JUAN DEL ENCINA. A member of the household of the Duke of Alba, whence he passed over into Italy. There he became master of the papal choir; he then took orders and went to Jerusalem. He is supposed to have died at Salamanca. Of his lyrics, which belong to his earlier period, the more important have been published by MenÉndez y Pelayo, AntologÍa, IV, 135 ff. His eclogues were, perhaps, the first Spanish dramas actually staged. Cf. F. Wolf, Studien, etc., pp. 270 ff.

Page 64.—l. 14. mancilla: here used in the older sense of pity, compassion.

PEDRO MANUEL DE URREA. This noble published his lyrics in 1513 in a volume dedicated to his mother. They are partly secular and partly religious in nature, and show some Italian influence. Urrea also cultivates popular Spanish forms. His Cancionero has been reprinted in the Biblioteca de escritores aragoneses. Secc. lit. II (1876). Cf. the verse translation of this romance in Ticknor, I, 371.

GIL VICENTE. A Portuguese disciple of Encina’s, who wrote dramas in both Portuguese and Spanish. The present song occurs in his play, El auto de la Sibila Casandra. See the edition of his works, Hamburg, 1834, and cf. Ticknor, I, 259, where there is a metrical translation of the song.

JUAN BOSCÁN ALMOGAVER. A Catalonian who wrote in Castilian with great success. He served in the Spanish army in Italy, and was later a tutor to the Duke of Alba. His earlier verses are in the national manner. Prompted, it is said, by the Venetian ambassador Navagiero, he became an Italianate, and, following the 357 lead of Imperial and Santillana, was much more influential than they in establishing Italian verse methods in Castilian. He has made a large use of the hendecasyllable, the verso suelto or blank verse (imitated from the Italian versi sciolti), the ottava rima and the sonnet, and has frequently imitated Dante, Petrarch, and the cinque cento poets of Italy. Among his more important poetical works are the Hero y Leandro and the Octava rima, this latter being an allegorical poem from which the verses on p. 68 ff. are an excerpt. The influence of the Italian poet Bembo is clear in the Octava rima. In his translation of Castiglione’s Cortegiano, BoscÁn showed a mastery of Castilian prose. Cf. W. T. Knapp, Las obras de Juan BoscÁn, Madrid, 1875, and G. Baist, Spanische Literatur (GrÖber’s Grundriss, II, 2, 449 ff.).

Page 68.—ll. 6-8. A reminiscence of Dante, Inferno, Canto V, the words of Francesca: “Nessun maggior dolore, " Che ricordarsi del tempo felice " Nella miseria.”

l. 11. Por do: wherefore.

Page 69.—l. 17. Cf. the translation of this stanza in Ticknor, I, 445.

l. 30. quexaros, i.e., quejaros.

GARCILASO DE LA VEGA. This soldier-poet, a native of Toledo, took part in the battle of Pavia, distinguished himself in several succeeding campaigns, and was killed in an assault when but thirty-three years of age. A friend of BoscÁn, he represents the same Italianizing tendencies in Spanish literature. His verses, along with those of BoscÁn, were first published by the latter’s widow in 1543. The bulk of his poetry is small—some early villancicos, a few eclogues and elegies, an epistle, several canciones, and between thirty and forty sonnets—but it suffices to show him to be a greater poet than BoscÁn. But very little of his work is in the old Castilian manner; the Italians are his masters in the important part of his production, although the eclogues show also a Vergilian influence. Cf. Biblioteca de autores espaÑoles, vols. 32 and 42, and see Baist in GrÖber’s Grundriss, II, 2, p. 449; Ticknor, I, 446 ff.

Page 71.—l. 34. de consuno, at the same time.

Page 72.—l. 12. Tomando: if fe is the object of tomando, then it is by a poetical license that presupuesto is left invariable. If fe is the subject of tomando, the participle agrees with the idea in lo que no entiendo.

l. 17. nascÍ, i.e., nacÍ.

FERNANDO DE ACUÑA. A member of the court of Charles V. In imitation of Garcilaso de la Vega, he adopted the Italian measures, and was particularly successful with the sonnet. Cf. his Varias poesÍas, Madrid, 1803-04, and see Ticknor I, 458 ff.

GUTIERRE DE CETINA. Another follower of Garcilaso. Like the latter he was a soldier, and distinguished himself in Italy. About 1550 he appears to have wandered as far as Mexico. Cetina cultivated the sonnet with great skill. His madrigals are famous. Cf. the ed. of his Obras, Seville, 1895; and see Salvi LÓpez, Un Petrarchista spagnuolo (1896); Ticknor I, 461 (with a verse translation of the first madrigal).

DIEGO HURTADO DE MENDOZA. Soldier, diplomat, historian, humanist, poet; one of the most illustrious figures in the history of Spain. His long sojourn in Italy acquainted him with the Italian verse methods, which he adopted, although he constantly recurred to the regular Spanish forms, such as the quintillas and the redondillas. His fame rests secure, despite the unfounded attribution to him of the picaresque novel Lazarillo de Tormes. There is an edition of his verse by Knapp (1877); cf. also Biblioteca de autores espaÑoles, vol. 32, and see J. D. Fesenmair, Diego Hurtado de Mendoza, ein span. Humanist des 16. Jhs., Munich, 1882.

Page 74.—l. 24. de medroso, through fear.

l. 25. De desesperado, through despair.

