cuerpo garrido!
iAy, probe Xuana de cuerpo galano!
?Donde le dexas al tu buen amigo?
?Donde le dexas al tu buen amado?
--iMuerto le dexo a la orilla del rio,
muerto le dexo a la orilla del vado!
--?Cuanto me das, volveretelo vivo?
?Cuanto me das, volveretelo sano?
--Doyte las armas y doyte el rocino,
doyte las armas y doyte el caballo.
--No he menester ni armas ni rocino,
no he menester ni armas ni caballo...

It should be noted that this poem has assonance of the
odd and of the even lines. Men. Pel. says of this popular
11-syllable _romance_ that "su aparicion en la poesia
popular castellana es un fenomeno singular, aun en
Asturias misma, y hasta ahora no se ha presentado mas
ejemplo que este." Note the apparent shifting of stress in
_armas_. Iriarte and L. Moratin did not scorn to use this
line.

Iriarte:

Cierta criada la casa barria
Con una escoba muy sucia y muy vieja...

Moratin (in the chorus of _Padres del Limbo_):

Huyan los anos con rapido vuelo;
Goce la tierra durable consuelo;
Mire a los hombres piadoso el Senor...
page lxxv
The 11-syllable line of ternary movement has had less
vogue in artistic verse than those of ten and twelve
syllables.[38]

[Footnote 38: In _Las hijas del Cid_ E. Marquina has used a
flexible 11-syllable ternary line beginning with either
[\-] - - [\-] or - [\-] - [\-]:

Sus nombres juntos los llevo en el alma,
Juntos los guarda tambien mi memoria.

These are blank verses with occasional assonance.]

The Spanish ternary 12-syllable line was formerly used
chiefly in combination with lines of ten or eleven
syllables. Some examples of mingled 10-and 12-syllable
lines have already been given above. Another is:

Mancebito, perdone las hembras,
Que comen y beben y no tienen rentas.
--Pues, mocitas, malditas sean ellas,
O cosan o labren o caiganse muertas.

A song of mingled 11-and 12-syllable lines begins thus:

Al pasar la barca, me dijo el barquero:
Moza bonita no paga dinero.[39]

[Footnote 39: Cf. Mila, _op. cit._ In singing _pasar_,
there is apparently a shifting of stress which is not
uncommon in songs.]

Efforts have been made from time to time to use the
ternary movements in erudite verse, but these, for the
most part, have proven futile. The most serious and the
most successful attempt appears in the use of the _copla
de arte mayor_ in the