Chapter IV: STROPHES.—The strophe is frequently of arbitrary length, though, (8)

EL CANCILLER PERO LÓPEZ DE AYALA. One of the most important figures of the fourteenth century. Active in court and camp, he still found time to produce much prose and verse. He was a trusted servant of Don Pedro and the three succeeding monarchs, and was Chancellor of Castile from 1398 on. Several times taken in battle, he was once imprisoned at Oviedes for fifteen months. He was at one time the captive of the Black Prince, but there is probably no truth in the account that he was carried a prisoner to England.

Ayala’s most important work in verse is the satirical and didactic _Rimado de Palacio_ (published in the _Biblioteca de Autores Españoles_, vol. 57). Here, in somewhat over 1600 stanzas, the author assails all abuses—social, political and others—of the time. Not merely the decay in court life, but general social degeneracy is his main theme. The first part of the poem consists of 705 strophes in _cuaderna vía_. In the second part, which opens with our first _cantar_, we find plaints, prayers and songs to the Virgin interspersed among the didactic and satiric passages. The last are still in _cuaderna vía_; the former elements, more lyric in their nature, show the use of various measures, with a particular influence of Provençal and Galician forms. They mark Ayala as one of the earliest of the court poets, who were to become so numerous in the reign of Juan II.

*Cantar*. The shorter lines are arranged in _redondillas_. Note the inner rhymes in the longer lines, which might also be divided into octosyllabic verses.

*Page 14.*—l. 9. *dada*. Occasionally the Old Spanish participle conjugated with *haber* is found agreeing with its object.

*Page 15.*—l. 13. *Cantar á la Virgen*. This octosyllabic song begins with stanza 830 of the _Rimado de Palacio_.

l. 17. With the epithets here applied to Mary compare those addressed to the Spouse in the _Song of Songs_, with whom she has been often identified by the exegetists.

LA DANZA DE LA MUERTE. This anonymous poem of seventy-nine octaves belongs to the general category of poetical and pictorial works, which in the Occident, and especially in the fourteenth and fifteenth centuries, celebrated the triumph of Death over all earthly creatures. The original form may have been that of a pantomime. The Spanish poem (published in full in the _Biblioteca de autores españoles_, vol. 57) is probably a version of an earlier French poem. Its date has been variously estimated. Baist (Gröber’s _Grundriss der romanischen Philologie_, II, p. 428, note) would place it in the middle of the fifteenth century. Cf. W. Seelmann, _Die Totentänze des Mittelalters_, Leipzig, 1893.

*Page 16.*—l. 24. *en ... durante*, i.e., _in the world throughout its duration_.

*Page 17.*—l. 2. *quando ... traspasante*, i.e., _when I discharge this cruel, piercing arrow of mine_.

l. 27. *de ... forçado*, _must perforce die_.

*Page 19.*—l. 29. *a tan syn pauor*, _so fearlessly_.

REVELACIÓN DE UN ERMITAÑO. This anonymous vision in twenty-five octaves (published in the _Biblioteca_, vol. 57) is of the class of _Debates between the Body and the Soul_, common in the Middle Ages. Cf. the _Visión de Filiberto_, published by Toledo in the _Zeitschrift f. romanische Philologie_, II, 40, and for a Middle-English version see Mätzner, _Altenglische Sprachproben_, I, 90. See also C. Fritzsche, _Die lateinischen Visionen des Mittelalters_, in _Romanische Forschungen_, II, 279 ff., III, 337 ff.

*çiençia gaya*, _art of poetry_; a term of Provençal origin.

*Page 21.*—l. 9. *prima*, the canonical hour _prime_.

l. 11. *hera*: the *era española* began thirty-eight years before the Christian era.

l. 16. *el*, found in early Spanish before feminine nouns not beginning with accented _a_. Cf. p. 28, l. 6, *un espesura*.

EL ALMIRANTE DIEGO FURTADO DE MENDOZA. The Admiral Furtado de Mendoza was the father of the Marqués de Santillana (cf. p. 34). Far less important as a poet than his more inspired son, he nevertheless possessed abundant lyric gifts, of which the present song (published by Amador de los Ríos, _Historia de la literatura española_, vol. V) gives evidence. It is a dance-song of a kind called _cossante_ by the author. Portuguese-Galician influence is clear in the Admiral’s poems.

ALFONSO ÁLVAREZ DE VILLASANDINO. One of the most important _trovadores_ at the court of Juan II (1406-54). He wrote in both Galician and Castilian, and most of his poems, which are in the conventional Provençal manner, are to be found in the _Cancionero_ of Baena (ed. Leipzig, 1860). In expression they are frequently coarse and vituperative. Villasandino’s several songs in praise of Seville seem to have been composed for pecuniary compensation; cf. F. Wolf, _Studien zur Gesch. der span. etc., Literatur_, Berlin, 1859, p. 200, note.

*Page 24.*—l. 17. *alta compaña*, i.e., the Giralda, the famous tower of the Cathedral of Seville.

*Page 25.*—l. 9. *mesura*, i.e., _measure_, with the connotation so customary in Provençal poetry, of _moderation_, _dignity_ and _grace_ in all things.

MICER FRANCISCO IMPERIAL. The son of a Genovese goldsmith established in Seville, Imperial was one of the first to import an Italian influence into Spanish poetry. His poems (published in the _Cancionero_ of Baena) mark the beginning of an allegorizing tendency in Castilian literature which harks back to Dante. The latter, Imperial constantly imitates and quotes, as he does in the present _decir_, or short poem.

*Page 25.*—l. 16. *Rribera del rio*, _on the bank of the river_.—Triana: a suburb of Seville, from which it is separated by the river.

l. 20. *santa Ana*: a church and a square of Seville.

l. 27. *al que dixo*: *Ave*, i.e., to the Archangel Gabriel.

l. 28. *paraysso*: the doubled _s_ here and in *rysso*, v. 25, is inorganic; cf. the rhymes quiso and lyso.

*Page 26.*—l. 4. *señores*, cf. note to p. 6, l. 5, and see l. 11 below.

RUY PÁEZ DE RIBERA. The poems of Páez de Ribera, like those of Imperial, are contained in the _Cancionero_ of Baena, and show similar tendencies toward the allegory. They are marked, furthermore, by a spirit of unrest which is somewhat socialistic in its expression.

*Page 27.*—l. 7. *veer lo caydo*, i.e., *verlo caído*.

l. 25. *mesurada*, cf. note to p. 25, l. 9.

EL CONDESTABLE ÁLVARO DE LUNA. Prominent among the two hundred or more poets of the reign of Juan II. was the courtier Álvaro de Luna. For a long time he enjoyed the favor of the monarch, who even raised him to one of the highest ranks to which a subject could attain, but, incurring the hatred of his fickle master, he was persecuted and finally executed in 1453. His tragic career has been several times treated in Spanish verse and prose. In his poems conventional gallantry borders on what the devout would call blasphemy.

*Page 28.*—l. 26. *E non ... vara*, i.e., _and I would not yield to thee_.

