The Project Gutenberg EBook of Modern Spanish Lyrics, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Modern Spanish Lyrics Author: Various Editor: Elijah Clarence Hills And S. Griswold Morley Release Date: June 14, 2005 [EBook #16059] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MODERN SPANISH LYRICS *** Produced by Juliet Sutherland, Miranda van de Heijning, Renald Levesque and the Online Distributed Proofreading Team. MODERN SPANISH LYRICS _EDITED WITH INTRODUCTION, NOTES AND VOCABULARY_ BY ELIJAH CLARENCE HILLS, PH. D., LITT.D. _Professor of Romance Languages in Colorado College_ AND S. GRISWOLD MORLEY, PH. D. _University of Colorado_ NEW YORK HENRY HOLT AND COMPANY 1913 Page iii PREFACE The present volume aims to furnish American students of Spanish with a convenient selection of the Castilian lyrics best adapted to class reading. It was the intention of the editors to include no poem which did not possess distinct literary value. On the other hand, some of the most famous Spanish lyrics do not seem apt to awaken the interest of the average student: it is for this reason that scholars will miss the names of certain eminent poets of the _siglo de oro_. The nineteenth century, hardly inferior in merit and nearer to present-day readers in thought and language, is much more fully represented. No apology is needed for the inclusion of poems by Spanish-American writers, for they will bear comparison both in style and thought with the best work from the mother Peninsula. The Spanish poems are presented chronologically, according to the dates of their authors. The Spanish-American poems are arranged according to countries and chronologically within those divisions. Omissions are indicated by rows of dots and are due in all cases to the necessity of bringing the material within the limits of a small volume. Three poems (the _Fiesta de toros_ of Moratin, the _Castellano leal_ of Rivas and the _Leyenda_ of Zorrilla) are more narrative than lyric. The _romances_ selected are Page iv the most lyrical of their kind. A few songs have been added to illustrate the relation of poetry to music. The editors have been constantly in consultation in all parts of the work, but the preparation of the _Prosody_, the _Notes_ (including articles on Spanish-American literature) and the part of the _Introduction_ dealing with the nineteenth century, was undertaken by Mr. Hills, while Mr. Morley had in charge the _Introduction_ prior to 1800, and the _Vocabulary_. Aid has been received from many sources. Special thanks are due to Professor J.D.M. Ford and Dr. A.F. Whittem of Harvard University, Don Ricardo Palma of Peru, Don Ruben Dario of Nicaragua, Don Rufino Blanco-Fombona of Venezuela, Professor Carlos Bransby of the University of California, and Dr. Alfred Coester of Brooklyn, N.Y. E.C.H. S.G.M. Page v CONTENTS PREFACE INTRODUCTION: I. Spanish Lyric Poetry to 1800 II. Spanish Lyric Poetry of the Nineteenth Century III. Spanish Versification ESPANA ROMANCES: Abenamar Fonte-frida El conde Arnaldos La constancia El amante desdichado El prisionero VINCENTE (GIL) (1470-1540?) Cancion TERESA DE JESUS (SANTA) (1515-1582) Letrilla (que llevaba por registro en su breviario) LEON (FRAY LUIS DE) (1527-1591) Vida retirada ANONIMO A Cristo crucificado VEGA (LOPE DE) (1562-1635) Cancion de la Virgen Manana QUEVEDO (FRANCISCO DE) (1580-1645) Epistola satirica al conde de Olivares Letrilla satirica VILLEGAS (ESTEBAN MANUEL DE) (1589-1669) Cantilena: De un pajarillo CALDERON DE LA BARCA (PEDRO) (1600-1681) "Estas que fueron pompa y alegria," Consejo de Crespo a su hijo GONZALEZ (FRAY DIEGO) (1733-1794) El murcielago alevoso page vi MORATIN (NICOLAS F. DE) (1737-1780) Fiesta de toros en Madrid JOVELLANOS (GASPAR M. DE) (1744-1811) A Arnesto MELENDEZ VALDES (JUAN) (1754-1817) Rosana en los fuegos QUINTANA (MANUEL JOSE) (1772-1857) Oda a Espana, despues de la revolucion de marzo SOLIS (DIONISIO) (1774-1834) La pregunta de la nina GALLEGO (JUAN NICASIO) (1777-1853) El Dos de Mayo MARTINEZ DE LA ROSA (FRANCISCO) (1787-1862) El nido RIVAS (DUQUE DE) (1791-1865) Un castellano leal AROLAS (PADRE JUAN) (1805-1849) "Se mas feliz que yo" ESPRONCEDA (JOSE DE) (1808-1842) Cancion del pirata A la patria ZORRILLA (JOSE) (1817-1893) Oriental Indecision La fuente A buen juez, mejor testigo TRUEBA (ANTONIO DE) (1821-1889) Cantos de pajaro La perejilera SELGAS (JOSE) (1821-1882) La modestia ALARCON (PEDRO ANTONIO DE) (1833-1891) El Mont-Blanc El secreto BECQUER (GUSTAVO A.) (1836-1870) Rimas: II VII LIII LXXIII page vii QUEROL (VINCENTE WENCESLAO) (1836-1889) En Noche-Buena CAMPOAMOR (RAMON DE) (1817-1901) Proximidad del bien iQuien supiera escribir! El mayor castigo NUNEZ DE ARCE (GASPAR) (1834-1903) iExcelsior! Tristezas iSursum Corda! PALACIO (MANUEL DEL) (1832-1895) Amor oculto BARTRINA (JOAQUIN MARIA) (1850-1880) Arabescos REINA (MANUEL) (1860-) La poesia ARGENTINA ECHEVERRIA (O. ESTEBAN) (1805-1851) Cancion de Elvira ANDRADE (OLEGARIO VICTOR) (1838-1882) Atlantida Prometeo OBLIGADO (RAFAEL) (1852-) En la ribera COLOMBIA ORTIZ (JOSE JOAQUIN) (1814-1892) Colombia y Espana CARO (JOSE EUSEBIO) (1817-1853) El cipres MARROQUIN (JOSE MANUEL) (1827-) Los cazadores y la perrilla CARO (MIGUEL ANTONIO) (1843-1909) Vuelta a la patria page viii ARRIETA (DIOGENES A.) (1848-) En la tumba de mi hijo GUTIERREZ PONCE (IGNACIO) (1850-) Dolora GARAVITO A. (JOSE MARIA) (1860-) Volvere manana CUBA HEREDIA (JOSE MARIA) (1803-1839) En el teocalli de Cholula El Niagara "PLACIDO" (GABRIEL DE LA CONCEPCION VALDES) (1809-1844) Plegaria a Dios AVELLANEDA (GERTRUDIS GOMEZ DE) (1814-1873) A Washington Al partir ECUADOR OLMEDO (JOSE JOAQUIN) (1780-1847) La victoria de Junin MEXICO PESADO (JOSE JOAQUIN DE) (1801-1861) Serenata CALDERON (FERNANDO) (1809-1845) La rosa marchita ACUNA (MANUEL) (1849-1873) Nocturno: A Rosario PEZA (JUAN DE DIOS) (1852-1910) Reir llorando Fusiles y munecas NICARAGUA DARIO (RUBEN) (1864-) A Roosevelt page ix VENEZUELA BELLO (ANDRES) (1781-1865) A la victoria de Bailen La agricultura de la zona torrida PEREZ BONALDE (JUAN ANTONIO) (1846-1892) Vuelta a la patria MARTIN DE LA GUARDIA (HERACLIO) (1830-) Ultima ilusion CANCIONES La carcelera Riverana La cachucha La valenciana Cancion devota La jota gallega El tragala Himno de Riego Himno nacional de Mexico Himno nacional de Cuba NOTES VOCABULARY[a] [Transcriber's note a: The vocabulary section has not been submitted for transcription.} INTRODUCTION page xi I SPANISH LYRIC POETRY TO 1800 It has been observed that epic poetry, which is collective and objective in its nature, always reaches its full development in a nation sooner than lyric poetry, which is individual and subjective. Such is certainly the case in Spain. Numerous popular epics of much merit existed there in the Middle Ages.[1] Of a popular lyric there are few traces in the same period; and the Castilian lyric as an art-form reached its height in the sixteenth, and again in the nineteenth, centuries. It is necessary always to bear in mind the distinction between the mysterious product called popular poetry, which is continually being created but seldom finds its way into the annals of literature, and artistic poetry. The chronicler of the Spanish lyric is concerned with the latter almost exclusively, though he will have occasion to mention the former not infrequently as the basis of some of the best artificial creations. [Footnote 1: The popular epics were written in assonating lines of variable length. There were also numerous monkish narrative poems _(mester de clerecia)_ in stanzas of four Alexandrine lines each, all riming _(cuaderna via)_.] If one were to enumerate _ab origine_ the lyric productions of the Iberian Peninsula he might begin with the vague references of Strabo to the songs of its primitive inhabitants, and then pass on to Latin page xii poets of Spanish birth, such as Seneca, Lucan and Martial. The later Spaniards who wrote Christian poetry in Latin, as Juvencus and Prudentius, might then be considered. But in order not to embrace many diverse subjects foreign to the contents of this collection, we must confine our inquiry to lyric production in the language of Castile, which became the dominating tongue of the Kingdom of Spain. Such a restriction excludes, of course, the Arabic lyric, a highly artificial poetry produced abundantly by the Moors during their occupation of the south of Spain; it excludes also the philosophical and religious poetry of the Spanish Jews, by no means despicable in thought or form. Catalan poetry, once written in the Provencal manner and of late happily revived, also lies outside our field. Even the Galician poetry, which flourished so freely under the external stimulus of the Provencal troubadours, can be included only with regard to its influence upon Castilian. The Galician dialect, spoken in the northwest corner of the Peninsula, developed earlier than the Castilian of the central region, and it was adopted by poets in other parts for lyric verse. Alfonso X of Castile (reigned 1252-1284) could write prose in Castilian, but he must needs employ Galician for his _Cantigas de Santa Maria_. The Portuguese nobles, with King Diniz (reigned 1279-1325) at their head, filled the idle hours of their bloody and passionate lives by composing strangely abstract, conventional poems of love and religion in the manner of the Provencal _canso, dansa, balada_ and _pastorela_, which had had such a luxuriant growth in Southern France in the eleventh and twelfth centuries. A highly elaborated metrical system mainly distinguishes these writers, but some of page xiii their work catches a pleasing lilt which is supposed to represent the imitation of songs of the people. The popular element in the Galician productions is slight, but it was to bear important fruit later, for its spirit is that of the _serranas_ of Ruiz and Santillana, and of _villancicos_ and eclogues in the sixteenth century. It was probably in the neighborhood of 1350 that lyrics began to be written in Castilian by the cultured classes of Leon and Castile, who had previously thought Galician the only proper tongue for that use, but the influence of the Galician school persisted long after. The first real lyric in Castilian is its offspring. This is the anonymous _Razon feyta d'amor_ or _Aventura amorosa_ (probably thirteenth century), a dainty story of the meeting of two lovers. It is apparently an isolated example, ahead of its time, unless, as is the case with the Castilian epic, more poems are lost than extant. The often quoted _Cantica de la Virgen_ of Gonzalo de Berceo (first half of thirteenth century), with its popular refrain _Eya velar_, is an oasis in the long religious epics of the amiable monk of S. Millan de la Cogolla. One must pass into the succeeding century to find the next examples of the true lyric. Juan RUIZ, the mischievous Archpriest of Hita (flourished _ca_. 1350), possessed a genius sufficiently keen and human to infuse a personal vigor into stale forms. In his _Libro de buen amor_ he incorporated lyrics both sacred and profane, _Loores de Santa Maria_ and _Canticas de serrana_, plainly in the Galician manner and of complex metrical structure. The _serranas_ are particularly free and unconventional. The Chancellor Pero LOPEZ DE AYALA (1332-1407), wise statesman, brilliant historian and trenchant page xiv satirist, wrote religious songs in the same style and still more intricate in versification. They are included in the didactic poem usually called _El rimado de palacio_. Poetry flourished in and about the courts of the monarchs of the Trastamara family; and what may be supposed a representative collection of the work done in the reigns of Henry II (1369-1379), John I (1379-1388), Henry III (1388-1406) and the minority of John II (1406-1454), is preserved for us in the _Cancionero_ which Juan Alfonso de Baena compiled and presented to the last-named king. Two schools of versifiers are to be distinguished in it. The older men, such as Villasandino, Sanchez de Talavera, Macias, Jerena, Juan Rodriguez del Padron and Baena himself, continued the artificial Galician tradition, now run to seed. In others appears the imitation of Italian models which was to supplant the ancient fashion. Francisco Imperial, a worshiper of Dante, and other Andalusians such as Ruy Paez de Ribera, Pero Gonzalez de Uceda and Ferran Manuel de Lando, strove to introduce Italian meters and ideas. They first employed the Italian hendecasyllable, although it did not become acclimated till the days of Boscan. They likewise cultivated the _metro de arte mayor_, which later became so prominent (see below, p. lxxv ff.). But the interest of the poets of the _Cancionero de Baena_ is mainly historical. In spite of many an illuminating side-light on manners, of political invective and an occasional glint of imagination, the amorous platitudes and wire-drawn love-contests of the Galician school, the stiff allegories of the Italianates leave us cold. It was a transition period and the most talented were unable to master the undeveloped poetic language. page xv The same may be said, in general, of the whole fifteenth century. Although the language became greatly clarified toward 1500 it was not yet ready for masterly original work in verse. Invaded by a flood of Latinisms, springing from a novel and undigested humanism, encumbered still with archaic words and set phrases left over from the Galicians, it required purification at the hands of the real poets and scholars of the sixteenth century. The poetry of the fifteenth is inferior to the best prose of the same epoch; it is not old enough to be quaint and not modern enough to meet a present-day reader upon equal terms. These remarks apply only to artistic poetry. Popular poetry,--that which was exemplified in the Middle Ages by the great epics of the Cid, the Infantes de Lara and other heroes, and in songs whose existence can rather be inferred than proved,--was never better. It produced the lyrico-epic _romances_ (see _Notes_, p. 253), which, as far as one may judge from their diction and from contemporary testimony, received their final form at about this time, though in many cases of older origin. It produced charming little songs which some of the later court poets admired sufficiently to gloss. But the cultured writers, just admitted to the splendid cultivated garden of Latin literature, despised these simple wayside flowers and did not care to preserve them for posterity. The artistic poetry of the fifteenth century falls naturally into three classes, corresponding to three currents of influence; and all three frequently appear in the work of one man, not blended, but distinct. One is the conventional love-poem of the Galician school, seldom containing a fresh or personal note. Another is the stilted allegory with erotic or historical page xvi content, for whose many sins Dante was chiefly responsible, though Petrarch, he of the _Triunfi_, and Boccaccio cannot escape some blame. Third is a vein of highly moral reflections upon the vanity of life and certainty of death, sometimes running to political satire. Its roots may be found in the Book of Job, in Seneca and, nearer at hand, in the _Proverbios morales_ of the Jew Sem Tob (_ca_. 1350), in the _Rimado de Palacio_ of Ayala, and in a few poets of the _Cancionero de Baena_. John II was a dilettante who left the government of the kingdom to his favorite, Alvaro de Luna. He gained more fame in the world of letters than many better kings by fostering the study of literature and gathering about him a circle of "court poets" nearly all of noble birth. Only two names among them all imperatively require mention. Inigo LOPEZ DE MENDOZA, MARQUIS OF SANTILLANA (1398-1458) was the finest type of _grand seigneur_, protector of letters, student, warrior, poet and politician. He wrote verse in all three of the manners just named, but he will certainly be longest remembered for his _serranillas_, the fine flower of the Provencal-Galician tradition, in which the poet describes his meeting with a country lass. Santillana combined the freshest local setting with perfection of form and left nothing more to be desired in that genre. He also wrote the first sonnets in Castilian, but they are interesting only as an experiment, and had no followers. Juan de MENA (1411-1456) was purely a literary man, without other distinction of birth or accomplishment. His work is mainly after the Italian model. The _Laberinto de fortuna_, by which he is best known, is a dull allegory with much of Dante's apparatus. There are historical passages where the poet's patriotism leads him page xvii to a certain rhetorical height, but his good intentions are weighed down by three millstones: slavish imitation, the monotonous _arte mayor_ stanza and the deadly earnestness of his temperament. He enjoyed great renown and authority for many decades. Two anonymous poems of about the same time deserve mention. The _Danza de la muerte_, the Castilian representative of a type which appeared all over Europe, shows death summoning mortals from all stations of life with ghastly glee. The _Coplas de Mingo Revulgo_, promulgated during the reign of Henry IV (1454-1474), are a political satire in dialogue form, and exhibit for the first time the peculiar peasant dialect that later became a convention of the pastoral eclogues and also of the country scenes in the great drama. The second half of the century continues the same tendencies with a notable development in the fluidity of the language and an increasing interest in popular poetry. Gomez Manrique (d. 1491?) was another warrior of a literary turn whose best verses are of a severely moral nature. His nephew JORGE MANRIQUE (1440-1478) wrote a single poem of the highest merit; his scanty other works are forgotten. The _Coplas por la muerte de su padre_, beautifully translated by Longfellow, contain some laments for the writer's personal loss, but more general reflections upon the instability of worldly glory. It is not to be thought that this famous poem is in any way original in idea; the theme had already been exploited to satiety, but Manrique gave it a superlative perfection of form and a contemporary application which left no room for improvement. There were numerous more or less successful love-poets of the conventional type writing in page xviii octosyllabics and the inevitable imitators of Dante with their unreadable allegories in _arte mayor_. The repository for the short poems of these writers is the _Cancionero general_ of Hernando de Castillo (1511). It was reprinted many times throughout the sixteenth century. Among the writers represented in it one should distinguish, however, Rodrigo de Cota. His dramatic _Dialogo entre el amor y un viejo_ has real charm, and has saved his name from the oblivion to which most of his fellows have justly been consigned. The bishop Ambrosio Montesino (_Cancionero_, 1508) was a fervent religious poet and the precursor of the mystics of fifty years later. The political condition of Spain improved immensely in the reign of Ferdinand and Isabella (1479-1516) and the country entered upon a period of internal homogeneity and tranquility which might be expected to foster artistic production. Such was the case; but literature was not the first of the arts to reach a highly refined state. The first half of the sixteenth century is a period of humanistic study, and the poetical works coming from it were still tentative. JUAN DEL ENCINA (1469-1533?) is important in the history of the drama, for his _eglogas, representaciones_ and _autos_ are practically the first Spanish dramas not anonymous. As a lyric poet Encina excels in the light pastoral; he was a musician as well as a poet, and his bucolic _villancicos_ and _glosas_ in stanzas of six-and eight-syllable lines are daintily written and express genuine love of nature. The Portuguese GIL VICENTE (1470-1540?) was a follower of Encina at first, but a much bigger man. Like most of his compatriots of the sixteenth century he wrote in both Portuguese and Castilian, though better in the former tongue. He was close to the people in his thinking and writing page xix and some of the songs contained in his plays reproduce the truest popular savor. The intimate connection between Spain and Italy during the period when the armies of the Emperor Charles V (Charles I of Spain: reigned 1516-1555) were overrunning the latter country gave a new stimulus to the imitation of Italian meters and poets which we have seen existed in a premature state since the reign of John II. The man who first achieved real success in the hendecasyllable, combined in sonnets, octaves, _terza rima_ and blank verse, was Juan BOSCAN ALMOGAVER (1490?-1542), a Catalan of wealth and culture. Boscan was handicapped by writing in a tongue not native to him and by the constant holding of foreign models before his eyes, and he was not a man of genius; yet his verse kept to a loftier ideal than had appeared for a long time and his effort to lift Castilian poetry from the slough of convention into which it had fallen was successful. During the rest of the century the impulse given by Boscan divided Spanish lyrists into two opposing hosts, the Italianates and those who clung to the native meters (stanzas of short, chiefly octosyllabic, lines, for the _arte mayor_ had sunk by its own weight). The first and greatest of Boscan's disciples was his close friend GARCILASO DE LA VEGA (1503-1536) who far surpassed his master. He was a scion of a most noble family, a favorite of the emperor, and his adventurous career, passed mostly in Italy, ended in a soldier's death. His poems, however (_eglogas, canciones_, sonnets, etc.), take us from real life into the sentimental world of the Arcadian pastoral. Shepherds discourse of their unrequited loves and mourn amid surroundings of an idealized Nature. page xx The pure diction, the Vergilian flavor, the classic finish of these poems made them favorites in Spain from the first, and their author has always been regarded as a master. With Garcilaso begins the golden age of Spanish poetry and of Spanish literature in general, which may be said to close in 1681 with the death of Calderon. It was a period of external greatness, of conquest both in Europe and beyond the Atlantic, but it contained the germs of future decay. The strength of the nation was exhausted in futile warfare, and virile thought was stifled by the Inquisition, supported by the monarchs. Hence the luxuriant literature of the time runs in the channels farthest from underlying social problems; philosophy and political satire are absent, and the romantic drama, novel and lyric flourish. But in all external qualities the poetry written during this period has never been equaled in Spain. Its polish, color and choiceness of language have been the admiration and model of later Castilian poets. The superficial nature of this literature is exhibited in the controversy excited by the efforts of Boscan and Garcilaso to substitute Italian forms for the older Spanish ones. The discussion dealt with externals; with meters, not ideas. Both schools delighted in the airy nothings of the conventional love lyric, and it matters little at this distance whether they were cast in lines of eleven or eight syllables. The contest was warm at the time, however. Sa de Miranda (1495-1558), the chief exponent of the Italian school in Portugal, wrote effectively also in Castilian. Gutierre de Cetina (1518?-1572?) and Fernando de Acuna (1500?-1580?) are two others who supported the new measures. One whose example had more influence is Diego Hurtado de page xxi Mendoza (1503-1575), a famous diplomat, humanist and historian. He entertained his idle moments with verse, writing cleverly in the old style but turning also toward the new. His sanction for the latter seems to have proved decisive. Cristobal de CASTILLEJO (1490-1556) was the chief defender of the native Spanish forms. He employed them himself in light verse with cleverness, clearness and finish, and also attacked the innovators with all the resources of a caustic wit. In this patriotic task he was for a time aided by an organist of the cathedral at Granada, Gregorio Silvestre (1520-1569), of Portuguese birth. Silvestre, however, who is noted for the delicacy of his poems in whatever style, was later attracted by the popularity of the Italian meters and adopted them. This literary squabble ended in the most natural way, namely, in the co-existence of both manners in peace and harmony. Italian forms were definitively naturalized in Spain, where they have maintained their place ever since. Subsequent poets wrote in either style or both as they felt moved, and no one reproached them. Such was the habit of Lope de Vega, Gongora, Quevedo and the other great writers of the seventeenth century. A Sevillan Italianate was Fernando de HERRERA (1534?-1597), admirer and annotator of Garcilaso. Although an ecclesiastic, his poetic genius was more virile than that of his soldier master. He wrote Petrarchian sonnets to his platonic lady; but his martial, patriotic spirit appears in his _canciones_, especially in those on the battle of Lepanto and on the expedition of D. Sebastian of Portugal in Africa. In these stirring odes Herrera touches a sonorous, grandiloquent chord which rouses the page xxii reader's enthusiasm and places the writer in the first rank of Spanish lyrists. He is noteworthy also in that he made an attempt to create a poetic language by the rejection of vulgar words and the coinage of new ones. Others, notably Juan de Mena, had attempted it before, and Gongora afterward carried it to much greater lengths; but the idea never succeeded in Castilian to an extent nearly so great as it did in France, for example; and to-day the best poetical diction does not differ greatly from good conversational language. Beside Herrera stands a totally different spirit, the Salamancan monk Luis DE LEON (1527-1591). The deep religious feeling which is one strong trait of Spanish character has its representatives in Castilian literature from Berceo down, but Leon was the first to give it fine artistic expression. The mystic sensation of oneness with the divine, of aspiration to heavenly joys, breathes in all his writings. He was also a devoted student of the classics, and his poems (for which he cared nothing and which were not published till 1631) show Latin rather than Italian influence. There is nothing in literature more pure, more serene, more direct or more polished than _La vida del campo, Noche serena_ and others of his compositions. The other great mystics cared less for literature, either as a study or an accomplishment. The poems of Saint Theresa (1515-1582) are few and mostly mediocre. San Juan de la Cruz, the Ecstatic Doctor (1542-1591), wrote the most exalted spiritual poems in the language; like all the mystics, he was strongly attracted by the Song of Songs which was paraphrased by Pedro Malon de Chaide (1530-1596?). It is curious to note that the stanza adopted in the great mystical lyrics is one page xxiii invented by Garcilaso and used in his amatory fifth _Cancion_. It has the rime-scheme of the Spanish _quintilla_, but the lines are the Italian eleven-and seven-syllable (cf. pp. 9-12). Religious poems in more popular forms are found in the _Romancero espiritual_ (1612) of Jose de Valdivielso, and in Lope de Vega's _Rimas sacras_ (1614) and _Romancero espiritual_ (1622). There were numerous secular disciples of Garcilaso at about the same period. The names most deserving mention are those of Francisco de la Torre (d. 1594?), Luis Barahona de Soto (1535?-1595) and Francisco de Figueroa (1536?-1620), all of whom wrote creditably and sometimes with distinction in the Italian forms. Luis de Camoens (1524?-1580), author of the great Portuguese epic _Os Lusiadas_, employed Castilian in many verses with happy result. These figures lead to the threshold of the seventeenth century which opened with a tremendous literary output in many lines. Cervantes was writing his various novels; the romance of roguery took on new life with _Guzman de Alfarache_ (1599); the drama, which had been developing rather slowly and spasmodically, burst suddenly into full flower with Lope de Vega and his innumerable followers. The old meter of the _romance_ was adopted as a favorite form by all sorts and conditions of poets and was turned from its primitive epic simplicity to the utmost variety of subjects, descriptive, lyric and satiric. From out this flood of production--for every dramatist was in a measure a lyric poet, and dramatists were legion--we can select for consideration only the men most prominent as lyrists. First in the impulse which he gave to literature for more than a century following stands Luis de ARGOTE Y GONGORA (1561-1627), a Cordovan page xxiv who chose to be known by his mother's name. His life was mainly that of a disappointed place-hunter. His abrupt change of literary manner has made some say that there were in him two poets, Gongora the Good and Gongora the Bad. He began by writing odes in the manner of Herrera and _romances_ and _villancicos_ which are among the clearest and best. They did not bring their author fame, however, and he seems deliberately to have adopted the involved metaphoric style to which Marini gave his name in Italy. Gongora is merely the Spanish representative of the movement, which also produced Euphuism in England and _preciosite_ in France. But he surpassed all previous writers in the extreme to which he carried the method, and his _Soledades_ and _Polifemo_ are simply unintelligible for the inversions and strained metaphors with which they are overloaded. His influence was enormous. Gongorism, or _culteranismo_, as it was called at the time, swept the minor poets with it, and even those who fought the movement most vigorously, like Lope and Quevedo, were not wholly free from the contagion. The second generation of dramatists was strongly affected. Yet there are few lyric poets worth mentioning among Gongora's disciples for the reason that such a pernicious system meant certain ruin to those who lacked the master's talent. The most important names are the Count of Villamediana (1580-1622), a satirist whose sharp tongue caused his assassination, and Paravicino y Arteaga (1580-1633), a court preacher. Obviously, such an innovation could not pass without opposition from clear-sighted men. LOPE DE VEGA (1562-1635) attacked it whenever opportunity offered, and his verse seldom shows signs of corruption. It page xxv is impossible to consider the master-dramatist at length here. He wrote over 300 sonnets, many excellent eclogues, epistles, and, in more popular styles, glosses, _letrillas, villancicos, romances_, etc. Lope more than any other poet of his time kept his ear close to the people, and his light poems are full of the delicious breath of the country. The other principal opponent of Gongorism was Francisco GOMEZ DE QUEVEDO Y VILLEGAS (1580-1645), whose wit and independence made him formidable. In 1631 he published the poems of Luis de Leon and Francisco de la Torre as a protest against the baleful mannerism in vogue. But he himself adopted a hardly less disagreeable style, called conceptism, which is supposed to have been invented by Alonso de Ledesma (1552-1623). It consists in a strained search for unusual thoughts which entails forced paradoxes, antitheses and epigrams. This system, combined with local allusions, double meanings and current slang, in which Quevedo delighted, makes his poems often extremely difficult of comprehension. His _romances de jaques_, written in thieves' jargon, are famous in Spain. Quevedo wrote too much and carelessly and tried to cover too many fields, but at his best his caustic wit and fearless vigor place him high. There were not lacking poets who kept themselves free from taint of _culteranismo_, though they did not join in the fight against it. The brothers Argensola (LUPERCIO LEONARDO DE ARGENSOLA, 1559-1613, BARTOLOME LEONARDO DE ARGENSOLA, 1562-1631), of Aragonese birth, turned to Horace and other classics as well as to Italy for their inspiration. Their pure and dignified sonnets, odes and translations rank high. Juan MARTINEZ DE JAUREGUI page xxvi (1583-1641) wrote a few original poems, but is known mainly for his excellent translation of Tasso's _Aminta_. He too succumbed to Gongorism at times. The few poems of Francisco de RIOJA (1586?-1659) are famous for the purity of their style and their tender melancholy tone. A little apart is Esteban Manuel de VILLEGAS (1589-1669), an admirer of the Argensolas, "en versos cortos divino, insufrible en los mayores," who is known for his attempts in Latin meters and his successful imitations of Anacreon and Catullus. The lyrics of CALDERON (1600-1681) are to be found mostly in his _comedias_ and _autos_. There are passages which display great gifts in the realm of pure poetry, but too often they are marred by the impertinent metaphors characteristic of _culteranismo_. His name closes the most brilliant era of Spanish letters. The decline of literature followed close upon that of the political power of Spain. The splendid empire of Charles V had sunk, from causes inherent in the policies of that over-ambitious monarch, through the somber bigotry of Philip II, the ineptitude of Philip III, the frivolity of Philip IV, to the imbecility of Charles II; and the death of the last of the Hapsburg rulers in 1700 left Spain in a deplorably enfeebled condition physically and intellectually. The War of the Succession (1701-1714) exhausted her internal strength still more, and the final acknowledgment of Philip V (reigned 1701-1746) brought hardly any blessing but that of peace. Under these circumstances poetry could not thrive; and in truth the eighteenth century in Spain is an age devoted more to the discussion of the principles of literature than to the production of it. At first the decadent remnants of page xxvii the _siglo de oro_ still survived, but later the French taste, following the principles formulated by Boileau, prevailed almost entirely. The history of Spanish poetry in the eighteenth century is a history of the struggle between these two forces and ends in the triumph of the latter. The effects of Gongorism lasted long in Spain, which, with its innate propensity to bombast, was more fertile soil for it than other nations. Innumerable poetasters of the early eighteenth century enjoyed fame in their day and some possessed talent; but the obscure and trivial style of the age from which they could not free themselves deprived them of any chance of enduring fame. One may mention, as the least unworthy, Gabriel Alvarez de Toledo (1662-1714) and Eugenio Gerardo Lobo (1679-1750). Some one has said that the poetry of Spain, with the exception of the _romances_ and the drama of the _siglo de oro_, has always drawn its inspiration from some other country. Add to the exceptions the medieval epic and the statement would be close to the truth. First Provence through the medium of Galicia; then Italy and with it ancient Rome; and lastly France and England, on more than one occasion, have molded Spanish poetry. The power of the French classical literature, soon dominant in Europe, could not long be stayed by the Pyrenees; and Pope, Thomson and Young were also much admired. Philip V, a Frenchman, did not endeavor to crush the native spirit in his new home, but his influence could not but be felt. He established a Spanish Academy on the model of the French in 1714. It was some time before the reaction, based on common sense and confined to the intellectuals, could take deep root, and, as was natural, it went too far and condemned much of the _siglo de oro_ entire. The _Diario page xxviii de los literatos_, a journal of criticism founded in 1737, and the _Poetica_ of Ignacio de Luzan, published in the same year, struck the first powerful blows. Luzan (1702-1754) followed in general the precepts of Boileau, though he was able to praise some of the good points in the Spanish tradition. His own poems are frigid. The _Satira contra los malos escritores de su tiempo_ (1742) of Jorge Pitillas (pseudonym of Jose Gerardo de Hervas, d. 1742) was an imitation of Boileau which had great effect. Blas Antonio Nasarre (1689-1751), Agustin Montiano (1697-1765) and Luis Jose Velazquez (1722-1772) were critics who, unable to compose meritorious plays or verse themselves, cut to pieces the great figures of the preceding age. Needless to say, the Gallicizers were vigorously opposed, but so poor were the original productions of the defenders of the national manner that their side was necessarily the losing one. Vicente Garcia de la Huerta (1734-1787) was its most vehement partisan, but he is remembered only for a tragedy, _Raquel_. Thus it is seen that during a century of social and industrial depression Spain did not produce a poet worthy of the name. The condition of the nation was sensibly bettered under Charles III (reigned 1759-1788) who did what was possible to reorganize the state and curb the stifling domination of the Roman Church and its agents the Jesuits and the Inquisition. The Benedictine Feijoo (1675-1764) labored faithfully to inoculate Spain, far behind the rest of Europe, with an inkling of recent scientific discoveries. And the budding prosperity, however deceitful it proved, was reflected in a more promising literary generation. page xxix Nicolas FERNANDEZ DE MORATIN (1737-1780) followed the French rules in theory and wrote a few mediocre plays in accordance with them; but he showed that at heart he was a good poet and a good Spaniard by his ode _A Pedro Romero, torero insigne_, some _romances_ and his famous _quintillas_, the _Fiesta de toros en Madrid_. Other followers of the French, in a genre not, strictly speaking, lyric at all, were the two fabulists, Samaniego and Iriarte. F. Maria de SAMANIEGO (1745-1801) gave to the traditional stock of apologues, as developed by Phaedrus, Lokman and La Fontaine, a permanent and popular Castilian form. Tomas de IRIARTE (1750-1791), a more irritable personage who spent much time in literary polemics, wrote original fables (_Fabulas literarias_, 1781) directed not against the foibles of mankind in general, but against the world of writers and scholars. The best work which was done under the classical French influence, however, is to be found in the writers of the so-called Salamancan school, which was properly not a school at all. The poets who are thus classed together, Cadalso, Diego Gonzalez, Jovellanos, Forner, Melendez Valdes, Cienfuegos, Iglesias, were personal friends thrown together in the university or town of Salamanca, but they were not subjected to a uniform literary training and possessed no similarity of style or aim as did the men of the later Sevillan school. Jose de CADALSO (1741-1782), a dashing soldier of great personal charm killed at the siege of Gibraltar, is sometimes credited with founding the school of Salamanca. He was a friend of most of the important writers of his time and composed interesting prose satires; his verse (_Noches lugubres_, etc.) is not remarkable. FRAY DIEGO GONZALEZ (1733-1794) is one of the masters of page xxx idiomatic Castilian in the century. He admired Luis de Leon and imitated him in paraphrases of the Psalms. The volume of his verse is small but unsurpassed in surety of taste and evenness of finish. The _Murcielago alevoso_ has passed into many editions and become a favorite in Spain. The pure and commanding figure of JOVELLANOS (1744-1811) dominated the whole group which listened to his advice with respect. It was not always sure, for he led Diego Gonzalez and Melendez Valdes astray by persuading them to attempt philosophical poetry instead of the lighter sort for which they were fitted. He was in fact a greater man than poet, but his satires and _Epistola al duque de Veragua_ are strong and dignified. Juan MELENDEZ VALDES (1754-1817) was on the contrary a greater poet than man. Brilliant from the first, he was petted by Cadalso and Jovellanos who strove to develop his talent. In 1780 he won a prize offered by the Academy for an eclogue. In 1784 his comedy _Las bodas de Camacho_, on a subject suggested by Jovellanos (from an episode in _Don Quijote_, II, 19-21), won a prize offered by the city of Madrid, but failed on the stage. His first volume of poems was published in 1785; later editions appeared in 1797 and 1820. He attached himself to the French party at the time of the invasion in 1808, incurred great popular odium and died in France. He is the most fluent, imaginative poet of the eighteenth century and is especially successful in the pastoral and anacreontic styles. Fresh descriptions of nature, enchanting pictures of love, form an oasis in an age of studied reasonableness. His language has been criticized for its Gallicisms. Jose IGLESIAS DE LA CASA (1748-1791), a native of Salamanca and a priest, wrote much light satirical verse, epigrams, parodies page xxxi and _letrillas_ in racy Castilian; he was less successful in the graver forms. Nicasio ALVAREZ DE CIENFUEGOS (1764-1809) passes as a disciple of Melendez; he was a passionate, uneven writer whose undisciplined thought and habit of coining words lead to obscurity. Politically he opposed the French with unyielding vigor, barely escaped execution at their hands and died in exile. The verse of Cienfuegos prepared the way for Quintana. Differing from him in clarity and polish are Fr. Sanchez Barbero (1764-1819) and Leandro F. de Moratin, the dramatist (1760-1828). One curious result of rationalistic doctrines was the "prosaism" into which it led many minor versifiers. These poetasters, afraid of overstepping the limits of good sense, tabooed all imagination and described in deliberately prosy lines the most commonplace events. The movement reached its height at the beginning of the reign of Charles IV (1788-1808) and produced such efforts as a poem to the gout, a nature-poem depicting barn-yard sounds, and even Iriarte's _La musica_ (1780), in which one may read in carefully constructed _silvas_ the definition of diatonic and chromatic scales. II SPANISH LYRIC POETRY OF THE NINETEENTH CENTURY Early in the nineteenth century the armies of Napoleon invaded Spain. There ensued a fierce struggle for the mastery of the Peninsula, in which the latent strength and energy of the Spaniards became once more evident. The page xxxii French devastated parts of the country, but they brought with them many new ideas which, together with the sharpness of the conflict, served to awaken the Spanish people from their torpor and to give them a new realization of national consciousness. During this period of stress and strife two poets, Quintana and Gallego, urged on and encouraged their fellow countrymen with patriotic songs. Manuel Jose QUINTANA (1772-1857) had preeminently the "gift of martial music," and great was the influence of his odes _Al armamento de las provincias contra los franceses_ and _A Espana despues de la revolucion de marzo_. He also strengthened the patriotism of his people by his prose _Vidas de espanoles celebres_ (begun in 1806): the Cid, the Great Captain (Gonzalo de Cordoba), Pizarro and others of their kind. In part a follower of the French philosophers of the eighteenth century, Quintana sang also of humanity and progress, as in his ode on the invention of printing. In politics Quintana was a liberal; in religious beliefs, a materialist. Campoamor has said of Quintana that he sang not of faith or pleasures, but of duties. His enemies have accused him of stirring the colonies to revolt by his bitter sarcasm directed at past and contemporaneous Spanish rulers, but this is doubtless an exaggeration. It may be said that except in his best patriotic poems his verses lack lyric merit and his ideas are wanting in insight and depth; but his sincerity of purpose was in the main beyond question and he occasionally gave expression to striking boldness of thought and exaltation of feeling. In technique Quintana was a follower of the Salamancan school. The cleric Juan Nicasio GALLEGO (1777-1853) rivaled Quintana as a writer of patriotic verses. A liberal in politics like Quintana, Gallego also took the page xxxiii side of his people against the French invaders and against the servile Spanish rulers. He is best known by the ode _El dos de mayo_, in which he exults over the rising of the Spanish against the French on the second of May, 1808; the ode _A la defensa de Buenos Aires_ against the English; and the elegy _A la muerte de la duquesa de Frias_ in which he shows that he is capable of deep feeling. Gallego was a close friend of Quintana, whose salon in Madrid he frequented. Gallego wrote little, but his works are more correct in language and style than those of Quintana. It is interesting that although the writings of these two poets evince a profound dislike and distrust of the French, yet both were in their art largely dominated by the influence of French neo-classicism. This is but another illustration of the relative conservatism of belles-lettres. In the year 1793 there had been formed in Seville by a group of young writers an Academia de Letras Humanas to foster the cultivation of letters. The members of this academy were admirers of Herrera, the Spanish Petrarchist and patriotic poet of the sixteenth century, and they strove for a continuation of the tradition of the earlier Sevillan group. The more important writers of the later Sevillan school were Arjona, Blanco, Lista and Reinoso. Manuel Maria de ARJONA (1771-1820), a priest well read in the Greek and Latin classics, was an imitator of Horace. Jose Maria BLANCO (1775-1841), known in the history of English literature as Blanco White, spent much time in England and wrote in English as well as in Castilian. Ordained a Catholic priest he later became an Unitarian. The best-known and most influential writer of the group was Alberto LISTA (1775-1848), an educator and page xxxiv later canon of Seville. Lista was a skilful artist and like Arjona an admirer and imitator of Horace; but his ideas lacked depth. His best-known poem is probably a religious one, _A la muerte de Jesus,_ which abounds in true poetic feeling. Lista exerted great influence as a teacher and his _Lecciones de literatura espanola_ did much to stimulate the study of Spanish letters. Felix Jose REINOSO (1772-1814), also a priest, imitated Milton in _octava rima_. As a whole the influence of the Sevillan school was healthful. By insisting upon purity of diction and regularity in versification, the members of the school helped somewhat to restrain the license and improve the bad taste prevailing in the Spanish literature of the time. The Catalonian Manuel de CABANYES (1808-1833) remained unaffected by the warring literary schools and followed with passionate enthusiasm the precepts of the ancients and particularly of Horace. In the third decade of the nineteenth century romanticism, with its revolt against the restrictions of classicism, with its free play of imagination and emotion, and with lyricism as its predominant note, flowed freely into Spain from England and France. Spain had remained preeminently the home of romanticism when France and England had turned to classicism, and only in the second half of the eighteenth century had Spanish writers given to classicism a reception that was at the best lukewarm. Now romanticism was welcomed back with open arms, and Spanish writers turned eagerly for inspiration not only to Chateaubriand, Victor Hugo and Byron, but also to Lope de Vega and Calderon. Spain has always worshiped the past, for Spain was once great, and the appeal of romanticism was page xxxv therefore the greater as it drew its material largely from national sources. In 1830 a club known as the Parnasillo was formed in Madrid to spread the new literary theories, much as the Cenacle had done in Paris. The members of the Parnasillo met in a wretched little cafe to avoid public attention. Here were to be found Breton de los Herreros, Estebanez Calderon, Mesonero Romanos, Gil y Zarate, Ventura de la Vega, Espronceda and Larra. The influence of Spanish epic and dramatic poetry had been important in stimulating the growth of romanticism in England, Germany and France. In England, Robert Southey translated into English the poem and the chronicle of the Cid and Sir Walter Scott published his Vision of Don Roderick; in Germany, Herder's translation of some of the Cid _romances_ and the Schlegel brothers' metrical version of Calderon's dramas had called attention to the merit of the earlier Spanish literature; and in France, Abel Hugo translated into French the _Romancero_ and his brother Victor made Spanish subjects popular with _Hernani_ and _Ruy Blas_ and the _Legendes des siecles_. But Spain, under the despotism of Ferdinand VII, the "Tyrant of Literature," remained apparently indifferent or even hostile to its own wonderful creations, and clung outwardly to French neo-classicism.