Project Gutenberg's Granada, Poema Oriental, Tomo I, by José Zorrilla This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Granada, Poema Oriental, Tomo I Poema Oriental Author: José Zorrilla Release Date: September 3, 2017 [EBook #55480] Language: Spanish Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK GRANADA, POEMA ORIENTAL, TOMO I *** Produced by Carlos Colón, University of California and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
Nota del Transcriptor:
Se ha respetado la ortografía y la acentuación del original.
Errores obvios de imprenta han sido corregidos.
Páginas en blanco han sido eliminadas.
La portada fue diseñada por el transcriptor y se considera dominio público.
PRECEDIDO DE LA
LEYENDA DE AL-HAMAR
POR
DON JOSÉ ZORRILLA
TOMO PRIMERO
NUEVA EDICIÓN
MADRID
IMPRENTA Y LITOGRAFÍA DE LOS HUÉRFANOS
Juan Bravo, 5.—Teléfono 2.198.
1895
Más de cuarenta años hace que salió á luz este Poema; y aun cuando su numerosa edición fué bien pronto agotada por el público, no ha vuelto á imprimirse. Vicisitudes de la vida del autor y vicisitudes del Poema mismo, cuyo tercer tomo se anunciaba constantemente aunque nunca llegara á escribirse, fueron causa de que la obra más extensa de Zorrilla, y en que él cifraba mayor empeño, sea hoy un libro raro, casi desconocido de la generación actual.
La viuda del gran poeta deseó reimpri[Pg 8]mir los bellísimos versos del Granada, en memoria de su amante esposo y como legado que él dejó para auxilio de una numerosa familia; pero su intento hubiera sido estéril sin el noble concurso de que la propia interesada da razón más adelante.
Esta obra, pues, no sale nuevamente al público para pedir lauros nuevos á la crítica, sino para propagar su lectura entre los que sólo conocen de ella que el peregrino ingenio á quien se debe lleva por sobrenombre El cantor de Granada.
SENADOR POR LA PROVINCIA DE GRANADA
Madrid 1.° de Junio de 1894.
Mi distinguido señor y amigo: No sé cómo manifestar á Ud. mi agradecimiento por el favor que me hace publicando el Poema de mi difunto esposo. Demuestra Ud. con ello ser digno hijo de la hermosa comarca que él cantó, á la vez que consecuente con la amistad que Zorrilla le tuvo, y de la cual dejó prueba consignando sus últimos versos en el Álbum de la Ilustre Señora á quien Ud. ha dado su nombre.
Gracias, pues, de mi parte, así como de las hijas adoptivas del poeta, favorecidas todas por su generosidad; y aun cuando me consta que Ud. deseaba ser nuestro protector anónimo, yo creo de rigurosa justicia hacer pública esta carta en las primeras páginas del libro, como muestra de un reconocimiento que conservará siempre vivo en su corazón la que hoy se le ofrece amiga y servidora, q. b. s. m.,
Juana Pacheco,
Viuda de Zorrilla.
Este Poema es propiedad de la viuda de Zorrilla, sin cuyo consentimiento no podrá reimprimirse, ni en todo ni en parte.
Queda hecho el depósito que previene la ley.
Había pensado (escribe) anteponer á mi poema un académico y razonado discurso en forma de prólogo, obra desde luego de algún amigo mío, persona de alta reputación literaria y de grande autoridad, para que le sirviese de escudo y protección y previniera en su favor la opinión pública, manifestando abiertamente la parcialidad de la suya; pero he desistido de semejante pensamiento, porque he reflexionado que, si el poema fuere bueno, no necesitará de protec[Pg 12]ción; y si fuere malo, no bastarán para protegerle todas las autoridades reconocidas de la Cristiandad y del islamismo.
