Chapter X (1)

Ésa era mi esperanza...
15 Mas ya que á sus fulgores
Se opone el hondo abismo
Que existe entre los dos,
¡Adiós por la vez última,
Amor de mis amores;
20 La luz de mis tinieblas,
La esencia de mis flores;
Mi lira de poeta,
Mi juventud, adiós!
page 207

DON JUAN DE DIOS PEZA

REIR LLORANDO

¡Cuántos hay que, cansados de la vida,
Enfermos de pesar, muertos de tedio,
Hacen reir como el actor suicida,
Sin encontrar, para su mal, remedio!

5 ¡Ay! ¡Cuántas veces al reir se llora!
¡Nadie en lo alegre de la risa fíe,
Porque en los seres que el dolor devora
El alma llora cuando el rostro ríe!

Si se muere la fe, si huye la calma,
10 Si sólo abrojos nuestra planta pisa,
Lanza á la faz la tempestad del alma
Un relámpago triste: la sonrisa.

El carnaval del mundo engaña tanto,
Que las vidas son breves mascaradas;
15 Aquí aprendemos á reir con llanto,
Y también á llorar con carcajadas.

FUSILES Y MUÑECAS

Juan y Margot, dos ángeles hermanos,
Que embellecen mi hogar con sus cariños,
Se entretienen con juegos tan humanos
20 Que parecen personas desde niños.
page 208
Mientras Juan, de tres años, es soldado
Y monta en una caña endeble y hueca,
Besa Margot con labios de granado
Los labios de cartón de su muñeca.

5 Lucen los dos sus inocentes galas,
Y alegres sueñan en tan dulces lazos:
Él, que cruza sereno entre las balas;
Ella, que arrulla un niño entre sus brazos.

10 Puesto al hombro el fusil de hoja de lata,
El kepis de papel sobre la frente,
Alienta al niño en su inocencia grata
El orgullo viril de ser valiente.

Quizá piensa, en sus juegos infantiles,
Que en este mundo que su afán recrea,
15 Son como el suyo todos los fusiles
Con que la torpe humanidad pelea.

Que pesan poco, que sin odios lucen,
Que es igual el más débil al más fuerte,
Y que, si se disparan, no producen
20 Humo, fragor, consternación y muerte.

¡Oh misteriosa condición humana!
Siempre lo opuesto buscas en la tierra:
Ya delira Margot por ser anciana,
Y Juan que vive en paz ama la guerra.
page 209
Mirándolos jugar, me aflijo y callo;
¡Cuál será sobre el mundo su fortuna?
Sueña el niño con armas y caballo,
La niña con velar junto á la cuna.

5 El uno corre de entusiasmo ciego,
La niña arrulla á su muñeca inerme,
Y mientras grita el uno: Fuego, Fuego,
La otra murmura triste: Duerme, Duerme.

Á mi lado ante juegos tan extraños
10 Concha, la primogénita, me mira:
¡Es toda una persona de seis años
Que charla, que comenta y que suspira!

¿Por qué inclina su lánguida cabeza
Mientras deshoja inquieta algunas flores?
15 ¿Será la que ha heredado mi tristeza?
¿Será la que comprende mis dolores?

Cuando me rindo del dolor al peso,
Cuando la negra duda me avasalla,
Se me cuelga del cuello, me da un beso,
20 Se le saltan las lágrimas, y calla.

Sueltas sus trenzas claras y sedosas,
Y oprimiendo mi mano entre sus manos,
Parece que medita en muchas cosas
Al mirar como juegan sus hermanos...
page 210
¡Inocencia! ¡Niñez! ¡Dichosos nombres!
Amo tus goces, busco tus cariños;
¡Cómo han de ser los sueños de los hombres
Más dulces que los sueños de los niños!
page 211

NICARAGUA

DON RUBÉN DARÍO

Á ROOSEVELT

Es con voz de la Biblia ó verso de Walt Whitman
Que habría que llegar hasta ti, ¡cazador!
Primitivo y moderno, sencillo y complicado,
Con un algo de Wáshington y mucho de Nemrod.
5 Eres los Estados Unidos,
Eres el futuro invasor
De la América ingenua que tiene sangre indígena,
Que aun reza á Jesucristo y aun habla en español.

Eres soberbio y fuerte ejemplar de tu raza;
10 Eres culto, eres hábil; te opones á Tolstoy.
Y domando caballos ó asesinando tigres,
Eres un Alejandro Nabucodonosor.
(Eres un profesor de Energía
Como dicen los locos de hoy.)

15 Crees que la vida es incendio,
Que el progreso es erupción,
Que en donde pones la bala
El porvenir pones. page 212
No.
Los Estados Unidos son potentes y grandes.
Cuando ellos se estremecen hay un hondo temblor
Que pasa por las vértebras enormes de los Andes.
5 Si clamáis, se oye como el rugir de un león.
Ya Hugo á Grant lo dijo: «Las estrellas son vuestras.»
(Apenas brilla alzándose el argentino sol
Y la estrella chilena se levanta...) Sois ricos;
Juntáis al culto de Hércules el culto de Mamnón;
10 Y alumbrando el camino de la fácil conquista,0
La Libertad levanta su antorcha en Nueva York.

Mas la América nuestra que tenía poetas
Desde los viejos tiempos de Netzhualcoyolt,
Que ha guardado las huellas de los pies del gran Baco,
15 Que el alfabeto pánico en un tiempo aprendió,
Que consultó los astros, que conoció la atlántida
Cuyo nombre nos llega resonando en Platón,
Que desde los remotos momentos de su vida
Vive de luz, de fuego, de perfume y de amor,
20 La América del grande Moctezuma, del Inca,
La América fragante de Cristóbal Colón,
La América católica, la América española,
La América en que dijo el noble Guatemoc:
«Yo no estoy en un lecho de rosas»; esa América
25 Que tiembla de huracanes y que vive de amor,
Hombres de ojos sajones y alma bárbara, vive
Y sueña. Y ama y vibra; y es la hija del Sol.
Tened cuidado. ¡Vive la América española! page 213
Hay mil cachorros sueltos del león español.
Se necesitaría, Roosevelt, ser Dios mismo,
El Riflero terrible y el fuerte cazador,
Para poder tenernos en vuestras férreas garras.

5 Y, pues contáis con todo, falta una cosa: ¡Dios!
page 214

VENEZUELA

DON ANDRÉS BELLO

Á LA VICTORIA DE BAILÉN

Rompe el León soberbio la cadena
Con que atarle pensó la felonía,
Y sacude con noble bizarría
Sobre el robusto cuello la melena.

5 La espuma del furor sus labios llena
Y á los rugidos que indignado envía
El tigre tiembla en la caverna umbría,
Y todo el bosque atónito resuena.

