by some writers, styled -the Spanish Ennius, ranks, as a poet, in a somewhat -higher scale than the Marquis of Santillana, though -he was less favoured by fortune, and was not distinguished -by so many various merits as the latter. -He was born in Cordova, about the year 1412. In -this southern district of Spain, which but a short -<span class="pagenum" id="Page_91">91</span> -time before had been recovered from the Moors, the -Castilian genius was doubtless very rapidly naturalized. -Juan de Mena, though not descended from a family of -rank,<a id="FNanchor_87" href="#Footnote_87" class="fnanchor">87</a> was not of mean origin, and at the early age -of three-and-twenty he was invested with a civil -appointment in his native city. His own inclination, -however, prompted him to devote himself to philosophy, -and particularly to the study of ancient -literature and history. From Cordova he went to the -University of Salamanca. But in order more nearly -to approach the source of ancient literature, he undertook -a journey to Rome, where he zealously prosecuted -his studies. Enriched with knowledge, he returned -to his native country, and immediately attracted the -notice of the Marquis of Santillana, and shortly after -of king John. Both received him into their literary -circles with distinguished approbation. The Marquis -of Santillana attached himself with more friendship to -Juan de Mena than to any other poet who enjoyed the -favour of the king, although their political opinions did -not always coincide. The king nominated him one of -the historiographers, who, according to the arrangement -which had subsisted since the time of Alphonso X. were -appointed to continue the national chronicles. Juan de -Mena lived in high favour at the court of John II. -and was a constant adherent of the king. He died -in 1456, at Guadalaxara, in New Castile, being then -about forty-five years of age. The Marquis of Santillana -erected a monument to his memory. -<span class="pagenum" id="Page_92">92</span></p> - -<p>From the history of Juan de Mena’s life, it might -be expected that his endeavours to extend the -boundaries of Castilian poetry would be made -under the influence of Italian taste, more or less of -which he may be presumed to have adopted, and on -his return introduced into his native country. But no -Italian poet, save Dante, appears to have produced -any remarkable impression on him. Indeed, with the -exception of Dante and Petrarch, there was, at that -period, no Italian poet of classic consideration; and in -the first half of the fifteenth century Italian poetry suddenly -declined. Sonnets were still in favour throughout -the whole of Italy, but Juan de Mena continued faithful -to the old forms of the Castilian poetry, perhaps -from a feeling of national pride. He certainly did not -imitate the sonnet; and even from Dante himself, he -copied neither metrical form nor style. In allegory -alone he followed the footsteps of the Italian poet. -His most celebrated poem is, the Labyrinth, (<i>el Labyrintho</i>) -or, the Three Hundred Stanzas (<i>las trecientas</i>,) -an allegorical historical didactic work, in old dactylic -verse (<i>versos de arte mayor</i>.<a id="FNanchor_88" href="#Footnote_88" class="fnanchor">88</a>) Had the Labyrinth -proved what, according to the idea of the author, it -<span class="pagenum" id="Page_93">93</span> -was intended to be, it would have been proper, merely -on account of that single work, to commence a new -epoch of Spanish poetry with the reign of John II. -But with all its merits, which have been highly extolled -by some authors, and which are certainly by no means -trivial, it can only be regarded as a mere specimen of -gothic art.<a id="FNanchor_89" href="#Footnote_89" class="fnanchor">89</a> It belongs to the period which gave it -birth, and bears no traces of the superiority of a genius -which might have ruled the spirit of the age. Juan -de Mena formed the grand design of executing in this -work an allegorical picture of the whole course of -human life. His intention was, to embrace every age, -to immortalize great virtues, to stigmatize with opprobrium -great vices, and to represent in striking colours -the irresistible power of destiny.<a id="FNanchor_90" href="#Footnote_90" class="fnanchor">90</a> But the poetical -invention of Juan de Mena was subordinate to his -false learning. The three hundred stanzas, of which -the poem consists, are divided into seven orders, -(<i>ordenes</i>), in imitation of the seven planets, the influence -of which, according to Juan de Mena’s doctrine, -is wisely prescribed by Providence. To represent this -<span class="pagenum" id="Page_94">94</span> -influence figuratively, Mena resorted to a most insipid -and grotesque invention. After invoking Apollo and -Calliope, and earnestly apostrophising Fortune,<a id="FNanchor_91" href="#Footnote_91" class="fnanchor">91</a> he -loses himself in imitation of Dante in an allegorical -world, where a female of astonishing beauty appears to -him, and becomes his guide. This female is Providence:<a id="FNanchor_92" href="#Footnote_92" class="fnanchor">92</a> -she conducts him to three wheels, two of -which are motionless, while the third is in a state of -continual movement. These wheels, it will readily be -conjectured, represent the past, the present, and the -future. Human beings drop down through this mill -of time. The centre wheel turns them round. Each -has his name and destiny inscribed on his forehead. -While the wheel of the present is revolving with all -the existing human race, it is controlled astrologically -in its motion by the seven orders or circles of the seven -planets under the influence of which men are born. -Whether or not these circles are perceptible on the wheel -itself, is not clearly stated. To this description succeeds, -<span class="pagenum" id="Page_95">95</span> -in the order of the seven planets, a long gallery of mythological -and historical pictures, which presents abundant -fruits of the poet’s extensive reading. This grotesque -composition is interspersed with individual passages of -great interest and beauty, though none of the traits -call to mind similar traits in Dante. The most glowing -passages of the lyric, didactic, and narrative class, are -those in which Juan de Mena gives utterance to the -language of Spanish patriotism.<a id="FNanchor_93" href="#Footnote_93" class="fnanchor">93</a> He is particularly -successful in the description of the death of the Count de -Niebla, a Spanish naval hero, who attempted to recover -Gibraltar from the Moors; but through ignorance of the -return of the tide, fell a sacrifice to the waves, because -he preferred perishing with his men, to saving himself -singly.<a id="FNanchor_94" href="#Footnote_94" class="fnanchor">94</a> But particular attention is bestowed on Don -<span class="pagenum" id="Page_96">96</span> -Alvaro de Luna,<a id="FNanchor_95" href="#Footnote_95" class="fnanchor">95</a> the favourite of the king, who is -introduced in this poem with great pomp, under the -<span class="pagenum" id="Page_97">97</span> -constellation of Saturn. When Juan de Mena wrote -this poem, and thus proclaimed the glory of de Luna, -the latter had not yet fallen, and the energy of his -character seemed to promise, as the poet prophesied, -that he would ultimately triumph over all the Castilian -nobles who had excited the hostility of the country -against him. King John, as may naturally be supposed, -is in Juan de Mena’s Labyrinth complimented -on every suitable occasion. A genealogy of the kings -of Spain forms the conclusion of the poem; and thus -were the Spaniards made to feel a kind of national -interest for the whole work, which in some measure -subsists, at least among their writers at the present day. -Even in Juan de Mena’s time, the learned solecisms -with which he endeavoured to elevate his poetic -language were uncommon;<a id="FNanchor_96" href="#Footnote_96" class="fnanchor">96</a> but other essential faults, -such, for instance, as Aristotelian definitions in verse, -were then esteemed great beauties; and the gothic -and fantastic hyperboles in praise of king John, with -which the poem opens, as if intended to appal the -reader at the outset, were not at that period considered -unpoetic.<a id="FNanchor_97" href="#Footnote_97" class="fnanchor">97</a> -<span class="pagenum" id="Page_98">98</span></p> - -<p>But king John was not satisfied with the torrent -of praise which was poured upon him by Mena’s Labyrinth. -The king, with critical gravity, signified his -wish that the poet should add sixty-five stanzas to the -three hundred which he had already written, so that -by making the number of stanzas correspond with the -number of days in the year, the beauty of the composition -might be heightened. The sixty-five new -stanzas were also to have a political tendency, with the -view of recalling the rebellious nobles to their allegiance. -Juan de Mena proceeded to the prescribed -task; but he could produce no more than twenty-four -additional stanzas (<i>coplas añadidas</i>.) They are contained -in the <i>Cancionero general</i>.</p> - -<p>Another work of Juan de Mena, very celebrated at -the period when the poet flourished, is his Ode for the -Poetical Coronation of the Marquis of Santillana.<a id="FNanchor_98" href="#Footnote_98" class="fnanchor">98</a> -That Mecænas sometimes vied with him in the composition -of ingenious questions, or enigmas and their -<span class="pagenum" id="Page_99">99</span> -answers, which were versified by both in dactylic -stanzas.<a id="FNanchor_99" href="#Footnote_99" class="fnanchor">99</a> His other poems are, for the most part, love -songs, in the style of the age, and according to the -perverted taste of the poet, loaded with mythological -learning. In the course of this work further notice -will be taken of these songs, together with other amatory -poems of the same period. During the last -year of his life, Juan de Mena was engaged in a moral -allegorical poem, which, however, he did not complete. -It was entitled a Treatise on Vices and Virtues, (<i>Tractado -de Vicios y Virtudes</i>.) The author intended in -an epic poem to represent the “more than civil war,” -which the will, instigated by the passions, maintains -<span class="pagenum" id="Page_100">100</span> -with reason.<a id="FNanchor_100" href="#Footnote_100" class="fnanchor">100</a> The will and reason are in the end -personified.</p> - -<p>To collect biographical notices of the other poets -and writers of verse who enjoyed the favour of -king John II. and whose works are partly contained -in the <i>Cancionero general</i>, or to give an extensive -account of their productions, is a task which must be -resigned to the author who has made this department -of Spanish literature his particular study. As to poetic -value, the writings of all those authors are in the main -the same; and it may therefore be presumed that it -will prove more instructive to consider works so nearly -related to each other, under the comprehensive view -of general criticism. A few notices, however, of men -worthy of more particular remembrance, may precede -the critical comparison of their works.<a id="FNanchor_101" href="#Footnote_101" class="fnanchor">101</a></p> - -<h3 id="PEREZ_DE_GUZMAN">PEREZ DE GUZMAN, RODRIGUEZ DEL PADRON, AND -OTHER SPANISH LYRIC POETS OF THE AGE -OF JOHN II.</h3> - -<p>Fernan Perez de Guzman was held in no trifling -consideration at the court of John II. His family, -which was one of the most distinguished in Castile, -<span class="pagenum" id="Page_101">101</span> -was related to all the other great families in the country. -As a poet, he studied to combine the peculiar tone of -moral and spiritual poetry with that of the old romances. -His Representation of the Four Cardinal -Virtues, dedicated to the Marquis of Santillana, which -consists of sixty-four strophes or couplets, is versified -in redondillas, as are also his <i>Ave Maria</i>, his <i>Paternoster</i>, -and his other spiritual songs.</p> - -<p>Rodriguez del Padron seems likewise to have been -held in some esteem at the court of John II. His -family name is not known, and as little are the dates -of his birth and death, but he is named after the place -of his nativity, the little town El Padron in Galicia. -It is remarkable that in his poetry he dropped his -Galician idiom and adopted the Castilian. Besides -the reputation he obtained by his poetic productions, -which are chiefly love songs, he is celebrated for his -friendship with the Galician poet Macias, who will be -further mentioned in the history of Portuguese poetry. -The tragical death of Macias, who fell a sacrifice to -his romantic susceptibility, made such an impression on -Rodriguez del Padron, that he shut himself up in a -Dominican cloister, which he had erected at his own -expense. He became a monk, and terminated his life -in that convent.</p> - -<p>Alonzo de Santa Maria, called also Alonzo de Cartagena, -wrote love songs, probably in his youth, and -then devoted himself to spiritual affairs. He died -Archbishop of Burgos, in the year 1456.</p> - -<p>Several other poets whose works fill the <i>Cancionero -general</i>, also lived in the reign, or rather under the -<span class="pagenum" id="Page_102">102</span> -anticipated domination of queen Isabella, who, in the -year 1465, vouchsafed to her almost dethroned brother, -Henry IV. the little authority, which, as a nominal -king he retained till his death in 1474. At this -troubled period Garci Sanchez de Badajoz sang his -passionate and glowing songs of love; and at the same -time flourished the two Manriques, Gomez Manrique -and Jorge Manrique; the latter was nephew to the -former. Both owed the consideration they enjoyed no -less to their poetical works than to their high and pure -Castilian descent. The Bachelor de la Torre, of whom -nothing further is known than what his own songs -express, lived at the same period.</p> - -<h3 id="OF_THE_CANCIONERO_GENERAL">OF THE CANCIONERO GENERAL, AND THE DIFFERENT -KINDS OF ANCIENT SPANISH SONGS.</h3> - -<p>Between the works of the above poets, all of which -are to be found in the <i>Cancionero general</i>, and the -other poems contained in the same collection, whether -their authors lived in the first or the second half of the -fifteenth century, there is a very striking resemblance. -This collection, so remarkable in its kind, may therefore -be regarded as a single work, which, together with a -portion of the General Romance Book (<i>Romancero -general</i>), embraces nearly all the Castilian poetry of the -fifteenth century. No other remains of Spanish poetry, -belonging to the same age, are sufficiently important to -be brought into comparison with this national treasure. -It may not, then, be improper to introduce here, a few -particulars respecting the history of the <i>Cancionero</i> -<span class="pagenum" id="Page_103">103</span> -<i>general</i>. Of the <i>Romancero general</i> some further account -must hereafter be given.</p> - -<p>The bibliographic notices towards the history of -the collections of Spanish poetry, to be found in the -works of various authors, readily explain why many -old Spanish poems and names of poets have been either -totally lost, or are still only preserved in manuscript in a -way which renders them foreign to literature. It appears -that having been withheld from the press, on the introduction -of printing into Spain,<a id="FNanchor_102" href="#Footnote_102" class="fnanchor">102</a> they were forgotten as -soon as other collections were made known by means of -that art. In the reign of John II. Alphonso de Baena, -who himself wrote in verse, prepared a collection of -old lyric pieces, under the title of <i>Cancionero de Poetas -Antiguos</i>. This collection, though still preserved in -the library of the Escurial, was never printed;<a id="FNanchor_103" href="#Footnote_103" class="fnanchor">103</a> but -a list of the poets whose works are contained in it, -has appeared, and includes names which do not -occur elsewhere. Alvarez de Villapandino is mentioned -as a particularly excellent “master and patron -of the said art,” namely, poetry. Sanchez Salavera, -Ruy Paez de Ribera, and others, of whom besides -<span class="pagenum" id="Page_104">104</span> -their names, nothing else is known, are also cited. It -is not very probable that Alphonso de Baena’s collection -was the origin of that which subsequently appeared -under the title of the <i>Cancionero general</i>. Of this -celebrated collection it is merely known that it was -originally produced by Fernando del Castillo, at the -commencement of the sixteenth century, and within a -short period frequently augmented and reprinted. Fernando -del Castillo began his collection with the poets -of the age of John II. He did not, however, take the -trouble to carry on the series in chronological order -through the fifteenth century. He places the spiritual -poems before the rest. He then gives the works of -several poets of the reign of John II. mingled with -others of more recent date, but so arranged, that the -productions of each author seem to be kept distinct. -After, however, the works are thus apparently given, -other poems follow under particular heads, partly by -the same and partly by different authors, whose names -are sometimes mentioned and sometimes not: there are -also a few Italian sonnets, and some coplas in the -Valencian language. In proportion as the collection -extended, the additions were always inserted at the -end of the book. In the oldest editions the number of -poets mentioned amounts to one hundred and thirty-six.<a id="FNanchor_104" href="#Footnote_104" class="fnanchor">104</a> -<span class="pagenum" id="Page_105">105</span></p> - -<p>A nation which can enumerate one hundred and -thirty-six song writers in a single century, and which -also possesses a great number of songs by unknown -authors, produced within the same period, may well -boast of its lyric genius; and the literary historian, -before he proceeds to a closer review of this collection, -may reasonably expect to find in it a full and true -representation of the national character. Thus the old -Spanish <i>Cancionero</i> is even more interesting to the -philosophic observer of human nature than to the -critic.</p> - -<p>The Spiritual Songs, (<i>Obras de Devocion</i>,) at the -head of the collection, probably will not fulfil the expectations -which may be formed respecting them. It is -natural to presume that in a nation so poetically inclined, -and in an age when, for the most part, nature -was followed without reference to the rules of art, the -poets could not fail to view Christianity on its poetic -side. But the scholastic forms of the existing theology -crushed the genius of poetry; and the unpoetic side of -Christianity, because it was the most learned, was alone -deemed worthy the strains of the Spanish poets of the -fifteenth century. They likewise seldom ventured to -give scope to the fancy in devotional verses, because the -nation was accustomed to the most implicit faith in -every dogma of the church, and the recognition of the -sacredness of literal interpretation was identified with -orthodoxy, long before the terrors of the inquisition and -its burning piles were known. This rigid orthodoxy of -the Spanish Christians was a consequence of their war -of five hundred years duration with the Moors. Throughout -that long period the Spanish knight invariably fought -<span class="pagenum" id="Page_106">106</span> -for religion and his country; and from the constant hostility -that prevailed between the Christian and Mahometan -faiths, the Spanish Christians were wont to make a parade -of their creed, as the Christians of the east are accustomed -to do at the present day. Hence the strictest formality -was observed in all matters connected with religion; -and great as was the enthusiasm of the Spaniards -in the fifteenth century, it produced few, if any, -lyric compositions, containing more poetry than a common -hymn. Whether reference be made to the Twenty -Perfections of the Holy Virgin,<a id="FNanchor_105" href="#Footnote_105" class="fnanchor">105</a> (<i>Obra en loor de veinte -excellencias de nuestra Señora</i>), by Juan Tulante, who is -the author of most of the spiritual songs in the <i>Cancionero -general</i>; to the play on the five letters of the name <i>Maria</i>,<a id="FNanchor_106" href="#Footnote_106" class="fnanchor">106</a> -by the Visconde de Altamira; or to Fernan Perez -de Guzman’s versions of the <i>Ave Maria</i> and <i>Paternoster</i>,<a id="FNanchor_107" href="#Footnote_107" class="fnanchor">107</a> -which could not have been more dryly and formally -written in prose; we find in all the same monotony -without any poetic adaptation of the materials. -<span class="pagenum" id="Page_107">107</span></p> - -<p>The moral poems of this collection do not weigh -heavier in the scale of poetic merit. The art which the -ancients possessed of introducing moral ideas into the -region of poetry, was not attainable by the pupils of -the monastic schools. They allegorized either virtues -or vices according to the catalogue and definitions of -the scholastic philosophy; or they made common place -observations on human life, sometimes with declamatory -pomp, sometimes with real warmth of feeling, and occasionally -in agreeable verse, though destitute of any -poetic spirit. Gomez Manrique with commendable -frankness addressed a didactic poem on the Duties of -Sovereigns (<i>Regimiento de Principes</i>) in redondillas, to -Queen Isabella and her husband Ferdinand of Arragon; -but however valuable the truths which he wished to -impart to the royal pair, he could only express them in -versified prose.<a id="FNanchor_108" href="#Footnote_108" class="fnanchor">108</a> The moral coplas of his nephew -Jorge Manrique present somewhat stronger claims to -poetic merit; they were subsequently glossed as a -National Book of Devotion, and were held in high -estimation up to a recent period.<a id="FNanchor_109" href="#Footnote_109" class="fnanchor">109</a> In the moral as -<span class="pagenum" id="Page_108">108</span> -well as in the spiritual songs the character of the nation -is manifest. With equal warmth of feeling, with the -same disposition for light and sportive gaiety, the -Spaniards were invariably distinguished from the Italians -by moral gravity. Hence, they have in all times -set a high value on rules of conduct, sentences, and useful -proverbs, and have never regarded the principles -of genuine rectitude as less important than maxims of -worldly wisdom. -<span class="pagenum" id="Page_109">109</span></p> - -<p>But love songs form by far the principal part of the -contents of the old Spanish <i>Cancioneros</i>. To read -them regularly through, would require a strong passion -for compositions of this class, for the monotony of the -authors is interminable. To extend and spin out a -theme as long as possible, though only to seize a new -modification of the old ideas or phrases, was, in their -opinion, essential to the truth and sincerity of their -poetic effusions of the heart. That loquacity which is -an hereditary fault of the Italian Canzone, must also -be endured in perusing the amatory flights of the Spanish -redondillas, while in them the Italian correctness -of expression would be looked for in vain. From the -desire perhaps of relieving their monotony, by some -sort of variety the authors have indulged in even more -witticisms and plays of words than the Italians, but -they also sought to infuse a more emphatic spirit into -their compositions than the latter.<a id="FNanchor_110" href="#Footnote_110" class="fnanchor">110</a> The Spanish poems -of this class, exhibit, in general, all the poverty of the -<span class="pagenum" id="Page_110">110</span> -compositions of the Troubadours, but blend with the -simplicity of these bards, the pomp of the Spanish national -style in its utmost vigour. This resemblance to -the Troubadour songs was not however produced by -imitation; it arose out of the spirit of romantic love, -which at that period, and for several preceding centuries, -gave to the south of Europe the same feelings -and taste. Since the age of Petrarch, this spirit had -appeared in classical perfection in Italy. But the -Spanish amatory poets of the fifteenth century had not -reached an equal degree of cultivation; and the whole -turn of their ideas required rather a passionate than a -tender expression. The sighs of the languishing Italians -became cries in Spain. Glowing passion, despair -and violent ecstacy, were the soul of the Spanish love -songs. The continually recurring picture of the contest -between reason and passion is a peculiar characteristic -of these songs. The Italian poets did not place so -much importance on the triumph of reason. The -rigidly moral Spaniard was, however, anxious to be -wise even in the midst of his folly. But this obtrusion -of wisdom in its improper place, frequently gives an -unpoetic harshness to the lyric poetry of Spain, in spite -of all the softness of its melody. It would be no unprofitable -or useless task to pursue this comparison still -further. But the limited extent of this work can -afford space for only a few notices and examples.</p> - -<p>How successful the Spanish poets of the fifteenth -century were in gay and graceful love songs, when -guided only by their own feelings, is manifest from -some of the compositions of Juan de Mena; but the -<span class="pagenum" id="Page_111">111</span> -charm vanishes the instant the poet begins to display -his skill and erudition.<a id="FNanchor_111" href="#Footnote_111" class="fnanchor">111</a> In a love song by Diego -Lopez de Haro, reason and the mind enter into a prolix -conversation on the value to be attached to affections -of the heart; and the thinking faculty admits reason at -the expense of poetry.<a id="FNanchor_112" href="#Footnote_112" class="fnanchor">112</a> In the other songs of the -<span class="pagenum" id="Page_112">112</span> -same author, in which the mind obeys only the heart, -he is poetic in all the simplicity of passion, though in -search of wit he sometimes involves himself in obscure -subtilties.<a id="FNanchor_113" href="#Footnote_113" class="fnanchor">113</a> The fire of passion is excellently painted, -<span class="pagenum" id="Page_113">113</span> -even amidst sports of wit,<a id="FNanchor_114" href="#Footnote_114" class="fnanchor">114</a> in several songs by Alonzo -de Cartagena, afterwards archbishop of Burgos; and it -seems to rage incessantly in the love songs of Guivara, -<span class="pagenum" id="Page_114">114</span> -to one of which he has given the emphatic title of <i>El -Infierno de Amores</i>; or, The Hell of Love.<a id="FNanchor_115" href="#Footnote_115" class="fnanchor">115</a> Sanchez -de Badajoz, when, like a despairing lover, he wrote his -will in poetry, thought he might avail himself of some -passages from the book of Job to express his suffering. -He divided this strange kind of will into nine lessons, -(<i>leciones</i>). The ideas are very extravagant, but the execution -is vigorous, and in many parts not unpoetic.<a id="FNanchor_116" href="#Footnote_116" class="fnanchor">116</a> It -<span class="pagenum" id="Page_115">115</span> -might be presumed that profane applications of the doctrines -and language of the bible would have given offence -to the Spanish public, or at least alarmed the guardians -of catholic orthodoxy. But such was not the case. Rodriguez -del Padron chose the Seven Joys of Love as the -subject of one of his songs, the title of which calls to -mind the Marquis of Santillana’s Joys of the Holy -Virgin; he also versified Love’s Ten Commandments, -(<i>Los diez Madamientos de Amor</i>.)</p> - -<p>The other kinds of lyric poems, for example, the -laudatory poems, which are dispersed through the <i>Cancionero -general</i>, are not distinguished by any peculiar -features; but the poems under miscellaneous titles -in this collection deserve particular attention. They -exhibit the natural style, amalgamated with a conventional, -and thus form the model of a species of national -poetry, which has descended to the present age. -<span class="pagenum" id="Page_116">116</span> -Certain short lyric poems, usually called songs, (<i>canciones</i>,) -in the more strict sense of the term are -distinguished by a peculiar character and a decided -metrical form. They have always a sententious or an -epigramatic turn. The number of lines is generally -twelve, which are divided into two parts. The first -four lines comprehend the idea on which the song is -founded. And this idea is developed or applied in the -eight following lines. The <i>Cancionero general</i> contains -one hundred and fifty-six of these little songs, some of -which are the best poems in the whole book. For this -advantage they are probably indebted to their conventional -form, which confined the romantic verbosity -within narrow bounds. These little songs were to the -Spaniards of the fifteenth century, what the epigram -had been to the Greeks, and what the madrigal was -to the Italians and French. Like the latter, they -are generally devoted to some theme of gallantry; and -though they do not possess so high a polish, yet the -interest excited by the truth with which they paint the -character of the age, and their ingenious simplicity, -entitles them to be ranked among the sweetest blossoms -of the ancient spirit of romance.<a id="FNanchor_117" href="#Footnote_117" class="fnanchor">117</a> -<span class="pagenum" id="Page_117">117</span></p> - -<p>The Villancicos bear an immediate affinity to these -little songs. The idea which forms the subject of the -Villancico, is sometimes contained in two, but more -commonly in three lines. The developement, or application, -may be completed in one short stanza, but often -extends to several similar stanzas. These stanzas always -include seven lines. It was, perhaps, by way of irony -that the name Villancico was originally applied to -productions of this kind; for the spiritual motets, -which are sung during high mass on Christmas eve, -are also called Villancicos. At least no satisfactory -etymology has yet been found for the name. The -<i>Cancionero general</i> contains fifty-four Villancicos, and -among them are some which possess inimitable grace -and delicacy.<a id="FNanchor_118" href="#Footnote_118" class="fnanchor">118</a> -<span class="pagenum" id="Page_118">118</span></p> - -<p>These remarkable compositions, whose origin appears -to be lost in the early periods of the formation -of the Spanish language, doubtless gave rise to the -poetic gloss (<i>glosa</i>,) a kind of poem scarcely known, -even by name, on this side of the Pyrenees, but to -which the Spaniards and Portuguese of the fifteenth -century were particularly attached, and which subsequently -even after the introduction of the Italian forms, -continued to be preserved as national poetry in Spain -and Portugal.</p> - -<p>The poetic glosses may, in some measure, be compared -to musical variations. The musician selects as -his theme some well known melody, which he paraphrases -or modifies into variations; in like manner in -Spain and Portugal, well known songs and romances -were paraphrased or modified into new productions, but -in such a manner that the original composition was, -without any alteration in the words, intertwined line -after line, at certain intervals into the new one. A -poem of this kind was called a gloss. By this operation -the connection of the glossed poem was broken, and the -comparison of the poetic glosses to musical variations is -therefore not in all respects exactly just. But the distinction -between them arises out of the different nature -of the arts of music and poetry; and it is indeed more -<span class="pagenum" id="Page_119">119</span> -surprising that these compositions have not flourished -beyond the boundaries of Spain and Portugal, than that -they should have been peculiar favourites in those two -countries. At first, the old romances were glossed;<a id="FNanchor_119" href="#Footnote_119" class="fnanchor">119</a> -<span class="pagenum" id="Page_120">120</span> -then, as it appears, mottos, or sentiments, (<i>motes</i>,) in the -style of gallantry peculiar to the age,<a id="FNanchor_120" href="#Footnote_120" class="fnanchor">120</a> and, at length, -every thing that was capable of being glossed. There -is a particular class of <i>jeux d’esprit</i>, in the <i>Cancionero -general</i>, namely, versified questions and answers, and -versified interpretations of devices (<i>letras</i>,) which, -together with corresponding emblems, lords and ladies -drew by lot at festivals, tourneys, bull fights, &c. But -<span class="pagenum" id="Page_121">121</span> -these questions, answers, and devices, are in general -more whimsical than ingenious.</p> - -<h3 id="OF_THE_ROMANCERO_GENERAL">OF THE ROMANCERO GENERAL.</h3> - -<p>The latter half of the fifteenth century seems also -to have given birth to the greater portion of those -Spanish romances, which wrested the approbation of -criticism and public favour from the older productions -of the same class; and which, therefore, in the sequel, -formed the bulk of the <i>Romancero general</i>, or General -Romance Book. This Romancero of the Spaniards is so -closely related to their <i>Cancionero general</i>, that some -account of it may not be out of place here, though it -was not printed as a complete collection until the close -of the sixteenth century. With the exception of the -narrative romances, the Romancero may be considered -merely as a continuation of the Cancionero. The -poetry of the lyric pieces contained in it, which are -extremely numerous, is both in spirit and metrical form, -precisely the same as that which appears in the Cancionero, -but more polished in manner and language. -The title of romance indicates no essential difference. -The narrative romances, which occupy the greater -portion of the Romancero, have, in some measure, been -characterized in this history in treating of the old -romances of the same class; for most of them, particularly -those of the historical kind, differ little from the -more ancient. But a considerable portion of compositions -of every class have been contributed to the -Romancero by poets of the sixteenth century. The -<span class="pagenum" id="Page_122">122</span> -collectors have mingled these romances and the older -ones together, without any attention to critical arrangement -or chronological order; and in no instance is there -any mention or indication of an author. In a history -of literature, it therefore becomes necessary to speak of -the Romancero as a whole; and for this purpose, the -present is perhaps the most convenient opportunity; for, -even at the period when this collection was produced, -the poets who wrote romances in the old national style, -merely improved that style without essentially altering it.</p> - -<p>Among the historical romances, contained in the -Romancero, those in which anecdotes of the Moorish -war, or the heroic and gallant adventures of Moorish -knights, are poetically treated, seem, for the most part, -to belong to the latter half of the fifteenth century. -All these romances relate to the civil wars of Granada, -the last Moorish principality in Spain. The civil dissensions -of Castile retarded for upwards of half a -century the conquest of Granada, which was at length -effected in the year 1492, by the united power of -Isabella of Castile and Ferdinand of Arragon. During -this last period of the conflict between the Christians -and the Mahometans of Spain, the former became -more intimately acquainted with the history of the -latter. As the last blow for the deliverance of the -Peninsula was now about to be struck, all that related -to the Moors was doubly interesting to the Castilians. -The two rival factions, the Zegris and the Abencerrages, -whose mutual enmity accelerated the fall of -Granada, were, in a particular manner, the objects of -their adversaries attention. -<span class="pagenum" id="Page_123">123</span></p> - -<p>About this period it seems to have become a fashion -among the Spanish romance writers, to select from the -events of Moorish history, materials for their songs; -and in these romances the heroes of the Zegri and -Abencerrage tribes sustain the principal characters. -Even after the conquest of Granada, the interest excited -throughout Spain by that great national event, -still continued; and, doubtless, many romances, the -subjects of which are borrowed from Moorish history, -were produced in the sixteenth century.<a id="FNanchor_121" href="#Footnote_121" class="fnanchor">121</a></p> - -<p>The first Spanish pastoral romances, were probably -produced during the last ten years of the fifteenth -century. But no distinct traces exist of the rise of -<span class="pagenum" id="Page_124">124</span> -this species of poetry in Spain. In the poetry of the -age of John II. neither pastoral names nor ideas appear, -except in the satyrical poem, entitled, <i>Mingo Rebulgo</i>, -which will be hereafter noticed. Pastoral dramas are, -however, to be found in the works of Juan de la Enzina, -who flourished towards the close of the fifteenth century, -and of whom we shall also have occasion to speak -more at large. The Spanish pastoral poetry seems, -shortly after its rise, to have been blended with the -romantic poetry. Many of the most beautiful narrative -pieces in the <i>Romancero general</i> are properly pastoral -romances. It is quite impossible to ascertain correctly -to what age these bucolicks belong;<a id="FNanchor_122" href="#Footnote_122" class="fnanchor">122</a> and it has, -<span class="pagenum" id="Page_125">125</span> -hitherto, proved equally impossible to obtain any positive -information respecting the origin of the facetious -and satyrical romances and songs, dispersed through -the <i>Romancero general</i>.<a id="FNanchor_123" href="#Footnote_123" class="fnanchor">123</a> -<span class="pagenum" id="Page_126">126</span></p> - -<p>Finally, the history of the <i>Romancero general</i> -itself still waits for bibliographic illustration; and in -order to throw any light on this subject, it would be -necessary to have the opportunity of examining the -Spanish libraries and old collections of manuscripts, -and to be able to bestow on them the most indefatigable -attention. Of all the collections, bearing the common -title of <i>Romancero general</i>, only two are quoted by -authors; one was edited by Miguel de Madrigal, in the -<span class="pagenum" id="Page_127">127</span> -year 1604; and the other by Pedro de Flores in 1614.<a id="FNanchor_124" href="#Footnote_124" class="fnanchor">124</a> -Another publication, however, under the same title, -which also appeared in 1604, and which contains upwards -of a thousand romances and songs, professes to -be a new and augmented collection of this kind.<a id="FNanchor_125" href="#Footnote_125" class="fnanchor">125</a> At -what time, then, was the first collection made or published?</p> - -<p>Those, however, who may think it unimportant to -enquire how many of these anonymous poems, which -have for ages delighted the Spanish public, were produced -in the fifteenth or sixteenth century, and who -may merely wish to see a selection of the best Spanish -poems in the old national style, have only to turn to -the <i>Romancero general</i>. Many of the narrative romances -which it contains, vie, in romantic simplicity, -with those of apparently older date in other collections, -and exceed them in elegance; and still more do a number -of the songs in the <i>Romancero</i> surpass those in the -<i>Cancionero general</i>. Thus the historian of literature -has additional cause to lament that through the absence -<span class="pagenum" id="Page_128">128</span> -of all chronological and bibliographical notices, he is -deprived of even the slight satisfaction of paying a just -tribute to the memory of the authors of the best of -these romances and songs, which really deserve to be -immortal. The poets themselves, it is true, do not -seem to have attached much value to fame. If their -songs, accompanied by the guitar, interested the hearts -and charmed the ears of their auditors, they sought no -laurels in addition to that true reward of the poet. Yet, -for this very reason, in an age when the lowest degree -of poetic merit presumptuously claims literary distinction, -the task would be the more pleasing to do honour -to those venerable authors, by raising the veil beneath -which their names have too long been concealed.</p> - -<h3 id="FIRST_TRACES_OF_THE_ORIGIN">FIRST TRACES OF THE ORIGIN OF SPANISH DRAMATIC -POETRY IN THE MINGO REBULGO—JUAN -DEL ENZINA—CALLISTUS AND MELIBŒA, A -DRAMATIC TALE.</h3> - -<p>All that now remains to be stated respecting the -poetic literature of the Spaniards during the fifteenth -century, must be comprehended in a notice of their -first essays in dramatic poetry.</p> - -<p>In lieu of those poetic works which are styled dramatic -in the true sense of the word, and which afterwards -formed the most brilliant portion of Spanish -poetry, the Spaniards of the fifteenth century possessed -merely spiritual or temporal farces, written in the style -which prevailed in the middle ages, and which can -scarcely be said to belong to literature. At Saragossa, -the residence of the Court of Arragon, attempts -<span class="pagenum" id="Page_129">129</span> -towards the improvement of dramatic amusements were -earlier made than in the Castilian court. There, as -has already been observed, the Marquis de Villena -devoted his learning and inventive talents to the drama. -Allegorical dramas, indeed, do not seem to have been in -favour at the court of Castile, notwithstanding the -taste for allegory which distinguished the poets of the -reign of John II. A singular union of pastoral and -satirical poetry first gave birth to a species of dramatic -poem in the Castilian language.</p> - -<p>In the reign of John II. an anonymous poet amused -himself by describing the court of that monarch in -satirical coplas. It is impossible to account for the -whim which induced him to throw his rhymes into the -form of a dialogue, and to select shepherds for his interlocutors. -The work extends to thirty-two coplas, and -critics have sometimes classed it among the eclogues, -and sometimes among the first satirical productions of -the Spanish poets. Some make Rodrigo de Cota the -author of these coplas; and others, who ascribe them -to Juan de Mena, seem to forget that the latter was -zealously devoted to the court party. This singular -composition is usually mentioned under the title of -Mingo Rebulgo, from the names of the two shepherds -who carry on the dialogue. Supposing pastoral poetry -to have been in vogue at that period in Spain, and particularly -at the court of John II. it would be easy to explain -how a witty author might conceive the bold idea of -converting a pastoral dialogue into a satire; but in that -case the ideas of a poetic pastoral existence must have -been diffused through Spain, as they were through Italy. -<span class="pagenum" id="Page_130">130</span> -It is probable, however, that in both countries the revived -study of classical literature, and particularly of -Virgil’s eclogues, gave rise to the practice of clothing -modern ideas in a garb imitated from the ancient bucolic -poetry; and it seems the effect of mere accident -that a Spaniard should have been the first to devote a -work of this kind to the purposes of satire.<a id="FNanchor_126" href="#Footnote_126" class="fnanchor">126</a></p> - -<p>Doubtless neither the eclogue of Mingo Rebulgo, -nor the colloquial stanzas in the <i>Cancionero</i> can properly -be regarded as the commencement of dramatic -poetry in Spain. But all these preliminary essays in -dialogue, are in a literary point of view connected together; -and about the close of the fifteenth century, -pastoral dialogues were converted into real dramas, -by a musical composer, named Juan de la Enzina, or -del Enzina, as he is styled in the old collections of -his works. This ingenious man who was born in Salamanca -during the reign of Queen Isabella, though in -what year is not precisely known, was equally celebrated -as a poet and musician. He travelled to Jerusalem -in company with the Marquis de Tarifa, and -this journey could not fail to store his mind with many -new ideas. He lived for some time at Rome in the -quality of chapel-master, or musical director to Pope -Leo; who, it is well known, afforded great encouragement -to dramatic amusements. But at Rome, as well -as in Palestine, Juan de la Enzina still remained -a Spaniard. His poetry imbibed no tincture of the -<span class="pagenum" id="Page_131">131</span> -Italian taste, and he continued to write songs and lyric -romances in the old Castilian style. He also exercised -his fancy in making jests, consisting of ridiculous combinations -or heterogeneous conceits, called <i>disparates</i>, -which he wrote in the form of romances. For instance, -he talks with an absurd but harmless humour of a -“cloud which at night, at day break in the afternoon -arrived from a pilgrimage, having in its train a domestic -utensil which appeared in <i>pontificalibus</i>,” &c.<a id="FNanchor_127" href="#Footnote_127" class="fnanchor">127</a> These -oddities rendered his name a proverb in Spain. He -converted Virgil’s eclogues into romances, in which he -displayed singular simplicity, and applied to his patrons, -Ferdinand and Isabella, the duke and duchess of Alba, -and others, the compliments which Virgil addressed to -the emperor Augustus. Accident had introduced into -Spain a mixture of pastoral poetry with the drama, and -Juan de la Enzina wrote sacred and profane eclogues, -in the form of dialogues, which were represented before -distinguished audiences on Christmas eve, during the -carnival, and on other festivals. They are, however, -entirely lost to literature.<a id="FNanchor_128" href="#Footnote_128" class="fnanchor">128</a> -<span class="pagenum" id="Page_132">132</span></p> - -<p>The dramatic romance of <i>Callistus</i> and <i>Melibœa</i> -is, however, more celebrated than Juan de la Enzina’s -<span class="pagenum" id="Page_133">133</span> -eclogues. It was probably commenced in the reign of -Ferdinand and Isabella; though some authors assign -this singular production of popular descriptive talent and -well meant plainness to the age of John II. The author -<span class="pagenum" id="Page_134">134</span> -is supposed to be Rodrigo de Cota, to whom the pastoral -dialogue of Mingo Rebulgo is also attributed. -This dramatic romance was continued and completed -at the commencement of the fifteenth century by Fernando -de Roxas, who has recorded his own name in -the initials of the introductory stanzas.<a id="FNanchor_129" href="#Footnote_129" class="fnanchor">129</a> Fernando de -Roxas did not possess the forcible descriptive powers of -the unknown author, though he appears to have fully -entered into the plan traced out by the latter. Either -he or his precursor entitled the work a tragi-comedy. -It consists of twenty-one acts, and consequently its vast -length renders it unfit for theatrical representation. -This production may be regarded as original in a certain -sense, for there existed no work of the same kind -which the author could have chosen as his model. -But in a higher and truly critical point of view, it -possesses as little originality as real poetic merit. Natural -description and moral precept seem to have formed -the great object of both authors. They both aimed -at exhibiting a series of dramatic lessons to warn youth -against the seductive arts of base agents employed to promote -intrigues. In order to attain this moral end, the -authors deemed it necessary to paint in glowing colours -the disgusting picture of a brothel, and through a series -of scenes unconnected by the unities of time or place, -<span class="pagenum" id="Page_135">135</span> -to exhibit in the most striking point of view, the tragical -end of an intrigue conducted by a woman of infamous -character. Owing to its moral object, the book -has found admirers in all ages, though many have not -unreasonably conceived it more advisable to withdraw -such scenes of vice from the eye of youth, than to paint -them with the minuteness and vivid colouring of truth. -But, even allowing that an inconsiderate young person -may have occasionally been deterred from an intrigue -by the sad history of Callistus and Melibœa, yet the -whole dramatic tale, both in the subject and execution, -is nevertheless revolting to good taste. The story is -as follows:—Callistus, a young man of noble family, -entertains a romantic passion for Melibœa. The young -lady is also attached to him; but her own prudence, as -well as the strict observation to which she is subject in -the house of her parents, prevents all communication -between the lovers. In this difficulty, Callistus applies -to an artful and abandoned woman, to whom the author -has given the elegant name of Celestina. She easily -devises a pretence for insinuating herself into the house -of Melibœa’s parents, where she succeeds in bribing the -servants. The intrigue then proceeds in the most common -manner, though the author thinks it necessary to -call in the aid of witchcraft and magic. Callistus at -length attains his object, and Melibœa’s parents discover -the mischief when it is too late. Murder is committed -among the servants of Melibœa; Celestina’s house likewise -becomes the scene of bloodshed; the profligate -woman is herself murdered in the most horrible manner -imaginable; Callistus is assassinated, and Melibœa closes -<span class="pagenum" id="Page_136">136</span> -the tragedy by throwing herself from the top of a lofty -tower. Such is the ground-work of the twenty-one -acts of this tragi-comedy. It must be admitted, that -the authors appear to have wished to paint the scenes -in the house of Celestina in as decorous a manner as -the nature of the subject would permit. The profligate -personages, particularly Celestina, are drawn with great -truth; and in the list of the characters their description -is unreservedly added to their names. The first act, -which is by the unknown author, is distinguished above -the rest for the easy flow of the dialogue.<a id="FNanchor_130" href="#Footnote_130" class="fnanchor">130</a> Considered -in this point of view alone, the work is extremely interesting. -<span class="pagenum" id="Page_137">137</span> -It affords a fair proof that the fluent and -natural style of conversation which the dramatic poets -of the north did not attain, until after much labour and -repeated failures, arose spontaneously in Spain, on the -first attempt made by a writer of talent to make dramatic -characters speak in prose.<a id="FNanchor_131" href="#Footnote_131" class="fnanchor">131</a> This tragi-comedy, -as it is styled, has, however, but little relation to poetry.<a id="FNanchor_132" href="#Footnote_132" class="fnanchor">132</a></p> - -<h3 id="FURTHER_ACCOUNT_OF_SPANISH_PROSE">FURTHER ACCOUNT OF SPANISH PROSE.<br /> - -<span class="medium">RISE OF THE HISTORICAL ART—EARLY PROGRESS -OF THE EPISTOLARY STYLE.</span></h3> - -<p>In a history of Spanish prose of the fifteenth century, -it would be improper to omit a brief notice of -the chronicles, which, in Spain, at this period, were -not written by monks, as in other parts of Europe, but -by knights, many of whom were at the same time -poets. The custom instituted by Alphonso X. of appointing -historiographers to record the most remarkable -events of national history, was maintained by his successors -throughout the fourteenth century; and, in addition -<span class="pagenum" id="Page_138">138</span> -to those historians, who were regularly appointed -and paid, there arose others in the fifteenth century, -who wrote of their own accord from the love of fame, -or for the sake of doing honour to the parties to which -they were respectively attached. Historians were never -held in such high estimation in modern Europe as they -were at this time in Castile.</p> - -<p>But notwithstanding the fortunate circumstances -which combined to revive the taste for historical composition -in Spain, the noble authors of the Spanish -chronicles in very few instances rose above the vulgar -chronicle style. They faithfully adhered to the language -of the historical books of the bible. In nothing is their -poetic talent disclosed, except in a better choice of expression, -than is to be found in the common chronicles, -which were in general written by monks. Spirited and -adequate historical description was totally unknown to -them. They all wrote in nearly the same manner. Facts -were heaped on facts, in long monotonous sentences, -which uniformly commenced with the conjunction <i>and</i>. -Occasionally, indeed, the writers of these chronicles -seem to have made attempts to imitate the ancient -historians; for at every favourable opportunity little -speeches are put into the mouths of the characters they -record; but these speeches are given either in the language -of scripture or the law. Thus wrote the illustrious -Perez de Guzman, who was celebrated among -the poets of his age; and thus wrote the grand -Chancellor of Castile, Pedro Lopez de Ayala, who is -better known than the former as an historian, in consequence -of having compiled from ancient chronicles -<span class="pagenum" id="Page_139">139</span> -a connected history of the kings of Castile of the fourteenth -century.<a id="FNanchor_133" href="#Footnote_133" class="fnanchor">133</a></p> - -<p>An agreeable surprise is, however, excited in discovering -among these chronicles some biographical -works, one of which was probably written in the last -years of the fourteenth century, and another, doubtless, -belongs to the fifteenth. These two productions deserve -to be noticed, but in a rhetorical point of view -neither can be very highly estimated. The first is the -history of Count Pedro Niño de Buelna, one of the -bravest knights of the reign of Henry III. The author -is Gutierre Diez de Games, who was the Count’s standard-bearer.<a id="FNanchor_134" href="#Footnote_134" class="fnanchor">134</a> -The gothic taste of the age, it must be -confessed, is sufficiently apparent in this history. The -chivalrous author begins by apostrophizing the Trinity -and the Holy Virgin. He then reasons methodically -on virtue and vice, according to the scholastic notions -of morality. It is, however, easy to perceive that the -author has taken great pains to avoid the dry chronicle -<span class="pagenum" id="Page_140">140</span> -style. He evidently wished to give to the history of -his hero the interest of a romance. He did not, therefore, -confine himself very scrupulously to historical truth, -and he has even blended fabulous stories in his narrative. -But on the other hand he paints real events with -a degree of spirit of which no example is to be found -in the chronicles; and some of his descriptions are so -remarkable for precision, and accuracy of expression, -that they might be mistaken for the production of a -modern writer, if the simplicity of the ideas did not -betray the age to which the chivalrous author belonged.<a id="FNanchor_135" href="#Footnote_135" class="fnanchor">135</a></p> - -<p>The second of these biographical works is the history -of Count Alvaro de Luna. The author, whose -name is not known, appears to have been in the Count’s -service, and to have taken up the pen soon after the -execution of that extraordinary man, to raise a monument -to his memory in defiance of his enemies.<a id="FNanchor_136" href="#Footnote_136" class="fnanchor">136</a> The -<span class="pagenum" id="Page_141">141</span> -work is in fact an apology, in which the enthusiasm of -the anonymous author for his hero carries him beyond -the bounds of historical calmness and of impartiality. -But this very enthusiasm gives the work a degree of -rhetorical interest, which is wanting in the chronicles. -Alvaro de Luna is regarded by his apologist in his real -character; namely, as the greatest, if not the most disinterested -man of his age in Spain: and it was the -author’s intention that the animated picture he drew -should mortify and shame the powerful party which -overthrew his hero. His zeal frequently betrays him -into declamatory pomp. But what other Spanish writer -of that age could declaim with so much eloquence.<a id="FNanchor_137" href="#Footnote_137" class="fnanchor">137</a> -He is not, however, always declamatory. His introduction, -notwithstanding the high elevation of the ideas, -<span class="pagenum" id="Page_142">142</span> -possesses real dignity of expression, combined with the -true harmony of prose.<a id="FNanchor_138" href="#Footnote_138" class="fnanchor">138</a> His apostrophe to truth at the -close of this introduction, is a genuine overflowing of -the heart.<a id="FNanchor_139" href="#Footnote_139" class="fnanchor">139</a> It is true that the narrative itself somewhat -inclines to the manner of the chronicles; but the -spirit which pervades the whole work is perceptible even -in the style which, considered with reference to the -period in which it was written, is remarkable for precision -and facility.<a id="FNanchor_140" href="#Footnote_140" class="fnanchor">140</a> In short, this biographical chronicle, -estimated by its rhetorical merit, has, in spite of all its -gothic ornaments and declamatory excrescences, no parallel -among the chronicles of the age to which it belongs. -<span class="pagenum" id="Page_143">143</span></p> - -<p><i>Los Claros Varones</i>, the Celebrated Men, is a work -which claims particular attention. The author is Fernando -del Pulgar, who filled the office of historiographer -in the reign of Isabella and Ferdinand. This ingenious -man was ambitious to be thought the Plutarch of his -nation. In his twenty-six short biographical sketches, he -has, however, confined himself within limits too narrow -to effect all that he was capable of; but the precision -of his descriptions, and the purity of his style, are nevertheless -remarkable for the age in which he flourished.<a id="FNanchor_141" href="#Footnote_141" class="fnanchor">141</a></p> - -<p>Fernando del Pulgar is also the oldest Castilian author -in the epistolary style; and upon the whole he may be -regarded as the first, who, in the character of a statesman -and public functionary, formed his correspondence in a -modern language on the model of Cicero and Pliny.<a id="FNanchor_142" href="#Footnote_142" class="fnanchor">142</a> -<span class="pagenum" id="Page_144">144</span></p> - -<p>Those who have time and opportunity to peruse -Spanish manuscripts of the fifteenth century, will doubtless -find many more documents to prove the high degree -of cultivation which Spanish prose had attained at that -period. In spite of the lofty poetic flight which then -characterized the genius of Spain, and the powerful -charm of the poetic prose of the chivalrous romances, -the national gravity of the Spaniards, when their minds -were directed, not to sports of the imagination, but -to things, made them incline to what may be termed -<span class="pagenum" id="Page_145">145</span> -the style of affairs, in the same degree as the genius of -the Italians, which attached itself exclusively to beautiful -forms, had been accustomed to manifest an indifference -for true prose. The philosophic writings of -Aristotle were, in the same age, translated into Spanish -by a scholar, whose name, as well as his work, have -fallen into oblivion.<a id="FNanchor_143" href="#Footnote_143" class="fnanchor">143</a></p> - -<h3 id="JUAN_DE_LA_ENZINAS_ART_OF_CASTILIAN_POETRY">JUAN DE LA ENZINA’S ART OF CASTILIAN POETRY.</h3> - -<p>The literature of this period possesses, however, not -the slightest trace of true criticism. Though the poetical -and rhetorical rules of Aristotle were known to a -few scholars, they were of little utility to writers who -either applied them erroneously, or considered them -impracticable. Of the state of poetry in Spain, during -the reign of Ferdinand and Isabella, a correct notion -may be formed from a Treatise on Castilian Poetry, -(<i>Arte de Poesia Castellana</i>,) by Juan de la Enzina. -In this work, addressed to the Prince Royal of Spain, -the author wished to prove that he thoroughly understood -the art on which he wrote, and that he was not -an unskilful Troubadour.<a id="FNanchor_144" href="#Footnote_144" class="fnanchor">144</a> The commencement of the -treatise might teach the reader to expect some profound -investigation. Juan de la Enzina observes, “that -poetry is so excellent an art, that it merits the particular -favour of princes and nobles”, who being reared “in the -<span class="pagenum" id="Page_146">146</span> -bosom of sweet philosophy,”<a id="FNanchor_145" href="#Footnote_145" class="fnanchor">145</a> know how to unite the -virtues both of peace and war; it was therefore, he -continues, his intention to write a theory (<i>arte</i>) of -Castilian poetry, which might facilitate the distinction -between good and bad. He treats of the origin of -poetry among the ancients and among the Italians, and -marks the difference between a poet and a Troubadour. -The former, he says, is, with respect to the latter, -“what a composer or learned musician is to a singer -or musical performer, a geometrician to a mason, or -a captain to a private soldier.”<a id="FNanchor_146" href="#Footnote_146" class="fnanchor">146</a> After all these high -promises, Juan de la Enzina merely gives an Essay on -Castilian prosody in a few chapters. Such is his art -of poetry.</p> - -<hr class="tb" /> - -<p>Thus did Castilian poetry and eloquence develope -itself in the ancient national forms, during the first -centuries that succeeded its birth, without any superior -genius having either raised it to higher perfection, or -enlarged its boundaries. Like the <i>Gaya Ciencia</i> of -the Troubadours, it was a common property, protected -by a literary democracy, which allowed no despotic -genius to encroach upon its rights. It is difficult to -imagine what might have been the fate of Castilian -poetry, had not a new political connection formed -<span class="pagenum" id="Page_147">147</span> -between Spain and Italy, at the commencement of the -sixteenth century, suddenly brought the Spanish nation, -as it were in mass, in contact with the Italians. At -all events, the Spaniards must, in the progress of cultivation, -have ceased to be satisfied with the poetry of -their old songs and romances, on their literary taste -becoming in any way more refined. -<span class="pagenum" id="Page_148">148</span></p> - -<hr class="chap" /> - -<h2 id="BOOK_II">BOOK II.<br /> - -<span class="medium" id="FROM_THE_BEGINNING_OF_THE_SIXTEENTH">FROM THE BEGINNING OF THE SIXTEENTH TO THE -LATTER HALF OF THE SEVENTEENTH CENTURY.</span></h2> - -<p class="figcenter"><img src="images/hr.jpg" alt="" /></p> - -<h3>INTRODUCTION.<br /> - -<span id="GENERAL_VIEW_OF_THE_STATE" class="medium">GENERAL VIEW OF THE STATE OF POETICAL AND -RHETORICAL CULTIVATION IN SPAIN DURING -THE ABOVE PERIOD.</span></h3> - -<p>The union of the kingdoms of Castile and Arragon, -in consequence of the marriage of Isabella, the heiress -of the Castilian throne, with Ferdinand king of Arragon, -forms an epoch in Spanish literature, as well as in -Spanish power. Hitherto Spain had been occupied only -with her own internal affairs. The monarchs contended -for their prerogatives with the powerful barons of their -respective states; and the two kingdoms waged war -against each other. The only object which they pursued -in common, was the overthrow of the Moorish principality -of Granada, which was enabled to resist them, as -long as their political jealousy of each other counter-balanced -their mutual zeal for religion and conquest. -Spain, in her detached situation to the west of the -Pyrenees, never appeared so completely separated from -the rest of Europe as in the middle of the fifteenth -century. With Italy, Spain maintained no relations, -<span class="pagenum" id="Page_149">149</span> -except such as were purely ecclesiastical. A marked -change, however, took place on the union of the crowns -of Castile and Arragon, though the union of the two -monarchies was not properly consolidated until after -Ferdinand’s death, which happened in 1516. Since the -year 1492, Granada had been a Castilian province. The -poets had no longer the feats of the Zegris and Abencerrages -to record; and the Spanish knights had no -infidels to vanquish, unless they travelled to Africa in -quest of them. If, however, they were successful in -that quarter of the world, their victories did not present -subjects of such interest to the Castilian muse as -former achievements had afforded. The love of industry -and social order, which distinguished the people -of Arragon, at length extended to Castile; and the old -chivalrous spirit declined in proportion as the use of -gunpowder, which was at this period rapidly increasing, -became more general. The manners of the Spaniards -of both monarchies, had now approximated to those of -the Italians; and the analogy between the Castilian and -Italian languages, could not fail to be remarked, whenever -opportunities for making that observation occurred. -Ferdinand soon afforded such an opportunity; his ambition -induced him to take an active part in the transactions -of Italy, and his interference was attended -with success. The victorious Gonsalvo Fernandez de -Cordova, admired as the conqueror of Granada, and a -second Cid, and surnamed, by way of distinction, <i>El -gran Capitan</i>, presented the crown of Naples to his -sovereign in the year 1504. The political union which -then took place between Spain and Italy, and which -<span class="pagenum" id="Page_150">150</span> -continued longer than a century, paved the way for -that influence of the Italian poetry on the Spanish, -which soon after became manifest.</p> - -<p>About the same period that Ferdinand and Isabella -united their dominions, they also co-operated in the -establishment of that terrible tribunal which soon became -known throughout Europe by the name of the -Spanish Inquisition, and which to the disgrace of human -reason exercised during two centuries and a half -its monstrous powers in their fullest extent. A crafty -policy contrived to render religion its instrument, in -subjugating to one common tyranny the reason and the -rights of mankind; for the establishment of regal despotism -in both kingdoms was the great object of this -institution, and its whole organization corresponded -with the end for which it was destined. The pope, -who penetrated the design of the founders, viewed -their proceedings with much dissatisfaction; but even -the pope was obliged to support the pretended interest -of the church, and to honour Ferdinand by bestowing -on him, as a peculiar distinction, the title of “Catholic -King.” Thus the court of Rome contributed to annul -the privileges of the Cortes of Castile and Arragon, and -to invest the whole powers of government, without limitation, -in the hands of an absolute monarch: and thus -did political artifice triumph over the energy of one of -the noblest nations in the world, at the very moment -when the genius of that nation had begun to expand, -when the promising flower had burst forth from the -bud, and was about to unfold itself in full vigour and -beauty. A simultaneous and concordant cultivation of -<span class="pagenum" id="Page_151">151</span> -the different powers of the human mind was now as -little to be hoped for in Spain as the improvement of -her political constitution. Under these circumstances -the literary genius of the country could not be expected -to reach that high maturity of taste which always presupposes -a certain degree of harmony in the moral and -intellectual faculties. Poetic freedom was circumscribed -by the same shackles which fettered moral liberty. -Thoughts which could not be expressed without fear of -the dungeon and the stake, were no longer materials for -the poet to work on. His imagination instead of improving -them into poetic ideas, and embodying them -in beautiful verse, had to be taught to reject them. But -the eloquence of prose was more completely bowed -down under the inquisitorial yoke than poetry, because -it was more closely allied to truth, which, of all things, -was the most dreaded.</p> - -<p>The yoke of this odious tribunal weighed, however, -far less heavily on the imagination than on the other -faculties of the mind; and it must be confessed that a -wide field still remained open for the range of fancy, -though the boundaries of religious doctrine were not -permitted to be overstepped. To suppose that the -Spanish inquisition could have entirely annihilated the -poetic genius of the nation, it must also be supposed, -that at the period of its establishment, there had existed -a style of poetry altogether hostile to such an -institution, and that the spirit of the inquisition was -directly opposed to the spirit of the nation. But it -would be forming a false notion of the horrors of the -inquisition, to imagine that they were ever felt in Spain -<span class="pagenum" id="Page_152">152</span> -in the same manner as in other countries, and particularly -in the Netherlands, where that tribunal was -introduced hand in hand with foreign despotism. When -the inquisition was established in Spain, it harmonized -to all appearance, that is to say, as far as orthodox -faith was concerned, with the prevailing opinions of the -Spanish Christians. It was ostensibly directed not so -much against heretics as against infidels, namely, Mahometans -and Jews. Its operations were accordingly -commenced by waging war against those infidels, for -no sect of Christian heretics existed at that period in -Spain, and the inquisition took care that none should -be afterwards formed. To maintain the purity of the -ancient faith was the avowed object of the inquisition; -and its wrath was poured out on the unfortunate Jews, -Moors, and Moriscos, (the descendants of the Moors), -with the view of removing every blemish from the -faith of a nation, which prided itself in its orthodoxy. -This bigotted pride was a consequence of the contest -maintained in Spain during four centuries and a half, -between Catholic Christianity and Mahometanism. The -Spanish Christians celebrated the conquest of Granada -as the triumph of the church; and the inquisition, which -at first excited terror, soon became an object of veneration -with men in whose hearts religious enthusiasm -was inseparably blended with patriotism.</p> - -<p>This view of the subject may serve to explain how -it happened in the sequel, and particularly during the -reign of Philip II. that while, throughout all the rest -of Europe men shuddered at the very name of the -Spanish inquisition, the Spaniards still lived under it -<span class="pagenum" id="Page_153">153</span> -as happily and cheerfully as ever; and also how, from the -operation of the same cause, the ecclesiastical shackles -had not a more injurious effect on the developement of -the poetic genius of the nation. The conduct of the inquisition -was no subject of alarm to those who were confident -that they never could have any personal concern -with it; for the suspicion of deficiency in Catholic orthodoxy, -the ground on which that tribunal acted, was -more degrading in Spain than the most odious crimes -in other countries. Before the establishment of the -inquisition, fanaticism was so firmly rooted in the minds -of the Spaniards, that all scepticism in matters of religion -was abhorred as a deadly sin. He, however, who -submitted with blind devotion to the decrees of the -church, was held to have a clear conscience, and in that -sort of clear conscience the Spaniards prided themselves. -The inquisition disturbed the good Catholic as little in -his social enjoyments, as criminal justice the citizen who -lived in conformity with the laws. The Spaniard was -cruel only to heretics and infidels, because he thought -it his duty to hate them; but in the orthodox bosom of -his native country, he was animated by a spirit of gaiety -of which the literature of Spain presents abundant -proofs. While the Duke of Alba in the Netherlands -ruled with the axe of the executioner, Cervantes, in -Spain, wrote his Don Quixote, and Lope de Vega, who -himself held a post connected with the inquisition, produced -his admirable comedies. The dramatic literature -of Spain flourished with most brilliancy during -the reigns of the three Philips, from 1556 to 1665, -and that is precisely the period when the Spanish -<span class="pagenum" id="Page_154">154</span> -inquisition exercised its power with the greatest rigour -and the most sanguinary cruelty. Many melancholy -traces of fanaticism are certainly observable in the literature -of Spain during the reigns of the three Philips; -but those traces are so insulated, and the painful impression -which they naturally produce on liberal minds -is so far compensated, by the noblest traits of humanity, -that to him, who, from reading the works of the Spanish -poets, should turn to the perusal of the political history -of the Spaniards during the sixteenth and seventeenth -centuries, and particularly to the history of their transactions -in the Netherlands and America, it might well -appear that he had become acquainted with two distinct -nations.</p> - -<p>Indeed, notwithstanding the generally prejudicial -effects of the restrictions imposed by the inquisition on -intellectual freedom, those restrictions could not fail, -under the circumstances which have been described, to -prove in one respect favourable to the polite literature of -Spain. The poetic genius which, at the period of the -establishment of this tribunal, was energetically developing -itself throughout the Peninsula, was not now to be -annihilated. Its strength was even augmented by that -growing national pride, which the union of the Castilian -and Arragonian monarchies fostered. During -the period marked by the reign of Charles I. better -known by his Germanic imperial title of Charles V. -which was nearly half a century, namely, from the year -1516 to the year 1555, the Austrian and Spanish monarchies -were also united, and Spain acquired rich possessions -in a new quarter of the world. The Spanish -<span class="pagenum" id="Page_155">155</span> -arms were not so victorious under the three Philips as -under Charles V. But, sacrificed as this gallant nation -was to fanaticism and the most despicable of governments, -its spirit never sunk under disaster, and its -genius vented itself in the cultivation of poetry, because -it was excluded by religious despotism from every -graver study, except the scholastic philosophy of the -convent. It is also to be considered, that the influence -of the ever debasing despotism of the Spanish government -could operate only gradually in extinguishing the -energies of national genius. The bold manifestation of -the spirit of freedom in Castile and Arragon on the -accession of Charles V. was attended with discouraging -results, because the nobility and the third estate did not -unite in support of their common interests. Had that -union existed, Spain would probably have presented -the first model of a constitutional, and at the same time -a vigorous monarchy. That honour was withheld by -fate: but the genius of the Spanish people was not so -easily suppressed as their political and religious freedom. -Kings might rule as they pleased; they might -madly shed the blood of their subjects, or waste the -treasures drawn from America; but the people, who had -yielded to despotism only for the sake of religion, continued -in their hearts to be what they had always -been, till the influence of time consummated their subjugation. -The Spanish patriot, who fought in the cause -of his king and country, was until then, in his own estimation, -still a free man. Kings received homage in -verse as well as in prose; but a court poetry, like that -which existed in France in the reign of Lewis XIV. -<span class="pagenum" id="Page_156">156</span> -was never known in Spain. The kings of Spain, too, -never bestowed any very liberal encouragement on the -poetic literature of their country. Charles V. honoured -a few Spanish and Italian poets with some degree of -attention, according to the fashion of the princes of that -age; for in the sixteenth century a poet was accounted -an extremely useful man for business of every sort; -but that sovereign seems to have taken a more particular -interest in Italian than in Spanish literature. -Philip II. from his joyless throne, occasionally cast a -glance of favour on a man of talent; but restless ambition -and blind bigotry occupied his gloomy mind, and -deprived him of all susceptibility for the beautiful. His -son, Philip III. though of a more amiable character, was -too indolent to take a warm interest in any thing whatever. -Philip IV. however, did more for Spanish literature -than any of his predecessors since the time of John II. -His taste for pomp and splendour, to which he thoughtlessly -gave himself up, while decay and disorder preyed -upon the vitals of the state, disposed him to favour the -Spanish theatre. Calderon, whom he pensioned, was -indebted to him for that leisure which enabled him to -devote his life to dramatic poetry. But Calderon only -improved on the labours of predecessors, who, without -receiving the pay of kings, produced works which did -honour to the nation, and were approved and rewarded -by the public. Spanish literature owes nothing to kings, -and has to thank only the popular spirit for all its -brightest flowers. The drama, therefore, remained -wholly national, even after the imitation of Italian -forms had long prevailed in the lyric and epic poetry -<span class="pagenum" id="Page_157">157</span> -of Spain. Writers for the stage must of necessity obey -the voice of a public possessing sufficient energy of character -to condemn every piece which does not pay -homage to the popular taste. The whole history of the -Spanish theatre exhibits this dominion of the public -over authors; and the particular taste of the dramatists -being formed under the influence of the general poetic -genius of the nation, they very willingly, like Lope de -Vega, followed the stream, even though, like him, they -well knew what the true theory of their art required. -The cultivation of prose was more completely left to -the individual taste of the authors; but any instance of -encouragement from the throne was as uncommon with -respect to it as to poetry. Antonio de Solis, who received -a pension from Philip IV. as historiographer, for -writing the History of Spanish America, was indebted -for that honour in some measure to his reputation as a -poet, and his various acquirements, but by no means for -any particular esteem he had obtained on account of -his talent for prose composition.</p> - -<p>During the whole of this period, however, intellectual -talents were never undervalued, either by the -kings, or the nobles of Spain. In that country, as well -as in Italy, the higher orders considered it a duty to seek -distinction through learning, and poetry was the soul -both of Spanish and Italian literature. Most of the -Spanish poets of this period, if not of noble birth, -belonged, at least, to families of consideration. Heroes, -statesmen, ecclesiastics, all composed verses, and poetry -was most intimately interwoven with all the relations of -social life. No where did chivalrous gallantry so long -<span class="pagenum" id="Page_158">158</span> -survive the extinction of real chivalry as in Spain; -and poetry was the exhaustless language of that gallantry, -whether it displayed itself in secret love intrigues, -or at public entertainments and festivals. Every -characteristic national amusement, as for instance, a -bull fight, proved an incitement to the writing of -sonnets and romances. There are found in various -Spanish poems of this period many expressions and -allusions which have reference to popular amusements, -but the poetic sense of which is only intelligible to -readers who bear in their recollection the favourite -diversions of the nation. The romantic intrigues -which were common in high life, formed models for -the intricate plots of the Spanish comedies; but no -ordinary powers of invention were necessary to enable -the dramatic author to maintain on the stage a competition -with the scenes which actually occurred in -society. Throughout the whole country, singing and -dancing were essential ingredients in every amusement. -Learned musical composition had, at this time, little -attraction for the Spaniards; but wherever joy was, -musicians were not wanting, and every dance had its -song.</p> - -<p>In the mean time the cultivation of the other fine -arts, afforded little aid to Spanish poetry, as the overwhelming -interest attached to it in its golden age -directed the intellectual energies of the nation almost -exclusively to that one object. All other liberal pursuits -were consequently left far behind.</p> - -<p>Spanish taste was, at this period, entirely left to -form itself, being abandoned to the influence of Italian -<span class="pagenum" id="Page_159">159</span> -literature, and the authority of eminent national authors. -The Italian system of academies found little -favour in Spain. Perhaps the jealousy of the inquisition -foreboded evil from meetings of men of letters. -Be this as it may, Spanish literature sustained little -loss by the want of those institutions. The Royal -Academy for the Spanish language and literature was -not established until the eighteenth century.</p> - -<p>The intimate union, which, during the sixteenth -and seventeenth centuries, subsisted between the eloquence -of prose and poetry in Spain, renders a separate -history of each unnecessary. A division may, however, -be advantageously made in the whole body of the -Spanish literature of this period, though the two sections -cannot form two distinct epochs. From the -introduction of the Italian style into Spanish poetry, -until the decline of learning in the latter years of the -reign of Philip IV. no literary revolution was experienced -in Spain. The <i>corrupters of taste</i>, as certain -writers who appeared in the latter half of this -period are called by some of the Spanish critics, only -continued a movement, the impulse of which had -been given long before by various authors, and particularly -by the dramatic poets. Several of these -writers were contemporaries with authors who placed -a high value on classical correctness, and yet they -exercised a much greater influence over the general -literature of Spain than the latter. To confound Calderon, -who perfected the Spanish comedy, according -to its true national character, with the corrupters of -taste, is an idea which could only have been entertained -<span class="pagenum" id="Page_160">160</span> -in the eighteenth century, when it became customary -in Spain, as every where else, to measure all productions -of genius by the rules of French criticism. But at -the same time, that Spanish poetry approximated as -closely to the Italian, as the necessary connection of -the former with the national style would permit, that -national style, with all its faults and beauties, still -maintained the pre-eminence; and the passion for Italian -correctness again declined. This crisis in Spanish -literature, occasioned by the struggle between Italian -refinement and the bold eccentricity of the national -manners, occurred in the age of Cervantes. At that -time Lope de Vega shone with more brilliancy in the -eyes of his countrymen than Cervantes, and the party -of the former gained the victory and kept the field. -The taking of a distinct view of the progress of poetry -and eloquence in Spain, will therefore be facilitated, if -the period of the influence of Cervantes and Lope de -Vega be made an historical resting point. It is doubtless -very remarkable, that Cervantes, who created an epoch -in the general literature of Europe, should not have -produced sufficient effect on the Literature of his own -country, to justify the choosing him as the founder of -a new epoch in its literary history. An opportunity -will hereafter arise for reverting to this subject.<a id="FNanchor_147" href="#Footnote_147" class="fnanchor">147</a> -<span class="pagenum" id="Page_161">161</span></p> - -<hr class="chap" /> - -<h2 id="FIRST_SECTION">FIRST SECTION.<br /> - -<span class="hang large"><i>History of Spanish Poetry and Eloquence, from the -Introduction of the Italian Style to the Age of -Cervantes and Lope de Vega.</i></span></h2> - -<p class="figcenter"><img src="images/hr.jpg" alt="" /></p> - -<h3 id="OCCASION_OF_THE_INTRODUCTION_OF_THE_ITALIAN_STYLE">OCCASION OF THE INTRODUCTION OF THE ITALIAN -STYLE.</h3> - -<p>After the complete consolidation of the monarchies -of Castile and Arragon by the accession of Charles of -Austria, the grandson of Isabella and Ferdinand, there -appears to have been, for a short time, a suspension of -all literary activity in Spain. The political convulsions -which then agitated the interior of the two united kingdoms, -occupied the public mind too powerfully to allow -any interest to be felt in calmer and more agreeable -objects. But as soon as the civil contests were terminated -by the success of the Austrian party, and the -enterprising Charles, incited by Francis I. employed -the force of his Spanish states to win new dominions in -Italy, the poetic genius of Spain revived in all its pristine -vigour. In the meantime, the ancient dialect of -the Arragonian provinces began to be supplanted by -the Castilian, which became the language of the state -<span class="pagenum" id="Page_162">162</span> -and of public business throughout Spain. Castile was -then considered the heart of the whole monarchy. Madrid -rose to the rank of the capital of Spain, and Saragossa -sunk into the condition of a provincial town. -It was therefore no very extraordinary event, that a -Catalonian, whose maternal language still possessed -a certain degree of poetic consideration, should, in connection -with a Castilian, produce a revolution in Castilian -poetry.</p> - -<h3 id="BOSCAN">BOSCAN.</h3> - -<p>Juan Boscan Almogavèr, who, in concert with his -friend Garcilaso de la Vega, introduced the Italian style -into Castilian poetry, was born in Barcelona, towards -the close of the fifteenth century. He belonged to one -of the Patrician families of that city, of equal rank -with the nobility of the country. Though possessing a -liberal education, and sufficient fortune to enable him to -gratify his inclination for literary studies, without regard -to any secondary views, he embarked, notwithstanding, -on his first outset in life for a short period in the profession -of arms. He afterwards travelled, but the countries -he visited are not mentioned in the brief notices -which remain of him. If, however, it be supposed that -he went at this time to Italy, and rendered himself intimately -acquainted with the literature of that country, it -appears that he was still far from entertaining the idea -of transplanting the forms and manner of Italian poetry -into Spain; for the Castilian verses, which he wrote -in his youth, were all in the ancient lyric style, which, -since the time of Juan de Mena no one had thought it -<span class="pagenum" id="Page_163">163</span> -necessary to try to improve. It was not until 1526, -when, after having flourished at the court of Charles V. -he had made a happy marriage, and was settled in his -native city, that a Venetian induced him to imitate the -Italian poetry in the Castilian language. The emperor -resided for some time in Granada; and, among the -foreign ministers who repaired to his court, was Andrea -Navagero, the envoy from Venice, a man of great literary -and historical knowledge, and, like every well-educated -Italian of that age, a writer of canzoni and sonnets. -Boscan, having formed an intimate friendship with this -minister, was taught by him to view the Italian poetry -and also the classical latin in quite a new light. The -Spanish lyric poetry, which with all its gothic excrescences -was still pleasing to the nation, if not so barbarous -in his eyes as in those of his Italian friend, -appeared to him, when compared with a sonnet of -Petrarch, at least, in the point of good taste greatly -inferior. He now readily perceived the nature and felt -the value of the precision and correctness of the great -works of antiquity. Animated by his new ideas, he fearlessly -ventured to follow the counsel of Navagero, in -spite of the menacing clamour of the friends of the old -national forms. He took upon himself the character of -a reformer of the lyric poetry of his nation, and commenced -his labours by writing sonnets in the manner of -Petrarch.</p> - -<p>The metrical structure of the sonnet had long been -known in Spain;<a id="FNanchor_148" href="#Footnote_148" class="fnanchor">148</a> but the genius of Castilian poetry -<span class="pagenum" id="Page_164">164</span> -was adverse to that form, and the Spaniards had manifested -very little predilection for any thing like the -elegant correctness of Petrarch. Boscan had therefore -elevated himself above the literature of his country, -when he perceived that it was necessary to infuse a -new spirit into Castilian poetry before it could be reconciled -to the Italian forms. His friend Garcilaso de la -Vega participated in this opinion. But thousands of -voices were raised against the reformers. Some insisted -that preference was to be given to the old Castilian verse -on the ground of euphony. Others went further, and -asserted that the ear could perceive no distinction between -the new verse and prose. Finally, a third party -discovered that Italian poetry was effeminate, and was -fit only for Italians and women. Boscan relates that -this violent opposition made him reflect seriously on the -propriety of proceeding with his design; but as he was -soon convinced of the futility of the reasons urged -against him, he persisted in his undertaking. His party -rapidly increased and soon obtained the superiority, not -indeed throughout the whole mass of the public, but in -that portion of society which was most enlightened and -refined.<a id="FNanchor_149" href="#Footnote_149" class="fnanchor">149</a></p> - -<p>The other circumstances of Boscan’s life, in so far -as they are known, have little interest for the literary -historian. The mature part of his age was chiefly spent -in his native city Barcelona, or in the neighbouring -<span class="pagenum" id="Page_165">165</span> -country. The urbanity of his manners and his talents -recommended him to the family of Alba, which was -then one of the most brilliant of the noble houses of -Castile, and to which the homage of the Spanish poets -was from that time constantly paid. Boscan was for -some time Ayo, or first governor of the young Don Fernando -de Alba, who was afterwards the terror of the -enemies of the Spanish monarchy. He appears, however, -to have soon resigned this employment, in order to -divide his time between study and the society of literary -friends. The year in which he died is not exactly -known; it is only ascertained that his death happened -before the year 1544.<a id="FNanchor_150" href="#Footnote_150" class="fnanchor">150</a> He prepared for the press a -collection of his poems, to which he added those of his -friend Garcilaso; but the work was not published until -after his death.<a id="FNanchor_151" href="#Footnote_151" class="fnanchor">151</a></p> - -<p>From the point at which Boscan found Castilian -poetry, to that in which it was necessary it should be -placed before he could open for himself a new path, the -distance was considerable, and the transition was to be accomplished -by a single bound. That he succeeded in this -<span class="pagenum" id="Page_166">166</span> -undertaking was owing not so much to his genius, as to -a natural susceptibility for the real beauties of Italian -and ancient poetry, accidentally excited at the favourable -moment, and to a talent for the imitation of classical -models, without altogether discarding that tone of feeling -which was properly his own. To estimate, however, the -full value of Boscan’s talent, it is not only necessary to -examine the works by which he introduced a new style -into Spanish poetry, but to take a retrospective view of -the productions of the Castilian muse in the ancient -manner. It is only by this comparison that a just conception -can be formed of the surprise with which the -Spaniards must have regarded the bold attempt of -Boscan. He was the first among his countrymen who -had an idea of classical perfection in works of imagination; -and though the greater part of his poems fall -below that standard, they all afford evidence of his -endeavours to reach it. An aspiration so entirely unaffected -and unembarrassed, had never been manifested -by any previous Spanish poet. Between the kind of -poetry which he introduced into his native land and -that which he abandoned, there was no visible passage. -But lest the merits of Boscan should be too highly -rated, it is proper to observe, that at this time a reform -of the Spanish poetry, precisely such as that to which -his efforts gave birth, was, notwithstanding the clamour -of his opponents, desired by the more cultivated part of -the Spanish public, though, perhaps, there no where -existed any distinct perception of the wished-for object. -Had it been otherwise, Boscan must have stood alone, -and the numerous poets of his nation, who have equalled -<span class="pagenum" id="Page_167">167</span> -or surpassed him in the new style, never would have -followed his example.</p> - -<p>The early productions of Boscan, which form the -first book of his works, are scarcely distinguishable by -any trace of superior delicacy or correctness from the -poems of the same descriptions contained in the <i>Cancionero -general</i>. The very title of the longest of -these youthful essays, namely, <i>Mar de Amor</i> (the Sea -of Love) excites an anticipation of the fantastic flights -of the old Spanish muse; and it is impossible to read -the first strophe without being convinced that the author -still adhered to the original character of Castilian song.<a id="FNanchor_152" href="#Footnote_152" class="fnanchor">152</a> -It was, however, only at the request of his friend Garcilaso -de la Vega, who said that he received from these -poems the same sort of pleasure as from pretty children, -that Boscan renounced his intention of entirely suppressing -them.</p> - -<p>The second book of Boscan’s poems, contains <i>sonetos</i> -and <i>canciones</i>, in the style of the Italian <i>sonetti</i> and -<i>canzoni</i>. They all betray, in a greater or less degree, -the disciple of the school of Petrarch; but the spirit -of Spanish poetry still displays itself throughout the -whole. The language, though it successfully imitates -the precision of Petrarch, seldom attains the sweetly -flowing melody of its model. In painting the feelings, -<span class="pagenum" id="Page_168">168</span> -the shadows are charged with stronger colours than the -Italian Petrarchists of the sixteenth century permitted -themselves to employ. Impetuous passion, which, with -higher pretensions, was, on account of its very violence, -less capable of commanding sympathy than a mild enthusiasm, -strikingly distinguished Boscan’s poetry from -that which was the object of his imitation. The contrast -was farther increased by the constantly recurring -picture of a struggle between passion and reason. -But these were precisely the traits which disclosed the -true Spanish character. It was not individual feeling -that prevented Boscan from equalling the delicacy and -softness of the Italian sonetto and canzone, for as his -biography, and still more his other poems, shew he was -a man of a very mild disposition. But it was necessary -that the language of love, to appear natural and true -to a Spaniard, should burn and rage. At the same -time, to satisfy Spanish taste, reason was to be introduced -to deliver her precepts amidst the storm of passion, -to prove its force by her feebleness, and to give to lyric -composition a moral gravity which was not desired by -the Italians. In so far however as the Spanish character -permitted the experiment to go, the fascinating tone of -Petrarch was very happily seized by Boscan;<a id="FNanchor_153" href="#Footnote_153" class="fnanchor">153</a> and in -<span class="pagenum" id="Page_169">169</span> -the expression of tender passion he has even sometimes -surpassed the Italian poet.<a id="FNanchor_154" href="#Footnote_154" class="fnanchor">154</a> -<span class="pagenum" id="Page_170">170</span></p> - -<p>The greater part of the third book of these -poems is occupied by a paraphrastic translation of -the Greek poem of Hero and Leander. Nothing of -the kind had been previously known in the Spanish -language. The metrical form which Boscan chose -for his translation, was that of rhymeless iambics, or -an imitation of the blank verse of the Italians. The -language is so pure and elegant, the versification so -natural, and the tone of the narrative so soft, and at -the same time so elevated, that it is impossible not to -be pleased even with the prolixity which the influence -of the taste for romantic poetry has introduced into -this free translation. To this translation succeeds a -poem in the Italian style, entitled a <i>Capitulo</i>, and some -epistles in tercets. The <i>Capitulo</i>, as it is called, is a -love elegy, abounding in pleasing ideas and images, but -on the whole too much spun out, like most Italian poems -of the same kind. It has also its full share of genuine -Spanish hyperbole and amorous despair.<a id="FNanchor_155" href="#Footnote_155" class="fnanchor">155</a> The -<span class="pagenum" id="Page_171">171</span> -best of his epistles is, “The Answer to Diego Mendoza,” -who was himself the first epistolary poet among the -Spaniards, and whom it will soon be necessary to notice -more at length. After the new poetical career was -opened, these authors vied in imitating the epistles of -Horace; but it is plain that the elegiac tenderness of -Tibullus was constantly present to the mind of Boscan. -In his Answer to Mendoza, the descriptions of domestic -and rural life charm by their exquisite delicacy, and -possess a still more powerful interest than the moral -reflections, though these are unaffected and noble, and -conceived in the true spirit of didactic poetry.<a id="FNanchor_156" href="#Footnote_156" class="fnanchor">156</a> -<span class="pagenum" id="Page_172">172</span></p> - -<p>Boscan’s works conclude with a narrative poem in -the Italian style, which has no other title than that -which denotes the structure of the verse, namely, -<i>octava rima</i>. Some ideas and images are borrowed -from the Italian poets; but the whole invention and -the execution of the greater part of the details belong -to Boscan. The merit of the fable, however, is -not great. A mythological allegory, describing the -empire of love, forms the introduction to a poetical -relation of a festal meeting of Venus, Cupid, and the -<span class="pagenum" id="Page_173">173</span> -other inhabitants of that imaginary region. Little -Cupids are dispatched all over the world by Venus to -defend her against the reproaches of unreasonable men, -and to make known the real blessings of love. One of -those winged envoys directs his course towards Barcelona, -the natal city of the poet, gives a particular account -of his mission to the fair ladies of that town, and takes -the opportunity of saying many gallant things to them. -As to the construction of the fable of this poem, Boscan -certainly gave himself very little trouble. His object -appears merely to have been to compose a romantic -picture of greater extent than a sonnet or a cancion, -and to make his countrymen sensible of the charm of -descriptive poetry in the Italian manner. It is impossible -not to admire the grace and facility with which -Boscan has accomplished this purpose. The descriptions -are so animated,<a id="FNanchor_157" href="#Footnote_157" class="fnanchor">157</a> and all the details so elegant and -<span class="pagenum" id="Page_174">174</span> -engaging, that the tediousness of some of the parts is -amply compensated by the happy execution of the -whole. Light plays of fancy embellish the lyric and -romantic passages; and, upon the whole, this is a work -which no other of the same kind by later Spanish poets -has excelled.<a id="FNanchor_158" href="#Footnote_158" class="fnanchor">158</a></p> - -<p>If a comprehensive view be taken of the merits of -Boscan, it will be impossible, notwithstanding the -striking faults which appear in his works, and particularly -in his sonnets, to withhold from him the title of -the first classical poet of Spain. Some of his expressions -<span class="pagenum" id="Page_175">175</span> -are now antiquated, but upon the whole his language -has continued a model for succeeding ages. Simplicity -and dignity had never, in the same degree, and -under a form so correct, been united with poetic truth -and feeling by any previous Spanish author. The partizans -of the old national poetry reproached him with -being an imitator; but without the kind of imitation -by which he naturalized in his language a taste for the -literature of Italy and the ancient classics, it would -have been impossible for Spanish poetry to have gained -that field in which it afterwards competed with the -Italian. That he did not obtrude upon his countrymen -a kind of poetry irreconcilable with the genius of the -language and the national character, is evident from -the rapidity with which the new taste spread over the -whole of Spain, and extended into Portugal, and from -its duration in both kingdoms. The poetic innovators, -at whose head Boscan stood, were certainly blameable, -in so far as they wished to banish entirely the ancient -Spanish style, which was also, in its own manner, susceptible -of classical improvement. But it is doubtful -whether the partizans of that style would have thought -of perfecting it after classical models, had not the disciples -of the Italian school unexpectedly shewn the high -cultivation of which Spanish poetry was capable under -new forms. This Boscan first made manifest, not by -critical reasoning, but by example; and his modesty -contributed not a little to attract to his party the more -liberal minded of his countrymen. Had he commenced -his reform by trying to beat down the old -style with theoretical argument, or egotistical declamation, -<span class="pagenum" id="Page_176">176</span> -he would only have rendered himself an object -of ridicule; for the public he had to deal with was -not indisposed to improvement, but would not submit -to have lessons read to it magisterially.</p> - -<p>After Boscan, his friends, who participated in the -fame of that reform to which he shewed the way, are -justly entitled to the next place in the history of Spanish -poetry.</p> - -<h3 id="GARCILASO_DE_LA_VEGA">GARCILASO DE LA VEGA.</h3> - -<p>The first Spanish poet who followed the example of -Boscan was Garcilaso de la Vega, a young Castilian, -descended from a family of consideration in Toledo, -and born, according to the statements of different -authors, either in 1500 or 1503. His poetic talent was -early developed, and he had written several lyric pieces -in the old Spanish style, when his acquaintance with -Boscan, which soon grew into friendship, commenced. -The character of the poetry of the ancients and of -Italy was then seen by him in a new light. He proceeded -with ardour to the study of classical models, and -of Petrarch and Virgil in particular. The improvement -of pastoral poetry in his native tongue, appears to have -been his first object. But it was his lot to follow the -restless profession of arms; and the wars of Charles V. -carried him abroad, and dragged him from country to -country. In the year 1529, he distinguished himself -in the Spanish corps, which was attached to the imperial -army opposed to the Turks. While in Vienna he was -involved in a romantic intrigue, between a near relation -of his own and a lady of the court. The imperial -<span class="pagenum" id="Page_177">177</span> -dignity, it appears, was conceived to be compromised -by this intrigue, and Garcilaso was punished for his interference -by imprisonment in an Island of the Danube. -There he composed one of his canciones, in which -he bewails his destiny, but at the same time celebrates -the Danube and the countries through which -it flows.<a id="FNanchor_159" href="#Footnote_159" class="fnanchor">159</a> His imprisonment probably was not of long -duration. In the year 1535, he served in the adventurous -expedition of Charles V. against Tunis, in which -he acquired both glory and wounds. In Naples and -Sicily, he devoted, as far as circumstances would permit, -his moments of relaxation to poetry. He execrated -war, and exerted all the powers of his imagination in -painting an Arcadian pastoral life, but still remained a -soldier.<a id="FNanchor_160" href="#Footnote_160" class="fnanchor">160</a> It may be presumed, however, that his military -talents were not inconsiderable, for when the -imperial army in the year 1536, penetrated into the -South of France, Garcilaso de la Vega, who could then -be only thirty-three, or at most thirty-six years of age, -commanded eleven companies of infantry. That campaign, -which did not terminate so fortunately as it -commenced, was the last to Garcilaso, and tore him -from the world in the bloom of life. The emperor in -person ordered him to take by assault, a fort, the -garrison of which harrassed the army in its retreat. -<span class="pagenum" id="Page_178">178</span> -Garcilaso executed this command with more gallantry -than prudence. He wished to be the first to scale the -walls. He attained his object, but was struck with a -stone on the head, and thrown down from the ramparts. -Being mortally wounded, he was removed to Nice, -where, a few weeks after, he died.</p> - -<p>It would be difficult to discover from the works of -Garcilaso, that the author had spent a considerable -portion of his short life in camps, and had died in the -bed of military honour, the victim of his courage; for -he approaches even more closely than Boscan to the -tenderness of Petrarch. The general tone of his poetry -is so soft and melancholy, that it is only by occasional -characteristic traits, that the Spaniard is recognized; -but it must be confessed that when such passages do -occur, the exaggeration is striking enough.<a id="FNanchor_161" href="#Footnote_161" class="fnanchor">161</a> In his -sonnets, which are not numerous, the imitation of -Petrarch is obvious; but he sometimes betrays that -affectation of wit, which was still in Spain regarded as -an ingenious manner of expressing vehement and profound -passion.<a id="FNanchor_162" href="#Footnote_162" class="fnanchor">162</a> One however exhibits throughout a -<span class="pagenum" id="Page_179">179</span> -delicacy of style and sweetness of manner, equalled by -few pieces of the same kind, in the Spanish language.<a id="FNanchor_163" href="#Footnote_163" class="fnanchor">163</a> -He was not equally successful in seizing the character -of the Italian canzone, of which he, as well as Boscan, -was an imitator; and his reputation rests chiefly on his -pastoral poems, which therefore deserve to be more -particularly noticed. -<span class="pagenum" id="Page_180">180</span></p> - -<p>Since the rude dramatic eclogues of Juan de la -Enzina pastoral poetry had made no progress in Spain. -But Garcilaso de la Vega imitated Virgil and Sanazzar, -and so happily united the romantic character with the -correctness of the ancients, that his eclogues, though -only one of them can be regarded as a masterpiece, -surpass all Italian poems of the kind, those in the -Arcadia of Sanazzar alone excepted. The fine Neapolitan -sky appears to have had the same influence on -Garcilaso as on Virgil and Sanazzar; and he seems to -have regarded Naples as his poetical country. The -first of his eclogues is by far the most beautiful, and -marks an epoch in Spanish pastoral poetry. The whole -composition has the metrical form of an Italian canzone. -The invention is very simple. In the four -introductory strophes, in which is interwoven a dedication -to the Viceroy of Naples, Don Pedro de Toledo, -Marquis of Villafranca, the author describes, with all -the simplicity which belongs to true pastoral poetry, -the meeting of two shepherds, Salicio and Nemoroso, -who alternately give vent to their feelings in melancholy -strains. These elegiac songs reply to each other without -interruption, and the relation subsisting between them -gives to the whole lyric composition a proper consistence -and unity. This is all the plan of the eclogue. But -the glow of enthusiastic feeling, the happy choice of -expression, and the harmony of versification so completely -satisfactory to the ear, to be found in almost -every line of these songs of sorrow, cannot fail to give -delight to every mind susceptible of elegiac and beauty. -Accordingly the Spanish critics are nearly unanimous in -<span class="pagenum" id="Page_181">181</span> -pronouncing this eclogue one of the finest works in -their language. The subject of the first song is the -infidelity—of the second, the death of a mistress; and -the latter complaint appears to be founded in fact. But -Garcilaso would have better secured the sympathy of the -more scrupulous Spanish reader, had he entirely passed -over the cause of the lamented fair one’s decease. The -lady whom he describes as a pastoral nymph, lost her -life it seems in childbed; for an apostrophe of the complaining -shepherd to Lucina, indicates plainly enough -the nature of her death. But is the affected delicacy -which takes offence at a trait so truly natural and -pathetic, worthy of the attention of an author? In the -first strain in which the shepherd Salicio deplores the -infidelity of his mistress, the interest appears to be raised -as far as it is possible to carry it.<a id="FNanchor_164" href="#Footnote_164" class="fnanchor">164</a> Passion is here -<span class="pagenum" id="Page_182">182</span> -elevated to the highest pitch, and then lost in a most -affecting self sacrifice.<a id="FNanchor_165" href="#Footnote_165" class="fnanchor">165</a> But the song in which Nemoroso -laments the death of his mistress, even surpasses -the former in elegiac force, perhaps because it possesses -greater softness. In retracing his recollections the -mourner draws a series of melancholy pictures which -have an indescribable charm. The beauty of the poem -rises with the description of the beauty of the departed -<span class="pagenum" id="Page_183">183</span> -shepherdess.<a id="FNanchor_166" href="#Footnote_166" class="fnanchor">166</a> The passage in which Nemoroso relates -how he carries in his bosom a lock of his Eliza’s hair, -from which he is never separated—how when alone he -spreads it out, weeps over it, dries it with his sighs, and -then examines and counts every single hair—is unexampled -either in ancient or modern literature.<a id="FNanchor_167" href="#Footnote_167" class="fnanchor">167</a> -<span class="pagenum" id="Page_184">184</span> -Occasional imitations of Virgil have been pointed out, -but they harmonize so completely with the romantic -spirit of the poem, that were it not for the particular -references which critics have made, they would in general -escape the notice of even the most erudite. The poem, -as a whole, is evidently the genuine offspring of the -author’s soul. Materials of an affecting but prosaic nature -are, by his art, converted into the most graceful -and impressive poetry.</p> - -<p>As Garcilaso only imitated the ancients by the -introduction of certain ideas and images, and not in -the structure of his eclogues, he considered himself at -liberty to vary their form at pleasure. But here his -good taste abandoned him. The second and longest of -his eclogues is an unnatural mixture of heterogeneous -styles. An unfortunate shepherd deplores his unsuccessful -love. Another shepherd joins him, and their -conversation proceeds unconstrained in a romantic pastoral -tone; but it is impossible to discover any reason -for the changes which take place in the verse. Tercets -are succeeded by rhymeless iambics, after which the -tercets re-appear and are followed by the syllabic measure -of a canzone. The simple dialogue suddenly becomes -dramatic. The fair huntress, whose indifference is -the subject of the first shepherd’s lament, appears upon -the scene. The lover seizes and refuses to let her go, until -she swears to listen to his addresses. She makes the required -vow, and when at liberty flies. The despair of -the shepherd then becomes frenzy; and a third shepherd, -who has in the mean time arrived, enters into conversation -with the one who first joined the unhappy lover, -<span class="pagenum" id="Page_185">185</span> -on the means of restoring him to reason. The author -seizes this opportunity to convert his eclogue into a -most unseasonable eulogium on the house of Alba. -One of the shepherds proposes that medical assistance -should be obtained, and mentions a physician named -Severo; but this name is assigned to a learned friend of -Garcilaso and the Alba family. Nothing more is necessary, -according to the critical conception of the author, -to warrant the making a poetical digression from his -account of the merits of the physician, whose miraculous -skill is to recover the frantic shepherd, to the -history of the house of Alba, which he details in iambic -blank verse.</p> - -<p>In the third and last of Garcilaso’s eclogues, the -genuine pastoral character is resumed. The lyric dialogue -in octaves, or Italian stanzas, pleasingly harmonizes -with the soft description of amatory sorrows given -in this poem.</p> - -<p>Garcilaso made essays in other kinds of poetry, but -with less success. An elegy written to console the -Duke of Alba for the death of his brother, is an imitation, -or rather a translation of an Italian poem by -Frascatoro, and is at once cold and verbose. More of -interest belongs to another elegy which is addressed to -Boscan, and which the author wrote at the foot of -Mount Etna. Mythological recollections excited by -that classic ground, melancholy complaints of the -miseries of war, and tender anxieties for a loved object -in the poet’s native land, diffuse a charm over -the whole of this elegant poem, which is besides -<span class="pagenum" id="Page_186">186</span> -remarkable for comparisons and images full of novelty -and truth.<a id="FNanchor_168" href="#Footnote_168" class="fnanchor">168</a></p> - -<p>Garcilaso is also the author of a small epistle in which -he has endeavoured to seize the true horatian tone. It -is not sufficiently important to deserve particular notice, -but it is easy to recognize in it the fine tact of this -author, to whom the critic, however severely he may -judge his faults, cannot deny the title of the second -classic poet of Spain.</p> - -<h3 id="DIEGO_DE_MENDOZA">DIEGO DE MENDOZA.</h3> - -<p>The third classic poet, and at the same time the -first classic prose writer of Spain, is Don Diego Hurtado -<span class="pagenum" id="Page_187">187</span> -de Mendoza,<a id="FNanchor_169" href="#Footnote_169" class="fnanchor">169</a> a native of Granada, where he was born -in the beginning of the sixteenth century, but in what -year is not known. Descended from one of the first -familes of the country, he had before him the prospect -of high honours, which, as he was one of five -children, his parents destined him to reach through the -church. Being educated for the clerical profession, he -received what was then considered a learned education. -Besides the classical languages of antiquity, he acquired -the Hebrew and Arabic. At the university of Salamanca, -he studied scholastic philosophy, theology, and -ecclesiastical law. While yet a student he was the -inventor of the comic romance or novel, for it was at -Salamanca that he wrote his celebrated work, the Life -of Lazarillo de Tormes. Having become as conspicuous -for a vigorous and sound understanding as for his -wit and learning, the Emperor Charles V. who perceived -that his talents might be employed with advantage -in public business, drew him from his studies. He -had not long left the university when he was appointed -imperial envoy to Venice. He availed himself of the -opportunities which this situation afforded to cultivate -an intercourse with learned Italians, and to obtain an -<span class="pagenum" id="Page_188">188</span> -intimate knowledge of the spirit of Italian literature. -Before his departure for Italy, he appears to have -formed an acquaintance with Boscan; but he was -patriot enough not to despise the old Spanish poetry. -Though he loved the Italian poets, he preferred the -ancients, and in particular Horace, who, like himself a -man of the world, might occasionally assist him in his -journey through the slippery path of political life; and -certainly few poets could have divided themselves between -literature and politics with as much dexterity as -Mendoza. He was, however, far from being a cringing -courtier. His low opinion of diplomatic dignity is -stated frankly, and even somewhat coarsely, in one of -his epistles, in which he exclaims:—“O these ambassadors, -the perfect ninnies! when kings wish to cheat -they begin with us. Our best business is to take care -that we do no harm, and indeed never to do or say any -thing that we may not run the risk of making ourselves -understood.”<a id="FNanchor_170" href="#Footnote_170" class="fnanchor">170</a> The ambassador of a prince of -such deep dissimulation as Charles V. might naturally -enough form an unfavourable opinion of his office; but -he who could speak his mind in this manner, even -when at his post, must have retained some of the spirit -of old Spanish freedom. -<span class="pagenum" id="Page_189">189</span></p> - -<p>The emperor made no mistake in the choice of his -ambassador, of whose turn of thinking he doubtless -was not ignorant, but on the exercise of whose talents -he knew he could rely. He considered him the fittest -person that could be selected to go to the council of -Trent, and recommend, by an elegant manner, the truths -he wished to be told to the assembled fathers in the -name of the Spanish nation. This commission Mendoza -executed to the satisfaction of the emperor. The -speech which he delivered before the council in 1545 -was highly admired, and Charles was convinced that it -was impossible to confide the affairs of Italy to better -hands. In the year 1547, Mendoza appeared at the -papal court, then the centre of all political intrigues, as -imperial ambassador, and invested with powers which -rendered him the terror of the French party in Italy. -The emperor at the same time appointed him captain-general -and governor of Sienna, and other strong places -in Tuscany. He was ordered to humble the pope, -Paul III. even in his own court; and to repress, by -force, the movements of the restless Florentines, who -still hoped, under the protection of France, to shake -off the yoke of the Medicis. A man of less firmness -of character would have been totally unfit for such a -task; but the terrible energy with which Mendoza performed -it, exasperated in the highest degree the opposite -party, and more particularly the Florentines. The -repeated insurrections in Tuscany could not be suppressed -without measures of great severity, and Mendoza -was consequently detested as a tyrant by all Italians -who were not reconciled to the introduction of -<span class="pagenum" id="Page_190">190</span> -Spanish garrisons. In Sienna he was constantly exposed -to assassination; and on one occasion, a musket -ball directed against him killed the horse on which he -rode. His intrepidity, however, was not to be shaken, -and he continued to administer his difficult government -until Paul III. died, and was succeeded by Julius III. -a pope inclined to the Spanish party. The new pope -wishing to bestow on Mendoza a particular mark of -respect, appointed him Gonfalonier, or Standard-bearer -to the church. In this character, Mendoza marched -against the rebels in the ecclesiastical territories, and -made them submit to the pope.</p> - -<p>Thus did a Spanish poet, alike feared and admired, -govern Italy for the space of six years. During this -stormy period of his life, Mendoza composed verses, -visited the Italian universities, purchased Greek manuscripts, -and collected a large library. Since the days of -Petrarch no friend of literature had shewn so much -zeal for the acquisition of Greek manuscripts. He -spared no pains nor expense to procure them even from -Greece, and sent special messengers for that purpose to -the convent of Mount Athos. He availed himself of a -service he had rendered to the Ottoman sultan, to obtain -supplies of corn for the empty granaries of Venice, -and of manuscripts for his own library. Many a Greek -work came first to the press from his valuable collection. -Whoever wished to promote the study of ancient literature, -found in him a friend and protector; and to him -the learned bookseller, Paulus Manutius, dedicated his -edition of the philosophic writings of Cicero, to the -study of which Mendoza was particularly attached, -<span class="pagenum" id="Page_191">191</span> -and for the correct publication of which he even made -critical observations on the manuscripts.</p> - -<p>Literature and politics, it appears, did not afford -sufficient occupation for this extraordinary man. He -chose also to engage in affairs of gallantry; and, according -to the manners of the age, gave to such pursuits, at -least in verse, the character of romantic passion. His -looks, however, were not calculated to recommend him -to the fair sex; for his biographers state that he was -far from handsome, and that the glance of his fiery eye -was more repulsive than inviting. But Mendoza was -active, accomplished, and in the possession of power; -and the favour which these advantages obtained for -him with some Roman ladies, was numbered among -the offences with which his enemies loudly reproached -him. The repeated charges brought against him made -at last an impression on the emperor; and that monarch, -who had begun to contemplate the resignation -of his crown, and who was now desirous of establishing -tranquillity in his states, thought fit, in the year 1554, -to recall this too rigid governor to Spain.</p> - -<p>The latter part of the history of Mendoza’s life is -not uniformly related by his biographers. According -to some he retired to the country, devoted himself to -poetry and philosophy, and appeared very seldom at -the court of Philip II. Others assert that, though he -no longer retained his former influence, he continued a -member of the council of state under Philip II. and -was present with that monarch at the great battle of -St. Quintin, fought in the year 1557. This much is -certain, that he was soon after engaged in an adventure -<span class="pagenum" id="Page_192">192</span> -at the court, which, for a man of his age and knowledge -of the world, was of a very singular nature. An -altercation arose in the palace between him and a courtier, -who, according to Mendoza’s own declaration, was -his rival in the affections of a lady. This man, whose -name is not mentioned, in a fit of violent exasperation, -drew a dagger; upon which Mendoza seized him, and -threw him from a balcony into the street. What afterwards -became of his antagonist is not recorded; but the -transaction was the subject of serious observation, and -the grave Philip regarded it as a high offence against the -dignity of his person and his court. He was, however, -content to inflict a moderate punishment, and merely -condemned Mendoza to a short imprisonment. The -old statesman occupied the period of his imprisonment -in the ancient Spanish style, namely, in composing lamentations -on the unkindness of his mistress:<a id="FNanchor_171" href="#Footnote_171" class="fnanchor">171</a> and these -romantic effusions do not appear to have been considered -by his contemporaries as absurd and ridiculous at -his time of life. But the sorrows expressed in his amatory -ditties did not drive the venerable lover to despair; -for when he was soon after set at liberty, though still -exiled from court, he observed with the eye of a politician -the insurrection of the Moriscoes, or converted -Arabs of Granada; and when the insurrection broke -out into a formal war, he noted down all the remarkable -events, and afterwards detailed them in an historical -<span class="pagenum" id="Page_193">193</span> -work, which has obtained for him the name of the -Spanish Sallust. He profited of this opportunity to -collect a great number of Arabic manuscripts. Observations -on the works of Aristotle, a translation of the Mechanics -of that philosopher, and some political treatises, -were, it appears, the last of his literary labours. He -was thus actively and usefully employed until his death, -which happened when he was upwards of seventy, at -Valladolid, in the year 1575. He bequeathed his collection -of books and manuscripts to the king, and it -still forms one of the most valuable portions of the -library of the Escurial.<a id="FNanchor_172" href="#Footnote_172" class="fnanchor">172</a></p> - -<p>A detailed account of the life of this distinguished -man, cannot be regarded as a biographical excrescence -in a history of Spanish Literature; for in no other -poet’s life and works is the real Castilian spirit of the -age of Charles V. so clearly displayed as in those of -Diego de Mendoza. The universality of his literary talent -will be best understood, when it is known with what -energy, precision, and facility he accommodated himself -to, and controuled the circumstances in which he -happened to be placed in all the practical relations of life. -That trait too in the portrait of his mind, which is most -worthy of observation, namely, the constancy with -which, instead of abandoning one species of mental -activity for another, he continued throughout the -different periods of his life, from youth to extreme -old age, always to unite in his person the poet, the -<span class="pagenum" id="Page_194">194</span> -man of letters, and the statesman, gives reason to -expect that his works, however differing in kind, will -be found to possess a certain common character.</p> - -<p>Diego de Mendoza did more for the poetic literature -of his country than his countrymen seem to have acknowledged. -Spanish writers, it is true, place him -next in rank to Boscan and Garcilaso de la Vega, -among the poets who introduced the Italian style into -Castilian poetry. But they cannot pardon the harshness -of his versification in those poems in which he -adopted the metrical forms of Italy. Rendered fastidious -by the rhythmical harmony which a Castilian -ear can never dispense with, the Spaniards have held in -very trifling estimation the epistles of Mendoza; though -those compositions, in a striking manner, extended -the boundaries of Castilian poetry. As an epistolary -poet, he might justly be styled the Spanish Horace, if -his tercets flowed as smoothly as the hexameters of the -latin poet. Making allowance, however, for the want of -that pure harmony and that didactic delicacy in which -Horace is inimitable, Mendoza’s epistles may rank -among the best productions of the kind in modern -literature. With the exception of Boscan and Garcilaso -de la Vega, no Spanish poet had evinced any traces -of that horatian spirit with which this author was -endowed. In the collection of Mendoza’s poems, these -epistles are merely called <i>cartas</i> (letters.) Some of -them are of a romantic cast, and overloaded with -tedious love complaints. But the rest, like Horace’s -epistles, are didactic, full of agreeable but sound philosophy, -precise and yet unconstrained in expression, -<span class="pagenum" id="Page_195">195</span> -and rescued from the monotonous effect of moral instruction, -by a happy interchange of precepts, images, -and characters. A masculine understanding, which -clearly penetrates all social relations, and a noble spirit, -which estimates the blessings of life according to their -real value, diffuse over these epistles a charm at once -serene and attractive. Some of the most beautiful, -for example, that addressed to Boscan, which is best -known, and which on account of the answer is printed -among Boscan’s poems, were composed in Italy during -the more early part of the author’s life. But in estimating -the poetical works of Mendoza, chronological -arrangement is of little importance, for as a poet he -preserved equality from the commencement to the close -of his career. His epistle to Boscan is in part an imitation -of that of Horace to Numicius.<a id="FNanchor_173" href="#Footnote_173" class="fnanchor">173</a> The latter -half, however, belongs exclusively to Mendoza. In this -portion of the epistle he presents to his friend the outline -of the charming picture of domestic happiness, to -which Boscan himself, in the answer already mentioned, -has given a higher finish; and the taste which can -overlook the beauty of this picture on account of want -of smoothness in the versification, must be depraved by -the affectation of refinement.<a id="FNanchor_174" href="#Footnote_174" class="fnanchor">174</a> Another epistle, addressed -<span class="pagenum" id="Page_196">196</span> -to Don Luis de Zuñiga, contains an ingenious and -striking comparison of the character of two heterogeneous -and equally foolish classes of men. The one -wholly attached to the vulgar pleasures of the moment, -and stupidly indifferent to the affairs of the world;<a id="FNanchor_175" href="#Footnote_175" class="fnanchor">175</a> -<span class="pagenum" id="Page_197">197</span> -while the other, on the contrary, is cheated by restless -cares and anxieties out of the enjoyment of the present.<a id="FNanchor_176" href="#Footnote_176" class="fnanchor">176</a> -In these epistles, Mendoza unfolded the result -<span class="pagenum" id="Page_198">198</span> -of his experience, as the Infante Juan Manuel did -a century and a half earlier, in his Count Lucanor, -though in a totally different manner. Mendoza’s style -is that of an accomplished man of the world, formed -in the school of the latin poets.</p> - -<p>Mendoza’s sonnets possess neither the grace nor -the harmony essential to that species of composition. -They owe their existence to the amatory spirit of the -age rather than to the poetic inspiration of the author. -Though he composed in the Italian manner with less -facility than Boscan and Garcilaso, he felt more correctly -than they or any other of his countrymen, the -difference between the Spanish and Italian languages, -with respect to their capabilities for versification. The -Spanish admits of none of those pleasing elisions, which, -particularly when terminating vowels are omitted, render -the mechanism of Italian versification so easy, and -enable the poet to augment or diminish the number of -syllables according to his pleasure; and this difference -in the two languages renders the composition of a -Spanish sonnet a difficult task. Still more does the -Spanish language seem hostile to the soft termination -of a succession of feminine rhymes, for the Spanish -<span class="pagenum" id="Page_199">199</span> -poet, who adopts this rule of the Italian sonnet, is -compelled to banish from his rhymes, all infinitives of -verbs, together with a whole host of sonorous substantives -and adjectives.<a id="FNanchor_177" href="#Footnote_177" class="fnanchor">177</a> Mendoza, therefore, availed -himself of the use of masculine rhymes in his sonnets; -but this metrical license was strongly censured by all -partizans of the Italian style. Nevertheless had he -given to his sonnets more of the tenderness of Petrarch, -it is probable that they would have found imitators. -Some of them, indeed, may be considered as successful -productions, and throughout all the language is correct -and noble.<a id="FNanchor_178" href="#Footnote_178" class="fnanchor">178</a> -<span class="pagenum" id="Page_200">200</span></p> - -<p>Mendoza’s canciones have nearly the same character -as his sonnets, except that they more obviously mark the -influence of the horatian ode on the lyric fancy of the -author. The versification, which is sonorous, though -deficient in harmony, is occasionally united with a degree -of obscurity from which the other productions of -Mendoza are totally exempt.<a id="FNanchor_179" href="#Footnote_179" class="fnanchor">179</a> The least successful of -his poems in the Italian style is a mythological tale -in octave verse, founded on the history of Adonis, but -along with which the author has interwoven the history -<span class="pagenum" id="Page_201">201</span> -of Atalanta. The story is, however, related in a very -pleasing manner.</p> - -<p>The Spaniards give the preference, not to this first -class of the poetic works of Mendoza, but to the second, -which consists of lyric poems in the old national style, -the origin of which it is, however, easy to perceive -must be referred to a more highly cultivated age. The -similarity between these poems and others of the same -sort in the <i>Romancero general</i>, clearly proves that -many of the poets of the age of Charles V. had tacitly -agreed to improve the old national poetry, without, like -the impetuous Castillejo, (of whom further mention will -soon be made) waging open war against the reformers -of the school of Boscan. Many of Mendoza’s lyric -pieces are inserted in the <i>Romancero general</i> without -the author’s name. In these compositions the syllabic -measure seems to have been the chief object of improvement. -But this improvement, however successful, -was at the same time necessarily limited; and the beautiful -forms of the Italian canzone possessed too striking -a superiority over the most cultivated forms of rhyme -in the old redondillas, to yield to the latter in any -collision. All Mendoza’s lyric compositions are in -stanzas of four lines; and the pieces of this description -now obtained, by way of distinction, the name of -redondillas, which seems originally to have been applied -to all trochaic verses in lines of four feet.<a id="FNanchor_180" href="#Footnote_180" class="fnanchor">180</a> But songs -in stanzas of five lines, though in other respects similar -to those just mentioned, are called in Mendoza’s -<span class="pagenum" id="Page_202">202</span> -collection <i>quintas</i> or <i>quintillas</i>. The trochaic stanza in -four lines of three feet,<a id="FNanchor_181" href="#Footnote_181" class="fnanchor">181</a> of which the <i>Romancero general</i> -also contains several specimens, was found to be most -suitable to <i>endechas</i>, or funeral songs, in the old national -style, and to compositions of that class Mendoza -applied it. He wrote many romantic epistles in the -redondilla stanza of four lines; and did not neglect -the other old lyric forms, such as the <i>Villancicos</i>, -&c. The improvement of style, which is an essential -feature of all these poems, was limited by Mendoza -to accuracy of expression, and to softening the quaintness -of the old subtilties: to these, however, he himself -sometimes resorted; and he seems to have been of -opinion, that the character of this kind of poetry rendered -their occasional introduction indispensable. In -compositions of a tender and melancholy character,<a id="FNanchor_182" href="#Footnote_182" class="fnanchor">182</a> -<span class="pagenum" id="Page_203">203</span> -he is less successful than in those of a comic -cast.<a id="FNanchor_183" href="#Footnote_183" class="fnanchor">183</a></p> - -<p>Considering Mendoza’s wit and knowledge of mankind, -it may naturally be presumed that his satyrical -poems, which however exist only in manuscript, mark -a great advancement in this species of poetry in Spain. -These poems are mentioned by all Mendoza’s biographers; -one is called <i>La Pulga</i> (the Flea,) another <i>La Caña</i> -<span class="pagenum" id="Page_204">204</span> -(the Reed), and a third bears the comical title of <i>Elogio -de la Zanahoria</i> (Eulogy on the Parsnip.) None, however, -have yet passed the ordeal of the inquisition. -Their titles seem to indicate a kind of coarse humour in -the style of the burlesque satyres of the Italians.</p> - -<p>Some of Mendoza’s prose compositions have, however, -obtained greater celebrity than his poems; and -they unquestionably form an epoch in the history of -Spanish prose. The comic romance of <i>Lazarillo de -Tormes</i>, which Mendoza wrote while he was a student -at Salamanca, is either the very first production of its -kind, or at least the first that obtained any thing like -literary consideration. Soon after its publication it was -translated into Italian, and subsequently into French, -and by the means of this French translation it has -been read throughout all Europe. Relations of interesting -tricks of roguery, probably formed at a more -early period a favourite amusement with the Spaniards; -for that adroit feats of cunning and deception have had -for them a charm of a peculiar kind, the whole history -of their comic literature sufficiently proves. Mendoza, -therefore, gave to his humorous fancy a direction conformable -to the spirit of his country, when he chose, as -the subject of his work, the Adventures of a Beggar Lad, -who makes a kind of fortune by dint of cheating and -roguery; and the comic interest of the production was -enhanced by its contrast with the pompous romances -of chivalry. In the perusal of such a tale, the Spanish -reader willingly descended from the romantic ideal -world to the sphere of common life. The skill with -which Mendoza has sketched the vices of avarice -<span class="pagenum" id="Page_205">205</span> -and selfishness in the persons into whose service -Lazarillo enters, is no less remarkable than the bold -regard for truth which led him to include priests in the -number of his odious characters. The inquisition of -course could not expect that the Spaniards should -regard the ecclesiastic profession as a security against -every vice; and Lazarillo de Tormes sufficiently proves -that in Mendoza’s time the priesthood was not guaranteed -against public satire in Spain. Under the reign of -Philip II. however, satires of this kind became subject to -a certain degree of restraint; and since that period Mendoza’s -romance has only been suffered to escape because -its free circulation was once permitted by the inquisition. -No critic has hitherto called in question the truth -and accuracy of the pictures of vulgar life in Lazarillo -de Tormes; but an author named de Luna, who styles -himself an interpreter of the Castilian language, published -a new edition of the romance with the view of -correcting the diction. De Luna likewise added a -second part to the story, for Mendoza in his maturer -years never felt inclined to finish the comic work which -he had commenced in his youth.<a id="FNanchor_184" href="#Footnote_184" class="fnanchor">184</a></p> - -<p id="MENDOZAS_ACCOUNT_OF_THE_REBELLION_OF_GRANADA">A very different spirit animates the historical work -in which Mendoza traces the history of the rebellion -of Granada.<a id="FNanchor_185" href="#Footnote_185" class="fnanchor">185</a> Mendoza formed his style, as a historian, -<span class="pagenum" id="Page_206">206</span> -principally on that of Sallust, and only occasionally -imitated Tacitus for the sake of variety. Were it not -that he sometimes oversteps the bounds of true elegance -and falls into an overstudied and artificial manner, -this work might be ranked, without reserve, among the -best historical models; and notwithstanding the affectation -with which it is here and there disfigured,<a id="FNanchor_186" href="#Footnote_186" class="fnanchor">186</a> it -is, unquestionably, after the works of Machiavell and -Guicciardini, the first production of modern literature -that deserves to be compared with the classic histories -of antiquity.</p> - -<p>However carefully Mendoza polished the rhetorical -form of his history, still the importance of the materials -and a true philosophic spirit are every where prominent -<span class="pagenum" id="Page_207">207</span> -throughout his representation of facts. Being -himself a native of Granada, his power of rightly -viewing the events, and the impression he received -from them, must have been much the same as if he -had been an eye witness of all that passed. Besides, -he derived his information from the most authentic -sources; for at the period in question he was residing -on his estate in the vicinity of the theatre of the war. -His nephew, the Marquis de Mondejar, was for some -time commander in chief of the army against the -rebels; and Mendoza himself had long been so intimately -connected with the government at Madrid, that -no individual in Spain had better opportunities of -obtaining that knowledge of the secret as well as of -the ostensible springs of transactions which is necessary -for a just historical representation of events. The -atrocious measures adopted by Phillip II. to suppress -the insurrection in Granada, were, however, no less -opposed to the sound political views of Mendoza, than -the fanatic cruelty and glaring injustice by which the -unhappy Moriscos had been driven into rebellion appear, -however good a catholic he may have been, to -have revolted his feelings. But neither his opinion nor -his compassion could be openly avowed. He therefore -availed himself of all the subtle windings of the historical -art, to render his representation of events easily -intelligible to those who thought as he did, and at the -same time to secure himself against any literal interpretation -which spiritual or temporal despotism might have -employed to his disadvantage. Wherever undeniable -facts, which the government according to its own -<span class="pagenum" id="Page_208">208</span> -maxims could not venture to conceal, clearly expose -the folly and inhumanity by which the Moors were -reduced to despair, Mendoza apparently refrains from -pronouncing any judgment, while the poignant manner -in which he relates the facts, is in itself a sufficient -condemnation.<a id="FNanchor_187" href="#Footnote_187" class="fnanchor">187</a></p> - -<p>When the fault rests rather with the agents of -the government than with the government itself, he -seems to attack only the former. In order that the -just cause of the Moriscos might be, for once, powerfully -vindicated, he puts, after the manner of the -ancients, a speech into the mouth of one of the chiefs -of the conspirators.<a id="FNanchor_188" href="#Footnote_188" class="fnanchor">188</a> This is the only speech in the -<span class="pagenum" id="Page_209">209</span> -work which seems sufficient to shew that at least it -was not inserted from a spirit of servile imitation; but -he occasionally ventures, contrary to the practice of -modern languages, to approximate his narrative style -to that of the writers of antiquity; as for example, -where he employs a succession of verbs in the infinitive -mood.<a id="FNanchor_189" href="#Footnote_189" class="fnanchor">189</a> The Spaniards, however, seem to have regarded -the grammatical freedom used by Mendoza as perfectly -conformable to the genius of their language. During -the gloomy and suspicious government of Philip II. -this excellent work was only to be read in manuscript. -It was first published at Madrid, in the year 1610, five-and-thirty -years after the death of the author, and was -reprinted at Lisbon in 1617; but both editions were -<span class="pagenum" id="Page_210">210</span> -purposely mutilated.<a id="FNanchor_190" href="#Footnote_190" class="fnanchor">190</a> The text was at last given complete -in the edition of the work, which appeared in -1776.