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).

l. 4. *escuras*, i.e., *oscuras*.

l. 10. *agora*, i.e., *ahora*.

l. 15. Translated by Longfellow, _l. c._, p. 203.

*Page 153.*—l. 1. A satire on the affected vocabulary of some of the writers of the _siglo de oro_, which is imitated in the nonsense uttered by the maid. Throughout his works Garcilaso’s diction is eminently Castilian.

l. 12. *habemos*: older and fuller form of *hemos*.

l. 14. *Vizcaya*: where, of course, Basque and not Spanish is the popular speech.

l. 15. There is an English poetical version of this sonnet by J. Y. Gibson. Voiture’s French _Rondeau: Ma foy, c’est fait de moy, car Isabeau_, is of the same class of literature. Cf. Iriarte’s sonnet, p. 227.

JOSÉ DE VALDIVIELSO (or VALDIVIESO). The author of some _autos sacramentales_ and of a long poetical _Vida de San José_, but chiefly noteworthy as a writer of melodious religious lyrics. Cf. his _Romancero espiritual_, Madrid, 1880.

PEDRO DE ESPINOSA. The editor of an anthology of lyrics,—_Flores de poetas ilustres de España_, 1605 (see the reprint in the _Biblioteca de autores españoles_, vol. 42)—and himself a lyric and narrative poet of some merit. He includes some of his own lyrics in the _Flores_, along with selected poems of some thirty-five other writers. The idyll, _La fábrica del Genil_, is printed in full in vol. 29 of the _Biblioteca de autores españoles_.

RODRIGO CARO. An antiquarian and the probable author of the ode on _Itálica_—a Roman city near Seville—which was long attributed to Rioja (cf. p. 170). Cf. Sismondi, _Historia de la literatura española_ (Spanish translation), Seville, 1842, vol. II, p. 173; R. Caro, _Obras inéditas_, Seville, 1885.

JUAN DE JÁUREGUI. Noted for his excellent Spanish version of Tasso’s _Aminta_, Jáuregui was at first a bitter opponent of Gongorism, as appears in the preface to his _Rimas_ (1618). In his later narrative poem _Orfeo_, and in his translation of Lucan’s _Pharsalia_, he succumbed to the influence of that very style. The _silva_ from which a selection is given here is his best lyric. Cf. vol. II, pp. 18 ff. of the _Líricos del siglo XVI_ in the _Biblioteca de autores españoles_; Ticknor, III, 33 ff.

FRANCISCO GÓMEZ DE QUEVEDO. Quevedo played an important part in the public life of his time, but is famous mainly for his picaresque novel, _El gran tacaño_, and for his mordant satirical poems. At first he sought to stem the tide of Gongorism, but in his later works he let himself float with the current. See his poems in the _Biblioteca de autores españoles_, vol. 69, and cf. Ticknor II, 274 ff; E. Mérimée, _Essai sur la vie et les œuvres de Francisco de Quevedo_, Paris, 1886. His collected works are now being published by the _Sociedad de bibliófilos andaluces_.

*Page 159.*—l. 18. Cf. a similar poem by Hita in the _Biblioteca de autores españoles_, vol. 57, p. 241.

*Page 160.*—l. 28. *Doña Blanca de Castilla*: daughter of Alfonso IX. of Castille, wife of Louis XIII. of France, mother of St. Louis; died in 1252. She wielded much influence in state affairs.

l. 33. This stanza illustrates Quevedo’s tendency toward cultism and conceits.

*Page 162.*—l. 12. *Ovidio Nasón*: a pun on Ovid’s name, due to its resemblance to Latin _nasus_.

l. 16. *naricismo*, _nosiness_.

l. 18. *Anás*: cf. St. Luke iii. 2, etc.

*Page 163.*—l. 1. This epistle was addressed to Olivares († 1645), the favorite and minister of Philip IV.

*Page 164.*—l. 21. *mal hablada*, _rude-tongued_.

l. 22. This sonnet contains a prophecy which recent events have consummated. *Un godo*: Pelayo, who, after the defeat of Roderick the Goth, gathered about him in the cave of Covadonga in Asturias the remnants of the Spanish army, and began the work of reconquest.

l. 24. *Betis*: the Guadalquivir.—*Genil*: a river of the province of Granada.

*Page 165.*—l. 1. *Navarra*: Navarre was annexed by Ferdinand the Catholic in 1512.

l. 2. *casamiento*: i.e., the marriage of Ferdinand of Aragon with Isabella of Castile and Leon. Sicily belonged to the crown of Aragon at the time of the marriage; Naples was formally annexed to it in 1504; Milan was acquired during the struggle between France and Spain in northern Italy.

l. 5. *Muerte infeliz*: upon the death of Dom Sebastian, king of Portugal, who was slain in Morocco in 1578, the Portuguese crown was assumed by his uncle Enrique. The latter died without an heir in 1580, and Philip II. annexed Portugal to Spain.

l. 6. *Godos*: i.e., the Spaniards as descendants of the Visigoths.

ll. 8-10. An imitation of Seneca in the _Epistolae ad Lucilium_: “_Quod unus populus eripuerit omnibus, facilius uni ab omnibus eripi posse._”

EL BACHILLER DE LA TORRE. In 1631 Quevedo published a small volume of poems, declaring them to be the work of a Bachiller Francisco de la Torre. L. J. Velázquez, who reprinted the poems at Madrid, 1753, maintained that they were Quevedo’s own. An Italian influence is clear in them, and it is probable that they were composed by the Francisco de la Torre to whom Quevedo ascribed them. Cf. Fernández-Guerra in vol. II, pp. 79-104 of the _Discursos_ of the Real Academia Española (Madrid, 1861); Ticknor, II, 282 ff: Fitzmaurice-Kelly, _History of Spanish Literature_, 184 ff.

FRANCISCO DE BORJA, PRÍNCIPE DE ESQUILACHE. Esquilache was of the Borgia family and partly Italian in origin. Most of his verse is natural, simple and in a light vein. Occasionally he lapses into Gongorism. See vol. II of the _Poetas líricos del siglo XVI_ in the _Biblioteca de autores españoles_; and cf. Ticknor, III, 40 ff., where the _Fuentecillas que reís_ is translated.

*Page 169.*—l. 26. *el aurora*: the older more general use of *el* before feminine words beginning with _a_.

l. 28. An attraction of the verb by the predicate.

FRANCISCO DE RIOJA. A cleric, protégé of Olivares, and disciple of Herrera, he has left us a few poems characterized by perfection of form and a generally melancholy and resigned tone. Cf. his _Poesías_ published by Barrera for the _Sociedad de bibliófilos españoles_, Madrid, 1867, and the _Adiciones_ of the same editor, Seville, 1872; see also vol. I of the _Líricos del siglo XVI_.

