Blackness in the Andes: Ethnographic Vignettes of Cultural by Jean Muteba Rahier (auth.)

By Jean Muteba Rahier (auth.)

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Doubtful, obtaining information for her, 27. Y certificóle un dia 27. And one day guaranteed her 28. Que Margarita tan bella 28. That such a beautiful Marguerite 29. Sólo en Felipe cabía. 29. Could not be but for Philip. 30. Luego España solicita 30. Later Spain requested 31. Con tal tercero a tal dama. 31. Such a lady for such a man, 32. Y con su pecho la incita, 32. Be invited with all her heart, 33. Donde hay oro de gran fama, 33. Where there is gold of great renown 34. Y un joyel hay de infinita.

Se engosta, adorna y esmalta, 41. He adorns himself, 42. Este pudo merecerla, 42. He does merit her, 43. Que ninguna hay de tan alta 43. No women is as exalted 44. Estima donde ponerla. 44. He ponders where to place her. The Afro-Esmeraldian Décimas—Ecuador 25 The “normal type” of Spanish gloss had different components: octosyllabic verses and four- and ten-line stanzas. The octosyllabic verse, also called by philologists verso de arte real, verso de ronda mayor, or verso de arte menor, is the most commonly used verse form in Spanish literature.

Y con su pecho la incita, 32. Be invited with all her heart, 33. Donde hay oro de gran fama, 33. Where there is gold of great renown 34. Y un joyel hay de infinita. 34. And a very special jewel. 35. Este joyel español 35. This Spanish jewel 36. Se hizo a todo distinto 36. Became very unique 37. Y tan sólo como el sol 37. He was like the shining 38. Del oro de Carlos Quinto, 38. Gold of Charles V, 39. Siendo Felipe el crisol. 39. Philip being the crucible 40. Deste, para engrandecerla, 40. With it, to exalt her, 41.

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