Kitabı oku: «Legends, Tales and Poems», sayfa 3
AN UNPUBLISHED LETTER OF THE POET BECQUER, ONE OF THE FEW THAT HAVE SURVIVED HIM, ADDRESSED TO SOR. C. FRANCO DE LA IGLESIAS, MINISTERIO DE ULTRAMAR, MADRID. DATED IN TOLEDO, JULY 18TH, 1869.[1]
[Footnote 1: The accentuation and punctuation of the original are preserved. This letter is of particular interest, showing, as it does, the tender solicitude of Becquer for his children, his dire financial straits when a loan of three or four dollars is a godsend, and his hesitation to call upon friends for aid even when in such difficulties. The letter was presented to the writer of this sketch by Don Francisco de Laiglesia, a distinguished Spanish writer and man of public life and an intimate friend of Becquer. Señor de Laiglesia is the owner of the magnificent portrait of Gustavo by Valeriano Becquer, of the beauty of which but a faint idea can be had from the copy of the etching by Maura, which serves as a frontispiece to the present volume. ]
Mi muy querido amigo:
Me volvi de esa con el cuidado de los chicos y en efecto parecia anunciarmelo apenas llegue cayó en cama el mas pequeño. Esto se prolonga mas de lo que pensamos y he escrito á Gaspar y á Valera que solo pagó la mitad del importe del cuadro Gaspar he sabido que salio ayer para Aguas Buenas y tardará en recibir mi carta Valera espero enviará ese pico pero suele gastar una calma desesperante en este apuro recurro una vez mas á vd. y aunque me duele abusar tanto de su amistad le ruego que si es posible me envie tres ó cuatro duros para esperar el envio del dinero que aguardamos el cual es seguro pero no sabemos que dia vendrá y aqui tenemos al medico en casa y atenciones que no esperan un momento.
Adios estoy aburrido de ver que esto nunca cesa. Adios mande vd. á su amigo que le quiere
Gustavo Becquer
Espresiones á Pepe Marco S/c Calle de San Ildefonso Toledo. Si le es á vd. posible enviar eso hagalo si puede en el mismo dia que reciba esta carta por que el apuro es de momento.
BIBLIOGRAPHICAL NOTE
A list of the works consulted in the preparation of the sketch of Becquer's life.
WORKS BY BECQUER
Obras de Gustavo A. Becquer. Quinta edición aumentada con varias poesías y leyendas. Madrid, Librería de Fernando Fé, 1898. Three volumes.
Historia de los Templos de España, publicada bajo la protección de SS. MM. AA. y muy reverendos señores arzobispos y obispos—dirigida por D. Juan de la Puerto Vizcaino y D. Gustavo Adolfo Becquer. Tomo I, Madrid, 1857. Imprenta y Estereotipia Española de los Señores Nieto y Campañía. Becquer is the author of only a portion of this work—see Introduction, p. xx.
La Ilustración de Madrid, January 12-October 12, 1870, contains a large number of articles by Becquer that have never been published in book form. The same can be said of other periodicals for which Becquer collaborated.
TRANSLATIONS
Gustave Becquer—Légendes espagnoles. Traduction de Achille Fouquier, dessins de S. Arcos. Paris, Librairie de Firmin-Didot et Cie, 1885. French.
Terrible Tales—Spanish. W. W. Gibbings, London, W. C. In this collection the following seven out of the twelve tales that it contains are by Becquer,—"The Golden Bracelet," "The Green Eyes," "The Passion Flower," "The White Doe," "Maese Pérez, the Organist," "The Moonbeam," and "The Mountain of Spirits." The translation is often inaccurate.
WORKS OR ARTICLES ON BECQUER
P. Francisco Blanco Garcia. La Literatura Española en el Siglo XIX, parte segunda, Madrid, 1891, contains a good criticism of the literary work of Becquer, pp. 79–91, and pp. 274–277.
Narciso Campillo. Gustavo Adolfo Becquer is the title of an excellent article on the Seville poet, by one who knew him well, in La Ilustración Artística, Barcelona, December 27, 1886, pp. 358–360. This number (261—Año V) is dedicated to Becquer, and contains many prose articles and much verse relative to him.
Achille Fouquier. Gustave Becquer, Légendes Espagnoles. Traduction de Achille Fouquier, dessins de S. Arcos. Paris, Firmin-Didot et Cie, 1885,—Avant-Propos, pp. 1–19. An interesting sketch of Becquer's life and an excellent appreciation of his style.