</p> - -<h3 id="SAA_DE_MIRANDA">SAA DE MIRANDA.</h3> - -<p>The fame of the great reform of the Castilian -poetry having penetrated into Portugal, a similar reform -took place in the poetry of that nation. At this -time the Castilian language was held in such high consideration -in Portugal, that even Portuguese poets, -without undervaluing their national tongue, thought -themselves bound occasionally to write verses in Castilian, -to entitle them to be regarded as perfect masters -of the poetic art. In the first half of the sixteenth -century, two of the most celebrated of these Portuguese -poets laboured with such success to extend the dominion -of Castilian pastoral poetry, that the thread of -the history of Spanish literature would be broken, were -a notice of the poetic merits of these two celebrated -men confined solely to the history of the literature of -Portugal. One of them, Francisco de Saa de Miranda, -who was born in 1494, and died in 1558, belongs, however, -in so eminent a degree, to his own nation, and the -circumstances of his life are so closely connected with -the history of Portuguese poetry, that it would be an -<span class="pagenum" id="Page_211">211</span> -injustice to Portuguese literature to rank him exclusively -among the poets of Spain. Besides, most of his -poetic works, with the exception of his pastoral poems, -are written in the Portuguese language.<a id="FNanchor_191" href="#Footnote_191" class="fnanchor">191</a> The other -Portuguese poet, who claims attention in the history of -Spanish poetry, is Jorge de Montemayor. He, through -his residence in Spain, became wholly a Spaniard:—the -work to which he chiefly owes his celebrity is written -in Spanish; and he had so decided an influence on -Spanish literature, that this would be the proper place -for introducing an account of his short life and of his -poetry, did not Saa de Miranda’s Castilian pastorals, -which are of older date, demand a previous notice.<a id="FNanchor_192" href="#Footnote_192" class="fnanchor">192</a></p> - -<p>The bucolic effusions of Saa de Miranda exhibit -in their general tone more traits of resemblance to -Theocritus, than are to be found in the writings of -Garcilaso de la Vega. Garcilaso’s pastoral style, with -all its simplicity, was not sufficiently rural for Saa de -Miranda. Like Theocritus his feelings seem to have -<span class="pagenum" id="Page_212">212</span> -dictated to him pure rural ideas; and he transferred -this characteristic of his Portuguese eclogues to those -which he wrote in Spanish, which are the most numerous. -Nevertheless, even in his rural poems he did not -wish to renounce the attributes of the loftier style of -poetry. He was, however, heedless of all critical distinction -of the different kinds of poetry, and would, without -scruple, commence a poem, in the metre of an Italian -canzone, as an ode, proceed with it in epic metaphors,<a id="FNanchor_193" href="#Footnote_193" class="fnanchor">193</a> -and conclude it in the simplest idyllic style. With equal -indifference he chose sometimes octave verse, sometimes -tercets for his pastoral poems, which thus alternately -assume a lyric and a dramatic tone. This capricious -mixture of poetic genera and styles deteriorates in no -slight degree the quality of Saa de Miranda’s poetry. -The elevated tone of the ode forms a singular contrast -when introduced in the same composition along with -<span class="pagenum" id="Page_213">213</span> -the easy familiar style, which, in the opinion of Saa -de Miranda, the pure pastoral character of his poetry -required. But no modern poet has succeeded so well -in the union of simplicity and grace; and in this respect -the eclogues of Saa de Miranda are unequalled. -When he describes the gambols of the nymphs, with -whom his fancy animates his native woodland scenes;<a id="FNanchor_194" href="#Footnote_194" class="fnanchor">194</a>—when -he sketches impetuous storms of passion, softened -by the charm of his colouring, yet kept true to nature;<a id="FNanchor_195" href="#Footnote_195" class="fnanchor">195</a>—when -<span class="pagenum" id="Page_214">214</span> -he introduces nymphs discoursing;<a id="FNanchor_196" href="#Footnote_196" class="fnanchor">196</a>—or, when he -abandons himself to a tone of elegiac melancholy;<a id="FNanchor_197" href="#Footnote_197" class="fnanchor">197</a>—one -<span class="pagenum" id="Page_215">215</span> -knows not whether most to admire, the delicate truth -and penetrating depth of his ideas, or the artless precision -and facility of his expression. In such cases he -often abandons the natural style of Theocritus for a -more lofty or ideal manner. When, in some of his -other eclogues, his shepherds converse on their occupations -or superstitions,<a id="FNanchor_198" href="#Footnote_198" class="fnanchor">198</a> he likewise departs from the -prosaic nature of real pastoral life, such as he had the -opportunity of observing in his native country, and -gradually elevates it to romantic ideality. It happened, -however, that he occasionally found the prosaic truth of -his pictures sufficiently interesting, and then to be truly -natural he avoided all embellishment.<a id="FNanchor_199" href="#Footnote_199" class="fnanchor">199</a> -<span class="pagenum" id="Page_216">216</span></p> - -<p>Some of Saa de Miranda’s popular songs, called <i>Cantigas</i>, -a term which in Portuguese corresponds with <i>Villancicos</i> -in Spanish, are inimitable for grace and simplicity.<a id="FNanchor_200" href="#Footnote_200" class="fnanchor">200</a> -<span class="pagenum" id="Page_217">217</span></p> - -<h3 id="MONTEMAYOR">MONTEMAYOR.</h3> - -<p>The poet who is celebrated in Spanish literature by -the name of Jorge de Montemayor, was born in the -year 1520, at Montemor, a little town of Portugal, -not far from Coimbra. He took for his name that of -his native city, spelt and pronounced in the Spanish -way, probably because his own family name was not -deemed sufficiently sonorous; and thus the latter has -been entirely lost. The talent of this young Portuguese -developed itself without the aid of a previous -literary cultivation. At an early period of life he -served in the Portuguese army, and, as there is reason -to believe, in the rank of a common soldier. His -taste for music, and the reputation he had acquired as -a singer, induced him to visit Spain, where the Infant -Don Philip, afterwards Philip II. had formed a company -of court musicians, who were to accompany him -on his travels through Italy, Germany, and the Netherlands. -Jorge de Montemayor, being admitted as a vocal -member of this travelling musical company, gained an -opportunity of seeing the world, and at the same time -making himself master of the Castilian language, which -became to him a second mother tongue. He was, however, -attached to Spain by a still closer link, namely, -his love for a beautiful Castilian lady, whom he occasionally -introduces in his poems under the name of -Marfida. This Marfida became the deity of his poetry; -and when, on his return to Spain, he found her wedded -to another, he endeavoured to divert his sorrow by -poetic effusions, in which he represented the faithless -<span class="pagenum" id="Page_218">218</span> -beauty as a romantic shepherdess; and, uniting these -with several of his other compositions, he formed the -whole into a romance. This romance, which he entitled -<i>Diana</i>, was received by the Spanish public with a -degree of favour never before extended to any Spanish -book, Amadis de Gaul excepted; and it speedily found -no fewer imitators than Amadis itself. The Queen of -Portugal was desirous that the celebrated author of -Diana should return to his native country. She recalled -him, and he obeyed the honourable mandate. -No further particulars of his history are known. He -died by some violent means, either in 1561 or 1562. -He was upwards of forty at the period of his death, -which, according to some accounts, took place in Portugal, -and according to others in Italy.<a id="FNanchor_201" href="#Footnote_201" class="fnanchor">201</a></p> - -<p>The Diana of Montemayor is one of the few -romantic works which belong entirely to the soul of -the inventor, which are embued throughout with individual -interest, and which on that very account -exercise the more influence over unsophisticated minds, -because the author possessed sufficient poetic genius -successfully to convey the joys and sorrows of his own -heart under the forms of a general interest. But this -romance can never be to any other cultivated people -what it was to the Spaniards of the sixteenth century. -Still less can it be regarded as a classical fragment, -even though judged according to the lenient rules by -which every fragment is estimated; unless, indeed, -<span class="pagenum" id="Page_219">219</span> -after the manner of some modern critics, new rules of -art be deduced from defective examples, for the sake -of admiring as incomparable the grossest absurdities, -under the title of romantic complexity. But with all -its faults, this unfinished pastoral romance (for it was -not brought to a conclusion by Montemayor) possesses -a poetic merit, which entitles it to the esteem of all -ages.</p> - -<p>The design of the work, so far as Montemayor’s -ideas render his intention obvious, sometimes charms -by its graceful simplicity, and at others becomes grotesque, -through an illegitimate romantic combination of -heterogeneous species of composition. The shepherd -Sireno, who represents the poet himself, on his return -to his native country, visits the scene of the innocent -joys which the inconstant shepherdess Diana once -shared along with him. Overwhelmed with grief, he -draws out first a lock of hair belonging to his mistress; -and then one of her letters, which he reads. While he -is thus communing with himself, he is joined by another -romantic adorer of the beautiful Diana. This shepherd, -whose love had always been unrequited, now joins his -lamentations to those of the once happy Sireno, and -each vies with the other in claiming to himself the -heaviest load of misery. They are joined by a shepherdess, -named Selvagia, who has been no less unfortunate -in love than themselves. She relates her history -very circumstantially, and thus terminates the first book. -In the second, the conversation of these lovers is continued, -until three nymphs appear, one of whom relates -Sireno’s history in a song of some length. Up to the -<span class="pagenum" id="Page_220">220</span> -conclusion of this song, the pastoral simplicity of the -story is preserved uninterrupted by any incident approximating -to the terrible; but suddenly a party -of savage robbers completely armed appears. The -nymphs are about to fly, but are detained by the -robbers. A battle then ensues between the robbers -and the shepherds, the latter attacking the former with -stones. The robbers are on the point of overcoming -their rustic antagonists, when a heroine, habited as a -huntress, rushes from a wood, and bending her bow, -pierces the robbers with her arrows, and liberates the -nymphs. The fair huntress then joins the party of -nymphs and shepherds, and in her turn also relates -her history. This narrative, together with the conversations -and songs to which it gives rise, concludes -the second book. In the third book the story assumes -the character of a fairy tale. The nymphs lead their -protectress, together with the rest of the party, through -a thick forest to the castle of the wise Felicia, who is -represented as a kind of priestess to the goddess Diana. -The description of the wonders and magnificence of -the castle occupies a great portion of the third book. -The wise Felicia conducts the party to a superb hall -of state, where they behold a numerous collection of -majestic statues, representing Roman emperors, Castilian -knights, and Castilian ladies. Even a place is -found for the statue of a Moorish knight, of whose -conflicts with the Christians a long history is related -in this sanctuary of the goddess Diana. By means -of enchantment Felicia cures Sireno of the torments -of love. At length, in the sixth book, the poet -<span class="pagenum" id="Page_221">221</span> -releases his shepherds and shepherdesses from Felicia’s -palace, and the reader for the first time becomes -acquainted with the shepherdess Diana. She attaches -the blame of her infidelity to her parents, by whom, -during the absence of Sireno, she was forced to give -her hand to another. In the following scenes, to the -conclusion of the seventh book, where Montemayor’s -labour terminates, the history of the principal characters -makes no further progress. Some of the other -lovers in the romance are, however, united according to -their wishes.</p> - -<p>This composition, in which it is easy to recognize -the uncultivated genius of a poet, who, to give vent to -the emotions of his soul, deemed it necessary to wander -through the whole region of romance, can only be -regarded by the unprejudiced critic as a fantastical -frame-work, serving to display pictures of the feelings -and a philosophy of the heart, which constitute the -prominent features of the whole poem. To paint romantic -fidelity under the most fascinating and various -forms, and at the same time to exhibit in a poetic -point of view the theory of that fidelity, which even -in a poem could only be verified by facts, was the idea -which guided Montemayor’s inventive fancy, and the -execution of which bears the full impression of his -genius. The versified portion of the romance is the -soul of the whole composition. A series of lyric poems, -partly in the Italian and partly in the old Castilian -style, are introduced; but these compositions are strikingly -distinguished from the eclogues of Saa de Miranda -by an epigrammatic poignancy, which frequently -<span class="pagenum" id="Page_222">222</span> -degenerates into antiquated subtlety.<a id="FNanchor_202" href="#Footnote_202" class="fnanchor">202</a> But this epigrammatic -turn usually imparts a more pointed precision -to the lyrical expression, and a degree of consistency -to the whole composition, which in no way injures -its pastoral simplicity;<a id="FNanchor_203" href="#Footnote_203" class="fnanchor">203</a> and when judged according to -<span class="pagenum" id="Page_223">223</span> -the characteristic form of the popular songs, called -<i>Villancicos</i>, it by no means presents, to Spaniards in -particular, the idea of too much refinement or incongruity -with rustic nature.<a id="FNanchor_204" href="#Footnote_204" class="fnanchor">204</a> In order to judge candidly -<span class="pagenum" id="Page_224">224</span> -of the pastoral truth of these compositions, it is necessary -to have the Spanish romantic ideas of nature -present to the mind. Montemayor is inexhaustible in -new turns and images for the expression of tenderness. -In depth of feeling he vies with Saa de Miranda; -and, though his poetry is occasionally deficient -in rhythmical polish, it in general presents so exquisite -a union of the grace of language, with a happy -concordance of ideas, that the reader must soon become -warmed by the spirit of the poet, even though he -should begin to peruse the work with indifference.<a id="FNanchor_205" href="#Footnote_205" class="fnanchor">205</a> -<span class="pagenum" id="Page_225">225</span></p> - -<p>Montemayor’s style of romantic prose has been a -model for all writers of pastoral romances in the Spanish -language. How far he himself imitated the prose -<span class="pagenum" id="Page_226">226</span> -of Sanazzar, cannot easily be ascertained, as it is not -known whether or not Sanazzar’s Arcadia<a id="FNanchor_206" href="#Footnote_206" class="fnanchor">206</a> was the prototype -of his Diana. Though it is certain that Montemayor -carefully endeavoured to give precision and dignity -of expression, and to impart harmony to every line -of his composition, his language nevertheless appears -neither laboured nor affected. His taste seems to have -been in only a few instances seduced by the influence of -that ostentatious solemnity, which distinguished the common -chivalrous romances, written in imitation of Amadis -de Gaul. In general he remained faithful to the dignified -simplicity, which the author of the Amadis appears -to have regarded as the genuine characteristic of -the lofty style of romantic prose. To this style his -protracted but rhythmically pleasing sentences may -justly be said to belong.<a id="FNanchor_207" href="#Footnote_207" class="fnanchor">207</a> It is but seldom that a low -<span class="pagenum" id="Page_227">227</span> -expression escapes him.<a id="FNanchor_208" href="#Footnote_208" class="fnanchor">208</a> His descriptions are never -deficient in vividness and force.<a id="FNanchor_209" href="#Footnote_209" class="fnanchor">209</a> It is only in the -didactic passages in which he propounds his philosophy -of love, that his language becomes tinged with the -scholastic formality, which at the period in which he -wrote, was considered indispensable when any scholastic -ideas were to be expressed; for though Montemayor -had not received that kind of education, which in his -age was considered learned, he had picked up some -notions of the scholastic philosophy, which, when they -interested him, he was fond of introducing into the -romance of his heart.<a id="FNanchor_210" href="#Footnote_210" class="fnanchor">210</a> -<span class="pagenum" id="Page_228">228</span></p> - -<p>The other works of Montemayor, which are not so -celebrated as his Diana, are to be found in a collection -of his poems, which, according to the old custom, is -entitled a <i>Cancionero</i>.<a id="FNanchor_211" href="#Footnote_211" class="fnanchor">211</a></p> - -<h3 id="HERRERA">HERRERA.</h3> - -<p>Fernando de Herrera, a poet very different in character -from Montemayor, must next be included among -the authors who chiefly contributed to reform Castilian -poetry, during the first half of the sixteenth century. -Of the history of his life but little is known. He was -a native of Seville, and was born, according to the -conjectures of his Spanish biographers, about the commencement -of the sixteenth century. Thus he flourished -at the same time as Diego de Mendoza, and afforded -another instance of the light of poetical improvement -being directed from the south of Spain. It appears that -he did not enter into the ecclesiastical state, to which he -finally devoted himself, until he attained a mature age; -but he must have received a literary education, as he -possessed no ordinary knowledge of the ancient and -modern languages, geography, mathematics, and scholastic -<span class="pagenum" id="Page_229">229</span> -philosophy. According to a portrait which has -been preserved of him, he appears to have been a handsome -man; and some of the editors of his works alledge -that the lady whom he has celebrated in his -verses under various names, was not merely an ideal -object of the poet’s tenderness. The admirers of his -poetry have applied to him, after the Italian manner, -the surname of the <i>divine</i>; and this epithet, rendered -so equivocal by its application to Pietro Aretino, was -never bestowed on any other Spanish poet. These few -particulars are all that are known relative to the life of -Fernando de Herrera. He died at an advanced age, -probably soon after the year 1578.<a id="FNanchor_212" href="#Footnote_212" class="fnanchor">212</a></p> - -<p>Why Herrera should have obtained the title of -divine, in preference to all the other poets of his -nation, would appear almost incomprehensible, were it -not known that two opposite parties vied with each -other in exalting him; and, to avoid the appearance of -yielding on either side, considered themselves reciprocally -bound to pronounce compositions sublime which -neither could regard as natural. Herrera was, notwithstanding, -a poet of powerful talent, and one who -evinced undaunted resolution in pursuing the new -path which he had struck out for himself. The novel -style, however, which he wished to introduce into -Spanish poetry, was not the result of a spontaneous essay, -flowing from immediate inspiration, but was theoretically -<span class="pagenum" id="Page_230">230</span> -constructed on artificial principles. Thus, amidst -traits of real beauty, his poetry every where presents -marks of affectation. The great fault of his language is -too much singularity; and his expression, where it ought -to be elevated, is merely far-fetched.</p> - -<p>Herrera fancied he had discovered that the diction -of the Spanish poets, even in their best works, was too -common, too nearly allied to the language of prose, and -consequently very far removed from the classical dignity -which distinguishes the Greek and Roman poetry. -This opinion induced him to form for himself a new -style. He classed words according to his fancy, into -elegant and inelegant, and was careful to employ in his -verse only those to which he attributed the former character. -He connected words, under significations which -they do not bear in common language; and in contradistinction -to the spirit of prose, he regarded certain -repetitions, for example, the conjunction <i>and</i> as very -appropriate to poetry. He also introduced into his -verse, a free arrangement of words, after the model of -the latin construction. Finally, he thought he could -enrich the language of poetry by new words, which he -formed by analogy from existing Castilian words, or -adopted immediately from the latin.<a id="FNanchor_213" href="#Footnote_213" class="fnanchor">213</a> This peculiarity -of style was regarded as the perfection of poetry, by -the party who idolized Fernando de Herrera.<a id="FNanchor_214" href="#Footnote_214" class="fnanchor">214</a> -<span class="pagenum" id="Page_231">231</span></p> - -<p>Those, however, who have no inclination to confound -pompous with poetic language, or diction with -the essence of poetry, must still allow to Herrera the -possession of poetic ideas and precision of manner, as -well as a true dignity of expression, and an elegant -harmony of versification. His language is not always -affected, and his thoughts and descriptions, though frequently -overstrained, are never trivial.<a id="FNanchor_215" href="#Footnote_215" class="fnanchor">215</a> Notwithstanding -all the faults of his style, he must be accounted -the first classical ode writer in modern literature, for -the attempts of the Italian poet Chiabrera to emulate -<span class="pagenum" id="Page_232">232</span> -Pindar, are of more recent date; and here it is worthy -of remark, that the Spanish odes of Herrera and the -Italian odes of Chiabrera resemble each other in a -mixture of the style of the Pindaric ode, with the style -of the canzone. Through the medium of that lyric -form only, was the spirit of Pindar felt by these -imitators; and both were the more easily deceived, as -the genius of the Spanish and Italian languages has a -relation to the metrical structure of the canzone, -somewhat similar to that which the genius of the -Greek language bears to Pindaric verse. But the -rapid and bold succession of thoughts and images, -which animates the odes of Pindar, could not be imitated -by poets, who, even in their boldest flights of -fancy were bound down by the laws of the Italian canzone, -to the luxurious harmony of its protracted verbose -periods. Thus Herrera’s odes, like those of Chiabrera, -bear only a remote resemblance to their prototypes. -Odes, however, they must be termed, though Herrera -himself has classed them, under the general title of -<i>canciones</i>, along with imitations of the Italian style, -purely romantic, but versified according to similar rules. -In his celebrated odes on the battle of Lepanto, in -which the Spaniards under Don John of Austria, the -natural son of Charles V. obtained a brilliant victory -over the Turks, the magnificence of the rhythm would -be sufficiently attractive, though the ideas conveyed in -the torrent of sonorous syllables possessed less poetic -beauty than really belong to them.<a id="FNanchor_216" href="#Footnote_216" class="fnanchor">216</a> Occasionally, -<span class="pagenum" id="Page_233">233</span> -however, Herrera’s ideas degenerate into fantastical -hyperboles; for instance, when boasting of his hero, he -says, that Don John of Austria, that glorious conqueror -of the infidels and the elements, combines within -himself “whatever of heavenly power animates terrestrial -<span class="pagenum" id="Page_234">234</span> -bodies;” and that therefore “the fixed earth, the -extended waters, the circumambent air, and the ever -glowing flames depend on him, so that through the -secret control which he exercises over earth, water, air, -and fire, all these elements are his works.”<a id="FNanchor_217" href="#Footnote_217" class="fnanchor">217</a> But passages -of real beauty occur in Herrera’s odes, which -afford a sufficient compensation for this sort of bombast.<a id="FNanchor_218" href="#Footnote_218" class="fnanchor">218</a> -<span class="pagenum" id="Page_235">235</span> -Among the odes for which Herrera has chosen a softer -theme, the prize of superiority has been justly awarded -to the Ode to Sleep. It is one of those compositions -which may be said to be single in their kind. The -graceful choice of language, the picturesque effect, the -delicate keeping in the composition, and the finish -given to all the details in strict conformity with the -true spirit of the theme, impart to this ode or cancion -a lyric beauty which must render it in all ages an object -of admiration, not only to the lover, but to the -critic of poetry.<a id="FNanchor_219" href="#Footnote_219" class="fnanchor">219</a> -<span class="pagenum" id="Page_236">236</span></p> - -<p>The other poems of Herrera, though extremely -<span class="pagenum" id="Page_237">237</span> -numerous, require only a slight notice.<a id="FNanchor_220" href="#Footnote_220" class="fnanchor">220</a> His best -sonnets, which are among the happiest imitations of Petrarch -in the Spanish language, are characterized by the -recurrence of some of the author’s favourite images, as -for example, the comparison of his mistress to light, or -the evening star,<a id="FNanchor_221" href="#Footnote_221" class="fnanchor">221</a> &c. He is frequently very successful -<span class="pagenum" id="Page_238">238</span> -in the management of these similes; but at other times -he falls into strange absurdities, such as making the -“curling waves of gold of his sweet light float in the -wind.”<a id="FNanchor_222" href="#Footnote_222" class="fnanchor">222</a> But extravagant tropes of this kind could -not be very offensive to Spanish taste, which had been -accustomed to indulge the orientalisms of the old -national style, and they were indeed not only tolerated -but esteemed. It might have been expected that a -writer possessing so much critical judgment as Herrera, -would, as an imitator of Petrarch, have endeavoured to -naturalize in his native tongue, the simplicity of the -Italian poet; but he was too much a Spaniard to be -pleased with such simplicity. His elegies, and other -lyric compositions in the Italian syllabic measure, have -all the same character.</p> - -<p>Herrera endeavoured, by other means than poetical -composition, to give to the national taste of the -Spaniards a direction conformable to his own principles. -He wrote a “Critical Commentary on the Poems of -Garcilaso de la Vega.”<a id="FNanchor_223" href="#Footnote_223" class="fnanchor">223</a> This commentary has served -<span class="pagenum" id="Page_239">239</span> -as a model for many similar works, which have been -the means of circulating various kinds of useful knowledge -without having contributed in any remarkable -degree to the advancement of taste. Herrera, as a -theorist, failed to establish any fixed point or station -from which he might have taken a clear and consistent -view of the whole region of poetry. His criticism -everlastingly turns on detached ideas and words; and -whenever opportunities for displaying his learning occur, -he digresses into all the regions of philosophy and literature. -Of the indistinctness of his notions, relative -to the different species of poetry, some idea may be -formed from his definition of the elegy. He says—“an -elegy should be simple, soft, tender, amiable, -terse, clear, and if it may be so called, noble; affecting -to the feelings, and moving them in every way; neither -very inflated nor very humble, nor obscured by affected -phrases or far-fetched fables.”<a id="FNanchor_224" href="#Footnote_224" class="fnanchor">224</a> -<span class="pagenum" id="Page_240">240</span></p> - -<h3 id="LUIS_DE_LEON">LUIS DE LEON.</h3> - -<p>Luis Ponce de Leon, the next lyric poet to be -noticed, pursued a course very different from that of -Herrera, whose contemporary he was. He is usually -called, by abbreviation, merely Luis de Leon, and did -not obtain the surname of divine, to which, however, -he might have laid claim with infinitely more justice -than Herrera, if his pious humility would have permitted -him to entertain the idea of maintaining any -competition for earthly honours.<a id="FNanchor_225" href="#Footnote_225" class="fnanchor">225</a></p> - -<p>This poet, who for classical purity of style and moral -dignity of ideas, had never been surpassed in Spanish -literature, was, like Herrera and Mendoza, a native of the -south of Spain. He was born at Granada, in the year -1527, where the family of the Ponces de Leon, which was -connected with the most distinguished of the Spanish nobility, -flourished. At an early period of life, Luis de -Leon felt a poetic inspiration, and cherished a love of -retirement, which rendered him indifferent to outward -show, and all the pleasures of the great world. He found -only in poetry and in the contemplation of a superior -existence that food for which his soul longed. His -<span class="pagenum" id="Page_241">241</span> -tranquil and gentle mind exhibited none of the gloomy -features of monkish fanaticism, but was devoted to moral -and religious meditation. As soon as he had finished his -scholastic studies, he entered, of his own free choice, into -the ecclesiastical state. He was sixteen years of age -when he made his profession in the order of St. Augustine -at Salamanca. Theology now became his proper -occupation. In Spain, especially at that period, a man -of the character of Luis de Leon, even if he possessed -a mind capable of divesting itself of prejudice, could -scarcely be expected to doubt the dogmas of the catholic -faith; but his poetic imagination, which was not -to be satisfied with their dry and scholastic interpretation, -irresistibly impelled him to adorn them. Luis -transferred the mild enthusiasm of his pious feelings -into the theological studies, to which his vocation -devoted him. On religious subjects he was a learned -and diligent author; but his heart found, at least during -the first years of his monastic life, only in poetry, -the faithful interpreter of his love for that pure truth, -to the attainment of which all his arduous efforts were -directed. Though invested in his thirty-third year -with the dignity of doctor of theology, he maintained, -even within the cloister, his intimacy with the classic -writers of antiquity. The Hebrew poetry also worked -powerfully on his imagination; and on one occasion he -nearly fell a martyr to an attempt to translate and comment -on the Song of Solomon. He was very far from -wishing to give a too liberal interpretation of the -amatory language of the original. He explained the -sacred poem in perfect accordance with the sense -<span class="pagenum" id="Page_242">242</span> -attributed to it by the church. But the inquisition had, -at that time, strictly prohibited the translation of any -part of the bible into the vulgar tongue. Luis de Leon, -therefore, ventured to communicate his version in confidence -to one friend only; but that friend was not faithful -to his trust, and the translation found its way into the -hands of several individuals. It was soon denounced -to the inquisition, and the author was immediately -thrown into prison by that terrible tribunal. He himself -mentions, in one of his letters, that for the space of five -years he was deprived of all communication with mankind, -and was not even permitted to see the light of -day.<a id="FNanchor_226" href="#Footnote_226" class="fnanchor">226</a> Conscious of his innocence, he enjoyed during -his captivity, according to his own testimony, a -tranquillity and satisfaction of mind which he never -afterwards so fully experienced, when restored to -freedom, and the society of his friends.<a id="FNanchor_227" href="#Footnote_227" class="fnanchor">227</a> At length -justice was done to him, he returned in triumph to his -monastery, and was reinstated in his ecclesiastical -dignities. From that period, he appears to have been -wholly devoted to the duties of his order and the study -of theology. He died in 1591, in the sixty-fourth -<span class="pagenum" id="Page_243">243</span> -year of his age, being at that time general and provincial -vicar of Salamanca.</p> - -<p>The poems of this amiable enthusiast are, according -to his own testimony,<a id="FNanchor_228" href="#Footnote_228" class="fnanchor">228</a> for the most part the -productions of his youth; but no other Spanish poet has -succeeded in expressing the intense feelings of the heart -under the control of so sound a judgment. It is only by -reference to the pious tranquillity of a cultivated mind -wrapt up in self communion, that the extraordinary correctness -of this author’s style can be explained, for Luis -de Leon is, without exception, the most correct of all -the Spanish poets, though he constantly regarded the -metrical clothing of his ideas as a very secondary object. -To use his own language, he wrote poetry rather in -fulfilment of his destiny, than purposely and by dint of -study. At an early age he became intimately acquainted -with the odes of Horace, and the elegance and purity of -style which distinguish those compositions made a deep -impression on his imagination. Classical simplicity and -dignity were the models constantly present to his creative -fancy. He, however, appropriated to himself the -character of Horace’s poetry, too naturally ever to incur -the danger of servile imitation. He discarded the prolix -style of the canzone, and imitated the brevity of the -strophes of Horace, in romantic syllabic measures and -rhymes. More just feeling for the imitation of the -ancients was never evinced by any modern poet. His -odes have, however, a character totally different from -those of Horace, though the sententious air which marks -<span class="pagenum" id="Page_244">244</span> -the style of both authors, imparts to them a deceptive -resemblance. The religious austerity of Luis de Leon’s -life was not to be reconciled with the epicurism of the -latin poet; but, notwithstanding this very different disposition -of the mind, it is not surprising that they -should have adopted the same form of poetic expression, -for each possessed a fine imagination, subordinate to the -control of a sound understanding. Which of the two -is the superior poet, in the most extended sense of the -word, it would be difficult to determine, as each formed -his style by free imitation, and neither overstepped the -boundaries of a certain sphere of practical observation. -Horace’s odes exhibit a superior style of art, and from -the relationship between the thoughts and images, possess -a degree of attraction which is wanting in those of -Luis de Leon; but on the other hand, the latter are the -more rich in that natural kind of poetry, which may be -regarded as the overflowing of a pure soul, elevated to -the loftiest regions of moral and religious idealism.<a id="FNanchor_229" href="#Footnote_229" class="fnanchor">229</a></p> - -<p>Luis de Leon himself published a collection of his -poetic works, divided into three books. The first, -contains his original poems—the second, translations -from some of the ancient classics—and the third, metrical -versions of several of the psalms, and some parts -of the book of Job.</p> - -<p>The reader who peruses the poems of Luis de Leon, -which are all odes, in the spirit in which the author -<span class="pagenum" id="Page_245">245</span> -wrote them, will fancy himself transported to a better -world. No furious zeal disturbs the gentle piety that -pervades them; no extravagant metaphor destroys the -harmony of the ideas and expression; and no discordant -accent breaks the pleasing melody of the rhythm. The -idea of the perishableness of all earthly things,<a id="FNanchor_230" href="#Footnote_230" class="fnanchor">230</a> is -united with smiling pictures of nature.<a id="FNanchor_231" href="#Footnote_231" class="fnanchor">231</a> The imitations -<span class="pagenum" id="Page_246">246</span> -of Horace are only introduced to aid the poetic -light in which the poet views those objects which were -peculiarly interesting to his contemporaries.<a id="FNanchor_232" href="#Footnote_232" class="fnanchor">232</a> One of -Luis de Leon’s most celebrated odes is the <i>Noche -Serena</i>, but the concluding stanzas do not correspond -with the beauty of the commencement.<a id="FNanchor_233" href="#Footnote_233" class="fnanchor">233</a> In the ode -to Felipe Ruiz, the ardent aspiration for heavenly truth -<span class="pagenum" id="Page_247">247</span> -is very picturesquely expressed.<a id="FNanchor_234" href="#Footnote_234" class="fnanchor">234</a> But the exalted inspiration -and tender enthusiasm in which Luis de Leon -so widely departs from Horace, are most prominently -evinced in his ode on Heavenly Life (<i>De la Vida del -Cielo</i>). Here his fancy is bold without launching into extravagant -metaphors. What an etherial effulgence glows -through his lyric picture of “the soft bright region, -the meadow of holiness, never blighted by frost, nor -withered by the sun’s rays;—where the good shepherd, -<span class="pagenum" id="Page_248">248</span> -his head crowned with blossoms of purple and white, -without either sling or staff, leads his beloved flock to -the sweet pasture covered with everblooming roses;—where -the shepherd, reclining in the shade at noon, -blows his heavenly pipe, whose feeblest tone, should it -descend on the ear of the poet, would transform his -whole soul to love.”<a id="FNanchor_235" href="#Footnote_235" class="fnanchor">235</a> The ode in which the genius of -<span class="pagenum" id="Page_249">249</span> -the Tagus prophecies to King Roderick the misfortunes -of Spain, is more in Horace’s style, and possesses a very -happy uniformity of character. In some other imitations -of a similar kind, the fancy of the pious poet -willingly descends from the heavenly regions. The -poems contained in the first part of the collection are -few in number. Those which Luis de Leon himself -inserted, amount only to twenty-seven, and among them -is an indifferent elegy, and a cancion in the Italian -style of not much greater merit. Several other compositions, -which he seems to have rejected, have been -recently printed from manuscripts.<a id="FNanchor_236" href="#Footnote_236" class="fnanchor">236</a></p> - -<p>The greater portion of the poetic works of Luis -de Leon consists of translations; but these translations -<span class="pagenum" id="Page_250">250</span> -form an epoch in the department of literature to which -they belong. Those in the second book of the collection -are the first classical specimens, in modern literature, -of the art of renewing the ancient poetry in -modern forms. Luis de Leon has himself explained -the principles by which he was guided in bringing the -ancient poetry within the sphere of the romantic. He -endeavoured to make the ancient poets speak, “as they -would have expressed themselves, had they been born -in his own age in Castile, and had they written in Castilian.”<a id="FNanchor_237" href="#Footnote_237" class="fnanchor">237</a> -However bold this attempt may appear, and -whatever defects a translation of this kind may present -to the eye of the connoisseur who wishes for a faithful -resemblance of the original, and not a flowery imitation, -yet if the validity of the principle be once admitted, -Luis de Leon will be found to have fulfilled all that the -most rigid critic can desire. Besides, it must be considered -that translations of a more literal character -would scarcely have found readers in Spain at that -period. Luis de Leon translated Virgil’s eclogues, partly -in tercets, and partly in coplas;<a id="FNanchor_238" href="#Footnote_238" class="fnanchor">238</a> a considerable series -<span class="pagenum" id="Page_251">251</span> -of Horace’s odes in the same romantic syllabic measure -which he chose for his own odes;<a id="FNanchor_239" href="#Footnote_239" class="fnanchor">239</a>—and a portion of -Virgil’s georgics in stanzas. But the easy flowing style -of his Spanish version of Pindar’s first ode, excels all -the rest.<a id="FNanchor_240" href="#Footnote_240" class="fnanchor">240</a> To these translations are also added two -<span class="pagenum" id="Page_252">252</span> -imitations of Italian sonnets, which prove that he -succeeded very well in that species of composition, -<span class="pagenum" id="Page_253">253</span> -though among his own original poems there is not a -single sonnet. He translated the psalms of David, -according to the rule he had prescribed to himself. -His translations speedily obtained the rank in -Spanish literature to which they were entitled; and -they have served as models for all succeeding versions -of Greek and Latin poetry in the Spanish language. -Luis de Leon may indeed be blamed for having -thwarted, by the style of translation which he introduced, -all the attempts made to form Spanish poetry -on the model of that of the ancients. But on the other -hand, to his example the Spaniards are indebted for -numerous translations of Greek and Latin poetry, which -have all the air of Spanish originals.</p> - -<p>If Luis de Leon had not confined his prose writings -exclusively to spiritual subjects, he would doubtless have -also exercised a very decided influence on the rhetorical -cultivation of Spain. His sermons (<i>oraciones</i>) are, -however, invariably mentioned in terms of praise by -Spanish writers, whenever they allude to the theological -literature of their country.<a id="FNanchor_241" href="#Footnote_241" class="fnanchor">241</a> Among his other works -intended for edification, The Woman as she should be, -or The Perfect Wife, (<i>La Perfecta Casada</i>), will perhaps -be found the most interesting to the untheological -class of readers; though it constantly turns on the -positive morality of Catholicism, and therefore, like -<span class="pagenum" id="Page_254">254</span> -every mixed treatise of theology and morals, is no legitimate -specimen of the developement of ideas in the -didactic style.<a id="FNanchor_242" href="#Footnote_242" class="fnanchor">242</a></p> - -<p>Luis de Leon terminates the series of distinguished -Spanish authors, who during the first half of the sixteenth -century, composed after the model of the great -poets of Italy, or the ancient classics, and who, by the -superiority of their genius, mainly contributed to give -a new character to Spanish poetry. There are, however -others, whose poetic works ought not to be passed -over in silence; but to follow the example of those -writers, who have hitherto related the history of Spanish -poetry, without separating subordinate from eminent -talent, would be to prolong an act of injustice. At -the same time to the continuation which must be made -of the history of the lyric and pastoral poetry of Spain, -during the first half of the sixteenth century, may be -very properly added some account of a few unsuccessful -efforts in epic composition, and a notice of the -further progress of the old national poetry during the -same period.</p> - -<h3 id="MINOR_SPANISH_POETS">MINOR SPANISH POETS DURING THE PERIOD OF -THIS SECTION, VIZ. ACUÑA—CETINA—PADILLA—GIL -POLO.</h3> - -<p>Fernando de Acuña, one of the first of the distinguished -men who became the disciples of Boscan -<span class="pagenum" id="Page_255">255</span> -and Garcilaso, was of Portuguese extraction, but born -in Madrid, probably about the beginning of the sixteenth -century.<a id="FNanchor_243" href="#Footnote_243" class="fnanchor">243</a> He signalized himself in the campaigns of -Charles V. and was also a person of consideration at -the court of that monarch. He lived on terms of -intimate friendship with Garcilaso de la Vega, whom -he survived for a considerable period, for it appears -that his death did not take place until the year 1580. -He proved his taste for classical literature by translations -and imitations. He paraphrased in iambic blank -verse, several passages from Ovid’s Metamorphoses, -and among the rest, the dispute between Ajax and -Ulysses for the arms of Achilles, in very correct and -harmonious language. He likewise translated some -of the Heroides of the same author in tercets. In his -own sonnets, cancions, and elegies, which are replete -with sentiment and grace, it is easy to recognise a poet -who successfully laboured to attain classical elegance -of style.<a id="FNanchor_244" href="#Footnote_244" class="fnanchor">244</a> He was also one of the first poets, who, by -<span class="pagenum" id="Page_256">256</span> -composing in short strophes, endeavoured to form an -intermediate style between the Italian canzone and -the Spanish cancion.<a id="FNanchor_245" href="#Footnote_245" class="fnanchor">245</a></p> - -<p>Gutierre de Cetina is less known, though there is -no doubt of his having lived about the same period, as -he is mentioned by Herrera in his Commentary on the -Works of Garcilaso. He was, like Herrera, a native of -Seville; and having removed to Madrid, was there -invested with an ecclesiastical dignity. Few of his -poems have been printed;<a id="FNanchor_246" href="#Footnote_246" class="fnanchor">246</a> but from those few it is -<span class="pagenum" id="Page_257">257</span> -obvious that he had a fair chance of becoming the -Anacreon of Spain. That glory, however, was reserved -for Villegas. Still Gutierre de Cetina’s imitations -of the anacreontic style are not without their -share of sweetness and grace; and they are moreover -remarkable as being the first productions in the class -to which they belong.<a id="FNanchor_247" href="#Footnote_247" class="fnanchor">247</a> His madrigals also seem to -have had no prototype in Spanish literature.<a id="FNanchor_248" href="#Footnote_248" class="fnanchor">248</a> In his -canciones, however, the romantic enthusiasm occasionally -degenerates into absurdity.<a id="FNanchor_249" href="#Footnote_249" class="fnanchor">249</a> -<span class="pagenum" id="Page_258">258</span></p> - -<p>Pedro do Padilla, a knight of the spiritual order -of St. Jago, must be ranked in the same class with -Gutierre. He vied with Garcilaso in pastoral poetry; -and in order to conciliate the partizans of both the old -and the new styles, he introduced alternately in the same -eclogue the Italian and the ancient Spanish metres.<a id="FNanchor_250" href="#Footnote_250" class="fnanchor">250</a> -His poetry is still esteemed in Spain. He followed the -old national custom by making the events connected -with the war in the Netherlands serve as subjects for -romances.<a id="FNanchor_251" href="#Footnote_251" class="fnanchor">251</a></p> - -<p>But a poet still more celebrated, and in a great -degree indebted for his fame to the immoderate encomium -bestowed upon him by the pen of Cervantes, is -Gaspar Gil Polo, a native of Valencia, who continued and -concluded Montemayor’s Diana under the title of <i>La</i> -<span class="pagenum" id="Page_259">259</span> -<i>Diana enamorada</i>.<a id="FNanchor_252" href="#Footnote_252" class="fnanchor">252</a> A continuation of this pastoral -romance had previously been undertaken by a writer -named Perez; but without success. Gil Polo in one respect -effected more than did Montemayor himself; but -in point of invention he is inferior, notwithstanding the -faults of the original plan. After Sireno has been cured -of his love by the sage Felicia, Gil Polo makes the passion -of Diana revive, and renders her more unhappy for Sireno’s -sake, than he had previously been for hers. Thus -the romantic story is reversed; but the new relations -under which it now appears are few. In the sequel the -aid of the sage Felicia is again obtained, and she finally -unites the long separated lovers. The narrative style -in the prose portion of the romance presents a very -correct imitation of Montemayor; but neither the merit -of this imitation, nor the continuation of the metaphysical -reflections on love, with which the romance is -interspersed, would have gained for Gil Polo the approbation -of the critic. What must have raised him -higher than Montemayor in the estimation of such a -judge as Cervantes, is the precision and clearness of -the ideas, and the perfect polish of style in the poetic -part of the romance. Montemayor has often indulged -in too subtle or sophistical plays of wit. Gil Polo in -painting the feelings has exercised a sounder judgment, -without, however, descending to the coldness of prose. -His sonnets may be regarded as models; for he has -<span class="pagenum" id="Page_260">260</span> -succeeded in combining the unity of ideas, which ought -to distinguish that species of composition, with the most -elegant rounding and regularity of structure.<a id="FNanchor_253" href="#Footnote_253" class="fnanchor">253</a> In his -canciones he has occasionally, for the sake of variety, -imitated the Provençal rhymes (<i>rimas Provenzales</i>) -with such happy dexterity, that the reader might fancy -himself perusing some of the best opera songs, though no -such thing as an opera then existed.<a id="FNanchor_254" href="#Footnote_254" class="fnanchor">254</a> In like manner, -<span class="pagenum" id="Page_261">261</span> -he endeavoured to naturalize the metrical structure of -French verse (<i>rimas Franceses</i>) in the Spanish language, -upon which the burthen of alexandrines had -already been inflicted.<a id="FNanchor_255" href="#Footnote_255" class="fnanchor">255</a> In compliment to the old -Spanish taste, he bedecked his romance with a profusion -of versified riddles (<i>preguntas</i>,) which are, for -<span class="pagenum" id="Page_262">262</span> -the most part, so exceedingly dull, that it is difficult to -conceive how they could be endured by a man of Gil -Polo’s talent.<a id="FNanchor_256" href="#Footnote_256" class="fnanchor">256</a> In honour of Valencia, his native city, -he composed a poem, in which the genius of the little -river Turia is made to sing the praises of the celebrated -men to whom Valencia had given birth. This song of -Turia (<i>Canto de Turia</i>) has found patriotic commentators, -without whose laborious explanations it would -have been unintelligible to foreign readers.<a id="FNanchor_257" href="#Footnote_257" class="fnanchor">257</a></p> - -<h3 id="OBSTACLES_TO_THE_IMITATION">OBSTACLES TO THE IMITATION OF THE ROMANTIC -EPOPEE IN SPAIN—UNSUCCESSFUL ESSAYS -IN SERIOUS EPOPEE—TRANSLATIONS OF CLASSICAL -EPIC POETRY.</h3> - -<p>Though Spanish literature was in the manner just -recorded, enriched during half a century by numerous -lyric and pastoral compositions, which deserve to be -<span class="pagenum" id="Page_263">263</span> -handed down with honour to posterity, yet within the -same interval epic poetry made but little advancement -in Spain.</p> - -<p>Early in this period the absurd name of idyls -(<i>idyllios</i>) appears to have been applied to such narrative -poems as were not romances, and to have marked -out a particular field for a kind of poetic tales, which -were in some measure imitations from the ancients, and -yet were executed in the romantic style. Such, for -example, was Boscan’s free translation of the story of -Hero and Leander from Musæus, which the Spaniards -call their first idyl. Thus the term idyls in Spanish, -conveys no idea of pastoral poems, which are always -called eclogues (<i>eglogas</i>.)<a id="FNanchor_258" href="#Footnote_258" class="fnanchor">258</a> Castillejo, of whom further -mention will shortly be made, imitated in old Castilian -verse, stories from Ovid, and gave to them the name -of idyls. The spurious heroic style which the authors -of these tales introduced, proved, without doubt, one -of the obstacles to the cultivation of chivalrous epic -poetry in Spain; but it is also to be recollected, that -the luxuriant mixture of the comic with the serious, -which is the very soul of the romantic epopee of the -Italians, was by no means congenial to Spanish taste. -In Spain the works of Boyardo and Ariosto were -known only through the medium of bad translations, -and were read merely with the interest attached to all -books of chivalry. Finally, the spirit of the old romance -poetry was also hostile to the chivalric epopee. -<span class="pagenum" id="Page_264">264</span> -To descend from the cordial gravity of the national narrative -romances, to the careless levity with which the -venerable heroes of chivalry were treated by the Italian -writers, was a transition repugnant to the patriotic -feelings of the Spaniards; who, in their wars with the -Italians, were the more disposed to be proud of the -preservation of their national spirit of chivalry, when -they found that it facilitated their victories over men who -were better fitted for intrigue than for defending their -freedom sword in hand. Thus, to the chivalrous epopee -of the Italians, the Spaniards remained as completely -strangers, as if they had been excluded from all opportunity -of becoming acquainted with that kind of composition; -and yet the period when the Spaniards and -Italians maintained the closest political and literary -relations, precisely corresponds with that of Ariosto’s -first celebrity, and of the numerous imitations of the -<i>Orlando Furioso</i>, which appeared in the Italian language.<a id="FNanchor_259" href="#Footnote_259" class="fnanchor">259</a></p> - -<p>On the contrary, several Spanish poets, during the -first half of the sixteenth century, zealously competed -for the palm in the serious epopee; but obstacles again -arose, which all the force of Spanish genius was not -sufficient to surmount. Torquato Tasso had not yet -shewn what the serious epic was capable of becoming, -and what it must be, in order to be reconciled to the -taste of modern times. The Spaniards were so little -prepared for the new poetry with which they had -suddenly been made acquainted on the first imitation -<span class="pagenum" id="Page_265">265</span> -of the Italian style, that they could not be expected to -enter without a guide into the true spirit of the modern -epopee. The men, who at this time boldly attempted -to become the Homers of their country, appear to -have felt that they could not select from ancient -history the materials for an epic poem. But on the -other hand, their patriotic feelings prepossessed them -too much in favour of events of recent occurrence. -The age in which they themselves lived was, in their -eyes, the most illustrious and the most worthy of epic -glory; a Spanish Homer could record no achievements -save those of the Spaniards under Charles V.; and the -hero, who in their poems eclipsed all others, was their -favourite Charles, the never conquered, (<i>el nunca vencido</i>,) -as he was styled by all the Spanish writers of -the sixteenth century. Thus arose the <i>Caroliads</i>, or -heroic poems, in praise of Charles V. all of which -speedily sunk into oblivion. Among them were the -<i>Carlos Famoso</i>, by Luis de Zapata; the <i>Carlos Victorioso</i>, -by Geronymo de Urrea; <i>La Carolea</i>, by the Valencian -poet, Geronymo Sampèr, &c. Alonzo Lopez, -surnamed Pinciano, who flourished at the commencement -of the sixteenth century, was more happy in his -choice of an epic subject. The hero of his story is -Pelayo, the brave descendant of the visigothic kings, -who, in his turn, was the first to subdue the Arabs. -But Pinciano’s poem, which he entitled <i>El Pelayo</i>, -had no better fate than the Caroliads.<a id="FNanchor_260" href="#Footnote_260" class="fnanchor">260</a> -<span class="pagenum" id="Page_266">266</span></p> - -<p>The present seems a fit opportunity for mentioning -<i>La fuente de Alcover</i>, a narrative poem, which though -of humbler pretensions than the Caroliads, experienced -considerable success. The author, Felipe Mey, who was -of Flemish extraction, was a bookseller in Valencia. -Encouraged by his patron, Antonio Agustin, bishop of -Tarragona, he chose a few stanzas, written by that ingenious -prelate, as the ground work of a mythological -poem. The idea originated in the name given to -a plant (<i>capillus veneris</i>), through which the water -trickling drop by drop, at length forms a little fountain. -This pretty poem makes, along with some others -by Felipe Mey, an appendix to his unfinished translation -of <i>Ovid’s Metamorphoses</i> in octave verse. It deserves -also to be mentioned, that this translation reads -like a modern poem; both language and versification -are excellent.<a id="FNanchor_261" href="#Footnote_261" class="fnanchor">261</a></p> - -<p>Some other translations of the ancient classic poets -which appeared, during this period, remain to be noticed. -Gonzalo Perez, a native of Arragon, is the author of a -poetic translation of Homer’s Odyssey, in the Castilian -language. The first edition was printed in 1552, and -the second in 1562; so that it seems the Spanish public -felt an interest in this extension of their poetic literature. -Gregorio Fernandez translated the Æneid and -several of Virgil’s eclogues in verse; and in the like -manner Juan de Guzman executed a complete version -of the georgics. All these translations, however, like -<span class="pagenum" id="Page_267">267</span> -those of Luis de Leon, must be regarded as re-casts of -ancient materials into modern moulds, rather than -translations, in the strict sense of the term. But, in -an age and country, in which both the people and the -language were imbued with the spirit of the romantic -poetry, to have attempted to introduce the classic poets -of Greece or Rome in any other way than in a romantic -dress, would have been to do violence to the genius of -the language and the nation.<a id="FNanchor_262" href="#Footnote_262" class="fnanchor">262</a></p> - -<h3 id="PROGRESS_OF_THE_ROMANTIC_POETRY">PROGRESS OF THE ROMANTIC POETRY—CASTILLEJO: -HIS CONTEST WITH THE PARTIZANS OF THE -ITALIAN STYLE.</h3> - -<p>The rapid success of the imitators of the Italian -and classic styles, did not, however, deprive the old -romance poetry of its rank, either in literature or in -public estimation. The first half of the sixteenth century, -was doubtless the period when most of the old -romances, then first brought together in collections, -received the form which they have retained down to -the present day; and, in all probability, not less than -half the romances and canciones collected in the <i>Romanceros -generales</i>, particularly the mythological, anacreontic, -and comic kinds, had no existence previous to -that period.</p> - -<p>But no poet of that age defended the cause of the -old Castilian poetry, in all its various forms, with so -much talent and zeal as Christoval de Castillejo, the -most illustrious of the literary opponents of the Italian -<span class="pagenum" id="Page_268">268</span> -style. Castillejo obtained the post of secretary in -the service of the Emperor Ferdinand I. an appointment -which was a consequence of the relations still subsisting -between the courts of Madrid and Vienna, after -the death of Charles V. notwithstanding that the German -empire was then separated from the Spanish monarchy. -The greater part of Castillejo’s poems were -written in Vienna; and are full of allusions to the gay -sphere of life in which he moved at the imperial court. -A young German lady, named Schomburg, of whom he -seems to have been an ardent admirer, figures in his -poems, under the name of Xomburg, because nothing like -the hissing sound of the German <i>sch</i>, could be expressed -by the same characters in the Castilian language. Advanced -in life, and tired of gallantry and the gay world, -he returned to Spain, became a Cistercian monk, and died -in a convent in 1596. The admirers of Castillejo<a id="FNanchor_263" href="#Footnote_263" class="fnanchor">263</a> assign -to him the first rank among Spanish poets; but the -unprejudiced critic cannot, in justice, elevate him to so -high a station. His poetic horizon was very limited. -He was determined to be nothing but an old Castilian -in poetic taste, as in every thing else. He ridiculed -Boscan, Garcilaso, and all the Spanish poets of the new -party, with more wit than judgment.<a id="FNanchor_264" href="#Footnote_264" class="fnanchor">264</a> He asserted, -<span class="pagenum" id="Page_269">269</span> -though without foundation, that the old Castilian metres -and forms of rhyme were alone suited to the Castilian -language; and for want of better arguments to urge -against the amatory poetry of Italy, he asserted that -all poetry of love was to be regarded as mere raillery, -without reflecting, that in supporting this opinion he -cast more reproach on the old Spaniards than on the -Italians.<a id="FNanchor_265" href="#Footnote_265" class="fnanchor">265</a> The structure of Italian verse appeared -<span class="pagenum" id="Page_270">270</span> -constrained to a poet, who confounded rapidity with -facility of style. The loose rhythm of the redondillas, -was with him an exclusive beauty of the syllabic structure -of his mother tongue, for he had no taste for a -more regular style of poetry; and some of his happiest -productions are limited merely to graceful plays of the -imagination. His fertility in these sports of fancy, -could not fail to obtain for him the esteem of his countrymen, -who were ever too ready to tolerate, and even -to admire, the subtle twisting of quaint and fanciful -conceits; but of all other poetic faults, most reluctant -to pardon heaviness of manner, particularly in versification.</p> - -<p>Some of Castillejo’s canciones are, however, so exquisite, -that it is scarcely possible to resist the temptation -of placing their author in the very foremost rank -of poets.<a id="FNanchor_266" href="#Footnote_266" class="fnanchor">266</a> But in spite of his captivating fluency of style -<span class="pagenum" id="Page_271">271</span> -and power of expression, most of his works bear traces -of a mental boundary which every great poet oversteps. -<span class="pagenum" id="Page_272">272</span> -A sort of affected verbosity often usurps the place of -real wit, particularly in his longer poems; and it not -unfrequently happens that whole pages of Castillejo’s -flowing verse are to the reader nothing more than -lively prose. The strong inclination to levity, which -he cannot resist, even when he wishes to be serious, is -a distinguishing feature in all the poetic essays of this -ingenious author, who has thus sometimes given to his -works more of a French than a Spanish character.</p> - -<p>Castillejo arranged his lyric works in three books, -and they are so printed under the title of <i>Obras -Liricas</i>. Only a small portion of these poems, however, -properly belongs to the lyric class;<a id="FNanchor_267" href="#Footnote_267" class="fnanchor">267</a> and the author -doubtless collected them together, under this general -title, for the purpose of distinguishing them from his -comedies, which are but little known. The first book -contains amatory poems, (<i>Obras amatorias</i>), songs, -jests, epistles, glosses after the old fashion, and in conclusion, -a piece which he styled a (<i>Capitulo</i>) on love. -The songs, for the most part, commence in a serious -tone,<a id="FNanchor_268" href="#Footnote_268" class="fnanchor">268</a> but speedily assume a comic turn, with which -<span class="pagenum" id="Page_273">273</span> -they usually conclude.<a id="FNanchor_269" href="#Footnote_269" class="fnanchor">269</a> Some are burlesque parodies -on the affected ecstasies and extravagant metaphors of -<span class="pagenum" id="Page_274">274</span> -the Spanish sonnet writers. Such, for example, is the -“Tower of Lamentation,” or the “Wind Tower,” -(<i>Torre de Viento</i>,) which is supposed to be built entirely -of lovers’ sighs. Some shorter poems, in the -madrigal style, are among the best in this first book.<a id="FNanchor_270" href="#Footnote_270" class="fnanchor">270</a> -There is also an “Exclamatory Epistle,” (<i>Epistola Exclamatoria</i>,) -the spirit and style of which are sufficiently -indicated by the title. Among the popular verses which -the playful humour of Castillejo prompted him to gloss -in the form of <i>Villancicos</i>, is one which merely says, -“If you tend my cows, my love, I will give you a kiss; -but give me a kiss and I will tend yours.”<a id="FNanchor_271" href="#Footnote_271" class="fnanchor">271</a> Productions -<span class="pagenum" id="Page_275">275</span> -of this description found favour with the readers for -whom they were intended. His humorous poems, -which are all more or less disguised under an air of -seriousness, contain a tale (<i>historia</i>) imitated from -Ovid, which may be called an idyl according to the -literary terminology of the Spaniards. The second book -contains conversational and diverting pieces, (<i>obras de -conversacion y de pasatiempo</i>.) At the commencement -appear the railleries of Castillejo against the -Petrarchists. The longest poem in this book is a -Dialogue on Women, (<i>Dialogo de la Condicion de las -Mugeres</i>,) which is here and there enlivened by admirable -sallies of wit;<a id="FNanchor_272" href="#Footnote_272" class="fnanchor">272</a> but upon the whole it is nothing -<span class="pagenum" id="Page_276">276</span> -more than burlesque prose ideas dressed in easy verse.<a id="FNanchor_273" href="#Footnote_273" class="fnanchor">273</a> -The third book, which contains moral works, (<i>obras -morales</i>,) is most prolix of all. The satires contained in -this third book have certainly a moral tendency, though -that object is in a great measure defeated by Castillejo’s -sportive style. The moral is lost in a torrent of words, -while the serious thoughts of which the verse is the vehicle, -are for the most part trivial.<a id="FNanchor_274" href="#Footnote_274" class="fnanchor">274</a> Notwithstanding the -<span class="pagenum" id="Page_277">277</span> -moral design of this third book, the Spanish inquisition -was for some time undecided with respect to its fate. -The publication of all the poems of Castillejo was -prohibited; but after some further deliberation the -inquisition permitted the sale of an edition, after it -had undergone a rigid revisal by the censor.</p> - -<h3 id="HISTORY_OF_SPANISH_DRAMATIC_POETRY">HISTORY OF SPANISH DRAMATIC POETRY, DURING -THE FIRST HALF AND TEN SUCCEEDING YEARS -OF THE SIXTEENTH CENTURY.</h3> - -<p>In the reign of Charles V. amidst a throng of -diversified talent, and during the conflict between the -old and new poetic styles, the Spanish drama began to -flourish. Considered in a literary point of view, it can -scarcely be said to have existed before that period; but -<span class="pagenum" id="Page_278">278</span> -it arose under happier auspices than those which about -the same period accompanied the birth of the Italian -drama, to which the struggle between the learned and -the popular burlesque styles afforded less hope of success. -The sacred and profane pastoral dialogues of Juan -de la Enzina were, at the commencement of the sixteenth -century, still the only dramatic compositions in -the Spanish language, to which any degree of literary -respect was attached, and they were, by especial favour, -allowed to be performed at court.<a id="FNanchor_275" href="#Footnote_275" class="fnanchor">275</a> With the -exception of mysteries, spiritual moralities, and burlesque -representations of religious ceremonies, the -Spanish nation, at this time, knew nothing of dramatic -entertainments. No poet of reputation had hitherto -devoted his attention to this species of composition; but -the nation evinced by its attachment to those rude -exhibitions, that tenacity which is a great feature in its -character, and which even in matters of taste permits -no reform to take place which does not perfectly accord -with the inclination of the public. This constancy -of the national character must never for a moment be -lost sight of, while tracing the history of the Spanish -drama; but even with this peculiar circumstance carefully -kept in view, it is still impossible to give a very -satisfactory account of the early progress of dramatic -poetry among the Spaniards; for the notices which must -be resorted to for that purpose, are both defective and -confused.<a id="FNanchor_276" href="#Footnote_276" class="fnanchor">276</a> -<span class="pagenum" id="Page_279">279</span></p> - -<p>It is above all things necessary to begin by distinguishing -the three or four parties, which on totally -different principles endeavoured to cultivate dramatic -poetry in Spain, and which appear to have been -hitherto overlooked by the writers on Spanish literature, -merely because each of those parties pursued -its object, without openly declaring war against the -others. Critical cultivation was not yet so far advanced -in Spain as to open a field for literary warfare. But -the heterogeneous nature of the Spanish dramas of the -first half and ten following years of the sixteenth century, -renders it evident, on a very slight examination, -that the authors who composed them must have been -influenced by different views.<a id="FNanchor_277" href="#Footnote_277" class="fnanchor">277</a></p> - -<p id="THE_ERUDITE_PARTY">The party called the erudite, was the first which -at that period laboured to introduce into Spain a style -of dramatic literature, worthy to be called national. -<span class="pagenum" id="Page_280">280</span> -This party consisted of men of information and taste, -though possessing but little knowledge of the true art -of dramatic poetry, and still less of imagination. These -men, like a similar party in Italy, endeavoured to form -the modern drama on the model of the antique. As, -however, the most zealous among them did not possess -sufficient talent to imitate the ancient models, they -began to translate them, and performed their task in -prose. A Spanish translation of the Amphitryon of -Plautus, by Villalobos, physician to Charles V. was -printed in 1515. Shortly afterwards there appeared -a new translation of the same drama, by Perez de -Oliva, a prose writer of considerable merit, who will -be further noticed in the course of this history. Perez -de Oliva even ventured to make a prose version of the -Electra of Sophocles. This unfortunate attempt appeared -under the title of <i>La Venganza de Agamemnon</i>.<a id="FNanchor_278" href="#Footnote_278" class="fnanchor">278</a> -He also translated the Hecuba of Euripides. At -a somewhat later period the Portuguese comedies of -Vasconcellos, written in the manner of Plautus, were -published in the Castilian language. Translations of -several comedies of Plautus subsequently appeared, and -at length Pedro Simon de Abril published a complete -translation of Terence, which is still much esteemed by -the Spaniards.<a id="FNanchor_279" href="#Footnote_279" class="fnanchor">279</a> Thus it was not the fault of the erudite -party that the Spanish drama did not resemble the -<span class="pagenum" id="Page_281">281</span> -ancient. But to introduce in Spain the tragic style of -the classic drama, in all its poetic purity, or even the -style of the ancient comedies in iambic verse, was -an idea which could only have originated with scholars -who did not understand the character of the Spanish -public. The translators, therefore, even those who -endeavoured to conciliate the public taste by prose versions, -formed, with their learned friends, a solitary party. -No first rate poet arose in Spain, like Ariosto in Italy, -to amuse and instruct the public by original dramatic -compositions on the classic model. It is possible that -essays in the ancient manner may have been performed -on some Spanish stage, particularly at Seville, but they -are now totally lost; and no attempt seems ever to -have been made to represent Spanish translations of -Greek and Latin plays.</p> - -<p id="THE_PARTY_OF_THE_DRAMATIC_MORALISTS">The party of the dramatic moralists approximated -the closest to that which has just been described. The -interlocutory romance of Cœlestina,<a id="FNanchor_280" href="#Footnote_280" class="fnanchor">280</a> or Calistus and -Melibœa, poor in invention, but possessing in its natural -descriptions of common life, an attraction for many -readers, was, on account of its moral tendency, admired -as a master-piece of dramatic art. As this dramatic -romance was called a comedy or tragi-comedy, some -of its admirers conceived themselves bound to write -comedies and tragi-comedies in the same style for -the moral benefit of society. Whether these productions -were, or were not, calculated for representation, -seems never to have been a subject of consideration -<span class="pagenum" id="Page_282">282</span> -with their authors. They were content if -the scenes which they strung together exhibited in natural -language the lowest pictures of common life, and -forcibly marked the dangers attendant on vice. To do -this requires only an ordinary share of talent, and -accordingly Cœlestina was followed by a torrent of -similar “Mirrors of Sin” in the Castilian language. -The greater number appeared during the first half of -the sixteenth century, or shortly afterwards; and among -them were <i>Policiana</i>, entitled a tragedy;<a id="FNanchor_281" href="#Footnote_281" class="fnanchor">281</a> <i>Perseus and -Tibaldea</i>, a comedy; <i>De la hechicera</i> (of the Witch), -a comedy; <i>Florinea</i>, a comedy, &c. The author of a -work of this kind, entitled <i>La Doleria del Sueño del -Mundo</i>, (the Anguish of the Sleep of the World,) -mentions in his title-page, that it is a comedy in the -style of philosophic morality, (<i>Comedia tratada por via -de philosophia moral</i>.) All these insipid moral lessons -were read and admired in their day; but their extreme -length prevented them from getting possession of the -stage.<a id="FNanchor_282" href="#Footnote_282" class="fnanchor">282</a></p> - -<p id="THE_FIRST_NATIONAL_PARTY">Equally removed from the moral and the erudite -party, was Bartholomè Torres Naharro, a man doubtless -of extraordinary talent. He was the founder of a third -party, which uniting with a fourth, that had for a short -interval preceded it, ultimately triumphed as the only -<span class="pagenum" id="Page_283">283</span> -national party, and obtained exclusive control over the -Spanish drama. It is a singular circumstance, and yet -one to which the historians of Spanish literature have -not called the attention of their readers, that Cervantes -in his comic sketch of the early History of the Spanish -Drama, mentions not a syllable respecting Torres Naharro, -while the editor of Cervantes’s comedies, who -has prefixed to them that sketch, declares, in his preface, -Torres Naharro to be the real inventor of the forms of -the Spanish comedy. Torres Naharro was born in the -little town of Torre, on the Portuguese frontiers, and -flourished in the beginning of the sixteenth century. -Of the history of his life but little is known. All -accounts, however, agree in describing him to have -been an ecclesiastic and a man of learning. After a -shipwreck which involved him in various adventures, he -arrived at Rome during the pontificate of Leo X. In -that friend of genius he found a distinguished patron. -It is, however, extremely improbable, that his comedies -were performed before the pope at Rome, though such -an assertion has been made by Spanish writers, and -has given offence to some Italians. It is certainly by no -means likely, that an occurrence so unusual, should -have escaped the notice of all Italian authors; and -Pope Leo can scarcely be supposed to have had any -strong inducement to study the Spanish language which -is not agreeable to Italian ears. It is more probable -that Naharro’s comedies were represented in Naples, -for there a Spanish audience was to be found; and -Naharro himself proceeded to Naples when the difficulties -<span class="pagenum" id="Page_284">284</span> -into which his satirical writings involved him, -obliged him to quit Rome.</p> - -<p>The above are the only particulars that can be -obtained respecting the life of this extraordinary man; -and it is not certain how far they can be relied on, as -they are gathered from writers who do not mention the -sources from whence they derived their information.<a id="FNanchor_283" href="#Footnote_283" class="fnanchor">283</a> -It is not improbable that Naharro’s comedies were -performed only in Naples, and not in Spain, where -there was no theatre suited to their representation; for -according to the account of Cervantes, who speaks as -an eye-witness, the whole apparatus of a Spanish -theatre, about the middle of the sixteenth century, -consisted of a few boards and benches, and a wardrobe, -and decorations, which were contained in a sack.</p> - -<p>But whatever may have been the fate of the comedies -of Naharro, with respect to the stage in Spain, -they were certainly printed along with the other poetic -works of the author, in the year 1521, or at latest in -1533, under the learned title of <i>Propaladia</i>, intended -to signify exercises in the school of Pallas.<a id="FNanchor_284" href="#Footnote_284" class="fnanchor">284</a> Judging -<span class="pagenum" id="Page_285">285</span> -from the accounts given of these dramas by various -writers, there is very little doubt that Torres Naharro -was the real inventor of the Spanish comedy. He not -only wrote his eight comedies in redondillas in the romance -style, but he also endeavoured to establish the -dramatic interest solely on an ingenious combination of -intrigues, without attaching much importance to the -developement of character, or the moral tendency of -the story. It is besides probable, that he was the first -who divided plays into three acts, which being regarded -as three days labour in the dramatic field, were called -<i>jornadas</i>.<a id="FNanchor_285" href="#Footnote_285" class="fnanchor">285</a> It must, therefore, be unreservedly admitted, -that these dramas, considered both with respect -to their spirit and their form, deserve to be ranked as -the first in the history of the Spanish national drama; -for in the same path which Torres Naharro first trod, -the dramatic genius of Spain advanced to the point attained -by Calderon, and the nation tolerated no dramas -except those which belonged to the style which had -thus been created. -<span class="pagenum" id="Page_286">286</span></p> - -<p id="THE_SECOND_NATIONAL_PARTY">It would appear, however, that there was something -in the plays of Naharro which did not precisely harmonize -with the taste of the Spanish public, for they -were banished from literature and thrown into oblivion -by the prose dramas which Cervantes saw represented -in his youth. The author of these pieces, in which -songs are sometimes episodically introduced, was Lope -de Rueda, a native of Seville. This man, who was a -gold-beater by trade, and who had received no literary -education, was notwithstanding endowed with a strong -genius for the dramatic art. Cervantes styles him the -great Lope de Rueda. He did not compose his plays -in the character of an author. He was at the head of -a little company of players of whom he was himself -the ablest; and his own taste and that of the public -required only such pieces as could be easily represented -on his wretched stage which consisted merely of a few -planks of wood. The most prominent characters in -Lope de Rueda’s dramatic compositions, were those -which the author himself performed, and which, according -to the testimony of Cervantes, he delineated -in a highly natural style. In fools, roguish servants, -biscayan boors, and such like characters, he particularly -excelled. He did not neglect to avail himself of the -accidental union of the Spanish drama with pastoral -poetry, and he wrote some pastoral dialogues (<i>coloquios -pastoriles</i>) in prose. On this account his theatrical -wardrobe, of which Cervantes gives a humorous description, -contained four shepherds dresses of white fur, -trimmed with gold, an equal number of wigs and -shepherds crooks, and likewise four beards. The -<span class="pagenum" id="Page_287">287</span> -beards, it would appear were indispensable in comedies -of every kind; and the public became so accustomed to -call an old man’s part in comedy the <i>beard</i>, that the -theatrical term <i>barba</i> was retained even after the -custom of wearing beards had long been exploded -from the stage.</p> - -<p>Juan Timoneda has made careful collections of the -comedies and pastoral dramas of Lope de Rueda, by -which we are enabled to judge of the literary merit of -these works, divested of the advantage which they must -have derived from the living representation of their -author. Timoneda, who was a bookseller in Valencia, -was the friend and enthusiastic admirer of Lope de -Rueda; but in regard to literary acquirements he -ranked somewhat higher than that actor. He was -indeed a man of genius and talent, as is evident from -his novels, which are little known, and which have yet -to be more particularly noticed in this work. He -printed in small collections, the pastoral dialogues and -plays of Lope de Rueda, making such alterations as -were necessary both in the language and style.<a id="FNanchor_286" href="#Footnote_286" class="fnanchor">286</a> These -productions equally indicate the experienced master in -the developement of character, and the untutored pupil -<span class="pagenum" id="Page_288">288</span> -of nature following his own caprice. Lope de Rueda’s -pastoral dialogues possess more dignity, if the term -may be used, than his plays, and they are moreover -imbued with a certain poetic character which harmonizes -admirably with the songs occasionally introduced. -With regard to invention and style, however, -there is but little difference between the dialogues and -the plays, but the pastoral costume of the dramatis -personæ produces a certain heterogeneous effect; for -the half Arcadian, and half Spanish shepherds, are -brought in contact with negresses, barbers, and other -characters of common life and modern stamp. Lope -de Rueda was not inattentive to general character, as -is proved by his delineation of old men, clowns, &c. in -which he was particularly successful. But his principal -aim was to interweave in his dramas, a succession of -intrigues; and, as he seems to have been a stranger to -the art of producing stage effect by striking situations, -he made complication the great object of his plots. -Thus mistakes, arising from personal resemblances, -exchanges of children, and such like common place -subjects of intrigue, form the ground work of his -stories, none of which are remarkable for ingenuity of -invention. There is usually a multitude of characters -in his dramas, and jests and witticisms are freely -introduced, but these in general consist of burlesque -disputes in which some clown is engaged.<a id="FNanchor_287" href="#Footnote_287" class="fnanchor">287</a> -<span class="pagenum" id="Page_289">289</span></p> - -<p id="NAHARRO_OF_TOLEDO">It would appear that many comedies in Rueda’s -style were at one time acted, though they are now -lost to literature. Cervantes, for instance, praises the -perfection to which that style of comic drama had -been brought by a player, named Naharro of Toledo, -who must not be confounded with Torres Naharro. -Cervantes informs us, that this Naharro augmented the -theatrical wardrobe so considerably, that it could no -longer be contained in a bag, but was packed up in -boxes and chests. He exploded the custom of dressing -the old characters in beards, and removed the orchestra, -which had previously been stationed behind the scenes, -to the front of the stage. He moreover exhibited -imitations of clouds, of thunder and lightning, made -other great improvements in the scenic machinery, -(<i>tramoyas</i>), and even introduced single combats and -battles on the stage. His name certainly deserves to -be preserved from oblivion; and it is unfortunate that -Cervantes has neglected to mention what kind of poetry -or prose was spoken by the actors in these new dramatic -spectacles. -<span class="pagenum" id="Page_290">290</span></p> - -<p id="JUAN_DE_LA_CUEVA">A Spanish author of learning and merit, named -Juan de la Cueva, who lived about this period, seems -to have been the first to perceive that the Spanish -drama could never succeed, if men of literary acquirements, -endowed with genius for dramatic composition, -continued opposed to the popular party. This meritorious -author was a native of Seville, which at that -time appears to have been the cradle of every kind of -talent. The history of his life is enveloped in obscurity, -and his various writings, in every class of poetry, notwithstanding -the praises which critics have bestowed on -them, are, though not totally sunk into oblivion, very -little known.<a id="FNanchor_288" href="#Footnote_288" class="fnanchor">288</a> His copious Art of Poetry in tercets, which -was lately, for the first time, published from manuscript, -contains some important information relative to the history -of Spanish poetry. It is, however, merely written -in good versified prose, and pure language, but is in no -respect poetical.<a id="FNanchor_289" href="#Footnote_289" class="fnanchor">289</a> This Art of Poetry, if so it must -be called, shews, among other things, how numerous -was the party which at that time endeavoured to give -to the Spanish drama the form of the antique. An -author, named Malara, a native of Seville, who was -called the Betisian Menander, in allusion to the Betis -or Gaudalquivir, and six other poets of that city, -<span class="pagenum" id="Page_291">291</span> -among whom is Gutierre de Cetina, the celebrated -author of several Spanish comedies in the ancient -style, are honourably mentioned by Juan de la Cueva. -But this judicious writer maintained that there were -peculiarities in the ancient drama, which, though excellent -in themselves, would not accord with the spirit of -the moderns. The dramatic laws of the ancients had, -in his opinion, ceased to be obligatory; and he conceived -it to be reasonable that dramatic fictions should be -accommodated to the taste of the age and to the -circumstances in which they are written.<a id="FNanchor_290" href="#Footnote_290" class="fnanchor">290</a> The Spanish -public had already manifested a strong predilection for -plays in the modern style, and an aversion equally -decided from all the imitations of the dramatic works -of the ancients. It was therefore designedly and with a -persevering industry that the Spaniards had struck out -for themselves a new course in dramatic literature. In -genius and taste they could only have vied with the -Greeks and Romans, without surpassing them; but invention, -grace, ingenious arrangement, and a certain -art of involving and unravelling the plot, which foreigners -could not imitate, were the qualities on which -the glory of the Spanish drama was destined to be -founded.<a id="FNanchor_291" href="#Footnote_291" class="fnanchor">291</a> Juan de la Cueva proceeds to state, that on -<span class="pagenum" id="Page_292">292</span> -these principles he had no scruple in contributing to -overthrow the ancient boundary between tragedy and -comedy; and to introduce on the stage, for the sake of -variety, characters clad in the rustic peasant’s garb, -along with others attired in the robes of royalty. -Thus far he trod in the footsteps of Torres Naharro. -And yet he appears to have had no distinct knowledge -of the writings of that author; for he never mentions -them; while, on the other hand, speaking of his own -works, he observes that he had abandoned the old -custom of dividing dramatic pieces into five acts, and -chose in preference the new method, then in vogue, of -arranging them in jornadas.<a id="FNanchor_292" href="#Footnote_292" class="fnanchor">292</a> Cervantes must of -course have been ignorant of the decided testimony -thus given by Juan de la Cueva, since he imagines that -he was himself the first to introduce the three divisions -of the Spanish drama. The approbation bestowed on -Cueva’s dramatic works, in the new style, seems, however, -to have been but feeble and transitory; and this -explains how the editor of Cervantes’s comedies, in his -account of the early history of the Spanish drama, has -omitted to mention the name of Cueva.</p> - -<p>It will, perhaps, be proper to defer entering more -fully into the investigation of the peculiar spirit of the -<span class="pagenum" id="Page_293">293</span> -Spanish national drama, until the writings of Lope de -Vega come under consideration; for during the brilliant -career of that author, the new form of the drama took -complete possession of the Spanish theatre, and the -older pieces, which did not fall in with the popular -taste, were speedily forgotten by the public, as the -notices of Cervantes clearly shew. But it may be -proper here once for all to remind the reader of a truth -now historically demonstrated, namely, that it was by -no means ignorance, or want of intimacy with the -dramatic works of the ancients, which facilitated the -triumph of the modern Spanish drama.</p> - -<p id="PROBABLE_RISE_OF_THE_SPIRITUAL_DRAMA_IN_SPAIN">No sufficiently authenticated particulars enable the -literary historian to furnish any thing like positive -information respecting the history of the spiritual -dramas of the Spaniards at the period now under review. -Considered generally their origin is sufficiently -known; for dramas of this kind, intended either for -amusement or instruction, were, in the middle ages, -performed throughout the whole of the south of Europe. -In Spain, pilgrims assiduously devoted themselves -to the dramatic representation of sacred histories, -when they wished to find an edifying and agreeable -relaxation from their severer duties of praying and -journeying from place to place. In these sacred dramas, -the authors often interwove the adventures, whether -serious or comic, in which they had been engaged, or -described what they had seen and learnt in their holy -pilgrimages; and the whole was usually seasoned with -a sufficient quantity of jests in the popular style. To -manifest in as palpable a way as possible the power of -<span class="pagenum" id="Page_294">294</span> -the sacrament, and the miraculous effects of faith, were -the great objects of the pilgrims; and there seems to be -no doubt that their rude efforts formed the origin of that -class of spiritual plays, which, at a subsequent period, -were performed on the festival of Corpus Christi, and -on other solemn occasions; and which, from their allusion -to the mystery of the sacrament, were styled <i>Autos -Sacramentales</i>. But at what particular period examples -of these spiritual exhibitions were first committed to -writing, and formed a portion of literature, cannot now -be ascertained. They have sometimes been confounded -with the lives of the saints (<i>vidas de santos</i><a id="FNanchor_293" href="#Footnote_293" class="fnanchor">293</a>), which -were originally dramatized in monasteries, and performed -by the pupils of the monks, but which are -in fact quite a distinct class of representations. Up -to the middle of the eighteenth century the practice -of acting these biographical dramas was continued in -monasteries in different parts of Spain, particularly in -Galicia;<a id="FNanchor_294" href="#Footnote_294" class="fnanchor">294</a> and perhaps in that province they yet afford -a source of amusement and edification on festival days, -to the pilgrims who visit the shrine of St. Iago de -Compostela.</p> - -<p id="ENTREMESES_AND_SAYNETES">The burlesque interludes, called <i>Entremeses</i> and -<i>Saynetes</i>, which were subsequently divided into various -kinds, and were performed between the preludes (<i>loas</i>) -and the play, properly so called, appear also to have -had their origin in the first half of the sixteenth century. -Cervantes could refer to no entremeses of an -<span class="pagenum" id="Page_295">295</span> -older date, when he contributed to give to this class of -dramatic compositions a literary form and character.</p> - -<p>What has been stated sufficiently proves the powerful -control which the public exercised over the stage. The -popular taste demanded an agreeable amusement, created -by the boldest and most varied mixture of the -serious and the comic, of intrigues, sallies of the imagination -and ingenious thoughts, of surprises and animated -situations; but it was not required that either a comic -or a tragic scene should tend to produce any moral -impression on the heart, except indeed in so far as that -object may be attributed to the spiritual pieces. But -how did it happen that a people in whom moral gravity -has ever been a national characteristic, should thus -shew themselves indifferent to the moral effects of their -dramatic entertainments. The history of the formation -of the Spanish character appears to disclose the cause -of this incongruity so clearly, that it might be said, -nature would have contradicted herself, had not such -been the consequence resulting from that cause. When -the treasures of America came to be dispersed through -Spain, luxury and extravagance superseded the old -Spanish simplicity. The age of chivalry was past; -and the ecclesiastical fetters imposed upon opinion and -conscience, afforded so little freedom to the mind, that -it was not possible the public could endure, still less -enjoy, moral reflection on the stage. The Spaniard, as -a catholic Christian, devoutly and implicitly submitted -his understanding to the doctrines and mandates of the -church; but as a man he ardently longed for amusements, -in which he might allow his heart freely to -<span class="pagenum" id="Page_296">296</span> -participate. Moral reflection then could not be pleasing -in any place where he sought to be gratified by the -unconstrained exercise of his feelings; for every moral -thought tended to revive the recollection of the inquisition. -Meanwhile the progress of luxury and the -love of pleasure stimulated the imagination, and increased -the appetite for sports of wit and fancy, which -were pushed to the most extravagant excess. A people -of an ardent and enthusiastic temperament, which a -genial climate fostered, were always eager to partake -of pleasures which no king or grand inquisitor threatened -to disturb. With a taste thus formed, and with -such claims on dramatic entertainment, the Spaniards -were not to be satisfied with the most ingenious comedies -or tragedies, unless the wildest revels of the imagination -and a succession of joyous and luxuriant forms -agitated and interested the mind, and freed it from all -the fetters of maxims and rules of art. To see a variegated -ideal world, a diversified picture of romantic -existence, was the object for which the Spaniard visited -the theatre, where he could endure no sort of regularity, -not even that which the nature of the subject -seemed most to require.</p> - -<p id="SPANISH_TRAGEDIES">This portion of the history of Spanish dramatic -poetry must not be terminated without a particular -notice of two tragedies by Geronymo Bermudez, a -Dominican monk of Galicia, who, at the period when -he wrote them, was probably the inmate of a cloister.<a id="FNanchor_295" href="#Footnote_295" class="fnanchor">295</a> -He did not think proper to acknowledge himself the -<span class="pagenum" id="Page_297">297</span> -author of these dramas, and he published them under -the assumed name of Antonio de Silva.<a id="FNanchor_296" href="#Footnote_296" class="fnanchor">296</a> Among his -other poetical works, some Spanish writers mention in -terms of respect, a dull encomium on the Duke of Alba, -of whom this ecclesiastic was an enthusiastic admirer.<a id="FNanchor_297" href="#Footnote_297" class="fnanchor">297</a> -He lived until the year 1589. His two tragedies are -imitations of the ancient drama, but they must not be -confounded with the essays of the same kind, which -have already been mentioned. Bermudez conceived -the happy idea of selecting a subject from the history -of Spain and Portugal, and dramatizing it according to -the rules of the Greek tragedy, without destroying the -modern character of his materials. The well known -story of the unfortunate Ines de Castro, seemed particularly -suited to the object he had in view. Being a -Galician, he had, through his native language, a national -relationship to Portugal, and he consequently took more -personal interest in the tragical fate of his heroine, than -was felt by Spaniards in general. He did not commence -<span class="pagenum" id="Page_298">298</span> -his task without apprehension of its success; -for, as a Spaniard, he wished to write in Castilian, and -he was, therefore, in some measure, under the necessity -of studying a foreign language. This difficulty he -mentions in his preface. But with all its faults, his -attempt proved so fortunate, that his two tragedies -may justly be styled the first in their kind. Though -they are intimately connected, yet each forms in itself a -complete tragic drama. Their titles are whimsical and -affected: the first is denominated, <i>Nise Lastimosa</i>, (the -Lamentable Nise); and the second, <i>Nise Laureada</i>, -(Nise Crowned with Glory).<a id="FNanchor_298" href="#Footnote_298" class="fnanchor">298</a> The characters preserve -their historical names. The first of these tragedies -sufficiently proves what may be effected by a -poet, even of moderate talent, when thoroughly penetrated -with a poetic subject, and at the same time -possessing the power of expression. The Nise Lastimosa, -it is true, is far from approaching the ideal of -tragic perfection; but some of the scenes fulfil all that -the theory of the dramatic art can require; and energy -and dignity of expression are not wanting even in those -passages where the action is tedious and the incidents -ill-connected. The plot is simple, and towards the conclusion -its interest declines. But Bermudez has introduced, -with alternate instances of remarkable dexterity -and clumsiness, a chorus composed of Coimbran women, -which is sometimes interwoven with the action of the -drama, and sometimes quite independent of it. The -<span class="pagenum" id="Page_299">299</span> -unities of time and place the author has totally disregarded. -The first act opens with a soliloquy by the -Prince Don Pedro, which is beautiful, though somewhat -too long. In it the prince deplores his separation -from his beloved wife.<a id="FNanchor_299" href="#Footnote_299" class="fnanchor">299</a> This soliloquy is succeeded -by a long conversation between the prince and his -secretary, in which the latter, with all due courtesy, -hints that the attachment of the prince for a lady, not -of royal birth, is incompatible with the welfare of the -state.<a id="FNanchor_300" href="#Footnote_300" class="fnanchor">300</a> The scene then changes, and the chorus of -<span class="pagenum" id="Page_300">300</span> -Coimbran women is very absurdly introduced to moralize -on love. Thus closes the first act. In the second, -the scene changes to the court, and exhibits the king -amidst his assembled council; the advice of the ministers -prevails over the good disposition of the monarch, -and he consents to the death of Ines de Castro. -A soliloquy by the king follows, in which he offers up -his prayers. The scene again changes, and the fair -Coimbrans once more appear to moralize on human -happiness. In the third act, however, a new spirit is -infused into the piece, and the chorus partakes in the -action. Ines de Castro appears. The women of the -chorus form her attendants, and offer her consolation -and advice. Ines is informed of the reports that are -circulated respecting her fate;<a id="FNanchor_301" href="#Footnote_301" class="fnanchor">301</a> but throughout this act, -the progress of the story is nearly suspended. The fourth -act may, however, be accounted almost a masterpiece. -Ines attended by her children and the chorus, appears -<span class="pagenum" id="Page_301">301</span> -before the king to receive her sentence. Nothing can -be more impressive than the dignity with which she -demands justice, or more affecting than the tenderness -towards her children, which continually breaks -forth in her discourse; at length she pictures to herself -in vivid colours, the sorrows that await her husband, -till exhausted by the vehemence of her feelings, -and gradually losing the use of her faculties, she -begins for the first time to think of her own situation, -anticipates the horrors of death, and swoons, -exclaiming <i>Jesus Maria!</i> This scene exhibits a picture -so replete with real pathos, that it may be truly -said, modern tragic art has seldom attained so high -a point of perfection.<a id="FNanchor_302" href="#Footnote_302" class="fnanchor">302</a> The fifth act is merely a -<span class="pagenum" id="Page_302">302</span> -tedious supplement. The prince is made acquainted -with the death of his wife, and he vents his sorrow in -long lamentations.</p> - -<p>The tragedy of <i>Nise Laureada</i> is far inferior to -that just described. The story is below criticism; and -towards the end becomes revolting to feelings, which -are not blunted by inquisitorial horrors, or sunk to the -level of brutality. The Prince Don Pedro who has -now ascended the throne, orders the remains of his -judicially murdered wife to be taken from the tomb; -he then, with great solemnity, invests the corpse with -the dignity of queen, and the ceremony of the coronation -is succeeded by a marriage. Two of the counsellors, -whose perverted and inhuman patriotism had -urged them to sacrifice the unhappy Ines, receive sentence -of death and are executed. This is the whole -plot, if so it may be called; and among the acting and -speaking characters the executioners play a prominent -part. The first act contains many beautiful passages; -but when the last judicial ceremonies commence, horror -and disgust fill the mind of the reader. The hearts of -both culprits are extracted from their bodies, the one -through the breast, and the other through the back. -The most brutal exclamations accompany the execution -of the royal sentence, and the chorus utters shouts of -joy, while the executioner discharges his barbarous task. -That these horrors might be regarded as pathetic incidents -by the Spaniards of that age, accustomed as they -were from early childhood to stifle every sentiment of -humanity, and to allow fanatical exultation to overcome -the natural emotions of the heart, whenever a -<span class="pagenum" id="Page_303">303</span> -brutal sentence was pronounced by ecclesiastical, or -royal authority, is unfortunately but too probable. Had -it not been for this perversion of feeling, a people, -otherwise so noble-minded, could not have attended -the cruel festivals of their church, and witnessed the -burning of Jews and heretics with as much pleasure -as the exhibition of a bull fight.</p> - -<p>In order to form a just estimate of the talent of -Bermudez, it must be recollected that he was the first -who conceived the idea of giving a poetic colouring to -the history of Ines de Castro. Camoens had not, at -that time, written his Lusiad, in which the same story -forms the subject of a celebrated episode. It may also -be observed, that the labour which Bermudez bestowed -on his versification, and particularly on the varied metres -of the choruses of his dramas, ought to have -served as an example to his successors in tragic composition.</p> - -<h3 id="HISTORY_OF_SPANISH_PROSE_DURING_THE_FIRST_HALF">HISTORY OF SPANISH PROSE DURING THE FIRST -HALF AND TEN SUCCEEDING YEARS OF THE -SIXTEENTH CENTURY.</h3> - -<p>Among the works of the poets which come within -the period allotted to the first section of this book, it -has already been necessary to notice some writings in -prose. The connexion then subsisting between Spanish -poetry and prose, has thus been rendered more apparent, -and the different works of the same author -have been kept together in examining them. But the -poetic talent of some authors of that age, for example, -<span class="pagenum" id="Page_304">304</span> -Perez de Oliva, will not bear a comparison with their -merits as prose writers; and many others who have obtained -reputation for prose composition, must be totally -excluded from the rank of poets. In general the good -sense of the Spanish writers has constantly impelled -them to mark a distinct boundary between poetry and -prose; and this separation was never more rigorously -maintained than during the first half of the sixteenth -century, when the torrent of romances of chivalry -which then inundated Spain, threatened the common -annihilation of genuine poetry and eloquent prose. As -very little has hitherto been done in this department -of literature, advantage cannot fail to be derived -from the labour which may be employed in endeavouring -to obtain something like an accurate introduction -to the knowledge of several good Spanish prose -writers, whose names have hitherto scarcely appeared -in the history of modern literature.</p> - -<p id="PROSE_ROMANCES_OF_CHIVALRY">Every one who has read Don Quixote must be -aware of the enthusiasm with which romances of chivalry -were admired by the Spaniards, at the end of the -sixteenth and the beginning of the seventeenth century. -In the reign of Charles V. this passion became -epidemic; for then the art of printing gave general -circulation to the old romances, and new imitations -were not wanting. But the particular account of this -portion of Spanish literature, does not belong to the -present subject, and ought to form the conclusion of -the history of the romantic literature of the middle -ages. Besides, the influence of the chivalrous romances -of the sixteenth century, operated on the public only -<span class="pagenum" id="Page_305">305</span> -in a peculiar sense of the term, for every poet and -prose writer, of cultivated talent, laboured to oppose -the contagion. There were, however, many literary -partizans, who did not scruple to flatter the public taste -by the grossest absurdities. A writer, named Geronymo -de Sanpedro, with the most devout piety, selected stories -from the bible, and clothed them, as he expresses himself, -in the allegoric costume of romance. He entitled his fantastical -work, “The Book of Celestial Chivalry from -the Foot of the Fragrant Rose-bush.<a id="FNanchor_303" href="#Footnote_303" class="fnanchor">303</a>” God the -Father is introduced in this edifying production as -emperor, and Christ as the knight of the Lion, (<i>Caballero -del Leon</i>). In the meantime an opponent of the -zealots of chivalry, named Doctor Alexio de Venegas, -anathematized all romances, which he styled, “Devil’s -Sermon Books,” (<i>Sermonarios de Satanas</i>).<a id="FNanchor_304" href="#Footnote_304" class="fnanchor">304</a> In this -manner parties contended one with another in Spain, -until at length the romantic literature disappeared like -a stream lost amidst sand.</p> - -<p id="LAZARILLO_DE_TORMES">At this period there appears to have existed no -novels or romances in the modern style, except the -<i>Lazarillo de Tormes</i> of Diego de Mendoza. The well -known imitations of this first romance of knavery (<i>del -gusto picaresco</i>) did not come into circulation before -the end of the sixteenth century. Little stories in the -<span class="pagenum" id="Page_306">306</span> -style of the Italian novels were, it is true, written -at an earlier period; but their author, the bookseller -Timoneda, the same individual who collected the comedies -and pastoral dramas of Lope de Rueda, did not -venture to prefix to them the title of <i>Novelas</i>. He -was aware that he could better recommend his works -to the Spanish public, by giving them the old denomination -of <i>Patrañas</i> (Tales).<a id="FNanchor_305" href="#Footnote_305" class="fnanchor">305</a> Timoneda evidently imitated -the Italian novelists, though he by no means -equalled them. Still, however, these antiquated tales -may be perused with pleasure, particularly by those who -have a taste for complicated intrigue. The author, -it would appear, endeavoured to surpass the Italian -writers in romantic adventures and unexpected incidents; -at least in his preface he expressly promises this -kind of entertainment to his readers.</p> - -<p id="TALES_OF_JUAN_TIMONEDA">But it was not merely with romances and novels -that genuine prose literature had to contend in Spain. -Several men of distinguished talent, however far they -carried their notions of patriotism in other respects, -were of opinion that the Spanish language was incapable -of expressing grave and noble ideas in prose. -Some would write only in Latin, and others only in -Italian. Alphonso de Ulloa, who was an assiduous -historical and political author, wrote chiefly in Italian.<a id="FNanchor_306" href="#Footnote_306" class="fnanchor">306</a> -He was, it is true, born in Italy; but he was of a Spanish -family, and the Spanish language was perfectly -familiar to him. The want of confidence thus shewn -<span class="pagenum" id="Page_307">307</span> -by Spanish writers in the force and precision of their -own language seems inexplicable, when it is recollected -at how early a period Spanish prose began to be cultivated. -Their intercourse with the Italians had, however, -made the Spaniards perceive a want of elegance both -in their colloquial phraseology and literary style; but -that grace which their poets soon began to imitate from -the Italians, is but feebly indicated in the works of the -early Spanish prose writers, whatever other rhetorical -merits they might possess, and a frank simplicity of -expression appears still to have constituted the main -character of Spanish prose. Besides, the Italian prose, -which with the exception of the writings of Machiavell -and Guicciardini is distinguished by a playful -and too often superficial elegance, could not be very -congenial to the Spanish taste, which required a grave -and energetic style. To imitate the ancient classics -was the only means whereby the prose literature of -Spain could have been cultivated in a manner answerable -to the demands of enlightened men in the sixteenth -century. Unfortunately the ecclesiastical and political -despotism of this period left no free scope for the exercise -of the mental powers of those Spaniards who were -desirous of constructing a national prose style on the -ancient models. Neither the didactic nor the historical -styles could be freely developed; and for the formation -of the oratorical style, circumstances were, if possible, -still more unfavourable. Impeded by such obstacles, -and permitted only to copy in the strictest sense the -rhetorical forms of the ancients, without their energy -and solidity of thought, and their force of expression, -<span class="pagenum" id="Page_308">308</span> -the Spanish prose writers certainly could not be expected -to produce works worthy to be ranked on a -level with the classic examples they would have wished -to emulate; but their efforts to open the career of -genuine eloquence to their national literature, deserves, -notwithstanding, to be honourably recorded.</p> - -<p id="DIDACTIC_PROSE">1. <span class="smcap">Didactic Prose</span> is, in the Spanish language, -indebted for its first formation to Fernan Perez de Oliva -of Cordova. At the commencement of the sixteenth -century this learned man travelled through Italy and -France, and during three years which he spent in Paris -delivered public lectures on philosophy and ancient literature. -On his return to Spain he settled at Salamanca, -where he became professor (<i>cathedratico</i>) of theology, -and delivered lectures on the Aristotelian philosophy. -He died in 1533, before he had completed his thirty-sixth -year.<a id="FNanchor_307" href="#Footnote_307" class="fnanchor">307</a> His philosophic and theological studies, -and his intimacy with Grecian and Roman literature, -did not withhold him from the cultivation of his native -language; and he even endeavoured, by his translations -which have already been mentioned,<a id="FNanchor_308" href="#Footnote_308" class="fnanchor">308</a> to naturalize the -Greek tragedy in Spain. He also wrote several poems, -which in honour of his memory, are still preserved. -But Perez de Oliva was no poet; and to judge from -his translations he appears to have had scarcely any -true poetic feeling, though he possessed a correct and -delicate taste for the rhetorical beauty of prose. His -<span class="pagenum" id="Page_309">309</span> -most celebrated work is his Dialogue on the Dignity of -Man (<i>Dialogo de la Dignidad del Hombre</i>) in the -manner of Cicero.<a id="FNanchor_309" href="#Footnote_309" class="fnanchor">309</a> It would be vain to seek in this -didactic dialogue for ideas which present the merit of -novelty in the present age; and it can by no means be -regarded as a model of dialogue style any more than -the similar works of Cicero. But it was the first -specimen in Spanish literature, of clear and connected -discussion, maintained in correct dignified and elegant -language. The colloquial form serves to connect, though -somewhat loosely, the two portions into which the work -is divided. Two philosophic friends meet, and their -conversation turns on solitude: they endeavour to -explain the causes which induce man to seek -retirement, and which render him dissatisfied with the -society of his fellow creatures. One of the friends -inveighs against human society, while the other extols -its advantages. In the mean while they are joined by -a third philosopher who becomes the arbiter. Before -this judge each disputant propounds his opinions in an -uninterrupted discourse. Thus the oratorical style is -now mingled with the didactic, which had before -superseded the colloquial style. This blending of the -didactic and oratorical styles, must doubtless be a -subject of critical censure to many readers; but with -the exception of the oratorical passages, the dialogue -of Perez de Oliva is written, in a natural and easy -<span class="pagenum" id="Page_310">310</span> -manner.<a id="FNanchor_310" href="#Footnote_310" class="fnanchor">310</a> The ideas are for the most part clearly and -accurately developed,<a id="FNanchor_311" href="#Footnote_311" class="fnanchor">311</a> and the oratorical language, -particularly where it is appropriately introduced, is -powerful and picturesque.<a id="FNanchor_312" href="#Footnote_312" class="fnanchor">312</a> -<span class="pagenum" id="Page_311">311</span></p> - -<p id="PEREZ_DE_OLIVA">Perez de Oliva had a successful pupil in his nephew -<span id="AMBROSIO_DE_MORALES">Ambrosio de Morales</span>, who was also a native of Cordova. -This learned writer was born in the year -1513; after having finished his academic studies at the -university of Alcala de Henares, he delivered public -lectures on philosophy and ancient literature, by which -he soon acquired an honourable reputation. Charles V. -appointed him classical tutor to his natural son Don -John of Austria, who afterwards became so celebrated. -On the death of Charles V. Ambrosio de Morales was -installed by King Philip II. in the vacant post of -historiographer or chronicler (<i>coronista</i>) of Castile. -From the period when he entered upon this office he -appears to have devoted himself exclusively to historical -studies. He died at an advanced age. His -didactic works consist of treatises (<i>discursos</i>) on various -subjects of practical philosophy and literature. In one -of these treatises, he expressly and urgently recommends -the rhetorical cultivation of the Spanish language, which -the writers of that age so unjustly disowned and neglected -to the great prejudice of literature and even -of philosophy.<a id="FNanchor_313" href="#Footnote_313" class="fnanchor">313</a> The other dissertations of this meritorious -writer, which are not so much known, relate to -the importance of rhetorical studies; the distinction -between Plato’s and Aristotle’s methods of instruction; -<span class="pagenum" id="Page_312">312</span> -the duty of man to exert himself to the utmost when -he wishes for the assistance of the Almighty; the -difference between a great and a good understanding; -the value of wealth, independent of personal merit in -the possessor; and such like objects of general utility. -He only occasionally casts a side glance on the region -of speculative philosophy, so that among Germans he -might with propriety be called the Spanish Garve. -Like that author his views were clear rather than -profound; and like him also his object was to write -pure didactic prose. His style, though not energetic -nor impressive, is natural, clear, and precise, and not unfrequently -adorned with pleasing images.<a id="FNanchor_314" href="#Footnote_314" class="fnanchor">314</a> The pedantic -<span class="pagenum" id="Page_313">313</span> -allusions to the scriptures and to classical literature -must be attributed to the age and country to which -Morales belonged.<a id="FNanchor_315" href="#Footnote_315" class="fnanchor">315</a></p> - -<p id="PEDRO_DE_VALLES">Pedro de Valles, another native of Cordova, followed -the example of Perez de Oliva, in cultivating prose; -but he inclined to the pomp and antitheses of Seneca, -which he was perhaps induced to imitate from respect -for his countryman; for the learned of Cordova have -always prided themselves in being natives of a city -which had produced an ancient author of so much -celebrity. Morales, in his collection of his own and -his uncle’s works, has inserted a treatise by Valles on -the Fear of Death.<a id="FNanchor_316" href="#Footnote_316" class="fnanchor">316</a></p> - -<p id="FRANCISCO_CERVANTES_DE_SALAZAR">Francisco Cervantes de Salazar, who lived about -the same period, likewise followed the tract which had -been marked out by Perez de Oliva. Respecting the -life of this writer but few particulars are known; and -the resemblance of his name to that of the celebrated -Cervantes Saavedra, does not appear to be a sufficient -reason for concluding that he was related to that distinguished -author. Cervantes de Salazar wrote a continuation -of Oliva’s Dialogue on the Dignity of Man; -for he regarded it as unfinished, because Oliva allows -the friend and the enemy of human nature to deliver -their opinions, while the third party, who is appointed -the philosophic arbiter, draws no inference from the -arguments he hears. Through the medium of this -<span class="pagenum" id="Page_314">314</span> -third character, Salazar circumstantially recapitulates -the whole theme, and arrives at a decided conclusion. -Salazar is a more contemplative writer than Oliva, who, -in other respects appears to have been his model. He -translated from the Greek the Tabla of Cebes, and from -the Latin the <i>Introductio ad sapientiam</i> of Luis Vives, -one of the learned Spaniards who did not choose to -write in their native tongue. He published his continuations -and translations along with the original -works.<a id="FNanchor_317" href="#Footnote_317" class="fnanchor">317</a></p> - -<p>Among the various works which Cervantes de -Salazar published and elucidated, is an allegorical -romance, entitled “<i>Labricio</i>, or the fable (<i>Apologo</i>) of -Idleness and Industry.” This romance may be placed -if not among, at least beside didactic works, for the -allegorical form serves merely to clothe the ideas, -which are very methodically developed. The author, -Luis Mexia, or Messia, was a learned theologian and -jurist. His object was to draw an interesting and animated -picture of the dangers of idleness, the pleasures -of occupation, and the value of well directed industry. -Notwithstanding the faults inseparable from the class -of writing to which this work belongs, it presents the -charm of an animated picture conveyed in language, -which, though occasionally declamatory, is, upon the -whole, pure and elegant.<a id="FNanchor_318" href="#Footnote_318" class="fnanchor">318</a> -<span class="pagenum" id="Page_315">315</span></p> - -<p id="HISTORICAL_PROSE">2. <span class="smcap">Historical Prose</span> was, during this period, cultivated -by no author in so high a degree as by Diego -de Mendoza, whose history of the wars of Granada, -has already been particularly mentioned; all the other -Spanish historians were inferior to Mendoza in every -thing that constitutes the historical art. But they had -begun to study that art, in which they would no doubt -have distinguished themselves, had they not on the one -hand been intimidated by the despotism of the government, -and on the other, influenced by a spirit of contradiction, -which induced them to banish from genuine -history every trace of imaginative colouring, lest they -should be confounded with the romance writers of the -age.</p> - -<p>The historical institution, established by Alphonso -the Wise, still subsisted; for the Spanish government -was afraid to incur the shame of allowing it to perish. -National historiographers or chroniclers were accordingly -appointed, and paid in the same manner as formerly; -but after the accession of Charles V. those chroniclers -could not venture to write with freedom, even in favour -of the court party. Charles V. thought it prudent to -obliterate as far as possible the recollection of the -powerful opposition he had experienced on his succession -to the Spanish crown. His chronicler, Florian de -Ocampo, was a man of talent and information; and -these qualifications soon enabled him to perceive the -<span class="pagenum" id="Page_316">316</span> -necessity of protracting as much as possible the duty -assigned to the old Spanish chroniclers of writing the -history of their own age. Fortunately for him there -existed at that period no ancient history of Spain; and -this was a subject on which he could enter, without -fear or constraint, while, at the same time, it afforded -scope for a singular display of erudition. Ocampo -accordingly wrote his five books of a General Chronicle -of Spain. By the selection of this deceiving title, -Ocampo appeared to be fulfilling the duties of his office; -but the five books of his General Chronicle contain -nothing more than the history of ancient Hispania, -from the deluge to the second punic war.<a id="FNanchor_319" href="#Footnote_319" class="fnanchor">319</a> The work -is not badly written, though it presents nothing particularly -attractive either in the style or in the handling -of the subject. Ocampo selected his materials chiefly -from the ancient authors, with whom he must have -been intimately acquainted; but as far as relates to -historical art he avoided imitating his classical models, -because, as he says, he was afraid to substitute for -truth “the rhetorical flourishes and vanities, which -appear in other books of the present time.”<a id="FNanchor_320" href="#Footnote_320" class="fnanchor">320</a> Like -some German historians, he seems to have prided -himself in his dulness. -<span class="pagenum" id="Page_317">317</span></p> - -<p>Those truths which dared not be publicly told in -the reign of Charles V. still remained secrets under the -government of Philip II. But even the latter monarch -did not suffer the office of national chronicler to be discontinued; -and he nominated a particular historiographer -for the provinces of Castile, and another for those of -Arragon. The learned Ambrosio de Morales, who took -so lively an interest in the advancement of the rhetorical -art, was, as has already been mentioned, appointed -chronicler for the Castilian provinces. But with all his -talent and information, Morales was not the man precisely -calculated to occupy this situation, had he wished -strictly to discharge its duties. He had little taste for -politics, and modern history was not the branch of literature -in the cultivation of which he was likely to find -the employment best suited to his talents. He therefore -could do nothing which better accorded with his own inclination, -and the circumstances in which he was placed, -than to follow the footsteps of Ocampo, and to continue -the ancient history of Spain from the second punic -war to the establishment of christianity.<a id="FNanchor_321" href="#Footnote_321" class="fnanchor">321</a> He vied -with his predecessor in research and erudition; while, -at the same time, he devoted far more attention to composition -and style. In his preface, he states that he -availed himself of this opportunity of proving the -dignity and majesty of the Spanish language; and in -that respect he rose far superior to the usual chronicle -style. In point of elegance, however, he did not equal -cardinal Bembo, while he really had no more idea than -<span class="pagenum" id="Page_318">318</span> -that author, of the soul of the historical art, of which -elegance is merely an accessary.<a id="FNanchor_322" href="#Footnote_322" class="fnanchor">322</a> Towards the close -of his work, when he came to the christian ages, his zeal -induced him to insert the lives of the saints of Spanish -origin; and certainly no writer before his time ever -gave to that description of biography so much elegance -and historical dignity. Indeed the simplicity to which -Morales was always faithful, is a remarkable feature in -the works of an author who was so ambitious of distinguishing -himself by his style.</p> - -<p>There appeared, however, at this time, another -author, who might have become, if not the Livy, at -least the Machiavell of Spain, had he been placed in -more favourable circumstances, and been disposed to -devote himself to the rhetorical cultivation of his talent -for historical composition. He was a native of Arragon, -and his name was Geronymo Zurita, Surita or Curita, -for it is written in these different ways. Philip II. -appointed him historiographer of the Arragonian provinces, -an office which he was well qualified to fill. -Like all educated Arragonese, he wrote Castilian with -as much facility as his mother tongue. As a politician, -however, he entertained views respecting the practical -application of history, which though clear and well -founded, were not likely to be very acceptable to a -despotic sovereign. Zurita undertook, not merely the -tedious task of exploring the old chronicles and records, -to which he had access, in order to produce a complete -history of the kingdom of Arragon, from the Moorish -<span class="pagenum" id="Page_319">319</span> -invasion to the reign of Charles V. he was moreover -desirous that his historical labour should exhibit a -faithful view of the rise and formation of the national -constitution of Arragon. The modern historian, who -may wish to investigate this particular point, ought to -resort to the pages of Zurita, for it will be difficult for -him to find a more instructive author. Zurita gave to -his historical work the title of Annals,<a id="FNanchor_323" href="#Footnote_323" class="fnanchor">323</a> which he conceived -to be more appropriate than that of chronicle. -But he felt the difficulty of the task he had undertaken, -when he attempted to develope the republican principles -of the Arragonian provinces, and at the same -time to do homage to the caprice of an absolute -monarch. He must necessarily have written this part of -his work in the total absence of inspiration, for the only -practical conclusion he draws from his researches is the -trite maxim, “that subjects ought to be content if peace -and tranquillity prevail in the country in which they -live;”<a id="FNanchor_324" href="#Footnote_324" class="fnanchor">324</a> and it must be confessed that for peace and -<span class="pagenum" id="Page_320">320</span> -tranquillity, in a certain sense, Philip II. with the help -of the Duke of Alba and the inquisition, had sufficiently -provided. But in order to judge how Zurita would -have written, had he been permitted to write freely, -the grounds of the decision must be collected only from -detached passages of his work. His execution indeed -is not so inviting as to excite a strong desire for the -perusal of the whole. He seems during his laborious -researches unconsciously to have imbibed the formal -style of the chroniclers, their constantly recurring <i>and</i> -not excepted; while he did not allow himself time to -separate the important from the unimportant, and by a -judicious distribution of his materials to compose a -pleasing historical picture. In a literary contest, which -arose respecting the merits and defects of these Annals -of Arragon, their value, in a rhetorical point of view, -was never taken into consideration.</p> - -<p id="ORATORICAL_PROSE">3. <span class="smcap">Oratorical Prose.</span>—To other classes of -prose writing, the Spaniards at this time devoted but -little attention; but two printed discourses by Perez de -Oliva well deserve to be more generally known. The -one was delivered at the request of a society of patriotic -citizens of Cordova, and it relates to the advantages to -be derived from the navigation of the Guadalquivir. -In the first part of this discourse, the learned orator -certainly wanders far from his subject, for he speaks of -the Greeks and Romans, and even of the Trojan war; -but the second part contains a view of the business in -hand, which is vigorously unfolded, full of sound sense, -and divested of all affectation and pedantry. The -second discourse promises but little, for it is merely -<span class="pagenum" id="Page_321">321</span> -described as an academic occasional and defensive -address; but it contains a very good explanation of the -literary duties of a professor of moral philosophy, together -with some particulars respecting the literary life -of the author, which are related in an excellent oratorical -style.<a id="FNanchor_325" href="#Footnote_325" class="fnanchor">325</a></p> - -<p id="EPISTOLARY_PROSE">4. Of the <span class="smcap">Epistolary Prose</span> of this age but -few printed specimens exist; and it may be presumed -that the Spaniards could not experience much pleasure -in written correspondence, after their epistolary style -had, like that of their social conversation, become -subject to the restraint of the ceremonial forms with -which the Italians and the Germans were about the -same time infected. With whatever ease <i>vuessa merced</i> -(your grace or your worship) especially when contracted -in conversation into <i>usté</i>, might glide, as a mere form -of courtesy through Spanish lips, its frequent occurrence -could not fail to have a very embarrassing effect in the -periods of familiar letters. This formula which every -<span class="pagenum" id="Page_322">322</span> -man of education employed in addressing his equals, -exhibits a striking contrast to the higher ceremonial -style, which the king himself observed in corresponding -with his relatives. Among the Spanish epistolary -documents of the sixteenth century, there has been -preserved a letter from Philip II. to his natural brother, -Don John of Austria. This letter appears to be a -kind of supplement, written by the king himself, to -the commission by which Don John was appointed high -admiral of the Spanish fleets (<i>capitan general de la -mar</i>). The king with old Spanish cordiality calls Don -John, “brother,” (<i>hermano</i>), without any other title; -and when he addresses him in the course of the letter, he -uses the pronoun <i>you</i>, after the old fashion. In reminding -his natural brother of his duties, he recommends -to him integrity, as next in importance to religion.<a id="FNanchor_326" href="#Footnote_326" class="fnanchor">326</a></p> - -<p>There is also preserved a letter from the Duke of -Alba, of odious celebrity, to Don John of Austria. It -contains military instructions expressed with precision -and dignified simplicity; but the style is encumbered by -<span class="pagenum" id="Page_323">323</span> -the repetition of titles. Both letters are contained in a -collection published by the diligent Gregorio Mayans -y Siscar.<a id="FNanchor_327" href="#Footnote_327" class="fnanchor">327</a></p> - -<h3 id="SPANISH_CRITICISM_DURING_THE_PERIOD_OF_THIS_SECTION">SPANISH CRITICISM DURING THE PERIOD OF THIS -SECTION.</h3> - -<p>It would scarcely be worth while to say any thing -relative to Spanish criticism during the period this section -embraces, were it not that among the books of -instruction on poetry and rhetoric which then appeared, -there was one, which besides being extraordinary for -the age in which it was produced, may be regarded as -the first of its kind in modern literature. It is entitled, -the Philosophy of the Ancient Style of Poetry, which -in Spanish is somewhat fantastically expressed, <i>Philosophia -Antigua Poetica</i>. This work is the production -of Alonzo Lopez Pinciano, physician to Charles V. who -as has been mentioned, was likewise the author of an -unsuccessful heroic poem.<a id="FNanchor_328" href="#Footnote_328" class="fnanchor">328</a> Though Pinciano possessed -<span class="pagenum" id="Page_324">324</span> -few qualifications for a poet, he had nevertheless conceived -the idea of writing an Art of Poetry, which should -be something more than a mere introduction to versification -and instructions relative to correct and figurative -expression. Speculations on the elements of poetry constituted -his chief occupation, when relieved from the -duties of his profession. He had so carefully studied -Aristotle’s Art of Poetry, and so attentively compared it -with the other writings of the same author, that of all -the admirers of that work, he was probably the first -who discovered its imperfection. He says—“what is -called Aristotle’s Art of Poetry cannot, if rightly understood, -be regarded in any other light than as a fragment; -for Aristotle, in various passages of his other works, -refers to a second part of this Art of Poetry, which is lost.” -Pinciano’s conjectures respecting the contents of the lost -part, and its connection with the fragment now existing, -have, it is true, been contradicted by more modern -critics; but this physician was nevertheless the first to observe -that imperfection which had escaped the notice of -all previous philologists and commentators on Aristotle. -He remarks, that the philologists and commentators -have written very learned works; which, however, are -as imperfect as the text which they elucidate. With -the view of restoring poetry to its ancient dignity, and -establishing and developing its true spirit, Lopez -Pinciano commences with an Analysis of the Wants -of Human Nature. He treats minutely of the senses, -of the affections, the faculties of the soul, wisdom, and -the pleasures peculiar to cultivated minds, but always -with reference to the works of Aristotle, whom, like -<span class="pagenum" id="Page_325">325</span> -other writers of that age, he merely designates by the -title of the <i>philosopher</i>. Like Aristotle, he makes -imitation the essence of poetry; but with a particular -and more precise definition of what in his opinion -constitutes poetic imitation. He then enters upon -reflections concerning poetic language, and gives a -detailed theory of the several kinds of poetry. The -present, however, is not the proper place to present an -explanation of this theory. Whenever Lopez Pinciano -abandons Aristotle, his notions respecting the different -poetic styles are as confused as those of his contemporaries; -and only a few of his notions and distinctions -can be deemed of importance at the present day. -But his name is deserving of honourable remembrance, -for he was the first writer of modern times who endeavoured -to establish a philosophic art of poetry; and -with all his veneration for Aristotle, he was the first -scholar who ventured to think for himself, and to go -somewhat further than his master. He also evinced a -laudable perseverance in the execution of his task. -Pinciano’s learned and ingenious work was not quite so -useful as it might have been, owing in a great measure -to its artificial and formal manner of composition, -which, however, the author considered singularly easy -and natural. This Art of Poetry is written in the form -of letters, (which was in itself a novelty at that age), -and in these letters, conversations are occasionally introduced. -The friend who answers, invariably gives an -abstract of the letter he has last received, as a proof -that he understands its contents and its object. Lopez -<span class="pagenum" id="Page_326">326</span> -Pinciano, however, cannot be regarded as a model in -epistolary and conversational prose any more than in -poetry.</p> - -<p>The authors of the other arts of poetry which -appeared about this time in the Spanish language, -merely confined themselves to the explanation of metrical -forms and the establishment of subordinate -principles. Among these authors were Sanchez de -Viena, Geronymo de Mondragon, and Juan Diaz.<a id="FNanchor_329" href="#Footnote_329" class="fnanchor">329</a> An -Art of Poetry of the same description in verse, by Juan -de la Cueva, has already been mentioned. From a philosophic -treatise of this kind, Spanish poetry could derive -no advantage, unless its origin had been totally -different from what it really was. Theories, even the -most popular, can contribute only in a very slight degree -to the formation of the poetic genius, either of nations -or individuals.</p> - -<p>Several works on the art of rhetoric, in which the -principles of Aristotle were followed, appeared about -this time in Spain; but they produced nothing valuable -with respect to theory, and exercised no remarkable -influence on the improvement of Spanish prose. -<span class="pagenum" id="Page_327">327</span></p> - -<hr class="chap" /> - -<h2 id="SECOND_SECTION">SECOND SECTION.<br /> - -<span class="hang medium"><i>History of Spanish Poetry and Eloquence, from the -Age of Cervantes and Lope de Vega to the -Middle of the Seventeenth Century.</i></span></h2> - -<p>Spanish literature had now assumed a new character. -Classical poets wrote in the Castilian language; -and elegant prose was cultivated with equal rapidity -and success on the model of the ancients. No great -advantage could henceforth be derived from the imitation -of the Italian poets, for the genius of the Spanish -nation had well nigh decided how far and under what -limitations the Italian poetry could be naturalized in -Spain. But laurels were yet to be gathered on the -new Parnassus; and the conflict between the ancient -and modern styles, had, through the disputes of the -different parties, who sought to rule the Spanish drama, -at length arrived at a crisis. Under these circumstances, -Cervantes and Lope de Vega entered upon the career -which their predecessors had opened for them.</p> - -<h3 id="CERVANTES">CERVANTES.</h3> - -<p>The life of this extraordinary man, whom, for the -space of two centuries, civilized Europe has admired -above every other Spanish writer, has been so frequently -related, that a brief abstract of his biography, derived -from the most authentic sources, will be sufficient for -the purpose of this history.<a id="FNanchor_330" href="#Footnote_330" class="fnanchor">330</a> -<span class="pagenum" id="Page_328">328</span></p> - -<p>It is a singular fact, that the contemporaries of this -celebrated man, whom every town, not merely in -Spain, but throughout the world, would be proud to -have produced, should have neglected to record his -native place. After long investigations and warm disputes, -which call to mind the contests of the seven -Greek towns, for the honour of having given birth to -Homer, it is at length agreed that the greatest share -of probability belongs to the conjecture, according to -which Miguel de Cervantes Saavedra was born at Alcalà -de Henàres in the year 1547. His parents, who were -not rich, were merely enabled to give him a moderate, -but at the same time a literary education. They sent -him to the schools of Madrid, where he acquired some -knowledge of classical learning. At Madrid he had -an opportunity of witnessing the dramas which the ingenious -Lope de Rueda represented on his wretched -stage. Juan Lopez, the tutor of Cervantes, was an -indefatigable writer of poetry, particularly of romances, -and he sought every means of cherishing his pupils’ -taste for poetic composition. Some verses by Cervantes -were introduced in a description of the funeral of a -Spanish princess, which Lopez published in 1569. -<span class="pagenum" id="Page_329">329</span></p> - -<p>But young Cervantes, who had now attained his -twenty-second year, seems to have had no certain means -of gaining a subsistence. He wrote numerous romances -and sonnets; and it was probably about this period that -he composed a pastoral romance, entitled <i>Filena</i>, which, -if we may give credit to his own testimony, was very -generally read.<a id="FNanchor_331" href="#Footnote_331" class="fnanchor">331</a> It appears that he thought he could -better his condition by travelling; and he resolved to -proceed to Italy. Here commences the period of his -adventures. In Rome, cardinal Acquaviva for a short -time became his patron and protector. But impelled -either by necessity or choice, he entered into the military -profession. He enlisted under the banners of his -sovereign, to serve in the wars against the Turks and -African corsairs, who at that time disturbed the tranquillity -of Spain and Italy. During the war he proved -himself to be wholly devoted to his new profession; but -being engaged in the great battle of Lepanto, in 1572, -he received a wound which deprived him of his left -hand together with a part of the arm. This honourable -mutilation, to which he proudly alludes in his latter -writings, obliged him to return to Spain. The ship, -however, in which he had embarked, was captured by -an Algerine corsair, and Cervantes was conveyed to -Algiers and sold for a slave. His captivity which lasted -<span class="pagenum" id="Page_330">330</span> -for nearly eight years, must have been of the most romantic -description, if the fact be, as has frequently been -conjectured, that Cervantes described his own adventures -in the novel of the Captive.<a id="FNanchor_332" href="#Footnote_332" class="fnanchor">332</a> He was at length ransomed, -and in the year 1581 he returned to his native country.</p> - -<p>The third period of the life of Cervantes was exclusively -devoted to literature. He had now attained his -thirty-second year, and with a matured understanding, -joined to considerable practical knowledge of the world, -and an ardent passion for literature, he resolved to -withdraw from the busy scene of life. In his retirement -he wrote his second pastoral romance, entitled <i>Galatea</i>, -which has so eclipsed Filena, that the latter is quite -neglected and forgotten. He shortly afterwards married, -and in all probability lived for some time on his wife’s -dowry. At length he began to write for the stage; but -the dramas which he composed at this period of his life, -though about thirty in number, are nearly all lost.