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Actualizado: 5 de junio de 2025
The introduction of the secondary plot, affording the excuse for the prominent place given to the gracioso, is a device which Lope, like his great English contemporary, often uses as in this case with good effect.
Philip III died in 1621, leaving the vast realm which he had inherited from his father, the gloomy though mighty Philip II, to his son, a youth of sixteen years, who came to the throne under the title of Philip IV. If Philip III was ruled by Lerma and Uceda, Philip IV, in his turn, was completely under the domination of the unprincipled Olivares, and his accession initiated one of the most interesting and most corrupt reigns that Spain has ever known.
From the gradas and barandillas, from the windows and desvanes, from all the seats, but especially from those which filled the patio, there must have gone forth then amid clamorous applause a unanimous shout of admiration, of enthusiasm, and very just national pride. "¡Vítor, Lope!" shrieked that tumultuous multitude time and again. "Long live el Fénix de los ingenios!
Doña María is a type of Spanish woman of which history furnishes numerous parallels. Her family name had suffered disgrace and her own father was crying out for an avenger; there was no one else to take up the task, she eagerly took it upon herself and punished her suitor with the death she thought he deserved.
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.
The artificial epic in ottava rima, imitated from the Italian, gave way to a flood of pseudo-historical romances which followed the lead of Sir Walter Scott and the elder Dumas. They were mostly weak imitations, carelessly done and without depth or brilliancy.
Her versatility and just claim to her high position are emphasized by the ease with which she assumes her own rank at the close of the play.
Her later works are marred by extreme religiosity and a growing habit of scolding. The proud, stern Castilian; the gentle, pleasure-loving Andalusian; the Catalán, alert and practical; the light-hearted, turbulent Valencian; and the plodding, dreamy Galician, all these differ as do the lands in which they dwell.
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