lOer Series of PANIS THOLO FORD , Burdett and Comparu] A "^ DIEGO Roman ca tenter filter >mfsf of spoaern Language rjrt;115ook0 EDITED BY ADOLPHE COHN, LL.B., A.M. PROFESSOR OF THE ROMANCE LANGUAGES AND LITERATURES IN COLUMBIA UNIVERSITY A SPANISH ANTHOLOGY l<ocr Aeries of fpoacrn language A SPANISH ANTHOLOGY A COLLECTION OF LYRICS FROM THE THIRTEENTH CENTURY DOWN TO THE PRESENT TIME EDITED, WITH INTRODUCTION AND NOTES BY r Un vaso avi' ali dorado Tray al pie atado. En la fuent quiso entrar, Quando a mi vido estar en el malgranar. Quando en el vaso fue entrada, so E fue toda bien esfryada, Ela que quiso exir festino, Vertios el agua sobrel vino. 8 ANTOLOGIA CASTELLANA Gonzalo de Berceo (Flourished in the first half of the thirteenth century) ClNTICA DE LA VIRGEN Eya velar, eya velar, eya velar. Velat aljama de los judios, Eya velar: Que non vos furten el Fijo de Dios, 5 Eya velar. Ca furtarvoslo querran, Eya velar: Andres e Peidro et Johan, Eya velar. 10 Non sabedes tanto descanto, Eya velar: Que salgades de so el canto, Eya velar. Todos son ladrongiellos, 15 Eya velar: Que assechan por los pestiellos, Eya velar. Todos son omnes plegadizos, Eya velar: 20 Eioaduchos mescladizos, Eya velar. Vuestra lengua sin recabdo, Eya velar: Por mal cabo vos ha echado, 25 Eya velar. Non sabedes tanto de enganno, Eya velar: Que salgades ende este anno, Eya velar. POESIAS DE LOS SIGLOS X1II-XV Non sabedes tanta razon, Eya velar: Que salgades de la prision. Eya velar. Tomaseio e Matheo, 5 Eya velar: De furtarlo hail grant deseo, Eya velar. El disgipulo lo vendio, Eya velar: 10 El Maestro non lo entendio, Eya velar. Don Fhilipo, Simon e Judas, Eya velar: Por furtar buscan ayudas, 15 Eya velar. Si lo quieren acometer, Eya velar: Oy es dia de paresger, Eya velar. 20 Eya velar, eya velar, eya velar. Juan Ruiz. Arcipreste de Hita (Flourished in the first half of the fourteenth century) DE LAS PROPIEDADES QUE LAS DUENXAS CHICAS HAN Quiero vos abreviar la predication, Que siempre me pague de pequenno sermon, E de duenna pequenna et de breve razon, Ca poco et bien dicho afincase el corazon. 25 Del que mucho fabla, rien, quien mucho rie, es loco, Es en la duenna chica amor et non poco, Duennas hay muy grandes, que por chicas non troco, Mas las chicas e las grandes se repienden del troco. 10 ANTOLOGIA CASTELLANA De las chicas, que bien diga, el amor me fizo ruego, Que diga de sus noblezas, yo quiero las dezir luego, Dezirvos he de duennas chicas, que lo habredes por juego, Son frias como la nieve, e arden como el f uego, 5 Son frias de fuera, con el amor ardientes, En la calle solaz, trevejo, plazenteras, rientes, En casa cuerdas, donosas, sosegadas, bien fazientes, Mucho al y fallaredes a do bien paredes mientes. En pequenna gergenza yaze grand resplandor, 10 En aziicar nrny poco yaze muche dulgor, En la duenna pequenna yaze muy grand amor, Pocas palabras cumplen al buen entendedor. Es pequenno el grano de la buena pimienta, Pero mas que la nuez conorta et calienta, 15 Asi duenna pequenna, si todo amor consienta, Non ha plazer del mundo que en ella non sienta. Como en chica rosa esta mucho color, En oro muy poco grand precio et grand valor, Como en poco blasmo yaze grand buen olor, 20 Ansi en duenna chica yaze muy grand sabor. Como robi pequenno tiene mucha bondat, Color, virtud, e pregio, e noble claridad, Ansi duenna pequenna tiene mucha beldat, Fermosura, donayre, amor, et lealtad. 25 Chica es la calandria, et chico el ruysennor, Pero mas dulge canta, que otra ave mayor; La muger, que es chica, por eso es mejor, Con donneo es mas dulge, que aziicar nin flor. Son aves pequennas papagayo e orior, so Pero cualquier dellas es dulge gritador, Adonada, fermosa, pregiada, cantador, Bien atal es la duenna pequenna con amor. De la muger pequenna non hay comparagion, POESIAS DE LOS SIGLOS XIII-XV 11 Terrenal parayso es, e grand consoiagion, Solaz,. et alegria, plazer, et bendigion, Mejor es en la prueba, que en la salutagion. Sempre ques muger chica mas que grande nin mayor, Non es desaguisado del grand mal ser foidor, 5 Del mal tomar lo menos dizelo el sabidor, Porende de las mugeres la mejor es la menor. CANTIGA DE CIEGOS Varones buenos honrados, Querednos ya ayudar, A estos giegos lazrados . . 10 La vuestra limosna dar. Somos pobres menguados, Habemoslo a demandar. De los bienes deste siglo Non tenemos nos pesar, 15 Vivimos en grant periglo En vida mucho penada, Qiegos bien como vestiglo Del mundo non vemos nada. Sennora Santa Maria, 20 Tu le da la bendigion Al que hoy en este dia Nos dier primero ragion, Dal al cuerpo alegria Et al alma salvagion. 25 Santa Maria Magdalena, Euega a Dios verdadero De quien nos diere buena estrena De meaja o de dinero 12 ANTOLOGIA CASTELLANA Para mejorar la gena A nos e a nuestro compannero. Aquien nos dio su meaja Por amor del Salvador, 5 Sennor dal' tu gloria Tu gragia et tu amor: Guardalo de la baraja Del pecado engannador. Ea tu bienaventurado 10 Angel Sennor San Miguel, Tu seas su abogado De aquella et de aquel Que de su pan nos ha dado, Ofregemostelo por el. is Quando las almas pesares, Estos ten con la tu diestra Que dan genas e yantares A nos e a quien nos adiestra; Sus pecados et sus males 20 Echalos a la siniestra. Sennor, merget te clamamos Con nuestras manos amas, Las limosnas que te damos Que las tomes en tus palmas: 25 A quien nos dio que comamos Da paraiso a sus almas. POESIAS DE LOS SIGLOS XIII-XV 13 El angel esta ofrenda En las sus manos la prenda. Sennor oy a pecadores Por los miestros bien fechores. Tu resgibe esta cangion 5 Et oy esta miestra oragion, Que nos pobres te rogamos Por quien nos dio que comamos, Et por el que'darlo quiso. Dios que por nos muerte priso 10 Vos de santo paraiso. Amen. Don Juan Manuel (Fl. end of the fifteenth century) A LA MUERTE DEL PRINCIPE D. ALFONSO i Ah lagrimas tristes, ah tristes cuy dados! ; Ah graves angustias, ah mortal dolor ! Tu te apareja, discrete lector, Leyendo mis llantos tan amargurados. 15 Mortales singultos, sospiros dobrados, Dad fin a my vyda, que es pena mayor, Y quiebren mis ojos, pues vieron quebrados Los vuestros, ah prmqipe, nuestro senor. i Que fue de la vuestra tan linda estatura, 20 Que tanto excedia las otras del mundo, La f rente serena del rrostro jocundo ? ^ Que fue de la vuestra ermosa fegura ? ^ A do hallaremos a" la hermosura De los vuestros ojos tan mucho estremados? 25 jVayamos, seguidme, oh desventurados, Rrompamos, rrompamos la su sepultura ! 14 ANTOLOGIA CASTELLANA A ver si hallaremos sus muy sublimadas Virtudes ynmensas, autos muy unianos; A ver si hallaremos sus muy lindas manos, Por muchas mergedes de todos besadas. 5 jOh fiyestas malditas, desaventuradas, Que luego tan presto vos aveys tornado En lloro el prazer, en xerga el brocado, Las dangas en otras muy desatynadas ! El Canciller Pero Lopez de Ayala (1332-1407) CANTAR Sennor, si tu has dada 10 Tu sentengia contra mi, Por merged te pido aqui Que me sea reuocada. Tu, Sennor, tienes judgado por tu alta prouidengia, Que emendando el pecador se mude la tu sentengia. 15 Por ende con penitengia e con voluntad quebrada, He mi vida ordenada, por conplir lo que f alii ; Sennor, si tu has dada Tu sentengia contra mi, Por merged te pido aqui 20 Que me sea reuocada. Con tu ayuda, Sennor, e de la Sennora mia, Podre yo muy pecador emendarme toda via, E tu seruigio sera en cobrar, esta vegada, Vna oveja muy errada, que en el yermo me perdi. POESIAS DE LOS SIGLOS XIII-XV 15 Sennor, si tu has dada Tu sentengia contra mi, For merged te pido aqui Que me sea reuocada. Non sea yo desechado de la tu merged muy grande, 5 E a sieruo tan errado con sanna non le demande, E con crueza non ande por juyzio la tu spada, E seame otorgada piedat sy fallesgi. Sennor, si tu has dada Tu sentengia contra mi, ' 10 For merged te pido aqui Que me sea reuocada. CANTAR A LA VIRGEN Sennora estrella luziente Que a todo el mundo guia, Guia a este tu siruiente 15 Que su alma en ti fia. A canela bien oliente Eres sennora conparada, De la tierra del oriente Es olor muy apreciada. 20 A ti faz clamor la gente En sus cuytas todavia, Quien por pecador se siente Llamando Santa Maria. Sennora, estrella luziente 25 Que a todo el mundo guia, Guia a este tu siruiente Que su alma en ti fia. Al cedro en la altura Te compara Salomon, 30 16 ANTOLOGIA CASTELLAN A Eguala tu fermosura Al cipres del monte Sion. Palma fresca en verdura, Fermosa e de grant valia, 5 Oliva la Escriptura Te llama, Sennora mia Sennora, estrella luziente Que a todo el mundo guia, Guia a este tu siruiente 10 ' Que su alma en ti fia. De la mar eres estrella, Del gielo puerta lunbrosa, Despues del parto donzella, De Dios Padre fija, esposa. 