<a id="FNanchor_333" href="#Footnote_333" class="fnanchor">333</a>—About -this time arose the rivalry between Cervantes -and Lope de Vega, whose dramas were so much -admired that they bore away the palm of public favour. -Mortified, as it would appear, by the ill success of his -dramatic efforts, Cervantes laid aside his pen for a considerable -period. It is conjectured, that in the meanwhile -<span class="pagenum" id="Page_331">331</span> -he obtained a post in Seville, the emoluments of -which enabled him to subsist. He did not again appear -in the literary world until the death of Philip II. in the -year 1598.</p> - -<p>It can scarcely be doubted, though no Spanish writer -has made the conjecture, that the death of Philip II. -had a favourable influence on the genius of Cervantes. -After the accession of the indolent Philip III. every -man in Spain felt that he might then have more -freedom than he dared to take during the gloomy -intolerance of the preceding reign. The Spaniards -now ventured to sport with the chains which they had -not the power to break, and delicate satire was soon -freely employed. Cervantes quickly found a subject -for ridicule, in an outrageous contest which arose in -Seville between the spiritual and municipal authorities, -concerning the funeral obsequies of the deceased -monarch. There is reason to believe that he composed, -about the same period, some of the Instructive -Novels (<i>Novelas Exemplares</i>), which he subsequently -published. What accident gave rise to the idea of his -Don Quixote is unknown; for his having, while travelling -through the province of la Mancha, become engaged -in disputes with some of the inhabitants, and his being -on that account for a short time imprisoned, can at -most be only supposed to have suggested the idea of -making that province the scene of the first part of his -romance. Some fortunate circumstance, which cannot -now be traced, seems to have impressed Cervantes, -who was then in his fiftieth year, with the consciousness -of the true bent of his genius. The commencement -<span class="pagenum" id="Page_332">332</span> -of Don Quixote was first published at Madrid, in -1606; but the enthusiastic reception which this original -romance experienced from the Spanish public, produced -very little change in the author’s fortune; for the folly -which felt itself disturbed in its security united with -envy in seeking to discover the most offensive allusions -in the work. Cervantes accordingly continued poor, and -had now to contend with exasperated enemies, who -imagined they had completely defeated him, when an -unknown writer of their own party, under the name -of Avellaneda, published a continuation of Don Quixote, -full of invective against the original author. Precisely -at the period when this continuation appeared, Cervantes -published the sequel of his Instructive Novels, -which he dedicated to the Count of Lemos. In that -nobleman he found a protector who never withdrew -his favour, and who, as it appears, afforded him support -in various ways. Pecuniary necessity seems, however, -to have urged him, as a last resource, to write for the -stage.</p> - -<p>The latest works of Cervantes, were the genuine -continuation and completion of Don Quixote, the -Journey to Parnassus, which was first published in -1614, and finally the romance of Persiles and Sigismunda, -for which, a few days previous to his death, he -wrote a dedication to the Count of Lemos. From various -passages in the prefaces and introductions to these -last works, it is obvious how highly Cervantes prized -that celebrity which, after many abortive efforts, he had -at length obtained in his old age. But even where -his vanity is not disguised, it is easy, from the candid -<span class="pagenum" id="Page_333">333</span> -tone in which he speaks of himself, to recognize the -man of firm and upright spirit, the declared enemy of -every sort of affectation, and the honest and liberal -judge of himself and others. He died in poverty, -though not in extreme want, at Madrid, in 1616, in -the sixty-ninth year of his age. He was buried -privately, without any kind of distinction, and not -even a common tomb-stone marks the spot where the -ashes of Cervantes repose.</p> - -<p id="BRIEF_CHARACTER_OF_DON_QUIXOTE">Were we to arrange the works of Cervantes according -to their merits, the first place must be assigned -to Don Quixote, which is moreover entitled to the -supremacy, inasmuch as it is single in its kind.</p> - -<p>To enter into a description of the contents of this -universally known master-piece, or to give a circumstantial -analysis of its plan, would be equally superfluous. -A few words, however, on the happy and -original idea which forms the foundation of the whole -work may here be introduced. It has often been said, -though the opinion has, perhaps, not been fully weighed, -nor even expressed with sufficient precision, that the -venerable knight of La Mancha is the immortal representative -of all men of exalted imagination, who carry -the noblest enthusiasm to a pitch of folly; because with -understandings in other respects sound, they are unable -to resist the fascinating power of a self-deception, by -which they are induced to regard themselves as beings -of a superior order. None but an experienced observer -of mankind, endowed with profound judgment, and a -genius to the penetrating glance of which one of the most -interesting recesses of the human heart had been newly -<span class="pagenum" id="Page_334">334</span> -disclosed, could have seized the idea of such a romance -with energetic decision. None but a poet and a man -of wit could have thrown so much poetic interest into -the execution of that idea; and none but an author who -had at his disposal all the richness and variety of one of -the finest languages in the world, could have diffused -over such a work that classical perfection of expression, -which gives the stamp of excellence to the whole. -The originality of the idea of Don Quixote is not only -historically demonstrated, by no romance of a similar -kind having previously existed—for pictures of ingenious -roguery in the style of Lazarillo de Tormes, belong to -a totally different species of comic romance—but it is -also physiologically certain, that a creative fancy, which -was only capable of continuing to invent where another -had stopt, could not, with the boldness of Cervantes, -have combined traits, apparently heterogeneous, in order -thereby to exhaust to the utmost the idea by which he -was inspired. Those who are acquainted with Don -Quixote only through the medium of the common -translations, will not certainly be inclined to regard -it as a work of inspiration, in the highest sense of the -word. But it is impossible to form a more mistaken -notion of this work, than to consider it merely as a -satire, intended by the author to ridicule the absurd -passion for reading old romances of chivalry. Doubtless -this is one of the objects which Cervantes had in -view; for among the romances which the Spanish public -indefatigably perused, few were tolerable, and only one -or two possessed first-rate merit. We must not, however, -attribute to him the absurd conceit of wishing to -<span class="pagenum" id="Page_335">335</span> -prove the prejudicial influence, which the reading of -bad romances produced on the taste of the Spanish -nation, by exhibiting the individual folly of an enthusiast, -who would have been just as likely to have lost -his senses by the study of Plato or Aristotle, as by the -reading of romances of chivalry. The merit and the -richness of the idea of a man of elevated character, -excited by heroic and enthusiastic feelings to the extravagant -pitch of wishing to restore the age of chivalry, -must be regarded as the seed of inspiration whence the -whole work originated. As a poet, Cervantes was -aware of the resources which this idea furnished; and -he must also have been satisfied with his power to prosecute -it, as he has proved in the execution what he -was capable of accomplishing. In the invention of a -series of comic situations in the most burlesque style, -he found full scope for the exercise of his fancy. The -painting of these situations afforded opportunities for -the free and energetic developement of his poetic talent. -Finally, he knew how to combine the knowledge -of human nature, which he had acquired during a life -of fifty years, with the most delicate satire, so as to render -his comic romance also a book of moral instruction, -to which no parallel existed. These brief remarks on -the idea which forms the foundation of the romance of -Don Quixote, must be allowed to supply the place of a -detailed analysis of the manner in which that celebrated -work is composed. Other critics have sufficiently -proved that the composition is by no means faultless. -In the preface to the second part, Cervantes has himself -pointed out some inadvertences which produce -<span class="pagenum" id="Page_336">336</span> -incongruities in the history, but he disdained to correct -them, because he conceived that they had been too severely -condemned.</p> - -<p>The character of the execution of this comic romance, -is no less original than the invention. Character -in the strictest sense of the term is here meant. -The superficial sketches of a sportive fancy, for which -the Spaniards in the age of Cervantes entertained so high -a predilection, had not sufficient interest for him. He -felt a passion for the vivid painting of character, as all -his successful works prove. Under the influence of this -feeling, he not only drew the natural and striking portrait -of his heroic Don Quixote, so truly noble-minded, -and so enthusiastic an admirer of every thing good and -great, yet having all those fine qualities, accidentally -blended with a relative kind of madness; but he likewise -pourtrayed, with no less fidelity, the opposite character -of Sancho Panza, a compound of grossness and -simplicity, whose low selfishness leads him to place -blind confidence in all the extravagant hopes and promises -of his master. The subordinate characters of the -great picture exhibit equal truth and decision: but the -characteristic tone of the whole is still more remarkable. -A translator cannot commit a more serious injury -to Don Quixote, than to dress that work in a light -anecdotical style. A style perfectly unostentatious and -free from affectation, but at the same time solemn, and -penetrated, as it were, with the character of the hero, -diffuses over this comic romance an imposing air, -which, were it not so appropriate, would seem to belong -exclusively to serious works, and which is certainly -<span class="pagenum" id="Page_337">337</span> -difficult to be seized in a translation. But it is precisely -this solemnity of language, which imparts a characteristic -relief to the comic scenes. It is the genuine style -of the old romances of chivalry, improved and applied in -a totally original way; and only where the dialogue style -occurs is each person found to speak, as he might be -expected to do, and in his own peculiar manner. But -wherever Don Quixote himself harangues, the language -re-assumes the venerable tone of the romance style;<a id="FNanchor_334" href="#Footnote_334" class="fnanchor">334</a> -and various uncommon expressions of which the hero -avails himself, serve to complete the delusion of his -covetous squire, to whom they are only half intelligible.<a id="FNanchor_335" href="#Footnote_335" class="fnanchor">335</a> -This characteristic tone diffuses over the whole a poetic -colouring, which distinguishes Don Quixote from all -comic romances in the ordinary style; and that poetic -colouring is moreover heightened by the judicious choice -of episodes. The essential connection of these episodes -with the whole has sometimes escaped the observation -of critics, who have regarded, as merely parenthetical, -those parts in which Cervantes has most decidedly -manifested the poetic spirit of his work. The novel -of <i>El Curioso Impertinente</i>, cannot indeed be ranked -<span class="pagenum" id="Page_338">338</span> -among the number of these essential episodes; but the -charming story of the shepherdess Marcella, the history -of Dorothea, and the history of the rich Camacho and -the poor Basilio, are unquestionably connected with the -interest of the whole. These serious romantic parts, -which are not, it is true, essential to the historical connection, -but strictly belong to the characteristic dignity -of the whole picture, also prove how far Cervantes was -from the idea usually attributed to him of writing a -book merely to excite laughter. The passages which -common readers feel inclined to pass over, are, in general, -precisely those in which Cervantes has shewn himself -more a poet, and for which he has manifested an evident -predilection. On such occasions he also introduces -among his prose, episodical verses, which are for the most -part excellent in their kind, and which no translator can -omit without doing violence to the spirit of the original.</p> - -<p>Were it not for the happy art with which Cervantes -has contrived to preserve an intermediate tone -between pure poetry and prose, Don Quixote would -not deserve to be cited as the first classic model of the -modern romance or novel. It is, however, fully entitled -to that distinction. Cervantes was the first -writer who formed the genuine romance of modern -times on the model of the original chivalrous romance, -that equivocal creation of the genius and the barbarous -taste of the middle ages. The result has proved that -modern taste, however readily it may in other respects -conform to the rules of the antique, nevertheless requires -in the narration of fictitious events, a certain -union of poetry with prose which was unknown to the -<span class="pagenum" id="Page_339">339</span> -Greeks and Romans in their best literary ages. It was -only necessary to seize on the right tone, but that was -a point of delicacy which the inventors of romances -of chivalry were not able to comprehend. Diego de -Mendoza, in his Lazarillo de Tormes, departed too far -from poetry. Cervantes, in his Don Quixote, restored -to the poetic art the place it was entitled to hold in -this class of writing: and he must not be blamed if -cultivated nations have subsequently mistaken the true -spirit of his work, because their own novelists had led -them to regard common prose as the style peculiarly -suited to romance composition. Don Quixote is moreover -the undoubted prototype of the comic novel. The -humorous situations are, it is true, almost all burlesque, -which was certainly not necessary, but the -satire is frequently so delicate, that it escapes rather -than obtrudes on unpractised attention; as for example -in the whole picture of the administration of Sancho -Panza in his imaginary island. Besides, the language -even in the description of the most burlesque situations, -never degenerates into vulgarity. Throughout -the whole work it is in general noble, correct, and so -highly polished, that it would not disgrace even an -ancient classic of the first rank.<a id="FNanchor_336" href="#Footnote_336" class="fnanchor">336</a> This explanation -<span class="pagenum" id="Page_340">340</span> -of a part of the merits of a work, which has been so -often wrongly judged, may, perhaps, seem to belong -rather to the eulogist than the calm and impartial -historian. Let those who may be inclined to form -this opinion, study Don Quixote in the original language, -and study it rightly, for it is not a book to be -judged by a superficial perusal. But care must be -taken that the intervention of many subordinate traits, -which were intended to have only a transient national -interest, does not produce an error in the estimate of -the whole.</p> - -<p id="THE_MORAL_TALES_OF_CERVANTES">It would be scarcely possible to arrange the other -works of Cervantes according to a critical judgment -of their importance; for the merits of some consist in -the admirable finish of the whole, while others exhibit -the impress of genius in the invention, or some other -individual feature. A distinguished place must, however, -be assigned to the <i>Novelas Exemplares</i> (Moral -<span class="pagenum" id="Page_341">341</span> -or Instructive Tales.) They are unequal in merit as -well as in character. Cervantes, doubtless, intended -that they should be to the Spaniards nearly what the -novels of Boccacio were to the Italians: some are -mere anecdotes, some are romances in miniature, some -are serious, some comic, and all are written in a light, -smooth, conversational style. With regard to the -practical knowledge which these novels are intended -to convey to the reader, Cervantes has effected more -than Boccacio; and at all events he extended the -literature of his country by their publication, for -no similar compositions had previously existed in the -Spanish language. In them Cervantes has again -proved himself the experienced judge of mankind, -and has given, with admirable success, truly genuine -and judicious representations of nature, in the various -situations of real life. The reader must naturally -feel inclined to pardon the want of plan which -this little collection of novels occasionally exhibits, -when he finds that the author through the medium -of his characters relates and describes all that he had -himself seen and experienced under similar circumstances, -particularly during his abode in Italy and -Africa. The history of the <i>Licenciado Vidriera</i>, (the -Glass Licentiate) which is the fifth in the collection, -is totally destitute of plan, and is related in simple -prose like a common anecdote. But the novel of <i>La -Gitanilla</i>, (the Gipsey Girl) is ingeniously conceived -and poetically coloured; and the same may be said -of some others. The story of <i>Rinconete y Cortadilla</i>, -or the Lurker and the Cutter, as the names with reference -<span class="pagenum" id="Page_342">342</span> -to their etymology may be translated,<a id="FNanchor_337" href="#Footnote_337" class="fnanchor">337</a> is a comic -romance in miniature.</p> - -<p id="THE_GALATEA"><i>Galatea</i>, the pastoral romance which Cervantes -wrote in his youth, is a happy imitation of the Diana -of Montemayor, but exhibiting a still closer resemblance -to Gil Polo’s continuation of that poem.<a id="FNanchor_338" href="#Footnote_338" class="fnanchor">338</a> -Next to Don Quixote and the <i>Novelas Exemplares</i>, -this pastoral romance is particularly worthy of attention, -as it manifests in a striking way the poetic -direction in which the genius of Cervantes moved even -at an early period of life, and from which he never -entirely departed in his subsequent writings. As, -however, the Galatea possesses but little originality, it -constantly excites the recollection of its models, and -particularly of the Diana of Gil Polo. Of the invention -of the fable likewise, but little can be said, for though -the story is continued through six books, it is still -incomplete. In composing this pastoral romance, Cervantes -seems to have had no other object than to -clothe in the popular garb of a tale, a rich collection -of poems in the old Spanish and Italian styles, which -he could not have presented to the public under a more -agreeable form. The story is merely the thread which -holds the beautiful garland together; for the poems are -<span class="pagenum" id="Page_343">343</span> -the portion of the work most particularly deserving -attention. They are as numerous as they are various: -and should the title of Cervantes to rank, with respect -to verse as well as to prose, among the most eminent -poets, or his originality in versified composition, be -called in question, an attentive perusal of the romance -of Galatea must banish every doubt on these points. -It was remarked by the contemporaries of Cervantes -that he was incapable of writing poetry, and that he -could compose only beautiful prose; but that observation -had reference solely to his dramatic works. -Every critic, sufficiently acquainted with his lyrical -compositions, has rendered justice to their merits. -From the romance of Galatea it is obvious that Cervantes -composed in all the various kinds of syllabic -measure which were used in his time. He even occasionally -adopted the old dactylic stanza.<a id="FNanchor_339" href="#Footnote_339" class="fnanchor">339</a> He -appears to have experienced some difficulty in the -metrical form of the sonnet, and his essays in that -style are by no means numerous;<a id="FNanchor_340" href="#Footnote_340" class="fnanchor">340</a> but his poems in -<span class="pagenum" id="Page_344">344</span> -Italian octaves display the utmost facility; and among -the number, the song of Calliope in the last book -of the Galatea is remarkable for the graceful ease of -the versification.<a id="FNanchor_341" href="#Footnote_341" class="fnanchor">341</a> In the same manner as Gil Polo -<span class="pagenum" id="Page_345">345</span> -in his Diana makes the river Turia pronounce the -praises of the celebrated Valencians, the poetic fancy -of Cervantes summoned the muse Calliope before the -shepherds and shepherdesses, to render solemn homage -to those contemporaries whom he esteemed worthy of -distinction as poets. But the critic can scarcely venture -to place reliance on praises which are dealt out -with such profuse liberality. The most beautiful poems -in the Galatea are a few in the cancion style, some -of which are in iambics,<a id="FNanchor_342" href="#Footnote_342" class="fnanchor">342</a> and some in trochaic or old -Spanish verse.<a id="FNanchor_343" href="#Footnote_343" class="fnanchor">343</a> Cervantes has here and there indulged -<span class="pagenum" id="Page_346">346</span> -in those antiquated and fantastic plays of wit, -which at a subsequent period he himself ridiculed.<a id="FNanchor_344" href="#Footnote_344" class="fnanchor">344</a> -The prose of the Galatea, which is in other respects -so beautiful, is also occasionally overloaded with a sort -of epithetical ostentation.<a id="FNanchor_345" href="#Footnote_345" class="fnanchor">345</a></p> - -<p id="THE_JOURNEY_TO_PARNASSUS">Cervantes displays a totally different kind of poetic -talent in the <i>Viage al Parnaso</i>, (Journey to Parnassus) -a work which cannot properly be ranked in any -particular class of literary composition, but which, next -to Don Quixote, is the most exquisite production of its -extraordinary author. The chief object of the poem is -to satirize the false pretenders to the honours of the -Spanish Parnassus, who lived in the age of the author. -But this satire is of a peculiar character: it is a most -happy effusion of sportive humour, and it yet remains a -matter of doubt whether Cervantes intended to praise -or to ridicule the individuals whom he points out as -being particularly worthy of the favour of Apollo. He -himself says—“Those whose names do not appear in -this list, may be just as well pleased as those who are -mentioned in it.” To characterize true poetry according -to his own poetic feelings; to manifest in a decided -way his enthusiasm for the art even in his old age; and -<span class="pagenum" id="Page_347">347</span> -to hold up a mirror for the conviction of those who -were only capable of making rhymes and inventing -extravagances, seem to have been the objects which -Cervantes had principally in view when he composed -this satirical poem. Concealed satire, open jesting, and -ardent enthusiasm for the beautiful, are the boldly -combined elements of this noble work. It is divided -into eight chapters, and the versification is in tercets. -The composition is half comic and half serious. After -many humorous incidents, Mercury appears to Cervantes, -who is represented as travelling to Parnassus in the -most miserable condition; and the god salutes him -with the title of the “Adam of poets.”<a id="FNanchor_346" href="#Footnote_346" class="fnanchor">346</a> Mercury -after addressing to him many flattering compliments, -conducts him to a ship entirely built of different kinds -of verse, and which is intended to convey a cargo of -Spanish poets to the kingdom of Apollo. The description -of the ship is an admirable comic allegory.<a id="FNanchor_347" href="#Footnote_347" class="fnanchor">347</a> -<span class="pagenum" id="Page_348">348</span> -Mercury shews him a list of the poets with whom -Apollo wishes to become acquainted; and this list, -owing to the problematic nature of its half ironical and -half serious praises, has proved a stumbling block to -commentators. In the midst of the reading Cervantes -suddenly drops the list. The poets are now described -as crowding on board the ship in numbers as countless as -drops of rain in a shower, or grains of sand on the sea -coast; and such a tumult ensues, that to save the ship -from sinking by their pressure, the sirens raise a furious -storm. The flights of imagination become more wild -as the story advances. The storm subsides, and is succeeded -by a shower of poets, that is to say, poets fall -from the clouds. One of the first who descends on -the ship is Lope de Vega, on whom Cervantes seizes -this opportunity of pronouncing a pompous eulogium. -The remainder of the poem, a complete analysis of -which would occupy too much space, proceeds in the -same spirit. One of the most beautiful pieces of verse -ever written by Cervantes, is his description of the -goddess Poesy, whom he sees in all her glory in the -kingdom of Apollo.<a id="FNanchor_348" href="#Footnote_348" class="fnanchor">348</a> To this fine picture the portrait -<span class="pagenum" id="Page_349">349</span> -of the goddess Vain-Glory, who afterwards appears to -the author in a dream, forms an excellent companion.<a id="FNanchor_349" href="#Footnote_349" class="fnanchor">349</a> -Among the passages which for burlesque humour vie -<span class="pagenum" id="Page_350">350</span> -with Don Quixote is the description of a second storm, -in which Neptune vainly endeavours to plunge the -poetasters to the bottom of the deep. Venus prevents -them from sinking, by changing them into empty -gourds and leather bottles.<a id="FNanchor_350" href="#Footnote_350" class="fnanchor">350</a> At length a formal battle -is fought between the real poets and some of the -poetasters. The poem is throughout interspersed with -singularly witty and beautiful ideas; and only a very -few passages can be charged with feebleness or langour. -It has never been equalled, far less surpassed by any -similar work, and it had no prototype. The language -is classical throughout; and it is only to be regretted, -that Cervantes has added to the poem a comic supplement -in prose, in which he indulges a little too freely -in self-praise.</p> - -<p id="DRAMATIC_WORKS_OF_CERVANTES">The dramatic compositions of Cervantes, were they -all extant, would be the most voluminous, though, certainly, -not the best portion of his works. Perhaps -<span class="pagenum" id="Page_351">351</span> -those which are now lost may yet be recovered; for a -fortunate accident brought to light two dramas, which -had remained concealed in manuscript till near the end -of the eighteenth century.<a id="FNanchor_351" href="#Footnote_351" class="fnanchor">351</a> Cervantes includes some -of his dramas among those productions with which he -was himself most satisfied; and he seems to have -regarded them with the greater self-complacency in -proportion as they experienced the neglect of the -public.<a id="FNanchor_352" href="#Footnote_352" class="fnanchor">352</a> This conduct has sometimes been attributed -to a spirit of contradiction, and sometimes to vanity. -The editor of the eight plays (chiefly heroic) and eight -interludes, which were the last dramatic productions of -Cervantes, has adopted the absurd notion, that Cervantes -in writing these pieces, intended to parody and -ridicule the style of Lope de Vega;<a id="FNanchor_353" href="#Footnote_353" class="fnanchor">353</a> which is merely -saying that he attacked the whole literary public of -<span class="pagenum" id="Page_352">352</span> -Spain in the most discourteous way. No traces of -parody appear in any of those dramas. They are, -however, with the exception of a few successful scenes, -so dull and tedious, that one might be inclined to regard -them as counterfeit productions by another author, -were it not that their authenticity seems to be sufficiently -proved. The little interludes alone exhibit burlesque -humour and dramatic spirit. That the penetrating -and profound Cervantes should have so mistaken -the limits of his dramatic talent, would not be sufficiently -accounted for even by his vanity, had he not -unquestionably proved by his tragedy of Numantia how -pardonable was the self-deception of which he could -not divest himself. Cervantes was entitled to consider -himself endowed with a genius for dramatic poetry. -But he could not preserve his independence in the conflict -he had to maintain with the conditions required -by the Spanish public in dramatic composition; and -when he sacrificed his independence, and submitted to -rules imposed by others, his invention and language -were reduced to the level of a poet of inferior talent. -The intrigues, adventures, and surprises which in that -age characterized the Spanish drama, were ill suited to -the genius of Cervantes. His natural style was too -profound and precise to be reconciled to fantastical -ideas, expressed in irregular verse. But he was Spaniard -enough to be gratified with dramas, which, as a -poet, he could not imitate; and he imagined himself -capable of imitating them, because he would have shone -in another species of dramatic composition, had the -public taste accommodated itself to his genius. -<span class="pagenum" id="Page_353">353</span></p> - -<p>With all its imperfections and faults, Cervantes’s -tragedy of Numantia is a noble production, and, like -Don Quixote, it is unparalleled in the class of literature -to which it belongs. It proves that under different -circumstances the author of Don Quixote might have -been the Æschylus of Spain. The conception is in -the style of the boldest pathos, and the execution, at -least taken as a whole, is vigorous and dignified. The -ancient Roman History from which Cervantes selected -the story of the destruction of Numantia, afforded but -few positive facts of which he could avail himself in -his heroic tragedy. He therefore invented along with -the subject of his piece a peculiar style of tragic composition, -in doing which he did not pay much regard -to the theory of Aristotle. His object was to produce -a piece full of tragic situations, combined with the -charm of the marvellous. The tragedy is written in -conformity with no rules save those which Cervantes -prescribed to himself; for he felt no inclination to imitate -the Greek forms. The play is divided into four -acts (<i>jornadas</i>), and no chorus is introduced. The -dialogue is sometimes in tercets, and sometimes in redondillas, -and for the most part in octaves, without any -regard to rule. The diction does not maintain equal -dignity throughout; but it is in no instance affected or -bombastic. Cervantes has evinced admirable skill in -gradually heightening the tragic interest to the close of -the piece. The commencement is, however, somewhat -cold and tedious. Scipio appears with his generals in -the Roman camp before Numantia. In a speech which -might have been improved by abridgment, he reprimands -<span class="pagenum" id="Page_354">354</span> -his troops, whose spirit has begun to give way -to effeminacy. The soldiers are re-inspired with courage. -Numantian ambassadors enter with proposals -for peace, which are rejected. It is here that the -tragedy properly begins. Spain appears as an allegorical -character, and she summons the river Duero, -or Durius, on whose banks Numantia stands. The old -river god appears, attended by a retinue of the deities -of the smaller rivers of the surrounding country. -These ideal characters consult the book of fate, and -discover that Numantia cannot be saved. Whatever -may be said against the bold idea of endeavouring to -augment the tragic pathos by means of allegorical -characters, it must be acknowledged that in this case -the result of the experiment is not altogether unsuccessful, -and Cervantes justly prides himself in the -novelty of the idea. The scene is now transferred to -Numantia. The senate is assembled to deliberate on -the affairs of the city, and among the members the -character of Theagenes shines with conspicuous lustre. -Bold resolutions are adopted by the senate. The transition -into light redondillas, for the purpose of interweaving -with the serious business of the fable, the -loves of a young Numantian named Morandro, and his -mistress, is certainly a fault in the composition of the -tragedy. But to this fault we are indebted for some of -the finest scenes in the following act. A solemn sacrifice -is prepared; but amidst the ceremony an evil spirit -appears, seizes the victim, and extinguishes the fire. -The confusion in the town increases. A dead man is -resuscitated by magic, and the scene in which this -<span class="pagenum" id="Page_355">355</span> -incident occurs has a most imposing effect.<a id="FNanchor_354" href="#Footnote_354" class="fnanchor">354</a> All hope -has now vanished. After the return of a second -unsuccessful embassy, the Numantians, by the advice -of Theagenes, resolve to burn all their valuable -property, then to put their wives and children to -death, and lastly to throw themselves in the flames, -lest any of the inhabitants of the town should become -the slaves of the Romans. Scenes of the most -heart-rending domestic misery, and the noblest traits -of patriotism then ensue.<a id="FNanchor_355" href="#Footnote_355" class="fnanchor">355</a> Famine rages in Numantia.<a id="FNanchor_356" href="#Footnote_356" class="fnanchor">356</a> -<span class="pagenum" id="Page_356">356</span> -Morandro, accompanied by one of his friends, ventures -to enter the Roman camp. He returns with a piece -of bread smeared with blood, and, presenting it to his -famished mistress, falls at her feet mortally wounded.<a id="FNanchor_357" href="#Footnote_357" class="fnanchor">357</a> -<span class="pagenum" id="Page_357">357</span> -The action proceeds with unabated interest to the end. -An allegorical character of Fame enters at the close of -the piece, and announces the future glory of Spain.</p> - -<p>Allegorical characters, for instance, Necessity and -Opportunity, likewise appear in Cervantes’s comedy, -<i>El Trato de Argel</i> (Life in Algiers, or Manners in -Algiers). But their introduction amidst scenes of common -life injures the story, which is besides by no means -ingenious, and imparts a cold and whimsical character -to the piece. This comedy, however, which is divided -into five acts, is not destitute of interest and spirit.</p> - -<p id="THE_ROMANCE_OF_PERSILES_AND_SIGISMUNDA">The romance of Persiles and Sigismunda, which -Cervantes finished shortly before his death, must be -regarded as an interesting appendix to his other works.<a id="FNanchor_358" href="#Footnote_358" class="fnanchor">358</a> -The language and the whole composition of the story, -exhibit the purest simplicity, combined with singular -precision and polish. The idea of this romance was -not new, and scarcely deserved to be reproduced in a -new manner. But it appears that Cervantes at the -close of his glorious career took a fancy to imitate -Heliodorus. He has maintained the interest of the -situations, but the whole work is merely a romantic -description of travels, rich enough in frightful -<span class="pagenum" id="Page_358">358</span> -adventures, both by sea and land. Real and fabulous -geography and history are mixed together in an absurd -and monstrous manner; and the second half of the romance, -in which the scene is transferred to Spain and -Italy, does not exactly harmonize with the spirit of the -first half.</p> - -<p>If we cast a glance on the collected works of Cervantes, -in order to ascertain what their author was -entitled to claim as his original property, independently -of his contemporaries and predecessors, we shall find that -the genius of that poet, who is in general only partially -estimated, shines with the brighter lustre the longer it -is contemplated. That kind of criticism which is to be -learnt, contributed but little to the developement and -formation of his genius. A critical tact, which is a -truer guide than any rule, but which abandons genius -when it forgets itself, secured the fancy of Cervantes -against the aberrations of common minds, and his -sportive wit was always subject to the control of solid -judgment. The vanity which occasionally made him -mistake the true bent of his talent, must be confessed -to have been pardonable, considering how little he was -known to his contemporaries. He did not even know -himself, though he felt the consciousness of his genius. -From the mental height to which he had raised himself, -he might, without too highly rating his own abilities, -look down on all the writers of his age. More than one -poet of great, of immortal genius, might be placed beside -him in his own country; but of all the Spanish poets -Cervantes alone belongs to the whole world. -<span class="pagenum" id="Page_359">359</span></p> - -<h3 id="LOPE_DE_VEGA">LOPE DE VEGA.</h3> - -<p>Lope Felix de Vega Carpio, the rival and conqueror -of Cervantes in the conflict of dramatic art, -was born at Madrid, in the year 1562. He was consequently -fifteen years younger than Cervantes. Marvellous -stories are related respecting the early developement -of his poetic genius and his talent for composing -verses. Though his parents were not rich, yet he -received a literary education; and he is also said to -have distinguished himself in corporeal exercises. He -lost his parents before he was old enough to attend -the university; but through the assistance of Don -Geronymo Manrique, the grand inquisitor, and Bishop of -Avila, who was much attached to him, he was enabled -to complete a course of philosophy at Alcala. After -obtaining his degree at that university, he returned to -Madrid, where he became secretary to the Duke of Alba. -He shortly afterwards married; and from this period, -which seemed to promise a career of tranquil happiness, -the stormy vicissitudes of his life commenced. He -became engaged in a quarrel, fought a duel, wounded -his antagonist dangerously, and was obliged to fly. -For several years he lived an exile from Madrid; and -on his return his wife unfortunately died. Harrassed -by this series of calamities, and being as warm a patriot -as he was a sincere catholic, he entered into one of the -military corps which were embarked on board the invincible -armada for the invasion of England. Though he -himself returned in safety to Madrid, yet he was deeply -grieved at the ill success of the armada. His vigorous -<span class="pagenum" id="Page_360">360</span> -constitution, however, enabled him to keep up his spirits; -he again became a secretary, once more entered into -the married state, and passed some time in uninterrupted -domestic happiness. On the death of his second wife, -who survived her marriage only a few years, he resolved -to forego the pleasures of the world, and for that purpose -took holy orders. He did not, however, retire to a -convent; but he devoted himself wholly to the study of -poetry,—to that study, which from childhood upwards, -had principally engrossed his mind, and in the active -prosecution of which he produced so extraordinary a -result, that it is difficult to conceive how any man could -even during the most protracted existence, write as -much as Lope de Vega: and yet he spent a part of his -life in civil business, and in the discharge of military -duties. He composed in all the various kinds of verse -which were in use in his time; and he succeeded in all. -But his dramas in particular were received with an -enthusiasm which the labours of no other Spanish -poet had ever excited. He so precisely struck the -chord which harmonized with the taste of the Spanish -public, that he has been worshipped as the inventor of -the national comedy, though he only pursued the tract -which Torres Naharro originally opened.</p> - -<p>Lope de Vega’s fertility of invention is as unparalleled -in the history of poetry, as the talent which -enabled him to compose regular and well constructed -verses with as much facility as if he had been writing -prose. Cervantes styles him <i>el monstruo de naturaleza</i>, -(the prodigy of nature) and this name was not given -him merely in levity. He was constrained by no rules -<span class="pagenum" id="Page_361">361</span> -of criticism; not that he was ignorant of the theory -of the ancient poetry, but he took delight in letting -his verses flow freely from his pen, confident in the -success of whatever he might produce. The public, -he observed, paid for the drama, and he thought it but -fair that those who paid should be served with that -which suited their taste. Lope de Vega required no -more than four-and-twenty hours to write a versified -drama of three acts in redondillas, interspersed with -sonnets, tercets and octaves, and from beginning to -end abounding in intrigues, prodigies, or interesting -situations. This astonishing facility enabled him to -supply the Spanish theatre with upwards of two -thousand original dramas, of which not more than -three hundred have been preserved by printing. In -general the theatrical manager carried away what he -wrote before he had even time to revise it; and immediately -a fresh applicant would arrive to prevail on -him to commence a new piece. He sometimes wrote -a play in the short space of three or four hours. The -profits which the theatrical managers derived from the -writings of Lope de Vega, enabled them to bestow -such liberal payment on the author, that at one time -he is supposed to have been possessed of upwards of a -hundred thousand ducats. But he did not long preserve -his fortune, though from the commencement of -his celebrity he always possessed enough to enable him -to live with comfort. His purse was ever open to the -poor of Madrid.</p> - -<p>But Lope de Vega’s poetic talent procured him -even more glory than gain. No Spanish poet was ever -<span class="pagenum" id="Page_362">362</span> -so much honoured during his life. The nobility and -the public vied in expressing their admiration of him. -He was chosen president (<i>capellan mayor</i>) of the -spiritual college of Madrid, of which he had previously -been admitted as a member. Pope Urban VIII. -sent him the cross of Malta, and the degree of doctor -of theology, accompanied by a flattering letter. The -pope also appointed him fiscal of the apostolic chamber. -For these distinctions Lope de Vega was not indebted -merely to his poetic talents. No Spanish poet of celebrity -had hitherto manifested in his writings such -enthusiastic interest for the triumph of the catholic -religion. He was accordingly appointed familiar to the -inquisition, a post which was at that period regarded -as singularly honourable. But the Spanish public -adopted another mode of expressing their admiration -of their favourite dramatist. Whenever Lope de Vega -appeared in the streets, he was surrounded by crowds -of people, all eager to gain a sight of the prodigy of -nature. The boys ran shouting after him, and those -who could not keep pace with the rest, stood and gazed -on him with wonder as he passed. He died in 1631, -in the sixty-third year of his age. His funeral was -conducted with princely magnificence. The ceremony -was directed by his patron, the Duke of Susa, whom he -appointed executor of his will. The music of the high -mass which was celebrated at his funeral, was executed -by the performers of the chapel royal. During the -exequies, which lasted three days, three bishops officiated -in their pontifical robes. The memory of the -“Spanish Phenix,” as he was usually styled by the -<span class="pagenum" id="Page_363">363</span> -publishers of his plays, was celebrated with no less -pomp in all the theatres of Spain. Arithmetical calculations -have been employed, in order to arrive at a -just estimate of Lope de Vega’s facility in poetic composition. -According to his own testimony, he wrote -on an average five sheets per day; it has therefore been -computed that the number of sheets which he composed -during his life, must have amounted to one hundred -and thirty-three thousand, two hundred and twenty-five, -and that allowing for the deduction of a small portion -of prose, Lope de Vega must have written upwards of -twenty-one millions, three hundred thousand verses.<a id="FNanchor_359" href="#Footnote_359" class="fnanchor">359</a></p> - -<p id="GENERAL_CHARACTERISTICS_OF_HIS_POETRY">Nature would have overstepped her bounds and -have produced the miraculous, had Lope de Vega, along -with this rapidity of invention and composition, attained -perfection in any department of literature. Nature, -however, did her utmost for Lope de Vega; for even -the rudest, most incorrect, and verbose of his works, -are imbued with a poetic spirit which no methodical -art can create. This poetic spirit is, at the -same time so national and so completely Spanish, that -without an intimate acquaintance with the works -of other Spanish poets, and particularly those who -flourished at an early period, it is impossible to perceive -<span class="pagenum" id="Page_364">364</span> -Lope de Vega’s merits and defects, or to understand their -connection with each other. On this account, however, -he was in a peculiar manner the poet of the Spanish public, -the favourite of all ranks; and on this account have -his writings always been partially or erroneously judged.</p> - -<p id="EXPLANATION_OF_THE_IDEA_OF_A_SPANISH_COMEDY">Lope de Vega was born for dramatic poetry. In -every other class of composition, he was merely an -accurate imitator, or if he struck out a new course, it -was in so imperfect a way, that his example was injurious -to the cause of literature. But as a dramatic -poet, if he did not create the Spanish comedy, properly -so called, his inexhaustible fancy and the fascinating -ease of his animated composition confirmed to it that -character which has since distinguished it. All subsequent -Spanish dramatic poets trod in the footsteps -of Lope de Vega, until genius was banished from the -sphere it occupied by the introduction of the French -taste in Spain. The successors of Lope de Vega -merely improved on the models which he had created. -He fixed for a century and a half the spirit and the -style of nearly all the different kinds of dramatic entertainment -in Spain. It may therefore be proper to -unite with a notice of the dramatic works of Lope -de Vega, a sketch of the characteristics of the various -species of plays then performed in Spain; and this sketch -will at the same time serve as a key to all the peculiarities -of the Spanish drama.</p> - -<p>Since the age of Lope de Vega, the word comedy -(<i>comedia</i>) has had in the dramatic language of Spain -a totally different signification from that which was -attached to it by the ancient Greeks and Romans, and -<span class="pagenum" id="Page_365">365</span> -which it retains in most countries of modern Europe. -It is the generic name of several species of drama, -some of which, according to our established notions, -are neither comedies nor tragedies; but all of which -approximate to one common spirit of invention and -execution. The critic will inevitably form an erroneous -judgment of these works, if he be guided by notions -deduced from the Greek and Roman drama, and which, -with certain limitations, are applicable to all dramatic -compositions except the Spanish comedy. The spirit of -the Spanish comedy must not be sought for in that -popular satire, which constitutes the very essence of -the ancient and modern comedy, properly so called. -The compositions in which it is to be found are of -a totally different nature. In them stories of country -and city life are clothed in romantic poetic colours, and -blended with the interesting inventions of a bold and -irregular fancy, without any distinction between the -gay and the serious, or the comic and the tragic. In a -word, a Spanish comedy is in its principle a dramatic -novel; and as there are tragic, comic, historical, and -purely imaginative novels, so, in like manner, the -Spanish comedy readily adopts those various modes of -exciting interest on the stage. In Spanish comedies as -in novels, princes and potentates are no more out of -place than jockeys and fops; and these dissimilar characters -may all be introduced on the stage at once, -should the progress of the intrigue require so heterogeneous -an approximation. Satire is therefore merely -an agreeable accessary in the Spanish comedy, of which -the poet may avail himself at his pleasure. In these -<span class="pagenum" id="Page_366">366</span> -comedies the powerful delineation of character is no -more essential than in novels. Even a motley combination -of burlesque and serious, vulgar and pathetic -scenes, is not hostile to the spirit of a Spanish comedy, -the object of which is not to maintain the interest in a -particular direction. The subject of the piece may -be a moving or a horrific story; still the picture presented -is entertaining, but entertaining in a manner -totally different from that kind of comedy which exhibits -the follies of life in a satirical point of view. A -continuance of the pathetic or the horrific would be as -little congenial to the spirit of those dramatic novels -which the Spaniards call comedies, as a continuance of -the ludicrous. In this is manifested the first of the -peculiar conditions required by the Spanish public, of -which notice has already been taken in treating of the -origin of the Spanish comedy. With any other people -than the Spaniards these dramatic novels would have -assumed a somewhat different character, without, however, -departing from their original spirit. But this -class of dramatic composition, which admits of the -most singular mixture of the pompous and the ludicrous, -was particularly suited to the Spaniards of the -sixteenth and seventeenth centuries, as by it they were -relieved from any long duration of serious impressions. -With this first requisite of a changeable dramatic form, -which Lope de Vega completely satisfied, was associated -a second. A complicated plot was indispensable in every -drama, the subject of which was drawn from the sphere -of common life. As a substitute for that sort of plot -in historical comedies, extraordinary and striking adventures -<span class="pagenum" id="Page_367">367</span> -were introduced, and in spiritual comedies, miracles. -According to the universally received notion of -a Spanish comedy, in Lope de Vega’s time, no distinction -was made between the sacred and the profane -styles; for a legend was dramatized as a spiritual novel.</p> - -<p>Whether a nation which was satisfied with such -comedies did or did not beguile itself of the purest -and most perfect developement of dramatic genius, is -a question for separate discussion. But the Spanish -comedy considered in all its modifications, as a particular -species of drama, may stand the test of sound -criticism; and Lope de Vega in a great measure contributed -to fix the national taste in these modifications. -In his time the classification was first made of sacred -and profane dramas, or as the Spaniards called them, -<i>comedias Divinas y Humanas</i>. The profane comedies -were again divided into <i>comedias Heroycas</i>, (Heroic -comedies); and <i>comedias de Capa y Espada</i>, (comedies -of the Cloak and Sword.) The heroic comedies were -originally the same as the historical, but the title was -subsequently extended to mythological and allegorical -dramas. The comedies of the <i>Capa y Espada</i>, were -founded on subjects selected from the sphere of fashionable -life, and exhibited the manners of the age; they were -likewise performed in the costume of the times. At -a later period a subdivision of these <i>comedias de Capa -y Espada</i> was formed under the name of <i>comedias de -Figuròn</i>, because the principal character was either -a needy adventurer representing himself as a rich -nobleman, or a lady of the same class. In Lope de -Vega’s time also, the sacred comedies began to be -<span class="pagenum" id="Page_368">368</span> -divided into dramatized <i>Vidas de Santos</i> and <i>Autos -Sacramentales</i>. Both classes were founded on the -model of the dramas, which used to be represented in -the cloisters. The <i>Autos Sacramentales</i>, which had -all a reference to the administration of the sacrament, -according to catholic notions, seem to have had their -origin in the age of Lope de Vega; at least in the prelude -to one of his <i>Autos</i> (the word literally signifies -acts) a countrywoman questions her husband respecting -the nature of these dramas.<a id="FNanchor_360" href="#Footnote_360" class="fnanchor">360</a> Finally, to the different -kinds of Spanish comedy existing in Lope de Vega’s -age, must be added the little preludes or recommendatory -pieces, called <i>loas</i>, and the interludes, or <i>entremeses</i>, -introduced between the prelude and the principal -comedy, and which when interspersed with music -and dancing, are denominated <i>saynetes</i>.</p> - -<p id="VARIOUS_SPECIES_OF_DRAMAS_BY_THIS_POET">Heroic and historical comedies form a considerable -portion of the dramatic works of Lope de Vega, in so -far as they have been preserved. The tragic scenes in -many of these comedies, so well harmonized with the -national taste of the Spaniards, that they readily dispensed -with genuine tragedy; and as vivid a recollection -of the old national history was maintained by these -<span class="pagenum" id="Page_369">369</span> -theatrical representations as by the old romances. But -few of Lope’s historical comedies relate, like his <i>Gran -Duque de Moscovia</i>, to foreign subjects. In point of -composition, his dramas do not materially differ one -from the other. Even in his historical pieces, he uses -such freedoms with respect to the unity of action, that -only a slight similitude connects the acts and scenes -together; and he totally disregards the unities of time -and place. The execution of these dramas is no less -irregular than their composition. According to the -humour in which the author happened to be when -engaged in his literary labour, his descriptions and -language are vigorous or feeble, noble or mean, unpolished -or highly refined. A description of <i>Las -Almenas de Toro</i> (the Battlements of Toro), one of -the best productions in the class to which it belongs, -will afford a tolerably correct idea of Lope de Vega’s -historical comedies. The subject of this piece is the -murder of King Don Sancho, by Bellido Dolfos, a knight -whom the king had offended by a violation of his promise, -a story which has likewise furnished materials for -several old romances. The Cid Ruy Diaz is a principal -character in this comedy, which, like all others of the -same kind, is divided into three acts.<a id="FNanchor_361" href="#Footnote_361" class="fnanchor">361</a> The scene opens -with a view of the country before the strongly fortified -town of Toro in Leon. The King Don Sancho, the Cid, -and a Count Anzures enter. The king explains to the -two knights, that state reasons prevent him from fulfilling -<span class="pagenum" id="Page_370">370</span> -his father’s will, and that he cannot leave his two -sisters, the infantas Elvira and Urraca, in possession of -the strong fortresses of Toro and Zamora.<a id="FNanchor_362" href="#Footnote_362" class="fnanchor">362</a> The Cid -with noble sincerity avows his opinion of the king’s -injustice towards his sisters, and offers himself as a -mediator in the dispute. The king and Count Anzures -retire. The Cid advances to the walls, and meets a -knight named Ordonez, who has just come out of the -fortress to execute some enterprize in favour of the -<span class="pagenum" id="Page_371">371</span> -infanta Elvira. Both knights are about to draw; but -they recognize each other, and embrace. The Cid is -pourtrayed in all the greatness of his character.<a id="FNanchor_363" href="#Footnote_363" class="fnanchor">363</a> The -infanta appears on the walls, and states to the Cid her -reasons for not opening the gates to her brother. The -king re-appears, and orders preparations for storming -the garrison. The scene changes—Don Vela, an old -knight who has withdrawn from the tumult of public -life, appears in front of his country residence. He -communes with himself in a speech full of dignity -and beauty, but in some passages too poetical for the -drama.<a id="FNanchor_364" href="#Footnote_364" class="fnanchor">364</a> His daughter enters singing, and surrounded -<span class="pagenum" id="Page_372">372</span> -by a rustic group. This scene introduces a romantic -episode which is interwoven with the main action, and -the hero of which is a prince of Burgundy, disguised -as a peasant, who is enamoured of the daughter of Don -Vela. The scene again changes to the neighbourhood -of Toro. The infanta Elvira appears on the battlements, -and negotiations are once more set on foot. -The king himself holds a conversation with his sister, -which, however, produces no conciliatory result. This -brief, pointed, and not very courteous dialogue, is -<span class="pagenum" id="Page_373">373</span> -interspersed with plays of wit on the word <i>Toro</i>, the -name of the fortress, which in Spanish signifies a bull.<a id="FNanchor_365" href="#Footnote_365" class="fnanchor">365</a> -The king instantly commands scaling ladders to be -brought, and the storming of the fortress commences, -but the besiegers are repulsed. Thus the first act concludes. -With the commencement of the second act the -rural episode becomes more nearly allied to the main -action. A sonnet in which the disguised prince of -Burgundy, and his mistress Sancha, express their sentiments -<span class="pagenum" id="Page_374">374</span> -of mutual attachment, affords an instance of that -protracted kind of metaphor, which Lope de Vega -employed on such occasions, and which, a hundred -years afterwards, Metastasio likewise adopted in his -opera songs, as the poetic language of passion.<a id="FNanchor_366" href="#Footnote_366" class="fnanchor">366</a> Don -Bellido Dolfos prevails on the king to promise him the -hand of the infanta Elvira, on condition of his taking -the fortress. By dint of the vilest perfidy Bellido Dolfos -succeeds; but the king, who is of opinion that a traitor -should be rewarded with treachery, refuses to abide by -his promise. Bellido Dolfos meditates revenge. Meanwhile -Elvira escapes in the disguise of a peasant, and -takes refuge in the house of Don Vela. With this -combination of heroic and tender, domestic and rural -situations, the action proceeds, until Bellido Dolfos -murders the king; an incident, however, which does -not take place oh the stage. The infanta Elvira returns -to Toro, where she receives the homage of her people, -<span class="pagenum" id="Page_375">375</span> -and the prince of Burgundy avowing his real character, -is united to his beloved Sancha.</p> - -<p>Lope de Vega’s <i>Comedias de Capa y Espada</i>, or -those which may properly be denominated his dramas of -intrigue, though wanting in the delineation of character, -are romantic pictures of manners, drawn from real life. -They present, in their peculiar style, no less interest with -respect to situations than his heroic comedies; and the -same irregularity in the composition of the scenes. The -language, too, is alternately elegant and vulgar, sometimes -highly poetic, and sometimes, though versified, -reduced to the level of the dullest prose. Lope de -Vega seems scarcely to have bestowed a thought on -maintaining probability in the succession of the different -scenes; ingenious complication is with him the -essential point in the interest of his situations. Intrigues -are twisted and entwined together, until the -poet, in order to bring his piece to a conclusion, without -ceremony cuts the knots he cannot untie; and then -he usually brings as many couples together as he can -by any possible contrivance match. He has scattered -through his pieces occasional reflections and maxims of -prudence, but any genuine morality which might be -conveyed through the stage, is wanting, for its introduction -would have been inconsistent with that poetic -freedom on which the dramatic interest of the Spanish -comedy is founded. His aim was to paint what he -observed, not what he would have approved, in the -manners of the fashionable world of his age; but he -leaves it to the spectator to draw his own inferences. -In this indirect way only, could the Spanish public -<span class="pagenum" id="Page_376">376</span> -tolerate useful applications in the drama; for the Spaniard -always considered the morality with which he -was occupied in church sufficient. An exuberant gallantry, -which may or may not be veiled by decorum, -and which is at all times only slightly restrained by -notions of honour, but never by a sense of moral duty, -constitutes the very essence of these dramas, <i>de Capa -y Espada</i>. Where the passion is vehement, it advances -with true Spanish ardour to the attainment of -its object; where it is tender and sentimental, the romantic -tirades and far-fetched plays of wit are inexhaustible. -That <i>love excuses every thing</i>, was at this -time the darling maxim of the gay world in Madrid; -and in conformity with its spirit, Lope de Vega’s young -heroes and heroines plunge headlong into intrigue. -Free scope is given to the basest artifice and perfidy; -the man of fashion draws his sword on the slightest -provocation; and whether he desperately wounds, or -even kills his adversary, is a matter of indifference. -Disguises, too, abound in these dramas. One of the -most interesting of Lope’s comedies in this class, is <i>La -Villana de Xetafe</i>, (the Peasant Girl of Xetafe, a -village in the vicinity of Madrid). It exhibits a series -of the boldest and most dexterous impostures, by means -of which the interesting heroine succeeds in entrapping -her lover, who is a man of condition, into the bonds of -matrimony. The confessors must have found some -difficulty in counteracting the ill effects which could -not fail to be occasionally produced by such examples, -though they were by no means set up as models. The -fascinating natural painting of these intrigues, which at -<span class="pagenum" id="Page_377">377</span> -the same time always possess a certain poetic elevation, -constitutes the chief charm of Lope de Vega’s comedies. -The deviation from nature in expression, which -has frequently been a subject of reproach to this prolific -writer, is in most instances merely attributable to negligence -or rapidity of composition. He faithfully embodies -the general forms of character, which, to be sure, -are all alike in the class of Spanish comedies now under -consideration. The <i>vejete</i> (old man), the <i>galan</i> (lover), -the <i>dama</i> (young lady), together with a suitable number -of servants and waiting women, are the standing characters -which are constantly introduced with no variety, -except in the situations; but at the same time, they are -drawn in such animated colours, that the perusal of one -or two of these dramas of intrigue is sufficient to render -the reader familiar with the whole world which the poet -describes. In Lope’s comedies, as in real life, the (<i>gracioso</i>) -buffoon and the fool are occasionally the same -character. They have also superfluous parts; personages -totally unconnected with the business of the drama are -sometimes introduced.</p> - -<p>In order to afford an idea of the composition of this -portion of the dramatic works of Lope de Vega, we may -select, as a specimen, the comedy entitled, <i>La Viuda de -Valencia</i> (the Widow of Valencia). It is one of the -pieces of this master in the art of intrigue in which the -complication is best contrived, and it is besides remarkable -in the class to which it belongs for the unity which -is preserved in the action. The scene is laid in Valencia -in the time of the carnival. Leonarda, a young rich -and handsome widow, living according to her own fancy, -<span class="pagenum" id="Page_378">378</span> -has resolved never to re-marry. She enters with a book -in her hand; for she reads works of all sorts, sacred and -profane, not from piety or love of literature, but merely -to amuse herself, while she never deigns to bestow a -thought on the suitors by whom she is surrounded. On -the subject of her reading she discourses very reasonably -with her waiting woman.<a id="FNanchor_367" href="#Footnote_367" class="fnanchor">367</a> Her arch attendant turns -the conversation in such a way, that the young widow, -with all her pretended wisdom, is induced to view herself -in a looking glass, and in the very act of doing so, -she is surprised by a visit from her uncle. The old -gentleman assures his fair niece, who is highly vexed at -<span class="pagenum" id="Page_379">379</span> -the surprise, that she does well to convince herself of -the power of her charms by such indisputable testimony.<a id="FNanchor_368" href="#Footnote_368" class="fnanchor">368</a> -When, however, he begins to talk of marriage, -the lady contemptuously sketches a burlesque portrait -of a Madrid beau,<a id="FNanchor_369" href="#Footnote_369" class="fnanchor">369</a> and describes, though in a less -<span class="pagenum" id="Page_380">380</span> -happy style the unfortunate consequences of an imprudent -match. The old uncle takes his leave, and -the scene changes, or rather it is transferred to the -other division of the stage. The three admirers of -the beautiful Leonarda meet each other in front of her -house. They express their wishes and hopes in sonnets, -the subjects of which are long-winded metaphors. As -none of the party can boast of his mistress’s favour, -they mutually acknowledge their ill success, and each -describes a burlesque adventure, which has occurred to -him during the night, in front of Leonarda’s house. -One relates, that under the supposition that he was -stabbing a rival, he thrust his poignard into a skin of -stolen wine.<a id="FNanchor_370" href="#Footnote_370" class="fnanchor">370</a> Meanwhile Leonarda hastily returns -<span class="pagenum" id="Page_381">381</span> -from church, where she has seen a young gentleman -with whom she has fallen deeply in love. She immediately -forms a plan to induce this gentleman, -whose name is Camillo, to visit her, without either -knowing who she is or whither he is conducted. The -whole intrigue is managed by Leonarda’s coachman -Urbano, who is at the same time the <i>gracioso</i>, or -buffoon of the piece.<a id="FNanchor_371" href="#Footnote_371" class="fnanchor">371</a> While Urbano is gone out in -quest of Camillo, the three suitors, without any previous -arrangement with each other, arrive disguised as -dealers in books and copper-plate prints. They obtain -<span class="pagenum" id="Page_382">382</span> -an interview with Leonarda, and make avowals of their -passion; but she receives them very unfavourably, and -they are all obliged to make a rapid retreat to avoid -being roughly handled by the servants. This scene is -highly amusing. In the second act Camillo appears, -and after long hesitation, he consents to engage in the -romantic adventure. Urbano dresses him in a doctor’s -cloak, and drawing the hood (<i>capirote</i>) over his eyes, -he conducts him blindfold, with comic effect, through a -variety of windings, to the house of Leonarda. The -lady receives him in the dark. Lights are afterwards -brought in, but Leonarda remains masked. A sumptuous -collation is prepared, of which the young gentleman’s -doubt and embarrassment will not permit him to taste -a morsel. He compares himself to Alexander, when -he took the suspected goblet from the hand of his -physician.<a id="FNanchor_372" href="#Footnote_372" class="fnanchor">372</a> A tender dialogue ensues, after which the -<span class="pagenum" id="Page_383">383</span> -hood is again drawn over the eyes of Camillo, and he is -conducted from Leonarda’s house. In this manner the -intrigue proceeds; but between many of the scenes, -whole days, and even weeks are supposed to intervene. -Leonarda and her lover become more and more intimate, -though he neither knows who she is, nor where she -resides. All his endeavours to discover these secrets -are unavailing; and at length he begins to suspect that -his unknown mistress is an old cousin of Leonarda. In -the mean time the three rejected suitors, who still mix -in the plot, become jealous of the coachman Urbano; -and one spirited scene succeeds another until an affray -occurs in which an honourable suitor of Leonarda is -wounded. This accident produces the denouement. -Camillo recognizes in his unknown mistress the beautiful -widow with whom he was previously acquainted, -and whose hand he joyfully accepts. Thus the piece -is a comedy from beginning to end.</p> - -<p>Lope de Vega’s spiritual comedies, afford a picture of -the religious notions of the Spaniards in the age in which -he lived, not less faithfully pourtrayed than that by which -his dramas of intrigue represent the manners of Spanish -society. Pure piety, according to catholic ideas, wildly -blended with the most contradictory chimeras, and -these chimeras again ennobled by the boldest flights of -imagination, form altogether a monstrous and extravagant -patch-work; but this heterogeneous variety is, -nevertheless, united by the ramifications of a poetic -<span class="pagenum" id="Page_384">384</span> -spirit, into a whole, to which no European imagination -could now be expected to produce a resemblance. But -Lope de Vega seems not to have come to a positive -determination respecting what ought to have been the -true spirit of these dramatic pictures of religious faith. -The mixture of poetic and unpoetic elements is very -unequal in his different spiritual comedies. His Lives -of the Saints possess far more dramatic spirit than his -Autos Sacramentales; while on the other hand, allegory -imparts a higher dignity to the religious mysticism of -the latter. Both, however, have in common a kind -of operatic style, combined with the display of theatrical -machinery and decoration, calculated to captivate the -senses. Of all the dramatic works of Lope de Vega, the -Lives of the Saints are in every respect the most irregular. -Allegorical characters, buffoons, saints, peasants, students, -kings, God, the infant Jesus, the devil, and all -the most heterogeneous beings that the wildest imagination -could bring together, are introduced. Music -seems always to have been an indispensable accessary. -Lope de Vega’s spiritual comedy, entitled the Life of -Saint Nicolas de Tolentino,<a id="FNanchor_373" href="#Footnote_373" class="fnanchor">373</a> commences with a conversation -maintained by a party of students, who -make a display of their wit and scholastic learning. -Among them is the future saint, whose piety shines -with the brighter lustre when contrasted with the disorderly -gaiety of those by whom he is surrounded. -The devil disguised by a mask joins the party. A -skeleton appears in the air; the sky opens, and the -<span class="pagenum" id="Page_385">385</span> -Almighty is discovered sitting in judgment attended -by Justice and Mercy, who alternately influence his -decisions. Next succeeds a love intrigue between a -lady named Rosalia, and a gentleman named Feniso. -The future saint then re-enters attired in canonicals, -and delivers a sermon in redondillas. The parents -of the saint congratulate themselves on possessing -such a son; and this scene forms the conclusion of -the first act. At the opening of the second a party -of soldiers are discovered; the saint enters accompanied -by several monks, and offers up a prayer in -the form of a sonnet. Brother Peregrino relates the -romantic history of his conversion. Subtle theological -fooleries ensue, and numerous anecdotes of the lives of -the saints are related. St. Nicolas prays again through -the medium of a sonnet. He then rises in the air, -either by the power of faith, or the help of the theatrical -machinery; and the Holy Virgin and St. Augustin -descend from heaven to meet him.<a id="FNanchor_374" href="#Footnote_374" class="fnanchor">374</a> In the third act -<span class="pagenum" id="Page_386">386</span> -the scene is transferred to Rome, where two cardinals -exhibit the holy sere cloth to the people by torch light. -Music performed on clarionets adds to the solemnity -of this ceremony, during which pious discourses are -delivered. St. Nicolas is next discovered embroidering -the habit of his order; and the pious observations which -he makes, while engaged in this occupation, are accompanied -by the chaunting of invisible angels. The music -attracts the devil, who endeavours to tempt St. Nicolas. -The next scene exhibits souls in the torments of purgatory. -The devil again appears attended by a retinue -of lions, serpents, and other hideous animals; but in a -scene, which is intended for burlesque, (<i>graciosamente</i>) -a monk armed with a great broom drives off the devil -and his suite.<a id="FNanchor_375" href="#Footnote_375" class="fnanchor">375</a> At the conclusion of the piece the saint -<span class="pagenum" id="Page_387">387</span> -whose beatification is now complete, descends from -heaven in a garment bespangled with stars. As soon -as he touches the earth, the souls of his father and -mother are released from purgatory and rise through -a rock; the saint then returns hand-in-hand with his -parents to heaven, music playing as they ascend.</p> - -<p>The <i>Autos Sacramentales</i> of Lope de Vega must -have been far less attractive than his Lives of the Saints. -Compared with the latter, their construction appears -very simple, and they are executed in a style of theological -refinement which could not have been perfectly -intelligible to the multitude. But the allegorical characters, -which are the most prominent in these pieces, -produce an imposing effect. The dramas themselves -are in general short. In one which represents the fall, -Man disputes with Sin and the Devil, and Earth and -Time take part in the dialogue. Next are discovered -Justice and Mercy seated beneath a canopy, and at a -table furnished with writing materials. Man is interrogated -before this tribunal. The Prince of heaven, or -Saviour, enters. Reflection, or Care, (<i>Cuidado</i>) kneels -and delivers a letter to him. The Saviour, who takes -his station behind a grating, makes Man undergo -another judicial examination, and pardons him.<a id="FNanchor_376" href="#Footnote_376" class="fnanchor">376</a> But -<span class="pagenum" id="Page_388">388</span> -the devil re-appears and protests against the pardon.<a id="FNanchor_377" href="#Footnote_377" class="fnanchor">377</a> -Man has next to contend with Vanity and Folly, who -are introduced as allegorical characters. Christ again -appears with the crown of thorns. In conclusion, the -heavens open and Christ ascends to his celestial throne, -with the usual accompaniment of music. Direct allusions -to the sacrament of the altar were seldom necessary -in the Autos, as the whole tendency of the allegorical -action was directed to that object.</p> - -<p>Lope de Vega’s <i>Loas</i>, and more particularly his -<i>Entremeses</i> and <i>Saynetes</i>, seem to have been intended -<span class="pagenum" id="Page_389">389</span> -to indemnify the audience for the theological allegory -of the sacramental dramas; for it is only in connection -with the Autos that these preludes and interludes -are to be found. The Loas are not always comic, -and are sometimes only spirited monologues. The -interludes, or Entremeses and Saynetes, may also be -called preludes, for though they were performed after -the Loa, which was properly the prologue, yet they -preceded the Auto: these interludes are burlesque -from beginning to end, and form a preparation for the -devotion of the Auto, quite in the Spanish taste. -Farces of this kind, pourtraying the incidents of common -life, never destitute of genuine comic spirit, and -written for the most part in verse, soon became indispensable -to the Spaniards, and even to this day are -never omitted in their dramatic performances. The -interludes of Lope de Vega and Cervantes seem to -have been the models of all that succeeded them.</p> - -<p>The dramatic genius of Lope de Vega has rendered -him immortal. In the seventeenth century his plays were -universally read and performed throughout Spain. In -general they were first published singly, and for the most -part with the bookseller’s epithet—<i>Comedia Famosa</i>, -(the Celebrated Comedy), which subsequently became a -universal device, affixed to all comedies printed in Spain. -In this manner Lope de Vega’s most popular comedies -were, partly during the life of the author, and partly -after his death, collected in five-and-twenty volumes;<a id="FNanchor_378" href="#Footnote_378" class="fnanchor">378</a> -<span class="pagenum" id="Page_390">390</span> -exclusively of the Autos, preludes, and interludes, which -afterwards formed a separate publication.<a id="FNanchor_379" href="#Footnote_379" class="fnanchor">379</a> Among -Lope’s scattered dramas which have been printed at a -later period, are some which are expressly denominated -tragedies.<a id="FNanchor_380" href="#Footnote_380" class="fnanchor">380</a></p> - -<p id="BRIEF_NOTICE_OF_HIS_OTHER_POETIC_WORKS">The other poetic works of this prolific writer, must -be very briefly noticed; for to give any thing like a -particular account of them would require the space of -a considerable volume.<a id="FNanchor_381" href="#Footnote_381" class="fnanchor">381</a> In epic poetry he maintained -an unsuccessful contest with Tasso. His <i>Jerusalem Conquistada</i>,<a id="FNanchor_382" href="#Footnote_382" class="fnanchor">382</a> -consists indeed of twenty cantos in octaves, -and contains some beautiful passages, but it will in no -respect bear a comparison with the Italian poem. Lope -de Vega also augmented the number of the continuers -of Ariosto’s Orlando, by the publication of <i>La Hermosura -de Angelica</i>,<a id="FNanchor_383" href="#Footnote_383" class="fnanchor">383</a> (the Beauty of Angelica), which is -also a narrative poem in twenty cantos, though shorter -<span class="pagenum" id="Page_391">391</span> -than those of the Jerusalem. His other attempts at -epic composition are—<i>La Corona Tragica</i>,<a id="FNanchor_384" href="#Footnote_384" class="fnanchor">384</a> (the Tragic -Crown), or the history of the unfortunate Mary Stuart, -Queen of Scotland; and the <i>Circe</i> and <i>Dragontea</i>.<a id="FNanchor_385" href="#Footnote_385" class="fnanchor">385</a> -The <i>Corona Tragica</i> is full of furious invective against -the protestants and against Queen Elizabeth in particular.<a id="FNanchor_386" href="#Footnote_386" class="fnanchor">386</a> -The hero of the <i>Dragontea</i> is Admiral Drake, -who is introduced in this poem as the tool of Satan, in -order that he may finally serve as an example of poetic -justice. To compete with Sanazzar, Lope wrote a second -Arcadia,<a id="FNanchor_387" href="#Footnote_387" class="fnanchor">387</a> in the style of the Italian. He likewise wrote -several poems, which may be called eclogues in the proper -sense of the term. His <i>Arte Nueva de Hazer Comedias</i>, -(New Art of Writing Comedies), is a humorous satire on -his opponents under the appearance of ridiculing himself.<a id="FNanchor_388" href="#Footnote_388" class="fnanchor">388</a> -He anonymously supplied the <i>Romancero General</i> -with thirty-six romances.<a id="FNanchor_389" href="#Footnote_389" class="fnanchor">389</a> His spiritual poems are to be -found in great profusion; and the number of his sonnets, -some of which possess first-rate merit, is considerable. -His <i>Laurel de Apolo</i>, a Eulogy on various Spanish -Poets, which has been frequently quoted, is but an -indifferent production.<a id="FNanchor_390" href="#Footnote_390" class="fnanchor">390</a> His epistles are sufficiently -numerous. Among his miscellaneous poems, those of -the comic kind have most originality, as for example: -<i>La Gatomachia</i>, (the Battle of Cats),<a id="FNanchor_391" href="#Footnote_391" class="fnanchor">391</a> and the whole -collection of miscellaneous poems which he published -under the assumed name of the Licentiate Tomè de -<span class="pagenum" id="Page_392">392</span> -Burguillos.<a id="FNanchor_392" href="#Footnote_392" class="fnanchor">392</a> Among his most celebrated prose works, -are <i>El Peregrino en su Patria</i>, (the Stranger in his own -Country), a tolerably long novel.<a id="FNanchor_393" href="#Footnote_393" class="fnanchor">393</a> <i>Dorothea</i>, a dramatic -story, or as it is called, <i>Accion en Prosa</i>;<a id="FNanchor_394" href="#Footnote_394" class="fnanchor">394</a> and a Collection -of Novels.<a id="FNanchor_395" href="#Footnote_395" class="fnanchor">395</a></p> - -<h3 id="THE_BROTHERS_LEONARDO_DE_ARGENSOLA">THE BROTHERS LEONARDO DE ARGENSOLA.</h3> - -<p>Among the poets who flourished during the period -now under consideration, the place next in rank to -Cervantes and Lope de Vega, must be assigned to two -brothers, whom their countrymen have surnamed the -Horaces of Spain. Lupercio Leonardo de Argensola -born in 1565, and Bartholemè Leonardo de Argensola, -born in 1566, belonged to a respectable family, of Italian -origin, but settled in Arragon. Lupercio, who pursued -his academic studies in Saragossa, had the satisfaction -to witness the successful performance of three tragedies, -which he wrote in the twentieth year of his age, and -which are honourably mentioned by Cervantes in his -Don Quixote. His taste, however, led him to cultivate -another style of poetry, in which he could imitate -Horace, of whom he was an enthusiastic admirer. His -family connection facilitated his introduction to persons -of rank; and he became secretary to the Empress Maria -of Austria, who at that time resided in Spain. He was -soon after appointed chamberlain to the Archduke -Albert of Austria. King Philip III. nominated him -<span class="pagenum" id="Page_393">393</span> -one of the chroniclers or historiographers of Arragon, -and directed him to continue the annals of Zurita; and -the states of Arragon, which already possessed their -own particular chronicler, seized some plausible excuse -for dismissing him, in order that Lupercio Leonardo de -Argensola might also be appointed historiographer for -them. He then determined to devote himself exclusively -to the duties of his office; but he was induced -to go to Italy in company with the Count de Lemos, -the celebrated patron of Cervantes, who was at that -time viceroy of Naples. Lupercio was appointed secretary -of state and of war for Naples; but amidst the -varied and laborious duties attached to such a situation, -he actively pursued his poetic studies, and did not even -discontinue his Arragonese annals. He was the principal -founder of the academy at Naples. While prosecuting -this honourable career he died in 1613, in the -fortieth year of his age. Like Virgil, when he felt the -approach of death, he burnt a considerable portion of -his poems.</p> - -<p>Bartholemè, the younger Leonardo de Argensola, -entered the ecclesiastical state. During the first half -of his life, his success in the world was inseparably -connected with the fortunes of his brother. He was -chaplain to the Empress Maria of Austria, then a -canon in Saragossa; and afterwards proceeded to Naples -in company with his brother and the Count de Lemos. -He quitted Italy on the death of his brother, and was -appointed to complete the continuation of the annals of -Arragon which Lupercio had left in an imperfect state; -a task which he executed in a way that gave universal -<span class="pagenum" id="Page_394">394</span> -satisfaction. While the Count de Lemos was president -of the council of the Indies, Bartholemè Leonardo de -Argensola wrote a history of the conquest of the Molucca -islands. He was indefatigable in the pursuit of -his historical and poetic studies; and after passing a -tranquil and honourable life, he died at Saragossa in -1631, in the sixty-sixth year of his age.<a id="FNanchor_396" href="#Footnote_396" class="fnanchor">396</a></p> - -<p>The poetry of these two brothers, who, in a critical -point of view, may both be regarded as one individual, -is not characterized by originality, or by depth of genius, -in the extended sense of the word. It is, however, -remarkable for a fine poetic feeling distinct from -enthusiasm, a vigorous and aspiring spirit, a happy -talent for description, poignant wit, classic dignity -of style, and above all, singular correctness of taste. -Both pursued the same course with equal ardour and -adroitness; but Bartholemè had the better opportunity -of cultivating his talent, because he lived longest. -Next to Luis de Leon, they are the most correct of all -Spanish poets.</p> - -<p id="TRAGEDIES_BY_THE_ELDER_ARGENSOLA">The tragedies with which Lupercio commenced his -poetic career, considered as youthful essays, are worthy -to be remembered, though they do not merit the unbounded -praise which Cervantes bestowed on them in -a fit of panegyrical enthusiasm. It appears that they -did not long maintain their place on the stage. Two of -the three mentioned by Cervantes were, at no very -<span class="pagenum" id="Page_395">395</span> -remote period, rescued from oblivion, and the third still -remains undiscovered.<a id="FNanchor_397" href="#Footnote_397" class="fnanchor">397</a> The two which have been recovered, -and which are entitled, the one <i>Isabella</i>, and -the other <i>Alexandra</i>, afford excellent specimens of language -and versification. The Alexandra contains scenes, -particularly in the second and third acts, which the -greatest tragic writer might advantageously adopt and -interweave into a better constructed piece.<a id="FNanchor_398" href="#Footnote_398" class="fnanchor">398</a> The Isabella -<span class="pagenum" id="Page_396">396</span> -is a trivial web of love intrigues, and terminates -in a manner sufficiently awful; but the piece is totally -destitute of tragic dignity, notwithstanding that it exhibits -the languishing and raging of two Moorish kings, -with all the pomp of oriental accessaries. Alexandra -presents more numerous and correct traits of resemblance -to the ancient drama; and yet towards the close -the action becomes most extravagant, and is marked by -all the tumult of a modern theatrical spectacle.</p> - -<p>But the poetic fame of Lupercio Leonardo de Argensola, -does not rest on his tragedies. His lyric poems, -epistles, and satires in the manner of Horace, have -transmitted his name, without the aid of any recommendation -to posterity. Lupercio formed his style -<span class="pagenum" id="Page_397">397</span> -after that of Horace, with no less assiduity than Luis -de Leon; but he did not possess the soft enthusiasm -of that pious poet, who in the religious spirit of his -poetry is so totally unlike Horace. An understanding -at once solid and ingenious, subject to no extravagant -illusion, yet full of true poetic feeling, and an imagination -more plastic than creative, impart a more perfect -horatian colouring to the odes, as well as to the canciones -and sonnets of Lupercio. He closely imitated -Horace in his didactic satires, a style of composition in -which no Spanish poet had preceded him. But he -never succeeded in attaining the bold combination of -ideas which characterizes the ode style of Horace; and -his conceptions have therefore seldom any thing like -the horatian energy. On the other hand, all his poems -express no less precision of language, than the models -after which he formed his style. His odes, in particular, -are characterized by a picturesque tone of expression, -which he seems to have imbibed from Virgil -rather than from Horace.<a id="FNanchor_399" href="#Footnote_399" class="fnanchor">399</a> The extravagant metaphors -<span class="pagenum" id="Page_398">398</span> -by which some of Herrera’s odes are deformed, were -uniformly avoided by Lupercio. His best sonnets are -those of a sententious cast, which have some moral -idea for their subject.<a id="FNanchor_400" href="#Footnote_400" class="fnanchor">400</a> He was likewise successful in -the composition of popular songs in redondillas. His -<span class="pagenum" id="Page_399">399</span> -epistles in tercets present, in their kind, about the same -degree of resemblance to the epistles of Horace, as is -observable between his odes and those of his classic -model. The ideas are expressed in a clear, precise, -and pleasing style; and these compositions are not destitute -of poetic and didactic interest. Still, however, -the vigour of Horace is wanting.<a id="FNanchor_401" href="#Footnote_401" class="fnanchor">401</a> Lupercio did not -enter, with sufficient decision, into the true spirit of -horatian satire. He consigned to his brother the task -of cultivating that class of composition, in which poetry -is scarcely distinguishable from spirited prose. Among -his writings, which escaped the flames, there is only one -<span class="pagenum" id="Page_400">400</span> -piece of satirical raillery, in the form of an epistle to a -coquette.<a id="FNanchor_402" href="#Footnote_402" class="fnanchor">402</a></p> - -<p id="EPISTLES_ODES">The poetic works of Bartholemè, the younger -Leonardo de Argensola, which have been preserved, -are twice as numerous as those of Lupercio. The style -of the two brothers is so similar, that in some cases -it is difficult, and in others totally impossible to distinguish -the one from the other. This extraordinary -conformity of character, talent and taste, appears at -first sight no less singular a phenomenon than the inexhaustible -fertility of Lope de Vega. But it will -be recollected, that these brothers, who were nearly of -an age, and almost inseparable companions, and who -were constantly occupied in the study and imitation of -the same models, could not fail, by the cultivation -of similar, and in neither original talents, closely to -<span class="pagenum" id="Page_401">401</span> -approximate. Still, however, traces of difference are discoverable -in their works. Bartholemè, by his numerous -epistles and satires, performed greater services to Spanish -poetry than his brother Lupercio. He was the first Spanish -writer who introduced concentrated satire in sonnets, -which he probably did after he became acquainted with -the Italian poems of that class, but he has imitated -them with the spirit of Horace, and has avoided every -thing like Italian flippancy. His spiritual canciones, -which are not equalled by any in the poetic works of -Lupercio, are among the best in the style to which they -belong. His most esteemed works bear the impress -of a more cultivated talent than is discernible in the -writings of his brother. His longer and properly didactic -satires are characterized by more causticity than -gaiety in the ridicule of general and particular follies.<a id="FNanchor_403" href="#Footnote_403" class="fnanchor">403</a> -But the enthusiasm of the moralist never leads him into -declamation in the manner of Juvenal; and these satires -<span class="pagenum" id="Page_402">402</span> -are equally replete with traits of mild philanthropy -and sound judgment. His epistles on human felicity -and human weakness have nearly the same character, -but they are for the most part serious and devoid of -irony.<a id="FNanchor_404" href="#Footnote_404" class="fnanchor">404</a> His satirical sonnets present unequal degrees -of merit; but in the best, the pupil of Horace is more -obviously recognisable.<a id="FNanchor_405" href="#Footnote_405" class="fnanchor">405</a> That Bartholemè should have -<span class="pagenum" id="Page_403">403</span> -succeeded in spiritual canciones, may at first sight be -deemed a psychological enigma. But it was precisely -his critical and reflective turn of mind which proved -most essentially serviceable in guiding him through the -gloomy regions of catholic mysticism. Being an enthusiastic -catholic, he wanted no extraordinary inspiration -to furnish him with religious ideas; and the faculties -of a language eminently picturesque, supplied him with -new views and images which he alternately developed -in majestic descriptions,<a id="FNanchor_406" href="#Footnote_406" class="fnanchor">406</a> and pleasing comparisons.<a id="FNanchor_407" href="#Footnote_407" class="fnanchor">407</a> -<span class="pagenum" id="Page_404">404</span></p> - -<p>The praises lavished on the Argensolas by all -parties, would afford sufficient ground for the conjecture -that their poetic works had produced some -influence on their contemporaries. But that influence -is chiefly obvious from the poetic style of the men of -talent with whom they lived on terms of intimacy, of -one of whom, named Alonzo Esquerro, there is extant -a short but excellent epistle, published along with the -answer of Bartholemè de Argensola.</p> - -<p>The historical works of the younger Argensola, are -also deserving of honourable mention in an account of -the polite literature of Spain. Few narratives of Indian -affairs are written with so much judgment and elegance -<span class="pagenum" id="Page_405">405</span> -as his History of the Conquest of the Molucca Islands;<a id="FNanchor_408" href="#Footnote_408" class="fnanchor">408</a> -and his continuation of the Annals of Zurita,<a id="FNanchor_409" href="#Footnote_409" class="fnanchor">409</a> exceeds -in rhetorical merit the work of the original historiographer. -The circumstances connected with the accession -of Charles V. and the Castilian rebellion, subjects -to which no Spanish writer had previously ventured to -allude, are related by Argensola with no less freedom -and fidelity than other events; though of course without -his attempting to urge any apology for the rebels. In -the reign of Philip III. but little danger was to be -apprehended from such freedom; and when, in the year -1621, Philip IV. ascended the throne in the seventeenth -year of his age, Argensola did not hesitate to dedicate -his Arragonian Annals to the Duke of Olivarez, who in -the name of the young king was invested with unlimited -sovereign authority. The Duke of Olivarez on receiving -this dedication little imagined that the recollection of the -ancient privileges of the Arragonian states, which had -been solemnly ratified by Charles V. and which were so -much expatiated on in these annals, would, at no very -remote period, be the means of rousing the people of -Arragon to take up arms in defence of their constitution, -on which the duke wished to encroach, in order to -recruit the exhausted strength of Castile. -<span class="pagenum" id="Page_406">406</span></p> - -<h3 class="hang" id="CONTINUATION_OF_THE_HISTORY_OF_SPANISH_POETRY">CONTINUATION OF THE HISTORY OF SPANISH POETRY -AND ELOQUENCE DURING THE AGE OF -CERVANTES AND LOPE DE VEGA.</h3> - -<p>A very accurate idea of the general spirit of elegant -literature in Spain, during the age of Cervantes -and Lope de Vega, will be obtained, if, to an examination -of the works of those eminent men and the two -Argensolas, be added a recollection of the labours of -their immediate predecessors; for the other Spanish -poets of this period followed in the beaten path as far -as they were able to go, and if any one ventured on a -new course he only wandered into insipidity. These -authors, though deficient in originality, are not without -merit; but so great is their number, that it would be -impossible to find room for even a very brief notice of -all their works in a general history of literature. There -was at this time a sort of poetical ferment in Spain, -which can only be compared with that which prevailed -in Italy during the sixteenth century. The blending -of the Italian style with the old Spanish, had excited a -new enthusiasm throughout the whole nation; and in -proportion as the Spaniards were excluded from philosophic -thinking, their passion for works of fancy was -augmented. Under these circumstances eloquence could -only follow in the train of poetry.<a id="FNanchor_410" href="#Footnote_410" class="fnanchor">410</a> -<span class="pagenum" id="Page_407">407</span></p> - -<h3 id="FRESH_FAILURES_IN_EPIC_POETRY">FRESH FAILURES IN EPIC POETRY—ERCILLA’S -ARAUCANA.</h3> - -<p>Success in epic poetry was still denied to the Spanish -muse. The confounding of epic poetry with relations -of actual events embellished with poetic language, seems -to have perverted the talent for true epopee. The -Spanish poets who attempted this style, studied after -the deceitful model of Lucan, and, according to an old -critical phrase, endeavoured to be more <i>Lucanists</i> than -Lucan himself. The imagination which possessed unbounded -dominion over the stage, seems to have obtained -in narrative poetry only the scanty privilege of -inventing a few ornaments.</p> - -<p>Among the unsuccessful attempts at epopee, particular -distinction is due to the <i>Araucana</i> of the heroic -and amiable Alonzo de Ercilla y Zuñiga, a poem which -has the accidental advantage of being better known on -this side of the Pyrenees than many other Spanish -works of far superior merit. Ercilla has recorded the -most remarkable events of his own biography in the -<i>Araucana</i>, and the remainder of the poem also reflects -an interest on the author. He was born at Madrid in -1540, or according to some in 1533, and became page -to the prince of Asturias, Don Philip, with whom he -travelled to Italy, the Netherlands, and England. At -the age of twenty-two, he embarked as an officer for -America, along with a newly appointed viceroy of Peru. -He distinguished himself in the war against the Araucans, -the bravest of the South American tribes. In -the midst of his exploits, he conceived with a youthful -<span class="pagenum" id="Page_408">408</span> -ambition the plan of writing a narrative of the conquest -of Arauco in an epic form, but with the strictest regard -to historical truth. He executed his project in spite of -the dangers which surrounded him, and the fatigues he -had to undergo. In a wilderness inhabited by savages, -in the midst of enemies, and under no other cover than -that of heaven, he composed at night the verses which -were to be the memorials of the events of the day. In -prosecution of his purpose, he was obliged to use scraps -of waste paper, which often could not contain more than -six lines, or to make pieces of leather supply the total -want of paper. In this way he completed the first part -of his poem, consisting of fifteen cantos. Before he was -thirty years of age he returned to Spain, full of hope, -both as a soldier and a poet; but the gloomy Philip, to -whom he enthusiastically dedicated the <i>Araucana</i>, took -little notice of him, and less of his work. Ercilla deeply -felt this neglect; but nothing could damp his romantic -attachment to his cold-hearted sovereign, whom he still -persisted in celebrating in the sequel of his poem. He received -no mark of favour except from the Emperor Maximilian -II. who appointed him one of his chamberlains. -Dissatisfied with his fate, Ercilla travelled from place to -place; but his journies did not prevent him from proceeding -with his poem until he completed it by the -addition of a third part. When he died is not known, -but it was after he had attained his fiftieth year.</p> - -<p>The <i>Araucana</i>, so called from the country Arauco, -is really no poem. It is, however, impossible to read -the work without becoming attached to the author, and -being delighted by his talent for lively description, and -<span class="pagenum" id="Page_409">409</span> -for painting situations, his possession of which no just -critic can call in question. But notwithstanding that -talent, Ercilla is merely a versifying historian, capable of -clothing his subject in a poetic garb, but not of elevating -it to the sphere of true poetry. His diction is natural -and correct; and to this the <i>Araucana</i> is in a great measure -indebted for its celebrity. Its descriptive beauties, -and some scenes in the style of romantic love, certainly -make the composition approximate to poetry; but the -heroic spirit which pervades the whole work, is by no -means a poetic spirit. The principal events follow each -other in chronological order. The combats are described -in succession, as they actually arose, without any regard -to poetic interest. Ercilla, indeed, prided himself on this -historical precision, and he challenged any of his countrymen -who were acquainted with the war in Arauco, -to detect a single inaccuracy in his narrative. The -historical succession of events imparts, however, a sort -of epic unity to the work. The Spaniards in Arauco -are surrounded by dangers, which gradually augment -until they reach a crisis; when a reinforcement arrives -from Peru, and the Spaniards experience a favourable -change of fortune. The capture of Caupolican, the -Araucan commander, who is put to death in a way repugnant -to humanity, closes the narrative, though it -does not terminate the war; but the barbarous and -unjust execution of this brave chief being decreed by -a Spanish council of war, is not censured by Ercilla. -From the manner in which the poem concludes, it must -be regarded as incomplete, considered as an historical -narrative. Even the moral interest of the events -<span class="pagenum" id="Page_410">410</span> -operates in a way contrary to the intention of the -author; for the feelings of the unprejudiced reader are, -from the commencement excited in favour of the brave -savages, who half-naked, and destitute of fire arms, -contend for their natural freedom against enemies so -superior in the art of war. The style of historical -truth in which the principal events are narrated, forms -a disagreeable contrast with the fiction in the details, -which is intended to diffuse a poetic character over the -whole work; for Ercilla at length found it necessary to -depart from his plan in order to escape from the monotony -into which he had fallen. In the first fifteen -cantos the poetic colouring is merely confined to the -descriptions; but in the two following parts,<a id="FNanchor_411" href="#Footnote_411" class="fnanchor">411</a> the author -has interwoven a number of fabulous accessaries. He -has introduced, for example, a poetic account of the -magician Fiton’s wonderful skill and garden of paradise,<a id="FNanchor_412" href="#Footnote_412" class="fnanchor">412</a> -and also the story of the fair savage Glaura, -who recounts the incidents of her life in the style of a -<span class="pagenum" id="Page_411">411</span> -Spanish romance.<a id="FNanchor_413" href="#Footnote_413" class="fnanchor">413</a> Ercilla likewise relates the death -of Dido after Virgil, and in honour of his king he gives -<span class="pagenum" id="Page_412">412</span> -a detailed account of the battle of Lepanto. In addition -to the descriptions, some of the speeches, particularly -that delivered by the Cacique Colocolo in the -second canto,<a id="FNanchor_414" href="#Footnote_414" class="fnanchor">414</a> may be referred to as the best parts of -this unpoetic poem.</p> - -<p>Meanwhile the passion for epic poetry, which took -possession of so many Spanish writers in the age of -Cervantes and Lope de Vega, gave birth to a torrent of -<span class="pagenum" id="Page_413">413</span> -heroic poems. To the Caroliads, which have already -been noticed, there succeeded <i>La Restauracion de -España</i>, (the Restoration of Spain), by Christoval de -Mesa; <i>Las Navas de Tolosa</i>, (the Plains of Toulouse), -by the same author; <i>La Numantina</i>, by Francisco de -Mesquera; <i>La Invencion de la Cruz</i>, (the Invention -of the Cross), by Lopez Zarate; <i>Maltea</i>, by Hyppolyto -Sanz; <i>El Leon de España</i>, (the Spanish Lion), by -Pedro de Vezilla; <i>Saguntina</i>, by Lorenzo de Zamora; -<i>Mexicana</i>, by Gabriel Laso de Vega; <i>Austriada</i>, by Rufo -Guttieraz; &c. None but men who make this branch of -literature their particular study, now think of perusing -these and similar patriotic effusions, which were at the -period of their publication regarded as epic poems,<a id="FNanchor_415" href="#Footnote_415" class="fnanchor">415</a> but -which only serve to prove, with the greater certainty, that -Spain is incapable of producing a Homer. A genuine -subject for epopee was scarcely to be found in the national -history of Spain, even during the ages of chivalry; and -modern history was not then more susceptible than -now of receiving a truly epic form.</p> - -<h3 id="LYRIC_AND_BUCOLIC_POETS">LYRIC AND BUCOLIC POETS OF THE CLASSIC -SCHOOL OF THE SIXTEENTH CENTURY.</h3> - -<p>Lyric and bucolic poetry and also elegant satire, -after the two Argensolas had given the tone to that -species of composition, continued to be cultivated by -various pupils of the classic school of the sixteenth -century. This school which was then on the decline -in Italy, still maintained its ground in Spain, and -<span class="pagenum" id="Page_414">414</span> -preserved its reputation in spite of the opposition made -by the different parties who contended for their respective -styles, particularly by that of Lope de Vega, and by -one of a still more dangerous kind, which will soon be -more distinctly noticed. The disciples of this classic -school, together with those writers who, since the time -of Boscan and Garcilaso de la Vega, had formed their -style on the model of the ancients and the most -esteemed poets of Italy, may be called the Spanish -<i>Cinquecentisti</i>, in a favourable sense of the term, though -some of them wrote in the seventeenth century. The -most distinguished among them really flourished in the -sixteenth century; and the rest, whose number is incalculable, -possessed, at least, the merit of endeavouring, -like the Italian <i>Cinquecentisti</i>, to express sensible ideas -in correct language.</p> - -<p id="VICENTE_ESPINEL">To this classic school belongs Vicente Espinel, an -ecclesiastic of the province of Granada. He was likewise -celebrated as a musician, and he perfected the -Spanish guitar by the addition of the fifth string. He -died in poverty, in the ninetieth year of his age, at -Madrid in 1634. His canciones, idyls, and elegies, though -destitute of originality, are distinguished by a spirited -and inartificial character, and they abound in beautiful -images and descriptions. Espinel’s poetic style is -extremely melodious. In his idyls he has very successfully -imitated the pleasing syllabic measure which -Gil Polo introduced into Spanish literature under the -name of <i>Rimas Provenzales</i>;<a id="FNanchor_416" href="#Footnote_416" class="fnanchor">416</a> and he was one of those -<span class="pagenum" id="Page_415">415</span> -writers who most contributed to bestow a metrical polish -on the redondilla stanzas of ten lines, (<i>decimas</i>). He -translated Horace’s Art of Poetry, in iambic blank -verse, and several of Horace’s Odes after the manner -of Luis de Leon. Some of this author’s prose works -will hereafter be noticed.<a id="FNanchor_417" href="#Footnote_417" class="fnanchor">417</a></p> - -<p id="CHRISTOVAL_DE_MESA">Christoval de Mesa, an ecclesiastic of Estremadura, -<span class="pagenum" id="Page_416">416</span> -was contemporary with Tarquato Tasso, with whom -he maintained the most friendly intercourse. He made, -however, very little improvement in epic art through -his intimacy with that celebrated man. Of three -compositions, which Christoval de Mesa intended for -epic poems, not one has been preserved from oblivion. -His tragedy of Pompey is likewise forgotten. He was -nevertheless a good translator; and his translations of -the Æneid and the Iliad are esteemed even at the -present day. He also published a Spanish version of -Virgil’s Georgics.</p> - -<p id="JUAN_DE_MORALES">Juan de Morales obtained a similar reputation -through his translation of Horace’s Odes and Virgil’s -Georgics. The particulars of his life are not known. -He wrote some good sonnets.<a id="FNanchor_418" href="#Footnote_418" class="fnanchor">418</a> This writer must not -be confounded with his namesake, Ambrosio de Morales, -the historian. -<span class="pagenum" id="Page_417">417</span></p> - -<p id="AGUSTIN_DE_TEXADA">Agustin de Texada, or Tejada, who was born in the -year 1635, is distinguished as a writer of spiritual odes -and canciones. His poems in this class vie with those -of the younger Argensola in poetic dignity of composition -and genuine lyric diction.<a id="FNanchor_419" href="#Footnote_419" class="fnanchor">419</a> He has, however, -committed the error of introducing mythological images -in his christian poetry. But in this respect he merely -conformed with the bad taste of his age, which in Spain -and Portugal favoured the most absurd misapplication -of the Greek mythology; for, to humour the prejudices -of the church, it was necessary that the heathen deities -should appear only as allegorical characters in catholic -poetry.</p> - -<p>Andres Rey de Artieda, a brave Arragonian officer, -was a very learned scholar and a particular friend of -the Argensolas. Among other works, he wrote poetic -<span class="pagenum" id="Page_418">418</span> -epistles which are full of good sense and natural feeling.<a id="FNanchor_420" href="#Footnote_420" class="fnanchor">420</a> -His sonnets are remarkable for their novel and poignant -style.<a id="FNanchor_421" href="#Footnote_421" class="fnanchor">421</a> -<span class="pagenum" id="Page_419">419</span></p> - -<p>Gregorio Morillo imitated Juvenal in his didactic -satires, and vented his spleen in well-turned verses.<a id="FNanchor_422" href="#Footnote_422" class="fnanchor">422</a></p> - -<p>Luis Barahona de Soto is, in preference to many of -his contemporaries, entitled to an honourable place among -Spanish poets. He was born in the province of Granada, -and was a physician by profession. His eclogues resemble -those of Garcilaso de la Vega; and his canciones abound -in romantic grace.<a id="FNanchor_423" href="#Footnote_423" class="fnanchor">423</a> His satires, which were lately -<span class="pagenum" id="Page_420">420</span> -republished, have the spirit of Juvenal, but want the -delicacy of Horace; they are, however, written in a -clear and energetic style. This writer moreover gained -celebrity by a continuation of the Orlando Furioso, -which was highly esteemed by Cervantes, and which -is entitled, <i>Las Lagrimas de Angelica</i>, (the Tears of -Angelica).<a id="FNanchor_424" href="#Footnote_424" class="fnanchor">424</a></p> - -<p>Pedro Soto de Rojas, who was a particular favourite -of Lope de Vega, endeavoured to introduce the academic -systems of Italy, which had never been successfully -<span class="pagenum" id="Page_421">421</span> -imitated in Spain. A literary society established at -Madrid, after the Italian fashion, received the ludicrous -title of <i>Academia Selvaje</i>, (Academy of Savages;) and -in this society Soto de Rojas was distinguished by the -surname of <i>l’Ardiente</i>. His eclogues have the usual -character of Spanish poems of that class, clothed in -elegant and harmonious language.<a id="FNanchor_425" href="#Footnote_425" class="fnanchor">425</a></p> - -<p>Luis Martin, or Martinez de la Plaza, an ecclesiastic -of Granada, a province fertile in literary talent, was -particularly celebrated for the grace of his madrigals, -and other small poems of a similar kind.<a id="FNanchor_426" href="#Footnote_426" class="fnanchor">426</a> -<span class="pagenum" id="Page_422">422</span></p> - -<p>Balthazar del Alcazar, who appears to have been a -native of Andalusia, sought to distinguish himself as a -writer of epigrammatic madrigals. In his comic madrigals,<a id="FNanchor_427" href="#Footnote_427" class="fnanchor">427</a> -he was, however, less successful than in those of -gallantry.<a id="FNanchor_428" href="#Footnote_428" class="fnanchor">428</a> He also appears to have been one of the -<span class="pagenum" id="Page_423">423</span> -first Spanish poets who wrote odes in sapphic feet, in -so far as the Spanish language would permit the employment -of that measure.<a id="FNanchor_429" href="#Footnote_429" class="fnanchor">429</a></p> - -<p>Gonzalo de Argote y Molina, one of those brave -men, who, in the reign of Philip II. combated with -enthusiasm for the honour of their country and their -king, but whose valour remained unrequited, was more -distinguished as an historian than as a poet. To his -literary patriotism the Spaniards were indebted for -the publication of the Infante Don Manuel’s <i>Conde -Lucanor</i>.<a id="FNanchor_430" href="#Footnote_430" class="fnanchor">430</a> His poems are, however, worthy of honourable -notice. An ardent love of country is the -soul of his canciones and other lyric compositions.<a id="FNanchor_431" href="#Footnote_431" class="fnanchor">431</a> -<span class="pagenum" id="Page_424">424</span></p> - -<p>Francisco de Figueroa spent a portion of his life in -Italy, in the twofold capacity of an officer and a statesman. -During his residence among the Italians, he enjoyed -a degree of public esteem which was extended -to few of his countrymen. He wrote poems in Italian -as well as in Spanish. Among his friends and admirers -he was called the <i>divine</i>, and he was ranked among -the most eminent Petrarchists of his age. His amatory -sonnets are written in a pleasing and natural style, and -abound in the softest touches of romantic melancholy.<a id="FNanchor_432" href="#Footnote_432" class="fnanchor">432</a> -<span class="pagenum" id="Page_425">425</span> -The admirers of Francisco de Figueroa likewise conferred -on him the surname of the Spanish Pindar; but -that was a mere whim.<a id="FNanchor_433" href="#Footnote_433" class="fnanchor">433</a></p> - -<p>Christoval Suarez de Figueroa, who was an imitator -of Montemayor, wrote a pastoral romance, entitled -<i>Amarillis</i>, which was very generally read at the time -of its publication. He also made a translation of Guarini’s -Pastor Fido, and cultivated with some degree of -success the Italian lyric forms of pastoral romance. -Some of the poems of the latter class contained in the -<i>Romancero General</i>, appear to be written by this -author. His <i>Endechas</i>, or Elegiac Songs in the popular -style, though not particularly rich in ideas, are nevertheless -pleasing with respect to language and versification.<a id="FNanchor_434" href="#Footnote_434" class="fnanchor">434</a> -<span class="pagenum" id="Page_426">426</span></p> - -<p>Another poet of this name, Bartholomè Cayrasco -de Figueroa, is the author of a long series of spiritual -canciones and tales called <i>cantos</i>, which were much -esteemed on account of the edification attributed to -their contents. In these poems he explains the mysticism -of the christian religion, according to the catholic -dogmas and the scholastic ideas of christian virtue, in -a manner more pedantic than poetic; but yet in pure -and elegant language. He was likewise one of the -Spanish imitators of the Italian verse with dactyllic -terminations, called <i>versos esdrujolos</i>, from the Italian -<i>versi sdruccioli</i>.<a id="FNanchor_435" href="#Footnote_435" class="fnanchor">435</a> -<span class="pagenum" id="Page_427">427</span></p> - -<p>Juan de Arguijo, a native of Seville, seems to have -enjoyed high reputation among the poets of his time. -Lope de Vega formally dedicated several of his works -to him. Some well written sonnets and other small -poems are the only productions of this author now -extant.<a id="FNanchor_436" href="#Footnote_436" class="fnanchor">436</a></p> - -<p>Pedro Espinosa, an ecclesiastic who possessed some -poetic talent, and who wrote on various subjects, compiled -a lyric anthology of the works of the above and -other Spanish poets, who adhered more or less rigidly to -the principles of the old school, but whose fancy sometimes -roamed unrestrained with Lope de Vega, or -sometimes degenerated into affectation with Gongora.<a id="FNanchor_437" href="#Footnote_437" class="fnanchor">437</a> -<span class="pagenum" id="Page_428">428</span></p> - -<h3 id="RISE_OF_A_NEW">RISE OF A NEW IRREGULAR AND FANTASTICAL -STYLE IN SPANISH POETRY.</h3> - -<p>It is impossible to draw a rigid line of separation -between the disciples of the classic school, and the partizans -of lyric irregularity, who indulged in no less -freedom than Lope de Vega, while at the same time -they endeavoured to exceed him in forced conceits. -Even the disciples of the classic school are not totally -exempt from extravagant ideas and unnatural metaphors; -and they occasionally pour forth a torrent of -words, which though sometimes big with brilliant -ideas, more frequently wastes itself in mere froth and -foam. It cannot be doubted that the Italian school of -the Marinists exercised an influence on these Spanish -poets. But Marino, being a Neapolitan by birth, was -a Spanish subject, and educated among Spaniards. -It is therefore more natural to regard his style as originally -Spanish, than to trace to Italy the source of -those aberrations of fancy, which, in the age of Cervantes -and Lope de Vega, again found admirers in -Spain. Marino’s was the old Spanish national style, -with all its faults, divested of its ancient energy and -purity, polished after a new fashion, stripped of its -simplicity, tortured into the most absurd affectation of -refinement, and that affectation displayed in a boundless -prolixity.</p> - -<p>One of the most zealous adherents of this party was -Manuel Faria y Sousa, a Portuguese by birth. Some -cause of discontent had induced him to quit his native -country and to fix his residence in Spain; and in composing -<span class="pagenum" id="Page_429">429</span> -both poetry and prose, he in general preferred -the Castilian to his vernacular tongue.<a id="FNanchor_438" href="#Footnote_438" class="fnanchor">438</a> It can scarcely -be supposed that he introduced this perverted taste from -Portugal; though his Portuguese poems exhibit no less -affectation of style than those which he composed in -Castilian, and in which a judicious direction of the -fancy is seldom observable. His ideas are, for the -most part, intolerably fantastic. One of his Castilian -songs, for example, is composed in honour of his mistress’s -eyes, “in whose beauty, (he says) love has inscribed -the poet’s fate, and which are as large as his -pain, and as black as his destiny, &c.”<a id="FNanchor_439" href="#Footnote_439" class="fnanchor">439</a> He displays -<span class="pagenum" id="Page_430">430</span> -similar extravagance in most of his Castilian sonnets: -in one, for instance, he relates “how ten lucid arrows of -chrystal, were darted at him from the eyes of his Albania, -which produced a <i>rubious</i> effect on his pain, -though the cause was chrystaline,” &c.<a id="FNanchor_440" href="#Footnote_440" class="fnanchor">440</a> In this absurd -style he composed hundreds of sonnets. Faria y Sousa, -however, wrote several good works on history and statistics;<a id="FNanchor_441" href="#Footnote_441" class="fnanchor">441</a> -and it must be recollected that in his poetry he -merely followed the party which he most admired, and -<span class="pagenum" id="Page_431">431</span> -which indeed had its precursors in Portugal as well as -in Spain.</p> - -<p>This party which soon became powerful, imitated -the negligence of Lope de Vega. But Lope de Vega -was not a pedant; and when he failed in producing -real beauties, he did not coin false ones. His pretended -imitators, however, used the alloy of pedantry most -unsparingly, and thereby carried the affectation of ingenious -thoughts, in the style of the Italian Marinists, -to an incredible height.</p> - -<h3 id="GONGORA_AND_HIS_ESTILO_CULTO">GONGORA AND HIS ESTILO CULTO—THE CULTORISTOS—THE -CONCEPTISTOS.</h3> - -<p>Luis de Gongora de Argote was the founder and the -idol of the fantastical sect, which at this period led the -fashion in literature, and attempted to create a new -epoch in Spanish poetry by dint of exquisite cultivation -and refinement. Gongora was a man of shrewd and -powerful mind; but his natural faculties were perverted -by a systematic prosecution of absurd critical reveries. -Through life he had to maintain a constant struggle -with the frowns of fortune. He was born in Cordova, -in the year 1561; and after completing his studies in -his native city found himself without any provision for -the future. He took holy orders, and after eleven years -of solicitation at the court of Madrid, obtained a scanty -benefice. The dissatisfied turn of mind, occasioned by -his adverse fortune, contributed to develope that caustic -wit, for which he was particularly distinguished. He -wrote satirical sonnets, which for bitterness of spirit -<span class="pagenum" id="Page_432">432</span> -can scarcely be exceeded;<a id="FNanchor_442" href="#Footnote_442" class="fnanchor">442</a> and he was still more successful -in romances and songs in the burlesque satirical -style. Works of this kind, did not, it is true, possess -the merit of novelty in Spanish literature; but Gongora’s -satirical poems are vastly superior to those of Castillejo. -It would be scarcely possible to preserve, in a translation, -the caustic spirit of Gongora’s romances and songs. -To give full effect to these compositions, the genuine -national spirit of the serious romances and canciones -must never be lost sight of. In Gongora’s satirical -works the language and versification are correct and -elegant, and the piquant simplicity of the whole -style would never lead to the supposition that the -ambition of marking an epoch in literature could -have betrayed the author into the most intolerable -affectation.<a id="FNanchor_443" href="#Footnote_443" class="fnanchor">443</a> He was less successful in seizing the -<span class="pagenum" id="Page_433">433</span> -cordial tone of the old narrative romances. But his canciones -in the ancient Spanish style are in general masterly -compositions, full of true natural and poetic feeling.<a id="FNanchor_444" href="#Footnote_444" class="fnanchor">444</a> -<span class="pagenum" id="Page_434">434</span></p> - -<p>It was doubtless in one of his moments of ill-humour -that Gongora conceived the idea of creating for serious -poetry a peculiar phraseology, which he called the <i>estilo -culto</i>, meaning thereby the highly cultivated or polished -style. In fulfilment of this object, he formed for -himself, with the most laborious assiduity, a style as -uncommon as affected, and opposed to all the ordinary -rules of the Spanish language, either in prose or verse. -He particularly endeavoured to introduce into his native -tongue the intricate constructions of the greek and -latin, though such an arrangement of words had never -before been attempted in Spanish composition. He -consequently found it necessary to invent a particular -system of punctuation, in order to render the sense of -his verses intelligible. Not satisfied with this patchwork -kind of phraseology he affected to attach an extraordinary -depth of meaning to each word, and to diffuse an air -of superior dignity over his whole style. In Gongora’s -poetry the most common words received a totally new -signification; and in order to impart perfection to his -<i>estilo culto</i>, he summoned all his mythological learning -<span class="pagenum" id="Page_435">435</span> -to his aid. Such was Gongora’s <i>New Art</i>. In this style -he wrote his <i>Soledades</i>, his <i>Polyphemus</i>, and several -other works. Even the choice of the title <i>Soledades</i>, -(Solitudes), was an instance of Gongora’s affectation; for -he did not intend to express by that term the signification -attached to a similar Portuguese word, (<i>Saudade</i>), -which is the title for a work relating to the thoughts -and aspirations of a recluse. Gongora wished by his -fantastic title to convey an idea of solitary forests, -because he had divided his poem into <i>sylvas</i>, (forests), -according to a particular meaning which the word bears -in latin. This work, like all Gongora’s productions in -the same style, is merely an insipid fiction, full of pompous -mythological images, described in a strain of the -most fantastic bombast.<a id="FNanchor_445" href="#Footnote_445" class="fnanchor">445</a> The Duke of Bejar, to -whom the work is inscribed, must, if he only read -the dedicatory lines, have imagined himself transported -<span class="pagenum" id="Page_436">436</span> -to some foreign region, in which the Spanish language -was tortured without mercy.<a id="FNanchor_446" href="#Footnote_446" class="fnanchor">446</a> Gongora appears to -have been peculiarly anxious to develope the spirit of -his <i>New Art</i>, both at the commencement and the close -of his whimsical compositions.<a id="FNanchor_447" href="#Footnote_447" class="fnanchor">447</a> -<span class="pagenum" id="Page_437">437</span></p> - -<p>Gongora’s innovations did not, however, tend to better -his fortune; for when he died in 1627, he held merely -the post of titular chaplain to the king. But his works -were universally read in Spain; and in proportion as -men of sound judgment emphatically protested against -the absurd innovations of the Gongorists, the more -vehemently did these assert their pretensions.<a id="FNanchor_448" href="#Footnote_448" class="fnanchor">448</a> Thus -Gongora in some measure attained his object. His -arduous exertions to establish his style did not, it is -true, promote him to a lucrative post; but they were -rewarded with the unlimited admiration of a numerous -party, composed of men of half-formed taste, who -found it easy in the crisis of the conflict between the -Spanish national style and the Italian, to raise themselves -into importance. Proud of their half cultivation, -they regarded every writer who did not admire and -imitate the style of their master, as a man of limited -talent, incapable of appreciating the beauties of their -<i>estilo culto</i>.<a id="FNanchor_449" href="#Footnote_449" class="fnanchor">449</a> But none of Gongora’s partizans possessed -<span class="pagenum" id="Page_438">438</span> -the talent of their leader, and their affectation became -on that account still more insupportable. They soon -separated into two similar yet distinct schools, one of -which represented the pedantry of its founder, while -the other, in order to render the art of versifying the -easier, even dispensed with that precision of style which -Gongora, in his wildest flights, still sought to preserve. -The disciples of the first school were proud to be the -commentators of their master; and in their voluminous -illustrations of Gongora’s unintelligible works, they did -not neglect to pour forth all the stores of their erudition.<a id="FNanchor_450" href="#Footnote_450" class="fnanchor">450</a> -These were called the <i>Cultoristos</i>, a name which -was applied to them in derision. The second school -of the Gongorists more nearly resembled that of the -Marinists; and its disciples were distinguished by the -name of <i>Conceptistos</i>, in imitation of the Italian term -<i>Concettisti</i>, which was applied to the followers of Marino. -The <i>Conceptistos</i> revelled in the wildest regions of -fancy, without the least regard to propriety or precision, -and were only desirous of expressing preposterous and -extravagant ideas (<i>concetti</i>) in the unnatural language of -Gongora. Some individuals of this party were, however, -inclined to imitate the careless style of Lope de Vega.</p> - -<p>Alonzo de Ladesma, who died a few years before -Gongora, obtained admirers for his poems, chiefly spiritual, -which he wrote in the obscure phraseology of the -<span class="pagenum" id="Page_439">439</span> -<i>estilo culto</i>.<a id="FNanchor_451" href="#Footnote_451" class="fnanchor">451</a> For example, in paraphrazing the mysteries -of the catholic faith in lyric romances, he thus speaks -of the birth of the Saviour:—“The star of the east rose -at the time ordained by God, so that the enemy of day -might lose the prey he had seized, and with it the hope -of his false pretensions, as God assumed human flesh in -order that man might enjoy him,” &c.<a id="FNanchor_452" href="#Footnote_452" class="fnanchor">452</a> To men imbued -with superstition, and denied all reasoning in matters of -faith, ravings of this kind were well calculated to turn -their heads, and involve them in a vortex of romantic -mysticism.</p> - -<p>Felix de Arteaga was likewise a zealous cultivator -of this distorted style, both in sacred and profane poetry. -<span class="pagenum" id="Page_440">440</span> -In 1618, he held the post of court chaplain at Madrid, -and he lived until the year 1633. The chief portion -of his songs, romances, and sonnets, are of the pastoral -kind. He extols “the miracles of the fair Amarillis, -that angel of the superior class, to whom truth and passion -have given the name of Phœnix. She once espied -before her door a peasant, who, though not worthy to -adore her, was yet worthy to languish for her sake. -This happened one evening, which was a morning, since -Aurora smiled, and shewed white pearls between rows -of glowing carmine. The angel was amused by burning -those she had illumined, and this beautiful angel fell from -the heaven of her ownself,” &c.<a id="FNanchor_453" href="#Footnote_453" class="fnanchor">453</a> This author also wrote, -after the manner of Lope de Vega, a comedy, called -<i>Gridonia</i>, which he styles a royal invention, (<i>invencion -real</i>), because potentates, princes, and princesses are -<span class="pagenum" id="Page_441">441</span> -brought together from the most distant parts of the -earth, and introduced with vast scenic pomp.<a id="FNanchor_454" href="#Footnote_454" class="fnanchor">454</a></p> - -<p>Some of the adherents of this party, who were -distinguished for natural genius and ability, will be -hereafter noticed. We must not, however, neglect to -mention that the <i>estilo culto</i> likewise gained a footing -in Spanish America; and that various works in that -style by Alonzo de Castillo Solorzano, were very neatly -printed at Mexico in the year 1625.<a id="FNanchor_455" href="#Footnote_455" class="fnanchor">455</a></p> - -<h3 id="TWO_DRAMATIC_POETS">TWO DRAMATIC POETS OF THE AGE OF LOPE DE -VEGA.</h3> - -<p>Lope de Vega had now become the model of the -Spanish dramatic poets, who soon appeared as numerous, -and laboured as assiduously as if they had been bound to -supply all the theatres in the universe with new pieces. -But most of these dramatists, who may altogether be considered -as forming one great school, were contemporary -with Lope de Vega only during their younger years. -The elegant Calderon, who was born in the year 1600, -may also have influenced the exercise of their talents. -In the history of the Spanish theatre, it will therefore -be proper to range together those dramatists on whom -it is probable the example of Calderon may have -<span class="pagenum" id="Page_442">442</span> -operated.<a id="FNanchor_456" href="#Footnote_456" class="fnanchor">456</a> This, however, is the proper place for -noticing two contemporaries of Lope de Vega.</p> - -<p id="CHRISTOVAL_DE_VIRUES">The first of these writers, whose talents entitle -them to an honourable rank in literature, is Christoval -de Virues, a native of Valencia. He fought in the -battle of Lepanto, and is usually distinguished by his -military title of captain. The period of his death is -not known. Both Cervantes and Lope de Vega mention -him in terms of commendation. Virues was not -the pupil of Lope. Though older, as it would appear, -than that distinguished man, he was, like him, inspired -with enthusiasm for dramatic poetry; and they entered -upon the same career at nearly the same time. Virues -did not adhere more attentively than Lope to the strict -rules of the ancient drama. But he wanted the fertile -imagination of his rival, and he conceived it necessary -that the modern drama should approximate in a slight -degree to the antique, at least in some of its forms. He -was one of the Spanish dramatists by whom the last -attempts were made to separate tragedy from comedy; -and his efforts in this way are deserving of more praise -than has hitherto been conceded to them. Virues was -a poet born for tragic art; but his genius wanted cultivation. -Pure poetic spirit, and a bold and energetic -style, are the distinguishing features of all his works. -But, like Lope de Vega, he was every inch a Spaniard. -<span class="pagenum" id="Page_443">443</span> -He obeyed the influence of the national taste, and he -could not restrain his own genius within the bounds -which he had himself prescribed. Among his five tragedies -are some which might more properly be termed -comedies, according to the Spanish acceptation of the -term.<a id="FNanchor_457" href="#Footnote_457" class="fnanchor">457</a> It is obvious that Virues endeavoured to create -a sphere of his own, and that in proportion as he wrote -he made advances in his art. His <i>Semiramis</i>, the first -tragedy he wrote, which is chiefly in octaves, interspersed -here and there with redondillas, is crude both -in conception and execution; but the language even of -this imperfect drama, makes energetic approaches to -that genuine expression of tragic pathos, which Cervantes -and the elder Argensola in some measure -attained.<a id="FNanchor_458" href="#Footnote_458" class="fnanchor">458</a> His tragedy, entitled <i>La Cruel Casandra</i>, -<span class="pagenum" id="Page_444">444</span> -which is richer in dramatic spirit, and more finished -and systematic in its execution, might in the hands of a -writer of genius be easily rendered a tragic master-piece. -Virues selected from the history of the kingdom of Leon, -the subject of this tragedy, in which he intended to -unite the ancient and modern styles.<a id="FNanchor_459" href="#Footnote_459" class="fnanchor">459</a> That a drama -of intrigue, like the <i>Casandra</i>, should not have obtained -greater popularity in Spain would be inexplicable, were -it not for the dislike which the Spanish public manifested -<span class="pagenum" id="Page_445">445</span> -towards all dramas in which the tragic character -was exhibited without the intervention of comic scenes. -Cultivated taste will, however, perceive many faults in -this tragedy. The uninterrupted delirium of passion, -which prevails from the beginning to the end of the piece, -renders the whole more astounding than impressive. -The stormy movement of the action has, notwithstanding, -in most of the scenes, a very captivating effect; and that -passionate vehemence, in the painting of which Virues -was eminently successful, is, in this drama, characteristically -Spanish. The horrible deaths with which the -piece closes, and which, according to the nature of the -catastrophe were by no means necessary, are likewise -in unison with the spirit of a Spanish national tragedy. -The spring of action is the wicked spirit of a revengeful -woman whom jealousy betrays into a series of the most -treacherous intrigues. The dialogue is occasionally -somewhat declamatory; but in its best parts it is -energetic and unconstrained.<a id="FNanchor_460" href="#Footnote_460" class="fnanchor">460</a> Of all the dramas of -<span class="pagenum" id="Page_446">446</span> -Virues, his <i>Marcella</i> in which princes, princesses, robbers, -peasants, and servants, are jumbled together in -irregular confusion, was doubtless most in unison with -the Spanish taste.</p> - -<p id="PEREZ_DE_MONTALVAN">The other Spanish dramatist who remains to be -noticed among the poetic writers of the age of Lope -de Vega, is Juan Perez de Montalvan, whom Lope -himself regarded as his first pupil, and who obtained, -probably through the interest of his patron, the post of -notary to the inquisition. He was a young man of -distinguished talent, and even in his seventeenth year -he wrote plays in the style of Lope de Vega. He first -entered the lists in competition with his master, after -whose death he pursued his literary occupations with -such assiduity, that when he died in 1639, though aged -only thirty-five, the number of his comedies and autos -amounted to nearly one hundred. He was also the -author of several novels, which will be particularly -noticed in another place. He put together in a single -volume, some of his dramas and novels, and his moral -reflections, full of formal erudition; and this singular -compilation was published under the no less singular -<span class="pagenum" id="Page_447">447</span> -title of Book for All.<a id="FNanchor_461" href="#Footnote_461" class="fnanchor">461</a> His comedies are neither more -finished nor more systematic than those of his master, -but they prove how easily a Spanish writer of imagination -might, in that age, be roused to venture into -competition with the inexhaustible Lope de Vega, and -also how far a poet of talent, with a certain degree of -practice, was capable of succeeding in dramatic intrigue. -Montalvan’s comedies possess, however, a more particular -interest, inasmuch as they exhibit traces of genius, -which under other circumstances would have constituted -a painter of dramatic character. In two of his -historical comedies, he has introduced Henry IV. of -France, and Philip II. of Spain. A kind of moral -dignity, almost approaching to sanctity, is falsely attributed -to the latter; but the prominent features of his -character are truly seized and strikingly delineated.<a id="FNanchor_462" href="#Footnote_462" class="fnanchor">462</a> -<span class="pagenum" id="Page_448">448</span> -The amiable Henry IV. is, however, pourtrayed to the -life.<a id="FNanchor_463" href="#Footnote_463" class="fnanchor">463</a> In his <i>Autos Sacramentales</i>, Montalvan even -<span class="pagenum" id="Page_449">449</span> -ventured to differ from Lope de Vega, in order to give to -these dramas the popular character which Lope had sacrificed -in his allegorical moralities. He composed an auto -on the romantic conversion of Skanderbeg, in which -drums, trumpets, clarionets, explosions of squibs and -rockets, and all the pomp of spectacle is introduced. But -the most extravagant creation of Montalvan’s fancy, is his -auto of <i>Polyphemus</i>, in which the cyclops of that name -appears as the allegorical representative of judaism; and -the rest of the cyclops, together with the nymph Galathæa, -and other mythological beings, are introduced for -<span class="pagenum" id="Page_450">450</span> -the allegorical personation of faith and infidelity, according -to christian notions. To these characters are -added, Appetite as a peasant, Joy as a lady, and finally -the Infant Christ. Drum and trumpet accompaniments -are not forgotten in this auto. The cyclops too perform -on the guitar; and an island sinks amidst a tremendous -explosion of fire works.<a id="FNanchor_464" href="#Footnote_464" class="fnanchor">464</a></p> - -<h3 id="NOVELS_IN_THE_AGE_OF_CERVANTES">NOVELS IN THE AGE OF CERVANTES AND LOPE -DE VEGA.</h3> - -<p>Notwithstanding that poetry, sometimes under heterogeneous, -sometimes under harmonizing forms, was, -next to religion, the object which principally interested -the Spanish public in the age of Cervantes and Lope -de Vega, yet elegant prose was not consigned to such -obscurity as to engage only the attention of the learned. -The old Spanish soundness of understanding which -particularly displayed itself in Cervantes and the two -Argensolas, still, in some measure maintained its influence. -But upon the whole that rhetorical cultivation -which had been so early developed in Spain was -obviously on the decline.</p> - -<p>Novels and romances, either decidedly bad or very -indifferent, were as widely circulated as rapidly produced, -and so great was their number that they counteracted -the good effects which the master-piece of Cervantes -must necessarily have produced under more -favourable circumstances. If few new romances of -chivalry were now written, the old ones were read with -the greater avidity. After the Galatea of Cervantes, -<span class="pagenum" id="Page_451">451</span> -any very successful production in pastoral romance -was scarcely to be expected. Romances, depicting the -manners of modern society, were, however, proportionally -the more numerous. Among the best of the -serious, but yet spirited productions of this class, is the -Life of <i>Marcos de Obregon</i>;<a id="FNanchor_465" href="#Footnote_465" class="fnanchor">465</a> by the poet and musician -Vicente Espinel.<a id="FNanchor_466" href="#Footnote_466" class="fnanchor">466</a> The object of the author was, -in his old age, to transmit useful instruction to the rising -generation in the form of a novel. The Spanish title -in which the hero of the story is styled an <i>Escudero</i>, -would seem to indicate a romance of chivalry, but the -whole character of the work is modern. The Escudero -is a sort of gentleman or squire by courtesy, and by no -means a shield-bearer. The book is intended as a -moral warning for young men without fortune, who -hope to get honourably through the world by attaching -themselves to persons of distinction. The story, though -entertaining, presents nothing particularly attractive; -the narration is rather prolix, but still natural; and the -diction plainly denotes the classic pupil of the sixteenth -century, though Espinel, as he states in his preface, -consigned his romance to the correction of Lope de -Vega, whom he styles the “divine genius,” after having -himself revised the verses which Lope composed in his -youth. The insipid jokes which occur in Marcos de -Obregon, for example those in derision of the Portuguese -and their language, must be considered as belonging -to the natural local colouring of the work. -<span class="pagenum" id="Page_452">452</span></p> - -<p>Among the romances of knavery, (<i>del gusto picaresco</i>), -the celebrated Don Guzman de Alfarache may -claim a distinguished place next to Lazarillo de Tormes.<a id="FNanchor_467" href="#Footnote_467" class="fnanchor">467</a> -It was published in the year 1599, and consequently -before Don Quixote appeared. Like Lazarillo de Tormes -it was speedily translated into Italian and French, and -was subsequently published in various other languages, -not excepting the latin. Mattheo Aleman, the author -of Guzman de Alfarache, who had withdrawn from the -court of Philip III. and lived in retirement, was not -induced by the success of his comic romance, to devote -himself to a second production of the same class. The -knowledge of the world which he had acquired at court, -as well as in the sphere of common life, is doubtless -abundantly unfolded in his Guzman de Alfarache. The -manners of the lower classes of Spanish society, in -particular, seem to be pourtrayed with admirable accuracy. -In spite of the vulgarity of the subject, and the -burlesque style in which it is treated, no ordinary share -of judgment is perceptible throughout the whole of this -comic novel; and in his humorous language the author -has preserved a certain degree of natural elegance even -in describing the lowest scenes.</p> - -<p>That the Spaniards were by no means sparing -of approbation to works of this class, is obvious from -the attention bestowed on the mannered continuation of -Aleman’s romance, by a writer styling himself Mattheo -<span class="pagenum" id="Page_453">453</span> -Luzan, and still more by the favour lavished upon <i>La -Picara Justina</i>, a silly and pedantic pendant to Guzman -de Alfarache, by a writer named Ubeda. In Cervantes’s -Journey to Parnassus, no literary production of -the age is so categorically condemned as this <i>Picara -Justina</i>. And yet it was oftener printed, and probably -more read than even the Journey to Parnassus.</p> - -<p>Little anecdotal stories of a sprightly character, likewise -made their appearance in Spanish literature at this -period. A collection of these productions, connected -together by means of dialogues, was published in 1610, -under the title of Pleasant Dialogues for the Carnival -time, (<i>Dialogos de Apacible Entretenimiento</i>), by -Gaspar Lucas Hidalgo.