MIGUEL DE CERVANTES SAAVEDRA

SUPUESTO RETRATO DE CERVANTES

Atribuido a

Juan de Jduregui y A guitar

lfoeatb'0 fiDofcern

Xansuaae Series

TEN SPANISH FARCES

OF THE
16th, 17th

AND

18th

CENTURIES

EDITED WITH NOTES AND VOCABULARY

BY

GEORGE TYLER NORTHUP,

Ph.D.

PROFESSOR OF SPANISH LITERATURE UNIVERSITY OF CHICAGO

D. C. HEATH & CO., NEW YORK BOSTON

PUBLISHERS
CHICAGO

COPYRIGHT.

1922,

BY D.

C.

HEATH & Co.

2o2

PRINTED IN

U.S.A.

LIBRARY
UNIVERSITY OF CALIFORNI

SANTA BARBARA

PREFACE
the list of classic Spanish plays edited for the constantly becoming more extensive, the farce genre has been wholly neglected by our writers of textbooks. And yet the student cannot properly understand the comedia as

ALTHOUGH
is

classroom

a whole

if

his attention is directed exclusively to serious plays,

humorous trifles without the accompaniment of which the longer pieces were never acted. The present book is an attempt to supply this lack. It is intended for students of the older drama and, like any other book of the sort, should be used only by those grounded in modern
to the neglect of those

Spanish.

the development of the Spanish out of the paso into the entremes, out of the grows entremes into the sainete. It is believed that the injection of
selections illustrate
it

The

farce as

little

more humor

into the Spanish

Drama

Course

will in-

crease the student's interest in this

form

of literature.

The

plays chosen, though possessing much of the sabor de la tierruca, have comic situations universal in their appeal. In view of the success with which several of Cervantes' farces have been acted in a

number

of our Universities,

it is

hoped and believed

that most of the selections in this book will prove suitable for dramatic representation by Spanish Conversation Clubs.

Some teachers may wonder at the inclusion of such a piece as El entremes de refranes. This was chosen because it offers a convenient approach to the study of proverb lore. Proverbs
run through nearly the whole of Spanish literature. An understanding of them is essential to the appreciation of almost any Spanish masterpiece. At some point in his course

iv

PREFACE
should

the student's attention

be especially focused upon

them.
is the work of my wife, Emily C. Northup. thank the following gentlemen for the valuable advice they have given me on certain difficulties of detail: Professor Karl Pietsch, University of Chicago; Professor

The Vocabulary

I desire to

E. C. Hills, University of Indiana; Professor F. O. Reed, University of Wisconsin; Mr. Carlos Castillo, University of Chicago, and Dr. Alexander Green of D. C. Heath & Company.

G. T. N.

CONTENTS
PAGE

PREFACE
INTRODUCTION
BIBLIOGRAPHICAL

iii

vii

NOTE

xxxiv
3

PASO SEPTIMO (LOPE DE RUEDA)

LA CUEVA DE SALAMANCA (CERVANTES) Los Dos HABLADORES (ATRIBOTDO A CERVANTES)

n
. .

29

ENTREMES DE REFRANES (ATRIBUIDO A CERVANTES) EL DOCTOR Y EL ENFERMO (QUINONES DE BENAVENTE)

.

41
53

OBRAS ANONIMAS:

ENTREMES DEL ESPEJO Y BURLA DE PABLILLOS

JUAN RANA COMILON Los BUNUELOS

69
81 91
101

EL HAMBRIENTO
LAS TERTULIAS DE MADRID (RAMON DE LA CRUZ)

...

in
139
185

NOTES

VOCABULARY

INTRODUCTION
/.

THE ENTREMES

Entremes and Paso. Among the various etymologies sugfor the word entremes that most commonly accepted is gested
inter

+ missum, " something placed

between."

Like

its

French

cognate, entremets, it was first used in a culinary sense. An " " entremes was a served between the principal courses dainty Even after the word had taken on other meanof a dinner.
ings this primitive significance

was borne

in mind.

Quinones

de Benavente writes:

Entremes

es

una

salsa

para comer

la

comida.

(Entremes de las nueces)

The word came

into

Spanish through the Catalonian and

it

Valencian tongues.

Fifteenth century documents use

to

designate entertainments, theatrical or otherwise. The plays so called are not necessarily farces; on the contrary, religious, In these allegorical plays were sometimes termed entremeses.
senses the

word comes
"

into Castilian about the middle of the

in the next century called

fifteenth century.
his farces pasos,

Lope de Rueda
incidents."

He

uses entremes to

mean a

comic, irrelevant episode inserted in the main body of a play, just as Italian playwrights of the time made like use of the terms intermedia and intermezzo. His friend and imitator, Juan de

Timoneda, uses paso and entrerne's synonymously. In the closing decade of the sixteenth century entreme's becomes the
recognized " it
either

name
farce

of a fixed

dramatic form.

"

or

"

We may

translate

interlude."

An entremes was a one-act farce, either in prose or verse, written to be played between the acts of a longer and more
vii

Vlll

INTRODUCTION
Unlike the comedia with
here reduced to
suffices.
its its

serious play.
trigue, plot
is

lowest terms.

complicated inThe merest

comic incident
acters,

Interest

their

jokes and horse-play.

depends upon the charThese characters were

and this, to Lope de Vega, was the prime distinction. In his Arte nuew de hacer comedias, he speaks of an entrernes as,
plebeian,

siendo una accion y entre plebeya gente,

porque entremes de rey jamas se ha

visto.

Drawn from low

life, the personages of an entremes were portrayed with a realism passing readily into burlesque. They Tirso de rapidly became conventionalized comic types.

Molina

tells

scene 6) while

us (Tanto es lo de mas como lo de menos, Act II, that the older entremeses ended with a slap-stick

But and dance soon became the inevitable finale of every farce, it must not be supposed that beatings and clubbings were suppressed; on the contrary few
scuffle, for
it

which the

later ones substituted the dance.

is

true that the song

farces lack these mirth-provoking expedients.

The Origins of the Spanish Farce. Long before the word entremes was restricted in meaning to designate a playlet of the sort described, the thing itself existed. The origins of
the Spanish farce are to be sought in the juegos de escarnios
against which the clergy declaimed as early as the thirteenth century.
idea as to
realistic satire,

and statesmen legislated We have no very clear

their

what these plays were like; but and we know that their

name

suggests

licentiousness scan-

the pious. They probably differed little from the comic scenes acted in connection with the mediaeval miracle
dalized

and mystery plays that have come down to us

tures.

in other litera-

The
Auto

del repeldn,

oldest Spanish farce preserved is Juan del Encina's " Though called an auto, act," this 1496.

playlet is in

every essential an entrants. Two Salamanca students play tricks upon two stupid peasants who have come

INTRODUCTION
to

IX

town to

sell

vegetables.

The

students throw the country-

men's vegetables into the mud, drive away their donkeys, and Much of the humor depends upon the peasant pull their hair. the naive expressions of the rustics, their negro-like dialect,
misuse of long words.
rural simpleton.

We

find here already

two

of the

com-

monest farce types; the student and the

Diego Sanchez
quarter of
the

bobo, or simple, the

sixteenth

de Badajoz, who lived through the first century, introduces many comic

The sacristan, episodes and parts into .his religious allegories. the negro, the Moor, the boastful soldier, the page, the blind man and his boy, the alguacil, and other types known to the
later

farce appear in his works.

None

of

these plays

is

Sanchez de Badajoz is to be regarded as a connecting link between the old religious drama and the secular theater which followed. Similar comic parts may also
typical entremes;

be observed in the works of Lucas Fernandez, Gil Vicente, and

other early dramatists.

II.

THE COM MEDIA DELL'ARTE

influenced to

development the Spanish entremes was undoubtedly some extent by the Italian commedia dell'arte, to how great an extent is unknown. This is a matter still
its

In

awaiting research.
dell'arte^ the Improvised Comedy, or Comedy Masks, as it is variously styled, was a form of the drama which came into full existence in Italy about the middle of the sixteenth century. It had been developing for two or three

The Commedia

of

generations previous to that time. Its most marked characteristic was that the author provided only a plot-scenario; the

dialogue

was supplied by the

it

actors themselves.

In connec-

there developed a number of conventionalized roles, or masks, so called because each part had its appropriate

tion with

mask and costume.

INTRODUCTION

These characters were always undergoing modification, and parts were frequently invented. The most important, however, were the following: The old man part, Pantaloon,

new

who

dialect of that city;

represented the merchant class of Venice, and spoke the the Doctor Graziano, the doctor of law of

the University of Bologna; the captain, or braggart soldier, descended from the Miles gloriosus of Plautus, and who under the
fantastic

names

of

Coccodrillo, etc., typified

conqueror of Italy,

whom

Matamoros, Spavento, Fracassa, the swaggering, boastful, Spanish Italians depicted as a coward at

heart in spite of his brave words; the two zanni, or clowns, one of whom, often called Harlequin, was intelligent, while the

other was a simpleton; Brighella and Pulchinella, varieties of the zanni type; the seroetta, the sprightly servant maid, often named Columbine. There were other minor parts, and
of

the names frequently varied. Every troupe had a pair or two young lovers, innamorati and innamorate. These were not

counted

among

the masks.

They appeared with uncovered

They were not comic parts. faces, and spoke good Tuscan. Their diction was high-flown and euphuistic. The part which improvisation played in these comedies has been somewhat exaggerated. In the first place, each actor had his stock part which he never abandoned. The clown was
did not

always a clown, the doctor always a doctor. A new play demand the acquisition of a wholly different role.

Each actor, moreover, committed to memory a large number of passages, either in verse or in prose, fitted to meet any
situation which might arise in

any

play.

There were entrance

speeches, wooings, soliloquies, rebukes, compliments, conceits,

bits

of

advice,

boastings,

etc.

with a large number succession of incidents acted in

of lazzi.
It differed little

lazzo

Every clown was provided was a comic incident or

dialogue.

pantomime or with

from the paso, and like the paso was interThe procalated in the main plot, which it interrupted. new play was "therefore merely the piecing toduction of a

INTRODUCTION

XI

gether of odd tags of memorized lines that recurred in endless combinations in a great variety of plays, just as the cards

deck are shuffled and dealt into new combinations without themselves changing. The audience of the time was trained not to expect much novelty of detail. Perhaps the
of a in the Spanish comedia of the

constant repetition of the same jokes and rhetorical figures may be ascribed in part to the influence

No play was produced without a and entrances and the action demanded by the scenario, at which time the special lazzi to be used were carefully considered. Extemporization was therecommedia
dell'arte.

careful rehearsing of exits

fore restricted to a few

commonplace, connecting sentences.

The Entremes de

repente.

We

know from

allusions in

sixteenth century writers that Spain also had its improvised In some of the earlier interfarce, the entremes de repente.

ludes collected that the actor

by Cotarelo y Mori the stage directions show was expected to supply dialogue, even when

most of the speeches were furnished by the author. To quote " one such stage direction: Here the rustic applies to him such abusive epithets as suit him best, and begs permission to
sing

him a few

stanzas,

and the other

replies to

him."

Im-

provised comedy never scored a great success in Spain; but that the Italian influence upon comedia and entremes alike

was profound, cannot be doubted. Entremes and Commedia dell'arte. In comparing the entremes and the commedia dell'arte the investigator is handicapped. Only a comparatively small number of the Spanish farces in existence have been published; and the number of published scenarii and lazzi is even more restricted. And when we are fortunate enough to be able to read a scenario, what we have before us is only a skeleton. But even the material
available has never been studied in detail.
field still

This

is

a virgin

awaiting an investigator.
is

Only a few generalizations

the three-act

can

now be made.
little

In form there

in

common between

Xll

INTRODUCTION
dell'arte,

commedia

with

its

elaborate

plot,

and the

brief,

uncomplicated entremes. The division into three acts doubtless influenced Cervantes and later writers of comedias who
Italian influence, too, helped to Italian models. the Spanish drama one of intrigue rather than of character. The entremes is to be compared not to a complete

followed

make

Italian play but to a single lazzo, or better still to the intermedia or intermezzo, the names Italians gave to the developed comic situation, introduced either into the body of the play

or produced between the acts. So far as form is concerned, the most undeniable evidence of Italian influence upon the entremes
is

the versification employed in them after the the hendecasyllable for which

first

third of the seventeenth century.

this

The standard meter from

is

time on

is

substituted
in

couplets (sihas pareadas), with an occasional blank verse interspersed. Now this is precisely the metrical scheme of most of the

at pleasure a

heptasyllable.

These

lines

rime

rimed, memorized
dell'arte.

passages

introduced

into

the commedia

There
masks,
if

is much similarity between some of we may so term them, and their Italian

the Spanish
counterparts.

