poem whichdid not possess distinct literary value. On the otherhand, some of the most famous
Spanish lyrics do notseem apt to awaken the interest of the average student:it is for this reason
that scholars will miss thenames of certain eminent poets of the siglo de oro.The nineteenth
century, hardly inferior in merit andnearer to present-day readers in thought and language,is
much more fully represented. No apology is neededfor the inclusion of poems by Spanish-
American writers,for they will bear comparison both in style andthought with the best work from
the mother Peninsula.
The Spanish poems are presented chronologically,according to the dates of their authors. The
Spanish-Americanpoems are arranged according to countriesand chronologically within those
divisions. Omissionsare indicated by rows of dots and are due in all cases tothe necessity of
bringing the material within the limitsof a small volume. Three poems (the Fiesta de toros
ofMoratín, the Castellano leal of Rivas and the Leyendaof Zorrilla) are more narrative than lyric.
The romances ivselected are the most lyrical of their kind. Afew songs have been added to
illustrate the relationof poetry to music.
The editors have been constantly in consultation inall parts of the work, but the preparation of
the Prosody,the Notes (including articles on Spanish-American literature)and the part of the
Introduction dealing with thenineteenth century, was undertaken by Mr. Hills,while Mr. Morley
had in charge the Introduction priorto 1800, and the Vocabulary. Aid has been receivedfrom
many sources. Special thanks are due to ProfessorJ.D.M. Ford and Dr. A.F. Whittem ofHarvard
University, Don Ricardo Palma of Peru,Don Rubén Darío of Nicaragua, Don Rufino Blanco-
Fombonaof Venezuela, Professor Carlos Bransby ofthe University of California, and Dr. Alfred
Coesterof Brooklyn, N.Y.
I. Spanish Lyric Poetry to 1800 II. Spanish Lyric Poetry of the Nineteenth Century III. Spanish Versification Abenámar
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