Agora nos i mentades de muertos sin figura.”
Dijoles, “Fared lo que io mando, que io sé de la altura
Lo que bosotros no sabeis, de buen Sennor de natura.”
· · · · · ·
· · · · · ·
There is little, as it seems to me, in the early narrative poetry of any modern nation better worth reading, than this old Morisco version of the story of Joseph. Parts of it overflow with the tenderest natural affection; other parts are deeply pathetic; and everywhere it bears the impress of the extraordinary state of manners and society that gave it birth. From several passages, it may be inferred that it was publicly recited; and even now, as we read it, we fall unconsciously into a long-drawn chant, and seem to hear the voices of Arabian camel-drivers, or of Spanish muleteers, as the Oriental or the romantic tone happens to prevail. I am acquainted with nothing in the form of the old metrical romance that is more attractive,—nothing that is so peculiar, original, and separate from every thing else of the same class.
No. II.
LA DANÇA GENERAL DE LOS MUERTOS.
The next of the Inedita is the “Danza General,” which I have noticed, (Vol. I. pp. 89-91,) and which is found in the Library of San Lorenzo del Escorial, MSS., Cas. IV., Let. b, No. 21. In note 27 on the passage referred to I have suggested a reason for conjecturing that the Spanish poem may be taken from an earlier French one; but I ought to add, that, so far as I am aware, this ghastly fiction is not known to exist in any earlier form, than that in which it appears in this Manuscript.