Teñida de ópalo y grana (8)

In cases like these we are dealing with a form of synalepha which, if not true elision, approaches it closely. According to Benot, the pronunciation is not quite d'ópalo, but "there is an attempt at elision." In other words, the second vowel or diphthong, if dominant, so predominates over the first that it is scarcely audible. Under this case, too, there may arise stress-shift:

Se hizo el bigote, requirió la espada (11)

This is a very bad verse. But such instances are rare in Espronceda and good modern poets. They are never sanctioned in connection with a strong rhythmic stress. In such a case hiatus (see below) is favored as the lesser of two evils.

4. The fourth case is where each of the two vowels bears the stress:

Así, ante nosotros pasa en ilusión (12)

What happens here is that one of the two stresses becomes subordinate to the other, the stress being wholly assumed by the more dominant of the two.

Where three or more vowels unite in a synalepha, two things must be borne in mind: (1) Stress-shift is not harsh to the Spanish ear, and is always permissible, if more than two vowels are involved. This is Espronceda's justification in the following:

Si se murió, a lo hecho, pecho (8)

Necesito ahora dinero (8)

Su pecho ahogado (5)

(2) The vowels of three words may not combine if the middle word is y, e, he, o, or u. Examples:

 ¡Pues no ha hecho mal disparate! (8)

 Que conduce a esta mansión (8)

But: Cuando en sueño | y en silencio (8)

 Si tal vez suena | o está (8)

 Alma fiera | e insolente (8)

 Prev. P 39/339 next