No More Learning

Remember that the figure represents the theoretical number of syllables
in the line, and indicates the actual number only in the case of
the _verso llano_. Furthermore, the figure has been determined by a
comparison with adjacent lines in the same stanzas, verses which offer
no metrical difficulties. ) So likewise in:

Y en aérea fantástica danza (10)

In the following we have double syneresis, and the word has but two
syllables:

Aerea como dorada mariposa (11)

Examples of syneresis after the tonic stress:

Rechinan girando las férreas veletas (12)
Todos atropellándoos en montón (11)
Palpa en torno de sí, y el impio jura (11)

_Impio_, usually _impío_, is one of a number of words admitting of two
stresses. Such are called words of double accentuation. The principle is
different from that governing the stress-shift explained above. The word
has its ordinary value in the following:

«Bienvenida la luz,» dijo el impío (11)

Examples of syneresis before the tonic stress:

Se siente con sus lágrimas ahogar (11)
Tu pecho de roedor remordimiento (11)
¡Ay! El que la triste realidad palpó! (12)
Toda la sangre coagulada envía (11)
¿Quién en su propia sangre los ahogó? (11)
Tanto delirio a realizar alcanza (11)
Ahogar me siento en infernal tortura (11)

Examples of syneresis under stress:

El blanco ropaje que ondeante se ve (12)
Las piedras con las piedras se golpearon (11)
Ahora adelante? » Dijo, y en seguida (11)

In the first two examples there is no stress-shift. In the third, the
stress travels from the _o_ of _Ahora_ to the initial _a_. In the
following example _ahora_ has three syllables:

Será más tarde que ahora (8)

The rule regarding syneresis under stress is that it is allowable, with
or without resulting stress-shift, except when the combinations _éa_,
_éo_, _óa_, are involved. Espronceda violates the rule in this instance:

Veame en vuestros brazos y máteme luego (12)

This is a peculiarly violent and harsh syneresis. The stress shifts from
the first _e_ to the _a_, giving a pronunciation very different from
that of the usual _véame_. Such a syneresis is more pardonable at the
beginning of a verse than in any other position; but good modern poets
strive to avoid such harshnesses. Espronceda sometimes makes _río_
monosyllabic:

Los rios su curso natural reprimen (11)

In the poetry of the Middle Ages and Renaissance such pronunciations as
_teniá_ for _tenía_ are common.

DIERESIS

Dieresis is the breaking up of vowel-combinations in such a way as
to form an additional syllable in the word. It is the opposite of
syneresis. Dieresis never occurs in the case of the diphthongs _ie_ and
_ue_ derived from Latin (e), and (o), in words like _tierra_, _bueno_,
etc. _Uá_ and _uó_ are regularly dissyllabic except after _c_, _g_, and
_j_. Examples:

Y en su blanca luz süave (8)
En la playa un adüar (8)
En vez de desafïaros (8)
Compañero eterno su dolor crüel (12)
Grandïosa, satánica figura (11)
El carïado, lívido esqueleto (11)
La Luna en el mar rïela (8)
Cólera, impetuoso torbellino (11)
Horas de confianza y de delicias (11)
En cárdenos matices cambiaban (11)
Rüido de pasos de gente que viene (12)

The same word without dieresis:

Por las losas deslízase sin ruido (11)

In certain words, such as _cruel_, metrical custom preserves a
pronunciation in which the adjacent vowels have separate syllabic value.
Traditional grammar, represented by the Academy, asserts that such is
the correct pronunciation of these words to this day; but the actual
speech of the best speakers diphthongizes these vowels, and their
separation in poetry must rank as a dieresis. In printing poetry it is
customary to print the mark of dieresis on many words in which dieresis
is regular as well as on those in which it is exceptional.

SYNALEPHA

Synalepha is the combining into one syllable of two or more adjacent
vowels or diphthongs of different words. It is the same phenomenon
as syneresis extended beyond the single word. _H_ does not prevent
synalepha. The number of synalephas possible in a single verse is
theoretically limited only by the number of syllables in that verse. A
simple instance:

De alguna arruinada iglesia (8)

The number of vowels entering into a synalepha is commonly two or three;
rarely four, and, by a _tour de force_, even five:

Ni envidio a Eudoxia ni codicio a Eulalia (11)

Synalepha is not prevented by any mark of punctuation separating the
two words nor by the caesural pause (see below). In dramatic verse a
synalepha may even be divided between two speakers. In the short lines
of "El Mendigo," Espronceda mingles four- with five-syllable verses.
But as the five-syllable verses begin with vowels and the preceding
four-syllable verses end with vowels, the former sound no longer than
the rest. In very short lines synalepha may occur between one verse
and another following it. See also line 1389 of "El Estudiante de
Salamanca. "

