Part I. Chap. 8, Note 30. My conclusions there have

been confirmed by Mr. Irving, (whose researches have led him in a similar direction,) in his "Alhambra," published nearly a year after the above note was written.

The great source of the popular misconceptions respecting the domestic history of Granada is Gines Perez de Hyta, whose work, under the title of "Historia de los Vandos de los Zegries y Abencerrages, Cavalleros Moros de Granada, y las Guerras Civiles que huvo en ella," was published at Alcalá in 1604. This romance, written in prose, embodied many of the old Moorish ballads in it, whose singular beauty, combined with the romantic and picturesque character of the work itself, soon made it extremely popular, until at length it seems to have acquired a degree of the historical credit claimed for it by its author as a translation from an Arabian chronicle; a credit which has stood it in good stead with the tribe of travel-mongers and raconteurs, persons always of easy faith, who have propagated its fables far and wide. Their credulity, however, may be pardoned in what has imposed on the perspicacity of so cautions an historian as Müller. Allgemeine Geschichte, (1817,) band ii. p. 504.

[12] Thus, in one of their romances, we have a Moorish lady "shedding drops of liquid silver, and scattering her hair of Arabian gold" over the corpse of her murdered husband!

"Sobre el cuerpo de Albencayde Destila liquida plata, Y convertida en cabellos Esparce el oro de Arabia."

Can anything be more Oriental than this imagery? In another we have "an hour of years of impatient hopes;" a passionate sally, that can scarcely be outmatched by Scriblerus. This taint of exaggeration, however, so far from being peculiar to the popular minstrelsy, has found its way, probably through this channel in part, into most of the poetry of the Peninsula.

[13] The redondilla may be considered as the basis of Spanish versification. It is of great antiquity, and compositions in it are still extant, as old as the time of the infante Don Manuel, at the close of the thirteenth century. (See Cancionero General, fol. 207.) The redondilla admits of great variety; but in the romances it is most frequently found to consist of eight syllables, the last foot, and some or all of the preceding, as the case may be, being trochees. (Rengifo, Arte Poetica Espanola, (Barcelona, 1727,) cap. 9, 44.) Critics have derived this delightful measure from various sources. Sarmiento traces it to the hexameter of the ancient Romans, which may be bisected into something analogous to the redondillas. (Memorias, pp. 168-171.) Bouterwek thinks it may have been suggested by the songs of the Roman soldiery. (Geschichte der Poesie und Beredsamkeit, band iii., Einleitung, p. 20.)--Velazquez borrows it from the rhyming hexameters of the Spanish Latin poets, of which he gives specimens of the beginning of the fourteenth century. (Poesía Castellana, pp. 77, 78.) Later critics refer its derivation to the Arabic. Conde has given a translation of certain Spanish-Arabian poems, in the measure of the original, from which it is evident, that the hemistich of an Arabian verse corresponds perfectly with the redondilla. (See his Dominacion de los Arabes, passim.) The same author, in a treatise, which he never published, on the "poesía oriental," shows more precisely the intimate affinity subsisting between the metrical form of the Arabian and the old Castilian verse. The reader will find an analysis of his manuscript in