ASPANISH ANTHOLOGY

The Silver Series of Modern Language Text-BooksASPANISH ANTHOLOGYA COLLECTION OF LYRICS FROM THE THIRTEENTH CENTURY DOWN TO THE PRESENT TIMEEDITED, WITH INTRODUCTION AND NOTESBYJ. D. M. FORD, Ph.D.Instructor in Romance Languages in Harvard UniversitySilver, Burdett & Company LogoSILVER, BURDETT AND COMPANYNEW YORKBOSTONCHICAGOCopyright, 1901,By Silver, Burdett & CompanyvPREFACEUse of the present Anthology in the Spanish classes at Harvard University has shown that Spanish verse appeals to the imagination of the English-speaking student. On that account, the editor now ventures to offer this book for general academic use. The volume should not be without a certain popular value also, since many poems are included in it that through translations have been introduced into English literature, and, like Longfellow’s version of theCoplasof Manrique, have there made their fortune.Indulgence is asked in cases where the readings of a particular text may not seem satisfactory. Access to the manuscripts or to rare early editions alone could justify the alteration of passages which even in the best editions available seem to have faulty readings. The editor has taken the liberty, however, of changingstozin the older texts, where it was clear that the appearance of the former letter (as inrason,desir, etc.) was due to a common mistake of the first editors, who confused thezand the cursivesof their manuscripts.Errors of judgment in the selection of the poems were perhaps inevitable. At any rate, the editor does not believe himself exempt from such errors. Of the anthologies of Spanish verse already in existence he has found it particularly useful to consult the following:viM. Menéndez y Pelayo:Antología de poetas líricos castellanos, Madrid, 1890 and since.Id.:Antología de poetas hispano-americanos, Madrid, 1893.F. Wolf:Floresta de rimas modernas castellanas, Paris, 1837.C. M. de Vasconcellos:Antología Española, 1ª parte, Leipzig, 1875.The very best account of Spanish lyric poetry may be found in the variousProloguesandIntroductionsto the two Anthologies of Menéndez y Pelayo.J. D. M. F.Harvard University,September, 1901viiCONTENTSpageIntroductionxvIndex of AuthorsxlixI.—POESÍAS DE LOS SIGLOS XIII-XVAventura AmorosaAnónimo3Cántica de la VirgenGonzalo de Berceo8De las Propiedades que las Duennas Chicas hanRuiz9Cantiga de Ciegos11Á la Muerte del Príncipe D. AlfonsoManuel13Cantar: Sennor, si tú has dadaLópez de Ayala14Cantar: Á la Virgen15La Danza de la MuerteAnónimo16Revelación de un ErmitañoAnónimo21«A aquel árbol, que mueve la foxa»Furtado de Mendoza23Cantiga: SevillaÁlvarez de Villasandino24DezirImperial25Dezir sobre la FortunaPáez de Ribera26«Si Dios, nuestro Salvador»Álvaro de Luna28Decir en Honor de Leonor de los PañosPérez de Guzmán29El LaberintoJuan de Mena31CantarcilloCota32Coplas de Mingo RevulgoAnónimo32Sonetos Fechos al Itálico ModoLópez de Mendoza34Serranilla35Villancico36QuerellaLope de Estúñiga37CanciónSuero de Quiñones38Replicaçion contra ManuelAlfonso de Baena39Respuestacontra AlfonsoManuel de Lando39CanciónCarvajal40Coplas á Diego Arias de AvilaGómez Manrique40A una Dama que iba Cubierta41viiiPorque Estando Él Durmiendo le Besó su AmigaJorge Manrique42A la Muerte del Maestre de Santiago Don Rodrigo Manrique, su Padre43CanciónCartagena57A la VirgenRodríguez del Padrón58OraciónTallante58CanciónEl Comendador Escribá59LetraGato59El BesoAnónimo60II.—POESÍAS DE LOS SIGLOS XVI-XVIIContra los que Dicen Mal de MujeresJuan del Encina63RomanceManuel de Urrea65CanciónGil Vicente67SonetosBoscán Almogaver67Octava Rima68Egloga: Salicio y NemorosoGarcilaso de la Vega70Soneto72SonetoFernando de Acuña72MadrigalesGutierre de Cetina73Al Silencio de las QuejasHurtado de Mendoza74Soneto75Contra los que Dejan los Metros Castellanos y Siguen los ItalianosCristóbal de Castillejo75Soneto77Soneto78Visita de AmorGregorio de Silvestre78Glosa79Redondillas á unos Cabellos Prendidos con Cordón de Seda VerdeJorge de Montemayor80VillancicoLuis de Camoens81Letrilla82Una GlosaSanta Teresa de Jesus82Letrilla (que Llevaba por Registro en su Breviario)85Soneto: Por la Vitoria de LepantoFernando de Herrera86Soneto: A Sevilla86Canción: Al Sueño87Canción: Por la Vitoria de Lepanto88ixLa