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The theater of the Golden Age of Spanish letters occupies a position unique in the history of the theaters of modern Europe, for it is practically free from foreign influence and is largely the product of the popular will.

Then to escape arrest she fled in the guise of a servant girl, which was in fact a very natural one for her to assume, for even at the present time no high-born young Spanish woman would dare to travel unattended and undisguised through her native land; besides, to do so would have revealed her identity.

The family of Lope de Vega Carpio was one of high rank, if not noble, and had a manor house in the mountain regions of northwestern Spain. Of his parents we know nothing more than the scanty mention the poet has given them in his works. It would seem that they lived a while at least in Madrid, where the future prince of Spanish dramatists was born, November 25, 1562.

=Debió ser=, must have been. =El obelisco del Dos de Mayo=, above an octagonal granite base of four steps, rises a grand sarcophagus, square in form, covered with inscriptions, coats of arms, and a bas-relief which represents the two Spanish officers killed on the second of May, 1808, in the defense of Artillery Park.

As great difference exists in the usage of the Spanish punctuation marks at the present day, it has been thought advisable in this edition to adopt in some cases what might be called mixed punctuation, that is, when there is a question which is also an exclamation, attention is called to the fact by the use of the interrogation point before and the exclamation point after the phrase or sentence.

The Spanish stories in this collection have been arranged, so far as possible, in the order of difficulty; but some instructors will doubtless prefer to read them in chronological order, or, better still, in an order determined by the "school", or literary affiliations, of each author. This latter arrangement is difficult to make, and it must be, at the best, somewhat arbitrary.

The first part gives simple grammatical questions. The second contains idiomatic expressions to be committed to memory and to be used in the formation of sentences. The third part gives questions on the subject matter of the story which are to be answered in Spanish. And the fourth contains connected sentences to be translated from English into Spanish.

Like other modern theaters, however, the Spanish theater springs directly from the Church, having its origin in the early mysteries, in which the principal themes were incidents taken from the lives of the saints and other events recorded in the Old and the New Testament, and in the moralities, in which the personages were abstract qualities of vices and virtues.

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!

The increasing study of Spanish in high schools and colleges has made necessary the preparation of a text of a simpler character than those now in common use. In the present text, especially in the first selections, the language has been simplified so that reading may be begun at a very early stage in the pupil's work.