a de poetas mexicanos_, publ. by
Acad. Mex., Mex., 1894; _Poetas mexicanos_, Carlos
G. Amezaga, Buenos Aires, 1896; _Los trovadores de
Mexico_, Barcelona, 1900.

Pesado: see preceding note.

=La Serenata=: see _Introduction, Versification_, p.
lxviii.

=200.=--6-11. These lines of Pesado are similar to those
found in the first stanzas of _Su alma_ by Milanes. See
Hills' _Bardos cubanos_ (Boston, 1901), p. 69.

Calderon: see note to p. 199.

=202.=--Acuna: see note to p. 199.

=204.=--15. The language is obscure, but the meaning seems
to be: _borrarte (a ti que estas) en mis recuerdos_.

19. The forced synalepha of =yo haga= is discordant and
incorrect.

=204.=--23 to =205.=--8. That is, when the altar was ready
for the marriage ceremony, and the home awaited the bride.
The reference, apparently, is to a marriage at an early
hour in the morning,--a favored time for marriages in
Spanish lands.

=208.=--1. =la alma=, by poetic license, since _el alma_
would make the line too long by one syllable.

=207.=--Peza: see note to p. 199.

=211.=--Dario: with the appearance in 1888 of a small
volume of prose and verse entitled _Azul_, by Ruben Dario
(1864-) of Nicaragua, there triumphed in Spanish America
the "movement of emancipation," the "literary page 314
revolution," which the "decadents" had already initiated
in France. As romanticism had been a revolt against the
empty formalism of later neo-classicism, so "decadence"
was a reaction against the hard, marmoreal forms of the
"Parnasse," and in its train there came inevitably a
general attack on poetic traditions. This movement was
hailed with joy by the young men of Latin America, who are
by nature more emotional and who live in a more voluptuous
environment than their cousins in Spain; for they had come
to chafe at the coldness of contemporary Spanish poetry,
at its lack of color and its "petrified metrical forms."
With the success of the movement there was for a time a
reign of license, when poet vied with poet in defying the
time-honored rules, not only of versification, but also
of vocabulary and syntax. But as in France, so in Spanish
America, "decadence" has had its day, although traces of
its passing are everywhere in evidence, and the best that
was in it still lingers.

To-day the Spanish-American poets are turning their
attention more and more to the study of sociological
problems or to the cementing of racial solid