Vida del CampoLuis de León95La Ascensión del Señor97A Felipe Ruiz98Profecía del Tajo100Noche Serena103Canción: Noche Oscura del AlmaSan Juan de la Cruz105Imitación del Cantar de los CantaresMalón de Chaide107CanzonetaTimoneda108Egloga: TirsiFrancisco de Figueroa109OctavasBarahona de Soto110Soneto: A Cristo CrucificadoAnónimo111SonetoArias Montano111Romance Histórico: Romance del Rey Don Rodrigo, Cómo Perdió á EspañaAnónimo112Romance Histórico: Bernardo Llora á su Padre y Celebra sus ObsequiasAnónimo114Romance Histórico: Romance de Don Rodrigo de LaraAnónimo116Romance Histórico: Casamiento del Cid con JimenaAnónimo117Romance Histórico: El Cid Va en Romería á Santiago.—Milagro del GafoAnónimo119Romance Histórico: De la Muerte de la Reina BlancaAnónimo122Romance Morisco: La Conquista de AlhamaAnónimo124Romance Caballeresco: Doña Alda Llora la Muerte de RoldánAnónimo126Romance Caballeresco: La ConstanciaAnónimo128Romance Erótico: Rosa FrescaAnónimo128Romance Erótico: Fonte FridaAnónimo129«Mientras duerme mi niño»Canción Anónima130El SueñoBaltasar de Alcázar131Sobre los Consonantes132«Quién menoscaba mis bienes»Miguel de Cervantes Saavedra133Canción134Soneto135xGlosa135SonetoLupercio Leonardo de Argensola137Canción (Traducción de Horacio:Beatus Ille)137SonetoBartolomé Leonardo de Argensola140Epigrama (Traducción de Marcial)140RomanceLuis de Argote y Góngora141Villancico142Soledad Primera143Soneto (Contra los que Dijeron Mal de lasSoledades)144SonetoConde de Villamediana144Epigramas145RedondillasVicente Espinel145Letrilla146Canción de la VirgenLope Félix de Vega Carpio147Romance148Sonetos151Mañana152El Buen Pastor152A la Nueva Lengua153Un Soneto153Letra de Cristo al AlmaJosé de Valdivielso154Idilio: La Fábula del GenilPedro de Espinosa155Soneto: «Estas purpúreas»156Oda: A las Ruinas de ItálicaCaro156Silva: Acaecimiento AmorosoJuan de Jáuregui157LetrillaGómez de Quevedo y Villegas159Soneto162Canción162Epístola Satírica al Conde de Olivares163Soneto164Canción: La TórtolaEl Bachiller de la Torre165CanciónFrancisco de Borja167Canción167Canción168Silva: A la RosaFrancisco de Rioja170xiA la Pobreza171A la Riqueza173Canción á un JilgueroSoto de Rojas175Cantilena: De un PajarilloManuel de Villegas175Cantilena: Del Amor y la Abeja176Oda: Al Céfiro177Fábula Burlesca de Apolo y DafnePolo de Medina178CantarcilloCalderón de la Barca180Décima: A Lope de Vega Carpio181El Mágico Prodigioso181El Alcalde de Zalamea (Consejo de Crespo á su Hijo)183Lágrimas184Soneto: A las Ojeras de una DamaAgustín de Salazar Torres185RedondillasSor Juana Inés de la Cruz185Soneto (Entre Encontradas Correspondencias Vale Más Amar que Aborrecer)187III.—POESÍAS DEL SIGLO XVIIICanciónIgnacio de Luzán191Soneto: El Verdadero AmorGarcía de la Huerta192Sátira contra los Malos Escritores de su TiempoPitillas193La Fiesta de Toros en MadridNicolás Fernández de Moratín196Sobre ser la Poesía un Estudio FrívoloJosé de Cadalso207Canto Guerrero (para los Asturianos)Melchor de Jovellanos208Oda: A un RuiseñorValdés211Romance: La Lluvia213Letrilla: A unos Lindos Ojos214Traducción del Salmo VIIIGonzález215El Murciélago Alevoso217Letrilla: La Rosa de AbrilIglesias de la Casa221El OtoñoÁlvarez de Cienfuegos223Canción224xiiFábula: El León y la CabraMaria de Samaniego225Fábula: El Jabalí y la Zorra226El Oso, la Mona y el CerdoTomás de Iriarte226Soneto227Oda: Los DíasLeandro Fernández de Moratín228España Restaurada en CádizArjona230IV.—POESÍAS DEL SIGLO XIXOda á España, Después de la Revolución de MarzoQuintana235Oda á Guzmán el Bueno239El Dos de MayoGallego244La Voluntariedad y el Deseo ResignadoBlanco249La Muerte de JesúsAlberto Lista y Aragón251La Victoria de Bailén253Los Defensores de la Patria (Canción Cívica)Juan Arriaza y Superirela255Epístola al Duque de Frías (con Motivo de la Muerte de la Duquesa)Martínez de la Rosa257Un Castellano LealÁngel de Saavedra258Al Faro del Puerto de Malta266La CautivaJosé de Espronceda268Soneto270A Teresa270Canción del Pirata275La Independencia de la PoesíaManuel de Cabanyes279IndecisiónZorrilla280La Fuente283A la Memoria de Larra284Toledo286A CalderónHartzenbusch287El Soldado y el CarreteroBretón de los Herreros288Al HuracánHeredia289Oda á Niágara291Plegaria á DiosPlácido293El Amor de los