No venga á despertar una memoria;
Ni hay ola que en la arena humedecida
No escriba con espuma alguna historia
25 De los felices tiempos de mi vida.
Todo me habla de sueños y cantares,
De paz, de amor y de tranquilos bienes;
Y el aura fugitiva de los mares page 224
Que viene, leda, á acariciar mis sienes,
Me susurra al oído
Con misterioso acento: ¡Bienvenido!
DON HERACLIO MARTÍN DE LA GUARDIA
ÚLTIMA ILUSIÓN
Cayó empuñando el invencible acero
5 Que coronó de lauros la victoria,
Terror de extraños, de su patria gloria,
En traidora asechanza el caballero.
"--Llevad mi espada al pueblo por quien muero,
Y airado el pueblo vengue mi memoria...
10 Este anillo á... mi amor... La negra historia
Á mi madre callad."--Dijo el guerrero.
Sucumbió el héroe... ¡Sacrificio vano!
Que al suspiro final de su agonía
Besaba el pueblo la traidora mano:
15 ¡Á otro amador la amada sonreía!
Sólo la madre en su dolor tirano
Al guerrero lloraba noche y día.
page 225
CANCIONES
[Illustration: Music]
La Carcelera
Carcelera, Carcelera,
Carcelera de mi vida,
desátame las cadenas
y échame la despedida.
page 226
[Illustration: Music]
Riverana
Ya se murió el burro que acarreaba la vinagre;
Ya lo llevó Dios de esta vida miserable.
|:Que tu ru ru ru ru
Que tu ru ru ru ru.:|
Él era valiente, él era mohino;
Él era el alivio de todo Villarino.
|:Que tu ru ru ru ru
Que tu ru ru ru ru.:|
page 227
[Illustration: Music]
page 228
[Illustration: Music]
page 229
[Illustration: Music]
La Cachucha
Yo tengo una cachuchita
que me la dió un cachuchero,
el que quiera cachuchita
que se gaste su dinero.
Vámonos, china del alma,
vámonos á Gibraltar
para ver á los moritos
que se quieren embarcar!
page 230
[Illustration: Music]
page 231
[Illustration: music]
page 232
[Illustration: Music]
La Valenciana.
Camino de Valencia,
camino de Valencia,
camino largo,
con las tunas yo me iré,
con las bueñas volveré,
camino largo;
á la sombra de un pino,
á la sombra de un pino,
niña, te aguardo,
con las feas yo me iré,
con las lindas volveré,
¡niña, te aguardo!
page 233
[Illustration: Music]
page 234
[Illustration: Music]
Canción Devota
Á la puerta del Cielo venden zapatos
para los angelitos que van descalzos.
María, adoraros quería
y os quiero, adorar el cordero,
¡claveles, colorados y verdes,
morados, verdes y colorados!
page 235
[Illustration: Music]
page 236
[Illustration: Music]
page 237
[Illustration: Music]
La Jota Gallega
Tanto bailé la jota gallega,
¡ole, ole, ole, ole!
tanto bailé que me enamoré de ella,
¡ole, ole, ole!
tanto bailé que me enamoré,
¡ole, ole, ole, ole!
tanto bailé que me enamoré,
¡ole, ole, ole, ole!
tanto bailé la jota gallega,
¡ole, ole, ole, ole!
tanto bailé que me enamoré de ella,
¡ole, ole, ole!
page 238
[Illustration: Music]
page 239
[Illustration: Music]
page 240
[Illustration: Music]
page 241
[Illustration: Music]
El Trágala
CANCIÓN Á LOS PANCISTAS
Tú que no quieres lo que queremos,
la ley preciosa do está el bien nuestro,
trágala, trágala, trágala, perro,
trágala, trágala, trágala, perro.
Tú de la panza mísero siervo que la ley
odias de tus abuelos,
que la ley odias de tus abuelos
por que en acíbar y lloro han vuelto
tus gollerías y regodeos.
page 242
[Illustration: Music]
page 243
[Illustration: Music]
page 244
[Illustration: Music]
page 245
[Illustration: Music]
page 246
[Illustration: Music]
Himno De Riego.