*Page 171.*—l. 13. *asconde*, i.e., *esconde*.

l. 14. *Paro*: i.e., _Paros_, an island in the Ægean sea, famous for its marble.

PEDRO SOTO DE ROJAS. A friend of Lope de Vega, and the author of lyrics and eclogues in the Italian manner, published under the title of _Desengaños de amor_, Madrid, 1623. Cf. the _Parnaso_ of Sedano, Madrid, 1768, etc., vol. IV; and see Ticknor, III, 56.

ESTEBAN MANUEL DE VILLEGAS. An opponent of Gongorism and well trained in the humanities, Villegas shows a decided influence of the classics in his erotic verse published under the title of _Eróticas ó Amatorias_ (1617). He has happily imitated Horace, Catullus and Anacreon. Cf. the ed. of his poems, Madrid, 1774; Sedano, _Parnaso_, vol. IX; vol. II of the _Líricos del siglo XVI_; and see Ticknor III, 36 ff.

*Page 177.*—l. 9. A good example of Sapphic verse in Spanish.

SALVADOR JACINTO POLO DE MEDINA. A satirist and imitator of Quevedo. Cf. his _Obras_, Saragossa, 1670; and see vol. II of the _Líricos del siglo XVI_, in the _Biblioteca de autores españoles_. According to Ticknor, III, 38, _note_, the _Apolo y Dafne_ “is partly in ridicule of the _culto_ style.”

*Page 178.*—l. 16. *con mil sales*, _with a thousand graces_.

*Page 179.*—l. 10. *¡Vive Chipre!* a disguised oath.

PEDRO CALDERÓN DE LA BARCA. The compeer of Lope de Vega in the history of the Spanish drama, Calderón is certainly Lope’s equal, if not his superior, in lyrism. Less inventive and less prolific than the earlier poet, Calderón surpasses him in all that relates to perfection of form. His lyrics have been collected in part in the volumes entitled _Poesías_, Cadiz, 1845, and _Poesías inéditas_ (_Biblioteca universal_), Madrid, 1881. Cf. Ticknor, II, 346 ff.; Günther, _Calderón und seine Werke_, Freiburg, 1888; Menéndez y Pelayo, _Estudios_, II; R. C. French, _Calderón, his life and genius_ (New York, 1856 and since).

*Page 181.*—l. 11. A selection from the drama _El mágico prodigioso_, Jornada tercera, Escena V.

*Page 183.*—l. 13. This famous passage containing the counsel of the alcalde to his son occurs in Jornada segunda, Escena XXII of the play _El alcalde de Zalamea_. It must remind one of the advice of Polonius to his son in _Hamlet_, Act I, Scene III.

*Page 184.*—l. 26. *entres*, *vuestro*. The combination is ungrammatical, but the refrain is thus given by Ticknor, II, 353, _note_ (5). A correction to *entréis* seems permissible.

AGUSTÍN DE SALAZAR TORRES. Salazar’s lyrics, published posthumously (1677) as _La cythara de Apolo_, evince in him a Gongoristic strain as well as some imitation of the manner of Villamediana. Cf. vol. II of the _Líricos del siglo XVI_ in the _Biblioteca de autores españoles_; Ticknor, III, 27; Menéndez y Pelayo, _Poetas hispano-americanos_, I, p. lxiv.

SOR JUANA INÉS DE LA CRUZ. A Mexican nun who has left us secular poems—written doubtless before her profession—full of force and the genuine fervor of love, and religious poems of a mystic and ascetic tendency. She was a humanist by temperament and, as the _Redondillas_ in defense of women show, a vigorous champion of her sex’s rights. Cf. Menéndez y Pelayo, _Antología de poetas hispano-americanos_, vol. I (Madrid, 1893: published by the Academy), pp. 5 ff., with an excellent sketch of her life and work on pp. lxvi ff.; _Líricos del siglo XVI_, vol. II: Ticknor, III, 51 _note_.

*Page 186.*—ll. 11-12. *Para ... Lucrecia*, _a Lais_—with allusion to the celebrated courtesan of Corinth—_when courted, a Lucretia_—i.e., a model of virtue—_when won_.

POESÍAS DEL SIGLO XVIII

IGNACIO DE LUZÁN. The founder of the so-called French school of writers of the eighteenth century, who by subordinating literary production in Spain to the rigid rules that obtained in French literature sought to correct the license that prevailed in Spanish letters of the time. Luzán declared the aims and tenets of the new school in his _Poética_ (1737). He was stronger as a critic than as a creative spirit. Cf. vol. I of the _Poetas líricos del siglo XVIII_ in the _Biblioteca de autores españoles_; Ticknor III, 263 ff. See, in general, on the eighteenth century, Cueto’s _Bosquejo histórico-crítico de la poesía castellana en el siglo XVIII_, prefixed to vol. 61 (tome I) of the _Biblioteca de autores españoles_.

*Page 191.*—l. 2. *Sármata*: the Sarmatian, regarded as the ancestor of the Russian and Pole.

l. 6. *rifeos montes*: the Rhyphean mountains, said to be to the north of Scythia and sometimes identified with the Carpathians.

l. 12. *Ceto*, i.e., _the whale_.

GARCÍA DE LA HUERTA. A fierce opponent of the French school inaugurated by Luzán. He published at Madrid in 1778, a volume of poems in the old Spanish manner, without obtaining any degree of success. Cf. vol. I of the _Poetas líricos del siglo XVIII_ in the _Biblioteca de autores españoles_.

JORGE PITILLAS. A pseudonym for José Gerardo de Hervás. The famous satire in which he attacked the bad writers of his time argues for the doctrines of the French law-giver Boileau, and in form strongly suggests Quevedo’s _Epistle_ to Olivares (cf. p. 163). Attributed to Isla, it was published in the _Rebusco de las obras literarias de J. F. de Isla_, Madrid, 1790. Cf. E. Brinckmeier, _Floresta de sátiras_, etc., Leipzig, 1882; Fitzmaurice-Kelly, p. 348.

*Page 193.*—l. 13. *Las piedras*, etc.: cf. the idiom, _Quien calla, piedras apaña_, said of one who picks up remarks, intending to use them later.

*Page 194.*—l. 18. *Marin*, etc.: publishers.

l. 25. *voces de pie y medio*: cf. Horace’s _sesquipedalia verba_.

