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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.
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.
Ellos ya sabían lo que había más allá, ya habían resuelto el gran problema de Hamlet: to be or not to be. ¿Qué era el más allá? Misterio. De todos modos el articulista deseaba a los difuntos el descanso y la gloria eterna.
De seguro que, no ahora, cuando en Inglaterra todo parece shocking, pero ni en tiempo de Shakespeare se lamentaría en la buena sociedad ninguna señorita como se lamenta Julieta diciendo: ...I'll to my wedding-bed; ¡And death, not Romeo, take my maidenhead!
It has not been considered necessary to supply notes, as the matter is simple and the vocabulary furnishes all necessary information. All verb forms occurring in the text, whether regular or irregular, are given in the vocabulary.
The work is devoted to the praise of about three hundred contemporary poets. In 1632 the poet published his prose romance, Dorotea, written in the form of drama, but not adapted to representation on the stage. It is a very interesting work drawn from the author's youth and styled by him as "the posthumous child of my Muse, the most beloved of my long-protracted life."
He wrote also many ballads, not a few of which have been preserved, and we know that, at the time of his banishment, he was perhaps the most popular poet of the day.
An orphan in his tenth year, he was educated by his godmother, whom he left at the age of eighteen to go penniless to Madrid. He suffered many hardships, and died in 1870 at the early age of thirty-four. Works: three volumes of prose and verse. Larra returned to Spain at the age of eight. Read law at Valladolid, but did not complete the prescribed course.
Este mismo Dodsley conocía tan poco el teatro español, que en su Collection of old plays, la comedia copiada que se titula Elvira or the worst not always true y The Adventures of five hours, aparecen como originales ingleses, siendo sus modelos españoles, y de los más conocidos y populares, y estando además insertos en el Theâtre espagnol de Linguet .
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