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[Ania Cozzolino]

The selections from Espronceda included in this volume havebeen edited for the benefit of advanced Spanish classes inschools and universities. The study of Espronceda, Spain'sgreatest Romantic poet, offers the best possible approach to thewhole subject of Romanticism. He is Spain's "representativeman" in that movement. Furthermore, the wealth of metershe uses is such that no other poet provides so good a text foran introduction to the study of Spanish versification. Theeditor has therefore treated the biography of Espronceda withsome degree of completeness, studying his career as one fullyrepresentative of the historical and literary movements of theperiod. A treatment of the main principles of Spanish versificationwas also considered indispensable. It is assumed thatthe text will be used only in classes where the students arethoroughly familiar with the rudiments of Spanish grammar.Therefore only the more difficult points of grammar are dealtwith in the notes, and little help, outside of the vocabulary, isgiven the student in the translating of difficult passages.

The editor makes no pretense to having established criticaltexts of the poems here printed, although he hopes that someimprovement will be noted over previous editions. A criticaledition of Espronceda's works has never been printed. Esproncedahimself gave little attention to their publication. Hartzenbuschand others intervened as editors in some of the earliesteditions. Their arbitrary changes have been repeated in allsubsequent editions. The text of "El Estudiante de Salamanca"has been based upon the "Poesas de D. Jos de Espronceda,"Madrid, 1840, the so-called editio princeps. This edition, however,cannot be regarded as wholly authoritative. It was notprepared for the press by the poet himself, but by his friendJos Garca de Villalta. Though far more authentic in itsreadings than later editions, it abounds in inaccuracies. I havenot followed its capricious punctuation, and have studied itconstantly in connection with other editions, notably the editionof 1884 ("Obras Poticas y Escritos en Prosa," Madrid, 1884).To provide a really critical text some future editor must collatethe 1840 text with that version of the poem which appeared inLa Alhambra, an obscure Granada review, for the year 1839."El Mendigo" and "El Canto del Cosaco" I also base uponthe 1840 edition, although the former first appeared in LaRevista Espaola, Sept. 6, 1834. I base the "Cancin delPirata" upon the original version published in El Artista,Vol. I, 1835, p. 43. I take the "Soneto" from "El LiceoArtstico y Literario Espaol," 1838. For "A Teresa, Descansaen Paz," I follow the Madrid edition of 1884. The textof this, as for the whole of "El Diablo Mundo," is morereliable than that of the earlier poems.

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I desire to thank Professors Rudolph Schevill, Karl Pietsch,and Milton A. Buchanan for helpful suggestions, and the lattermore particularly for the loan of rare books. The vocabularyis almost entirely the work of my wife Emily Cox Northup,whose collaboration is by no means restricted to this portionof the book. More than to any other one person I am indebtedto Mr. Steven T. Byington of the staff of Ginn andCompany, by whose acute and scholarly observations I haveoften profited.

Don Jos de Espronceda y Lara, Spain's foremost lyric poetof the nineteenth century, was born on the 25th of March, 1808,the year of his country's heroic revolt against the tyranny ofNapoleon. His parents were Lieutenant-Colonel Don Juan deEspronceda y Pimentel and Doa Mara del Carmen Delgadoy Lara. Both were Andalusians of noble stock, and, as we learnfrom official documents, were held to be Christians of cleanblood "without taint of Jews, heretics, Moors, or personspunished by the Holy Inquisition, and who neither were norhad been engaged in mean or low occupations, but in highlyhonorable ones." This couple of such highly satisfactory antecedentshad been married four years previously. In 1804 DonJuan, a mature widower of fifty-three, was still mourning hisfirst wife when he obtained the hand of Doa Mara, a youngwidow whose first husband, a lieutenant in the same regiment,was recently deceased. The marriage was satisfactory in aworldly way, for Doa Mara brought as a dower four hundredthousand reales to be added to the two hundred thousandwhich Don Juan already possessed. By his first marriage DonJuan had had a son, Don Jos de Espronceda y Ramos, whobecame ensign in his father's regiment, then studied in theArtillery School at Segovia, and later entered the fashionableGuardia de Corps regiment. He died in 1793 at the early ageof twenty-one, soon after joining this regiment. By the secondmarriage there were two other children, both of whom died ininfancy: Francisco, born in 1805, and Mara, born in 1807.During the early months of 1808 the Bourbon cavalry regimentin which Don Juan served was stationed in the littlehamlet of Villafranca de los Barros, Estremadura, and therethe future poet was born. We do not know where the motherand son found refuge during the stormy years which followed.The father was about to begin the most active period of hiscareer. We learn from his service record that he won the gradeof colonel on the field of Bailn; that a year later he recapturedthe cannon named Libertad at the battle of Consuegra (a featwhich won him the rank of brigadier), and fought gallantly atTalavera as a brother-in-arms of the future Duke of Wellington.The mere enumeration of the skirmishes and battles in whichhe participated would require much space. In 1811 he distinguishedhimself at Medina Sidonia and Chiclana, and soughtpromotion to the rank of field-marshal, which was never granted.After the Peninsular War he seems to have been stationed inMadrid between 1815 and 1818. His family were probablypermanently established in that city, for we know that motherand son resided there during the time that the brigadier wasdoing garrison duty in Guadalajara (1820-1828), and there isno evidence that they followed him to Corua during his termof service in that city (1818-1820). Possibly the old soldierpreferred the freedom of barrack life, where his authority wasunquestioned, to the henpecked existence he led at home."Ella era l y l era ella," says Patricio de Escosura in speakingof this couple; for Doa Mara was something of a shrew.She was a good business woman who combined energy withexecutive ability, as she later proved by managing successfullya livery-stable business. But, however formidable she may havebeen to her hostlers, her son Jos found her indulgent. He,the only surviving son of a mature couple, rapidly developedinto a nio consentido, the Spanish equivalent of a spoiledchild. Parallels are constantly being drawn between Byron andEspronceda. It is a curious fact that both poets were rearedby mothers who were alternately indulgent and severe.

