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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. _? A que me lo
decis? lo se^:^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 _se^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 apenas ? 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 vi^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 aa, oa, oa, ea, eo, ee.

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 a 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 a 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 u
prevent triphthongal synalepha.

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

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

Ex. _Fui diestro, fui valiente, fui 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 aun teni|a^abiertos_, p. 187, LXXIII, l. 2.

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

Ex. _Tu, sombra^a|erea 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 a 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. _Tu, 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 a 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 palida, 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 ya isla catolica patente! _ Herrera. [Hiatus. ]

Ex. _? Sabes tu^a donde 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 role 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_; _esdrujula_ when it has
the accent on the antepenult, e. g. _limpido, pajaro, portico_.

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

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

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

In a _verso esdrujulo_, 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 portico_, 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 _esdrujulo_ 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 _esdrujula_).

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 brio. _

_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 sonoro_, p. I 70, XV, l. 3.

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

Ex. _Cefiro 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
Veiase^a^intervalos
3 5
Dibujarse rigida
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 arbol caidas
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 'atomos 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 'lagrimas 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'peis 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, 'si; muy 'largo el 'arte,_

would belong to the first class on account of the emphasis of _si_,
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 _esdrujulo_.

Scheme:

-- -- / -- -- / -- -- , _agudo_.
-- -- / -- -- , -- -- , -- _llano_.
-- -- / -- -- / -- -- / -- -- _esdrujulo_.

_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_.
-- / -- -- / -- / -- -- / -- -- _esdrujulo_.

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^a 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.

There are two kinds of rhyme: Consonance and Assonance.


A. CONSONANCE

_Consonantal rhyme_ is one in which all the letters, vowels and
consonants, are the same from the accented syllable to the end of the
word, e. g. _bruma--espuma_; _flor--amor_.

In consonantal rhyme both consonants and vowels should agree exactly
(_sonante--errante_); b and v can, however, rhyme together, since they
represent the same sound, e. g. _estaba--esclava_; _haba--clava_.

The following are a few general rules for consonantal rhyme.

A word should not rhyme with itself. Sometimes, however, a simple word
rhymes with a derivative (_menor--pormenor_) or two derivatives with
each other (_menosprecio--desprecio_).

The tenses of verbs which end in -aba, -ando, -ais, -eis; the present
and past participles of regular verbs; adverbs with the termination
-mente; verbal nouns ending in -miento, -cion, and other similar
endings,--should not rhyme together.

Words similar in sound and form but distinct in meaning may rhyme.

_son_ ('sound')--_son_ ('are')

If an unaccented weak vowel (i, u) precedes or follows a strong vowel
in the same syllable of a word, it is absorbed by the strong vowel,
and does not count in the rhyme. Therefore, _vuelo_ and _cielo_ rhyme;
also _muestra_ and _diestra_.


B. ASSONANCE

When the vowels from the accented syllable to the end of the word are
the same, but the consonants are different, the rhyme is called
assonance. Therefore, _inflaman_ and _pasa_ assonate in a-a; _negros_
and _creo_ in e-o.

In words accented on the last syllable (_agudas_), the assonance is
that of the last syllable only, e. g. _perdon--espiro_; _azul--tu_.

In words accented on the antepenult (_esdrujulas_) or on a preceding
syllable, only the accented syllable and the final syllable count for
purposes of assonance. Therefore, _fabula_ and _lagrimas_ assonate in
a-a; _tremulo_ and _vertigo_ assonate in e-o.

Words accented on the last syllable (_agudas_) cannot assonate with
words accented on the penult (_llanas_), or with those accented on the
antepenult (_esdrujulas_) or upon any preceding syllable.

In words _llanas_ or _esdrujulas_ the assonance is of two vowels only.
In diphthongs the accented vowel only is considered if the diphthong
occur in an accented syllable. Therefore, _verte_ and _duermes_
assonate in e-e; _baile_ and _parte_ assonate in a-e.

Words _llanas_ may assonate with words accented on the antepenult
(_esdrujulas_). Therefore, _portico_ and _olmos_ assonate in o-o.

For purposes of assonance little use is made of words accented on a
syllable preceding the antepenult.

In a final accented or unaccented syllable u and i are absorbed, for
purposes of assonance, by a preceding or following a, o, or e.
Therefore, _sabia_ and _gratia_ assonate in a-a; _igual_ and _mar_
assonate in a, _pleita_ and _pliega_ assonate in e-a.

If in assonance a weak vowel is united in a diphthong with a strong
vowel, the assonance is called _compound assonance_, e. g.
_guarda--fatua_.

Assonance between two single vowels is called _simple assonance_, e. g.
_sangre--trae_.

This distinction is of little value, however, for verses in simple and
compound assonance alternate constantly.

In the case of two strong vowels forming a diphthong after an accented
syllable, the following rules apply.

a in a final unaccented syllable predominates over a preceding or
succeeding o in the same syllable. Therefore, _Astarloa_ and _Danao_
assonate in a-a.

a in a final unaccented syllable predominates over a preceding or
following e in the same syllable. Therefore, _corporea_ and _rosea_
assonate in o-a.

o in a final unaccented syllable predominates over a preceding e in
the same syllable. Therefore, _oleo_ and _erroneo_ assonate in o-o;
but o in a final unaccented syllable is dominated by a following e in
the same syllable, and the e counts in the assonance. Therefore,
_heroe_ and _veces_ assonate in e-e.