[2] Boehl von Faber,[3] the German consul at Cadiz, who was influenced by the Schlegel brothers, had early called attention to the merit of the Spanish literature of the Golden Age and had even had some of Calderon's plays performed at Cadiz. And in page xxxvi 1832 Duran published his epoch-making _Romancero_. In 1833 Ferdinand VII died and the romantic movement was hastened by the home-coming of a number of men who had fled the despotism of the monarch and had spent some time in England and France, where they had come into contact with the romanticists of those countries. Prominent amongst these were Martinez de la Rosa, Antonio Alcala Galiano, the Duke of Rivas and Espronceda. [Footnote 2: Cf. _l'Epopee castillane_, Ramon Menendez Pidal, Paris, 1910, pp. 249-252.] [Footnote 3: The father of Fernan Caballero.] In this period of transition one of the first prominent men of letters to show the effects of romanticism was Francisco MARTINEZ DE LA ROSA (1787-1862). Among his earlier writings are a _Poetica_ and several odes in honor of the heroes of the War of Independence against the French. After his exile in Paris he returned home imbued with romanticism, and his two plays, _Conjuracion de Venecia_ (1834) and _Aben Humeya_ (1836: it had already been given in French at Paris in 1830), mark the first public triumph of romanticism in Spain. But Martinez de la Rosa lacked force and originality and his works merely paved the way for the greater triumph of the Duke of Rivas. Angel de Saavedra, DUQUE DE RIVAS (1791-1865), a liberal noble, insured the definite triumph of romanticism in Spain by the successful performance of his drama _Don Alvaro_ (1835). At first a follower of Moratin and Quintana, he turned, after several years of exile in England, the Isle of Malta and France, to the new romantic school, and casting off all classical restraints soon became the acknowledged leader of the Spanish romanticists. Among his better works are the lyric _Al faro de Malta_, the legendary narrative poem _El moro exposito_ and his _Romances historicos_. The _Romances_ are more sober in tone and less fantastic,--and it should be added, less popular to-day,--than the legends of page xxxvii Zorrilla. After a tempestuous life the Duke of Rivas settled quietly into the place of director of the Spanish Academy, which post he held till his death. Jose de ESPRONCEDA (1808-1842) was preeminently a disciple of Byron, with Byron's mingling of pessimism and aspiration, and like him in revolt against the established order of things in politics and social organization. His passionate outpourings, his brilliant imagery and the music of his verse give to Espronceda a first place amongst the Spanish lyrical poets of the nineteenth century. Some of his shorter lyrics (e.g. _Canto a Teresa_) are inspired by his one-time passion for Teresa with whom after her marriage to another he eloped from London to Paris. The poet's best known longer works are the _Diablo mundo_ and the _Estudiante de Salamanca_, which are largely made up of detached lyrics in which the subjective note is strikingly prominent. Espronceda was one of those fortunate few who shine in the world of letters although they work little. Both in lyric mastery and in his spirit of revolt, Espronceda holds the place in Spanish literature that is held in English by Byron. He is the chief Spanish exponent of a great revolutionary movement that swept over the world of letters in the first half of the nineteenth century. Jose ZORRILLA (1817-1893) first won fame by the reading of an elegy at the burial of Larra. Zorrilla was a most prolific and spontaneous writer of verses, much of which is unfinished in form and deficient in philosophical insight. But in spite of his carelessness and shallowness he rivaled Espronceda in popularity. His verses are not seldom melodramatic or childish, but they are rich in coloring and poetic fancy and they form a page xxxviii vast enchanted world in which the Spaniards still delight to wander. His versions of old Spanish legends are doubtless his most enduring work and their appeal to Spanish patriotism is not less potent to-day than when they were written. Zorrilla's dramatic works were successful on the stage by reason of their primitive vigor, especially _Don Juan Tenorio_, _El Zapatero y el rey_ and _Traidor, inconfeso y martir_. This "fantastic and legendary poet" went to Mexico in 1854 and he remained there several years. After that date he wrote little and the little lacked merit. Gertrudis Gomez de AVELLANEDA (1814-1873) was born in Cuba but spent most of her life in Spain. Avellaneda was a graceful writer of lyrics in which there was feeling and melody but little depth of thought. With her the moving impulse was love, both human and divine. Her first volume of poems (1841) probably contains her best work. Her novels _Sab_ and _Espatolino_ were popular in their day but are now fallen into oblivion. Some of her plays, especially _Baltasar_ and _Munio_, do not lack merit. Avellaneda is recognized as the foremost poet amongst the women of nineteenth-century Spain. Two of the most successful dramatists of this period, Garcia Gutierrez and Hartzenbusch, were also lyric poets. Antonio GARCIA GUTIERREZ (1813-1884), the author of _El trovador_, published two volumes of mediocre verses. Juan Eugenio HARTZENBUSCH (1806-1880) was, like Fernan Caballero, the child of a German father and a Spanish mother. Though an eminent scholar and critic, he did not hesitate in his _Amantes de Teruel_ to play to the popular passion for sentimentality. He produced some lyric verse of worth. Manuel BRETON DE LOS HERREROS (1796-1873) was primarily a humorist and satirist, who turned from page xxxix lyric verse to drama as his best medium of expression. He delighted in holding up to ridicule the excesses of romanticism. Mention should be made here of two poets who had been, like Espronceda, pupils of Alberto Lista. The eclectic poet MARQUES DE MOLINS (Mariano Roca de Togores: 1812-1889) wrote passively in all the literary genres of his time. VENTURA DE LA VEGA (1807-1865) was born in Argentina, but came to Spain at an early age. He was a well-balanced, cautious writer of mediocre verses that are rather neo-classic than romantic. A marked reaction against the grandiose exaggerations of later romanticism appears in the works of Jose SELGAS y Carrasco (1824-1882), a clever writer of simple, sentimental verses. At one time his poetry was highly praised and widely read, but for the most part it is to-day censured as severely as it was once praised. Among the contemporaries of Selgas were the writer of simple verses and one-time popular tales, Antonio de TRUEBA (1821-1889) and Eduardo BUSTILLO, the author of _Las cuatro estaciones_ and _El ciego de Buenavista_. Somewhat of the tradition of the Sevillan school persisted in the verses of Manuel CANETE and Narciso CAMPILLO (1838-1900) and in those of the poet and literary critic Jose AMADOR DE LOS RIOS. The Sevillan Gustavo Adolfo BECQUER (1836-1870) wrote perhaps the most highly polished Spanish verse of the nineteenth century. His _Rimas_ are charged with true poetic fancy and the sweetest melody, but the many inversions of word-order that were used to attain to perfection of metrical form detract not a little from their charm. His writings are contained in three small volumes in which are found, together with the _Rimas_, a collection of prose legends. His prose work is page xl filled with morbid mysticism or fairy-like mystery. His dreamy prose is often compared to that of Hoffmann and his verses to those of Heine, although it is doubtful if he was largely influenced by either of these German writers. Becquer sings primarily of idealized human love. His material life was wretched and it would seem that his spirit took flight into an enchanted land of its own creation. Most human beings love to forget at times their sordid surroundings and wander in dreamland; hence the enduring popularity of Becquer's works and especially of the _Rimas_. Becquer has been widely imitated throughout the Spanish-speaking world, but with little success. In this connection it should be noted that the Spanish poets who have most influenced the Spanish literature of the nineteenth century, both in the Peninsula and in America, are the Tyrtaean poet Quintana, the two leading romanticists Espronceda and Zorrilla and the mystic Becquer. Like most writers in Latin lands, Juan VALERA y Alcala Galiano (1824-1905) and Marcelino MENENDEZ Y PELAYO (1856-1912) began their literary career with a volume or two of lyric verses. Valera's verses have perfect metrical form and evince high scholarship, but they are too learned to be popular. The lyrics of Menendez y Pelayo have also more merit in form than in inspiration and are lacking in human interest. Both authors turned soon to more congenial work: Valera became the most versatile and polished of all nineteenth century Spanish writers of essays and novels; and Menendez y Pelayo became Spain's greatest scholar in literary history. The popular novelist, Pedro Antonio de ALARCON (1833-1891), wrote lyrics in which there is a curious blending of humor and skepticism. page xli The foremost Spanish poet of the closing years of the nineteenth century was Ramon de CAMPOAMOR y Campoosorio (1817-1901) who is recognized as the initiator in Spain of a new type of verse in his _Doloras_ and _Pequenos poemas_. The _doloras_ are, for the most part, metrical fables or epigrams, dramatic or anecdotal in form, in which the author unites lightness of touch with depth of feeling. The _pequeno poema_ is merely an enlarged _dolora_. Campoamor disliked Byron and he disliked still more the sonorous emptiness that is characteristic of too much Spanish poetry.[4] In philosophy he revered Thomas a Kempis; in form he aimed at conciseness and directness rather than at artistic perfection. His poetry lacks enthusiasm and coloring, but it has dramatic interest. [Footnote 4: Menendez y Pelayo (_Ant. Poetas Hisp.-Am._, I, p. lv) says: "Al fin espanoles somos, y a tal profusion de luz y a tal estrepito de palabras sonoras no hay entre nosotros quien resista."] The poets Manuel del PALACIO (1832-1895) and Federico BALART (1831-1905), though quite unlike in genius, won the esteem of their contemporaries. Palacio wrote excellent sonnets and epigrams. In his _Leyendas y poemas_ he proved his mastery of Spanish diction; he had, moreover, the saving grace of humor which was so noticeably lacking in Zorrilla's legends. The poet and literary critic, Balart, achieved fame with his _Dolores_, in which he mourns with sincere grief the death of his beloved wife. Mention should also be made of the following poets who deserve recognition in this brief review of the history of Spanish lyric poetry: Vicente Wenceslao QUEROL (1836-1889), a Valencian, whose _El eclipse, Cartas a Maria_, and _La fiesta de Venus_, evince a remarkable technical skill and an unusual correctness of diction; Teodoro page xlii LLORENTE (cf. p. 279); Jose GALIANO ALCALA whose verses have delicate feeling and lively imagination; Emilio FERRARI (b. 1853), the author of _Abelardo e Hipatia_ and _Aspiracion_; the pessimistic poets, Joaquin Maria de BARTRINA (1850-1880) and Gabino TEJADO; Salvador RUEDA (b. 1857), author of _El bloque_, _En tropel_ and _Cantos de la vendimia_; and the poet and dramatist, Eduardo MARQUINA. After the death of Campoamor in the first year of the twentieth century, the title of _doyen_ of Spanish letters fell by universal acclaim to Gaspar NUNEZ DE ARCE (1834-1903). Nunez de Arce was a lyric poet, a dramatist and a writer of polemics, but first of all a man of action. With him the solution of political and sociological problems was all-important, and his literary writings were mostly the expression of his sociological and political views. Nunez de Arce is best known for his _Gritos del combate_ (1875), in which he sings of liberty but opposes anarchy with energy and courage. As a satirist he attacks the excesses of radicalism as well as the vices and foibles common to mankind.[5] As a poet he is neither original nor imaginative, and often his ideas are unduly limited; but he writes with a manly vigor that is rare amongst Spanish lyric poets, most of whom have given first place to the splendors of rhetoric. [Footnote 5: Speaking of Nunez de Arce's satire, Juan Valera says humorously, in _Florilegio de poesias castellanas del siglo XIX_, Madrid, 1902, Vol. I, p. 247: "Esta el poeta tan enojado contra la sociedad, contra nuestra descarriada civilizacion y contra los crimenes y maldades de ahora, y nos pinta tan perverso, tan vicioso y tan infeliz al hombre de nuestros dias, atormentado por dudas, remordimientos, codicias y otras viles pasiones, que, a mi ver, lejos de avergonzarse este hombre de descender del mono, debiera ser el mono quien se avergonzara de haberse humanado."] Most writers on the history of European literatures have page xliii called attention to the fact that at the beginning of the nineteenth century there was a great outpouring of lyricism, which infused itself into prose as well as verse. When this movement had exhausted itself there came by inevitable reaction a period of materialism, when realism succeeded romanticism and prose fiction largely replaced verse. And now sociological and pseudo-scientific writings threaten the very existence of idealistic literature. And yet through it all there has been no dearth of poets. Browning in England and Campoamor in Spain, like many before them, have given metrical form to the expression of their philosophical views. And other poets, who had an intuitive aversion to science, have taken refuge in pure idealism and have created worlds after their own liking. To-day prose is recognized as the best medium for the promulgation of scientific or political teachings, and those who are by nature poets are turning to art for art's sake. Poetry is less didactic than formerly, and it is none the less beautiful and inspiring. The _Notes_ to this volume contain historical sketches of the literatures of Argentina (p. 279), Colombia (p. 285), Cuba (p. 291), Ecuador and Peru (p. 296), Mexico (p. 307), and Venezuela (p. 315). It is to be regretted that lack of space has excluded an account of the literatures of other Spanish-American countries, and especially of Chile and Uruguay. III SPANISH VERSIFICATION Spanish versification is subject to the following general laws: (1) There must be a harmonious flow of syllables, in which harsh combinations of sounds are avoided. This page xliv usually requires that stressed syllables be separated by one or more unstressed syllables.[6] [Footnote 6: By stress is meant secondary as well as primary syllabic stress. Thus, _en nuestra vida_ has primary stress on _vi-_, and secondary stress on _nues-_.] (2) Verse must be divided into phrases, each of which can be uttered easily as one breath-group. The phrases are normally of not less than four nor more than eight syllables, with a rhythmic accent on the next to the last syllable of each phrase.[7] Phrases of a fixed number of syllables must recur at regular intervals. There may or may not be a pause at the end of the phrase. [Footnote 7: The unstressed syllable may be lacking, or there may be two unstressed syllables, after the rhythmic accent. See under _Syllabication_.] (_a_) In the n-syllable binary line the phrases may recur at irregular intervals. In lines with regular ternary movement phrasing is largely replaced by rhythmic pulsation (cf. p. lxx). (3) There must be rime of final syllables, or final vowels, recurring at regular intervals. (_a_) In some metrical arrangements of foreign origin the rimes recur at irregular intervals, or there is no rime at all. See the _silva_ and _versos sueltos_ under _Strophes_. Whether normal Spanish verse has, or ever had, binary movement, with the occasional substitution of a "troche" for an "iambic," or vice-versa, is in dispute.[8] That is, whether in Spanish verse, with the usual movement, (1) the alternation of stressed and unstressed syllables is essential, or whether (2) the mere balancing of page xlv certain larger blocks of syllables is sufficient. For instance, in this line of Luis de Leon: ya muestra en esperanza el fruto cierto, is there regular rhythmic pulsation, much less marked than in English verse, doubtless,--but still an easily discernible alternation of stressed and unstressed syllables? If so, there must be secondary stress on _es-_. Or is _ya muestra en esperanza_ one block, and _el fruto cierto_ another, with no rhythmic stresses except those on _-anza_ and _cierto_? [Footnote 8: There are in Spanish certain types of verses in which there is regular ternary movement throughout. These are treated separately. Cf. p. lxx.] The truth seems to be that symmetry of phrases (the balancing of large blocks of syllables) is an essential and important part of modern Spanish versification; but that, in musical verse of the ordinary type, there is also a subtle and varied binary movement, while in some recitative verse (notably the dramatic _romance_ verse) the binary movement is almost or quite negligible.[9] [Footnote 9: A count of Spanish verses (none from drama), by arbitrarily assuming three contiguous atonic syllables to be equal to-[/-]-(with secondary stress on the middle syllable), gave the following results (cf. _Romanic Review, Vol. III_, pp. 301-308): Common syllabic arrangements of 8-syllable lines: (1) / _ / _ / _ / (_): Esta triste voz oi. (2) _ / _ / _ _ / (_): Llorando dicen asi. (3) _ / _ _ / _ / (_): Mi cama las duras penas. Of 933 lines, 446 (nearly one-half) were in class (1); 257 in class (2); and 191 in class (3). The remaining lines did not belong to any one of these three classes. Common syllabic arrangements of 11-syllable lines: (1) _ / _ / _ / _ / _ / (_): Veras con cuanto amor llamar porfia. (2) / _ / _ _ / _ / _ / (_): Cuantas veces el angel me decia. (3) / _ _ / _ / _ / _ / (_): Este matiz que al cielo desafia. Of 402 lines, 216 (slightly more than one-half) were in class (1); 94 were in class (2); and 75 in class (3). The remaining lines did not belong to any one of these three classes. Note that, in these arrangements of the 11-syllable lines, the irregularities in rhythm are found only in the first four syllables.] page xlvi Some poets have used at times a quite regular binary movement in Spanish verse; but they have had few or no followers, as the effect was too monotonous to please the Spanish ear. Thus, Solis: Siempre orillas de la fuente Busco rosas a mi frente, Pienso en el y me sonrio, Y entre mi le llamo mio, Me entristezco de su ausencia, Y deseo en su presencia La mas bella parecer. (p. 53, ll. 6-12) The Colombian poet, Jose Eusebio Caro, wrote much verse thus, under the influence of the English poets. On the other hand, some recent "decadent" poets have written verses in which the principle of symmetry of phrases, or of a fixed number of syllables, is abandoned, and rhythm and rime are considered sufficient to make the lines musical. Thus, Leopoldo Lugones (born 1875?), of Argentina, in verses which he calls "_libres_" (cf. _Lunario sentimental_, Buenos Aires, 1909): Luna, quiero cantarte iOh ilustre anciana de las mitologias! Con todas las fuerzas de mi arte. Deidad que en los antiguos dias Imprimiste en nuestro polvo tu sandalia, No alabare el liturgico furor de tus orgias Ni su erotica didascalia, Para que alumbres sin mayores ironias, Al poligloto elogio de las Guias, Noches sentimentales de _mises_ en Italia. (_Himno a la luna_) This is largely a harking back to primitive conditions, for in the oldest Castilian narrative verse the rule of "counted syllables" apparently did not prevail. Cf. the _Cantar de mio Cid_, where there is great irregularity in the number of syllables. And, although in the page xlvii old _romances_ the half-lines of eight syllables largely predominate, many are found with seven or nine syllables, and some with even fewer or more. The adoption of the rule of "counted syllables" in Spanish may have been due to one or more of several causes: to the influence of medieval Latin rhythmic songs;[10] to French influence; or merely to the development in the Spanish people of a feeling for artistic symmetry. [Footnote 10: Such as: Stabat Mater dolorosa Juxta crucem lachrymosa Dum pendebat filius.] Other poets of to-day write verses in which the line contains a fixed number of syllables or any multiple of that number. Thus, Julio Sesto (_Blanco y Negro_, Nov. 5, 1911): iComo desembarcan..., como desembarcan esas pobres gentes...! Desde la escalera de la nave todo Nueva York abarcan de un vistazo: muelles, rio, casas, puentes... Y despues que todos sus cinco sentidos ponen asombrados en ver la ciudad, como agradecidos, miran a la estatua de la Libertad. iElla es la Madona, ella es la Madona, que de la Siberia saca a los esclavos, que a los regicidas la vida perdona, y que salva a muchos de contribuyentes, pobres, perseguidos, subditos y esclavos!... (_La tierra prometida_) Spanish poets have often tried to write verses in classical meters with the substitution of stress for quantity. Thus, Villegas in the following hexameters: Seis veces el verde soto corono su cabeza de nardo, de amarillo trebol, de morada vioela, en tanto que el pecho frio de mi casta Licoris al rayo del ruego mio deshizo su hielo.[11] [Footnote 11: Apparently _trebol_ instead of _trebol_. These lines are quoted by Eugenio Mele, in _La poesia barbara in Ispagna_, Bari, 1910.] page xlviii Jose Eusebio Caro wrote similar hexameters, and, strange to say, made alternate lines assonate: iCefiro rapido lanzate! irapido empujame y vivo! iMas redondas mis velas pon: del proscrito a los lados, haz que tus silbos susurren dulces y dulces suspiren! iHaz que pronto del patrio suelo se aleje mi barco! (_En alta mar_) The number of these direct imitations is large; but few succeeded. They are, at best, foreign to the spirit of Castilian poetry. In singing Spanish verses two facts are of especial interest: that, where the rules of prosody require synalepha, hiatus sometimes occurs (especially in opera), thus: Recogete--ese panuelo. (Olmedo, _Folk-lore de Castilla_, p. 133) Y el pajaro--era verde. (Ledesma, _Cancionero salmantino_, p. 53) And that musical accents do not necessarily coincide with syllabic stresses, even at the end of a phrase. Thus, iCuantas veces, vida mia, Te asomaras al balcon![12] iCuerpo bueno, alma divina, Que de fatigas me cuestas! iBendiga Dios ese cuerpo, Tan llenisimo de gracia! (Hernandez, _Flores de Espana_) [Footnote 12: The grave accent mark (`) indicates a strong musical accent.] page xlix SYLLABICATION In most modern Spanish verse there is a fixed number of syllables in a line up to and including the last stressed syllable.[13] In counting these syllables consideration must be given to the following facts: [Footnote 13: The number of unstressed syllables at the end of a line is not fixed. See p. lvi. In order to have the correct number of syllables, poets sometimes (1) shorten a word or (2) shift the accent: (1) ?Ya que mi puro _espirtu_ sucias carnes... (Cabanyes, _A Cintio_) (2) Puede querer...? _Abrale_... (Zorrilla, _Don Juan Tenorio_, primeraa parte, III, 6) Deben de ser _angeles_. (Lope de Vega, _El mejor alcalde el rey_, II) Note the artificial separation of lines in some dramatic _romance_-verse: ... Soy un cate- Cumeno muy diligente. (Calderon, _El Jose de las mujeres_, II) De una vil hermana, de un Falso amigo, de un infame Criado... (Calderon, _No hay burlas con el amor_, III)] (1) SYNERESIS Within a word two or three contiguous vowels usually combine to form a diphthong or a triphthong respectively (this is called "syneresis"): _bai|le, rey, oi|go, ciu|dad, cui|da|do, es|tu|diar, es|tu|diais, dien|te, lim|pio, gra|cio|so, muy, bien, pue|de, buey_, etc. Exceptions: (_a_) A stressed "weak" vowel (_i, u_) may not combine with a "strong" vowel (_a, e, o_) to form a diphthong: _di|a_,_ri|e, fri|o, ra|iz, le|i|do, o|i|do, page l con|ti|nu|a, con|ti|nu|e, con|ti|nu|o, ba|ul, sa|bi|a, sa|bri|ais, ca|i|ais,_ etc.[14] [Footnote 14: Note that in these combinations the weak vowel receives the accent mark. Some Spanish-American poets have sinned grievously, by reason of their local pronunciation, in diphthongizing a strong vowel with a following stressed weak vowel, as _maiz, a|taud, oi|do_, for _ma|iz, a|ta|ud, o|i|do_, respectively, etc.] Exceptions are rare: Su|pe | que | se|ria | di|cho|so | (Calderon, _No hay burlas con el amor_, III) Cf. also _rendios_, etc., where the _o_ of _os_ combines with the _i_ by synalepha. (_b_) _ua, uo_, are usually disyllabic, except after _c, g_, and _j: a|due|a|na, sue|a|ve;_ but _cua|tro, san|ti|guo, Juan_, etc. Syneresis may occur: _sua|ve_. (_c_) _ui_ is usually disyllabic, except in _muy: flu|i|do_. (_d_) Two unstressed strong vowels, if they follow the stress, regularly form a diphthong; but if they precede they may form a diphthong or they may be dissyllabic, usually at the option of the poet. Que | del | em|pi|r=eo e=n | el | ce|nit | fi|na|ba.[15] (p. 180, l. 11) Las | mar|mo|r=ea=s|, y aus|te|ras | es|cul|tu|ras. (p. 138, l. 22) La | ne|gra ad|ver|si|dad|, con | fe|rr=ea= | ma|no. (p. 144, l. 20) El | tiem|po en|tre | sus | plie|gues | r=o|e=|do|res. (p. 85, l. 24) page li Te | van | a ar|mar | do | c=a|e=|ras | in|cau|ta. (p. 40, l. 24) La | f=e|a=l|dad | del vi|cio|; pe|ro hu|yo|se...[16] (p. 39, l. 14) En | tan | fra|gil | r=ea=|li|dad. (p. 97, l. 18) La | sub|li|me | p=oe=|si|a | re|ver|be|ra. (p. 149,1. 19) [Footnote 15: Note that here poetic usage differs from the rules for syllabication that obtain in prose. Thus, in _empireo_ the _i_ receives the accent mark, since it is held to be in the antepenultimate syllable, but in verse _empireo_ is regularly trisyllabic.] [Footnote 16: The _ea_ of _fealdad_ is normally disyllabic by analogy with _feo_. Cf. (_f_) below.] (_e_) Two strong vowels, if one is stressed, are usually disyllabic: _pa|se|a, re|cre|o, ca|no|a,_ etc. A|rran|ca a|rran|ca|, Dios | mi|o, De | la | men|te | del | p=o|e=|ta Es|te | pen|sa|mien|to im|pi|o Que en | un | de|li|rio | cr=e|o=. (p. 83, ll. 7-10) ?Que | se hi|cie|ron | tus | mu|ros | to|rr=e|a=|dos, Oh | mi | pa|tria | que|ri|da? ?Don|de | fue|ron | tus | he|roes | es|for|za|dos, Tu es|pa|da | no | ven|ci|da? (p. 78, ll. 1-4) A|na|cr=e|o=n|te, el | vi|no y | la a|le|gri|a. (p. 150, l. 4) S=a|e=|ta | que | vo|la|do|ra... (p. 121, l. 15) De o|ro | la | n=a|o= | ga|di|ta|na a|por|ta. (p. 39, l. 24) Y | no | se es|me|re en | l=o|a=r|la. (p. 43, l. 18) Don|de a | c=a|e=r | vol|ve|ra. (p. 121, l. 22) page lii Syneresis is rare, but may occur,--except in _ea_, _eo_ and _oa_,--provided the second vowel does not receive a rhythmic accent: Es|cri|ba|no al | c=ae=r | el | sol. (p. 109, l. 3) C=ae=n | es|ta|llan|do | de | los | fuer|tes | gon|ces. (p. 57, l. 19) Cual | na|ve | r=ea=l | en | triun|fo em|pa|ve|sa|da. (p. 40, l. 15) (_f_) In some words vowels that would normally form a diphthong are usually disyllabic by analogy with other forms derived from the same stem: _fi|e_, _fi|o_ (cf. _fi|o_), _ri|o_, _ri|e|ron_ (cf. _ri|o_), _con|ti|nu|e_ (cf. _con|ti|nu|o_), _di|a|rio_ (cf. _di|a_), _bri|o|so_ (cf. _bri|o_), _hu|i_, _hu|i|mos_ (cf. _hu|yo_), etc. Syneresis is rare, but possible, as in _brio|so_ for _bri|o|so_. (_g_) Prefixes, except _a_-, usually form separate syllables: _pre|in|ser|to_, _re|im|pri|mir_, _re|hu|sar_; but _aho|gar_. If the syllable after _a_-is stressed, dieresis usually occurs: A | los | que a|ho|ra a|cla|ma. (p. 220, l. 3) En | la | sub|li|me | so|le|dad | a|ho|ra... (p. 188, l. 3) (2) DIERESIS By poetic license vowels that normally form one syllable may often be dissolved into separate syllables (this is called "dieresis") at the will of the poet: _glo|rio|so_ or _glo|ri|o|so_, _rui|do_ or _rue|i|do_, etc.[17] See also (1), _d_, above. [Footnote 17: Note that the dieresis mark is generally used in dieresis of two weak vowels, or of strong and weak vowels where the strong vowel is stressed.] page liii But dieresis is impossible if the diphthong is _ie_ or _ue_ from Latin _[e]_ and _[o]_ respectively, as in _bien_, _siente_, _huevo_, _puedo_. (3) SYNALEPHA The final vowel or diphthong of one word and the initial vowel or diphthong of an immediately following word in the same line usually combine to form one syllable (this is called "synalepha")[18] as in: Cuan|do | re|cuer|do | la | pie|dad | sin|ce|ra Con | qu=e e=n | m=i e=|dad | pri|me|ra En|tra|b=a e=n | nues|tras | vie|jas | ca|te|dra|les. (p. 137, ll. 19-21) La | cien|c=ia au=|daz|, cuan|do | de | ti | s=e a=|le|ja. (p. 143, l. 16) iEs|t=a e=s | Es|pa|n=a! A=|to|ni|t=a y= | mal|tre|cha... (p. 147, l. 3) Que | mi | can|tar | so|no|ro A|com|pa|n=o ha=s|t=a a=|qui|; n=o a=|pri|sio|na|do... (p. 49, ll. 6-7) [Footnote 18: Note that the union of vowels in separate words is called synalepha, while the union of vowels within a word is called syneresis. But synalepha may occur in combinations of vowels in which syneresis would be impossible. Compare _te|ni|a_ and _ca|no|a_ with: A|si al | man|ce|bo in|te|rrum|pe (p. 94, l. 13). Ni | la | mi|ra|da | que | lan|zo al | sos|la|yo (p. 219, l. 8).] The vowels of three words may thus combine if the middle word is _a_ (or _ha_) (see also (4), _a_): Le | di|j=o e=s|t=e a u=|na | mu|jer. (p. 79, l. 15) Sal|v=a a e=s|ta | so|cie|dad | des|ven|tu|ra|da. (p. 143, l. 12) page liv (4) HIATUS (_a_) Hiatus (i.e. the final vowel of one word and the initial vowel of the immediately following word form separate syllables)[19] is caused by the interposition of a weak unstressed vowel, as in: En | sus | re|cuer|dos | de | hiel. (p. 84, l. 3) De | sus | a|la|mos | y | huer|tos. (p. 91, l. 8) Y hoy | en | sus | can|ta|res | llo|ra. (p. 84, l. 18) [Footnote 19: Note that hiatus between words is equivalent to dieresis within a word.] Note that, similarly, the vowels of three words may not combine, if the middle word is _y, e_ (or _he_), _o_ (or _oh_), _u_: O|las| de | pla|ta y | a|zul. (p. 73, l. 12) Que | la al|ma | no|che | o el | bri|llan|te | di|a. (p. 180, l. 20) ?Quien | cal|ma|ra, | iOh Es|pa|na! | tus | pe|sa|res? (p. 79, l. 7) And in all such expressions as: _o|cio|so e | i|rri|ta|do_, _Se|vi|lla | u O|vie|do_, etc. Except when a vowel is repeated: Si he es|cu|cha|do | cuan|do ha|bla|bas. (Calderon, _No hay burlas con el amor_, III) In modern Spanish, _h_, being silent, has no effect, but in older Spanish, _h_ for Latin _f_, being then pronounced, prevented synalepha, as in: Por | el | mes | e|ra | de | ma|yo cuan|do | ha|ce | la | ca|lor. (p. 7, l. 1-2) page lv Hiatus was common in Old Spanish, except when the first of two words was the definite article, a personal pronoun-object or the preposition _de_; or when the vowels were the same. (_b_) Hiatus is usual when the initial vowel of the second word has a strong accent (usually the rhythmic accent at the end of a line or phrase): Pues | en | fin | me | de|jo | una (Calderon). Ta|les | fue|ron | ya | es|tos | cual | her|mo|so (Herrera). Tal | de | lo | al|to | tem|pes|tad | des|he|cha (Maury). No hay | pla|ce|res | en | su | al | ma. (p. 85, l. 4) Cuan|do | po|bre | de | a|nos | y | pe|sa|res (p. 221, l. 9) Con|ti|go | se | fue | mi | hon|ra. (p. 103, l. 19) De | gra|na|das | es|pi|gas|; tu | la | u|va... (p. 215, l. 5) Por|que es | pa|ra el | ser | que | a|ma. (p. 84, l. 9) Muy | mas | her|mo|sa | la | ha|llan (p. 44, l. 5) El | ne|va|do | cue|llo | al|za (p. 43, l. 4) Por|que | tam|bien | e|ra| u|so. (p. 115, l. 9) Que en | la | bo|ca, y | so|lo | u|no. (p. 52, l. 26) Gen|te en | es|te | mon|te | an|da... Ya | que | de | tu | vis|ta | hu|ye. (Calderon) Gi|gan|te | o|la | que el | vien|to...[20] (p. 121, l. 23) [Footnote 20: Synalepha is usually to be avoided when it would bring together two stressed syllables as in _gigante ola, querido hijo_, etc.] page lvi But synalepha is possible (especially of _de o-_): To|do e|le|va|ba | mi a|ni|mo in|tran|qui|lo. (p. 139, l. 22) Yo | le | da|re|; mas | no en | el | ar|pa | de o|ro... (p. 49, l. 5) And synalepha is the rule, if stress on the initial syllable is weak: A o|tra per|so|na en | Ma|drid. (p. 36, l. 19) To|da, to|da e|res | per|fec|ta. (p. 44, l. 22) If the vowels are the same, they usually combine into one: Del | sol | en | la al|ta | cum|bre (p. 49, l. 13) Tem|blar | en | tor|no | de el|: un | ar|co in|men|so... (p. 180, l. 10) (5) FINAL SYLLABLES In estimating the number of syllables in a Spanish verse-line one final unstressed syllable after the last stressed syllable is counted whether it be present or not; or, if there be two unstressed syllables at the end of the line, only one is counted.[21] Thus the following are considered 8-syllable lines although, in fact, one line has nine syllables and another has only seven: La | sal|pi|ca | con | es|com|bros De | cas|ti|llos | y | de al|ca|za|res... Pa|ra | vol|ver | a | bro|tar... [Footnote 21: In Spanish, a word stressed on the final syllable is called _agudo_; a word with one syllable after the stress is called _grave_ or _llano_; one with two syllables after the stress, _esdrujulo: farol, pluma, pajaro_.] page lvii This system of counting syllables obtains in Spanish because there is one and only one unstressed syllable at the end of most verse-lines. It would, perhaps, be more logical to stop the count with the last stressed syllable, as the French do. For instance, a Spanish 11-syllable line would be called a "feminine" 10-syllable line by the French; but the French language has only one vowel (_e_) that may occur in a final unstressed syllable, while in Spanish there are several (_a, e, o,_ rarely _i, u_). RIME Spanish poetry may be in rimed verse or in blank verse. (1) Rimed verse may have "consonance," in which there is rime of the last stressed vowel and of any consonants and vowels that may follow in the line, as in: En las presas Yo divido Lo cogido Por igual: Solo quiero Por riqueza La belleza Sin rival. (p. 75, ll. 5-12) Madre mia, yo soy nina; No se enfade, no me rina, Si fiada en su prudencia Desahogo mi conciencia, (p. 51, ll. 10-13) iCuan solitaria la nacion que un dia Poblara inmensa gente! iLa nacion cuyo imperio se extendia Del ocaso al oriente! (p. 76, ll. 19-22) page lviii iOh tu, que duermes en casto l=echo=, De sinsabores ajeno el p=echo=, Y a los encantos de la hermos=ura= Unes las gracias del coraz=on=, Deja el descanso, doncella p=ura=, Y oye los ecos de mi canc=ion=! (p. 199, ll. 1-6) In a diphthong consisting of a strong and a weak vowel the weak vowel may be disregarded in rime. Cf. above: _prudencia, conciencia; corazon, cancion; igual, rival_. (2) Or rimed verse may have "assonance," in which there is rime of the last accented vowel and of any final vowel that may follow in the line, but not of consonants.[22] [Footnote 22: Assonance is rare in popular English verse, but it occurs in some household rimes; e. g.: Little Tommy Tucker, He cried for his supper. What shall little Tommy Tucker have for his supper? Black-eyed beans and bread and butter. Here the assonance is _u-er_ (final unstressed _-er_ in standard present-day English represents vocalic _r_).] Assonance of alternate lines is the usual rime of the _romances_, as in: Cabellos de mi cabeza lleganme al corvej=o=n; los cabellos de mi barba por manteles tengo y=o=: las unas de las mis manos por cuchillo tajad=o=r. (P. 7, ll. 15-20) Here the assonance is _o_. page lix iAbenamar, Abenamar, moro de la morer=ia=, el dia que tu naciste grandes senales hab=ia=! Estaba la mar en calma, la luna estaba crec=i=d=a=: moro que en tal signo nace, no debe decir ment=i=r=a=. (P. 1, 11. 1-8) Here the assonance is _i-a_.[23] [Footnote 23: The _romances viejos_ were originally in lines of approximately sixteen syllables, and every line then had assonance.] Del salon en el angulo obscuro, De su dueno tal vez olvid=a=d=a=, Silenciosa y cubierta de polvo Veiase el =a=rp=a=. iCuanta nota dormia en sus cuerdas, Como el pajaro duerme en las r=a=m=a=s, Esperando la mano de nieve Que sabe arranc=a=rl=a=s! (P. 122, ll. 12-19) Here the assonance is _a-a_. The following rules for assonance should be noted: _(a)_ In modern Spanish a word stressed on the final syllable may not assonate with one stressed on a syllable preceding the final.[24] [Footnote 24: In the old _romances_ and in the medieval epic, _a_ could assonate with _a-a._ In singing these old verses every line was probably made to end in an unstressed vowel by adding paragogic _e_ to a final stressed syllable. Thus, _son_ was sung as _sone, dar_ as _dare, temi_ as _temie_, etc. Cf. Men. Pel., _Ant._ V, 65; XI, 86, 92; and Men. Pid., _Cantar de mio Cid_, I, 65 f.] _(b)_ A word stressed on the penult may assonate with one page lx stressed on the antepenult. Vowels between the stressed syllable and the final syllable are disregarded, as in _cruza, cupula (u-a), bane, margenes, arabes (a-e)._ _(c)_ In stressed diphthongs and triphthongs only the vowels receiving the stress assonate, as in _vale, aire (a-e), cabellos, suelo (e-o), envolviendo, aposento (e-o), guardias, alta (a-a), pleito, siento (e-o), mucho, triunfo (u-o)._ _(d)_ In unstressed diphthongs and triphthongs only the strong vowels assonate, as in _turba, lluvia (u-a), licencia, quisierais (e-a), pido, continuo (i-o)_. Similarly, _e_ or _o_, before another strong vowel, is disregarded in an unstressed diphthong, as in _modo, erroneo (o-o), crece, heroe (e-e)_. _(e)_ In final unstressed syllables, _i_ and _u_ (not in diphthongs) assonate with _e_ and _o_, respectively, as in _verde, debil (e-e), amante, facil (a-e), liquido, espiritu (i-o)_. (3) In Spanish blank verse (_versos sueltos, libres, blancos_) there is usually no rime; or if there be rime it is merely incidental. Blank verse usually consists of 11-syllable lines. iOh! icuanto rostro veo, a mi censura, De palidez y de rubor cubierto! Animo, amigos, nadie tema, nadie, Su punzante aguijon; que yo persigo En mi satira el vicio, no al vicioso. (P. 39, ll. 3-7) Blank verse is little used in Spanish. It occurs chiefly in serious satirical or philosophical poems. But separate _versos sueltos_ are introduced into some varieties of compositions, such as the _romance, seguidilla, silva_, etc.[25] [Footnote 25: The _versos sueltos_ are, with regard to the absence of rime, in imitation of classic Greek and Latin verse. They came into Spain by way of Italy during the Renaissance movement. Abjured by the romanticists, they were restored to favor by Nunez de Arce.] page lxi VERSE-MEASURES A. VERSE WITH BINARY MOVEMENT[26] [Footnote 26: The term "binary" is used here to distinguish ordinary Spanish verse from that with regular ternary movement. Cf. p. lxx.] In modern Spanish this verse is commonly found in lines of seven, eight or eleven syllables. It may occur in lines of any length; but in lines of five or six syllables the binary and ternary movements are generally mingled. In Old Spanish binary lines of approximately 8+8 and 7+7 syllables were common, and lines of 6+6, or of nine, syllables were then, as now, also occasionally used.[27] [Footnote 27: Verses of three or four syllables are best treated as half-lines, with inner rime (_versos leoninos_).] The most popular measure, and the one of most importance in the history of Spanish verse, is the 8+8-syllable line of the old _romances_, which was later divided into two 8-syllable lines, and became the most common measure in the drama and in popular songs. This line usually has only one rhythmic accent, which falls on the seventh syllable.[28] [Footnote 28: By "rhythmic accent" is meant the musical accent on the last stressed syllable of a phrase and not syllabic stresses that may occur within a phrase.] Mis arreos son las armas, mi descanso el pelear, mi cama las duras penas, mi dormir siempre velar (p. 5, ll. 1-4) page lxii Rarely 8-syllable lines are written with a fixed accent on the third syllable (cf. p. 51, l. 10 f.).[29] There is then sometimes _pie quebrado_ in alternate lines, as in: Hijo mio mucho amado, Para mientes; No contrastes a las gentes Mal su grado. Ama: e seras amado; Y podras Hazer lo que no haras Desamado.[30] [Footnote 29: They are less common in Spanish than in Italian: Sai tu dirme, o fanciullino, In qual pasco gita sia La vezzosa Egeria mia Ch'io pur cerco dal mattino? (Paolo A. Rolli)] [Footnote 30: Note the example of hiatus in this older Spanish.] Next to the popular 8-syllable line the most important measure in modern Spanish verse is that of eleven syllables, with binary movement, which came to Spain from Italy in the fifteenth century, and was generally accepted by the writers of the Siglo de Oro. This 11-syllable line, though of foreign origin, has held the boards as the chief erudite measure in Spanish verse for four centuries, and taken all in all it is the noblest metrical form for serious poems in modern Spanish. A striking peculiarity of the line is its flexibility. It is not divided into hemistichs as were its predecessors, the 14-syllable Alexandrine and the 12-syllable _arte mayor_ verse; but it consists of two phrases and the position of the inner rhythmic accent is usually variable. page lxiii A well constructed line of this type has a rhythmic accent on the sixth syllable, or a rhythmic accent on the fourth syllable (usually with syllabic stress on the eighth), beside the necessary accent in the tenth position. Generally the inner accent falls on the sixth syllable approximately twice as often as on the fourth. Y con diversas flores va esparciendo... (Leon) Y para envejecerse florecieron... (Calderon) . . . . . . . . . . . . . . . . . . . . . . . . Cuna y sepulcro en un boton hallaron... (Calderon) Se mira al mundo a nuestros pies tendido... (Zorrilla) Logically, the close of the first phrase should coincide with the end of the word that receives the inner rhythmic accent, and this is usually so, as in: ?Que tengo yo, | que mi amistad procuras?... (Lope) Son la verdad y Dios, | Dios verdadero... (Quevedo) But in some lines the rhetorical and the rhythmic accents do not coincide, as in: ... pero huyose El pudor a vivir en las cabanas... (Jovellanos) Del plectro sabiamente meneado... (Leon) Que a mi puerta, cubierto de rocio... (Lope) The 11-syllable line may be used alone. Cf. the sonnets of Lope de Vega (p. 14) and Calderon (p. 18), the _Epistola satirica_ of Quevedo (p. 15), the blank verse of Jovellanos (p. 38) and Nunez de Arce (p. 144), _et al._ The neo-classic poets of the eighteenth century and some of the earlier romanticists even used it in _redondillas_ or assonated: page lxiv En pago de este amor que, mal mi gr=ado=, Hasta el crimen me lleva en su del=irio=, Y a no verse por ti menospreci=ado= Mi virtud elevara hasta el mart=irio=... ?Por que de nuevo palida tristeza Tus rosadas mejillas descol=o=r=a=? ?Por que tu rostro en lagrimas se inunda? ?Por que suspiras, nina, y te acong=o=j=a=s? (Breton de los Herreros, _?Quien es ella?_) But the poets of the Siglo de Oro and the neo-classic poets generally used it in combination with 7-syllable lines, as in Leon's verses: iQue descansada vida la del que huye el mundanal rueido, y sigue la escondida senda por donde han ido los pocos sabios que en el mundo han sido! Strophes of three 11-syllable lines and one 5-syllable line (_versos saficos_) are not uncommon in highly lyric poems. Usually, in the long lines, the inner accent falls on the fourth syllable, with syllabic stress on the eighth, and with cesura after the fifth syllable. Thus:[31] Dulce vecino de la verde selva, Huesped eterno del Abril florido, Vital aliento de la madre Venus, Cefiro blando. (Villegas, _Al cefiro_) [Footnote 31: Mele (_op. cit_) states that the Sapphic ode was introduced into Spain from Italy by Antonio Agustin, bishop of Tarragona, in the first half of the sixteenth century, and quotes these lines by Agustin: Jupiter torna, como suele, rico: Cuerno derrama Jove copioeso, Ya que bien puede el pegaseo monte Verse y la cumbre. page lxv The romanticists used the _versos saficos_ with rime. Thus, Zorrilla: Huye la fuente al manantial ingrata, El verde musgo en derredor lamiendo, Y el agua limpia en su cristal retrata Cuanto va viendo. (p. 86, ll. 3-6) In the Sapphic strophe of Francisco de la Torre (d. 1594), the short line has seven syllables, and the long line may have inner rhythmic accent on the sixth, or on the fourth syllable. Thus: El frio Boreas y el helado Noto Apoderados de la mar insana Anegaron agora en este puerto Una dichosa nave. (_iTirsi, Tirsi! vuelve y endereza_) The Sapphic strophe of Francisco de la Torre has been not infrequently imitated. Thus, Becquer: Volveran las obscuras golondrinas En tu balcon sus nidos a colgar, Y, otra vez, con el ala a sus cristales Jugando llamaran. (p. 122, l. 24-p. 123, l. 2)[32] [Footnote 32: These long lines are especially cantabile, as most are accented on the third and sixth syllables. Only one is accented on the fourth and eighth.] The 7-syllable line is commonly used in combination with those of eleven syllables (see above). In the seventeenth century, particularly, the 7-syllable line was used in anacreontics, artistic _romances, quintillas,_ page lxvi etc., in imitation of the Italian _settenario_, as in Villegas' _Cantilena_ beginning: Yo vi sobre un tomillo Quejarse un pajarillo, Viendo su nido amado, De quien era caudillo, De un labrador robado. In present-day songs the 7-syllable line is rather rare, except in combination with lines of five syllables, as in: Camino de Valencia, Camino largo... And: A la puerta del cielo Venden zapatos... In these lines there is no fixed inner rhythmic accent. The Old Spanish Alexandrine verse-line was composed of two 7-syllable half-lines. In the thirteenth and fourteenth centuries numerous monkish narrative poems (_mester de clerecia_) were written in this measure: En el nonbre del Padre,--que fizo toda cosa, E de don Jhesu Christo,--Fijo dela Gloriosa, Et del Spiritu Sancto,--que egual dellos posa, De un confessor sancto--quiero fer vna prosa... (Gonzalo de Berceo) The old Alexandrine fell before the rising popularity of the _arte mayor_ verse early in the fifteenth century. In the eighteenth century a 13-syllable Alexandrine appears in Spanish in imitation of the classic French line. This later Spanish Alexandrine is not composed of two distinct half-lines. It also has, like its French page lxvii prototype, alternate couplets of masculine and feminine lines (_versos agudos_ and _versos llanos_ or _graves_). Thus, Iriarte: En cierta catedral una campana habia Que solo se tocaba algun solemne dia Con el mas recio son, con pausado compas, Cuatro golpes o tres solia dar, no mas. There is an inner rhythmic accent on the sixth syllable. Iriarte also revived the older Alexandrine, but without hiatus: Cuando veo yo algunos,--que de otros escritores A la sombra se arriman,--y piensan ser autores... Recent poets have revived the old Alexandrine.[33] Thus, Ruben Dario uses it, even retaining the hiatus between the half-lines; but instead of grouping the lines in quatrains with monorime, as the old monks did, he uses assonance in alternate lines, which is, so far as I know, without precedent: Es con voz de la Biblia--o verso de Withman Que habria que llegar--hasta ti, icazador! Primitivo y moderno,--sencillo y complicado, Con un algo de Washington--y mucho de Nemrod... (p. 211, ll. 1-4) [Footnote 33: For their use of this line with ternary movement, see p. lxxix.] Lines of five or six syllables usually have a mingled binary and ternary movement: Una barquera Halle bizarra, De pocos anos Y muchas gracias. (N. Moratin) page lxviii Sali a las diez A ver a Clori (No lo acerte): Horas menguadas Debe de haber... (L. Moratin) Lines of 5+5 syllables (_versos asclepiadeos_) are occasionally written: Id en las alas--del raudo cefiro, Humildes versos,--de las floridas Vegas que diafano--fecunda el Arlas, Adonde lento--mi patrio rio Ve los alcazares--de Mantua excelsa. (L. Moratin) The Mexican poet Pesado used the same line in his _Serenata_: iOh tu que duermes--en casto lecho, De sinsabores--ajeno el pecho, Y a los encantos--de la hermosura Unes las gracias--del corazon, Deja el descanso,--doncella pura, Y oye los ecos--de mi cancion! (P. 199, ll. 1-6) The same measure appears in a patriotic song, _Himno de Riego_: En las cabezas--el proclamo La suspirada--constitucion, Y enarbolando--marcial pendon, A los leales--acaudillo...[34] [Footnote 34: It should be noted that these latter verses, like most Spanish patriotic songs, are sung with ternary movement, thus: En las cabezas--el proclamo...] page lxix This 10-syllable measure is cantabile, and its phrases are too short and too regular to make good recitative verse. _Versos alcaicos_ differ from the _asclepiadeos_ in that the former have, in a strophe, two lines of 5 + 5, one of nine, and one of ten syllables. Thus, in these lines of Victorio Giner (who probably introduced this strophe into Spain in the second half of the nineteenth century): Y si los nautas, cantando el pielago, Con remos hieren y espumas alzan, Se aduerme a los ecos sus penas Y a los ecos su batel avanza. Juan Luis Estelrich (_Poesias_, 1900) uses _versos alcaicos_ with the first two lines of each strophe _esdrujulo_, in imitation of Carducci: Carmen, tu nombre trae al espiritu Vuelo de aromas, susurro de arboles, Los pios consorcios del cielo, Y el cantar melodioso del Lacio. (_A Carmen Valera._)[35] [Footnote 35: Cf. Mele, _op. cit._] _Romances_ in lines of 6 + 6 (or 6 + 5) syllables occur in popular Spanish verse, as in the Asturian _romance_ of _Don Bueso_, beginning: Camina don Bueso--mananita fria a tierra de moros--a buscar amiga... (Men. Pel., _Ant._ X, 56: cf. also _Ant._ XI, 102) This measure was also used in _endechas_, as in _Los comendadores de Cordoba_ (fifteenth century), beginning: iLos comendadores,--por mi mal os vi! Yo vi a vosotros,--vosotros a mi... page lxx The 9-syllable line was not well received in Spain, and it has been little used. Iriarte, in his desire to vary the metrical constructions of his fables, used it at least once: Sobre una mesa, cierto dia, Dando estaba conversacion A un Abanico y a un Manguito Un Paraguas o Quitasol... There is certainly no fixed inner rhythmic accent in these lines. The fact seems to be that the 9-syllable line is too long to be uttered comfortably in one phrase, or breath-group, and it is too short to be regularly divided into parts by cesura. B. VERSE WITH TERNARY MOVEMENT Verse with regular ternary movement may occur in lines of any length, but it is commonly found only in lines of ten, eleven or twelve syllables. Many ternary lines of five and six syllables are found, but they are almost invariably mingled with binary lines. This _rondel antiguo_ (Nebrija, quoted by Men. Pel., _Ant._ V. 66) is ternary throughout, it would seem: Despide plazer y pone tristura; crece en querer vuestra hermosura. For mixed movements, see the _serranilla_ on p. 45, l. 9 f. In lines with _regular_ ternary movement, properly speaking, every primary stress receives a rhythmic accent, and these accents are always separated by two page lxxi atonic syllables, as in: Yo no se como bailan aqui, Que en mi tierra no bailan ansi... Rarely one finds 6-syllable and 9-syllable lines with regular ternary movement, and these are probably never of popular origin. Thus: Serena la luna Alumbra en el cielo, Domina en el suelo Profunda quietud... (Espronceda, _El reo de muerte_, II) Y luego el estrepito crece Confuso y mezclado en un son, Que ronco en las bovedas hondas Tronando furioso zumbo... (Espronceda, _Estudiante de Salamanca_) Formerly the Spanish 10-syllable line occurred usually in combination with other lines, as in: En la calle de Atocha, iliton! Que vive mi dama; Yo me llamo Bartolo, iliton! Litoque, vitoque, y[36] ella Catanla. --En la calle del Sordo, iliton! Que vive mi mozo, Pues a cuanto le pido, iliton! Litoque, vitoque, que siempre esta sordo. [Footnote 36: There is hiatus here.] (Quinones de Benavente, _Entremeses, bailes, loas y sainetes_, quoted by Mila y Fontanals, _Obras completas_, Vol. V, p. 324 f.) page lxxii Calderon used it in the _Vina del Senor_: A la vina, a la vina, zagales; Zagales, venid, venid a la vina. A la vina, a la vina, zagales, Y vaya de jira, de bulla y de baile. Zagales, venid, venid a la vina, Y vaya de baile, de bulla y de jira. A recent number of the _Ilustracion Espanola y Americana _ (15 Enero, 1911) contains lines of similar construction by Don Rafael Torrome: Al mirar su carita sonriente, Tan dulce y tan buena, Siempre observo que mi alma presiente, Con duelo y con pena, Que mas tarde este mundo inclemente Trocara en sentimientos de hiena Los puros afectos de su alma inocente. Iriarte did not hesitate to write fables in these 10-syllable lines alone: De sus hijos la torpe Aveturda El pesado volar conocia... And the romanticists of the nineteenth century used it not infrequently: Con inmovil, ironica mueca Inclinaron formando en redor... (Espronceda, _Est. de Sal._) Del salon en el angulo obscuro, De su dueno tal vez olvidada, Silenciosa y cubierta de polvo, Veiase el arpa. (Becquer, _Rima_ VII) page lxiii In the nineteenth century this line came to be popular in patriotic songs which are sung by the multitude, while the crash of the drum marks the rhythmic accents: Entonemos festivos cantares, Pues el dia feliz ha llegado, Que del yugo servil aliviado Goza ya el Espanol libertad. (_La Constitucion_) Al combate corred, Bayameses, Que la patria os contempla orgullosa; No temais una muerte gloriosa, Que morir por la patria es vivir. (Cuban national hymn, cf. p. 251) The commoner form of verse with 11-syllable ternary lines is that popularly called "_de gaita gallega_" (Men. Pel., _Ant._, V, p. cxcv; X, 141. Cf. also Mila, _op. cit._), the assumption being that this verse is intimately related to that type of popular Galician poetry known as the _muineira_, which was sung to the music of the bagpipe. These lines are typical of the "_endecasilabos de gaita gallega_": Tanto baile a la puerta del cura, Tanto baile que me dio calentura; Tanto baile a la puerta del horno, Tanto baile que me dieron un bollo.[37] [Footnote 34: Many Galician _muineiras_ have been collected: cf. Mila, _op. cit._; Carolina Michaelis de Vasconcellos, _Cancioneiro de Ajuda_, Vol. II, Halle, 1904; Jose Perez Ballesteros, _Cancionero popular gallego_, Madrid, 1885.] page lxxiv Menendez y Pelayo (_Ant._ X, 141) gives, in his collection of _Romances tradicionales de Asturias_, the following one in ternary 11-syllable lines: =La tentacion= --iAy, probe Xuana de cuerpo garrido! iAy, probe Xuana de cuerpo galano! ?Donde le dexas al tu buen amigo? ?Donde le dexas al tu buen amado? --iMuerto le dexo a la orilla del rio, muerto le dexo a la orilla del vado! --?Cuanto me das, volveretelo vivo? ?Cuanto me das, volveretelo sano? --Doyte las armas y doyte el rocino, doyte las armas y doyte el caballo. --No he menester ni armas ni rocino, no he menester ni armas ni caballo... It should be noted that this poem has assonance of the odd and of the even lines. Men. Pel. says of this popular 11-syllable _romance_ that "su aparicion en la poesia popular castellana es un fenomeno singular, aun en Asturias misma, y hasta ahora no se ha presentado mas ejemplo que este." Note the apparent shifting of stress in _armas_. Iriarte and L. Moratin did not scorn to use this line. Iriarte: Cierta criada la casa barria Con una escoba muy sucia y muy vieja... Moratin (in the chorus of _Padres del Limbo_): Huyan los anos con rapido vuelo; Goce la tierra durable consuelo; Mire a los hombres piadoso el Senor... page lxxv The 11-syllable line of ternary movement has had less vogue in artistic verse than those of ten and twelve syllables.[38] [Footnote 38: In _Las hijas del Cid_ E. Marquina has used a flexible 11-syllable ternary line beginning with either [\-] - - [\-] or - [\-] - [\-]: Sus nombres juntos los llevo en el alma, Juntos los guarda tambien mi memoria. These are blank verses with occasional assonance.] The Spanish ternary 12-syllable line was formerly used chiefly in combination with lines of ten or eleven syllables. Some examples of mingled 10-and 12-syllable lines have already been given above. Another is: Mancebito, perdone las hembras, Que comen y beben y no tienen rentas. --Pues, mocitas, malditas sean ellas, O cosan o labren o caiganse muertas. A song of mingled 11-and 12-syllable lines begins thus: Al pasar la barca, me dijo el barquero: Moza bonita no paga dinero.