Romanticism came into Mexico through Spain. It was probably introduced by Ignacio Rodríguez Galván (1816-1842), a translator, lyric poet, and dramatist. His lyrics have the merit of sincerity; pessimism is the prevailing tone and there is much invective. His Profecías de Guatimoc is considered the masterpiece of Mexican romanticism (Obras, 2 vols., Mex., 1851; Paris, 1883). Another well-known romantic lyricist and dramatist is Fernando Calderón (1809-1845), who was more correct in form than Rodríguez Galvan (Poesías, Mex., 1844 and 1849; Paris, 1883; Mex., 1902).
The revival of letters in Mexico is generally attributed to the conservative poets Pesado and Carpio, both of whom sought to be classic, although they were not altogether so in practise. Probably the best known Mexican poet, though certainly not the most inspired, is José Joaquín Pesado (1801-1861). He translated much from Latin, French and Italian, and in some cases failed to acknowledge his indebtedness (cf. Pimentel, p. 694). His best translations are of the Psalms. The Aztecas, which were published as a translation of, or an adaptation from, indigenous legends, are mostly original with Pesado in all probability. He is an unusually even writer, and some of his verses are good (cf. certain sonnets: Mi amada en la misa del alba, which reminds one of Meléndez Valdés in Rosana en los fuegos; Elegía al ángel de la guardia de Elisa; and parts of La revelación in octavas reales). Montes de Oca and Menéndez y Pelayo consider Pesado the greatest of Mexican poets; but Pimentel does not (p. 694). Cf. Poesías originales y traducciones, Mex., 1839-40 (most complete), 1886 (introduction of Montes de Oca); Biografía de Pesado, by José María Roa Bárcena, Mex., 1878. Manuel Carpio (1791-1860) began to write verses after he had reached the age of forty years, and there is, consequently, a certain ripeness of thought and also a lack of feeling in his poetry. His verses are chiefly narrative or descriptive and generally treat of biblical subjects. His language is usually correct, but often prosaic (Poesías, Mex., 1849).
Minor poets of this period are: Alejandro Arango (1821-1883), an imitator of León (Versos, 1879; Ensayo histórico sobre Fr. Luis de León, Mex., 1866); Ignacio Ramírez (1818-1879), of Indian race, who was a free lance in religion and politics, and largely responsible for the separation of Church and State in Mexico (Poesías, Mex., 1889, and Lecciones de literatura, Mex., 1884); and Ignacio M. Altamarino (1834-1893), an erotic and descriptive poet (Obras, Mex., 1899).
The most popular Mexican poets during the second half of the nineteenth century have been Acuña, Flores, Peza and Gutiérrez Nájera. A materialistic iconoclast, Manuel Acuña (1849-1873) was uneven and incorrect in language, but capable of deep poetic feeling. In his Poesías (Garnier, Paris, 8th ed.) there are two short poems that may live: Nocturno, a passionate expression of disappointment in love; and Ante un cadáver, a poem of dogmatic materialism. Acuña committed suicide at the age of twenty-four years. Manuel María Flores (1840-1885), an erotic poet largely influenced by Musset, is very popular in Mexico (Pasionarias, Paris, 1911). Probably the most widely read poet of the period is Juan de Dios Peza (1852-1910). His verses are often incorrect and weak, as he improvised much; but they are interesting, as they usually treat of homely topics (Poesías completas: El arpa del amor, 1891; Hogar y patria, 1891; Leyendas, 1898; Flores del alma; Recuerdos y esperanzas, 1899, Garnier, Paris). The romantic pessimist, Manuel Gutiérrez Nájera (d. 1888), was tormented throughout life by the vain quest of happiness and the thirst of truth. His verses, which are often elegiac or fantastic, are highly admired by the younger generation of Mexican poets. In a letter to the writer of this article, Blanco-Fombona praises Gutiérrez Nájera above all other Mexican poets (Poesías, Paris, 1909, 2 vols.).
References: Menéndez y Pelayo, Ant. Poetas Hisp.-Amer., I, p. xiv f.: Blanco García, III, 304 f.; Francisco Pimentel, Historia crítica de la poesía en México, Mex., 1892; Biblioteca hispano-americana septentrional, D. José Mariano Beristain de Souza, Mex., 1816-21, 3 vols. (has more than 4000 titles),—reprinted by Fortino Hipólito de Vera, Amecameca, 1883; Bibliografía mexicana del siglo XVI (catálogo razonado de los libros impresos in México de 1539 á 1600); Biografías de mexicanos distinguidos, D. Francisco Sosa, Mex., 1884; Poetas yucatecos y tabasqueños, D. Manuel Sánchez Mármol y D. Alonso de Regil y Peón, Mérida de Yucatán, 1861; Poetisas mexicanas, Bogotá, 1889; Colección de poesias mexicanas, Paris, 1836; El parnaso mexicano, 36 vols., R.B. Ortega, Mex., 1886; Biblioteca de autores mexicanos, some 75 vols. to 1911, Mex.; Antología de poetas mexicanos, publ. by Acad. Mex., Mex., 1894; Poetas mexicanos, Carlos G. Amézaga, Buenos Aires, 1896; Los trovadores de México, Barcelona, 1900.
Pesado: see preceding note.
La Serenata: see Introduction, Versification, p. lxviii.
[200.—6-11.] These lines of Pesado are similar to those found in the first stanzas of Su alma by Milanés. See Hills' Bardos cubanos (Boston, 1901), p. 69.
Calderón: see note to p. 199.