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Actualizado: 19 de septiembre de 2025
It is not yet near day; It is the nightingale and not the lark, That pierc'd the fearful hollow of thine ear; Nightly she sings on yon pomegranate tree; Believe me, love, it was the nightingale. It was the lark, the herald of the morn, No nightingale.
He acts as a news-gatherer for his master and, while thus occupied, he falls in love with Leonor, who does not seem to prove for him a difficult conquest. With characteristic Spanish liberty he advises his masters freely and is generally heeded and mixes in everything his comments, which, while not always free from suggestiveness, are filled with a contagious levity.
Campillo also collaborated in the collecting and writing of Chascarillos andaluces with Juan Valera, J. López Valdemoro and Dr. Thebussen. Attended the institute at Las Palmas, and in 1863 went to Madrid to read law. A republican deputy in the Cortes. He has also dramatized the following of his novels: Realidad, La loca de la casa, La de San Quentín, Doña Perfecta, et al.
Accompanied by his young wife, he doubtless went on directly to Lisbon, where he left her and enlisted in the Invincible Armada, which sailed from that port, May 29, 1588.
Dulaure, Histoire civile physique et morale de Paris, tomo VI, pág. 14. Taillandier, Notice sur les confrères de la Passion. París, 1834. Grässe, a. a. V. Strutts, Manners and customs, y Hone, Ancient Mysteries, pág. 217. Fichard, Frankfurter Archiv., III, págs. 137, 158. Hoffman, Iter austriacum, pág. 224.
Like Shakespeare, he brings upon the stage illiterate servants to mix their rude speech and often questionable jests with the grave and lofty or poetic utterances of their noble or royal masters. His characters, too, were not limited to any fixed line of conduct, as long as honor was upheld.
Thus we find that in 1585 Spain had a divided drama, represented on the one side by the drama of reason and proportion fashioned after Greek and Roman models, and on the other a loosely joined, irregular, romantic drama of adventure and intrigue, such as was demanded by the Spanish temperament.
With the exception of the stage, a part of the benches and the aposentos, the whole was in the open air and unprotected from the weather. In such unpretentious places the masterpieces of Lope de Vega and of many of his successors were presented. With this environment in mind we shall proceed to a brief review of the dramatic works of el Fénix de los ingenios.
In the latter work he relates shamelessly and with evident respect for truth of detail many of his adventures of the period, which, as Ticknor says, "do him little credit as a young man of honor and a cavalier."
Although modern realism triumphed in Spain only with the coming of Fernán Caballero's La gaviota in 1848, the ground was prepared in advance by several writers, the more important of whom are Larra, Estébanez de Calderón and Mesonero Romanos.
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Otros Mirando