1. The simplest case is where both vowels entering into synalepha occur
in unstressed syllables:

Informes, en que se escuchan (8)

When the two vowels coming together are identical, as here, they fuse
into a single sound (_s'escuchan_), with only a slight gain in the
quantity of the vowel. _Se_ here has no individual accent in the
stress-group. Where the vowels in synalepha are different, each is
sounded, but the stronger or more dominant is the one more distinctly
heard:

Vagar, y aúllan los perros (8)

2. The second case is where the vowel or diphthong ending the first word
in the synalepha bears the stress, and the initial vowel or diphthong
of the second word is unstressed. Examples which do not involve
stress-shift:

Del que mató en desafío (8)
Que no he seguido a una dama (8)

(_He_ is without stress in the group. )

JUGADOR PRIMERO
No tardará.

JUGADOR TERCERO
Envido.

JUGADOR PRIMERO
Quiero. (8)

In the following examples stress-shift occurs, because the unstressed
vowel is dominant while the stressed vowel is absorbed. Such
stress-shifts as these are sanctioned only when they do not coincide
with a strong rhythmic stress (see below) in the verse. They are less
offensive at the beginning than at the end:

Allí en la triste soledad se hallaron (11)
Tú el aroma en las flores exhalas (10)
Al punto aquí castigaré al medroso (11)

The following are disagreeably harsh:

Que estas torres llegué a ver (8)
¿De inciertos pesares por qué hacerla esclava (12)

3. The third case is where the second vowel or diphthong bears the
stress, while the first is unstressed:

Teñida de ópalo y grana (8)

In cases like these we are dealing with a form of synalepha which,
if not true elision, approaches it closely. According to Benot, the
pronunciation is not quite _d'ópalo_, but "there is an attempt at
elision. " In other words, the second vowel or diphthong, if dominant,
so predominates over the first that it is scarcely audible. Under this
case, too, there may arise stress-shift:

Se hizo el bigote, requirió la espada (11)

This is a very bad verse. But such instances are rare in Espronceda and
good modern poets. They are never sanctioned in connection with a strong
rhythmic stress. In such a case hiatus (see below) is favored as the
lesser of two evils.

4. The fourth case is where each of the two vowels bears the stress:

Así, ante nosotros pasa en ilusión (12)

What happens here is that one of the two stresses becomes subordinate to
the other, the stress being wholly assumed by the more dominant of the
two.

Where three or more vowels unite in a synalepha, two things must be
borne in mind: (1) Stress-shift is not harsh to the Spanish ear, and
is always permissible, if more than two vowels are involved. This is
Espronceda's justification in the following:

Si se murió, a lo hecho, pecho (8)
Necesito ahora dinero (8)
Su pecho ahogado (5)

(2) The vowels of three words may not combine if the middle word is y,
e, he, o, or u. Examples:

¡Pues no ha hecho mal disparate! (8)
Que conduce a esta mansión (8)
But: Cuando en sueño | y en silencio (8)
Si tal vez suena | o está (8)
Alma fiera | e insolente (8)

There is one case in the text where _he_ as middle word does enter into
synalepha, but this is merely the fusion of three identical vowels:

Yo me he echado el alma atrás (8)

HIATUS

Hiatus is the breaking up into two syllables of vowel combinations in
adjacent words capable of entering into synalepha. It is an extension to
the word-group of dieresis, which applies only to a single word.

Many authorities on Spanish versification recognize as hiatus various
cases which should not be so classified. In words like _yo, yerro,
hierro, huevo_, etc. , the first phonetic element is in each case a
semi-vowel, and these semi-vowels have the value of consonants in the
words cited. To classify the following as examples of hiatus is to be
phonetically unsound:

Perdida tengo | yo el alma (8)
Ponzoñoso lago de punzante | hielo (12)
Me he de quejar de este | yerro (8)
Levantóse en su cóncavo | hueco (10)
Cual témpanos de | hielo endurecidos (11)
Tierno quejido que en el alma | hiere (11)

In none of these cases could there possibly be synalepha. Consequently
by definition there can be no hiatus.

Hiatus most frequently occurs to avoid the greater cacophony which would
arise from stress-shift under case 3 of synalepha:

Era la hora | en que acaso (8)

Lack of hiatus would here produce a stress-shift resulting in an
unharmonious stressing of two successive syllables.

Reposaba, y tumba | era (8)

The same principle applies here as in the above, except that the effect
would be even worse, because the stress shift would come under the
rhythmic stress. (See below. )

Su mejilla; es una | ola (8) (Ditto. )
¡Pobres flores de tu | alma! (8)

Probably to give the pronominal adjective greater emphasis.

