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Look, love, what envious streaks Do lace the severing clouds in yonder east; Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain's tops; I must be gone and live, or stay and die. Téngase en cuenta que ni Massucio, ni Da Porta, ni Brooke, hablan en esta ocasión del ruiseñor como Groto y Shakespeare.
They are the beatification, in 1620, of San Isidro and his canonization, two years later, with their accompanying poet "jousts," at both of which Lope presided and assumed a leading rôle.
In his realistic works he is a careful observer and a faithful describer of life, and he is especially successful in his portrayal of the uneventful lives of the middle and lower classes.
For I am siker there be sciences By which men make divers aparences Soche as these sotill tragetores playe, For oft at festis hare I well heard saie, That tragitors within an halle large, Have made to come in watir and a barge And in the halle rowin up and dound; Sometime hath semid come a grim lioun; And sometime flouris spring as in a mede; Sometime a vine and grapis white and rede; Sometime á castill all of lime and stone, And when'hem likid voidin'hem anon; Such semid to every maun'is sight.
Los ingleses, en todo caso, hablarían de Spain and Marocco, y la verdad es que si nosotros no tuviéramos con Europa más analogía que la de oponernos a la vacunación obligatoria, no tendríamos analogía ninguna y estaríamos completamente unidos al África. Porque Europa puede combatir la vacunación obligatoria y nosotros no.
Seldom in any of his works, and never in La Moza de Cántaro, does Lope descend to dialect or to slang, but rather in the pure Castilian of his time, preferably in the Castilian of the masses, he composes his rhythmic verses.
The furniture of the theater was an old blanket drawn aside by two cords, making what they called the tiring-room, behind which were the musicians, who sang old ballads without a guitar." In the larger cities such simplicity cannot be expected in the later development of the theater, for there the interest and resources were greater.
She practiced this theory, however, only in part, for her work partakes of both the romantic and the realistic.
The compañía was the most pretentious theatrical organization composed of thirty persons, capable of producing as many as fifty pieces and accustomed to travel with dignity due the profession. Of still greater simplicity were the theaters where these variously classified actors gave their plays.
Valera's Pepita Jiménez is perhaps the master-piece of Spanish prose fiction of the nineteenth century, and it shows some attempt at realism. His short stories are fantastic and allegorical, or are translations from other languages. He served his apprenticeship as a writer on the staff of several radical journals.
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