15 Tu amansaste la querella Que por Eua a nos uenia, E el alma que fizo ella Por ti ouo mejoria. Sennora, estrella luziente 20 Que todo el mundo guia, Guia a este tu siruiente Que su alma en ti fia. Anonimo (Fifteenth century or end of the fourteenth) LA DANZA DE LA MUERTE Dize la Muerte: Yo soy la muerte gierta a todas criaturas Que son y seran en el mundo durante, 25 Demando y digo : o omne por que curas De bida tan breue en punto pasante? Pues non ay tan fuerte nin rezio gigante POESIAS DE LOS SIGLOS XIII-XV 17 Que deste mi arco se pueda anparar, Conuiene que mueras quando lo tirar Con esta mi frecha cruel traspasante. Que locura es esta tan magnifiesta Que piensas tu, omne, que el otro morra, 5 E tu quedaras por ser bien compuesta La tu complisyon e que durara ? Non eres gierto sy en punto berna Sobre ty a dessora alguna corrupgion, De landre o carbonco, o tal ynplisyon, 10 Porque el tu vil cuerpo se dessatara. La platica muestra seer pura berdad Aquesto que digo syn otra fallengia, La sancta escriptura con gertenidad, Da sobre todo su firme sentencia, 15 A todos diziendo: fazed penitengia, Que a morir abedes, non sabedes quando, Sy non bed el frayre que esta pedricando, Mirad lo que dize de su grand sabiengia. Dize el Pedricador: Sennores honrrados,, la sancta escriptura 20 Demuestra e dize que todo omne nado Gostara la muerte maguer sea dura, Ca truxo al mundo vn solo bocado; Ca papa, o rey, o obispo sagrado, Cardenal, o duque e conde exgelente, 25 emperador con toda su gente Que son en el mundo de morir ban f orgado. Bueno e sano Consejo: Sennores, punad en fazer buenas dbras, Non vos fiedes en altos estados, Que non vos valdran thesoros nin doblas 30 A la muerte que tiene sus lazos parados. 18 Gemid vuestras culpas, dezid los pecados En quanto podades con satisfaction, Sy queredes aver complido perdon D.e aquel que perdona los yerros pasados. 5 Fazed lo que digo, non vos detardedes, Que ya la muerte encomienga a hordenar Vna danga esqiva de que non podedes For cosa ninguna que sea escapar. A la qual dize que quere leuar 10 A todos nosotros langando sus redes, Abrid las ore j as que agora oy redes De su charambela vn triste cantar. Dize la Muerte: A la danga mortal venit los nasgidos Que en el mundo soes de qualquiera estado, 15 El que non quisiere a fuerga e amidos Fazerle he venir muy toste parado. Pues que ya el frayre bos ha pedricado Que todos bayaes a fazer penitengia, El que non quisiere poner diligengia 20 ' Por mi non puede ser mas esperado P rimer amente llama a su danga a dos Donzellas: Esta mi danga traye de presente Estas dos donzellas que bedes fermosas, Ellas vinieron de muy mala mente Oyr mis cangiones, que son dolorosas. 25 Mas non les baldran flores e rosas Nin las conposturas que poner solian, De mi sy pudiesen partir-se querrian, Mas non puede ser, que son mis esposas. A estas e a todos por las aposturas so Dare fealclad la bida partida, E desnudedad por las bestiduras, Por syempre jamas muy triste aborrida; POESIAS DE LOS SIGLOS XIII-XV 19 E por los palagios dare por medida Sepulcros escuros de dentro fedientes, E por los man] ares gusanos rroyentes. Que coman de dentro su came podrida. E porque el santo padre es muy alto sennor 5 Que en todo el mundo non ay su par, E desta mi danga sera guiador, Desnude su capa, comienge a sotar; Non es ya tiempo de perdones dar, Nin de celebrar en grande aparato, 10 Que yo le dare en breue mal rrato: Dangad, padre santo, syn mas de-tardar. Dize el Padre Santo: Ay de mi, triste, que cosa tan fuerte, E yo que tractaua tan grand prelasia, Aber de pasar agora la muerte 15 E non me baler lo que dar solia. Benefigios, e honrras e grand sennoria, Tone en el mundo pensando beuirj Pues de ti, muerte, non puedo fuyr, Bal me Ihesucristo e la birgen Maria. 20 Dize la Muerte: Non bos enojedes, sennor padre santo, De andar en mi danga que tengo ordenada, Non vos baldra el bermejo manto, De lo que fezistes abredes soldada. Non vos aprouecha echar la cruzada, 25 Proueer de obispados nin dar benefigios, Aqui moriredes syn fazer bolligios: Dangad imperante con cara pagada. Dize el Enperador: Que cosa es esta que a tan syn pauor Me lleua a su danga a f uerga syn grado ? 30 Oreo que es la muerte que non ha dolor 20 ANTOLOGIA CASTELLANA De ome que sea grande o cuytado. Non ay ningund rrey nin duque esforgado Que della me pueda. agora defender, Acorredme todos,, mas non puede ser, 5 Que ya tengo della el seso turbado. Dize la Muerte: Enperador muy grande en el mundo potente, Non vos cuytedes, ca non es tiempo tal, Que librar vos pueda inperio nin gente, Oro nin plata, nin otro metal. 10 Aqui perderedes el buestro cabdal, Que athesorastes con grand tyrania, Faziendo batallas de noche e de dia: Morid, non curedes, benga el cardenal. One by one, Death summons the Cardinal, the King, the Pa- triarch, the Duke, the Archbishop, the Constable, the Bishop, the Knight, the Abbot, the Squire, the Dean, the Merchant, the Arch- deacon, the Lawyer, the Canon, the Physician, the Priest, the Husbandman, the Monk, the Usurer, the Friar, the Porter, the Hermit, the Accountant, the Deacon, the Tax-collector, the Sub- deacon, the Sacristan, the Rabi, the Alfaqui, etc. Then come the last two stanzas of the poem. Lo que dize la Muerte a los que non nombro: A todos los que aqui no he nombrado is De cualquer ley e estado o condygion, Les mando que bengan muy toste priado A entrar en mi danga sin escusagion. Non rescibire jamas exebgion, Nin otro libelo nin declinatoria, 20 Los que Men fizieron abran syempre gloria, Los quel contrario abran dapnagion. POESIAS DE LOS SIGLOS XIH-XV 21 Dizen los que han de pasar por la Muerte: Pues que asy es que a morir abemos De nesgesidad syn otro remedio, Con pura congiengia todos trabajemos En servir a Dios sin otro comedio. Ca el es principio, fyn e el medio 5 Por do si le plaze abremos folgura, Avn que la muerte con danga muy dura Nos meta en su corro en cualquer comedio. Anonimo REVELACION DE UN ERMITANO (Esta es una revelation que acaesfid d un ome bueno, Jiermitanno de santa bida, que estava rezando una noche en su hermita e oyo esta rrevelafion, el qual luego la escrivio en rymas, ca era sabidor en esta fienfia gay a.) Comienga e dize asy: Despues de la prima la ora pasada, En el mes de enero la noche primera, 10 En CCCC. e beynte durante la hera, Estando acostado alia en mi posada; Non pude dormir essa trasnochada, A la mannana un suenno me bino, Veredes, sennores, lo que me abino 15 Mientra pasava el alumbrada. En un balle fondo, escuro, apartado, Espeso de xaras, sonne que andava Buscando salida e non la fallava, Tope con un omne que yazia fynado. 20 Holia muy mal, ca estava fynchado, Los ojos quebrados, la faz denegrida, La boca abierta, la barba cayda, De gusanos e moscas muy acompannado. 22 ANTOLOGIA CASTELLANA Mirando el cuerpo de chico balor, Oy una boz aguda muy fiera, Abri los mis ojos por mirar quien era, Vi una ave de blanca color. 5 Dezia contra el cuerpo : hereje, tray dor, Del mal que feziste, si eres repiso, Por tu bana-gloria e falso riso, Yo en el infierno bivo con dolor. Dize el cuerpo: Essa ora el cuerpo fizo movimiento, 10 Algo la cabega, comengo a fablar, E dixo: sennora, <;por que tanto culpar Me queres agora syn meresgimiento ? Que sy dixe 6 fize fue por tu talento, Sy non mira agora qual es mi poder, 15 Que estos gusanos non puedo toller, Que comen las carnes de mi criamiento. Dize el dnima: cuerpo maldito, vil, enconado, Leno de fedor e de grand calabrina, Metieronte en foyo, cubrieronte ayna, 20 Dexaronte dentro a mal de tu grado. Por ende tu piensas que as ya librado, Primero seras delante el derecho, Donde daras cuenta de todo tu fecho Que en el mundo feziste, do poco has durado. Dize el cuerpo: 25 dPor que, sennora, mas enojar Me queres agora en esta sazon? Que en quanto dexiste non tienes razon, Vete en buena ora, dexes-me estar. POESIAS DE LOS SIGLOS XIII-XV 23 Pues el Sennor nos ha de juzgar E dara a cada uno su meresgimiento, Mas bien me paresces que eres gimiento, Pues por tus malos fechos has de penar. Ellos estando en esta porfia, 5 Salio un diablo negro de un espesura, Gesto espantable, de mala figura, Tynazas de fierro en las manos traya. Dixo contra el anima: tii seras mia, E conmigo yras alia a mi posada, 10 Adonde seras bien adverguada, Que alia fallaras asaz conpannia. El angel de Dios que esto beya, Fue contra el malo muy ayrado, E dixo : diablo sey ya pagado is De quanto mal fazes de dia en dia. Pues te atreves con grande osadia, De mi tii yras mal baratado, Aunque te pese a mal de tu grado, Aquesta anima sera toda mia. 20 El Almirante Diego Furtado de Mendoza (Second half of the fourteenth century and early fifteenth) A aquel arbol, que mueve la foxa, Algo se le antoxa. Aquel arbol del bel mirar Fage de manyera f lores quiere dar: Algo se le antoxa. 25 Aquel arbol del bel veyer Fage de manyera quiere florecer: Algo se le antoxa. 24 ANTOLOGIA CASTELLANA Fage de many era f lores quiere dar: Ya se demuestra; salidlas mirar: Algo se le antoxa. Fage de manyera quiere florecer: 5 Ya se demuestra; salidlas a ver: Algo se le antoxa. Ya se demuestra; salidlas mirar: Vengan las damas las f ructas cortar : Algo se le antoxa. Alfonso Alvarez de Villasandino (f 1428?) CANTIGA: SE VILLA 10 Lynda syn conparagion, Claridat e luz de Espana, Plazer e consolagion, Briosa cibdat extrana, El mi coragon se ban a, 15 En ver vestra maravilla, Muy poderosa Sevilla Guarnida d'alta compana. Parayso terrenal Es el vestro nonbre puro ; 20 Sobre cimiento leal Es fundado vestro muro, Onde byve amor seguro Que sera sienpre ensalgado : Sy esto me fuer negado 25 De mal digientes non euro. Desque de vos me party Fasta agora que vos veo, Bien vos juro que non vy Vestra egual en asseo: POESIAS DE LOS SIGLOS XIII-XV 25 Mientra mas miro e oteo Vestras duenas e donzellas, Eesplendor nin luz de estrellas Non es tal, segunt yo creo. En el mundo non ha par 5 Vestra lyndeza e folgura, Nin se podrian ffallar Duenas de tal fermosura: Donzellas de grant mesura Que en vos fueron criadas, 10 Estas deven ser loadas En Espana de apostura. Micer Francisco Imperial (Early fifteenth century) DEZIR Non fue por gierto mi carrera vana, Passando la puente de Guadalquivir, Atan buen encuentro que yo vi venir 15 Kribera del rio, en medio Triana, A la muy fermosa Estrella Diana, Qual sale por mayo al alva del dia, Por los santos passes de la romeria : Muchos loores aya santa Ana. 20 E por galardon demostrar me quiso La muy delicada flor de jazmin, Eossa novela de oliente jardin, E de verde prado gentil flor de lyso, El su gragioso e onesto rysso, 25 Ssemblante amorosso e viso ssuave, Propio me paresge al que dixo: Ave, Quando enviado fue del paraysso. 