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Tuvo que interrumpirse aquí el coloquio, porque se oyó el recio y bien conocido taconeo de miss Mary que se acercaba... Ramón, cuya única antipatía en el mundo era esa miss Mary, se hizo humo... Lita simuló dormitar y despertarse sobresaltada... ¿Viene usted a buscarme, miss... «Yes»? preguntó, no sin altanería. «Yes, Lita. Your mother is coming»... Ante tal argumento, Lita cedió.
The leading character is introduced in the first scene, which is followed by the long exposition of attendant circumstances that could be as well narrated as produced upon the stage. Thus delay and harrowing detail are avoided.
5 La palabra que concerté con vosotros en vuestra salida de Egipto, y mi Espíritu est en medio de vosotros; no tem is. 6 Porque así dijo el SE
It is believed that domestic disappointments and sorrows hastened greatly his end.
=Al llegar la noche=, when night came. =Se puso a cantar=, he began to sing. =Nadie se acercaba a él=, no one approached him. =Creyó morir=, he thought that he was dying. When there is no change of subject the dependent verb is infinitive. =Iba perdiendo=, the verb =ir= with the gerund indicates a continually increasing action.
Fernán Caballero was probably influenced by the Escenas andaluzas, the Escenas matritenses and Larra's essays on manners; and it is quite possible that from her German friends came to her some of the modern spirit of scientific investigation that led her to declare the novel to be "not the product of invention, but of observation."
His works abound in the inaccuracies and obscurities that characterize hasty composition and hastier proof-reading, but these are forgotten in the clever intrigue which is the keynote of the Spanish drama, in the infinite variety of versification and in the constant and never flagging interest.
Don Diègue and Don Diego impress us by the gravity of their appeals, while Don Bernardo arouses our sympathy by his senility old Spanish cavalier, decorated with the cross of Santiago, that he is!
But in 1610 they moved to Madrid, where Lope bought the little house in what is now the Calle de Cervantes, and in this house the great poet passed the last quarter of a century of his long and eventful life.
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.
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