AmoresCoronado294xiiiA WashingtonGómez de Avellaneda296A un Ruiseñor296La Tumba y la Rosa298A la Muerte de Espronceda298PlegariaLópez de Ayala300La ModestiaJosé Selgas y Carrasco300RimasBécquer303Al AnochecerAntonio de Trueba307Cantos de Pájaro308Cantabria309Imitación de los SalmosVentura de la Vega309La Oración por TodosBello310Los SollozosRamón de Campoamor y Campoosorio312El Mayor Castigo313¡Quién Supiera Escribir!313El Descreimiento315El Cielo de Leopardi316Las Dos Grandezas316Las Dos Tumbas318Noche de AbrilValera y Alcalá Galiano319El Fuego Divino320¡Excelsior!Núñez de Arce323A España324Miserere324En RomaMarcelino Menéndez y Pelayo330Elegía en la Muerte de un Amigo331Glossary337Notes343xvINTRODUCTIONNOTES ON THE HISTORY OF SPANISH LYRIC POETRY.In the notes to theAnthologyan endeavor has been made to indicate clearly the position occupied by each of the poets here represented, with respect to the literary movements of his time. This Introduction, then, need but serve the purpose of outlining those general movements in so far as they have been concerned with lyric production.Of course we have to do only with the lyric tradition which has found expression in the language of Castile. It is not to be forgotten, however, that it is but one out of several lyric traditions that have flourished within the bounds of Spain; for the Spaniard can point with pride to a poetic production in Latin which extended from the Silver Age of Latin literature well into the Middle Ages, and he knows, too, that the Arabs and the Hebrews who settled on his soil composed and sang in their respective tongues. Those who desire more light upon these traditions will find an interesting account of them in thePrólogoto the first volume of Menéndez y Pelayo’sAntología de poetas líricos castellanos(Madrid, 1890). Suffice it to say that the influence of Arabic and Hebrew literature upon composition in Castilian has been exceedingly slight, and that for literary expression the latter speech is a legitimate heir of Latin in the Iberian peninsula. The Catalan and Portuguese literatures have a tradition entirelyxviindependent of that of Castile; we, therefore, disregard them here.Literature, properly so called, did not appear in the vulgar tongue of Castile until the twelfth century. From that period we have preserved one of the greatest monuments of Old Spanish letters, the epicPoema del Cid. To heroic poetry as instanced by this poem on Roderick of Bivar, which, like most of the early epic legends orcantares de gestaof Castile, must have been produced under the influence of the Frenchchansons de geste, there succeeded, in the thirteenth century, a body of religious and didactic verse, a good part of which is due to the industrious cleric, Gonzalo de Berceo. Very few lyric compositions in Castilian can be found in this century. One, and apparently the earliest of all, is the first piece in our Collection—theAventura amorosa. Modeled on the Frenchpastourelleor the Provençalpastorela, it shows, like the Spanish heroic legend, the influence of the region whence most of the mediæval Occident derived its first poetic inspiration. Another precious example of lyrism at this early date is a song with certain popular elements in it,—theCántica de la Virgen, introduced by Berceo into his religious poem,El duelo de la Virgen.One may marvel that there was so slight an output of Castilian lyric verse at a time when Castile had already begun to be quite active in a literary way. However, the reason is not far to seek. It is found in the fact that the poets of Castile, following what seems to have been a convention with them, wrote their lyrics in the language of an adjoining district, that of Galicia. Into this latter region, as into Portugal generally, the wandering troubadours from Provence had early penetrated, singing everywhere their erotic strains, until, at length, the native poets began to imitate the Provençal manner in their own language, the Galician-Portuguese. Of their amorous and other lyric verse quite an amount is preserved in variousCancioneiros, and these also contain the poems of Castiliansxviiand southern Spaniards, who, like the monarch of Castile, Alfonso el Sabio, composed in Galician-Portuguese.[1]