26 ANTOLOGIA CASTELLANA Callen poetas e callen abtores, Omero, Oragio, Vergilio e Dante, E con ellos calle Ovidio D'Amante E cuantos escripvieron loando senores, 5 Que tal es aquesta entre las me j ores, Commo el lugero entre las estrellas, Llama muy clara a par de centellas, E commo la rrosa entre las flores. Non se desdene la muy delicada 10 Enfregymio griega, de las griegas flor, Nin de las troyanas la noble senor, For ser aquesta atanto loada; Que en tierra liana e non muy labrada, Nasge a las vezes muy oliente rrosa, 15 Assy es aquesta gentil e fermosa, Que tan alto meresge de ser comparada. Ruy Paez de Ribera (Early fifteenth century) DEZIR SOBRE LA FORTUNA Dizen los sabios : Fortuna es mudable, E non me paresge que deve seer tal, Que antes la veo seer muy espantable 20 A do una vegada comienga yr mal: Que fasta que acaba todo el cabdal, Nunca mudanga faze la fortuna, Ca sienpre en el pobre la veo seer una Fasta destruyr el bien principal. 25 Quando ella quiere tomar su venganga, Pone al pobre en mayor probega, E nunca jamas faze mudanga, Salvo con muerte, postrera crueza: La qual probedat es dolor e vileza, POESIAS DE LOS SIGLOS XIII-XV 27 Tormento aborrido sin comparagion, Afan syn rremedio con desesperagion, For la qual pierde el noble su altega. El pobre non tiene parientes ni amigos, Donayre nin seso, esfuergo e sentido, 5 E por la proveza le son enemigos Los suyos mesmos por veer lo caydo : Todos lo tienen por desconogido E non se les mienbra del tienpo pasado, Sy algunt benefigio ovieron cobrado 10 De aquellos de quien el ha descendido. En cosa que diga nin faga por obra Non tiene gragia virtud nin aseo, E por que a todos en pobreza ssobra Su dicho es tenido por grant devaneo : 15 E tiene otra tacha peor que le veo Que dizen que es loco sy es esforgado, E dizen que es torpe sy es sosegado, Asy que su vida es sienpre en desseo. Quanto es de triste la gafa proveza, 20 Mesquina, lazdrada e muy espantosa, Atanto es de noble la linpia rriqueza, Gentil e alegre, muy dulge, sabrosa, Sabia, esforgada, fidalga, gragiosa, Ardid e polida, cort6s, mesurada, 25 Garrida e briosa, muy bien costunbrada, Onrrada e temida, sotil e donosa. 28 ANTOLOGIA CASTELLANA El rrico es sesudo, sotil e gragioso, Gentil e garrido, e linpio esforgado, Mas que pavon logano e donosso, Ardid e muy bravo, e rrizio provado, 5 E mas quel azero qu'es fuerte azerado Es la del rrico su grant fortaleza, Ca estas virtudes le ponen rriqueza, Las quales f allesgen en el pobre cuytado. Non siento en el rrico ningunt fallimiento, 10 Nin creo que pueda en el ser fallado, Non siento en el pobre ningunt conplimiento Salvo de cuytas que bive abastado: Pero ay un rremedio que veo provado Que el pobre, el rrico, que todo fallesge, 15 E todo en el mundo por muerte perege, E todo se olvida desqu'es traspasado. El Condestable Alvaro de Luna (First half of the fifteenth century) Si Dios, nuestro Salvador, Ovier de tomar amiga, Fuera mi competidor. 20 Aun se m'antoxa, senyor, Si esta tema tomaras, Que justas e quebrar varas Fieieras por su amor. Si fueras mantenedor, 25 Contigo me las pegara, E non te alzara la vara, Por ser mi competidor. POESIAS DE LOS SIGLOS XIII-XV 29 II Senyor Dios, pues me causaste Sin comparagion amar, Tu me deves perdonar Si pase lo que mandaste. Mandaste que ombre amasse 5 A ti mas que a otra cosa, Et causaste que fallase Ombre amiga tan gragiosa, Generosa, mas fermosa De quantas, senyor, creaste, 10 La qual yo amo sin par De amor tan singular, Que no ay seso que baste. Formaste la creatura A tu semblanga, senyor, 15 De la tu santidat pura Me f eziste amador : Quien figura tal figura, Tal qual tu la figuraste, Es causa de dar lugar 20 Para algun tiempo olvidar A ti que me la mostraste. Fernan Perez de Guzman (1378-1460) DECIR EN HONOR DE LEONOR DE LOS PANOS El gentil nino Nargiso En una fuente enganado, De ssy mesmo enamorado, 25 Muy esquiva muerte priso: Senora de noble rriso 30 ANTOLOGIA CASTELLANA E de muy gracioso brio, A mirar fuente nin rrio Non se atreva vuestro viso. Deseando vuestra vida 5 Aim vos do otro consejo, Que non se mire en espejo Vuestra faz clara e garrida: (iQuien sabe sy la partida Vos sera dende tan fuerte, 10 Por que fuese en vos la muerte De Narciso repetida ? Prados, rrosas e flores Otorgo que los miredes, E plaze me que escuchedes 15 Bulges cantigas de amores; Mas por sol nin por calores Tal codigia non vos ciegue; Vuestra vista syenpre nyegue Las fuentes e sus dulgores. 20 Con plazer e gozo e ryso Rruego a Dyos que rresplandezcan Vuestros bienes e florezcan Mas que los de Dido Elisa: Vuestra faz muy blanca, lisa, 25 Jamas nunca syenta pena, A Dyos, flor de azuzena, Duela vos de 'sta pesquisa. POESIAS DE LOS SIGLOS XIII-XV 31 Juan de Mena (1411-1456) EL LABERINTO Macias Tanto anduvimos el cerco mirando A que nos hallamos con nuestro Macias, Y vimos que estaba llorando los dias En que de su vida tomo fin amando; Llegue mas acerca turbado yo, quando 5 Vi ser un hombre de nuestra nacion, Y vi que decia tal triste cancion, En elegiaco verso cantando: Amores me dieron corona de amores Porque mi nombre por mas bocas ande, 10 Entonces no era mi mal menos grande, Quando me daban placer sus dolores; Vencen el seso sus dulces errores, Mas no duran siempre, segun luego aplacen, Pues me hicieron del mal que vos hacen, 15 Sabed al amor desamar, amadores. Huid un peligro tan apasionado, Sabed ser alegres, dexa de ser tristes, Sabed deservir a quien tanto servistes, A otro que amores dad vuestro cuidado; 20 Los cuales si diesen por un igual grado Sus pocos placeres, segun su dolor, No se quexaria ningun amador, NI desesperaria ningun desamado. Bien como quando algun malhechor 25 Al tiempo que hacen de otro justicia, Temor de la pena le pone codicia De alii en adelante vivir ya mejor; 32 ANTOLOGIA CASTELLANA Mas desque pasado por aquel temor Vuelve a sus vicios como de primero. Asi me volvieron a do desespero Amores, que quieren que muera amado.w Rodrigo Gota (Fi. 1490) CANTARCILLO 5 Vista ciega, luz oscura, Gloria triste, vida muerta, Ventura de desventura, Lloro alegre, risa incierta: Hiel sabrosa, dulce agrura, 10 Paz con ira y sana presta Es amor, con vestidura De gloria que pena cuesta. Anonimo COPLAS DE MINGO REVULGO I Gil Arribato Ah Mingo Kebulgo, Mingo, Ah Mingo Rebulgo, ahao, 15 jCuan triste vivir! Morir por la patria, I Que bello morir! Partamos al campo, 5 Que es gloria el partir; La trompa guerrera Nos llama a la lid: La patria oprimida, Con ayes sin fin 10 Convoca a sus hijos, Sus ecos oid. (j Quien es el cobarde, De sangre tan vil, Que en rabia no siente 15 Sus venas hervir? I Quien rinde sus sienes A un yugo servil Viviendo entre esclavos, Odioso vivir? 20 Placeres, halagos, Quedaos a servir A pechos indignos De honor varonil ; Que el hierro es quien solo 25 Sabra redimir De afrenta al que libre Juro ya vivir. 256 ANTOLOQIA CASTELLANA Adios, hijos ticrnos Cual f lores de abril; Adios, dulce lecho De esposa gentil : 5 Los brazos, que en llanto Baiiais al partir, Sangrientos, con honra, Vereislos venir; Mas tiemble el tirano 10 Del Ebro y del Rin, Si un astro a los buenos Prote.ge feliz. Si el hado es adverso, Sabremos morir . . . 15 Morir por Fernando Y etemos vivir. Sabra el suelo patrio De rosas cubrir Los huesos del fuerte 20 Que espire en la lid: Mil ecos gloriosos Diran: Yace aqui Quien fue su divisa Triunfar 6 morir. 25 Vivir en cadcnas, jCudn triste vivir! Morir por la patria, I Que bello morir! POESIAS DEL SIGLO XIX 257 Francisco Martinez de la Rosa (1787-1862) EPfSTOLA AL DUQUE DE FRIAS (CON MOTIVO DE LA MUERTE DE LA DUQUESA) jDesde las tristes margenes del Sena, Cubierto el cielo de apinadas mibes, De nieve el suelo, y de tristeza el alma, Salud te envia tu infeliz amigo, A ti mas infeliz ! Y ni le arredra 5 El temor de tocar la cruda llaga, Que aiin brota sangre, y de inirar tus ojos Banarse en nuevas lagrimas. <; Que fuera Si no llorara el hombre? Yo mil veces He bendecido a Dios, que nos dio el llanto 10 Para aliviar el corazon, cual vemos Calmar la lluvia al mar tempestuoso. Llora, pues, llora ; otros amigos f ieles, De mas saber y de mayor ventura, De la estoica virtud en tus oidos is Haran sonar la voz; yo que en el mundo Del caliz de amargura una vez y otra Apure hasta las heces, no halle nunca Mas alivio al dolor que el dolor mismo; Hasta que ya cansada, sin aliento, 20 Luchando el alma, y reluchando en vano, Bajo el inmenso peso se rendia. ,; Lo creeras, caro amigo ? Llega un tiempo En que gastados del dolor -los f ilos, Ese afan, esa angustia, esa congoja, 25 Truecanse al fin en placida tristeza; Y en ella absorta, embebecida el alma, 258 ANTOLOQIA CASTELLANA Repli6gase en si misma silenciosa, Y ni la dicha ni el placer envidia. Tii dudas que asi sea; y yo otras veces Lo dude como tu ; juzgaba eterna 5 Mi profunda afliccion, y grave insulto Anunciarme que un tiempo fin tendria . . . Y le tuvo: de Dios a los mortales Es esta otra merced ; que asi tan solo, Entre tantas desdichas y miserias, 10 Sufrir pudieran la cansada vida. Espera, pues; da credito a mis voces, Y f iate de mi. <; Quien en el mundo Compro tan caro el triste privilegio De hablar de la desdicha ? En tantos aiios, 15 Vajii of the Biblioteca de autores espailoles. His works are in process of publication by the Spanish Academy, under the editorship of Mem'ndrx y IVhiyo. A consider- able number of them may be found in four volumes of the Biblio- teca de autores espanoles. Of. Barrera's Nueva biografia de Lope de Vega prefixed to vol. I of the Academy edition ; and Ticknor, II, 152 ff.; Fitzmaurice-Kelly, Spanish Literature (New York, 1898), pp. 241 ff. Page 147. 