Jose Zorrilla
José Zorrilla y Moral (Valladolid, February 21, 1817-Madrid, January 23, 1893) was a Spanish poet and playwright, author of the romantic drama Don Juan Tenorio.
Biography
Vallisoletano, was the son of José Zorrilla Caballero, an old-fashioned man with a traditionalist ideology, follower of the suitor Carlos María Isidro de Borbón and rapporteur of the Royal Chancellery. His mother, Nicomedes Moral, was a very pious woman. After several years in Valladolid, the family passed through Burgos (where the father was named governor) and Seville to finally settle, when the boy was nine years old (1827), in Madrid, where the father worked with great zeal as mayor. house and court and police superintendent under the orders of Francisco Tadeo Calomarde; the son entered the Seminary of Nobles, run by the Jesuits; there he participated in school theater performances and learned Italian well:
In that school I began to take the bad habit of neglecting the main for taking care of the accessory and, negligent in the serious studies of philosophy and the exact sciences, I applied to drawing, fencing and beautiful lyrics, reading in hiding Walter Scott, Fenimore Cooper and Chateaubriand and committing, finally, at the age of twelve, my first crime of writing verses. The Jesuits celebrated them and encouraged my inclination; I told them to recite them imitating the actors I saw in the theater, when I once went to the Prince, who then presided over the mayors of house and court, whose toga my father wore; make me famous in the examinations and public acts of the Seminary, and I became a gallant in the theater where these were celebrated and executed Don Carlos sent his sons to our classrooms and to fulfill the church in our chapel; to which he had sent His Holiness Gregory XVI his blessing and the wax bodies of two young martyrs, slain in Rome, [...] whose decayed figures gave me such fear, that I never spent night before the chapel in whose side altars they lay.
After Fernando VII died, the furious absolutist who was the father was exiled to Lerma and the son was sent to study law at the Royal University of Toledo under the supervision of a canon relative in whose house he stayed; However, the son was distracted by other occupations and the law books fell from his hands and the canon returned him to Valladolid to continue studying there (1833-1836). When the wayward son arrived, he was admonished by his father, who later marched to his native town, Torquemada, and by Manuel Joaquín Tarancón y Morón, rector of the University and future Bishop of Córdoba.
The imposed nature of the studies and his attraction to drawing, women (a cousin he fell in love with during a vacation) and the literature of authors such as those already mentioned (for example, it fell into his hands The Genius of Christianity by Chateaubriand) and also Alejandro Dumas, Victor Hugo, the Duke of Rivas and Espronceda, who he met and read at the home of Pedro de Madrazo y Kuntz, a friend who studied law with him and felt the same way. attraction to art, ruined his future as a lawyer. By then he discovered that he was a sleepwalker: sometimes he would go to bed leaving an incomplete poem and wake up seeing it finished, or go to bed with a beard and wake up shaved; So he asked that they let him sleep locked in. The father gave up taking anything from his son and ordered them to take him to Lerma to dig vineyards; but when he was halfway there, his son stole a mare from a cousin, fled to Madrid (1836) and began his literary career, frequenting the artistic and bohemian circles of Madrid, together with his native Miguel de los Santos Álvarez, and spending a lot of time. hunger.
He pretended to be an Italian artist to draw at the Museo de las Familias, published some poetry in El Artista, and gave revolutionary speeches at the Café Nuevo, so he ended up for being chased by the police. He took refuge in the house of a gypsy. At that time he became a friend of the Italian baritone Joaquín Massard and, on Larra's death in 1837, at Massard's request, José Zorrilla composed and recited a poem in his memory that would earn him the deep friendship of José de Espronceda, Antonio García Gutiérrez and Juan Eugenio Hartzenbusch and would ultimately consecrate him as a renowned poet, to whom these verses belong:
- That the poet, on his mission / on the land he inhabits, / is a cursed plant / with blessing fruits
He then began to write for the newspapers El Español, where he replaced the deceased, and for El Porvenir, where he received a salary of six hundred reales; he began to frequent the gathering of El Parnasillo and read poems in El Liceo; He was also editor of El Entreacto , a theater critic publication. In 1837 his first book appeared, Poems with a prologue by Nicomedes Pastor Díaz; His first drama, written in collaboration with García Gutiérrez, was Juan Dándólo , premiered in July 1839 at the Teatro del Príncipe. In 1840 he published his famous Songs of the Troubadour and premiered three dramas, It is better to arrive on time, Live crazy and die more and Every which with its reason. In 1842 his Summer Vigils appeared and he publicized his plays The Shoemaker and the King (first and second part), The echo of the torrent and The two viceroys. From 1840 to 1845, Zorrilla was hired exclusively by Juan Lombía, a businessman at the Teatro de la Cruz, in which he premiered no less than twenty-two dramas during those five seasons. And he was so renowned that at the end of 1843 he received from the Government of Spain the supernumerary cross of the Royal and Distinguished Order of Carlos III along with fellow playwrights Manuel Bretón de los Herreros and Juan Eugenio Hartzenbusch.