[39] [Footnote 39: Cf. Mila, _op. cit._ In singing _pasar_, there is apparently a shifting of stress which is not uncommon in songs.] Efforts have been made from time to time to use the ternary movements in erudite verse, but these, for the most part, have proven futile. The most serious and the most successful attempt appears in the use of the _copla de arte mayor_ in the fifteenth century. The _copla (metro, versos) de arte mayor_ consists of mingled 12-and 11-syllable lines arranged in strophes of eight lines, each with consonantal rime according to some definite scheme. The _arte mayor_ verse attained to its most perfect form and its greatest popularity in page lxxvi _El laberinto de la fortuna_ (1444?), by Juan de Mena, of which the following is a strophe: Amores me dieron corona de amores porque mi nombre por mas bocas ande; entonces no era mi mal menos grande, quando me dauan plazer sus dolores; vencen el seso sus dulces errores, mas non duran sienpre, segund luego plazen; pues me fizieron del mal que vos fazen, sabed al amor desamar, amadores. (Strophe 106) The old _arte mayor_ verse has these distinguishing characteristics: The line is divided into hemistichs, each of which may have four, five or six syllables, thus: (1) (-) - - - [/-] (-) | (-) - - - [/-] (-), except that the final syllable of the first hemistich and the initial syllable of the second may not both be lacking. These arrangements may also occur (the third is rare): (2) (-) - - - [/-] - - | - - - [/-] (-) (3) (-) - - - [/-] | - - - - - [/-] (-). Examples of types: (1) Las grandes fazanas | de nuestros mayores... (Str. 4) Vayan de gente | sabidos en gente... (Str. 3) Reconoceran | maguer que feroce... (Str. 274) Assi que qualquiera | cuerpo ya muerto... (Str. 244) Cuya virtud | maguer que reclama... Sufren que passen | males e vicios... (Str. 232) (2) E vi a Pitagoras | que defendia... (Str. 118) Bien como medico | mucho famoso... (Str. 178) (3) Quando el senor | es en necessidad... (Str. 258) page lxxvii The initial unstressed syllable of the first hemistich is lacking in approximately one-third of the lines of the _Laberinto_. These lines resemble the 11-syllable _gaita gallega_ verse, and the others resemble the popular Galician 12-syllable ternary line, for in both the final unstressed syllable of the first hemistich may fall,[40] which seems to indicate that the appearance of the _arte mayor_ verse in Castilian was due to Galician influence. [Footnote 40: Cf. these Galician _muineiras_, cited by Mila y Fontanals (_Romania_, VI, p. 47 f.): Cando te vexo | na beira do rio, Queda o meu corpo | tembrando de frio; Cando te vexo | d'o monte n'altura, A todo o mon corpo | lle da calentura. Isca d'ahi | galina maldita, Isca d'ahi | non me mate la pita; Isca d'ahi | galina ladrona, Isca d'ahi | pra cas de tua dona.] Again, as in many Galician songs of this type, the ternary movement of the old _arte mayor_ verse is not strictly regular. Approximately nine-tenths of the lines in the _Laberinto_ may be read with regular ternary movement: (-) [/-] - - [/-] (-) | (-) [/-] - - [/-] (-), by giving a rhythmic accent to a syllable with secondary stress or to a middle syllable in a group of atonics, in a not inconsiderable number of lines, as in: Por las alturas, | collados y cerros... Assi que tu eres | la governadora... In the remaining lines the commonest movement is: (-) - [/-] - [/-] (-) | (-) - [/-] - [/-] (-), as in: Aquel claro padre, aquel dulce fuente... page lxxviii In the second half of the sixteenth century and in the seventeenth century, the _arte mayor_ verse was out of fashion, although it appeared occasionally, as in these lines of Lope de Vega (a variety of the Sapphic strophe), with inner rime: Amor poderoso en cielo y en tierra, dulcisima guerra de nuestros sentidos, ioh, cuantos perdidos con vida inquieta tu imperio sujeta! (From first act of _Dorotea_) In the nineteenth century it was restored to favor by the romanticists.[41] Good examples are: Espronceda, _El templario_; Avellaneda, _Las siete palabras_; and Zorrilla, _A un torreon_ (part). Some writers used it even in the drama (cf. Gil y Zarate, _Guzman el bueno_). The modern _arte mayor_ verse is written in 12-syllable lines, usually with regular ternary movement. Thus: iOh Antilla dichosa! | ?que magicos sones, Que luz inefable, | que extrana alegria, Del cielo destierran los negros crespones, Prestando a esta noche | la pompa del dia? ?Por que tan ufana, | tan bella la luna Con faz refulgente | comienza su giro, Y no hay leve sombra | que cruce importuna Su trono esmaltado | de plata y zafiro? (Avellaneda, _Serenata de Cuba_) [Footnote 41: Iriarte, of course, had written a fable or two in _arte mayor_ verse. Cf. _Fabula_ XXXIX.] page lxxix Soldados, la Patria | nos llama a la lid; Juremos por ella | vencer o morir; Serenos, alegres, | valientes, osados, Cantemos, soldados, | el himno a la lid: Ya nuestros acentos | el orbe se admire, Y en nosotros[42] mire | los hijos del Cid; Ya nuestros acentos | el orbe se admire, Y en nosotros mire | los hijos del Cid. (_Himno de Riego_: cf. p. 242) [Footnote 42: Note in _nosotros_ the shifting of stress, which the musical notation indicates clearly.] Lines of fourteen and fifteen syllables with ternary movement are never popular, and in artistic verse they are exceedingly rare. Avellaneda used these measures in _Soledad del alma_: Sale la aurora risuena, de flores vestida, Dandole al cielo y al campo variado color; Todo se anima sintiendo brotar nueva vida, Cantan las aves, y el aura suspira de amor. Huyeron veloces--cual nubes que el viento arrebata-- Los breves momentos de dicha que el cielo me dio... ?Por que mi existencia, ya inutil, su curso dilata, Si el termino ansiado a su espalda perdido dejo? Some recent poets have attempted to write ternary Alexandrine verse. Thus, the Peruvian poet, Jose S. Chocano (1867-): Los Estados Unidos, como argolla de bronce, contra un clavo sujetan de la America un pie; y la America debe, si pretende ser libre, imitarles primero, e igualarles despues. page lxxx Imitemos ioh Musa! las crujientes estrofas que en el Norte se arrastran con la gracia de un tren, y que giren las rimas como ruedas veloces y que caigan los versos como varas de riel. (_La epopeya del Pacifico_) STROPHES There are certain conventional combinations of line and rime known by special names. Those used in modern Spanish may best be considered under the heads (I) Assonance, (II) Consonantal Rime, and (III) No Rime. I. (1) The _romance_ is the most characteristic and national of all Spanish meters. The proper _romance_ consists of 8-syllable lines with assonance in alternate lines[43] (cf. pp. 1-8, 42, etc.). The structure of the _romance_ line has already been treated (p. lxi). In the old _romances_ there was no division into stanzas, but poets from the end of the sixteenth century on regularly employ a pause after every fourth line, thereby creating a series of quatrains (pp. 42, 60, etc.), except in the drama (p. 19). [Footnote 43: Historically, of i6-syllable lines, all assonating.] (2) Alternate assonance may be employed with lines of any length. With 11-syllable lines the verse is called _romance heroico_ or _real_. Lines of seven syllables make _versos anacreonticos_. The name _endecha_ is given to some assonated verse of either six (p. 124) or seven syllables. When the first three lines of a stanza are of seven syllables and the last of eleven, the verse is called _endecha real_. For examples of alternate assonance in lines of various lengths, see pp. 122 (2 examples), 123, 137, 160, 177. An _estribillo_, or refrain, may be used in any assonating verse (p. 45). page lxxxi (3) The use of alternate assonance in lines of fourteen syllables (pp. 211, 212) is a none too happy device of the author. (4) The _seguidilla_ is usually a stanza of seven lines of seven and five syllables in length, in this order: 7, 5, 7, 5; 5, 7, 5. There is usually a pause after the fourth line; lines 2 and 4 have one assonance and lines 5 and 7 another. The assonances change from one stanza to another. See pp. 112 and 120. In some _seguidillas_ the stanzas consist only of the first four lines described. II. The native Spanish strophes are usually combinations of 8-syllable or shorter lines. The 11-syllable line, itself an importation from Italy, brought with it many well-known Italian strophes. In none of the pure Italian forms are lines ending in _agudos_ or _esdrujulos_ permissible. (1) The _redondilla mayor_ consists of four 8-syllable lines with the rime-scheme _abba_ (pp. 149, 167), or, less commonly, _abab_ (p. 136). It is a common and characteristic Spanish meter. The _redondilla menor_ has the same form expressed in lines of less than eight syllables. The same rime-schemes are found with lines of seven or of eleven (pp. 117, 207) syllables, and with combinations of eleven and seven (p. 134), or eleven and five (p. 86) syllables; but they are not properly called _redondillas_. (2) The _quintilla_ is a 5-line strophe, usually of 8-syllable lines. Only two rimes are used in one stanza, and not more than two lines having the same rime should stand together (pp. 26, 114). _Quintillas_ are sometimes written with lines of other lengths. Examples with eleven and seven syllables are found on pp. 128, 133 and 148. The stanza used in _Vida retirada_ (p. 9) is termed _lira_: cf. _Introduction_, p. xxiii. page lxxxii (3) The _decima_ (or _espinela_) is a 10-line strophe of 8-syllable lines which may be considered as two _quintillas_; but there should be a pause after the fourth line, and the rime-scheme is usually as follows: _abbaaccddc_. (4) The _arte mayor_ line has already been described (p. lxxv). The _copla de arte mayor_ is a stanza of eight such lines, usually having the rime-scheme _abbaacca_. (5) The _octava rima_ (Ital. _ottava rima_) is an Italian form. Each stanza has eight 11-syllable lines with the rime-scheme _abababcc_. Examples are found of octaves employing short lines. A variety of the _octava rima_ is the _octava bermudina_ with the rime-scheme _abbcdeec_, the lines in _c_ ending in _agudos_. (6) The _soneto_ (sonnet) is formed of fourteen 11-syllable lines. In the Siglo de Oro it appears as a much stricter form than the English sonnet of the corresponding period. The quatrains have the regular construction _abba_, and the tiercets almost always follow one of two types: either _cde, cde,_ or _cdcdcd_. See pp. 14, 18, 148, etc. (7) _Tercetos_ (Italian _terza rima_), the verse used by Dante in the _Divina Commedia_, are formed of 11-syllable lines in groups of three, with the rime-scheme _aba, bcb, cdc_, etc., ending _yzyz_. See p. 15. (8) The term _cancion_, which means any lyrical composition, is also applied specifically to a verse form in which the poet invents a typical strophe, with a certain length of line and order of rimes, and adheres to this type of stanza throughout the whole poem. The lines are of eleven and seven syllables,--the Italian structure. Of such nature are the poems on pp. 8, 20, 71, 137 (bottom), 174, 190. The same procedure is employed with lines of any length, page lxxxiii but the poem is not then called _cancion_. For strophes in 10-syllable lines, see p. 199; in 8-syllable lines, pp. 16, 51, 83, 151; in 7-syllables, p. 202. (9) The _silva_ is a free composition of 11-and 7-syllable lines. Most of the lines rime, but without any fixed order, and lines are often left unrimed. See pp. 46, 54, 152, 214 (bottom), etc. A similar freely riming poem in lines of seven syllables is Villegas' _Cantilena_ (p. 17). (10) The Asclepiadean verse (p. lxviii) and the Sapphic (p. lxiv) and Alcaic (p. lxix) strophes have already been described. These may be rimed, or in blank verse. (11) Numerous conventional names are given to poems for some other characteristic than their metrical structure. Thus a _glosa_ (gloss) is a poem "beginning with a text, a line of which enters into each of the stanzas expounding it." A _letra_ may be a short gloss. The name _letrilla_ is applied sometimes to a little poem in short lines which may be set to music (p. 9), and sometimes to a strophic poem with a refrain (p. 16). A _madrigal_ is a short _silva_ upon a light topic, an expanded conceit. The term _cantilena_ is given to any short piece of verse intended to be set to music (p. 17). _Serranillas_, in which is described the meeting of a gentleman with a rustic maiden, are famous for the examples written by Juan Ruiz and the Marquis of Santillana. A _villancico_ is a popular poem with a refrain, usually dealing with an episode celebrated in a church festival (p. 13). III. _Versos sueltos, libres_ or _blancos_ (blank verse) are formed, as in English, of 11-syllable lines, with occasionally a shorter line thrown in. There is no rime, but sometimes a couplet may mark the close of an idea. See pp. 38 and 144, and cf. also p. lx. Page 1 ESPANA ROMANCES ABENAMAR iAbenamar, Abenamar, moro de la moreria, el dia que tu naciste grandes senales habia! 5 Estaba la mar en calma, la luna estaba crecida: moro que en tal signo nace, no debe decir mentira.-- Alli respondiera el moro, 10 bien oireis lo que decia: --Yo te la dire, senor, aunque me cueste la vida, porque soy hijo de un moro y una cristiana cautiva; 15 siendo yo nino y muchacho mi madre me lo decia: que mentira no dijese, que era grande villania: por tanto pregunta, rey, page 2 que la verdad te diria. --Yo te agradezco, Abenamar aquesa tu cortesia. ?Que castillos son aquellos? 5 iAltos son y relucian! --El Alhambra era, senor, y la otra la mezquita; los otros los Alixares, labrados a maravilla. 10 El moro que los labraba cien doblas ganaba al dia, y el dia que no los labra otras tantas se perdia. El otro es Generalife, 15 huerta que par no tenia; el otro Torres Bermejas, castillo de gran valia.-- Alli hablo el rey don Juan, bien oireis lo que decia: 20 --Si tu quisieses, Granada, contigo me casaria; darete en arras y dote a Cordoba y a Sevilla. --Casada soy, rey don Juan, 25 casada soy, que no viuda; el moro que a mi me tiene muy grande bien me queria. page 3 Fonte-frida, fonte-frida, fonte-frida y con amor, do todas las avecicas van tomar consolacion, 5 sino es la tortolica que esta viuda y con dolor. Por alli fuera a pasar el traidor de ruisenor: las palabras que le dice 10 llenas son de traicion: --Si tu quisieses, senora, yo seria tu servidor. --Vete de ahi, enemigo, malo, falso, enganador, 15 que ni poso en ramo verde, ni en prado que tenga flor; que si el agua hallo clara, turbia la bebia yo; que no quiero haber marido, 20 porque hijos no haya, no: no quiero placer con ellos, ni menos consolacion. iDejame, triste enemigo, malo, falso, mal traidor, que no quiero ser tu amiga, 25 ni casar contigo, no. page 4 EL CONDE ARNALDOS iQuien hubiese tal ventura sobre las aguas del mar, como hubo el conde Arnaldos la manana de San Juan! 5 Con un falcon en la mano la caza iba a cazar, vio venir una galera que a tierra quiere llegar. Las velas traia de seda, 10 la jarcia de un cendal, marinero que la manda diciendo viene un cantar que la mar facia en calma, los vientos hace amainar, 15 los peces que andan nel hondo arriba los hace andar, las aves que andan volando nel mastel las faz posar. Alli fablo el conde Arnaldos, 20 bien oireis lo que dira: --Por Dios te ruego, marinero, digasme ora ese cantar.-- Respondiole el marinero, tal respuesta le fue a dar: 25 --Yo no digo esta cancion sino a quien conmigo va. page 5 LA CONSTANCIA Mis arreos son las armas, mi descanso el pelear, mi cama las duras penas, mi dormir siempre velar. 5 Las manidas son escuras, los caminos por usar, el cielo con sus mudanzas ha por bien de me danar, 10 andando de sierra en sierra por orillas de la mar, por probar si en mi ventura hay lugar donde avadar. Pero por vos, mi senora, todo se ha de comportar. EL AMANTE DESDICHADO 15 En los tiempos que me vi mas alegre y placentero, yo me partiera de Burgos para ir a Valladolid: encontre con un Palmero, 20 quien me hablo, y dijo asi: --?Donde vas tu, el desdichado? ?Donde vas? itriste de ti! iOh persona desgraciada, en mal punto te conoci! 25 Muerta es tu enamorada, page 6 muerta es, que yo la vi; las andas en que la llevan de negro las vi cubrir, los responsos que le dicen 5 yo los ayude a decir: siete condes la lloraban, caballeros mas de mil, llorabanla sus doncellas, llorando dicen asi: 10 --iTriste de aquel caballero que tal perdida pierde aqui!-- Desque aquesto oi, mezquino, en tierra muerto cai, y por mas de doce horas 15 no tornara, triste, en mi. Desque hube retornado, a la sepultura fui, con lagrimas de mis ojos llorando decia asi: 20 --Acogeme, mi senora, acogeme a par de ti.-- Al cabo de la sepultura esta triste voz oi: --Vive, vive, enamorado, 25 vive, pues que yo mori: Dios te de ventura en armas, y en amor otro que si, que el cuerpo come la tierra, y el alma pena por ti.-- page 7 EL PRISIONERO Por el mes era de mayo cuando hace la calor, cuando canta la calandria, y responde el ruisenor, 5 cuando los enamorados van a servir al amor, sino yo, triste, cuitado, que vivo en esta prision, que ni se cuando es de dia 10 ni cuando las noches son, sino por un avecilla que me cantaba al albor. Matomela un ballestero, idele Dios mal galardon! 15 Cabellos de mi cabeza lleganme al corvejon; los cabellos de mi barba por manteles tengo yo: las unas de las mis manos 20 por cuchillo tajador. Si lo hacia el buen rey, hacelo como senor: si lo hace el carcelero, hacelo como traidor. 25 Mas iquien ahora me diese un pajaro hablador, siquiera fuese calandria, page 8 o tordico o ruisenor: criado fuese entre damas y avezado a la razon, que me lleve una embajada 5 a mi esposa Leonor, que me envie una empanada, no de truchas ni salmon, sino de una lima sorda y de un pico tajador: la lima para los hierros, 10 y el pico para el torreon!-- Oidolo habia el rey, mandole quitar la prision. DON GIL VICENTE CANCION Muy graciosa es la doncella: 15 icomo es bella y hermosa! Digas tu, el marinero que en las naves vivias, si la nave o la vela o la estrella es tan bella. 20 Digas tu, el caballero que las armas vestias, si el caballo o las armas o la guerra es tan bella. Digas tu, el pastorcico page 9 que el ganadico guardas, si el ganado o los valles, o la sierra es tan bella. SANTA TERESA DE JESUS LETRILLA QUE LLEVABA POR REGISTRO EN SU BREVIARIO Nada te turbe; 5 nada te espante; todo se pasa; Dios no se muda, la paciencia todo lo alcanza. Quien a Dios tiene, 10 nada le falta. Solo Dios basta. FRAY LUIS DE LEON VIDA RETIRADA iQue descansada vida la del que huye el mundanal rueido, y sigue la escondida 15 senda por donde han ido los pocos sabios que en el mundo han sido! Que no le enturbia el pecho de los soberbios grandes el estado, page 10 ni del dorado techo se admira, fabricado del sabio moro, en jaspes sustentado. No cura si la fama 5 canta con voz su nombre pregonera, ni cura si encarama la lengua lisonjera lo que condena la verdad sincera. ?Que presta a mi contento 10 si soy del vano dedo senalado? si en busca de este viento ando desalentado con ansias vivas, y mortal cuidado? iOh campo, oh monte, oh rio! 15 ioh secreto seguro deleitoso! roto casi el navio, a vuestro almo reposo huyo de aqueste mar tempestueoso. Un no rompido sueno, 20 un dia puro, alegre, libre quiero; no quiero ver el ceno vanamente severo de quien la sangre ensalza o el dinero. Despiertenme las aves 25 con su cantar sueave no aprendido, no los cuidados graves de que es siempre seguido quien al ajeno arbitrio esta atenido. Vivir quiero conmigo, page 11 gozar quiero del bien que debo al cielo, a solas sin testigo, libre de amor, de celo, de odio, de esperanzas, de recelo. 5 Del monte en la ladera por mi mano plantado tengo un huerto que con la primavera de bella flor cubierto ya muestra en esperanza el fruto cierto. 10 Y como codiciosa de ver y acrecentar su hermosura, desde la cumbre airosa una fontana pura hasta llegar corriendo se apresura. 15 Y luego sosegada el paso entre los arboles torciendo, el suelo de pasada de verdura vistiendo, y con diversas flores va esparciendo. 20 El aire el huerto orea, y ofrece mil olores al sentido, los arboles menea con un manso rueido que del oro y del cetro pone olvido. 25 Tenganse su tesoro los que de un flaco leno se confian: no es mio ver el lloro de los que desconfian cuando el cierzo y el abrego porfian. page 12 La combatida antena cruje, y en ciega noche el claro dia se torna, al cielo suena 5 confusa voceria, y la mar enriquecen a porfia. A mi una pobrecilla mesa de amable paz bien abastada me baste, y la vajilla de fino oro labrada 10 sea de quien la mar no teme airada. Y mientras miserable- mente se estan los otros abrasando en sed insaciable del no durable mando, 15 tendido yo a la sombra este cantando; A la sombra tendido de yedra y lauro eterno coronado, puesto el atento oido al son dulce acordado 20 del plectro sabiamente meneado. ANONIMO A CRISTO CRUCIFICADO No me mueve, mi Dios, para quererte El cielo que me tienes prometido, Ni me mueve el infierno tan temido Para dejar por eso de ofenderte. page 13 Tu me mueves, Senor; mueveme el verte Clavado en una cruz y escarnecido; Mueveme ver tu cuerpo tan herido; Muevenme tus afrentas y tu muerte. 5 Mueveme, al fin, tu amor, y en tal manera, Que aunque no hubiera cielo, yo te amara. Y aunque no hubiera infierno, te temiera. No me tienes que dar porque te quiera; Pues aunque lo que espero no esperara. 10 Lo mismo que te quiero te quisiera. DON LOPE FELIX DE VEGA CARPIO CANCION DE LA VIRGEN Pues andais en las palmas, Angeles santos, Que se duerme mi nino, Tened los ramos. 15 Palmas de Belen Que mueven airados Los furiosos vientos, Que suenan tanto, No le hagais ruido, 20 Corred mas paso; Que se duerme mi nino, Tened los ramos. El nino divino, Que esta cansado page 14 De llorar en la tierra, Por su descanso Sosegar quiere un poco Del tierno llanto; 5 Que se duerme mi nino, Tened los ramos. Rigurosos hielos Le estan cercando, Ya veis que no tengo 10 Con que guardarlo: Angeles divinos, Que vais volando, Que se duerme mi nino, Tened los ramos. MANANA 15 ?Que tengo yo, que mi amistad procuras? ?Que interes se te sigue, Jesus mio, Que a mi puerta, cubierto de rocio, Pasas las noches del invierno escuras? iOh cuanto fueron mis entranas duras, 20 Pues no te abri! iQue extrano desvario, Si de mi ingratitud el hielo frio Seco las llagas de tus plantas puras! iCuantas veces el angel me decia: "Alma, asomate agora a la ventana; 25 Veras con cuanto amor llamar porfia!" Y icuantas, hermosura soberana, page 15 "Manana le abriremos," respondia! Para lo mismo responder manana. DON FRANCISCO DE QUEVEDO EPISTOLA SATIRICA Y CENSORIA Contra las costumbres presentes de los castellanos, escrita al Conde-Duque de Olivares. No he de callar, por mas que con el dedo, Ya tocando la boca, o ya la frente, 5 Silencio avises o amenaces miedo. ?No ha de haber un espiritu valiente? ?Siempre se ha de sentir lo que se dice? ?Nunca se ha de decir lo que se siente? Hoy sin miedo que libre escandalice 10 Puede hablar el ingenio, asegurado De que mayor poder le atemorice. En otros siglos pudo ser pecado Severo estudio y la verdad desnuda, Y romper el silencio el bien hablado. 15 Pues sepa quien lo niega y quien lo duda Que es lengua la verdad de Dios severo Y la lengua de Dios nunca fue muda. Son la verdad y Dios, Dios verdadero: Ni eternidad divina los separa, 20 Ni de los dos alguno fue primero. page 16 LETRILLA SATIRICA Poderoso caballero Es don Dinero. Madre, yo al oro me humillo: El es mi amante y mi amado, 5 Pues de puro enamorado, De contino anda amarillo; Que pues, doblon o sencillo, Hace todo cuanto quiero, Poderoso caballero 10 Es don Dinero. Nace en las Indias honrado, Donde el mundo le acompana; Viene a morir en Espana Y es en Genova enterrado. 15 Y pues quien le trae al lado Es hermoso, aunque sea fiero, Poderoso caballero Es don Dinero. Es galan y es como un oro, 20 Tiene quebrado el color, Persona de gran valor, Tan cristiano como moro; Pues que da y quita el decoro Y quebranta cualquier fuero, 25 Poderoso caballero Es don Dinero. Son sus padres principales page 17 Y es de nobles descendiente, Porque en las venas de Oriente Todas las sangres son reales: Y pues es quien hace iguales 5 Al duque y al ganadero, Poderoso caballero Es don Dinero. DON ESTEBAN MANUEL DE VILLEGAS CANTILENA: DE UN PAJARILLO Yo vi sobre un tomillo Quejarse un pajarillo, 10 Viendo su nido amado, De quien era caudillo, De un labrador robado. Vile tan congojado Por tal atrevimiento 15 Dar mil quejas al viento, Para que al cielo santo Lleve su tierno llanto, Lleve su triste acento. Ya con triste armonia, 20 Esforzando el intento, Mil quejas repetia; Ya cansado callaba, Y al nuevo sentimiento page 18 Ya sonoro volvia. Ya circular volaba, Ya rastrero corria, Ya pues de rama en rama 5 Al rustico seguia; Y saltando en la grama, Parece que decia: "Dame, rustico fiero, Mi dulce compania"; 10 Y que le respondia El rustico: "No quiero." DON PEDRO CALDERON DE LA BARCA SONETO Estas que fueron pompa y alegria Despertando al albor de la manana, A la tarde seran lastima vana 15 Durmiendo en brazos de la noche fria. Este matiz que al cielo desafia, Iris listado de oro, nieve y grana, Sera escarmiento de la vida humana: iTanto se emprende en termino de un dia! 20 A florecer las rosas madrugaron, Y para envejecerse florecieron: Cuna y sepulcro en un boton hallaron. Tales los hombres sus fortunas vieron: En un dia nacieron y expiraron; 25 Que pasados los siglos, horas fueron. page 19 CONSEJO DE CRESPO A SU HIJO EL ALCALDE DE ZALAMEA (11, 21) Por la gracia de Dios, Juan, Eres de linaje limpio Mas que el sol, pero villano: Lo uno y lo otro te digo, 5 Aquello, porque no humilles Tanto tu orgullo y tu brio, Que dejes, desconfiado, De aspirar con cuerdo arbitrio A ser mas; lo otro, porque 10 No vengas, desvanecido, A ser menos: igualmente Usa de entrambos designios Con humildad; porque siendo Humilde, con recto juicio 15 Acordaras lo mejor; Y como tal, en olvido Pondras cosas que suceden Al reves en los altivos. iCuantos, teniendo en el mundo 20 Algun defecto consigo, Le han borrado por humildes! Y ia cuantos, que no han tenido Defecto, se le han hallado, Por estar ellos mal vistos! 25 Se cortes sobremanera, Se liberal y esparcido; page 20 Que el sombrero y el dinero Son los que hacen los amigos; Y no vale tanto el oro Que el sol engendra en el indio 5 Suelo que conduce el mar, Como ser uno bienquisto. No hables mal de las mujeres: La mas humilde, te digo Que es digna de estimacion, 10 Porque, al fin, dellas nacimos. FRAY DIEGO GONZALEZ EL MURCIELAGO ALEVOSO INVECTIVA Estaba Mirta bella Cierta noche formando en su aposento, Con gracioso talento, Una tierna cancion, y porque en ella 15 Satisfacer a Delio meditaba, Que de su fe dudaba, Con vehemente expresion le encarecia El fuego que en su casto pecho ardia. Y estando divertida, 20 Un murcielago fiero, isuerte insana! Entro por la ventana; Mirta dejo la pluma, sorprendida, page 21 Temio, gimio, dio voces, vino gente; Y al querer diligente Ocultar la cancion, los versos bellos De borrones lleno, por recogellos. 5 Y Delio, noticioso Del caso que en su dano habia pasado, Justamente enojado Con el fiero murcielago alevoso, Que habia la cancion interrumpido, 10 Y a su Mirta afligido, En colera y furor se consumia, Y asi a la ave funesta maldecia: "Oh monstruo de ave y bruto, Que cifras lo peor de bruto y ave, 15 Vision nocturna grave, Nuevo horror de las sombras, nuevo luto, De la luz enemigo declarado, Nuncio desventurado De la tiniebla y de la noche fria, 20 ?Que tienes tu que hacer donde esta el dia? "Tus obras y figura Maldigan de comun las otras aves, Que canticos sueaves Tributan cada dia a la alba pura; 25 Y porque mi ventura interrumpiste, Y a su autor afligiste, Todo el mal y desastre te suceda Que a un murcielago vil suceder pueda. "La lluvia repetida, page 22 Que viene de lo alto arrebatada, Tan solo reservada A las noches, se oponga a tu salida; O el relampago pronto reluciente 5 Te ciegue y amedrente; O soplando del Norte recio el viento, No permita un mosquito a tu alimento. "La duena melindrosa, Tras el tapiz do tienes tu manida, 10 Te juzgue, inadvertida, Por telarana sucia y asquerosa, Y con la escoba al suelo te derribe; Y al ver que bulle y vive, Tan fiera y tan ridicula figura, 15 Suelte la escoba y huya con presura. "Y luego sobrevenga El jugueton gatillo bullicioso, Y primero medroso Al verte, se retire y se contenga, 20 Y bufe y se espeluce horrorizado, Y alce el rabo esponjado, Y el espinazo en arco suba al cielo, Y con los pies apenas toque el suelo. "Mas luego recobrado, 25 Y del primer horror convalecido, El pecho al suelo unido, Traiga el rabo del uno al otro lado, Y cosido en la tierra, observe atento; Y cada movimiento page 23 Que en ti llegue a notar su perspicacia, Le provoque al asalto y le de audacia. "En fin sobre ti venga, Te acometa y ultraje sin recelo, 5 Te arrastre por el suelo, Y a costa de tu dano se entretenga; Y por caso las unas afiladas En tus alas clavadas, Por echarte de si con sobresalto, 10 Te arroje muchas veces a lo alto "Y acuda a tus chillidos El muchacho, y convoque a sus iguales, Que con los animales Suelen ser comunmente desabridos; 15 Que a todos nos doto naturaleza De entranas de fiereza, Hasta que ya la edad o la cultura Nos dan humanidad y mas cordura. "Entre con algazara 20 La pueril tropa, al dano prevenida, Y lazada oprimida Te echen al cuello con fiereza rara; Y al oirte chillar alcen el grito Y te llamen maldito; 25 Y creyendote al fin del diablo imagen, Te abominen, te escupan y te ultrajen. "Luego por las telillas De tus alas te claven al postigo, Y se burlen contigo, page 24 Y al hocico te apliquen candelillas, Y se rian con duros corazones De tus gestos y acciones, Y a tus tristes querellas ponderadas 5 Correspondan con fiesta y carcajadas. "Y todos bien armados De piedras, de navajas, de aguijones, De clavos, de punzones, De palos por los cabos afilados 10 (De diversion y fiesta ya rendidos), Te embistan atrevidos, Y te quiten la vida con presteza, Consumando en el modo su fiereza. "Te puncen y te sajen, 15 Te tundan, te golpeen, te martillen, Te piquen, te acribillen, Te dividan, te corten y te rajen, Te desmiembren, te partan, te degueellen, Te hiendan, te desuellen, 20 Te estrujen, te aporreen, te magullen, Te deshagan, confundan y aturrullen. "Y las supersticiones De las viejas creyendo realidades, Por ver curiosidades, 25 En tu sangre humedezcan algodones, Para encenderlos en la noche obscura, Creyendo sin cordura Que veran en el aire culebrinas Y otras tristes visiones peregrinas. page 25 "Muerto ya, te dispongan El entierro, te lleven arrastrando, Gori, gori, cantando, Y en dos filas delante se compongan, 5 Y otros, fingiendo voces lastimeras, Sigan de planideras, Y dirijan entierro tan gracioso Al muladar mas sucio y asqueroso; "Y en aquella basura 10 Un hoyo hondo y capaz te faciliten, Y en el te depositen, Y alli te den debida sepultura; Y para hacer eterna tu memoria, Compendiada tu historia 15 Pongan en una losa duradera, Cuya letra dira de esta manera: _Epitafio_ "Aqui yace el murcielago alevoso, Que al sol horrorizo y ahuyento el dia, De pueril sana triunfo lastimoso, 20 Con cruel muerte pago su alevosia: No sigas, caminante, presuroso, Hasta decir sobre esta losa fria: Acontezca tal fin y tal estrella A aquel que mal hiciere a Mirta bella." page 26 DON NICOLAS F. DE MORATIN FIESTA DE TOROS EN MADRID Madrid, castillo famoso Que al rey moro alivia el miedo, Arde en fiestas en su coso Por ser el natal dichoso 5 De Alimenon de Toledo. Su bravo alcaide Aliatar, De la hermosa Zaida amante, Las ordena celebrar Por si la puede ablandar 10 El corazon de diamante. Paso, vencida a sus ruegos, Desde Aravaca a Madrid; Hubo pandorgas y fuegos, Con otros nocturnos juegos 15 Que dispuso el adalid. Y en adargas y colores, En las cifras y libreas, Mostraron los amadores, Y en pendones y preseas, 20 La dicha de sus amores. Vinieron las moras bellas De toda la cercania, Y de lejos muchas de ellas: Las mas apuestas doncellas 25 Que Espana entonces tenia. page 27 Aja de Jetafe vino, Y Zahara la de Alcorcon, En cuyo obsequio muy fino Corrio de un vuelo el camino 5 El moraicel de Alcabon; Jarifa de Almonacid, Que de la Alcarria en que habita Llevo a asombrar a Madrid Su amante Audalla, adalid 10 Del castillo de Zorita. De Adamuz y la famosa Meco llegaron alli Dos, cada cual mas hermosa, Y Fatima la preciosa, 15 Hija de Ali el alcadi. El ancho circo se llena De multitud clamorosa, Que atiende a ver en la arena La sangrienta lid dudosa, 20 Y todo en torno resuena. La bella Zaida ocupo Sus dorados miradores Que el arte afiligrano, Y con espejos y flores 25 Y damascos adorno. Anafiles y atabales, Con militar armonia, Hicieron salva, y senales De mostrar su valentia page 28 Los moros mas principales. No en las vegas de Jarama Pacieron la verde grama Nunca animales tan fieros, 5 Junto al puente que se llama, Por sus peces, de Viveros, Como los que el vulgo vio Ser lidiados aquel dia; Y en la fiesta que gozo, 10 la popular alegria Muchas heridas costo. Salio un toro del toril Y a Tarfe tiro por tierra, Y luego a Benalguacil; 15 Despues con Hamete cierra El temeron de Conil. Traia un ancho liston Con uno y otro matiz Hecho un lazo por airon, 20 Sobre la inhiesta cerviz Clavado con un arpon. Todo galan pretendia Ofrecerle vencedor A la dama que servia: 25 Por eso perdio Almanzor El potro que mas queria. El alcaide muy zambrero De Guadalajara, huyo Mal herido al golpe fiero, page 29 Y desde un caballo overo El moro de Horche cayo. Todos miran a Aliatar, Que, aunque tres toros ha muerto, 5 No se quiere aventurar, Porque en lance tan incierto El caudillo no ha de entrar. Mas viendo se culparia, Va a ponersele delante: 10 La fiera le acometia, Y sin que el rejon la plante Le mato una yegua pia. Otra monta acelerado: Le embiste el toro de un vuelo, 15 Cogiendole entablerado; Rodo el bonete encarnado Con las plumas por el suelo. Dio vuelta hiriendo y matando A los de a pie que encontrara, 20 El circo desocupando, Y emplazandose, se para, Con la vista amenazando. Nadie se atreve a salir: La plebe grita indignada, 25 Las damas se quieren ir, Porque la fiesta empezada No puede ya proseguir. Ninguno al riesgo se entrega Y esta en medio el toro fijo, page 30 Cuando un portero que llega De la puerta de la Vega, Hinco la rodilla, y dijo: Sobre un caballo alazano, 5 Cubierto de galas y oro, Demanda licencia urbano Para alancear a un toro Un caballero cristiano. Mucho le pesa a Aliatar; 10 Pero Zaida dio respuesta Diciendo que puede entrar, Porque en tan solemne fiesta Nada se debe negar. Suspenso el concurso entero 15 Entre dudas se embaraza, Cuando en un potro ligero Vieron entrar en la plaza Un bizarro caballero, Sonrosado, albo color, 20 Belfo labio, juveniles Alientos, inquieto ardor, En el florido verdor De sus lozanos abriles. Cuelga la rubia guedeja 25 Por donde el almete sube, Cual mirarse tal vez deja Del sol la ardiente madeja Entre cenicienta nube; Gorguera de anchos follajes, page 31 De una cristiana primores; En el yelmo los plumajes Por los visos y celajes Vergel de diversas flores; 5 En la cuja gruesa lanza, Con recamado pendon, Y una cifra a ver se alcanza, Que es de desesperacion, O a lo menos de venganza. 10 En el arzon de la silla Ancho escudo reverbera Con blasones de Castilla, Y el mote dice a la orilla: _Nunca mi espada venciera_. 15 Era el caballo galan, El bruto mas generoso, De mas gallardo ademan: Cabos negros, y brioso, Muy tostado, y alazan, 20 Larga cola recogida En las piernas descarnadas, Cabeza pequena, erguida, Las narices dilatadas, Vista feroz y encendida. 25 Nunca en el ancho rodeo Que da Betis con tal fruto Pudo fingir el deseo Mas bella estampa de bruto, Ni mas hermoso paseo. page 32 Dio la vuelta al rededor; Los ojos que le veian Lleva prendados de amor: iAla te salve! decian, 5 iDete el Profeta favor! Causaba lastima y grima Su tierna edad floreciente: Todos quieren que se exima Del riesgo, y el solamente 10 Ni recela ni se estima. Las doncellas, al pasar, Hacen de ambar y alcanfor Pebeteros exhalar, Vertiendo pomos de olor, 15 De jazmines y azahar. Mas cuando en medio se para, Y de mas cerca le mira La cristiana esclava Aldara, Con su senora se encara, 20 Y asi la dice, y suspira: --Senora, suenos no son; Asi los cielos, vencidos De mi ruego y afliccion, Acerquen a mis oidos 25 Las campanas de Leon, Como ese doncel, que ufano Tanto asombro viene a dar A todo el pueblo africano, Es Rodrigo de Bivar, page 33 El soberbio castellano.-- Sin descubrirle quien es, La Zaida desde una almena Le hablo una noche cortes, 5 Por donde se abrio despues El cubo de la Almudena; Y supo que, fugitivo De la corte de Fernando, El cristiano, apenas vivo, 10 Esta a Jimena adorando Y en su memoria cautivo. Tal vez a Madrid se acerca Con frecuentes correrias Y todo en torno la cerca; 15 Observa sus saetias, Arroyadas y ancha alberca. Por eso le ha conocido: Que en medio de aclamaciones, El caballo ha detenido 20 Delante de sus balcones, Y la saluda rendido. La mora se puso en pie Y sus doncellas detras: El alcaide que lo ve, 25 Enfurecido ademas, Muestra cuan celoso este. Suena un rumor placentero Entre el vulgo de Madrid: No habra mejor caballero, page 34 Dicen, en el mundo entero, Y algunos le llaman Cid. Crece la algazara, y el, Torciendo las riendas de oro, 5 Marcha al combate crueel: Alza el galope, y al toro Busca en sonoro tropel. El bruto se le ha encarado Desde que le vio llegar, 10 De tanta gala asombrado, Y al rededor le ha observado Sin moverse de un lugar. Cual flecha se disparo Despedida de la cuerda, 15 De tal suerte le embistio; Detras de la oreja izquierda La aguda lanza le hirio. Brama la fiera burlada; Segunda vez acomete, 20 De espuma y sudor banada, Y segunda vez la mete Sutil la punta acerada. Pero ya Rodrigo espera Con heroico atrevimiento, 25 El pueblo mudo y atento: Se engalla el toro y altera, Y finje acometimiento. La arena escarba ofendido, Sobre la espalda la arroja page 35 Con el hueso retorcido; El suelo huele y le moja En ardiente resoplido. La cola inquieto menea, 5 La diestra oreja mosquea, Vase retirando atras, Para que la fuerza sea Mayor, y el impetu mas. El que en esta ocasion viera 10 De Zaida el rostro alterado, Claramente conociera Cuanto le cuesta cuidado El que tanto riesgo espera. Mas iay, que le embiste horrendo 15 El animal espantoso! Jamas penasco tremendo Del Caucaso cavernoso Se desgaja, estrago haciendo, Ni llama asi fulminante 20 Cruza en negra obscuridad Con relampagos delante, Al estrepito tronante De sonora tempestad, Como el bruto se abalanza 25 Con terrible ligereza; Mas rota con gran pujanza La alta nuca, la fiereza Y el ultimo aliento lanza. La confusa voceria page 36 Que en tal instante se oyo Fue tanta, que parecia Que honda mina revento, O el monte y valle se hundia. 5 A caballo como estaba Rodrigo, el lazo alcanzo Con que el toro se adornaba: En su lanza le clavo Y a los balcones llegaba. 10 Y alzandose en los estribos, Le alarga a Zaida, diciendo: --Sultana, aunque bien entiendo Ser favores excesivos, Mi corto don admitiendo; 15 Si no os dignaredes ser Con el benigna, advertid Que a mi me basta saber Que no le debo ofrecer A otra persona en Madrid.-- 20 Ella, el rostro placentero, Dijo, y turbada:--Senor, Yo le admito y le venero, Por conservar el favor De tan gentil caballero.-- 25 Y besando el rico don, Para agradar al doncel, Le prende con aficion Al lado del corazon Por brinquino y por joyel. page 37 Pero Aliatar el caudillo De envidia ardiendo se ve, Y, tremulo y amarillo, Sobre un tremecen rosillo 5 Lozaneandose fue. Y en ronca voz:--Castellano, Le dice, con mas decoros Suelo yo dar de mi mano, Si no penachos de toros, 10 Las cabezas del cristiano. Y si vinieras de guerra Cual vienes de fiesta y gala, Vieras que en toda la tierra, Al valor que dentro encierra 15 Madrid, ninguno se iguala.-- --Asi, dijo el de Bivar, Respondo--; y la lanza al ristre Pone, y espera a Aliatar; Mas sin que nadie administre 20 Orden, tocaron a armar. Ya fiero bando con gritos Su muerte o prision pedia, Cuando se oyo en los distritos Del monte de Leganitos 25 Del Cid la trompeteria. Entre la Monclova y Soto Tercio escogido embosco, Que, viendo como tardo, Se acerca, oyo el alboroto, page 38 Y al muro se abalanzo. Y si no vieran salir Por la puerta a su senor, Y Zaida a le despedir, 5 Iban la fuerza a embestir: Tal era ya su furor. El alcaide, recelando Que en Madrid tenga partido, Se templo disimulando, 10 Y por el parque florido Salio con el razonando. Y es fama que, a la bajada, Juro por la cruz el Cid De su vencedora espada 15 De no quitar la celada Hasta que gane a Madrid. DON GASPAR MELCHOR DE JOVELLANOS A ARNESTO ?Quis tam patiens ut teneat se? JUVENAL Dejame, Arnesto, dejame que llore Los fieros males de mi patria, deja Que su rueina y perdicion lamente; 20 Y si no quieres que en el centro obscuro De esta prision la pena me consuma, Dejame al menos que levante el grito Contra el desorden: deja que a la tinta page 39 Mezclando miel y acibar, siga indocil Mi pluma el vuelo del bufon de Aquino. iOh! icuanto rostro veo, a mi censura, De palidez y de rubor cubierto! 5 Animo, amigos, nadie tema, nadie, Su punzante aguijon; que yo persigo En mi satira el vicio, no al vicioso. Ya la notoriedad es el mas noble Atributo del vicio, y nuestras Julias, 10 Mas que ser malas quieren parecerlo. Hubo un tiempo en que andaba la modestia Dorando los delitos; hubo un tiempo En que el recato timido cubria La fealdad del vicio; pero huyose 15 El pudor a vivir en las cabanas. iOh infamia! ioh siglo! ioh corrupcion! Matronas Castellanas, ?quien pudo vuestro claro Pundonor eclipsar? ?Quien de Lucrecias En Lais os volvio? ?Ni el proceloso 20 Oceano, ni, lleno de peligros, El Lilibeo, ni las arduas cumbres De Pirene pudieron guareceros Del contagio fatal? Zarpa prenada De oro la nao gaditana, aporta 25 A las orillas galicas, y vuelve Llena de objetos futiles y vanos; page 40 Y entre los signos de extranjera pompa Ponzona esconde y corrupcion, compradas Con el sudor de las iberas frentes; Y tu, misera Espana, tu la esperas 5 Sobre la playa, y con afan recoges La pestilente carga, y la repartes Alegre entre tus hijos. Viles plumas, Gasas y cintas, flores y penachos 10 Te trae en cambio de la sangre tuya; De tu sangre ioh baldon! y acaso, acaso De tu virtud y honestidad. Repara Cual la liviana juventud los busca. Mira cual va con ellos engreida La impudente doncella; su cabeza, 15 Cual nave real en triunfo empavesada, Vana presenta del favonio al soplo La mies de plumas y de airones, y anda Loca, buscando en la lisonja el premio De su indiscreto afan. iAy triste! guarte, 20 Guarte, que esta cercano el precipicio. El astuto amador ya en asechanza Te atisba y sigue con lascivos ojos; La adulacion y la caricia el lazo Te van a armar, do caeras incauta, 25 En el tu oprobio y perdicion hallando. iAy cuanto, cuanto de amargura y lloro Te costaran tus galas! iCuan tardio Sera y esteril tu arrepentimiento! Ya ni el rico Brasil, ni las cavernas page 41 Del nunca exhausto Potosi no bastan A saciar el hidropico deseo, La ansiosa sed de vanidad y pompa. Todo lo agotan: cuesta un sombrerillo 5 Lo que antes un Estado, y se consume5 En un festin la dote de una infanta; Todo lo tragan; la riqueza unida Va a la indigencia; pide y pordiosea El noble, engana, empena, malbarata, 10 Quiebra y perece, y el logrero goza Los pinguees patrimonios, premio un dia Del generoso afan de altos abuelos. iOh ultraje! ioh mengua! todo se trafica: Parentesco, amistad, favor, influjo, 15 Y hasta el honor, deposito sagrado, O se vende o se compra. Y tu, belleza, Don el mas grato que dio al hombre el cielo, No eres ya premio del valor, ni paga Del peregrino ingenio; la florida 20 Juventud, la ternura, el rendimiento Del constante amador ya no te alcanzan. Ya ni te das al corazon, ni sabes De el recibir adoracion y ofrendas. Rindeste al oro. La vejez hedionda, 25 La sucia palidez, la faz adusta, Fiera y terrible, con igual derecho Vienen sin susto a negociar contigo. Daste al barato, y tu rosada frente, Tus suaves besos y tus dulces brazos, page 42 Corona un tiempo del amor mas puro, Son ya una vil y torpe mercancia. DON JUAN MELENDEZ VALDES ROSANA EN LOS FUEGOS Del sol llevaba la lumbre, Y la alegria del alba, 5 En sus celestiales ojos La hermosisima Rosana, Una noche que a los fuegos Salio la fiesta de Pascua Para abrasar todo el valle 10 En mil amorosas ansias. Por do quiera que camina Lleva tras si la manana, Y donde se vuelve rinde La libertad de mil almas. 15 El cefiro la acaricia Y mansamente la halaga, Los Amores la rodean Y las Gracias la acompanan. Y ella, asi como en el valle 20 Descuella la altiva palma Cuando sus verdes pimpollos Hasta las nubes levanta; O cual vid de fruto llena Que con el olmo se abraza, page 43 Y sus vastagos extiende Al arbitrio de las ramas; Asi entre sus companeras El nevado cuello alza, 5 Sobresaliendo entre todas Cual fresca rosa entre zarzas. Todos los ojos se lleva Tras si, todo lo avasalla; De amor mata a los pastores 10 Y de envidia a las zagalas. Ni las musicas se atienden, Ni se gozan las lumbradas; Que todos corren por verla Y al verla todos se abrasan. 15 iQue de suspiros se escuchan! iQue de vivas y de salvas! No hay zagal que no la admire Y no se esmere en loarla. Cual absorto la contempla 20 Y a la aurora la compara Cuando mas alegre sale Y el cielo en albores bana; Cual al fresco y verde aliso Que crece al margen del agua, 25 Cuando mas pomposo en hojas En su cristal se retrata; Cual a la luna, si muestra Llena su esfera de plata, Y asoma por los collados page 44 De luceros coronada. Otros pasmados la miran Y mudamente la alaban, Y cuanto mas la contemplan 5 Muy mas hermosa la hallan. Que es como el cielo su rostro Cuando en la noche callada Brilla con todas sus luces Y los ojos embaraza. 10 iAy, que de envidias se encienden! iAy, que de celos que causa En las serranas del Tormes Su perfeccion sobrehumana! Las mas hermosas la temen, 15 Mas sin osar murmurarla; Que como el oro mas puro No sufre una leve mancha. Bien haya tu gentileza, Una y mil veces bien haya, 20 Y abrase la envidia al pueblo, Hermosisima aldeana. Toda, toda eres perfecta, Toda eres donaire y gracia, El amor vive en tus ojos 25 Y la gloria esta en tu cara. La libertad me has robado, Yo la doy por bien robada, Mas recibe el don benigna Que mi humildad te consagra. page 45 Esto un zagal la decia Con razones mal formadas, Que salio libre a los fuegos Y volvio cautivo a casa. 5 Y desde entonces perdido El dia a sus puertas le halla; Ayer le canto esta letra Echandole la alborada: Linda zagaleja 10 De cuerpo gentil, _Muerome de amores Desde que te vi_. Tu talle, tu aseo, Tu gala y donaire, 15 No tienen, serrana, Igual en el valle. Del cielo son ellos Y tu un serafin: _Muerome de amores 20 Desde que te vi_. De amores me muero, Sin que nada baste A darme la vida Que alla te llevaste, 25 Si ya no te dueles, Benigna, de mi; _Que muero de amores Desde que te vi_. page 46 DON MANUEL JOSE QUINTANA ODA A ESPANA, DESPUES DE LA REVOLUCION DE MARZO ?Que era, decidme, la nacion que un dia Reina del mundo proclamo el destino, La que a todas las zonas extendia Su cetro de oro y su blason divino? 5 Volabase a occidente, Y el vasto mar Atlantico sembrado Se hallaba de su gloria y su fortuna. Do quiera Espana: en el preciado seno 10 De America, en el Asia, en los confines Del Africa, alli Espana. El soberano Vuelo de la atrevida fantasia Para abarcarla se cansaba en vano; La tierra sus mineros le rendia, Sus perlas y coral el Oceano, 15 Y donde quier que revolver sus olas El intentase, a quebrantar su furia Siempre encontraba costas espanolas. Ora en el cieno del oprobio hundida, Abandonada a la insolencia ajena, 20 Como esclava en mercado, ya aguardaba La ruda argolla y la servil cadena. iQue de plagas! ioh Dios! Su aliento impuro, La pestilente fiebre respirando, Infesto el aire, emponzono la vida; page 47 La hambre enflaquecida Tendio sus brazos lividos, ahogando Cuanto el contagio perdono; tres veces De Jano el templo abrimos, 5 Y a la trompa de Marte aliento dimos; Tres veces iay! Los dioses tutelares Su escudo nos negaron, y nos vimos Rotos en tierra y rotos en los mares. ?Que en tanto tiempo viste 10 Por tus inmensos terminos, oh Iberia? ?Que viste ya sino funesto luto, Honda tristeza, sin igual miseria, De tu vil servidumbre acerbo fruto? Asi rota la vela, abierto el lado, 15 Pobre bajel a naufragar camina, De tormenta en tormenta despenado, Por los yermos del mar; ya ni en su popa Las guirnaldas se ven que antes le ornaban, Ni en senal de esperanza y de contento 20 La flamula riendo al aire ondea. Ceso en su dulce canto el pasajero, Ahogo su voceria El ronco marinero, Terror de muerte en torno le rodea, 25 Terror de muerte silencioso y frio; Y el va a estrellarse al aspero bajio. Llega el momento, en fin; tiende su mano El tirano del mundo al occidente, Y fiero exclama: "El occidente es mio." page 48 Barbaro gozo en su cenuda frente Resplandecio, como en el seno obscuro De nube tormentosa en el estio Relampago fugaz brilla un momento 5 Que anade horror con su fulgor sombrio. Sus guerreros feroces Con gritos de soberbia el viento llenan; Gimen los yunques, los martillos suenan, Arden las forjas. iOh vergueenza! ?Acaso 10 Pensais que espadas son para el combate Las que mueven sus manos codiciosas? No en tanto os estimeis: grillos, esposas, Cadenas son que en vergonzosos lazos Por siempre amarren tan inertes brazos. 15 Estremeciose Espana Del indigno rumor que cerca oia, Y al grande impulso de su justa sana Rompio el volcan que en su interior hervia. Sus despotas antiguos 20 Consternados y palidos se esconden; Resuena el eco de venganza en torno, Y del Tajo las margenes responden: "iVenganza!" ?Donde estan, sagrado rio, Los colosos de oprobio y de vergueenza 25 Que nuestro bien en su insolencia ahogaban; Su gloria fue, nuestro esplendor comienza; Y tu, orgulloso y fiero, Viendo que aun hay Castilla y castellanos, Precipitas al mar tus rubias ondas, page 49 iOh triunfo! iOh gloria! iOh celestial momento! ?Con que puede ya dar el labio mio El nombre augusto de la patria al viento? 5 Yo le dare; mas no en el arpa de oro Que mi cantar sonoro Acompano hasta aqui; no aprisionado En estrecho recinto, en que se apoca El numen en el pecho 10 Y el aliento fatidico en la boca. Desenterrad la lira de Tirteo, Y el aire abierto a la radiante lumbre Del sol, en la alta cumbre Del riscoso y pinifero Fuenfria, 15 Alli volare yo, y alli cantando Con voz que atruene en rededor la sierra, Lanzare por los campos castellanos Los ecos de la gloria y de la guerra. iGuerra, nombre tremendo, ahora sublime, 20 Unico asilo y sacrosanto escudo Al impetu sanudo Del fiero Atila que a occidente oprime! iGuerra, guerra, espanoles! En el Betis Ved del Tercer Fernando alzarse airada 25 La augusta sombra; su divina frente Mostrar Gonzalo en la imperial Granada; Blandir el Cid su centelleante espada, Y alla sobre los altos Pirineos, Del hijo de Jimena page 50 Animarse los miembros giganteos. En torvo ceno y desdenosa pena Ved como cruzan por los aires vanos; Y el valor exhalando que se encierra 5 Dentro del hueco de sus tumbas frias, En fiera y ronca voz pronuncian: "iGuerra! iPues que! ?Con faz serena Vierais los campos devastar opimos, Eterno objeto de ambicion ajena, 10 Herencia inmensa que afanando os dimos? Despertad, raza de heroes: el momento Llego ya de arrojarse a la victoria; Que vuestro nombre eclipse nuestro nombre, Que vuestra gloria humille nuestra gloria. 15 No ha sido en el gran dia 15 El altar de la patria alzado en vano Por vuestra mano fuerte. Juradlo, ella os lo manda: _iAntes la muerte Que consentir jamas ningun tirano!_" 20 Si, yo lo juro, venerables sombras; Yo lo juro tambien, y en este instante Ya me siento mayor. Dadme una lanza, Cenidme el casco fiero y refulgente; Volemos al combate, a la venganza; 25 Y el que niegue su pecho a la esperanza, Hunda en el polvo la cobarde frente. Tal vez el gran torrente De la devastacion en su carrera Me llevara. ?Que importa? ?Por ventura page 51 No se muere una vez? ?No ire, expirando, A encontrar nuestros inclitos mayores? "iSalud, oh padres de la patria mia, Yo les dire, salud! La heroica Espana 5 De entre el estrago universal y horrores Levanta la cabeza ensangrentada, Y vencedora de su mal destino, Vuelve a dar a la tierra amedrentada DON DIONISIO SOLIS LA PREGUNTA DE LA NINA 10 Madre mia, yo soy nina; No se enfade, no me rina, Si fiada en su prudencia Desahogo mi conciencia, Y contarle solicito 15 Mi desdicha o mi delito, Aunque muerta de rubor. Pues Blasillo el otro dia, Cuando mismo anochecia, Y cantando descuidada 20 Conducia mi manada, En el bosque, por acaso, Me salio solito al paso, Mas hermoso que el amor. Se me acerca temeroso, page 52 Me saluda carinoso, Me repite que soy linda, Que no hay pecho que no rinda, Que si rio, que si lloro, 5 A los hombres enamoro, Y que mato con mirar. Con estilo cortesano Se apodera de mi mano, Y entre dientes, madre mia, 10 No se bien que me pedia; Yo entendi que era una rosa, Pero el dijo que era otra cosa, Que yo no le quise dar. ?Sabe usted lo que decia 15 El taimado que queria? Con vergueenza lo confieso, Mas no hay duda que era un beso Y fue tanto mi sonrojo, Que irritada de su arrojo, 20 No se como no mori. Mas mi pecho enternecido De mirarle tan rendido, Al principio resistiendo, El instando, yo cediendo, 25 Fue por fin tan importuno, Que en la boca, y solo uno, Que me diera permiti. Desde entonces, si le miro, Yo no se por que suspiro, page 53 Ni por que si a Clori mira Se me abrasa el rostro en ira; Ni por que, si con cuidado Se me pone junto al lado, 5 Me estremezco de placer. Siempre orillas de la fuente Busco rosas a mi frente, Pienso en el y me sonrio, Y entre mi le llamo mio, 10 Me entristezco de su ausencia, Y deseo en su presencia La mas bella parecer. Confundida, peno y dudo, Y por eso a usted acudo; 15 Digame, querida madre, Si sentia por mi padre Este placido tormento, Esta dulce que yo siento Deliciosa enfermedad. 20 Diga usted con que se cura O mi amor, o mi locura, Y si puede por un beso, Sin que pase a mas exceso, Una nina enamorarse, 25 Y que trate de casarse A los quince de su edad. page 54 DON JUAN NICASIO GALLEGO EL DOS DE MAYO Noche, lobrega noche, eterno asilo Del miserable que, esquivando el sueno, En tu silencio pavoroso gime: No desdenes mi voz; letal beleno 5 Presta a mis sienes, y en tu horror sublime Empapada la ardiente fantasia, Da a mi pincel fatidicos colores Con que el tremendo dia Trace al furor de vengadora tea, 10 Y el odio irrite de la patria mia, Y escandalo y terror al orbe sea. iDia de execracion! La destructora Mano del tiempo le arrojo al averno; Mas ?quien el sempiterno 15 Clamor con que los ecos importuna La madre Espana en enlutado arreo Podra atajar? Junto al sepulcro frio, Al palido lucir de opaca luna, Entre cipreses funebres la veo: 20 Tremula, yerta, descenido el manto, Los ojos moribundos Al cielo vuelve, que le oculta el llanto; Roto y sin brillo el cetro de dos mundos Yace entre el polvo, y el leon guerrero 25 Lanza a sus pies rugido lastimero. page 55 iAy, que cual debil planta Que agota en su furor horrido viento, De victimas sin cuento Lloro la destruccion Mantua afligida! 