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"At the end of the first act," says the Imparcial, "the applause was frantic." The last word of the play, "resucita," is not only the key note of the drama, but the summing up of Galdós' desires, and the expression of his ambition for his country and his countrymen. The purpose of the play and the spirit of the author are accurately voiced by Lopez Ballesteras, in the Heraldo, January 31, 1901.
That she does things unbecoming of her true rank only shows how well she carries out her assumed rôle; that she was not offensive or contrary to Spanish tastes of the times is proved by the fact that, although she was a Guzmán and consequently a relative of the ruling favorite, Olivares, the play did not fall under royal censure.
This work won for him the degree of Doctor of Divinity, conferred with other evidences of favor by Pope Urban VIII. Three years later appeared Lope's Laurel de Apolo, a poem of some seven thousand lines describing an imaginary festival given on Mount Helicon in April, 1628, by Apollo, at which he rewards the poets of merit.
The "Watermaid" belongs to the largest class of Lope's plays the class in which he excelled comedias de capa y espada. Ticknor erroneously classes it as a comedy "founded on common life" or as styled by others comedia de costumbres, but it is probable he did so without making himself thoroughly familiar with the comedy in its full form.
By little and little the scanty vegetation languishes and dies; and mosse disappear, and a red burning hue suceeds. ROUSSEL. Palestine. En un documento tan antiguo como el año de 1560 he visto consignado el nombre de Mendoza con este aditamento: Mendoza, del valle de La Rioja.
A finales de 1995, he creado en la web el sitio 'The Languages of the World by Computers and the Internet' y he intentado proponer – en inglés y en japonés – un breve historial de todos estos idiomas, así como las características propias de cada lengua y de su fonética.
Comparatively little has been written by him for the theatre, but he has always been a welcome contributor and when, during the year 1900, the Director of the Teatro Español asked him for a piece for the next season he seized the opportunity of advancing, in Electra, his liberal ideas. This drama was represented at Madrid, January 30, 1901, and made a deep impression on the Spanish people.
As has been already observed, the dramas of Juan del Encina and his immediate successors were probably presented to limited audiences. It is not improbable that parts were often taken by amateurs rather than by members of regular troupes.
El Trovador was given operatic form by the great Italian composer Giuseppi Verdi, and under its Italian title, Il Trovatore, is well known throughout the world.
Any opposing irregularities in language or action may be explained by the period represented, for the time is that of the early years of the reign of the young monarch, Philip IV, a brilliant though corrupt epoch of Spanish history well worthy of a moment's notice.
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