  Primavera y Flor de romances publicada con una introducciÓn y notas por D. Fernando JosÉ Wolf y D. Conrado Hofmann (Berlin, 1856). Throughout the present lecture the references to the Primavera are to the second enlarged edition issued by Sr. MenÉndez y Pelayo at Madrid in 1899-1900. (a) Delante el rey de LeÓnDoÑa Jimena una tarde... (b) Á Jimena y Á RodrigoprendiÓ el rey palabra y mano. They are given in DurÁn, Nos. 735 and 739. SabrÁs, mi florida Cava,que de ayer acÁ, no vivo. The ending of this romance is far better known than the beginning:— Si dicen quien de los dosla mayor culpa ha tenido, digan los hombres ‘La Cava,’y las mujeres ‘Rodrigo.’ BaÑando estÁ las prisionescon lÁgrimas que derrama. The Funeral of the Count of SaldaÑa is from DurÁn, No. 657:— Hincado estÁ de rodillasese valiente Bernardo. Bernardo and Alphonso is from DurÁn, No. 655:— Con solos diez de los suyosante el Rey, Bernardo llega. No se puede llamar reyquien usa tal villanÍa. El rey aguardara al Cidcomo Á bueno y leal vasallo. Cada dia que amaneceveo quien matÓ Á mi padre. (b) Primavera, No. 61a, and Duran, No. 922:— En Burgos estÁ el buen reydon Alonso el Deseado. Una bella lusitana,dama ilustre y de valÍa. Gentle river, gentle river, Lo, thy streams are stained with gore, Many a brave and noble captain Floats along thy willow’d shore. All beside thy limpid waters, All beside thy sands so bright, Moorish chiefs and Christian warriors Join’d in fierce and mortal fight. Lords, and dukes, and noble princes On thy fatal banks were slain; Fatal banks that gave to slaughter All the pride and flower of Spain. Percy also gives an adaptation of DurÁn, No. 53:— Por la calle de su damapaseando se halla Zaide. In a preliminary note he says:—‘The Spanish editor pretends (how truly I know not) that they are translations from the Arabic or Morisco language. Indeed the plain, unadorned nature of the verse, and the native simplicity of language and sentiment, which runs through these poems, prove that they are ancient; or, at least, that they were written before the Castillians began to form themselves on the model of the Tuscan poets, and had imported from Italy that fondness for conceit and refinement which has for these two centuries past so miserably infected the Spanish poetry, and rendered it so unnatural, affected, and obscure.’ The Moorish king rides up and down, Through Granada’s royal town; From Elvira’s gates to those Of Bivarambla on he goes. Woe is me, Alhama! Letters to the monarch tell, How Alhama’s city fell: In the fire the scroll he threw, And the messenger he slew. Woe is me, Alhama! etc. GinÉs PÉrez de Hita states that this ballad was originally written in Arabic, and that the inhabitants of Granada were forbidden to sing it. Possibly the romance was suggested by some Arabic song on the loss of Alhama. Aquel que tu vees con la saetada, que nunca mas faze mudanÇa del gesto, mas, por virtud de morir tan onesto, dexa su sangre tan bien derramada sobre la villa no poco cantada, el adelantado Diego de Ribera es el que fizo la vuestra frontera tender las sus faldas mas contra Granada. Estando toda la cortede Almanzor, rey de Granada. It appears first in the Romancero general: so also does the original of The Zegri’s Bride, DurÁn, No. 188. Lisaro que fue en Granadacabeza de los CegrÍes. The Bridal of Andalla represents DurÁn, No. 128:— Ponte Á las rejas azules,deja la manga que labras. The verses entitled Zara’s Earrings are altogether out of place in this section. The orientalism is Lockhart’s own; there is no mention of ‘Zara,’ ‘MuÇa,’ ‘Granada,’ ‘Albuharez’ daughter,’ and ‘Tunis’ in the original, which will be found in DurÁn, No. 1803. La niÑa morena,que yendo Á la fuente perdiÓ sus zarcillos,gran pena merece! The Lamentation for Celin represents a poem first printed in the Romancero general, and given in DurÁn, No. 126. Ah! what pleasant visions haunt me As I gaze upon the sea! All the old romantic legends, All my dreams, come back to me. Sails of silk and ropes of sandal, Such as gleam in ancient lore; And the singing of the sailors, And the answer from the shore! Most of all, the Spanish ballad Haunts me oft, and tarries long, Of the noble Count Arnaldos And the sailor’s mystic song. Like the long waves on a sea-beach, Where the sand as silver shines, With a soft, monotonous cadence Flow its unrhymed lyric lines;— Telling how the Count Arnaldos, With his hawk upon his hand, Saw a fair and stately galley, Steering onward to the land;— How he heard the ancient helmsman Chant a song so wild and clear, That the sailing sea-bird slowly Poised upon the mast to hear, Till his soul was full of longing, And he cried with impulse strong,— ‘Helmsman! for the love of heaven, Teach me, too, that wondrous song!’ ‘Wouldst thou,’ so the helmsman answered, ‘Learn the secret of the sea? Only those who brave its dangers Comprehend its mystery!’ À coger el trebol, Damas! La maÑana de san Juan, À coger el trebol, Damas! Que despues no avrÀ lugar. Que vemos en Orlando el hipogrifo, monstruo compuesto de caballo y grifo. CalderÓn himself gives it as a palabra llana in his auto entitled La lepra de Constantino. For other examples, see Rufino JosÉ Cuervo, Apuntaciones crÍticas sobre el lenguaje bogotano con frecuente referencia al de los paÍses de Hispano-AmÉrica. Quinta ediciÓn (Paris, 1907), pp. 11-12. |
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