10 El León despertó; ¡temblad, traidores!
Lo que vejez creísteis, fué descanso;
Las juveniles fuerzas guarda enteras

Perseguid, alevosos cazadores,
Á la tímida liebre, al ciervo manso;
No insultéis al monarca de las fieras

LA AGRICULTURA DE LA ZONA TÓRRIDA

15 ¡Salve, fecunda zona,
Que al sol enamorado circunscribes page 215
El vago curso, y cuanto ser se anima
En cada vario clima,
Acariciada de su luz, concibes!
Tú tejes al verano su guirnalda
5 De granadas espigas; tú la uva
Das á la hirviente cuba:
No de purpúrea flor, ó roja, ó gualda,
Á tus florestas bellas
Falta matiz alguno; y bebe en ellas
10 Aromas mil el viento;
Y greyes van sin cuento
Paciendo tu verdura, desde el llano
Que tiene por lindero el horizonte,
Hasta el erguido monte,
15 De inaccesible nieve siempre cano.
Tú das la caña hermosa,
De do la miel se acendra,
Por quien desdeña el mundo los panales:
Tú en urnas de coral cuajas la almendra
20 Que en la espumante jícara rebosa:
Bulle carmín viviente en tus nopales,
Que afrenta fuera al múrice de Tiro;
Y de tu añil la tinta generosa
Émula es de la lumbre del zafiro;
25 El vino es tuyo, que la herida agave
Para los hijos vierte
Del Anáhuac feliz; y la hoja es tuya
Que, cuando de süave
Humo en espiras vagarosas huya, page 216
Solazará el fastidio al ocio inerte.
Tú vistes de jazmines
El arbusto sabeo,
Y el perfume le das que en los festines
5 La fiebre insana templará á Lieo.
Para tus hijos la procera palma
Su vario feudo cría,
Y el ananás sazona su ambrosía:
Su blanco pan la yuca,
10 Sus rubias pomas la patata educa,
Y el algodón despliega al aura leve
Las rosas de oro y el vellón de nieve.
Tendida para ti la fresca parcha
En enramadas de verdor lozano,
15 Cuelga de sus sarmientos trepadores
Nectáreos globos y franjadas flores;
Y para ti el maíz, jefe altanero
De la espigada tribu, hinche su grano;
Y para ti el banano
20 Desmaya al peso de su dulce carga;
El banano, primero
De cuantos concedió bellos presentes
Providencia á las gentes
Del ecuador feliz con mano larga.
25 No ya de humanas artes obligado
El premio rinde opimo:
No es á la podadera, no al arado
Deudor de su racimo;
Escasa industria bástale, cual puede page 217
Hurtar á sus fatigas mano esclava:
Crece veloz, y cuando exhausto acaba,
Adulta prole en torno le sucede.

¡Oh! ¡Los que afortunados poseedores
5 Habéis nacido de la tierra hermosa
En que reseña hacer de sus favores,
Como para ganaros y atraeros,
Quiso naturaleza bondadosa!
Romped el duro encanto
10 Que os tiene entre murallas prisioneros.
El vulgo de las artes laborioso,
El mercader que, necesario al lujo,
Al lujo necesita,
Los que anhelando van tras el señuelo
15 Del alto cargo y del honor ruidoso,
La grey de aduladores parasita,
Gustosos pueblen ese infecto caos;
El campo es vuestra herencia: en él gozaos.
¿Amáis la libertad? El campo habita:
20 No allá donde el magnate
Entre armados satélites se mueve,
Y de la moda, universal señora,
Va la razón al triunfal carro atada,
Y á la fortuna la insensata plebe,
25 Y el noble al aura popular adora.
¿Ó la virtud amáis? ¡Ah! ¡Que el retiro,
La solitaria calma page 218
En que, juez de sí misma, pasa el alma
Á las acciones muestra,
Es de la vida la mejor maestra!
¿Buscáis durables goces,
5 Felicidad, cuanta es al hombre dada
Y á su terreno asiento, en que vecina
Está la risa al llanto, y siempre ¡ah! siempre,
Donde halaga la flor, punza la espina?
Id á gozar la suerte campesina;
10 La regalada paz, que ni rencores,
Al labrador, ni envidias acibaran;
La cama que mullida le preparan
El contento, el trabajo, el aire puro;
Y el sabor de los fáciles manjares,
15 Que dispendiosa gula no le aceda;
Y el asilo seguro
De sus patrios hogares
Que á la salud y al regocijo hospeda.
El aura respirad de la montaña,
20 Que vuelve al cuerpo laso
El perdido vigor, que á la enojosa
Vejez retarda el paso,
Y el rostro á la beldad tiñe de rosa.
¿Es allí menos blanda por ventura
25 De amor la llama, que templó el recato?
¿Ó menos aficiona la hermosura
Que de extranjero ornato
Y afeites impostores no se cura?
¿Ó el corazón escucha indiferente page 219
El lenguaje inocente
Que los afectos sin disfraz expresa
Y á la intención ajusta la promesa?
No del espejo al importuno ensayo
5 La risa se compone, el paso, el gesto;
No falta allí carmín al rostro honesto
Que la modestia y la salud colora,
Ni la mirada que lanzó al soslayo
Tímido amor, la senda al alma ignora.
10 ¿Esperaréis que forme
Más venturosos lazos himeneo,
Do el interés barata,
Tirano del deseo,
Ajena mano y fe por nombre ó plata,
15 Que do conforme gusto, edad conforme,
Y elección libre, y mutuo ardor los ata?

¡Oh jóvenes naciones, que ceñida
Alzáis sobre el atónito Occidente
De tempranos laureles la cabeza!
20 Honrad al campo, honrad la simple vida
Del labrador y su frugal llaneza.
Así tendrán en vos perpetuamente
La libertad morada,
Y freno la ambición, y la ley templo.
25 Las gentes á la senda
De la inmortalidad, ardua y fragosa,
Se animarán, citando vuestro ejemplo.
Lo emulará celosa page 220
Vuestra posteridad, y nuevos nombres
Añadiendo la fama
Á los que ahora aclama,
«Hijos son éstos, hijos
5 (Pregonará á los hombres)
De los que vencedores superaron
De los Andes la cima:
De los que en Boyacá, los que en la arena
De Maipo y en Junín, y en la campaña
10 Gloriosa de Apurima,
Postrar supieron al león de España.»

DON JUAN A. PÉREZ BONALDE

VUELTA Á LA PATRIA

Á mi hermana Elodia

¡Tierra! grita en la prora el navegante,
Y confusa y distante,
Una línea indecisa
15 Entre brumas y ondas se divisa.
Poco á poco del seno
Destacándose va, del horizonte,
Sobre el éter sereno
La cumbre azul de un monte;
20 Y así como el bajel se va acercando,
Va extendiéndose el cerro
Y unas formas extrañas va tomando: page 221
Formas que he visto cuando
Soñaba con la dicha en mi destierro.

