Modern Poets and Poetry of Spain/Notes
NOTES.
1. Page 3. "Gaspar Melchor de Jovellanos."
This name (pronounced Hovellianos) was formerly written as two distinct names, Jove Llanos, as it is still by several members of the family, one, an Advocate, at present at Madrid, and another the Spanish Consul at Jamaica.
2. Page 3. "An able and distinguished writer," &c.
Antonio Alcalà Galiano, author also of the able article in the Foreign Quarterly Review on Jovellanos, afterwards mentioned. He was born at Cadiz, in 1789, the son of a distinguished officer in the Spanish navy, who was killed at Trafalgar. In his youth, Alcalà Galiano studied the English language so assiduously as to receive much benefit from his knowledge of it when he had to take refuge in London, on the various political changes that took place in Spain. He then wrote much for the Westminster and Foreign Quarterly Reviews, as well as other publications, and was subsequently named one of the Professors of Languages in the London University. Having returned to Spain, on the death of Ferdinand VII., he was appointed a Minister of State, with the Señor Isturitz, and has held, at various times, several high offices in the government. In the Cortes he was considered one of the most able orators of his time, having been put on a rivalry with Martinez de la Rosa and Argüelles. He has published a few poems, and contributed several valuable papers for the different learned societies of Madrid, besides having written much for the periodicals, according to the continental system for public men seeking to disseminate their opinions. His principal work as an author is a 'History of Spain.' Ferrer del Rio says of him, that "he writes Spanish with an English idiom, and though he puts his name to a history of Spain, it seems a translation from the language of Byron." Few foreigners have ever obtained so complete a knowledge of the English language; in fact his writings in the several reviews might be pointed out as compositions which would do credit to our own best writers. As an instance of his knowledge of the state of literature in England, we may quote a few observations from an article bearing his name in the first number of the Madrid Review. He says, "The Bible and the Plays of Shakespeare, if they may be named together without profanation, are the two works which have most influence on the thoughts of the English;" adding, that "classical literature is there better cultivated than in France, or at least cultivated with more profound knowledge," deducing the conclusion, "that the English drama is consequently radically different from the French."
3. Page 11. "Bermudez, his biographer."
This industrious writer was born at Gijon, in 1749, and died at Cadiz in 1829. He may be termed the Vasari of Spain, as the historian of the artists of his country. His two biographical works, the one on her painters, the other on her architects, are a rich mine of materials. The former was published in six volumes 8vo, in 1800: the latter, in four volumes 4to, was almost the last work on which he was engaged, and did not appear till 1829. Besides these, he was the author of various other publications on the principal edifices in Seville, and had completed a 'History of the Roman Antiquities in Spain;' a 'General History of Painting;' a work on 'Architecture,' and other pieces, which yet remain unedited. As a fellow-townsman, as well as an artist of considerable genius, he was much assisted by Jovellanos, who, when Minister of State, gave him a valuable appointment at Madrid under the government. When that eminent individual fell, his friends had to suffer also, and Cean Bermudez, deprived of his appointment, had to return to Seville, where he instituted a school for drawing. It was no doubt under the feelings of regret, occasioned by the reflection of having his friends involved in his misfortunes, that Jovellanos wrote to him the Epistle selected for translation in this work.
4. Page 16. "Merit of first bringing into favour."
See Hermosilla, 'Juicio Critico de los principales Poetas Españoles de la ultima era,' vol. i. p. 11.
5. Page 18. "Epistle to Cean Bermudez."
From Works of Jovellanos, Mellado's edition, vol. iv. p. 226.
6. Page 30. "To Galatea's Bird."
From the same, p. 369.
7. Page 32. "To Enarda.—I."
From the same, p. 368. In submission to the recommendations of several friends to give the original of at least part or the whole of some one poem of each author, from whose works the translations have been made, selections of such as the English students of Spanish literature would probably most desire, are offered for their comparison.
Riñen me bella Enarda
Los mozos y los viejos,
Por que tal vez jugando
Te escribo dulces versos.
Debiera un magistrado
(Susurran) mas severo,
De las livianas Musas
Huir el vil comercio.
Que mal el tiempo gastas!
Predican otros,—pero
Por mas que todos riñan
Tengo de escribir versos.
Quiero loar de Enarda
El peregrino ingenio
Al son de mi zampona
Y en bien medidos metros.
Quiero de su hermosura
Encaramar al cielo
Las altas perfecciones;
De su semblante quiero
Cantar el dulce hechizo
Y con pincel maestro
Pintar su frente hermosa
Sus traviesos ojuelos,
El carmin de sus labios,
La nieve de su cuello;
Y vayanse á la . . . . al rollo
Los Catonianos ceños
Las frentes arrugadas
Y adustos sobrecejos,
Que Enarda será siempre
Celebrada en mis versos
8. Page 33. "To Enarda.— II."
From Works of Jovellanos, vol. iv. p. 364.
9. Page 46. "Epistle to Domingo de Iriarte."
From Works of Tomas Iriarte, 1805, vol. ii. p. 56.
Domingo Iriarte was subsequently much engaged in the diplomatic service of Spain, and signed the treaty of peace with France of 1795, as Plenipotentiary, along with the celebrated M. Barthélemy.
10. Page 50. "But now the confines of," &c.
The following is the original of this passage:—
Mas ya dexar te miro
Los confines Germanos,
Y el politico giro
Seguir hasta los últimos Britanos.
