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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.
Spain has done excellent work in prose fiction during the last fifty or sixty years past, but this work is little known outside of the Spanish-speaking countries. Even those people who are, for the most part, well read in the literatures of Europe are generally ignorant of recent Spanish fiction.
The editor wishes to extend his thanks to Professor J. D. M Ford and Professor C. H. Grandgent of Harvard, Professor A. Le Duc and Mr. F. D. Schnacke of the University of Kansas, and Professor C. P. Wagner of the University of Michigan, who have rendered valuable assistance in the preparation of this edition. ANN ARBOR, Sept. 14, 1907. DON NU
But among the younger writers there are some who show little French influence, or none at all. These may be divided into two classes: those who write only in pure classical Castilian, and who, if they use Americanisms at all, use them consciously and with due apologies; and those who write freely and naturally in the current language of the educated classes of their own particular Spanish-American country. To represent the first of these two types, Un alma, by Ricardo FERNÁNDEZ GUARDIA,[N] has been selected for this volume of Spanish Short Stories. Juan Neira, by Joaquín DÍAZ GARC
About 1605 he made the acquaintance of the Duque de Sessa, who shortly afterwards became his patron and so continued until the death of the poet about thirty years later. The correspondence of the two forms the best source for the biography of this part of Lope's career. From 1605 until 1610 he lived in Toledo with his much neglected wife, of whom we have no mention since their marriage in 1598.
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.
And Spain has to-day a group of vigorous young writers, who give promise of carrying the work forward to an even greater future. Spanish America has done little work of merit in prose fiction, but it has produced much lyric poetry. If we may believe the statements of Juan Valera in his Cartas americanas, the Spanish Americans have written more good verse than have the English Americans.
In the present instance the Indiano is a bigoted, miserly fellow who seeks, at the least possible cost, position at the Spanish court and who employs doña María largely for motives of interest rather than through sympathy for her poverty-stricken condition.
Although it is doubtless quite true that there has been in modern Spain no writer of short stories who rivals Guy de Maupassant, nor has there been any writer of longer stories who may compare favorably with Honoré de Balzac, yet, as a whole, the Spain of the nineteenth century has probably been pictured as faithfully as France by native authors.
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.
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