Ya la vista columbra
Las riberas bordadas de palmares,
5 Y una brisa cargada con la esencia
De silvestres violetas y azahares
En mi memoria alumbra
El recuerdo feliz de mi inocencia,
Cuando pobre de años y pesares
10 Y rico de ilusiones y alegría,
Bajo las palmas retozar solía
Oyendo el arrullar de las palomas,
Bebiendo luz y respirando aromas.

Hay algo en esos rayos brilladores
15 Que juegan por la atmósfera azulada,
Que me habla de ternuras y de amores
De una dicha pasada;
Y el viento al suspirar entre las cuerdas
Parece que me dice:--¿No te acuerdas?...
20 Ese cielo, ese mar, esos cocales,
Ese monte que dora
El sol de las regiones tropicales...
¡Luz! ¡luz al fin! los reconozco ahora;
Son ellos, son los mismos de mi infancia,
25 Y esas playas que al sol del mediodía
Brillan á la distancia,
¡Oh inefable alegría!
Son las riberas de la patria mía.
page 222
Ya muerde el fondo de la mar hirviente
Del ancla el férreo diente;
Ya se acercan los botes desplegando
Al aire puro y blando
5 La enseña tricolor del pueblo mío.
¡Á tierra! ¡á tierra! ¡Ó la emoción me ahoga,
Ó se adueña de mi alma el desvarío!

Llevado en alas de mi ardiente anhelo,
Me lanzo presuroso al barquichuelo
10 Que á las riberas del hogar me invita.
Todo es grata armonía: los suspiros
De la onda de zafir que el remo agita,
De las marinas aves
Los caprichosos giros,
15 Y las notas süaves
Y el timbre lisonjero,
Y la magia que toma,
Hasta en labios del tosco marinero,
El dulce son de mi nativo idioma.

20 ¡Volad, volad veloces,
Ondas, aves y voces!
Id á la tierra en donde el alma tengo,
Y decidle que vengo
Á reposar, cansado caminante,
25 Del hogar á la sombra un solo instante.
Decidle que en mi anhelo, en mi delirio
Por llegar á la orilla, el pecho siente page 223
De Tántalo el martirio;
Decidle, en fin, que mientra estuve ausente
Ni un día, ni un instante la he olvidado,
Y llevadle este beso que os confío,
5 Tributo adelantado
Que desde el fondo de mi ser le envío.
¡Boga, boga remero! ¡Así! ¡Llegamos!
¡Oh, emoción hasta ahora no sentida!
Ya piso el santo suelo en que probamos
10 El almíbar primero de la vida.
Tras ese monte azul, cuya alta cumbre
Lanza reto de orgullo
Al zafir de los cielos,
Está el pueblo gentil donde al arrullo
15 Del maternal amor rasgué los velos
Que me ocultaban la primera lumbre.
¡En marcha, en marcha, postillón; agita
El látigo inclemente!
Y á más andar el coche diligente
20 Por la orilla del mar se precipita.

No hay peña ni ensenada que en mi mente
No venga á despertar una memoria;
Ni hay ola que en la arena humedecida
No escriba con espuma alguna historia
25 De los felices tiempos de mi vida.
Todo me habla de sueños y cantares,
De paz, de amor y de tranquilos bienes;
Y el aura fugitiva de los mares page 224
Que viene, leda, á acariciar mis sienes,
Me susurra al oído
Con misterioso acento: ¡Bienvenido!

DON HERACLIO MARTÍN DE LA GUARDIA

ÚLTIMA ILUSIÓN

Cayó empuñando el invencible acero
5 Que coronó de lauros la victoria,
Terror de extraños, de su patria gloria,
En traidora asechanza el caballero.
"--Llevad mi espada al pueblo por quien muero,
Y airado el pueblo vengue mi memoria...
10 Este anillo á... mi amor... La negra historia
Á mi madre callad."--Dijo el guerrero.

Sucumbió el héroe... ¡Sacrificio vano!
Que al suspiro final de su agonía
Besaba el pueblo la traidora mano:
15 ¡Á otro amador la amada sonreía!
Sólo la madre en su dolor tirano
Al guerrero lloraba noche y día.

page 225

CANCIONES

La Carcelera

Carcelera, Carcelera,
Carcelera de mi vida,
desátame las cadenas
y échame la despedida.

page 226

Riverana

Ya se murió el burro que acarreaba la vinagre;
Ya lo llevó Dios de esta vida miserable.
|:Que tu ru ru ru ru
Que tu ru ru ru ru.:|
Él era valiente, él era mohino;
Él era el alivio de todo Villarino.
|:Que tu ru ru ru ru
Que tu ru ru ru ru.:|

page 227

page 228

page 229

La Cachucha

Yo tengo una cachuchita
que me la dió un cachuchero,
el que quiera cachuchita
que se gaste su dinero.
Vámonos, china del alma,
vámonos á Gibraltar
para ver á los moritos
que se quieren embarcar!

page 230

page 231

page 232

La Valenciana.

Camino de Valencia,
camino de Valencia,
camino largo,
con las tunas yo me iré,
con las bueñas volveré,
camino largo;
á la sombra de un pino,
á la sombra de un pino,
niña, te aguardo,
con las feas yo me iré,
con las lindas volveré,
¡niña, te aguardo!

page 233

page 234

Canción Devota

Á la puerta del Cielo venden zapatos
para los angelitos que van descalzos.
María, adoraros quería
y os quiero, adorar el cordero,
¡claveles, colorados y verdes,
morados, verdes y colorados!

page 235

page 236

page 237

La Jota Gallega

Tanto bailé la jota gallega,
¡ole, ole, ole, ole!
tanto bailé que me enamoré de ella,
¡ole, ole, ole!
tanto bailé que me enamoré,
¡ole, ole, ole, ole!
tanto bailé que me enamoré,
¡ole, ole, ole, ole!
tanto bailé la jota gallega,
¡ole, ole, ole, ole!
tanto bailé que me enamoré de ella,
¡ole, ole, ole!

page 238

page 239

page 240

page 241

El Trágala

CANCIÓN Á LOS PANCISTAS

Tú que no quieres lo que queremos,
la ley preciosa do está el bien nuestro,
trágala, trágala, trágala, perro,
trágala, trágala, trágala, perro.
Tú de la panza mísero siervo que la ley
odias de tus abuelos,
que la ley odias de tus abuelos
por que en acíbar y lloro han vuelto
tus gollerías y regodeos.

page 242

page 243

page 244

page 245

page 246

Himno De Riego.