Soldados, la Patria nos llama á la lid,
juremos por ella vencer ó morir. Serenos,
alegres, valientes, osados, cantemos,
soldados, el himno á la lid,
y á nuestros acentos el orbe se admire
y en nosotros mire los hijos del Cid,
y á nuestros acentos el orbe se admire
y en nosotros mire los hijos del Cid.
Sol-etc.
page 247
[Illustration: Music]
page 248
[Illustration: Music]
page 249
[Illustration: Music]
page 250
[Illustration: Music]
Himno Nacional De México
JAIME NUÑO
Mexicanos al grito de guerra
El acero aprestad y el bridón,
y retiemble en sus centros la tierra
al sonoro rugir del cañon.
Y retiemble en sus centros la tierra
al sonoro rugir del cañón.
Ciña ¡oh patria! tus sienes de oliva
De la paz el arcángel divino,
Que en el ciélo tu eterno destino
por el dedo de Dios se escribió.
Mas si osare un extraño enemigo
profanar con su planta tu suelo
piensa ¡oh patria querida! que el cielo
un soldado en cada hijo te dió,
un soldado en cada hijo te dió.
page 251
[Illustration: Music]
page 252
[Illustration: Music]
Himno Nacional De Cuba
(HIMNO DE BAYAMO)
PEDRO FIGUEREDO
1. ¡Al combate corred Bayameses!
Que la patria os contempla orgullosa;
No temáis una muerte gloriosa,
Que morir por la patria es vivir.
En cadenas vivir es vivir
En oprobio y afrenta sumido.
Del clarín escuchad el sonido;
Á las armas, valientes, corred!
2. No temáis al gobierno extranjero
Que es cobarde cual todo tirano,
No resiste el empuje cubano,
Para siempre su imperio cayó.
Sea bendita la noche serena
En que en alegres campos de Yara
El clarín de la guerra sonara
Y el cubano ser libre juró.
3. No se nuble jamás esa estrella
Que las hijas de Cuba bordaron
Y que nobles cubanos alzaron
En su libre y feliz pabellón.
¡Gloria y nombre á los hijos de Cuba!
¡Gloria y nombre al valiente Aguilera!
¡Viva! ¡Viva! la alegre bandera
Que en los campos de Yara se alzó.
page 253
NOTES
The heavy figures refer to pages of the text; the light
figures to lines.
[Transcriber's note: In this text file, the bold characters are
represented by the enclosure in a pair of = sign.]
_ROMANCES_. The Spanish _romances viejos_, which
correspond in form and spirit to the early English and
Scotch ballads, exist in great number and variety.
Anonymous and widely known among the people, they
represent as well as any literary product can the spirit
of the Spanish nation of the period, in the main stern and
martial, but sometimes tender and plaintive. Most of them
were written in the fifteenth and sixteenth centuries; the
earliest to which a date can be assigned is _Cercada tiene
á Baeza_, which must have been composed soon after 1368.
Others may have their roots in older events, but have
undergone constant modification since that time. The
_romance popular_ is still alive in Spain and many have
recently been collected from oral tradition (cf. Menéndez
y Pelayo, _Antología_, vol. X).
The _romances_ were once thought to be relics of very old
lyrico-epic songs which, gathering material in the course
of time, became the long epics that are known to have
existed in Spain in the twelfth to fourteenth centuries
(such as the _Poema del Cid_, and the lost _cantares_ of
_Bernardo del Carpio_, the _Infantes de Lara_ and
_Fernán González_). But modern investigation has shown
conclusively that no such age can be ascribed to the
_romances_ in their present form, and that in so far as
they have any relation with the epic cycles just
cited they are rather descendants of them than
ancestors,--striking passages remembered by the people and
handed down by them in constantly changing form. Many
are obviously later in origin; such are the _romances
fronterizos_, springing from episodes of the Moorish wars,
and the _romances novelescos_, which deal with romantic
incidents of daily life. The _romances juglarescos_ are
longer poems, mostly concerned with Charlemagne page 254
and his peers, veritable degenerate epics, composed by
itinerant minstrels to be sung in streets and taverns to
throngs of apprentices and rustics. They have not the
spontaneity and vigor which characterize the better
_romances viejos_.