El que crea, sin embargo, que con él pretendo realizar la novena maravilla (dado que el Escorial sea la octava), y asombrar al mundo con un poema épico, está en un error, y me honra mucho suponiéndome tan sobrado de alientos. Mi obra, á la cual notará el discreto que llamo Poema oriental, no es más que una enorme leyenda, en la cual otro ingenio más competente hallará reunidos los materiales necesarios para construir el clásico edificio de la magnífica epopeya encerrada en la época de la conquista de Granada. Avergonzado al ver que extranjeros autores han llamado antes que nosotros á las puertas de la Alhambra, ya con el grosero aldabón de la novela descabellada é insulsa, como Florián, ya con el martillo de la juiciosa y galana historia, como Washington[Pg 13] Irving, heme arrojado á abrir el cancel de su misterioso alcázar al genio feliz á quien sea dado apoderarse de su encantado recinto.
Tales son, y no otras, las limitadas pretensiones de mi Poema.
Bruselas, 21 de Febrero de 1852.
AL SEÑOR
DON BARTOLOMÉ MURIEL
EN PRENDA DE AMISTAD
Fantasía
REY DE GRANADA
DIVIDIDA EN CINCO LIBROS
FIN DE LA LEYENDA DE AL-HAMAR.
FIN DE LOS VERSOS CONTENIDOS EN EL TOMO PRIMERO.
Zorrilla, al publicar este Poema en 1852, ilustró el tomo primero con notas y discursos que, si entonces juzgaba de necesidad para satisfacer á lectores y críticos, hoy parecen excusados, después del casi medio siglo que separa la primitiva de la presente edición. El poeta quiso demostrar que á la factura de los versos había hecho preceder un estudio de la lengua árabe, de la historia del reino de Granada, de las vicisitudes de la conquista y de cuantos personajes iban á figurar en los diversos libros del Poema. Dudaba, tal vez, de que se le tuviese por verídico en las tradiciones, lenguaje, usos y costumbres de los moros; por lo cual puntualizó en multitud de notas la exactitud de los conceptos y hasta la pureza de las palabras. Reconocidas [Pg 314] por la crítica estas cualidades en la obra, no es necesario reproducir tan numerosos comprobantes, que, en vez de esclarecer, embarazan la lectura y sonoridad de los versos. Por esto se han suprimido aquí, del mismo modo que una extensa biografía de Mahoma, inserta al final del volumen y que el propio Zorrilla declara ser en su mayor parte traducción de acreditados libros franceses.
Hay, sin embargo, en los discursos y desahogos del autor ciertos pasajes que no deben suprimirse, porque corresponden á la historia literaria del tiempo y al carácter peculiar del poeta, tales como la explicación de la dedicatoria á su amigo Muriel y la sátira con que Zorrilla se revuelve contra los censores anticipados de su obra, émulos, á su juicio, tan impotentes como menguados.
He aquí la manera con que explica la Fantasía dedicada á D. Bartolomé Muriel en las primeras páginas del libro:
«Habiéndome algunos amigos manifestado en París deseos de conocer mi Poema de Granada antes de su publicación, se reunieron una noche en casa del Sr. Muriel para oirme leer algunos de sus libros ó cantos, á pesar de mi propósito de no manifestar[Pg 315] su manuscrito. La circunstancia de hallarse presentes á esta lectura D. Fernando de la Vera y D. Cayo Quiñones de León, cuyos antepasados tomaron en la conquista de Granada no poca parte, y á cuyas hazañas consagro en mis versos no pocos recuerdos, me obligaron á continuar en siguientes noches la lectura de mi obra, á cuyo objeto reunió el Sr. Muriel una corta sociedad de amigos en su elegante casa. La amistad cordial que al Sr. Muriel me une, y las agradables horas pasadas en sus aposentos, cubiertos de preciosos cuadros y llenos de artísticas curiosidades, me inspiraron esta fantasía, procurándome la ocasión de darle con ella un público testimonio de mi amistad y de lo caras que son á mi corazón las memorias de la suya.»
