"Romantic legends of Spain" by Gustavo Adolfo Bécquer is a compilation of 21 historical romance stories. Gustavo was a Spanish Romanticist poet and writer (mostly short stories) of the 19th century, also a playwright, literary columnist, and talented in drawing. Today he is considered one of the most important figures in Spanish literature and is considered by some as the most read writer after Miguel de Cervantes. His work approached the traditional poetry and themes in a modern way, and he is considered the founder of modern Spanish lyricism. Some of the notable recitals include: Master Pérez the organist -- The emerald eyes -- The golden bracelet -- The ray of moonshine -- The devil's cross -- Three dates -- The Christ of the skull -- The white doe, etc.
Gustavo Adolfo Claudio Dom�nguez Bastida, better known as Gustavo Adolfo B�cquer (1836 -1870) was a Spanish post-romanticist poet and writer (mostly short stories), also a playwright, literary columnist, and talented in drawing. Today he is considered one of the most important figures in Spanish literature, and is considered by some as the most read writer after Cervantes. He adopted the alias of B�cquer as his brother Valeriano B�cquer, a painter, had done earlier. He was associated with the post-romanticism movement and wrote while realism was enjoying success in Spain. He was moderately well known during his life, but it was after his death that most of his works were published. His best known works are the Rhymes and the Legends, usually published together as Rimas y leyendas. These poems and tales are essential to the study of Spanish literature and common reading for high-school students in Spanish-speaking countries.
Did Spanish explorers really discover the sunken city of Atlantis or one of the lost tribes of Israel in the site of Aztec Mexico? Did classical writers foretell the discovery of America? Was Baja California really an island or a peninsula—and did romances of chivalry contain the answer? Were Amazon women hiding in Guiana and where was the location of the fabled golden city, El Dorado? Who was more powerful, Apollo or Diana, and which claimant nation, Spain or England, would win the game of empire? These were some of the questions English writers, historians and polemicists asked through their engagement with Spanish romance. By exploring England’s fanatical consumption of so-called books of the brave conquistadors, this book shows how the idea of the English empire took root in and through literature.
Since the days of Southey the romantic literature of Spain has not received from English writers and critics the amount of study and attention it undoubtedly deserves. In no European country did the seeds of Romance take root so readily or blossom so speedily and luxuriantly as in Spain, which perhaps left the imprint of its national character more deeply upon the literature of chivalry than did France or England. When we think of chivalry, do we not think first of Spain, of her age-long struggle against the pagan invaders of Europe, her sensitiveness to all that concerned personal and national honour, of the names of the Cid Campeador, Gayferos, and Gonzalvo de Cordova, gigantic shadows in harness, a pantheon of heroes, which the martial legends of few lands can equal and none surpass. The epic of our British Arthur, the French chansons de gestes, are indebted almost as much to folklore as to the imagination of the singers who first gave them literary shape. But in the romances of Spain we find that folklore plays an inconsiderable part, and that her chivalric fictions are either the offspring of historic happenings or of that brilliant and glowing imagination which illumines the whole expanse of Peninsular literature. I have given more space to the proofs of connexion between the French chansons de gestes and the Spanish cantares de gestathan most of my predecessors who have written of Castilian romantic story. Indeed, with the exception of Mr Fitzmaurice Kelly, whose admirable work in the field of Spanish letters forms so happy an exception to our national neglect of a great literature, I am aware of no English writer who has concerned himself with this subject. My own opinion regarding the almost total lack of Moorish influence upon the Spanish romanceros is in consonance with that of critics much better qualified to pass judgment upon such a question. But for my classification of the ballad I am indebted to no one, and this a long devotion to the study of ballad literature perhaps entitles me to make. I can claim, too, that my translations are not mere paraphrases, but provide renderings of tolerable accuracy. I have made an earnest endeavour to provide English readers with a conspectus of Spanish romantic literature as expressed in its cantares de gesta, its chivalric novels, its romanceros or ballads, and some of its lighter aspects. The reader will find full accounts and summaries of all the more important works under each of these heads, many of which have never before been described in English. If the perusal of this book leads to the more general study of the noble and useful Castilian tongue on the part of but a handful of those who read it, its making will have been justified. The real brilliance and beauty of these tales lie behind the curtains of a language unknown to most British people, and can only be liberated by the spell of study. This book contains merely the poor shadows and reflected wonders of screened and hidden marvels.
These twelve classic short stories reflect the idealistic and exotic appeal of a golden age in Spanish literature. Published from the 1830s to the 1860s, the heyday of the Romantic era, they remain popular with readers of every generation. Featured authors include "Fernán Caballero," Ramón de Mesonero Romanos, Juan Eugenio Hartzenbusch, Mariano José de Larra, Enrique Gil y Carrasco, and Gustavo Adolfo Bécquer. This dual-language edition features an informative introduction and ample footnotes, making it not only a pleasure to read but also a valuable learning and teaching aid for students and teachers of Spanish literature. Together with Dover's Spanish Stories of the Late Nineteenth Century, it offers a wide-ranging survey of an important literary age.
Romantic Legends of SpainThis collection of 21 romantic tales by nineteenth-century Spanish poet and writer Gustavo Adolfo Bécquer, mostly written in the 1860s, was published in New York in 1909, with illustrations. The translators were Cornelia Frances Bates and Katherine Lee Bates.Master Pérez the Organist A Tale of SevilleThe Emerald Eyes. A Legend of the MoncayoThe Golden Bracelet. A Tale of ToledoThe Ray of Moonshine. A Tale of SoriaThe Devil's Cross. A Legend of the Eastern PyreneesThree Dates. Reminiscences of ToledoThe Christ of the Skull. A Legend of ToledoThe White Doe. A Legend of AragonThe Passion Rose. A Legend of ToledoBelieve in God. A Legend of the Montagut Valley in TarragonaThe Promise. A Legend of SoriaThe Kiss. A Tale of ToledoThe Spirits' Mountain. A Legend of SoriaThe Cave of the Moor's Daughter. A Legend of FiteroThe Gnome. A Tale of the MoncayoThe Miserere. A Legend of FiteroStrange! A Story of MadridWithered Leaves. A PhantasyThe Set of Emeralds. A story of MadridThe Tavern of the Cats. An Idyl of AndalusiaAll Souls' Night. In Madrid
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