A few of the _romances_ were printed in the _Cancionero
general_ of 1511, and more in loose sheets (_pliegos
sueltos_) not much later in date; but the great
collections which contain nearly all the best we know were
the _Cancionero de romances "sin año,"_ (shortly before
1550), the _Cancionero de romances_ of 1550 and the
_Silva de varios romances_ (3 parts, 1550). The most
comprehensive modern collection is that of A. Durán,
_Romancero general_, 2 vols., Madrid, 1849-1851 (vols. 10
and 16 of the _Biblioteca de Autores españoles_). The best
selected is the _Primavera y flor de romances_ of Wolf and
Hofmann (Berlin, 1856), reprinted in vols. VIII and IX
of Menéndez y Pelayo's _Antología de poetas líricos
castellanos_. This contains nearly all the oldest and best
_romances_, and includes poems from _pliegos sueltos_ and
the second part of the _Silva_, which were not known to
Durán. Menéndez y Pelayo, in his _Apéndices á la Primavera
y flor (_Antol._ vol. IX) has given still more texts,
notably from the third part of the _Silva_, one of the
rarest books in the world. The fundamental critical works
on the _romances_ are: F. Wolf, _Ueber die Romanzenpoesie
der Spanier_ (in _Studien_, Berlin, 1859); Milá y
Fontanals, _De la poesía heroico-popular castellana_
(1874); and Menéndez y Pelayo, _Tratado de los romances
viejos_ (vols. XI and XII of the _Antología_, Madrid,
1903-1906).
The _romances_, as usually printed, are in octosyllabic
lines, with a fixed accent on the seventh syllable of each
and assonance in alternate lines.
Many English translators have tried their hand at Spanish
ballads, as Thomas Rodd (1812), J. C. Lockhart (1823),
John Bowring (1824), J.Y. Gibson (1887) and others.
Lockhart's versions are the best known and the least
literal.
In the six _romances_ included in this collection the
lyrical quality predominates above the narrative page 255
(cf. the many rimes in-_or_ in _Fonte-frida_ and _El
prisionero_). _Abenámar_ is properly a frontier ballad,
and _La constancia_, perhaps, belongs with the Carolingian
cycle; but the rest are detached poems of a romantic
nature. (See S.G. Morley's _Spanish Ballads_, New York,
1911.)
=1.--Abenámar= is one of a very few _romances_ which are
supposed to have their origin in Moorish popular poetry.
The Christian king referred to is Juan II, who defeated
the Moors at La Higueruela, near Granada, in 1431. It is
said that on the morning of the battle he questioned one
of his Moorish allies, Yusuf Ibn Alahmar, concerning the
conspicuous objects of Granada. The poem was utilized
by Chateaubriand for two passages of _Les aventures du
dernier Abencérage_.
=I. Abenámar= = _Ibn Alahmar_: see above.
9. The verbal forms in-_ara_ and-_iera_ were used then as
now as the equivalent of the pluperfect or the preterit
indicative.
=II. la=: _la verdad_ is probably understood. Cf. p. 2, l.
I.
=2.--I. diría= = _diré_. In the _romances_ the conditional
often replaces the future, usually to fit the assonance.
5. =relucían:= in the old ballads the imperfect indicative
is often used to express loosely past time or even present
time.
6. =El Alhambra:= in the language of the old ballads _el_,
not _la_, is used before a feminine noun with initial-_a_
or _e_-, whether the accent be on the first syllable or
not.
25. =viuda= in old Spanish was pronounced _viuda_ and
assonated in _í-a_. This expletive =que= is common in
Spanish: do not translate.
27. =grande= merely strengthens =bien=.
=3.--Fonte-frida= is a poem of erotic character, much
admired for its suave melancholy. Probably it is merely an
allegorical fragment of a longer poem now lost. It is one
of those printed in the _Cancionero general_ of 1511. It
was well translated by Bowring. There is also a metrical
version in Ticknor, I, III. This theme is found in the
_Physiologus_, a medieval bestiary. One of these page 256
animal stories relates that the turtle-dove has but one
mate and if this mate dies the dove remains faithful
to its memory. Cf. _Mod. Lang. Notes_, June, 1904
(_Turtel-Taube_), and February, 1906.