</p> - -<p>The political romance of Argenis, was pompously -arranged to suit the taste of the Spaniards of that age, -by the Gongorist Pellicer de Salas.</p> - -<p>Among the novels which possessed more of an imaginative -character, the best then produced were those -of Perez de Montalvan, the dramatic poet.<a id="FNanchor_468" href="#Footnote_468" class="fnanchor">468</a></p> - -<p>The present is not the proper place to introduce a -complete or copious list of all the works in the class -above alluded to. Other writers have already enumerated -them with sufficient accuracy.<a id="FNanchor_469" href="#Footnote_469" class="fnanchor">469</a> Unfortunately -<span class="pagenum" id="Page_454">454</span> -even the very best of these novels and narratives present -no traces of the advancement of taste and literary -cultivation.</p> - -<p>The novels of a Spanish lady, named Doña Mariana -de Caravajal y Saavedra, must not be passed over without -a particular notice. Respecting this authoress, who -was a native of the city of Granada, but little is said -by the writers on Spanish literature. Her ten novels -have been frequently reprinted, and were apparently -very well received by the public.<a id="FNanchor_470" href="#Footnote_470" class="fnanchor">470</a> Doña Mariana states -in her preface, that her novels are intended to afford -amusement in “the lazy nights of chill winter;”<a id="FNanchor_471" href="#Footnote_471" class="fnanchor">471</a> and -they may, even now, be recommended to those who -stand in need of such amusement; for they are by no -means devoid of fancy though they are written in a -style of affected verbosity. The verses with which the -tales are interspersed, exhibit no traces of poetic talent. -In her preface, the authoress promises to present to the -Spanish public, twelve comedies “from her ill-made pen,” -as a proof of the “kindness of her intention.”<a id="FNanchor_472" href="#Footnote_472" class="fnanchor">472</a> Spain -<span class="pagenum" id="Page_455">455</span> -could indeed scarcely be expected to give birth to a -poetess in the true sense of the term. The terrible -yoke imposed on the conscience and the understanding, -against which even masculine genius could only contend -by boldly plunging into the wilds of romantic invention, -weighed still more heavily on the female mind, which -without a certain spirit of freedom can seldom range -beyond the boundaries established by custom, and the -routine of ordinary thinking. Writers on Spanish -literature, however, mention in terms of approbation, -several female writers of verses, and also women of -erudition, like Aloysia Sigea, distinguished for their -knowledge of languages.</p> - -<h3 id="PROGRESSIVE_CULTIVATION_OF_THE_HISTORICAL_ART">PROGRESSIVE CULTIVATION OF THE HISTORICAL -ART—MARIANA.</h3> - -<p>At this period of Spanish eloquence, history was -the only kind of composition which maintained its old -precision and dignity, while of the perfect cultivation -of the other branches of prose literature there remained -little hope.</p> - -<p>The General History of Spain, by the Jesuit Juan -de Mariana, though not a model of historical art in the -most extended sense of the term, is, in point of style, -unquestionably a classic production. Mariana, who -may be said to have transferred the genuine spirit -of the eloquence of the sixteenth century into the -seventeenth,<a id="FNanchor_473" href="#Footnote_473" class="fnanchor">473</a> was not one of the pensioned historiographers -or chroniclers who have already been frequently -mentioned, and who, it must be confessed, honourably -<span class="pagenum" id="Page_456">456</span> -discharged their duties. He obtained reputation both -in France and Italy as a professor of scholastic philosophy -and theology; but his love of literary retirement -induced him to return to Spain. Of his own free -choice he undertook to compose a new general History -of Spain from the earliest period to the death of -Ferdinand the catholic. His predecessors had been -sufficiently numerous, and he did not find it necessary to -collect the materials for his history by laborious compilations -from the old authors and chroniclers of the -middle ages. He was thus at liberty to prescribe to -himself a more pleasing task, namely, that of judiciously -combining the most interesting events, and -describing them with rhetorical precision in elegant -language. With the view of acquiring a prose style, -formed in the spirit of the classic historians of antiquity, -Mariana composed his work originally in latin,<a id="FNanchor_474" href="#Footnote_474" class="fnanchor">474</a> a -method which Cardinal Bembo had adopted in writing -his History of Venice. After he had completed this first -labour, and dedicated the thirty books of his history in -latin to Philip II. he followed the example of Bembo in -translating it himself, and he in fact recomposed it in -Spanish.<a id="FNanchor_475" href="#Footnote_475" class="fnanchor">475</a> This work he also dedicated to the king. -<span class="pagenum" id="Page_457">457</span> -Though this twofold dedication might have served to -prove that the author was far from being liable to the -imputation of cherishing views dangerous to the state, yet -a party, with whose designs several passages of this history -did not accord, found it easy under the government -of the ever jealous Philip, to cast on Mariana the suspicion -of favouring wicked and rebellious principles. He -was formally brought before the inquisition, and it was -with difficulty he escaped destruction. Had he devoted -more attention to the philosophy of history, he could not -so easily have repelled the charge of impartiality, to aim -at which was then considered an unwarrantable assumption -not to be tolerated in any Spanish writer. But it -is only in his style that Mariana was impartial. To -exhibit facts as they stood in their natural connection, -was sufficient to give umbrage to the court and the -inquisition; and solely to such an exposition was it -owing, that the historian’s intentions became a subject -of suspicion. Elegant composition was his grand object; -and in this respect he far excels Bembo, because -he is not, like him, mannered. His diction is perfectly -faultless, his descriptions picturesque without poetic ornament; -and his narrative style may, on the whole, be accounted -a model. He has been very successful in avoiding -protracted and artificially constructed sentences.<a id="FNanchor_476" href="#Footnote_476" class="fnanchor">476</a> -<span class="pagenum" id="Page_458">458</span> -Mariana could not, however, resist the temptation of -putting speeches into the mouths of his historical -characters, after the manner of the ancient historians. -In fine, comparing this history with other works of a -similar kind, which previously existed in Spanish literature, -it will be found that, though justly entitled to a high -share of esteem, it cannot be regarded as forming an -epoch either in a philosophic or literary point of view.</p> - -<p>Having described the rise and progress of the historical -art in Spain, it cannot be necessary to give a -minute notice of historical works, which for the most -part possess only the negative merit of not being ill -written. The age of Cervantes and Lope de Vega was, -moreover, the period at which the historical literature -of the Spaniards began to form itself into that perfect -whole for which it is so peculiarly remarkable. At -<span class="pagenum" id="Page_459">459</span> -that time the old chronicles were committed to the -press one after another: and the continuation and correction -of the national history was the only literary -occupation which could be pursued with any hope of -success by men of talent, who felt no impulse to poetry; -unless, indeed, they preferred to distinguish themselves -in scholastic theology, or in writing books of pious -edification, in which it was, above all things, necessary -to take care to say nothing new.</p> - -<p>It is still less necessary to enter upon a detailed -examination of various works in the didactic department -of Spanish literature, which are upon the whole -not badly written, but not one of which exceeds in -rhetorical merit the works of Perez de Oliva, Ambrosio -de Morales, and other authors, who have already been -mentioned. The writings of Balthasar, or Lorenzo -Gracian, who endeavoured to introduce a kind of -<i>gongorism</i> into Spanish prose, will be more fully -noticed at the close of the present book.</p> - -<h3 id="FLUCTUATION_OF_SPANISH_TASTE">FLUCTUATION OF SPANISH TASTE FROM THE CLASSIC -TO THE CORRUPT STYLE.</h3> - -<p>In order to mark, by sensible gradations, the transition -from the golden age of Spanish poetry and -eloquence, to those sad times, when the energy of the -national genius was, after a long conflict with opposing -circumstances, destined to be overcome, it will be proper -first to notice some poets and prose authors, who during -the latter half of the period embraced by the present -section, assumed a tone peculiar to themselves; and also, -another set of writers who were their immediate successors. -<span class="pagenum" id="Page_460">460</span> -Quevedo may with propriety be placed at their -head. During a part of his life he was contemporary -with Cervantes, Lope de Vega, and the Argensolas, and -was, moreover, an opposer of the New Art of Gongora. -But both in poetry and prose he deviates so strikingly -from the classic, and so obviously approaches the ornamented -and artificial style, that by commencing with him -the retrograde course which Spanish literature began to -take even in the period of its highest cultivation, will -be most distinctly perceived.</p> - -<h3 id="QUEVEDO">QUEVEDO.</h3> - -<p>The circumstances of the life of Francisco de Quevedo -Villegas,<a id="FNanchor_477" href="#Footnote_477" class="fnanchor">477</a> a man who has almost invariably been -praised or censured with partiality, had a most important -influence on the developement and employment of his -talents. He began even in childhood to breathe the air -of courts. He was born, in 1580, at Madrid, of a -noble family, and was educated at the court under the -care of his widowed mother who was one of the ladies -of the royal household. An eager curiosity was the -first indication of his active and restless mind; and the -impressions which he received in his infancy, induced -him to make the scholastic theology of catholicism his -first study in preference to every other kind of knowledge. -He was sent to the university of Alcala, where -he received the degree of doctor in theology in his -<span class="pagenum" id="Page_461">461</span> -fifteenth year, a fact which appears almost incredible. -Grown weary of theology, he directed his attention to -law, philology, natural philosophy, medicine, and elegant -literature; and he pursued all these studies without -any regular order. It is probable that at this period -he injured his sight by indefatigable reading; for in the -prime of life he was incapable of distinguishing any -object at the distance of three paces, without the aid of -glasses. But neither this infirmity nor the crooked legs -which he had received from nature, deterred him from -mingling in fashionable society. His figure, which was -in other respects strong and well proportioned, joined to -his prepossessing countenance, contributed in no slight -degree to the early developement of his self-esteem.</p> - -<p>Quevedo returned to the court of Madrid, with a -mind stored with all kinds of academic knowledge. -But he soon became engaged in a dispute, fought a -duel in which he wounded his antagonist, and was -compelled to fly. He proceeded to Italy, where the -Spanish Viceroy of Naples, Don Pedro Giron, Duke of -Ossuna, interested himself for the accomplished fugitive. -He procured his pardon at Madrid, and retained him in -his service at Naples. Quevedo now became a statesman -and a man of business. He played the most prominent -part at the court of the Vice-king, executed important -commissions, visited the papal court, in quality of ambassador, -was rewarded with titles and pensions, and -seemed to be the favourite of fortune. But he was -suddenly cast down by the fall of his patron, the Duke -of Ossuna. Quevedo was connected with that powerful -grandee in all his transactions, and thus became involved -<span class="pagenum" id="Page_462">462</span> -in his fate. In 1620, in the fortieth year of his age, -he was arrested and removed to his country seat, La -Torre de Juan Abad, where he was, by the order of -the government, confined during three years, notwithstanding -his delicate state of health, which this restraint -rendered daily worse. So rigidly was this kind of imprisonment -enforced, that it was with great difficulty -he could obtain leave to go to a neighbouring town to -commit himself to the care of a physician in whom he -could confide.</p> - -<p>At length Quevedo’s papers being strictly examined, -his innocence became unquestionable, and he was set at -liberty. He now demanded indemnification and the payment -of the arrears of his pension. Instead, however, of -obtaining attention to his claims, he was threatened with -a new exile, and received an order to quit the court. -This sentence he found means to evade, and even court -intrigue seemed at last inclined to favour him; but in -the conflict between vanity and reason, Quevedo in due -time proved himself a philosopher. He willingly forsook -the court, retired to his estate of La Torre, and devoted -himself wholly to literary pursuits. It is probable that -at this period he wrote the poems which on their first -appearance were published as the works of the Bachelor -de la Torre, an old poet of the fifteenth century. The -name of his country residence apparently suggested to -Quevedo the disguise of the above title. There is also -reason to suppose that at this period he wrote the -greater portion of his works both in prose and verse. -But these writings, which overflow with wit and satire, -and display that firmness of judgment and character, -<span class="pagenum" id="Page_463">463</span> -which is always so unwelcome at courts, tended to keep -alive the attention of those who conceived themselves -to be attacked. As the crisis of his varied fate approached, -Quevedo seems to have totally forgotten the -intrigues of which he had been the victim. He had -already passed several years in literary tranquillity, and -was upwards of fifty years of age when he married. -But his wife, to whom he was tenderly attached, did -not live long. Quevedo’s evil star once more induced -him to visit Madrid, where in 1641, he was arrested at -midnight in the house of a friend with whom he resided. -The charge preferred against him, was that of being a -libeller, who spared neither the government nor public -morals; he was thrown into a small and unwholesome -prison, and treated with the most rigid severity, not -even experiencing the humanity usually extended to -the vilest criminals. In the meanwhile his property -was sequestrated, and though not convicted of any -crime, he was compelled to subsist on charity. He was -again seized with a severe fit of illness. His body broke -out in ulcers, in consequence of the insalubrity of his -prison, but he was even then denied the aid of a surgeon. -In this situation Quevedo appealed for justice to the -Duke of Olivares, the all-powerful prime minister of -Spain, in a letter which has become celebrated. His -case was now, for the first time, strictly investigated; -and it was ascertained that he had merely been supposed -to be the author of a libel, which was subsequently discovered -to have been written in a monastery. Quevedo -once more regained his freedom, but with the loss of a -considerable portion of his fortune, of which indeed he -<span class="pagenum" id="Page_464">464</span> -retained so scanty a remnant, that he was unable to -continue long enough in Madrid to solicit the indemnification -which was so justly due to him, and without which -he could not subsist with respectability. A prey to -sickness, and deprived of the hope of ever obtaining -justice, he retired to his country seat, and there died in -the year 1645.</p> - -<p>A man who, like Quevedo, reaped the bitterest -fruits from political justice, cannot be very heavily -reproached for seizing in his satires every opportunity -of more severely chastising and ridiculing the ministers -of that justice, than any other enemies of truth and -equity. But Quevedo was not a mere satirist. He may, -without hesitation, be pronounced the most ingenious -of all Spanish writers, next to Cervantes; and his mind -was, moreover, endowed with a degree of practical judgment, -which is seldom found combined with that versatility -for which he was distinguished. Could Quevedo have -ruled the taste and genius of his nation and his age in -the same degree in which that taste and genius influenced -him, his versatility, joined to his talent for -composing verses with no less rapidity than Lope de -Vega, might have rendered him, if not a poet of the -first rank in the loftier region of art, at least a classic -writer of almost unrivalled merit. But this scholar -and man of the world was too early wedded to conventional -forms of every kind. It may indeed be said -that he was steeped in all the colours of his age. A -true feeling of the independence of genius never animated -him, lofty as his spirit in other respects was. -His taste imbibed some portion of all the conflicting -<span class="pagenum" id="Page_465">465</span> -tastes which at that period existed in Spain. His style -never acquired originality, and his mind was only half -cultivated.</p> - -<p id="CHARACTER_OF_HIS_BEST_WORKS">Quevedo’s writings, taken altogether in verse and in -prose, resemble a massy ornament of jewellery, in which -the setting of some parts is exquisitely skilful, of others -extremely rude, and in which the number of false stones -and of gems of inestimable value are nearly equal. His -most numerous, and unquestionably his best productions, -are those of the satirical and comic kind. Though -Quevedo did not strike into a totally new course, yet -by a union peculiar to himself of sports of fancy, with -the maxims of reason and morality, he evidently enlarged -the sphere of satirical and comic poetry in -Spanish literature. He occasionally approached, though -he never equalled, the delicacy and correctness of Cervantes. -His wit is sufficiently caustic; but it is accompanied -by a coarseness which would be surprising, -considering his situation in life, were it not that Quevedo, -as an author, sought to indemnify himself for the -constraint to which, as a man of the world he was compelled -to submit. For this reason, perhaps, he bestowed -but little pains on the correction of his satires. His -ideas are striking; and are thrown together sometimes -with absolute carelessness, sometimes with refined precision; -but for the most part in a distorted and mannered -strain of language. This mixed character of -cultivation and rudeness peculiarly characterizes his -satirical and comic works in verse, in which, as he himself -says, he has exhibited “truth in her smock, but -<span class="pagenum" id="Page_466">466</span> -not quite naked.”<a id="FNanchor_478" href="#Footnote_478" class="fnanchor">478</a> He appears as the rival of Gongora -in numerous comic canciones and romances in the -old national style.<a id="FNanchor_479" href="#Footnote_479" class="fnanchor">479</a> In these compositions he humorously -parodied the extravagant images of the -Marinists,<a id="FNanchor_480" href="#Footnote_480" class="fnanchor">480</a> and the affected singularity of the Gongorists.<a id="FNanchor_481" href="#Footnote_481" class="fnanchor">481</a> -<span class="pagenum" id="Page_467">467</span> -Quevedo wrote no inconsiderable number of his -comic and satirical poems in the jargon of the Spanish -gypsies; and it is therefore probable that they are not intelligible -to many readers on this side of the Pyrenees.<a id="FNanchor_482" href="#Footnote_482" class="fnanchor">482</a> -<span class="pagenum" id="Page_468">468</span> -These romances and canciones, which were distinguished -by the name of Xacaras, were rendered so extremely popular -by Quevedo, that even down to the present day -the Spaniards continue to admire them.<a id="FNanchor_483" href="#Footnote_483" class="fnanchor">483</a> His Bayles, -or comic dancing songs, are, on account of their numerous -allusions to national peculiarities, no less obscure -to foreigners than the Xacaras.</p> - -<p>Of all the Spanish poets, Quevedo has been the -most successful writer of burlesque sonnets in the -Italian manner. Some of these sonnets he shortened -by depriving them of the three last of their legitimate -number of lines, while the Italians on the contrary, -attached to theirs the comic sequel which they called -the <i>Coda</i>.<a id="FNanchor_484" href="#Footnote_484" class="fnanchor">484</a> Quevedo’s productions in this class are, -<span class="pagenum" id="Page_469">469</span> -for the most part, like their Italian models, full of -allusions which cannot be understood without the -assistance of a commentary. Some have a piquant -sententious turn. But that licentious humour which -distinguishes this species of composition in Italian -literature Quevedo renounced, either voluntarily or from -fear of the inquisition. Besides his burlesque sonnets, -he wrote canciones and madrigals in the same style.</p> - -<p>Quevedo’s satires in the manner of Juvenal, naturally -connect themselves with his burlesque poems. -Like his model he has infused into them nearly as -much poetry as the satirical style is capable of receiving.<a id="FNanchor_485" href="#Footnote_485" class="fnanchor">485</a> -These compositions display the noblest enthusiasm -for truth and justice,<a id="FNanchor_486" href="#Footnote_486" class="fnanchor">486</a> and the most patriotic -<span class="pagenum" id="Page_470">470</span> -zeal for the honour of Spain,<a id="FNanchor_487" href="#Footnote_487" class="fnanchor">487</a> forcibly and clearly -expressed.</p> - -<p>Quevedo’s satires in verse and his poems of humour, -are not so well known out of Spain as his prose writings -of the same description, of which the most remarkable -<span class="pagenum" id="Page_471">471</span> -are his Visions or Dreams, and his novel of the Great -Tacaño, or the Captain of Thieves, called Don Pablos, -(<i>Vida del Buscon</i>, llamado D. Pablos), which certainly -may be regarded as the most burlesque of the knavery -romances.<a id="FNanchor_488" href="#Footnote_488" class="fnanchor">488</a> Lucian furnished him with the original -idea of satirical visions; but Quevedo’s were the first -of their kind in modern literature. Owing to frequent -imitations, their faults are now no longer disguised by -the charm of novelty, and even their merits have ceased -to interest. Still, however, they must be regarded as -ingenious productions abounding in practical truths. -They are not, it is true, remarkable either for delicate -satire or pure philosophy. But Quevedo’s object was -to scourge human folly and vice in the mass; and the -severe lashes which he deals out in his Visions, are in -excellent unison with the popular nature of the idea -and the poignant style of its execution. He has made -perverted Justice, with all her servants and satellites, and -particularly the Alguazils, figure in the fore ground of -his picture; but the melancholy fate of the author may -well excuse, though even in the visionary world, these -monotonous features in his satirical work. Among the -passages for which no just excuse can be found, are some -disgusting descriptions of the consequences of physical -excess. The reader is occasionally surprised by the -<span class="pagenum" id="Page_472">472</span> -humorous sallies with which Quevedo breaks forth in -these Visions; for example, in that of the Last Judgment, -in which he describes “some merchants who -had placed their souls across their bodies, so that their -five senses got into the finger nails of their right -hand.<a id="FNanchor_489" href="#Footnote_489" class="fnanchor">489</a>”</p> - -<p>For the serious works of Quevedo, we must refer -to his poems, as his serious compositions in prose -are in general of a theological and ascetic character. -The sonnets, canciones, odes and pastoral poems, which -he published under the name of the Bachelor de la -Torre, are even at the present day highly extolled by -critics;<a id="FNanchor_490" href="#Footnote_490" class="fnanchor">490</a> and these poems have certainly more correctness -than most of Quevedo’s other works. But they -chiefly consist of imitations of the Spanish Petrarchist -style, which was always foreign to Quevedo; and notwithstanding -the great elegance of language and versification -which distinguish them, they are surcharged with antiquated -phrases of affected gallantry. The <i>snows</i> which -<i>inflame</i> the poet, and similar tropes in which the beauty -of a mistress is brilliantly set forth, occasionally call to -<span class="pagenum" id="Page_473">473</span> -mind the style of the Italian Marinists. Nevertheless -some of these sonnets well deserve the favour which -has been extended to them.<a id="FNanchor_491" href="#Footnote_491" class="fnanchor">491</a> Quevedo’s <i>Endechas</i>, or -Laments, have a pleasing national character.<a id="FNanchor_492" href="#Footnote_492" class="fnanchor">492</a> The -pastoral poems contained in this collection, approximate -to the good specimens of the sixteenth century. -<span class="pagenum" id="Page_474">474</span> -Quevedo evidently wished to prove what he was capable -of producing in this style of composition.</p> - -<p>The serious poems of which Quevedo has avowed -himself the author, are very unequal in character.<a id="FNanchor_493" href="#Footnote_493" class="fnanchor">493</a> -His didactic and sententious sonnets are energetic, but -deficient in delicacy.<a id="FNanchor_494" href="#Footnote_494" class="fnanchor">494</a> Some of the best assume a -<span class="pagenum" id="Page_475">475</span> -satirical turn.<a id="FNanchor_495" href="#Footnote_495" class="fnanchor">495</a> His odes in the Pindaric style are, -however, stiff and formal. He wrote a piece of moral -declamation in verse, called <i>Sermon Estoyco</i>, (Estoical -Sermon), which is in truth precisely what the title -denotes.</p> - -<p>That Quevedo entertained very vague notions respecting -poetry, is particularly evident from the whim -which induced him to translate in rhymed verse, the -stoical Enchiridion, or Manual of Epictetus. The translation -is, however, much esteemed by the Spaniards.<a id="FNanchor_496" href="#Footnote_496" class="fnanchor">496</a></p> - -<h3 id="VILLEGAS">VILLEGAS.</h3> - -<p>An Anacreon was still wanting to Spanish literature, -though various attempts in the Anacreontic style had -been made. That a poet penetrated at once with the -classic spirit of Anacreon, Horace and Catullus, should -<span class="pagenum" id="Page_476">476</span> -now arise, and become the favourite of the Spanish -public, was a thing scarcely to be expected; for all the -resources of amatory poetry in the only style which -had hitherto been found agreeable to Spanish taste, -seemed to be exhausted. The poetry of Villegas, -however, produced precisely for this reason the more -powerful impression on a public which ardently longed -for entertainment.</p> - -<p>Estèvan Manuel de Villègas, was born in the year -1595, at Nagera, or Naxera, a little town in Old Castile. -The history of his life is simple. His parents who -were noble, though not rich, sent him to study at -Madrid and Salamanca. His taste for poetry was -developed at a very early period. Even in his fifteenth -year he translated Anacreon, and several of the odes -of Horace in verse; and likewise imitated those poets -in original compositions. In his twentieth year he gave -the finishing touch to his youthful effusions, and added -to the collection of his translated and original poems, a -second part, which has since been published conjointly -with them.<a id="FNanchor_497" href="#Footnote_497" class="fnanchor">497</a> He soon after printed the whole collection -at his own expence at Naxera, under the title of <i>Amatorias</i>; -but in the interior of the book, the poems are -<span class="pagenum" id="Page_477">477</span> -styled <i>Eroticas</i>.<a id="FNanchor_498" href="#Footnote_498" class="fnanchor">498</a> Villegas ventured to dedicate these -poems, together with the part added to them, to which a -particular title might more properly have been assigned, -to Philip III. though individual parts of the collection -had previously been addressed to other patrons. That -so indolent a monarch as Philip III. should have accepted -the dedication of such a collection, may not be -surprising, and the freedom was pardonable in a young -author of three-and-twenty. But this dedication is, in -another respect, remarkable in the history of Spanish -literature; for the <i>Eroticas</i> of Villegas contain some -passages, which though not wanting in delicacy of expression, -are nevertheless so extremely free, that it is -wonderful how they happened to escape the censure of -the inquisition. The dedication was, however, productive -of neither good nor evil to the poet. For several years -he vainly solicited a lucrative office; and was at last -obliged to content himself with the scanty emolument -arising from an insignificant post in Naxera, his native -town. From that time he devoted his leisure to the -composition of philological works in the latin language; -and though he produced nothing new for Spanish poetry, -he made a prose translation of five books of Boethius. -He lived till the year 1669.</p> - -<p>The graceful luxuriance of the poetry of Villegas -has no parallel in modern literature; and, generally -<span class="pagenum" id="Page_478">478</span> -speaking, no modern writer has so well succeeded in -blending the spirit of ancient poetry with the modern. -But constantly to observe that correctness of ideas, -which distinguished the classical compositions of antiquity, -was by Villegas, as by most Spanish poets, considered -too rigid a requisition, and an unnecessary restraint -on genius. He accordingly sometimes degenerates into -conceits and images, the monstrous absurdity of which -are characteristic of the author’s nation and age. For -instance, in one of his odes in which he entreats Lyda -to suffer her tresses to flow, he says, that “when agitated -by Zephyr, her locks would occasion a thousand -deaths, and subdue a thousand lives;”<a id="FNanchor_499" href="#Footnote_499" class="fnanchor">499</a> and then he -adds, in a strain of extravagance, surpassing that of -the Marinists, “that the sun himself would cease to -give light, if he did not snatch beams from her radiant -countenance to illumine the east.”<a id="FNanchor_500" href="#Footnote_500" class="fnanchor">500</a> But faults of this -glaring kind, are by no means frequent in the poetry of -Villegas; and the fascinating grace with which he -emulates his models, operates with so powerful a charm, -that the occasional occurrence of some little affectations, -from which he could scarcely be expected entirely to -abstain, is easily overlooked by the reader.</p> - -<p>The order in which the poetic works of Villegas -are arranged, is by no means the best; but as it was -<span class="pagenum" id="Page_479">479</span> -chosen by the author, it is proper that it should be -observed in pursuing a notice of the poems themselves. -The first book of the first part commences with thirty-six -odes in the style of some of the odes of Horace. -The Dedicatory Ode addressed to the king, announces, -in language truly charming, the spirit of the whole -collection.<a id="FNanchor_501" href="#Footnote_501" class="fnanchor">501</a> Then follow in a similar strain, the most -delightful plays of fancy, abounding in classical allusions, -without the least trace of pedantry. The style of -Villegas even imparts a charm of novelty to descriptions -of the oftenest described things.<a id="FNanchor_502" href="#Footnote_502" class="fnanchor">502</a> In these odes, -<span class="pagenum" id="Page_480">480</span> -romantic levity assumes freedoms, which if not always -of the most excusable, are invariably of the most graceful -description;<a id="FNanchor_503" href="#Footnote_503" class="fnanchor">503</a> and the soft and melodious expression of -<span class="pagenum" id="Page_481">481</span> -tender passion, which in more than one instance occurs, -has never been surpassed.<a id="FNanchor_504" href="#Footnote_504" class="fnanchor">504</a></p> - -<p>The second book of the first division of the poems of -Villegas, consists of odes, which are free translations of -the first book of Horace. It ought not, therefore, to have -been ranked under the same title with the other poems in -the collection. There is something pedantic in the generical -titles by which he distinguishes the different odes; -for example—<i>Memptica</i>, <i>Enetica</i>, <i>Parænetica</i>, &c.</p> - -<p>With the third book of the first division commence -the Anacreontic songs, or as they are styled in the -collection, the <i>Delicias</i> of the poet. Their measure is -chiefly anacreontic, sometimes in blank verse, and at -other times presenting the most pleasing alternation of -rhymes and assonances. Light pleasing images and soft -luxuriant ideas float through these songs even more -<span class="pagenum" id="Page_482">482</span> -gracefully than in the odes attributed to Anacreon.<a id="FNanchor_505" href="#Footnote_505" class="fnanchor">505</a> -Nothing can exceed the beauty of those in which a -certain delicate moral feeling is combined with a -pathetic simplicity.<a id="FNanchor_506" href="#Footnote_506" class="fnanchor">506</a> Only a few can be said to be -absolutely copied from the greek or latin originals.</p> - -<p>The fourth book of the first part, contains the complete -translation of the greek odes ascribed to Anacreon. -<span class="pagenum" id="Page_483">483</span> -The second division is chiefly occupied with elegies and -idyls, or <i>eidillios</i>, as Villegas, in hellenizing the term, -chooses to call them. The elegies which might with -greater propriety be denominated epistles, do not belong -to the best of the kind in Spanish literature; in the -idyls, or mythological tales, as they ought to be called, -Villegas appears as one of the <i>Cultoristos</i>, or disciples -of the school of Gongora.<a id="FNanchor_507" href="#Footnote_507" class="fnanchor">507</a> -<span class="pagenum" id="Page_484">484</span></p> - -<p>The collection concludes with several imitations -of greek and latin verse, which may be regarded as -the first compositions of the kind in Spanish, that -were not complete failures. Doubtless the Spanish -language adapts itself somewhat more readily to the -ancient metres than the Italian; for final syllables -sounded in pronunciation, but subject to elision in -scanning, do not occur so frequently in Spanish as in -Italian.—This difference is, however, in reality but of -trivial importance; and Spanish verses in the ancient -syllabic measures do not flow much more naturally than -the Italian compositions of the same kind; because -many words derived from the latin, have received -in Spanish, as well as in Italian, a modern quantity,<a id="FNanchor_508" href="#Footnote_508" class="fnanchor">508</a> -which is generally confounded with the ancient -quantity by the imitators of the greek and latin -metres. The Spanish hexameters of Villegas, it is -true, approach in point of facility to the hexameters -of antiquity.<a id="FNanchor_509" href="#Footnote_509" class="fnanchor">509</a> But the pentameters defied his imitative -<span class="pagenum" id="Page_485">485</span> -talent.<a id="FNanchor_510" href="#Footnote_510" class="fnanchor">510</a> In his sapphic verse the measure resolves -into iambics: one of these sapphic odes is, however, -exquisitely beautiful.<a id="FNanchor_511" href="#Footnote_511" class="fnanchor">511</a></p> - -<h3 id="CONTINUATION_OF_THE_HISTORY_OF_LYRIC" class="hang">CONTINUATION OF THE HISTORY OF LYRIC, BUCOLIC, -EPIC, DIDACTIC, AND SATIRICAL POETRY, TO -THE CLOSE OF THE PERIOD EMBRACED BY THIS -SECTION.</h3> - -<p>After Quevedo and Villegas, and before entering -upon the notice of a series of dramatic poets, whose -works must form a subject of separate consideration, it -will be necessary to mention several ingenious writers, -who, though endowed with eminent talents, were nevertheless -unable to retard the fast approaching close of -the golden era of Spanish poesy. -<span class="pagenum" id="Page_486">486</span></p> - -<h3 id="JAUREGUI">JAUREGUI.</h3> - -<p>If pure diction, joined to a descriptive style of the -most perfect kind, might form a sufficient claim to the -title of poet of the first rank, the right of Juan de Jauregui, -or Xauregui, to that distinction, among the Spanish -poets of the first half of the seventeenth century, could -not be disputed. Jauregui, who was of Biscayan origin, -but educated in the interior of Spain, first developed his -talents in Italy. In that country he prosecuted his poetic -studies, and at the same time thought it no degradation -to practise painting as a profession, though he was a nobleman -and a knight of the order of Calatrava. He is -said to have excelled in painting even more than in poetry. -While in Italy he made a Spanish translation of -Tasso’s Amynta, in which he was so successful, that the -translation is still regarded by the educated portion of -his countrymen as possessing the characteristics of the -happiest original composition. Jauregui was a decided -opponent of the Gongorists; but his taste did not -coincide with that of Quevedo. He devoted much -talent and industry to a free translation of Lucan’s -Pharsalia in octaves. He died in 1610; and his poetic -remains, exclusive of his translations, are by no means -numerous. The translation of Lucan was not published -till long after the death of Jauregui; but ever since its -appearance, the Spaniards have admired it as a classic -composition; and it unquestionably possesses all the merit -that the translation of such a work can possibly present. -But from a man who could be induced to apply so much -labour and time to a translation of Lucan, no very extraordinary -<span class="pagenum" id="Page_487">487</span> -proofs of poetic talent were to be expected; -and it must be confessed that Jauregui, in none of his -compositions has risen above what may be called the -poetry of style. He might have carried this kind of -merit still farther, had not his Lucan led him into a -kind of mannered affectation. Among his original works, -his <i>Orfeo</i>, a mythological tale, in five cantos, deserves to -be distinguished.<a id="FNanchor_512" href="#Footnote_512" class="fnanchor">512</a> But his lyric poems, and particularly -his sonnets, bear evident traces of the man of genius -and of cultivated mind.<a id="FNanchor_513" href="#Footnote_513" class="fnanchor">513</a> Jauregui’s dramatic compositions, -<span class="pagenum" id="Page_488">488</span> -which were written with the view of reforming -the national taste, are now lost to literature, and were -at the time of their production indignantly banished -from the stage. He is the author of some small works -in prose, one of which is a treatise on painting.<a id="FNanchor_514" href="#Footnote_514" class="fnanchor">514</a></p> - -<h3 id="BORJA_Y_ESQUILLACHE">BORJA Y ESQUILLACHE.</h3> - -<p>Prince Francisco de Borja y Esquillache, a knight -of the Golden Fleece, and for some time viceroy of -Peru, was the most distinguished, in point of birth, of -all the Spanish poets of his age.<a id="FNanchor_515" href="#Footnote_515" class="fnanchor">515</a> With regard to -cultivation, he may be placed on a level with Jauregui; -<span class="pagenum" id="Page_489">489</span> -but he deserves to rank higher in poetic invention. -Throughout his long life, which when he died in 1658, -had extended to nearly eighty years, he seems constantly -to have devoted a portion of his time to the study of -poetry; and though he was not entitled to the praises -lavished on him by his flatterers, who styled him the -Prince of Spanish Poets, he may be regarded as the -last representative of the classic style of the sixteenth -century. The collection of his sonnets, epistles, tales, -romances, and canciones, forms a large quarto volume, -the last half of which is printed in double columns.<a id="FNanchor_516" href="#Footnote_516" class="fnanchor">516</a> -Prince Francisco de Borja, was likewise the author of an -unsuccessful epic poem, entitled, <i>Napoles Conquistada</i>, -and various works on sacred subjects. Though he did not -contribute to the advancement of Spanish poetry, yet -in all his writings, he decidedly opposed that subtlety and -affectation which in the time of Gongora usurped the -place of real genius. The intimate friendship he had -contracted in his youth with the younger Argensola, had -no doubt a favourable influence on the early developement -of his talent. In the preface to his poems, which -is in verse, he explains the principles of his taste with -so much accuracy, modesty and elegance, that the -reader cannot fail to be prepossessed in his favour, -before entering on an attentive perusal of his works.<a id="FNanchor_517" href="#Footnote_517" class="fnanchor">517</a> -<span class="pagenum" id="Page_490">490</span> -He was particularly averse to all kinds of affectation -and extravagance.<a id="FNanchor_518" href="#Footnote_518" class="fnanchor">518</a> Most of his sonnets bear traces of -mature reflection.<a id="FNanchor_519" href="#Footnote_519" class="fnanchor">519</a> His long tale of Jacob and Rachel, -(<i>Cantos de Jacob y Raquel</i>), in octaves, has indeed no -<span class="pagenum" id="Page_491">491</span> -other merit than that of elegant diction.<a id="FNanchor_520" href="#Footnote_520" class="fnanchor">520</a> His lyric -romances, however, of which he wrote upwards of two -hundred and fifty, present at once the richest and most -<span class="pagenum" id="Page_492">492</span> -beautiful gleanings in that species of poetic composition.<a id="FNanchor_521" href="#Footnote_521" class="fnanchor">521</a></p> - -<h3 id="OTHER_POETS_OF_THIS_PERIOD">OTHER POETS OF THIS PERIOD—THE SYLVAS, OR -POETIC FORESTS.</h3> - -<p>To enter into a detailed description of the works of -some other Spanish poets, with whom the old national -poetry and the Italian style equally perished, would be -the more unnecessary here, as these poets, though not -without genius, wanted proper cultivation, and merely -<span class="pagenum" id="Page_493">493</span> -followed in the general stream. Besides, there is no want -of literary notices which furnish abundant information -respecting Luis de Ulloa, Francisco de Rioja, Gravina, -Manuel de Mela, Juan de Tarsis, Count of Villamediana, -and others.<a id="FNanchor_522" href="#Footnote_522" class="fnanchor">522</a> It is, however, worthy of remark, that at -this period, as in the preceding ages, Spanish noblemen -and men of rank were particularly distinguished among -the candidates for poetic fame. The Poetic Forests, -(<i>Sylvas</i>), as they were styled, according to Gongora’s -nomenclature, but which were afterwards designated by -the common Spanish word <i>Selvas</i>, doubtless contributed -in no slight degree to hasten the decline of genuine poetry -in Spain. In these Forests rhymed prose could flow on -without obstruction, and every conceit was in its proper -place; for no fixed metre, and no unity of ideas or events -restrained the poet or versifier. The works of Count -Rebolledo, which are deserving of a particular notice, -will afford a sufficient idea of the direction thus given -to the lyric, didactic, narrative, and bucolic poetry of -Spain, in a general combination of all these styles.</p> - -<h3 id="REBOLLEDO">REBOLLEDO.</h3> - -<p>Bernardino, Count of Rebolledo, was one of the -heroes of the latter period of the thirty years war in -Germany. After having distinguished himself in the -military service both of Spain and Austria, he resided -for a considerable time in the quality of Spanish -ambassador at Copenhagen, where he watched over -the interests of his sovereign with reference to the -<span class="pagenum" id="Page_494">494</span> -designs of the king of Sweden. His taste for military -and political affairs did not preclude the exercise of his -talent for poetry. But it was not until his mission to -Copenhagen, when he had attained the age of maturity, -that he found leisure to prosecute his poetic studies with -assiduity. Thus, for the first time, and perhaps for the -last, was Spanish poetry in the middle of the seventeenth -century, transplanted to Scandanavia. Count Rebolledo -was much pleased with his residence in Copenhagen; -and he rendered signal service to his Danish majesty, -when Charles Gustavus, King of Sweden, marched -across the frozen Belt, and bombarded the Danish -capital. Though a zealous catholic, he felt for the -royal house of Denmark a kind of personal devotion, -which he seized every opportunity of manifesting, both -in verse and prose. He took particular interest in the -study of the history and geography of Denmark, with -the view of describing them in Spanish verse. Having -returned to his native country, where he was appointed -minister of war, he died in 1676, in the eightieth year -of his age. His poems were, during his life, collected -and published under various titles.<a id="FNanchor_523" href="#Footnote_523" class="fnanchor">523</a> One of these collections, -entitled <i>Ocios</i>, (Leisure Hours), proves that Count -Rebolledo, though he only travelled in a long beaten -<span class="pagenum" id="Page_495">495</span> -tract, and even in that tract did not shine above his -contemporaries, possessed, nevertheless, a degree of -poetic cultivation, which was probably unparalleled in -Copenhagen in the age in which he lived. He was -particularly successful as a writer of elegant madrigals;<a id="FNanchor_524" href="#Footnote_524" class="fnanchor">524</a> -and he is the author of a play, entitled, <i>Amor</i> -<span class="pagenum" id="Page_496">496</span> -<i>Despreciando Riesgos</i>,<a id="FNanchor_525" href="#Footnote_525" class="fnanchor">525</a> (Love Dreads no Danger), -which possesses considerable interest. But Rebolledo’s -name has been rendered still more remarkable in the -history of Spanish literature by his dull Forests, for which -he himself claimed the title of poetic, though they exhibit -only the last traces of Spanish poetry. Other -writers had already done their utmost to give importance -to the rhymed prose of these Forests. But Rebolledo so -completely mistook the essence of poetry, that he really -conceived he was executing works of high poetic merit, -when he put into verse a compendium of the History -and Geography of Denmark, entitled, <i>Selvas Danicas</i>, -and a treatise on the Art of War and State Policy, -entitled, <i>Selva Militar y Politica</i>. Whoever attempts -to travel through Rebolledo’s Danish Forests, will soon -find, especially if he have any recollection of genuine -Spanish poetry, that he has undertaken a very disagreeable -task. In the first half of the work, not a -single poetic or even ingenious trait enlivens the dry -enumeration of facts. What the author intended for a -narrative poem, is found to be merely an account of -the History of Denmark, related in the lowest style of -common place prose; and the multitude of northern -names, which partly retain their original spelling, and -are partly hispanized, have a peculiarly grotesque -effect.<a id="FNanchor_526" href="#Footnote_526" class="fnanchor">526</a> The geography of Denmark, which constitutes -<span class="pagenum" id="Page_497">497</span> -the second part of the work, presents a few poetic passages.<a id="FNanchor_527" href="#Footnote_527" class="fnanchor">527</a> -But the Military and Political Forest, which -<span class="pagenum" id="Page_498">498</span> -is intended for a didactic poem, is rhymed prose from -beginning to end. It is difficult to say whether the -principles of tactics,<a id="FNanchor_528" href="#Footnote_528" class="fnanchor">528</a> or the instructions in the art of -government,<a id="FNanchor_529" href="#Footnote_529" class="fnanchor">529</a> appear most ridiculous in the versified -<span class="pagenum" id="Page_499">499</span> -garb in which Rebolledo has clothed them. The worthy -author might with more propriety have applied the -title of poems to his <i>Selvas Sagradas</i>, (Sacred Forests), -which are translations of the psalms in the loose forms -of the Forests.</p> - -<h3 id="CONTINUATION_OF_THE_HISTORY_OF_THE_SPANISH_DRAMA">CONTINUATION OF THE HISTORY OF THE SPANISH -DRAMA.</h3> - -<p>The feeling of regret with which the decay of -Spanish poetry in the age of Rebolledo is beheld, -yields to the agreeable surprize which arises on taking -a retrospective view of the Spanish drama, the history -of which must now be continued to the close of the -present period. The history of the Spanish drama -should properly be studied as a whole; but that combined -mode of viewing the subject was not compatible -with a synchronous account of all the remarkable productions -of the polite literature of Spain. Having, -however, in connexion with Lope de Vega, spoken of -Virues, Montalvan, and others, it will, at least, be convenient -not to separate the series of dramatic poets, -who emulated or imitated Calderon. -<span class="pagenum" id="Page_500">500</span></p> - -<h3 id="CALDERON">CALDERON.</h3> - -<p>Again, in the history of Spanish poetry a writer -occurs, whose name deserves to be transmitted to the -latest posterity, and who flourished along with others -who are also worthy of honourable remembrance.</p> - -<p>Pedro Calderon de la Barca, descended of a noble -family, was born in the year 1600. He is said to have -written his first dramatic work before he had completed -his fourteenth year. Having finished his collegial studies -at an early age, he, according to the custom of the times, -attached himself to some patrons whom he found among -the nobility at the court of Madrid. Not satisfied, however, -with this means of introducing himself to the great -world, he became a soldier, and served in several campaigns -in Italy and the Netherlands. Meanwhile the fame -of his talents as a dramatic poet was widely spread; and -it was foretold that he would equal, if not exceed, Lope -de Vega. King Philip IV. who afforded more liberal -encouragement to the drama than any of his predecessors, -and who was himself the author of several -plays, was gratified by the idea that he had in Calderon -a man capable of giving splendour to the court theatre. -He called him to Madrid in the year 1636, and shortly -after invested him with the order of St. Iago. From -this period Calderon became permanently fixed at court, -and his young sovereign, whose chief attention was -devoted to amusements and festivities, kept him in -constant activity. No expence was spared in bestowing -<span class="pagenum" id="Page_501">501</span> -pomp and brilliancy on the pieces which Calderon produced -for the entertainment of the court; but on the -other hand, it was expected of him to accommodate his -genius to the conditions required by a courtly audience. -Nevertheless his taste was consulted in the arrangement -of all public festivities, and the triumphal arch through -which the Queen Maria of Austria made her public -entrance into Spain, was erected in conformity with his -suggestions.</p> - -<p>In his fifty-second year Calderon took holy orders, -but did not on that account totally relinquish his -previous occupations. From that time, however, he -applied himself with more particular assiduity to the -composition of his <i>Autos Sacramentales</i>, which soon -superseded throughout the whole of Spain all the older -dramas of this class. Calderon lived to an advanced -age, admired by his countrymen, and amply rewarded -by ecclesiastical dignities, pensions and presents, from -his sovereign. In the estimation of the public, his -dramas surpassed those of every preceding and contemporary -writer. But in his old age, he himself -attached but little importance to his temporal productions. -The Duke of Veragua addressed to him a -flattering letter, requesting to be furnished with a -complete list of his dramas, because the booksellers -were in the habit of selling the works of other writers -under his name. In reply, Calderon, who was then in -his eightieth year, supplied the duke only with the list -of his <i>Autos Sacramentales</i>. He added in a letter, that -with regard to his temporal dramas, he felt offended, -that in addition to his own faulty works, those of -<span class="pagenum" id="Page_502">502</span> -other authors should be circulated in his name; and -besides that, his writings were so altered that he himself -could not recognize even their titles. He also expressed -his determination to follow the example of the booksellers, -and to pay as little regard to his plays as they -did; but he observed, that on religious grounds he attached -more importance to his Autos.<a id="FNanchor_530" href="#Footnote_530" class="fnanchor">530</a></p> - -<p>Calderon died in 1687, in the eighty-seventh year -of his age. Several collections of his dramas appeared -during his life, and among the rest one published by his -brother, Joseph Calderon, in 1640, but none were edited -by the author himself. In the great edition of the collected -comedies of Calderon, which his friend Juan de -Vera Tassis y Villaroel began to superintend in 1685, -the poet, who was then eighty-five years of age, can -scarcely be expected to have indirectly participated even -so far as was necessary to certify the authenticity of the -component parts. It is therefore questionable whether -the hundred and twenty-seven plays, published in Calderon’s -name, be all genuine. This doubt may indeed -be hazarded with the greater probability, as Juan de -Vera Tassis, who undertook to publish the complete -collection of Calderon’s dramas, estimates the number -of his Autos at ninety-five; while Calderon himself, -in his conscientious list furnished to the Duke of -Veragua, states their number to be only sixty-eight, including -those not printed. It can scarcely be believed -<span class="pagenum" id="Page_503">503</span> -that Calderon wrote twenty-seven Autos after he had -attained the age of eighty.<a id="FNanchor_531" href="#Footnote_531" class="fnanchor">531</a></p> - -<p id="CHARACTER_OF_THE_DIFFERENT_SPECIES">On a comparison of the dramas of Calderon and -Lope de Vega, it requires no extraordinary critical -penetration to discover the essential services which the -former rendered to the dramatic literature of Spain. -Which of these writers possessed the greater share of -inventive talent, is a question which it would be difficult -to determine, for Lope de Vega was not the inventor -of that species of dramatic composition which -was common to both, and Calderon was not behind -him in the invention of new combinations of intrigue, -ingenious complexities of plot, and interesting situations. -In general the invention of Lope may be the -bolder, but it is also the more rude of the two; and with -regard to whatever may be called refinement, whether -in conception or execution, but more particularly in -style, Calderon formed for himself an entirely new -sphere. The delicate art with which he gave the last -polish to the Spanish drama, without changing its -nature, carries with it an ennobling dignity in some -of his historical, or, as they are styled, heroic comedies. -In his comedies of intrigue this delicacy is conspicuous -in the execution of the general forms of character, -<span class="pagenum" id="Page_504">504</span> -which had now become naturalized on the Spanish -stage, and which usurped the place of individuality. -Calderon’s comedies are necessarily as little pieces of -character as those of Lope de Vega, for with the -delineation of particular character they would have -ceased to be pure dramas of intrigue. But they abound -in characteristic traits, in those traits which develope, -as it were, out of the souls of the dramatic personages, -the natural course of the gay intrigue in all its various -modifications. As an acute observer of the female -mind and manners Calderon was infinitely superior to -Lope de Vega. This delicacy of observation accords -admirably with the almost incredible subtlety of his -combinations of intrigue; and the elegance of his language -and versification complete the ingenious harmony -of these apparently irregular dramas, which though -not sufficiently perfect to be regarded as models, are -nevertheless true to the rules which the author prescribed -to himself. The other merits which belong to -his dramas, such as the seductive gracefulness and facility -of the dialogue, Calderon shares in common with -all the good dramatic writers of Spain. The faults -with which he may be reproached, and which in some -measure belong to the species of drama he adopted, -are more numerous in some of his pieces than in others. -It must also be observed, that in some of his heroic -comedies, he sinks so completely beneath his own -standard that it is difficult to recognize him.</p> - -<p>In Calderon’s <i>Comedias de Capa y Espada</i>,<a id="FNanchor_532" href="#Footnote_532" class="fnanchor">532</a> the -plots are usually of so complicated a nature, that no -<span class="pagenum" id="Page_505">505</span> -reader except a Spaniard, habituated to this sort of -mental exercise,<a id="FNanchor_533" href="#Footnote_533" class="fnanchor">533</a> can on a first perusal seize and follow -the various threads of the intrigue, by the artful entanglement -of which the principal characters of the -piece are repeatedly plunged from one unexpected -embarrassment into another. Calderon particularly -excelled in the accumulation of surprises, in connecting -one difficult situation with another, and in maintaining -undiminished the strongly excited interest to the close -of the piece. But in order to render this task the -easier, he paid still less attention than Lope de Vega -to probability in the succession of the scenes; and -his characters make their entries and their exits just -as it happens to suit the convenience of the poet. The -Spanish public was, however, disposed to pardon every -improbability of this kind, which gave rise to some -new situation full of dramatic truth. Calderon appears -to have estimated the merits of his dramas of intrigue, -in proportion to the effect produced by the situations; -and in this respect he was the more an inventor in -proportion as he introduced the less variety into his -characters. In all Calderon’s comedies of intrigue, -the dramatis personæ are the same individuals under -various names. Two or three ladies of fashion, two or -three lovers, an old man, a few waiting maids, a few -<span class="pagenum" id="Page_506">506</span> -male servants, and among these last, one who acts as -the <i>gracioso</i>, or buffoon; such are the standing characters -with which Calderon usually contented himself -in his sphere of dramatic composition. The motives -on which the plot turns are a licentious gallantry, in -which no moral interest is permitted to mix, and a -point of honour which gives rise to incessant contests. -On the slightest cause of offence swords are drawn, and -when passion rages, even daggers are employed. Romantic -accessaries are found in wounds, and murders, -though the latter, it is true, are not quite so frequent as -the former. Among the other passions the fury of -jealousy is conspicuous; and in order to bring this passion -into play, the author avails himself of disguises, -concealments, mistakes of persons, houses or letters, and -occasionally some particular local circumstance, such -for instance, as the secret door, which appears to be a -cupboard, in the lively drama of <i>La Dama Duende</i>, -(The Fairy Lady.) There is also no want of night -scenes in Calderon’s pieces of intrigue. But however -astonishing may be the variety of the situations which -he has created out of this uniformity of plan, yet they -cannot long satisfy a cultivated taste which requires a -nobler kind of variety.</p> - -<p>How far Calderon in his <i>Comedias de Capa y -Espada</i> has correctly represented the fashionable world -of Madrid, as it existed in the reigns of Philip III. and -Philip IV. is a question which cannot now be satisfactorily -determined. Modern Spanish writers have conceived -they were pronouncing a judicious critical censure, -when they cast on Calderon’s dramas the reproach of -<span class="pagenum" id="Page_507">507</span> -insulting the whole Spanish nation, by representing it -as composed almost solely of romantic coxcombs and -intriguing coquettes. These attacks on Calderon, are -the consequence of inconsiderate zeal for the principles -of the French drama, by which the dramatic literature -of Spain must never be judged.<a id="FNanchor_534" href="#Footnote_534" class="fnanchor">534</a> It is scarcely necessary -to observe, that a representation of one class of -men, who were particularly conspicuous in Madrid, -could not be intended as a representation of the whole -Spanish nation. But attempts have been made to -depreciate, by still more plausible sophisms, the merits -of Calderon’s sketches of manners. It has been remarked, -that he has totally violated nature, by putting -into the mouths of valets and waiting women poetic -language, which would be extraordinary even if delivered -by their masters and mistresses. The Spanish -servants of the present day are, doubtless, less likely -than those of the seventeenth century, to converse in -the poetical style in which the servants in Calderon’s -plays, on particular occasions, express themselves. But -the spirit of these particular occasions must not be -misunderstood. The servants in Calderon’s comedies -always imitate the language of their masters. In most -cases they express themselves like the latter, in the -natural language of real life, and often divested of that -colouring of the ideas, without which a dramatic work -ceases to be a poem. But whenever romantic gallantry -<span class="pagenum" id="Page_508">508</span> -speaks in the language of tenderness, admiration, or -flattery, then, according to Spanish custom, every idea -becomes a metaphor; and Calderon, who was a thorough -Spaniard, seized these opportunities to give the reins -to his fancy, and to suffer it to take a bold lyric flight -beyond the boundaries of nature. On such occasions the -most extravagant metaphoric language, in the style of -the Italian Marinists, did not appear unnatural to a Spanish -audience; and even Calderon himself had for that -style a particular fondness, to the gratification of which -he sacrificed a chaster taste. It was his ambition to become -a more refined Lope de Vega, or a Spanish Marino. -Thus in his play, entitled, <i>Bien vengas Mal, si vengas -Solo</i>, (Misfortune comes Well, if it comes Alone), a waiting -maid, addressing her young mistress who has risen -in a gay humour, says—“Aurora would not have done -wrong had she slumbered that morning in her snowy -chrystal, for that the light of her mistress’s charms -would suffice to draw aside the curtains from the couch -of Sol.” She adds that, using a Spanish idea, “it might -then indeed be said that the sun had risen in her lady’s -eyes,”<a id="FNanchor_535" href="#Footnote_535" class="fnanchor">535</a> &c. Valets, on the like occasion, speak in the -<span class="pagenum" id="Page_509">509</span> -same style; and when lovers address compliments to -their mistresses, and these reply in the same strain, the -play of far-fetched metaphors is aggravated by antitheses -to a degree which is intolerable to any but a -Spanish formed taste.<a id="FNanchor_536" href="#Footnote_536" class="fnanchor">536</a> But it must not be forgotten -<span class="pagenum" id="Page_510">510</span> -that this language of gallantry was in Calderon’s time -spoken by the fashionable world, and that it was a -vernacular property of the ancient national poetry.</p> - -<p>Faults of a less pardonable nature in Calderon’s -dramas, are the stale jests and meaningless plays on -words uttered by servants,<a id="FNanchor_537" href="#Footnote_537" class="fnanchor">537</a> and the burlesque situations -to which the disgusting accidents, occasioned by certain -nocturnal showers from windows give rise. But according -to the testimony of travellers, such accidents -are very common at night in the streets of Madrid and -Lisbon; and it must be recollected that in Calderon’s -time the jests of servants were considered as indispensable -in a Spanish drama of intrigue, as the presence -of the <i>gracioso</i> himself, who is, for the most part, one -of the valets.<a id="FNanchor_538" href="#Footnote_538" class="fnanchor">538</a> -<span class="pagenum" id="Page_511">511</span></p> - -<p>But the violations of cultivated taste which occur in -Calderon’s comedies of intrigue, are so amply redeemed, -that the critic cannot long hesitate to decide whether -faults or beauties are most abundant. Some of these -dramas are particularly remarkable for those descriptive -narratives, by the introduction of which nearly all the -Spanish comedies of the same class bring to recollection -their original relationship with novels.<a id="FNanchor_539" href="#Footnote_539" class="fnanchor">539</a> Though -<span class="pagenum" id="Page_512">512</span> -individual character is wanting, yet sometimes in the -course of the intrigue, beautiful characteristic traits -unexpectedly occur.<a id="FNanchor_540" href="#Footnote_540" class="fnanchor">540</a> The delicacy of the point of -honour, which in all these dramas supplies the place of -morality, is frequently exhibited by Calderon in its -<span class="pagenum" id="Page_513">513</span> -most brilliant point of view;<a id="FNanchor_541" href="#Footnote_541" class="fnanchor">541</a> and he sometimes with -much formality oversteps the Spanish rule, by which -moralizing was excluded from this species of drama.<a id="FNanchor_542" href="#Footnote_542" class="fnanchor">542</a> -The application which may be made of the plot -<span class="pagenum" id="Page_514">514</span> -is frequently denoted by the title of the piece, and is still -more distinctly developed at the conclusion.<a id="FNanchor_543" href="#Footnote_543" class="fnanchor">543</a> Calderon -deserves praise for having but seldom introduced sonnets -in his comedies of intrigue, though he has amply availed -himself of other freedoms, in order to maintain the privilege -of poetry in pourtraying the scenes of common -life.<a id="FNanchor_544" href="#Footnote_544" class="fnanchor">544</a></p> - -<p>Calderon’s heroic comedies are much diversified in -their kind, and very unequal in their merits. Some are -distinguished from the dramas of intrigue only by the -rank of the characters. Of this kind is the well known -piece, entitled, <i>El Secreto a Voces</i>, (the Published Secret), -imitations of which have appeared in the Italian, French, -and German languages. The Spaniards number it among -<span class="pagenum" id="Page_515">515</span> -their heroic comedies, merely because an Italian prince -and princess are introduced in it. Other plays by Calderon, -which, according to the Spanish nomenclature, are -ranked in the heroic class, are in fact romantic pastoral -dramas; as for example, the pleasing piece, entitled, <i>Eco -y Narciso</i>. Others again are romantic, mythological -festival pieces, accompanied by transformations and -melo-dramatic splendour; of this kind is <i>El mayor -encanto Amor</i>, (Love is the greatest Enchantment). -Finally, among Calderon’s heroic comedies are included -his historical dramas, several of which may -properly be called tragedies. Some of these historical -dramas are among the best, while others are the most -trivial of Calderon’s productions. All are melo-dramatic -spectacles, in which armies defile, battles are fought, and -sumptuous banquets are given. The scene is, by turns, -a palace, a vast landscape, a cavern, or a pleasure -garden, while drums and trumpets flourish, and cannon -thunder at every opportunity.</p> - -<p>In all that regards scenic splendour in the composition -of historical plays, even Lope de Vega must -yield to Calderon, for the dramas of the latter were -represented at the expence of the royal treasury. But -in the historical style of dramatic composition Calderon -only succeeded when he selected his materials from the -events of his own country. Where he has adapted -to the Spanish stage, subjects from the Greek and -Roman history, as in his Alexander the Great,<a id="FNanchor_545" href="#Footnote_545" class="fnanchor">545</a> and in -<span class="pagenum" id="Page_516">516</span> -his Coriolanus,<a id="FNanchor_546" href="#Footnote_546" class="fnanchor">546</a> the absurd change of costume is almost -forgotten amidst the extravagant confusion of the events, -by which romantic situations are brought about one after -another, but which, on the whole, produce only a mean -effect. The great poet seems occasionally to have been -forsaken by his good genius, particularly when he makes -a display of his erudition in the very same scenes in -which he completely perverts ancient history. But Calderon’s -historical dramas of this class are very inferior -to those of which the story was invented by himself, -and the scene arbitrarily laid in ancient Greece. -Among the latter is a piece, entitled, <i>Finezas contra -Finezas</i>, (Generosity for Generosity), a beautiful poem, -full of tenderness and mythological piety. But this -drama, though, perhaps, single in its kind, must nevertheless -yield to the christian drama, of which the -history of Portugal furnishes the hero. The tragedy -of Don Fernando, entitled, <i>El Principe Constante</i>, -displays all the lustre of Calderon’s genius. The unities -of time and place are lost sight of in the unity of the -heroic action, into which Calderon has infused the spirit -of the purest pathos, without departing from the Spanish -national style of heroic comedy. This tragedy might -not improperly be named the Portuguese Regulus. Don -Fernando, a Portuguese prince, lands at the head of an -army, accompanied by his brother Don Enrique, on -the coast of Barbary in Morocco. He is victorious in -his first battle, and he makes prisoner the African hero, -Muley, who relates to him his history. The prince, -<span class="pagenum" id="Page_517">517</span> -moved by generosity, liberates his captive. No sooner -has Muley expressed his surprise and gratitude, than the -Moors return with a reinforcement, and the Portuguese -prince is himself made prisoner. At this point commence -the tragic scenes which are prepared by pathetic -situations of another kind. The king of Fez and -Morocco immediately offers liberty to his royal prisoner, -on condition of the surrender of the garrison of Ceuta -on the coast of Morocco, which is in possession of the -Portuguese. The prince declares that he would rather -die in the most degrading captivity, than consent to -obtain his freedom by delivering a christian town into -the power of the infidels. The moorish king, however, -relies so confidently on the acquisition of Ceuta, that -he treats the prince with every mark of respect until -the return of the envoy from Portugal. The answer -of the Portuguese government proves to be, as the king -of Fez expected, a compliance with his proposal; but -the prince firmly refuses to be ransomed on the required -condition. He now receives the most rigorous treatment, -which he bears with pious heroism and without complaint, -until his bodily strength is exhausted and he -expires. The sufferings and fortitude of Fernando;—the -conflict between gratitude and religious prejudice -in the mind of Muley, who exerts his utmost endeavours -to deliver the captive prince;—and, on the other hand, -Muley’s romantic passion for the king’s daughter, who is -destined to be the bride of another;—and the still more -romantic tenderness of the princess,—form altogether a -picture so noble and so truly poetic, that it would be -unfair in this brief sketch of the piece, to notice the -<span class="pagenum" id="Page_518">518</span> -numerous errors which it unquestionably presents. The -action seems to terminate with the death of Fernando; -but a fresh army arrives from Portugal, and the ghost -of the prince, with a torch in his hand, appears at the -head of the troops and leads them on to victory. The -impression produced by this apparition gives the finishing -touch to the romantic pathos of the foregoing scenes.<a id="FNanchor_547" href="#Footnote_547" class="fnanchor">547</a> -The beautiful flights of fancy which occur at the commencement -of the piece are worthy of particular -attention. There Calderon has painted his favourite -images in his comparison of waves with flowers.<a id="FNanchor_548" href="#Footnote_548" class="fnanchor">548</a> On -<span class="pagenum" id="Page_519">519</span> -another occasion of a similar kind a comparison of stars -with flowers, and of flowers with stars, is introduced -in two <i>concerted</i> sonnets.<a id="FNanchor_549" href="#Footnote_549" class="fnanchor">549</a> The heroic character of -Don Fernando is decidedly evinced in his first speech -<span class="pagenum" id="Page_520">520</span> -to his companions in arms; and his noble spirit is still -more distinctly developed when he restores Muley to -freedom.<a id="FNanchor_550" href="#Footnote_550" class="fnanchor">550</a> But a more minute detail of the beauties -<span class="pagenum" id="Page_521">521</span> -of this tragedy would carry us beyond the limits of -this work.</p> - -<p>Calderon’s <i>Autos Sacramentales</i> may be noticed in -a few words. In this class of dramatic composition, -Calderon pursued the path which had been previously -trodden by Perez de Montalvan, but he left his model -far behind him. Some of his autos, of which that -entitled, <i>La Devocion de la Cruz</i>, (the Miracles of the -Cross, or literally the Devotion of the Cross), may be -cited as an example, are the grandest and most ingenious -productions of the kind in the Spanish language. But -in these spiritual dramas, reason and moral feeling are -so perverted by extravagant and fantastic notions of -religious faith, that it is impossible to forbear congratulating -those nations whose better fate has excluded -them from amusements of this kind.</p> - -<h3 id="HISTORY_OF_THE_SPANISH_DRAMA">HISTORY OF THE SPANISH DRAMA CONTINUED TO -THE CLOSE OF THE PERIOD OF THIS SECTION.</h3> - -<p>Never, perhaps, was any dramatic poet accompanied -in so long a career by such a number of rivals, friends, -<span class="pagenum" id="Page_522">522</span> -and imitators, as Calderon. It was precisely the half -century during which he indefatigably laboured for the -Spanish theatre that gave birth to the greater part -of those dramas, the number of which is better known -than the merits. In consequence of the popularity -of Lope de Vega and Calderon, the passion for dramatic -composition became as epidemic in Spain as that of -sonnet writing had formerly been. The encouragement -which Philip IV. gave to the drama, doubtless contributed -not a little to excite this poetic emulation. But the -multitude of writers who entered into the competition -were ambitious of rivalling Lope de Vega and Calderon -in proofs of fertility of invention. The fecundity of -Perez de Montalvan, who, notwithstanding his life was -short, wrote nearly one hundred plays in the style of -Lope de Vega, was not allowed to remain a solitary -example. The impression produced by successive -<i>comedias famosas</i> on a public whose greatest mental -enjoyment was found in the theatre, was also felt by -those who were desirous of producing similar works. -Thus every piece which was applauded sowed the -seeds of new comedies. No author thought it necessary -to reform the principles on which Spanish comedy -was composed, or attempted to distinguish himself by -any particular originality. At the same time the spirit -which governed this emulation was equally remote from -an intentional imitation of the more celebrated dramatic -poets. He who was ambitious of adding one more to -the numberless dramas in the possession of the stage, -followed in the general stream under the influence of -impressions previously received. To wit and fancy free -<span class="pagenum" id="Page_523">523</span> -scope was allowed; but any original traits which the -new production might contain, were more or less overshadowed -by the general character of this class of composition. -The whole of those dramatists, whose works -so closely resemble each other, form therefore only one -school. Were not the critic assisted by names the -most extensive, knowledge of this department of Spanish -literature would in most cases be insufficient to -enable him to distinguish the labours of different -authors. It often happened that several writers formed -a co-partnership of their talents for the production of -one piece. Hence arose the practice of printing on the -titles of some dramas, the words, “by two wits,” or -“by three wits,” (<i>de dos ingenios</i>, or <i>de tres ingenios</i>.) -Of the numerous aspirants in this conflict of efforts -and of talents, proportionally few succeeded in obtaining -a celebrity which entitles them to be placed near -Lope de Vega and Calderon. These few, however, -whose number, compared with the approved dramatists -of other nations, the French comic authors excepted, -is still very considerable, vied in ingenuity and delicacy -of composition with Calderon, and endeavoured to surpass -him in regularity.</p> - -<p>Several authors have with much labour endeavoured -to discover the number of the Spanish dramas, as if -the knowledge of their amount even correctly ascertained, -could be worth the pains necessary to acquire it. -Of the three thousand eight hundred and fifty-two -dramatic works which La Huerta has enumerated,<a id="FNanchor_551" href="#Footnote_551" class="fnanchor">551</a> -<span class="pagenum" id="Page_524">524</span> -the greater part belongs to the age of Calderon. Those -which Calderon himself wrote, appear in the list; and -it also includes a considerable number of short interludes, -some of which, perhaps, did not cost their authors -more than a few hours labour. But this list contains -only the printed dramas known to literary collectors. -That the number of pieces remaining in manuscript is -much greater, may from analogy be presumed; for of -the dramatic compositions of the idolized Lope de -Vega, which are estimated at more than two thousand, -not many more than three hundred have been printed.</p> - -<p>It would not be uninteresting to analyze, for the -purpose of comparison with the works of Calderon, -some of the best of the other dramas of this age; but -such details do not fall within the province of this General -History of Spanish Poetry and Eloquence. Some -of the contemporaries of Calderon, however, vied with -him in so distinguished a manner, that an express but -brief notice of their merits becomes indispensable.</p> - -<h3 class="hang" id="ANTONIO_DE_SOLIS">ANTONIO DE SOLIS—MORETO—JUAN DE HOZ—TIRSO -DE MOLINA—FRANCISCO DE ROXAS—AUGUSTIN -DE SALAZAR—MIRA DE MESCUA, &c.</h3> - -<p>An honourable station, beside Calderon, belongs to -Antonio de Solis, one of the most eminent authors of -his age. He was ten years younger than Calderon, -whom he survived a few years. His literary activity -was not limited to the study of poetry; for morals, -politics, and history, also occupied his attention, particularly -in his maturer years. He wrote the preludes, -(<i>loas</i>), to some of Calderon’s dramas, and appears to -have been connected by the ties of friendship with that -<span class="pagenum" id="Page_525">525</span> -great poet. The fame of his political and historical -knowledge obtained for him a place in the administration -under Philip IV. and after the death of that -monarch he was appointed to the lucrative post of -<i>Coronista de las Indias</i>, or historiographer of the transactions -of the Spaniards in both Indies. While he -held this office, he wrote his celebrated History of the -Conquest of Mexico, which will be more particularly -noticed at the close of the present book. Finally, he -entered into holy orders, and devoted himself almost -exclusively to exercises of devotion; he died in 1686. -His plays do not display so much boldness of imagination -as Calderon’s; but they are ingeniously composed -in the Spanish national style of intrigue, and exhibit an -elegant vivacity of diction. With regard to pleasantries -put into the mouths of servants, he does not exactly -correspond with other Spanish dramatists. His dramatic -compositions are more regular than Calderon’s, because -he was less liable to be seduced by the force of his -imagination. Among his comedies attributed to the -heroic class, <i>El Alcazar del Secreto</i>, (the Castle of -Mystery), is justly much valued. In his dramas of -intrigue he has endeavoured to vary the characters -more than his great contemporary. Thus gipseys figure -in his piece, called, <i>La Gitanilla de Madrid</i>, which is -partly founded on Cervantes’s novel of the same title.<a id="FNanchor_552" href="#Footnote_552" class="fnanchor">552</a> -<span class="pagenum" id="Page_526">526</span></p> - -<p id="MORETO">Augustin Moreto possessed a higher degree of comic -talent than Calderon. This able and industrious writer -was also favoured by Philip IV. but he became an ecclesiastic -and renounced writing for the theatre. Some of -his pieces are comic from beginning to end, and are also -comedies of character, though the form of the Spanish -drama of intrigue is still preserved. In his piece, entitled, -<i>De fuera vendra, quien de casa nos eschara</i>,<a id="FNanchor_553" href="#Footnote_553" class="fnanchor">553</a> -(He will come from without, Who will turn us out), he -has introduced an old coquette, a military coxcomb, and a -doctor of laws, who besides being cowardly and pedantic, -is also amorous. These characters are drawn with a -comic force which has seldom been surpassed, though -it must be confessed that they partake too much of -the caricature style. In general Moreto approximates -more than Calderon to Terence, whose comedies became, -in the sequel, models for the Spanish dramatists when -the principles of the French drama were adopted. But -his <i>gracioso</i>, who is always the fool of the piece in the -character of a servant, repeats too often the same sort -of wretched jests.</p> - -<p id="JUAN_DE_HOZ">Juan de Hoz likewise approached to the comic style -of the regular dramas representing character. Of this -author nothing further is known, except that he wrote -an excellent comedy, entitled, <i>El castigo de la Miseria</i>, -(Avarice Punished,) which presents a considerable resemblance -to one of Cervantes’s novels.<a id="FNanchor_554" href="#Footnote_554" class="fnanchor">554</a> -<span class="pagenum" id="Page_527">527</span></p> - -<p id="TIRSO_DE_MOLINA">Tirso de Molina, or Gabriel Sellez, (as his real -name is said to have been) was one of the most prolific -dramatic writers among the contemporaries of -Calderon. He is the reputed author of upwards of -seventy plays still extant. He vied with Lope de -Vega and Calderon in the merit of ingenious and bold -invention, which is particularly manifested in his historical -and spiritual dramas.<a id="FNanchor_555" href="#Footnote_555" class="fnanchor">555</a></p> - -<p id="FRANCISCO_DE_ROXAS">The dramas of intrigue by Francisco de Rojas, or -Roxas, a knight of the order of Santiago, were, about -the middle of the sixteenth century, as much esteemed -as those of Calderon; for the art of ingenious complexity -which they exhibited, rendered them particularly pleasing -to the Spanish taste. A play by this author, entitled, -<i>Entre Bobos anda el Juego</i><a id="FNanchor_556" href="#Footnote_556" class="fnanchor">556</a>, (When Fools play -the Game goes well), is even at the present day a distinguished -favourite on the Spanish stage. He was not -so successful as a writer of heroic comedies. His -<i>Casarse para Vengarse</i>, (Marriage of Vengeance), -which is a sort of tragedy, is disgustingly surcharged -with bombastic phrases.</p> - -<p id="AGUSTIN_DE_SALAZAR_Y_TORRES">Agustin de Salazar y Torres, was educated in -Mexico, and after his return to Spain, lived at the -court of Philip IV. He was an admirer of Gongora, -<span class="pagenum" id="Page_528">528</span> -and as many of his poems prove, also a faithful disciple; -but though an inveterate Gongorist, he was one of the -cleverest writers of that school of affectation. His -dramatic works are distinguished for ingenuity of invention, -and a style which shews that he knew how -to elevate himself above the common level, without -running into bombast.<a id="FNanchor_557" href="#Footnote_557" class="fnanchor">557</a> His heroic comedy, entitled, -<i>Elegir al Enemigo</i>, (How to choose an Enemy), is -full of genuine poetry.</p> - -<p id="MIRA_DE_MESCUA">Antonio Mira de Mescua, or Amescua, who lived -as an ecclesiastic at the court of Philip IV. must not -be omitted in the list of the Spanish dramatic poets of -the period now under consideration. He was regarded -by many of his contemporaries as a second Lope de -Vega;<a id="FNanchor_558" href="#Footnote_558" class="fnanchor">558</a> and he doubtless more nearly approached the -rude brilliancy of Lope than the elegant manner of -Calderon. He remained, however, far behind his model; -yet his historical and spiritual dramas are distinguished -for conceptions, which, though extravagant, are not -devoid of interest, and which were moreover perfectly in -unison with the prevailing Spanish taste. In <i>El Caballero -sin Nombre</i>, (The Knight without a Name), he has -even ventured to introduce a wild bear on the stage. -<span class="pagenum" id="Page_529">529</span></p> - -<p id="COLLECTIONS_OF_SPANISH_DRAMAS">To the historian who makes the dramatic literature -of Spain his particular object, must be consigned the -task of collecting the necessary information respecting -the works of Antonio de Mendoza, Luis Velez de -Guevara, Alvaro Cubillo, Luis Coello, Felipe Godinez, -Juan Matos Fragoso, and other dramatists, who in the -age in which they lived, were frequently placed on a -level with Calderon. The writer who devotes his -attention to this department of Spanish literature, must -likewise take into consideration the older dramatic -works which appeared during the latter years of Lope -de Vega’s career, as, for example, the comedies of Juan -Ruiz de Alarcon, Guillen de Castro, &c.<a id="FNanchor_559" href="#Footnote_559" class="fnanchor">559</a> Neither -must he neglect to furnish bibliographic accounts of -the various collections of Spanish dramas published by -different editors. In the present work it is only -necessary to observe, that these collections, the greater -part of which appeared in the seventeenth century, -were all speculations of the booksellers. Most of them -present abundant traces of haste and negligence, and but -few are distinguished for critical discrimination in the -selection. The historian of the Spanish national taste -will, however, consult those collections with the view -of ascertaining what dramas were, at a certain period, -the greatest favourites in Spain; for the booksellers -published their collections in conformity with the -humour of the public. Thus every drama which was -<span class="pagenum" id="Page_530">530</span> -printed, was styled a <i>Comedia famosa</i>, so that about -the middle of the seventeenth century, the epithet -<i>famosa</i>, had, by frequent repetition, lost all value.</p> - -<h3 class="hang" id="CONCLUSION_OF_THE_HISTORY_OF_SPANISH_ELOQUENCE">CONCLUSION OF THE HISTORY OF SPANISH ELOQUENCE -AND CRITICISM WITHIN THE PERIOD -OF THIS SECTION.</h3> - -<p>The works belonging to the department of elegant -prose, which appeared during the period of the ascendency -of dramatic poetry in Spanish literature, may be -noticed in few words. The authors who still adhered -to the spirit of genuine eloquence, gave no new direction -to rhetorical cultivation; they merely continued, -with laudable perseverance, the task begun by their -predecessors, namely, that of opposing the party who -methodically endeavoured to introduce into prose composition -a new tone of ingenious absurdity.</p> - -<p>Romantic prose no longer maintained a conflict -with true eloquence, but proceeded in a separate -course. The reading portion of the Spanish public -continued to be supplied with romances and novels, -most of which, however, were the production of obscure -writers. Several Spanish ladies contributed their -share in this kind of authorship.</p> - -<p id="ANTONIO_DE_SOLIS_CONSIDERED_AS_A_HISTORIAN">The necessary distinction between historical and -romantic narrative was now made by the historiographers -or chroniclers, whose numbers had been -augmented since the extension of the Spanish possessions -in India and America. But among all these -writers, Antonio de Solis, who has already been noticed -<span class="pagenum" id="Page_531">531</span> -as a dramatic poet, is the only one who produced a -work deserving to be ranked among the models of -historical composition. His history, which he wrote in -the quality of historiographer of the Indies, is the last -classic relic of the kind of which Spanish literature can -boast. It contains an account of the Conquest of -Mexico, in a genuine historical form, notwithstanding -that the subject was calculated to seduce a poetic author -into the romantic narrative style.<a id="FNanchor_560" href="#Footnote_560" class="fnanchor">560</a> Those who are -unacquainted with the fact of Antonio de Solis being -a celebrated poet, will never conjecture it from the -general tone of this work. No writer could possibly -mark with more solidity of taste the distinction between -poetry and prose. Antonio de Solis had, however, -attained the age of maturity when he laid down the -principles by which he was guided in the discharge of -his functions as a historian. He states in his preface -that in history all ornaments of eloquence are merely -accessaries; and that the accuracy of the relation is -true historical elegance. He says, that truth must be -of all things the most important to the historian, and -that in historical composition what is truly stated, is well -stated.<a id="FNanchor_561" href="#Footnote_561" class="fnanchor">561</a> According to these principles the very worst -<span class="pagenum" id="Page_532">532</span> -style possible would be tolerable in a faithful historical -narrative. But it would appear that Antonio de Solis, -through a distrust of his own poetic imagination, -exaggerated to himself the necessity of self-denial as -an homage due to historical fidelity; and this exaggeration, -which in reality was only theoretical, proved of -essential service to him in the execution of his work. His -talent for description, and his cultivated taste, naturally -elevated him above the dryness and dulness of the -common chronicle style. Though he seems scarcely to -have reflected on the more essential requisites of the -historical art, yet his work has not suffered by their -neglect; for as a dramatic poet he had been accustomed -to an arrangement of events which concentrated them -in a single point of view; and profound political knowledge -was not required for the just exposition of -transactions occurring in the expedition of a small party -of Spanish adventurers, led on by the daring Hernando -Cortes, to the conquest of the kingdom of Mexico. -Nothing more was necessary than a simple and unaffected -narration, to cause the interest naturally belonging -to the subject to be strongly felt. -<span class="pagenum" id="Page_533">533</span></p> - -<h3 id="INTRODUCTION_OF_GONGORISM">INTRODUCTION OF GONGORISM INTO SPANISH -PROSE—BALTHASAR GRACIAN.</h3> - -<p>The elegant simplicity of the historical style adopted -by Antonio de Solis, forms, with the Gongorism which -about this time crept into Spanish prose composition -from the poetic school of Gongora, a rhetorical contrast, -which is the last remarkable phenomenon in the history -of Spanish eloquence. The pedantic commentators of -the unintelligible Gongora had long been accustomed to -write a strange fantastic prose style; but this prosaic -Gongorism had not infected any man of distinguished -talent, until Lorenzo, or Balthasar Gracian, became a -popular author. Writers on literature mention but few -particulars respecting the life of this distinguished man, -who is supposed to have died in the year 1652. It is probable -that he himself concealed his literary existence; -for it is conjectured that the works which on their title-pages -bear the name of Lorenzo Gracian, were really -written by Balthasar Gracian, who was a Jesuit, and the -brother of Lorenzo. Respecting Lorenzo nothing further -is known than that he is understood to have lent his name -to the productions of his brother; but, be this as it may, -the writings which have conferred celebrity on that name, -are, in some measure, sufficiently jesuitical.<a id="FNanchor_562" href="#Footnote_562" class="fnanchor">562</a> They relate, -in general, to the morality of the great world, to -theological morality, and to poetry and rhetoric. The -most voluminous of these works bears the affected title -<span class="pagenum" id="Page_534">534</span> -of <i>El Criticon</i>. It is an allegorical picture of the whole -course of human life divided into <i>Crisis</i>, that is to say, -sections according to fixed points of view, and clothed -in the formal garb of a pompous romance. It is scarcely -possible to open any page of this book without recognizing -in the author a man, who is in many respects -far from common, but who from the ambition of being -entirely uncommon in thinking and writing studiously -and ingeniously, avoids nature and good sense. A -profusion of the most ambiguous subtleties, expressed -in ostentatious language, are scattered throughout the -work;<a id="FNanchor_563" href="#Footnote_563" class="fnanchor">563</a> and those affected conceits are the more offensive, -in consequence of their union with the really -grand view of the essential relationship of man to -nature and his Creator, which forms the subject of the -treatise. Gracian would have been an excellent writer -had he not so anxiously wished to be an extraordinary -one. His shorter productions, in which he developes -his theory of the intellectual faculties, and the conduct -of life, are still more disfigured by affected ornament -<span class="pagenum" id="Page_535">535</span> -than the tedious Criticon;<a id="FNanchor_564" href="#Footnote_564" class="fnanchor">564</a> they, however, occasionally -contain striking observations intelligibly expressed.<a id="FNanchor_565" href="#Footnote_565" class="fnanchor">565</a> -His <i>Oraculo Manual</i> has been more read than any -other of his works. It is intended to be a collection of -maxims of general utility, but it exhibits good and bad -precepts, sound judgments, and refined sophisms, all -confounded together. In this work Gracian has not -forgotten to inculcate the practical principle of jesuitism -“to be all things to all men,” (<i>hacerse a todos</i>), nor to -recommend his own favourite maxim, “to be common -in nothing,” (<i>en nada vulgar</i>), which in order to be -valid would require a totally different interpretation -from that which he has given it. -<span class="pagenum" id="Page_536">536</span></p> - -<p>Gracian’s <i>uncommon</i> prose was formed according to -certain principles. His book on the Art of Ingeniously -Thinking and Writing,<a id="FNanchor_566" href="#Footnote_566" class="fnanchor">566</a> is no inconsiderable contribution -to criticism in Spanish literature. He refines to an -incredible degree on subtle distinctions and antitheses, -with the view of systematically bringing the style of -his countrymen to the level of his own. His illustrative -examples are selected from Italian and Spanish -poets, particularly from Marino, Gongora and Quevedo. -Throughout the whole work, ingenious thoughts (<i>conceptos</i>,) -are constantly the subject of consideration. A -man of genius, he says, may receive these ideas from -nature; but art enables him to create them at pleasure. -“As he who comprehends such ideas is an eagle, so he -who is capable of producing them must be ranked -among angels; for it is an employment of cherubims -and an elevation of man which raises him to sublime -hierarchy.”<a id="FNanchor_567" href="#Footnote_567" class="fnanchor">567</a> He then proceeds to describe those <i>conceptos</i>, -which he pronounces to be undefinable, because -“they are to the understanding what beauty is to the -eye, and harmony to the ear.”<a id="FNanchor_568" href="#Footnote_568" class="fnanchor">568</a> Next follows an -<span class="pagenum" id="Page_537">537</span> -enumeration and explanation of the numerous combinations -by which the various classes of these ideas, for -example, the proverbial, the pathetic, the heroic, &c. -may be produced. Poetic figures are examined in -rotation; and the style of true eloquence is defined -according to the same principles. Thus throughout -the whole book good sense and good taste are most -ingeniously abused.</p> - -<p>This art of poetry and rhetoric by Gracian was, in -the seventeenth century, the only work of the kind -which produced any influence on the taste of writers -and the public.</p> - -<p>Gongorism peeps forth even in the published letters -of the eminent men of this period, which exhibit a -strained formality and an affected elegance. The -letters of Quevedo form in this respect no exception. -Even in those of Antonio de Solis the facility of the -true epistolatory style is wanting.<a id="FNanchor_569" href="#Footnote_569" class="fnanchor">569</a> -<span class="pagenum" id="Page_538">538</span></p> - -<hr class="chap" /> - -<h2 id="BOOK_III">BOOK III.</h2> - -<h3 id="HISTORY_OF_SPANISH_LITERATURE">HISTORY OF SPANISH LITERATURE FROM ITS DECLINE -IN THE LATTER HALF OF THE SEVENTEENTH -TO THE END OF THE EIGHTEENTH -CENTURY.</h3> - -<p>This book is intended to be only a compendious -supplement to the two preceding books of the History -of Spanish Poetry and Eloquence. Were it even an -agreeable task to describe in detail through what gradations -a nation rich in intellect, which unfortunately -descended from the most brilliant height of literary -independence, to the servile imitation of foreign forms, -passed in this lamentable decline, until the depressed -national spirit began with patriotic feeling again to arise, -and slowly to re-animate the native literature—it still -would be proper to leave that office to the writer whose -object it may be to give an account of every production -which appears within the circle of polite learning. From -him, however, who has rather chosen to take a general -historical view of the developement and progress of literary -genius and taste in modern Europe, it would be -unreasonable to expect specific notices of inferior works, -published during the period of an expiring and slowly -reviving literature. In the eighteenth century, no poet -arose in Spain to form an epoch such as that finally -marked in Italian literature by Metastasio; and whatever -was then accomplished in Spanish prose, was a -consequence of the imitation of French models. -<span class="pagenum" id="Page_539">539</span></p> - -<p>It is scarcely necessary to observe, that according -to the laws of nature and the human mind, no distinct -line of separation can exist between this period and -that which precedes it. When lights are gradually and -imperceptibly extinguished, it is impossible to name the -moment when obscurity commenced. It would be no -less difficult to fix precisely the epoch of the revival of -Spanish literature, for it is marked by no particular -phenomenon. The necessary division in the history -of the progressive and retrogressive state of Spanish -literature must therefore be referred, without any precise -determination, to the reign of Charles II. from -1665 to 1700. Some dramatic authors who maintained -the respectability of the Spanish national theatre, to -the beginning of the eighteenth century, will consequently -be included in this last book. Thus the account -of the new dawn of national genius, promising better -times, will be given in connexion with the immediately -preceding literary transactions.</p> - -<p>This book may be conveniently divided into three -chapters. The first will contain the history of the -complete decay of the Spanish national spirit in respect -to literature. In the second will be given a brief account -of whatever literary events appear to deserve consideration -from the reign of Charles II. to the commencement -of the reign of Charles III. The third chapter -will be devoted to a summary notice of the more recent -occurrences, which particularly in the last ten years of -the eighteenth century appear to have given a new direction -to Spanish literature. -<span class="pagenum" id="Page_540">540</span></p> - -<hr class="chap" /> - -<h2 id="CHAP_I">CHAP. I.</h2> - -<h3 id="GENERAL_VIEW_OF_THE_STATE_OF_POETICAL">GENERAL VIEW OF THE STATE OF POETICAL AND -RHETORICAL CULTIVATION IN SPAIN DURING -THIS PERIOD.</h3> - -<p>Within the century composed of the reigns of the -three Philips, from 1556 to 1665, that is to say, the -golden age of Spanish literature, the national spirit, -which the vicious system of the government was calculated -to repress, became at last like the national -resources, completely exhausted. Under Charles II. the -wounds of the body politic which had long profusely bled, -began to exhibit frightful gangrenes. In every quarter -of the world Spanish valour had done its uttermost for -the support of the perverse measures of a despotic government, -and the state at length seemed on the verge -of dissolution. The enormous treasures which poured -into Spain from the mines of America, were immediately -consigned to foreign nations. Thus the richest -country in the world was overwhelmed with debt. -Agriculture and industry languished particularly in -the interior of the monarchy, where a near view of -the splendour of an ostentatious court still served to -gratify Castilian vanity, but where every blow levelled -against the whole state was most directly felt. The -occupation of one half of America carried off men from -the mother country by thousands at a time; and in -addition to this drain, the population had been suddenly -diminished to the extent of nearly half a million, -by the tyrannical expulsion of the Moriscos, or baptized -Arabs. Spain was also engaged in uninterrupted warfare -<span class="pagenum" id="Page_541">541</span> -during the whole of the century in which the three -Philips reigned. Continual levies of troops, combined -with oppressive taxation, at length so reduced the -nation, that the government lost the instrument it had -abused; and every sacrifice made to meet cases of imperious -urgency, served only to produce a new humiliation. -The little kingdom of Portugal, by a fortunate -effort threw off the Spanish yoke, and became once more -an independent state. Torrents of Spanish blood were -shed in the Netherlands, with the view of suppressing, -at any price, the freedom of the United Provinces; yet -those provinces flourished in full vigour, while Spain -was reduced to the last stage of political inanition. -Still, however, Spanish genius appeared to soar superior -to all the evils that assailed the state, as long, at least, -as the semblance of the ancient national greatness -remained. But with the death of Philip IV. even that -semblance vanished. The widowed queen, who was appointed -guardian of the young king, then only five years -of age, acting under the influence of father Neidhart, a -German Jesuit, offered the last insult to the feelings of the -nobility and the people. No sooner was father Neidhart -driven away by the party of Don John of Austria, -the natural son of Philip IV. than France obtained -possession of a considerable portion of the provinces -which Spain still held in the Netherlands. In the -West Indies a republic of pirates was established. This -new enemy grew out of the remarkable association of -the Flibustiers, or Buccaneers, men who regarded -Spanish America as a booty on which they were entitled -to prey. This state of things was not improved -<span class="pagenum" id="Page_542">542</span> -when the full powers of government were placed in -the hands of the weak Charles II. the period of whose -reign is the most melancholy in Spanish history.</p> - -<p>The circumstance of a French prince being called -to the Spanish throne, in obedience to that will of -Charles II. which has been so much censured, was by -no means unfortunate for Spain, either in a literary or -political point of view. The war, which was partly a -civil contest, and which was maintained for twelve -years before the new Philip, the fifth of that name, -was tranquilly seated on his throne, seemed, however, -to threaten the annihilation of the last remnant of -Spanish national vigour. The mild and rigidly pious -Philip V. was, by his personal character and mode of -thinking, previously related to the nation to which he -now belonged. He manifested no desire to transplant -into Spain the literature of France, which at that time -began to exercise an influence over the whole of Europe. -The foreigners whose promotion to important -posts during the reign of the first Bourbon in Spain, -rendered them the objects of much patriotic jealousy, -were Italians and Irishmen, but in no instance Frenchmen. -The French influence operated in Spain, only -on the wavering politics of the cabinet of Madrid; the -change of the reigning dynasty produced therefore little -or no influence on Spanish literature. All that Philip -V. did to promote the advancement of learning on the -French model, was wholly confined to the celebrated -institution of royal academies, among which the -academy of history, and still more, the academy of -<span class="pagenum" id="Page_543">543</span> -the Spanish language and polite literature,<a id="FNanchor_570" href="#Footnote_570" class="fnanchor">570</a> may be -regarded as having operated influentially on the literature -of Spain. But this last-mentioned academy, -which was established in the year 1714, was never -intended for the annihilation of the spirit and peculiar -forms of Spanish poetry and eloquence. The cultivation -of the Spanish language was its especial care, and -its labours for the accomplishment of that object were -crowned by the production of its excellent dictionary. -The efforts made by some members of this academy -to form the taste of their countrymen on the model of -that of France, must be attributed to themselves individually. -They merely followed the new current of -French taste, in common with almost every person in -Europe, who had then any pretensions to polite education. -If these innovators must be called a literary -court party, the term can only be employed in the -sense in which it would, with equal propriety, apply to -the same sort of party existing in other countries, -where the French style became the fashionable style -of courts, and was, with courtier-like complaisance, -generally adopted by authors both in verse and in -prose.</p> - -<p>The French taste spontaneously penetrated into -Spanish literature when the age of Louis XIV. began -to exercise an imposing influence over the whole world. -But the French taste would have operated on the literature -of Spain, which had already been carried so far -beyond that of France, in a very different manner, had -<span class="pagenum" id="Page_544">544</span> -not the old national energy been crippled in every direction. -Had it not been for this unfortunate circumstance -crowds of servile imitators and pseudo critics would never -have obtained a footing in Spain. Men of rightly cultivated -understanding would have reconciled their purer -taste to the yet unexhausted national genius, in order -to enhance the advantages of Spanish literature in its -competition with the literature of France, and to learn -true elegance from the French, without, like them, -sacrificing to mere elegance beauties of a higher order. -But the age of vigour was past; and yet feeble pride -would in no respect renounce its pretensions. Two -parties now arose in the polite literature of Spain. The -leading and would-be elegant party, included persons -of rank and fashion, who had begun to be ashamed of -the ancient national literature, and who yet wished to -prove that that national literature, even when estimated -according to the rules of French criticism, possessed -many beauties. That the French might no longer boast -of superior taste, this party sought to improve Spanish -poetry, and particularly the Spanish drama, by translations -of French works and imitations of the French -style. To this party of fashionable innovators was -opposed the old national party, composed of persons -distinguished for their obstinate attachment to the -ancient taste, and even to the ancient rudeness. This -party continued, as heretofore, to be that of the Spanish -public; but it remained for a time without any literary -representative. Thus was it reduced to the necessity -of seeing writers, who laid claim to the title of Spanish -patriots, publicly attack its old favourites, particularly -<span class="pagenum" id="Page_545">545</span> -Lope de Vega and Calderon, while no zealous pen took -up their public defence. Nevertheless this party continued -unshaken in its opinions. Even during the -extreme crisis of the conflict between the French and -the national taste, about the middle of the eighteenth -century, the Spanish theatre preserved its own peculiar -forms. It assumed, however, a character no less varied -than the German theatre at present exhibits. Plays in -the national style were performed on the Spanish stage -alternately with translations and imitations of French -and even of English dramas; and if this heterogeneous -variety did not degenerate into the monstrous, as it now -does on the German stage, where a national style never -prevailed, yet nothing could be more inconsistent than the -contrast formed by plays in the French and English taste -with the old Spanish comedies. But these comedies, -and in general all the old national poetry, once more -obtained spirited defenders among Spanish critics and -authors, after the shock of the last crisis had been -withstood by the ancient taste in its conflict with the -modern. Thus another literary triumph was gained by -the tenacity of the Spanish public, to which, in matters -of taste, monarchs otherwise despotic, readily granted -perfect freedom.</p> - -<p>The mixture of national and foreign taste in the -modern literature of Spain, was promoted in no slight -degree by the introduction of French manners, which -had at this period spread over Europe, but which were -in Spain less encouraged by court example than in -other countries. At the court of Madrid, old Spanish -formality was still preserved; and among the nobility, as -<span class="pagenum" id="Page_546">546</span> -well as the people, the national costume was only -gradually superseded by the French style of dress. -Bull fights continued to be the favourite amusements -of the Spaniards from the highest to the lowest ranks. -But the solemn <i>Autos de Fe</i>,<a id="FNanchor_571" href="#Footnote_571" class="fnanchor">571</a> in which the inquisition -appeared in all the splendour of its power, and in -which heretics were burnt amidst the approving shouts -of the spectators, no longer insulted humanity. The -last of these horrible festivals of fanaticism was performed -with extraordinary pomp at Madrid in the -year 1680, in compliance with the pious wish of King -Charles II. The Bourbons who succeeded to the Spanish -throne, whatever might be the ardour of their catholic -zeal, appeared to regard such barbarous spectacles -with disgust, and thus set an example of refinement -which honourably marked their relationship to the -French royal family. At this period, too, when the -storm of the reformation had subsided, religion as well -as manners assumed a milder character throughout all -Europe. The Spaniards, however, could not be induced -to renounce their sacred comedies, until in the year -1765 they were formally prohibited by a royal decree, -because they excited the derision of foreigners.</p> - -<p>Finally, in the second half of the eighteenth century, -scientific learning gained an ascendancy over polite literature -in Spain, as in every other part of Europe. A -philosophy in the sense of the French encyclopædists -inflicted wounds equally mortal on fanaticism and poetic -enthusiasm. The spirit of experiment which sought by -<span class="pagenum" id="Page_547">547</span> -an accumulation of facts to scan the furthest depths of -human knowledge and the principles of all science, and -styled that accumulation sound philosophy, had, since -the time of the French encyclopædists, found favour in -Spain, as in every part of Europe, Germany excepted. -True poetry, to which this spirit of experiment is the -most dangerous of all enemies, could not easily revive -in its former magnificence. But a wider field of general -utility was, under certain restrictions, opened to elegant -prose; and criticism at least obtained the negative -advantage of being able to impede any new encroachments -of ingenious extravagance.</p> - -<hr class="chap" /> - -<h2 id="CHAP_II">CHAP. II.</h2> - -<h3 id="DECAY_OF_THE_OLD_SPANISH_POETRY">DECAY OF THE OLD SPANISH POETRY AND ELOQUENCE, -AND INTRODUCTION OF THE FRENCH -STYLE INTO SPANISH LITERATURE.</h3> - -<p>The last branch of Spanish national poetry still -flourished in the reign of Charles II. The French -drama, which then appeared in the first dawn of its -celebrity, had as yet no influence on the drama of -Spain. Several assiduous writers continued to enrich -Spanish literature with new pieces in the manner of -Calderon; and these writers have here the first claim to -consideration.</p> - -<h3 id="CANDAMO_ZAMORA_AND_CANIZARES">CANDAMO, ZAMORA, AND CAÑIZARES, DRAMATISTS -IN THE OLD NATIONAL STYLE.</h3> - -<p>Towards the close of the seventeenth century, the -dramas of Francisco Bancas Cándamo, were particularly -<span class="pagenum" id="Page_548">548</span> -esteemed. Cándamo, who was an Asturian of noble -extraction, received, during a certain period, a pension -from Charles II. for writing for the court theatre at -Madrid. He, however, died in indigence in the year -1709. His historical play, entitled, <i>El Esclavo en -Grillos de Oro</i>, (the Slave in Golden Fetters), is still -spoken of in terms of approbation in Spain.<a id="FNanchor_572" href="#Footnote_572" class="fnanchor">572</a> It is -a romantic anecdote taken from the history of the -Emperor Trajan. The singular combination of the -ancient and the romantic costume which this play -presents, is a fault with which the author must not be -reproached; for since Lope de Vega’s time the spirit of -the Spanish drama required that the events of ancient -history should be arrayed only in the garb of romance. -But Cándamo has put into the mouth of the Emperor -Trajan, a superabundance of phrases which are exceedingly -dull, though conveyed in light and harmonious -verse. The purely romantic scenes in which ladies -and young knights appear, are the best in this drama, -which, according to the Spanish classification is a heroic -comedy.</p> - -<p>Antonio de Zamora, a gentleman belonging to the -court of Madrid, was particularly distinguished as a -writer of comic dramas. The comedy, entitled, <i>El -Hechizado por Fuerza</i>, (the Bewitched by Force),<a id="FNanchor_573" href="#Footnote_573" class="fnanchor">573</a> is -<span class="pagenum" id="Page_549">549</span> -one of the most humorous and regular in the Spanish -language. It may also be numbered among the dramas -of character; at least the two principal parts, though a -little overcharged, are nevertheless boldly conceived and -consistently maintained. One is a fantastic old man, -who continually expresses himself in a tone of sarcastic -comic humour:—he makes a parade of his odd fancies, -as if they were so many proofs of real wisdom; and he -is induced to consent to a marriage under the idea that -he is bewitched. The other comic character is an -enamoured physician, who is prevailed on to take a -part in the pretended bewitching, and who on his part is -also outwitted by the sprightly girls whom he has -assisted in playing off their trick on the old man.</p> - -<p>Joseph de Cañizares, who likewise lived at the -court of Madrid, produced a considerable number of -Spanish comedies. He particularly devoted his attention -to that class of dramas of intrigue, called <i>comedias -de figuròn</i>, in which the principal character is a pretender -or braggadocio, either male or female, who by -dint of impudence and artifice, obtains a certain degree -of credit. Among the dramas of Cañizares, the Spaniards -particularly esteem his comedy, entitled, <i>El -Domine Lucas</i>;<a id="FNanchor_574" href="#Footnote_574" class="fnanchor">574</a> it is a drama of character, comic -throughout, and of the most regular description, though -it by no means departs from the Spanish national style. -The title may be translated “The Pedant Squire;” for -Domine Lucas, the hero of the piece, is a young country -gentleman, a student of Salamanca, extremely dull and -affected, and withal proud of his noble birth. With this -<span class="pagenum" id="Page_550">550</span> -character is very happily combined the uncle of Lucas, -a brave, amiable, and sensible old gentleman; though, -like his nephew, he interlards his discourse with scraps -of latin from the <i>Corpus Juris</i>. An old domestic, who -likewise has resource to latin whenever his wit fails -him, is well grouped with his master’s. An excellent -female pendant to the doltish hero is exhibited in the -character of one of the daughters of the old uncle, -who in the end is united to Lucas, while her sprightly -sister, to whom the Domine was betrothed, elopes with -a more agreeable lover. The traits of character in the -whole of this comic picture, though by no means delicately -sketched, are, nevertheless, full of dramatic -spirit.</p> - -<p>These, and other plays, by writers whose names -are not in any other respect distinguished, complete -the national treasure of the Spanish drama. The -striking regularity which distinguishes some pieces, -must by no means be attributed to the influence of -French taste. It is possible that a vague idea of the -regularity of the French comedy may at this time have -penetrated into Spain; but among the older Spanish -dramas, particularly those of Solis and Moreto, some -are no less regular than the comedies of character -written by Zamora and Cañizares; who, besides, did -not always, any more than their predecessors, confine -themselves rigidly within the bounds of regularity. -In the works of these latter poets, the theatrical personages -are precisely of the same cast as in the writings -of the older dramatists. Young officers, who are usually -represented as giddy lovers, boast of their adventures -<span class="pagenum" id="Page_551">551</span> -in Flanders, and sing romances to the accompaniment -of the guitar. This part is the prototype of that which -on the French stage was subsequently called the <i>Chevalier</i>. -No trace of the imitation of French manners -is perceptible; and, if here and there a French word -is introduced, it is always with a comic signification.<a id="FNanchor_575" href="#Footnote_575" class="fnanchor">575</a></p> - -<h3 id="DONA_JUANA_INEZ_DE_LA_CRUZ">DOÑA JUANA INEZ DE LA CRUZ.</h3> - -<p>Nothing poetical produced at this period, or at -least nothing sung and written in the lyric or other styles -of poetry in Spain, obtained literary celebrity. It would, -however, be unjust to pass over in silence some works -which made their appearance about this time, and -which are interesting, inasmuch as they afford instances -of the continuation of the taste for old Spanish poetry. -Among these, the most remarkable are the numerous -productions of a Spanish American poetess, named -Doña Juana Inez de la Cruz, who was much celebrated -in Mexico about the latter end of the seventeenth -century. On the title-page of her works, which, however, -she did not publish herself, this distinguished -woman is styled the tenth muse.<a id="FNanchor_576" href="#Footnote_576" class="fnanchor">576</a> Respecting the -history of her life, nothing is known, save what is mentioned -<span class="pagenum" id="Page_552">552</span> -in her poems. She was a nun in a Mexican -convent; and she complains of her weak state of health -in the verses which form the preface to her poems. Her -writings sufficiently prove that she lived on terms of intimacy -with the viceroy and the other Spanish grandees -in Mexico, and that frequent demands were made upon -her talent for the celebration of festivals, both spiritual -and temporal. Much as Inez de la Cruz was deficient -in real cultivation, her productions are eminently superior -to the ordinary standard of female poetry. Of -all the Spanish ladies who have turned their attention -to poetry, she deserves to rank the highest; though, perhaps, -this station may not be deemed very honourable, -as Spanish women have so little distinguished themselves -in poetry. But for this very reason it seems -the more worthy of recollection, that under the sky -of America, flowers of genius were permitted to bloom, -which in Spain would in all probability have been -blighted in the bud. The poems of Inez de la Cruz, -moreover, breathe a sort of masculine spirit. This ingenious -nun possessed more fancy and wit than sentimental -enthusiasm; and whenever she began to invent, -her creations were on a bold and great scale. Her -poems are of very unequal merit; and are all deficient -in critical cultivation. But in facility of invention -and versification, Inez de la Cruz was not inferior to -Lope de Vega; and yet she by no means courted literary -fame. The complete collection of her poems, -which seems to have been first printed by order of -the Vice-Queen of Mexico, occupies a volume, consisting -of twenty-five sheets in octavo. Of some of her -<span class="pagenum" id="Page_553">553</span> -sonnets the subjects are ingenious plays of romantic -wit;<a id="FNanchor_577" href="#Footnote_577" class="fnanchor">577</a> of others, serious poetic reflections.<a id="FNanchor_578" href="#Footnote_578" class="fnanchor">578</a> She also -<span class="pagenum" id="Page_554">554</span> -wrote burlesque sonnets on rhymed endings, which, -though sometimes deficient in delicacy, have all the -freedom and sprightliness that can be required in that -species of composition. A kind of poetic self-deception, -which assumes the tone of philosophic reasoning, is disclosed -in several of the lyric romances of Inez de la Cruz. -She evidently took considerable pains to persuade herself -that she was happy.<a id="FNanchor_579" href="#Footnote_579" class="fnanchor">579</a> A great portion of her -poems in the romance style, relate to circumstances -of temporary interest. In her dramatic works, the -vigour of her imagination is particularly conspicuous. -The collection of her poems contains no comedies, -properly so called, but it comprises a series of boldly -conceived preludes, (<i>loas</i>), full of allegorical invention; -and it concludes with a long allegorical auto, which is -superior to any of the similar productions of Lope de -<span class="pagenum" id="Page_555">555</span> -Vega. It is entitled, <i>El Divino Narciso</i>, a name by -which the authoress designates the heavenly Bridegroom. -The Spanish public had never before witnessed -so bold a travesty of the ideas of catholic christianity, -under the garb of the Greek mythology. It -would be impossible to give a brief, and at the same -time intelligible sketch of this extraordinary drama. -With regard to composition it is quite monstrous; in -some respects offending by its bad taste, and in others -charming by its boldness. Many of the scenes are so -beautifully and romantically constructed, that the reader -is compelled to render homage to the genius of the -poetess; while at the same time he cannot but regret -the pitch of extravagance to which ideas really -poetic are carried. There is one peculiarly fine -scene in which human nature, in the shape of a -nymph, seeks her beloved, the real Narcissus, or the -christian Saviour. The imagination of the authoress -had, doubtless, been influenced by impressions received -from the Song of Solomon.<a id="FNanchor_580" href="#Footnote_580" class="fnanchor">580</a> Next to this grand -<span class="pagenum" id="Page_556">556</span> -Auto, the spiritual canciones in the old Spanish style, -and some cantatas deserve to be distinguished among -the works of Inez de la Cruz. They abound in sentimental -fancies, which, though generally extravagant, -often possess beauties which render them highly interesting; -and according to the notices in the collection, -they were all sung in the churches of Mexico. Some -latin compositions of the same class are inserted, which -seem also to have been written by Inez herself. The -writer who may undertake a history of the poetic developement -of the catholic faith, will find his advantage -in rendering himself intimately acquainted with these -poems.</p> - -<h3 id="Gerardo_Lobo">GERARDO LOBO.</h3> - -<p>In order to be satisfied that Spanish poetry inclined -very little to the French, in the early part of the eighteenth -century, it is only necessary to advert to the -continued influence of Gongorism at that period, as -exemplified in poetic productions, which are in other -respects too unimportant to claim any notice. Men -of rank in particular, who, following the honourable -example of their forefathers, continued to cultivate the -arts and sciences, seem to have regarded Gongorism as -the only style that was truly gentlemanly and worthy -<span class="pagenum" id="Page_557">557</span> -of their adoption. Accordingly Eugenio Gerardo Lobo, -who was a captain in the Spanish guards, and commandant -of the town and fortress of Barcelona, composed -in his leisure hours, many spiritual and temporal -poems in the manner of the Gongorists, which, since the -author’s decease, have been reprinted.<a id="FNanchor_581" href="#Footnote_581" class="fnanchor">581</a> A new edition -of these poems, which appeared in 1758, is inscribed by -the publisher to a miraculous image of the virgin, with -all the usual formality of a dedicatory epistle. In this -dedication the holy virgin, in quality of queen of heaven, -is addressed by the title of “Your Majesty.” Thus -in the middle of the eighteenth century, when an elegant -and learned party had long rendered homage to French -literature, the taste of the Spanish public could still -endure absurdities of this kind.</p> - -<h3 id="Diffusion_of_the_French_taste">DIFFUSION OF THE FRENCH TASTE—LUZAN, HIS -ART OF POETRY, &c.</h3> - -<p>It was, however, in the commencement of the eighteenth -century that the French taste found its way into -the Spanish academy; and this circumstance, which -was not the effect of accident, serves to mark a kind -of epoch in the history of Spanish poetry.</p> - -<p>Ignacio de Luzan, who has become the authority to -whom most Spanish critics refer, must be regarded as -the founder of the French school in Spanish literature. -<span class="pagenum" id="Page_558">558</span> -He was a member of the royal Spanish academy, a -member of the academy of history, an honorary member -of the academy of painting, sculpture, and architecture; -and at the same time counsellor of state and -minister of commerce. In addition to these dignities, -he was distinguished for extraordinary learning; and -he was in particular very deeply versed in ancient -literature. He studied with great assiduity Aristotle’s -Art of Poetry and Rhetoric, and also the rhetorical -works of Cicero. He was a lover of poetry, and composed -very elegant verses in his native tongue. Being, -as his writings sufficiently prove, a man of candid -and enlightened mind, national pride did not deter -him from making himself intimately acquainted with -French literature; and comparing it without prejudice, -under its best point of view, with the literature of his -own country. This was certainly a course altogether -new for a Spanish author.</p> - -<p>In order to form a just estimate of the spirit of Luzan’s -labours, it is necessary to bear in mind that the theoretical -literature of Spain furnished him with scarcely -a single trace of sound criticism; that even those Spanish -poets who possessed the justest feeling for poetic beauty, -propounded, in their theoretic explanations, the most -erroneous notions on the value and the essence of poetry; -that only a critical tact, and an instinctive imitation -of good models, had preserved the most correct among the -Spanish poets from wanderings of the imagination and -perversions of judgment; and that in the age of Luzan, -the only art of criticism which was theoretically taught -in Spain, had issued from the school of Gongora, and was -<span class="pagenum" id="Page_559">559</span> -consequently only calculated to assist the systematic -propagation of absurdity and affectation. Moreover, the -elegant correctness of the French poets was, in that -age, calculated to dazzle by the charm of novelty. -Finally, the delicate subtleties whereby the principles -of French criticism and of French poetry, since the age -of Moliere and Corneille, were derived from the classic -school of antiquity, and the moral syllogisms with which -those principles were entrenched behind Aristotle’s Art -of Poetry, as their last bulwark, were well calculated -to seduce a man of Luzan’s erudition. His partiality -for the French school, and his efforts to reform -the Spanish taste according to the principles of that -school, are therefore no proofs of narrowness of mind, -though genuine poetic feeling certainly was not within -the sphere of his talent. He possessed a delicate sense -for elegance and the dress of poetry, but not for the energy -and loftiness of poetic genius. It is thus easy to -account for his having, with the best intentions, theoretically -misunderstood the essence and design of poetry; -and for his also having, in conformity with the spirit of -French criticism, confounded the objects of the poet -with the duties of the orator and the moralist.</p> - -<p>It was then with the view of fundamentally -reforming the literary taste of his countrymen, that -Luzan wrote his celebrated Art of Poetry. It was -first published at Saragossa in the year 1737, in a -folio volume containing five hundred and three pages;<a id="FNanchor_582" href="#Footnote_582" class="fnanchor">582</a> -<span class="pagenum" id="Page_560">560</span> -and it has ever since been the code to which Spanish -critics and authors have referred for the decision of all -cases of doubt. Sound judgment and classic erudition -are the chief characteristics of the work. The diction -too is simple and elegant, and prolixity is avoided, -though in order to attain that degree of perspicuity -which was necessary for subduing Spanish prejudice, -much detail was indispensable. Newly discovered -truths must not be looked for in Luzan’s Art of Poetry. -He even claims credit for the doctrines he developes -on account of their venerable antiquity. His theory is -declared by himself to be in the main no other than that -of Aristotle, the greatest of philosophers. To the neglect -of that theory he attributes the multitude of monstrous -excrescences by which Spanish literature is disfigured. -He therefore conceived he was rendering, though at -the risk of being reproached with pedantary,<a id="FNanchor_583" href="#Footnote_583" class="fnanchor">583</a> an important -service to the literature of his country, by the -restoration and just application of those ancient and -only true principles which had long been acknowledged -and valued by the critics of foreign nations. In support -of his doctrines, Luzan regards the critical observations -of various French writers, particularly Rapin, Corneille, -Crousaz, Lamy, and Madame Dacier, as next -in authority to the works of Aristotle. He also availed -himself of the Italian works of Gravina and Muratori. -These, and other foreign authors, are quoted by name. -Spanish readers must, doubtless, have been not a little -<span class="pagenum" id="Page_561">561</span> -surprised to find among the quotations passages from -French authors, given in the French language, under -the Spanish text. This was an unexampled phænomenon -in Spanish literature; and though a trifling circumstance -it serves to prove the increasing influence -of the French language in Spain.</p> - -<p>The want of novelty in the principles of Luzan’s -Art of Poetry, is compensated by the new application -of those principles to Spanish literature. The arrangement -of the theory, which was introduced, also belongs, -at least in part, to himself; and in the developement -of that theory it is easy to recognize the man of judgment, -and the perfect master of his subject, though he -only improved what had been previously produced. -The work is divided into four parts or books. The -first developes, according to the notions of the author, -the origin, progress, and essence of poetry, (<i>el origen, -progressos y essencia de la poesia</i>.) The second book -explains the usefulness and pleasure of poetry, (<i>utilidad -y deleyte de la poesia</i>.) The third book treats, -at ample length, of tragedy, comedy, and other kinds -of dramatic composition; and the fourth of epic poetry. -These chief divisions present, indeed, only the outline -of Aristotle’s Art of Poetry; and Luzan’s work, can -no more than its prototype, be regarded as a complete -theory of the poetic art. In this respect Luzan went -no further than his predecessor, Lopez Pinciano, who -had long before equally clearly perceived that the work, -called Aristotle’s Art of Poetry, was, in fact, merely a -fragment.<a id="FNanchor_584" href="#Footnote_584" class="fnanchor">584</a> It is singular enough that Luzan takes -<span class="pagenum" id="Page_562">562</span> -no notice of Pinciano’s remarkable work; but whether -he was unacquainted with it, or whether he was intentionally -silent, cannot now be known. Within the boundaries -of his four unsystematic divisions, Luzan pursues -his own course; but the present is not the proper -occasion for accompanying him step by step. As, -however, the publication of Luzan’s book has been -attended by important consequences, it will be proper -to explain the manner in which this critic understood -the principles of Aristotle, and how he applied them to -Spanish literature.</p> - -<p>Luzan in his exposition and application of Aristotle’s -theory, takes his departure from the same false -principle which misled all the French critics in the -age of Louis XIV. He views poetry closely and -directly on its moral side; but not in that comprehensive -manner in which every thing, when contemplated -on its moral side, ought to be examined; he regards -it merely as an art destined to aid morality, properly -so called; and that aid appears to him the more easily -given, because he adopts the maxim that the object -of poetry is to be at once useful and agreeable.<a id="FNanchor_585" href="#Footnote_585" class="fnanchor">585</a> -<span class="pagenum" id="Page_563">563</span> -Deceived by this gothic idea, which seems to have been -founded on the misunderstanding of a verse of Horace, -and which is certainly as old as modern literature, it -became impossible for him either to attain a just notion -of the poetic workings of the imagination, in relation to -the beautiful, or to discover the truth of the proposition -that such employment of the imagination possesses in -itself, under the proper restrictions, a moral value, and -ennobles human existence. Having fallen into the common -error, Luzan, like the French poets and critics, was -capable of taking only a very contracted view of poetic -beauty. Genuine simplicity and elegance, and in both a -delicate infusion of wit, formed with Luzan, as with the -French poets and critics, the summary of all poetic excellence. -According to these principles, the imagination -was regarded as merely the handmaid of the recreative -wit and the moralizing judgment. Genius was to be tied -down by rules in conformity with these narrow ideas -of the spirit and object of poetry. To satisfy the taste, -in the exercise of wit and judgment, was regarded as -the highest object of the poet’s efforts. The bold flight -to a freer and fairer world, whence the true poet derives -the spirit of his imaginings, in the imitation of nature, -was deemed merely an agreeable accessary. In a word, -the genuine essence of poetry was held to be an adventitious -ornament, while its station was usurped by mere -natural sentiment, and elegant or ingenious simplicity.</p> - -<p>The useful and the agreeable, in the trivial signification -of the terms, are therefore the verbal pivots -around which Luzan’s whole poetic theory turns. It -is easy to conceive what degree of excellence and truth -<span class="pagenum" id="Page_564">564</span> -was to be derived from such principles in their application -to Spanish literature. Luzan zealously supported -the cause of good taste against the absurdities of the -Gongorists.<a id="FNanchor_586" href="#Footnote_586" class="fnanchor">586</a> He exposed, without reserve, the weak -side of Lope de Vega’s poetry; and the examples he -selects from the works of that poet, in order to shew -how far they are at variance with nature and reason, -prove precisely what they are intended to prove. But -to admire genius in its wanderings, and even in many -cases to prize those wanderings more than a frigid -elegance, required a view of the subject which Luzan’s -mind did not embrace. He was precisely the man to -detect and enumerate the errors of the favourite poetry -of his country; but he wanted the critical eye which -would have enabled him to do justice to its beauties. -After defining poetry to be an “imitation of nature, -either general or particular, made in verse, for utility -or amusement, or for both together,”<a id="FNanchor_587" href="#Footnote_587" class="fnanchor">587</a> he goes on to -say, that little plays of wit, such as sonnets, madrigals, -<span class="pagenum" id="Page_565">565</span> -and songs, may sometimes have no other object than -agreeable amusement; but that in poetry of a more -important kind, such as comedies, tragedies, and -epopee, the useful and the agreeable must necessarily -be combined together, that is to say, the work must at -once instruct and entertain. Accordingly, when he -comes to treat more particularly of dramatic poetry, -he says, “tragedy is such an imitation of an action as -is calculated to correct fear, pity, or other passions; -but a comedy must be an action so represented as to -inspire love of some virtue, or hatred and abhorrence -of some vice or fault.”<a id="FNanchor_588" href="#Footnote_588" class="fnanchor">588</a> It is not necessary to particularize -the judgments which a critic, armed with -these opinions, must have pronounced on the Spanish -drama. Luzan not only blamed the Spanish dramatists -for the violation of the Aristotelian unities, on the -ground that such violation was contrary to nature; but -he even condemned as not moral, or at least not sufficiently -moral, the genuine nature which he could not -avoid recognizing in their works. He, however says, -that what is first to be esteemed in the Spanish dramatists, -“is in general their ingenious invention, their -<span class="pagenum" id="Page_566">566</span> -extraordinary wit and judgment, admirable and essential -qualities in great poets. Lope de Vega merits particular -praise for the natural facility of his style, and -the adroit way in which he has in many of his comedies -painted the customs and the character of certain -persons. I admire in Calderon the dignity of his language, -which without ever being obscure or affected is -always elegant.”<a id="FNanchor_589" href="#Footnote_589" class="fnanchor">589</a> He proceeds to eulogize the art of -ingenious developement displayed in Calderon’s dramas -of intrigue; and attributes a similar merit to some of -the comedies of Antonio de Solis and Moretto. Under -the same point of view he judges the writings of the -later Spanish dramatists, on which he confers particular -commendation on account of their superior regularity.<a id="FNanchor_590" href="#Footnote_590" class="fnanchor">590</a> -Next follows a list of the faults, which, according to -the above principles, he imputes to the Spanish drama -<span class="pagenum" id="Page_567">567</span> -in general, and to the favourite dramatic poets of the -Spanish public in particular; and on this subject he -makes many just observations. He had good reasons -for not venturing to attack the Spanish Autos. He -accordingly dismisses them very briefly, pronouncing no -literary judgment on them, and merely observes that -they are allegorical representations in honour of “the -most holy sacrament of the altar.”</p> - -<p>Thus did a critic, whose voice a century earlier -would scarcely have been heard, systematically undertake -to reform Spanish taste. It appears from Luzan’s -introductory observations that he was either not sufficiently -acquainted with the history of the poetry of his -nation, or had forgotten most essential facts, otherwise he -never could have adopted the notion that Spanish taste -had degenerated for want of learned critics to open the -eyes of the public. The Spaniards of Luzan’s age paid -no more attention to his Art of Poetry, than their -ancestors had bestowed on Lopez Pinciano’s, which inculcated -the same principles two hundred years earlier, -when the Spanish drama was in its infancy. But the -members of the Spanish academy regarded Luzan’s -book with as much veneration, as if through it the light -of pure taste had first been disclosed to Spain; and -thus was the academy at length placed in conflict with -the public it sought to improve. Whether all the members -of that literary institution concurred in Luzan’s -plans of critical reformation cannot now be known. This, -however, is certain, that nothing was written in defence -of the national style, either by an academician or by any -other critic or amateur; and all the writers, who, since -<span class="pagenum" id="Page_568">568</span> -that period, have by means of critical treatises and new -dramas, zealously laboured to improve the dramatic -literature of Spain, according to French principles, have -been members of the Spanish academy.</p> - -<p>Luzan himself did his utmost to support his theory -by some original poetic productions and translations -from the French. He translated one of Lachausée’s -comedies; but with what success it was represented on -the Spanish stage is not mentioned. It was, however, -followed by various translations of French dramas by -other writers.