The basis for the following remarks on Spanish prosody is, for the most part, E. Benot's Prosodia Castellana y Versification, 3 vols., Madrid, 1892. Other works which have been consulted are the Ortologia y Arte Metrica of A. Bello, published in his Obras Completas, vol. 4, Madrid, 1890; Rengifo's Arte PoÈtica EspaÑola, Barcelona, 1759; J. D. M. Ford's "Notes on Spanish Prosody," in A Spanish Anthology, published by Silver, Burdett & Co., 1901; and a Tratado de Literatura Preceptiva, by D. Saturnino Milego É Inglada, published at Toledo in 1887.

Spanish versification has nothing to do with the quantity of vowels (whether long or short), which was the basis of Latin prosody.

There are four important elements in Spanish versification. Of these four elements two are essential, and the other two are usually present.

The essential elements, without which Spanish verse cannot exist, are—

I. A determined number of syllables per line.

II. A rhythmic distribution of the accents in the line.

The additional elements usually present in Spanish poetical compositions are—

III. Caesural pauses.

IV. Rhyme.

I. SYLLABIFICATION

Consonants.—In verse the same rules hold as in prose for the distribution of consonants in syllables.

Vowels.—If there were but one vowel in a syllable, Spanish syllabification would be easy; but sometimes two or more vowels are found either between consonants, or at the beginning or at the end of a word. When such is the case, intricacies arise, for sometimes the contiguous vowels are pronounced in a single syllable and sometimes they are divided into separate syllables.

The contiguous vowels may belong to a single word (see A); or they may be the final vowel or vowels of one word and the initial vowel or vowels of a following word or words (see B).

A. Diphthongization,—If two contiguous vowels of a single word are pronounced in but one syllable they form a diphthong, e.g. hu^esped.

B. Synalepha.—If two or more contiguous vowels belonging to two or more words are pronounced in a single syllable, they form synalepha.

Ex. Yo sÉ^un himno gigante y^extraÑo, p. 164, I, l. 1.

Since Spanish verse depends upon a determined number of syllables per line, diphthongization and synalepha are important factors in versification.

A. DIPHTHONGIZATION

Mute h between vowels is disregarded and does not prevent diphthongization, e.g. a^h^ora, re^h^usar.

The separation of two vowels that are usually united in one syllable is called diaeresis, e.g. vi"oleta.

The union in one syllable of two vowels that are usually in separate syllables is called synaeresis, e.g. ca^os.

1. THE TWENTY-FIVE POSSIBLE COMBINATIONS OP VOWELS IN DIPHTHONGS

The vowels may be divided into strong vowels (a, e, o) and weak vowels (i, u). For purposes of versification y as a vowel may be treated as i. The five vowels (a, e, o, i, u) taken in pairs may form diphthongs in twenty-five possible combinations, as follows:

a. Pairs of two weak vowels: ui, iu, ii, uu.

b. Pairs of two strong vowels:

{ ae, ao, aa,
{ ea, eo, ee,
{ oa, oe, oo.

c. Pairs of a strong vowel plus a weak vowel

{ ai, au,
{ ei, eu,
{ oi, ou.

d. Pairs of a weak vowel plus a strong vowel

{ ua, ue, uo,
{ ia, ie, io.

NOTE: In diphthongs a dominates o and e; and o dominates e. Any strong vowel dominates a weak one.

Ex. In Bo^abdÍl, if a were not dominant, the diphthong would be dissolved.

2. DIPHTHONGS AND WORD ACCENTUATION

There are with regard to accent three possible conditions under which two contiguous vowels may occur within a word.

a. The contiguous vowels may precede the accented syllable.

b. One of the contiguous vowels may be accented.

c. The contiguous vowels may come after the accented syllable.

a. Two contiguous vowels before the accent.

(1) Of the twenty-five possible combinations all are admissible in diphthongs in a syllable preceding the accented syllable.

Ex. HabrÁ po^esta, p. 165, IV, l. 4.

(a) Diaeresis may be employed to dissolve the diphthong.

Ex. Sobre una vi"oleta, p. 169, XIII, l. 8.

b. One of two contiguous vowels accented.

(1) When two contiguous vowel's are strong.

(a) There is no diphthong if one of two contiguous strong vowels receives the accent.

Ex. ChispË"ando el sol hiere, p. 173, XXVI I, l. 17.

Ex. TÚ, sombra a"Érea que, cuantas veces, p. 170, XV, l. 7.