When two weak vowels (i, u) are united in a diphthong, the second
predominates. Thus _triunfo_ and _chulo_ assonate in u-o; _cuido_ and
_bendito_ assonate in i-o.

There are twenty possible assonances in Spanish: a, o, e, i, u, a-a,
a-e, a-o, e-a, e-e, e-o, o-a, o-e, o-o, i-a, i-e, i-o, u-a, u-e, u-o.

Words that have in the final unaccented syllable i or u, not in
diphthongs, are considered for purposes of assonance as if ending in e
or o respectively. Therefore, _facil_ and _nave_ assonate in a-e;
_espiritu_ and _liquido_, in i-o.

If ai occurs in a syllable after an a in the accented syllable, the i
rather than the a of the diphthong counts in the assonance. Therefore,
_cantares_ and _trocabais_ assonate in a-e. If the accented vowel is
not a, the a of ai counts in the assonance. Therefore, _Vicenta_ and
_quisierais_ assonate in e-a.

Consonantal rhyme should not be introduced in compositions written in
assonance. This rule is not always observed (see pp. 183-184, LIII).

The assonance of alternate lines (the even numbers) is the rule in
modern Spanish. If the composition is short the same assonance may be
kept throughout.

Blank Verse. --Verses which lack both consonantal rhyme and assonance
occur in Spanish, and are called _versos sueltos_ (or _libres_).
Compositions in blank verse are, however, extremely difficult to write
in Spanish, and are therefore comparatively rare.


STROPHES

The strophe is frequently of arbitrary length, yet when the poet has
once fixed the measure of his strophe he is supposed to preserve the
same measure throughout. The following are some of the strophic
arrangements in Spanish.

_Pareados_ are pairs of contiguous verses of the same number of
syllables, which rhyme[1] together in pairs.

[Footnote 1: By _rhyme_ hereafter shall be understood _consonantal_
rhyme, unless otherwise indicated. ]

_Tercetos_ are a series of strophes, in the first of which the first
verse rhymes with the third, and, from the second strophe on, the
first and third verse of each successive strophe rhyme with the middle
verse of the preceding strophe. This form of verse is known in Italian
as _terza rima_. The composition ends with a _serventesio_ (see
below), of which the first and third verses rhyme with the middle
verse of the preceding strophe. The rhyme-scheme, then, would be a b
a, b c b, c d c, etc. , d e d e.

_Cuartetas_, properly so called, are strophes of four eight-syllable
verses, of which the second verse rhymes (or is in assonance) with the
fourth. _Cuarteta_ is likewise a general name given to strophes of
four verses.

_Serventesios_ are strophes of four hendecasyllables, of which the
first rhymes or assonates with the third, and the second with the
fourth.

_Redondillas_ are strophes of four eight-syllable (or sometimes
six-syllable) verses which rhyme as follows: a b b a.

_Cuartetos_ are strophes of four hendecasyllables with the
rhyme-scheme a b b a. It is not customary to put a final word that is
_aguda_ in the uneven verses of compositions written in
hendecasyllables, or in verses that rhyme with them. Sometimes the
four verses are esdrujulos.

_Romances_, which are the most used of all forms, need not be written
in _cuartetas_. It is sufficient that the even verses be in assonance
and the uneven verses free. Romances, properly so called, are composed
of octosyllabic verses.

_Romancillos_ are romances composed of verses with less than eight
syllables.

_Romances heroicos_ are romances composed of hendecasyllabic verses,
all of which are _llanos_.

_Quintillas_ are combinations of five verses that have but two rhymes,
of which one occurs three times and the other twice. These verses may
rhyme at the will of the poet, provided that three verses having the
same rhyme do not follow each other successively. Of the possible
arrangements the following occur most frequently: a a b b a, a b b a
a, a b a b a, a b a b b.

_Sextinas_ are usually composed of six hendecasyllabic verses in which
a _serventesio_ is followed by a _pareado_.

The first, third, and fifth verses, however, may rhyme together, and
the second, fourth, and sixth.

There are also _sextinas_ which have the third and sixth verses with a
consonantal rhyme in words that are _agudas_, while the first and
second, and the fourth and fifth, form _pareados_.

In compositions written in _sextinas_ the succeeding strophes have the
same arrangement as the first.

Octavas:

_Octavas de Arte mayor_ are composed of eight dodecasyllables divided
into two equal hemistichs, with the accents on the second, fifth,
seventh, and eleventh syllables. The first verse rhymes with the
fourth, fifth, and eighth; the second with the third; and the sixth
with the seventh. Sometimes the second rhymes with the fourth, the
fifth with the eighth, the first with the third, the sixth with the
seventh.

_Octavas reales_ are strophes of eight hendecasyllabic verses
(_llanos_), of which the first six rhyme alternately and the last two
form a _pareado_.

When _octavas_ of this form have eight-syllable verses or less, they
are called _octavillas_.

_Octavas_ and _Octavillas Italianas_:

There are four variants, but all must have the fourth and eighth
verses _agudos_.

_First variant_: There is no _verso libre_, and the rhyme-scheme is a
b b c a d d c.

_Second variant_: The first and fifth verses are _libres_ and the
others rhyme 1 b b c 5 d d c. This form is the most used of all.

_Third variant_: All the verses are _libres_ except the fourth and
eighth.

_Fourth variant_: The rhymes have some other arrangement than those
mentioned in the three preceding cases.

_Decimas_ are strophes of ten octosyllabic verses with the
rhyme-scheme a b b a a c c d d c.