Soldados, la Patria nos llama á la lid,
juremos por ella vencer ó morir. Serenos,
alegres, valientes, osados, cantemos,
soldados, el himno á la lid,
y á nuestros acentos el orbe se admire
y en nosotros mire los hijos del Cid,
y á nuestros acentos el orbe se admire
y en nosotros mire los hijos del Cid.
Sol-etc.

page 247

page 248

page 249

page 250

Himno Nacional De México

JAIME NUÑO

Mexicanos al grito de guerra
El acero aprestad y el bridón,
y retiemble en sus centros la tierra
al sonoro rugir del cañon.
Y retiemble en sus centros la tierra
al sonoro rugir del cañón.
Ciña ¡oh patria! tus sienes de oliva

De la paz el arcángel divino,
Que en el ciélo tu eterno destino
por el dedo de Dios se escribió.
Mas si osare un extraño enemigo
profanar con su planta tu suelo
piensa ¡oh patria querida! que el cielo
un soldado en cada hijo te dió,
un soldado en cada hijo te dió.

page 251

page 252

Himno Nacional De Cuba

(HIMNO DE BAYAMO)

PEDRO FIGUEREDO

1. ¡Al combate corred Bayameses!
Que la patria os contempla orgullosa;
No temáis una muerte gloriosa,
Que morir por la patria es vivir.
En cadenas vivir es vivir
En oprobio y afrenta sumido.
Del clarín escuchad el sonido;
Á las armas, valientes, corred!

2. No temáis al gobierno extranjero
Que es cobarde cual todo tirano,
No resiste el empuje cubano,
Para siempre su imperio cayó.
Sea bendita la noche serena
En que en alegres campos de Yara
El clarín de la guerra sonara
Y el cubano ser libre juró.

3. No se nuble jamás esa estrella
Que las hijas de Cuba bordaron
Y que nobles cubanos alzaron
En su libre y feliz pabellón.
¡Gloria y nombre á los hijos de Cuba!
¡Gloria y nombre al valiente Aguilera!
¡Viva! ¡Viva! la alegre bandera
Que en los campos de Yara se alzó.

page 253

NOTES

The heavy figures refer to pages of the text; the light figures to lines.

[Transcriber's note: In this text file, the bold characters are represented by the enclosure in a pair of = sign.]

_ROMANCES_. The Spanish _romances viejos_, which correspond in form and spirit to the early English and Scotch ballads, exist in great number and variety. Anonymous and widely known among the people, they represent as well as any literary product can the spirit of the Spanish nation of the period, in the main stern and martial, but sometimes tender and plaintive. Most of them were written in the fifteenth and sixteenth centuries; the earliest to which a date can be assigned is _Cercada tiene á Baeza_, which must have been composed soon after 1368. Others may have their roots in older events, but have undergone constant modification since that time. The _romance popular_ is still alive in Spain and many have recently been collected from oral tradition (cf. Menéndez y Pelayo, _Antología_, vol. X).

The _romances_ were once thought to be relics of very old lyrico-epic songs which, gathering material in the course of time, became the long epics that are known to have existed in Spain in the twelfth to fourteenth centuries (such as the _Poema del Cid_, and the lost _cantares_ of _Bernardo del Carpio_, the _Infantes de Lara_ and _Fernán González_). But modern investigation has shown conclusively that no such age can be ascribed to the _romances_ in their present form, and that in so far as they have any relation with the epic cycles just cited they are rather descendants of them than ancestors,--striking passages remembered by the people and handed down by them in constantly changing form. Many are obviously later in origin; such are the _romances fronterizos_, springing from episodes of the Moorish wars, and the _romances novelescos_, which deal with romantic incidents of daily life. The _romances juglarescos_ are longer poems, mostly concerned with Charlemagne page 254 and his peers, veritable degenerate epics, composed by itinerant minstrels to be sung in streets and taverns to throngs of apprentices and rustics. They have not the spontaneity and vigor which characterize the better _romances viejos_.

A few of the _romances_ were printed in the _Cancionero general_ of 1511, and more in loose sheets (_pliegos sueltos_) not much later in date; but the great collections which contain nearly all the best we know were the _Cancionero de romances "sin año,"_ (shortly before 1550), the _Cancionero de romances_ of 1550 and the _Silva de varios romances_ (3 parts, 1550). The most comprehensive modern collection is that of A. Durán, _Romancero general_, 2 vols., Madrid, 1849-1851 (vols. 10 and 16 of the _Biblioteca de Autores españoles_). The best selected is the _Primavera y flor de romances_ of Wolf and Hofmann (Berlin, 1856), reprinted in vols. VIII and IX of Menéndez y Pelayo's _Antología de poetas líricos castellanos_. This contains nearly all the oldest and best _romances_, and includes poems from _pliegos sueltos_ and the second part of the _Silva_, which were not known to Durán. Menéndez y Pelayo, in his _Apéndices á la Primavera y flor (_Antol._ vol. IX) has given still more texts, notably from the third part of the _Silva_, one of the rarest books in the world. The fundamental critical works on the _romances_ are: F. Wolf, _Ueber die Romanzenpoesie der Spanier_ (in _Studien_, Berlin, 1859); Milá y Fontanals, _De la poesía heroico-popular castellana_ (1874); and Menéndez y Pelayo, _Tratado de los romances viejos_ (vols. XI and XII of the _Antología_, Madrid, 1903-1906).

The _romances_, as usually printed, are in octosyllabic lines, with a fixed accent on the seventh syllable of each and assonance in alternate lines.

Many English translators have tried their hand at Spanish ballads, as Thomas Rodd (1812), J. C. Lockhart (1823), John Bowring (1824), J.Y. Gibson (1887) and others. Lockhart's versions are the best known and the least literal.

In the six _romances_ included in this collection the lyrical quality predominates above the narrative page 255 (cf. the many rimes in-_or_ in _Fonte-frida_ and _El prisionero_). _Abenámar_ is properly a frontier ballad, and _La constancia_, perhaps, belongs with the Carolingian cycle; but the rest are detached poems of a romantic nature. (See S.G. Morley's _Spanish Ballads_, New York, 1911.)

=1.--Abenámar= is one of a very few _romances_ which are supposed to have their origin in Moorish popular poetry. The Christian king referred to is Juan II, who defeated the Moors at La Higueruela, near Granada, in 1431. It is said that on the morning of the battle he questioned one of his Moorish allies, Yusuf Ibn Alahmar, concerning the conspicuous objects of Granada. The poem was utilized by Chateaubriand for two passages of _Les aventures du dernier Abencérage_.

=I. Abenámar= = _Ibn Alahmar_: see above.

9. The verbal forms in-_ara_ and-_iera_ were used then as now as the equivalent of the pluperfect or the preterit indicative.

=II. la=: _la verdad_ is probably understood. Cf. p. 2, l. I.

=2.--I. diría= = _diré_. In the _romances_ the conditional often replaces the future, usually to fit the assonance.

5. =relucían:= in the old ballads the imperfect indicative is often used to express loosely past time or even present time.

6. =El Alhambra:= in the language of the old ballads _el_, not _la_, is used before a feminine noun with initial-_a_ or _e_-, whether the accent be on the first syllable or not.

