Modern Spanish Lyrics | Page 2

marzo

SOLÍS (DIONISIO) (1774-1834)
La pregunta de la niña

GALLEGO (JUAN NICASIO) (1777-1853)
El Dos de Mayo

MARTÍNEZ DE LA ROSA (FRANCISCO) (1787-1862)
El nido

RIVAS (DUQUE DE) (1791-1865)
Un castellano leal

AROLAS (PADRE JUAN) (1805-1849)
"Sé más feliz que yo"

ESPRONCEDA (JOSÉ DE) (1808-1842)
Canción del pirata
Á la
patria
ZORRILLA (JOSÉ) (1817-1893)
Oriental
Indecisión
La
fuente
Á buen juez, mejor testigo
TRUEBA (ANTONIO DE)
(1821-1889)
Cantos de pájaro
La perejilera
SELGAS (JOSÉ)
(1821-1882)
La modestia
ALARCÓN (PEDRO ANTONIO DE)
(1833-1891)
El Mont-Blanc
El secreto
BÉCQUER (GUSTAVO
A.) (1836-1870)
Rimas: II
VII
LIII
LXXIII page vii QUEROL (VINCENTE
WENCESLAO) (1836-1889)
En Noche-Buena

CAMPOAMOR
(RAMÓN DE) (1817-1901)
Proximidad del bien
¡Quién supiera
escribir!
El mayor castigo
NÚÑEZ DE ARCE (GASPAR)
(1834-1903)
¡Excelsior!
Tristezas
¡Sursum Corda!
PALACIO
(MANUEL DEL) (1832-1895)
Amor oculto
BARTRINA
(JOAQUÍN MARÍA) (1850-1880)
Arabescos
REINA (MANUEL)
(1860-)
La poesía
ARGENTINA
ECHEVERRÍA (O. ESTEBAN) (1805-1851)
Canción de Elvira

ANDRADE (OLEGARIO VICTOR) (1838-1882)
Atlántida

Prometeo
OBLIGADO (RAFAEL) (1852-)
En la ribera

COLOMBIA
ORTIZ (JOSÉ JOAQUÍN) (1814-1892)
Colombia y España

CARO (JOSÉ EUSEBIO) (1817-1853)
El ciprés
MARROQUÍN
(JOSÉ MANUEL) (1827-)
Los cazadores y la perrilla
CARO
(MIGUEL ANTONIO) (1843-1909)
Vuelta á la patria page viii
ARRIETA (DIÓGENES A.) (1848-)
En la tumba de mi hijo

GUTIÉRREZ PONCE (IGNACIO) (1850-)
Dolora
GARAVITO
A. (JOSÉ MARÍA) (1860-)
Volveré mañana
CUBA
HEREDIA (JOSÉ MARÍA) (1803-1839)
En el teocalli de Cholula

El Niágara
"PLÁCIDO" (GABRIEL DE LA CONCEPCIÓN
VALDÉS) (1809-1844)
Plegaria á Dios
AVELLANEDA
(GERTRUDIS GÓMEZ DE) (1814-1873)
Á Wáshington
Al
partir
ECUADOR
OLMEDO (JOSÉ JOAQUÍN) (1780-1847)
La victoria de Junín
MÉXICO
PESADO (JOSÉ JOAQUÍN DE) (1801-1861)
Serenata

CALDERÓN (FERNANDO) (1809-1845)
La rosa marchita

ACUÑA (MANUEL) (1849-1873)
Nocturno: Á Rosario
PEZA
(JUAN DE DIOS) (1852-1910)
Reír llorando
Fusiles y muñecas
NICARAGUA
DARÍO (RUBÉN) (1864-)
Á Roosevelt
page ix VENEZUELA
BELLO (ANDRÉS) (1781-1865)
Á la victoria de Bailén
La

agricultura de la zona tórrida
PÉREZ BONALDE (JUAN
ANTONIO) (1846-1892)
Vuelta á la patria
MARTÍN DE LA
GUARDIA (HERACLIO) (1830-)
Ultima ilusión
CANCIONES
La carcelera
Riverana
La cachucha
La valenciana
Canción
devota
La jota gallega
El trágala
Himno de Riego
Himno
nacional de México
Himno nacional de Cuba
NOTES
VOCABULARY[a]
[Transcriber's note a: The vocabulary section has
not been submitted
for transcription.}
INTRODUCTION page xi
I
SPANISH LYRIC POETRY TO 1800
It has been observed that epic poetry, which is collective
and
objective in its nature, always reaches its full
development in a nation
sooner than lyric poetry, which is
individual and subjective. Such is
certainly the case in
Spain. Numerous popular epics of much merit
existed there
in the Middle Ages.[1] Of a popular lyric there are few

traces in the same period; and the Castilian lyric as an
art-form
reached its height in the sixteenth, and again in
the nineteenth,
centuries. It is necessary always to bear
in mind the distinction
between the mysterious product
called popular poetry, which is
continually being created
but seldom finds its way into the annals of
literature,
and artistic poetry. The chronicler of the Spanish lyric
is
concerned with the latter almost exclusively, though he
will have
occasion to mention the former not infrequently
as the basis of some

of the best artificial creations.
[Footnote 1: The popular epics were written in assonating
lines of
variable length. There were also numerous monkish
narrative poems
_(mester de clereçia)_ in stanzas of four
Alexandrine lines each, all
riming _(cuaderna vía)_.]
If one were to enumerate ab origine the lyric
productions of the
Iberian Peninsula he might begin
with the vague references of Strabo
to the songs of its
primitive inhabitants, and then pass on to Latin
page xii poets of Spanish birth, such as Seneca, Lucan and Martial.

The later Spaniards who wrote Christian poetry in Latin,
as Juvencus
and Prudentius, might then be considered. But
in order not to
embrace many diverse subjects foreign
to the contents of this
collection, we must confine our
inquiry to lyric production in the
language of Castile,
which became the dominating tongue of the
Kingdom of
Spain.
Such a restriction excludes, of course, the Arabic lyric,
a highly
artificial poetry produced abundantly by the
Moors during their
occupation of the south of Spain; it
excludes also the philosophical
and religious poetry of
the Spanish Jews, by no means despicable in
thought or
form. Catalan poetry, once written in the Provençal
manner
and of late happily revived, also lies outside our field.
Even the Galician poetry, which flourished so freely under
the
external stimulus of the Provençal troubadours, can be
included only
with regard to its influence upon Castilian.
The Galician dialect,
spoken in the northwest corner of
the Peninsula, developed earlier
than the Castilian of the
central region, and it was adopted by poets in
other parts
for lyric verse. Alfonso X of Castile (reigned 1252-1284)

could write prose in Castilian, but he must needs employ
Galician
for his _Cantigas de Santa María_. The Portuguese
nobles, with King
Diniz (reigned 1279-1325) at their head,
filled the idle hours of their

bloody and passionate lives
by composing strangely abstract,
conventional poems of
love and religion in the manner of the
Provençal _canso,
dansa, balada_ and pastorela, which had had such
a
luxuriant growth in Southern France in the eleventh and
twelfth
centuries. A highly elaborated metrical system
mainly distinguishes
these writers, but some of page xiii their work catches a pleasing lilt
which is supposed
to represent the imitation of songs of the people.
The
popular element in the Galician productions is slight, but
it was
to bear important fruit later, for its spirit is
that of the serranas of
Ruiz and Santillana, and of
villancicos and eclogues in the sixteenth
century.
It was probably in the neighborhood of 1350 that lyrics
began to be
written in Castilian by the cultured