CRISTÓBAL DE CASTILLEJO. This writer was abroad for a long period as the secretary of Ferdinand I., king of Bohemia. Although he spent much time in Italy, and occasionally adopted the Italian manner, he usually protested loudly against the Italianizing tendencies in Spanish literature. Cf. Biblioteca de autores espaÑoles, vol. 32.

Page 75.—l. 15. This poem is in double quintillas.

l. 26. Anabaptistas: allusion is here made to the fact that this sect does not recognize any but adult baptism. One baptized in unconscious childhood has to be rebaptized to enter this communion.

Page 76.—l. 3. Petrarquistas: imitators of the Italian poet Petrarch (1304-74).

l. 20. Jorge Manrique: cf. note to p. 42.

l. 23. platique (i.e., pratique), because the old style is no longer practised.

l. 24. Garci-SÁnchez: Garci-SÁnchez de Badajoz, the author of an allegorical poem entitled El Infierno del Amor, died in a mad-house at the end of the fifteenth or in the early sixteenth century. He appears here as an enemy of the Italianates.

l. 25. Quien me otorgase, oh, if some one would only grant me!

l. 30. Cartagena: cf. note to p. 57.

l. 34. Torres Naharro: one of the most important of the early Spanish dramatists. His plays were published at Naples in 1517. Following the rule of Horace, he was the first to divide the Spanish drama into five acts. Despite the large Italian influence upon him, he is here made an opponent of the Italian movement in Spain.

Page 77.—l. 5. BoscÁn: cf. note to p. 67.

l. 6. Garcilaso: cf. note to p. 70. The praise here given is, of course, ironical.

l. 22. desmandados, astray.

Page 78.—l. 10. Luis de Haro: although Castillejo singles this personage out as a leading Italianate, little is known of him. The few poems ascribed to him in the Cancionero of NÁjera (1554) hardly justify the importance here given to him. Cf. Ticknor, I, 461, note.

l. 13. el otro: seemingly, Luis de Haro; but Garcilaso also figured in the campaign against the Sultan.—SolimÁn: SolimÁn II, Sultan from 1520 to 1566.

GREGORIO DE SILVESTRE. A Portuguese, organist of the cathedral at Granada. He imitated Castillejo in abusing the Italianates, yet he later wrote in the foreign manner. Simplicity of expression and considerable finish of form are the chief characteristics of his verse. Cf. Ticknor, I, 465 f.; Garcia Peres, CatÁlogo de los autores portugueses que escribieron en castellano, Madrid, 1890. His verse is in the Biblioteca de autores espaÑoles, vol. 32.

Page 78.—l. 23-24. Cf. p. 77, ll. 5 ff. Castillejo’s praise was rather sarcastic.

Page 80.—l. 17. Guarte: i.e., guÁrdate.

JORGE DE MONTEMAYOR. Also a Portuguese, and originally named MontemÔr. He is famous as the author of the prose pastoral romance Diana Enamorada. He wrote a good deal of verse in Spanish—satires, elegies, ballads, lyrics, etc.—that may be found in his Cancioneros (Antwerp, 1554, etc.). Cf. G. SchÖnnherr, Jorge de Montemayor, etc., Halle, 1886.

LUIS DE CAMOENS. The glory of Portuguese literature, author of the Portuguese epic Os Lusiadas. Like so many of his countrymen, he wrote verse in Spanish as well as in his own language. Cf. his Obras, Lisbon, 1860-69; and see Ticknor, III, 77, note, and 58 (with a verse translation of the Letrilla).

Page 81.—l. 30. vo, i.e., voy.

Page 82.—l. 26. fora, i.e., fuera.

SANTA TERESA DE JESÚS (Teresa de Cepeda y Ahumada). A Carmelite nun already in 1536, she devoted the rest of her laborious life to founding convents and thoroughly reforming her Order and to the composition of her devotional and mystical works (El Camino de la perfecciÓn—El castillo interior, etc.). She is one of the greatest of the Spanish mystics, and is in every way an attractive figure. Cf. Biblioteca de autores espaÑoles, vols. 53 and 55, for her works; and see an account of her life by Mrs. Cunninghame Graham (1894).

Page 85.—l. 21. This Letrilla has been translated by Longfellow (Riverside ed., 1886, VI, 216).

FERNANDO DE HERRERA. An ecclesiastic, and head of the so-called Seville school of lyric poetry in the sixteenth century. Not much is known of his life. Eminently a poet, and as such called the Divine by his countrymen, he wrote with exceeding purity of style and greatly enriched Spanish poetic diction. His masterpiece is the ode: Por la vitoria de Lepanto. The influence of Petrarch is clear in his sonnets. See Biblioteca de autores espaÑoles, vol. 32, for his poems; and cf. Ticknor, III, 7 ff. and E. Bourciez in the Annales de la FacultÉ des lettres de Bordeaux (1891).

Page 86.—l. 1. This sonnet has been Englished by Archdeacon Churton (in his translations from Gongora, etc., London, 1862, vol. I, p. 223). The naval battle of Lepanto (near Corinth) took place on October 7, 1571, between the Turks on one side, and on the other the combined squadrons of Spain, Venice and Pope Pius V, under the command of Don John of Austria, a natural brother of Philip II. The Christians triumphed and Mohammedan inroads into the Occident were checked. Cervantes was crippled in this battle.—Ponto, ocean, sea.

l. 14. El joven de Austria, i.e., Don John.

l. 15. Cf. the Cantiga of Villasandino, p. 24.

Page 87.—l. 14. aquella: cf. p. 88, l. 23.