25. =viuda= in old Spanish was pronounced _viuda_ and assonated in _í-a_. This expletive =que= is common in Spanish: do not translate.

27. =grande= merely strengthens =bien=.

=3.--Fonte-frida= is a poem of erotic character, much admired for its suave melancholy. Probably it is merely an allegorical fragment of a longer poem now lost. It is one of those printed in the _Cancionero general_ of 1511. It was well translated by Bowring. There is also a metrical version in Ticknor, I, III. This theme is found in the _Physiologus_, a medieval bestiary. One of these page 256 animal stories relates that the turtle-dove has but one mate and if this mate dies the dove remains faithful to its memory. Cf. _Mod. Lang. Notes_, June, 1904 (_Turtel-Taube_), and February, 1906.

3. In =avecicas= and =tortolica= the diminutive ending-_ica_ seems to be quite equivalent to-_ito_. Cf. Knapp's _Span. Gram., 760a_.

4. =van tomar= = _van á tomar_.

7. =fuera=: note that _fué_ (or =fuera=) =á pasar= = _pasó_. This usage is now archaic, although it is still sometimes used by modern poets: see p. 136, l. 18.

18. =bebía=: see note, p. 2, l. 5.

19. =haber=, in the ballads, often = _tener_. See also =haya= in the following line.

=4=.--=El Conde Arnaldos=. Lockhart says of "Count Arnaldos," "I should be inclined to suppose that

'More is meant than meets the ear,'

--that some religious allegory is intended to be shadowed forth." Others have thought the same, and the strong mystic strain in Spanish character may bear out the opinion. In order that the reader may judge for himself he should have before him the mysterious song itself, which, omitted in the earliest version, is thus given in the _Cancionero de romances_ of 1550, to follow line 18 of the poem:

--Galera, la mi galera,
Dios te me guarde de mal,
de los peligros del mundo
sobre aguas de la mar,
de los llanos de Almería,
del estrecho de Gibraltar,
y del golfo de Venecia,
y de los bancos de Flandes,
y del golfo de León,
donde suelen peligrar.
page 257
Popular poems which merely extol the power of music over
animals are not uncommon.

=I. ¡Quién hubiese!= _would that one might have_! or _would that I might have_! Note =¡quién me diese!= (p. 7, 1. 25), _would that some one would give me_!: this is the older meaning of _quién_ in these expressions. Note also =¡Quién supiera escribir!= (p.134), _would that I could write_! where the modern usage occurs.

22. =dígasme= = _dime_ This use of the pres. subj. with the force of an imperative is not uncommon in older Spanish.

24.=le fué á dar=: see note, p. 3,1. 7.

=5.=--=La constancia=. These few lines, translated by Lockhart as "The Wandering Knight's Song," are only part of a lost ballad which began:

Á las armas, Moriscote,
si las has en voluntad.

Six lines of it have recently been recovered (Menéndez y Pelayo, _Antología_, IX, 211). It seems to have dealt with an incursion of the French into Spain, and the lines here given are spoken by the hero Moriscote, when called upon to defend his country. Don Quijote quotes the first two lines of this ballad, Part I, Cap. II.

8. =de me dañar= = _de dañarme_.

13. =vos= was formerly used in Spanish as _usted_ is now used,--in formal address.

=El amante desdichado=. Named by Lockhart "Valladolid." It is one of the few old _romances_ which have kept alive in oral tradition till the present day, and are still repeated by the Spanish peasantry (cf. _Antología_, X, 132, 192).

=7.=--=El prisionero=. Twelve lines of this poem were printed in 1511. It seems to be rather troubadouresque than popular in origin, but it became very well known later. Lockhart's version is called "The Captive Knight and the Blackbird." page 258 16. This line is too short by one syllable, or has archaic hiatus. See _Versification_,(4) a.

19. =las mis manos:= in old Spanish the article was often used before a possessive adjective that preceded its noun. This usage is now archaic or dialectic.

21. =hacía= is here exactly equivalent to =hace= in 1. 23: see note, p. 2, 1. 5.

25. =quien...me diese=: see note, p. 4, 1. I.

=8.=--12. =Oídolo había= = _lo había oído_.

13. This line is too long by one syllable.

14. Gil Vicente (1470?-1540?), a Portuguese poet who wrote dramas in both Portuguese and Castilian. A strong creative artist and thinker, Vicente is the greatest dramatist of Portugal and one of the great literary figures of the Peninsula. This Canción to the Madonna occurs in _El auto de la Sibila Casandra_, a religious pastoral drama. Vicente himself wrote music for the song, which was intended to accompany a dance. John Bowring made a very good metrical translation of the song (_Ancient Poetry and Romances of Spain_, 1824, p. 315). Another may be found in Ticknor's _History of Spanish Literature,_ I, 259.

16. =digas tú=: see note, p. 4, I. 22. =el marinero=: omit =el= in translation. In the Spanish of the ballads the article is regularly used with a noun in the vocative.

24. =pastorcico=: see note, p. 3, I. 3.

=9.=--Santa Teresa de Jesús (1515-1582), born at Ávila; became a Carmelite nun and devoted her life to reforming her Order and founding convents and monasteries. Saint Theresa believed herself inspired of God, and her devotional and mystic writings have a tone of authority. Her chief works in prose are the _Castillo interior_ and the _Camino de perfección_. She is one of the greatest of Spanish mystics, and her influence is still potent (cf. Juan Valera, _Pepita Jiménez_; Huysmans, _En route; et al._). Cf. _Bibl. de Aut. Esp._, vols. 53 and page 259 55, for her works. This _Letrilla_ has been translated by Longfellow ("Santa Teresa's Book-Mark," Riverside ed., 1886, VI., 216.)

=9.=--Fray Luis Ponce de León (1527-1591), born at Belmonte; educated at the University of Salamanca; became an Augustinian monk. While a professor at the same university he was accused by the Inquisition and imprisoned from 1572 to 1576, while his trial proceeded. He was acquitted, and he taught till his death, which occurred just after he had been chosen Vicar-General of his Order. The greatest of the mystic poets, he wrote as well religious works in prose (_Los nombres de Cristo, La perfecta casada_), and in verse translated Virgil, Horace and other classical authors and parts of the Old Testament. In gentleness of character and in the purity in which he wrote his native tongue, he resembles the Frenchman Pascal. His poems are in vol. 37 of the _Bibl. de Aut. Esp._ Cf. Ticknor, Period II, Cap. IX, and _Introduction_, p. xxii. =La vida retirada= is written in imitation of Horace's _Beatus ille_.

=9=.--17 to =10=.--3. In these lines there is much poetic inversion of word-order. The logical order would be: _Que_ ('for') _el estado de los soberbios grandes no le enturbia el pecho, ni se admira del dorado techo, en jaspes sustentado, fabricado del sabio moro_.

