I have on my brow the ineffable stamp
Of that one who with his faith lost,
Has seen his star grow pale

And fall in the secret skies of his life.

I have on my timid lips-on those
Lips that were pure as a rose-

The sorrowful trace of a thousand kisses
Given and received with madness,

In sweet appointment or in ignoble orgy,
When, at the urge of fatal impulses,
I sought always the creditable company
Of the seven capital sins;

And my youth, in its wanton carelessness,
Was like a steed of conquering stride,
That plunges forth to sweep through the air,
Neighing for joy at the rosy dawn.

I have in my being an awful weariness

Which compels me to silence, somewhat,

My sorrowful cry: the weariness

Caused by the crushing pressure of the Infinite.

The great anguish, the frightful sorrow

Of having been born for a hidden destiny,

Born to fly, without rest through every sky,

And to sail without chart or compass, the seven seas.

Born to suffer forever the evil

Of illusion; and thus, meditating,
To live with my eyes firmly

Fixed on the heart of the world;

On the mystery of love sublime,

On the secret sorrow of all things,

On all that suffers in silence or breaks forth in groans,

Be it mankind, animals, or flowers;

And to give to others my laughter or my tears

The very blood of my veins, to give all

In the marvelous cup of my song,
Fashioned of jewels, of ivory or mud;

And for my poor lips leave nothing
And live with my heart full of sorrow,
Seeing that at the close of life's journey
Oblivion will hollow out my sepulchre.

Today, as I arrive at the summit of my years,
I view the way that beckons to my feet,
My eyes wild with terror, I gaze upon it,
But a voice exclaims: go on and climb!

To what purpose, Lord? I am sick!
The demon of disgust consumes my being!
All the earth for me is a desert drear
Where from weariness and cold I perish!

I have quenched my thirst for knowledge
In every fountain poisonous or pure,
In the bitter wells of science

And in the torrent of literature.

-Poesías, pp. 49-53.

As a man is known by the company he keeps, so a writer may be judged somewhat by the allusions he makes, and the authors with whom he is familiar. The accompanying table shows Molina's catholicity of taste and the cosmopolitan nature of his reading. It is worthy of note that, among the moderns, the French predomi

nate. Following the list of allusions there will be found quotations from Molina revealing more clearly the sources which served to influence the man, his manner, and his message.

PRINCIPAL ALLUSIONS IN MOLINA'S WORK: AMERICAN: Edgar Poe (2),* Roosevelt.

BIBLICAL: Abraham (2), Abel, Adam, Bethany, Cain (2), Calvary, David, David and Goliath, David and Mary, Eve, Golden Calf, Ishmael, Job (4), Jesus Christ (3), Salome, Sheba (Queen of), St. Paul, Solomon, Song of Songs.

CLASSICAL:

1. Greek: Aegean, Aeschylus, Alexander, Anacreon, Aristophanes, Aristotle, Democritus, Democritus, Demosthenes (2), Heraclitus, Homer (3), Lesbos, Pericles, Plato (2), Socrates, Sophocles, Sparta, Spartans, Thales, Thermopylae.

2. Mythological: Achilles, Agamemnon, Ajax, Alcides, Amphion, Appolo, Cyclops, Diana (3), Eleusis, Eleusinian, Ganymede, Hector, Hecuba, Helen, Hercules, Jason, Juno, Jupiter, Menelaus, Mercury, Minerva (2), Nemea (Lion of), Nemes, Neptune, Orpheus, Pan, Pandora, Pegasus, Pluto, Poseidon, Priam, Prometheus (3), Sirena, Styx (2), Triton, Venus, Venus of Cythera.

3. Roman: Antinoüs (?), Caesar, Caudine Forks, Cicero, Cytheris, Horace, Lucretius (2), Marcus Aurelius, Nero, Petronius, Pliny, Seneca, Virgil.

