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=Yo tomé el gesto por donde más quedaba=, I took his grimace in the worst sense. =Tornaron a abrir la puerta=, they opened the door again. =Hay que=, it is necessary. =Las cuales=, refers to =columnas=. =Que debajo de ellas había=, which there were under them. =Todo lo comprendí=, I understood it all. =Presenciando=, by witnessing. =Como lo son ahora=, as they are now.
But among the younger writers there are some who show little French influence, or none at all. These may be divided into two classes: those who write only in pure classical Castilian, and who, if they use Americanisms at all, use them consciously and with due apologies; and those who write freely and naturally in the current language of the educated classes of their own particular Spanish-American country. To represent the first of these two types, Un alma, by Ricardo FERNÁNDEZ GUARDIA,[N] has been selected for this volume of Spanish Short Stories. Juan Neira, by Joaquín DÍAZ GARC
Of the early literary efforts of Lope de Vega, such as have come down to us are evidently but a small part, but from them we know something of the breadth of his genius. In childhood even he wrote voluminously, and one of his plays, El Verdadero Amante, which we have of this early period, was written at the age of twelve, but was probably rewritten later in the author's life.
He knew the unities and ignored them in his works, preferring, as he says, to give the people what they wished, and he laid down precepts for composition, but even these he obeyed indifferently. Always clever, he interpreted the popular will and gratified it.
He knew of the elegant conceits of linguistic expression and used them sparingly in his plays, but usually his language was, like the ideas which he expressed, the speech of the public which he sought to please, not slighting the grandiloquent phraseology to which the Spanish language is so well adapted.
The vast number of the works of Lope de Vega renders the task of selecting one of them as an appropriate text for publication very difficult, and it is only after having examined a large number of the works of the great poet that the editor has chosen La Moza de Cántaro, not only because it is one of the author's most interesting comedies, but also because it stands forth prominently in the field in which he is preëminent the interpretation of Spanish life and character.
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.
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