Y huyó su | alma a la mansión dichosa (11)

Probably to avoid two successive stresses, though possibly there may be
dieresis in _mansión_.

Don Félix, a buena | hora (8)

Again to avoid stress-shift under the rhythmic stress.

¡El as! ¡el as! aquí está (8)
Y si Dios aquí os envia (8)

In these two examples instead of hiatus there is synalepha with
stress-shift, but we have to do with case 2 of synalepha, not case 3.

Que un alma, una vida, | es (8)
Cuando | hacia él fatídica figura (11)
Y el otro ¡Dios santo! y el otro era | él! (12)
¡Villano! mas esto | es (8)
En cada | hijo a contemplar un rey (11)

In some instances hiatus seems to occur for no other reason than to
preserve the verse-measure:

Resonando cual lúgubre | eco (10)
Y palacios de | oro y de cristal (11)
¡Y tú feliz, que | hallaste en la muerte (11)

In general hiatus is most likely to occur before the principal rhythmic
stress in a verse; that is, before the final stress.

RHYTHM, RHYTHMIC STRESS, THE CAESURAL PAUSE

In English poetry the foot, rather than the syllable, is the unit. The
number of feet to a verse is fixed, but the number of syllables varies.
In Spanish poetry the number of syllables to a verse is fixed, subject
only to the laws of syllable-counting given above. But if in this
respect the Spanish poet has less freedom than the English versifier, he
has infinitely greater liberty in the arrangement of his rhythms. The
sing-song monotony of regularly recurring beats is intolerable to Latin
ears. The greater flexibility of Spanish rhythm can best be shown by
illustrations:

The Assy'rian came do'wn like the wo'lf on the fo'ld,
And his co'horts were gle'aming in pu'rple and go'ld;
And the she'en of their spe'ars was like sta'rs on the se'a,
When the blu'e wave rolls ni'ghtly on de'ep Galile'e.

Having chosen to write this poem in the anapestic tetrameter, Byron
never varies the rhythm except to substitute an occasional iambic at the
beginning of a verse:

And the're lay the ste'ed with his no'stril all wi'de.

Notice how much more freely Espronceda handles this meter in Spanish:

Su fo'rma galla'rda dibu'ja en las so'mbras
El bla'nco ropaj'e que ondea'nte se ve',
Y cua'l si pisa'ra mulli'das alfo'mbras,
Deslí'zase le've sin rui'do su pie'.

Tal vi'mos al ra'yo de la lu'na lle'na
Fugiti'va ve'la de le'jos cruza'r
Que ya' la' hinche en po'pa la bri'sa sere'na,
Que ya' la confu'nde la espu'ma del ma'r.

The first of these stanzas has the true Byronic swing. But note how
freely the rhythm is handled in the second. Spanish rhythm is so
flexible and free that little practical advantage is gained by counting
feet. We distinguish only two sorts of verse-measure, the binary, where
in general there is stress on one syllable out of two--that is there
are trochees (__' __) or iambics (__ __') in the verse, or the two
intermingled--and second the ternary measure, where one of a group of
three syllables receives the stress. Such a verse is made up of dactyls
(__' __ __), anapests (__ __ __'), or amphibrachs (__ __' __), or some
combination of these. Of course, a three-syllable foot is often found in
binary verse, and, _vice versa_ a two-syllable foot in ternary measure.
By binary verse we mean only a form of verse in which the twofold
measure predominates, and by ternary one in which the threefold measure
predominates. The extract last quoted is an example of ternary verse.
The following will serve as a specimen of the binary movement:

En de'rredo'r de u'na me'sa
Ha'sta se'is ho'mbres está'n,
Fi'ja la vi'sta' en los na'ipes,
Mie'ntras jue'gan a'l para'r;

Every word in Spanish has its individual word-accent: _habí'a,
habla'do_. Now if we join these two words in a phrase, _habí'a
habla'do_, we note that while each of the words still retains its
individual word-accent, _hablado_ is more strongly stressed than
_había_. In addition to its word-accent _hablado_ bears what we term
a phrase-accent. In any line of verse some of the word-stresses are
stronger than others, and these stronger stresses are termed rhythmic
stresses. They correspond to the phrase-stresses of prose. The principal
rhythmic stress is the last stress of the line. In general the rhythmic
stress must coincide with a word-stress. It always does except where
stress-shift comes into play. We have already seen that a stress-shift
coinciding with the rhythmic stress is intolerable, and hiatus is
preferred. It is very unharmonious for two stresses to fall together at
the end of a verse:

Que estas torres llegué a ver (8)

This is a very bad verse, because _a_ is dominant over _é_ and brings
about stress-shift, and the two consecutive syllables _a_ and _ver_ are
both stressed. The result is unharmonious. A syllable bearing stress and
standing immediately before the final stress is called an obstructing
syllable (_una sílaba obstruccionista_). Every effort is made by a good
poet to avoid such a cacophony. The above is a good example of one. I
have emended llegué to _llegue_ in the text.