5 Yo vi, yo vi su juventud florida Correr inerme al huesped ominoso. ?Mas que su generoso Esfuerzo pudo? El perfido caudillo En quien su honor y su defensa fia, 10 La condeno al cuchillo. ?Quien iay! la alevosia, La horrible asolacion habra que cuente, Que, hollando de amistad los santos fueros, Hizo furioso en la indefensa gente 15 Ese tropel de tigres carniceros? Por las henchidas calles Gritando se despena La infame turba que abrigo en su seno, Rueda alla rechinando la curena, 20 Aca retumba el espantoso trueno, Alli el joven lozano, El mendigo infeliz, el venerable Sacerdote pacifico, el anciano Que con su arada faz respeto imprime, 25 Juntos amarra su dogal tirano. En balde, en balde gime, De los duros satelites en torno, La triste madre, la afligida esposa. Con doliente clamor, la pavorosa page 56 Fatal descarga suena, Que a luto y llanto eterno la condena. iCuanta escena de muerte! icuanto estrago! iCuantos ayes doquier! Despavorido 5 Mirad ese infelice Quejarse al adalid empedernido De otra cuadrilla atroz. "iAh! ?Que te hice?" Exclama el triste en lagrimas deshecho: "Mi pan y mi mansion parti contigo, 10 Te abri mis brazos, te cedi mi lecho, Temple tu sed, y me llame tu amigo; ?Y ahora pagar podras nuestro hospedaje Sincero, franco, sin doblez ni engano, Con dura muerte y con indigno ultraje?" 15 iPerdido suplicar! iinutil ruego! El monstruo infame a sus ministros mira, Y con tremenda voz gritando: "ifuego!" Tinto en su sangre el desgraciado expira. Y en tanto ?do se esconden? 20 ?Do estan ioh cara patria! tus soldados, Que a tu clamor de muerte no responden? Presos, encarcelados Por jefes sin honor, que, haciendo alarde De su perfidia y dolo, 25 A merced de los vandalos te dejan, Como entre hierros el leon, forcejean Con inutil afan. Vosotros solo, Fuerte Daoiz, intrepido Velarde, Que osando resistir al gran torrente page 57 Dar supisteis en flor la dulce vida Con firme pecho y con serena frente; Si de mi libre musa 5 Jamas el eco adormecio a tiranos, Ni vil lisonja emponzono su aliento, Alla del alto asiento, Al que la accion magnanima os eleva, El himno oid que a vuestro nombre entona, Mientras la fama aligera le lleva 10 Del mar de hielo a la abrasada zona. Mas iay! que en tanto sus funestas alas Por la opresa metropoli tendiendo, La yerma asolacion sus plazas cubre, Y al aspero silbar de ardientes balas, 15 Y al ronco son de los prenados bronces, Nuevo fragor y estrepito sucede. ?Ois como, rompiendo De moradores timidos las puertas, Caen estallando de los fuertes gonces? 20 iCon que espantoso estruendo Los duenos buscan, que medrosos huyen! Cuanto encuentran destruyen, Bramando, los atroces forajidos, Que el robo infame y la matanza ciegan. 25 ?No veis cual se despliegan, Penetrando en los hondos aposentos, De sangre y oro y lagrimas sedientos? Rompen, talan, destrozan Cuanto se ofrece a su sangrienta espada. page 58 Aqui, matando al dueno, se alborozan, Hieren alli su esposa acongojada; La familia asolada Yace expirando, y con feroz sonrisa 5 Sorben voraces el fatal tesoro. Suelta, a otro lado, la madeja de oro, Mustio el dulce carmin de su mejilla, Y en su frente marchita la azucena, Con voz turbada y anhelante lloro, 10 De su verdugo ante los pies se humilla Timida virgen, de amargura llena; Mas con furor de hiena, Alzando el corvo alfanje damasquino, Hiende su cuello el barbaro asesino. 15 iHorrible atrocidad!... Treguas ioh musa! Que ya la voz rehusa Embargada en suspiros mi garganta. Y en ignominia tanta, ?Sera que rinda el espanol bizarro 20 La indomita cerviz a la cadena? No, que ya en torno suena De Palas fiera el sanguinoso carro, Y el latigo estallante Los caballos flamigeros hostiga. 25 Ya el duro peto y el arnes brillante Visten los fuertes hijos de Pelayo. Fuego arrojo su ruginoso acero: "iVenganza y guerra!" resono en su tumba; "iVenganza y guerra!" repitio Moncayo; page 59 Y al grito heroico que en los aires zumba, "iVenganza y guerra!" claman Turia y Duero. Guadalquivir guerrero Alza al belico son la regia frente, 5 Y del Patron valiente Blandiendo altivo la nudosa lanza, Corre gritando al mar: "iGuerra y venganza!" iOh sombras infelices 10 De los que aleve y barbara cuchilla Robo a los dulces lares! iSombras inultas que en fugaz gemido Cruzais los anchos campos de Castilla! La heroica Espana, en tanto que al bandido Que a fuego y sangre, de insolencia ciego, 15 Brindo felicidad, a sangre y fuego Le retribuye el don, sabra piadosa Daros solemne y noble monumento. Alli en padron cruento De oprobio y mengua, que perpetuo dure, 20 La vil traicion del despota se lea, Y altar eterno sea Donde todo Espanol al monstruo jure Rencor de muerte que en sus venas cunda, Y a cien generaciones se difunda. page 60 DON FRANCISCO MARTINEZ DE LA ROSA EL NIDO ?Donde vas, zagal cruel, Donde vas con ese nido, Riyendo tu mientras pian Esos tristes pajarillos? 5 Su madre los dejo solos En este momento mismo, Para buscarles sustento Y darselo con su pico... Mirala cuan azorada 10 Echa menos a sus hijos, Salta de un arbol en otro, Va, torna, vuela sin tino: Al cielo favor demanda Con acento dolorido; 15 Mientras ellos en tu mano Baten el ala al oirlo... iTu tambien tuviste madre, Y la perdiste aun muy nino, Y te encontraste en la tierra 20 Sin amparo y sin abrigo!-- Las lagrimas se le saltan Al cuitado pastorcillo, Y vergonzoso y confuso Deja en el arbol el nido. page 61 DON ANGEL DE SAAVEDRA, DUQUE DE RIVAS UN CASTELLANO LEAL ROMANCE PRIMERO "Hola, hidalgos y escuderos De mi alcurnia y mi blason, Mirad como bien nacidos De mi sangre y casa en pro. 5 "Esas puertas se defiendan; Que no ha de entrar, vive Dios, Por ellas, quien no estuviere Mas limpio que lo esta el sol. "No profane mi palacio 10 Un fementido traidor Que contra su Rey combate Y que a su patria vendio. "Pues si el es de Reyes primo, Primo de Reyes soy yo; 15 Y conde de Benavente Si el es duque de Borbon; "Llevandole de ventaja Que nunca jamas mancho La traicion mi noble sangre, 20 Y haber nacido espanol." Asi atronaba la calle Una ya cascada voz, page 62 Que de un palacio salia Cuya puerta se cerro; Y a la que estaba a caballo Sobre un negro pisador, 5 Siendo en su escudo las lises Mas bien que timbre baldon, Y de pajes y escuderos Llevando un tropel en pos Cubiertos de ricas galas, 10 El gran duque de Borbon: El que lidiando en Pavia, Mas que valiente, feroz, Gozose en ver prisionero A su natural senor; 15 Y que a Toledo ha venido, Ufano de su traicion, Para recibir mercedes Y ver al Emperador. ROMANCE SEGUNDO En una anchurosa cuadra 20 Del alcazar de Toledo, Cuyas paredes adornan Ricos tapices flamencos, Al lado de una gran mesa, Que cubre de terciopelo 25 Napolitano tapete Con borlones de oro y flecos; Ante un sillon de respaldo page 63 Que entre bordado arabesco Los timbres de Espana ostenta Y el aguila del imperio, De pie estaba Carlos Quinto, 5 Que en Espana era primero, Con gallardo y noble talle, Con noble y tranquilo aspecto. De brocado de oro y blanco Viste tabardo tudesco, 10 De rubias martas orlado, Y desabrochado y suelto, Dejando ver un justillo De raso jalde, cubierto Con primorosos bordados 15 Y costosos sobrepuestos, Y la excelsa y noble insignia Del Toison de oro, pendiendo De una preciosa cadena En la mitad de su pecho. 20 Un birrete de velludo Con un blanco airon, sujeto Por un joyel de diamantes Y un antiguo camafeo, Descubre por ambos lados, 25 Tanta majestad cubriendo, Rubio, cual barba y bigote, Bien atusado el cabello. Apoyada en la cadera page 64 La potente diestra ha puesto, Que aprieta dos guantes de ambar Y un primoroso mosquero, Y con la siniestra halaga 5 De un mastin muy corpulento, Blanco y las orejas rubias, El ancho y carnoso cuello. Con el Condestable insigne, Apaciguador del reino, 10 De los pasados disturbios Acaso esta discurriendo; O del trato que dispone Con el Rey de Francia preso, O de asuntos de Alemania 15 Agitada por Lutero; Cuando un tropel de caballos Oye venir a lo lejos Y ante el alcazar pararse, Quedando todo en silencio. 20 En la antecamara suena Rumor impensado luego, Abrese al fin la mampara Y entra el de Borbon soberbio, Con el semblante de azufre 25 Y con los ojos de fuego, Bramando de ira y de rabia Que enfrena mal el respeto; Y con balbuciente lengua, page 65 Y con mal borrado ceno, Acusa al de Benavente, Un desagravio pidiendo. Del espanol Condestable 5 Latio con orgullo el pecho, Ufano de la entereza De su esclarecido deudo. Y aunque advertido procura Disimular cual discreto, 10 A su noble rostro asoman La aprobacion y el contento. El Emperador un punto Quedo indeciso y suspenso, Sin saber que responderle 15 Al frances, de enojo ciego. Y aunque en su interior se goza Con el proceder violento Del conde de Benavente, De altas esperanzas lleno 20 Por tener tales vasallos, De noble lealtad modelos, Y con los que el ancho mundo Sera a sus glorias estrecho, Mucho al de Borbon le debe 25 Y es fuerza satisfacerlo: Le ofrece para calmarlo Un desagravio completo. Y, llamando a un gentil-hombre, page 66 Con el semblante severo Manda que el de Benavente Venga a su presencia presto. ROMANCE TERCERO Sostenido por sus pajes 5 Desciende de su litera El conde de Benavente Del alcazar a la puerta. Era un viejo respetable, Cuerpo enjuto, cara seca, 10 Con dos ojos como chispas, Cargados de largas cejas, Y con semblante muy noble, Mas de gravedad tan seria Que veneracion de lejos 15 Y miedo causa de cerca. Eran su traje unas calzas De purpura de Valencia, Y de recamado ante Un coleto a la leonesa: 20 De fino lienzo gallego Los punos y la gorguera, Unos y otra guarnecidos Con randas barcelonesas: Un birreton de velludo 25 Con su cintillo de perlas, Y el gaban de pano verde Con alamares de seda. page 67 Tan solo de Calatrava La insignia espanola lleva; Que el Toison ha despreciado Por ser orden extranjera. 5 Con paso tardo, aunque firme, Sube por las escaleras, Y al verle, las alabardas Un golpe dan en la tierra; Golpe de honor, y de aviso 10 De que en el alcazar entra Un Grande, a quien se le debe Todo honor y reverencia. Al llegar a la antesala, Los pajes que estan en ella 15 Con respeto le saludan Abriendo las anchas puertas. Con grave paso entra el conde Sin que otro aviso preceda, Salones atravesando 20 Hasta la camara regia. Pensativo esta el Monarca, Discurriendo como pueda Componer aquel disturbio Sin hacer a nadie ofensa. 25 Mucho al de Borbon le debe, Aun mucho mas de el espera, Y al de Benavente mucho page 68 Considerar le interesa. Dilacion no admite el caso, No hay quien dar consejo pueda Y Villalar y Pavia 5 A un tiempo se le recuerdan. En el sillon asentado Y el codo sobre la mesa, Al personaje recibe, Que comedido se acerca. 10 Grave el conde le saluda Con una rodilla en tierra, Mas como Grande del reino Sin descubrir la cabeza. El Emperador benigno 15 Que alce del suelo le ordena, Y la platica dificil Con sagacidad empieza. Y entre severo y afable Al cabo le manifiesta 20 Que es el que a Borbon aloje Voluntad suya resuelta. Con respeto muy profundo, Pero con la voz entera, Respondele Benavente, 25 Destocando la cabeza: "Soy, senor, vuestro vasallo, Vos sois mi rey en la tierra, A vos ordenar os cumple page 69 De mi vida y de mi hacienda. "Vuestro soy, vuestra mi casa, De mi disponed y de ella, Pero no toqueis mi honra 5 Y respetad mi conciencia. "Mi casa Borbon ocupe Puesto que es voluntad vuestra, Contamine sus paredes, Sus blasones envilezca; 10 "Que a mi me sobra en Toledo Donde vivir, sin que tenga Que rozarme con traidores, Cuyo solo aliento infesta. Y en cuanto el deje mi casa, 15 Antes de tornar yo a ella, Purificare con fuego Sus paredes y sus puertas." Dijo el conde, la real mano Beso, cubrio su cabeza, 20 Y retirose bajando A do estaba su litera. Y a casa de un su pariente Mando que le condujeran, Abandonando la suya 25 Con cuanto dentro se encierra. Quedo absorto Carlos Quinto De ver tan noble firmeza, Estimando la de Espana Mas que la imperial diadema. page 70 ROMANCE CUARTO Muy pocos dias el duque Hizo mansion en Toledo, Del noble conde ocupando Los honrados aposentos. 5 Y la noche en que el palacio Dejo vacio, partiendo, Con su sequito y sus pajes, Orgulloso y satisfecho, Turbo la apacible luna 10 Un vapor blanco y espeso Que de las altas techumbres Se iba elevando y creciendo: A poco rato tornose En humo confuso y denso 15 Que en nubarrones obscuros Ofuscaba el claro cielo; Despues en ardientes chispas, Y en un resplandor horrendo 20 Que iluminaba los valles Dando en el Tajo reflejos, Y al fin su furor mostrando En embravecido incendio Que devoraba altas torres Y derrumbaba altos techos. 25 Resonaron las campanas, Conmoviose todo el pueblo, De Benavente el palacio page 71 Presa de las llamas viendo. El Emperador confuso Corre a procurar remedio, En atajar tanto dano 5 Mostrando tenaz empeno. En vano todo: tragose Tantas riquezas el fuego, A la lealtad castellana Levantando un monumento. 10 Aun hoy unos viejos muros Del humo y las llamas negros Recuerdan accion tan grande En la famosa Toledo. PADRE JUAN AROLAS SE MAS FELIZ QUE YO Sobre pupila azul, con sueno leve, 15 Tu parpado cayendo amortecido, Se parece a la pura y blanca nieve Que sobre las violetas reposo: Yo el sueno del placer nunca he dormido: Se mas feliz que yo. 20 Se asemeja tu voz en la plegaria Al canto del zorzal de indiano suelo Que sobre la pagoda solitaria Los himnos de la tarde suspiro: page 72 Yo solo esta oracion dirijo al cielo: Se mas feliz que yo. Es tu aliento la esencia mas fragante De los lirios del Arno caudaloso 5 Que brotan sobre un junco vacilante Cuando el cefiro blando los mecio: Yo no gozo su aroma delicioso: Se mas feliz que yo. El amor, que es espiritu de fuego, 10 Que de callada noche se aconseja Y se nutre con lagrimas y ruego, En tus purpureos labios se escondio: El te guarde el placer y a mi la queja: Se mas feliz que yo. 15 Bella es tu juventud en sus albores Como un campo de rosas del Oriente; Al angel del recuerdo pedi flores Para adornar tu sien, y me las dio; Yo decia al ponerlas en tu frente: 20 Se mas feliz que yo. Tu mirada vivaz es de paloma; Como la adormidera del desierto Causas dulce embriaguez, huri de aroma Que el cielo de topacio abandono: 25 Mi suerte es dura, mi destino incierto: Se mas feliz que yo. page 73 DON JOSE DE ESPRONCEDA CANCION DEL PIRATA Con diez canones por banda, Viento en popa a toda vela, No corta el mar, sino vuela Un velero bergantin: 5 Bajel pirata que llaman, Por su bravura, el _Temido_, En todo mar conocido Del uno al otro confin. La luna en el mar riela, 10 En la lona gime el viento, Y alza en blando movimiento Olas de plata y azul; Y ve el capitan pirata, Cantando alegre en la popa, 15 Asia a un lado, al otro Europa, Y alla a su frente Stambul, "Navega, velero mio, Sin temor; Que ni enemigo navio, 20 Ni tormenta, ni bonanza Tu rumbo a torcer alcanza, Ni a sujetar tu valor. "Veinte presas Hemos hecho page 74 A despecho Del ingles, Y han rendido Sus pendones 5 Cien naciones5 A mis pies." _Que es mi barco mi tesoro, Que es mi Dios la libertad, Mi ley la fuerza y el viento, 10 Mi unica patria la mar._ "Alla muevan feroz guerra Ciegos reyes Por un palmo mas de tierra: Que yo tengo aqui por mio 15 Cuanto abarca el mar bravio, A quien nadie impuso leyes. "Y no hay playa, Sea cual quiera, Ni bandera 20 De esplendor, Que no sienta Mi derecho, Y de pecho A mi valor." 25 _Que es mi barco mi tesoro..._ "A la voz de "ibarco viene!" Es de ver page 75 Como vira y se previene A todo trapo a escapar; Que yo soy el rey del mar, Y mi furia es de temer. 5 "En las presas Yo divido Lo cogido Por igual: Solo quiero 10 Por riqueza La belleza Sin rival." _Que es mi barco mi tesoro..._ "iSentenciado estoy a muerte! 15 Yo me rio: No me abandone la suerte, Y al mismo que me condena Colgare de alguna entena, Quiza en su propio navio. 20 "Y si caigo, ?Que es la vida? Por perdida Ya la di, Cuando el yugo 25 Del esclavo, Como un bravo, Sacudi." _Que es mi barco mi tesoro..._ page 76 "Son mi musica mejor Aquilones: El estrepito y temblor De los cables sacudidos, 5 Del negro mar los bramidos Y el rugir de mis canones. "Y del trueno Al son violento Y del viento 10 Al rebramar, Yo me duermo Sosegado, Arrullado Por el mar." 15 _Que es mi barco mi tesoro, Que es mi Dios la libertad, Mi ley la fuerza y el viento, Mi unica patria la mar._ A LA PATRIA iCuan solitaria la nacion que un dia 20 Poblara inmensa gente! iLa nacion cuyo imperio se extendia Del ocaso al oriente! iLagrimas viertes, infeliz, ahora, Soberana del mundo, 25 Y nadie de tu faz encantadora Borra el dolor profundo! page 77 Obscuridad y luto tenebroso En ti vertio la muerte, Y en su furor el despota sanoso Se complacio en tu suerte. 5 No perdono lo hermoso, patria mia; Cayo el joven guerrero, Cayo el anciano, y la segur impia Manejo placentero. So la rabia cayo la virgen pura 10 Del despota sombrio, Como eclipsa la rosa su hermosura En el sol del estio. iOh vosotros, del mundo habitadores, Contemplad mi tormento! 15 ?Igualarse podran iah! que dolores Al dolor que yo siento? Yo, desterrado de la patria mia, De una patria que adoro, Perdida miro su primer valia 20 Y sus desgracias lloro..... Tendio sus brazos la agitada Espana, Sus hijos implorando; Sus hijos fueron, mas traidora sana Desbarato su bando. page 78 ?Que se hicieron tus muros torreados, Oh mi patria querida? ?Donde fueron tus heroes esforzados, Tu espada no vencida? 5 iAy! de tus hijos en la humilde frente Esta el rubor grabado: A sus ojos, caidos tristemente, El llanto esta agolpado. Un tiempo Espana fue; cien heroes fueron 10 En tiempos de ventura, Y las naciones timidas la vieron Vistosa en hermosura. Cual cedro que en el Libano se ostenta, Su frente se elevaba; 15 Como el trueno a la virgen amedrenta, Su voz las aterraba. Mas hora, como piedra en el desierto, Yaces desamparada, Y el justo desgraciado vaga incierto 20 Alla en tierra apartada. Cubren su antigua pompa y poderio Pobre hierba y arena, Y el enemigo que temblo a su brio Burla y goza en su pena. page 79 Virgenes, destrenzad la cabellera Y dadla al vago viento; Acompanad con arpa lastimera Mi lugubre lamento. 5 Desterrados ioh Dios! de nuestros lares Lloremos duelo tanto: ?Quien calmara ioh Espana! tus pesares? ?Quien secara tu llanto? DON JOSE ZORRILLA ORIENTAL Corriendo van por la vega 10 A las puertas de Granada Hasta cuarenta gomeles Y el capitan que los manda. Al entrar en la ciudad, Parando en su yegua blanca, 15 Le dijo este a una mujer Que entre sus brazos lloraba: --Enjuga el llanto, cristiana, No me atormentes asi, Que tengo yo, mi sultana, 20 Un nuevo Eden para ti. Tengo un palacio en Granada, Tengo jardines y flores, Tengo una fuente dorada Con mas de cien surtidores. page 80 Y en la vega del Genil Tengo parda fortaleza, Que sera reina entre mil Cuando encierre tu belleza. 5 Y sobre toda una orilla Extiendo mi senorio; Ni en Cordoba ni en Sevilla Hay un parque como el mio. 10 Alli la altiva palmera Y el encendido granado, Junto a la frondosa higuera Cubren el valle y collado. Alli el robusto nogal, Alli el nopalo amarillo, 15 Alli el sombrio moral Crecen al pie del castillo. Y olmos tengo en mi alameda Que hasta el cielo se levantan, Y en redes de plata y seda 20 Tengo pajaros que cantan. Y tu mi sultana eres, Que desiertos mis salones Estan, mi haren sin mujeres, Mis oidos sin canciones. 25 Yo te dare terciopelos Y perfumes orientales; De Grecia te traere velos Y de Cachemira chales. Y te dare blancas plumas page 81 Para que adornes tu frente, Mas blancas que las espumas De nuestros mares de oriente; Y perlas para el cabello, 5 Y banos para el calor, Y collares para el cuello; Para los labios... iamor!-- --?Que me valen tus riquezas, Respondiole la cristiana, 10 Si me quitas a mi padre, Mis amigos y mis damas? Vuelveme, vuelveme, moro, A mi padre y a mi patria, Que mis torres de Leon 15 Valen mas que tu Granada.-- Escuchola en paz el moro, Y manoseando su barba, Dijo, como quien medita, En la mejilla una lagrima: 20 Si tus castillos mejores Que nuestros jardines son, Y son mas bellas tus flores, Por ser tuyas, en Leon, Y tu diste tus amores 25 A alguno de tus guerreros, Huri del Eden, no llores; Vete con tus caballeros.-- Y dandola su caballo Y la mitad de su guardia page 82 El capitan de los moros Volvio en silencio la espalda. INDECISION iBello es vivir, la vida es la armonia! Luz, penascos, torrentes y cascadas, 5 Un sol de fuego iluminando el dia, Aire de aromas, flores apinadas: Y en medio de la noche majestuosa Esa luna de plata, esas estrellas, Lamparas de la tierra perezosa, 10 Que se ha dormido en paz debajo de ellas. iBello es vivir! Se ve en el horizonte Asomar el crepusculo que nace; Y la neblina que corona el monte En el aire flotando se deshace; 15 Y el inmenso tapiz del firmamento Cambia su azul en franjas de colores; Y susurran las hojas en el viento, Y desatan su voz los ruisenores. Si hay huracanes y aquilon que brama, 20 Si hay un invierno de humedad vestido, Hay una hoguera a cuya roja llama Se alza un festin con su discorde ruido. Y una pintada y fresca primavera, Con su manto de luz y orla de flores, page 83 Que cubre de verdor la ancha pradera Donde brotan arroyos saltadores. iBello es vivir, la vida es la armonia! Luz, penascos, torrentes y cascadas, 5 Un sol de fuego iluminando el dia, Aire de aromas, flores apinadas. Arranca, arranca, Dios mio, De la mente del poeta Este pensamiento impio 10 Que en un delirio creo; Sin un instante de calma, En su olvido y amargura, No puede sonar su alma Placeres que no gozo. 15 iAy del poeta! su llanto Fue la inspiracion sublime Con que arrebato su canto Hasta los cielos tal vez; Solitaria flor que el viento 20 Con impuro soplo azota, El arrastra su tormento Escrito sobre la tez. Porque tu, ioh Dios! le robaste Cuanto los hombres adoran; 25 Tu en el mundo le arrojaste Para que muriera en el; Tu le dijiste que el hombre page 84 Era en la tierra su _hermano_; Mas el no encuentra ese nombre En sus recuerdos de hiel. Tu le has dicho que eligiera 5 Para el viaje de la vida Una hermosa companera Con quien partir su dolor; Mas iay! que la busca en vano; Porque es para el ser que ama 10 Como un inmundo gusano Sobre el tallo de una flor. Canta la luz y las flores, Y el amor en las mujeres, Y el placer en los amores, 15 Y la calma en el placer: Y sin esperanza adora Una belleza escondida, Y hoy en sus cantares llora Lo que alegre canto ayer. 20 El con los siglos rodando Canta su afan a los siglos, Y los siglos van pasando Sin curarse de su afan. iMaldito el nombre de gloria 25 Que en tu colera le diste! Sentados en su memoria Recuerdos de hierro estan. El dia alumbra su pena, La noche alarga su duelo, page 85 La aurora escribe en el cielo Su sentencia de vivir: Fabulas son los placeres, No hay placeres en su alma, 5 No hay amor en las mujeres, Tarda la hora de morir. Hay sol que alumbra, mas quema: Hay flores que se marchitan, Hay recuerdos que se agitan 10 Fantasmas de maldicion. Si tiene una voz que canta, Al arrancarla del pecho Deja fuego en la garganta, Vacio en el corazon. 15 iBello es vivir! Sobre gigante roca Se mira el mundo a nuestros pies tendido, La frente altiva con las nubes toca... Todo creado para el hombre ha sido. iBello es vivir! Que el hombre descuidado 20 En los bordes se duerme de la vida, Y de locura y suenos embriagado En un festin el porvenir olvida. iBello es vivir! Vivamos y cantemos: El tiempo entre sus pliegues roedores 25 Ha de llevar el bien que no gocemos, Y ha de apagar placeres y dolores. Cantemos de nosotros olvidados, Hasta que el son de la fatal campana page 86 Toque a morir... Cantemos descuidados, Que el sol de ayer no alumbrara manana. LA FUENTE Huye la fuente al manantial ingrata El verde musgo en derredor lamiendo, 5 Y el agua limpia en su cristal retrata Cuanto va viendo. El cesped mece y las arenas moja Do mil caprichos al pasar dibuja, Y ola tras ola murmurando arroja, 10 Riza y empuja. Lecho mullido la presenta el valle, Fresco abanico el abedul pomposo, Canas y juncos retirada calle, Sombra y reposo. 15 Brota en la altura la fecunda fuente; ?Y a que su empeno, si al bajar la cuesta Halla del rio en el raudal rugiente Tumba funesta? A BUEN JUEZ MEJOR TESTIGO Tradicion de Toledo I Entre pardos nubarrones 20 Pasando la blanca luna, Con resplandor fugitivo, page 87 La baja tierra no alumbra. La brisa con frescas alas Juguetona no murmura, Y las veletas no giran 5 Entre la cruz y la cupula. Tal vez un palido rayo La opaca atmosfera cruza, Y unas en otras las sombras Confundidas se dibujan. 10 Las almenas de las torres Un momento se columbran, Como lanzas de soldados Apostados en la altura. Reverberan los cristales 15 La tremula llama turbia, Y un instante entre las rocas Riela la fuente oculta. Los alamos de la vega Parecen en la espesura 20 De fantasmas apinados Medrosa y gigante turba; Y alguna vez desprendida Gotea pesada lluvia, Que no despierta a quien duerme, 25 Ni a quien medita importuna. Yace Toledo en el sueno Entre las sombras confusa, Y el Tajo a sus pies pasando Con pardas ondas la arrulla. page 88 El monotono murmullo Sonar perdido se escucha, Cual si por las hondas calles Hirviera del mar la espuma. 5 iQue dulce es dormir en calma Cuando a lo lejos susurran Los alamos que se mecen, Las aguas que se derrumban! Se suenan bellos fantasmas 10 Que el sueno del triste endulzan, Y en tanto que suena el triste, No le aqueja su amargura. Tan en calma y tan sombria Como la noche que enluta 15 La esquina en que desemboca Una callejuela oculta, Se ve de un hombre que aguarda La vigilante figura, Y tan a la sombra vela 20 Que entre la sombra se ofusca. Frente por frente a sus ojos Un balcon a poca altura Deja escapar por los vidrios La luz que dentro le alumbra; 25 Mas ni en el claro aposento, Ni en la callejuela obscura El silencio de la noche Rumor sospechoso turba. Paso asi tan largo tiempo, page 89 Que pudiera haberse duda De si es hombre, o solamente Mentida ilusion nocturna; Pero es hombre, y bien se ve, 5 Porque con planta segura Ganando el centro a la calle Resuelto y audaz pregunta: --?Quien va?--y a corta distancia El igual compas se escucha 10 De un caballo que sacude Las sonoras herraduras. ?Quien va? repite, y cercana Otra voz menos robusta Responde:--Un hidalgo icalle! 15 Y el paso el bruto apresura. --Tengase el hidalgo,--el hombre Replica, y la espada empuna. --Ved mas bien si me hareis calle (Repusieron con mesura) 20 Que hasta hoy a nadie se tuvo Iban de Vargas y Acuna. --Pase el Acuna y perdone:-- Dijo el mozo en faz de fuga, Pues teniendose el embozo 25 Sopla un silbato, y se oculta. Paro el jinete a una puerta, Y con precaucion difusa Salio una nina al balcon Que llama interior alumbra. page 90 --iMi padre!--clamo en voz baja, Y el viejo en la cerradura Metio la llave pidiendo A sus gentes que le acudan. 5 Un negro por ambas bridas Tomo la cabalgadura, Cerrose detras la puerta Y quedo la calle muda. En esto desde el balcon, 10 Como quien tal acostumbra, Un mancebo por las rejas De la calle se asegura. Asio el brazo al que apostado Hizo cara a Iban de Acuna, 15 Y huyeron, en el embozo Velando la catadura. II Clara, apacible y serena Pasa la siguiente tarde, Y el sol tocando su ocaso 20 Apaga su luz gigante: Se ve la imperial Toledo Dorada por los remates, Como una ciudad de grana Coronada de cristales. 25 El Tajo por entre rocas Sus anchos cimientos lame, Dibujando en las arenas page 91 Las ondas con que las bate. Y la ciudad se retrata En las ondas desiguales, Como en prendas de que el rio 5 Tan afanoso la bane. A lo lejos en la vega Tiende galan por sus margenes, De sus alamos y huertos El pintoresco ropaje, 10 Y porque su altiva gala Mas a los ojos halague, La salpica con escombros De castillos y de alcazares. Un recuerdo es cada piedra 15 Que toda una historia vale, Cada colina un secreto De principes o galanes. Aqui se bano la hermosa Por quien dejo su rey culpable 20 Amor, fama, reino y vida En manos de musulmanes. Alli recibio Galiana A su receloso amante En esa cuesta que entonces 25 Era un plantel de azahares. Alla por aquella torre, Que hicieron puerta los arabes, Subio el Cid sobre Babieca Con su gente y su estandarte. page 92 Mas lejos se ve el castillo De San Servando, o Cervantes Donde nada se hizo nunca Y nada al presente se hace. 5 A este lado esta la almena Por do saco vigilante El conde Don Peranzules Al rey, que supo una tarde Fingir tan tenaz modorra, 10 Que, politico y constante, Tuvo siempre el brazo quedo Las palmas al horadarle. Alli esta el circo romano, Gran cifra de un pueblo grande, 15 Y aqui la antigua Basilica De bizantinos pilares, Que oyo en el primer concilio Las palabras de los Padres Que velaron por la Iglesia 20 Perseguida o vacilante. La sombra en este momento Tiende sus turbios cendales Por todas esas memorias De las pasadas edades, 25 Y del Cambron y Visagra Los caminos desiguales, Camino a los Toledanos Hacia las murallas abren. Los labradores se acercan page 93 Al fuego de sus hogares, Cargados con sus aperos, Cansados de sus afanes. Los ricos y sedentarios 5 Se tornan con paso grave, Calado el ancho sombrero, Abrochados los gabanes; Y los clerigos y monjes Y los prelados y abades 10 Sacudiendo el leve polvo De capelos y sayales. Quedase solo un mancebo De impetuosos ademanes, Que se pasea ocultando 15 Entre la capa el semblante. Los que pasan le contemplan Con decision de evitarle, Y el contempla a los que pasan Como si a alguien aguardase. 20 Los timidos aceleran Los pasos al divisarle, Cual temiendo de seguro Que les proponga un combate; Y los valientes le miran 25 Cual si sintieran dejarle Sin que libres sus estoques En rina sonora dancen. Una mujer tambien sola Se viene el llano adelante, page 94 La luz del rostro escondida En tocas y tafetanes. Mas en lo leve del paso, Y en lo flexible del talle, 5 Puede a traves de los velos Una hermosa adivinarse. Vase derecha al que aguarda, Y el al encuentro la sale Diciendo... cuanto se dicen 10 En las citas los amantes. Mas ella, galanterias Dejando severa aparte, Asi al mancebo interrumpe En voz decisiva y grave: 15 "Abreviemos de razones, Diego Martinez; mi padre, Que un hombre ha entrado en su ausencia Dentro mi aposento sabe: Y asi quien mancha mi honra, 20 Con la suya me la lave; O dadme mano de esposo, O libre de vos dejadme." Mirola Diego Martinez Atentamente un instante, 25 Y echando a un lado el embozo, Repuso palabras tales: "Dentro de un mes, Ines mia, Parto a la guerra de Flandes; page 95 Al ano estare de vuelta Y contigo en los altares. Honra que yo te desluzca, Con honra mia se lave; 5 Que por honra vuelven honra Hidalgos que en honra nacen. --Juralo,--exclamo la nina. --Mas que mi palabra vale No te valdra un juramento. 10 --Diego, la palabra es aire. --iVive Dios que estas tenaz! Dalo por jurado y baste. --No me basta; que olvidar Puedes la palabra en Flandes. 15 --iVoto a Dios! ?que mas pretendes? --Que a los pies de aquella imagen Lo jures como cristiano Del santo Cristo delante." Vacilo un punto Martinez, 20 Mas porfiando que jurase, Llevole Ines hacia el templo Que en medio la vega yace. Enclavado en un madero, En duro y postrero trance, 25 Cenida la sien de espinas, Descolorido el semblante, Viase alli un crucifijo Tenido de negra sangre, A quien Toledo devota page 96 Acude hoy en sus azares. Ante sus plantas divinas Llegaron ambos amantes, Y haciendo Ines que Martinez 5 Los sagrados pies tocase, Preguntole: --Diego, ?juras A tu vuelta desposarme? Contesto el mozo: --iSi juro! Y ambos del templo se salen. III 10 Paso un dia y otro dia, Un mes y otro mes paso, Y un ano pasado habia, Mas de Flandes no volvia Diego, que a Flandes partio. 15 Lloraba la bella Ines Su vuelta aguardando en vano, Oraba un mes y otro mes Del crucifijo a los pies Do puso el galan su mano. 20 Todas las tardes venia Despues de traspuesto el sol, Y a Dios llorando pedia La vuelta del espanol, Y el espanol no volvia. 25 Y siempre al anochecer, page 97 Sin duena y sin escudero, En un manto una mujer El campo salia a ver Al alto del _Miradero_. 5 iAy del triste que consume Su existencia en esperar! iAy del triste que presume Que el duelo con que el se abrume Al ausente ha de pesar! 10 La esperanza es de los cielos Precioso y funesto don, Pues los amantes desvelos Cambian la esperanza en celos, Que abrasan el corazon. 15 Si es cierto lo que se espera, Es un consuelo en verdad; Pero siendo una quimera, En tan fragil realidad Quien espera desespera. 20 Asi Ines desesperaba Sin acabar de esperar, Y su tez se marchitaba, Y su llanto se secaba Para volver a brotar. 25 En vano a su confesor Pidio remedio o consejo Para aliviar su dolor; Que mal se cura el amor Con las palabras de un viejo. page 98 En vano a Iban acudia, Llorosa y desconsolada; El padre no respondia; Que la lengua le tenia 5 Su propia deshonra atada. Y ambos maldicen su estrella, Callando el padre severo Y suspirando la bella, Porque nacio mujer ella, 10 Y el viejo nacio altanero. Dos anos al fin pasaron En esperar y gemir, Y las guerras acabaron, Y los de Flandes tornaron 15 A sus tierras a vivir. Paso un dia y otro dia, Un mes y otro mes paso, Y el tercer ano corria; Diego a Flandes se partio, 20 Mas de Flandes no volvia. Era una tarde serena, Doraba el sol de occidente Del Tajo la vega amena, Y apoyada en una almena 25 Miraba Ines la corriente. Iban las tranquilas olas Las riberas azotando Bajo las murallas solas, Musgo, espigas y amapolas page 99 Ligeramente doblando. Algun olmo que escondido Crecio entre la hierba blanda, Sobre las aguas tendido 5 Se reflejaba perdido En su cristalina banda. Y algun ruisenor colgado Entre su fresca espesura Daba al aire embalsamado 10 Su cantico regalado Desde la enramada obscura. Y algun pez con cien colores, Tornasolada la escama, Saltaba a besar las flores, 15 Que exhalan gratos olores, A las puntas de una rama. Y alla en el tremulo fondo El torreon se dibuja Como el contorno redondo 20 Del hueco sombrio y hondo Que habita nocturna bruja. Asi la nina lloraba El rigor de su fortuna, Y asi la tarde pasaba 25 Y al horizonte trepaba La consoladora luna. A lo lejos por el llano En confuso remolino Vio de hombres tropel lejano page 100 Que en pardo polvo liviano Dejan envuelto el camino. Bajo Ines del torreon, Y llegando recelosa 5 A las puertas del Cambron, Sintio latir zozobrosa Mas inquieto el corazon. Tan galan como altanero Dejo ver la escasa luz 10 Por bajo el arco primero Un hidalgo caballero En un caballo andaluz; Jubon negro acuchillado, Banda azul, lazo en la hombrera, 15 Y sin pluma al diestro lado El sombrero derribado Tocando con la gorguera; Bombacho gris guarnecido, Bota de ante, espuela de oro, 20 Hierro al cinto suspendido, Y a una cadena prendido Agudo cuchillo moro. Vienen tras este jinete Sobre potros jerezanos 25 De lanceros hasta siete, Y en adarga y coselete Diez peones castellanos. Asiose a su estribo Ines Gritando:--iDiego, eres tu!-- page 101 Y el viendola de traves Dijo--iVoto a Belcebu, Que no me acuerdo, quien es!-- Dio la triste un alarido 5 Tal respuesta al escuchar, Y a poco perdio el sentido, Sin que mas voz ni gemido Volviera en tierra a exhalar. Frunciendo ambas a dos cejas 10 Encomendola a su gente, Diciendo:--iMalditas viejas Que a las mozas malamente Enloquecen con consejas!-- Y aplicando el capitan 15 A su potro las espuelas El rostro a Toledo dan, Y a trote cruzando van Las obscuras callejuelas. IV Asi por sus altos fines 20 Dispone y permite el cielo Que puedan mudar al hombre Fortuna, poder y tiempo. A Flandes partio Martinez De soldado aventurero, 25 Y por su suerte y hazanas Alli capitan le hicieron. Segun alzaba en honores page 102 Alzabase en pensamientos, Y tanto ayudo en la guerra Con su valor y altos hechos, Que el mismo rey a su vuelta 5 Le armo en Madrid caballero, Tomandole a su servicio Por capitan de lanceros. Y otro no fue que Martinez Quien ha poco entro en Toledo, 10 Tan orgulloso y ufano Cual salio humilde y pequeno. Ni es otro a quien se dirige, Cobrado el conocimiento, La amorosa Ines de Vargas, 15 Que vive por el muriendo. Mas el, que olvidando todo Olvido su nombre mesmo, Puesto que hoy Diego Martinez Es el capitan Don Diego, 20 Ni se ablanda a sus caricias, Ni cura de sus lamentos; Diciendo que son locuras De gentes de poco seso; Que ni el prometio casarse 25 Ni penso jamas en ello. iTanto mudan a los hombres Fortuna, poder y tiempo! En vano porfiaba Ines Con amenazas y ruegos; page 103 Cuanto mas ella importuna Esta Martinez severo. Abrazada a sus rodillas Enmaranado el cabello, 5 La hermosa nina lloraba Prosternada por el suelo. Mas todo empeno es inutil, Porque el capitan Don Diego No ha de ser Diego Martinez 10 Como lo era en otro tiempo. Y asi llamando a su gente, De amor y piedad ajeno, Mandoles que a Ines llevaran De grado o de valimiento. 15 Mas ella antes que la asieran, 15 Cesando un punto en su duelo, Asi hablo, el rostro lloroso Hacia Martinez volviendo: "Contigo se fue mi honra, 20 Conmigo tu juramento; 20 Pues buenas prendas son ambas, En buen fiel las pesaremos." Y la faz descolorida En la mantilla envolviendo, 25 A pasos desatentados 25 Saliose del aposento. page 104 V Era entonces de Toledo Por el rey gobernador El justiciero y valiente Don Pedro Ruiz de Alarcon. 5 Muchos anos por su patria El buen viejo peleo; Cercenado tiene un brazo, Mas entero el corazon. La mesa tiene delante, 10 Los jueces en derredor, Los corchetes a la puerta Y en la derecha el baston. Esta, como presidente Del tribunal superior, 15 Entre un dosel y una alfombra Reclinado en un sillon, Escuchando con paciencia La casi asmatica voz 20 Con que un tetrico escribano Solfea una apelacion. Los asistentes bostezan Al murmullo arrullador, Los jueces medio dormidos Hacen pliegues al ropon, 25 Los escribanos repasan Sus pergaminos al sol, Los corchetes a una moza page 105 Guinan en un corredor, Y abajo en Zocodover Gritan en discorde son Los que en el mercado venden 5 Lo vendido y el valor. Una mujer en tal punto, En faz de grande afliccion, Rojos de llorar los ojos, Ronca de gemir la voz, 10 Suelto el cabello y el manto, Tomo plaza en el salon Diciendo a gritos: "iJusticia, Jueces; justicia, senor!" Y a los pies se arroja humilde 15 De Don Pedro de Alarcon, En tanto que los curiosos Se agitan al rededor. Alzola cortes Don Pedro Calmando la confusion 20 Y el tumultuoso murmullo Que esta escena ocasiono, Diciendo: --Mujer, ?que quieres? --Quiero justicia, senor. --?De que? --De una prenda hurtada. 25 --?Que prenda? --Mi corazon. --?Tu le diste? page 106 --Le preste. --?Y no te le han vuelto? --No. --?Tienes testigos? --Ninguno. --?Y promesa? --iSi, por Dios! Que al partirse de Toledo 5 Un juramento empeno. --?Quien es el? --Diego Martinez. --?Noble? --Y capitan, senor. --Presentadme al capitan, Que cumplira si juro.-- 10 Quedo en silencio la sala, Y a poco en el corredor Se oyo de botas y espuelas El acompasado son. Un portero, levantando 15 El tapiz, en alta voz Dijo:--El capitan Don Diego.-- Y entro luego en el salon Diego Martinez, los ojos Llenos de orgullo y furor. 20 --?Sois el capitan Don Diego, Dijole Don Pedro, vos?-- Contesto altivo y sereno Diego Martinez: page 107 --Yo soy. --?Conoceis a esta muchacha? --Ha tres anos, salvo error. --?Hicisteisla juramento De ser su marido?-- --No. 5 --?Jurais no haberlo jurado? --Si juro.-- --Pues id con Dios. --iMiente!--clamo Ines llorando De despecho y de rubor. --Mujer, ipiensa lo que dices!... 10 --Digo que miente, juro. --?Tienes testigos? --Ninguno. --Capitan, idos con Dios, Y dispensad que acusado Dudara de vuestro honor.-- 15 Torno Martinez la espalda Con brusca satisfaccion, E Ines, que le vio partirse, Resuelta y firme grito: --Llamadle, tengo un testigo. 20 Llamadle otra vez, senor.-- Volvio el capitan Don Diego, Sentose Ruiz de Alarcon, La multitud aquietose Y la de Vargas siguio: 25 --Tengo un testigo a quien nunca page 108 Falto verdad ni razon. --?Quien? --Un hombre que de lejos Nuestras palabras oyo, Mirandonos desde arriba. 5 --?Estaba en algun balcon? --No, que estaba en un suplicio Donde ha tiempo que expiro. --?Luego es muerto? --No, que vive. --Estais loca, ivive Dios! 10 ?Quien fue? --El CRISTO de la Vega A cuya faz perjuro.-- Pusieronse en pie los jueces Al nombre del Redentor, Escuchando con asombro 15 Tan excelsa apelacion. Reino un profundo silencio De sorpresa y de pavor, Y Diego bajo los ojos De vergueenza y confusion. 20 Un instante con los jueces Don Pedro en secreto hablo, Y levantose diciendo Con respetuosa voz: "La ley es ley para todos, 25 Tu testigo es el mejor, Mas para tales testigos page 109 No hay mas tribunal que Dios. Haremos... lo que sepamos; Escribano, al caer el sol Al CRISTO que esta en la vega 5 Tomareis declaracion." VI Es una tarde serena, Cuya luz tornasolada Del purpurino horizonte Blandamente se derrama. 10 Placido aroma las flores Sus hojas plegando exhalan, Y el cefiro entre perfumes Mece las tremulas alas. Brillan abajo en el valle 15 Con suave rumor las aguas, Y las aves en la orilla Despidiendo al dia cantan. Alla por el _Miradero_ Por el Cambron y Visagra 20 Confuso tropel de gente Del Tajo a la vega baja. Vienen delante Don Pedro De Alarcon, Iban de Vargas, Su hija Ines, los escribanos, 25 Los corchetes y los guardias; Y detras monjes, hidalgos, Mozas, chicos y canalla. page 110 Otra turba de curiosos En la vega les aguarda, Cada cual comentariando El caso segun le cuadra. 5 Entre ellos esta Martinez En apostura bizarra, Calzadas espuelas de oro, Valona de encaje blanca, Bigote a la borgonona, 10 Melena desmelenada, El sombrero guarnecido Con cuatro lazos de plata, Un pie delante del otro, Y el puno en el de la espada. 15 Los plebeyos de reojo Le miran de entre las capas, Los chicos al uniforme Y las mozas a la cara. Llegado el gobernador 20 Y gente que le acompana, Entraron todos al claustro Que iglesia y patio separa. Encendieron ante el CRISTO Cuatro cirios y una lampara, 25 Y de hinojos un momento Le rezaron en voz baja. Esta el CRISTO de la Vega La cruz en tierra posada, Los pies alzados del suelo page 111 Poco menos de una vara; Hacia la severa imagen Un notario se adelanta, De modo que con el rostro 5 Al pecho santo llegaba. A un lado tiene a Martinez, A otro lado a Ines de Vargas, Detras al gobernador Con sus jueces y sus guardias. 10 Despues de leer dos veces La acusacion entablada, El notario a Jesucristo Asi demando en voz alta: --"_Jesus, Hijo de Maria, 15 Ante nos esta manana Citado como testigo Por boca de Ines de Vargas, ?Jurais ser cierto que un dia A vuestras divinas plantas 20 Juro a Ines Diego Martinez Por su mujer desposarla?_" Asida a un _brazo_ desnudo Una _mano_ atarazada Vino a posar en los autos 25 La seca y hendida palma, Y alla en los aires "iSi JURO!" Clamo una voz mas que humana. Alzo la turba medrosa La vista a la imagen santa... page 112 Los labios tenia abiertos, Y una mano desclavada. CONCLUSION Las vanidades del mundo Renuncio alli mismo Ines, 5 Y espantado de si propio Diego Martinez tambien. Los escribanos temblando Dieron de esta escena fe, Firmando como testigos 10 Cuantos hubieron poder. Fundose un aniversario Y una capilla con el, Y Don Pedro de Alarcon El altar ordeno hacer, 15 Donde hasta el tiempo que corre, Y en cada un ano una vez, Con la mano desclavada El crucifijo se ve. DON ANTONIO DE TRUEBA CANTOS DE PAJARO Tengo yo un pajarillo 20 Que el dia pasa Cantando entre las flores De mi ventana; page 113 Y un canto alegre A todo pasajero Dedica siempre. Tiene mi pajarillo 5 Siempre armonias Para alegrar el alma Del que camina... iOh cielo santo, Por que no haran los hombres 10 Lo que los pajaros! Cuando mi pajarillo Cantos entona, Pasajeros ingratos Cantos le arrojan: 15 Mas no por eso 15 Niega sus armonias Al pasajero. Tiende las leves alas, Cruza las nubes 20 Y canta junto al cielo Con voz mas dulce: "Paz a los hombres Y gloria al que en la altura Rige los orbes!" 25 Y yo sigo el ejemplo Del ave mansa Que canta entre las flores De mi ventana, Porque es sabido page 114 Que poetas y pajaros Somos lo mismo. LA PEREJILERA Al salir el sol dorado Esta manana te vi 5 Cogiendo, nina, en tu huerto Matitas de perejil. Para verte mas de cerca En el huerto me meti, Y sabras que eche de menos 10 Mi corazon al salir. Tu debiste de encontrarle, Que en el huerto le perdi. "Damele, perejilera, Que te le vengo a pedir." DON JOSE SELGAS Y CARRASCO LA MODESTIA 15 Por las flores proclamado Rey de una hermosa pradera, Un clavel afortunado Dio principio a su reinado Al nacer la primavera. 20 Con majestad soberana Llevaba y con noble brio El regio manto de grana, page 115 Y sobre la frente ufana La corona de rocio. Su comitiva de honor Mandaba, por ser costumbre, 5 El cefiro volador, Y habia en su servidumbre Hierbas y malvas de olor. Su voluntad poderosa, Porque tambien era uso, 10 Quiso una flor para esposa, Y regiamente dispuso Elegir la mas hermosa. Como era costumbre y ley, Y porque causa delicia 15 En la numerosa grey, Pronto corrio la noticia Por los estados del rey. Y en revuelta actividad Cada flor abre el arcano 20 De su fecunda beldad, Por prender la voluntad Del hermoso soberano. Y hasta las menos apuestas Engalanarse se vian 25 Con harta envidia, dispuestas A ver las solemnes fiestas Que celebrarse debian. Lujosa la Corte brilla: El rey, admirado, duda, page 116 Cuando ocultarse sencilla Vio una tierna florecilla Entre la hierba menuda. Y por si el regio esplendor 5 De su corona le inquieta, Preguntale con amor: --"?Como te llamas?"--"Violeta," Dijo temblando la flor. --"?Y te ocultas cuidadosa 10 Y no luces tus colores, Violeta dulce y medrosa, Hoy que entre todas las flores Va el rey a elegir esposa?" 15 Siempre temblando la flor, Aunque llena de placer, Suspiro y dijo: "Senor, Yo no puedo merecer Tan distinguido favor." El rey, suspenso, la mira 20 Y se inclina dulcemente; Tanta modestia le admira; Su blanda esencia respira, Y dice alzando la frente: "Me depara mi ventura 25 Esposa noble y apuesta; page 117 Sepa, si alguno murmura, Que la mejor hermosura Es la hermosura modesta." Dijo, y el aura afanosa 5 Publico en forma de ley, Con voz dulce y melodiosa, Que la violeta es la esposa Elegida por el rey. Hubo magnificas fiestas, 10 Ambos esposos se dieron Pruebas de amor manifiestas, Y en aquel reinado fueron Todas las flores modestas. DON PEDRO A. DE ALARCON EL MONT-BLANC iHeme al fin en la cumbre soberana!... 15 iNieve perpetua..., soledad doquiera!... ?Quien sino el hombre, en su soberbia insana, A hollar estos desiertos se atreviera? Aqui enmudece hasta la voz del viento...; Profundo mar parece el horizonte..., 20 Unica playa el alto firmamento..., Anclada nave el solitario monte. iNada en torno de mi!... iTodo a mis plantas! page 118 Obscuros bosques, relucientes rios, Lagos, campinas, paramos, gargantas... iEuropa entera yace a los pies mios! iY cuan pequena la terrestre vida, 5 Cuan relegado el humanal imperio Se ve desde estos hielos donde anida El _Monte Blanco_, el rey del hemisferio! iDe aqui tiende su cetro sobre el mundo! El Danubio opulento, el Po anchuroso, 10 El luengo Rhin y el Rodano profundo, Hijos son de los hijos del Coloso. Debajo de el... los Alpes se eslabonan Como escabeles de su trono inmenso: Debajo de el... las nubes se amontonan 15 Cual humo leve de quemado incienso. iSobre el... los cielos nada mas! La tarde Le invidia al verlo de fulgor cenido... Llega la noche, y aun su frente arde Con reflejos de un sol por siempre hundido. 20 Alla turnan con raudo movimiento Una y otra estacion... El permanece Mudo, inmovil, esteril. iMonumento De la implacable eternidad parece! Ni el oso atroz ni el traicionero lobo 25 Huellan jamas su excelsitud nevada... Huerfano vive del calor del globo... iEn el principia el reino de la nada! Por eso, ufano de su horror profundo, Dichoso aqui mi corazon palpita... page 119 iAqui solo con Dios..., fuera del mundo! iSolo, bajo la boveda infinita! iY que sueave, deleitosa calma Brinda a mi pecho esta region inerte!... 5 Asi concibe fatigada el alma El tardo bien de la benigna muerte. iMorir aqui! De los poblados valles No retornar a la angustiosa vida: No escuchar mas los lastimosos ayes 10 De la cuitada humanidad caida: Desparecer, huyendo de la tierra, Desde esta cima que se acerca al cielo: Por siempre desertar de aquella guerra, De eterna libertad tendiendo el vuelo... 15 Tal ansia acude al corazon llagado, Al mirarte, ioh _Mont-Blanc!_, erguir la frente Sobre un misero mundo atribulado Por el cierzo y el rayo y el torrente. iTu nada temes! De tu imperio yerto 20 Solo Dios es senor, fuerza y medida: iComo el ancho Oceano y el Desierto, Tu vives solo de tu propia vida! La tierra acaba en tu glacial palacio; Tuya es la azul inmensidad aerea: 25 Tu ves mas luz, mas astros, mas espacio...; iParte eres ya de la mansion eterea! iAdios! Retorno al mundo... Acaso un dia Ya de la tierra el corazon no lata, Y sobre su haz inanimada y fria page 120 Tiendas tu manto de luciente plata... Sera entonces tu reino silencioso Cuanto hoy circunda y cubre el Oceano... iAdios!... Impera en tanto desdenoso 5 Sobre la insania del orgullo humano. EL SECRETO "_iYo no quiero morirme!_" --Dice la nina, Tendiendo hacia su madre Dos manecitas 10 Calenturientas, Cual dos blancos jazmines Que el viento seca... Un silencio de muerte La madre guarda... 15 iAy! isi hablara, vertiera Mares de lagrimas! Besa a la nina, iY aun le fingen sus labios Una sonrisa! 20 Del cuello de la madre La hija se cuelga Y, pegada a su oido, Palida y tremula, Con sordo acento, 25 Dicele horrorizada: --"_Oye un secreto:_ page 121 _?Sabes por que a morirme Le temo tanto? Porque luego me llevan, Toda de blanco, 5 Al cementerio..., iY de verme alli sola Va a darme miedo!_" --"_Hija de mis entranas!_ (Grita la madre) 10 _Dios querra que me vivas...; Y, aunque te mate, Descuida, hermosa; Que tu en el cementerio No estaras sola._" DON GUSTAVO ADOLFO BECQUER RIMAS II 15 Saeta que voladora Cruza, arrojada al azar, Sin adivinarse donde Temblando se clavara; Hoja que del arbol seca 20 Arrebata el vendaval, Sin que nadie acierte el surco Donde a caer volvera; Gigante ola que el viento page 122 Riza y empuja en el mar, Y rueda y pasa, y no sabe Que playa buscando va; Luz que en cercos temblorosos 5 Brilla, proxima a expirar, Ignorandose cual de ellos El ultimo brillara; Eso soy yo, que al acaso Cruzo el mundo, sin pensar 10 De donde vengo, ni adonde Mis pasos me llevaran. VII Del salon en el angulo obscuro, De su dueno tal vez olvidada, Silenciosa y cubierta de polvo 15 Veiase el arpa. iCuanta nota dormia en sus cuerdas Como el pajaro duerme en las ramas, Esperando la mano de nieve Que sabe arrancarlas! 20 iAy! pense; icuantas veces el genio Asi duerme en el fondo del alma, Y una voz, como Lazaro, espera Que le diga: "Levantate y anda!" LIII Volveran las obscuras golondrinas 25 En tu balcon sus nidos a colgar, page 123 Y, otra vez, con el ala a sus cristales Jugando llamaran; Pero aquellas que el vuelo refrenaban Tu hermosura y mi dicha a contemplar, 5 Aquellas que aprendieron nuestros nombres... Esas... ino volveran! Volveran las tupidas madreselvas De tu jardin las tapias a escalar, Y otra vez a la tarde, aun mas hermosas, 10 Sus flores se abriran; Pero aquellas, cuajadas de rocio, Cuyas gotas mirabamos temblar Y caer, como lagrimas del dia... Esas... ino volveran! 15 Volveran del amor en tus oidos Las palabras ardientes a sonar; Tu corazon de su profundo sueno Tal vez despertara; Pero mudo y absorto y de rodillas, 20 Como se adora a Dios ante su altar, Como yo te he querido... desenganate, iAsi no te querran! page 124 LXXIII Cerraron sus ojos Que aun tenia abiertos; Taparon su cara Con un blanco lienzo; 5 y unos sollozando, Otros en silencio, De la triste alcoba Todos se salieron. La luz, que en un vaso 10 Ardia en el suelo, Al muro arrojaba La sombra del lecho; Y entre aquella sombra Veiase a intervalos 15 Dibujarse rigida La forma del cuerpo. Despertaba el dia Y a su albor primero Con sus mil rueidos 20 Despertaba el pueblo. Ante aquel contraste De vida y misterios, De luz y tinieblas, Medite un momento: 25 "_iDios mio, que solos Se quedan los muertos!_" page 125 De la casa en hombros Llevaronla al templo, Y en una capilla Dejaron el feretro. 5 Alli rodearon Sus palidos restos De amarillas velas Y de panos negros. Al dar de las animas 10 El toque postrero, Acabo una vieja Sus ultimos rezos; Cruzo la ancha nave, Las puertas gimieron, 15 Y el santo recinto Quedose desierto. De un reloj se oia Compasado el pendulo, Y de algunos cirios 20 El chisporroteo. Tan medroso y triste, Tan obscuro y yerto Todo se encontraba... Que pense un momento: 25 "_iDios mio, que solos Se quedan los muertos!_" page 126 De la alta campana La lengua de hierro, Le dio, volteando, Su adios lastimero. 5 El luto en las ropas, Amigos y deudos Cruzaron en fila, Formando el cortejo. Del ultimo asilo, 10 Obscuro y estrecho, Abrio la piqueta El nicho a un extremo. Alli la acostaron, Tapiaronle luego, 15 Y con un saludo Despidiose el duelo. La piqueta al hombro, El sepulturero Cantando entre dientes 20 Se perdio a lo lejos. La noche se entraba, Reinaba el silencio; Perdido en las sombras, Medite un momento: 25 _"iDios mio, que solos Se quedan los muertos!"