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Spanish Poetry of the Golden Age, University of Toronto Press, 1947. ProQuest Ebook Central,
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Copyright © 1947. University of Toronto Press. All rights reserved.
Spanish Poetry of the Golden Age, University of Toronto Press, 1947. ProQuest Ebook Central,
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SPANISH POETRY OF THE
GOLDEN AGE
EDITED WITH INTRODUCTIONS AND NOTES
BY
MILTON A. BUCHANAN
Second Edition
Copyright © 1947. University of Toronto Press. All rights reserved.
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Copyright, Canada, 1942
by University of Toronto Press
Revised and reprinted, 1947
Reprinted, 1966,1970
ISBN 0-8020-1018-0
Copyright © 1947. University of Toronto Press. All rights reserved.
The study of Spanish poetry of this period has a peculiar interest in that
one can examine in it the nature and laws of literary history: the rise, develop-
ment and decline of movements, the interplay of native and foreign forces,
and the effects of national, economic and social tendencies upon literary pro-
duction. No other modern literature reveals so clearly the relationship
between popular, semi-popular, erudite and "culto" (snobbish) literature,
because nowhere else during the Renaissance is there evident such competition
between the literature for the many (ballads, lyrics, drama) and the literature
for the few (the "cultos"), with the clear demonstration that poetry when
written for a restricted audience, as became the case in Spain about 1600,
brings all literature to a state of rest and stagnation. For, whatever may be
the present opinion of Gongorism in a world-wide revival, that may have
reached its end, there can be no doubt that Spanish poetry (and prose) of the
seventeenth century did not survive its baneful effects, and that it was not
until the early nineteenth century that poetry was again composed in Spain.
Acknowledgments are due to Miss E. Rugg for help in preparing and
revising the copy and to Miss F. Halpenny for her painstaking reading of the
proofs.
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Copyright © 1947. University of Toronto Press. All rights reserved.
Spanish Poetry of the Golden Age, University of Toronto Press, 1947. ProQuest Ebook Central,
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IÑIGO LÓPEZ DE MENDOZA, MARQUES DE SANTILLANA (1398-1458)
1. SERRANILLA
Moca tan fermosa sean tan fermosas
non vi en la front-era, nin de tal manera;
como una vaquera fablando sin glosa, 25
de la Finojosa. si antes sopiera
Faciendo la vía 5 d' aquella vaquera
del Calatraveño de la Finojosa,
a Sancta María, non tanto mirara
vencido del sueño, su mucha beldat, 30
por tierra fragosa porque me dexara
perdí la carrera, 10 en mi libertat.
do vi la vaquera Mas dixe: "Donosa,
de la Finojosa. (por saber quién era),
En un verde prado dónde es la vaquera 35
de rosas e flores, de la Finojosa?"
guardando ganado 15 Bien como riendo,
con otros pastores, dixo: "Bien vengades;
la vi tan graciosa que ya bien entiendo
que apenas creyera lo que demandades; 40
que fuesse vaquera non es desseosa
de la Finojosa. 20 de amar, nin lo espera,
Non creo las rosas aquessa vaquera
de la primavera de la Finojosa."
2. SONETO
Copyright © 1947. University of Toronto Press. All rights reserved.
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JUAN DE MENA (1411-1456)
3. LA BATALLA DE LA HIGUERA
Crecían los títulos frescos abueltas
de aqueste rey nuestro muy esclarecido,
los quales aurían allende crecido
si non recrecieran algunas rebueltas,
las quales por pazes eternas dissueltas 5
presto nos vengan a puerto tranquilo,
porque Castilla mantenga en estilo
toga e oliua, non armas nin peltas.
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JUAN DE MENA 3
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4 JORGE MANRIQUE
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JORGE MANRIQUE 5
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6 JORGE MANRIQUE
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JORGE MANRIQUE 7
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8 JORGE MANRIQUE
que esperáys,
Y sus villas y sus tierras, pues otra vida más larga
ocupadas de tiranos de fama tan gloriosa
las falló, 375 acá dexáys;
mas por cercos y por guerras avnque esta vida de onor 415
y por fuerça de sus manos tanpoco no es eternal
las cobró. ni verdadera,
Pues nuestro rey natural mas con todo es muy mejor
si de las obras que obró 380 que la otra tenporal
fue seruido, perescedera. 420
dígalo el de Portugal,
y en Castilla quien siguió "El biuir que es perdurable
su partido. no se gana con estados
mundanales,
Después de puesta la vida 385 ni con vida deleytable,
tantas vezes por su ley en que moran los pecados 425
al tablero, y n fer nales;
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JORGE MANRIQUE 9
ROMANCES
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10 ROMANCES
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ROMANCES 11
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ROMANCES 13
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14 ROMANCES
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ROMANCES 15
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16 ROMANCES
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ROMANCES 17
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18 ROMANCES
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ROMANCES 19
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20 ROMANCES
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ROMANCES 21
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22 ROMANCES
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ROMANCES 23
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24 ROMANCES
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ROMANCES 25
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26 ROMANCES
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ROMANCES 27
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28 ROMANCES
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ROMANCES 29
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EL COMENDADOR JOAN ESCRIVA (c*. 1497)
31. CANCIÓN
33. VILLANCICO
Ojos garzos ha la niña: que a todos tienen cativos;
¿quién ge los namoraría? mas muéstralos tan esquivos 5
que roban ell alegría.
Son tan bellos y tan vivos,
30
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JUAN DEL ENCINA 31
34. CANCIÓN
Dizen que me case yo; o quizá mal empleada
no quiero marido, no. la grazia que Dios me dio.
Dizen que me case yo;
Más quiero vivir segura
no quiero marido, no.
nesta sierra a mi soltura,
que no estar en ventura 5 No será ni es nacido 15
si casaré bien o no. tal para ser mi marido;
Dizen que me case yo; y pues que tengo sabido
no quiero marido, no. que la flor yo me la so,
dizen que me case yo;
Madre, no seré casada,
no quiero marido, no. 20
por no ver vida cansada, 10
35. CANTIGA
Muy graciosa es la doncella; si el caballo o las armas o la guerra
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32 GIL VICENTE
37. VILLANCICO
Ayer vino un caballero, Es tal su disposición, 25
mi madre, a me enamorar; que me tiene tan contenta,
no le puedo yo olvidar. que me pondré yo en afrenta
por sacalle de pasión.
Soy de él servida y amada; De su linda condición
él es de mí muy amado; 5 no me he podido librar. 30
tan cortés y bien criado, ¡No le puedo yo olvidar!
que me tiene sojuzgada.
Juró en la cruz de su espada Él es tan cuerdo y sabido,
nunca jamás me dejar. que no esperaba esperanza;
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CARCILASO DE LA VEGA (1503-1536)
38. CANCIÓN
Con un manso ruido
de agua corriente y clara,
cerca el Danubio una isla, que pudiera
ser lugar escogido
para que descansara 5
quien como esto yo agora, no estuviera;
do siempre primavera
parece en la verdura
sembrada de las flores,
hacen los ruiseñores 10
renovar el placer o la tristura
con sus blandas querellas,
que nunca día ni noche cesan de ellas.
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34 GARCILASO DE LA VEGA
me halla y ha hallado;
y esto sabe muy bien quien lo ha probado.
No es necesario agora 40
hablar más sin provecho,
que es mi necesidad muy apretada;
pues ha sido en un hora
todo aquello deshecho
en que toda mi vida fue gastada. 45
Y al fin de tal jornada
¿presumen espantarme?
Sepan que ya no puedo
morir sino sin miedo;
que aun nunca que temer quiso dejarme 50
la desventura mía,
que el bien y el miedo me quitó en un día.
en la desierta arena,
fueren de alguno acaso en fin halladas,
entiérrelas, siquiera
porque su error se acabe en tu ribera. 65
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GARCILASO DE LA VEGA 35
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36 GARCILASO DE LA VEGA
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GARCILASO DE LA VEGA 37
celebren la miseria
de algún caso notable
que por ti pase triste y miserable. 110
40. ÉGLOGA
Corrientes aguas, puras, cristalinas;
árboles que os estáis mirando en ellas,
verde prado de fresca sombra lleno,
aves que aquí sembráis vuestras querellas,
hiedra que por los árboles caminas, 5
torciendo el paso por su verde seno;
yo me vi tan ajeno
del grave mal que siento,
que de puro contento
con vuestra soledad me recreaba, 10
donde con dulce sueño reposaba,
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38 GARCILASO DE LA VEGA
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GARCILASO DE LA VEGA 39
tal es la tenebrosa 80
noche de tu partir, en que he quedado
de sombra y de temor atormentado,
hasta que muerte el tiempo determine
que a ver el deseado
sol de tu clara vista me encamine. 85
Cual suele el ruiseñor con triste canto
quejarse, entre las hojas escondido,
del duro labrador, que cautamente
le despojó su caro y dulce nido
de los tiernos hijuelos, entretanto 90
que del amado ramo estaba ausente,
y aquel dolor que siente
con diferencia tanta
por la dulce garganta
despide, y a su canto el aire suena, 95
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40 GARCILASO DE LA VEGA
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GARCILASO DE LA VEGA 41
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42 GARCILASO DE LA VEGA
41. SONETO
¡Oh dulces prendas, por mi mal halladas,
dulces y alegres cuando Dios quería!
Juntas estáis en la memoria mía,
y con ella en mi muerte conjuradas.
¿Quién me dijera, cuando en las pasadas 5
horas en tanto bien por vos me vía,
que me habíades de ser en algún día
con tan grave dolor representadas?
Pues en un hora junto me llevastes
todo el bien que por términos me distes, 10
llevadme junto el mal que me dejastes.
Si no, sospecharé que me pusistes
en tantos bienes, porque descastes
verme morir entre memorias tristes.
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CRISTOBAL DE CASTILLEJO 43
43. VILLANCICO
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44 CRISTOBAL DE CASTILLEJO
45. GLOSA
Ser vieja y arrebolarse puede resonar un eco,
no puede tragarse. y el tenello por deleite,
y el relucir como aceite
El ponerse el arrebol, rostro, que era justo hollarse, 15
y lo blanco y colorado no puede tragarse.
en un rostro endemoniado, 5 El colorir la mañana
con más arrugas que col, los cabellos con afán,
y en las cejas alcohol, y dar tez de cordobán
porque pueda devisarse, a lo que de sí es badana, 20
no puede tragarse. y el ponerse a la ventana,
El encubrir con afeite 10 siendo mejor encerrarse,
hueco que entre hueco y hueco no puede tragarse.
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DIEGO HURTADO DE MENDOZA 45
46. MADRIGAL
Ojos claros, serenos,
si de un dulce mirar sois alabados,
¿por qué, si me miráis, miráis airados?
Si cuando más piadosos,
más bellos parecéis a aquel que os mira, 5
no me miréis con ira,
porque no parezcáis menos hermosos.
¡Ay tormentos rabiosos!
Ojos claros, serenos,
ya que así me miráis, miradme al menos. 10
47. LA GRACIA
Hermosura no la he; es una muy gentil cosa,
Copyright © 1947. University of Toronto Press. All rights reserved.
48. VILLANCICO
Contentamientos de amor Aun no acabáis de venir
que tan cansados llegáis, después de muy deseados, 5
si venís, ¿ para qué os vais ? cuando estáis determinados
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46 JORGE DE MONTEMAYOR
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FRAY LUIS DE LEÓN 47
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48 FRAY LUIS DE LEÓN
de verdura vistiendo,
y con diversas flores va esparciendo. 55
El aire el huerto orea,
y ofrece mil olores al sentido,
los árboles menea
con un manso ruido,
que del oro y del cetro pone olvido. 60
Ténganse su tesoro
los que de un flaco leño se confían;
no es mío ver el lloro
de los que desconfían
cuando el cierzo y el ábrego porfían. 65
La combatida antena
cruje, y en ciega noche el claro día
se torna; al cielo suena
confusa vocería,
y la mar enriquecen a porfía. 70
A mí una pobrecilla
mesa de amable paz bien abastada
me baste, y la vajilla
de fino oro labrada
sea de quien la mar no teme airada. 75
Y mientras miserable-
mente se están los otros abrasando
en sed insaciable
del no durable mando,
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El aire se serena
y viste de hermosura y luz no usada,
Salinas, cuando suena
la música extremada
por vuestra sabia mano gobernada. 5
A cuyo son divino
mi alma que en olvido está sumida,
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FRAY LUIS DE LEÓN 49
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50 FRAY LUIS DE LEÓN
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FRAY LUIS DE LEÓN 51
54. LA MEDIANÍA
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BALTASAR DEL ALCÁZAR (1530-1606)
55. CANCIÓN
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BALTASAR DEL ALCÁZAR 53
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54 BALTASAR DEL ALCÁZAR
57. REDONDILLAS
Tres cosas me tienen preso ya quiero Inés, ya jamón,
de amores el corazón: ya berengenas con queso. 20
la bella Inés, el jamón,
y berengenas con queso. Alega Inés su beldad;
el jamón que es de Aracena;
Esta Inés, amantes, es 5 el queso y berengena
quien tuvo en mí tal poder, la española antigüedad.
que me hizo aborrecer
todo lo que no era Inés. Y está tan en fil el peso, 25
que, juzgado sin pasión,
Trájome un año sin seso, todo es uno: Inés, jamón,
hasta que en una ocasión 10 y berengenas con queso.
me dio a merendar jamón
Copyright © 1947. University of Toronto Press. All rights reserved.
58. EPIGRAMA
Revelóme ayer Luisa Has de saber que su tía ... 5
un caso bien de reír; no puedo de risa, Inés;
quiérotelo, Inés, decir, quiero reírme, y después
porque te caigas de risa: lo diré, cuando no ría.
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BALTASAR DEL ALCÁZAR 55
con dos tragos del que suelo Hasta que, habiendo sol
llamar yo néctar divino, nuevo,
y a quien otros llaman vino, 15 me cuentan cómo he dormido,
porque nos vino del cielo. y así de nuevo les pido
que me den néctar y huevo. 40
Cuando el luminoso vaso
toca en la meridional, Ser vieja la casa es esto;
distando por un igual veo que se va cayendo;
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56 ALONSO DE ERCILLA
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ALONSO DE ERCILLA 57
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58 ALONSO DE ERCILLA
61. ODA
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FRANCISCO DE LA TORRE 59
62. LA CIERVA
Doliente cierva, que, el herido lado
de ponzoñosa y cruda yerba lleno,
buscas el agua de la fuente pura,
con el cansado aliento y con el seno
bello de la corriente sangre hinchado, 5
débil y descaída tu hermosura;
¡ay! que la mano dura
que tu nevado pecho
ha puesto en tal estrecho,
gozosa va con tu desdicha, cuando, 10
5
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60 FRANCISCO DE LA TORRE
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FRANCISCO DE LA TORRE 61
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LUIS BARAHONA DE SOTO (1548-1591)
64. MADRIGAL
Un panal, lleno de sutil rocío
de blanca miel, hurtaba codicioso
Amor para su boca,
más dulce que el panal al gusto mío,
y no de mi reposo, 5
cuando una abeja toca,
con celo venenoso,
su tierna mano, atrevidilla y loca;
el niño con un ¡ay! tan doloroso
que arder hiciera el frío 10
y enternecer lo duro de una roca,
la mano tiende y muéstrala herida
a su piadosa madre, que, temiendo
del caro hijo la ultrajada vida,
venido había corriendo; 15
y al hijo que pedía
porqué ponzoña en animal cabía
de quien tan dulce miel fue producida,
respóndele riendo:
"Más dulce es, aunque falsa, tu alegría, 20
y más ponzoña en ti se esconde y cría."
