Part 4

Since Spanish verse depends upon a determined number of syllables per line, _diphthongization_ and _synalepha_ are important factors in versification.

A. DIPHTHONGIZATION

Mute _h_ between vowels is disregarded and does not prevent diphthongization, e.g. _a^h^ora_, _re^h^usar_.

The separation of two vowels that are usually united in one syllable is called _diaeresis_, e.g. _vi|oleta_.

The union in one syllable of two vowels that are usually in separate syllables is called _synaeresis_, e.g. _ca^os_.

1. THE TWENTY-FIVE POSSIBLE COMBINATIONS OP VOWELS IN DIPHTHONGS

The vowels may be divided into strong vowels (a, e, o) and weak vowels (i, u). For purposes of versification y as a vowel may be treated as i. The five vowels (a, e, o, i, u) taken in pairs may form diphthongs in twenty-five possible combinations, as follows:

a. Pairs of two weak vowels: ui, iu, ii, uu.

b. Pairs of two strong vowels:

{ ae, ao, aa, { ea, eo, ee, { oa, oe, oo.

c. Pairs of a strong vowel plus a weak vowel

{ ai, au, { ei, eu, { oi, ou.

d. Pairs of a weak vowel plus a strong vowel

{ ua, ue, uo, { ia, ie, io.

NOTE: In diphthongs a dominates o and e; and o dominates e. Any strong vowel dominates a weak one.

Ex. In Bo^abdíl, if a were not dominant, the diphthong would be dissolved.

2. DIPHTHONGS AND WORD ACCENTUATION

There are with regard to accent three possible conditions under which two contiguous vowels may occur within a word.

a. The contiguous vowels may precede the accented syllable.

b. One of the contiguous vowels may be accented.

c. The contiguous vowels may come after the accented syllable.

a. Two contiguous vowels before the accent.

(1) Of the twenty-five possible combinations all are admissible in diphthongs in a syllable preceding the accented syllable.

Ex. _Habrá po^esta_, p. 165, IV, l. 4.

(a) Diaeresis may be employed to dissolve the diphthong.

Ex. _Sobre una vi|oleta_, p. 169, XIII, l. 8.

b. One of two contiguous vowels accented.

(1) _When two contiguous vowel's are strong._

(a) There is no diphthong if one of two contiguous strong vowels receives the accent.

Ex. _Chispë|ando el sol hiere_, p. 173, XXVI I, l. 17.

Ex. _Tú, sombra a|érea que, cuantas veces_, p. 170, XV, l. 7.

By synaeresis, however, a diphthong may be formed, especially in the combinations á^o, á^e, ó^e--_c^a^o^s, c^a^e, ro^e_. But in order to diphthongize oa, ea, and eo, when the accent naturally falls on the first vowel, the accent must shift to the second, which is a dominant vowel. Such diphthongization is harsh. For example, _loa_ would shift the accent from o to a in order to form a diphthong. The accent would also shift in _cre^a, fe^o_.

(2) _When one of the contiguous vowels is weak and the other strong._

(a) There is no diphthong if an accented weak vowel precedes a strong.

Ex. _Yo, que á tus ojos en mi agoní|a_, p. 171, XV, l. 18. Synaeresis is, however, sometimes employed to overcome this rule. The accent must then shift.

Ex. _Habi^a llegado una nave._ Calderón.

(b) There is no diphthong if an accented weak vowel follows a strong.

Ex. _¿Cómo puede re|ir?_ p. 182, XLIX, l. 4.

Synaeresis serves sometimes to overcome this rule. The result is usually harsh.

Ex. _En re^ir á costa ajena, les prepara._

(c) If an accented strong vowel precedes a weak, they form a diphthong. The diphthong is rarely dissolved, and is usually marked with a diaresis, if dissolution takes place.

Ex. _Beso del aura, onda de luz_, p. 170, XV, l. 5.

(d) If an accented strong vowel follows a weak they may or may not form a diphthong.

Ex. _Por una sonrisa, un ci^elo_, p. 172, XXIII, l. 2. [Diphthong.]