*Page 195.*—l. 11. Derelinques: cf. the Latin _derelinquere, to abandon_.

l. 16. *boquilobo*: cf. *boca de lobo*, _dense darkness_.

l. 17. *Cienpozuelos*: i.e., any plain individual.

l. 26. *la irascible*: supply lengua.

*Page 196.*—l. 1. *Pero*, etc.: i.e., the die is cast.

l. 8. *cata y cala*: cf. *hacer cala y cata*, _to examine a thing to ascertain its quantity and quality_.

NICOLÁS FERNÁNDEZ DE MORATÍN. A prominent member of the French school, Moratín the elder wrote a drama, _Hormesinda_, according to the French classic rules, and an epic poem, _Las naves de Cortés_, celebrating the burning of his ships by the Conquistador. He is best remembered for his popular _quintillas_ on _The Bullfight_, conceived entirely according to the old Spanish manner. Cf. his poems published with the works of his son Leandro in vol. II of the _Biblioteca de autores españoles_.

*Page 197.*—l. 17. *moraicel*: a Moorish officer.

l. 27. *alcadí*: i.e., *cadí* with the Arabic article prefixed.

*Page 198.*—l. 9. *Jarama*: a river flowing into the Tagus near Aranjuez.

l. 34. *zambrero*: cf. *zambra*, _a rout_, _a revel_.

*Page 199.*—l. 17. *entablerado*, _close to the_ *tableros* _or barrier_.

l. 23. *emplazándose*: cf. v. 31.

*Page 200.*—l. 1. *alazano*: the more usual form is *alazán*.

*Page 202.*—l. 17. *Rodrigo de Bivar*: cf. note p. 117, l. 22.

l. 25. *Fernando*: Ferdinand I. (1037-1067) king of Castile. In the stories about the Cid he is sometimes confounded with his son Alfonso.

*Page 204.*—l. 4. *Se engalla*, _stands rigid and haughty_.

JOSÉ DE CADALSO. An army officer and a man of catholic tastes, having lived and travelled much abroad. He was killed at the siege of Gibraltar. As a writer, he belonged to the French school, for his tragedy _Don Sancho García_ was composed according to the French rules. He made verse translations of portions of the _Paradise Lost_, and imitated Young’s _Night Thoughts_ in his _Noches lúgubres_. Cf. his _Obras_, Madrid, 1818; Ticknor, III, 302; vol. I of the _Poetas líricos del siglo XVIII_ in the _Biblioteca de autores españoles_.

GASPAR MELCHOR DE JOVELLANOS (or JOVE LLANOS). A statesman and littérateur. For a while he was Minister of Justice at the court of Carlos IV. He was a bitter opponent of the French invader, yet in his drama _El delincuente honrado_ he conformed to the French literary canons. The present song shows clearly his patriotic feelings. See his works in the _Biblioteca de autores españoles_, vols. 46 and 50; Ceán Bermúdez, _Memorias de Jovellanos_, Madrid, 1814; Ticknor, III, 322 ff.; E. Mérimée in the _Revue hispanique_ I, 34 ff.

*Page 208.*—l. 21. *el tirano*: i.e., Napoleon.

l. 22. *Pelayo*: cf. note to p. 164, l. 22.

l. 24. *Sella*: this name and the others mentioned in this stanza are those of places and rivers in Asturias.

*Page 209.*—l. 5. Reference to the Roman campaigns in Spain from the beginning of the Second Punic War down to the time of Octavian.

ll. 12-13. The barbarian invasion of 409 A.D.

l. 16. *Leovigildo*: king of the Visigoths († 589).

l. 18. *Arvas* (or *Arbas*): a village of Oviedo.

l. 21. *Lete*, i.e., *Guadalete*, a river flowing into the Bay of Cadiz, near which the Arabs defeated Roderick.—*Piles*: a river of Oviedo in Asturias.—*Tarique*: Tarik, commander of the invading Arabs.

l. 28. *Auseva*, _Auseba_, the mountain of Asturias containing the cave of _Covadonga_ in which Pelayo and his followers took refuge from the Arabs.

l. 31. *Ildefonso*: San Ildefonso, bishop of Toledo († 667).

*Page 210.*—l. 18. *Bailén*: a city of the province of Jaén. Here, on July 19, 1808, the Spaniards defeated the French under General Dupont. Cf. Galdós’s story of _Bailén_.

l. 20. *Valencia*: the French evacuated this city July 5, 1813.

l. 21. *Zaragoza*: allusion to the heroic defense of Saragossa against the French. It was taken by them, on February 26, 1809, only when most of the defenders had perished. Cf. Galdós’s _Zaragoza_.

l. 23. *Alcañiz*: a city of Teruel. The French General Suchet was defeated here, May 23, 1809.

l. 24. *Alberche*: river of Toledo, flowing into the Tagus.

l. 25. *Tormes*: a tributary of the Duero.

l. 26. *Aranjuez*: town of province of Madrid. The French were defeated there, August 5, 1809.

l. 27. *Gerona*: capital of province of Gerona. The town was captured by the French after a desperate siege of seven months.

l. 28. *Llobregat*: a river of the province of Barcelona.

l. 29. *Gades*: i.e., Cadiz. In 1812, the year after the death of Jovellanos, the Cortes met there and proclaimed the Constitution.

ll. 32-34. *Lena*, etc.: places in Oviedo.

JUAN MELÉNDEZ VALDÉS. Appointed a Professor at the University of Salamanca by Jovellanos, Meléndez Valdés there became head of a school of writers—called the Salamancan school—who adopted French methods in the composition of Spanish lyric poetry. In politics, Meléndez was also a French sympathizer, and as such he was made a counsellor and Minister of Public Education under Joseph Bonaparte. With the fall of the Napoleonic power he had to leave Spain in 1813, and in 1817 he died in France. Melody, lucidity and plasticity are the chief characteristics of his verse, which is somewhat marred, however, by an excess of Gallicisms. Cf. his _Poesías_, Madrid, 1785 (and 1820); vol. II of _Poetas líricos del siglo XVIII_ in the _Biblioteca de autores españoles_, vol. 63; the _Life_ by Quintana in the edition of the _Poesías_, Madrid, 1820, and in vol. 19 of the _Biblioteca de autores españoles_; E. Mérimée in the _Revue hispanique_, I, 217 ff.; Ticknor, III, 311 ff.

*Page 211.*—l. 20. Cf. this ode in _arte menor_ with Lamartine’s poem, _Au rossignol_; Lamartine’s lyric strongly resembles this.

*Page 214.*—l. 19. Not infrequently, as here, Meléndez adhered to the native Spanish measures.

