United States or Hungary ? Vote for the TOP Country of the Week !
=Al llegar la noche=, when night came. =Se puso a cantar=, he began to sing. =Nadie se acercaba a él=, no one approached him. =Creyó morir=, he thought that he was dying. When there is no change of subject the dependent verb is infinitive. =Iba perdiendo=, the verb =ir= with the gerund indicates a continually increasing action.
The second gallant had resolutely opposed the irregular and hasty match, but on hearing that the supposed Isabel bore as true name the illustrious one of Doña María Guzmán y Portocarrero and was, although a water-maid, a relative of the Duke of Medina, his resistance had vanished.
For over fifty years Lope de Vega enriched the Spanish drama with the wonders of his genius, yet from El Verdadero Amante, certainly in its original form one of his earliest plays now in existence, to Las Bizarrías de Belisa, written the year before his death, we find a uniformity of vigor, resourcefulness and imagination that form a lasting monument to his versatility and powers of invention, and amply justify his titles of "Fénix de los ingenios" and "Monstruo de la naturaleza."
Sólo por un error de su inteligencia, por una torcida dirección que el momento y el medio en que nació han impreso á su inspiración, en suma, por la falta de gusto. Esto es lo que se observa hoy, principalmente en el cultivo de las artes; ausencia de gusto. To be honest, as this world goes is to be one man pick'd out of ten thousand, dice Hamlet.
=Sin que por eso perdiesen=, without losing on this account. =Enviando cada cual=, each one sending. =Debió pasar un soplo de enternecimiento=, a wave of tenderness must have passed. =Ni una sola dejó de verter lágrimas=, not a single one failed to shed tears. EL SUE
When the Spanish people, though deserted by many of those to whom they looked for leadership, had worn out the French by their stubborn resistance, a new disaster fell to their lot. Their American colonies, extending from California to the straits of Magellan, fell away from the mother country one by one, until only a few islands were left.
He was a prolific writer of popular stories. Both Fortuna and Tony, another dog story by the same author, are evidence that Pérez Escrich knew dogs and loved them. One can not read these stories without feeling greater admiration and respect for the dog, the best friend that man has among the animals.
It is found in the early Spanish dramas, and the debt to Italy is unmistakable; for example, in La Celestina the name of one of the leading servant characters Parmeno is the same as appears in the three plays of Terence: Eunuchus, Adelphi, and Hecyra. And in the hands of Rojas and Naharro the type is not markedly different from the Latin and Italian originals.
It too is one of the few plays of the poet which have continued down to recent times in the favor of the Spanish theater-going public, perhaps in the end the most trustworthy critic.
That the poet makes him love one apparently on a lower social plane illustrates his power of discrimination and magnifies these virtues rather than diminishes them.
Palabra del Dia