{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_15781/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_15781","id":"gutenberg_15781","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/15781","summary":null,"tags":["Category: Mythology, Legends & Folklore","Category: Poetry","Poetry"],"text":"Produced by Stan Goodman, Miranda van de Heijning, Renald\nLevesque and the Online Distributed Proofreading Team.\n\n\n\n\n\n\n\n[Illustration: D. JOS\u00c9 DE ESPRONCEDA]\n\n  ESPRONCEDA\n\n  EL ESTUDIANTE\n  DE SALAMANCA\n  AND OTHER SELECTIONS\n\n  EDITED BY\n  GEORGE TYLER NORTHUP, PH.D.\n  PROFESSOR OF SPANISH LITERATURE\n  UNIVERSITY OF CHICAGO\n\n\nPREFACE\n\nThe selections from Espronceda included in this volume have been edited\nfor the benefit of advanced Spanish classes in schools and universities.\nThe study of Espronceda, Spain's greatest Romantic poet, offers the best\npossible approach to the whole subject of Romanticism. He is Spain's\n\"representative man\" in that movement. Furthermore, the wealth of meters\nhe uses is such that no other poet provides so good a text for an\nintroduction to the study of Spanish versification. The editor has\ntherefore treated the biography of Espronceda with some degree of\ncompleteness, studying his career as one fully representative of the\nhistorical and literary movements of the period. A treatment of the main\nprinciples of Spanish versification was also considered indispensable.\nIt is assumed that the text will be used only in classes where the\nstudents are thoroughly familiar with the rudiments of Spanish grammar.\nTherefore only the more difficult points of grammar are dealt with in\nthe notes, and little help, outside of the vocabulary, is given the\nstudent in the translating of difficult passages.\n\nThe editor makes no pretense to having established critical texts of\nthe poems here printed, although he hopes that some improvement will be\nnoted over previous editions. A critical edition of Espronceda's works\nhas never been printed. Espronceda himself gave little attention to\ntheir publication. Hartzenbusch and others intervened as editors in some\nof the earliest editions. Their arbitrary changes have been repeated in\nall subsequent editions. The text of \"El Estudiante de Salamanca\" has\nbeen based upon the \"Poes\u00edas de D. Jos\u00e9 de Espronceda,\" Madrid, 1840,\nthe so-called _editio princeps_. This edition, however, cannot be\nregarded as wholly authoritative. It was not prepared for the press by\nthe poet himself, but by his friend Jos\u00e9 Garc\u00eda de Villalta. Though\nfar more authentic in its readings than later editions, it abounds in\ninaccuracies. I have not followed its capricious punctuation, and have\nstudied it constantly in connection with other editions, notably the\nedition of 1884 (\"Obras Po\u00e9ticas y Escritos en Prosa,\" Madrid, 1884). To\nprovide a really critical text some future editor must collate the 1840\ntext with that version of the poem which appeared in _La Alhambra_, an\nobscure Granada review, for the year 1839. \"El Mendigo\" and \"El Canto\ndel Cosaco\" I also base upon the 1840 edition, although the former first\nappeared in _La Revista Espa\u00f1ola_, Sept. 6, 1834. I base the \"Canci\u00f3n\ndel Pirata\" upon the original version published in _El Artista_, Vol. I,\n1835, p. 43. I take the \"Soneto\" from \"El Liceo Art\u00edstico y Literario\nEspa\u00f1ol,\" 1838. For \"A Teresa, Descansa en Paz,\" I follow the Madrid\nedition of 1884. The text of this, as for the whole of \"El Diablo\nMundo,\" is more reliable than that of the earlier poems.\n\nI desire to thank Professors Rudolph Schevill, Karl Pietsch, and Milton\nA. Buchanan for helpful suggestions, and the latter more particularly\nfor the loan of rare books. The vocabulary is almost entirely the\nwork of my wife Emily Cox Northup, whose collaboration is by no means\nrestricted to this portion of the book. More than to any other one\nperson I am indebted to Mr. Steven T. Byington of the staff of Ginn\nand Company, by whose acute and scholarly observations I have often\nprofited.\n\nCONTENTS\n\n  INTRODUCTION\n    THE LIFE OF ESPRONCEDA\n    THE WORKS OF ESPRONCEDA\n    \"THE STUDENT OF SALAMANCA\"\n    BIBLIOGRAPHICAL NOTE\n    NOTES ON ESPRONCEDA'S VERSIFICATION\n\n  EL ESTUDIANTE DE SALAMANCA\n  CANCI\u00d3N DEL PIRATA\n  EL CANTO DEL COSACO\n  EL MENDIGO\n  SONETO\n  A TERESA\n\n  NOTES\n  VOCABULARY\n\n\n\n\nINTRODUCTION\n\n\nTHE LIFE OF ESPRONCEDA\n\nDon Jos\u00e9 de Espronceda y Lara, Spain's foremost lyric poet of the\nnineteenth century, was born on the 25th of March, 1808, the year of his\ncountry's heroic revolt against the tyranny of Napoleon. His parents\nwere Lieutenant-Colonel Don Juan de Espronceda y Pimentel and Do\u00f1a Mar\u00eda\ndel Carmen Delgado y Lara. Both were Andalusians of noble stock, and, as\nwe learn from official documents, were held to be Christians of clean\nblood \"without taint of Jews, heretics, Moors, or persons punished by\nthe Holy Inquisition, and who neither were nor had been engaged in mean\nor low occupations, but in highly honorable ones.\" This couple of such\nhighly satisfactory antecedents had been married four years previously.\nIn 1804 Don Juan, a mature widower of fifty-three, was still mourning\nhis first wife when he obtained the hand of Do\u00f1a Mar\u00eda, a young widow\nwhose first husband, a lieutenant in the same regiment, was recently\ndeceased. The marriage was satisfactory in a worldly way, for Do\u00f1a Mar\u00eda\nbrought as a dower four hundred thousand reales to be added to the two\nhundred thousand which Don Juan already possessed. By his first marriage\nDon Juan had had a son, Don Jos\u00e9 de Espronceda y Ramos, who became\nensign in his father's regiment, then studied in the Artillery School at\nSegovia, and later entered the fashionable Guardia de Corps regiment.\nHe died in 1793 at the early age of twenty-one, soon after joining this\nregiment. By the second marriage there were two other children, both of\nwhom died in infancy: Francisco, born in 1805, and Mar\u00eda, born in 1807.\nDuring the early months of 1808 the Bourbon cavalry regiment in which\nDon Juan served was stationed in the little hamlet of Villafranca de los\nBarros, Estremadura, and there the future poet was born. We do not know\nwhere the mother and son found refuge during the stormy years which\nfollowed. The father was about to begin the most active period of his\ncareer. We learn from his service record that he won the grade of\ncolonel on the field of Bail\u00e9n; that a year later he recaptured the\ncannon named Libertad at the battle of Consuegra (a feat which won\nhim the rank of brigadier), and fought gallantly at Talavera as a\nbrother-in-arms of the future Duke of Wellington. The mere enumeration\nof the skirmishes and battles in which he participated would require\nmuch space. In 1811 he distinguished himself at Medina Sidonia and\nChiclana, and sought promotion to the rank of field-marshal, which was\nnever granted. After the Peninsular War he seems to have been stationed\nin Madrid between 1815 and 1818. His family were probably permanently\nestablished in that city, for we know that mother and son resided\nthere during the time that the brigadier was doing garrison duty in\nGuadalajara (1820-1828), and there is no evidence that they followed him\nto Coru\u00f1a during his term of service in that city (1818-1820). Possibly\nthe old soldier preferred the freedom of barrack life, where his\nauthority was unquestioned, to the henpecked existence he led at home.\n\"Ella era \u00e9l y \u00e9l era ella,\" says Patricio de Escosura in speaking of\nthis couple; for Do\u00f1a Mar\u00eda was something of a shrew. She was a good\nbusiness woman who combined energy with executive ability, as she later\nproved by managing successfully a livery-stable business. But, however\nformidable she may have been to her hostlers, her son Jos\u00e9 found her\nindulgent. He, the only surviving son of a mature couple, rapidly\ndeveloped into a _ni\u00f1o consentido_, the Spanish equivalent of a\nspoiled child. Parallels are constantly being drawn between Byron and\nEspronceda. It is a curious fact that both poets were reared by mothers\nwho were alternately indulgent and severe.\n\nIn 1820 the Espronceda family occupied an apartment in the Calle del\nLobo. It was there and then that Patricio de Escosura firmed his\nintimacy with the future poet. He describes graphically his first\nmeeting with the youth who was to be his lifelong friend. He first saw\nJos\u00e9 sliding down from a third-story balcony on a tin waterspout. In the\nlight of later years Escosura felt that in this boyish prank the child\nwas father of the man. The boy who preferred waterspouts to stairways,\nlater in life always scorned the beaten path, and \"the illogical road,\nno matter how venturesome and hazardous it was, attracted him to it by\nvirtue of that sort of fascinating charm which the abyss exercises over\ncertain eminently nervous temperaments.\" The belief that Espronceda\nstudied at the Artillery School of Segovia in 1821 appears to rest upon\nthe statement of Sol\u00eds alone. Escosura, who studied there afterwards,\nnever speaks of his friend as having attended the same institution.\nSol\u00eds may have confused the younger Jos\u00e9 with his deceased, like-named\nbrother, who, we know, actually was a cadet in Segovia. On the other\nhand, Sol\u00eds speaks with confidence, though without citing the source of\nhis information, and nothing would have been more natural than for the\nboy to follow in his elder brother's footsteps, as he did later when he\njoined the Guardia de Corps. However, the matter is of slight moment,\nfor if he studied in Segovia at all he cannot have remained there for\nmore than a few weeks.\n\nWhat little education Espronceda was able to acquire in the course of\nhis stormy life was gained mostly in the Colegio de San Mateo between\nthe years 1820 and 1830. This was a private school patronized by sons of\nthe nobility and wealthy middle class. Two of the masters, Jos\u00e9 G\u00f3mez\nHermosilla and Alberto Lista, were poets of repute. Lista was the best\nteacher of his time in Spain. The wide range of his knowledge astonished\nhis pupils, and he appeared to them equally competent in the classics,\nmodern languages, mathematics, philosophy and poetics, all of which\nsubjects he knew so well that he never had to prepare a lecture\nbeforehand. Plainly Lista was not a specialist of the modern stamp; but\nhe was something better, a born teacher. In spite of an unprepossessing\nappearance, faulty diction, and a ridiculous Andalusian accent, Lista\nwas able to inspire his students and win their affection. It is no\ncoincidence that four of the fellow students of the Colegio de San\nMateo, Espronceda, Felipe Pardo, Ventura de la Vega, and Escosura,\nafterwards became famous in literature.\n\nEspronceda's school reports have been preserved. We learn that he\nstudied sacred history, Castilian grammar, Latin, Greek, French,\nEnglish, mythology, history, geography, and fencing, which last he was\nlater to turn to practical account. He showed most proficiency in\nFrench and English, and least in Greek and mathematics. His talent was\nrecognized as unusual, his industry slight, his conduct bad. Calleja,\nthe principal, writes in true schoolmaster's fashion: \"He is wasting the\nvery delicate talent which nature gave him, and is wasting, too, the\nopportunity of profiting by the information of his distinguished\nprofessors.\" It cannot be denied that Espronceda's conduct left much to\nbe desired. According to Escosura he was \"bright and mischievous,\nthe terror of the whole neighborhood, and the perpetual fever of his\nmother.\" He soon gained the nickname _buscarruidos_, and attracted\nthe notice of police and night watchmen. \"In person he was agreeable,\nlikable, agile, of clear understanding, sanguine temperament inclined\nto violence; of a petulant, merry disposition, of courage rash even\nbordering upon temerity, and more inclined to bodily exercise than to\nsedentary study.\" The two friends were much influenced by Calder\u00f3n at\nthis time. The height of their ambition was to be like the gallants of\na cape-and-sword play, equally ready for a love passage or a fight.\nLista's influence upon his pupils was not restricted to class exercises.\nIn order to encourage them to write original verse and cultivate a taste\nfor literature, he founded in April, 1823, the Academy of the Myrtle,\nmodeled after the numerous literary academies which throve in Italy and\nSpain during the Renaissance period and later. Lista himself presided,\nassuming the name Anfriso. Was Delio, the name Espronceda assumed in his\n\"Serenata\" of 1828, his academic designation? The models proposed for\nthe youthful aspirants were the best poets of antiquity and such modern\nclassicists as Mel\u00e9ndez, Cienfuegos, Jovellanos, and Quintana. Two of\nEspronceda's academic exercises have been preserved. They are as insipid\nand jejune as Goethe's productions of the Leipzig period. As an imitator\nof Horace he was not a success. What he gained from the Academy was the\nhabit of writing.\n\nThe Academy lasted until 1826, when many of its members had been driven\ninto exile; but its later meetings must have seemed tame to spirited\nboys engrossed in the exciting political events of those times. The year\n1823 is famous in Spanish history for the crushing out of liberalism.\nThis was effected by means of the Holy Alliance, an infamous association\nof tyrants whose main object was to restore absolutism. Louis XVIII, the\nBourbon king of France, sent a force of one hundred thousand men under\nthe Duke of Angoul\u00eame who met with little resistance, and in short order\nnullified all that had been accomplished by the Spanish liberals. Before\nthe end of the year Ferdinand VII, who had been virtually deposed, was\nrestored to his throne, and the constitution of 1820 had been abolished.\nEspronceda, the son of a hero of the War of Liberation, felt that the\nwork of the men of 1808 had been undone. They had exchanged a foreign\nfor a domestic tyrant. What his feelings were we may gather from his\node in commemoration of the uprising of the Madrid populace against the\ntroops of Murat, \"Al Dos de Mayo\":\n\n    \u00a1Oh de sangre y valor glorioso d\u00eda!\n  Mis padres cuando ni\u00f1o me contaron\n  Sus hechos, \u00a1ay! y en la memoria m\u00eda\n  Santos recuerdos de virtud quedaron.\n\nBut, as he says later in the poem,\n\n    El trono que erigi\u00f3 vuestra bravura,\n  Sobre huesos de h\u00e9roes cimentado,\n  Un rey ingrato, de memoria impura,\n  Con eterno bald\u00f3n dej\u00f3 manchado.\n    \u00a1Ay! para herir la libertad sagrada,\n  El Pr\u00edncipe, borr\u00f3n de nuestra historia,\n  Llam\u00f3 en su ayuda la francesa espada,\n  Que segase el laurel de vuestra gloria.\n\nThese verses were written in later life; but already in 1827 he dates a\npoem \"fourth year after the sale of Spanish liberty.\"\n\nIt was an age of political conspiracy and secret societies. Many\nliberals were members of Masonic lodges, and in addition there were\ncircles like the Friends of Liberty, the Friends of the Constitution,\nthe Cross of Malta, the Spanish Patriot, and others. Nothing more\nnatural than that boys whose age made them ineligible to join these\norganizations should form one of their own. The result was La Sociedad\nde los Numantinos. The prime movers were Miguel Ortiz Amor and Patricio\nde Escosura, who drew up its Draconic constitution. Other founders were\nEspronceda, Ventura de la Vega, and N\u00fa\u00f1ez de Arenas. All told, the\nsociety had about a dozen members. Their first meetings were held in a\nsand-pit, until the curiosity of the police forced them to seek safer\nquarters. One of the members was an apothecary's apprentice, who,\nunknown to his master, installed the club in the shop cellar. There\nthey built an altar bearing all the romantic paraphernalia of skull and\ncross-bones, swords, and pistols. The members stood wrapped in black\ngarments, their faces muffled with their long Spanish capes, wearing\nVenetian masks, each one grasping a naked dagger. There they swore\nbinding oaths and delivered fiery orations. Red paper lanterns cast a\nweird light over the scene. How tame the sessions of the Myrtle\nmust have seemed by comparison! Yet the two organizations throve\nsimultaneously.\n\nWith the return of Ferdinand in September the persecution of the\nliberals began. The boys witnessed the judicial murder of Riego, the\nhero of the constitutional movement, November 8, 1823. This made the\nimpression upon them that might have been expected. That night an\nextraordinary session of the Numantinos was held at which Espronceda\ndelivered an impassioned oration. Then all signed a document in which\nthe king's death was decreed. Some of the members' parents seem to\nhave learned what was happening. The father of Ortiz, the club's first\npresident, prudently sent him away to O\u00f1ate. Escosura became the second\npresident, and held office until September of 1824, when his father sent\nhim to France. Espronceda then became the club's third president, but\nhis term was brief. The boys had made the mistake of admitting one\nmember of mature years whose name we do not know; for, in spite of his\ntreachery, the Numantinos even in their old age chivalrously\nrefrained from publishing it. This Judas betrayed the secrets of his\nfellow-members, and placed incriminating documents, among them the\nking's \"death warrant,\" in the hands of the police. The latter, however,\ndisplayed less rigor and more common sense than usual. While all the\nyouths implicated were sentenced to long terms of imprisonment in\nvarious monasteries scattered throughout Spain, nothing more was\nintended than to give the conspirators a salutary scare. They were all\nreleased after a few weeks of nominal servitude. Ortiz and Escosura, the\nringleaders, were sentenced to six years of seclusion, and Espronceda\nreceived a term of five years to be served in the Monastery of San\nFrancisco de Guadalajara in the city of Guadalajara. His term was\npronounced completed after a very few weeks of confinement. That he had\na father prominent in the government service stood him in good stead,\nand this probably accounts for the fact that his place of confinement\nwas in the city where Don Juan was garrisoned. The latter, as an old\nsoldier in the wars against Napoleon, sympathized in a general way with\nliberal ideas; yet, placed as he was in a very difficult position, he\nmust have found his son's escapades compromising. His record shows that\nhe was \"purified,\" that is his loyalty to the crown was certified to, on\nAugust 8, 1824. He seems to have maintained a \"correct\" attitude toward\nhis rulers to the end, with all the unquestioning obedience of a\nmilitary man.\n\nWhile undergoing this easy martyrdom Espronceda improved his time by\nbeginning what was to be a great patriotic epic, his _Pelayo_. Like many\nanother ambitious project, this was never completed. The few fragments\nof it which have been printed date mostly from this time. The style is\nstill classic, but it is the pseudo-classicism of his model, Tasso. The\npoet had taken the first step leading to Romanticism. Hence this work\nwas not so sterile as his earlier performances. Lista, on seeing the\nfragments, did much to encourage the young author. Some of the octaves\nincluded in the published version are said on good authority to have\ncome from the schoolmaster's pen. Lista's classicism was of the\nbroadest. He never condemned Romanticism totally, though he deplored\nits unrestrained extravagances and the antireligious and antidynastic\ntendencies of some of its exponents. He long outlived his brilliant\npupil, and celebrated his fame in critical articles. After his return\nfrom exile Espronceda continued to study in a private school which Lista\nhad started in the Calle de Valverde. Calleja's Colegio de San Mateo had\nbeen suppressed by a government which was the sworn enemy of every form\nof enlightenment. The new seminary, however, continued the work of\nthe old with little change: While there Jos\u00e9 carried his mathematical\nstudies through higher algebra, conic sections, trigonometry, and\nsurveying, and continued Latin, French, English, and Greek. If we may\njudge from later results, a course in rhetoric and poetics must have\nbeen of greatest benefit to him.\n\nEspronceda's schooling ended in 1826, when he began what Escosura terms\n\"his more or less voluntary exile.\" Escosura thinks he may have been\nimplicated in a revolutionary uprising in Estremadura, and this\nconjecture is all but confirmed by a recently found report of the\nSpanish consul in Lisbon, who suspected him of plotting mischief with\nGeneral Mina. If Espronceda was not a revolutionary at this time, he was\ncapable of enlisting in any enterprise however rash, as his past and\nsubsequent record proves all too clearly, and the authorities were not\nwithout justification in watching his movements. In a letter dated\nLisbon, August 24, 1827, he writes to his mother: \"Calm yourselves and\nrestore papa to health by taking good care of him, and you yourself stop\nthinking so sadly, for now I am not going to leave Portugal.\" In these\nwords the boy seems to be informing his parents that he has given up\nthe idea of making a foray from Portugal into Spain as Mina was then\nplotting to do. He had left home without taking leave of his parents,\nmade his way to Gibraltar, and taken passage thence to Lisbon on a\nSardinian sloop. The discomforts of this journey are graphically\ndescribed in one of his prose works, \"De Gibraltar a Lisboa: viaje\nhist\u00f3rico.\" The writer describes with cynical humor the overladen little\nboat with its twenty-nine passengers, their quarrels and seasickness,\nthe abominable food, a burial at sea, a tempest. When the ship reached\nLisbon the ill-assorted company were placed in quarantine. The health\ninspectors demanded a three-peseta fee of each passenger. Espronceda\npaid out a duro and received two pesetas in change. Whereupon he threw\nthem into the Tagus, \"because I did not want to enter so great a capital\nwith so little money.\" A very similar story has been told of Camoens,\nso that Espronceda was not only a _poseur_ but a very unoriginal one at\nthat. Some biographers suspect that while parting with his silver he was\nprudent enough to retain a purse lined with good gold _onzas_. This is\npure speculation, but it is certain that he knew he could soon expect a\nremittance from home.\n\nPortugal was at the time rent with civil war. The infanta Isabel Mar\u00eda\nwas acting as regent, and her weak government hesitated to offend the\nking of Spain. The liberal emigrants were kept under surveillance; some\nwere imprisoned, others forced to leave the kingdom. Espronceda was\nforced to Live with the other Spanish emigrants in Santarem. There is no\nevidence that he was imprisoned in the Castle of St. George, as has so\nfrequently been stated. He appears to have been free to go and come\nwithin the limits assigned him by the police; but he was constantly\nwatched and at last forced to leave the country. It was in Portugal that\nthe nineteen-year-old boy made the acquaintance of the Mancha family.\nDon Epifanio Mancha was a colonel in the Spanish army who, unlike the\nelder Espronceda, had been unable to reconcile himself to existing\nconditions. He had two daughters, one of whom, Teresa, was to play a\nlarge part in Espronceda's life. He undoubtedly made her acquaintance at\nthis time. We are told that she embroidered for him an artillery cadet's\nhat; but the acquaintance probably did not proceed far. The statement\nthat vows were exchanged, that the Mancha family preceded Espronceda to\nLondon, that on disembarking he found his Teresa already the bride\nof another, all this is pure legend. As a matter of fact, Espronceda\npreceded the Manchas to London and his elopement with Teresa did not\ntake place until 1831, not in England but in France. All this Se\u00f1or\nCascales y Mu\u00f1oz has shown in his recent biography.\n\nEspronceda's expulsion from Portugal was determined upon as early as\nAugust 14, 1827; but the execution of it was delayed. He must have\nreached England sometime within the last four months of 1827. The first\nof his letters written from London that has been preserved is dated\nDecember 27 of that year. What his emotions were on passing \"the immense\nsea ... which chains me amid the gloomy Britons\" may be observed by\nreading his poem entitled \"La Entrada del Invierno en Londres.\" In this\npoem he gives full vent to his homesickness in his \"present abode of\nsadness,\" breathes forth his love for Spain, and bewails the tyrannies\nunder which that nation is groaning. It is written in his early classic\nmanner and exists in autograph form, dedicated by the \"Citizen\" Jos\u00e9 de\nEspronceda to the \"Citizen\" Balbino Cort\u00e9s, his companion in exile. The\ndate, London, January 1, 1827, is plainly erroneous, though this fact\nhas never before been pointed out. We can only suppose that, like many\nanother, Espronceda found it difficult to write the date correctly on\nthe first day of a new year. We should probably read January 1, 1828.\nWhen he assures us in the poem: \"Four times have I here seen the fields\nrobbed of their treasure,\" he is not to be taken literally. Who will\nbegrudge an exiled poet the delight of exaggerating his sufferings?\n\nFive letters written from London to his parents have been preserved,\nthanks to the diligence of the Madrid police who seized them in his\nfather's house in their eagerness to follow the movements of this\ndangerous revolutionary. They are the typical letters of a schoolboy.\nThe writer makes excuses for his dilatoriness as a correspondent,\nexpresses solicitude for the health of his parents, and suggests the\nneed of a speedy remittance. In fact _la falta de met\u00e1lico_ is the\nburden of his song. Living is excessively dear in London. So much so\nthat a suit of clothes costs seventeen pounds sterling; but there will\nbe a reduction of three pounds if the draft is promptly sent. He asks\nthat the manuscript of his \"Pelayo\" be sent to him, as he now has\nabundant leisure to finish the poem. He asks that the remittances be\nsent to a new agent whom he designates. The first agent was a brute who\nrefused to aid him to get credit. He wonders that his father should\nsuggest a call upon the Spanish ambassador. Not one word as to his\npolitical plans, a discretion for which Don Juan must have thanked him\nwhen these interesting documents fell into the hands of the police.\n\nWe have information that in London Espronceda became a fencing-master,\nas many a French _\u00e9migr\u00e9_ had done in the century before. This calling\nbrought him in very little. He may have profited by the charity\nfund which the Duke of Wellington had raised to relieve the Spanish\n_emigrados_. His more pressing needs were satisfied by Antonio Hern\u00e1iz,\na friend with whom he had made the journey from Lisbon; but the\nremittances from home came promptly and regularly, and Espronceda must\nhave been one of the most favored among the refugees of Somers Town. If\nwe may take as autobiographical a statement in \"Un Recuerdo,\" he was\nentertained for a time at the country seat of Lord Ruthven, an old\ncompanion-in-arms of his father's. Ruthven is not a fictitious name,\nas a glance into the peerage will show. During all this time he was\nimproving his acquaintance with Shakespeare, Milton, Byron, and other\nEnglish poets. What is more surprising is that, if we may judge from\nhis subsequent speeches as a deputy, he gained at least a superficial\nacquaintance with English political thought and became interested in\neconomics. He was a convert to the doctrine of free trade.\n\nMeanwhile the parents, who appear to have formed a bad opinion of a land\nwhere a suit of clothes cost seventeen pounds, were urging the son to\ngo to France. He himself thought of Holland as a land combining the\nadvantages of liberty and economy. But before leaving London he required\na remittance of four thousand reales. This bad news was broken to the\nfamily bread-winner, not by Jos\u00e9 himself, but by his banker Orense. The\ndebt, it was explained, had been incurred as the result of a slight\nillness. The four thousand reales were duly sent in December, but\nEspronceda lingered in London a few months longer; first because he was\ntempted by the prospect of a good position which he failed to secure,\nand second on account of the impossibility of obtaining a passport to\nFrance direct. He finally made his way to Paris via Brussels, from which\ncity he writes, March 6, 1829. All this effectually dispels the legend\nthat he eloped from England with Teresa by way of Cherbourg. The arrival\nin Paris of the revolutionary fencing-master put the Madrid police in a\nflutter. On the seventeenth of that same month the consul in Lisbon had\nreported that Espronceda was planning to join General Mina in an attack\nupon Navarra; and by the middle of April the ambassador to France had\nreported his arrival in Paris. It was then that the brigadier's papers\nwere seized. Measures were taken to prevent Espronceda's receiving\npassports for the southern provinces of France, and for any other\ncountry but England. The friendly offices of Charles X, who had\nsucceeded Louis XVIII on the throne of France, checked for a time the\nefforts of the patriotic filibusters. The latter, therefore, must have\nfelt that they were aiding their own country as well as France when they\nparticipated in the July revolution of 1830. Espronceda fought bravely\nfor several days at one of the Paris barricades, and wreaked what\nprivate grudge he may have had against the house of Bourbon. After the\nfall of Charles X, Louis Philippe, whom Espronceda was in after years to\nterm _el rey mercader_, became king of France. As Ferdinand refused to\nrecognize the new government, the designs of Spanish patriots were\nnot hindered but even favored. Espronceda was one of a scant hundred\nvisionaries who followed General Joaqu\u00edn de Pablo over the pass of\nRoncevaux into Navarra. The one hope of success lay in winning over\nrecruits on Spanish soil. De Pablo, who found himself facing his old\nregiment of Volunteers of Navarra, started to make a harangue. The reply\nwas a salvo of musketry, as a result of which De Pablo fell dead. After\nsome skirmishing most of his followers found refuge on French soil,\namong them Espronceda. De Pablo's rout, if less glorious than that of\nRoland on the same battlefield, nevertheless inspired a song. Espronceda\ncelebrated his fallen leader's death in the verses \"A la Muerte de D.\nJoaqu\u00edn de Pablo (Chapalangarra) en los Campos de Vera.\" This poem,\nwhich purports to have been written on one of the peaks of the French\nPyrenees which commanded a view of Spanish soil, and when the poet was\nstrongly impressed by the events in which he had just participated,\nis nevertheless a weak performance; for Espronceda in 1830 was still\ncasting his most impassioned utterances in the classic mold. Ferdinand\nhad now been taught a lesson and lost little time in recognizing the new\nr\u00e9gime in France. This bit of diplomacy was so cheap and successful\nthat Louis Philippe tried it again, this time on Russia. His government\nfavored a plot, hatched in Paris, for the freeing of Poland. Espronceda,\nwho had not yet had his fill of crack-brained adventures, enlisted in\nthis cause also, desiring to do for Poland what Byron had done for\nGreece; but the czar, wilier than Ferdinand, immediately recognized\nLouis Philippe. The plot was then quietly rendered innocuous. Espronceda\nmust have felt himself cruelly sold by the \"merchant king.\"\n\nEspronceda's literary activity was slight during these events, but his\ntransformation into a full-fledged Romanticist begins at this time.\nHugo's \"Orientales,\" which influenced him profoundly, appeared in 1829,\nand the first performance of \"Hernani\" was February 25, 1830. There\nis no record that he formed important literary friendships in either\nEngland or France, but, clannish as the _emigrados_ appear to have\nbeen, an impressionable nature like Espronceda's must have been as much\nstirred by the literary as by the political revolution of 1830; the more\nso as the great love adventure of his life occurred at this time. The\nMancha family followed the other _emigrados_ to London, just when\nwe cannot say. In course of time Teresa contracted a marriage of\nconvenience with a Spanish merchant domiciled in London, a certain\nGregorio de Bayo. Churchman has discovered the following advertisement\nin _El Emigrado Observador_, London, February,1829: \"The daughters of\nColonel Mancha embroider bracelets with the greatest skill, gaining by\nthis industry the wherewithal to aid their honorable indigence.\" From\nthis it is argued that the marriage to Don Gregorio and the consequent\nend of the family indigence must have come later than February, 1829.\nEspronceda had met the girl in Lisbon, he may later have resumed the\nacquaintance in London. She may or may not be the Elisa to whom Delio\nsings in the \"Serenata.\" According to Balbino Cort\u00e9s in an interview\nreported by Sol\u00eds, Teresa and her husband, while on a visit to Paris in\nOctober, 1831, happened to lodge at the hotel frequented by Espronceda.\nShortly afterwards Teresa deserted her husband and an infant son and\neloped with Espronceda. She followed him to Madrid in 1833, where\na daughter, Blanca, was born to them in 1834. Within a year Teresa\nabandoned Espronceda and her second child. She sank into the gutter and\ndied a pauper in 1839. This sordid romance occupied only about three\nyears of Espronceda's life, a much shorter time than had been supposed.\nChurchman was the first to break the long conspiracy of silence which\nwithheld from the world Teresa's full name. Cascales y Mu\u00f1oz has since\nthrown more light upon this episode. But these gentlemen have done\nnothing more than to tell an open secret. Escosura, long ago, all but\nbetrayed it in the following pun: \"Tendamos el velo de olvido sobre\nesa lamentable flaqueza de un gran coraz\u00f3n,\" he says, referring to the\naffair with Teresa, \"y recordemos, de paso, que el sol mismo, ese astro\nde luz soberano, tan sublimemente cantado por nuestro vate, _manchas_\ntiene que si una parte de su esplendor anublan, a eclipsarlo no bastan.\"\nSe\u00f1or Cascales publishes a reproduction of Teresa's portrait. We see\na face of a certain hard beauty. We are struck with the elaborate\ncoiffure, the high forehead, the long nose, the weak mouth. The\nexpression is unamiable. It is the face of a termagant ready to abandon\nhusband and child. Espronceda seems to have returned to England for a\nbrief period in 1832, as we may infer from the fact that the poem\n\"A Matilde\" is dated London, 1832. Corroboration of this belief was\ndiscovered by Churchman, who found that the paper on which \"Blanca de\nBorb\u00f3n\" was written shows the water-mark of an English firm of that\ndate.\n\nIn 1833 Ferdinand VII died, and his daughter Isabel II ascended to the\nthrone under the regency of her mother Cristina. As the conservatives\nespoused the cause of the pretender, Don Carlos, the regency was forced\nto favor the liberals. The rigid press censorship was abolished, and a\ngeneral amnesty was granted all the victims of Ferdinand's tyranny. In\npolitics the year 1833 marks the beginning of the Carlist war, and\nin literature of Spanish Romanticism. Espronceda was one of many\n_emigrados_ who returned to Spain, bringing with them new ideas for the\nrevitalizing of Spanish literature. He did not arrive soon enough to\nsee his aged father. Brigadier Espronceda's death certificate is dated\nJanuary 10, 1833.\n\nShortly after Jos\u00e9's arrival he joined the fashionable Guardia de Corps\nor royal guard regiment. This step, apparently so inconsistent with\nhis revolutionary activities, has puzzled all his biographers. But\nEspronceda was only following the family tradition. His elder brother\nhad done the same. Doubtless he believed, in his first enthusiasm, that\nSpain was now completely liberalized. Besides, he was a dandy always\neager for social distinction, and he had to live down the fact that his\nmother was proprietress of an _establecimiento de coches_. The conduct\nof his fellow-Numantino, Escosura, who had found it possible to accept\na commission under Ferdinand, is far more surprising. Espronceda's\nsnobbishness, if he had any, cannot have been extreme, for he took up\nresidence with his mother over the aforementioned livery stable, in the\nCalle de San Miguel. Teresa was prudently lodged under another roof.\nDo\u00f1a Carmen was as indulgent as ever, and especially desirous that her\nson dress in the most fashionable clothes procurable. What with her\nrent from the house, her widow's pension, and the yield of her business\nventure, she was comfortably circumstanced. When Teresa abandoned the\nchild Blanca, Do\u00f1a Carmen became a mother to her. When Do\u00f1a Carmen died\nin 1840 everything went to her son.\n\nEspronceda's career as a guardsman was brief. As a result of reading a\nsatirical poem at a public banquet, he was cashiered and banished to the\ntown of Cu\u00e9llar in Old Castile. There he wrote his \"Sancho Salda\u00f1a o\nel Castellano de Cu\u00e9llar,\" a historical novel in the manner of Walter\nScott, describing the quarrels of Sancho el Bravo with his father\nAlfonso X. This six-volume work was contracted for in 1834 and completed\nand published the same year. For writing it the author received six\nthousand reales. Many writers in Spain were striving to rival the Wizard\nof the North at this time. Ram\u00f3n L\u00f3pez Soler had set the fashion in\n1830 with \"Los Bandos de Castilla.\" Larra's \"Doncel de Don Enrique\nel Doliente\" appeared in the same year with \"Sancho Salda\u00f1a.\" But\nEspronceda was probably most influenced by his friend Escosura, who had\nprinted his \"Conde de Candespina\" in 1832. The latter's best effort in\nthis genre, \"Ni Rey ni Roque,\" 1835, was written when its author was\nundergoing banishment for political reasons in a corner of Andalusia. To\nemploy the enforced leisure of political exile in writing a historical\nnovel was quite the proper thing to do. The banishment to Cu\u00e9llar must\nhave taken place in late 1833 or early 1834, for Espronceda's novel is\nunquestionably inspired by his enforced visit to that town, and the\ncontract with his publisher is dated in Madrid, February 5, 1834. On\nreading the contract it is apparent that the novel had hardly been begun\nthen, as it was to be paid for in installments. Whether it was written\nmostly in Cu\u00e9llar or Madrid we do not know and care little. In January\nof that year _El Siglo_ was founded, a radical journal with which\nEspronceda was prominently connected. During the brief existence of this\nincendiary sheet (January 21 until March 7) Espronceda contributed to it\nseveral political articles. The last issue came out almost wholly blank\nas an object lesson of the censor's activity. There follow a few\nmonths of agitation and political intrigue, the upshot of which\nwas Espronceda's imprisonment for three weeks without trial. After\nprotesting in the press and appealing to the queen regent, he was\nreleased and banished to Badajoz. How long he was absent from the\ncapital we do not know, except that this banishment, like the others,\nwas of short duration. During all this commotion there was produced at\nthe Teatro de la Cruz, in April, an indifferent play, \"Ni el T\u00edo ni el\nSobrino,\" whose authors were Espronceda and his friend Antonio Ros y\nOlano. It is difficult to paint anything but a confused picture of\nEspronceda's life during the remaining years of this decade. We catch\nglimpses of him debating questions of art and politics at caf\u00e9s and\nliterary _tertulias_ like the Parnasillo, where Mesonero Romanos saw him\nfaultlessly attired and \"darting epigrams against everything existing,\npast, and future.\" C\u00f3rdoba in his memoirs bears witness that he was\nstill the _buscarruidos_ of old. Espronceda with Larra, Escosura, Ros\nDe Olano, and C\u00f3rdoba constituted the \"Thunder Band\" of the Parnasillo\n(_partida del trueno_). After a long literary discussion they would\nsally forth into the streets, each armed with a peashooter and on\nmischief bent. A favorite prank was to tie a chestnut vender's table to\na waiting cab and then watch the commotion which followed when the cab\nstarted to move. On one occasion, finding the Duke of Alba's coachman\nasleep on the box, they painted the yellow coach red, so altering it\nthat the very owner failed to recognize it when he left the house where\nhe had been calling. In politics Espronceda is always a leader in\nrevolt, fighting with pen and sword for his none-too-clearly-defined\nprinciples. Even the Mendiz\u00e1bal ministry, the most advanced that Spain\nhas ever had, does not satisfy him. His ideal is a republic and the\ndownfall of \"the spurious race of Bourbon.\" His love affairs are equally\nstormy. In literature he is attempting everything, plays, a novel,\npolemical articles, lyric poems, and one supreme work which is to be the\nvery epic of humanity.\n\nIn 1835 Espronceda became an officer in the National Militia. In August\nof that year the militiamen were defeated in an unsuccessful revolt\nagainst the Toreno ministry. In 1836 he was equally unfortunate in a\nrevolt against the Ist\u00fariz ministry. It was then, when pursued by the\npolice, that a friend secreted him in the safest possible place, the\nhome of a high police official. Espronceda employed his leisure hours in\nthis refuge by writing \"El Mendigo\" and \"El Verdugo.\" Two years later\nhe traveled extensively through Andalusia engaged in revolutionary\npropaganda. He was probably trying to bring about a republican form of\ngovernment. In September, 1838, his play \"Amor venga sus agravios,\"\nwritten in collaboration with Eugenio Moreno L\u00f3pez, was produced at the\nTeatro del Pr\u00edncipe. Its success was moderate. The next year, while in\nGranada, he and his friend Santos \u00c1lvarez were guests of honor at a\nliterary soir\u00e9e. Espronceda's contribution was the reading of \"El\nEstudiante de Salamanca.\" This poem was first printed, at least in part,\nin _La Alhambra_ for 1839. The great political event of this year was\nthe ending of the first Carlist war. The victories of the national\ntroops were celebrated by a huge public demonstration in Madrid on the\nnational holiday, May 2, 1840. For this occasion Espronceda wrote his\npatriotic poem \"El Dos de Mayo.\" Only three days later his volume of\n\"Poes\u00edas\" was placed on sale, and, like Byron, he awoke to find himself\nfamous. His old teacher Lista wrote a favorable review. From then on\nEspronceda was a man of note. The Madrid revolution of September 1\nforced an unwilling regent to make Espartero, hero of the Carlist war,\nprime minister. A radical sheet, _El Hurac\u00e1n_, was accused of attacking\nCristina and of advocating republicanism. Espronceda, though not a\nlawyer, was chosen to defend the journal. This he did with complete\nsuccess. His speech has not come down to us, but we are told that in it\nhe appeared in the r\u00f4le of an uncompromising republican.\n\nNevertheless he was soon to compromise. He was now a man of mark, and\nthe liberal r\u00e9gime in power were not slow to see that it would be\nadvantageous to enlist his services. In November, 1841, he accepted an\nappointment to serve as secretary to the Spanish legation at the Hague.\nHe served in this capacity exactly five days. Arriving at the Hague\non January 29, 1842, he departed for Madrid on February 3. A certain\nCarrasco had been elected deputy of the province of Almer\u00eda. He was now\nurged to resign to make room for Espronceda. This he did, and Espronceda\nwas elected and served in his stead. Of course all this had been\nprearranged. After his return he continued to hold his diplomatic\nposition and receive pay for it, a not very honorable course on the part\nof one who pled so eloquently for the abolition of useless offices\nand the reform of the diplomatic service. In this way the Espartero\ngovernment conciliated Espronceda with two offices. Henceforth his\nrepublicanism was lukewarm. Escosura tells us that concern for his\ndaughter Blanca's financial future had rendered him prudent.\n\nI am inclined to think that Espronceda's biographers underrate his\nservices in the Chamber of Deputies. The trouble is that in his r\u00f4le of\ndeputy their hero failed to justify preconceived notions regarding his\ncharacter. Those who looked for revolution in his speeches found only\nsound finance. We seek in vain for anything subversive. There is nothing\nsuggestive of the lyric poet or even of the fiery defender of _El\nHurac\u00e1n_. As a poet he had praised the destructive fury of the Cossacks\nwho swept away decadent governments. In defending _El Hurac\u00e1n_ he had\nused the word Cossack as a term of reproach, applying it to those\nself-seeking politicians who were devouring the public funds. By this\ntime he had himself become a Cossack on a small scale. Yet we must do\nhim the justice to point out that he had had sufficient firmness of\nprinciple to refuse office under Mendiz\u00e1bal, Ist\u00fariz, and the Duque de\nRivas. Fitzmaurice-Kelly is possibly going too far in intimating that\nhe was degenerating into a hidebound conservative and opportunist.\nSomething of the old reforming zeal survived. Though many\ndisillusionments may have rendered him less eager for a republican form\nof government, his latest utterances show him zealous as ever for social\nand economic reform. Espronceda's parliamentary career lasted less than\nthree months (March 1 to May 23, 1842). One can only wonder that in so\nbrief a time a man already stricken with a fatal illness should have\ntaken so able a part in an assembly in which he was a newcomer. Nor\nshould we complain that his speeches lack eloquence. It is fairer to\ngive him credit for not falling into the abuse of _palabrer\u00eda_, the\nbesetting sin of most _diputados_.