1. 26. A hillaby sung by Mary in the pastoral Los pastores de Belen. Cf. the translation in Ticknor, II, 177. Page 161. 1. 9. Dom Sebastian, king of Portugal, was slain and his army destroyed while engaged on an expedition in Morocco (1578). 1. 20. asillo, i.e., asirlo. Page 152. 1. 1. Translated by Longfellow (Riverside ed., 1886, VI, 204). 1. 4. escuras, i.e., oscuras. 1. 10. agora, i.e., ahora. 1.15. Translated by Longfellow, I.e., p. 203. Page 153. 1. 1. A satire on the affected vocabulary of some of the writers of the siglo de oro, which is imitated in the nonsense uttered by the maid. Throughout his works Garcilaso's diction is eminently Castilian. 1. 12. habemos : older and fuller form of hemos. 1. 14. Vizcaya : where, of course, Basque and not Spanish is the popular speech. 1. 15. There is an English poetical version of this sonnet by J. Y. Gibson. Voiture's French Rondeau: Mafoy, c'estfaitdemoy, car Isabeau, is of the same class of literature. Cf. Iriarte's sonnet, p. 227. JOSE DE VALDIVIELSO (or VALDIVIESO). The author of some autos sacramentales and of a long poetical Vida de San Jose, but chiefly noteworthy as a writer of melodious religious lyrics. Cf. his Romdncero espiritual, Madrid, 1880. PEDRO DE ESPINOSA. The editor of an anthology of lyrics, Flores de poelas ilustres de Espafia, 1605 (see the reprint in the Bi- blioteca de autores espanoles, vol. 42) and himself a lyric and nar- rative poet of some merit. He includes some of his own lyrics in the Flores, along with selected poems of some thirty- five other NOTES 371 writers. The idyll, Lafdbrica del Genii, is printed in full in vol. 29 of the Biblioteca de autores espailoles. RODRIGO CARO. An antiquarian and the probable author of the ode on Itdlica a Roman city near Seville which was long attributed to Rioja (cf. p. 170). Of. Sismondi, Historia de la litera- tura espailola, (Spanish translation), Seville, 1842, vol. II, p. 173; R. Caro, Obras ineditas, Seville, 1885. JUAN DE JAUREGUI. Noted for his excellent Spanish version of Tasso's Aminta, Jauregui was at first a bitter opponent of Gongorism, as appears in the preface to his Rimas (1618). In his later narrative poem Orfeo, and in his translation of Lucan's Phar- salia, he succumbed to the influence of that very style. The silva from which a selection is given here is his best lyric. Cf. vol. II, pp. 18 ff. of the Liricos del siglo XVI in the Biblioteca de autores es- paTioles; Ticknor, III, 33 ff. FRANCISCO GOMEZ DE QUEVEDO. Quevedo played an important part in the public life of his time, but is famous mainly for his picaresque novel, El gran tacafto, and for his mordant satirical poems. At first he sought to stem the tide of Gongorism, but in his later works he let himself float with the current. See his poems in the Biblioteca de autores espanoles, vol. 69, and cf. Tick- nor II, 274 ff ; E. Merimee, Essai sur la vie et les oeuvres de Fran- cisco de Quevedo, Paris, 1886. His collected works are now being published by the Sociedad de bibliufilos andaluces. Page 159. 1. 18. Cf. a similar poem by Hita in the Biblioteca de autores espailoles, vol. 57, p. 241. Page 160. 1. 28. Dona Blanca de Castilla: daughter of Al- fonso IX. of Castille, wife of Louis XIII. of France, mother of St. Louis; died in 1252. She wielded much influence in state affairs. 1. 33. This stanza illustrates Quevedo's tendency toward cultism and conceits. Page 162. 1. 12. Ovidio Nas6n: a pun on Ovid's name, due to its resemblance to Latin nasus. 1. 16. naricismo, nosiness. 1. 18. Anas : cf. St. Luke iii. 2, etc. Page 163. 1. 1. This epistle was addressed to Olivares, (f 1645) the favorite and minister of Philip IV. Page 164. 1. 21. mal hablada, rude-tongued. 372 XOTES 1. 22. This sonnet contains a prophecy which recent events have consuniinalcd. Un godo: Pelayo, who, after the defeat of Roderick the Goth, gathered about him in the cave of Covadonga in Asturias the remnants of the Spanish army, and begun the work of reconqucst . 1. 24. Betis : the Guadalquivir. Genii : a river of the province of Granada. Page 165. 1. 1. Navarra: Navarre was annexed by Ferdinand the Catholic in 1512. 1. 2. casamiento: i.e., the marriage of Ferdinand of Aragon with Isabella of Castile and Leon. Sicily belonged to the crown of Aragon at the time of the marriage; Naples was formally annexed to it in 1504; Milan was acquired during the struggle between France and Spain in northern Italy. 1. 5. Muerte infeliz : upon the death of Dom Sebastian, king of Portugal, who was slain in Morocco in 1578, the Portuguese crown was assumed by his uncle Enrique. The latter died without an heir in 1580, and Philip II. annexed Portugal to Spain. I. 6. Godos : i.e., the Spaniards as descendants of the Visigoths. II. 8-10. An imitation of Seneca in the Epistolae ad Lucilium: " Quod unus populus eripuerit omnibus, facilius uni ab omnibus eripi posse." L BACHILLER DE LA TORRE. In 1631 Quevedo pub- lished a small volume of poems, declaring them to be the work of a Bachiller Francisco de la Torre. L. J. Velazquez, who reprinted the poems at Madrid, 1753, maintained that they were Quevedo's own. An Italian influence is clear in them, and it is probable that they were composed by the Francisco de la Torre to whom Quevedo ascribed them. Cf. Fernandez-Guerra in vol. II, pp. 79-104 of the Discursos of the Real Academia Espanola (Madrid, 1861); Ticknor, II, 282 ff: Fitzmaurice -Kelly, Histoi'y of Spanish Literature, 184 ff. FRANCISCO DE BORJA, PRfNCIPE DE ESQUILACHE. Esquilache was of the Borgia family and partly Italian in origin. Most of his verse is natural, simple and in a light vein. Oc- casionally he lapses into Gongorism. See vol. II of the Poetas liricos del siglo XVTin the Biblioteca de autores espanoles; and cf. Ticknor, III, 40 ff., where the Fuentecillas que reis is translated. Page 169. 1. 26. el aurora: the older more general use of el before feminine words beginning with a. 1. 28. An attraction of the verb by the predicate. NOTES 373 FRANCISCO DE RIOJA. A cleric, protege of Olivares, and disciple of Herrera, he has left us a few poeins characterized by perfection of form and a generally melancholy and resigned tone. Cf. his Poesias published by Barrera for the Sociedad de bibliofilos es- panoles, Madrid, 1867, and the Adiciones of the same editor, Seville, 1872; see also vol. I of the Lirieos del siglo XVI. Page 171. 1. 13. asconde, i.e., esconde. 1. 14. Paro: i.e., Pares, an island in the .^Egean sea, famous for its marble. PEDRO SOTO DE ROJAS. A friend of Lope de Vega, and the author of lyrics and eclogues in the Italian manner, published under the title of DesengaTios de amor, Madrid, 1623. Cf. the Par- naso of Sedano, Madrid, 1768, etc., vol. IV; and see Ticknor, III, 56. ESTEBAN MANUEL DE VILLEGAS. An opponent of Gongorism and well trained in the humanities, Villegas shows a decided influence of the classics in his erotic verse published under the title of Eroticas 6 Amatorias (1617). He has happily imitated Horace, Catullus and Anacreon. Cf. the ed. of his poems, Madrid, 1774; Sedano, Parnaso, vol. IX; vol. II of the Lirieos del siglo XVI; and see Ticknor III, 36 ff. Page 177. 1. 9. A good example of Sapphic verse in Spanish. SALVADOR JACINTO POLO DE MEDINA. A satirist and imitator of Quevedo. Cf. his Obras, Saragossa, 1670; and see vol. II of the Lirieos del siglo XVI, in the Biblioteca de autores espa- noles. According to Ticknor, III, 38, note, the Apolo y Dafne "is partly in ridicule of the culto style." Page 178. 1. 16. con mil sales, with a thousand graces. Page 179. 1.10. jViveChipre! a disguised oath. PEDRO CALDERON DE LA BARCA. The compeer of Lope de Vega in the history of the Spanish drama, Calderon is certainly Lope's equal, if not his superior, in lyrism. Less inventive and less prolific than the earlier poet, Calderon surpasses him in all that re- lates to perfection of form. His lyrics have been collected in part in the volumes entitled Poesias, Cadiz, 1845, and Poesias ineditas (Biblioteca universal), Madrid, 1881. Cf. Ticknor, II, 346 ff.; Giin- ther, Calderon und seine Werke, Freiburg, 1888; Menendez y Pelayo, Estudios, II; R. C. French, Calderon, his life and genius (New York, 1856 and since). 374 NOTES Page 181. 1. 11. A selection from the drama El mdgico prodi- gioso, Jornada tercera, Escena V. Page 183. 1. 13. This famous passage containing the counsel of the alcalde to his son occurs in Jornada segunda, Escena XXII of the play El alcalde de Zalamea. It must remind one of the ad- vice of Polouius to his son in Hamlet, Act I, Scene III. Page 184. 