Desde luego la corte populosa
Cuyas murallas baña
La corriente anchurosa
Del Támesis, la imagen te presenta
De una nacion en todo bien extraña:
Nacion en otros siglos no opulenta,
Hoi feliz por su industria, y siempre esenta:
Nacion tan liberal como ambiciosa;
Flemàtica y activa;
Ingenua, pero adusta;
Humana, pero altiva;
Y en la causa que abraza, iniqua ó justa
Violenta defensora,
Del riesgo y del temor despreciadora.
Alli serà preciso que te asombres
De ver (qual no habràs visto en parte alguna)
Obrar y hablar con libertad los hombres.
Admiraràs la rapida fortuna
Que alli logra el valor y la eloqüencia,
Sin que ni el oro, ni la ilustre cuna
Roben el premio al mèrito y la ciencia.
Adverteràs el numeroso enxambre
De diligentes y habiles Isleños
Que han procurado, del comercio Dueños
No conocer la ociosidad ni el hambre;
Ocupados en ùtiles inventos
En fàbricas, caminos, arsenales,
Escuelas, academias, hospitales,
Libros, experimentos,
Y estudios de las Artes liberales.
Alli sabràs, en fin, à quanto alcanza
La sabia educacion, y el acertado
Mctodo de patriòtica enseñanza,
La privada ambicion bien dirigida
Al pùblico provecho del Estado;
La justa recompensa y acogida
En que fundan las Letras su esperanza,
Y el desvelo de un pròvido Gobierno
Que al bien aspira, y à un renombre eterno.
This Epistle is addressed to his brother, as the reader may observe, in the second person singular, which, in Spanish, has a tone of more familiarity than in English, and understanding it so intended, I have altered it, in the translation, into our colloquial form of the second person plural.
The above extract is the same in his printed works of both editions; but I have in my possession a collection of his manuscripts, among which is a copy of this Epistle, with several variations, less flattering to England. Had he lived to superintend the second edition, these variations might probably have been adopted in it. They are not, however, of any material variance, but they seem to me to show that his eulogium had not been favourably received in some quarters, and that he had therefore thought it prudent to soften it in preparing for another edition. The publisher of the edition of 1 805 does not seem to have been aware of these manuscripts, nor indeed to have taken the trouble of doing more for Iriarte's memory than merely to reprint the first edition, without even any biographical or critical notice of him or his writings, as he might well have done, Iriarte having been then deceased fourteen years.
For another eloquent and encomiastic description of English usages and institutions, the student of Spanish literature would do well to read a work, published in London in 1834, by the Marques de Miraflores, 'Apuntes historico-criticos para escribir la Historia de la Revolucion de España.' This distinguished nobleman was born the 23rd December, 1792, at Madrid, and succeeded to the honours and vast property of his ancient house in 1809, on the death of his elder brother, during the campaign of that year. He has been much engaged in public affairs, having held various offices in the state. He has been twice Ambassador to England; the last time, Ambassador Extraordinary on the coronation of Her Majesty Queen Victoria. The Marques has written several works on political subjects, of which the one above-mentioned is particularly deserving of study.
11. Page 52. "Saying as Seneca has said of yore."
Stet quicumque volet potens
Aula; culmine lubrico:
Me duleis saturet quies.
Obscuro positus loco
Leni perfruar otio.
Nullis notus Quiritibus
Ætas per taciturn fluat.
Sic cum transierint mei
Nullo cum strepitu dies,
Plebeius moriar senex.
Illi mors gravis incubat
Qui notus nimis omnibus
Ignotus moritur sibi.
Thyestes, Act II. The critical reader will observe, that the translation into English has been made from the Spanish rather than the Latin.
12. Page 53. "Fables."
The Fables translated are numbered respectively III., VIII., XI., LIII. and LIV., in the original collection. The two first, III. and VIII., having been given by Bouterwek as specimens of Iriarte's style, without any translation, I took them for my first essays, and had already versified them, before finding Roscoe had done the same also in his translation of Sismondi, and it was subsequently to that I became aware of other similar versions. Having, however, made those translations, I have, notwithstanding the others, allowed them to remain in this work. The fable of the Two Rabbits has been selected as particularly noticed by Martinez de la Rosa, and the others almost without cause of peculiar preference. The last one contains an old but good lesson, which cannot be too frequently and earnestly repeated:—
Ego nec studium sine divite venâ
Nec rude quid prosit video ingenium, alterius sic
Altera poscit opem res et conjurat amicè.
13. Page 64. "Iglesias and Gonzalez."
Diego Gonzalez was born at Ciudad Rodrigo in 1733, and died at Madrid, 1794. Josè Iglesias de la Casa was born at Salamanca in 1753, and died there in 1791. His poems were first published seven years after his death, and have been several times reprinted. The best edition is that of Barcelona, 1820, from which the one of Paris, 1821, was taken. The poems of Gonzalez also were first published after his death, and have been several times reprinted. Both wrote very pleasing verses, and are deservedly popular in Spain.
14. Page 69. "It was for his detractors," &c.
Hermosilla, author of a work, 'Juicio Critico de los principales Poetas Españoles de la ultima era,' published after his death, Paris 1840, gives in it, as Mr. Ticknor pithily observes, "a criticism of the poems of Melendez so severe that I find it difficult to explain its motive;" at the same time that he gives "an unreasonably laudatory criticism of L. Moratin's works." Hermosilla appears to have been a man of considerable learning, but little judgement. His criticisms are generally worthless, and the only excuse for him, with regard to his book, is, that he did not publish it. With regard to Melendez, taking every opportunity to depreciate his merits, he is constantly found constrained to acknowledge them, and sometimes even in contradiction to himself. Thus, having several times intimated, as at p. 31, that the erotic effusions of Melendez only were praiseworthy, he says, at p. 297, when speaking of his Epistles, that they are "his best compositions; thoughts, language, style, tone and versification, all in general are good." In another part he censures Melendez for his poems addressed to different ladies, especially some to 'Fanny,' who appears to have been an Englishwoman; and yet those epistles, addressed to her, on the death of her husband, are among the purest and most elegant specimens that can be pointed out of consolation to a mourner. It is but justice to his editor, Salva, to say, that he has expressed his dissent from these criticisms, though he thought proper to publish the work.