By synaeresis, however, a diphthong may be formed, especially in the combinations Á^o, Á^e, Ó^e—c^a^o^s, c^a^e, ro^e. But in order to diphthongize oa, ea, and eo, when the accent naturally falls on the first vowel, the accent must shift to the second, which is a dominant vowel. Such diphthongization is harsh. For example, loa would shift the accent from o to a in order to form a diphthong. The accent would also shift in cre^a, fe^o.

(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 Á tus ojos en mi agonÍ"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. CalderÓn.

(b) There is no diphthong if an accented weak vowel follows a strong.

Ex. ¿CÓmo puede re"ir? p. 182, XLIX, l. 4.

Synaeresis serves sometimes to overcome this rule. The result is usually harsh.

Ex. En re^ir Á 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 idÏ"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 -iÓn 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 dÍa, and fi"Ó 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 falsÍa. Hermosilla. [Diphthong.]

Ex. Con sus mil rÜ"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. TÚ, sombra aÉre^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. trÁeos.

(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. rehuÍ.

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 trÁeos, 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). TrÁeos 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 Í would be in separate syllables by b (2) (b), and the Í and a would probably be in separate syllables also by b (2)(a). Therefore, creia would probably be a trisyllable. In cambiÁos the i and Á might form one syllable or two by b (2) (d), and the Á and o would probably be in separate syllables by b (1) (a). Therefore, in cambiÁos the combination iÁo 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 rehuÍ, 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 Í might be in separate syllables or not by b (3) (b). Therefore, rehuÍ 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. creÍais, 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. ¿Á quÉ me lo decÍs? lo sÉ^:^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 sÉ^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 apÉnas oh^hermosa! p. 164, I, l. 10.

1. DIPHTHONGAL SYNALEPHA

   1. Synalepha takes place between two contiguous unaccented vowels belonging to separate words.

      Ex. Abre^una^eternidad, p. 178, XXXVII, l. 22.

   2. Synalepha occurs when the final vowel of the first word is accented.

      Ex. Te vÍ^un punto, y, flotando ante mis ojos, p. 169, XIV, l. 1.

   3. 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 aÁ, oÁ, oa, eÁ, eÓ, eÉ.

      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 Á la playa viene, p. 178, XXXVII, l. 19.

2. TRIPHTHONGAL SYNALEPHA

   1. 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 Á expirar, p. 178, XXXVII, l. 20.

   2. There is never triphthongal synalepha when an accented weak vowel stands between two strong vowels. Therefore the conjunctions y and Ú prevent triphthongal synalepha.

      Ex. Y de purpura y oro la matiza, p. 168, IX, l. 4.

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

      Ex. FuÍ diestro, fuÍ valiente, fuÍ arrogante. Cervantes.

   4. When u is the middle vowel there may be synalepha if i follows it. The construction is very rare.

   5. There is no synalepha with a word beginning with hue.

      Ex. Mucho nuestro huesped tarda. Tirso de Molina.

   6. 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 aÚn tenÍ"a^abiertos, p. 187, LXXIII, l. 2.

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

      Ex. TÚ, sombra^a"Érea 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 Á 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. TÚ, proceloso austro que derribas.

      (3) and (4) might well be considered as cases of hiatus.

3. 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.

4. 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 Á 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 pÁlida, 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 yÁ isla catÓlica patente! Herrera. [Hiatus.]

   Ex. ¿Sabes tÚ^Á dÓnde 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 rÔle 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.

1. A trochaic octosyllabic line, for example, substituting stress for quantity, would be scanned

   / — " / — " / — " / —,

   with the stress on the first, third, fifth, and seventh syllables.

2. Iambic verse would have a regular alternation of unaccented and accented syllables, — / — /, etc.

3. Dactylic verse would have a regular recurrence of an accented syllable followed by two unaccented syllables, etc.

   / — — " / — — ", etc.

4. 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).

5. 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; esdrÚjula when it has the accent on the antepenult, e.g. lÍmpido, pÁjaro, pÓrtico.

A verse is called agudo, llano (or grave), or esdrÚjulo according to whether its final word is aguda, llana (or grave), or esdrÚjula.

1. In a verso agudo the last syllable counts for two syllables. Therefore, Ni tu ni yo jamÁs, p. 177, XXXIII, l. 2, is a heptasyllable.

2. In a verso llano (grave) the number of syllables does not change. Therefore, DetrÁs del abanico, p. 180, XL, l. 27, is a heptasyllable.

3. In a verso esdrÚjulo, 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 pÓrtico, 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.

1. 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 esdrÚjulo does not count.

2. 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.

3. 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.

1. Dissyllabic Verse: A dissyllabic verse may be composed of a single word (either aguda, llana, or esdrÚjula).

   Ex. Duerme! p. 173, XXVII, l. 13.