3. In =avecicas= and =tortolica= the diminutive
ending-_ica_ seems to be quite equivalent to-_ito_. Cf.
Knapp's _Span. Gram., 760a_.
4. =van tomar= = _van á tomar_.
7. =fuera=: note that _fué_ (or =fuera=) =á pasar= =
_pasó_. This usage is now archaic, although it is still
sometimes used by modern poets: see p. 136, l. 18.
18. =bebía=: see note, p. 2, l. 5.
19. =haber=, in the ballads, often = _tener_. See also
=haya= in the following line.
=4=.--=El Conde Arnaldos=. Lockhart says of "Count
Arnaldos," "I should be inclined to suppose that
'More is meant than meets the ear,'
--that some religious allegory is intended to be shadowed
forth." Others have thought the same, and the strong
mystic strain in Spanish character may bear out the
opinion. In order that the reader may judge for himself he
should have before him the mysterious song itself, which,
omitted in the earliest version, is thus given in the
_Cancionero de romances_ of 1550, to follow line 18 of the
poem:
--Galera, la mi galera,
Dios te me guarde de mal,
de los peligros del mundo
sobre aguas de la mar,
de los llanos de Almería,
del estrecho de Gibraltar,
y del golfo de Venecia,
y de los bancos de Flandes,
y del golfo de León,
donde suelen peligrar.
page 257
Popular poems which merely extol the power of music over
animals are not uncommon.
=I. ¡Quién hubiese!= _would that one might have_! or
_would that I might have_! Note =¡quién me diese!= (p. 7,
1. 25), _would that some one would give me_!: this is the
older meaning of _quién_ in these expressions. Note also
=¡Quién supiera escribir!= (p.134), _would that I could
write_! where the modern usage occurs.
22. =dígasme= = _dime_ This use of the pres. subj. with
the force of an imperative is not uncommon in older
Spanish.
24.=le fué á dar=: see note, p. 3,1. 7.
=5.=--=La constancia=. These few lines, translated by
Lockhart as "The Wandering Knight's Song," are only part
of a lost ballad which began:
Á las armas, Moriscote,
si las has en voluntad.
Six lines of it have recently been recovered (Menéndez y
Pelayo, _Antología_, IX, 211). It seems to have dealt with
an incursion of the French into Spain, and the lines here
given are spoken by the hero Moriscote, when called upon
to defend his country. Don Quijote quotes the first two
lines of this ballad, Part I, Cap. II.
8. =de me dañar= = _de dañarme_.
13. =vos= was formerly used in Spanish as _usted_ is now
used,--in formal address.
=El amante desdichado=. Named by Lockhart "Valladolid." It
is one of the few old _romances_ which have kept alive
in oral tradition till the present day, and are still
repeated by the Spanish peasantry (cf. _Antología_, X,
132, 192).
=7.=--=El prisionero=. Twelve lines of this poem were
printed in 1511. It seems to be rather troubadouresque
than popular in origin, but it became very well known
later. Lockhart's version is called "The Captive Knight
and the Blackbird."
page 258
16. This line is too short by one syllable, or has archaic
hiatus. See _Versification_,(4) a.
19. =las mis manos:= in old Spanish the article was often
used before a possessive adjective that preceded its noun.
This usage is now archaic or dialectic.
21. =hacía= is here exactly equivalent to =hace= in 1. 23:
see note, p. 2, 1. 5.
25. =quien...me diese=: see note, p. 4, 1. I.
=8.=--12. =Oídolo había= = _lo había oído_.
13. This line is too long by one syllable.
14. Gil Vicente (1470?-1540?), a Portuguese poet who wrote
dramas in both Portuguese and Castilian. A strong creative
artist and thinker, Vicente is the greatest dramatist of
Portugal and one of the great literary figures of the
Peninsula. This Canción to the Madonna occurs in _El
auto de la Sibila Casandra_, a religious pastoral drama.