José Gestoso y Pérez. Carta á Mr. Achille Fouquier is the title of a valuable article in La Ilustración Artistica, Barcelona, December 27, 1886, pp. 363–366. This article contains important genealogical matter regarding Becquer, which had not until that time been published.
Eduardo de Lustono. Becquer is the titie of a sketch by this writer, published in Alrededor del Mundo, No. 109, July 4, 1901, pp. 11–13, and No. 110, July 11, 1901, pp. 22–23. It is largely a copy of the article by Narciso Campillo, mentioned above, and of the following by Rodriguez Correa.
Ramón Rodriguez Correa. Prólogo de las Obras de Gustavo A. Becquer. Quinta edición, Madrid, Fernando Fé, 1898. Vol. I, pp. IX-XLV. This is the principal biography of Becquer and the source of all the others. Its author was Becquer's most intimate friend.
Juan Valera. In Florilegio de Poesías Castellanas del Siglo XIX, Tomo I, Madrid, Fernando Fé, 1902, pp. 182–191, may be found an excellent appreciation of the poet by one of the most capable of Spanish critics and a personal friend of Becquer.
P. Restituto del Valle Ruiz, Agustino. In his Estudios Literarios, pp. 104–116, there is a chapter devoted to Gustavo A. Becquer, which contains an interesting critique of his poetry.
Mrs. (Mary A.) Humphrey Ward, in Macmillan's Magazine, No. 280, February, 1883, pp. 305–320, has an article entitled "A Spanish Romanticist: Gustavo Becquer." This is one of the best articles on Becquer that have been published.
SPANISH PROSODY
The basis for the following remarks on Spanish prosody is, for the most part, E. Benot's Prosodia Castellana y Versification, 3 vols., Madrid, 1892. Other works which have been consulted are the Ortologia y Arte Metrica of A. Bello, published in his Obras Completas, vol. 4, Madrid, 1890; Rengifo's Arte Poètica Española, Barcelona, 1759; J. D. M. Ford's "Notes on Spanish Prosody," in A Spanish Anthology, published by Silver, Burdett & Co., 1901; and a Tratado de Literatura Preceptiva, by D. Saturnino Milego é Inglada, published at Toledo in 1887.
Spanish versification has nothing to do with the quantity of vowels (whether long or short), which was the basis of Latin prosody.
There are four important elements in Spanish versification. Of these four elements two are essential, and the other two are usually present.
The essential elements, without which Spanish verse cannot exist, are—
I. A determined number of syllables per line.
II. A rhythmic distribution of the accents in the line.
The additional elements usually present in Spanish poetical compositions are—
III. Caesural pauses.
IV. Rhyme.
I. SYLLABIFICATION
Consonants.—In verse the same rules hold as in prose for the distribution of consonants in syllables.
Vowels.—If there were but one vowel in a syllable, Spanish syllabification would be easy; but sometimes two or more vowels are found either between consonants, or at the beginning or at the end of a word. When such is the case, intricacies arise, for sometimes the contiguous vowels are pronounced in a single syllable and sometimes they are divided into separate syllables.
The contiguous vowels may belong to a single word (see A); or they may be the final vowel or vowels of one word and the initial vowel or vowels of a following word or words (see B).
A. Diphthongization,—If two contiguous vowels of a single word are pronounced in but one syllable they form a diphthong, e.g. hu^esped.
B. Synalepha.—If two or more contiguous vowels belonging to two or more words are pronounced in a single syllable, they form synalepha.
Ex. Yo sé^un himno gigante y^extraño, p. 164, I, l. 1.
Since Spanish verse depends upon a determined number of syllables per line, diphthongization and synalepha are important factors in versification.
A. DIPHTHONGIZATION
Mute h between vowels is disregarded and does not prevent diphthongization, e.g. a^h^ora, re^h^usar.
The separation of two vowels that are usually united in one syllable is called diaeresis, e.g. vi|oleta.
The union in one syllable of two vowels that are usually in separate syllables is called synaeresis, e.g. ca^os.