A short verse can easily be spoken without pause, but above ten
syllables it becomes necessary for the reader to rest somewhere within
the line. The resting-place is called the caesural pause. The longer the
verse, the greater its importance. It does not prevent synalepha. The
stress immediately before the caesura must be the second most important
rhythmic stress of the verse.

RIME AND ASSONANCE

The regularity of the beats in English verse is of itself sufficient to
indicate when a line of poetry is ended, even though there be no rime to
mark that end. Hence blank verse has been highly developed by English
poets, and many, like Milton, have held it to be the noblest form of
verse. Blank verse is impossible in French, because French with its lack
of verbal stress has no other device than rime to mark the end of a
verse. Without rime French blank verse would be indistinguishable from
rhythmic prose. In Spanish the stress is not so heavy as in the Germanic
languages, but, on the other hand, is much stronger than in French.
Spanish blank verse is not unknown, but has never been cultivated with
great success. It is evident that in this language too, lacking as it
does regular rhythm in its versification, rime is much more necessary
than in English. However, an occasional _verso suelto_, or blank verse,
intermingled with rimed ones, is very common.

Two words rime with one another when there is identity of sound between
the last stressed vowels and between any letters which may follow these
vowels. Rime is masculine (in Spanish _rima aguda_) when the last
syllables bear the stress: _mal_--_cristal_; or feminine when an
unstressed vowel follows the stressed one (in Spanish _rima llana_):
_hermosura_--_locura_. Inasmuch as _b_ and _v_ represent the same sound,
they rime. The weak vowel of a diphthong is ignored for riming purposes;
thus _vuelo_ rimes with _cielo_. Good poets avoid obvious or easy
rimes such as those yielded by flexional endings and suffixes. It is
permissible to rime two identically-spelled words if they are in fact
different words in meaning: _ven_ (they see) rimes with _vén_ (come).

Assonance is the identity of sound of two or more stressed vowels and
the final following vowels, if there are any. In case consonants stand
after the stressed vowel they are disregarded.

Assonance is of two sorts: single assonance (_asonante agudo_),
_están_--_va_--_parar_--_jamás_, etc. ; and double assonance (_asonante
llano_), _cuentan_--_tierra_--_dejan _or _coronada_--_gasa_--_baña_. In
assonanced verse the assonanced words end the even lines. The odd are
usually blank, though sometimes rimed. A _voz aguda_ cannot assonate
with a _voz llana_, but there is no objection to the introduction of
_voces esdrújulas_ into _asonante llano_. In this case only the stressed
and the final vowels of the _esdrújula_ are counted; for example,
_América_ assonances with _crea_. When diphthongs enter into assonance,
the weak vowel is ignored: _pleita_ assonances with _pliega_.

Assonance is not unknown in English, especially in popular or folk
verse; but we generally regard it as a faulty rime. Thus in the British
national anthem we read:

Send him victorious,
Happy and glorious,
Long to reign over us,
God save the king!

"Over us" plainly assonates, rather than rimes, with "glorious," but
this is dangerously close to doggerel. Assonance is unsuited to the
genius of any language possessed of a rich vowel-system. This is evident
to any one who has read Archbishop Trench's attempt to render Calderon's
verse into English assonance.

STROPHES

I shall not attempt to list the innumerable verse-forms to be found in
Spanish poetry, but shall only indicate the forms used by Espronceda in
the selections contained in this volume. Some of these are fixed and
conventional, and others are of his own contrivance. Spanish uses the
terms _estrofa_ and _copla_ to designate an arrangement of verses in a
stanza. _Copla_ must not be confused with English "couplet. " These are
general terms; most verse-forms are designated by special names. The
following verse-forms are found in the selections contained in this
book:



"EL ESTUDIANTE DE SALAMANCA"

Lines 1-40. Ballad meter or _verso de romance_ (8 syllables) with
assonance in _é_-_a_.

Lines 41-48. _Verso de romance_ with assonance in _ó_.

Lines 49-63. Irregular 3-syllable meter with assonance in _ó_ occurring
irregularly; lines 53 and 55 rime, and 59 and 61 assonate in _é-a_.

Lines 64-75. _Verso de romance_ with assonance in _ó_.