Vicente himself wrote music for the song, which was
intended to accompany a dance. John Bowring made a very
good metrical translation of the song (_Ancient Poetry and
Romances of Spain_, 1824, p. 315). Another may be found in
Ticknor's _History of Spanish Literature,_ I, 259.
16. =digas tú=: see note, p. 4, I. 22. =el marinero=: omit
=el= in translation. In the Spanish of the ballads the
article is regularly used with a noun in the vocative.
24. =pastorcico=: see note, p. 3, I. 3.
=9.=--Santa Teresa de Jesús (1515-1582), born at Ávila;
became a Carmelite nun and devoted her life to reforming
her Order and founding convents and monasteries. Saint
Theresa believed herself inspired of God, and her
devotional and mystic writings have a tone of authority.
Her chief works in prose are the _Castillo interior_ and
the _Camino de perfección_. She is one of the greatest of
Spanish mystics, and her influence is still potent (cf.
Juan Valera, _Pepita Jiménez_; Huysmans, _En route; et
al._). Cf. _Bibl. de Aut. Esp._, vols. 53 and page 259
55, for her works. This _Letrilla_ has been translated by
Longfellow ("Santa Teresa's Book-Mark," Riverside ed.,
1886, VI., 216.)
=9.=--Fray Luis Ponce de León (1527-1591), born at
Belmonte; educated at the University of Salamanca; became
an Augustinian monk. While a professor at the same
university he was accused by the Inquisition and
imprisoned from 1572 to 1576, while his trial proceeded.
He was acquitted, and he taught till his death, which
occurred just after he had been chosen Vicar-General of
his Order. The greatest of the mystic poets, he wrote as
well religious works in prose (_Los nombres de Cristo, La
perfecta casada_), and in verse translated Virgil,
Horace and other classical authors and parts of the Old
Testament. In gentleness of character and in the purity
in which he wrote his native tongue, he resembles the
Frenchman Pascal. His poems are in vol. 37 of the _Bibl.
de Aut. Esp._ Cf. Ticknor, Period II, Cap. IX, and
_Introduction_, p. xxii. =La vida retirada= is written in
imitation of Horace's _Beatus ille_.
=9=.--17 to =10=.--3. In these lines there is much poetic
inversion of word-order. The logical order would be: _Que_
('for') _el estado de los soberbios grandes no le enturbia
el pecho, ni se admira del dorado techo, en jaspes
sustentado, fabricado del sabio moro_.
5. =pregonera=, as its gender indicates, modifies =voz=.
=12=.--10. In the sixteenth century great fortunes were
made by Spaniards who exploited the mines of their
American colonies across the seas.
II. Note, this unusual _enjambement_; but the _mente_ of
adverbs still has largely the force of a separate word.
=Soneto: Á Cristo Crucificado=. This famous sonnet has
been ascribed to Saint Theresa and to various other
writers, but without sufficient proof. Cf. Fouché-Delbosc
in _Revue Hispanique_, II, 120-145; and _ibid._, VI,
56-57. The poem was translated by J.Y. Gibson (_The Cid
Ballads_, etc., 1887, II, 144), and there is also a
version attributed to Dryden.
page 260
=13=.--Lope Félix de Vega Carpio (1562-1635) was the most
fertile playwright ever known to the world. Alone he
created the Spanish drama almost out of nothing. Born
at Madrid, where he spent most of his life, Lope was an
infant prodigy who fulfilled the promise of his youth. His
first play was written at the age of thirteen. He fought
against the Portuguese in the expedition of 1583 and took
part in the disastrous Armada of 1588. His life was marked
by unending literary success, numerous love-affairs and
occasional punishments therefor. In 1614 he was ordained
priest. For the last twenty years of his life he was the
acknowledged dictator of Spanish letters.
Lope's writings include some 2000 plays, of which perhaps
500 are extant, epics, pastorals, parodies, short stories
and minor poems beyond telling. He undertook to write
in every genre attempted by another and seldom scored
a complete failure. His _Obras completas_ are being
published by the Spanish Academy (1890-); vol. 1 contains
his life by Barrera. Most of his non-dramatic poems are in
vol. 38 of the _Bibl. de Aut. Esp._; others are in vols.