_ page 127 En las largas noches Del helado invierno, Cuando las maderas Crujir hace el viento 5 Y azota los vidrios El fuerte aguacero, De la pobre nina A solas me acuerdo. Alli cae la lluvia 10 Con un son eterno; Alli la combate El soplo del cierzo. iDel humedo muro Tendida en el hueco, 15 Acaso de frio Se hielan sus huesos!... ?Vuelve el polvo al polvo? ?Vuela el alma al cielo? ?Todo es vil materia, 20 Podredumbre y cieno? iNo se: pero hay algo Que explicar no puedo, Que al par nos infunde Repugnancia y duelo, 25 Al dejar tan tristes, Tan solos los muertos! page 128 DON VICENTE W. QUEROL EN NOCHE-BUENA A mis ancianos padres I Un ano mas en el hogar paterno Celebramos la fiesta del Dios-Nino, Simbolo augusto del amor eterno, Cuando cubre los montes el invierno 5 Con su manto de armino. 5 II Como en el dia de la fausta boda O en el que el santo de los padres llega, La turba alegre de los ninos juega, Y en la ancha sala la familia toda 10 De noche se congrega. 10 III La roja lumbre de los troncos brilla Del pequeno dormido en la mejilla, Que con timido afan su madre besa; Y se refleja alegre en la vajilla 15 De la dispuesta mesa. IV A su sobrino, que lo escucha atento, Mi hermana dice el pavoroso cuento, page 129 Y mi otra hermana la cancion modula Que, o bien surge vibrante, o bien ondula Prolongada en el viento. V Mi madre tiende las rugosas manos 5 Al nieto que huye por la blanda alfombra; Hablan de pie mi padre y mis hermanos, Mientras yo, recatandome en la sombra, Pienso en hondos arcanos. VI Pienso que de los dias de ventura 10 Las horas van apresurando el paso, Y que empana el oriente niebla obscura, Cuando aun el rayo tremulo fulgura Ultimo del ocaso. VII iPadres mios, mi amor! iComo envenena 15 Las breves dichas el temor del dano! Hoy presidis nuestra modesta cena, Pero en el porvenir... yo se que un ano Vendra sin Noche-Buena. VIII Vendra, y las que hoy son risas y alborozo 20 Seran muda afliccion y hondo sollozo. No cantara mi hermana, y mi sobrina No escuchara la historia peregrina Que le da miedo y gozo. page 130 IX No dara nuestro hogar rojos destellos Sobre el limpio cristal de la vajilla, Y, si alguien osa hablar, sera de aquellos Que hoy honran nuestra fiesta tan sencilla 5 Con sus blancos cabellos. X Blancos cabellos cuya amada hebra Es cual corona de laurel de plata, Mejor que esas coronas que celebra La vil lisonja, la ignorancia acata, 10 Y el infortunio quiebra. XI iPadres mios, mi amor! Cuando contemplo La sublime bondad de vuestro rostro, Mi alma a los trances de la vida templo, Y ante esa imagen para orar me postro, 15 Cual me postro en el templo. XII Cada arruga que surca ese semblante Es del trabajo la profunda huella, O fue un dolor de vuestro pecho amante. La historia fiel de una epoca distante 20 Puedo leer yo en ella. XIII La historia de los tiempos sin ventura En que luchasteis con la adversa suerte, page 131 Y en que, tras negras horas de amargura, Mi madre se sintio mas noble y pura Y mi padre mas fuerte. XIV Cuando la noche toda en la cansada 5 Labor tuvisteis vuestros ojos fijos, Y, al venceros el sueno a la alborada, Fuerzas os dio posar vuestra mirada En los dormidos hijos. XV Las lagrimas correr una tras una 10 Con noble orgullo por mi faz yo siento, Pensando que hayan sido por fortuna, Esas honradas manos mi sustento Y esos brazos mi cuna. XVI iPadres mios, mi amor! Mi alma quisiera 15 Pagaros hoy la que en mi edad primera Sufristeis sin gemir lenta agonia, Y que cada dolor de entonces fuera Germen de una alegria. XVII Entonces vuestro mal curaba el gozo 20 De ver al hijo convertirse en mozo, Mientras que al verme yo en vuestra presencia Siento mi dicha ahogada en el sollozo De una temida ausencia. page 132 XVIII Si el vigor juvenil volver de nuevo Pudiese a vuestra edad, ?por que estas penas? Yo os daria mi sangre de mancebo, Tornando asi con ella a vuestras venas 5 Esta vida que os debo. XIX Que de tal modo la afliccion me embarga Pensando en la posible despedida, Que imagino ha de ser tarea amarga Llevar la vida, como inutil carga, 10 Despues de vuestra vida. XX Ese plazo fatal, sordo, inflexible, Miro acercarse con profundo espanto, Y en dudas grita el corazon sensible: --"Si aplacar al destino es imposible, 15 ?Para que amarnos tanto?" XXI Para estar juntos en la vida eterna Cuando acabe esta vida transitoria: Si Dios, que el curso universal gobierna, Nos devuelve en el cielo esta union tierna, 20 Yo no aspiro a mas gloria. XXII Pero en tanto, buen Dios, mi mejor palma Sera que prolongueis la dulce calma page 133 Que hoy nuestro hogar en su recinto encierra: Para marchar yo solo por la tierra No hay fuerzas en mi alma. DON RAMON DE CAMPOAMOR PROXIMIDAD DEL BIEN En el tiempo en que el mundo informe estaba, Creo el Senor, cuando por dicha extrema 5 El paraiso terrenal formaba, Un fruto que del mal era el emblema Y otro fruto que el bien simbolizaba. Del miserable Adan al mismo lado 10 El Senor coloco del bien el fruto; Pero Adan nunca el bien hallo, ofuscado, Porque es del hombre misero atributo Huir del bien, del mal siempre arrastrado. El fruto que del mal el simbolo era 15 Puso Dios escondido y muy lejano; Pero Adan lo encontraba donde quiera, Abandonando en su falaz quimera, Por el lejano mal, el bien cercano. iAh! siempre el hombre en su ilusion maldita 20 Su misma dicha en despreciar se empena, page 134 Y al seguirla tenaz, tenaz la evita, Y aunque en su mismo corazon palpita, iLejos, muy lejos, con afan la suena! iQUIEN SUPIERA ESCRIBIR! I --Escribidme una carta, senor Cura. 5 --Ya se para quien es. --?Sabeis quien es, porque una noche obscura Nos visteis juntos?--Pues. --Perdonad; mas...--No extrano ese tropiezo. La noche... la ocasion... 10 Dadme pluma y papel. Gracias. Empiezo: _Mi querido Ramon_: --?Querido?... Pero, en fin, ya lo habeis puesto... --Si no quereis...--iSi, si! --_iQue triste estoy!_ ? No es eso?--Por supuesto. 15 --_iQue triste estoy sin ti!_ _Una congoja, al empezar, me viene_... --?Como sabeis mi mal? --Para un viejo, una nina siempre tiene El pecho de cristal. 20 _?Que es sin ti el mundo? Un valle de amargura. ?Y contigo? Un eden._ --Haced la letra clara, senor Cura; Que lo entienda eso bien. page 135 --_El beso aquel que de marchar a punto Te di_...--?Como sabeis?... --Cuando se va y se viene y se esta junto Siempre... no os afrenteis. 5 _Y si volver tu afecto no procura,_ _Tanto me haras sufrir..._ --?Sufrir y nada mas? No, senor Cura, iQue me voy a morir! --?Morir? ?Sabeis que es ofender al cielo?... 10 --Pues, si, senor, imorir! --Yo no pongo _morir_.--iQue hombre de hielo! iQuien supiera escribir! II iSenor Rector, senor Rector! en vano Me quereis complacer, 15 Si no encarnan los signos de la mano Todo el ser de mi ser. Escribidle, por Dios, que el alma mia Ya en mi no quiere estar; Que la pena no me ahoga cada dia... 20 Porque puedo llorar. Que mis labios, las rosas de su aliento, No se saben abrir; Que olvidan de la risa el movimiento A fuerza de sentir. page 136 Que mis ojos, que el tiene por tan bellos, Cargados con mi afan, Como no tienen quien se mire en ellos, Cerrados siempre estan. 5 Que es, de cuantos tormentos he sufrido, La ausencia el mas atroz; Que es un perpetuo sueno de mi oido El eco de su voz... Que siendo por su causa, el alma mia 10 iGoza tanto en sufrir!... Dios mio icuantas cosas le diria Si supiera escribir!... III EPILOGO --Pues senor, ibravo amor! Copio y concluyo: _A don Ramon_... En fin, 15 Que es inutil saber para esto, arguyo, Ni el griego ni el latin. EL MAYOR CASTIGO Cuando de Virgilio en pos Fue el Dante al infierno a dar, Su conciencia, hija de Dios, 20 Dejo a la puerta al entrar. Despues que a salir volvio, Su conciencia el Dante hallando, page 137 Con ella otra vez cargo, Mas dijo asi suspirando: Del infierno en lo profundo, No vi tan atroz sentencia 5 Como es la de ir por el mundo Cargado con la conciencia. DON GASPAR NUNEZ DE ARCE iEXCELSIOR! ?Por que los corazones miserables, Por que las almas viles, En los fieros combates de la vida 10 Ni luchan ni resisten? El espiritu humano es mas constante Cuanto mas se levanta: Dios puso el fango en la llanura, y puso La roca en la montana. 15 La blanca nieve que en los hondos valles Derritese ligera, En las altivas cumbres permanece Inmutable y eterna. TRISTEZAS Cuando recuerdo la piedad sincera 20 Con que en mi edad primera Entraba en nuestras viejas catedrales, page 138 Donde postrado ante la cruz de hinojos Alzaba a Dios mis ojos, Sonando en las venturas celestiales; Hoy que mi frente atonito golpeo, Y con febril deseo 5 Busco los restos de mi fe perdida, Por hallarla otra vez, radiante y bella Como en la edad aquella, iDesgraciado de mi! diera la vida. 10 iCon que profundo amor, nino inocente, Prosternaba mi frente En las losas del templo sacrosanto! Llenabase mi joven fantasia De luz, de poesia, 15 De mudo asombro, de terrible espanto. Aquellas altas bovedas que al cielo Levantaban mi anhelo; Aquella majestad solemne y grave; Aquel pausado canto, parecido 20 A un doliente gemido, Que retumbaba en la espaciosa nave; Las marmoreas y austeras esculturas De antiguas sepulturas, Aspiracion del arte a lo infinito; page 139 La luz que por los vidrios de colores Sus tibios resplandores Quebraba en los pilares de granito; Haces de donde en curva fugitiva, 5 Para formar la ojiva, Cada ramal subiendo se separa, Cual del rumor de multitud que ruega, Cuando a los cielos llega, Surge cada oracion distinta y clara; 10 En el gotico altar inmoble y fijo El santo crucifijo, Que extiende sin vigor sus brazos yertos, Siempre en la sorda lucha de la vida, Tan aspera y renida, 15 Para el dolor y la humildad abiertos; El mistico clamor de la campana Que sobre el alma humana De las caladas torres se despena, Y anuncia y lleva en sus aladas notas 20 Mil promesas ignotas Al triste corazon que sufre o suena; Todo elevaba mi animo intranquilo A mas sereno asilo: Religion, arte, soledad, misterio... page 140 Todo en el templo secular hacia Vibrar el alma mia, Como vibran las cuerdas de un salterio. Y a esta voz interior que solo entiende 5 Quien credulo se enciende En fervoroso y celestial carino, Envuelta en sus flotantes vestiduras Volaba a las alturas, Virgen sin mancha, mi oracion de nino. 10 Su rauda, viva y luminosa huella Como fugaz centella Traspasaba el espacio, y ante el puro Resplandor de sus alas de querube, Rasgabase la nube 15 Que me ocultaba el inmortal seguro. iOh anhelo de esta vida transitoria! iOh perdurable gloria! iOh sed inextinguible del deseo! iOh cielo, que antes para mi tenias 20 Fulgores y armonias, Y hoy tan obscuro y desolado veo! Ya no templas mis intimos pesares, Ya al pie de tus altares Como en mis anos de candor no acudo. page 141 Para llegar a ti perdi el camino, Y errante peregrino Entre tinieblas desespero y dudo. Voy espantado sin saber por donde; 5 Grito, y nadie responde A mi angustiada voz; alzo los ojos Y a penetrar la lobreguez no alcanzo; medrosamente avanzo, Y me hieren el alma los abrojos. 10 Hijo del siglo, en vano me resisto A su impiedad, ioh Cristo! Su grandeza satanica me oprime. Siglo de maravillas y de asombros, Levanta sobre escombros 15 Un Dios sin esperanza, un Dios que gime. iY ese Dios no eres tu! No tu serena Faz, de consuelos llena, Alumbra y guia nuestro incierto paso. Es otro Dios incognito y sombrio: 20 Su cielo es el vacio, Sacerdote el error, ley el Acaso. iAy! No recuerda el animo suspenso Un siglo mas inmenso, Mas rebelde a tu voz, mas atrevido; page 142 Entre nubes de fuego alza su frente, Como Luzbel, potente; Pero tambien, como Luzbel, caido. 5 A medida que marcha y que investiga Es mayor su fatiga, Es su noche mas honda y mas obscura, Y pasma, al ver lo que padece y sabe, Como en su seno cabe Tanta grandeza y tanta desventura. 10 Como la nave sin timon y rota Que el ronco mar azota, Incendia el rayo y la borrasca mece En pielago ignorado y proceloso, Nuestro siglo--coloso, 15 Con la luz que le abrasa, resplandece. iY esta la playa mistica tan lejos!... A los tristes reflejos Del sol poniente se colora y brilla. El huracan arrecia, el bajel arde, 20 Y es tarde, es iay! muy tarde Para alcanzar la sosegada orilla. ?Que es la ciencia sin fe? Corcel sin freno, A todo yugo ajeno, Que al impulso del vertigo se entrega, page 143 Y a traves de intrincadas espesuras, Desbocado y a obscuras, Avanza sin cesar y nunca llega. iLlegar! ?Adonde?... El pensamiento humano 5 En vano lucha, en vano Su ley oculta y misteriosa infringe. En la lumbre del sol sus alas quema, Y no aclara el problema, No penetra el enigma de la Esfinge. 10 iSalvanos, Cristo, salvanos, si es cierto Que tu poder no ha muerto! Salva a esta sociedad desventurada, Que bajo el peso de su orgullo mismo Rueda al profundo abismo 15 Acaso mas enferma que culpada. La ciencia audaz, cuando de ti se aleja, En nuestras almas deja El germen de reconditos dolores. Como al tender el vuelo hacia la altura, 20 Deja su larva impura El insecto en el caliz de las flores. Si en esta confusion honda y sombria Es, Senor, todavia Raudal de vida tu palabra santa, page 144 Di a nuestra fe desalentada y yerta: --iAnimate y despierta! Como dijiste a Lazaro:--iLevanta!-- iSURSUM CORDA! INTRODUCCION A mi buen amigo el ilustre poeta Manuel Reina I. A ESPANA Nunca mi labio a la servil lisonja 5 Parias rindio. Ni el exito ruidoso, Ni la soberbia afortunada, oyeron Falaz encomio de mi humilde Musa. Diome su austeridad la honrada tierra Donde naci, y el presuroso tiempo 10 Que arrastra y lleva en sus revueltas olas Las grandezas humanas al olvido, A mi pesar me ensena que en el mundo Tan solo a dos excelsas majestades Puedo, sin mengua, levantar mi canto; 15 La Verdad y el Dolor. En estas horas De febril inquietud, ?quien, Patria mia, Merece como tu la pobre ofrenda De mi respeto y de mi amor? Postrada En los escombros de tu antigua gloria, 20 La negra adversidad, con ferrea mano, Comprime los latidos de tu pecho page 145 Y el aire que respiras envenena. Como tigre feroz clavo sus garras La catastrofe en ti, y en tus heridas Entranas sacia su voraz instinto. 5 ?Quien, al mirar tus lastimas, no llora? ?Puede haber hombre tan perverso y duro, Ni aun concebido en crapulosa orgia Por hembra impura, que impasible vea Morir sin fe, desesperado y solo, 10 Al dulce bien que le llevo en su seno? iNo existe, no! Perdona si movido Por la ciega pasion, alla en lejanos Y borrascosos dias, cuando airada Mi voz como fatidico anatema 15 Trono en la tempestad, quizas injusto Contigo pude ser. Pero hoy, que sufres, Hoy que, Job de la Historia, te retuerces En tu lecho de angustia, arrepentido Y llena el alma de mortal congoja, 20 Acudo ansioso a consolar tus penas, A combatir con los inmundos buitres, Avidos del festin, que en torno giran De tu ulcerado cuerpo, y si lo mandas, iOh, noble martir! a morir contigo. 25 Pero ?quien habla de morir? ?Acaso No eres, Patria, inmortal? Tendras eclipses Como los tiene el sol. Sombras tenaces, Cual hiperborea noche larga y fria, page 146 Sobre ti pesaran, mientras no llegue Tu santa redencion. iHora dichosa En que veras con jubilo y ternura Nacer el alba, el tenebroso espacio 5 Inundarse de luz, la tierra encinta Estremecerse en extasis materno, De armonias, aromas y colores Poblarse el aire, y palpitar en todo La plenitud eterna de la vida! 10 iTen esperanza y fe! Descubridora De mundos, madre de indomada prole, Tu no puedes morir, iDios no lo quiere! Aun tienes que cumplir altos destinos. Busca en el seno de la paz bendita 15 Reparador descanso, hasta que cobren Tus musculos salud, y en cuanto sientas El hervor de tu sangre renovada, Ponte en pie, sacudiendo tu marasmo, Que como losa del sepulcro, oprime 20 Tu enferma voluntad. Surge del fondo De tu aislamiento secular, y marcha Con paso firme y corazon resuelto Sin mirar hacia atras, siempre adelante. Sean la escuela y el taller y el surco 25 Los solos campos de batalla en donde Tu razon y tus fuerzas ejercites. Entra en las lides del trabajo y vence, Que entonces de laureles coronada, Mas fecunda, mas prospera y mas grande, page 147 Seguiras, fulgurando, tu camino Por los arcos triunfales de la Historia. II. A AMERICA iEsta es Espana! Atonita y maltrecha Bajo el peso brutal de su infortunio, 5 Inerte yace la matrona augusta 5 Que en otros siglos fatigo a la fama. La que surco los mares procelosos Buscandote atrevida en el misterio, Hasta que un dia, deslumbrando al mundo, 10 Surgiste, como Venus, de las ondas. 10 Cegada por tu esplendida hermosura, Al engarzarte en su imperial diadema Espana te oprimio; mas no la culpes, 15 Porque ?cuando la barbara conquista Justa y humana fue? Tambien clemente 15 Te dio su sangre, su robusto idioma, Sus leyes y su Dios. iTe lo dio todo, Menos la libertad! Pues mal pudiera Darte el unico bien que no tenia. 20 Contemplala vencida y humillada 20 Por la doblez y el oro, y si te mueven A generosa lastima sus males, El tragico desplome de una gloria Que es tambien tuya, acorrela en su duelo. 25 iEs tu madre infeliz! No la abandone 25 Tu amor, en tan inmensa desventura. page 148 DON MANUEL DEL PALACIO AMOR OCULTO Ya de mi amor la confesion sincera Oyeron tus calladas celosias, Y fue testigo de las ansias mias La luna, de los tristes companera. 5 Tu nombre dice el ave placentera A quien visito yo todos los dias, Y alegran mis sonadas alegrias El valle, el monte, la comarca entera. Solo tu mi secreto no conoces, 10 Por mas que el alma con latido ardiente, Sin yo quererlo, te lo diga a voces; Y acaso has de ignorarlo eternamente, Como las ondas de la mar veloces La ofrenda ignoran que les da la fuente. DON JOAQUIN MARIA BARTRINA ARABESCOS Y COMPOSICIONES INTIMAS 15 Oyendo hablar a un hombre, facil es Acertar donde vio la luz del sol; Si os alaba a Inglaterra, sera ingles, Si os habla mal de Prusia, es un frances, Y si habla mal de Espana, es espanol. page 149 Si cumplir con lealtad Nuestra ultima voluntad Es sagrada obligacion, Cuando mis ojos se cierren, 5 He de mandar que me entierren Dentro de tu corazon. Para matar la inocencia, Para envenenar la dicha, Es un gran punal la pluma 10 Y un gran veneno la tinta. Quien vive siempre entre pena Y remordimiento y dudas, No sabe ver mas que a Judas En el cuadro de la cena. DON MANUEL REINA LA POESIA A Teodoro Llorente 15 Como el raudal que corre en la pradera Copia en su espejo pajaros y flores, La alada mariposa de colores, El verde arbusto y la radiante esfera, La sublime poesia reverbera 20 Combates, glorias, risas y dolores, Odio y amor, tinieblas y esplendores, page 150 El cielo, el campo, el mar... ila vida entera! iAsi Homero es la lid; Virgilio, el dia; Esquilo, la tormenta bramadora; Anacreonte, el vino y la alegria; 5 Dante, la noche con su negro arcano; Calderon, el honor; Milton, la aurora; Shakespeare, el triste corazon humano! page 151 ARGENTINA DON ESTEBAN ECHEVERRIA CANCION DE ELVIRA Crecio acaso arbusto tierno A orillas de un manso rio, Y su ramaje sombrio Muy ufano se extendio; 5 Mas en el sanudo invierno Subio el rio cual torrente, Y en su tumida corriente El tierno arbusto llevo. Reflejando nieve y grana, 10 Nacio garrida y pomposa En el desierto una rosa, Gala del prado y amor; Mas lanzo con furia insana Su soplo inflamado el viento, 15 Y se llevo en un momento Su vana pompa y frescor. Asi dura todo bien... Asi los dulces amores, page 152 Como las lozanas flores, Se marchitan en su albor; Y en el incierto vaiven De la fortuna inconstante, 5 Nace y muere en un instante La esperanza del amor. DON OLEGARIO V. ANDRADE ATLANTIDA Canto al porvenir de la raza latina en America VII iSiglos pasaron sobre el mundo, y siglos Guardaron el secreto! Lo presintio Platon cuando sentado 10 En las rocas de Engina contemplaba Las sombras que en silencio descendian A posarse en las cumbres del Himeto; Y el misterioso dialogo entablaba Con las olas inquietas 15 iQue a sus pies se arrastraban y gemian! Adivino su nombre, hija postrera Del tiempo, destinada A celebrar las bodas del futuro En sus campos de eterna primavera, 20 iY la llamo la Atlantida sonada! page 153 Pero Dios reservaba La empresa ruda al genio renaciente De la latina raza, idomadora De pueblos, combatiente 5 De las grandes batallas de la historia! Y cuando fue la hora, Colon aparecio sobre la nave Del destino del mundo portadora-- Y la nave avanzo. Y el Oceano, 10 Hurano y turbulento, Lanzo al encuentro del bajel latino Los negros aquilones, iY a su frente rugiendo el torbellino, Jinete en el relampago sangriento! 15 Pero la nave fue, y el hondo arcano Cayo roto en pedazos; iY desperto la Atlantida sonada De un pobre visionario entre los brazos! Era lo que buscaba 20 El genio inquieto de la vieja raza, Debelador de tronos y coronas, iEra lo que sonaba! iAmbito y luz en apartadas zonas! Helo armado otra vez, no ya arrastrando 25 El sangriento sudario del pasado Ni de negros recuerdos bajo el peso, Sino en pos de grandiosas ilusiones, iLa libertad, la gloria y el progreso! page 154 iNada le falta ya! lleva en el seno El insondable afan del infinito, iY el infinito por doquier lo llama De las montanas con el hondo grito 5 Y de los mares con la voz de trueno! Tiene el altar que Roma Quiso en vano construir con los escombros Del templo egipcio y la pagoda indiana, iAltar en que profese eternamente 10 Un culto solo la conciencia humana! iY el Andes, con sus gradas ciclopeas, Con sus rojas antorchas de volcanes, Sera el altar de fulgurantes velos En que el himno inmortal de las ideas 15 La tierra entera elevara a los cielos! VIII iCampo inmenso a su afan! Alla dormidas Bajo el arco triunfal de mil colores Del tropico esplendente, Las Antillas levantan la cabeza 20 De la naciente luz a los albores, Como bandadas de aves fugitivas Que arrullaron al mar con sus extranas Canciones planideras, Y que secan al sol las blancas alas 25 iPara emprender el vuelo a otras riberas! iAlla Mejico esta! sobre dos mares Alzada cual granitica atalaya, page 155 iParece que aun espia La castellana flota que se acerca Del golfo azteca a la arenosa playa! Y mas alla Colombia adormecida 5 Del Tequendama al retemblar profundo, iColombia la opulenta Que parece llevar en las entranas La inagotable juventud del mundo! iSalve, zona feliz! region querida 10 Del almo sol que tus encantos cela, Inmenso hogar de animacion y vida, iCuna del gran Bolivar! iVenezuela! Todo en tu suelo es grande, Los astros que te alumbran desde arriba 15 Con eterno, sangriento centelleo, El genio, el heroismo, iVolcan que hizo erupcion con ronco estruendo En la cumbre inmortal de San Mateo! Tendida al pie del Ande, 20 Viuda infeliz sobre entreabierta huesa, Yace la Roma de los Incas, rota La vieja espada en la contienda grande, La frente hundida en la tiniebla obscura, iMas no ha muerto el Peru! que la derrota 25 Germen es en los pueblos varoniles De redencion futura-- entonces cuando llegue, page 156 Para su suelo, la estacion propicia Del trabajo que cura y regenera, Y brille al fin el sol de la justicia Tras largos dias de vergueenza y lloro, 5 iEl rojo manto que a su espalda flota Las mieses bordaran con flores de oro! iBolivia! la heredera del gigante Nacido al pie del Avila, su genio Inquieto y su valor constante 10 Tiene para las luchas de la vida; Suena en batallas hoy, pero no importa, Suena tambien en anchos horizontes En que en vez de curenas y canones iSienta rodar la audaz locomotora 15 Cortando valles y escalando montes! Y Chile el vencedor, fuerte en la guerra, Pero mas fuerte en el trabajo, vuelve A colgar en el techo Las vengadoras armas, convencido 20 De que es esteril siempre la victoria De la fuerza brutal sobre el derecho. El Uruguay que combatiendo entrega Su seno a las caricias del progreso, El Brasil que recibe 25 Del mar Atlante el estruendoso beso Y a quien solo le falta El ser mas libre, para ser mas grande, iY la region bendita, page 157 Sublime desposada de la gloria, Que bana el Plata y que limita el Ande! iDe pie para cantarla! que es la patria, La patria bendecida, 5 Siempre en pos de sublimes ideales, iEl pueblo joven que arrullo en la cuna El rumor de los himnos inmortales! Y que hoy llama al festin de su opulencia A cuantos rinden culto 10 A la sagrada libertad, hermana Del arte, del progreso y de la ciencia-- iLa patria! que ensancho sus horizontes Rompiendo las barreras Que en otrora su espiritu aterraron, 15 iY a cuyo paso en los nevados montes Del Genesis los ecos despertaron! iLa patria! que, olvidada De la civil querella, arrojo lejos El fratricida acero 20 Y que lleva orgullosa La corona de espigas en la frente, iMenos pesada que el laurel guerrero! iLa patria! en ella cabe Cuanto de grande el pensamiento alcanza, 25 En ella el sol de redencion se enciende, Ella al encuentro del futuro avanza, Y su mano, del Plata desbordante iLa inmensa copa a las naciones tiende! page 158 IX iAmbito inmenso, abierto De la latina raza al hondo anhelo! iEl mar, el mar gigante, la montana En eterno coloquio con el cielo... 5 Y mas alla desierto! Aca rios que corren desbordados, Alli valles que ondean Como rios eternos de verdura, 10 Los bosques a los bosques enlazados, iDoquier la libertad, doquier la vida Palpitando en el aire, en la pradera Y en explosion magnifica encendida! iAtlantida encantada Que Platon presintio! promesa de oro 15 Del porvenir humano--Reservado A la raza fecunda, Cuyo seno engendro para la historia Los Cesares del genio y de la espada-- Aqui va a realizar lo que no pudo 20 Del mundo antiguo en los escombros yertos iLa mas bella vision de sus visiones! iAl himno colosal de los desiertos La eterna comunion de las naciones! page 159 PROMETEO VII iArriba, pensadores! que en la lucha Se templa y fortalece Vuestra raza inmortal, nunca domada, Que lleva por celeste distintivo 5 La chispa de la audacia en la mirada Y anhelos infinitos en el alma; iEn cuya frente altiva Se confunden y enlazan El laurel rumoroso de la gloria 10 Y del dolor la mustia siempre-viva! iArriba, pensadores! iQue el espiritu humano sale ileso Del cadalso y la hoguera! Vuestro heraldo triunfal es el progreso 15 Y la verdad la suspirada meta De vuestro afan gigante. iArriba! ique ya asoma el claro dia En que el error y el fanatismo expiren Con doliente y confuso clamoreo! 20 iAve de esa alborada es el poeta, Hermano de las aguilas del Caucaso, Que secaron piadosas con sus alas La ensangrentada faz de Prometeo! page 160 DON RAFAEL OBLIGADO EN LA RIBERA Ven, sigue de la mano Al que te amo de nino; Ven, y juntos lleguemos hasta el bosque Que esta en la margen del paterno rio. 5 iOh, cuanto eres hermosa, mi amada, en este sitio! Solo por ti, y a reflejar tu frente, Corriendo baja el Parana tranquilo. Para besar tu huella 10 Fue siempre tan sumiso, Que, en viendote llegar, hasta la playa Manda sus olas sin hacer rueido. Por eso, porque te ama, Somos grandes amigos; 15 Luego, sabe decirte aquellas cosas Que nunca brotan de los labios mios. El ano que tu faltas, La flor de sus seibos, Como cansada de esperar tus sienes, 20 Cuelga sus ramos de carmin marchitos. page 161 Por la tersa corriente, Risuenos y furtivos, Como sueltas guirnaldas, no navegan Los verdes camalotes florecidos. 5 Solo inclinan los sauces Su ramaje sombrio, Y las aves mas tristes, en sus copas Gimiendo tejen sus ocultos nidos. Pero llegas..., y el agua, 10 El bosque, el cielo mismo, Es como una explosion de mil colores, Y el aire rompe en sonorosos himnos. Asi la primavera, Del tropico vecino 15 Desciende, y canta, repartiendo flores, Y colgando en las vides los racimos. iCual suenan gratamente, Acordes, en un ritmo, Del agua el melancolico murmullo 20 Y el leve susurrar de tu vestido! iOh, si me fuera dado Guardar en mis oidos, Para siempre, esta musica del alma, Esta union de tu ser y de mis rios! page 162 COLOMBIA DON JOSE JOAQUIN ORTIZ COLOMBIA Y ESPANA iOh! ireposad en vuestras quietas tumbas, Augustos padres de la patria mia, Pues bien lo mereceis! La grande obra De redencion al fin esta cumplida; 5 Y no llegue a turbar vuestro reposo El tumulto de lucha fratricida. Hoy a vuestros sepulcros hace sombra La bandera del iris, enlazada A la de los castillos y leones; 10 Que el odio no es eterno En los pobres humanos corazones; Y llego el dia en que la madre Espana Estrechase a Colombia entre sus brazos, Depuesta ya la sana; 15 No sierva, no senora; Libres las dos como las hizo el cielo. iAh! ?ni como podria page 163 Hallarse la hija siempre separada Del dulce hogar paterno, Ni consentir la carinosa madre Que tal apartamiento fuera eterno? 5 En esos anos de la ausencia fiera, El recuerdo de Espana Seguianos doquiera. Todo nos es comun: su Dios, el nuestro; La sangre que circula por sus venas 10 Y el hermoso lenguaje; Sus artes, nuestras artes; la armonia De sus cantos, la nuestra; sus reveses Nuestros tambien, y nuestras Las glorias de Bailen y de Pavia. 15 Si a veces distraidos Fijabamos los ojos A contemplar las hijas de Colombia; En el porte elegante, En el puro perfil de su semblante, 20 En su mirada ardiente y en el dejo Meloso de la voz, eran retrato De sus nobles abuelas; Copia feliz de gracia soberana, En que agradablemente se veia 25 El decoro y nobleza castellana Y el donaire y la sal de Andalucia; Y entonces exclamabamos: Un nombre page 164 Terrible, Espana, tienes; ipero suena Que dulcemente al corazon del hombre! iOh! ique esta santa alianza eterna sea, Y el pendon de Castilla y de Colombia 5 Unidos siempre el universo vea! Y que al iviva Colombia! que repiten El aureo Tajo, y Ebro y Manzanares, iResponda el eco que rodando vaya Por los tranquilos mares 10 A la iberica playa De iviva Espana! con que el Ande atruena El Cauca, el Orinoco, el Magdalena! DON JOSE EUSEBIO CARO EL CIPRES iArbol sagrado, que la obscura frente, Inmovil, majestuoso, 15 Sobre el sepulcro humilde y silencioso Despliegas hacia el cielo tristemente! Tu, si, tu solamente Al tiempo en que se duerme el rey del mundo Tras las altas montanas de occidente, 20 Me ves triste vagando Entre las negras tumbas, Con los ojos en llanto humedecidos, Mi orfandad y miseria lamentando. page 165 Y cuando ya de la apacible luna La luz de perla en tu verdor se acoge, Solo tu tronco escucha mis gemidos, Solo tu pie mis lagrimas recoge. 5 iAy! hubo un tiempo en que feliz y ufano Al seno paternal me abandonaba; En que con blanda mano Una madre amorosa De mi ninez las lagrimas secaba... 10 iY hoy, huerfano, del mundo desechado, Aqui en mi patria misma Solitario viajero, Desde lejos contemplo acongojado Sobre los techos de mi hogar primero 15 El humo blanquear del extranjero! Entre el bullicio de los pueblos busco Mis tiernos padres para mi perdidos; iVanamente!... Los rostros de los hombres Me son desconocidos. 20 Y sus manes, empero, noche y dia Presentes a mis ojos afligidos Contino estan; contino sus acentos Vienen a resonar en mis oidos. iSi, funeral cipres! Cuando la noche 25 Con su callada sombra te rodea, Cuando escondido el solitario buho En tus obscuros ramos aletea; page 166 La sombra de mi padre por tus hojas Vagando me parece, Que a velar por los dias de su hijo Del reino de los muertos se aparece. 5 Y si el viento sacude impetueoso Tu elevada cabeza, Y a su furor con susurrar medroso Respondes pavoroso; En los tristes silbidos 10 Que en torno de ti giran, A los paternos manes Escucho, que dulcisimos suspiran. iArbol augusto de la muerte! iNunca Tus verdores abata el boreas ronco! 15 iNunca enemiga, venenosa sierpe Se enrosque en torno de tu pardo tronco! iJamas el rayo ardiente Abrase tu alta frente! iSiempre inmoble y sereno 20 Por las concavas nubes Oigas rodar el impotente trueno! Vive, si, vive; y cuando ya mis ojos Cerrar el dedo de la muerte quiera; Cuando esconderse mire en occidente 25 Al sol por vez postrera, Morire sosegado A tu tronco abrazado. Tu mi sepulcro ampararas piadoso page 167 De las roncas tormentas; Y mi ceniza entonce agradecida, En restaurantes jugos convertida, Por tus delgadas venas penetrando, 5 Te hara reverdecer, te dara vida. Quiza sabiendo el infeliz destino Que oprimio mi existencia desdichada, Sobre mi pobre tumba abandonada Una lagrima vierta el peregrino. DON JOSE MANUEL MARROQUIN LOS CAZADORES Y LA PERRILLA 10 Es flaca sobremanera Toda humana prevision, Pues en mas de una ocasion Sale lo que no se espera. Salio al campo una manana 15 Un experto cazador, El mas habil y el mejor Alumno que tuvo Diana. Seguiale gran cuadrilla De ejercitados monteros, 20 De ojeadores, ballesteros Y de mozos de trailla; page 168 Van todos apercibidos De las armas necesarias, Y llevan de castas varias Perros diestros y atrevidos, 5 Caballos de noble raza, Cornetas de monte: en fin, Cuanto exige Moratin En su poema _La Caza_. Levantan pronto una pieza, 10 Un jabali corpulento, Que huye veloz, rabo a viento, Y rompiendo la maleza. Todos siguen con gran bulla Tras la cerdosa alimana, 15 Pero ella se da tal mana Que a todos los aturrulla; Y aunque gastan todo el dia En paradas, idas, vueltas, Y carreras y revueltas, 20 Es vana tanta porfia. Ahora que los lectores Han visto de que manera Pudo burlarse la fiera De los tales cazadores, page 169 Oigan lo que acontecio, Y aunque es suceso que admira, No piensen, no, que es mentira, Que lo cuenta quien lo vio: 5 Al pie de uno de los cerros Que batieron aquel dia, Una viejilla vivia, Que oyo ladrar a los perros; Y con gana de saber 10 En que parara la fiesta, Iba subiendo la cuesta A eso del anochecer: Con ella iba una perrilla... Mas sin pasar adelante, 15 Es preciso que un instante Gastemos en describilla: Perra de canes decana Y entre perras protoperra, Era tenida en su tierra 20 Por perra antediluviana; Flaco era el animalejo, El mas flaco de los canes, Era el rastro, eran los manes De un cuasi-semi-ex-gozquejo; page 170 Sarnosa era... digo mal; No era una perra sarnosa, Era una sarna perrosa Y en figura de animal; 5 Era, otrosi, derrengada; La derribaba un resuello; Puede decirse que aquello No era perra ni era nada. A ver, pues, la batahola 10 La vieja al cerro subia, De la perra en compania, Que era lo mismo que ir sola. Por donde iba, hizo la suerte Que se hubiese el jabali 15 Escondido, por si asi Se libraba de la muerte; Empero, sintiendo luego Que por ahi andaba gente, Tuvo por cosa prudente 20 Tomar las de Villadiego; La vieja entonces al ver Que escapaba por la loma, iSus! dijo por pura broma, Y la perra echo a correr. page 171 Y aquella perra extenuada, Sombra de perra que fue, De la cual se dijo que No era perra ni era nada; 5 Aquella perrilla, si, iCosa es de volverse loco! No pudo coger tampoco Al maldito jabali. DON MIGUEL ANTONIO CARO LA VUELTA A LA PATRIA Mirad al peregrino 10 iCuan doliente y trocado! Apoyandose lento en su cayado iQue solitario va por su camino! En su primer manana, Alma alegre y cantora 15 Abandono el hogar, como a la aurora Deja su nido la avecilla ufana. Aire y luz, vida y flores, Busco en la vasta y fria Region que la inocente fantasia 20 Adornaba con magicos fulgores. page 172 Ve el mundo, oye el rueido De las grandes ciudades, Y solo vanidad de vanidades Halla doquier su espiritu afligido 5 Materia da a su llanto Cuanto el hombre le ofrece; Ya la risa en sus labios no florece, Y olvido la nativa voz del canto. Hizose pensativo; 10 Las nubes y las olas Sus confidentes son, y trata a solas El sitio mas repuesto y mas esquivo. A su penar responde En la noche callada, 15 La estrella que declina fatigada Y en el materno pielago se esconde. _iVuelve, vuelve a tu centro!_ Natura al infelice Clama; _ivuelve!_ una voz tambien le dice 20 Que habla siempre con el, amiga, adentro, iAy triste! En lontananza Ve los pasados dias, Y en gozar otra vez sus alegrias Concentra reanimado la esperanza. page 173 iImposible! iLocura!... ?Cuando pudo a su fuente Retroceder el misero torrente Que probo de los mares la amargura? 5 Ya sube la colina Con mal seguro paso; Del sol poniente al resplandor escaso El valle de la infancia se domina. 10 iAy! Ese valle umbrio Que la paterna casa Guarece; ese rumor con que acompasa Sus blandos tumbos el sagrado rio; Esa aura embalsamada Que sus sienes orea, 15 ?A un corazon enfermo que desea Su antigua soledad, no dicen nada? El pobre peregrino Ni oye, ni ve, ni siente; De la Patria la imagen en su mente 20 No existe ya, sino ideal divino. Invisible le toca Y sus parpados cierra Angel piadoso, y la ilusion destierra, Y el dulce sonreir vuelve a su boca. page 174 iQue muda despedida! ?Quien muerto le creyera? iMirando esta la Patria verdadera! iEsta durmiendo el sueno de la vida! DON DIOGENES A. ARRIETA EN LA TUMBA DE MI HIJO 5 iEspejismos del alma dolorida!... iHermosas esperanzas de la vida Que disipa la muerte con crueldad! Para enganar las penas nos forjamos Imagenes de dicha, y luego damos 10 A la Ilusion el nombre de Verdad. Aqui te llamo y nadie me responde: Sorda y cruel, la tierra que te esconde Ni el eco de mi voz devolvera. Asi la Eternidad: sombria y muda, 15 El odio ni el amor, la fe y la duda En sus abismos nada alcanzaran. Otros alienten la creencia vana De que es posible a la esperanza humana De la muerte sacar vida y amor. 20 Si es cruel la verdad, yo la prefiero... iMe duele el corazon, pero no quiero Consolar con mentiras mi dolor! page 175 iHijo querido, la esperanza mia! Animaste mi hogar tan solo un dia, No volvemos a vernos ya los dos... Pues que la ley se cumpla del destino: Tomo mi cruz y sigo mi camino... iLuz de mi hogar y mi esperanza, adios! DON IGNACIO GUTIERREZ PONCE DOLORA El angel de mi cielo, mi Maria, Que a la primera vuelta de las flores Tres anos cumplira, medrosa un dia 10 Busco refugio en mis abiertos brazos, Y cuando entre caricias y entre abrazos, Que prodigue, con paternal empeno, Hubo al fin disipado sus temores, Trocando asi en sonrisas sus clamores, 15 Cerro los ojos en tranquilo sueno. En silencio quedo la estancia mia; Y sintiendome ansioso De no turbar el infantil reposo De mi bien, en mi pecho reclinado, 20 Inmoviles mis miembros mantenia, Y mi amoroso corazon latia Al ritmo de su aliento sosegado. page 176 Sobre su faz serena, Regadas como limpido rocio En el caliz de palida azucena, Brillaban gotas del reciente lloro, 5 Y las guedejas de oro Del undoso cabello Caian arropando su albo cuello. Asi nos sorprendio mi tierna esposa. Que a la par temerosa 10 De interrumpir mi sueno de ventura, Con paso leve recorrio el estrado Y sin sentirla yo, vino a mi lado. Aquella dulce calma Que reinaba entre mi y en torno mio, 15 Llenome al fin de arrobamiento el alma. Y se quedo mi mente Enajenada en extasis creciente. Absorto siempre en ella, Con intimo lenguaje la decia: 20 "Eres boton de flor embalsamado Con aromas del cielo todavia." Y al verla asi, tan bella, Con placido embeleso A su rosada frente 25 Fuime inclinando para darla un beso; page 177 Pero escuche, de subito, a mi lado, Algo como un sollozo; Y mirando con ojos sorprendidos, Halle los de mi esposa humedecidos 5 Por inefable gozo... "No la despiertes," dijome sencilla, Y me acerco su candida mejilla. DON JOSE MARIA GARAVITO A. VOLVERE MANANA I --iAdios! iadios! Lucero de mis noches, --Dijo un soldado al pie de una ventana,-- 10 iMe voy!... pero no llores, alma mia, Que volvere manana. Ya se asoma la estrella de la aurora, Ya se divisa en el oriente el alba, Y en mi cuartel tambores y cornetas 15 Estan tocando _diana_. II Horas despues, cuando la negra noche Cubrio de luto el campo de batalla, A la luz del vivac palida y triste, Un joven expiraba. 20 Alguna cosa de _ella_ el centinela Al mirarlo morir, dijo en voz baja... page 178 Alzo luego el fusil, bajo los ojos Y se enjugo dos lagrimas. III Hoy cuentan por doquier gentes medrosas, Que cuando asoma en el oriente el alba, 5 Y en el cuartel tambores y cornetas Estan tocando _diana_... Se ve vagar la misteriosa sombra, Que se detiene al pie de una ventana Y murmura: no llores, alma mia, 10 Que volvere manana. page 179 CUBA DON JOSE MARIA HEREDIA EN EL TEOCALLI DE CHOLULA iCuanto es bella la tierra que habitaban Los aztecas valientes! En su seno En una estrecha zona concentrados Con asombro se ven todos los climas 5 Que hay desde el polo al ecuador. Sus llanos Cubren a par de las doradas mieses Las canas deliciosas. El naranjo Y la pina y el platano sonante, Hijos del suelo equinoccial, se mezclan 10 A la frondosa vid, al pino agreste, Y de Minerva al arbol majestuoso. Nieve eternal corona las cabezas De Iztaccihual purisimo, Orizaba 15 Y Popocatepec; sin que el invierno Toque jamas con destructora mano Los campos fertilisimos, do ledo Los mira el indio en purpura ligera Y oro tenirse, reflejando el brillo Del Sol en occidente, que sereno 20 En hielo eterno y perennal verdura page 180 A torrentes vertio su luz dorada, Y vio a naturaleza conmovida Con su dulce calor hervir en vida. Era la tarde: su ligera brisa 5 Las alas en silencio ya plegaba Y entre la hierba y arboles dormia, Mientras el ancho sol su disco hundia Detras de Iztaccihual. La nieve eterna Cual disuelta en mar de oro, semejaba 10 Temblar en torno de el: un arco inmenso Que del empireo en el cenit finaba Como esplendido portico del cielo De luz vestido y centellante gloria, De sus ultimos rayos recibia 15 Los colores riquisimos. Su brillo Desfalleciendo fue: la blanca luna Y de Venus la estrella solitaria En el cielo desierto se veian. iCrepusculo feliz! Hora mas bella 20 Que la alma noche o el brillante dia. iCuanto es dulce tu paz al alma mia! Hallabame sentado en la famosa Choluteca piramide. Tendido El llano inmenso que ante mi yacia, 25 Los ojos a espaciarse convidaba. iQue silencio! ique paz! iOh! ?quien diria Que en estos bellos campos reina alzada La barbara opresion, y que esta tierra page 181 Brota mieses tan ricas, abonada Con sangre de hombres, en que fue inundada Por la supersticion y por la guerra?... Bajo la noche en tanto. De la esfera 5 El leve azul, obscuro y mas obscuro Se fue tornando: la movible sombra De las nubes serenas, que volaban Por el espacio en alas de la brisa, Era visible en el tendido llano. 10 Iztaccihual purisimo volvia Del argentado rayo de la luna El placido fulgor, y en el oriente Bien como puntos de oro centellaban Mil estrellas y mil... iOh! yo os saludo, 15 Fuentes de luz, que de la noche umbria Iluminais el velo, Y sois del firmamento poesia. Al paso que la luna declinaba, Y al ocaso fulgente descendia 20 Con lentitud, la sombra se extendia Del Popocatepec, y semejaba Fantasma colosal. El arco obscuro A mi llego, cubriome, y su grandeza 25 Fue mayor y mayor, hasta que al cabo En sombra universal velo la tierra. Volvi los ojos al volcan sublime, Que velado en vapores transparentes, page 182 Sus inmensos contornos dibujaba De occidente en el cielo. iGigante del Anahuac! ?como el vuelo De las edades rapidas no imprime 5 Alguna huella en tu nevada frente? Corre el tiempo veloz, arrebatando Anos y siglos como el norte fiero Precipita ante si la muchedumbre De las olas del mar. Pueblos y reyes 10 Viste hervir a tus pies, que combatian Cual hora combatimos, y llamaban Eternas sus ciudades, y creian Fatigar a la tierra con su gloria. Fueron: de ellos no resta ni memoria. 15 ?Y tu eterno seras? Tal vez un dia De tus profundas bases desquiciado Caeras; abrumara tu gran ruina Al yermo Anahuac; alzaranse en ella Nuevas generaciones y orgullosas, 20 Que fuiste negaran... Todo perece Por ley universal. Aun este mundo Tan bello y tan brillante que habitamos, Es el cadaver palido y deforme De otro mundo que fue... 25 En tal contemplacion embebecido Sorprendiome el sopor. Un largo sueno, De glorias engolfadas y perdidas page 183 En la profunda noche de los tiempos, Descendio sobre mi. La agreste pompa De los reyes aztecas desplegose 5 A mis ojos atonitos. Veia De emplumados caudillos levantarse El despota salvaje en rico trono, De oro, perlas y plumas recamado; Y al son de caracoles belicosos 10 Ir lentamente caminando al templo La vasta procesion, do la aguardaban Sacerdotes horribles, salpicados Con sangre humana rostros y vestidos. Con profundo estupor el pueblo esclavo 15 Las bajas frentes en el polvo hundia, Y ni mirar a su senor osaba, De cuyos ojos fervidos brotaba La sana del poder. Tales ya fueron Tus monarcas, Anahuac, y su orgullo: 20 Su vil supersticion y tirania En el abismo del no ser se hundieron. Si, que la muerte, universal senora, Hiriendo a par al despota y esclavo, Escribe la igualdad sobre la tumba. 25 Con su manto benefico el olvido Tu insensatez oculta y tus furores A la raza presente y la futura. Esta inmensa estructura page 184 Vio a la supersticion mas inhumana En ella entronizarse. Oyo los gritos De agonizantes victimas, en tanto Que el sacerdote, sin piedad ni espanto, 5 Les arrancaba el corazon sangriento; Miro el vapor espeso de la sangre Subir caliente al ofendido cielo Y tender en el sol funebre velo, Y escucho los horrendos alaridos 10 Con que los sacerdotes sofocaban El grito del dolor. Muda y desierta Ahora te ves, Piramide. iMas vale Que semanas de siglos yazgas yerma, Y la supersticion a quien serviste 15 En el abismo del infierno duerma! A nuestros nietos ultimos, empero, Se leccion saludable; y hoy al hombre Que ciego en su saber futil y vano Al cielo, cual Titan, truena orgulloso, 20 Se ejemplo ignominioso De la demencia y del furor humano. EL NIAGARA Templad mi lira, dadmela, que siento En mi alma estremecida y agitada Arder la inspiracion. iOh! icuanto tiempo 25 En tinieblas paso, sin que mi frente page 185 Brillase con su luz!... Niagara undoso, Tu sublime terror solo podria Tornarme el don divino, que ensanada Me robo del dolor la mano impia. 5 Torrente prodigioso, calma, calla Tu trueno aterrador: disipa un tanto Las tinieblas que en torno te circundan; Dejame contemplar tu faz serena, Y de entusiasmo ardiente mi alma llena. 10 Yo digno soy de contemplarte: siempre Lo comun y mezquino desdenando, Ansie por lo terrifico y sublime. Al despenarse el huracan furioso, Al retumbar sobre mi frente el rayo, 15 Palpitando goce: vi al Oceano, Azotado por austro proceloso, Combatir mi bajel, y ante mis plantas Vortice hirviendo abrir, y ame el peligro. Mas del mar la fiereza 20 En mi alma no produjo La profunda impresion que tu grandeza. Sereno corres, majestuoso; y luego En asperos penascos quebrantado, Te abalanzas violento, arrebatado, 25 Como el destino irresistible y ciego. ?Que voz humana describir podria De la sirte rugiente page 186 La aterradora faz? El alma mia En vago pensamiento se confunde Al mirar esa fervida corriente, Que en vano quiere la turbada vista 5 En su vuelo seguir al borde obscuro Del precipicio altisimo: mil olas, Cual pensamiento rapidas pasando, Chocan, y se enfurecen, Y otras mil y otras mil ya las alcanzan, 10 Y entre espuma y fragor desaparecen. iVed! illegan, saltan! El abismo horrendo Devora los torrentes despenados: Cruzanse en el mil iris, y asordados Vuelven los bosques el fragor tremendo. 15 En las rigidas penas Rompese el agua: vaporosa nube Con elastica fuerza Llena el abismo en torbellino, sube, Gira en torno, y al eter 20 Luminosa piramide levanta, Y por sobre los montes que le cercan Al solitario cazador espanta. Mas ?que en ti busca mi anhelante vista Con inutil afan? ?Por que no miro 25 Al rededor de tu caverna inmensa Las palmas iay! las palmas deliciosas, Que en las llanuras de mi ardiente patria page 187 Nacen del sol a la sonrisa, y crecen, Y al soplo de las brisas del Oceano Bajo un cielo purisimo se mecen? Este recuerdo a mi pesar me viene... 5 Nada ioh Niagara! falta a tu destino, Ni otra corona que el agreste pino A tu terrible majestad conviene. La palma y mirto y delicada rosa Muelle placer inspiren y ocio blando 10 En frivolo jardin: a ti la suerte Guardo mas digno objeto, mas sublime. El alma libre, generosa, fuerte, Viene, te ve, se asombra, El mezquino deleite menosprecia 15 Y aun se siente elevar cuando te nombra. iOmnipotente Dios! En otros climas Vi monstruos execrables, Blasfemando tu nombre sacrosanto, Sembrar error y fanatismo impio, 20 Los campos inundar con sangre y llanto, De hermanos atizar la infanda guerra, Y desolar freneticos la tierra. Vilos, y el pecho se inflamo a su vista En grave indignacion. Por otra parte 25 Vi mentidos filosofos, que osaban Escrutar tus misterios, ultrajarte, Y de impiedad al lamentable abismo page 188 A los miseros hombres arrastraban. Por eso te busco mi debil mente En la sublime soledad: ahora Entera se abre a ti; tu mano siente 5 En esta inmensidad que me circunda, Y tu profunda voz hiere mi seno De este raudal en el eterno trueno. iAsombroso torrente! iComo tu vista el animo enajena 10 Y de terror y admiracion me llena! ?Do tu origen esta? ?Quien fertiliza Por tantos siglos tu inexhausta fuente? ?Que poderosa mano Hace que al recibirte 15 No rebose en la tierra el Oceano? Abrio el Senor su mano omnipotente; Cubrio tu faz de nubes agitadas, Dio su voz a tus aguas despenadas, Y orno con su arco tu terrible frente. 20 iCiego, profundo, infatigable corres, Como el torrente obscuro de los siglos En insondable eternidad!... iAl hombre Huyen asi las ilusiones gratas, Los florecientes dias, 25 Y despierta al dolor!... iAy! agostada Yace mi juventud; mi faz, marchita; page 189 Y la profunda pena que me agita Ruga mi frente de dolor nublada. Nunca tanto senti como este dia Mi soledad y misero abandono 5 Y lamentable desamor... ?Podria En edad borrascosa Sin amor ser feliz? iOh! si una hermosa Mi carino fijase, Y de este abismo al borde turbulento 10 Mi vago pensamiento Y ardiente admiracion acompanase! iComo gozara, viendola cubrirse De leve palidez, y ser mas bella En su dulce terror, y sonreirse 15 Al sostenerla mis amantes brazos... Delirios de virtud... iAy! iDesterrado, Sin patria, sin amores, Solo miro ante mi llanto y dolores! iNiagara poderoso! 20 iAdios! iadios! Dentro de pocos anos Ya devorado habra la tumba fria A tu debil cantor. iDuren mis versos Cual tu gloria inmortal! iPueda piadoso, Viendote algun viajero, 25 Dar un suspiro a la memoria mia! Y al abismarse Febo en occidente, Feliz yo vuele do el Senor me llama, page 190 Y al escuchar los ecos de mi fama, Alce en las nubes la radiosa frente. "PLACIDO" (DON GABRIEL DE LA CONCEPCION VALDES) PLEGARIA A DIOS iSer de inmensa bondad! iDios poderoso! A vos acudo en mi dolor vehemente... 5 Extended vuestro brazo omnipotente; Rasgad de la calumnia el velo odioso; Y arrancad este sello ignominioso Con que el mundo manchar quiere mi frente. iRey de los Reyes! iDios de mis abuelos! 10 iVos solo sois mi defensor! iDios mio!... Todo lo puede quien al mar sombrio Olas y peces dio, luz a los cielos, Fuego al sol, giro al aire, al norte hielos, Vida a las plantas, movimiento al rio. 15 Todo lo podeis vos; todo fenece, O se reanima a vuestra voz sagrada; Fuera de vos, Senor, el todo es nada Que en la insondable eternidad perece; Y aun esa misma nada os obedece, 20 Pues de ella fue la humanidad creada. page 191 Yo no os puedo enganar, Dios de clemencia; Y pues vuestra eternal sabiduria Ve al traves de mi cuerpo el alma mia Cual del aire a la clara transparencia, 5 Estorbad que humillada la inocencia Bata sus palmas la calumnia impia. Estorbadlo, Senor, por la preciosa Sangre vertida, que la culpa sella Del pecado de Adan, o por aquella 10 Madre candida, dulce y amorosa, Cuando envuelta en pesar, mustia y llorosa, Siguio tu muerte como heliaca estrella. Mas si cuadra a tu suma omnipotencia Que yo perezca cual malvado impio, 15 Y que los hombres mi cadaver frio Ultrajen con maligna complacencia... iSuene tu voz, y acabe mi existencia!... iCumplase en mi tu voluntad, Dios mio! DONA GERTRUDIS GOMEZ DE AVELLANEDA A WASHINGTON No en lo pasado a tu virtud modelo, 20 Ni copia al porvenir dara la historia, Ni otra igual en grandeza a tu memoria Difundiran los siglos en su vuelo. page 192 Miro la Europa ensangrentar su suelo Al genio de la guerra y la victoria, Pero le cupo a America la gloria De que al genio del bien le diera el cielo. 5 Que audaz conquistador goce en su ciencia Mientras al mundo en paramo convierte, Y se envanezca cuando a siervos mande; iMas los pueblos sabran en su conciencia Que el que los rige libres solo es fuerte; 10 Que el que los hace grandes solo es grande! AL PARTIR iPerla del mar! iEstrella de Occidente! iHermosa Cuba! Tu brillante cielo La noche cubre con su opaco velo, Como cubre el dolor mi triste frente. 15 iVoy a partir!... La chusma diligente Para arrancarme del nativo suelo Las velas iza, y pronta a su desvelo La brisa acude de tu zona ardiente. iAdios, patria feliz, Eden querido! Doquier que el hado en su furor me impela, 20 Tu dulce nombre halagara mi oido. iAdios!... iya cruje la turgente vela... El ancla se alza... el buque estremecido Las olas corta y silencioso vuela! page 193 ECUADOR DON JOSE JOAQUIN OLMEDO LA VICTORIA DE JUNIN Canto a Bolivar El trueno horrendo, que en fragor revienta Y sordo retumbando se dilata Por la inflamada esfera, Al Dios anuncia que en el cielo impera. 5 Y el rayo que en Junin rompe y ahuyenta La hispana muchedumbre, Que mas feroz que nunca amenazaba A sangre y fuego eterna servidumbre, Y el canto de victoria 10 Que en ecos mil discurre, ensordeciendo El hondo valle y enriscada cumbre, Proclaman a Bolivar en la tierra Arbitro de la paz y de la guerra. Las soberbias piramides que al cielo 15 El arte humano osado levantaba Para hablar a los siglos y naciones, page 194 Templos, do esclavas manos Deificaban en pompa a sus tiranos, Ludibrio son del tiempo, que con su ala Debil las toca, y las derriba al suelo, 5 Despues que en facil juego el fugaz viento Borro sus mentirosas inscripciones; Y bajo los escombros confundido Entre las sombras del eterno olvido iOh de ambicion y de miseria ejemplo! 