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Page 61
�Oh! �cr�el! �muy cr�el! �martirio horrendo!
�Espantosa expiaci�n de tu pecado! [330]
�Sobre un lecho de espinas maldiciendo,
Morir el coraz�n desesperado!
�Tus mismas manos de dolor mordiendo,
Presente a tu conciencia lo pasado,
Buscando en vano con los ojos fijos, [335]
Y extendiendo tus brazos a tus hijos!!
�Oh! �cr�el! �muy cr�el!... �Ah! yo entre tanto,
Dentro del pecho mi dolor oculto,
Enjugo de mis p�rpados el llanto
Y doy al mundo el exigido culto: [340]
Yo escondo con verg�enza mi quebranto,
Mi propia pena con mi risa insulto,
Y me divierto en arrancar del pecho
Mi mismo coraz�n pedazos hecho.
Gocemos, s�; la cristalina esfera [345]
Gira ba�ada en luz: �bella es la vida!
�Qui�n a parar alcanza la carrera
Del mundo hermoso que al placer convida?
Brilla radiante el sol, la primavera
Los campos pinta en la estaci�n florida: [350]
Tru�quese en risa mi dolor profundo....
�Que haya un cad�ver m�s! �Qu� importa al mundo?
NOTES
EL ESTUDIANTE DE SALAMANCA
PARTE PRIMERA
Instead of =Cuento=, later editions read =Leyendas=.
The introductory quotation is taken from the "Don Quijote," Part I,
chap. 45. The words were addressed by Don Quijote to members of the
rural police who were arresting him for depredations committed on the
highway. The full sentence in Ormsby's translation reads: "Who was
he that did not know that knights-errant are independent of all
jurisdictions, that their law is their sword, their charter their
prowess, and their edicts their will?" This Spanish declaration of
independence was frequently used as a slogan by the Romanticists.
Espronceda is here making the quotation apply more particularly to his
lawless hero.
=1. Era m�s de media noche=: the poet begins with a characteristic
Romantic landscape, gloomy, medieval, fantastic, uncanny. He is trying
to create a mood of horror. He follows the Horatian precept of beginning
the plot in the middle (_in medias res_). The situation here introduced
is not resumed until Part Four is reached. Parts Two and Three supply
the events leading up to the duel. The Duque de Rivas's "Candil" begins
in similar fashion:
M�s ha de quinientos a�os
En una torcida calle,
Que de Sevilla en el centro
Da paso a otras principales;
Cerca de la media noche,
Cuando la ciudad m�s grande
Es de un grande cementerio
En silencio y paz imagen;
De dos desnudas espadas
Que trababan un combate
Turb� el repentino encuentro
Las tinieblas impalpables.
El crujir de los aceros
Son� por breves instantes
Lanzando azules centellas,
Meteoro de desastres.
Y al gemido _�Dios me valga!
�Muerto soy!_ y al golpe grave
De un cuerpo que a tierra vino
El silencio y paz renacen, etc.
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