Of the two zanni the clever one suggests the gracioso of the co-media, the stupid one has much in common with the Lorenzos and the Periquillos of the entremeses. The Vejete is very
in

The braggart soldier is the same type The " lovers " have their counterparts; the servetta has hers. But we must not be too hasty in drawing conclusions. The commedia dell'arte is a popularization of the Plautine comedy, and Plautus was known to the early dramatists of Spain. It is in the Latin comedians that we
similar to Pantaloon.

both

literatures.

are to seek the sources of the braggart soldier, the intriguing Some of servant, the credulous old man, and other parts.
these, too, are too universal to need explanation. Spain had unquestionably developed a large number of comic types before the dramatic influence of Italy was felt. These were

INTRODUCTION
retained, although Italian influence determined certain
fications in

Xlll

modi-

to be Such Italian parts as depended upon dialect for their humor could not be transferred to another stage. We shall soon see that Spain had its native, dialect types to sub-

them.

What and how

great this

was

is still

studied.

stitute for

them.

The chief borrowings from the cornmedia ddVarte were in the matter of plot, comic situation,
Direct Influence.

and the many jokes capable of translation into a cognate language. Spanish writers found the Comedy of Masks a rich mine, and they exploited it to the full. Here are two

The Entremes de un viejo ques casado con una mujer moza (No. 14 in Cotarelo's collection) contains the same situation found in a scenario printed by Bartoli, Gli Intrighi d'Amore owero La Finestra Incantata. In each
concrete instances.
case,

a credulous husband witnesses

through a window his

wife's flirtations,

and

is

made
"

to believe that the fault lies

enchanted window; because, the moment wholly in the he enters the house, the lover has disappeared. The present " " editor has noted the cure for the toothache joke in several
entremeses.

"

He

is

told to put

simpleton demands a cure for his toothache. an apple in his mouth, and then to stick his

head into a hot oven.

By

the time the apple

toothache will have disappeared.

Now

this is

is baked the one of the best

known

of the Italian lazzi.

Numerous borrowings

of a similar

kind could be cited.

folk-lore for

Italian actors

drew upon novels and

much

of their material.

Some

of these sources

were open to Spaniards, so that it is not always easy to trace a plot or joke; but that a great deal came directly into Spanish plays from the Improvised Comedy cannot be doubted.
Contact with Italian actors was direct and continuous.
Muzio's company appeared in Seville about 1538. The great actor Ganasa visited Spain in 1570, and met with such success
that he returned

many

times in the years following.

Other
writers,

Italian companies did likewise.

Numerous Spanish

xiv
like

INTRODUCTION
Cervantes, had visited Italy and had become familiar with

Italian comedians in their native land.

too, learned later

The

strolling Italians

much from

their residence in Spain.

Many

commedia dell'arte plot was inspired by a Spanish The influence was reciprocal.

play.

Few sixteenth century entremeses have come down to us, although in the last two decades of that century they began Two were regularly proto be written in great numbers.
duced between the acts
of

each serious play.

They were

mostly in prose, although some writers, like Juan de Timoneda, Lope de Rueda's friend and editor, wrote them in verse.

///.

WPE DE RUED A

Lope de Rueda. Lope de Rueda is the first entremesista whose work has been preserved to any considerable extent. He was born in Seville in or about the year 1510. Tradition says that he was a gold-beater by trade, but early in life he turned actor and rose to be manager and playwright. He was strongly under Italian influence, and, as there is no record
that he ever set foot in Italy, there is plausibility in A. L. Stiefel's conjecture that he may have learned his stagecraft

from Muzio's Italian troupe which gave performances in Seville in or around 1538.* For many years, until his death in 1565, Lope was a strolling
manager.
is

There

is

Philip II, but in the

a record that he once performed before main his audiences were democratic. It

his chief service that

he brought the drama to the people and

to which his followers so lavishly catered. Lope's serious plays, his Comedias and Colloquios are little more than translations of Italian, models. are here con-

created that

demand

We

cerned solely with his farces.

* Cf. Stiefel, Zeitschrijt fur romaniscke Philologie,

XV,

320.

INTRODUCTION
Lope's pasos. the action, which

XV

The word
is

"
paso,

incident," fitly describes

of the simplest.

husband and wife

quarrel over the price to be asked for a crop of olives, though

the tree has just been planted.

Two

by bamboozling a stupid servant out

rogues get a free dinner of the provisions he is

doctor's servant impersonates his master and carrying. The pasos preserved number prescribes to various patients. This last thirteen, not counting the doubtful Farsa del sordo.
in verse, but all the authentic pasos are in prose, lacking the final song and dance of the later entremes. A. L. Stiefel believes that the pasos are as Italian in their inspiration as
is

Lope's other work. There may be an element of truth in this conjecture, but one finds it hard to believe that anything more

than the comic situations were taken from non-Spanish sources.

The language

is

translation, and many nowhere but on Spanish Lope's Comic Types. of

so idiomatic as to preclude the idea of mere of the types could have developed
soil.

With Lope de Rueda the

gallery

comic types, the beginnings of which can already be seen in the works of Juan del Encina and of Diego Sanchez de
Badajoz, is almost complete. Cervantes and his followers invent little new in the way of farce personages; and most of

them were already traditional in Spain before Lope's time. Let us now indicate the more important of these types and
their
characteristics.

Few
and

farces lack
in

He He

is
is

usually a servant,

most cases

the bobo, or simple. is named Lorenzo.

an easy butt of ridicule, arousing mirth through his ignorance and stupidity. He is the opposite of the gracioso,
clown, of the comedia, who is nearly always intelligent. Nevertheless, the bobo often turns the tables on his tormentors,

and sometimes the simple combines mother wit with extreme ignorance. The bobo is hopelessly stupid; the simple may be Another butt of ridicule intelligent within his limited sphere.
is

the

vejete,

of the comedia.

or old man, a less dignified figure than the barba He is the deceived husband of a giddy young

XVI

INTRODUCTION

wife, or the outwitted father of a headstrong daughter.

is

He

miserly, suspicious,

and credulous.

He and

the bobo receive

the major portion of the beatings. Few farces lacked the barber, merry, talkative, fond of dancing and guitar-playing. He was indispensable to the success and dance. The sacristdn, or sexton, is equally imHe is a lady's man whose wooing is seldom without portant.
of song
success.

He

has a propensity to drunkenness, and, when not

in the presence of the educated, interlards his lines with scraps of bad Latin. This dissolute rogue is the sole representative
of the clergy.

Actors of the later period did not dare introduce priests and monks upon the comic stage. Such darts of satire as were directed against the church had to fall upon
this
figure,

half

priest,

half

layman.

The

doctor is always

pedantic, unskilled, wholly without heart

and conscience, a
of the shrewdis

murderer of his patients.

ness associated with

The lawyer has none

legal profession;

the

he

an ignora-

mus

easy to deceive.

The

student

young rogue, slovenly

chronic starvation.

in attire,

always an unscrupulous and suffering from the itch and

is is

The

Page, too,

starving, but gluttonous

childish
It de-

when he gets the chance. His mischief is of a more sort. The alguacil was cruel, tyrannical, and venal.
lighted

an audience to see the representatives

of

the law

treated with a lack of respect. There were other types who raised a laugh

by the

dialects

they spoke;

such as the French pedlar

whom

the authors in

their ignorance frequently

made

and the negress had many

the race.

of the traits

The negro to speak Italian. which we associate with

in ideas, fond of big words,

They were extravagant

and spoke an amusing jargon. The Moor is represented as overfond of pork and wine, the Koran to the contrary notwithHis patois is rich in sibilants. But nobody murstanding. dered the king's Castilian to quite the same extent as did the Biscayan. He shares with the montanes an amusing pride of The Galician has always been an object of mockery ancestry.

INTRODUCTION
in Spain
for
his

XV11

thickheadedness

and uncouth demeanor.

Gypsies frequently appear, usually to display their characteristic dances. Other common types are the apothecary, the miser,
the astrologer, never taken seriously, the arbitrista, the man expedients to promote the welfare of the State, poor country hidalgos, starving victims of a mistaken pride, rustic
fertile in

alcaldes, ignorant of the duties of their office,

monic

decisions, the love-lorn Portuguese,

makers of Soloand others of lesser

importance. Many an entremes had a pair of lovers, essential to the feeble plot, but hardly to be classed as comic parts. The lively maid servant also plays an important role.
This paso is the seventh included in the Paso Septimo. Lope de Rueda's plays called El deleitoso, Valencia, The title here 1567, edited and published by Juan Timoneda. given is correct, though the farce is commonly called Las aceitunas, a name invented for it by Leandro Fernandez de Moratin, who was the first modern scholar to make the little play widely
collection of

known by including it in his Origenes del teatro espanol, posthumously published, Madrid, 1830. The present text is in the main that of Cotarelo y Mori. In one instance a variant reading, supported by Fuensanta del Valle and Moratin, has been There are several variations from Cotarelo's puncadopted.
tuation.

No exact source for this farce has ever been indicated, but it appears to be the dramatization of a folk-lore theme closely " " related to the stories comprised in the Castles in Spain cycle. The most famous analogue is the fable of the milkmaid and her The oldest known form of this story, The Monk pail of milk. and his Plans, first appears in the Oriental Kalilah. In Spanish
we find it in the Calila et Digna. It was later retold by Juan Manuel, Enxiemplo VII, De lo que contescio a una muger quel dizian donna Truhana. The Portuguese, Gil Vicente, used this theme in his Auto da Mofina Mendes. La Fontaine has given the subject its most artistic treatment. To the same
literature

group belong Ihe Story

Nights' Entertainment
in

of the Barber's Fifth Brother in the

and Lazy Harry

Tales.

(der faule Heinz),

Arabian No. 164

are

Grimm's Household

Numerous other analogues

XV111

INTRODUCTION
Chauvin, Bibliographic

instanced by the following authorities:

des outrages arabes, Liege, 1897, II, 101,

and

Liege, 1901, V, 162;

Juan Manuel, El libra de los enxiemplos del Conde Lucanor el de Patronio (edited by Knust), Leipzig, 1900, pp. 316-8; The Exempla of Jacques de Vitry (edited by Crane), London, 1890, p. 155; Max Miiller, Chips from a German Workshop, London, 1875, IV, US-

The

following translations are useful:

The

Olives, translated

by G. H. Lewis, in The Spanish Drama, London, 1845; The Seventh Farce of Lope de Rueda, translated by W. H. H. Chambers, in The Drama, Vol. VI, London, 1903; in German, Die Oliven, translated by Moriz Rapp, in Spanisches Theater, Leipzig,
n.d.

E.

For English translations of Spanish plays in general, see C. Hills, A Catalogue of English Translations of Spanish

Plays, in Romanic Review, X, July-Sept., 1919,

and

reprinted,

with additions, in Hispania, March, 1920.

IV.

MIGUEL DE CERVANTES SAAVEDRA

The
next great figure in this genre, after Lope

Cervantes.

de Rueda, is Cervantes (1547-1616), who was most active as a dramatic writer between the years 1582 and 1587. Whether
of the twenty or thirty plays then written, and which were " so fortunate as to be acted without offering of cucumbers or

any

other missile substance," were entremeses, we do not know. His eight authentic farces, published in Ocho comedias y ocho
entremeses nuevos, nunca representados,
years.
all

all belong to his later contain allusions showing that they were Nearly written in the early seventeenth century. All but two are

mostly in prose.
alcaldes de

El rufian viudo and La election de los are written in eleven syllable blank verse. Daganzo

All

end with the song and dance which had become general
1

since the actor Alonso Martinez invented the baile cantado at

some time around

500.

This innovation appears to be only an

extension of the mllancico ending which Encina and the older dramatists had used.

some

of

INTRODUCTION
Cervantes'

xix
to

Lope de Rueda's is the same racy use of the popular language by both writers. But Cervantes is the superior in humor and As a writer of universality. serious plays Cervantes ranks low. As a writer of entremeses he is superior to all his predecessors and successors. The
pasos.

entremeses

owe much

The comic

types are the same; there

restrictions of the

dramatic form embarrassed a writer

who

thoughts flow at random, and who wrote without previous, careful planning. If he lacked the dramatic sense, he had at the same time one of the dramatist's most
loved to
let his

priceless gifts, the art of

making

his characters live, of causing

to converse naturally and vivaciously. formless of dramatic forms he excelled.

them

In the most

Next
these
is

to his

Don

Quijote and the Novelas Ejemplares, the

Entremeses are the best work of Cervantes.

good.