Ex. _Domando el rebelde, mezquino idï|oma_, p. 164, I, l. 6. [No diphthong.]

Diaeresis or synaeresis may usually be employed according to the case.

Thus, _fiel_ becomes by diaeresis _fi|el_, and _br|ioso_ becomes by synaeresis _bri^oso_.

It should be remembered that in some words the accentuation is variable, while in others it is fixed.

There are two classes of words that have a variable accentuation: first, those in which an unaccented weak vowel is followed by an accented strong vowel, e.g. _majestu^oso_, _majestu|oso_; second, those in which an accented strong vowel is followed by an unaccented strong vowel, e.g. _tra|e, tra^e._

Ex. _Cre^es que la afe|an_. Becquer. _Cre|es que suspirando pasa el viento_, p. 171, XVI, l. 3.

Etymological conditions often determine whether or not a diphthong is formed.

ie and ue, derived from the Latin e and o respectively, form indissoluble diphthongs.

The ending -ión for substantives is usually a diphthong and rarely suffers dissolution.

Synaeresis may be employed to unite in a single syllable two contiguous vowels (unaccented weak + accented strong) that are separated on account of etymology, or, in the case of derivatives, analogy with the original word; but diaeresis is employed very rarely to dissolve a proper diphthongal combination (unaccented weak + accented strong).

For example, _di|ario_ by analogy with _día_, and _fi|ó_ from the Latin _fidavit_, have ordinarily the _i_ in separate syllables, but a diphthong may be formed by synaeresis.

(3) _When the two contiguous vowels are weak_.

(a) Two contiguous weak vowels with the accent on the first form an indissoluble diphthong, e.g. _mu^y_.

(b) Two contiguous weak vowels with the accent on the second may or may not form a diphthong.

Ex. _Si antes no juras que por ru^in falsía_. Hermosilla. [Diphthong.]

Ex. _Con sus mil rü|idos_, p. 188, LXXIII, l. 19, [No diphthong.]

c. Two contiguous vowels after the accented syllable.

(1) Two contiguous strong vowels after the accented syllable naturally form a diphthong.

Ex. _Tú, sombra aére^a que, cuantas veces_, p. 170, XV, l. 7.

Diaeresis may be employed to dissolve the diphthong.

(2) If a strong vowel is followed by a weak vowel after the accented syllable, they form a diphthong, e.g. _hablaba^is, amara^is_.

This diphthong is easily dissolved.

(3) If a weak vowel is followed by a strong vowel after the accented syllable, they form a diphthong, e.g. _histor^i^a, ans^i^a_.

Ex. _De la brisa nocturna al tenu^e soplo_, p. 192, LXXV, l. 6.

The diphthong may, however, be dissolved, e.g. _estatu|a, tenu|e, nadi|e_.

3. TRIPHTHONGS AND COMBINATIONS OP THREE OR MORE CONTIGUOUS VOWELS

If three vowels belonging to the same word are contiguous, one of them must be accented. There are then three possible arrangements.

(i) Three contiguous vowels of a word with the accent on the first, e.g. _tráeos_.

(ii) Three contiguous vowels of a word with the accent on the second, e.g. creia, _buey_.

(iii) Three contiguous vowels with the accent on the third, e.g. _rehuí_.

Each of the above arrangements has two combinations of accented and unaccented vowels to which the rules for diphthongs may be applied. In (i) there will be a combination of two vowels with the first accented, plus a combination of two vowels after the accent. In _tráeos_, for example, the a and e would probably be in separate syllables by b (1) (a), and eo would probably form a diphthong by c (1). _Tráeos_ would, then, probably be a dissyllable.

In (ii) there will be a combination of two vowels with the accent an the second, and one of two vowels with the accent on the first. In creia, for example, the e and í would be in separate syllables by b (2) (b), and the í and a would probably be in separate syllables also by b (2)(a). Therefore, _creia_ would probably be a trisyllable. In _cambiáos_ the i and á might form one syllable or two by b (2) (_d_), and the á and o would probably be in separate syllables by b (1) (a). Therefore, in _cambiáos_ the combination iáo might form a dissyllable or a trisyllable.

In (iii) there will be a combination of two vowels before the accent, and one of two vowels with the second accented. In _rehuí_, for example, the e and u might be in the same syllable by a (1), or in separate syllables by dieresis by a (1) (a), and the u and í might be in separate syllables or not by b (3) (b). Therefore, _rehuí_ might be a monosyllable, a dissyllable, or a trisyllable.

Other combinations of three vowels may be analyzed in a similar way, as may also combinations of more than three vowels, e.g. _creíais_, etc.

B. SYNALEPHA

Between the contiguous vowels of separate words there may occur synalepha (which corresponds to diphthongization within a word), or hiatus (which is similar to diaeresis within a word).

Ex. _Abre^una^eternidad_, p. 178, XXXVI I, l. 22. _¿Á qué me lo decís? lo sé^:^es mudable_, p. 179, XXXIX, l. 1. [Synalepha.]

Ex. _Como la onda^azul, en cuya cresta_, p. 173, XXVII, l. 16. [Hiatus.]

The vowels contracted by synalepha are each pronounced, except when the same vowel is repeated, when only a prolonged sound is heard, as in _onda^azul_ or _sé^es_ above.

Synalepha may join into a single syllable two, three, four, and even five vowels. The union of two vowels (diphthongal synalepha) and the union of three vowels (triphthongal synalepha) are the most common.

A pause due to a break in sense does not prevent synalepha. Mute h is disregarded in the verse and does not prevent synalepha.

Ex. _Capaz de encerrarlo, y apénas ¡oh^hermosa!_ p. 164, I, l. 10.

DIPHTHONGAL SYNALEPHA

Synalepha takes place between two contiguous unaccented vowels belonging to separate words.

Ex. _Abre^una^eternidad_, p. 178, XXXVII, l. 22.

Synalepha occurs when the final vowel of the first word is accented.

Ex. _Te ví^un punto, y, flotando ante mis ojos_, p. 169, XIV, l. 1.

Synalepha usually occurs when the initial vowel of the second word is accented, especially when the first word ends in a weak vowel, and also in the combinations aá, oá, oa, eá, eó, eé.

Ex. _Me parece^en el cielo de la tarde_, p. 169, XIII, l. 11.

NOTE: Synalepha is possible with the other combinations, but hiatus is preferable even with the above combinations, in a syllable on which the rhythmical accent falls (see under Rhythmic Accent).

Ex. _Despierta, hablas, y al hablar, vibrantes_, p. 174, XXVII, l. 23.

Ex. _Como la ola que á la playa_ viene, p. 178, XXXVII, l. 19.

TRIPHTHONGAL SYNALEPHA

There is always triphthongal synalepha when a is the middle vowel; or when o or e is the middle vowel, except in the following combinations, aoa, aoo, ooo, aea, aeo, oea, oeo.

Ex. _Silenciosa á expirar_, p. 178, XXXVII, l. 20.

There is never triphthongal synalepha when an accented weak vowel stands between two strong vowels. Therefore the conjunctions y and ú prevent triphthongal synalepha.

Ex. _Y de purpura y oro la matiza_, p. 168, IX, l. 4.

There may be triphthongal synalepha when í (y) is the middle vowel, if u precedes it, or i follows it.

Ex. _Fuí diestro, fuí valiente, fuí arrogante_. Cervantes.

When u is the middle vowel there may be synalepha if i follows it. The construction is very rare.

There is no synalepha with a word beginning with hue.

Ex. _Mucho nuestro huesped tarda_. Tirso de Molina.

In the following cases the groups of vowels which would usually make triphthongal synalepha are pronounced in two syllables:

(1) When the first word of the group ends in two vowels which do not form a diphthong.

Ex. _Que aún tení|a^abiertos_, p. 187, LXXIII, l. 2.

(2) When the two initial vowels of the second word do not form a diphthong.

Ex. _Tú, sombra^a|érea que, cuantas veces_, p. 170, XV, l. 7.