15. Page 73. "The Duke de Frias."
This estimable nobleman, who died in 1850, was descended from the Counts of Haro, one of the three great families of Spain. He was the munificent friend of literary men, and in the case of Melendez extended his protection to the dead, having taken much personal trouble to have his remains removed from the common burying-ground to a vault, where they might not afterwards be disturbed. He also wrote verses occasionally, of which have been preserved, by Del Rio, a 'Sonnet to the Duke of Wellington,' and by Ochoa, an 'Elegy on the Death of his Duchess,' whose virtues will be found hereafter commemorated by Martinez de la Rosa.
16. Page 76. "Best edition, that by Salvà."
In taking the edition of 1820 for the text, Salvà, in his edition, has exercised much judgement in giving some of the poems as they were originally published, rather than as Melendez afterwards had left them, weakened by over-correction.
Salvà was in early life distinguished for learning and study, having been, when only twenty years of age, named Professor of Greek in the University of Alcalà de Henares. On the French invasion he returned to his native city Valencia, and engaged in trade as a bookseller, in which occupation he continued in London, when obliged to emigrate hither in 1823, in consequence of his having joined in the political events of the times. He had been, during those events, Deputy from Valencia, and Secretary to the Cortes. In 1830 he transferred his house to Paris, where he continued his pursuits, publishing many valuable works of his own compilation, as a Grammar and Dictionary of the Spanish language, as well as editing and superintending the publication of many other standard works. He closed his useful life, in his native city, in 1850.
17. Page 77. "Juvenilities."
Works of Melendez, Salvà's Edition, vol. i. p. 39.
This piece was also taken for translation from Bouterwek, when first entering on a study of Spanish literature. From Bouterwek it was copied by Sismondi, when borrowing, as he did largely, from that compiler; but Mr. Roscoe has not given a translation of this, as he probably found it difficult to do so satisfactorily. It is in fact almost as difficult to translate Melendez as it is to translate Anacreon, their peculiar simplicity and grace being so nearly allied. 18. Page 79. "The Timid Lover."
Works of Melendez, ibid, p. 263.
This poem having been particularly mentioned by Martinez de la Rosa as favourably characteristic of the style of the author, may be considered best to be selected as an exemplification of it. It is what is termed a Letrillia.
El Amante timido.
En la pena aguda
Que me hace sufrir
El Amor tirano
Desde que te vi
Mil veces su alivio
Te voy à pedir,
Y luego, aldeana,
Que llego ante ti,
Si quiero atreverme
No sè que decir.
Las voces me faltan
Y mi frenesí
Con miseros ayes
Las cuida suplir
Pero el dios que aleve
Se burla de mi
Cuanto ansio mas tierno
Mis labios abrir
Se quiero atreverme
No sè que decir.
Sus fuegos entonces
Empieza à sentir
Tan vivos el alma
Que pienso morir,
Mis làgrimas corren,
Mi agudo gemir
Tu pecho sensible
Conmueve, y al fin
Si quiero atreverme
No sè que decir.
No lo sè, temblando
Si por descubrir
Con loca esperanza
Mi amor infeliz,
Tu lado por siempre
Tendrè ya que huir:
Sellàndome el miedo
La boca: y asì
Si quiero atreverme
No sè que decir.
Ay! si tu, adorada,
Pudieras oir
Mis hondos suspiros
Yo fuera feliz.
Yo, Filis, lo fuera
Mas, triste de mi!
Que tìmido al verte
Burlarme y reir,
Si quiero atreverme
No sè que decir.
19. Page 81. "My Village Life."
This and the two following poems are taken from those at pages 94, 110 and 64 of the first volume of the Works of Melendez Valdes; the Disdainful Shepherdess from the one at p. 62 of vol. ii.
20. Page 95. "Merits of their national dramas."
For an excellent criticism on the Spanish drama, see the article in the twenty-fifth volume of the Quarterly Review.
21. Page 104. "There, says his biographer," &c.
In the sketch prefixed to the edition by Rivadeneyra, from which the two poems following are taken, at pages 581 and 582. The one to Jovellanos has been justly praised by Mr. Ticknor as one of his best, and from it we may in preference extract the commencement, as an exemplification of his style.
Si, la pura amistad, que en dulce nudo
Nuestras almas uniò, durable existe
Jovino ilustre, y ni la ausencia larga
Ni la distancia, ni interpuestos montes
Y proceloso mar que suena roco,
De mi memoria apartaràn tu idea.
Duro silencio à mi cariño impuso
El son de Marte, que suspende ahora
La paz, la dulce paz. Sè que en obscura
Deliciosa quietud, contento vives,
Siempre animado de incansable celo
Por el pùblico bien; de las virtudes
Y del talento protector y amigo.