1. THE TWENTY-FIVE POSSIBLE COMBINATIONS OP VOWELS IN DIPHTHONGS
The vowels may be divided into strong vowels (a, e, o) and weak vowels (i, u). For purposes of versification y as a vowel may be treated as i. The five vowels (a, e, o, i, u) taken in pairs may form diphthongs in twenty-five possible combinations, as follows:
a. Pairs of two weak vowels: ui, iu, ii, uu.
b. Pairs of two strong vowels:
{ ae, ao, aa,
{ ea, eo, ee,
{ oa, oe, oo.
c. Pairs of a strong vowel plus a weak vowel
{ ai, au,
{ ei, eu,
{ oi, ou.
d. Pairs of a weak vowel plus a strong vowel
{ ua, ue, uo,
{ ia, ie, io.
NOTE: In diphthongs a dominates o and e; and o dominates e. Any strong vowel dominates a weak one.
Ex. In Bo^abdíl, if a were not dominant, the diphthong would be dissolved.
2. DIPHTHONGS AND WORD ACCENTUATION
There are with regard to accent three possible conditions under which two contiguous vowels may occur within a word.
a. The contiguous vowels may precede the accented syllable.
b. One of the contiguous vowels may be accented.
c. The contiguous vowels may come after the accented syllable.
a. Two contiguous vowels before the accent.
(1) Of the twenty-five possible combinations all are admissible in diphthongs in a syllable preceding the accented syllable.
Ex. Habrá po^esta, p. 165, IV, l. 4.
(a) Diaeresis may be employed to dissolve the diphthong.
Ex. Sobre una vi|oleta, p. 169, XIII, l. 8.
b. One of two contiguous vowels accented.
(1) When two contiguous vowel's are strong.
(a) There is no diphthong if one of two contiguous strong vowels receives the accent.
Ex. Chispë|ando el sol hiere, p. 173, XXVI I, l. 17.
Ex. Tú, sombra a|érea que, cuantas veces, p. 170, XV, l. 7.
By synaeresis, however, a diphthong may be formed, especially in the combinations á^o, á^e, ó^e—c^a^o^s, c^a^e, ro^e. But in order to diphthongize oa, ea, and eo, when the accent naturally falls on the first vowel, the accent must shift to the second, which is a dominant vowel. Such diphthongization is harsh. For example, loa would shift the accent from o to a in order to form a diphthong. The accent would also shift in cre^a, fe^o.
(2) When one of the contiguous vowels is weak and the other strong.
(a) There is no diphthong if an accented weak vowel precedes a strong.
Ex. Yo, que á tus ojos en mi agoní|a, p. 171, XV, l. 18. Synaeresis is, however, sometimes employed to overcome this rule. The accent must then shift.
Ex. Habi^a llegado una nave. Calderón.
(b) There is no diphthong if an accented weak vowel follows a strong.
Ex. ¿Cómo puede re|ir? p. 182, XLIX, l. 4.
Synaeresis serves sometimes to overcome this rule. The result is usually harsh.
Ex. En re^ir á costa ajena, les prepara.
(c) If an accented strong vowel precedes a weak, they form a diphthong. The diphthong is rarely dissolved, and is usually marked with a diaresis, if dissolution takes place.
Ex. Beso del aura, onda de luz, p. 170, XV, l. 5.
(d) If an accented strong vowel follows a weak they may or may not form a diphthong.
Ex. Por una sonrisa, un ci^elo, p. 172, XXIII, l. 2. [Diphthong.]
Ex. Domando el rebelde, mezquino idï|oma, p. 164, I, l. 6. [No diphthong.]
Diaeresis or synaeresis may usually be employed according to the case.
Thus, fiel becomes by diaeresis fi|el, and br|ioso becomes by synaeresis bri^oso.
It should be remembered that in some words the accentuation is variable, while in others it is fixed.
There are two classes of words that have a variable accentuation: first, those in which an unaccented weak vowel is followed by an accented strong vowel, e.g. majestu^oso, majestu|oso; second, those in which an accented strong vowel is followed by an unaccented strong vowel, e.g. tra|e, tra^e.
Ex. Cre^es que la afe|an. Becquer.
Cre|es que suspirando pasa el viento, p. 171, XVI, l. 3.
Etymological conditions often determine whether or not a diphthong is formed.
ie and ue, derived from the Latin e and o respectively, form indissoluble diphthongs.
The ending -ión for substantives is usually a diphthong and rarely suffers dissolution.
Synaeresis may be employed to unite in a single syllable two contiguous vowels (unaccented weak + accented strong) that are separated on account of etymology, or, in the case of derivatives, analogy with the original word; but diaeresis is employed very rarely to dissolve a proper diphthongal combination (unaccented weak + accented strong).
