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)