FRAY DIEGO GONZÁLEZ. An Augustinian monk, and a member of the Salamancan school headed by Meléndez. But his sympathies were divided between a respect for French methods and a fondness for the older Spanish manner, and to some degree he was a disciple of Luis de León, as may be seen by his translations of the Psalms. He was very successful in lighter verse, producing a genuine classic in his _Murciélago alevoso_. Cf. his _Poesías_, Madrid, 1812; Ticknor, III, 318 ff.

*Page 218.*—l. 7. Note that *suave* is generally trisyllabic.

JOSÉ IGLESIAS DE LA CASA. A cleric and a member of the Salamancan school. His verse is now in the lighter vein, and again satirical after the manner of Quevedo. Cf. his _Poesías_, Paris, 1821; vol. I of the _Líricos del siglo XVIII_ in the _Biblioteca de autores españoles_; Ticknor, III, 320.

*Page 222.*—l. 28. *Londra*, i.e., *alondra*.

NICASIO ÁLVAREZ DE CIENFUEGOS. Among the members of the Salamancan coterie, the most important disciple of Meléndez. His poems show much real sentiment, but are not entirely free from affectation. He was a stout patriot and quite free from the French political sympathies of his master. Cf. his _Obras poéticas_, Madrid, 1816; vol. III of the _Líricos del siglo XVIII_; Ticknor, III, 320 f.

*Page 223.*—l. 18. *el favonio coro*, _the Zephyr chorus_.

l. 25. *la piramidal*: a kind of campanula or bell-flower.

*Page 224.*—l. 15. *¡Evohé!* the cry of the Bacchantes when acclaiming Bacchus.

l. 17. *vacante*, _empty, hollow_.

FÉLIX MARÍA DE SAMANIEGO. One of the two great fabulists of modern Spanish literature. Mainly French in his tendencies, he imitated La Fontaine with much success, deriving inspiration also from Gay, the Æsopic fables, Phædrus and the Eastern apologues. Cf. his _Fábulas_, Madrid, 1832; vol. 61 of the _Biblioteca de autores españoles_; F. Wolf, _Floresta de rimas_, I; Ticknor, III, 307 ff.

TOMÁS DE IRIARTE. The peer, and perhaps even the superior, of Samaniego as a fabulist. He won commendation for his didactic poem _La música_, but secured no lasting renown by his dramatic attempts. His fame is based upon his _Fábulas literarias_, remarkable for their artistic finish and ingenuity of thought. Cf. his _Obras_, Madrid, 1805; the _Biblioteca de autores españoles_, vol. 63; E. Cotarelo y Mori, _Iriarte y su época_ (1897); Ticknor, III, 304 ff.

*Page 227.*—l. 13. *Echó ... Sus cuentas*, etc.: _Communed with himself_.

l. 25. Cf. the whimsical sonnet of Lope de Vega on p. 153.

l. 29. *¡Hay tal porfía!* _Did you ever see such obstinacy!_

LEANDRO FERNÁNDEZ DE MORATÍN. Son of Nicolás Fernández de Moratín (cf. p. 196). With his dramas, the most important since the days of the great masters of the _siglo de oro_, he won complete success for the French school started by Luzán. His lyrics, of far less merit than his plays, are nevertheless pleasing in form and upon occasion sprightly in tone. Cf. his _Obras_, Madrid, 1830-31; the edition of his own and his father’s works in vol. II of the _Biblioteca de autores españoles_; Ticknor, III, 330 ff.

MANUEL MARÍA DE ARJONA. A figure partly of the eighteenth and partly of the nineteenth century, Arjona was a member of the so-called School of Seville (_Academia de letras humanas_, founded at Seville in 1793), a body of writers who still advocated the application of French classic rules, while they also harked back to the lyric traditions of Seville in the sixteenth century. In this latter respect Herrera was their model, but Luis de León also commanded their respect. Both tendencies of the school are illustrated in Arjona. In his religious and pastoral verse, he is a conventional writer of the time, adhering chiefly to the doctrines of Luzán and the Salamancan school. As a poet of patriotic and republican sentiments he is much more virile and successful, displaying these sentiments in his two best productions, the ode _España restaurada en Cádiz_ (celebrating the proclamation of the Constitution of 1812, cf. note to p. 210, l. 29), and the longer poem _Las ruinas de Roma_. From now on, the struggle with the French brought forth much patriotic verse. Cf. vol. II of the _Líricos del siglo XVIII_; F. Wolf, _Floresta de rimas_, etc. (Paris, 1837), vol. II; Blanco-García, _La literatura española en el siglo XIX_, 2ª edición, Madrid, 1899, I, 20 ff.

*Page 230.*—l. 9. *Padilla*: Juan de Padilla, leader of a party of _Comuneros_, who, rising against the exactions of Charles V., were successful for a while. Their fortunes declined, however, and Padilla was finally captured and executed (1522).

*Page 231.*—l. 9. *Columnas de Hércules*: i.e., the promontories of Calpe and Ábila at the Strait of Gibraltar.

l. 15. *Mucio*: Mucius Scævola; captured after his attempt to kill Lars Porsena, the enemy of Rome, he plunged his hand into the fire to show his contempt for pain: cf. p. 232, l. 4.

*Page 232.*—l. 5. Allusion to the invasion of Rome by the Gallic chief Brennus in 390 B.C. The Romans bought peace with 1,000 pounds of gold.

l. 7. *Camilo*: after the capture of Rome by Brennus, Camillus was appointed dictator, and is said to have defeated the Gauls.

POESÍAS DEL SIGLO XIX

MANUEL JOSÉ QUINTANA. A Tyrtæan poet whose lyrics, together with those of his friend Gallego (cf. p. 244), voice the sentiments of a party sprung up to combat the French invader. As patriots, both Quintana and Gallego were bitterly opposed to French domination; as poets they meekly submitted to the French classic rules and carried on the traditions of Luzán and Meléndez Valdés. The heroic odes of Quintana are the best that he has given us. Plastic in form and full of patriotic ardor, they reveal him at the same time as the advocate of liberalism, and of political and social advancement. His other odes (_Á la mar_, _Á la imprenta_, _Á la hermosura_, etc.), are admirable, too, but somewhat artificial in tone. Quintana’s dramatic attempts were infelicitous; as an historian (_Vidas de los españoles célebres_) he attained a moderate success. Cf. his _Poesías_ in vol. 19 of the _Biblioteca de autores españoles_; and see Menéndez y Pelayo, _D. Manuel José Quintana, La poesía lírica al principiar el siglo XIX_, Madrid, 1887; E. Piñeyro, _M. J. Quintana_, Chartres, 1892; Blanco-García, _La literatura española_, etc., I, 1 ff.; Ticknor, III, 332 ff.

