Eleven poems

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ELEVEN POEMS OF
RUBEN DARIO

i

PUBLICATIONS OF

THE HISPANIC SOCIETY OF AMERICA
No. 105

ELEVEN POEMS OF

RUBEN DARIO

TRANSLATIONS BY

THOMAS WALSH

AND

SALOMON DE LA SELVA

INTRODUCTION BY

PEDRO HENRIQUEZ URENA

G. P. PUTNAM'S SONS

NEW YORK AND LONDON
I916

Copyright, 1916, by

The Hispanic Society of America

Contents

Page

Introduction v

Primaveral 3

(Primaveral)

^Autumnal 7

(Autumnal)

^Portico 13

(Portico)

The Three Wise Kings 23

(Los Tres Reyes Magos)

oong of Hope 25

(Canto de Esperanza)

^ Poets ! Towers of God 29

(i Torres de Dios! Poetas!)

A Sonnet on Cervantes 31

(Soneto a Cervantes)

On the Death of a Poet 33

(En la Muerte de un Poeta)

Page

Antonio Machado 35

(Oracion por Antonio Machado)

Bagpipes of Spain 37

(Galta Galaica)

^Song of Autumn in the Springtime .... 39
(Cancion de Otono en Primavera)

Bibliography 45

Criticisms 47

Civ

Introduction

XT 7ITH the death of Ruben Dario, the Spanish
' ^ language loses its greatest poet of to-day,— the
greatest because of the aesthetic value and the his-
torical significance of his work. No one, since the
times of Gongora and Quevedo, has wielded an influ-
ence comparable, in renewing power, to Dario's. Zo-
rrilla's influence, for instance, was enormous, but not
in the sense of a_ true innovation: when it spread, the
romantic movement he represented was already the
dominant force in our literature. Dario did much
more, in prosody and in style as well as in the spirit
of poetry. Dario's victory was not without surprising
elements, — especially because, born in the New World,
he was unreservedly acclaimed by the intellectual
groups of our former metropolis, Madrid. The
homage of the Spanish writers to Dario was great and
sincere. Even Royal Academicians, in spite of the
timidity natural in traditional institutions, paid signal
tribute to his genius. Upon the news of his death, the
writers and artists of Spain, headed by Valle-Inclan
(the greatest literary force in the present generation),
organized a movement to erect a monument to his
memory in the royal gardens of the Buen Retiro.
Dario began, when very young, writing quite within

the traditions of our language and literature. He was
y a reader of both the classics and the moderns, and
essayed such widely different tones as those corre-
sponding to the solemnity of the blank verse and to the
fluency of the romance. Soon after, he took up the
study of the modern French and, .partly, the English
literatures ; and his poetry, in Azul, began to show the
marvellous variety of shading and the preciosity , of
workmanship which were to be his distinctive traitsjn
Prosas profanas. His most important achievement
,\ was the book of Cantos de vida y esperanza. There
he attained (especially in the autobiographical Por-
f tico) a depth of human feeling and a sonorous splendor
\ of utterance which placed him among the modern poets
S of first rank in any language. His later work did not
always rise to that magnificence, but it often took a
bold, rough-hewn^ sort of Rodinesque form, which has
found many admirers.

As a prosodist, Ruben Dario is unique in Spanish.
He is the poet who has mastered the greatest variety
of verse forms. The Spanish poets of the last four
centuries, whether in Europe or in America, although
they tried several measures, succeeded only in a few.
Like the Italians before Carducci, they had command
only over the hendecasyllabic, octosyllabic and hepta-
syllabic forms. A few meters, besides these three,
have at times enjoyed popularity, as, for instance, the

":

X

alexandrine during the romantic period; but they suf-
fered from stiffness of accentuation. Darlo, and the
( modernist groups which sprang into action maiinly
y through his stimulus, gave vogue, and finally perma-
nence, to a large number of metrical forms: either
verses rarely used, like the enneasyllabic and the
dodecasyllabic^ (of w^hich there are three types), or
verses, like the alexandrine, to yyhich Dario gave
greater musical virtue by freeing the accent and the
caesura. Even the hendecasyllable acquired nevi^ flexi-
bility vi^hen Dario brought back two new forms of
accentuation that had been used by Spanish poets
during three centuries but had been forgotten since
about 1800. He also attacked the problem of the
classic hexameter, which has tempted many great mod-
ern poets, from Goethe to Swinburne and Carducci,
and, before these, a few of the Spanish in the XVIIth
century, chiefly Villegas. He introduced, finally, the
^odem vers_lt_brej the type in which the number of
feet, but not the foot, changes (as in the Marcha
triunfal)y as well as the type in which both
ber of syllables and the foot vary freq^uently.

In style, Ruben Dario represents another renewal.
He not only fled from the hackneyed, from expressions
which, like coins, were worn out by use: it is the
natural outcome of every new artistic or literary
tendency to do away with the useless remains of for-

vii]

mer styles. He did much more; together with a few
others, like Manuel Gutierrez Najera of Mexico,
X Qario brought back into Spanish the^^rt-pijiui^jafe, of
delicate shading, in poetical style. This art, all but
absent from Spanish poetry during two centuries, had
been substituted by the forceful drawin^.„and vivid
coloring y^hichioreignexs.. expect to find in all things

In the spirit of poetry, Ruben Dario succeeded in

giving "des frissons nouveaux." If not the first, he

was one of the first (simultaneously with Gutierrez

Najera, with Julian del Casal, of Cuba, and Jose

Asuncion Silva, of Colombia) to bring into Spanish

5^ the notes of subtle emotion of which Verlaine was_

\jirch master ; the gracefulness and the brilliancy which

/ emerge from the world of Versaillesque courts and

\ feigned Arcadies; the decorative sense of a merely ex-

\ ternal Hellgiaism, which is delightful in its frant ar-

/ tificiality; the suggestions of exotic worlds, opulent

( storehQuses of imaginative treasures.