In 1838 he had married Florentina Matilde O'Reilly, a penniless Irish widow sixteen years his senior and with a son by her former husband José Bernal, but the marriage was unhappy; a daughter they had died a year after she was born, and he had several lovers; Doña Florentina was invaded by pathological jealousy and ended up upsetting the poet with his family, making him leave the theater and, finally, after the brilliant success of Don Juan Tenorio in 1844, conceived in one night of insomnia and writing in twenty-one days, leaving her in 1845 and emigrating to France and then to Mexico (1855), where his wife's angry letters and defamatory anonymous letters still arrived.
He had to return to Madrid when his mother died in 1846; Back in Paris, he printed two volumes of Works by D, at the Baudry House. José Zorrilla (I, Poetic Works. II, Dramatic Works) with a biography of Ildefonso Ovejas; there he became friends with Alexandre Dumas, Alfred de Musset, Victor Hugo, Théophile Gautier and George Sand. As he had undersold the rights to Tenorio , he was unable to collect royalties for the many reruns of it and his efforts to recover them were in vain. In 1849 he received several honors: he was made a member of the board of the newly founded Spanish Theatre; the Liceo organized a session to exalt him publicly and the Royal Spanish Academy admitted him to its ranks, although he only took possession of chair L as far back as May 31, 1885 with a speech in verse Poetic autobiography and self-portrait. But his father died that same year and this was a severe blow to him, because he refused to forgive him, leaving a great burden on his son's conscience (and considerable debts), what affected his work. El puñal del godo and Traitor, unavowed and martyr were great successes, some more in their reruns than in their premieres.
Fleeing from his wife again, he returned to Paris in 1850, where his mistress Leila sweetened his sorrows, to whom he gave himself passionately and about whom very little is known; there he wrote the two volumes of his poem Granada . In 1852 the Baudry house printed a third volume of Poetic and Dramatic Works. He traveled to London in 1853, where he was accompanied by his inseparable financial difficulties, from which the famous watchmaker Losada took him out; At that time he composed his famous Moorish Serenade in honor of Eugenia de Montijo, who in that same year had married Emperor Napoleon III; they were going to give him the legion of honor, but again some letters of his irate wife they ruined it. He then went to Mexico, where he would spend eleven years of his life. He arrived in Veracruz on January 9, 1855 and was enthusiastically welcomed (despite the fact that some false quintillas had been published in his name against the country), first by the liberal government (1854-1866), spending long periods in the Valley of Apan, where he lived a new love story with a woman named Paz, and later under the protection and patronage of Emperor Maximilian I, with an interruption in 1858, the year he spent in Cuba. There they began to afflict him with epileptic attacks that would accompany him throughout his life.
One day, as I sat at the table, the house turned around me and the earth lacking under my feet; a great noise, like music and far-off countryside, resonated me in the brain, and I lost my sense. Isidore frightened me, and immediately called his doctor; they made me sleep; he felt nauseous, hesitated and drowsy. That's how I was forty-eight hours... On the third day the doctor found me working at seven in the morning; they felt that the vomit had passed, and they welcomed it. Woe to me! It was the first amago of an epileptic condition that I fight today with a few doses of bromide that scare the pharmacist to whom I first present Dr. Cortezo, to whom, for her, I probably owe life.
In Cuba he tried his luck in the slave trade. He established a partnership with the Spanish bookseller and journalist Cipriano de las Cagigas, son of a renowned slave trader, to import Indian prisoners of war against the Mayans from Yucatan (Mexico) and sell them to Cuban sugar haciendas. Zorrilla bought a party of Indians in Campeche, but the death of Cagigas from black vomit (yellow fever) liquidated the business, and Zorrilla returned to Mexico in March 1859. In that country he led a life of isolation and poverty, without mixing in the civil war between federalists and unitaries. However, when Maximilian I came to power as Emperor of Mexico (1864), Zorrilla became a courtly poet and was appointed director of the now-defunct National Theater.
After his wife Florentina O'Reilly died, a victim of cholera in October 1865, Zorrilla was finally free to return to Spain; he embarked in 1866 and passed through Havana, Saint-Nazaire, Paris, Lyon, Avignon, Nîmes and Perpignan and finally arrived in Barcelona on July 19. He went to Valladolid on September 21 to settle his affairs, received at home many people, went to the bullfights, offered two readings at the Calderón Theater and, at the Lope de Vega Theater, his drama Sancho García was performed. The newspapers were full of news about the poet, considered a national glory. The poet Carolina Coronado testified to this:
Zorrilla, what happened? / What do you have to tell us? / What happened? What did you hear? / Where were you involved? / How long did it take to come?
On October 14, he went to Madrid, where he stayed for a few months taking care of the edition of his Album de un loco; In March 1867 he traveled again in search of his "beloved places", wrote the critic Narciso Alonso Cortés: Torquemada (Palencia), where his parents were buried; and then to Quintanilla-Somuñó, the Burgos land of his mother and "cousin Gumis", his first love. Until there they took him a letter that his friend Emperor Maximilian I sent him from Mexico, dissuading him to return to his side: «The abdication is going to become necessary; Avoid a useless trip and wait for orders." Just a month later, on June 19 of that 1867, Maximiliano would be shot in Querétaro. Then he poured into a poem all his hatred against the Mexican liberals, as well as against those who had abandoned his friend: Napoleon III and Pope Pius IX. This play is The Drama of the Soul Since then his religious faith suffered a severe blow. He recovered by marrying Juana Pacheco Martín again on August 20, 1869 in Barcelona; she was twenty years old, he fifty-two; Zorrilla was a spendthrift and never knew how to manage himself: his financial difficulties returned, from which neither public recitals of his work, nor a government commission in Rome, where he was with his wife between 1871 and 1873, nor a pension granted too late, although he received the protection of some characters from Spanish high society such as the counts of Guaqui. His honors, however, rained down on him: King Amadeo I granted him the Grand Cross of Carlos III; They name him chronicler of Valladolid (1884), they crown him with laurel as a national poet in Granada in 1889, etc. Tired of his investigations for the Spanish government in Rome, at the beginning of 1874 he decided to move to France, where, in the Landes region, he set up a house and devoted himself, together with his wife, to flower growing; They spent two years there until in December 1876 when Zorrilla and his wife were forced to return to Spain, where he returned to work offering public readings of his works. Eduardo Gasset, editor of El Imparcial, offered to print his memoirs, Recuerdos del tiempo viejo, in installments in his Monday supplement, and they began to be published on the 6th October 1879. He spent the years 1880, 1881 and 1882 traveling and reading throughout Spain, waiting for a promised government pension that did not arrive. In 1883 he embarked on another grueling tour: he was sixty-six years old, and he wrote: 'I have not an hour to rest; hoarse and tired and sleep deprived, I go about like an old crow. He inaugurated the theater that bears his name in Valladolid in 1884. There he resettled again until April 1889, but always touring. In a letter to his great friend, the poet José Velarde, and speaking of himself in the third person, he exposed his sad situation:
Zorrilla produced two or three literary goods, which under the titles of Zapatero and the king, Sancho García and Don Juan Tenorio, they entered into circulation capitalized on ten to twelve thousand reals each; Zorrilla produced these literary goods before the promulgation of the law of theatrical property, that is, before 1847, and sold them as then these things were sold, each of which has legally produced its buyers 30, 40 and 50 thousand hard. Now, since the law has no retroactive effect, as it does not remember the works of ingenuity the enormous injury, Zorrilla maintains in the first fortnight of November, with Don Juan Tenorio, to all the comics and entrepreneurs of Spain and America, and is exposed, if he comes by God's curse to decrepitude, to die in the hospital or in the asylum, or to ask for alms in those days when with his work he keeps so many. And their friends say, "to the legislators": "Since the law cannot protect Zorrilla by compelling those who legally bought their works from him their enormous gains, do not let them starve in the old age to which with such works he created these capitals and keeps so many companies" (J. Zorrilla, Charter a José Velarde, 19-XII-1881)
On February 14, 1890, he underwent surgery in Madrid to remove a brain tumor; Queen María Cristina hurried to grant him the pension two months later; but the tumor reproduced and he died in Madrid in 1893 in another operation. His remains were buried in the San Justo cemetery in Madrid, but in 1896, fulfilling the poet's will, they were transferred to Valladolid. They are currently in the Pantheon of Illustrious Vallisoletanos in the Carmen cemetery.
