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The romance is composed of any number of seven or eight syllable verses, in the even numbers of which there is a correspondence of vowel sounds in the last two syllables, which is called assonance.
For a fuller statement regarding them, see the last pages of the Introduction. The Vocabulary contains the more irregular verb-forms, and it has also descriptions of the important places and biographies of the noted men and women that are mentioned in the texts. The editors offer these Spanish Short Stories as suitable material to be read immediately after a beginners' book.
In El Burro Flautista the assonance is that of the last syllable only, e.g. mal casualidad. In El Pato y la Serpiente, p. 40, the assonance is a o, e.g. pato dado canso, etc. Un oso, con que la vida Ganaba un piamontés, La no muy bien aprendida Danza, ensayaba en dos pies. Queriendo hacer de persona, 185 Dijo a una mona: "¿Qué tal?" Era perita la mona, Y respondiole: "Muy mal."
The beginnings of the Spanish secular theater were quite humble and most of them have been lost in the mists of time and indifference. The recognized founder of the modern Spanish theater appeared the same year Columbus discovered the New World. Agustín Rojas, the actor, in his Viaje entretenido, says of this glorious year: "In 1492, Ferdinand and Isabella saw fall the last stronghold of the Moors in the surrender of Granada, Columbus discovered America, and Juan del Encina founded the Spanish theater." Juan del Encina was a graduate of the University of Salamanca and lived at the time mentioned above in the household of the Duke of Alba at Alba de Tormes. It was here that, before select audiences, were first presented his early plays or
But in 1610 they moved to Madrid, where Lope bought the little house in what is now the Calle de Cervantes, and in this house the great poet passed the last quarter of a century of his long and eventful life.
It would appear from some of his works that his son, Lope Félix, to whom he dedicated the last volume mentioned above, was lost at sea the same year, and that his favorite daughter, Antonia Clara, eloped with a gallant at the court of Philip IV. Four days before his death Lope composed his last work, El Siglo de Oro, and on August 27, 1635, after a brief serious illness, the prince of Spanish drama and one of the world's greatest authors, Lope Félix de Vega Carpio breathed his last in the little home in the Calle de Francos, now the Calle de Cervantes.
"Last night," said he, "will mark a great date in history for the Spanish theatre and for liberty. It is a movement of social and political renovation, Spain demands light and liberty; she demands the right to live under modern, European conditions; she is coming to life."
Later, at Madrid, he exhibits himself in a still more unfavorable light, and ends by driving her from his service, of which incident she gives a highly entertaining, though little edifying, narration. The last characters in the play who need occupy our attention are Martín and Pedro, the graciosos.
He did not devote by any means all his time to his literary pursuits, but found time to attend faithfully to his religious duties and to the cares of his home, for he had gathered about him his children, Feliciana, Lope Félix and Antonia Clara, of whom the last two and Marcela, in a convent since 1621, were the gifted fruit of illicit loves.
For his employer he composed about this time the pastoral romance Arcadia, which was not published until 1598. The remaining years of his banishment, which was evidently remitted in 1595, were uneventful enough, but this last year brought to him a great sorrow in the death of his faithful wife.
Palabra del Dia
Otros Mirando