Every one

of

The two

best are

La

cueva de Salamanca,

included in this collection, and La guarda cuidadosa, describing the rival suits of a sacristan and a soldier for the favors of a
fregona.

But

it

is

difficult

fingido is amusingly true to

to make a choice. El Vizcaino human nature. El retablo de las

maravillas tells a folk-lore story familiar to readers of

Juan

Manuel and Hans Christian Andersen.

of all is

The most
is

thoughtful

El juez de

los divorcios, in

which one

tempted to see

marital troubles, cheerfully " the worst agreement is better with the thought that accepted than the best divorce." The Rufidn viudo is among the best

a reflection of the author's

own

for

its

convincing realism.

La

election

de los alcaldes

'de

Daganzo pokes fun at those rustic officials with whom Cervantes had had so many unpleasant dealings. El viejo celoso treats in jesting wise the same theme more seriously developed in the story of El celoso estremeno. Menendez y Pelayo thinks
that Cervantes' entremeses suggest sketches made in preparaThis tion for the finished pictures of the Novelas ejemplares. characterization is apt, except for the evident fact that the
pictures preceded the sketches.

XX

INTRODUCTION

If Cervantes' entremeses were not acted during his lifetime, time has brought its revenge; for they are possibly the only farces of the period ever acted at the present day, and no other plays of the sort were so often copied by subsequent

entremesistas.

Meanwhile

farces

hundreds and thousands.

Most

were being written by the of them were shorter than

Cervantes' interludes, and as the century wore on, those in prose became fewer, and the typical meter of eleven and

seven syllable
ballad verse,

lines,

became the standard

varied with the frequent use of the native farce form.

La cueva de Salamanca.

Mediaeval and Renaissance writers

never tired of telling the various devices by which flirtatious young wives, aided by their lovers, contrived to deceive their
doting husbands. and the Italian
origin,

It is the stock situation of the

novelle.

Many

of

French fableaux these tales are of Oriental

but the variations invented by later writers are without number. Schack and Klein have pointed out certain similarities between Cervantes' farce and Hans Sachs' Fastnachtsspiel, Der jarendt Schuler im Paradeiss, in which a student deceives a simple
country couple by pretending to possess magic powers. Giannini points out certain similarities with the second novel of the seventh day in Boccaccio's Decamerone. But it is easy and Cervantes has taken profitless to multiply such analogues. one of the most hackneyed of themes and made it original by combining it with a well known Spanish legend.

The story is that there existed near Salamanca a cave in which sorcery was taught. A head of bronze, placed over a " chair, imparted superhuman magic in a human voice." Of every seven persons who visited the cave for instruction, one

The earliest literary allusions to the Cueva date from the fifteenth century. Ruis de Alarc6n's Cueva de Salamanca and Rojas' Lo que queria ver el Marquis de Villena are other plays treating of this legend. The best study on the subject is Waxman, Chapters on Magic in Spanish Literature, in Revue Hispanique, XXXVIII, 356-366. The belief in the
never returned.

common

marvels of the Cueva de Salamanca was so persistent among the people that in the eighteenth century the Padre Feijoo

INTRODUCTION

Xxi

felt called upon to write a Discurso sobre las Cuevas de Salamanca y Toledo to explode this widespread superstition. Biblioteca de

autores espanoles, LVT, 374. At least eight other entremeses were written in imitation of
this.

The most notable was

libretti for

Calder6n's

Dragoncillo.

It also

furnished

For

full

comic operas in Spain, France, and Germany. information, see Armando Cotarelo y Valledor, El
Madrid, 1915, Pt.
Ill, ch.
ii.

teatro de Cervantes,

English translation has ever been made. Little good can be said of the French translation found in Royer, Theatre de

No

Michel Cervantes, Paris,

versions:

1862.

There are two good German

1868.

Schack, Spanisches Theater, Leipzig, 1845, an d Kurz,

Theater, Vol. II, Leipzig,

Spanisches

There

is

also

one

good Italian translation:

Lanciano, 1915.

Giannini,

M.

Cervantes,

GV Intermezzi,

The text here published is that of Schevill-Bonilla modernized as to spelling. Besides Cervantes' eight authentic Los dos habladores. The most likely farces, others have been attributed to him.
It was first printed in is that of Los dos habladores. the Seventh Part of the Obras de Lope de Vega, Madrid, 1617, and attributed to that author. Lope, however, on a later occasion

attribution

expressly denied the authorship of the farces included in that volume. In 1646 it was reprinted, under the name of Cervantes, in a miscellaneous collection edited by a bookseller of Cadiz.

Nobody who knows how

careless the publishers of the time were

in assigning authorship, will attach much weight to this evidence; nor is the style alone a sufficient criterion to enable one to decide

one way or the other. One can only say that the playlet .is worthy of Cervantes, and is not unlike his manner. This, one of the most genial of Spanish farces, is one of a vast

number
of

of

which
is

is

woman

diamond cut diamond " plays, the underlying idea that the proper method of dealing with a perverse to treat her to a liberal dose of her own medicine. In
"

The Taming of the Shrew, Shakespeare provides a masterful husband for a cantankerous wife. It was a commonplace in the Spanish drama that the love of a scornful beauty could only be A Beatrice gained by one who affected equal indifference.

3001

INTRODUCTION
Of the many plays which treat this theme Moreto's El desden con el desdtn is the

required a Benedict.
in Spanish
literature,

most celebrated. Naturally, a talkative woman could only be cured of her vice by a superior talker. No entremes was oftener copied than this. Quinones de Benavente imitated it in his Las habladoras. Ram6n de la Cruz used the idea in two sainetes: El hablador and El padrino y el pretendiente. Ventura de la Vega wrote: Un hablador sempiterno. In the National Library of Madrid there exists in manuscript a
play, El hablador,

by Jos6

Vall6s, a seventeenth century author.

teatro de Cer-

For other imitations, see Cotarelo y Valledor, El

vantes, Pt. IV, ch. iv.

An excellent English translation has been made by Edith Fahnestock and Florence Donnell White, The Talkers, in The Colonnade, XII, July, 1916. Henri de Curzon has given a lively French rendering, Les deux bavards, Toulouse, 1900. This
supersedes Royer's previous poor translation. Hermann Kurz has achieved a very good German translation: Die beiden Plapperzungen, Spanisches Theater, Vol. I, Leipzig, n.d. The text here given is based upon that of Bonilla y San Martin, Entremeses de Miguel de Cervantes Saavedra, Madrid, 1916.

manuscript of the Biblioteca Colombina, whose readings are more authentic than those of the first edition, Septima parte de las obras de Lope de Vega Carpio, Madrid, 1617. This entremes is not Bonilla's reprint is sparingly annotated.
Bonilla follows the

reprinted in the Schevill-Bonilla edition. The best reprint of the 1617 text is that of Cotarelo y Mori, Coleccidn de entremeses.

El entremes de los refranes has also been fathered upon In fact the evidence Cervantes, but with no good reason. points the other way. Cervantes, to be sure, had a rich stock He of proverbs, but his use of refranes was entirely different. would distort them, twist them inside out, and introduce them
in hit or miss fashion without the slightest application.

In the

on the contrary, each proverb is pat and to the point. This farce may stand as a specimen of a special kind of entremes where the interest depended not upon the characters but upon some triumph of ingenuity. To make a set of characters talk almost exclusively in proverbs was a tour de
Entremes de
los refranes,

INTRODUCTION
force.

XX111

romances the dialogue is a piecing El entremes de los apodos is a vast El entremes de las civilidades is collection of abusive epithets. a collection of hackneyed idioms. There were others whose
los

In the Entremts de

together of ballad fragments.

lines

were nothing more than a stringing together of the

titles

of favorite plays.

Such freakish
first

efforts are curious rather

than

important. This farce was

printed from a manuscript hi the Biblioteca

Colombina by
lished
of
it

its

discoverer, Jose

Maria Ascensio, who pub-

any

in 1870, confidently assigning it to Cervantes. In spite sufficient evidence in support of this claim, Adolfo de

Castro upheld the same view when he reprinted the work in his Varias obras ineditas de Cervantes, Madrid, 1874. Sbarbi, too,
critics
it in his Refranero general, Vol. VII. Subsequent have been more cautious. The anonymous author uses his proverbs very differently from the way Cervantes used his. The evidence is against rather than for Cervantes as an author. The only translation of the piece is one into Catalan: Cayetano

published

Vidal de Valenciano, El entremes de refranes es de Cervantes? Estudio critico-literario, Barcelona, Ensayo de su traduccldn. This author strove to prove that Quevedo wrote the 1883. piece, and Quevedo certainly achieved something very similar in his Cuento de cuentos. Others have suggested Quinones de

Benavente.

To

be frank, one guess

is

as

good as another.
a

Whoever the unknown author was, he was

man

of ingenuity

and cleverness. Despite the richness of the Spanish refranero, it was no easy task to write a dialogue wholly in proverbs, save for a few linking phrases. Each proverb is pat and furthers the
thought. The whole device is artificial, but less so than might be supposed. The Spaniard tends so naturally to express his thoughts in proverb form that with only a slight degree of exaggeration we may imagine a whole conversation so conducted. Plot and characters have, however, been sacrificed. The whole
interest in this farce lies in the proverbs themselves. No other language is so rich as Spanish in its proverbs

and

We find these in the earliest literary proverbial expressions. monuments, the Poem of the Cid, Juan Ruiz's Libra de buen amor, and the Corbacho of the Archpriest of Talavera. In the Renais-

XXIV

INTRODUCTION
works as Celestina most Spanish authors make formal collection dates from

sance period they are abundant in such

and Don
liberal

Even to-day Quijote. The first use of them.

the early fifteenth century, Refranes que dizen las viejas tras el fuego, attributed to the Marqu6s de Santillana; see Revue HisThe best dictionary of proverbs is Gonzalo panique, XXV.

This monuCorreas, Vocabulario de refranes, Madrid, 1906. mental work was written about 1626 and was only recently It contains many thousands of proverbs, and is a printed. mine of information, but should be reclassified and printed in a form less difficult to use. Much information is also to be found in Sbarbi's bulky but unscholarly Refranero general, 10 vols.,

Madrid, 1874-1878.

The

origins of the proverbs are

most

diverse.

Some

refranes

are the outgrowth of folk tales. Sometimes the stories on which they are based have been preserved, sometimes they are lost.

Other proverbs are aphorisms of Classic or Oriental origin. Others embody popular superstitions. Still others are snatches Some originated in historic from ballads or popular songs.
happenings or events of local significance. Nearly all give evidence of the wit, common sense, and native sagacity of " brief maxims Cervantes defines them as the peasant class. drawn from long and intelligent experience." And he makes Don Quijote say: " It seems to me, Sancho, that there is no proverb which is not true."
is

Cotarelo's reprinting of the farce in his Coleccidn de entremeses based upon De Castro's text. We, too, follow De Castro,

accepting a few of Cotarelo's corrections.

V.

LUIS QUI NONES DE BENAVENTE

Next to Cervantes, the
is

Benavente.

the history of the entremes

greatest name in that of Luis Quinones de Belittle

navente
life.

He was

(i58g?-i65i). We know a native of Toledo, a

about

Benavente's

man

of kindly disposition

who never engaged

time.

in the acrid literary controversies of the

Tirso refers to

him

as one

"

who has never spoken

ill

INTRODUCTION
of poet."

XXV

Hence

all

and

well they might, for a

dramatists of the time sing his praises; Benavente farce between the acts

of a mediocre play often saved the latter

from

disaster.

Ac-

cording to contemporary accounts, he never wrote a comedia; but his activity as a writer of entremeses and bailes was proHe began writing farces for the stage about 1609. digious.
Tirso, in his Tanto es lo de

mas como

lo

de menos, supposedly

written in 1620, written

tells

us that

by that time Benavente had

300 entremeses. Cotarelo estimates that his total output of farces was about 900. Besides these he wrote numerous bailes. What Lope de Vega did for the comedia, Bena-

He gave it its definitive form. Like most of the writers for the stage of his time, he cared little for the children of his fancy. We are indebted to the
vente did for the entremes.

good
lished

offices of

under the

a friend for the preservation of 36 farces, pubtitle of Jocoseria in 1645. Others have sur-

vived in manuscript form, or were published, often attributed to another, in miscellaneous collections.

Benavente's Innovations.
of the

Taking the stock characters

move

Spanish comic repertoire, he makes them speak and upon the boards with a grace hitherto unknown. He had

a genius for comic situation and dialogue. In addition, he is noted for his fertility of invention though, to be sure, some of
his plays are the

reworking of old material.

