Other poets of the early period of independence are: the literary critic, Juan María Gutiérrez (1809-1878), one-time rector of the University of Buenos Aires and editor of an anthology, América poética (Valparaíso, 1846); Dr. Claudio Mamerto Cuenca (1812-1866; cf. Obras poéticas escogidas, Paris, 1889); and José Mármol (1818-1871), author of El peregrino and of the best of Argentine novels, Amalia (Obras poéticas y dramáticas, coleccionadas por José Domingo Cortés, 3d ed., Paris, 1905).
In parenthesis be it said that Argentina also claims as her own the poet Ventura de la Vega (1807-1865), who was born in Buenos Aires, as Mexico claims Juan Ruiz de Alarcón, and as Gertrudis Gómez de Avellaneda is claimed by Cuba.
As in Spain Ferdinand VII had driven into exile most of the prominent writers of his period, so the despotic president, Juan Manuel Rosas (1793-1877: fell from power in 1852), drove from Argentina many men of letters, including Varela, Echeverría and Mármol.
Down to the middle of the nineteenth century it may be said that the Spanish-American writers followed closely the literary movements of the mother country. Everywhere across the sea there were imitators of Meléndez Valdés and Cienfuegos, of Quintana, of Espronceda and Zorrilla. During the early years of romanticism some Spanish-American poets,—notably the Argentine Echeverría,—turned for inspiration directly to the French writers of the period; but, in the main, the Spanish influence was predominant. The Spanish-American 281 verses, for the most part, showed insufficient preparation and were marred by many inaccuracies of diction; but here and there a group of writers appeared,—as in Colombia,—who rivaled in artistic excellence the poets of Spain. In the second half of the nineteenth century the Spanish-American writers became more independent in thought and speech. It is true that many imitated the mysticism of Bécquer or the pessimism of Núñez de Arce, but many more turned for inspiration to native subjects or to the literary works of other lands than Spain, and particularly of France and Italy.
The extreme in local color was reached in the "literatura gauchesca," which consists of collections of popular or semi-popular ballads in the dialect of the gauchos, or cowboys and "ranchers," of the Pampas. The best of these collections,—Martín Fierro (1872), by José Fernández,—is more artistic than popular. This long poem, which in its language reminds the English reader of Lowell's Biglow Papers, is the best-known and the most widely read work by an Argentine author.
The greatest Argentine poets of the second half of the century have been Andrade and Obligado. Olegario Víctor Andrade (1838-1882), the author of Prometeo and Atlántida, is generally recognized as one of the foremost modern poets of Spanish America, and probably the greatest poet that Argentina has as yet given to the world. In art, Andrade was a disciple of Victor Hugo; in philosophy, he was a believer in modern progress and freedom of thought; but above all else was his loyal patriotism to Argentina. Andrade's verses have inspiration and enthusiasm, but they are too didactic and they are marred by occasional incorrectness of speech. Atlantida, a hymn to the future of the Latin race in America, is the poet's last and noblest work (Obras, Buenos Aires, 1887).
It is said of Rafael Obligado (1852-) that he is more elegant and correct than Andrade, but his muse has less inspiration. He has, moreover, the distinction of showing almost no French influence, which is rare to-day among Spanish-American writers. Juan Valera regrets Obligado's excessive "Americanism," and laments the fact that the poet uses many words of local origin that he, Valera, does not understand. The poet's better works are, for the most part, descriptions of the beauties of nature or the legendary tales of his native land (Poesías, Buenos Aires, 1885).
Among recent poets, two have especially distinguished themselves. Leopoldo Díaz (1868-) began as a disciple of Heredia, and has become a pronounced Hellenist, now a rare phenomenon in Spanish America. Besides many sonnets imbued with classicism, he has written odes to the conquistadores and to Atlántida conquistada. Like Darío, Blanco-Fombona and many other Spanish-American poets of to-day, Diaz resides in Europe; but, unlike the others, he lives in Morges instead of Paris (Sonetos, Buenos Aires, 1888; Bajo-relieves, Buenos Aires, 1895; et al.). A complete "modernista" (he would probably scorn the title of "decadent") is Leopoldo Lugones (1875?-), whose earlier verses are steeped in an erotic sensualism rare in the works of Spanish-American poets. He seeks to be original and writes verses on every conceivable theme and in all kinds of metrical arrangements. Thus, in Lunario sentimental there are verses, essays and dramatic sketches, all addressed to the moon. For an example of his versos libres, see Introduction to this volume, p. xlvi (Las montañas de oro, Los crepúsculos del jardín; Lunario sentimental, Buenos Aires, 1909; Odas seculares, Buenos Aires, 1910).
For studies of Argentine literature, see Blanco García, Hist. Lit. Esp., III, pp. 380 f.; Menéndez y Pelayo, Ant. Poetas Hisp.-Am., IV, pp. lxxxix f.; Juan Valera, Poesía argentina, in Cartas americanas, primera serie, Madrid, 1889, pp. 51-119; Literatura argentina, Buenos Aires, 1903; Poetas argentinos, Buenos Aires, 1904; Antología argentina, B.T. Martínez, Buenos Aires, 1890-91; Compendio de literatura argentina, E. Alonso Criado, Buenos Aires, 1908; Miscelánea, by Santiago Estrada; La lira argentina, Buenos Aires, 1824. Other important works, treating of Spanish-American literature, are: Biblioteca hispano-americana (1493-1810), José Toribio Medina, 6 vols., Santiago de Chile, 1898-1902; Bibliography of Spanish-American Literature, Alfred Coester, Romanic Review, III, 1; Escritores hispano-americanos, Manuel Cañete, Madrid, 1884; Escritores y poetas sud-americanos, Francisco Sosa, Mex., 1890; Juicio crítico de poetas hispano-americanos, M.L. Amunátegui, Santiago de Chile, 1861; La joven literatura hispano-americana, Manuel Ugarte, Paris, 1906.
Echeverría: see preceding note.