10 El sacerdote yace, el dios y el templo. Mas los sublimes montes, cuya frente A la region eterea se levanta, Que ven las tempestades a su planta Brillar, rugir, romperse, disiparse; 15 Los Andes... las enormes, estupendas Moles sentadas sobre bases de oro, La tierra con su peso equilibrando, Jamas se moveran. Ellos, burlando De ajena envidia y del protervo tiempo 20 La furia y el poder, seran eternos De Libertad y de Victoria heraldos, Que con eco profundo A la postrera edad diran del mundo: "Nosotros vimos de Junin el campo; 25 Vimos que al desplegarse Del Peru y de Colombia las banderas, Se turban las legiones altaneras, Huye el fiero espanol despavorido, page 195 O pide paz rendido. Vencio Bolivar: el Peru fue libre; Y en triunfal pompa Libertad sagrada En el templo del Sol fue colocada." 5 ?Quien es aquel que el paso lento mueve Sobre el collado que a Junin domina? ?Que el campo desde alli mide, y el sitio Del combatir y del vencer desina? ?Que la hueste contraria observa, cuenta, 10 Y en su mente la rompe y desordena, Y a los mas bravos a morir condena, Cual aguila caudal que se complace Del alto cielo en divisar su presa Que entre el rebano mal segura pace? 15 ?Quien el que ya desciende Pronto y apercibido a la pelea? Prenada en tempestades le rodea Nube tremenda: el brillo de su espada Es el vivo reflejo de la gloria; 20 Su voz un trueno; su mirada un rayo. ?Quien aquel que, al trabarse la batalla, Ufano como nuncio de victoria, Un corcel impetuoso fatigando, Discurre sin cesar por toda parte?... 25 ?Quien, sino el hijo de Colombia y Marte? Sono su voz: "Peruanos, Mirad alli los duros opresores page 196 De vuestra patria. Bravos colombianos, En cien crudas batallas vencedores, Mirad alli los enemigos fieros Que buscando venis desde Orinoco: 5 Suya es la fuerza, y el valor es vuestro, Vuestra sera la gloria; Pues lidiar con valor y por la patria Es el mejor presagio de victoria. Acometed: que siempre 10 De quien se atreve mas el triunfo ha sido: Quien no espera vencer, ya esta vencido." Dice; y al punto, cual fugaces carros Que, dada la senal, parten, y en densos De arena y polvo torbellinos ruedan, 15 Arden los ejes, se estremece el suelo, Estrepito confuso asorda el cielo, Y en medio del afan cada cual teme Que los demas adelantarse puedan; Asi los ordenados escuadrones, 20 Que del iris reflejan los colores O la imagen del sol en sus pendones, Se avanzan a la lid. iOh! iquien temiera, Quien, que su impetu mismo los perdiera! Tal el heroe brillaba 25 Por las primeras filas discurriendo. Se oye su voz, su acero resplandece Do mas la pugna y el peligro crece; page 197 Nada le puede resistir... Y es fama, iOh portento inaudito! Que el bello nombre de Colombia escrito Sobre su frente en torno despedia 5 Rayos de luz tan viva y refulgente, Que deslumbrado el espanol desmaya, Tiembla, pierde la voz, el movimiento: Solo para la fuga tiene aliento. Asi, cuando en la noche algun malvado 10 Va a descargar el brazo levantado, Si de improviso lanza un rayo el cielo, Se pasma, y el punal tremulo suelta; Hielo mortal a su furor sucede; Tiembla y horrorizado retrocede. 15 Ya no hay mas combatir. El enemigo El campo todo y la victoria cede. Huye cual ciervo herido; y a donde huye Alli encuentra la muerte. Los caballos Que fueron su esperanza en la pelea, 20 Heridos, espantados, por el campo O entre las filas vagan, salpicando El suelo en sangre que su crin gotea; Derriban al jinete, lo atropellan, Y las catervas van despavoridas, 25 O unas en otras con terror se estrellan. Crece la confusion, crece el espanto, Y al impulso del aire, que vibrando page 198 Sube en clamores y alaridos lleno, Tremen las cumbres que respeta el trueno. Y discurriendo el vencedor en tanto Por cimas de cadaveres y heridos, 5 Postra al que huye, perdona a los rendidos. iPadre del universo, sol radioso, Dios del Peru, modera omnipotente El ardor de tu carro impetueoso, Y no escondas tu luz indeficiente!... 10 iUna hora mas de luz!... Pero esta hora No fue la del Destino. El dios oia El voto de su pueblo, y de la frente El cerco de diamantes descenia. En fugaz rayo el horizonte dora, 15 En mayor disco menos luz ofrece, Y veloz tras los Andes se obscurece. Tendio su manto lobrego la noche, Y las reliquias del perdido bando, Con sus tristes y atonitos caudillos, 20 Corren sin saber donde espavoridas, Y de su sombra misma se estremecen; Y al fin en las tinieblas ocultando Su afrenta y su pavor, desaparecen. iVictoria por la patria! ioh Dios! iVictoria! 25 iTriunfo a Colombia y a Bolivar gloria! page 199 MEXICO DON JOSE JOAQUIN DE PESADO LA SERENATA iOh, tu, que duermes en casto lecho, De sinsabores ajeno el pecho, Y a los encantos de la hermosura Unes las gracias del corazon, 5 Deja el descanso, doncella pura, Y oye los ecos de mi cancion! ?Quien en la tierra la dicha alcanza? Iba mi vida sin esperanza, Cual nave errante sin ver su estrella, 10 Cuando me inundas en claridad; Y desde entonces, gentil doncella, Me revelaste felicidad. iOh, si las ansias decir pudiera Que siente el alma, desde que viera 15 Ese semblante que amor inspira Y los hechizos de tu candor! Mas, rudo el labio, torpe la lira, Decir no puede lo que es amor. Del Iris puede pintarse el velo; page 200 Del sol los rayos, la luz del cielo; La negra noche, la blanca aurora; Mas no tus gracias ni tu poder, Ni menos puede de quien te adora 5 Decirse el llanto y el padecer. Amor encuentra doquier que vuelva La vista en torno; la verde selva, Florido el prado y el bosque umbrio, La tierna hierba, la hermosa nor, 10 Y la cascada, y el claro rio, Todos me dicen: amor, amor. Cuando te ausentas, el campo triste De luto y sombras luego se viste; Mas si regresas, la primavera 15 Hace sus galas todas lucir: iOh, nunca, nunca de esta ribera, Doncella hermosa, quieras partir! DON FERNANDO CALDERON LA ROSA MARCHITA ?Eres tu, triste rosa, La que ayer difundia 20 Balsamica ambrosia, Y tu altiva cabeza levantando Eras la reina de la selva umbria? page 201 ?Por que tan pronto, dime, Hoy triste y desolada Te encuentras de tus galas despojada? Ayer viento sueave 5 Te halago carinoso; Ayer alegre el ave Su cantico armonioso Ejercitaba, sobre ti posando; Tu, rosa, le inspirabas, 10 Y a cantar sus amores le excitabas. Tal vez el fatigado peregrino, Al pasar junto a ti, quiso cortarte: Tal vez quiso llevarte Algun amante a su ardoroso seno; 15 Pero al ver tu hermosura, La compasion sintieron, Y su atrevida mano detuvieron. Hoy nadie te respeta: El furioso aquilon te ha deshojado. 20 Ya nada te ha quedado iOh reina de las flores! De tu brillo y tus colores. La fiel imagen eres De mi triste fortuna: 25 iAy! todos mis placeres, Todas mis esperanzas una a una Arrancandome ha ido page 202 Un destino funesto, cual tus hojas Arranco el huracan embravecido! ?Y que, ya triste y sola, No habra quien te dirija una mirada? 5 ?Estaras condenada A eterna soledad y amargo lloro? No, que existe un mortal sobre la tierra, Un joven infeliz, desesperado, A quien horrible suerte ha condenado 10 A perpetuo gemir: ven, pues, ioh rosa! Ven a mi amante seno, en el reposa Y ojala de mis besos la pureza Resucitar pudiera tu belleza. Ven, ven, ioh triste rosa! 15 Si es mi suerte a la tuya semejante, Burlemos su porfia; Ven, todas mis caricias seran tuyas, Y tu ultima fragancia sera mia. DON MANUEL ACUNA NOCTURNO A Rosario I iPues bien! yo necesito 20 Decirte que te adoro, Decirte que te quiero page 203 Con todo el corazon; Que es mucho lo que sufro, Que es mucho lo que lloro, Que ya no puedo tanto, 5 Y al grito en que te imploro Te imploro y te hablo en nombre De mi ultima ilusion. II Yo quiero que tu sepas Que ya hace muchos dias 10 Estoy enfermo y palido De tanto no dormir; Que ya se han muerto todas Las esperanzas mias; Que estan mis noches negras, 15 Tan negras y sombrias, Que ya no se ni donde Se alzaba el porvenir. III De noche, cuando pongo Mis sienes en la almohada 20 Y hacia otro mundo quiero Mi espiritu volver, Camino mucho, mucho, Y al fin de la jornada Las formas de mi madre 25 Se pierden en la nada, page 204 Y tu de nuevo vuelves En mi alma a aparecer. IV Comprendo que tus besos Jamas han de ser mios; 5 Comprendo que en tus ojos No me he de ver jamas; Y te amo, y en mis locos Y ardientes desvarios Bendigo tus desdenes, 10 Adoro tus desvios, Y en vez de amarte menos, Te quiero mucho mas. V A veces pienso en darte Mi eterna despedida, 15 Borrarte en mis recuerdos Y hundirte en mi pasion; Mas si es en vano todo Y el alma no te olvida, iQue quieres tu que yo haga, 20 Pedazo de mi vida; Que quieres tu que yo haga Con este corazon! VI Y luego que ya estaba Concluido tu santuario, page 205 Tu lampara encendida, Tu velo en el altar, El sol de la manana Detras del campanario, 5 Chispeando las antorchas, Humeando el incensario, Y abierta alla a lo lejos La puerta del hogar... VII iQue hermoso hubiera sido 10 Vivir bajo aquel techo, Los dos unidos siempre Y amandonos los dos; Tu siempre enamorada, Yo siempre satisfecho, 15 Los dos una sola alma, Los dos un solo pecho, Y en medio de nosotros Mi madre como un Dios! VIII iFigurate que hermosas 20 Las horas de esa vida! iQue dulce y bello el viaje Por una tierra asi! Y yo sonaba en eso, Mi santa prometida. 25 Y al delirar en eso page 206 Con la alma estremecida, Pensaba yo en ser bueno Por ti, no mas por ti. IX Bien sabe Dios que ese era 5 Mi mas hermoso sueno, Mi afan y mi esperanza, Mi dicha y mi placer; iBien sabe Dios que en nada Cifraba yo mi empeno, 10 Sino en amarte mucho Bajo el hogar risueno Que me envolvio en sus besos Cuando me vio nacer! X Esa era mi esperanza... 15 Mas ya que a sus fulgores Se opone el hondo abismo Que existe entre los dos, iAdios por la vez ultima, Amor de mis amores; 20 La luz de mis tinieblas, La esencia de mis flores; Mi lira de poeta, Mi juventud, adios! page 207 DON JUAN DE DIOS PEZA REIR LLORANDO iCuantos hay que, cansados de la vida, Enfermos de pesar, muertos de tedio, Hacen reir como el actor suicida, Sin encontrar, para su mal, remedio! 5 iAy! iCuantas veces al reir se llora! iNadie en lo alegre de la risa fie, Porque en los seres que el dolor devora El alma llora cuando el rostro rie! Si se muere la fe, si huye la calma, 10 Si solo abrojos nuestra planta pisa, Lanza a la faz la tempestad del alma Un relampago triste: la sonrisa. El carnaval del mundo engana tanto, Que las vidas son breves mascaradas; 15 Aqui aprendemos a reir con llanto, Y tambien a llorar con carcajadas. FUSILES Y MUNECAS Juan y Margot, dos angeles hermanos, Que embellecen mi hogar con sus carinos, Se entretienen con juegos tan humanos 20 Que parecen personas desde ninos. page 208 Mientras Juan, de tres anos, es soldado Y monta en una cana endeble y hueca, Besa Margot con labios de granado Los labios de carton de su muneca. 5 Lucen los dos sus inocentes galas, Y alegres suenan en tan dulces lazos: El, que cruza sereno entre las balas; Ella, que arrulla un nino entre sus brazos. 10 Puesto al hombro el fusil de hoja de lata, El kepis de papel sobre la frente, Alienta al nino en su inocencia grata El orgullo viril de ser valiente. Quiza piensa, en sus juegos infantiles, Que en este mundo que su afan recrea, 15 Son como el suyo todos los fusiles Con que la torpe humanidad pelea. Que pesan poco, que sin odios lucen, Que es igual el mas debil al mas fuerte, Y que, si se disparan, no producen 20 Humo, fragor, consternacion y muerte. iOh misteriosa condicion humana! Siempre lo opuesto buscas en la tierra: Ya delira Margot por ser anciana, Y Juan que vive en paz ama la guerra. page 209 Mirandolos jugar, me aflijo y callo; iCual sera sobre el mundo su fortuna? Suena el nino con armas y caballo, La nina con velar junto a la cuna. 5 El uno corre de entusiasmo ciego, La nina arrulla a su muneca inerme, Y mientras grita el uno: Fuego, Fuego, La otra murmura triste: Duerme, Duerme. A mi lado ante juegos tan extranos 10 Concha, la primogenita, me mira: iEs toda una persona de seis anos Que charla, que comenta y que suspira! ?Por que inclina su languida cabeza Mientras deshoja inquieta algunas flores? 15 ?Sera la que ha heredado mi tristeza? ?Sera la que comprende mis dolores? Cuando me rindo del dolor al peso, Cuando la negra duda me avasalla, Se me cuelga del cuello, me da un beso, 20 Se le saltan las lagrimas, y calla. Sueltas sus trenzas claras y sedosas, Y oprimiendo mi mano entre sus manos, Parece que medita en muchas cosas Al mirar como juegan sus hermanos... page 210 iInocencia! iNinez! iDichosos nombres! Amo tus goces, busco tus carinos; iComo han de ser los suenos de los hombres Mas dulces que los suenos de los ninos! page 211 NICARAGUA DON RUBEN DARIO A ROOSEVELT Es con voz de la Biblia o verso de Walt Whitman Que habria que llegar hasta ti, icazador! Primitivo y moderno, sencillo y complicado, Con un algo de Washington y mucho de Nemrod. 5 Eres los Estados Unidos, Eres el futuro invasor De la America ingenua que tiene sangre indigena, Que aun reza a Jesucristo y aun habla en espanol. Eres soberbio y fuerte ejemplar de tu raza; 10 Eres culto, eres habil; te opones a Tolstoy. Y domando caballos o asesinando tigres, Eres un Alejandro Nabucodonosor. (Eres un profesor de Energia Como dicen los locos de hoy.) 15 Crees que la vida es incendio, Que el progreso es erupcion, Que en donde pones la bala El porvenir pones. page 212 No. Los Estados Unidos son potentes y grandes. Cuando ellos se estremecen hay un hondo temblor Que pasa por las vertebras enormes de los Andes. 5 Si clamais, se oye como el rugir de un leon. Ya Hugo a Grant lo dijo: "Las estrellas son vuestras." (Apenas brilla alzandose el argentino sol Y la estrella chilena se levanta...) Sois ricos; Juntais al culto de Hercules el culto de Mamnon; 10 Y alumbrando el camino de la facil conquista,0 La Libertad levanta su antorcha en Nueva York. Mas la America nuestra que tenia poetas Desde los viejos tiempos de Netzhualcoyolt, Que ha guardado las huellas de los pies del gran Baco, 15 Que el alfabeto panico en un tiempo aprendio, Que consulto los astros, que conocio la atlantida Cuyo nombre nos llega resonando en Platon, Que desde los remotos momentos de su vida Vive de luz, de fuego, de perfume y de amor, 20 La America del grande Moctezuma, del Inca, La America fragante de Cristobal Colon, La America catolica, la America espanola, La America en que dijo el noble Guatemoc: "Yo no estoy en un lecho de rosas"; esa America 25 Que tiembla de huracanes y que vive de amor, Hombres de ojos sajones y alma barbara, vive Y suena. Y ama y vibra; y es la hija del Sol. Tened cuidado. iVive la America espanola! page 213 Hay mil cachorros sueltos del leon espanol. Se necesitaria, Roosevelt, ser Dios mismo, El Riflero terrible y el fuerte cazador, Para poder tenernos en vuestras ferreas garras. 5 Y, pues contais con todo, falta una cosa: iDios! page 214 VENEZUELA DON ANDRES BELLO A LA VICTORIA DE BAILEN Rompe el Leon soberbio la cadena Con que atarle penso la felonia, Y sacude con noble bizarria Sobre el robusto cuello la melena. 5 La espuma del furor sus labios llena Y a los rugidos que indignado envia El tigre tiembla en la caverna umbria, Y todo el bosque atonito resuena. 10 El Leon desperto; itemblad, traidores! Lo que vejez creisteis, fue descanso; Las juveniles fuerzas guarda enteras Perseguid, alevosos cazadores, A la timida liebre, al ciervo manso; No insulteis al monarca de las fieras LA AGRICULTURA DE LA ZONA TORRIDA 15 iSalve, fecunda zona, Que al sol enamorado circunscribes page 215 El vago curso, y cuanto ser se anima En cada vario clima, Acariciada de su luz, concibes! Tu tejes al verano su guirnalda 5 De granadas espigas; tu la uva Das a la hirviente cuba: No de purpurea flor, o roja, o gualda, A tus florestas bellas Falta matiz alguno; y bebe en ellas 10 Aromas mil el viento; Y greyes van sin cuento Paciendo tu verdura, desde el llano Que tiene por lindero el horizonte, Hasta el erguido monte, 15 De inaccesible nieve siempre cano. Tu das la cana hermosa, De do la miel se acendra, Por quien desdena el mundo los panales: Tu en urnas de coral cuajas la almendra 20 Que en la espumante jicara rebosa: Bulle carmin viviente en tus nopales, Que afrenta fuera al murice de Tiro; Y de tu anil la tinta generosa Emula es de la lumbre del zafiro; 25 El vino es tuyo, que la herida agave Para los hijos vierte Del Anahuac feliz; y la hoja es tuya Que, cuando de sueave Humo en espiras vagarosas huya, page 216 Solazara el fastidio al ocio inerte. Tu vistes de jazmines El arbusto sabeo, Y el perfume le das que en los festines 5 La fiebre insana templara a Lieo. Para tus hijos la procera palma Su vario feudo cria, Y el ananas sazona su ambrosia: Su blanco pan la yuca, 10 Sus rubias pomas la patata educa, Y el algodon despliega al aura leve Las rosas de oro y el vellon de nieve. Tendida para ti la fresca parcha En enramadas de verdor lozano, 15 Cuelga de sus sarmientos trepadores Nectareos globos y franjadas flores; Y para ti el maiz, jefe altanero De la espigada tribu, hinche su grano; Y para ti el banano 20 Desmaya al peso de su dulce carga; El banano, primero De cuantos concedio bellos presentes Providencia a las gentes Del ecuador feliz con mano larga. 25 No ya de humanas artes obligado El premio rinde opimo: No es a la podadera, no al arado Deudor de su racimo; Escasa industria bastale, cual puede page 217 Hurtar a sus fatigas mano esclava: Crece veloz, y cuando exhausto acaba, Adulta prole en torno le sucede. iOh! iLos que afortunados poseedores 5 Habeis nacido de la tierra hermosa En que resena hacer de sus favores, Como para ganaros y atraeros, Quiso naturaleza bondadosa! Romped el duro encanto 10 Que os tiene entre murallas prisioneros. El vulgo de las artes laborioso, El mercader que, necesario al lujo, Al lujo necesita, Los que anhelando van tras el senuelo 15 Del alto cargo y del honor ruidoso, La grey de aduladores parasita, Gustosos pueblen ese infecto caos; El campo es vuestra herencia: en el gozaos. ?Amais la libertad? El campo habita: 20 No alla donde el magnate Entre armados satelites se mueve, Y de la moda, universal senora, Va la razon al triunfal carro atada, Y a la fortuna la insensata plebe, 25 Y el noble al aura popular adora. ?O la virtud amais? iAh! iQue el retiro, La solitaria calma page 218 En que, juez de si misma, pasa el alma A las acciones muestra, Es de la vida la mejor maestra! ?Buscais durables goces, 5 Felicidad, cuanta es al hombre dada Y a su terreno asiento, en que vecina Esta la risa al llanto, y siempre iah! siempre, Donde halaga la flor, punza la espina? Id a gozar la suerte campesina; 10 La regalada paz, que ni rencores, Al labrador, ni envidias acibaran; La cama que mullida le preparan El contento, el trabajo, el aire puro; Y el sabor de los faciles manjares, 15 Que dispendiosa gula no le aceda; Y el asilo seguro De sus patrios hogares Que a la salud y al regocijo hospeda. El aura respirad de la montana, 20 Que vuelve al cuerpo laso El perdido vigor, que a la enojosa Vejez retarda el paso, Y el rostro a la beldad tine de rosa. ?Es alli menos blanda por ventura 25 De amor la llama, que templo el recato? ?O menos aficiona la hermosura Que de extranjero ornato Y afeites impostores no se cura? ?O el corazon escucha indiferente page 219 El lenguaje inocente Que los afectos sin disfraz expresa Y a la intencion ajusta la promesa? No del espejo al importuno ensayo 5 La risa se compone, el paso, el gesto; No falta alli carmin al rostro honesto Que la modestia y la salud colora, Ni la mirada que lanzo al soslayo Timido amor, la senda al alma ignora. 10 ?Esperareis que forme Mas venturosos lazos himeneo, Do el interes barata, Tirano del deseo, Ajena mano y fe por nombre o plata, 15 Que do conforme gusto, edad conforme, Y eleccion libre, y mutuo ardor los ata? iOh jovenes naciones, que cenida Alzais sobre el atonito Occidente De tempranos laureles la cabeza! 20 Honrad al campo, honrad la simple vida Del labrador y su frugal llaneza. Asi tendran en vos perpetuamente La libertad morada, Y freno la ambicion, y la ley templo. 25 Las gentes a la senda De la inmortalidad, ardua y fragosa, Se animaran, citando vuestro ejemplo. Lo emulara celosa page 220 Vuestra posteridad, y nuevos nombres Anadiendo la fama A los que ahora aclama, "Hijos son estos, hijos 5 (Pregonara a los hombres) De los que vencedores superaron De los Andes la cima: De los que en Boyaca, los que en la arena De Maipo y en Junin, y en la campana 10 Gloriosa de Apurima, Postrar supieron al leon de Espana." DON JUAN A. PEREZ BONALDE VUELTA A LA PATRIA A mi hermana Elodia iTierra! grita en la prora el navegante, Y confusa y distante, Una linea indecisa 15 Entre brumas y ondas se divisa. Poco a poco del seno Destacandose va, del horizonte, Sobre el eter sereno La cumbre azul de un monte; 20 Y asi como el bajel se va acercando, Va extendiendose el cerro Y unas formas extranas va tomando: page 221 Formas que he visto cuando Sonaba con la dicha en mi destierro. Ya la vista columbra Las riberas bordadas de palmares, 5 Y una brisa cargada con la esencia De silvestres violetas y azahares En mi memoria alumbra El recuerdo feliz de mi inocencia, Cuando pobre de anos y pesares 10 Y rico de ilusiones y alegria, Bajo las palmas retozar solia Oyendo el arrullar de las palomas, Bebiendo luz y respirando aromas. Hay algo en esos rayos brilladores 15 Que juegan por la atmosfera azulada, Que me habla de ternuras y de amores De una dicha pasada; Y el viento al suspirar entre las cuerdas Parece que me dice:--?No te acuerdas?... 20 Ese cielo, ese mar, esos cocales, Ese monte que dora El sol de las regiones tropicales... iLuz! iluz al fin! los reconozco ahora; Son ellos, son los mismos de mi infancia, 25 Y esas playas que al sol del mediodia Brillan a la distancia, iOh inefable alegria! Son las riberas de la patria mia. page 222 Ya muerde el fondo de la mar hirviente Del ancla el ferreo diente; Ya se acercan los botes desplegando Al aire puro y blando 5 La ensena tricolor del pueblo mio. iA tierra! ia tierra! iO la emocion me ahoga, O se aduena de mi alma el desvario! Llevado en alas de mi ardiente anhelo, Me lanzo presuroso al barquichuelo 10 Que a las riberas del hogar me invita. Todo es grata armonia: los suspiros De la onda de zafir que el remo agita, De las marinas aves Los caprichosos giros, 15 Y las notas sueaves Y el timbre lisonjero, Y la magia que toma, Hasta en labios del tosco marinero, El dulce son de mi nativo idioma. 20 iVolad, volad veloces, Ondas, aves y voces! Id a la tierra en donde el alma tengo, Y decidle que vengo A reposar, cansado caminante, 25 Del hogar a la sombra un solo instante. Decidle que en mi anhelo, en mi delirio Por llegar a la orilla, el pecho siente page 223 De Tantalo el martirio; Decidle, en fin, que mientra estuve ausente Ni un dia, ni un instante la he olvidado, Y llevadle este beso que os confio, 5 Tributo adelantado Que desde el fondo de mi ser le envio. iBoga, boga remero! iAsi! iLlegamos! iOh, emocion hasta ahora no sentida! Ya piso el santo suelo en que probamos 10 El almibar primero de la vida. Tras ese monte azul, cuya alta cumbre Lanza reto de orgullo Al zafir de los cielos, Esta el pueblo gentil donde al arrullo 15 Del maternal amor rasgue los velos Que me ocultaban la primera lumbre. iEn marcha, en marcha, postillon; agita El latigo inclemente! Y a mas andar el coche diligente 20 Por la orilla del mar se precipita. No hay pena ni ensenada que en mi mente No venga a despertar una memoria; Ni hay ola que en la arena humedecida No escriba con espuma alguna historia 25 De los felices tiempos de mi vida. Todo me habla de suenos y cantares, De paz, de amor y de tranquilos bienes; Y el aura fugitiva de los mares page 224 Que viene, leda, a acariciar mis sienes, Me susurra al oido Con misterioso acento: iBienvenido! DON HERACLIO MARTIN DE LA GUARDIA ULTIMA ILUSION Cayo empunando el invencible acero 5 Que corono de lauros la victoria, Terror de extranos, de su patria gloria, En traidora asechanza el caballero. "--Llevad mi espada al pueblo por quien muero, Y airado el pueblo vengue mi memoria... 10 Este anillo a... mi amor... La negra historia A mi madre callad."--Dijo el guerrero. Sucumbio el heroe... iSacrificio vano! Que al suspiro final de su agonia Besaba el pueblo la traidora mano: 15 iA otro amador la amada sonreia! Solo la madre en su dolor tirano Al guerrero lloraba noche y dia. page 225 CANCIONES [Illustration: Music] La Carcelera Carcelera, Carcelera, Carcelera de mi vida, desatame las cadenas y echame la despedida. page 226 [Illustration: Music] Riverana Ya se murio el burro que acarreaba la vinagre; Ya lo llevo Dios de esta vida miserable. |:Que tu ru ru ru ru Que tu ru ru ru ru.:| El era valiente, el era mohino; El era el alivio de todo Villarino. |:Que tu ru ru ru ru Que tu ru ru ru ru.:| page 227 [Illustration: Music] page 228 [Illustration: Music] page 229 [Illustration: Music] La Cachucha Yo tengo una cachuchita que me la dio un cachuchero, el que quiera cachuchita que se gaste su dinero. Vamonos, china del alma, vamonos a Gibraltar para ver a los moritos que se quieren embarcar! page 230 [Illustration: Music] page 231 [Illustration: music] page 232 [Illustration: Music] La Valenciana. Camino de Valencia, camino de Valencia, camino largo, con las tunas yo me ire, con las buenas volvere, camino largo; a la sombra de un pino, a la sombra de un pino, nina, te aguardo, con las feas yo me ire, con las lindas volvere, inina, te aguardo! page 233 [Illustration: Music] page 234 [Illustration: Music] Cancion Devota A la puerta del Cielo venden zapatos para los angelitos que van descalzos. Maria, adoraros queria y os quiero, adorar el cordero, iclaveles, colorados y verdes, morados, verdes y colorados! page 235 [Illustration: Music] page 236 [Illustration: Music] page 237 [Illustration: Music] La Jota Gallega Tanto baile la jota gallega, iole, ole, ole, ole! tanto baile que me enamore de ella, iole, ole, ole! tanto baile que me enamore, iole, ole, ole, ole! tanto baile que me enamore, iole, ole, ole, ole! tanto baile la jota gallega, iole, ole, ole, ole! tanto baile que me enamore de ella, iole, ole, ole! page 238 [Illustration: Music] page 239 [Illustration: Music] page 240 [Illustration: Music] page 241 [Illustration: Music] El Tragala CANCION A LOS PANCISTAS Tu que no quieres lo que queremos, la ley preciosa do esta el bien nuestro, tragala, tragala, tragala, perro, tragala, tragala, tragala, perro. Tu de la panza misero siervo que la ley odias de tus abuelos, que la ley odias de tus abuelos por que en acibar y lloro han vuelto tus gollerias y regodeos. page 242 [Illustration: Music] page 243 [Illustration: Music] page 244 [Illustration: Music] page 245 [Illustration: Music] page 246 [Illustration: Music] Himno De Riego. Soldados, la Patria nos llama a la lid, juremos por ella vencer o morir. Serenos, alegres, valientes, osados, cantemos, soldados, el himno a la lid, y a nuestros acentos el orbe se admire y en nosotros mire los hijos del Cid, y a nuestros acentos el orbe se admire y en nosotros mire los hijos del Cid. Sol-etc. page 247 [Illustration: Music] page 248 [Illustration: Music] page 249 [Illustration: Music] page 250 [Illustration: Music] Himno Nacional De Mexico JAIME NUNO Mexicanos al grito de guerra El acero aprestad y el bridon, y retiemble en sus centros la tierra al sonoro rugir del canon. Y retiemble en sus centros la tierra al sonoro rugir del canon. Cina ioh patria! tus sienes de oliva De la paz el arcangel divino, Que en el cielo tu eterno destino por el dedo de Dios se escribio. Mas si osare un extrano enemigo profanar con su planta tu suelo piensa ioh patria querida! que el cielo un soldado en cada hijo te dio, un soldado en cada hijo te dio. page 251 [Illustration: Music] page 252 [Illustration: Music] Himno Nacional De Cuba (HIMNO DE BAYAMO) PEDRO FIGUEREDO 1. iAl combate corred Bayameses! Que la patria os contempla orgullosa; No temais una muerte gloriosa, Que morir por la patria es vivir. En cadenas vivir es vivir En oprobio y afrenta sumido. Del clarin escuchad el sonido; A las armas, valientes, corred! 2. No temais al gobierno extranjero Que es cobarde cual todo tirano, No resiste el empuje cubano, Para siempre su imperio cayo. Sea bendita la noche serena En que en alegres campos de Yara El clarin de la guerra sonara Y el cubano ser libre juro. 3. No se nuble jamas esa estrella Que las hijas de Cuba bordaron Y que nobles cubanos alzaron En su libre y feliz pabellon. iGloria y nombre a los hijos de Cuba! iGloria y nombre al valiente Aguilera! iViva! iViva! la alegre bandera Que en los campos de Yara se alzo. page 253 NOTES The heavy figures refer to pages of the text; the light figures to lines. [Transcriber's note: In this text file, the bold characters are represented by the enclosure in a pair of = sign.] _ROMANCES_. The Spanish _romances viejos_, which correspond in form and spirit to the early English and Scotch ballads, exist in great number and variety. Anonymous and widely known among the people, they represent as well as any literary product can the spirit of the Spanish nation of the period, in the main stern and martial, but sometimes tender and plaintive. Most of them were written in the fifteenth and sixteenth centuries; the earliest to which a date can be assigned is _Cercada tiene a Baeza_, which must have been composed soon after 1368. Others may have their roots in older events, but have undergone constant modification since that time. The _romance popular_ is still alive in Spain and many have recently been collected from oral tradition (cf. Menendez y Pelayo, _Antologia_, vol. X). The _romances_ were once thought to be relics of very old lyrico-epic songs which, gathering material in the course of time, became the long epics that are known to have existed in Spain in the twelfth to fourteenth centuries (such as the _Poema del Cid_, and the lost _cantares_ of _Bernardo del Carpio_, the _Infantes de Lara_ and _Fernan Gonzalez_). But modern investigation has shown conclusively that no such age can be ascribed to the _romances_ in their present form, and that in so far as they have any relation with the epic cycles just cited they are rather descendants of them than ancestors,--striking passages remembered by the people and handed down by them in constantly changing form. Many are obviously later in origin; such are the _romances fronterizos_, springing from episodes of the Moorish wars, and the _romances novelescos_, which deal with romantic incidents of daily life. The _romances juglarescos_ are longer poems, mostly concerned with Charlemagne page 254 and his peers, veritable degenerate epics, composed by itinerant minstrels to be sung in streets and taverns to throngs of apprentices and rustics. They have not the spontaneity and vigor which characterize the better _romances viejos_. A few of the _romances_ were printed in the _Cancionero general_ of 1511, and more in loose sheets (_pliegos sueltos_) not much later in date; but the great collections which contain nearly all the best we know were the _Cancionero de romances "sin ano,"_ (shortly before 1550), the _Cancionero de romances_ of 1550 and the _Silva de varios romances_ (3 parts, 1550). The most comprehensive modern collection is that of A. Duran, _Romancero general_, 2 vols., Madrid, 1849-1851 (vols. 10 and 16 of the _Biblioteca de Autores espanoles_). The best selected is the _Primavera y flor de romances_ of Wolf and Hofmann (Berlin, 1856), reprinted in vols. VIII and IX of Menendez y Pelayo's _Antologia de poetas liricos castellanos_. This contains nearly all the oldest and best _romances_, and includes poems from _pliegos sueltos_ and the second part of the _Silva_, which were not known to Duran. Menendez y Pelayo, in his _Apendices a la Primavera y flor (_Antol._ vol. IX) has given still more texts, notably from the third part of the _Silva_, one of the rarest books in the world. The fundamental critical works on the _romances_ are: F. Wolf, _Ueber die Romanzenpoesie der Spanier_ (in _Studien_, Berlin, 1859); Mila y Fontanals, _De la poesia heroico-popular castellana_ (1874); and Menendez y Pelayo, _Tratado de los romances viejos_ (vols. XI and XII of the _Antologia_, Madrid, 1903-1906). The _romances_, as usually printed, are in octosyllabic lines, with a fixed accent on the seventh syllable of each and assonance in alternate lines. Many English translators have tried their hand at Spanish ballads, as Thomas Rodd (1812), J. C. Lockhart (1823), John Bowring (1824), J.Y. Gibson (1887) and others. Lockhart's versions are the best known and the least literal. In the six _romances_ included in this collection the lyrical quality predominates above the narrative page 255 (cf. the many rimes in-_or_ in _Fonte-frida_ and _El prisionero_). _Abenamar_ is properly a frontier ballad, and _La constancia_, perhaps, belongs with the Carolingian cycle; but the rest are detached poems of a romantic nature. (See S.G. Morley's _Spanish Ballads_, New York, 1911.) =1.--Abenamar= is one of a very few _romances_ which are supposed to have their origin in Moorish popular poetry. The Christian king referred to is Juan II, who defeated the Moors at La Higueruela, near Granada, in 1431. It is said that on the morning of the battle he questioned one of his Moorish allies, Yusuf Ibn Alahmar, concerning the conspicuous objects of Granada. The poem was utilized by Chateaubriand for two passages of _Les aventures du dernier Abencerage_. =I. Abenamar= = _Ibn Alahmar_: see above. 9. The verbal forms in-_ara_ and-_iera_ were used then as now as the equivalent of the pluperfect or the preterit indicative. =II. la=: _la verdad_ is probably understood. Cf. p. 2, l. I. =2.--I. diria= = _dire_. In the _romances_ the conditional often replaces the future, usually to fit the assonance. 5. =relucian:= in the old ballads the imperfect indicative is often used to express loosely past time or even present time. 6. =El Alhambra:= in the language of the old ballads _el_, not _la_, is used before a feminine noun with initial-_a_ or _e_-, whether the accent be on the first syllable or not. 25. =viuda= in old Spanish was pronounced _viuda_ and assonated in _i-a_. This expletive =que= is common in Spanish: do not translate. 27. =grande= merely strengthens =bien=. =3.--Fonte-frida= is a poem of erotic character, much admired for its suave melancholy. Probably it is merely an allegorical fragment of a longer poem now lost. It is one of those printed in the _Cancionero general_ of 1511. It was well translated by Bowring. There is also a metrical version in Ticknor, I, III. This theme is found in the _Physiologus_, a medieval bestiary. One of these page 256 animal stories relates that the turtle-dove has but one mate and if this mate dies the dove remains faithful to its memory. Cf. _Mod. Lang. Notes_, June, 1904 (_Turtel-Taube_), and February, 1906. 3. In =avecicas= and =tortolica= the diminutive ending-_ica_ seems to be quite equivalent to-_ito_. Cf. Knapp's _Span. Gram., 760a_. 4. =van tomar= = _van a tomar_. 7. =fuera=: note that _fue_ (or =fuera=) =a pasar= = _paso_. This usage is now archaic, although it is still sometimes used by modern poets: see p. 136, l. 18. 18. =bebia=: see note, p. 2, l. 5. 19. =haber=, in the ballads, often = _tener_. See also =haya= in the following line. =4=.--=El Conde Arnaldos=. Lockhart says of "Count Arnaldos," "I should be inclined to suppose that 'More is meant than meets the ear,' --that some religious allegory is intended to be shadowed forth." Others have thought the same, and the strong mystic strain in Spanish character may bear out the opinion. In order that the reader may judge for himself he should have before him the mysterious song itself, which, omitted in the earliest version, is thus given in the _Cancionero de romances_ of 1550, to follow line 18 of the poem: --Galera, la mi galera, Dios te me guarde de mal, de los peligros del mundo sobre aguas de la mar, de los llanos de Almeria, del estrecho de Gibraltar, y del golfo de Venecia, y de los bancos de Flandes, y del golfo de Leon, donde suelen peligrar. page 257 Popular poems which merely extol the power of music over animals are not uncommon. =I. iQuien hubiese!= _would that one might have_! or _would that I might have_! Note =iquien me diese!= (p. 7, 1. 25), _would that some one would give me_!: this is the older meaning of _quien_ in these expressions. Note also =iQuien supiera escribir!= (p.134), _would that I could write_! where the modern usage occurs. 22. =digasme= = _dime_ This use of the pres. subj. with the force of an imperative is not uncommon in older Spanish. 24.=le fue a dar=: see note, p. 3,1. 7. =5.=--=La constancia=. These few lines, translated by Lockhart as "The Wandering Knight's Song," are only part of a lost ballad which began: A las armas, Moriscote, si las has en voluntad. Six lines of it have recently been recovered (Menendez y Pelayo, _Antologia_, IX, 211). It seems to have dealt with an incursion of the French into Spain, and the lines here given are spoken by the hero Moriscote, when called upon to defend his country. Don Quijote quotes the first two lines of this ballad, Part I, Cap. II. 8. =de me danar= = _de danarme_. 13. =vos= was formerly used in Spanish as _usted_ is now used,--in formal address. =El amante desdichado=. Named by Lockhart "Valladolid." It is one of the few old _romances_ which have kept alive in oral tradition till the present day, and are still repeated by the Spanish peasantry (cf. _Antologia_, X, 132, 192). =7.=--=El prisionero=. Twelve lines of this poem were printed in 1511. It seems to be rather troubadouresque than popular in origin, but it became very well known later. Lockhart's version is called "The Captive Knight and the Blackbird." page 258 16. This line is too short by one syllable, or has archaic hiatus. See _Versification_,(4) a. 19. =las mis manos:= in old Spanish the article was often used before a possessive adjective that preceded its noun. This usage is now archaic or dialectic. 21. =hacia= is here exactly equivalent to =hace= in 1. 23: see note, p. 2, 1. 5. 25. =quien...me diese=: see note, p. 4, 1. I. =8.=--12. =Oidolo habia= = _lo habia oido_. 13. This line is too long by one syllable. 14. Gil Vicente (1470?-1540?), a Portuguese poet who wrote dramas in both Portuguese and Castilian. A strong creative artist and thinker, Vicente is the greatest dramatist of Portugal and one of the great literary figures of the Peninsula. This Cancion to the Madonna occurs in _El auto de la Sibila Casandra_, a religious pastoral drama. Vicente himself wrote music for the song, which was intended to accompany a dance. John Bowring made a very good metrical translation of the song (_Ancient Poetry and Romances of Spain_, 1824, p. 315). Another may be found in Ticknor's _History of Spanish Literature,_ I, 259. 16. =digas tu=: see note, p. 4, I. 22. =el marinero=: omit =el= in translation. In the Spanish of the ballads the article is regularly used with a noun in the vocative. 24. =pastorcico=: see note, p. 3, I. 3. =9.=--Santa Teresa de Jesus (1515-1582), born at Avila; became a Carmelite nun and devoted her life to reforming her Order and founding convents and monasteries. Saint Theresa believed herself inspired of God, and her devotional and mystic writings have a tone of authority. Her chief works in prose are the _Castillo interior_ and the _Camino de perfeccion_. She is one of the greatest of Spanish mystics, and her influence is still potent (cf. Juan Valera, _Pepita Jimenez_; Huysmans, _En route; et al._). Cf. _Bibl. de Aut. Esp._, vols. 53 and page 259 55, for her works. This _Letrilla_ has been translated by Longfellow ("Santa Teresa's Book-Mark," Riverside ed., 1886, VI., 216.) =9.=--Fray Luis Ponce de Leon (1527-1591), born at Belmonte; educated at the University of Salamanca; became an Augustinian monk. While a professor at the same university he was accused by the Inquisition and imprisoned from 1572 to 1576, while his trial proceeded. He was acquitted, and he taught till his death, which occurred just after he had been chosen Vicar-General of his Order. The greatest of the mystic poets, he wrote as well religious works in prose (_Los nombres de Cristo, La perfecta casada_), and in verse translated Virgil, Horace and other classical authors and parts of the Old Testament. In gentleness of character and in the purity in which he wrote his native tongue, he resembles the Frenchman Pascal. His poems are in vol. 37 of the _Bibl. de Aut. Esp._ Cf. Ticknor, Period II, Cap. IX, and _Introduction_, p. xxii. =La vida retirada= is written in imitation of Horace's _Beatus ille_. =9=.--17 to =10=.--3. In these lines there is much poetic inversion of word-order. The logical order would be: _Que_ ('for') _el estado de los soberbios grandes no le enturbia el pecho, ni se admira del dorado techo, en jaspes sustentado, fabricado del sabio moro_. 5. =pregonera=, as its gender indicates, modifies =voz=. =12=.--10. In the sixteenth century great fortunes were made by Spaniards who exploited the mines of their American colonies across the seas. II. Note, this unusual _enjambement_; but the _mente_ of adverbs still has largely the force of a separate word. =Soneto: A Cristo Crucificado=. This famous sonnet has been ascribed to Saint Theresa and to various other writers, but without sufficient proof. Cf. Fouche-Delbosc in _Revue Hispanique_, II, 120-145; and _ibid._, VI, 56-57. The poem was translated by J.Y. Gibson (_The Cid Ballads_, etc., 1887, II, 144), and there is also a version attributed to Dryden. page 260 =13=.--Lope Felix de Vega Carpio (1562-1635) was the most fertile playwright ever known to the world. Alone he created the Spanish drama almost out of nothing. Born at Madrid, where he spent most of his life, Lope was an infant prodigy who fulfilled the promise of his youth. His first play was written at the age of thirteen. He fought against the Portuguese in the expedition of 1583 and took part in the disastrous Armada of 1588. His life was marked by unending literary success, numerous love-affairs and occasional punishments therefor. In 1614 he was ordained priest. For the last twenty years of his life he was the acknowledged dictator of Spanish letters. Lope's writings include some 2000 plays, of which perhaps 500 are extant, epics, pastorals, parodies, short stories and minor poems beyond telling. He undertook to write in every genre attempted by another and seldom scored a complete failure. His _Obras completas_ are being published by the Spanish Academy (1890-); vol. 1 contains his life by Barrera. Most of his non-dramatic poems are in vol. 38 of the _Bibl. de Aut. Esp._; others are in vols. 16 and 35. There is a _Life_ in English by H.A. Rennert (1904). Cf. also _Introduction_, p. xxiv. =Cancion de la Virgen= is a lullaby sung by the Madonna to her sleeping child in a palm grove. The song occurs in Lope's pastoral, _Los pastores de Belen_ (1612). In Ticknor (II, 177), there is a metrical translation of the _Cancion_. The palm has great significance in the Roman Catholic Church. On Palm Sunday,--the last Sunday of Lent,--branches of the palm-tree are blessed and are carried in a solemn procession, in commemoration of the triumphal entry of Jesus into Jerusalem (cf. John, xii). 14. Ticknor translates these lines as follows: Holy angels and blest, Through these palms as you sweep, Hold their branches at rest, For my babe is asleep. page 261 The literal meaning is: _Since you are moving among the palms, holy angels, hold the branches, for my child sleeps_. When the wind blows through the palm-trees their leaves rustle loudly. =14.=--=Manana=: translated by Longfellow (Riverside ed., 1886, VI, 204). =15.=--Francisco Gomez de Quevedo y Villegas (1580-1645), the greatest satirist in Spanish literature, was one of the very few men of his time who dared criticize the powers that were. He was born in the province of Santander and was a precocious student at Alcala. His brilliant mind and his honesty led him to Sicily and Naples, as a high official under the viceroy, and to Venice and elsewhere on private missions; his plain-speaking tongue and ready sword procured him numerous enemies and therefore banishments. He was confined in a dungeon from 1639 to 1643 at the instance of Olivares, at whom some of his sharpest verses were directed. Quevedo was a statesman and lover of his country driven into pessimism by the ineptitude which he saw about him. He wrote hastily on many subjects and lavished a bitter, biting wit on all. His best-known works in prose are the picaresque novel popularly called _El gran tacano_ (1626) and the _Suenos_ (1627). His _Obras completas_ are in course of publication at Seville (1898-); his poems are in vol. 69 of the _Bibl. de Aut. Esp._ Cf. E. Merimee, _Essai sur la vie et les oeuvres de Francisco de Quevedo_ (Paris, 1886), and _Introduction_, p. xxv. For a modern portrayal of one side of Quevedo's character, see Breton de los Herreros, ?_Quien es ella_? =Epistola satirica=: this epistle was addressed to Don Gaspar de Guzman, Conde-Duque de Olivares (d. 1645), the favorite and prime minister of Philip IV. It is a remarkably bold protest, for it was published in 1639 when Olivares was at the height of his power. His disgrace did not occur till 1643. 8. Note the double meaning of =sentir=,--'to feel' and 'to regret.' page 262 9. =libre= modifies =ingenio=. Translate: _its freedom_. 16. =Que es lengua la verdad de Dios severo= = _que la verdad es lengua de Dios severo_. =16.=--=Letrilla Satirica= was published in 1640. 14. Genoa was then, as now, an important seaport and commercial center. As the Spaniards bought many manufactured articles from Genoa, much of their money was "buried" there. =17.=--Esteban Manuel de Villegas (d. 1669) was a lawyer who wrote poetry only in his extreme youth. His _Eroticas o Amatorias_ were published in 1617, and he says himself that they were written at fourteen and polished at twenty. Later the cares of life prevented him from increasing the poetical fame that he gained thus early. He had a reputation for excessive vanity, due partly to the picture of the rising sun which he placed upon the title-page of his poems with the motto _Me surgente, quid istae_? _Istae_ referred to Lope, Quevedo and others. Villegas' poems may be found in vol. 42 of the _Bibl. de Aut. Esp._ Cf. Menendez y Pelayo, _Hist. de los heterodoxos espanoles_, III, 859-875. There is a parody of this well-known =cantilena= by Iglesias in the _Bibl. de Aut. Esp._, vol. 61, p. 477. =18.=--Pedro Calderon de la Barca Henao de la Barreda y Riano (1600-1681) was the greatest representative of the second generation of playwrights in the _Siglo de oro_. He took some part in the nation's foreign wars, but his life was spent mostly without event at court as the favorite dramatist of the aristocracy. He became a priest in 1651 and was made chaplain of honor to Philip IV in 1663. There are extant over two hundred of his dramatic works, _comedias, autos, entremeses_, etc. Calderon constructed his plots more carefully than Lope and was stronger in exalted lyric and religious passages; but he was more mannered, more tainted with Gongorism and less skilled in creating characters. page 263 His _Comedias_ are contained in vols. 7, 9, 12 and 14 of the _Bibl. de Aut. Esp._; a few of his _autos_ are in vol. 58, and some of his poems are in vols. 14 and 35. Cf. also _Poesias ineditas_, Madrid, 1881; Menendez y Pelayo, _Calderon y su teatro_, Madrid, 1884; R.C. Trench, _Calderon_, London, 1880. The sonnet, _Estas que fueron..._, is found in _El principe constante_, II. =20.=--Diego Tadeo Gonzalez (1733-1794) was born at Ciudad-Rodrigo. He entered the order of Augustinians at eighteen, and filled various important offices within the Order during his life. His duties took him to Seville, Salamanca and Madrid. From youth he showed a particular bent for poetry, and Horace and Luis de Leon were his admiration. He was an intimate friend of Jovellanos, who induced him to forsake light subjects and attempt a didactic poem, _Las edades_, which was left unfinished. Fray Diego's modest and lovable character and his friendly relations with other men of letters made him an attractive figure. His poems are in vol. 61 of the _Bibl. de Aut. Esp._ Cf. _Introduction_, p. xxx. II. =Mirta= was a lady with whom the author long corresponded and to whom he addressed many poems. =Delio= (l. 15) was the name by which Fray Diego Gonzalez was known among his literary intimates: Jovellanos was called "Jovino"; Melendez Valdes, "Batilo"; etc. =21=.--4. =recogellos= = _recogerlos_. 12. =a la ave=: a more usual construction would be _al ave_, although the sound wouhd be approximately the same in either case. See also below in line 24, =a la alba=. =22=.--4. =reluciente=, modified by an adverb, here = _reluciendo_. 6. =recio=: a predicate adjective with the force of an adverb. =26.=--Nicolas Fernandez de Moratin (1737-1780) was born in Madrid of a noble Asturian family. He studied for the law and practised it in Madrid, but irregularly, devoting most of his time to literary work. Besides his page 264 poems in the national style (see _Introduction_, p. xxix) he wrote an epic on the burning of the ships of Cortes and several plays in the French manner, of which only one, _Hormesinda_ (1770), ever had a stage production. His works, with his _Life_ written by his son Leandro, are printed in vol. 2 of the _Bibl. de Ant. Esp._ =Fiesta de toros en Madrid=. Baedeker's guide-book to Spain and Portugal says: "Bull-fights were instituted for the encouragement of proficiency in the use of martial weapons and for the celebration of festal occasions, and were a prerogative of the aristocracy down to the sixteenth century. As the mounted _caballero_ encountered the bull, armed only with a lance, accidents were very frequent. No less than ten knights lost their lives at a single _Fiesta de Toros_ in 1512. The present form of the sport, so much less dangerous for the man and so much more cruel for the beast, was adopted about the beginning of the seventeenth century. The construction, in 1749, of the first great _Plaza de Toros_ in Madrid definitely converted the once chivalrous sport into a public spectacle, in which none took part but professional _Toreros_." The padded _picador_ of to-day, astride a blinded, worn-out old hack, is the degenerate successor of the knight of old. In the seventeenth century bull-fights in Madrid were sometimes given in the _Plaza Mayor_ (or _Plaza de la Constitucion_). 6. =Aliatar=: this, like most of the names of persons in this poem, is fictitious; but in form these words are of Arabic origin, and it is probable that Moratin borrowed most of them from the _romances moriscos_. The names of places, it should be noticed, are also Arabic, but the places still retain these names. See =Alimenon=, and all names of places, in the _Vocab._ =28=.--19. =Hecho un lazo por airon=, _tied in a knot [to look] like a crest of plumes_. This was doubtless the forerunner of the modern _banderilla_ (barbed page 265 dart ornamented with streamers of colored paper). =30.=--26-28. =Cual... nube= = _cual la ardiente madeja del sol deja mirarse tal vez entre cenicienta nube_. =31.=--12. =blasones de Castilla=: as at this time (in the reign of Alfonso VI) Leon and Castile were united, the =blasones= were probably two towers (for Castile) and two lions (for Leon), each one occupying a corner of the shield. 14. =Nunca mi espada venciera= apparently means: _Never did he conquer my sword_. This may refer to any adversary, or to some definite adversary in a previous combat. 26. The best bulls raised for bull-fights come from the valley of the Guadalquivir. =32.=--22-26. =Asi... acerquen a..., Como=, _may... bring to..., just as surely as_. =33.=--8. Fernando I: see in _Vocab._ =35.=--28. The stanzas of pages 34 and 35 are probably known to every Spaniard: schoolboys commit them to memory for public recitation. =36.=--15. =dignaredes= = _dignareis_. In modern Spanish the _d_ (from Lat. _t_) of the 2d pers. plur. verb endings has fallen. =38.=--4. =Y... despedir= = _y [si no vieran] a Zaida que le despedia._ 13. =cruz=: the cross of a sword is the guard which, crossing the hilt at right angles, gives the sword the shape of a cross. The cross swords were held in especial veneration by the medieval Christians. Gaspar Melchor de Jovellanos (_or_ Jove-Llanos) (1744-1811) was one of the loftiest characters and most unselfish statesmen ever produced by Spain. Educated for the law, he filled with distinction important judicial offices in Seville and Madrid. In 1780 he was made a member of the Council of Orders. He attached himself to the fortunes of Count Cabarrus, and when that statesman fell from power in 1790, Jovellanos was exiled to page 266 his home in Gijon (Asturias). There he devoted himself to the betterment of his native province. In 1797 the favorite, Godoy, made him _ministro de gracia y justicia_; but he could not be other than an enemy of the corrupt "Prince of the Peace," and in 1798 he was again sent home. In 1801 he was seized and imprisoned in Majorca and was not released till the invasion of Spain by the French in 1808. He refused flattering offers of office under the French, and was the most active member of the _Junta Central_ which organized the Spanish cortes. Unjustly criticized for his labors he retired home, whence he was driven by a sudden incursion of the French. He died a few days after in an inn at Vega (Asturias). Jovellanos' best literary work is really his political prose, such as the _Informe sobre un proyecto de ley agraria_ (1787) and _Defensa de la junta central_ (1810). His _Delincuente honrado_ (1773), a _comedie larmoyante_ after the manner of Diderot's _Fils naturel_, had wide success on the stage. His works are in vols. 46 and 50 of the _Bibl. de Aut. Esp._ Cf. E. Merimee, _Jovellanos_, in the _Revue hispanique_, I, pp. 34-68. =?Quis tam patiens ut teneat se?