FERNÁN PÉREZ DE GUZMÁN. The nephew of one poet, the Canciller López de Ayala, and the uncle of another, the Marqués de Santillana, Pérez de Guzmán has left us in the _Cancioneros_ a few poems in the Provençal-Galician manner with traces of Italian influence. He is more important as a prose writer than as a poet, being one of the best of the early Spanish historians.

*Page 30.*—l. 12. This is the reading of this line in the _Cancionero_ of Baena (ed. 1860, II, p. 254), but the metre seems to require the conjunction *é* after *prados*.

l. 30. *ryso*: *risa* is needed for the rhyme.

JUAN DE MENA. Mena, the Latin secretary of King Juan II. and a leader of the stylistic poets of his court, became most noted as the author of the allegorical poem _El Laberinto_ (also known as the _Trecientas_, from the original number of its stanzas). Imitating the scheme of Dante’s _Divina Commedia_, and largely influenced also by Lucan, Mena here seeks to picture the vicissitudes of Fortune. Elaborate but cold, the work was a great favorite with his contemporaries. At times, as in these octaves celebrating the luckless Galician troubadour Macías, a martyr of love, Mena rises to a respectable lyric height. Other ambitious poetical works of his are the _Coronación_ and the _Coplas de los siete pecados mortales_. Note the dactylic (—́ ‿ ‿) rhythm of the present _versos de arte mayor_. For accounts of Macías, and the plays and novels dealing with him, see F. Wolf, _Studien_, etc., p. 772, and Ticknor, _History of Span. Literature_, I, 329 f.

RODRIGO COTA. A converted Hebrew, who has owed a great deal of his fame to the false attribution to him of the _Coplas de Mingo Revulgo_ and of the _Celestina_. A meritorious poem of Cota’s is the _Diálogo entre el Amor y un Viejo_ (published by Menéndez y Pelayo in his _Antología de poetas líricos castellanos_, vol. IV, p. 1). A burlesque ascribed to him may be seen in the _Revue hispanique_, vol. I.

COPLAS DE MINGO REVULGO. This is one of several satires, lyrico-dramatic in form, written during the reign of Enrique IV. of Castile († 1474). It is in the nature of a dialogue in thirty-two stanzas, between two shepherds, Mingo Revulgo, representing the more inferior class, and Gil Arribato, representing the more elevated class, who discuss the moral and social decay of the time and the dissolute behavior of the king. The work has been attributed without warrant to Rodrigo Cota, Juan de Mena and others. For the full text see Menéndez y Pelayo, _Antología_, III, 5 ff., and cf. Ticknor, I, 232 f., and Pidal in the _Cancionero_ of Baena (ed. 1860, p. c).

*Page 32.*—l. 13. *Mingo Rebulgo*; *Mingo* = *Domingo*, and according to early glosses *Rebulgo* is here an intensitive of *vulgo* = *cosa pública*.

l. 21. *¿Non ... rejo?* A line of doubtful sense. Menéndez y Pelayo would translate *te llotras* by *te alegras*. But *llotrarse* seems to mean *vestirse*; hence a possible sense would be, _Do you not arm yourself with good courage?_ (*rejo* = _vigor_, _strength_). Cf. the translation in Ticknor (I, 233): “_Pray, are you broken down with care_?”

*Page 33.*—l. 1. *Arribato*, possibly based on *arriba* and equivalent to _The Elevated_.

l. 2. *en fuerte ... echamos*, i.e., _we made a very bad cast, we had hard luck_.

l. 3. *Candaulo*, here for the king Enrique IV. Candaulo, or Candaule, was a Lydian king.

l. 12. *nin roso nin velloso*, _nothing at all_.

l. 18. *tyenen de*, i.e., *han de*. According to the glosses, the three ravenous she-wolves are the three persecutions—hunger, war and pestilence—which Ezekiel promised to the Israelites in punishment for their sins; cf. the three next stanzas.

ÍÑIGO LÓPEZ DE MENDOZA, MARQUÉS DE SANTILLANA. Perhaps the most impressive literary figure of the fifteenth century. The nephew of López de Ayala, he belongs partly to the Middle Ages, but largely also to the Renaissance. Amador de los Ríos, who has given us the best edition of his works (Madrid, 1852), as well as an excellent account of his life and genius, divides Santillana’s productions into five classes: _obras de amores_, _obras doctrinales é históricas_, _sonetos fechos al itálico modo_, _obras devotas_, _obras de recreación_. Of these, two of the most important are represented by our selections, viz., the _sonetos_ and the _obras de amores_. Santillana is thought to have imported the sonnet into Spain, and this poetical form does not represent his whole debt to Italian literature, for in a great part of his work he stands under the influence preëminently of Dante, but also of Petrarch and Boccaccio. The Dantesque allegory plays a prominent part in his poetical vision (_not a drama_), the _Comedieta de Ponza_, in the _Coronacion de Mossen Jordi_ and the _Infierno de enamorados_. Didactic or doctrinal in bent are the _Diálogo de Bias contra Fortuna_, the _Proverbios_, and the _Doctrinal de privados_, the last-named containing a bitter arraignment of his unfortunate enemy Álvaro de Luna. The most original and most interesting element of all his work is that represented by the _obras de amores_, that is to say, the _serranillas_ (mountain-girl songs) or _vaqueiras_ (cowherd songs, a Galician word), such as the famous one on p. 35, the _villancicos_ (a popular form with an _estribillo_ or refrain), etc. A Provençal-Galician influence is, of course, discernible in these songs. Santillana was deeply imbued with an admiration for classic letters. In his prose _Carta al Condestable de Portugal_ he is the first real historian of Spanish literature. Cf. Menéndez y Pelayo, _Antología_, V, pp. lxxviii ff. and Ticknor, I, 331 ff.

*Page 34.*—l. 19. In tone this sonnet is paralleled by that of Quevedo on p. 164 and of Núñez de Arce on p. 324.

*Page 35.*—l. 11. *Tabor*: Mount Tabor, the supposed scene of the Transfiguration of Christ; cf. St. Matthew xvii., St. Mark ix., St. Luke ix.

l. 12. *que se raçona*, _which is related_.

l. 13. *fija de Latona*, i.e., Diana.

l. 15. *punto*: strengthens the negation, _not at all_.

ll. 17-22. These two tercets suggest Dante’s sonnet, _Tanto gentile e tanto onesta pare_ (in the _Vita nuova_).

l. 23. This is the most celebrated of all Santillana’s poems.

*Page 36.*—l. 29. As the caption states, this was composed by the Marquis for his three daughters.

l. 34. *conosçellas*: i.e., *conocerlas*. The assimilation of the infinitive _r_ to the _l_ of the appended pronoun is still frequent in poetry.

LOPE DE ESTÚÑIGA. Estúñiga, or Stúñiga, fought under Alfonso V. of Aragon (1416-58) in Italy, and played a prominent part in the passage of honor held by his cousin, Suero de Quiñones. The fact that two of his pieces stand at the head of a certain collection of poems—the _Cancionero de Stúñiga_—caused it to be called by his name. Cf. Menéndez y Pelayo, _Antología_, II, 163 ff.