\n\nHis views were sober and sound. Travel had given him a wider\noutlook than most of his colleagues possessed. He was the enemy of\n_espa\u00f1olismo_, wanted his nation to take a prominent part in European\naffairs, and no longer to lead the life of a hermit nation. But he is no\njingo. He speaks against the bill to add fifty thousand to the standing\narmy. Spain had passed through too many upheavals. What she needed to\nmake her a European power was tranquility and opportunity to develop\nfinancial strength. Give the producing classes their long-awaited\ninnings. But he is bitter against the magnates of the bourse and those\npoliticians who legislate to produce an artificial rise in values. The\ntrue policy is to better the condition of the masses, to encourage\nagriculture and manufactures: even the construction of railways should\nwait until there is first something to haul over them. But manufactures\nshould not be protected by a tariff. In his speech against the tariff\non cotton he shows himself an out and out free-trader. He praises the\nEnglish for their policy of free trade, enlightened self-interest he\ndeems it, which tends to make the world one large family. As a writer he\nhad inveighed against commercialism. But he now discerns a future where\ncommerce shall replace war. He was unable to foresee that in the future\ntrade was to be a chief cause of war.\n\nThat he was a ready debater is shown by his neat rejoinder to Deputy\nFont\u00e1n. This gentleman had made sneering allusions to men of letters\nwho dabbled in diplomacy. Far from accepting the remark as a thrust at\nhimself, as it was intended, Espronceda resented it as an insult to the\nthen American minister Washington Irving, \"novelist of the first\nrank, known in Europe through his writings even more than through the\nbrilliancy of his diplomatic career.\"\n\nEspronceda's health had been failing for some months. It is said that\nchronic throat trouble had so weakened his voice as to make his remarks\nin the Cort\u00e9s scarcely audible. On May 18, 1842, he journeyed on\nhorseback to Aranjuez to visit Do\u00f1a Bernarda Beruete, a young lady to\nwhom he was then engaged. Hastily returning to Madrid on the afternoon\nof the same day, so as not to miss a night session of the Cort\u00e9s, he\ncontracted a cold which soon turned into a fatal bronchitis. Others say\nhe was taken ill at a reception given by Espartero. He died May 23,\n1842, at the early age of 34. He was honored with a public funeral in\nkeeping with his position as deputy and distinguished man of letters.\nHis first place of burial was the cemetery of San Nicol\u00e1s; but in 1902\nhis remains, together with those of Larra, were exhumed and reburied in\nthe Pantheon for Distinguished Men of the Nineteenth Century, situated\nin the Patio de Santa Gertrudis in the Cementerio de la Sacramental de\nSan Justo.\n\nIn forming our estimate of the man, we must carefully distinguish\nbetween the Espronceda of legend and the Espronceda of fact; for a\nlegend sprang up during his own lifetime, largely the result of his own\nself-defamation. Like many other Romanticists, Espronceda affected a\nreputation for diabolism. He loved to startle the bourgeois, to pose as\natheist, rake, deposer of tyrants. Escosura sums up this aspect of his\ncharacter by branding him \"a hypocrite of vice.\" Many have been led\nastray by Ferrer del R\u00edo's statement that in drawing the character of\nthe seducer, Don F\u00e9lix de Montemar, Espronceda was painting his own\nportrait. Such criticism would have delighted Espronceda, but the\nimputation was indignantly denied by his close friend Escosura. Modern\ncritics are careful to avoid this extreme; but, in the delight of\nsupporting a paradox, some are disposed to go too far in the opposite\ndirection. Se\u00f1or Cascales, for instance, is unconvincing when he seeks\nto exonerate Espronceda from all blame in the Teresa episode. Like the\ndevil, Espronceda was not so black as he was painted, not so black as\nhe painted himself; but he was far from being a Joseph. It is easy to\nminimize the importance of the part he played in the national militia.\nDoubtless much of his plotting was puerile and melodramatic. His\nactivities as a revolutionist cannot have greatly affected the course of\nevents. But it is unfair to deny him credit for constant willingness\nto risk his life in any cause which seemed noble. That his conduct was\ninconsistent merely proves that he followed no calmly reasoned political\nsystem. He reflects in his conduct the heated sentiment of the time,\nvarying as it did from day to day. He sometimes compromised with his\nideals, his sense of honor was not always of the highest, but he never\nseems to have grown lukewarm in his desire to serve the people. He is\na liberal to the last, a liberal with notions of political economy and\nEnglish constitutional practice. His quarrel with the church seems to\nhave been political rather than theological. He hated the friars and the\nchurch's alliance with Carlism. That the last rites were administered to\nhim shows that he died a professing Catholic. In appearance Espronceda\nwas handsome, if somewhat too effeminate-looking to suggest the\nfire-eater. He never cultivated slovenliness of attire like most\nmembers of the Romantic school; on the contrary, he was the leading\nrepresentative in Spain of dandyism. To sum up, Espronceda's was a\ntempestuous and very imperfect character. \"Siempre fu\u00ed el juego de mis\npasiones,\" is his own self-analysis. The best that can be said of him\nis that he was a warm, affectionate nature, generous, charitable to the\npoor, a loyal friend, and one actuated by noble, if sometimes mistaken,\nideals. Years afterward, when Escosura passed in review the little\ncircle of the Colegio de San Mateo, Espronceda was the only one of them\nwhom he could truly say he loved.\n\n\nTHE WORKS OF ESPRONCEDA\n\nOf all the Spanish poets of the period of Romanticism, Espronceda is the\nmost commanding figure. Pi\u00f1eyro, adopting Emerson's phrase, calls him\nthe Representative Man of that age of literary and political revolt.\nMore than that, criticism is unanimous in considering him Spain's\ngreatest lyric poet of the nineteenth century.\n\nFirst of all he interests as the poet of democracy. The Romantic poets\nwere no more zealous seekers for political liberalism than the\nclassic poets of the previous generation had been; but their greater\nsubjectivity and freedom of expression rendered their appeal more\nvigorous. Espronceda's hatred for absolutism was so intense that in\nmoments of excitement he became almost anti-social. The pirate, the\nbeggar, the Cossack, were his heroes. The love of this dandy for the\nlower classes cannot be dismissed as mere pose. He keenly sympathized\nwith the oppressed, and felt that wholesale destruction must precede\nthe work of construction. We look in vain for a reasoned political\nphilosophy in his volcanic verse. His outpourings were inspired by the\nirresponsible ravings of groups of caf\u00e9 radicals, and the point of view\nconstantly changed as public sentiment veered. According to his lights\nhe is always a patriot. Liberty and democracy are his chief desires.\n\nLike most Romanticists, Espronceda was intensely subjective. He\ninterests by his frank display of his inner moods. Bonilla, in his\nilluminating article \"El Pensamiento de Espronceda,\" states that the\nfour essential points in the philosophy of Romanticism were: doubt,\nthe first principle of thought; sorrow, the positive reality of life;\npleasure, the world's illusion; death, the negation of the will to live.\nEspronceda shared all of these ideas. It is often impossible to say how\nmuch of his suffering is a mere Byronic pose, and how much comes from\nthe reaction of an intensely sensitive nature to the hard facts of\nexistence. There is evidence that he never lost the zest of living;\nbut in his writings he appears as one who has been completely\ndisillusionized by literature, love, politics, and every experience\nof life. Truth is the greatest of evils, because truth is always sad;\n\"mentira,\" on the other hand, is merciful and kind. He carries doubt so\nfar that he doubts his very doubts. Such a philosophy should logically\nlead to quietism. That pessimism did not in the case of Espronceda\nbring inaction makes one suspect that it was largely affected. There is\nnothing profound in this very commonplace philosophy of despair. It is\nthe conventional attitude of hosts of Romanticists who did little\nbut re-echo the _Vanitas vanitatum_ of the author of Ecclesiastes.\nEspronceda's thought is too shallow to entitle him to rank high as a\nphilosophic poet. In this respect he is inferior even to Campoamor\nand N\u00fa\u00f1ez de Arce. Genuine world-weariness is the outgrowth of a more\ncomplex civilization than that of Spain. Far from being a Leopardi,\nEspronceda may nevertheless be considered the leading Spanish exponent\nof the _taedium vitae_. He has eloquently expressed this commonplace and\nconventional attitude of mind.\n\nLike so many other writers of the Latin race, Espronceda is more\nadmirable for the form in which he clothed his thoughts than for those\nthoughts themselves. He wrote little and carefully. He is remarkable for\nhis virtuosity, his harmonious handling of the most varied meters. He\nnever, like Zorrilla, produces the effect of careless improvisation. In\nthe matter of poetic form Espronceda has been the chief inspiration of\nSpanish poets down to the advent of Rub\u00e9n Dar\u00edo. Fitzmaurice-Kelly, with\nhis happy knack of hitting off an author's characteristics in a phrase,\nsays: \"He still stirs us with his elemental force, his resonant musical\npotency of phrase, his communicative ardor for noble causes.\"\n\nMuch harm has been done Espronceda's reputation for originality by those\ncritics who fastened upon him the name of \"the Spanish Byron.\" Nothing\ncould be more unjust than to consider him the slavish imitator of a\nsingle author. In literature, as in love, there is safety in numbers,\nand the writer who was influenced by Calder\u00f3n, Tasso, Milton, Goethe,\nB\u00e9ranger, Hugo, Shakespeare, and Scott was no mere satellite to Byron.\nSe\u00f1or Cascales is so sensitive on the point that he is scarcely willing\nto admit that Byron exerted any influence whatsoever upon Espronceda.\nThe truth is that Byron did influence Espronceda profoundly, as\nChurchman has sufficiently proved by citing many instances of borrowings\nfrom the English poet, where resemblance in matters of detail is wholly\nconclusive; but it is another matter to assert that Espronceda was\nalways Byronic or had no originality of his own.\n\nIn considering Espronceda's writings in detail, we need concern\nourselves little with his dramatic and prose writings. The quickest road\nto literary celebrity was the writing of a successful play. Espronceda\nseems never to have completely relinquished the hope of achieving such a\nsuccess. His first attempt was a three-act verse comedy, \"Ni el T\u00edo ni\nel Sobrino\" (1834), written in collaboration with Antonio Ros de Olano.\nLarra censured it for its insipidity and lack of plan. A more ambitious\neffort was \"Amor venga sus agravios\" (1838), written in collaboration\nwith Eugenio Moreno L\u00f3pez. This was a five-act costume play, in prose,\nportraying the life at the court of Philip IV. It was produced without\nregard to expense, but with indifferent success. Espronceda's most\nambitious play was never staged, and has only recently become easily\naccessible: this was \"Blanca de Borb\u00f3n,\" a historical drama of the times\nof Peter the Cruel in five acts, in verse. The first two acts were\nwritten in Espronceda's early Classic manner; the last three, written\nat a later period, are Romantic in tone. The influence of \"Macbeth\" is\napparent. \"Blanca de Borb\u00f3n\" could never be a success on the stage. The\nverse, too, is not worthy of the author. Espronceda was too impetuous\na writer to comply with the restrictions of dramatic technique. The\ndramatic passages in \"El Estudiante de Salamanca\" and \"El Diablo Mundo\"\nare his best compositions in dialogue.\n\n\"Sancho Salda\u00f1a\" is Espronceda's most important prose work. It is a\nhistorical novel of the thirteenth century, written frankly in imitation\nof Walter Scott's Waverley Novels. The romance contains many tiresome\ndescriptions of scenery, and drags along tediously as most old-fashioned\nnovels did. But Espronceda had none of Sir Walter's archaeological\nerudition, none of his ability to seize the characteristics of an epoch,\nand above all none of his skill as a creator of interesting characters.\nThe personages in \"Sancho Salda\u00f1a\" fail to interest. The most that can\nbe said of the work is that among the numerous imitations of Scott's\nnovels which appeared at the time it is neither the best nor the worst.\nOf his shorter prose works only two, \"De Gibraltar a Lisboa, viaje\nhist\u00f3rico\" and \"Un Recuerdo,\" are easily accessible. They are vivid\nportrayals of certain episodes of his exile, and may still be read\nwith interest. His most important polemical work is \"El Ministerio\nMendiz\u00e1bal\" (Madrid, 1836). In this screed we find the fiery radical\nattacking as unsatisfactory the ultra-liberal Mendiz\u00e1bal. This and\nshorter political articles interest the historian and the biographer,\nbut hardly count as literature. His rare attempts at literary criticism\nhave even less value.\n\nEspronceda shows true greatness only as a lyric poet. For spirit and\nperfection of form what could be more perfect than the \"Canci\u00f3n del\nPirata\"? Like Byron in the \"Corsair,\" he extols the lawless liberty of\nthe buccaneer. Byron was here his inspiration rather than Hugo. The\n\"Chanson de Pirates\" cannot stand comparison with either work. But\nEspronceda's indebtedness to Byron was in this case very slight. He\nhas made the theme completely his own. \"El Mendigo\" and \"El Canto del\nCosaco,\" both anarchistic in sentiment, were inspired by B\u00e9ranger. Once\nmore Espronceda has improved upon his models, \"Les Gueux\" and \"Le Chant\ndu Cosaque.\" Compare Espronceda's refrain in the \"Cossack Song\" with\nB\u00e9ranger's in the work which suggested it:\n\n      \u00a1Hurra, Cosacos del desierto! \u00a1Hurra!\n      La Europa os brinda espl\u00e9ndido bot\u00edn\n      Sangrienta charca sus campi\u00f1as sean,\n      De los grajos su ej\u00e9rcito fest\u00edn.\n\n      Hennis d'orgueil, o mon coursier fid\u00e8le!\n      Et foule aux pieds les peuples et les rois.\n\nThe \"Canto del Cosaco\" was a prime favorite with the revolutionary youth\nof Spain, who thundered out the \"hurras\" with telling effect. \"El Reo de\nMuerte\" and \"El Verdugo\" are in a similar vein, though much inferior.\n\"Serenata,\" \"A la Noche,\" \"El Pescador\" (reminiscent of Goethe), \"A una\nEstrella,\" and \"A una Rosa, soneto\" are lighter works. They make up in\ngrace what they lack in vigor. \"El Himno al Sol\" is the most perfect\nexample of Espronceda's Classic manner, and is rightly considered one of\nhis masterpieces. It challenges comparison with the Duque de Rivas' very\nsimilar poem. Of the numerous patriotic poems \"Al Dos de Mayo\" and \"A\nla Patria\" deserve especial mention. He attempted satire in \"El Pastor\nClasiquino,\" recently reprinted by Le Gentil from \"El Artista.\" In\nthis poem he assails academic poetry like that produced by his old\nfellow-academicians of the Myrtle. It betrays the peevishness of a\nRomanticist writing when Romanticism was already on the wane.\n\n\"El Diablo Mundo,\" Espronceda's most ambitious work, is commonly\nconsidered his masterpiece; an unfinished masterpiece, however. Even\nif death had spared him, it is doubtful if he could have finished so\nall-embracing a theme as he proposed:\n\n        Nada menos te ofrezco que un poema\n      Con lances raros y revuelto asunto,\n      De nuestro mundo y sociedad emblema....\n      Fiel traslado ha de ser, cierto trasunto\n      De la vida del hombre y la quimera\n      Tras de que va la humanidad entera.\n        Batallas, tempestades, amor\u00edos,\n      Por mar y tierra, lances, descripciones\n      De campos y ciudades, desaf\u00edos,\n      Y el desastre y furor de las pasiones,\n      Goces, dichas, aciertos, desvar\u00edos,\n      Con algunas morales reflexiones\n      Acerca de la vida y de la muerte,\n      De mi propia cosecha, que es mi fuerte.\n\nAdam, hero of the epic, is introduced in Canto I as an aged scholar\ndisillusioned with life, but dreading the proximity of Death, with whom\nhe converses in a vision. The Goddess of Life grants him the youth of\nFaust and the immortality of the Wandering Jew. Unlike either, he has\nthe physical and mental characteristics of an adult joined to the\nna\u00efvet\u00e9 of a child. In Canto III Adam appears in a _casa de hu\u00e9spedes_,\nnaked and poor, oblivious of the past, without the use of language, with\nlongings for liberty and action. Here his disillusionment begins. His\nnakedness shocks public morality; and the innocent Adam who is hostile\nto nobody, and in whom the brilliant spectacle of nature produces\nnothing but rejoicing, receives blows, stonings, and imprisonment from\nhis neighbors. Childlike he touches the bayonet of one of his captors,\nand is wounded. This symbolizes the world's hostility to the innocent.\nIn Canto IV we find Adam in prison. His teachers are criminals. He was\nborn for good; society instructs him in evil. In Canto V he experiences\nlove with the _manola_ Salada, but sees in this passion nothing but\nimpurity. He longs for higher things. Circumstances abase him to crime.\nHe joins a band of burglars, and, falling in love with the lady whose\nhouse they are pillaging, protects her against the gang. In Canto VI he\ncontinues along his path of sorrow. He enters a house where a beautiful\ngirl is dying, while in another room revelers are making merry. This\nleads him to speculate on life's mysteries and to reason for himself.\nThe poem ends where Adam has become thoroughly sophisticated. He is now\nlike any other man.\n\nEvidently it was the poet's intention to make Adam go through a series\nof adventures in various walks of life, everywhere experiencing\ndisillusionment. In spite of the elaborate prospectus quoted above,\nwe may agree with Pi\u00f1eyro that the poet started writing with only the\nhaziest outline planned beforehand. Espronceda frankly reveals to us his\nmethods of poetic composition:\n\n      \u00a1Oh c\u00f3mo cansa el orden! no hay locura\n      Igual a la del l\u00f3gico severo.\n\nAnd again:\n\n      Terco escribo en mi loco desvar\u00edo\n      Sin ton ni s\u00f3n, y para gusto m\u00edo....\n      Sin regla ni comp\u00e1s canta mi lira:\n      S\u00f3lo mi ardiente coraz\u00f3n me inspira!\n\n\"El Diablo Mundo\" is no mere imitation of Byron's \"Don Juan\" and\nGoethe's \"Faust,\" though the influence of each is marked. It has\nnumerous merits and originalities of its own. Inferior as Espronceda\nis to Byron in wit and to Goethe in depth, he can vie with either as a\nharmonious versifier.\n\nThe philosophy of \"El Diablo Mundo\" is the commonplace pessimism of\nRomanticism. The following excerpt shows how the author's skepticism\nleads him to doubt his very doubts; hence his return to a questioning\nacceptance of Christianity:\n\n      Las creencias que abandonas,\n      Los templos, las religiones\n      Que pasaron, y que luego\n      Por mentira reconoces,\n      \u00bfSon quiz\u00e1 menos mentira\n      Que las que ahora te forges?\n      \u00bfNo ser\u00e1n tal vez verdades\n      Los que t\u00fa juzgas errores?\n\nCanto II of \"El Diablo Mundo\" consists of the poem \"A Teresa. Descansa\nen Paz.\" This has not the slightest connection with the rest of the\npoem, and can only be understood as a separate unity. It is included\nin the present collection because it is the supreme expression of our\npoet's subjective method. As such it stands in excellent contrast to \"El\nEstudiante de Salamanca,\" which is purely objective. No reader knows\nEspronceda who has read merely his objective poems. For self-revelation\n\"A Jarifa en una Org\u00eda\" alone may be compared with \"A Teresa.\" We may\nagree with Escosura that Espronceda is here giving vent to his rancor\nrather than to his grief, that it is the _menos hidalgo_ of all his\nwritings. But for once we may be sure that the poet is writing under the\nstress of genuine emotion. For once he is free from posing.\n\n\n\"THE STUDENT OF SALAMANCA\"\n\n\"El Estudiante de Salamanca\" represents the synthesis of two well-known\nSpanish legends, the Don Juan Tenorio legend and the Miguel Ma\u00f1ara\nlegend. The first of these may be briefly stated as follows: Don Juan\nTenorio was a young aristocrat of Seville famous for his dissolute life,\na gambler, blasphemer, duelist, and seducer of women. Among numerous\nother victims, he deceives Do\u00f1a Ana de Ulloa, daughter of the Comendador\nde Ulloa. The latter challenges Don Juan to a duel, and falls. Later Don\nJuan enters the church where the Commander lies buried and insults his\nstone statue, after which he invites the statue to sup with him that\nnight. At midnight Don Juan and his friends are making merry when a\nknock is heard at the door and the stone guest enters. Don Juan, who\ndoes not lose his bravery even in the presence of the supernatural,\nplays the host, maintaining his air of insulting banter. At the end of\nthe evening the guest departs, offering to repay the hospitality the\nfollowing night if Don Juan will visit his tomb at midnight. Though\nfriends try to dissuade him, Don Juan fearlessly accepts the invitation.\nAt the appointed hour he visits the tomb. Flames emerge from it, and Don\nJuan pays the penalty of his misdeeds, dying without confession.\n\nThis is the outline of the story as told by Tirso de Molina in \"El\nBurlador de Sevilla o el Convidado de Piedra.\" The same theme has been\ntreated by Moli\u00e8re, Goldoni, Mozart, Byron, and Zorrilla, to mention but\na few of the hundreds of writers who have utilized it. In the hands of\nnon-Spanish writers the character of Don Juan loses the greater part of\nits essential nobility. To them Don Juan is the type of libertine and\nlittle more. He was a prime favorite with those Romanticists who, like\nGautier, felt \"Il est ind\u00e9cent et mauvais ton d'\u00eatre vertueux.\" But\nas conceived in Spain Don Juan's libertinage is wholly subsidiary and\nincidental. He is a superman whose soaring ambition mounts so high that\nearth cannot satisfy it. The bravest may be permitted to falter in the\npresence of the supernatural; but Don Juan fears neither heaven nor\nhell. His bravery transcends all known standards, and this one virtue,\nthough it does not save him from hell, redeems him in popular esteem.\n\nDon F\u00e9lix de Montemar is the typical Don Juan type, a libertine,\ngambler, blasphemer, heartless seducer, but superhumanly brave. Yet the\nplot of Espronceda's poem bears closer resemblance to the story told of\nMiguel Ma\u00f1ara.\n\nMiguel Ma\u00f1ara (often erroneously spelled Mara\u00f1a) Vicentelo de Leca\n(1626-1679) was an alderman (_veintecuatro_) of Seville and a knight of\nCalatrava. As a youth his character resembled that of Don Juan. One day\nsome hams sent to him from the country were intercepted by the customs.\nHe started out to punish the offending officers, but on the way repented\nand thenceforth led a virtuous life. In 1661, after his wife's death,\nhe entered the Hermandad de la Caridad, later becoming superior of that\norder. In his will he endowed the brotherhood with all his wealth and\nrequested that he be buried under the threshold of the chapel of San\nJorge. His sole epitaph was to be \"Here repose the bones and ashes of\nthe worst man who ever existed in the world.\" Don Miguel's biography was\nwritten by his friend the Jesuit Juan de Carde\u00f1as and was added to by\nDiego L\u00f3pez de Haro, \"Breve relaci\u00f3n de la muerte, de la vida y virtudes\nde Don Miguel de Ma\u00f1ara,\" Seville, 1680.\n\nThere soon sprang up a legend around the name of Ma\u00f1ara. He is said\nto have fallen in love with the statue on the Giralda tower. On one\noccasion the devil gave him a light for his cigar, reaching across\nthe Guadalquivir to do so. Again, he pursued a woman into the very\ncathedral, forcibly pulled aside her mantilla and discovered a skeleton.\nYet more surprising, he was present, when still alive, at his own\nfuneral in the Church of Santiago. But these stories associated with the\nname of Ma\u00f1ara are much older than he. Antonio de Torquemada, \"Jard\u00edn de\nFlores Curiosas,\" Salamanca, 1570, tells of an unnamed knight who fell\nin love with a nun. He enters her convent with false keys only to find a\nfuneral in progress. On inquiring the name of the deceased, he is told\nthat it is himself. He then runs home pursued by two devils in the form\nof dogs who tear him to pieces after he has made pious repentance.\nCrist\u00f3bal Bravo turned this story into verse, Toledo, 1572. One or other\nof these versions appears to have been the source of Zorrilla's \"El\nCapit\u00e1n Montoya.\" Gaspar Crist\u00f3bal Lozano, \"Soledades de la Vida y\nDesenga\u00f1os del Mundo\" (Madrid, 1663), tells the same story, and is the\nfirst to name hero and heroine, Lisardo and Teodora. Lozano, too, is the\nfirst to make the male protagonist a Salamanca student. Lozano's version\ninspired two ballads entitled \"Lisardo el Estudiante de C\u00f3rdova.\" These\nwere reprinted by Dur\u00e1n, _Romancero general_, Vol. I, pp. 264-268, where\nthey are readily accessible.\n\nThis ballad of Lisardo the Student of Cordova was undoubtedly\nEspronceda's main source in writing \"The Student of Salamanca,\" and to\nit he refers in line 2 with the words _antiguas historias cuentan_. Yet\nthe indebtedness was small. Espronceda took from the ballad merely the\nidea of making the hero of the adventure a Salamanca student, and\nthe episode of a man witnessing his own funeral. Needless to say\nEspronceda's finished versification owed nothing to the halting meter of\nthe original. Lisardo, a Salamanca student, though a native of Cordova,\nfalls in love with Teodora, sister of a friend, Claudio. Teodora is\nsoon to become a nun. One night he makes love to her and is only mildly\nrebuked. But a ghostly swordsman warns him that he will be slain if he\ndoes not desist. Nevertheless he continues his wooing in spite of the\nfact that Teodora has become a nun. She agrees to elope. While on his\nway to the convent to carry out this design, his attention is attracted\nby a group of men attacking an individual. This individual proves to be\nhimself, Lisardo. Lisardo, then, witnesses his own murder and subsequent\nfuneral obsequies. This warning is too terrible not to heed. He gives\nover his attempt at seduction and leads an exemplary life.\n\nThere are many other examples in the literature of Spain of the man who\nsees his own funeral. Essentially the same story is told by Lope de\nVega, \"El Vaso de Elecci\u00f3n. San Pablo.\" B\u00e9votte thinks that M\u00e9rim\u00e9e in\n\"Les Ames du purgatoire\" was the first to combine the Don Juan and the\nMiguel de Ma\u00f1ara legends, so closely alike in spirit, into a single\nwork. But Said Armesto finds this fusion already accomplished in a\nseventeenth-century play, \"El Ni\u00f1o Diablo.\" Dumas owed much to M\u00e9rim\u00e9e\nin writing his allegorical play \"Don Juan de Mara\u00f1a,\" first acted April\n30, 1836. This became immediately popular in Spain. A mutilated Spanish\nversion appeared, Tarragona, 1838, Imprenta de Chuli\u00e1. It is doubtful\nwhether Espronceda owes anything to either of these French works,\nalthough both works contain gambling scenes very similar to that in\nwhich Don F\u00e9lix de Montemar intervened. In the Dumas play Don Juan\nstakes his mistress in a game, as Don F\u00e9lix did his mistress's portrait.\nIt seems likely that Espronceda derived his whole inspiration for this\nscene from Moreto's \"San Franco de Sena,\" which he quotes.\n\nThe legend of the man who sees his own funeral belongs to the realm of\nfolk-lore. Like superstitions are to be found wherever the Celtic race\nhas settled. In Spain they are especially prevalent in Galicia and\nAsturias. There the _estantigua_ or \"ancient enemy\" appears to those\nsoon to die. These spirits, or _almas en pena_, appear wearing\nwinding-sheets, bearing candles, a cross, and a bier on which a corpse\nis lying. Don Quijote in attacking the funeral procession probably\nthought he had to do with the _estantigua_. Furthermore, Said Armesto in\nhis illuminating study \"La Leyenda de Don Juan\" proves that the custom\nof saying requiem masses for the living was very ancient in Spain. One\nrecalls, too, how Charles V in his retirement at Yuste rehearsed his own\nfuneral, actually entering the coffin while mass was being said.\n\nOf all Espronceda's poems \"El Estudiante de Salamanca\" is the most\npopular. It has a unity and completeness lacking in both the \"Pelayo\"\nand \"El Diablo Mundo.\" Every poet of the time was busy composing\n_leyendas_. Espronceda attempted this literary form but once, yet of\nall the numerous \"legends\" written in Spain this is the most fitted\nto survive. Nowhere else has the poet shown equal virtuosity in the\nhandling of unusual meters. Nowhere among his works is there greater\nvariety or harmony of verse. Though not the most serious, this is the\nmost pleasing of his poems. Espronceda follows the Horatian precept\nof starting his story \"in the middle of things.\" In the first part he\ncreates the atmosphere of the uncanny, introduces the more important\ncharacters, and presents a striking situation. Part Second, the most\nadmired, is elegiac in nature. It pleases by its simple melancholy. This\npart and the dramatic tableau of Part Three explain the cause of the\nduel with which Part One begins. Part Four resumes the thread of the\nnarration where it was broken off in Part One, and ends with the Dance\nof Death which forms the climax of the whole. The character of Don F\u00e9lix\nde Montemar is vigorously drawn. Originality cannot be claimed for it,\nas it is the conventional Don Juan Tenorio type. The character of Do\u00f1a\nElvira hardly merits the high praise of Spanish critics. She is\na composite portrait of Ophelia, Marguerite, and two of Byron's\ncharacters, Do\u00f1a Julia and Haid\u00e9e, a shadowy, unreal creation, as\nghostly in life as in death. \"The Student of Salamanca\" tells a story\nvigorously and sweetly. It does not abound in quotable passages like the\n\"Diablo Mundo.\" It is neither philosophic nor introspective. It teaches\nno lesson. Its merit is its perfection of form.\n\n\nBIBLIOGRAPHICAL NOTE\n\nThe best biography of Espronceda is that of Jos\u00e9 Cascales y Mu\u00f1oz, \"D.\nJos\u00e9 de Espronceda, su \u00e9poca, su vida y sus obras,\" Madrid, 1914. This\nis an expansion of the same author's \"Apuntes y Materiales para la\nBiograf\u00eda de Espronceda,\" _Revue hispanique_, Vol. XXIII, pp. 5-108. See\nalso a shorter article by the same author in _La Espa\u00f1a Moderna_, Vol.\nCCXXXIV, pp. 27-48. Less critical, but useful, is Antonio Cort\u00f3n,\n\"Espronceda,\" Madrid, 1906. The very uncritical book by E. Rodr\u00edguez\nSol\u00eds, \"Espronceda: su tiempo, su vida y sus obras,\" Madrid, 1883, is\nchiefly valuable now as the best source for Espronceda's parliamentary\nspeeches. J. Fitzmaurice-Kelly's \"Espronceda,\" _The Modern Language\nReview_, Vol. IV, pp, 20-39, is admirable as a biography and a\ncriticism, though partially superseded by later works containing the\nresults of new discoveries. P.H. Churchman, \"Byron and Espronceda,\"\n_Revue hispanique_, Vol. XX, pp. 5-210, gives a short biography, though\nthe study is in the main a penetrating investigation of Espronceda's\nsources. E. Pi\u00f1eyro has written two articles on Espronceda: \"Poetas\nFamosos del Siglo XIX,\" Madrid, 1883, and \"El Romanticismo en Espa\u00f1a,\"\nParis, 1904. This last was first printed in the _Bulletin hispanique_\nfor 1903. The older biography of D.A. Ferrer del R\u00edo, \"Galer\u00eda de la\nLiteratura,\" Madrid, 1846, still has a certain value; but the most\nimportant source for Espronceda's youthful adventures is \"El Discurso\ndel Excmo. Se\u00f1or D. Patricio de la Escosura, individuo de n\u00famero de la\nAcademia Espa\u00f1ola, le\u00eddo ante esta corporaci\u00f3n en la sesi\u00f3n p\u00fablica\ninaugural de 1870,\" Madrid, 1870. This matter is expanded in five\nvery important articles which appeared in \"La Ilustraci\u00f3n Espa\u00f1ola y\nAmericana\" for 1876 (February 8, February 22, June 22, July 8, September\n22), partially reproduced in the book of Cascales y Mu\u00f1oz. See also\nL\u00f3pez N\u00fa\u00f1ez, \"Jos\u00e9 de Espronceda, Biograf\u00eda Anecd\u00f3tica,\" Madrid, 1917\nand A. Donoso, \"La Juventud de Espronceda,\" _Revista Chilena_, July,\n1917. The best study of Espronceda's philosophy is Bonilla y San\nMart\u00edn's, \"El Pensamiento de Espronceda,\" _La Espa\u00f1a Moderna_, Vol.\nCCXXXIV. For a recent short article see Cejador y Frauca, \"Historia de\nla Lengua y Literatura Castellana,\" VII, Madrid, 1917, PP. 177-185.\n\nThe best bibliography of Espronceda's writings is that of Churchman, \"An\nEspronceda Bibliography,\" _Revue hispanique_, XVII, pp. 741-777. This\nshould be supplemented by reference to Georges Le Gentil, \"Les Revues\nlitt\u00e9raires de l'Espagne pendant la premi\u00e8re moiti\u00e9 du XIXe si\u00e8cle,\"\nParis, 1909. The least bad edition of Espronceda's poems is \"Obras\nPo\u00e9ticas y Escritos en Prosa,\" Madrid, 1884. (The second volume, which\nwas to contain the prose writings, never appeared.) See also the \"Obras\nPo\u00e9ticas de Espronceda,\" Valladolid, 1900, and \"Espronceda,\" Barcelona,\n1906. Also \"P\u00e1ginas Olvidadas de Espronceda,\" Madrid, 1873. There has\nbeen a recent reprint of \"Sancho Salda\u00f1a,\" Madrid, 1914, Repull\u00e9s.\nChurchman has published \"Blanca de Borb\u00f3n,\" _Revue hispanique_, Vol.\nXVII, and also \"More Inedita\" in the same volume. There is said to be\nan English translation of \"The Student of Salamanca,\" London, 1847. An\nexcellent French version is that of R. Foulch\u00e9-Delbosc, \"L'\u00c9tudiant de\nSalamanque,\" Paris, 1893. Mary J. Serrano has made splendid translations\nof \"The Pirate\" and \"To Spain: An Elegy,\" Warner's Library of the\nWorld's Best Literature, Vol. XIV.\n\nFor a very full treatment and bibliography of the Don Juan Tenorio\nlegend see G.G. de B\u00e9votte, \"La L\u00e9gende de Don Juan,\" Paris, 1911.\nAlso Farinelli, _Giornale Storico_, XXVII, and \"Homenaje a Men\u00e9ndez\ny Pelayo,\" Vol. I, p. 295; A.L. Stiefel, _Jahresberichte f\u00fcr neuere\ndeutsche Litteraturgeschichte_, 1898-1899, Vol. I, 7, pp. 74-79.\n\n\nNOTES ON ESPRONCEDA'S VERSIFICATION\n\n\nGENERAL CONSIDERATIONS\n\nTo enjoy the work of so musical an artist as Espronceda, the student\nmust be able to read his verse in the original. This cannot be done\nwithout some knowledge of the rules which govern the writing of Spanish\npoetry. It therefore becomes necessary to give some account of the\nelementary principles of Spanish prosody. This is not the place for a\ncomplete treatment of the subject: only so much will be attempted as is\nnecessary for the intelligent comprehension of our author's writings. A\nknowledge of English prosody will hinder rather than help the student;\nfor the Spanish poet obeys very different laws from those which govern\nthe writer of English verse.\n\nThe two essentials of Spanish poetry are (1) a fixed number of syllables\nin each verse (by verse we mean a single line of poetry); (2) a\nrhythmical arrangement of the syllables within the verse. Rime and\nassonance are hardly less important, but are not strictly speaking\nessential.\n\nSYLLABLE-COUNTING\n\nFINAL SYLLABLES\n\nWhen a verse is stressed on the final syllable, it is called a _verso\nagudo_ or masculine verse.\n\nWhen a verse is stressed on the next to the last syllable, it is called\na _verso llano_ or feminine verse.\n\nWhen a verse is stressed on the second from the last syllable, the\nantepenult, it is called a _verso esdr\u00fajulo_.\n\nFor the sake of convenience, the _verso llano_ is considered the normal\nverse. Thus, in an eight-syllable verse of this type the final stress\nalways falls on the seventh syllable, in a six- syllable verse on the\nfifth syllable, etc., always one short of the last. In the case of the\n_verso agudo_, where the final stress falls on the final syllable, a\nverse having actually seven syllables would nevertheless be counted as\nhaving eight. One syllable is always added in counting the syllables of\na _verso agudo_, and, contrariwise, one is always subtracted from the\ntotal number of actual syllables in a _verso esdr\u00fajulo_. These three\nkinds of verses are frequently used together in the same strophe\n(_copla_ or stanza) and held to be of equal length. Thus:\n\n      Turbios sus ojos,\n      Sus graves p\u00e1rpados\n      Flojos caer.\n\nTheoretically these are all five-syllable verses. The first is a _verso\nllano_, the normal verse. It alone has five syllables. The second is a\n_verso esdr\u00fajulo_. It actually has six syllables, but theoretically is\nheld to have five. The third is a _verso agudo_. It actually has but\nfour syllables, but in theory is designated a five-syllable verse. All\nthree verses agree in having the final stress fall upon the fourth\nsyllable.\n\nIt would be simpler if, following the French custom, nothing after the\nfinal stress were counted; but Spaniards prefer to consider normal\nthe verse of average length. It follows from this definition that a\nmonosyllabic verse is an impossibility in Spanish. Espronceda writes:\n\n      Leve,\n      Breve\n      S\u00f3n.\n\nHe is not here dropping from dissyllabic to monosyllabic verse, but the\nlast verse too must be considered a line of two syllables.\n\nEspronceda never uses a measure of more than twelve syllables in the\nselections included in this book. Serious poets never attempt anything\nlonger than a verse of sixteen syllables.\n\nDIPHTHONGIZATION\n\nSpanish vowels are divided into two classes: the strong vowels, _a_,\n_o_, _e_, and the weak vowels, _u_, _i_. According to the Academy rules,\nfollowed by most grammarians, there can be no diphthongization of two\nstrong vowels in the proper pronunciation of prose; only when a strong\nunites with a weak or two weaks unite can diphthongization take place.\nIn verse, on the other hand, diphthongization of two strong vowels is\nnot only allowable but common. This would probably not be the case if\nthe same thing did not have considerable justification in colloquial\npractice. As a matter of fact we frequently hear _ahora_ pronounced\n_\u00e1ora_ with diphthongization and shift of stress.\n\nOf the three strong vowels, _a_ is \"dominant\" over _o_ and _e_; _o_ is\ndominant over _e_; and any one of the three is dominant over _u_ or _i_.\nA dominant vowel is one which has the power of attracting to itself the\nstress which, except for diphthongization, would fall on the other\nvowel with which it unites. The vowel losing the stress is called the\n\"absorbed\" vowel. This principle, which we find exemplified in the\nearliest poetic monuments of the language, must be thoroughly understood\nby the student of modern Spanish verse.\n\nSYNERESIS\n\nSyneresis is the uniting of two or three vowels, each of which is\nordinarily possessed of full syllabic value, into a diphthong or a\ntriphthong, thereby reducing the number of syllables in the word; _h_\ndoes not interfere with syneresis. Thus, _a\u00e9rea_ is normally a word of\nfour syllables. In this verse it counts as three.\n\n      M\u00edstica y a\u00e9rea dudosa visi\u00f3n (12)\n\n(The numbers in parentheses indicate the syllables in the verse.\nRemember that the figure represents the theoretical number of syllables\nin the line, and indicates the actual number only in the case of\nthe _verso llano_. Furthermore, the figure has been determined by a\ncomparison with adjacent lines in the same stanzas, verses which offer\nno metrical difficulties.) So likewise in:\n\n      Y en a\u00e9rea fant\u00e1stica danza (10)\n\nIn the following we have double syneresis, and the word has but two\nsyllables:\n\n      Aerea como dorada mariposa (11)\n\nExamples of syneresis after the tonic stress:\n\n      Rechinan girando las f\u00e9rreas veletas (12)\n      Todos atropell\u00e1ndoos en mont\u00f3n (11)\n      Palpa en torno de s\u00ed, y el impio jura (11)\n\n_Impio_, usually _imp\u00edo_, is one of a number of words admitting of two\nstresses. Such are called words of double accentuation. The principle is\ndifferent from that governing the stress-shift explained above. The word\nhas its ordinary value in the following:\n\n      \u00abBienvenida la luz,\u00bb dijo el imp\u00edo (11)\n\nExamples of syneresis before the tonic stress:\n\n      Se siente con sus l\u00e1grimas ahogar (11)\n      Tu pecho de roedor remordimiento (11)\n      \u00a1Ay! El que la triste realidad palp\u00f3! (12)\n      Toda la sangre coagulada env\u00eda (11)\n      \u00bfQui\u00e9n en su propia sangre los ahog\u00f3? (11)\n      Tanto delirio a realizar alcanza (11)\n      Ahogar me siento en infernal tortura (11)\n\nExamples of syneresis under stress:\n\n      El blanco ropaje que ondeante se ve (12)\n      Las piedras con las piedras se golpearon (11)\n      Ahora adelante?\u00bb Dijo, y en seguida (11)\n\nIn the first two examples there is no stress-shift. In the third, the\nstress travels from the _o_ of _Ahora_ to the initial _a_. In the\nfollowing example _ahora_ has three syllables:\n\n      Ser\u00e1 m\u00e1s tarde que ahora (8)\n\nThe rule regarding syneresis under stress is that it is allowable, with\nor without resulting stress-shift, except when the combinations _\u00e9a_,\n_\u00e9o_, _\u00f3a_, are involved. Espronceda violates the rule in this instance:\n\n      Veame en vuestros brazos y m\u00e1teme luego (12)\n\nThis is a peculiarly violent and harsh syneresis. The stress shifts from\nthe first _e_ to the _a_, giving a pronunciation very different from\nthat of the usual _v\u00e9ame_. Such a syneresis is more pardonable at the\nbeginning of a verse than in any other position; but good modern poets\nstrive to avoid such harshnesses. Espronceda sometimes makes _r\u00edo_\nmonosyllabic:\n\n      Los rios su curso natural reprimen (11)\n\nIn the poetry of the Middle Ages and Renaissance such pronunciations as\n_teni\u00e1_ for _ten\u00eda_ are common.\n\nDIERESIS\n\nDieresis is the breaking up of vowel-combinations in such a way as\nto form an additional syllable in the word. It is the opposite of\nsyneresis. Dieresis never occurs in the case of the diphthongs _ie_ and\n_ue_ derived from Latin (e), and (o), in words like _tierra_, _bueno_,\netc. _U\u00e1_ and _u\u00f3_ are regularly dissyllabic except after _c_, _g_, and\n_j_. Examples:\n\n      Y en su blanca luz s\u00fcave (8)\n      En la playa un ad\u00fcar (8)\n      En vez de desaf\u00efaros (8)\n      Compa\u00f1ero eterno su dolor cr\u00fcel (12)\n      Grand\u00efosa, sat\u00e1nica figura (11)\n      El car\u00efado, l\u00edvido esqueleto (11)\n      La Luna en el mar r\u00efela (8)\n      C\u00f3lera, impetuoso torbellino (11)\n      Horas de confianza y de delicias (11)\n      En c\u00e1rdenos matices cambiaban (11)\n      R\u00fcido de pasos de gente que viene (12)\n\nThe same word without dieresis:\n\n      Por las losas desl\u00edzase sin ruido (11)\n\nIn certain words, such as _cruel_, metrical custom preserves a\npronunciation in which the adjacent vowels have separate syllabic value.\nTraditional grammar, represented by the Academy, asserts that such is\nthe correct pronunciation of these words to this day; but the actual\nspeech of the best speakers diphthongizes these vowels, and their\nseparation in poetry must rank as a dieresis. In printing poetry it is\ncustomary to print the mark of dieresis on many words in which dieresis\nis regular as well as on those in which it is exceptional.\n\nSYNALEPHA\n\nSynalepha is the combining into one syllable of two or more adjacent\nvowels or diphthongs of different words. It is the same phenomenon\nas syneresis extended beyond the single word. _H_ does not prevent\nsynalepha. The number of synalephas possible in a single verse is\ntheoretically limited only by the number of syllables in that verse. A\nsimple instance:\n\n      De alguna arruinada iglesia (8)\n\nThe number of vowels entering into a synalepha is commonly two or three;\nrarely four, and, by a _tour de force_, even five:\n\n      Ni envidio a Eudoxia ni codicio a Eulalia (11)\n\nSynalepha is not prevented by any mark of punctuation separating the\ntwo words nor by the caesural pause (see below). In dramatic verse a\nsynalepha may even be divided between two speakers. In the short lines\nof \"El Mendigo,\" Espronceda mingles four- with five-syllable verses.\nBut as the five-syllable verses begin with vowels and the preceding\nfour-syllable verses end with vowels, the former sound no longer than\nthe rest. In very short lines synalepha may occur between one verse\nand another following it. See also line 1389 of \"El Estudiante de\nSalamanca.\"\n\n1. The simplest case is where both vowels entering into synalepha occur\nin unstressed syllables:\n\n      Informes, en que se escuchan (8)\n\nWhen the two vowels coming together are identical, as here, they fuse\ninto a single sound (_s'escuchan_), with only a slight gain in the\nquantity of the vowel. _Se_ here has no individual accent in the\nstress-group. Where the vowels in synalepha are different, each is\nsounded, but the stronger or more dominant is the one more distinctly\nheard:\n\n      Vagar, y a\u00fallan los perros (8)\n\n2. The second case is where the vowel or diphthong ending the first word\nin the synalepha bears the stress, and the initial vowel or diphthong\nof the second word is unstressed. Examples which do not involve\nstress-shift:\n\n      Del que mat\u00f3 en desaf\u00edo (8)\n      Que no he seguido a una dama (8)\n\n(_He_ is without stress in the group.)\n\n                              JUGADOR PRIMERO\n      No tardar\u00e1.\n\n                              JUGADOR TERCERO\n                  Envido.\n\n                              JUGADOR PRIMERO\n                         Quiero. (8)\n\nIn the following examples stress-shift occurs, because the unstressed\nvowel is dominant while the stressed vowel is absorbed. Such\nstress-shifts as these are sanctioned only when they do not coincide\nwith a strong rhythmic stress (see below) in the verse. They are less\noffensive at the beginning than at the end:\n\n      All\u00ed en la triste soledad se hallaron (11)\n      T\u00fa el aroma en las flores exhalas (10)\n      Al punto aqu\u00ed castigar\u00e9 al medroso (11)\n\nThe following are disagreeably harsh:\n\n      Que estas torres llegu\u00e9 a ver (8)\n      \u00bfDe inciertos pesares por qu\u00e9 hacerla esclava (12)\n\n3. The third case is where the second vowel or diphthong bears the\nstress, while the first is unstressed:\n\n      Te\u00f1ida de \u00f3palo y grana (8)\n\nIn cases like these we are dealing with a form of synalepha which,\nif not true elision, approaches it closely. According to Benot, the\npronunciation is not quite _d'\u00f3palo_, but \"there is an attempt at\nelision.