Nobody was

his

equal in supplying the verse of bailes, that slightest of

forms, the dramatized dance.
entremes,

dramatic

He

invented new forms of the

such as the entremes cantado, a miniature comic He is credited opera, the forerunner of the modern zarzuela. with many another innovation besides.

Cervantes and Benavente.

Benavente was the king

of

Spanish farce comedy for over 30 years.

successful in tickling the popular fancy. rival during his lifetime, the same may

No

other was so

If he knew no serious be said with reference to his predecessors and successors, with the single exception of Cervantes. And yet Spanish critics have probably over-

XXVI

INTRODUCTION

estimated his literary worth.

We may

freely

admit that

charm, lightness of touch, delicacy of fancy, native refinement, dramatic sense, skill in the use of For this alone he ranks dialogue; but he lacked universality.
wit, grace,

Benavente had

second to Cervantes as an entremesista.

versal in his appeal

Cervantes

is

uni-

when

writing farces, as

when

While distinctly a Spaniard

understanding of
writer for
all

novels, because the source of his comedy is human of his day and age, Cervantes'

writing nature.

nature makes him, like Moliere, a Benavente's humor depends too much upon allusions to events of the day, to customs peculiar to the
peoples.

human

passing moment.

The

point of

many

of his jokes escapes us.

and temporary in his appeal. The qualities which endeared him to his generation alienate him from us. The words used by Fitzmaurice-Kelly in making a similar comparison between Cervantes and Lope de Vega apply equally

He

is local

well in this case.*

This farce will give a good idea of El Doctor y el enfermo. way doctors were satirized during the seventeenth century. The plot is a commonplace one and was repeated in many subthe

sequent entremeses.

Very similar are Moreto's La burla de

Pantoja, the anonymous El doctor Soleta (published 1691), and that side-splitting farce of Jos6 Julian de Castro, El informe sin

forma. The plot of this last is almost identical, although it is a lawyer instead of a doctor who is wheedled out of his daughter.

The present text is based upon that of Cotarelo y Mori, Coleccidn de entremeses. A few obvious errors have been corrected.

VI.

OTHER ENTREMESISTAS

Nearly
farce of

all

the great Spanish dramatists of the Golden

entremts. Curiously, we have no single undoubted authenticity from the pen of Lope de Vega. Tirso has given us only a few, and most of those attributed

Age attempted the

* Fitzmaurice-Kelly,

Litterature Espagnole, Paris, 1913, p. 316.

INTRODUCTION
to

XXV11

him

are the
ones.

work

of other authors.

Calderon wrote several

excellent

Quevedo, Luis Velez de Guevara, Cancer, Matos Fragoso tried their hand at it. Moreto was one of the most successful of the entremesistas. His farces still await a In gathering entremeses for this book the editor collector.

has been surprised to see how many of the best are anonymous. Now and then some obscure writer surpassed the farces of

more distinguished authors.

Entr ernes del espejo y burla de Pablillos (Anonymous). This entremes is composed of two distinct episodes which recur separately in many different farces. Cotarelo traces the second episode back to a sixteenth century entremes, El capeador. He
also indicates points of similarity in another play of the same century, Los ladrones. The mirror episode was used by Quinones

de Benavente in El boiicario. This last farce is clearly subsequent in point of time to the one here printed, which, lacking as I have also found the it does a final letra, must be very old. mirror device in another old farce, El entremes del espejo y de la La Barrera lists two other farces, El espejo oisita de la cdrcel. and Los espejos with whose content the editor is unfamiliar. Our play was first printed in the Arcadia de entremeses, Madrid, 1723. The present text is based upon that of Vicente Garcia de la We have collated Huerta, Theatro Hespanol, Madrid, 1785. this carefully with two other suelta editions found in the Ticknor Collection: Madrid, 1812, For la viuda de Ibarra, and another without indication of place, year, or printer. Garcia de la Huerta's text is on the whole very accurate. This farce has been translated by Rouanet, Intermedes espagnols du

XV IP siecle,

Paris, 1897.

This farce is one of the Juan Rana comilon (Anonymous). " " infinite variations of the deceived husband theme. The plot moves with such swiftness and comic force that one almost for-

An admirable gets the impossibility of its central situation. French translation of it may be found in Leo Rouanet, Intermedes espagnols du IP siecle, Paris, 1897. This was one of those plays written especially for Juan Rana, Johnny Frog, the most famous of Spanish clowns. Juan Rana

XV

XXV111

INTRODUCTION

was the stage name of a certain Cosme P6rez, born in Madrid toward the close of the sixteenth century, and dying in 1672. He was already a famous gracioso in 1617, and continued to act comic r61es until over eighty. We are told that his mere appearance on the stage sent an audience into convulsions of laughter before he spoke a word. Cosme Perez was a man of property and reputed to be an excellent citizen. A few years before his death, 1668, the aged actor was recalled from his retirement to
play in the palace gardens before Charles II in a specially prepared entrem.es, El triunfo de Juan Rana. Juan Rana was king of the clowns for over 50 years. The origin of his stage name is
not wholly clear. He made it as famous a name as that of He was a real Spanish mask. For Harlequin or Brighella. the biography of Cosme P6rez, see Cotarelo y Mori, Coleccion de
entremeses, pp. clvii-clxiii.

This

play was

first

printed

in

the

Arcadia de entremeses,

Pamplona, 1700, and was reprinted in a similar collection with identical title, Madrid, 1723. These early collections were as a rule nothing more than villainously printed broadsides, sueltas, bound together. We have based our text on a very unreliable
in Sevilla, without date, by Joseph Padrino, Ticknor Collection, Boston. Rouanet's original The National Library, seems to have had the same faults. Madrid, possesses an eighteenth century manuscript of this play; see Paz y Melia, Catdlogo, no. 1674. This farce seems Entr ernes de los bunuelos (Anonymous). to hark back to Lope de Rueda's Paso quinto of El deleitoso.
suelta, published

and now

in the

La Barrera invented for it the title, La tierra de Jauja. It relates how two sharpers obtained a free dinner at the expense of a
Quinones de Benavente's Talego-nino likewise comes from Lope's paso. Our play, in turn, was rewritten under the It has been translated title La burla (or baile) de los bunuelos. by Rouanet in his Intermedes espagnols. The National Library of Madrid possesses two eighteenth century manuscripts of Los bunuelos, both differing slightly from the text here given, to judge by the first and last lines. See Paz y Melia, Catdlogo, no. It was first printed in the Arcadia de entremeses, Pam421. plona, 1700. The editor has based the present text on a suelta,
bobo.

INTRODUCTION

XXIX

lacking all indication of place, date, and printer, possessed by the Ticknor Collection. This text is far more reliable than was the case with that of Juan Rana comilon.

El hambriento
celebrated
ment.

"

(Anonymous). " Barmecide Feast

brother,

This
story,

is

a
told

variant
in

of

the

as

The Story

of the Barber's Sixth Brother of

The

barber's

a beggar,
to
sit

the Arabian Nights' Entertainenters one day the

palace of a prince.
hospitality,
in

The

latter receives

him with every

at table.

sign of

and

invites

him

down

Servants

empty dishes and glasses, and the prince The beggar, turn each of the imaginary viands. seeing he is being made the victim of a practical joke, so enters into the spirit of the trick that he unites in his host's praises
bring a succession of
praises

imaginary feast. Finally, pretending to be intoxicated, he strikes the prince in the face. The latter, instead of being offended, is pleased by this evidence of wit, and lavishes hosof the

pitality

upon the beggar

for a period of

tions of this theme, similar, are frequent

many
among

like the present

twenty years. Variaone only remotely

the entremeses.

Among

these

may

be mentioned Quinones de Benavente's El convidado, Calder6n's like named play, and Luis V61ez de Guevara's La sarna de los

Moreto's El hambriento is a wholly distinct play. banquetes. Villaviciosa also has a play with the same title. See Cotarelo y Mori, Coleccion de entremeses, p. cxlvi, for a list of starvingstudent plays.
present editor has collated with
la Huerta. The a suelta edition, Madrid, 1812, For la viuda de Ibarra, found in the Ticknor Collection.

The

text

is

based upon that of Vicente de

it

The

Sainete.
for

The

eighteenth century was a period of

of

degeneration
entremes, like

underwent decay. It continued to be written after the old pattern, and was dear to the populace, though despised by critics under French influence. As time went on entremeses became so obscene
genres,

every form more ambitious

Spanish

literature.

The

as to create scandal.

The Council

of

Castile suppressed

them

in 1780.

But

in dying the entremes gave birth to a

new

form, the sainete.

XXX

INTRODUCTION
sainete

The word
titbits

originally

meant "

titbit."

Theatrical

During the Renaissance period the term is loosely applied to any sort of theatrical diversion, and was often exactly synonymous with baile or entremes. Later, sainete was the designation of the entremes produced between the second and third acts. The word acquired its
were of

many

kinds.

specialized
It

meaning toward the end

as follows:

of the eighteenth century.

may now be denned

a comic, one act theatrical

than the entremes, introducing more characters, and with a somewhat more ambitious plot, portraying realistically various social types, and satirizing human vices and
piece, longer
foibles.

It is

commonly acted

after a longer play.

The

chief

exponent

of this genre is

Ramon de la Cruz y

Cano.

VII.

RAMdN DE LA CRUZ
la

Y CANO

Ramon de

Cruz (1731-1794) was an aristocrat with demo-

cratic leanings.

He

began

his literary career with a conscien-

tious attempt to write tragedies according to the

French formula.

They were as

insipid as

He

sought relief thus giving Spaniards their first opportunity to make acquaintance with Shakespeare. These early exercises taught

most plays of the sort written in Spain. by translating Hamlet into Castilian, 1772,

him

his limitations.

He

learned that he could succeed as a

dramatist solely by departing from current literary dogma, by treating Spanish subjects for the amusement of Spaniards,

by adapting old forms to present conditions, by uniting realism with humor after the fashion of his race. He chose as his
form
of expression the sainete.
la

Ramon de

prologue in reply to a hostile

In his Cruz's Critical and Dramatic System. critic, the Italian, Signorelli,

Ramon de la Cruz expounds his critical

* Ramon de la Cruz, Coleccion de Madrid, 1843, xxxi-xlvi.

system with acuteness.*

(ed.

sainetes

by Agustin Duran),

INTRODUCTION

XXXI

Like Lope de Vega he writes for the vulgo; but he does not hold with Lope that the masses are wrong. On the contrary,

he trusts the instinctive judgment of the people rather than the

pronouncements
classicism.

of the critical defenders of

modern pseudo-

writers

He appeals constantly from whom they had. as he thought,

these to the ancient

misinterpreted.

He
holds

prefers to seek his classicism at the fountain-head.

He

with Montaigne that humanity is prone to frame for everything laws which it is incapable of observing. That, he says,
is

what French and

Italian critics

have done.

The

ancients

dared to copy nature, to observe and describe. If the old entremeses, he asks, paint exactly the civil life of the Spaniards, and rebuke vice and triumphant folly, was not this the aim of

Menander, Plautus, Terence, and all great comedians ancient and modern? He has no doubt regarding the truthfulness
of his
all

own dramatic portraits. He asks proudly: " In a word, those of you who have seen my sainetes reduced to the
. . .

short space of twenty-five minutes of acting or no they are copies of what your eyes see

say whether
ears

and your

hear

and whether

history of our century."

critics

my He

pictures do not represent the

appreciated,

what subsequent

have never ceased to proclaim, that he,

is

Ramon

de

la

the best historian of Spanish culture as it existed toward the end of the eighteenth century. He boldly defends

Cruz,

common, ungrammatical, and sometimes " To copy low expressions into the mouths of his personages. actions and turn them into ridicule, the poet must think vulgar This like the sages, and talk like the common people."
his realism in putting

strikes the

Cruz.
real
let

keynote of the dramatic system of Ramon de la Observe human nature and manners closely, transfer life to the stage so that its realism will be convincing, but

the whole be informed with the spirit of philosophy.

As a

critic,

Ramon

his point of

Cruz is original for his time, modern in As a dramatist view, and fundamentally sound.
de
la

he deserves a niche adjacent

to that of Goldoni.

XXX11

INTRODUCTION
la

Ramon de
sistas.

portrait gallery

Cruz's Gallery of Types. Ramon de la Cruz's is far richer than those of the earlier enlreme-

His characters are no longer the conventionalized types, but photographic in their truthfulness to nature; photographic, not stereotyped. All social classes, all walks of life are depicted.

The author

reveals to us the frivolous lertulias of his

snuff -taking gentlemen with rapier

own

aristocratic

circle;

and wig, wearing the knee breeches of the period; young fops dancing attendance upon their beribboned and beflounced sweethearts, vying with the inevitable abate and the ever-

We

present French perruquier for a moment of the fair one's time. see a futile society seeking vainly to conceal its ignorance

beneath a veneer of French culture.