</p> - -<p id="LUZANS_POETIC_COMPOSITIONS">Luzan’s poetic compositions are certainly honourably -distinguished by correctness, facility and elegance, and -by what may be termed the poetry of language, from -the works of the Gongorists which at that time were -not entirely exploded in Spain. They consist of occasional -poems and poetic trifles, such as might have been -written without the aid of genius by any man of cultivated -mind, possessing a certain degree of descriptive -talent. Zealous Gallicist as Luzan was, he had too much -solidity of taste to attempt an imitation of the structure -of French verse in the Spanish language; and accordingly -his contributions to the poetic literature of his country -are in the usual national metres. A poem in octaves, -which he read on the opening of the academy of -painting, sculpture and architecture, in 1752, fifteen -years before the publication of his Art of Poetry, received -particular approbation. He read poetic compositions -of the same kind on several occasions. Some of -his odes and canciones were not published till after his decease; -among the number are two on the re-taking of the -<span class="pagenum" id="Page_569">569</span> -Fortress of Oran;<a id="FNanchor_591" href="#Footnote_591" class="fnanchor">591</a> an occasional poem, entitled, the Judgment -of Paris, which is prettily conceived, and elegantly -<span class="pagenum" id="Page_570">570</span> -executed;<a id="FNanchor_592" href="#Footnote_592" class="fnanchor">592</a> and some poems imitated from the Greek of -Anacreon and Sappho.<a id="FNanchor_593" href="#Footnote_593" class="fnanchor">593</a> Luzan died in the year 1754.</p> - -<h3 id="MAYANS_Y_SISCAR_BLAS_NASARRE">MAYANS Y SISCAR—BLAS NASSARE.</h3> - -<p>Among the contemporaries of Luzan, the royal -librarian, Gregorio Mayans y Siscar, is entitled to praise, -<span class="pagenum" id="Page_571">571</span> -for having, in biographical, literary and rhetorical -works, furnished many hints and notices which throw -light on the history of Spanish poetry and eloquence. -His collection of detached writings on the History of the -Spanish Language, (<i>Origenes de la Lengua Española</i>), -embraces more than the title promises; and among other -things contains a well written discourse exhorting authors -to pursue the true idea of Spanish eloquence.<a id="FNanchor_594" href="#Footnote_594" class="fnanchor">594</a> But his -diffuse Art of Rhetoric,<a id="FNanchor_595" href="#Footnote_595" class="fnanchor">595</a> which he published twenty -years later than the work last mentioned, is merely a -formal compilation of the ideas and criticisms of Aristotle -and modern writers. It might with equal propriety -be entitled an art of poetry. The examples -given from the poets are long and numerous.</p> - -<p>Blas Antonio Nassare, prelate and academician, laboured -to attain the same kind of merit. He was, -however, so blinded by his predilection for French literature, -that he considered the eight comedies of Cervantes, -which he first restored to light, as parodies on -the style of Lope de Vega.<a id="FNanchor_596" href="#Footnote_596" class="fnanchor">596</a></p> - -<h3 id="MONTIANOS_TRAGEDIES">MONTIANO’S TRAGEDIES IN THE FRENCH STYLE.</h3> - -<p>Agustin de Montiano y Luyando, who was counsellor -of state, director of the academy of history, -and a member of the Spanish academy, undertook to -<span class="pagenum" id="Page_572">572</span> -introduce regular tragedy on the Spanish stage according -to Luzan’s principles. With this view he wrote -two tragedies, the one entitled <i>Virginia</i>, and the other -<i>Ataulpho</i>, in which, with the exception of the rhymeless -iambics, which he substituted for the French -Alexandrines, he has most anxiously endeavoured to -fulfil all the conditions required by French criticism.<a id="FNanchor_597" href="#Footnote_597" class="fnanchor">597</a> -Both these tragedies are remarkable for pure and correct -language; for the cautious avoidance of false metaphor; -and for a certain natural style of expression, which -is sometimes wanting even in the dramas of Corneille -and Racine. They are, however, formed on the French -model with such scrupulous nicety that they might -be mistaken for translations.<a id="FNanchor_598" href="#Footnote_598" class="fnanchor">598</a> It is scarcely necessary -<span class="pagenum" id="Page_573">573</span> -to mention, that in these tragedies the Aristotelian -unities are rigidly observed, and that in the Virginia -the father does not stab his daughter on the stage.</p> - -<p>To the play of Virginia which was published in -1750, some years before Ataulpho, Montiano annexed -a historical critical treatise on Spanish tragedy.<a id="FNanchor_599" href="#Footnote_599" class="fnanchor">599</a> -Patriotism had certainly some share in this treatise; -for in the first place, Montiano wished historically to -defend his countrymen against the reproach that no -Spanish tragedy had ever been written; and secondly, -he wished in his Virginia to furnish the first experiment -of a Spanish tragedy, without violation of dramatic -rules, though he did not pretend to set up that specimen -as a model. He states, with all due modesty, that his -work cost him much labour, and expresses a hope that -his countrymen will be induced to imitate his example, -to disregard the approbation of the ignorant multitude, -and to strive to do better than he had done.<a id="FNanchor_600" href="#Footnote_600" class="fnanchor">600</a> In a -<span class="pagenum" id="Page_574">574</span> -preface to his tragedy of Ataulpho he enlarges on the -same theme.</p> - -<h3 id="VELASQUEZ">VELASQUEZ.</h3> - -<p>Among the number of the Spanish Gallicists must -likewise be included that intelligent writer Luis Joseph -de Velasquez. His History of Spanish Poetry, (<i>Origenes -de la Poesia Española</i>), which was published in -1754, proves that the Spaniards had then, in a great -measure, forgotten their national literature. Velasquez -unquestionably took considerable pains to collect, with -critical spirit, those facts which were probably better -known to him than to any of his contemporaries; and -yet he has, upon the whole, obscured rather than -elucidated the history of Spanish poetry. His criticism -is quite in the French style, with a slight tincture of -Spanish patriotism. Velasquez was a member of the -French academy of inscriptions and belles lettres.</p> - -<p>Not a single Spanish poet of distinguished merit -flourished during the first half of the eighteenth century. -That such a barrenness should have succeeded -so great a fertility of talent, is a circumstance which the -exhaustion of the national spirit does not sufficiently -explain. It is also necessary to take into the account -the conflict maintained between favour shewn to the -<span class="pagenum" id="Page_575">575</span> -French style and the demands of the Spanish public. -Supported by national approbation, the Spanish poetry -had gloriously flourished; but it perished when new -arbiters of taste, who judged according to foreign principles, -could with impunity treat the Spanish public -as an ignorant multitude.<a id="FNanchor_601" href="#Footnote_601" class="fnanchor">601</a> In this collision Spanish -eloquence sustained no immediate injury. The influence -of the French style, could indeed at that time -do it no injury, for at the commencement of the eighteenth -century, French prose was fitted to serve as a -model for clearness, precision, facility and elegance. -But no aspiring spirit now animated Spanish authors. -Books written in correct prose were produced in sufficient -numbers; and yet no work appeared which deserved -particular distinction for rhetorical merit, or -which contributed in any degree to invigorate the -literature of Spain.</p> - -<hr class="chap" /> - -<h2 id="CHAP_III">CHAPTER III.</h2> - -<h3 id="CONCLUDING_PERIOD_OF_THE_HISTORY_OF_SPANISH_POETRY">CONCLUDING PERIOD OF THE HISTORY OF SPANISH -POETRY AND ELOQUENCE.</h3> - -<p>The Spanish writers who lived about the middle of -the eighteenth century, began to be ashamed of the -unworthy bondage which had severed them from all -common feeling with the public taste. It is doubtful -whether at this particular period, the nation in general -<span class="pagenum" id="Page_576">576</span> -began once more to be roused to a sense of its own -importance; but this is certain, that a literary patriotism -imperceptibly revived within the narrow circle of Spanish -authorship. Even several members of the Spanish -academy proved that they were no longer to be satisfied -with mere French elegance. The works of the -sixteenth and seventeenth centuries were again received -into favour. Men of superior talents arose, who endeavoured -to combine Spanish genius with French -elegance; and the literature of Spain began to acquire -a new life.</p> - -<h3 id="LA_HUERTA">LA HUERTA.</h3> - -<p>One of the first who openly attacked the party -of the Gallicists, was the patriotic Vicente Garcia de -la Huerta, a member of the Spanish academy, and -librarian to the king. None but a man whose literary -judgments were accredited by the same honourable -posts which gave peculiar weight to those of the -Gallicists, could at that time hope to oppose with success -the fashionable opinion concerning Spanish literature. -La Huerta, however, undertook a dangerous task, for -with every talent and right feeling for genuine poetry, -he was by no means a skilful critic. In systematic -coolness of judgment he was incompetent to enter the -lists with men of Luzan’s critical ability. The true -principles on which Spanish poetry was to be defended -against French criticism, were at that period not at all -understood; and La Huerta was not the man to discover -them. But his feeling acted in the place of his -judgment. It groped on when abandoned by theory, -<span class="pagenum" id="Page_577">577</span> -and rejected every theory to which it could not be reconciled. -Conscious of his deficiency, La Huerta was -extremely diffident whenever his opinions came into -collision with those of Luzan and other academicians. -But when his task was to reply to the observations of -French critics, his patriotic enthusiasm knew no bounds. -In exercising the law of retaliation, he attacked the -admired Coryphæi of the French Parnassus with a -grossness which would cast a stigma on his reputation -for taste, did not his other works sufficiently prove -him to have been unjust, only through the excess of a -just indignation. Fortunately for La Huerta, it was -not until his works had obtained decided credit that he -openly avowed his hostility to the Gallicists. Among -the poems which first conferred celebrity on his name, -is a piscatory eclogue, which he read at a distribution -of academic prizes in the year 1760. This purely -occasional effusion is written in the national lyric style -of the eclogues of the best period of Spanish poetry, -and is free from orientalisms.<a id="FNanchor_602" href="#Footnote_602" class="fnanchor">602</a> Three years afterwards, -<span class="pagenum" id="Page_578">578</span> -on a similar occasion, he read a mythological poem -in stanzas. These were succeeded by other poems, -also of occasional origin, by which La Huerta disarmed -the critics, who might have been disposed to -assert that he was destitute of the necessary feeling for -French elegance. The romances by which he sought to -give to that style of national poetry a new existence -in the elegant world, seem to have been written at -various periods of his life. Besides lyric romances, -which had not entirely lost their ancient consideration, -he composed narrative romances in the old style. In one -of the latter compositions his success is remarkable.<a id="FNanchor_603" href="#Footnote_603" class="fnanchor">603</a> -<span class="pagenum" id="Page_579">579</span> -He likewise revived the Spanish custom of composing -poetic glosses; and some of his sonnets deserve the -highest praise. That he was well acquainted with latin -and French poetry is evident from his metrical translations -of some of Horace’s odes, and of several fragments -from the works of the French poets.<a id="FNanchor_604" href="#Footnote_604" class="fnanchor">604</a></p> - -<p>But he had greater difficulties to overcome in his -endeavours to restore the Spanish drama to its former -lustre. He was not so great a poet as to be able to -advance, accompanied by French elegance, in the same -course in which Calderon had stopped. Calderon’s -dramas were, however, still performed with approbation, -in spite of all that was said by the critics, and La -<span class="pagenum" id="Page_580">580</span> -Huerta wrote for one of these pieces a prologue (<i>loa</i>) -in the old style. At length when he thought he could -rely on the favour of a certain portion of the public, he -came forward with his first essay in tragic art. His -<i>Raquel</i>, (Rachel), a tragedy, which was intended to -combine the old Spanish forms with the dignity of the -French tragic style, without being subject to the French -rules of dramatic art, was first performed at the court -theatre of Madrid in 1778. For upwards of half a -century no new drama had been received with such -enthusiasm by the Spanish public. It was represented -at every theatre in Spain; and even before it was -printed upwards of two thousand copies were taken, -and many sent as far as America.<a id="FNanchor_605" href="#Footnote_605" class="fnanchor">605</a> The Gallicists in -Spain now rose in opposition to La Huerta; but he -replied to them in a tone of contemptuous haughtiness, -while he always observed the strictest modesty in addressing -the public.</p> - -<p>La Huerta’s Rachel is not a master-piece; but it is -a noble testimony of the poetic national feeling of an -ingenious writer, who exerted his utmost endeavours to -restore the credit of the Spanish drama. The subject -is taken from the old history of Castile. King Alphonso -VIII. who has resigned his heart and his royal -dignity to the fair Jewess Rachel, is implored by the people -and the nobility to shake off the dishonourable yoke. -He hesitates between love and duty, until the spirit of -discontent, which has been with difficulty repressed, -breaks forth in rebellion. While the king is out hunting, -<span class="pagenum" id="Page_581">581</span> -Rachel is surprised in the palace, and her base counsellor, -Ruben, murders her to save his own life; which -he only preserves until the arrival of the king, by -whom he is killed in return. The tragedy is divided, -according to the old practice, into three <i>jornadas</i>; -but, in other respects, it is obvious that the -author took considerable pains to conform, under certain -limitations, to the French rules of dramatic art. The -dialogue proceeds uniformly in iambic blank verse, -without the introduction of sonnets, or any other kind -of metre. All irregular theatrical pageantry is avoided. -The language, upon the whole, preserves a dignified -character; and in several scenes the tragic pathos is -complete.<a id="FNanchor_606" href="#Footnote_606" class="fnanchor">606</a> But the composition fails in the distribution -<span class="pagenum" id="Page_582">582</span> -of the characters. Only a feeble light is thrown -on Rachel, the heroine of the tragedy. Her counsellor, -Ruben, is a stupid contemptible Jew, whose lamentations -in the moment of danger border closely on the -ludicrous;<a id="FNanchor_607" href="#Footnote_607" class="fnanchor">607</a> and the weak character of the king, who -changes his resolutions on every new impression, frequently -approaches caricature. The author has, however, -succeeded admirably in exhibiting a striking contrast -in the characters of two Spanish grandees:—the -one is a base courtier, named Manrique; while the other, -Garcia de Castro, in all his sentiments and actions is a -correct representative of the spirit of ancient Spanish -chivalry in its purest dignity. In the patriotic portraiture -of this character, La Huerta’s whole soul is -developed;<a id="FNanchor_608" href="#Footnote_608" class="fnanchor">608</a> and the national spirit which pervades the -<span class="pagenum" id="Page_583">583</span> -tragedy, doubtless contributed in no small degree to -ensure its celebrity.</p> - -<p id="His_tragedies">La Huerta’s tragedy of <i>Agamemnon Vengado</i>, is a -work of trivial importance compared with Rachel. It -is founded on the prose translation of the Electra of -Sophocles, which Perez de Oliva produced two hundred -years earlier;<a id="FNanchor_609" href="#Footnote_609" class="fnanchor">609</a> but it is a remarkable, and by no means -unsuccessful attempt to unite the romantic and the -classic forms, according to the conditions required by a -modern audience. La Huerta wrote his Agamemnon -in compliance with the wishes of some ladies of Madrid, -who were desirous of seeing a tragedy in the Grecian -costume. The place of the chorus is, after the French -manner, supplied by a female confidante. Part of the -scenes are entirely taken from Sophocles, others are those -of the original remoulded, and some are new. From -<span class="pagenum" id="Page_584">584</span> -the beginning to the end of the tragedy, the poetic -language is admirably preserved; and the alternation -of the rhymeless iambics with octaves and lyric metres, -completes the beauty of the whole.<a id="FNanchor_610" href="#Footnote_610" class="fnanchor">610</a></p> - -<p id="His_Spanish_theatre">Finally, La Huerta adapted Voltaire’s <i>Zaire</i> to the -Spanish stage. After he had unquestionably acquired -the right of pronouncing a decided opinion on the literature -of his country, he published his <i>Theatro Hespañol</i>; -and in his prefaces to some of the volumes of that -collection, he launched forth his invectives against the -French drama.<a id="FNanchor_611" href="#Footnote_611" class="fnanchor">611</a> La Huerta’s <i>Theatro Hespañol</i> is a -<span class="pagenum" id="Page_585">585</span> -classic selection from the incalculable store of Spanish -dramas; and the selection is certainly well made consistently -with the plan which he had adopted. With -the view of marking his hostility towards the Gallicists, -he selected only those Spanish comedies which are particularly -distinguished for elegant ingenuity in point of -invention and execution. Thus upwards of three-fourths -of the whole collection consists of <i>comedias de -capa y espada</i>, chiefly from the pen of Calderon. But -for this very reason the work does not properly fulfil its -title, as it exhibits the Spanish theatre only under one -point of view. La Huerta has not even selected a single -piece from Lope de Vega, because the plays of that great -dramatist were not sufficiently elegant for his purpose: -neither has he granted a place to the most beautiful -of Calderon’s heroic comedies, being deterred from inserting -them by their irregularity; and in conformity -with the plan he had laid down, he could with still less -propriety admit an <i>Auto</i> into his collection. By this -work he, however, attained the objects he had in view, -which were to restore the Spanish national comedy to -its honourable place in literature, and to vent his feelings -of indignation against the Gallicists. He treats the -Italian authors, who had openly avowed their disapproval -<span class="pagenum" id="Page_586">586</span> -of the Spanish drama, with no less severity than he had -evinced towards the French critics. Quadrio, Tiraboschi, -Bettinelli, and other writers “of the same breed,” -(<i>de la misma raza</i>), are denounced by La Huerta as -malignant and envious critics. He accuses Signorelli, -of “notorious falsehood.” “Childish egotism,” he says, -is the soul of French criticism. The icy coldness of -French tragedy was with him more offensive than the -neglect of rules in the Spanish drama. Racine, the -favourite tragic writer of the French school, owed his -fame solely to the “tedious scrupulosity,” which he -observed in composing his tragedies, but not to the -“masculine vigour of genius, or the fire and spirit of -fancy.” The “natural sublimity” of Spanish genius -could not be restrained by the fetters of the French -school. Luzan, though in many respects a very estimable -author, was imbued with prejudices. Velasquez, -with all his delicacy and erudition had fallen into the -errors and misconceptions of Luzan. In general, Spanish -poetry had, like the Spanish nation, a certain -<i>oriental</i> character, which it was fit it should preserve. -French imitations of Spanish dramas of intrigue are -declared perfectly insupportable; and, in particular, the -Marriage of Figaro, “a comedy altogether contemptible,” -(<i>despreciada en todas sus partes</i>.<a id="FNanchor_612" href="#Footnote_612" class="fnanchor">612</a>)</p> - -<p>La Huerta remained a debtor to the public for the -critical grounds of these denunciations, which called -forth the bitterest answers from the adverse party, and -<span class="pagenum" id="Page_587">587</span> -also for a reply to his opponents. He asserted briefly -and bluntly that those opponents were merely “a ludicrous -pack of cynical and drivelling critics, the vehicles -of envy, ignorance, and imbecility.” What might -not this patriotic author have effected had he been as -energetic in his reasoning as in his abuse! He nevertheless -appears to have contributed more than any of -his contemporaries to produce a re-action in Spanish -literature, which was indispensable to give to that -literature the opportunity of again acquiring a poetic -elevation.</p> - -<h3 id="SEDANO">SEDANO.</h3> - -<p>The publication of the choice Spanish poems, collected -by Don Juan Joseph Lopez de Sedano, was a -circumstance very favourable to the restoration of the -poetry of the sixteenth and seventeenth centuries to its -proper place in Spanish literature. This work appeared -in the year 1768, under the title of the <i>Parnaso Español</i>; -but there certainly would have been little difficulty -in producing a better collection. The notions -which Sedano entertained respecting religion and morality -have induced him to mingle not a few bad and -indifferent productions with poems of superior merit; -and it was by no means a happy idea to reprint long -translations, such, for example, as the whole of Tasso’s -Amynta, when so much of the rich fruit of the original -Spanish stock remained ungathered. But the undertaking -was praiseworthy; and the biographical and literary -notices annexed to the work rendered the Spanish -<span class="pagenum" id="Page_588">588</span> -public once more acquainted with estimable authors -whom it ought never to have forgotten.</p> - -<h3 id="YRIARTE">YRIARTE.</h3> - -<p>Tomas de Yriarte, general archivist to the high council -of war, and translator to one of the ministerial departments -of state in Madrid, combined French elegance -with the ancient forms of Spanish poetry in a manner very -different from that of La Huerta. After he had acquired -a certain degree of reputation by several translations of -French dramas, by original poems in the latin language, -and various other literary labours, he obtained more -decidedly the favour of the elegant portion of the Spanish -public by his <i>Fabulas Literarias</i>, (Literary Fables), -which were first printed in the year 1782.<a id="FNanchor_613" href="#Footnote_613" class="fnanchor">613</a> -Yriarte conceived the novel idea of rendering literary -truths, many of which may at the same time be regarded -as moral truths, themes for fables in the style -of Æsop; and of composing these fables in every variety -of verse which was in any way applicable to them. No -classical fabulist had hitherto appeared in Spanish literature. -Yriarte’s fables are, however, not only remarkable -for their classic language and excellent versification, but -they possess a peculiar charm of style which may be mistaken -for a happy imitation of the manner of Lafontaine, -though it is to be traced to a different source. Like Lafontaine, -Yriarte had a true feeling for that delicate harmony -<span class="pagenum" id="Page_589">589</span> -which is so indispensable to the fabulist, and for that -spirited infantine style, which, in a graceful prattling, -playfully unfolds the truth as it were intuitively, and, -as it ought always to be disclosed, in apologue, without -the slightest trace of didactic design. He had no need -to turn to the writings of foreigners in quest of the literary -elements of such a style. It was only necessary to -combine the exquisite simplicity of many old Spanish romances -and songs, with the true spirit of Æsopian fable, -and his narrative style could not fail to assume the tone -in which it so successfully rivalled the manner of Lafontaine. -Accordingly among Yriarte’s sixty-seven literary -fables, those which are composed in redondillas and -other kinds of Spanish national measures, possess the superiority -in point of graceful execution. Some are not -remarkable for their didactic merits. But even when -the idea, or what is styled the moral, presents no particular -interest, Yriarte’s fables please by the graceful handling -of the subject: an example of this may be seen in -the fable of the Ass, which finding a flute in a meadow, -accidentally breathes into the lip-hole with his nose, and -on hearing the tone of the instrument, persuades himself -that nature has qualified him for a musician.<a id="FNanchor_614" href="#Footnote_614" class="fnanchor">614</a> -<span class="pagenum" id="Page_590">590</span> -Whether Yriarte wholly invented these fables, is a question -which can only be decided by laborious investigation. -One of the number, in so far as regards the lesson -or moral, precisely resembles Gellert’s fable of the -Painter in Athens.<a id="FNanchor_615" href="#Footnote_615" class="fnanchor">615</a> Yet this circumstance by no -means warrants the inference that it is borrowed. -<span class="pagenum" id="Page_591">591</span></p> - -<p>Considerable praise has been bestowed on a didactic -poem by Yriarte, entitled Music;<a id="FNanchor_616" href="#Footnote_616" class="fnanchor">616</a> but with all -the merits which this production may in other respects -possess, it is no less deficient in the true characteristics -of a didactic poem, than are the earlier essays of the -Spaniards in the same class. It is judiciously conceived, -executed with the requisite elegance of language, and -<span class="pagenum" id="Page_592">592</span> -contains many passages which are by no means destitute -of poetic beauty.<a id="FNanchor_617" href="#Footnote_617" class="fnanchor">617</a> But the systematic form is not disguised -by poetic composition. Instead of diffusing a -poetic interest over the truths which were to be inculcated, -and presenting even the instruction as a picture -of the imagination, according to the proper though seldom -realized idea of a didactic poem, Yriarte, like most -didactic poets, regarded instruction as the main object, -and the creations of poetic fancy merely as accessory -embellishments: thus three-fourths of his work consist -only of elegantly versified prose.<a id="FNanchor_618" href="#Footnote_618" class="fnanchor">618</a> -<span class="pagenum" id="Page_593">593</span></p> - -<h3 id="LEON_DE_ARROYAL">LEON DE ARROYAL.</h3> - -<p>To give an account of all the other poets, who at -the latter end of the eighteenth century contributed to -restore the credit of Spanish poetry, is a task which -must be consigned to other historians of literature, who -may possess favourable opportunities for rendering themselves -intimately acquainted with the more recent productions -of Spanish genius. A considerable number of -bibliographic notices which would contribute to the -accomplishment of this object are extant.<a id="FNanchor_619" href="#Footnote_619" class="fnanchor">619</a></p> - -<p>In taking a survey, however, of the latest period of -the history of Spanish poetry, the odes of Leon de Arroyal -must not be overlooked.<a id="FNanchor_620" href="#Footnote_620" class="fnanchor">620</a> Though these odes are inferior -<span class="pagenum" id="Page_594">594</span> -to the older Spanish productions of the same sort, yet -some of them are distinguished, not indeed for bold, but -for airy flights of fancy;<a id="FNanchor_621" href="#Footnote_621" class="fnanchor">621</a> and for harmonious versification.<a id="FNanchor_622" href="#Footnote_622" class="fnanchor">622</a> -At the time of their appearance there were likewise -<span class="pagenum" id="Page_595">595</span> -published anonymously some anacreontic songs -by a lady, who imitated Villegas with grace as well -as with decorum.<a id="FNanchor_623" href="#Footnote_623" class="fnanchor">623</a></p> - -<h3 id="JUAN_MELENDEZ_VALDES">JUAN MELENDEZ VALDES.</h3> - -<p>But a poet of the graces, who has had but few equals -even in the golden ages of Spanish poetry, and who excels -in his particular sphere, remains to be noticed. This ornament -of modern Spanish literature, is Juan Melendez -Valdes, a doctor of law, and, perhaps, still professor of polite -literature in Salamanca. A delicate fancy, ever lively, -<span class="pagenum" id="Page_596">596</span> -yet ever true to nature; an uncommon intensity of feeling; -graceful turns of thought; a classic precision and -elegance of language, and the most pleasing flow of -versification, exist in so eminent a degree, and are -so happily combined in this author’s works, that the -critic is compelled to become a panegyrist, if he be -not totally insensible to the charm which such a phenomenon -presents in modern poetry.<a id="FNanchor_624" href="#Footnote_624" class="fnanchor">624</a> At an early period -of life, Melendez began to retrace the footsteps of Horace, -Tibullus, Anacreon, and Villegas; but, as he must -have felt that the luxuriant graces of his Spanish model -were not to be excelled, his imagination appears to -have spontaneously applied itself to a more exquisite -painting of amatory ideas and images, and to the dignifying -of that kind of poetry by a certain moral delicacy -to the observance of which Villegas attached too little -importance. The joys, sorrows, and sports of rustic love, -rural festivals and amusements, are the materials which -confer a peculiar character on the anacreontic effusions -of Melendez. Were it not that the picturesque descriptions -sufficiently indicate the Spaniard,<a id="FNanchor_625" href="#Footnote_625" class="fnanchor">625</a> his verses might -<span class="pagenum" id="Page_597">597</span> -sometimes be mistaken for translations from an English -or German poet. Nothing can surpass some of his descriptions -in the graceful colouring of tender sentiment.<a id="FNanchor_626" href="#Footnote_626" class="fnanchor">626</a> -<span class="pagenum" id="Page_598">598</span> -It is only necessary to bestow a slight glance on the compositions -of Melendez to feel the injustice of the reproach -cast on Spanish poetry, by a French traveller, who observes -“that the Spaniard is so completely a citizen, that -not even in his poetry does he manifest a taste for rural -life.” This reproach, which is probably only directed -against the poetic writers of the present day, would be -unworthy of notice were it intended to apply to the Spanish -poets of the sixteenth and seventeenth centuries, -<span class="pagenum" id="Page_599">599</span> -whose numerous pastoral compositions abound in descriptions -of rural scenery, which evince an intuitive perception -of the poetic beauties of unsophisticated nature. -Be this as it may, the Spanish academy thought proper, -in the year 1780, to award a prize for the best poem in -praise of rural life; and on this occasion Melendez -gloriously competed with Yriarte.</p> - -<p>Besides the anacreontic poems of Melendez, his -lyric romances, his popular songs, in which the old -national style is combined with modern elegance, his -romantic odes, his elegies and his sonnets, must be numbered -among the best productions in Spanish literature.<a id="FNanchor_627" href="#Footnote_627" class="fnanchor">627</a> -How admirably he succeeded in the composition of -poetic epistles is proved by the classical dedication of his -<span class="pagenum" id="Page_600">600</span> -poems to his friend Jovellanos.<a id="FNanchor_628" href="#Footnote_628" class="fnanchor">628</a> He has rendered service -to the Spanish theatre by dramatizing the novel of -the rich Camacho from Don Quixote. He is also the -author of several treatises on moral and philosophical -subjects.</p> - -<h3 id="BRIEF_NOTICE_OF_SOME">BRIEF NOTICE OF SOME OF THE MORE RECENT -LITERARY PRODUCTIONS OF SPAIN.</h3> - -<p>If the above information respecting some of the -latest Spanish poets be connected with the general -observations and bibliographic notices in the preceding -part of this history, it will plainly appear that -<span class="pagenum" id="Page_601">601</span> -the revival of polite literature in Spain must have been -on the one hand accelerated, and on the other retarded, -by the progress which was made in the cultivation of -modern science and philosophy, during the latter years -of the eighteenth century. The period of the triumph -of the Gallicists is doubtless past, however numerous the -adherents of that party still may be. But in general -the Spaniards of the educated and refined classes still -blush for their ancient prejudices, and observe, with -regret, that the Spanish literature is now only labouring -to acquire what it long ago neglected. In order to raise -the elegant literature of Spain to a level with that of -other cultivated nations of modern Europe, it is deemed -necessary to continue with persevering spirit to translate, -adapt and imitate every foreign work which attains -any degree of celebrity. In this concurrence of the spirit -of foreign literature with the ancient national spirit, -which is by no means suffered to perish, more than one -decennial period of the present century will probably -elapse ere Spanish poetry resume its original independence.</p> - -<p>Among their modern dramas, the Spaniards particularly -esteem the regular tragedies of Nicolas Fernandez -de Moratin, and the comedies of Ramon de la -Cruz, who, previous to the year 1784, was computed to -have written upwards of two hundred interludes in the -old style. Spanish translations of the tragedies of Corneille -and Voltaire, of the plays of Moliere, and other -French comic writers, and of the sentimental dramas -of Mercier, have also been received with approbation. -Don Leandro Fernandez de Moratin, who must not be -<span class="pagenum" id="Page_602">602</span> -confounded with his namesake, travelled at the expense -of the Spanish government to study the dramatic literature -of the different nations of Europe; and since his -return to Spain, a considerable pension has been granted -to him as a reward for one of his dramatic productions. -He has rendered the tragedy of Hamlet into Spanish, -and is expected to give to his countrymen a complete -translation of Shakespeare. Don Luciano Francisco -Comella, who is mentioned in literary journals as one -of the rivals of Leandro de Moratin in comic poetry, -appears to be a very prolific writer, and inclined to the -old national style. Don Theodoro de la Calla has attempted -to give Shakespeare’s Othello in Spanish, from -a French translation. Comella has also dramatized several -recent historical events, among which are some -points in the history of Peter the Great, and Catharine -II. of Russia.</p> - -<p>The Count de Noroña has particularly distinguished -himself as a writer of lyric poetry, and he has also translated -Dryden’s Alexander’s Feast into Spanish verse.</p> - -<p>Joseph Vasquez Cadalso, and the younger Moratin, -may be ranked among the most successful writers of -satirical poetry which Spain has recently produced.</p> - -<p><i>Diana</i>, or the <i>Hunt</i>, by the elder Moratin; the -<i>Happy Man</i>, by Almeida; and the <i>Happy Woman</i>, -by Morino, are the latest productions in didactic poetry. -A Spanish translation of <i>How to be always Merry</i>, -from the German of Uz, also occurs in the notices of -new Spanish poems.</p> - -<p>The old ambition of the Spaniards to distinguish -themselves by some production in epic art has again -<span class="pagenum" id="Page_603">603</span> -revived. A work of this class, entitled, <i>Mexico Conquistada</i>, -by Don Juan de Escoiquiz, has excited some -attention.</p> - -<p>Spanish pastorals in the old national style are associated -with translations from the German of Gessner.</p> - -<p>The collision of the natural and foreign styles is -strikingly exemplified in the Spanish romance literature -of the present period. The old romance of <i>Cassandra</i> -has lately been re-printed; and a new one in the old -style, entitled, <i>Leandra</i>, has also made its appearance. -All the English and French novels which obtain any -celebrity, are now translated into Spanish.</p> - -<p>Elegant prose, which was earlier cultivated in Spain -than in any other country in Europe, seems at length -to have emancipated itself from the Gongorism which -threatened its destruction. The prevailing study of -French prose in Spain, has no doubt proved favourable -to the revival of the pure eloquence of the -writers of the sixteenth century. None, indeed, of -the more recent works in Spanish prose is eminently -distinguished for rhetorical composition. But on the -other hand, among these publications it would be -difficult to mention a single book of science, whether -original or translated, which is not written with a -certain degree of purity and elegance. An historical -work in the Spanish language has been for some time -announced, and is probably now before the public. It -is a History of America, by D. Juan Bautista Muñoz, -professor of philosophy at Valencia. The intention of -the author is to exhibit the conduct of the Spaniards -in America in a point of view different from that taken -<span class="pagenum" id="Page_604">604</span> -by Robertson; and the work is said to be remarkable -for beauty of style.</p> - -<p>The Art of Rhetoric,<a id="FNanchor_629" href="#Footnote_629" class="fnanchor">629</a> by Don Antonio de Capmany, -a member of the Spanish Academy of History, -affords a new proof of the importance which the Spaniards -attach to the cultivation of elegant prose. The -preface to this work is particularly instructive. The -book itself contains no new truths, but it presents the -old ones well arranged and judiciously selected. Capmany’s -work, and particularly the preface, clearly shews -that Spanish eloquence is still, in some measure, in a -divided state. The classic prose of the sixteenth century -is again esteemed. But in any endeavour to restore -this prose unchanged, it must be difficult to avoid the -appearance of affectation; for since the prevalence of -the French taste, many Spanish words and phrases, -which were formerly classical, have now become antiquated, -while on the other hand, old words and phrases -have been introduced from the French. The party of -the <i>purists</i>, as the adherents of the old style are denominated, -have the prevailing language of the polite -world against them; while the polite world and the -partizans of the French style, can adduce no good -reasons for rejecting the old style, which is acknowledged -to be pure Castilian. Capmany is decidedly -favourable to the new style.<a id="FNanchor_630" href="#Footnote_630" class="fnanchor">630</a> However, this conflict -<span class="pagenum" id="Page_605">605</span> -will not prove injurious to Spanish eloquence, if each -party be willing to make concessions, in order that the -old style may be fundamentally preserved, and yet be so -modified as to conform, without affectation, to the new -ideas and forms of language which modern science has -introduced.</p> - -<p>All these facts considered in their connexion as a -whole, leave no room to doubt that the polite literature -of the Spaniards may again rise to its former glory, if -favoured by the ancient national spirit, to the genial -influence of which it owes its existence. The two -academies of polite literature, (<i>de buenas letras</i>), at -Barcelona and Seville, may likewise contribute to the -fulfilment of this object, if they seriously devote their -attention to it. The talent of the Spanish improvisatori, -who are said to be in no way inferior to those of Italy, -may also be directed to the revival of the ancient -popular poetry. Since the works of the poets and -elegant prose writers of the golden age of Spanish -literature have lately been republished in elegant editions, -and universally circulated, and since the new -demands of reason and science have promoted the developement -of the mental faculty in Spain, the best -results may be expected from the union of elegant and -scientific learning.</p> - -<h3 id="CONCLUSION">CONCLUSION.</h3> - -<p>It is only after having duly studied the polite literature -of Spain in all its parts, with the interest -attached to literary investigation, that it is possible to -<span class="pagenum" id="Page_606">606</span> -characterize it as a whole, and to obtain possession of -the results which such a characteristic judgment ought -to present.</p> - -<p>I. Spanish poetry is more decidedly national than -any other branch of modern poetry in Europe. Even -the Italians have only transferred their spirit and character -into forms; which, though ennobled by a genial -classic refinement of style, were originally derived from -the Provençals. But the Spanish, or to speak with -more precision, the Castilian poetry, which arose in the -neighbourhood of the Provençal, is a peculiar stream -from the romantic Parnassus. When the Spaniards -admitted the Italian forms into their poetry, they did -not transfer the old Spanish character to these nationalized -forms, in the same manner as the Italians, -by classic improvement of style, and enlargement of -the boundaries of romantic composition, converted the -Provençal poetry into pure Italian poetry. The Spanish -poets made the classic purity, and polish of the Italian -forms, subservient in a new manner to the orientalism -of their ancient national literature. A tendency to the -old orientalism is indeed plainly perceptible even in the -works of the few Spanish poets, who were the most -disposed, like Luis de Leon, Cervantes, and the two -Argensolas, to adopt the opinions of the ancients and -the Italians with regard to the correctness of ideas and -images. This orientalism of the Spanish character and -poetry which has long been disapproved, is now decidedly -pronounced bad taste, because the general idea of -poetry, which is the same for all ages and all nations, is -superseded by Greek, Italian, or French national ideas; -<span class="pagenum" id="Page_607">607</span> -and thus that beauty which is general is made subject -to particular and subordinate laws. But as long as the -ideal creations of the imagination are not entirely at -variance with reason and nature, they may far overstep -the boundaries of the Greek and other national forms, -without violating the supreme laws of the beautiful. A -true theory of taste should therefore induce us to look -beyond all factitious limits of the creative and plastic -powers of imagination for a critical point of view, which -has only nature and reason for its basis. Considered -from such a point of view, that orientalism, which is -ridiculous and absurd, becomes at once distinguishable -from that which belongs to the truly sublime and -beautiful. Spanish poets, it is true, have often failed -to observe this distinction. But owing to the usual -mode of estimating Spanish literature in the mass, -justice has not been done to that genuine beauty which -it so conspicuously discloses even in the midst of -absurdity.</p> - -<p>II. This unjust system of criticism appears to account -for the very slight attention which has been paid to the -high elegance and classic purity of a considerable portion -of the polite literature of Spain. In this respect Cervantes -alone outweighs a whole host of the correct -Gallicists, whose highest merit is to have written interesting -prose in well constructed verse. Metrical -elegance is indeed a distinguishing property in many -of the most irregular productions of the Spanish poets; -this is evident in their comedies, and more particularly -in the comedies of Calderon, which present the highest -charm of rhythmical harmony. On this occasion the -<span class="pagenum" id="Page_608">608</span> -classic prose of the golden age of Spanish literature -ought also to be brought to recollection. In the number -of prose works distinguished for elegance of style and -intellectual energy of composition, the literature of Spain -far surpasses that of Italy.</p> - -<p>III. The deficiency of one kind of riches in Spanish -literature, is amply compensated by the abundance of -another kind, which is in a great measure peculiar to -that literature, and which has manifested itself in an -inconceivable number of works. The portion of lyric -poetry in which the Spaniards have imitated the Italian -forms, tolerably counterbalances the amount of Italian -poetry in the same style. But if to that portion be added -the whole store of lyric romances and songs in the old -popular style, a multitude appears which sets calculation -at defiance. Nothing, however, could be more absurd, -than to estimate the poetic fertility of a nation according -to the number of works called poems, which it -may possess. It is from the sum of genuine poetry actually -existing in any considerable number of such works, -though it should be visible only in the seed or in the -bud which has withered in the opening, that the balance -must be struck when the poetic riches of nations is the -subject of comparison. If the mere number of productions -were to decide, Italy would be as rich in dramatic -literature as Spain. But in Italy, it unfortunately -happened that scarcely any writers except those of middling -and even inferior talent laboured to increase the -stock of Italian dramas to infinity. In Spanish dramatic -literature, on the contrary, the most fertile writers shew -themselves to be great poets even amidst their faults. -<span class="pagenum" id="Page_609">609</span> -According to the same principle the multitude of -nominal epic poems, which have appeared in Spain, -and in which scarcely a feeble spark of true epopee is -discernible, must not be taken into account in estimating -the poetic treasures of Spanish literature. A -single canto of Ariosto or Tasso, is worth all the Spanish -epic poetry that ever was written.</p> - -<p>IV. Of all the poets of modern times, the Spanish -can alone be regarded as the inventors of the poetry -of catholic mysticism, which they have employed in a -very ingenious, though, it must be confessed, not in an -exemplary manner. He must indeed be completely -dazzled by the brilliant side of Spanish poetry, who -refuses to acknowledge that the character of the sacred -comedy is monstrous, even as it appears in the Autos of -the estimable Calderon. But, on the other hand, the -affectation of philosophic criticism must have deadened -all susceptibility for that bold style of spiritual poetry -in him who denies to the Spanish Autos the possession -of beauties, which deserve to be admired. What might -not this poetry have become, had reason extended her -influence over it in a more powerful degree, not, indeed, -to reduce it to the level of prose, but to divest it of the -mask of caricature, while soaring in the lofty regions -of mystic invention!</p> - -<p class="caption">END OF VOL. I.<br /> - -<small>AND OF THE HISTORY OF SPANISH LITERATURE.</small></p> - -<p class="copy"><i>E. Justins, Printer, 41, Brick Lane, Whitechapel.</i></p> - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_610">610</span></p> - -<h2 id="ERRATA_FOR_VOL_I">ERRATA FOR VOL I.</h2> - -<p>Page 27, title of Book I. for <i>end of the sixteenth</i>, read <i>commencement of the -sixteenth century</i>.</p> - -<blockquote class="hang"> - -<p>43, l. 4 from the top, for <i>Don Juan de Manuel</i>, read <i>Don Juan Manuel</i>.</p> - -<p>51, l. 14 from the top, for <i>beaux tenebreux</i> read <i>beau tenebreux</i>.</p> - -<p>100, l. 1 of the second note, for <i>Diez</i> read <i>Dieze</i>.</p> - -<p>102, l. 11 from the top, for <i>Bachellor</i> read <i>Bachelor</i>.</p> - -<p>128, last line, for <i>Count of Arragon</i> read <i>Court of Arragon</i>.</p> - -<p>131, l. 12 from the top, for <i>applies</i> read <i>applied</i>.</p> - -<p>161, last line but one of the note, for <i>called</i> read <i>calls</i>.</p> - -<p>165, l. 1 of the second note, for <i>Gottengen</i> read <i>Göttingen</i>.</p> - -<p>168, l. 1, for <i>changed</i> read <i>charged</i>.</p> - -<p>180, l. 5 from the top, for <i>ecologues</i> read <i>eclogues</i>.</p> - -<p>193, l. 18 from the top, for <i>Diego Mendoza</i> read <i>Diego de Mendoza</i>.</p> - -<p>215, l. 2 from top, for <i>depths</i> read <i>depth</i>.</p> - -<p>218, l. 6 from the top, for <i>formed</i> read <i>found</i>.</p> - -<p>253, l. 7 from the bottom, for <i>though it even constantly</i> read <i>though -it constantly</i>.</p> - -<p>254, l. 7 from the bottom, for <i>Acuna</i> read <i>Acuña</i>.</p> - -<p>272, l. 13 from the top, for <i>belong</i> read <i>belongs</i>.</p> - -<p>303, l. 12 from the top, for <i>Lusiade</i> read <i>Lusiad</i>.</p> - -<p>309, l. 14 from the top, for <i>mankind</i> read <i>man</i>.</p> - -<p>312, l. 2 of the note, for <i>edition</i> read <i>addition</i>.</p> - -<p>364, 7 from the bottom, for <i>Span</i> read <i>Spain</i>.</p> - -<p>435, l. 7 from the top, for <i>title of a work</i> read <i>title for a work</i>.</p> - -<p>448, l. 8 from the bottom of the note, for <i>to Marshal</i> read <i>to the Marshal</i>.</p> - -<p>469, l. 6 from the top, for <i>voluntary</i> read <i>voluntarily</i>.</p> - -<p>524, l. 12 from the top, for <i>analize</i> read <i>analyze</i>.</p> - -<p>551, l. 8 from the top, for <i>Nothing poetical was at this period produced</i>, -read <i>Nothing poetical produced at this period</i>.</p></blockquote> - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_611">611</span></p> - -<h2 id="FOREIGN_LITERATURE">FOREIGN LITERATURE.<br /> - -<small>PROSPECTUS OF A</small><br /> - -<span class="large">CIRCULATING LIBRARY,</span><br /> - -<small>EXCLUSIVELY DEVOTED TO</small><br /> - -FOREIGN LITERATURE,<br /> - -<i>By BOOSEY <small>and</small> SONS</i>,<br /> - -<span class="large">FOREIGN AND ENGLISH BOOKSELLERS,</span><br /> - -<span class="medium">4, BROAD STREET, EXCHANGE.</span></h2> - -<p class="figcenter"><img src="images/hr.jpg" alt="" /></p> - -<p>It has long been a subject of surprise and regret with Foreigners, -and with those of our own countrymen acquainted with their Literature, -that no establishment for the circulation of Books in the FOREIGN -LANGUAGES, should have been formed in this country.</p> - -<p>If this opinion was prevalent during the late war, how must it -have gained ground latterly, owing to the gradual increase which, since -that period, Foreign Literature has been making in the number of its -votaries in this country.</p> - -<p>With the view of supplying this <i>desideratum</i> in Literature, -<span class="smcap">Boosey</span> and <span class="smcap">Sons</span>, (<i>after an experience of thirty years as Foreign and -English Booksellers</i>,) have been induced, at the particular request of -many of their Friends, who have promised them their support and -patronage, to undertake the establishment of a <span class="smcap">Circulating Library</span> -<i>for</i> <span class="smcap">Foreign Books</span> ONLY, upon an extensive scale.</p> - -<p>As it is their intention to spare neither pains nor expence in -rendering it as complete as possible, they confidently hope that it will -meet with the approbation of the Public.</p> - -<p>The Catalogue (which is in active preparation) will contain an -extensive Collection of <i>French</i>, <i>German</i>, <i>Italian</i>, <i>Spanish</i>, and <i>Portuguese</i> -books, including the works of the authors in those languages -who are considered as Classic Writers; also an extensive selection -of <i>Modern Publications</i>. -<span class="pagenum" id="Page_612">612</span></p> - -<p>In order to be supplied with all New Works of interest on their -<i>first appearance</i>, <span class="smcap">Boosey</span> and <span class="smcap">Sons</span> have made arrangements with their -Correspondents to forward them, together with the best Periodical -Publications, <i>once every month</i>.</p> - -<p>The Library will be opened to the Public as soon as the Catalogue, -which is in a great state of forwardness, can be got ready for delivery: -in the mean time a list of the Terms of Subscription is subjoined, in -order that those who feel disposed may have an opportunity of -encouraging the undertaking with their early support and patronage.</p> - -<hr class="tb" /> - -<h3>CLASS I.</h3> - -<p>Subscribers paying £5 : 5s. the Year; £3 : 3s. the Half-year; or -£1 : 16s. per Quarter, are allowed 10 volumes in town, or 20 in the -country.</p> - -<h3>CLASS II.</h3> - -<p>Subscribers paying £4 : 4s. the year; £2 : 12s. : 6d. the Half-year; -or £1 : 11s. : 6d. per Quarter, are entitled to 8 volumes in town, -or 16 in the country.</p> - -<h3>CLASS III.</h3> - -<p>Subscribers paying £3 : 3s. the year; £2 : 2s. the Half-year; -or £1 : 5s. per Quarter, are entitled to 6 volumes in town, or 12 in -the country.</p> - -<p class="copy">⁂ <i>Full particulars of the Terms and Regulations will be delivered with the -Catalogue.</i></p> - -<p>To facilitate the circulation of Books at the West End of the -Town, it is intended to appoint a house in a central situation for their -receipt and delivery.</p> - -<p class="figcenter"><img src="images/hr.jpg" alt="" /></p> - -<p><span class="smcap">Boosey</span> and <span class="smcap">Sons</span> are desirous it should be generally understood, -that they do not intend, in consequence of establishing the Library, to -relinquish any branch of their <span class="smcap">Foreign</span> and <span class="smcap">English Bookselling</span> -business; on the contrary, they trust that the impulse which Foreign -Literature will receive in this country through its medium, added to -the more frequent opportunities it will afford them of obtaining books -from the Continent, will enable them to keep on sale a much more -extensive stock of modern publications.</p> - -<hr class="chap" /> - -<div class="footnotes"> - -<h2>FOOTNOTES:</h2> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">1</a> -This, in its turn, is only a small part of a very extensive -work, the general title of which is, <i>Geschichte der Künst und -Wissenschaften seit der Wiederherstellung derselben bis an das -Ende des achtzenten Jahrhunderts, von einer Gesellschaft -gelehrter männer ausgearbeitet</i>. (History of Arts and Learning -from their restoration to the end of the eighteenth century, by -a society of learned men.) Different authors have each taken a -part in this great literary enterprize, which may be said to form -an Encyclopedia, though not on the usual plan of a dictionary.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">2</a> -There is also a French translation of Bouterwek’s volume -on Spanish literature, which, as far as it goes, is correct and well -executed in point of style; but notwithstanding that the translator -appears to have been capable of doing justice to the work, it is -greatly mutilated. The Portuguese volume, which is in some -respects the more valuable of the two, is not touched by the French -translator.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">3</a> -<i>Letters from an English Traveller in Spain, in 1778, on -the Origin and Progress of Poetry in that kingdom, London 1781.</i>—This -book was written by <i>Mr. Dillon</i>, author of “Travels through -Spain,” “History of Peter the Cruel,” &c.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">4</a> -Fought in the year 712.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">5</a> -This remark, from the <i>Indiculo luminoso</i> of Bishop Alvaro -of Cordova, is noticed in the preface to Du Cange’s Glossary, and is -repeated by Velasquez in his History of Spanish Poetry, Dieze’s -edition, page 33.—See also Eichhorn’s <i>Allgemeine Geschichte -der Cultur und Litteratur</i>, vol. i. p. 121. The details of the -history of Arabic poetry in Spain cannot be comprehended in a -history of Spanish and Portuguese poetry. The bibliographic erudition -on the subject of Arabic poetry, which Dieze has displayed -in his remarks on Velasquez, does not belong to the subject of this -work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">6</a> -Velasquez, Dieze, and other authors, furnish information on -the history of the Biscayan language and poetry. This language, -with the poetry to which it may have given birth, has had no influence -on literature beyond its own territory, and appears to have -had very little even there.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">7</a> -How sensibly the neglect of the Catalonian or Valencian -tongue, after the union of the kingdoms of Arragon and Castile, -was felt in the provinces which belonged to the former, may be -seen from the passage quoted by Eichhorn, in his <i>Allg. Gesch. -der Cul. u. Litt.</i> vol. i. page 129, from Scuolano’s History -of Valencia. But the pleasing language of the Troubadours was -doubtless very defective. It would otherwise have been difficult -to have made the Catalonian poets so soon proselytes to the Castilian -dialect, especially as, besides the difference of language, the natural -jealousy between the Arragonian and Castilian provinces was -strong enough to manifest itself by political effects even in the -eighteenth century. The imperfection of the Troubadour phraseology -may have been partly owing to its fluctuations, and the -various forms it assumed, in the several dialects. The difference of -the dialects appears particularly evident on comparing the real -<span class="smcap">Provençal</span> of the French Troubadours with the Valencian, called -<span class="smcap">Lengua Vallenciana</span>. The dialect of the Provençal Troubadours -may, without much difficulty, be translated by conjecture, if -the reader be acquainted with French and Italian; but the meaning -of the Valencian cannot be so easily guessed at, even with the additional -knowledge of Castilian. As a proof of this, it will be sufficient -to peruse a passage of the <i>Libre de los Dones</i>, of <i>Mosen</i>, [that is, -Monsieur, instead of the Castilian Don] <i>Jaume</i> [James] <i>Roig</i>, -reprinted in Valencia, 1735, in 4to. The author is one of the last -poets who wrote in the Valencian dialect, and the whole didactic -poem, if so it may be called, is composed in short verses of the -following description:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Yo com absent<br /></span> -<span class="i0">Del mon vivint,<br /></span> -<span class="i0">Aquell linquint<br /></span> -<span class="i0">Aconortat,<br /></span> -<span class="i0">Del apartat<br /></span> -<span class="i0">Dant hi del peu,<br /></span> -<span class="i0">Vell jubileu<br /></span> -<span class="i0">Mort civilment,<br /></span> -<span class="i0">Ja per la gent<br /></span> -<span class="i0">Desconegut,<br /></span> -<span class="i0">Per tots tengut<br /></span> -<span class="i0">Con hom selvatge<br /></span> -<span class="i0">Tenint ostatge, &c. &c.<br /></span> -</div></div> - -<p>Owing to the difference of the dialects, a foreigner might, by a -short residence in Madrid, learn to express himself in Castilian with -more fluency than it is spoken by a great part of the inhabitants of -the Arragonian provinces.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">8</a> -At least such is the opinion of Gregorio Mayans y Ziscar, -given in his work, known under the title of <i>Origenes de la -Lengua Española</i>, part i. page 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">9</a> -An old prejudice attributes the forcible aspiration which the -Spanish shares in common with the German and Arabic, solely to -the mixture of the latter with the Castilian. This prejudice is -pardonable in the Spaniards, who are not aware of the influence -which the German guttural must have had over their language; -but the Germans, who know the nature of their mother tongue, -ought to recollect that the same Arabic words which are strongly -aspirated by the Spaniards, are pronounced by the Portuguese, -though equally naturalized among them, with a hissing sound. -Besides, how does it happen that the <small>G</small> before <small>E</small> and <small>I</small>, which is a -guttural with the Germans, has nearly the same sound with the -Castilians, though it is never so pronounced by any other people -whose language appears to have risen on the ruins of that of ancient -Rome? The Germanic pronunciation of the Visigoths, which was -doubtless preserved in the mountains of Castile, would afterwards -be easily confounded with the Arabic. The Castilian conversion of -<small>O</small> into <small>UE</small>, also resembles the change which takes place in German of -<small>O</small> into <small>OE</small>. Let, for instance, the Spanish <span class="smcap">Cuerpo</span> and <span class="smcap">Pueblo</span> -be compared with the German <span class="smcap">Körper</span> and <span class="smcap">Pöbel</span>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_10" href="#FNanchor_10" class="label">10</a> -The Portuguese language would perhaps be less depreciated -by the Spaniards, if it did not remind them of the vulgar idiom -spoken by the Galician water-carriers in Madrid. On the contrary, -the Portuguese think the Castilian language inflated, and at the same -time rough and also affected. Both nations are as little disposed -to come to an agreement on the merits of their respective -languages as the Danes and Swedes are regarding theirs; for the -Castilian and Portuguese are, like the Danish and Swedish, only -two conflicting dialects of the same tongue. The Swedes admit -that the Danish language exceeds their own in softness, though -they consider that softness disagreeable, and the harsher Swedish -more sonorous on account of the greater abundance and fulness of -its vowel sounds; thus, precisely in the same manner, do the -Spaniards condemn the softness of the Portuguese tongue. The -elision of the letter <small>L</small> in a great number of Portuguese words, as -in <small>COR</small>, <small>PAÇO</small>, for <i>color</i>, <i>palacio</i>, and the remarkable change of <small>L</small> -into <small>R</small>, as in <i>branco</i>, <i>brando</i>, for <i>blanco</i>, <i>blando</i>, are peculiarities of -that language to which foreigners do not easily reconcile themselves.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_11" href="#FNanchor_11" class="label">11</a> -The first essay towards a history of the Portuguese language, -and an introduction to Portuguese orthography, were published -in Lisbon at the time when Portugal was a Spanish province.—Duarte -Nunez de Liaõ, the author of both works, was a -statesman and magistrate. (<i>Desembargador da Camara da -Supplicaçaõ.</i>) The former is entitled <i>Origem da Lingoa Portugueza</i>, -<i>Lisb.</i> 1606, in 8vo. It is dedicated to Philip III. king -of Spain, who is, however, on this occasion merely addressed as -<i>Dom Phelipe II. de Portugal</i>. In the preface the author states -his other, but older work, (<i>Orthographia da Lingoa Portugueza</i>, -Lisb. 1576, in 8vo.) to be the first of the kind. The -Portuguese have, however, for two centuries laboured with as -little success as the Germans, to introduce uniformity of orthography -into their language. The convertible <small>M</small> and <small>AÕ</small> appear to -have been so early selected to denote the French nasal tone which -occurs in numerous final syllables, that Nunez de Liaõ found it -necessary to acquiesce in the custom, according to which the same -word might be very differently written, as <i>naçaõ</i> or <i>naçam</i>, <i>naõ</i> or -<i>nam</i>, pronounced nearly as <i>nassaong</i> and <i>naong</i>, with the French -sound of <i>on</i>, <i>bon</i>. But it surely could not have been very difficult -to dispossess the totally unnecessary and barbarous <small>H</small> in <i>hum</i> and -<i>huma</i> (from the latin <i>unus</i> and <i>una</i>) of the place it had assumed, -as it is now banished from elegant Portuguese orthography. Trifles -of this kind present more materials for reflection than a first view -gives reason to expect. When the orthography of a country continues -to be an object of reform, that nation is deficient in a -certain degree of refinement, the attainment of which has either -been missed, or the right pursuit of which is but just commenced. -Indeed what necessity is there for the French, Italians, Spaniards -and Portuguese, writing the same sound, occurring in the same -word, in four different ways, as for example, <i>bataille</i>, <i>battaglia</i>, -<i>batalla</i>, <i>batalha</i>?</p></div> - -<div class="footnote"> - -<p><a id="Footnote_12" href="#FNanchor_12" class="label">12</a> -Nothing could be more improper than to follow Du Cange, -(Glossar. praef. § 34, sq.) in dividing the <i>vulgare idioma</i> of the -present inhabitants of the Pyrenean Peninsula into the <i>Castellanum</i>, -<i>Limosinum</i>, and <i>Vasconicum</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_13" href="#FNanchor_13" class="label">13</a> -A particular account of the Limosin poetry, even in its -last period, which is late enough to come into the division of time -called the latter ages, does not belong to the history of modern -poetry. It ought to be treated as the last part of the chivalrous -poetry of the middle ages.—See the notices in Velasquez and -Dieze, p. 45, and the still more instructive sketch of the history of -Limosin poetry, in Eichhorn’s <i>Gesch. der Cult. u. Litt.</i> vol. i. -p. 123.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_14" href="#FNanchor_14" class="label">14</a> -That the Portuguese and the Galician were originally not to -be distinguished from each other, is expressly stated by that attentive -observer of the forms of his native language, Nunez de Liaõ, -who says, <i>As quaes ambas</i>, (namely, the Portuguese and the Galician -tongues) <i>eraõ antigamente quasi huma mesma nas palavras, -e diphthongos, e pronunciação, que as outras partes de Hespanha -naõ tem</i>. <span class="smcap">Origem da Lingoa Portugueza</span>, cap. VI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_15" href="#FNanchor_15" class="label">15</a> -Velasquez, who felt this, thought fit when he read the -<i>Lusiade de Camões</i>, to pay a particular compliment to the author, -at the expense of the Portuguese language; for, after delivering -the same opinion on that language, which is entertained by most -Spaniards, he very elegantly adds: “the muses thought otherwise -when they spoke through the mouth of Camoens.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_16" href="#FNanchor_16" class="label">16</a> -<i>Cada fuente de Portugal y cada monte son Hippocrenes -y Parnassos</i>, says Manuel de Faria y Sousa, in his <i>Epitome de -las Historias Portugueses</i>. Father Sarmiento, a Spanish author, -whom national prejudice does not prevent from doing justice to -the Portuguese, mentions this observation in his instructive <i>Memorias -para la Poesia Española</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_17" href="#FNanchor_17" class="label">17</a> -The word is used in this extensive sense by Sarmiento in -his <i>Memorias</i>, or as the book is sometimes called, <i>Obras posthumas</i>, -parte i. p. 168. Authors are far from being agreed -respecting the origin of the term <i>redondillas</i>, (according to the -Portuguese orthography <i>redondilhas</i>.) But is not the word more -naturally derived from <i>redondo</i> (round), than from a small town -called Redondo? Instead of redondillas, these compositions are -sometimes named <i>redondillos</i>, the word <i>versos</i> being understood. -In German they might be called <i>ringelverse</i> (circular verses.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_18" href="#FNanchor_18" class="label">18</a> -Shall it be said that there is, in the German language, no -kind of verse which unites to so much grace, a character so truly -popular! Let Burger’s <i>Nachtfeier der Venus</i> be considered, before -this be determined. Even the Esthonian Serfs, on the coast -of the Baltic, chaunt their simple ballads in the same measure. -Proof of this may be seen on reference to Petri’s <i>Nachrichten von -den Esthen</i>, vol. ii. p. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_19" href="#FNanchor_19" class="label">19</a> -Among others, Sarmiento, who in support of this opinion, -quotes some verses from Virgil, for example: <i>Inter viburna cupressi</i>—<i>Tondenti -barba cadebat</i>, &c. These verses have, it is -true, eight syllables, but not four trochaic feet.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_20" href="#FNanchor_20" class="label">20</a> -How does it happen that none of the Spanish authors have -taken notice of the ancient songs sung by the Roman soldiers, -though they are evidently <i>redondillas</i>? Suetonius has preserved -some remarkable examples of these songs; and the same -measure occurs after the decline of latin poetry, particularly in -some pious verses of Prudentius, which are quoted by Sarmiento.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_21" href="#FNanchor_21" class="label">21</a> -After examining Arabic verses, written in the European -manner, it cannot be difficult, even for persons unacquainted with -the language, to form a sufficient idea of the influence which the -monotonic rhymes of the Moors had on the old Castilian romances. -See, for example, the following passage of the Koran:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Va sciamsi, va dhohàha,<br /></span> -<span class="i0">Val Kamari eda talàha,<br /></span> -<span class="i0">Van nahari, eda giallàha,<br /></span> -<span class="i0">Val Laïli eda jagsciàha.<br /></span> -</div></div> - -<p>But the Spanish ear required some variety, and accordingly preferred -a predominant to a single unchanging rhyme. Thus in the -romance:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Media noche era por hilo;<br /></span> -<span class="i0">Los gallos querian <i>cantar</i><br /></span> -<span class="i0">Donde Claros con amores<br /></span> -<span class="i0">No podia <i>reposar</i>,<br /></span> -<span class="i0">Quanto muy grandes sospiros<br /></span> -<span class="i0">Que el amor se hazia <i>dar</i>, &c. &c.<br /></span> -</div></div> - -<div class="footnote"> - -<p><a id="Footnote_22" href="#FNanchor_22" class="label">22</a> -Such <i>rimas asonantes</i> as occur in the words <i>noble</i> and <i>pone</i>, -<i>dolor</i> and <i>corazon</i>, are easily recognized. But from some old -Spanish romances, it appears that the return of the same consonants -sometimes supplies the place of an assonant rhyme; for -example, when the words <i>baxo</i>, <i>crucifixo</i>, <i>enojo</i>, &c. follow each -other at short intervals.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_23" href="#FNanchor_23" class="label">23</a> -See what is stated by Sarmiento, p. 191, from an old -letter of the Marquis of Santillana, of which more particular -notice must soon be taken in this work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_24" href="#FNanchor_24" class="label">24</a> -The Spanish and Portuguese <i>versos de arte mayor</i> very -much resemble some of the English popular ballads, with regard -to their measure. There is, however, in the rudest of the Spanish -and Portuguese strophes of this kind, more real rhythmus, than -even in the modern popular songs of the English. An old political -song, by Juan de Mena, commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Como, el, que duerme con la pesada,<br /></span> -<span class="i0">Que quiere y no puede jamas acordar,<br /></span> -<span class="i0">Mas si lo puede á la fin desechar,<br /></span> -<span class="i0">Queda la mente con el desvelada, &c.<br /></span> -</div></div> - -<div class="footnote"> - -<p><a id="Footnote_25" href="#FNanchor_25" class="label">25</a> -Sarmiento has written at sufficient length on the origin of -the Castilian romances, but the information he gives is more -copious than satisfactory. It would require the most laborious -investigation, joined to the highest critical sagacity, to penetrate the -obscurity in which this part of the history of literature is involved. -How indeed can it be ascertained to what age a ballad belongs, the -author of which is unknown, and which, in the progressive improvement -of the language and the national taste, has been, without -scruple, altered by the singers?</p></div> - -<div class="footnote"> - -<p><a id="Footnote_26" href="#FNanchor_26" class="label">26</a> -These monuments of old Castilian rhyme were little known -until rescued from oblivion in 1775 by the publication of D. Thomas -Antonio Sanchez’s <i>Coleccion de Poesias Castellanas Anteriores -al siglo XV.</i> a work which in respect to philology is certainly very -meritorious. The collection, however, appears to terminate with -the third volume, (Madrid, 1782), which contains the <i>Poema de -Alexandra Magno</i>. The first volume contains the celebrated letter -of the <i>Marquis de Santillana</i> on the ancient Spanish poetry, which, -for the first time, is printed in that volume, with a commentary by -the publisher, full of philological learning.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_27" href="#FNanchor_27" class="label">27</a> -For example, in the following passage which Sarmiento -has also quoted; the language, too, differs less from the present -Spanish in this, than in many other parts of the work.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">De los sus ojos tan fuertemente llorando,<br /></span> -<span class="i0">Tornaba la cabeça, e estavalos catando.<br /></span> -<span class="i0">Vio puertas abiertas, e uzos sin canados,<br /></span> -<span class="i0">Alcandaras vacìas sin pieles e sin mantos<br /></span> -<span class="i0">E sin falcones, e sin azores, mudados.<br /></span> -<span class="i0">Sospirò mio Zid; ca mucho aviè grandes cuidados.<br /></span> -<span class="i0">Fablò mio Zid bien, e tan mejorado:<br /></span> -<span class="i0">Grado á ti, Señor Padre, que estas en alto.<br /></span> -<span class="i0">Esto me han envuelto mìs enemigos malos, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_28" href="#FNanchor_28" class="label">28</a> -He states at the beginning of the work the importance he -placed on the labour of the rhyme, which he seems to have particularly -valued, because he made four lines always rhyme together -in succession:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Mester trago fremoso, no es de juglaria,<br /></span> -<span class="i0">Mester es sen pecado, ca es de clerecia.<br /></span> -<span class="i0"><i>Fablar curso rimado por la quaderna via</i><br /></span> -<span class="i0"><i>Per silabas cantadas, ca es grant maestria.</i><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_29" href="#FNanchor_29" class="label">29</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">El padre a vii. años metiole a leer,<br /></span> -<span class="i0">Diole a maestros ornados de seso e de saber,<br /></span> -<span class="i0">Los megores que pudo in Grecia escoger,<br /></span> -<span class="i0">Que lo sopiessen en las vii. artes emponer<br /></span> -<span class="i4">Aprend de las vii. artes cada dia licion<br /></span> -<span class="i0">De todas cada dia facia disputacion, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_30" href="#FNanchor_30" class="label">30</a> -Sarmiento and Sanchez may be consulted respecting those -enquiries. Some notices on the same topics are also to be found -in Velasquez. Had Berceo composed verses on temporal subjects, -it is probable that the Spanish writers would not have disputed -with so much zeal on the merits of his life. It is curious, that the -pious author himself calls his verse prose. The passage runs thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quiero far <i>una prosa</i> in Roman paladino,<br /></span> -<span class="i0">En qual suele el pueblo fablar a su vecino,<br /></span> -<span class="i0"><i>Ca non so tan letrado a far otro latino</i>.<br /></span> -<span class="i0">Bien valdra, como ereo, un vaso de bon vino.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_31" href="#FNanchor_31" class="label">31</a> -Having stated that he learnt his art from an Egyptian, -whom he invited from Alexandria, Alphonso adds:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">La piedra que llaman philosophal<br /></span> -<span class="i0">Sabia facer, e me la enseñó,<br /></span> -<span class="i0">Fizimoslo juntos, despues solo yo;<br /></span> -<span class="i0">Con que muchas veces creció mi caudal.<br /></span> -</div></div> - -<p>The chemical prescriptions have a very quaint effect, as delivered -in the dancing measure of these verses, viz.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tomad el mercurio assi como sale<br /></span> -<span class="i0">De minas de tierra con limpia pureza.<br /></span> -<span class="i0">Purgadlo con cueros par la su maleza,<br /></span> -<span class="i0">Porque mas limpieza en esto mi cale.<br /></span> -<span class="i0">E porque su peso tan solo se iguale,<br /></span> -<span class="i0">Con doze onzas del dicho compuesto,<br /></span> -<span class="i0">En vaso de vidro despues de ser puesto.<br /></span> -<span class="i0">Otra materia en esto non vale.<br /></span> -</div></div> - -<p>This extract may also serve as an example of the rhythmical -facility displayed in the verses of Alphonso.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_32" href="#FNanchor_32" class="label">32</a> -Histoire générale des Troubadours, tom. ii. pag. 255, -tom. iii. pag. 329, &c.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_33" href="#FNanchor_33" class="label">33</a> -Sarmiento refers the oldest Castilian romances to the thirteenth -century, but only hypothetically, and with the explicit declaration, -that certainly none were to be found in the form in which -they then existed. Respecting the <i>Nicolas</i> and the <i>Antonio de los -Romances</i>, see the notes of Dieze on Velasquez, p. 146.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_34" href="#FNanchor_34" class="label">34</a> -See the <i>Bibliotheca Hispana Vetus</i> of Nicolas Antonio, -under the head of Alphonso XI. and Sarmiento, p. 305.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_35" href="#FNanchor_35" class="label">35</a> -A sensible and well digested biography of this prince, by -Gonzalo de Argote y Molina, a writer of the sixteenth century, -is prefixed to <i>El Conde Lucanor</i>, the first edition of which -Argote superintended. The work is not easily procured even in -Spain. <i>No es de los mas communes</i>, says Sarmiento. In the -library of the university of Göttingen there is a copy of the edition: -Madrid, 1642, 4to.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_36" href="#FNanchor_36" class="label">36</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Si algun bien fizieres, que chico assaz fuere,<br /></span> -<span class="i0">Fazlo granado; que el bien nunca muere.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_37" href="#FNanchor_37" class="label">37</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quien te conseja encobrir de tus amigos,<br /></span> -<span class="i0">Engañar te quiere assaz, y sin testigos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_38" href="#FNanchor_38" class="label">38</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">No aventures mucho tu riqueza<br /></span> -<span class="i0">Por consejo de ome que ha pobreza.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_39" href="#FNanchor_39" class="label">39</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quien bien see, non se lieve.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_40" href="#FNanchor_40" class="label">40</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quien te alabare con lo que non has en ti,<br /></span> -<span class="i0">Sabe, que quiere relever lo que has de ti.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_41" href="#FNanchor_41" class="label">41</a> -As this work is as scarce as it is curious, to extract the -whole of the first tale will perhaps be agreeable to the reader. -Fablava un dia el Conde Lucanor con Patronio su Consejero, -en esta manera. Patronio, vos sabedes que yo soy muy caçador, y -he fecho muchas caças nuevas, que nunca fizo otro ome, y aun he -fecho y añadido en los capillos y en las piguelas algunas cosas muy -aprovechosas, que nunca fueron fechas, y aora los que quieren dezir -mal de mi fablan en escarnio en alguna manera, y quando loan al -Cid Ruydias, o al Conde Ferrand Gonzalez, de quantas lides que -fizieron, o al santo y bienaventurado Rey don Ferrando, quantas -buenas conquistas fizo, loan a mi, diziendo que fiz muy buen fecho, -porque añadi aquello en los capillos y en las piguelas. Y porque -yo entiendo, que este alabamiento mas se me torna en denuesto, que -en alabamiento, ruego vos que me a consejedes en que manera faré, -porque no me escarnezcan por la buena obra que fiz. Señor Conde, -dixo Patronio, para que vos sepades lo que vos cumple de fazer -en esto, plazeme ya que sopiessedes lo que contescio a un moro, -que fue Rey de Cordova. El Conde la preguntó como fuera aquello; -Patronio le dixo assi.</p> - -<p>Huvo en Cordova un Rey Moro, que huvo nombre Alhaquime, -y como quier que mantenia bien assaz su Reyno, no se trabajó de -fazer otra cosa honrada, nin de gran fama, de las que suelen y deven -fazer los Reyes. Ca non tan solamente son los Reyes tenudos de -guardar sus Reynos, mas los que buenos quieren ser, conviene que -tales obras fagan, porque con derecho acrecienten sus Reynos, y -fagan en guisa, que en su vida sean muy mas loados de las gentes, -y despues de su muerte finqueen buenas fazañas de las obras que -ellos ovieren fecho. E este Rey non se trabajava de esto, si non -de comer, y de folgar, y de estar en su casa vicioso; y acaescio, que -estando un dia que tañian ante el un estormento de que se pagavan -mucho los moros, que há nombre Albogon, e el Rey paró mientes, -y entendio que non fazia tan buen son como era menester, y tomó -el Albogon, y añadio en el un forado a la parte de yuso, en derecho -de los otros forados, y dende en adelante fazia el Albogon muy -mejor son que fasta entonces fazia. E comoquiera que aquello -era bien fecho para en aquella cosa, pero que non era tan gran fecho -como convenia de fazer al Rey. E las gentes en manera de escarnio -començaron a loar aquel fecho, y dezian quando llamavan a alguno -en Arabigo, <i>Vahedezut Alhaquime</i>, que quiere dezir: este es el -añadimiento del Rey Alhaquime. Esta palabra fue sonada tanto -por la tierra, fasta que lo ovo de oir el Rey, y preguntó, porque -dezian las gentes aqueste palabra. E conaquier que ge lo quisieran -negar y encubrir, tanto los afincó, que ge lo ovieron a dezir. E -desque esto oyó tomó ende gran peçar, pero como era muy buen -Rey, non quiso fazer mal a los que dezian aquesta palabra, mas -puso en su coraçon de facer otro añadimiento, de que por fuerza -oviessen las gentes a loar el su fecho. E entonce porque la su -mezquita de Cordova non era acabada, añadio en ella aquel Rey -toda la labor que hi menguava, y acabóla. Y esto fue la mejor, y -mas complida, y mas noble mesquita que los moros avian en España. -E loado Dios es aora Iglesia, y llamanla Santa Maria de Cordova, -y ofresciola el santo Rey don Fernando a Santa Maria quando ganó -a Cordova de los Moros. E desque aquel Rey ovo acabado la -mesquita, y fecho aquel tan buen añadimiento, dixo, que pues -fasta entonces lo avian a escarnio, retrayendole del añadimiento que -fiziera en el Albogon, que tenia que de alli adelante le avrian a -loar con razon del añadimiento que fiziera en la mezquita de Cordova, -y fue despues muy loado: y el loamiento que fasta entonces -le fazian escarnesciendole, fincò despues por loa, y oy dia dizen los -Moros quando quieren loar algun buen hecho:—Este es el añadimiento -del Rey Alhaquime. E vos, Señor Conde, si tomades pesar, -o cuidades que vos loan por escarnescer del añadimiento, que -fezistes en los capillos, y en las piguelas, y en las otras cosas de -caça que vos fezistes, guisad de fazer algunos fechos granados e -nobles que les pertenesce de facer a los grandes omes. E por -fuerça las gentes avran de loar los vuestros buenos fechos, assi -como loan aora por escarnio en el añadimiento que fezistes de la -caça. E el Conde tovo este por buen consejo y fizolo assí, e fallose -dello muy bien. E porque don Juan entendio que esta era buen -exemplo, fizolo escrivir en este libro, y fizo estos versos, que -dizen assi:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Si algun bien fizieres, que chico asaz fuere,<br /></span> -<span class="i0">Fazlo granado, que el bien nunca muere.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_42" href="#FNanchor_42" class="label">42</a> -Thus in the first stories the old word <i>ome</i> stands for <i>hombre</i>; -but in those towards the end of the collection it is changed to -<i>hombre</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_43" href="#FNanchor_43" class="label">43</a> -Argote y Molina enumerates the prose works of this prince in -the before-mentioned biography. He notices the poems in an -appendix to his edition of <i>El Conde Lucanor</i>, entitled <i>Discurso -sobre la poesia Española</i>. Though the appendix occupies only a -few pages, it contains many interesting observations.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_44" href="#FNanchor_44" class="label">44</a> -The following romance, which is inserted without interpunctuation, -as it appears in the original, may serve for a specimen -of those to which the name of Don Juan Manuel is attached. It is -certainly not the worst of its kind; and must have found its way by -some lucky accident into the <i>Cancionero general</i>, which contains -scarcely any narrative romances. It is also found in another -<i>Cancionero de Romances</i>, under the title of <i>Romance de Don -Juan Manuel</i>.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Gritando va el cavallero<br /></span> -<span class="i0">publicando su gran mal<br /></span> -<span class="i0">vestidas ropas de luto<br /></span> -<span class="i0">aforrados en sayal<br /></span> -<span class="i0">por los montes sin camino<br /></span> -<span class="i0">con dolor y sospirar<br /></span> -<span class="i0">llorando a pie descalço<br /></span> -<span class="i0">jurando de no tornar<br /></span> -<span class="i0">adonde viesse mugeres<br /></span> -<span class="i0">por nunca se consolar<br /></span> -<span class="i0">con otro nuevo cuydado<br /></span> -<span class="i0">que le hiziesse olividar<br /></span> -<span class="i0">la memoria de sua amiga<br /></span> -<span class="i0">que murio sin la gozar<br /></span> -<span class="i0">va buscar las tierras solas<br /></span> -<span class="i0">para en ellas habitar<br /></span> -<span class="i0">en una montaña espesa<br /></span> -<span class="i0">no cercana de lugar<br /></span> -<span class="i0">hizo casa de tristura<br /></span> -<span class="i0">qu’es dolor de la nombrar<br /></span> -<span class="i0">d’una madera amarilla<br /></span> -<span class="i0">que llaman desesperar<br /></span> -<span class="i0">paredes de canto negro<br /></span> -<span class="i0">y tambien negra la cal<br /></span> -<span class="i0">las tejas puso leonadas<br /></span> -<span class="i0">sobre tablas de besar<br /></span> -<span class="i0">el suelo hizo de plomo<br /></span> -<span class="i0">porque es pardillo metal<br /></span> -<span class="i0">las puertas chapadas dello<br /></span> -<span class="i0">por su trabajo mostrar<br /></span> -<span class="i0">y sembro por cima el suelo<br /></span> -<span class="i0">secas hojas deparral<br /></span> -<span class="i0">cado no se esperan bienes<br /></span> -<span class="i0">esperança no ha destar<br /></span> -<span class="i0">en aquesta casa escura<br /></span> -<span class="i0">que hizo para penar<br /></span> -<span class="i0">haze mas estrecha vida<br /></span> -<span class="i0">que los frayles del paular<br /></span> -<span class="i0">que duermen sobre sarmientos<br /></span> -<span class="i0">y aquellos son su maniar<br /></span> -<span class="i0">lo que llora es lo que beve<br /></span> -<span class="i0">aquello torna a llorar<br /></span> -<span class="i0">no mas d’una vez al dia<br /></span> -<span class="i0">por mas se debilitar<br /></span> -<span class="i0">del color de la madera<br /></span> -<span class="i0">mando una pared pintar<br /></span> -<span class="i0">un dosel de blanca seda<br /></span> -<span class="i0">en ella mando parar<br /></span> -<span class="i0">y de muy blanco alabastro<br /></span> -<span class="i0">hizo labrar un altar<br /></span> -<span class="i0">con canfora betumado<br /></span> -<span class="i0">de raso blanco el frontal<br /></span> -<span class="i0">puso el bulto de su amiga<br /></span> -<span class="i0">en el para le adorar<br /></span> -<span class="i0">el cuerpo de plata fina<br /></span> -<span class="i0">el rostro era de cristal<br /></span> -<span class="i0">un brial vestido blanco<br /></span> -<span class="i0">de damasco singular<br /></span> -<span class="i0">mongil de blanco brocado<br /></span> -<span class="i0">forrado en blanco cendal<br /></span> -<span class="i0">sembrado de lunas llenas<br /></span> -<span class="i0">señal de casta final<br /></span> -<span class="i0">en la cabeça le puso<br /></span> -<span class="i0">una corona real<br /></span> -<span class="i0">guarnecida de castañas<br /></span> -<span class="i0">cogidas del castañal<br /></span> -<span class="i0">lo que dize la castaña<br /></span> -<span class="i0">es cosa muy de notar<br /></span> -<span class="i0">las cinco letras primeras<br /></span> -<span class="i0">el nombre de la sin par<br /></span> -<span class="i0">murio de veynte y dos años<br /></span> -<span class="i0">por mas lastima dexar<br /></span> -<span class="i0">la su gentil hermosura<br /></span> -<span class="i0">quien quel sepa loar<br /></span> -<span class="i0">qu’es mayor que la tristura<br /></span> -<span class="i0">del que la mando pintar<br /></span> -<span class="i0">en lo qu’ el passa su vida<br /></span> -<span class="i0">es en la siempre mirar<br /></span> -<span class="i0">cerro la puerta al plazer<br /></span> -<span class="i0">abrio la puerta al pesar<br /></span> -<span class="i0">abrio la para quedarse<br /></span> -<span class="i0">pero no para tornar.<br /></span> -</div></div> - -<p>All the songs attributed to Don Juan Manuel in the <i>Cancionera</i> -have a form and structure, which render it probable that they belong -to the age in which <i>El Conde Lucanor</i> was written; one, for -example, begins thus:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quien por bien servir alcanza<br /></span> -<span class="i0">Vivir triste y desamado,<br /></span> -<span class="i0">Este tal<br /></span> -<span class="i0">Deve tener confianza,<br /></span> -<span class="i0">Que le traera este cuydado<br /></span> -<span class="i0">A mayor mal.<br /></span> -</div></div> - -<p>Another which belongs to the class, called <i>Villancios</i> possesses -more poetical merit. It commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Muerto es ya, muerto, Señora,<br /></span> -<span class="i0">El triste que en ley de Amor<br /></span> -<span class="i0">Era vuestro servitor.<br /></span> -<span class="i4">La muerte pudo matalle,<br /></span> -<span class="i0">Pues le distes ocasion,<br /></span> -<span class="i0">Pero no pudo quitalle<br /></span> -<span class="i0">De teneros aficion.<br /></span> -<span class="i0">O pena sin redemcion,<br /></span> -<span class="i0">Que pena el triste amador<br /></span> -<span class="i0">En los infiernos de Amor.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_45" href="#FNanchor_45" class="label">45</a> -Sarmiento only briefly notices this arch-priest, and Nicolas -Antonio has entirely overlooked him. But Velasquez pays particular -attention to him, and gives a long extract from his work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_46" href="#FNanchor_46" class="label">46</a> -As a specimen by which justice will be done the author, it -is sufficient to quote the following passage, which is printed by -Velasquez. Don Amor says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Entrada de quaresma viume para Toledo;<br /></span> -<span class="i0">Cuidé estar vicioso, plasentero e ledo.<br /></span> -<span class="i0">Fallé y gran santiadad, e fisome estar quedo.<br /></span> -<span class="i0">Pocos me recibieron, niu me ficieron del dedo.<br /></span> -<span class="i0">Estaba en un palacio pintado de Almagra.<br /></span> -<span class="i0">Vino a me mucho Dueña de mucho aguno magra<br /></span> -<span class="i0">Con muchos paternostres e con oracion agra, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_47" href="#FNanchor_47" class="label">47</a> -The celebrated letter of the Marquis de Santillana, which -must be more particularly noticed hereafter, contributes its part in -illustrating the history of this period. Much however is not to be -learned from the letter itself. The commentary on it by Sanchez, -in the first volume of the before-mentioned <i>Coleccion</i>, is far more -instructive.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_48" href="#FNanchor_48" class="label">48</a> -Whoever wishes to become acquainted with the controversies -on the early literature of knight-errantry, should resort to Nicolas -Antonio, and compare what he says with Eichhorn’s learned view -of the subject, including the necessary references, in his Allg. -Gesch. der Cult. u. Litt. Theil I. p. 136, &c. Nunez de Liaõ, in -his <i>Origem de Lingoa Portugueza</i>, also mentions Lobeira as -the author of <i>Amadis de Gaul</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_49" href="#FNanchor_49" class="label">49</a> -The merit of the Amadis was not overlooked by Cervantes. -In the judgment passed on Don Quixote’s library, the Curate wishes -to condemn this work first of all to the flames, because, being the -parent of all the books of knight-errantry in Spain, it was therefore -the great cause of Don Quixote’s malady; but the Barber, or -rather Cervantes, speaking in that character, says, “No, friend; -for I have heard it remarked that the Amadis is the <i>best book</i> -of the kind ever written; it ought therefore to be spared as a -<i>peculiar specimen</i> of art.” Whoever may be desirous of making -the Amadis re-appear in a state capable of being relished in the -present times, must, above all things, take care to preserve the ingenuous -simplicity of the stile, or the work will be wholly disfigured.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_50" href="#FNanchor_50" class="label">50</a> -The titles of all the collections of romances need not be -given here. A considerable part of them may be found in Velasquez, -with additions by Dieze, (p. 442, &c.) and Blankenburg’s -Zusätzen zu Sulzer’s Wörterbuche. I have before me several -collections, which contain some of the oldest romances I am -acquainted with. The best of these collections is entitled: <i>Cancionero -de Romances, en que estan recopilados la mayor parte -de los Romances Castellanos, que hasta agora se han compuesto.</i> -Nuevamento corregido <i>y añadido en muchos partes. Anvers</i> -1555, 8vo. In the well known <i>Romancero general</i> none of the -pieces which derive their materials from knight-errantry romances -are to be found.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_51" href="#FNanchor_51" class="label">51</a> -The following romance, derived from that work, gives an -artless description of the sufferings of Amadis on the barren rock.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En la selva esta Amadis<br /></span> -<span class="i0">el <i>leal enamorado</i><br /></span> -<span class="i0">tal vida estava haziendo<br /></span> -<span class="i0">qual nunca hizo Christiano<br /></span> -<span class="i0">cilicio trae vestido<br /></span> -<span class="i0">a sus carnes apretado<br /></span> -<span class="i0">con diciplinas destruye<br /></span> -<span class="i0">su cuerpo muy delicado<br /></span> -<span class="i0">llagado de las heridas<br /></span> -<span class="i0">y en su señora pensando<br /></span> -<span class="i0">no ce canoce en su gesto<br /></span> -<span class="i0">segun lo trae delgado<br /></span> -<span class="i0">de ayunos y d’abstinencias<br /></span> -<span class="i0">andava debilitado<br /></span> -<span class="i0">la barva trae crecida<br /></span> -<span class="i0">deste mundo se ha apartado<br /></span> -<span class="i0">las rodillas tiene en tierra<br /></span> -<span class="i0">y en su coraçon echado<br /></span> -<span class="i0">con gran humildad os pide<br /></span> -<span class="i0">perdon si avia errado<br /></span> -<span class="i0">al alto dios poderoso<br /></span> -<span class="i0">por testigo ha publicado<br /></span> -<span class="i0">y acordado se le avia<br /></span> -<span class="i0">del amor suyo passado<br /></span> -<span class="i0">que assi le derribo<br /></span> -<span class="i0">de su sentido y estado<br /></span> -<span class="i0">con estas grandes passiones<br /></span> -<span class="i0">amortecido ha quedado<br /></span> -<span class="i0">el mas leal amador<br /></span> -<span class="i0">que en el mundo fue hallado.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_52" href="#FNanchor_52" class="label">52</a> -According to Sarmiento (p. 228,) it is usual to say, <i>Este -no vale las coplas de Calainos</i>. But it is not therefore to be -inferred, that the ancient romance of that name is the worst of -the kind.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_53" href="#FNanchor_53" class="label">53</a> -It will be sufficient to cite, in support of this opinion, the -romance of the <i>Conde Alarcos</i>, which is, besides, distinguished -from most of the other romances by greater richness of composition. -It opens in a very simple manner with a description of the -sorrow of the Infante Solesa, who, after being secretly betrothed to -Count Alarcos, has been abandoned by him.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Retraida està la Infanta<br /></span> -<span class="i2">Bien assi como salia,<br /></span> -<span class="i2">Viviendo muy descontenta<br /></span> -<span class="i2">De la vida que tenia,<br /></span> -<span class="i2">Vienda ya que se pasava<br /></span> -<span class="i2">Toda la flor de su vida.<br /></span> -</div><div class="stanza"> -<span class="i0">The fair Infanta midst the court<br /></span> -<span class="i0">A look of sorrow wears,<br /></span> -<span class="i0">Told by an aching heart how she<br /></span> -<span class="i0">Is doom’d to pass her years;<br /></span> -<span class="i0">For far from her is ever flown<br /></span> -<span class="i0">The early bloom of life——<br /></span> -</div></div> - -<p>At length, after Count Alarcos has been long married, the forsaken -princess discloses her seduction to her father. This scene -is strongly painted, but not overcharged: the king is transported -by rage and indignation; his honour appears to him so wounded, -that nothing but the death of the Countess can be a sufficient satisfaction. -He has an interview with the Count, addresses him -courteously, represents the case to him with chivalrous dignity as a -point of justice and honour, and concludes by categorically demanding -the death of his lady. Thus the developement of the story commences -in a manner, which, though most singular, is perhaps not -unnatural, when the ideas of the age to which the composition belongs -are considered. The Count conceives himself bound as a man -of honour to give the king the satisfaction he desires. He promises -to comply with his demand, and proceeds on his way home. There -is a touching simplicity in the picture which is here drawn.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Llorando se parte el Conde,<br /></span> -<span class="i2">Llorando, sin alegria,<br /></span> -<span class="i2">Llorando a la Condessa,<br /></span> -<span class="i2">Que mas que a sì la queria.<br /></span> -<span class="i2">Lloraba tambien el Conde<br /></span> -<span class="i2">Por tres hijos que tenia,<br /></span> -<span class="i2">El una era de teta,<br /></span> -<span class="i2">Que la Condessa lo cria,<br /></span> -<span class="i2">Que no queria mamar<br /></span> -<span class="i2">De tres amas, que tenia,<br /></span> -<span class="i2">Sino era de su madre.<br /></span> -</div><div class="stanza"> -<span class="i0">Weeping he homeward wends his way,<br /></span> -<span class="i0">His grief nought can remove,<br /></span> -<span class="i0">Because his tears are shed for her<br /></span> -<span class="i0">He more than life doth love.<br /></span> -<span class="i0">He weepeth too for his three sons,<br /></span> -<span class="i0">In youth and beauty dear;<br /></span> -<span class="i0">The youngest boy a suckling still,<br /></span> -<span class="i0">The Countess’ self doth rear.<br /></span> -<span class="i0">For, save his mother, none he lov’d,<br /></span> -<span class="i0">Though he had nurses three,<br /></span> -<span class="i0">Nor by the milk of other breasts<br /></span> -<span class="i0">Would alimented be.<br /></span> -</div></div> - -<p>The pathetic interest now rises gradually to the highest pitch -of tragic horror. The Countess, who receives her husband with -the wonted marks of affection, in vain enquires the cause of his -melancholy. He sits down to supper with his family, and again we -have a situation painted with genuine feeling, though with little art.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Sentose el Conde a la mesa,<br /></span> -<span class="i2">No cenava, ni podia,<br /></span> -<span class="i2">Con sus hijos al costado,<br /></span> -<span class="i2">Que muy mucho los queria.<br /></span> -<span class="i2">Echo se sobre los hombros,<br /></span> -<span class="i2">Hizo, como se dormia,<br /></span> -<span class="i2">De lagrimas de sus ojos<br /></span> -<span class="i2">Toda la mesa cubria.<br /></span> -</div><div class="stanza"> -<span class="i0">The board is laid, he takes his place,<br /></span> -<span class="i0">Where viands tempt in vain,<br /></span> -<span class="i0">For near him his lov’d children are,<br /></span> -<span class="i0">Now lov’d, alas! with pain.<br /></span> -<span class="i0">In seeming sleep with head reclin’d,<br /></span> -<span class="i0">He tries to hide his woe;<br /></span> -<span class="i0">But from his eyes the big tears roll,<br /></span> -<span class="i0">And o’er the table flow.<br /></span> -</div></div> - -<p>The apparent fatigue of the Count induces the Countess to -accompany him to his apartment. When they enter, the Count -fastens the door, relates what has passed, and desires his lady to -prepare for death.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">De morir aveis, Condessa,<br /></span> -<span class="i2">Antes que amenesca el dia.<br /></span> -</div><div class="stanza"> -<span class="i0">O Countess, thou art doom’d to die,<br /></span> -<span class="i0">Before the morning’s dawn.<br /></span> -</div></div> - -<p>She begs him to spare her only for her children’s sake. The -Count desires her to embrace for the last time the youngest, whom -she has brought with her into the room asleep in her arms.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Abrazad este chiquito,<br /></span> -<span class="i2">Que aquesto es el que os perdia.<br /></span> -<span class="i2">Peso me de vos, Condessa,<br /></span> -<span class="i2">Quanta pesar me podia.<br /></span> -</div><div class="stanza"> -<span class="i0">Give to that babe one parting kiss,<br /></span> -<span class="i0">That babe for whom thou’rt lost;<br /></span> -<span class="i0">Beshrew me—but I pity thee—<br /></span> -<span class="i0">I who need pity most.<br /></span> -</div></div> - -<p>She submits to her hard fate, and only asks for time to say an -<i>ave maria</i>. The Count desires her to be quick. She falls on her -knees, and pours forth a brief but fervent prayer; she then requests -a few moments more delay, that she may once more give suck to -her infant son. What modern poet would have thought of introducing -so exquisite a touch of nature? The Count forbids her to -wake the child. The unfortunate lady forgives her husband, but -predicts that, within thirty days, the king and his daughter will be -summoned before the tribunal of the Almighty. The Count -strangles her.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Echole por la garganta<br /></span> -<span class="i2">Una toca que tenia,<br /></span> -<span class="i2">Apreto con los dos manos,<br /></span> -<span class="i2">Con la fuerza que podia.<br /></span> -<span class="i2">No le afloxo la garganta,<br /></span> -<span class="i2">Mentre que vida tenia.<br /></span> -</div></div> - -<p>In the conclusion, the fulfilment of the unfortunate Countess’s -prophecy is briefly related. On the twelfth day the princess died, -on the twentieth the king, and on the thirtieth the Count himself -expired.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_54" href="#FNanchor_54" class="label">54</a> -Those in the <i>Cancionero de Romances</i> are of this kind. -(See the remark, p. 35.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_55" href="#FNanchor_55" class="label">55</a> -Sarmiento counted one hundred and two romances relative -to the Cid, in one collection. Only some of them are inserted in -the <i>Romancero general</i>, interspersed among others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_56" href="#FNanchor_56" class="label">56</a> -In the following romance, for instance, the assonance is very -skilfully managed.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Fizo hazer al Rey Alfonso<br /></span> -<span class="i0">el Cid un solene juro,<br /></span> -<span class="i0">delante de muchos Grandes,<br /></span> -<span class="i0">que se hallaron en Burgos.<br /></span> -<span class="i0">Mandò que con el viniessen<br /></span> -<span class="i0">doze cavalleros juntos,<br /></span> -<span class="i0">para que con el jurassen,<br /></span> -<span class="i0">cada qual uno por uno.<br /></span> -<span class="i0">Por la muerte de su Rey,<br /></span> -<span class="i0">que le mataron seguro,<br /></span> -<span class="i0">en el cerco de Zamora,<br /></span> -<span class="i0">a traycion junto del muro.<br /></span> -<span class="i0">Y quando en el templo santo<br /></span> -<span class="i0">estuvieron todos juntos<br /></span> -<span class="i0">levantose de su escaño,<br /></span> -<span class="i0">y el Cid aquesto propuso.<br /></span> -<span class="i0">Por aquesta santa casa<br /></span> -<span class="i0">donde estamos en de ayuso,<br /></span> -<span class="i0">que fabledes la verdad,<br /></span> -<span class="i0">de aquesto que aqui os pregunto.<br /></span> -<span class="i0">Si fuystes vos Rey la causa,<br /></span> -<span class="i0">o de los vuestros alguno,<br /></span> -<span class="i0">en la muerte de don Sancho<br /></span> -<span class="i0">tengays la muerto que tuvo!<br /></span> -<span class="i0">Todos responden Amen,<br /></span> -<span class="i0">mas el Rey quedò confuso,<br /></span> -<span class="i0">pero por cumplir el voto,<br /></span> -<span class="i0">respondio, la mismo juro.<br /></span> -<span class="i0">Y con la rodilla en tierra<br /></span> -<span class="i0">por fazer su cortes uso,<br /></span> -<span class="i0">el Cid delante del Rey,<br /></span> -<span class="i0">assi le fablò sañudo.<br /></span> -<span class="i0">Si ayer no os besa la mano,<br /></span> -<span class="i0">sabed Rey que non me plugo,<br /></span> -<span class="i0">y si aora os la besare<br /></span> -<span class="i0">será de mí grado, y gusto.<br /></span> -<span class="i0">Aquesto que aqui he fablado<br /></span> -<span class="i0">no ha fecho agravio a ninguno,<br /></span> -<span class="i0">porque lo devo a don Sancho<br /></span> -<span class="i0">como buen vassallo suyo.<br /></span> -<span class="i0">Pero sino lo fiziera<br /></span> -<span class="i0">que dara yo por injusto,<br /></span> -<span class="i0">y no por buen cavallero,<br /></span> -<span class="i0">me tuvieran en el mundo.<br /></span> -<span class="i0">Y si ha parecido mal<br /></span> -<span class="i0">a los de vuesso consulto,<br /></span> -<span class="i0">en el campo los aguardo,<br /></span> -<span class="i0">con mi espada, y lança en puño.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_57" href="#FNanchor_57" class="label">57</a> -Of this kind is the following romance, in which the Cid -takes leave of Ximena. It is obviously one of the more modern.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Al arma, al arma sonavan<br /></span> -<span class="i0">los pifaros y atambores,<br /></span> -<span class="i0">guerra, fuego, sangre dizen<br /></span> -<span class="i0">sus espantosos clamores:<br /></span> -<span class="i0">el Cid apresta su gente,<br /></span> -<span class="i0">todos se ponen en orden<br /></span> -<span class="i0">quando llorosa y humilde,<br /></span> -<span class="i0">le dize Ximena Gomez:<br /></span> -<span class="i4">Rey de mi alma, y desta tierra Conde,<br /></span> -<span class="i4">porque me dexas? donde vas, a donde?<br /></span> -</div><div class="stanza"> -<span class="i0">Que sì eres marte en la guerra,<br /></span> -<span class="i0">eres Apolo en la Corte,<br /></span> -<span class="i0">donde matas bellas damas,<br /></span> -<span class="i0">como alla Moros feroces.<br /></span> -<span class="i0">Ante tus ojos se postran,<br /></span> -<span class="i0">y de rodillas se ponen<br /></span> -<span class="i0">los Reyes Moros, y hijas,<br /></span> -<span class="i0">de Reyes Christianos nobles,<br /></span> -<span class="i4">Rey de mi alma, &c.<br /></span> -</div><div class="stanza"> -<span class="i0">Ya truecan todos los guerras,<br /></span> -<span class="i0">por luzidos morriones,<br /></span> -<span class="i0">por arneses de Milan,<br /></span> -<span class="i0">los blandos pechos de Londres,<br /></span> -<span class="i0">las calças por duras grevas,<br /></span> -<span class="i0">por mallas guantas de flores:<br /></span> -<span class="i0">mas nos otros trocaremos<br /></span> -<span class="i0">las almas y coraçones.<br /></span> -<span class="i4">Rey de mi alma, &c.<br /></span> -</div><div class="stanza"> -<span class="i0">Viendo las duras querellas,<br /></span> -<span class="i0">de su querida consorte,<br /></span> -<span class="i0">no puede sufrir el Cid,<br /></span> -<span class="i0">que no la consuele y llore.<br /></span> -<span class="i0">Enxugad señora, dize,<br /></span> -<span class="i0">los ojos hasta que torne:<br /></span> -<span class="i0">ella mirando los suyos,<br /></span> -<span class="i0">supena publica a vozes.<br /></span> -<span class="i4">Rey de mi alma, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_58" href="#FNanchor_58" class="label">58</a> -A zealous orthodox author speaks with much warmth on this -subject in a romance which commences, “Tanta Zayda, y Adalifa.” -Among other things he says:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Renegaron a su ley<br /></span> -<span class="i0">Los romancistes de España,<br /></span> -<span class="i0">Y ofrecieron a Mahoma<br /></span> -<span class="i0">Los primicios de sus gracias.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_59" href="#FNanchor_59" class="label">59</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Cabelleros Granadinos,<br /></span> -<span class="i0">Aunque moros, hijos d’álgo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_60" href="#FNanchor_60" class="label">60</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Las huestes de don Rodrigo<br /></span> -<span class="i0">desmayavan y huyan,<br /></span> -<span class="i0">quando en la octava batalla<br /></span> -<span class="i0">sus enemigos vencian,<br /></span> -<span class="i0">Rodrigo dexa sus tierras<br /></span> -<span class="i0">y del real se salia,<br /></span> -<span class="i0">solo va el desventurado<br /></span> -<span class="i0">que non lleva compañia<br /></span> -<span class="i0">el cavallo de cansado<br /></span> -<span class="i0">ya mudar no se podia,<br /></span> -<span class="i0">camina por donde quiere<br /></span> -<span class="i0">que no le estorva la via<br /></span> -<span class="i0">el rey va tan desmayado<br /></span> -<span class="i0">que sentido no tenía,<br /></span> -<span class="i0">muerto va de sed y hambre<br /></span> -<span class="i0">que de vella era manzilla<br /></span> -<span class="i0">yva tan tinto de sangre<br /></span> -<span class="i0">que una brasa parecia<br /></span> -<span class="i0">las armas lleva abolladas<br /></span> -<span class="i0">que eran de gran pedreria,<br /></span> -<span class="i0">la espada lleva hecha sierra<br /></span> -<span class="i0">de los golpos que tenia.<br /></span> -<span class="i0">el almete de abollado<br /></span> -<span class="i0">en la cabeça se hundia<br /></span> -<span class="i0">la cara llevava hinchada<br /></span> -<span class="i0">del trabajo que sufria,<br /></span> -<span class="i0">subiose encima de un cerro<br /></span> -<span class="i0">al mas alto que veya,<br /></span> -<span class="i0">dende alli mira su gente<br /></span> -<span class="i0">como yva de vencida<br /></span> -<span class="i0">d’alli mira sus vanderas<br /></span> -<span class="i0">y estandartes que tenia,<br /></span> -<span class="i0">como estan todos pisados<br /></span> -<span class="i0">que la tierra los cubria,<br /></span> -<span class="i0">mira por los capitanes<br /></span> -<span class="i0">que ninguno parescia,<br /></span> -<span class="i0">mira el campo tinto en sangre<br /></span> -<span class="i0">la qual arroyos corria<br /></span> -<span class="i0">el triste de ver aquesto<br /></span> -<span class="i0">gran manzilla en si tenia<br /></span> -<span class="i0">llorando de los sus ojos<br /></span> -<span class="i0">desta manera dezia,<br /></span> -<span class="i0">Ayer era Rey d’España<br /></span> -<span class="i0">oy no lo soy de una villa,<br /></span> -<span class="i0">ayer villas y castillos<br /></span> -<span class="i0">oy ninguno posseya,<br /></span> -<span class="i0">ayer tenia criados<br /></span> -<span class="i0">y gente que me servia<br /></span> -<span class="i0">oy no tengo una almena<br /></span> -<span class="i0">que pueda dezir que es mia,<br /></span> -<span class="i0">desdichada fue la hora<br /></span> -<span class="i0">desdichado fue aquel dia<br /></span> -<span class="i0">en que naci y herede<br /></span> -<span class="i0">la tan grande señoria<br /></span> -<span class="i0">pues lo avia de perder<br /></span> -<span class="i0">todo junto y en un dia<br /></span> -<span class="i0">o muerte porque no vienes<br /></span> -<span class="i0">y llevas esta alma mia<br /></span> -<span class="i0">de aqueste cuerpo mezquino<br /></span> -<span class="i0">pues se te agradeceria?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_61" href="#FNanchor_61" class="label">61</a> -This is one of the best pieces of the kind.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Vitorioso buelve el Cid<br /></span> -<span class="i0">a san Pedro de Cardeña,<br /></span> -<span class="i0">de las guerras que ha tenido<br /></span> -<span class="i0">con los Moros de Valencia.<br /></span> -<span class="i0">Las trompetas van sonando,<br /></span> -<span class="i0">por dar aviso que llega,<br /></span> -<span class="i0">y entre todos se señalan<br /></span> -<span class="i0">los relinchos de Babieca.<br /></span> -<span class="i0">El Abad, y monjes salen<br /></span> -<span class="i0">a recebirlo a la puerta,<br /></span> -<span class="i0">dando alabanças a Dios,<br /></span> -<span class="i0">y al Cid mil enorabuenas.<br /></span> -<span class="i0">Apeose del calvallo,<br /></span> -<span class="i0">y antes de entrar en la Iglesia,<br /></span> -<span class="i0">tomò el pendon en sus manos,<br /></span> -<span class="i0">y dize desta manera.<br /></span> -<span class="i0">Sali de ti templo santo<br /></span> -<span class="i0">desterrado de mi tierra,<br /></span> -<span class="i0">mas ya buelvo a visitarte<br /></span> -<span class="i0">acogido en las agenas.<br /></span> -<span class="i0">Desterrome el Rey Alphonso,<br /></span> -<span class="i0">porque alla en Santagadea<br /></span> -<span class="i0">le tomè el juramento<br /></span> -<span class="i0">con mas rigor que el quisiera.<br /></span> -<span class="i0">Las leyes eran del pueblo,<br /></span> -<span class="i0">que no excedi un punto dellas,<br /></span> -<span class="i0">pues como leal vassallo<br /></span> -<span class="i0">saquè a mi rey desospecha.<br /></span> -<span class="i0">O embidiosos Castellanos,<br /></span> -<span class="i0">quan mal pagays la defensa<br /></span> -<span class="i0">que tuvistes en mi espada,<br /></span> -<span class="i0">ensanchando vuestra cerca.<br /></span> -<span class="i0">Veys aqui os traygo ganado<br /></span> -<span class="i0">otro reyno, y mil fronteras,<br /></span> -<span class="i0">que os quiero dar tierras mias<br /></span> -<span class="i0">aunque me echeys de las vuestras.<br /></span> -<span class="i0">Pudiera dezirlo a estraños,<br /></span> -<span class="i0">mas para cosas tan feas<br /></span> -<span class="i0">soy Rodrigo de Bivar<br /></span> -<span class="i0">Castellano a las derechas.<br /></span> -</div></div> - -<p>The concluding line:—<i>Castellano a las derechas</i>, (the Castilian -as he ought to be) is a description of the Cid, which was well -adapted to produce an impression on the hearts of the people to -whom it was addressed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_62" href="#FNanchor_62" class="label">62</a> -The following is the commencement of this romance:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">De los trofeos de amor<br /></span> -<span class="i0">ya coronadas sus sienes,<br /></span> -<span class="i0">muy gallardo entra Ganzul<br /></span> -<span class="i0">a jugar cañas a Gelves,<br /></span> -<span class="i0">en un hovero furioso,<br /></span> -<span class="i0">que al ayre en su curso excede,<br /></span> -<span class="i0">y en su pujança y rigor<br /></span> -<span class="i0">un leve freno detiene.<br /></span> -<span class="i0">La librea de los pajes<br /></span> -<span class="i0">es roxa, morada, y verde,<br /></span> -<span class="i0">divisa cierta y colores<br /></span> -<span class="i0">de la que en su alma tiene:<br /></span> -<span class="i0">todos con lanças leonadas<br /></span> -<span class="i0">en corredores ginetes,<br /></span> -<span class="i0">adornados de penachos,<br /></span> -<span class="i0">y de costosos jaezes:<br /></span> -<span class="i0">el mismo se trae la adarga,<br /></span> -<span class="i0">en quien un fenix parece,<br /></span> -<span class="i0">que en vivas llamas se abrasa,<br /></span> -<span class="i0">y en ceniza se resuelve;<br /></span> -<span class="i0">la letra si bien me acuerdo,<br /></span> -<span class="i0">dize: Es inconveniente<br /></span> -<span class="i0">poderse dissimular<br /></span> -<span class="i0">el fuego que amor enciende, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_63" href="#FNanchor_63" class="label">63</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">El que poblò las masmorras<br /></span> -<span class="i0">De Christianos Caballeros.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_64" href="#FNanchor_64" class="label">64</a> -The subjoined passage forms the latter part of this romance.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">La hermosissima Balaja,<br /></span> -<span class="i0">que llorosa en su aposento<br /></span> -<span class="i0">las sinrazones del Rey<br /></span> -<span class="i0">le pagavan sus cabellos<br /></span> -<span class="i0">como tanto estruendo oyò<br /></span> -<span class="i0">a un valcon salio corriendo,<br /></span> -<span class="i0">y enmudecida le dixo,<br /></span> -<span class="i0">dando vozes con silencio:<br /></span> -<span class="i0">Vete en paz, que no vas solo,<br /></span> -<span class="i0">y en mi ausencia ten consuelo,<br /></span> -<span class="i0">que quien te echò de Xerez,<br /></span> -<span class="i0">vno te echara de mi pecho:<br /></span> -<span class="i0">El con la vista responde,<br /></span> -<span class="i0">yo me voy, y no te dexo.<br /></span> -<span class="i0">De las agravios de Rey<br /></span> -<span class="i0">para tu firmeza a pelo,<br /></span> -<span class="i0">Con esto passò la calle,<br /></span> -<span class="i0">los ojos atras bolviendo<br /></span> -<span class="i0">dos mil vezes: y de Andujar<br /></span> -<span class="i0">tomò el camino derecho.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_65" href="#FNanchor_65" class="label">65</a> -Such, for example, is the following ludicrous description -of Hector’s funeral.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En las obsequias de Hector<br /></span> -<span class="i0">esta la reyna Troyana<br /></span> -<span class="i0">con la linda Policena<br /></span> -<span class="i0">y con otras muchas damas<br /></span> -<span class="i0">tambien estavan los Griegos<br /></span> -<span class="i0">sino Achiles que faltava<br /></span> -<span class="i0">que fue a la postre de todos<br /></span> -<span class="i0">y en el tempo se assentava<br /></span> -<span class="i0">frontero la reyna Elena<br /></span> -<span class="i0">que por Hector lamentava<br /></span> -<span class="i0">mirando su hermosura<br /></span> -<span class="i0">con gran cuydado pensava<br /></span> -<span class="i0">si Menelao no fuera<br /></span> -<span class="i0">rey Griego la conquistara<br /></span> -<span class="i0">para casarse con ella<br /></span> -<span class="i0">segun era muy loçana<br /></span> -<span class="i0">y assí triste y pensativo<br /></span> -<span class="i0">no podia echar la habla<br /></span> -<span class="i0">quando miro a Policena<br /></span> -<span class="i0">en la coraçon le pesara, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_66" href="#FNanchor_66" class="label">66</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Con ravia esta el rey David<br /></span> -<span class="i0">rasgando su coraçon<br /></span> -<span class="i0">sabiendo que alli en la lid<br /></span> -<span class="i0">le mataron a Absalon<br /></span> -<span class="i0">cubriose la su cabeça<br /></span> -<span class="i0">y subiose a un mirador<br /></span> -<span class="i0">con lagrimas de sus ojos<br /></span> -<span class="i0">sus canas regadas son<br /></span> -<span class="i0">hablando de la su boca<br /></span> -<span class="i0">dize esta lamentacion<br /></span> -<span class="i0"><i>o fili mi fili mi</i><br /></span> -<span class="i0"><i>o fili mi Absalon</i><br /></span> -<span class="i0">que es de la tu hermosura<br /></span> -<span class="i0">tu estremada perficion<br /></span> -<span class="i0">los tus cabellos dorados<br /></span> -<span class="i0">parecian rayos de sol<br /></span> -<span class="i0">tus ojos lindos azules<br /></span> -<span class="i0">que jacinta de Sion<br /></span> -<span class="i0">o manos que tal hizieron<br /></span> -<span class="i0">enemigos de razon, &c.<br /></span> -</div></div> - -<p>Any person who in those times was capable of making redondilla -verses, must have found it very easy to produce such romances -as this.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_67" href="#FNanchor_67" class="label">67</a> -<i>No vale las coplas de la Sarabanda</i>, is a proverb of precisely -the same signification as—<i>No vale las coplas de Calainos</i>, -according to Sarmiento. See the remark, page 55. The two -proverbs have probably been confounded, for the romance of -Calainos is not in coplas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_68" href="#FNanchor_68" class="label">68</a> -The following is one of those pieces which may be regarded -as untranslatable.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Rosafresca Rosafresca<br /></span> -<span class="i0">tan garrida y con amor<br /></span> -<span class="i0">quando y’os tuve en mis braços<br /></span> -<span class="i0">no os sabia servir no<br /></span> -<span class="i0">y agora que os servira<br /></span> -<span class="i0">no os puedo yo averno.<br /></span> -<span class="i0">Vuestra fue la culpa amigo<br /></span> -<span class="i0">vuestra fue que mia no<br /></span> -<span class="i0">embiastes me una carta<br /></span> -<span class="i0">con un vuestro servidor<br /></span> -<span class="i0">y en lugar de recaudar<br /></span> -<span class="i0">el dixera otra razon<br /></span> -<span class="i0">qu’erades casado amigo<br /></span> -<span class="i0">alla en tierras de Leon<br /></span> -<span class="i0">que teneys muger hermosa<br /></span> -<span class="i0">y hijos como una flor.<br /></span> -<span class="i0">Quien os lo dixo señora<br /></span> -<span class="i0">no os dixera verdad no<br /></span> -<span class="i0">que yo nunca entre en Castilla<br /></span> -<span class="i0">ni alla en tierras de Leon<br /></span> -<span class="i0">sino quando era pequeño<br /></span> -<span class="i0">que no sabio de amor.<br /></span> -</div></div> - -<p>A piece, which is a companion to the above, commences thus:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Frontefrida, Frontefrida,<br /></span> -<span class="i0">Frontefrida, y con amor,<br /></span> -<span class="i0">Do todas las avecicas<br /></span> -<span class="i0">Van tomar consolacion, &c.<br /></span> -</div></div> - -<p>The fiction on which this second song is founded must, notwithstanding -its native beauty, appear a very absurd fancy to the -naturalist, as it describes a nightingale wooing a turtle dove.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_69" href="#FNanchor_69" class="label">69</a> -“Fizo <i>assaz buenas</i> canciones,” says the Marquis of Santillana, -in his antiquated Spanish, speaking of his grandfather. The -remaining notices which he gives of the origin of Spanish -poetry communicate nothing, in addition to what has been already -mentioned, on those things respecting which it is most -desirable to be informed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_70" href="#FNanchor_70" class="label">70</a> -See Velasquez, according to Dieze, page 302.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_71" href="#FNanchor_71" class="label">71</a> -See Sarmiento, page 345.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_72" href="#FNanchor_72" class="label">72</a> -See the observations of Sarmiento, page 352.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_73" href="#FNanchor_73" class="label">73</a> -An extract made from this treatise of the Marquis of Villena -by Gregorio Mayans, may be found in the <i>Origines de la lengua -Española</i>, tom. ii. pag. 321. The whole work probably exists in -manuscript in Spanish libraries.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_74" href="#FNanchor_74" class="label">74</a> -Tanto es el provecho, que viene desta dotrina a la vida -civil, quitando ocio y ocupando los generosos ingenios en tan -honesta investigacion, que las otras naciones desearon y procuraron -haver entre si escuela desta dotrina, y por esso fue ampliada por -el mundo en diversas partes.—The measure of this sonorous period -will not be overlooked.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_75" href="#FNanchor_75" class="label">75</a> -Temporum iniquitate sublimi virtute superata, honorem -vitæ ac bonum nomen fallacibus delinimentis omnibus, quæ magnam -quamque fortunam velut pedissequi comitantur, præferebat, says, -in allusion to him, Nicolas Antonio, who at the same time refers to -the Chronicles, from which he had drawn his information respecting -the Marquis of Santillana.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_76" href="#FNanchor_76" class="label">76</a> -This elegy is inserted along with other poems by the -Marquis in all the editions of the <i>Cancionero general</i>, immediately -after the spiritual poems. No complete collection of the -works of this celebrated man has yet been printed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_77" href="#FNanchor_77" class="label">77</a> -That the Marquis had read Dante can scarcely be doubted, -for he quotes him in this poem:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Assi conseguimos de aquella manera,<br /></span> -<span class="i0">Hasta que llegamos en somo del monte,<br /></span> -<span class="i0">No menos cansados que Dante Acheronte.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_78" href="#FNanchor_78" class="label">78</a> -Thus the two following stanzas are crowded with the -names of authors, ancient and modern, with the view of shewing -the loss which Spanish literature had sustained by the death of -Villena.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Perdimos a <i>Homero</i> que mucho honorana<br /></span> -<span class="i0">este sacro monte do nos habitamos<br /></span> -<span class="i0">perdimos a <i>Ovidio</i> el que coronamos<br /></span> -<span class="i0">del arbol laureo que muchos amava<br /></span> -<span class="i0">Perdimos <i>Horacio</i> que nos invocava<br /></span> -<span class="i0">en todos exordios de su poesia<br /></span> -<span class="i0">assi disminuye la nuestra valia<br /></span> -<span class="i0">que antiguos tiempos tanto prosperava.<br /></span> -<span class="i4">Perdimos a <i>Livio</i> y a Mantuano<br /></span> -<span class="i0"><i>Macrobio</i>, <i>Valerio</i>, <i>Salustio</i>, <i>Magneo</i><br /></span> -<span class="i0">pues no olvidemos al moral <i>Agneo</i><br /></span> -<span class="i0">de quien se loava el pueblo Romano<br /></span> -<span class="i0">Perdimos a <i>Julio</i> y a <i>Casaliano</i><br /></span> -<span class="i0"><i>Alano</i>, <i>Boecio</i>, <i>Petrarcha</i>, <i>Fulgencio</i><br /></span> -<span class="i0">Perdimos a <i>Dante</i>, <i>Gaufre</i>, <i>Terencio</i><br /></span> -<span class="i0"><i>Juvenal</i>, <i>Estacio</i>, y <i>Quintiliano</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_79" href="#FNanchor_79" class="label">79</a> -Stanzas, like the following, deserve to be extracted from -this work, as they are calculated to shew what might have been -expected of the Marquis of Santillana, had he cultivated his talent -for poetry under more favourable circumstances.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Mas yo a ti sola me plaze llamar,<br /></span> -<span class="i0">o cithara dulce, mas que la d’Orfeo;<br /></span> -<span class="i0">que tu sola ayuda, no dudo, mas creo<br /></span> -<span class="i0">mi rustica mano podra ministrar.<br /></span> -<span class="i0">O Biblioteca de mortal cantar,<br /></span> -<span class="i0">fuente meliflua de magna eloquencia,<br /></span> -<span class="i0">infunde tu grande y sacra prudencia<br /></span> -<span class="i0">en mi, porque yo pueda tu planto esplicar.<br /></span> -<span class="i4">A tiempo a la hora suso memorado,<br /></span> -<span class="i0">assi como niño que sacan de cuna,<br /></span> -<span class="i0">no se falsamente, o si por fortuna,<br /></span> -<span class="i0">me vi todo solo al pie de un collado,<br /></span> -<span class="i0">Salvatico espesso lexano a poblado<br /></span> -<span class="i0">agreste desierto y tan espantable,<br /></span> -<span class="i0">que temo verguenza, no siendo culpable,<br /></span> -<span class="i0">quando por extenso lo aure recontado.<br /></span> -<span class="i4">No vi la carrera de gentes cursada,<br /></span> -<span class="i0">ni rastro exercido por do me guiasse,<br /></span> -<span class="i0">ni persona alguna a quien demandasse<br /></span> -<span class="i0">consejo a mi cuyta tan desmesurada;<br /></span> -<span class="i0">Mas sola una senda poco visitada<br /></span> -<span class="i0">al medio de aquella tan gran espessura,<br /></span> -<span class="i0">bien como adarmento subiente a l’altura<br /></span> -<span class="i0">de rayo Dianeo me fue demostrada.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_80" href="#FNanchor_80" class="label">80</a> -Don Alvaro de Luna begins to speak in the first stanzas:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Vi tesoros ayuntados<br /></span> -<span class="i0">por gran daño de su dueño.<br /></span> -<span class="i0">Assi como sombra o sueño<br /></span> -<span class="i0">son nuestros dias contados:—<br /></span> -<span class="i0">Y si fueron prorogados<br /></span> -<span class="i0">por sus lagrimas algunos<br /></span> -<span class="i0">desto no vemos ningunos<br /></span> -<span class="i0">por nuestros negros pecados.<br /></span> -<span class="i4">Abrid abrid vuestros ojos,<br /></span> -<span class="i0">gentios, mirad a mi,<br /></span> -<span class="i0">quanto vistes, quanto vi,<br /></span> -<span class="i0">fantasmas fueron y antojos.<br /></span> -<span class="i0">Con trabajos con enojos<br /></span> -<span class="i0">usurpe tal señoria,<br /></span> -<span class="i0">que si fue no era mia<br /></span> -<span class="i0">mas endevidos despojos.<br /></span> -<span class="i4">Casa, casa, guay de mi!<br /></span> -<span class="i0">campo a campo alleguè<br /></span> -<span class="i0">casa agena no dexè,<br /></span> -<span class="i0">tanto quise quanto vi.<br /></span> -<span class="i0">Agora pues ved aqui,<br /></span> -<span class="i0">quanto valen mis riquezas<br /></span> -<span class="i0">tierras villas fortalezas<br /></span> -<span class="i0">tras quien mi tiempo perdi.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_81" href="#FNanchor_81" class="label">81</a> -There is a singular pedantry, with a happy turn of versification, -in a song which commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Antes el rodante cielo<br /></span> -<span class="i0">tornara manso y quieto,<br /></span> -<span class="i0">y sera piadoso <i>Aleto</i>,<br /></span> -<span class="i0">y pavoroso <i>Metello</i>.<br /></span> -<span class="i0">Que yo jamas olvidasse<br /></span> -<span class="i0">tu virtud,<br /></span> -<span class="i0">vida mia y mi salud,<br /></span> -<span class="i0">ni te dexasse.<br /></span> -<span class="i4"><i>Cesar</i> afortunado<br /></span> -<span class="i0">cessara de combatir,<br /></span> -<span class="i0">y harian desdezir<br /></span> -<span class="i0">al <i>Priamides</i> armado—<br /></span> -<span class="i0">Quando yo te dexarè,<br /></span> -<span class="i0">ydola mia,<br /></span> -<span class="i0">ni la tu philosomia<br /></span> -<span class="i0">olvidarè; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_82" href="#FNanchor_82" class="label">82</a> -It commences thus:</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Gozate, gozosa, madre,<br /></span> -<span class="i0">gozo de la humanidad,<br /></span> -<span class="i0">templo de la Trinidad,<br /></span> -<span class="i0">elegida por dios padre,<br /></span> -<span class="i0">Virgen que por el oydo<br /></span> -<span class="i0">concebiste,<br /></span> -<span class="i0"><i>gaude</i>, virgen, <i>mater Christi</i>,<br /></span> -<span class="i0">y nuestro gozo infinido!<br /></span> -<span class="i4">Gozate, luz reverida,<br /></span> -<span class="i0">segun el Evangelista<br /></span> -<span class="i0">por la madre del Baptista<br /></span> -<span class="i0">anunciado la venida,<br /></span> -<span class="i0">de nuestro gozo Señora<br /></span> -<span class="i0">que trayas<br /></span> -<span class="i0">vaso de nuestro mexias<br /></span> -<span class="i0">gozate pulchra y decora, &c.<br /></span> -</div></div> - -<p> -In this way the <i>Gozate</i> is repeated through a series of stanzas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_83" href="#FNanchor_83" class="label">83</a> -Dieze, in his remarks on Velasquez, erroneously refers to -the publication of Gregorio Mayans, for the proverbs in verse; -but only the original proverbs, without versification, (refranes que -dicen las viejas tras el huego) as collected by the Marquis, are -given in the second volume of that work, p. 179. The greater -part deserve to be better known, but many of them are unintelligible -to foreigners.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_84" href="#FNanchor_84" class="label">84</a> -See the note, page 24.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_85" href="#FNanchor_85" class="label">85</a> -E que cosa es la poesia, que <i>en nuestra vulgar</i> (there is -something equivocal here, for this term was not vernacular in the -Castilian language) llamamos gaya sciencia, sino un fingimiento de -cosas utiles, è veladas con muy fermosa cobertura, compuestas, distinguidas, -escondidas, por certo cuento, peso, è medida.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_86" href="#FNanchor_86" class="label">86</a> -He appeals to St. Isidore, whom he cites as a guarantee for -this origin of poetry:—Isidro Cartaginès, santo Arzobispo Hispalense, -assi lo pruebra y testifica, e quiere, que el primero que fizo -rythmos y cantó en metro hay sido Moysen, y despues Joshue, -David, Salomon, y Job.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_87" href="#FNanchor_87" class="label">87</a> -<i>Honestæ conditionis</i>, says Nicolas Antonio, speaking of his -family.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_88" href="#FNanchor_88" class="label">88</a> -Only the supplement to this poem is contained in the <i>Cancionero -general</i>. The poem itself was probably too long to be -included in that collection. However, in the editions of the collected -works of Mena (for instance, that which I have now before -me, intitled—<i>Todas las obras del famosissimo poeta Juan de -Mena, &c.</i> Anveres, 1552, 8º) which Dieze notices, it fills the -greater portion of the volume, and is accompanied by a copious -commentary by Fernan Nuñez.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_89" href="#FNanchor_89" class="label">89</a> -The emphatic praise bestowed on this poem in Dieze’s -observations on Velasquez, (page 168), according to which Juan -de Mena “maintains <i>to his advantage</i> a comparison with all the -poets of all ages,” is sufficient to prove Dieze’s deficiency in sound -criticism.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_90" href="#FNanchor_90" class="label">90</a> -The second stanza contains the theme, but it is very imperfectly -expressed:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tus casos fallaces, Fortuna, cantamos<br /></span> -<span class="i0">Estados de gentes que giras y trocas,<br /></span> -<span class="i0">Tus muchas mudanzas, tus firmezas pocas,<br /></span> -<span class="i0">Y las que en tu rueda quexosos hallamos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_91" href="#FNanchor_91" class="label">91</a> -Mena, politely enough, solicits permission of Fortune to read -her a lesson:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Dame licencia, mudable Fortuna,<br /></span> -<span class="i0">Porque yo blasme de ti lo que devo.<br /></span> -</div></div> - -<p> -Then, in well turned antitheses, he allows her a sort of regularity -which contradicts itself:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Que tu firmeza es, no ser constante,<br /></span> -<span class="i0">Tu temperamento es destemplanza,<br /></span> -<span class="i0">Tu mas cierto orden es desordenanza, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_92" href="#FNanchor_92" class="label">92</a> -Providence appears as a most beautiful young woman:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Una donzella tan mucho hermosa,<br /></span> -<span class="i0">Que ante su gesto es loco quien osa<br /></span> -<span class="i0">Otras beldades loar de mayores.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_93" href="#FNanchor_93" class="label">93</a> -In the fourth stanza a patriotic flight seems to promise the -recurrence of similar passages:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Como que creo, que fossen menores,<br /></span> -<span class="i0">Que los Africanos, los hechos del Cid?<br /></span> -<span class="i0">Ni que feroces menos en la lid<br /></span> -<span class="i0">Entrassen los nuestros que los Agenores? &c.<br /></span> -</div></div> - -<p> -On another occasion the author addresses an invocation to his -native city Cordova:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">O flor de saber y cabelleria,<br /></span> -<span class="i0">Cordova madre, tu hijo perdona,<br /></span> -<span class="i0">Si en los cantares, que agora pregona,<br /></span> -<span class="i0">No divulgarè tu sabiduria, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_94" href="#FNanchor_94" class="label">94</a> -From the following stanzas the degree of talent possessed by -Juan de Mena for the poetical description of natural objects, without -allegory, may be fairly estimated.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Bien como medico mucho famoso<br /></span> -<span class="i0">Que trae el estilo por mano seguido<br /></span> -<span class="i0">En cuerpo de golpes diversos herido<br /></span> -<span class="i0">Luego socorre alo mas peligroso,<br /></span> -<span class="i0">Assi aquel pueblo maldito sañoso<br /></span> -<span class="i0">Sintiendo mas daño de parte del Conde<br /></span> -<span class="i0">Con todas sus fuerças juntando responde<br /></span> -<span class="i0">Alli do el peligro mas era dañoso.<br /></span> -</div><div class="stanza"> -<span class="i4">Alli disparavan bombardas y truenos<br /></span> -<span class="i0">Y los trabucos tiravan ya luego<br /></span> -<span class="i0">Piedras y dardos y hachas de fuego<br /></span> -<span class="i0">Con que los nuestros hazian ser menos.<br /></span> -<span class="i0">de Moros tenidos por buenos<br /></span> -<span class="i0">Lançan temblando las sus azagayas,<br /></span> -<span class="i0">Passan las lindes palenques y rayas,<br /></span> -<span class="i0">Doblan sus fuerças con miedos agenos.<br /></span> -</div><div class="stanza"> -<span class="i4">Mientra morian y mientra matavan<br /></span> -<span class="i0">De parte del agua ya crecen las ondas<br /></span> -<span class="i0">Y cobran las mares sobervias y hondas<br /></span> -<span class="i0">Los campos que ante los muros estavan,<br /></span> -<span class="i0">Tanto que los que de alli peleavan<br /></span> -<span class="i0">A los navios si se retrayan,<br /></span> -<span class="i0">Las aguas crescidas les ya defendian<br /></span> -<span class="i0">Tornar a las fustas que dentro dexavan.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_95" href="#FNanchor_95" class="label">95</a> -When the poet, in his ideal world, sees Don Alvaro, by a singular -fancy he pretends not to know him, in order that he may -question his guide (Providence) respecting him, in imitation of a -similar passage in Homer:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tu, Providencia, declara de nuevo,<br /></span> -<span class="i0">Quien es aquel Caballero, que veo,<br /></span> -<span class="i0">Que mucho en el cuerpo parece a Tydeo,<br /></span> -<span class="i0">E en consejo a Nestor el longevo.<br /></span> -</div></div> - -<p> -Among other things Providence replies:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Este cavalga sobre la Fortuna<br /></span> -<span class="i0">Y doma su cuello con asperas riendas,<br /></span> -<span class="i0">Y aunque del tenga tan muchas deprendas,<br /></span> -<span class="i0">Ella no le osa tocar de ninguna.<br /></span> -<span class="i0">Miralo, miralo en platica alguna,<br /></span> -<span class="i0">Con humildes, no tanto feroces!<br /></span> -<span class="i0">Como, indiscreto, y tu no conoces<br /></span> -<span class="i0">Al Condojos estable Alvaro de Luna?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_96" href="#FNanchor_96" class="label">96</a> -For instance, the word <i>longevo</i> in the verses quoted above.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_97" href="#FNanchor_97" class="label">97</a> -The opening stanzas may be regarded as a poetic preface -or dedication; but they gain nothing by that.