The literature of José Zorrilla
He cultivated all genres in verse: lyric, epic or narrative, and dramatic. There are three elements of great interest in Zorrilla's life to understand the orientation of her work.
First, the relationship with his father. Man this despotic and severe, he systematically rejected the love of his son, refusing to forgive his youthful mistakes. The writer carried with him a kind of guilt complex, and to overcome it he decided to defend in his creation a traditionalist and reactionary ideal that was very much in accordance with his father's feelings, but in contradiction with his intimate progressive ideas. He says in Memories of the old time : «My father had not estimated my verses at all: nor my conduct, whose key he only had».
Secondly, we must highlight his sensual temperament, which drew him towards women: two wives, an early love affair with a cousin and several love affairs in Paris and Mexico give a list that, although very far from that of Don Juan, walk in the same direction. Love constitutes one of the fundamental axes of all Zorrilla's production.
It is not idle to wonder, as a third determining factor, about Zorrilla's health. At a certain point in his life, in fact, he invented a double, crazy ( Tales of a crazy , 1853), which appears almost obsessively afterwards. In Memories of Old Time , his autobiography, he talks about his fondness for Tarot, his hallucinations, sleepwalking and epilepsy. When did the brain tumor appear and how did it affect his behaviour? Perhaps the predominant role of fantasy in the writer and his enormous sense of mystery (the principle of the sublime of romantic aesthetics) finds an explanation on this side.
His biographer Narciso Alonso Cortés has said of his character that he was naive as a child, kind and a friend to everyone, ignorant of the value of money and oblivious to politics. It is also worth noting his independence, of which he was very proud. In verses reminiscent of those of Antonio Machado, he confessed that he owed everything to his work, and came to reject lucrative public positions because he did not feel prepared; In his Memories of Old Time , he affirmed: «I fear that our revolution will be unsuccessful for Spain because all of us Spaniards believe we are good and capable of everything and we all get involved in what we do not know». Indeed, in his work there are pre-regenerationist concerns that appear from time to time despite the traditionalism that he imposed on himself so as not to snub his father; For example, in his poem & # 34; Toledo & # 34; The national decadence behind a glorious past is not hidden from the poet.
