Ruben Dario is one of the worlds most splendid poets and one of the least known, partly because his revolutionary and hybrid style is almost untranslatable. Delighted readers will finally have a chance to plunge into the great Nicaraguan poets masterpiece and sing with him of life and hope.--Ariel Dorfman, author of In Case of Fire in a Foreign Land: New and Collected Poems from Two Languages Will Derusha and Alberto Acereda give us a Ruben Dario that will be of immense interest to aficionados of poetry in Spanish, as well as to lay readers who have discovered the joys and pleasures of the likes of Federico Garcia Lorca, Pablo Neruda, and Cesar Vallejo.--Rafael Campo, author of Landscape with Human Figure Renowned for its depth of feeling and musicality, the poetry of Ruben Dario (1867-1916) has been revered by writers including Federico Garcia Lorca, Pablo Neruda, and Octavio Paz. A leading figure in the movement known as modernismo, Dario created the modern Spanish lyric and permanently altered the course of Spanish poetry, Yet while his output has inspired a great deal of critical analysis and a scattering of translations, there has been, until now, no complete English translation of any of his books of poetry. This bilingual edition of Darios 1905 masterpiece, Cantos de vida y esperanza, fills a crucial gap in Hispanic and world literature studies. Will Derusha and Alberto Acereda have provided not only an elegant English translation of Darios work but also an authoritative version of the original Spanish text. Written over the course of seven years and in many locales in Latin America and Europe, the poems in Cantos de vida y esperanza reflect both Darios anguished sense of modern life and his ecstatic visions of transcendence, freedom, and the transformative power of art. They reveal Darios familiarity with Spanish, French, and English literature and the wide range of his concerns--existential, religious, erotic, and socio-political. Derusha and Aceredas translation renders Darios themes with meticulous clarity and captures the structural and acoustic dimensions of the poets language in all its rhythmic sonority. Their introduction places