SUERO DE QUIÑONES. Noted as the originator of the famous passage of honor (_paso honroso_), which lasted from July 10 to August 9, 1434, and during which, in order to dissolve his chivalric vow of wearing an iron chain in his lady’s honor, he and nine other champions held the bridge of Órbigo, near León, against all knightly comers. Cf. Menéndez y Pelayo, _Antología_, II, 477.

JUAN ALFONSO DE BAENA. Probably a converted Jew. His verse is contained in the _Cancionero de Juan Baena_, an anthology which he himself compiled around 1445, as a typical collection of the productions of the court poets of Juan II.’s time (cf. the ed. of Pidal, etc., Madrid, 1851, and of Michel, Leipzig, 1860).

MANUEL DE LANDO was one of these poets and a reputed disciple of Imperial, like whom he shows the influence of Dante. The system of poetical pleas, replications, replies, etc., here illustrated, was frequently employed in the court poetry of the time. It is but a continuation of the _jeu parti_ and the _joex partitz_ of French and Provençal poetry.

*Page 39.*—ll. 7-8. *Quando ... ygualante*, i.e., _when it has recourse to the sun, so that the latter, which has equalizing powers, may subdue its diverging rays_.

*l. 11. otealla*, see note to p. 36, l. 34, and cf. *cobralla*, p. 40, l. 2.

*l. 12.* *Syn ser demandante*: Baena contends that actual verbal wooing is requisite.

*Page 40.*—l. 1. *vista de amor*: Lando, like the Italian _dolce stil nuovo_ poets, maintained that the love-glance constitutes sufficient wooing. Vergil is mentioned because of the importance which Dante gave to him.

CARVAJAL (CARVAJALES). A Spanish poet who followed the Aragonese arms into Italy during the reign of Alfonso V., and at Naples wrote in both Spanish and Italian. Two _romances_ of his, contained in the _Cancionero de Stúñiga_ (cf. ed. 1872)—a compilation of Spanish verse written at Naples—are thought to be among the earliest of the kind. Cf. Menéndez y Pelayo, _Antología_, II, 181 ff.

GÓMEZ MANRIQUE. Uncle of the more illustrious Jorge Manrique, and a poet of considerable lyric merit. Cf. the edition of his _Cancionero_ by Paz y Melia (1885). As in the work of his nephew, so in his poems, pathos is a distinguishing trait. He had some success also in political satire.

*Page 40.*—l. 21. *lo no puedes*: this order of pronoun and negative adverb is not infrequent in earlier Spanish.

*Page 41.*—l. 24. *solares*, i.e., mere _sites_ formerly occupied by edifices.

JORGE MANRIQUE. The most eminently successful of the Spanish lyric poets of the fifteenth century, Jorge Manrique fell in battle when but thirty-eight years old. The greater part of his verse is to be found in the _Cancionero General_ of 1511. The love-poems and humorous pieces given there and in other _Cancioneros_ are of no decided merit, except perhaps an occasional poem, such as that printed here on p. 42. His real title to enduring fame is based upon the exquisite _coplas_, in which he commemorates the death of his father, the Maestre de Santiago, and proclaims the vanity and fleetingness of all earthly things. In sweetness and mournfulness of tone, as in finish of form, they are surpassed by nothing prior to them. The calm beauty and dignity of the original, and to some degree its metre, have been excellently rendered into English verse by Longfellow in his translation, beginning: “_O let the soul her slumbers break_.” Cf. Ticknor, I, 366 ff., 391 ff.

*Page 44.*—l. 3. *se acabar*: an Old Spanish order of infinitive and object pronoun.

l. 15. *yerva secreta*: so in Menéndez y Pelayo, _Antología_, III, 102. The rhyme seems to require *yervas secretas*.

l. 20. Cf. St. John i. 10.

*Page 45.*—l. 1. *fué*: in modern Spanish *fuera* or *sería* would be more natural.

ll. 5-6. *Es ... atendemos*, i.e., _It serves for the gaining of that world (Paradise) which we await_, i.e., _hope for_.

l. 19. *D’ellas*: partitive, _some of them_.

*Page 46.*—l. 1. *arraval*: _limit, bounds_.

ll. 12-14. *Otros que por*, etc.: an ellipsis. *Otros* is in the same construction as *unos* of l. 9. Translate: _How low and abject do people deem others who, since they have nothing, maintain themselves by means of undeserved offices!_

*Page 48.*—l. 19. *al Rey Don Juan*: Juan II. of Castile (1406-54), a weak sovereign, but a munificent patron of letters in his splendid court.

*Page 49.*—l. 10. *Don Enrique*: Enrique IV., the Impotent († 1474). Unsuccessful in war, degraded and deposed by his subjects (1465), he was finally allowed to end his life on the throne only after consenting to the right of succession of his sister Isabel as opposed to that of his alleged daughter Juana.

l. 33. *su hermano el innocente*: the Infante Alfonso, to whom the throne was offered after the deposition of Enrique in 1465. Alfonso died, poisoned it is said, in 1468.

*Page 50.*—l. 11. *Condestable*: Álvaro de Luna; cf. note to p. 28.

l. 13. *tan privado*, _so great a favorite_.

*Page 51.*—l. 25. Longfellow inserts here the translation of two other stanzas not to be found in the text as published by Menéndez y Pelayo. A legend has it that they were discovered in the pocket of the author after his death on the battlefield.

l. 28. *El Maestre don Rodrigo*: Rodrigo Manrique, the father of the poet, died in 1476.

*Page 52.*—l. 9. *para*: equivalent to *para con*.

l. 15. *Octaviano*: the allusions to events in ancient history conveyed by this and the following names will readily suggest themselves.

l. 24. *En ... Archidano*: cf. Longfellow: “_The arm of Hector_.”

l. 28. *en ygualdad*, etc.: i.e., _in placidity of countenance_.

*Page 54.*—l. 5. The order of _Santiago de la Espada_ was a military and religious one, the charter of which was confirmed by Pope Alexander III. in 1175.

l. 16. *el*, i.e., *el rey*.

*Page 55.*—l. 34. *contra*, i.e., in battle against.

CARTAGENA: a member of a family of converted Jews that rose to prominence in the Church. The present song is from the _Cancionero General_ of 1511, and has been translated into English verse by Ticknor, I, 398. The theme is the same as that of St. Theresa in the _Glosa_ on p. 82.

RODRÍGUEZ DEL PADRÓN. Also called Juan Rodríguez de la Cámara, the last representative of the Galician tradition in Spanish poetry. His poems are in the _Cancionero General_, and the _Cancioneros_ of Stúñiga and Baena. A legend makes him the lover of the wife of the Castilian monarch of the time. Cf. the somewhat fictitious account of him given by Pidal in the notes to the _Cancionero_ of Baena (ed. 1860, II, 347), and see also Ticknor, I, 355.

*Page 58.*—l. 11. *Penetre*: in assonance only with *Contemple*.

MOSSÉN JUAN TALLANTE. The title of this personage may indicate an Aragonese origin for him. His devotional poems are found in the _Cancionero General_. A verse translation of this one is given by Ticknor, I, 395; cf. note there.