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SAN JUAN DE LA CRUZ 63
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64 SAN JUAN DE LA CRUZ
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SAN JUAN DE LA CRUZ 65
ESPOSO
el canto de la dulce filomena,
La blanca palomica el soto y su donaire,
al arca con el ramo se ha tornado, en la noche serena
y ya la tortolica con llama que consume y no da
al socio deseado pena. 195
en las riberas verdes ha hallado. 170
Que nadie lo miraba,
En soledad vivía, Aminadab tampoco parecía,
y en soledad ha puesto ya su nido, y el cerco sosegaba,
y en soledad la guía y la caballería
a solas su querido, a vista de las aguas descendía. 200
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VICENTE ESPINEL (1551-1624)
66. LETRILLA
Mil veces voy a hablar por no esperar
a mi zagala; que me envíe noramala.
pero más quiero callar
por no esperar Tengo por suerte más buena 15
que me envíe noramala. 85 mostrar mi lengua a ser muda;
que estando la gloria en duda,
Voy a decirle mi daño; no estará cierta la pena;
pero tengo por mejor y aunque con disimular
tener dudoso el favor se desiguala, 20
que no cierto el desengaño; tengo por mejor callar,
y aunque me suele animar 10 por no esperar
su gracia y gala, que me envíe noramala.
el temor me hace callar,
67. CANCIÓN
Alivia sus fatigas La vida al mar confía
el labrador cansado, y a dos tablas delgadas 20
cuando su yerta barba escarcha el otro que del oro está sediento;
cubre, escóndesele el día,
pensando en las espigas y las olas hinchadas
del agosto abrasado, 5 suben a combatir el firmamento;
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LUPERCIO LEONARDO DE ARGENSOLA 67
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68 MIGUEL DE CERVANTES
ANÓNIMO
71. A CRISTO CRUCIFICADO
No me mueve, mi Dios, para quererte
el cielo que me tienes prometido;
ni me mueve el infierno tan temido
para dejar por eso de ofenderte.
Tú me mueves, Señor; muéveme el verte 5
clavado en una cruz y escarnecido;
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ANÓNIMO 69
ANÓNIMO
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70 FÉLIX LOPE DE VEGA
74. ¡TRÉBOLE!
¡Trébole, ay Jesús, cómo güele! ¡Trébole, ay Jesús, qué olor! 10
¡Trébole, ay Jesús, qué olor!
Trébole de la soltera
Trébole de la casada que tantos amores muda;
que a su esposo quiere bien; trébole de la vïuda
de la doncella también 5 que otra vez casarse espera,
entre paredes guardada, tocas blancas por defuera 15
que fácilmente engañada y faldellín de color.
sigue su primer amor. ¡Trébole, ay Jesús, cómo güele!
¡Trébole, ay Jesús, cómo güele! ¡Trébole, ay Jesús, qué olor!
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FÉLIX LOPE DE VEGA 71
78. MAÑANA
¿Qué tengo yo, que mi amistad procuras?
¿Qué interés se te sigue. Jesús mío,
que a mi puerta, cubierto de rocío,
pasas las noches del invierno escuras?
¡Oh cuánto fueron mis entrañas duras, 5
pues no te abrí! ¡Qué extraño desvarío,
si de mi ingratitud el hielo frío
secó las llagas de tus plantas puras!
¡Cuántas veces el ángel me decía:
"Alma, asómate agora a la ventana; 10
verás con cuánto amor llamar porfía!"
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72 FÉLIX LOPE DE VEGA
79. JUDIT
Cuelga sangriento de la cama al suelo
el hombro diestro del feroz tirano,
que opuesto al muro de Betulia,, en vano
despidió contra sí rayos al cielo.
Revuelto con el ansia el rojo velo 5
del pabellón a la siniestra mano,
descubre el espectáculo inhumano
del tronco horrible, convertido en hielo.
Vertido Baco el fuerte arnés afea,
los vasos y la mesa derribada; 10
duermen las guardas, que tan mal emplea;
y sobre la muralla, coronada
del pueblo de Israel, la casta hebrea
con la cabeza resplandece armada.
80. EL SUENO
Blando sueño amoroso, dulce sueño,
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FÉLIX LOPE DE VEGA 73
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74 FÉLIX LOPE DE VEGA
82. EPÍSTOLA
Ya en efecto pasaron las fortunas
de tanto mar de amor, y vi mi estado
tan libre de sus iras importunas;
cuando amorosa amaneció a mi lado
la honesta cara de mi dulce esposa, 5
sin tener de la puerta algún cuidado;
cuando Carlillos de azucena y rosa
vestido el rostro, el alma me traía,
contando por donaire alguna cosa.
Con este sol y aurora me vestía; 10
retozaba el muchacho, como en prado
cordero tierno al prólogo del día.
Cualquiera desatino mal formado
de aquella media lengua era sentencia,
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FÉLIX LOPE DE VEGA 75
83. EL SOLDADO
En tres años de soldado, si él quiere, acabar con todos 15
mal pagado y sin comer, mucho más fácil que yo.
pudiera un hombre crecer Pónenle sitio a un lugar,
por encima de un tejado. y tras de andar a balazos,
No hay tristis anima mea 5 quitando piernas y brazos,
como el estar un cristiano sin comer ni descansar, 20
entre uno y otro pantano, cuando ya el campo se inclina
rociado de gragea con el más sangriento estrago
de vil bronce, porque allí al último Santiago,
muestra un hombre su buen pecho. 10 pónenle fuego a una mina,
Bien mirado, ¿qué me han hecho que viene a dar a los pies 25
los luteranos a mí? del que embiste confiado,
Jesucristo los crió, y vuela un pobre soldado
y puede por varios modos, hecho Icaro al revés.
84. LETRILLA
Ande yo caliente, quiero más una morcilla
y ríase la gente. que en el asador reviente, 15
y ríase la gente.
Traten otros del gobierno
del mundo y sus monarquías, Cuando cubra las montañas
mientras gobiernan mis días 5 de plata y nieve el enero,
mantequillas y pan tierno, tenga yo lleno el brasero
y las mañanas de invierno de bellotas y castañas, 20
naranjada y aguardiente, y quien las dulces patrañas
y ríase la gente. del rey que rabió me cuente,
y ríase la gente.
Coma en dorada vajilla 10
el príncipe mil cuidados Busque muy en hora buena
como pildoras dorados; el mercader nuevos soles; 25
que yo en mi pobre mesilla yo conchas y caracoles
6
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76 LUIS DE GONGORA
85. LETRILLA
Da bienes Fortuna al mayor cabrero, 15
que no están escritos: y a quien se le antoja
cuando pitos, flautas, la cabra más coja
cuando flautas, pitos. parió dos cabritos:
cuando pitos, flautas,
¡Cuan diversas sendas 5 cuando flautas, pitos. 20
suele seguir
en el repartir Porque en una aldea
honras y haciendas! un pobre mancebo
A unos da encomiendas, hurtó solo un huevo,
a otros sambenitos: 10 al sol bambolea,
cuando pitos, flautas, y otro se pasea 25
Copyright © 1947. University of Toronto Press. All rights reserved.
86. ROMANCILLO
La más bella niña Pues me distes, madre,
de nuestro lugar, en tan tierna edad,
hoy viuda y sola tan corto el placer,
y ayer por casar; tan largo el penar,
viendo que sus ojos 5 y me cautivastes 15
a la guerra van, de quien hoy se va
a su madre dice y lleva las llaves
que escucha su mal: de mi libertad,
dejadme llorar dejadme llorar
orillas del mar. 10 orillas del mar. 20
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LUIS DE GONGORA 77
87. ROMANCILLO
Lloraba la niña ¡Llorad, corazón,
y tenía razón,
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78 LUIS DE GÓNGORA
ROMANCILLO
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LUIS DE GONGORA 79
89. LETRILLA
Que pida a un galán Menguilla mas que a creer nos estreche
cinco puntos de jervilla, que es milagro y no escabeche,
bien puede ser; no puede ser. 30
mas que calzando diez Menga, Que se precie un don Pelón
quiera que al justo le venga, 5 que se comió un perdigón,
no puede ser. bien puede ser;
Que se case un don Pelote mas que la biznaga honrada
con una dama sin dote, no diga que fue ensalada, 35
bien puede ser; no puede ser.
mas que no dé a algunos días 10 Que olvide a la hija el padre
por un pan las damerías, de buscarle quien le cuadre,
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80 LUIS DE GÓNGORA
90. LETRILLA
Dineros son calidad; y tahúres muy desnudos
verdad. con dados ganan condados;
Más ama quien más suspira; ducados dejan ducados,
mentira. y coronas majestad; 10
verdad.
Cruzados hacen cruzados, 5
escudos pintan escudos, Pensar que uno solo es dueño
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LUIS DE GÓNGORA 81
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82 LUIS DE GÓNGORA
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LUIS DE GÓNGORA 83
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84 LUIS DE GÓNGORA
94. ROMANCE
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LUIS DE GÓNGORA 85
95. SOLEDAD
Era del año la estación florida
en que el mentido robador de Europa,
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86 LUIS DE GONGORA
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CRISTÓBAL SÚAREZ DE FIGUEROA 87
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88 RODRIGO CARO
de Silio peregrino,
rodaron de marfil y oro las cunas.
Aquí ya de laurel, ya de jazmines 45
coronados los vieron los jardines
que ahora son zarzales y lagunas.
La casa para el césar fabricada
¡ay! yace de lagartos vil morada.
Casas, jardines, cesares murieron, 50
y aun las piedras que de ellos se escribieron.
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RODRIGO CARO 89
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90 RODRIGO CARO
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ANTONIO MIRA DE MESCUA 91
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92 ANTONIO MIRA DE MESCUA
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ANTONIO MIRA DE MESCUA 93
Canción, ve a la coluna
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100. LETRILLA
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94 FRANCISCO DE QUEVEDO
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FRANCISCO DE QUEVEDO 95
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96 FRANCISCO DE QUEVEDO
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FRANCISCO DE QUEVEDO 97
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98 FRANCISCO DE QUEVEDO
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FRANCISCO DE QUEVEDO 99
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100 FRANCISCO DE BORJA
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FRANCISCO DE RIOJA (15837-1659)
108. A LA ROSA
Pura, encendida rosa,
émula de la llama
que sale con el día,
¿cómo naces tan llena de alegría,
si sabes que la edad que te da el cielo 5
es apenas un breve y veloz vuelo?
Y ni valdrán las puntas de tu rama,
ni púrpura hermosa,
a detener un punto
la ejecución del hado presurosa. 10
El mismo cerco alado
que estoy viendo riente,
ya temo amortiguado,
presto despojo de la llama ardiente.
Para las hojas de tu crespo seno 15
te dio Amor de sus alas blandas plumas,
y oro de su cabello dio a tu frente.
¡Oh fiel imagen suya peregrina!
Bañóte en su color sangre divina
de la deidad que dieron las espumas. 20
¿Y esto, purpúrea flor, esto no pudo
hacer menos violento el rayo agudo?
Róbate en una hora,
róbate licencioso su ardimiento
el color y el aliento; 25
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101
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ESTEBAN MANUEL DE VILLEGAS (1589-1669)
109. CANTILENA
DE UN PAJARILLO
Yo vi sobre un tomillo ya cansado callaba, 15
quejarse un pajarillo, y al nuevo sentimiento
viendo su nido amado, ya sonoro volvía;
de quien era caudillo, ya circular volaba,
de un labrador robado. 5 ya rastrero corría;
Vile tan congojado ya, pues, de rama en rama, 20
por tal atrevimiento al rústico seguía,
dar mil quejas al viento, y, saltando en la grama,
para que al cielo santo parece que decía:
lleve su tierno llanto, 10 —"¡Dame, rústico fiero,
lleve su triste acento. mi dulce compañía!"; 25
Ya con triste armonía, y a mí que respondía
esforzando el intento, el rústico:—"¡No quiero!"
mil quejas repetía;
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PEDRO CALDERÓN 103
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104 PEDRO CALDERÓN
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SOR JUANA INÉS DE LA CRUZ 105
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NOTES
1. The serranilla, or pastourelle, is a dialogue 2. Santularia was a pioneer in writing
between a cavalier and a shepherdess. She "sonetos fechos al itálico modo." In the 13th
rejects his advances and remains true to her century, Berceo, the scholar poet, "mester de
Antón. In all the Romance literatures it is clerecía," wrote in long lines and "counted
the oldest form of patrician poetry—la poesía syllables." Now, in the 15th century, poets
culta. Spain had an early example in the like Santillana, Imperial, and Mena adopted
Aventura amorosa of the 13th century. Juan the technique of versification perfected in
Ruiz wrote several in the 14th century, and Italy by Dante (1265-1321) and Petrarch
the present author nine. (1304-74), counted stresses (arranging them
ARCHAISMS AND PRONUNCIATION: moca, according to certain rules) in hendecasyllabic
moza: "ç" and "z" were respectively voiceless lines, and introduced new stanzas: sonnets,
(as now) and voiced (but no longer), as in octaves, and so on. They enriched Spanish
satisfazer (no. 2, 9); Jermosa, hermosa (L. literature with new craftsmanship and
formosa-m). Initial Latin "f" changed to an rhetoric, and the imitation of new models.
aspirate "h" about 1500, and was pronounced The present poem observes the twofold
during most of the 16th century (and still is division of the sonnet in rime and theme
in dialects) and in poetry into the 17th. (ABABABAB-.CDCDCD), octet and sestet,
sopiera, supiera; dixe, dije. In the 15th cen- and is a fair adaptation of Petrarchism, with,
tury "x" was voiceless ("sh" in English however, an excessive display of antitheses.