Page 88.—l. 12. efeto, 15 afeto: i.e., efecto, afecto; cf. vitoria.

l. 23. Pasitea: one of the three Graces.

l. 24. Cf. note to p. 86, l. 1, and see the critical edition of this ode by A. Morel-Fatio, Paris, 1893.

l. 25. Trace, Thracian: here the Turk.

Page 89.—l. 20. las dos Hesperias, i.e., Italy and Spain.

ll. 27-28. Allusions to the campaigns of the Turks in Hungary and Dalmatia, and their seizure of Rhodes (1522).

Page 91.—l. 15. Egito: cf. Ægyptus, feminine in Latin.

l. 24. dellas, i.e., de ellas.

Page 92.—l. 21. dragÓn; 28. leÓn: allusions to the arms of the Turk and of Castile and Leon.

Page 93.—l. 6. De Tiro, i.e., of the Turks. Tyre had been in their hands since 1517.

FRAY LUIS DE LEÓN. Cleric, poet, humanist, mystic, professor at the University of Salamanca. Accused of a violation of church law in publishing a Spanish translation of the Song of Solomon, he was arrested by order of the tribunal of the Inquisition and spent five years in its dungeons. Then, his innocence being made clear, he was released, rehabilitated in the University, and promoted to high honors in his Order (the Augustinians). There is no good edition of his works, but his poems and his prose treatises in expositive theology may be found in vol. 37 of the Biblioteca de autores espaÑoles. His verse is admirable, and is distinguished by its noble diction, the purity of its style, and the simplicity of its expression, qualities especially noticeable in the Vida del Campo and the ProfecÍa del Tajo. It shows generally a strongly marked mystical tendency, but bears also the impress of his humanistic temperament. The influence of Horace is everywhere patent in LeÓn’s works. With Herrera and Garcilaso, he occupies the highest place among the lyric poets of the age. See MenÉndez y Pelayo, De la poesÍa mÍstica (Estudios de crÍtica literaria, Madrid, 1884); J. D. M. Ford, Luis de LeÓn, the Spanish Poet, Humanist, and Mystic (Publications of the Modern Language Association of America, vol. XIV, No. 2); and Blanco-GarcÍa’s recent treatise on LeÓn. See also English poetical versions of several of LeÓn’s lyrics made by H. Phillips (Philadelphia, 1883).

Page 97.—ll. 14-15. An extremely venturesome enjambement. But the entity of mente in adverbs is always clear to the Spanish mind.

l. 24. This poem has been rendered into English verse by W. C. Bryant. Cf. Ticknor, II, 88.

l. 30. agora, i.e., ahora.

Page 100.—l. 6. el arrebatado, i.e., the sudden, violent and abnormal movement.

ll. 12-13. The Bears are, of course, boreal constellations and regularly above the horizon.

l. 26. LeÓn here deals with an unhistorical legend of Arabic origin, according to which the Moors were introduced into Spain in 711, through the treachery of an injured father, Count Julian, whose daughter, sometimes called Cava, King Roderick was said to have seduced. The Spanish poet imitates the situation in Horace’s ode, Pastor quum traheret per freta navibus.

Page 101.—l. 14. Constantina: a town of the province of Seville.

l. 17. SansueÑa: the Spanish kingdom of SansueÑa figures in the legends dealing with Charlemagne, and has been identified with Saragossa; cf. the Don Quijote, II, ch. xxvi. For an identification with Saxony cf. F. Hanssen, Sobre la poesÍa Épica de los Visigodos, Santiago, 1892.

l. 19. dende: equivalent to the modern desde.

Page 102.—l. 12. el hercÚleo estrecho, the Strait of Gibraltar.

l. 19. el puerto ... sagrado: the port of Tarifa.

l. 21. el alta sierra: el was used as the feminine article even before adjectives in earlier Spanish.

l. 30. Betis: the Latin river BÆtis, the modern Guadalquivir.

Page 103.—l. 2. luces, i.e., dÍas.—haces, ranks.

l. 6. Churton (l. c., II, 245) has made a poetical translation of the Noche serena.

Page 104.—l. 22. luz: i.e., Mercury.

23. estrella: i.e., Venus.

SAN JUAN DE LA CRUZ. St. John of the Cross (in the world, Juan de Yepes y Álvarez) was like St. Theresa a Carmelite, and like her also one of the most illustrious of the mystics and an energetic monastic reformer. His prose works of contemplative mysticism gained him the title of the Ecstatic Doctor. Of his poems, but few in number, the best is the CanciÓn printed here, in which we see illustrated the part played by the Song of Solomon in the development of a highly sensuous element in Spanish mysticism. Cf. Biblioteca de autores espaÑoles, vol. 27, and an ed. of the poems by W. Storck (1854); and see Ticknor, I, 208.

Page 105.—l. 21. David Lewis has made a rhythmical version in English of this beautiful poem.

PEDRO MALÓN DE CHAIDE. An Augustinian mystic with ascetic tendencies. The present verses are taken from his metrical paraphrase of the Song of Solomon. Cf. Biblioteca de autores espaÑoles, vol. 27.

Page 107.—l. 20. escuro, i.e., oscuro.

JUAN DE TIMONEDA. A Valencian bookseller and one of the earliest playwrights of the sixteenth century, successful especially in his pasos. He attempted the tale in his PatraÑuelo, a collection of some twenty stories, and in the Rosa de romances (1573) published a collection of the ballads of other poets, along with lyrics of his own composition. Cf. Ticknor, III, 81 ff.

Page 108.—l. 22. vella, i.e., verla.