Estos que formo de primor desnudos,
No castigados de tu docta lima,
Fàciles versos, la verdad te anuncien
De mi constante fe; y el cielo en tanto
Vuèlvame presto la ocasion de verte
Y renovar en familiar discurso
Cuanto à mi vista presentò del orbe
La varia escena. De mi patria orilla
A las que el Sena turbulento baña,
Teñido en sangre, del audaz Britano
Dueño del mar, al aterido Belga,
Del Rin profundo à las nevades cumbres
Del Apenino, y la que en humo ardiente
Cubre y ceniza à Nàpoles canora,
Pueblos, naciones, visitè distintas
Util sciencia adquirì, que nunca enseña
Docta leccion en retirada estancia,
Que alli no ves la diferencia suma
Que el clima, el culto, la opinion, las artes,
Las leyes causan. Hallaràsla solo
Si al hombre estudias en el hombre mismo.
22. Page 113. "Juan Bautista de Arriaza."
This poet's name is pronounced Arriatha; the two poems selected for translation are taken, the first from p. 60 of Book III. of his works, edition of 1829. 'The Parting, or the Young Sailor's Farewell,' from ibid., Book I. p. 77.
The eighth stanza, beginning in the translation, 'With venal aid of hate assists,' is in the original—
Qué de ministros vendes a su encono,
Anglia infecunda! de las nieblas trono,
Campos que el sol no mira,
Que en sonrisa falsa, Flora reviste
De estéril verde, en que la flor es triste,
Y Amor sin gloria espira.
Combien te sied le mal, Angleterre infèconde,
Amante de vapeurs, jetèe oú l'œil du monde
Te regarde si peu!
Champs où la brume arrose une oiseuse verdure,
Où Flore est sans gaieté, l'automne sans parure,
L' Amour sans traits de feu!
Of thirty-three stanzas in the original, Maury has only taken fifteen for his translation, and of 'The Parting' he has only taken eighteen out of twenty-five. The four concluding stanzas are in the original—
Crisol de adversidad claro y seguro
Vuestro valor probò sublime y puro,
O Marinos Hispanos!
Broquel fue de la patria vuestra vida
Que al fin vengada y siempre defendida
Serà per vuestras manos.
Rinda al Leon y al Aguila Neptuno
El brazo tutelar, con que importuno
Y esclavo al Anglia cierra:
Y ella os verà desde las altas popas
Lanzar torrentes de invencibles tropas
Sobre su infausta tierra.
Bàsteos, en tanto, el lùgubre tributo
De su muerte Adalid doblando el luto
Del Tàmesis umbrio,
Que, si, llenos de honrosas cicatrices
Se os ve, para ocasiones mas felices
Reservar vuestro brio.
Sois cual leon, que en Libico desierto
Con garra atroz, del cazador experto
Rompiò asechanza astuta;
Que no inglorioso, aunque sangriento y laso
Temido si, se vuelve paso à paso
A su arenosa gruta.
23. Page 145. "Described by Humboldt."
Political Essay on New Spain, Book II. chapter 5. 24. Page 145. "So popular a writer as Larra."
Mariano Josè de Larra was born at Madrid, 24th March, 1809. His father had joined the French army as a medical officer, and after the peace went to France, taking his son with him, where he forgot his native language, so that he had to learn it as a novice on his return to Spain. It is not improbable that his education in that country, where also he passed some time subsequently, gave Larra's mind that tendency for scepticism and perverted feeling which led to his miserable end. From his earliest years he showed great aptitude for learning, and had studied the Greek, English and Italian languages, before he went to Valladolid to prepare for the profession of the law. After a short residence there, he went to Valencia on some disappointment he suffered, which, to one of his temperament, seemed a greater misfortune than what perhaps any other person would have considered it. At Valencia he obtained employment in a public office, which, however, did not suit his taste, and having then married, he returned to Madrid and determined to write for the public. His first efforts were not successful, and have not been subsequently reprinted with his works, but after a short time he began writing a series of essays on passing events, under the signature of Figaro, which at once attained great popularity. He also wrote several plays and a few poems, which, as written by Figaro, were favourably received. But the essays, under that title, were the foundation of his popularity. They were in the style of our essayists of the reign of Queen Anne, containing criticisms, and sketches of manners and characters, written in a style of great ease and elegance, marked with much wit and humour, as well as vigour. These works have been very many times reprinted in Spain, and also in France and South America. The student who wishes to form a correct style in learning Spanish, cannot do better than take Larra for a model. By his writings he had attained a respectable place in literary society, and it was understood that his fortunes were thereby also in a state of competence. He was, however, possessed of an ill-regulated mind and headstrong passions, so that, as it seems intimated, baffled in some object of unlawful desire, he put an end to his existence by a pistol shot the 13th February, 1837. In his review of Quintana' s Life of Las Casas, he unreservedly subscribes to all the sentiments therein expressed.
25. Page 160. "From the proud castled poop," &c.
Se alzò el Breton en el soberbio alcazar
Que corona su indòmito navio;
Y ufano con su gloria y poderío
Alli estan, exclamò.
26. Page 161. "Conquerors of winds and waves."
. . . . . . sus nadantes proras
Del viento y de las ondas vencedoras.
27. Page 163. "And Alcalà, Churruca, also ye!"
Of those who fell at Trafalgar, the names of Alcalà and Churruca seem to be remembered with peculiar affection. The latter is referred to by Arriaza also, and seems to have been an officer of great skill and bravery in his profession, as well as of most amiable qualities in private life. Alcalà was an officer of very superior attainments. He was author of a learned Treatise on taking Observations of Longitude and Latitude at Sea, published at Madrid, 1796. With the copy of this work in my possession, there is bound up an unedited treatise of his original manuscript, 'On the Trigonometrical Calculation of the Height of Mountains.' He has already been referred to in Note 2.