Zorilla's style is characterized by great plasticity and musicality and a powerful sense of mystery and tradition; For this reason, apart from its theme, there are many archaisms taken mostly from the theater of the Golden Age that he has read so much: «asleep», «in space», «afrontallo», «aquesta», «atambor», «desque », «disappears», «says», «do», «everywhere», «a little while ago», «kill him», «same», «prey», «whoever», «sir», «the arena», «the soul", "the bridge", "a tiger", "a ghost", "an hour"... He also uses ancient twists and oaths. His metrics are extremely rich and in general each of his works is polymetric, except for some small legends that he composes only in romance; In the rest, traditional meters and stanzas predominate, such as quatrains, limericks, sextinas, leaflets, quatrains, eighths and eighths, ballads of six and seven syllables, ballads, heroic ballads and silvas. Sometimes fourteen syllable romances appear, also fourteen verses forming consonant quartets, dodecasyllables, consonant eight syllables, apart from some other combinations used in exceptional circumstances; the same as in his dramas, where Zorrilla preferred quatrains, limericks, romances and silvas. He even boasts when using the metric scale in A bronze witness: it begins with dodecasyllables and descends to two syllables, and after 48 verses in heroic romance he contemplates a sunrise also described on an ascending scale that goes from the verses of two syllables to those of fourteen. In Spanish romanticism it represents the moment of the nationalization of its imported elements. His work is uneven, sometimes very inspired and other times wordy and lacking in specificity: in any case, it is always proudly spontaneous, free and uninhibited:
- Because in works of taste and whim / that bring only pleasure and not profit, / everything can be done if it is well done / and can be said if it is well said.
Among his early lyrical poems, the well-known Orientals stand out, a genre already cultivated by Victor Hugo. Much better are the Legends, where he proves to be a better narrative than lyrical poet and wisely combines intrigue, surprise and mystery. They were very famous "Margarita la tonera", "A good judge better witness" and "Captain Montoya". At the age of thirty-five he published Granada (1852), a brilliant evocation of the Muslim world. Based on his theme, we can establish five blocks:
- Religious LyricsIra de Dios, The Virgin at the foot of the Cross)
- Lovely LyricsA souvenir and a sigh, A woman)
- Lyric sentimentalMeditation, The moon of January)
- Descriptive lyric (Toledo, To a turreon)
- Philosophical LyricsTales of a madman)
His extensive dramatic work offers three fundamental pieces: The Shoemaker and the King, Don Juan Tenorio and Traitor, Unconfessed and Martyr. In The Shoemaker and the King (1840-1841) Don Pedro the Cruel appears from the point of view of popular tradition, as a sympathetic and righteous character whom fatality leads to disaster. In Don Juan Tenorio (1844), the character of the mocker created by Tirso de Molina and present in the So long you trust me by Antonio de Zamora, returns to life. that it had been performed as a moral play on All Souls' Day for close to a century and a half; Zorrilla's piece achieved such success that it replaced this piece in such custom. He contributed various novelties that greatly improved the dramatic structure: he introduced the figure of Doña Inés, that of Don Luis Mejía and the salvation for love of the idealized Doña Inés, not the traditional condemnation of the impetuous Don Juan. Although the Tenorio abounds in carelessness, puerile sensationalism and bursts of lyricism that borders on kitsch, Zorrilla saves everything with the vigor of theatricality, his fluid mastery of versification, his mastery in conducting the action, the firmness of the characters and his unsurpassed sense of mystery. Zorrilla himself was not very happy with his work, which he ruthlessly criticized in his memoirs, but critics have to admit that next to his dramatic virtues, his defects seem insignificant and barely noticeable. As for Traitor, unconfessed and martyr (1849), a maximum balance is reached, although the author modifies the historical reality making "the Madrigal pastry chef" that he was hanged for having tried to impersonate King Sebastián of Portugal, who disappeared in the battle of Alcazarquivir, is, in fact, the same monarch.
Zorilla House Museum in Valladolid
It houses the poet's house, where he spent his early childhood continuously, as well as his sporadic stay at other stages throughout his life, such as the one that coincides with his return from Mexico.
Works
Complete Works
- Works. Paris: Baudry, Collection of the Best Spanish Authors, vols. 39, 40 and 54, 1837.
- Works by José Zorrilla. New edition corrected and only recognized by the author, with his biography by Ildefonso de Ovejas. Paris: Baudry, European Library, 1852, 3 vols.
- Complete works by Don José Zorrilla, corrected and scored by his author. Monumental edition and the only one containing many unpublished productions, plus how many have seen the light until the day illustrated with the production of engravings by the best Spanish artists. I take first [and only]. Barcelona: Sociedad de Crédito Intelectual, 1884.
- Dramatic and lyric works (M. P. Delgado, ed.) Madrid: 1895, 4 vols.
- Dramatic Gallery. Complete Works. Madrid: 1905, 4 vols.