Like other observers of his time,

Ramon de la Cruz found

the

nation's real strength in the primitive virtues of the lower He seems to have had most affection for his lowly classes.
characters.

But he does not

flatter

demos.

His manolos

and manolas are only a degree

less brutal as

he depicts them

than they were in real life. He chooses by preference for the scene of a sainele some teeming street in the Lavapies or Maravillas district, the courtyard of some overcrowded tenement, a public promenade, the site of some fair along the banks of
the

Manzanares.

He

artisans, beggars, charlatans,

crowds the boards with merchants, peasants in from the country,

All these wrangle,

their wives

and sweethearts.

make

love,

exchange repartees, converse in dialect, slang, and bad grammar. There is much bustle and animation; for Don Ramon

knew how to handle a crowd. Out of the hurlyburly emerges some slender plot, seldom without its thesis or attack upon some abuse or folly. Now that the types described have disappeared forever, we
portraits.
still

feel

the fidelity of these Goyaesque

Las tertuliasde Madrid was first produced in Madrid in 1770. was one of the most popular and frequently acted of the author's works. It exposes the hollowness and insincerity of
It

INTRODUCTION
"

XXX111

A friend in high society, and preaches the simple moral that need is a friend indeed." In comparing this sainete with the earlier entremeses we feel at once that we are moving in a more
is

modern atmosphere. The hearty robustness of the old farces replaced by a subtler humor, greater refinement, and lightness of The situation portrayed is scarcely probable; neither touch.

the character of Dona Ines well handled. She is rendered too odious in the early portion of the play ever to recover a place in The sainetes dealing with the popular the reader's esteem.
is

types of Madrid are better specimens of

Ramon

de la Cruz's
less available

manner;

but

difficulties of

language make them

for text-book purposes.

The present
tanto impresos

text

is

that of Agustin Duran, Coleccion de sainetes

como

ineditos de

D.

Ramon

de la Cruz, Madrid,

1843-

Cruz was we have In the course of the eighteenth century the zarzuela had become more and more the exclusive possession of royalty and the aristocracy, its new name deriving from the Zarzuela Palace. The playlet so designated is a happy combination of dialogue, song, and dance. The zarzuela continues to-day the most popular and
Zarzuela.

The

Another service of

Ramon

de

la

the popularization of the zarzttela, the form which, as seen, evolved out of Benavente's entremes cantado.

distinctive

form the Spaniards have.

This

is

not the place to

trace the nineteenth century development of the g&nero chko. The popularity of the short play has been so great as to menace
stance, in spite of the literary excellence of

the very existence of the longer ones, a regrettable circummany of these

shorter productions.
Originally subordinate to the three-act

play and seldom acted apart from a longer production, to-day it is the short play that holds the stage. Many Spanish
theaters

produce only short

is

pieces.

The

evening's

enter-

tainment

divided into

"

sections

"

of one hour each, each

section devoted to a different playlet.

This arrangement

is

popular with those who lack money, time, or patience to devote a whole afternoon or evening to the theater. Most of such

XXXIV

INTRODUCTION

plays are trifling and without literary merit, but occasionally little masterpiece appears. Even the worst have a grace

and charm wanting in the forms of theatrical entertainment provided for the masses in our country. And in view of what Spanish dramatists are achieving, the danger that the more
ambitious drama
slight.

will

be crowded out

may

be dismissed as

BIBLIOGRAPHICAL NOTE
I.

GENERAL WORKS

Emilio Cotarelo y Mori, Coleccidn de enlre.meses, has, bailes, jdcaras y mojigangas desde fines del sigloXVI a mediados del XVIII,
2 vols.,

Madrid, 1911

(vols.

XVII and XVIII

blioteca de autores espanoles).

of La nueva biThe introduction contains a mass

of

period treated.

information concerning the short dramatic forms for the It is the most extensive work on the entremes

yet printed, but is often uncritical, and leaves certain important All of Cervantes' Interludes aspects of the subject untreated. are printed, and it is the best work to consult for the early anonymous farces, and those of Quinones de Benavente, Salas
Barbadillo, Castillo Sol6rzano.

Contains

many

has,

bailes, etc.

Leo Rouanet, Intermedes espagnols duXVIIe siecle, Paris, 1897. The introduction is the most delightful study on the enlremeses ever written. Students able to read French should not fail to
consult
notes. taste in
it.

Nineteen farces are translated into French, with

translator has been guided
his selections.

The

by a

fine,

discriminating

making

The

Winifred Smith, The Commedia deWarte, New York, 1912. best introduction to the subject of the Italian improvised
for

comedy, ography

English-speaking

students.

An

excellent

bibli-

of the subject.

Bartoli, Scenari inediti della

commedia

dell'arte,

Florence, 1880.

collection of scenarios, with a valuable introduction. Emilio del Cerro, Nel regno delle maschere, Naples,
of the

1914-

One

most recent and valuable treatments

of the subject.

INTRODUCTION

XXXV

II.

LOPE DE RUEDA

Lope de Rueda, Obras, edited by Fuensanta del Valle, 2 vols., Madrid, 1895-1896. Unsatisfactory as to text. Lope de Rueda, Qbras, edited by E. Cotarelo y Mori, 2 vols., Madrid, 1908. Little, if any, better as to text. The vocabulary
is

especially unreliable.

Lope de Rueda, El registro de representantes, edited by Bonilla y San Martin, Madrid, 1917. Much better as to text. " A. L. Stiefel, Lope de Rueda und das italienische Lustspiel," \nZeitschriftfiir romanische Philologie, XV, 183-216 and 318-343.

The most important

scholarly article devoted to Lope.

His

Italian sources are indicated.

III.

CERVANTES

Entremeses de Miguel de Cervantes Saavedra, edited by Bonilla y San Martin, Madrid, 1918. The text is a decided improvement upon that of earlier editions. The eight authentic farces and Los dos habladores are included. Many of the notes are
valuable.

No

difficulties in

the text; to do so

attempt has been made to solve a great many is probably beyond the power of

any

single editor.

Obras completas de Miguel de Cervantes Saavedra, Comedias y entremeses, Tomo IV, Edited by Schevill and Bonilla, Madrid,
1918.

added.

Virtually a reprint of the above. Los dos habladores is omitted.

few notes have been

Adolfo de Castro, Varias obras ineditas de Cervantes, Madrid, Most of the plays here included are apocryphal or doubtful. Contains the Entremes de refranes.
1874.

Armando
1915.

Cotarelo y Valledor, El teatro de Cervantes, Madrid,

very extensive work which, while it contains little new and original material, brings under one cover most of what
others have written about Cervantes' dramatic works. M. A. Buchanan, " Cervantes as a Dramatist. Interludes," in Modern Language Notes, XXXIII, The best study on the dating of these plays.
I.

The

183-186.

XXXVI

INTRODUCTION

Edith Fahnestock and Florence Donnell White, The Talkers, The Colonnade, XII, and The Judge of the Divorce Court, Ibid., XIII. These translations, though expurgated and at times

somewhat
1915.

free,

have caught the

spirit of the original.

Cervantes,

An

by A. Giannini, Lanciano, excellent rendering of Cervantes' farces into Italian.

GV Intermezzi,

translated

Cervantes, Les deux bavards, translated by Henri de Curzon,

Toulouse, 1900.

An

excellent French version.

II, Leipzig, n.d.

Spanisches Theater,
tremeses of Cervantes

The

eight authentic en-

and Los dos

of

habladores,

translated into

German by Hermann Kurz.

For
other
translations

Cervantes'

Interludes,
I,

see

Rius,

Bibliografia de las obras de Cervantes,

Madrid, 1895,

359362.

IV.

MISCELLANEOUS

Obras de Lope de Vega publicadas par la Real Academia EsContains several early entremeses panola, II, Madrid, 1892. wrongly attributed to Lope de Vega.
1877.

al

Quevedo, Obras, Biblioteca de autores espanoles, LXIX, Madrid, Contains Quevedo's dramatic output. Bonilla y San Martin, Entremeses del siglo XVII, alribuidos Maestro Tirso de Molina, Madrid, 1909. Most of these are

wrongly attributed to Tirso. Cotarelo y Mori, Migajas del ingenio, coleccion rarisima de Entremeses by Lanini, entremeses, bailes y loas, Madrid, 1908. Zabaleta, Benavente, and others. Quinones de Benavente, Enlremeses, loas y j&raras, edited by C. Rosell, Libras de Antano, I and II.
B. J.
raros

Gallardo,

y curiosos, 4 vols., cellaneous material.

Ensayo de una biblioteca espanola de libros Contains misMadrid, 1863-1889.

Vicente Garcia de la Huerta, Theatro Hespanol, Parte IV, Madrid, 1785. Contains 36 anonymous entremeses. For additional collections of entremeses, see La Barrera,
Catdlogo
bibliogrdfico y biogrdfico Madrid, 1860, pp. 713-720.

del

teatro

antiguo

espanol,

INTRODUCTION

XXXV11

V.

RAMON DE LA CRUZ Y CANO

Ram6n de la Cruz y Cano, Tealro, 10 vols., Madrid, 1786-1791. Ramon de la Cruz y Cano, Coleccidn de sainetes, edited by
Agustin Duran, 2 vols., Madrid, 1843. Ramon de la Cruz y Cano, Sainetes ineditos en la Biblioteca

Municipal de Madrid, edited by C. Cambronero, Madrid, 1900.

Sainetes de

Don Ramdn

de la Cruz, edited

by E. Cotarelo y

Mori, Madrid, 1915. E. Cotarelo y Mori,

Don Ramon
and

1899. The best biography B. Perez Galdos, " Don

Revista de Espana, 1870,

critical

de la Cruz y sus obras, Madrid, study of this author.

Ram6n

de

la

Cruz y su 6poca,"

in

XVII, 200-227.

Ramon de la Cruz, Paris, 1865. judicious choice of plays, translated into French, with an instructive introductory treatise on the author and his works.
Antoine de Latour, Sainetes de

PASO SEPTIMO
FOR

LOPE DE RUEDA

LOPE DE RUEDA
AUTOR DEL PASO SEPTIMO
De un
antiguo grabado en madera

EN EL CUAL

SE

INTRODUCEN

LAS PERSONAS SIGUIENTES,

COMPUESTO FOR

LOPE DE RUEDA
TORUVIO, simple,
viejo.

MENCIGUELA, su
su mujer.

hija.

AGUEDA DE TORUEGANO,

ALOJA, vecino.

TORUVIO.
cielo se queria

desdel requebrajo del

Valame Dios y que tempestad ha hecho monte aca, que no parescia sino quel
las

hundir y

agora:

<i

mujer ?

que os terna aparejado de Asi mala rabia la mate

! !

Pues deci nubes venir abajo comer la senora de mi

!
j

Oislo

! ;

Mochacha
;

Mencigiiela

<:

Si
j

todos duermen en
Oislo
!

Zamora ?

Agueda

de Toruegano

MENCIGUELA.
brar las puertas?

Jesus, padre

habeisnos de que-

TORUVIO. Mira que pico, mira que pico esta vuestra madre, senora ?
j

Y adonde
le

10

MENCIGUELA.

Alia esta en casa de la vecina, que

ella

ha ido a ayudar a coser unas madejillas. TORUVIO. Malas madejillas vengan por
j

y por
15

vos

Andad y

llamalda.
3

TEN SPANISH FARCES

20

AGUEDA. Ya, ya, el de los misterios, ya viene de hacer una negra carguilla de leiia, que no hay quien se averigiie con el. TORUVIO. Si carguilla de lena le paresce a la senora, juro al cielo de Dios que eramos yo y vuestro ahijado a cargalla y no podiamos. AGUEDA. Ya, noramaza sea, marido, y que mojado
j

que venis TORUVIO.

!

Vengo hecho una sopa dagua.

Mujer, por
si

25

vida vuestra, que

me

deis algo

que cenar.

AGUEDA.

<J

Yo

que diablos os tengo de dar,

Jesus, padre,

no tengo

cosa ninguna?

MENCIGUELA.
aquella lena
30
!

y que mojada que venia

TORUVIO. Si, despues dira tu madre ques el alba. AGUEDA. Corre, mochacha, adrezale un par de huevos para que cene tu padre, y hazle luego la cama. Yos aseguro, marido, que nunca se os acordo de plantar aquel

renuevo de aceitunas que rogue que plantasedes. TORUVIO. Pues, en que me he detenido sino en plan35
<i

talle

como me rogastes? AGUEDA. Callad, marido; jy adonde

TORUVIO.
Alii junto

lo

plantastes?
si

la

higuera breval, adonde,

se os acuerda, os di
4o

un

beso.