The Silver Series of Modern Language Text-Books

A COLLECTION OF LYRICS FROM THE THIRTEENTH CENTURY DOWN TO THE PRESENT TIME

EDITED, WITH INTRODUCTION AND NOTES

BYJ. D. M. FORD, Ph.D.Instructor in Romance Languages in Harvard University

SILVER, BURDETT AND COMPANYNEW YORKBOSTONCHICAGO

Use of the present Anthology in the Spanish classes at Harvard University has shown that Spanish verse appeals to the imagination of the English-speaking student. On that account, the editor now ventures to offer this book for general academic use. The volume should not be without a certain popular value also, since many poems are included in it that through translations have been introduced into English literature, and, like Longfellow’s version of theCoplasof Manrique, have there made their fortune.

Indulgence is asked in cases where the readings of a particular text may not seem satisfactory. Access to the manuscripts or to rare early editions alone could justify the alteration of passages which even in the best editions available seem to have faulty readings. The editor has taken the liberty, however, of changingstozin the older texts, where it was clear that the appearance of the former letter (as inrason,desir, etc.) was due to a common mistake of the first editors, who confused thezand the cursivesof their manuscripts.

Errors of judgment in the selection of the poems were perhaps inevitable. At any rate, the editor does not believe himself exempt from such errors. Of the anthologies of Spanish verse already in existence he has found it particularly useful to consult the following:

M. Menéndez y Pelayo:Antología de poetas líricos castellanos, Madrid, 1890 and since.

Id.:Antología de poetas hispano-americanos, Madrid, 1893.

F. Wolf:Floresta de rimas modernas castellanas, Paris, 1837.

C. M. de Vasconcellos:Antología Española, 1ª parte, Leipzig, 1875.

The very best account of Spanish lyric poetry may be found in the variousProloguesandIntroductionsto the two Anthologies of Menéndez y Pelayo.

J. D. M. F.

Harvard University,September, 1901

In the notes to theAnthologyan endeavor has been made to indicate clearly the position occupied by each of the poets here represented, with respect to the literary movements of his time. This Introduction, then, need but serve the purpose of outlining those general movements in so far as they have been concerned with lyric production.

Of course we have to do only with the lyric tradition which has found expression in the language of Castile. It is not to be forgotten, however, that it is but one out of several lyric traditions that have flourished within the bounds of Spain; for the Spaniard can point with pride to a poetic production in Latin which extended from the Silver Age of Latin literature well into the Middle Ages, and he knows, too, that the Arabs and the Hebrews who settled on his soil composed and sang in their respective tongues. Those who desire more light upon these traditions will find an interesting account of them in thePrólogoto the first volume of Menéndez y Pelayo’sAntología de poetas líricos castellanos(Madrid, 1890). Suffice it to say that the influence of Arabic and Hebrew literature upon composition in Castilian has been exceedingly slight, and that for literary expression the latter speech is a legitimate heir of Latin in the Iberian peninsula. The Catalan and Portuguese literatures have a tradition entirelyxviindependent of that of Castile; we, therefore, disregard them here.

Literature, properly so called, did not appear in the vulgar tongue of Castile until the twelfth century. From that period we have preserved one of the greatest monuments of Old Spanish letters, the epicPoema del Cid. To heroic poetry as instanced by this poem on Roderick of Bivar, which, like most of the early epic legends orcantares de gestaof Castile, must have been produced under the influence of the Frenchchansons de geste, there succeeded, in the thirteenth century, a body of religious and didactic verse, a good part of which is due to the industrious cleric, Gonzalo de Berceo. Very few lyric compositions in Castilian can be found in this century. One, and apparently the earliest of all, is the first piece in our Collection—theAventura amorosa. Modeled on the Frenchpastourelleor the Provençalpastorela, it shows, like the Spanish heroic legend, the influence of the region whence most of the mediæval Occident derived its first poetic inspiration. Another precious example of lyrism at this early date is a song with certain popular elements in it,—theCántica de la Virgen, introduced by Berceo into his religious poem,El duelo de la Virgen.

One may marvel that there was so slight an output of Castilian lyric verse at a time when Castile had already begun to be quite active in a literary way. However, the reason is not far to seek. It is found in the fact that the poets of Castile, following what seems to have been a convention with them, wrote their lyrics in the language of an adjoining district, that of Galicia. Into this latter region, as into Portugal generally, the wandering troubadours from Provence had early penetrated, singing everywhere their erotic strains, until, at length, the native poets began to imitate the Provençal manner in their own language, the Galician-Portuguese. Of their amorous and other lyric verse quite an amount is preserved in variousCancioneiros, and these also contain the poems of Castiliansxviiand southern Spaniards, who, like the monarch of Castile, Alfonso el Sabio, composed in Galician-Portuguese.[1]

Back to Index Next