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Actualizado: 5 de junio de 2025
These Spanish Short Stories are, for the most part, realistic pictures of the manners and customs of modern Spain, written by masters of Spanish prose. All were written in the second half of the nineteenth century or in the first decade of the twentieth, except the story by Larra, which was written about seventy-five years ago.
=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.
Besides the defenders of these schools there was an infinite variety of lesser lights who wrote all sorts of plays from the grossest farces to the dullest Latin dramas. Before taking up the discussion of the works of the mighty genius who was to establish the popular drama, it is well to give a brief glance at the people who presented plays and the places in which they were given.
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.
The windows of the houses surrounding these corrales, with the adjoining rooms, formed aposentos which were rented to individuals and which were entered from the houses themselves. At the end farthest from the entrance of the corral was the stage, which was raised above the level of the ground and covered by a roof.
Of the young queen, Isabel de Bourbon, who may be considered as well representing contemporary tastes, the same author says: "Not only was she an ardent lover of the bullfight, but she would in the palace or public theaters countenance amusements which would now be considered coarse.
Unlike Shakespeare, whose rare good fortune it was to establish a language as well as found a national drama, Lope de Vega took up a language which had been in use and which had served as a medium of literary expression many centuries before he was born, and with it established the Spanish drama. Here again Lope conformed to common usage.
And all describe recent conditions, except the tale, partly historical and partly legendary, by Bécquer, which goes back to the invasion of Spain by the French under Napoleon in the early years of the nineteenth century; the story by Larra, which, however, is nearly as true of Castile to-day as it was when written; and Trueba's story, which is partly legendary, partly symbolic, and partly realistic.
In his rôle of manager and playwright Lope de Rueda showed no remarkable genius, but he began a movement which was to reach its culmination and perfection under the leadership of no less a personage than the great Lope himself. Between the two Lopes there lived and wrote a number of dramatic authors of diverse merit.
To his plays Lope de Vega has given the general name of comedias, which should not be confused with the word "comedies," for the two are not synonymous. They are divided into three acts or jornadas of somewhat variable length and admit of numerous classifications.
Palabra del Dia
Otros Mirando