But, while he did all this, he never lost his native
jforce: he was, and he knew how to be, American^ —
Spanish-American, rather. He sang of his race, of
his people, — thie whole Spa,nish-speajcing_faj^^
tions,— with constant love^ with a tenderness which at
times was almost childlike. If he did not always think
that life in the New World was poetical, he did think

[[ viii

that the^ideals of_Sjpanish Amexica oi

his poetry. And, as he upheld the ideals of Spanish
America, and the traditions of the whole Spanish race ;
since he sang hymns to the Cid, founder of the old
mother country, and to the master spirits of the new
countries, like Mitre of Argentina, both Spain and
Spanish America saw in him their representative poet.
* * *

Ruben Dario was born near Leon, in the Republic of
Nicaragua, the i8th of January, 1867, and died in
that city on the 6th of February, 1916. He received
liis education there, but went abroad in his twentieth
year. He visited nearly all the countries of the West-
ern Hemisphere and travelled extensively in Europe
since 1892. He lived many years at Santiago de Chile,
Buenos Aires, Madrid and Paris. At Madrid he was
at one time the Minister of Nicaragua.

He visited the United States, in a short trip, in
1893, and again during the winter of 1914 and 191 5.
He was then honored by several literary bodies of
New York, such as the American Academy of Arts
and Letters and the Authors' League. The Hispanic
Society of America awarded him its honorary medal.

Many of his poems, and some of his short stories
and articles, have been translated into English, French,
Italian, Portuguese, German and the Scandinavian
languages.

\'

/

■ PAX J

FACSIMILE OF AUTOGRAPH POEM "PAX"

POEMS

\

Primaveral

MES de rosas. Van mis rimas
en ronda a la vasta selva
a recoger miel y aromas
en las flores entreabiertas.
Amada, ven. El gran bosque
es nuestro templo; alii ondea
y flota un santo perfume
de amor. El pajaro vuela
de un arbol a otro y saluda
tu frente rosada y bella
como un alba; y las encinas
robustas, altas, soberbias,
cuando tu pasas agitan
sus hojas verdes y tremulas,
y enarcan sus ramas como
para que pase una reina.
I Oh, amada mia! Es el dulce
tiempo de la primavera.

Alia hay una clara fuente
que brota de una caverna,
donde se banan desnudas
las blancas ninfas que juegan.
Rien al son de la espuma,

1:2

Primaveral

NOW is come the month of roses !
To the woods my verse has flown
Gathering fragrance and honey
From the blossoms newly blown.
Beloved, come to the forest,
The woodland shall be our shrine
Scented with the holy perfume
Of the laurel and the vine.
From tree-top to tree-top flitting
The birds greet you with sweet lay.
Finding joyance in your beauty
Fairer than the birth of day;
And the haughty oaks and hemlocks
Bend their leafy branches green
Forming rustling, regal arches
For the passage of a queen.
All is perfume, song and radiance;
Flowers open and birds sing:
O Beloved, 'tis the season
Of the Spring!

Flowing from a haunted cavern
Is a crystal fountain where
Naiads nude and flower-breasted

3D

hienden la linfa serena;
entre polvo cristalino
esponjan sus cabelleras;
y saben himnos de amores
en hermosa lengua griega,
que en glorioso tiempo antiguo
Pan invento en las florestas.
Amada, pondre en mis rimas
la palabra mas soberbia
de las frases de los versos
de los himnos de esa lengua;
y te dire esa palabra
empapada en miel hiblea . . .
I oh, amada mia, en el dulce
tiempo de la primavera!

[4

Bathe and play and freight the air
With the joyance of their laughter
And the gladness of the wave
When they stoop over the fountain
And their tresses 'gin to lave.
And they know the hymns of Eros
That in lovely Grecian tongue
Pan one day made in the forest
In the glorious age of song.
Sweetest, of that glorious hymnal
I shall choose the fairest phrase
To enrich with ancient music
The full cadence of my lays.
Sweet as sweetest Grecian honey
Will my song be when I sing,
O Beloved, in the season
Of the Spring!

5]

Autumnal

EN las palidas tardes
yerran nubes tranquilas
en el azul; en las ardientes manos
se posan las cabezas pensativas.
jAh, los suspiros! jAh, los dulces suenos!
jAh, las tristezas intimas!
jAh, el polvo de oro que en el aire flota,
tras cuyas ondas tremulas se miran
los ojos tiernos, humedos,
las bocas inundadas de sonrisas,
las crespas cabelleras
y los dedos de rosa que acarician!

En las palidas tardes
me cuenta un Had a amiga
las historias secretas
llenas de poesia:
lo que cantan los pajaros,
lo que llevan las brisas,
lo que vaga en las nieblas,
lo que suenan las niiias.

Una vez senti el ansia
de una sed infinita.
Dije al Hada amorosa:
"Quiero en el alma mia

Cfi

Autumnal

IN the pale afternoon the clouds go by
Aimlessly roving in the quiet sky.
His head between his hands, the dreamer weaves
• His dream of clouds and Autumn-colored leaves.
Ah, his intimate sorrow, his long sighs.
And the glad radiance that has dimmed his eyes !
And all the tender glances, the blond tresses,
The rose hands over-brimming with caresses,
The sudden faces smiling everywhere
In the gold-dusted curtains of the air!

In the pale afternoon
A friendly faerie maiden comes to me
And tells me tales of many a secret thing
Fraught with the spell and music of the moon,
And I have learned what wonder the birds sing.
And what the breezes bring over the sea,
All that lies hidden in the mist or gleams,
A fleeting presence, in a young girl's dreams.