5. =pregonera=, as its gender indicates, modifies =voz=.

=12=.--10. In the sixteenth century great fortunes were made by Spaniards who exploited the mines of their American colonies across the seas.

II. Note, this unusual _enjambement_; but the _mente_ of adverbs still has largely the force of a separate word.

=Soneto: Á Cristo Crucificado=. This famous sonnet has been ascribed to Saint Theresa and to various other writers, but without sufficient proof. Cf. Fouché-Delbosc in _Revue Hispanique_, II, 120-145; and _ibid._, VI, 56-57. The poem was translated by J.Y. Gibson (_The Cid Ballads_, etc., 1887, II, 144), and there is also a version attributed to Dryden. page 260 =13=.--Lope Félix de Vega Carpio (1562-1635) was the most fertile playwright ever known to the world. Alone he created the Spanish drama almost out of nothing. Born at Madrid, where he spent most of his life, Lope was an infant prodigy who fulfilled the promise of his youth. His first play was written at the age of thirteen. He fought against the Portuguese in the expedition of 1583 and took part in the disastrous Armada of 1588. His life was marked by unending literary success, numerous love-affairs and occasional punishments therefor. In 1614 he was ordained priest. For the last twenty years of his life he was the acknowledged dictator of Spanish letters.

Lope's writings include some 2000 plays, of which perhaps 500 are extant, epics, pastorals, parodies, short stories and minor poems beyond telling. He undertook to write in every genre attempted by another and seldom scored a complete failure. His _Obras completas_ are being published by the Spanish Academy (1890-); vol. 1 contains his life by Barrera. Most of his non-dramatic poems are in vol. 38 of the _Bibl. de Aut. Esp._; others are in vols. 16 and 35. There is a _Life_ in English by H.A. Rennert (1904). Cf. also _Introduction_, p. xxiv.

=Canción de la Virgen= is a lullaby sung by the Madonna to her sleeping child in a palm grove. The song occurs in Lope's pastoral, _Los pastores de Belén_ (1612). In Ticknor (II, 177), there is a metrical translation of the _Canción_.

The palm has great significance in the Roman Catholic Church. On Palm Sunday,--the last Sunday of Lent,--branches of the palm-tree are blessed and are carried in a solemn procession, in commemoration of the triumphal entry of Jesus into Jerusalem (cf. John, xii).

14. Ticknor translates these lines as follows:

Holy angels and blest,
Through these palms as you sweep,
Hold their branches at rest,
For my babe is asleep.
page 261
The literal meaning is: _Since you are moving among the
palms, holy angels, hold the branches, for my child
sleeps_. When the wind blows through the palm-trees their
leaves rustle loudly.

=14.=--=Mañana=: translated by Longfellow (Riverside ed., 1886, VI, 204).

=15.=--Francisco Gómez de Quevedo y Villegas (1580-1645), the greatest satirist in Spanish literature, was one of the very few men of his time who dared criticize the powers that were. He was born in the province of Santander and was a precocious student at Alcalá. His brilliant mind and his honesty led him to Sicily and Naples, as a high official under the viceroy, and to Venice and elsewhere on private missions; his plain-speaking tongue and ready sword procured him numerous enemies and therefore banishments. He was confined in a dungeon from 1639 to 1643 at the instance of Olivares, at whom some of his sharpest verses were directed.

Quevedo was a statesman and lover of his country driven into pessimism by the ineptitude which he saw about him. He wrote hastily on many subjects and lavished a bitter, biting wit on all. His best-known works in prose are the picaresque novel popularly called _El gran tacaño_ (1626) and the _Sueños_ (1627). His _Obras completas_ are in course of publication at Seville (1898-); his poems are in vol. 69 of the _Bibl. de Aut. Esp._ Cf. E. Mérimée, _Essai sur la vie et les oeuvres de Francisco de Quevedo_ (Paris, 1886), and _Introduction_, p. xxv. For a modern portrayal of one side of Quevedo's character, see Bréton de los Herreros, ¿_Quién es ella_?

=Epístola satírica=: this epistle was addressed to Don Gaspar de Guzmán, Conde-Duque de Olivares (d. 1645), the favorite and prime minister of Philip IV. It is a remarkably bold protest, for it was published in 1639 when Olivares was at the height of his power. His disgrace did not occur till 1643.

8. Note the double meaning of =sentir=,--'to feel' and 'to regret.' page 262 9. =libre= modifies =ingenio=. Translate: _its freedom_.

16. =Que es lengua la verdad de Dios severo= = _que la verdad es lengua de Dios severo_.

=16.=--=Letrilla Satírica= was published in 1640.

14. Genoa was then, as now, an important seaport and commercial center. As the Spaniards bought many manufactured articles from Genoa, much of their money was "buried" there.

=17.=--Esteban Manuel de Villegas (d. 1669) was a lawyer who wrote poetry only in his extreme youth. His _Eróticas ó Amatorias_ were published in 1617, and he says himself that they were written at fourteen and polished at twenty. Later the cares of life prevented him from increasing the poetical fame that he gained thus early. He had a reputation for excessive vanity, due partly to the picture of the rising sun which he placed upon the title-page of his poems with the motto _Me surgente, quid istae_? _Istae_ referred to Lope, Quevedo and others. Villegas' poems may be found in vol. 42 of the _Bibl. de Aut. Esp._ Cf. Menéndez y Pelayo, _Hist. de los heterodoxos españoles_, III, 859-875.

There is a parody of this well-known =cantilena= by Iglesias in the _Bibl. de Aut. Esp._, vol. 61, p. 477.

=18.=--Pedro Calderón de la Barca Henao de la Barreda y Riaño (1600-1681) was the greatest representative of the second generation of playwrights in the _Siglo de oro_. He took some part in the nation's foreign wars, but his life was spent mostly without event at court as the favorite dramatist of the aristocracy. He became a priest in 1651 and was made chaplain of honor to Philip IV in 1663. There are extant over two hundred of his dramatic works, _comedias, autos, entremeses_, etc. Calderón constructed his plots more carefully than Lope and was stronger in exalted lyric and religious passages; but he was more mannered, more tainted with Gongorism and less skilled in creating characters. page 263 His _Comedias_ are contained in vols. 7, 9, 12 and 14 of the _Bibl. de Aut. Esp._; a few of his _autos_ are in vol. 58, and some of his poems are in vols. 14 and 35. Cf. also _Poesías inéditas_, Madrid, 1881; Menéndez y Pelayo, _Calderón y su teatro_, Madrid, 1884; R.C. Trench, _Calderón_, London, 1880.

The sonnet, _Estas que fueron..._, is found in _El príncipe constante_, II.

