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El Estudiante de Salamanca y Otras Selecciones

GEORGE TYLER NORTHUP, PH.D.
PROFESSOR OF SPANISH LITERATURE
UNIVERSITY OF CHICAGO
PREFACE
The selections from Espronceda included in this volume havebeen edited for the benefit of
advanced Spanish classes inschools and universities. The study of Espronceda, Spain'sgreatest
Romantic poet, offers the best possible approach to thewhole subject of Romanticism. He is
Spain's "representativeman" in that movement. Furthermore, the wealth of metershe uses is such
that no other poet provides so good a text foran introduction to the study of Spanish
versification. Theeditor has therefore treated the biography of Espronceda withsome degree of
completeness, studying his career as one fullyrepresentative of the historical and literary
movements of theperiod. A treatment of the main principles of Spanish versificationwas also
considered indispensable. It is assumed thatthe text will be used only in classes where the
students arethoroughly familiar with the rudiments of Spanish grammar.Therefore only the more
difficult points of grammar are dealtwith in the notes, and little help, outside of the vocabulary,
isgiven the student in the translating of difficult passages.
The editor makes no pretense to having established criticaltexts of the poems here printed,
although he hopes that someimprovement will be noted over previous editions. A criticaledition
of Espronceda's works has never been printed. Esproncedahimself gave little attention to their
publication. Hartzenbuschand others intervened as editors in some of the earliesteditions. Their
arbitrary changes have been repeated in allsubsequent editions. The text of "El Estudiante de
Salamanca"has been based upon the "Poesías de D. José de Espronceda,"Madrid, 1840, the so-
called editio princeps. This edition, however,cannot be regarded as wholly authoritative. It was
notprepared for the press by the poet himself, but by his friendJosé García de Villalta. Though
far more authentic in itsreadings than later editions, it abounds in inaccuracies. I havenot
followed its capricious punctuation, and have studied itconstantly in connection with other
editions, notably the editionof 1884 ("Obras Poéticas y Escritos en Prosa," Madrid, 1884).To
provide a really critical text some future editor must collatethe 1840 text with that version of the
poem which appeared inLa Alhambra, an obscure Granada review, for the year 1839."El
Mendigo" and "El Canto del Cosaco" I also base uponthe 1840 edition, although the former first
appeared in LaRevista Española, Sept. 6, 1834. I base the "Canción delPirata" upon the original
version published in El Artista,Vol. I, 1835, p. 43. I take the "Soneto" from "El LiceoArtístico y
Literario Español," 1838. For "A Teresa, Descansaen Paz," I follow the Madrid edition of 1884.
The textof this, as for the whole of "El Diablo Mundo," is morereliable than that of the earlier
poems.
I desire to thank Professors Rudolph Schevill, Karl Pietsch,and Milton A. Buchanan for helpful
suggestions, and the lattermore particularly for the loan of rare books. The vocabularyis almost
entirely the work of my wife Emily Cox Northup,whose collaboration is by no means restricted
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