And once the thirst of infinite desire
Possessed me like a fever, and I said,
"I want to feel all radiance, fragrance, fire
And joy of life within me, to inspire
My soul forever!" And the faerie maid

71

tener la mspiracion honda, profunda,
inmensa; luz, calor, aroma, vida."
Ella me dijo: jVen! con el acento
con que hablaria un arpa. En el habia
un divino idioma de esperanza.
i Oh sed del ideal !

Sobre la cima
de un monte, a media noche,
me mostro las estrellas encendidas.
Era un jardin de oro
con petalos de llamas que titilan.
Exclame : j Mas !

La aurora
vino despues. La aurora sonreia,
con la luz en la frente,
como la joven timida
que abre la reja, y la sorprenden luego
ciertas curiosas magicas pupilas.

Y dije: jMas!

Sonriendo
la celeste Hada amiga
prorrumpio: "Y bien! jlas flores!"

Y las flores
estaban frescas, lindas,
empapadas de olor: la rosa virgen,
la blanca margarita,
la azucena gentil y las volubiles
que cuelgan de la rama estremecida.

Y dije: iMas! . . .

El viento
arrastraba rumores, ecos, risas,

C8

Called me to follow her, and when she spoke
It was as if a harp to the soft stroke
Of loving hands had wakened suddenly:
She syllabled hope's language, calling me.

Oh, thirst for the ideal! From the height

Of a great mountain forested with night

She showed me all the stars and told their names;

It was a golden garden wherein grows

The fleur-de-lys of heaven, leaved with flames.

And I cried, "More!" and then the dawn arose.

The dawn came blushing; on her forehead beamed
Delicate splendor, and to me it seemed
A girl that, opening her casement, sees
Her lover watching her, and with surprise
Reddens but cannot hide her from his eyes.

And I cried, "More!" The faerie maiden smiled
And called the flowers, and the flowers were
Lovely and fresh and moist with essences, —
The virgin rose that in the woods grows wild.
The gentle lily tall and shy and fair.
The daisy glad and timid as a child,
Poppies and marigolds, and all the rare
Blossoms that freight with dreams the evening air.

But I cried, "More!" And then the winds brushed by
Bearing the laughter of the world, the cry
Of all glad lovers in the woods of Spring,
And echoes, and all pleasant murmuring

9]

murmullos misteriosos, aleteos,

musicas nunca oidas.

El Hada entonces me llevo hasta el velo

que nos cubre las ansias infinitas,

la inspiracion profunda

y el alma de las liras.

Y lo rasgo. Y alii todo era aurora.

En el fondo se via

un bello rostro de mujer.

i Oh, nunca,
Pierides, direis las sacras dichas
que en el alma sintiera!
Con su vaga sonrisa
"gmas . . .?" dijo el Hada.

Y yo tenia entonces
clavadas las pupilas
en el azul; y en mis ardientes manos
se poso mi cabeza pensativa. . . .

Cio

Of rustling leaf or southward-flying bird,
Unworded songs and musics never heard.
The faerie maiden, smiling, led me where
The sky is stretched over the world, above
Our heights and depths of hoping and despair,
Beyond the reach of singing and of love.
And then she tore the veil. And I saw there
That all was dawn. And in the deeps there beamed
A woman's Face radiant exceedingly. —
Ah, never. Muses, never could ye say
The holy joyance that enkindled me! —
"More? . . ." said the faerie in her laughing way;
But I saw the Face only. And I dreamed.

Ill

Portico

YO soy aquel que ayer no mas decia
el verso azul y la cancion prof ana;
en cuya noche un ruisenor habia
que era alondra de luz por la manana.

El dueno fui de mi jardin de sueiio.
lleno de rosas y de cisnes vagos;
el dueno de las tortolas; el dueno
*-- de gondolas y liras en los lagos.

Y muy siglo diez y ocho ; y muy antiguo ;
y muy moderno; audaz, cosmopolita;
con Hugo fuerte, y con Verlaine ambiguo;
y una sed de ilusiones infinita.

Yo supe de dolor desde mi infancia;
mi juventud . . . gfue juventud la mia?
Sus rosas aun me dejan su fragancia, —
una fragancia de melancolia . . .

Potro sin freno se lanzo mi instinto;
mi juventud monto potro sin freno;
iba embriagada y con punal al cinto . . .
Si no cayo, fue porque Dios es bueno.

1:12

Portico ibu^J-^ '^W

(Translated by Thomas Walsh)

I AM the singer who of late put by
The verse azulean and the chant profane,
Across whose nights a rossignol would cry
And prove himself a lark at morn again.

Lord was I of my garden-place of dreams,
Of heaping roses and swan-haunted brakes;
Lord of the doves; lord of the silver streams,
Of gondolas and lilies on the lakes. ^

And very eighteenth century; both old
And very modern; bold, cosmopolite;
Like Hugo daring, like Ve^laine half-told,
And thirsting for illusions infinite.

From childhood it was sorrow that I knew;
My youth — was ever youth my own indeed? —
Its roses still their perfume round me strew,
Their perfume of a melancholy seed —

A reinless colt my instinct galloped free,
My youth bestrode a colt without a rein;
Intoxicate I went, a belted blade with me;
If I fell not — 'twas God who did sustain.

13]

En mi jardin se vio una estatua bella;
se juzgo marmol, y era carne viva;
un alma joven habitaba en ella,
sentimental, sensible, sensitiva.

Y timida ante el mundo, de manera
que encerrada en silencio no salia
sino cuando en la dulce primavera
era la hora de la melodia.