The Spanish navy is at the present day much distinguished for the superior attainments and character of the officers, as well as in former years. In addition to the poet Arriaza, they have to boast of the late learned Navarrete, one of the most eminent and industrious writers of our times, principally on scientific subjects connected with his profession, geography, hydrography, and voyages, though in various biographical works he has extended his labours to the memory of poets and others, as well as the naval heroes of his country: see his memoir in Ochoa, vol. ii. p. 586, copied from one by the Bishop of Astorga.
28. Page 164. "Yet fell ye not, ye generous squadrons."
No empero sin venganza y sin estrago,
Generoso escuadron alli caiste:
Tambien brotando à rios
La sangre Inglesa inunda sus navios.
Tambien Albion pasmada
Los montes de cadàveres contempla
Horrendo peso à su soberbia armada.
Tambien Nelson alli, Terrible sombra,
No esperes, no, cuando mi voz te nombra
Que vil insulte à tu postrer suspiro;
Inglès te aborrecì, y hèroe te admiro.
Oh, golpe! oh, suerte! El Tàmesis aguarda
De las naves cautivas
El confuso tropel, y ya en idea
Goza el aplauso y los sonoros vivas
Que al vencedor se dan. Oh suerte! El puerto
Solo le verà entrar pàlido y yerto:
Ejemplo grande à la arrogancia humana,
Digno holocausto à la afliccion Hispana.
The two poems from Quintana are at pages 16 and 93 respectively of the fourth edition of his works, published in 1825.
29. Page 170. "The Conde de Toreno."
This able and enlightened statesman was born at Oviedo in 1786, and died at Paris in 1845. His work, on the 'Rising, War, and Revolution of Spain,' is one well deserving of the fame it has attained, having been translated into all the principal languages of Europe.
30. Page 170. "The celebrated Pacheco."
Born at Ecija, near Seville, in 1808, he came to Madrid in 1833, and was admitted an Advocate in the courts of law, but has been since engaged actively in conducting various publications, principally of a political character. He has been several times chosen member of the legislature, and had to undertake his share of public duties, but he has declined office, and in his whole public life shown a freedom from ambition, remarkable, as Del Rio intimates, from the contrast it presents with the conduct of other men of far inferior abilities. He has announced 'A History of the Regency of Queen Christina,' of which he has published a preliminary volume, comprising a detail of antecedent events. He has also written various plays and poems, but not of such a character as to be worthy of his fame as a public speaker and journalist. His life of Martinez de la Rosa, given in a publication entitled 'Galeria de Españoles celebres contemporáneos, 1842,' (which work has now extended to many volumes, including persons of distinction in all ranks of life,) is very pleasingly written, and has been taken as the principal authority in this compilation.
31. Page 176. "Rights of the Basque people."
For a just statement of these rights, see the late Earl of Carnarvon's ' Portugal and Galicia,' vol. ii.
32. Page 180. "Observation may apply to English verse."
Our best poets, and Milton especially, afford many exemplifications of this practice.
O'er many a frozen, many a fiery alp,
Rocks, caves, lakes, fens, bogs, dens and shades of death
*******Perverse, all monstrous, all prodigious things
Abominable, inutterable and worse.
Many of our syllables also are in effect double syllables, as in the words brave, grave, clave, &c, as singers often have to regret, causing them, on that account, to slur over them. But these rules are only a continuation of Quinctilian's maxim, "Op time de ilia judicant aures. Quædam arte tradi non possunt."
33. Page 181. "The Roman friend," &c.
See note 23 to the Fourth Canto of Childe Harold. 34. Page 183. "I saw upon the shady Thames."
Vi en el Tàmesis umbrio
Cien y cien naves cargadas
De riqueza;
Vi su inmenso poderio
Sus artes tan celebradas
Su grandeza.
Mas el ànima afligida
Mil suspiros exhalaba
Y ayes mil;
Y ver la orilla florida
Del manso Dauro anhelaba
Y del Genil.
Vi de la soberbia corte
Las damas engalanadas
Muy vistosas;
Vi las bellezas del norte
De blanca nieve formadas
Y de rosas.
Sus ojos de azul del cielo,
De oro puro parecia
Su cabello;
Bajo transparente velo
Turgente el seno se via
Blanco y bello.
Mas que valen los brocados
Las sedas y pedreria
De la ciudad?
Que los rostros sonrosados
La blancura y gallardia
Ni la beldad?
Con mostrarse mi zagala,
De blanco lino vestida,
Fresca y pura,
Condena la inutil gala
Y se esconde confundida
La hermosura.
Dò hallar en climas helados
Sus negros ojos graciosos,
Que son fuego?
Ora me miren airados
Ora roben cariñosos
Mi sosiego.
Dò la negra caballera
Que al èbano se aventaja?
Y el pie leve
Que al triscar por la pradera
Ni las tiernas flores aja,
Ni aun las mueve?
Doncellas las del Genil
Vuestra tez escurecida
No trocara
Por los rostros de marfil
Que Albion envanecida
Me mostrara.
Padre Dauro! manso rio,
De las arenas doradas,
Dìgnate oir
Los votos del pecho mio,
Y en tus màrgenes sagradas
Logre morir!
Works of Martinez de la Rosa, edition of Barcelona, 1838, vol. iv. p. 1. The other translations are taken from the same, pages 113, 104, 48 and 34 respectively.
In the prologue, he enters on the discussion, so common a few years since, as to the relative merits of what were called the Classical and Romantic schools of poetry, which discussion, it is to be hoped, may now be considered at an end. The pretensions of different writers, who affected to range themselves under one or other of these denominations, were in fact generally only the devices of mediocrity to shelter their deficiencies. Those who write spontaneously from the true inspiration of genius, will never submit to the shackles of any system, and for all writers the wisest aim is to seek the clearest style of expressing those thoughts which they have to convey. As Martinez de la Rosa has well observed in this prologue, "I do not remember any one sublime passage, in whatever language it may be, that is not expressed with the utmost simplicity; and without this most essential quality, they cannot excite in the mind that lively and instantaneous impression which distinguishes them."
