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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.
The décima consists of ten octosyllabic verses, of which generally the first rimes with the fourth and fifth, the second with the third, the sixth with the seventh and tenth, and the eighth with the ninth.
But to those who wish to study in these stories the growth of contemporary Spanish fiction, it is suggested that the authors be taken up in the order in which they are given in the Introduction. To the stories by Spanish authors have been added two by Spanish-American writers, the one a native of Costa Rica, the other of Chile. These stories are excellent and well worth reading.
TICKNOR, History of Spanish Literature, 3 vols., 5th ed., Boston, 1882. ESPINO, Ensayo histórico-crítico del Teatro español, Cádiz, 1876. J. A. SYMONDS, Renaissance in Italy, 2 vols., New York, 1888. A. GASSIER, Le Théâtre Espagnol, Paris, 1898. H. A. RENNERT, The Life of Lope de Vega, Glasgow, 1904. HAVELOCK ELLIS, The Soul of Spain, Boston, 1909.
XV in Assemanni Biblioth. Or., tomo III, P. I, pág. 24. Collier, History of english dramatic poetry and Annals of the stage, vol. I. Voltaire, Essai sur les mœurs et l'esprit des nations. August., Serm. 311 in Natal. div. Cypriani. Binterim, Denkwürdigkeiten der katholischen Kirche, P. IV, tomo I, pág. 555. Quint., De oratoribus, C., 9, 11. Plim., Epist.
Sometimes they appear as scions of illustrious lineage, as Don Fernando and the father of Elena in la Esclava de su Galán, and again they figure as the object of the poet's contempt, as the wealthy merchant, Don Bela, in la Dorotea.
And through it all the peninsula was rent by civil discord. Spain sank to the lowest level of inefficiency and corruption, and was forced to drink the bitter dregs of humiliation and despair. But from her travail there came a new birth. With the expulsion of Isabel II in 1868, Spain entered upon a new life.
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.
Manrique is a selfish and ambitious man, who well deserves his fate. Nuño is unscrupulous and weak, but the weakest character of all is that of Leonor, who, knowing her duty, has neither strength nor will to accomplish it. Azucena is really the most interesting character in the play.
The stories by Bécquer and Pérez Galdós contain incidents that are supernatural, and those by Fernán Caballero and Alarcón have romantic settings that are highly improbable; but all the stories are, in the main, true to the every-day life of contemporary Spain.
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