Hora de ocaso y de discrete beso;
hora crepuscular y de retiro ;
hora de madrigal y de embeleso,
de jte adoro!, de jay! y de suspiro

Y entonces era en la dulzaina un juego
de misteriosas gamas cristalinas,

un renovar de notas del Pan griego
y un desgranar de musicas latinas,

con aire tal y con ardor tan vivo,
que a la estatua nacian de repente
en el muslo viril patas de chivo
y dos cuernos de satiro en la frente.

Como la Galatea gongorina
me encanto la marquesa verleniana;
y asi juntaba a la pasion divina
una sensual hiperestesia humana;

Lh

Within my garden stood a statue fair,
Of marble seeming, yet of flesh and bone
A gentle spirit was incarnate there
Of sensitive and sentimental tone.

So timid of the world, it fain would hide
And from its walls of silence issue not.
Save when the Spring released upon its tide
The hour of melody it had begot —

The hour of sunset and of hidden kiss;
The hour of gloaming twilight and retreat;
The hour of madrigal, the hour of bliss,
Of "I adore thee" and "Alas" too sweet.

And 'mid the gamut of the flute, perchance,
Would come a ripple of crystal mysteries,
Recalling Pan and his glad Grecian dance
With the intoning of old Latm keys.

With such_ji sweep, and ardor_so intense.
That on the statue suddenly were born
The muscled goat-thighs shaggy and immense.
And on the brows the satyr's pair of horn.

As Gongora's Galatea, so in fine

The fair marquise of Verlaine captured me; V

And so unto the passion half divine

Was joined a human sensuality;

15 3

todo ansia, todo ardor, sensaclon pura,
y vigor natural; y sin falsia,
y sin comedia, y sin literatura . . .
Si hay un alma sincera, esa es la mia.

La torre de marfil tento mi anhelo;
quise encerrarme dentro de mi mismo,
y tuve hambre de espacio y sed de cielo
desde las sombras de mi propio abismo.

Como la esponja que la sal satura
en el jugo del mar, fue el dulce y tierno
corazon mio, henchido de amargura
por el mundo, la carne y el infierno.

Mas por gracia de Dios, en mi conciencia
el bien supo elegir la mejor parte;
y si hubo aspera hiel en mi existencia,
melifico toda acritud el arte.

Mi intelecto libre de pensar bajo,
lavo el agua castalia el alma mia;
peregrin© mi corazon, y trajo
de la sagrada selva la armonia.

jOh la selva sagrada! I Oh la profunda
emanacion del corazon divino
de la sagrada selva! jOh la fecunda
fuente cuya virtud vence al destino!

All longing and all ardor, the mere sense
And natural vigor; and without a sign
Of stage effect or literature's pretence —
I| there is..£X£X_a. jsquI sincere — 'tis mine, .

The ivory tower awakened my desire;
I longed to enclose myself in selfish bliss,
Yet hungered after space, my thirst on fire
For heaven, from out the shades of my abyss.

As with the sponge the salt sea saturates
Below the oozing wave, so was my heart, —
Tender and soft, — bedrenched with bitter fates
That world and flesh and devil here impart.

But through the grace of God my conscience
Elected unto good its better part ;
If there were hardness left in any sense
it melted soft beneath the touch of Art.

My intellect was freed from baser thought,
My soul was bathed in the Castalian flood.
My heart a pilgrim went, and so I caught
The harmony from out the sacred wood.

Oh, sacred wood ! oh, rumor, that profound
Stirs from the sacred woodland's heart divine!
Oh, plenteous fountain in whose power is wound
And overcome our destiny malign!

17]

Bosque ideal que lo real compHca;
all'i el cuerpo arde y vive, y Psiquis vuela;
mientras abajo el satiro fornica,
ebria de azul deslie Filomela

perla de ensueno y musica amorosa
en la cupula en flor del laurel verde;
Hipsipila sutil liba en la rosa,
y la boca del fauno el pezon muerde.

AUi va el dios en celo tras la hembra
y la cafia de Pan se alza del lodo;
la eterna Vida sus semillas siembra
y brota la armonia del gran Todo.

El alma que entra alii debe ir desnuda,
temblando de deseo y fiebre santa,
sobre cardo heridor y espina aguda.
jAsi suena, asi vibra y asi canta!

Vida, liJz y verdad: tal triple llama
produce la interior llama infinita.
El Arte puro, como Cristo, exclama:
Ego sum Lux, et Veritas, et Vita.

Y la vida es misterio; la luz ciega,
y la verdad inaccesible asombra.
La adusta perfeccion jamas se entrega
y el secreto ideal duerme en la sombra.

CiS

Grove of ideals, where the real halts,
Where flesh is flame alive, and Psyche floats;
The while the satyr makes his old assaults,
Loose Philomel her azure drunken throats.

Fantastic pearl and music amorous
Adown the green and flowering laurel tops:
Hypsipyle stealthily the rose doth buss;
And the faun's mouth the tender stalking crops.

There where the god pursues the flying maid.
Where springs the reed of Pan from out the mire.
The Life eternal hath its furrows laid,
And wakens the All-Father's mystic choir.

The soul that enters there disrobed should go
A-tremble with desire and longing pure
Over the wounding spine and thorn below.
So should it dream, be stirred, and sing secure.

Life, Light and Truth, as in a triple flame
^ro_du£e. the inner radiance infinite ;
Art, pure as Christ, is heartened to exclaim:
/ am indeed the Life, the Truth, the Light!

T!?^ Life is mystery ; the Light is blind;

The Truth beyond our reach both daunts and fades;

The sheer perfection nowhere do we find ;

The ideal sleeps, a secret, in the shades.

