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Literary comparisons have been made occasionally and modern forms or equivalents for archaic words and expressions have been given, but usually these have been limited to words not found in the better class of dictionaries commonly used in the study of such works. The editor is especially indebted to Sr.
Zerolo is very emphatic in attributing it to the class of comedias de capa y espada, for he says: "Más que ninguna otra, reune esta obra las circunstancias que caracterizan á las comedias de capa y espada, como embozos, equívocos, etc."
"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.
His funeral, with the possible exception of that of Victor Hugo, was the greatest ever accorded to any man of letters, for it was made the occasion of national mourning.
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
During the expedition, according to his own account, Lope fought bravely against the English and the Dutch, using, as he says, his poems written to "Filis" for gun-wads, and yet found time to write a work of eleven thousand verses entitled la Hermosura de Angélica.
This cosmopolitan society furnished abundant food for observation and an inexhaustible supply of interesting personages for the dramatist.
The French literature, for instance, is more universal and less national than the Spanish, perhaps by the very force of geographical position. Spain is nearly surrounded by water, and on land it is separated from the rest of Europe, excepting only Portugal, by an almost insurmountable barrier of lofty mountains.
She practiced this theory, however, only in part, for her work partakes of both the romantic and the realistic.
The cult of the medieval brought with it much that was sentimental or grotesquely fantastic, but it awakened in the people a renewed interest in their past history. All Spaniards worship the past, for Spain was once great; and when romanticism came from France and England into Spain, it was warmly welcomed. The historical novel flourished beyond measure.
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