Lines 76-99. Quatrains or _cuartetas_ of 12-syllable verse; rime-scheme
_abab_ (this arrangement of the rime is called _rima cruzada_);
alternation of masculine and feminine rime.

Lines 100-139. _Octavillas italianas_ (8-syllable verse); lines 2 and
3, 6 and 7, 4 and 8 rime; lines 1 and 5 either assonate or are blank
(_sueltos_).

Lines 140-179. _Octavas reales_ (11-syllable verse); rime-scheme
_abababcc_; the rimes must be feminine.

Lines 180-257. _Verso de romance_, printed in the form of _cuartetas_;
assonance in _á-a_.

Lines 258-302. _Quintillas_ (8-syllable verse); the rime-scheme varies;
the rule is that there shall be two rimes to a _quintilla_, and the same
rime must not occur in three consecutive verses.

Lines 303-330. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;
occasionally assonance replaces rime in the even verses.

Lines 331-338. _Octava real_.

Lines 339-370. _Cuartetas_ (11-syllable verse).

Lines 371-418. _Octavas reales_.

Lines 419-434. _Cuartetas_ (11-syllable verse).

Lines 435-454. _Verso de romance_, printed as _cuartetas_; assonance in
_á_.

Lines 455-558. _Redondillas_ (8-syllable verse); rime-scheme _abba_;
this arrangement of rimes is called _versos pareados en el centro_.

Lines 559-578. _Cuartetas_ (11-syllable verse); _rima cruzada_.

Lines 579-590. _Redondillas_.

Lines 591-600. _Décima_ (8-syllable verse); rime-scheme _abbaaccddc_.

Lines 601-692. _Redondillas_.

Lines 693-792. _Cuartetas_ (12-syllable verse); odd verses rime; the
even either form a masculine rime or are in assonance.

Lines 793-820. _Cuartetas_ (8-syllable verse); the rime-scheme varies:
some _coplas_ are _redondillas_; others have the crossed rime.

Lines 821-884. _Cuartetas_ of 12-syllable verse resumed; same
rime-scheme as above.

Lines 885-894. _Quintillas_ (8-syllable verse); rime-scheme _abaab_.

Lines 895-910. _Cuartetas_ (11-syllable verse); rime-scheme either
_abba_ or _abab_.

Lines 911-938.
_Cuartetas_ of 12-syllable verse; rime-scheme _abab_;
even verses form either a masculine rime or assonance.

Lines 939-942. _Cuarteta_ (11-syllable verse); even verses in assonance;
the odd verses rime.

Lines 943-961. Irregular meter (6-syllable verse); a mixture of rime,
assonance, and blank verse.

Lines 962-1033. _Verso de romance_; assonance in _á_.

Lines 1034-1063. _Quintillas_.

Lines 1064-1115. _Cuartetas_ (12-syllable verse); rime in the odd
verses; assonance or masculine rime in the even.

Lines 1116-1145. _Quintillas_.

Lines 1146-1149. _Cuarteta_ (11-syllable verse); rime-scheme _abab_.

Lines 1150-1164. _Quintillas_.

Lines 1165-1196. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;
feminine rime.

Lines 1197-1364. _Octavas reales_.

Lines 1365-1384. _Quintillas_.

Lines 1385-1390. Irregular blending of 2-and 3-syllable meter; assonance
and rime; the _crescendo_ effect begins here.

Lines 1391-1399. Irregular 4-syllable meter; assonance and rime.

Lines 1400-1412. Irregular 5-syllable meter; assonance, rime, and blank
verse.

Lines 1413-1439. Irregular 6-syllable meter; assonance, rime, blank
verse.

Lines 1440-1447. Irregular 7-syllable meter; assonance, rime, blank
verse.

Lines 1448-1469. _Verso de romance_; assonance in _é-o_.

Lines 1470-1485. Irregular 9-syllable meter; assonance in _ó_.

Lines 1486-1501. _Cuartetas_ (10-syllable verse); rime-scheme _abab_;
even verses assonate or form a masculine rime.

Lines 1502-1521. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;
even verses assonate or form a masculine rime.

Lines 1522-1553. _Cuartetas_ (12-syllable verse); rime-scheme _abab_;
even verses assonate or form a masculine rime; the _crescendo_ is now at
its height.

Lines 1554-1569. _Octavillas italianas_ (11-syllable verse); see above
for description of this verse form.

Lines 1570-1585. _Octavillas italianas_ (10-syllable verse).

Lines 1586-1601. _Octavillas italianas_ (9-syllable verse).

Lines 1602-1617. _Octavillas italianas_ (8-syllable verse).

Lines 1618-1633. _Octavillas italianas_ (7-syllable verse).

Lines 1634-1649. _Octavillas italianas_ (6-syllable verse).