1.26. entres, vuestro. The combination is ungram matical, but the refrain is thus given by Ticknor, II, 353, note (5) A correction to entreis seems permissible. AGUSTIN DE SALAZAR TORRES. Salazar's lyrics, pub- lished posthumously (1677) as La cythara de Apolo, evince in him a Gongoristic strain as well as some imitation of the manner of Villa- mediana. Cf . vol. II of the Liricos del siglo X VI in the Biblioteca de autores espailoles; Ticknor, III, 27; Menendez y Pelayo, Poetas hispano-americanos, I, p. Ixiv. SOR JUAN A INES DE LA CRUZ. A Mexican nun who has left us secular poems written doubtless before her profession full of force and the genuine fervor of love, and religious poems of a mystic and ascetic tendency. She was a humanist by temperament and, as the Redondillas in defense of women show, a vigorous champion of her sex's rights. Cf. Menendez y Pelayo, Antologia de poetas Jiispano-americanos, vol. I (Madrid, 1893 : published by the Academy), pp. 5 ff., with an excellent sketch of her life and work on pp. Ixvi f f . ; Liricos del siglo XVI, vol. II: Ticknor, III, 51 note. Page 186. 11. 11-12. Para... Lucrecia, a Lais with allusion to the celebrated courtesan of Corinth wlien courted, a Lucretia i.e., a model of virtue w/ten won. POESfAS DEL SIGLO XVIII IGNACIO DE LUZAK The founder of the so-called French school of writers of the eighteenth century, who by subordinating literary production in Spain to the rigid rules that obtained in French literature sought to correct the license that prevailed in Spanish letters of the time. Luziin declared the aims and tenets of the new school in his Poetica (1737). He was stronger as a critic than as a creative spirit. Cf. vol. I of the Poetas llricos del siglo XVIII in the Biblioteca de autores espanoles; Ticknor III, 263 ff. NOTES 375 See, in general, on the eighteenth century, Cueto's Bosquejo histbrico- critico de la, poesia castellana en el siglo XVIII, prefixed to vol. 61 (tome I) of the Biblioteca de autores espanoles. Page 191. 1. 2. Sdrmata: the Sarmatian, regarded as the an- cestor of the Russian and Pole. 1. 6. rifeos montes: the Rhyphean mountains, said to be to the north of Scythia and sometimes identified with the Carpathians. 1. 12. Ceto, i.e., the whale. GARCf A DE LA HUERTA. A fierce opponent of the French school inaugurated by Luzan. He published at Madrid in 1778, a volume of poems in the old Spanish manner, without obtaining any degree of success. Of. vol. I of the Poetas liricos del siglo XVIII in the Biblioteca de autores espanoles. JORGE PITILLAS. A pseudonym for Jose Gerardo de Her- vas. The famous satire in which he attacked the bad writers of his time argues for the doctrines of the French law-giver Boileau, and in form strongly suggests Quevedo's Epistle to Olivares (cf. p. 163). Attributed to Isla, it was published in the Rebusco de las obras litera- rias de J. F. de Isla, Madrid, 1790. Cf. E. Brinckmeier, Floresta de sdtiras, etc., Leipzig, 1882; Fitzinaurice-Kelly, p. 348. Page 193. 1. 13. Las piedras, etc.: cf. the idiom, Quien calla, piedras apafla, said of one who picks up remarks, intending to use them later. Page 194. 1. 18. Marin, etc. : publishers. 1. 25. voces de pie y medio: cf. Horace's sesquipedalia verba. Page 195. 1. 11. Derelinques: cf. the Latin derelinquere, to abandon. 1. 16. boquilobo : cf . boca de lobo, dense darkness. 1. 17. Cienpozuelos : i.e., any plain individual. 1. 26. la irascible: supply lengua. Page 196. 1. 1. Pero, etc.: i.e., the die is cast. 1. 8. cata y cala: cf. hacer cala y cata, to examine a thing to ascertain its quantity and quality. NICOLAS FERNANDEZ DE MORAT^N. A prominent member of the French school, Moratin the elder wrote a drama, Hormesinda, according to the French classic rules, and an epic poem, Las naves de Cortes, celebrating the burning of his ships by the Conquistador. He is best remembered for his popular quinlillas 376 NOTES on The Bullfight, conceived entirely according to the old Spanish manner. Cf. his poems published with the works of his son Leundro in vol. II of the Biblioteca de autores espailoles. Page 197. 1. 17. moraicel: a Moorish officer. 1. 27. alcadi: i.e., cadi with the Arabic article prefixed. Page 198. 1. 9. Jarama: a river flowing into the Tagus near Aranjuez. 1. 34. zambrero : cf . zambra, a rout, a revel. Page 199. 1. 17. entablerado, close to t/ie tableros or barrier. 1. 23. emplazandose : cf. v. 31. Page 200. 1. 1. alazano: the more usual form is alazan. Page 202. 1. 17. Rodrigo de Bivar: cf. note p. 117, 1. 22. 1. 25. Fernando: Ferdinand I. (1037-1067) king of Castile. In the stories about the Cid he is sometimes confounded with his son Alfonso. Page 204. 1. 4. Se engalla, stands rigid and ftaughty. JOSE DE CAD ALSO. An army officer and a man of catholic tastes, having lived and travelled much abroad. He was killed at the siege of Gibraltar. As a writer, he belonged to the French school, for his tragedy Don Sanclw Garcia was composed according to the French rules. He made verse translations of portions of the Paradise Lost, and imitated Young's Night Thoughts in his NocJtes litgubres. Cf. his Obras, Madrid, 1818; Ticknor, III, 302; vol. I of the Poetas liricos del siglo XV III in the Biblioteca de autores espa- noles. GASPAR MELCHOR DE JOVELLANOS (or JOVE LLA- NOS). A statesman and litterateur. For a while he was Minister of Justice at the court of Carlos IV. He was a bitter opponent of the French invader, yet in his drama El delincuente honrado he con- formed to the French literary canons. The present song shows clearly his patriotic feelings. See his works in the Biblioteca de au- tores espanoles, vols. 46 and 50; Ceiin Bermudez, Memorias de Jove- llanos, Madrid, 1814; Ticknor, III, 322 ff.; E. Merimee in the Revue hiapanique I, 34 ff. Page 208. 1. 21. eltirano: i.e., Napoleon. 1. 22. Pelayo: cf. note to p. 164, 1. 22. 1. 24. Sella : this name and the others mentioned in this stanza are those of places and rivers in Asturias. Page 209. 1. 5. Reference to the Roman campaigns in Spain NOTES 377 from the beginning of the Second Punic War down to the time of Octavian. 11. 12-18. The barbarian invasion of 409 A.D. 1. 16. Leovigildo: king of the Visigoths (f 589). 1. 18. Arvas (or Arbas) : a village of Oviedo. 1. 21. Lete, i.e., Guadalete, a river flowing into the Bay of Cadiz, near which the Arabs defeated Roderick. Piles: a river of Oviedo in Asturias. Tarique : Tarik, commander of the invading Arabs. 1. 28. Auseva, Auseba, the mountain of Asturias containing the cave of Covadonga in which Pelayo and his followers took refuge from the Arabs. 1. 31. Ildefonso: San Ildefonso, bishop of Toledo (f 667). Page 210. 1. 18. Bailen: a city of the province of Jaen. Here, on July 19, 1808, the Spaniards defeated the French under General Dupont. Cf. Galdos' story of Bailen. 1. 20. Valencia: the French evacuated this city July 5, 1813. 1.21. Zaragoza: allusion to the heroic defense of Saragossa against the French. It was taken by them, on February 26, 1809, only when most of the defenders had perished. Cf. Galdos's Zaragoza. 1. 23. Alcaniz: a city of Teruel. The French General Suchet was defeated here, May 23, 1809. 1. 24. Alberche: river of Toledo, flowing into the Tagus. 1. 25. Tormes : a tributary of the Duero. 1. 26. Aranjuez : town of province of Madrid. The French were defeated there, August 5, 1809. 1. 27. Gerona: capital of province of Gerona. The town was captured by the French after a desperate siege of seven months. 1. 28. Llobregat : a river of the province of Barcelona. I. 29. Gades: i.e., Cadiz. In 1812, the year after the death of Jovellanos, the Cortes met there and proclaimed the Constitution. II. 32-34. Lena, etc. : places in Oviedo. JUAN MELENDEZ VALDES. Appointed a Professor at the University of Salamanca by Jovellanos, Melendez Valdes there be- came head of a school of writers called the Salamancan school who adopted French methods in the composition of Spanish lyric poetry. In politics, Melendez was also a French sympathizer, and as such he was made a counsellor and Minister of Public Education under Joseph Bonaparte. With the fall of the Napoleonic power he had to leave Spain in 1813, and in 1817 be died in France. 378 NOTES Melody, lucidity and plasticity are the chief characteristics of his verse, which is somewhat marred, however, by an excess of Gal- licisms. Cf. his Poesias, Madrid. 1785 (and 1820); vol. II of Foetus liricos del siglo X VIII in the Biblioteca de autoi'es espanoles, vol. 63; the Life by Quintana in the edition of the Poesias, Madrid, 1820, and in vol. 19 of the Biblioteca de autores espafloles; E. Merimee in the Revue hispanique, I, 217 ff.; Ticknor, III, 311 ff. Page 211. 1. 20. Cf. this ode in arte menor with Lamartine's poem, Au rossignol; Lamartine's lyric strongly resembles this. Page 214. 1. 19. Not infrequently, as here, Melendez adhered to the native Spanish measures. FRAY DIEGO GONZALEZ. An Augustinian monk, and a member of the Salamancan school headed by Melendez. But his sympathies were divided between a respect for French methods and a fondness for the older Spanish manner, and to some degree he was a disciple of Luis de Leon, as may be seen by his translations of the Psalms. He was very successful in lighter verse, producing a genuine classic in his Murcielago alewso. Cf. his Poesias, Madrid, 1812; Ticknor, III, 318 ff. Page 218. 