\" In other words, the second vowel or diphthong, if dominant,\nso predominates over the first that it is scarcely audible. Under this\ncase, too, there may arise stress-shift:\n\n      Se hizo el bigote, requiri\u00f3 la espada (11)\n\nThis is a very bad verse. But such instances are rare in Espronceda and\ngood modern poets. They are never sanctioned in connection with a strong\nrhythmic stress. In such a case hiatus (see below) is favored as the\nlesser of two evils.\n\n4. The fourth case is where each of the two vowels bears the stress:\n\n      As\u00ed, ante nosotros pasa en ilusi\u00f3n (12)\n\nWhat happens here is that one of the two stresses becomes subordinate to\nthe other, the stress being wholly assumed by the more dominant of the\ntwo.\n\nWhere three or more vowels unite in a synalepha, two things must be\nborne in mind: (1) Stress-shift is not harsh to the Spanish ear, and\nis always permissible, if more than two vowels are involved. This is\nEspronceda's justification in the following:\n\n  Si se muri\u00f3, a lo hecho, pecho (8)\n  Necesito ahora dinero (8)\n  Su pecho ahogado (5)\n\n(2) The vowels of three words may not combine if the middle word is y,\ne, he, o, or u. Examples:\n\n      \u00a1Pues no ha hecho mal disparate! (8)\n      Que conduce a esta mansi\u00f3n (8)\nBut:  Cuando en sue\u00f1o | y en silencio (8)\n      Si tal vez suena | o est\u00e1 (8)\n      Alma fiera | e insolente (8)\n\nThere is one case in the text where _he_ as middle word does enter into\nsynalepha, but this is merely the fusion of three identical vowels:\n\n      Yo me he echado el alma atr\u00e1s (8)\n\nHIATUS\n\nHiatus is the breaking up into two syllables of vowel combinations in\nadjacent words capable of entering into synalepha. It is an extension to\nthe word-group of dieresis, which applies only to a single word.\n\nMany authorities on Spanish versification recognize as hiatus various\ncases which should not be so classified. In words like _yo, yerro,\nhierro, huevo_, etc., the first phonetic element is in each case a\nsemi-vowel, and these semi-vowels have the value of consonants in the\nwords cited. To classify the following as examples of hiatus is to be\nphonetically unsound:\n\n      Perdida tengo | yo el alma (8)\n      Ponzo\u00f1oso lago de punzante | hielo (12)\n      Me he de quejar de este | yerro (8)\n      Levant\u00f3se en su c\u00f3ncavo | hueco (10)\n      Cual t\u00e9mpanos de | hielo endurecidos (11)\n      Tierno quejido que en el alma | hiere (11)\n\nIn none of these cases could there possibly be synalepha. Consequently\nby definition there can be no hiatus.\n\nHiatus most frequently occurs to avoid the greater cacophony which would\narise from stress-shift under case 3 of synalepha:\n\n      Era la hora | en que acaso (8)\n\nLack of hiatus would here produce a stress-shift resulting in an\nunharmonious stressing of two successive syllables.\n\n      Reposaba, y tumba | era (8)\n\nThe same principle applies here as in the above, except that the effect\nwould be even worse, because the stress shift would come under the\nrhythmic stress. (See below.)\n\n      Su mejilla; es una | ola (8) (Ditto.)\n      \u00a1Pobres flores de tu | alma! (8)\n\nProbably to give the pronominal adjective greater emphasis.\n\n      Y huy\u00f3 su | alma a la mansi\u00f3n dichosa (11)\n\nProbably to avoid two successive stresses, though possibly there may be\ndieresis in _mansi\u00f3n_.\n\n      Don F\u00e9lix, a buena | hora (8)\n\nAgain to avoid stress-shift under the rhythmic stress.\n\n      \u00a1El as! \u00a1el as! aqu\u00ed est\u00e1 (8)\n      Y si Dios aqu\u00ed os envia (8)\n\nIn these two examples instead of hiatus there is synalepha with\nstress-shift, but we have to do with case 2 of synalepha, not case 3.\n\n      Que un alma, una vida, | es (8)\n      Cuando | hacia \u00e9l fat\u00eddica figura (11)\n      Y el otro \u00a1Dios santo! y el otro era | \u00e9l! (12)\n      \u00a1Villano! mas esto | es (8)\n      En cada | hijo a contemplar un rey (11)\n\nIn some instances hiatus seems to occur for no other reason than to\npreserve the verse-measure:\n\n      Resonando cual l\u00fagubre | eco (10)\n      Y palacios de | oro y de cristal (11)\n      \u00a1Y t\u00fa feliz, que | hallaste en la muerte (11)\n\nIn general hiatus is most likely to occur before the principal rhythmic\nstress in a verse; that is, before the final stress.\n\nRHYTHM, RHYTHMIC STRESS, THE CAESURAL PAUSE\n\nIn English poetry the foot, rather than the syllable, is the unit. The\nnumber of feet to a verse is fixed, but the number of syllables varies.\nIn Spanish poetry the number of syllables to a verse is fixed, subject\nonly to the laws of syllable-counting given above. But if in this\nrespect the Spanish poet has less freedom than the English versifier, he\nhas infinitely greater liberty in the arrangement of his rhythms. The\nsing-song monotony of regularly recurring beats is intolerable to Latin\nears. The greater flexibility of Spanish rhythm can best be shown by\nillustrations:\n\n      The Assy'rian came do'wn like the wo'lf on the fo'ld,\n      And his co'horts were gle'aming in pu'rple and go'ld;\n      And the she'en of their spe'ars was like sta'rs on the se'a,\n      When the blu'e wave rolls ni'ghtly on de'ep Galile'e.\n\nHaving chosen to write this poem in the anapestic tetrameter, Byron\nnever varies the rhythm except to substitute an occasional iambic at the\nbeginning of a verse:\n\n      And the're lay the ste'ed with his no'stril all wi'de.\n\nNotice how much more freely Espronceda handles this meter in Spanish:\n\n      Su fo'rma galla'rda dibu'ja en las so'mbras\n      El bla'nco ropaj'e que ondea'nte se ve',\n      Y cua'l si pisa'ra mulli'das alfo'mbras,\n      Desl\u00ed'zase le've sin rui'do su pie'.\n\n      Tal vi'mos al ra'yo de la lu'na lle'na\n      Fugiti'va ve'la de le'jos cruza'r\n      Que ya' la' hinche en po'pa la bri'sa sere'na,\n      Que ya' la confu'nde la espu'ma del ma'r.\n\nThe first of these stanzas has the true Byronic swing. But note how\nfreely the rhythm is handled in the second. Spanish rhythm is so\nflexible and free that little practical advantage is gained by counting\nfeet. We distinguish only two sorts of verse-measure, the binary, where\nin general there is stress on one syllable out of two--that is there\nare trochees (__' __) or iambics (__ __') in the verse, or the two\nintermingled--and second the ternary measure, where one of a group of\nthree syllables receives the stress. Such a verse is made up of dactyls\n(__' __ __), anapests (__ __ __'), or amphibrachs (__ __' __), or some\ncombination of these. Of course, a three-syllable foot is often found in\nbinary verse, and, _vice versa_ a two-syllable foot in ternary measure.\nBy binary verse we mean only a form of verse in which the twofold\nmeasure predominates, and by ternary one in which the threefold measure\npredominates. The extract last quoted is an example of ternary verse.\nThe following will serve as a specimen of the binary movement:\n\n      En de'rredo'r de u'na me'sa\n      Ha'sta se'is ho'mbres est\u00e1'n,\n      Fi'ja la vi'sta' en los na'ipes,\n      Mie'ntras jue'gan a'l para'r;\n\nEvery word in Spanish has its individual word-accent: _hab\u00ed'a,\nhabla'do_. Now if we join these two words in a phrase, _hab\u00ed'a\nhabla'do_, we note that while each of the words still retains its\nindividual word-accent, _hablado_ is more strongly stressed than\n_hab\u00eda_. In addition to its word-accent _hablado_ bears what we term\na phrase-accent. In any line of verse some of the word-stresses are\nstronger than others, and these stronger stresses are termed rhythmic\nstresses. They correspond to the phrase-stresses of prose. The principal\nrhythmic stress is the last stress of the line. In general the rhythmic\nstress must coincide with a word-stress. It always does except where\nstress-shift comes into play. We have already seen that a stress-shift\ncoinciding with the rhythmic stress is intolerable, and hiatus is\npreferred. It is very unharmonious for two stresses to fall together at\nthe end of a verse:\n\n      Que estas torres llegu\u00e9 a ver (8)\n\nThis is a very bad verse, because _a_ is dominant over _\u00e9_ and brings\nabout stress-shift, and the two consecutive syllables _a_ and _ver_ are\nboth stressed. The result is unharmonious. A syllable bearing stress and\nstanding immediately before the final stress is called an obstructing\nsyllable (_una s\u00edlaba obstruccionista_). Every effort is made by a good\npoet to avoid such a cacophony. The above is a good example of one. I\nhave emended llegu\u00e9 to _llegue_ in the text.\n\nA short verse can easily be spoken without pause, but above ten\nsyllables it becomes necessary for the reader to rest somewhere within\nthe line. The resting-place is called the caesural pause. The longer the\nverse, the greater its importance. It does not prevent synalepha. The\nstress immediately before the caesura must be the second most important\nrhythmic stress of the verse.\n\nRIME AND ASSONANCE\n\nThe regularity of the beats in English verse is of itself sufficient to\nindicate when a line of poetry is ended, even though there be no rime to\nmark that end. Hence blank verse has been highly developed by English\npoets, and many, like Milton, have held it to be the noblest form of\nverse. Blank verse is impossible in French, because French with its lack\nof verbal stress has no other device than rime to mark the end of a\nverse. Without rime French blank verse would be indistinguishable from\nrhythmic prose. In Spanish the stress is not so heavy as in the Germanic\nlanguages, but, on the other hand, is much stronger than in French.\nSpanish blank verse is not unknown, but has never been cultivated with\ngreat success. It is evident that in this language too, lacking as it\ndoes regular rhythm in its versification, rime is much more necessary\nthan in English. However, an occasional _verso suelto_, or blank verse,\nintermingled with rimed ones, is very common.\n\nTwo words rime with one another when there is identity of sound between\nthe last stressed vowels and between any letters which may follow these\nvowels. Rime is masculine (in Spanish _rima aguda_) when the last\nsyllables bear the stress: _mal_--_cristal_; or feminine when an\nunstressed vowel follows the stressed one (in Spanish _rima llana_):\n_hermosura_--_locura_. Inasmuch as _b_ and _v_ represent the same sound,\nthey rime. The weak vowel of a diphthong is ignored for riming purposes;\nthus _vuelo_ rimes with _cielo_. Good poets avoid obvious or easy\nrimes such as those yielded by flexional endings and suffixes. It is\npermissible to rime two identically-spelled words if they are in fact\ndifferent words in meaning: _ven_ (they see) rimes with _v\u00e9n_ (come).\n\nAssonance is the identity of sound of two or more stressed vowels and\nthe final following vowels, if there are any. In case consonants stand\nafter the stressed vowel they are disregarded.\n\nAssonance is of two sorts: single assonance (_asonante agudo_),\n_est\u00e1n_--_va_--_parar_--_jam\u00e1s_, etc.; and double assonance (_asonante\nllano_), _cuentan_--_tierra_--_dejan _or _coronada_--_gasa_--_ba\u00f1a_. In\nassonanced verse the assonanced words end the even lines. The odd are\nusually blank, though sometimes rimed. A _voz aguda_ cannot assonate\nwith a _voz llana_, but there is no objection to the introduction of\n_voces esdr\u00fajulas_ into _asonante llano_. In this case only the stressed\nand the final vowels of the _esdr\u00fajula_ are counted; for example,\n_Am\u00e9rica_ assonances with _crea_. When diphthongs enter into assonance,\nthe weak vowel is ignored: _pleita_ assonances with _pliega_.\n\nAssonance is not unknown in English, especially in popular or folk\nverse; but we generally regard it as a faulty rime. Thus in the British\nnational anthem we read:\n\n      Send him victorious,\n      Happy and glorious,\n      Long to reign over us,\n        God save the king!\n\n\"Over us\" plainly assonates, rather than rimes, with \"glorious,\" but\nthis is dangerously close to doggerel. Assonance is unsuited to the\ngenius of any language possessed of a rich vowel-system. This is evident\nto any one who has read Archbishop Trench's attempt to render Calderon's\nverse into English assonance.\n\nSTROPHES\n\nI shall not attempt to list the innumerable verse-forms to be found in\nSpanish poetry, but shall only indicate the forms used by Espronceda in\nthe selections contained in this volume. Some of these are fixed and\nconventional, and others are of his own contrivance. Spanish uses the\nterms _estrofa_ and _copla_ to designate an arrangement of verses in a\nstanza. _Copla_ must not be confused with English \"couplet.\" These are\ngeneral terms; most verse-forms are designated by special names. The\nfollowing verse-forms are found in the selections contained in this\nbook:\n\n\n\n\"EL ESTUDIANTE DE SALAMANCA\"\n\nLines 1-40. Ballad meter or _verso de romance_ (8 syllables) with\nassonance in _\u00e9_-_a_.\n\nLines 41-48. _Verso de romance_ with assonance in _\u00f3_.\n\nLines 49-63. Irregular 3-syllable meter with assonance in _\u00f3_ occurring\nirregularly; lines 53 and 55 rime, and 59 and 61 assonate in _\u00e9-a_.\n\nLines 64-75. _Verso de romance_ with assonance in _\u00f3_.\n\nLines 76-99. Quatrains or _cuartetas_ of 12-syllable verse; rime-scheme\n_abab_ (this arrangement of the rime is called _rima cruzada_);\nalternation of masculine and feminine rime.\n\nLines 100-139. _Octavillas italianas_ (8-syllable verse); lines 2 and\n3, 6 and 7, 4 and 8 rime; lines 1 and 5 either assonate or are blank\n(_sueltos_).\n\nLines 140-179. _Octavas reales_ (11-syllable verse); rime-scheme\n_abababcc_; the rimes must be feminine.\n\nLines 180-257. _Verso de romance_, printed in the form of _cuartetas_;\nassonance in _\u00e1-a_.\n\nLines 258-302. _Quintillas_ (8-syllable verse); the rime-scheme varies;\nthe rule is that there shall be two rimes to a _quintilla_, and the same\nrime must not occur in three consecutive verses.\n\nLines 303-330. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;\noccasionally assonance replaces rime in the even verses.\n\nLines 331-338. _Octava real_.\n\nLines 339-370. _Cuartetas_ (11-syllable verse).\n\nLines 371-418. _Octavas reales_.\n\nLines 419-434. _Cuartetas_ (11-syllable verse).\n\nLines 435-454. _Verso de romance_, printed as _cuartetas_; assonance in\n_\u00e1_.\n\nLines 455-558. _Redondillas_ (8-syllable verse); rime-scheme _abba_;\nthis arrangement of rimes is called _versos pareados en el centro_.\n\nLines 559-578. _Cuartetas_ (11-syllable verse); _rima cruzada_.\n\nLines 579-590. _Redondillas_.\n\nLines 591-600. _D\u00e9cima_ (8-syllable verse); rime-scheme _abbaaccddc_.\n\nLines 601-692. _Redondillas_.\n\nLines 693-792. _Cuartetas_ (12-syllable verse); odd verses rime; the\neven either form a masculine rime or are in assonance.\n\nLines 793-820. _Cuartetas_ (8-syllable verse); the rime-scheme varies:\nsome _coplas_ are _redondillas_; others have the crossed rime.\n\nLines 821-884. _Cuartetas_ of 12-syllable verse resumed; same\nrime-scheme as above.\n\nLines 885-894. _Quintillas_ (8-syllable verse); rime-scheme _abaab_.\n\nLines 895-910. _Cuartetas_ (11-syllable verse); rime-scheme either\n_abba_ or _abab_.\n\nLines 911-938. _Cuartetas_ of 12-syllable verse; rime-scheme _abab_;\neven verses form either a masculine rime or assonance.\n\nLines 939-942. _Cuarteta_ (11-syllable verse); even verses in assonance;\nthe odd verses rime.\n\nLines 943-961. Irregular meter (6-syllable verse); a mixture of rime,\nassonance, and blank verse.\n\nLines 962-1033. _Verso de romance_; assonance in _\u00e1_.\n\nLines 1034-1063. _Quintillas_.\n\nLines 1064-1115. _Cuartetas_ (12-syllable verse); rime in the odd\nverses; assonance or masculine rime in the even.\n\nLines 1116-1145. _Quintillas_.\n\nLines 1146-1149. _Cuarteta_ (11-syllable verse); rime-scheme _abab_.\n\nLines 1150-1164. _Quintillas_.\n\nLines 1165-1196. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;\nfeminine rime.\n\nLines 1197-1364. _Octavas reales_.\n\nLines 1365-1384. _Quintillas_.\n\nLines 1385-1390. Irregular blending of 2-and 3-syllable meter; assonance\nand rime; the _crescendo_ effect begins here.\n\nLines 1391-1399. Irregular 4-syllable meter; assonance and rime.\n\nLines 1400-1412. Irregular 5-syllable meter; assonance, rime, and blank\nverse.\n\nLines 1413-1439. Irregular 6-syllable meter; assonance, rime, blank\nverse.\n\nLines 1440-1447. Irregular 7-syllable meter; assonance, rime, blank\nverse.\n\nLines 1448-1469. _Verso de romance_; assonance in _\u00e9-o_.\n\nLines 1470-1485. Irregular 9-syllable meter; assonance in _\u00f3_.\n\nLines 1486-1501. _Cuartetas_ (10-syllable verse); rime-scheme _abab_;\neven verses assonate or form a masculine rime.\n\nLines 1502-1521. _Cuartetas_ (11-syllable verse); rime-scheme _abab_;\neven verses assonate or form a masculine rime.\n\nLines 1522-1553. _Cuartetas_ (12-syllable verse); rime-scheme _abab_;\neven verses assonate or form a masculine rime; the _crescendo_ is now at\nits height.\n\nLines 1554-1569. _Octavillas italianas_ (11-syllable verse); see above\nfor description of this verse form.\n\nLines 1570-1585. _Octavillas italianas_ (10-syllable verse).\n\nLines 1586-1601. _Octavillas italianas_ (9-syllable verse).\n\nLines 1602-1617. _Octavillas italianas_ (8-syllable verse).\n\nLines 1618-1633. _Octavillas italianas_ (7-syllable verse).\n\nLines 1634-1649. _Octavillas italianas_ (6-syllable verse).\n\nLines 1650-1661. An irregular 12-verse stanza of 5-syllable verse in\nwhich verses 3 and 4, 8 and 9 rime as couplets; 6 and 12 also rime;\nthe other verses are blank.\n\nLines 1662-1669. Variant of the _octavilla italiana_; 4-syllable verse;\nverse 6 is blank instead of 5.\n\nLines 1670-1677. _Octavilla italiana_; 3-syllable verse; rime-scheme\nnormal.\n\nLines 1678-1680. Irregular meter of 2-syllable verse; rime and blank;\nthe _diminuendo_ effect ends here.\n\nLines 1681-1704. _Octavas reales_.\n\n\n\n\"CANCI\u00d3N DEL PIRATA\"\n\nLines 1-16. _Octavillas italianas_ (8-syllable verse).\n\nLines 17-22. _Sextina_ (8-syllable verse, except that verse 2 is a\n_verso quebrado_ or \"broken verse\" of 4 syllables). The _sextina_\nadmits of the greatest variety of form; those in this poem are all of\nthe same pattern; rime-scheme _abaccb_.\n\nLines 23-30. _Octavilla italiana_ (4-syllable verse).\n\nLines 31-34. _Cuarteta_ (8-syllable verse); verses 1 and 3 are blank;\n2 and 4 assonate.\n\nLines 35-40. _Sextina_.\n\nLines 41-48. _Octavilla italiana_, same as above.\n\nLines 50-55. _Sextina_.\n\nLines 56-63. _Octavilla italiana_.\n\nLines 65-70. _Sextina_.\n\nLines 71-78. _Octavilla italiana_.\n\nLines 80-85. _Sextina_.\n\nLines 86-93. _Octavilla italiana_.\n\nLines 94-97. _Cuarteta_.\n\n\n\n\"EL CANTO DEL COSACO\"\n\nThis poem is written in _cuartetas_ of 11-syllable verse with _rima\ncruzada_. Verses 1 and 3 rime and 2 and 4 assonate, except in the\nrefrain, where 1 and 3 are blank.\n\n\n\n\"EL MENDIGO\"\n\nLines 1-4. _Cuarteta_ (11-syllable verse); verses 1 and 3 are blank;\n2 and 4 assonate.\n\nLines 5-10. _Sextina_ (8-syllable verse, except 2, the _verso\nquebrado_, which has 4 syllables); rime-scheme _abcaac_; the _verso\nquebrado_ is blank.\n\nLines 11-28. Irregular 4-syllable meter; a wholly irregular\narrangement of rime, assonance, and blank verse.\n\nLines 29-32. Irregular _cuarteta_ of two 8-syllable verses followed by\ntwo of 11; verses 1 and 3 are blank; 2 and 4 assonate.\n\nLines 34-39. _Sextina_, same as above.\n\nLines 40-57. Irregular 4-syllable meter, same as above.\n\nLines 58-61. _Cuarteta_, same as the irregular one above.\n\nLines 63-68. _Sextina_, same as above.\n\nLines 69-88. Irregular 4-syllable meter, same as above.\n\nLines 89-92. _Cuarteta_, same as the irregular ones above.\n\nLines 94-99. _Sextina_, same as above.\n\nLines 100-117. Irregular 4-syllable meter, same as above.\n\nLines 118-121. _Cuarteta_, same as the irregular ones above.\n\nLines 122-125. _Cuarteta_, like the normal one above.\n\n\n\n\"SONETO\"\n\nLines 1-14. Sonnet. 11-syllable verse. Rime-scheme _abba, abba, cde,\ncde_.\n\n\n\n\"A TERESA. DESCANSA EN PAZ\"\n\nWritten throughout in _octavas reales_ (11-syllable verse); rime-scheme\n_abababcc_.\n\n\n\n\nBIBLIOGRAPHY\n\nFor a fuller treatment of Spanish prosody the student may profitably\nconsult the following works:\n\nBENOT. \"Prosod\u00eda Castellana y Versificaci\u00f3n,\" 3 vols., Madrid, no date.\n\nROBLES D\u00c9GANO. \"Ortolog\u00eda Cl\u00e1sica de la Lengua Castellana,\" Madrid,\n1905.\n\nBELLO. \"Ortolog\u00eda y Arte M\u00e9trica\" (Vol. 4 of \"Obras Completas\"), Madrid,\n1890.\n\nFor more or less summary treatments of the subject the American student\nmay profitably consult:\n\nOLMSTED. \"Legends, Tales, and Poems by Gustavo Adolfo B\u00e9cquer\" (Ginn and\nCompany).\n\nFORD. \"A Spanish Anthology\" (Silver, Burdett and Company).\n\nHILLS and MORLEY. \"Modern Spanish Lyrics\" (Henry Holt and Company).\n\n\n\n\n\"EL ESTUDIANTE DE SALAMANCA\"\nAND OTHER SELECTIONS\nFROM ESPRONCEDA\n\n\n\n                                   CUENTO.\n\n                         EL ESTUDIANTE DE SALAMANCA\n\n\n                               PARTE PRIMERA\n\n                              Sus fueros, sus br\u00edos; sus prem\u00e1ticas,\n                              su voluntad.--\"Quijote,\" Parte Primera\n\n            Era m\u00e1s de media noche,\n          Antiguas historias cuentan,\n          Cuando, en sue\u00f1o y en silencio\n          L\u00f3brego envuelta la tierra,\n          Los vivos muertos parecen,                               [5]\n          Los muertos la tumba dejan.\n          Era la hora en que acaso\n          Temerosas voces suenan\n          Informes, en que se escuchan\n          T\u00e1citas pisadas huecas,                                 [10]\n          Y pavorosas fantasmas\n          Entre las densas tinieblas\n          Vagan, y a\u00fallan los perros\n          Amedrentados al verlas;\n          En que tal vez la campana                               [15]\n          De alguna arruinada iglesia\n          Da misteriosos sonidos\n          De maldici\u00f3n y anatema,\n          Que los s\u00e1bados convoca\n          A las brujas a su fiesta.                               [20]\n          El cielo estaba sombr\u00edo,\n          No vislumbraba una estrella,\n          Silbaba l\u00fagubre el viento,\n          Y all\u00e1 en el aire, cual negras\n          Fantasmas, se dibujaban                                 [25]\n          Las torres de las iglesias,\n          Y del g\u00f3tico castillo\n          Las alt\u00edsimas almenas,\n          Donde canta o reza acaso\n          Temeroso el centinela                                   [30]\n          Todo en fin a media noche\n          Reposaba, y tumba era\n          De sus dormidos vivientes\n          La antigua ciudad que riega\n          El Tormes, fecundo r\u00edo,                                 [35]\n          Nombrado de los poetas,\n          La famosa Salamanca,\n          Insigne en armas y letras,\n          Patria de ilustres varones,\n          Noble archivo de las ciencias.                          [40]\n            S\u00fabito rumor de espadas\n          Cruje, y un \u00ab\u00a1ay!\u00bb se escuch\u00f3;\n          Un \u00ab\u00a1ay!\u00bb moribundo, un \u00ab\u00a1ay!\u00bb\n          Que penetra el coraz\u00f3n,\n          Que hasta los tu\u00e9tanos hiela                            [45]\n          Y da al que lo oy\u00f3 temblor;\n          Un \u00ab\u00a1ay!\u00bb de alguno que al mundo\n          Pronuncia el \u00faltimo adi\u00f3s.\n\n                El ruido\n                Ces\u00f3,                                             [50]\n                Un hombre\n                Pas\u00f3\n                Embozado,\n                Y el sombrero\n                Recatado                                          [55]\n                A los ojos\n                Se cal\u00f3.\n                Se desliza\n                Y atraviesa\n                Junto al muro                                     [60]\n                De una iglesia,\n                Y en la sombra\n                Se perdi\u00f3.\n\n            Una calle estrecha y alta,\n          La calle del Ata\u00fad,                                     [65]\n          Cual si de negro cresp\u00f3n\n          L\u00f3brego eterno capuz\n          La vistiera, siempre oscura\n          Y de noche sin m\u00e1s luz\n          Que la l\u00e1mpara que alumbra                              [70]\n          Una imagen de Jes\u00fas,\n          Atraviesa el embozado,\n          La espada en la mano a\u00fan,\n          Que lanz\u00f3 vivo reflejo\n          Al pasar frente a la cruz.                              [75]\n\n      Cual suele la luna tras l\u00f3brega nube\n    Con franjas de plata bordarla en redor,\n    Y luego si el viento la agita, la sube\n    Disuelta a los aires en blanco vapor,\n\n      As\u00ed vaga sombra de luz y de nieblas,                        [80]\n    M\u00edstica y a\u00e9rea dudosa visi\u00f3n,\n    Ya brilla, o la esconden las densas tinieblas,\n    Cual dulce esperanza, cual vana ilusi\u00f3n.\n\n     La calle sombr\u00eda, la noche ya entrada,\n    La l\u00e1mpara triste ya pronta a espirar,                        [85]\n    Que a veces alumbra la imagen sagrada,\n    Y a veces se esconde la sombra a aumentar,\n\n      El vago fantasma que acaso aparece,\n    Y acaso se acerca con r\u00e1pido pie,\n    Y acaso en las sombras tal vez desparece,                     [90]\n    Cual \u00e1nima en pena del hombre que fu\u00e9,\n\n      Al m\u00e1s temerario coraz\u00f3n de acero\n    Recelo inspirara, pusiera pavor;\n    Al m\u00e1s maldiciente feroz bandolero\n    El rezo a los labios trajera el temor.                        [95]\n\n      Mas no al embozado, que aun sangre su espada\n    Destila, el fantasma terror infundi\u00f3,\n    Y el arma en la mano con fuerza empu\u00f1ada,\n    Osado a su encuentro despacio avanz\u00f3.\n\n            Segundo Don Juan Tenorio,                            [100]\n          Alma fiera e insolente,\n          Irreligioso y valiente,\n          Altanero y re\u00f1idor:\n            Siempre el insulto en los ojos,\n          En los labios la iron\u00eda,                               [105]\n          Nada teme y todo f\u00eda\n          De su espada y su valor.\n\n            Coraz\u00f3n gastado, mofa\n          De la mujer que corteja,\n          Y hoy, despreci\u00e1ndola, deja                            [110]\n          La que ayer se le rindi\u00f3.\n            Ni el porvenir temi\u00f3 nunca,\n          Ni recuerda en lo pasado\n          La mujer que ha abandonado,\n          Ni el dinero que perdi\u00f3.                               [115]\n\n            Ni vi\u00f3 el fantasma entre sue\u00f1os\n          Del que mat\u00f3 en desaf\u00edo,\n          Ni turb\u00f3 jam\u00e1s su br\u00edo\n          Recelosa previsi\u00f3n.\n            Siempre en lances y en amores,                       [120]\n          Siempre en b\u00e1quicas org\u00edas,\n          Mezcla en palabras imp\u00edas\n          Un chiste a una maldici\u00f3n.\n\n            En Salamanca famoso\n          Por su vida y buen talante,                            [125]\n          Al atrevido estudiante\n          Le se\u00f1alan entre mil;\n            Fueros le da su osad\u00eda,\n          Le disculpa su riqueza,\n          Su generosa nobleza,                                   [130]\n          Su hermosura varonil.\n\n            Que su arrogancia y sus vicios,\n          Caballeresca apostura,\n          Agilidad y bravura\n          Ninguno alcanza a igualar;                             [135]\n            Que hasta en sus cr\u00edmenes mismos,\n          En su impiedad y altiveza,\n          Pone un sello de grandeza\n          Don F\u00e9lix de Montemar.\n\n        Bella y m\u00e1s pura que el azul del cielo,                  [140]\n      Con dulces ojos l\u00e1nguidos y hermosos,\n      Donde acaso el amor brill\u00f3 entre el velo\n      Del pudor que los cubre candorosos;\n      T\u00edmida estrella que refleja al suelo\n      Rayos de luz brillantes y dudosos,                         [145]\n      \u00c1ngel puro de amor que amor inspira,\n      Fu\u00e9 la inocente y desdichada Elvira.\n\n        Elvira, amor del estudiante un d\u00eda,\n      Tierna y feliz y de su amante ufana,\n      Cuando al placer su coraz\u00f3n se abr\u00eda,                      [150]\n      Como al rayo del sol rosa temprana,\n      Del fingido amador que la ment\u00eda\n      La miel falaz que de sus labios mana\n      Bebe en su ardiente sed, el pecho ajeno\n      De que oculto en la miel hierve el veneno.                 [155]\n\n        Que no descansa de su madre en brazos\n      M\u00e1s descuidado el candoroso infante\n      Que ella en los falsos lisonjeros lazos\n      Que teje astuto el seductor amante:\n      Dulces caricias, l\u00e1nguidos abrazos,                        [160]\n      Placeres \u00a1ay! que duran un instante,\n      Que habr\u00e1n de ser eternos imagina\n      La triste Elvira en su ilusi\u00f3n divina.\n\n        Que el alma virgen que halag\u00f3 un encanto\n      Con nacarado sue\u00f1o en su pureza                            [165]\n      Todo lo juzga verdadero y santo,\n      Presta a todo virtud, presta belleza.\n      Del cielo azul al tachonado manto,\n      Del sol radiante a la inmortal riqueza,\n      Al aire, al campo, a las fragantes flores,                 [170]\n      Ella a\u00f1ade esplendor, vida y colores.\n\n        Cifr\u00f3 en Don F\u00e9lix la infeliz doncella\n      Toda su dicha, de su amor perdida;\n      Fueron sus ojos a los ojos de ella\n      Astros de gloria, manantial de vida.                       [175]\n      Cuando sus labios con sus labios sella,\n      Cuando su voz escucha embebecida,\n      Embriagada del dios que la enamora,\n      Dulce le mira, ext\u00e1tica le adora.\n\n\n                                PARTE SEGUNDA\n\n                               No dirge except the hollow sea's\n                               Mourns o'er the beauty of the Cyclades.\n                                            BYRON, \"Don Juan,\" Canto 4\n\n\n            Est\u00e1 la noche serena                                [180]\n          De luceros coronada,\n          Terso el azul de los cielos\n          Como trasparente gasa.\n\n            Melanc\u00f3lica la luna\n          Va trasmontando la espalda                            [185]\n          Del otero, su alba frente\n          T\u00edmida apenas levanta,\n\n            Y el horizonte ilumina,\n          Pura virgen solitaria,\n          Y en su blanca luz s\u00fcave                              [190]\n          El cielo y la tierra ba\u00f1a.\n\n            Desl\u00edzase el arroyuelo.\n          F\u00falgida cinta de plata,\n          Al resplandor de la luna,\n          Entre franjas de esmeralda.                           [195]\n\n          Argentadas chispas brillan\n          Entre las espesas ramas,\n          Y en el seno de las flores\n          Tal vez aduermen las auras,\n\n            Tal vez despiertas susurran,                        [200]\n          Y al desplegarse sus alas\n          Mecen el blanco azahar,\n          Mueven la aromosa acacia,\n\n            Y agitan ramas y flores,\n          Y en perfumes se embalsaman.                          [205]\n          Tal era pura esta noche\n          Como aqu\u00e9lla en que sus alas\n\n            Los \u00e1ngeles desplegaron\n          Sobre la primera llama\n          Que amor encendi\u00f3 en el mundo,                        [210]\n          Del Ed\u00e9n en la morada.\n\n           \u00a1Una mujer! \u00bfEs acaso\n          Blanca silfa solitaria,\n          Que entre el rayo de la luna\n          Tal vez misteriosa vaga?                              [215]\n\n            Blanco es su vestido, ondea\n          Suelto el cabello a la espalda,\n          Hoja tras hoja las flores\n          Que lleva en su mano arranca.\n\n            Es su paso incierto y tardo,                        [220]\n          Inquietas son sus miradas,\n          M\u00e1gico ensue\u00f1o parece\n          Que halaga enga\u00f1osa el alma.\n\n            Ora, vedla, mira al cielo,\n          Ora suspira, y se p\u00e1ra;                               [225]\n          Una l\u00e1grima sus ojos\n          Brotan acaso y abrasa\n\n            Su mejilla; es una ola\n          Del mar que en fiera borrasca\n          El viento de las pasiones                             [230]\n          Ha alborotado en su alma.\n\n            Tal vez se sienta, tal vez\n          Azorada se levanta;\n          El jard\u00edn recorre ansiosa,\n          Tal vez a escuchar se p\u00e1ra.                           [235]\n\n            Es el susurro del viento,\n          Es el murmullo del agua,\n          No es su voz, no es el sonido\n          Melanc\u00f3lico del arpa.\n\n            Son ilusiones que fueron:                           [240]\n          Recuerdos \u00a1ay! que te enga\u00f1an,\n          Sombras del bien que pas\u00f3....\n          Ya te olvid\u00f3 el que t\u00fa amas.\n\n            Esa noche y esa luna\n          Las mismas son que miraran                            [245]\n          Indiferentes tu dicha,\n          Cual ora ven tu desgracia.\n\n            \u00a1Ah! llora, s\u00ed, \u00a1pobre Elvira!\n          \u00a1Triste amante abandonada!\n          Esas hojas de esas flores                             [250]\n          Que distra\u00edda t\u00fa arrancas,\n\n            \u00bfSabes ad\u00f3nde, infeliz,\n          El viento las arrebata?\n          Donde fueron tus amores,\n          Tu ilusi\u00f3n y tu esperanza.                            [255]\n\n            Deshojadas y marchitas,\n          \u00a1Pobres flores de tu alma!\n          Blanca nube de la aurora,\n          Te\u00f1ida de \u00f3palo y grana,\n\n            Naciente luz te colora,                             [260]\n          Refulgente precursora\n          De la c\u00e1ndida ma\u00f1ana.\n          Mas \u00a1ay! que se disip\u00f3\n\n            Tu pureza virginal,\n          Tu encanto el aire llev\u00f3                              [265]\n          Cual la ventura ideal\n          Que el amor te prometi\u00f3.\n\n            Hojas del \u00e1rbol ca\u00eddas\n          Juguete del viento son;\n          Las ilusiones perdidas                                [270]\n          \u00a1Ay! son hojas desprendidas\n          Del \u00e1rbol del coraz\u00f3n!\n\n            \u00a1El coraz\u00f3n sin amor!\n          Triste p\u00e1ramo cubierto\n          Con la lava del dolor,                                [275]\n          Oscuro, inmenso desierto\n          Donde no nace una flor!\n\n            Distante un bosque sombr\u00edo,\n          El sol cayendo en la mar,\n          En la playa un ad\u00fcar,                                 [280]\n          Y a lo lejos un nav\u00edo,\n          Viento en popa navegar,\n\n           \u00d3ptico vidrio presenta\n          En fant\u00e1stica ilusi\u00f3n,\n          Y al ojo encantado ostenta                            [285]\n          Gratas visiones que aumenta\n          Rica la imaginaci\u00f3n.\n\n            T\u00fa eres, mujer, un fanal\n          Trasparente de hermosura;\n          \u00a1Ay de ti! si por tu mal                              [290]\n          Rompe el hombre en su locura\n          Tu misterioso cristal!\n\n           Mas \u00a1ay! dichosa t\u00fa, Elvira,\n          En tu misma desventura,\n          Que aun deleites te procura,                          [295]\n          Cuando tu pecho suspira,\n          Tu misteriosa locura:\n\n            Que es la raz\u00f3n un tormento,\n          Y vale m\u00e1s delirar\n          Sin juicio, que el sentimiento                        [300]\n          Cuerdamente analizar,\n          Fijo en \u00e9l el pensamiento.\n\n        Vedla, all\u00ed va, que sue\u00f1a en su locura\n      Presente el bien que para siempre huy\u00f3;\n      Dulces palabras con amor murmura,                         [305]\n      Piensa que escucha al p\u00e9rfido que am\u00f3.\n\n        Vedla, postrada su piedad implora\n      Cual si presente le mirara all\u00ed;\n      Vedla, que sola se contempla y llora,\n      Miradla delirante sonre\u00edr.                                [310]\n\n        Y su frente en revuelto remolino\n      Ha enturbiado su loco pensamiento,\n      Como nublo que en negro torbellino\n      Encubre el cielo y amontona el viento;\n\n        Y vedla cuidadosa escoger flores,                       [315]\n      Y las lleva mezcladas en la falda,\n      Y, corona nupcial de sus amores,\n      Se entretiene en tejer una guirnalda.\n\n        Y en medio de su dulce desvar\u00edo\n      Triste recuerdo el alma le importuna,                     [320]\n      Y al margen va del argentado r\u00edo,\n      Y all\u00ed las flores echa de una en una;\n\n        Y las sigue su vista en la corriente\n      Una tras otra r\u00e1pidas pasar,\n      Y, confusos sus ojos y su mente,                          [325]\n      Se siente con sus l\u00e1grimas ahogar;\n\n        Y de amor canta, y en su tierna queja\n      Entona melanc\u00f3lica canci\u00f3n,\n      Canci\u00f3n que el alma desgarrada deja,\n      Lamento \u00a1ay! que llaga el coraz\u00f3n:                        [330]\n\n        \u00ab\u00bfQu\u00e9 me valen tu calma y tu terneza,\n      Tranquila noche, solitaria luna,\n      Si no calm\u00e1is del hado la crudeza,\n      Ni me dais esperanza de fortuna?\n\n        \u00bfQu\u00e9 me valen la gracia y la belleza,                   [335]\n      Y amar como jam\u00e1s am\u00f3 ninguna,\n      Si la pasi\u00f3n que el alma me devora,\n      La desconoce aqu\u00e9l que me enamora?\u00bb\n\n        L\u00e1grimas interrumpen su lamento,\n      Inclina sobre el pecho su semblante,                      [340]\n      Y de ella en derredor susurra el viento\n      Sus \u00faltimas palabras, sollozante.\n\n        Muri\u00f3 de amor la desdichada Elvira,\n      C\u00e1ndida rosa que agost\u00f3 el dolor,\n      S\u00fcave aroma que el viajero aspira                         [345]\n      Y en sus alas el aura arrebat\u00f3.\n\n        Vaso de bendici\u00f3n, ricos colores\n      Reflej\u00f3 en su cristal la luz del d\u00eda,\n      Mas la tierra empa\u00f1\u00f3 sus resplandores,\n      Y el hombre lo rompi\u00f3 con mano imp\u00eda.                     [350]\n\n        Una ilusi\u00f3n acarici\u00f3 su mente,\n      Alma celeste para amar nacida,\n      Era el amor de su vivir la fuente,\n      Estaba junta a su ilusi\u00f3n su vida.\n\n        Amada del Se\u00f1or, flor venturosa,                        [355]\n      Llena de amor muri\u00f3 y de juventud;\n      Despert\u00f3 alegre una alborada hermosa,\n      Y a la tarde durmi\u00f3 en el ata\u00fad.\n\n        Mas despert\u00f3 tambi\u00e9n de su locura\n      Al t\u00e9rmino postrero de su vida,                           [360]\n      Y al abrirse a sus pies la sepultura,\n      Volvi\u00f3 a su mente la raz\u00f3n perdida.\n\n        \u00a1La raz\u00f3n fr\u00eda! \u00a1la verdad amarga!\n      \u00a1El bien pasado y el dolor presente!...\n      \u00a1Ella feliz! \u00a1que de tan dura carga                       [365]\n      Sinti\u00f3 el peso al morir \u00fanicamente!\n\n        Y conociendo ya su fin cercano,\n      Su mejilla una l\u00e1grima abras\u00f3;\n      Y as\u00ed al infiel, con temblorosa mano,\n      Moribunda su v\u00edctima escribi\u00f3:                            [370]\n\n        \u00abVoy a morir: perdona si mi acento\n      Vuela importuno a molestar tu o\u00eddo;\n      \u00c9l es, Don F\u00e9lix, el postrer lamento\n      De la mujer que tanto te ha querido.\n      La mano helada de la muerte siento....                    [375]\n      Adi\u00f3s: ni amor ni compasi\u00f3n te pido....\n      Oye y perdona si al dejar el mundo,\n      Arranca un \u00a1ay! su angustia al moribundo.\n\n        \u00ab\u00a1Ah! para siempre adi\u00f3s. Por ti mi vida\n      Dichosa un tiempo resbalar sent\u00ed,                         [380]\n      Y la palabra de tu boca o\u00edda\n      \u00c9xtasis celestial fu\u00e9 para m\u00ed.\n      Mi mente aun goza en la ilusi\u00f3n querida\n      Que para siempre \u00a1m\u00edsera! perd\u00ed....\n      \u00a1Ya todo huy\u00f3, despareci\u00f3 contigo!                        [385]\n      \u00a1Dulces horas de amor, yo las bendigo!\n\n        \u00abYo las bendigo, s\u00ed, felices horas,\n      Presentes siempre en la memoria m\u00eda,\n      Im\u00e1genes de amor encantadoras\n      Que aun vienen a halagarme en mi agon\u00eda.                  [390]\n      Mas \u00a1ay! volad, hu\u00edd, enga\u00f1adoras\n      Sombras, por siempre; mi postrero d\u00eda\n      Ha llegado, perd\u00f3n, perd\u00f3n, \u00a1Dios m\u00edo!\n      Si aun gozo en recordar mi desvar\u00edo.\n\n        \u00abY t\u00fa, Don F\u00e9lix, si te causa enojos                    [395]\n      Que te recuerde yo mi desventura,\n      Piensa est\u00e1n hartos de llorar mis ojos\n      L\u00e1grimas silenciosas de amargura.\n      Y hoy, al tragar la tumba mis despojos,\n      Concede este consuelo a mi tristura:                      [400]\n      Estos renglones compasivo mira,\n      Y olvida luego para siempre a Elvira.\n\n        \u00abY jam\u00e1s turbe mi infeliz memoria\n      Con amargos recuerdos tus placeres;\n      Goces te d\u00e9 el vivir, triunfos la gloria,                 [405]\n      Dichas el mundo, amor otras mujeres;\n      Y si tal vez mi lamentable historia\n      A tu memoria con dolor trajeres,\n      Ll\u00f3rame, s\u00ed; pero palpite exento\n      Tu pecho de roedor remordimiento.                         [410]\n\n        \u00abAdi\u00f3s, por siempre, adi\u00f3s: un breve instante\n      Siento de vida, y en mi pecho el fuego\n      Aun arde de mi amor; mi vista errante\n      Vaga desvanecida ... \u00a1calma luego,\n      Oh muerte, mi inquietud!... \u00a1Sola ... espirante!...       [415]\n      \u00c1mame; no, perdona; \u00a1in\u00fatil ruego!\n      Adi\u00f3s, adi\u00f3s, \u00a1tu coraz\u00f3n perd\u00ed\n      --\u00a1Todo acab\u00f3 en el mundo para m\u00ed!\u00bb\n\n        As\u00ed escribi\u00f3 su triste despedida\n      Momentos antes de morir, y al pecho                       [420]\n      Se estrech\u00f3 de su madre dolorida,\n      Que en tanto inunda en l\u00e1grimas su lecho.\n\n        Y exhal\u00f3 luego su postrer aliento,\n      Y a su madre sus brazos se apretaron\n      Con nervioso y convulso movimiento,                       [425]\n      Y sus labios un nombre murmuraron.\n\n        Y huy\u00f3 su alma a la mansi\u00f3n dichosa\n      Do los \u00e1ngeles moran.... Tristes flores\n      Brota la tierra en torno de su losa;\n      El c\u00e9firo lamenta sus amores.                             [430]\n\n        Sobre ella un sauce su ramaje inclina,\n     Sombra le presta en l\u00e1nguido desmayo,\n     Y all\u00e1 en la tarde, cuando el sol declina,\n     Ba\u00f1a su tumba en paz su \u00faltimo rayo....\n\n\n                                PARTE TERCERA\n\n                              CUADRO DRAM\u00c1TICO\n\n                                                     SARGENTO\n                                  \u00bfTen\u00e9is m\u00e1s que parar?\n                                                      FRANCO\n                                                        Paro los ojos.\n                                  . . . . . . . . . . . . . . . . . .\n                                  Los ojos, s\u00ed, los ojos: que descreo\n                                  Del que los hizo para tal empleo.\n                                          MORETO, \"San Franco de Sena\"\n\n\n                                  PERSONAS\n\n                            D. F\u00c9LIX DE MONTEMAR\n                            D. DIEGO DE PASTRANA\n                            SEIS JUGADORES\n\n\n                En derredor de una mesa                          [435]\n              Hasta seis hombres est\u00e1n,\n              Fija la vista en los naipes,\n              Mientras juegan al parar;\n\n                Y en sus semblantes se pintan\n              El despecho y el af\u00e1n:                             [440]\n              Por perder desesperados,\n              Avarientos por ganar.\n\n                Reina profundo silencio,\n              Sin que lo rompa jam\u00e1s\n              Otro ruido que el del oro,                         [445]\n              O una voz para jurar.\n\n                P\u00e1lida l\u00e1mpara alumbra\n              Con tr\u00e9mula claridad\n              Negras de humo las paredes\n              De aquella estancia infernal.                      [450]\n\n                Y el misterioso bramido\n              Se escucha del hurac\u00e1n,\n              Que azota los vidrios fr\u00e1giles\n              Con sus alas al pasar.\n\n\n                                  ESCENA I\n\n                              JUGADOR PRIMERO\n              El caballo aun no ha salido.                       [455]\n\n                              JUGADOR SEGUNDO\n              \u00bfQu\u00e9 carta vino?\n\n                              JUGADOR PRIMERO\n                               La sota.\n\n                              JUGADOR SEGUNDO\n              Pues por poco se alborota.\n\n                              JUGADOR PRIMERO\n              Un caudal llevo perdido.\n              \u00a1Voto a Cristo!\n\n                              JUGADOR SEGUNDO\n                              No jur\u00e9is,\n              Que aun no est\u00e1is en la agon\u00eda.                     [460]\n\n                              JUGADOR PRIMERO\n              No hay suerte como la m\u00eda.\n\n                              JUGADOR SEGUNDO\n              \u00bfY como cu\u00e1nto perd\u00e9is?\n\n                              JUGADOR PRIMERO\n              Mil escudos y el dinero\n              Que Don F\u00e9lix me entreg\u00f3.\n\n                              JUGADOR SEGUNDO\n              \u00bfD\u00f3nde anda?\n\n                              JUGADOR PRIMERO\n                          \u00a1Qu\u00e9 s\u00e9 yo!                             [465]\n              No tardar\u00e1.\n\n                              JUGADOR TERCERO\n                         Envido.