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El Estudiante de Salamanca and Other Selections

Chapter 31: NOTES
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About This Book

A curated selection presents lyrical and narrative Romantic poems by José de Espronceda, led by a long, dramatic poem that interweaves passion, transgression, and supernatural consequence with several shorter pieces that oscillate between defiant energy and introspective melancholy. An introductory biographical essay and discussions of versification frame the poems, while notes, bibliography, and a vocabulary support classroom reading. The edition highlights the poet's range of meters and rhetorical devices, emphasizing the emotional intensity, formal variety, and recurring motifs of rebellion, wanderlust, and social marginality across the selections.




CANCIÓN DEL PIRATA

[Nota 1: Nombre que dan los Turcos a Constantinopla]




EL CANTO DEL COSACO

Donde sienta mi caballo los pies no vuelve
a nacer yerba.—Palabras de Átila




CORO

¡Hurra, Cosacos del desierto! ¡Hurra!

La Europa os brinda espléndido botín:

Sangrienta charca sus campiñas sean,

De los grajos su ejército festín.




EL MENDIGO

Mío es el mundo: como el aire libre,

Otros trabajan porque coma yo;

Todos se ablandan si doliente pido

Una limosna por amor de Dios.




SONETO




A TERESA
DESCANSA EN PAZ

Bueno es el mundo, ¡bueno! ¡bueno! ¡bueno!
Como de Dios al fin obra maestra,
Por todas partes de delicias lleno,
De que Dios ama al hombre hermosa muestra;
Salga la voz alegre de su seno
A celebrar esta vivienda nuestra;
¡Paz a los hombres! ¡gloria en las alturas!
¡Cantad en vuestra jaula, crïaturas!
DON MIGUEL DE LOS SANTOS ÁLVAREZ, "María"
















NOTES

EL ESTUDIANTE DE SALAMANCA

PARTE PRIMERA

Instead of Cuento, later editions read Leyendas.

The introductory quotation is taken from the "Don Quijote," Part I, chap. 45. The words were addressed by Don Quijote to members of the rural police who were arresting him for depredations committed on the highway. The full sentence in Ormsby's translation reads: "Who was he that did not know that knights-errant are independent of all jurisdictions, that their law is their sword, their charter their prowess, and their edicts their will?" This Spanish declaration of independence was frequently used as a slogan by the Romanticists. Espronceda is here making the quotation apply more particularly to his lawless hero.

1. Era más de media noche: the poet begins with a characteristic Romantic landscape, gloomy, medieval, fantastic, uncanny. He is trying to create a mood of horror. He follows the Horatian precept of beginning the plot in the middle (in medias res). The situation here introduced is not resumed until Part Four is reached. Parts Two and Three supply the events leading up to the duel. The Duque de Rivas's "Candil" begins in similar fashion:

Más ha de quinientos años

En una torcida calle,

Que de Sevilla en el centro

Da paso a otras principales;

Cerca de la media noche,

Cuando la ciudad más grande

Es de un grande cementerio

En silencio y paz imagen;

De dos desnudas espadas

Que trababan un combate

Turbó el repentino encuentro

Las tinieblas impalpables.

El crujir de los aceros

Sonó por breves instantes

Lanzando azules centellas,

Meteoro de desastres.

Y al gemido ¡Dios me valga!

¡Muerto soy! y al golpe grave

De un cuerpo que a tierra vino

El silencio y paz renacen, etc.

This was first published in "El Liceo," 1838. The Duque de Rivas may have been influenced by our text, but such introductions were a Romantic commonplace. See M. Fernández y González, "Crónicas romanescas de España. Don Miguel de Mañara, memorias del tiempo de Carlos V," Paris, 1868. The story begins "Era la media noche"; and, later, "Hacía mucho tiempo que Sevilla estaba entregada al sueño y al silencio." Espronceda is here following his sources closely.

2. antiguas historias: not a mere rhetorical statement. These old stories actually existed. See the study of sources in the Introduction.

4. lóbrego: I follow the reading of the 1840 edition. Later editions changed to lóbrega, making the adjective agree with tierra instead of silencio. Either reading makes good sense, but in cases of doubt I follow the Editio Princeps.

11. fantasmas: this noun is usually masculine, but is often feminine in popular speech. The distinction between the masculine and feminine meanings given in most dictionaries does not apply in Espronceda. He uses both genders indifferently.