(3) When the first word ends in a diphthong and the second begins with a vowel in a constituent syllable (i.e. a syllable on which the rhythmical accent falls).

Ex. _Tan gran designio honra tus audacias._

If the accented vowel is not in a constituent syllable synalepha may occur.

Ex. _Mientras la cencia á descubrir no alcance_, p. 165, IV, l. 13.

(4) When the first word ends in a single vowel, and the second word begins with a diphthong in a constituent syllable.

Ex. _Tú, proceloso austro que derribas_.

(3) and (4) might well be considered as cases of hiatus.

SYNALEPHA BETWEEN FOUR OR MORE VOWELS

This is less common, yet it exists.

Ex. _No^h^a^y^amor donde no hay celos_. Lope de Vega.

HIATUS

Hiatus is most frequently found between words having a close syntactical relation, particularly if the initial vowel of the second word is in a constituent syllable. It may occur between the article and its substantive, the possessive adjective and its substantive, a preposition and its object, the negatives _no_ and _ni_ and a following vowel; and after the conjunctions _y, que, si_, and other words having a weak accent such as _desde, coma, todo, otro, cuando_, etc.

Hiatus is most likely to occur when the accented vowel is the initial vowel of the final word in a phrase or verse, or of a word that has a strongly accented position in the verse; as, for example, when the syllable is the next to the last syllable in a verse, or is the fourth or eighth syllable of a hendecasyllabic verse of the second class.

Ex. _Rumor de besos y batir de alas_, p. 168, X, l. 6.

Ex. _Como la ola que á la playa viene_, p. 178, XXXVII, l. 19.

In the above-mentioned case, the phrase _de^oro_ is usually joined by synalepha.

Ex. _Mi frente es pálida, mis trenzas de^oro._ Becquer.

Hiatus is, however, sometimes observed in this phrase.

Ex. _De plumas y de oro_, p. 180, XL, l. 28.

When both vowels are accented hiatus is more common than synalepha, even though there is no close syntactical relation, although the vowels may be joined by synalepha if they do not come in a constituent syllable.

Ex. _¡Oh yá isla católica patente!_ Herrera. [Hiatus.]

Ex. _¿Sabes tú^á dónde va?_ p. 178, XXXVIII, l. 4. [Synalepha.]

II. RHYTHMIC ACCENT

The second essential element of Spanish verse is a rhythmic distribution of accents within a line. Words have an accent of their own and another stronger accent on account of their position in a verse.

This extraordinary accentual stress, which strengthens periodically certain naturally accented syllables of a verse, is known as _rhythmic accent_. It plays somewhat the same rôle as did quantity in Latin verse. All other accents and pauses in the verse are subservient to the rhythmic accent.

Spanish verse being accentual, however, and not quantitative, the terms used to determine the regular recurrence of long and short syllables in Latin verse are not very applicable to it, and few compositions are regular in the arrangement of the stress.

A. LATIN TERMS OF VERSIFICATION APPLIED TO SPANISH VERSE

As Latin terms of versification are sometimes applied to Spanish verse, the following rules may be helpful.

A _trochaic_ octosyllabic line, for example, substituting stress for quantity, would be scanned

/ -- | / -- | / -- | / --,

with the stress on the first, third, fifth, and seventh syllables.

_Iambic_ verse would have a regular alternation of unaccented and accented syllables, -- / -- /, etc.

_Dactylic_ verse would have a regular recurrence of an accented syllable followed by two unaccented syllables, etc.

/ -- -- | / -- -- |, etc.

_Amphibrachic_ verse would be formed by a regular recurrence of three syllables of which the middle one would be stressed, -- / --. This construction is sometimes followed in lines of twelve syllables (p. 164, I, 1. 2), and also in lines of six syllables (p. 167, VII, 1.-4).

_Anapestic_ verse consists of a regular recurrence of two unstressed syllables preceding a stressed syllable, -- -- /. This is sometimes found in ten-syllable lines (p. 164, I, 1. i).