=20.=--Diego Tadeo González (1733-1794) was born at Ciudad-Rodrigo. He entered the order of Augustinians at eighteen, and filled various important offices within the Order during his life. His duties took him to Seville, Salamanca and Madrid. From youth he showed a particular bent for poetry, and Horace and Luis de León were his admiration. He was an intimate friend of Jovellanos, who induced him to forsake light subjects and attempt a didactic poem, _Las edades_, which was left unfinished. Fray Diego's modest and lovable character and his friendly relations with other men of letters made him an attractive figure. His poems are in vol. 61 of the _Bibl. de Aut. Esp._ Cf. _Introduction_, p. xxx.

II. =Mirta= was a lady with whom the author long corresponded and to whom he addressed many poems. =Delio= (l. 15) was the name by which Fray Diego González was known among his literary intimates: Jovellanos was called "Jovino"; Meléndez Valdés, "Batilo"; etc.

=21=.--4. =recogellos= = _recogerlos_.

12. =á la ave=: a more usual construction would be _al ave_, although the sound wouhd be approximately the same in either case. See also below in line 24, =á la alba=.

=22=.--4. =reluciente=, modified by an adverb, here = _reluciendo_.

6. =recio=: a predicate adjective with the force of an adverb.

=26.=--Nicolás Fernández de Moratín (1737-1780) was born in Madrid of a noble Asturian family. He studied for the law and practised it in Madrid, but irregularly, devoting most of his time to literary work. Besides his page 264 poems in the national style (see _Introduction_, p. xxix) he wrote an epic on the burning of the ships of Cortés and several plays in the French manner, of which only one, _Hormesinda_ (1770), ever had a stage production. His works, with his _Life_ written by his son Leandro, are printed in vol. 2 of the _Bibl. de Ant. Esp._

=Fiesta de toros en Madrid=. Baedeker's guide-book to Spain and Portugal says: "Bull-fights were instituted for the encouragement of proficiency in the use of martial weapons and for the celebration of festal occasions, and were a prerogative of the aristocracy down to the sixteenth century. As the mounted _caballero_ encountered the bull, armed only with a lance, accidents were very frequent. No less than ten knights lost their lives at a single _Fiesta de Toros_ in 1512. The present form of the sport, so much less dangerous for the man and so much more cruel for the beast, was adopted about the beginning of the seventeenth century. The construction, in 1749, of the first great _Plaza de Toros_ in Madrid definitely converted the once chivalrous sport into a public spectacle, in which none took part but professional _Toreros_." The padded _picador_ of to-day, astride a blinded, worn-out old hack, is the degenerate successor of the knight of old. In the seventeenth century bull-fights in Madrid were sometimes given in the _Plaza Mayor_ (or _Plaza de la Constitución_).

6. =Aliatar=: this, like most of the names of persons in this poem, is fictitious; but in form these words are of Arabic origin, and it is probable that Moratin borrowed most of them from the _romances moriscos_. The names of places, it should be noticed, are also Arabic, but the places still retain these names. See =Alimenón=, and all names of places, in the _Vocab._

=28=.--19. =Hecho un lazo por airón=, _tied in a knot [to look] like a crest of plumes_. This was doubtless the forerunner of the modern _banderilla_ (barbed page 265 dart ornamented with streamers of colored paper).

=30.=--26-28. =Cual... nube= = _cual la ardiente madeja del sol deja mirarse tal vez entre cenicienta nube_.

=31.=--12. =blasones de Castilla=: as at this time (in the reign of Alfonso VI) León and Castile were united, the =blasones= were probably two towers (for Castile) and two lions (for León), each one occupying a corner of the shield.

14. =Nunca mi espada venciera= apparently means: _Never did he conquer my sword_. This may refer to any adversary, or to some definite adversary in a previous combat.

26. The best bulls raised for bull-fights come from the valley of the Guadalquivir.

=32.=--22-26. =Así... acerquen á..., Como=, _may... bring to..., just as surely as_.

=33.=--8. Fernando I: see in _Vocab._

=35.=--28. The stanzas of pages 34 and 35 are probably known to every Spaniard: schoolboys commit them to memory for public recitation.

=36.=--15. =dignáredes= = _dignareis_. In modern Spanish the _d_ (from Lat. _t_) of the 2d pers. plur. verb endings has fallen.

=38.=--4. =Y... despedir= = _y [si no vieran] á Zaida que le despedía._

13. =cruz=: the cross of a sword is the guard which, crossing the hilt at right angles, gives the sword the shape of a cross. The cross swords were held in especial veneration by the medieval Christians.

Gaspar Melchor de Jovellanos (_or_ Jove-Llanos) (1744-1811) was one of the loftiest characters and most unselfish statesmen ever produced by Spain. Educated for the law, he filled with distinction important judicial offices in Seville and Madrid. In 1780 he was made a member of the Council of Orders. He attached himself to the fortunes of Count Cabarrús, and when that statesman fell from power in 1790, Jovellanos was exiled to page 266 his home in Gijón (Asturias). There he devoted himself to the betterment of his native province. In 1797 the favorite, Godoy, made him _ministro de gracia y justicia_; but he could not be other than an enemy of the corrupt "Prince of the Peace," and in 1798 he was again sent home. In 1801 he was seized and imprisoned in Majorca and was not released till the invasion of Spain by the French in 1808. He refused flattering offers of office under the French, and was the most active member of the _Junta Central_ which organized the Spanish cortes. Unjustly criticized for his labors he retired home, whence he was driven by a sudden incursion of the French. He died a few days after in an inn at Vega (Asturias).

Jovellanos' best literary work is really his political prose, such as the _Informe sobre un proyecto de ley agraria_ (1787) and _Defensa de la junta central_ (1810). His _Delincuente honrado_ (1773), a _comédie larmoyante_ after the manner of Diderot's _Fils naturel_, had wide success on the stage. His works are in vols. 46 and 50 of the _Bibl. de Aut. Esp._ Cf. E. Mérimée, _Jovellanos_, in the _Revue hispanique_, I, pp. 34-68.

=¿Quis tam patiens ut teneat se?= _who is so long-suffering as to control himself?_

21. =prisión=: see mention above of Jovellanos' imprisonment in Majorca.

=39.=--2. It is scarcely accurate to call Juvenal a =bufón=, since he was rather a scornful, austere satirist of indignation.

=40.=--26. =cuánto de= is an unusual expression; but if the line read: _¡Ay, cuánta amargura y cuánto lloro_, it would lack one syllable.

=41.=--4-6. =cuesta... infanta=. Evidently the world has changed little in a hundred years!

=42.=--Juan Meléndez Valdés (1754-1817) was born in the district of Badajoz (Estremadura). He studied law at Salamanca, where he was guided in letters by Cadalso. In 1780 he won a prize offered by the Academy for page 267 the best eclogue. He then accepted a professorship at Salamanca offered him by Jovellanos. Literary success led him to petition a position under the government which, involving as it did loss of independence, proved fatal to his character. He filled honorably important judicial posts in Saragossa and Valladolid, but court intrigue and the caprices of Godoy brought him many trials and undeserved punishments. In 1808 he accepted a position under the French, and nearly lost his life from popular indignation. Later his vacillations were pitiful: he wrote spirited poems now for the French and now against them. When they were finally expelled in 1813, he left the country with them and died in poverty and sorrow in Montpellier.