   There can be no supernumerary accents.

2. Trisyllabic Verse: A verse of three syllables can have no supernumerary accent, for the accent would be obstruccionista.

   Ex. Suspira.

3. 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 brÍo.

4. 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 sonÓro, p. I 70, XV, l. 3.

5. Adonic verse is a pentasyllable with necessary accents on the first and fourth syllables.

   Ex. CÉfiro blando. Villegas.

6. 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
   VeÍase^Á^intÉrvalos
   3 5
   Dibujarse rÍgida
   2 5
   La forma del cuerpo, p. 188, LXXIII, ll. 13–16.

7. 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.

8. 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 Árbol caÍdas
   2 5 7
   Juguetes al viento son. Espronceda.

9. 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 'Átomos 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 'lÁgrimas 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'pÉis 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, 'sÍ; muy 'largo el 'arte,

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

10. All meters thus far have

    1. Obligatory (constituent) accents.

    2. Facultative (supernumerary) accents.

    3. 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.

11. 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 esdrÚjulo.

    Scheme:

    — — / — — / — — , agudo.
    — — / — — , — — , — llano.
    — — / — — / — — / — — esdrÚjulo.

12. 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.
    — / — — / — / — — / — — esdrÚjulo.

13. Verses of different length do not readily intermingle. There are some measures, however, which are used much together.

    1. Verses of eleven syllables are used with those of seven or of five syllables.

    2. Verses of eight syllables are used with those of four syllables.

    3. 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^Á tus espaldas, p. 171, XVI, l. 7.

Ex. Sabe que, ocul"to^entre las verdes hojas, p. 171, XVI, l.5.

The disposition of the caesural pauses determines the harmony of the versification, and usually varies with the accents so as to avoid monotony in the verse.

IV. RHYME

N.B. For purposes of Rhyme, words may be divided into two classes:

First, words ending in a vowel.

Second, words ending in a consonant.

Rhymes are called feminine, if the rhyme words end in a vowel.

Rhymes are called masculine, if the rhyme words end in a consonant.

NOTE: Final s and final n, especially in the plural of nouns and in verbs, do not count. Therefore, penas and arenas would form a feminine rhyme.

There are two kinds of rhyme: Consonance and Assonance.

A. CONSONANCE

Consonantal rhyme is one in which all the letters, vowels and consonants, are the same from the accented syllable to the end of the word, e.g. bruma—espuma; flor—amor.

In consonantal rhyme both consonants and vowels should agree exactly (sonante—errante); b and v can, however, rhyme together, since they represent the same sound, e.g. estaba—esclava; haba—clava.

The following are a few general rules for consonantal rhyme.

1. A word should not rhyme with itself. Sometimes, however, a simple word rhymes with a derivative (menor—pormenor) or two derivatives with each other (menosprecio—desprecio).

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

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

   son ('sound')—son ('are')

4. If an unaccented weak vowel (i, u) precedes or follows a strong vowel in the same syllable of a word, it is absorbed by the strong vowel, and does not count in the rhyme. Therefore, vuelo and cielo rhyme; also muestra and diestra.

B. ASSONANCE

When the vowels from the accented syllable to the end of the word are the same, but the consonants are different, the rhyme is called assonance. Therefore, inflaman and pasa assonate in Á-a; negros and creo in e-o.

1. In words accented on the last syllable (agudas), the assonance is that of the last syllable only, e.g. perdÓn—espirÓ; azul—tÚ.

2. In words accented on the antepenult (esdrÚjulas) or on a preceding syllable, only the accented syllable and the final syllable count for purposes of assonance. Therefore, fÁbula and lÁgrimas assonate in Á-a; trÉmulo and vÉrtigo assonate in É-o.

3. Words accented on the last syllable (agudas) cannot assonate with words accented on the penult (llanas), or with those accented on the antepenult (esdrÚjulas) or upon any preceding syllable.

4. In words llanas or esdrÚjulas the assonance is of two vowels only. In diphthongs the accented vowel only is considered if the diphthong occur in an accented syllable. Therefore, verte and duermes assonate in e-e; baile and parte assonate in a-e.

5. Words llanas may assonate with words accented on the antepenult (esdrÚjulas). Therefore, pÓrtico and olmos assonate in Ó-o.

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

7. In a final accented or unaccented syllable u and i are absorbed, for purposes of assonance, by a preceding or following a, o, or e. Therefore, sabia and gratia assonate in Á-a; igual and mar assonate in a, pleita and pliega assonate in É-a.

