The Mexican poet Pesado used the same line in his
_Serenata_:

iOh tu que duermes--en casto lecho,
De sinsabores--ajeno el pecho,
Y a los encantos--de la hermosura
Unes las gracias--del corazon,
Deja el descanso,--doncella pura,
Y oye los ecos--de mi cancion!
(P. 199, ll. 1-6)

The same measure appears in a patriotic song, _Himno de
Riego_:

En las cabezas--el proclamo
La suspirada--constitucion,
Y enarbolando--marcial pendon,
A los leales--acaudillo...[34]

[Footnote 34: It should be noted that these latter verses,
like most Spanish patriotic songs, are sung with ternary
movement, thus:

En las cabezas--el proclamo...]
page lxix
This 10-syllable measure is cantabile, and its phrases are
too short and too regular to make good recitative verse.

_Versos alcaicos_ differ from the _asclepiadeos_ in that
the former have, in a strophe, two lines of 5 + 5, one of
nine, and one of ten syllables. Thus, in these lines of
Victorio Giner (who probably introduced this strophe into
Spain in the second half of the nineteenth century):

Y si los nautas, cantando el pielago,
Con remos hieren y espumas alzan,
Se aduerme a los ecos sus penas
Y a los ecos su batel avanza.

Juan Luis Estelrich (_Poesias_, 1900) uses _versos
alcaicos_ with the first two lines of each strophe
_esdrujulo_, in imitation of Carducci:

Carmen, tu nombre trae al espiritu
Vuelo de aromas, susurro de arboles,
Los pios consorcios del cielo,
Y el cantar melodioso del Lacio.

(_A Carmen Valera._)[35]

[Footnote 35: Cf. Mele, _op. cit._]

_Romances_ in lines of 6 + 6 (or 6 + 5) syllables occur
in popular Spanish verse, as in the Asturian _romance_ of
_Don Bueso_, beginning:

Camina don Bueso--mananita fria
a tierra de moros--a buscar amiga...

(Men. Pel., _Ant._ X, 56: cf. also _Ant._ XI, 102)

This measure was also used in _endechas_, as in _Los
comendadores de Cordoba_ (fifteenth century), beginning:

iLos comendadores,--por mi mal os vi!
Yo vi a vosotros,--vosotros a mi...
page lxx
The 9-syllable line was not well received in Spain, and it
has been little used. Iriarte, in his desire to vary the
metrical constructions of his fables, used it at least
once:

Sobre una mesa, cierto dia,
Dando estaba conversacion
A un Abanico y a un Manguito
Un