The best bibliography of Espronceda's writings is that of Churchman, "An Espronceda Bibliography," Revue hispanique, XVII, pp. 741-777. This should be supplemented by reference to Georges Le Gentil, "Les Revues littéraires de l'Espagne pendant la première moitié du XIXe siècle," Paris, 1909. The least bad edition of Espronceda's poems is "Obras Poéticas y Escritos en Prosa," Madrid, 1884. (The second volume, which was to contain the prose writings, never appeared.) See also the "Obras Poéticas de Espronceda," Valladolid, 1900, and "Espronceda," Barcelona, 1906. Also "Páginas Olvidadas de Espronceda," Madrid, 1873. There has been a recent reprint of "Sancho Saldaña," Madrid, 1914, Repullés. Churchman has published "Blanca de Borbón," Revue hispanique, Vol. XVII, and also "More Inedita" in the same volume. There is said to be an English translation of "The Student of Salamanca," London, 1847. An excellent French version is that of R. Foulché-Delbosc, "L'Étudiant de Salamanque," Paris, 1893. Mary J. Serrano has made splendid translations of "The Pirate" and "To Spain: An Elegy," Warner's Library of the World's Best Literature, Vol. XIV.

For a very full treatment and bibliography of the Don Juan Tenorio legend see G.G. de Bévotte, "La Légende de Don Juan," Paris, 1911. Also Farinelli, Giornale Storico, XXVII, and "Homenaje a Menéndez y Pelayo," Vol. I, p. 295; A.L. Stiefel, Jahresberichte für neuere deutsche Litteraturgeschichte, 1898-1899, Vol. I, 7, pp. 74-79.

 

NOTES ON ESPRONCEDA'S VERSIFICATION

GENERAL CONSIDERATIONS

To enjoy the work of so musical an artist as Espronceda, the student must be able to read his verse in the original. This cannot be done without some knowledge of the rules which govern the writing of Spanish poetry. It therefore becomes necessary to give some account of the elementary principles of Spanish prosody. This is not the place for a complete treatment of the subject: only so much will be attempted as is necessary for the intelligent comprehension of our author's writings. A knowledge of English prosody will hinder rather than help the student; for the Spanish poet obeys very different laws from those which govern the writer of English verse.

The two essentials of Spanish poetry are (1) a fixed number of syllables in each verse (by verse we mean a single line of poetry); (2) a rhythmical arrangement of the syllables within the verse. Rime and assonance are hardly less important, but are not strictly speaking essential.

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