19 3

Por eso ser sincere es ser potente.
De desnuda que esta, brilla la estrella.
El agua dice el alma de la fuente
en la voz de cristal que fluye de ella.

Tal fue mi intento: hacer del alma pura
mia, una estrella, una fuente sonora,
con el horror de la literatura
y loco de crepusculo y de aurora.

Del crepusculo azul que da la pauta
que los celestes extasis inspira:
bruma y tono menor jtoda la flauta!
y aurora, hija del sol jtoda la lira!

Paso una piedra que lanzo una honda,
paso una flecha que aguzo un violento.
La piedra de la honda fue a la onda,
y la flecha del odio fuese al viento.

La virtiid esta en ser tranquilo y fuerte.
Con el fuego interior todo se abrasa,
se triunfa del rencor y de la muerte,
y hacia Belen ... la caravana pasa.

I 20

Therefore to be sincere is to be strong.
Barfe as it is, what glimmer hath the star;
The water tells the fountain's soul in song
And voice of crystal flowing out afar.

Such my intent was, — of my^ipirit^uje
To make a star, a fountain music-drawn.
With horror of the thing called literature —
And mad with madness of the gloam and dawn.

Of the blue twilight, such as gives the word
Which the celestial ecstasies inspires,
The haze and minor chord, — let flutes be heard!
Aurora, daughter of the Sun, — sound, lyres!

Let pass the stone if any use the sling;
Let pass, should hands of violence point the dart.
The stone from out the sling is for the waves a thing;
Hate's arrow of the idle wind is part.

Virtue is with the tranquil and the brave;
The fire interior burneth well and high;
Triumphant over rancor and the grave,
Toward Bethlehem — the caravan goes by!

21]

Los Tres Reyes Magos

YO soy Caspar. Aqui trafgo el incienso.
Vengo a decir: La vida es pura y bella.
Existe Dios. El amor es inmenso.
Todo lo se por la divina Estrella!

— Yo soy Melchor. Mi mirra aroma todo.
Existe Dios. El es la luz del dia.
La blanca flor tiene sus pies en lodo
y en el placer hay la melancolia!

—Soy Baltasar. Traigo el oro. Aseguro
que existe Dios. El es el grande y fuerte.
Todo lo se por el lucero puro
que brilla en la diadema de la Muerte.

— Caspar, Melchor y Baltasar, callaos.
Triunfa el amor y a su fiesta os convida.
Cristo resurge, hace la luz del caos
y tiene la corona de la Vida!

L22

The Three Wise Kings

MY name is Kaspar. I the incense bear.
The glamour of the Star has made me wise.
I say that love is vaster than the skies.
And God exists. And Life is pure and fair.

—My name is Melchior. And my myrrh scents all.
There is a God. He is the light of morn.
The fairest blossoms from the dust are born,
And joy is shadowed by a threatful pall.

— My name is Balthasar. I bring a wreath
Of Orient gold, my gift. I come to say
That God exists. I know all by the ray
Of starry light upon the crown of Death.

— Balthasar, Melchior, Kaspar, be ye still.
Love triumphs and has bid you to his feast.
Radiance has filled the void, the night has ceased:
Wearing Life's crown, Christ comes to work His Will!

23]

Canto de Esperanza

UN gran vuelo de cuervos mancha el azul celeste.
Un soplo milenario trae amagos de peste.
Se asesinan los hombres en el extremo Este.

I Ha. nacido el apocaliptico Anticristo?
Se han sabido presagios y prodigies se ban visto
y parece inminente el retorno de Cristo.

La tierra esta preiiada de dolor tan profundo
que el sonador imperial, meditabundo,
sufre con las angustias del corazon del mundo.

Verdugos de ideales afligieron la tierra;
en un pozo de sombra la humanidad se encierra
con los rudos molosos del odio y de la guerra.

i Oh, Senor Jesucristo ! g Por que tardas, que esperas
para tender tu mano de luz sobre las fieras
y hacer brillar al sol tus divinas banderas?

Surge de pronto y vierte la esencia de la vida
sobre tanta alma loca, triste o empedernida
que, amante de tinieblas, tu dulce aurora olvida.

1:24

Song of Hope

VULTURES a-wing have sullied the glory of the sky ;
The winds bear on their pinions the horror of Death's
cry;
Assassining one another, men rage and fall and die.

Has Antichrist arisen whom John at Patmos saw?
Portents are seen and marvels that fill the world with awe,
And Christ's return seems pressing, come to fulfil the Law.

The ancient Earth is pregnant with so profound a smart,
The royal dreamer, musing, silent and sad apart.
Grieves with the heavy anguish that rends the world's great
heart.

Slaughterers of ideals with the violence of fate
Have cast man in the darkness of labyrinths intricate
To be the prey and carnage of hounds of war and hate.

Lord Christ ! for what art waiting to come in all Thy might
And stretch Thy hands of radiance over these wolves of

night.
And spread on high Thy banners and lave the world with

light?

Swiftly arise and pour Life's essence lavishly
On souls that crazed with hunger, or sad, or maddened be,
Who tread the paths of blindness forgetting the dawn
and Thee.

25]

Ven, Senor, para hacer la gloria de ti mismo.
Ven con temblor de estrellas y horror de cataclismo,
ven a traer amor y paz sobre el abismo.

Y tu caballo bianco, que miro el visionario,
pase. Y suene el divino clarin extraordinario.
Mi corazon sera brasa de tu incensario.

1:26

Come, Lord, to make Thy glory, with h'ghtni'ngs on Thy

brow!
With trembling stars around Thee and cataclysmal woe,
And bring Thy gifts of justice and peace and love below!

Let the dread horse John visioned devouring stars, pass by:
And angels sound the clarion of Judgment from on high.
My heart shall be an ember and in thy censer lie.