ENGLISH: Bacon, Boleyn (Anne), Byron (6), Carlyle, Darwin, Edward VII, Faraday, Greenwich (astronomer of), Harvey, Hobbes, Huxley, Macaulay, Milton, Newton, Ruskin, Shakespeare (9), Tennyson, Tyndall, Whewell.

EGYPTIAN: Cleopatra, Ptolemy, Nile.

*Indicates the number of allusions noted.

FRENCH: Amiel, Balzac, Baudelaire, Bossuet, Charlemagne, Chateaubriand (2), Corot, Danton, Descartes, Flaubert, Hugo (7), Lamartine (3), Lamballe (Princesse de), Maeterlinck (Belgian), Mallarmé (2), Manon Lescaut, Marat, Maupassant, Michelet, Musset (6), Moliere, Napoleon, Nerval (Girard de), Pasteur, Pere La Chaise, Ramus, Renan, Richelieu, Ronsard, Rousseau, Sévigné (Madame de), St. Pierre (Bernardin de) (2), Stael (Madame de), Taine (2), Tocqueville, Vauvenargues, Vergniaud, Verlaine, Voltaire, Zola. GERMAN AND AUSTRIAN: Altenberg (Peter) (?), Baur, Fuerbach, Goethe (2), Heine, Hegel, Kant (3), Marx, Metternich, Mozart, Nietsche (5), Nordau, Schiller, Schopenhauer (2), Strauss, Wagner.

ITALIAN: Boccaccio, Campanela, Casanova, Capri (astronomer of), Cellini (Benvenuto), Copernico, Dante (2), Fra Angelico, Galileo, Leopardi (2), Machiavelli, Michael Angelo.

MEDIEVAL: Council of Nicea, St. Augustine (2), Roland.

ORIENTAL: Arabian Nights, Brahman, Chosroes, Confucius, Cyrus, Fakir, Firdussi (2), Mohammed, Simurgo (el ave).

SPANISH: Babieca, Cadalso, Campoamor, Castelar, Cervantes (3), Cid, Cortés (2), Daguerre, Echegaray, Espronceda (2), Fernando VII, Gama hasta Goa (?), Juan de Aragón, Juana de Segovia, La Cava (and Rey Rodrigo), León (Fray Luis de), Menéndez y Pelayo, Núñez de Arce, Pereda Pérez, Galdós, Picón (Jacinto Octavio), Quevedo, Santillana (el Marqués de), Vega (Garcilaso de la), Valera (Juan).

SPANISH-AMERICAN: Acuña (Manuel), Batres y Montúfar (José), Borja (Enrique), Carrera (Rafael), Coronel (Juan), Chocano, Darío (Rubén), Diéguez (Manuel), Estrada (Domingo), Flores (Julio), Guardiola (Esteban), Isaacs, Jáuregui (Antonia Batres), Lara (Alejo S.), Mencos, Montalvo, Rivas (Ramón Mayorga) (2), Serpas (Carlos), Silva (José Asuncion), Varela (Hector), Verea (Ramón), Valencia (Guillermo).

A complete list of the allusions in Molina's single volume is next to impossible. It would be easy to find additions to those given: in a single sentence* we find Beatrice, Leonora, and Ophelia. However, such occasional additions would affect little, if any, the conclusion one might draw from the preceding table.

A great many allusions have been passed over intentionally. For example, it was not thought of any particular advantage to encumber the references to Spanish America with a repetition of those names found in Durón's Honduras Literaria, a book which Molina reviewed.** Further, some of the names listed have no especial interest other than to show Molina's familiarity with his contemporaries.

In an article on the emancipation of Central America,*** there is a staggering enumeration of Spanish explorers, generals, governors, and inquisitors, balanced with a corresponding array of Spanish-American patriots, heroes, battles, and victories. The heaping up of allusions here, as often in the Prosas, more rarely in the Poesías, almost makes one feel that Molina is parading his knowledge.

A review of Progreso de la ciencia en los últimos cincuenta años,† translated from the English of Huxley by J. Antonio López, furnishes an opportunity to compile a formidable list of philosophers and scientists. Here again