"show"), "j" voiced ("s" in "pleasure"). In In the fourthline there is a stress on the seventh
the 16th century this distinction disappeared syllable, as is found sometimes in the Italian
with resulting confusion in spelling (still seen models. In hendecasyllabic lines the internal
in Quixote, Quijote, México, Méjico, Texas, stresses are usually distributed over the
Oaxaca). They were not velar or aspirated fourth, sixth, and eighth syllables. Note the
until the 17th century. es, está; vengades, stresses in 9, 11, 13, and observe that they
vengáis; aquessa, aquesa, esa. "ss" repre- are run-on lines.
sented a voiceless consonant, and "s" a voiced ARCHAISMS: cuyta, cuita; visto, vestido (con-
one, a distinction that has disappeared in fusion with provisto from proveer?); ¡a mi
modern Spanish. Inconsistencies of spelling vida, mi vida; juye, huye; me socorrer, so-
will be noted in these texts, as no original correrme; guarir, sanar.
manuscripts have been preserved, and poems 4. braveça, fury, fierce passion.
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have sometimes come down to us in late 12. The Guadiana (quattrosyllabic), dis-
copies. appears underground—hence apparently en-
3. vaqueray shepherdess; vaquero, cowboy. ferma, feeble—to reappear and continue its
4. Finojosa, Hinojosa (finojo, hinojo, fen- course, nin lo crfo, a common filler or ripio.
nel) a common geographic name. In Ciudad- 13. Guadalquivir, a woman of Cordova or
Real there is a village called Hinojosas. Seville? The author doubtless had in mind
6. Calatraveño, applicable to the town and Petrarch's sonnet, "Non Tesin, Po, Varo,
campo of Calatrava, or Calzada de Calatrava, Arno, Adige e Tebro,. .."
Ciudad-Real, or to the military order of
Calatrava, founded in 1158. 3. From El laberinto de Fortuna, an alle-
7. San(c)ta Maria, a common geographic gorical work inspired by Dante's Divine
name. Comedy, and intended to glorify King John II
14. rosas e flores. This combination is found (1405^54), a patron of letters, and victor, in
in Latin, and even in modern English. 1431, over the Moors of Granada at La
25. sin glosa, without circumlocution, Higuera (or La Higueruela) in the Sierra
frankly. Elvira, near Granada. The battle was so
107
8
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108 NOTES : 3-4
called because of a fig tree which survived Lyaeus, surname of Bacchus; orgies associ-
the havoc of war, in which several hundred ated with his worship. The passage seems to
thousand horse and infantry were engaged, be reminiscent of a scene in Dante's Inferno,
the Moorish casualties being some thirty vii, 31-5: "Thus they [the avaricious and
thousand killed. Because of dissensions, in- prodigal] returned round the gloomy circle on
volving the constable Alvaro de Luna, com- either hand to i:he opposite point, shouting
mander of the Spanish forces, advantage at each other their taunting chorus; then
could not be taken of the victory, and it was having reached it, each turned back by his
not until 1492 that Granada fell. An episode half circle to the other joust."
arising out of the battle is commemorated 31-2. I [the author was an eye-witness of
romantically in the ballad Abenámar, Abena- the battle] could hear nothing but the Spanish
mar (no. 21). The present poem is written war-cry: Santiago, y cierra, España. Zebedee
in octaves (ABBAACCA), and dodecasyll- was the father of Saint James, Santiago
abic lines, called "versos de arte mayor." (Sanctus Jacobus), patron saint of Spain.
1-2. New prestige also accrued to John II; 34. a desora, n deshora, unexpectedly.
lit., new honours of this king of ours also 36. The mound of corpses defies description
accrued. The poet has just praised the (razón, words).
Alfonsos, Fernandos, and Enriques, "faziendo 37. de momia, mummified, dry; se espera,
más largos sus reinos estrechos." abueltas, one expects, or fears.
avueltas, a vueltas, along with, conjointly, 38. súpito, súbito.
also. 40. se espanta^ one marvels.
3. aurían, habrían, hubieran. 41. The Recoriquest (709-1492), instead of
4. rebudias, revueltas, revolts, civil strife. civil strife.
6. nos, ethical dative; may they soon 48. quistiones, disputes; desferra, discord.
reach a tranquil port, be achieved.
8. toga, symbol of civil life and peace in 4. This famous Christian elegy follows the
contrast with arms; peltas, pelta, shield. threefold pattern of a funeral oration: general
11. sin, without counting. reflections on the transitoriness and nothing-
12. Destroying trees and fields ("scorched ness of life, with examples (1-289); a tri-
earth") was common offensive military prac- bute to the deceased (290-393); his death,
and consolation for the bereaved (394-480).
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NOTES : 4 109
solemnity is biblical too, as is the poet's great equalizer, as in the Danza de la Muerte,
attitude toward death. The general reflec- a popular conception of the time.
tions have the melancholy of the ages, but 37-9. He will not invoke the pagan muses.
there is no complaining, no personal sorrow, 41-2. yeruas secretas, poisonous herbs,
no regrets: poison, especially as given in food. Their
"Nothing is here for tears, nothing to wail sweetness is sinful, unchristian.
Or knock the breast, . . . 44. Aquél, a aquél, Christ.
nothing but well and fair, 46-7. "He was in the world and the world
And what may quiet us in a death so noble." knew him not." (St. John, 1, 10.) The
(Milton, Samson Agonistes.) Spanish sentence lacks grammatical sequence
1-72. Generalities on the transitoriness of (anacoluthon).
life. 52. cunple, cumplir, es menester.
1-6. Memento mori. 58. fenescemos, finar, morir.
1-2. Recuerde, abiue (avive), despierte, are 61. fue, fuera, which latter was originally
synonyms and stress the exhortation, me- a pluperfect indicative (L. fuerat).
mento mori. Let the sleepy soul awaken, 66. atendemos, expect, hope for (cf. espera,
let the mind be quickened and stirred to 1.21).
contemplate . . . . "Surge, qui durmis, et 68. sobirnos, subirnos, a transitive verb.
exsurge . , . . " (Ephesians, 5, 14.) Recordar, 72. do, donde.
awaken, is still used in this sense in dialects. 73-156. Concrete examples or illustrations.
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110 NOTES : 4
74-5. To make the corporal face beautiful archaic, reads this line: e lleguen fasta la
(with cosmetics). fuessa.
76-8. As we can make the pure (angelical) 136. por essv, for this reason, i.e., that we
soul deserving of glory, salvation. It may may have them as long as we live.
possibly be construed: como podemos hacer 143. esperamos, must expect; cf. 1. 66.
(tornar) hermosa el alma tan gloriosa y 148-53. Scouts or skirmishers who are am-
angelical. bushed. Disregarding our peril (daño, of same
79-84. What very keen and active diligence origin as English "danger").
we should devote every active moment to 151-6. An amplification.
repairing the wretched face and leave our 154. desque, desde que.
dame (soul) unrepaired. We should neglect 156. lugar, time.
our spiritual welfare. There is a contrast 157-65. The fall of princes as a general
between la catiua (cautiva, caitiff, slave, base theme; he becomes specific later (1. 181). The
one) and la señora. mutability of fortune as seen in the fall of
83. nos, ethical dative. princes was a common subject in biblical,
91-4. A series of partitives, algunas de classical, and mediaeval literature and history.
ellas: time, old age, destroys some of them,etc. 165. perlados, prelados (metathesis).
The generalities of these three cases are 173. The text reads, oymos y leymos.
particularized in the three succeeding stanzas. 177. dello, de él.
94. por su calidad^ in rank, station (cf. 181-288. That portion of the 15th century
1. 349). which the author knew and here reviews was
100. la color (usually mase, now), pink, one of weak kings, John II (1406-54) and
crimson (cf. colorado, red) ; la blancura, a fair Henry IV (1425-74), and powerful peers, the
complexion is much esteemed among Latin Villenas, Alvaro de Luna, and the Manriques.
races. Because of dissension among the victors,
109. los godos, nobles. Spanish nobility petty rivalries about such matters as the
prided itself on descent from the Goths of maestrazgo of the Order of Santiago, the
early Spanish history, as the English do on defeat of the Moors at La Higueruela, in
theirs from Norman blood. 1431, was not followed up, and except for
115-20. Through the process of primogeni- occasional forays into Granadine territories
and the taking of Gibraltar in 1462, the Re-
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NOTES : 4 111
181. Here begins the ubi sunt? theme: le ("leísmo"), but lo is almost universal in
"Ubi sunt principes gentium ... ?" (Baruch, the Spanish-speaking world ("loísmo").
III, 16-20). It is found also in Boethius and 241-64. The poet now comes to the grand
other writers, and is familiar in Villon's a- masters (maestres) of the orders of chivalry,
daptation, "Mais où sont les neiges d'antan?" especially of the Order of Santiago, founded
183-204. A good picture of mediaeval in 1175 to protect pilgrims on their way to
chivalry and pageantry, which recalls lines Santiago, but by this time honorary—and
in Gray's Elegy: very rich and powerful ("tan prosperados
"The boast of chivalry, the pomp of power, como reyes," 11. 254-5).
And all that beauty, all that wealth e'er gave 241. The constable D. Alvaro de Luna,
Await alike the inevitable hour. . . ." the favourite for a time of John II, was
182. D. Carlos and Da. Blanca. beheaded in 1453. The Manriques took sides
185. ynuenci6ny new fashions. against him. His rise and fall have impressed
186. truxieron, trajeron. the imagination, and his memory survives in
191-2. "As for a man his days are as grass; ballads, oral tradition, and the names of
as a flower of the field so he flourished!." streets in Castilian towns, "la calle del Con-
(Pp., CHI, 15; CIL) The author uses era destable." The Marqués de Santillana wrote
(L. area-m) loosely for ero (L. agcr-agrum), a philosophical poem on his fall. Doctrinal de
a mediaeval word for campo. privados.
195. olores, perfumes. 253-4. The marquis of Villena and don
199. trobar, versifying; cf. troubadour. Pedro Girón; otros, the next, his successors.
Many of the lyrics of the court of John II They were hostile u> the Manriques, hence the
are preserved in Baena's and Castillo's Can- disparaging remarks about them.
cioneros (ca. 1450 and 1511), and are ac- 262. claridad, lumbre, luz; the author was
cessible in R. Foulché-Delbosc's Cancionero fond of this Latinism.
castellano del siglo XV, 1912, and in M. 264. amatada, apagada.
Menéndez y Pelayo's Antología. 269-70. Normal order: do los traspones y
203. chapadas, covered (cf. 1. 283), em- escondes? (ysteron proteron).
broidered; the word was popular in the sense 271. las sus, the article is now omitted
of excellent, beautiful. before possessives; claras (cf. 1. 262), bright,
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112 NOTES : 4
con ellos [sus criados] era la manera del their rewards, one-fifth of the booty (motives
defender y ofender el enemigo." Besides were mixed), but he suffered vicissitudes of
being a great warrior, he was a courtier and fortune, and, as was the custom, had to
a poet; some of his poems have been pre- finance his military services. In his will, he
served. begged the "reyes católicos" to make financial
292. maestre, grand master of the Order of provision for his burial and his heirs.
Santiago. 348. que le dieron, that were given to him
295. Cortina gives a list of his principal (cf. 1. 297).
successes as a general (Huesear, 1434, Jimena) 355-8. The repetition of initial "f" in five
and adds: "Luchó contra los moros, contra words may be only a coincidence with the
Alvaro de Luna, Enrique IV, los marqueses frequent references in Spanish litera ture to the
de Villena, Alonso Carrillo, arzobispo de five "f's."
Toledo" (not mentioned by name in the poem 361. estorias., historias, records, achieve-
but included among the tiranos of 1. 374). ments.
His life was a continuous battle; as the epi- 370-2. He won the position of grand master
taph on his tomb proclaimed, "venció en of the Order of Santiago del (de la) Espada
XXIV batallas de moros y cristianos," an in 1474. "El abito que traen a los pechos es
average of about two a year. Little wonder la insignia del espada roja, y tinta en sangre
then that he was called the second Cid. de infieles." (Covarrubias.)
297. los vieron, people have seen them; they 373-84. On the death of Henry IV, 1474,
are known to everybody. Alphonso of Portugal invaded Spain to
301-12. Besides being brave, he had the support the claims of Juana la Beltraneja,
refinements and accomplishments of a renais- supposed daughter of Henry IV. He was
sance courtier. supported by the marquis of Villena and
302. criados, squires, apprentices. archbishop Carrillo of Toledo. The Man-
307. What intelligence in intellectual com- riques sided with Ferdinand of Aragon and
pany. Isabella of Castile.
308. What wit among the gay. 376. For example, in 1476, the siege of
309. razón, eloquence. Uclés, the residence of the Order of Santiago.
311. brauos, bravos, bullies. 379. nuestro rey natural, our sovereign,
Ferdinand of Aragon. It is strange that
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NOTES : 4-5 113
404. fexistes, fezisteis, hicisteis. was the 16th. Writers then vied with one
406. virtud, courage; the original meaning another in putting old traditions and history
was, as here, virility, manliness (L. vir). into ballads, as they dramatized them in the
407. To face this challenge; sofrir, sufrir. 17th and turned them into historical novels
412-20. An amplification of 1. 405. A in the 19th. Balladry culminated in the vast
grudging concession to fame, as the inspira- repertory known as the Romancero general of
tion of individual effort, is a new note in 1600, which contained ballads of a new style,
Spanish thought. The beginnings of it are semi-popular only, and more consciously
to be found in Dante, and especially in artistic and erudite. There were other large
Petrarch, through whom it became the collections printed in the 16th century, and
watchword of the renaissance, which extolled ballads then as now circulated orally through-
the efforts of the human will. To the medi- out the Spanish world. They are sung by
aeval mind such an idea was unchristian, blind men at country fairs and in the market
man's only concern on earth being to prepare place, by strolling players, and at social
for the hereafter. gatherings by amateurs.
418. muy, mucho; both words are derived It is a peculiarity of balladry that historical
from multu-m. themes are preferred, but they are treated
421-32. This stanza sums up the mediaeval poetically, not academically. Ballads are
philosophy (theology) of life. popular only in that they are written in a
430-5. The Reconquest (709-1492) was style acceptable to the people. They were
considered a crusade against the Moors, who composed, and still are, by individual poets,
were wrongly called paynims, paganos. as cowboy songs are today. In Spain, ballads
443. The three lives are: life on earth, life were recognized as literature centuries earlier
of honour or fame, life everlasting. than in other countries. Although poets like
445. Rodrigo Manrique replies to Death. Góngora toned down their crudities and
452-3. The poet's epithets are, as usual, naiveties, popular ballads continued to pro-
commonplace, all three here adding neither vide much of t h a t common background
meaning nor resonance to voluntad. Within that is so marked a characteristic of the
fifty years, beginning with the renaissance literature of the golden age, notably in the
poet Garcilaso de la Vega, a great change lyric, the drama, and the novel. When Don
Copyright © 1947. University of Toronto Press. All rights reserved.
was destined to take place in such matters. Quijote and the inn-keeper matched lines
454. onbre, hombre, Fr. on, modern uno from a ballad, they were only doing what
or quererse. other Spaniards could do as well.