For example, di|ario by analogy with día, and fi|ó from the Latin fidavit, have ordinarily the i in separate syllables, but a diphthong may be formed by synaeresis.
(3) When the two contiguous vowels are weak.
(a) Two contiguous weak vowels with the accent on the first form an indissoluble diphthong, e.g. mu^y.
(b) Two contiguous weak vowels with the accent on the second may or may not form a diphthong.
Ex. Si antes no juras que por ru^in falsía. Hermosilla. [Diphthong.]
Ex. Con sus mil rü|idos, p. 188, LXXIII, l. 19, [No diphthong.]
c. Two contiguous vowels after the accented syllable.
(1) Two contiguous strong vowels after the accented syllable naturally form a diphthong.
Ex. Tú, sombra aére^a que, cuantas veces, p. 170, XV, l. 7.
Diaeresis may be employed to dissolve the diphthong.
(2) If a strong vowel is followed by a weak vowel after the accented syllable, they form a diphthong, e.g. hablaba^is, amara^is.
This diphthong is easily dissolved.
(3) If a weak vowel is followed by a strong vowel after the accented syllable, they form a diphthong, e.g. histor^i^a, ans^i^a.
Ex. De la brisa nocturna al tenu^e soplo, p. 192, LXXV, l. 6.
The diphthong may, however, be dissolved, e.g. estatu|a, tenu|e, nadi|e.
3. TRIPHTHONGS AND COMBINATIONS OP THREE OR MORE CONTIGUOUS VOWELS
If three vowels belonging to the same word are contiguous, one of them must be accented. There are then three possible arrangements.
(i) Three contiguous vowels of a word with the accent on the first, e.g. tráeos.
(ii) Three contiguous vowels of a word with the accent on the second, e.g. creia, buey.
(iii) Three contiguous vowels with the accent on the third, e.g. rehuí.
Each of the above arrangements has two combinations of accented and unaccented vowels to which the rules for diphthongs may be applied. In (i) there will be a combination of two vowels with the first accented, plus a combination of two vowels after the accent. In tráeos, for example, the a and e would probably be in separate syllables by b (1) (a), and eo would probably form a diphthong by c (1). Tráeos would, then, probably be a dissyllable.
In (ii) there will be a combination of two vowels with the accent an the second, and one of two vowels with the accent on the first. In creia, for example, the e and í would be in separate syllables by b (2) (b), and the í and a would probably be in separate syllables also by b (2)(a). Therefore, creia would probably be a trisyllable. In cambiáos the i and á might form one syllable or two by b (2) (d), and the á and o would probably be in separate syllables by b (1) (a). Therefore, in cambiáos the combination iáo might form a dissyllable or a trisyllable.
In (iii) there will be a combination of two vowels before the accent, and one of two vowels with the second accented. In rehuí, for example, the e and u might be in the same syllable by a (1), or in separate syllables by dieresis by a (1) (a), and the u and í might be in separate syllables or not by b (3) (b). Therefore, rehuí might be a monosyllable, a dissyllable, or a trisyllable.
Other combinations of three vowels may be analyzed in a similar way, as may also combinations of more than three vowels, e.g. creíais, etc.
B. SYNALEPHA
Between the contiguous vowels of separate words there may occur synalepha (which corresponds to diphthongization within a word), or hiatus (which is similar to diaeresis within a word).
Ex. Abre^una^eternidad, p. 178, XXXVI I, l. 22. ¿Á qué me lo decís? lo sé^:^es mudable, p. 179, XXXIX, l. 1. [Synalepha.]
Ex. Como la onda^azul, en cuya cresta, p. 173, XXVII, l. 16. [Hiatus.]
The vowels contracted by synalepha are each pronounced, except when the same vowel is repeated, when only a prolonged sound is heard, as in onda^azul or sé^es above.
Synalepha may join into a single syllable two, three, four, and even five vowels. The union of two vowels (diphthongal synalepha) and the union of three vowels (triphthongal synalepha) are the most common.
A pause due to a break in sense does not prevent synalepha. Mute h is disregarded in the verse and does not prevent synalepha.
Ex. Capaz de encerrarlo, y apénas ¡oh^hermosa! p. 164, I, l. 10.
1. DIPHTHONGAL SYNALEPHA
a. Synalepha takes place between two contiguous unaccented vowels belonging to separate words.