MENCUIGELA.
ya

Padre bien puede entrar a cenar, que

esti adrezado todo.

45

Marido, <Jno sabeis que he pensado? Que renuevo de aceitunas que plantastes hoy, que de aquel aqui a seis o siete anos llevara cuatro o cinco hanegas de aceitunas, y que poniendo plantas acd y plantas

AGUEDA.

aculla, de aqui a veinte

y cinco o

treinta

anos,

terneis

un

olivar hecho

drecho.

PASO SEPTIMO

TORUVIO.
de ser Undo.

Eso

es la verdad, mujer,

que no puede dejar

50

sabeis que he pensado ? Mira, marido, la aceituna y vos la acarreareis con el asQue yo cogere Y mira, nillo, y Mencigiiela la vendera en la plaza.

AGUEDA.

<i

mochacha, que te mando que no me des menos el celemin de a dos reales castellanos. No Como a dos reales castellanos ? TORUVIO. veis ques cargo de consciencia y nos llevara el amotazen
<

55

cadaldia la pena? que basta pedir a catorce o quince dineros por celemin.

AGUEDA.
de
los

Callad, marido, ques el

veduno de

la casta
60

de Cordoba.

Pues, aunque sea de la casta de los de Cordoba, basta pedir lo que tengo dicho. AGUEDA. Ora no me quebreis la cabeza. Mira, mochacha, que te mando que no las des menos el celemin de

TORUVIO.

a dos reales castellanos.

65

TORUVIO.
mochacha.
<J

<

Como

a dos reales castellanos

Ven

aca,

MENCIGUELA.
TORUVIO.

A
<i

MENCIGUELA. AGUEDA. Como

chacha.
<3

padre. catorce o quince dineros. Asi lo hare, padre.

asi lo hare,

como has de pedir ? A como quisieredes,

70

padre

Ven

aca,

mo-

A como has de pedir ? MENCIGUELA. A como mandaredes, madre. AGUEDA. A dos reales castellanos.
<J

TORUVIO. Como a dos reales castellanos ? Yos prometo que si no haceis lo que yo os mando, que os tengo
de dar mas de doscientos correonazos.
pedir ?
<?

75

A como

has de

MENCIGUELA.

A como

decis vos, padre.

6
80

TEN SPANISH FARCES

85

TORUVIO. A catorce o quince dineros. MENCIGUELA. Asi lo hare, padre. AGUEDA. Como asi lo hare, padre ? Toma, toma, hace lo que yos mando. TORUVIO. Dejad la mochacha. MENCIGUELA. Ay, madre Ay, padre, que me
<j
! j
;

mata

ansi la

90

For que maltratais Ques esto, vecinos ? mochacha? AGUEDA. Este mal hombre que me Ay, sefior dar las cosas a menos precio, y quiere echar a quiere Unas aceitunas que son como nueces perder mi casa TORUVIO. Yo juro a los huesos de mi linaje que no son ni aim como pinones. AGUEDA. Si son.
ALOJA.
<J
!

95

TORUVIO.
ALOJA.

No

son.

Ora, sefiora vecina, haceme tamafio placer que

os entreis alia dentro, que yo lo averiguare todo. AGUEDA. Averigiie o pongase todo del quebranto. ALOJA. Sefior vecino, que son de las aceitunas?

iooSacaldas aca fuera; veinte hanegas.

que yo

las

comprare, aunque scan

TORUVIO. Que no, sefior; que no es desa manera que vuesa merced se piensa; que no estan las aceitunas aqui en casa, sino en la heredad.
105

ALOJA.
al precio

Pues traeldas aqui; que yos

que justo
fuere.

las

comprare todas
se

MENCIGUELA. A dos reales quiere mi madre que vendan el celemin. ALOJA. Cara cosa es esa. no TORUVIO. No le paresce a vuesa merced? MENCIGUELA. Y mi padre a quince dineros.
<;

PASO SEPTIMO
ALOJA. Tenga yo una muestra TORUVIO. Valame Dios, seiior
j

7
dellas.
!

Vuesa merced no

me

he yo plantado un renuevo de aceitunas, y dice mi mujer que de aqui a seis o siete anosns llevara cuatro o cinco hanegas de aceitunas, y quella la
quiere entender.

Hoy

cogeria, y que yo la acarrease y la mochacha la vendiese, y que a fuerza de drecho habia de pedir a dos reales por cada celemin; yo que no y ella que si, y sobre esto ha sido
la quistion. I20
! j ;

nunca tal se ALOJA. Oh, que graciosa quistion ha visto Las aceitunas no estan plantadas, y ha llevado
!

la

mochacha tarea sobre ellas ? MENCIGUELA. Que le paresce, senor ? TORUVIO. No llores, rapaza. La mochacha, senor, 125 es como un oro. Ora andad, hija, y ponedme "a mesa, que yos prometo de hacer un sayuelo de las primeras
<;

aceitunas que se vendieren.

ALOJA.

Ora andad, vecino, entraos

alia

adentro y tened
130

paz en vuestra mujer. TORUVIO. Adios, senor.

ALOJA.

Ora por

cierto,
!

que ponen espanto

que cosas vemos en esta vida Las aceitunas no estan plantadas,

j

ya las habemos mi embajada.

visto renidas.

Razon

sera que de fin a

135

FIN.

ENTREMfiS DE

LA CUEVA DE SALAMANCA
FOR

MIGUEL DE CERVANTES SAAVEDRA

1547-1616

ENTREMES DE

LA CUEVA DE SALAMANCA
[FOR

MIGUEL DE CERVANTES SAAVEDRA

LOS QUE HABLAN EN EL

SON
LOS SIGUIENTES
PANCRACIO.

EL BARBERO.
LEONISO, compadre de Pancracio.

CARRAOLANO, estudiante. REPONCE, sacristan.

LEONARDA.

CRISTINA.]

Salen PANCRACIO,

LEONARDA y CRISTINA.

Enjugad, senora, esas lagrimas, y poned a vuestros suspiros, considerando que cuatro dias pausa de ausencia no son siglos. Yo volvere, a lo mas largo,
si Dios no me quita la vida; aunque sera no turbar la vuestra, romper mi palabra, y mejor, por dejar esta Jornada; que sin mi presencia se podra casar mi hermana. LEONARDA. No quiero yo, mi Pancracio y mi sefior,

PANCRACIO.

a los cinco,

que por respeto mio vos parezcais descortes; id, en hora buena, y cumplid con vuestras obligaciones, pues las que os llevan son precisas: que yo me apretare con mi llaga,

10

y pasare mi soledad
encargo
la vuelta,

lo

menos mal que

pudiere.

Solo os

y que no paseis del termino que habeis

12

TEN SPANISH FARCES

;

puesto.
is

Tenme,
Oh,

Cristina,

que

se

me

aprieta el cora-

zon

CRISTINA.
fiestas
!

que

bien

Desmdyase Leonardo,. hayan las bodas y las

si

En

verdad, senor, que

yo fuera que vuesa

merced, que nunca alia fuera.

PANCRACIO.
20

Entra, hija, por un vidro de agua, para

echarsela en el rostro.

que desmayos.

se al oido,

Mas espera; direle unas palabras que tienen virtud para hacer volver de los

Dicele las palabras; vuelve Leonarda, diciendo:

25

Basta; ello ha de ser forzoso; no hay sino Bien mio, cuanto mas os detuvieredes, mas dilatais mi contento. Vuestro compadre Leoniso

LEONARDA.

tener paciencia.

os debe de aguardar ya en el coche. Que el os vuelva tan presto y tan bueno

Andad con Dios. como yo deseo.

PANCRACIO.

me movere
30

Mi angel, si gustas que me quede, no de aqui mas que una estatua. LEONARDA. No, no, descanso mio; que mi gusto esta
el

en

vuestro,

y por agora mas que os

honra
la

vais que no os que-

deis,

35

A fe, que si O espejo de matrimonio todas las casadas quisiesen tanto a sus maridos como mi senora Leonarda quiere al suyo, que otro gallo les cantase!
!

pues CRISTINA.

es vuestra
j

mia.
;

Entra, Cristinica, y saca mi manto, que quiero acompanar a tu senor hasta dejarle en el coche.

LEONARDA.

PANCRACIO.
por vida mia.
40 senora,

No, por mi amor; abrazadme, y quedaos,

Cristinica,
te

que yo

mando un

ten cuenta de regalar a tu calzado cuando vuelva, como

lleve

tu le quisieres.

CRISTINA.

Vaya, senor, y no

pena de mi senora,

45

de manera a que nos holguemos, porque no imagine en la falta que vuesa merced k ha de hacer. que LEONARDA. Que bien estas en la Holgar yo ?
la pienso persuadir
<j

LA CUEVA DE SALAMANCA
cuenta, nina
!

13

porque ausente de mi gusto, no se hicieron para mi; penas y dolores, si. PANCRACIO. Ya no lo puedo sufrir. Quedad en paz, lumbre de estos ojos, los cuales no veran cosa que les de
los placeres ni las glorias

placer, hasta volveros

a ver.

fintrase

Pancracio. 50

LEONARDA.
i

Vayas y

Alia daras, rayo, en casa de La ida del humo no vuelvas

j

Ana Diaz
j

For Dios,
ni

que esta vez no os han de valer vuestras valentias

vuestros
recatos
!

CRISTINA.

Mil

veces

temi

que con

tus

extremos

55

habias de estorbar su partida y nuestros contentos. LEONARDA. Si vendran esta noche los que esperamos
<?

tengo avisados, y ellos estan tan en ello que esta tarde enviaron con la lavandera, nuestra secretaria, como que eran pafios, una canasta de 60
<i

CRISTINA.

Pues no ?

Ya

los

colar, llena

de mil regalos y de cosas de comer, que no

parece sino uno de los serones que da el rey el Jueves Santo a sus pobres; sino que la canasta es de Pascua,

porque hay en

ella empanadas, fiambreras, manjar bianco, y dos capones que aun no estan acabados de pelar, y todo genero de fruta de la que hay ahora; y sobre todo, una

65

bota de hasta una arroba de vino, de lo de una oreja, que

huele que trasciende.

LEONARDA.
CRISTINA.

Es muy cumplido, y
las telas

lo fue

siempre,

mi
}o

Reponce, sacristan de
Pues,
^

de mis entrafias.

a mi maese Nicolas, barbero de mis higados y navaja de mis pesadumbres,

que

le

falta

que
las

asi me las rapa y quita cuando hubiera tenido ?

<j

le

veo,

como
?

si

nunca

LEONARDA.
CRISTINA.
nadero, por
el

Pusiste la canasta en cobro

la cocina la tengo, cubierta

7S

En

con un

cer-

disimulo.

14

TEN SPANISH FARCES

Llama a

la puerta el estudiante
le

CARRAOLANO, y en

lla-

mando, sin esperar que

respondan, entra.

LEONARDA. Cristina, mira quien llama. ESTUDIANTE. Senoras, yo soy un pobre estudiante. 80 CRISTINA. Bien se os parece que sois pobre y estudiante, pues lo uno muestra vuestro vestido, y el ser
Cosa extrana es esta, que no hay pobre que espere a que le saquen la limosna a la puerta, sino que se entran en las casas hasta el ultimo 85 rincon, sin mirar si despiertan a quien duerme, o si no.
pobre, vuestro atrevimiento.

ESTUDIANTE. Otra mas blanda respuesta esperaba yo la buena gracia de vuesa merced; cuanto mas que yo no quena ni buscaba otra limosna, sino alguna caballeriza o pajar donde defenderme esta noche de las inclemencias
de
90 del cielo, que,

segun se

me

trasluce, parece

que con grandi-

simo rigor a

la tierra
<;

amenazan.
sois,

LEONARDA.
ESTUDIANTE.

de donde bueno

amigo ?

Salmantino soy, sefiora mia; quiero deIba a Roma con un tio mio, cir que soy de Salamanca. el cual murio en el camino, en el corazon de Francia. 95 Vine solo; determine volverme a mi tierra; robaronme
o companeros de Roque Guinarde en Cataluna, porque el estaba ausente; que, a estar alii, no conlos lacayos

sintiera
zoo

que

se

me

hiciera agravio;

porque es

muy

cortes

y comedido, y ademas limosnero. Hame tornado a estas santas puertas la noche, que por tales las juzgo, y busco mi
remedio.

LEONARDA.
a lastima
105
el

En

verdad, Cristina, que

tiene a

me ha movido
las entranas. las sobras del

estudiante.