\n\n                              JUGADOR PRIMERO\n                                 Quiero.\n\n\n\n                                  ESCENA II\n\n               Gal\u00e1n de talle gentil,\n              La mano izquierda apoyada\n              En el pomo de la espada,\n              Y el aspecto varonil,                               [470]\n               Alta el ala del sombrero\n              Porque descubra la frente,\n              Con airoso continente\n              Entr\u00f3 luego un caballero.\n\n                      JUGADOR PRIMERO (_al que entra_)\n                Don F\u00e9lix, a buena hora                           [475]\n              Hab\u00e9is llegado.\n\n                                 D. F\u00c9LIX\n\n                             \u00bfPerdisteis?\n\n                               JUGADOR PRIMERO\n              El dinero que me disteis\n              Y esta bolsa pecadora.\n\n                               JUGADOR SEGUNDO\n              Don F\u00e9lix de Montemar\n              Debe perder. El amor                                [480]\n              Le negara su favor\n              Cuando le viera ganar.\n\n                          D. F\u00c9LIX (_con desd\u00e9n_)\n              Necesito ahora dinero,\n              Y estoy hastiado de amores.\n              (_Al corro con altivez_)\n              Dos mil ducados, se\u00f1ores,                           [485]\n              Por esta cadena quiero.\n                             (_Qu\u00edtase una cadena que lleva al pecho_.)\n\n                              JUGADOR TERCERO\n              Alta pon\u00e9is la tarifa.\n\n                         D. F\u00c9LIX (_con altivez_)\n              La pongo en lo que merece.\n              Si otra duda se os ofrece,\n              Decid. (_Al corro_)                                 [490]\n                     Se vende y se rifa.\n\n                          JUGADOR CUARTO (_aparte_)\n              \u00bfY hay quien sufra tal afrenta?\n\n                                D. F\u00c9LIX\n              Entre cinco est\u00e1n hallados.\n              A cuatrocientos ducados\n              Os toca, seg\u00fan mi cuenta.\n              Al as de oros. All\u00e1 va.                             [495]\n     (_Va echando cartas que toman los jugadores en silencio_.)\n              Una, dos ... (_Al perdidoso_)\n                           Con vos no cuento.\n\n                              JUGADOR PRIMERO\n              Por el motivo lo siento.\n\n                              JUGADOR TERCERO\n              \u00a1El as! \u00a1el as! aqu\u00ed est\u00e1.\n\n                              JUGADOR PRIMERO\n              Ya gan\u00f3.\n\n                                 D. F\u00c9LIX\n                         Suerte ten\u00e9is.\n              A un solo golpe de dados                            [500]\n              Tiro los dos mil ducados.\n\n                              JUGADOR TERCERO\n              \u00bfEn un golpe?\n\n                     JUGADOR PRIMERO (_a Don F\u00e9lix_)\n                           Los perd\u00e9is.\n\n                                 D. F\u00c9LIX\n              Perdida tengo yo el alma,\n              Y no me importa un ardite.\n\n                              JUGADOR TERCERO\n              Tirad.\n\n                                 D. F\u00c9LIX\n                       Al primer envite.                          [505]\n\n                              JUGADOR TERCERO\n              Tirad pronto.\n\n                                 D. F\u00c9LIX\n                           Tened calma:\n              Que os juego m\u00e1s todav\u00eda,\n              Y en cien onzas hago el trato,\n              Y os llev\u00e1is este retrato\n              Con marco de pedrer\u00eda.                              [510]\n\n                              JUGADOR TERCERO\n              \u00bfEn cien onzas?\n\n                                D. F\u00c9LIX\n                              \u00bfQu\u00e9 dud\u00e1is?\n\n                 JUGADOR PRIMERO (_tomando el retrato_)\n              \u00a1Hermosa mujer!\n\n                              JUGADOR CUARTO\n              No es caro.\n\n                                D. F\u00c9LIX\n                          \u00bfQuer\u00e9is pararlas?\n\n                             JUGADOR TERCERO\n                          Las paro.\n              M\u00e1s ganar\u00e9.\n\n                                D. F\u00c9LIX\n                          Si gan\u00e1is,  (_Se registra todo_.)\n              No tengo otra joya aqu\u00ed.                            [515]\n\n                  JUGADOR PRIMERO (_mirando el retrato_)\n              Si esta imagen respirara....\n\n                                D. F\u00c9LIX\n              A estar aqu\u00ed, la jugara\n              A ella, al retrato y a m\u00ed.\n\n                             JUGADOR TERCERO\n              Vengan los dados.\n\n                                D. F\u00c9LIX\n              Tirad.\n\n                             JUGADOR SEGUNDO\n              Por Don F\u00e9lix cien ducados.                         [520]\n\n                             JUGADOR CUARTO\n              En contra van apostados.\n\n                             JUGADOR QUINTO\n              Cincuenta m\u00e1s. Esperad,\n              No tir\u00e9is.\n\n                             JUGADOR SEGUNDO\n              Van los cincuenta.\n\n                             JUGADOR PRIMERO\n              Yo, sin blanca, a Dios le ruego\n              Por Don F\u00e9lix.\n\n                             JUGADOR QUINTO\n              Hecho el juego.                                      [525]\n\n                             JUGADOR TERCERO\n              \u00bfTiro?\n\n                                D. F\u00c9LIX\n                          Tirad con sesenta\n              De a caballo.\n\n  _(Todos se agrupan con ansiedad al rededor de la mesa. El tercer\n jugador tira los dados.)_\n\n                             JUGADOR CUARTO\n                            \u00bfQu\u00e9 ha salido?\n\n                             JUGADOR SEGUNDO\n              \u00a1Mil demonios, que a los dos\n              Nos lleven!\n\n                    D. F\u00c9LIX _(con calma al primero)_\n\n                          \u00a1Bien, vive Dios,\n              Vuestros ruegos me han valido!                      [530]\n              Encomendadme otra vez,\n              Don Juan, al diablo; no sea\n              Que si os oye Dios, me vea\n              Cautivo y esclavo en Fez.\n\n                               JUGADOR TERCERO\n              Don F\u00e9lix, hab\u00e9is perdido                           [535]\n             S\u00f3lo el marco, no el retrato;\n              Que entrar la dama en el trato\n              Vuestra intenci\u00f3n no habr\u00e1 sido.\n\n                                  D. F\u00c9LIX\n              \u00bfCu\u00e1nto dierais por la dama?\n\n                               JUGADOR TERCERO\n              Yo, la vida.                                        [540]\n\n                                  D. F\u00c9LIX\n                            No la quiero.\n              Mirad si me dais dinero,\n              Y os la llev\u00e1is.\n\n                               JUGADOR TERCERO\n                             \u00a1Buena fama\n              Lograr\u00e9is entre las bellas,\n              Cuando descubran altivas\n              Que vos las hac\u00e9is cautivas                         [545]\n              Para en seguida vendellas!\n\n                                 D. F\u00c9LIX\n              Eso a vos no importa nada.\n              \u00bfQuer\u00e9is la dama? Os la vendo.\n\n                               JUGADOR TERCERO\n              Yo de pinturas no entiendo.\n\n                            D. F\u00c9LIX _(con c\u00f3lera)_\n              Vos habl\u00e1is con demasiada                           [550]\n              Altivez e irreverencia\n              De una mujer ... \u00a1y si no....!\n\n                               JUGADOR TERCERO\n              De la pintura habl\u00e9 yo.\n\n                                   TODOS\n              Vamos, paz; no haya pendencia.\n\n                           D. F\u00c9LIX _(sosegado)_\n              Sobre mi palabra os juego                           [555]\n              Mil escudos.\n\n                               JUGADOR TERCERO\n                          Van tirados.\n\n                                  D. F\u00c9LIX\n              A otra suerte de esos dados;\n              Y el diablo les prenda fuego.\n\n\n\n                                 ESCENA III\n\n                P\u00e1lido el rostro, cejijunto el ce\u00f1o,\n              Y torva la mirada, aunque afligida,                 [560]\n              Y en ella un firme y decidido empe\u00f1o\n              De dar la muerte o de perder la vida,\n                Un hombre entr\u00f3 embozado hasta los ojos,\n              Sobre las juntas cejas el sombrero;\n              V\u00edbrale al rostro el coraz\u00f3n enojos,                [565]\n              El paso firme, el \u00e1nimo altanero.\n                Encubierta fat\u00eddica figura.--\n              Sed de sangre su esp\u00edritu sec\u00f3,\n              Emponzo\u00f1\u00f3 su alma la amargura,\n              La venganza irrit\u00f3 su coraz\u00f3n.                      [570]\n                Junto a Don F\u00e9lix llega, y, desatento,\n              No habla a ninguno, ni aun la frente inclina;\n              Y en pie y delante de \u00e9l y el ojo atento,\n              Con iracundo rostro le examina.\n                Mir\u00f3 tambi\u00e9n Don F\u00e9lix al sombr\u00edo                 [575]\n              Hu\u00e9sped que en \u00e9l los ojos enclav\u00f3,\n              Y con sarcasmo desde\u00f1oso y fr\u00edo,\n              Fijos en \u00e9l los suyos, sonr\u00ef\u00f3.\n\n                                 D. F\u00c9LIX\n              Buen hombre, \u00bfde qu\u00e9 tapiz\n              Se ha escapado--el que se tapa--                    [580]\n              Que entre el sombrero y la capa\n              Se os ve apenas la nariz?\n\n                                D. DIEGO\n              Bien, Don F\u00e9lix, cuadra en vos\n              Esa insolencia importuna.\n\n     D. F\u00c9LIX _(al tercer jugador sin hacer caso de Don Diego)_\n              Perdisteis.                                         [585]\n\n                            JUGADOR TERCERO\n                          S\u00ed. La fortuna\n              Se troc\u00f3; tiro y van dos. _(Vuelven a tirar.)_\n\n                              D. F\u00c9LIX\n              Gan\u00e9 otra vez. _(Al embozado)_\n                             No he entendido\n              Qu\u00e9 dijisteis, ni hice aprecio\n              De si hablasteis blando o recio\n              Cuando me hab\u00e9is respondido.                        [590]\n\n                              D. DIEGO\n              A solas hablar querr\u00eda.\n\n                              D. F\u00c9LIX\n              Pod\u00e9is, si os place, empezar,\n              Que por vos no he de dejar\n              Tan honrosa compa\u00f1\u00eda;\n              Y si Dios aqu\u00ed os env\u00eda                             [595]\n              Para hacer mi conversi\u00f3n,\n              No despreci\u00e9is la ocasi\u00f3n\n              De convertir tanta gente,\n              Mientras que yo humildemente\n              Aguardo mi absoluci\u00f3n.                              [600]\n\n                     D. DIEGO _(desemboz\u00e1ndose con ira)_\n              Don F\u00e9lix, \u00bfno conoc\u00e9is\n              A Don Diego de Pastrana?\n\n                                 D. F\u00c9LIX\n              A vos no, mas s\u00ed a una hermana\n              Que imagino que ten\u00e9is.\n\n                                 D. DIEGO\n              \u00bfY no sab\u00e9is que muri\u00f3?                             [605]\n\n                                 D. F\u00c9LIX\n              T\u00e9ngala Dios en su gloria.\n\n                                 D. DIEGO\n              Pienso que sab\u00e9is su historia,\n              Y qui\u00e9n fu\u00e9 quien la mat\u00f3.\n\n                        D. F\u00c9LIX (_con sarcasmo_)\n              \u00a1Quiz\u00e1 alguna calentura!\n\n                                 D. DIEGO\n              \u00a1Ment\u00eds vos!                                        [610]\n\n                                 D. F\u00c9LIX\n                           Calma, Don Diego,\n              Que si vos os mor\u00eds luego,\n              Es tanta mi desventura\n              Que aun me lo habr\u00e1n de achacar,\n              Y es en vano ese despecho.\n              Si se muri\u00f3, a lo hecho, pecho.                     [615]\n              Ya no ha de resucitar.\n\n                                 D. DIEGO\n              Os estoy mirando y dudo\n              Si habr\u00e9 de manchar mi espada\n              Con esa sangre malvada,\n              O echaros al cuello un nudo                         [620]\n              Con mis manos, y con mengua,\n              En vez de desaf\u00efaros,\n              El coraz\u00f3n arrancaros\n              Y patearos la lengua;\n              Que un alma, una vida, es                           [625]\n              Satisfacci\u00f3n muy ligera,\n              Y os diera mil si pudiera\n              Y os las quitara despu\u00e9s.\n              Jugo a mi labio han de dar\n              Abiertas todas tus venas,                           [630]\n              Que toda tu sangre apenas\n              Basta mi sed a calmar.\n              \u00a1Villano!\n\n  (_Tira de la espada; todos los jugadores se interponen_.)\n\n\n                                  TODOS\n                          Fuera de aqu\u00ed\n              A armar quimera.\n\n                  D. F\u00c9LIX _(con calma levant\u00e1ndose)_\n                              Tened,\n              Don Diego, la espada, y ved                        [635]\n              Que estoy yo muy sobre m\u00ed,\n              Y que me contengo mucho,\n              No s\u00e9 por qu\u00e9, pues tan fr\u00edo\n              En mi col\u00e9rico br\u00edo\n              Vuestras injurias escucho.                         [640]\n\n    D. DIEGO _(con furor reconcentrado y con la espada desnuda)_\n              Salid de aqu\u00ed; que a fe m\u00eda,\n              Que estoy resuelto a mataros,\n              Y no alcanzara a libraros\n              La misma Virgen Mar\u00eda.\n              Y es tan cierta mi intenci\u00f3n,                      [645]\n              Tan resuelta est\u00e1 mi alma,\n              Que hasta mi c\u00f3lera calma\n              Mi firme resoluci\u00f3n.\n              Venid conmigo.\n\n                                 D. F\u00c9LIX\n                             All\u00e1 voy;\n              Pero si os mato, Don Diego,                        [650]\n              Que no me venga otro luego\n              A pedirme cuenta. Soy\n              Con vos al punto. Esperad\n              Cuente el dinero ... _uno_ ... _dos_....\n              _(A Don Diego)_\n              Son mis ganancias; por vos                         [655]\n              Pierdo aqu\u00ed una cantidad\n              Considerable de oro\n              Que iba a ganar ... \u00bfy por qu\u00e9?\n              _Diez_ ... _quince_ ... por no s\u00e9 qu\u00e9\n              Cuento de amor ... \u00a1un tesoro                      [660]\n              Perdido! ... voy al momento.\n              Es un puro disparate\n              Empe\u00f1arse en que yo os mate:\n              Lo digo como lo siento.\n\n                                 D. DIEGO\n              Remiso and\u00e1is y cobarde                            [665]\n              Y hablador en demas\u00eda.\n\n                                 D. F\u00c9LIX\n              Don Diego, m\u00e1s sangre fr\u00eda.\n              Para re\u00f1ir nunca es tarde.\n              Y si aun fuera otro el asunto,\n              Yo os perdonara la prisa.                          [670]\n              Pidierais vos una misa\n              Por la difunta, y al punto....\n\n                                 D. DIEGO\n              \u00a1Mal caballero!...\n\n                                 D. F\u00c9LIX\n                              Don Diego,\n              Mi delito no es gran cosa.\n              Era vuestra hermana hermosa;                       [675]\n              La vi, me am\u00f3, creci\u00f3 el juego,\n              Se muri\u00f3, no es culpa m\u00eda;\n              Y admiro vuestro candor,\n              Que no se mueren de amor\n              Las mujeres hoy en d\u00eda.                            [680]\n\n                                 D. DIEGO\n              \u00bfEst\u00e1is pronto?\n\n                                 D. F\u00c9LIX\n                             Est\u00e1n contados.\n              Vamos andando.\n\n                     D. DIEGO _(con voz solemne)_\n                              \u00bfOs re\u00eds?\n              Pensad que a morir ven\u00eds.\n\n D. F\u00c9LIX _(sale tras de \u00e9l, embols\u00e1ndose el dinero con indiferencia)_\n              Son mil trescientos ducados.\n\n\n\n                                  ESCENA IV\n\n                                LOS JUGADORES\n\n\n                               JUGADOR PRIMERO\n              Este Don Diego Pastrana                             [685]\n              Es un hombre decidido.\n              Desde Flandes ha venido\n              S\u00f3lo a vengar a su hermana.\n\n                               JUGADOR SEGUNDO\n              \u00a1Pues no ha hecho mal disparate!\n              Me da el coraz\u00f3n su muerte.                         [690]\n\n                               JUGADOR TERCERO\n              \u00bfQui\u00e9n sabe? acaso la suerte....\n\n                               JUGADOR CUARTO\n              Me alegrar\u00e9 que lo mate.\n\n\n                               PARTE CUARTA\n\n                        Sali\u00f3, en fin, de aquel estado, para caer en\n                        el dolor m\u00e1s sombr\u00edo, en la m\u00e1s desalentada\n                        desesperaci\u00f3n y en la mayor amargura y\n                        desconsuelo que pueden apoderarse de este pobre\n                        coraz\u00f3n humano, que tan positivamente choca y\n                        se quebranta con los males, como con vaguedad\n                        aspira en algunos momentos, casi siempre sin\n                        conseguirlo, a tocar los bienes ligeramente y\n                        de pasada.--\"La protecci\u00f3n de un sastre,\"\n                        novela original por D. MIGUEL DE LOS SANTOS\n                        \u00c1LVAREZ\n\n                        SPIRITUS QUIDEM PROMPTUS EST; CARO VERO\n                        INFIRMA.--S. MARCOS, \"Evangelio\"\n\n\n        Vedle, Don F\u00e9lix es, espada en mano,\n      Sereno el rostro, firme el coraz\u00f3n;\n      Tambi\u00e9n de Elvira el vengativo hermano                     [695]\n      Sin piedad a sus pies muerto cay\u00f3.\n\n        Y con tranquila audacia se adelanta\n      Por la calle fatal del Ata\u00fad;\n      Y ni medrosa aparici\u00f3n le espanta,\n      Ni le turba la imagen de Jes\u00fas.                            [700]\n\n        La moribunda l\u00e1mpara que ard\u00eda\n      Tr\u00e9mula lanza su postrer fulgor,\n      Y, en honda oscuridad, noche sombr\u00eda\n      La misteriosa calle encapot\u00f3.\n\n        Mueve los pies el Montemar osado                         [705]\n      En las tinieblas con incierto giro,\n      Cuando, ya un trecho de la calle andado,\n      S\u00fabito junto a \u00e9l oye un suspiro.\n\n        Resbalar por su faz sinti\u00f3 el aliento,\n      Y a su pesar sus nervios se crisparon;                     [710]\n      Mas, pasado el primero movimiento,\n      A su primera rigidez tornaron.\n\n        \u00ab\u00bfQui\u00e9n va?\u00bb pregunta con la voz serena.\n      Que ni finge valor, ni muestra miedo,\n      El alma de invencible vigor llena,                         [715]\n      F\u00efado en su tajante de Toledo.\n\n        Palpa en torno de s\u00ed, y el impio jura,\n      Y a mover vuelve la atrevida planta,\n      Cuando hacia \u00e9l fat\u00eddica figura\n      Envuelta en blancas ropas se adelanta.                     [720]\n\n        Flotante y vaga, las espesas nieblas\n      Ya disipa, y se anima, y va creciendo\n      Con apagada luz, ya en las tinieblas\n      Su argentino blancor va apareciendo.\n\n            Ya leve punto de luciente plata,                     [725]\n      Astro de clara lumbre sin mancilla,\n      El horizonte l\u00f3brego dilata\n      Y all\u00e1 en la sombra en lontananza brilla.\n\n        Los ojos, Montemar, fijos en ella,\n      Con m\u00e1s asombro que temor la mira;                         [730]\n      Tal vez la juzga vagorosa estrella\n      Que en el espacio de los cielos gira;\n\n        Tal vez enga\u00f1o de sus propios ojos,\n      Forma falaz que en su ilusi\u00f3n cre\u00f3,\n      O del vino rid\u00edculos antojos                               [735]\n      Que al fin su juicio a alborotar subi\u00f3.\n\n        Mas el vapor del n\u00e9ctar jerezano\n      Nunca su mente a trastornar bastara,\n      Que ya mil veces embriagarse en vano\n      En fren\u00e9ticas orgias intentara.                            [740]\n\n        \u00abDios presume asustarme; \u00a1ojal\u00e1 fuera\u00bb,\n      Dijo entre s\u00ed riendo, \u00abel diablo mismo!\n      Que entonces \u00a1v\u00edve Dios! qui\u00e9n soy supiera\n      El cornudo monarca del abismo.\u00bb\n\n        Al pronunciar tan insolente ultraje                      [745]\n      La l\u00e1mpara del Cristo se encendi\u00f3,\n      Y una mujer, velada en blanco traje,\n      Ante la imagen de rodillas vi\u00f3.\n\n        \u00abBienvenida la luz,\u00bb dijo el imp\u00edo,\n      \u00abGracias a Dios o al diablo;\u00bb y, con osada,                [750]\n      Firme intenci\u00f3n y temerario br\u00edo,\n      El paso vuelve a la mujer tapada.\n\n        Mientras \u00e9l anda, al parecer se alejan\n      La luz, la imagen, la devota dama;\n      Mas si \u00e9l se p\u00e1ra, de moverse dejan;                       [755]\n      Y l\u00e1grima tras l\u00e1grima derrama\n\n        De sus ojos inm\u00f3viles la imagen.\n      Mas sin que el miedo ni el dolor que inspira\n      Su planta audaz, ni su impiedad atajen,\n      Rostro a rostro a Jes\u00fas Montemar mira.                     [760]\n\n        --La calle parece se mueve y camina,\n      Faltarle la tierra sinti\u00f3 bajo el pie;\n      Sus ojos la muerta mirada fascina\n      Del Cristo, que intensa clavada est\u00e1 en \u00e9l.\n\n        Y en medio el delirio que embarga su mente,              [765]\n      Y achaca \u00e9l al vino que al fin le embriag\u00f3,\n      La l\u00e1mpara alcanza con mano insolente\n      Del ara do alumbra la imagen de Dios;\n\n        Y al rostro la acerca, que el c\u00e1ndido lino\n      Encubre, con \u00e1nimo asaz descort\u00e9s;                         [770]\n      Mas la luz apaga viento repentino,\n      Y la blanca dama se puso de pie.\n\n        Empero un momento crey\u00f3 que ve\u00eda\n      Un rostro que vagos recuerdos quiz\u00e1\n      Y alegres memorias confusas tra\u00eda                          [775]\n      De tiempos mejores que pasaron ya,\n\n        Un rostro de un \u00e1ngel que vi\u00f3 en un ensue\u00f1o,\n      Como un sentimiento que el alma halag\u00f3,\n      Que anubla la frente con r\u00edgido ce\u00f1o,\n      Sin que lo comprenda jam\u00e1s la raz\u00f3n.                       [780]\n\n        Su forma gallarda dibuja en las sombras\n      El blanco ropaje que ondeante se ve,\n      Y cual si pisara mullidas alfombras,\n      Desl\u00edzase leve sin ruido su pie.\n\n        Tal vimos al rayo de la luna llena                       [785]\n      Fugitiva vela de lejos cruzar,\n      Que ya la hinche en popa la brisa serena,\n      Que ya la confunde la espuma del mar.\n\n        Tambi\u00e9n la esperanza blanca y vaporosa\n      As\u00ed ante nosotros pasa en ilusi\u00f3n,                         [790]\n      Y el alma conmueve con ansia medrosa\n      Mientras la rechaza la adusta raz\u00f3n.\n\n                                 D. F\u00c9LIX\n                \u00ab\u00a1Qu\u00e9! \u00bfsin respuesta me deja?\n              \u00bfNo admit\u00eds mi compa\u00f1\u00eda?\n              \u00bfSer\u00e1 quiz\u00e1 alguna vieja                           [795]\n              Devota?... \u00a1Chasco ser\u00eda!\n\n                En vano, due\u00f1a, es callar,\n              Ni hacerme se\u00f1as que no;\n              He resuelto que s\u00ed yo,\n              Y os tengo de acompa\u00f1ar.                           [800]\n\n                Y he de saber d\u00f3nde vais\n              Y si sois hermosa o fea,\n              Qui\u00e9n sois y c\u00f3mo os llam\u00e1is,\n              Y aun cuando imposible sea,\n\n                Y fuerais vos Satan\u00e1s                            [805]\n              Con sus llamas y sus cuernos,\n              Hasta en los mismos infiernos,\n              Vos delante y yo detr\u00e1s,\n\n                Hemos de entrar; \u00a1vive Dios!\n              Y aunque lo estorbara el cielo,                    [810]\n              Que yo he de cumplir mi anhelo\n              Aun a despecho de vos;\n\n                Y perdonadme, se\u00f1ora,\n              Si hay en mi empe\u00f1o osad\u00eda,\n              Mas fuera descortes\u00eda                              [815]\n              Dejaros sola a esta hora;\n\n                Y me va en ello mi fama,\n              Que juro a Dios no quisiera\n              Que por temor se creyera\n              Que no he seguido a una dama.\u00bb                     [820]\n\n           Del hondo del pecho profundo gemido,\n         Crujido del vaso que estalla al dolor,\n         Que apenas medroso lastima el o\u00eddo,\n         Pero que punzante rasga el coraz\u00f3n,\n\n           Gemido de amargo recuerdo pasado,                     [825]\n         De pena presente, de incierto pesar,\n         Mort\u00edfero aliento, veneno exhalado\n         Del que encubre el alma ponzo\u00f1oso mar,\n\n           Gemido de muerte lanz\u00f3, y silenciosa\n         La blanca figura su pie resbal\u00f3,                        [830]\n         Cual mueve sus alas s\u00edlfide amorosa\n         Que apenas las aguas del lago riz\u00f3.\n\n           \u00a1Ay! el que vi\u00f3 acaso perdida en un d\u00eda\n         La dicha que eterna crey\u00f3 el coraz\u00f3n,\n         Y en noche de nieblas y en honda agon\u00eda                 [835]\n         En un mar sin playas muriendo qued\u00f3!...\n\n           Y solo y llevando consigo en su pecho,\n         Compa\u00f1ero eterno su dolor cr\u00fcel,\n         El m\u00e1gico encanto del alma deshecho,\n         Su pena, su amigo y su amante m\u00e1s fiel;                 [840]\n\n           \u00a1Mir\u00f3 sus suspiros llevarlos el viento,\n         Sus l\u00e1grimas tristes perderse en el mar,\n         Sin nadie que acuda ni entienda su acento,\n         Insensible el cielo y el mundo a su mal!\n\n           Y ha visto la luna brillar en el cielo                [845]\n         Serena y en calma mientras \u00e9l llor\u00f3,\n         Y ha visto los hombres pasar en el suelo\n         Y nadie a sus quejas los ojos volvi\u00f3!\n\n           Y \u00e9l mismo, la befa del mundo temblando,\n         Su pena en su pecho profunda escondi\u00f3,                  [850]\n         Y dentro en su alma su llanto tragando\n         Con falsa sonrisa su labio visti\u00f3!!...\n\n           \u00a1Ay! quien ha contado las horas que fueron,\n         Horas otro tiempo que abrevi\u00f3 el placer,\n         Y hoy solo y llorando piensa como huyeron               [855]\n         Con ellas por siempre las dichas de ayer;\n\n           Y aquellos placeres, que el triste ha perdido,\n         No huyeron del mundo, que en el mundo est\u00e1n;\n         Y \u00e9l vive en el mundo do siempre ha vivido,\n         Y aquellos placeres para \u00e9l no son ya!                  [860]\n\n           \u00a1Ay del que descubre por fin la mentira!\n         \u00a1Ay del que la triste realidad palp\u00f3!\n         Del que el esqueleto de este mundo mira,\n         Y sus falsas galas loco le arranc\u00f3!...\n\n           \u00a1Ay de aquel que vive s\u00f3lo en lo pasado!              [865]\n         \u00a1Ay del que su alma nutre en su pesar!\n         Las horas que huyeron llamar\u00e1 angustiado,\n         Las horas que huyeron jam\u00e1s tornar\u00e1n!...\n\n           Quien haya sufrido tan b\u00e1rbaro duelo,\n         Quien noches enteras cont\u00f3 sin dormir                   [870]\n         En lecho de espinas, maldiciendo al cielo,\n         Horas sempiternas de ansiedad sin fin....\n\n           Quien haya sentido quererse del pecho\n         Saltar a pedazos roto el coraz\u00f3n,\n         Crecer su delirio, crecer su despecho,                  [875]\n         Al cuello cien nudos echarle el dolor,\n\n           Ponzo\u00f1oso lago de punzante hielo,\n         Sus l\u00e1grimas tristes que cuaj\u00f3 el pesar,\n         Reventando ahogarle, sin hallar consuelo,\n         Ni esperanza nunca, ni tregua en su af\u00e1n.               [880]\n\n           Aqu\u00e9l, de la blanca fantasma el gemido,\n         \u00danica respuesta que a Don F\u00e9lix di\u00f3,\n         Hubiera, y su inmenso dolor, comprendido,\n         Hubiera pesado su inmenso valor.\n\n                                 D. F\u00c9LIX\n                \u00abSi busc\u00e1is alg\u00fan ingrato,                       [885]\n                Yo me ofrezco agradecido;\n                Pero o miente ese recato,\n                O vos sufr\u00eds el mal trato\n                De alg\u00fan celoso marido.\n\n                  \u00bfAcert\u00e9? \u00a1Necia man\u00eda!                         [890]\n                Es para volverme loco,\n                Si insist\u00eds en tal porf\u00eda;\n                Con los mudos, reina m\u00eda,\n                Yo hago mucho y hablo poco.\u00bb\n\n                  Segunda vez importunada en tanto,              [895]\n                Una voz de s\u00fcave melod\u00eda\n                El estudiante oy\u00f3 que parec\u00eda\n                Eco lejano de armonioso canto,\n\n                  De amante pecho l\u00e1nguido latido,\n                Sentimiento inefable de ternura,                 [900]\n                Suspiro fiel de amor correspondido,\n                El primer s\u00ed de la mujer aun pura.\n\n                  \u00abPara m\u00ed los amores acabaron;\n                Todo en el mundo para m\u00ed acab\u00f3;\n                Los lazos que a la tierra me ligaron             [905]\n                El cielo para siempre desat\u00f3,\u00bb\n\n                  Dijo su acento misterioso y tierno,\n                Que de otros mundos la ilusi\u00f3n tra\u00eda,\n                Eco de los que ya reposo eterno\n                Gozan en paz bajo la tumba fr\u00eda.                 [910]\n\n      Montemar, atento s\u00f3lo a su aventura,\n    Que es bella la dama y aun f\u00e1cil juzg\u00f3,\n    Y la hora, la calle y la noche oscura\n    Nuevos incentivos a su pecho son.\n\n      \u00ab--Hay riesgo en seguirme.--Mirad \u00a1qu\u00e9 reparo!             [915]\n    --Quiz\u00e1 luego os pese.--Puede que por vos.\n    --Ofend\u00e9is al cielo.--Del diablo me amparo.\n    --Idos, caballero, no tent\u00e9is a Dios.\n\n      --Siento me enamora m\u00e1s vuestro despego,\n    Y si Dios se enoja, pardiez que har\u00e1 mal;                    [920]\n    Veame en vuestros brazos y m\u00e1teme luego.\n    --\u00a1Vuestra \u00faltima hora quiz\u00e1 \u00e9sta ser\u00e1!...\n\n      Dejad ya, Don F\u00e9lix, delirios mundanos.\n    --\u00a1Hola, me conoce!--\u00a1Ay! \u00a1temblad por vos!\n    \u00a1Temblad no se truequen deleites livianos                    [925]\n    En penas eternas!--Basta de serm\u00f3n,\n\n      Que yo para o\u00edrlos la cuaresma espero;\n    Y hablemos de amores, que es m\u00e1s dulce hablar;\n    Dejad ese tono solemne y severo,\n    Que os juro, se\u00f1ora, que os sienta muy mal.                  [930]\n\n      La vida es la vida: cuando ella se acaba,\n    Acaba con ella tambi\u00e9n el placer.\n    \u00bfDe inciertos pesares por qu\u00e9 hacerla esclava?\n    Para m\u00ed no hay nunca ma\u00f1ana ni ayer.\n\n      Si ma\u00f1ana muero, que sea en mal hora                       [935]\n    O en buena, cual dicen, \u00bfqu\u00e9 me importa a m\u00ed?\n    Goce yo el presente, disfrute yo ahora,\n    Y el diablo me lleve siquiera al morir.\n\n              --\u00a1C\u00famplase en fin tu voluntad, Dios m\u00edo!--\u00bb\n            La figura fat\u00eddica exclam\u00f3;                          [940]\n            Y en tanto al pecho redoblar su br\u00edo\n            Siente Don F\u00e9lix y camina en pos.\n\n                  Cruzan tristes calles,\n                Plazas solitarias,\n                Arruinados muros,                                [945]\n                Donde sus plegarias\n                Y falsos conjuros,\n                En la misteriosa\n                Noche borrascosa,\n                Maldecida bruja                                  [950]\n\n                  Con ronca voz canta,\n                Y de los sepulcros\n                Los muertos levanta,\n                Y suenan los ecos\n                De sus pasos huecos                              [955]\n                En la soledad;\n                Mientras en silencio\n                Yace la ciudad,\n                Y en l\u00fagubre s\u00f3n\n                Arrulla su sue\u00f1o                                 [960]\n                Bramando Aquil\u00f3n.\n\n              Y una calle y otra cruzan,\n            Y m\u00e1s all\u00e1 y m\u00e1s all\u00e1;\n            Ni tiene t\u00e9rmino el viaje,\n            Ni nunca dejan de andar.                             [965]\n            Y atraviesan, pasan, vuelven,\n            Cien calles quedando atr\u00e1s,\n            Y paso tras paso siguen,\n            Y siempre adelante van;\n            Y a confundirse ya empieza                           [970]\n            Y a perderse Montemar,\n            Que ni sabe a d\u00f3 camina,\n            Ni acierta ya d\u00f3nde est\u00e1;\n            Y otras calles, otras plazas\n            Recorre, y otra ciudad,                              [975]\n            Y ve fant\u00e1sticas torres\n            De su eterno pedestal\n            Arrancarse, y sus macizas,\n            Negras masas caminar,\n            Apoy\u00e1ndose en sus \u00e1ngulos,                           [980]\n            Que en la tierra en desigual,\n            Perezoso tranco fijan;\n            Y a su mon\u00f3tono andar,\n            Las campanas sacudidas\n            Misteriosos dobles dan,                              [985]\n            Mientras en danzas grotescas,\n            Y al estruendo funeral,\n            En derredor cien espectros\n            Danzan con torpe comp\u00e1s;\n            Y las veletas sus frentes                            [990]\n            Bajan ante \u00e9l al pasar,\n            Los espectros le saludan,\n            Y en cien lenguas de metal,\n            Oye su nombre en los ecos\n            De las campanas sonar.                               [995]\n            Mas luego cesa el estr\u00e9pito,\n            Y en silencio, en muda paz\n            Todo queda, y desparece\n            De s\u00fabito la ciudad:\n            Palacios, templos, se cambian                       [1000]\n            En campos de soledad,\n            Y en un yermo y silencioso,\n            Melanc\u00f3lico arenal,\n            Sin luz, sin aire, sin cielo,\n            Perdido en la inmensidad.                           [1005]\n            Tal vez piensa que camina,\n            Sin poder parar jam\u00e1s,\n            De extra\u00f1o empuje llevado\n            Con precipitado af\u00e1n;\n            Entretanto que su gu\u00eda,                             [1010]\n            Delante de \u00e9l sin hablar,\n            Sigue misteriosa, y sigue\n            Con paso r\u00e1pido, y ya\n            Se remonta ante sus ojos\n            En alas del hurac\u00e1n,                                [1015]\n            Visi\u00f3n sublime, y su frente\n            Ve fosf\u00f3rica brillar\n            Entre l\u00edvidos rel\u00e1mpagos\n            En la densa oscuridad,\n            Sierpes de luz, luminosos                           [1020]\n            Engendros del vendaval;\n            Y cuando duda si duerme,\n            Si tal vez sue\u00f1a o est\u00e1\n            Loco, si es tanto prodigio,\n            Tanto delirio verdad,                               [1025]\n            Otra vez en Salamanca\n            S\u00fabito vu\u00e9lvese a hallar,\n            Distingue los edificios,\n            Reconoce en d\u00f3nde est\u00e1,\n            Y en su delirante v\u00e9rtigo                           [1030]\n            Al vino vuelve a culpar,\n            Y jura, y siguen andando,\n            Ella delante, \u00e9l detr\u00e1s.\n\n              \u00ab\u00a1Vive Dios! dice entre s\u00ed,\n            O Satan\u00e1s se chancea,                               [1035]\n            O no debo estar en m\u00ed,\n            O el M\u00e1laga que beb\u00ed\n            En mi cabeza aun humea.\n\n              \u00abSombras, fantasmas, visiones....\n            Dale con tocar a muerto,                            [1040]\n            Y en revueltas confusiones,\n            Danzando estos torreones\n            Al comp\u00e1s de tal concierto.\n\n              \u00abY el juicio voy a perder\n            Entre tantas maravillas.                            [1045]\n            \u00a1Que estas torres llegue a ver,\n            Como mulas de alquiler,\n            Andando con campanillas!\n\n              \u00ab\u00bfY esta mujer qui\u00e9n ser\u00e1?\n            Mas si es el diablo en persona,                     [1050]\n            \u00bfA m\u00ed qu\u00e9 diantre me da?\n            Y m\u00e1s que el traje en que va\n            En esta ocasi\u00f3n le abona.\n\n              \u00abNoble se\u00f1ora, imagino\n            Que sois nueva en el lugar:                         [1055]\n            Andar as\u00ed es desatino;\n            O hab\u00e9is perdido el camino,\n            O esto es andar por andar.\n\n              \u00abHa dado en no responder,\n            Que es la m\u00e1s rara locura                           [1060]\n            Que puede hallarse en mujer,\n            Y en que yo la he de querer\n            Por su paso de andadura.\u00bb\n\n      En tanto Don F\u00e9lix a tientas segu\u00eda,\n    Delante camina la blanca visi\u00f3n,                            [1065]\n    Triplica su espanto la noche sombr\u00eda,\n    Sus h\u00f3rridos gritos redobla Aquil\u00f3n.\n\n      Rechinan girando las f\u00e9rreas veletas,\n    Crujir de cadenas se escucha sonar,\n    Las altas campanas, por el viento inquietas,                [1070]\n    Pausados sonidos en las torres dan.\n\n      R\u00fcido de pasos de gente que viene\n    A comp\u00e1s marchando con sordo rumor,\n    Y de tiempo en tiempo su marcha detiene,\n    Y rezar parece en confuso s\u00f3n,                              [1075]\n\n      Lleg\u00f3 de Don F\u00e9lix luego a los o\u00eddos,\n    Y luego cien luces a lo lejos vi\u00f3,\n    Y luego en hileras largas divididos,\n    Vi\u00f3 que murmurando con l\u00fagubre voz\n\n      Enlutados bultos andando ven\u00edan;                          [1080]\n    Y luego m\u00e1s cerca con asombro ve\n    Que un f\u00e9retro en medio y en hombros tra\u00edan\n    Y dos cuerpos muertos tendidos en \u00e9l.\n\n      Las luces, la hora, la noche, profundo,\n    Infernal arcano parece encubrir.                            [1085]\n    Cuando en hondo sue\u00f1o yace muerto el mundo,\n    Cuando todo anuncia que habr\u00e1 de morir\n\n      Al hombre que loco la recia tormenta\n    Corri\u00f3 de la vida, del viento a merced,\n    Cuando una voz triste las horas le cuenta,                  [1090]\n    Y en lodo sus pompas convertidas ve,\n\n      Forzoso es que tenga de diamante el alma\n    Quien no sienta el pecho de horror palpitar,\n    Quien como Don F\u00e9lix, con serena calma,\n    Ni en Dios ni en el diablo se ponga a pensar.               [1095]\n\n      As\u00ed en tardos pasos, todos murmurando,\n    El l\u00fagubre entierro ya cerca lleg\u00f3,\n    Y la blanca dama, devota rezando,\n    Entrambas rodillas en tierra dobl\u00f3.\n\n      Calado el sombrero y en pie, indiferente                  [1100]\n    El f\u00e9retro mira Don F\u00e9lix pasar,\n    Y al paso pregunta con su aire insolente\n    Los nombres de aquellos que al sepulcro van.\n\n      Mas \u00a1cu\u00e1l su sorpresa, su asombro cu\u00e1l fuera,\n    Cuando horrorizado con espanto ve                           [1105]\n    Que el uno Don Diego de Pastrana era,\n    Y el otro \u00a1Dios santo! y el otro era \u00e9l!...\n\n      \u00c9l mismo, su imagen, su misma figura,\n    Su mismo semblante, que \u00e9l mismo era en fin;\n    Y duda, y se palpa, y fr\u00eda pavura                           [1110]\n    Un punto en sus venas sinti\u00f3 discurrir.\n\n      Al fin era hombre, y un punto temblaron\n    Los nervios del hombre, y un punto temi\u00f3;\n    Mas pronto su antiguo vigor recobraron,\n    Pronto su fiereza volvi\u00f3 al coraz\u00f3n.                        [1115]\n\n        \u00abLo que es, dijo, por Pastrana,\n      Bien pensado est\u00e1 el entierro;\n      Mas es diligencia vana\n      Enterrarme a m\u00ed, y ma\u00f1ana\n      Me he de quejar de este yerro.                            [1120]\n\n      \u00abDiga, se\u00f1or enlutado,\n      \u00bfA qui\u00e9n llevan a enterrar?\u00bb\n      \u00ab--Al estudiante endiablado\n      Don F\u00e9lix de Montemar,\u00bb\n      Respondi\u00f3 el encapuchado.                                 [1125]\n\n      \u00ab--Mientes, truh\u00e1n.--No por cierto.\n    --Pues decidme a m\u00ed qui\u00e9n soy,\n    Si gust\u00e1is, porque no acierto\n    C\u00f3mo a un mismo tiempo estoy\n    Aqu\u00ed vivo y all\u00ed muerto.                                    [1130]\n\n      \u00ab--Yo no os conozco.--Pardiez,\n    Que si me llego a enojar,\n    Tus burlas te haga llorar\n    De tal modo que otra vez\n    Conozcas ya a Montemar.                                     [1135]\n\n      \u00ab\u00a1Villano!... mas esto es\n    Ilusi\u00f3n de los sentidos,\n    El mundo que anda al rev\u00e9s,\n    Los diablos entretenidos\n    En hacerme dar traspi\u00e9s.                                    [1140]\n\n      \u00ab\u00a1El fanfarr\u00f3n de Don Diego!\n    De sus mentiras reniego,\n    Que cuando muerto cay\u00f3,\n    Al infierno se fu\u00e9 luego\n    Contando que me mat\u00f3.\u00bb                                      [1145]\n\n      Diciendo as\u00ed, solt\u00f3 una carcajada,\n    Y las espaldas con desd\u00e9n volvi\u00f3;\n    Se hizo el bigote, requiri\u00f3 la espada,\n    Y a la devota dama se acerc\u00f3.\n\n      \u00abConque, en fin, \u00bfd\u00f3nde viv\u00eds?                            [1150]\n    Que se hace tarde, se\u00f1ora.\n    --Tarde, aun no; de aqu\u00ed a una hora\n    Lo ser\u00e1.--Verdad dec\u00eds,\n    Ser\u00e1 m\u00e1s tarde que ahora.\n\n      \u00abEsa voz con que hac\u00e9is miedo                             [1155]\n    De vos me enamora m\u00e1s.\n    Yo me he echado el alma atr\u00e1s;\n    Juzgad si me dar\u00e1 un bledo\n    De Dios ni de Satan\u00e1s.\n\n      \u00ab--Cada paso que avanz\u00e1is                                 [1160]\n    Lo adelant\u00e1is a la muerte,\n    Don F\u00e9lix. \u00bfY no tembl\u00e1is\n    Y el coraz\u00f3n no os advierte\n    Que a la muerte camin\u00e1is?\u00bb\n\n        Con eco melanc\u00f3lico y sombr\u00edo                           [1165]\n      Dijo as\u00ed la mujer, y el sordo acento,\n      Sonando en torno del mancebo imp\u00edo,\n      Rugi\u00f3 en la voz del proceloso viento.\n\n      Las piedras con las piedras se golpearon,\n    Bajo sus pies la tierra retembl\u00f3,                           [1170]\n    Las aves de la noche se juntaron,\n    Y sus alas crujir sobre \u00e9l sinti\u00f3;\n\n      Y en la sombra unos ojos fulgurantes\n    Vi\u00f3 en el aire vagar que espanto inspiran,\n    Siempre sobre \u00e9l salt\u00e1ndose anhelantes,                     [1175]\n    Ojos de horror que sin cesar le miran.\n\n      Y los vi\u00f3 y no tembl\u00f3; mano a la espada\n    Puso y la sombra intr\u00e9pido embisti\u00f3;\n    Y ni sombra encontr\u00f3 ni encontr\u00f3 nada,\n    S\u00f3lo fijos en \u00e9l los ojos vi\u00f3.                              [1180]\n\n      Y alz\u00f3 los suyos impaciente al cielo,\n    Y rechin\u00f3 los dientes y maldijo,\n    Y, en \u00e9l creciendo el infernal anhelo,\n    Con voz de enojo blasfemando dijo:\n\n      \u00abSeguid, se\u00f1ora, y adelante vamos:                        [1185]\n    Tanto mejor si sois el diablo mismo,\n    Y Dios y el diablo y yo nos conozcamos,\n    Y ac\u00e1bese por fin tanto embolismo.\n\n      \u00abQue de tanto serm\u00f3n, de farsa tanta,\n    Juro, pardiez, que fatigado estoy;                          [1190]\n    Nada mi firme voluntad quebranta:\n    Sabed, en fin, que, donde vay\u00e1is, voy.\n\n    \u00abUn t\u00e9rmino no m\u00e1s tiene la vida:\n    T\u00e9rmino fijo; un paradero el alma:\n    Ahora adelante.\u00bb Dijo, y en seguida                         [1195]\n    Camina en pos con decidida calma.\n\n      Y la dama a una puerta se par\u00f3,\n    Y era una puerta alt\u00edsima, y se abrieron\n    Sus hojas en el punto en que llam\u00f3,\n    Que a un misterioso impulso obedecieron;                    [1200]\n    Y tras la dama el estudiante entr\u00f3;\n    Ni pajes ni doncellas acudieron;\n    Y cruzan a la luz de unas buj\u00edas\n    Fant\u00e1sticas, desiertas galer\u00edas.\n\n      Y la visi\u00f3n, como enga\u00f1oso encanto,                       [1205]\n    Por las losas desl\u00edzase sin ruido,\n    Toda encubierta bajo el blanco manto\n    Que barre el suelo en pliegues desprendido;\n    Y por el largo corredor en tanto\n    Sigue adelante, y s\u00edguela atrevido,                         [1210]\n    Y su temeridad raya en locura,\n    Resuelto Montemar a su aventura.\n\n      Las luces, como antorchas funerales,\n    L\u00e1nguida luz y c\u00e1rdena esparc\u00edan,\n    Y en torno, en movimientos desiguales,                      [1215]\n    Las sombras se alejaban o ven\u00edan\n    Arcos aqu\u00ed ruinosos, sepulcrales,\n    Urnas all\u00ed y estatuas se ve\u00edan,\n    Rotas columnas, patios mal seguros,\n    Yerbosos, tristes, h\u00famedos y oscuros.                       [1220]\n\n      Todo vago, quim\u00e9rico y sombr\u00edo,\n    Edificio sin base ni cimiento,\n    Ondula cual fant\u00e1stico nav\u00edo\n    Que anclado mueve borrascoso viento.\n    En un silencio aterrador y fr\u00edo                             [1225]\n    Yace all\u00ed todo: ni rumor, ni aliento\n    Humano nunca se escuch\u00f3: callado,\n    Corre all\u00ed el tiempo, en sue\u00f1o sepultado.\n\n      Las muertas horas a las muertas horas\n    Siguen en el reloj de aquella vida,                         [1230]\n    Sombras de horror girando aterradoras,\n    Que all\u00e1 aparecen en medrosa hu\u00edda;\n    Ellas solas y tristes moradoras\n    De aquella negra, funeral guarida,\n    Cual so\u00f1ada fant\u00e1stica quimera,                             [1235]\n    Vienen a ver al que su paz altera.\n\n      Y en \u00e9l enclavan los hundidos ojos\n    Del fondo de la larga galer\u00eda,\n    Que brillan lejos cual carbones rojos,\n    Y espantaran la misma valent\u00eda;                             [1240]\n    Y muestran en su rostro sus enojos\n    Al ver hollada su mansi\u00f3n sombr\u00eda;\n    Y ora en grupos delante se aparecen,\n    Ora en la sombra all\u00e1 se desvanecen.\n\n      Grand\u00efosa, sat\u00e1nica figura,                               [1245]\n    Alta la frente, Montemar camina,\n    Esp\u00edritu sublime en su locura,\n    Provocando la c\u00f3lera divina:\n    F\u00e1brica fr\u00e1gil de materia impura,\n    El alma que la alienta y la ilumina                         [1250]\n    Con Dios le iguala, y con osado vuelo\n    Se alza a su trono y le provoca a duelo.\n\n      Segundo Lucifer que se levanta\n    Del rayo vengador la frente herida,\n    Alma rebelde que el temor no espanta,                       [1255]\n    Hollada s\u00ed, pero jam\u00e1s vencida:\n    El hombre, en fin, que en su ansiedad quebranta\n    Su l\u00edmite a la c\u00e1rcel de la vida,\n    Y a Dios llama ante \u00e9l a darle cuenta,\n    Y descubrir su inmensidad intenta.                          [1260]\n\n      Y un b\u00e1quico cantar tarareando,\n    Cruza aquella quim\u00e9rica morada,\n    Con atrevida indiferencia andando,\n    Mofa en los labios, y la vista osada;\n    Y el rumor que sus pasos van formando,                      [1265]\n    Y el golpe que al andar le da la espada,\n    Tristes ecos, sigui\u00e9ndole detr\u00e1s,\n    Repiten con mon\u00f3tono comp\u00e1s.\n\n      Y aquel extra\u00f1o y \u00fanico r\u00fcido\n    Que de aquella mansi\u00f3n los ecos llena,                      [1270]\n    En el suelo y los techos repetido,\n    En su profunda soledad resuena;\n    Y espira all\u00e1 cual funeral gemido\n    Que lanza en su dolor la \u00e1nima en pena,\n    Que al fin del corredor largo y oscuro                      [1275]\n    Salir parece de entre el roto muro.\n\n      Y en aquel otro mundo y otra vida,\n    Mundo de sombras, vida que es un sue\u00f1o,\n    Vida que, con la muerte confundida,\n    Ci\u00f1e sus sienes con letal bele\u00f1o;                           [1280]\n    Mundo, vaga ilusi\u00f3n descolorida\n    De nuestro mundo y vaporoso ensue\u00f1o,\n    Son aquel ruido y su locura insana\n    La sola imagen de la vida humana.\n\n      Que all\u00e1 su blanca, misteriosa gu\u00eda,                      [1285]\n    De la alma dicha la ilusi\u00f3n parece,\n    Que ora acaricia la esperanza imp\u00eda,\n    Ora al tocarla ya se desvanece;\n    Blanca, flotante nube que en la umbr\u00eda\n    Noche en alas del c\u00e9firo se mece                            [1290]\n    Su airosa ropa, desplegada al viento,\n    Semeja en su callado movimiento;\n\n      Humo s\u00fcave de quemado aroma\n    Que al aire en ondas a perderse asciende;\n    Rayo de luna que en la parda loma                           [1295]\n    Cual un broche su cima al \u00e9ter prende;\n    Silfa que con el alba envuelta asoma\n    Y al nebuloso azul sus alas tiende,\n    De negras sombras y de luz te\u00f1idas,\n    Entre el alba y la noche confundidas.                       [1300]\n\n      Y \u00e1gil, veloz, a\u00e9rea y vaporosa,\n    Que apenas toca con los pies al suelo,\n    Cruza aquella morada tenebrosa\n    La m\u00e1gica visi\u00f3n del blanco velo:\n    Imagen fiel de la ilusi\u00f3n dichosa                           [1305]\n    Que acaso el hombre encontrar\u00e1 en el cielo,\n    Pensamiento sin f\u00f3rmula y sin nombre\n    Que hace rezar y blasfemar al hombre.\n\n      Y al fin del largo corredor llegando,\n    Montemar sigue su callada gu\u00eda,                             [1310]\n    Y una de m\u00e1rmol negro va bajando\n    De caracol torcida grader\u00eda,\n    Larga, estrecha y revuelta, y que girando\n    En torno de \u00e9l y sin cesar ve\u00eda\n    Suspendida en el aire y con violento,                       [1315]\n    Veloz, vertiginoso movimiento.\n\n      Y en eterna espiral y en remolino\n    Infinito prol\u00f3ngase y se extiende,\n    Y el juicio pone en loco desatino\n    A Montemar que en tumbos mil desciende,                     [1320]\n    Y, envuelto en el violento torbellino,\n    Al aire se imagina, y se desprende,\n    Y sin que el raudo movimiento ceda,\n    Mil vueltas dando, a los abismos rueda;\n\n      Y de escal\u00f3n en escal\u00f3n cayendo,                          [1325]\n    Blasfema y jura con lenguaje inmundo,\n    Y su furioso v\u00e9rtigo creciendo,\n    Y despe\u00f1ado r\u00e1pido al profundo,\n    Los silbos ya del hurac\u00e1n oyendo,\n    Ya ante \u00e9l pasando en confusi\u00f3n el mundo,                   [1330]\n    Ya oyendo gritos, voces y palmadas,\n    Y aplausos y brutales carcajadas,\n\n      Llantos y ayes, quejas y gemidos,\n    Mofas, sarcasmos, risas y denuestos;\n    Y en mil grupos ac\u00e1 y all\u00e1 reunidos,                        [1335]\n    Viendo debajo de \u00e9l, sobre \u00e9l enhiestos,\n    Hombres, mujeres, todos confundidos,\n    Con sandia pena, con alegres gestos,\n    Que con asombro est\u00fapido le miran\n    Y en el perpetuo remolino giran.                            [1340]\n\n      Siente por fin que de repente p\u00e1ra,\n    Y un punto sin sentido se qued\u00f3;\n    Mas luego valeroso se repara,\n    Abri\u00f3 los ojos y de pie se alz\u00f3;\n    Y fu\u00e9 el primer objeto en que pensara                       [1345]\n    La blanca dama, y alredor mir\u00f3,\n    Y al pie de un triste monumento hall\u00f3la\n    Sentada en medio de la estancia, sola.\n\n      Era un negro solemne monumento\n    Que en medio de la estancia se elevaba,                     [1350]\n    Y, a un tiempo a Montemar \u00a1raro portento!\n    Una tumba y un lecho semejaba:\n    Ya imagin\u00f3 su loco pensamiento\n    Que abierta aquella tumba le aguardaba;\n    Ya imagin\u00f3 tambi\u00e9n que el lecho era                         [1355]\n    T\u00e1lamo blando que al esposo espera.\n\n      Y pronto, recobrada su osad\u00eda,\n    Y a terminar resuelto su aventura,\n    Al cielo y al infierno desaf\u00eda\n    Con firme pecho y decisi\u00f3n segura:                          [1360]\n    A la blanca visi\u00f3n su planta gu\u00eda,\n    Y a descubrirse el rostro la conjura,\n    Y a sus pies Montemar tomando asiento\n    As\u00ed la habl\u00f3 con animoso acento:\n\n              \u00abDiablo, mujer o visi\u00f3n,                          [1365]\n            Que, a juzgar por el camino\n            Que conduce a esta mansi\u00f3n,\n            Eres puro desatino\n            O diab\u00f3lica invenci\u00f3n,\n\n              \u00abSiquier de parte de Dios,                        [1370]\n            Siquier de parte del diablo,\n            \u00bfQui\u00e9n nos trajo aqu\u00ed a los dos?\n            Decidme, en fin, \u00bfqui\u00e9n sois vos?\n            Y sepa yo con qui\u00e9n hablo:\n\n              \u00abQue m\u00e1s que nunca palpita                        [1375]\n            Resuelto mi coraz\u00f3n,\n            Cuando en tanta confusi\u00f3n,\n            Y en tanto arcano que irrita,\n            Me descubre mi raz\u00f3n\n\n              \u00abQue un poder aqu\u00ed supremo,                       [1380]\n            Invisible se ha mezclado,\n            Poder que siento y no temo,\n            A llevar determinado\n            Esta aventura al extremo.\u00bb\n\n                      F\u00fanebre                                   [1385]\n                    Llanto\n                    De amor\n                    \u00d3yese\n                    En tanto\n                    En son                                      [1390]\n\n                   Fl\u00e9bil, blando\n                 Cual quejido\n                 Dolorido\n                 Que del alma\n                 Se arranc\u00f3:                                    [1395]\n                 Cual profundo\n                 \u00a1Ay! que exhala\n                 Moribundo\n                 Coraz\u00f3n.\n\n               M\u00fasica triste                                    [1400]\n             L\u00e1nguida y vaga,\n             Que a par lastima\n             Y el alma halaga;\n             Dulce armon\u00eda\n             Que inspira al pecho                               [1405]\n             Melancol\u00eda,\n             Como el murmullo\n             De alg\u00fan recuerdo\n             De antiguo amor,\n             A un tiempo arrullo                                [1410]\n             Y amarga pena\n             Del coraz\u00f3n.\n\n             M\u00e1gico embeleso,\n           C\u00e1ntico ideal,\n           Que en los aires vaga                                [1415]\n           Y en sonoras r\u00e1fagas\n           Aumentado va;\n           Sublime y oscuro,\n           Rumor prodigioso,\n           Sordo acento l\u00fagubre,                                [1420]\n           Eco sepulcral,\n           M\u00fasicas lejanas,\n           De enlutado parche\n           Redoble mon\u00f3tono,\n           Cercano hurac\u00e1n,                                     [1425]\n           Que apenas la copa\n           Del \u00e1rbol menea\n           Y bramando est\u00e1;\n           Olas alteradas\n           De la mar brav\u00eda                                     [1430]\n           En noche sombr\u00eda,\n           Los vientos en paz,\n           Y cuyo rugido\n           Se mezcla al gemido\n           Del muro que tr\u00e9mulo                                 [1435]\n           Las siente llegar;\n           Pavoroso estr\u00e9pito,\n           Infalible pr\u00e9sago\n           De la tempestad.\n\n      Y, en r\u00e1pido _crescendo_,                                 [1440]\n    Los l\u00fagubres sonidos\n    M\u00e1s cerca vanse oyendo\n    Y en ronco rebramar;\n    Cual trueno en las monta\u00f1as\n    Que retumbando va,                                          [1445]\n    Cual rugen las entra\u00f1as\n    De horr\u00edsono volc\u00e1n.\n\n           Y algazara y griter\u00eda,\n         Crujir de afilados huesos,\n         Rechinamiento de dientes                               [1450]\n         Y retemblar los cimientos,\n         Y en pavoroso estallido\n         Las losas del pavimento\n         Separando sus junturas\n         Irse poco a poco abriendo,                             [1455]\n         Siente Montemar; y el ruido\n         M\u00e1s cerca crece, y a un tiempo\n         Escucha chocarse cr\u00e1neos,\n         Ya descarnados y secos,\n         Temblar en torno la tierra,                            [1460]\n         Bramar combatidos vientos,\n         Rugir las airadas olas,\n         Estallar el ronco trueno,\n         Exhalar tristes quejidos\n         Y prorrumpir en lamentos:                              [1465]\n         Todo en furiosa armon\u00eda,\n         Todo en fren\u00e9tico estruendo,\n         Todo en confuso trastorno,\n         Todo mezclado y diverso.\n\n      Y luego el estr\u00e9pito crece                                [1470]\n    Confuso y mezclado en un s\u00f3n,\n    Que ronco en las b\u00f3vedas hondas\n    Tronando furioso zumb\u00f3;\n    Y un eco que agudo parece\n    Del \u00e1ngel del juicio la voz,                                [1475]\n    En tiple, punzante alarido\n    Medroso y sonoro se alz\u00f3;\n    Sinti\u00f3, removidas las tumbas,\n    Crujir a sus pies con fragor,\n\n           Chocar en las piedras los cr\u00e1neos                    [1480]\n         Con rabia y ahinco feroz,\n         Romper intentando la losa,\n         Y huir de su eterna mansi\u00f3n,\n         Los muertos, de s\u00fabito oyendo\n         El alto mandato de Dios.                               [1485]\n\n         Y de pronto en horrendo estampido\n       Desquiciarse la estancia sinti\u00f3,\n       Y al tremendo tart\u00e1reo ruido\n       Cien espectros alzarse mir\u00f3:\n\n         De sus ojos los huecos fijaron                         [1490]\n       Y sus dedos enjutos en \u00e9l;\n       Y despu\u00e9s entre s\u00ed se miraron,\n       Y a mostrarle tornaron despu\u00e9s;\n\n         Y, enlazadas las manos siniestras,\n       Con dudoso, espantado adem\u00e1n                             [1495]\n       Contemplando, y, tendidas sus diestras,\n       Con asombro al osado mortal,\n\n         Se acercaron despacio, y la seca\n       Calavera, mostrando temor,\n       Con inm\u00f3vil, ir\u00f3nica mueca                               [1500]\n       Inclinaron, formando en redor.\n\n         Y entonces la visi\u00f3n del blanco velo\n       Al fiero Montemar tendi\u00f3 una mano,\n       Y era su tacto de crispante hielo,\n       Y resistirlo audaz intent\u00f3 en vano:                      [1505]\n\n         Galv\u00e1nica, cr\u00fcel, nerviosa y fr\u00eda,\n       Hist\u00e9rica y horrible sensaci\u00f3n,\n       Toda la sangre coagulada env\u00eda\n       Agolpada y helada al coraz\u00f3n....\n\n         Y a su despecho y maldiciendo al cielo,                [1510]\n       De ella apart\u00f3 su mano Montemar,\n       Y temerario alz\u00e1ndola a su velo,\n       Tirando de \u00e9l la descubri\u00f3 la faz.\n\n         _\u00a1Es su esposo!!_ los ecos retumbaron,\n       _\u00a1La esposa al fin que su consorte hall\u00f3!!_              [1515]\n       Los espectros con j\u00fabilo gritaron:\n       _\u00a1Es el esposo de su eterno amor!!_\n\n         Y ella entonces grit\u00f3: _\u00a1Mi esposo!!_ \u00a1Y era\n       (\u00a1Desenga\u00f1o fatal! \u00a1triste verdad!)\n       Una s\u00f3rdida, horrible calavera,                          [1520]\n       La blanca dama del gallardo andar!...\n\n      Luego un caballero de espuela dorada,\n    Airoso, aunque el rostro con mortal color,\n    Traspasado el pecho de fiera estocada,\n    Aun brotando sangre de su coraz\u00f3n,                          [1525]\n\n      Se acerca y le dice, su diestra tendida,\n    Que imp\u00e1vido estrecha tambi\u00e9n Montemar:\n    \u00ab--Al fin, la palabra, que disteis, cumplida,\n    Do\u00f1a Elvira, vedla, vuestra esposa es ya;\n\n      \u00abMi muerte os perdono.--Por cierto, Don Diego,            [1530]\n    Repuso Don F\u00e9lix tranquilo a su vez,\n    Me alegro de veros con tanto sosiego,\n    Que a fe no esperaba volveros a ver.\n\n      \u00abEn cuanto a ese espectro que dec\u00eds mi esposa,\n    Raro casamiento ven\u00edsme a ofrecer:                          [1535]\n    Su faz no es por cierto ni amable ni hermosa;\n    Mas no se os figure que os quiera ofender.\n\n      \u00abPor mujer la tomo, porque es cosa cierta,\n    Y espero no salga fallido mi plan,\n    Que, en caso tan raro y mi esposa muerta,                   [1540]\n    Tanto como viva no me cansar\u00e1.\n\n      \u00abMas antes decidme si Dios o el demonio\n    Me trajo a este sitio, que quisiera ver\n    Al uno u al otro, y en mi matrimonio\n    Tener por padrino siquiera a Luzbel:                        [1545]\n\n      \u00abCualquiera o entrambos con su corte toda,\n    Estando estos nobles espectros aqu\u00ed,\n    No perdiera mucho viniendo a mi boda....\n    Hermano Don Diego, \u00bfno pens\u00e1is as\u00ed?\u00bb\n\n      Tal dijo Don F\u00e9lix con fruncido ce\u00f1o,                     [1550]\n    En torno arrojando con fiero adem\u00e1n\n    Miradas audaces de altivo desde\u00f1o,\n    Al Dios por quien jura capaz de arrostrar.\n\n      El car\u00efado, l\u00edvido esqueleto,\n    Los fr\u00edos, largos y asquerosos brazos,                      [1555]\n    Le enreda en tanto en apretados lazos,\n    Y \u00e1vido le acaricia en su ansiedad;\n    Y con su boca cavernosa busca\n    La boca a Montemar, y a su mejilla\n    La \u00e1rida, descarnada y amarilla                             [1560]\n    Junta y refriega repugnante faz.\n\n      Y \u00e9l, envuelto en sus secas coyunturas,\n    Aun m\u00e1s sus nudos que se aprietan siente,\n    Ba\u00f1a un mar de sudor su ardida frente,\n    Y crece en su impotencia su furor.                          [1565]\n    Pugna con ansia a desasirse en vano,\n    Y cuanto m\u00e1s airado forcejea,\n    Tanto m\u00e1s se le junta y le desea\n    El rudo espectro que le inspira horror.\n\n      Y en furioso, veloz remolino,                             [1570]\n    Y en a\u00e9rea fant\u00e1stica danza,\n    Que la mente del hombre no alcanza\n    En su r\u00e1pido curso a seguir,\n    Los espectros su ronda empezaron,\n    Cual en c\u00edrculos raudos el viento                           [1575]\n    Remolinos de polvo violento\n    Y hojas secas agita sin fin.\n\n      Y elevando sus \u00e1ridas manos,\n    Resonando cual l\u00fagubre eco,\n    Levant\u00f3se en su c\u00f3ncavo hueco                               [1580]\n    Semejante a un aullido una voz\n    Pavorosa, mon\u00f3tona, informe,\n    Que pronuncia sin lengua su boca,\n    Cual la voz que del \u00e1spera roca\n    En los senos el viento form\u00f3.                               [1585]\n\n        \u00abCantemos, dijeron sus gritos,\n      La gloria, el amor de la esposa,\n      Que enlaza en sus brazos dichosa\n      Por siempre al esposo que am\u00f3;\n      Su boca a su boca se junte,                               [1590]\n      Y selle su eterna delicia,\n      S\u00fcave, amorosa caricia\n      Y l\u00e1nguido beso de amor.\n\n        \u00abY en m\u00fatuos abrazos unidos,\n      Y en blando y eterno reposo,                              [1595]\n      La esposa enlazada al esposo,\n      Por siempre descansen en paz;\n      Y en f\u00fanebre luz ilumine\n      Sus bodas fat\u00eddica tea,\n      Les brinde deleites, y sea                                [1600]\n      La tumba su lecho nupcial.\u00bb\n\n        Mientras, la ronda fren\u00e9tica,\n      Que en raudo giro se agita,\n      M\u00e1s cada vez precipita\n      Su v\u00e9rtigo sin ceder;                                     [1605]\n      M\u00e1s cada vez se atropella,\n      M\u00e1s cada vez se arrebata,\n      Y en c\u00edrculos se desata\n      Violentos m\u00e1s cada vez;\n\n        Y escapa en rueda quim\u00e9rica;                            [1610]\n      Y negro punto parece\n      Que en torno se desvanece\n      A la fant\u00e1stica luz,\n      Y sus l\u00fagubres aullidos\n      Que pavorosos se extienden                                [1615]\n      Los aires r\u00e1pidos hienden\n      M\u00e1s prolongados a\u00fan.\n\n            Y a tan continuo v\u00e9rtigo,\n          A tan funesto encanto,\n          A tan horrible canto,                                 [1620]\n          A tan tremenda lid,\n          Entre los brazos l\u00fabricos\n          Que apr\u00e9mianle sujeto\n          Del h\u00f3rrido esqueleto,\n          Entre caricias mil,                                   [1625]\n\n          Jam\u00e1s vencido el \u00e1nimo,\n          Su cuerpo ya rendido\n          Sinti\u00f3 desfallecido\n          Faltarle Montemar;\n          Y a par que m\u00e1s su esp\u00edritu                           [1630]\n          Desmiente su miseria,\n          La flaca, vil materia\n          Comienza a desmayar.\n\n              Y siente un confuso,\n            Loco devaneo,                                       [1635]\n            Languidez, mareo\n            Y angustioso af\u00e1n;\n            Y sombras y luces,\n            La estancia que gira,\n            Y esp\u00edritus mira                                    [1640]\n            Que vienen y van.\n\n              Y luego a lo lejos,\n            Fl\u00e9bil en su o\u00eddo,\n            Eco dolorido\n            L\u00e1nguido son\u00f3,                                      [1645]\n            Cual la melod\u00eda\n            Que el aura amorosa\n            Y el agua armoniosa\n            De noche form\u00f3;\n\n                Y siente luego                                  [1650]\n              Su pecho ahogado\n              Y desmayado,\n              Turbios sus ojos,\n              Sus graves p\u00e1rpados,\n              Flojos caer;                                      [1655]\n              La frente inclina\n              Sobre su pecho,\n              Y, a su despecho,\n              Siente sus brazos\n              L\u00e1nguidos, d\u00e9biles                                [1660]\n              Desfallecer.\n\n                  Y vi\u00f3 luego\n                Una llama\n                Que se inflama\n                Y muri\u00f3;                                        [1665]\n                Y perdido\n                Oy\u00f3 el eco\n                De un gemido\n                Que espir\u00f3.\n\n                    Tal, dulce                                  [1670]\n                  Suspira\n                  La lira\n                  Que hiri\u00f3\n                  En blando\n                  Concento                                      [1675]\n                  Del viento\n                  La voz,\n\n                      Leve,\n                    Breve\n                    S\u00f3n.                                        [1680]\n\n      En tanto en nubes de carm\u00edn y grana\n    Su luz el alba arrebolada env\u00eda,\n    Y alegre regocija y engalana\n    Las altas torres el naciente d\u00eda:\n    Sereno el cielo, calma la ma\u00f1ana,                           [1685]\n    Blanda la brisa, trasparente y fr\u00eda,\n    Vierte a la tierra el sol con su hermosura\n    Rayos de paz y celestial ventura.\n\n    Y huy\u00f3 la noche y con la noche hu\u00edan\n    Sus sombras y quim\u00e9ricas mujeres,                           [1690]\n    Y a su silencio y calma suced\u00edan\n    El bullicio y rumor de los talleres;\n    Y a su trabajo y a su af\u00e1n volv\u00edan\n    Los hombres y a sus fr\u00edvolos placeres,\n    Algunos hoy volviendo a su faena.                           [1695]\n    De zozobra y temor el alma llena;\n\n      \u00a1Que era p\u00fablica voz, que llanto arranca\n    Del pecho pecador y empedernido,\n    Que en forma de mujer y en una blanca\n    T\u00fanica misteriosa revestido,                                [1700]\n    Aquella noche el diablo a Salamanca\n    Hab\u00eda, en fin, por Montemar venido!...\n    _Y si, lector, dijerdes ser comento,\n    Como me lo contaron, te lo cuento._\n\n\n\n\n                        CANCI\u00d3N DEL PIRATA\n\n    Con diez ca\u00f1ones por banda,\n  Viento en popa, a toda vela,\n  No corta el mar sino vuela\n  Un velero bergant\u00edn:\n    Bajel pirata que llaman                                        [5]\n  Por su bravura el _Temido_,\n  En todo mar conocido\n  Del uno al otro conf\u00edn.\n\n    La luna en el mar r\u00efela,\n  En la lona gime el viento,                                      [10]\n  Y alza en blando movimiento\n  Olas de plata y azul;\n    Y ve el capit\u00e1n pirata,\n  Cantando alegre en la popa,\n  Asia a un lado, al otro Europa,                                 [15]\n  Y all\u00e1 a su frente Stambul.[1]\n\n[Nota 1: Nombre que dan los Turcos a Constantinopla]\n\n    \u00abNavega, velero m\u00edo,\n        Sin temor,\n  Que ni enemigo nav\u00edo,\n  Ni tormenta, ni bonanza                                         [20]\n  Tu rumbo a torcer alcanza,\n  Ni a sujetar tu valor.\n\n      \u00abVeinte presas\n    Hemos hecho\n    A despecho                                                    [25]\n    Del Ingl\u00e9s,\n    Y han rendido\n    Sus pendones\n    Cien naciones\n    A mis pies.                                                   [30]\n\n    \u00abQue es mi barco mi tesoro,\n  Que es mi Dios la libertad,\n  Mi ley la fuerza y el viento,\n  Mi \u00fanica patria la mar.\n\n    \u00abAll\u00e1 muevan feroz guerra                                     [35]\n        Ciegos reyes\n  Por un palmo m\u00e1s de tierra;\n  Que yo tengo aqu\u00ed por m\u00edo\n  Cuanto abarca el mar brav\u00edo,\n  A quien nadie impuso leyes.                                     [40]\n\n      \u00abY no hay playa,\n    Sea cualquiera,\n    Ni bandera\n    De esplendor,\n    Que no sienta                                                 [45]\n    Mi derecho\n    Y d\u00e9 pecho\n    A mi valor.\n\n  \u00abQue es mi barco mi tesoro....\n\n  \u00abA la voz de '\u00a1barco viene!'                                    [50]\n        Es de ver\n  C\u00f3mo vira y se previene\n  A todo trapo a escapar;\n  Que yo soy el rey del mar,\n  Y mi furia es de temer.                                         [55]\n\n      \u00abEn las presas\n    Yo divido\n    Lo cogido\n    Por igual:\n    S\u00f3lo quiero                                                   [60]\n    Por riqueza\n    La belleza\n    Sin rival.\n\n  \u00abQue es mi barco mi tesoro....\n\n    \u00ab\u00a1Sentenciado estoy a muerte!                                 [65]\n        Yo me r\u00edo.\n  No me abandone la suerte,\n  Y al mismo que me condena\n  Colgar\u00e9 de alguna entena,\n  Quiz\u00e1 en su propio nav\u00edo.                                       [70]\n\n      \u00abY si caigo,\n    \u00bfQu\u00e9 es la vida?\n    Por perdida\n    Ya la di,\n    Cuando el yugo                                                [75]\n    Del esclavo,\n    Como un bravo,\n    Sacud\u00ed.\n\n  \u00abQue es mi barco mi tesoro....\n\n    \u00abSon mi m\u00fasica mejor                                          [80]\n        Aquilones;\n  El estr\u00e9pito y temblor\n  De los cables sacudidos;\n  Del negro mar los bramidos\n  Y el rugir de mis ca\u00f1ones.                                      [85]\n\n      \u00abY del trueno\n    Al s\u00f3n violento,\n    Y del viento\n    Al rebramar,\n    Yo me duermo                                                  [90]\n    Sosegado,\n    Arrullado\n    Por el mar.\n\n    \u00abQue es mi barco mi tesoro,\n  Que es mi Dios la libertad,                                     [95]\n  Mi ley la fuerza y el viento,\n  Mi \u00fanica patria la mar.\u00bb\n\n\n\n\n                       EL CANTO DEL COSACO\n\n                          Donde sienta mi caballo los pies no vuelve\n                          a nacer yerba.--Palabras de \u00c1tila\n\n\n  CORO\n    \u00a1Hurra, Cosacos del desierto! \u00a1Hurra!\n  La Europa os brinda espl\u00e9ndido bot\u00edn:\n  Sangrienta charca sus campi\u00f1as sean,\n  De los grajos su ej\u00e9rcito fest\u00edn.\n\n    \u00a1Hurra! a caballo, hijos de la niebla!                          [5]\n  Suelta la rienda, a combatir volad.\n  \u00bfVeis esas tierras f\u00e9rtiles? las puebla\n  Gente opulenta, afeminada ya.\n  Casas, palacios, campos y jardines,\n  Todo es hermoso y refulgente all\u00ed;                               [10]\n  Son sus hembras celestes serafines,\n  Su sol alumbra un cielo de zafir.\n\n    \u00a1Hurra, Cosacos del desierto....\n\n    Nuestros sean su oro y sus placeres,\n  Gocemos de ese campo y de ese sol;                               [15]\n  Son sus soldados menos que mujeres,\n  Sus reyes viles mercaderes son.\n    Vedlos hu\u00edr para esconder su oro,\n  Vedlos cobardes l\u00e1grimas verter....\n  \u00a1Hurra! volad: sus cuerpos, su tesoro                            [20]\n  Huellen nuestros caballos con sus pies.\n\n    \u00a1Hurra, Cosacos del desierto....\n\n    Dictar\u00e1 all\u00ed nuestro capricho leyes,\n  Nuestras casas alc\u00e1zares ser\u00e1n,\n  Los cetros y coronas de los reyes                                [25]\n  Cual juguetes de ni\u00f1os rodar\u00e1n.\n    \u00a1Hurra! volad a hartar nuestros deseos;\n  Las m\u00e1s hermosas nos dar\u00e1n su amor,\n  Y no hallar\u00e1n nuestros semblantes feos,\n  Que siempre brilla hermoso el vencedor.                          [30]\n\n    \u00a1Hurra, Cosacos del desierto....\n\n    Desgarraremos la vencida Europa\n  Cual tigres que devoran su raci\u00f3n;\n  En sangre empaparemos nuestra ropa\n  Cual rojo manto de imperial se\u00f1or.                               [35]\n    Nuestros nobles caballos relinchando\n  Regias habitaciones morar\u00e1n;\n  Cien esclavos, sus frentes inclinando,\n  Al mover nuestros ojos temblar\u00e1n.\n\n    \u00a1Hurra, Cosacos del desierto....                               [40]\n\n    Venid, volad, guerreros del desierto,\n  Como nubes en negra confusi\u00f3n,\n  Todos suelto el brid\u00f3n, el ojo incierto,\n  Todos atropell\u00e1ndoos en mont\u00f3n.\n    Id, en la espesa niebla confundidos,                           [45]\n  Cual tromba que arrebata el hurac\u00e1n,\n  Cual t\u00e9mpanos de hielo endurecidos\n  Por entre rocas despe\u00f1ados van.\n\n    \u00a1Hurra, Cosacos del desierto....\n\n  Nuestros padres un tiempo caminaron                              [50]\n  Hasta llegar a una imperial ciudad;\n  Un sol m\u00e1s puro es fama que encontraron,\n  Y palacios de oro y de cristal.\n    Vadearon el Tibre sus bridones,\n  Yerta a sus pies la tierra enmudeci\u00f3;                            [55]\n  Su sue\u00f1o con fant\u00e1sticas canciones\n  La fada de los triunfos arrull\u00f3.\n\n    \u00a1Hurra, Cosacos del desierto....\n\n  \u00a1Qu\u00e9! \u00bfNo sent\u00eds la lanza estremecerse,\n  Hambrienta en vuestras manos de matar?                           [60]\n  \u00bfNo veis entre la niebla aparecerse\n  Visiones mil que el parabi\u00e9n nos dan?\n    Escudo de esas m\u00edseras naciones\n  Era ese muro que abatido fu\u00e9;\n  La gloria de Polonia y sus blasones                              [65]\n  En humo y sangre convertidos ved.\n\n    \u00a1Hurra, Cosacos del desierto....\n\n    \u00bfQui\u00e9n en dolor troc\u00f3 sus alegr\u00edas?\n  \u00bfQui\u00e9n sus hijos triunfante encaden\u00f3?\n  \u00bfQui\u00e9n puso fin a sus gloriosos d\u00edas?                            [70]\n  \u00bfQui\u00e9n en su propia sangre los ahog\u00f3?\n    \u00a1Hurra, Cosacos! \u00a1Gloria al m\u00e1s valiente!\n  Esos hombres de Europa nos ver\u00e1n.\n  \u00a1Hurra! nuestros caballos en su frente\n  Hondas sus herraduras marcar\u00e1n.                                  [75]\n\n    \u00a1Hurra, Cosacos del desierto....\n\n    A cada bote de la lanza ruda,\n  A cada escape en la abrasada lid,\n  La sangrienta raci\u00f3n de carne cruda\n  Bajo la silla sentir\u00e9is hervir.                                  [80]\n    Y all\u00e1 despu\u00e9s en templos sunt\u00fcosos,\n  Sirvi\u00e9ndonos de mesa alg\u00fan altar,\n  Nuestra sed calmar\u00e1n vinos sabrosos,\n  Hartar\u00e1 nuestra hambre blanco pan.\n\n    \u00a1Hurra, Cosacos del desierto....                               [85]\n\n    Y nuestras madres nos ver\u00e1n triunfantes,\n  Y a esa caduca Europa a nuestros pies,\n  Y acudir\u00e1n de gozo palpitantes,\n  En cada hijo a contemplar un rey.\n    Nuestros hijos sabr\u00e1n nuestras acciones,                       [90]\n  Las coronas de Europa heredar\u00e1n,\n  Y a conquistar tambi\u00e9n otras regiones\n  El caballo y la lanza aprestar\u00e1n.\n\n    \u00a1Hurra, Cosacos del desierto! \u00a1Hurra!\n  La Europa os brinda espl\u00e9ndido bot\u00edn.                            [95]\n  Sangrienta charca sus campi\u00f1as sean,\n  De los grajos su ej\u00e9rcito fest\u00edn.\n\n\n\n\n                            EL MENDIGO\n\n    M\u00edo es el mundo: como el aire libre,\n  Otros trabajan porque coma yo;\n  Todos se ablandan si doliente pido\n  Una limosna por amor de Dios.\n\n        El palacio, la caba\u00f1a                                      [5]\n            Son mi asilo,\n      Si del \u00e1brego el furor\n      Troncha el roble en la monta\u00f1a,\n      O que inunda la campa\u00f1a\n      El torrente asolador.                                       [10]\n\n          Y a la hoguera\n        Me hacen lado\n        Los pastores\n        Con amor,\n        Y sin pena                                                [15]\n        Y descuidado\n        De su cena\n        Ceno yo;\n        O en la rica\n        Chimenea,                                                 [20]\n        Que recrea\n        Con su olor,\n        Me regalo\n        Codicioso\n        Del banquete                                              [25]\n        Sunt\u00fcoso\n        Con las sobras\n        De un se\u00f1or.\n\n      Y me digo: el viento brama,\n    Caiga furioso turbi\u00f3n;                                        [30]\n  Que al s\u00f3n que cruje de la seca le\u00f1a,\n  Libre me duermo sin rencor ni amor.\n\n    M\u00edo es el mundo: como el aire libre....\n\n      Todos son mis bienhechores,\n        Y por todos                                               [35]\n    A Dios ruego con fervor;\n    De villanos y se\u00f1ores\n    Yo recibo los favores\n    Sin estima y sin amor.\n\n           Ni pregunto                                            [40]\n         Qui\u00e9nes sean,\n         Ni me obligo\n         A agradecer;\n         Que mis rezos\n         Si desean,                                               [45]\n         Dar limosna\n         Es un deber.\n         Y es pecado\n         La riqueza,\n         La pobreza                                               [50]\n         Santidad;\n         Dios a veces\n         Es mendigo,\n         Y al avaro\n         Da castigo,                                              [55]\n         Que le niegue\n         Caridad.\n\n      Yo soy pobre y se lastiman\n    Todos al verme pla\u00f1ir,\n  Sin ver son m\u00edas sus riquezas todas,                            [60]\n  Que mina inagotable es el pedir.\n\n    M\u00edo es el mundo: como el aire libre....\n\n             Mal revuelto y andrajoso,\n               Entre harapos\n       Del lujo s\u00e1tira soy;                                       [65]\n       Y con mi aspecto asqueroso\n       Me vengo del poderoso,\n       Y adonde va, tras \u00e9l voy.\n\n           Y a la hermosa\n         Que respira                                              [70]\n         Cien perfumes,\n         Gala, amor,\n         La persigo\n         Hasta que mira,\n         Y me gozo                                                [75]\n         Cuando aspira\n         Mi punzante\n         Mal olor.\n         Y las fiestas\n         Y el contento                                            [80]\n         Con mi acento\n         Turbo yo,\n         Y en la bulla\n         Y la alegr\u00eda\n         Interrumpen                                              [85]\n         La armon\u00eda\n         Mis harapos\n         Y mi voz,\n\n      Mostrando cu\u00e1n cerca habitan\n    El gozo y el padecer,                                         [90]\n  Que no hay placer sin l\u00e1grimas, ni pena\n  Que no transpire en medio del placer.\n\n    M\u00edo es el mundo: como el aire libre....\n\n        Y para m\u00ed no hay _ma\u00f1ana_,\n          Ni hay _ayer_;                                          [95]\n      Olvido el bien como el mal,\n      Nada me aflije ni afana;\n      Me es igual para ma\u00f1ana\n      Un palacio, un hospital.\n\n             Vivo ajeno                                          [100]\n           De memorias,\n           De cuidados\n           Libre estoy;\n           Busquen otros\n           Oro y glorias,                                        [105]\n           Yo no pienso\n           Sino en hoy.\n           Y doquiera\n           Vayan leyes,\n           Quiten reyes,                                         [110]\n           Reyes den;\n           Yo soy pobre,\n           Y al mendigo,\n           Por el miedo\n           Del castigo,                                          [115]\n           Todos hacen\n           Siempre bien.\n\n      Y un asilo dondequiera\n    Y un lecho en el hospital\n  Siempre hallar\u00e9, y un hoyo donde caiga                         [120]\n  Mi cuerpo miserable al espirar.\n\n    M\u00edo es el mundo: como el aire libre,\n  Otros trabajan porque coma yo;\n  Todos se ablandan, si doliente pido\n  Una limosna por amor de Dios.                                  [125]\n\n\n\n\n                  SONETO\n\n    Fresca, lozana, pura y olorosa,\n  Gala y adorno del pensil florido,\n  Gallarda puesta sobre el ramo erguido,\n  Fragrancia esparce la naciente rosa.\n\n    Mas si el ardiente sol lumbre enojosa                           [5]\n  Vibra del can en llamas encendido,\n  El dulce aroma y el color perdido,\n  Sus hojas lleva el aura presurosa.\n\n    As\u00ed brill\u00f3 un momento mi ventura\n  En alas del amor, y hermosa nube                                 [10]\n  Fing\u00ed tal vez de gloria y de alegr\u00eda.\n\n    Mas \u00a1ay! que el bien troc\u00f3se en amargura,\n  Y deshojada por los aires sube\n  La dulce flor de la esperanza m\u00eda.\n\n\n\n\n                               A TERESA\n                           DESCANSA EN PAZ\n\n                             Bueno es el mundo, \u00a1bueno! \u00a1bueno! \u00a1bueno!\n                           Como de Dios al fin obra maestra,\n                           Por todas partes de delicias lleno,\n                           De que Dios ama al hombre hermosa muestra;\n                           Salga la voz alegre de su seno\n                           A celebrar esta vivienda nuestra;\n                          \u00a1Paz a los hombres! \u00a1gloria en las alturas!\n                          \u00a1Cantad en vuestra jaula, cr\u00efaturas!\n                          DON MIGUEL DE LOS SANTOS \u00c1LVAREZ, \"Mar\u00eda\"\n\n\n    \u00bfPor qu\u00e9 volv\u00e9is a la memoria m\u00eda,\n  Tristes recuerdos del placer perdido,\n  A aumentar la ansiedad y la agon\u00eda\n  De este desierto coraz\u00f3n herido?\n  \u00a1Ay! que de aquellas horas de alegr\u00eda,                            [5]\n  Le qued\u00f3 al coraz\u00f3n s\u00f3lo un gemido,\n  Y el llanto que al dolor los ojos niegan\n  L\u00e1grimas son de hiel que el alma anegan!\n\n    \u00bfD\u00f3nde volaron \u00a1ay! aquellas horas\n  De juventud, de amor y de ventura,                               [10]\n  Regaladas de m\u00fasicas sonoras,\n  Adornadas de luz y de hermosura?\n  Im\u00e1genes de oro bullidoras,\n  Sus alas de carm\u00edn y nieve pura,\n  Al sol de mi esperanza desplegando,                              [15]\n  Pasaban \u00a1ay! a mi alredor cantando.\n\n    Gorjeaban los dulces ruise\u00f1ores,\n  El sol iluminaba mi alegr\u00eda,\n  El aura susurraba entre las flores,\n  El bosque mansamente respond\u00eda,                                  [20]\n  Las fuentes murmuraban sus amores....\n  \u00a1Ilusiones que llora el alma m\u00eda!\n  \u00a1Oh! \u00a1cu\u00e1n s\u00fcave reson\u00f3 en mi o\u00eddo\n  El bullicio del mundo y su ru\u00efdo!\n\n    Mi vida entonces cual guerrera nave                            [25]\n  Que el puerto deja por la vez primera,\n  Y al soplo de los c\u00e9firos s\u00fcave,\n  Orgullosa despliega su bandera,\n  Y al mar dejando que a sus pies alabe\n  Su triunfo en roncos cantos, va velera                           [30]\n  Una ola tras otra bramadora\n  Hollando y dividiendo vencedora;\n\n    \u00a1Ay! en el mar del mundo, en ansia ardiente\n  De amor volaba, el sol de la ma\u00f1ana\n  Llevaba yo sobre mi tersa frente,                                [35]\n  Y el alma pura de su dicha ufana.\n  Dentro de ella el amor cual rica fuente,\n  Que entre frescura y arboledas mana,\n  Brotaba entonces abundante r\u00edo\n  De ilusiones y dulce desvar\u00edo.                                   [40]\n\n    Yo amaba todo: un noble sentimiento\n  Exaltaba mi \u00e1nimo, y sent\u00eda\n  En mi pecho un secreto movimiento,\n  De grandes hechos generoso gu\u00eda:\n  La libertad con su inmortal aliento,                             [45]\n  Santa diosa, mi esp\u00edritu encend\u00eda,\n  Contino imaginando en mi fe pura\n  Sue\u00f1os de gloria al mundo y de ventura:\n\n    El pu\u00f1al de Cat\u00f3n, la adusta frente\n  Del noble Bruto, la constancia fiera                             [50]\n  Y el arrojo de Sc\u00e9vola valiente,\n  La doctrina de S\u00f3crates severa,\n  La voz atronadora y elocuente\n  Del orador de Atenas, la bandera\n  Contra el tirano macedonio alzando,                              [55]\n  Y al espantado pueblo arrebatando;\n\n    El valor y la fe del caballero,\n  Del trovador el arpa y los cantares,\n  Del g\u00f3tico castillo el altanero,\n  Antiguo torre\u00f3n, do sus pesares                                  [60]\n  Cant\u00f3 tal vez con eco lastimero\n  \u00a1Ay! arrancada de sus patrios lares,\n  Joven cautiva, al rayo de la luna,\n  Lamentando su ausencia y su fortuna;\n\n    El dulce anhelo del amor que aguarda,                          [65]\n  Tal vez inquieto y con mortal recelo,\n  La forma bella que cruz\u00f3 gallarda,\n  All\u00e1 en la noche entre el medroso velo,\n  La ansiada cita que en llegar se tarda\n  Al impaciente y amoroso anhelo,                                  [70]\n  La mujer y la voz de su dulzura,\n  Que inspira al alma celestial ternura,\n\n    A un tiempo mismo en r\u00e1pida tormenta\n  Mi alma alborotaban de contino,\n  Cual las olas que azota con violenta                             [75]\n  C\u00f3lera, impet\u00fcoso torbellino;\n  So\u00f1aba al h\u00e9roe ya, la plebe atenta\n  En mi voz escuchaba su destino;\n  Ya al caballero, al trovador so\u00f1aba,\n  Y de gloria y de amores suspiraba.                               [80]\n\n    Hay una voz secreta, un dulce canto,\n  Que el alma s\u00f3lo recogida entiende,\n  Un sentimiento misterioso y santo,\n  Que del barro al esp\u00edritu desprende,\n  Agreste, vago y solitario encanto,                               [85]\n  Que en inefable amor el alma enciende,\n  Volando tras la imagen peregrina\n  El coraz\u00f3n de su ilusi\u00f3n divina.\n\n    Yo, desterrado en extranjera playa,\n  Con los ojos, ext\u00e1tico segu\u00eda                                    [90]\n  La nave audaz que argentada raya\n  Volaba al puerto de la patria m\u00eda;\n  Yo cuando en Occidente el sol desmaya,\n  Solo y perdido en la arboleda umbr\u00eda,\n  O\u00edr pensaba el armonioso acento                                  [95]\n  De una mujer, al suspirar del viento.\n\n    \u00a1Una mujer! En el templado rayo\n  De la m\u00e1gica luna se colora,\n  Del sol poniente al l\u00e1nguido desmayo\n  Lejos entre las nubes se evapora;                               [100]\n  Sobre las cumbres que florece el mayo\n  Brilla fugaz al despuntar la aurora,\n  Cruza tal vez por entre el bosque umbr\u00edo,\n  Juega en las aguas del sereno r\u00edo.\n\n    \u00a1Una mujer! Desl\u00edzase en el cielo                             [105]\n  All\u00e1 en la noche desprendida estrella;\n  Si aroma el aire recogi\u00f3 en el suelo,\n  Es el aroma que le presta ella.\n  Blanca es la nube que en callado vuelo\n  Cruza la esfera y que su planta huella,                         [110]\n  Y en la tarde la mar olas la ofrece\n  De plata y de zafir donde se mece.\n\n    Mujer que amor en su ilusi\u00f3n figura,\n  Mujer que nada dice a los sentidos,\n  Ensue\u00f1o de suav\u00edsima ternura,                                   [115]\n  Eco que regal\u00f3 nuestros o\u00eddos;\n  De amor la llama generosa y pura,\n  Los goces dulces del placer cumplidos,\n  Que engalana la rica fantas\u00eda,\n  Goces que avaro el coraz\u00f3n ans\u00eda;                               [120]\n\n    \u00a1Ay! aquella mujer, tan s\u00f3lo aquella\n  Tanto delirio a realizar alcanza,\n  Y esa mujer, tan c\u00e1ndida y tan bella,\n  Es mentida ilusi\u00f3n de la esperanza;\n  Es el alma que v\u00edvida destella                                  [125]\n  Su luz al mundo cuando en \u00e9l se lanza,\n  Y el mundo con su magia y galanura\n  Es espejo no m\u00e1s de su hermosura;\n\n    Es el amor que al mismo amor adora,\n  El que cre\u00f3 las s\u00edlfides y ondinas,                             [130]\n  La sacra ninfa que bordando mora\n  Debajo de las aguas cristalinas;\n  Es el amor que recordando llora\n  Las arboledas del Ed\u00e9n divinas,\n  Amor de all\u00ed arrancado, all\u00ed nacido,                            [135]\n  Que busca en vano aqu\u00ed su bien perdido.\n\n    \u00a1Oh llama santa! \u00a1celestial anhelo!\n  \u00a1Sentimiento pur\u00edsimo! \u00a1memoria\n  Acaso triste de un perdido cielo,\n  Quiz\u00e1 esperanza de futura gloria!                               [140]\n  \u00a1Huyes y dejas llanto y desconsuelo!\n  \u00a1Oh mujer! que en imagen ilusoria\n  Tan pura, tan feliz, tan placentera,\n  Brind\u00f3 el amor a mi ilusi\u00f3n primera...!\n\n    \u00a1Oh Teresa! \u00a1Oh dolor! L\u00e1grimas m\u00edas,                         [145]\n  \u00a1Ah! \u00bfd\u00f3nde est\u00e1is que no corr\u00e9is a mares?\n  \u00bfPor qu\u00e9, por qu\u00e9 como en mejores d\u00edas\n  No consol\u00e1is vosotras mis pesares?\n  \u00a1Oh! los que no sab\u00e9is las agon\u00edas\n  De un coraz\u00f3n, que penas a millares                             [150]\n  \u00a1Ay! desgarraron, y que ya no llora,\n  \u00a1Piedad tened de mi tormento ahora!\n\n    \u00a1Oh! \u00a1dichosos mil veces! s\u00ed, dichosos,\n  Los que pod\u00e9is llorar y \u00a1ay! sin ventura\n  De m\u00ed, que, entre suspiros angustiosos,                         [155]\n  Ahogar me siento en infernal tortura!\n  Retu\u00e9rcese entre nudos dolorosos\n  Mi coraz\u00f3n, gimiendo de amargura!...\n  Tambi\u00e9n tu coraz\u00f3n, hecho pavesa,\n  \u00a1Ay! lleg\u00f3 a no llorar, \u00a1pobre Teresa!                          [160]\n\n    \u00bfQui\u00e9n pensara jam\u00e1s, Teresa m\u00eda,\n  Que fuera eterno manantial de llanto\n  Tanto inocente amor, tanta alegr\u00eda,\n  Tantas delicias y delirio tanto?\n  \u00bfQui\u00e9n pensara jam\u00e1s llegase un d\u00eda,                            [165]\n  En que, perdido el celestial encanto,\n  Y ca\u00edda la venda de los ojos,\n  Cuanto diera placer causara enojos?\n\n    Aun parece, Teresa, que te veo\n  Aerea como dorada mariposa,                                     [170]\n  Ensue\u00f1o delicioso del deseo,\n  Sobre tallo gentil temprana rosa,\n  Del amor venturoso devaneo,\n  Ang\u00e9lica, pur\u00edsima y dichosa,\n  Y oigo tu voz dulc\u00edsima, y respiro                              [175]\n  Tu aliento perfumado en tu suspiro.\n\n    Y aun miro aquellos ojos que robaron\n  A los cielos su azul, y las rosadas\n  Tintas sobre la nieve, que envidiaron\n  Las de mayo serenas alboradas;                                  [180]\n  Y aquellas horas dulces que pasaron\n  Tan breves \u00a1ay! como despu\u00e9s lloradas,\n  Horas de conf\u00efanza y de delicias,\n  De abandono, y de amor y de caricias.