1. 7. Note that suave is generally trissyllabic. JOSE IGLESIAS DE LA CASA. A cleric and -a member of the Salamancan school. His verse is now in the lighter vein, and again satirical after the manner of Quevedo. Cf. his Poesias, Paris, 1821; vol. I of the Liricos del siglo XVIII in the Biblioteca de auto- res espailoles; Ticknor, III, 320. Page 222. 1. 28. Londra, i.e., alondra. NICASIO ALVAREZ DE CIENFUEGOS. Among the members of the Salamancan coterie, the most important disciple of Melendez. His poems show much real sentiment, but are not en- tirely free from affectation. He was a stout patriot and quite free from the French political sympathies of his master. Cf. his Obras porticos, Madrid, 1816; vol. Ill of the Liricos del siglo XVIII': Ticknor, III. 320 f. Page 223. 1. 18. el favonio coro, the ZepJiyr chont*. 1. 25. la piramidal: a kind of campanula or bell-flower. Page 224. 1. 15. iEvoh6! the cry of the Bacchantes when acclaiming Bacchus. 1. 17. vacante, empty, hollow. NOTES 379 FELIX MARi A DE SAMANIEGO. One of the two great fabulists of modern Spanish literature. Mainly French in his tendencies, he imitated La Fontaine with much success, deriving inspiration also from Gay, the ^Esopic fables, Phsedrus and the Eastern apologues. Cf. his Fdbulas, Madrid, 1832; vol. 61 of the Biblioteca de autores espaiioles; F. Wolf, Floresta de rimas, I; Tick- uor, III, 307 ff. TOMAS DE IRIARTE. The peer, and perhaps even the superior, of Samaniego as a fabulist. He won commendation for kis, didactic poem La miisica, but secured no lasting renown by his dramatic attempts. His fame is based upon his Fdbulas literarias, remarkable for their artistic finish and ingenuity of thought. Cf. his Obras, Madrid, 1805; the Biblioteca de autores espanoles, vol. 63; E. Cotarelo y Mori, Iriarte y su epoca (1897); Ticknor, III, 304 ff. Page 227. 1. 13. Echo . . . Sus cuentas, etc.: Communed with himself. 1. 25. Cf. the whimsical sonnet of Lope de Vega on p. 153. 1. 29. j Hay tal porf ia ! Did you ever see such obstinacy! LEANDRO FERNANDEZ DE MORATIN. Son of Nicolas Fernandez de Moratin (cf . p. 196). With his dramas, the most im- portant since the days of the great masters of the siglo de oro, he won complete success for the French school started by Luzan. His lyrics, of far less merit than his plays, are nevertheless pleasing in form and upon occasion sprightly in tone. Cf. his Obras, Madrid, 1830-31 ; the edition of his own and his father's works in vol. II of the Biblioteca de autores espanoles; Ticknor, III, 330 ff. MANUEL MARIA DE ARJONA. A figure partly of the eighteenth and partly of the nineteenth century, Arjona was a member of the so-called School of Seville (Academia.de lelras huma- nas, founded at Seville in 1793), a body of writers who still ad- vocated the application of French classic rules, while they also harked back to the lyric traditions of Seville in the sixteenth century. In this latter respect Herrera was their model, but Luis de Leon also commanded their respect. Both tendencies of the school are illustrated in Arjona. In his religious and pastoral verse, he is a conventional writer of the time, adhering chiefly to the doctrines of Liiztin and the Salamancan school. As a poet of patriotic and republican sentiments he is much more virile and sue- 380 NOTES cessful, displaying these sentiments in his two best productions, the ode Espaila restaurada en Cadiz (celebrating the proclamation of the Constitution of 1812, cf. note to p. 210, 1. 29), and the longer poem Las ruinas de Roma. From now on, the struggle with the French brought forth much patriotic verse. Cf. vol. II of the Liricos del siglo XVIII; F. Wolf, Floresta de rimas, etc. (Paris, 1837), vol. II; Blanco-Garcia, La literalura espaflola en el siglo XIX, 2 s edicion, Madrid, 1899, I, 20 ff. Page 230. 1. 9. Padilla: Juan de Padilla, leader of a party of Comuneros, who, rising against the exactions of Charles V., were successful for a while. Their fortunes declined, however, and Pa- dilla was finally captured and executed (1522). Page 231. 1. 9. Columnas de He'rcules: i.e., the promontories of Calpe and Abila at the Strait of Gibraltar. 1. 15. Mucio : Mucius Scaevola ; captured after his attempt to kill Lars Porsena, the enemy of Rome, he plunged his hand into the fire to show his contempt for pain: cf. p. 232, 1. 4. Pag'e 232. 1. 5. Allusion to the invasion of Rome by the Gallic chief Brennus in 390 B.C. The Romans bought peace with 1,000 pounds of gold. 1. 7. Camilo: after the capture of Rome by Brennus, Camillas was appointed dictator, and is said to have defeated the Gauls. POESlAS DEL SIGLO XIX MANUEL JOSE QUINTANA. A Tyrtsean poet whose lyrics, together with those of his friend Gallego (cf . p. 244), voice the senti- ments of a party sprung up to combat the French invader. As patriots, both Quintaua and Gallego were bitterly opposed to French domination; as poets they meekly submitted to the French classic rules and carried on the traditions of Luzan and Melendez Valdes. The heroic odes of Quintana are the best that he has given us. Plastic in form and full of patriotic ardor, they reveal him at the same time as the advocate of liberalism, and of political and social advancement. His other odes (A la mar, A la imprenta, A la Tier- mosura, etc.), are admirable, too, but somewhat artificial in tone. Quintana's dramatic attempts were infelicitous; as an historian ( Vtdas de los espafloles celebres) he attained a moderate success. Cf. his Poesias in vol. 19 of the Biblioieea de autores espafloles; and see Menendez y Pelayo, D. Manuel Jose Quintana, La poesia lirica al principiar el siglo XIX, Madrid, 1887; E. Pineyro, M. J. Quin- NOTES 381 tana. Chartres, 1892; Blanco-Garcia, La literatura espailola, etc., I, 1 ff.; Ticknor, III, 332 ff. Page 235. 1. 1. In March, 1808, a rising of the people and the guards swept away the intriguing minister Godoy, and forced the inept Carlos IV. to abdicate in favor of his son Fernando VII., then an adversary of the French. Page 238. 1. 2. Desenterrad, etc. : the most powerful passage of the poem. Tirteo: Tyrtaeus, a Greek lyric poet of the seventh century B.C., who is said to have roused the Lacedaemonians to heroic fury in battle by his songs. 1. 5. Fuenf ria : a pass in the Guadarrama mountains in the prov- ince of Segovia. 1. 13. Atila : the Hunnish leader (f 453). 1. 15. Tercer Fernando : Ferdinand III. of Castile (St. Ferdinand) rapidly drove the Moors southward (f 1252). 1. 17. Gonzalo: Gouzalo de Cordova (1453-1515), known as El Gran Capitdn, played a prominent part in the Moorish war of 1481-92. 1. 18. el Cid : cf. note to p. 117, 1. 22. 1. 20. hijo de Jimena: i.e., Bernardo del Carpio, according to the legend, the son of Jimena, sister of Alfonso el Casto; cf. note to p. 114, 1. 10. 1. 22. torbo, i.e., torvo. Page 239. 1. 25. An ode in praise of Alonso Perez de Guz- man (1258-1320), known as Guzman el Bueno. He was in charge of the fortress of Tarifa, as lieutenant of Sancho IV. of Castile, when the place was attacked by Don Juan, the King's rebellious brother. Unless the fortress were delivered over to him, Don Juan threatened to slay Guzman's son, then in his power, before the eyes of the father. Honor and fealty prevailed in Guzman and he wit- nessed the murder of his son rather than surrender his trust. Page 240. 1. 6. Mavorte, i.e., Mayors: a fuller form of Mars. 1. 15. vias, i.e., veias: a poetical form. Cf. via, p. 241, 1. 24. 1. 17. Alfonsos : Alfonso VI. of Castile and his successors. 1. 18. Rodrigo: i.e., Rodrigo de Bivar, the Cid. 1. 31. Agar: Hagar, regarded as ancestress of the Saracens. Page 241. 1. 7. Tarifa: on the Strait of Gibraltar. Here the Arabs landed in 711 (cf. note to p. 100, 1. 26), and, according to the legend, the place was betrayed into their hands by Count Julian. 1. 16. pusblo numantino: a reference to Numantia in Ilispania Citerior, taken by Scipio Africanus, after a bloody siege, in 1'33 B.C. 382 NOTES JUAN NICASIO GALLEGO. A cleric who spent much time at Madrid and was a close irinul of Quintana. Like the latter, he is renowned for his heroic odes. The bulk of his 76186 is small. It is marked throughout by excellence of style and sincerity of feeling. In particular, his elegy on Tlie death of the Duc/tess of Frias, an event which called forth much verse shows how capable he was of real emotion. Cf . the ed. of his poems by the Academia de la Lengua, Madrid, 1854; and vol. Ill of the Poetas liricos del siglo XVIII in the Biblioteca; see also Blanco-Garcia, Hisloria, 2aed., I, 13 ff. Page 244. 1. 1. On May 2, 1808, occurred the first rising of the Spaniards against the arms of the French invader. This date marks the beginning of the Guerra de la Independencia, known in English as the Peninsular War. 1. 29. Mantua: the Italian town of this name was taken by Na- poleon in 1797, after a famous siege. Page 24ft. 1. 19. Daoiz, Velarde : leaders in the rising of May 2, 1808; slain by the French. Page 247. 1. 5. gonces, i.e., goznes. Page 248. 1. 7. hijos de Pelayo, i.e., the Spaniards: cf. note to p. 164, 1. 22. 1. 10. Moncayo : a mountain of Saragossa. 1. 12. Turia: the river Guadalaviar. 1. 