8. If in assonance a weak vowel is united in a diphthong with a strong vowel, the assonance is called compound assonance, e.g. guarda—fatua.

9. Assonance between two single vowels is called simple assonance, e.g. sangre—trae.

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

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

    1. a in a final unaccented syllable predominates over a preceding or succeeding o in the same syllable. Therefore, AstÁrloa and DÁnao assonate in Á-a.

    2. a in a final unaccented syllable predominates over a preceding or following e in the same syllable. Therefore, corpÓrea and rÓsea assonate in Ó-a.

    3. o in a final unaccented syllable predominates over a preceding e in the same syllable. Therefore, Óleo and errÓneo assonate in Ó-o; but o in a final unaccented syllable is dominated by a following e in the same syllable, and the e counts in the assonance. Therefore, hÉroe and veces assonate in É-e.

11. When two weak vowels (i, u) are united in a diphthong, the second predominates. Thus triunfo and chulo assonate in Ú-o; cuido and bendito assonate in i-o.

12. There are twenty possible assonances in Spanish: Á, Ó, É, i, Ú, Á-a, Á-e, Á-o, É-a, É-e, É-o, Ó-a, Ó-e, Ó-o, i-a, i-e, i-o, Ú-a, Ú-e, Ú-o.

13. Words that have in the final unaccented syllable i or u, not in diphthongs, are considered for purposes of assonance as if ending in e or o respectively. Therefore, fÁcil and nave assonate in Á-e; espÍritu and lÍquido, in i-o.

14. If ai occurs in a syllable after an a in the accented syllable, the i rather than the a of the diphthong counts in the assonance. Therefore, cantares and trocabais assonate in Á-e. If the accented vowel is not a, the a of ai counts in the assonance. Therefore, Vicenta and quisierais assonate in É-a.

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

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

Blank Verse.—Verses which lack both consonantal rhyme and assonance occur in Spanish, and are called versos sueltos (or libres). Compositions in blank verse are, however, extremely difficult to write in Spanish, and are therefore comparatively rare.

STROPHES

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

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

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

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

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

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

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

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

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

7. Romancillos are romances composed of verses with less than eight syllables.

   Romances herÓicos are romances composed of hendecasyllabic verses, all of which are llanos.

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

9. Sextinas are usually composed of six hendecasyllabic verses in which a serventesio is followed by a pareado.

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

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

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

10. Octavas:

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

    2. Octavas reales are strophes of eight hendecasyllabic verses (llanos), of which the first six rhyme alternately and the last two form a pareado.

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

    3. Octavas and Octavillas Italianas:

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

       First variant: There is no verso libre, and the rhyme-scheme is a b b c a d d c.

       Second variant: The first and fifth verses are libres and the others rhyme 1 b b c 5 d d c. This form is the most used of all.

       Third variant: All the verses are libres except the fourth and eighth.

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

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

    Thus far all the compositions treated have been strophes, of which all the lines have the same number of syllables.

    The most common strophes having an unequal number of syllables in the component verses are as follows:

12. Endechas reales are cuartetas in which three heptasyllables are followed by a hendecasyllable. The even verses are usually in assonance, although the verses may have the rhyme-scheme a b a b.

13. The Lira is a strophe of five verses, of which the first, third, and fourth are heptasyllables, and the second and fifth are hendecasyllables. The rhyme-scheme is a b a b b.

14. Seguidillas are strophes composed of seven verses, three of which are heptasyllables and four pentasyllables. The first, third, and sixth verses are libres, the second and fourth have the same assonance, and the fifth and seventh another distinct assonance.

15. Silvas are series of strophes composed of hendecasyllables and heptasyllables of unequal number and unevenly distributed with a free arrangement of rhymes. Every verse should rhyme with another, yet sometimes a verse is left unrhymed in long compositions.

16. The Sonnet is taken from the Italian and has the same general forms. It is written in hendecasyllables, and is always divided into four parts—two quatrains and two tercets.

17. Versos sueltos (blank verse) are verses which do not assonate with the other contiguous verses, or with the nearest words in which the sense demands a pause.

There are many other and very artificial forms that exist, but their treatment would be irrelevant here. During the nineteenth century the caprice of the poet invented many new forms of which the arrangement is evident at a glance.

In closing, it should be said that this study of Spanish prosody, which is primarily intended as an aid to the reading of Becquer's poetry contained in this volume, is necessarily too brief to be exhaustive, and many things are purposely omitted, as, for example, certain unusual forms of verse such as the nine-syllable verse or that of more than twelve syllables. Wherever it has been found convenient, references have been made to Becquer's poems to illustrate points of versification.

(Cartas Literarias)