\n\n    Que as\u00ed las horas r\u00e1pidas pasaban,                            [185]\n  Y pasaba a la par nuestra ventura;\n  Y nunca nuestras ansias las contaban,\n  T\u00fa embriagada en mi amor, yo en tu hermosura;\n  Las horas \u00a1ay! huyendo nos miraban,\n  Llanto tal vez vertiendo de ternura,                            [190]\n  Que nuestro amor y juventud ve\u00edan,\n  Y temblaban las horas que vendr\u00edan.\n\n    Y llegaron en fin.... \u00a1Oh! \u00bfqui\u00e9n imp\u00edo\n  \u00a1Ay! agost\u00f3 la flor de tu pureza?\n  T\u00fa fuiste un tiempo cristalino r\u00edo,                             [195]\n  Manantial de pur\u00edsima limpieza;\n  Despu\u00e9s torrente de color sombr\u00edo,\n  Rompiendo entre pe\u00f1ascos y maleza,\n  Y estanque, en fin, de aguas corrompidas,\n  Entre f\u00e9tido fango detenidas.                                   [200]\n\n    \u00bfC\u00f3mo ca\u00edste despe\u00f1ado al suelo,\n  Astro de la ma\u00f1ana luminoso?\n  \u00c1ngel de luz, \u00bfqui\u00e9n te arroj\u00f3 del cielo\n  A este valle de l\u00e1grimas odioso?\n  Aun cercaba tu frente el blanco velo                            [205]\n  Del seraf\u00edn, y, en ondas fulgoroso,\n  Rayos al mundo tu esplendor vert\u00eda,\n  Y otro cielo el amor te promet\u00eda.\n\n    Mas \u00a1ay! que es la mujer \u00e1ngel ca\u00eddo\n  O mujer nada m\u00e1s y lodo inmundo,                                [210]\n  Hermoso ser para llorar nacido,\n  O vivir como aut\u00f3mata en el mundo.\n  S\u00ed, que el demonio en el Ed\u00e9n perdido\n  Abrasara con fuego del profundo\n  La primera mujer, y \u00a1ay! aquel fuego                            [215]\n  La herencia ha sido de sus hijos luego.\n\n    Brota en el cielo del amor la fuente\n  Que a fecundar el universo mana,\n  Y en la tierra su l\u00edmpida corriente\n  Sus m\u00e1rgenes con flores engalana;                               [220]\n  Mas \u00a1ay! hu\u00edd: el coraz\u00f3n ardiente\n  Que el agua clara por beber se afana\n  L\u00e1grimas verter\u00e1 de duelo eterno,\n  Que su raudal lo envenen\u00f3 el infierno.\n\n    Hu\u00edd, si no quer\u00e9is que llegue un d\u00eda,                        [225]\n  En que, enredado en retorcidos lazos\n  El coraz\u00f3n, con b\u00e1rbara porf\u00eda\n  Luch\u00e9is por arranc\u00e1roslo a pedazos:\n  En que al cielo en hist\u00e9rica agon\u00eda\n  Fren\u00e9ticos alc\u00e9is entrambos brazos,                             [230]\n  Para en vuestra impotencia maldecirle,\n  Y escupiros, tal vez, al escupirle.\n\n    Los a\u00f1os \u00a1ay! de la ilusi\u00f3n pasaron;\n  Las dulces esperanzas que trajeron\n  Con sus blancos ensue\u00f1os se llevaron,                           [235]\n  Y el porvenir de oscuridad vistieron:\n  Las rosas de amor se marchitaron,\n  Las flores en abrojos convirtieron,\n  Y de af\u00e1n tanto y tan so\u00f1ada gloria\n  S\u00f3lo qued\u00f3 una tumba, una memoria.                              [240]\n\n    \u00a1Pobre Teresa! al recordarte siento\n  Un pesar tan intenso...! embarga imp\u00edo\n  Mi quebrantada voz mi sentimiento,\n  Y suspira tu nombre el labio m\u00edo:\n  P\u00e1ra all\u00ed su carrera el pensamiento,                            [245]\n  Hiela mi coraz\u00f3n punzante fr\u00edo,\n  Ante mis ojos la funesta losa,\n  Donde vil polvo tu beldad reposa.\n\n    \u00a1Y t\u00fa feliz, que hallaste en la muerte\n  Sombra a que descansar en tu camino,                            [250]\n  Cuando llegabas, m\u00edsera, a perderte,\n  Y era llorar tu \u00fanico destino:\n  Cuando en tu frente la implacable suerte\n  Grababa de los r\u00e9probos el sino...!\n  \u00a1Feliz! la muerte te arranc\u00f3 del suelo,                         [255]\n  Y otra vez \u00e1ngel te volviste al cielo.\n\n    Ro\u00edda de recuerdos de amargura,\n  \u00c1rido el coraz\u00f3n sin ilusiones,\n  La delicada flor de tu hermosura\n  Ajaron del dolor los Aquilones:                                 [260]\n  Sola, y envilecida y sin ventura,\n  Tu coraz\u00f3n secaron las pasiones,\n  Tus hijos, \u00a1ay! de ti se avergonzaran,\n  Y hasta el nombre de madre te negaran.\n\n    Los ojos escaldados de tu llanto,                             [265]\n  Tu rostro cadav\u00e9rico y hundido,\n  \u00danico desahogo en tu quebranto,\n  El hist\u00e9rico \u00a1ay! de tu gemido:\n  \u00bfQui\u00e9n, qui\u00e9n pudiera, en infortunio tanto,\n  Envolver tu desdicha en el olvido,                              [270]\n  Disipar tu dolor y recogerte\n  En su seno de paz? \u00a1S\u00f3lo la muerte!\n\n    \u00a1Y tan joven, y ya tan desgraciada!\n  Esp\u00edritu indomable, alma violenta,\n  En ti, mezquina sociedad, lanzada                               [275]\n  A romper tus barreras turbulenta.\n  Nave contra las rocas quebrantada,\n  All\u00e1 vaga, a merced de la tormenta,\n  En las olas tal vez n\u00e1ufraga tabla,\n  Que s\u00f3lo ya de sus grandezas habla.                             [280]\n\n    Un recuerdo de amor que nunca muere\n  Y est\u00e1 en mi coraz\u00f3n; un lastimero\n  Tierno quejido que en el alma hiere,\n  Eco s\u00fcave de su amor primero:\n  \u00a1Ay! de tu luz en tanto yo viviere                              [285]\n  Quedar\u00e1 un rayo en m\u00ed, blanco lucero,\n  Que iluminaste con tu luz querida\n  La dorada ma\u00f1ana de mi vida.\n\n    Que yo como una flor que en la ma\u00f1ana\n  Abre su c\u00e1liz al naciente d\u00eda,                                  [290]\n  \u00a1Ay! al amor abr\u00ed tu alma temprana,\n  Y exalt\u00e9 tu inocente fantas\u00eda:\n  Yo inocente tambi\u00e9n: \u00a1oh! \u00a1cu\u00e1n ufana\n  Al porvenir mi mente sonre\u00eda,\n  Y en alas de mi amor con cu\u00e1nto anhelo                          [295]\n  Pens\u00e9 contigo remontarme al cielo!\n\n    Y alegre, audaz, ansioso, enamorado,\n  En tus brazos en l\u00e1nguido abandono,\n  De glorias y deleites rodeado,\n  Levantar para ti so\u00f1\u00e9 yo un trono:                              [300]\n  Y all\u00ed, t\u00fa venturosa y yo a tu lado,\n  Vencer del mundo el implacable encono,\n  Y en un tiempo sin horas y medida\n  Ver como un sue\u00f1o resbalar la vida.\n\n    \u00a1Pobre Teresa! Cuando ya tus ojos                             [305]\n  \u00c1ridos ni una l\u00e1grima brotaban,\n  Cuando ya su color tus labios rojos\n  En c\u00e1rdenos matices camb\u00efaban,\n  Cuando de tu dolor tristes despojos\n  La vida y su ilusi\u00f3n te abandonaban,                            [310]\n  Y consum\u00eda lenta calentura\n  Tu coraz\u00f3n al par de tu amargura,\n\n    Si en tu penosa y \u00faltima agon\u00eda\n  Volviste a lo pasado el pensamiento,\n  Si comparaste a tu existencia un d\u00eda                            [315]\n  Tu triste soledad y tu aislamiento;\n  Si arroj\u00f3 a tu dolor tu fantas\u00eda\n  Tus hijos \u00a1ay! en tu postrer momento,\n  A otra mujer tal vez acariciando,\n  Madre tal vez a otra mujer llamando,                            [320]\n\n    Si el cuadro de tus breves glorias viste\n  Pasar como fant\u00e1stica quimera,\n  Y si la voz de tu conciencia o\u00edste\n  Dentro de ti grit\u00e1ndote severa,\n  Si, en fin, entonces t\u00fa llorar quisiste,                        [325]\n  Y no brot\u00f3 una l\u00e1grima siquiera\n  Tu seco coraz\u00f3n, y a Dios llamaste,\n  Y no te escuch\u00f3 Dios, y blasfemaste,\n\n    \u00a1Oh! \u00a1cr\u00fcel! \u00a1muy cr\u00fcel! \u00a1martirio horrendo!\n  \u00a1Espantosa expiaci\u00f3n de tu pecado!                              [330]\n  \u00a1Sobre un lecho de espinas maldiciendo,\n  Morir el coraz\u00f3n desesperado!\n  \u00a1Tus mismas manos de dolor mordiendo,\n  Presente a tu conciencia lo pasado,\n  Buscando en vano con los ojos fijos,                            [335]\n  Y extendiendo tus brazos a tus hijos!!\n\n    \u00a1Oh! \u00a1cr\u00fcel! \u00a1muy cr\u00fcel!... \u00a1Ah! yo entre tanto,\n  Dentro del pecho mi dolor oculto,\n  Enjugo de mis p\u00e1rpados el llanto\n  Y doy al mundo el exigido culto:                                [340]\n  Yo escondo con verg\u00fcenza mi quebranto,\n  Mi propia pena con mi risa insulto,\n  Y me divierto en arrancar del pecho\n  Mi mismo coraz\u00f3n pedazos hecho.\n\n    Gocemos, s\u00ed; la cristalina esfera                             [345]\n  Gira ba\u00f1ada en luz: \u00a1bella es la vida!\n  \u00bfQui\u00e9n a parar alcanza la carrera\n  Del mundo hermoso que al placer convida?\n  Brilla radiante el sol, la primavera\n  Los campos pinta en la estaci\u00f3n florida:     [350]\n  Tru\u00e9quese en risa mi dolor profundo....\n  \u00a1Que haya un cad\u00e1ver m\u00e1s! \u00bfQu\u00e9 importa al mundo?\n\n\n\n\n                            NOTES\n\n\n\nEL ESTUDIANTE DE SALAMANCA\n\n\nPARTE PRIMERA\n\nInstead of =Cuento=, later editions read =Leyendas=.\n\nThe introductory quotation is taken from the \"Don Quijote,\" Part I,\nchap. 45. The words were addressed by Don Quijote to members of the\nrural police who were arresting him for depredations committed on the\nhighway. The full sentence in Ormsby's translation reads: \"Who was\nhe that did not know that knights-errant are independent of all\njurisdictions, that their law is their sword, their charter their\nprowess, and their edicts their will?\" This Spanish declaration of\nindependence was frequently used as a slogan by the Romanticists.\nEspronceda is here making the quotation apply more particularly to his\nlawless hero.\n\n=1. Era m\u00e1s de media noche=: the poet begins with a characteristic\nRomantic landscape, gloomy, medieval, fantastic, uncanny. He is trying\nto create a mood of horror. He follows the Horatian precept of beginning\nthe plot in the middle (_in medias res_). The situation here introduced\nis not resumed until Part Four is reached. Parts Two and Three supply\nthe events leading up to the duel. The Duque de Rivas's \"Candil\" begins\nin similar fashion:\n\n    M\u00e1s ha de quinientos a\u00f1os\n  En una torcida calle,\n  Que de Sevilla en el centro\n  Da paso a otras principales;\n    Cerca de la media noche,\n  Cuando la ciudad m\u00e1s grande\n  Es de un grande cementerio\n  En silencio y paz imagen;\n    De dos desnudas espadas\n  Que trababan un combate\n  Turb\u00f3 el repentino encuentro\n  Las tinieblas impalpables.\n    El crujir de los aceros\n  Son\u00f3 por breves instantes\n  Lanzando azules centellas,\n  Meteoro de desastres.\n    Y al gemido _\u00a1Dios me valga!\n  \u00a1Muerto soy!_ y al golpe grave\n  De un cuerpo que a tierra vino\n  El silencio y paz renacen, etc.\n\nThis was first published in \"El Liceo,\" 1838. The Duque de Rivas may\nhave been influenced by our text, but such introductions were a Romantic\ncommonplace. See M. Fern\u00e1ndez y Gonz\u00e1lez, \"Cr\u00f3nicas romanescas de\nEspa\u00f1a. Don Miguel de Ma\u00f1ara, memorias del tiempo de Carlos V,\" Paris,\n1868. The story begins \"Era la media noche\"; and, later, \"Hac\u00eda mucho\ntiempo que Sevilla estaba entregada al sue\u00f1o y al silencio.\" Espronceda\nis here following his sources closely.\n\n=2. antiguas historias=: not a mere rhetorical statement. These old\nstories actually existed. See the study of sources in the Introduction.\n\n=4. l\u00f3brego=: I follow the reading of the 1840 edition. Later editions\nchanged to =l\u00f3brega=, making the adjective agree with =tierra= instead\nof =silencio=. Either reading makes good sense, but in cases of doubt I\nfollow the Editio Princeps.\n\n=11. fantasmas=: this noun is usually masculine, but is often feminine\nin popular speech. The distinction between the masculine and feminine\nmeanings given in most dictionaries does not apply in Espronceda. He\nuses both genders indifferently.\n\n=19. s\u00e1bados=: Saturday was the usual day when, according to popular\nbelief, witches attended their yearly =aquelarre= or sabbath. The\nfavorite meeting-place for Spanish witches was said to be the plain\naround Barahona (Soria).\n\n=27. g\u00f3tico=: admiration for the Gothic was a characteristic of\nRomanticism.\n\n=37. Salamanca=: the famous university city of Spain. Its founding\nantedates the Carthaginians and the Romans. The university of Palencia\nwas transferred to Salamanca by Fernando III in 1239. Neither the\nuniversity nor the city retains much of its ancient importance. See\nGustave Reynier, \"La Vie universitaire dans l'ancienne Espagne,\" Paris,\n1902.\n\n=38. armas y letras=: these words summarize the Renaissance ideal of\nculture. The perfect gentleman must combine literature and arms. Letters\nwere not considered to be apart from active life. Cervantes, Lope de\nVega, Quevedo, and many others of Spain's great writers of the classic\nperiod exemplify this ideal.\n\n=53. embozado=: to avoid breathing the cool mountain air of his country,\na Spaniard frequently draws the corner of his cape over his face,\nconcealing it. He is then =embozado=, 'muffled.' When a woman is heavily\nveiled she is =tapada=. This national custom has been effectively used\nby Spanish poets, novelists, and dramatists. It offered a plausible\nexcuse for the concealment or confusion of identity.\n\n=64. calle=: this word is the object of =atraviesa=, l. 72.\n\n=65. la calle del Ata\u00fad=: this dismal name does not seem to be of\nEspronceda's own invention. It is found in Jos\u00e9 Guti\u00e9rrez de la Vega's\n\"Don Miguel de Ma\u00f1ara,\" 1851. Espronceda probably used some earlier\nedition of the prose romance of Don Miguel de Ma\u00f1ara.\n\n=96. que=: a relative adverb used with the force of a genitive Translate\n'whose.'\n\n=100. Segundo Don Juan Tenorio=: see the Introduction.\n\n\nPARTE SEGUNDA\n\nThe quotation is taken from Byron's \"Don Juan,\" Canto IV, stanza 72, the\ndescription of Haid\u00e9e's tomb. I restore the first two words, omitted in\nall previous editions, without which the passage is devoid of meaning.\nThe way in which this passage has been garbled was pointed out by\nPi\u00f1eyro, \"El Romanticismo en Espa\u00f1a,\" Paris, 1904.\n\n=181. de luceros coronada=: this verse occurs also in Mel\u00e9ndez Vald\u00e9s'\n\"Rosana en los fuegos.\" See Foulch\u00e9-Delbosc, \"Quelques R\u00e9miniscences\ndans Espronceda,\" _Revue Hispanique_, XXI, p. 667.\n\n=218. hoja tras hoja=, etc.: in the first part of \"Faust,\" Margarete\npulls out one by one the petals of a daisy to determine whether or\nnot Faust loves her. Is this a reminiscence of Margarete's _Er liebt\nmich--liebt mich nicht?_\n\n=242. pas\u00f3=: translate by the English perfect tense. There are many\nother cases in these poems where the preterit had best be rendered by\nthe perfect.\n\n=245. miraran=: here and elsewhere the second (=-ra=) tense of the\nimperfect subjunctive is equivalent to a simple past. This use of the\ntense is frequent. At other times this tense is better rendered by a\npluperfect indicative, when the common subjunctive meaning does not\nserve.\n\n=268.= These verses are the most frequently quoted of the whole poem.\n\n=268. juguete=: I retain, though with some doubt, the reading of the\noriginal. Later editions have changed to juguetes.\n\n=278.= The thought of these verses is that mean objects may present a\nbeautiful appearance when viewed through a telescope. \"Distance lends\nenchantment.\" So woman when viewed through the illusion of fancy is\nbetter than the woman of reality. This thought is developed farther in\n\"A Teresa.\"\n\n=298.= A frequently recurring thought in Espronceda, typical of Romantic\npessimism. Truth is man's greatest enemy, he holds. Illusion is\nfriendly.\n\n=318.= In this and what follows, Elvira is plainly a copy of Ophelia.\nThe influence of Hamlet cannot be doubted. Churchman has pointed out\nthat Elvira is a composite of Goethe's Margarete, Shakespeare's Ophelia,\nand the Haid\u00e9e and Do\u00f1a Julia of Lord Byron. See \"Byron and Espronceda,\"\n_Revue Hispanique_, Vol. XX, p. 164.\n\n=324. otra=: I retain the original reading. Later editions erroneously\nread _otras_.\n\n=347. Vaso de bendici\u00f3n=: `blessed vessel,' i.e. an individual\npeculiarly favored with the divine blessing. The phrase _vaso de\nelecci\u00f3n_ is commoner, meaning one chosen for a particular mission or\nappointed task. The latter term is frequently applied to the Apostle\nPaul (Acts ix, 15).\n\n=359. Mas despert\u00f3 tambi\u00e9n de su locura=, etc.: Ophelia did not recover\nher reason before dying. Likewise she was drowned, while Elvira dies of\nlove.\n\n=364. El bien pasado y el dolor presente=: an obvious reminiscence of\nDante's:\n\n    Nessun maggior dolore\n  Che ricordarsi del tempo felice\n  Nella miseria.--\"Inferno,\" Canto V, ll. 121-123.\n\nThere is no greater sorrow than to recall the happy time in the midst of\nmisery.\n\n=371.= The letter which follows represents Espronceda's most important\nborrowing from Byron. It is based upon Do\u00f1a Julia's letter of adieu to\nDon Juan: see \"Don Juan,\" Canto I, stanzas 192-197. The circumstances\nattending the writing of the two letters are entirely different. The\ntone of Do\u00f1a Julia's letter is cynical; she is a married woman whose sin\nhas been discovered and whose husband is forcing her to enter a convent.\nDo\u00f1a Elvira's letter, written with death in view, is tender and\npathetic. For details see Churchman, \"Byron and Espronceda,\" _Revue\nHispanique_, Vol. XX, p. 161.\n\n\nPARTE TERCERA\n\nIn giving this quotation from the second act of Moreto's \"El Lego del\nCarmen o San Franco de Sena,\" Espronceda is either quoting erroneously\nor following some edition not known to me. In the Rivadeneyra edition\nthe passage is as follows:\n\n  SARGENTO\n  \u00bfTiene m\u00e1s que parar?\n\n  FRANCO\n                        Tengo los ojos,\n  Y los juego en lo mismo; que descreo\n  De quien los hizo para tal empleo.\n\nAs this play influenced Espronceda, it is well to give a synopsis of it.\nLike the \"Rufi\u00e1n dichoso\" of Cervantes, the \"San Franco de Sena\" deals\nwith the sinful life and conversion of one who was destined to be a\nsaint. Franco of Siena, a youth noted for his wild conduct, falls in\nlove with the inappropriately named Lucrecia. He kills her lover Aurelio\nin a duel, and, passing himself off for Aurelio, elopes with her and\ngets possession of her jewels. A cross with a lighted lamp before it is\nplaced on a wall to mark the spot where Aurelio fell. One night, as he\nis passing, Franco sacrilegiously attempts to extinguish the light. A\nhand issues from the wall and seizes him by the wrist. Words of warning\naccompany this action. Franco shows neither fear nor compunction. He\nkills all the officers of justice who try to arrest him. Again passing\nthe wall, he hears a ghostly voice urge him to try his hand at play,\nfor by losing he will win. Franco hopes to win in a material way, and\ndecides to follow this advice. He loses all and then stakes his eyes,\nmaking the blasphemous remark quoted above. He loses and is stricken\nblind. His conversion follows immediately. In the weak third act he\nbecomes a Carmelite monk, and his companions in sin experience a like\nchange of heart.\n\nThe legend of the saint of Siena has many points of similarity with\nthe legends of Don Juan Tenorio, Don Miguel de Ma\u00f1ara, and Lisardo the\nStudent; but Espronceda has been only slightly influenced by Moreto's\nplay. If he gained from it, rather than from Dumas or M\u00e9rim\u00e9e, the idea\nof his gambling scene, he does not follow his model closely. In each\ncase a chain is played for, but in Moreto the game is =pintas=, not\n=parar= or dice, and the other details are different. Moreto (1618-1659)\nwas one of the most graceful but least original of the dramatists of the\nclassic period.\n\n=438.= The game of =parar=, =carteta=, or =andaboba=, as it was\nvariously called, was played as follows: The dealer, who also serves as\nbanker, places two cards face up at his left. The third card he places\nin front of himself. The fourth card, called the r\u00e9jouissance card in\nthe French form of the game, he places in the middle of the table. The\nplayers stake on this card whatever bets they desire to make, and these\nthe banker is obliged to cover. He then deals a fifth. If this matches\nhis own card, he wins all the money staked. If, on the contrary, it\nmatches the r\u00e9jouissance card, those who have staked money upon it win\nfrom the bank. If it matches neither, it is laid face up on the table,\nand money may be staked upon it precisely as upon the r\u00e9jouissance card.\nSo with all successive cards. The deal ends as soon as the banker's card\nis matched. He then surrenders the bank to the winner, unless the two\ncards laid to his left are matched before the third card dealt, his own,\nis duplicated. In this latter case he is privileged to keep the bank for\nanother deal. This game, by reason of its swift action and the large\nnumber of players who could engage in it, was called =el juego alegre=.\nAs results depended upon the turn of a single card, it lent itself\nreadily to cheating. It is mentioned in a _pragm\u00e1tica_ of Philip II,\n1575, among a list of games to be prohibited. The modern games of monte\nand baccarat have points of similarity. In France and England the game\nis known as _lansquenet_, and is supposed to have been invented by the\nGerman _Landsknechte_, mercenary foot-soldiers of the sixteenth\ncentury. For further information see Haza\u00f1as y la R\u00faa, \"Los Rufianes\nde Cervantes,\" Sevilla, 1906, p. 44, and Monreal, \"Cuadros Antiguos,\"\nSevilla, 1906, p. 342. For a similar gambling scene see Tirso de Molina,\n\"Tanto es lo de m\u00e1s como lo de menos,\" Act II, sc. vii.\n\n=455. El Caballo=: to understand what follows some knowledge of Spanish\nplaying-cards is necessary. In Spain the =baraja=, or deck, consists,\naccording to the game played, of 48 or 40 cards (=cartas, naipes,\ncartones=), and not of 52 as with us. The ten spot is unknown, and when\nthe deck consists of but 40 the eight and nine spots are also wanting.\nThe =palos=, or suits, are four: =oros= (gold coins, corresponding to\nour diamonds), =copas= (cups, corresponding to our hearts), =espadas=\n(swords, corresponding to our spades), and =bastones= (clubs). These\nfigures are not conventionalized. The face cards are three: =el rey=\n(the king), =el caballo= (representing a mounted cavalryman, and\ncorresponding in value to our queen), and =la sota= (a standing\ninfantryman, sometimes called also =el infante=, and corresponding in\nvalue to our knave). These figures are unreversible. The First Gambler\nis dealer and banker, as is shown by the fact that he covers the bets\n(line 466). He is losing in spite of the fact that the banker had an\nadvantage. The =caballo= is clearly the card that has turned up in front\nof the dealer. The turning up of a second =caballo= would end the deal.\n\n=457. Pues por poco=, etc.: the Second Gambler is mocking the First.\n\"You want the =caballo=, and the =sota=, the card next under it in the\nsuit, has turned up. This is so close that you should be satisfied.\" All\nthis is implied in his remark.\n\n=459.= The Second Gambler strikes an irreligious note by pretending to\nbelieve that the First Gambler's oath is a pious remark. He suggests\nthat prayer and repentance should be deferred until one is dying.\nGentlemen of equal rank formerly addressed each other in the second\nperson plural.\n\n=466.= The Third Gambler stakes upon the =sota=. Each new card, not\nmatching previous ones, was the occasion for new bets.\n\n=480.= An allusion to the world-wide superstition that he who is lucky\nat love is unlucky at cards and vice versa.\n\n=490. Se vende y se rifa=: Don F\u00e9lix, who has no ready cash, raffles off\nhis chain. He places on it a value of 2000 ducats, and announces that\neach of the five gamblers who are in funds must contribute 400 ducats\nto the raffle. The First Gambler, a heavy loser, does not engage in the\nplay; and Don F\u00e9lix, too, enters into this first transaction merely as\na seller. The chain is to go to the player to whom he deals the ace of\n=oros=, and he himself will get the 2000 ducats. After this he will\nbegin to gamble on his own account. The game of =parar= ceased upon the\nentrance of Don F\u00e9lix.\n\n=491. afrenta=: the affront lies in Don F\u00e9lix's insolent manner and\nthe masterful way in which he forces them to accept his terms without\nquestion. Indignant as the Fourth Gambler is, he dares not offer open\nobjection.\n\n=496=. I restore =una= from the 1840 edition instead of =uno=, found in\nthe later prints. The agreement is with =carta=, understood, not with\n=naipe=. So likewise when the cards are dealt out in Moreto's \"San\nFranco de Sena,\" the first numeral is =una=.\n\n=498.= Three is the lucky number. The third card falls to the Third\nGambler, who wins. The grief of the First Gambler is increased by the\nfact that the winning card would have fallen to him, if he had been in\nthe game. Line 496 indicates that D. F\u00e9lix passes him in dealing.\n\n=500.= Having now come into possession of his 2000 ducats, Don F\u00e9lix,\nalways a reckless gambler, proposes to stake them all upon a single\nthrow of the dice.\n\n=516. Si esta imagen respirara=: the First Gambler is so unlucky at\ncards that he may be supposed to be lucky in love. Hence sentimental\nremarks are placed in his mouth.\n\n=520.= The Second Gambler makes a side bet with the Fourth and then a\nsecond one with the Fifth. These bets will be decided by the same throw\nthat decides the bet between Don F\u00e9lix and the Third Gambler.\n\n=526. Tirad con sesenta=, etc.: \"Throw in the name of sixty horsemen.\"\nSome word like =hombres= or =demonios= needs to be supplied.\n\n=529.= Don F\u00e9lix, who has again lost, speaks with ironic blasphemy. He\nblames the First Gambler for addressing his prayer to God rather than to\nthe devil.\n\n=546. vendellas=: for =venderlas=. In Old Spanish the final =r= of the\ninfinitive frequently assimilates to the initial =l= of the enclitic\npronoun.\n\n=550.= Don F\u00e9lix's perverted sense of honor will not brook the most\ntrivial verbal slight to Elvira on the part of another, although he has\ncruelly wronged her himself by his deeds.\n\n=558.= The First Gambler is not sufficiently blasphemous to invoke the\ndevil, and Don F\u00e9lix does so himself. This invocation changes his luck.\n\n=567. Encubierta fat\u00eddica figura=: one of those threadbare phrases\nabused by Spain's romantic poets. Valera in his \"Del Romanticismo en\nEspa\u00f1a y de Espronceda\" instances some of these, such as =negro capuz,\nl\u00fagubre s\u00f3n, f\u00fanebre cipr\u00e9s=, etc. Mesonero Romanos in his \"Rom\u00e1nticos y\nRomanticismo\" ridicules the abuse of the word =fat\u00eddica=. Espronceda was\nless frequently guilty of this sort of unoriginality than other less\ngifted poets were.\n\n=610. Ment\u00eds vos=: the usual formula for picking a quarrel.\n\n=625, 631. Que=: equivalent to =porque=.\n\n=653. vos=: antiquated for =vosotros=. Don Diego alone is addressed.\nAfter =Esperad, que= may be understood; such omissions of the\nconjunction are common in poetry. Punctuating differently, we might\nplace a period after =Esperad=, in which case =Cuente= might be taken as\na first person imperative.\n\n=676. juego=: such is the reading of the 1840 edition. Some later editor\nemended to =fuego=. Though this emendation is plausible, the change\nseems to me both unnecessary and unhappy. It is characteristic of Don\nF\u00e9lix's cool insolence that he should refer to his affair with Elvira as\na \"game\" rather than as a \"passion.\"\n\n=692.= The Fourth Gambler's remark is somewhat ambiguous, but the sense\ndemands that we take =lo= as referring to Don F\u00e9lix. Remember that it\nwas the Fourth Gambler who had resented Don F\u00e9lix's overbearing conduct.\nHe acted the coward and now talks like a coward. The Third Gambler is\nthe most skeptical regarding changes of luck, because he himself has\nexperienced the greatest ups and downs of fortune in the game just\nfinished.\n\n\nPARTE CUARTA\n\nMiguel de los Santos \u00c1lvarez (1818-1892) was a friend and imitator of\nEspronceda and the last surviving member of his school. He was one of\nseveral who attempted the vain task of completing the \"Diablo Mundo.\"\nHe was a guest of honor with Espronceda at the first reading of \"El\nEstudiante de Salamanca\" at Granada in 1837. His verse is mediocre,\nand he is best known for the _Cuento en prosa_ here quoted. This\nFitzmaurice-Kelly terms \"a charming tale,\" and Pi\u00f1eyro praises it\nfor the grace and naturalness of its irony. Rub\u00e9n Dar\u00edo gives some\ninteresting reminiscences of Santos \u00c1lvarez in his old age, \"La vida\nde Rub\u00e9n Dar\u00edo escrita por \u00e9l mismo\", Barcelona, n.d., chap. xxvii.\nApparently Santos \u00c1lvarez never outgrew the bohemianism of his youth.\n\nThe second quotation is from Mark xiv, 38: \"The spirit truly is ready,\nbut the flesh is weak.\"\n\n=693.= The narrative begun in Part First is now resumed at the point\nwhere it was interrupted. We now know that it was Don Diego Pastrana who\nlost his life in the duel described in the opening lines.\n\n=717.= The omission of the usual accent of =impio= is intentional and\nindicates how the word should be stressed in this verse. =Imp\u00edo= is a\n\"word of double accentuation\". See Introduction.\n\n=729.= Notice how the absolute phrase =Los ojos fijos= is broken by the\ninsertion of the proper name. Poets depart from the usual word-order\nwith the utmost freedom.\n\n=737. n\u00e9ctar jerezano:= sherry wine.\n\n=738, 740. bastara, intentara=: to be translated as pluperfects.\n\n=766.= It is necessary to supply a =que= to serve as the object of\n=achaca=. This is readily to be inferred from the =que= in the verse\nbefore, which is, however, used as a subject.\n\n=793.= In this speech of Don Felix's there is rapid alternation between\ndirect address, in the second person, and side remarks in the third\nperson about the person addressed.\n\n=800. tengo de=: we would have he de in modern prose.\n\n=811.= The =que= in this verse is the =que= regularly following oaths\nand asseverations. Cf. Tobler, \"Vermischte Beitr\u00e4ge zur franz\u00f6sischen\nGrammatik,\" Leipzig, 1912, Article 17, pp. 57 f. Tobler gives the\nfollowing example from Calder\u00f3n: =\u00a1Vive Dios! que no he salido.= (\"El\nM\u00e1gico Prodigioso,\" Act III, v. 387.) In these examples, the =\u00a1vive\ndios!= is hardly more than an emphatic =digo=, and is followed by =que=\njust as =digo= would be. Verse 810 is parenthetical.\n\n=828. del=: construe with =mar=.\n\n=833.= For the conclusion of the sentence here begun it is necessary to\nturn to line 883. We have to do with a sentence of 54 lines.\n\n=840.= The 1840 edition lacks the third =su=.\n\n=853. fueron=: 'are past and gone.'\n\n=861. del=: the later editions read =el=. Ditto in lines 862, 863, 866.\n=De= is also omitted in 865.\n\n=868. jam\u00e1s=: I restore the 1840 reading. Later editions read =y no=.\n\n=916. que=: a conjunction introducing a clause, the verb of which\n(=pese=) has to be supplied.\n\n=921.= The usual accent is intentionally omitted from =veame=. To read\nthis verse correctly the second syllable, and not the first, must\nbear the stress. The bad prosody of this verse is discussed in the\nIntroduction.\n\n=943.= The Dance of Death begins.\n\n=1012. misteriosa=: late editors wrongly change to =misterioso=.\nEspronceda is using =gu\u00eda= as a feminine.\n\n=1040. Dale=, etc.: 'plague take the tolling of the passing bell and\nthese towers dancing in tangled confusion to the measure of such a\nconcert.'\n\n=1046. llegue=: I have emended =llegu\u00e9= (which I believe Espronceda\ndid not intend on account of the \"obstructing syllable\" which that\naccentuation would give to the verse) to =llegue=. I take =llegue= to be\nthe subjunctive of emphatic asseveration. See Bello-Cuervo, \"Gram\u00e1tica\nCastellana,\" paragraph 463. Other editors are perhaps right in\ninterpreting the passage differently. They suppress the period after\n=maravillas=, the exclamation point before =Que=, and write =llegu\u00e9=.\nThis makes equally good sense and is just as grammatical, but the verse\nis less harmonious. This last point, however, is not a vital objection.\nThe two ways of editing this passage seem to me to offer little choice.\n\n=1062.= Construe =en que= with =ha dado=, above.\n\n=1112.= The quotation from Mark xiv, 38 applies especially to this\npassage. Also to ll. 1626-1633.\n\n=1121.= The three forms of address used by Don F\u00e9lix in addressing _el\nenlutado_ indicate his change of manner from politeness to insolence. He\nbegins with the polite third person singular form. Then, enraged by the\nanswer, he is intentionally insulting in verse 1126, wishing to provoke\na duel. As the other puts up a brave front, he next addresses him as an\nequal (verse 1127) by using the second person plural. This was the\nusual form of address between gentlemen of equal standing during the\nRenaissance period. But, again losing his temper, he relapses into the\ninsulting second person singular (verse 1133 and following).\n\n=1133. haga=: an instance of the use of the subjunctive after oaths and\nasseverations. See Bello-Cuervo, \"Gram\u00e1tica Castellana,\" paragraph 463.\n\n=1311. una=: goes with =grader\u00eda= in the following verse.\n\n=1385.= Beginning with this verse and ending with l. 1680, the poet\nattempts to indicate the gathering and abating fury of the ghostly revel\nby the successive lengthening and shortening of the verses. The final\nverses also express Don F\u00e9lix's waning strength. This device is an\nattempt to imitate the _crescendo_ and _diminuendo_ effect of music.\nThis whole passage is an obvious imitation of Victor Hugo's \"Les\nDjinns,\" a poem included in \"Les Orientales.\" Nowhere has Espronceda\nshown greater virtuosity in the handling of meter.\n\n=1448.= The nouns and infinitives in this and the following lines are\nobjects of =siente=, l. 1456.\n\n=1703. Y si, lector=, etc.: 'And if, reader, you say it is a\nfabrication, I tell it to you as they told it to me.' Le\u00f3n Medina,\n\"Frases literarias afortunadas,\" _Revue hispanique_, Vol. XVIII, p. 226,\nstates that these two verses are a quotation from Juan de Castellanos,\nan obscure poet of the sixteenth century, author of _Eleg\u00edas de Varones\nIlustres de Indias_. (The first three parts of this work may be found\nin Vol. IV of the _Biblioteca de Autores Espa\u00f1oles_; Part IV has been\nedited by Paz y Melia for the _Colecci\u00f3n de Escritores Castellanos_,\nVols. XLIV and XLIX. The passage in question may be found in Canto II,\noctave 8.) Churchman, \"Byron and Espronceda,\" _Revue hispanique_, Vol.\nXX, p. 210, adds the information that Espronceda probably took the lines\ndirectly from Villalta, who had quoted them in his historical novel _El\nGolpe en Vago_, Madrid, 1835. This is made probable by the fact that\nwhereas Castellanos had written correctly =os lo cuento=, Villalta wrote\n=te lo cuento=, Espronceda following him in this grammatical error.\n\nThe form =dijerdes=, an old form for the second plural of the future\nsubjunctive (modern =dijereis=), represents the syncopation of a still\nolder =dij\u00e9redes=. Grammatically the pronoun =os= should have been used.\nEvidently both Villalta and Espronceda considered =dijerdes= to be a\nsecond singular form. A modern editor cannot undertake to correct a\nmistake made by the author. In Old Spanish infinitives could be very\nloosely used. It was not necessary that the subject of a dependent\ninfinitive should be the same as that of the verb on which it depended.\n\nThe word =comento= here has the meaning \"fiction,\" \"fabrication.\" I find\nthis meaning given in none of the dictionaries, but it can readily be\ninferred from the word =comentador=, which had as one of its meanings\n\"an inventor of false reports.\" =Comento=, like Latin _commentum_, has\nas one of its meanings \"fiction,\" \"fabrication.\"\n\nThe writers of =leyendas= were fond of stressing the traditional nature\nof their poems. Thus Zorrilla concludes his \"Capit\u00e1n Montoya\":\n\n  El pueblo me lo cont\u00f3\n  Sin notas ni aclaraciones,\n  Con sus mismas espresiones\n  Se lo cuento al pueblo yo.\n\n\n\n\nCANCI\u00d3N DEL PIRATA\n\n=7. en todo mar conocido=: I follow the reading of the text as it\noriginally appeared in _El Artista_. The later version of 1840 is\npeculiar in the reading =en todo el mar conocido=. We cannot be certain\nthat this is a change made by Espronceda himself.\n\n=84.= Instead of =negro= the 1840 edition reads =ronco=.\n\n\n\n\nEL CANTO DEL COSACO\n\nAttila, king of the Huns, reigned from 433 until his death 453 A.D. He\nis noted for the barbaric ferocity of his campaigns against the Eastern\nand Western Roman Empires and the Germanic kingdoms of the West. In 447\nhe ravaged seventy cities in Thrace, Macedonia, and Greece, and all but\ncaptured Constantinople. In 451 he crossed the Rhine and sacked the\ncities of Belgic Gaul. He was decisively defeated at Troyes by the\nGothic leader Theodoric in league with the Roman general A\u00ebtius. He then\nentered northern Italy, where he continued his depredations and advanced\nupon Rome. The Emperor Valentinianus II saved the city by paying\ntribute. Legend has it that while in Gaul a hermit called Attila to his\nface the \"scourge of God.\" Attila accepted the designation and replied\nwith the remark quoted in the text. This story is not found in Jordanes,\nPriscus, or any of the contemporary historians. Gibbon says: \"It is a\nsaying worthy of the ferocious pride of Attila that the grass never grew\non the spot where his horse had trod\" (\"Decline and Fall of the Roman\nEmpire,\" London, 1897, III, p. 469). This poem is a magnificent\nexpression of barbaric battle-lust. Espronceda felt as a youth that\nwholesale destruction must precede the new order of things in Spain and\nEurope.\n\n=50.= The poet hopelessly confuses the exploits of the Huns, the Goths,\nand the Cossacks. Neither the Cossacks nor the Huns ever captured Rome.\nAlaric the Goth took Rome in 410 A.D.\n\n=65.= The principal Cossack invasion of Poland was in the first half of\nthe seventeenth century, when Chmielnicki, hetman of the Cossacks, with\nthe aid of his Tartar allies ruthlessly devastated the Polish provinces.\nThis war has been vividly described by Sienkiewicz in his novel \"With\nFire and Sword.\"\n\n=79.= The Huns are said to have carried raw meat beneath their saddles\nas they rode. At the end of the day's ride they would eat it.\n\n\n\n\nEL MENDIGO\n\n=108.= The poet has paraphrased the proverb =All\u00e1 van leyes do quieren\nreyes=, the idea of which is that a tyrant can twist the law to serve\nthe purposes of his tyranny.\n\n\n\n\nA TERESA. DESCANSA EN PAZ\n\nFor an account of Teresa, see the Introduction. For Miguel de los Santos\n\u00c1lvarez, see the note to \"El Estudiante de Salamanca,\" Part IV.\n\n=41.= The poet describes his three youthful passions: liberty, romantic\nliterature, and love.\n\n=49. Cat\u00f3n=: Caius Porcius Cato (95-46 B.C.), commonly called Cato of\nUtica, was a stalwart defender of Roman republicanism against Caesar\nand his party. His suicide after the defeat of the republican cause at\nThapsus was regarded as an act of stoic heroism.\n\n=50. Bruto=: it is not clear whether the poet refers to Lucius Junius\nBrutus, who drove from power Tarquinius Superbus, founded the Roman\nrepublic, and displayed his rigid justice by condemning to death his own\nsons, or Marcus Junius Brutus, who assassinated C\u00e6sar in the name of\nliberty.\n\n=51. Sc\u00e9vola=: a hero of early Rome who was captured by the enemy\nand threatened with death by fire if he refused to give important\ninformation. He replied by deliberately holding his hand in a flame.\n\n=52. S\u00f3crates= (469-400 B.C.): the celebrated Grecian philosopher. He\nbelieved in the immortality of the soul.\n\n=54. Del orador de Atenas=: Demosthenes (385-322 B.C.), especially\nfamous for his Philippics, a series of twelve orations directed against\nPhilip of Macedon, the _tirano macedonio_ here alluded to. All these\nclassical allusions seem to show that Espronceda, like most of the\nleaders of the French Revolution, was influenced by Plutarch.\n\n=57.= In this octave the poet voices his enthusiasm for the Middle Ages\nand romantic literature in general. In his desire to embrace in his own\nlife the careers of knight and troubadour, Espronceda is harking back to\nthe \"arms and letters\" ideal of many of Spain's greatest writers.\n\n=77. So\u00f1aba al h\u00e9roe=: =con= is the usual complement of =so\u00f1ar= in\nprose.\n\n=89.= Espronceda's first meeting with Teresa took place in Portugal in\nthe beautiful region around Cintra.\n\n=131. La sacra ninfa que bordando=, etc.: according to Men\u00e9ndez y\nPelayo, these two verses are taken from the \"F\u00e1bula de Genil\" of\nPedro Espinosa, an author whom he says Espronceda knew by heart. (See\n\"Discursos le\u00eddos ante la Real Academia Espa\u00f1ola en la recepci\u00f3n del\nexcmo. se\u00f1or D. Francisco Rodr\u00edguez Mar\u00edn, el d\u00eda 27 de octubre de\n1907,\" Madrid, 1907, p. 86). The verses in question are:\n\n  Corta las aguas con los blancos brazos\n  La ninfa, que con otras ninfas mora\n  Debajo de las aguas cristalinas\n  En aposentos de esmeraldas finas.\n\nAnd farther down,\n\n  El despreciado dios su dulce amante\n  Con las n\u00e1yades vido estar bordando.\n\nThis in turn, it seems to me, may be reminiscent of Garcilaso de la\nVega's _\u00c9gloga Tercera_. Apparently P. Henr\u00edquez Ure\u00f1a has made this\ndiscovery independently. See _Revista de Filolog\u00eda Espa\u00f1ola_, IV, 3, p.\n292.\n\n=170.= The usual accent has been intentionally omitted from =aerea=.\n\n=201.= \"How art thou fallen from heaven, O Lucifer, son of the morning.\"\nIsaiah xiv, 12.\n\n=232.= The story of the man who spits upon himself while trying to spit\nupon the sky is as old as Berceo in Spanish literature.\n\n=238.= One has to supply a =se= with =convirtieron=. This may readily be\ninferred from the preceding verse.\n\n=352.= Foulch\u00e9-Delbosc thinks that this last verse was suggested by\nHugo, \"Les Feuilles d'automne, XXXV, Soleils couchants.\" See _Revue\nhispanique_, XXI, p. 667.\n\n\n\n\n\nVOCABULARY\n\nThe sign \"-\" means the word which stands in black type at the head of\nthe paragraph; thus, =-se= under =abrir= means =abrirse=.\n\n\n\n  _acc._ = accusative.\n  _adj._ = adjective.\n  _adv._ = adverb.\n  _art._ = article.\n  _card._ = cardinal numeral.\n  _cf._ = compare.\n  _conj._ = conjunction.\n  _dat._ = dative.\n  _dem._ = demonstrative.\n  _f._ = feminine.\n  _impers._ = impersonal.\n  _inf._ = infinitive.\n  _interj._ = interjection.\n  _interrog._ = interrogation, interrogative.\n  _Ital._ = Italian.\n  _m._ = masculine.\n  _neut._ = neuter.\n  _p.p._ = past participle.\n  _pers._ = person, personal.\n  _pl._ = plural.\n  _poss._ = possessive.\n  _pr. n._ = proper noun.\n  _prep._ = preposition.\n  _pron._ = pronoun.\n  _refl._ = reflexive.\n  _rel._ = relative.\n  _sc._ = to wit.\n  _sing._ = singular.\n  _viz._ = namely.\n\n\n\n  =a= _prep._ to, at, on, upon, over, in, towards, with, from, for,\n     around, by, of, when, as; _as sign of the accusative, not to be\n     translated_; =----= + _inf._ if (=---- estar aqu\u00ed= if she were\n     here); =al= + _inf._ upon, on, at, when.\n  =abandonar= abandon, forsake, leave.\n  =abandono= _m._ abandonment, surrender, yielding.\n  =abarcar= embrace, contain.\n  =abatir= overthrow, lay low.\n  =abierto, -a= open.\n  =abismo= _m._ abyss, hell, bottomless pit.\n  =ablandarse= soften, relent, give.\n  =abonar= improve, warrant, favor, become.\n  =abrasado, -a= burning, hot.\n  =abrasar= burn.\n  =abrazo= _m._ embrace.\n  =\u00e1brego= _m._ southwest wind.\n  =abreviar= shorten.\n  =abrir= open, expand, cut; =--se= open, yawn, unfold, split.\n  =abrojo= _m._ thistle, thorn.\n  =absoluci\u00f3n= _f._ absolution.\n  =abundante= _adj._ abundant, abounding, teeming.\n  =ac\u00e1= _adv._ here, hither.\n  =acabar= end, cease; =--se= come to an end.\n  =acacia= _f._ acacia.\n  =acariciar= cherish, soothe, caress.\n  =acaso= _adv._ perchance, perhaps.\n  =acci\u00f3n= _f._ action, feat.\n  =acento= _m._ accent, voice, words, tone.\n  =acercar= approach, bring near; =--se= approach.\n  =acero= _m._ steel.\n  =acertar= guess aright, tell certainly, ascertain, divine.\n  =acompa\u00f1ar= accompany, follow.\n  =acudir= assist, hasten to assistance, come, appear.\n  =achacar= blame, impute, attribute.\n  =adelantar(se)= advance, proceed, hasten.\n  =adelante= _adv._ onward, on, farther, forward.\n  =adem\u00e1n= _m._ gesture, attitude, look, manner.\n  =adi\u00f3s= _m._ adieu, farewell.\n  =admirar= wonder at, admire.\n  =admitir= admit, accept, permit.\n  =ad\u00f3nde= _adv._ where? whither.\n  =adorar= adore.\n  =adormir= drop to sleep.\n  =adornar= adorn.\n  =adorno= _m._ ornament, adornment.\n  =aduar= _m._ camp, camp of gypsies, horde of gypsies.\n  =adusto, -a= austere, sullen, gloomy, solemn.\n  =advertir= warn.\n  =a\u00e9reo, -a= ethereal, aerial, airy.\n  =af\u00e1n= _m._ eager desire, longing, anxiety, effort, toil, difficulty,\n     bustle.\n  =afanar= distress; =--se= desire eagerly, struggle for.\n  =afeminado, -a= effeminate.\n  =afilado, -a= sharp, slender, thin, tapering.\n  =afligido, -a= troubled, distressed.\n  =afligir= pain, grieve.\n  =afrenta= _f._ insult, affront.\n  =\u00e1gil= _adj._ nimble, light.\n  =agilidad= _f._ quickness, nimbleness, activity.\n  =agitar= agitate, move, stir, stir up, sway, shake, disturb.\n  =agolpado, -a= curdled.\n  =agolpar= rush, gather.\n  =agon\u00eda= _f._ agony, death struggle, pangs of death.\n  =agostar= parch, wither.\n  =agradecer= be grateful, render thanks, be grateful for.\n  =agradecido, -a= thankful, grateful.\n  =agreste= _adj._ wild, rude, rough.\n  =agrupar(se)= cluster.\n  =agua= _f._ water.\n  =aguardar= await, expect.\n  =agudo, -a= sharp, keen.\n  =\u00a1ah!= _interj._ ah!\n  =ah\u00ednco= _m._ energy, determination.\n  =ahogar= stifle, smother, drown.\n  =ahora= _adv._ now, at present.\n  =airado, -a= angry.\n  =aire= _m._ air, atmosphere, wind, breeze, manner.\n  =airoso, -a= airy, lively, easy, genteel, elegant, graceful.\n  =aislamiento= _m._ isolation.\n  =ajar= spoil, crumple, fade.\n  =ajeno, -a= of another, ignorant, unaware; =---- de= free from.\n  =ala= _f._ wing, brim.\n  =alabar= praise, extol.\n  =alarido= _m._ cry, shout, shriek.\n  =alba= _f._ dawn.\n  =albo, -a= white.\n  =alborada= _f._ dawn.\n  =alborotar= stir up, agitate, arouse, excite, disturb, confuse;\n     =--se= get excited.\n  =alcanzar= attain, succeed, achieve, reach, obtain, take; =---- a\n     hacer= succeed in doing, be capable of doing.