35. Page 184. "The light foot that never stirs," &c.
An Andalusian poet may be excused entering into hyperbolical praise of his countrywomen, but we find an English traveller almost as hyperbolical in praise of them also. "It is beyond the power of language to describe those slow and surpassingly graceful movements which accompany every step of the Andalusa; her every attitude is so flowing, at the same time so unforced, that she seems upborne by some invisible power that renders her independent of the classically moulded foot she presses so lightly on the ground."—Murray's Cities and Wilds of Andalusia.
36. Page 216. "His biographer, Pastor Diaz," &c.
In the work already mentioned, 'Galería de Españoles contemporáneos,' under his own superintendence, and from which the notices in this compilation are principally taken. Pastor Diaz was born at Vivero in Galicia, in the year 1811, and was educated at Alcalá de Henares. Having been admitted an Advocate in the courts of law, he engaged, in 1833, in the public service, and has held various offices under the government in the provinces. In 1847 he published a volume of poems, of which two,—one, 'The Black Butterfly,' and the other, an 'Ode to the Moon,'—Ochoa declares, in his opinion, "two of the most beautiful pieces that have been written for many years in Spain." Disagreeing very much with this opinion, it is only quoted in token of the estimation in which Pastor Diaz is held among his countrymen. (Ochoa, vol. ii. p. 628.) 37. Page 216. "The advantages he enjoyed there."
In his poem of the 'Moro Esposito,' the Duke has inserted an interesting episode referring to his residence in Malta, "whose good and honest inhabitants he found under the dominion of the most wealthy, free, enlightened, noble and powerful nation that the sun admires from the zodiac." (Book VI.) In the notes he details the particulars under which he arrived there, acknowledging gratefully the hospitality he had received.
38. Page 222. "Pedro, surnamed the Cruel."
This name is pronounced Ped-ro. The true character of the monarch is yet a disputed question, and has only within the last year been offered as a subject for inquiry by the Spanish Academy. The learned Llorente, in his 'Historical Notices,' vol. v., has, I think, clearly shown that Pedro was no more deserving of the epithet peculiarly than others of his age, including his half-brother and successor, by whose hand he fell, in retributive justice for the death of their other brother Fadrique. The legend of this prince's death has been variously given, and thus Salvador Bermudez de Castro, who has also a poem on the subject, takes some different details to those repeated by the Duke de Rivas. The traditions of the people have handed down Don Pedro's memory more favourably, and, perhaps, more justly, than the historians of the time, whose accounts no doubt were tinctured as darkly as they could be, partly to please the reigning monarch, and partly because Don Pedro had not been so submissive to priestly rule as they had desired.
39. Page 227. '"Yet, ah! those lovely bowers along," &c.
Mas, ay! aquellos pensiles
No he pisado un solo dia
Sin ver (sueños de mi mente!)
La sombra de la Padilla,
Lanzando un hondo gemido
Cruzar leve ante mi vista,
Como un vapor, como un humo
Que entre los àrboles gira:
Ni entrè en aquellos salones
Sin figuràrseme erguida
Del fundador la fantasma
En helada sangre tinta;
Ni en vestibulo oscuro
El que tiene en la cornisa
De los reyes los retratos,
El que en colunas estriba,
Al que adornan azulejos
Abajo, y esmalte arriba
El que muestra en cada muro
Un rico balcon, y encima
El hondo arteson dorado
Que lo corona y atrista,
Sin ver en tierra un cadaver.
Aun en las losas se mira
Una tenaz mancha oscura
Ni las edades limpian!
Sangre! sangre! oh, cielos, cuantos
Sin saber que lo es, la pisan!
This romance was originally printed with the 'Moro Esposito,' Paris 1834, vol. ii. p. 451. It was subsequently included among the 'Romances Historicos,' Madrid 1841, p. 19. The Alcazar of Seville has been described by so many travellers that it is unnecessary to add to their accounts of it, or to the graphic details of the romance. The stain on the floor may remind the reader of the legends of Holy rood and the Alhambra, as well as of other places.
40. Page 233. "Darting round fierce looks," &c.
This description of anger, as again at p. 241, seems a favourite one with the Duke, as well as other poets; thus Virgil—
Totoque ardentis ab ore
Scintillæ absistunt, oculis micat acribus ignis.
41. Page 234. "The crackling of his arms and knees."
From the peculiarity of this formation, the king was recognized by an old woman who had witnessed his killing a man he had met in a night rencontre in the street opposite her house, and she having given evidence to that effect, he ordered his statue to be beheaded, and so placed in the street in memorial of the sentence against himself.
42. Page 236.
"And more than Tello madly hates,
And more than Henry too."
The two brothers of Fadrique, of whom Henry was his successor on the throne, after he had killed Don Pedro in fight by his own hand. In another romance, the Duke de Rivas describes this "fratricide," and represents that Don Pedro had the advantage at first, but that the page of the other came to his master's assistance, and attacking Don Pedro from behind, diverted his attention so as to enable him to give the King the death- wound. From the accounts handed down to us, it is clear that Don Pedro had sufficient grounds for suspecting treason from the brothers, which occasioned his animosity against them and their adherents, for which they afterwards blackened his memory.