B. SPANISH VERSE ENDINGS

An accented word is called _aguda_ when it has the accent on the last syllable, e.g. _verdad, luz, yo_; _llana_ (or grave) when it has the accent on the penult, e.g. _trabajo, fruto_; _esdrújula_ when it has the accent on the antepenult, e.g. _límpido, pájaro, pórtico_.

A verse is called _agudo, llano_ (or grave), or _esdrújulo_ according to whether its final word is _aguda, llana_ (or grave), or _esdrújula_.

In a _verso agudo_ the last syllable counts for two syllables. Therefore, _Ni tu ni yo jamás_, p. 177, XXXIII, l. 2, is a heptasyllable.

In a _verso llano_ (grave) the number of syllables does not change. Therefore, _Detrás del abanico_, p. 180, XL, l. 27, is a heptasyllable.

In a _verso esdrújulo_, the intermediate syllable between the accented syllable and the final syllable does not count, either in enumerating the syllables in the verse or for the rhyme (assonance). Therefore, _Umbrales de su pórtico_, p. 180, XL, l. 32, is a heptasyllable.

C. THE DISTRIBUTION OF RHYTHMIC ACCENTS

In verses of different length there are different rules with regard to the distribution of accents, but the following general rules should be observed.

Every verse must be accented upon the syllable nominally preceding the final syllable.

NOTE: It should be borne in mind that the actual final syllable in a versa _agudo_ counts as two syllables, and that the next to the last actual syllable in a verso _esdrújulo_ does not count.

Besides the necessary accent on the next to the last syllable, all verses of seven syllables or more must have other necessary accents, which are determined by the number of syllables in the line.

The syllable directly preceding the one that has the rhythmical accent should never be accented, for it obstructs the proper accentuation of the constituent syllable. A syllable so accented is called _obstruccionista_.

D. THE NUMBER OF SYLLABLES IN SPANISH VERSE

Spanish verse may consist of any number of syllables from two up to sixteen. All must have an accent on the next to the last syllable.

_Dissyllabic Verse_: A dissyllabic verse may be composed of a single word (either _aguda_, _llana_, or _esdrújula_).

Ex. _¡Duerme!_ p. 173, XXVII, l. 13.

There can be no supernumerary accents.

_Trisyllabic Verse_: A verse of three syllables can have no supernumerary accent, for the accent would be _obstruccionista_.

Ex. _Suspira._

_Tetrasyllable Verse_: A verse of four syllables must have an accent on the third syllable. There may or may not be a supernumerary accent on the first.

Ex. _De ese brío._

_Pentasyllabic Verse_: A verse of five syllables must have an accent on the fourth. It may or may not have a supernumerary accent on the first or second syllable.

Ex. _Rumor sonóro_, p. I 70, XV, l. 3.

_Adonic verse_ is a pentasyllable with necessary accents on the first and fourth syllables.

Ex. _Céfiro blando_. Villegas.

_Hexasyllabic Verse_: A verse of six syllables must have an accent on the fifth. There may or may not be supernumerary accents, but never on the fourth syllable.

5 Ex. _Y^entre^aquella sombra 2 5 Veíase^á^intérvalos 3 5 Dibujarse rígida 2 5 La forma del cuerpo_, p. 188, LXXIII, ll. 13-16.

_Heptasyllabic Verse_: A verse of seven syllables must have an accent on the sixth, and at least one other necessary accent, which may be on any syllable except the fifth.

2 6 Ex. _Su mano^entre mis manos, 2 6 Sus ojos en mis ojos_, p. 179, XL, ll. 1-2.

_Octosyllabic Verse_: A verse of eight syllables must have an accent on the seventh, and at least one other accent, which may fall on any syllable except the sixth.

1 4 7 Ex. _Hojas del árbol caídas 2 5 7 Juguetes al viento son._ Espronceda.

_Hendecasyllabic verse_: There are two classes of hendecasyllables.

_First Class_: Verses of eleven syllables which have the sixth syllable and the tenth syllable stressed are hendecasyllables of the first class.

Ex. _Los invisibles 'átomos del 'aire_, p. 168, X, l. 1.

