RAMON DE CAMPOAMOR Y CAMPOOSGRIO (1817-1901)  , See also:

• SPANISH

Spanish poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Navia (See also:

• ASTURIAS

Asturias) on the 24th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1817 . Abandoning his first intention of entering the Jesuit See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, he studied See also:

• MEDICINE

medicine at See also:

• MADRID

Madrid, found an opening in politics as a supporter of the Moderate party, and, after occupyingseveral subordinate posts, became See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor of Castellon de la . Plana, of See also:

• ALICANTE

Alicante and of See also:

• VALENCIA
• VALENCIA, or VALENTIA

Valencia . His conservative tendencies See also:

• GREW, NEHEMIAH (1641-1712)

grew more pronounced with See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, and his Polemicas See also:

• CON

con la Democracia (1862) may be taken as the definitive expression of his See also:

• POLITICAL

political opinions . His first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance as a poet dated from 1840, when he published his Ternezas y flares, a collection of idyllic verses, remarkable for their technical excellence . His Ayes del See also:

• ALMA

Alma (1842) and his Fdbulas morales y politicas (1842) sustained his reputation, but showed no perceptible increase of See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power or skill . An epic poem in sixteen cantos, See also:

• COLON
• COLON (formerly known as ASPINWALL)

ColOn (1853), is no more successful than See also:

• MODERN

modern epics usually are . Campoamor's theatrical pieces, such as El Palacio de la Verdad (1871), See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

Dies Irae (1873), El Honor (1874) and Glorias Humanas (1885), are interesting experiments; but they are totally lacking in dramatic spirit . He always showed a keen See also:

• INTEREST

interest in metaphysical and philosophic questions, and defined his position in La Filosofia de See also:

• LAS

las leyes (1846), El Personalismo (1855), Lo See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

Absolute (1865) and El Ideismo (1883) . These studies are chiefly valuable as embodying fragments of self-See also:

• REVELATION, BOOK OF

revelation, and as having led to the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of those doloras, humoradas and pequenos poemas, which the poet's admirers consider as a new poetic See also:

• SPECIES

species . The first collection of Doloras was printed in 1846, and from that date onwards new specimens were added to each succeeding edition . It is difficult to define a dolora .

One critic has described it as a didactic, symbolic See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza which combines the lightness and See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace of the See also:

• EPIGRAM

epigram, the See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy of the endecha, the concise narrative of the ballad, and the philosophic intention of the See also:

• APOLOGUE (from the Gr. &rroXoyos, a statement or account)

apologue . The poet himself declared that a dolora is a dramatic humorada, and that a pequeno poema is a dolora on a larger See also:

• SCALE
• SCALE (1) A

scale . These See also:

• DEFINITIONS

definitions.are unsatisfactory . The humoristic, philosophic epigram is an See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient poetic See also:

• FORM (Lat. forma)

form to which Campoamor has given a new name; his invention goes no further . It cannot be denied that in the Doloras Campoamor's See also:

• SPECIAL

special gifts of See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony, grace and pathos find their best expression . Taking a See also:

• COMMONPLACE

commonplace theme, he presents in four, eight or twelve lines a perfect See also:

• MINIATURE

miniature of condensed emotion . By his choice of a vehicle he has avoided the fatal facility and copiousness which have led many Spanish poets to destruction . It pleased him to affect a vein of melancholy, and this affectation has been reproduced by his followers . Hence he gives the impression of insincerity, of trifling with See also:

• GRAVE

grave subjects and of using See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism as a See also:

• MASK (Fr. masque, apparently from med. Lat. mascus, masca, spectre, through Ital. maschera, Span. mascara)

mask for frivolity . The genuine Campoamor is a poet of the sunniest See also:

• HUMOUR (Latin humor)

humour who, under the pretence of teaching morality by See also:

• SATIRE (Lat. satira, satura; see below)

satire, is really seeking to utter the See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay See also:

• SCEPTICISM (o-Kesrroµai, I consider, reflect, hesitate, doubt)

scepticism of a genial, epicurean nature . His See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence has not been altogether for See also:

• GOOD, JOHN MASON (1764-1827)

good . His See also:

• FORMULA
• FORMULA (Lat. diminutive of forma, shape, pattern, &c., especially used of rules of judicial procedure)

formula is too easily mastered, and to his example is due a See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

plague of doloras and humoradas by poetasters who have caricatured their See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model .

Campoamor, as he himself said, did not practise See also:

• ART

art for art's See also:

• SAKE

sake; he used art as the See also:

• MEDIUM

medium of ideas, and in ideas his imitators are poor . He died at Madrid on the 12th of See also:

• FEBRUARY

February 1901 . Of See also:

• LATE

late years a deep silence had fallen upon him, and we are in a position to See also:

• JUDGE (Lat. judex, Fr. juge)

judge him with the impartiality of another See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation . The overwhelming bulk of his See also:

• WORK

work will perish; we may even say that it is already dead . His pretensions, or the pretensions put forward in his name, that he discovered a new poetic genre will be rejected later, as they are rejected now by all competent See also:

• JUDGES, THE BOOK OF

judges . The See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of a philosophic poet will be denied to him . But he will certainly survive, at least in See also:

• EXTRACT (from Lat. extrahere, to draw out)

extract, as a distinguished humorist, an See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert in epigrammatic and sententious See also:

• APHORISM
• APHORISM (from the Gr. a4oA'ecv, to define)

aphorism, an artist of extremely finished See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution . (J .