*Page 235.*—l. 1. In March, 1808, a rising of the people and the guards swept away the intriguing minister Godoy, and forced the inept Carlos IV. to abdicate in favor of his son Fernando VII., then an adversary of the French.

*Page 238.*—l. 2. *Desenterrad*, etc.: the most powerful passage of the poem.—*Tirteo*: Tyrtæus, a Greek lyric poet of the seventh century B.C., who is said to have roused the Lacedæmonians to heroic fury in battle by his songs.

l. 5. *Fuenfría*: a pass in the Guadarrama mountains in the province of Segovia.

l. 13. *Atila*: the Hunnish leader († 453).

l. 15. *Tercer Fernando*: Ferdinand III. of Castile (St. Ferdinand) rapidly drove the Moors southward († 1252).

l. 17. *Gonzalo*: Gonzalo de Córdova (1453-1515), known as _El Gran Capitán_, played a prominent part in the Moorish war of 1481-92.

l. 18. *el Cid*: cf. note to p. 117, l. 22.

l. 20. *hijo de Jimena*: i.e., Bernardo del Carpio, according to the legend, the son of Jimena, sister of Alfonso el Casto; cf. note to p. 114, l. 10.

l. 22. *torbo*, i.e., *torvo*.

*Page 239.*—l. 25. An ode in praise of Alonso Pérez de Guzmán (1258-1320), known as Guzmán el Bueno. He was in charge of the fortress of Tarifa, as lieutenant of Sancho IV. of Castile, when the place was attacked by Don Juan, the King’s rebellious brother. Unless the fortress were delivered over to him, Don Juan threatened to slay Guzmán’s son, then in his power, before the eyes of the father. Honor and fealty prevailed in Guzmán and he witnessed the murder of his son rather than surrender his trust.

*Page 240.*—l. 6. *Mavorte*, i.e., *Mavors*: a fuller form of _Mars_.

l. 15. *vías*, i.e., *veías*: a poetical form. Cf. *vía*, p. 241, l. 24.

l. 17. *Alfonsos*: Alfonso VI. of Castile and his successors.

l. 18. *Rodrigo*: i.e., Rodrigo de Bivar, the Cid.

l. 31. *Agar*: Hagar, regarded as ancestress of the Saracens.

*Page 241.*—l. 7. *Tarifa*: on the Strait of Gibraltar. Here the Arabs landed in 711 (cf. note to p. 100, l. 26), and, according to the legend, the place was betrayed into their hands by Count Julian.

l. 16. *pueblo numantino*: a reference to Numantia in Hispania Citerior, taken by Scipio Africanus, after a bloody siege, in 133 B.C.

JUAN NICASIO GALLEGO. A cleric who spent much time at Madrid and was a close friend of Quintana. Like the latter, he is renowned for his heroic odes. The bulk of his verse is small. It is marked throughout by excellence of style and sincerity of feeling. In particular, his elegy on _The death of the Duchess of Frías_,—an event which called forth much verse—shows how capable he was of real emotion. Cf. the ed. of his poems by the Academia de la Lengua, Madrid, 1854; and vol. III of the _Poetas líricos del siglo XVIII_ in the _Biblioteca_; see also Blanco-García, _Historia_, 2ª ed., I, 13 ff.

*Page 244.*—l. 1. On May 2, 1808, occurred the first rising of the Spaniards against the arms of the French invader. This date marks the beginning of the _Guerra de la Independencia_, known in English as the Peninsular War.

l. 29. *Mantua*: the Italian town of this name was taken by Napoleon in 1797, after a famous siege.

*Page 246.*—l. 19. *Daoiz*, *Velarde*: leaders in the rising of May 2, 1808; slain by the French.

*Page 247.*—l. 5. *gonces*, i.e., *goznes*.

*Page 248.*—l. 7. *hijos de Pelayo*, i.e., the Spaniards: cf. note to p. 164, l. 22.

l. 10. *Moncayo*: a mountain of Saragossa.

l. 12. *Turia*: the river Guadalaviar.

l. 15. *Patrón*: Santiago, i.e., St. James, the patron saint of Spain. In the heroic legends he often figures in the battlefields, fighting for the Spaniards.

JOSÉ MARÍA BLANCO. Blanco, known in English literature as Blanco White, was a member of the school of Seville, with Arjona and Lista. Assailed by religious doubts, he abandoned his ecclesiastical post in Seville and went to England, where he associated himself with nearly every religious communion in turn. In English literature his _Mysterious light_ takes high rank as an exquisite sonnet. His verse in Spanish is equally beautiful. Cf. vol. III of the _Poetas líricos del siglo XVIII_; and see Menéndez y Pelayo, _Historia de los heterodoxos en España_, tom. III, lib. VII, cap. IV; W. E. Gladstone, _Gleanings of past years_, II, 1 ff.; _Life of Rev. J. B. White written by himself_, London, 1845.

*Page 249.*—l. 1. A mystic element in Blanco’s nature is made clear by this poem.

ALBERTO LISTA Y ARAGÓN. The leader of the Sevillan school. A poet of decided ability, he was still more remarkable as a teacher and critic. It is in his religious lyrics that he best shows his poetical powers. Deserving of mention is his Castilian version of Pope’s _Dunciad_. Cf. his _Poesías_, Paris, 1834; Wolf, _Floresta de rimas_, vol. II; _Líricos del siglo XVIII_, vol. III; and see Blanco-García, _Historia_, 2ª ed., I, 26 ff.

*Page 251.*—l. 3. *Siná*: cf. Exodus xix. 20 ff.

*Page 252.*—l. 21. On Bailén, cf. note to p. 210, l. 18.

l. 28. *Mariano monte*: the range called the _Cordillera Marianica_, of which the _Sierra Morena_ is part.

*Page 253.*—l. 6. Allusion to the campaigns of Napoleon along the Rhine and in Egypt.

l. 13. *Castaños*: the Spanish commander who won the victory over Dupont at Bailén; later made Duque de Bailén.

l. 21. *Mengíbar*: a town near Bailén.

*Page 254.*—l. 14. *Vandalia*: a name sometimes given to Andalusia, through a supposed connection between that term and the name of the invading _Vandals_.

JUAN ARRIAZA Y SUPERIRELA. Most successful as a satirist, Arriaza also deserves some praise for his patriotic songs. These lack, however, the well-sustained inspiration of the odes of Quintana and Gallego. The song here published was written to revive the spirits of his countrymen after the reverses of 1809. Cf. vol. III of the _Poetas líricos del siglo XVIII_; Blanco-García, I, 47.

*Page 256.*—l. 15. *Fernando*: Arriaza was an _absolutist_ courtier and partisan of Ferdinand VII.