Lines 1650-1661. An irregular 12-verse stanza of 5-syllable verse in
which verses 3 and 4, 8 and 9 rime as couplets; 6 and 12 also rime;
the other verses are blank.

Lines 1662-1669. Variant of the _octavilla italiana_; 4-syllable verse;
verse 6 is blank instead of 5.

Lines 1670-1677. _Octavilla italiana_; 3-syllable verse; rime-scheme
normal.

Lines 1678-1680. Irregular meter of 2-syllable verse; rime and blank;
the _diminuendo_ effect ends here.

Lines 1681-1704. _Octavas reales_.



"CANCIÓN DEL PIRATA"

Lines 1-16. _Octavillas italianas_ (8-syllable verse).

Lines 17-22. _Sextina_ (8-syllable verse, except that verse 2 is a
_verso quebrado_ or "broken verse" of 4 syllables). The _sextina_
admits of the greatest variety of form; those in this poem are all of
the same pattern; rime-scheme _abaccb_.

Lines 23-30. _Octavilla italiana_ (4-syllable verse).

Lines 31-34. _Cuarteta_ (8-syllable verse); verses 1 and 3 are blank;
2 and 4 assonate.

Lines 35-40. _Sextina_.

Lines 41-48. _Octavilla italiana_, same as above.

Lines 50-55. _Sextina_.

Lines 56-63. _Octavilla italiana_.

Lines 65-70. _Sextina_.

Lines 71-78. _Octavilla italiana_.

Lines 80-85. _Sextina_.

Lines 86-93. _Octavilla italiana_.

Lines 94-97. _Cuarteta_.



"EL CANTO DEL COSACO"

This poem is written in _cuartetas_ of 11-syllable verse with _rima
cruzada_. Verses 1 and 3 rime and 2 and 4 assonate, except in the
refrain, where 1 and 3 are blank.



"EL MENDIGO"

Lines 1-4. _Cuarteta_ (11-syllable verse); verses 1 and 3 are blank;
2 and 4 assonate.

Lines 5-10. _Sextina_ (8-syllable verse, except 2, the _verso
quebrado_, which has 4 syllables); rime-scheme _abcaac_; the _verso
quebrado_ is blank.

Lines 11-28. Irregular 4-syllable meter; a wholly irregular
arrangement of rime, assonance, and blank verse.

Lines 29-32. Irregular _cuarteta_ of two 8-syllable verses followed by
two of 11; verses 1 and 3 are blank; 2 and 4 assonate.

Lines 34-39. _Sextina_, same as above.

Lines 40-57. Irregular 4-syllable meter, same as above.

Lines 58-61. _Cuarteta_, same as the irregular one above.

Lines 63-68. _Sextina_, same as above.

Lines 69-88. Irregular 4-syllable meter, same as above.

Lines 89-92. _Cuarteta_, same as the irregular ones above.

Lines 94-99. _Sextina_, same as above.

Lines 100-117. Irregular 4-syllable meter, same as above.

Lines 118-121. _Cuarteta_, same as the irregular ones above.

Lines 122-125. _Cuarteta_, like the normal one above.



"SONETO"

Lines 1-14. Sonnet. 11-syllable verse. Rime-scheme _abba, abba, cde,
cde_.



"A TERESA. DESCANSA EN PAZ"

Written throughout in _octavas reales_ (11-syllable verse); rime-scheme
_abababcc_.




BIBLIOGRAPHY

For a fuller treatment of Spanish prosody the student may profitably
consult the following works:

BENOT. "Prosodía Castellana y Versificación," 3 vols. , Madrid, no date.

ROBLES DÉGANO. "Ortología Clásica de la Lengua Castellana," Madrid,
1905.

BELLO. "Ortología y Arte Métrica" (Vol. 4 of "Obras Completas"), Madrid,
1890.

For more or less summary treatments of the subject the American student
may profitably consult:

OLMSTED. "Legends, Tales, and Poems by Gustavo Adolfo Bécquer" (Ginn and
Company).

FORD. "A Spanish Anthology" (Silver, Burdett and Company).

HILLS and MORLEY. "Modern Spanish Lyrics" (Henry Holt and Company).




"EL ESTUDIANTE DE SALAMANCA"
AND OTHER SELECTIONS
FROM ESPRONCEDA



CUENTO.