Sobre las censuras anticipadas y murmuraciones más ó menos cultas que se hacían del Poema cuando aún no se había publicado, escribe Zorrilla lo siguiente:
«Á los desocupados escritores de anónimos y á los autores rapsodistas, á quienes apesara desdichadamente la reputación ajena, pero que no pueden labrarse la propia sino royendo los talones de los que van delante de ellos, en su incapacidad de abrirse por[Pg 316] sí mismos un camino, les aconsejaré que antes dé seguirme á Granada den una vuelta por Toledo, donde hallarán á mi buen amigo el Sr. D. León Carbonero y Sol, quien, con honra suya y provecho de la juventud, explica en aquella ciudad la lengua árabe, y el cual, con su rica erudición oriental y poética, y su excelente método de enseñanza, les pondrá tal vez con el tiempo en estado de caminar conmigo por los senderos montañosos que conducen á la Real alcazaba de la Alhambra.
Á los literatos que, á pesar de lo expuesto, me supongan más ambiciosos intentos ó más vanaglorioso amor propio, dispuestos á no ver de mi obra más que los defectos, hijos naturales de una temeraria osadía ó de una quijotesca vanidad; y á los sabios críticos que quieran aprovechar la ocasión de lucir sobre Granada sus académicas disertaciones y sus artículos enciclopédicos, les contaré solamente un cuento, que estoy sintiendo corrérseme en el papel por los puntos de la pluma, el cual, aunque viejo, espero que les ayude á formar su juicio sobre mi Poema, si lo leen; que sí lo leerán, pues yo procuraré dárselo despacito para que lo rumien y digieran.
Lidiaba una tarde en la plaza de Sevilla el famoso Pedro Romero, el diestro de mejor trapo y más certero pulso que pisó jamás arena del redondel. Llegado el caso de estoquear un toro de mal trapío y tor[Pg 317]cida intención que, empeorado con la lidia, tomaba el bulto y dejaba el capote, comenzó Romero á trastearle cuidadosa y maestramente, arrastrándole la muleta para encariñarle á ella y traerle después sin riesgo á una estocada por los altos y á una muerte de buena ley. Un chusco sevillano, mozo y rico, decidor y zambrero, amigo de los ganaderos y conocedor de las marcas de sus ganaderías, apadrinador de la gente de cuadrilla, acompañador de los encierros y presenciador de los apartados, donde gustaba lucir el potro cartujo, la manta jerezana, la espuela vaquera y el castoreño apresillado, y gran partidario, en fin, de Costillares, hallando sin duda largo el juego de Romero, cuyo riesgo no comprendía, y pareciéndole la ocasión oportuna para zumbarle en presencia de su rival, empezó á decirle con no poco esforzadas voces y dejo no menos provocador:—«¡Bueno, señor incomparable, bueno: que va á llevar ese toro más pasos que las procesiones del Viernes Santo! De matar se trata, que no de pasear esa oveja mansa. ¡Que no se diga que por tanto paso se pasa el tiempo y no se pasa la pavura! ¡Vamos, un puntazo por lo que sea!.... y que no haya que dar á esa espada una compañera sacada de las costillas, como nuestra madre Eva.» La alusión á Costillares produjo el efecto que el chusco deseaba, y aplaudieron sus partidarios y rieron los de los tendidos; lo cual oyendo[Pg 318] Romero, dejando plantada á la fiera y á los espectadores suspensos, llegóse bajo el palco del zumbador mancebo, la muleta recogida en la zurda y el estoque suspendido en el dedo corazón, y díjole con aquella sorna peculiar de la gente de plaza:—«Su mercé parece, por sus razones, profesor del arte, y se ve á la legua lo acostumbrado que está á dar lecciones como maestro: conque no le deje por poco, y tome sin cortedad el lugar que le corresponde, que yo estoy pronto á escucharle. Baje, pues, su mercé y hágame su explicación á la cabeza de la res.»
Y decía bien Pedro Romero: las lecciones de torear se dan á la cabeza del toro.»
París, 15 Abril 1852.
José Zorrilla.
FIN DEL TOMO PRIMERO
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