FRANCISCO MARTÍNEZ DE LA ROSA. The stateman and dramatist. As a dramatist he marks the transition from Frenchified classicism to romanticism in Spanish literature. He is of but minor rank as a lyric poet, yet the _Epistle_ to the Duke of Frías on the death of his wife contains real pathos. A second edition of his _Poesías líricas_ appeared at Paris, 1847. Cf. Menéndez y Pelayo, _Estudios de crítica literaria_, Madrid, 1884, pp. 223 ff.; Blanco-García, I, 120 ff.

*Page 257.*—l. 1. Like other liberals, Martínez de la Rosa was banished by the despotic Ferdinand VII. He spent much of his exile at Paris.

ÁNGEL DE SAAVEDRA, DUQUE DE RIVAS. Romanticism triumphed in Spain through the efforts of the Duke of Rivas, who won the day for its doctrines in the drama with his _Don Álvaro_, in narrative poetry with his _Moro expósito_, and in lyric poetry with his _Faro de Malta_. Exiled during the reign of Ferdinand, because of his liberal sentiments, he visited England, France and Italy, and came into direct contact with the Romantic movements in those countries. When allowed to return to Spain, he straightway extended the movement into that land. As an epico-lyric or narrative poet, he has revived many legends found in the romantic history of Spain. A well-known episode is related in the poem on p. 258. Cf. the _Obras completas_ of Rivas, published by the _Real Academia Española_, Madrid, 1854-55; the unfinished edition in the _Colección de escritores castellanos_; Wolf, _Floresta de rimas_, vol. II; and see the essays by Cañete and Pastor Díaz prefixed to vol. I of the _Obras completas_; Blanco-García, 2ª ed., I, 129 ff.

*Page 259.*—l. 10. *duque de Borbón*: Charles, duc de Bourbon and Constable of France, being ill treated by his monarch Francis I., renounced allegiance to him, and entered the Spanish service. He played a large part in the defeat of Francis by Charles V., at Pavia, in 1525.

*Page 260.*—ll. 17-18. Velasco, Constable of Spain, defeated Padilla at Villalar, April 23, 1521, thus ending the _comunero_ troubles: cf. note to p. 230, l. 9.

*Page 267.*—l. 9. *Desque*, i.e., *Desde que*.

l. 33. *Lacio*, _Latium_, i.e., Italy. In 1825, Rivas left London for Italy, intending to settle in Rome; but the Italian government expelled him and he then sought refuge in Malta.

*Page 268.*—l. 18. *Córdoba*: Rivas was a native of Cordova.

JOSÉ DE ESPRONCEDA. Considered by many as the most illustrious lyric poet of Spain in the nineteenth century. In Espronceda, the author of the _Estudiante de Salamanca_, of the fragmentary lyrico-dramatic poem _El diablo mundo_, and of various short lyrics, are represented both that romantic element of revolt against social and literary conventions which in England is so strongly marked in Byron, and the element of Bohemianism which characterizes many of the French romanticists. Exiled by reason of his liberal opinions, he spent some time in England—where he became deeply imbued with Byronism—and eloped thence to Paris with Teresa, another man’s wife, and the subject of the pathetic and wonderfully harmonious _Canto á Teresa_. Scepticism, despair and the note of cloyed sensual satiety are everywhere present in the poetry of this ill-starred singer. Back in Spain again, he died at the early age of thirty-two years, after a short and stormy career in politics and journalism. For his poetical methods he owes much to Byron, but he is no servile imitator: his loudest note—that of revolt against the conventional—emanates from his own inner nature. Cf. his _Obras poéticas_, etc., Madrid, 1884, with an essay by Escosura prefixed; and see E. Rodríguez Solís, _Espronceda, su tiempo, su vida y sus obras_, Madrid, 1883; E. Piñeyro, _Un imitador español de Byron_ (in his _Poetas famosos_, etc., Madrid, 1883); Blanco-García, I, 154 ff.

*Page 270.*—l. 27. This poem in _octavas reales_ forms the second canto of the _Diablo mundo_.

*Page 272.*—l. 16. *orador de Atenas*: i.e., Demosthenes.

*Page 273.*—l. 29. *florece*: seems to be used here as an active verb, _covers with flowers_.

*Page 275.*—l. 13. *por banda*, _on each side_.

l. 28. *Stambul*: the Turkish name of Constantinople.

MANUEL DE CABANYES. A Catalonian who wrote in Spanish. A pupil of Horace, he disdained the modern verse forms (cf. p. 279, ll. 22-23) and sought to domesticate the classic metres in Spanish prosody. He was unaffected by the literary movement of his time, probably because he died young. Cf. the collection of his lyrics entitled _Preludios de mi lira_ (1833); Menéndez y Pelayo, _Odas de Q. Horacio Flaco, traducidas é imitadas_, etc., Barcelona, 1882, pp. 372 ff.; and see Torres Amat, _Diccionario de escritores catalanes_; Blanco-García, I, 103 ff.

*Page 280.*—l. 1. *cisne de Ofanto*: Horace. *Cisne* is a term regularly applied to poets in Spanish.

l. 3. *opresor*: Augustus.

JOSÉ ZORRILLA. A dramatist and poet who takes rank with the most eminent literary figures of the Spanish nineteenth century. He is less remarkable for pure lyrism than for his epico-lyric or narrative strains. Like Rivas, he has done much to revive the ancient legends of Spain, giving them a modern poetical garb. His romantic dramas, and especially the _Don Juan Tenorio_, are among the most successful of the period. Cf. his _Obras dramáticas y líricas_, Madrid, 1895; the edition of his _Poesías escogidas_, published by the _Academia de la lengua_, Madrid, 1894; and see the essay on him by Flórez in Novo y Colsón’s _Autores dramáticos contemporáneos_, Madrid, 1881, I, 169 ff.; Blanco-García, I, 197 ff.

*Page 284.*—l. 9. Lines recited by the poet over the grave of Larra (_Fígaro_), the essayist, at the burial of that unfortunate genius (1837).

JUAN EUGENIO HARTZENBUSCH. A romantic dramatist—author of the sentimental _Amantes de Teruel_—-and a lyric poet of modest pretensions. His _Poesías_ form vol. I of his _Obras_ in the _Colección de escritores castellanos_ (Madrid, 1887): cf. Blanco-García, I, 233 ff.

*Page 287.*—l. 21. *Sombra*, etc.: an allusion to Calderón’s drama, _La vida es sueño_.

*Page 288.*—l. 1. *patrio Manzanares*: Calderón was born in Madrid, through which flows the river Manzanares.