EL COMENDADOR ESCRIBÁ. These exquisitely mournful verses are attributed in the _Cancionero General_ to a Comendador Escribá (or Escrivá). They appealed strongly to the great writers of the _siglo de oro_, for Calderón cited the first stanza (with some variation) in his dramas _El mayor monstruo los celos_ and _Manos blancas no ofenden_, Cervantes repeated it in _Don Quijote_, II, ch. 38, and Lope de Vega wrote a gloss upon the poem. Cf. Ticknor, I, 246 f. and II, 386, note. Both Longfellow (Riverside ed. VI, p. 218) and Archdeacon Churton have made poetical versions of it.

*Page 59.*—l. 9. *de contigo*, i.e., *de estar contigo*.

JUAN ÁLVAREZ GATO. The author of love-songs and devotional lyrics that show in him considerable mastery of form. His individual _Cancionero_ exists in manuscript; only the poems found in the _Cancionero General_ have been published. Cf. _Romanische Forschungen_ of Vollmöller, X, 13.

*Page 60.*—l. 5. *Que aquel*; equivalent to *Que á aquel*.

ANÓNIMO. A wide-spread conceit, given Spanish form in this poem. Cf. C. M. de Vasconcellos, _Antología Española_ (Leipzig, 1875), I, 53.

POESÍAS DE LOS SIGLOS XVI-XVII

JUAN DEL ENCINA. A member of the household of the Duke of Alba, whence he passed over into Italy. There he became master of the papal choir; he then took orders and went to Jerusalem. He is supposed to have died at Salamanca. Of his lyrics, which belong to his earlier period, the more important have been published by Menéndez y Pelayo, _Antología_, IV, 135 ff. His eclogues were, perhaps, the first Spanish dramas actually staged. Cf. F. Wolf, _Studien_, etc., pp. 270 ff.

*Page 64.*—l. 14. *mancilla*: here used in the older sense of _pity_, _compassion_.

PEDRO MANUEL DE URREA. This noble published his lyrics in 1513 in a volume dedicated to his mother. They are partly secular and partly religious in nature, and show some Italian influence. Urrea also cultivates popular Spanish forms. His _Cancionero_ has been reprinted in the _Biblioteca de escritores aragoneses. Secc. lit. II_ (1876). Cf. the verse translation of this _romance_ in Ticknor, I, 371.

GIL VICENTE. A Portuguese disciple of Encina’s, who wrote dramas in both Portuguese and Spanish. The present song occurs in his play, _El auto de la Sibila Casandra_. See the edition of his works, Hamburg, 1834, and cf. Ticknor, I, 259, where there is a metrical translation of the song.

JUAN BOSCÁN ALMOGAVER. A Catalonian who wrote in Castilian with great success. He served in the Spanish army in Italy, and was later a tutor to the Duke of Alba. His earlier verses are in the national manner. Prompted, it is said, by the Venetian ambassador Navagiero, he became an Italianate, and, following the lead of Imperial and Santillana, was much more influential than they in establishing Italian verse methods in Castilian. He has made a large use of the hendecasyllable, the _verso suelto_ or blank verse (imitated from the Italian _versi sciolti_), the _ottava rima_ and the sonnet, and has frequently imitated Dante, Petrarch, and the _cinque cento_ poets of Italy. Among his more important poetical works are the _Hero y Leandro_ and the _Octava rima_, this latter being an allegorical poem from which the verses on p. 68 ff. are an excerpt. The influence of the Italian poet Bembo is clear in the _Octava rima_. In his translation of Castiglione’s _Cortegiano_, Boscán showed a mastery of Castilian prose. Cf. W. T. Knapp, _Las obras de Juan Boscán_, Madrid, 1875, and G. Baist, _Spanische Literatur_ (Gröber’s _Grundriss_, II, 2, 449 ff.).

*Page 68.*—ll. 6-8. A reminiscence of Dante, _Inferno_, Canto V, the words of Francesca: “Nessun maggior dolore, | Che ricordarsi del tempo felice | Nella miseria.”

l. 11. *Por do*: _wherefore_.

*Page 69.*—l. 17. Cf. the translation of this stanza in Ticknor, I, 445.

l. 30. *quexaros*, i.e., *quejaros*.

GARCILASO DE LA VEGA. This soldier-poet, a native of Toledo, took part in the battle of Pavia, distinguished himself in several succeeding campaigns, and was killed in an assault when but thirty-three years of age. A friend of Boscán, he represents the same Italianizing tendencies in Spanish literature. His verses, along with those of Boscán, were first published by the latter’s widow in 1543. The bulk of his poetry is small—some early _villancicos_, a few eclogues and elegies, an epistle, several _canciones_, and between thirty and forty sonnets—but it suffices to show him to be a greater poet than Boscán. But very little of his work is in the old Castilian manner; the Italians are his masters in the important part of his production, although the eclogues show also a Vergilian influence. Cf. _Biblioteca de autores españoles_, vols. 32 and 42, and see Baist in Gröber’s _Grundriss_, II, 2, p. 449; Ticknor, I, 446 ff.

*Page 71.*—l. 34. *de consuno*, _at the same time_.

*Page 72.*—l. 12. *Tomando*: if *fe* is the object of *tomando*, then it is by a poetical license that *presupuesto* is left invariable. If *fe* is the subject of *tomando*, the participle agrees with the idea in *lo que no entiendo*.

l. 17. *nascí*, i.e., *nací*.

FERNANDO DE ACUÑA. A member of the court of Charles V. In imitation of Garcilaso de la Vega, he adopted the Italian measures, and was particularly successful with the sonnet. Cf. his _Varias poesías_, Madrid, 1803-04, and see Ticknor I, 458 ff.

GUTIERRE DE CETINA. Another follower of Garcilaso. Like the latter he was a soldier, and distinguished himself in Italy. About 1550 he appears to have wandered as far as Mexico. Cetina cultivated the sonnet with great skill. His madrigals are famous. Cf. the ed. of his _Obras_, Seville, 1895; and see Salvi López, _Un Petrarchista spagnuolo_ (1896); Ticknor I, 461 (with a verse translation of the first madrigal).

DIEGO HURTADO DE MENDOZA. Soldier, diplomat, historian, humanist, poet; one of the most illustrious figures in the history of Spain. His long sojourn in Italy acquainted him with the Italian verse methods, which he adopted, although he constantly recurred to the regular Spanish forms, such as the _quintillas_ and the _redondillas_. His fame rests secure, despite the unfounded attribution to him of the picaresque novel _Lazarillo de Tormes_. There is an edition of his verse by Knapp (1877); cf. also _Biblioteca de autores españoles_, vol. 32, and see J. D. Fesenmair, _Diego Hurtado de Mendoza, ein span. Humanist des 16. Jhs._, Munich, 1882.

*Page 74.*—l. 24. *de medroso*, _through fear_.

l. 25. *De desesperado*, _through despair_.

CRISTÓBAL DE CASTILLEJO. This writer was abroad for a long period as the secretary of Ferdinand I., king of Bohemia. Although he spent much time in Italy, and occasionally adopted the Italian manner, he usually protested loudly against the Italianizing tendencies in Spanish literature. Cf. _Biblioteca de autores españoles_, vol. 32.