457-68. The father's prayer. In form, ballads are short narrative poems
458. seruil, var. civil, with the same mean- written in assonance (romance] of eight syl-
ing, bajo; the incarnation of Christ. lables or of sixteen if the lines are doubled.
471-80. The epilogue. They tell a story of one episode, usually the
475." gela, sela; L. dative illi, accusative closing and most dramatic incident, objec-
illam (cf. Ital. gliela). tively, and with classical restraint. They
479-80. The only personal, elegiac note in begin and end abruptly, without explanation
the poem. or comment, taking it for granted that setting
and circumstances are familiar to the audi-
5-29. Ballads (romances, coll. El roman- ence. They eschew moralization or other
cero) are the pride of Spanish literature. The digressions. Generally they use dialogue, as
tradition of anonymity and of archaisms being more dramatic. They have an air of
makes it difficult to determine their origins artless spontaneity and a realistic and austere
or to arrange them in chronological order. tone. The language is simple, unadorned by
The first in the present collection may go epithets, similes, or other embellishments of
back to the 14th century, the third and fourth classical verse, but they employ freely epic or
to the 15th but the period of richest flowering ballad formulae and other traditional affecta-
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114 NOTES : 5-7
dons and mannerisms, such as a disregard for 8. The nightingale symbolized the lover
conventional grammar, which give them a in mediaeval poetry.
corporate quality that distinguishes them 11-12. A proposal; servidor, amante.
absolutely from any other kind of poetry. 18. bebía, bebo.
For the further study of balladry, there 19. haber, tener.
are available works by W. J. Entwistle, 25. amiga, amante; amiga and servidor are
European Balladry, 1939^ M. Menéndez y words used in court poetry written under the
Pelayo, Antología, vols. VIII-XII, the scholar- influence of Provençal writers.
ly introduction by R. Menéndez Pidal to the
Cancionero de romances, the same author's 6. Pinar, writing about 1500, considered
Flor nueva de romances viejos, and El ro- this ballad old:
mancero, large numbers of modern collections "Y el cantar con gran dulçor
taken from oral sources, such as V. T. un romance, aunque antigo,
Mendoza's El romancero español y el corrido que por mi passion lo digo:
mexicano, México, 1939 (with music and Rosa fresca y con amor."
extensive bibliographical references; ballads This song of regret belongs, like the pre-
are chanted), and K. Schindler's Folk Music ceding poem (no. 5), which it resembles in
and Poetry of Spain and Portugal, New York, the first two lines, to lyric, court poetry rather
1941 (also with music). This last work was than to balladry.
published by the Hispanic Institute of 1. The rose is a common symbol for
America which has a collection of recordings sweetheart.
of chanted ballads. 3. vos, os; var. yos, yo os. The use of the
In the present collection there are early formal pronoun of address instead of "tú,"
miscellaneous ballads, others on Spanish is in Provençal and Italian poetry, although
history and traditions, arranged chrono- not always in Spanish, indicative of courtly
logically by theme, foreign matter (Arthurian origin, confirmed here by the use of servir (1. 4)
and Carolingian), and an example of a and amigo (1. 13), etc.
morisco ballad. The dates given are those 4. servir, amar.
of first publication. 10. servidor, itiere means servant.
11. recaudar, give recado, message.
Copyright © 1947. University of Toronto Press. All rights reserved.
5. This ballad of the widowed turtle-dove, 12. dijera, dijo; razón, words.
symbol of fidelity, treats a very old theme, 13. érades, erais.
found in ancient and mediaeval physiologies, 16. Even such simple similes are foreign to
and surviving even in such classical poets as balladry proper.
Francisco de la Torre of the 16th century.
The present poem (like the following, no. 6) 7. Two versions of this ballad, neither com-
is a ballad only in form and belongs rather to plete, are published to show the extraordinary
the lyric of the poesía culta, as can be seen changes that some ballads have undergone.
by certain mannerisms and the vocabulary of The earliest is of the 15th century; the second
court poetry. According to tradition, the and best known was published about 1550.
turtle- or stock-dove takes only one mate in To get the complete story recourse must be
life, and when widowed seeks solitary places, had ^o a version preserved by the Spanish-
rests on dry branches, drinks from no clear speaking Jews of Morocco, fully discussed in
spring, and coos and coos. R. Menéndez Fidal's El romancero, but each
1. Fonte frida, fuente fría, cool spring. version has a "'ventura" of its own.
The old forms go back to the 14th century. w
There seems to be no good reason for hyphen- 1-2. I wish I were as fortunate in enjoying
ating the words as though they were a place- my love as . . . .
name (mod. Fuenfria). 1. ata!, tal; ventura, this is in part, and
7. fuera, fue. satisfactorily, explained in this version (11. 19.
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NOTES : 7-9 115
words like infante (1. 28), and pasase (1. 32). 9. This lyrical ballad has been popular at all
4. la mañana de San Juane (Juan), a times and few show so many alterations. One,
formula;. The day of St. John is midsummer a variant of the short version, is published
day, June 24, and when any time is indicated here, (b), from the modern Romancero popular
in the ballads it is usually la mañana de San de la montaña of José Ma.de Cossio.
Juan.
7. vido, vio.
11-18. This boat song, inspired by fear of
M
2. la calor, calor; now usually mase.
Barbary pirates, occurs elsewhere. 3. la calandria, the lark, which tra-
11. galea, galera. ditionally consoles lovers.
17. castillos, castles, ñau t., short raised 14. The original poem ended here. It has
superstructure on ships, fore and aft; pre- been attributed to Alonso de Cardona, a poet
served in English forecastle, castillo 'de proa. of the 15th century. Someone then made it
25. era, es. After recognizing Arnaldos, she a "canción carcelera."
corrects her previous statement. 25. I wish someone would . . . .
30. quería finar, quiere morir, is about to 30. razan, words, talk.
die, will die, because he is in danger. 35. lima sorda, a noiseless file (filled with
31-2. I wish I could rescue him, so that he lead).
would not suffer such anguish. 40. mandai, mandóle, le mandó.
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116 NOTES : 10-14
10. Another lyrical ballad. 15-21. This patriotic tribute can be traced
1-4. Familiar lines, quoted in the Don back through the chronicles to St. Isidore and
Quijote, I, 26. others to Virgil's Georgics, II, in praise of
5. manidas, shelters; escuras, oscuras, ob- Italy. As the Crónica general of the 13th
scuras. century says: "Espanna . . . es como el
6. por usar, unused, rough, impassable. parayso de Dios, ca [porque] riégase con cinco
7. el cielo, the weather. ríos cabdales . . . es ... mucho esforçada en
8. Takes pleasure in hindering me. lid, . . . non a [no hay] tierra en el mundo que
11-12. To find out whether perchance la semeie en abondança . . . ."
there is a ford; whether my passion can be 29. It was at Covadonga in the Asturias
assuaged. that the Spaniards under Pelayo took their
stand and begs.n the Reconquest.
11. Here begins a series of ballads based on 34. This pitched battle is said to have
dramatic scenes in the history of Spain. taken place near the Guadalete, a stream
According to tradition, count Julian was that flows into the Bay of Cadiz.
at Ceuta, North Africa, when he learned that 40. See the next ballad.
don Rodrigo (709-10), the last of the Gothic 41. don Orpxs (Opas, Oppas), bishop of
kings, had seduced his daughter Florinda, Seville, is said to have been the brother of
nicknamed La Cava (Ar. "mujer mala," Don count Julian's wife.
Quijote, I, xli). 43. negra conseja, foul story of treachery.
46. nunca cuidada, unthinkable, unbeliev-
"Si dicen [ask] quién de los dos
able; cuidar, L. cogitare.
la mayor culpa ha tenido,
52. del, de él:; saber, saberse.
digan los hombres 'La Cava,'
y las mujeres 'Rodrigo.' "
12. The most poignant of all Spanish
(Duran, no. 586.)
ballads.
To avenge the wrong, count Julian invited 3. The battle is said to have lasted eight
the Moslems to invade Spain (709-10). They days.
came under Tank, after whom Gibraltar 10. mudar, mover.
is named (gibel Tank, the mount of Tarik). 16. velle, verle (assimilation); mancilla,
Compare with this ballad the classical treat- pity, sadness (cf. 1. 40).
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ment of the theme by Fray Luis de León 26. trabajo, travail, grief.
(no. 52). For an extensive discussion of 29. dende, desde.
Roderick in legend and history and an 41. A formula; almost identical with the
analysis of this ballad and its composition, opening line of the epic of the Cid, El cantar
see R. Menéndez Pidal's Floresta de leyendas de mió Cid.
históricas españolas.
2. la bien nombrada, of fair renown. 13. Bernardo del Carpió is a legendary count
3. aliende, allende, abroad, but used here, of the time of Charlemagne and king Alphonse
as generally, for Morocco. II, the Chaste, of the Asturias (791-842). His
4. quiere enviar, envía. father, count Sancho of Saldaña, was im-
5. escrebia, escribía. prisoned for secretly marrying Jimena, the
6. notaba, dictated. king's sister. The ballad has to do with the
8. matara, mató, because he had com- king's promise to release the father, who,
mitted an act of treachery; as Calderón says, however, was first killed and then mounted
repeating Plutarch and others: on a horse.
"que el traidor no es menester, 7. Desque, desde que.
siendo la traición pasada." 24. que, porque.
(La vida es sueño, 11. 3300-1 ;
Don Quijote, I, 39.) 14. Fernán González was count of Castile,
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NOTES : 14-15 117
which in the 10th century owed fealty to 15. A 10th-century story of family vendetta.
León. This ballad tells how he was rescued The seven sons of Lara were led into an
from prison and how Castile gained its free- ambush by their revengeful aunt, doña
dom. Lambra, and killed. The treachery was later
3. Sancho I of León, succeeded his brother avenged by a half-brother, Mudarra. In the
Ordoño III in 955. His surname was, how- present ballad, the father, Gonzalo Gustos,
ever, Ramirez, son of Ramiro. identifies his sons and their tutor. Informa-
10. Another ballad relates that this monk tion about the legend, fragments of epics on
prophesied his victory over Almanzor, and the theme, and subsequent literary versions,
that as a reward, the monk was given money can be found in histories of literature.
to build the monastery of San Pedro de 2. Sant Cebrián, September 16. Here and
Arlanza, near Burgos, later associated with in some other end words, a paragogic "e" is
the Cid. added in chanting the ballad to rime with
20. hijosdalgo, hidalgos, sons of a man of sangre, sale, etc.
some worth and noble by birth, in bands of 5. Almanzor (935-998?), Al-Mansur, in-
three or five hundred, did most of the guerilla vincible, Abu-Amer-Mohammed, caliph of
fighting in the middle ages. For their history Cordova, one of the most feared of Moslem
and decline in status, see notes to no. 106. generals. In 1. 101 he is called king. In the
22. caballo, caballero; cf. lanza and espada. ballads, his name personifies Moslem power.
30. monte, as usual, forest. 18. Almenar, in Soria.
35. When the count comes out of the 27. mi carillo, querido, Ñuño Salido, the
prison. tutor.
43. Modern, ¿adonde bueno? Where are 29. infantes, sons of noble birth, not re-
you going? stricted formerly to members of the royal
44. Santiago de Compostela, Galicia, the family; cf. Eng. "childe," as in Childe Harold.
shrine of Spain's patron saint, and place of 36. quise, was pleased to.
pilgrimage. 47. ¿limpiándola, limpiándola.
46. To pay you homage; the expression is 50. The assonance changes here to a-a.
still used in closing letters (q.b.s.m.). 55. mesurado, good-mannered; mesura was
62. os salí, salios. a fundamental conception of mediaeval
65. iros heis, os iréis; this construction is
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118 NOTES : 15-18
16. Ruy (Rodrigo) Díaz, Spain's most 17. Ximena (Jimena) Gomez, count Lo-
typical warrior and popular hero, nicknamed zano's daughter, pleads for justice against
Campeador (champion) by Castillans and the Crd. This obstacle to their marriage is a
the Cid (master) by the Moors, was born at romantic element added to the Cid legend
Bivar, near Burgos, about 1040, and died in in the 14th century. She continues to love
1099. This ballad illustrates the defiant atti- the Cid, but according to the code of honour,
tude of vassals toward their kings, and that must avenge her father's death. The situation
independent spirit which is so marked a is dramatized in Guillen de Castro's Las
characteristic of Spaniards in general. mocedades del Cid.
1. Diego La'tnez (son of Lain), the aged 1-4. Twelfth-day, Epiphany, observed in
father of the Cid. memory of the wise men from the east who
2. To do homage to king don Fernando I, brought presents (aguinaldos) to the infant
of Leon and Castile, 1035-1065, the weak king Christ.
of Guillen de Castro's play, La s mocedades del 10. The assonance changes to a-e.
Cid. 12-28. Trumped-up charges against the
7-20. There is a close parallel to this con- Cid.
trast between ceremonial livery and battle 23-8. An interpolation from a ballad begin,
array in a ballad on Fernán González, "Cas- ning, "A Calatrava la vieja." The penalty
tellanos y leoneses." Court refinements were referred to was imposed on courtesans: "For
of Moorish origin and were identified with the greatness of thine iniquity are thy skirts
them. discovered." (Jeremiah, 13, 22.)
7-8. Horses were fleeter, and were pre- 26. por casar\ unmarried.
ferred for war. 28. so, debajo de; the "h" of haldas is
18. afilado, pointed (in front), snouted; aspirated.
var. afinado, fine. 29-35. These lines are like the marquis
20. bonete colorado; this may be the red of Mantua's vow: "de nunca peinar mis
velvet covering on helmets seen in collections canas... ." (cf. Don Quijote, I, x.)
of armour. The bonetes colorados, fezes, 37. de que, desde que.
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NOTES : 18-21 119
and the precipice on the east. The town is popular appeal, and one would not expect to
built on a rocky hill (peña). hear it chanted in some remote Castillan
29. la Morería, the quarter occupied by hamlet or on a Latin-American ranch.
Mudejares, Moslems who lived in territories 3-4. The ballad favours Peter: "Le roi est
occupied by Spaniards. mort, vive le roi."