MANUEL BRETÓN DE LOS HERREROS. The most eminent dramatist of the period following that of Romanticism. He was very prolific, producing over one hundred and seventy-five plays. The satiric element is the prevailing one in his lyrics, the earlier of which imitate the manner of Iglesias and Meléndez Valdés. Cf. his _Poesías_, etc., in vol. V of the edition of his works, Madrid, 1883-84; and see the Marqués de Molins’ _Bretón de los Herreros_, _recuerdos de su vida y de sus obras_, Madrid, 1883; Blanco-García I, 272 ff.

*Page 288.*—l. 9. *Fábula al canto*, i.e., _Here’s a fable at hand_ (to prove the point).

*Page 289.*—l. 21. *Fraile mostense*: or *fraile premonstratense*, i.e., a member of an order of canons founded by St. Norbert in France in 1120.

JOSÉ MARÍA HEREDIA. The Cuban patriot and poet. Exiled from his beloved island, he spent several years in the United States and then went to Mexico, where he occupied several important judicial offices. His masterpiece is the beautiful ode on Niagara, visited by the poet during his residence in the United States. Cf. the edition of his _Obras_, New York, 1875: and see Menéndez y Pelayo, _Antología de poetas hispano-americanos_, vol. II, pp. 15 ff. (poems), pp. xiv ff. (an excellent essay on Heredia), and a biography by A. Bello, London, 1857.

PLÁCIDO (GABRIEL DE LA CONCEPCIÓN VALDÉS). Valdés, best known by his pseudonym of _Plácido_, was a Cuban mulatto of little training, but of true poetic instinct. He was tried and executed on a charge of conspiracy against the Spanish government of which he was entirely innocent. He is said to have composed in prison and recited on the way to his execution the mournful, resigned _Prayer_ here published. Cf. the edition of his _Poesías_, Palma de Mallorca, 1847: and see Menéndez y Pelayo, _Poetas hispano-americanos_, II, xxxiii ff. and 69 ff.

*Page 294.*—l. 15. *tu*: note the combination of the possessive pronoun, second person singular, with verbs of the second person plural, a not infrequent combination in the spoken Spanish of America.—*Heliaca estrella*, _the heliacal star_, which rises and sets with the sun.

CAROLINA CORONADO. A poetess, recently residing in Portugal, whose verse revives the mystic strains of Luis de León and St. Theresa. Cf. her _Poesías_, Madrid, 1843 and 1852; and see Blanco-García, I, 193 ff.; E. Castelar, _Étude biographique_ (French translation), Lisbon, 1887.

*Page 295.*—l. 5. *Gévora*: a river flowing through Portugal and through the province of Badajoz in Spain.

GERTRUDIS GÓMEZ DE AVELLANEDA. A Cuban who spent the greater part of her life in Spain in the society of the most eminent writers of the time, Avellaneda was the most distinguished Spanish poetess of the nineteenth century. In her earlier poems she is manifestly under the influence of the French romanticists (Hugo, Lamartine, Chateaubriand); in her later verse she is dominated rather by Quintana. Some of the mystic elevation of the poets of the sixteenth century is seen in her religious lyrics (_Á la Cruz, Á la Ascensión_, etc.). As a novelist and dramatist, Avellaneda likewise holds a high place in Spanish literature. Cf. her _Obras literarias_, Madrid, 1869; Menéndez y Pelayo, _Poetas hispano-americanos_, II, 87 ff., xxxix ff.; Blanco-García, I, 190 ff.

ADELARDO LÓPEZ DE AYALA. A writer of the post-Romantic period, most noted for his psychological dramas. Though few in number, his lyrics, particularly his sonnets, are of high poetic worth. The sonnet here printed has been set to music and is sung every year at Madrid during the services in commemoration of the poet’s death. Cf. his _Obras completas_, Madrid, 1885 (poems in vol. VII); Blanco-García, _Historia_, II, 175 ff.

JOSÉ SELGAS Y CARRASCO. Poet, novelist and journalist, the author of _La primavera_ and _El estío_, two collections of verse pervaded by a gentle melancholy and innocuous pessimism. Cf. his _Poesías_, Madrid, 1882-83; Blanco-García, II, cap. II.

GUSTAVO ADOLFO BÉCQUER. Imbued with the spirit of Hoffmann in his prose legends and with that of Heine in his _Rimas_, but withal highly original, Bécquer is one of the most attractive figures in modern Spanish literature. To avoid bombast and verbosity, he discarded consonantal rhyme entirely, and made use of the simplest imagery possible. His strains have the mournful sentiment of the North and are more concerned with the inner workings of the poet’s own spirit than with concrete objects of the outer world. His tone is seldom gay or lively and never naturally so; in general the note of sadness sounds through the _Rimas_. Cf. his _Obras_, 5ª ed., Madrid, 1898 (with _Prólogo_ by Correa; _Rimas_ in vol. II); Blanco-García, II, 79 ff., 275 ff.

ANTONIO DE TRUEBA. A writer of charming novelettes of manners and a poet of the people, particularly of the people of his own Basque region. Unduly lauded and depreciated, he remains a pleasing poet of minor rank. Cf. his verse in the collections which he entitled _Libro de los cantares_ (Madrid, 1852) and _Libro de las montañas_; Blanco-García, II, 26 ff.

*Page 309.*—l. 16. *Higuer*: a cape of the province of Guipúzcoa, running into the Cantabrian sea.

VENTURA DE LA VEGA. Dramatist and poet; born in the Argentine Republic, he was trained in Spain, where he passed the greater part of his life, becoming private secretary to Isabel II. His imitations of the Hebrew poetry of the Bible are praiseworthy. In most of his verse he displays an eclectic tendency, a desire to combine the best in romanticism with the best in classicism. Cf. his _Obras poéticas_, Paris, 1866; Menéndez y Pelayo, _Poetas hispano-americanos_, IV, 105 ff. (poems), cxlv. ff. (essay on Vega): J. Valera, _Personajes ilustres:—Ventura de la Vega_, etc., Madrid, 1891; Blanco-García, I, 315 ff.

ANDRÉS BELLO. A Venezuelan by birth, the most important author that South America has yet produced, being remarkable as a poet, grammarian, jurist and patriot. Cf. his _Obras completas_, Santiago de Chile, 1881-85; his poems in the _Colección de escritores castellanos_ (1881), and in Menéndez y Pelayo, _Poetas hispano-americanos_, II, 285 ff.: and see _ibid._, p. cxvii ff.; M. L. Amunátegui, Santiago de Chile, 1882.