*Page 75.*—l. 15. This poem is in double _quintillas_.

l. 26. *Anabaptistas*: allusion is here made to the fact that this sect does not recognize any but adult baptism. One baptized in unconscious childhood has to be rebaptized to enter this communion.

*Page 76.*—l. 3. *Petrarquistas*: imitators of the Italian poet Petrarch (1304-74).

l. 20. *Jorge Manrique*: cf. note to p. 42.

l. 23. *platique* (i.e., *pratique*), _because the old style is no longer practised_.

l. 24. *Garci-Sánchez*: Garci-Sánchez de Badajoz, the author of an allegorical poem entitled _El Infierno del Amor_, died in a mad-house at the end of the fifteenth or in the early sixteenth century. He appears here as an enemy of the Italianates.

l. 25. *¡Quien me otorgase*, _oh, if some one would only grant me_!

l. 30. *Cartagena*: cf. note to p. 57.

l. 34. *Torres Naharro*: one of the most important of the early Spanish dramatists. His plays were published at Naples in 1517. Following the rule of Horace, he was the first to divide the Spanish drama into five acts. Despite the large Italian influence upon him, he is here made an opponent of the Italian movement in Spain.

*Page 77.*—l. 5. *Boscán*: cf. note to p. 67.

l. 6. *Garcilaso*: cf. note to p. 70. The praise here given is, of course, ironical.

l. 22. *desmandados*, _astray_.

*Page 78.*—l. 10. *Luis de Haro*: although Castillejo singles this personage out as a leading Italianate, little is known of him. The few poems ascribed to him in the _Cancionero_ of Nájera (1554) hardly justify the importance here given to him. Cf. Ticknor, I, 461, note.

l. 13. *el otro*: seemingly, Luis de Haro; but Garcilaso also figured in the campaign against the Sultan.—*Solimán*: Solimán II, Sultan from 1520 to 1566.

GREGORIO DE SILVESTRE. A Portuguese, organist of the cathedral at Granada. He imitated Castillejo in abusing the Italianates, yet he later wrote in the foreign manner. Simplicity of expression and considerable finish of form are the chief characteristics of his verse. Cf. Ticknor, I, 465 f.; Garcia Peres, _Catálogo de los autores portugueses que escribieron en castellano_, Madrid, 1890. His verse is in the _Biblioteca de autores españoles_, vol. 32.

*Page 78.*—l. 23-24. Cf. p. 77, ll. 5 ff. Castillejo’s praise was rather sarcastic.

*Page 80.*—l. 17. *Guarte*: i.e., *guárdate*.

JORGE DE MONTEMAYOR. Also a Portuguese, and originally named _Montemôr_. He is famous as the author of the prose pastoral romance _Diana Enamorada_. He wrote a good deal of verse in Spanish—satires, elegies, ballads, lyrics, etc.—that may be found in his _Cancioneros_ (Antwerp, 1554, etc.). Cf. G. Schönnherr, _Jorge de Montemayor_, etc., Halle, 1886.

LUIS DE CAMOENS. The glory of Portuguese literature, author of the Portuguese epic _Os Lusiadas_. Like so many of his countrymen, he wrote verse in Spanish as well as in his own language. Cf. his _Obras_, Lisbon, 1860-69; and see Ticknor, III, 77, note, and 58 (with a verse translation of the _Letrilla_).

*Page 81.*—l. 30. *vo*, i.e., *voy*.

*Page 82.*—l. 26. *fora*, i.e., *fuera*.

SANTA TERESA DE JESÚS (Teresa de Cepeda y Ahumada). A Carmelite nun already in 1536, she devoted the rest of her laborious life to founding convents and thoroughly reforming her Order and to the composition of her devotional and mystical works (_El Camino de la perfección—El castillo interior_, etc.). She is one of the greatest of the Spanish mystics, and is in every way an attractive figure. Cf. _Biblioteca de autores españoles_, vols. 53 and 55, for her works; and see an account of her life by Mrs. Cunninghame Graham (1894).

*Page 85.*—l. 21. This _Letrilla_ has been translated by Longfellow (Riverside ed., 1886, VI, 216).

FERNANDO DE HERRERA. An ecclesiastic, and head of the so-called Seville school of lyric poetry in the sixteenth century. Not much is known of his life. Eminently a poet, and as such called the _Divine_ by his countrymen, he wrote with exceeding purity of style and greatly enriched Spanish poetic diction. His masterpiece is the ode: _Por la vitoria de Lepanto_. The influence of Petrarch is clear in his sonnets. See _Biblioteca de autores españoles_, vol. 32, for his poems; and cf. Ticknor, III, 7 ff. and E. Bourciez in the _Annales de la Faculté des lettres de Bordeaux_ (1891).

*Page 86.*—l. 1. This sonnet has been Englished by Archdeacon Churton (in his translations from Gongora, etc., London, 1862, vol. I, p. 223). The naval battle of Lepanto (near Corinth) took place on October 7, 1571, between the Turks on one side, and on the other the combined squadrons of Spain, Venice and Pope Pius V, under the command of Don John of Austria, a natural brother of Philip II. The Christians triumphed and Mohammedan inroads into the Occident were checked. Cervantes was crippled in this battle.—*Ponto*, _ocean_, _sea_.

l. 14. *El joven de Austria*, i.e., Don John.

l. 15. Cf. the _Cantiga_ of Villasandino, p. 24.

*Page 87.*—l. 14. *aquella*: cf. p. 88, l. 23.

*Page 88.*—l. 12. *efeto*, 15 *afeto*: i.e., *efecto*, *afecto*; cf. *vitoria*.

l. 23. *Pasitea*: one of the three Graces.

l. 24. Cf. note to p. 86, l. 1, and see the critical edition of this ode by A. Morel-Fatio, Paris, 1893.

l. 25. *Trace*, _Thracian_: here the _Turk_.

*Page 89.*—l. 20. *las dos Hesperias*, i.e., Italy and Spain.

ll. 27-28. Allusions to the campaigns of the Turks in Hungary and Dalmatia, and their seizure of Rhodes (1522).

*Page 91.*—l. 15. *Egito*: cf. _Ægyptus_, feminine in Latin.

l. 24. *dellas*, i.e., *de ellas*.

*Page 92.*—l. 21. *dragón*; 28. *león*: allusions to the arms of the Turk and of Castile and Leon.

*Page 93.*—l. 6. *De Tiro*, i.e., _of the Turks_. Tyre had been in their hands since 1517.

FRAY LUIS DE LEÓN. Cleric, poet, humanist, mystic, professor at the University of Salamanca. Accused of a violation of church law in publishing a Spanish translation of the _Song of Solomon_, he was arrested by order of the tribunal of the Inquisition and spent five years in its dungeons. Then, his innocence being made clear, he was released, rehabilitated in the University, and promoted to high honors in his Order (the Augustinians). There is no good edition of his works, but his poems and his prose treatises in expositive theology may be found in vol. 37 of the _Biblioteca de autores españoles_. His verse is admirable, and is distinguished by its noble diction, the purity of its style, and the simplicity of its expression, qualities especially noticeable in the _Vida del Campo_ and the _Profecía del Tajo_. It shows generally a strongly marked mystical tendency, but bears also the impress of his humanistic temperament. The influence of Horace is everywhere patent in León’s works. With Herrera and Garcilaso, he occupies the highest place among the lyric poets of the age. See Menéndez y Pelayo, _De la poesía mística_ (_Estudios de crítica literaria_, Madrid, 1884); J. D. M. Ford, _Luis de León, the Spanish Poet, Humanist, and Mystic_ (_Publications of the Modern Language Association of America_, vol. XIV, No. 2); and Blanco-García’s recent treatise on León. See also English poetical versions of several of León’s lyrics made by H. Phillips (Philadelphia, 1883).