34. Sancho resented the partition, and 17-21. The refrain (estribillo) has two
besieged Zamora. broken lines, pies quebrados, as in Jorge
Manrique's Coplas•; 1. 80 has one syllable too
19. The siege of Zamora had lasted seven many; cf. 1. 59, which is correct; cf. p. 108.
months ("no se ganó Zamora en una hora"), 25. que, en que.
when Vellido Dolfoe went out and treacherous- 32. Padilla, Maria de, don Pedro's mis-
ly murdered Sancho by hurling a lance at tress, who had died, however, eight years
him from the back. before this tragedy.
1. Diego Ordonez, king Sancho's uncle; 36-7. cf. no. 11.
in 1. 16 he is a cousin. 51. Juan Núñez de Prado, grand master of
5. Flourishing or waving his lance in a the Order of Calatrava, was murdered by
threatening manner. María de Padilla's brother, Diego Garcia de
7. rieptary retar, to challenge. Padilla.
9. Arias Gonzalo, Urraca's uncle and 52. An octogenarian silversmith of Toledo
counsellor. From the walls of Zamora he had was condemned to death. His son (eighteen
vainly sought to warn king Sancho of Vellido years of age) asked to die in his stead, a
Dolfos* treacherous intentions. request that was granted.
21-8. The challenge is a formula that occurs 53. doña Blanca, whom Pedro abandoned
elsewhere with varying details. One who chal- and imprisoned two days after their marriage.
lenged a city had to defend his charges 54. infame proceso, damning evidence, con-
against five champions chosen by the city. demnation.
Zamora appointed five sons of Arias Gonzalo. 90. llora y se deshace, se deshace en lágri-
He slew three of them, was forced out of the mas, bursts into tears.
combat by the fourth, and the contest was 94-5. These lines are typical of the style of
left undecided. Góngora, to whom the ballad has been
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attributed.
20. In 1369, Peter I, the Cruel (by his 95. perlas, tears; oro, her golden hair.
partisans called el Justiciero), was killed, in a 106. tocas, wimple, a covering or veil ar-
hand-to-hand struggle, by his half-brother ranged in folds about the face and neck.
Henry of Trastamara, Enrique II (1369-79). 117. muerte, amor, cf. for these common
This ballad, printed in the Romancero general doublets of amatory verse and Petrarchism,
of 1600 and composed about that time, no. 31.
represents a new artistic type of ballad that
may have originated with Góngora (cf. nos. 21. The short (and best) version printed
93, 94). The traditional ballad has become here is found in the Guerras civiles de Granada,
poesía culta. Archaisms and formulas are 1595, of Pérez de Hita, who made "romances
discarded. Instead of simple directness, there moriscos" and alhambraism popular about
is a general approach to the theme, with such 1600. There has been much controversy
new elements from patrician poetry as over the date of this ballad, some contending
moralizing, cynicism, and sentimentalism. that it is contemporaneous with the battle of
Brilliant as the present ballad is, there is a la Higuera (no. 3), or nearly so; others that
lack of concentration on one incident as in it belongs to the first half of the 16th century.
the traditional ballad. It is not clear whether 1. Júzef Abenalamao, a prince of the
the main theme is the effect of the murder or royal family of Granada. There was civil
María de Padilla. Such a poem could have no strife among the Moors as well as among
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120 NOTES : 21-4
Spaniards, and Abenámar had gone over to 5. mi, var. rni; Alhama, a key position
the latter for help. After the battle, he was south-west of Granada.
placed on the throne. 12. caballo, lighter and fleeter than a mule,
2. la morería, Moordom, the Moorish and associated with war; cf. no. 16.
realm, Granada. 27. sangriento Marte, common in ballads,
6. A good omen, here; but not always so but borrowed from la poesía culta.
considered. 29. batalla, batallion, army.
U. la (verdad, 1. 20). 41. un alfaqui, mullah, a learned Moham-
19. rey, John II. medan, doctor of laws, counsellor.
25. El, la. 46. Bencerrajes, Abencerrajes, a rival fami-
26-7. The mosque and the Alijares, a ly of the Cegríes. Pérez de Hita's work deals
castle, no longer survive. with "las enemistades de los Zegríes y Aben-
35-6. Spaniards had employed Moorish cerrajes," and other families.
architects on the Alcázar of Seville and other 48. los tornadizos, turncoats; var., judíos.
palaces. Such summary treatment of archi- At the time, t:he Cegríes were living in
tects was not uncommon among oriental Christian Cordova.
despots. 49. la nombrada, a ballad formula (cf. no.
37. Genera/if e ("gardens of the architect"), 11, 2); the official title of Cordova is "muy
the summer palace and gardens above the noble y muy leal ciudad."
Alhambra.
39. Torres Bermejas, a fortress, now a mili- 23. For the history of this theme, "The
tary prison. Glove and the Lions," in literature (Brantôme,
43-6. This proposal of marriage to a city Pérez de Hita, Lope de Vega, Schiller, Leigh
is said to be a custom of oriental origin. Hunt, Browning, etc.) information can be
45. arras y dote, dowry; arras usually refers found in Menéndez y Pelayo's Antología,
to the thirteen coins given to the bride by the XII, 222-6. It is a common motif in folk-
bridegroom. lore to impose on someone a difficult or
48. viuda, stressed as in Latin; now viuda. dangerous task; cf. no. 24.
1-2. Don Manuel Ponce de León, "gloria y
22. The version printed here, with a refrain honra de los españoles caballeros" (Don
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NOTES : 24-9 121
25. The ballad of Gerineldo(s), the page 28. Roland's sword, Durendal, by a strange
who was loved by a princess, is one of the confusion became the name of one of the
most popular in Spanish balladry, over one twelve peers. In this ballad, Durandarte,
hundred and sixty versions having been found, before his death at Roncesvalles, apostro-
and Gerineldo has become synonymous with phizes Belerma, his mistress, and asks his
the fortunate lover, "más galán que Gerinel- friend Montesinos to take his heart to her.
dos," a predecessor of don Juan Tenorio. The ballad has been made familiar by Don
It is based on the legendary amours of Quijote (II, xxxiii) and has been burlesqued
Eginhardo, Charlemagne's historian and by Góngora:
supposed son-in-law, and Emma, the em- "Diez años vivió Belerma
peror's daughter. con el corazón difunto
1. The princess is speaking. que le dejó en testamento
12. estéan, estén. aquel francés boquirrubio . . . ."
15. con ser, although a queen; she was as 11. Montesinos, so called because he had
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anxious as any other mother under the cir- been brought up in a mountain.
cumstances. 17. servilda, servidla (metathesis); cf. tra-
33-4. The sword serves as evidence that e/de (1. 19), etc.
the king has been an eye-witness of their 30. The right hand.
misdemeanour, and not as a symbol of chas- 58. de allá, Fr. en.
tity (on which there is an extensive literature),
as some maintain. 29. No collection would be complete without
35. Al día siguiente. an example of a Moorish ballad, romance
36. aborrecido, aburrido, disgusted, cast morisco, in vogue about 1600. These bal-
down. lads were romantic and sentimental, and
45. dése, de ese. replete with colour symbolism and descrip-
tions of horses. Needless to say they were
26. 1. doña Alda, "Aide la belle" of the satirized and burlesqued, Lope de Vega
Chanson de Roland-, Roland's bride. ridiculing their "caballos azules y morados."
5. This kind of word play (figura ethymo- "Quítense," exclaimed Quevedo, "las sig-
logica) has been noted before (no. 4, 380). nificaciones de las colores, que son muy
6. calzar, calzado. enfadosas."
31. de so, debajo de; so is preserved in 1. azules, the colour of jealousy, and the
phrases like "so pena de." keynote of the ballad.
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122 NOTES : 29-32
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NOTES : 32-8 123
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124 NOTES : 38
and light verse. Toward the end of the poet sets his pattern in the first stanza
century there was indeed some harmonizing (arrangement of long and short lines, their
of the new and the old in Lope de Vega and number and rimes). The last stanza is
Góngora, classical art adapting itself to the shorter and serves as an envoy, or leave-
national medium. All this enriched Spanish taking, of the personified "canzone."
poetry and gave it a quality that no other Garcilaso de la Vega belonged to the
renaissance-inspired poetry, except English Spanish nobility and stood high in the favour
and in a lesser degree, can show. The watch- of Charles I (V), in whose foreign wars he
word, as is manifest in the varied metres of took part. Because he connived at a mar-
the poetical drama, became variety, justified riage between his nephew and Isabel de la
by the conviction that nature is beautiful Cueva, he incurred the displeasure of the
because of its harmonious diversity, "por emperor and was interned, in 1532, on an
la variedad es hermosa la naturaleza." island in the Danube, near Ratisbon. This
But while this is true, there was a field of poem, expressing his disappointment and
patrician poetry that remained beyond the defiance, is one of his earliest Italianate
comprehension of the people, the "vulgo." compositions.
The beginnings of it are discernible in Garci- 1-2. Here and elsewhere, the run-on lines
laso de la Vega, and earlier in Juan de Mena. and his use of epithets reveal his mastery of
The two phases are sometimes discernible in rhythms.
the same writers, notably in Lope de Vega 1. ruidoy trisyllabic.
and Góngora. In Góngora we find two dif- 3. cerca, cercar, to surround.
ferent poets, and it is not altogether a matter 9. Modern editions, following Tamayo de
of chronological development, the one writing Vargas, place a semicolon at the end of the
lyrics in the tradition of "la verdadera poesía line; a comma seems better.
castellana" and the other in the most ad- 19. This line shows his remorse and re-
vanced form of Petrarchism, "culteranismo." pentance. The marriage did not take place.
So in Lope we may have the defender of 24. juntos, a. favourite word with this poet;
popular "coplas" and then again the despiser the pronunciation of "j" was softer then,
of all that is comprehensible to the masses.* "sh," as in Portuguese.
The two tendencies are well symbolized in 26. que, por que.
the Romancero general of 1600, and Espinosa's 27-39. "Agudo" rimes for emphasis.
Copyright © 1947. University of Toronto Press. All rights reserved.
Flores de poetas ilustres de España, 1605. 31. That I should submit ignominiously.
This "canción" or "canción real" is in the 32. prenda, pawn, piece: his soul or honour.
form of an Italian "canzone," in which the 33. el mal, the worst.
*(a) "No pienso que el verso largo italiano 37-8. His detention, which is more bitter
haga ventaja al nuestro, que si en España lo to him than death.
dicen, es porque no sabiendo hacer el suyo se 54. fieras, savage, warlike.
pasan al estranjero como más largo y li-
censioso; y yo sé que algunos italianos 61. tan, as often, very; ajena, foreign.
envidian la gracia, la dificultad y sonido de 62. On a lonely strand.
nuestras redondillas . . . sentencias y con- 63. Sánchez, Garcilaso's first editor (1574)
ceptos desnudos de todo cansado y inútil changed the reading to a la fin; Herrera,
artificio; ¿qué cosa iguala a una redondilla
de Garci-Sánchez . . .? Perdone el divino another professor at Salamanca, and the
Garcilaso . . . Don Jorge Manrique, cuyas second editor (1580), disapproved of Sanchez*
coplas castellanas admiran los ingenios estran- emendation (he usually did) and inserted
jeros, y merecen estar escritas con letras de acaso, but the line is still weak.
oro." (Isidro de Madrid, prologue.)
(b) "Préstame vuestra ayuda o melecina 65. error, in the double meaning of wander-
para que el vulgachón que me adevina ing and error, as in the Petrarchists.
no entienda los concetos 67. It is said that the poem was given to
que entre vuestras albardas van
secretos." the emperor by the duke of Alba, and that
(Espinosa, Flores de poetas ilustres, p. 137.) the poet was permitted to choose between
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NOTES : 38-40 125
retiring to a monastery or serving in Naples. 30. su, referring to viola; var. tu, referring
He preferred military service. to Violante; figura, form, image, a difficult
68. lo que te toca, your interests. word, as it can also mean person.
70. hubieras, var. hubiera. 31. cativo, cautivo, captive; but it also
implies miserable, unhappy.
39. Sometimes entitled "Canción a la flor 34. A pun on Galeota, galeote, galley-slave.
de Gnido." The stanza (aBacB) used here 35. Aphrodite (Venus) sprang from the
for the first time in Spanish poetry and usually foam and rode the sea on a shell, as is repre-
called a "lira," after the last word of the sented in Botticelli's "Birth of Venus."
first line, was invented by a contemporary 36-51. Imitated from Horace, Odes, I,
poet Bernardo Tasso (1493-1569) as a modern VIII.
equivalent to Horace's odes. It became the 39. lo, var. la.
favourite metre of Fray Luis de León and 43. dudoso, a transferred epithet, an ex-
San Juan de la Cruz. ample of the many new rhetorical devices
According to an old tradition, the poem borrowed from the classics.
is an appeal to Violante San Severino on 63. An anacoluthon: One who has no other
behalf of the poet's friend Fabio Galeota. fault should not become reprehensible for
Gnido is a district in Naples, and includes a wanting in gratitude.
pun on Gnido (Cnido), Gnidus in Asia Minor, 66-100. Disproportionate space is here
sacred to Aphrodite or Venus. The poem was given to the story of Iphis and Anaxarete,
burlesqued by Hernando de Acuña, "A un taken from Ovid's Metamorphoses, XIV, 13.
buen caballero y mal poeta." Iphis, failing to win Anaxarete, hanged him-
2. son, sound, music. self at her door. When she saw him, her
3-4. A reference to Orpheus or to Arion. heart stood still and she turned to marble,
6. ásperas, rugged; this word and as- The story occurs frequently in Spanish poetry
pereza, old words reintroduced, occur and was dramatized by Calderón, in La fiera,
frequently in Garcilaso. The new poetry el rayo y la piedra.
favoured epithets, especially when poly- 70. con su mármol arde, a seeming contra-
syllabic and sonorous. Many of the neo- diction (oxymoron).
logisms were accepted, and enriched Spanish 74. vido, vio.
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126 NOTES : 40-1
pastoral tradition, and shows conscious imita- (Georgics, IV, 511), is the theme of a well-
tion of classical and Italian models. For known poem by Villegas (no. 109).
details on such matters and an appreciation, 90. entretanto, mientras.
the reader should consult H. Keniston's 93. With many varied notes.
Garcilaso de la Vega, 1922, 240-69, and Margot 95. suena, resounds, is vocal.
Arce Blanco's Garcilaso de la Vega, contribu- 96-7. All through the silent night (adv.), it
ción al estudio de la lírica española del siglo keeps up (never ceases) its sad dirge and
XVI, 1930 (Rev. de Fil. esp., anejo, xiii). lamentations. •
1. Nemoroso, Garcilaso de la Vega, is 104. prenda, beloved one.
speaking. Nemus refers to Vega, as Salicio 114-27. The theme of his sonnet (no. 41).
of the first part is an anagram of (Gar)cilaso. It will have been noted how much more
20. Elisa, an anagram of Isabel. personal, specific, and poignant this elegy is
22-4. Átropos, one of the three Fates, with than Jorge Manrique's. Much of the passage
her shears (agudos filos) cut the thread (tela, is taken from Sannazaro's Égloga, XII.
web) of life. 123. de consuno, at the same time.