15. Patr6n: Santiago, i.e., St. James, the patron saint of Spain. In the heroic legends he often figures in the battlefields, fighting for the Spaniards. JOSE MARf A BLANCO. Blanco, known in English literature as Blanco White, was a member of the school of Seville, with Arjona and Lista. Assailed by religious doubts, he abandoned his ecclesiastical post in Seville and went to England, where he as- sociated himself with nearly every religious communion in turn. In English literature his Mysterious light takes high rank as an ex- quisite sonnet. His verse in Spanish is equally beautiful. Cf. vol. Ill of the Poetas liricos del siglo XVIII; and see Menendez y Pelayo, Historia de los lieterodoxos en Espana, torn. Ill, lib. VII, cap. IV; W. E. Gladstone, Gleanings of past ymrs, II, 1 ff. ; Life of Rev. J. B. Wliite written by himself, London, 1845. Page 249. 1. 1. A mystic element in Blanco's nature is made clear by this poem. NOTES 383 ALBERTO LISTA Y ARAGON. The leader of the Sevillan school. A poet of decided ability, he was still more remarkable as a teacher and critic. It is in his religious lyrics that he best shows his poetical powers. Deserving of mention is his Castilian version of Pope's Dunciad. Cf. his Poesias, Paris, 1834; Wolf, Floresta de rimas, vol. II; Liricos del siglo XVIII, vol. Ill; and see Blanco- Garcia, Historia, 2aed., I, 26 ff. Page 251. 1. 3. Sina: cf. Exodus xix. 20 ff. Page 252. 1. 21. On Bailen, cf. note to p. 210, 1. 18. 1. 28. Mariano moiite : the range called the Cordillera Marianica, of which the Sierra Morena is part. Page 253. 1. 6. Allusion to the campaigns of Napoleon along the Rhine and in Egypt. 1. 13. Castanos: the Spanish commander who won the victory over Dupont at Bailen; later made Duque de Bailen. 1. 21. Mengfbar: a town near Bailen. Page 254. 1. 14. Vandalia: a name sometimes given to An- dalusia, through a supposed connection between that term and the name of the invading Vandals. JUAN ARRIAZA Y SUPERIRELA. Most successful as a satirist, Arriaza also deserves some praise for his patriotic songs. These lack, however, the well-sustained inspiration of the odes of Quintana and Gallego. The song here published was written to revive the spirits of his countrymen after the reverses of 1809. Cf. vol. Ill of the Poetas liricos del siglo XVTI1; Blanco-Garcia, I, 47. Page 256. 1. 15. Fernando: Arriaza was an absolutist courtier and partisan of Ferdinand VII. FRANCISCO MARTINEZ DE LA ROSA. The stateman and dramatist. As a dramatist he marks the transition from Frenchified classicism to romanticism in Spanish literature. He is of but minor rank as a lyric pOet, yet the Epistle to the Duke of Frias on the death of his wife contains real pathos. A second edition of his Poesim liricas appeared at Paris, 1847. Cf. Menendez y Pelayo, Estudios de critica liUrarm, Madrid, 1884, pp. 223 ff . ; Blanco-Garcia, I, 120 ff. Page 257. 1. 1. Like other liberals, Martinez de la Rosa was banished by the despotic Ferdinand VII. He spent much of his exile at Paris. 384 NOTES ANGEL DE SAAVEDRA, DUQUE DE RIVAS. ticisra triumphed in Spain through tin- efforts of the Duke of Rivas, who won the day for its doctrines in the drama with his Don . I Imro. in narrative poetry with his More expvsito, and in lyric poetry with his Faro de Malta. Exiled during the reign of Ferdinand, because of his liberal sentiments, he visited England, France and Italy, and came into direct contact with the Romantic movements in those countries. When allowed to return to Spain, he straightway ex- tended the movement into that land. As an epico-lyric or narrative poet, he has revived many legends found in the romantic history of Spain. A well-known episode is related in the poem on p. 258. Cf. the Obras completas of Rivas, published by the Meal Academia Espa- fiola, Madrid, 1854-55 ; the unfinished edition in the Coleccion de escritores castellanos; Wolf, Floresta de rimas, vol. II ; and see the essays by Canete and Pastor Diaz prefixed to vol. I of the Obras completas; Blauco-Garcia, 2 a ed., I, 129 ff. Page 259. 1. 10. duque de Borb6n : Charles, due de Bourbon and Constable of France, being ill treated by his monarch Francis I., renounced allegiance to him, and entered the Spanish service. He played a large part in the defeat of Francis by Charles V., at Pavia, in 1525. Page 260. 11. 17-18. Velasco, Constable of Spain, defeated Padilla at Villalar, April 23, 1521, thus ending the comunero troubles : cf. note to p. 230, 1. 9: Page 267. 1. 9. Desque, i.e., Desde que. 1. 33. Lacio, Lalium, i.e., Italy. In 1825, Rivas left London for Italy, intending to settle in Rome ; but the Italian government ex- pelled him and he then sought refuge in Malta. Page 268. 1. 18. Cordoba : Rivas was a native of Cordova. JOSE DE ESPRONCEDA. Considered by many as the most illustrious lyric poet of Spain in the nineteenth century. In Es- pronceda, the author of the Estudiante de Salamanca, of the frag- mentary lyrico-dramatic poem El diablo mundo, and of various short lyrics, are represented both that romantic element of revolt against social and literary conventions which in England is so strongly marked in Byron, and the element of Bohemianism which character- i/.cs many of the French romanticists. Exiled by reason of his liberal opinions, he spent some time in England where he became deeply imbued with Byronism and eloped thence to Paris with Teresa, another man's wife, and the subject of the pathetic and NOTES 385 wonderfully harmonious Canto d Teresa. Scepticism, despair and the note of cloyed sensual satiety are everywhere present in the poetry of this ill-starred singer. Back in Spain again, he died at the early age of thirty-two years, after a short and stormy career in politics and journalism. For his poetical methods he owes much to Byron, but he is no servile imitator : his loudest note that of re- volt against the conventional emanates from his own inner nature. Cf. his Obras poeticas, etc., Madrid, 1884, with an essay by Escosura prefixed ; and see E. Rodriguez Solis, Espronceda, su tiempo, su vida y sus obras, Madrid, 1883 ; E. Pineyro, Tin imitador espafioi de Byron (in his Poetas famosos, etc., Madrid, 1883);' Blaiico-Garcia, I, 154 ff. Page 270. 1. 27. This poem in octavas reales forms the second canto of the Diablo mundo. Page 272. 1. 16. orador de Atenas : i.e., Demosthenes. Page 273. 1. 29. florece: seems to be used here as an active verb, covers with flowers. Page 275. 1. 13. por banda, on each side. 1. 28. Stambul : the Turkish name of Constantinople. MANUEL DE CABANYES. A Catalonian who wrote in Spanish. A pupil of Horace, he disdained the modern verse forms (cf. p. 279, 11. 22-23) and sought to domesticate the classic metres in Spanish prosody. He was unaffected by the literary movement of his time, probably because he died young. Cf . the collection of his lyrics entitled Preludios de mi lira (1833) ; Menendez y Pelayo, Odas de Q. Horacio Flaco, traducidas e imitadas, etc., Barcelona, 1882, pp. 372 ff . ; and see Torres Amat, Diccionario de escritores ca- talanes; Blanco-Garcia, I, 103 ff. Page 280. 1. 1. cisne de Ofanto: Horace. Cisne is a term regularly applied to poets in Spanish. 1. 3. opresor: Augustus. JOSE ZORRILLA. A dramatist and poet who takes rank with the most eminent literary figures of the Spanish nineteenth century. He is less remarkable for pure lyrism than for his epico-lyric or nar- rative strains. Like Rivas, he has done much to revive the ancient legends of Spain, giving them a modern poetical garb. His ro- mantic dramas, and especially the Don Juan Tenorio, are among the most successful of the period. Cf . his Obras dramdticas y liricas, Madrid, 1895 ; the edition of his Poesias escogidas, published by the 386 NOTKS la lengua, Madrid, 1894; and see the essay on him by Fl<1 re/, in Novo y Colson's Autores dramdticos contempordneos, .Madrid, 1881, I, 169 ff.; Blanco Garcia, I, 197 ff. Page 284. 1. 9. Lines recited by the poet over the grave of Larra (Figaro), the essayist, at the burial of that unfortunate genius (1837). JUAN EUGENIO HARTZENBUSCH. A romantic dramatist author of the sentimental Amantes de Teruel and a lyric poet of modest pretensions. His Poesias form vol. I of his Obras in the Coleccwn de escritores castellatios (Madrid, 1887): cf. Blanco-Garcia, I, 233 f f . Page 287. 1. 21. Sombra, etc.: an allusion to Calderon's drama, La vida es sueno. Page 288. 1. 1. patrio Manzanares: Calderon was born in Madrid, through which flows the river Manzanares. MANUEL BRETON DE LOS HERREROS. The most emi- nent dramatist of the period following that of Romanticism. He was very prolific, producing over one hundred and seventy-five plays. The satiric element is the prevailing one in his lyrics, the earlier of which imitate the manner of Iglesias and Melendez Valdes. Cf. his Poe&ias, etc., in vol. V of the edition of his works, Madrid, 1883-84; and see the Marques de Molius' Breton de los Herreros, recuerdos de su mda y de sits obnts, Madrid, 1883 ; Blanco-Garcia I, 272 ff. Page 288. 1. 9. Fabula al canto, i.e., Here's a fable at hand (to prove the point). Page 289. 1. 