\n  =alc\u00e1zar= _m._ castle, fortress.\n  =alegrarse= rejoice, be glad.\n  =alegre= _adj._ happy, joyful, merry, beautiful, fair, clear.\n  =alegr\u00eda= _f._ joy, merriment.\n  =alejarse= move away, recede.\n  =alentar= animate, foster, cherish.\n  =alfombra= _f._ carpet.\n  =algazara= _f._ shout, shouting, hubbub.\n  =alguno, -a= _adj. pron._ some, some one.\n  =aliento= _m._ breath, spirit, exhalation.\n  =alma= _f._ soul, heart, person.\n  =almena= _f._ battlement.\n  =almo, -a= holy.\n  =alquiler= _m._ hire; =de ----= hired, let for hire.\n  =alrededor= _adv._ around; =a mi ----= around me.\n  =altanero, -a= soaring, haughty, arrogant, overbearing, proud.\n  =altar= _m._ altar.\n  =alterar= change, disturb, stir up.\n  =alt\u00edsimo, -a= very high, lofty.\n  =altivez= _f._ arrogance, presumption.\n  =altiveza= _f._ arrogance, haughtiness.\n  =altivo, -a= haughty, proud, lofty.\n  =alto, -a= high, steep, tall, raised, lofty, erect, loud.\n  =altura= _f._ height; =----s= heavens, on high.\n  =alumbrar= light, shed light, illumine.\n  =\u00c1lvarez= _pr. n._ \u00c1lvarez.\n  =alzar= raise, lift, hoist; =--se= rise; =--se de pie= rise to one's\n     feet.\n  =all\u00e1= _adv._ there, yonder, thither; =---- va= here goes; =---- voy=\n     I am coming; =m\u00e1s ----= farther on, beyond.\n  =all\u00ed= _adv._ there.\n  =amable= _adj._ pleasing, lovely, kind.\n  =amado, -a= beloved, loved (one).\n  =amador= _m._ lover.\n  =amante= _adj._ loving.\n  =amante= _m. f._ lover, sweetheart.\n  =amar= love.\n  =amargo, -a= bitter.\n  =amargura= _f._ bitterness, sorrow.\n  =amarillo, -a= yellow.\n  =amedrentar= frighten, terrify.\n  =amigo= _m._ friend.\n  =amontonar= gather, pile up.\n  =amor= _m._ love, lady-love, sweetheart; =----es= love affairs,\n     amours, intrigues.\n  =amoroso, -a= loving, amorous, gentle.\n  =amparar= protect; =--se= be protected, enjoy protection.\n  =analizar= analyze.\n  =anatema= _m. f._ anathema.\n  =anclar= anchor.\n  =andado, -a= traversed.\n  =andadura= _f._ amble; =paso de ----= ambling gait.\n  =andar= go, move, walk, be; =vamos andando= let us be off.\n  =andar= _m._ gait, walk.\n  =andrajoso, -a= tattered.\n  =anegar= drown.\n  =\u00e1ngel= _m._ angel.\n  =ang\u00e9lico, -a= angelic, heaven-born.\n  =\u00e1ngulo= _m._ corner.\n  =angustia= _f._ anguish.\n  =angustiado, -a= anguished, distressed.\n  =angustioso, -a= full of anguish, miserable, painful.\n  =anhelante= _adj._ covetous, longing.\n  =anhelo= _m._ desire, longing, yearning.\n  =\u00e1nima= _f._ soul.\n  =animarse= take courage, become animated.\n  =\u00e1nimo= _m._ spirit, courage, mind, intention.\n  =animoso, -a= spirited, gallant, brave.\n  =ansia= _f._ longing, eagerness, anxiety, anguish.\n  =ansiar= desire, yearn for, long for, crave.\n  =ansiedad= _f._ anxiety, eagerness, longing, anguish.\n  =ansioso, -a= anxious.\n  =ante= _prep._ before.\n  =antes= _adv._ before; =---- de= _prep._ before.\n  =antiguo, -a= old, ancient, former.\n  =antojo= _m._ fancy, caprice.\n  =antorcha= _f._ torch, taper.\n  =anublar= becloud, darken.\n  =anunciar= announce, proclaim.\n  =a\u00f1adir= add.\n  =a\u00f1o= _m._ year.\n  =apagado, -a= extinguished, softened.\n  =apagar= extinguish.\n  =aparecer(se)= appear.\n  =aparici\u00f3n= _f._ apparition, ghost.\n  =apartar= remove, withdraw.\n  =aparte= _adv._ aside.\n  =apenas= _adv._ hardly, barely.\n  =aplauso= _m._ applause.\n  =apoderarse de= take possession of.\n  =apostar= bet, wager, stake.\n  =apostura= _f._ neatness, spruceness, appearance.\n  =apoyar= rest, support.\n  =aprecio= _m._ regard; =hacer ---- de= note.\n  =apremiar= press.\n  =aprestar= make ready, prepare.\n  =apretado, -a= tight, close.\n  =apretar= press, clutch, tighten.\n  =aquel, -la= _adj. dem._ that.\n  =aqu\u00e9l, -la, aquello= _pron. dem._ that one.\n  =aqu\u00ed= _adv._ here, now; =de ---- a una hora= an hour hence.\n  =Aquil\u00f3n= _m._ north wind.\n  =ara= _f._ altar.\n  =\u00e1rbol= _m._ tree.\n  =arboleda= _f._ grove.\n  =arcano= _m._ secret, mystery.\n  =arco= _m._ arch.\n  =archivo= _m._ archive, repository.\n  =arder= burn, glow.\n  =ardido, -a= burning.\n  =ardiente= _adj._ ardent, burning.\n  =ardite= _m._ ardite (an ancient coin); farthing.\n  =arenal= _m._ sandy place.\n  =argentado, -a= silvery, silvered.\n  =argentino, -a= silvery.\n  =\u00e1rido, -a= dry, dried up, barren.\n  =arma= _f._ arms, weapon.\n  =armar= arm, start.\n  =armon\u00eda= _f._ harmony, music, rhythm, concord, peace.\n  =armonioso, -a= harmonious, melodious.\n  =aroma= _m._ aroma, fragrance, scent, perfume.\n  =aromoso, -a= aromatic, fragrant.\n  =arpa= _f._ harp.\n  =arrancar= tear out, pluck out, wring, wrest, tear away, take away.\n  =arrebatar= bear away, catch, snatch up, attract, captivate, charm;\n  =--se= grow furious, rush headlong, give way to passion.\n  =arrebolar= redden.\n  =arrogancia= _f._ arrogance.\n  =arrojar= throw, cast, cast off.\n  =arrojo= _m._ daring, fearlessness.\n  =arrostrar= face, fight, encounter.\n  =arroyuelo= _m._ little brook, brooklet.\n  =arruinado, -a= ruinous, crumbling.\n  =arrullar= lull.\n  =arrullo= _m._ lullaby.\n  =as= _m._ ace.\n  =asaz= _adv._ enough, sufficiently, very.\n  =ascender= ascend, rise.\n  =as\u00ed= _adv._ so, thus.\n  =Asia= _f._ Asia.\n  =asiento= _m._ seat.\n  =asilo= _m._ refuge, protection, shelter, haven, asylum.\n  =asolador, -a= destroying, devastating.\n  =asomar= appear.\n  =asombro= _m._ amazement, wonder.\n  =aspecto= _m._ aspect, appearance, sight.\n  =\u00e1spero, -a= rough, rugged.\n  =aspirar= breathe, inhale, aspire.\n  =asqueroso, -a= loathsome, filthy.\n  =astro= _m._ heavenly body, orb, star.\n  =astuto, -a= cunning, crafty.\n  =asunto= _m._ affair, business.\n  =asustar= frighten.\n  =atajar= head off, stop, check, confound.\n  =ata\u00fad= _m._ coffin.\n  =Atenas= _pr. n. f._ Athens.\n  =atento, -a= attentive, watchful, heedful, intent.\n  =aterrador, -a= frightening, terrible.\n  =\u00c1tila= _pr. n. m._ Attila.\n  =atr\u00e1s= _adv._ behind, backward.\n  =atravesar= pass through, cross.\n  =atrevido, -a= bold, daring.\n  =atronador, -a= thundering.\n  =atropellar= trample under foot, strike down; =--se= hasten, crowd.\n  =audacia= _f._ audacity.\n  =audaz= _adj._ bold, fearless.\n  =aullar= howl.\n  =aullido= _m._ howl, cry of horror.\n  =aumentar= increase, enlarge, magnify.\n  =a\u00fan, aun= _adv._ yet, still, even, nevertheless.\n  =aunque= _conj._ although.\n  =aura= _f._ breeze, zephyr.\n  =aurora= _f._ dawn, break of day, aurora.\n  =ausencia= _f._ absence.\n  =aut\u00f3mata= _m._ automaton, mere machine, puppet.\n  =avanzar= advance, go forward.\n  =avariento, -a= avaricious.\n  =avaro, -a= avaricious, covetous.\n  =avaro= _m._ miser.\n  =ave= _f._ bird.\n  =aventura= _f._ adventure, affair.\n  =avergonzarse de= be ashamed of, blush for.\n  =\u00e1vido, -a= eager, covetous.\n  =ay= _interj._ alas, oh; =---- de= alas for.\n  =ay= _m._ groan.\n  =ayer= _adv._ yesterday, lately.\n  =azahar= _m._ orange blossom.\n  =azorar= terrify.\n  =azotar= lash, flog, whip.\n  =azul= _adj._ blue, azure.\n\n\n  =bajar= lower, descend, bow, hang down.\n  =bajel= _m._ ship.\n  =bajo= _prep._ under, beneath.\n  =bald\u00f3n= _m._ reproach, insult.\n  =banda= _f._ side of a ship.\n  =bandera= _f._ banner, flag.\n  =bandolero= _m._ bandit.\n  =banquete= _m._ banquet.\n  =ba\u00f1ar= bathe.\n  =b\u00e1quico, -a= Bacchanalian.\n  =b\u00e1rbaro, -a= barbarous, cruel, fierce.\n  =barco= _m._ vessel, ship; =---- viene a= sail!\n  =barrer= sweep.\n  =barrera= _f._ barrier.\n  =barro= _m._ clay, mud.\n  =base= _f._ base, foundation.\n  =bastar= suffice, be enough.\n  =beber= drink, imbibe.\n  =befa= _f._ scoff, ridicule, taunt.\n  =beldad= _f._ beauty.\n  =bele\u00f1o= _m._ henbane, poison.\n  =belleza= _f._ beauty.\n  =bello, -a= beautiful, fair.\n  =bendecir= bless, praise.\n  =bendici\u00f3n= _f._ blessing.\n  =bergant\u00edn= _m._ brigantine.\n  =beso= _m._ kiss.\n  =bien= _adv._ well, indeed, all right.\n  =bien= _m._ good, good thing, treasure, beloved one, blessing; =hacer\n     ----= give alms, aid.\n  =bienhechor, -a= _m. f._ benefactor.\n  =bienvenido, -a= welcome.\n  =bigote= _m._ mustache; =hacerse el ----= curl one's mustache.\n  =blanca= _f._ blanca (old copper coin).\n  =blanco, -a= white, fair.\n  =blancor= _m._ whiteness.\n  =blando, -a= soft, tender, gentle, pleasing.\n  =blasfemar= blaspheme, curse.\n  =blas\u00f3n= _m._ blazon, armorial bearings, honor, glory.\n  =bledo= _m._ blite, pigweed; =dar un ---- de= care a straw for.\n  =boca= _f._ mouth, lips.\n  =boda= _f._ marriage, wedding.\n  =bolsa= _f._ purse, money.\n  =bonanza= _f._ fair weather.\n  =bordar= embroider, embellish.\n  =borrasca= _f._ storm, tempest.\n  =borrascoso, -a= tempestuous, stormy.\n  =borr\u00f3n= _m._ blot, stigma.\n  =bosque= _m._ forest, wood, bosk.\n  =bote= _m._ thrust.\n  =bot\u00edn= _m._ booty, spoils.\n  =b\u00f3veda= _f._ arch, vault, cavern.\n  =bramador, -a= roaring, bellowing, raging.\n  =bramar= roar, rage, bluster, bellow.\n  =bramido= _m._ howling, roaring.\n  =brav\u00edo, -a= wild, fierce.\n  =bravo, -a= brave.\n  =bravura= _f._. bravado, fierceness, ferocity, boasting.\n  =brazo= _m._ arm, embrace.\n  =breve= _adj._ brief, short.\n  =brid\u00f3n= _m._ steed, bridle.\n  =brillante= _adj._ brilliant, bright.\n  =brillar= glisten, shine.\n  =brindar= drink to one's health, offer, pledge.\n  =br\u00edo= _m._ strength, courage, mettle, spirit, resolution.\n  =brisa= _f._ breeze.\n  =broche= _m._ clasp, brooch.\n  =brotar= bud, bring forth, put forth, gush forth, shed.\n  =bruja= _f._ witch.\n  =brutal= _adj._ brutal.\n  =Bruto= _pr. n. m._ Brutus.\n  =bueno, -a= good, fine, pleasant.\n  =buj\u00eda= _f._ candle, taper.\n  =bulto= _m._ dim form.\n  =bulla= _f._ bustle, throng, noise.\n  =bullicio= _m._ tumult, bustle.\n  =bullidor, -a= restless, merry.\n  =burla= _f._ joke.\n  =buscar= seek, hunt, look for.\n  =buscarruidos= _m._ quarrelsome fellow.\n  =caballeresco, -a= gentlemanly.\n  =caballero= _m._ knight, gentleman, nobleman, sir; =\u00a1mal ----!=\n     scoundrel!\n  =caballo= _m._ horse, steed, figure on horseback in Spanish pack of\n     cards, equivalent to the queen; =a ----= on horseback; =\u00a1a ----!=\n     to horse!\n  =caba\u00f1a= _f._ cottage, hut, hovel.\n  =cabello= _m._ hair, locks.\n  =cabeza= _f._ head.\n  =cable= _m._ cable.\n  =cada= _adj._ every, each.\n  =cad\u00e1ver= _m._ corpse, dead body.\n  =cadav\u00e9rico, -a= cadaverous.\n  =cadena= _f._ chain.\n  =caduco, -a= worn out, decrepit, broken down.\n  =caer(se)= fall, set, sink, droop.\n  =calar= penetrate; =--se= pull down; =--se el sombrero= pull down\n     one's hat.\n  =calavera= _f._ skull.\n  =calentura= _f._ fever.\n  =caliz= _m._ chalice, calyx.\n  =calma= _f._ calm, quiet, calmness, coolness; =en ----= calm.\n  =calmar= calm, mitigate, soften, still, quiet, slake, cool.\n  =calmo, -a= calm, still.\n  =callado, -a= silent, quiet.\n  =callar= be silent.\n  =calle= _f._ street.\n  =cambiar(se)= change, turn.\n  =caminar= move, walk, go, go on, travel, march.\n  =camino= _m._ road, way, path, journey.\n  =campana= _f._ bell.\n  =campanilla= _f._ little bell.\n  =campa\u00f1a= _f._ country.\n  =campi\u00f1a= _f._ field.\n  =campo= _m._ field, country.\n  =can= _m._ dog, dog-star.\n  =canci\u00f3n= _f._ song.\n  =c\u00e1ndido, -a= white, bright, pure.\n  =candor= _m._ ingenuousness.\n  =candoroso, -a= candid, pure, innocent.\n  =cansar= weary, bore.\n  =cantar= sing, chant, sing of.\n  =cantar= _m._ song.\n  =c\u00e1ntico= _m._ canticle, song of praise.\n  =cantidad= _f._ amount, sum.\n  =canto= _m._ singing, song.\n  =ca\u00f1\u00f3n= _m._ cannon.\n  =capa= _f._ cape, cloak.\n  =capaz= _adj._ capable.\n  =capit\u00e1n= _m._ captain.\n  =capricho= _m._ caprice, whim, fancy.\n  =capuz= _m._ cloak, hood, cape.\n  =caracol= _m._ snail, winding staircase; =grader\u00eda de ---- torcida=\n     spiral staircase.\n  =carb\u00f3n= _m._ coal.\n  =carcajada= _f._ burst of laughter; =soltar una ----= burst out\n     laughing.\n  =c\u00e1rcel= _f._ prison.\n  =c\u00e1rdeno, -a= livid.\n  =carga= _f._ burden.\n  =cariado, -a= rotten, putrid.\n  =caricia= _f._ caress.\n  =caridad= _f._ charity, alms.\n  =carm\u00edn= _m._ carmine.\n  =carne= _f._ flesh.\n  =caro, -a= dear, expensive.\n  =carrera= _f._ course.\n  =carta= _f._ card.\n  =casa= _f._ house, home, building; =---- de hu\u00e9spedes= lodging-house.\n  =casamiento= _m._ marriage, wedding.\n  =casi= _adv._ almost.\n  =caso= _m._ case, matter, event; =hacer ---- de= take notice of, heed.\n  =castigo= _m._ punishment; =dar ----=punish.\n  =castillo= _m._ castle.\n  =Cat\u00f3n= _pr. n. m._ Cato.\n  =caudal= _m._ fortune, abundance.\n  =causar= cause.\n  =cautivo, -a= _m. f._ captive.\n  =cavernoso, -a= cavernous.\n  =ceder= decrease, slacken, abate, diminish.\n  =c\u00e9firo= _m._ zephyr, breeze.\n  =ceja= _f._ eyebrow.\n  =cejijunto, -a= close-knit.\n  =celebrar= celebrate, praise.\n  =celeste= _adj._ celestial, heavenly.\n  =celestial= _adj._ celestial, heavenly.\n  =celoso, -a= jealous.\n  =cena= _f._ supper.\n  =cenar= sup.\n  =centinela= _m. f._ sentinel.\n  =ce\u00f1ir= gird.\n  =ce\u00f1o= _m._ frown.\n  =cerca= _adv._ near, close.\n  =cercano, -a= close by, near, approaching.\n  =cercar= encircle, surround.\n  =cesar= cease; =sin ----= incessantly, constantly.\n  =cetro= _m._ scepter.\n  =ciego, -a= blind.\n  =cielo= _m._ sky, heaven.\n  =ciencia= _f._ science, knowledge.\n  =ciento, cien=, _card._ hundred.\n  =cierto, -a= certain, sure, assured; =por ----= certainly, indeed.\n  =cifrar en= place in, fix upon.\n  =cima= _f._ crest, summit, top.\n  =cimiento= _m._ foundation.\n  =cinco= _card._ five.\n  =cincuenta= _card._ fifty.\n  =cinta= _f._ ribbon, band, belt, girdle.\n  =c\u00edrculo= _m._ circle, circling.\n  =cita= _f._ appointment, meeting, rendezvous.\n  =ciudad= _f._ city.\n  =claridad= _f._ light.\n  =claro, -a= bright, clear, pure.\n  =clavar= nail, fasten, fix.\n  =coagular= coagulate, curdle.\n  =cobarde= _adj._ cowardly.\n  =cobarde= _m._ coward.\n  =codicioso, -a= greedy, eager.\n  =coger= seize, take, catch.\n  =cogido (lo)= booty, plunder.\n  =c\u00f3lera= _f._ anger, wrath.\n  =col\u00e9rico, -a= choleric, angry.\n  =colgar= hang.\n  =color= _m._ color, hue, complexion.\n  =colorar= color, tinge; =--se= become colored, color.\n  =columna= _f._ column, pillar.\n  =combatido, -a= contending, struggling.\n  =combatir= combat, attack, contend, fight.\n  =comento= _m._ comment, fiction, fabrication.\n  =comenzar= commence.\n  =comer= eat, dine.\n  =como= _adv._ like, as, how, about; =tan ... ----= as ... as;\n      =---- cu\u00e1nto= about how much.\n  =c\u00f3mo= _interrog._ how.\n  =compa\u00f1ero= _m._ companion.\n  =compa\u00f1\u00eda= _f._ company, companionship.\n  =comparar= compare.\n  =comp\u00e1s= _m._ measure, time; =a ----= in time; =al ---- de= in the\n     time of.\n  =compasi\u00f3n= _f._ pity.\n  =compasivo, -a= compassionate, sympathetic.\n  =comprender= comprehend, understand.\n  =con= _prep._ with, in, against, on.\n  =c\u00f3ncavo, -a= concave, hollow.\n  =c\u00f3ncavo= _m._ concavity.\n  =conceder= grant, give.\n  =contento= _m._ harmony.\n  =conciencia= _f._ conscience, consciousness.\n  =concierto= _m._ harmony.\n  =condenar= condemn, sentence.\n  =conducir= lead.\n  =confianza= _f._ confidence, intimacy.\n  =conf\u00edn= _m._ confine, limit, border.\n  =confundir= overwhelm, engulf, confuse, confound, mingle, heap up;\n     =--se= be bewildered, be perplexed.\n  =confusi\u00f3n= _f._ confusion, disorder.\n  =confuso, -a= confused, dim, indistinct, bewildering.\n  =conjurar= conjure, implore.\n  =conjuro= _m._ conjuration, incantation.\n  =conmigo= _pron. pers._ with me.\n  =conmover= stir, affect.\n  =conocer= know, be acquainted with, recognize; =--se= know each other.\n  =conque= _conj._ so then, and so.\n  =conquistar= conquer, subdue.\n  =conseguir= attain, obtain, gain.\n  =consentido, -a= spoiled.\n  =considerable= _adj._ considerable.\n  =consigo= _pron. pers._ with one's self, with himself, _etc._.\n  =consolar= console, comfort.\n  =consorte= _m. f._ husband, wife.\n  =constancia= _f._ constancy, firmness, determination.\n  =Constantinopla= _pr. n. f._ Constantinople.\n  =consuelo= _m._ consolation.\n  =consumir= consume, burn out.\n  =contar= recount, relate, tell, tell off, count, consider, look upon;\n      =---- con= count upon, reckon with; =con vos no cuento= I pass you\n      by.\n  =contemplar= contemplate, behold, gaze at, look at, meditate.\n  =contenerse= restrain one's self, keep one's temper.\n  =contento= _m._ contentment, joy, mirth.\n  =contigo= _pron. pers._ with thee.\n  =continente= _m._ manner, mien, gait.\n  =contino= _adv._ constantly, continually; =de ----= continually.\n  =continuo, -a= continual, constant.\n  =contra= _prep._ against; =en ----= against.\n  =conversi\u00f3n= _f._ conversion, reform.\n  =convertir= convert, reform, change; =--se en= change to, become.\n  =convidar= invite, entice, allure.\n  =convocar= convoke, summon.\n  =convulso, -a= convulsive.\n  =copa= _f._ foliage, branches.\n  =coraz\u00f3n= _m._ heart, breast, love, courage, spirit.\n  =cornudo, -a= horned.\n  =coro= _m._ chorus.\n  =corona= _f._ crown.\n  =coronar= crown.\n  =corredor= _m._ corridor, gallery.\n  =correr= run, meet with, pass, pass away, flow.\n  =corresponder= return, requite, reciprocate.\n  =corriente= _f._ current, stream.\n  =corro= _m._ group, circle.\n  =corromper= pollute.\n  =corrompido, -a= polluted, foul.\n  =cortar= cut.\n  =corte= _f._ court, retinue.\n  =cortejar= court, woo.\n  =cosa= _f._ thing, matter; =gran ----= much.\n  =Cosaco= _m._ Cossack.\n  =cosecha= _f._ harvest; =de mi ----= of my invention.\n  =coyuntura= _f._ joint.\n  =cr\u00e1neo= _m._ skull.\n  =crear= create.\n  =crecer= grow, rage, increase.\n  =creer= believe, think.\n  =crescendo= _Ital._ crescendo.\n  =cresp\u00f3n= _m._ crape.\n  =criatura= _f._ creature, being, man.\n  =crimen= _m._ crime.\n  =crispante= _adj._ shivery.\n  =crisparse= twitch.\n  =cristal= _m._ crystal, glass.\n  =cristalino, -a= crystalline, transparent, bright.\n  =Cristo= _pr. n. m._ Christ, image of Christ.\n  =crudeza= _f._ severity, cruelty.\n  =crudo, -a= raw.\n  =cruel= _adj._ cruel, intolerable.\n  =crujido= _m._ crackling.\n  =crujir= clash, click, clank, crack, crackle, creak, rustle.\n  =cruz= _f._ cross.\n  =cruzar= cross, pass, pass through, cruise.\n  =cuadrar= befit, suit.\n  =cuadro= _m._ picture, scene.\n  =cuajar= coagulate, coat over.\n  =cual= _adv._ like, as.\n  =cu\u00e1l= _pron. interrog._ which, which one, what, what one.\n  =cualquier, -a= any whatever; =---- ... que= whoever, whichever,\n     whatever.\n  =cualquiera= _pron._ any one, either one.\n  =cu\u00e1n= _adv._ how.\n  =cuando= _conj._ when, if, in case; =---- ... ----= now ... now, at\n     one time ... at another.\n  =cuanto= _adv._ as much as, all that; =en ---- a= with regard to, as\n     to;  =---- m\u00e1s ... tanto m\u00e1s= the more ... the more.\n  =cu\u00e1nto, -a= _prop. interrog._ how much; =como ----= about how much.\n  =cuaresma= _f._ Lent.\n  =cuarto, -a= fourth.\n  =cuatrocientos, -as= four hundred.\n  =cubrir= cover, veil, shroud.\n  =cuello= _m._ neck, throat.\n  =cuenta= _f._ count, reckoning, account; =dar ----= explain, report,\n     give account; =pedir ----= bring to account, demand account of.\n  =cuento= _m._ tale, story.\n  =cuerdamente= _adv._ sensibly.\n  =cuerno= _m._ horn.\n  =cuerpo= _m._ body; =---- muerto= corpse.\n  =cuidado= _m._ care, anxiety.\n  =cuidadoso, -a= careful.\n  =culpa= _f._ fault.\n  =culpar= blame, accuse.\n  =culto= _m._ worship, homage, veneration, respect.\n  =cumbre= _f._ summit, crest, peak.\n  =cumplir= fulfill, accomplish, satisfy, keep; =c\u00famplase tu voluntad=\n      thy will be done.\n  =curso= _m._ course.\n  =cuyo, -a= _pron. rel._ whose.\n\n\n  =chancearse= joke, jest.\n  =charca= _f._ pool.\n  =chasco= _m._ joke, fiasco, disappointment.\n  =chimenea= _f._ fireplace, hearth, stove.\n  =chispa= _f._ spark, flash.\n  =chiste= _m._ jest.\n  =chocar= strike, combat, clash, encounter, collide.\n\n\n  =dado= _m._ die.\n  =dale= _interj._ (_expressive of displeasure_) hang it, come, again;\n     =---- con tocar a muerto= plague take this funeral tolling.\n  =dama= _f._ lady.\n  =danza= _f._ dance.\n  =danzar= dance.\n  =dar= give, give out, strike, cause, tell, make, grant, pay, render,\n     forebode; =---- en= persist in; =---- por perdida= consider lost;\n     =qu\u00e9 diantre me da= what the deuce do I care.\n  =de= _prep._ of, than, from, by, with, at, to, in, on account of,\n     for, about, on, as; =m\u00e1s ----= past.\n  =debajo de= _prep._ under, underneath.\n  =deber= have to, must, ought, can.\n  =deber= _m._ duty.\n  =d\u00e9bil= _adj._ feeble, weak.\n  =decidido, -a= decided, devoted, determined.\n  =decir= say, speak, tell, call.\n  =decisi\u00f3n= _f._ decision, determination, resolution.\n  =declinar= decline, sink.\n  =dedo= _m._ finger.\n  =dejar= leave, quit, abandon, forsake; =---- de= stop, cease.\n  =delante= _adv._ before, in front, ahead; =---- de= _prep._ in front\n     of, before.\n  =deleite= _m._ pleasure, delight.\n  =delicado, -a= delicate, sweet.\n  =delicia= _f._ delight.\n  =delicioso, -a= delicious, delightful.\n  =delirante= _adj._ delirious, raving.\n  =delirar= rave, dote.\n  =delirio= _m._ delirium, madness, rapture, rant, idle talk.\n  =delito= _m._ crime.\n  =demas\u00eda= _f._ excess.\n  =demasiado, -a= too much, too great.\n  =demonio= _m._ devil, demon.\n  =denso, -a= dense, thick.\n  =dentro= _adv._ within; =---- de= _prep._ within.\n  =denuesto= _m._ insult, abuse.\n  =derecho= _m._ right.\n  =derramar= shed.\n  =derredor= _m._ circuit; =en ---- de= round about, around.\n  =desafiar= challenge, defy.\n  =desaf\u00edo= _m._ duel, combat.\n  =desahogo= _m._ relief, alleviation, comfort.\n  =desalentado, -a= discouraged, abject.\n  =desasirse= disengage one's self, break loose, extricate one's self.\n  =desatar= untie, undo, loosen, let loose; =--se= break loose, break\n     out.\n  =desatento, -a= unmindful, heedless, rude.\n  =desatino= _m._ folly, wildness, reeling.\n  =descansar= rest, repose, sleep.\n  =descarnado, -a= emaciated, fleshless, bare.\n  =descender= descend, go down, sink.\n  =descolorido, -a= colorless, pale.\n  =desconocer= not know, be ignorant of, ignore.\n  =desconsuelo= _m._ trouble, affliction.\n  =descort\u00e9s= _adj._ discourteous, ill-bred, impudent.\n  =descortes\u00eda= _f._ discourtesy.\n  =descreer= disbelieve, deny, discredit, disown.\n  =descubrir= discover, reveal, expose, uncover, make known.\n  =descuidado, -a= care-free.\n  =desde= _prep._ from.\n  =desd\u00e9n= _m._ disdain, scorn, contempt.\n  =desde\u00f1o= _m._ disdain, scorn.\n  =desde\u00f1oso, -a= scornful, contemptuous.\n  =desdicha= _f._ unhappiness, wretchedness, misery.\n  =desdichado, -a= unhappy, unfortunate, wretched.\n  =desear= desire, covet.\n  =desembozar= unmuffle.\n  =desenga\u00f1o= _m._ disillusion.\n  =deseo= _m._ desire, longing.\n  =desesperaci\u00f3n= _f._ despair.\n  =desesperado, -a= desperate, despairing, hopeless.\n  =desfallecer= weaken, swoon, fail, give way.\n  =desgarrar= rend.\n  =desgracia= _f._ misfortune, sorrow, unhappiness.\n  =desgraciado, -a= unfortunate, hapless, miserable.\n  =deshacer= undo, break.\n  =deshojado, -a= leafless, petalless, blighted.\n  =desierto, -a= deserted, lonely.\n  =desierto= _m._ desert.\n  =desigual= _adj._ uneven, dissimilar.\n  =deslizarse= glide along, slip along.\n  =desmayado, -a= faint, swooning.\n  =desmayar= be discouraged, be faint, swoon.\n  =desmayo= _m._ drooping, swooning, faltering.\n  =desmentir= belie, deny, dissemble.\n  =desnudo, -a= naked, unsheathed, drawn.\n  =despacio= _adv._ slowly.\n  =desparecer= disappear, vanish.\n  =despecho= _m._ spite, insolence, anger, despair, dismay; =a ---- de=\n     in spite of; =a su ----= in spite of himself.\n  =despedida= _f._ farewell.\n  =despego= _m._ indifference, coldness, coyness.\n  =despe\u00f1ado, -a= headlong.\n  =despe\u00f1ar= precipitate, fling down.\n  =despertar= awaken, arouse, break, dawn.\n  =despierto, -a= awake, brisk.\n  =desplegado, -a= flowing.\n  =desplegar= unfold, unfurl, hoist; =--se= unfold, spread.\n  =despojos= _m. pl._ remains.\n  =despreciar= spurn, neglect, reject.\n  =desprender(se)= fall, tear, separate, issue from, arise, relax one's\n     hold, let go.\n  =desprendido, -a= loosened, falling, torn, broken.\n  =despu\u00e9s= _adv._ afterward, then.\n  =despuntar= begin to dawn.\n  =desquiciarse= be unhinged, shake.\n  =destellar= flash, twinkle.\n  =desterrar= banish, exile.\n  =destilar= drip.\n  =destino= _m._ destiny, fate, lot.\n  =desvanecerse= vanish, disappear, fade away.\n  =desvanecido, -a= dizzy, vague, faint.\n  =desvar\u00edo= _m._ delirium, raving.\n  =desventura= _f._ misfortune, misery.\n  =detener= detain, stop, halt.\n  =detenido, -a= stagnant.\n  =determinado, -a= determined, resolute, resolved.\n  =detr\u00e1s= _adv._ behind, after.\n  =devaneo= _m._ giddiness, frenzy, mad passion.\n  =devorar= devour, consume.\n  =devoto, -a= devout, pious.\n  =d\u00eda= _m._ day; =----s= life; =hoy en ----= nowadays; =un ----= some\n     day, once.\n  =diablo= _m._ devil.\n  =diab\u00f3lico, -a= diabolical.\n  =diamante= _m._ diamond, adamant.\n  =diantre= _m._ deuce.\n  =dibujar= outline, delineate; =--se= be outlined, throw a shadow, be\n     visible.\n  =dictar= dictate, prescribe.\n  =dicha= _f._ happiness, delight.\n  =dichoso, -a= happy, fortunate, precious, blessed.\n  =Diego= _pr. n. m._ James.\n  =diente= _m._ tooth.\n  =diestra= _f._ right hand.\n  =diez= _card._ ten.\n  =difunto, -a= deceased (one), dead (one).\n  =dilatar= overspread, suffuse, expand.\n  =diligencia= _f._ assiduity, effort, haste, business, affair.\n  =dinero= _m._ money.\n  =Dios= _m._ God.\n  =diosa= _f._ goddess.\n  =disculpar= excuse, exonerate.\n  =discurrir= flow, course.\n  =disfrutar= enjoy, profit, reap the benefit.\n  =disipar= dissipate, scatter, put to flight, drive away; =--se= be\n     dissipated, be scattered.\n  =disolver= dissolve, dissipate, scatter, disperse.\n  =disparate= _m._ folly, piece of folly, blunder.\n  =distante= _adj._ distant, afar.\n  =distinguir= distinguish, see clearly.\n  =distra\u00eddo, -a= distracted, absentminded.\n  =diverso, -a= various, dissimilar, different.\n  =divertir= amuse.\n  =dividir= divide, separate, cut, cleave.\n  =divino, -a= divine, heavenly.\n  =do= _adv._ where; =a ----= whither, where.\n  =d\u00f3= _adv. interrog._ where.\n  =doblar= bend.\n  =doble= _m._ tolling; =dar ----s= toll.\n  =doctrina= _f._ doctrine, wisdom, teaching.\n  =doliente= _adj._ suffering, sorrowful.\n  =dolor= _m._ grief, sorrow, pain, anguish.\n  =dolorido, -a= afflicted, grief-stricken, painful, doleful, heart-sick.\n  =doloroso, -a= painful.\n  =don= _m._ Don, sir.\n  =doncella= _f._ maiden.\n  =donde= _adv._ where.\n  =d\u00f3nde= _adv. interrog._ where, whither; =en ----= where.\n  =dondequiera= _adv._ everywhere, anywhere.\n  =doquiera= _adv._ wherever, everywhere.\n  =dorado, -a= golden.\n  =dormido, -a= sleeping, slumbering.\n  =dormir= sleep; =--se= go to sleep.\n  =dos= _card._ two; =los ----= both.\n  =dram\u00e1tico, -a= dramatic.\n  =ducado= _m._ ducat (former coin worth about $3).\n  =duda= _f._ doubt.\n  =dudar= doubt, hesitate.\n  =dudoso, -a= doubtful, uncertain, indistinct, nebulous, hesitating.\n  =duelo= _m._ sorrow, grief, duel, combat.\n  =due\u00f1a= _f._ duenna.\n  =dulce= _adj._ sweet, soft, gentle, pleasant.\n  =dulc\u00edsimo, -a= very sweet.\n  =dulzura= _f._ sweetness.\n  =durar= last, endure.\n  =duro, -a= hard, cruel, unbearable, heavy.\n\n\n  =e= _conj._ and.\n  =eco= _m._ echo.\n  =echar= throw, cast, cast away, deal, put.\n  =Ed\u00e9n= _pr. n. m._ Eden.\n  =edificio= _m._ building, edifice.\n  =ej\u00e9rcito= _m._ army.\n  =el, la, lo, los, las=, _art._ the; =---- que=, _etc., pron. rel._ he\n     who(m), the one who(m), who, that which.\n  =\u00e9l, ella, ello=, _pron. pers._ he, him; she, her; it.\n  =elevar= raise; =--se= rise.\n  =elocuente= _adj._ eloquent.\n  =Elvira= _pr. n. f._ Elvira.\n  =ella= _pron. pers._ she, her, it.\n  =ellas= _pron. pers._ they, them.\n  =embalsamarse= be perfumed.\n  =embargar= overwhelm, seize, overcome, impede.\n  =embebecido, -a= absorbed, enraptured.\n  =embeleso= _m._ rapture.\n  =embestir= assail, attack.\n  =embolismo= _m._ confusion, maze, embarrassment, falsehood.\n  =embolsarse= pocket.\n  =embozado= _m._ muffled one.\n  =embozar= cloak, muffle.\n  =embriagar= intoxicate, transport, enrapture; =--se= get intoxicated.\n  =empa\u00f1ar= dim, tarnish.\n  =empapar= soak, steep.\n  =empedernido, -a= hard-hearted.\n  =empe\u00f1arse= persist, insist.\n  =empe\u00f1o= _m._ determination, desire.\n  =empero= _adv._ however, notwithstanding.\n  =empezar= begin.\n  =empleo= _m._ employment, use.\n  =emponzo\u00f1ar= poison, taint.\n  =empuje= _m._ impulse.\n  =empu\u00f1ar= grasp, grip.\n  =en= _prep._ in, into, at, for, among, on, upon, with, of, to, against,\n     by, over, like; =---- que= when.\n  =enamorado, -a= enamored, loving, in love.\n  =enamorar= inspire love, woo; =--se de= fall in love with.\n  =encadenar= enchain, shackle.\n  =encantador, -a= enchanting, delightful.\n  =encantar= charm, delight, fascinate.\n  =encanto= _m._ charm, fascination, enchantment, spell.\n  =encapotar= cloak, cover.\n  =encapuchado, -a= hooded one.\n  =encender= light, kindle, enkindle; =--se= glow.\n  =enclavar= nail, fasten.\n  =encomendar= commend.\n  =encono= _m._ rancor, ill-will, malevolence.\n  =encontrar= meet, meet with, find.\n  =encubrir= cover, conceal, hide.\n  =encuentro= _m._ meeting, encounter; =a su ----= to meet him.\n  =endiablado, -a= diabolical, bedeviled.\n  =endurecer= harden, cake.\n  =enemigo, -a= hostile, unfriendly.\n  =engalanar= adorn.\n  =enga\u00f1ador, -a= deceiving.\n  =enga\u00f1ar= deceive, beguile.\n  =enga\u00f1o= _m._ deception, illusion.\n  =enga\u00f1oso, -a= deceptive, false.\n  =engendro= _m._ abortion, monster, progeny.\n  =enhiesto, -a= upright, erect.\n  =enjugar= wipe.\n  =enjuto, -a= lean, wasted, dried up.\n  =enlazar= join, clasp.\n  =enlutado, -a= in mourning, veiled, muffled.\n  =enmudecer= grow dumb, grow silent.\n  =enojarse= be angry, be displeased, get angry.\n  =enojo= _m._ anger, vexation, displeasure, annoyance.\n  =enojoso, -a= troublesome.\n  =enredar= entangle, ensnare.\n  =ensue\u00f1o= _m._ dream, fantasy, illusion.\n  =entena= _f._ yard, spar.\n  =entender= understand, know, hear; =---- de= be familiar with, be\n     interested in.\n  =entero, -a= entire, whole.\n  =enterrar= bury.\n  =entierro= _m._ funeral, burial, funeral procession.\n  =entonar= sing.\n  =entonces= _adv._ then.\n  =entrada= _f._ entrance, coming, beginning.\n  =entrambos, -as= both.\n  =entra\u00f1as= _f. pl._ entrails, bowels, recesses.\n  =entrar= enter, come in, advance, begin.\n  =entre= _prep._ between, among, in, amid, within, to; =---- s\u00ed=\n     to himself; =---- tanto= meanwhile; =de ----= out of; =por ----=\n     through, between, among.\n  =entregar= hand over, give, pay.\n  =entretanto= _adv._ meanwhile; =---- que= _conj._ while.\n  =entretener= entertain, divert, amuse, occupy.\n  =enturbiar= disturb, derange, cloud.\n  =envenenar= poison.\n  =enviar= send.\n  =envidar= stake, open a game of cards by staking a sum.\n  =envidiar= envy.\n  =envilecido, -a= degraded, disgraced.\n  =envite= _m._ stake, bet.\n  =envolver= envelop, enwrap, enfold.\n  =erguido, -a= erect, straight.\n  =errante= _adj._ wandering.\n  =escaldar= scald.\n  =escal\u00f3n= _m._ step.\n  =escapar(se)= escape, flee.\n  =escape= _m._ escape, flight.\n  =escena= _f._ scene.\n  =esclavo, -a= _m. f._ slave.\n  =escoger= choose, select, cull.\n  =esconder= conceal, veil, hide.\n  =escribir= write.\n  =escuchar= hear, listen to, listen; =--se= be heard.\n  =escudo= _m._ escudo (a coin); shield, protection.\n  =escupir= spit upon.\n  =ese, -a= _adj. dem._ that.\n  =\u00e9se, -a, eso=, _pron. dem._ that one, that.\n  =esfera= _f._ sphere, heaven, orb.\n  =esmeralda= _f._ emerald.\n  =espacio= _m._ space.\n  =espada= _f._ sword.\n  =espalda= _f._ back, shoulder; =----s= back.\n  =espantado, -a= frightened, astonished.\n  =espantar= frighten, terrify, intimidate.\n  =espanto= _m._ fright, consternation, fear.\n  =espantoso, -a= frightful, horrible.\n  =esparcir= scatter, shed, spread.\n  =espectro= _m._ specter, ghost.\n  =espejo= _m._ mirror.\n  =esperanza= _f._ hope.\n  =esperar= await, wait for, expect, hope.\n  =espeso, -a= thick, dense.\n  =espina= _f._ thorn.\n  =espiral= _f._ spiral line.\n  =espirante= _adj._ dying.\n  =espirar= expire.\n  =esp\u00edritu= _m._ spirit, mind, soul, courage; =----s= spirits, demons.\n  =espl\u00e9ndido, -a= splendid.\n  =esplendor= _m._ splendor, magnificence, glory; =de ----= glorious.\n  =esposa= _f._ wife, spouse, betrothed.\n  =esposo= _m._ husband, spouse, betrothed.\n  =espuela= _f._ spur.\n  =espuma= _f._ foam, froth.\n  =esqueleto= _m._ skeleton, framework.\n  =estaci\u00f3n= _f._ season.\n  =estado= _m._ state, condition.\n  =estallar= burst, crack, detonate.\n  =estallido= _m._ crackling.\n  =estampido= _m._ report, crash.\n  =estancia= _f._ room, mansion, abode.\n  =estanque= _m._ pond, pool.\n  =estar= be; =---- en s\u00ed= be in one's senses.\n  =estatua= _f._ statue.\n  =este, -a= _adj. dem._ this.\n  =\u00e9ste, -a, esto=, _pron. dem._ this one, this.\n  =estima= _f._ esteem, respect.\n  =estocada= _f._ stab.\n  =estorbar= forbid, hinder.\n  =estrechar= press, clasp.\n  =estrecho, -a= narrow.\n  =estrella= _f._ star.\n  =estremecerse= shake, tremble.\n  =estr\u00e9pito= _m._ din, clamor, noise.\n  =estruendo= _m._ din, pomp, turmoil, clatter.\n  =estudiante= _m._ student.\n  =est\u00fapido, -a= stupid, dull.\n  =\u00e9ter= _m._ ether, sky.\n  =eterno, -a= eternal, everlasting.\n  =Europa= _f._ Europe.\n  =evangelio= _m._ gospel.\n  =evaporarse= evaporate, pass away, vanish.\n  =exaltar= exalt, praise.\n  =examinar= examine, scrutinize.\n  =exclamar= exclaim.\n  =exento, -a= free.\n  =exhalar= breathe forth, exhale, emit, utter.\n  =exigir= demand, exact, require.\n  =existencia= _f._ existence, life.\n  =expiaci\u00f3n= _f._ expiation, atonement.\n  =\u00e9xtasis= _m._ ecstasy.\n  =ext\u00e1tico, -a= ecstatic.\n  =extender(se)= extend, stretch out, spread, prolong.\n  =extranjero, -a= foreign.\n  =extra\u00f1o, -a= strange.\n  =extremo= _m._ end; =llevar al ----= terminate.\n\n\n  =f\u00e1brica= _f._ structure.\n  =f\u00e1cil= _adj._ easy, easily persuaded.\n  =fada= _f._ fairy, sprite.\n  =faena= _f._ task, work, labor, toil.\n  =falaz= _adj._ deceitful, deceptive, fallacious.\n  =falda= _f._ skirt, lap.\n  =falso, -a= false, treacherous, feigned, simulated, mock.\n  =faltar= fail, be missing, be lacking, give way.\n  =fallido, -a= frustrated, amiss.\n  =fama= _f._ reputation, report, rumor; =es ----= it is said.\n  =famoso, -a= famous, renowned, notorious.\n  =fanal= _m._ lantern, light, beacon.\n  =fanfarr\u00f3n= _m._ boaster, bully.\n  =fango= _m._ mud, mire, slime.\n  =fantas\u00eda= _f._ fancy, imagination, caprice, whim.\n  =fantasma= _m. f._ phantom, ghost, specter, scarecrow.\n  =fant\u00e1stico, -a= fantastic, imaginary.\n  =farsa= _f._ farce, humbug.\n  =fascinar= fascinate.\n  =fatal= _adj._ fatal, ominous, unfortunate.\n  =fat\u00eddico, -a= baleful, sinister.\n  =fatigado, -a= weary.\n  =favor= _m._ favor, protection, help.\n  =faz= _f._ face, aspect.\n  =fe= _f._ faith, honor, trust; =a -----= in truth; =a ---- m\u00eda= upon\n     my word.\n  =fecundar= fertilize, make fruitful.\n  =fecundo, -a= fecund, teeming.\n  =F\u00e9lix= _pr. n. m._ Felix.\n  =feliz= _adj._ happy, blessed, fortunate.\n  =feo, -a= ugly, homely.\n  =f\u00e9retro= _m._ bier.\n  =feroz= _adj._ fierce, cruel.\n  =f\u00e9rreo, -a= iron.\n  =f\u00e9rtil= _adj._ fertile.\n  =fervor= _m._ fervor, ardor, zeal.\n  =fest\u00edn= _m._ feast, banquet.\n  =f\u00e9tido, -a= fetid, stinking, foul.\n  =Fez= _pr. n. f._ Fez.\n  =fiado, -a= trusting.\n  =fiar= trust; =---- de= trust in.\n  =fiel= _adj._ faithful, true.\n  =fiereza= _f._ fierceness, hardness.\n  =fiero, -a= fierce, cruel, savage, furious, terrible, rude.\n  =fiesta= _f._ festival, feast, celebration, rejoicing, merriment.\n  =figura= _f._ figure, face, form.\n  =figurar= fashion, sketch, represent; =--se= imagine, fancy.\n  =fijar= fix, fasten, determine.\n  =fijo, -a= fixed, fastened, determined.\n  =fin= _m._ end; =al ----= at last, finally, after all; =en ----= at\n     last, finally, in short, after all; =por ----= at last; =sin ----=\n     endless, endlessly.\n  =fingido, -a= feigned, false.\n  =fingir= feign, imagine.\n  =firme= _adj._ firm, unswerving, unshaken, resolute, stout, stanch.\n  =flaco, -a= frail, weak.\n  =Flandes= _pr. n. f._ Flanders.\n  =fl\u00e9bil= _adj._ mournful.\n  =flojo, -a= feeble, weak.\n  =flor= _f._ flower, blossom.\n  =florecer= blossom, bud, cover with flowers.\n  =florido, -a= blooming, flower-filled, flowery.\n  =flotante= _adj._ floating.\n  =fondo= _m._ depth, farthest end.\n  =forcejear= struggle.\n  =forma= _f._ form, shape, figure.\n  =formar= form, make, engender.\n  =f\u00f3rmula= _f._ formula, form.\n  =fortuna= _f._ fortune, fate, good fortune.\n  =forzoso, -a= necessary.\n  =fosf\u00f3rico, -a= phosphorescent.\n  =fragante= _adj._ fragrant.\n  =fr\u00e1gil= _adj._ fragile, frail, weak.\n  =fragor= _m._ crash, noise.\n  =fragrancia= _f._ fragrance.\n  =Franco= _pr. n. m._ Franco.\n  =franja= _f._ fringe, band, border.\n  =fren\u00e9tico, -a= frenzied, mad, furious, frantic.\n  =frente= _f._ brow, face, head, forehead, intellect; =---- a=\n      opposite, in front of, before; =a su ----= straight ahead.\n  =fresco, -a= fresh.\n  =frescura= _f._ coolness, luxuriant verdure, freshness.\n  =fr\u00edo, -a= cold, indifferent, unsympathetic, unruffled; =sangre fr\u00eda=\n      sang-froid, coolness, calmness.\n  =fr\u00edo= _m._ cold.\n  =fr\u00edvolo, -a= frivolous.\n  =fruncir= knit (the brow).\n  =fuego= _m._ fire, ardor, flame, passion; =prender ----= set fire.\n  =fuente= _f._ spring, fountain, source.\n  =fuera= _adv._ outside; =---- de= _prep._ out of.\n  =fuero= _m._ privilege, statute law.\n  =fuerza= _f._ force, strength, might.\n  =fugaz= _adj._ fleeting.\n  =fugitivo, -a= fugitive, fleeting, fleeing, flying.\n  =f\u00falgido, -a= bright, resplendent.\n  =fulgor= _m._ gleam.\n  =fulguroso, -a= shining, flashing.\n  =fulgurante= _adj._ shining.\n  =f\u00fanebre= _adj._ funereal, lugubrious, mournful.\n  =funeral= _adj._ funeral, funereal, lugubrious.\n  =funesto, -a= doleful, dismal, sinister, fatal.\n  =furia= _f._ rage.\n  =furioso, -a= furious, mad, raging, violent.\n  =furor= _m._ rage, fury.\n  =futuro, -a= future.\n\n\n  =gala= _f._ grace, gem, choicest part (of a thing); =----s= finery.\n  =gal\u00e1n= _m._ gallant, dandy.\n  =galanura= _f._ elegance, showiness, gorgeousness.\n  =galer\u00eda= _f._ gallery.\n  =galv\u00e1nico, -a= galvanic.\n  =gallardo, -a= graceful, bold.\n  =ganancia= _f._ winning.\n  =ganar= win.\n  =gasa= _f._ gauze.\n  =gastar= waste, fling away, wear out.\n  =gemido= _m._ groan, moan, sigh.\n  =gemir= moan, howl, whistle.\n  =generoso, -a= noble, illustrious, excellent, generous.\n  =gente= _f._ people, race, nation.\n  =gentil= _adj._ elegant, handsome, graceful.\n  =gesto= _m._ face, expression, gesture.\n  =girar= revolve, hover, whirl.\n  =giro= _m._ turn, motion, roll, circling.\n  =gloria= _f._ glory, fame, pleasure, bliss, honor, heaven.\n  =glorioso -a= glorious.\n  =goce= _m._ joy.\n  =golpe= _m._ stroke, blow, knock, striking, clash, throw, cast.\n  =golpear(se)= strike, hit, beat.\n  =gorjear= warble, trill.\n  =g\u00f3tico, -a= Gothic.\n  =gozar= rejoice, take delight, enjoy; =---- de= enjoy; =--se= rejoice.\n  =gozo= _m._ joy, pleasure, delight.\n  =grabar= engrave.\n  =gracia= _f._ grace, charm, gracefulness; =----s= thanks.\n  =grader\u00eda= _f._ steps; =---- de caracol torcida= spiral staircase.\n  =grajo= _m._ jackdaw, crow.\n  =grana= _f._ scarlet.\n  =grande= _adj._ great, important.\n  =grandeza= _f._ greatness, grandeur.\n  =grandioso, -a= great, impressive.\n  =grato, -a= pleasing.\n  =grave= _adj._ heavy.\n  =gritar= cry, shout, cry out.\n  =griter\u00eda= _f._ outcry, shouting, screaming.\n  =grito= _m._ cry, howl.\n  =grotesco, -a= grotesque.\n  =grupo= _m._ group.\n  =guarida= _f._ den, lurking-place.\n  =guerra= _f._ war; =mover ----= wage war.\n  =guerrero, -a= warlike, of war.\n  =guerrero= _m._ warrior, soldier.\n  =gu\u00eda= _m. f._ guide, leader.\n  =guiar= guide, direct.\n  =guirnalda= _f._ garland, wreath.\n  =gustar= please.\n\n\n  =haber= have; _impers._ be; =---- de= have to, be to, be going\n       to, must, can; =hay= there is; =no haya= let there not be.\n  =habitaci\u00f3n= _f._ dwelling, residence, room, suite.\n  =habitar= live, reside, lie.\n  =hablador, -a= talking, prattling.\n  =hablador, -a= _m. f._ talker, prattler.\n  =hablar= talk, speak, address.\n  =hacer= do, make, effect, bring about, cause, commit; =---- aprecio de=\n       note; =---- bien= give alms, aid; =---- caso de= take notice of,\n       heed; =---- juego= make the bets; =hecho el juego= bets closed;\n       =---- pedazos= break to pieces, tear; =--se= become, turn to, get;\n       =--se el bigote= curl one's mustache; _impers._ =se hace tarde=\n       it is growing late.\n  =hacia= _prep._ toward.\n  =hado= _m._ fate.\n  =halagar= flatter, allure, soothe.\n  =hallar= find; =-se= be.\n  =hambre= _f._ hunger.\n  =hambriento, -a= hungry, eager.\n  =harapo= _m._ rag, tatter.\n  =hartar= satisfy, gratify.\n  =harto, -a= sated.\n  =hasta= _adv._ even; _prep._ to, up to, down to, until, as many as;\n      =---- que= _conj._ until.\n  =hastiar= bore, weary, disgust.\n  =hecho, -a= made, done; =a lo ----, pecho= make the best of it.\n  =hecho= _m._ deed.\n  =helado, -a= icy, cold, frozen.\n  =helar= freeze, congeal.\n  =hembra= _f._ female, woman.\n  =henchir= fill.\n  =hender= cleave.\n  =heredar= inherit.\n  =herencia= _f._ inheritance, heritage.\n  =herir= strike, smite, wound, affect.\n  =hermana= _f._ sister.\n  =hermano= _m._ brother.\n  =hermoso, -a= beautiful, fair.\n  =hermosura= _f._ beauty.\n  =h\u00e9roe= _m._ hero.\n  =herradura= _f._ horseshoe, hoof-print.\n  =hervir= boil, seethe, swarm.\n  =hidalgo, -a= noble.\n  =hiel= _f._ gall, bitterness.\n  =hielo= _m._ ice.\n  =hijo= _m._ son; =----s= children.\n  =hilera= _f._ file.\n  =hinchar= swell.\n  =hist\u00e9rico, -a= hysterical.\n  =historia= _f._ history, tale, story.\n  =hoguera= _f._ bonfire.\n  =hoja= _f._ leaf, petal, wing of a door.\n  =hola= _interj._ hello.\n  =hollar= tread upon, trample upon, ride over, humble.\n  =hombre= _m._ man; =buen ----= my good fellow.\n  =hombro= _m._ shoulder.\n  =hondo, -a= deep, profound.\n  =hondo= _m._ bottom, depth.\n  =honroso, -a= honorable.\n  =hora= _f._ hour, time; =a buena ----= opportunely; =en mal ---- o\n      en buena= well and good; =----s muertas= idle hours.\n  =horizonte= _m._ horizon.\n  =horrendo, -a= horrible, dreadful.\n  =horrible= _adj._ horrible.\n  =h\u00f3rrido, -a= hideous, horrible.\n  =horr\u00edsono, -a= horrisonous.\n  =horror= _m._ horror, fright.\n  =horrorizado, -a= stricken with horror.\n  =hospital= _m._ hospital, poorhouse.\n  =hoy= _adv._ to-day, now, the present time; =---- en d\u00eda= nowadays.\n  =hoyo= _m._ hole, grave, pit.\n  =hueco, -a= hollow, resounding, empty.\n  =hueco= _m._ hollow, hole, gap, concavity.\n  =hueso= _m._ bone.\n  =hu\u00e9sped= _m._ guest, stranger; =casa de ----es= lodging-house.\n  =huida= _f._ flight.\n  =huir= flee, escape, disappear.\n  =humano, -a= human.\n  =humear= emit fumes, reek, smoke.\n  =h\u00famedo, -a= damp, wet.\n  =humildemente= _adv._ humbly.\n  =humo= _m._ smoke, fumes.\n  =hundido, -a= sunken, hollow.\n  =hundir= sink.\n  =hurac\u00e1n= _m._ hurricane, storm.\n  =hurra= _interj._ hurrah.\n\n\n  =ideal= _adj._ ideal, imaginary.\n  =iglesia= _f._ church.\n  =igual= _adj._ equal; =me es ----= it is all the same to me;\n     =por ----= equally.\n  =igualar= equal, consider equal.\n  =iluminar= illumine, enlighten, illuminate, light.\n  =ilusi\u00f3n= _f._ illusion, fancy, self-deception, mockery.\n  =ilusorio, -a= illusory, delusive, deceptive.\n  =ilustre= _adj._ illustrious, noble, celebrated, distinguished.\n  =imagen= _f._ image, statue, likeness, picture, conception, fancy,\n      appearance.\n  =imaginaci\u00f3n= _f._ imagination, fancy, mind.\n  =imaginar= imagine, fancy, believe, conceive.\n  =impaciente= _adj._ impatient.\n  =imp\u00e1vid, -a= undaunted.\n  =imperial= _adj._ imperial.\n  =impetuoso, -a= violent, fierce.\n  =impiedad= _f._ impiety, impiousness.\n  =imp\u00edo, -a= impious, profane, wicked, godless.\n  =implacable= _adj._ implacable, relentless.\n  =implorar= implore.\n  =imponer= impose.\n  =importar= _impers._ matter, concern.\n  =importunar= disturb, harass.\n  =importuno, -a= troublesome, ill-timed, vexatious, importunate,\n      unreasonable.\n  =imposible= _adj._ impossible.\n  =impotencia= _f._ helplessness.\n  =impulso= _m._ impulse, force.\n  =impuro, -a= impure, foul.\n  =inagotable= _adj._ never-failing, inexhaustible.\n  =incentivo= _m._ incentive.\n  =incierto, -a= uncertain, unknown, doubtful, unsteady, wandering,\n      restless.\n  =inclinar= incline, bend, bow, droop, nod.\n  =indiferencia= _f._ indifference.\n  =indiferente= _adj._ indifferent.\n  =indomable= _adj._ indomitable.\n  =inefable= _adj._ ineffable, unutterable.\n  =infalible= _adj._ infallible.\n  =infante= _m._ child.\n  =infeliz= _adj._ unhappy, wretched.\n  =infernal= _adj._ infernal.\n  =infiel= _adj._ faithless (one).\n  =infierno= _m._ hell, infernal region.\n  =infinito, -a= infinite, endless.\n  =inflamarse= blaze.\n  =informe= _adj._ ill-shapen, uncanny, inarticulate.\n  =infortunio= _m._ misfortune, misery, calamity.\n  =infundir= infuse, instill, inspire.\n  =ingl\u00e9s, -a= English.\n  =Ingl\u00e9s= _m._ Englishman.\n  =ingrato, -a= ungrateful (one), ingrate.\n  =injuria= _f._ insult.\n  =inmensidad= _f._ immensity, vastness, infinity, unbounded greatness.\n  =inmenso, -a= immense, infinite, vast.\n  =inmortal= _adj._ immortal.\n  =inm\u00f3vil= _adj._ motionless, fixed, set, unaffected.\n  =inmundo, -a= dirty, obscene, unclean.\n  =inocente= _adj._ innocent, young.\n  =inquieto, -a= restless, uneasy, anxious, disturbed, agitated.\n  =inquietud= _f._ uneasiness, anxiety, disquietude, restlessness.\n  =insano, -a= insane, mad.\n  =insensible= _adj._ indifferent, without feeling.\n  =insigne= _adj._ renowned, famed, distinguished.\n  =insistir= insist, persist.\n  =insolencia= _f._ insolence.\n  =insolente= _adj._ insolent.\n  =inspirar= inspire, impart.\n  =instante= _m._ instant, moment.\n  =insultar= insult.