27]

j Torres de Dios! Poetas!

(Versos escritos en el ejemplar de Prosas prof anas
enviado al poeta Juan R. Jimenez.)

TORRES de Dios! Poetas!
Pararrayos celestes,
que resistis las duras tempestades,
como crestas escuetas,
como picos agrestes,
rompeolas de las eternidades!

La magica Esperanza anuncia el dia
en que sobre la roca de armonia
expirara la perfida sirena.
Esperad, esperemos todavia!

Esperad todavia.
EI bestial elemento se solaza
en el odio a la sacra poesia,
y se arroja taldon de raza a raza.
La insurreccion de abajo
tiende a los Excelentes.
El canibal codicia su tasajo
con roja encia y afilados dientes.

Torres, poned al pabellon sonrisa.
Poned ante ese mal y ese recelo,
una soberbia insinuacion de brisa
y una tranquilidad de mar y cielo. . . .

1:28

Poets I Towers of God

POETS ! Towers of God
Made to resist the fury of the storms
Like cliffs beside the ocean
Or clouded, savage peaks!
Masters of lightning!
Breakwaters of eternity!

Hope, magic-voiced, foretells the day

When on the rock of harmony

The Siren traitorous shall die and pass away.

And there shall only be

The full, frank-billowed music of the sea.

Be hopeful still,

Though bestial elements yet turn

From Song with rancorous ill-will

And blinded races one another spurn !

Perversity debased

Among the high her rebel cry has raised.

The cannibal still lusts after the raw,

Knife-toothed and gory-faced.

Towers, your laughing banners now unfold.
Against all hatreds and all envious lies
Upraise the protest of the breeze, half-told,
And the proud quietness of sea and skies. . . .

293

Soneto a Cervantes

HORAS de pesadumbre y de tristeza
paso en mi soledad. Pero Cervantes
es buen amigo. Endulza mis instantes
asperos, y reposa mi cabeza.

El es la vida y la naturaleza;

regala un yelmo de oro y de diamantes

a mis suefios errantes.

Es para mi : suspira, rie y reza.

Cristiano y amoroso caballero
parla como un arroyo cristalino.
jAsi le admiro y quiero,

viendo como el destino

hace que regocije al mundo entero

la tristeza inmortal de ser divino!

I 30

A Sonnet on Cervantes

IN all my days of troubled loneliness
And fretted grief Cervantes is to me
A faithful friend, and none so true as he,
That brings me precious gifts of quietness.

All nature his, and life. Of his largesse
My dreams, that are knight-errants bold and free,
Have golden casques to crow^n them gloriously.
He is, for me: sigh, prayer, joyousness.

He speaks as runs a brook, so amorous
And very gentle is this Christian knight.
Ever undaunted. And I love him thus.

Beholding how the v^^orld, by fate's design.
Reaps, from his deathless sorrow, rich delight,
And laughter from a madness so divine!

31:

En la Muerte de un Poeta

(Rafael Nunez)

EL pensador Uego a la barca negra;
y le vieron hundlrse
en las brumas del lago del Misterio,
los ojos de los Cisnes.

Su manto de poeta
reconocieron los ilustres lises,
y el laurel y la espina entremezclados
sobre la frente triste.

A lo lejos alzabanse los muros
de la ciudad teologica en que vive
la sempiterna Paz. La negra barca
llego a la ansiada costa, y el sublime
espiritu gozo la suma gracia;
y vio la cruz erguirse,
y hallo al pie de la sacra Vencedora
el helado cadaver de la Esfinge.

Csa

On the Death of a Poet

ONLY the Swans that day
Saw the high maker of our thoughts embark
And on the Lake Mysterious fade away
In the black ship that crosses to the dark.

The poet's robe was his,

Embroidered with illustrious fleurs-de-lys;

And laurel leaf and thorn

His sad prefigured forehead did adorn.

Afar God's City rose,

Where everlasting Peace her throne has reared

Above the poppy-meadows of repose;

And as the coast of his desire he neared.

He proved divine delight, knew grace untold,

Beheld the Cross uplifted and, before

That sacred Conqueror,

The fallen Sphinx, a corpse already cold.

33 3

Oracion por Antonio Machado

MISTERIOSO y silendoso
iba una y otra vez.
Su mirada era tan profunda
que apenas se podia ver.
Cuando hablaba tenia un dejo
de timidez y de altivez,
y la luz de sus pensamientos
casi siempre se vela arder.
Era luminoso y profundo
como hombre de buena fe.
Fuera pastor de mil leones
y de corderos a la vez.
Conduciria tempestades
o traeria un panal de miel.
Las maravillas de la vida
y del amor y del placer
cantaba en versos profundos
cuyo secreto era de el.
Montado en un raro Pegaso
un dia al imposible fue.
Ruego por Antonio a mis dioses.
Ellos le salven siempre. Amen.

l3i

Antonio Machado

WRAPPED in silence, secret-shy,
Once and again he wandered by.
From such depth his glances came
One could hardly see them flame.
When he spoke his accent would express
Timidity and haughtiness,
And nearly always one could see
His thoughts shining radiantly.
His faith was rooted on firm ground;
He used to be luminous and profound.
In the same flock shepherded
Lambs and lions he might have led;
He could have driven rabbling gales,
Or brought honeycombs of tales.
The wonders of love and life and pleasure
Were his to sing in a magic measure, —
In verses whose meaning was hidden deep,
Whose secret lay in his soul's keep.
He mounted a rare wing'd horse one day
And to the Impossible soared away.
I pray to my gods for Antonio:
May they keep him from all woe.

Amen.

