Beyond the embowered region of the Vega you behold, to the south, a line of arid hills down which a long train of mules is slowly moving. It was from the summit of one of those hills that the unfortunate Boabdil cast back his last look upon Granada and gave vent to the agony of his soul. It is the spot famous in song and story, “The last sigh of the Moor.”
Now raise your eyes to the snowy summit of yon pile of mountains, shining like a white summer cloud on the blue sky. It is the Sierra Nevada, the pride and delight of Granada; the source of her cooling breezes and perpetual verdure, of her gushing fountains and perennial streams. It is this glorious pile of mountains that gives to Granada that combination of delights so rare in a southern city: the fresh vegetation and the temperate airs of a northern climate, with the vivifying ardor of a tropical sun, and the cloudless azure of a southern sky. It is this aërial treasury of snow, which, melting in proportion to the increase of the summer heat, sends down rivulets and streams through every glen and gorge of the Alpuxarras, diffusing emerald verdure and fertility throughout a chain of happy and sequestered valleys.
These mountains may well be called the glory of Granada. They dominate the whole extent of Andalusia, and may be seen from its most distant parts. The muleteer hails them as he views their frosty peaks from the sultry level of the plain; and the Spanish mariner on the deck of his bark, far, far off on the bosom of the blue Mediterranean, watches them with a pensive eye, thinks of delightful Granada, and chants in low voice some old romance about the Moors.
But enough, the sun is high above the mountains, and is pouring his full fervor upon our heads. Already the terraced roof of the town is hot beneath our feet; let us abandon it, and descend and refresh ourselves under the arcades by the fountain of the Lions.
HERVÉ RIEL
By Robert Browning
Note.—This poem of Browning’s furnishes its own historical setting; it gives date and places and names. All, in fact, that it does not tell us is that the battle at Cape la Hogue was a part of the struggle between England and France undertaken because Louis XIV of France would not acknowledge William III as king of England.
The poem is written in characteristic Browning style. You have read in the earlier volumes An Incident of the French Camp, How They Brought the Good News from Ghent to Aix, and the Pied Piper of Hamelin, and are therefore familiar with Browning’s custom of leaving out words, using odd, informal words which another man might think out of place in poetry, and employing strange, sometimes jerky, meters.