\n  =insulto= _m._ insult.\n  =intenci\u00f3n= _f._ intention, purpose, mind.\n  =intenso, -a= intense, intent, keen.\n  =intentar= attempt, endeavor, try.\n  =interponerse= interpose, intervene.\n  =interrumpir= interrupt.\n  =intr\u00e9pido, -a= courageous, dauntless.\n  =inundar= flood, deluge.\n  =in\u00fatil= _adj._ useless.\n  =invencible= _adj._ invincible.\n  =invenci\u00f3n= _f._ invention.\n  =invisible= _adj._ invisible, unseen.\n  =ir= go, be, be at stake; =----= + _gerund_ go on, keep;\n      =---- a= be about to, be going to; =--se= go away, go; =all\u00e1 voy=\n      I am coming; =me va en ello mi fama= my reputation is at stake in\n      it;   =qui\u00e9n va= who goes there; =vamos= come now, well; =vamos\n      andando= let us be off; =van los cincuenta= I bet fifty.\n  =ira= _f._ anger, ire.\n  =iracundo, -a= wrathful.\n  =iron\u00eda= _f._ irony.\n  =ir\u00f3nico, -a= ironical.\n  =irreligioso, -a= irreligious.\n  =irreverencia= _f._ irreverence, disrespect.\n  =irritar= anger, excite, arouse, provoke, nettle, exasperate.\n  =izquierdo, -a= left.\n\n\n  =jam\u00e1s= _adv._ never, ever.\n  =jard\u00edn= _m._ garden.\n  =jaula= _f._ cage.\n  =jerezano, -a= of Jerez.\n  =Jes\u00fas= _pr. n. m._ Jesus.\n  =joven= _adj._ young, youthful.\n  =joya= _f._ jewel.\n  =Juan= _pr. n. m._ John.\n  =j\u00fabilo= _m._ glee, joy.\n  =juego= _m._ game, sport, play, playing; =hacer ----= make the bets;\n     =hecho el ----= bets closed.\n  =jugador= _m._ player, gambler.\n  =jugar= play, sport, frolic, gamble.\n  =jugo= _m._ juice.\n  =juguete= _m._ plaything, toy, sport.\n  =juicio= _m._ judgment, sense, reason, mind.\n  =juntar= join, unite, touch, knit; =--se= gather, assemble, join,\n     meet, approach.\n  =junto, -a= joined, united, connected.\n  =junto= _adv._ near, close; =---- a= _prep._ near, close to.\n  =juntura= _f._ joint, seam.\n  =jurar= swear.\n  =juventud= _f._ youth.\n  =juzgar= judge, think.\n\n\n  =la= _art. f._ the; _pron. pers. acc._ her, it; _pl._\n      them; _pron. pers. dat._ to her, to it; =---- que= _pron. dem.\n      and rel._ she who, the one who, who.\n  =labio= _m._ lip.\n  =lado= _m._ side, place.\n  =lago= _m._ lake.\n  =l\u00e1grima= _f._ tear.\n  =lamentable= _adj._ deplorable.\n  =lamentar= lament, bewail, bemoan.\n  =lamento= _m._ lament, lamentation, wail, wailing cry.\n  =l\u00e1mpara= _f._ lamp, light.\n  =lance= _m._ incident, love-affair, affair of honor.\n  =languidez= _f._ languor, weakness, faintness.\n  =l\u00e1nguido, -a= languid, gentle, apathetic, faint, weak, feeble.\n  =lanza= _f._ lance, spear.\n  =lanzar= throw, fling, cast, let loose, emit, utter; =--se= dart, rush.\n  =lares= _m. pl._ lares, home.\n  =largo, -a= long; _pl._ many.\n  =lastimar= hurt, wound, move to pity; =--se= grieve, be sorry, be\n     moved to pity.\n  =lastimero, -a= sad, mournful.\n  =latido= _m._ throbbing.\n  =lava= _f._ lava.\n  =lazo= _m._ bond, tie, knot; toils, web, snare.\n  =le= _pron. pers. dat. acc._ him, her, it.\n  =lector= _m._ reader.\n  =lecho= _m._ bed, couch.\n  =lejano, -a= distant.\n  =lejos= _adv._ far, far away, afar; =a lo ----= in the distance;\n     =de ----= from afar, at a great distance.\n  =lengua= _f._ tongue.\n  =lenguaje= _m._ language, speech, tongue.\n  =lento, -a= slow.\n  =le\u00f1a= _f._ wood, firewood.\n  =les= _pron. pers. dat. acc._ them.\n  =letal= _adj._ deadly.\n  =letra= _f._ letter; =----s= letters, literature, lore.\n  =levantar= raise, lift up, erect, set up; =--se= rise, get up, stand\n      up.\n  =leve= _adj._ light, slight, delicate.\n  =ley= _f._ law, religion.\n  =libertad= _f._ liberty, freedom.\n  =librar= free, preserve, save.\n  =libre= _adj._ free, open, innocent, alone.\n  =lid= _f._ contest, conflict, fight.\n  =ligar= bind.\n  =ligeramente= _adv._ slightly, lightly.\n  =ligero, -a= slight.\n  =l\u00edmite= _m._ limit, bound.\n  =limosna= _f._ alms, charity.\n  =l\u00edmpido, -a= limpid, pure, clear.\n  =limpieza= _f._ limpidity, purity, clearness.\n  =lino= _m._ linen.\n  =lira= _f._ lyre.\n  =lisonjero, -a= flattering, pleasing, cajoling.\n  =liviano, -a= frivolous, lewd.\n  =l\u00edvido, -a= livid.\n  =lo= _art. neut._ the; _pron. pers. acc._ it, him; =---- que=\n      _pron. dem. and rel._ what, that which; =---- que es por= as for,\n      when it comes to.\n  =l\u00f3brego, -a= lugubrious, mournful, gloomy, obscure, dismal, dark, sad.\n  =loco, -a= mad, wild, crazy.\n  =locura= _f._ madness, folly.\n  =lodo= _m._ mire.\n  =lograr= attain, gain.\n  =loma= _f._ hillock, ridge.\n  =lona= _f._ canvas.\n  =lontananza= _f._ distance.\n  =los= _art. pl. m._ the; _pron. pers. acc._ them; =---- que=\n      _pron. dem. and rel._ those who, the ones who.\n  =losa= _f._ slab, stone.\n  =lozano, -a= luxuriant, sprightly.\n  =l\u00fabrico, -a= slippery, lewd.\n  =lucero= _m._ bright star, morning star, star.\n  =luciente= _adj._ shining.\n  =Lucifer= _pr. n. m._ Lucifer.\n  =luchar= struggle.\n  =luego= _adv._ then, at once, presently, soon, next, subsequently.\n  =lugar= _m._ place, town.\n  =l\u00fagubre= _adj._ sad, mournful, dismal.\n  =lujo= _m._ luxury, finery.\n  =lumbre= _f._ light.\n  =luminoso, -a= luminous, shining, bright.\n  =luna= _f._ moon.\n  =luz= _f._ light, illumination, flame, taper, lamp.\n  =Luzbel= _pr. n. m._ Lucifer, Satan.\n\n\n  =llagar= wound.\n  =llama= _f._ flame, light.\n  =llamar= call, summon, knock, name, call upon, invoke; =--se= be\n      named; =c\u00f3mo os llam\u00e1is= what is your name.\n  =llanto= _m._ weeping, tears.\n  =llegar= arrive, come; =---- a= come to, succeed in, happen to,\n      reach; _or simply takes the signification of the verb to which it\n      is joined:_ =lleg\u00f3 a ver= he saw.\n  =llenar= fill, pervade.\n  =lleno, -a= full, filled.\n  =llevar= carry, bear, bring, wear, take, carry away; =----= + _p.p._\n      have; =---- al extremo= terminate; =--se algo= take something\n      away.\n  =llorar= weep, mourn, weep for, mourn for.\n\n\n  =macedonio, -a= Macedonian.\n  =macizo, -a= solid, massive.\n  =madre= _f._ mother.\n  =maestro, -a= masterly, principal, main; =obra ----a= masterpiece.\n  =magia= _f._ magic, charm.\n  =m\u00e1gico, -a= magic, magical, wonderful.\n  =mal= _adv._ badly, ill, hardly, poorly.\n  =mal= _m._ evil, wrong, harm, injury, sorrow, misfortune.\n  =M\u00e1laga= _m._ Malaga wine.\n  =maldecido, -a= accursed, wicked.\n  =maldecir= curse.\n  =maldiciente= _adj._ cursing, profane.\n  =maldici\u00f3n= _f._ malediction, curse.\n  =maleza= _f._ underbrush, thicket.\n  =malo, a= bad, wicked, evil, obnoxious, poor; =\u00a1mal caballero!=\n     scoundrel!\n  =malvado, -a= criminal, wicked, insolent.\n  =manantial= _m._ spring, source.\n  =manar= flow, trickle.\n  =mancebo= _m._ young man, youth.\n  =mancilla= _f._ spot, blemish.\n  =mancha= _f._ spot, stain.\n  =manchar= stain.\n  =mandato= _m._ command.\n  =man\u00eda= _f._ madness, whim.\n  =mano= _f._ hand.\n  =mansamente= _adv._ gently.\n  =mansi\u00f3n= _f._ mansion, abode.\n  =manto= _m._ mantle, cloak.\n  =ma\u00f1ana= _adv._ to-morrow.\n  =ma\u00f1ana= _f._ morning, morrow.\n  =mar= _m._ (_\"Pirata\" l. 39_), _f._ (_l. 34_), sea, deep; =a ----es=\n     abundantly.\n  =maravilla= _f._ wonder, marvel, miracle.\n  =marcar= mark, stamp.\n  =marco= _m._ frame.\n  =Marcos= _pr. n. m._ Mark.\n  =marcha= _f._ march.\n  =marchar= walk, march.\n  =marchitado, -a= faded, withered.\n  =marchitarse= wither, fade, die.\n  =mareo= _m._ nausea, dizziness.\n  =margen= _m. f._  edge, brink, bank, border.\n  =Mar\u00eda= _pr. n. f._ Mary.\n  =marido= _m._ husband, spouse.\n  =mariposa= _f._ butterfly.\n  =m\u00e1rmol= _m._ marble.\n  =martirio= _m._ martyrdom, torture, grief.\n  =mas= _conj._ but.\n  =m\u00e1s= _adv._ more, most, rather; =---- de= past; =---- que=\n      especially as; =el, la ----= the most; =no ----= only, no longer.\n  =masa= _f._ mass.\n  =matar= kill, slay.\n  =materia= _f._ material, matter.\n  =matiz= _m._ tint, hue.\n  =matrimonio= _m._ marriage.\n  =mayo= _m._ May.\n  =mayor= _adj._ greater; =el, la ----= the greatest.\n  =me= _pron. pers. dat. acc._ me, myself.\n  =mecer= rock, sway; =--se= be rocked, rock.\n  =medida= _f._ measure; =sin ----= unmeasured.\n  =medio, -a= half, middle; =media noche= midnight.\n  =medio= _m._ middle, midst; =en ----= in the midst, nevertheless;\n      =en ---- de= in the midst of.\n  =medroso, -a= terrible, terrifying, timid.\n  =mejilla= _f._ cheek.\n  =mejor= _adj._ better; =el -----= the best.\n  =melancol\u00eda= _f._ melancholy.\n  =melanc\u00f3lico, -a= melancholy.\n  =melod\u00eda= _f._ melody.\n  =memoria= _f._ memory, mind, remembrance.\n  =mendigo= _m._ beggar, mendicant.\n  =menear= stir, shake.\n  =mengua= _f._ shame, disgrace.\n  =menos= _adv._ less, least; =----- que= less than.\n  =mente= _f._ mind, thought, intellect.\n  =mentido, -a= false.\n  =mentir= lie, deceive.\n  =mentira= _f._ lie, falsehood, falsity.\n  =mercader= _m._ trader, merchant.\n  =merced= _f._ mercy; =a ---- de= at the mercy of.\n  =merecer= merit, deserve, be worth.\n  =mesa= _f._ table.\n  =metal= _m._ metal.\n  =met\u00e1lico= _m._ cash, money.\n  =mezclar= mix, mingle, unite, jumble; =--se= be mingled, take part,\n     meddle.\n  =mezquino, -a= miserable, wretched, petty.\n  =mi= _adj. poss._ my.\n  =m\u00ed= _pron. pers._ me, myself.\n  =miedo= _m._ fear; =hacer ---- de= make afraid of.\n  =miel= _f._ honey.\n  =mientras= _adv._ meanwhile; _conj._ while; =---- que= while.\n  =Miguel= _pr. n. m._ Michael.\n  =mil= _card._ thousand.\n  =millar= _m._ thousand.\n  =mina= _f._ mine, source of supply.\n  =m\u00edo, -a= _pron. poss._ my, mine.\n  =mirada= _f._ glance, look, gaze.\n  =mirar= look at, contemplate, regard, see, behold, watch, notice;\n      =--se entre s\u00ed= look at each other.\n  =misa= _f._ mass.\n  =miserable= _adj._ miserable, wretched.\n  =miseria= _f._ misery, wretchedness.\n  =m\u00edsero, -a= miserable, wretched.\n  =mismo, -a= same, very, self, own.\n  =misterioso, -a= mysterious.\n  =m\u00edstico, -a= mystical.\n  =modo= _m._ way, manner; =de tal ----= in such a way.\n  =mofa= _f._ sneer, jeer.\n  =mofar de= scoff at, flout.\n  =molestar= trouble, disturb, grate upon.\n  =momento= _m._ moment, instant; =al ----= in a moment, immediately.\n  =monarca= _m._ monarch.\n  =mon\u00f3tono, -a= monotonous, slow, dull.\n  =monta\u00f1a= _f._ mountain.\n  =Montemar= _pr. n._ Montemar.\n  =mont\u00f3n= _m._ heap.\n  =monumento= _m._ monument.\n  =morada= _f._ abode.\n  =morador, -a= inhabitant.\n  =morar= dwell, abide, inhabit, lodge in.\n  =morder= bite.\n  =Moreto= _pr. n._ Moreto.\n  =moribundo, -a= dying.\n  =morir(se)= die, expire, go out.\n  =mortal= _adj._ mortal, deadly, fatal.\n  =mortal= _m._ mortal, being, man.\n  =mort\u00edfero, -a= deadly, noxious.\n  =mostrar= show, point out, indicate.\n  =motivo= _m._ motive, reason, cause.\n  =mover= move, stir, sway, drive; =---- guerra= wage war; =---- la\n      planta= walk; =---- los ojos= roll one's eyes; =---- los pies=\n      walk; =--se= move, walk.\n  =movimiento= _m._ movement, motion, startled movement, agitation,\n      thrill, stirring.\n  =mucho= _adv._ much.\n  =mudo, -a= dumb, silent, still, mute.\n  =mueca= _f._ grimace.\n  =muerte= _f._ death.\n  =muerto, -a= dead, lifeless, dying.\n  =muerto, -a= _m. f._ dead person, corpse.\n  =muestra= _f._ indication, token, proof.\n  =mujer= _f._ woman, wife.\n  =mula= _f._ mule.\n  =mullido, -a= soft.\n  =mundano, -a= worldly, of the world.\n  =mundo= _m._ world, earth, society.\n  =murmullo= _m._ murmuring, rippling.\n  =murmurar= murmur.\n  =muro= _m._ wall.\n  =m\u00fasica= _f._ music, melody.\n  =mutuo, -a= mutual.\n  =muy= _adv._ very, very much.\n\n\n  =nacarado, -a= pearly, nacreous.\n  =nacer= be born, spring up.\n  =naciente= _adj._ nascent, growing, budding, dawning.\n  =naci\u00f3n= _f._ nation.\n  =nada= _pron._ nothing, not anything.\n  =nada= _adv._ not at all, not.\n  =nadie= _pron._ no one, any one.\n  =naipe= _m._ card.\n  =nariz= _f._ nose, nostril.\n  =n\u00e1ufrago, -a= wrecked, coming from a wreck.\n  =nave= _f._ ship, vessel.\n  =navegar= sail.\n  =nav\u00edo= _m._ ship.\n  =nebuloso, -a= nebulous, hazy.\n  =necesitar= need.\n  =necio, -a= foolish.\n  =n\u00e9ctar= _m._ nectar.\n  =negar= deny, refuse.\n  =negro, -a= black, dark.\n  =nervio= _m._ nerve.\n  =nervioso, -a= nervous.\n  =ni= _conj._ neither, nor, or; =---- ... ----= neither ... nor.\n  =niebla= _f._ mist, haze, fog.\n  =nieve= _f._ snow, extreme whiteness.\n  =ninfa= _f._ nymph.\n  =ninguno, -a= _adj. pron._ no, no one, none, not any.\n  =ni\u00f1o= _m._ child, boy.\n  =no= _adv._ not, no; =que -----= no.\n  =noble= _adj._ noble, eminent, worthy, honorable.\n  =nobleza= _f._ nobility.\n  =noche= _f._ night; =de ----= by night, at night;\n  =media ----= midnight.\n  =nombrar= name, mention.\n  =nombre= _m._ name.\n  =nos= _pron. pers. dat. acc._ us.\n  =nosotros, -as= _pron. pers._ we, us.\n  =novela= _f._ novel.\n  =nube= _f._ cloud.\n  =nublo= _m._ storm cloud.\n  =nudo= _m._ knot, noose.\n  =nuestro, -a= _adj. pron._ our, ours, of ours.\n  =nuevo, -a= new, unfamiliar, newly arrived, fresh, additional.\n  =nunca= _adv._ never, ever.\n  =nupcial= _adj._ nuptial.\n  =nutrir= nourish.\n\n\n  =o= _interj._ oh.\n  =o= _conj._ or, either; =---- ... ----= either ... or.\n  =obedecer= obey.\n  =objeto= _m._ object, thing.\n  =obligarse= bind one's self, be obliged.\n  =obra= _f._ work; =---- maestra= masterpiece.\n  =ocasi\u00f3n= _f._ occasion, time, opportunity.\n  =occidente= _m._ west, occident.\n  =oculto, -a= concealed, hidden, secret.\n  =odioso, -a= odious, hateful.\n  =ofender= offend, make angry, insult.\n  =ofrecer= offer, present; =--se= offer, occur, present itself.\n  =oh= _interj._ oh.\n  =o\u00eddo= _m._ ear, hearing.\n  =o\u00edr= hear, listen, listen to; =--se= be heard.\n  =ojal\u00e1= _interj._ would to God.\n  =ojo= _m._ eye, sight.\n  =ola= _f._ wave, billow.\n  =olor= _m._ odor.\n  =oloroso, -a= fragrant.\n  =olvidar= forget.\n  =olvido= _m._ oblivion, forgetfulness, neglect.\n  =onda= _f._ wave.\n  =ondeante= _adj._ waving, flowing.\n  =ondear= wave.\n  =ondina= _f._ undine, water-sprite.\n  =ondular= undulate, rise and fall.\n  =onza= _f._ doubloon (former gold coin, = about $16).\n  =\u00f3palo= _m._ opal.\n  =\u00f3ptico, -a= optical; =---- vidrio= telescope.\n  =opulento, -a= rich, wealthy.\n  =ora= _conj._ now; =---- ... ----= now ... again, at one time ... at\n     another.\n  =orador= _m._ orator.\n  =org\u00eda= _f._ orgy.\n  =orgulloso, -a= proud, haughty.\n  =original= _adj._ original, curious.\n  =oro= _m._ gold, gold coin, wealth, riches; =----s= diamonds (as a\n     suit of playing-cards).\n  =os= _pron. pers. dat. acc._ you, yourself.\n  =osad\u00eda= _f._ boldness, audacity, effrontery.\n  =osado, -a= daring, bold, defiant.\n  =oscuridad= _f._ darkness, obscurity, gloom.\n  =oscuro, -a= dark, gloomy, confused.\n  =ostentar= show, display.\n  =otero= _m._ hill.\n  =otro, -a= _adj. pron._ other, another.\n\n\n  =padecer= _m._ suffering, pain.\n  =padre= _m._ father; =----s= fathers, parents, ancestors.\n  =padrino= _m._ sponsor.\n  =paje= _m._ page.\n  =palabra= _f._ word, promise.\n  =palabrer\u00eda= _f._ wordiness.\n  =palacio= _m._ palace, mansion.\n  =p\u00e1lido, -a= pallid, pale, faint.\n  =palmada= _f._ slap, applause, clapping.\n  =palmo= _m._ span (8 inches).\n  =palpar= feel, grope, know; =--se= feel, grope.\n  =palpitante= _adj._ quivering, throbbing.\n  =palpitar= beat, quiver, flutter.\n  =pan= _m._ bread.\n  =par= _adj._ equal; =a ----= alike; =a ---- que= just as,\n      while; =a la ----= at the same time, equally; =al ---- de= like,\n      as well as.\n  =para= _prep._ for, to, in order to; =ser ----= be enough to.\n  =parabi\u00e9n= _m._ congratulation; =dar el ----= congratulate.\n  =paradero= _m._ halting-place, end.\n  =p\u00e1ramo= _m._ paramo, desert, wilderness.\n  =parar= stop, halt, stake; =--se= stop, halt.\n  =parar= _m._ lansquenet (a game of cards).\n  =parche= _m._ drum.\n  =pardiez= _interj._ by God.\n  =pardo, -a= dark gray, brown, dark.\n  =parecer= appear, seem, resemble, look like; =al ----= seemingly,\n     apparently.\n  =pared= _f._ wall.\n  =p\u00e1rpado= _m._ eyelid.\n  =parte= _f._ part; =de ---- de= from, by command of; =por todas\n     ----s= everywhere.\n  =pasada= _f._ passing; =de ----= in passing.\n  =pasado= _m._ past.\n  =pasar= pass, go by, end.\n  =pasi\u00f3n= _f._ passion.\n  =paso= _m._ step, gait, footstep, tread, passing; =---- de andadura=\n      ambling gait; =al ----, de ----,= in passing.\n  =pastor= _m._ shepherd.\n  =Pastrana= _pr. n._ Pastrana.\n  =patear= stamp upon.\n  =patio= _m._ court, courtyard.\n  =patria= _f._ native country, fatherland, home.\n  =patrio, -a= paternal, native.\n  =pausado, -a= deliberate, leisurely.\n  =pavesa= _f._ embers.\n  =pavimiento= _m._ pavement, floor.\n  =pavor= _m._ fear, terror.\n  =pavoroso, -a= frightful, exciting fear, terrifying, terrible.\n  =pavura= _f._ fear, terror.\n  =paz= _f._ peace, quiet.\n  =pecado= _m._ sin.\n  =pecador, -a= sinful, wicked, wretched.\n  =pecho= _m._ breast, chest, bosom, heart, courage; =a lo hecho, ----=\n     make the best of it.\n  =pecho= _m._ tribute; =dar ----= pay tribute. =pedazo= _m._ piece;\n     =a ----s= to pieces, in pieces; =hacer ----s= break to pieces, tear.\n  =pedestal= _m._ pedestal, foundation.\n  =pedir= ask, ask for, beg, demand; =---- cuenta= bring to account,\n      demand account of.\n  =pedrer\u00eda= _f._ precious stones.\n  =pena= _f._ punishment, penalty, agony, trouble, anxiety, sorrow,\n      pain; =\u00e1nima en ----= soul in purgatory.\n  =pendencia= _f._ quarrel, dispute, row.\n  =pend\u00f3n= _m._ banner, flag.\n  =penetrar= penetrate, pierce.\n  =penoso, -a= painful.\n  =pensamiento= _m._ thought, mind.\n  =pensar= think, consider, plan, mean, intend; =---- en= think of.\n  =pensil= _m._ beautiful garden.\n  =pe\u00f1asco= _m._ large rock.\n  =perder= lose, squander, ruin, undo; =--se= be lost, go astray,\n      disappear, vanish; =dar por perdido= consider lost.\n  =perdido, -a= lost, ruined, done for, beside one's self, vanished,\n      defeated, wandering.\n  =perdidoso, -a= losing, loser.\n  =perd\u00f3n= _m._ pardon, forgiveness.\n  =perdonar= pardon, forgive.\n  =peregrino, -a= strange, wonderful.\n  =perezoso, -a= sluggish.\n  =p\u00e9rfido, -a= perfidious, treacherous.\n  =perfumado, -a= sweet-scented, perfumed.\n  =perfume= _m._ perfume, fragrance, sweet odor.\n  =pero= _conj._ but, however.\n  =perpetuo, -a= perpetual, continual.\n  =perro= _m._ dog.\n  =perseguir= pursue, importune, beset.\n  =persona= _f._ person; =----s= dramatis personae.\n  =pesar= weigh, consider, be valuable, repent.\n  =pesar= _m._ sorrow, trouble, repentance; =a su ----= in spite of\n      himself.\n  =peso= _m._ weight.\n  =pie= _m._ foot; =alzarse de ----= rise to one's feet; =en ----=\n      standing; =mover los ----s= walk; =ponerse de ----= arise, stand up.\n  =piedad= _f._ pity, mercy.\n  =piedra= _f._ stone.\n  =pintar= paint, depict, describe; =--se= be painted, be depicted.\n  =pintura= _f._ picture, painting.\n  =pirata= _m._ pirate.\n  =pisada= _f._ footstep.\n  =pisar= tread upon.\n  =placentero, -a= pleasant, pleasing.\n  =placer= please.\n  =placer= _m._ pleasure, rejoicing.\n  =plan= _m._ plan.\n  =planta= _f._ sole of foot, foot, project, design; =mover la ----= walk.\n  =pla\u00f1ir= sob, whimper, lament.\n  =plata= _f._ silver.\n  =playa= _f._ shore, beach, strand; =sin ----= boundless.\n  =plaza= _f._ square.\n  =plebe= _f._ populace, common people.\n  =plegaria= _f._ prayer.\n  =pliegue= _m._ fold.\n  =poblar= inhabit.\n  =pobre= _adj._ poor.\n  =pobreza= _f._ poverty.\n  =poco= _adv._ little; =---- a ----= little by little, gradually;\n  =por ----= for a trifle.\n  =poder= be able, may, can; _impers._ be possible; =puede que= perhaps,\n     maybe.\n  =poder= _m._ power.\n  =poderoso, -a= powerful, mighty, wealthy.\n  =poeta= _m._ poet.\n  =Polonia= _f._ Poland.\n  =polvo= _m._ dust.\n  =pomo= _m._ pommel, hilt.\n  =pompa= _f._ pomp, splendor.\n  =poner= put, place, instill, fix, set, make, turn, offer, give; =----\n      pavor a uno= make one afraid; =--se a= begin to; =--se de pie=\n      arise, stand up.\n  =poniente= _adj._ setting.\n  =ponzo\u00f1oso, -a= poisonous.\n  =popa= _f._ poop, stern; =en ----= astern, aft; =viento en ----=\n      before the wind, with a wind from astern.\n  =por= _prep._ for, on account of, by, to, through, over, across,\n      for the sake of, on, at; _conj._ =---- qu\u00e9= why.\n  =porf\u00eda= _f._ obstinacy, persistence.\n  =porque= _conj._ because, in order that.\n  =portento= _m._ prodigy, miracle, portent.\n  =porvenir= _m._ future.\n  =pos= _adv. prep._: =en ----= behind, after.\n  =positivamente= _adv._ positively, certainly.\n  =postrado, -a= prostrate, kneeling.\n  =postrero, -a= last.\n  =precipitado, -a= precipitate, headlong, rash, abrupt.\n  =precipitar(se)= precipitate, hasten, rush headlong, hurry.\n  =precursor, -a= _m. f._ precursor, herald, harbinger.\n  =preguntar= ask, inquire, question.\n  =prem\u00e1tica= _f._ pragmatic (a law).\n  =prender= catch, take, bind, fasten; =---- fuego= set fire.\n  =presa= _f._ capture, prize.\n  =pr\u00e9sago, -a= presaging, ominous.\n  =pr\u00e9sago= _m._ presage, omen.\n  =presentar= present, offer, show.\n  =presente= _adj._ present.\n  =presente= _m._ present.\n  =prestar= lend, give, add, ascribe.\n  =presumir= presume, imagine, dare.\n  =presuroso, -a= prompt, quick, light.\n  =prevenirse= prepare.\n  =previsi\u00f3n= _f._ foresight, foreboding, presentiment.\n  =primavera= _f._ spring.\n  =primero, -a= first, former.\n  =pr\u00edncipe= _m._ prince.\n  =prisa= _f._ haste.\n  =proceloso, -a= tempestuous.\n  =procurar= procure, obtain, secure.\n  =prodigio= _m._ prodigy, marvel.\n  =prodigioso, -a= extraordinary, exquisite.\n  =profundo, -a= deep, low, profound, great.\n  =profundo= _m._ abyss, hell.\n  =prolongar(se)= prolong, continue, extend.\n  =prometer= promise.\n  =pronto, -a= ready.\n  =pronto= _adv._ quickly, soon; =de ----= suddenly.\n  =pronunciar= pronounce, utter, say.\n  =propio, -a= own.\n  =prorrumpir= break out, burst forth.\n  =protecci\u00f3n= _f._ protection.\n  =provocar= provoke, rouse, incite.\n  =p\u00fablico, -a= public, general, common.\n  =pudor= _m._ modesty.\n  =pueblo= _m._ people, town, nation.\n  =puerta= _f._ door, gateway, entrance.\n  =puerto= _m._ harbor, port.\n  =pues= _adv._ then, well; _conj._ for, since.\n  =puesta= _f._ setting.\n  =pugnar= struggle.\n  =punto= _m._ spot, speck, point, moment; =al ----= immediately, at once.\n  =punzante= _adj._ sharp, piercing, pricking, stinging, acrid.\n  =pu\u00f1al= _m._ dagger.\n  =pureza= _f._ purity, chastity, innocence.\n  =pur\u00edsimo, -a= very pure, most pure.\n  =puro, -a= pure, chaste, holy, clear, unsullied, unblemished, mere,\n      sheer, absolute.\n\n\n  =que= _conj._ than, for, as, since, that, so that, let; =de ----= that.\n  =que= _pron. rel._ which, that, who, whom; =en ----= when.\n  =qu\u00e9= _interj._ what, how.\n  =qu\u00e9= _interrog._ what, why; =por ----= why.\n  =quebrantar= break, transgress, shatter, split, weaken.\n  =quebranto= _m._ affliction, grief, sorrow.\n  =quedar(se)= stay, remain, be left.\n  =queja= _f._ complaint, lamentation, plaintive cry, moan.\n  =quejarse= complain, lament.\n  =quejido= _m._ moan, complaint.\n  =quemado, -a= burning.\n  =quemar= burn.\n  =querer= love, like, desire, want, seek, wish, accept, cover, accept a\n      challenge _or_ bet, be on the point of.\n  =querido, -a= dear, beloved.\n  =quien= _pron. rel._ who, which, whom, one who.\n  =qui\u00e9n= _pron. interrog._ who.\n  =Quijote= _pr. n. m._ Quixote.\n  =quimera= _f._ chimera, fancy, quarrel, row.\n  =quim\u00e9rico, -a= chimerical, fantastic.\n  =quince= _card._ fifteen.\n  =quinto, -a= fifth.\n  =quitar(se)= take away, remove, take off.\n  =quiz\u00e1= _adv._ perhaps.\n\n\n  =rabia= _f._ rage, fury.\n  =raci\u00f3n= _f._ ration, allowance of food.\n  =radiante= _adj._ radiant.\n  =r\u00e1faga= _f._ gust, blast, burst.\n  =rama= _f._ branch, bough.\n  =ramaje= _m._ branches.\n  =ramo= _m._ branch.\n  =r\u00e1pido, -a= rapid, quick, swift, nimble, fleeting.\n  =raro, -a= strange, unusual.\n  =rasgar= tear, rend.\n  =raudal= _m._ torrent, stream.\n  =raudo, -a= rapid, swift, precipitate..\n  =raya= _f._ stripe, streak.\n  =rayar= border upon.\n  =rayo= _m._ ray, thunderbolt, beam, light.\n  =raz\u00f3n= _f._ reason, reasoning.\n  =realidad= _f._ reality.\n  =realizar= realize, make real, bring about.\n  =rebelde= _adj._ rebellious.\n  =rebramar= bellow.\n  =recatado, -a= cautious, careful, prudent.\n  =recato= _m._ modesty, prudence, coyness.\n  =recelo= _m._ misgiving, apprehension, fear.\n  =receloso, -a= distrustful, terrifying, fearsome.\n  =recibir= receive, take, accept.\n  =recio, -a= strong, loud, severe, rigorous.\n  =recobrar= recover.\n  =recoger= gather, collect, take in, receive, shelter.\n  =recogido, -a= retired, absorbed, secluded.\n  =reconcentrado, -a= concentrated, intense.\n  =reconocer= recognize, know.\n  =recordar= remember, recall.\n  =recorrer= pass through, examine.\n  =recrear= delight, gladden.\n  =recuerdo= _m._ recollection, memory.\n  =rechazar= repel, reject.\n  =rechinamiento= _m._ gnashing.\n  =rechinar= creak, gnash.\n  =rededor= _m._ environs; =al ---- de= around.\n  =redoblar= redouble.\n  =redoble= _m._ roll.\n  =redor= _cf._ =rededor=; =en ----= round about.\n  =reflejar= reflect.\n  =reflejo= _m._ light, gleam, glimmer.\n  =refregar= rub.\n  =refulgente= _adj._ resplendent, brilliant.\n  =regalar= make merry, cheer, entertain, delight; =--se= feast, make\n     merry, fare sumptuously.\n  =regar= lave, water.\n  =regio, -a= royal, regal, magnificent.\n  =regi\u00f3n= _f._ region, realm.\n  =registrar= examine, scan.\n  =regocijar= gladden, brighten.\n  =reina= _f._ queen.\n  =reinar= reign.\n  =re\u00edr= laugh; =--se= laugh; =---se de= laugh at.\n  =rel\u00e1mpago= _m._ lightning flash.\n  =relinchar= whinny, neigh.\n  =reloj= _m._ clock, timepiece.\n  =remiso, -a= slow.\n  =remolino= _m._ whirl, whirling, vortex, eddy, whirlwind.\n  =remontarse= rise, soar, tower.\n  =remordimiento= _m._ remorse.\n  =remover= remove, move, take away.\n  =rencor= _m._ grudge, hatred.\n  =rendido, -a= worn out, overcome.\n  =rendir= surrender, give up, overcome, yield.\n  =renegar de= deny, abhor, denounce, curse, protest against.\n  =rengl\u00f3n= _m._ line.\n  =re\u00f1idor, -a= quarrelsome.\n  =re\u00f1ir= quarrel, fight.\n  =reparar= defend, recover.\n  =reparo= _m._ advice, warning, remark, objection.\n  =repente= _m._ sudden movement; =de ---- suddenly.\n  =repentino, -a= sudden.\n  =repetir= repeat.\n  =reponer= reply.\n  =reposar= repose, rest.\n  =reposo= _m._ rest, sleep.\n  =r\u00e9probo, -a= reprobate, wicked one.\n  =repugnante= _adj._ repulsive, loathsome.\n  =requerir= examine, lay hold of.\n  =resbalar= slip away, glide, pass over, touch.\n  =resistir= resist, endure, withstand.\n  =resoluci\u00f3n= _f._ resolution, determination.\n  =resolver= resolve, determine.\n  =resonar= resound, ring out, echo.\n  =respirar= breathe, exhale, inhale.\n  =resplandor= _m._ light, radiance, brightness, glow.\n  =responder= respond, reply, answer.\n  =respuesta= _f._ reply, answer.\n  =resucitar= return to life.\n  =resuelto, -a= resolved, determined.\n  =retumbar= tremble.\n  =retorcer= twist; =--se= writhe, be wrung.\n  =retrato= _m._ portrait, picture.\n  =retumbar= resound, re\u00ebcho.\n  =reunir= unite, gather.\n  =reventar= burst forth.\n  =rev\u00e9s= _m._ reverse; =al ----= contrariwise.\n  =revestir= clothe, robe.\n  =revuelto, -a= agitated, restless, disordered, topsy-turvy, winding,\n      wrapped, clad.\n  =rey= _m._ king, monarch.\n  =rezar= pray, recite.\n  =rezo= _m._ prayer, devotions.\n  =rico, -a= rich, abundant, plentiful, fine.\n  =rid\u00edculo, -a= ridiculous, strange, absurd.\n  =rielar= shimmer, glisten.\n  =rienda= _f._ rein; =a ---- suelta= at full gallop.\n  =riesgo= _m._ danger.\n  =rifar= raffle, bid.\n  =rigidez= _f._ rigidity.\n  =r\u00edgido, -a= rigid, severe, rigorous.\n  =r\u00edo= _m._ river, stream.\n  =riqueza= _f._ richness, riches, wealth.\n  =risa= _f._ laughter.\n  =rival= _m._ rival.\n  =rizar= ripple.\n  =robar= rob; =---- a= steal from.\n  =roble= _m._ oak tree.\n  =roca= _f._ rock, cliff.\n  =rodar= roll, be tossed about, abound.\n  =rodear= surround.\n  =rodilla= _f._ knee; =de -----s= kneeling.\n  =roedor, -a= gnawing.\n  =roer= gnaw, consume, harass.\n  =rogar= pray.\n  =rojo, -a= red, crimson, ruby.\n  =romper= break, break down, destroy, shatter, dash.\n  =ronco, -a= hoarse, raucous, harsh.\n  =ronda= _f._ rounds, circular dance, dance.\n  =ropa= _f._ garment, raiment, clothing.\n  =ropaje= _m._ apparel, gown, robe.\n  =rosa= _f._ rose.\n  =rosado, -a= rosy, roseate.\n  =rostro= _m._ face, countenance.\n  =roto, -a= broken, destroyed, shattered.\n  =rudo, -a= rude, rough, hard.\n  =rueda= _f._ wheel, circle, turn.\n  =ruego= _m._ request, entreaty.\n  =rugido= _m._ roaring.\n  =rugir= roar, bellow.\n  =ruido= _m._ noise, din, sound.\n  =ruinoso, -a= ruinous, crumbling.\n  =ruise\u00f1or= _m._ nightingale.\n  =rumbo= _m._ course.\n  =rumor= _m._ noise, sound.\n\n\n  =s\u00e1bado= _m._ Saturday, Sabbath.\n  =saber= know, learn, find out.\n  =sabroso, -a= tasty, delicious, palatable.\n  =sacro, -a= holy, sacred.\n  =sacudido, -a= harsh, jerky.\n  =sacudir= shake, shake off, strike.\n  =sagrado, -a= sacred, holy.\n  =Salamanca= _pr. n. f._ Salamanca.\n  =salir= come out, go out, get out, emerge, issue, turn out, appear,\n      show up; =---- de= leave, get out.\n  =saltar(se)= jump, spring, flash.\n  =saludar= salute, greet.\n  =san (santo)= saint.\n  =sandio, -a= foolish, stupid, silly.\n  =sangre= _f._ blood, gore; =---- fr\u00eda= sangfroid, coolness, calmness.\n  =sangriento, -a= bloody, gory.\n  =santidad= _f._ holiness, godliness.\n  =santo, -a= holy, saint, blessed.\n  =sarcasmo= _m._ sarcasm.\n  =sargento= _m._ sergeant.\n  =sastre= _m._ tailor.\n  =Satan\u00e1s= _m._ Satan.\n  =sat\u00e1nico, -a= Satanic.\n  =s\u00e1tira= _f._ satire.\n  =satisfacci\u00f3n= _f._ satisfaction.\n  =sauce= _m._ willow.\n  =Sc\u00e9vola= _pr. n. m._ Scaevola.\n  =se= _pron. refl. 3d pers. dat. acc. m. f. sing. pl._ him, himself,\n      herself, itself, themselves; one another, each other; _dat. of 3d\n      pers. pron._ to you.\n  =secar= parch, consume, dry up, wither.\n  =seco, -a= dry, dried up, barren, withered, lean, bony.\n  =secreto, -a= secret, hidden.\n  =sed= _f._ thirst.\n  =seductor, -a= seducing.\n  =seductor= _m._ seducer.\n  =segar= mow, reap.\n  =seguida= _f._ continuation; =en ----= forthwith, immediately.\n  =seguir= follow, succeed, pursue, go on, continue.\n  =seg\u00fan= _prep._ according to.\n  =segundo, -a= second.\n  =seguro, -a= secure, safe, confident, certain, unfailing, stanch;\n      =mal ----= unsafe, insecure.\n  =seis= _card._ six.\n  =sellar= seal, cover.\n  =sello= _m._ seal, stamp, mark.\n  =semblante= _m._ countenance, face.\n  =semejante= _adj._ similar, like, resembling.\n  =semejar= resemble, be like.\n  =sempiterno, -a= eternal.\n  =Sena= _pr. n. f._ Siena.\n  =seno= _m._ bosom, breast, depths.\n  =sensaci\u00f3n= _f._ sensation, feeling.\n  =sentar= suit, place, plant, become, set; =--se= sit down.\n  =sentenciar= condemn.\n  =sentido= _m._ sense; =sin ----= senseless, unconscious.\n  =sentimiento= _m._ sentiment, feeling, emotion, regret, grief.\n  =sentir(se)= feel, regret, be sorry, hear, perceive, foresee.\n  =se\u00f1a= _f._ sign.\n  =se\u00f1alar= point out, mark out, make known, name.\n  =se\u00f1or= _m._ lord, se\u00f1or, gentleman, sir, Mr..\n  =se\u00f1ora= _f._ lady, madam.\n  =separar= separate, part.\n  =sepulcral= _adj._ sepulchral.\n  =sepulcro= _m._ grave, tomb.\n  =sepultar= bury, entomb.\n  =sepultura= _f._ grave, tomb.\n  =ser= be; =---- para= be enough to; =es de temer= it is to be feared;\n      =es de ver= you should see; =no sea que= lest, for fear that;\n      =sea ... sea= whether ... or.\n  =ser= _m._ being.\n  =seraf\u00edn= _m._ seraph, angel.\n  =sereno, -a= serene, quiet, calm, placid, fair, peaceful.\n  =serm\u00f3n= _m._ sermon, talk, advice.\n  =servir= serve; =---- de= serve as; =--se de= make use of.\n  =sesenta= _card._ sixty.\n  =severo, -a= severe, stern, serious, rigorous, strict.\n  =si= _conj._ if, when, whether; =---- no= otherwise, unless;\n      =---- ... ----= whether ... or; =y ---- no= unless, otherwise.\n  =s\u00ed= _pron. refl. sing. pl. m. f._ himself, herself, etc..\n  =s\u00ed= _adv._ yes, ay, indeed, certainly; =que ----= yes.\n  =s\u00ed= _m._ assent, consent.\n  =siempre= _adv._ always, ever.\n  =sien= _f._ temple.\n  =sierpe= _f._ serpent.\n  =silbar= whistle.\n  =silbo= _m._ whistling.\n  =silencio= _m._ silence, quiet, repose.\n  =silencioso, -a= silent.\n  =silfa= _f._ sylph.\n  =s\u00edlfide= _f._ sylph.\n  =silla= _f._ saddle.\n  =sin= _prep._ without; =---- que= _conj._ without.\n  =siniestro, -a= left.\n  =sino= _adv. conj._ but, only, except.\n  =sino (signo)= _m._ fate, mark.\n  =siquier, siquiera,= _conj._ whether, although, at least; =no ----=\n     not even; =---- ... ----= whether ... or.\n  =sitio= _m._ place, spot, site.\n  =soberano, -a= sovereign, supreme.\n  =sobra= _f._ surplus; =----s= leavings.\n  =sobre= _prep._ over, above, on, upon; =estar ---- s\u00ed= be self-\n     possessed.\n  =sociedad= _f._ society.\n  =S\u00f3crates= _pr. n. m._ Socrates.\n  =sol= _m._ sun.\n  =soldado= _m._ soldier.\n  =soledad= _f._ solitude, loneliness; =de ----= deserted.\n  =solemne= _adj._ solemn, impressive, grave.\n  =soler= be accustomed, be wont.\n  =solitario, -a= solitary, lonely, isolated.\n  =solo, -a= alone, single, solitary, only; =a solas= alone, privately.\n  =s\u00f3lo= _adv._ only; =tan ----= only.\n  =soltar= let go, loosen, utter; =---- una carcajada= burst out laughing.\n  =sollozante= _adj._ sobbing.\n  =sombra= _f._ shadow, shade, darkness, trace, vestige, wraith, spirit.\n  =sombrero= _m._ hat.\n  =sombr\u00edo, -a= somber, dark, overcast, cloudy, gloomy, melancholy,\n     sullen.\n  =s\u00f3n= _m._ sound, noise, manner.\n  =sonar= sound, resound.\n  =soneto= _m._ sonnet.\n  =sonido= _m._ sound, peal.\n  =sonoro, -a= sonorous, resounding, loud, harmonious.\n  =sonre\u00edr= smile.\n  =sonrisa= _f._ smile.\n  =so\u00f1ar= dream, imagine, dream of.\n  =soplo= _m._ gust, breath.\n  =s\u00f3rdido, -a= dirty, nasty.\n  =sordo, -a= dull, stifled, muffled, quiet.\n  =sorpresa= _f._ surprise.\n  =sosegado, -a= calm, calmed, peaceful.\n  =sosiego= _m._ calmness, peace, quiet.\n  =sota= _f._ jack, knave.\n  =Stambul= _pr. n._ Stamboul.\n  =su= _adj. poss._ his, her, its, their, your.\n  =suave= _adj._ soft, mellow, delicate, gentle.\n  =suav\u00edsimo, -a= very soft, very gentle, very sweet.\n  =subir= raise, mount, ascend, climb; =--se= mount, rise.\n  =s\u00fabito, -a= sudden.\n  =s\u00fabito= _adv._ suddenly; =de ----= suddenly.\n  =sublime= _adj._ sublime, majestic, heroic.\n  =suceder a= succeed, follow.\n  =sudor= _m._ sweat.\n  =suelo= _m._ ground, earth, floor.\n  =suelto, -a= loose, flowing, swift; =a rienda suelta= at full gallop.\n  =sue\u00f1o= _m._ sleep, slumber, dream, vision, fancy.\n  =suerte= _f._ luck, fortune, fate, lot; =a otra ---- de esos dados=\n     another cast of those dice.\n  =sufrir= suffer, permit, tolerate.\n  =sujetar= subdue, overcome.\n  =sujeto, -a= held fast, conquered.\n  =suntuoso, -a= sumptuous, luxurious.\n  =supremo, -a= supreme.\n  =suspender= suspend, hang.\n  =suspirar= sigh; =---- de= long for.\n  =suspiro= _m._ sigh.\n  =susurrar= whisper, murmur.\n  =susurro= _m._ whispering, murmuring.\n  =suyo, -a= _adj. poss._ his; =el ----= _pron. poss._ his.\n\n\n  =tabla= _f._ board, plank.\n  =t\u00e1cito, -a= silent, quiet, stealthy.\n  =tacto= _m._ touch.\n  =tachonado, -a= betrimmed.\n  =tajante= _adj._ keen-cutting (_sc._ sword).\n  =tal= _adj. pron._ such, so, thus; =---- vez= perhaps, occasionally,\n     now and then.\n  =t\u00e1lamo= _m._ bridal couch.\n  =talante= _m._ appearance, disposition.\n  =talle= _m._ figure, appearance.\n  =taller= _m._ factory, workshop.\n  =tallo= _m._ stalk, stem.\n  =tambi\u00e9n= _adv._ too, moreover, likewise.\n  =tan= _adv._ so, such; =---- ... como= as ... as; =---- s\u00f3lo= only.\n  =tanto, -a= _adj._ so much, so great; _pl._ so many.\n  =tanto= _adv._ so much, so, such; =cuanto m\u00e1s ... ---- m\u00e1s=\n      the more ... the more; =en ----= while, meanwhile; =entre ----=\n      meanwhile; =---- como= as long as; =---- m\u00e1s= the more.\n  =tapar= cover, veil, muffle.\n  =tapiz= _m._ tapestry.\n  =tararear= hum.\n  =tardar(se)= delay, take long, be long in coming, tarry.\n  =tarde= _adv._ late, too late; =se hace ----= it is growing late.\n  =tarde= _f._ afternoon, evening.\n  =tardo, -a= slow, tardy, sluggish.\n  =tarifa= _f._ tariff, price.\n  =tart\u00e1reo, -a= Tartarean, infernal.\n  =te= _pron. pers._ thee, thyself.\n  =tea= _f._ torch.\n  =techo= _m._ roof, ceiling.\n  =tejer= weave, contrive.\n  =temblar= tremble at, fear, quiver, twitch, tremble.\n  =temblor= _m._ trembling, tremor, shiver.\n  =tembloroso, -a= trembling.\n  =temer= fear.\n  =temerario, -a= rash, impetuous, reckless, daring.\n  =temeridad= _f._ rashness.\n  =temeroso, -a= timid, fearful.\n  =temor= _m._ fear.\n  =t\u00e9mpano= _m._ sheet (of ice etc.).\n  =tempestad= _f._ tempest, storm.\n  =templado, -a= softened.\n  =templo= _m._ temple, church.\n  =temprano, -a= early, premature.\n  =tender= stretch out, extend, spread.\n  =tenebroso, -a= shadowy, gloomy.\n  =tener= have, keep, take, grasp; =---- de= + _inf._ be going to, must.\n  =Tenorio= _pr. n. m._ Tenorio.\n  =tentar= tempt.\n  =te\u00f1ir= tinge, color.\n  =tercero, -a= third.\n  =terco, -a= obstinate.\n  =Teresa= _pr. n. f._ Theresa.\n  =terminar= end, consummate.\n  =t\u00e9rmino= _m._ term, end.\n  =terneza= _f._ softness.\n  =ternura= _f._ tenderness, affection.\n  =terror= _m._ terror.\n  =terso, -a= smooth, glossy, unwrinkled.\n  =tertulia= _f._ assembly, club.\n  =tesoro= _m._ treasure, wealth, riches.\n  =ti= _pron. pers._ thee.\n  =Tibre= _pr. n. m._ Tiber.\n  =tiempo= _m._ time, period, season; =a un ----= at once, at\n  the same time; =a un ---- mismo= at the very same time; =de ---- en\n  ----= from time to time; =un ----= once, formerly.\n  =tienta= _f._ probe; =a ----s= gropingly, feeling his way.\n  =tierno, -a= tender, soft, affectionate, young.\n  =tierra= _f._ land, country, earth, ground.\n  =tigre= _m._ tiger.\n  =t\u00edmido, -a= timid, shy.\n  =tiniebla= _f._ darkness, shadow.\n  =tinta= _f._ tint, hue, color.\n  =tiple= _m._ treble.\n  =tirano= _m._ tyrant.\n  =tirar= throw, throw away, cast, draw, pull, win; =---- de= pull, draw.\n  =tocar= touch, fall to one's share, hit; =---- a muerto= toll a\n      funeral bell; =dale con ---- a muerto= plague take this funeral\n      tolling.\n  =todav\u00eda= _adv._ nevertheless, still, yet.\n  =todo, -a= all, every.\n  =todo= _pron._ everything, all; =----s= everybody, all.\n  =todo= _adv._ entirely.\n  =Toledo= _f._ Toledo.\n  =tomar= take, take up.\n  =tono= _m._ tone, manner.\n  =torbellino= _m._ whirlwind.\n  =torcer= twist, wind, bend, turn, divert.\n  =torcido, -a= winding, twisting.\n  =tormenta= _f._ storm, tempest, hurricane, misfortune.\n  =tormento= _m._ torment, torture, anguish.\n  =Tormes= _m._ Tormes.\n  =tornar= return; =---- a= + _inf._ do again, repeat (an act).\n  =torno= _m._ turn; =en ----= round about; =en ---- de= around, about.\n  =torpe= _adj._ slow, dull, awkward.\n  =torre= _f._ tower, spire.\n  =torrente= _m._ torrent, avalanche.\n  =torre\u00f3n= _m._ strong tower.\n  =tortura= _f._ torture.\n  =torvo, -a= stern, severe, grim.\n  =trabajar= work, toil.\n  =trabajo= _m._ work, task, toil, labor.\n  =traer= bring, bear.\n  =tragar= swallow.\n  =traje= _m._ garb, apparel.\n  =tranco= _m._ stride.\n  =tranquilo, -a= tranquil, calm, peaceful, quiet.\n  =transpirar= transpire, appear.\n  =trapo= _m._ rag, sails; =a todo ----= all sails set.\n  =tras= _prep._ behind, after; =---- de= behind.\n  =traslado= _m._ likeness, imitation.\n  =trasmontar= sink beyond, set.\n  =trasparente= _adj._ transparent, clear.\n  =traspasar= pierce.\n  =traspi\u00e9= _m._ slip, stumble; =dar ----s= stumble, reel.\n  =trastornar= disorder, confuse, upset.\n  =trastorno= _m._ disorder, confusion, disturbance.\n  =trasunto= _m._ likeness, copy.\n  =trato= _m._ agreement, bargain, treatment.\n  =trecho= _m._ distance.\n  =tregua= _f._ truce, respite.\n  =tremendo, -a= awful, terrible.\n  =tr\u00e9mulo, -a= trembling, flickering.\n  =trescientos, -as= three hundred.\n  =triplicar= triple.\n  =triste= _adj._ sad, sorrowful, dismal, gloomy, cheerless, wretched,\n     sorry.\n  =tristura= _f._ sadness, sorrow.\n  =triunfante= _adj._ triumphant.\n  =triunfo= _m._ triumph, victory, success.\n  =trocar= change; =--se= be changed, change.\n  =tromba= _f._ waterspout.\n  =tronar= thunder.\n  =tronchar= break off a trunk.\n  =trono= _m._ throne.\n  =trovador= _m._ troubadour.\n  =trueno= _m._ thunder.\n  =truh\u00e1n, -a= scoundrel.\n  =tu= _adj. poss._ thy.\n  =t\u00fa= _pron. pers._ thou.\n  =tu\u00e9tano= _m._ marrow.\n  =tumba= _f._ tomb, grave.\n  =tumbo= _m._ fall, tumble, somersault.\n  =t\u00fanica= _f._ tunic, robe.\n  =turbar= disturb, daunt, shake, upset.\n  =turbio, -a= troubled, confused, dim, heavy.\n  =turbi\u00f3n= _m._ squall, heavy shower, hurricane.\n  =turbulento, -a= turbulent, tumultuous, disorderly.\n  =Turco, -a= _m. f._ Turk.\n\n\n  =u= _conj._ (_before_ =o= _or_ =ho=) or.\n  =ufano, -a= proud, content.\n  =\u00faltimo, -a= last, final.\n  =ultraje= _m._ outrage, insult.\n  =umbr\u00edo, -a= dark, shady.\n  =un, una= _art._ a, an.\n  =\u00fanicamente= _adv._ only.\n  =\u00fanico, -a= only, sole, singular.\n  =unir= unite, join, bind.\n  =universo= _m._ universe, world.\n  =uno, -a= _adj. pron._ one; =----s= some; =de ----a en ---a=   one by\n     one.\n  =urna= _f._ urn.\n\n\n  =vadear= ford.\n  =vagar= wander, roam, flit, drift, hover.\n  =vago, -a= wandering, wavering, vague, indistinct, hazy.\n  =vagoroso, -a= wandering, errant.\n  =vaguedad= _f._ vagueness; =con ----= vaguely, uncertainly.\n  =valent\u00eda= _f._ valor, courage.\n  =valer= be worth, help, avail; =m\u00e1s vale= it is better.\n  =valeroso, -a= valiant, brave.\n  =valiente= _adj._ valiant, brave, arrogant, blustering.\n  =valor= _m._ valor, courage, strength, force, might, amount, value.\n  =valle= _m._ vale.\n  =vano, -a= vain, idle, useless, presumptuous; =en ----= in vain,\n     useless.\n  =vapor= _m._ vapor, mist, fumes.\n  =vaporoso, -a= ethereal, airy, shadowy, misty.\n  =var\u00f3n= _m._ man.\n  =varonil= _adj._ manly, masculine.\n  =vaso= _m._ glass, vessel, vase.\n  =vate= _m._ bard.\n  =veinte= _card._ twenty.\n  =vela= _f._ sail, ship; =a toda ----= full sail.\n  =velar= veil.\n  =velero, -a= swift-sailing (ship).\n  =veleta= _f._ weathercock, vane.\n  =velo= _m._ veil.\n  =veloz= _adj._ swift.\n  =vena= _f._ vein.\n  =vencedor, -a= conquering, victorious.\n  =vencedor, -a= _m. f._ conqueror, victor.\n  =vencer= conquer, vanquish, overcome, subdue.\n  =vencido, -a= conquered, submissive, subdued.\n  =venda= _f._ bandage.\n  =vendaval= _m._ strong wind from the sea.\n  =vender= sell, set up for sale.\n  =veneno= _m._ poison, venom.\n  =vengador, -a= avenging.\n  =venganza= _f._ vengeance, revenge.\n  =vengar= avenge; =--be revenged.\n  =vengativo, -a= avenging.\n  =venir= come, advance, approach, go; =---- a= succeed in; =vengan\n      los dados= let's have the dice.\n  =ventura= _f._ happiness, fortune; =sin ----= wretched, hapless;\n      =sin ---- de m\u00ed= unfortunate me, woe is me.\n  =venturoso, -a= fortunate, happy.\n  =ver= see, behold, realize; =--se= be seen, can be seen, find one's\n      self.\n  =verdad= _f._ truth.\n  =verdadero, -a= true, real, genuine.\n  =verg\u00fcenza= _f._ shame.\n  =verter= shed, cast.\n  =vertiginoso, -a= giddy, vertiginous.\n  =v\u00e9rtigo= _m._ vertigo, dizziness, confusion, dizzy course.\n  =vestido= _m._ dress, raiment, robe.\n  =vestir= dress, clothe, garb, enwrap.\n  =vez= _f._ time, turn; =a veces= at times; =cada ---- m\u00e1s=\n      more and more; =en ---- de= instead of; =otra ----= again, once\n      more; =tal ----= perhaps, occasionally, now and then.\n  =viaje= _m._ journey, passage, way, road.\n  =viajero= _m._ traveler.\n  =vibrar= vibrate, dart, cast, throw, flicker.\n  =vicio= _m._ vice.\n  =v\u00edctima= _f._ victim.\n  =vida= _f._ life.\n  =vidrio= _m._ glass, window-pane; =\u00f3ptico ----= telescope.\n  =viejo, -a= _adj._ old.\n  =viejo, -a= _m. f._ old man, old woman.\n  =viento= _m._ wind, breeze; =---- en popa= before the wind,\n      with a wind from astern.\n  =vigor= _m._ vigor, strength, force.\n  =vil= _adj._ vile, base, despicable, mean, paltry.\n  =villano= _m._ low-born one, rustic, villain.\n  =vino= _m._ wine.\n  =violento, -a= violent, impetuous, furious.\n  =virar= tack, put about.\n  =virgen= _adj._ virgin, chaste.\n  =virgen= _f._ virgin.\n  =virginal= _adj._ virginal.\n  =virtud= _f._ power, virtue.\n  =visi\u00f3n= _f._ vision, sight, apparition, phantom.\n  =vislumbrar= descry, glimpse.\n  =vista= _f._ sight, glance, eye, appearance, look.\n  =v\u00edvido, -a= vivid, bright.\n  =vivienda= _f._ abode.\n  =viviente= _adj._ living.\n  =viviente= _m._ living being.\n  =vivir= live; =vive Dios= as God lives.\n  =vivir= _m._ life, existence.\n  =vivo, -a= living, alive, bright, quick.\n  =volar= fly, take flight, hasten, vanish, sail.\n  =volc\u00e1n= _m._ volcano.\n  =voluntad= _f._ will, determination, desire.\n  =volver= return, come back, turn, direct, drive, restore; =---- a=\n      + _inf._ do again; repeat (an act); =--se= return, turn, become.\n  =vos= _pron. pers._ you; yourself.\n  =vosotros, -as= _pron. pers._ you, ye.\n  =votar= vow; =voto a Cristo= by Christ.\n  =voto= _m._ vow, curse.\n  =voz= _f._ voice, word, shout, rumor, opinion.\n  =vuelo= _m._ flight, soaring.\n  =vuelta= _f._ turn; =dar mil ----s= turn a thousand times, whirl a\n     thousand times, revolve a thousand times.\n  =vuestro -a= your.\n\n\n  =y= _conj._ and; =---- ... ----= both ... and.\n  =ya= _adv._ now, already, indeed, then, finally; =no ... ----= no\n     longer; =---- ... ----= now ... now, at one time ... at another.\n  =yacer= lie.\n  =yerba= _f._ grass, weed.\n  =yerboso, -a= grassy, weed-grown.\n  =yermo, -a= waste, desert.\n  =yermo= _m._ wilderness, desert.\n  =yerro= _m._ mistake.\n  =yerto, -a= rigid, motionless, petrified.\n  =yo= _pron. pers._ I.\n  =yugo= _m._ yoke.\n\n\n  =zafir= _m._ sapphire.\n  =zozobra= _f._ worry, anguish, anxiety.\n  =zumbar= resound","title":"El Estudiante de Salamanca and Other Selections","tradition":"myth-cosmogony","translated_text":null,"word_count":49604}