35]

Gaita Galaica

GAITA galaica, que sabes cantar
lo que profundo y dulce nos es.
Dices de amor, y dices despues
de un amargor como el de la mar.

Canta. Es el tiempo. Haremos danzar
al fino verso de ritmicos pies.
Ya nos lo dijo el Eclesiastes:
tiempo hay de todo; hay tiempo de amar;

tiempo de ganar, tiempo de perder,
tiempo de plantar, tiempo de coger,
tiempo de llorar, tiempo de reir,
tiempo de rasgar, tiempo de coser,
tiempo de esparcir y de recoger,
tiempo de nacer, tiempo de morir. . . .

C36

Bagpipes of Spain

BAGPIPES of Spain, ye that can sing
That which is sweetest to us in the Spriiig!
You first sing of gladness and then sing of pain
As deep and as bitter as the billowed main.

Sing. 'Tis the season! As glad as the rain
My verses shall trip ye a jig or a fling.
Ecclesiastes said it again and again,
All things have their season, O bagpipes of Spain !-

A season to plant, a season to reap;
A season to sew, a season to tear;
A season to laugh, a season to weep;
Seasons for to hope and for to despair;
A season to love, a season to mate;
A season of birth, a season of Fate. . . .

37 3

Cancion de Otono en Primavera

JUVENTUD, divino tesoro,
ya te vas para no volver!
Cuando quiero llorar, no lloro,
y a veces lloro sin querer. . . .

Plural ha sido la celeste
historia de mi corazon.
Era una dulce nina, en este
mundo de duelo y afllccion.

Miraba como el alba pura;
sonreia como una flor.
Era su cabellera obscura
hecha de noche y de dolor.

Yo era timido como un nino.
Ella, naturalmente, fue,
para mi amor hecho de armmo,
Herodias y Salome. ...

Juventud, divino tesoro,
ya te vas para no volver . . . !
Cuando quiero llorar, no lloro,
y a veces lloro sin querer. . . .

Lss

Song of Autumn in the Springtime

YOUTH, treasure only gods may keep,
Fleeting from me forever now!
I cannot, when I wish to, weep,
And often cry I know not how. ...

My heart's celestial histories.
So countless were, could not be told. —
She was a tender child, in this
World of affliction manifold.

She seemed a dawn of pure delight;
She smiled as the flow'rs after rain;
Her tresses were like to the night
Fashioned of darknesses and pain.

I was timid and childlike shy.
It could not but have been this way:
She, to my love chaste as the sky.
Was Herodias and Salome. ...

Youth, treasure only gods may keep.
Fleeting from me forever now!
I cannot, when I wish to, weep.
And often cry I know not how. . . .

39]

La otra fue mas sensitiva
y mas consoladora y mas
halagadora y expresiva,
cual no pense encontrar jamas.

Pues a su continua ternura
una pasion violenta unia.
En un peplo de gasa pura
una bacante se envolvia. . . .

En sus brazos tomo mi ensueno
y lo arrullo como a un bebe . . .
y lo mato, triste y pequeno,
falto de luz, falto de fe. . . .

Juventud, divino tesoro,
te fulste para no volver!
Cuando quiero Uorar, no lloro,
y a veces lloro sin querer. . .

Otra juzgo que era mi boca
el estuche de su pasion ;
y que me roeria, loca,
con sus dientes el corazon

poniendo en un amor de exceso
la mira de su voluntad,
mientras eran abrazo y beso
sintesis de la eternidad;

1:40

The other was more sensitive,
More quieting and loving-kind,
With greater will to love and live
Than I ever had hoped to find.

For with her grace of tenderness

A violence of love she had :

In a peplos of loveliness

Was hid a Maenad passion mad. . . .

To her bosom she took my dream,
Fondled it there, and gave it death. .
My dream a suckling child did seem.
Dead lacking light, dead lacking faith.

Youth, treasure only gods may keep,
Wilted in me forever now!
I cannot, when I wish to, weep,
And often cry I know not how. . . .

Another fancied my lips were
A casket wrought to hold her love;
And wildly with the teeth of her
To gnaw my very heart she strove.

She willed all passionate excess;
She was a flame of love for me;
She made each ardorous caress
Synthesis of eternity.

41]

y de nuestra carne li'gera
imaginar sfempre un Eden,
sin pensar que la Primavera
y la carne acaban tambien. . . .

Juventud, divino tesoro,
ya te vas para no volver!
Cuando quiero llorar, no lloro,
y a veces lloro sin querer. . . .

Y las demas ! en tantos climas,
en tantas tierras, siempre son,
si no pretextos de mis rimas,
fantasmas de mi corazon.

En vano busque a la princesa
que estaba triste de esperar.
La vida es dura. Amarga y pesa.
Ya no hay princesa que cantar!

Mas a pesar del tiempo terco,
mi sed de amor no tiene fin;
con el cabello gris me acerco
a los resales del jardin. . . .

Juventud, divino tesoro,
ya te vas para no volver. . . .
Cuando quiero llorar, no lloro,
y a veces lloro sin querer. . . .

Mas es mia el Alba de oro!

1:42

She deemed our flesh a deathless thing,
And on desire an Eden reared,
Forgetting that the flow'rs of Spring
And of the flesh so soon are seared. . .

Youth, treasure only gods may keep.
Fleeting from me forever now!
I cannot, when I wish to, weep,
And often cry I know not how. . . .

And the others! in many climes.
In so many lands, ever were
Merely the pretextjpr my..rhyines.
Or heart-born fantasies of her.

I sought for the princess in vain,
She that awaited sorrowing.
But life is hard. Bitter with pain.
There is no princess now to sing!

And yet despite the season drear.
My thirst of love no slaking knows;
Gray-haired am I, yet still draw near
The roses of the garden-close. . . .