RAMÓN DE CAMPOAMOR. The humoristic poet _par excellence_ of the Spanish nineteenth century, with a pseudo-philosophical tendency which is not to be taken too seriously. Under the name of _doloras_ he published a number of short poems humorous in tone, full of feeling and ever pointing some moral. Although he is said to have invented the _genre_, he has really but given a new name to an old _genre_ and developed it more than any one else had done. Cf. his _Obras escogidas_, Leipzig, 1885-86. There are many editions of his separate works. See also J. Valora: _Obras poéticas de Campoamor_ (in his _Estudios críticos sobre literatura_, etc., Seville, 1884, pp. 239 ff.); Peseux-Richard in the _Revue hispanique_, I, 236 ff.; Blanco-García, II, cap. V.

*Page 313.*—l. 13. This delightful poetical dialogue is a favorite piece for recitation purposes in Spain.

*Page 314.*—l. 20. *¡Quién supiera escribir!* _If I only knew how to write!_

*Page 316.*—l. 11. A sonnet on the Italian pessimistic poet, Leopardi, of the early nineteenth century.

JUAN VALERA Y ALCALÁ GALIANO. The most eminent Spanish man of letters now alive, justly famed as a novelist, poet and student of general culture. An extended diplomatic career has made him a most cosmopolitan spirit. Everywhere studying men and things, he has acquired an extreme catholicity of taste and has highly developed his powers of critical apperception. Menéndez y Pelayo deems _El fuego divino_, selections from which are given here, to be Valera’s best poem. Cf. his _Canciones, romances y poemas_, with notes by Menéndez y Pelayo, in the _Colección de escritores castellanos_, Madrid, 1885 (containing translations, also, of poems of Lowell, Whittier and other American and English writers); Blanco-García, II, cap. XXVI.

*Page 320.*—l. 17. *inclinada fuente*: so says the edition of 1885. But Señor Valera states that _inclinada_ is an error; he writes: “El primer verso dice _de la inclinada fuente_, y debe decir _de la increada fuente_.”

GASPAR NÚÑEZ DE ARCE. A popular Spanish poet of our times, widely read in both Spain and America. His most important volume of poems is the _Gritos del combate_ (8th ed. 1891), in which, with patriotic fervor, he cries out against the political evils rampant in Spain and inveighs against the agitators responsible for them. Longer poems than those contained in the _Gritos del combate_ are the _Vértigo_ (a great favorite for declamation purposes), the _Última lamentación de Lord Byron_, _La selva oscura_, etc. All have been reprinted in many editions. Núñez de Arce is also a dramatist of considerable power. Cf. Menéndez y Pelayo’s essay on him, published in vol. II of Novo y Colsón’s _Autores dramáticos contemporáneos_ (and in Menéndez y Pelayo’s _Estudios de critica literaria_, 1884); Blanco-García, II, 328 ff.

*Page 324.*—l. 1. This sonnet bears the date 6 _de Enero de_ 1866. In his notes (8th ed. p. 328) the author says: “Escrita y publicada en circunstancias azarosas y difíciles, cuando el sentimiento revolucionario estaba más vivo en la opinión.” All the poems here printed are from the _Gritos del combate_.

l. 15. *el monasterio*: i.e., the Escurial.

l. 25. *viento del Guadarrama*: a chill wind which sweeps over Madrid.

*Page 326.*—ll. 25-26. *hijo ... rey devoto*: Philip III. († 1621).

l. 29. *Aquel*, etc.: Philip IV. († 1665).

l. 33. *el monarca enfermizo*: Charles III. († 1700).

MARCELINO MENÉNDEZ Y PELAYO. One of the most illustrious literary critics of our age, a scholar of rare erudition, a poet whose verse is ever harmonious and graceful. Several of his critical works have been mentioned in these notes. His best poems may be found in the volume _Odas, epístolas y tragedias_, Madrid, 1883. The humanistic bent of the man prevails even in his lyrics. Cf. Blanco-García, II, 601 ff.

*Page 331.*—l. 3. *Clitumno*: the Clitunno, an Umbrian river.

l. 22. *Menandro*: Menander, a Greek comic poet of the fourth century B.C.

*Page 332.*—l. 4. *Amador ... nada*: Leopardi, cf. note to p. 316, l. 11.

* * * * * *

Transcriber's note:

List of changes from the printed edition (the original text is in parentheses):

p. vii: “Respuesta” for “Respuesto” (Respuesto contra Alfonso)

p. viii: Hurtado de Mendoza’s “Soneto” in p. 75 missing in the printed book

p. x: “Canción” for “Cancíon” (Cancíon: La Tórtola)

p. xx: “Zorrilla” for “Zorilla” (Espronceda and of Zorilla)

p. xxvii: “_aí_” for “_ía_” (_ía_, a dissyllable by I, rule 3)

p. xxx: “por qué” for “porqué” (¿porqué callas?)

p. xxxiii: “ | huèle” for “ huèle” (buf[a, e]s|càrba, huèle)

p. xxxviii: “d[e u]n árbol” for “de [un á]rbol” (Escondìdo en el trònco de [un á]rbol)

p. xli: “assonance” for “assonnance” (all form a good assonnance)

p. xli: “Zorrilla” for “Zorilla” (as in Zorilla)

p. xliii: “eight” for “four” (less than four syllables)

p. l: “208” for “209” (Jovellanos, Gaspar Melchor de | 209)

p. li: “Zorrilla” for “Zorilla” (Zorilla, José)

p. 206, l. 4: “en” for “en en” (Y en en ronca voz, «Castellano,»—)

p. 290, l. 17: “huracán” for “hurracán” (Al acercarse el hurracán bramando)

p. 306, l. 44: “muertos!” for “muertos.” (Se quedan los muertos.)

p. 360: “l. 26.” missing in the printed book (*Page 82.*—*fora*, i.e., *fuera*.”)

p. 361: “Blanco-García’s” for “Blanco García’s” (and Blanco García’s recent treatise on León)

p. 369: “FÉLIX” for “FÉLIZ” (LOPE FÉLIZ DE VEGA CARPIO)

p. 371: “Olivares († 1645),” for “Olivares, († 1645)” (Olivares, († 1645) the favorite)

p. 377: “Galdós’s” for “Galdós’” (Cf. Galdós’ story of _Bailén_)

p. 378: “trisyllabic” for “tryssillabic” (Note that *suave* is generally tryssillabic)

p. 384: “Romanticism” for “Romantiticism” (Romantiticism triumphed in Spain)

p. 386: “Blanco-García” for “Blanco García” (Blanco García, I, 197 ff)

p. 390: “*Page 330.*—” removed (*Page 330.*—MARCELINO MENÉNDEZ Y PELAYO)