In 1820 the Espronceda family occupied an apartment in theCalle del Lobo. It was there and then that Patricio de Escosurafirmed his intimacy with the future poet. He describes graphicallyhis first meeting with the youth who was to be his lifelongfriend. He first saw Jos sliding down from a third-story balconyon a tin waterspout. In the light of later years Escosura feltthat in this boyish prank the child was father of the man. Theboy who preferred waterspouts to stairways, later in life alwaysscorned the beaten path, and "the illogical road, no matter howventuresome and hazardous it was, attracted him to it by virtueof that sort of fascinating charm which the abyss exercises overcertain eminently nervous temperaments." The belief thatEspronceda studied at the Artillery School of Segovia in 1821appears to rest upon the statement of Sols alone. Escosura,who studied there afterwards, never speaks of his friend ashaving attended the same institution. Sols may have confusedthe younger Jos with his deceased, like-named brother, who, weknow, actually was a cadet in Segovia. On the other hand,Sols speaks with confidence, though without citing the source ofhis information, and nothing would have been more natural thanfor the boy to follow in his elder brother's footsteps, as he didlater when he joined the Guardia de Corps. However, the matteris of slight moment, for if he studied in Segovia at all hecannot have remained there for more than a few weeks.

What little education Espronceda was able to acquire in thecourse of his stormy life was gained mostly in the Colegio de SanMateo between the years 1820 and 1830. This was a privateschool patronized by sons of the nobility and wealthy middleclass. Two of the masters, Jos Gmez Hermosilla and AlbertoLista, were poets of repute. Lista was the best teacher of histime in Spain. The wide range of his knowledge astonishedhis pupils, and he appeared to them equally competent inthe classics, modern languages, mathematics, philosophy andpoetics, all of which subjects he knew so well that he neverhad to prepare a lecture beforehand. Plainly Lista was not aspecialist of the modern stamp; but he was something better,a born teacher. In spite of an unprepossessing appearance,faulty diction, and a ridiculous Andalusian accent, Lista wasable to inspire his students and win their affection. It is nocoincidence that four of the fellow students of the Colegio deSan Mateo, Espronceda, Felipe Pardo, Ventura de la Vega, andEscosura, afterwards became famous in literature.

Espronceda's school reports have been preserved. We learnthat he studied sacred history, Castilian grammar, Latin, Greek,French, English, mythology, history, geography, and fencing,which last he was later to turn to practical account. He showedmost proficiency in French and English, and least in Greek andmathematics. His talent was recognized as unusual, his industryslight, his conduct bad. Calleja, the principal, writes in trueschoolmaster's fashion: "He is wasting the very delicate talentwhich nature gave him, and is wasting, too, the opportunity ofprofiting by the information of his distinguished professors."It cannot be denied that Espronceda's conduct left much to bedesired. According to Escosura he was "bright and mischievous,the terror of the whole neighborhood, and the perpetualfever of his mother." He soon gained the nickname buscarruidos,and attracted the notice of police and night watchmen. "Inperson he was agreeable, likable, agile, of clear understanding,sanguine temperament inclined to violence; of a petulant,merry disposition, of courage rash even bordering upon temerity,and more inclined to bodily exercise than to sedentary study."The two friends were much influenced by Caldern at this time.The height of their ambition was to be like the gallants of acape-and-sword play, equally ready for a love passage or a fight.Lista's influence upon his pupils was not restricted to classexercises. In order to encourage them to write original verseand cultivate a taste for literature, he founded in April, 1823,the Academy of the Myrtle, modeled after the numerousliterary academies which throve in Italy and Spain during theRenaissance period and later. Lista himself presided, assumingthe name Anfriso. Was Delio, the name Espronceda assumedin his "Serenata" of 1828, his academic designation? Themodels proposed for the youthful aspirants were the best poetsof antiquity and such modern classicists as Melndez, Cienfuegos,Jovellanos, and Quintana. Two of Espronceda's academic exerciseshave been preserved. They are as insipid and jejune asGoethe's productions of the Leipzig period. As an imitator ofHorace he was not a success. What he gained from theAcademy was the habit of writing.

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