Most of his poems are in vol. 63 of the _Bibl. de Aut. Esp._; others have been published in the _Revue hispanique_, vols. I. and IV. Cf. his Life by Quintana in _Bibl. de Aut. Esp._, vol. 19; E. Mérimée, _Meléndez Valdés_, in _Revue hispanique_, I, 166-195; _Introduction_, p. xxx.

=44.=--5. =Muy más=: this use of _muy_ is not uncommon in the older classics, but the usual expression now is _mucho más_.

28. =benigna=: see note, p. 22, l. 6.

=46.=--Manuel José Quintana (1772-1857) was born in Madrid. He went to school in Cordova and later studied law at Salamanca. He fled from Madrid upon the coming of the French. In the reign of Ferdinand VII he was for a time confined in the Bastile of Pamplona on account of his liberal ideas. After the liberal triumph of 1834 he held various public offices, including that of Director General of Public Instruction. In 1855 he was publicly crowned in the Palace of the Senate.

See _Introduction_, p. xxxii; Ticknor, III, 332-334; Blanco García, _La literatura española en el siglo XIX_, 2d ed., Madrid, 1899, I, 1-13; Menéndez y Pelayo, _D. Manuel José Quintana_, _La poesía lírica al page 268 principiar el siglo XIX_, Madrid, 1887; E. Piñeyro, _M.-J. Quintana_, Chartres, 1892; Juan Valera, _Florilegio de poesías castellanas_, Madrid, 1903, V, 32-38. His works are in vols. 19 and 67 of _Bibl. de Aut. Esp._

The Spanish people, goaded by the subservience of Charles IV and his prime minister and favorite, Godoy, to the French, rose in March, 1808, swept away Godoy, forced the king to abdicate and placed his son Ferdinand upon the throne. It was believed that this change of rulers would check French influence in the Peninsula, but Ferdinand was forced by Napoleon into a position more servile than that occupied formerly by Charles.

2. Note the free word-order in Spanish which permits, as in this line, the subject to follow the verb, the object to precede.

14. =Oceano=: note the omission of the accent on _e_, that the word may rime with =soberano= and =vano=; but here =oceano= still has four syllables.

=47.=--28. =tirano del mundo= = Napoleon Bonaparte.

=48.=--24. By =los colosos de oprobio y de vergüenza= are probably meant Charles IV and Godoy.

=49.=--29. =hijo de Jimena=: see _Jimena_ and _Bernardo del Carpio_, in _Vocab._

=50.=--2. =En... y=, _with a... and in_.

=51.=--Dionisio Solís y Villanueva (1774-1834) was born in Cordova: he never rose higher in life than to be prompter in a theater. He fought against the French, and he was exiled for a time by Ferdinand VII. Solís wrote some plays and translated many from other languages into Spanish. The best that can be said of Solís as a poet is that his work is spontaneous and in parts pleasing. Cf. Blanco García, I, 50 and 61-63; Valera, _Florilegio_, V, 44-46.

=53.=--18-19. =Esta... enfermedad= = _esta dulce deliciosa enfermedad que yo siento_. page 269 25. si puede (here meaning _if it is possible_) is understood before =que trate=.

=54.=--Juan Nicasio Gallego (1777-1853) was born at Zamora. He was ordained a priest: later he went to court, and was appointed Director of His Majesty's Pages. He frequented the salon of his friend Quintana, and was elected deputy from Cadiz. In 1814, during the reign of Ferdinand VII, Gallego was imprisoned for his liberal ideas and later was banished from Spain. He spent some years in France and returned to Spain in 1828. Later he was appointed Perpetual Secretary of the Spanish Academy.

See _Introduction_, p. xxxii; Blanco García, I, 13 f.; Valera, _Florilegio_, V, 38-44. His poems are in vol. 67 of the _Bibl. de Aut. Esp._ There is also an edition of his poems by the Academia de la Lengua, Madrid, 1854.

=El Dos de Mayo=: on the second of May, 1808, the Spanish people, unarmed and without strong leaders, rose against Napoleon's veteran troops. Aided by the English, they drove out the French after a long and bloody war, thus proving to the world that the old Spanish spirit of independence was still alive. This war is known to the Spaniards as the _Guerra de la independencia_ and to the English as the Peninsular War. The popular uprising began with the seizure of a powder magazine in Madrid by Velarde and Daoiz (see in _Vocab._). These men and their followers were killed and the magazine was retaken by the French, but the incident roused the Spanish people to action.

9. al furor, _in the glare_.

=55.=--4. =Mantua=: a poetic appellation of Madrid. Cf. article by Prof. Milton A. Buchanan in _Romanic Review_, 1910, p. 211 f. See also p. xxxiii, _Introduction_ to this volume.

11-12. =¿Quién habrá... que cuente=, _who may there be to tell..._

=58.=--26 to =59.=--3. Note how the poet refers to the various parts of the Spanish peninsula: =hijos de Pelayo= = the Spaniards in general, or perhaps those page 270 of northernmost Spain; =Moncayo= = Aragon, Navarre and Castile; =Turia= = Valencia; =Duero= = Old Castile, Leon and Portugal; and =Guadalquivir= = Andalusia. See =Pelayo= and =Moncayo= and these names of rivers in _Vocab._

5. =Patrón= = Santiago, or St. James, the patron saint of Spain. According to the legend James "the Greater," son of Zebedee, preached in Spain, and after his death his body was taken there and buried at Santiago de Campostela. It was believed that he often appeared in the battle-fields fighting with the Spaniards against the Moslems.

14-15. =á... brindó felicidad=, _drank in fire and blood a toast to her prosperity_.

=60.=--Francisco Martínez de la Rosa (1787-1862) was born at Granada. During the War of Independence he was sent to England to plead for the support of that country against the French. Later he was exiled by Ferdinand VII, and was for five years a prisoner of state in a Spanish prison on the African coast. After his release he became prominent in politics, and was forced to flee to France. In 1834 he was called into power by the queen regent, Maria Cristina. He represented his country at Paris, and later at Rome, and held several important posts as cabinet minister.

See _Introduction_, p. xxxvi; Menéndez y Pelayo, _Estudios de crítica literaria_, Madrid, 1884, pp. 223, f.; Blanco García, I, 115-128; Juan Valera, _Florilegio_, V, 56-63. His _Obras completas_, 2 vols., ed. Baudry, were published at Paris in 1845. Several of his articles of literary criticism are in vols. 5, 7, 20 and 61 of the _Bibl. de Aut. Esp._

3. =riyendo= = _riendo_.