43. Page 259. "Meagre soup bouillie."
In the original, Gazpacho, "the name of a dish universal in and peculiar to Spain. It is a sort of cold soup, made of bread, potherbs, oil and water. Its materials are easily come by, and its concoction requires no skill." Mr. W. G. Clark has taken this name for the title of his lively 'Sketches of Spain,' London 1850.
44. Page 260. "Whene'er Don Juan," &c.
Siempre que tiene una broma
El señor don Juan me olvida
Como si estuviera en Roma;
Y à un entierro me convida
Para matarme de pena!
Sea enhorabuena.
Despues de melindres rail
Canta Celestina el duo
Que le han puesto en atril,
Y aunque canta como un buho
Todos la llaman Sirena.
Sea enhorabuena.
Cien abejas sin reposo
Labrando à porfía estàn
El dulce panal sabroso.
Ay! que un zàngano holgazàn
Se ha de tragar la colmena!
Sea enhorabuena.
El hombre à su semejante
Mueve guerra furibundo,
Cual si no fuera bastante
Para despoblar el mundo
El escuadron de Avicena.
Sea enhorabuena.
Hay en España usureros
Hay esbirros à montones,
Y chalanes y venteros,
Y dicen que los ladrones
Estan en Sierra Morena!
Sea enhorabuena.
En vano à tu puerta, Conde,
Llegan los pobres desnudos,
Que el perro solo responde,
Y gastas dos mil escudos
En un baile y una cena!
Sea enhorabuena.
Basta por hoy de sermon.
Aqui mi pluma suspendo
Hasta mejor ocasion.
Si el vicio en vano reprendo
Y escribo sobre la arena,
Sea enhorabuena.
The selections from Breton de los Herreros are taken from the edition of 1831, at pages 61, 63 and 71 respectively. 45. Page 269. "The celebrated Lista."
This celebrated writer was born at Seville in 1775, and in early life adopted the ecclesiastical profession, having therein principally dedicated himself to the education of youth, in which he has been eminently successful. He has written a continuation of Mariana's 'History of Spain,' and translated from the French Segur's 'Universal History,' besides several mathematical and other elementary works. In 1822 he published a volume of poems, of which a second edition has been since published, highly praised by the different writers who have treated of modern Spanish literature. They are however avowedly of the classical school, and their greatest merit must be supposed to consist in their elegance of expression. His critical writings are numerous and valuable.
46. Page 271. "Twelve out of the nineteen stanzas."
The stanzas 6, 9, 10, 11, 16 and 17 seem to be of his addition, and it must be acknowledged that they are in no respect inferior to the others. One stanza in Pindemonte he has not taken into his version.
47. Page 272. "Part of his first volume is taken up with imitations."
Before observing that this part had been so expressed at the beginning, I made a translation of one small piece, which may give an idea of the others.
En el Album de una Señorita.
Cual suele en màrmol sepulcral escrito
Un nombre detener al pasagero,
Pueda en aquesta pàgina mi nombre
Fijar tus ojos, ay! por los que muero.
Miralo, cuando ya de ti apartado,
No te pide mi amor mas recompensa;
De mi te acuerda como muerte y piensa
Que aqui mi corazon queda enterrado.
In a Lady's Album.
As on sepulchral marble writ
A name to stay the passer-by,
So let my name on this page meet
Thine eyes, for which, alas! I die.
Look on it when I am far from thee;
My love asks no return more dear;
As of one dead remember me,
And think my heart is buried here.
It was only on translating the last line that I recognized them as Lord Byron's.
Written in an Album.
As o'er the cold sepulchral stone
Some name arrests the passer-by,
Thus when thou view'st this page alone
May mine attract thy pensive eye.
And when by thee that name is read
Perchance in some succeeding year,
Reflect on me as on the dead,
And think my heart is buried here.
48. Page 275. "Sonnet, Dedication," &c.
A mi Esposa.
Cuando en mis venas fèrvidas ardia
La fiera juventud, en mis canciones
El tormentoso afàn de mis pasiones
Con dolorosas lagrimas vertia.
Hoy à ti las dedico, Esposa mia,
Cuando el amor mas libre de ilusiones
Inflama nuestros puros corazones,
Y sereno y de paz me luce el dia.
Asi perdido en turbulentos mares
Misero navegante al cielo implora,
Cuando le aqueja la tormenta grave;
Y del naufragio libre, en los altares
Consagra fiel à la Deidad que adora
Las hùmedas reliquias de su nave.
This sonnet, and the two following translations, are taken respectively from pages 8, 18 and 46 of the first volume of the Toluca edition. The imitation of Lord Byron is at page 83 of the same. The Odes to 'Poesy' and to 'Night' are at pages 13 and 72 of the second volume.
49. Page 282. "Milton elevated all beyond."
Y Milton inas que todos elevado
A su angel fiero de diamante armado.
50. Page 305. "Josè de Espronceda."
This name is to be pronounced Esprontheda. The translations, taken from the original poems, may be found in the Paris edition of 1848, at pages 49, 58, 73 and 79 respectively. The one translated, 'The Condemned to Die,' El Reo de Muerte, literally, 'The Guilty of Death,' has the signification given to this phrase by our translators of the New Testament, and it may be necessary to explain that the refrain "Your alms for prayers," &c, is in the original merely "To do good for the soul of him who is about to be executed."
Para hacer bien al alma
Del que van á ajusticiar!
In Spain, when a criminal is about to be executed, it is the custom for the Brothers of the religious order De la Humanidad, to go about the public ways, in their peculiar garb, with salvers for receiving alms for masses to be said for him, repeating words to the effect above given.
51. Page 315. "Sail on, my swift one, never fear."
Navega, velero mio,
Sin temor,
Que ni enemigo navio,
Ni tormenta, ni bonanza,
Tu nimbo à torcer alcanza
Ni à sujetar tu valor.
