Abstract
Dámaso Alonso, in his discussion of hyperbaton, states: “Es, en esencia, quizá el problema central de la forma poética. No basta decir que es la rima; hay el misterio de la poesía.”1 According to the critic-poet, hyper-baton is not the by-product of an end-rime but a conscious, or subconscious, faculty of the poet; at times, it is a method of conveying mental images.
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References
Dámaso Alonso, Poesía española, ensayo de métodos y límites estilísticos (Madrid: Editorial Gredos, 1957), p. 57.
Antonio Montoro Sanchis, Poética española (Barcelona: Editorial Gustavo Gili, S. A., 1949), p. 26.
Jorge Guillen, Language and Poetry (Cambridge: Harvard University Press, 1961), p. 34.
Katharine M. Wilson, Sound and Meaning in English Poetry (London: Jonathan Cape, 1930), p. 260.
Charles Bally, Traité de stylistique française (Heidelberg: Winter, 1919), p. 19.
Wilson, Sound and Meaning, p. 295.
César Barja, Libros y autores modernos (New York: G. E. Stechert, 1964), pp. 158–159.
Arturo Farinelli, “Don Giovanni,” Giornale storico delta letter atura italiana (Torino: Ermanno Loescher, 1896) vol. xxvii, p. 320. The author says: “Uno fra i massimi lirici della Spagna di tutti i tempi.”
E. Allison Peers, History of the Romantic Movement in Spain (London: Cambridge University Press, 1940) II, 206. “Finally, we note from the beginning an incurable pictur-esqueness, a power of pictorial appeal, a facility for using the telling epithet and for presenting a scene in its most attractive colour, attitude or aspect.”
Antonio de Valbuena, José Zorrilla (Madrid, 1889), p. 37. After comparing Zorrilla with Espronceda, Valbuena states: “A pesar de estas incorreciones que el mismo Zorrilla con modestia rara ha confesado y ha exagerado, nadie puede disputarle el cetro de la moderna poesía lírica.”
Barja, Libros, p. 158. “Diríase que el poeta no puede hablar sin hacer de lo hablado verso.”
Guillén, Language and Poetry, p. 37.
Alonso, Poesía española, p. 289–90.
Clement Wood, Poet’s Handbook (New York: Greeberg, 1940), p. 182.
In the present study, we have not counted as a hyperbate the object-verb, verb-subject inversion; we believe the reason is obvious.
All the citations of José Zorrilla’s poetry are from his Obras Completas, Ordenación, prólogo y notas de Narciso Alonso Cortés (Valladolid: Librería Santarén, 1943) vol. I. “El capitán Montoya,” pp. 330–353; “A buen juez, mejor testigo,” pp. 131–141; “El drama del alma,” pp. 1989–2057.
Narciso Alonso Cortes, Zorrilla, su vida y sus obras (Valladolid: Librería Santarén 1943), p. 674.
Cortes, Zorrilla, p. 693.
Cortes, Zorrilla, p. 717.
Andrés Henestrosa en el prólogo de México y los Mexicanos (Mexico: Imprenta Universitaria, 1955), p. xix.
S. Eliot, Translations from Zorrilla (Cambridge, 1860), p. 12.
Barja, Libros, p. 159.
Unless we have run as we have read, Enrique Piñeyro and E. Allison Peers make no mention of “El drama del alma.”
P. Francisco Blanco García, La literatura española en el siglo XIX (Madrid: S. de Jubera, 1909) I, 216.
Alonso, Poesía española, p. 44.
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© 1968 Martinus Nijhoff, The Hague, Netherlands
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Siciliano, E.A. (1968). Hyperbates in the Poetry of Zorrilla. In: Cartier, N.R. (eds) Aquila. Aquila, vol 1. Springer, Dordrecht. https://doi.org/10.1007/978-94-011-9822-6_10
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DOI: https://doi.org/10.1007/978-94-011-9822-6_10
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