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Al muy prepotente</i> Don Juan el Segundo,<br /></span> -<span class="i0">Aquel, <i>con quien Jupiter tuvo tal zelo,</i><br /></span> -<span class="i0"><i>Que tanta de parte le haze del mundo,</i><br /></span> -<span class="i0"><i>Quanta a si misme se haze en el cielo</i>;<br /></span> -<span class="i0">Al gran d’España, al <i>Cesar novelo</i>,<br /></span> -<span class="i0">Al que es con fortuna bien afortunado<br /></span> -<span class="i0">Aquel, con quien cabe virtud y reynado,<br /></span> -<span class="i0">A el <i>las rodillas hincadas por suelo</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_98" href="#FNanchor_98" class="label">98</a> -This poem is not to be found in the <i>Cancionero general</i>, but -it is included in the <i>Obras</i>, mentioned in the note, page 92. Juan -de Mena gave it the absurd title of <i>Calamicleos</i>, compounded -from the latin <i>calamitas</i> and the Greek κλεος. It was afterwards -called, simply, <i>La Coronacion</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_99" href="#FNanchor_99" class="label">99</a> -Most of these questions were not very difficult to answer; -for instance, the following, which is preceded by three introductory -stanzas in a very courtly style:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Mostradme qual es aquel animal,<br /></span> -<span class="i0">que luego se mueve en los quatro pies,<br /></span> -<span class="i0">despues se sostiene en solos los tres,<br /></span> -<span class="i0">despues en los dos va muy mas ygual.<br /></span> -<span class="i0">Sin ser del especie quadrupedal<br /></span> -<span class="i0">el curso que hizo despues reytera<br /></span> -<span class="i0">assi que en los quatro d’aquesta manera<br /></span> -<span class="i0">fenece el que nace de su natural.<br /></span> -<span class="i4">Del hombre se halla ser gran enemigo,<br /></span> -<span class="i0">porque lo hiere do nunca sospecha,<br /></span> -<span class="i0">y donde mas plaze menos aprovecha<br /></span> -<span class="i0">tanta ponçoña derrama consigo.<br /></span> -<span class="i0">Dad vos Señor pues un tal castigo,<br /></span> -<span class="i0">o de virtudes tal arma que vista,<br /></span> -<span class="i0">porque alomenos punando resista<br /></span> -<span class="i0">contra quien tiene tal guerra comigo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_100" href="#FNanchor_100" class="label">100</a> -The poem commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Canta tu, Christiana musa,<br /></span> -<span class="i0"><i>La mas que civil batalla</i>,<br /></span> -<span class="i0">Que entre voluntad se halla<br /></span> -<span class="i0">Y Razon, que nos accusa.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_101" href="#FNanchor_101" class="label">101</a> -Nicolas Antonio, whom Dieze follows in his remarks on -Velasquez, is the authority for these notices.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_102" href="#FNanchor_102" class="label">102</a> -In the beginning of the sixteenth century, Spanish books -were printed in Seville by German printers. At the end of an -edition, probably the first, of the proverbs collected by the Marquis -of Santillana, (<a href="#Page_88">see page 88</a>,) are the following words, which Mayans -y Siscar has reprinted:—Aqui se acaben los refranes—imprimidos -en la muy noble y leal civdad de Sevilla por Jacobo Comberger, -Aleman, año 1508.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_103" href="#FNanchor_103" class="label">103</a> -On this subject Nicolas Antonio’s Bib. Hisp. vet. lib. x. -cap. 6. may be compared with Velasquez and Dieze, page 165.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_104" href="#FNanchor_104" class="label">104</a> -To this number they amount in the old folio edition, -printed with gothic characters, which forms one of the literary -curiosities of the library of Gottingen. Dieze, in his observations -on Velasquez, page 177, gives a particular account of this, as well -as of the succeeding editions of the <i>Cancionero general</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_105" href="#FNanchor_105" class="label">105</a> -With this spiritual composition, the <i>Cancionero general</i> -commences. The reader will have enough in the first stanza:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Enantes, que culpa fuesso cansada,<br /></span> -<span class="i0">Tu, Virgen benigna, ya yves delante,<br /></span> -<span class="i0">Tan lexos del crimen y del semejante,<br /></span> -<span class="i0">Que sola quedaste daquel libertada, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_106" href="#FNanchor_106" class="label">106</a> -This silly conceit, which consists only of eight lines, commences -thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">La <small>M</small> madre te muestra,<br /></span> -<span class="i0">La <small>A</small> te manda adorar, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_107" href="#FNanchor_107" class="label">107</a> -The <i>Ave</i> begins thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ave, preciosa Maria,<br /></span> -<span class="i0">Que se deve interpretar<br /></span> -<span class="i0">Trasmontana de la mar,<br /></span> -<span class="i0">Que los mareantes guia.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_108" href="#FNanchor_108" class="label">108</a> -In the third strophe he thus addresses king Ferdinand:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Gran señor, los, que creyeron<br /></span> -<span class="i0">Estas consejeros tales,<br /></span> -<span class="i0">De sus culmines reales<br /></span> -<span class="i0">En lo mas hondo cayeron.<br /></span> -<span class="i0">Si esto contradiran<br /></span> -<span class="i0">Algunos con ambicion,<br /></span> -<span class="i0">Testigos se les daran.<br /></span> -<span class="i0">Uno sera <i>Roboan</i>,<br /></span> -<span class="i0">Hijo del rey Solomon.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_109" href="#FNanchor_109" class="label">109</a> -A new edition of Jorge Manrique’s Coplas, with glosses or -poetic paraphrases by various authors, appeared at Madrid in 1779.</p> - -<p>The following are the two first strophes, and the rhythmic structure -of the rest is not less beautiful.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Recuerde el alma dormida,<br /></span> -<span class="i0">avive el seso y despierte<br /></span> -<span class="i0">contemplando<br /></span> -<span class="i0">come se pasa la vida,<br /></span> -<span class="i0">come se viene la muerte<br /></span> -<span class="i0">tan callando:<br /></span> -<span class="i0">quan presto se va el placer,<br /></span> -<span class="i0">como despues de acordado<br /></span> -<span class="i0">da dolor,<br /></span> -<span class="i0">como a nuestro parescer<br /></span> -<span class="i0">qualquiera tiempo pasado<br /></span> -<span class="i0">fue mejor.<br /></span> -<span class="i4">Pues que vemos lo presente<br /></span> -<span class="i0">quan en un punto se es ido<br /></span> -<span class="i0">y acabado,<br /></span> -<span class="i0">si juzgamos sabiamente,<br /></span> -<span class="i0">daremos lo no venido<br /></span> -<span class="i0">por pasado<br /></span> -<span class="i0">No se engañe nadie, no,<br /></span> -<span class="i0">pensando que ha de durar<br /></span> -<span class="i0">lo que espera,<br /></span> -<span class="i0">mas que duro lo que viò<br /></span> -<span class="i0">pues que todo ha de pasar<br /></span> -<span class="i0">por tal manera.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_110" href="#FNanchor_110" class="label">110</a> -For instance, the following passage from a song by Juan de -Mena:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ya <i>dolor</i> del <i>dolorido</i>,<br /></span> -<span class="i0">Que con <i>olvido</i> cuydado,<br /></span> -<span class="i0">Pues que antes <i>olvidado</i><br /></span> -<span class="i0">Me veo, que <i>fallecido</i>.<br /></span> -<span class="i0">Ya <i>fallece</i> mi sentido &c.<br /></span> -</div></div> - -<p> -Or:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Cuydar</i> me hace <i>cuydado</i><br /></span> -<span class="i0">Lo que <i>cuydar</i> no devria,<br /></span> -<span class="i0">Y <i>cuydando</i> en lo passado<br /></span> -<span class="i0">Por mi no passa alegria.<br /></span> -</div></div> - -<p> -Such plays of words are to be found throughout the whole -<i>Cancionero</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_111" href="#FNanchor_111" class="label">111</a> -The commencement of one of his songs, the two first -strophes of which are subjoined, is exceedingly beautiful; but in -the sequel the lyric spark is extinguished by pedantry.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Muy mas clara que la luna<br /></span> -<span class="i0">sola una<br /></span> -<span class="i0">en el mundo vos nacistes,<br /></span> -<span class="i0">tan gentil, que no vecistes<br /></span> -<span class="i0">ni tuvistes<br /></span> -<span class="i0">competidora ninguna,<br /></span> -<span class="i0">Desde niñez en la cuna<br /></span> -<span class="i0">cobrastes fama, beldad,<br /></span> -<span class="i0">con tanta graciosidad,<br /></span> -<span class="i0">que vos doto la fortuna.<br /></span> -<span class="i4">Que assi vos organizo<br /></span> -<span class="i0">y formò<br /></span> -<span class="i0">la composicion humana,<br /></span> -<span class="i0">que vos soys la mas loçana,<br /></span> -<span class="i0">soberana<br /></span> -<span class="i0">que la natura criò.<br /></span> -<span class="i0">Quien sino vos mereciò<br /></span> -<span class="i0">de virtudes ser monarcha?<br /></span> -<span class="i0">Quanto bien dixo Petrarcha,<br /></span> -<span class="i0">por vos lo profetizo.<br /></span> -</div></div> - -<p> -It would be absurd to attempt the translation of many of the -specimens which are necessary to the illustration of this work; and -with respect to these lines the tender breathing of the poetry would -be entirely lost in a literal version.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_112" href="#FNanchor_112" class="label">112</a> -Reason, like a talkative person, commences the dialogue, and -has also the last word; she thus addresses her opponent:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Pensamiento, pues mostrays<br /></span> -<span class="i0">en vos misma claro el daño,<br /></span> -<span class="i0">pregunt’os, que me digays<br /></span> -<span class="i0">camino de tanto engaño,<br /></span> -<span class="i0">do venis o donde vays<br /></span> -<span class="i0">a tierra, que desconoce<br /></span> -<span class="i0">muy presto la gente della<br /></span> -<span class="i0">donde nace una querella,<br /></span> -<span class="i0">y quien bien no le conoce<br /></span> -<span class="i0">vive en ella.<br /></span> -<span class="i4">Porque en ella ay una suerte,<br /></span> -<span class="i0">d’una engañosa esparança<br /></span> -<span class="i0">que el plazer nos da muerte,<br /></span> -<span class="i0">por do el fin de su holgura<br /></span> -<span class="i0">en trabajo se convierte.<br /></span> -<span class="i0">Do sus glorias alcançadas,<br /></span> -<span class="i0">puesto ya que sean seguras,<br /></span> -<span class="i0">o con quantas amarguras<br /></span> -<span class="i0">hallaras que son mezcladas<br /></span> -<span class="i0">sus dulçuras!<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_113" href="#FNanchor_113" class="label">113</a> -He is particularly successful in expressing with old Spanish -plainness the emotions of passion; as for instance in the following -concluding strophes of a farewell song.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">De vos me parto, quexando,<br /></span> -<span class="i0">y de mi, muy descontento<br /></span> -<span class="i0">de mi triste pensamiento.<br /></span> -<span class="i0">Mi vivir lo va llorando<br /></span> -<span class="i0">vuestro mal conocimiento.<br /></span> -<span class="i0">Assi que por sola vos<br /></span> -<span class="i0">yo de todos vo enemigo,<br /></span> -<span class="i0">pues me parto, como digo,<br /></span> -<span class="i0">mal con vos y mal con Dios,<br /></span> -<span class="i0">y mal comigo.<br /></span> -<span class="i4">Aunque desto en la verdad<br /></span> -<span class="i0">poca culpa tengo yo,<br /></span> -<span class="i0">que mi fé no se mudò,<br /></span> -<span class="i0">vuesta mala voluntad<br /></span> -<span class="i0">m’a traido en lo qu’ estò.<br /></span> -<span class="i0">Por do mis cuytas agora<br /></span> -<span class="i0">vuestras seran desde aqui,<br /></span> -<span class="i0">pues por vos a vos perdi,<br /></span> -<span class="i0">y por vos a Dios, señora,<br /></span> -<span class="i0">y mas a mi.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_114" href="#FNanchor_114" class="label">114</a> -What a picturesque storm of passion appears under the -antiquated garb of the following stanzas! and with what a fantastic -play of words are they interspersed!</p> - -<div class="poem"><div class="stanza"> -<span class="i4">La fuerça del fuego, que alumbra, que ciega<br /></span> -<span class="i0">mi cuerpo, mi alma, mi muerte, mi vida,<br /></span> -<span class="i0">do entrado hiere, do toca, do llega,<br /></span> -<span class="i0">mata y no muere su llama encendida.<br /></span> -<span class="i0">Pues que harè, triste, que todo me ofende?<br /></span> -<span class="i0">Lo bueno y lo malo me causan congoxa,<br /></span> -<span class="i0">quemandome el fuego que mata, qu’ enciende,<br /></span> -<span class="i0">su fuerça que fuerça que ata, que prende,<br /></span> -<span class="i0">que prende, que suelta, que tira, que afloxa.<br /></span> -<span class="i4">Aso yre triste, que alegre me halle<br /></span> -<span class="i0">pues tantos peligros me tienen en medio,<br /></span> -<span class="i0">que llore, que ria, que grite, que calle,<br /></span> -<span class="i0">ni tengo, ni quiero, ni espero remedio?<br /></span> -<span class="i0"><i>Ni quiero que quiera, ni quiero querer</i>,<br /></span> -<span class="i0">pues tanto me quiere tan raviosa plaga,<br /></span> -<span class="i0">ni ser yo vencido, ni quiero vencer,<br /></span> -<span class="i0">ni quiero pesar, ni quiero plazer,<br /></span> -<span class="i0">ni se que me diga, ni se que me haga.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_115" href="#FNanchor_115" class="label">115</a> -The following are the first and second strophes of this song. -Love is here a hell, in which the thoughts burn.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Que tu beldad fue querer!<br /></span> -<span class="i0">Mas a ti que a mi me quiero.<br /></span> -<span class="i0">Tu beldad fue mensagero<br /></span> -<span class="i0">de morir en tu poder.<br /></span> -<span class="i0">Tu nubloso disfavor<br /></span> -<span class="i0">me cerco sin fin eterno<br /></span> -<span class="i0">d’unos fuegos qu’es amor<br /></span> -<span class="i0">cuyo nombre es el infierno.<br /></span> -<span class="i4">Qu’en su encendida casa<br /></span> -<span class="i0">se queman mis pensamientos,<br /></span> -<span class="i0">alli montan los tormentos<br /></span> -<span class="i0">mis entrañas hazen brasa.<br /></span> -<span class="i0">Alli sospiro los dias,<br /></span> -<span class="i0">que morir no puede luego<br /></span> -<span class="i0">alli las lagrimas mias<br /></span> -<span class="i0">fortalezen mas en fuego.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_116" href="#FNanchor_116" class="label">116</a> -This curious composition begins like a testamentary arrangement, -and then immediately takes a poetic turn:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Pues Amor quiere que muera,<br /></span> -<span class="i0">y de tan penada muerte,<br /></span> -<span class="i0">en tal edad,<br /></span> -<span class="i0">pues que yo en tiempo tan fuerte,<br /></span> -<span class="i0">quiero ordenar mi postrera<br /></span> -<span class="i0">voluntad.<br /></span> -<span class="i0">Pero ya que tal me siento,<br /></span> -<span class="i0">que no lo podre hazer,<br /></span> -<span class="i0">la que causa mi tormento<br /></span> -<span class="i0">pues que tiene mi poder<br /></span> -<span class="i0">ordene mi testamento.<br /></span> -<span class="i4">Y pues mi ventura quiso<br /></span> -<span class="i0">mis pensamientos tornar<br /></span> -<span class="i0">ciegos, vanos,<br /></span> -<span class="i0">no quiero otro paraiso,<br /></span> -<span class="i0"><i>sino mi alma dexar</i><br /></span> -<span class="i0"><i>en sus manos</i>.<br /></span> -<span class="i0">Pero que lleve de claro<br /></span> -<span class="i0">la misma forma y tenor,<br /></span> -<span class="i0">d’aquel que hizo d’amor<br /></span> -<span class="i0">don Diego Lopez de Haro,<br /></span> -<span class="i0">pues que yo muero amador.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_117" href="#FNanchor_117" class="label">117</a> -The following is by a poet named Tapia.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Gran congoxa es esperar,<br /></span> -<span class="i0">quando tarda el esperança,<br /></span> -<span class="i0">mas quien tiene confiança<br /></span> -<span class="i0">por tardar,<br /></span> -<span class="i0">no deve desesperar.<br /></span> -<span class="i4">Assi que vos, pensamiento,<br /></span> -<span class="i0">que passays pena esperando,<br /></span> -<span class="i0">galardon se va negando,<br /></span> -<span class="i0">bien lo siento,<br /></span> -<span class="i0">mas tened vos sufrimiento.<br /></span> -<span class="i0">Y quiça podreys ganar<br /></span> -<span class="i0">con firmeza sin dudança<br /></span> -<span class="i0">lo cierto del esparança<br /></span> -<span class="i0">que el tardar<br /></span> -<span class="i0">no lo puede desviar.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_118" href="#FNanchor_118" class="label">118</a> -The author of the following Villancico is named Escriva.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Que sentis, coraçon mio,<br /></span> -<span class="i0">no dezis,<br /></span> -<span class="i0">que mal es el que sentis.<br /></span> -<span class="i4">Que sentistes aquel dia,<br /></span> -<span class="i0">quando mi señora vistes,<br /></span> -<span class="i0">que perdistes alegria,<br /></span> -<span class="i0">y descando despedistes,<br /></span> -<span class="i0">como a mi nunca bolvistes.<br /></span> -<span class="i0">no dezis,<br /></span> -<span class="i0">donde estays que no venis.<br /></span> -<span class="i4">Qu’ es de vos, qu’ en mi nos fallo,<br /></span> -<span class="i0">coraçon, quien os agena?<br /></span> -<span class="i0">Qu’ es de vos, que aunque callo,<br /></span> -<span class="i0">vuestro mal tambien me pena?<br /></span> -<span class="i0">Quien os atò tal cadena.<br /></span> -<span class="i0">no dezis,<br /></span> -<span class="i0">que mal es el que sentis.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_119" href="#FNanchor_119" class="label">119</a> -These glosses, which certainly belong to the fifteenth century, -prove the still higher antiquity of the glossed romances. -As a proof of this, we may quote the commencement of a gloss of -the <i>Rosa fresca</i>, (see p. 74), though it is not one of the most successful -productions of this class.</p> - -<h3>LA GLOSA DE PINAR.</h3> - -<div class="poem"><div class="stanza"> -<span class="i2">Quando y os quise querida,<br /></span> -<span class="i0">si supiera conoceros,<br /></span> -<span class="i0">n’os tuviera yo perdida<br /></span> -<span class="i0">ni acuciara yo la vida<br /></span> -<span class="i0">agora para quereros.<br /></span> -<span class="i0">Y porqu’ es bien que padezca<br /></span> -<span class="i0">desta causa mi dolor,<br /></span> -<span class="i0">llam’os yo sin qu’ os merezca,<br /></span> -<span class="i0"><i>Rosa fresca, rosa fresca,</i><br /></span> -<span class="i0"><i>tan garrida y con amor</i>.<br /></span> -<span class="i4">Llam’os yo con voz plañida,<br /></span> -<span class="i0">llena de gran compassion,<br /></span> -<span class="i0">con el alma entristecida<br /></span> -<span class="i0">del angustia dolorida,<br /></span> -<span class="i0">que ha sufrido el coraçon.<br /></span> -<span class="i0">Que le haze mil pedaços,<br /></span> -<span class="i0">yo muero do quier que vò<br /></span> -<span class="i0">pues que por mis embaraços.<br /></span> -<span class="i0"><i>Quando y’os tuve en mis braços</i><br /></span> -<span class="i0"><i>no vos supe servir, no.</i><br /></span> -<span class="i4">No porque os uviesse errado,<br /></span> -<span class="i0">con pensamiento de errar,<br /></span> -<span class="i0">mas si me days por culpado,<br /></span> -<span class="i0">pues publico mi pecado<br /></span> -<span class="i0">deveys me de perdonar.<br /></span> -<span class="i0">No porque quando os servia<br /></span> -<span class="i0">mi querer os desirvio,<br /></span> -<span class="i0">mas porque passo solia,<br /></span> -<span class="i0"><i>Y agora que os serviria,</i><br /></span> -<span class="i0"><i>no vos puedo yo aver, no</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_120" href="#FNanchor_120" class="label">120</a> -The device of an enamoured knight in the true Spanish -style: <small>WITHOUT THEE I AM WITHOUT GOD, AND WITHOUT -MYSELF</small>, was thus glossed.</p> - -<h4><i>Mote.</i></h4> - -<p class="caption">Sin vos, y sin Dios y mi.</p> - -<h4><span class="smcap">Glosa de Don Jorge Manrique.</span></h4> - -<div class="poem"><div class="stanza"> -<span class="i4">Yo soy quien libre me vi,<br /></span> -<span class="i0">yo quien pudiera olvidaros,<br /></span> -<span class="i0">yo so el que por amaros<br /></span> -<span class="i0">estoy desque os conoci<br /></span> -<span class="i0"><i>sin Dios y sin vos y mi</i>.<br /></span> -<span class="i4"><i>Sin Dios</i>, porque en vos adoro<br /></span> -<span class="i0"><i>sin vos</i>, pues no me quereys,<br /></span> -<span class="i0">pues <i>sin mi</i> ya esto decoro,<br /></span> -<span class="i0">que vos soys quien me teneys.<br /></span> -<span class="i0">Assi que triste naci,<br /></span> -<span class="i0">pues que pudiera olvidaros,<br /></span> -<span class="i0">yo soy el que por amaros<br /></span> -<span class="i0">esto desque os conoci<br /></span> -<span class="i0"><i>sin Dios y sin vos y mi</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_121" href="#FNanchor_121" class="label">121</a> -An accurate idea of all the romances of this class may be -derived from the <i>Historia de los Vandos de los Zegris y Abencerrages, -Caballeros Moros de Granada</i>, a work well known to -those who are acquainted with Spanish literature. It has been -several times printed. The edition which I have now before me -(Lisboa 1616,) seems to be one of the latest. On the title page -the author styles himself, Ginez Perez de Hita, and on that page -also appear the words, <i>Aora nuevamente sacado de un libro -Arabigo</i>. The German critic Blankenburgh, is of opinion, that there -is no more reason for supposing this work to be a translation from the -Arabic, than that Don Quixote was derived from a similar source. -But the word <i>sacado</i> on the title page, by no means indicates that -it is a translation. The author has evidently derived much of his -information, such for instance, as the genealogical register of the -families, from Moorish sources. He has probably availed himself -of an Arabic work to write a half true and half fabulous history of -Granada, and to intersperse it with favourite romances. There -is a counterfeit edition of this work, entitled, <i>Historia de las -guerras civiles de Granada, Paris</i>, 1660. From the French -words on the margin, it is obvious that the book must have been used -in Paris in the seventeenth century, for learning the Spanish language.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_122" href="#FNanchor_122" class="label">122</a> -It will be sufficient to transcribe here one of these pastoral -romances, which presents a fair specimen of the better part of the -rest.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Olvidada del sucesso,<br /></span> -<span class="i0">del engañado Narciso,<br /></span> -<span class="i0">mirando està en una fuente<br /></span> -<span class="i0">Filis su rostro divino,<br /></span> -<span class="i0">el negro cabello suelto,<br /></span> -<span class="i0">al ayre vano esparzido,<br /></span> -<span class="i0">ceñida la blanca frente<br /></span> -<span class="i0">con un liston amarillo.<br /></span> -<span class="i4">Mira los hermosos ojos,<br /></span> -<span class="i0">y el labio en sangre teñido<br /></span> -<span class="i0">de los cristalinos dientes<br /></span> -<span class="i0">adornado y ofendido:<br /></span> -<span class="i0">no se mira el bello rostro,<br /></span> -<span class="i0">por presuncion que ha tenido,<br /></span> -<span class="i0">mas porque le mueve a ello<br /></span> -<span class="i0">el desprecio de su amigo.<br /></span> -<span class="i4">Hala dexado el cruel,<br /></span> -<span class="i0">sin averlo merecido,<br /></span> -<span class="i0">por quien vale menos que ella,<br /></span> -<span class="i0">y es della menos querido.<br /></span> -<span class="i0">Pareciole que enturbiava<br /></span> -<span class="i0">con las perlas que ha vertido<br /></span> -<span class="i0">las corrientes amorosas,<br /></span> -<span class="i0">y solloçando, les dixo:<br /></span> -<span class="i4">Turbias van las aguas madre,<br /></span> -<span class="i4">turbias van,<br /></span> -<span class="i4">mas ellas se aclararàn.<br /></span> -<span class="i2">Si el agua de mi alegria<br /></span> -<span class="i0">enturbia la de mis ojos,<br /></span> -<span class="i0">y le ofrecen mis despojos<br /></span> -<span class="i0">al alma en mi fantasia,<br /></span> -<span class="i0">sospechas son, que algun dia<br /></span> -<span class="i0">tiempo y amor desharan.<br /></span> -<span class="i4">Turbias van las aguas madre,<br /></span> -<span class="i4">turbias van,<br /></span> -<span class="i4">mas ellas se aclararàn.<br /></span> -<span class="i2">Si fatiga el pensamiento,<br /></span> -<span class="i0">y se enturbia la memoria,<br /></span> -<span class="i0">juntar la passada gloria<br /></span> -<span class="i0">con el presente tormento,<br /></span> -<span class="i0">si esparzidos por el viento<br /></span> -<span class="i0">mis tristes suspiros van.<br /></span> -<span class="i4">Turbias van las aguas madre<br /></span> -<span class="i4">turbias van,<br /></span> -<span class="i4">mas ellas se aclararàn.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_123" href="#FNanchor_123" class="label">123</a> -The following is written in a style which was, at a later -period, much admired in France, and frequently imitated in Germany -while Hagedorn and Gleim flourished:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Que se case un don Pelote<br /></span> -<span class="i4">con una dama sin dote,<br /></span> -<span class="i8">Bien puede ser.<br /></span> -<span class="i0">Mas que no de algunos dias<br /></span> -<span class="i4">por un pan sus damerias,<br /></span> -<span class="i8">No puede ser.<br /></span> -<span class="i0">Que pida a un galan Minguilla<br /></span> -<span class="i4">cinco puntos de servilla.<br /></span> -<span class="i8">Bien puede ser.<br /></span> -<span class="i0">Mas que calçando diez Menga,<br /></span> -<span class="i4">quiera que justo la venga,<br /></span> -<span class="i8">No puede ser.<br /></span> -<span class="i0">Que la biuda en el sermon<br /></span> -<span class="i4">de mil suspiros sin son,<br /></span> -<span class="i8">Bien puede ser.<br /></span> -<span class="i0">Mas que no los de a mi cuenta,<br /></span> -<span class="i4">porque sepan do se assienta,<br /></span> -<span class="i8">No puede ser.<br /></span> -<span class="i0">Que ande la bella casada<br /></span> -<span class="i4">bien vestida, y mal zelada,<br /></span> -<span class="i8">Bien puede ser.<br /></span> -<span class="i0">Mas que el bueno del marido<br /></span> -<span class="i4">no sepa quien da el vestido,<br /></span> -<span class="i8">No puede ser. &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_124" href="#FNanchor_124" class="label">124</a> -See the notices of Nicolas Antonio, Sarmiento, Velasquez, -and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_125" href="#FNanchor_125" class="label">125</a> -It is entitled <i>Romancero general</i>, en que se contienen todos -los romances, que andan impresos, aora <i>nuevamente añadido y enmendado</i>, -Madrid, 1604, a quarto volume, containing about seventy -sheets. The preface is subscribed by the bookseller, who seems to -have compiled this work himself. The <i>todos</i> on the title page -must not be literally understood. Not one of the romances contained -in the old <i>Cancionero de Romances</i>, (see note page 53) appear -in this <i>Romancero general</i>, which is, in other respects, extremely -copious. But the Spanish booksellers began at an early period to -give boasting titles to their publications.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_126" href="#FNanchor_126" class="label">126</a> -More copious information, together with bibliographic notices -respecting the pastoral dialogue of Mingo Rebulgo, are given by -Velasquez and Dieze, page 162.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_127" href="#FNanchor_127" class="label">127</a> -Sarmiento, page 235, quotes this specimen of Juan de la -Enzina’s <i>Disparates</i>:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Anoche do madrugada,<br /></span> -<span class="i0">Ya despues de medio dia,<br /></span> -<span class="i0">Vi venir en romeria<br /></span> -<span class="i0">Una nube muy cargada &c.<br /></span> -<span class="i0">No despues de mucho rato<br /></span> -<span class="i0">Vi venir un orinal<br /></span> -<span class="i0">Puesto de pontifical &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_128" href="#FNanchor_128" class="label">128</a> -Nicolas Antonio, Sarmiento, and Velasquez, give accounts of -Juan de la Enzina. Some of his romances and songs, which -however, possess no remarkable merit, are also contained in the -<i>Cancionero general</i> and the <i>Cancionero de romances</i>. One of -his compositions, styled an <i>echo</i>, or a song, in which the rhyme is -repeated in the following word, with the effect of an echo, is -inserted in the <i>Cancionero general</i>, as being something peculiar. -The old collection, entitled, <i>Cancionero de todas las obras de Juan -del Enzina</i>, certainly contains poems far superior to any already -mentioned, though perhaps they do not rise above the poetry of his -age. Velasquez quotes an edition published in 1516, which Dieze -regards as a curiosity. Indeed one of the greatest literary curiosities -in existence, is an old folio edition, (probably the first) of the -<i>Cancionero</i> of Juan de la Enzina, printed at Seville, in gothic -characters, in the year 1501, by two Germans named Pegnitzer and -Herbst, at the expense of two merchants. The copy to which I -have referred, which is probably the only one in Germany, is also -mentioned in Dieze’s supplement to Velasquez; it belongs to the -Ducal library at Wolfenbüttel. Notwithstanding the gothic characters, -the print is so clear and neat, that in this respect alone it -is highly interesting to bibliographists. Juan de la Enzina’s songs -occupy the greater part of the volume. One of them, namely—an -Apology for Women, (<i>Contra los que dicen mal de Mugeres</i>) is -remarkable for poetic truth and pleasing versification. In this -Apology for the fair sex, the author, among other things, says:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Piadosas en dolerse<br /></span> -<span class="i0">De todo ageno dolor,<br /></span> -<span class="i0">Con muy sana fe y amor,<br /></span> -<span class="i0">Sin su fama escurecerse,<br /></span> -<span class="i0">Ellas nos hacen hacer<br /></span> -<span class="i0">De nuestros bienes franquezas;<br /></span> -<span class="i0">Ellas nos hacen poner<br /></span> -<span class="i0">A procurar y querer<br /></span> -<span class="i0">Las virtudes y noblezas.<br /></span> -<span class="i0">Ellas nos dan ocasion,<br /></span> -<span class="i0">Que nos hagomas discretos,<br /></span> -<span class="i0">Esmerados y perfetos,<br /></span> -<span class="i0">Y de mucho presuncion.<br /></span> -<span class="i0">Ellas nos hacen andar<br /></span> -<span class="i0">Las vestiduras polidas,<br /></span> -<span class="i0">Los pundonores guardar,<br /></span> -<span class="i0">Y, por honra procurar,<br /></span> -<span class="i0">Tener en poco las vidas.<br /></span> -</div></div> - -<p>His imitations of Virgil’s eclogues have the same metrical -form as many of his other poems. The first eclogue commences -with the following graceful strophe:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tityro, tu sin cuidado<br /></span> -<span class="i0">Que te estas so aqueste haya,<br /></span> -<span class="i0">Bien tendido y rellanado.<br /></span> -<span class="i0">Yo triste y descarriado<br /></span> -<span class="i0">Yo no sè, por do me vaya.<br /></span> -<span class="i0">Ay, carillo!<br /></span> -<span class="i0">Tañes tu tu caramillo,<br /></span> -<span class="i0">No hay que en cordoja te trayga.<br /></span> -</div></div> - -<p> -His sacred and profane pastoral dramas are merely eclogues in -a style similar to the above, only that they are written in the dialogue -form, and with remarkable lightness. The last, which is of the -profane class, commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Gil. <span style="padding-left: 3em">Ha, Mingo, que das de atràs?</span><br /></span> -<span class="i10">Pasa, pasa, acà delante!<br /></span> -<span class="i10">A horas que no se espante,<br /></span> -<span class="i10">Como tu, tu primo Bras.<br /></span> -<span class="i10">Asmo, que tu pavor has.<br /></span> -<span class="i10">Entra! No estes revellado!<br /></span> -</div><div class="stanza"> -<span class="i0">Mingo. <span style="padding-left: 1.5em">Dò me a Dios, que estoy asmado.</span><br /></span> -<span class="i10">No me mandes entrar mas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_129" href="#FNanchor_129" class="label">129</a> -In the edition of 1599, which I have consulted, the work is -entitled <i>Celestina, tragicomedia de Calisto y Melibea</i>. The first -letter of each of the introductory stanzas, being put together, form -the following words:—El bachiler Fernando de Rojas <i>acabò</i> la -comedia de Calisto y Melibea, e fue nacido en la puebla de Montalvan.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_130" href="#FNanchor_130" class="label">130</a> -The following specimens may be cited. Callistus is discoursing -with his servant, concerning his passion for Melibœa.</p> -<p> -<i>Ca.</i> Mayor es mi fuego, y menor la piedad de quien agora -digo.—<i>Sem.</i> No me engaño que loco està aste mi amo.—<i>Ca.</i> Que -estàs murmurando Sempronio?—<i>Sem.</i> No digo nada.—<i>Ca.</i> Di lo -que dizes: no temas.—<i>Sem.</i> Digo que como pueda ser mayor el -fuego que atormenta un bivo, que el que quemó tal ciudad y tanta -multitud de gente?—<i>Ca.</i> Como? yo telo dire: mayor es la llama -que dura ochenta años que la que en un dia passa; y mayor la que -quema un anima, que la que quemó cien mil cuerpos. Como de la -aparencia a la existencia, como de lo vivo a lo pintado; como de -la sombra a lo real: tanta differencia ay del fuego que dizes al que -me quema. Por cierto si el del purgatorio es tal, mas querria que -mi espiritu fuesse con los de los brutos animales, que por medio de -aquel yr a la gloria de los santos.—<i>Sem.</i> Algo es lo que digo, a -mas ha de yr este hecho: no basta loco, sino hereje.—<i>Ca.</i> No te -digo que hables alto quando hablares? Que dizes?—<i>Sem.</i> Digo que -nunca Dios quiera tal: que es especie de herejia lo que agora -dixiste.—<i>Ca.</i> Porque?—<i>Sem.</i> Porque lo que dizes contradize la -Christiana religion.—<i>Ca.</i> Que a mi?—<i>Sem.</i> Tu no eres Christiano?—<i>Ca.</i> -Yo Melibieo soy, e a Melibea adoro, e en Melibea creo, e a -Melibea amo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_131" href="#FNanchor_131" class="label">131</a> -About the same period, the dramatic prose dialogue of Italy -was formed in a similar style, but with more histrionic refinement. -See vol. ii. of my history of Italian Literature.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_132" href="#FNanchor_132" class="label">132</a> -The dramatic romance of Callistus and Melibœa, has been -translated into several languages as a book of moral instruction. -There is an old German translation which appeared at Nurnberg in -1520, entitled the <i>Hurenspiegel</i>. The German philologist, Caspar -Barth, translated it into Latin under the title of <i>Pornoboscodidascalus</i>, -and styles it, <i>Liber plane divinus</i>. It was published at -Frankfort on the Oder, in 1624.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_133" href="#FNanchor_133" class="label">133</a> -One may become acquainted with these old Spanish chronicles -with more facility than formerly; for during the last thirty -years the greater part of them have been re-printed. A folio -edition of the copious chronicle of Peres de Guzman was printed -at Valencia, in the year 1779, with an elegance which proves the -patriotic zeal of the editors: the chronicle of Ayala was printed at -Madrid in the same year. Literature is indebted for this revival -of the fathers of Spanish History, to the efforts of the Historical -Academy of Madrid.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_134" href="#FNanchor_134" class="label">134</a> -It is not many years since this history was first published -from the manuscript. It is intitled, <i>Cronica de Don Pedro -Niño Conde de Buelna, por Gutierre Diez de Games, su Aferes. -La publica D. Eugenio de Llaguno Amirola</i>, &c. Madrid, -1782, in quarto.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_135" href="#FNanchor_135" class="label">135</a> -He gives the following description of the national character -of the French, which derives additional attraction from its antiquated -language:—</p> -<p> -Los Franceses son noble nacion de gente: son sabios é muy -entendidos, é discretos en todas las cosas que pertenescen á buena -crianza en cortesia é gentileza. Son muy gentiles en sus traeres, -é guarnidos ricamente: traense mucho á lo propio: son francos é -dadivosos: aman facer placer á todas las gentes: honran mucho los -estrangeros: saben loar, é loan mucho los buenos fechos: non son -maliciosos: dan pasada á los enojos: non caloñan á ome de voz nin -fecho, salvo si los vá alli mucho de sus honras: son muy corteses é -graciosos en su fablar: son muy alegres, toman placer de buena -mente, é buscanle. Asi ellos como ellas son muy enamorados, é -precianso dello.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_136" href="#FNanchor_136" class="label">136</a> -That this biographical chronicle was written between the -years 1453 and 1460, is proved in the preface to the latest edition, -which is entitled, <i>Cronica de Don Alvaro de Luna, &c. La publica -con varios apendices Don Josef Miguel de Flores, Secretario -perpetuo de la real Academia de la Historia.</i> Madrid, 1784, 4to.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_137" href="#FNanchor_137" class="label">137</a> -The following is one of his declamatory passages: it is -certainly more suited to a philippic than to a biographic work, but -it is sufficiently oratorical for the age in which it was produced:—</p> -<p> -Oh traycion! oh traycion! oh traycion! Maldito sea el ser -tuyo: maldito sea el poder tuyo: é maldito el tu obrar, que á tanto -se estiende, é tantas fuerzas alcanza. Oh enemiga de toda bondad, -é adversaria de toda virtud, é contraria de todos bienes! Por tì -han seìdo destruidos Reynos: por tí han seìdo asoladas grandes é -nobles, é populosas cibdades: é por tì son cometidas en Emperadores, -é Reyes, é Principes, é altos señores, crueles, bravas é miserables -muertes. Quien pudiera pensar? Quien pudiera creer? O -qu’al juicio pudiera abastar á considerar, que un tanto señor, é de -tan alto ser, un tan grand, á tan familiar amigo de virtudes, como -era el inclito Maestre de Sanctiago é insigne Condestable de la gran -Castilla, viniesse al passo que agora aqui contaremos?</p></div> - -<div class="footnote"> - -<p><a id="Footnote_138" href="#FNanchor_138" class="label">138</a> -Entre los otros frutos abundosos que la España en otro -tiempo de sì solia dar, fallo yo que el mas precioso de aquellos fué -criar é nudrir en si varones muy virtuosos notables é dispuestos -para enseñorear, sabios para regir, duros é fuertes para guerrear. -De los quales unos fueron subidos á la cumbre imperial, otros á la -relumbrante catedra del saber. E muchos otros merescieron por -victoria corona del triunfo resplandesciente.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_139" href="#FNanchor_139" class="label">139</a> -E tentando entrar la presente obra donde pues tú, Verdad, -eres una de las principales virtudes que en aqueste nuestro muy -buen Maestre siempre fecistes morada, á tí solo llamo é invoco que -adiestres la mi mano, alumbres el mi ingenio, abundes la mi memoria, -porque yo pueda confirmar é sellar la comenzada obra con el -tu precioso nombre.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_140" href="#FNanchor_140" class="label">140</a> -The author thus relates how in his youth Don Alvaro de -Luna, by the irresistible grace of his manners had gained the love -of the king, who was then also very young, and the favour of -the fair sex:—</p> -<p> -Ca si Rey salia á danzar, non queria que otro caballero ninguno, -nin grande nin Rico ome danzase con él, salvo Don Alvaro -de Luna, nin queria con otro cantar, nin facer cosa, salvo con Don -Alvaro, nin se apartaba con otro á aver sus consejos é fablas -secretas tanto como con él. De la otra parte que todas las dueñas -é doncellas lo favorescian mucho. Don Alvaro era mas mirado é -preciado entre todos aquellos que en las fiestas se ayuntaron. E -despues quando el Rey se retraìa á su cámara á burlar ó aver placer, -Don Alvaro burlaba tan cortés é graciosamente, que el Rey é -todos los otros que con él eran avian muy grand placer. E si -fablaban en fechos de caballeria, aunque Don Alvaro era mozo, -él fablaba en ellos, assi bien é atentamente que todos se maravillaban. -E aquel fué desde niño su mayor estudio, entender en los -fechos de armas é de caballeria, é darse á ellos, é saber en ellos -mas facer que decir.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_141" href="#FNanchor_141" class="label">141</a> -The library of the university of Göttingen contains a copy of -this scarce book, printed in gothic characters, but the title page is -wanting. It commences with the title of the table of contents: -<i>Comiença la tabla de los claros varones, ordenada por Fernando -del Pulgar, &c.</i> The biographical sketches are followed by a collection -of letters; and the whole forms a volume with which every -author who writes on Spanish history ought to be acquainted.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_142" href="#FNanchor_142" class="label">142</a> -The following specimen is the commencement of a jocular -letter, in which Fernando del Pulgar begs of his physician to prescribe -to him a remedy for the sciatica, as the consolation which -Cicero offers in his book <i>de Senectute</i> had no effect on him:—</p> -<p> -Señor dotor Francisco Nuñes fisico: yo Fernando de Pulgar -escrivano paresco ante vos: y digo que padesciendo grand dolor de -la yjada: y otros males que asoman con la vejez quise leer a Julio -de senetute para aver del para ellos algun remedio. Y no le de -dios mas salud al alma de lo que yo falle en el para mi yjada. -Verdad es que da muchas consolaciones: y cuenta muchos loores -de la vejez. Pero no provee de remedio para sus males. Quisiere -yo fallar un remedio solo, mas por cierto de Señor fisico que todos -sus consolaciones por que el conorte quando no quita dolor, no pone -consolacion. Quise ver essomismo el segundo libro que fizo de las -quistiones Tosculanas. Do quiere provar que el sabio no deve haver -dolor: y si lo hoviere lo puede desechar con virtud. E yo Señor -dotor como no soy sabio senti el dolor. Y como no soy virtuoso no -le puede desechar. Ni lo desechara el mismo Julio por virtuoso que -fuera: si sintiera el mal que yo sinti. Assi que para las enfermedades -que vienen con la vejez fallo que es mejor yr al fisico -remediador: que al filosofo consolador. Por los Cipiones, por -los Metellos, y sabios, y por los Trasos, y por otros algunos romanos -que bivieron y murieron en honra quiere provar Julio que la vejez -es buena. Y por algunos que ovieron mala postremera provare yo -que es mala. E dare mayor numero de testigos para prueva de mi -intencion que el Señor Julio pudo dar para en prueva de la suya.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_143" href="#FNanchor_143" class="label">143</a> -See the notice by Nicolas Antonio in the <i>Bibl. Hisp. Vetus</i>, -last edition, (Madrid, 1788,) vol. ii. p. 282.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_144" href="#FNanchor_144" class="label">144</a> -This treatise precedes the collection of Juan de la Enzina’s -poems. See note page 131.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_145" href="#FNanchor_145" class="label">145</a> -Criados en el gremio de la dulce filosofia. This he says in -particular reference to Ferdinand and Isabella.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_146" href="#FNanchor_146" class="label">146</a> -Quanta diferencia aya del Musico al Cantor, y del Geometra -al Pedrero, tanta debe haver entre Poeta é Trobador. The third -comparison follows afterwards.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_147" href="#FNanchor_147" class="label">147</a> -An unpardonable neglect of chronology has given rise to a -confusion of dates, by which this period of Spanish literature has -been made to include two distinct epochs. This confusion is particularly -striking in the work of Velasquez. In his third age of -Castilian poetry, which he commences with the introduction of the -Italian style, but which ought really to be called the second, he -reckons all the Spanish poets, who appear to have formed their -manner after Italian models down to the reign of Philip IV.; and in -the following age, which he calls the fourth, he places Virnes, Lope -de Vega, and others, who flourished half a century before.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_148" href="#FNanchor_148" class="label">148</a> -<a href="#Page_25">See page 25</a>. In the <i>Cancionero general</i> there are some -spiritual sonnets, but they are all equally aukward and repulsive.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_149" href="#FNanchor_149" class="label">149</a> -The history of the opposition which Boscan’s poetical reform -experienced, is briefly related by himself in the dedication -to the Duchess of Soma, which precedes the second volume of his -poems.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_150" href="#FNanchor_150" class="label">150</a> -The eighth volume of the <i>Parnaso Español</i>, by Sedano, contains -a supplement to the biographical notices which Nicolas Antonio -collected under the article Boscan, and Dieze adopted in his notes -on Velasquez. The <i>Noticias Biographicas</i>, which Sedano has added -to the <i>Parnaso Español</i>, deserve, from this epoch downward, to be -carefully consulted.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_151" href="#FNanchor_151" class="label">151</a> -The library of the university of Göttingen possesses a copy -of perhaps the oldest edition of the works of this author, viz. -<i>Obras de Boscan</i>, <i>Lisboa</i> 1543, in 4to., and another edition, -<i>Anvers</i> 1569, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_152" href="#FNanchor_152" class="label">152</a> -The first strophe runs thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">El <i>sentir de mi sentido</i><br /></span> -<span class="i0">Tan profundo ha navegado,<br /></span> -<span class="i0">Que me tiene ya engolfado,<br /></span> -<span class="i0">Donde vivo despedido<br /></span> -<span class="i0">De salir ni a pie ni a nado; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_153" href="#FNanchor_153" class="label">153</a> -The spirit of Petrarch breathes in the following sonnet; -though it is accompanied in the latter verses with a portion of -romantic subtilty.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Solo y pensoso en prados y desiertos<br /></span> -<span class="i0">mis passos doy cuydosos y cansados:<br /></span> -<span class="i0">y entrambos ojos traygo levantados<br /></span> -<span class="i0">à ver no vea alguien mis desconciertos.<br /></span> -<span class="i4">Mis tormentos alli vienen tan ciertos,<br /></span> -<span class="i0">y van mis sentimentos tan cargados,<br /></span> -<span class="i0">que aun los campos me suelen ser passados,<br /></span> -<span class="i0">porque todos no estan secos y muertos.<br /></span> -<span class="i4">Si oyo hablar à caso algun ganado,<br /></span> -<span class="i0">y la voz d’ el pastor da en mis oydos,<br /></span> -<span class="i0">alli se me rebuelve mi cuydado.<br /></span> -<span class="i4">Y quedan espantados mis sentidos,<br /></span> -<span class="i0">como ha sido no aver desesperado,<br /></span> -<span class="i0">despues de tantos llantos doloridos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_154" href="#FNanchor_154" class="label">154</a> -Passages such as the following from the beautiful <i>Claros y -frescos rios</i> of Boscan, after Petrarch’s canzone <i>Chiare, dolci e -fresche acque</i>, would be sought for in vain in the writings of -Petrarch himself.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Las horas estoy viendo<br /></span> -<span class="i4">en ella y los momentos,<br /></span> -<span class="i4">y cada cosa pongo en su sazon.<br /></span> -<span class="i4">Comigo aca la entiendo,<br /></span> -<span class="i4">pienso sus pensamientos,<br /></span> -<span class="i4">por mi saco los suyos quales son:<br /></span> -<span class="i4">dize m’ el coraçon,<br /></span> -<span class="i4">y pienso yo que acierta,<br /></span> -<span class="i4">ya esta alegre, ya triste,<br /></span> -<span class="i4">ya sale, ya se viste,<br /></span> -<span class="i4">agora duerme, agora esta despierta:<br /></span> -<span class="i4">el seso y el amor,<br /></span> -<span class="i4">andan por quien la pintara mejor.<br /></span> -<span class="i0">Viene me à la memoria<br /></span> -<span class="i4">donde la vi primero,<br /></span> -<span class="i4">y aquel lugar do comencè de amalla,<br /></span> -<span class="i4">y naceme tal gloria<br /></span> -<span class="i4">de ver como la quiero,<br /></span> -<span class="i4">que es ya mejor qu’ el vella el contemplalla.<br /></span> -<span class="i4">En el contemplar halla<br /></span> -<span class="i4">mi alma un gozo estraño,<br /></span> -<span class="i4">pienso estalla mirando,<br /></span> -<span class="i4">despues en mi tornando,<br /></span> -<span class="i4">pesame que dura poco el engaño:<br /></span> -<span class="i4">no pido otra alegria,<br /></span> -<span class="i4">sino engañar mi triste fantasia.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_155" href="#FNanchor_155" class="label">155</a> -The following passage may serve for an example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No oso pensar el dia y hora quando<br /></span> -<span class="i4">mis ojos començaron a mirarte,<br /></span> -<span class="i4">su vista poco a poco desmandando:<br /></span> -<span class="i0">Entonces comencè a considerarte,<br /></span> -<span class="i4">con pensamientos que y van y venian,<br /></span> -<span class="i4">y casi no era mas de imaginarte.<br /></span> -<span class="i0">Los unos blandamente me dezian,<br /></span> -<span class="i4">que con mi coraçon todo te amasse,<br /></span> -<span class="i4">los otros se alterava y temian.<br /></span> -<span class="i0">Fuerça fue en fin, que poco a poco entrasse<br /></span> -<span class="i4">a conocer mi triste entendimiento,<br /></span> -<span class="i4">que era bien que tus cosas contemplasse.<br /></span> -<span class="i0">Alli se levantò mi pensamiento<br /></span> -<span class="i4">haziendo su discurso en mil ojetos,<br /></span> -<span class="i4">y todos sobre un mismo fundamento.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_156" href="#FNanchor_156" class="label">156</a> -A certain horatian epicurean spirit is recognizable in the -view he takes of the philosophy of life.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En tierra do los vicios van tan llenos,<br /></span> -<span class="i4">aquellos hombres que no son peores,<br /></span> -<span class="i4">aquellos passaran luego por buenos.<br /></span> -<span class="i0">Yo no ando ya siguiendo à los mejores,<br /></span> -<span class="i4">bastame alguna vez dar fruto alguno,<br /></span> -<span class="i4">en lo de mas contentome de flores.<br /></span> -<span class="i0">No quiero en la virtud ser importuno,<br /></span> -<span class="i4">ni pretendo rigor en mis costumbres,<br /></span> -<span class="i4">con el gloton no pienso estar ayuno.<br /></span> -<span class="i0">La tierra està con llanos y con cumbres,<br /></span> -<span class="i4">lo tolerable al tiempo acomodemos,<br /></span> -<span class="i4">y à su sazon hagamonos dos lumbres.<br /></span> -</div></div> - -<p> -Pictures of domestic happiness, partaking both of the manner -of Horace and Tibullus, form an agreeable addition to Boscan’s -moral reflections, viz.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Comigo y mi muger sabrosamente<br /></span> -<span class="i4">estè, y alguna vez me pida celos,<br /></span> -<span class="i4">con tal que me los pida blandamente.<br /></span> -<span class="i0">Comamos y bevamos sin recelos,<br /></span> -<span class="i4">la mesa de muchachos rodeada;<br /></span> -<span class="i4">mochachos que nos hagan ser aguelos.<br /></span> -<span class="i0">Passeremos assi neustra jornada,<br /></span> -<span class="i4">agora en la ciudad ahora en la aldea,<br /></span> -<span class="i4">porque la vida estè mas descansada.<br /></span> -<span class="i0">Quando pesada la ciudad nos sea,<br /></span> -<span class="i4">yremos al lugar con la compaña,<br /></span> -<span class="i4">adonde el importuno no nos vea.<br /></span> -<span class="i0">Alli se vivira con menos maña,<br /></span> -<span class="i4">y no aura el hombre tanto de guardarse<br /></span> -<span class="i4">d’ el malo, o d’ el grossero que os engaña.<br /></span> -<span class="i0">Alli podra mejor philosopharse<br /></span> -<span class="i4">con los bueyes, y cabras, y ovejas,<br /></span> -<span class="i4">que con los que d’ el vulgo han de tratarse.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_157" href="#FNanchor_157" class="label">157</a> -The description of Venus appearing, when the star which -has obtained her name rises, is thus given:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Mostrava ya su resplandor la estrella,<br /></span> -<span class="i4">Que barre de la sombra neustra suelo,<br /></span> -<span class="i4">Y al su venir toda otra cosa bella<br /></span> -<span class="i4">Dexava su lugar alla en el cielo:<br /></span> -<span class="i4">Quando Venus salio, y al salir d’ ella<br /></span> -<span class="i4">Saliò el amor, y junto saliò el zelo,<br /></span> -<span class="i4">El zelo que de amor nace en las cosas,<br /></span> -<span class="i4">Y mas en las que nacen mas hermosas.<br /></span> -<span class="i0">Saliò con sus cabellos esprazidos,<br /></span> -<span class="i4">Esta reyna de amor y de hermosura,<br /></span> -<span class="i4">Su rostro blanco y blancos sus vestidos,<br /></span> -<span class="i4">Con gravedad mezclada con dulçura:<br /></span> -<span class="i4">Los ojos entre vivos y caidos,<br /></span> -<span class="i4">Divino el ademan y la figura,<br /></span> -<span class="i4">Como aquella que Zeuxis trasladó<br /></span> -<span class="i4">De las cinco donzellas de Crotò.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_158" href="#FNanchor_158" class="label">158</a> -Some stanzas in the speech which the missionary Cupids -address to the ladies of Barcelona, bring to recollection a passage -in Tasso’s Jerusalem, though that poem did not then exist.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">N’ os engañe ni os trayga levantadas,<br /></span> -<span class="i4">La mocedad y verde loçania:<br /></span> -<span class="i4">Que os hallareys despues peor burladas,<br /></span> -<span class="i4">Con el tiempo que burla cada dia.<br /></span> -<span class="i4">Y de suerte os vereys desengañadas,<br /></span> -<span class="i4">Que engañaros querra la fantasia,<br /></span> -<span class="i4">Y n’ os valdra ni maña ni consejo,<br /></span> -<span class="i4">Ni miraros mil vezes al espejo.<br /></span> -<span class="i0">Guardad que mientras el buen tiempo dura,<br /></span> -<span class="i4">No se os pierda la fresca primavera:<br /></span> -<span class="i4">Sali à gozar el campo y su verdura,<br /></span> -<span class="i4">Antes que todo en el invierno muera:<br /></span> -<span class="i4">Reposa y sossega en essa frescura,<br /></span> -<span class="i4">Con el ayre que blandamente os hierra,<br /></span> -<span class="i4">Y assi falsas podreys estar señoras,<br /></span> -<span class="i4">Sobre el correr d’el tiempo y de las horas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_159" href="#FNanchor_159" class="label">159</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Danubio, rio divino<br /></span> -<span class="i0">Que por fieras naciones<br /></span> -<span class="i0">Vas con tus claras ondas discurriendo, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_160" href="#FNanchor_160" class="label">160</a> -In his elegy on Boscan he thus apostrophizes Mars:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">O crudo, o riguroso, o duro Marte,<br /></span> -<span class="i0">De tunica cubierto de diamante,<br /></span> -<span class="i0"><i>Y endurecido siempre en toda parte, &c.</i><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_161" href="#FNanchor_161" class="label">161</a> -The edition of the <i>Obras de Garcilaso de la Vega</i>, Madrid, -1765, 8vo. published by an anonymous editor, contains impartial -and correct remarks on the beauties and the defects of the author’s -poetry. The preface which is written with a spirit of patriotic -frankness is also worthy of perusal.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_162" href="#FNanchor_162" class="label">162</a> -In the following sonnet the dull and affected close forms a -disagreeable contrast to the fine commencement.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">La mar en medio y tierras he dexado<br /></span> -<span class="i4">De quanto bien, cuitado, yo tenía:<br /></span> -<span class="i4">Y yéndome alejando cada dia,<br /></span> -<span class="i4">Gentes, costumbres, lenguas he pasado.<br /></span> -<span class="i0">Ya de volver estoy desconfiado;<br /></span> -<span class="i4">Pienso remedios en mi fantasía:<br /></span> -<span class="i4">Y el que mas cierto espero, es aquel dia<br /></span> -<span class="i4">Que acabará la vida y el cuidado.<br /></span> -<span class="i0">Do qualquier mal pudiera socorrerme<br /></span> -<span class="i4">Con veros yo, señora, ó esperallo,<br /></span> -<span class="i4">Si esperallo pudiera sin perdello.<br /></span> -<span class="i0">Mas de no veros ya para valerme,<br /></span> -<span class="i4">Sino es morir, ningun remedio hallo:<br /></span> -<span class="i4">Y si este lo es, tampoco podré habello.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_163" href="#FNanchor_163" class="label">163</a> -It is as follows:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">O dulces prendas, por mi mal halladas,<br /></span> -<span class="i4">Dulces y alegres, quando Dios queria!<br /></span> -<span class="i4">Juntas estays en la memoria mia,<br /></span> -<span class="i4">Y con ella en mi muerte conjuradas.<br /></span> -<span class="i0">Quien me dixera, quando las passadas<br /></span> -<span class="i4">Horas en tanto bien por vos me via,<br /></span> -<span class="i4">Que me haviais de ser el algun dia<br /></span> -<span class="i4">Con tan grave dolor representadas!<br /></span> -<span class="i0">Pues en un hora junto me llevastes,<br /></span> -<span class="i4">Todo el bien, que por terminos me distes,<br /></span> -<span class="i4">Llevadme junto el mal, que me dexastes.<br /></span> -<span class="i0">Si no, sospecharè, que me pusistes<br /></span> -<span class="i4">En tantos bienes, porque deseastes<br /></span> -<span class="i4">Verme morìr entre memorias tristes.<br /></span> -</div></div> - -<p> -When stripped, however, of the pleasing versification, the ideas in -the last lines appear somewhat studied and far-fetched.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_164" href="#FNanchor_164" class="label">164</a> -The following two strophes are from the lament of Salicio.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Por ti el silencio de la selva umbrosa,<br /></span> -<span class="i4">Por ti la esquividad y apartamiento<br /></span> -<span class="i4">Del solitario monte me agradaba:<br /></span> -<span class="i4">Por ti la verde hierba, el fresco viento,<br /></span> -<span class="i4">El blanco lirio y colorada rosa,<br /></span> -<span class="i4">Y dulce primavera deseaba.<br /></span> -<span class="i4">Ay! quanto me engañaba,<br /></span> -<span class="i4">Ay! quan diferente era,<br /></span> -<span class="i4">Y quan de otra manera<br /></span> -<span class="i4">Lo que en tu falso pecho se escondía!<br /></span> -<span class="i4">Bien claro con su voz me lo decía<br /></span> -<span class="i4">La siniestra corneja repitiendo<br /></span> -<span class="i4">La desventura mia.<br /></span> -<span class="i4">Salid sin duelo lágrimas corriendo.<br /></span> -<span class="i0">Quantas veces durmiendo en la floresta<br /></span> -<span class="i4">(Reputándolo yo por desvarío)<br /></span> -<span class="i4">Vi mi mal entre sueños, desdichado!<br /></span> -<span class="i4">Soñaba que en el tiempo del estío<br /></span> -<span class="i4">Llevaba, por pasar allí la siesta,<br /></span> -<span class="i4">A beber en el Tajo mi ganado:<br /></span> -<span class="i4">Y despues de llegado,<br /></span> -<span class="i4">Sin saber de qual arte,<br /></span> -<span class="i4">Por desusada parte,<br /></span> -<span class="i4">Y por nuevo camino el agua se iba:<br /></span> -<span class="i4">Ardiendo yo con la calor estiva,<br /></span> -<span class="i4">El curso enajenado iba siguiendo<br /></span> -<span class="i4">Del agua fugitiva.<br /></span> -<span class="i4">Salid sin duelo lágrimas corriendo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_165" href="#FNanchor_165" class="label">165</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Mas ya que á socorrerme aqui no vienes,<br /></span> -<span class="i0">No dexes el lugar que tanto amaste;<br /></span> -<span class="i0">Que bien podrás venir de mi segura.<br /></span> -<span class="i0">Yo dexaré el lugar do me dexaste:<br /></span> -<span class="i0">Ven, si por solo esto te detienes.<br /></span> -<span class="i0">Ves aquí un prado lleno de verdura,<br /></span> -<span class="i0">Ves aquí una espesura,<br /></span> -<span class="i0">Ves aquí una agua clara,<br /></span> -<span class="i0">En otro tiempo cara,<br /></span> -<span class="i0">A quien de ti con lágrimas me quexo.<br /></span> -<span class="i0">Quizá aquí hallarás, pues yo me alejo,<br /></span> -<span class="i0">Al que todo mi bien quitarme puede;<br /></span> -<span class="i0">Que pues el bien le dexo,<br /></span> -<span class="i0">No es mucho que el lugar tambien le puede.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_166" href="#FNanchor_166" class="label">166</a></p> - -<div class="poem"><div class="stanza"> -<span class="i4">Do están agora aquellos claros ojos,<br /></span> -<span class="i0">Que llevaban tras sí como colgada<br /></span> -<span class="i0">Mi ánima do quier que se volvian?<br /></span> -<span class="i0">Do está la blanca mano delicada<br /></span> -<span class="i0">Llena de vencimientos y despojos,<br /></span> -<span class="i0">Que de mi mis sentidos le ofrecían?<br /></span> -<span class="i0">Los cabellos que vian<br /></span> -<span class="i0">Con gran desprecio al oro<br /></span> -<span class="i0">Como á menor tesoro,<br /></span> -<span class="i0">Adonde están? Adonde el blanco pecho?<br /></span> -<span class="i0">Do la coluna que el dorado techo,<br /></span> -<span class="i0">Con presuncion graciosa sostenía?<br /></span> -<span class="i0">Aquesto todo agora ya se encierra,<br /></span> -<span class="i0">Por desventura mia,<br /></span> -<span class="i0">En la fria, desierta y dura tierra.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_167" href="#FNanchor_167" class="label">167</a></p> - -<div class="poem"><div class="stanza"> -<span class="i4">Una parte guardé de tus cabellos,<br /></span> -<span class="i0">Eliza, envueltos en un blanco paño,<br /></span> -<span class="i0">Que nunca de mi seno se me apartan:<br /></span> -<span class="i0">Descójolos, y de un dolor tamaño<br /></span> -<span class="i0">Enternecerme siento, que sobre ellos<br /></span> -<span class="i0">Nunca mis ojos de llorar se hartan,<br /></span> -<span class="i0">Sin que de allí se partan,<br /></span> -<span class="i0">Con suspiros calientes,<br /></span> -<span class="i0">Mas que la llama ardientes,<br /></span> -<span class="i0">Los enxugo del llanto, y de consuno<br /></span> -<span class="i0">Casi los paso y cuento uno á uno:<br /></span> -<span class="i0">Juntándolos con un cordon los ato:<br /></span> -<span class="i0">Tras esto el importuno<br /></span> -<span class="i0">Dolor me dexa descansar un rato.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_168" href="#FNanchor_168" class="label">168</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Como acontece al mísero doliente,<br /></span> -<span class="i4">Que del un cabo el cierto amigo y sano<br /></span> -<span class="i4">Le muestra el duro mal de su acidente,<br /></span> -<span class="i0">Y le amonesta que del cuerpo humano<br /></span> -<span class="i4">Comience á levantar á mejor parte<br /></span> -<span class="i4">El alma suelta con volar liviano;<br /></span> -<span class="i0">Mas la tierna muger, de la otra parte,<br /></span> -<span class="i4">No se puede entregar al desengaño,<br /></span> -<span class="i4">Y encúbrele del mal la mayor parte:<br /></span> -<span class="i0">El, abrazado con su dulce engaño,<br /></span> -<span class="i4">Vuelve los ojos á la voz piadosa,<br /></span> -<span class="i4">Y alégrase muriendo con su daño:<br /></span> -<span class="i0">Así los quito yo de toda cosa,<br /></span> -<span class="i4">Y póngolos en solo el pensamiento<br /></span> -<span class="i4">De la esperanza cierta ó lastimosa.<br /></span> -<span class="i0">En este dulce error muero contento;<br /></span> -<span class="i4">Porque ver claro, y conocer mi estado<br /></span> -<span class="i4">No puede ya curar el mal que siento;<br /></span> -<span class="i0">Y acabo como aquel que en un templado<br /></span> -<span class="i4">Baño metido sin sentido muere,<br /></span> -<span class="i4">Las venas dulcemente desatado.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_169" href="#FNanchor_169" class="label">169</a> -In the title of the edition which I have perused of his <i>Obras</i>, -(Madrid, 1610, in 4to.) the word “Hurtado” is omitted, and he is -called simply Diego de Mendoza; but the Mendozas are so numerous -in Spanish literature, that it is necessary to pay attention to all -the distinctions in their names.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_170" href="#FNanchor_170" class="label">170</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">O embaxadores, puros majaderos,<br /></span> -<span class="i4">Que si los reyes quieren engañar,<br /></span> -<span class="i4">Comiençan por nosotros los primeros.<br /></span> -<span class="i0">Nuestro mayor negocio es, no dañar,<br /></span> -<span class="i4">Y jamas hacer cosa, ni dezilla,<br /></span> -<span class="i4">Que no corramos riesgo de enseñar.<br /></span> -</div></div> - -<p> -The passage is in the epistle commencing:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Que hace el gran señor de los Romanos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_171" href="#FNanchor_171" class="label">171</a> -They are to be found among his poems with these titles:—“Carta -en redondillas, <i>estando preso</i>.”—“Redondillas, <i>estando -preso por una pendencia que tuvo en palacio</i>.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_172" href="#FNanchor_172" class="label">172</a> -The best life of Mendoza is that which precedes his <i>Guerra -de Granada, Valencia</i>, 1776, in quarto. The notices in the fourth -volume of the <i>Parnaso</i> Español are also copious and useful.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_173" href="#FNanchor_173" class="label">173</a> -It commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">El no maravillarse hombre de nada<br /></span> -<span class="i4">Me parece, Boscan, ser una cosa,<br /></span> -<span class="i4">Que basta a darnos vida descansada; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_174" href="#FNanchor_174" class="label">174</a> -The commencement relates to Boscan’s wife:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tu la veràs Boscan, y yo la veo,<br /></span> -<span class="i4">Que los que amamos, vemos mas temprano,<br /></span> -<span class="i4">Hela, en cabello negro, y blanco arreo.<br /></span> -<span class="i0">Ella te cogera con blanda mano<br /></span> -<span class="i4">Las raras ubas, y la fruta cana,<br /></span> -<span class="i4">Dulces, y frescos dones del verano.<br /></span> -<span class="i0">Mira que diligencia, con que gana<br /></span> -<span class="i4">Viene al nuevo servicio, que pomposa<br /></span> -<span class="i4">Està con el trabajo, y quan ufana.<br /></span> -<span class="i0">En blanca leche colorada rosa<br /></span> -<span class="i4">Nunca para su amigo vi al pastor<br /></span> -<span class="i4">Mezclar, que pareciesse tan hermosa.<br /></span> -<span class="i0">El verde arrayan tuerce en derredor,<br /></span> -<span class="i4">De tu sagrada frente, con las flores,<br /></span> -<span class="i4">Mezclando oro immortal a la labor.<br /></span> -<span class="i0">Por cima van, y vienen los amores,<br /></span> -<span class="i4">Con las alas en vino remojadas,<br /></span> -<span class="i4">Suenan en el carcax los passadores.<br /></span> -<span class="i0">Remedie quien quisiere las pissadas<br /></span> -<span class="i4">De los grandes, que el mundo governaron,<br /></span> -<span class="i4">Cuyas obras, quiza estan olvidadas.<br /></span> -<span class="i0">Desuelese en lo que ellos no alcançaron,<br /></span> -<span class="i4">Duerma descolorido sobre el oro,<br /></span> -<span class="i4">Que no les quedara mas que llevaron.<br /></span> -<span class="i0">Yo Boscan, no procure otro tesoro,<br /></span> -<span class="i4">Sino poder vivir medianamente,<br /></span> -<span class="i4">Ni escondo la riqueza, ni la adoro.<br /></span> -<span class="i0">Si aqui hallas algun inconveniente,<br /></span> -<span class="i4">Como discreto, y no como yo soy,<br /></span> -<span class="i0">Me desengaña luego incontinente,<br /></span> -<span class="i4">Y sino ven conmigo adonde voy.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_175" href="#FNanchor_175" class="label">175</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quantos ay don Luys, que sobre nada<br /></span> -<span class="i4">Haziendo sumtuoso fundamento,<br /></span> -<span class="i4">Tienen la buena suerte por llegada.<br /></span> -<span class="i0">Cansanse con un vano pensamiento,<br /></span> -<span class="i4">Hechan sus conjeturas, y razones,<br /></span> -<span class="i4">Hazen torres vazias en el viento.<br /></span> -<span class="i0">Ensanchan al pensar los coraçones,<br /></span> -<span class="i4">Creen tener en puño la fortuna,<br /></span> -<span class="i4">Y toman por el pie las ocasiones.<br /></span> -<span class="i0">Como los simples niños que en la cuna,<br /></span> -<span class="i4">No saben conocer otro cuydado,<br /></span> -<span class="i4">Sino contar las vigas, una a una,<br /></span> -<span class="i0">Ansi passan la vida en descuydado,<br /></span> -<span class="i4">Y ternan por el mismo, sin mas duda,<br /></span> -<span class="i4">El tiempo por venir con el passado:<br /></span> -<span class="i0">Mas si el viento delante se les muda,<br /></span> -<span class="i4">Y arranca las arenas del profundo,<br /></span> -<span class="i4">No por esso harán vida sessuda.<br /></span> -<span class="i0">No les podra quitar hombre del mundo<br /></span> -<span class="i4">El comer, el dormir, el passear,<br /></span> -<span class="i4">El tenerse por solos sin segundo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_176" href="#FNanchor_176" class="label">176</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Otros ay que rebuelven en el seno,<br /></span> -<span class="i4">El tiempo que es passado, y el que tienen,<br /></span> -<span class="i4">Consideran lo suyo por lo ageno.<br /></span> -<span class="i0">Toman las ocasiones que les vienen,<br /></span> -<span class="i4">Y las que no les vienen, van buscando,<br /></span> -<span class="i4">Y con qualquier tiempo se entre tienen.<br /></span> -<span class="i0">El mundo punto a punto van passando<br /></span> -<span class="i4">Los hombres por de dentro, y por defuera<br /></span> -<span class="i4">Como en anatomia examinando.<br /></span> -<span class="i0">Ponen la diligencia en delantera,<br /></span> -<span class="i4">El seso, y la razon por el guarismo,<br /></span> -<span class="i4">Quieren que todo venga a su manera.<br /></span> -<span class="i0">No tienen otra ley, ni otro bautismo,<br /></span> -<span class="i4">Sino lo que les cumple, y por solo esto<br /></span> -<span class="i4">Yran hasta el profundo del abismo.<br /></span> -<span class="i0">Agudos en el cuerpo, y en el gesto,<br /></span> -<span class="i4">Mal ceñidos, las capas arrastradas,<br /></span> -<span class="i4">El ojo abierto, y el caminar presto.<br /></span> -<span class="i0">Si les suceden cosas desastradas,<br /></span> -<span class="i4">Escogen, y proveen lo peor,<br /></span> -<span class="i4">Nadie puede topar con sus pisadas.<br /></span> -<span class="i0">No toman el camino, que es mejor,<br /></span> -<span class="i4">Llano, y trillado, antes al reves,<br /></span> -<span class="i4">Engañanse en el arte, y la labor.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_177" href="#FNanchor_177" class="label">177</a> -Words on which elisions are permitted in Italian, as for -example, <i>dar</i>, <i>legger</i>, <i>amor</i>, <i>peggior</i>, instead of <i>dare</i>, <i>leggere</i>, -<i>amore</i>, <i>peggiore</i>, are in Spanish, by an invariable rule of the language, -written <i>dar</i>, <i>leèr</i>, <i>amor</i>, <i>peòr</i>; and, on the other hand, no -poet can presume to omit the terminating vowels in Spanish words. -A succession of pure feminine rhymes is, therefore, as unnatural in -the Spanish language as in the German. In the Spanish, however, -the unnatural effect is easily concealed; while in the German, the -incessant recurrence of the semi-mute <i>e</i>, in feminine rhymes, is -intolerable.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_178" href="#FNanchor_178" class="label">178</a> -The following is characteristic, since it presents in a picture -of the poet’s mode of life, the mingled features of Italian refinement -and the Spanish tone of thinking.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Aora en la dulce ciencia embevecido,<br /></span> -<span class="i4">Ora en el uso de la ardiente espada,<br /></span> -<span class="i4">Aora con la mano, y el sentido<br /></span> -<span class="i4">Puesto en seguir la plaça levantada,<br /></span> -<span class="i0">Ora el pesado cuerpo estè dormido,<br /></span> -<span class="i4">Aora el alma atenta, y desvelada,<br /></span> -<span class="i4">Siempre en el coraçon tendre esculpido<br /></span> -<span class="i4">Tu ser, y hermosura entretallada.<br /></span> -<span class="i0">Entre gentes estrañas, do se encierra<br /></span> -<span class="i4">El Sol fuera del mundo, y se desvia,<br /></span> -<span class="i4">Durarè, y permanecerè deste arte.<br /></span> -<span class="i0">En el mar, en el cielo, so la tierra,<br /></span> -<span class="i4">Contemplarè la gloria de aquel dia,<br /></span> -<span class="i4">Que tu vista figura en toda parte.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_179" href="#FNanchor_179" class="label">179</a> -One of those canciones commences in a sententious way in the -horatian manner, but it soon degenerates into an obscurity, very unlike -Horace.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tiempo bien empleado,<br /></span> -<span class="i4">Y vida descansada,<br /></span> -<span class="i4">Bien que á pocos, y tarde se consiente<br /></span> -<span class="i4">Olvidar lo passado,<br /></span> -<span class="i4">Holgar con lo presente,<br /></span> -<span class="i4">Y de lo por venir, no curar nada,<br /></span> -<span class="i4">Hora falta, y menguada<br /></span> -<span class="i4">La del que nunca olvida<br /></span> -<span class="i4">Un cuydado que siempre le da pena.<br /></span> -<span class="i4">Cortado à su medida<br /></span> -<span class="i4">Tan importuna, y llena,<br /></span> -<span class="i4">Que ni otro halla entrada, ni el salida,<br /></span> -<span class="i4">Mas tiene por testigo<br /></span> -<span class="i4">Su pensamiento, y este es su enemigo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_180" href="#FNanchor_180" class="label">180</a> -See the Introduction, page 20.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_181" href="#FNanchor_181" class="label">181</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Hagame lugar<br /></span> -<span class="i0">El placer un dia!<br /></span> -<span class="i0">Dexame contar<br /></span> -<span class="i0">Esta pena mia!<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_182" href="#FNanchor_182" class="label">182</a> -The following are the first stanzas of a song, which he -composed in prison, after his extraordinary adventure in the court -of Madrid:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Triste, y aspera fortuna<br /></span> -<span class="i4">Un preso tiene afligido,<br /></span> -<span class="i4">Mas no por esso vencido<br /></span> -<span class="i4">Con la fuerça de ninguna.<br /></span> -<span class="i0">Entre sus cuydados vive,<br /></span> -<span class="i4">Ellos mismos le atormentan,<br /></span> -<span class="i4">Mil muertes le representan,<br /></span> -<span class="i4">Y las mas dellos recibe.<br /></span> -<span class="i0">Y aunque no se rinde al peso<br /></span> -<span class="i4">De tantas penas, y enojos,<br /></span> -<span class="i4">Rinde à Filis los despojos<br /></span> -<span class="i4">De sus entrañas, y seso.<br /></span> -<span class="i0">Tristezas, y soledades,<br /></span> -<span class="i4">Y quexas muy apretadas,<br /></span> -<span class="i4">Que sino son declaradas,<br /></span> -<span class="i4">A lo menos son verdades.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_183" href="#FNanchor_183" class="label">183</a> -In a half comic song, he describes jealousy (in Spanish <i>los -zelos</i>, jealous thoughts), in a series of very odd, negative comparisons;—for -example:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No es padre, suegro, ni yerno,<br /></span> -<span class="i4">Ni es hijo, hermano, ni tio,<br /></span> -<span class="i4">Ni es mar, arroyo, ni rio,<br /></span> -<span class="i4">Ni es verano, ni es invierno,<br /></span> -<span class="i4">Ni es otoño, ni es estio.<br /></span> -<span class="i0">No es ave, ni es animal,<br /></span> -<span class="i4">Ni es Luna, sombra ni Sol,<br /></span> -<span class="i4">Vequadrado, ni vemol,<br /></span> -<span class="i4">Piedra, planta, ni metal,<br /></span> -<span class="i4">Ni pece, ni caracol.<br /></span> -<span class="i0">Tampoco es noche, ni dia,<br /></span> -<span class="i4">Ni hora, ni mes, ni año,<br /></span> -<span class="i4">Ni es lienço, seda, ni paño,<br /></span> -<span class="i4">Ni es Latin, ni Algaravia,<br /></span> -<span class="i4">Ni es ogaño, ni fue antaño<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_184" href="#FNanchor_184" class="label">184</a> -The only editions of the <i>vida de Lazarillo de Tormes</i> now -in circulation, are printed after that published at Saragossa, in the -year 1652, with de Luna’s corrections and continuation.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_185" href="#FNanchor_185" class="label">185</a> -A new edition of this work, which is entitled:—<i>Guerra de -Granada, que hizo el rey don Felipe II. &c. Escriviòla D. Diego -Hurtado de Mendoza</i>, has been mentioned in the note, p. 193. It -is in fact the first correct edition, for in it the original text is -restored by collation with the genuine MS.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_186" href="#FNanchor_186" class="label">186</a> -This affectation of style is particularly observable in the -Proœmium; and therefore that part of the work does not create a -very favourable prepossession towards the author, in the mind of the -impartial critic:—</p> -<p> -Bien sè que muchas cosas de las que escriviere pareceràn a -algunos livianas, i menudas para Historia, comparadas a las grandes, -que de España se hallan escritas; Guerras largas de varios sucesos, -tomas i desolaciones de Ciudades populosas, Reyes vencidos i presos, -discordias entre padres i hijos, hermanos i hermanas, suegros i -hiernos, desposeidos, restituidos, i otra vez desposeidos, muertos a -hierro, acabados linages, mudadas successiones de Reinos; libre i -estendido campo, i ancha salida para los Escritores. Yo escogi -camino mas estrecho, trabajoso, esteril, i sin gloria; pero provechoso, -i de fruto para los que adelante vinieren; comienzos bajos, -rebelion de salteadores, junta de esclavos, tumulto de villanos, competencias, -odios, ambiciones, i pretensiones; dilacion de provisiones, -falta de dinero, inconvenientes o no creidos, o tenidos en poco.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_187" href="#FNanchor_187" class="label">187</a> -For example:</p> -<p> -Porque la Inquisicion los comenzò a apretar mas de lo ordinario. -El Rei les mandò dejar la habla Morisca, i con ella el -comercio i comunicacion entre si; quitòseles el servicio de los -Esclavos negros a quienes criavan con esperanzas de hijos, el habito -Morisco en que tenian empleado gran caudal; obligaronlos a vestir -Castellano con mucha costa, que las mugeres trugesen los rostros -descubiertos, que las casas acostumbradas a estar cerradas estuviesen -abiertas: lo uno i lo otro tan grave de sufrir entre gente -celosa. Huvo fama que les mandavan tomar los hijos, i pasallos a -Castilla. Vedaronles el uso de los baños, que eran su limpieza i -entrenimiento; primero les havian prohibido la Musica, cantares, -fiestas, bodas, conforme a su costumbre, i qualesquier juntas de -pasatiempo. Saliò todo esto junto sin guardia, ni provision de -gente; sin reforzar presidios viejos, o firmar otros nuevos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_188" href="#FNanchor_188" class="label">188</a> -This speech is forcibly written, and the style is no where -disfigured by rhetorical ornament. The following is one of its most -powerful passages:—</p> -<p> -Quien quita que el hombre de Lengua Castellana no pueda -tener la lei del Profeta? i el de la lengua Morisca la lei de Jesus? -llaman a nuestros hijos a sus Congregaciones i casas de letras, -enseñanles artes que nuestros mayores prohibieron aprenderse; -porque no se confundiese la puridad, i se hiciese litigiosa la verdad -de la lei. Cada hora nos amenazan quitarlos de los brazos de sus -madres, i de la crianza de sus padres, i pasarlos a tierras agenas; -donde olviden nuestra manera de vida, i aprendan a ser enemigos de -los padres que los engendramos, i de las madres que los parieron. -Mandannos dejar nuestro habito, vestir el Castellano. Vistense -entre ellos los Tudescos de una manera, los Franceses de otra, los -Griegos de otra, los Frailes de otra, los mozos de otra, i de otra los -viejos; cada Nacion, cada profesion i cada estado usa su manera de -vestido, i todos son Christianos; i nosotros Moros, porque vestimos a -la Morisca; como si truxesemos la lei en el vestido, i no en el corazon.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_189" href="#FNanchor_189" class="label">189</a> -Demàs desto proveerse de vitualla, eligir lugar en la montaña -donde guardalla, fabricar armas, reparar las que de mucho -tiempo tenian escondidas, comprar nuevas, i avisar de nuevo a los -Reyes de Argel, Fez, Señor de Tituan desta resolucion i preparaciones.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_190" href="#FNanchor_190" class="label">190</a> -In the year 1737, that excellent critic Mayans, in allusion -to Diego de Mendoza’s <i>Guerra de Granada</i>, observes:—Deve -leerse, como el la escriviò. Quiere Dios que algun dia la publique -yo! (<i>Orig. de la Lingua Española</i>, vol. i. p. 205). Thus even at -that period a genuine edition, such as Mayans wished to superintend, -could not be published.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_191" href="#FNanchor_191" class="label">191</a> -Dieze, it is true, alledges the contrary, in his notes on Velasquez; -but it appears that he was acquainted only with the pastoral -poems, and not with the other works of Saa de Miranda.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_192" href="#FNanchor_192" class="label">192</a> -These Spanish pastoral poems are mingled indiscriminately -with the Portuguese poems of the same author, in the neatly printed -edition of the <i>Obras do Doctor Francisco de Sà de Miranda, -Lisboa</i>, 1784, in 2 vols. 8vo. No attention has been paid to the -correction of the Spanish poems in this collection, and Portuguese -words continually occur in them; for example, <i>as</i> for <i>las</i>, <i>pensamentos</i> -for <i>pensamientos</i>, <i>outro</i> for <i>otro</i>, &c. The orthography of -the title-page is uncommon; for in other cases the Portuguese -spelling is not <i>doctor</i>, but <i>doutor</i>, and <i>Sà</i> is a modern substitution -for <i>Saa</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_193" href="#FNanchor_193" class="label">193</a> -The following stanza may certainly claim a place in the best -epic poem.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Como el pino en el monte combalido<br /></span> -<span class="i4">Del impetuoso viento en la tormenta,<br /></span> -<span class="i4">A quantos que lo ven pone en recelo,<br /></span> -<span class="i4">Los truenos amenazan, arrebienta<br /></span> -<span class="i4">El fuego por las nuves, exlo erguido,<br /></span> -<span class="i4">Exlo coruo que vâ cayendo al suelo,<br /></span> -<span class="i4">Hasta tanto que el Cielo<br /></span> -<span class="i4">Se abre en llama ardiendo,<br /></span> -<span class="i4">Entre viendo, y no viendo,<br /></span> -<span class="i4">El bravo rayo en bueltas mil desciende,<br /></span> -<span class="i4">Aquel prostrero mal quien se defiende?<br /></span> -<span class="i4">Queda un tronco quemado, y cuento breve,<br /></span> -<span class="i4">A quien passa porende,<br /></span> -<span class="i4">O busca alli quiça que a casa lleve.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_194" href="#FNanchor_194" class="label">194</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Graciosamente estando,<br /></span> -<span class="i0">Graciosamente andando,<br /></span> -<span class="i0">Blando ayre respirava al prado ameno.<br /></span> -<span class="i0">Ella cantava, y juntamente el seno<br /></span> -<span class="i0">Inchiendose yva de diversas flores,<br /></span> -<span class="i0">En que el prado era lleno<br /></span> -<span class="i0">Sobre verde variado en mil colores.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_195" href="#FNanchor_195" class="label">195</a> -For instance, the following passage in the second eclogue:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">A que parte se es yda esta alma mia?<br /></span> -<span class="i0">Quien me la enseñarà? yo que hago aqui?<br /></span> -<span class="i0">Sin alguno de dos, que antes tenia?<br /></span> -<span class="i0">Que entr’ambas se ajuntáran contra mi?<br /></span> -<span class="i0">Solo dexado me han, ciego, y sin guia.<br /></span> -<span class="i0">Pareceos esto amor? dexarme ansi?<br /></span> -<span class="i0">Consigo no quisieran allà llevarme<br /></span> -<span class="i0">Ni buelto me han a ver, ni a consolarme.<br /></span> -<span class="i4">Como una llama por el monte ardiente,<br /></span> -<span class="i0">Que presto en alto buela, y no parece,<br /></span> -<span class="i0">De vista se nos pierde en continente,<br /></span> -<span class="i0">Y el humo turbio solo remanece,<br /></span> -<span class="i0">Otra tal claridad resplandeciente,<br /></span> -<span class="i0">Mientras mirando estava, eis se escurece<br /></span> -<span class="i0">Ansi tan presto? triste a donde yrè?<br /></span> -<span class="i0">Sin ti y allá sin ti, triste que harè?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_196" href="#FNanchor_196" class="label">196</a> -Can any thing be more charming than the following passage -from the seventh eclogue? A nymph gazes on a sleeping shepherd.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Duerme el hermoso donzel,<br /></span> -<span class="i4">No zagal, no pastor, no,<br /></span> -<span class="i4">Mientras al sueño se diò,<br /></span> -<span class="i4">Mi alma diosele a el.<br /></span> -<span class="i4">El Sol es alto, y con el<br /></span> -<span class="i4">Del dia, es ido un buen trecho<br /></span> -<span class="i4">No sè que de mi se hà hecho,<br /></span> -<span class="i4">Serà lo que fuere del.<br /></span> -<span class="i0">Loca de mi, que a mirar<br /></span> -<span class="i4">Me puse, y dixe tal viendo,<br /></span> -<span class="i4">Quien tanto aplaze dormiendo,<br /></span> -<span class="i4">Despierto, que es de pensar?<br /></span> -<span class="i4">Quiseme luego apartar,<br /></span> -<span class="i4">No se quien me buelve aqui.<br /></span> -<span class="i4">Ah quan tarde que entendi,<br /></span> -<span class="i4">Que peligro es començar.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_197" href="#FNanchor_197" class="label">197</a> -For example, the apostrophe to the dead Diego, in the first -eclogue.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Vete buen Diego en paz, que en esta tierra<br /></span> -<span class="i4">El plazer de oy no dura hasta mañana,<br /></span> -<span class="i4">Y dura mucho quanto desaplaze.<br /></span> -<span class="i4">Allâ aora no ves la vision vana,<br /></span> -<span class="i4">Que acá viviendo te hizo tanta guerra,<br /></span> -<span class="i4">Ardiendo el cuerpo que ora frio yaze,<br /></span> -<span class="i4">Lo que allà satisfaze<br /></span> -<span class="i4">A tus ya claros ojos,<br /></span> -<span class="i4">No son vanos antojos<br /></span> -<span class="i4">De que ay por estos cerros muchedumbre:<br /></span> -<span class="i4">Mas siempre una paz buena en clara lumbre:<br /></span> -<span class="i4">Contentamiento cierto te acompaña,<br /></span> -<span class="i4">No tanta pesadumbre,<br /></span> -<span class="i4">Como acà va por esta tierra estraña.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_198" href="#FNanchor_198" class="label">198</a> -For example, in the second eclogue:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Aur. Que quiere (ò mi Mauricio) dezir tal<br /></span> -<span class="i4">Huviar de perros como a la porfia?<br /></span> -<span class="i4">No se que sean cierto, es algun gran mal:<br /></span> -<span class="i4">Aves nocturnas buelvan entre dia;<br /></span> -<span class="i4">Lobos tan bravos de su natural,<br /></span> -<span class="i4">Buscan a la Aldea de la Serrania.<br /></span> -<span class="i4">No vees el mal gusano, y que pesares<br /></span> -<span class="i4">Se hà hecho de las viñas, y pomares?<br /></span> -<span class="i0">Una mula hà parido en nuestra Aldea,<br /></span> -<span class="i4">Y las vacas no paren; ayer cayò<br /></span> -<span class="i4">Del Cielo un breve que no ay quien lo lea<br /></span> -<span class="i4">Son crego, o frayle, que yà Missa cantò,<br /></span> -<span class="i4">Con dos cabeças (cosa estraña, y fea)<br /></span> -<span class="i4">Un potro, y con seispies (diz) que nascio.<br /></span> -<span class="i4">Como Gallos nos cantan las Gallinas,<br /></span> -<span class="i4">Y no se vieran ogaño Golondrinas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_199" href="#FNanchor_199" class="label">199</a> -As for example, in the fifth eclogue:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Dime pastor de cabras alquilado,<br /></span> -<span class="i4">(Y no te enojes con la tal demanda,<br /></span> -<span class="i4">Que me echas un mal ojo atravessado)<br /></span> -<span class="i0">A quien embiò Toribia la guirlanda<br /></span> -<span class="i4">Que ella traya sobre sus cabellos?<br /></span> -<span class="i4">Cantando, con que boz, clara, y quan blanda?<br /></span> -<span class="i0">Y a quien embiava juntamente aquellos<br /></span> -<span class="i4">Sus ojos que d’Amor son corredores,<br /></span> -<span class="i4">Que se yva el mismo Amor embuelto en ellos?<br /></span> -<span class="i0">Mañana de San Juan, quando a las flores<br /></span> -<span class="i4">Y al agua todos salen, quien tal gala<br /></span> -<span class="i4">Viò nunca, y tal donayre entre pastores?<br /></span> -<span class="i0">Ora que parecia alli Pascuala?<br /></span> -<span class="i4">Y Menga que? Costança, y la Perona?<br /></span> -<span class="i4">Aquellas, que a su ver quien las yguala?<br /></span> -<span class="i0">Que gracia, que blandura, y que persona,<br /></span> -<span class="i4">Que color de una Rosa a la mañana,<br /></span> -<span class="i4">Que al despuntar del Sol s’abre y corona?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_200" href="#FNanchor_200" class="label">200</a> -The following is a specimen:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Sola me dexaste<br /></span> -<span class="i4">En aquel hiermo,<br /></span> -<span class="i4">Villano malo Gallego.<br /></span> -<span class="i0">Voyme a do te fuyste,<br /></span> -<span class="i4">Voyme no sè a donde.<br /></span> -<span class="i4">El valle responde,<br /></span> -<span class="i4">Tu no respondiste.<br /></span> -<span class="i4">Moça sola ay triste,<br /></span> -<span class="i4">Que llorando ciego<br /></span> -<span class="i4">Tu passaslo en juego.<br /></span> -<span class="i0">Por hiermos agenos<br /></span> -<span class="i4">Lloro, y grito en vano.<br /></span> -<span class="i4">Gallego, y villano,<br /></span> -<span class="i4">Que esperava yo menos?<br /></span> -<span class="i4">Ojos de agua llenos,<br /></span> -<span class="i4">Vòs pecho de fuego<br /></span> -<span class="i4">Quando avreis sossiego?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_201" href="#FNanchor_201" class="label">201</a> -The biographical notices of Jorge de Montemayor, prefixed -to the ninth volume of the Parnaso Español, do not exactly correspond -with those by Nicolas Antonio.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_202" href="#FNanchor_202" class="label">202</a> -Passages of real delicacy are not, however, wanting; for -example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No me diste, o crudo amor,<br /></span> -<span class="i4">El bien que tuve en presencia,<br /></span> -<span class="i4">Sino porque el mal de ausencia<br /></span> -<span class="i4">Me parezca muy mayor.<br /></span> -<span class="i0">Das descanso, das reposo,<br /></span> -<span class="i4">No por dar contentamiento,<br /></span> -<span class="i4">Mas porque este el suffrimiento<br /></span> -<span class="i4">Algun tiempo ocioso:<br /></span> -<span class="i4">Ved que invenciones de Amor,<br /></span> -<span class="i4">Darme contento en presencia,<br /></span> -<span class="i4">Porque no tenga en ausencia<br /></span> -<span class="i4">Reparo contra el dolor.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_203" href="#FNanchor_203" class="label">203</a> -The following song, with which the lyric gallery opens, may -be quoted as an instance:—</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Cabellos, quanta mudança<br /></span> -<span class="i0">He visto despues que os vi,<br /></span> -<span class="i0">Y quan mal parece ay<br /></span> -<span class="i0">Essa color de esperanza.<br /></span> -<span class="i2">Bien pensava yo, cabellos,<br /></span> -<span class="i0">(Aunque con algun temor)<br /></span> -<span class="i0">Que no fuera otro pastor<br /></span> -<span class="i0">Digno de verse cabe ellos.<br /></span> -<span class="i2">Ay cabellos! quantos dias<br /></span> -<span class="i0">La mi Diana mirava,<br /></span> -<span class="i0">Si os traya, o si os dexava,<br /></span> -<span class="i0">Y otros cien mil niñerias?<br /></span> -<span class="i2">Y quantas vezes llorando<br /></span> -<span class="i0">Ay lagrimas engañosas<br /></span> -<span class="i0">Pedia celos de cosas<br /></span> -<span class="i0">De que yo estava burlando.<br /></span> -<span class="i2">Los ojos que me matavan,<br /></span> -<span class="i0">Dezid, dorados cabellos,<br /></span> -<span class="i0">Que culpa tuve en creellos<br /></span> -<span class="i0">Pues ellos me asseguravan.<br /></span> -<span class="i2">No vistes vos que algun dia<br /></span> -<span class="i0">Mil lagrimas derramava<br /></span> -<span class="i0">Hasta que yo le jurava<br /></span> -<span class="i0">Que sus palabras creya?<br /></span> -<span class="i2">Quien vio tanta hermosura<br /></span> -<span class="i0">En tan mudable sujeto?<br /></span> -<span class="i0">Y en amador tan perfeto<br /></span> -<span class="i0">Quien vio tanta desventura?<br /></span> -<span class="i2">O cabellos no os correys!<br /></span> -<span class="i0">Por venir de a do venistes,<br /></span> -<span class="i0">Viendome como me vistes,<br /></span> -<span class="i0">En verme como me veys.<br /></span> -<span class="i2">Sobre el arena sentada<br /></span> -<span class="i0">De aquel rio la vi yo,<br /></span> -<span class="i0">Do con el dedo escrivio<br /></span> -<span class="i0"><i>Antes muerta que mudada</i>.<br /></span> -<span class="i2">Mira el Amor que ordena<br /></span> -<span class="i0">Que os viene hazer creer<br /></span> -<span class="i0">Cosas dichas por muger<br /></span> -<span class="i0">Y escritas en el arena.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_204" href="#FNanchor_204" class="label">204</a> -For example, the following <i>Villancico</i>, which has been -frequently imitated:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Contentamientos de amor<br /></span> -<span class="i2">Que tan cansados llegays,<br /></span> -<span class="i2">Si venis, paraque os vays?<br /></span> -<span class="i0">Aun no acabays de venir<br /></span> -<span class="i3">Despues de muy desseados,<br /></span> -<span class="i3">Quando estays determinados<br /></span> -<span class="i3">De madrugar y partir,<br /></span> -<span class="i3">Si tan presto os aveys de yr,<br /></span> -<span class="i3">Y tan triste me dexays,<br /></span> -<span class="i3">Plazeres no me veays.<br /></span> -<span class="i1">Los contentos huyo dellos,<br /></span> -<span class="i3">Pues no me vienen à ver,<br /></span> -<span class="i3">Mas que por darme à entender<br /></span> -<span class="i3">Lo que se pierde en perdellos:<br /></span> -<span class="i3">Y pues ya no quiero vellos,<br /></span> -<span class="i3">Descontentos no os partays,<br /></span> -<span class="i3">Pues bolveys despues que os vays.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_205" href="#FNanchor_205" class="label">205</a> -One of the most beautiful lyrical pieces that ever was composed -in any language, is a cancion by Montemayor, of which the -following are the three first stanzas. Diana is supposed to be -singing:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ojos, que ya no veis quien os miraba<br /></span> -<span class="i0">quando erades espejo en que se via,<br /></span> -<span class="i0">qué cosa podeis ver que os dé contento?<br /></span> -<span class="i0">Prado florido y verde, dó algun dia<br /></span> -<span class="i0">por él mi dulce amigo yo esperaba,<br /></span> -<span class="i0">llorad conmigo el grave mal que siento.<br /></span> -<span class="i0">Aqui me declaró su pensamiento,<br /></span> -<span class="i0">oile yo cuitáda<br /></span> -<span class="i0">mas que serpiente ayrada,<br /></span> -<span class="i0">llamandole mil veces atrevido:<br /></span> -<span class="i0">y el triste alli rendido:<br /></span> -<span class="i0">parece que es ahora, y que le veo,<br /></span> -<span class="i0">y aun ese es mi deseo:<br /></span> -<span class="i0">ay si ahora le viese! ay tiempo bueno!<br /></span> -<span class="i0">Ribera umbrosa, qué es de mi Sireno?<br /></span> -<span class="i4">Aquella es la ribera, este es el prado,<br /></span> -<span class="i0">de allí parece el soto y valle umbroso<br /></span> -<span class="i0">que yo con mi rebaño repastaba:<br /></span> -<span class="i0">veis el arroyo dulce y sonoroso<br /></span> -<span class="i0">dó pacia la siesta mi ganado,<br /></span> -<span class="i0">quando mi dulce amigo aqui moraba,<br /></span> -<span class="i0">debajo aquella haya verde estaba;<br /></span> -<span class="i0">y veis alli el otero<br /></span> -<span class="i0">a dò le ví primero,<br /></span> -<span class="i0">y dò me vió, dichoso fue aquel dia,<br /></span> -<span class="i0">si la desdicha mia<br /></span> -<span class="i0">un tiempo tan dichoso no acabára.<br /></span> -<span class="i0">O haya, o fuente clara!<br /></span> -<span class="i0">todo está aqui, mas no por quien yo peno.<br /></span> -<span class="i0">Ribera umbrosa, qué es de mi Sireno?<br /></span> -<span class="i4">Aqui tengo un retrato que me engaña,<br /></span> -<span class="i0">pues veo a mi pastor quando lo veo,<br /></span> -<span class="i0">aunque en mi alma está mejor sacado:<br /></span> -<span class="i0">quando de velle llega el gran deseo,<br /></span> -<span class="i0">de quien el tiempo luego desengaña.<br /></span> -<span class="i0">A aquella fuente voy que está en el prado,<br /></span> -<span class="i0">arrimomele al sauce, y a su lado<br /></span> -<span class="i0">me siento, ay amor ciego!<br /></span> -<span class="i0">al agua miro luego,<br /></span> -<span class="i0">y veo él y a mì como le via<br /></span> -<span class="i0">quando él aqui vivia:<br /></span> -<span class="i0">esta invencion un rato me sustenta,<br /></span> -<span class="i0">despues caygo en la cuenta,<br /></span> -<span class="i0">y dice el corazon de ansias lleno:<br /></span> -<span class="i0">Ribera umbrosa, qué es de mi Sireno? &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_206" href="#FNanchor_206" class="label">206</a> -See vol. ii. of my History of Italian Poetry and Eloquence.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_207" href="#FNanchor_207" class="label">207</a> -For example:—</p> -<p> -Considerava que sus servicios eran sin esperança de galardon, -cosa que a quien tuviera menos firmeza pudiera facilmente atajar el -camino de sus amores. Mas era tanta su constancia, que puesta -en medio de todas las causas la que tenia de olvidar a quien no se -acordava del, salia tan a su salvo dellas, y tan sin prejuyzio del -amor que a su pastora tenia, que sin miedo alguno acometia qualquiera -imaginacion que en daño de su fe le sobreviniesse. Pues -como vio à Sireno junto à la fuente quedo muy espantado de verle -assi tan triste: no porque el ignorasse la causa de su tristeza, mas -porque le parecio que si el huviera recebido el mas pequeño favor -que Sireno algun tiempo recibio de Diana, aquel contentamiento -bastara para toda la vida tenerle.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_208" href="#FNanchor_208" class="label">208</a> -On one occasion, the beautiful Felismene calls love a <i>devilish</i> -passion. Lo que siento desta <i>endiablada</i> passion, she says in the -second book.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_209" href="#FNanchor_209" class="label">209</a> -He thus describes the savage robbers by whom the nymphs -are attacked:—</p> -<p> -Venian armados de cosseletes, y celadas de cuero de tigre:—eran -de tan fea catadura, que ponian espanto los cosseletes. Trayan -por braçaletes unas bocas de serpientes, por donde sacavan los -braços, que gruessos y vellosos parecian: y las celadas venian a -hazer encima de la frente unas espantables cabeças de leones. Lo -de mas trayan desnudo, cubierto de espesso y largo vello, unos -bastones herrados de muy agudas puntas de azero. Trayan al -cuello sus arcos y flechas: los escudos eran de unas conchas de -pescado muy fuerte.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_210" href="#FNanchor_210" class="label">210</a> -For instance, the sage Felicia thus philosophizes on love -and virtue:—</p> -<p> -En estos casos de amor tengo yo una regla, que siempre la he -hallado muy verdadera, y es que el animo generoso, y el entendimiento -delicado, en esto del querer bien, lleva grandissima ventaja -al que no lo es. Porque como el amor sea virtud, y la virtud -siempre haga assiento en le mejor lugar, esta claro que las personas -de suerte seran muy mejor enamorades que aquellas à quien esta -falta.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_211" href="#FNanchor_211" class="label">211</a> -See the notices in Dieze’s remarks on Velasquez, p. 91, in -which the different editions of the Diana are likewise mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_212" href="#FNanchor_212" class="label">212</a> -Even this slender notice of the life of Herrera, which is -partly extracted from Nicolas Antonio, and partly from the seventh -volume of the <i>Parnaso Español</i>, seems to be rather matter of -conjecture, than historically authentic.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_213" href="#FNanchor_213" class="label">213</a> -He framed the new words, <i>reluchar</i>, <i>ovoso</i>, <i>purpurar</i>, <i>ensañarse</i>, -from the Castilian <i>luchar</i>, <i>ova</i>, <i>purpura</i>, and <i>saña</i>: and he -derived from the latin the words <i>beligero</i>, <i>flamigero</i>, <i>horrisono</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_214" href="#FNanchor_214" class="label">214</a> -Among the modern admirers of Herrera, Don Ramon Fernandez, -in the preface to the fifth volume of his collection of Spanish -poems, speaks with enthusiasm of the language of that poet. The -fifth and sixth volumes of the collection (Madrid 1786), contain the -<i>Rimas de Fernando de Herrera</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_215" href="#FNanchor_215" class="label">215</a> -Occasionally his descriptions seem to be imitated from -Petrarch, though the imitation is, in some measure, concealed by -the Spanish style of expression; for example, in the following -stanza:</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ya subo a pena, y nunca descansando,<br /></span> -<span class="i0">Por yertos riscos, pasos despeñados,<br /></span> -<span class="i0">Ya en hondos valles baxo con presteza,<br /></span> -<span class="i0">Lugares de las fieras no tratados,<br /></span> -<span class="i0">El pensamiento en ellos variando.<br /></span> -<span class="i0">Un frio horror y subita tristeza.<br /></span> -<span class="i0">Roba el vigor, y engendra la flaqueza:<br /></span> -<span class="i0">Qualquier soplo de viento, que resuena<br /></span> -<span class="i0">Entre árboles desnudos quebrantado,<br /></span> -<span class="i0">Aqueja la esperanza y el cuidado,<br /></span> -<span class="i0">Que piensa ser la causa de su pena:<br /></span> -<span class="i0">Pero luego engañado<br /></span> -<span class="i0">Hallo el cuidado y la esperanza vana,<br /></span> -<span class="i0">Que, como sombra, se me va liviana;<br /></span> -<span class="i0">Mas luego en la memoria Amor despierta,<br /></span> -<span class="i0">Para cobrar su bien, la gloria muerta.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_216" href="#FNanchor_216" class="label">216</a> -The following is the commencement of one of the odes on the -battle of Lepanto, imitated from Horace’s <i>Descende cælo, Caliope</i>.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Desciende de la cumbre de Parnaso,<br /></span> -<span class="i0">Cantando dulcemente en noble lira,<br /></span> -<span class="i0">O tú, de eterna juventud, Talia,<br /></span> -<span class="i0">Y nuevo aliento al corazon me inspira<br /></span> -<span class="i0">Aqui, donde el torcido y luengo paso<br /></span> -<span class="i0">Betis al hondo mar corriente envia;<br /></span> -<span class="i0">Porque de la voz mia<br /></span> -<span class="i0">Suene el canto, y florezca la memoria<br /></span> -<span class="i0">Hasta el término roxo de oriente,<br /></span> -<span class="i0">Y do al Númida ardiente<br /></span> -<span class="i0">Abrasa Iperion; y en alta gloria<br /></span> -<span class="i0">El nombre de la insigne Esperia planta;<br /></span> -<span class="i0">Que de Córdoba y Cerda se levanta,<br /></span> -<span class="i0">Aquiste honor; y al zéfiro templado<br /></span> -<span class="i0">Ensalce este Lucero venerado.<br /></span> -<span class="i4">Los despojos, y en árboles alzados<br /></span> -<span class="i0">Los insignes trofeos, el sangriento<br /></span> -<span class="i0">Conflicto del feroz dudoso Marte;<br /></span> -<span class="i0">Las enseñas, que mueve en torno el viento;<br /></span> -<span class="i0">Los presos, y los Reynos conquistados<br /></span> -<span class="i0">Con segura prudencia, esfuerzo, y arte;<br /></span> -<span class="i0">Que dieron tanta parte<br /></span> -<span class="i0">De la rota, y herida, y muerta Francia<br /></span> -<span class="i0">Al que fue prez y honor del orbe Hispano;<br /></span> -<span class="i0">Que al sobervio Otomano<br /></span> -<span class="i0">Quebró en las Jonias ondas la arrogancia,<br /></span> -<span class="i0">Y en la Ausonia adquirió el heroyco nombre<br /></span> -<span class="i0">Con mas valor, que cabe en mortal hombre;<br /></span> -<span class="i0">Con alas de vitoria al fin levantan<br /></span> -<span class="i0">Las vitorias, que Europa y Asia cantan.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_217" href="#FNanchor_217" class="label">217</a> -In the original, the extravagance of this pompous rodomontade -is still more striking:</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Todo quanto al terrestre el cuerpo alienta,<br /></span> -<span class="i0">De la celeste fuerza deducido,<br /></span> -<span class="i0">Se halla en vos casi en igual efeto.<br /></span> -<span class="i0">De vos el fixo globo, y el tendido<br /></span> -<span class="i0">Humor, y el vago cerca se sustenta,<br /></span> -<span class="i0">Y el ardor de las llamas inquieto:<br /></span> -<span class="i0">Que con vigor secreto<br /></span> -<span class="i0">A tierra y agua, al ayre y puro fuego,<br /></span> -<span class="i0">Qual eterea virtud, y las estrellas,<br /></span> -<span class="i0">Son vuestras obras bellas<br /></span> -<span class="i0">La tierra, la agua, el ayre, el puro fuego.<br /></span> -<span class="i0">O glorioso cielo en nuestro suelo!<br /></span> -<span class="i0">O suelo glorioso con tal cielo!<br /></span> -<span class="i0">Quièn podrá celebrar vuestra nobleza?<br /></span> -<span class="i0">Quièn osará alabar vuestra belleza?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_218" href="#FNanchor_218" class="label">218</a> -In the following, from one of his odes on the battle of -Lepanto, the style of the Hebrew psalms is imitated with happy -effect.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">El sobervio Tirano, confiado<br /></span> -<span class="i0">En el grande aparato de sus naves,<br /></span> -<span class="i0">Que de los nuestros la cerviz cautiva,<br /></span> -<span class="i0">Y las manos aviva<br /></span> -<span class="i0">Al ministerio injusto de su estado,<br /></span> -<span class="i0">Derribò con los brazos suyos graves<br /></span> -<span class="i0">Los cedros mas excelsos de la cima;<br /></span> -<span class="i0">Y el árbol, que mas yerto se sublima,<br /></span> -<span class="i0">Bebiendo agenas aguas, y atrevido<br /></span> -<span class="i0">Pisando el vando nuestro y defendido.<br /></span> -<span class="i4">Temblaron los pequeños, confundidos<br /></span> -<span class="i0">Del impio furor suyo, alzó la frente<br /></span> -<span class="i0">Contra tí, Señor Dios; y con semblante<br /></span> -<span class="i0">Y con pecho arrogante,<br /></span> -<span class="i0">Y los armados brazos estendidos,<br /></span> -<span class="i0">Movió el ayrado cuello aquel potente:<br /></span> -<span class="i0">Cercó su corazon de ardiente saña<br /></span> -<span class="i0">Contra las dos Esperias, que el mar baña;<br /></span> -<span class="i0">Porque en tí confiadas le resisten,<br /></span> -<span class="i0">Y de armas de tu fe y amor se visten.<br /></span> -<span class="i4">Dixo aquel insolente y desdeñoso;<br /></span> -<span class="i0">No conocen mis iras estas tierras,<br /></span> -<span class="i0">Y de mis padres los ilustres hechos?<br /></span> -<span class="i0">O valieron sus pechos<br /></span> -<span class="i0">Contra ellos con el Ungaro medroso,<br /></span> -<span class="i0">Y de Dalmacia y Rodas en las guerras?<br /></span> -<span class="i0">Quién las pudo librar? quien de sus manos<br /></span> -<span class="i0">Pudo salvar los de Austria y los Germanos?<br /></span> -<span class="i0">Podrá su Dios, podrá por suerte ahora<br /></span> -<span class="i0">Guardallas de mi diestra vencedora?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_219" href="#FNanchor_219" class="label">219</a> -The whole ode may be transcribed here, as a specimen of -Herrera’s lyric composition in the ode style:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Suave sueño, tú que en tarde buelo<br /></span> -<span class="i0">Las alas perezosas blandamente<br /></span> -<span class="i0">Bates, de adormideras coronado,<br /></span> -<span class="i0">Por el puro, adormido, y vago cielo;<br /></span> -<span class="i0">Ven á la última parte de ocidente,<br /></span> -<span class="i0">Y de licor sagrado<br /></span> -<span class="i0">Baña mis ojos tristes, que cansado,<br /></span> -<span class="i0">Y rendido al furor de mi tormento,<br /></span> -<span class="i0">No admito algun sosiego,<br /></span> -<span class="i0">Y el dolor desconorta al sufrimiento.<br /></span> -<span class="i0">Ven à mi humilde ruego,<br /></span> -<span class="i0">Ven à mi ruego humilde, ó amor de aquella,<br /></span> -<span class="i0">Que Juno te ofreció, tu ninfa bella.<br /></span> -<span class="i4">Divino sueño, gloria de mortales,<br /></span> -<span class="i0">Regalo dulce al misero afligido,<br /></span> -<span class="i0">Sueño amoroso, ven á quien espera<br /></span> -<span class="i0">Cesar del exercicio de sus males,<br /></span> -<span class="i0">Y al descanso volver todo el sentido.<br /></span> -<span class="i0">Cómo sufres, que muera<br /></span> -<span class="i0">Lejos de tu poder, quien tuyo era?<br /></span> -<span class="i0">No es dureza olvidar un solo pecho<br /></span> -<span class="i0">En veladora pena,<br /></span> -<span class="i0">Que sin gozar del bien, que al mundo has hecho,<br /></span> -<span class="i0">De tu vigor se agena?<br /></span> -<span class="i0">Ven, sueño alegre, sueño ven dichoso,<br /></span> -<span class="i0">Vuelve à mi alma ya, vuelve el reposo.<br /></span> -<span class="i4">Sienta yo en tal estrecha tu grandeza;<br /></span> -<span class="i0">Baxa, y esparce liquido el rocio;<br /></span> -<span class="i0">Huya la Alva, que en torno resplandece;<br /></span> -<span class="i0">Mira mi ardiente llanto y mi tristeza,<br /></span> -<span class="i0">Y quánta fuerza tiene el pesar mio,<br /></span> -<span class="i0">Y mi frente humedece,<br /></span> -<span class="i0">Que ya de fuegos juntos el sol crece.<br /></span> -<span class="i0">Torna, sabroso sueño, y tus hermosas<br /></span> -<span class="i0">Alas suenen ahora;<br /></span> -<span class="i0">Y huya con sus alas presurosas<br /></span> -<span class="i0">La desabrida Aurora:<br /></span> -<span class="i0">Y lo que en mí faltó la noche fria,<br /></span> -<span class="i0">Termine la cercana luz del dia.<br /></span> -<span class="i4">Una corona, ó sueño, de tus flores<br /></span> -<span class="i0">Ofrezco, tu produce el blando efeto<br /></span> -<span class="i0">En los desiertos cercos de mis ojos;<br /></span> -<span class="i0">Que el ayre entretexido con olores<br /></span> -<span class="i0">Halaga, y ledo mueve en dulce afeto;<br /></span> -<span class="i0">Y de estos mis enojos<br /></span> -<span class="i0">Destierra, manso sueño, los despojos,<br /></span> -<span class="i0">Ven pues, amado sueño, ven liviano,<br /></span> -<span class="i0">Que del rico oriente<br /></span> -<span class="i0">Despunta el tierno Febo el rayo cano.<br /></span> -<span class="i0">Ven ya, sueño clemente,<br /></span> -<span class="i0">Y acabará el dolor, a si te vea<br /></span> -<span class="i0">En brazos de tu cara Pasitea.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_220" href="#FNanchor_220" class="label">220</a> -I have perused two different editions of Herrera’s poems: -1st. an old one, entitled, <i>Versos de Fernando de Herrera</i>, &c. -Sevilla, 1619, in quarto; and 2nd. the more modern edition, already -mentioned, published by Ramon Fernandez, which contains -some poems not before printed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_221" href="#FNanchor_221" class="label">221</a></p> - -<div class="poem"><div class="stanza"> -<span class="i4">A dó tienes la luz, Espero mio,<br /></span> -<span class="i0">La luz, gloria y honor del Ocidente?<br /></span> -<span class="i0">Estás puesto en el cielo reluciente<br /></span> -<span class="i0">En importuno tiempo, y seco estio?<br /></span> -<span class="i4">Lleva tu resplandor al sacro rio,<br /></span> -<span class="i0">Que tu belleza espera alegremente,<br /></span> -<span class="i0">Y el zéfiro te sea otro oriente,<br /></span> -<span class="i0">Hecho lucero, y no Espero tardio.<br /></span> -<span class="i4">Merezca Betis fértil tanta gloria,<br /></span> -<span class="i0">Que solo el destas luces illustrado<br /></span> -<span class="i0">A tierra y cielo lleva la vitoria.<br /></span> -<span class="i4">Que tu belleza y resplandor sagrado<br /></span> -<span class="i0">Hará perpetuo, de immortal memoria,<br /></span> -<span class="i0">Mientras corriere al mar arrebatado.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_222" href="#FNanchor_222" class="label">222</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Yo vì a mi dulce Lumbre, que esparcia<br /></span> -<span class="i0">Sus crespas ondas de oro al manso viento.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_223" href="#FNanchor_223" class="label">223</a> -It is annexed to Herrera’s edition of the <i>Obras de Garcilaso -de la Vega</i>. <i>Sevilla</i>, 1580, 4<i>to.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_224" href="#FNanchor_224" class="label">224</a> -The following is the original Spanish of the passage here -cited, with a part of the continuation, which is all in the same -style:—</p> -<p> -Conviene que la elegia sea candida, blanda, tierna, suave, -delienda, tersa, clara i, si con esto se puede declarar, noble, congoxosa -en los afetos, i que los mueva en toda parte, ni mui -hinchada, ni mui umilde, no oscura con esquisitas sentencias i -fabulas mui buscadas; que tenga frequente comiseracion, quexas, -esclamaciones, apostrofos, prosopopeyas, escursos o parébases, el -ornato della à de ser mas limpio i reluziente, que peinado i compuesto -curiosamente i porque los escritores de versos amorosos o -esperan, o desesperan, o deshazen sus pensamientos, i induzen otros -nuevos, i los mudan i pervierten, o ruegan, o se quexan, o alegran, -o alaban la hermosura de su dama, o esplican su propria vida, i -cuentan sus fortunas con los demas sentimientos del animo, que ellos -declaran en varias ocasiones; conviniendo que este genero de poesia -sea misto, que aora habla el poeta, aora introduze otra persona.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_225" href="#FNanchor_225" class="label">225</a> -There is a life of Luis de Leon, prefixed to the latest edition -of his <i>Obras propias y traducciones</i> (Valencia, 1762, 8vo.) by -Mayans y Siscar; it is, however, confusedly and carelessly written. -The biographical memoir prefixed to the sixth volume of the -<i>Parnaso Español</i> is better.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_226" href="#FNanchor_226" class="label">226</a> -This statement occurs in the dedication prefixed to his explanation -of the sixty-second Psalm, addressed to the Grand -Inquisitor, Cardinal Don Caspar de Quiroga.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_227" href="#FNanchor_227" class="label">227</a> -Apartado no solo de la conversacion y compañia de los -hombres, sino tambien de la vista, por casi cinque años estuve -cercado en una carcel y en tinieblas. Entonces gozava yo de tal -quietud y alegria de animo, que agora muchas vezes echo menos, -aviendo sido restituido a la luz, y gozando del trato de los hombres, -que me son amigos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_228" href="#FNanchor_228" class="label">228</a> -See the dedication of his poems to Don Pedro Portocarrero.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_229" href="#FNanchor_229" class="label">229</a> -How highly Cervantes esteemed Luis de Leon, may be seen -from a passage in his Galatea, in which one of the characters says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Fray Luis de Leon es quel que digo,<br /></span> -<span class="i0">A quien yo reverencio, <i>adoro</i>, y sigo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_230" href="#FNanchor_230" class="label">230</a> -The first ode commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Que descansada vida<br /></span> -<span class="i0">la del que huye el mundanal ruido,<br /></span> -<span class="i0">y sigue la escondida<br /></span> -<span class="i0">senda, por donde han ido<br /></span> -<span class="i0">los pocos sabios que en el mundo han sido.<br /></span> -<span class="i4">Que no le enturbia el pecho<br /></span> -<span class="i0">de los sobervios grandes el estado,<br /></span> -<span class="i0">ni del dorado techo<br /></span> -<span class="i0">se admira fabricado<br /></span> -<span class="i0">del sabio Moro, en jaspes sustentado.<br /></span> -<span class="i4">No cura si la fama<br /></span> -<span class="i0">canta con voz su nombre pregonera,<br /></span> -<span class="i0">ni cura si encarama<br /></span> -<span class="i0">la lengua lisonjera<br /></span> -<span class="i0">lo què condena la verdad sincera.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_231" href="#FNanchor_231" class="label">231</a> -For example, in the following stanzas from the same ode:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Del monte en la ladera<br /></span> -<span class="i0">por mi mano plantado tengo un huerto,<br /></span> -<span class="i0">que con la Primavera<br /></span> -<span class="i0">de bella flor cubierto<br /></span> -<span class="i0">ya muestra en esperança el fruto cierto.<br /></span> -<span class="i4">Y como codiciosa,<br /></span> -<span class="i0">por ver y acrecentar su hermosura,<br /></span> -<span class="i0">desde la cumbre ayrosa<br /></span> -<span class="i0">una fontana pura<br /></span> -<span class="i0">hasta llegar corriendo se ápresura.<br /></span> -<span class="i4">Y luego sossegada,<br /></span> -<span class="i0">el passo entre los arboles torciendo,<br /></span> -<span class="i0">el suelo de passada<br /></span> -<span class="i0">de verdura vistiendo,<br /></span> -<span class="i0">y con diversas flores va esparciendo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_232" href="#FNanchor_232" class="label">232</a> -For example in the stanza:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En vano el mar fatiga<br /></span> -<span class="i0">La vela <i>Portuguesa</i>, que ni <i>el seno</i><br /></span> -<span class="i0"><i>De Persia</i>, ni la amiga<br /></span> -<span class="i0"><i>Malacca</i> da arbol bueno,<br /></span> -<span class="i0">Que pueda hacer un animo sereno.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_233" href="#FNanchor_233" class="label">233</a> -The following is the best half:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Quando contemplo el cielo<br /></span> -<span class="i0">de innumerables luces adornado,<br /></span> -<span class="i0">y miro hazia el suelo<br /></span> -<span class="i0">de noche rodeado,<br /></span> -<span class="i0">en sueño y en olvido sepultado;<br /></span> -<span class="i4">El amor y la pena<br /></span> -<span class="i0">despiertan en mi pecho un ansia ardiente,<br /></span> -<span class="i0">despide larga vena<br /></span> -<span class="i0">los ojos hechos fuente,<br /></span> -<span class="i0">Oloarte, y digo al fin con voz doliente:<br /></span> -<span class="i4">Morada de grandeza,<br /></span> -<span class="i0">templo de claridad y hermosura,<br /></span> -<span class="i0">el alma que al tu alteza<br /></span> -<span class="i0">naciò, que desventura<br /></span> -<span class="i0">la tiene en esta carcel baxa escura?<br /></span> -<span class="i4">Que mortal desatino<br /></span> -<span class="i0">de la verdad alexa assi el sentido,<br /></span> -<span class="i0">que de tu bien divino<br /></span> -<span class="i0">olvidado, perdido<br /></span> -<span class="i0">sigue la vana sombra, el bien fingido?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_234" href="#FNanchor_234" class="label">234</a></p> - -<div class="poem"><div class="stanza"> -<span class="i4">Quando serà que pueda<br /></span> -<span class="i0">libre desta prision bolar al cielo,<br /></span> -<span class="i0">Felipe, y en la rueda,<br /></span> -<span class="i0">que huye mas del suelo,<br /></span> -<span class="i0">contemplar la verdad pura sin duelo?<br /></span> -<span class="i4">Alli à mi vida junto,<br /></span> -<span class="i0">en luz resplandeciente convertido,<br /></span> -<span class="i0">verè distinto y junto<br /></span> -<span class="i0">lo que es, y lo que ha sido,<br /></span> -<span class="i0">y su principio propio y ascondido.<br /></span> -<span class="i4">Entonces verè como<br /></span> -<span class="i0">la soberana mano echò el cimiento<br /></span> -<span class="i0">tan à nivel y plomo,<br /></span> -<span class="i0">do estable y firme assiento<br /></span> -<span class="i0">possee el pesadissimo elemento.<br /></span> -<span class="i4">Verè las inmortales<br /></span> -<span class="i0">colunas, do la tierra està fondada,<br /></span> -<span class="i0">las lindes y señales<br /></span> -<span class="i0">con que à la mar hinchada<br /></span> -<span class="i0">la providencia tiene aprisionada.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_235" href="#FNanchor_235" class="label">235</a> -The whole ode, which breathes a spirit of tender piety according -to allegorical Christian ideas, well deserves to be once more -re-printed:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Alma region luciente,<br /></span> -<span class="i0">prado de bien andança, que ni al hielo,<br /></span> -<span class="i0">ni con el rayo ardiente<br /></span> -<span class="i0">fallece, fertil suelo,<br /></span> -<span class="i0">producidor eterno de consuelo.<br /></span> -<span class="i4">De purpura y de nieve<br /></span> -<span class="i0">florida la cabeça coronado,<br /></span> -<span class="i0">à dulces pastos mueve<br /></span> -<span class="i0">sin honda ni cayado<br /></span> -<span class="i0">el buen pastor en ti su hato amado.<br /></span> -<span class="i4">El va, y en pos dichosas<br /></span> -<span class="i0">le siguen sus ovejas, do las pace<br /></span> -<span class="i0">con inmortales rosas,<br /></span> -<span class="i0">con flor que siempre nace,<br /></span> -<span class="i0">y quanto mas se goza, mas renace.<br /></span> -<span class="i4">Y dentro à la montaña<br /></span> -<span class="i0">del alto bien las guia, ya en la vena<br /></span> -<span class="i0">del gozo fiel las baña,<br /></span> -<span class="i0">y les da mesa llena,<br /></span> -<span class="i0">pastor y pasto el solo y suerte buena.<br /></span> -<span class="i4">Y de su esfera quando<br /></span> -<span class="i0">a cumbre toca altissimo subido<br /></span> -<span class="i0">el Sol, el sesteando,<br /></span> -<span class="i0">de su hato ceñido,<br /></span> -<span class="i0">con dulce son deleyta el santo oido.<br /></span> -<span class="i4">Toca el rabel sonoro,<br /></span> -<span class="i0">y el inmortal dulçor al alma passa,<br /></span> -<span class="i0">con que envilece el oro,<br /></span> -<span class="i0">y ardiendo se traspassa,<br /></span> -<span class="i0">y lança en aquel bien libre de tassa.<br /></span> -<span class="i4">O son, ò voz si quiera<br /></span> -<span class="i0">pequeña parte alguna decendiese<br /></span> -<span class="i0">en mi sentido, y fuera<br /></span> -<span class="i0">de si el alma pusiesse,<br /></span> -<span class="i0">y toda en ti, ò amor, la convirtiese.<br /></span> -<span class="i4">Conoceria donde<br /></span> -<span class="i0">sesteas dulce esposo, y desatada<br /></span> -<span class="i0">desta prision adonde<br /></span> -<span class="i0">padece, à tu manada<br /></span> -<span class="i0">vivirè junta, sin vagar errada.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_236" href="#FNanchor_236" class="label">236</a> -These poems, by Luis de Leon, which up to a late period -remained unknown, may be found in the fifth volume of the <i>Parnaso -Español</i>. They are all on religious subjects. The longest is entitled, -<i>Renunciacion al mundo, y conversion de un pecador</i>: and is -probably one of the earliest fruits of the youthful piety of the poet.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_237" href="#FNanchor_237" class="label">237</a> -This observation occurs in the dedication to Pedro Portocarrero, -already mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_238" href="#FNanchor_238" class="label">238</a> -For example, the first eclogue:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">M. Tu Tityro à la sombra descansando<br /></span> -<span class="i3">desta tendida haya, con la avena<br /></span> -<span class="i3">el verso pastoril vas acordando.<br /></span> -<span class="i3">Nosotros desterrados, tu sin pena<br /></span> -<span class="i3">cantas de tu pastora alegre ocioso,<br /></span> -<span class="i3">y tu pastora el valle y monte suena.<br /></span> -</div><div class="stanza"> -<span class="i0">T. Pastor, este descanso tan dichoso<br /></span> -<span class="i3">Dios me le concediò, que reputado<br /></span> -<span class="i3">serà de mi por Dios aquel piadoso,<br /></span> -<span class="i7">Y bañarà con sangre su sagrado<br /></span> -<span class="i3">altar muy muchas veces el cordero<br /></span> -<span class="i3">tierno, de mis ganados degollado,<br /></span> -<span class="i7">Que por su beneficio soy vaquero,<br /></span> -<span class="i3">y canto como ves pastorilmente<br /></span> -<span class="i3">lo que me da contento, y lo que quiero; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_239" href="#FNanchor_239" class="label">239</a> -The ode <i>Integer vitæ scelerisque purus</i> commences as -follows in Luis de Leon’s translation:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">El hombre justo y bueno,<br /></span> -<span class="i0">el que de culpa està y mancilla puro,<br /></span> -<span class="i0">las manos en el seno,<br /></span> -<span class="i0">sin dardo, ni zagaya va seguro,<br /></span> -<span class="i0">y sin llevar cargada<br /></span> -<span class="i0">la aljava de saeta enervolada.<br /></span> -<span class="i4">O vaya por la arena<br /></span> -<span class="i0">ardiente de la Libia ponçoñosa,<br /></span> -<span class="i0">ò vaya por do suena<br /></span> -<span class="i0">de Hidaspes la corriente fabulosa,<br /></span> -<span class="i0">ò por la tierra cruda<br /></span> -<span class="i0">de nieve llena y de piedad desnuda.<br /></span> -<span class="i4">De mi se que al encuentro,<br /></span> -<span class="i0">mientras por la montaña vagueando<br /></span> -<span class="i0">mas de lo justo entro<br /></span> -<span class="i0">sin armas, y de Lalage cantando,<br /></span> -<span class="i0">me vido, y mas ligero<br /></span> -<span class="i0">que rayo huyò un lobo carnicero.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_240" href="#FNanchor_240" class="label">240</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">El agua es bien precioso,<br /></span> -<span class="i0">y entre el rico tesoro,<br /></span> -<span class="i0">como el ardiente fuego en noche escura,<br /></span> -<span class="i0">ansi relumbra el oro.<br /></span> -<span class="i0">Mas, alma, si es sabroso<br /></span> -<span class="i0">cantar de las contiendas la ventura<br /></span> -<span class="i0">ansi como en la altura<br /></span> -<span class="i0">no ay rayo mas luciente<br /></span> -<span class="i0">que el Sol, que Rey del dia<br /></span> -<span class="i0">por todo el yermo cielo se demuestra:<br /></span> -<span class="i0">ansi es mas excelente<br /></span> -<span class="i0">la Olimpica porfia<br /></span> -<span class="i0">de todas las que canta la vos nuestra,<br /></span> -<span class="i0">materia abundante,<br /></span> -<span class="i0">donde todo elegante<br /></span> -<span class="i0">ingenio alça la voz ora cantando<br /></span> -<span class="i0">de Rea y de Saturno el engendrado,<br /></span> -<span class="i0">y juntamente entrando<br /></span> -<span class="i0">al techo de Hieron alto preciado.<br /></span> -<span class="i4">Hieron el que mantiene<br /></span> -<span class="i0">el cetro merecido<br /></span> -<span class="i0">del abundoso cielo Siciliano,<br /></span> -<span class="i0">y dentro en si cogido<br /></span> -<span class="i0">lo bueno y la flor tiene<br /></span> -<span class="i0">de quanto valor cabe en pecho humano:<br /></span> -<span class="i0">y con maestra mano<br /></span> -<span class="i0">discanta señalado<br /></span> -<span class="i0">en la mas dulce parte<br /></span> -<span class="i0">del canto, la que infunde mas contento,<br /></span> -<span class="i0">y en el banquete amado<br /></span> -<span class="i0">mayor dulçor reparte.<br /></span> -<span class="i0">Mas toma ya el laud, si el sentimiento<br /></span> -<span class="i0">con dulces fantasias<br /></span> -<span class="i0">te colma y alegrias<br /></span> -<span class="i0">la gracia de Phernico, el que en Alfeo<br /></span> -<span class="i0">bolando sin espuela en la carrera,<br /></span> -<span class="i0">y venciendo el deseo<br /></span> -<span class="i0">del amo, le cobró la voz primera, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_241" href="#FNanchor_241" class="label">241</a> -These sermons are highly eulogized by Mayans y Siscar in -the <i>Oracion en que se exhorta a seguir la verdadera idea de la -eloquencia Española</i>; if indeed Mayans really be the author of -that discourse. It is contained in the first volume of the <i>Origenes -de la lengua Esp.</i> p. 199.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_242" href="#FNanchor_242" class="label">242</a> -There is a copy of the second edition of Luis de Leon’s -<i>Perfecta Casada</i>, printed at Salamanca in 1586, in quarto, in the -library of the university of Göttingen.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_243" href="#FNanchor_243" class="label">243</a> -Velasquez passes him over in silence. The <i>Parnaso Español</i>, -tom. ii. contains some specimens of his poetry, together with -a notice of his life.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_244" href="#FNanchor_244" class="label">244</a> -The commencement of one of his elegies may serve as a -specimen.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">A la sazon que se nos muestra llena<br /></span> -<span class="i0">la tierra de cien mil varias colores,<br /></span> -<span class="i0">y comienza su llanto Filomena:<br /></span> -<span class="i4">Quando partido Amor en mil amores<br /></span> -<span class="i0">produce en todo corazon humano<br /></span> -<span class="i0">como en la tierra el tiempo nuevas flores:<br /></span> -<span class="i4">Al pie de un monte, en un florido llano,<br /></span> -<span class="i0">a sombra de una haya en la verdura,<br /></span> -<span class="i0">cataba triste su dolor Silvano:<br /></span> -<span class="i4">Y asegundaba voz en su tristura<br /></span> -<span class="i0">el agua que bajaba con sonido<br /></span> -<span class="i0">de una fuente que nace en el altura:<br /></span> -<span class="i4">Pastor en todo el valle conocido,<br /></span> -<span class="i0">a quien la Musa pastoral ha dado<br /></span> -<span class="i0">un estilo en cantar dulce y subido. &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_245" href="#FNanchor_245" class="label">245</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Si Apolo tanta gracia<br /></span> -<span class="i0">en mi rustica citara pusiese<br /></span> -<span class="i0">como en la del de Tracia,<br /></span> -<span class="i0">y quando se moviese,<br /></span> -<span class="i0">desde el un Polo al otra el són se oyese,<br /></span> -<span class="i4">Y a los desiertos frios<br /></span> -<span class="i0">pudiese dar calor, y refrenáse<br /></span> -<span class="i0">el curso de los rios,<br /></span> -<span class="i0">las piedras levantáse,<br /></span> -<span class="i0">y tras el dulce canto las lleváse,<br /></span> -<span class="i4">Jamás le ocuparia<br /></span> -<span class="i0">en claros hechos de la antigua historia,<br /></span> -<span class="i0">mas solo cantarìa<br /></span> -<span class="i0">para inmortal memoria<br /></span> -<span class="i0">el tiempo de mi pena, y de mi gloria. &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_246" href="#FNanchor_246" class="label">246</a> -Some of Gutierre de Cetina’s poems have been printed from -manuscript by Sedano, in his <i>Parnaso Español</i>, vols. vii. viii. and -ix. together with a short biographical notice of the author.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_247" href="#FNanchor_247" class="label">247</a> -The following is an anacreontic song by this author:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">De tus rubios cabellos,<br /></span> -<span class="i0">Dorida ingrata mia,<br /></span> -<span class="i0">hizo el amor la cuerda<br /></span> -<span class="i0">para el arco homicida.<br /></span> -<span class="i4">A hora veras sí burlas<br /></span> -<span class="i0">de mi poder, decia:<br /></span> -<span class="i0">y tomando un flecha<br /></span> -<span class="i0">quiso a mì dirigirla.<br /></span> -<span class="i4">Yo le dije: muchacho<br /></span> -<span class="i0">arco y harpon retira:<br /></span> -<span class="i0">con esas nuevas armas,<br /></span> -<span class="i0">quién hay que te resista?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_248" href="#FNanchor_248" class="label">248</a> -The following is one of them:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ojos claros serenos,<br /></span> -<span class="i0">si de dulce mirar sois alabados,<br /></span> -<span class="i0">por qué si me mirais, mirais ayrados?<br /></span> -<span class="i0">Si quanto mas piadosos,<br /></span> -<span class="i0">mas bellos pareceis a quien os mira,<br /></span> -<span class="i0">por qué a mí solo me mirais con ira?<br /></span> -<span class="i0">Ojos claros serenos,<br /></span> -<span class="i0">ya que asi me mirais, miradme al menos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_249" href="#FNanchor_249" class="label">249</a> -The following stanza is from a cancione on his mistress’s -hair. The lady’s tresses must have been of a very fiery red.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En la <i>esfera del fuego</i><br /></span> -<span class="i0">de su calor mas fuerte<br /></span> -<span class="i0">de tus cabellos fue el color sacado,<br /></span> -<span class="i0"><i>cuya calidad luego</i><br /></span> -<span class="i0"><i>dió nuevas de mi muerte</i><br /></span> -<span class="i0"><i>al yelo</i> que <i>en tu pecho</i> está encerrado;<br /></span> -<span class="i0">a si será forzado,<br /></span> -<span class="i0">entre contrarios puesto<br /></span> -<span class="i0">que mi vivir se acabe,<br /></span> -<span class="i0">porque en razon no cabe<br /></span> -<span class="i0">sufrir tanta crueldad quien vió tu gesto,<br /></span> -<span class="i0">si hay <i>fuego y hielo</i> entre ellos,<br /></span> -<span class="i0">quién se guardará de ellos?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_250" href="#FNanchor_250" class="label">250</a> -The fourth volume of the <i>Parnaso Español</i> contains a long -eclogue by Pedro de Padilla.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_251" href="#FNanchor_251" class="label">251</a> -Bibliographic notices of the works of Padilla, may be found -in Dieze’s Remarks on Velasquez, p. 194.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_252" href="#FNanchor_252" class="label">252</a> -Cervantes in the condemnation of the library of Don Quixote, -exempts Gil Polo’s <i>Diana enamorada</i>, adding, that the book ought -to be as much respected, “as though Apollo himself had written it.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_253" href="#FNanchor_253" class="label">253</a> -For instance, in the following:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No es ciego Amor, mas yo lo soy, que guio<br /></span> -<span class="i4">mi voluntad camino del tormento:<br /></span> -<span class="i4">no es niño Amor: mas yo que en un momento<br /></span> -<span class="i4">espero y tengo miedo, lloro y rio.<br /></span> -<span class="i0">Nombrar llamas de Amor es desvario,<br /></span> -<span class="i4">su fuego es el ardiente y vivo intento,<br /></span> -<span class="i4">sus alas son mi altivo pensamiento,<br /></span> -<span class="i4">y la esperanza vana en que mi fio.<br /></span> -<span class="i0">No tiene Amor cadenas, ni saëtas,<br /></span> -<span class="i4">para prender y herir libres y sanos,<br /></span> -<span class="i4">que en él no hay mas poder del que le damos.<br /></span> -<span class="i0">Porque es Amor mentira de poetas,<br /></span> -<span class="i4">sueño de locos, idolo de vanos:<br /></span> -<span class="i4">mirad qué negro Dios el que adoramos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_254" href="#FNanchor_254" class="label">254</a> -The following stanzas will afford an adequate idea of the -colloquial song to which they belong, and which presents equal -beauty throughout:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4"><i>Alcida.</i><br /></span> -<span class="i0">Mientras el Sol sus rayos muy ardientes<br /></span> -<span class="i4">con tal furia y rigor al mundo envia,<br /></span> -<span class="i4">que de Nymphas la casta compañia<br /></span> -<span class="i4">por los sombrios mora, y por las fuentes:<br /></span> -<span class="i0">Y la cigarra el canto replicando,<br /></span> -<span class="i4">se està quejando,<br /></span> -<span class="i4">pastora canta,<br /></span> -<span class="i4">con gracia tanta,<br /></span> -<span class="i4">que enternescido<br /></span> -<span class="i4">de haverte oído,<br /></span> -<span class="i4">al poderoso cielo de su grado<br /></span> -<span class="i4">fresco liquor envie al seco prado.