FRANCISCO DE FIGUEROA. A native of AlcalÁ de Henares who went to Italy as a soldier and there spent a good part of his life, writing verse in both Spanish and Italian. He was successful in the pastoral, and firmly established blank verse (the verso suelto) in Castilian. His eclogue Thyrsis was the first composition in Spanish wholly in that metrical form. Only a part of his poems are preserved, as at his death he seems to have ordered them to be destroyed. Cf. the Biblioteca de autores espaÑoles, vol. 42; the ColecciÓn FernÁndez, vol. 20; Ticknor, III, 5 ff.

LUIS BARAHONA DE SOTO. Enjoyed much fame with his contemporaries for his LÁgrimas de Angelica, a continuation of the story in the Italian epic Orlando Furioso. Some pleasing lyrics of his are found in the Flores de poetas ilustres of Espinosa (Valladolid, 1604); cf. also vol. II of the LÍricos del siglo XVI in the Biblioteca de autores espaÑoles.

SONETO: Á CRISTO CRUCIFICADO. This beautiful sonnet has been ascribed without warrant to St. Theresa, St. Ignatius Loyola, St. Francis Xavier and others. It remains anonymous; cf. FoulchÉ-Delbose in the Revue hispanique, II, 120 ff. There is an English poetical version of it, attributed to Dryden (“O God, thou art the object of my love,” etc.); cf. also J. Y. Gibson’s version (The Cid Ballads, etc., London, 1887, II, 144) and the Latin hymn, “Deus ego te amo.” It is printed with the works of St. Theresa in the Biblioteca de autores espaÑoles.

BENITO ARIAS MONTANO. A theologian of note and the friend of Luis de LeÓn. Cf. vol. II, p. 502 of the LÍricos del siglo XVI in the Biblioteca de autores espaÑoles.

ROMANCES. In romances or ballads, Spain is the richest of all lands. During the sixteenth and seventeenth centuries particularly, there appeared many collections (romanceros) of these short lyrico-narrative poems, dealing with subjects drawn from the history—more or less legendary—of Spain and of France, and with subjects purely chivalrous and erotic in nature. The oldest and most typical of the Spanish ballads have been edited by Wolf and Hoffman in their Primavera y flor de romances, Berlin, 1856 (reprinted by MenÉndez y Pelayo in his AntologÍa, vols. 8 and 9), and practically the whole of them are to be found in A. DurÁn’s Romancero General, Madrid, 1849, 1851 (vols. 10 and 16 of the Biblioteca de autores espaÑoles). The great majority of the romances are in octosyllabic lines bearing the stress on the seventh syllable and having assonance—that is, vowel rhyme only, as distinguished from vowel and consonant rhyme—in the alternate lines. At one time it was believed that the romances were of very ancient origin, although written down only at the end of the fifteenth and in the sixteenth and seventeenth centuries. As a matter of fact, most of them are rather artificial in nature, and in composition belong to the period when they were written. Gaston Paris maintains, however, that a number of them deal with detached episodes from old epic poems, and there seems to be ample evidence to prove his assertion. Cf. G. Paris in the Journal des savants, mai et juin, 1898 (a review of MenÉndez-Pidal’s Leyenda de los Infantes de Lara); MilÁ y Fontanals De la poesÍa heroico-popular castellana (in his Obras completas, vol. 7, Barcelona, 1896); Ticknor, I, 95 ff.; F. Wolf, Ueber die Romanzen-poesie der Spanier (in his Studien, etc., Berlin, 1859, pp. 304 ff.); R. MenÉndez-Pidal, La leyenda de los Infantes de Lara, Madrid, 1896; Baist in GrÖber’s Grundriss, II, 2, pp. 430 ff. Many of the ballads have been translated into English by J. G. Lockhart and others.

Page 112.—l. 11. For the subject, cf. the note to p. 100, l. 26. See the English poetical version of J. G. Lockhart in his Ancient Spanish Ballads, New York, 1856, pp. 4 f.

l. 19. de cansado, from weariness.

l. 26. velle, i.e., verle.—mancilla, pity.

Page 114.—l. 10. Bernardo del Carpio: Largely a fictitious figure invented in Spain to take the place of the Roland of French 365 epic poetry, when the latter became known in the Spanish peninsula. Bernardo is represented as the illegitimate son of a Conde de SaldaÑa and the sister of Alfonso el Casto, king of Asturias. Now grown up and a doughty warrior who has triumphed over the king’s French enemies, Bernardo demands the release of his father, imprisoned all these years by the king. The king requires certain concessions of Bernardo, and then orders the release of the count. The latter has died in the meantime, and Alfonso delivers over only the dead body. Cf. MilÁ y Fontanals, De la poesÍa heroico-popular, pp. 130 ff.

Page 115.—l. 25. Note the change from asonantes to rhymed octaves, indicating a certainly late origin for this part of the ballad.

Page 116.—l. 6. Lockhart, l. c., has a version of this romance.

l. 7. A ballad dealing with an episode of the second part of the tragic history of the seven Infantes (nobles) of Lara (cf. MenÉndez-Pidal, La leyenda de los Infantes de Lara). At the instance of their aunt, DoÑa Lambra, and through the treachery of their uncle, Don Rodrigo, the Infantes are delivered into the hands of the Saracens, who slay them. Their father Gonzalo Gustioz (Gustos) had previously been betrayed into the hands of the Moors by the same Don Rodrigo. After some years, Gonzalo is released and returns to Lara, whither he is later followed by his illegitimate half-Moorish son, Mudarra, who is to take vengeance for the death of his half-brothers and the injury done to his father. There is a modern poetical version of the story of Mudarra (El Moro expÓsito) by the Duke of Rivas (cf. p. 258). Cf. Lockhart’s translation: “To the chase goes Rodrigo with hound and with hawk.”