*Page 97.*—ll. 14-15. An extremely venturesome _enjambement_. But the entity of _mente_ in adverbs is always clear to the Spanish mind.

l. 24. This poem has been rendered into English verse by W. C. Bryant. Cf. Ticknor, II, 88.

l. 30. *agora*, i.e., *ahora*.

*Page 100.*—l. 6. *el arrebatado*, i.e., _the sudden, violent and abnormal movement_.

ll. 12-13. The Bears are, of course, boreal constellations and regularly above the horizon.

l. 26. León here deals with an unhistorical legend of Arabic origin, according to which the Moors were introduced into Spain in 711, through the treachery of an injured father, Count Julian, whose daughter, sometimes called _Cava_, King Roderick was said to have seduced. The Spanish poet imitates the situation in Horace’s ode, _Pastor quum traheret per freta navibus_.

*Page 101.*—l. 14. *Constantina*: a town of the province of Seville.

l. 17. *Sansueña*: the Spanish kingdom of Sansueña figures in the legends dealing with Charlemagne, and has been identified with Saragossa; cf. the _Don Quijote_, II, ch. xxvi. For an identification with Saxony cf. F. Hanssen, _Sobre la poesía épica de los Visigodos_, Santiago, 1892.

l. 19. *dende*: equivalent to the modern *desde*.

*Page 102.*—l. 12. *el hercúleo estrecho*, _the Strait of Gibraltar_.

l. 19. *el puerto ... sagrado*: the port of Tarifa.

l. 21. *el alta sierra*: el was used as the feminine article even before adjectives in earlier Spanish.

l. 30. *Betis*: the Latin river _Bætis_, the modern _Guadalquivir_.

*Page 103.*—l. 2. *luces*, i.e., *días*.—*haces*, _ranks_.

l. 6. Churton (_l. c._, II, 245) has made a poetical translation of the _Noche serena_.

*Page 104.*—l. 22. *luz*: i.e., Mercury.

23. *estrella*: i.e., Venus.

SAN JUAN DE LA CRUZ. St. John of the Cross (in the world, Juan de Yepes y Álvarez) was like St. Theresa a Carmelite, and like her also one of the most illustrious of the mystics and an energetic monastic reformer. His prose works of contemplative mysticism gained him the title of the _Ecstatic Doctor_. Of his poems, but few in number, the best is the _Canción_ printed here, in which we see illustrated the part played by the _Song of Solomon_ in the development of a highly sensuous element in Spanish mysticism. Cf. _Biblioteca de autores españoles_, vol. 27, and an ed. of the poems by W. Storck (1854); and see Ticknor, I, 208.

*Page 105.*—l. 21. David Lewis has made a rhythmical version in English of this beautiful poem.

PEDRO MALÓN DE CHAIDE. An Augustinian mystic with ascetic tendencies. The present verses are taken from his metrical paraphrase of the _Song of Solomon_. Cf. _Biblioteca de autores españoles_, vol. 27.

*Page 107.*—l. 20. *escuro*, i.e., *oscuro*.

JUAN DE TIMONEDA. A Valencian bookseller and one of the earliest playwrights of the sixteenth century, successful especially in his _pasos_. He attempted the tale in his _Patrañuelo_, a collection of some twenty stories, and in the _Rosa de romances_ (1573) published a collection of the ballads of other poets, along with lyrics of his own composition. Cf. Ticknor, III, 81 ff.

*Page 108.*—l. 22. *vella*, i.e., *verla*.

FRANCISCO DE FIGUEROA. A native of Alcalá de Henares who went to Italy as a soldier and there spent a good part of his life, writing verse in both Spanish and Italian. He was successful in the pastoral, and firmly established blank verse (the _verso suelto_) in Castilian. His eclogue _Thyrsis_ was the first composition in Spanish wholly in that metrical form. Only a part of his poems are preserved, as at his death he seems to have ordered them to be destroyed. Cf. the _Biblioteca de autores españoles_, vol. 42; the _Colección Fernández_, vol. 20; Ticknor, III, 5 ff.

LUIS BARAHONA DE SOTO. Enjoyed much fame with his contemporaries for his _Lágrimas de Angelica_, a continuation of the story in the Italian epic _Orlando Furioso_. Some pleasing lyrics of his are found in the _Flores de poetas ilustres_ of Espinosa (Valladolid, 1604); cf. also vol. II of the _Líricos del siglo XVI_ in the _Biblioteca de autores españoles_.

SONETO: Á CRISTO CRUCIFICADO. This beautiful sonnet has been ascribed without warrant to St. Theresa, St. Ignatius Loyola, St. Francis Xavier and others. It remains anonymous; cf. Foulché-Delbose in the _Revue hispanique_, II, 120 ff. There is an English poetical version of it, attributed to Dryden (“_O God, thou art the object of my love_,” etc.); cf. also J. Y. Gibson’s version (_The Cid Ballads_, etc., London, 1887, II, 144) and the Latin hymn, “_Deus ego te amo_.” It is printed with the works of St. Theresa in the _Biblioteca de autores españoles_.

BENITO ARIAS MONTANO. A theologian of note and the friend of Luis de León. Cf. vol. II, p. 502 of the _Líricos del siglo XVI_ in the _Biblioteca de autores españoles_.

ROMANCES. In _romances_ or ballads, Spain is the richest of all lands. During the sixteenth and seventeenth centuries particularly, there appeared many collections (_romanceros_) of these short lyrico-narrative poems, dealing with subjects drawn from the history—more or less legendary—of Spain and of France, and with subjects purely chivalrous and erotic in nature. The oldest and most typical of the Spanish ballads have been edited by Wolf and Hoffman in their _Primavera y flor de romances_, Berlin, 1856 (reprinted by Menéndez y Pelayo in his _Antología_, vols. 8 and 9), and practically the whole of them are to be found in A. Durán’s _Romancero General_, Madrid, 1849, 1851 (vols. 10 and 16 of the _Biblioteca de autores españoles_). The great majority of the _romances_ are in octosyllabic lines bearing the stress on the seventh syllable and having assonance—that is, vowel rhyme only, as distinguished from vowel and consonant rhyme—in the alternate lines. At one time it was believed that the _romances_ were of very ancient origin, although written down only at the end of the fifteenth and in the sixteenth and seventeenth centuries. As a matter of fact, most of them are rather artificial in nature, and in composition belong to the period when they were written. Gaston Paris maintains, however, that a number of them deal with detached episodes from old epic poems, and there seems to be ample evidence to prove his assertion. Cf. G. Paris in the _Journal des savants_, mai et juin, 1898 (a review of Menéndez-Pidal’s _Leyenda de los Infantes de Lara_); Milá y Fontanals _De la poesía heroico-popular castellana_ (in his _Obras completas_, vol. 7, Barcelona, 1896); Ticknor, I, 95 ff.; F. Wolf, _Ueber die Romanzen-poesie der Spanier_ (in his _Studien_, etc., Berlin, 1859, pp. 304 ff.); R. Menéndez-Pidal, _La leyenda de los Infantes de Lara_, Madrid, 1896; Baist in Gröber’s _Grundriss_, II, 2, pp. 430 ff. Many of the ballads have been translated into English by J. G. Lockhart and others.