25. The poet forgot that, according to the 124. I almost stroke and count them one
pattern of the first stanza, this line should be by one.
hendecasyllabic. In the stanza beginning at 133. trance dt Lucina, throes of childbirth;
1. 44 there is one line too many. Lucina, "the light-bringing," Juno, or often
26. Poetical, romantic exaggeration, as he Diana Lucina, goddess of childbirth.
was only thirty-three years of age. 134. Her prayers.
29-40. The ubi sunt? theme (cf. no. 4, 11. 135-7. Reminiscent of Orpheus and Arion.
181 fF.). 138-40. Classical attributes of Diana, "the
35-40. The renaissance type of feminine inexorable."
beauty, as seen in Botticelli's paintings and 141-55. Reproaches addressed to Diana,
Burne-Jones's 19th-century revival. who was also the virgin goddess of the chase
35. vían (ver), veían (old veer). and of the moon.
38. blanco, var. blando. 143. Endymion, celebrated for his beauty
39. coluna, columna. and perpetual sleep. Diana (the moon) came
57. lumbre (L. lumen), luz (cf. 1. 79). down at night 1:0 kiss him and lie by his side.
144. Cosa, an Italianism for ¿qué?; bastar,
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NOTES : 41-4 127
perhaps a lock of her hair (cf. no. 40, 11. 114- syllable, a marked tendency in Boscán's.
27). He wrote a very tender sonnet on 1. siendo llegados, habiendo llegado.
visiting her tomb in Toledo, "Oh hado 2. los trovadores, rhymesters; trovas is a
executive en mis dolores." general, old-fashioned name for national
1-2. Familiar lines taken from Dido's com- metres.
plaint (Aeneid, IV, 651) after being aban- 7. corredores, scouts, skirmishers.
doned by Aeneas, "Oh relics dear to me while 8. desmandados, impertinent.
fate and heaven allowed," "Dulces exuviae, 10. como debía, very properly.
dum fata deusque sinebant." 12. y, but; nuevo lenguaje: one characteris-
3-4. You are associated in my memory tic of Petrarchism all over Europe was the
with her and you are sworn with her to bring use of new, sonorous, polysyllabic words, of
me death (great sorrow). Italian or Latin origin, intended to enrich
7. habíades, habíais. vernacular diction. Although it did this, it
9. junto, all at once, suddenly. showed at the outset a tendency which
10. por términos, over a period. eventually culminated in culteranism or
11. junto el mal, also the grief, or, quickly. Gongorism, and such lines as Shakespeare's
13-14. "A sorrow's crown of sorrows is "multitudinous seas encarnadme." Lope de
remembering happier things" (cf. no. 4, Vega's sonnet (no. 77) is an interesting
11. 8-9). morir and muerte (1. 4), to suffer, pendant to this one.
grief. 15-74. Coplas reales; cf. no. 111.
15. caso que, aunque.
42. 2. quieren bien, quieren, love. 17. contra todos, var. contentados.
4. buscan, hallan, find; cf. Ital. cercare, 22. arte mayor y real, as in Juan de Mena
Fr. aller chercher. (no. 3).
13. dejar, refrain from. 24. The native stock.
15. amor de almacén, common, vulgar; cf. 30. Ironical.
adocenado, sold by the dozen, ordinary. 31. madrigales; for an example see no. 46;
17-18. False, deceitful; love cannot exert canciones, I tal. canzone-i, defined in no. 38.
itself. 33. tercia rima, I tal. terza rima, Sp. terce-
24. la prueba, the test. tos, riming ABA, BCB, CDC, etc. (cf. no
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27. ceba, to re-magnetize a needle, to excite 82); the metre of Dante's Divina Commediay
a passion; the subject is amor of 1. 24. and generally of satire. Garcilaso de la
39. We miss fire, are at cross-purposes. Vega employed it in his second eclogue.
42. There is a line missing after this one, octava rima, the preferred metre of the
doubtless intentionally. renaissance epic; cf. no. 60.
34. lindas; variants, nuevas, bravas.
43. 2. pensamiento, the mal of 1. 16, love's 37. baja de ley, of base alloy.
sorrows, pangs; Prov. pensamen, and a 38-9. Blank verse, versos sueltos, as in
commonplace in Petrarchists like Ausias no. 54. Employed by Garcilaso in an epistle
March and others. and by Boscán in Leandro y Hero, it rarely
reached classical perfection in Spain, a
44. Castillejo, in far-off Vienna, where he notable exception being Jáuregui's Aminta.
served as secretary to the brother of Charles I 43-4. Because they were not acquainted
(V), was the most active adversary of the with sonnets, the most popular metre in
Italianate school of poetry; other nationalists Italianate poetry, over one hundred thousand
criticized it too, but less consistently. The having been composed in Italy alone during
present satire, only part of which is printed the 16th century.
here, takes the form of parody and narrative, 49. en estilo, stylishly, fashionably. By and
the sonnet, for instance, being made monoto- large, Petrarchism dealt chiefly with love.
nous by the regular stress on the sixth 54. felicidad, var. facilidad.
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128 NOTES : 44-9
mingled hendecasyllabic and heptasyllabic The sonnet is a tribute to the emperor but
lines elaborating a conceit. propaganda as well, the idea of an empire,
which might be more Hapsburg than Spanish,
47. 1. he, tengo. being at first unpopular in the Peninsula.
10. muy, mucho. 5. Jornada, task, undertaking.
14. trae procura, procura, procures, brings 6. el fin, the realization, success.
with it. 8. One and indivisible; "one empire and
one sceptre" had become the watchword of
48. From the pastoral novel Diana (II), imperial propaganda.
1559? 12-13. In 1521 Charles was crowned, at
Aix-la-Chapelle (Aachen), emperor of the
49. This tribute to the emperor Charles V Holy Roman Empire, the official head of
(I of Spain, 1500-58), written by one who the Christian world. In 1529 the pope
was close to him, promotes an ambition, crowned him king of Lombardy and emperor
encouraged by circumstances of birth and of the Romans. Cristo is the subject of
genius which had made Charles the ruler of ha dado and oí" dará.
the vastest empire ever known, embracing 13-14. This can be interpreted variously:
America and most of western Europe, and (a) A second more glorious day (than when
fostered also by his chancellor, Gattinara, Christ made him his standard-bearer) when
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NOTES : 49-51 129
all the seas and all the land shall have been 22. secreto seguro, secluded retreat.
conquered by him; (¿) the first day will have 32. no aprendido, artless; Fray Luis liked
brought the conquest of the sea, the second, this classicism; cf. 1. 26.
the more glorious one, of the land, that is, 36. He preferred the quiet life of a student
the completion of world conquest. and teacher, and boasted that he knew only
twelve men in Castile.
50. The poems of this scholar poet were 49. fontana, spring.
published long after his death by Quevedo 56. A breeze cools the garden.
(1631) to counteract culteranism. Quevedo 59. Taken from Garcilaso (no. 38, 1).
observed in them purity of language (with 62. leño, ship (It. legno).
some Latinisms), majesty of diction, facility 63. mío, my lot; ver, oír.
in verse, clearness. Fray Luis was an apt 65. cierzo, nor'wester; ábrego, sou'wester.
pupil of Garcilaso in diction and metres, but 66-70. Such descriptions of storms are
his style is simpler, with fewer attributive literary commonplaces in the classics. For
epithets and more predicate adjectives and a real storm one must turn to Ercilla's La
adverbs. His other great master was Horace, Araucana, in which a top-heavy caravel rides
to whom he owed much of his clearness and a hurricane off Chile, as described at first
precision. To appreciate the sweetness of hand by one who "had travelled more than
his diction, the most beautiful in Spanish any man since Adam."
verse (and prose), one needs to hear him read 66. The buffeted yard.
by a native. 70. They (the sailors) vie with one another
None of Horace's odes has been more in jettisoning the cargo.
popular in Spain than the second epode, 72. abastada, abastecida.
"Beatus ille . . . ," the city man's praise of 76-7. miserable-mente, etymologically jus-
an idealized country life, its supposed freedom tified (L. mens, mind), and common in
from cares, its simple fare and pleasant Italian, old and new, and in Latin; cf. no. 40,
prospects. Garcilaso, among many others, 11. 64-5.
including Fray Luis, rendered it into Spanish, 85. Produced by skilfully plucking the
and in the present poem we have a spiritu- strings of the lyre with the plectrum. Fray
alized adaptation written by one who craves Luis was too scholarly to mistake the meaning
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only peace. For the considerable influence of of plectrum, as some have supposed. See the
Horace in Spain, there is a long study by next poem, 11. 4-5, for a parallel.
M. Menéndez y Pelayo, Horacio en España,
1885 (2aed.). 51. Francisco Salinas, the blind organist
2. que huye, que / huye. of the cathedral of Salamanca and scholar,
8. dorado techo, the richly decorated arte- author of De Música^ 1577. This work, a
sonado, panelled or beamed ceiling of Moorish copy of which is in the University of Toronto
architecture. Library, contains the music of some folk-songs.
9. se admira, marvel at; cf. Horace's "Nil 7. Forgetful of its divine origin.
admirari . . . ." "To wonder at nothing is 10. origen, now mase.
about the only thing which can make a man 14. Horace's much despised vulgus, com-
happy, and keep him so." (Epistles, I, vi.) mon herd.
10. sabio, skilful. 17. The empyrean, abode of God.
17. vano, a Latinism, false, deceitful; cf. 28. consonante, corresponding, harmonious.
lisonjera, 1. 14. 29-30. Sir Arthur Sullivan's The Lost Chord
18. viento, vanity. expresses a similar idea.
21-2. The Augustinian quinta or country 31-40. A spiritual union produced by the
retreat of La Flecha, on the Tormes, near power of music. There is not much mysticism
Salamanca, described again in los Nombres de proper in his poetry, but a great deal in some
Cristo (I). of his prose; cf. no. 65.
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130 NOTES : 51-6
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NOTES : 56-62 131
mujer de toda la Mancha." (Don Quijote, I, of this obscure poet, "ponderando la grandeza
ix.) de su estilo y lo magnifico de la dicci6n de
72. tripa, stomach. sus versos," in contrast with contemporary
81. vilesy idle. Gongorists, "que martirizan nuestra habla."
90. What a fine old flavour and bouquet. Nothing is known about de la Torre. His
94. moradilla, ripe olive, from morada, poems are all melancholy, reflecting an un-
purple. Olives were served at the end of the happy love for his Phyllis (Filis), perhaps the
meal. hind of no. 62. This sapphic ode, allegorical
100. It can row its oar with the cheese; like most of his work, is addressed to Thyrsis
it is good enough to be served with it. (a pastoral name for Francisco de Figueroa,
another obscure poet), who is embarking in a
57. 22. Aracenay province of Huelva, pro- storm, a theme borrowed from Horace
duces chestnuts and hogs. ("O navis," I, xiv) and used also by Lope de
Vega (in his "Pobre barquilla mia"), and
60. From Ercilla's epic, La Araucana (1555- others.
90), which treats of the insurrection of the 9. la gente, crew; cielo, in assonance with
Araucanian Indians of .Chile, led by their truenoSy 1. 11, and pecho, 1. 13. Such rimes
cacique, Caupolican, against the Spaniards. are common in Spanish blank verse.
The author had lived in Chile, but the 14. mal regidoSy rash.
description of the impaling of Caupolican 16. At the break of your dawn, youth
and his heroic fortitude is made at second (cf. 1. 20).
hand, as he admits. Rub6n Dario, in Azuly 20. Daedalus formed wings for himself and
has a fine sonnet on how Caupolican carried his son Icarus, with which to fly across the
a log for two days, and walked about with it sea. Icarus flew too near the sun, the heat
in the contest for election as chief. The of which melted the wax that fastened his
metre is the royal octave (ABABABCC), wings to him, so that he fell into the sea.
the stanza used in renaissance epics, as, for 22. Etna.
example, by Ariosto, Tasso, and Camoens.
24. These giants conspired against Jupiter
12. On all sides open to the view.
and were buriedh under Etna.
14. yy ni.
33-5. Well, let the sea, let the uncontrolled
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132 NOTES : 62-3
herido vase con gran priesa a buscar refrigerio (1571) or of the disaster that befell the
a las aguas frías; y si oye quejar a la consorte, Portuguese king Sebastian at Alcazarquivir
y siente que está herida, luego se va con ella (1578). The first gives praise to the Lord,
y la regala y acaricia . . . porque en los the avenging god of battles of the Old Testa-
enamorados la herida de uno es de entrambos ment, for the defeat of the Turks, and the
y un mismo sentimiento tienen los dos." second is a kind of doxology with some dis-
The poem is published here as in Quevedo's paragement of the Portuguese. The present
edition, modern editors having silently intro- sonnet will suffice to give an idea of Herrera's
duced changes. style.
2. cruda, cruel, a mannerism of this poem. The Turks menaced western Europe
11-14. The passage seems to mean: The throughout the 16th and 17th centuries. The
cruel hand rejoices in your sufferings, when, campaigns against them were in the nature
dying hind, you live on to pine for your dear of crusades. At Lepanto, in the gulf of Patras,
companion, wounded and bleeding, his tender west of Greece, the Christians, with papal,
and delicate bosom pierced by the swift Venetian, and Spanish galleys under the
hunter. In his canzone Tórtola solitaria: command of John of Austria, scored a de-
"La rigurosa mano que me aparta cisive victory and destroyed their navy.
como a ti de tu bien, a mí del mío, Cervantes took part in the battle, and, as he
cargada va de triunfos y victorias." himself says in the prologue to his Novelas
16. muertoy dying; amor, love, lover. ejemplares: "Perdió en la batalla naval de
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NOTES : 63-5 133
Mysticism is concerned with the soul's es la de los perfectos, donde se hace el matri-
return, through love and faith, to its divine monio espiritual. La cual vía unitiva y de
origin and reunion with God. The threefold perfectos se sigue a la iluminativa, que es de
process, the "camino de perfección" of Santa los aprovechados; y las últimas Canciones
Teresa, the "vía unitiva," consists of purifica- tratan del estado beatífico, que sólo ya el
tion (and conversion), ecstacy (illumination), alma en aquel estado perfecto pretende."
and union (the spiritual matrimony with (San Juan.)