EL ESTUDIANTE DE SALAMANCA


PARTE PRIMERA

Sus fueros, sus bríos; sus premáticas,
su voluntad. --"Quijote," Parte Primera

Era más de media noche,
Antiguas historias cuentan,
Cuando, en sueño y en silencio
Lóbrego envuelta la tierra,
Los vivos muertos parecen, [5]
Los muertos la tumba dejan.
Era la hora en que acaso
Temerosas voces suenan
Informes, en que se escuchan
Tácitas pisadas huecas, [10]
Y pavorosas fantasmas
Entre las densas tinieblas
Vagan, y aúllan los perros
Amedrentados al verlas;
En que tal vez la campana [15]
De alguna arruinada iglesia
Da misteriosos sonidos
De maldición y anatema,
Que los sábados convoca
A las brujas a su fiesta. [20]
El cielo estaba sombrío,
No vislumbraba una estrella,
Silbaba lúgubre el viento,
Y allá en el aire, cual negras
Fantasmas, se dibujaban [25]
Las torres de las iglesias,
Y del gótico castillo
Las altísimas almenas,
Donde canta o reza acaso
Temeroso el centinela [30]
Todo en fin a media noche
Reposaba, y tumba era
De sus dormidos vivientes
La antigua ciudad que riega
El Tormes, fecundo río, [35]
Nombrado de los poetas,
La famosa Salamanca,
Insigne en armas y letras,
Patria de ilustres varones,
Noble archivo de las ciencias. [40]
Súbito rumor de espadas
Cruje, y un «¡ay! » se escuchó;
Un «¡ay! » moribundo, un «¡ay! »
Que penetra el corazón,
Que hasta los tuétanos hiela [45]
Y da al que lo oyó temblor;
Un «¡ay! » de alguno que al mundo
Pronuncia el último adiós.

El ruido
Cesó, [50]
Un hombre
Pasó
Embozado,
Y el sombrero
Recatado [55]
A los ojos
Se caló.
Se desliza
Y atraviesa
Junto al muro [60]
De una iglesia,
Y en la sombra
Se perdió.

Una calle estrecha y alta,
La calle del Ataúd, [65]
Cual si de negro crespón
Lóbrego eterno capuz
La vistiera, siempre oscura
Y de noche sin más luz
Que la lámpara que alumbra [70]
Una imagen de Jesús,
Atraviesa el embozado,
La espada en la mano aún,
Que lanzó vivo reflejo
Al pasar frente a la cruz. [75]

Cual suele la luna tras lóbrega nube
Con franjas de plata bordarla en redor,
Y luego si el viento la agita, la sube
Disuelta a los aires en blanco vapor,

Así vaga sombra de luz y de nieblas, [80]
Mística y aérea dudosa visión,
Ya brilla, o la esconden las densas tinieblas,
Cual dulce esperanza, cual vana ilusión.

La calle sombría, la noche ya entrada,
La lámpara triste ya pronta a espirar, [85]
Que a veces alumbra la imagen sagrada,
Y a veces se esconde la sombra a aumentar,

El vago fantasma que acaso aparece,
Y acaso se acerca con rápido pie,
Y acaso en las sombras tal vez desparece, [90]
Cual ánima en pena del hombre que fué,

Al más temerario corazón de acero
Recelo inspirara, pusiera pavor;
Al más maldiciente feroz bandolero
El rezo a los labios trajera el temor. [95]

Mas no al embozado, que aun sangre su espada
Destila, el fantasma terror infundió,
Y el arma en la mano con fuerza empuñada,
Osado a su encuentro despacio avanzó.

Segundo Don Juan Tenorio, [100]
Alma fiera e insolente,
Irreligioso y valiente,
Altanero y reñidor:
Siempre el insulto en los ojos,
En los labios la ironía, [105]
Nada teme y todo fía
De su espada y su valor.

Corazón gastado, mofa
De la mujer que corteja,
Y hoy, despreciándola, deja [110]
La que ayer se le rindió.
Ni el porvenir temió nunca,
Ni recuerda en lo pasado
La mujer que ha abandonado,
Ni el dinero que perdió. [115]

Ni vió el fantasma entre sueños
Del que mató en desafío,
Ni turbó jamás su brío
Recelosa previsión.
Siempre en lances y en amores, [120]
Siempre en báquicas orgías,
Mezcla en palabras impías
Un chiste a una maldición.

En Salamanca famoso
Por su vida y buen talante, [125]
Al atrevido estudiante
Le señalan entre mil;
Fueros le da su osadía,
Le disculpa su riqueza,
Su generosa nobleza, [130]
Su hermosura varonil.

Que su arrogancia y sus vicios,
Caballeresca apostura,
Agilidad y bravura
Ninguno alcanza a igualar; [135]
Que hasta en sus crímenes mismos,
En su impiedad y altiveza,
Pone un sello de grandeza
Don Félix de Montemar.