21. Fraile mostense : or fraile premonstratense, i.e., a member of an order of canons founded by St. Norbert in France in 1120. JOS MARIA HEREDIA. The Cuban patriot and poet. Exik-d from his beloved island, he spent several years in the United States and then went to Mexico, where he occupied several im- portant judicial offices. His masterpiece is the beautiful ode on Niagara, visited by the poet during his residence in the United States. Cf. the edition of his Obras, New York, 1875: and see Menendez y Pelayo, Antologia de poetfis hispano-americanos, vol. II, pp. 15 ft', (poems), pp. xiv ff. (an excellent essay on lleredia), and a biography by A. Bt-llo, London, 1857. NOTES 387 PLACIDO (GABRIEL DE LA CONCEPCION VALDES). Valdes, best known by his pseudonym of Pldcido, was a Cuban mulatto of little training, but of true poetic instinct. He was tried and executed on a charge of conspiracy against the Spanish govern- ment of which he was entirely innocent. He is said to have com- posed in prison and recited on the way to his execution the mournful, resigned Prayer here published. Cf. the edition of his Poesias, Palma de Mallorca, 1847 : and see Menendez y Pelayo, Poetas hispano-americanos, II, xxxiii ff . and 69 ff. Page 294. 1. 15. tu: note the combination of the possessive pronoun, second person singular, with verbs of the second person plural, a not infrequent combination in the spoken Spanish of America. Heliaca estrella, the Jieliacal star, which rises and sets with the sun. CAROLINA CORONADO. A poetess, recently residing in Portugal, whose verse revives the mystic strains of Luis de Leon and St. Theresa. Cf. her Poesias, Madrid, 1843 and 1852 ; and see Blanco-Garcia, I, 198 ff. ; E. Castelar, Etude biographique (French translation), Lisbon, 1887. Page 295. 1. 5. G6vora: a river flowing through Portugal and through the province of Badajoz in Spain. GERTRUDIS GOMEZ DE AVELLANEDA. A Cuban who spent the greater part of her life in Spain in the society of the most eminent writers of the time, Avellaneda was the most distinguished Spanish poetess of the nineteenth century. In her earlier poems she is manifestly under the influence of the French romanticists (Hugo, Lamartine, Chateaubriand); in her later verse she is dom- inated rather by Quintana. Some of the mystic elevation of the poets of the sixteenth century is seen in her religious lyrics ( A la Cruz, A la Ascension, etc.) As a novelist and dramatist, Avellaneda likewise holds a high place in Spanish literature. Cf. her Obras literarias, Madrid, 1869 ; Menendez y Pelayo, Poetas hispano- americanos, II, 87 ff., xxxix ff. ; Blanco-Garcia, I, 190 ff. ADELARDO LOPEZ DE AY ALA. A writer of the post- Romantic period, most noted for his psychological dramas. Though few in number, his lyrics, particularly his sonnets, are of high poetic worth. The sonnet here printed has been set to music and is sung every year at Madrid during the services in commemoration of the 388 NOTKS poet's death. Cf. his Obras completaa, Madrid, 1885 (poems in vol. VII); Blanco-Garcia, Uistoria, II, 175 ff. JOSE SELGAS Y CARRASCO. Poet, novelist and journalist, tin- author of La primavera and El estio, two collections of verse l>rrvnded by a gentle melancholy and innocuous pessimism. Cf. his Poesias, Madrid, 1882-83 ; Blanco-Garcia, II, cap. II. GUSTAVO ADOLFO BECQUER. Imbued with the spirit of Hoffmann in his prose legends and with that of Heine in his Rimas, but withal highly original, Becquer is one of the most attractive figures in modern Spanish literature. To avoid bombast and verbosity, he discarded consonantal rhyme entirely, and made use of the simplest imagery possible. His strains have the mournful sentiment of the North and are more concerned with the inner work- ings of the poet's own spirit than with concrete objects of the outer world. His tone is seldom gay or lively and never naturally so ; in general the note of sadness sounds through the Rimus. Cf. his Obras, 5 a ed., Madrid, 1898 (with Prologo by Correa ; Rimas in vol. II); Blanco-Garcia, II, 79 ff., 275 ff. ANTONIO DE TRUEBA. A writer of charming novelettes of manners and a poet of the people, particularly of the people of his own Basque region. Unduly lauded and depreciated, he remains a pleasing poet of minor rank. Cf. his verse in the collections which he entitled Libro de los cantares (Madrid, 1852) and Libra de las montailas ; Blanco-Garcia, II, 26 ff. Page 309. 1. 16. Higuer : a cape of the province of Guipiiz- coa, running into the Cantabrian sea. VENTURA DE LA VEGA. Dramatist and poet ; born in the Argentine Republic, he was trained in Spain, where he passed the greater part of his life, becoming private secretary to Isabel II. His imitations of the Hebrew poetry of the Bible are praiseworthy. In most of his verse he displays an eclectic tendency, a desire to combine the best in romanticism wjth the best in classicism. Cf. his Obras poeticas, Paris, 1866 ; Menendez y Pelayo, Poetaa hivpano- americfinos, IV, 105 ff. (poems), cxlv. ff. (essay on Vega) : J. Va- lera, Personajes ilustres : Ventura de la Vega, etc., Madrid, 1891; Blanco-Garcia, I, 315 ff. NOTES 389 ANDRES BELLO. A Venezuelan by birth, the most important author that South America has yet produced, being remarkable as a poet, grammarian, jurist and patriot. Cf. his Obras completas, Santiago de Chile, 1881-85 ; his poems in the Coleccion de escritores castellanos (1881), and in Menendez y Pelayo, Poetas hispano-ameri- canos, II, 285 ff. : and see ibid., p. cxvii ff. ; M. L. Amunategui, Santiago de Chile, 1882. RAMON DE CAMPOAMOR. The humoristic poet par excel- lence of the Spanish nineteenth century, with a pseudo-philosophical tendency which is not to be taken too seriously. Under the name of doloras he published a number of short poems humorous in tone, full of feeling and ever pointing some moral. Although he is said to have invented the genre, he has really but given a new name to an old genre and developed it more than any one else had done. Cf. his Obras escogidas, Leipzig, 1885-86. There are many editions of his separate works. See also J. Valera : Obras poeticas de Cam- poamor (in his Estudios criticos sobre literatura, etc., Seville, 1884, pp. 239 ff.); Peseux-Richard in the Revue hispanique, I, 236 ff. ; Blanco-Garcia, II, cap. V. Page 313. 1. 13. This delightful poetical dialogue is a favorite piece for recitation purposes in Spain. Page 314. 1. 20. jQui6n supiera escribir! If I only knew how to write ! Page 316. 1. 11. A sonnet on the Italian pessimistic poet, Leopardi, of the early nineteenth century. JUAN VALERA Y ALCALA GALIANO. The most eminent Spanish man of letters now alive, justly famed as a novelist, poet and student of general culture. An extended diplomatic career has made him a most cosmopolitan spirit. Everywhere studying men and things, he has acquired an extreme catholicity of taste and has highly developed his powers of critical apperception. Menen- dez y Pelayo deems El fuego divino, selections from which are given here, to be Valera's best poem. Cf . his Canciones, romances y poemas, with notes by Meueudez y Pelayo, in the Coleccion de escri- tores castelldnos, Madrid, 1885 (containing translations, also, of poems of Lowell, Whittier and other American and English writers); Blanco-Garcia, II, cap. XXVI. Page 320. 1. 17. inclinada fuente : so says the edition of 1885. But Senor Vakra states that inclinada, is an error ; he writes ; "El 390 NOTES primer verso dice de la inclinada fuente, y debe dccir de la increada fuente." GASPAR NtJNEZ DE ARCE. A popular Spanish poet of our times, widely read in both Spain and America. His most important volume of poems is the Gritos del combate (8th ed. 1891), in which, with patriotic fervor, he cries out ayumst the political evils rampant in Spain and inveighs against the agitators responsible for them. Longer poems than those contained in the Gritos del combate are the Vertigo (a great favorite for declamation purposes), the Ultima lamentation, de Lord Byron, La selva oscura, etc. All have been reprinted in many editions. Nunez de Arce is also a dramatist of considerable power. Cf. Menendez y Pelayo's essay on him, published in vol. II of Novo y Colson's Autores dra- mdlicos contempordneos (and in Menendez y Pelayo's Estudios de critica literaria, 1884) ; Blanco-Garcia, II, 328 ff. Page 324. 1. 1. This sonnet bears the date 6 de Enero de 1866. In his notes (8th ed. p. 328) the author says: "Escrita y publicada en circunstaucias azarosas y dificiles, cuando el sentimiento revolu- cionario estaba mas vivo en la opinion." All the poems here printed are from the Gritos del combate. 1. 15. el monasterio: i.e., the Escurial. 1. 25. viento del Guadarrama : a chill wind which sweeps over Madrid. Page 326. 11. 25-26. hijo . . . rey devoto: Philip III. (\ 1621). 1. 29. Aquel, etc. : Philip IV. (f 1665). 1. 33. el monarca enfermizo: Charles III. (f 1700). Page 330. MARCELINO MENENDEZ Y PELAYO. One of the most illustrious literary critics of our age, a scholar of rare erudition, a poet whose verse is ever harmonious and graceful. Several of his critical works have been mentioned in these notes. His best poems may be found in the volume Odas, epistolas y trage- dias, Madrid, 1883. The humanistic bent of the man prevails even hi his lyrics. Cf. Blanco-Garcia, II, 601 ff. Page 331. 1. 3. Clitumno: the Clitunno, an Umbrian river 1. 22. Menandro: Menauder, a Greek comic poet of the fourth century B.C. Page 332. 1. 4. Amador . . . nada: Leopard!, cf. note to p. 316, 1. 11. UC SOUTHERN REGIONAL LIBRARY FACILITY A 001417916 2