*Page 112.*—l. 11. For the subject, cf. the note to p. 100, l. 26. See the English poetical version of J. G. Lockhart in his _Ancient Spanish Ballads_, New York, 1856, pp. 4 f.

l. 19. *de cansado*, _from weariness_.

l. 26. *velle*, i.e., *verle*.—*mancilla*, _pity_.

*Page 114.*—l. 10. *Bernardo del Carpio*: Largely a fictitious figure invented in Spain to take the place of the Roland of French epic poetry, when the latter became known in the Spanish peninsula. Bernardo is represented as the illegitimate son of a Conde de Saldaña and the sister of Alfonso el Casto, king of Asturias. Now grown up and a doughty warrior who has triumphed over the king’s French enemies, Bernardo demands the release of his father, imprisoned all these years by the king. The king requires certain concessions of Bernardo, and then orders the release of the count. The latter has died in the meantime, and Alfonso delivers over only the dead body. Cf. Milá y Fontanals, _De la poesía heroico-popular_, pp. 130 ff.

*Page 115.*—l. 25. Note the change from _asonantes_ to rhymed octaves, indicating a certainly late origin for this part of the ballad.

*Page 116.*—l. 6. Lockhart, _l. c._, has a version of this _romance_.

l. 7. A ballad dealing with an episode of the second part of the tragic history of the seven Infantes (nobles) of Lara (cf. Menéndez-Pidal, _La leyenda de los Infantes de Lara_). At the instance of their aunt, Doña Lambra, and through the treachery of their uncle, Don Rodrigo, the Infantes are delivered into the hands of the Saracens, who slay them. Their father Gonzalo Gustioz (Gustos) had previously been betrayed into the hands of the Moors by the same Don Rodrigo. After some years, Gonzalo is released and returns to Lara, whither he is later followed by his illegitimate half-Moorish son, Mudarra, who is to take vengeance for the death of his half-brothers and the injury done to his father. There is a modern poetical version of the story of Mudarra (_El Moro expósito_) by the Duke of Rivas (cf. p. 258). Cf. Lockhart’s translation: “To the chase goes Rodrigo with hound and with hawk.”

*Page 117.*—l. 22. A considerable number of the ballads deal with the story of the greatest of the old Spanish heroes, Rodrigo Diaz de Bivar, El Cid († 1099). The present one is interesting as giving a picture of a wedding in high life in the fifteenth or the sixteenth century. Cf. the translation of Lockhart, _l. c._, p. 48.

l. 25. *afijados*, i.e., *ahijados*.

l. 27. *Laín Calvo*: the Cid’s father.

*Page 118.*—l. 3. *polido*, i.e., *pulido*.

l. 16. *Fuyendo*, i.e., *huyendo*.—*mochachos*, i.e., *muchachos*.

l. 19. *fembras*, i.e., *hembras*.

l. 29. *homildosa*, i.e., *humildosa*.

l. 31. *marquesota*, _a high collar of linen_.

*Page 119.*—l. 7. *Fablándole*, i.e., *Hablándole*.

l. 8. *fabla*, i.e., *habla*.

l. 10. *faz*, i.e., *hace*.

l. 15. The story of the Cid’s pilgrimage to Santiago de Compostella, after his marriage to Jimena (the _Chimène_ of Corneille), and of his meeting with the leper who proves to be Lazarus, is told in the _Crónica rimada del Cid_, a document which in its present form belongs to the second half of the thirteenth century. Our ballad has the essentials of the story there told. Cf. Milá y Fontanals, _De la poesía heroico-popular_, pp. 219 ff., and see Lockhart’s version.

*Page 120.*—l. 3. *fidalgos*, i.e., *hidalgos*.

l. 14. *d’ello se serviría*, i.e., _he would requite it_.

l. 21. *ficiera*, i.e., *hiciera*.

*Page 122.*—l. 9. *Martín González*: the champion of the king of Aragon, whom the Cid, as representative of the king of Castile, was to meet in battle upon his return from his pilgrimage.

l. 11. This _romance_ deals with the sad history of Blanche of Bourbon, the French wife of Pedro el Cruel, whom he deserted for his mistress, María de Padilla. Blanche was poisoned in 1366. Cf. Lockhart’s version and the accompanying note.

*Page 124.*—l. 1. *sospiros*, i.e., *suspiros*.

l. 2. *terné*, i.e., *tendré*.

l. 8. The _Moorish ballads_ are more romantic and lyric, as a rule, than those dealing with the purely Christian side of Spanish history. This one on the conquest of Alhama—a city of the province of Granada, taken from the Moors by the marquis of Cadiz, Feb. 28, 1482—has been done into English verse by Byron (Oxford edition, 1896, p. 97), who wrongly translated the refrain as “_Woe is me, Alhama_.”—*el rey moro*: Muley Hassan, the father of Boabdil.

*Page 124.*—l. 20. *el Zacatín*: a street of Granada now leading to the Plaza Nueva.

*Page 125.*—l. 7. *batalla*, _battalion_.

l. 10. *hablara*: as numerous instances have already shown the verbal form in *-ara*, *-iera* is regularly used in the ballad as an aorist or preterite of the indicative. This use is a living one.

l. 24. *Abencerrajes*: one of the two leading tribes among the Moors. They were dominant until the fifteenth century, when, assembled in one of the courts of the Alhambra, they were there murdered by their rivals, the Cegríes. Cf. _Le dernier des Abencerrages_ of Chateaubriand and the modern Spanish poem _Granada_ of Zorrilla.

l. 33. Byron adds stanzas from another ballad.

*Page 126.*—l. 1. The French epic poems dealing with Charlemagne and his peers early became favorites in Spain, and before long received a peculiarly Spanish treatment. Thus the original French Roland was elaborated into a Spanish hero, Bernardo del Carpio. The present romantic ballad, however, shows no Spanish modification of this kind. The vision of Lady Alda (the _Aude_ of later French epic verse) reminds one of Kriemhild’s vision in the _Nibelungenlied_. Cf. the English version of Lockhart, _l. c._, p. 124, and that in Ticknor, I, 121; and the German poem of Uhland, _Roland und Aude_.

l. 4. *Para la acompañar*: the older order of pronouns.

*Page 127.*—l. 2. *vide*, i.e., *ví*.

l. 6. There may be an allusion here to the old Spanish custom according to which a refugee had sanctuary under the cloak or skirt of a lady.

l. 17. *sedes*, i.e., *sois*.