CRISTINA.
Castillo se

Ya me

mi rasgadas
;

Tengamosle en casa esta noche, pues de

podra mantener
el real

quiero decir, que en las

LA CUEVA DE SALAMANCA
reliquias de la canasta

15

y mas,

que me ayudara

habra en quien adore su hambre; a pelar la volateria que viene en

la cesta.

no
<;

Pues, como, Cristina, quieres que metamos en nuestra casa testigos de nuestras liviandades?

LEONARDA.
CRISTINA.

Asi tiene

como por

la boca.
<i

de hablar por el colodrillo Venga aca, amigo, sabe pelar ?

el talle
,;

ESTUDIANTE.

Como

si

se pelar?

No

entiendo.

esons

de saber pelar, si no es que quiere vuesa merced motejarme de pelon; que no hay para que, pues yo me confieso

por el mayor pelon del mundo. CRISTINA. No lo digo por eso, en mi anima, sino por saber si sabia pelar dos o tres pares de capones.

120

ESTUDIANTE.
ras,

Lo que
.

sabre responder es que yo, seno-

de Dios, soy graduado de bachiller por no digo Salamanca, y LEONARDA. Desa manera, quien duda, sino que sabra pelar, no solo capones, sino gansos y avutardas? 125 Y en esto del guardar secreto, como le va ? y a dicha,

por

la gracia

<f

,3

,j

[es^ tentado de decir todo lo que ve, imagina, o siente ? ESTUDIANTE. Asi pueden ma tar delante de mi mas
el

hombres que carneros en

CRISTINA.

Rastro, que yo desplegue mis

130

labios para decir palabra alguna.

Pues aturese esa boca, y cosase esa lengua con una agujeta de dos cabos, y amuelese esos dientes, y entrese con nosotras, y vera misterios y cenara maravillas,

y podra medir en un pajar

cama.

los pies

que quisiere para su

135

ESTUDIANTE. nada codicioso

Entran
el

Con

siete tendre

demasiado;
el

que no soy

ni regalado.

SACRISTAN REPONCE y
\

BARBERO.
los

SACRISTAN

O, que en hora buena esten

Autome-

16

TEN SPANISH FARCES

don[t]es y guias de los carros de nuestros gustos, las luces uode nuestras tinieblas, y las dos reciprocas voluntades que
sirven de basas

y colunas a
Eso
solo

la

amorosa fabrica de nuestros

deseos

enfada del. Reponce mio, moderno y de modo que te en145 tienda, y no te encarames donde no te alcance. BARBERO. Eso tengo yo bueno, que hablo mas llano que una suela de zapato; pan por vino o vino por pan,
habla, por tu vida, a lo

LEONARDA.

me

o como suele decirse.

so sacristan
Si, que diferencia ha de haber de un gramatico a un barbero romancista. CRISTINA. Para lo que yo he menester a mi barbero, tanto latin sabe, y aun mas que supo Antonio de Nebrija.

SACRISTAN.

no se dispute agora de ciencia, ni de modos de hablar, que cada uno habla, si no como debe, a lo menos como i ss sabe. Y entremonos, y manos a labor, que hay mucho que hacer. ESTUDIANTE.
SACRISTAN.
<i

Y
Un
Yo

mucho que pelar. Quien es este buen hombre

LEONARDA.
SACRISTAN.

pobre estudiante salamanqueso que

le

i6opide albergo para esta noche.

dare un par de reales para cena y

para lecho, y vayase con Dios. ESTUDIANTE. Senor sacristan Reponce, recibo y agradezco la merced y la limosna; pero yo soy mudo, y pelon i6sademas, como lo ha menester esta senora doncella, que

me

tiene convidado;
si

y voto a ... de no irme

esta noche

manda. Confiese vuesa merced mucho de enhoramala de un hombre de mis prendas que se contenta de dormir en un pajar; y si lo han 1 70 por sus capones, peleselos el Turco y comanselos ellos, y nunca del cuero les salgan.
desta casa,

todo

el

mundo me

lo

LA CUEVA DE SALAMANCA

1<J

BARBERO.
tiene

Este mas parece rufian que pobre; de alzarse con toda la casa.

talle

CRISTINA. No medre yo si no me contenta el brio. Entremonos todos, y demos orden en lo que se ha de hacer; 175 que el pobre pelara, y callara como en misa. ESTUDIANTE. Y aun como en visperas. SACRISTAN. Puesto me ha miedo el pobre estudiante;

yo apostare que sabe mas

latin

que yo.

LEONARDA. De ahi le deben de nacer los brios que 180 tiene; pero no te pese, amigo, de hacer caridad, que vale
para todas
y sale
rueda.
las cosas.

Entranse

todos,

LEONISO, compadre de PANCRACIO, y PANCRACIO.

COMPADRE.

Luego

lo vi

yo que nos habia de

tematico;

f altar

la

No hay cochero que no sea

si el

rodeara

un poco y salvara aquel barranco, ya estuvieramos dosiSs

leguas de aqui.

PANCRACIO. A mi no se me da nada; que antes gusto de volverme a pasar esta noche con mi esposa Leonarda que en la venta; porque la deje esta tarde casi para ex190 pirar del sentimiento de mi partida.

COMPADRE.
el cielo,

senor compadre

PANCRACIO.
debo.
le

Gran mujer De buena os ha dado Dadle gracias por ello. Yo se las doy como puedo, y no como
! j

No hay

Lucrecia que se llegue, ni Porcia que se

el

iguale.
ella

La honestidad y
Si la

recogimiento han hecho

195

en

su morada.

COMPADRE.
que desear.
compadre, por
Jornada.

mia no fuese
calle esta

celosa,

Por esta
estas,

mas

cerca

mi casa

no tenia yo mas tomad,

;

estareis presto en la vuestra;

veamonos mafiana, que [no] me

Adios. Adios.

faltara coche para la 200

PANCRACIO.

ntranse los dos.

l8

TEN SPANISH FARCES

Vuelven a salir
el

SACRISTAN,

el el

BARBERO con
ESTUDIANTE.

sus

guilarras,
el

LEONARDA, CRISTINA, y

Sale

danzando

SACRISTAN con la sotana alzada y cenida al cuerpo, al son de su misma guitarra; y a coda cabriola

vaya diciendo estas palabras:

SACRISTAN,
CRISTINA.

Linda noche, lindo

rato,
!

linda cena,
205

y lindo amor

Senor sacristan Reponce, no es este tiempo de danzar; dese orden en cenar y en las demas cosas, y quedense las danzas para mejor coyuntura. SACRISTAN.
\

Linda noche, lindo

rato,
!

210

LEONARDA.

y lindo amor Dejale, Cristina; que en extremo gusto

linda cena,
dice:
j

de ver su agilidad.

Llama PANCRACIO a la puerta, y PANCRACIO Gente dormida, no ois ?

tan temprano teneis atrancada la puerta
?

Como

<J

Los recatos de

mi Leonarda deben de andar por LEONARDA. 215 Ay, desdichada mi marido Pancracio es golpes,
j

aqui.
!

la

este.

voz y a los Algo le debe de

haber sucedido, pues el se vuelve. Senores, a recogerse la carbonera; digo al desvan, donde esta el carbon. Corre, Cristina, y llevalos; que yo entretendre a Pan-

22ocracio de

modo que
j

tengas lugar para todo.

ESTDDIANTE.
CRISTINA.
todos
025
!

Fea noche, amargo rato, mala cena, y peor amor

!

Gentil relente, por cierto

Ea, vengan

PANCRACIO.
abris, lirones?

<j

Que
el

diablos es esto

<j

Como no me
la

ESTUDIANTE.

Es

toque que yo no quiero correr

LA CUEVA DE SALAMANCA

IQ

suerte de estos senores; escondanse ellos donde quisieren,

y llevenme a mi
CRISTINA.
j

al

pajar

Caminen, que se hunde la casa a golpes! 230 El alma llevo en los dientes SACRISTAN, Y yo en los carcanares BARBERO. Entranse todos, y asomase LEONARDA a la entana.
!

LEONARDA. Quien llama ? Quien esta ahi ? PANCRACIO. Tu marido soy, Leonarda mia. Abreme, que ha media hora que estoy rompiendo a golpes estas 235
<;

puertas.

LEONARDA. En la voz bien me parece a mi que oigo a mi cepo Pancracio; pero la voz de un gallo se parece a la de otro gallo, y no me aseguro.
PANCRACIO.
j

Oh

recato inaudito de mujer prudente! 240

Que yo soy, vida mia, tu marido Pancracio; toda seguridad.

LEONARDA. Venga yo cuando el se partio
PANCRACIO.
mayaste.
aca,

abreme con

yo

lo vere agora.
?

,3

Que

hice

esta tarde

Suspiraste, lloraste,

al

cabo te des-

245

LEONARDA.
i

que PANCRACIO.

sefiales

pero con todo esto, digame, en uno de mis hombros ? tengo yo

Verdad;

En
real,

el

izquierdo tienes
tres cabellos

dor de medio

con

un lunar del grancomo tres mil hebras 250

se

de oro.

LEONARDA.
de casa?

Verdad; pero,

como

llama

la doncella

PANCRACIO.
se llama;
<J

Ea, boba, no seas enfadosa.

Cristinica
255

que mas quieres? LEONARDA. Cristinica, Cristinica,

CRISTINA.

tu senor es; abrele,

nifia.

Ya voy, senora;

que

el

sea

muy bien venido.

2O
<i

TEN SPANISH FARCES

es esto, senor de

Que

mi alma ?
!

,;

Que acelerada

vuelta

26068 esta?

LEONARDA.
el

Decidnoslo presto, que Ay, bien mio temor de algun mal suceso me tiene ya sin pulsos. PANCRACIO. No ha sido otra cosa sino que en un
j

la rueda del coche, y mi compadre y determinamos volvernos, y no pasar la noche en el 265 yo campo; y manana buscaremos en que ir, pues hay tiempo.

barranco se quebro

Pero,

que voces hay ? Dentro, y como de muy lejos, diga el ESTUDIANTE: ESTUDIANTE. Abranme aqui, senores; que me ahogo. Es en casa, o en la calle ? PANCRACIO.
,J

<?

270

CRISTINA.

Que me maten
el
<J

que encerre en
PANCRACIO.

es el pobre estudiante durmiese esta noche. pajar para que Estudiante encerrado en mi casa, y
si
!

no

en mi ausencia

no
275

me

me

? Malo En verdad, senora, que si tuviera asegurado vuestra mucha bondad, que causara algun recelo este encerramiento. Pero ve,
i

Cristina,

abrele,

que

se le

debe haber caido toda

la

paja

a cuestas. CRISTINA.

LEONARDA.

28opidio que le aunque fuese en

voy. Senor, que es un pobre salamanqueso que acogiesemos esta noche, por amor de Dios,

Ya

el pajar; y ya sabes mi condition, que no puedo negar nada de lo que se me pide, y encerramosle; pero veisle aqui, y mirad cual sale.

Sale

el

ESTUDIANTE y CRISTINA,
y
vestido.

el

lleno de paja las bar-

bas, cabeza,

yo no tuviera tanto miedo, y fuera 28smenos escrupuloso, yo hubiera excusado el peligro de ahogarme en el pajar, y hubiera cenado mejor, y tenido mas blanda y menos peligrosa cama.
Si

ESTUDIANTE.

LA CUEVA DE SALAMANCA
PANCRACIO.
j

21

Y
?

quien os habia de dar, amigo, mejor

cena y mejor cama

ESTUDIANTE.

mor de

la justicia

PANCRACIO.

Quien ? mi habilidad; sino que el te- 290 tiene atadas las manos. Peligrosa habilidad debe de ser la vuestra,
i

me

pues os temeis de

la justicia.

ciencia que aprendi en la Cueva de Salamanca, de donde yo soy natural, si se dejara usar sin 295 miedo de la Santa Inquisicion, yo se que cenara y recenara

ESTUDIANTE.

La

y aun quiza no estoy muy f uera de usalla, siquiera por esta vez, donde la necesidad me fuerza y me disculpa; pero no se yo si estas senoras seran
a costa de mis herederos
;

tan secretas

como yo

lo

he

sido.

300

PANCRACIO.
quisiere,

No

se cure dellas, amigo, sino

haga

lo

que

que yo les hare que callen; y ya deseo en todo extremo ver alguna destas cosas que dicen que se aprenden en la Cueva de Salamanca.
ESTUDIANTE.
que
le
<J

No

se

contentara vuesa merced con 305

saque aqui dos demonios en figuras humanas, que traigan a cuestas una canasta llena de cosas fiambres y
?
^

comederas

PANCRACIO.

LEONARDA

\_aparte\.
!