19. sábados: Saturday was the usual day when, according to popular belief, witches attended their yearly aquelarre or sabbath. The favorite meeting-place for Spanish witches was said to be the plain around Barahona (Soria).

27. gótico: admiration for the Gothic was a characteristic of Romanticism.

37. Salamanca: the famous university city of Spain. Its founding antedates the Carthaginians and the Romans. The university of Palencia was transferred to Salamanca by Fernando III in 1239. Neither the university nor the city retains much of its ancient importance. See Gustave Reynier, "La Vie universitaire dans l'ancienne Espagne," Paris, 1902.

38. armas y letras: these words summarize the Renaissance ideal of culture. The perfect gentleman must combine literature and arms. Letters were not considered to be apart from active life. Cervantes, Lope de Vega, Quevedo, and many others of Spain's great writers of the classic period exemplify this ideal.

53. embozado: to avoid breathing the cool mountain air of his country, a Spaniard frequently draws the corner of his cape over his face, concealing it. He is then embozado, 'muffled.' When a woman is heavily veiled she is tapada. This national custom has been effectively used by Spanish poets, novelists, and dramatists. It offered a plausible excuse for the concealment or confusion of identity.

64. calle: this word is the object of atraviesa, l. 72.

65. la calle del Ataúd: this dismal name does not seem to be of Espronceda's own invention. It is found in José Gutiérrez de la Vega's "Don Miguel de Mañara," 1851. Espronceda probably used some earlier edition of the prose romance of Don Miguel de Mañara.

96. que: a relative adverb used with the force of a genitive Translate 'whose.'

100. Segundo Don Juan Tenorio: see the Introduction.

PARTE SEGUNDA

The quotation is taken from Byron's "Don Juan," Canto IV, stanza 72, the description of Haidée's tomb. I restore the first two words, omitted in all previous editions, without which the passage is devoid of meaning. The way in which this passage has been garbled was pointed out by Piñeyro, "El Romanticismo en España," Paris, 1904.

181. de luceros coronada: this verse occurs also in Meléndez Valdés' "Rosana en los fuegos." See Foulché-Delbosc, "Quelques Réminiscences dans Espronceda," Revue Hispanique, XXI, p. 667.

218. hoja tras hoja, etc.: in the first part of "Faust," Margarete pulls out one by one the petals of a daisy to determine whether or not Faust loves her. Is this a reminiscence of Margarete's Er liebt mich—liebt mich nicht?

242. pasó: translate by the English perfect tense. There are many other cases in these poems where the preterit had best be rendered by the perfect.

245. miraran: here and elsewhere the second (-ra) tense of the imperfect subjunctive is equivalent to a simple past. This use of the tense is frequent. At other times this tense is better rendered by a pluperfect indicative, when the common subjunctive meaning does not serve.

268. These verses are the most frequently quoted of the whole poem.

268. juguete: I retain, though with some doubt, the reading of the original. Later editions have changed to juguetes.

278. The thought of these verses is that mean objects may present a beautiful appearance when viewed through a telescope. "Distance lends enchantment." So woman when viewed through the illusion of fancy is better than the woman of reality. This thought is developed farther in "A Teresa."

298. A frequently recurring thought in Espronceda, typical of Romantic pessimism. Truth is man's greatest enemy, he holds. Illusion is friendly.

318. In this and what follows, Elvira is plainly a copy of Ophelia. The influence of Hamlet cannot be doubted. Churchman has pointed out that Elvira is a composite of Goethe's Margarete, Shakespeare's Ophelia, and the Haidée and Doña Julia of Lord Byron. See "Byron and Espronceda," Revue Hispanique, Vol. XX, p. 164.

324. otra: I retain the original reading. Later editions erroneously read otras.

347. Vaso de bendición: `blessed vessel,' i.e. an individual peculiarly favored with the divine blessing. The phrase vaso de elección is commoner, meaning one chosen for a particular mission or appointed task. The latter term is frequently applied to the Apostle Paul (Acts ix, 15).

359. Mas despertó también de su locura, etc.: Ophelia did not recover her reason before dying. Likewise she was drowned, while Elvira dies of love.

364. El bien pasado y el dolor presente: an obvious reminiscence of Dante's: