_Tu,
sombra^a|erea
que, cuantas veces_, p.
Gustavo Adolfo Becuqer
(2) _When one of the contiguous vowels is weak and the other strong. _
(a) There is no diphthong if an accented weak vowel precedes a strong.
Ex. _Yo, que a tus ojos en mi agoni|a_, p. 171, XV, l. 18.
Synaeresis is, however, sometimes employed to overcome this rule.
The accent must then shift.
Ex. _Habi^a llegado una nave. _ Calderon.
(b) There is no diphthong if an accented weak vowel follows a strong.
Ex. _? Como puede re|ir? _ p. 182, XLIX, l. 4.
Synaeresis serves sometimes to overcome this rule. The result is
usually harsh.
Ex. _En re^ir a costa ajena, les prepara. _
(c) If an accented strong vowel precedes a weak, they form a
diphthong. The diphthong is rarely dissolved, and is usually marked
with a diaresis, if dissolution takes place.
Ex. _Beso del aura, onda de luz_, p. 170, XV, l. 5.
(d) If an accented strong vowel follows a weak they may or may not
form a diphthong.
Ex. _Por una sonrisa, un ci^elo_, p. 172, XXIII, l. 2. [Diphthong. ]
Ex. _Domando el rebelde, mezquino idi|oma_, p. 164, I, l. 6. [No
diphthong. ]
Diaeresis or synaeresis may usually be employed according to the case.
Thus, _fiel_ becomes by diaeresis _fi|el_, and _br|ioso_ becomes by
synaeresis _bri^oso_.
It should be remembered that in some words the accentuation is
variable, while in others it is fixed.
There are two classes of words that have a variable accentuation:
first, those in which an unaccented weak vowel is followed by an
accented strong vowel, e. g. _majestu^oso_, _majestu|oso_; second,
those in which an accented strong vowel is followed by an unaccented
strong vowel, e. g. _tra|e, tra^e. _
Ex. _Cre^es que la afe|an_. Becquer.
_Cre|es que suspirando pasa el viento_, p. 171, XVI, l. 3.
Etymological conditions often determine whether or not a diphthong is
formed.
ie and ue, derived from the Latin e and o respectively, form
indissoluble diphthongs.
The ending -ion for substantives is usually a diphthong and rarely
suffers dissolution.
Synaeresis may be employed to unite in a single syllable two
contiguous vowels (unaccented weak + accented strong) that are
separated on account of etymology, or, in the case of derivatives,
analogy with the original word; but diaeresis is employed very rarely
to dissolve a proper diphthongal combination (unaccented weak +
accented strong).
For example, _di|ario_ by analogy with _dia_, and _fi|o_ from the
Latin _fidavit_, have ordinarily the _i_ in separate syllables, but a
diphthong may be formed by synaeresis.
(3) _When the two contiguous vowels are weak_.
(a) Two contiguous weak vowels with the accent on the first form an
indissoluble diphthong, e. g. _mu^y_.
(b) Two contiguous weak vowels with the accent on the second may or
may not form a diphthong.
Ex. _Si antes no juras que por ru^in falsia_. Hermosilla.
[Diphthong. ]
Ex. _Con sus mil ru|idos_, p. 188, LXXIII, l. 19, [No diphthong. ]
c. Two contiguous vowels after the accented syllable.
(1) Two contiguous strong vowels after the accented syllable naturally
form a diphthong.
Ex. _Tu, sombra aere^a que, cuantas veces_, p. 170, XV, l. 7.
Diaeresis may be employed to dissolve the diphthong.
(2) If a strong vowel is followed by a weak vowel after the accented
syllable, they form a diphthong, e. g. _hablaba^is, amara^is_.
This diphthong is easily dissolved.
(3) If a weak vowel is followed by a strong vowel after the accented
syllable, they form a diphthong, e. g. _histor^i^a, ans^i^a_.
Ex. _De la brisa nocturna al tenu^e soplo_, p. 192, LXXV, l. 6.
The diphthong may, however, be dissolved, e. g. _estatu|a, tenu|e,
nadi|e_.
3. TRIPHTHONGS AND COMBINATIONS OP THREE OR MORE CONTIGUOUS VOWELS
If three vowels belonging to the same word are contiguous, one of them
must be accented. There are then three possible arrangements.
(i) Three contiguous vowels of a word with the accent on the first,
e. g. _traeos_.
(ii) Three contiguous vowels of a word with the accent on the second,
e. g. creia, _buey_.
(iii) Three contiguous vowels with the accent on the third, e. g.
_rehui_.
Each of the above arrangements has two combinations of accented and
unaccented vowels to which the rules for diphthongs may be applied. In
(i) there will be a combination of two vowels with the first accented,
plus a combination of two vowels after the accent. In _traeos_, for
example, the a and e would probably be in separate syllables by b (1)
(a), and eo would probably form a diphthong by c (1). _Traeos_ would,
then, probably be a dissyllable.
In (ii) there will be a combination of two vowels with the accent an
the second, and one of two vowels with the accent on the first. In
creia, for example, the e and i would be in separate syllables by b
(2) (b), and the i and a would probably be in separate syllables also
by b (2)(a). Therefore, _creia_ would probably be a trisyllable. In
_cambiaos_ the i and a might form one syllable or two by b (2) (_d_),
and the a and o would probably be in separate syllables by b (1) (a).
Therefore, in _cambiaos_ the combination iao might form a dissyllable
or a trisyllable.
In (iii) there will be a combination of two vowels before the accent,
and one of two vowels with the second accented. In _rehui_, for
example, the e and u might be in the same syllable by a (1), or in
separate syllables by dieresis by a (1) (a), and the u and i might be
in separate syllables or not by b (3) (b). Therefore, _rehui_ might be
a monosyllable, a dissyllable, or a trisyllable.
Other combinations of three vowels may be analyzed in a similar way,
as may also combinations of more than three vowels, e. g. _creiais_,
etc.
B. SYNALEPHA
Between the contiguous vowels of separate words there may occur
synalepha (which corresponds to diphthongization within a word), or
hiatus (which is similar to diaeresis within a word).
Ex. _Abre^una^eternidad_, p. 178, XXXVI I, l. 22. _? 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.