<br /></span> -<span class="i8"><i>Diana.</i><br /></span> -<span class="i0">Mientras está el mayor de los planetas<br /></span> -<span class="i4">en medio del oriente y del ocaso,<br /></span> -<span class="i4">y al labrador en descubierto raso<br /></span> -<span class="i4">mas rigurosas tira sus saëtas:<br /></span> -<span class="i0">Al dulce murmurar de la corriente<br /></span> -<span class="i4">de aquesta fuente<br /></span> -<span class="i4">mueve tal canto,<br /></span> -<span class="i4">que cause espanto,<br /></span> -<span class="i4">y de contentos<br /></span> -<span class="i4">los bravos vientos<br /></span> -<span class="i4">el impetu furioso refrenando,<br /></span> -<span class="i4">vengan con manso espiritu soplando.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_255" href="#FNanchor_255" class="label">255</a> -The following is a specimen of <i>rimas Franceses</i> by Gil -Polo:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">De flores matizadas se vista el verde prado,<br /></span> -<span class="i4">retumbe el hueco bosque de voces deleytosas,<br /></span> -<span class="i4">olor tengan mas fino las coloradas rosas,<br /></span> -<span class="i4">floridos ramos mueva el viento sossegado.<br /></span> -<span class="i0">El rio apressurado<br /></span> -<span class="i4">sus aguas acresciente,<br /></span> -<span class="i4">y pues tan libre queda la fatigada gente<br /></span> -<span class="i4">del congojoso llanto,<br /></span> -<span class="i4">moved, hermosas Nymphas, regocijado canto.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_256" href="#FNanchor_256" class="label">256</a> -The following is by no means the worst of these enigmas.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Vide un soto levantado<br /></span> -<span class="i4">sobre los aynes un dia,<br /></span> -<span class="i4">el qual con sangre regado,<br /></span> -<span class="i4">con gran ansia cultivado,<br /></span> -<span class="i4">Muchas hierbas producia.<br /></span> -<span class="i0">De alli un manojo arrancando,<br /></span> -<span class="i4">y solo con él tocando<br /></span> -<span class="i4">una sàbia y cuerda gente,<br /></span> -<span class="i4">la dejé cabe una puente<br /></span> -<span class="i4">sin dolores lamentando.<br /></span> -</div></div> - -<p> -Who would guess that the object alluded to is a <i>horse’s tail</i>?</p></div> - -<div class="footnote"> - -<p><a id="Footnote_257" href="#FNanchor_257" class="label">257</a> -A new and elegant edition of Gaspar Gil Polo’s <i>Diana enamorada</i>, -enriched with a copious Commentary on the <i>Canto de Turia</i>, -appeared at Madrid in 1778.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_258" href="#FNanchor_258" class="label">258</a> -See Dieze’s edition of Velasquez, p. 419. The chapter on -the idyl is totally distinct from that which treats of the eclogues -of the Spaniards.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_259" href="#FNanchor_259" class="label">259</a> -See my History of Italian Literature, vol. ii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_260" href="#FNanchor_260" class="label">260</a> -Dieze in his Remarks on Velasquez, p. 381, gives bibliographic -notices of these, and of other epic productions of the Spaniards.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_261" href="#FNanchor_261" class="label">261</a> -The title is rather curious:—<i>Del Metamorphoseos de Ovidio, -otava rima, traducido por Felipe Mey, &c. Con otras cosas del -mesmo.</i> Tarragona, 1586, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_262" href="#FNanchor_262" class="label">262</a> -Further particulars relative to the history of these translations, -may be found in Dieze’s Remarks on Velasquez, p. 198, &c.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_263" href="#FNanchor_263" class="label">263</a> -Among others Velasquez.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_264" href="#FNanchor_264" class="label">264</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Pues la santa Inquisicion<br /></span> -<span class="i4">suele ser tan diligente,<br /></span> -<span class="i4">en castigar con razon<br /></span> -<span class="i4">qualquier secta y opinion<br /></span> -<span class="i4">levantada nuevamente;<br /></span> -<span class="i4">Resucitese luzero,<br /></span> -<span class="i4">a castigar en España<br /></span> -<span class="i4">una muy nueva y estraña,<br /></span> -<span class="i4">como aquella de Lutero<br /></span> -<span class="i4">en las partes de Alemaña.<br /></span> -<span class="i0">Bien se pueden castigar<br /></span> -<span class="i4">a cuenta de Anabaptistas,<br /></span> -<span class="i4">pues por ley particular<br /></span> -<span class="i4">se tornan a baptizar,<br /></span> -<span class="i4">y se llaman Petrarquistas.<br /></span> -<span class="i4">Han renegado la fè<br /></span> -<span class="i4">de las trobas Castellanas,<br /></span> -<span class="i4">y tras las Italianas<br /></span> -<span class="i4">se pierden, diziendo, que<br /></span> -<span class="i4">son mas ricas y galanas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_265" href="#FNanchor_265" class="label">265</a> -On this subject he says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Coplas dulces plazenteras,<br /></span> -<span class="i4">no pecan en liviandad,<br /></span> -<span class="i4">pero pierde autoridad,<br /></span> -<span class="i4">quien las escrive de veras.<br /></span> -<span class="i4">Y entremete,<br /></span> -<span class="i4">el seso por alcahuete,<br /></span> -<span class="i4">en los mysterios de amor<br /></span> -<span class="i4">quanto mas si el trobador,<br /></span> -<span class="i4">passa ya del cavallete.<br /></span> -<span class="i0">Y algunos ay, yo lo se,<br /></span> -<span class="i4">que hazen obras fundadas<br /></span> -<span class="i4">de coplas enamoradas,<br /></span> -<span class="i4">sin tener causa porque.<br /></span> -<span class="i4">Y esto està<br /></span> -<span class="i4">en costumbre tanto ya,<br /></span> -<span class="i4">que muchos escriven penas,<br /></span> -<span class="i4">por remedas las agenas,<br /></span> -<span class="i4">sin saber quien se las da.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_266" href="#FNanchor_266" class="label">266</a> -The following, which is one of his most successful productions, -must be transcribed at length, since the beauty of any -detached passage would suffer from want of connection.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Por unas huertas hermosas,<br /></span> -<span class="i4">vagando muy linda Lida<br /></span> -<span class="i4">texio de lyrios y rosas<br /></span> -<span class="i4">blancas, frescas, y olorosas,<br /></span> -<span class="i4">una guirnalda florida.<br /></span> -<span class="i4">Y andando en esta labor,<br /></span> -<span class="i4">viendo a deshora al Amor<br /></span> -<span class="i4">en las rosas escondido,<br /></span> -<span class="i4">con las que ella avia texido,<br /></span> -<span class="i4">le prendio como a traydor.<br /></span> -<span class="i0">El muchacho no domado<br /></span> -<span class="i4">que nunca penso prenderse,<br /></span> -<span class="i4">viendose preso y atado,<br /></span> -<span class="i4">al principio muy ayrado,<br /></span> -<span class="i4">pugnava por defenderse.<br /></span> -<span class="i4">Y en sus alas estrivando<br /></span> -<span class="i4">forcejava peleando,<br /></span> -<span class="i4">y tentava (aunque desnudo,)<br /></span> -<span class="i4">de desatarse del ñudo<br /></span> -<span class="i4">para valerse bolando.<br /></span> -<span class="i0">Pero viendo la blancura<br /></span> -<span class="i4">que sus tetas descubrian,<br /></span> -<span class="i4">como leche fresca y pura,<br /></span> -<span class="i4">que a su madre en hermosura<br /></span> -<span class="i4">ventaja no conocian,<br /></span> -<span class="i4">y su rostro, que encender<br /></span> -<span class="i4">era bastante, y mover<br /></span> -<span class="i4">(con su mucha loçania)<br /></span> -<span class="i4">los mismos Dioses; pedia<br /></span> -<span class="i4">para dexarse vencer.<br /></span> -<span class="i0">Buelto a Venus, a la hora<br /></span> -<span class="i4">hablandole desde alli,<br /></span> -<span class="i4">dixo, madre, Emperadora,<br /></span> -<span class="i4">desde oy mas, busca señora<br /></span> -<span class="i4">un nuevo Amor para ti.<br /></span> -<span class="i4">Y esta nueva, con oylla,<br /></span> -<span class="i4">no te mueva, o de manzilla,<br /></span> -<span class="i4">que aviendo yo de reynar,<br /></span> -<span class="i4">este es el proprio lugar,<br /></span> -<span class="i4">en que se ponga mi silla.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_267" href="#FNanchor_267" class="label">267</a> -I have before me the same copy of which Dieze in his -Remarks on Velasquez, p. 197, gives a bibliographic description. -This copy, which did not pass the censorship of the Inquisition, -is remarkable for a trick of the bookseller, who has affixed to it a -title-page without a date, and at the end two leaves with a false -privilege.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_268" href="#FNanchor_268" class="label">268</a> -For instance, one to Doña Ana de Xomburg begins thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Vuestros lindos ojos Ana<br /></span> -<span class="i4">quien me dexasse gozallos,<br /></span> -<span class="i4">y tantas vezes besallos<br /></span> -<span class="i4">quantas me pide la gana,<br /></span> -<span class="i4">con que vivo de mirallos;<br /></span> -<span class="i4">Darles ìa<br /></span> -<span class="i4">cien mil besos cada dia,<br /></span> -<span class="i4">y aunque fuessen un millon,<br /></span> -<span class="i4">mi penado coraçon<br /></span> -<span class="i4">nunca harto se veria.<br /></span> -<span class="i0">O quan bien aventurado<br /></span> -<span class="i4">es aquel que puede estar,<br /></span> -<span class="i4">do os pueda ver y hablar<br /></span> -<span class="i4">sin perderse de turbado,<br /></span> -<span class="i4">como yo suelo quedar.<br /></span> -<span class="i4">Ay de mi,<br /></span> -<span class="i4">que ante vos despues que os ví,<br /></span> -<span class="i4">y quedè de vos herido,<br /></span> -<span class="i4">no ay en mi ningun sentido<br /></span> -<span class="i4">que sepa parte de si.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_269" href="#FNanchor_269" class="label">269</a> -The song addressed to Ana de Xomburg, quoted above, ends -with a burlesque joke:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Si segun lo que padezco<br /></span> -<span class="i4">pudiendolo yo dezir,<br /></span> -<span class="i4">merced os he de pedir,<br /></span> -<span class="i4">mucho mayor la merezo,<br /></span> -<span class="i4">que la puedo recebir.<br /></span> -<span class="i4">Mas no pido<br /></span> -<span class="i4">pago tan descomedido,<br /></span> -<span class="i4">que es demandar gollorias,<br /></span> -<span class="i4">porquè no dire en mis dias<br /></span> -<span class="i4">lo que esta noche he sufrido.<br /></span> -<span class="i0">No quiero que hagays nada,<br /></span> -<span class="i4">sino que solo querays;<br /></span> -<span class="i4">que si vos aqui llegays,<br /></span> -<span class="i4">yo doy fin a la jornada<br /></span> -<span class="i4">donde vos la començays.<br /></span> -<span class="i4">Y os espero,<br /></span> -<span class="i4">porque llegando primero<br /></span> -<span class="i4">de vos aveys de llegar,<br /></span> -<span class="i4">vamos despues a la par,<br /></span> -<span class="i4">que es trabajo plazentero.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_270" href="#FNanchor_270" class="label">270</a> -The following is on the indisposition of a mistress:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ese mal que da tormento<br /></span> -<span class="i4">a vuessa merced señora<br /></span> -<span class="i4">en vos tiene el aposento,<br /></span> -<span class="i4">mas yo soy el que lo siento,<br /></span> -<span class="i4">y mi alma quien lo llora.<br /></span> -<span class="i4">Y de pura compassion<br /></span> -<span class="i4">de veros sin alegria,<br /></span> -<span class="i4">se me quiebra el coraçon,<br /></span> -<span class="i4">vos sentis vuestra passion,<br /></span> -<span class="i4">mas yo la vuestra y la mia.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_271" href="#FNanchor_271" class="label">271</a> -In the original this Spanish Ranz de Vache is uncommonly -simple and pretty:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Guardame las vacas,<br /></span> -<span class="i0">Carillejo, y besarte he;<br /></span> -<span class="i0">Sino, besame tu a mi,<br /></span> -<span class="i0">Que yo te las guardarè.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_272" href="#FNanchor_272" class="label">272</a> -A predisposition to yield to temptation, is thus attributed -to Eve:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Alle.</i> <span style="padding-left: 1.5em">Ella fue consentidora,</span><br /></span> -<span class="i8">y cobrò subitamente<br /></span> -<span class="i8">mal siniestro,<br /></span> -<span class="i8">para mal y daño nuestro:<br /></span> -<span class="i8">y pues fraude entre ellos uvo,<br /></span> -<span class="i8">que se espera de quien tuvo<br /></span> -<span class="i8">al diablo por maestro.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Fil.</i> <span style="padding-left: 2em">Si el callara</span><br /></span> -<span class="i8">ella nunca le buscara.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Alle.</i> <span style="padding-left: 1.5em">Puede ser, mas si el no viera</span><br /></span> -<span class="i8">primero quien ella era,<br /></span> -<span class="i8">por dicha no la tentara<br /></span> -<span class="i8">para mal.<br /></span> -<span class="i8">Y pues era el principal<br /></span> -<span class="i8">Adam en aquel vergel,<br /></span> -<span class="i8">porque no le tentò a el?<br /></span> -<span class="i8">sino por verle leal<br /></span> -<span class="i8">y constante.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_273" href="#FNanchor_273" class="label">273</a> -The following lines afford a fair specimen of the style of the -whole dialogue.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Fil.</i> <span style="padding-left: 2em">Quando Dios lo criò todo,</span><br /></span> -<span class="i8">y formò el hombre primero,<br /></span> -<span class="i8">ya veys que como a grossero<br /></span> -<span class="i8">lo hizo de puro lodo.<br /></span> -<span class="i8">Mas a Eva,<br /></span> -<span class="i8">para testimonio y prueva,<br /></span> -<span class="i8">que devemos preferilla,<br /></span> -<span class="i8">sacola de la costilla<br /></span> -<span class="i8">por obra sutil y nueva.<br /></span> -<span class="i8">Y mandò<br /></span> -<span class="i8">que el hombre que assi criò,<br /></span> -<span class="i8">padre y madre dexasse,<br /></span> -<span class="i8">y a la muger se juntasse,<br /></span> -<span class="i8">que por consorte le dio<br /></span> -<span class="i8">singular,<br /></span> -<span class="i8">mandandosela guardar<br /></span> -<span class="i8">como a su propria persona,<br /></span> -<span class="i8">por espejo y por corona<br /></span> -<span class="i8">en que se deve mirar.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_274" href="#FNanchor_274" class="label">274</a> -The following passage from a satire on <i>Court Life</i>, is tolerably -characteristic of Castillejo’s whole course of thought in works -of this kind:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">La quarta gente granada<br /></span> -<span class="i4">que navegan con buen norte,<br /></span> -<span class="i4">a quien es licencia dada<br /></span> -<span class="i4">de la vivienda en la Corte.<br /></span> -<span class="i4">Son aquellos<br /></span> -<span class="i4">que la mandan, y en pos de ellos<br /></span> -<span class="i4">se va la gente goloca,<br /></span> -<span class="i4">y algunos por los cabellos,<br /></span> -<span class="i4">aunque muestran otra cosa.<br /></span> -<span class="i4">Estos son,<br /></span> -<span class="i4">los que en la governacion<br /></span> -<span class="i4">tienen poder, y con ello<br /></span> -<span class="i4">harto cuydado y passion,<br /></span> -<span class="i4">pero al fin, con padecello<br /></span> -<span class="i4">se enriquecen:<br /></span> -<span class="i4">estos son los que parecen<br /></span> -<span class="i4">al mundo cosa divina,<br /></span> -<span class="i4">y les sirven y obedecen,<br /></span> -<span class="i4">con diligencia contina,<br /></span> -<span class="i4">muy crecida.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_275" href="#FNanchor_275" class="label">275</a> -<a href="#Page_131">See page 131</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_276" href="#FNanchor_276" class="label">276</a> -The only unadulterated source from which all authors have -hitherto derived their information relative to the earliest history of -the Spanish drama, is Cervantes’s well known preface to his <i>Ocho -Comedias y Entremeses</i>, an edition of which was published in -two vols. quarto, by Blas Nasarre, at Madrid, in 1749. To this -may be added the preface of the editor, Blas Nasarre, though it is -but of secondary value, and has given occasion to singular mistakes. -The article <i>Comödie</i>, in Blankenburg’s appendix to Sulzer’s dictionary, -though rather obscure, communicates some useful facts.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_277" href="#FNanchor_277" class="label">277</a> -Velasquez, in his History of Spanish Poetry, alludes but -very distantly to the heterogeneous nature of the Spanish dramas; -and Dieze is not more satisfactory in his Remarks. What is contained -in Flögel’s History of Comic Literature, vol. iv. respecting -the origin of the Spanish drama, is copied from Velasquez and other -modern writers. Signorelli has more novelty of information in -his <i>Storia Critica de Teatri</i>, vol. iv. but he confounds the notices -one with another, and reasons on the Spanish drama merely as a -moral critic.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_278" href="#FNanchor_278" class="label">278</a> -This translation, which is only remarkable on account of the -reputation of its author, may be found in the <i>Obras del Maestro -Perez de Oliva</i>, Cordova, 1586, in 4to.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_279" href="#FNanchor_279" class="label">279</a> -Velasquez and Dieze, p. 315, give further notices of these -translations.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_280" href="#FNanchor_280" class="label">280</a> -<a href="#Page_132">See page 132</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_281" href="#FNanchor_281" class="label">281</a> -<i>Tragedia Policiana, en que se tratan los amores—executadas -por la industria de la diabolica Vieja Claudina, &c.</i> The title -is a sufficient specimen of the work. See Velasquez and Dieze, -p. 312.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_282" href="#FNanchor_282" class="label">282</a> -Dieze in his Remarks on Velasquez, gives a further account -of these works. He also notices a second Cœlestina, (<i>Segunda -Comedia de Celestina</i>.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_283" href="#FNanchor_283" class="label">283</a> -These writers are Nicolas Antonio, and Blas Nasarre, the -editor of the comedies of Cervantes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_284" href="#FNanchor_284" class="label">284</a> -This collection of the plays and other poems of Naharro is -mentioned by Nicolas Antonio, and also by Dieze. I have never -seen it: and in the numerous collections of Spanish dramas by -various authors, with which I am acquainted, I have sought in vain -for the productions of Naharro. Blankenburg speaks of them as -if he had read them; and Signorelli expressly says, that he has -perused them all. Among the passages quoted by the latter, in -order to justify the contemptuous tone in which he criticises the -writings of Naharro, is a line of corrupt Portuguese. May not -this be Galician? The modern comic writers of Spain occasionally -make their clowns converse in the Galician dialect.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_285" href="#FNanchor_285" class="label">285</a> -Cervantes attributes to himself the invention of dividing -a drama into three <i>jornadas</i>. How happens this? Cervantes was -a vain man, but not an empty boaster. He seems to have been -totally unacquainted with the dramas of Naharro, but he might -have heard of the division of plays into three <i>jornadas</i>, without -retaining a distinct recollection of the fact. In this way his memory -may have deceived him, when he supposed that the division originated -with himself. And yet it is singular enough that in his -Galathea, he mentions, among other poets, the <i>artificioso Torres -Naharro</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_286" href="#FNanchor_286" class="label">286</a> -Concerning these collections, see Dieze’s Remarks on Velasquez, -p. 316. I am acquainted with only two:—one is entitled, -<i>Los Coloquios Pastoriles de muy agraziada y apacible prosa, &c. -por el excellente poeta, y gracioso representante Lope de Rueda, -sacados a luz por Juan Timoneda; Sevilla</i> 1576, in small octavo, -printed in gothic characters. The other is entitled: <i>Las segundas -dos Comedias de Rueda</i>, without date, but printed in the same -type and form as the first mentioned collection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_287" href="#FNanchor_287" class="label">287</a> -The following specimen of the dialogue of these comedies is -from a scene in which a clown quarrels with his wife:—</p> - -<p><i>Gine.</i> Aun teneis lengua para hablar, anima de cantaro?</p> - -<p><i>Pablo.</i> Dote al diabro muger, no ternas un poco de miramiento. -Si quiera por las barbas de la merced que esta delante.</p> - -<p><i>Gine.</i> He callad anima de campana.</p> - -<p><i>Pab.</i> Que es anima de campana, muger?</p> - -<p><i>Gine.</i> Que? badajo como vos.</p> - -<p><i>Pab.</i> Badajo a vuestro marido? deme essegar rote vuessa -merced.</p> - -<p><i>Gine.</i> Assi, garrote para mi, al fin no seriades vos hijo de -Guarniço el enxalmador, cura bestias.</p> - -<p><i>Pab.</i> Y parescete a ti mal, porque sea hijo de bendicion.</p> - -<p><i>Camilo.</i> Ay amarga, y como hijo de bendicion? &c.</p> -</div> - -<div class="footnote"> - -<p><a id="Footnote_288" href="#FNanchor_288" class="label">288</a> -The emphatic praises of the publisher of the <i>Parnaso -Español</i>, represent Juan de la Cueva as a poet of the first rank. -See the literary notices prefixed to the eighth volume of that collection. -The works of Cueva are there mentioned with the dates of -their various editions. See also Dieze’s Remarks on Velasquez, -p. 202.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_289" href="#FNanchor_289" class="label">289</a> -It may be found in the eighth vol. of the <i>Parnaso Español</i> -as it was first printed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_290" href="#FNanchor_290" class="label">290</a> -He thus expresses himself relative to the changes which the -drama has undergone:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Este mudanza fue de <i>hombres prudentes</i><br /></span> -<span class="i0">Aplicando a las nuevas condiciones<br /></span> -<span class="i0">Nuevas cosas, que son las convenientes.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_291" href="#FNanchor_291" class="label">291</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Mas <i>la invencion, la gracia y traza es propia</i><br /></span> -<span class="i0"><i>A la ingeniousa fabula de España</i>,<br /></span> -<span class="i0">No qual dicen sus emulos impropia.<br /></span> -<span class="i0">Scenas y actos suple la <i>maraña</i><br /></span> -<span class="i0">Tan intricada, y la soltera de ella,<br /></span> -<span class="i0"><i>Inimitable de ningun estraña</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_292" href="#FNanchor_292" class="label">292</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">A mi me culpan ...<br /></span> -<span class="i0">Que el un acto de cinco le he quitado,<br /></span> -<span class="i0"><i>Que reduci los actos en jornadas</i>,<br /></span> -<span class="i0">Qual vemos que <i>es en nuestro tiempo usado</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_293" href="#FNanchor_293" class="label">293</a> -See the preface of Blas Nasarre, the latest editor of the -plays of Cervantes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_294" href="#FNanchor_294" class="label">294</a> -This at least is stated by Nasarre.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_295" href="#FNanchor_295" class="label">295</a> -See the account prefixed to the sixth vol. of the Parnaso -Español, and Dieze’s Remarks on Velasquez, p. 200.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_296" href="#FNanchor_296" class="label">296</a> -<i>Primeras tragedias Españoles, de Antonio de Silva</i>, is the -title of the edition which I have now before me, published at -Madrid, in 1577, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_297" href="#FNanchor_297" class="label">297</a> -This piece of silly adulation, is entitled <i>Hesperodia</i>; that is -to say, evening song or morning song. The former, however, -appears to be the more appropriate title, since the author doubtless -wrote it in his old age. It has been drawn from the obscurity in -which it ought to have remained, and printed in the eighth vol. of -the Parnaso Español. Bermudez, in an affected strain of language, -and with true Dominican fanaticism, extols the monstrous barbarity -with which the great Duke of Alba persecuted the heretics of the -Netherlands, and made “the cold northern waters flow the more -fiercely from the infusion of warm blood.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_298" href="#FNanchor_298" class="label">298</a> -Under these titles they are reprinted in the <i>Parnaso -Español</i>, vol. vi.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_299" href="#FNanchor_299" class="label">299</a> -It commences in the following manner:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Otro cielo, otro sol, me parece este,<br /></span> -<span class="i0">del que gozava yo sereno, y claro,<br /></span> -<span class="i0">alla de donde vengo, ay triste cielo,<br /></span> -<span class="i0">como en ti veo el tranze de mis hados.<br /></span> -<span class="i0">Ay que donde no veo aquellos ojos,<br /></span> -<span class="i0">que alumbran estos mios, quanto veo<br /></span> -<span class="i0">me pone horror, y grima, y se me antoja.<br /></span> -<span class="i0">Mas triste que la noche, y mas escuro,<br /></span> -<span class="i0">alla (ay dolor) los dexo alla en Coymbra<br /></span> -<span class="i0">tierra donde parò la hedad dorada,<br /></span> -<span class="i0">ò que no es tierra aquella, parayso<br /></span> -<span class="i0">la llamo de deleytes y frescuras.<br /></span> -<span class="i0">Alli tan claro es todo que aun la noche<br /></span> -<span class="i0">mas dia me parescè que de dia,<br /></span> -<span class="i0">alli es esmalte del florido suelo,<br /></span> -<span class="i0">mas que estrellado cielo representa;<br /></span> -<span class="i0">alli el concento de las avezillas,<br /></span> -<span class="i0">es un reclame dulze de las almas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_300" href="#FNanchor_300" class="label">300</a> -A few lines of this scene will serve to shew how Bermudez -has imitated the dialogic antitheses of the Greek tragedy.</p> - -<table> - <tr> - <td><i>In.</i></td> - <td>Adonde huyre porque me dexen?</td> - </tr> - <tr> - <td><i>Se.</i></td> - <td>Huyr auras de ti por tu remedio.</td> - </tr> - <tr> - <td><i>In.</i></td> - <td>Ya no me vale hazer lo que no puedo.</td> - </tr> - <tr> - <td><i>Se.</i></td> - <td>Tu mismo te pusiste en tal flaqueza.</td> - </tr> - <tr> - <td><i>In.</i></td> - <td>No puedo, ni querria arrepentirme.</td> - </tr> - <tr> - <td><i>Se.</i></td> - <td>Con essa voluntad el yerro cresce.</td> - </tr> - <tr> - <td><i>In.</i></td> - <td>Si es yerro como dizes, otros uvo.</td> - </tr> - <tr> - <td><i>Se.</i></td> - <td>Uno, mas toda via fueron yerros.</td> - </tr></table></div> - -<div class="footnote"> - -<p><a id="Footnote_301" href="#FNanchor_301" class="label">301</a> -Here the chorus, like the other characters of the play, speaks -in iambics; for example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i16"><i>Doña Ines.</i> Que dizes? Habla!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cho.</i> No puedo; lloro.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Do.</i> <span style="padding-left: 8em">De que lloras?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cho.</i> Veo, esse rostro, y sos ojos, esa.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D.</i> <span style="padding-left: 15em">trista:</span><br /></span> -<span class="i5">triste de mi que mal, que mal tamaño,<br /></span> -<span class="i5">es ese que me traes.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cho.</i> <span style="padding-left: 10em">Mal de muerte:</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>D.</i> Mal grande.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> <span style="padding-left: 6.5em">todo tuyo.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>D.</i> <span style="padding-left: 12em">que me dizes</span><br /></span> -<span class="i5">es muerto mi Señor, infante mio?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cho.</i> Los dos morireys presto.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D.</i> <span style="padding-left: 12em">ò nuevas tristes!</span><br /></span> -<span class="i5">Como, porque razon, que me le matan? &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_302" href="#FNanchor_302" class="label">302</a> -Only the latter part of this scene can conveniently be transcribed -here. Ines speaks:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tapiceria triste,<br /></span> -<span class="i0">yrase donde yo me paseava,<br /></span> -<span class="i0">no me vera, no me hallara en el campo,<br /></span> -<span class="i0">no en el jardin, ni camara; hele muerto.<br /></span> -<span class="i0">Ay veote morir mi bien por mi,<br /></span> -<span class="i0">mi bien ya que yo muero vive tu,<br /></span> -<span class="i0">esto te pido y ruego, vive, vive,<br /></span> -<span class="i0">ampara estos tus hijos tan queridos,<br /></span> -<span class="i0">y esta mi muerte pague los desastres<br /></span> -<span class="i0">que a ellos esperavan. Rey señor,<br /></span> -<span class="i0">pues puedes socorrer a males tantos<br /></span> -<span class="i0">socorreme, perdoname. No puedo,<br /></span> -<span class="i0">no puedo mas dezirte:<br /></span> -<span class="i0">Señor por que me matas?<br /></span> -<span class="i0">en que te lo merezco?<br /></span> -<span class="i0">ay, no me mates, ay!<br /></span> -<span class="i0">Jesus, Maria!<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_303" href="#FNanchor_303" class="label">303</a> -<i>Libro de caballeria celestial del pie de la rosa fragrante, -&c. por D. Geronymo de Sanpedro. Anvers, 1554, in 8vo.</i> The -Gottingen university possesses a copy of this book.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_304" href="#FNanchor_304" class="label">304</a> -This phrase occurs in a preface which Venegas wrote to a -moral allegorical novel by Luis Mexia, which will hereafter be -noticed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_305" href="#FNanchor_305" class="label">305</a> -I have seen only the <i>Primera</i> parte de las Patrañas de Juan -Timoneda, Sevilla, 1583, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_306" href="#FNanchor_306" class="label">306</a> -See Nicolas Antonio, article Alfonso de Ulloa.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_307" href="#FNanchor_307" class="label">307</a> -Nicolas Antonio does not mention the date of either his -birth or death. More precise information respecting him may be -found in the sixth vol. of the <i>Parnaso Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_308" href="#FNanchor_308" class="label">308</a> -See p. 280.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_309" href="#FNanchor_309" class="label">309</a> -This dialogue, with the continuation by Ambrosio de Morales, -and other works of a similar kind, have been elegantly printed -under the general title of <i>Obras, que Cervantes de Salazar ha -hecho, glosado y traducido</i>, &c. Madrid, 1772, in 4to.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_310" href="#FNanchor_310" class="label">310</a> -For example:—</p> -<p> -<i>Aur.</i> Bien veo, Antonio, que ai essos provechos que dices de -la soledad: pero yo tengo creido, que otra causa mayor ai. <i>Ant.</i> -Que causa puede aver mayor? <i>Aur.</i> El aborrecimento, que cada -hombre tiene al genero humano, por el qual somos inclinados a -apartarnos unos de otros. <i>Ant.</i> Tan aborrecibles te parecen los -hombres, que aun ellos mesmos por huir de sì, busquen la soledad? -<i>Aur.</i> Pareceme tanto, que cada vez que me acuerdo, que soi hombre, -querria, o no aver sido, o no tener sentimiento dello. <i>Ant.</i> -Maravillome, Aurelio, que los autores excelentes, que acostumbras -a leer, i los sabios hombres, que conversas, no te ayan quitado de -esse error.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_311" href="#FNanchor_311" class="label">311</a> -As for instance in the annexed passage:—</p> -<p> -Assi que todos estos i los demas estados de los hombres no -son sino diversos modos de penar, do ningun descanso tienen, ni -seguridad en alguno dellos: porque la fortuna todos los confunde, i -los revuelve con vanas esperanzas i vanos semblantes de honras i -riquezas, en las quales cosas mostrando quan facil es i quan incierta, -a todos mete en desseos de valer, tan desordenados, que no ai lugar -tan alto, do los queramos dejar. Con estos escarnios de fortuna -cada uno aborrece su estado con codicia de los otros; do si llega, no -halla aquel reposo que pensaba. Porque todos los bienes de fortuna -al dessear parecen hermosos, i al gozar llenos de pena.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_312" href="#FNanchor_312" class="label">312</a> -For example the conclusion of the discourse of Aurelio, who, -it is true, describes rather than censures the dark side of human -society:—</p> -<p> -Todo esto se va en humo, hasta que tornan los hombres a estar -en tanto olvido, como antes que naciessen: i la misma vanidad se -sigue despues, que primero avia. Hasta aquí, Dinarco, me ha -parecido decir del hombre: agora yo lo dejo él i su fama enterrados -en olvido perdurable: i no sé con que razones tu, Antonio, -podrás resucitarlo. Dale vida, si pudieres, i consuelo contra tantos -males, como has oido: que si tu assi lo hicieres, yo seré vencido de -buena gana, pues tu vitoria será gloria para mi, que me veré constituido -en mas excelente estado, que pensava.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_313" href="#FNanchor_313" class="label">313</a> -Only this treatise of Morales <i>Sobre la lengua Castellana</i>, -is reprinted in the collection mentioned in note, page 309.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_314" href="#FNanchor_314" class="label">314</a> -The following passage from the treatise on the Spanish -language, forms an addition to the history of rhetorical cultivation -of prose rhetoric among the Spaniards in the age of Morales:—</p> -<p> -Para que pues era este cuidado? de que servia esta diligencia -entre gente tan prudente i de tanto miramiento, si naturaleza lo -suplia, i avia ella de hazerlo mejor? Veían sin duda, como sin tales -exemplos no se podia perfeccionar el uso della lengua en aquella -parte, i que a faltar lo que proveian, faltaria el bien que deseavan: -i lo mismo es en las formas i maneras particulares de hablar, que -llaman <i>phrasis</i>, i en todas las otras partes del lenguage, donde -ayudada naturaleza con el mejor uso, saca mas ventaja i perfeccion. -Pues qué los otros, que todo lo tienen en Castellano por afectado? -estos quieren condenar nuestra lengua a un estraño abatimiento, i -como enterrarla viva, donde miserablemente se corrompa i pierda -todo su lustre, su lindeza i hermosura: o desconfian, que no es para -parecer, i esta es ignorancia; o no la quieren adornar como deven, -i esta es maldad. <i>Yo no digo que afeites nuestra lengua Castellana, -sino que le laves la cara.</i> No le pintes el rostro, mas quitale -la suciedad: no la vistas de bordados, recamos, mas no le niegues -un buen atavio de vestido, que aderece con gravedad.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_315" href="#FNanchor_315" class="label">315</a> -Fourteen of the discourses of Morales, form an appendix to -his edition of the Obras de Perez de Oliva, already mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_316" href="#FNanchor_316" class="label">316</a> -This treatise also forms an appendix to the collection before-mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_317" href="#FNanchor_317" class="label">317</a> -Hence the title: <i>Obras</i> que Francisco Cervantes de Salazar -ha <i>hecho</i>, <i>glosado</i>, y <i>traducido</i>. See note, p. 309.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_318" href="#FNanchor_318" class="label">318</a> -As a useful moral book, this romance is, perhaps, worthy -of being translated or new modelled. Tasteless morality is, to be -sure, no more commendable in literature than tasteful immorality; -and any attempt to revive the fashion of moral allegories would -deserve condemnation. But a work like the allegorical romance of -Mexia, might probably possess more value than many of our modern -tales for youth.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_319" href="#FNanchor_319" class="label">319</a> -Los cinco libro primeros de la Coronica General de España, -recopilava el Maestro Florian de Ocampo, &c. Alcalà, 1578, in -folio. This is the first, and, perhaps, the only edition of the work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_320" href="#FNanchor_320" class="label">320</a> -Mi principal intencion, he says, ha seido, contar la verdad -entera y sencilla, <i>sin que en ella aya engaño ni cosa que le adorne</i>—sin -envolver en ella las <i>rhetoricas y vanidades, que por otros libros -deste nuestro tiempo se ponen</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_321" href="#FNanchor_321" class="label">321</a> -This is the Coronica General de España por Don Ambrosio -de Morales; Alcalà de Henàres, 1574, in folio.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_322" href="#FNanchor_322" class="label">322</a> -See my History of Italian Literature, vol. ii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_323" href="#FNanchor_323" class="label">323</a> -<i>Anales de la corona de Aragon, Caragoça</i>, 1616, six vols. -small folio. This work was not printed till after the death of Philip -II. The two last volumes contain the history of foreign affairs in -the reign of Ferdinand and Isabella.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_324" href="#FNanchor_324" class="label">324</a> -He says:—</p> -<p> -Esta fue muy acatada entre todas gentes, porque siempre convino -tener presente lo passado, y considerar con quanta constancia -se deve fundar una perpetua paz y concordia civil, pues <i>no se puede -ofrecer mayor peligro, que la mudança de los estados en la declinacion -de los tiempos</i>. Teniendo cuenta con esto, siendo todos -los sucesos tan inciertos a todos, y sabiendo quan pequeñas ocasiones -suelen ser causa de grandes mudanças, el conocimiento de -<i>las cosas passadas nos enseñara, que tengamos por mas dichoso y -bienaventurado el estado presente</i>: y que estemos siempre con -recelo del que està por venir.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_325" href="#FNanchor_325" class="label">325</a> -The following observations, concerning the conduct of -professors of moral philosophy, may serve as a specimen of Pedro -de Oliva’s eloquence:—</p> -<p> -Yo en contrario dello no dire de mi lastimas ningunas, porque -no lo acostumbro en tales casos. Pero si la cathedra de philosophia -moral supiesse hablar, que lastimas piensan vuestras mercedes -que diria? Ella por si diria, que miren quan olvidada ha estado, -y quan escureceda, muchas vezes por passiones de los que la han -proveydo, y que miren, que agora la demandan unos llorando, y -otros no se en que confiando; y que unos la quieren, para cumplir -sus necessidades, y otros para cumplir las agenas: no siendo aquesto -lo que ella ha menester. Porque ella demanda hombre, que en las -adversidades no gima, ni en los casos de justicia solicite.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_326" href="#FNanchor_326" class="label">326</a> -As Philip II. is but little known in the character of a letter -writer, it may not be improper to quote a passage which reflects -honour on him as a man:—</p> -<p> -La verdad, i cumplimiento de lo que se dice, i promete, es el -fundamento del credito, i estimacion de los hombres, i sobre que -estriva, i se funda el trato comun, i confianza. Esto se requiere, -i es mucho mas necessario en los mui principales, i que tienen -grandes, i publicos cargos; porque de su verdad, i cumplimiento -depende la Fé, i seguridad publica. Encargoos mucho, que tengais -en esto gran cuenta, i cuidado; i se entienda, i conozca en Vos en -todas partes, i ocasiones, el credito, que pueden, i deven tener de -lo que digeredes: que demàs de lo que toca a las cosas publicas, i -de vuestro cargo, importa èsto mucho a vuestro particular honor i -estimacion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_327" href="#FNanchor_327" class="label">327</a> -This collection is entitled: <i>Cartas morales, militares, civiles -y literarias de varios autores Españoles, recogidos, &c. por D. -Gregorio Mayans y Siscar</i>, 1734, in 8vo. Most of these letters -are productions of the sixteenth century.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_328" href="#FNanchor_328" class="label">328</a> -<a href="#Page_265">See page 265</a>. The title-page of this book, which runs as -follows—<i>Philosophia Antigua Poetica, del Doctor Alonzo Lopez -Pinciano, Medico Cesareo, dirigida al Conde Joannes Kevenhiler</i> -(Khevenhüller), &c.—also contains a full detail of the titles of the -Count to whom it is dedicated. It was printed at Madrid, 1596, -in quarto.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_329" href="#FNanchor_329" class="label">329</a> -Velasquez and Dieze, p. 505, furnish bibliographic notices -of the works of these authors. See also Blankenburgh on the -same subject.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_330" href="#FNanchor_330" class="label">330</a> -Cervantes spent that portion of his life, during which his -name is particularly conspicuous, among Spanish poets, so remote -from literary society, that at his death sufficient notices did not -exist to form a complete narrative of his life. The well known -biography by Mayans y Siscar, which was not written till the -eighteenth century, deserved to be valued only for want of a better. -It is prefixed to many editions of Don Quixote. The preference, -however, must be given to the more recent life of Cervantes, by -Don Vicente de los Rios, which is prefixed to the splendid edition -of Don Quixote, published at Madrid, 1781, in royal quarto.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_331" href="#FNanchor_331" class="label">331</a> -In his Viage al Parnaso, chap. iv. he says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Yo he compuesto <i>Romances infinitos</i><br /></span> -<span class="i4">Y el de los Zelos es aquel que estimo<br /></span> -<span class="i4">Entre <i>otros, que los tengo par mal ditos</i>.<br /></span> -<span class="i4">* * * * * * * * * *<br /></span> -<span class="i0"><i>Mi Filena</i> * * * * * * * *<br /></span> -<span class="i4">Resonò <i>por las selvas</i>, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_332" href="#FNanchor_332" class="label">332</a> -Don Vicente de los Rios entertains so little doubt of the -reality of the romantic events, recorded in the Captive, that he has -interwoven them in his account of the life of Cervantes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_333" href="#FNanchor_333" class="label">333</a> -These dramas must not be confounded with the eight well -known comedies which Cervantes subsequently wrote. His tragedy -of Numantia, and his comedy of Life in Algiers, (<i>Trato de Argel</i>) -appear to have been written at an earlier period.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_334" href="#FNanchor_334" class="label">334</a> -For example, when Don Quixote speaks of the achievements -of the old knights, he always uses the antiquated expression:—Las -<i>fazañas</i> que han <i>fecho</i>, instead of <i>hazañas</i> que han -<i>hecho</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_335" href="#FNanchor_335" class="label">335</a> -In the original Spanish, the term <i>insula</i> is uniformly -employed instead of the common word <i>isla</i>. Sancho probably -understood what an <i>isla</i> signified; but an <i>insula</i> was a word which -conveyed to his mind the idea of something magical and extraordinary. -He accordingly takes a great pleasure in emphatically -repeating it.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_336" href="#FNanchor_336" class="label">336</a> -As one specimen out of many, it will be sufficient to quote -the speech of the shepherdess Marcella. It is in the true prose -style of Cicero, and it is altogether a composition which has seldom -been equalled in any modern language:—</p> - -<p>Hizome el Cielo, segun vosotros dezis, hermosa, y de tal manera, -que sin ser poderosos à otra cosa, à que me ameys os mueve mi -hermosura. Y por al amor que me mostràys, dezis, y aun quereys -que estè yo obligada à amaros. Yo conozco con el natural entendimiento, -que Dios me ha dado, que todo lo hermoso es amable, mas -no alcanço, que por razon de ser amado, esté obligado lo que es -amado por hermoso, à amar à quien le ama. Y mas que podria -acontecer, que el amador de lo hermoso fuèsse feo; y siendo lo feo -digno de ser aborrecido, càe muy mal el dezir: Quièrote por hermosa, -hasme de amar, aunque sea feo. Pero puesto caso que corran -igualmente las hermosuras, no por esso han de correr iguales los -desseos; que no todas las hermosùras enamòran, que algunas alegran -la vista, y no riuden la voluntad: que si todas las bellezas enamorassèn, -y rindiessèn: serià un andar las voluntades confusas, y -descaminadas, sin saber en qual avian de parar; porque siendo -infinitos los Sujetos hermosos, infinitos avian de ser los dessèos: y -segun yo he oydo dezir, el verdadero Amor no se divide, y ha de ser -voluntario, y no forçoso.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_337" href="#FNanchor_337" class="label">337</a> -From <i>rincon</i> (a corner), and <i>cortar</i> (to shorten or cut). They -are merely two humorous names for pick-pockets or purse-cutters. -To those who wish to become acquainted with the <i>Novelas Exemplares</i>, -I would recommend the edition published at Madrid in -1783, by Antonio Sancha, which as far as I know is the latest.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_338" href="#FNanchor_338" class="label">338</a> -A new and elegant edition of the Galatea was printed at -Madrid in 1784, by Antonio Sancha.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_339" href="#FNanchor_339" class="label">339</a> -The following is a specimen of Cervantes’s <i>Versos de Arte -Mayor</i>:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Salid de lo hondo pecho cuitado<br /></span> -<span class="i0">Palabras sangrientas con muerte mezcladas,<br /></span> -<span class="i0">Y si los suspiros os tienen atadas,<br /></span> -<span class="i0">Abrid y romped el siniestro costado:<br /></span> -<span class="i0">El aire os empide que está ya inflamado<br /></span> -<span class="i0">Del fiero veneno de vuestros acentos,<br /></span> -<span class="i0">Salid, y si quiera os lleven los vientos,<br /></span> -<span class="i0">Que todo mi bien tambien han llevado.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_340" href="#FNanchor_340" class="label">340</a> -The subjoined extract will shew that Cervantes endeavoured to -combine in his sonnets the old Spanish style with that of Petrarch.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ligeras horas del ligero tiempo<br /></span> -<span class="i0">Para mí perezosas y cansadas,<br /></span> -<span class="i0">Si no estais en mi daño conjuradas,<br /></span> -<span class="i0">Parezcaos ya que es de acabarme tiempo.<br /></span> -<span class="i4">Si agora me acabais, hareislo á tiempo<br /></span> -<span class="i0">Que estan mis desventuras mas colmadas,<br /></span> -<span class="i0">Mirad que menguarán, si sois pesadas,<br /></span> -<span class="i0">Que el mal se acaba, si da tiempo al tiempo.<br /></span> -<span class="i4">No os pido que vengais dulces sabrosas,<br /></span> -<span class="i0">Pues no hallareis camino, senda, ó paso<br /></span> -<span class="i0">De reducerme al ser que ya he perdido.<br /></span> -<span class="i4">Horas á qualquier otro venturosas,<br /></span> -<span class="i0">Aquella dulce del mortal traspaso,<br /></span> -<span class="i0">Aquella de mi muerte sola os pido.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_341" href="#FNanchor_341" class="label">341</a> -It commences with the following sonorous stanzas:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Al dulce son de mi templada lira<br /></span> -<span class="i0">Prestad, pastores, el oido atento.<br /></span> -<span class="i0">Oireis como en mi voz y en él respira<br /></span> -<span class="i0">De mis hermanas el sagrado aliento:<br /></span> -<span class="i0">Vereis como os suspende y os admira,<br /></span> -<span class="i0">Y colma vuestras almas de contento,<br /></span> -<span class="i0">Quando os dé relacion aqui en el suelo<br /></span> -<span class="i0">De los ingenios que ya son del cielo.<br /></span> -<span class="i4">Pienso canta de aquellos solamente<br /></span> -<span class="i0">Aquien la parca el hilo aun no ha cortado.<br /></span> -<span class="i0">De aquellos que son dignos justamente<br /></span> -<span class="i0">De en tal lugar tenerle señalado:<br /></span> -<span class="i0">Donde á pesar del tiempo diligente,<br /></span> -<span class="i0">Por el laudable oficio acustumbrado<br /></span> -<span class="i0">Vuestro vivan mil siglos sus renombres,<br /></span> -<span class="i0">Sus claras obras, sus famosos nombres.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_342" href="#FNanchor_342" class="label">342</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">O alma venturosa,<br /></span> -<span class="i0">Que del humano velo<br /></span> -<span class="i0">Libre al alta region viva volaste,<br /></span> -<span class="i0">Dexando en tenebrosa<br /></span> -<span class="i0">Carcel de desconsuelo<br /></span> -<span class="i0">Mi vida, aunque contigo la llevaste!<br /></span> -<span class="i0">Sin tí, escura dexaste<br /></span> -<span class="i0">La luz clara del dia,<br /></span> -<span class="i0">Por tierra derribada<br /></span> -<span class="i0">La esperanza fundada<br /></span> -<span class="i0">En al mas firme asiento de alegria:<br /></span> -<span class="i0">En fin con tu partida<br /></span> -<span class="i0">Quedó vivo el dolor, muerta la vida.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_343" href="#FNanchor_343" class="label">343</a></p> - -<div class="poem"><div class="stanza"> -<span class="i4">Agora que calla el viento,<br /></span> -<span class="i0">Y el soseogar està en calma,<br /></span> -<span class="i0">No se calle mi tormento,<br /></span> -<span class="i0">Salga con la voz el alma<br /></span> -<span class="i0">Para mayor sentimiento;<br /></span> -<span class="i0">Que para contar mis males,<br /></span> -<span class="i0">Mostrando en parte que son<br /></span> -<span class="i0">Por fuerza, han de dar señales<br /></span> -<span class="i0">El alma, y el corazon<br /></span> -<span class="i0">De vivas ansias mortales.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_344" href="#FNanchor_344" class="label">344</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Con tantas <i>firmas afirmas</i><br /></span> -<span class="i0">El amor que està en tu pecho, &c.<br /></span> -</div></div> - -<p> -And these antiquated expressions are sometimes combined with -fantastical ideas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_345" href="#FNanchor_345" class="label">345</a> -For example:—Mastines <i>fieles</i>, guardadores de las <i>simples</i> -ovejuelas, que debaxo de su amparo estan seguras de los <i>carniceros</i> -dientes de los <i>hambrientos</i> lobos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_346" href="#FNanchor_346" class="label">346</a> -Mercury thus accosts him:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">O Adan de poetas, o Cervantes!<br /></span> -<span class="i0">Que alforjas y que trage es este, o amigo?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_347" href="#FNanchor_347" class="label">347</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">De la quilla à la gavia, ó estraña cosa!<br /></span> -<span class="i4">Toda de versos era fabricada,<br /></span> -<span class="i4">Sin que se entremetiesa alguna prosa,<br /></span> -<span class="i0">Las ballesteras eran de ensalada<br /></span> -<span class="i4">De glosas, todas hechas á la boda<br /></span> -<span class="i4">De la que se llamó Malmaridada.<br /></span> -<span class="i0">Era la chusma de romances toda,<br /></span> -<span class="i4">Gente atrevida, empero necesaria,<br /></span> -<span class="i4">Pues à todas acciones se acomoda.<br /></span> -<span class="i0">La popa de materia extraordinaria,<br /></span> -<span class="i4">Bastarda, y de legitimos sonetos,<br /></span> -<span class="i4">De labor peregrina en todo y varia.<br /></span> -<span class="i0">Eran dos valentisimos tercetos<br /></span> -<span class="i4">Los espaldares de la izquierda y diestra,<br /></span> -<span class="i4">Para dar boga larga muy perfetos.<br /></span> -<span class="i0">Hecha ser la crugia se me muestra<br /></span> -<span class="i4">De una luenga y tristisima elegia,<br /></span> -<span class="i4">Que no en cantar, sino en llorar es diestra.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_348" href="#FNanchor_348" class="label">348</a> -A portion of this masterly description may be quoted here.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Bien asi semejaba, que se ofrece<br /></span> -<span class="i4">Entre liquidas perlas y entre rosas<br /></span> -<span class="i4">La aurora que despunta y amanece.<br /></span> -<span class="i0">La rica vestidura, las preciosas<br /></span> -<span class="i4">Joyyas que la adornaban, competian<br /></span> -<span class="i4">Con las que suelen ser mirabillosas.<br /></span> -<span class="i0">Las ninfas que al querer suyo asistian<br /></span> -<span class="i4">En el gallardo brio y bello aspecto,<br /></span> -<span class="i4">Las artes liberales parecian.<br /></span> -<span class="i0">Todas con amoroso y tierno afecto,<br /></span> -<span class="i4">Con las ciencias mas claras y escogidas,<br /></span> -<span class="i4">Le guardaban santisimo respeto.<br /></span> -<span class="i0">Mostraban que en servirla eran servidas,<br /></span> -<span class="i4">Y que por su ocasion de todas gentes<br /></span> -<span class="i4">En mas veneracion eran tenidas.<br /></span> -<span class="i0">Su influjo y su reflujo las corrientes<br /></span> -<span class="i4">Del mar y su profundo le mostraban,<br /></span> -<span class="i4">Y el ser padre de rios y de fuentes.<br /></span> -<span class="i0">Las yerbas su virtud la presentaban,<br /></span> -<span class="i4">Los arboles sus frutos y sus flores,<br /></span> -<span class="i4">Las piedras el valor que en sì encerraban.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_349" href="#FNanchor_349" class="label">349</a> -The following is a passage from the description of <i>Vanagloria</i>.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En un trono del suelo levantado,<br /></span> -<span class="i4">(Do el arte à la materia se adelanta<br /></span> -<span class="i4">Puesto que de oro y de marfil labrado)<br /></span> -<span class="i0">Una doncella vì desde la planta<br /></span> -<span class="i4">Del pie hasta la cabeza asi adornada,<br /></span> -<span class="i4">Que el verla admira, y el oirla encanta.<br /></span> -<span class="i0">Estaba en él con magestad sentada,<br /></span> -<span class="i4">Giganta al parecer en la estatura,<br /></span> -<span class="i4">Pero aunque grande, bien proporcionada.<br /></span> -<span class="i0">Parecia mayor su hermosura<br /></span> -<span class="i4">Mirada desde lejos, y no tanto<br /></span> -<span class="i4">Si de cerca se ve su compostura, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_350" href="#FNanchor_350" class="label">350</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Turbóse en esto el liquido elemento,<br /></span> -<span class="i4">De nuevo renovóse la tormenta,<br /></span> -<span class="i4">Sopló mas vivo y mas apriesa el viento.<br /></span> -<span class="i0">La hambrienta mesnada, y no sedienta,<br /></span> -<span class="i4">Se rinde al uracan recien venido,<br /></span> -<span class="i4">Y por mas no penar muere contenta.<br /></span> -<span class="i0">O raro caso y por jamas oido,<br /></span> -<span class="i4">Ni visto! ó nuevas y admirables trazas<br /></span> -<span class="i4">De la gran reina obedecida en Guido!<br /></span> -<span class="i0">En un instante el mar de calabazas<br /></span> -<span class="i4">Se vió quajado, algunas tan potentes,<br /></span> -<span class="i4">Que pasaban de dos, y aun de tres brazas.<br /></span> -<span class="i0">Tambien hinchados odres y valientes,<br /></span> -<span class="i4">Sin deshacer del mar la blanca espuma,<br /></span> -<span class="i4">Nadaban de mil talles diferentes, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_351" href="#FNanchor_351" class="label">351</a> -These two dramas, the tragedy of Numancia and the comedy -of El Trato de Argel, were first printed in an appendix to the -new edition of the <i>Viage al Parnaso</i>, published at Madrid by Don -Antonio Sancha, in the year 1784.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_352" href="#FNanchor_352" class="label">352</a> -In the supplement to the <i>Viage al Parnaso</i>, Cervantes particularly -mentions his nine dramas in terms of the most decided -self-satisfaction. “If they were not my own, (he says) I should -declare that they merit all the praise they have obtained.” He -alludes with particular complacency to his comedy, entitled, <i>La -Confusa</i>, which he styles a <i>good one among the best</i>. But <i>La -Confusa</i>, as well as the others which Cervantes praises, is lost. -Among the eight which are known, <i>La Gran Sultana</i> seems to be -that which Cervantes mentions under the title of <i>La Gran Turquesca</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_353" href="#FNanchor_353" class="label">353</a> -See the first preface to the <i>Comedias y Entremeses de -Miguel de Cervantes</i>, published by Blas Nasarre, Madrid, 1749, -2 vols. 4to.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_354" href="#FNanchor_354" class="label">354</a> -The departed spirit which is conjured back to the dead body, -delivers the following terrific address:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Cese la furia del rigor violento,<br /></span> -<span class="i0">Tuyo, Marquino, baste, triste, baste<br /></span> -<span class="i0">La que yo paso en la region escura,<br /></span> -<span class="i0">Sin que tu crezcas mas mi desventura.<br /></span> -<span class="i0">Engañaste, si piensas que recibo<br /></span> -<span class="i0">Contento de volver á esta penosa,<br /></span> -<span class="i0">Misera y corta vida, que aora vivo,<br /></span> -<span class="i0">Que yo me va faltando presurosa;<br /></span> -<span class="i0">Antes me causas un dolor esquivo,<br /></span> -<span class="i0">Pues otra vez la muerte rigurosa<br /></span> -<span class="i0">Triunfará de mi vida y de mi alma,<br /></span> -<span class="i0">Mi enemigo tendrá doblada palma; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_355" href="#FNanchor_355" class="label">355</a> -One of the Numantian women, for example, addresses the -following speech to the senators:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Basta que la hambre insana<br /></span> -<span class="i0">Os acabe con dolor,<br /></span> -<span class="i0">Sin esperar el rigor<br /></span> -<span class="i0">De la aspereza Romana.<br /></span> -<span class="i0">Decildes que os engendraron<br /></span> -<span class="i0">Libres, y libres nacistes,<br /></span> -<span class="i0">Y que vuestras madres tristes<br /></span> -<span class="i0">Tambien libres os criaron.<br /></span> -<span class="i0">Decildes que pues la suerte<br /></span> -<span class="i0">Nuestra va tan de caida,<br /></span> -<span class="i0">Que como os dieron la vida,<br /></span> -<span class="i0">Ansi mismo os den la muerte.<br /></span> -<span class="i0">O muros desta ciudad,<br /></span> -<span class="i0">Si podeis hablad, decid,<br /></span> -<span class="i0">Y mil veces repetid:<br /></span> -<span class="i0">Numantinos, libertad!<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_356" href="#FNanchor_356" class="label">356</a> -A mother enters with her two starving children. She carries -one at the breast, and the other whom she leads by the hand, thus -addresses her:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Hijo.</i> <span style="padding-left: 2em">Madre, por ventura habriar</span><br /></span> -<span class="i10">nos diese pan por esto?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Madre.</i> <span style="padding-left: 1.5em">Pan, hijo, ni aun otra cosa</span><br /></span> -<span class="i10">Que semeje de comer!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Hijo.</i> <span style="padding-left: 2.5em">Pues tengo de parecer</span><br /></span> -<span class="i10">De dura hambre rabiosa?<br /></span> -<span class="i10">Con poco pan que me deis,<br /></span> -<span class="i10">Madre, no os pediré mas.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Madre.</i> <span style="padding-left: 1.5em">Hijo, qué penas me das!</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Hijo.</i> <span style="padding-left: 2.5em">Pues qué, madre, no quereis? &c.</span><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_357" href="#FNanchor_357" class="label">357</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Morandro.</i> <span style="padding-left: 1em">Ves aqui, Lira, cumplida</span><br /></span> -<span class="i13">Mi palabra y mis porfias<br /></span> -<span class="i13">De que tú no moririas<br /></span> -<span class="i13">Mientras yo tuviese vida.<br /></span> -<span class="i13">Y aun podré mejor decir<br /></span> -<span class="i13">Que presto vendrás á ver<br /></span> -<span class="i13">Que á ti sobrará el comer,<br /></span> -<span class="i13">Y á mi faltará el vivir.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Lira.</i> <span style="padding-left: 4em">Qué dices, Morandro amado?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Morandro.</i> <span style="padding-left: 1em">Lira, que acortes la hambre,</span><br /></span> -<span class="i13">Entretanto que la estambre<br /></span> -<span class="i13">De mi vida corta el hado.<br /></span> -<span class="i13">Pero mi sangre vertida<br /></span> -<span class="i13">Y con este pan mezclada,<br /></span> -<span class="i13">Te ha de dar, mi dulce amada,<br /></span> -<span class="i13">Triste y amarga comida.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_358" href="#FNanchor_358" class="label">358</a> -A new and elegant edition of the <i>Trabajos de Persiles y -Sigismunda</i>, was published at Madrid in 1781, by Don Antonio de -Sancha, in 2 vols.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_359" href="#FNanchor_359" class="label">359</a> -The biographer who wishes to compile in a perfect and -authentic way, the life of Lope de Vega, already so often related, -must not neglect the collection of elegies and epitaphs, which have -been lately printed, along with the hitherto scattered works of the -great Spanish dramatist, (<i>Obras Sueltas de Lope de Vega</i>; -Madrid, 1776, &c. 21 vols. 4to.) Even Nicolas Antonio, whose -manner is so jejune, and who usually dismisses poets with very -little ceremony, bestows a long eulogium on Lope de Vega.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_360" href="#FNanchor_360" class="label">360</a> -In the prelude to the Auto <i>El Nombre de Jesus</i> (the Name -of Jesus). See the <i>Obras Sueltas de Lope de Vega</i>, vol. xviii. -The countrywoman asks:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Y que son Autos?<br /></span> -</div></div> - -<p>And the husband replies:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Comedias a gloria y honor del pan</i><br /></span> -<span class="i0">Que tan devota celebra<br /></span> -<span class="i0">Esta coronada villa.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_361" href="#FNanchor_361" class="label">361</a> -Lope de Vega, in his dramas, employs the terms <i>actos</i> and -<i>jornadas</i> indiscriminately.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_362" href="#FNanchor_362" class="label">362</a> -From the very commencement of the scene, it is obvious -how well Lope de Vega understood the art of composing spirited -dialogue.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>D. San.</i> <span style="padding-left: 2.5em">A mi me cierra la puerta?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ançu.</i> <span style="padding-left: 3.5em">Tiene muy justo temor.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cid.</i> <span style="padding-left: 4.5em">Con ser muger se concierta.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>An.</i> <span style="padding-left: 5em">De que te espantas señor</span><br /></span> -<span class="i14">que no te la tenga abierta?<br /></span> -<span class="i14">Dizen que en el Dios que adoro<br /></span> -<span class="i14">juraste quitar agora<br /></span> -<span class="i14">sin guardarles el decoro<br /></span> -<span class="i14">a doña Urraca a Zamora,<br /></span> -<span class="i14">y a Elvira su hermana a Toro.<br /></span> -<span class="i14">Pues si muerto el Rey Fernando,<br /></span> -<span class="i14">el primero de Castilla<br /></span> -<span class="i14">que esta en el cielo reynando<br /></span> -<span class="i14">por eterno cetro y silla,<br /></span> -<span class="i14">la silla mortal dexando,<br /></span> -<span class="i14">eres quien has de amparallas,<br /></span> -<span class="i14">pues otro padre no tienen,<br /></span> -<span class="i14">y quieres desheredallas.<br /></span> -<span class="i14">Que mucho si se previenen<br /></span> -<span class="i14">a defender sus murallas?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. San.</i> <span style="padding-left: 3em">Conde Ançures, si jurè,</span><br /></span> -<span class="i14">gusto de mi padre fue,<br /></span> -<span class="i14">guardè respeto a su muerte, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_363" href="#FNanchor_363" class="label">363</a> -Ordonez is exhibited in rather a ludicrous light:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Cid.</i> <span style="padding-left: 3.5em">No os prevengais que no quiero</span><br /></span> -<span class="i12">reñir con vos.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Bic.</i> <span style="padding-left: 10em">Porque no?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cid.</i> <span style="padding-left: 3.5em">Porque nunca en quien temio</span><br /></span> -<span class="i12">manchè mi gallardo azero.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. B.</i> <span style="padding-left: 3em">A quien yo he temido, es hombre</span><br /></span> -<span class="i12">que a vos os hara temblar.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cid.</i> <span style="padding-left: 3.5em">Si es el Invierno, en lugar</span><br /></span> -<span class="i12">frio temblar hazer a un hombre.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. B.</i> <span style="padding-left: 3em">No es sino el Cid.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cid.</i> <span style="padding-left: 3.5em">Pues si vos</span><br /></span> -<span class="i12">temeys solo al Cid, oyd,<br /></span> -<span class="i12">que a mi me temeys,<br /></span> -<span class="i12">que el Cid soy.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. B.</i> <span style="padding-left: 11em">El Cid vos?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cid.</i> <span style="padding-left: 3.5em">Si por Dios.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. B.</i> <span style="padding-left: 3em">Ya que os he dicho en la cara,</span><br /></span> -<span class="i12">invicto Cid, mi temor,<br /></span> -<span class="i12">sabed, que yo soy señor,<br /></span> -<span class="i12">don Diego Ordoñez de Lara.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_364" href="#FNanchor_364" class="label">364</a> -He thus apostrophizes his rural retreat in the idyl style:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Vel.</i> <span style="padding-left: 2.5em">Montes que el Duero vaña,</span><br /></span> -<span class="i10">y en cadenas de yelo<br /></span> -<span class="i10">os tiene por los verdes pies atados<br /></span> -<span class="i10">desde que nuestra España<br /></span> -<span class="i10">Pelayo (o fuesse el cielo)<br /></span> -<span class="i10">os restauró del barbaro habitados;<br /></span> -<span class="i10">de mis nobles passados,<br /></span> -<span class="i10">vega de Toro hermosa,<br /></span> -<span class="i10">que hazes competencia,<br /></span> -<span class="i10">no solo con Plasencia,<br /></span> -<span class="i10">y a la orilla del Betis generosa,<br /></span> -<span class="i10">de fertiles trofeos,<br /></span> -<span class="i10">mas a los campos celebres Hibleos.<br /></span> -<span class="i10">Aqui donde esta casa<br /></span> -<span class="i10">solar de mis abuelos<br /></span> -<span class="i10">las jambas cubre de despojos Moros,<br /></span> -<span class="i10">por donde alegre passa<br /></span> -<span class="i10">Duero que quiebra yelos,<br /></span> -<span class="i10">y cuyas Ninfas van cantando a coros,<br /></span> -<span class="i10">haziendo que los poros<br /></span> -<span class="i10">de la hermosa ribera,<br /></span> -<span class="i10">broten las altas cañas,<br /></span> -<span class="i10">anchas como espadañas,<br /></span> -<span class="i10">de trigo fertil la mançana y pera;<br /></span> -<span class="i10">y el razimo pessado<br /></span> -<span class="i10">con verdes hilos al sarmiento atado.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_365" href="#FNanchor_365" class="label">365</a> -What might not this scene have been rendered by a poet of -a more regular imagination! There is, however, a certain degree of -dignity in the commencement, with which the close forms a contrast -the more discordant:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>D. S.</i> <span style="padding-left: 1em">Dexa las armas Elvira,</span><br /></span> -<span class="i8">mira hermana que me corro<br /></span> -<span class="i8">de sacarlas contra ti.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Elv.</i> <span style="padding-left: 1.5em">Pues vete hermano piadoso,</span><br /></span> -<span class="i8">y dexame en mis almenas.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. S.</i> <span style="padding-left: 1em">Si al assalto me dispongo,</span><br /></span> -<span class="i8">como no vees, que este muro<br /></span> -<span class="i8">quedarà de sangre rojo?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Elv.</i> <span style="padding-left: 1.5em">Si quedarà, mas serà</span><br /></span> -<span class="i8">de la vuestra.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. S.</i> <span style="padding-left: 8em">Pues yo rompo</span><br /></span> -<span class="i8">la obligacion de sangre.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Elv.</i> <span style="padding-left: 1.5em">Y yo la defensa tomò,</span><br /></span> -<span class="i8">que si fueras el Gigante<br /></span> -<span class="i8">que tuvo el cielo en los ombros,<br /></span> -<span class="i8">no pusieras pie en el muro.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. S.</i> <span style="padding-left: 1em"><i>Mira hermana que eres monstruo</i></span><br /></span> -<span class="i8">porque con tanta hermosura<br /></span> -<span class="i8"><i>tienes pensamientos locos</i>.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Elv.</i> <span style="padding-left: 1.5em"><i>El loco, el monstruo, eres tu</i>,</span><br /></span> -<span class="i8">pues que tu, hermano alevoso,<br /></span> -<span class="i8">me quieres quitar la herencia.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_366" href="#FNanchor_366" class="label">366</a> -The following metaphorical sonnet is declaimed by Sancha:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">El agua que corrio de clara fuente<br /></span> -<span class="i4">por cristalino surco al verdo prado,<br /></span> -<span class="i4">detiene al labrador, porque al sembrado<br /></span> -<span class="i4">acuda con mas prospera corriente.<br /></span> -<span class="i0">No sale el agua, que los muros siente<br /></span> -<span class="i4">del cesped, que por uno, y otro lado<br /></span> -<span class="i4">cercan su arroyo, que en la presa atado<br /></span> -<span class="i4">hazen, que a ser estan que el curso aumente.<br /></span> -<span class="i0">Ansi sucede amor en sus antojos,<br /></span> -<span class="i4">quando el honor del resistirse vale,<br /></span> -<span class="i4">callando penas, y sufriendo enojos.<br /></span> -<span class="i0">Dexale el al almo, que la presa yguale,<br /></span> -<span class="i4">y brota por los cercos de los ojos,<br /></span> -<span class="i4">ò rompe la pared, y junto sale.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_367" href="#FNanchor_367" class="label">367</a> -Among other things she says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i8">Como he dado en no casarme,<br /></span> -<span class="i8">leo por entretenerme,<br /></span> -<span class="i8">no por Bachillera hazerme<br /></span> -<span class="i8">y de aguda graduarme.<br /></span> -<span class="i8">Que a quien su buena opinion<br /></span> -<span class="i8">encierra en silencio tal,<br /></span> -<span class="i8">no halla en los libros mal,<br /></span> -<span class="i8">gustosa conversacion.<br /></span> -<span class="i8">Es qualquier libro discreto<br /></span> -<span class="i8">que si causa de hablar dexa,<br /></span> -<span class="i8">es amigo que aconseja<br /></span> -<span class="i8">y reprehende en secreto.<br /></span> -<span class="i8">Al fin despues que los leo<br /></span> -<span class="i8">y trato de devocion<br /></span> -<span class="i8">de alguna imaginacion<br /></span> -<span class="i8">voy castigando el desseo.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ju.</i> <span style="padding-left: 2.5em">Y en que materia leias?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Leo.</i> <span style="padding-left: 2em">De oracion.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ju.</i> <span style="padding-left: 8em">Quien no se goza</span><br /></span> -<span class="i8">de ver que tan bella moça<br /></span> -<span class="i8">tan santas custumbres crias.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_368" href="#FNanchor_368" class="label">368</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Leo.</i> <span style="padding-left: 1.5em">Juzgaras a liviandad</span><br /></span> -<span class="i8">hallarme con el espejo,<br /></span> -<span class="i8">Que suele ser conocida<br /></span> -<span class="i8">la mucha de una muger<br /></span> -<span class="i8">en yrse, y venirse a ver<br /></span> -<span class="i8">despues de una vez vestida.<br /></span> -<span class="i8">Y yo conforme a mi estado<br /></span> -<span class="i8">hago en esso mas delito.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Lu.</i> <span style="padding-left: 2em">A enojo siempre me incito</span><br /></span> -<span class="i8">con tu melindre estremado.<br /></span> -<span class="i8">Es mucho que una muger<br /></span> -<span class="i8">que ha de estar un dia compuesta,<br /></span> -<span class="i8">vaya a ver si està bien puesta<br /></span> -<span class="i8">la toca o el alfiler?<br /></span> -<span class="i8">Quien se lo dira mejor<br /></span> -<span class="i8">si esta bien, o si està mal<br /></span> -<span class="i8">que esso palmo de cristal?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Leo.</i><span style="padding-left: 1.5em"> Como disculpas mi error.</span><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_369" href="#FNanchor_369" class="label">369</a> -This sketch is well worth transcribing:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No sino venga un mancebo<br /></span> -<span class="i0">destos de aora de alcorça<br /></span> -<span class="i0">con el sombrerito a horza,<br /></span> -<span class="i0">pluma corta, cordon nuevo,<br /></span> -<span class="i0">cuello abierto muy parejo,<br /></span> -<span class="i0">puños a lo Veneciano,<br /></span> -<span class="i0">lo de fuera limpio, y sano,<br /></span> -<span class="i0">lo de dentro suzio y viejo,<br /></span> -<span class="i0">botas justas sin podellas<br /></span> -<span class="i0">descalçar en todo un mes,<br /></span> -<span class="i0">las calças hasta los pies,<br /></span> -<span class="i0">el vigote a las estrellas;<br /></span> -<span class="i0">xabonzillos, y copete,<br /></span> -<span class="i0">cadena falsa que assombre<br /></span> -<span class="i0">guantes de ambar, y grande hombre<br /></span> -<span class="i0">de un soneto, y un villete;<br /></span> -<span class="i0">y con sus manos lavadas<br /></span> -<span class="i0">los tres mil de renta pesque<br /></span> -<span class="i0">con que un poco se refresque<br /></span> -<span class="i0">entre savanas delgadas:<br /></span> -<span class="i0">y passados ocho dias<br /></span> -<span class="i0">se vaya a ver forasteras,<br /></span> -<span class="i0">o en amistades primeras,<br /></span> -<span class="i0">buelva a deshazer las mias.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_370" href="#FNanchor_370" class="label">370</a> -This whimsical adventure is thus described:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Yo que estava en un esquina<br /></span> -<span class="i0">mirandolo desde lexos,<br /></span> -<span class="i0">apresurè luego el passo.<br /></span> -<span class="i0">llevandome el ayre en peso.<br /></span> -<span class="i0">Llegando a la amada puerta<br /></span> -<span class="i0">vi un bulto a mis ojos negro,<br /></span> -<span class="i0">con su capa, y con su espada,<br /></span> -<span class="i0">mirando, y hablando a dentro.<br /></span> -<span class="i0">Llegueme a el, y metime<br /></span> -<span class="i0">hasta la harba el sombrero,<br /></span> -<span class="i0">y dixele: a gentilhombre!<br /></span> -<span class="i0">terciando el corto herreruelo.<br /></span> -<span class="i0">Como no me respondia,<br /></span> -<span class="i0">saco la daga de presto,<br /></span> -<span class="i0">y por el pecho a mi gusto<br /></span> -<span class="i0">hasta la cruz se la meto.<br /></span> -<span class="i0">Diome la sangre en el mio,<br /></span> -<span class="i0">y bueto mi casa huyendo<br /></span> -<span class="i0">miro a una luz la ropilla,<br /></span> -<span class="i0">y olia como un incienso.<br /></span> -<span class="i0">Tomo una linterna, y parto,<br /></span> -<span class="i0">y quando a mirar le buelvo,<br /></span> -<span class="i0">hallo derramado el vino,<br /></span> -<span class="i0">y el cuero midiendo el suelo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_371" href="#FNanchor_371" class="label">371</a> -Those who are unacquainted with the Spanish language, must -not suppose that the term <i>gracioso</i>, as applied to this kind of character, -is an extraordinary instance of that figure of speech called -euphemism. In Spanish, <i>gracioso</i> more frequently signifies comic -and ludicrous, than graceful.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_372" href="#FNanchor_372" class="label">372</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Ju.</i> <span style="padding-left: 2em">La colacion viene.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> <span style="padding-left: 11.5em">En vano,</span><br /></span> -<span class="i8">viene, a fe de gentilhombre<br /></span> -<span class="i8">que no tengo de comer.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Leo.</i> <span style="padding-left: 1.5em">A lo manos el provar</span><br /></span> -<span class="i8">no lo podeys escusar,<br /></span> -<span class="i8">que soy honrada muger.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cam.</i> <span style="padding-left: 1em">Es lo del veneno?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Leo.</i> <span style="padding-left: 10em">Si,</span><br /></span> -<span class="i8">por mi vida que proveys.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cam.</i> <span style="padding-left: 1em">Si ese juramento hazeys</span><br /></span> -<span class="i8">aya mil muertes aqui.<br /></span> -<span class="i8">Quiero tomar el veneno<br /></span> -<span class="i8">que Alexandro del Doctor,<br /></span> -<span class="i8">que donde la fe es mayor,<br /></span> -<span class="i8">no le haze el daño ageno.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Urb.</i> <span style="padding-left: 1.5em">O lo que sabe de historia.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ju.</i> <span style="padding-left: 2em">En verdad que es muy leydo.</span><br /></span> -<span class="i0"><i>Urb.</i> <span style="padding-left: 1.5em">No lo tomeys tan polido,</span><br /></span> -<span class="i8">que en verdad que es çanahoria<br /></span> -<span class="i8">Entro, y la bevida saco.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_373" href="#FNanchor_373" class="label">373</a> -St. Nicolas de Tolentino is a saint of modern creation.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_374" href="#FNanchor_374" class="label">374</a> -The sonnet by which St. Nicolas performs this miracle, is -the most beautiful in this sacred farce.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Virgen, Paloma candida, que al suelo<br /></span> -<span class="i4">Traxo la verde paz; arco divino,<br /></span> -<span class="i4">Que con las tres colores a dar vino<br /></span> -<span class="i4">Fe del concierto entre la tierra, y cielo;<br /></span> -<span class="i0">Dadme remedio, pues sabeys mi zelo!<br /></span> -<span class="i4">No coma carne yo, porque imagino,<br /></span> -<span class="i4">Que solo he de comer, puesto que indigno<br /></span> -<span class="i4">La de mi dulce amor en blanco velo.<br /></span> -<span class="i0">No me dexeys, Christifera Maria,<br /></span> -<span class="i4">Y vos mi Padre amado, Agustin Santo,<br /></span> -<span class="i4">Y mas si llega de mi muerte el dia.<br /></span> -<span class="i0">Dadme los dos favor, pues podeys tanto,<br /></span> -<span class="i4">Si mereciere la esperança mia,<br /></span> -<span class="i4">Que del Sol que pisays pase mi llanto.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_375" href="#FNanchor_375" class="label">375</a> -The following is the edifying scene. <i>Dem.</i> is a contraction -for Demonio, the devil. <i>Rup.</i> stands for Ruperto, the monk, -who attacks and subdues him with the broom. <i>Pri.</i> signifies -prior.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Rup.</i> <span style="padding-left: 1em">Aqui Padres aqui, mueran los perros.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Pri.</i> <span style="padding-left: 1.5em">Que visiones estrañas?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rup.</i> <span style="padding-left: 12.5em">Sombras vanas,</span><br /></span> -<span class="i8">Ruperto soy: figuras Antonianas,<br /></span> -<span class="i8">dexad mi Santo.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Dem.</i> <span style="padding-left: 9em">Infame tu te pones</span><br /></span> -<span class="i8">con nosotros a manos, y razones?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rup.</i> <span style="padding-left: 1.5em">Fuera digo, bellacos.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Dem.</i> <span style="padding-left: 12em">Pues infame</span><br /></span> -<span class="i8">concorrion assi te atreves?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rup.</i> <span style="padding-left: 15em">Bestia,</span><br /></span> -<span class="i8">sal de la celda.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Dem.</i> <span style="padding-left: 9.5em">O vil espuma ollas.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rup.</i> <span style="padding-left: 1.5em">Hago muy bien, vos espumays calderas.</span><br /></span> -<span class="i8">Llegue Padre Prior.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Pri.</i> <span style="padding-left: 11em">Aqui a este lado</span><br /></span> -<span class="i8">digo los exorcismos de la Iglesia.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Dem.</i> <span style="padding-left: 1.5em">O perro motilon.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rup.</i> <span style="padding-left: 9.5em">A fuera.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Dem.</i> <span style="padding-left: 14em">O pesia.</span><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_376" href="#FNanchor_376" class="label">376</a> -Care announces Man.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Cuidad.</i> <span style="padding-left: 3em">El Hombre está aqui.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Homb.</i> <span style="padding-left: 3.5em">Dame essos pies.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Principe.</i> <span style="padding-left: 10em">Ya te doy</span><br /></span> -<span class="i14">el corazon.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Homb.</i> <span style="padding-left: 9.5em">Luz mas pura</span><br /></span> -<span class="i14">que el sol, imagen divina<br /></span> -<span class="i14">de tu Padre; que diré<br /></span> -<span class="i14">de tu piedad? que daré<br /></span> -<span class="i14">a tu amor!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Principe.</i> <span style="padding-left: 7em">La vista inclina</span><br /></span> -<span class="i14">al supremo tribunal:<br /></span> -<span class="i14">sabe conmigo y haremos<br /></span> -<span class="i14">esta escritura.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Homb.</i> <span style="padding-left: 11.5em">Qué extremos</span><br /></span> -<span class="i14">de amor, piedad celestial!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Principe.</i> <span style="padding-left: 2.5em">Sube tú como deudor</span><br /></span> -<span class="i14">a los estrados que ves,<br /></span> -<span class="i14">amigo, que yo despues<br /></span> -<span class="i14">bajaré como fiador.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_377" href="#FNanchor_377" class="label">377</a> -Reflection disputes with the devil on this point.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Demon.</i> <span style="padding-left: 2em">Mienten, que un hora segura</span><br /></span> -<span class="i12">aun no logré mi ventura,<br /></span> -<span class="i12">pues de qué logrero soy,<br /></span> -<span class="i12">si ha tantos años que estoy<br /></span> -<span class="i12">sin Dios en carcel tan dura?<br /></span> -<span class="i12">Qué es lo que estan escribiendo?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cuidad.</i> <span style="padding-left: 2em">La fianza.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Demon.</i> <span style="padding-left: 7.5em">Quién le fia?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cuidad.</i> <span style="padding-left: 2em">Dios, que Dios solo podia.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Demon.</i> <span style="padding-left: 2em">Dios fia?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Cuidad.</i> <span style="padding-left: 6.5em">Ya están leyendo.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Justic.</i> <span style="padding-left: 2.5em">Oid.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Princ.</i> <span style="padding-left: 4.5em">Ya estoy oyendo.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Justic.</i> <span style="padding-left: 2.5em">Que os obligais, gran Señor,</span><br /></span> -<span class="i12">como principal deudor<br /></span> -<span class="i12">a padecerlo y servir.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Demon.</i> <span style="padding-left: 2em">Ha se visto tanto amor!</span><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_378" href="#FNanchor_378" class="label">378</a> -A list of the dramas contained in these twenty-five volumes -is given by Nicolas Antonio, who likewise communicates information -concerning Lope’s other works. A gleaning of some pieces -may be found in the <i>Obras Sueltas</i>; see note, p. 363. I have -never yet seen all the twenty-five volumes together. Even in Spain -a complete collection is but rarely to be met with. Single dramas -by Lope are to be found in most of the numerous collections of -Spanish comedies by various authors. La Huerta in his collection -has not included a single play of Lope de Vega, doubtless for -reasons which will hereafter be noticed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_379" href="#FNanchor_379" class="label">379</a> -The twelve collected by Ortiz de Villena, together with the -Loas and Entremeses belonging to them, are newly printed in the -<i>Obras Sueltas</i>, vol. xviii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_380" href="#FNanchor_380" class="label">380</a> -For example, <i>El Castigo sin Venganza</i>, (The Punishment -without Revenge) in the <i>Obras Sueltas</i>, vol. viii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_381" href="#FNanchor_381" class="label">381</a> -The <i>Obras Sueltas</i> contain abundant materials for such a -work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_382" href="#FNanchor_382" class="label">382</a> -See the <i>Obras Sueltas</i>, vols. xv. and xvi.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_383" href="#FNanchor_383" class="label">383</a> -Vol. ii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_384" href="#FNanchor_384" class="label">384</a> -See the <i>Obras Sueltas</i>, vol iv.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_385" href="#FNanchor_385" class="label">385</a> -Vol. iii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_386" href="#FNanchor_386" class="label">386</a> -Vol. vi.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_387" href="#FNanchor_387" class="label">387</a> -Vol. iv.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_388" href="#FNanchor_388" class="label">388</a> -Vol. xvii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_389" href="#FNanchor_389" class="label">389</a> -Vol. i. and the succeeding volumes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_390" href="#FNanchor_390" class="label">390</a> -Vol. i.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_391" href="#FNanchor_391" class="label">391</a> -Vol. xix. and likewise in the <i>Parnaso Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_392" href="#FNanchor_392" class="label">392</a> -See the <i>Obras Sueltas</i>, vol. xix.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_393" href="#FNanchor_393" class="label">393</a> -Vols. v. & vi.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_394" href="#FNanchor_394" class="label">394</a> -Vol. vii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_395" href="#FNanchor_395" class="label">395</a> -Vol. viii.—It is presumed that these bibliographic notices -will not be unacceptable to those who wish to become acquainted -with individual works of Lope de Vega.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_396" href="#FNanchor_396" class="label">396</a> -An account of the life of these brothers is prefixed to their -works in the <i>Parnaso Español</i>, vols. iii. and vi.; and also to the -new edition of their <i>Rimas</i>, by Don Ramon Fernandez, Madrid, -1786, 3 volumes 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_397" href="#FNanchor_397" class="label">397</a> -They are printed in the sixth volume of the <i>Parnaso -Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_398" href="#FNanchor_398" class="label">398</a> -The king shews to his faithless consort, Alexandra, the body -of her murdered lover.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Cómo, Alejandra, no miras<br /></span> -<span class="i0">este noble corazon,<br /></span> -<span class="i0">dó se forjó la traycion,<br /></span> -<span class="i0">cubierto de mil mentiras?<br /></span> -<span class="i0">Y pues el tuyo, cruel,<br /></span> -<span class="i0">te bolvió conmigo dura,<br /></span> -<span class="i0">miralo, que por ventura<br /></span> -<span class="i0">está tu retrato en él.<br /></span> -<span class="i0">Esos son aquellos brazos,<br /></span> -<span class="i0">por los quales me aborreces,<br /></span> -<span class="i0">que ciñeron tantas veces<br /></span> -<span class="i0">tu cuello con torpes lazos.<br /></span> -<span class="i0">Estos son contra mi honra<br /></span> -<span class="i0">aquellos brazos valientes,<br /></span> -<span class="i0">y estos los pies diligentes<br /></span> -<span class="i0">en procurar mi deshonra.<br /></span> -<span class="i0">Mira tambien la cabeza,<br /></span> -<span class="i0">la boca, los claros ojos:<br /></span> -<span class="i0">huelga con tales despojos:<br /></span> -<span class="i0">miralos pieza por pieza;<br /></span> -<span class="i0">que por quererlos tú tanto,<br /></span> -<span class="i0">los he mandado guardar.<br /></span> -<span class="i0">Piensasle resuscitar<br /></span> -<span class="i0">aora con ese llanto?<br /></span> -</div></div> - -<p> -After a pause of horror and grief, Alexandra breaks forth in -the following monologue:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No puedo triste vengarme.<br /></span> -<span class="i0">O vosotros, soberranos!<br /></span> -<span class="i0">ya que me faltan las manos,<br /></span> -<span class="i0">dadme voz para quejarme.<br /></span> -<span class="i0">Cielos, justicia venganza!<br /></span> -<span class="i0">No os atapeis los oidos<br /></span> -<span class="i0">dioses sordos adormidos,<br /></span> -<span class="i0">si algo con ruegos se alcanza.<br /></span> -<span class="i0">Y pues que los celestiales<br /></span> -<span class="i0">niegan tambien su favor,<br /></span> -<span class="i0">salid del eterno horror,<br /></span> -<span class="i0">negros dioses infernales.<br /></span> -<span class="i0">Por qué no temblaste, suelo?<br /></span> -<span class="i0">por qué las piedras no saltan?<br /></span> -<span class="i0">Qué es esto, que todos faltan,<br /></span> -<span class="i0">y no llueve sangre el cielo?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_399" href="#FNanchor_399" class="label">399</a> -For example, the following:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Bramando el mar hinchado<br /></span> -<span class="i0">Con las nubes procura<br /></span> -<span class="i0">Mezclar sus olas, y apagar la lumbre<br /></span> -<span class="i0">Del concavo estrellado,<br /></span> -<span class="i0">Y de la horrible hondura<br /></span> -<span class="i0">Trasladar sus arenas à la cumbre;<br /></span> -<span class="i0">Pero con la costumbre<br /></span> -<span class="i0">De estos trabajos graves,<br /></span> -<span class="i0">El hijo de Laertes<br /></span> -<span class="i0">Rompe con brazos fuertes,<br /></span> -<span class="i0">Lo que apénas pudieran altas naves<br /></span> -<span class="i0">Con las proas ferradas,<br /></span> -<span class="i0">Por otro Palinuro gobernadas.<br /></span> -<span class="i4">Mas Ino, inmortal Diosa,<br /></span> -<span class="i0">Viendo al prudente Griego<br /></span> -<span class="i0">En tan grande peligro de la vida,<br /></span> -<span class="i0">Benigna y amorosa<br /></span> -<span class="i0">Buscó remedio luego<br /></span> -<span class="i0">Para facilitalle la salida;<br /></span> -<span class="i0">Y de piedad movida<br /></span> -<span class="i0">Le dió el divino velo,<br /></span> -<span class="i0">Con que cubrir solia<br /></span> -<span class="i0">El cabello, que hacia<br /></span> -<span class="i0">Escurecer al Dios nacido en Delo;<br /></span> -<span class="i0">Y en virtud de esta toca<br /></span> -<span class="i0">El mar se allana, y el la tierra toca.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_400" href="#FNanchor_400" class="label">400</a> -As in the following:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Imagen espantosa de la muerte,<br /></span> -<span class="i0">Sueño cruel, no turbes mas mi pecho,<br /></span> -<span class="i0">Mostrándome cortado el nudo estrecho,<br /></span> -<span class="i0">Consuelo solo de mi adversa suerte.<br /></span> -<span class="i4">Busca de algun tirano el muro fuerte,<br /></span> -<span class="i0">De jaspe paredes, de oro el techo;<br /></span> -<span class="i0">O el rico avara en el angosto lecho<br /></span> -<span class="i0">Haz que temblando con sudor despierte,<br /></span> -<span class="i4">El uno vea el popular tumulto<br /></span> -<span class="i0">Romper con furia las herredas puertas,<br /></span> -<span class="i0">O al sobornado siervo el hierro oculto.<br /></span> -<span class="i4">El otro sus riquezas descubiertas<br /></span> -<span class="i0">Con llave falsa, o con violento insulto;<br /></span> -<span class="i0">Y dexale al amor sus glorias ciertas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_401" href="#FNanchor_401" class="label">401</a> -The following satirical passage occurs in his longest epistle, -which is addressed to a friend, and in which he has developed his -whole turn of temper and thought:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Aunque el pintado pabo y la gallina<br /></span> -<span class="i0">De l’Africa jamás como á los Grandes,<br /></span> -<span class="i0">Ni un Mase Jaques honre mi cocina:<br /></span> -<span class="i4">Ni lo traiga pagado desde Flandes,<br /></span> -<span class="i0">Porque sabe á la hambre hacer cosquillas,<br /></span> -<span class="i0">Y entretenerla todo lo que mandes.<br /></span> -<span class="i4">Ni me alegren los ojos las boxillas,<br /></span> -<span class="i0">Que lo ménos que tengan sea el ser oro,<br /></span> -<span class="i0">Tanto el Arte estremo sus maravillas.<br /></span> -<span class="i4">Que si en mi casa, como digo, móro,<br /></span> -<span class="i0">No trocaré mi vida con sosiego<br /></span> -<span class="i0">Por el Romano, ni el Imperio Moro.<br /></span> -<span class="i4">Ni Mercurio jamas oirà mi ruego<br /></span> -<span class="i0">Un Cielo mas arriba de la Luna,<br /></span> -<span class="i0">Ni en su Altar por mis manos verá fuego.<br /></span> -<span class="i4">Ni yo diré mas mal de la fortuna<br /></span> -<span class="i0">Que de una viuda santa y recogida,<br /></span> -<span class="i0">(Si santa y recogida se halla alguna).<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_402" href="#FNanchor_402" class="label">402</a> -The irony might be more delicate; but it is, nevertheless, well -expressed:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Escríbate pues sátiras quien quiera,<br /></span> -<span class="i0">Que yo al banzas solas quiero darte,<br /></span> -<span class="i0">Hasta que tú te canses, ó yo muera.<br /></span> -<span class="i4">Ya, ya me tienes, Flora, de tu parte,<br /></span> -<span class="i0">Que, como tus costumbres amo tanto,<br /></span> -<span class="i0">Mudable soy tambien por imitarte.<br /></span> -<span class="i4">Quiero dexar la pluma, que me espanto<br /></span> -<span class="i0">De ver ese furor tras ordinario,<br /></span> -<span class="i0">Y dar de contricion señal con llanto.<br /></span> -<span class="i4">Pero tengo conmigo un tu contrario,<br /></span> -<span class="i0">Que tiene prometido defenderme<br /></span> -<span class="i0">Contra el poder de Xerxes, y de Dario:<br /></span> -<span class="i4">Y no me dá lugar de recogerme,<br /></span> -<span class="i0">Antes con amenazas me provoca:<br /></span> -<span class="i0">Dios sabe si ofenderte es ofenderme.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_403" href="#FNanchor_403" class="label">403</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ni à Italia has de pasar por Beneficios,<br /></span> -<span class="i0">Para darles asalto con la capa<br /></span> -<span class="i0">De que son subrepticios, ó obrepticios.<br /></span> -<span class="i4">Para engañarlo no verás al Papa,<br /></span> -<span class="i0">Aunque te llame el golfo de Narbona<br /></span> -<span class="i0">Tan pacífico en sí, como en el mapa:<br /></span> -<span class="i4">Que si Micer Pandolfo trae corona,<br /></span> -<span class="i0">Y prebendado ha vuelto ya, Dios sabe<br /></span> -<span class="i0">Quál Simon le ayudo, Mago, ó Barjona.<br /></span> -<span class="i4">Ya ni en sí mismo, ni en su Patria cabe,<br /></span> -<span class="i0">Ni de su loba pródiga las baras<br /></span> -<span class="i0">De gorgarán en su espaciosa nave.<br /></span> -<span class="i4">Si tú por estos términos medráras,<br /></span> -<span class="i0">Qué bascas, qué visages y figuras<br /></span> -<span class="i0">De puro escrupoloso nos mostráras!<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_404" href="#FNanchor_404" class="label">404</a> -The following passage occurs in an epistle to a friend who -wished to send his son to court while very young, in order that he -might become early acquainted with the great world:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Mirando estoy, que te santiguas desto,<br /></span> -<span class="i0">Y que enojado quedas, ó risueño,<br /></span> -<span class="i0">Llamándome Filósofo molesto.<br /></span> -<span class="i4">Pues enfrena la risa, ò templa el ceño,<br /></span> -<span class="i0">Y en mi defensa escuchame entretanto,<br /></span> -<span class="i0">Que estas proposiciones desempeño.<br /></span> -<span class="i4">Si está en verdad, que no nos mueve tanto<br /></span> -<span class="i0">Docta declamacion, Griega, ó Latina,<br /></span> -<span class="i0">Como el exemplo vivo, ó torpe, ó santo:<br /></span> -<span class="i4">Del padre, que á sus hijas disciplina<br /></span> -<span class="i0">Con mal exemplo, quién dirá que es prueba<br /></span> -<span class="i0">De la águila, que al sol los exâmina<br /></span> -<span class="i4">Pues dar rienda á la edad ferviente y nueva,<br /></span> -<span class="i0">No es culpa de indiscreto amor paterno,<br /></span> -<span class="i0">Que á manifiesta perdicion la lleva?<br /></span> -<span class="i4">El diestro agricultor al arbol tierno,<br /></span> -<span class="i0">De recientes raices, no lo expone<br /></span> -<span class="i0">Luego á las inclemencias del inbierno.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_405" href="#FNanchor_405" class="label">405</a> -The following sonnet, addressed to an old coquette, may serve -as an example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Pon, Lice, tus cabellos con legias<br /></span> -<span class="i0">De venerables, si no rubios, rojos,<br /></span> -<span class="i0">Que el tiempo vengador busca despojos,<br /></span> -<span class="i0">Y no para volver huyen los dias.<br /></span> -<span class="i4">Ya las mexillas, que avultar porfias,<br /></span> -<span class="i0">Cierra en perfiles lánguidos, y flojos:<br /></span> -<span class="i0">Su hermosa atrocidad nobó á los ojos,<br /></span> -<span class="i0">Y apriesa te desarma las encías.<br /></span> -<span class="i4">Pero tú acude por socorro al arte,<br /></span> -<span class="i0">Que, aun con sus fraudes, quiero que defiendas<br /></span> -<span class="i0">Al desengaño descortés la entrada.<br /></span> -<span class="i4">Con pacto (y por tu bien) que no pretendas<br /></span> -<span class="i0">Reducida á ruïnas, ser amada,<br /></span> -<span class="i0">Sino es de tí, si puedes engañarte.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_406" href="#FNanchor_406" class="label">406</a> -For example, the first stanzas of an ode on the immaculate -conception of the holy virgin:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">A todos los espíritus amantes,<br /></span> -<span class="i0">Que en círculo de luz inaccesible<br /></span> -<span class="i0">Forman amphiteatros celestiales,<br /></span> -<span class="i0">Dixo el Padre comun, ya no terrible<br /></span> -<span class="i0">Bibrando rayos vengativos, antes<br /></span> -<span class="i0">Con manso aspecto, grato á los mortales:<br /></span> -<span class="i0">Ya es tiempo de admitir á los umbrales<br /></span> -<span class="i0">Del Reyno eterno los del baxo mundo,<br /></span> -<span class="i0">Que su gemido, y su miseria vence.<br /></span> -<span class="i0">Y porque la gran obra se comience,<br /></span> -<span class="i0">Muestre la idea del saber profundo<br /></span> -<span class="i0">Su concepto fecundo,<br /></span> -<span class="i0">La preservada esposa: que en saliendo,<br /></span> -<span class="i0">El pacífico cetro de oro estiendo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_407" href="#FNanchor_407" class="label">407</a> -On one occasion Argensola thus apostrophizes Mary -Magdalen:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">O tu siempre dichosa pecadora,<br /></span> -<span class="i0">La que fuiste por tal con grande espanto<br /></span> -<span class="i0">Del vulgo con el dedo señalada!<br /></span> -<span class="i0">Tus lagrimas con Christo pueden tanto,<br /></span> -<span class="i0">Que la menor lo enciende y enamora,<br /></span> -<span class="i0">Y á la culpa mayor dexa anegada.<br /></span> -<span class="i0">Tu quedas en Apostol transformada,<br /></span> -<span class="i0">Y de ignorante y mala, santa y sabia.<br /></span> -<span class="i0">No es mucho que la zarza en flor se mude,<br /></span> -<span class="i0">Y que el álamo sude<br /></span> -<span class="i0">En competencia de la mirra Arabia;<br /></span> -<span class="i0">Y que quando de yerba al campo priva,<br /></span> -<span class="i0">La mies en abundancia se recoja.<br /></span> -<span class="i0">Venid á ver de rosas y azucenas<br /></span> -<span class="i0">Las montañas estériles mas llenas,<br /></span> -<span class="i0">Y un arbol seco revestido de hoja.<br /></span> -<span class="i0">La planta antes inutil Dios cultiva:<br /></span> -<span class="i0">Regada en su jardin con agua viva,<br /></span> -<span class="i0">Es fructífera ya, y sus ramas bellas<br /></span> -<span class="i0">Tocan continuamente en las estrellas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_408" href="#FNanchor_408" class="label">408</a> -<i>Conquista de las Islas Molucas, al Rey Felipe III. &c.</i> -(written at an earlier period than the Annals of Arragon), <i>por el -Licenciado Bartholemè Leonardo de Argensola.</i> Madrid, 1609, in -folio. The library of the University of Gottingen contains this -work, and also that next noticed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_409" href="#FNanchor_409" class="label">409</a> -<i>Primera parte</i>, (a second part was intended to follow), <i>de los -Anales de Aragon que prosigue los de G. Zurita</i>, &c. por el Dr. -Barth. Leon. de Argensola. Zaragoza, 1630, one vol. thick fol.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_410" href="#FNanchor_410" class="label">410</a> -The poetical registers in Lope de Vega’s <i>Laurel de Apolo</i>, -in Cervantes’s <i>Viage al Parnaso</i>, and in other laudatory or ironical -poems, are in no way available either for the historian or the critic. -Accident and caprice has introduced many obscure names into these -poems, and many of poetic merit are not mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_411" href="#FNanchor_411" class="label">411</a> -The poetic narrative extends to thirty-seven cantos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_412" href="#FNanchor_412" class="label">412</a> -This description of the garden and palace of a magician in -the wilds of America, oversteps the bounds of consistency as well -as probability. The description of the magic palace deserves, -however, to be quoted:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Tenia el suelo por orden ladrillado<br /></span> -<span class="i0">de cristalinas losas trasparentes,<br /></span> -<span class="i0">que el color contrapuesto y variado<br /></span> -<span class="i0">hacía labor y visos diferentes:<br /></span> -<span class="i0">el cielo alto diáfano estrellado<br /></span> -<span class="i0">de inumerables piedras relucientes,<br /></span> -<span class="i0">que toda la gran cámara alegraba<br /></span> -<span class="i0">la vária luz que dellas revocaba.<br /></span> -<span class="i4">Sobre colunas de oro sustentadas<br /></span> -<span class="i0">cien figuras de bulto entórno estaban,<br /></span> -<span class="i0">por arte tan al vivo trasladadas,<br /></span> -<span class="i0">que un sordo bien pensára que hablaban:<br /></span> -<span class="i0">y dellas las hazañas figuradas<br /></span> -<span class="i0">por las anchas paredes se mostraban,<br /></span> -<span class="i0">donde se vía el extremo y excelencia<br /></span> -<span class="i0">de armas, letras, virtud, y continencia.<br /></span> -<span class="i4">En medio desta cámara espaciosa,<br /></span> -<span class="i0">que media milla en quadro contenia,<br /></span> -<span class="i0">estaba una gran ponia milagrosa,<br /></span> -<span class="i0">que una luciente esfera la ceñia,<br /></span> -<span class="i0">que por arte y labor maravillosa<br /></span> -<span class="i0">en el ayre por sí se sostenia<br /></span> -<span class="i0">que el gran círculo y máquina de dentro<br /></span> -<span class="i0">parece que estrivaban en su centro.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_413" href="#FNanchor_413" class="label">413</a> -Glaura thus speaks of the dangers to which her virtue was -exposed through the ardour of her lover’s tenderness:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Visto yo que por muestras y rodeo<br /></span> -<span class="i0">muchas veces su pena descubria,<br /></span> -<span class="i0">conocé que su intento y mal deseo<br /></span> -<span class="i0">de los honestos limites salia:<br /></span> -<span class="i0">mas ay! que en lo que yo padezco veo<br /></span> -<span class="i0">lo que el misero entonces padecia,<br /></span> -<span class="i0">que a término he llegado al pie del palo,<br /></span> -<span class="i0">que aun no puedo decir mal de lo malo.<br /></span> -<span class="i4">Hallábale mil veces suspirando<br /></span> -<span class="i0">en mí los engañados ojos puestos,<br /></span> -<span class="i0">otros andaba tímido tentando<br /></span> -<span class="i0">entrada a sus osados presupuestos:<br /></span> -<span class="i0">yo la ocasion dañosa desviando,<br /></span> -<span class="i0">con gravedad y términos honestos<br /></span> -<span class="i0">(que es lo que mas refrena la osadia)<br /></span> -<span class="i0">sus erradas quimeras deshacia.<br /></span> -<span class="i4">Estando sola en mi aposento un dia<br /></span> -<span class="i0">temerosa de algun atrevimiento,<br /></span> -<span class="i0">ante mí de rodillas se ponia<br /></span> -<span class="i0">con grande turbacion, y desatiento:<br /></span> -<span class="i0">diciendome temblando: o Glaura mia,<br /></span> -<span class="i0">ya no basta razon, ni sufrimiento,<br /></span> -<span class="i0">ni de fuerza una mínima me queda,<br /></span> -<span class="i0">que a la del fuerte amor resistir pueda. &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_414" href="#FNanchor_414" class="label">414</a> -Even Voltaire bears testimony to the excellence of this -speech; and Voltaire was certainly a judge of rhetorical excellence, -though not of poetical. The address commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Caciques del Estado defendores,<br /></span> -<span class="i0">codicia del mandar no me convida<br /></span> -<span class="i0">a pesarme de versos pretensores<br /></span> -<span class="i0">de cosa que a mí tanto era debida;<br /></span> -<span class="i0">porque segun mi edad, yá veis, señores,<br /></span> -<span class="i0">que estoy al otro mundo de partida;<br /></span> -<span class="i0">mas el amor que siempre os he mostrado,<br /></span> -<span class="i0">a bien aconsejaros me ha incitado.<br /></span> -<span class="i4">Por qué cargos honrosos pretendemos,<br /></span> -<span class="i0">Y ser en opinion grande tenidos,<br /></span> -<span class="i0">pues que negar al mundo no podemos<br /></span> -<span class="i0">haber sido sujetos y vencidos?<br /></span> -<span class="i0">y en esto averiguarnos no queremos<br /></span> -<span class="i0">estando aun de Españoles oprimidos:<br /></span> -<span class="i0">mejor fuera esta furia egecutalla<br /></span> -<span class="i0">contra el fiero enemigo en la batalla, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_415" href="#FNanchor_415" class="label">415</a> -Velasquez and Dieze, p. 383, give numerous bibliographical -notices of these works.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_416" href="#FNanchor_416" class="label">416</a> -For example, in the following description of rural tranquillity:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ay apacible y sosegada vida,<br /></span> -<span class="i0">de vulgar sujecion libre y esenta,<br /></span> -<span class="i0">dó el alma se sustenta<br /></span> -<span class="i0">con blanda soledad entretenida;<br /></span> -<span class="i0">dó nunca tuvo la malicia entrada,<br /></span> -<span class="i2">ni desagrada<br /></span> -<span class="i2">mansa pobreza:<br /></span> -<span class="i2">todo es llaneza<br /></span> -<span class="i2">sincéra y pura<br /></span> -<span class="i2">dó nunca dura<br /></span> -<span class="i0">el fingido doblez qué al alma gasta;<br /></span> -<span class="i0">ni al humílde espíritu contrasta!<br /></span> -<span class="i4">Aqui sustenta el mísero villano,<br /></span> -<span class="i0">sin artificio ó cautelosa mañana,<br /></span> -<span class="i0">la bellota ó castaña,<br /></span> -<span class="i0">apedreada de la simple mano.<br /></span> -<span class="i0">Dale del agua pura y trasparente<br /></span> -<span class="i2">la clara fuente<br /></span> -<span class="i2">no le molesta<br /></span> -<span class="i2">calor de siesta;<br /></span> -<span class="i2">y si le ofende<br /></span> -<span class="i2">luego se tiende<br /></span> -<span class="i0">bajo de un estendido sauce ó robre,<br /></span> -<span class="i0">contento, sin mirar si es rico ó pobre, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_417" href="#FNanchor_417" class="label">417</a> -Several of Espinel’s prose works are inserted in the third -volume of the <i>Parnaso Español</i>; and the translation of the Epistle -to the Pisones, forms the commencement of the first volume of that -collection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_418" href="#FNanchor_418" class="label">418</a> -For example, the following. The prevailing idea is not -new; but it is followed up in the genuine spirit of sonnet composition.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Jamas el cielo vio llegar Piloto<br /></span> -<span class="i2">Al desseado puerto tan contento<br /></span> -<span class="i2">De las furiosas olas y del viento<br /></span> -<span class="i2">La nave sin timon, y el arbol roto,<br /></span> -<span class="i0">Y tomando la tierra tan devoto<br /></span> -<span class="i2">Correr al templo con piadoso intento,<br /></span> -<span class="i2">Y en el por verse puesto en salvamento<br /></span> -<span class="i2">Colgar las ropas, y cumplir el voto:<br /></span> -<span class="i0">Qual yo escape del mar del llanto mio,<br /></span> -<span class="i2">Passada la borrasca de mi pena,<br /></span> -<span class="i2">Y en el puerto surgi del desengaño,<br /></span> -<span class="i0">Cuyo templo adorne de mi navio,<br /></span> -<span class="i2">Colge mis esperanças y cadena,<br /></span> -<span class="i2">Por ser mi bien el fruto de mi daño.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_419" href="#FNanchor_419" class="label">419</a> -The following is the first stanza of his cancion on the ascension -of the Holy Virgin:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Angelicas esquadras que en las salas<br /></span> -<span class="i2">Llenas de olor de gloria, con inmenso<br /></span> -<span class="i2">Gozo, de que llenays el claro Cielo,<br /></span> -<span class="i2">Andays batiendo las doradas alas,<br /></span> -<span class="i2">Y al eterno Regente days encienso,<br /></span> -<span class="i2">Que olor espira de inmortal consuelo,<br /></span> -<span class="i2">Torced el blando buelo,<br /></span> -<span class="i2">Y recebid en vuestras bellas plumas<br /></span> -<span class="i2">A la que encierra en si las gracias sumas,<br /></span> -<span class="i2">Pues que rompiendo la fulgente massa<br /></span> -<span class="i2">Del Cielo cristalina<br /></span> -<span class="i2">Que a la tierra e sirve de cortina,<br /></span> -<span class="i2">Veys que el un firmamento y otro passa<br /></span> -<span class="i2">Hasta llegar al trono do reside<br /></span> -<span class="i2">El que del Cielo el movimiento mide.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_420" href="#FNanchor_420" class="label">420</a> -His epistles in the satirical style are, however, so full of -allusions to particular circumstances which occurred during the life -of the author, that they are not easily understood. The following -passage is from an epistle on the Spanish comedy.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Si quando Rey, como Señor se sienta<br /></span> -<span class="i0">si cobra quando Cid tantos aceros,<br /></span> -<span class="i0">que al parecer emprenderá a cinquenta,<br /></span> -<span class="i4">Es a dicha Morales, o Cisneros?<br /></span> -<span class="i0">o es la triste Belerma Mariflores,<br /></span> -<span class="i0">quando a llanto y pasion puede moveros?<br /></span> -<span class="i4">Claro es que no son ellos pues, Señores,<br /></span> -<span class="i0">qué importa a la Comedia que sean malos,<br /></span> -<span class="i0">si para recitar son los mejores?<br /></span> -<span class="i4">Los palos, que se dán alli son palos<br /></span> -<span class="i0">a los que como simples los reciben.<br /></span> -<span class="i0">El entremés fingido afrentarálos?<br /></span> -<span class="i4">A dicha los que mueren no reviven?<br /></span> -<span class="i0">y si es que lo requiere la maraña,<br /></span> -<span class="i0">los que lo fingen paren, o conciben?<br /></span> -<span class="i4">Sola la vista y opinion se engaña,<br /></span> -<span class="i0">y asi el vicio y virtud de ellos no ofende,<br /></span> -<span class="i0">ni a la Comedia en un cabello daña.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_421" href="#FNanchor_421" class="label">421</a> -The following colloquial sonnet may serve as an example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>A.</i> Quién vive aqui?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> <span style="padding-left: 9.5em">Un pobre peregrino.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>A.</i> Pues peregrino con hogar y casa?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> No la veis toda ya desierta y rasa,<br /></span> -<span class="i3">que solo este sobrado quedó en pino?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>A.</i> Quién os retrajo a tal lugar?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> <span style="padding-left: 16em">Mi sino.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>A.</i> Quién sois?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> <span style="padding-left: 7em">Soy viento que no vuelve, y pasa:</span><br /></span> -<span class="i3">tuve favor del mundo, fuí del asa;<br /></span> -<span class="i3">pasó el buen tiempo, y el adverso vino.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>A.</i> Qué haceis aqui?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>C.</i> <span style="padding-left: 9.5em">Un cesto, una canasta,</span><br /></span> -<span class="i3">tal vez de mimbre, tal de seco esparto,<br /></span> -<span class="i3">con que gano el sustento que me basta.<br /></span> -<span class="i3">Y no me vi (os prometo) jamás harto<br /></span> -<span class="i3">de pretensiones militares hasta<br /></span> -<span class="i3">que el desengaño me alquiló este cuarto.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_422" href="#FNanchor_422" class="label">422</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quién se fuera a la Zono inhabitable<br /></span> -<span class="i4">por no perder del todo la paciencia,<br /></span> -<span class="i4">que quieren que lo sufra, y que no hable!<br /></span> -<span class="i0">Tubieron Persio y Juvenal licencia<br /></span> -<span class="i4">de corregir las faltas del Imperio;<br /></span> -<span class="i4">y no he de hacer yo escrúpulo y conciencia,<br /></span> -<span class="i0">Viendo en una ventana una Glicerio,<br /></span> -<span class="i4">una segunda Venus, que la ocupa,<br /></span> -<span class="i4">donde pensaste que era un Monasterio,<br /></span> -<span class="i0">Y que a la mar se arroje la chalupa,<br /></span> -<span class="i4">como la galeaza, y tienda velas,<br /></span> -<span class="i4">y tanto aquesta, como aquella chupa?<br /></span> -<span class="i0">Mas quién no ha de calzarsa las espuelas,<br /></span> -<span class="i4">por no ver afeitada, como guinda,<br /></span> -<span class="i4">la que ha perdido en navegar las muelas?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_423" href="#FNanchor_423" class="label">423</a> -One of these compositions commences in the following -way:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Qual llena de rocio<br /></span> -<span class="i0">suele salir, los campos alegrando,<br /></span> -<span class="i0">la clara Aurora con el rostro helado,<br /></span> -<span class="i0">sutil aura soplando,<br /></span> -<span class="i0">tal por el verde prado<br /></span> -<span class="i0">salío mi pastorcilla al llanto mio,<br /></span> -<span class="i0">dejando alegre el suelo,<br /></span> -<span class="i0">y de sus gracias embidioso el cielo.<br /></span> -<span class="i4">Esparcese sin arte<br /></span> -<span class="i0">sobre la nieve del marmoreo cuello,<br /></span> -<span class="i0">tirada en hebras larga vena de oro;<br /></span> -<span class="i0">y para euriquecello<br /></span> -<span class="i0">en dos madejas varias se reparte,<br /></span> -<span class="i0">con bien mayor tesoro,<br /></span> -<span class="i0">descubriendo la cara<br /></span> -<span class="i0">mas que la luna y las estrellas clara.<br /></span> -<span class="i4">La tierna yerva crece,<br /></span> -<span class="i0">donde la planta sienta, y eria olores,<br /></span> -<span class="i0">y el arbol que desgaja con su mano<br /></span> -<span class="i0">pimpollos brota y flores,<br /></span> -<span class="i0">y el ayre fresco y vano,<br /></span> -<span class="i0">hablando con olores lo enriquece,<br /></span> -<span class="i0">y lleno de alegria<br /></span> -<span class="i0">promete al mundo venturoso dia.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_424" href="#FNanchor_424" class="label">424</a> -The curate in Don Quixote, during the examination of the -knight’s library, says, that if these Tears had been doomed to be -burnt, he himself should have shed tears. I have not seen the -book in any collection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_425" href="#FNanchor_425" class="label">425</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ya en sus troncos nativos<br /></span> -<span class="i0">temerosa la sombra se recoge,<br /></span> -<span class="i0">y deja la floresta<br /></span> -<span class="i0">por bien pasar la fatigada siesta:<br /></span> -<span class="i0">ya el zefiro ligero, que despliega<br /></span> -<span class="i0">sus alas al nacer del Sol dorado,<br /></span> -<span class="i0">con arrullos lascivos<br /></span> -<span class="i0">al vendor de los hojas las entrega,<br /></span> -<span class="i0">y al blanco lirio en el sediento prado<br /></span> -<span class="i0">sobre los hombros de la flor vecina<br /></span> -<span class="i0">el cuello enfermo del calor inclina:<br /></span> -<span class="i0">Marcelo, al Olmo erguido, si te place,<br /></span> -<span class="i0">los pasos encamina,<br /></span> -<span class="i0">que al baño de las Náyades cortina<br /></span> -<span class="i0">entretegido con la yedra hace:<br /></span> -<span class="i0">sonará tu zampoña dulcemente,<br /></span> -<span class="i0">suave tu zampoña,<br /></span> -<span class="i0">con quien las duras sierpes su ponzoña,<br /></span> -<span class="i0">los vientos su braveza,<br /></span> -<span class="i0">y las fieras suspenden su aspereza.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_426" href="#FNanchor_426" class="label">426</a> -One of Martin’s most charming madrigals may be transcribed -here:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Iba cogiendo flores,<br /></span> -<span class="i4">y guardando en la falda<br /></span> -<span class="i4">mi Ninfa, para hacer una guirlanda;<br /></span> -<span class="i4">mas primero las toca<br /></span> -<span class="i4">a las rosados labio de su boca,<br /></span> -<span class="i4">y les dá de su aliento los olores;<br /></span> -<span class="i4">y estaba (por su bien) entre una rosa<br /></span> -<span class="i4">una abeja éscondida,<br /></span> -<span class="i4">su dulce humor hurtando;<br /></span> -<span class="i4">y como en la hermosa<br /></span> -<span class="i4">flor de los labios se halló, atrevida,<br /></span> -<span class="i4">la picó, sacó miel, fuese volando.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_427" href="#FNanchor_427" class="label">427</a> -The following seems to have been vastly admired by some -critics, since it has found its way into various collections:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Revelome ayer Luysa<br /></span> -<span class="i4">Un caso bien de reyr,<br /></span> -<span class="i8">Quierotelo, Ines, dezir,<br /></span> -<span class="i4">Porque de caygas de risa.<br /></span> -<span class="i0">Has de saber que su tia,<br /></span> -<span class="i4">No puedo de risa, Ynes<br /></span> -<span class="i8">Quiero reyrme, y despues<br /></span> -<span class="i4">Lo dire quando no ria.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_428" href="#FNanchor_428" class="label">428</a> -For example, the following trifle:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Madalena me picò<br /></span> -<span class="i4">Con un alfiler el dedo,<br /></span> -<span class="i4">Dixele: Picado quedo,<br /></span> -<span class="i4">Pero ya lo estava yo.<br /></span> -<span class="i0">Riose, y con su cordura<br /></span> -<span class="i4">Acudio al remedio presto,<br /></span> -<span class="i4">Chupòme el dedo, y con esto<br /></span> -<span class="i4">Sanè de la picadura.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_429" href="#FNanchor_429" class="label">429</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Suelta la venda, sucio y asqueroso:<br /></span> -<span class="i0">laba los ojos llenos de legañas:<br /></span> -<span class="i0">cubre las carnes y lugares feos,<br /></span> -<span class="i4">hijo de Venus.<br /></span> -<span class="i0">Deja las alas, las doradas flechas,<br /></span> -<span class="i0">arco, y aljaba, y el ardiente fuego,<br /></span> -<span class="i0">para que en falta tuya lo gobierne<br /></span> -<span class="i4">hombre de seso.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_430" href="#FNanchor_430" class="label">430</a> -<a href="#Page_37">See page 37</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_431" href="#FNanchor_431" class="label">431</a> -One of his canciones addressed to his country, commences -in the following manner:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Levante noble España<br /></span> -<span class="i0">tu coronada frente,<br /></span> -<span class="i0">y alégrate de verre renascida<br /></span> -<span class="i0">por todo quanto baña<br /></span> -<span class="i0">en torno la corriente<br /></span> -<span class="i0">del uno y otro mar con mejor vida,<br /></span> -<span class="i0">qual Fenix encendida<br /></span> -<span class="i0">en gloriosa llama<br /></span> -<span class="i0">de ingenio soberano<br /></span> -<span class="i0">muy alto y muy humano,<br /></span> -<span class="i0">que á tí y á sí dió vida y inmortal fama,<br /></span> -<span class="i0">que durará en el suelo<br /></span> -<span class="i0">quanto la inmortal obra de Marcelo.<br /></span> -<span class="i4">Dejaron muy escura<br /></span> -<span class="i0">las importunas guerras<br /></span> -<span class="i0">de Vándalos y Godos generosos<br /></span> -<span class="i0">la antigua hermosura<br /></span> -<span class="i0">de tus felices tierras<br /></span> -<span class="i0">y sitios de tus pueblos glorïosos:<br /></span> -<span class="i0">y al fin mas invidiosos<br /></span> -<span class="i0">dé tu belleza ilustre<br /></span> -<span class="i0">los fieros Africanos<br /></span> -<span class="i0">con muy profanas manos<br /></span> -<span class="i0">estragaron del todo el sacro lustre<br /></span> -<span class="i0">del terreno mas lindo<br /></span> -<span class="i0">que hay desde el mar Atlantico hasta el Indo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_432" href="#FNanchor_432" class="label">432</a> -For instance, the following sonnet:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Yace tendido en la desierta arena,<br /></span> -<span class="i0">Que quasi siempre el mar baña y esconde,<br /></span> -<span class="i0">De Tirsi el cuerpo; el alma alverga donde<br /></span> -<span class="i0">Sembrò Amor la simiente de su pena:<br /></span> -<span class="i4">Alli miéntras su llanto amargo suena<br /></span> -<span class="i0">Entre las peñas, Eco le responde:<br /></span> -<span class="i0">Tirsi cuitado, donde estas? Por donde<br /></span> -<span class="i0">Saldràs á ver tu luz pura e serena?<br /></span> -<span class="i4">Aqui el cielo nubloso, el viento ayrado<br /></span> -<span class="i0">Mantienen con el mar perpetua guerra,<br /></span> -<span class="i0">Y él con estas montañas que rodea.<br /></span> -<span class="i4">Ay de ti, Tirsi, de dolor cercado,<br /></span> -<span class="i0">Mas que de mar, quando será que lea<br /></span> -<span class="i0">Fili en tu frente lo que el pecho encierra.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_433" href="#FNanchor_433" class="label">433</a> -A new edition of the best poems of Francisco de Figueroa -was published by Ramon Fernandez at Madrid, in 1785, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_434" href="#FNanchor_434" class="label">434</a> -One of his Endechas commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Bella Zagleja<br /></span> -<span class="i0">del color moreno,<br /></span> -<span class="i0">blanco milagroso<br /></span> -<span class="i0">de mi pensamiento:<br /></span> -<span class="i4">Gallarda trigueña,<br /></span> -<span class="i0">de belleza extremo,<br /></span> -<span class="i0">ardor de las almas,<br /></span> -<span class="i0">y de amor troféo:<br /></span> -<span class="i4">Suave Sirena,<br /></span> -<span class="i0">que con tus acentos<br /></span> -<span class="i0">detienes el curso<br /></span> -<span class="i0">de los pasageros:<br /></span> -<span class="i4">Desde que te ví<br /></span> -<span class="i0">tal estoy que siento<br /></span> -<span class="i0">preso el alvedrío,<br /></span> -<span class="i0">y abrasado el pecho.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_435" href="#FNanchor_435" class="label">435</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">De las Damas fantásticas,<br /></span> -<span class="i0">mas que la caña móviles,<br /></span> -<span class="i0">presos de amor en esta red amplífica,<br /></span> -<span class="i0">seglares y monásticas<br /></span> -<span class="i0">de baja suerte ignóbiles,<br /></span> -<span class="i0">de muy oscura fama y muy clarífica,<br /></span> -<span class="i0">que lengua tan manífica<br /></span> -<span class="i0">dirá los echos frívolos,<br /></span> -<span class="i0">vanidades gentílicas,<br /></span> -<span class="i0">pues templos y Basílicas<br /></span> -<span class="i0">pretenden como dioses estos ídolos,<br /></span> -<span class="i0">Lucrecias y Cleópatras,<br /></span> -<span class="i0">que hacen á los necios ser idólatras?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_436" href="#FNanchor_436" class="label">436</a> -The following is one of his sonnets:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Si pudo de Anfion el dulce canto<br /></span> -<span class="i4">Juntar las piedras del Troyano muro,<br /></span> -<span class="i4">Si con suave lira, oso seguro<br /></span> -<span class="i4">Baxar el Tracio al Reyno del espanto;<br /></span> -<span class="i0">Si la voz regalada pudo tanto,<br /></span> -<span class="i4">Que abrio las puertas de diamante duro,<br /></span> -<span class="i4">Y un rato suspendio de aquel escuro<br /></span> -<span class="i4">Lugar la pena y miserable llanto;<br /></span> -<span class="i0">Y si del canto la admirable fuerça<br /></span> -<span class="i4">Domestica los fieros animales,<br /></span> -<span class="i4">Y enfrena la corriente de los rios.<br /></span> -<span class="i0">Que nueva pena en mi pesar se esfuerza,<br /></span> -<span class="i4">Pues con lo que descrecen otros males,<br /></span> -<span class="i4">Se van acrecentando mas los mios.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_437" href="#FNanchor_437" class="label">437</a> -The collection is entitled—<i>Flores de Poetas ilustres de -España, &c. ordenada por Pedro Espinosa</i>. <i>Valladolid</i>, 1605, -in quarto. From this anthology has been partly selected the -specimens of the works of those poets who have just been noticed. -The rest of the examples are scattered through the <i>Parnaso -Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_438" href="#FNanchor_438" class="label">438</a> -His Castilian and Portuguese poems are published under the -title:—<i>Fuente de Aganippe, o Rimas varias de Manuel de Faria -y Sousa</i>, &c. Madrid 1656, 4 vols. octavo. They are also included -in his <i>Divinas y Humanas Flores</i>, Madrid 1624, in octavo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_439" href="#FNanchor_439" class="label">439</a> -This absurdity occurs in a gloss on an old couplet.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ojos, en cuya hermosura<br /></span> -<span class="i0">cifrò mi suerte el Amor,<br /></span> -<span class="i0">grandes como mi dolor,<br /></span> -<span class="i0">negros como mi ventura.<br /></span> -<span class="i4">En una hermosura de ojos<br /></span> -<span class="i0">dixo Amor que me daria<br /></span> -<span class="i0">a padecer sus enojos,<br /></span> -<span class="i0">donde el Alma dexaria,<br /></span> -<span class="i0">de su incendio, por despojos.<br /></span> -<span class="i4">Pues si en la belleza pura<br /></span> -<span class="i0">de ojos, mi muerte procura;<br /></span> -<span class="i0">si en vos mis ojos no fue,<br /></span> -<span class="i0">que soys de Albania, no se,<br /></span> -<span class="i0">ojos, en cuya hermosura.<br /></span> -<span class="i4">Quiso amor mostrarme ardiente<br /></span> -<span class="i0">mi suerte en cifras algunas,<br /></span> -<span class="i0">y vio de negro luziente<br /></span> -<span class="i0">rayadas <i>dos medias lunas</i><br /></span> -<span class="i0"><i>en el papel de la frente</i>:<br /></span> -<span class="i0">Y abaxo visto el valor,<br /></span> -<span class="i0">ojos, de vuestro esplendor,<br /></span> -<span class="i0">por ceros vino a teneros,<br /></span> -<span class="i0">que en dos animados zeros<br /></span> -<span class="i0">cifró mi suerte el Amor.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_440" href="#FNanchor_440" class="label">440</a> -In the original this odd conceit runs in the following way:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Flechando de sus manos peregrinas,<br /></span> -<span class="i0">de cristal diez luzientes passadores,<br /></span> -<span class="i0"><i>de rubi</i> fue <i>el efeto</i> en mis dolores,<br /></span> -<span class="i0">si de Albania las <i>causas cristalinas</i>.<br /></span> -<span class="i4">Mas ya que, <i>humanas, quando no divinas</i>,<br /></span> -<span class="i0">en <i>sangrienta ofension</i> forman amores,<br /></span> -<span class="i0">de tantos <i>deificados esplendores</i><br /></span> -<span class="i0">desmentidos en nieve, y clavellinas.<br /></span> -<span class="i4">Amor en mis heridas reparando,<br /></span> -<span class="i0"><i>de flechas con dulcissimo decoro</i>,<br /></span> -<span class="i0">a mi noble aficion la vá inclinando.<br /></span> -<span class="i4">Yo de nuevo, aunque herido, me enamoro<br /></span> -<span class="i0">de verle hermosamente estar flechando<br /></span> -<span class="i0"><i>en blancos de diamante empleos deoro</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_441" href="#FNanchor_441" class="label">441</a> -His <i>Europa Portuguesa</i>, (a bombastic title for <i>Portugal -Europeano</i>) is a work which contains considerable information on -the statistics of Portugal.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_442" href="#FNanchor_442" class="label">442</a> -The following, which is a description of Life in Madrid, may -serve as a specimen of these satirical sonnets:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Una vida bestial de encantamiento,<br /></span> -<span class="i0">Harpias contra bolsas conjuradas,<br /></span> -<span class="i0">Mil vanas pretensiones engañadas,<br /></span> -<span class="i0">Por hablar un oidor, mover el viento;<br /></span> -<span class="i4">Carrozas y lacayos, pages ciento,<br /></span> -<span class="i0">Hábitos mil con virgenes espadas,<br /></span> -<span class="i0">Damas parleras, cambios, embaxadas,<br /></span> -<span class="i0">Caras posadas, trato fraudulento;<br /></span> -<span class="i4">Mentiras arbitreras, Abogados,<br /></span> -<span class="i0">Clerigos sobre mulas, como mulos,<br /></span> -<span class="i0">Embustes, calles sucias, lodo eterno;<br /></span> -<span class="i4">Hombres de guerra medio estropeados,<br /></span> -<span class="i0">Titulos y lisonjas, disimulos,<br /></span> -<span class="i0">Esto es Madrid, mejor dixera Infierno.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_443" href="#FNanchor_443" class="label">443</a> -The following <i>Letrilla</i> may be taken as a specimen of Gongora’s -artificial style:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Da bienes fortuna<br /></span> -<span class="i0">Que no están escritos,<br /></span> -<span class="i0">Quando pitos flautas,<br /></span> -<span class="i0">Quando flautas pitos.<br /></span> -<span class="i4">Quan diversas sendas<br /></span> -<span class="i0">Se suelen seguir<br /></span> -<span class="i0">En el repartir<br /></span> -<span class="i0">Las honras y haciendas.<br /></span> -<span class="i4">A unos dá encomiendas,<br /></span> -<span class="i0">A otros sambenitos,<br /></span> -<span class="i0">Quando pitos: &c.<br /></span> -<span class="i4">A veces despoja<br /></span> -<span class="i0">De choza y apero<br /></span> -<span class="i0">Al mayor cabrero,<br /></span> -<span class="i0">Y á quien se le antoja,<br /></span> -<span class="i0">La cabra mas coja<br /></span> -<span class="i0">Parió dos cabritos,<br /></span> -<span class="i0">Quando pitos, &c.<br /></span> -<span class="i4">Porque en una aldea<br /></span> -<span class="i0">Un pobre mancebo<br /></span> -<span class="i0">Hurtó solo un huebo,<br /></span> -<span class="i0">A sol bambonea,<br /></span> -<span class="i0">Y otro se pasea<br /></span> -<span class="i0">Con cien mil delitos,<br /></span> -<span class="i0">Quando, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_444" href="#FNanchor_444" class="label">444</a> -A charming little song by Gongora commences in the following -manner:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Las flores del romero,<br /></span> -<span class="i0">Niña Isabel,<br /></span> -<span class="i0">Hoy son flores azules,<br /></span> -<span class="i0">Mañana serán miel.<br /></span> -<span class="i4">Zelosa estás la niña,<br /></span> -<span class="i0">Zelosa estás de aquel,<br /></span> -<span class="i0">Dichoso pues lo buscas,<br /></span> -<span class="i0">Ciego, pues no te vé.<br /></span> -<span class="i4">Ingrato pues te enoja,<br /></span> -<span class="i0">Y confiado, pues<br /></span> -<span class="i0">No se disculpa hoy<br /></span> -<span class="i0">De lo que hizo ayer.<br /></span> -<span class="i4">Enjugen esperanzas<br /></span> -<span class="i0">Lo que lloras por él,<br /></span> -<span class="i0">Que zelos entre aquellos<br /></span> -<span class="i0">Que se han querido bien,<br /></span> -<span class="i0">Hoy son flores azules, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_445" href="#FNanchor_445" class="label">445</a> -The poem commences as follows:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Era del Año la Estacion florida,<br /></span> -<span class="i0">En que el mentido Robador de Europa<br /></span> -<span class="i0">(Media Luna las Armas de su Frente,<br /></span> -<span class="i0">Y el Sol todos los Rayos de su Pelo)<br /></span> -<span class="i0">Luciente honor del Cielo<br /></span> -<span class="i0">En campos de Zafiro pace Estrellas<br /></span> -<span class="i0">Quando el que ministrar podia la Copa<br /></span> -<span class="i0">A Jupiter mejor, que el Garçon de Ida<br /></span> -<span class="i0">Naufragò, y desdeñado sobre ausente,<br /></span> -<span class="i0">Lagrimosas de Amor, dulzes Querellas<br /></span> -<span class="i0">Dá al Mar, que condolido<br /></span> -<span class="i0">Fue à las Hondas, que al Viento<br /></span> -<span class="i0">El misero Gemido,<br /></span> -<span class="i0">Segundo, de Arion, dulze Instrumento, &c.<br /></span> -</div></div> - -<p> -The above is only about the half of the first period.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_446" href="#FNanchor_446" class="label">446</a> -The singularity of the language must be perceptible even to -those who possess only a slight knowledge of Spanish. The dedication -commences as follows:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Passos de un Peregrino, son, errante,<br /></span> -<span class="i0">Quantos me dictó Versos, dulze Musa,<br /></span> -<span class="i0">En Soledad confusa,<br /></span> -<span class="i0">Perdidos unos y otros Inspirados,<br /></span> -<span class="i0">O tu, que de venablos impedido,<br /></span> -<span class="i0">Muros de Abeto, Almenas de Diamante,<br /></span> -<span class="i0">Bates los Montes, que de Nieve armados<br /></span> -<span class="i0">Gigantes de Cristal los teme el Cielo,<br /></span> -<span class="i0">Donde el Cuerno del Eco repetido,<br /></span> -<span class="i0">Fieras te expone, que al teñido Suelo<br /></span> -<span class="i0">Muertas pidiendo Terminos disformes;<br /></span> -<span class="i0">Espumoso Coral le dan al Tormes.