San Antonio daily light. [volume] (San Antonio, Tex.) 1886-1907, 1889-11-25
The Dai1u Eight.
MONDAY, NOVEMBER 25, 1889.
The Spanish Language.
BY E. 0GIER,

From the Scientific American.
The Spanish language is derived
from the Latin. 1t has preserve
none of the various indigenous forms
of language: of all the Latin tongues
it is the purest, for 1t has taken moth
ihs from the barbarian conquerors
who overran Spain; and in spite o.
several centuries of foreign occnpa.
ton, only few foreign wor DIS have
retained place in the language; il
is homogeneous. Much more Latin
than italian is, it does not disfigure
It's words either by elisions more OF
less arbitrary or by illogical con-
structions, and it's syntax is strictly
laid down; it does not easily lend
ITSELF to the caprices of fashion or
what the sixteenth century authers
made it.
Even in the middle ages the Ian
guage of poetry was already formed,
and required only the necessary lapse
of time to polish it. Spanish litera-
ture flourished from that period, and
Cervantes found ready to his hand the
marvellous instrument which was to
create the first masterpiece of really
European literature.
The most singular features of the
Spanish language is its capability-
being perfect instrument at once for
prose and poetry. In this respect 1t
surpasses ali other; Greek alone can
be compared to it. AS if this marvel
GUS language were destined to be per-
feet in every way, it is as well adapt
ed to the portrayal of the most Wig
orous passions as to that of the ten
erost sentiments.
In prose, as in verse, the language
shapes the idea, and, as it were,
carves and moulds it. The great
poet Villegas had already, in 1900,
adapted it to every variety of Greek
rhythm and meter. Ercilla, one OF
the conquist adores, about the same
time, wrote his epic poem, "Arauca-
ma" in language as delicate and fleXi-
BILE as his own sword. QuirOs, and
Cervantes himself, drew poetical
arabesques which throw the modern
romantic school into the shade.
But let us leave these highly edu-
Gated authors, distinguished Latin
lists, Hebraists and Hellenists, and let
us seek the fountain head, the I'M
known, popular, simple, uneducated
authors, the romanceros (hallad sing
ers).
In those times-more glorious, per-
haps, than we think-whether war
were carried ON against Goth or VAN
dial, Saracen or King, the rOmanceros
sang of everything-a romance ofrelig-
ion or love, rustic song, heroic deed,
a ballad, civil or political history,
celebrated paladins, noble ladies,
provincial rights, liberty, famous
palfreys, the Gid Ruy Diaz de Bivar
and Ximena, Ogier and Durandarte.
A fine and copious stream of poetry,
drawn from the very fountain head
the heart, the head, and the arm.
What sap! what vigor!
History may break off, monks may
impose silence, but history will live
on in ballads-true national history.
The progress of civilization, exalted
faith, fueros( charters), gallantry,
chronology, sieges, dynasties, march
es and provinces, bishops and clergy,
civil rights and canon laws, political
life-all these the ballad treats of,
and the language allows o it. With
out settled language, it would have
been impossible. We may judge of
the glorious artists Spain possessed
in those days when she outshons all
Europe by the works they have be-
queathed to us.
After the resplendent talents and
literary genius of the fifteenth and
sixteenth centuries came, alas! the
wretched, passionless classicists;
conventional poetry, more varied,
more regular, assimilated the liter
allure of Spain to her kings, swathed
in etiquette, stiffened in ceremonial.
1t no longer attracts by its national
vigor; poetical originality fades away;
authors seek rather to initiate,
to draw from Greek and Latin
sources; important rules of poet
ic art can only supply lifeless forms,
as is always the case where inspira-
ton is wanting; art vainly seeks to
support talent. All the work of these
authors of the decadence have been
preserved, and are still admired.
Why? The language has saved them;
it has given body to the feeble idea,
like those preparations which give
substance and firmness to vaporous
gauZe.
Essentially poetic in character,
being essentially dreamy and con-
templative, the Spantard still pre-
serves his ancient gravity, and his
language is the most solemn as well
as the most poeticalin Europe.It sings
in q most serious manner the subject
which inspires it and this serious
ness adds to its grace. Strength, grace
and dignity are the principal charac-
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