Page 117.—l. 22. A considerable number of the ballads deal with the story of the greatest of the old Spanish heroes, Rodrigo Diaz de Bivar, El Cid († 1099). The present one is interesting as giving a picture of a wedding in high life in the fifteenth or the sixteenth century. Cf. the translation of Lockhart, l. c., p. 48.

l. 25. afijados, i.e., ahijados.

l. 27. LaÍn Calvo: the Cid’s father.

Page 118.—l. 3. polido, i.e., pulido.

l. 16. Fuyendo, i.e., huyendo.—mochachos, i.e., muchachos.

l. 19. fembras, i.e., hembras.

l. 29. homildosa, i.e., humildosa.

l. 31. marquesota, a high collar of linen.

Page 119.—l. 7. FablÁndole, i.e., HablÁndole.

l. 8. fabla, i.e., habla.

l. 10. faz, i.e., hace.

l. 15. The story of the Cid’s pilgrimage to Santiago de Compostella, after his marriage to Jimena (the ChimÈne of Corneille), and of his meeting with the leper who proves to be Lazarus, is told in the CrÓnica rimada del Cid, a document which in its present form belongs to the second half of the thirteenth century. Our ballad has the essentials of the story there told. Cf. MilÁ y Fontanals, De la poesÍa heroico-popular, pp. 219 ff., and see Lockhart’s version.

Page 120.—l. 3. fidalgos, i.e., hidalgos.

l. 14. d’ello se servirÍa, i.e., he would requite it.

l. 21. ficiera, i.e., hiciera.

Page 122.—l. 9. MartÍn GonzÁlez: the champion of the king of Aragon, whom the Cid, as representative of the king of Castile, was to meet in battle upon his return from his pilgrimage.

l. 11. This romance deals with the sad history of Blanche of Bourbon, the French wife of Pedro el Cruel, whom he deserted for his mistress, MarÍa de Padilla. Blanche was poisoned in 1366. Cf. Lockhart’s version and the accompanying note.

Page 124.—l. 1. sospiros, i.e., suspiros.

l. 2. ternÉ, i.e., tendrÉ.

l. 8. The Moorish ballads are more romantic and lyric, as a rule, than those dealing with the purely Christian side of Spanish history. This one on the conquest of Alhama—a city of the province of Granada, taken from the Moors by the marquis of Cadiz, Feb. 28, 1482—has been done into English verse by Byron (Oxford edition, 1896, p. 97), who wrongly translated the refrain as “Woe is me, Alhama.”—el rey moro: Muley Hassan, the father of Boabdil.

Page 124.—l. 20. el ZacatÍn: a street of Granada now leading to the Plaza Nueva.

Page 125.—l. 7. batalla, battalion.

l. 10. hablara: as numerous instances have already shown the verbal form in -ara, -iera is regularly used in the ballad as an aorist or preterite of the indicative. This use is a living one.

l. 24. Abencerrajes: one of the two leading tribes among the Moors. They were dominant until the fifteenth century, when, assembled in one of the courts of the Alhambra, they were there murdered by their rivals, the CegrÍes. Cf. Le dernier des Abencerrages of Chateaubriand and the modern Spanish poem Granada of Zorrilla.

l. 33. Byron adds stanzas from another ballad.

Page 126.—l. 1. The French epic poems dealing with Charlemagne and his peers early became favorites in Spain, and before 367 long received a peculiarly Spanish treatment. Thus the original French Roland was elaborated into a Spanish hero, Bernardo del Carpio. The present romantic ballad, however, shows no Spanish modification of this kind. The vision of Lady Alda (the Aude of later French epic verse) reminds one of Kriemhild’s vision in the Nibelungenlied. Cf. the English version of Lockhart, l. c., p. 124, and that in Ticknor, I, 121; and the German poem of Uhland, Roland und Aude.

l. 4. Para la acompaÑar: the older order of pronouns.

Page 127.—l. 2. vide, i.e., vÍ.

l. 6. There may be an allusion here to the old Spanish custom according to which a refugee had sanctuary under the cloak or skirt of a lady.

l. 17. sedes, i.e., sois.

Page 128.—l. 1. A ballad from the Cancionero of Antwerp, 1555, printed in the Romancero General, I, 161. Cf. Lockhart’s version, l. c., p. 147.

l. 15. The Rosa fresca and the Fonte-frida are the most beautiful of the erotic ballads. They are found in various Romanceros and Cancioneros. Cf. Wolf and Hoffman, Primavera y flor, etc., II, pp. 18 ff. and the Romancero general, II; and see Ticknor, I, 110 ff. (with translations) and Baist in Groeber’s Grundriss, II, 2, p. 433.

See the translations of these ballads by J. Y. Gibson, The Cid Ballads, etc., London, 1887, II, 81 ff.

l. 23. Enviastes, i.e., Enviasteis.

Page 129.—l. 2. Érades, i.e., erais.

l. 12. Fonte-frida, i.e., Fuente-frÍa.

Page 130.—l. 8. From the Romancero general of 1604.

BALTASAR DE ALCÁZAR. A Sevillan poet with strongly marked epigrammatic tendencies, natural in tone and witty. Cf. ed. of his PoesÍas, Seville, 1878.