Christ as God). It is intensely personal. In such a spiritual experience, a strictly
"El místico . . . aspira a la posesión de Dios logical or chronological sequence is not to be
por unión de amor y procede como si Dios expected, but the process can be determined
y el alma estuviesen solos en el mundo." by a careful analysis of the poem. The work
(Menéndez y Pelayo.) is cast in the form of a primitive kind of
The principal sources of mysticism are drama in which, as in the mediaeval, religious
Canticles (The Song of Songs) and renaissance plays of Jacopone da Todi, setting and stage
Platonism, the yearning for ideal perfection. directions are included in the dialogue of the
The setting may be pastoral, as in the present speakers. For the full understanding of the
poem, with influences of romances of chivalry, poem, its detailed allegorical significance, the
all cast in the style and vocabulary of amatory reader must consult the author's very exten-
verse as in The Song.of Songs, from which it sive exposition.
derives also its voluptuousness. 2. Amado, or Esposo, the beloved bride-
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134 NOTES : 65
groom, Christ, whom the bride (the soul, que la comunicación que ahora de mí recibes
mankind, the church) is seeking. aún no es de ese estado de gloria que tú ahora
3-4. Like the hart hast Thou fled, after pretendes." (San Juan.)
smiting me, enamouring me (conversion). 63. Christ.
"El alma recién convertida y herida del amor 66. An enumeration, as the author explains,
de Dios, desea con ansia unirse a Él, desen- or supply mira (1. 92). It is a series of beauti-
gañada del amor de las criaturas/' (Fray ful, romantic sights and sensations taken from
Luis de León, El Cantar de los cantares.) She pastoral literature and representing mani-
enquires of shepherds and created things festations of God. "En este vuelo espiritual
concerning him. ... se denota un alto estado y unión de amor,
6. fuerdeSy fuereis. en que, después de mucho ejercicio espiritual
10. peno y muero; the diction of contem- suele Dios poner al alma, al cual llaman
porary amatory verse. desposorio espiritual con el Verbo Hijo de
11. amores, amante, love. Dios . . . . Comiénzale un estado de paz y
15. fuerte s y fortalezas. deleite y de suavidad de amor, según se da a
16-20. All lovelier than earthly things. entender en las presentes Canciones, en las
20+. CriaturaSy created things. cuales no hace otra cosa sino contar y cantar
24. figura, face, especially the eyes (miran- las grandezas de su Amado, las cuales conoce
doy 1. 23; tus ojos y 1. 157). y goza en él por la dicha unión del desposorio.
30. As though mensajero were collective or . . . (San Juan.)
partitive. 68. "Las ínsulas extrañas están ceñidas
31. All those who rove or wander (to God) con la mar, y allende de los mares, muy
are the "criaturas racionales . . . los ángeles apartadas y ajenas de la comunicación de los
y los hombres." hombres."
34. muriendoy pining, as in amatory verse. 72. en par de, near.
35. The author is fond of such somewhat 74. "Callada cuanto a los sentidos y po-
primitive alliterations (figura ethymologi- tencias naturales, es soledad muy sonora para
ca). He lacks the verbal felicities and good las potencias espirituales."
taste of Fray Luis de León. 76-7. "Take us the foxes that spoil the
37. More alliteration; cf. Santa Teresa: vineyard."
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136 NOTES : 67-71
atcd. One edition places a comma after farrón," "mata-siete," a well-known type
admite, 1. 57, and a colon after permite, 1. 60. that he and others often ridiculed. The
58. In the metaphysics of love, accidente occasion was the erection in the cathedral
was used in the sense of chance or accident of Seville in 1598 of a huge catafalque to
as the cause of love, in contrast with choice. commemorate the death of Philip II. Pictures
of it have been preserved, and reproduced
69. In 1596, the English under the earl of (e.g., in the Semanario pintoresco español,
Essex (Sex in Spanish) made a surprise 1842, p. 177).
attack on Cadiz. "Antonio de Zúñiga, the 1. The speaker is identified by his oaths
corregidor, was the first to run and everybody (also at 11. 5, 9) as a soldier ("full of strange
followed their leader's example." (Marbeck.) oaths"); espanta, amazes.
In Seville, a battalion of twenty-four com- • 2. por, para.
panies of infantry was improvised and drilled. 6. mancilla, a pity.
These awkward squads with their accoutre- 7-8. "Cervantes motejó con gracia el
ments of plumed hats ("plumas de pre- carácter jactancioso y baladren que se
sunción), Cervantes facetiously compares atribuye a los hijos de aquella ciudad."
with the pageantry of Seville's famous Holy (Martinez de la Rosa.)
Week. The soldiers were mustered under 12. un valentón, another of the same type.
captain Becerra (the bull-calf of 1. 9), and 13. voacé, one of the numerous early
marched timorously upon Cadiz under the abbreviations of vuestra merced which
command of the inept duke of Medina originated among the lower classes, and was
Sidonia, the ill-starred commander of the not accepted by society until about 1630,
Invincible Armada. This sonnet is notable in the form of usted.
in that it is Cervantes' first known humorous 14. This would be considered a challenge,
composition. There is, however, some doubt the bully being frightened by his own words.
about the authorship. 15. Var. y echando un paso atrás a lo
2. cofradías^ brotherhoods which compete valiente.
in Holy Week processions. 16. chapeo, sombrero: to pull down the
4. guien, quienes; se espanta, twofold hat was a bullies' threat; requirió la espada,
meaning of to marvel and to be afraid. he felt for his sword under his cloak, a threat
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NOTES : 71-7 137
each line emphasize the sincerity of the 74. Taken from Peribáñez.
spiritual experience. 1. Trébole, trébol, trefoil, clover; in folk-
8. tus afrentas, affronts to you. lore it is considered lucky to find one with
two or four leaves, or at dawn to find one
9. tu amor, love for you.
about to bloom and with the middle leaf
larger than the other two; so that trébole
72. This sonnet by a Mexican shows that came to mean good luck to, hurrah for.
national consciousness developed early in 1. güele, huele; the trébol olledero, sweet
America. clover.
8. robre, oak; warriors were crowned with 2. olor, sweet fragrance.
oak leaves, as poets were with laurel. 15. tocas blancas, the opposite of negras,
11. Fúcar, the Fuggers were rich Germans widow's weeds.
(of Swiss origin) who had extensive financial
75. Lope ranked as Spain's most versatile
interests in Spain and America: "Ni trato
sonneteer, and it was natural that he should
en Indias, ni soy Fúcar; soy un pobre mozo
try his virtuosity on a sonnet on a sonnet.
como tú. (Alemán.)
Italian and Spanish poets before him had
14. And he used to cast a drag-net in done it: Pucci, Diego de Mendoza, Alcázar.
Sanlúcar de Barrameda. This town at the Many have tried it since, and have even
mouth of the Guadalquivir, was famous for extended the artifice to rondeaus and triolets.
tunny fishing and for rascalities (cf. Don Lope's sonnet is taken from La niña de plata,
Quijote, I, 2). "Uno de los parajes de España 1612?
que en tiempo de Cervantes eran más con-
curridos de vagabundos y gente perdida." 76. Lucinda may be any Christian name,
(Clemencín.) or, as often in Lope de Vega, Micaela de
Those who went to America and became Lujan, an actress and his mistress. The
rich were ridiculed at home as well. In same theme is used in a sonnet by an obscure
America they were called "chapetones," poet, Tinco (Gallardo, Ensayo, IV, 742).
greenhorns, and in Spain, "indianos** or 7-8. The pink of her cheeks, which glowed
"peruleros.** Their new wealth, their stingi- against their whiteness; nieve ardía, a common
ness and exaggerations, "pataratas,** were oxymoron in Petrarchists.
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138 NOTES : 77-84
14. Vizcaya, where Basque is spoken and a 82. A domestic scene from the busy life
corrupted form of Spanish: "Le digo en mala of a dramatist, written in tercetos, published
lengua castellana y peor vizcaína." (Don in La circe, 1624, and addressed to doctor
Quijote^ I, viii.) Mathías de Porras, then living in Peru,
giving him news about himself and Spain.
78. Theme: "I was a stranger, and ye took Only a part of the epistle is reproduced here.
me not in." (St. Matthew, 25, 43.) 1. fortunas, storms.
2. interés, self-interest, concern. 2. Of his early years; but Lope never
7. And not my kindness. ceased to be a great lover.
6. puerta, apparently a euphemism for the
79. The story of Judith, the beautiful Jewess portal of death. His wife and child became
of Bethulia, who, in order to save her city, ill later and died in 1612.
murdered Holofernes, one of Nebuchad- 7. Carlos Félix, born in 1605, died 1612.
nezzar's generals, in a tent, is told in Judith, 15. A copy or likeness of our affection.
XIII-IV, of the Vulgate (not included in 16. ciencia, wisdom.
the King James Version). 18. I, ill prepared for a separation that
3-4. Vainly did he hurl his shafts against was to occur soon: the death of his wife and
heaven (upward), for they fell back on him. son.
Proverb: "Al que al cielo escupe, en la cara
le cae," a lesson for arrogance. 83. Taken from Los milagros del desprecio,
5-6. The flap of the red canvas of the a play also attributed to Pérez de Montalván
tent, in his anguish, wrapped about his left (1602-38).
hand; siniestra, izquierda. 3-4. If this is to be taken literally, it is
7. descubre, reveals. ironical and humorous.
8. hielo, the chill of death. 5. "My soul is exceeding sorrowful,"
9-10. Drunkenness befouls armour, glasses (Matt. 26, 38.)
and overturned table. "For all tables are 6. un cristiano, a Spaniard; cf. no. 77, 11.
full of vomit and filthiness." (Is. 28, 7-8.) 8- gragea, bonbons, caraway seeds, buck
The original says only: "erant autem omnes shot.
fatigad a vino." 12. luteranos, the Dutch, who were at war
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NOTES : 84-9 139
with butter and sugar; those of Soria were 88. 3. amiga, school-mistress, kindergarten.
famous. 18. With what is attached to the estadal, a
22. Spanish stories begin: "En el tiempo blessed ribbon worn around the neck.
del rey que rabió por gachas" (troubles); 31. Boys, holding formidable wicker masks
once upon a time . . . . with head and horns, still play mock bull-
31-3. Leander of Abydos swam nightly fights in parks and village squares.
across the Hellespont to visit Hero. 39. tanto de ello, mucho.
35. Yepes (prov. of Toledo), Madrigar 43-4. This ditty or seguidilla concludes:
(prov. of Guadalajara), famous for their table "y derrámelas"; hierbas, herbs, simples, used
wines. as a charm for lovers.
39-42. Pyramus, fearing that Thisbe had 45-70. A boy's accoutrements for a mock
been killed by a lion, stabbed himself. When cane-tourney.
she discovered him, she killed herself. 55. anaranjeamos, pelted with oranges.
Children's imitation of "correr los gallos,"
85. 3-4. Things do not turn out as one an old Shrovetide sport. A rooster was
expects; cuando, correlative: sometimes one buried in the ground with head and neck out,
expects whistles and gets flutes . . . . and attacked with swords by men who were
21. Proverb: "Parvus pendetur fur, mag- blindfolded.
nus abire videtur," the little thief is hanged, 69. cañas, cane-tourney, an equestrian
the big one goes free. sport fought with spears of reed, "correr
cañas." Costumes for "juegos de cañas"
86. This is a romance de arte menor or were, like those of bull-fighting, of Moorish
romancillo, hexasyllabic. An interesting origin. Both sports were formerly restricted
variant of this lyric has been published by to the aristocracy.
Tomer, in Rev. fil. esp., 1927, p. 422: 79. Hide and seek.
"Pues me cautivastes
madre, a mi pesar, 89. 1. Menguilla, a diminutive of Dominga.
ahora que quiero, 2. cinco puntos, no. 5 shoe; jervilla, a
déjasme llorar, short shoe.
que ausente llorando 5. al justo le vengay fit her.
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140 NOTES : 89-93
90. There is an interesting variant of this 92. 1. Let us be merry. "Youth's a stuff
true-false motif: will not endure"; "Gather ye rose-buds while
"Puede ser ye may" (Herrick), the "Collige, virgo,
mas yo no he de creer . . . ." rosas," of Ausonius.
(A. Enríquez Gómez, EAE., XLII, 15. When a meal was set before Phineus,
p. 389.) harpies carried it away.
Góngora's poem gives cynical turns to pro- 30. Oversized, too old.
verbial expressions, with an uncommon
39. roquete, rocket, a surplice.
number of puns, even for a Spaniard.
1. A commonplace found in Ovid, Lucan, 50. nada, var. caña.
and others, and proverbial in Spain. 59-60. According to the ancients (Phaedrus
5. cruzados, an old coin, and knights of and others), Opportunity has a forelock in
military orders. front, convenient to seize ("asir la ocasión
6. escudos, a coin, still used in Portugal, por el copete"), but is bald behind, with
a peseta; heraldic shields on which arms are nothing to grasp after it passes.
painted.
17. Marfira, any woman; the name occurs 93. In Ariosto's Orlando furioso (c. XIX),
Angelica, the beautiful princess of Cathay,
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NOTES : 93-5 141
peacefulness (1. 5) of the pastoral setting, of Venus' followers, had been turned into a
their union. dove.
9. He had been wounded in the chest by 101. An ablative absolute construction
a base knight. (grecismo): her bosom is uncovered.
11. Cupid had not yet pierced him with 103-4. She fastens them up (el pecho, el
his arrow. cabello] with her pink white hands.
14. Dark with the shadow of approaching 105. lazos, sandals, or straps; in 1. 107,
death. Day symbolizes life, night death. snares.
15. Angelica. 106. So that her snow-white feet can be
20. paga, repays; as Venus' blood had seen and enjoyed.
turned white roses red; cf. no. 108, 19-20. 125-6. A typical antithesis: caves in which
21-4. And her hand feels Cupid (love) silence is so supreme that even shadows may
hiding behind his blood (wounds), whose scarcely dwell there.
colour death is taking away. Sympathy for 132. Count Orlando (Roland), when he saw
his injury engenders love in her. the inscriptions of the lovers on the trees,
26-8. It was believed (Pliny) that blood flew into such a rage ("Orlando furioso") that
softens diamonds. he did the many mad things related by
29. Already he delights her eyes. Ariosto (c. XXIII), which Don Quijote
31. mal nacida, ill-fated; that will win her. threatened to repeat, with "otras cien mil
She had resisted all other lovers. insolencias dignas de eterno nombre" (XXV).
32. The sweet sting of love.
35. Tears. 94. "An example of the Morisco type of
36. Begotten of treachery, she being their ballad popular about 1600; cf. no. 29. To
victim. Compassion had caused her to fall distinguish them from the older type, the
in love. new ballads were printed in quatrains,
44. May the sun's rays be merciful to her. although the verse is assonance (romance).
46-7. A peasant comes providentially to There is an interesting sequel to this ballad,
her assistance. in which the Spaniard captures a Moor, but
49-50. Culto order. releases him on hearing his tale of love,
62. que, as. "Entre los sueltos caballos . . . ."