*Page 128.*—l. 1. A ballad from the _Cancionero_ of Antwerp, 1555, printed in the _Romancero General_, I, 161. Cf. Lockhart’s version, _l. c._, p. 147.

l. 15. The _Rosa fresca_ and the _Fonte-frida_ are the most beautiful of the erotic ballads. They are found in various _Romanceros_ and _Cancioneros_. Cf. Wolf and Hoffman, _Primavera y flor_, etc., II, pp. 18 ff. and the _Romancero general_, II; and see Ticknor, I, 110 ff. (with translations) and Baist in Groeber’s _Grundriss_, II, 2, p. 433.

See the translations of these ballads by J. Y. Gibson, _The Cid Ballads_, etc., London, 1887, II, 81 ff.

l. 23. *Enviastes*, i.e., *Enviasteis*.

*Page 129.*—l. 2. *érades*, i.e., *erais*.

l. 12. *Fonte-frida*, i.e., *Fuente-fría*.

*Page 130.*—l. 8. From the _Romancero general_ of 1604.

BALTASAR DE ALCÁZAR. A Sevillan poet with strongly marked epigrammatic tendencies, natural in tone and witty. Cf. ed. of his _Poesías_, Seville, 1878.

*Page 131.*—l. 4. *dalle*, i.e., *darle*.

l. 28. *efeto*, i.e., *efecto*.

MIGUEL DE CERVANTES SAAVEDRA. The author of the famous _Don Quijote_ and a dramatist of considerable power, Cervantes does not occupy a high rank as a lyric poet. His _Poesías sueltas_—largely sonnets and occasional in their nature—may be found in vol. I of the _Biblioteca de autores españoles_, pp. 705 ff. Cf. Ticknor, I, 90 ff.; the biography by Fernández de Navarrete; and his _Obras completas_ (1863-64). The poems here printed occur in the _Don Quijote_.

*Page 133.*—l. 5. This poem is found in the _Don Quijote_, I, chapter XXVII.

l. 17. *repuna*, i.e., *repugna*.

*Page 134.*—l. 9. A _canción_ from the _Don Quijote_, I, chapter XLIII.

l. 16. *Palinuro*: Palinurus, the Trojan pilot; cf. _Æneid_, Book II.

l. 27. *Al punto que*: equivalent to *El punto á que*.

*Page 135.*—l. 1. From the _Don Quijote_, I, chapter XL.

l. 15. From the _Don Quijote_, II, chapter XVIII. A good example of the artificiality of the _Glosa_.

THE ARGENSOLAS. Aragonese of Italian descent, Lupercio and Bartolomeo Argensola occupy a high rank among the lyric poets of the beginning of the seventeenth century. Lupercio also essayed the drama, but with little success. The _Rimas_ of the brothers, first published by the son of Lupercio in 1634, show in them an influence of the literature of their ancestral land, both modern and ancient, and above all the influence of Horace. They opposed the Gongoristic movement and adopted only sane and natural methods. Lupercio’s translation of the _Beatus ille_ and Bartolomeo’s sonnet to _Providence_ (p. 140) are among their very best productions. Cf. vol. II of _Líricos del siglo XVI_, in the _Biblioteca de autores españoles_; Ticknor, III, 31 ff.

*Page 137.*—l. 14. *Lo demás*, etc., _As for the rest, let it kill the hunger of the mastiffs_; i.e., _to the deuce with it_.

l. 15. Cf. Horace, _Epodon, Carmen_ II.

*Page 138.*—l. 11. *propria*, i.e., *propia*.

l. 22. *Mormurios*: i.e., *Murmurios*.

*Page 139.*—l. 4. *Pullés*, _Apulian_.

l. 15. *Carpacio*, _the Carpathian mountains_.

*Page 141.*—l. 2. *sepoltura*, i.e., *sepultura*.

LUIS DE ARGOTE Y GÓNGORA. Góngora is chiefly remembered as the founder of _culteranismo_, that bombastic and obscure style which invaded Spanish literature at the end of the sixteenth century and which is marked by traits similar to those of Marinism in Italy, of Euphuism in England and of _préciosité_ in France. In his earlier period, Góngora imitated Herrera and wrote poems free from affectation. It is in his later manner that he reaches the height of extravagance in metaphor and that general obscurity of expression which is exemplified by the selection here given from his _Soledades_. See his verse in vol. XXXII (_Poesías líricas del siglo XVI_) of the _Biblioteca de autores españoles_, which is supplemented by unedited poems published by H. Rennert in the _Revue hispanique_, vol. IV. Cf. also Archdeacon Churton’s _Góngora, an Historical and Critical Essay_, etc., and the English verse translations there given.

*Page 141.*—l. 16. *sus ojos*, i.e., _her beloved_.

*Page 143.*—l. 1. This first of the _Solitudes_, although a mass of verbal absurdities, was rendered into English verse by Thomas Stanley; cf. the ed. of the latter’s poems by Brydge (1814).

*Page 144.*—l. 6. *Quien*, etc.: possibly an attack upon Quevedo, at first a vigorous enemy of Gongorism. It may rather apply to Pedro de Valencia, a contemporary scholar, who was one of the first to arraign Góngora for his methods in the _Solitudes_.

CONDE DE VILLAMEDIANA. A noble of the court of Philip IV., and a disciple of Góngora. He is said to have loved the queen—a daughter of Henry IV. of France—and on that account to have been assassinated by order of Philip. The sonnet on p. 144 may contain an allusion to this love. His verse is printed in vol. II of _Líricos del siglo XVI_ (in the _Biblioteca de autores españoles_). Cf. Ticknor, III, 23 ff.

*Page 145.*—l. 12. *Calderón* was a courtier constantly attacked by Villamediana.

VICENTE ESPINEL. Noted as the author of the picaresque novel _Marcos de Obregón_, Espinel was also a lyric poet with clear Italian tendencies, as his _Diversas rimas_, Madrid, 1591, show. He is said to have invented, or at least to have revived the use of the _décimas_, a form utilized in the _letrilla_ on p. 146. Cf. Ticknor, III, 5.

LOPE FÉLIX DE VEGA CARPIO. One of the marvels of the modern literary world and one of the greatest writers that Spain has produced. Renowned chiefly as a dramatist of the _siglo de oro_ period, he composed more than two thousand plays of various kinds. As a lyric poet, he possessed talents of the highest order, a fact amply attested by the poems scattered through his dramas and other productions and by those brought together in the volume _Obras no dramáticas de Lope de Vega_ of the _Biblioteca de autores españoles_. His works are in process of publication by the Spanish Academy, under the editorship of Menéndez y Pelayo. A considerable number of them may be found in four volumes of the _Biblioteca de autores españoles_. Cf. Barrera’s _Nueva biografía 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.*—l. 26. A lullaby sung by Mary in the pastoral _Los pastores de Belén_. Cf. the translation in Ticknor, II, 177.

*Page 151.*—l. 9. Dom Sebastian, king of Portugal, was slain and his army destroyed while engaged on an expedition in Morocco (1578).

l. 20. *asillo*, i.e., *asirlo*.

*Page 152.*—l. 1. Translated by Longfellow (Riverside ed., 1886, VI, 204).