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Gustavo Adolfo Domínguez Bastida, better known as Gustavo Adolfo Bécquer, (February 17, 1836, Seville – December 22, 1870) was a Spanish post-romanticist writer of poetry and short stories, now considered one of the most important figures in Spanish literature. He adopted the alias of Bécquer as his brother Valeriano Bécquer, a painter, had done earlier. He was associated with the post-romanticism movement and wrote while realism was enjoying success in Spain. He was moderately well known during his life, but it was after his death that most of his works were published. His best known works are the Rhymes and the Legends, usually published together as Rimas y leyendas. These poems and tales are essential to the study of Spanish literature and common reading for high-school students in Spanish-speaking countries. <p> His work approached the traditional poetry and themes in a modern way, and he is considered the founder of modern Spanish lyricism. Bécquers influence on 20th century poets of the Spanish language can be felt in the works of Octavio Paz and Giannina Braschi. <p> The Legends are a variety of romantic tales. As the name implies, most have a legendary tone. Some depict supernatural and semi-religious (Christian) events, like The mount of the souls, The green eyes, The rose of the Passion (a blood libel) with references to the Holy Child of La Guardia and The miserere (a religious song). Others cover more or less normal events from a romantic view, like The moonlight ray and Three dates. <p> This is a high quality book of the original classic edition. <p> This is a freshly published edition of this culturally important work, which is now, at last, again available to you. <p> Enjoy this classic work. These few paragraphs distill the contents and give you a quick look inside: <p> …When I was a boy of fourteen or fifteen, and my soul was overflowing with numberless longings, with pure thoughts and with that infinite hope that is the most precious jewel of youth, when I deemed myself a poet, when my imagination was full of those pleasing tales of the classic world, and Rioja in his silvas to the flowers, Herrera in his tender elegies, and all my Seville singers, the Penates of my special literature, spoke to me continually of the majestic Bétis, the river of nymphs, naiads, and poets, which, crowned with belfries and laurels, flows to the sea from a crystal amphora, how often, absorbed in the contemplation of my childish dreams, I would go and sit upon its bank, and there, where the poplars protected me with their shadow, would give rein to my fancies, and conjure up one of those impossible dreams in which the very skeleton of death appeared before my eyes in splendid, fascinating garb! … I used to dream that the city that saw my birth would one day swell with pride at my name, adding it to the brilliant list of her illustrious sons, and, when death should put an end to my existence, that they would lay me down to dream the golden dream of immortality on the banks of the Bétis, whose praises I should have sung in splendid odes, and in that very spot where I used to go so often to hear the sweet murmur of its waves. <p> …Here he encountered an indifference that he had not dreamed of; and here he remained in the shadow of oblivion, eking out a miserable existence of physical as well as mental suffering, in utter loneliness of spirit, until he was joined in 1856 by one who came to be his lifelong friend and first biographer?Ramón Rodriguez Correa, who had come to the capital with the same aims as Becquer, and whose robust health and jovial temperament appealed singularly to the sad and ailing dreamer.