Ex. Abre^una^eternidad, p. 178, XXXVII, l. 22.
b. Synalepha occurs when the final vowel of the first word is accented.
Ex. Te ví^un punto, y, flotando ante mis ojos, p. 169, XIV, l. 1.
c. Synalepha usually occurs when the initial vowel of the second word is accented, especially when the first word ends in a weak vowel, and also in the combinations aá, oá, oa, eá, eó, eé.
Ex. Me parece^en el cielo de la tarde, p. 169, XIII, l. 11.
NOTE: Synalepha is possible with the other combinations, but hiatus is preferable even with the above combinations, in a syllable on which the rhythmical accent falls (see under Rhythmic Accent).
Ex. Despierta, hablas, y al hablar, vibrantes, p. 174, XXVII, l. 23.
Ex. Como la ola que á la playa viene, p. 178, XXXVII, l. 19.
2. TRIPHTHONGAL SYNALEPHA
a. There is always triphthongal synalepha when a is the middle vowel; or when o or e is the middle vowel, except in the following combinations, aoa, aoo, ooo, aea, aeo, oea, oeo.
Ex. Silenciosa á expirar, p. 178, XXXVII, l. 20.
b. There is never triphthongal synalepha when an accented weak vowel stands between two strong vowels. Therefore the conjunctions y and ú prevent triphthongal synalepha.
Ex. Y de purpura y oro la matiza, p. 168, IX, l. 4.
c. There may be triphthongal synalepha when í (y) is the middle vowel, if u precedes it, or i follows it.
Ex. Fuí diestro, fuí valiente, fuí arrogante. Cervantes.
d. When u is the middle vowel there may be synalepha if i follows it. The construction is very rare.
e. There is no synalepha with a word beginning with hue.
Ex. Mucho nuestro huesped tarda. Tirso de Molina.
f. In the following cases the groups of vowels which would usually make triphthongal synalepha are pronounced in two syllables:
(1) When the first word of the group ends in two vowels which do not form a diphthong.
Ex. Que aún tení|a^abiertos, p. 187, LXXIII, l. 2.
(2) When the two initial vowels of the second word do not form a diphthong.
Ex. Tú, sombra^a|érea que, cuantas veces, p. 170, XV, l. 7.
(3) When the first word ends in a diphthong and the second begins with a vowel in a constituent syllable (i.e. a syllable on which the rhythmical accent falls).
Ex. Tan gran designio honra tus audacias.
If the accented vowel is not in a constituent syllable synalepha may occur.
Ex. Mientras la cencia á descubrir no alcance, p. 165, IV, l. 13.
(4) When the first word ends in a single vowel, and the second word begins with a diphthong in a constituent syllable.
Ex. Tú, proceloso austro que derribas.
(3) and (4) might well be considered as cases of hiatus.
3. SYNALEPHA BETWEEN FOUR OR MORE VOWELS
This is less common, yet it exists.
Ex. No^h^a^y^amor donde no hay celos. Lope de Vega.
4. HIATUS
Hiatus is most frequently found between words having a close syntactical relation, particularly if the initial vowel of the second word is in a constituent syllable. It may occur between the article and its substantive, the possessive adjective and its substantive, a preposition and its object, the negatives no and ni and a following vowel; and after the conjunctions y, que, si, and other words having a weak accent such as desde, coma, todo, otro, cuando, etc.
Hiatus is most likely to occur when the accented vowel is the initial vowel of the final word in a phrase or verse, or of a word that has a strongly accented position in the verse; as, for example, when the syllable is the next to the last syllable in a verse, or is the fourth or eighth syllable of a hendecasyllabic verse of the second class.
Ex. Rumor de besos y batir de alas, p. 168, X, l. 6.
Ex. Como la ola que á la playa viene, p. 178, XXXVII, l. 19.
In the above-mentioned case, the phrase de^oro is usually joined by synalepha.
Ex. Mi frente es pálida, mis trenzas de^oro. Becquer.
Hiatus is, however, sometimes observed in this phrase.
Ex. De plumas y de oro, p. 180, XL, l. 28.
When both vowels are accented hiatus is more common than synalepha, even though there is no close syntactical relation, although the vowels may be joined by synalepha if they do not come in a constituent syllable.
Ex. ¡Oh yá isla católica patente! Herrera. [Hiatus.]
Ex. ¿Sabes tú^á dónde va? p. 178, XXXVIII, l. 4. [Synalepha.]