Page 131.—l. 4. dalle, i.e., darle.

l. 28. efeto, i.e., efecto.

MIGUEL DE CERVANTES SAAVEDRA. The author of the famous Don Quijote and a dramatist of considerable power, Cervantes does not occupy a high rank as a lyric poet. His PoesÍas sueltas—largely sonnets and occasional in their nature—may be found in vol. I of the Biblioteca de autores espaÑoles, pp. 705 ff. Cf. Ticknor, I, 90 ff.; the biography by FernÁndez de Navarrete; and 368 his Obras completas (1863-64). The poems here printed occur in the Don Quijote.

Page 133.—l. 5. This poem is found in the Don Quijote, I, chapter XXVII.

l. 17. repuna, i.e., repugna.

Page 134.—l. 9. A canciÓn from the Don Quijote, I, chapter XLIII.

l. 16. Palinuro: Palinurus, the Trojan pilot; cf. Æneid, Book II.

l. 27. Al punto que: equivalent to El punto Á que.

Page 135.—l. 1. From the Don Quijote, I, chapter XL.

l. 15. From the Don Quijote, II, chapter XVIII. A good example of the artificiality of the Glosa.

THE ARGENSOLAS. Aragonese of Italian descent, Lupercio and Bartolomeo Argensola occupy a high rank among the lyric poets of the beginning of the seventeenth century. Lupercio also essayed the drama, but with little success. The Rimas of the brothers, first published by the son of Lupercio in 1634, show in them an influence of the literature of their ancestral land, both modern and ancient, and above all the influence of Horace. They opposed the Gongoristic movement and adopted only sane and natural methods. Lupercio’s translation of the Beatus ille and Bartolomeo’s sonnet to Providence (p. 140) are among their very best productions. Cf. vol. II of LÍricos del siglo XVI, in the Biblioteca de autores espaÑoles; Ticknor, III, 31 ff.

Page 137.—l. 14. Lo demÁs, etc., As for the rest, let it kill the hunger of the mastiffs; i.e., to the deuce with it.

l. 15. Cf. Horace, Epodon, Carmen II.

Page 138.—l. 11. propria, i.e., propia.

l. 22. Mormurios: i.e., Murmurios.

Page 139.—l. 4. PullÉs, Apulian.

l. 15. Carpacio, the Carpathian mountains.

Page 141.—l. 2. sepoltura, i.e., sepultura.

LUIS DE ARGOTE Y GÓNGORA. GÓngora is chiefly remembered as the founder of culteranismo, that bombastic and obscure style which invaded Spanish literature at the end of the sixteenth century and which is marked by traits similar to those of Marinism in Italy, of Euphuism in England and of prÉciositÉ in France. In his earlier period, GÓngora imitated Herrera and wrote poems free from affectation. It is in his later manner that he 369 reaches the height of extravagance in metaphor and that general obscurity of expression which is exemplified by the selection here given from his Soledades. See his verse in vol. XXXII (PoesÍas lÍricas del siglo XVI) of the Biblioteca de autores espaÑoles, which is supplemented by unedited poems published by H. Rennert in the Revue hispanique, vol. IV. Cf. also Archdeacon Churton’s GÓngora, an Historical and Critical Essay, etc., and the English verse translations there given.

Page 141.—l. 16. sus ojos, i.e., her beloved.

Page 143.—l. 1. This first of the Solitudes, although a mass of verbal absurdities, was rendered into English verse by Thomas Stanley; cf. the ed. of the latter’s poems by Brydge (1814).

Page 144.—l. 6. Quien, etc.: possibly an attack upon Quevedo, at first a vigorous enemy of Gongorism. It may rather apply to Pedro de Valencia, a contemporary scholar, who was one of the first to arraign GÓngora for his methods in the Solitudes.

CONDE DE VILLAMEDIANA. A noble of the court of Philip IV., and a disciple of GÓngora. He is said to have loved the queen—a daughter of Henry IV. of France—and on that account to have been assassinated by order of Philip. The sonnet on p. 144 may contain an allusion to this love. His verse is printed in vol. II of LÍricos del siglo XVI (in the Biblioteca de autores espaÑoles). Cf. Ticknor, III, 23 ff.

Page 145.—l. 12. CalderÓn was a courtier constantly attacked by Villamediana.

VICENTE ESPINEL. Noted as the author of the picaresque novel Marcos de ObregÓn, Espinel was also a lyric poet with clear Italian tendencies, as his Diversas rimas, Madrid, 1591, show. He is said to have invented, or at least to have revived the use of the dÉcimas, a form utilized in the letrilla on p. 146. Cf. Ticknor, III, 5.

LOPE FÉLIX DE VEGA CARPIO. One of the marvels of the modern literary world and one of the greatest writers that Spain has produced. Renowned chiefly as a dramatist of the siglo de oro period, he composed more than two thousand plays of various kinds. As a lyric poet, he possessed talents of the highest order, a fact amply attested by the poems scattered through his dramas and other productions and by those brought together in the volume 370 Obras no dramÁticas de Lope de Vega of the Biblioteca de autores espaÑoles. His works are in process of publication by the Spanish Academy, under the editorship of MenÉndez y Pelayo. A considerable number of them may be found in four volumes of the Biblioteca de autores espaÑoles. Cf. Barrera’s Nueva biografÍa de Lope de Vega prefixed to vol. I of the Academy edition; and Ticknor, II, 152 ff.; Fitzmaurice-Kelly, Spanish Literature (New York, 1898), pp. 241 ff.

Page 147.—l. 26. A lullaby sung by Mary in the pastoral Los pastores de BelÉn. Cf. the translation in Ticknor, II, 177.

Page 151.—l. 9. Dom Sebastian, king of Portugal, was slain and his army destroyed while engaged on an expedition in Morocco (1578).

l. 20. asillo, i.e., asirlo.

Page 152.—l. 1. Translated by Longfellow (Riverside ed., 1886, VI, 204).

l. 4. escuras, i.e., oscuras.

l. 10. agora, i.e., ahora.

l. 15. Translated by Longfellow, l. c., p. 203.

Page 153.—l. 1. A satire on the affected vocabulary of some of the writers of the siglo de oro, which is imitated in the nonsense uttered by the maid. Throughout his works Garcilaso’s diction is eminently Castilian.

l. 12. habemos: older and fuller form of hemos.

l. 14. Vizcaya: where, of course, Basque and not Spanish is the popular speech.

l. 15. There is an English poetical version of this sonnet by J. Y. Gibson. Voiture’s French Rondeau: Ma foy, c’est fait de moy, car Isabeau, is of the same class of literature. Cf. Iriarte’s sonnet, p. 227.

JOSÉ DE VALDIVIELSO (or VALDIVIESO). The author of some autos sacramentales and of a long poetical Vida de San JosÉ, but chiefly noteworthy as a writer of melodious religious lyrics. Cf. his Romancero espiritual, Madrid, 1880.

PEDRO DE ESPINOSA. The editor of an anthology of lyrics,—Flores de poetas ilustres de EspaÑa, 1605 (see the reprint in the Biblioteca de autores espaÑoles, vol. 42)—and himself a lyric and narrative poet of some merit. He includes some of his own lyrics in the Flores, along with selected poems of some thirty-five other 371 writers. The idyll, La fÁbrica del Genil, is printed in full in vol. 29 of the Biblioteca de autores espaÑoles.

RODRIGO CARO. An antiquarian and the probable author of the ode on ItÁlica—a Roman city near Seville—which was long attributed to Rioja (cf. p. 170). Cf. Sismondi, Historia de la literatura espaÑola (Spanish translation), Seville, 1842, vol. II, p. 173; R. Caro, Obras inÉditas, Seville, 1885.

JUAN DE JÁUREGUI. Noted for his excellent Spanish version of Tasso’s Aminta, JÁuregui was at first a bitter opponent of Gongorism, as appears in the preface to his Rimas (1618). In his later narrative poem Orfeo, and in his translation of Lucan’s Pharsalia, he succumbed to the influence of that very style. The silva from which a selection is given here is his best lyric. Cf. vol. II, pp. 18 ff. of the LÍricos del siglo XVI in the Biblioteca de autores espaÑoles; Ticknor, III, 33 ff.

FRANCISCO GÓMEZ DE QUEVEDO. Quevedo played an important part in the public life of his time, but is famous mainly for his picaresque novel, El gran tacaÑo, and for his mordant satirical poems. At first he sought to stem the tide of Gongorism, but in his later works he let himself float with the current. See his poems in the Biblioteca de autores espaÑoles, vol. 69, and cf. Ticknor II, 274 ff; E. MÉrimÉe, Essai sur la vie et les oeuvres de Francisco de Quevedo, Paris, 1886. His collected works are now being published by the Sociedad de bibliÓfilos andaluces.

Page 159.—l. 18. Cf. a similar poem by Hita in the Biblioteca de autores espaÑoles, vol. 57, p. 241.

Page 160.—l. 28. DoÑa Blanca de Castilla: daughter of Alfonso IX. of Castille, wife of Louis XIII. of France, mother of St. Louis; died in 1252. She wielded much influence in state affairs.

l. 33. This stanza illustrates Quevedo’s tendency toward cultism and conceits.

Page 162.—l. 12. Ovidio NasÓn: a pun on Ovid’s name, due to its resemblance to Latin nasus.

l. 16. naricismo, nosiness.

l. 18. AnÁs: cf. St. Luke iii. 2, etc.

Page 163.—l. 1. This epistle was addressed to Olivares († 1645), the favorite and minister of Philip IV.

Page 164.—l. 21. mal hablada, rude-tongued.

l. 22. This sonnet contains a prophecy which recent events have consummated. Un godo: Pelayo, who, after the defeat of Roderick the Goth, gathered about him in the cave of Covadonga in Asturias the remnants of the Spanish army, and began the work of reconquest.

l. 24. Betis: the Guadalquivir.—Genil: a river of the province of Granada.

Page 165.—l. 1. Navarra: Navarre was annexed by Ferdinand the Catholic in 1512.

l. 2. casamiento: i.e., the marriage of Ferdinand of Aragon with Isabella of Castile and Leon. Sicily belonged to the crown of Aragon at the time of the marriage; Naples was formally annexed to it in 1504; Milan was acquired during the struggle between France and Spain in northern Italy.

l. 5. Muerte infeliz: upon the death of Dom Sebastian, king of Portugal, who was slain in Morocco in 1578, the Portuguese crown was assumed by his uncle Enrique. The latter died without an heir in 1580, and Philip II. annexed Portugal to Spain.

l. 6. Godos: i.e., the Spaniards as descendants of the Visigoths.

ll. 8-10. An imitation of Seneca in the Epistolae ad Lucilium: “Quod unus populus eripuerit omnibus, facilius uni ab omnibus eripi posse.”

EL BACHILLER DE LA TORRE. In 1631 Quevedo published a small volume of poems, declaring them to be the work of a Bachiller Francisco de la Torre. L. J. VelÁzquez, who reprinted the poems at Madrid, 1753, maintained that they were Quevedo’s own. An Italian influence is clear in them, and it is probable that they were composed by the Francisco de la Torre to whom Quevedo ascribed them. Cf. FernÁndez-Guerra in vol. II, pp. 79-104 of the Discursos of the Real Academia EspaÑola (Madrid, 1861); Ticknor, II, 282 ff: Fitzmaurice-Kelly, History of Spanish Literature, 184 ff.

FRANCISCO DE BORJA, PRÍNCIPE DE ESQUILACHE. Esquilache was of the Borgia family and partly Italian in origin. Most of his verse is natural, simple and in a light vein. Occasionally he lapses into Gongorism. See vol. II of the Poetas lÍricos del siglo XVI in the Biblioteca de autores espaÑoles; and cf. Ticknor, III, 40 ff., where the Fuentecillas que reÍs is translated.

Page 169.—l. 26. el aurora: the older more general use of el before feminine words beginning with a.

l. 28. An attraction of the verb by the predicate.

FRANCISCO DE RIOJA. A cleric, protÉgÉ of Olivares, and disciple of Herrera, he has left us a few poems characterized by perfection of form and a generally melancholy and resigned tone. Cf. his PoesÍas published by Barrera for the Sociedad de bibliÓfilos espaÑoles, Madrid, 1867, and the Adiciones of the same editor, Seville, 1872; see also vol. I of the LÍricos del siglo XVI.

Page 171.—l. 13. asconde, i.e., esconde.

l. 14. Paro: i.e., Paros, an island in the Ægean sea, famous for its marble.

PEDRO SOTO DE ROJAS. A friend of Lope de Vega, and the author of lyrics and eclogues in the Italian manner, published under the title of DesengaÑos de amor, Madrid, 1623. Cf. the Parnaso of Sedano, Madrid, 1768, etc., vol. IV; and see Ticknor, III, 56.

ESTEBAN MANUEL DE VILLEGAS. An opponent of Gongorism and well trained in the humanities, Villegas shows a decided influence of the classics in his erotic verse published under the title of ErÓticas Ó Amatorias (1617). He has happily imitated Horace, Catullus and Anacreon. Cf. the ed. of his poems, Madrid, 1774; Sedano, Parnaso, vol. IX; vol. II of the LÍricos del siglo XVI; and see Ticknor III, 36 ff.

Page 177.—l. 9. A good example of Sapphic verse in Spanish.

SALVADOR JACINTO POLO DE MEDINA. A satirist and imitator of Quevedo. Cf. his Obras, Saragossa, 1670; and see vol. II of the LÍricos del siglo XVI, in the Biblioteca de autores espaÑoles. According to Ticknor, III, 38, note, the Apolo y Dafne “is partly in ridicule of the culto style.”

Page 178.—l. 16. con mil sales, with a thousand graces.

Page 179.—l. 10. Vive Chipre! a disguised oath.

PEDRO CALDERÓN DE LA BARCA. The compeer of Lope de Vega in the history of the Spanish drama, CalderÓn is certainly Lope’s equal, if not his superior, in lyrism. Less inventive and less prolific than the earlier poet, CalderÓn surpasses him in all that relates to perfection of form. His lyrics have been collected in part in the volumes entitled PoesÍas, Cadiz, 1845, and PoesÍas inÉditas (Biblioteca universal), Madrid, 1881. Cf. Ticknor, II, 346 ff.; GÜnther, CalderÓn und seine Werke, Freiburg, 1888; MenÉndez y Pelayo, Estudios, II; R. C. French, CalderÓn, his life and genius (New York, 1856 and since).

Page 181.—l. 11. A selection from the drama El mÁgico prodigioso, Jornada tercera, Escena V.

Page 183.—l. 13. This famous passage containing the counsel of the alcalde to his son occurs in Jornada segunda, Escena XXII of the play El alcalde de Zalamea. It must remind one of the advice of Polonius to his son in Hamlet, Act I, Scene III.

Page 184.—l. 26. entres, vuestro. The combination is ungrammatical, but the refrain is thus given by Ticknor, II, 353, note (5). A correction to entrÉis seems permissible.

AGUSTÍN DE SALAZAR TORRES. Salazar’s lyrics, published posthumously (1677) as La cythara de Apolo, evince in him a Gongoristic strain as well as some imitation of the manner of Villamediana. Cf. vol. II of the LÍricos del siglo XVI in the Biblioteca de autores espaÑoles; Ticknor, III, 27; MenÉndez y Pelayo, Poetas hispano-americanos, I, p. lxiv.

SOR JUANA INÉS DE LA CRUZ. A Mexican nun who has left us secular poems—written doubtless before her profession—full of force and the genuine fervor of love, and religious poems of a mystic and ascetic tendency. She was a humanist by temperament and, as the Redondillas in defense of women show, a vigorous champion of her sex’s rights. Cf. MenÉndez y Pelayo, AntologÍa de poetas hispano-americanos, vol. I (Madrid, 1893: published by the Academy), pp. 5 ff., with an excellent sketch of her life and work on pp. lxvi ff.; LÍricos del siglo XVI, vol. II: Ticknor, III, 51 note.

Page 186.—ll. 11-12. Para ... Lucrecia, a Lais—with allusion to the celebrated courtesan of Corinth—when courted, a Lucretia—i.e., a model of virtue—when won.