“Poema del Cid.” This grand old poem, unquestionably the oldest in the Spanish language, is by Sanchez, who first published it in 1779, given as early a date as the middle of the twelfth century, about fifty years after the death of the Cid. Some spirited fragmentary translations by Mr. John Hookham Frere are appended to the early edition of Southey’s “Chronicle of the Cid,” and the whole laid before the reader in verse and somewhat epitomised prose by Mr. John Ormsby, whose work is invaluable to English students of the poem, not only for its true rendering, but for the fine introduction. An attempt at old ballad language and style may perhaps be excused in the extract selected, by reason that this, the most humorous incident in the poem, had unfortunately not been put into verse by either Mr. Hookham or Mr. Ormsby, and a fresh departure seemed desirable to avoid invidious comparison. The passage, alas! is also considerably abridged to suit the requirements of the present volume. For the rendering of the old Spanish I have to thank the valuable tuition of Señor Don José Balari y Jovany, of the University of Barcelona, to whom, as a philologist of no small merit, attention has already been drawn in England. The following passage is from Ford’s “Guide to Spain”—Burgos Cathedral. “In the ante-room of the chapter-house is preserved El Cofre del Cid, a trunk clamped with iron, and now attached to the north wall, which the Cid filled with sand, and then pledged to the Jews as full of gold, for a loan of 600 marks, which he afterwards honestly repaid.”
Polo, Jacinto, flourished in 1630, and is known as the composer of some lyrical poetry and author of prose satires in the style of Quevedo’s Visions. It has, however, been doubted by Gayangos and other critics if “The University of Love and School of Interest,” from which Ticknor gives the extract “Aunts,” was written by Polo.
Popular Songs. Long romances or ballads, like those of the olden times, are also sung in the streets of Spain by the blind minstrels. The so-called popular songs are, however, of the kind here given, which bear a strong family likeness to the stornelli and rispetti of the Italian peasantry, and which, illustrating the origin of the word ballad, are danced to. The verses often embody quaint conceits. The stones in the pavement quarrelling over which should be trodden on by a fair maid is not very far-fetched for a Spanish compliment. A Spanish lover will adore anything that has the remotest connection to his lady-love, and a record “flor” (flower = sweet saying) which hails from South America is, “Blessed be even the razor with which your father shaves himself.” The accompaniment to the songs is in dancing rhythm thrummed on the ubiquitous guitar, and often marked by the castanets of the dancers, or, in Oriental fashion, by the clapping of hands of the bystanders. The air sung consists of three or four phrases at most, each a combination of nasally intoned, long-sustained notes ending in odd twists and turns.
Portuguese Epitaphs. The Castilians always sharpen their wits on the Portuguese, who, together with the Biscayans, are laughed at for their simplicity. The Portuguese is also accused of a love of brag. This joking is carried so far that, to take off the poor Portuguese, anecdotes and epitaphs (as in those selected) are written in the Portuguese language by Spaniards. The Andalusian also plays the braggart, and is a reputed payer of fantastic and exaggerated compliments (flores) to the fair sex. The Gallegan is credited with the shrewdness of the Yorkshireman.
Proverbs. Many of these “wise sayings drawn from long experience,” to which the Spanish people are especially addicted, are given in the English rendering of an old book on Spanish proverbs in the library of the British Museum.
Quevedo, Francisco Gomez de, the eminent Spanish satirist, was born of a distinguished family at Madrid, 1580. He was sent early to the University of Alcalá, where he took his degree at the age of fifteen. He mixed much in fashionable society, but in consequence of a duel he was compelled to quit the court and repair to Naples, where he was received by the Spanish envoy, the Duke of Osuna, who not only retained him in his service, but procured his pardon at Madrid. On the fall of his patron Quevedo returned to court; but scarcely had he arrived there when he was arrested, and confined for three years to his country seat, upon the charge of being the author of certain libels against the Government. In 1641 he was again arrested on the charge of libel, and cast into prison, where he remained for nearly two years. He died sometime after his release in September, 1645. Quevedo was undoubtedly one of the best writers of his age, both in prose and verse. His longest prose satire, “The History and Life of the Great Sharper, Paul of Segovia,” first printed in 1626, belongs to the style of fiction invented by Mendoza in his “Lazarillo,” and has most of the characteristics of its class. His “Sueños,” or Visions, are equally famous, and are extremely original. His works were translated into English by Sir Roger L’Estrange, and passed through about ten editions in forty years, and again by Stevens about the close of the last century. This most original of Spanish writers (excepting Cervantes) distinguished himself by his extraordinary versatility of talent. His poems, collected under the title of “El Parnaso Español,” consist of lyrical poems, satires, burlesque pieces, and more than a thousand sonnets of remarkable beauty.
Ribot y Fontserré. The tales current abroad of the eccentricities of Englishmen are many. A Spaniard will gravely tell a tale of how an Englishman, after a serious railway accident on the Continent, in which his valet was killed, gathered together the fragments of the latter’s body, packed them in the man’s trunk, and despatched this to the family of the deceased. The tale of the somewhat Dundrearyesque lord may, however, be based on fact, for the story is known in England. It is here given from a Spanish humorous publication of the first half of this century. A veteran in journalism like Mr. Sala would probably know the origin, and name the hero of the story.
Rojas, Francisco de (Rojas y Zorrilla), flourished during the greater part of Calderon’s life, and may have survived him. He was born in Toledo, and in 1641 was made a Knight of the Order of Santiago; but when he died is not known. Unless he began his career too early to be a mere follower, he certainly belongs to Calderon’s school. He is perhaps most successful in tragedies, of which the best play is “None below the King.” This work still maintains a position on the stage, and is worth reading if only as an example of the extraordinary sense of honour and allegiance entertained by Spaniards in those past times.
Rueda, Lope de, is the author of four comedias, two pastoral colloquies (“Timbria” is one), and minor works, all written for representation, and which were unquestionably acted before public audiences by the strolling company Lope de Rueda led about. The period in which he flourished is probably between 1544 and 1567. In spite of belonging to the then despised and rejected profession of the stage, he was interred with honour in the great cathedral of Cordova.
Santos, Francesco, a native of Madrid, died not far from the year 1700. Between 1663 and 1697 he gave to the world sixteen volumes of different kinds of works for the popular amusement. The oldest of the series is “Dia y Noche en Madrid,” the hero of which, a stranger, falls into the hands of a not over-honest servant, who undertakes to serve as guide to him in Madrid. “Truth on the Rack; or, the Cid come to Life again,” is an allegorical work (from it the tale “La Tarasca” is drawn), and is amusing in that the Cid on his return to earth is much disgusted with the traditions and ballads about himself.