Bella y más pura que el azul del cielo, [140]
Con dulces ojos lánguidos y hermosos,
Donde acaso el amor brilló entre el velo
Del pudor que los cubre candorosos;
Tímida estrella que refleja al suelo
Rayos de luz brillantes y dudosos, [145]
Ángel puro de amor que amor inspira,
Fué la inocente y desdichada Elvira.

Elvira, amor del estudiante un día,
Tierna y feliz y de su amante ufana,
Cuando al placer su corazón se abría, [150]
Como al rayo del sol rosa temprana,
Del fingido amador que la mentía
La miel falaz que de sus labios mana
Bebe en su ardiente sed, el pecho ajeno
De que oculto en la miel hierve el veneno. [155]

Que no descansa de su madre en brazos
Más descuidado el candoroso infante
Que ella en los falsos lisonjeros lazos
Que teje astuto el seductor amante:
Dulces caricias, lánguidos abrazos, [160]
Placeres ¡ay! que duran un instante,
Que habrán de ser eternos imagina
La triste Elvira en su ilusión divina.

Que el alma virgen que halagó un encanto
Con nacarado sueño en su pureza [165]
Todo lo juzga verdadero y santo,
Presta a todo virtud, presta belleza.
Del cielo azul al tachonado manto,
Del sol radiante a la inmortal riqueza,
Al aire, al campo, a las fragantes flores, [170]
Ella añade esplendor, vida y colores.

Cifró en Don Félix la infeliz doncella
Toda su dicha, de su amor perdida;
Fueron sus ojos a los ojos de ella
Astros de gloria, manantial de vida. [175]
Cuando sus labios con sus labios sella,
Cuando su voz escucha embebecida,
Embriagada del dios que la enamora,
Dulce le mira, extática le adora.


PARTE SEGUNDA

No dirge except the hollow sea's
Mourns o'er the beauty of the Cyclades.
BYRON, "Don Juan," Canto 4


Está la noche serena [180]
De luceros coronada,
Terso el azul de los cielos
Como trasparente gasa.

Melancólica la luna
Va trasmontando la espalda [185]
Del otero, su alba frente
Tímida apenas levanta,

Y el horizonte ilumina,
Pura virgen solitaria,
Y en su blanca luz süave [190]
El cielo y la tierra baña.

Deslízase el arroyuelo.
Fúlgida cinta de plata,
Al resplandor de la luna,
Entre franjas de esmeralda. [195]

Argentadas chispas brillan
Entre las espesas ramas,
Y en el seno de las flores
Tal vez aduermen las auras,

Tal vez despiertas susurran, [200]
Y al desplegarse sus alas
Mecen el blanco azahar,
Mueven la aromosa acacia,

Y agitan ramas y flores,
Y en perfumes se embalsaman. [205]
Tal era pura esta noche
Como aquélla en que sus alas

Los ángeles desplegaron
Sobre la primera llama
Que amor encendió en el mundo, [210]
Del Edén en la morada.

¡Una mujer! ¿Es acaso
Blanca silfa solitaria,
Que entre el rayo de la luna
Tal vez misteriosa vaga? [215]

Blanco es su vestido, ondea
Suelto el cabello a la espalda,
Hoja tras hoja las flores
Que lleva en su mano arranca.

Es su paso incierto y tardo, [220]
Inquietas son sus miradas,
Mágico ensueño parece
Que halaga engañosa el alma.

Ora, vedla, mira al cielo,
Ora suspira, y se pára; [225]
Una lágrima sus ojos
Brotan acaso y abrasa

Su mejilla; es una ola
Del mar que en fiera borrasca
El viento de las pasiones [230]
Ha alborotado en su alma.

Tal vez se sienta, tal vez
Azorada se levanta;
El jardín recorre ansiosa,
Tal vez a escuchar se pára. [235]

Es el susurro del viento,
Es el murmullo del agua,
No es su voz, no es el sonido
Melancólico del arpa.

Son ilusiones que fueron: [240]
Recuerdos ¡ay! que te engañan,
Sombras del bien que pasó. . . .
Ya te olvidó el que tú amas.

Esa noche y esa luna
Las mismas son que miraran [245]
Indiferentes tu dicha,
Cual ora ven tu desgracia.

¡Ah! llora, sí, ¡pobre Elvira!
¡Triste amante abandonada!
Esas hojas de esas flores [250]
Que distraída tú arrancas,

¿Sabes adónde, infeliz,
El viento las arrebata?
Donde fueron tus amores,
Tu ilusión y tu esperanza. [255]

Deshojadas y marchitas,
¡Pobres flores de tu alma!
Blanca nube de la aurora,
Teñida de ópalo y grana,

Naciente luz te colora, [260]
Refulgente precursora
De la cándida mañana.