16 and 35. There is a _Life_ in English by H.A. Rennert
(1904). Cf. also _Introduction_, p. xxiv.
=Canción de la Virgen= is a lullaby sung by the Madonna
to her sleeping child in a palm grove. The song occurs
in Lope's pastoral, _Los pastores de Belén_ (1612). In
Ticknor (II, 177), there is a metrical translation of the
_Canción_.
The palm has great significance in the Roman
Catholic Church. On Palm Sunday,--the last Sunday of
Lent,--branches of the palm-tree are blessed and are
carried in a solemn procession, in commemoration of the
triumphal entry of Jesus into Jerusalem (cf. John, xii).
14. Ticknor translates these lines as follows:
Holy angels and blest,
Through these palms as you sweep,
Hold their branches at rest,
For my babe is asleep.
page 261
The literal meaning is: _Since you are moving among the
palms, holy angels, hold the branches, for my child
sleeps_. When the wind blows through the palm-trees their
leaves rustle loudly.
=14.=--=Mañana=: translated by Longfellow (Riverside ed.,
1886, VI, 204).
=15.=--Francisco Gómez de Quevedo y Villegas (1580-1645),
the greatest satirist in Spanish literature, was one of
the very few men of his time who dared criticize the
powers that were. He was born in the province of Santander
and was a precocious student at Alcalá. His brilliant mind
and his honesty led him to Sicily and Naples, as a high
official under the viceroy, and to Venice and elsewhere
on private missions; his plain-speaking tongue and
ready sword procured him numerous enemies and therefore
banishments. He was confined in a dungeon from 1639 to
1643 at the instance of Olivares, at whom some of his
sharpest verses were directed.
Quevedo was a statesman and lover of his country driven
into pessimism by the ineptitude which he saw about him.
He wrote hastily on many subjects and lavished a bitter,
biting wit on all. His best-known works in prose are the
picaresque novel popularly called _El gran tacaño_ (1626)
and the _Sueños_ (1627). His _Obras completas_ are in
course of publication at Seville (1898-); his poems are in
vol. 69 of the _Bibl. de Aut. Esp._ Cf. E. Mérimée, _Essai
sur la vie et les oeuvres de Francisco de Quevedo_ (Paris,
1886), and _Introduction_, p. xxv. For a modern portrayal
of one side of Quevedo's character, see Bréton de los
Herreros, ¿_Quién es ella_?
=Epístola satírica=: this epistle was addressed to Don
Gaspar de Guzmán, Conde-Duque de Olivares (d. 1645),
the favorite and prime minister of Philip IV. It is a
remarkably bold protest, for it was published in 1639 when
Olivares was at the height of his power. His disgrace did
not occur till 1643.
8. Note the double meaning of =sentir=,--'to feel' and 'to
regret.'
page 262
9. =libre= modifies =ingenio=. Translate: _its freedom_.
16. =Que es lengua la verdad de Dios severo= = _que la
verdad es lengua de Dios severo_.
=16.=--=Letrilla Satírica= was published in 1640.
14. Genoa was then, as now, an important seaport
and commercial center. As the Spaniards bought many
manufactured articles from Genoa, much of their money was
"buried" there.
=17.=--Esteban Manuel de Villegas (d. 1669) was a lawyer
who wrote poetry only in his extreme youth. His _Eróticas
ó Amatorias_ were published in 1617, and he says himself
that they were written at fourteen and polished at twenty.
Later the cares of life prevented him from increasing
the poetical fame that he gained thus early. He had a
reputation for excessive vanity, due partly to the picture
of the rising sun which he placed upon the title-page
of his poems with the motto _Me surgente, quid istae_?
_Istae_ referred to Lope, Quevedo and others. Villegas'
poems may be found in vol. 42 of the _Bibl. de Aut.
Esp._ Cf. Menéndez y Pelayo, _Hist. de los heterodoxos
españoles_, III, 859-875.
There is a parody of this well-known =cantilena= by
Iglesias in the _Bibl. de Aut. Esp._, vol. 61, p. 477.