= _who is so long-suffering as to control himself?_ 21. =prision=: see mention above of Jovellanos' imprisonment in Majorca. =39.=--2. It is scarcely accurate to call Juvenal a =bufon=, since he was rather a scornful, austere satirist of indignation. =40.=--26. =cuanto de= is an unusual expression; but if the line read: _iAy, cuanta amargura y cuanto lloro_, it would lack one syllable. =41.=--4-6. =cuesta... infanta=. Evidently the world has changed little in a hundred years! =42.=--Juan Melendez Valdes (1754-1817) was born in the district of Badajoz (Estremadura). He studied law at Salamanca, where he was guided in letters by Cadalso. In 1780 he won a prize offered by the Academy for page 267 the best eclogue. He then accepted a professorship at Salamanca offered him by Jovellanos. Literary success led him to petition a position under the government which, involving as it did loss of independence, proved fatal to his character. He filled honorably important judicial posts in Saragossa and Valladolid, but court intrigue and the caprices of Godoy brought him many trials and undeserved punishments. In 1808 he accepted a position under the French, and nearly lost his life from popular indignation. Later his vacillations were pitiful: he wrote spirited poems now for the French and now against them. When they were finally expelled in 1813, he left the country with them and died in poverty and sorrow in Montpellier. Most of his poems are in vol. 63 of the _Bibl. de Aut. Esp._; others have been published in the _Revue hispanique_, vols. I. and IV. Cf. his Life by Quintana in _Bibl. de Aut. Esp._, vol. 19; E. Merimee, _Melendez Valdes_, in _Revue hispanique_, I, 166-195; _Introduction_, p. xxx. =44.=--5. =Muy mas=: this use of _muy_ is not uncommon in the older classics, but the usual expression now is _mucho mas_. 28. =benigna=: see note, p. 22, l. 6. =46.=--Manuel Jose Quintana (1772-1857) was born in Madrid. He went to school in Cordova and later studied law at Salamanca. He fled from Madrid upon the coming of the French. In the reign of Ferdinand VII he was for a time confined in the Bastile of Pamplona on account of his liberal ideas. After the liberal triumph of 1834 he held various public offices, including that of Director General of Public Instruction. In 1855 he was publicly crowned in the Palace of the Senate. See _Introduction_, p. xxxii; Ticknor, III, 332-334; Blanco Garcia, _La literatura espanola en el siglo XIX_, 2d ed., Madrid, 1899, I, 1-13; Menendez y Pelayo, _D. Manuel Jose Quintana_, _La poesia lirica al page 268 principiar el siglo XIX_, Madrid, 1887; E. Pineyro, _M.-J. Quintana_, Chartres, 1892; Juan Valera, _Florilegio de poesias castellanas_, Madrid, 1903, V, 32-38. His works are in vols. 19 and 67 of _Bibl. de Aut. Esp._ The Spanish people, goaded by the subservience of Charles IV and his prime minister and favorite, Godoy, to the French, rose in March, 1808, swept away Godoy, forced the king to abdicate and placed his son Ferdinand upon the throne. It was believed that this change of rulers would check French influence in the Peninsula, but Ferdinand was forced by Napoleon into a position more servile than that occupied formerly by Charles. 2. Note the free word-order in Spanish which permits, as in this line, the subject to follow the verb, the object to precede. 14. =Oceano=: note the omission of the accent on _e_, that the word may rime with =soberano= and =vano=; but here =oceano= still has four syllables. =47.=--28. =tirano del mundo= = Napoleon Bonaparte. =48.=--24. By =los colosos de oprobio y de vergueenza= are probably meant Charles IV and Godoy. =49.=--29. =hijo de Jimena=: see _Jimena_ and _Bernardo del Carpio_, in _Vocab._ =50.=--2. =En... y=, _with a... and in_. =51.=--Dionisio Solis y Villanueva (1774-1834) was born in Cordova: he never rose higher in life than to be prompter in a theater. He fought against the French, and he was exiled for a time by Ferdinand VII. Solis wrote some plays and translated many from other languages into Spanish. The best that can be said of Solis as a poet is that his work is spontaneous and in parts pleasing. Cf. Blanco Garcia, I, 50 and 61-63; Valera, _Florilegio_, V, 44-46. =53.=--18-19. =Esta... enfermedad= = _esta dulce deliciosa enfermedad que yo siento_. page 269 25. si puede (here meaning _if it is possible_) is understood before =que trate=. =54.=--Juan Nicasio Gallego (1777-1853) was born at Zamora. He was ordained a priest: later he went to court, and was appointed Director of His Majesty's Pages. He frequented the salon of his friend Quintana, and was elected deputy from Cadiz. In 1814, during the reign of Ferdinand VII, Gallego was imprisoned for his liberal ideas and later was banished from Spain. He spent some years in France and returned to Spain in 1828. Later he was appointed Perpetual Secretary of the Spanish Academy. See _Introduction_, p. xxxii; Blanco Garcia, I, 13 f.; Valera, _Florilegio_, V, 38-44. His poems are in vol. 67 of the _Bibl. de Aut. Esp._ There is also an edition of his poems by the Academia de la Lengua, Madrid, 1854. =El Dos de Mayo=: on the second of May, 1808, the Spanish people, unarmed and without strong leaders, rose against Napoleon's veteran troops. Aided by the English, they drove out the French after a long and bloody war, thus proving to the world that the old Spanish spirit of independence was still alive. This war is known to the Spaniards as the _Guerra de la independencia_ and to the English as the Peninsular War. The popular uprising began with the seizure of a powder magazine in Madrid by Velarde and Daoiz (see in _Vocab._). These men and their followers were killed and the magazine was retaken by the French, but the incident roused the Spanish people to action. 9. al furor, _in the glare_. =55.=--4. =Mantua=: a poetic appellation of Madrid. Cf. article by Prof. Milton A. Buchanan in _Romanic Review_, 1910, p. 211 f. See also p. xxxiii, _Introduction_ to this volume. 11-12. =?Quien habra... que cuente=, _who may there be to tell..._ =58.=--26 to =59.=--3. Note how the poet refers to the various parts of the Spanish peninsula: =hijos de Pelayo= = the Spaniards in general, or perhaps those page 270 of northernmost Spain; =Moncayo= = Aragon, Navarre and Castile; =Turia= = Valencia; =Duero= = Old Castile, Leon and Portugal; and =Guadalquivir= = Andalusia. See =Pelayo= and =Moncayo= and these names of rivers in _Vocab._ 5. =Patron= = Santiago, or St. James, the patron saint of Spain. According to the legend James "the Greater," son of Zebedee, preached in Spain, and after his death his body was taken there and buried at Santiago de Campostela. It was believed that he often appeared in the battle-fields fighting with the Spaniards against the Moslems. 14-15. =a... brindo felicidad=, _drank in fire and blood a toast to her prosperity_. =60.=--Francisco Martinez de la Rosa (1787-1862) was born at Granada. During the War of Independence he was sent to England to plead for the support of that country against the French. Later he was exiled by Ferdinand VII, and was for five years a prisoner of state in a Spanish prison on the African coast. After his release he became prominent in politics, and was forced to flee to France. In 1834 he was called into power by the queen regent, Maria Cristina. He represented his country at Paris, and later at Rome, and held several important posts as cabinet minister. See _Introduction_, p. xxxvi; Menendez y Pelayo, _Estudios de critica literaria_, Madrid, 1884, pp. 223, f.; Blanco Garcia, I, 115-128; Juan Valera, _Florilegio_, V, 56-63. His _Obras completas_, 2 vols., ed. Baudry, were published at Paris in 1845. Several of his articles of literary criticism are in vols. 5, 7, 20 and 61 of the _Bibl. de Aut. Esp._ 3. =riyendo= = _riendo_. =61.=--Angel de Saavedra, Duque de Rivas (1791-1865) was born at Cordova. He prepared for a military career. By reason of his liberal ideas he was compelled to leave Spain and went to England, France and the Island of Malta. He returned to Spain in 1834 and became a cabinet page 271 minister, but was again forced to flee the country. Later he was welcomed back and represented Spain at Naples. He retired from politics and was appointed Director of the Spanish Academy. See _Introduction_, p. xxxvi; Blanco Garcia, I, 129-153; Juan Valera, _Florilegio_, V, 184-195. His _Obras completas_, in 5 vols., were published by the Spanish Academy, Madrid, 1854-1855, with introductory essays by Pastor Diaz and Canete. His works were also published in the _Coleccion de Escritores castellanos_, 1894-. 4. =De... pro= = _en pro de mi sangre y casa_. =62.=--3. =a la que=: translate, _before which_. 10. =duque de Borbon= is the subject of =estaba=, l. 3. 18. =Emperador= = Charles V. =64.=--8. =Condestable= = Velasco, Constable of Spain, who in 1521 defeated the _comuneros_ who had rebelled against the rule of Charles V. =65.=--22. =Y con los que=, _with whom_. 23. =estrecho= stands in antithesis to =ancho=: _for his glory the broad world will be narrow_. =66.=--18-19. =Y... leonesa= = _y un coleto a la leonesa de recamado ante_. =68.=--20-21. =Que... resuelta= = _que es voluntad suya resuelta (el) que aloje a Borbon_. =69.=--22. =de un su pariente= is archaic. The regular expression to-day would be _de un pariente suyo_. =71.=--Juan Arolas (1805-1849) was born in Barcelona, but spent most of his life in Valencia. In 1821, when sixteen years old, Arolas, much against the wishes of his parents, joined a monastic order. Arolas wrote in all the literary genres of his time, but he distinguished himself most as a poet by his romantic "oriental" and love poems. Cf. _El P. Arolas, su vida y sus versos_, Madrid, 1898, by Jose R. Lomba y Pedraja; Blanco Garcia, I, 186-189; Juan Valera, _Florilegio_, V, 121-130. A new edition page 272 of Arolas' verses was published at Valencia in 1883. =73.=--Jose de Espronceda (1808-1842), Spain's greatest romantic poet, was born in Almendralejo (Badajoz). At the Colegio de San Mateo Espronceda was considered a precocious but wayward pupil. His poetic gifts won for him the lasting friendship of his teacher, Alberto Lista. At an early age he became a member of a radical secret society, Los Numantinos. Sent into exile to a monastery in Guadalajara, he there composed the fragmentary heroic poem _Pelayo_. After his release he went to Lisbon and then to London. Enamored of Teresa, though another's wife, he fled with her to Paris, where he took an active part in the revolution of 1830. Espronceda returned to Spain in 1833, and engaged in journalism and politics. Worn out by his tempestuous life, he died at the early age of thirty-four years. See _Introduction_, p. xxxvii; E. Rodriguez Solis, _Espronceda, su tiempo, su vida y sus obras_, Madrid, 1883; Blanco Garcia, I, 154-171; Juan Valera, _Florilegio_, V, 197-207; Antonio Corton, _Espronceda_, Madrid, 1906; Philip H. Churchman, _Espronceda's Blanca de Borbon, Revue hisp._, 1907; and _Byron and Espronceda, ibid._, 1909. For his poems, see _Obras poeticas_, in the _Biblioteca amena e instructiva_, Barcelona, 1882; _Obras poeticas y escritos en prosa, coleccion ordenada por D. Patricio de la Escosura_, Madrid, 1884. =79.=--Jose de Zorrilla (1817-1893) was born in Valladolid. After receiving his secondary education in the Jesuit Semanario de Nobles he began the study of law; but he soon turned to the more congenial pursuit of belles-lettres. In 1855 he went to Mexico where he resided eleven years. Though a most productive writer, Zorrilla spent most of his life in penury until, in his old age, he received from the government an annual pension of 30,000 reales. He became a member of the Spanish Academy in 1885, and four years later he was "crowned" in Granada. page 273 Zorrilla died in Madrid in his seventy-sixth year. See _Introduction_, p. xxxvii; an autobiography, _Recuerdos del tiempo viejo_, 3 vols.; Fernandez Florez, _D. Jose Zorrilla_, in _Autores dramaticos contemporaneos_, 1881, vol. I; Blanco Garcia, I, 197-216; Juan Valera, _Florilegio_, V, 258-270. For his works, see _Poesias_, 8 vols., Madrid, 1838-1840; _Obras_, edition Baudry, 3 vols., Paris, 1852; _Poesias escogidas_, published by the Academia de la lengua, Madrid, 1894; _Obras dramaticas y liricas_, Madrid, 1895. =85.=--10. =Fantasmas= = _como fantasmas_. =86.=--=A Buen Juez Mejor Testigo=, _A Good Judge, But a Better Witness_. In Berceo's _Milagros de Nuestra Senora_ there is a similar legend of a crucifix summoned as witness. =91.=--4-5. =Como... bane=: this passage is obscure, but the meaning seems to be, _as a pledge that the river should so zealously bathe it_. 18. =la hermosa=, according to tradition, was Florinda, daughter of Count Julian. Roderick (Roderico or Rodrigo), the last king of the Goths in Spain, saw Florinda bathing in the Tagus, conceived a passion for her and dishonored her. In revenge Julian is said to have brought the Saracens into Spain. 27. =puerta=: this may refer to the Puerta Visagra Antigua, an ancient Arabic gate of the ninth century, now closed. =92.=--12. =Las... horadarle= = _al horadarle las palmas (al rey)_. According to tradition Alfonso, who became afterward King Alfonso VI of Leon and Castile, when a refugee at the court of Alimenon, the Moorish king of Toledo, overheard the Moorish sovereign and his advisers talking about the defences of the city. The Moors said that the Christians, by a siege, could probably starve Toledo into submission. Upon perceiving Alfonso near at hand apparently asleep, the Moors, to prove whether he was really asleep or not, poured molten lead into page 274 his hand, and he had sufficient will power to remain motionless while the lead burned a hole through it. Mariana (_Historia de Espana, Libro IX, Cap. VIII_) relates this story, but rejects it and says that the real cause of Alfonso's nickname ("_el rey de la mano horadada_") was his extreme generosity. 13. =circo romano=: to the east of the _Hospital de San Juan Bautista_ of Toledo lies the suburb of Covachuelas, the houses of which conceal the ruins of a Roman amphitheater. 15. =Basilica=: in the lower _Vega_, to the northwest of Toledo, is the hermitage of _El Cristo de la Vega_, formerly known as the _Basilica de Santa Leocadia_, which dated from the fourth century. This edifice was the meeting-place of several Church councils. The ancient building was destroyed by the Moors and has been repeatedly rebuilt. =95.=--21. =el templo=: the _Ermita del Cristo de la Vega_. See preceding note. 27. =Viase= = _veiase_: _via_, for _veia_, is not uncommon in poetry. =105.=--3-5. =Gritan... valor= = _los que en el mercado venden, gritan en discorde son_ =lo vendido y el valor= (= _what they have for sale and its price_). =107.=--13-14. =y... honor= = _y dispensad que (yo) dudara de vuestro honor acusado_. =108.=--10. See note, p. 92, l. 15. =112.=--16. =cada un ano= = _cada ano_. Antonio de Trueba (1821-1889) was born at Montellano (Viscaya). At the age of fifteen or sixteen years he removed to Madrid and engaged in commerce. In 1862 he was appointed Archivist and Chronicler of the Senorio de Vizcaya, which post he held for ten years. Trueba, best known as a writer of short stories, published two volumes of mediocre verses which achieved considerable popularity during the author's lifetime, but are now nearly forgotten. Cf. _Notas autobiograficas_ in _La Ilustracion Espanola y page 275 Americana_, Enero 30, 1889; Blanco Garcia, II, 26-28 and 301-308; Juan Valera, _Florilegio_, V, 307-311. For his verses, see _El libro de los cantares_ (1851) and _El libro de las montanas_ (1867). =113.=--14. =Cantos=: note the double meaning of _canto_. =114.=--Jose Selgas y Carrasco (1821-1882) was born in Murcia. A writer on the staff of the satirical and humorous journal, _El Padre Cobos_, Selgas won the attention of the public by his ironical and reactionary articles and was elevated to an important political office by Martinez Campos. He is the author of two volumes of verses, _La Primavera_ (1850) and _El estio_. See _Introduction_, p. xxxix; and Blanco Garcia, II, 19-23 and 244-250. For Selgas' verses, see his _Poesias_, Madrid, 1882-1883. =117.=--Pedro Antonio de Alarcon (1833-1891) was born in Guadix. He studied law, served as a volunteer in an African war and became a writer on the staff of several revolutionary journals. His writings, which at first were sentimental or radical, became more subdued in tone and more conservative with his advancing years. In 1877 he was elected to membership in the Spanish Academy. Primarily a journalist and novelist, Alarcon published a volume of humorous and descriptive verses, some of which have merit. Cf. Blanco Garcia, II, 62-63 and 452-467; and articles in the _Nuevo Teatro Critico_ (Sept., Oct. and Nov., 1891). For his verses, see _Poesias serias y humoristicas_, 3d ed., Madrid, 1885. =121.=--Gustavo Adolfo Becquer (1836-1870) was born in Seville, and became an orphan in his tenth year. When eighteen years of age he went penniless to Madrid, where he earned a precarious living by writing for journals and by doing literary hack-work. See _Introduction_, p. xxxix; Blanco Garcia, II, 79-86 and 274-277. For his works, see his _Obras_, 5th ed., page 276 Madrid, 1898 (with a _Prologo_ by Correa: the _Rimas_ are in vol. III). =122.=--12-13. =Del salon... olvidada= = _en el angulo obscuro del salon, tal vez olvidada de su dueno_. Becquer, in his striving after complicated metrical arrangements, often inverts the word-order in his verse. See also _Introduction, Versification_, p. lxxii. 19. =arrancarlas=: =las= refers to =Cuanta nota=, which seems to have here the force of a plural. 24. See _Introduction, Versification_, p. lxv. =124.=--14. =intervalo=: the standard form is _intervalo_. =126.=--12. =El nicho a un extremo=: the meaning is, _one end of the recess_, in which the coffin will be placed. The graveyards of Spain and Spanish America have lofty walls with niches or recesses large enough to contain coffins. After receiving the coffin, the niche is sealed with a slab that bears the epitaph of the deceased. =128.=--The Valencian Vicente W. Querol (1836-1889) gave most of his time to commerce, but he occasionally wrote verses that had the merit of correctness of language and strong feeling. Cf. Blanco Garcia, II, 376-378. For his verses, see _Rimas_ (_Prologo_ by Pedro A. de Alarcon), 1877; _La fiesta de Venus_, in the _Almanaque de la Ilustracion_, 1878. 7. =O en el que= = _o en el dia en que_: the reference is to the anniversaries of the wedding day and the saints' days of the parents. =129.=--19. =las que... son=, _what is..._ =131.=--15-16. =la que... agonia= = _la lenta agonia que sufristeis..._ =133.=--Ramon de Campoamor y Campoosorio (1817-1901) was born in Navia (Asturias). He studied medicine but soon turned to poetry and politics. A pronounced conservative, he won favor with the government and received appointment page 277 to several important offices including that of governor of Alicante and Valencia. Cf. _Introduction_, p. xli; Juan Valera, _Obras poeticas de Campoamor_, in _Estudios criticos sobre literatura_, Seville, 1884; Peseux-Richard, in the _Revue hispanique_, I, 236 f.; Blanco Garcia, II, Cap. V. For his works, see _Doloras y cantares_, 16th ed., Madrid, 1882; _Los pequenos poemas_, Madrid, 1882-1883; _Poetica_, 1883; _El drama universal_, 3d ed., Madrid, 1873; _El licenciado Torralba_, Madrid, 1888; _Obras escogidas_, Leipzig, 1885-1886; _Obras completas_, 8 vols., Madrid, 1901-03. =135.=--3. =se va y se viene y se esta=: note the use of =se= in the sense of _people_, or an indefinite _we_. 5. =Y... procura= = _y si tu afecto no procura volver_. =136.=--18. See note, p. 3, l. 7. =137.=--Valladolid was the birthplace of Gaspar Nunez de Arce (1834-1903). When a child, he removed with his family to Toledo. At the age of nineteen years he entered upon a journalistic career in Madrid. As a member of the Progresista party, Nunez de Arce was appointed Civil Governor of Barcelona, and afterward he became a cabinet minister. Cf. _Introduction_, p. xlii; Menendez y Pelayo's essay in _Estudios de critica literaria_, 1884; Juan Valera's essay on the _Gritos del combate, Revista europea_, 1875, no. 60; Blanco Garcia, Cap. XVIII; Jose del Castillo, _Nunez de Arce, Apuntes para su biografia_, Madrid, 1904. For his works, see _Gritos del combate_, 8th ed., 1891; _Obras dramaticas_, Madrid, 1879. Most of his longer poems are in separate pamphlets, published by M. Murillo and Fernando Fe, Madrid, 1895-1904. =137.=--=Tristezas= shows unmistakably the influence of the French poet Alfred de Musset, and especially perhaps of his _Rolla_ and _Confession d'un enfant du siecle_. =138.=--16 f. Compare with the author's _La duda_ and _Miserere_, and Becquer's _La ajorca de oro_. page 278 =142.=--1-3. The poet seems to compare the nineteenth century, amidst the flames of furnaces and engines, to the fallen archangel in hell. 16. =mistica=, that is, of communion with God, heavenly. =144.=--=iSursum Corda!=: the lines given are merely the introduction to the poem, and form about one fourth of the entire work. They were written soon after the Spanish-American War. See _Sursum Corda!_, Madrid, 1904; and also Juan Valera's _Florilegio_, IV, 413 f. 8. The plains of Old Castile may well be called "austere." =145.=--10-16. Cf. _A Espana_ (1860) and _A Castelar_ (1873). =147.=--11-19. There are few stronger lines than these in all Spanish poetry. =148.=--Manuel del Palacio (1832-1895) was born in Lerida. His parents removed to Granada, and there he joined a club of young men known as La Cuerda. Going to Madrid, he devoted himself to journalism and politics, first as a radical and later as a conservative. Cf. Blanco Garcia, II, 40. For his works, see his _Obras_, Madrid, 1884; _Veladas de otono_, 1884; _Huelgas diplomaticas_, 1887. 5. =el ave placentera=: a well-known Spanish-American poet calls this a mere _ripio_ (stop-gap), and says it may mean one bird as well as another. The Catalan Joaquin Maria Bartrina (born at Reus in 1850) published in 1876 a volume of pessimistic and iconoclastic verses, entitled _Algo_. After his death (1880) his works were published under the title of _Obras en prosa y verso, escogidas y coleccionadas por J. Sarda_, Barcelona, 1881. Cf. Blanco Garcia, II, 349-350. =148.=--15-19. These lines give expression to the pessimism that has obtained in Spain for two centuries past. =149.=--14. The reference is, of course, to the paintings, of which there are many, of "The Last Supper" of Jesus. Manuel Reina (1860-) was born in Puente Genil. Like page 279 Bartrina, Reina is an imitator of Nunez de Arce, in that he sings of the degeneracy of mankind. He undertook, with but little success, to revive the eleven-syllable _romance_ of the neo-classic Spanish tragedy of the eighteenth century. Cf. Blanco Garcia, II, 354-355. For his verses, see _Andantes y allegros_ and _Cromos y acuarelas, cantos de nuestra epoca, con un prologo de D. Jose Fernandez Bremon_. The Valencian Teodoro Llorente (b. 1836) is best known for his translations of the works of modern poets. He is also the author of verses (_Amorosas_, _Versos de la juventud_, _et al._). =151=.--=Argentina.= The development of letters was slower in Argentina than in Mexico, Peru and Colombia, since Argentina was colonized and settled later than the others. During the colonial period there was little literary production in the territory now known as Argentina. Only one work of this period deserves mention. This is _Argentina y conquista del rio de la Plata_, etc. (Lisbon, 1602), by Martin del Barco Centenera, a long work in poor verses and of little historical value. During the first decade of the nineteenth century there was an outpouring of lyric verses in celebration of the defeat of the English by the Spaniards at Buenos Aires, but to all of these Gallego's ode _A la defensa de Buenos Aires_ is infinitely superior. During the revolutionary period the best-known writers, all of whom may be roughly classified as neo-classicists, were: Vicente Lopez Planes (1784-1856), author of the Argentine national hymn; Esteban Luca (1786-1824); Juan C. Lafinur (1797-1824); Juan Antonio Miralla (d. 1825); and, lastly, the most eminent poet of this period, Juan Cruz Varela (1794-1839), author of the dramas _Dido_ and _Argia_, and of the ode _Triunfo de Ituzaingo_ (_Poesias_, Buenos Aires, 1879). The first Argentine poet of marked ability, and one of the greatest that his country has produced, was the romanticist (who introduced romanticism into Argentina directly from France), Esteban Echeverria page 280 (1805-1851), author of _Los Consuelos_ (1834), _Rimas_ (1837) and _La cautiva_. The latter poem is distinctively "American," as it is full of local color. Juan Valera, in his letter to Rafael Obligado (_Cartas americanas, primera serie_), says truly that Echeverria "marks the point of departure of the Argentine national literature." (_Obras completas_, 5 vols., Buenos Aires, 1870-74). Other poets of the early period of independence are: the literary critic, Juan Maria Gutierrez (1809-1878), one-time rector of the University of Buenos Aires and editor of an anthology, _America poetica_ (Valparaiso, 1846); Dr. Claudio Mamerto Cuenca (1812-1866; cf. _Obras poeticas escogidas_, Paris, 1889); and Jose Marmol (1818-1871), author of _El peregrino_ and of the best of Argentine novels, _Amalia_ (_Obras poeticas y dramaticas, coleccionadas por Jose Domingo Cortes_, 3d ed., Paris, 1905). In parenthesis be it said that Argentina also claims as her own the poet Ventura de la Vega (1807-1865), who was born in Buenos Aires, as Mexico claims Juan Ruiz de Alarcon, and as Gertrudis Gomez de Avellaneda is claimed by Cuba. As in Spain Ferdinand VII had driven into exile most of the prominent writers of his period, so the despotic president, Juan Manuel Rosas (1793-1877: fell from power in 1852), drove from Argentina many men of letters, including Varela, Echeverria and Marmol. Down to the middle of the nineteenth century it may be said that the Spanish-American writers followed closely the literary movements of the mother country. Everywhere across the sea there were imitators of Melendez Valdes and Cienfuegos, of Quintana, of Espronceda and Zorrilla. During the early years of romanticism some Spanish-American poets,--notably the Argentine Echeverria,--turned for inspiration directly to the French writers of the period; but, in the main, the Spanish influence was predominant. The Spanish-American page 281 verses, for the most part, showed insufficient preparation and were marred by many inaccuracies of diction; but here and there a group of writers appeared,--as in Colombia,--who rivaled in artistic excellence the poets of Spain. In the second half of the nineteenth century the Spanish-American writers became more independent in thought and speech. It is true that many imitated the mysticism of Becquer or the pessimism of Nunez de Arce, but many more turned for inspiration to native subjects or to the literary works of other lands than Spain, and particularly of France and Italy. The extreme in local color was reached in the "_literatura gauchesca_," which consists of collections of popular or semi-popular ballads in the dialect of the _gauchos_, or cowboys and "ranchers," of the Pampas. The best of these collections,--_Martin Fierro_ (1872), by Jose Fernandez,--is more artistic than popular. This long poem, which in its language reminds the English reader of Lowell's _Biglow Papers_, is the best-known and the most widely read work by an Argentine author. The greatest Argentine poets of the second half of the century have been Andrade and Obligado. Olegario Victor Andrade (1838-1882), the author of _Prometeo_ and _Atlantida_, is generally recognized as one of the foremost modern poets of Spanish America, and probably the greatest poet that Argentina has as yet given to the world. In art, Andrade was a disciple of Victor Hugo; in philosophy, he was a believer in modern progress and freedom of thought; but above all else was his loyal patriotism to Argentina. Andrade's verses have inspiration and enthusiasm, but they are too didactic and they are marred by occasional incorrectness of speech. _Atlantida_, a hymn to the future of the Latin race in America, is the poet's last and noblest work (_Obras_, Buenos Aires, 1887). It is said of Rafael Obligado (1852-) that he is more page 282 elegant and correct than Andrade, but his muse has less inspiration. He has, moreover, the distinction of showing almost no French influence, which is rare to-day among Spanish-American writers. Juan Valera regrets Obligado's excessive "Americanism," and laments the fact that the poet uses many words of local origin that he, Valera, does not understand. The poet's better works are, for the most part, descriptions of the beauties of nature or the legendary tales of his native land (_Poesias_, Buenos Aires, 1885). Among recent poets, two have especially distinguished themselves. Leopoldo Diaz (1868-) began as a disciple of Heredia, and has become a pronounced Hellenist, now a rare phenomenon in Spanish America. Besides many sonnets imbued with classicism, he has written odes to the _conquistadores_ and to _Atlantida conquistada_. Like Dario, Blanco-Fombona and many other Spanish-American poets of to-day, Diaz resides in Europe; but, unlike the others, he lives in Morges instead of Paris (_Sonetos_, Buenos Aires, 1888; _Bajo-relieves_, Buenos Aires, 1895; _et al._). A complete "_modernista_" (he would probably scorn the title of "decadent") is Leopoldo Lugones (1875?-), whose earlier verses are steeped in an erotic sensualism rare in the works of Spanish-American poets. He seeks to be original and writes verses on every conceivable theme and in all kinds of metrical arrangements. Thus, in _Lunario sentimental_ there are verses, essays and dramatic sketches, all addressed to the moon. For an example of his _versos libres_, see _Introduction_ to this volume, p. xlvi (_Las montanas de oro, Los crepusculos del jardin_; _Lunario sentimental_, Buenos Aires, 1909; _Odas seculares_, Buenos Aires, 1910). For studies of Argentine literature, see Blanco Garcia, _Hist. Lit. Esp._, III, pp. 380 f.; Menendez y Pelayo, _Ant. Poetas Hisp.-Am._, IV, pp. lxxxix f.; Juan Valera, _Poesia argentina_, in _Cartas americanas, primera serie_, Madrid, 1889, pp. 51-119; _Literatura argentina_, page 283 Buenos Aires, 1903; _Poetas argentinos_, Buenos Aires, 1904; _Antologia argentina_, B.T. Martinez, Buenos Aires, 1890-91; _Compendio de literatura argentina_, E. Alonso Criado, Buenos Aires, 1908; _Miscelanea_, by Santiago Estrada; _La lira argentina_, Buenos Aires, 1824. Other important works, treating of Spanish-American literature, are: _Biblioteca hispano-americana_ (1493-1810), Jose Toribio Medina, 6 vols., Santiago de Chile, 1898-1902; _Bibliography of Spanish-American Literature_, Alfred Coester, _Romanic Review_, III, 1; _Escritores hispano-americanos_, Manuel Canete, Madrid, 1884; _Escritores y poetas sud-americanos_, Francisco Sosa, Mex., 1890; _Juicio critico de poetas hispano-americanos_, M.L. Amunategui, Santiago de Chile, 1861; _La joven literatura hispano-americana_, Manuel Ugarte, Paris, 1906. Echeverria: see preceding note. =Cancion de Elvira.= This Gutierrez calls the "song of the American Ophelia." =152.=--Andrade: see note to p. 151. 18. =A celebrar las bodas=, _to be the bride_. =153.=--3. The Argentines, especially, seem to take delight in calling themselves a Latin, rather than a Spanish, race. This may be due to the fact that fully one third of the population of Argentine is Italian. Both Juan Valera and Menendez y Pelayo have chided the Argentines for speaking of themselves as a _raza latino-americana_, instead of _hispano-americana_. 15. =arcano=, _secret_, seems to have the force here of a _secret ark_, or _secret sanctuary_, which is broken open that its secrets may be disclosed. =154.=--6-10. These lines refer, of course, to the Christian religion, spoken of symbolically as an _altar_, which has replaced the heterogeneous pagan cults of ancient Rome, and which the Spaniards first brought to America. page 284 11. =ciclopeas=: note the omission of the accent on _o_ that the word may rime with =ideas=. =155.=--5. =Tequendama=: see in the _Vocab_. Several Colombian poets, including Don Jose Joaquin Ortiz and Dona Agripina Montes del Valle, have written odes to this famous waterfall. See Menendez y Pelayo, _Ant. Poetas Hisp.-Am._, II; and _Parnaso colombiano_, II, Bogota, 1887. 17-18. A revolutionary hero, Antonio Ricaurte (b. 1786), blew up the Spanish powder magazine on the summit of a hill near San Mateo, and lost his life in the explosion. See =Mateo= in _Vocab_. =156.=--5. The colors of the Peruvian flag are red and white, mainly red. The red,--symbolical of bloodshed,--shall be largely replaced by the golden color of ripening grain,--symbolical of industry. 8. Caracas, where Bolivar was born, lies at the foot of Mount Avila. 11. This line, and line 16, would indicate that =Atlantida= was written soon after the war, begun in 1876, between Chile and the allied forces of Bolivia and Peru, in which Chile was victorious. 12-15. When this was written there was little immediate prospect of other railways than the narrow-gage road from Oruro to the Chilean frontier, about five hundred miles in length; but now Bolivia has the promise of becoming the railway center of lines connecting both Argentina and Chile with Peru. These lines are now completed or building. 27. Andrade died in 1882, and seven years after his death, in 1889, the emperor Dom Pedro II was deposed, and a republican form of government was adopted by Brazil. =157.=--3. Andrade now sings of his own country, hence =iDe pie para cantarla!= 8. There is a larger immigration of Europeans into Argentina than into any other South-American country. The page 285 immigrants come mostly from northern Italy and from Spain. 12-16. As the =Atlantida= was the last poetic work of Andrade, these lines may refer to the treaty of 1881 between Argentina and Chile, by which Argentina acquired all the territory east of the Andes, including Patagonia and the eastern part of Tierra del Fuego. By the conquest and settlement of the broad plains (_pampas_) and the frozen region of the south, a new world was created, much as in the United States of America a new world was created by the acquirement and settlement of the western plains, mountain lands and Pacific coast. 21. Vast areas in Argentina are given over to the cultivation of wheat, barley and oats. =159.=--These are the last stanzas of =Prometeo=, a poem in which the author addresses the human mind and urges it to break its bonds and free itself from tyranny and prejudice: see also in _Vocab_. =160.=--Obligado: see note to p. 151. =162.=--=Colombia.= Colombia was formerly known as Nueva Granada, and its inhabitants are still sometimes called _Granadinos_. An older and larger Colombia was organized in 1819, toward the close of the revolutionary war; but this state was later divided into three independent countries, viz., Venezuela, Nueva Granada and Ecuador. In 1861 Nueva Granada assumed the name of Estados Unidos de Colombia, and only recently the Colombian part of the Isthmus of Panama established itself as an independent republic. The present Colombia has, therefore, only about one third the area of the older state of the same name. In treating of literature, the terms Colombia and Colombian are restricted to the present-day Colombia and the older Nueva Granada. The capital of the Republic is Santa Fe de Bogota, to-day generally known simply as Bogota. It is at an elevation of 8700 feet above the level of the page 286 sea, and has a cool and equable climate. It is generally conceded that the literary production of Colombia has excelled that of any other Spanish-American country. Menendez y Pelayo (_Ant. Poetas Hisp.-Am._, III, _Introd._) speaks of Bogota as the "Athens of South America," and says further: "the Colombian Parnassus to-day excels in quality, if not in quantity, that of any other region of the New World." And Juan Valera in his _Cartas americanas (primera serie_, p. 121 f.) says: "Of all the people of South America the Bogotanos are the most devoted to letters, sciences and arts"; and again: "In spite of the extraordinary ease with which verses are made in Colombia, and although Colombia is a democratic republic, her poetry is aristocratic, cultivated and ornate." Blanco Garcia characterizes Colombia as one of the most Spanish of American countries. During the colonial period, however, Nueva Granada produced few literary works. Gonzalo Jimenez de Quesada, the _conquistador_ of New Granada, wrote memoirs, entitled _Ratos de Suesca_ (1573?), of little historical value. The most important work of the period is the chronicles in verse of Juan de Castellanos (b. 1522? in the Spanish province of Seville). This work is largely epic in character; and, with its 150,000 lines, it is the longest poem in the Spanish language. Though for the most part prosaic and inexact, yet it has some passages of high poetic worth, and it throws much light on the lives of the early colonists. The first three parts of the poem, under the title of _Elegias de varones ilustres de Indias_ (the first part only was published in 1589), occupies all of vol. IV of the _Bibl. de Aut. Esp._ The fourth part is contained in two volumes of the _Coleccion de Escritores Castellanos_, under the title of _Historia del Nuevo Reino de Granada_. In the seventeenth century the colonists were still too busy with the conquest and settlement of the country to spare time for the cultivation of letters. A long page 287 epic poem, the _Poema heroico de San Ignacio de Loyola_, with much Gongorism and little merit, was published at Madrid in 1696, after the death of the author, the Colombian Hernando Dominguez Camargo. A few short lyrics by the same author also appeared in the _Ramillete de varias flores poeticas_ (Madrid, 1676) of Jacinto Evia of Ecuador. Early in the eighteenth century Sor Francisca Josefa de la Concepcion, "Madre Castillo" (d. 1742), wrote an account of her life and her _Sentimientos espirituales_, in which there is much of the mysticism of Saint Theresa. About 1738 the printing-press was brought to Bogota by the Jesuits, and after this date there was an important intellectual awakening. Many colleges and universities had already been founded,--the first in 1554. The distinguished Spanish botanist Jose Celestino Mutis, in 1762, took the chair of mathematics and astronomy in the Colegio del Rosario, and under him were trained many scientists, including Francisco Jose de Caldas. An astronomical observatory was established, the first in America. In 1777 a public library was organized, and a theater in 1794. And of great influence was the visit of Humboldt in 1801. Among the works published in the second half of the eighteenth century mention should be made of the _Lamentaciones de Puben_ by the canon Jose Maria Grueso (1779-1835) and _El placer publico de Santa Fe_ (Bogota, 1804) by Jose Maria Salazar (1785-1828). During the revolutionary period two poets stand preeminent. Dr. Jose Fernandez Madrid (d. 1830) was a physician and statesman, and for a short time president of the Republic. His lyrics are largely the expression of admiration for Bolivar and of hatred toward Spain: his verses are usually sonorous and correct (_Poesias_, Havana, 1822; London, 1828). The "Chenier" of Colombia was Luis Vargas Tejada (1802-1829), the author of patriotic verses, some of which were directed against page 288 Bolivar, and of neo-classic tragedies. He died by drowning at the age of twenty-seven (_Poesias_, Bogota, 1855). The four most noted poets of Colombia are J.E. Caro, Arboleda, Ortiz and Gutierrez Gonzalez. A forceful lyric poet was Jose Eusebio Caro (1817-1853), a philosopher and statesman, a man of moral greatness and a devout Christian. In the bloody political struggles of his day he sacrificed his estate and his life to his conception of right. He sang of God, love, liberty and nature with exaltation; but all his writings evince long meditation. Like many Spanish-American poets of his day Caro was influenced by Byron. In his earlier verses he had imitated the style of Quintana (cf. _El cipres_); but later, under the influence of romantic poets, he attempted to introduce into Spanish prosody new metrical forms. Probably as a result of reading English poetry, he wrote verses of 8 and 11 syllables with regular alternation of stressed and unstressed syllables, which is rare in Spanish. So fond did he become of lines with regular binary movement throughout that he recast several of his earlier verses (_Obras escogidas_, Bogota, 1873; _Poesias_, Madrid, 1885). Julio Arboleda (1817-1861), "Don Julio," was one of the most polished and inspired poets of Colombia. He was an intimate friend of Caro and like him a journalist and politician. He was a good representative of the chivalrous and aristocratic type of Colombian writers of the first half of the nineteenth century. His best work is the narrative poem _Gonzalo de Oyon_ which, though incomplete, is the noblest epic poem that a native Spanish-American poet has yet given to the world. After studying in Europe he engaged in journalism and politics. He took part in several civil wars. A candidate for the presidency of the Republic, he was assassinated before election (_Poesias, coleccion formada sobre los manuscritos originales, con prologo por M.A. Caro_, New York, 1883). The educator and journalist Jose Joaquin Ortiz (1814-1892) page 289 imitated Quintana in form but not in ideas. Though a defender of neo-classicism, he did not entirely reject romanticism. Ortiz was an ultra-catholic, sincere and ascetic. His verses are impetuous and grandiloquent, but often lacking depth of thought (_Poesias_, Bogota, 1880). The poet Gregorio Gutierrez Gonzalez, "Antioco" (1820-1872), was a jurist and politician. He began as an imitator of Espronceda and Zorrilla and is the author of several sentimental poems (_A Julia_, _?Por que no canto?_ _Una lagrima_, _et al._) that are the delight of Colombian young ladies. His fame will doubtless depend on the rustic Georgic poem, _Memoria sobre el cultivo del maiz en Antioquia_. This work is an interesting and remarkably poetic description of the homely life and labors of the Antioquian country folk (_Poesias_, Bogota, 1881; Paris, 1908). The minor poets of this generation are legion. Among these are: Manuel Maria Madiedo (b. 1815), a sociologist; German Gutierrez de Pineres (1816-1872), author of melancholy verses; Jose Maria Rojas Garrido (1824-1883), a noted orator, one-time president of Colombia; Joaquin Pablo Posada (1825-1880), perhaps the most clever versifier of Spanish America, but whose _decimas_ were mostly written in quest of money; Ricardo Carrasquilla (b. 1827), an educator and author of genial verses; Jose Manuel Marroquin (b. 1827), a poet and author of articles on customs and a foremost humorist of South America (he was president when Colombia lost Panama); Jose Maria Samper (b. 1828), a most voluminous writer; Rafael Nunez (1825-1897), a philosopher and skeptic, and one-time president of the Republic; Santiago Perez (1830-1900), educator, journalist and one-time president; Jose Maria Vergara y Vergara (1831-1872), a Catholic poet and author of a volume of sentimental verses (_Libro de los cantares_); Rafael Pombo (1833-1912), an eminent classical scholar and literary critic, and "perpetual secretary" of the Colombian Academy; Diego Fallon (b. 1834), page 290 son of an English father, and author of several highly finished and beautiful poems; Pinzon Rico (b. 1834), author of popular, romantic songs; Cesar Conto (b. 1836), a jurist and educator; Jorge Isaacs (1837-1895), better known as author of the novel _Maria_; and Felipe Perez (b. 1834). In the second half of the nineteenth century, the most eminent man of letters in Colombia has been Miguel Antonio Caro (1843-1909), a son of J.E. Caro. A neo-Catholic and "traditionalist," a learned literary critic and a poet, the younger Caro, like Bello before him and like his distinguished contemporary Rufino Jose Cuervo, has worked for purity of diction and classical ideals in literature. Caro is also the translator of several classic works, including one of Virgil which is recognized as the best in Spanish. Other poets of the closing years of the century are: Diogenes Arrieta (b. 1848), a journalist and educator; Ignacio Gutierrez Ponce (1850), a physician; Antonio Gomez Restrepo (b. 1856), a lawyer and politician; Jose Maria Garavito A. (b. 1860); Jose Rivas Groot (b. 1864), an educator and literary critic, and editor of _La lira nueva_; Joaquin Gonzalez Camargo (b. 1865), a physician; Agripina Montes del Valle (b. about the middle of the nineteenth century) noted for her ode to the Tequendama waterfall, and Justo Pastor Rios (1870-), a philosophic poet and liberal journalist. The "modernista" poet Jose Asuncion Silva (1860-1896) was a sweet singer, but he brought no message. He was fond of odd forms, such as lines of 8+8, 8+8+8 and 8+8+4 syllables (_Poesias, con Prologo de Miguelde Unamuno_, Barcelona, 1908). References: Cf.: Menendez y Pelayo, _Ant. Poetas Hisp.-Amer._, III, p. 1 f.; Blanco Garcia, III, 332 f.; Juan Valera, _Cartas Am., primera serie_, p. 121 f.; _Historia de la literatura (1538-1820) en Nueva Granada_, Jose Maria Vergara y Vergara, Bogota, 1867; _Apuntes sobre bibliografia colombiana, con page 291 muestras escogidas en prosa y verso_, Isidoro Laverde Amaya, Bogota, 1882; _Parnaso colombiano_, J.M. Vergara y Vergara, 3 vols.; _La lira granadina_, J.M. Vergara y Vergara, Bogota, 1865; _Parnaso colombiano_, Julio Anez, _con Prologo de Jose Rivas Groot_, 2 vols., Bogota, 1886-87; _La lira nueva_, J.M. Rivas Groot, Bogota, 1886; _Antologia colombiana,_ Emiliano Isaza, Paris, 1895. Ortiz: see preceding note. =Colombia y Espana=: In this poem, dated July 20, 1882, the poet begins by recalling the war of independence that he witnessed as a boy and the heroic figure of Bolivar; then he laments the fratricidal struggles that rent the older and larger Colombia; and, finally, in the verses that are here given, he rejoices over the friendly treaty just made by the mother country, Spain, and Colombia, her daughter. 8. The colors of the Colombian flag are yellow, blue and red. 9. The colors of the Spanish flag are red and yellow. On the Spanish arms two castles (for _Castilla_) and two lions (for _Leon_) are pictured. =164.=--J.E. Caro: see note to p. 162. =167.=--Marroquin: see note to p. 162. =Los cazadores y la perrilla=: compare with Goldsmith's "Elegy on the Death of a Mad Dog." =168.=--7. =Moratin=: see note to p. 26. _La caza_ is in _Bibl. de Aut. Esp._, II, 49 f. =169.=--16. =describilla=, archaic or poetic for _describirla_. =171.=--M.A. Caro: see note to p. 162. =174.=--14-16. =sombria... alcanzaran= = _(siendo la Eternidad) sombria y eterna, ni el odio ni el amor, ni la fe ni la duda, alcanzaran nada en sus abismos_. =179.=--=Cuba.= Although the literary output of Cuba is greater than that of some other Spanish-American countries, yet during the colonial period there was in Cuba a dearth of both prose and verse. The Colegio Semanario de San Carlos y San Ambrosio was page 292 founded in 1689 as a theological seminary and was reorganized with lay instruction in 1769. The University of Havana was established by a papal bull in 1721 and received royal sanction in 1728; but for many years it gave instruction only in theological subjects. The first book printed in Cuba dates from 1720. Not till the second half of the eighteenth century did poets of merit appear in the island. Manuel de Zequeira y Arango (1760-1846) wrote chiefly heroic odes (_Poesias_, N.Y., 1829; Havana, 1852). Inferior to Zequeira was Manuel Justo de Rubalcava (1769-1805), the author of bucolic poems and sonnets (_Poesias_, Santiago de Cuba, 1848). The Cuban poet Don Jose Maria Heredia (1803-1839) is better known in Europe and in the United States than Bello and Olmedo, since his poems are universal in their appeal. He is especially well known in the United States, where he lived in exile for over two years (1823-1825), at first in Boston and later in New York, and wrote his famous ode to Niagara. Born in Cuba, he studied in Santo Domingo and in Caracas (1812-1817), as well as in his native island. Accused of conspiracy against the Spanish government, he fled to the United States in 1823, and there eked out a precarious existence by giving private lessons. In 1825 he went to Mexico, where he was well received and where he held several important posts, including those of member of Congress and judge of the superior court. In Heredia's biography two facts should be stressed: that he studied for five years in Caracas, the city that produced Bolivar and Bello, respectively the greatest general and the greatest scholar of Spanish America; and that he spent only twelve years, all told, in Cuba. As he lived for fourteen years in Mexico, that country also claims him as her own, while Caracas points to him with pride as another child of her older educational system. Heredia was most unhappy in the United States. He admired page 293 the political institutions of this country; but he disliked the climate of New York, and he despaired of learning English. Unlike Bello and Olmedo he was not a classical scholar. His acquaintance with the Latin poets was limited, and seldom does a Virgilian or Horatian expression occur in his verses. Rather did he stand for the manner of Chateaubriand in France and Cienfuegos in Spain. Though strictly speaking not a romantic poet, he was a close precursor of that movement. His language is not seldom incorrect or lacking in sobriety and restraint; but his numbers are musical and his thought springs directly from imaginative exaltation. Heredia's poorest verses are doubtless his early love-songs: his best are those in which the contemplation of nature leads the poet to meditation on human existence, as in _Niagara_, _El Teocalli de Cholula_, _En una tempestad_ and _Al sol_. In these poems the predominant note is that of gentle melancholy. In Cuba his best known verses are the two patriotic hymns: _A Emilia_ and _El himno del desterrado_. These were written before the poet was disillusioned by his later experiences in the turbulent Mexico of the second and third decades of the nineteenth century, and they are so virulent in their expression of hatred of Spain that Menendez y Pelayo refused to include them in his _Anthology_. Heredia undertook to write several plays, but without success. Some translations of dramatic works, however, were well received, and especially those of Ducis' _Abufar_, Chenier's _Tibere_, Jouy's _Sila_, Voltaire's _Mahomet_ and Alfieri's _Saul_. The Garnier edition (Paris, 1893) of Heredia's _Poesias_ contains an interesting introduction by the critic Elias Zerolo (_Poesias_, N.Y., 1825; Toluca, 1832; N.Y., 1875; Paris, 1893). The mulatto poet Gabriel de la Concepcion Valdes, better known by his pen-name "Placido" (1809-1844), an uncultivated comb-maker, wrote verses which were mostly commonplace and often incorrect; but some evince remarkable sublimity and dignity (cf. _Plegaria page 294 a Dios_). Cf. _Poesias_, Matanzas, 1838; Matanzas, 1842; Veracruz, 1845; Paris, 1857; Havana, 1886. The greatest Cuban poetess, and perhaps the most eminent poetess who has written in the Castilian language, is Gertrudis Gomez de Avellaneda y Arteaga (1814-1873). Since Avellaneda spent most of her life in Spain, an account of her life and work is given in the _Introduction_ to this volume, p. xxxviii. Next only to Heredia, the most popular Cuban poet is Jose Jacinto Milanes y Fuentes (1814-1863), who gave in simple verse vivid descriptions of local landscapes and customs. A resigned and touching sadness characterizes his best verse (_Obras_, 4 vols., Havana, 1846; N.Y., 1865). A lawyer, educator and patriot, Rafael Maria Mendive y Daumy (1821-1886) wrote musical verse in which there is spontaneity and true poetic feeling (_Pasionarias_, Havana, 1847; _Poesias_, Madrid, 1860; Havana, 1883). Joaquin Lorenzo Luaces (1826-1867) was more learned than most Cuban poets and fond of philosophizing. Some of his verse has force and gives evidence of careful study; but much is too pedantic to be popular (_Poesias_, Havana, 1857). A poet of sorrow, Juan Clemente Zenea,--"Adolfo de la Azucena" (1832-1871),--wrote verses that are marked by tender melancholy (_Poesias_, Havana, 1855; N.Y., 1872, 1874). Heredia was not the only Cuban poet to suffer persecution. Of the seven leading Cuban poets, often spoken of as "the Cuban Pleiad," Avellaneda removed to Spain, where she married and spent her life in tranquillity; and Joaquin Luaces avoided trouble by living in retirement and veiling his patriotic songs with mythological names. On the other hand Jose Jacinto Milanes lost his reason at the early age of thirty years, Jose Maria Heredia and Rafael Mendive fled the country and lived in exile; while Gabriel Valdes and Juan Clemente Zenea were shot by order of the governor-general. Since the disappearance of the "Pleiad," the most popular page 295 Cuban poets have been Julian del Casal, a skeptic and a Parnassian poet who wrote pleasing but empty verses (_Hojas al viento_, _Nieve_, _Bustos y Rimas_); and Francisco Sellen, whose philosophy is to conceal suffering and to put one's hand to the plow again (_Libro intimo_, Havana, 1865; _Poesias_, N.Y., 1890). Jose Marti (1853-1895) spent most of his life in exile; but he returned to Cuba and died in battle against the Spanish forces. He wrote excellent prose, but few verses (_Flor y lava_, Paris, 1910(?)). References: Menendez y Pelayo, _Ant. Poetas Hisp.