- Complete works. Madrid: Sociedad Editorial de España, 1943, 4 vols.
- Complete Works (Narcissus Alonso Cortés, ed.) Valladolid: Santarén, 1943, 2 vols.
Lyrical
- Poesias, I, Madrid: J. Sancha, 1837.
- Poesies, II, Madrid: José María Repullés, 1838.
- Poetry, III, Madrid: José María Repullés, 1838.
- Poetry, IV, Madrid: José María Repullés, 1839.
- Poesias, V, Madrid: José María Repullés, 1839.
- Poesías, VI, Madrid: José María Repullés, 1839.
- Poesias, VII, Madrid: José María Repullés, 1840.
- Vigils of the Stadium. Madrid: Boix, 1842.
- Memories and fantasies. Madrid: J. Repullés, 1844.
- Tales of a madman1853.
- The flower of memories. Offering to Hispanic-American Peoples1855.
- Two roses and two roses1859.
- With José Heriberto García de Quevedo, Maria. poetic crown of the Virgin. Religious Poem, Madrid, Print that was from Operarios, by A. Cubas, 1849.
Narrative poems
- Granada. Eastern Poem, preceded by the legend of Al-Hamar, Paris: Print of Pillet fils ainé, 1852, 2 vols.
- The legend of the Cid (1882)
Theater
- Live crazy and die morepremiered in 1837.
- With Antonio García Gutiérrez, Juan Dándolepremiered in 1839.
- It's better to get there in time than a year.1839, unrepresented, unpublished.
- Winning losing1839.
- Each with his reason1839, comedy
- Loyalty of a woman and one-night adventures1839, comedy.
- The shoemaker and the king (first part, drama in four acts, Madrid: printing of Yenes, 1840; and second part 1841); there is modern edition of Jean-Louis Picoche, Madrid: Castalia, 1980.
- The echo of the torrentpremiered in 1842.
- The two virreyespremiered in 1842.
- A year and a daypremiered in 1842.
- Sancho García, Tragic composition in three acts Madrid: Repullés, 1842.
- Pirate Cain. Table of introduction to drama in three events entitled One year and one day, Madrid: Repullés, 1842.
- The punch of the godopremiered in 1843.
- SofroniaTragedy in an act in the classic way premiered in 1843.
- The best reason, the sword, Madrid: Repullés, June 1843 (adaption of a comedy of Augustine Moreto)
- The mill of Guadalajara, premiered in 1843, published in Madrid: Repullés, 1850.
- Olive and laurel. Allegory written for the feasts of the proclamation of Her Majesty Queen Elizabeth II, Madrid: printing of Yenes, 1843.
- Don Juan Tenorio. Religious-fantastic Drama. Madrid: Imprenta de Repullés, 1844; same place and printing, 1845; Madrid: Imprenta de Repullés, 1845 and 1849; Madrid: D. Antonio Yenes, 1846; Tenorio. Religious-fantastic drama in two parts (Federico Booch-Arkossy, ed.) Gotha: at Guillermo Opetz's house, 1866; Madrid: Tip. de E. Cuesta, 1883; Madrid: Tip. de los Sucesores de E. Cuesta, 1892. There are modern editions of Nicholson B. Adams (1957), W. Mills (1966), Francisco García Pavón (1970), José Luis Varela Iglesias (1974, facsimile of the autograph manuscript, and 1975), Salvador García Castañeda (1975), Agustín Letelier Zúñiga (1980), Aniano Peña, (1979), José Luis Serravas (1984), Jean-Louis Picochenz88
- The ivory cuppremiered in 1844, tragedy.
- Mayor Ronquillopremiered in 1845.
- Crazy king. Drama in three actspremiered in 1846.
- The Queen and the Favoritespremiered in 1846.
- The warmth, 1847 (second part of The punch of the godo)
- The excommunicated, drama in three acts, Madrid: Repulles, September 1848, about Jaime I the Conqueror.
- Creation and the Universal Flood. Theatrical show in four acts, divided into six parts. Madrid: Sociedad de Operarios, 1848.