1. Oran, taken under king Ferdinand in/
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142 NOTES : 95-6
what is easily comprehensible. Góngora made 7-9. A comely, but nameless, youth is
his purpose, if not his poetry, clear: "De shipwrecked.
más que honra me ha causado hacerme 7-8. Ganimede, a beautiful boy, was cup-
obscuro a los ignorantes, que es la distinción bearer to the gods.
de los hombres doctos: hablar de manera que 9. Shipwrecked, scorned, and lovesick
a ellos les parezco griego, pues no se han (absent from his beloved).
de dar las piedras preciosas a animales de 10-14. The sea hears his cries for help,
cerda." tearful, sweet, endearing plaints, and becomes
Apart from deliberate obscurity, arising sympathetic.
largely from the close imitation of Latin 13-14. His wretched groan was a propitious
models, themselves intricate, in a language (L. secundus) instrument like Arion's sweet
that has lost case endings, the novelty of the lyre, which quieted the waters ("mulcet
Soledades lies in its imagery and in an avoid- acquas," Ovid).
ance of conventional themes and sentiments. 15-21. He seized a plank from the broken
Instead, the author evokes forms and scenes. ship and reached land.
Descriptions predominate, with their appeal 15-16. pino, as in Latin, a ship; lit. from
to the senses rather than to sentiment. The the pine on the mountain, ever buffeted by
work-is a series of landscapes and marines in the hostile south wind.
which the human interest is minimized. 17. A compassionate limb (plank) broken
There is no hero, only a vague, nameless (from the pine, the ship).
youth, who does nothing and says nothing 18. This small plank was no tiny dolphin.
(apart from some pathetic groans when he Arion, when attacked by pirates, played his
is shipwrecked, inarticulate but effective). lyre so sweetly that dolphins were spell-
He has given up love, when jilted, for the bound. He leapt onto the back of one of them
sea. He moves about casually, serving only and was carried to safety.
to give the poet opportunities for describing 19-21. The reckless traveller who had
new views and panoramas. Four Soledades embarked upon a trackless ocean (like the
were planned, de los campos, de las riberas, wavy sands of Libya) and entrusted his life
de las silvas, del yermo, but only the first to a ship (leño).
and part of the second were completed. In 22-8. The ocean which first had swallowed
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the first, from which the opening lines are him now spewed him up near a reef, on the
here quoted, the youth goes to sea in April, summit of which there was an eagle's nest.
is shipwrecked but reaches land. 23. vomitado. Góngora anticipated natu-
An extensive commentary was published ralism in his use of words that were taboo in
by García de Salzedo Coronel (1636). literature.
Studies and translations by Le Gentil, 25. He was covered with seaweeds and
Dámaso Alonso, Pabst, Wilson, and others foam.
are noted in histories of literature. 28. The eagle, sacred to Jupiter.
1-6. Spring: the month of April when the
sun enters the sign of Taurus, the bull.
96. From Las mocedades del Cid. The
2. The disguised ravisher of Europa was
"speaker is the unhappy princess Urraca who
Jupiter, who, in the form of a bull, carried
is joining the queen, her mother, in the coun-
her off to Crete. try, where she has gone to seek refuge from
3. The bull's crescent horns. the turmoil of the court, after the Cid had
4. Every hair of its hide was a ray of killed Jimena s father. The country is again
sunlight. The sun illumined this sign of the contrasted with the court, as in the "Beatus
zodiac, or as Spitzer suggests, its symbol, 8. ille . . ." poems (cf. nos. 50, 81) and in
5-6. The bull feeds on the stars, the Antonio de Guevara's Del menosprecio de la
flowers of the sapphire plains of the heavens. corte y alabanza de la aldea (1539). Nature is
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NOTES : 96-8 143
admired for the symmetry of opposites and It became an important Roman city, being
for harmony in its great variety. known in the middle ages as Sevilla la vieja,
3. Construe: el gusto hurtando al cuidado, but rapidly declined, becoming finally only a
enjoyment of it driving away care. As Lope quarry for building material for Seville.
de Vega said, "Un huertecillo cuyas flores me It is now mostly covered with mounds of
divierten cuidados." earth and rubble, but as late as 1800 ancient
4. This line continues 1. 2: and giving buildings could still be distinguished. Caro
over the mind to its contemplation. discussed Itálica in his Antigüedades . . . de
5. Note the contrasts here and later Sevilla, 1634.
between opposites, a common theme: P. Blanco Suárez, in Poetas de los siglos
"Por el morisco, al cristiano; XV y XVII, publishes five redactions of the
por el lobo, al corderillo . . . ." ode, all showing the author's care in revision.
(Lope de Vega, Los cautivos de Argel.} The first is dated 1595. The last is the one
6. There is a harmonious, balanced order usually printed now.
in nature; the contrasts are harmonized. 1. It has long been a Spanish custom to
9-10. The lion, symbol of cruelty, is the address poems to Fabio.
opposite of the little bird. There is no thought 14. regaladas, elegant, delightful.
whatsoever of lions in Spain, as commentators 15. cenizas desdichadas, wretched ashes,
have suggested. dust.
16. peñas vivas, solid rocks. 18. The amphitheatre is the best preserved
18. distintas, distinctas; the old theory of the ruins, but only in the galleries and dens
that "por la variedad es hermosa la natura- for wild beasts.
leza." 19. impío, profane, pagan.
19. To imitate God who rejoices in his 19-20. Whose ignominy the yellow mus-
works (Psalms CIV, 31) and to praise Him tard proclaims.
who created them (Psalms CXLV-CL). 21. teatro, stage.
22. The hidden trails along which the wild 22. fábula, mockery, tragedy.
boar is pursued; popular sport in which 31-2. Cruel spectacles of decay.
women then took part, as is noted in the 37. pío, dutiful (to the gods).
play (11. 1567-70). 38-40. An anachronism. Not until the 16th
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144 NOTES : 98-100
who, according to the author, had a temple 64. clarín bastardo > a kind of bugle, the
there; fuerza, affects. epithet meaning "common."
82. claro, illustrious. 77. Like much culteranism, this peri-
86-7. This inadequate tribute, which as phrasis for mirror is of classical origin:
a grateful guest I pay to your manes. "consilium formae, speculum." (Martial.)
89. admitido, accepted. 86. Diana, the relentless despiser of love;
91. A bitter sweet memory. los castos de, the chaste worshippers of.
93. usura, repayment. 88. accidente, illness.
95. Geroncio, a martyr saint of the time 95. Light extinguished, sun overcast,
of the early apostles. His name is preserved crushed flower,
in the village of Santi Ponce, near the ruins. 96-114. Lope de Vega wrote a sonnet on
96. señas, signs. the same theme in El premio del bien hablar.
99-100. As can be seen by the variants, 100. bizarros, precious; this word is not
the author worked hard on these lines. But used in a derogatory sense in Spanish.
wrongly do I plead for the only consolation 109. Spaniards would think of the bar off"
for (the loss of) all the greatness that a the mouth of the Guadalquivir. Seville had
wrathful heaven destroyed. a monopoly of trade with the Indies.
101-2. Enjoy in your ruins his saintly 113. figura, symbol, allegory.
relics. Cf. inscription on Wren's tomb in 115. pensamiento, love, cf. no. 43¿1. 2.
St. Paul's: "Si monumentum requiris, circum- 122. Var. se contemplaba.
spice." 127. exento, carefree.
99. This canzone, of uncertain authorship, 138-9. Today she is only a woman, and in
departs in one line of each stanza ("de una short, a fleeting joy, fickle breeze and in-
mudanza," symbolical of the theme) from substantial foam: "la donna è mobile."
the rule that stanzas follow the pattern set
by the poet in the first. The poem is re- 100. These humorous and cynical reflections
markable for its symmetrical construction, on the power of money—"money answereth
each stanza being a dramatic allegory de- all things" (Ecclesiastes, 10, 19)—resemble
scribing a sudden change or peripetia of Góngora's (no. 90). This poem contains even
fortune (the first three referring to animals, more puns, beginning with the refrain, in which
the last three to persons), the second last poderoso means both powerful and wealthy,
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stanza being a recapitulation and application. giving point to Lope de Vega's retort, "el oro
In construction it somewhat resembles es poderoso, mas no es fuerte" (La filomena).
Petrarch's canzone, no. CCCXXIII, and 14. Genova-, the Genoese were the bankers
passages in Calderón (e.g., La vida es sueño, of the time (cf. Lombard St. in London) and
11. 1596-1617). One would infer from the Spain was so heavily in their debt that the
style and architectonics that it was composed wealth of the Indies passed immediately into
about 1630-40. It was first published (in part) their hands.
in 1648. 19. como un oro, a jewel, as good as gold.
2. sue/to, free, uncaged. 27. principales, noble.
3. una I haya. 30. reales, royal, real (a coin).
29. The first "mudanza"; licenciosos, care- 38. doña Blanca, queen Blanche, and a
free. small coin. Several mediaeval queens bore
36. purpúreo, culto for red; the golden the name.
fleece, a familiar phrase applied to the 43. escudos de armas nobles, coat of arms
Argonauts and an order of knighthood. combining two noble families; a coin.
39. Rica, noble, proud. 47. robles, symbolical of strength.
47. trasmonta, transmonta, tramonta, es- 54. gatos, cats, thieves, money-bags (made
capes. of catskin).
62. gente, troops. 60. duelos, duels, pains.
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NOTES : 100-4 145
6. alquitara, a still. vares. The first line gives the official title
7. Ovidius Naso, Ovid the poet; Naso, of kings at the time.
nasus, large-nosed, a Roman family name. 7. Ministro, servant.
9. espolón, a ram of a man-of-war. 10. despacharle, attend to, from him.
14. Anas, Annas, the high priest who sent 11. Corte, Madrid, which by law ("fuero")
Christ bound to Caiaphas (St. John, 18); was exempt from excise taxes. Such privileges
delito, crime, insult. were disregarded in this period of great
financial distress.
103. 1. Un godo, Pelayo, nephew of Roderick 12. behetrías-, independent municipalities
(Rodrigo), gathered together the remnants of paid their overlords a large number of con-
the Spanish forces in the cave of Covadonga, tributions (yantar, conducho, martiniega,
in the Asturias, and thence began the Re- and about eight more).
conquest. 19. Seville had a monopoly of trade with
3. Betis, Guadalquivir, i.e., Seville, taken the Indies, but much of the wealth that
in 1248; Genii, a river, i.e., Granada, taken reached it was pledged to foreign merchants
in 1492. and bankers.
5. Navarra, once a kingdom, but since 46. asientos, contracts with foreigners;
1512 (under Ferdinand) divided into Spanish "asentistas" were unpopular.
Navarra and French Navarre (Basses Py- 54. Vassals seek to ruin you as an owner.
rénées). 55. realengo, royal domains.
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146 NOTES : 104-7
66. al que pierde, the weak. gracioso; valiente, pero despreciado; cortés,
71. Spain had been at war for over a pero impertinente" (II, II). The hidalgo,
century. About 1630 her principal enemies who had belonged to the lower nobility in
were France and the Netherlands. the middle ages, and had done much of Spain's
72. Charity is invincible—war is not. fighting ("con quinientos hidalgos"), still
76-8. Richelieu was pitted against Olivares retained in the 16th and 17th centuries,
in the eternal question of the duchy of certain privileges of the nobility, in the matter
Mantua in northern Italy, 1628-30, and of exemptions from taxes, especially if he
Spain, after the sacrifice of men and money, stayed in his village (aldea). But because of
was the loser. his pride of birth ("linaje," "de solar co-
79. There was a large fire in the Plaza nocido"—"linajudo" as Quevedo called him),
Mayor in 1631. he could not do manual labour and so had
82. casa, casa real, royal palace. to eke out a living by hunting and fishing.
84. The Buen Retiro (now, minus its Hence he is usually associated with a lean
palace, the Parque de Madrid) was built nag, a "rocín flaco," instead of a "caballo,"
about this time (1631-2) as a retreat for the an equally thin hound, and a fishing-pole.
royal family. A miniature lake, or pool, How badly he fared when he moved to a
estanque, was created there, and still survives. large city is described in Lazarillo de Tormes.
85-6. A reference to the building of squares Hunger and pride were his chief attributes:
like the huge Plaza Mayor, 1617-19. "Un hidalgo no debe a otro que a Dios y al
88. After many delays, San Isidro, a rey nada." As an anonymous poem put it:
cathedral church named after the patron "Un hidalgo de una aldea,
saint of Madrid, was rebuilt, 1625-51. buen hidalgo y mal querido,
93. tela de caza, an enclosure in which tan exento por lo pobre
game is hunted. como por lo bien nacido."
106. canta la gala, which sings a song of 4. solar en la Montaña. He liked to trace
rejoicing, congratulations. There were many his ancestry back to an ancestral home (solar)
lyrics beginning: "A la gala del pastorcico," in the Asturias, the Spanish highlands.
"del mercader/' etc.
5. No one associates with me. His
122. civil, base.
isolation was often noted. The "sombrero"
Copyright © 1947. University of Toronto Press. All rights reserved.
128. A kind of refrain; cf. 1. 62. is a sign of ceremoniousness, and here personi-
fies the speaker. The hidalgo was proud of
105. From Las paredes oyen, an attack on
"una gorra y capa corta" (Lope de Vega,
slander.
San Diego de Alcalá, 1,1).
2-3. tijera, or tijeras, scissors, slanderer;
7. Ironical: "el comer no es para hidal-
pegar la tijera, to cut, slander.
gos."
17-18. Alarcón, a stern, embittered man,
always points his moral. 8. bufón, a street vendor.
10-11. In his own lineage he is the first
106. Circumstances produced in Spain a (and the best) because of his great qualities.
distinct and numerous type of proud but 12-13. He spends his time idly riding to the
poor and hungry gentleman, a social outcast Buen Retiro in winter and in summer to the
and national calamity, often portrayed in Manzanares, where there was a popular
literature, notably in La vida- de Lazarillo de grove, "el Sotillo." Carriages were very
Termes (III), and Don Quijote. Sometimes he popular.
was treated sympathetically, as by Jorge 14. majadero, a bore.
Manrique (no. 4, 11. 115-20), but generally
he was the butt of ridicule in authors too 107. 11. hierro, iron, error (yerro), cf. acertar
numerous to mention. In Don Quijote he is of the next lins.
ridiculous too, although heroic: "loco, pero 33-6. "Hispanismo cruel" (Lope de Vega).
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NOTES : 108-12 147
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148 NOTES : 112-13
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INDEX OF WRITERS AND ANONYMOUS POEMS
(The figures refer to the numbers of the poems.)
149
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