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_447" href="#FNanchor_447" class="label">447</a> -The two concluding stanzas of Gongora’s <i>Polyphemus</i> are -worthy to be transcribed as literary curiosities:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Con Violencia desgajo infinita<br /></span> -<span class="i0">La maior Punta de la excelsa Roca,<br /></span> -<span class="i0">Que al Joven, sobre quien la precipita,<br /></span> -<span class="i0">Urna es mucho, Piramide no poca:<br /></span> -<span class="i0">Con lagrimas la Ninfa solicita<br /></span> -<span class="i0">Las Diedades del Mar, que Acis invoca,<br /></span> -<span class="i0">Concurren todas, y el Peñasco duro,<br /></span> -<span class="i0">La Sangre que exprimiò Cristal fue puro.<br /></span> -<span class="i4">Sus Miembros lastimosamente opresos,<br /></span> -<span class="i0">Del Escollo fatal fueron apenas,<br /></span> -<span class="i0">Que los Pies de los Arboles mas gruessos<br /></span> -<span class="i0">Calçò el liquido Aljofar de sus Venas:<br /></span> -<span class="i0">Corriente Plata al fin sus blancos Huesos,<br /></span> -<span class="i0">Lamiendo Flores, y argentando Arenas,<br /></span> -<span class="i0">A Doris llega, que con Llanto pio<br /></span> -<span class="i0">Yerno lo saludò lo aclamò Rio.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_448" href="#FNanchor_448" class="label">448</a> -Notices concerning the various editions of the works of -Gongora, may be found in Dieze’s Remarks on Velasquez, p. 251. -A selection from the works of this unsuccessful genius, whose real -merit some critics have attempted to deny, was published by Don -Ramon Fernandez, under the title of <i>Poesias de D. Luis Gongora</i>, -Madrid 1787. The selection forms a small octavo volume.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_449" href="#FNanchor_449" class="label">449</a> -Dieze calls the <i>estilo culto</i> the Spanish ornamental style; -but this term is incorrect when employed to designate the particular -style of Gongora’s school.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_450" href="#FNanchor_450" class="label">450</a> -Among these illustrative works, are Salcedo Coronel’s diffuse -Commentaries on Gongora’s <i>Polyphemus y Soledades</i>, printed in -1629 and 1636; and also the <i>Lecciones solennes a las Obras de -Luis de Gongora</i>, by Joseph Pellicer de Salas, which appeared in -1630. See also Dieze’s Notes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_451" href="#FNanchor_451" class="label">451</a> -The fifth volume of the <i>Parnaso Español</i> is disfigured by a -considerable number of Ladesma’s poems.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_452" href="#FNanchor_452" class="label">452</a> -How pompously this poem commences in the original!—And -yet how much in the romance style!</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Sale la estrella de Oriente<br /></span> -<span class="i0">al tiempo que Dios dispone<br /></span> -<span class="i0">que el enemigo del dia<br /></span> -<span class="i0">pierda la presa que coge,<br /></span> -<span class="i4">Y con ella la esperanza<br /></span> -<span class="i0">de sus falsas pretensiones,<br /></span> -<span class="i0">tomando Dios carne humana,<br /></span> -<span class="i0">para que el hombre le goce:<br /></span> -<span class="i4">Por donde Santa Maria<br /></span> -<span class="i0">recibe el famoso nombre<br /></span> -<span class="i0">de ser Madre, siendo virgen,<br /></span> -<span class="i0">de quien siendo Dios, es hombre.<br /></span> -<span class="i4">Muy pobremente camina<br /></span> -<span class="i0">con ser tan rico y tan noble,<br /></span> -<span class="i0">que amores de cierta Dama<br /></span> -<span class="i0">le traen en hábito de pobre; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_453" href="#FNanchor_453" class="label">453</a> -This rhapsody cannot be read without exciting astonishment.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Los <i>milagros de Amarilis</i>,<br /></span> -<span class="i4">aquel <i>Angel superior</i>,<br /></span> -<span class="i4">a quien dan nombre de <i>Fenix,</i><br /></span> -<span class="i4"><i>la verdad, y la passion</i>.<br /></span> -<span class="i0">Mirava a su puerta un dia,<br /></span> -<span class="i4">en la Corte un labrador,<br /></span> -<span class="i4">que <i>si adorar no merece,</i><br /></span> -<span class="i4"><i>padecer si, mereciò.</i><br /></span> -<span class="i0"><i>Una tarde, que es mañana</i>,<br /></span> -<span class="i4">pues <i>el Alva se riò</i>,<br /></span> -<span class="i4">y entre carmin encendido,<br /></span> -<span class="i4">candidas perlas mostró.<br /></span> -<span class="i0">Divirtiose en abrasar<br /></span> -<span class="i4">a los mismos que alumbrò,<br /></span> -<span class="i4">y <i>del cielo de si misma</i><br /></span> -<span class="i4"><i>el Angel bello cayò, &c.</i><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_454" href="#FNanchor_454" class="label">454</a> -The <i>Gridonia</i> is included in the <i>Obras Posthumas Divinas -y Humanas de Don Felix de Arteaga</i>, Madrid 1641, 1 vol. octavo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_455" href="#FNanchor_455" class="label">455</a> -The collection which I have now before me, and which is -entitled <i>Varios y Honestos Entretenimientos</i>, by Castillo Solorzano, -(Mexico, 1625, in octavo), was, apparently, not the only publication -of the kind which appeared in Mexico.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_456" href="#FNanchor_456" class="label">456</a> -Velasquez has occasioned no small degree of confusion in -this portion of the history of Spanish poetry. He first, according -to the principles of French criticism, confounds all the dramatic -writers of Spain in one class, and afterwards draws wide distinctions -between them.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_457" href="#FNanchor_457" class="label">457</a> -<i>Obras Tragicas y Lyricas del Capitan Christoval de Virues</i>, -Madrid 1609, in octavo. It does not appear that they have ever -been re-printed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_458" href="#FNanchor_458" class="label">458</a> -The following monologue, in which Semiramis wavers between -the conflicting passions of love and ambition, will afford a specimen -of the tragic style of Virues:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Pero mis pensamientos amorosos<br /></span> -<span class="i0">dexadme aora en paz, mientras la guerra<br /></span> -<span class="i0">di mis altos desseos valerosos<br /></span> -<span class="i0">hace temblar y estremecer la tierra.<br /></span> -<span class="i0">Los filos azerados rigurosos<br /></span> -<span class="i0">que en la baina mil años á que encierra<br /></span> -<span class="i0">mi coraçon, dexad que aora corten,<br /></span> -<span class="i0">que tiempo avra despues que se reporten.<br /></span> -<span class="i4">Tiempo despues avra para gozarme<br /></span> -<span class="i0">no con un Nino torpe i asqueroso,<br /></span> -<span class="i0">tiempo tendre despues para emplearme<br /></span> -<span class="i0">en un Zopiro dulce i amoroso,<br /></span> -<span class="i0">tiempo tendre para desencerrarme<br /></span> -<span class="i0">de un cautiverio infame i afrentoso<br /></span> -<span class="i0">que à ya diez i seis años que en mi Reina<br /></span> -<span class="i0">con titulo de Reina sin ser Reina.<br /></span> -<span class="i4">Aora lo sere, no ai duda en ello,<br /></span> -<span class="i0">aunque la tierra se rebuelva i hunda,<br /></span> -<span class="i0">avra sacare del yugo el cuello<br /></span> -<span class="i0">aunque Amon con sus rayos me confunda,<br /></span> -<span class="i0">avra a mis desseos pondre el sello,<br /></span> -<span class="i0">destas traças mi gozo i bien redunda,<br /></span> -<span class="i0">de aqui sucederá, i sino sucede<br /></span> -<span class="i0">cosa no avra que no intentada quede.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_459" href="#FNanchor_459" class="label">459</a> -He says in his prologue:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Yo creo que el mas alto i cierto amparo<br /></span> -<span class="i0">que en todo el suelo tiene, está sin duda<br /></span> -<span class="i0">aquí donde oi se aguarda la Tragedia<br /></span> -<span class="i0">de la cruel Casandra, ya famosa<br /></span> -<span class="i0">la cual tambien cortada a la medida<br /></span> -<span class="i0">de exemplos de virtud (aunque mostrados<br /></span> -<span class="i0">tal vez por su contrario el vicio) viene<br /></span> -<span class="i0">acompañada con el dulce gusto,<br /></span> -<span class="i0"><i>siguiendo en esto la mayor fineza</i><br /></span> -<span class="i0"><i>del arte antigo i del moderno uso</i>,<br /></span> -<span class="i0">que jamas en Teatros Españoles<br /></span> -<span class="i0">visto se aya, sin que a nadie agravie.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_460" href="#FNanchor_460" class="label">460</a> -For example in the following scene. The prince is surprised -by his beloved Fulgencia, against whom he has been prepossessed -by the treacherous hypocrisy of Casandra:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Fulgenc.</i> <span style="padding-left: 2.5em">La que sin ti Señor no quiere vida,</span><br /></span> -<span class="i14">no es mucha que no huya de la muerte<br /></span> -<span class="i14">que tu saña le tiene prometida<br /></span> -<span class="i14">osando, como ves, bolver a verte.<br /></span> -<span class="i14">Aqui me tienes a tus pies rendida.<br /></span> -<span class="i14">Si verme en tu presencia es ofenderte<br /></span> -<span class="i14">tanto que en mi executes lo jurado<br /></span> -<span class="i14">é aqui mi cuello al hierro aparejado.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Princip.</i> <span style="padding-left: 3em">Es ilusion, es sueño lo que veo</span><br /></span> -<span class="i14">i lo que oyo? que dezis Fulgencia?<br /></span> -<span class="i14">que novedad es esta a devaneo?<br /></span> -<span class="i14">tentaisme por ventura de paciencia?<br /></span> -<span class="i14">de vuestra muerte tengo yo desseo?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Casand.</i> <span style="padding-left: 3em">i a mi me à de ofender vuestra presencia?</span><br /></span> -<span class="i14">i yo é jurado cosa en vuestro daño?<br /></span> -<span class="i14">venis dezi con algun nuevo engaño?<br /></span> -<span class="i18">Basta pues el passado con que el Conde<br /></span> -<span class="i14">quisistes poner mal comigo tanto,<br /></span> -<span class="i14">la verdad es un Sol que no de esconde.<br /></span> -<span class="i14">De vuestro aviso y discrecion me espanto, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_461" href="#FNanchor_461" class="label">461</a> -<i>Para Todos, Exemplos morales, humanos y divinos, en -que se tratan diversas Ciencias, &c. por el Doctor Juan Perez -de Montalvan</i>, in quarto. In the copy which I have seen, the date -of the year on the title-page is obliterated.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_462" href="#FNanchor_462" class="label">462</a> -The historical drama, in which Montalvan has drawn the -character of Philip II. bears the affected title of <i>El segundo Seneca -de España</i>. The second Seneca, here alluded to, is no other than -Philip himself. Montalvan has, on the contrary, described the -Infant Don Carlos as a noisy blusterer. Philip summons Carlos to -his presence in order to correct him:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Rey.</i> <span style="padding-left: 1.5em">Yo tengo pocas razones,</span><br /></span> -<span class="i8">pero tengo muchos manos,<br /></span> -<span class="i8">y al passo que sé quereros<br /></span> -<span class="i8">sabre tambien castigaros.<br /></span> -<span class="i8">Vuestras locas travesuras<br /></span> -<span class="i8">me secaron de mi passo,<br /></span> -<span class="i8">que aun una cuerda torcida,<br /></span> -<span class="i8">si la tiran mucho al arco,<br /></span> -<span class="i8">parece que se querella,<br /></span> -<span class="i8">y se buelve contra el braço.<br /></span> -<span class="i8">Entendeisme?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Pr.</i> <span style="padding-left: 9em">Si Señor.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>R.</i> <span style="padding-left: 2.5em">Pues procurad de enmendaros,</span><br /></span> -<span class="i8">que os pesarâ de no hazerlo,<br /></span> -<span class="i8">si, por la vida de entrambos.<br /></span> -</div></div> - -<p class="caption"> -(<i>Levantase furioso, y quierese ir.</i>)</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Pr.</i> <span style="padding-left: 2em">Fuego por los ojos echa.</span><br /></span> -<span class="i8">Vive Dios que le he temblado,<br /></span> -<span class="i8">pero no importa. Señor!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rey.</i> <span style="padding-left: 1.5em">Que quereis?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Pr.</i> <span style="padding-left: 2em">A no enojaros</span><br /></span> -<span class="i8">el escucharme, yo os diera<br /></span> -<span class="i8">por mi parte tal descargo,<br /></span> -<span class="i8">que con vos quedara bien,<br /></span> -<span class="i8">puesto que estais enojado.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>R.</i> <span style="padding-left: 2.5em">Antes me hareis un gran gusto,</span><br /></span> -<span class="i8">por disculparme en amaros.<br /></span> -</div></div> - -<p> -Philip then continues to admonish Don Carlos in a pompous -tone of suppressed ill humour.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_463" href="#FNanchor_463" class="label">463</a> -The comedy in which the character of Henry IV. appears, is -entitled <i>El Mariscalo de Viron</i>. Henry and Marshal de Biron are -rivals in a love affair. The Marshal, with the frankness of a soldier, -confesses his attachment for the lady, and Henry relinquishes his -suit. “And did this give you so much concern?” says Henry to the -Marshal.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Marisc.</i> <span style="padding-left: 2.5em">Esta es mi confusion.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rey.</i> <span style="padding-left: 4em">Y esso os tenia afligido?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Mar.</i> <span style="padding-left: 4em">Claro esta porque naci</span><br /></span> -<span class="i13">inferior y vos aqui<br /></span> -<span class="i13">sois mi Rey.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rey.</i> <span style="padding-left: 10em">Vos los aveis sido</span><br /></span> -<span class="i13">para mi en mí voluntad,<br /></span> -<span class="i13">como aora lo vereis:<br /></span> -<span class="i13">ya, Blanca, dueño teneis.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Blan.</i> <span style="padding-left: 3.5em">De que manera?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Rey.</i> <span style="padding-left: 11em">Escuchad</span><br /></span> -<span class="i13">Carlos, quanto a lo primero<br /></span> -<span class="i13">os aviso, que no es ley,<br /></span> -<span class="i13">que un vasallo con su Rey<br /></span> -<span class="i13">hable nunca tan entero.<br /></span> -<span class="i13">Porque se deve advertir,<br /></span> -<span class="i13">que el Rey se puede enojar,<br /></span> -<span class="i13">y enojada, hazer baxar<br /></span> -<span class="i13">al mismo que hizo subir.<br /></span> -<span class="i13">Vos aqui me aveis hablado<br /></span> -<span class="i13">con alguna sequedad:<br /></span> -<span class="i13">pero mi gran voluntad<br /></span> -<span class="i13">el yerro os ha perdonado.<br /></span> -<span class="i13">Que nunca para consigo<br /></span> -<span class="i13">amigo se ha de dezir<br /></span> -<span class="i13">al que no sabe sufrir<br /></span> -<span class="i13">alguna falta a su amigo:<br /></span> -<span class="i13">yo lo soy vuestro, y ansi<br /></span> -<span class="i13">(aunque à Blanca amando estoy)<br /></span> -<span class="i13">licencia de amarla os doy,<br /></span> -<span class="i13">y servirla desde aqui.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_464" href="#FNanchor_464" class="label">464</a> -But these autos are included in the <i>Para Todos</i>. See note, -page 447.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_465" href="#FNanchor_465" class="label">465</a> -<i>Relaciones de la vida del escudero Marcos de Obregon, -&c. por el Maestro Vicente Espinel</i>; Barcelona, 1618, in octavo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_466" href="#FNanchor_466" class="label">466</a> -<a href="#Page_414">See page 414</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_467" href="#FNanchor_467" class="label">467</a> -<i>Primera parte de la vida del Picaro Guzman de Alfarache, -compuesta por Mattheo Aleman. Brussel.</i> 1604, in 8vo. is the title -of the oldest edition that I have seen. The words <i>Primera parte</i> -have reference to the Continuation, which is the production of -another author.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_468" href="#FNanchor_468" class="label">468</a> -Besides those which are included in his <i>Para todas</i>, a -separate collection was published under the title of <i>Succesos y -prodigios de Amor, en ocho novelas exemplares, por el Doctor -Juan Perez de Montalvan</i>. The sixth edition (that with which I am -acquainted), was published at Seville in 1633, in 4to.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_469" href="#FNanchor_469" class="label">469</a> -Those who wish to find a catalogue of Spanish novels and -romances of middling and inferior merit, must turn to Blankenburg, -who, in his appendix to Sulzer’s article <i>Erzählung</i>, enumerates them -at considerable length. The list might be augmented by an examination -of the collection of novels and romances in the library of the -University of Göttingen.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_470" href="#FNanchor_470" class="label">470</a> -A new edition of the <i>Novelas entretenidas, compuestas por -Doña Mariana de Caravajal y Saavedra</i>, was published at Madrid -so late as the year 1728.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_471" href="#FNanchor_471" class="label">471</a> -In Spanish this phrase has a comical effect:—<i>Entretenimientos -en que divertas las perezosas noches del erizado invierno</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_472" href="#FNanchor_472" class="label">472</a> -She says:—Admitas mi voluntad, perdonando los defectos de -una <i>tan mal cortada pluma</i>, en la qual hallaras mayores <i>deseos de -servirte con doze comedias</i>, en que <i>conoscas lo affectuoso de mi -deseo</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_473" href="#FNanchor_473" class="label">473</a> -Mariana wrote as early as the reign of Charles V. and he -died in the year 1623, in the ninetieth year of his age.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_474" href="#FNanchor_474" class="label">474</a> -The title is:—<i>Joannis Marianæ Historiæ, de rebus Hispaniæ, -libri triginta</i>. It has been frequently printed; and there is -one very elegant edition in large folio, <i>Hagae Comitum</i> 1731. The -Spanish names of persons and places are, however, latinized in a -manner so artificial, as to render them no less unintelligible than the -names in Cardinal Bembo’s History.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_475" href="#FNanchor_475" class="label">475</a> -There is a beautiful edition of this historical work, published -by patriotic subscription, in a series of small folio volumes, under -the following title:—<i>Historia general de España, que escribiò el -P. Juan de Mariana, &c.</i> Valencia, 1785.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_476" href="#FNanchor_476" class="label">476</a> -The subjoined extract, which affords a specimen of Mariana’s -historical style, is the commencement of his description of the -battle, which was lost by King Roderick in conflict with the Arabs, -and which was followed by the overthrow of the gothic monarchy:—</p> -<p> -El movido del peligro y daño, y encendido en deseo de tomar -emienda de lo pasado y de vengarse, apellidó todo el reyno. Mandó -que todos los que fuesen de edad, acudiesen á las banderas. Amenazó -con graves castigos á los que lo contrario hiciesen. Juntóse á -este llamamiento gran número de gente: los que menos cuentan, dicen -fueron pasados de cien mil combatientes. Pero con la larga paz, -como acontece, mostrábanse ellos alegres y bravos, blasonaban y -aun renegaban; mas eran cobardes á maravilla, sin esfuerzo y aun -sin fuerzas para sufrir los trabajos y incomodidades de la guerra. -La mayor parte iban desarmados, con hondas solamente ó bastones. -Este fue el exército con que el Rey marchó la vuelta del Andalucía. -Llegó por sus jornadas cerca de Xerez, donde el enemigo estaba -alojado. Asentó sus reales y fortificólos en un llano por la parte -que pasa el rio Guadalete. Los unos y los otros deseaban grandemente -venir á las manos; los Moros orgullosos con la victoria; los -Godos por vengarse, por su patria, hijos, mugeres y libertad no -dudaban poner á riesgo las vidas, sin embargo que gran parte -dellos sentian en sus corazones una tristeza extraordinaria, y un -silencio qual suele caer á las veces como presagio del mal que ha -de venir sobre algunos. <i>Lib.</i> vi. <i>cap.</i> 23.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_477" href="#FNanchor_477" class="label">477</a> -The surname Villegas has given rise to many blunders respecting -Quevedo and the celebrated Estèban Manuel de Villegas. -A good abstract of the various biographical notices of Quevedo is -prefixed to the fourth volume of the <i>Parnaso Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_478" href="#FNanchor_478" class="label">478</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Verdades diré en camisa,<br /></span> -<span class="i0">Poco menos que desnudas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_479" href="#FNanchor_479" class="label">479</a> -These canciones and romances are contained in the great -collection of the poems of Quevedo, published by the Gongorist -Gonzales de Salas, under the Gongoristic title of <i>El Parnaso -Español, Monte en dos cumbres dividido</i>, (that is to say, in two -volumes.) A new, but very far from elegant, edition of this collection -of Quevedo’s poems appeared at Madrid, in 1729, in quarto. It -is divided into books, each of which bears the name of one of the -muses.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_480" href="#FNanchor_480" class="label">480</a> -For example, in the following song to a linnet, which is -described as a singing and flying flower:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Flor que cantas, flor que buelas</i><br /></span> -<span class="i4">Y tienes por <i>facistol</i><br /></span> -<span class="i4"><i>El laurel</i>, para que al Sol,<br /></span> -<span class="i4">Con tan <i>sonoras cautelas</i>,<br /></span> -<span class="i4">Le madrugas, y desuelas,<br /></span> -<span class="i4">Digas mè,<br /></span> -<span class="i4">Dulce Gilguero, por què?<br /></span> -<span class="i0">Dime, <i>Cantor Ramillete,</i><br /></span> -<span class="i4"><i>Lyra de pluma volante,</i><br /></span> -<span class="i4"><i>Silvo alado</i>, y elegante,<br /></span> -<span class="i4">Que en el rizado copete<br /></span> -<span class="i4">Luces flor, suenas falsete,<br /></span> -<span class="i4">Porque <i>cantas</i> con porfia<br /></span> -<span class="i4"><i>Embidias, que llora el dia</i>,<br /></span> -<span class="i4">Con lagrimas de la Aurora<br /></span> -<span class="i4">Si en la risa de Lidora<br /></span> -<span class="i4">Su amanecer desconsuelas,<br /></span> -<span class="i4">Flor que cantas, flor que buelas, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_481" href="#FNanchor_481" class="label">481</a> -For example, in the following song, which passes from one -style to another:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Pero siendo tu en la Villa<br /></span> -<span class="i4">Dama, de demanda, y trote,<br /></span> -<span class="i4">Bien puede ser que del mote,<br /></span> -<span class="i4">No ayas visto la cartilla.<br /></span> -<span class="i4">Vá de el estilo que brilla<br /></span> -<span class="i4"><i>En la Culterana Prosa,</i><br /></span> -<span class="i4"><i>Grecizante, y Latinosa</i>:<br /></span> -<span class="i4">Mucho serà si me entiendes,<br /></span> -<span class="i4">Yo vacio pyras, y asciendes,<br /></span> -<span class="i4">Culto và Señora hermosa.<br /></span> -<span class="i0">Si bien <i>el palor ligustre</i><br /></span> -<span class="i4"><i>Desfallece los candores</i>,<br /></span> -<span class="i4">Quando muchos esplendores<br /></span> -<span class="i4">Conduce à poco <i>palustre,</i><br /></span> -<span class="i4"><i>Construye al aroma ilustre</i><br /></span> -<span class="i4">Victima de tanto culto,<br /></span> -<span class="i4">Presentiendo de tu vulto,<br /></span> -<span class="i4">Que rayos fulmina horrendo;<br /></span> -<span class="i4"><i>Ni me entiendes, ni te entiendo,</i><br /></span> -<span class="i4"><i>Pues catate, que soy culto</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_482" href="#FNanchor_482" class="label">482</a> -A specimen of this gypsey gibberish may be curious to those -who are not acquainted with it:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ya està guardando en la trena<br /></span> -<span class="i4">Tu querido Escarraman,<br /></span> -<span class="i4">Que unos alfileres vivos,<br /></span> -<span class="i4">Me prendieron sin pensar.<br /></span> -<span class="i0">Andaba à caza de gangas,<br /></span> -<span class="i4">Y grillos vine à cazar,<br /></span> -<span class="i4">Que en mi cantan como enhaza,<br /></span> -<span class="i4">Las noches de por San Juan.<br /></span> -<span class="i0">Entrandome en la bayuca,<br /></span> -<span class="i4">Llegandome à remojar<br /></span> -<span class="i4">Cierta pendencia mosquito,<br /></span> -<span class="i4">Que se ahogò en vino, y pan.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_483" href="#FNanchor_483" class="label">483</a> -A new collection of this kind of gypsey romances, was -published at Madrid in 1779, in octavo, under the title of Romances -de <i>Germania</i>. <i>Germania</i> is the Spanish name for the gypsey race.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_484" href="#FNanchor_484" class="label">484</a> -For example, one in which a young married man, on the -third day after his nuptials, asks his spouse, how many years a man -daily grows older in the matrimonial state?</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Antiyer nos casamos, oy querria,<br /></span> -<span class="i4">Doña Perez, saber ciertas verdades;<br /></span> -<span class="i4">Decidme, quanto numero de edades<br /></span> -<span class="i4">Enfunda el matrimonio en solo un dia?<br /></span> -<span class="i0">Un antiyer soltero ser solia,<br /></span> -<span class="i4">Y oy casado un sin fin de Navidades<br /></span> -<span class="i4">Han puesto dos marchitas voluntaries<br /></span> -<span class="i4">Y mas de mil antaños en la mia.<br /></span> -<span class="i0">Esto de ser marido un año arreo,<br /></span> -<span class="i4">Aun à los azacanes empalaga;<br /></span> -<span class="i4">Todo lo cotidiano es mucho, y feo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_485" href="#FNanchor_485" class="label">485</a> -See the collection of Salas, Musa II. &c.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_486" href="#FNanchor_486" class="label">486</a> -This appears in the commencement of the following extract.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No he de callar, por mas que con el dedo,<br /></span> -<span class="i4">Yà tocando la boca, ò y á la frente,<br /></span> -<span class="i4">Silencio, avises, ò amenaces miedo.<br /></span> -<span class="i0">No ha de aver un espiritu valiente?<br /></span> -<span class="i4">Siempre se ha de sentir, lo que se dice?<br /></span> -<span class="i4">Nunca se ha de decir, lo que se siente?<br /></span> -<span class="i0">Oy sin miedo, que libre escandalice,<br /></span> -<span class="i4">Puede hablar al ingenio, assegurado<br /></span> -<span class="i4">De que mayor poder le atemorice.<br /></span> -<span class="i0">En otros siglos pudo ser pecado<br /></span> -<span class="i4">Severo estudio, y la verdad desnuda,<br /></span> -<span class="i4">Y romper el silencio el bien hablado.<br /></span> -<span class="i0">Pues sepa quien lo niega, y quien lo duda,<br /></span> -<span class="i4">Que es lengua la Verdad de Dios severo,<br /></span> -<span class="i4">Y la lengua de Dios nunca fue muda.<br /></span> -<span class="i0">Son la verdad, y Dios, Dios verdadero.<br /></span> -<span class="i4">Ni eternidad divina los separa,<br /></span> -<span class="i4">Ni de los dos alguno fue primero.<br /></span> -<span class="i0">Si Dios à la verdad se adelantàra,<br /></span> -<span class="i4">Siendo verdad, implicacion huviera<br /></span> -<span class="i4">En ser, y en que verdad de ser dexàra.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_487" href="#FNanchor_487" class="label">487</a> -He earnestly condemns the Spanish imitation of the Arabian -tournaments with pointed canes.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Quexosa es vèr un Infazon de España,<br /></span> -<span class="i4">Abreviado en la silla à la gineta,<br /></span> -<span class="i4">Y gastar un cavallo en una caña?<br /></span> -<span class="i0">Que la niñez al gollo le acometa<br /></span> -<span class="i4">Con semejante municion, apruebo;<br /></span> -<span class="i4">Mas no la edad madura, la perfeta.<br /></span> -<span class="i0">Exercite sus fuercas el mancebo<br /></span> -<span class="i4">Enfrentes de esquadrones; no en la frente<br /></span> -<span class="i4">De el util bruto el hasta de el acebo.<br /></span> -<span class="i0">El trompete le llama diligente,<br /></span> -<span class="i4">Dando fuerza de ley el viento vano,<br /></span> -<span class="i4">Y al son estè el exercito obediente.<br /></span> -<span class="i0">Con quanta magestad llena la mano<br /></span> -<span class="i4">La pica, y el mosquete carga el ombro,<br /></span> -<span class="i4">De el que se atreve á ser buen Castellano.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_488" href="#FNanchor_488" class="label">488</a> -Quevedo’s <i>Sueños</i>, or Visions, which are now translated -into almost every cultivated language in Europe, were shortly after -their appearance, introduced into German literature by Moscherosch -von Wilstedt, under the title of <i>Gesichte Philanders von Sittewald</i>. -The romance of the Great Tacaño has also been translated into -various languages.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_489" href="#FNanchor_489" class="label">489</a> -Pero lo que mas me espantò, fue de ver los cuerpos de dos o -tres mercadores, que se havian vestido las almas de revès, y tenian -todos los cinco sentidos en las uñas de la mana derecha. <i>Sueño -del Juizio final, o de las Calaveras.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_490" href="#FNanchor_490" class="label">490</a> -An elegant edition of these poems was published by Luis -Joseph Velasquez, the author of the History of Spanish Poetry, -under the title of—<i>Poesias que publicò Dr. Francisco de Quevedo -Villegas con el nombre de Bachiller Franc. de la Torre</i>, &c. Madrid, -1753, in quarto. Velasquez has proved Quevedo to be the author of -these compositions.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_491" href="#FNanchor_491" class="label">491</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Bella es mi Ninfa, si los lazos de oro<br /></span> -<span class="i0">al apacible viento desordena:<br /></span> -<span class="i0">bella si de sus ojos enagena<br /></span> -<span class="i0">el altivo desdèn que siempre lloro.<br /></span> -<span class="i4">Bella, si con la luz que sola adoro<br /></span> -<span class="i0">la tempestad del viento, y mar serena:<br /></span> -<span class="i0">bella, si à la dureza de mi pena<br /></span> -<span class="i0">buelve las gracias del celeste Coro.<br /></span> -<span class="i4">Bella, si mansa, bella si terrible,<br /></span> -<span class="i0">bella si cruda, bella esquiva, y bella<br /></span> -<span class="i0">si buelve grave aquella luz del Cielo.<br /></span> -<span class="i4">Cuya beldad humana, y apacible,<br /></span> -<span class="i0">ni se puede saber lo que es sin vella,<br /></span> -<span class="i0">ni vista entenderà la que es el suelo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_492" href="#FNanchor_492" class="label">492</a> -The commencement of one of these Endechas may be -transcribed as a specimen:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Corona del Cielo,<br /></span> -<span class="i0">Ariadna bella,<br /></span> -<span class="i0">conocida estrella<br /></span> -<span class="i0">del nocturno velo,<br /></span> -<span class="i0">Tù sola del coro<br /></span> -<span class="i0">de las lumbres bellas,<br /></span> -<span class="i0">oye mis querellas,<br /></span> -<span class="i0">pues tus males lloro.<br /></span> -<span class="i0">Tù fuiste querida,<br /></span> -<span class="i0">y olvidada fuiste,<br /></span> -<span class="i0">yo querido, y triste,<br /></span> -<span class="i0">quien me amò, me olvida.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_493" href="#FNanchor_493" class="label">493</a> -The style of the following appears unobjectionable:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Esta por ser, ò Lisi, la primera<br /></span> -<span class="i4">Flor, que ha ossado fiar de los calores,<br /></span> -<span class="i4">Recien nacïdas joyas, y colores,<br /></span> -<span class="i4">Aventurando el precio à la ribera:<br /></span> -<span class="i0">Esta, que estudio fue à la Primavera,<br /></span> -<span class="i4">Y en quien se anticiparon esplendores.<br /></span> -<span class="i4">De el Sol, será primicia de las flores,<br /></span> -<span class="i4">Y culto, con que la alma te venera.<br /></span> -<span class="i0">A corta vida nace destinada,<br /></span> -<span class="i4">Sus edades son horas: en un dia<br /></span> -<span class="i4">Su parto, y muerte el Cielo rie, y llora.<br /></span> -<span class="i0">Logrese en tu cabello respetada<br /></span> -<span class="i4">De el año, no malogre lo que cria,<br /></span> -<span class="i4">Aqueta en larga vida, eterna Aurora.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_494" href="#FNanchor_494" class="label">494</a> -The following is on modern Rome:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Buscas en Roma à Roma, ó Peregrino,<br /></span> -<span class="i4">Y en Roma misma à Roma no la hallas.<br /></span> -<span class="i4">Cadaver son, las que ostentò murallas,<br /></span> -<span class="i4">Y Tumba de sì proprio el Aventino.<br /></span> -<span class="i0">Yaze donde reynaba el Palatino,<br /></span> -<span class="i4">Y limadas del tiempo las medallas,<br /></span> -<span class="i4">Mas se muestran destrozo á las batallas<br /></span> -<span class="i4">De las edades, que Blason Latino.<br /></span> -<span class="i0">Solo el Tiber quedò, cuya corriente,<br /></span> -<span class="i4">Si ciudad la regò, yà sepoltura<br /></span> -<span class="i4">La llora con funesto son doliente.<br /></span> -<span class="i0">O Roma, en tu grandeza, en tu hermosura<br /></span> -<span class="i4">Huyò lo que era firme, y solamente<br /></span> -<span class="i4">Lo fugitive permanece, y dura.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_495" href="#FNanchor_495" class="label">495</a> -For example, the following, which is addressed to Astræa:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Arroja las balanzas, sacra Astrea,<br /></span> -<span class="i4">Pues que tienen tu mano embarazada;<br /></span> -<span class="i4">Y si se mueven, tiemblan de tu espada,<br /></span> -<span class="i4">Que el peso, y la igualdad no las menea.<br /></span> -<span class="i0">No estàs justificada, sino fea;<br /></span> -<span class="i4">Y en vez de estàr igual, estàs armada;<br /></span> -<span class="i4">Feroz te vé la gente, no ajustada;<br /></span> -<span class="i4">Quieres que el tribunal batalla sea?<br /></span> -<span class="i0">Yà militan las Leyes, y el Derecho,<br /></span> -<span class="i4">Y te sirven de textos las heridas,<br /></span> -<span class="i4">Que escrive nuestra sangre en nuestro pecho.<br /></span> -<span class="i0">La parca eres fatal para las vidas,<br /></span> -<span class="i4">Pues lo que hilaron otras, has deshecho,<br /></span> -<span class="i4">Y has buelto las balanzas homicidas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_496" href="#FNanchor_496" class="label">496</a> -This may probably account for its insertion in the second -volume of the <i>Parnaso Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_497" href="#FNanchor_497" class="label">497</a> -The third book of the first division of these poems, is dedicated -to Fernandez de Velasco, the constable of Castile. In the -dedicatory verses Villegas says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Mis dulces cantilenas,<br /></span> -<span class="i0">Mis suaves delicias,<br /></span> -<span class="i0"><i>A los viente limadas,</i><br /></span> -<span class="i0"><i>A los cotorce escritas, &c.</i><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_498" href="#FNanchor_498" class="label">498</a> -The edition which I have seen, is entitled, <i>Amatorias -de D. Esteban Manuel de Villegas</i>. It is printed at Naxera, -and on the title-page bears the date of 1620, and on the final -page 1617.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_499" href="#FNanchor_499" class="label">499</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Assi las hebras, que en el alma adoro,<br /></span> -<span class="i0">Del Zefiro movidas,<br /></span> -<span class="i0">Daran mil muertes, venceran mil vidas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_500" href="#FNanchor_500" class="label">500</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ni el mismo Sol resplandecer pudiera,<br /></span> -<span class="i0">Si de tu roja frente<br /></span> -<span class="i0">No hurtara rayos, para darle al Oriente.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_501" href="#FNanchor_501" class="label">501</a> -In this ode Villegas says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">No aspiro a mas laureles que a mi llama:<br /></span> -<span class="i0">que offende a sus deseos, quien bien ama:<br /></span> -<span class="i0">siga el joven valiente<br /></span> -<span class="i0">en polverosa meta carro ardiente,<br /></span> -<span class="i0">i el, de todos servido,<br /></span> -<span class="i0">feliz privado, a rei agradecido;<br /></span> -<span class="i0">siga de noche, i dia<br /></span> -<span class="i0">por la campaña umbria<br /></span> -<span class="i0">el caçador ligero<br /></span> -<span class="i0">al xavalì cerdoso,<br /></span> -<span class="i0">ya siendo monteado, ya montero.<br /></span> -<span class="i0">Siga por mar i tierra el belicoso<br /></span> -<span class="i0">varon, la dura guerra,<br /></span> -<span class="i0">i en mar sea delfin, i tigre en tierra.<br /></span> -<span class="i4">Que yo, de alagos tiernos persuadido,<br /></span> -<span class="i0">seguir tengo las llamas de Cupido,<br /></span> -<span class="i0">seguir tengo los fuegos,<br /></span> -<span class="i0">adestrado de locos, i de ciegos.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_502" href="#FNanchor_502" class="label">502</a> -For example, the following stanzas:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">O quan dulce, i suave<br /></span> -<span class="i0">es ver al campo, quando mas recrea:<br /></span> -<span class="i0">en el se quexa el ave,<br /></span> -<span class="i0">el viento el spira, agua lisongea,<br /></span> -<span class="i0">i las pintadas flores<br /></span> -<span class="i0">crian mil vìsos, paren mil olores.<br /></span> -<span class="i4">El alamo, i el pino<br /></span> -<span class="i0">sirven de estorbos a la luz de Febo.<br /></span> -<span class="i0">Brinda el baso contino<br /></span> -<span class="i0">del claro arroyo con aljofar nuevo,<br /></span> -<span class="i0">i la tendida grama<br /></span> -<span class="i0">mesa a la gula es, i al sueño cama.<br /></span> -<span class="i4">Tu solamente bella<br /></span> -<span class="i0">nos haces falta, Tyndarias graciosa,<br /></span> -<span class="i0">i si tu blanca hicella<br /></span> -<span class="i0">no te nos presta como el alva hermosa,<br /></span> -<span class="i0">lo dulce i lo suave<br /></span> -<span class="i0">quan amargo sera, quan duro, i grave, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_503" href="#FNanchor_503" class="label">503</a> -One of these odes commences in the following comic style:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Entanto pues, hermosa casadilla,<br /></span> -<span class="i0">que los dos al pavon i tortolilla<br /></span> -<span class="i0">imitamos fielmente,<br /></span> -<span class="i0">tu con belleça, i yo con voz doliente:<br /></span> -<span class="i0">mi voz de tu belleça<br /></span> -<span class="i0">cante, qual cisne en su mayor tristeça:<br /></span> -<span class="i0">pues por ti mi deseo<br /></span> -<span class="i0">es musico suave mas que Orfeo.<br /></span> -<span class="i4">Cante el heroico al son de la trompeta<br /></span> -<span class="i0">el subito rumor de la escopeta,<br /></span> -<span class="i0">i el tragico celêbre<br /></span> -<span class="i0">calçado de Cothurno, accion funêbre:<br /></span> -<span class="i0">que yo de ti, casada,<br /></span> -<span class="i0">lyrico siendo, en cythara templada<br /></span> -<span class="i0">cantarê solamente<br /></span> -<span class="i0">tu voca, i ojos, tu mexilla, i frente, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_504" href="#FNanchor_504" class="label">504</a> -For example in the song (for an ode it is not) in which the -concluding line of each stanza is repeated as a burthen.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Jurò, que me seria<br /></span> -<span class="i0">en amarme tan firme como roca,<br /></span> -<span class="i0">o como robre essento:<br /></span> -<span class="i0">i que atras volveria<br /></span> -<span class="i0">este arroyuelo, que estas hayas toca,<br /></span> -<span class="i0">antes que el juramento:<br /></span> -<span class="i0">pero ya la perjura<br /></span> -<span class="i0">cortar el arbol de mi fè procura.<br /></span> -<span class="i0">Este diran los vientos,<br /></span> -<span class="i0">que dieron a su jura las orejas:<br /></span> -<span class="i0">esto diran los rios,<br /></span> -<span class="i0">que por estar atentos<br /></span> -<span class="i0">el susurro enfrenaron a sus quexas:<br /></span> -<span class="i0">pero los llantos mios<br /></span> -<span class="i0">diran, que la perjura<br /></span> -<span class="i0">cortar el arbol de mi fè procura.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_505" href="#FNanchor_505" class="label">505</a> -One commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Luego que por oriente<br /></span> -<span class="i0">muestra su blanca frente<br /></span> -<span class="i0">el alba, que aporfia<br /></span> -<span class="i0">sano nos muestra el dia,<br /></span> -<span class="i0">i a la tarde doliente:<br /></span> -<span class="i0">veras salir las aves,<br /></span> -<span class="i0">ya ligeras, ya graves,<br /></span> -<span class="i0">i ya libres del sueño<br /></span> -<span class="i0">esclavas a su dueño<br /></span> -<span class="i0">dar canticos suaves:<br /></span> -<span class="i0">las Auras distraìdas,<br /></span> -<span class="i0">que soplan esparcìdas<br /></span> -<span class="i0">por selvas no plantadas,<br /></span> -<span class="i0">o se mueven paradas,<br /></span> -<span class="i0">o se paran movìdas, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_506" href="#FNanchor_506" class="label">506</a> -The following contains an exquisite picture of the grief of a -bird for the loss of her young:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Yo vi sobre un tomillo<br /></span> -<span class="i0">quexarse un paxarillo<br /></span> -<span class="i0">viendo su nido amado,<br /></span> -<span class="i0">de quien era caudillo,<br /></span> -<span class="i0">de un labrador robado.<br /></span> -<span class="i0">Vìle tan congojado<br /></span> -<span class="i0">por tal atrevimiento<br /></span> -<span class="i0">dar mil quexas al viento<br /></span> -<span class="i0">para que al cielo santo<br /></span> -<span class="i0">lleve su tierno llanto,<br /></span> -<span class="i0">lleve su triste acento,<br /></span> -<span class="i0">yà con triste harmonia<br /></span> -<span class="i0">esforçando al intento<br /></span> -<span class="i0">mil quexas repitia:<br /></span> -<span class="i0">ya cansando callava:<br /></span> -<span class="i0">y al nuevo sentimiento<br /></span> -<span class="i0">ya sonòro volvia.<br /></span> -<span class="i0">Ya circular volaba:<br /></span> -<span class="i0">ya rastrero corria:<br /></span> -<span class="i0">ya pues de rama en rama<br /></span> -<span class="i0">al rùstico seguia,<br /></span> -<span class="i0">i saltando en la grama,<br /></span> -<span class="i0">parece que decia:<br /></span> -<span class="i0">dame, rùstico fiero,<br /></span> -<span class="i0">mi dulce compañìa!<br /></span> -<span class="i0">Yoì qué respondia<br /></span> -<span class="i0">el rùstico: <i>No quiero</i>.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_507" href="#FNanchor_507" class="label">507</a> -The subjoined passage presents a specimen of the affectation -of the Estilo Culto:—</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Los ciento, que dio passòs, bella dama,<br /></span> -<span class="i0">los mil, que dio suspiros, tierno rio,<br /></span> -<span class="i0">siendo ella esquiva, mas que al Sol su rama,<br /></span> -<span class="i0">i el, mas que el Sol, amante a su desvio:<br /></span> -<span class="i0">yo cantarè, que amor mi pecho inflama,<br /></span> -<span class="i0">i no de Marte el plomo, cuyo brio<br /></span> -<span class="i0">en el vaciado bronce, resonante<br /></span> -<span class="i0">vengança es ya de Jupiter tonante.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_508" href="#FNanchor_508" class="label">508</a> -See the first volume of the History of Italian Poetry and -Eloquence, p. 50.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_509" href="#FNanchor_509" class="label">509</a> -Villegas has thus translated one of Virgil’s idyls into Spanish -hexameters:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Lycidas, Corydon, i Corydon el amante de Philis,<br /></span> -<span class="i0">Pastor el uno de cabras, el otro de blancas ovejas,<br /></span> -<span class="i0">ambos a dos tiernos, moços ambos, Arcades ambos,<br /></span> -<span class="i0">viendo que los rayos del sol fatigaban el orbe,<br /></span> -<span class="i0">i que bibrando fuego feroz la canicula ladra,<br /></span> -<span class="i0">al puro christal, que cria la fuente sonóra,<br /></span> -<span class="i0">llevados del son alegre de su blando susurro,<br /></span> -<span class="i0">las plantas veloces mueven, los passos animan,<br /></span> -<span class="i0">i al tronce de un verde enebro se sientan amigos, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_510" href="#FNanchor_510" class="label">510</a> -The following are intended for hexameters and pentameters:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Como el monte sigues a Diana, dixo Cytherea,<br /></span> -<span class="i4">Dictyna hermosa, siendo la caça fea?<br /></span> -<span class="i0">No me la desprecias Cyprida, responde Diana,<br /></span> -<span class="i4">Tu tambien fuiste caça, la red lo diga.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_511" href="#FNanchor_511" class="label">511</a> -It is an ode to Zephyr:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Dulce vecino de la verde selva,<br /></span> -<span class="i0">huesped eterno del Abril florido,<br /></span> -<span class="i0">vital aliento de la madre Venus,<br /></span> -<span class="i4">Zephyro blando,<br /></span> -<span class="i0">Si de mis ansias el amor supiste,<br /></span> -<span class="i0">tù, que las quejas de mi voz llevaste,<br /></span> -<span class="i0">oye, no temas, i a mi Nympha dile,<br /></span> -<span class="i4">dile que muero.<br /></span> -<span class="i0">Philis un tiempo mi dolor sabia,<br /></span> -<span class="i0">Philis un tiempo mi dolor lloraba,<br /></span> -<span class="i0">quisome un tiempo, mas agora temo,<br /></span> -<span class="i4">temo sus iras; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_512" href="#FNanchor_512" class="label">512</a> -The stanzas, in which the arrival of Orpheus at the Acheron -is related, may serve as a specimen of Jauregui’s talent for poetic -description:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Llega á Aqueronte, y en su orilla espera,<br /></span> -<span class="i0">Las cuerdas requiriendo y consultando:<br /></span> -<span class="i0">Vè la grosera barca, à la ribera<br /></span> -<span class="i0">Opuesta conducir copioso bando:<br /></span> -<span class="i0">Del instrumento, y de la voz esmera<br /></span> -<span class="i0">De nuevo entonces el acento blando;<br /></span> -<span class="i0">Gime la cuerda al rebatir del arco,<br /></span> -<span class="i0">Y su gemido es remora del barco.<br /></span> -<span class="i4">Resonò en la ribera tiempo escaso<br /></span> -<span class="i0">El canto que humanar las piedras suele;<br /></span> -<span class="i0">Quando atrás vuelve, y obedece el vaso<br /></span> -<span class="i0">Mas á la voz, que al remo que le impele;<br /></span> -<span class="i0">La conducida turba, al nuevo caso,<br /></span> -<span class="i0">Se admira, se regala, se conduele,<br /></span> -<span class="i0">Y las réprobas almas, con aliento,<br /></span> -<span class="i0">Se juzgan revocadas del tormento.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Orfeo</i>, Cant. II.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_513" href="#FNanchor_513" class="label">513</a> -The following is a sonnet of Jauregui addressed to the rising -sun:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Rubio Planeta, cuya lumbre pura<br /></span> -<span class="i4">del tiempo mide cada punto, i ora,<br /></span> -<span class="i4">si el bello objeto, que mi pecho adora<br /></span> -<span class="i4">solo le gozo entre la noche oscura;<br /></span> -<span class="i0">Por què ya se adelanta, i se apresura<br /></span> -<span class="i4">tu luz injusta, i el Oriente dora?<br /></span> -<span class="i4">las sonbras alexando de la Aurora,<br /></span> -<span class="i4">i con las sonbras mi feliz ventura?<br /></span> -<span class="i0">Diràs que el dulce espacio defraudado<br /></span> -<span class="i4">ya de la noche, me daràs el dia,<br /></span> -<span class="i4">tal que de vida un punto no me devas.<br /></span> -<span class="i0">Sì deves (causa del ausencia mia)<br /></span> -<span class="i4">que es vida solo el tiempo que me llevas;<br /></span> -<span class="i4">i el que me ofreces un mortal cuidado.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_514" href="#FNanchor_514" class="label">514</a> -Jauregui’s translation of Lucan was published, together -with his <i>Orfeo</i>, under the title of <i>Pharsalia de D. Juan de -Jauregui, por D. Ramon Fernandez, Madrid</i>, 1789, in 2 vols. -8vo. The other poetic works of this author, including his translation -of the Amynta, are collected in the <i>Rimas de D. Juan de -Jauregui, Sevilla, 1618, in quarto</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_515" href="#FNanchor_515" class="label">515</a> -The name of this poet is of Italian origin. He was descended -from a branch of the Italian house of <i>Borgia</i>, and married the -heiress of the principality of <i>Squillace</i> in Naples. Both names -were, according to Spanish custom, hispanized, first in the pronunciation, -and subsequently in the orthography.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_516" href="#FNanchor_516" class="label">516</a> -I have seen only the second edition of the <i>Obras in verso de -D. Francisco de Borja, Principe de Esquillache, Amberes</i>, 1654, -692 pages, quarto. Some of his poems are contained in the <i>Parnaso -Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_517" href="#FNanchor_517" class="label">517</a> -He thus addresses his poems:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">A manos de muchos vais,<br /></span> -<span class="i0">Versos mios, sin defensa,<br /></span> -<span class="i0">Y sujetos a la ofensa<br /></span> -<span class="i0">De quien menos la esperais.<br /></span> -<span class="i0">Y si en tal peligro estais,<br /></span> -<span class="i0">Injustamente me animan<br /></span> -<span class="i0">Los que piden que os impriman;<br /></span> -<span class="i0"><i>Pues quando luzir pretenden,</i><br /></span> -<span class="i0"><i>Si oscuros son, no se entienden,</i><br /></span> -<span class="i0"><i>Y si claros, no se estiman</i>.<br /></span> -<span class="i0">El que sabe, estimarà,<br /></span> -<span class="i0">Si algun estudio teneis:<br /></span> -<span class="i0">A mas gloria no aspireis;<br /></span> -<span class="i0">Ni mas el tiempo os darà.<br /></span> -<span class="i0"><i>Quien defenderos podrà,</i><br /></span> -<span class="i0"><i>Serà quando mas, alguno;</i><br /></span> -<span class="i0"><i>Y si es Platon, basta èl uno.</i><br /></span> -<span class="i0">Que en las frases y en los modos<br /></span> -<span class="i0">Querer contentar a todos,<br /></span> -<span class="i0">Es no agradar a ninguno.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_518" href="#FNanchor_518" class="label">518</a> -He characterizes his own style as follows:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4"><i>Sigo un medio en la jornada,</i><br /></span> -<span class="i0"><i>Y de mis versos despido,</i><br /></span> -<span class="i0"><i>O palabras de ruido,</i><br /></span> -<span class="i0"><i>O llaneza demasiada;</i><br /></span> -<span class="i0"><i>Y oscuridad afectada.</i><br /></span> -<span class="i0">Es camino de atajar<br /></span> -<span class="i0">No saberse declarar;<br /></span> -<span class="i0">Ya quien se deve admitir,<br /></span> -<span class="i0">Estudie para escrivir,<br /></span> -<span class="i0">No escrive para estudiar.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_519" href="#FNanchor_519" class="label">519</a> -For example, the following, which may be styled the Disenchantment, -(<i>Desengaño</i>.)</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Dichosa soledad, mudo silencio,<br /></span> -<span class="i4">Secretos passos de dormidas fuentes,<br /></span> -<span class="i4">Que por el verde prado sus corrientes,<br /></span> -<span class="i4">Jamas, si van ò vienen diferencio:<br /></span> -<span class="i0">Vuestra quietud estimo, y reverencio<br /></span> -<span class="i4">Con ojos, y deseos diferentes;<br /></span> -<span class="i4">Pues ya, ni el ciego aplauso de las gentes<br /></span> -<span class="i4">Con ambiciosa pluma diligencio.<br /></span> -<span class="i0">Desde la luz, que viste la mañana,<br /></span> -<span class="i4">Los passos cuento al trabajado dia,<br /></span> -<span class="i4">Hasta que pisa el Sol la espuma cana.<br /></span> -<span class="i0">De quanto fue mi engaño, y compañia,<br /></span> -<span class="i4">De quanto amè, con ignorancia vana,<br /></span> -<span class="i4">En vuestra soledad perdì la mia.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_520" href="#FNanchor_520" class="label">520</a> -Even the commencement of this poem, except in so far as -regards the diction, encourages no favourable expectation:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Canto a Jacob, y de su Esposa canto<br /></span> -<span class="i4">La peregrina angelica hermosura:<br /></span> -<span class="i4">Siete años de fineza, amor y llanto,<br /></span> -<span class="i4">Sin premio, sin verdad, y sin ventura:<br /></span> -<span class="i4">El engañoso Suegro, que entretanto<br /></span> -<span class="i4">Con fingida esperanza le assegura,<br /></span> -<span class="i4">Y al burlado pastor, que le servia,<br /></span> -<span class="i4">Promesas de Raquel cumple con Lia.<br /></span> -<span class="i0">Tu, Musa celestial, que en las estrellas<br /></span> -<span class="i4">Segura pones invisibles plantas,<br /></span> -<span class="i4">Y en dulce paz de sus legiones bellas,<br /></span> -<span class="i4">Sobre las altas fuentes te lebantas:<br /></span> -<span class="i4">Si es tuyo el mando, si obedecen ellas<br /></span> -<span class="i4">De essas puras esquadras sacrosantas,<br /></span> -<span class="i4">Presto descienda de su rayo ardiente<br /></span> -<span class="i4">Fuego, que el pecho y su temor aliente.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_521" href="#FNanchor_521" class="label">521</a> -Part of one of these poems may be transcribed here:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Llamavan los pajarillos<br /></span> -<span class="i0">Con dulces voces al Sol,<br /></span> -<span class="i0">Que por aver quien le llama,<br /></span> -<span class="i0">Mal dormido recordò.<br /></span> -<span class="i4">Escuchava entre las aves<br /></span> -<span class="i0">De un arroyuelo la voz,<br /></span> -<span class="i0">Que agradecido a su lumbre,<br /></span> -<span class="i0">La bien venida le diò.<br /></span> -<span class="i4">Entre las ramas de un olmo<br /></span> -<span class="i0">Le acompaña un ruiseñor,<br /></span> -<span class="i0">Enamorado testigo<br /></span> -<span class="i0">De quantas vezes saliò.<br /></span> -<span class="i4"><i>Yo sola triste al son</i><br /></span> -<span class="i0"><i>De todos lloro soledad, y amor.</i><br /></span> -<span class="i4">En el valle de mi aldea<br /></span> -<span class="i0">Zelosa aguardando estoy,<br /></span> -<span class="i0">Que salga un Sol a mis ojos,<br /></span> -<span class="i0">Que en otros braços dormiò.<br /></span> -<span class="i4">Montes dezidle, que siento<br /></span> -<span class="i0">De los males el mayor,<br /></span> -<span class="i0">Si como al padra del dia<br /></span> -<span class="i0">Le veis primero que yo; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_522" href="#FNanchor_522" class="label">522</a> -It is only necessary to refer to Velasquez and Dieze.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_523" href="#FNanchor_523" class="label">523</a> -It is not now necessary to refer to the old and desultory -collections of the works of Count Rebolledo. They may be found -collected altogether under their respective titles in the edition of the -<i>Obras Poeticas de Conde Bernardino de Rebolledo, Madrid</i>, 1778, -in 4 vols. octavo. In this collection the interesting letter in prose, -(Part I. in the <i>Ocios</i> p. 261), in which Rebolledo gives a detailed -account of his residence in Copenhagen, is deserving of particular -attention.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_524" href="#FNanchor_524" class="label">524</a> -The three following afford fair specimens of his talent in -this species of composition:—</p> - -<p class="caption">I.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Dichoso quien te mira<br /></span> -<span class="i2">y mas dichoso quien por tì suspira,<br /></span> -<span class="i2">y en extremo dichoso,<br /></span> -<span class="i2">quien un suspiro te debió amoroso.<br /></span> -</div></div> - -<p class="caption">II.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Lisi, yo te vì en sueños tan piadosa,<br /></span> -<span class="i2">como despierta el alma le desea,<br /></span> -<span class="i2">pero menos hermosa.<br /></span> -<span class="i2">Quién habrá que tal crea?<br /></span> -<span class="i2">dos imposibles me fingió la idéa,<br /></span> -<span class="i2">y con ser su ilusion tan engañosa<br /></span> -<span class="i2">la temo misteriosa,<br /></span> -<span class="i2">y que inmortal en mì el tormento sea,<br /></span> -<span class="i2">si no has de ser piadosa hasta ser fea.<br /></span> -</div></div> - -<p class="caption">III.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Lisis, este diamante<br /></span> -<span class="i2">de mi firmeza simbolo brillante<br /></span> -<span class="i2">en que quiso incluir naturaleza<br /></span> -<span class="i2">un rayo de la luz de tu belleza,<br /></span> -<span class="i2">bien constante, y helado,<br /></span> -<span class="i2">a nuestros corazones retratado,<br /></span> -<span class="i2">mas puede la experiencia persuadirme,<br /></span> -<span class="i2">que es el tuyo mas duro, el mio mas firme.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_525" href="#FNanchor_525" class="label">525</a> -See vol. 2. of the <i>Obras</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_526" href="#FNanchor_526" class="label">526</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Los Estados, de aquel vinculo libres,<br /></span> -<span class="i0">eligieron concordes a Christiano,<br /></span> -<span class="i0">hijo de Teodorico<br /></span> -<span class="i0">de Oldemburg y Delmenhorste Conde<br /></span> -<span class="i0">(progenio del famoso Witekindo,<br /></span> -<span class="i0">sucesor de los Reyes de Saxonia,<br /></span> -<span class="i0">con titulo de Duque)<br /></span> -<span class="i0">casó con Dorotéa,<br /></span> -<span class="i0">viuda de Christoval,<br /></span> -<span class="i0">y coronóse luego en Copenhaguen.<br /></span> -<span class="i0">En tanto los Suecos eligieron<br /></span> -<span class="i0">a Carlos, y tuvieron<br /></span> -<span class="i0">los dos dudosa guerra;<br /></span> -<span class="i0">pero siendo vencido y desterrado,<br /></span> -<span class="i0">y Christiano en Suecia coronado,<br /></span> -<span class="i0">llevó a Dania el tesoro de aquel Reyno:<br /></span> -<span class="i0">a que añadió la herencia<br /></span> -<span class="i0">de Sleswic y de Holsacia,<br /></span> -<span class="i0">por la muerte de Adolfo,<br /></span> -<span class="i0">su director y tio.<br /></span> -<span class="i20"><i>Selvas Danicas</i> 1. cap. ii.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_527" href="#FNanchor_527" class="label">527</a> -The commencement, for instance:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">La selva mas pomposa,<br /></span> -<span class="i0">que a su deidad consagra Dinamarca,<br /></span> -<span class="i0">tiene por centro un christalino lago,<br /></span> -<span class="i0">que de un ameno isleo,<br /></span> -<span class="i0">que visten flores y coronan plantas,<br /></span> -<span class="i0">es fragrante y lucida competencia,<br /></span> -<span class="i0">es hundosa tambien circumferencia:<br /></span> -<span class="i0">y él a las bellas Ninfas,<br /></span> -<span class="i0">de la deidad al culto dedicadas,<br /></span> -<span class="i0">apacible teatro,<br /></span> -<span class="i0">donde lazos y redes<br /></span> -<span class="i0">suelen tender en las estivas calmas,<br /></span> -<span class="i0">a los peces, las fieras y las almas.<br /></span> -<span class="i0">Aqui yo fatigado<br /></span> -<span class="i0">de un infinito número de penas,<br /></span> -<span class="i0">de procelosas iras agitado,<br /></span> -<span class="i0">del destino arrastrando las cadenas,<br /></span> -<span class="i0">cierto de sus injurias,<br /></span> -<span class="i0">y del progreso de mi vida incierto,<br /></span> -<span class="i0">no esperado tomé traquilo puerto;<br /></span> -<span class="i0">y entre sus verdes y floridas greñas<br /></span> -<span class="i0">de la deidad reverencié las señas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_528" href="#FNanchor_528" class="label">528</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Hasta el cordon vestido de ladrillo<br /></span> -<span class="i0">de tierra solo el parapeto aprueba,<br /></span> -<span class="i0">a quantos en su fábrica molestan<br /></span> -<span class="i0">pagan con lo que duran lo que cuestan:<br /></span> -<span class="i0">la linea de defensa<br /></span> -<span class="i0">al tiro de mosquete no aventage,<br /></span> -<span class="i0">ni excedan de noventa,<br /></span> -<span class="i0">ni tengan menos de sesenta grados<br /></span> -<span class="i0">los ángulos franqueados;<br /></span> -<span class="i0">capaces los traveses,<br /></span> -<span class="i0">y las golas no estrechas,<br /></span> -<span class="i0">entre sí guarden proporciones tales,<br /></span> -<span class="i0">que por perfecionar algunas cosas<br /></span> -<span class="i0">no queden las demás defectuosas.<br /></span> -<span class="i10"><i>Selva militar y polit. Distincion</i>,<br /></span> -<span class="i20">(that is to say, <i>Section</i>,) vi. § 2.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_529" href="#FNanchor_529" class="label">529</a> -For example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">La antigüedad llamó advertidamiente<br /></span> -<span class="i0">los consejeros ojos,<br /></span> -<span class="i0">son del cuerpo politico y humano<br /></span> -<span class="i0">adalides forzosos,<br /></span> -<span class="i0">que han de haber visto mucho,<br /></span> -<span class="i0">verlo de lejos y de cerca todo,<br /></span> -<span class="i0">y recibir especies diferentes,<br /></span> -<span class="i0">y por los nervios opticos<br /></span> -<span class="i0">comunicarlas al comun sentido,<br /></span> -<span class="i0">representando fieles los obgetos,<br /></span> -<span class="i0">sin ocultar virtudes ni defetos;<br /></span> -<span class="i0">el Reyno que no admite compañia<br /></span> -<span class="i0">anda a ciegas sin ellos,<br /></span> -<span class="i0">la prudencia Real está librada<br /></span> -<span class="i0">en saber escogellos,<br /></span> -<span class="i0">y a cuidadoso examen obligada.<br /></span> -<span class="i10">1. c. <i>Distincion</i> xxiii. § 2.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_530" href="#FNanchor_530" class="label">530</a> -The Duke of Veragua’s letter, together with Calderon’s -answer, and the catalogue to which the correspondence bears reference, -are printed in La Huerta’s <i>Teatro Hespañol</i>, vol. iii. -part ii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_531" href="#FNanchor_531" class="label">531</a> -Satisfactory accounts of the various collections and editions -of the dramas, and other less important works of Calderon, are -contained in Dieze’s Remarks on Velasquez, p. 242 and p. 341. -The dramas of Calderon, which La Huerta has published in his -<i>Teatro Hespañol</i>, afford but a partial idea of the poet’s talent; for -those he has selected are all <i>Comedias de Capa y Espada</i>, two only -excepted; and of these two, one, which is styled a <i>Comedia heroyca</i>, -belongs to the mythological class.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_532" href="#FNanchor_532" class="label">532</a> -See the definition of the various classes of the Spanish -comedy, p. 364, 5, 6, 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_533" href="#FNanchor_533" class="label">533</a> -According to the testimony of travellers, even the most -unlettered Spaniard is so accustomed to follow without effort a -complicated dramatic plot, that after witnessing the representation -of a piece, he will describe all the minute details of the romantic -story, while a well informed foreigner, familiar with the Spanish -language, can with difficulty comprehend a few of the scenes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_534" href="#FNanchor_534" class="label">534</a> -A very superficial criticism on Calderon’s dramatic works, -written by Blas Nasarre, who was prepossessed in favour of French -literature, is contained in the History of Spanish Poetry, by Velasquez. -See Dieze’s edition, p. 341.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_535" href="#FNanchor_535" class="label">535</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Ines.</i> <span style="padding-left: 3.5em">Qué ayrosa te has levantado?</span><br /></span> -<span class="i12">Esta vez sola, señora,<br /></span> -<span class="i12">no hiciera falta la aurora,<br /></span> -<span class="i12">quando en su cristal nevado<br /></span> -<span class="i12">dormida hubiera quedado;<br /></span> -<span class="i12">pues tu luz correr pudiera<br /></span> -<span class="i12">la cortina lisonjera<br /></span> -<span class="i12">al sol, siendo sumillér<br /></span> -<span class="i12">de uno y otro rosiclér,<br /></span> -<span class="i12">deydad de una y otra esfera.<br /></span> -<span class="i12">Bien <i>el concepto Hespañol</i><br /></span> -<span class="i12"><i>dixera</i>, viendote ahora....<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Ana.</i> <span style="padding-left: 2em">Qué?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ines.</i> <span style="padding-left: 8em">Que en tus ojos, señora,</span><br /></span> -<span class="i12">madrugaba el claro sol:<br /></span> -<span class="i12">dixera, al ver tu arreból<br /></span> -<span class="i12">quien à tu rigor se ofrece,<br /></span> -<span class="i12">quien sus desdenas padece,<br /></span> -<span class="i12">Don Luis....<br /></span> -<span class="i12"><span style="padding-left: 3.5em"><i>Bien vengas Mal si vengas Solo. Jorn.</i> i.</span><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_536" href="#FNanchor_536" class="label">536</a> -For example, in a tender conversation which occurs in the -comedy, entitled, “A House with two Doors is ill to Watch.”</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Lisardo.</i> <span style="padding-left: 2em">Dificilmente pudiera</span><br /></span> -<span class="i12">conseguir, señora, el Sol,<br /></span> -<span class="i12">que la flor de girasol<br /></span> -<span class="i12">su resplandor seguiera.<br /></span> -<span class="i12">Dificilmente quisiera<br /></span> -<span class="i12">el Norte, fixa luz clara,<br /></span> -<span class="i12">que el Imán no le mirára;<br /></span> -<span class="i12">y el Imán deficilmente<br /></span> -<span class="i12">intentára, que obediente<br /></span> -<span class="i12">el acero le dexára.<br /></span> -<span class="i12">Si Sol es vuestro explendor,<br /></span> -<span class="i12">girasol la dicha mia:<br /></span> -<span class="i12">si Norte vuestra porfia,<br /></span> -<span class="i12">piedra Imán es mi dolor:<br /></span> -<span class="i12">si es Imán vuestro rigor,<br /></span> -<span class="i12">acero mi ardor severo;<br /></span> -<span class="i12">pues cómo quedarme espero;<br /></span> -<span class="i12">quando veo, que se ván,<br /></span> -<span class="i12">mi Sol, mi Norte, y mi Imán,<br /></span> -<span class="i12">siendo flor, piedra y acero?<br /></span> -<span class="i12"><span style="padding-left: 8em"><i>Casa con dos Puertas, mala</i></span><br /></span> -<span class="i12"><span style="padding-left: 9em"><i>es de Guardar. Jorn.</i> i.</span><br /></span> -</div></div> - -<p>The lady replies to this compliment in a similar strain.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_537" href="#FNanchor_537" class="label">537</a> -In the <i>Casa con dos Puertas, &c.</i> the valet thus jokes with -the lady’s maid, who is on the stage with her mistress, but both -veiled:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Calabazas.</i> <span style="padding-left: 1em">Mui malditísimas caras</span><br /></span> -<span class="i13">debeis de tener las dos.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Silvia.</i> <span style="padding-left: 3em">Mucho mejores, que vos.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Calabaz.</i> <span style="padding-left: 2em">Y està bien encarecido;</span><br /></span> -<span class="i13">porque yo soy un <i>Cupido</i>.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Silvia.</i> <span style="padding-left: 3em"><i>Cupido</i> somos yo y tú.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Calabaz.</i> <span style="padding-left: 2em">Cómo?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Silvia.</i> <span style="padding-left: 6em">Yo el <i>pido</i>, y tù el <i>cu</i>.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Calabaz.</i> <span style="padding-left: 2em">No me estâ bien el partido.</span><br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_538" href="#FNanchor_538" class="label">538</a> -An incident of this occurs in the first scene of the piece, entitled, -<i>Dar Tiempo al Tiempo</i>, (Give Time to Time).</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Voz.</i> <span style="padding-left: 2.5em">Agua va!</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Chacon.</i> <span style="padding-left: 5em">Mientas, picaña;</span><br /></span> -<span class="i10">que esto no es agua.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Juan.</i> <span style="padding-left: 8em">Que ha sido?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Chacon.</i> <span style="padding-left: 1em">Que ha de ser, pese oi mi alma;</span><br /></span> -<span class="i10">cosas de Madrid precisas,<br /></span> -<span class="i10">que antes fueron necessarias.<br /></span> -<span class="i10">Vive Christo....<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Juan.</i> <span style="padding-left: 8em">No des voces.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Chacon.</i> <span style="padding-left: 1em">Cómo no! Puerca, berganta,</span><br /></span> -<span class="i10">si eres hombre, sal aqui.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Juan.</i> <span style="padding-left: .5em">No el barrio alborotes: calla.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Chacon.</i> <span style="padding-left: 1em">Calle un limpio.</span><br /></span> -</div><div class="stanza"> -<span style="padding-left: 8em"><i>Dar Tiempo al Tiempo. Jorn.</i> i.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_539" href="#FNanchor_539" class="label">539</a> -These stories are sometimes related in the most elegant -octaves; for example, in the play, entitled, <i>Con quien Vengo, Vengo</i>, -(I Come with whom I Come), there is one which commences in the -following way:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Yo vì en Milan una mujer tan bella.<br /></span> -<span class="i0">No digo bien mujer. Yo vì una Diosa,<br /></span> -<span class="i0">en los cielos de Abril fragante estrella,<br /></span> -<span class="i0">en los campos del sol luciente rosa<br /></span> -<span class="i0">tan entendida, tan sagaz, que en ella,<br /></span> -<span class="i0">como demas estaba, el ser hermosa,<br /></span> -<span class="i0">que parece formó naturaleza<br /></span> -<span class="i4">Tal fue, que habiendo, á mi desvelo dado<br /></span> -<span class="i0">mas de alguna ocasion, y habiendo sido<br /></span> -<span class="i0">agradecido iman de mi cuidado<br /></span> -<span class="i0">y no ingrata prision de mi sentido:<br /></span> -<span class="i0">habiendo pues á mi temor librado<br /></span> -<span class="i0">necios favores, que borró el olbido,<br /></span> -<span class="i0">con nueva voluntad, con nuevo empeño,<br /></span> -<span class="i0">mudable me dexó por otro dueño.<br /></span> -<span class="i20"><i>Con quien Vengo, Vengo. Jorn.</i> ii.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_540" href="#FNanchor_540" class="label">540</a> -For example, in the play, entitled, <i>Bien vengas Mal, si -vengas Solo</i>, (Misfortune comes Well, if it comes Alone), a lady -resolutely refuses to betray a secret, which her lover endeavours to -extort from her.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>D. Diego.</i> <span style="padding-left: 1em">Mujer eres: poco importa,</span><br /></span> -<span class="i12">que descubras un secreto.<br /></span> -<span class="i12">No aspires, Doña Ana, à ser<br /></span> -<span class="i12">el prodigio de estos tiempos.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Ana.</i> <span style="padding-left: 2em">Quien fue prodigio de amor,</span><br /></span> -<span class="i12">sabrá, serlo del silencio.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Diego.</i> <span style="padding-left: 1em">No quiere, la que à su amante</span><br /></span> -<span class="i12">no descubre todo el pecho.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Ana.</i> <span style="padding-left: 2em">No es noble, quien le descubre,</span><br /></span> -<span class="i12">quando vá una vida en ello.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Diego.</i> <span style="padding-left: 1em">En fin no lo has de decir?</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Ana.</i> <span style="padding-left: 2em">No.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Diego.</i> <span style="padding-left: 1em">Pues en nada te creo.</span><br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Ana.</i> <span style="padding-left: 2em">Valgate Dios por retrato,</span><br /></span> -<span class="i12">en qué confusion me has puesto.<br /></span> -<span class="i20"><i>Bien vengas Mal, si vengas Solo. Jorn.</i> i.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_541" href="#FNanchor_541" class="label">541</a> -In <i>Los Empeños de un Acaso</i>, (the Consequences of an -Accident), a lover resolves, for his mistress’s sake, to assist his -rival in a case of difficulty:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Qué noble, honrado y valiente,<br /></span> -<span class="i4">viendo humilde á su enemigo,<br /></span> -<span class="i4">no le ampara y favorece?<br /></span> -<span class="i4">No solo pues la licencia<br /></span> -<span class="i4">que me pide, le concede<br /></span> -<span class="i4">mi valor; mas la palabra,<br /></span> -<span class="i4">de ayudarle, y de valerle,<br /></span> -<span class="i4">hasta que á su dama libre.<br /></span> -<span class="i4">El caso, Don Diego, es este.<br /></span> -<span class="i4">Mirad, como faltar puedo<br /></span> -<span class="i4">á su amparo, quando tiene<br /></span> -<span class="i4">privelegios de enemigo,<br /></span> -<span class="i4">y de amigo en mì Don Felix?<br /></span> -<span class="i20"><i>Los Empeños de un Acaso. Jorn.</i> iii.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_542" href="#FNanchor_542" class="label">542</a> -Thus, a father points out the levity of another lady, as an -example for his daughter to avoid:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ya ves, hija, lo que pasa,<br /></span> -<span class="i4">á quien dá necios oidos<br /></span> -<span class="i4">á pensamientos perdidos.<br /></span> -<span class="i4">Mira fuera de su casa<br /></span> -<span class="i4">una mujer, que ha venido<br /></span> -<span class="i4">buscandonos por sagrado.<br /></span> -<span class="i4">Mira un amante empeñado,<br /></span> -<span class="i4">mira un hermano ofendido,<br /></span> -<span class="i4">y mirala à ella en efecto<br /></span> -<span class="i4">á riesgo, por un error,<br /></span> -<span class="i4">de perder vida y honor.<br /></span> -<span class="i20"><i>Dar Tiempo al Tiempo. Jorn.</i> i.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_543" href="#FNanchor_543" class="label">543</a> -The piece, entitled, <i>Tambien hay duelo en las Damas</i>, (Ladies -also have their Troubles), terminates in the following manner:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Con cuyo raro suceso,<br /></span> -<span class="i0">sacando la moraleja,<br /></span> -<span class="i0">quede al mundo por exemplo,<br /></span> -<span class="i0">que hubo una vez en el mundo<br /></span> -<span class="i0">mujer, amor y secreto,<br /></span> -<span class="i0"><i>porque hubo duelo en las damas</i>.<br /></span> -<span class="i0">Perdonad sus muchos yerros.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_544" href="#FNanchor_544" class="label">544</a> -For example, the double soliloquies, which run in concert, -and of which the following is a specimen:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>D. Diego.</i> Habrá hombre mas infeliz!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Pedro.</i> Habrá hombre mas desdichado!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Diego.</i> Qué no haya una ingrata hallado!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Pedro.</i> Que no haya hallado à Beatriz!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Diego.</i> Sin duda que la siguió,<br /></span> -<span class="i10">el que su vida guardaba.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>D. Pedro.</i> Sin duda en la calla estaba,<br /></span> -<span class="i10">él que á su rexa llamó.<br /></span> -<span class="i20"><i>Dar Tiempo al Tiempo. Jorn.</i> ii.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_545" href="#FNanchor_545" class="label">545</a> -The Spanish title which Calderon has given to this comedy, -is, <i>Darlo todo, y no dar Nada</i>, (To give all, and give Nothing).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_546" href="#FNanchor_546" class="label">546</a> -Called by Calderon, <i>Las Armas de la Hermosura</i>, (The Arms -of Beauty.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_547" href="#FNanchor_547" class="label">547</a> -The effect cannot be conceived without the necessary connection; -but the words spoken by the ghost of the prince, when -about to head the army, may be quoted here:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Alf.</i> <span style="padding-left: 1em">Pues a embestir Enrique, que no hay duda</span><br /></span> -<span class="i6">que el cielo nos ayuda. <i>F.</i> Si os ayuda<br /></span> -<span class="i18"><i>Sale Don Fernando.</i><br /></span> -<span class="i6">porque obligando al cielo,<br /></span> -<span class="i6">que vió tu Fe, tu Religion, tu zelo,<br /></span> -<span class="i6">oy tu causa defiende,<br /></span> -<span class="i6">librarme a mi esclavitud pretende,<br /></span> -<span class="i6">porque por raro exemplo<br /></span> -<span class="i6">por tantos Templos, Dios me ofrece un Templo,<br /></span> -<span class="i6">antorcha desafida del Oriente,<br /></span> -<span class="i6">tu exercito arrogante<br /></span> -<span class="i6">alumbrando he de ir siempre delante;<br /></span> -<span class="i6">para que oy en trofeos,<br /></span> -<span class="i6">iguales, gran Alfonso, en tu deseos,<br /></span> -<span class="i6">llegues a Fez, no a coronarte agora<br /></span> -<span class="i6">sino a librar mi Ocaso en el Aurora.<br /></span> -<span class="author"><i>Jornada</i> iii.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_548" href="#FNanchor_548" class="label">548</a> -Comparisons of heaven with the earth, and of water with -the earth, through the idea of a flower, were dwelt on with a particular -fondness by other Spanish poets of Calderon’s age. The -following is a conversation between the Moorish Princess Phœnix, -(Fenix was formerly a name for women in Spain), and her female -slaves in a garden on the sea shore:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Zar.</i> <span style="padding-left: 1.5em">Pues puedente divertir</span><br /></span> -<span class="i8">tu tristeza estos jardines,<br /></span> -<span class="i8">qual la primavera hermosa<br /></span> -<span class="i8">labra en estatuas de rosa<br /></span> -<span class="i8">sobre temples de jazmines,<br /></span> -<span class="i8">hazle al már, un barco sea<br /></span> -<span class="i8">dorado carro del Sol.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ros.</i> <span style="padding-left: 1.5em">Y quando tanto arrebol</span><br /></span> -<span class="i8">errar por sus ondas vea,<br /></span> -<span class="i8">con grande melancolia<br /></span> -<span class="i8">el jardin al már dirà:<br /></span> -<span class="i8">ya el Sol en su centro està,<br /></span> -<span class="i8">muy breve ha sido este dia.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Fen.</i> <span style="padding-left: 1.5em">Pues no me puedo alegrar,</span><br /></span> -<span class="i8">formando sombras y lexos<br /></span> -<span class="i8">la emulacion que en reflexos<br /></span> -<span class="i8">tienen la tierra, y el már,<br /></span> -<span class="i8">quando con grandezas sumas<br /></span> -<span class="i8">compiten entre esplandores<br /></span> -<span class="i8">las espumas a las flores,<br /></span> -<span class="i8">las flores a las espumas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_549" href="#FNanchor_549" class="label">549</a> -With all their faults these two sonnets are so beautiful and so -perfectly in Calderon’s style, that they may properly be included in -the collection of examples quoted here.—Prince Fernando brings -flowers to the Princess Phœnix. After all sorts of handsome things -have been uttered, Fernando says:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Estas que fueron pompa, y alegria,<br /></span> -<span class="i4">despertando al Albor de la mañana,<br /></span> -<span class="i4">a la tarde seràn lastima vana,<br /></span> -<span class="i4">durmiendo en braços de la noche fria.<br /></span> -<span class="i0">Este matiz, que al cielo desafia,<br /></span> -<span class="i4">Iris listado de oro, nieve y grana,<br /></span> -<span class="i4">serà escarmiento de la vida humana,<br /></span> -<span class="i4">tanto se emprende en termino de un dia.<br /></span> -<span class="i0">A florecer las rosas madrugaron,<br /></span> -<span class="i4">y para envejecerse florecieron,<br /></span> -<span class="i4">cuna, y sepulcro en un boton hallaron.<br /></span> -<span class="i0">Tales los hombres sus fortunas vieron,<br /></span> -<span class="i4">en un dia nacieron, y espiraron,<br /></span> -<span class="i4">que passados los siglos horas fueron.<br /></span> -</div></div> -</div> - -<p>To this Phœnix replies in a strain somewhat over poetic even -for a Moorish Princess:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Fen.</i> Essos rasgos de luz, essas centellas,<br /></span> -<span class="i12">que cobran con amagos superiores<br /></span> -<span class="i12">alimentos del Sol en resplandores,<br /></span> -<span class="i12">aquello viven que se duelen dellas.<br /></span> -<span class="i8">Flores nocturnas son, aunque tan bellas,<br /></span> -<span class="i12">efimeras padecen sus ardores;<br /></span> -<span class="i12">pues si un dia es el siglo de las flores,<br /></span> -<span class="i12">una noche es la edad de las estrellas.<br /></span> -<span class="i8">De essa pues Primavera fugitiva,<br /></span> -<span class="i12">ya nuestro mal, ya nuestro bien se infiere,<br /></span> -<span class="i12">registro es nuestro, ò muera el Sol, ò viva.<br /></span> -<span class="i8">Que duracion avrá que el hombre espere,<br /></span> -<span class="i12">ò que mudança avrá que no reciba<br /></span> -<span class="i12">de Astro, que cada noche nace, y muere?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_550" href="#FNanchor_550" class="label">550</a></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Fer.</i> <span style="padding-left: 1.5em">Valiente Moro, y galan,</span><br /></span> -<span class="i8">si adoras como refieres,<br /></span> -<span class="i8">si idolatras como dizes,<br /></span> -<span class="i8">si amas como encareces,<br /></span> -<span class="i8">si zelas como suspiras,<br /></span> -<span class="i8">si como rezelas temes,<br /></span> -<span class="i8">y si como sientes amas,<br /></span> -<span class="i8">dichosamente padeces,<br /></span> -<span class="i8">no quiero por tu rescate<br /></span> -<span class="i8">más precio, de que le acetes.<br /></span> -<span class="i8">Buelvete, y dile a tu dama,<br /></span> -<span class="i8">que por su esclavo te ofrece<br /></span> -<span class="i8">un Portugues Cavallero,<br /></span> -<span class="i8">i si obligada pretendo<br /></span> -<span class="i8">pagarme el precio por ti;<br /></span> -<span class="i8">yo de doy lo que me deves,<br /></span> -<span class="i8">cobra la deuda en amor,<br /></span> -<span class="i8">y logra tus interesses.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_551" href="#FNanchor_551" class="label">551</a> -The list is given in the appendix to his <i>Theatro Hespañol</i>, -under the title:—<i>Catalogo Alphabetico de las Comedias Tragedias</i>, -&c. Madrid, 1785.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_552" href="#FNanchor_552" class="label">552</a> -The <i>Alcazar del Secreto</i>, and the <i>Gitanilla de Madrid</i>, -and several other pieces of merit, by Antonio de Solis, may be found -in La Huerta’s <i>Theatro Hespañol</i>. Accounts of the editions of the -dramas and other works of this ingenious writer, are given by Dieze -in his edition of Velasquez.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_553" href="#FNanchor_553" class="label">553</a> -This piece is printed with several others by Moreto, in the -<i>Theatro Hespañol</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_554" href="#FNanchor_554" class="label">554</a> -It belongs to the class of <i>comedias de figuron</i>. (See p. -367.) La Huerta places this comedy at the commencement of his -<i>Theatro Hespañol</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_555" href="#FNanchor_555" class="label">555</a> -Blankenburg, in his literary appendix to Sulzer’s Dictionary, -expresses a doubt whether there ever was a particular collection of -the comedies of Maestro Tirso de Molina. I can at least state that I -have seen a fifth volume of his comedies, (Madrid, 1636, in quarto), -which contains eleven dramas, chiefly historical and spiritual.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_556" href="#FNanchor_556" class="label">556</a> -This is the only drama by Rojas given in La Huerta’s -Theatre; and in the older collections the works of Rojas seldom -appear.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_557" href="#FNanchor_557" class="label">557</a> -Many of his dramas may be found in various collections. -They are included along with his other poems in the <i>Cithara de -Apolo by D. Agust. de Salazar y Torres, Madrid</i>, 1692, in two -volumes, published by one of the author’s friends, who on his part -was a perfect Gongorist, as the title of the collection sufficiently -proves.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_558" href="#FNanchor_558" class="label">558</a> -Nicolas Antonio, a very incompetent judge in matters of taste, -lauds Antonio de Mescua to the skies. But he is seldom mentioned -by other authors.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_559" href="#FNanchor_559" class="label">559</a> -A historical comedy by Guillen de Castro, entitled, <i>Las -Mocedades del Cid</i>, furnished Corneille with the idea of his tragedy -of the Cid.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_560" href="#FNanchor_560" class="label">560</a> -An elegant edition of the <i>Historia de la Conquista de -Mexico, por D. Antonio de Solis</i>, in 2 vols. quarto, was published -at Madrid in 1776.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_561" href="#FNanchor_561" class="label">561</a> -The following are the historiographic rules of Antonio de -Solis, in his own words:—</p> - -<p><i>Los Adornos de la Eloquencia son accidentes en la Historia</i>, -cuya substancia <i>es la Verdad</i>, que <i>dicha como fue, se dize bien</i>: -siendo la puntualidad de la noticia la mejor elegancia de la -Narracion. Con este conocimiento he puesto en la certidumbre de -lo que refiero, mi principal cuydado. Examen, que algunas vezes -me bolviò à la tarea de los Libros, y Papeles: porque hallando en -los Sucessos, ò en sus circunstancias, discordantes, con notable -oposicion, à nuestros mismos Escritores, me ha sido necessario -buscar la Verdad con poca luz, ò congeturarla de lo mas verisimil; -pero digo entonces mi reparo: y si llego á formar opinion, conozco -la flaqueza de mi dictamen, y dexo, lo que afirmo, al arbitrio de la -razon.—<i>Prologo.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_562" href="#FNanchor_562" class="label">562</a> -They are all collected under the title of <i>Obras de Lorenzo -Gracian, &c. Amberes</i>, 1725, in 2 vols. quarto.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_563" href="#FNanchor_563" class="label">563</a> -Of this the following fragment of a conversation between -Fortune and a dissatisfied person, affords a specimen:—</p> - -<p>Tampoco será el llamarte hijo de tu madre. Menos, antes me -glorio yo de esso, que ni yo sin ella, ni ella sin mi: ni Venus sin -Cupido, ni Cupido sin Venus. Ya se lo que es, dixo la Fortuna. -Que? Que sientes mucho el hazerte heredero de tu abuelo el mar, -en la inconstancia, y engaños? No por cierto, que essas son niñerias; -pues si estas son burlas, que seràn las veras? Lo que à mi me irrita, -es, que me levanten testimonies. Aguarda, que ya te entiendo, sin -duda es aquello que dizen, que trocaste el arco con la muerte, y que -desde entonces no te llaman ya amor de amar, sino de morir, amor -á muerte; de modo, que amor, y muerte todo es uno. <i>Crisi</i> iv.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_564" href="#FNanchor_564" class="label">564</a> -He reduces all mental talents and faculties to two kinds, <i>Genio</i> -and <i>Ingenio</i>. But the distinctions he draws between them, are as difficult -to translate as the different applications of the French word -<i>Esprit</i>. On this subject he says, among other things:—</p> - -<p>Estos dos son <i>los dos Exes del lucimiento discreto</i>, la naturaleza -los alterna, y el arte los realça. Es el hombre aquel celebre -Microcosmos, y el Alma su firmamento. Hermanados el Genio, y -el Ingenio, en verificacion de Athlante, y de Alcides; asseguran el -brillar, por lo dichoso, y lo lucido, á todo el resto de prendas.</p> - -<p>El uno sin el otro, fue en muchos felicidad à medias, acusando -la embidia, ò el descuido de la suerte.</p> - -<p class="author"> -<i>El discreto, Opp.</i> T. i. p. 389.</p> -</div> - -<div class="footnote"> - -<p><a id="Footnote_565" href="#FNanchor_565" class="label">565</a> -For example, in the treatise last quoted, he says:—</p> - -<p>Ay hombres tan desiguales en las materias, tan diferentes de si -mismos en las ocasiones, que desmienten su propio credito, y deslumbran -nuestro concepto; en unos puntos discurren, que buelan, en -otros, ni perciben, ni se mueven. Oy todo les sale bien, mañana -todo mal, que aun el entendimiento, y la ventura tienen desiguales. -Donde no ay disculpa, es en la voluntad, que es crimen del alvedrio, -y su variar no està lexos del desvariar. Lo que oy ponen sobre su -cabeça, mañana lo llevan entre pies, por no tener pies, ni cabeça.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_566" href="#FNanchor_566" class="label">566</a> -The Spanish title of this work is, <i>Agudeza y Arte de -Ingenio</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_567" href="#FNanchor_567" class="label">567</a> -Si el percibir la agudeza acredita de Aguila, el produzirla -empeñara en Angel: empleo de Cherubines y elevacion de hombres, -que nos remonta à extravagante Gerarquia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_568" href="#FNanchor_568" class="label">568</a> -Es este ser uno de aquellos, que son mas conocidos à bulto -y menos à precision: dexase percibir, no definir, y en tan remoto -assunto estimese qualquiera descripcion, lo que es para los ojos la -hermosura, y para los oidos la consonancia, esso es para el entendimiento -el concepto.</p> - -<p class="author"> -<i>Agudeza y Arte de Ingenio. Discurso</i> ii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_569" href="#FNanchor_569" class="label">569</a> -These letters are contained in the collection of Mayans y -Siscar.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_570" href="#FNanchor_570" class="label">570</a> -The <i>Real Academia Española</i>, founded on the plan of the -<i>Académie Française</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_571" href="#FNanchor_571" class="label">571</a> -It is singular that over all Europe, the Portuguese phrase, <i>Auto -da Fe</i>, has become current in preference to the Spanish <i>Auto de Fe</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_572" href="#FNanchor_572" class="label">572</a> -La Huerta includes this play among the four <i>Comedias -Heroycas</i> of his <i>Theatro Hespañol</i>, probably for the sake of its -elegant language; for in other respects it would not have been -difficult to have selected a better drama in the class to which it -belongs.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_573" href="#FNanchor_573" class="label">573</a> -This comedy, which may be found in many collections, is also -included in La Huerta’s <i>Theatro Hespañol</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_574" href="#FNanchor_574" class="label">574</a> -This piece is also contained in the <i>Theatro Hespañol</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_575" href="#FNanchor_575" class="label">575</a> -For example, the word <i>Madamisela</i> from the French <i>Mademoiselle</i>. -In like manner Cervantes introduced the word <i>Madama</i>, -but it is employed only in a comic sense.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_576" href="#FNanchor_576" class="label">576</a> -I have seen the third edition of the poetic writings of this -lady. The following is the title:—<i>Poemas de la unica poetisa -Americana, Musa decima, Soror Juana Inez de la Cruz, &c. -Sacolas a luz D. Juan Camacho Gayna, Cavallero del orden de -Santiago, &c. Barcelona</i> 1691, in quarto.—It certainly would not -be fair to pass by unnoticed a book of this kind which went through -three editions.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_577" href="#FNanchor_577" class="label">577</a> -The following is one of three sonnets, in which the authoress -rings changes on the theme, “whether it is better to be -beloved without loving, or to love without being beloved.”</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Feliciano me adora, y le aborrezco;<br /></span> -<span class="i4">Lisardo me aborrece, y le adoro;<br /></span> -<span class="i4">por quien no me apetece ingrato, lloro;<br /></span> -<span class="i4">y al que me llora tierno, no apetezco:<br /></span> -<span class="i0">A quien mas me desdora, el alma ofrezco,<br /></span> -<span class="i4">à quien me ofrece victimas, desdoro;<br /></span> -<span class="i4">desprecio al que enrriqueze mi decoro;<br /></span> -<span class="i4">y al que le haze desprecios, enrriquezco:<br /></span> -<span class="i0">Si con mi ofensa al uno reconvengo,<br /></span> -<span class="i4">me reconviene el otro à mi ofendido<br /></span> -<span class="i4">y à padecer de todos modos vengo;<br /></span> -<span class="i0">Pues ambos atormentan mi sentido;<br /></span> -<span class="i4">aqueste con pedir lo que no tengo,<br /></span> -<span class="i4">y aqueste con no tener lo que le pido.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_578" href="#FNanchor_578" class="label">578</a> -For example, the following, in which, however, the play of the -Antitheses becomes at last frigid.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">En persiguirme, Mundo, que interessas?<br /></span> -<span class="i4">en que te ofendo? quando solo intento<br /></span> -<span class="i4">poner bellezas en mi entendimiento,<br /></span> -<span class="i4">y no mi entendimiento en las bellezas?<br /></span> -<span class="i0">Yo no estimo thesoros, ni riquezas;<br /></span> -<span class="i4">y assi, siempre me causa mas contento,<br /></span> -<span class="i4">poner riquezas en mi entendimiento;<br /></span> -<span class="i4">que no mi entendimiento en las riquezas.<br /></span> -<span class="i0">Y no estimo hermosura, que vencida,<br /></span> -<span class="i4">es despojo civil de las Edades;<br /></span> -<span class="i4">ni riqueza me agrada fementida:<br /></span> -<span class="i0">Teniendo por mejor en mis Verdades,<br /></span> -<span class="i4">consumir vanidades de la Vida,<br /></span> -<span class="i4">que consumir la Vida en vanidades.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_579" href="#FNanchor_579" class="label">579</a> -One of these lyric romances begins in the following manner:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Finjamos, que soy feliz,<br /></span> -<span class="i4">triste pensamiento, un rato;<br /></span> -<span class="i4">quizà podreis persuadirme,<br /></span> -<span class="i4">aunque yo sè lo contrario.<br /></span> -<span class="i0">Que, pues solo en la aprehension<br /></span> -<span class="i4">dizen, que estrivan los daños;<br /></span> -<span class="i4">si os imaginais dichoso,<br /></span> -<span class="i4">no sereis tan desdichado.<br /></span> -<span class="i0">Sirvame el entendimiento<br /></span> -<span class="i4">alguna vez de descanso;<br /></span> -<span class="i4">y no siempre estè el ingenio<br /></span> -<span class="i4">con el provecho encontrado.<br /></span> -<span class="i0">Todo el mundo es opiniones,<br /></span> -<span class="i4">de pareceres tan varios;<br /></span> -<span class="i4">que lo que el uno, que es negro,<br /></span> -<span class="i4">el otro prueba, que es blanco.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_580" href="#FNanchor_580" class="label">580</a> -It commences thus:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Nar.</i> De buscar à Narciso fatigada,<br /></span> -<span class="i2">sin permitir sossiego à mi pie errante,<br /></span> -<span class="i2">ni à mi planta cansada,<br /></span> -<span class="i2">que tantos ha yá dias, que vagante<br /></span> -<span class="i2">examina las breñas<br /></span> -<span class="i2">sin poder encontrar mas que las señas:<br /></span> -<span class="i6">A este Bosque he llegado, donde espero<br /></span> -<span class="i2">tener noticias de mi Bien perdido,<br /></span> -<span class="i2">que si señas confiero,<br /></span> -<span class="i2">diziendo està del Prado lo florido,<br /></span> -<span class="i2">que producir amenidàdes tantas,<br /></span> -<span class="i2">es por aver besado yà sus Plantas.<br /></span> -<span class="i6">O quantos dias ha, que he examinado<br /></span> -<span class="i2">la Selva flor à flor, y planta à planta<br /></span> -<span class="i2">gastando congoxado<br /></span> -<span class="i2">mi triste coraçon en pena tanta,<br /></span> -<span class="i2">y mi pie fatigando vagamundo<br /></span> -<span class="i2">tiempo, que siglos son, selva, que es Mundo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_581" href="#FNanchor_581" class="label">581</a> -The new edition which I have now before me, entitled, <i>Obras -poeticas del Excellmo. Señor Don Eugenio Gerardo Lobo, Madrid</i>, -1758, in 2 vols. quarto, is printed in a style of elegance by no means -common in Spanish books of that period.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_582" href="#FNanchor_582" class="label">582</a> -The title is:—<i>La Poetica, ò Reglas de la poesia en general, -y de sus principales especies, por D. Ignacio de Luzan Claramunt -de Suelves, y Gurrea</i>, Zaragoza, 1737.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_583" href="#FNanchor_583" class="label">583</a> -He says:—Yo sè, que estas cosas, donde la critica tiene -alguna parte, se suelen bautizar de algunos con el nombre de -<i>bachillerias</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_584" href="#FNanchor_584" class="label">584</a> -<a href="#Page_323">See page 323</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_585" href="#FNanchor_585" class="label">585</a> -Thus, he says, Homer intended his Iliad, as a book of moral -and political instruction, suited to the most vulgar understanding:—</p> - -<p>Con este intento escribiò <i>Homero</i> sus Poemas, explicando en -ellos <i>à los entendimientos mas bassos</i> las verdades de <i>la Moral</i>, de -<i>la Politica</i>, y tambien (como muchos sientan) de la Philosophia -natural, y de la Theologia. Pues en la Iliada debaxo de la Imagen -de la Guerra Troyana, y de las disensiones de los Capitanes Griegos, -propuso à la Grecia entonces dividida en vandos <i>un exemplo en que -aprendiesse</i> à apaciguar sus discordias, conociendo quan graves -daños causaban al publico, y quan necessaria para el sucesso en las -empressas era la union, y concordia de los Gefes de un Exercito.—Book -I.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_586" href="#FNanchor_586" class="label">586</a> -The following passage will afford a specimen of Luzan’s -didactic style:—</p> - -<p>Y estos con el vano, inutil <i>aparato de agudezas, y conceptos -afectados, de metaphoras extravagantes, de expressiones hinchadas, -y de terminos cultos, y nuevos</i>, embelesaron el Vulgo, y aplaudidos -de la ignorancia comun, se usurparon la gloria debida à los buenos -Poetas. Fuè creciendo este desorden sin que nadie intentasse oponersele. -Los ignorantes, no teniendo quien les abriesse los ojos, seguian -aciegas la voceria de los aplausos populares, y alababan lo que no -entendian, sin mas razon que la de el exemplo ajeno.—Book I.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_587" href="#FNanchor_587" class="label">587</a> -He says:—Digo, que se podrà <i>definir</i> la Poesia, imitacion de -la naturaleza o en lo universal, o en lo particular, hecha en versos, o -para utilidad, o para deleite de los hombres, o para uno y otro juntamente.—Lib. -I. cap. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_588" href="#FNanchor_588" class="label">588</a> -The following are his own words:—</p> - -<p>Estos dos diversos assuntos, y fines hacen tambien diversa la -Fabula Tragica de la Comica, y à entrambas de la Fabula en general: -à todas tres es comun el ser un <i>discurso inventado</i>, ò una <i>ficcion de -un hecho</i>: pero con esta diferencia, que la Fabula Tragica ha de ser -<i>imitacion de un hecho en modo apto para corregir el temor, y la -compassion, y otras passiones</i>: y la Fabula Comica ha de ser <i>imitacion, -ò ficcion de un hecho en modo apto para inspirar el amor de -alguna virtud, ò el desprecio, y aborrecimiento de algun vicio, ú -defecto.</i>—<i>Lib. III.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_589" href="#FNanchor_589" class="label">589</a> -He says:—</p> - -<p>Y en fè de que en mi no falta tan debida equidad no pudiendo -referir aqui distintamente, y por menudo los muchos aciertos de -nuestros Comicos, porque para esso seria menester escribir un gran -volumen à parte; me contentarè con decir por mayor, y en general, -que en todos comunmente hallo rara ingeniosidad, singular agudeza, -y discrecion, prendas mui essenciales para formar grandes poetas, y -dignas de admiracion; y añado que en particular alabarè siempre -en <i>Lope de Vega</i> la natural facilidad de su estylo, y la suma destreza, -con que en muchas de sus Comedias se ven pintadas las costumbres, -y el <i>character</i> de algunas personas: en <i>Calderòn</i> admiro -la nobleza de su locucion, que sin ser jamàs obscura, ni afectada, es -siempre elegante; &c.—Lib. III.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_590" href="#FNanchor_590" class="label">590</a> -Velasquèz, under the conviction that nothing could be more -correct and striking than Luzan’s judgment on the Spanish drama, -has quoted his opinions at length, and incorporated them in his -History of Spanish Poetry.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_591" href="#FNanchor_591" class="label">591</a> -The two opening stanzas of this poem, will afford a sufficient -specimen of the poetic diction of the ingenious author:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ahora es tiempo, Euterpe, que templemos<br /></span> -<span class="i0">el arco y cuerdas, y de nuestro canto<br /></span> -<span class="i0">se oyga la voz por todo el emisferio.<br /></span> -<span class="i0">Las vencedoras sienes coronemos<br /></span> -<span class="i0">del sagrado laurel al que es espanto<br /></span> -<span class="i0">del infiel Mauritano al Marte Ibero.<br /></span> -<span class="i0">Ya para quàndo quiero<br /></span> -<span class="i0">los himnos de alegria y las canciones,<br /></span> -<span class="i0">premio no vil que el coro de las nueve<br /></span> -<span class="i0">à las fatigas debe,<br /></span> -<span class="i0">y al valor de esforzados corazones?<br /></span> -<span class="i0">Para quando estará, Musas, guardado<br /></span> -<span class="i0">aquel furor que bebe<br /></span> -<span class="i0">con las hondas suavisimas mezclando<br /></span> -<span class="i0">de la Castalia fuente al labio solo<br /></span> -<span class="i0">de quien tuvo al nacer propicio Apolo?<br /></span> -<span class="i4">Una selva de pinos y de abetes<br /></span> -<span class="i0">cubriò la mar, angusta à tanta quilla:<br /></span> -<span class="i0">para henchir tanta vela faltó el viento.<br /></span> -<span class="i0">De flamulas el ayre y gallardetes<br /></span> -<span class="i0">poblado divisò desde la orilla<br /></span> -<span class="i0">pálido el Africano y sin aliento:<br /></span> -<span class="i0">del húmedo elemento<br /></span> -<span class="i0">dividiendo los liquidos cristales,<br /></span> -<span class="i0">y blandiendo Neptuno el gran Tridente,<br /></span> -<span class="i0">alzò ayrado la frente,<br /></span> -<span class="i0">de ovas coronado y de corales.<br /></span> -<span class="i0">Quién me agovia con tanta pesadumbre<br /></span> -<span class="i0">la espalda? Hay quién intente<br /></span> -<span class="i0">poner tal vez en nueva servidumbre<br /></span> -<span class="i0">mi libre imperio? o por ventura alguno<br /></span> -<span class="i0">me la quiere usurpar? No soy Neptuno?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_592" href="#FNanchor_592" class="label">592</a> -The following three stanzas from this poem will serve to shew -the manner in which Luzan combined his poetic subject with the -peculiarities requisite in a poem written on a particular occasion:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Qual fabulosa antiguedad pintaba<br /></span> -<span class="i0">al padre libre, ò al Dardano Xanto,<br /></span> -<span class="i0">quando sobre las ondas se asomaba<br /></span> -<span class="i0">à oir de algun mortal queja ò quebranto;<br /></span> -<span class="i0">ò como al dios Neptuno figuraba<br /></span> -<span class="i0">Musa gentil en su fingido canto,<br /></span> -<span class="i0">quando iba por el mar con Deyopéa,<br /></span> -<span class="i0">Cimodoce, Nerine, y Galatéa.<br /></span> -<span class="i4">Tal Manzanares à mi vista ofrece<br /></span> -<span class="i0">espectáculo nuevo y agradable:<br /></span> -<span class="i0">crece mi suspension, mi pasmo crece<br /></span> -<span class="i0">al ver que aquel anciano venerable<br /></span> -<span class="i0">conmigo desde el agua à hablar empieze<br /></span> -<span class="i0">con apacible voz y rostro afable:<br /></span> -<span class="i0">fielmente su discurso no prolijo<br /></span> -<span class="i0">conserva la memoria; asi me dijo:<br /></span> -<span class="i4">Estrangero pastor, que en mi ribera<br /></span> -<span class="i0">buscas tranquilidad à tus fatigas,<br /></span> -<span class="i0">vète otra vez, no es este la primera,<br /></span> -<span class="i0">y sè tu nombre yà, sin que lo digas:<br /></span> -<span class="i0">las bellas Ninfas de esta undosa esfera<br /></span> -<span class="i0">únicas son de tu zampoña amigas:<br /></span> -<span class="i0">zampoña y voz antes de ahora oyeron;<br /></span> -<span class="i0">antes tambien à entrambas aplaudieron.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_593" href="#FNanchor_593" class="label">593</a> -These, and the other <i>inedita</i> of Luzan, are included in the -second and fourth volumes of the <i>Parnaso Español</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_594" href="#FNanchor_594" class="label">594</a> -<i>Oracion en que se exhorta à seguir la verdadera idea de la -eloquencia Española.</i> It is contained in the first volume of the -ten quoted <i>Origenes</i> of this meritorious author.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_595" href="#FNanchor_595" class="label">595</a> -<i>Rhetorica de Don Gregorio Mayans y Siscar.</i> Valencia, -1757, 2 volumes, 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_596" href="#FNanchor_596" class="label">596</a> -<a href="#Page_351">See page 351</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_597" href="#FNanchor_597" class="label">597</a> -See Dieze on Velasquez p. 265. Lessing has made the -Germans acquainted with Montiano’s Virginia. Though Lessing -knew little of Spanish dramatic literature, even at second hand, he -at that time took an interest in every tragic Virginia, because he -was engaged in a Virginia of his own, which he ultimately converted -into his Emilia Galotti.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_598" href="#FNanchor_598" class="label">598</a> -In the fifth act, when the catastrophe is near its developement, -Virginia discourses in the following manner with Icilius, her betrothed -bridegroom:—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Virg.</i> Casi, Señor, mi gratitud quisiera<br /></span> -<span class="i3">no haberte yà elegido por mi dueño;<br /></span> -<span class="i3">porque fina lo hiciesse el alma ahora.<br /></span> -<span class="i3">Tode el honor, la libertad me vale,<br /></span> -<span class="i3">que aùn es mas beneficio que la vida.<br /></span> -<span class="i3">Por tu esfuerzo lo gozo, y voluntaria<br /></span> -<span class="i3">de tu dominio la declaro sierva:<br /></span> -<span class="i3">serà la possession con que te brindo<br /></span> -<span class="i3">legitima, Señor, si la acetares.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Icìl.</i> Què corazon, Señora, habra tan duro,<br /></span> -<span class="i3">que à ser feliz con tigo se resista?<br /></span> -<span class="i3">Assi hubiesse logrado mi fortuna,<br /></span> -<span class="i3">con la ruina total de tu enemigo,<br /></span> -<span class="i3">librarte de una vez del triste ahogo.<br /></span> -<span class="i3">Pero ni puede unir à mis parciales,<br /></span> -<span class="i3">sino es à los que vès que me acompañan.<br /></span> -<span class="i3">Ni de Valerio sè, ni sé de Horacio,<br /></span> -<span class="i3">tal vez por ignorar nuestro conflicto,<br /></span> -<span class="i3">ò por la angustia, y brevedad del tiempo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_599" href="#FNanchor_599" class="label">599</a> -<i>Discurso sobre las tragedias Españolas, de D. Agustin de -Montiano y Luyando, &c.</i> Madrid 1750, in 8vo. published along -with Virginia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_600" href="#FNanchor_600" class="label">600</a> -The following are his own words:—</p> - -<p> -Por mi ofrezco al publico <i>La Virginia</i>; Tragedia que he procurado -trabajar con algun estudio, y desuelo: y si logro que no se -desprecie, serà quanta ventaja puedo proponerme, y esperar por -<i>galardon de mi fatiga</i>: mas el <i>inducir à mis compatriotas, à que -imiten este rumbo</i>, y à que le mejoren (como le serà mas facil que à -mi à qualquiera <i>regular ingenio</i>) cabe unicamente en las facultades -de la providencia, segun la obstinacion de los muchos que permanecen -alistados en las <i>centurias del ignorante vulgo</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_601" href="#FNanchor_601" class="label">601</a> -<i>El ignorante vulgo</i>, is the favourite expression of all the -Spanish Gallicists, whenever they speak of the Spanish public.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_602" href="#FNanchor_602" class="label">602</a> -The beautiful commencement of this <i>Egloga piscatoria</i> may -be transcribed here:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Bramaba el ronco viento,<br /></span> -<span class="i0">y de nubes el sol obscurecido<br /></span> -<span class="i0">horror al mar indómito añadia:<br /></span> -<span class="i0">el liquido elemento<br /></span> -<span class="i0">de rayos y relampagos herido<br /></span> -<span class="i0">contra su proprio natural ardia.<br /></span> -<span class="i0">Huye la luz del dia<br /></span> -<span class="i0">que el fuego interrumpido sostituye.<br /></span> -<span class="i0">De sus cabañas huye<br /></span> -<span class="i0">el Pescador al monte mas vecino;<br /></span> -<span class="i0">y solo en tan violento torbellino<br /></span> -<span class="i0">rotas quedan del mar en las orillas<br /></span> -<span class="i0">jarcias, entenas, arboles y quillas.<br /></span> -<span class="i4">Objeto son funesto<br /></span> -<span class="i0">y embarazo tambien de las arenas<br /></span> -<span class="i0">naufragos leños y humedo velamen;<br /></span> -<span class="i0">y en elemento opuesto<br /></span> -<span class="i0">truecan los hombres aguas de horror llenas,<br /></span> -<span class="i0">y las Focas la seca arena lamen.<br /></span> -<span class="i0">Con pavoroso examen<br /></span> -<span class="i0">advierte, destrozado su barquilla<br /></span> -<span class="i0">en la trágica orilla<br /></span> -<span class="i0"><span class="smcap">Alcion</span>; y en el monte, aun mal seguro<br /></span> -<span class="i0">recela <span class="smcap">Glauco</span>; porque el golfo duro<br /></span> -<span class="i0">abandonar su antiguo seno quiere,<br /></span> -<span class="i0">y huir del Cielo, que le azota y hiere.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_603" href="#FNanchor_603" class="label">603</a> -The commencement of this romance calls to mind the compositions -of the fifteenth and sixteenth centuries:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">El Africano alarido<br /></span> -<span class="i0">y el ronco son de las armas<br /></span> -<span class="i0">en los valles de Gumiel<br /></span> -<span class="i0">era saludos del Alba:<br /></span> -<span class="i4">Que a ser testigo salia<br /></span> -<span class="i0">de las victorias, que alcanzan<br /></span> -<span class="i0">contra los infieles lunas<br /></span> -<span class="i0">las cuchillas Castellanas:<br /></span> -<span class="i4">Quando el valeroso Hizán<br /></span> -<span class="i0">sobre una fogosa alfana,<br /></span> -<span class="i0">regalo de Hacén, Alcaide<br /></span> -<span class="i0">de Font-Hacén y la Adrada:<br /></span> -<span class="i4">Desnudo el nervioso brazo,<br /></span> -<span class="i0">y el albornóz a la espalda,<br /></span> -<span class="i0">esgrime lo muerte en una<br /></span> -<span class="i0">Tunecina cimitarra.<br /></span> -<span class="i4">Crece la sangrienta lid,<br /></span> -<span class="i0">y el suelo de sangre empapan<br /></span> -<span class="i0">las azagayas Moriscas<br /></span> -<span class="i0">y las Españolas lanzas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_604" href="#FNanchor_604" class="label">604</a> -These and the other poems extant by La Huerta, are included -in the <i>Obras poeticas de D. Vicente Garcia de la Huerta</i>, -&c. Madrid, 1779, in 2 volumes octavo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_605" href="#FNanchor_605" class="label">605</a> -See the preface to the before-mentioned <i>Obras</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_606" href="#FNanchor_606" class="label">606</a> -For example, in the following speech of Rachel. The king -has left her; and she meditates on the probable consequences of his -absence:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">El cielo os guarde.<br /></span> -<span class="i0">Quanto, ay de mi, que os ausenteis, me pesa!<br /></span> -<span class="i0">Qué es esto, congojado pecho mio?<br /></span> -<span class="i0">Corazon, que temor te desalienta?<br /></span> -<span class="i0">Qué sustos te atribulan? Ya Castilla,<br /></span> -<span class="i0">a mi arbitrio no rinde la obediencia?<br /></span> -<span class="i0">Pues, corazon, qué graves sobresaltos<br /></span> -<span class="i0">son los que te combaten, y te aquejan?<br /></span> -<span class="i0">Sin duda debe ser, que como el cielo<br /></span> -<span class="i0">no te crió para tan alta esfera,<br /></span> -<span class="i0">como es el Solio regio, mal se halla<br /></span> -<span class="i0">tu natural humilde en su grandeza.<br /></span> -<span class="i0">Tomen exemplo en mí los ambiciosos,<br /></span> -<span class="i0">y en mis temores el sobervio advierta,<br /></span> -<span class="i0">que quien se eleva sobre su fortuna,<br /></span> -<span class="i0">por su desdicha, y por su mal se eleva.<br /></span> -<span class="i0">Mas cómo asi me agravio neciamente?<br /></span> -<span class="i0">Mi valor, mi hermosura, las estrellas,<br /></span> -<span class="i0">el cielo mismo, que dotò mi alma<br /></span> -<span class="i0">de tan noble ambicion, y la fomenta,<br /></span> -<span class="i0">no confirman mi merito? &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_607" href="#FNanchor_607" class="label">607</a> -He utters the following exclamations, while, at the same -time, he endeavours to escape from the perils by which he is -surrounded:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">O horror! o muerte! o tierra!<br /></span> -<span class="i0">cómo a este desdichado no sepultas?<br /></span> -<span class="i0">Tus profundas entrañas manifiesta,<br /></span> -<span class="i0">y esconde en ellas mi cansada vida:<br /></span> -<span class="i0">librame de los riesgos, que me cercan.<br /></span> -<span class="i0">Qué susto! que pesar! Nadie se duele<br /></span> -<span class="i0">de mi?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_608" href="#FNanchor_608" class="label">608</a> -In one of the first scenes, Garcia de Castro avows his -sentiments to the king with the spirit of a true knight and the -fidelity of a subject:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Esa voz, que de escandalo y desorden<br /></span> -<span class="i0">el viento puebla, o noble Alfonso Octavo,<br /></span> -<span class="i0">Monarca de Castilla, quien por siglos<br /></span> -<span class="i0">cuente el tiempo feliz de tu Reynado:<br /></span> -<span class="i0">esa voz, que en el Templo originada<br /></span> -<span class="i0">profanó del lugar los fueros santos,<br /></span> -<span class="i0">y de la Magestad los privilegios<br /></span> -<span class="i0">tan injuriosamente ha vulnerado;<br /></span> -<span class="i0">si el fin, si los intentos se examinan,<br /></span> -<span class="i0">y el zelo que la anima contemplamos,<br /></span> -<span class="i0">aliento es del amor mas encendido,<br /></span> -<span class="i0">voz del afecto mas acrisolado.<br /></span> -<span class="i0">Voz es de tus Vasallos, que de serlo<br /></span> -<span class="i0">testimonio jamás dieron mas claro,<br /></span> -<span class="i0">que quando mas traydores te parecen,<br /></span> -<span class="i0">que quanto los estás mas infamando, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_609" href="#FNanchor_609" class="label">609</a> -<a href="#Page_308">See page 308</a>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_610" href="#FNanchor_610" class="label">610</a> -The narrative passages in octaves are excellent. For -example:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Los jovenes de Crisa valerosos,<br /></span> -<span class="i0">con la paz de la Grecia mal contentos,<br /></span> -<span class="i0">pues Troya ya rendida, a sus fogosos<br /></span> -<span class="i0">espiritus faltaban los fomentos,<br /></span> -<span class="i0">para ejercer sus brios generosos,<br /></span> -<span class="i0">y noble alarde hacer de sus alientos,<br /></span> -<span class="i0">disponen una fiesta, en que se encierra<br /></span> -<span class="i0">retrato vivo de mentida guerra.<br /></span> -<span class="i4">Previenense caballos y libreas,<br /></span> -<span class="i0">ajustanse divisas y colores:<br /></span> -<span class="i0">a aquel adornan joyas y preseas,<br /></span> -<span class="i0">este copia al escudo sus amores,<br /></span> -<span class="i0">Quanto oro dan las minas Européas,<br /></span> -<span class="i0">y quantos brotan en Oriente olores,<br /></span> -<span class="i0">eran a la lucida compañia<br /></span> -<span class="i0">adorno, gusto, brillo y bizarria, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_611" href="#FNanchor_611" class="label">611</a> -This collection which has been so frequently alluded to in -the course of the present work, is entitled:—<i>Theatro Hespañol, -por Don Vicente Garcia de la Huerta</i>, Madrid, 1785, sq. in 16 -volumes, small octavo. The 16th volume, which contains some critical -notices in the form of an appendix, was published very lately. -The 15th volume, which bears the title of <i>Suplemento</i>, comprises -the tragic dramas of La Huerta himself; and the 14th volume presents -a choice selection of burlesque interludes. The work also contains -an alphabetic list of most of the dramas in the Spanish language, -which is extremely useful. The title is characteristic from the -substitution of the word <i>Hespañol</i> for <i>Español</i>, according to its -derivation from <i>Hispanus</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_612" href="#FNanchor_612" class="label">612</a> -These expressions are collected from the prefaces to some -of the volumes of La Huerta’s <i>Theatro Hespañol</i>. It is not necessary -to give precise references to passages.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_613" href="#FNanchor_613" class="label">613</a> -They are included in the first volume of the <i>Coleccion de -Obras en verso y prosa de D. Tomàs de Yriarte</i>, Madrid, 1787, -8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_614" href="#FNanchor_614" class="label">614</a> -Fables cannot be judged of from fragments; therefore the -subjoined, which is in the popular song form, is transcribed at length.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Este fabulilla,<br /></span> -<span class="i0">Salga bien, ò mal,<br /></span> -<span class="i0">Me ha occurrido ahora<br /></span> -<span class="i0">Por casualidad<br /></span> -<span class="i4">Cerca de unos prados<br /></span> -<span class="i0">Que hai en mi Lugar<br /></span> -<span class="i0">Pasaba un Borrico<br /></span> -<span class="i0">Por casualidad.<br /></span> -<span class="i4">Una flauta en ellos<br /></span> -<span class="i0">Halló, que un Zagal,<br /></span> -<span class="i0">Se dexó olvidada<br /></span> -<span class="i0">For casualidad.<br /></span> -<span class="i4">Acercósé á olerla<br /></span> -<span class="i0">El dicho animal;<br /></span> -<span class="i0">Y dió un resoplido<br /></span> -<span class="i0">Por casualidad.<br /></span> -<span class="i4">En la flauta el aire<br /></span> -<span class="i0">Se hubo de colar;<br /></span> -<span class="i0">Y sonó la flauta<br /></span> -<span class="i0">Por casualidad.<br /></span> -<span class="i4">Oh! dixo el Borrico:<br /></span> -<span class="i0">Qué bien sé tocar!<br /></span> -<span class="i0">Y dirán que es mala<br /></span> -<span class="i0">La música asnal.<br /></span> -<span class="i4">Sin reglas del arte<br /></span> -<span class="i0">Borriquitos hai<br /></span> -<span class="i0">Que una vez aciertan<br /></span> -<span class="i0">Por casualidad.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_615" href="#FNanchor_615" class="label">615</a> -This fable may likewise be inserted here. It is particularly -remarkable for the happy employment of the redondillas.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Un oso con que la vida<br /></span> -<span class="i0">Ganaba un Piamontes<br /></span> -<span class="i0">La no mui bien aprendida<br /></span> -<span class="i0">Danza ensayaba en dos pies.<br /></span> -<span class="i4">Queriendo hacer de persona,<br /></span> -<span class="i0">Dixo á una Mona: Que tal?<br /></span> -<span class="i0">Era perita la Mona,<br /></span> -<span class="i0">Y respondióle: Mui mal.<br /></span> -<span class="i4">Yo creo, replicó el Oso,<br /></span> -<span class="i0">Que me haces poco favor.<br /></span> -<span class="i0">Pues qué? mi aire no es garboso?<br /></span> -<span class="i0">No hago el paso con primor?<br /></span> -<span class="i4">Estaba el Cerdo presente,<br /></span> -<span class="i0">Y dixo: Bravo! bien va!<br /></span> -<span class="i0">Bailarin mas excelente<br /></span> -<span class="i0">No se ha visto, ni verá.<br /></span> -<span class="i4">Echó el Oso, al oir esto,<br /></span> -<span class="i0">Sus cuentas allá entre si,<br /></span> -<span class="i0">Y con ademan modesto<br /></span> -<span class="i0">Hubo de exclamar así:<br /></span> -<span class="i4">Quando me desaprobaba<br /></span> -<span class="i0">La Mona, llegué á dudar:<br /></span> -<span class="i0">Mas ya que el Cerdo me alaba,<br /></span> -<span class="i0">Mui mal debo de bailar.<br /></span> -<span class="i4">Guarde para su regalo<br /></span> -<span class="i0">Esta sentencia un Autor:<br /></span> -<span class="i0">Si el sabio no aprueba, malo!<br /></span> -<span class="i0">Si el necio aplaude, peor!<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_616" href="#FNanchor_616" class="label">616</a> -La musica, poema. It has been several times printed. In -the <i>Obras de D. Tomas Yriarte</i> it occupies one half of the first -volume.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_617" href="#FNanchor_617" class="label">617</a> -For example, the following lines, which occur at the commencement -of the second canto of the poem, and which relates to -the invention and progress of Music.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">En la mas deliciosa<br /></span> -<span class="i0">Y mas poblada aldéa<br /></span> -<span class="i0">De la feliz Arcadia residia<br /></span> -<span class="i0">La Zagala Criséa,<br /></span> -<span class="i0">Que asi como de hermosa<br /></span> -<span class="i0">Se llevaba entre mil la primacía,<br /></span> -<span class="i0">Tambien por desdeñosa<br /></span> -<span class="i0">Ganó justa opinion y nombradía.<br /></span> -<span class="i0">Con tal delicadeza<br /></span> -<span class="i0">De vido la criò Naturaleza,<br /></span> -<span class="i0">Y alma la diò tan docil, é inclinada<br /></span> -<span class="i0">A sentir de la Música el encanto,<br /></span> -<span class="i0">Que en toda aquella rústica morada<br /></span> -<span class="i0">Sólo algunos Pastores<br /></span> -<span class="i0">Diestros en el tañido y en el canto<br /></span> -<span class="i0">Osaban aspirar à sus favores, &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_618" href="#FNanchor_618" class="label">618</a> -The following passage, which is mere prose, immediately -succeeds the invocation to Nature at the commencement of the poem.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Las varias sensaciones corporales,<br /></span> -<span class="i0">Del corazon humano los afectos,<br /></span> -<span class="i0">Y aun las mismas nociones ideales,<br /></span> -<span class="i0">En diversos dialectos<br /></span> -<span class="i0">Se expresan por los órganos vocales,<br /></span> -<span class="i0">Pero si, estando el ánimo tranquilo,<br /></span> -<span class="i0">Inspira simples y uniformes sones;<br /></span> -<span class="i0">Quando se halla agitado de pasiones,<br /></span> -<span class="i0">Nueva inflexion de acentos da al estilo:<br /></span> -<span class="i0">El tono de la voz, alza y sostiene;<br /></span> -<span class="i0">Tan pronto le retarda, ó le acelera;<br /></span> -<span class="i0">Tan pronto le suaviza, ò le exâspera;<br /></span> -<span class="i0">Con enérgicas pausas le detiene;<br /></span> -<span class="i0">Le da compas y afinacion sonora,<br /></span> -<span class="i0">Y à su arbitrio le aumenta, ó le minora.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_619" href="#FNanchor_619" class="label">619</a> -The <i>Bibliotheca Española de los mejores escritores del -reynado de Carlos III; por D. Juan Sempère y Guarinos, &c.</i> -Madrid 1789, in 6 volumes, 8vo. may be consulted with advantage. -Useful particulars respecting the latest Spanish productions in -polite literature may also be found in the publications of some recent -travellers.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_620" href="#FNanchor_620" class="label">620</a> -<i>Las Odas de D. Leon de Arroyal.</i> Madrid 1784, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_621" href="#FNanchor_621" class="label">621</a> -For example, the commencement of the ode to Field Marshal -Navahermosa.</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Precioso es el diamante,<br /></span> -<span class="i0">y esmeralda de Oriente,<br /></span> -<span class="i0">y el oro mas que todo apetecido,<br /></span> -<span class="i0">y cada qual bastante<br /></span> -<span class="i0">á saciar de la gente<br /></span> -<span class="i0">vulgar el vil espiritu abatido,<br /></span> -<span class="i0">que nunca ha conocido<br /></span> -<span class="i0">el precio que se encierra<br /></span> -<span class="i0">en los claros honores de la guerra.<br /></span> -<span class="i4">Una verde corona<br /></span> -<span class="i0">de laurel, ú de oliva,<br /></span> -<span class="i0">á un espiritu humilde es despreciable;<br /></span> -<span class="i0">pero no al que á Belona<br /></span> -<span class="i0">sigue, para que viva<br /></span> -<span class="i0">su nombre entre los hombres admirable.<br /></span> -<span class="i0">Nada hay tan codiciable<br /></span> -<span class="i0">como la heroyca fama<br /></span> -<span class="i0">al que de sí lo mas precioso ama.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_622" href="#FNanchor_622" class="label">622</a> -Particularly in the verse which the Spaniards call <i>Rimas -Provenzales</i>, viz:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ay, verde bosque! ay, soledad amada!<br /></span> -<span class="i0">ay del manso arroyuelo amena orilla,<br /></span> -<span class="i0">do la simple avecilla<br /></span> -<span class="i0">con trinos al Pastor humilde agrada!<br /></span> -<span class="i0">do la blanca y pintada mariposa<br /></span> -<span class="i0">besa la rosa,<br /></span> -<span class="i0">y el gilguerillo<br /></span> -<span class="i0">en el palillo<br /></span> -<span class="i0">de la alta encina<br /></span> -<span class="i0">amante trina,<br /></span> -<span class="i0">miéntras favonio y céfiro soplando,<br /></span> -<span class="i0">el prado van de flores esmaltando.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_623" href="#FNanchor_623" class="label">623</a> -The following song will afford a specimen of the poetic -talent of this unknown authoress:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Por Endimion la Luna<br /></span> -<span class="i0">desde los cielos baxa,<br /></span> -<span class="i0">dexando el blanco carro<br /></span> -<span class="i0">por una cueba parda.<br /></span> -<span class="i4">Por Adonis Citeres<br /></span> -<span class="i0">à pie corre y descalza,<br /></span> -<span class="i0">colorando las rosas<br /></span> -<span class="i0">con sangre de sus plantas.<br /></span> -<span class="i4">Pues si hasta las Deidades<br /></span> -<span class="i0">sienten de amor la llama,<br /></span> -<span class="i0">y por amar descienden<br /></span> -<span class="i0">de divinas á humanas:<br /></span> -<span class="i4">Que harè yo estando herida<br /></span> -<span class="i0">de la amorosa llaga,<br /></span> -<span class="i0">si no darle à mi dueño<br /></span> -<span class="i0">corazon, vida y alma?<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_624" href="#FNanchor_624" class="label">624</a> -I have seen only the first volume of the <i>Poesias de D. -Juan Melendez Valdès</i>, Madrid, 1785, in 8vo. The contents of -the second volume are specified in a preliminary notice to the -<i>Bibliotheca Española</i> of Don Juan Sempere. See note p. 593.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_625" href="#FNanchor_625" class="label">625</a> -This will be obvious even from a fragment; as, for instance, -the following passage, which occurs in the description of a rustic -dance:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Ay! que voluptuosos<br /></span> -<span class="i0">Sus pasos! como animan<br /></span> -<span class="i0">Al mas cobarde amante,<br /></span> -<span class="i0">Y al mas helado irritan!<br /></span> -<span class="i0">Al premio, al dulce premio<br /></span> -<span class="i0">Parece que le brindan<br /></span> -<span class="i0">De amor, quando le ostentan<br /></span> -<span class="i0">Un seno que palpita.<br /></span> -<span class="i0">Quan dócil es su planta!<br /></span> -<span class="i0">Que acorde á la medida<br /></span> -<span class="i0">Va del compas! las Gracias<br /></span> -<span class="i0">Parece que la guian.<br /></span> -<span class="i0">Y ella de frescas rosas<br /></span> -<span class="i0">La blanca sien ceñida<br /></span> -<span class="i0">Su ropa libra al viento,<br /></span> -<span class="i0">Que un manso soplo agita,<br /></span> -<span class="i0">Con timidez donosa<br /></span> -<span class="i0">De Clöe simplecilla<br /></span> -<span class="i0">Por los floridos labios<br /></span> -<span class="i0">Vaga una afable risa.<br /></span> -<span class="i0">A su zagal incauta<br /></span> -<span class="i0">Con blandas carrerillas<br /></span> -<span class="i0">Se llega, y vergonzosa<br /></span> -<span class="i0">Al punto se retira; &c.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_626" href="#FNanchor_626" class="label">626</a> -For example, the following short idyl, as it may properly be -denominated:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Siendo yo niño tierno<br /></span> -<span class="i0">Con la niña Dorila<br /></span> -<span class="i0">Me andaba por la selva<br /></span> -<span class="i0">Cogiendo florecillas,<br /></span> -<span class="i0">De que alegres guirnaldas<br /></span> -<span class="i0">Con gracia peregrina,<br /></span> -<span class="i0">Para ambos coronarnos,<br /></span> -<span class="i0">Su mano disponia.<br /></span> -<span class="i0">Asi en niñeces tales<br /></span> -<span class="i0">De juegas y delicias<br /></span> -<span class="i0">Pasábamos felices<br /></span> -<span class="i0">Las horas y los dias.<br /></span> -<span class="i0">Con ellos poco á poco<br /></span> -<span class="i0">La edad corrió de prisa,<br /></span> -<span class="i0">Y fué de la inocencia<br /></span> -<span class="i0">Saltando la malicia.<br /></span> -<span class="i0">Yo no sé: mas al verme<br /></span> -<span class="i0">Dorila se reia,<br /></span> -<span class="i0">Y á mi de solo hablarla<br /></span> -<span class="i0">Tambien me daba risa.<br /></span> -<span class="i0">Luego al darle las floras<br /></span> -<span class="i0">El pecho me latia,<br /></span> -<span class="i0">Y al ella coronarme<br /></span> -<span class="i0">Quedábase embebida,<br /></span> -<span class="i0">Una tarde tras esto<br /></span> -<span class="i0">Vimos dos tortolillas,<br /></span> -<span class="i0">Que con tremulos picos<br /></span> -<span class="i0">Se halagaban amigas.<br /></span> -<span class="i0">Alentónos su exemplo,<br /></span> -<span class="i0">Y entre honestas caricias<br /></span> -<span class="i0">Nos contamos turbados<br /></span> -<span class="i0">Nuestras dulces fatigas.<br /></span> -<span class="i0">Y en un punto, qual sombra<br /></span> -<span class="i0">Voló de nuestra vista<br /></span> -<span class="i0">La niñez; mas en torno<br /></span> -<span class="i0">Nos dió el Amor sus dichas.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_627" href="#FNanchor_627" class="label">627</a> -As a specimen of the Spanish sonnets of this latter period, -one from the pen of Melendez may with propriety be chosen in -preference to many others:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">Qual suele abeja inquieta revolando<br /></span> -<span class="i0">Por florido pensil entre mil rosas<br /></span> -<span class="i0">Hasta venir á hallar las mas hermosas<br /></span> -<span class="i0">Andar con dulce trompa susurrando.<br /></span> -<span class="i4">Mas luego que las ve con vuelo blando<br /></span> -<span class="i0">Baxa y bate las alas vagarosas,<br /></span> -<span class="i0">Y en medio de sus venas olorosas<br /></span> -<span class="i0">El delicado aroma está gozando.<br /></span> -<span class="i4">Asi, mi bien, el pensamiento mio<br /></span> -<span class="i0">Con dichosa zozobra por hallarte<br /></span> -<span class="i0">Vagaba de amor libre por el suelo:<br /></span> -<span class="i4">Pero te vi, rendime, y mi albedrio<br /></span> -<span class="i0">Abrasado en tu luz goza al mirarte<br /></span> -<span class="i0">Gracias que envidia de tu rostro el cielo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_628" href="#FNanchor_628" class="label">628</a> -The numerous collection of specimens in this volume, shall -close with a fragment of this epistle, which deserves to rank among -the productions that reflect honour on Spanish literature:—</p> - -<div class="poem"><div class="stanza"> -<span class="i4">——Oh que de veces<br /></span> -<span class="i0">Mi blando corazon has encendido,<br /></span> -<span class="i0">Jovino, con él, y en làgrimas de gozo<br /></span> -<span class="i0">Nuestras pláticas dulces fenecieron!<br /></span> -<span class="i0">Que de veces tambien en el retiro<br /></span> -<span class="i0">Pacifico las horas del silencio<br /></span> -<span class="i0">A Minerva ofrecimos, y la Diosa<br /></span> -<span class="i0">Nuestra vos escuchó! Las fugitivas<br /></span> -<span class="i0">Horas se deslizaban, y embebidos<br /></span> -<span class="i0">El Alba con el libro aun nos hallaba.<br /></span> -<span class="i0">Pues que, si huyendo del bullicio insano<br /></span> -<span class="i0">En el real jardin.... Adónde, adónde<br /></span> -<span class="i0">Habeis ido momentos deliciosos!<br /></span> -<span class="i0">Disputas agradables, dó habeis ido!<br /></span> -<span class="i0">Tu me llevaste de Minerva al templo:<br /></span> -<span class="i0">Tu me llevaste, y mi pensar, mis luces,<br /></span> -<span class="i0">Mi entusiasmo, mi lira, todo es tuyo.<br /></span> -</div></div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_629" href="#FNanchor_629" class="label">629</a> -<i>Filosofia de la Eloquencia, por Don Antonio de Capmany</i>, -Madrid 1777, in 8vo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_630" href="#FNanchor_630" class="label">630</a> -He employs, without hesitation, the words <i>detalle</i> (from the -French <i>détail</i>,) and <i>interesante</i> in the sense of the French <i>intéressant</i>, -&c.</p></div></div> - -</div> - -<div class="transnote"> - -<h3>Transcriber’s Note:</h3> - -<p>Errata on page 610 has been incorporated into original.</p> - -<p>Obvious printer errors corrected silently.</p> - -<p>Inconsistent spelling and hyphenation are as in the original.</p> - -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of History of Spanish and Portuguese -Literature (Vol 1 of 2), by Friedrich Bouterwek - -*** END OF THIS PROJECT GUTENBERG EBOOK SPANISH AND PORTUGUESE LITERATURE *** - -***** This file should be named 55829-h.htm or 55829-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/8/2/55829/ - -Produced by Anita Hammond, Wayne Hammond, Josep Cols Canals -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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