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Actualizado: 5 de junio de 2025
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.
Accompanied by his young wife, he doubtless went on directly to Lisbon, where he left her and enlisted in the Invincible Armada, which sailed from that port, May 29, 1588.
In general, scenes in which subordinates or common people appear are in prose, while those between nobles are in verse. When the action is of ordinary pitch, this verse is very simple; but when the action reaches a high pitch, the verse form becomes complicated. Examples of this are to be seen in Act III, Scene V, and Act IV, Scenes V and VI.
The text has been taken completely, without any omissions or modifications, from the Hartzenbusch collection of Comedias Escogidas de Lope de Vega published in the Biblioteca de Autores Españoles and, where it varies from other texts with which it has been compared, the variation is noted.
Broadly speaking, we may divide the comedias into four groups: Comedias de capa y espada, which Lope created and which include by far the greater number of his important works. In these plays the principal personages are nobles and the theme is usually questions of love and honor.
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.
Later, at Madrid, he exhibits himself in a still more unfavorable light, and ends by driving her from his service, of which incident she gives a highly entertaining, though little edifying, narration. The last characters in the play who need occupy our attention are Martín and Pedro, the graciosos.
These are probably the only editions of the play with which Ticknor was familiar when he made his classification of it, for certainly he could not reconcile it with his definition of "comedies on common life," but he could easily accord it with his definition of "comedias de capa y espada."
He knew of the elegant conceits of linguistic expression and used them sparingly in his plays, but usually his language was, like the ideas which he expressed, the speech of the public which he sought to please, not slighting the grandiloquent phraseology to which the Spanish language is so well adapted.
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.
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