Youth, treasure only gods may keep.
Fleeting from me forever now!
I cannot, when I wish to, weep,
And often cry I know not how. . . .

Ah, but the golden Dawn is mine !

43]

Bibliography

Ruben Dario published the following books:—

Primeras notas: Epistolas y poemas, 1885 (later re-
printed with the title of Epistolas y poemas only) ;
Abrojos, 1887; Azul . . ., 1888; Rimas, 1889; Prosas
prof anas, 1896; reprinted with additions, 1900; Cantos
de vida y esperanza, Los cisnes y otros poemas, 1905 ;
Oda a Mitre, 1906; El canto errante, 1907; Poema del
otono y otros poemas, 1910; Canto a la Argentina y
otros poemas, 1910.

In prose he published, besides Azul . . ., which con-
tains short stories together with the poems, A. de Gil-
bert, a pamphlet written at the death of his friend the
Chilean poet Pedro Balmaceda, 1889; Los Raros, a
collection of literary portraits including Verlaine, Tol-
stoi, Ibsen, Edgar Poe, and others, 1893; reprinted
with additions, 1905; Castelar, an article on the
Spanish orator, reprinted soon after in the next book
(1900) ; La Espana contempordnea, a series of articles
on Spain, with special reference to the new literary
movement, 1901 ; Peregrinaciones, 1901 ; La caravana
pasa, 1903; Tierras solares, 1904: three books of
travel; Opiniones, a collection of literary criticisms,
1906; Parisiana, a collection of articles, mainly about

453

Paris, 1908; El viage a NicaraguGj a short account, in-
cluding some poems, about the trip he made to his
native land after an absence of many years, 1909;
Letras, 191 1; Toda al vuelo, 1912: two books of ar-
ticles mostly on literary subjects; La vida de Ruben
Dario escrita por el mismo, 1915.

As a prose writer, Dario is also important, for he
was one of the forces which brought about the new
forms of prose style in Spanish.

An edition of his Selected Works was published in
Madrid in 19 10 under the title of Obras escogidas, in
three volumes: the first contained a long Estudio pre-
liminar by Andres Gonzalez Blanco; the second, the
selected poems; the third, the selected prose.

A new edition of his poems began to appear in
Madrid in 1915. In it the poems are given a new ar-
rangement, by subjects under titles taken from lines
of the Portico of Cantos de vida y esperanza: Y muy
siglo diez y ocho . . .; Y muy antiguo . . .; Y muy
moderno . . .

New York, 1916.

1:46

Criticisms

Innumerable articles and a few books have been
written about Ruben Dario. The anti-Dario litera-
ture was none too scarce, ten years ago, either in Spain
or in America; but, as a rule, it has no value whatever.
Already, although he was living until this year, the
Histories of Spanish Literature speak of his influence:
see, for instance, the last editions, in French and
Spanish, of Mr. James Fitzmaurice-Kelly's well-
known book, and M. Ernest Merimee's Precis. Among
the most important English writers who speak of his
work, I remember Mr. Havelock Ellis {vide the ar-
ticles entitled The Spanish People and Don Quixote,
in the book The Soul of Spain).

Among the Spanish critics: the most eminent of all,
Don Marcelino Menendez y Pelayo, Historia de la
poesia hispano-americana, chapter on Central America
(Madrid, 191 1) ; Juan Valera, article on Azul ... in
Cartas americanas, primera serie, 1889; Andres Gon-
zalez Blanco, Estudio preliminary already mentioned
above; Francisco Navarro Ledesma, Jose Martinez
Ruiz (Azorin), Juan R. Jimenez, Antonio y Manuel
Machado, and several others, in special edition of the
review Renacimiento, Madrid, 1907; Gregorio Mar-

47]

tinez Sierra, in his book Motivos; Miguel S. Oliver,
article in La Vanguardia, Barcelona, 191 2.

Latin-American critics: the greatest prose writer of
Spanish America, the Uruguayan Jose Enrique Rodo,
wrote, concerning Prosas prof anas, a pamphlet entitled
Ruben Dario (Montevideo, 1899), which, although in-
complete, is still unsurpassed; it has been reprinted as
a preface to the Paris editions of Prosas prof anas and
among the Cinco ensayos of the author (Madrid,
1916). Another interesting pamphlet, of the same
title, has been published by the Brazilian Elysio de
Carvalho. The Mexican Justo Sierra's preface to
Peregrinaciones is also valuable.

Enrique Gomez Carrillo, the versatile chroniqueur,
has written many articles which may be said to repre-
sent the most discriminating and least enthusiastic
attitude, towards Dario, in any one of the moderns:
he was, in prose, one of the earliest innovators, simul-
taneously with Dario, and, knowing the poet's pro-
cesses and sources, seems unable to grasp the new and
individual character of the results.

Rufino Blanco Fombona, of Venezuela, represents
another discriminating attitude: according to him,
Dario had a great influence up to 1900 or thereabouts,
specially since Prosas profanas; afterwards he takes
up new subjects, specially the traditions and ideals of
Spain and Spanish America: in this, Blanco Fombona

1:48

contends (and he Is right, to a certain extent), Dario
followed the example of poets younger than himself,
who brought with them a more virile spirit than that
of the early nineties.

In the articles of Santiago Argiiello and Francisco
Gavidia, both of them distinguished Central American
poets, may be found interesting data about Dario's
early career. Gavidia was a friend of Dario in his
youth, and both were bent on finding new poetical
paths.

Concerning Dario's technique, specially his verse
forms: my articles Ruben Dario and El verso endeca-
silabo, in my book Horas de estudio (Paris, 19 lo).
Pedro Henriquez Urena.

49 3

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