-Am._, II, p. 1 f.; Blanco Garcia, III, p. 290 f.; E.C. Hills, _Bardos cubanos_ (contains a bibliography), Boston, 1901; Aurelio Mitjans, _Estudio sobre el movimiento cientifico y literario en Cuba_, Havana, 1890; Bachiller y Morales, _Apuntes para la historia de las letras y de la instruccion publica de la Isla de Cuba_, Havana, 1859; _La poesia lirica en Cuba_, M. Gonzalez del Valle, Barcelona, 1900; _Cuba poetica_, Havana, 1858; _Parnaso cubano_, Havana, 1881. Heredia: see preceding note. 5. This is quite true. On the coast of central and southern Mexico the climate is tropical; on the central plateau it is temperate; and on the mountain slopes, as at the foot of Popocatepetl, it is frigid. 13-14. =Iztaccihual= and =Popocatepec= are the popular names of these mountains, but their official names are _Iztaccihuatel_ and _Popocatepetel_. These words are of Nahuatlan origin: see in _Vocab_. 16--18. =do... tenirse= = _donde el indio ledo los mira tenirse en purpura ligera y oro_. =181=.--3. This poem was written in the fourth decade of the nineteenth century, when Mexico was torn by civil war. There was peace only when some military leader assumed despotic power. 21. Note that the moon set behind =Popocatepec=, a little to the south of west from Cholula, while the sun sank behind =Iztaccihual=, a little to the north of page 296 west from the city. This might well occur in summer. =182.=--14. =Fueron= (lit. _they were_), _they are no more_. In this Latinism the preterit denotes that a thing or condition that once existed no longer exists. Cf. _fuit Ilium_ (_AEneid_, II, 325), "Troy is no more." =186.=--4-5. =Que... seguir= = _que, en su vuelo, la turbada vista quiere en vano seguir_. =190.=--"Placido": see note to p. 179. =Plegaria a Dios=: this beautiful prayer was written a few days before the poet's death. It is said that "Placido" recited aloud the last stanza on his way to the place of execution, and that he slipped to a friend in the crowd a scrap of cloth on which the prayer was written. =191.=--4. =del... transparencia= = _a_ (in) _la clara transparencia del aire_. Avellaneda: see _Introduction_, p. xxxviii. 19. =No... modelo= = _(la historia) no [dio] modelo a tu virtud en lo pasado_. 21. =otra= = _otra copia_. =192.=--1-2. =Miro... victoria= = _la Europa miro al genio de la guerra y la victoria ensangrentar su suelo_. The =genio= was Napoleon Bonaparte. 4. =Al... cielo= = _el cielo le diera al genio del bien_. Note that =le= is dative and =al genio= accusative. This otherwise admirable sonnet is marred by the numerous inversions of the word-order. =193.=--=Ecuador= is a relatively small and mountainous country, lying, as the name implies, directly on the equator. The two principal cities are Guayaquil, a port on the Pacific coast, and Quito, the capital. Quito is beautifully situated on a plateau 9300 feet above the level of the sea. The climate is mild and salubrious, and drier than at Bogota. The early Spanish colonists repeatedly wrote of the beautiful scenery and the "eternal spring" of Quito. page 297 All of the present Ecuador belonged to the Virreinato del Peru till 1721, after which date Quito and the contiguous territory were governed from Bogota. In 1824 Guayaquil and southern Ecuador were forcibly annexed to the first Colombia by Bolivar. Six years later Ecuador separated from Colombia and organized as a separate state. In the territory now known as Ecuador the first colleges were established about the middle of the sixteenth century, by the Franciscans, for the natives, and by the Jesuits, as elsewhere in America, for the sons of Spaniards. Several chronicles by priests and other explorers were written during the early years of the colonial period; but no poet appears before the seventeenth century. In 1675 the Jesuit Jacinto de Evia published at Madrid his _Ramillete de varias flores poeticas_ which contains, beside those by Evia, verses by Antonio Bastidas, a Jesuit teacher, and by Hernando Dominguez Camargo, a Colombian. The verses are mediocre or worse, and, as the date would imply, are imbued with culteranism. The best verses of the eighteenth century were collected by the priest Juan de Velasco (1727-1819) and published in six volumes under the title of _El ocioso de Faenza_. These volumes contain poems by Bautista Aguirre of Guayaquil, Jose Orozco (_La conquista de Menorca_, an epic poem in four cantos), Ramon Viescas (sonnets, _romances_, _decimas_, etc.) and others, most of whom were Jesuits. The expulsion of the Jesuits in 1767 caused the closure of several colleges in Ecuador, and for a time seriously hampered the work of classical education. But even before the edict of expulsion scientific study had been stimulated by the coming of French and Spanish scholars to measure a degree of the earth's surface at the equator. The coming of Humboldt in 1801 still further encouraged inquiry and research. The new spirit was given concrete expression by Dr. Francisco Eugenio de Santa Cruz y Espejo, a physician of native descent, in page 298 _El nuevo Luciano_, a work famous in the literary and the political history of South America. In this work Dr. Espejo attacked the prevailing educational and economic systems of the colonies, and his doctrine did much to start the movement toward secession from the mother country. Although the poetry of Ecuador is of relatively little importance as compared with that of several other American countries, yet Ecuador gave to the world one of the greatest of American poets, Jose Joaquin de Olmedo. In the Americas that speak Castilian, Olmedo has only two peers among the classic poets, the Venezuelan Bello and the Cuban Heredia. Olmedo was born in Guayaquil in 1780, when that city still formed part of the Virreinato del Peru. Consequently, two countries claim him,--Peru, because he was born a Peruvian, and because, furthermore, he received his education at the Universidad de San Marcos in Lima; and Ecuador, since Guayaquil became permanently a part of that republic, and Olmedo identified himself with the social and political life of that country. In any case, Olmedo, as a poetic genius, looms suddenly on the horizon of Guayaquil, and for a time after his departure there was not only no one to take his place, but there were few followers of note. Olmedo ranks as one of the great poetic artists of Spanish literature at the beginning of the nineteenth century. He is of the same semi-classic school as Quintana, and like him devoted to artistic excellence and lyric grandiloquence. The poems of Olmedo are few in number for so skilled an artist, and thoroughly imbued with the Graeco-Latin classical spirit. His prosody nears perfection; but is marred by an occasional abuse of verbal endings in rime, and the inadvertent employment of assonance where there should be none, a fault common to most of the earlier Spanish-American poets. Olmedo's greatest poem is _La victoria de Junin_, which is filled with sweet-sounding phrases and beautiful images, but is logically inconsistent and improbable. Even page 299 Bolivar, the "Libertador," censured Olmedo in a letter for using the _machina_ of the appearance at night before the combined Colombian and Peruvian armies of Huaina-Capac the Inca, "showing himself to be a talkative mischief-maker where he should have been lighter than ether, since he comes from heaven," and instead of desiring the restoration of the Inca dynasty, preferring "strange intruders who, though avengers of his blood, are descendants of those who destroyed his empire." The _Canto al general Flores_ is considered by some critics to be the poet's most finished work, though of less substance and inspiration than _La victoria de Junin_. This General Flores was a successful revolutionary leader during the early days of the Republic; and he was later as bitterly assailed by Olmedo as he is here praised. Of a different type is the philosophic poem, _A un amigo en el nacimiento de su primogenito_, which is filled with sincere sympathy and deep meditation as to the future. With the coming of middle age Olmedo's poetic vein had apparently been exhausted, and the Peruvian bard Felipe Pardo addressed to him an ode in which he sought, though to no avail, to stimulate the older poet to renewed activity (_Poesias_, Valparaiso, 1848, Paris, 1853; _Poesias ineditas_, Lima, 1861). For a time after Olmedo's muse had become mute, little verse of merit was produced in Ecuador. Gabriel Garcia Moreno (1821-1875), once president of the Republic and a champion of Catholicism, wrote a few strong satires in the style of Jovellanos. Dolores Veintemilla de Galindo (1831-1857), who committed suicide on account of domestic infelicity, left a short poem, _Quejas_, which is unique in the older Spanish-American literature by reason of its frank confession of feeling. The reflexive and didactic poet Numa P. Llona (1832-___) was the author of passionate outpourings of doubt and despair after the fashion of Byron and Leopardi (_Poesias_, Paris, 1870; page 300 _Cantos americanos_, Paris, 1866; _Cien sonetos_, Quito, 1881). The gentle, melancholy bard, Julio Zalumbide (1833-1887), at first a skeptic and afterwards a devout believer in Christianity, wrote musical verse in correct language but of little force. Juan Leon Mera (1832-1894) was one of the most prominent literary historians and critics of the Republic. Besides his _Poesias_ (2d ed., Barcelona, 1893), Leon Mera left a popular novel, _Cumanda_ (Quito, 1876; Madrid, 1891), an _Ojeada historico-critica sobre la poesia ecuatoriana_ (2d ed., Barcelona, 1893), and a volume of _Cantares del Pueblo_ (Quito, 1892), published by the Academia del Ecuador, which contains, in addition to many semi-popular songs in Castilian, a few in the Quichua language. A younger generation that has already done some good work in poetry includes Vicente Pedrahita, Luis Cordero, Quintiliano Sanchez and Remigio Crespo y Toral. References: Men. Pel., _Ant. Poetas Hisp.-Amer._, III, p. lxxxiii f.; Blanco Garcia, III, 350 f.; _Ensayo sobre la literatura ecuatoriana_, Dr. Pablo Herrera, Quito, 1860; _Ojeada historico-critica sobre la poesia ecuatoriana_, Juan Leon Mera, Quito, 1868, 2d ed., Barcelona, 1893; _Escritores espanoles e hispano-americanos_, Canete, Madrid, 1884; _Lira ecuatoriana_, Vicente Emilio Molestina, Guayaquil, 1865; _Nueva lira ecuat._, Juan Abel Echeverria, Quito, 1879; _Parnaso ecuat._, Manuel Gallegos Naranjo, Quito, 1879; _America poetica_, Juan Maria Gutierrez, Valparaiso, 1846 (the best of the early anthologies: contains a few poems by Olmedo); _Antologia ecuat._, published by the Academy of Ecuador, with a second volume entitled _Cantares del pueblo ecuat._ (Edited by Juan Leon Mera), both Quito, 1892. =Peru.= The literature of Ecuador is so closely associated with that of Peru, that the one cannot be properly treated without some account of the other. The Virreinato del Peru was the wealthiest and most cultivated Spanish colony in South America, and in North America only Mexico rivaled it in influence. Lima, an attractive city, thoroughly Andalusian in character and appearance, was the page 301 site of important institutions of learning, such as the famed Universidad de San Marcos. It had, moreover, a printing-press toward the close of the sixteenth century, a public theater by 1602, and a gazette by the end of the seventeenth century. The spread of learning in colonial Peru may be illustrated by the fact that the Jesuits alone, at the time of their expulsion in 1767, had twelve colleges and universities in Peru, the oldest of which dated from the middle of the sixteenth century and offered courses in philosophy, law, medicine and theology. The Peruvians seem to have been content with their lot as a favored Spanish colony, and they declared for independence only when incited to do so and aided by Bolivar of Colombia and San Martin of Buenos Aires. After the revolution, Peru was torn by internal discord rather more than other Spanish-American countries during the period of adolescence; and it was its misfortune to lose territory after territory. Bolivar took northern Peru, including the valuable seaport of Guayaquil, and made it a part of the first Colombia; and largely through the influence of Bolivar much of Upper Peru was made a separate republic, that of Bolivia. Lastly, Chile, for centuries a dependency of Peru, became independent and even wrested a considerable stretch of the litoral from her former mistress. It is hard to realize that Peru, to-day relatively weak among the American countries, was once the heart of a vast Inca empire and later the colony whose governors ruled the territories of Argentina and Chile to the south, and of Ecuador and Colombia to the north. With the decline of wealth and political influence there has come to Peru a decadence in letters. Lima is still a center of cultivation, a city in which the Castilian language and Spanish customs have been preserved with remarkable fidelity; but its importance is completely eclipsed by such growing commercial centers as Buenos Aires, Montevideo and Santiago de Chile, and by page 302 relatively small and conservative towns such as Bogota. In the sixteenth century Garcilasso Inga de la Vega (his mother was an "Inga," or Inca, princess), who had been well trained in the Latin classics by Spanish priests, wrote in excellent prose his famous works, _Florida del Inca_, _Comentarios reales_ and _Historia general del Peru_. The second work, partly historical and largely imaginary, purports to be a history of the ancient Incas, and pictures the old Peru as an earthly paradise. This work has had great influence over Peruvian and Colombian poets. Menendez y Pelayo (_Ant. Poetas Hisp.-Amer._, III, _Introd._) considers Garcilasso, or Garcilaso, and Alarcon the two truly classic writers that America has given to Spanish literature. In the Golden Age of Spanish letters several Peruvian poets were known to Spaniards. Cervantes, in the _Canto de Caliope_ and Lope de Vega in the _Laurel del Apolo_ make mention of several Peruvians who had distinguished themselves by their verses. An unknown poetess of Huanuco, Peru, who signed herself "Amarilis," wrote a clever _silva_ in praise of Lope, which the latter answered in the epistle _Belardo a Amarilis_. This _silva_ of "Amarilis" is the best poetic composition of the early colonial period. Another poetess of the period, also anonymous, wrote in _terza rima_ a _Discurso en loor de la poesia_, which mentions by name most of the Peruvian poets then living. Toward the close of the sixteenth century and in the early decades of the seventeenth century, several Spanish scholars, mostly Andalusians of the Sevillan school, went to Peru, and there continued literary work. Among these were Diego Mexia, who made the happiest of Spanish translations of Ovid's _Heroides_; Diego de Ojeda, the best of Spanish sacred-epic poets, author of the _Cristiada_; Juan Galvez; Luis de Belmonte, author of _La Hispalica_; Diego de Avalos y Figueroa whose page 303 _Miscelanea austral_ (Lima, 1603) contains a long poem in _ottava rima_ entitled _Defensa de damas_; and others. These men exerted great influence, and to them was largely due the peculiarly Andalusian flavor of Peruvian poetry. The best Gongoristic _Poetics_ came from Peru. This is the _Apologetico en favor de D. Luis de Gongora_ (Lima, 1694), by Dr. Juan de Espinosa Medrano. In the eighteenth century the poetic compositions of Peru were chiefly "_versos de circunstancias_" by "_poetas de ocasion_." Many volumes of these were published, but no one reads them to-day. Their greatest fault is excessive culteranism, which survived in the colonies a half-century after it had passed away from the mother country. The most learned man of the eighteenth century in Peru was Pedro de Peralta Barnuevo, the erudite author of some fifty volumes of history, science and letters. His best known poem is the epic _Lima fundada_ (Lima, 1732). He wrote several dramas, one of which, _Rodoguna_, is Corneille's play adapted to the Spanish stage, and has the distinction of being one of the first imitations of the French stage in Spanish letters. All in all, the literary output of Peru during the seventeenth and eighteenth centuries is disappointingly small in quantity and poor in quality, in view of the important position held by this flourishing colony. The Peruvian writers, then and now, lack in sustained effort. During and immediately following the revolutionary period, the greatest poet is Olmedo, who was born and educated in Peru and became a citizen first of the primitive Colombia and then of Ecuador, only as his native city, Guayaquil, formed a part of one political division after another. It is customary, however, to consider Olmedo a poet of Ecuador, and it is so done in this volume. After Olmedo, the commanding figure among the classical poets of Peru is Felipe Pardo y Aliaga (1806-1868). Pardo was educated in Spain, where he studied with Alberto Lista. From his teacher he acquired a fondness page 304 for classical studies and a conservatism in letters that he retained throughout his life. In his later years he was induced to adopt some of the metrical forms invented or revived by the romanticists, but in spirit he remained a conservative and a classicist. He had a keen sense of wit and a lively imagination which made even his political satires interesting reading. Besides his _Poesias y escritos en prosa_ (Paris, 1869), Pardo left a number of comedies portraying local types and scenes which are clever attempts at imitation of Spanish drama. As with all the earlier poets of Spanish America, literature was only a side-play to Pardo, although it probably took his time and attention even more than the law, which was his profession. A younger brother, Jose (1820-1873), wrote a few short poems, but his verses are relatively limited and amateurish. Manuel Ascension Segura (1805-1871) wrote clever farces filled with descriptions of local customs, somewhat after the type of the modern _genero chico_ (_Articulos, poesias y comedias_, Lima, 1866). The romantic movement came directly from Spain to Peru and obtained a foothold only well on toward the close of the first half of the century. The leader of the Bohemian romanticists of Lima was a Spaniard from Santander, Fernando Velarde. Around him clustered a group of young men who imitated Espronceda and Zorrilla and Velarde with great enthusiasm. For an account of the "Bohemians" of the fourth and fifth decades in Lima [Numa Pompilio Llona (b. 1832), Nicolas Corpancho (1830-1863), Luis Benjamin Cisneros (b. 1837), Carlos Augusto Salaverry (1830-1891), Manuel Ascension Segura (b. 1805), Clemente Althaus (1835-1881), Adolfo Garcia (1830-1883), Constantino Carrasco (1841-1877) and others, see the introduction to the _Poesias_ (Lima, 1887) of Ricardo Palma (1833-___: till 1912 director of the national library of Peru).] Not often could the romanticists of America go back to page 305 indigenous legend for inspiration as their Spanish cousins so often did; but this Constantino Carrasco undertook to do in his translation of the famous Quichua drama, _Ollanta_. It was long claimed, and many still believe, that this is an ancient indigenous play; but to-day the more thoughtful critics are inclined to consider it an imitation of the Spanish classical drama, perhaps written in the Quichua language by some Spanish priest (Valdes?). The 8-syllable lines, the rime-scheme and the spirit of the play all suggest Spanish influence. In parenthesis it should be added that Quichua verse is still cultivated artificially in Peru and Ecuador. The two men of that generation who have most distinguished themselves are Pedro Paz-Soldan y Unanue, "Juan de Arona" (1839-1894), a poet of satire and humor; and Ricardo Palma (1833-___) a leading scholar and literary critic, best known for his prose _Tradiciones peruanas_ (Lima, 1875 and 1899). The strongest representative of the present-day "_modernistas_" in Peru is Jose Santos Chocano (1867-___), a disciple of Dario. Chocano writes with much grandiloquence. His many sonnets are mostly prosaic, but some are finished and musical (cf. _La magnolia_). He is more Christian (cf. _Evangeleida_) than most of his contemporaries, and he sings of the _conquistadores_ with true admiration [cf. _En la aldea_, Lima, 1895; _Iras santas_, Lima, 1895; _Alma America_ (_Prologo_ de Miguel de Unamuno), Madrid, 1906; _La selva virgen_, Paris, 1901; _Fiat lux_, Paris, 1908]. A younger man is Edilberto Zegarra Ballon of Arequipa (1880-___), author of _Vibraciones, Poemas, el al._ His verse is simpler and less rugged than that of the more virile Chocano. References: Men. Pel., _Ant. Poetas Hisp.-Amer._, III, p. cxlix f.; Blanco Garcia, III, 362 f.; _Diccionario historico y biografico del Peru, formado y redactado por Manuel de Mendiburu_, 9 vols., Lima, 1874-80; _Coleccion de documentos literarios del Peru_, 11 vols., Manuel de Odriozola, Lima, 1863-74; page 306 _America poetica_, Juan Maria Gutierrez, Valparaiso, 1846; _Parnaso peruano_, J.D. Cortes, Paris, 1875; _La Bohemia limena de 1848 a 1860, Prologo de Poesias de Ricardo Palma_, Lima, 1887; _Lira americana,_ Ricardo Palma, Paris, 1865. =193.=--Olmedo: see preceding note. 8. =A=, _with_. =194.=--15-17. The following is a translation of a note to these lines which is given in _Poesias de Olmedo_, Garnier Hermanos, Paris, 1896: "Physicists have attempted to explain the equilibrium that is maintained by the earth in spite of the difference of mass in its two hemispheres" (northern and southern). "May not the enormous weight of the Andes be one of the data with which this curious problem of physical geography can be solved?" =195.=--4. The religion of the ancient Peruvians, before they were converted to Christianity by the Spaniards, was based on the worship of the sun. The chief temple of the sun was at Cuzco. 25. Bolivar was a native of Caracas, Venezuela; but, when this poem was written, Colombia comprised most of the present States of Venezuela, Colombia, Panama and Ecuador. Moreover, Colombia is probably used somewhat figuratively by the poet to designate the "land of Columbus." 26. The Peruvians and the Colombians were allies. It is an interesting fact that in the war for independence waged by the Spanish Americans against Spain, the leaders of the Americans were nearly all of Spanish descent, while the majority of the rank and file of the American soldiery was Indian. To this day, a majority of the population of Spanish America, excepting only Chile, Argentina and the West Indian Islands, is indigenous, and their poets still sing of "indigenous America," but they sing in the Spanish tongue! See p. 211, l. 7. page 307 =196.=--21. See note to p. 162, l. 8. The Peruvian flag has an image of the _sun_ in its center. 23. It is reported that the first onslaught of the Spanish-American cavalry failed, partly by reason of their impetuousness, and that they would probably have been defeated if Bolivar had not rallied them and led them on to victory. =198.=--10. The battle of Junin began at about five o'clock in the afternoon, and it is said that only night saved the Spaniards from complete destruction. 11. =El dios oia=: destiny did not permit the god to stay his course for an hour, but the god left behind him his circlet of diamonds (the stars). =199.=--=Mexico.= The Virreinato de Nueva Espana was a favored colony, where Spanish culture took deepest root. It had the first institution of learning in America (opened in 1553 by decree of Charles I) and the first printing-press (1540?). Some 116 books were printed in Mexico City during the sixteenth century, most of which were catechisms or grammars and dictionaries in the native languages. In the sixteenth and seventeenth centuries several Spanish poets, mostly Sevillans, went to Mexico. Among these were Diego Mexia (went to Mexico in 1596); Gutierre de Cetina, Juan de la Cueva, and Mateo Aleman (published _Ortografia castellana_ in Mexico in 1609). _Certamenes poeticos_ ("poetic contests") were held in Mexico, as in other Spanish colonies, from time to time. The first of importance occurred in Mexico City in 1583, to which seven bishops lent the dignity of their presence and in which three hundred poets (?) competed. After the discovery and conquest of the Philippines, great opulence came to Mexico on account of its being on a direct route of Pacific trade between Europe and Asia, and Mexico became an emporium of Asiatic goods (note introduction of Mexican dollar into China). The first native poet deserving of the name was Francisco page 308 de Terrazas (cf. Cervantes, _Canto de Caliope_, 1584), who left in manuscript sonnets and other lyrics and an unfinished epic poem, _Nuevo mundo y conquista_. It is interesting that in the works of Terrazas and other native poets of the sixteenth century the Spaniards are called "_soberbios_," "_malos_," etc. Antonio Saavedra Guzman was the first in Mexico to write in verse a chronicle of the conquest (_El peregrino indiano_, Madrid, 1599). _Coloquios espirituales_ (published posthumously in 1610), _autos_ of the "morality" type, with much local color and partly in dialect, were written by Fernan Gonzalez Eslava, whom Pimentel considers the best sacred dramatic poet of Mexico. Sacred dramatic representations had been given in Spanish and in the indigenous languages almost from the time of the conquest. According to Beristain, at least two plays of Lope were done into Nahuatl by Bartolome de Alba, of native descent, and performed, _viz._: _El animal profeta y dichoso parricida_ and _La madre de la Mejor_. The first poet whose verses are genuinely American, exotic and rich in color like the land in which written (a rare quality in the Spanish poetry of the period), was Bernardo de Balbuena (1568-1627: born in Spain; educated in Mexico). Balbuena had a strong descriptive faculty, but his work lacked restraint (cf. _Grandeza mexicana_, Mex., 1604; Madrid, 1821, 1829 and 1837; N.Y., 1828; Mex., 1860). The great dramatist, Juan Ruiz de Alarcon (1581?-1639), was born and educated in Mexico; but as he wrote in Spain, and his dramas are Spanish in feeling, he is best treated as a Spanish poet. Next only to Avellaneda the most distinguished Spanish-American poetess is the Mexican nun, Sor Juana Ines de la Cruz (1651-1695), whose worldly name was Juana Ines de Asbaje y Ramirez de Cantillana. Sor Juana had intellectual curiosity in an unusual degree and early began the study of Latin and other languages. When still a young girl she became a maid-in-waiting in the viceroy's palace, where her beauty and wit attracted much page 309 attention; but she soon renounced the worldly life of the court and joined a religious order. In the convent of San Jeronimo she turned for solace to books, and in time she accumulated a library of four thousand volumes. Upon being reproved by a zealous bishop for reading worldly books, she sold her entire library and gave the proceeds to the poor. Sor Juana's better verses are of two kinds: those that give evidence of great cleverness and mental acuteness, and those that have the ring of spontaneity and sincerity. As an exponent of erotic mysticism, she is most interesting. In the most passionate of her erotic verses there is an apparent sincerity which makes it difficult for the lay reader to believe that she had not been profoundly influenced by human love,--as when she gives expression to the feelings of a loving wife for a dead husband, or laments the absence of a lover or tells of a great jealousy. In addition to her lyrics Sor Juana wrote several _autos_ and dramas. Her poems were first published under the bombastic title of _Inundacion castalida de la unica poetisa, Musa decima, Sor Juana Ines de la Cruz_, Madrid, 1689 (vol. II, Seville, 1691; vol. III, Madrid, 1700). During the first half of the eighteenth century the traditions of the preceding century persisted; but in the second half there came the neo-classic reaction. Among the best of the prosaic poets of the century are: Miguel de Reyna Zeballos (_La elocuencia del silencio_, Madrid, 1738); Francisco Ruiz de Leon (_Hernandia_, 1755, based on the _Conquista de Mexico_ by Solis); and the priest Jorge Jose Sartorio (1746-1828: _Poesias sagradas y profanas_, 7 vols., Puebla, 1832). The Franciscan Manuel de Navarrete (1768-1809) is considered by Pimentel superior to Sor Juana Ines de la Cruz as a philosophic poet (the writer of this article does not so consider him) and is called the "restorer of lyric and objective poetry in Mexico" (cf. Pim., _Hist. Poesia Mex._, p. 442). Navarrete wrote in a variety of styles. His verses are harmonious, but _altisonante_ and often incorrect. His best page 310 lyrics, like those of Cienfuegos, have the personal note of the romanticists to follow (_Entretenimientos poeticos_, Mex., 1823, Paris, 1835; _Poesias_, Mex., 1905). There were no eminent Mexican poets during the revolutionary period. Andres Quintana Roo (1787-1851) was a lawyer and journalist and president of the congress which made the first declaration of independence. Pimentel (p. 309) calls him an eminent poet and one of the best of the period. Two of the most important in the period are: Manuel Sanchez de Tagle (1782-1847), a statesman given to philosophic meditation, but a poor versifier (_Poesias_, 1852); and Francisco Ortega (1793-1849), an ardent republican, who opposed Iturbide when the latter had himself proclaimed emperor of Mexico in 1821 (_Poesias liricas_, 1839; cf. _A Iturbide en su coronacion_). To these should be added Joaquin Maria del Castillo y Lanzas (1781-1878), one-time minister to the United States (_Ocios juveniles_, Philadelphia, 1835); and the priest Anastasio Maria Ochoa (1783-1833), who translated French, Italian, and Latin (Ovid's _Heroides_) works, and wrote some humorous verses (_Poesias_, N.Y., 1828: contains two dramas). Next to Alarcon, the greatest dramatist that Mexico has produced is Manuel Eduardo de Gorostiza (1789-1851), who wrote few lyric verses, but many dramas in verse and prose. His plays, which are full of humorous contrasts, were written during his residence in Spain and are, for the most part, typically Spanish in all respects. Gorostiza, in manner and style, is considered a bridge between Moratin and Breton. His best comedy is _La indulgencia para todos_ (cf. _Teatro original_, Paris, 1822; _Teatro escogido_, Bruxelles, 1825; _Obras dramaticas_, _Bibl. Aut. Mex._, vols. 22, 24, 26, 45, Mex.,-1899). Romanticism came into Mexico through Spain. It was probably introduced by Ignacio Rodriguez Galvan (1816-1842), a translator, lyric poet, and page 311 dramatist. His lyrics have the merit of sincerity; pessimism is the prevailing tone and there is much invective. His _Profecias de Guatimoc_ is considered the masterpiece of Mexican romanticism (_Obras_, 2 vols., Mex., 1851; Paris, 1883). Another well-known romantic lyricist and dramatist is Fernando Calderon (1809-1845), who was more correct in form than Rodriguez Galvan (_Poesias_, Mex., 1844 and 1849; Paris, 1883; Mex., 1902). The revival of letters in Mexico is generally attributed to the conservative poets Pesado and Carpio, both of whom sought to be classic, although they were not altogether so in practise. Probably the best known Mexican poet, though certainly not the most inspired, is Jose Joaquin Pesado (1801-1861). He translated much from Latin, French and Italian, and in some cases failed to acknowledge his indebtedness (cf. Pimentel, p. 694). His best translations are of the Psalms. The _Aztecas_, which were published as a translation of, or an adaptation from, indigenous legends, are mostly original with Pesado in all probability. He is an unusually even writer, and some of his verses are good (cf. certain sonnets: _Mi amada en la misa del alba_, which reminds one of Melendez Valdes in _Rosana en los fuegos_; _Elegia al angel de la guardia de Elisa_; and parts of _La revelacion_ in _octavas reales_). Montes de Oca and Menendez y Pelayo consider Pesado the greatest of Mexican poets; but Pimentel does not (p. 694). Cf. _Poesias originales y traducciones_, Mex., 1839-40 (most complete), 1886 (introduction of Montes de Oca); _Biografia de Pesado_, by Jose Maria Roa Barcena, Mex., 1878. Manuel Carpio (1791-1860) began to write verses after he had reached the age of forty years, and there is, consequently, a certain ripeness of thought and also a lack of feeling in his poetry. His verses are chiefly narrative or descriptive and generally treat of biblical subjects. His language is usually correct, but often prosaic (_Poesias_, Mex., 1849). page 312 Minor poets of this period are: Alejandro Arango (1821-1883), an imitator of Leon (_Versos_, 1879; _Ensayo historico sobre Fr. Luis de Leon_, Mex., 1866); Ignacio Ramirez (1818-1879), of Indian race, who was a free lance in religion and politics, and largely responsible for the separation of Church and State in Mexico (_Poesias_, Mex., 1889, and _Lecciones de literatura_, Mex., 1884); and Ignacio M. Altamarino (1834-1893), an erotic and descriptive poet (_Obras_, Mex., 1899). The most popular Mexican poets during the second half of the nineteenth century have been Acuna, Flores, Peza and Gutierrez Najera. A materialistic iconoclast, Manuel Acuna (1849-1873) was uneven and incorrect in language, but capable of deep poetic feeling. In his _Poesias_ (Garnier, Paris, 8th ed.) there are two short poems that may live: _Nocturno_, a passionate expression of disappointment in love; and _Ante un cadaver_, a poem of dogmatic materialism. Acuna committed suicide at the age of twenty-four years. Manuel Maria Flores (1840-1885), an erotic poet largely influenced by Musset, is very popular in Mexico (_Pasionarias_, Paris, 1911). Probably the most widely read poet of the period is Juan de Dios Peza (1852-1910). His verses are often incorrect and weak, as he improvised much; but they are interesting, as they usually treat of homely topics (_Poesias completas: El arpa del amor_, 1891; _Hogar y patria_, 1891; _Leyendas_, 1898; _Flores del alma; Recuerdos y esperanzas_, 1899, Garnier, Paris). The romantic pessimist, Manuel Gutierrez Najera (d. 1888), was tormented throughout life by the vain quest of happiness and the thirst of truth. His verses, which are often elegiac or fantastic, are highly admired by the younger generation of Mexican poets. In a letter to the writer of this article, Blanco-Fombona praises Gutierrez Najera above all other Mexican poets (_Poesias_, Paris, 1909, 2 vols.). References: Menendez y Pelayo, _Ant. Poetas Hisp.-Amer._, I, p. xiv f.: Blanco Garcia, III, 304 f.; Francisco Pimentel, _Historia critica de la page 313 poesia en Mexico_, Mex., 1892; _Biblioteca hispano-americana septentrional_, D. Jose Mariano Beristain de Souza, Mex., 1816-21, 3 vols. (has more than 4000 titles),--reprinted by Fortino Hipolito de Vera, Amecameca, 1883; _Bibliografia mexicana del siglo XVI (catalogo razonado de los libros impresos in Mexico de 1539 a 1600)_; _Biografias de mexicanos distinguidos_, D. Francisco Sosa, Mex., 1884; _Poetas yucatecos y tabasquenos_, D. Manuel Sanchez Marmol y D. Alonso de Regil y Peon, Merida de Yucatan, 1861; _Poetisas mexicanas_, Bogota, 1889; _Coleccion de poesias mexicanas_, Paris, 1836; _El parnaso mexicano_, 36 vols., R.B. Ortega, Mex., 1886; _Biblioteca de autores mexicanos_, some 75 vols. to 1911, Mex.; _Antologia de poetas mexicanos_, publ. by Acad. Mex., Mex., 1894; _Poetas mexicanos_, Carlos G. Amezaga, Buenos Aires, 1896; _Los trovadores de Mexico_, Barcelona, 1900. Pesado: see preceding note. =La Serenata=: see _Introduction, Versification_, p. lxviii. =200.=--6-11. These lines of Pesado are similar to those found in the first stanzas of _Su alma_ by Milanes. See Hills' _Bardos cubanos_ (Boston, 1901), p. 69. Calderon: see note to p. 199. =202.=--Acuna: see note to p. 199. =204.=--15. The language is obscure, but the meaning seems to be: _borrarte (a ti que estas) en mis recuerdos_. 19. The forced synalepha of =yo haga= is discordant and incorrect. =204.=--23 to =205.=--8. That is, when the altar was ready for the marriage ceremony, and the home awaited the bride. The reference, apparently, is to a marriage at an early hour in the morning,--a favored time for marriages in Spanish lands. =208.=--1. =la alma=, by poetic license, since _el alma_ would make the line too long by one syllable. =207.=--Peza: see note to p. 199. =211.=--Dario: with the appearance in 1888 of a small volume of prose and verse entitled _Azul_, by Ruben Dario (1864-) of Nicaragua, there triumphed in Spanish America the "movement of emancipation," the "literary page 314 revolution," which the "decadents" had already initiated in France. As romanticism had been a revolt against the empty formalism of later neo-classicism, so "decadence" was a reaction against the hard, marmoreal forms of the "Parnasse," and in its train there came inevitably a general attack on poetic traditions. This movement was hailed with joy by the young men of Latin America, who are by nature more emotional and who live in a more voluptuous environment than their cousins in Spain; for they had come to chafe at the coldness of contemporary Spanish poetry, at its lack of color and its "petrified metrical forms." With the success of the movement there was for a time a reign of license, when poet vied with poet in defying the time-honored rules, not only of versification, but also of vocabulary and syntax. But as in France, so in Spanish America, "decadence" has had its day, although traces of its passing are everywhere in evidence, and the best that was in it still lingers. To-day the Spanish-American poets are turning their attention more and more to the study of sociological problems or to the cementing of racial solidarity. These notes ring clear in some recent poems of Dario, and of Jose S. Chocano of Peru and Rufino Blanco-Fombona of Venezuela. The lines given in the text are an ode which was addressed to Mr. Roosevelt when he was president of the United States from 1901 to 1909. The meter of the poem is mainly the Old Spanish Alexandrine, but with a curious intermingling of lines of nine, ten and eight syllables, and with assonance of the even lines throughout. In all fairness it should be stated here that Senor Dario, in a recent letter to the writer of these _Notes_, said: "I do not think to-day as I did when I wrote those verses" (Dario: _Epistolas y poemas_, 1885; _Abrojos_, 1887; _Azul_, 1888; _Cantos de vida y esperanza_, Madrid, 1905; _El canto errante_, Madrid, 1907). page 315 =212.=--8. Argentina and Chile are the most progressive of the Spanish-American States. The Argentine flag is blue and white, with a _sun_ in the center; the flag of Chile has a white and a red bar, and in one corner a white _star_ on a blue background. 11. This refers, of course, to the colossal bronze Statue of Liberty by the French sculptor, Frederic Bartholdi, which stands in New York harbor. 14. In a letter to the writer of these _Notes_, Senor Dario explains this passage as follows: "Bacchus, or Dionysius, after the conquest of India (I refer to the semi-historical and not to the mythological Bacchus) is supposed to have gone to other and unknown countries. I imagine that those unknown countries were America. Pan, who accompanied Bacchus on his journey, taught those new men the alphabet. All this is related to the tradition of the arrival of bearded men, strangely dressed, in the American countries.... These traditions exist in the South as well as the North." 16. =Que consulto los astros=: the ancient Peruvians and Mexicans had made considerable progress in the study of astronomy. =214.=--=Venezuela.= During the colonial period the development of literary culture was slower in the Capitania de Caracas than in Colombia, Peru and Mexico. The Colegio de Santa Rosa, which was founded at Caracas in 1696, was made a university in 1721. Not till 1806 was the first printing-press set up in the colony. Poetry in Venezuela begins with Bello, for the works of his predecessors had little merit. Andres Bello (1781-1865) was the most consummate master of poetic diction among Spanish-American poets, although he lacked the brilliancy of Olmedo and the spontaneity of Heredia. Born in Caracas and educated in the schools of his native city, Bello was sent to England in the year 1810 to further the cause of the revolution, and he remained in that country till 1829, when he was called to page 316 Chile to take service in the Department of Foreign Affairs. His life may, therefore, be divided into three distinct periods. In Caracas he studied chiefly the Latin and Spanish classics and the elements of international law, and he made metrical translations of Virgil and Horace. Upon arriving in England at the age of twenty-nine years, he gave himself with enthusiasm to the study of Greek, Italian and French, as well as to English. Bello joined with the Spanish and Hispano-American scholars in London in the publication of several literary reviews, notably the _Censor americano_ (1820), the _Biblioteca americana_ (1823) and the _Repertorio americano_ (1826-27), and in these he published many of his most important works. Here appeared his studies of Old French and of the _Song of My Cid_, his excellent translation of fourteen cantos of Boiardo's _Orlando innamorato_, several important articles on Spanish syntax and prosody, and the best of all his poems, the _Silvas americanas_. In 1829, when already forty-eight years of age, Bello removed to Chile, and there entered upon the happiest period of his life. Besides working in a government office, he gave private lessons until in 1831 he was made rector of the College of Santiago. In the year 1843 the University of Chile was established at Santiago and Bello became its first rector. He held this important post till his death twenty-two years later at the ripe age of eighty-four. During this third and last period of his life Bello completed and published his _Spanish Grammar_ and his _Principles of International Law_, works which, with occasional slight revisions, have been used as standard text-books in Spanish America and to some extent in Spain, to the present day. The _Grammar_, especially, has been extraordinarily successful, and the edition with notes by Jose Rufino Cuervo is still the best text-book of Spanish grammar we have. In the _Grammar_ Bello sought to free Castilian from Latin terminology; but he desired, most of all, to correct the abuses so common to writers page 317 of the period and to establish linguistic unity in Spanish America. Bello wrote little original verse during these last years of his life. At one time he became exceedingly fond of Victor Hugo and even tried to imitate him; but his classical training and methodical habits made success impossible. His best poetic work during his residence in Chile, however, are translations of Victor Hugo, and his free metrical rendering of _La Priere pour tous_ (from the _Feuilles d'automne_), is amongst his finest and most popular verses. It is interesting that Andres Bello, the foremost of Spanish-American scholars in linguistics and in international law, should also have been a preeminent poet, and yet all critics, except possibly a few of the present-day "_modernistas_," place his _American Silvas_ amongst the best poetic compositions of all Spanish America. The _Silvas_ are two in number: the _Alocucion a la poesia_ and the _Silva a la agricultura de la zona torrida_. The first is fragmentary: apparently the poet despaired of completing it, and he embodied in the second poem an elaboration of those passages of the first work which describe nature in the tropics. The _Silvas_ are in some degree imitations of Virgil's _Georgics_, and they are the best of Spanish imitations. Menendez y Pelayo, who is not too fond of American poets, is willing to admit (_Ant._, II, p. cxlii) that Bello is, "in descriptive and Georgic verse, the most Virgilian of our (Spanish) poets." Caro, in his splendid biography of Bello (in Miguel Antonio Caro's introduction to the _Poesias de Andres Bello_, Madrid, 1882) classifies the _Silvas_ as "scientific poetry," which is quite true if this sort of poetry gives an esthetic conception of nature, expressed in beautiful terms and adorned with descriptions of natural objects. It is less true of the _Alocucion_, which is largely historical, in that it introduces and sings the praises of towns and persons that won fame in the revolutionary wars. The _Silva a la agricultura_, page 318 which is both descriptive and moral, may be best described in the words of Caro. It is, says this distinguished critic, "an account of the beauty and wealth of nature in the tropics, and an exhortation to those who live in the equator that, instead of wasting their strength in political and domestic dissensions, they should devote themselves to agricultural pursuits." Bello's interest in nature had doubtless been stimulated by the coming of Humboldt to Caracas in the first decade of the nineteenth century. In his attempt to express his feeling for nature in poetic terms, he probably felt the influence not only of Virgil, but also of Arriaza, and of the several poems descriptive of nature written in Latin by Jesuit priests, such as the once famous _Rusticatio Mexicana_ by Father Landivar of Guatemala. And yet there is very little in the _Silvas_ that is directly imitative. The _Silva a la agricultura de la zona torrida_, especially, is an extraordinarily successful attempt to give expression in Virgilian terms to the exotic life of the tropics, and in this it is unique in Spanish literature. The beautiful descriptive passages in this poem, the noble ethical precepts and the severely pure diction combine to make it a classic that will long hold an honored place in Spanish-American letters (_Obras completas_, Santiago de Chile, 1881-93). During the revolutionary period the most distinguished poets, after Bello, of that part of the greater Colombia which later formed the separate republic of Venezuela, were Baralt and Ros de Olano. Rafael Maria Baralt (1810-1860) took part in the revolutionary movement of secession from the first Colombia; but later he removed to Spain and became a Spanish citizen. His verses are usually correct, but lack feeling. He is best known as a historian and maker of dictionaries. Baralt was elected to membership in the Spanish Academy (_Poesias_, Paris, 1888). General Antonio Ros de Olano (1802-1887) also removed to page 319 Spain and won high rank in the Spanish army. He joined the romantic movement and became a follower of Espronceda. Besides a volume of verses (_Poesias_, Madrid, 1886), Ros de Olano wrote _El doctor Lanuela_ (1863) and other novels. Both Baralt and Ros de Olano were identified with literary movements in Spain rather than in Venezuela. Jose Heriberto Garcia de Quevedo (1819-1871) was a cultivated and ambitious scholar who collaborated with Zorrilla in _Maria_, _Ira de Dios_ and _Un cuento de amores_. Among his better works are the three philosophical poems: _Delirium_, _La segunda vida_ and _El proscrito_ (_Obras poeticas y literarias_, Paris, 1863). Among the lesser writers of this period are Antonio Maitin (1804-1874), the best of Venezuelan romanticists (cf. _El canto funebre_, a poem of domestic love); Abigail Lozano (1821-1866), a romanticist and author of musical but empty verses ("_versos altisonantes_"); Jose Ramon Yepes (1822-1881), an army officer and the author of legends in verse, besides the inevitable _Poesias_; Eloy Escobar (1824-1889), an elegiac poet; and Francisco G. Pardo (1829-1872), a mediocre imitator of Zorrilla. Next to Bello alone, the most distinguished poet of Venezuela is Jose Perez Bonalde (1846-1892), who was a good German scholar and left, besides his original verses, excellent translations of German poets. His metrical versions of Heine, especially, exerted considerable influence over the growth of literary feeling in Spanish America (_Estrofas_, N.Y., 1877; _El poema del Niagara_, N.Y., 1880). At least two other writers of the second half of the nineteenth century deserve mention: Miguel Sanchez Pesquera and Jacinto Gutierrez Coll. Among the present-day writers of Venezuela, Luis Lopez Mendez was one of the first to introduce into Spanish America a knowledge of the philosophy and metrical theories of Paul Verlaine. Manuel Diaz Rodriguez (1868-___) has written little verse; but he is the best known Venezuelan novelist of to-day [_Sangre page 320 patricia, Camino de perfeccion_ (essays), _Idolos rotos_, _Cuentos_, 2 vols., _Confidencias de Psiquis_, _Cuentos de color_, _Sensaciones de viaje_, _De mis romerias_]. The most influential of the younger writers is Rufino Blanco-Fombona, who was expelled from his native country by the present _andino_ ("mountaineer") government and now lives in exile in Paris. At first a disciple of Musset and then of Heine and Maupassant, he is now an admirer of Dario and a pronounced _modernista_. His _Letras y letrados de Hispano-America_ is the best recent work of literary criticism by a Spanish-American author. Blanco-Fombona is a singer of youthful ambition, force and robust love. His verses have rich coloring, but are at times erotic or lacking in restraint (prose works: _Cuentos de poeta_, Maracaibo, 1900; _Mas alla de los horizontes_, Madrid, 1903; _Cuentos americanos_, Madrid, 1904; _El hombre de hierro_, Caracas, 1907; _Letras y letrados de Hispano-America_, Paris, 1908. Verses: _Patria_, Caracas, 1895; _Trovadores y trovas_, Caracas, 1899; _Pequena opera lirica_, Madrid, 1904; _Cantos de la prision_, Paris, 1911). References: Menendez y Pelayo, _Ant. Poetas Hisp.-Amer._, II, p. cx f.; Blanco Garcia, III, p. 321 f.; _Resena historica de la literatura venezolana_ (1888) and _Estado actual de la literatura en Venezuela_ (1892), both by Julio Calcano, Caracas; _La literatura venezolana en el siglo XIX_, Gonzalo Picon Febres, Caracas, 1906; _Parnaso venezolano_, 12 vols., Julio Calcano, Caracas, 1892; _Biblioteca de escritores venezolanos_, Jose Maria Rojas, Paris, 1875; _Parnaso venezolano_, Barcelona, 1906. Bello: see preceding note. 1. The _Lion_ symbolizes Spain, since from the medieval kingdom of Leon modern Spain sprang. The battle of Bailen (see in _Vocab._) took place in 1808 when Bello was twenty-seven years of age and still loyal to Spain. =214.=--16 to =215.=--3. =Que... concibes= = _que circunscribes el vago curso_ =al= _(= del) sol enamorado, y (tu), acariciada de su luz, concibes_ =cuanto page 321 ser= (= every being that) _se anima en cada vario clima._ 18. The use of =quien= referring to inanimate objects is now archaic. =216.=--19 to =217.=--3. It is said that the banana gives nourishment to more human beings than does any other plant. The fruit is taken when it is still green, before the starch has turned to sugar, and it is boiled, or baked, or it is ground and made into a coarse bread. 6-8. =En que... bondadosa!= = _en que (la) naturaleza bondadosa quiso hacer resena de sus favores..._ 9. The student should compare this and the following lines with _Vida retirada_ by Fray Luis de Leon, p. 9. 19. The rime requires =habita=, instead of _habitad_. 22-23. =Y... atada= = _y la razon va atada al triunfal carro de la moda, universal senora_. =219.=--10-16. =?Esperareis... ata?= = _?esperareis que (el) himeneo forme mas venturosos lazos do el interes, tirano del deseo, barata ajena mano y fe por nombre o plata, que do conforme gusto, conforme edad, y_ (= both) _eleccion libre y_ (= and) _mutuo ardor ata los lazos?_ Note that, by poetic license, =ata= agrees in number with the nearest subject, although it has two. =220.=--8-11. As this poem was written after the Spanish-American colonies had revolted against the mother country, Bello no longer rejoices at the success of Spanish arms nor grieves over their losses, as he had done when he wrote _A la victoria de Bailen_. Perez Bonalde: see note to p. 214. =222.=--5. The Venezuelan flag is yellow, blue and red with seven small white stars in the center. =225.=--=La carcelera=: the words and music of this song and of the first that follows are taken from the _Cancionero salmantino_ (Damaso Ledesma), Madrid, 1907. =227.=--=La cachucha=: the words and music of this song and of the five that immediately follow are taken page 322 from _Poesias populares_ (Tomas Segarra), Leipzig, 1862. =238.=--=El tragala=: (lit., _the swallow it_) a song with which the Spanish liberals taunted the partizans of an absolute government. =242.=--=Himno de Riego=: a song to the liberal general, Rafael de Riego (1784-1823), who initiated the revolution of 1820 in Spain and proclaimed at Cabezas de San Juan the constitution of 1812. Cf. _Versification_, p. lxxix. =251.=--=Himno Nacional de Cuba=, called also the =Himno de Bayamo=, on account of the importance of Bayamo (see in _Vocab._) in the Cuban revolution of 1868. 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