- Traitor, inconfess and martyr. Collection «The Theatre of Dramatic Works». Madrid: 1849; 1859; 1865; 1873; 1881; and 1882. There are modern editions of Xavier Martínez de Vedia (1998), Ricardo Senabre (1964, 1970, 1976, 1995); E. Torres Pintueles (1966); A. Rodríguez Zapatero (1972), Roberto Calvo (1990) Xabier Manrique de Vedia (1993).
- King Don Sancho's horse. Comedy in four days and in verse. Madrid: Repullés, 1850.
- The hooded, entanglement comedy written in 1870 with another title: Between clerics and devils.
- Don Juan Tenorio1877, a homonymous zarzuela that adapted from his same romantic drama, with music by Nicolau Manent.
Memories
- The memories of old time, published by deliveries in The Mondays of El Impartial in 1879 and then in Madrid: Imprenta de los Sucesores de Ramírez, 1880, volume I, and Madrid: Type of Gutenberg, 1882, volume II. There is modern edition: Madrid: Spanish Publications, 1961.
- Transpelled sheets of Old Time Memories, Madrid, Eduardo Mengíbar, 1882.
- Memories of Mexican Time. (Ed. and prologue of Pablo Mora. Notes by Silvia Salgado and Pablo Mora). Mexico: General Directorate of Publications, Conaculta, 1998.
- Mexico and Mexicans (1855-1857) (Prologist, notes and bibliography of Andrés Henestrosa). Mexico: De Andrea, 1955.
Other works
- A love story (with José Heriberto García de Quevedo). Madrid: Est. tip. del Seminario, 1850.
- The drama of the soul1867.
- Poetic speech read before the Royal Spanish Academy by His Excellency. Mr. D. José Zorrilla at the public reception on 31 May 1885 and the response of His Excellency. Mr. Marquis de Valmar. Madrid: Imprenta y Fundición de Manuel Tello, Impresor de Cámara de S. M. Isabel la Católica, 1885.
- Get away and fly!, 1888
- From Murcia to the sky1888.
- My last set1888.
- Epistolary
Legends
- Legends (Salvador Garcia, ed.) Madrid: Chair, 2000.
- Troubadour songs. Collection of historical legends and traditions. Madrid: Boix, 1840 and 1841, 2 vols.
- The Devil's Challenge and A Bronze Witness. Two traditional legends by D. José Zorrilla. Madrid: Boix, 1845.
- Ecos of the mountains: historical legends, Barcelona: Montaner and Simon, 1868, 2 vols.
- A good judge, best witness: tradition of Toledo, in Poetry1838. Barcelona: Atlantis, 1941. (Prologist of Angel Valbuena Prat); he is inspired by the legend of the Christ of Vega.
- For truths time and righteousness God1838, about fatal jealousy.
- Captain Montoya1840. Zorrilla considered it "a embryo of Don Juan Tenorio"
- Margarita the tornera1840.
- The passion
- Princess Doña Luz
- Justices of King Don Pedro1840, inspired by the History of Spain of Juan de Mariana
- The two roses
- The talisman, 1842
- Prince and king
- The charms of Merlin
- History of a French and Spanish1840-1841. It is inspired by David persecuted from Cristóbal Lozano.
- The Stomach of the Night
- Two roses and two roses
- History of three breakdowns
- An adventure of 1360
- The sculptor and the Duke
- Solomon's pills1840.
- Hones and life
- Ecos of the mountains
- Aims for a sermon on the New. Tradition1840, inspired by the David persecuted from Cristóbal Lozano.
- The Borceguí of Henry II
- The Mount of Espinosa1842. It is inspired by another account of David persecuted from Cristóbal Lozano.
- Memories of Valladolid1839.
- Two generous men1842.
- Al-hamar the Nazarite, king of Granada: Oriental Legend divided into five books titled: Of dreams, Of pearls, Of alcazars, Of spirits, and Of snow
- The legend of the Cid
- Legend of Don Juan Tenorio, 1873
- The souls in love. Legend in verse
- Wild sugar. Religious Legend of the 9th Century. Madrid: Imp. de Antonio Yenes, 1845.
- The rosemary song. Legend in verse by D. José Zorrilla. Barcelona: Intellectual Credit Administration, 1886.