Hendecasyllables of the first class may have supernumerary accents on other syllables, provided they do not fall upon the fifth or ninth.

Ex. _Los sus'pires son 'aire, y van al 'aire. Las 'lágrimas son 'agua, y van al 'mar._ p. 178, XXXVIII, ll. 1-2.

_Second Class_: Hendecasyllables of the second class are eleven-syllable verses with the accent on the fourth, eighth, and tenth syllables. There may be accents on other syllables, provided that they be not _obstruccionistas_.

Ex. _Olas gi'gantes qu^e^os rom'péis bra'mando,_ p. 183, LII, l. 1.

If it is difficult to classify a hendecasyllable because it has accents on the fourth, sixth, eighth, and tenth syllables, one must decide on the prominence of the accents from pauses, or from emphasis. The hendecasyllable,

_La vida es 'corta, 'sí; muy 'largo el 'arte,_

would belong to the first class on account of the emphasis of _sí_, while the verse,

_La vida es 'corta, 'corta; 'largo el 'arte,_

would belong to the second class on account of the pause after the fourth and the emphasis on the eighth. The accent on the sixth is, then, not constituent, but supernumerary.

All meters thus far have

Obligatory (constituent) accents.

Facultative (supernumerary) accents.

A necessary termination in a combination of an unaccented plus an accented plus an unaccented syllable (-- / --). The dissyllable is the only exception.

The facultative accent is opposed to the regular recurrence in each line of dissyllabic and trisyllabic elements, which elements caused the rhythm of Latin verse.

Spanish rhythm is a rhythm of series, of strophes, not a rhythm of regularly recurring accents within a verse.

Verses of ten or twelve syllables, however, lend themselves more readily to rhythm from regularly recurring stress.

_Decasyllabic Verse_: A verse of ten syllables may be formed by the triple repetition of the trisyllable -- -- /. One extra unaccented syllable is admissible when the verse is _llano_; and two when the verse is _esdrújulo_.

Scheme:

-- -- / -- -- / -- -- , _agudo_. -- -- / -- -- , -- -- , -- _llano_. -- -- / -- -- / -- -- / -- -- _esdrújulo_.

_Dodecasyllable Verse_: A verse of twelve syllables, with the stress on the second, fifth, eighth, and eleventh syllables, makes a dodecasyllable of amphibrachs. This dodecasyllable has a short metrical pause after the sixth syllable, and a longer one after the twelfth.

Scheme:

-- / -- -- / -- || -- / -- -- / _agudo_. -- / -- -- / -- || -- / -- -- / -- _llano_. -- / -- -- / -- / -- -- / -- -- _esdrújulo_.

Verses of different length do not readily intermingle. There are some measures, however, which are used much together.

Verses of eleven syllables are used with those of seven or of five syllables.

Verses of eight syllables are used with those of four syllables.

Verses of ten syllables are used with those of twelve (p. 164, I); and also with those of six (p. 167, VII). These meters lend themselves to regularly recurring stress more readily than any others.

III. CAESURAL PAUSES

The caesura is an important, though not essential, element in Spanish verse. In verses of eleven or twelve syllables, however, the caesura is usually employed to give a break in a determined place. The caesura requires a strong accent on the syllable preceding it, and does not prevent synalepha.

Ex. _Si al resonar confus|o^á tus espaldas_, p. 171, XVI, l. 7.

Ex. _Sabe que, ocul|to^entre las verdes hojas_, p. 171, XVI, l.5.

The disposition of the caesural pauses determines the harmony of the versification, and usually varies with the accents so as to avoid monotony in the verse.

IV. RHYME

N.B. For purposes of Rhyme, words may be divided into two classes:

_First_, words ending in a vowel.

Second, words ending in a consonant.

Rhymes are called feminine, if the rhyme words end in a vowel.

Rhymes are called masculine, if the rhyme words end in a consonant.

NOTE: Final s and final n, especially in the plural of nouns and in verbs, do not count. Therefore, _penas_ and _arenas_ would form a feminine rhyme.