Veinte presos
Hemos hecho
A despecho
Del Ingles,
Y han rendido
Sus pendones
Cien naciones
A mis piès.
Que es mi barco mi tesoro,
Que es mi Dios la libertad,
Mi ley la fuerza y el viento,
Mi ùnica patria la mar.
Alia muevan feroz guerra
Ciegos reyes
Por un palmo mas de tierra;
Que yo tengo aqui por mio
Cuanto abarca el mar bravio
A quien nadie impuso leyes.
Y no hay playa
Sea cual quiera
Ni bandera
De esplendor
Que no sienta
Mi derecho
Y dè pecho
A mi valor.
Que es mi barco mi tesoro . . . .
A la voz de 'barco viene!'
Es de ver
Como vira, y se previene
A todo trapo à escapar;
Que yo soy el rey del mar
Y mi furia es de temer.
En las presas
Yo divido
Lo cogido
Por igual:
Solo quiero
Por riqueza
La belleza
Sin rival
Que es mi barco mi tesoro . . . .
Sentenciado estoy à muerte!
Yo me rio;
No me abandone la suerte,
Y al mismo que me condena
Colgarè de alguna entena
Quizà en su proprio navio.
Y si caigo
Que es la vida?
Por perdida
Ya la di,
Cuando el yugo
Del esclavo
Como un bravo
Sacudì.
Que es mi barco mi tesoro. . . .
Son mi música mejor
Aquilones;
El estrépito y temblor
De los cables sacudidos,
Del negro mar los bramidos,
Y el rugir de mis cañones;
Y del trueno
Al son violento,
Y del viento
Al rebramàr,
Yo me duermo
Sosegado,
Arrullado
Por el mar.
Que es mi barco mi tesoro,
Que es mi Dios la libertad,
Mi ley la fuerza y el viento,
Mi ùnica patria la mar.
52. Page 323. "Josè Zorrilla."
The name of this eminently great poet is to be pronounced as Thorrillia; the translations made from his works are of the poems at pages 62, 99, 34, 97, 102, 28 and 65, respectively, of the first volume, as stated in the memoir, published at Madrid in 1837. The headings, for the sake of distinction, have been given somewhat differently from the originals, where they are generally only entitled 'Oriental,' or 'A Romance;' and the piece named 'The Warning' is but part of a longer poem, the conclusion of which is not in the same good taste as the beginning. All the other selections translated in this work, of the different authors, have been given fully.
53. Page 347. "The Tower of Munion."
This tower is a shapeless ruin, the remains of an ancient castle in the plain of Arlanza near Burgos. The history of the castle is unknown, further than that Don Fernan Gonzalez assembled there, on one occasion, the Grandees of Castille, during his wars with the Moors.
54. Page 352. "Meditation."
La Meditacion.
Sobre ignorada tumba solitaria,
A la luz amarilla de la tarde,
Vengo à ofrecer al cielo mi plegaria
Por la muger que amè.
Apoyada en el màrmol mi cabeza,
Sobre la hùmeda yerba la rodilla,
La parda flor que esmalta la maleza
Humillo con mi piè.
Aqui, lejos del mundo y sus placeres,
Levanto mis delirios de la tierra,
Y leo en agrupados caractères
Nombres que ya no son;
Y la dorada làmpara que brilla
Y al soplo oscila de la brisa errante,
Colgada ante el altar en la capilla
Alumbra mi oracion.
Acaso un ave su volar detiene
Del fùnebre ciprès entre las ramas
Que a lamentar con sus gorjeos viene
La ausencia de la luz:
Y se despide del albor del dia
Desde una alta ventana de la torre
O trepa de la cùpula sombria
A la gigante cruz.
Anegados en làgrimas los ojos
Yo la contemplo inmòvil desde el suelo
Hasta que el rechinar de los cerrojos
La hace aturdida huir.
La funeral sonrisa me saluda
Del solo ser que con los muertos vive,
Y me presta su mano àspera y ruda
Que un fèretro va à abrir.
Perdon! no escuches Dios mio
Mi terrenal pensamiento!
Deja que se pierda impio
Como el murmullo de un rio
Entre los pliegues del viento.
Por que una imàgen mundana
Viene à manchar mi oracion?
Es una sombra profana
Que tal vez serà mañana
Signo de mi maldicion.
Por que ha soñada mi mente
Ese fantasma tan bello?
Con esa tez transparente
Sobre la tranquila frente
Y sobre el desnudo cuello.
Que en vez de aumentar su encanto
Con pompa y mundano brillo,
Se muestra anegada en llanto
Al piè de altar sacrosanto
O al piè de pardo castillo.
Como una ofrenda olvidada
En templo que se arruinò
Y en la piedra cincelada
Que en su caida encontrò
La mece el viento colgada.
Con su retrato en la mente,
Con su nombre en el oido,
Vengo à prosternar mi frente
Ante el Dios omnipotente
En la mansion del olvido.
Mi crimen acaso ven
Con turbios ojos inciertos,
Y me abominan los muertos,
Alzando la hedionda sien
De los sepulcros abiertos.
Cuando estas tumbas visito,
No es la nada en que naci,
No es un Dios lo que medito,
Es un nombre que està escrito
Con fuego dentro de mi.
Perdon! no escuches Dios mio
Mi terrenal pensamiento!
Deja que se pierda impio
Como el murmullo de un rio,
Entre los pliegues del viento.
THE END.
PRINTED BY RICHARD TAYLOR,
RED LION COURT. FLEET STREET.