Demonios en mi casa, y en mi presencia ? Librada sea yo de lo 310 Jesus

!

que librarme no se CRISTINA \_aparie\.

ante en
el

El mismo diablo tiene

el estudi-

cuerpo
!

esta parva

Plega a Dios que vaya a buen viento Temblandome esta el corazon en el pecho.
!

PANCRACIO.
espantos, yo

Ahora

bien;

si

ha de

ser sin peligro

sin 31 5

holgare de ver esos senores demonios y a la canasta de las fiambreras; y torno a advertir que las
figuras

me

no scan espantosas. ESTUDIANTE. Digo que saldran en figura del sacristan

la parroquia,

de

y en

la

de un barbero, su amigo.

320

22

TEN SPANISH FARCES

CRISTINA.
<J <J

Mas que ? lo dice por el sacristan ReDesy por maese Roque, el barbero de casa ? ponce, dichados dellos, que se han de ver convertidos en diablos Y digame, hermano, y estos han de ser diablos bauj

<J

325 tizados ?

ESTUDIANTE.

Gentil

novedad

<J

Adonde

diablos

hay diablos bautizados, o para que se han de bautizar los diablos ? Aunque podra ser que estos lo fuesen, porque no
hay
330
j

regla sin excepcion;

y apartense, y veran mara villas.

\

LEONARDA
Aqui
se
j

\_aparte a Cristind].
! j

plaza

Aqui Aqui soy muerta CRISTINA [aparte a Leonardo}. Animo, senora; que buen corazon quebranta mala ventura. ESTUDIANTE.
! !

descose

salen nuestras

Ay, sin ventura maldades a

!

335

hallastes
salid,

Vosotros, mezquinos, que en la carbonera amparo a vuestra desgracia,

y en
la

los

hombros, con priesa y con gracia,

de otra manera
j

sacad

canasta de la fiambrera.

340

No me inciteis a que Mas dura os conjure,

Salid

,;

Que

esperais ?

Mirad que si, a dicha, el salir rehusais, Tendra mal suceso mi nueva quimera. Ora bien, yo se como me tengo de haber con estos demonicos humanos. Quiero entrar alia dentro y a solas 345 hacer un conjuro tan fuerte que los haga salir mas que de
paso. Aunque la calidad destos demonios sabellos aconsejar que en conjurallos.
fintrase

mas

esta en

el ESTUDIANTE. PANCRACIO. Yo digo que si este sale con lo que ha dicho, que sera la cosa mas nueva y mas rara que se haya ssovisto en el mundo.

LA CUEVA DE SALAMANCA

23

LEONARDA. Si saldra, quien lo duda ? pues, ^ habianos de enganar ? CRISTINA. Ruido anda alia dentro; yo apostare que los saca; pero ve aqui do vuelve con los demonios y el
apatusco de
[Salen
el

la canasta.
el

355

ESTUDIANTE,
!

SACRISTAN, y

el

BARBERO.]

LEONARDA. Jesus que parecidos son los de la carga al sacristan Reponce y al barbero de la plazuela CRISTINA. Mira, senora, que donde hay demonios no
j j
!

se

ha de decir
SACRISTAN.

Jesus.

Digan

lo

que quisieren;

somos como

los perros del herrero,

que nosotros36o que dormimos al son

ninguna cosa nos espanta ni turba. Lleguense a que yo coma de lo que viene de la canasta, no tomen menos. ESTUDIANTE. Yo hare la salva, y comenzare por el vino. 365
de las martilladas:

LEONARDA.

Bebe.

Bueno
?

es.

<;

Es de Esquivias,

seftor sacri

diablo

Esquivias es, juro a Tengase, por vida suya, y no pase adelante Amiguito soy yo de diablos juradoresU? Demonico, demonico, aqui no venimos a hacer pecados mortales, sino a pasar una hora de pasatiempo, y cenar,

SACRISTAN.

De
j

ESTUDIANTE.
!

y irnos con Cristo.

CRISTINA.
<;

PANCRACIO.
otros

Si,

BARBERO. Si somos de los que comen.

CRISTINA.
! ;

han de cenar con nosotros ? no comen. 375 comen algunos, pero no todos; y nosestos

que

los diablos

Ay, senores quedense aca los pobres han traido la cena; que seria poca cortesia diablos, pues dejarlos ir muertos de hambre; y parecen diablos honrados, y muy hombres de bien.

24

TEN SPANISH FARCES

LEONARDA.
PANCRACIO.
385 visto.

Como no

nos espanten, y
lo

si

mi marido

gusta, quedense en

buen hora.
que nunca he

Queden, que quiero ver

la

BARBERO. Nuestro Senor pague a vuesas mercedes buena obra, senores mios.
CRISTINA.
j

Ay,
si

que

bien

criados,

que

corteses
estos,

Nunca medre
390 no

yo,

todos los diablos son

como

si

han de

ser

mis amigos de aqui adelante.

Oigan, pues,

SACRISTAN.
veras:

para que se enamoren de

el

Toca
el

el

SACRISTAN, y canta; y ayudale

BARBERO

con

ultimo verso no mds.

lo
395

BARBERO.
SACRISTAN.

Oigan los que poco saben que con mi lengua franca digo del bien que en si tiene La Cueva de Salamanca.

Oigan
en
el

lo

que dejo

escrito

della el bachiller

Tudanca cuero de una yegua

4 oo

que dicen que fue potranca,

BARBERO.
405

poniendo sobre las nubes La Cueva de Salamanca.

SACRISTAN.

En
los

ella

estudian los ricos

4IO

que no tienen blanca, y sale entera y rolliza y la memoria que esta manca. Sientanse los que alii ensenan de alquitran en una banca;
porque estas bombas encierra
.

LA CUEVA DE SALAMANCA

2$

BARBERO.
SACRISTAN.

La Cueva

de Salamanca.

En
los

ella se

hacen discretes
la palanca;

moros de

el

estudiante

mas burdo

415

ciencias de su pecho arranca.

A los que estudian en ella ninguna cosa les manca.

BARBERO.
SACRISTAN.

La Cueva
si es,

Viva, pues, siglos eternos de Salamanca.

4*0

Y nuestro

conjurador, a dicha, de Loranca,

tenga en ella cien mil vides de uva tinta y de uva blanca;

al diablo
le

que

que le acusare, den con una tranca,

el tal

4*5

y para
BARBERO.
CRISTINA.
poetas ?

jamas sirva

La Cueva
Basta;
<i

de Salamanca.

que

tambien

los

diablos

son
430

BARBERO.

aun todos

los

poetas son diablos.

PANCRACIO. Digame, senor mio, pues los diablos lo saben todo, donde se inventaron todos estos bailes de las Zarabandas, Zambapalo, y Dello Me Pesa, con el
famoso del nuevo Escarraman
?

435
alii

BARBERO.
origen

,:

Adonde? en

el infierno;

tuvieron su

principio.

PANCRACIO.

Yo

asi lo creo.

LEONARDA.
y

Pues en verdad, que tengo yo mis puntas

sino que, por mi honestidad, por guardar el decoro a quien soy, no me atrevo a bailarle. SACRISTAN. Con cuatro mudanzas que yo le ensenase
collar escarramanesco;

26

TEN SPANISH FARCES

dia,

a vuesa merced cada

el baile;

en una semana saldria unica en

bien poco.

445

que que ESTUDIANTE. Todo

lo

se

le falta

se andara;

por agora entremonos

que importa. Entremos; que quiero averiguar si los diablos comen o no, con otras cien mil cosas que dellos cuentan; y por Dios, que no ban de salir de mi casa hasta

a cenar, que es

PANCRACIO.

450 que

me

dejen ensenado en la ciencia y ciencias que se

ensenan en La Cueva de Salamanca.

ENTREMES DE

LOS DOS HABLADORES

Y EL

ENTREMES DE REFRANES
ATRIBUfDOS A

MIGUEL DE CERVANTES SAAVEDRA

1547-1616

ENTREMfiS DE

LOS DOS HABLADORES

[HABLAN LAS PERSONAS SIGUIENTES:]
UN
PROCURADOR. SARMIENTO. ROLDAN.
BEATRIZ.
INES, criada.

UN

ALGUACIL.

ESCRIBANO.

DONA
Sale

CORCHETE.

un PROCURADOR, y SARMIENTO, y detras ROLDAN, en habito roto, cuera, espada, y calcillas.

SARMIENTO.
los docientos

Tome, senor procurador, que ahi van ducados; y doy palabra a vuesa merced que,

aunque me costara cuatrocientos, holgara que fuera la cuchillada de otros tantos puntos. PROCURADOR. Vuesa merced ha hecho como caballero
en darsela, y como cristiano en pagarselo. Yo llevo dinero, contento de que me descanse y el se remedie.
j
!

el

ROLDAN. Es vmd. procurador ? Ah, caballero PROCURADOR. Que es lo que manda vmd. ? ROLDAN. Que dinero es ese ? PROCURADOR. Damele este caballero, para pagar la parte a quien dio una cuchillada de doce puntos. ROLDAN. Y cuanto es el dinero ? PROCURADOR. Docientos ducados. ROLDAN. Vaya vuesa merced con Dios. PROCURADOR. Dios guarde a vmd. [Fase.]
<i <i <J ,;

10

15

29

30

TEN SPANISH FARCES

ROLDAN. ROLDAN.
j

Ah, caballero
^ A

SARMIENTO.

mi, gentilhombre ?
digo.

vmd.
<[

20

que es lo que manda ? ROLDAN. Ciibrase vmd.; que no hablare palabra. SARMIENTO. Ya estoy cubierto.

SARMIENTO.

25

Senor mio, yo soy un pobre hidalgo, aunque he vis to en honra; tengo necesidad, y he sabido que vmd. ha dado a un hombre ducientos ducados, a quien

ROLDAN.

me

habia dado una cuchillada; y, por si vmd. tiene deleite en darlas, vengo a que vmd. me de una donde fuere
servido; que
otro.
30

yo

lo

hare con cincuenta ducados menos que

SARMIENTO.
gara a reir. i Piensa que
<J

Si

no estuviera

tan mohino,

me

obli-

Vmd.

dicelo de veras ?

las cuchilladas se

Pues venga aca. dan sino a quien las merece ?

35

quien las merece como la necesidad ? donde Pues dicen que tiene cara de hereje ? de un hereje ? estara mejor una cuchillada que en la cara

ROLDAN.

Pues

<J

<J

No

SARMIENTO.

Vmd. [no] debe

ser

muy

leido;

queelprolege,

verbio latino no dice sino que neces[s~\Uas caret quiere decir que la necesidad carece de ley.

que

bien vmd.; porque la ley fue in40 ventada para la quietud, y la razoh es el alma de la ley; y quien tiene alma, tiene potencias; tres son las potencias

ROLDAN.

Dice

muy

del alma:

memoria, voluntad, y entendimiento.

Vmd.

entendimiento; porque el entendimiento se conoce en la fisonomia, y la de vmd. es perversa, por

tiene
45

muy buen

la concurrencia de Saturno y Jupiter; aunque Venus le mira en cuadrado, en la decanoria del signo ascendente

por el horoscope. El diablo aca SARMIENTO.

j

me

trujo

Esto es

lo

LOS DOS HABLADORES

31

que yo habia menester, despues de haber pagado docientos ducados por esta cuchillada ROLDAN. Cuchillada dijo vmd. ? Esta bien dicho.
!

so

<J

Cuchillada fue la que dio Cain a Abel, su hermano, aunque entonces no habia cuchillos; cuchillada fue la que dio Alejandro Magno a la reina Pantasilea, sobre quitalle a Zamora la bien cercada; y asimismo Julio Cesar al conde

55

don Pedro Anzures, sobre el jugar a las tablas con don Gaiferos entre Cabanas y Olias. Pero advierta vmd. que las heridas se dan de dos maneras; porque hay traicion y alevosia: la traicion se comete al rey, y la alevosia contra los iguales; por las armas lo han de ser; y si yo rifiere con ventaja porque dice Carranza en su
.

60

Filosofia de la espada,
Catilina.
. .

y Terencio en

la

Conjuration de

SARMIENTO.
juicio
!

<:

No

ROLDAN.
porque es

Vayase con el diablo, que me lleva sin echa de ver que me dice bernardinas ? Bernardinas dijo vmd., y dijo muy bien;
j

65

muy

lindo nombre,

y una mujer que

se llamase

Bernardina, estaba obligada a ser monja de San Bernardo; porque si se llamase Francisca, no podia ser; que las Franciscas tienen cuatro efes, y la F es una de las letras
del A. B. C.; las letras del A. B. C. son veinte
. .
.

70

tres;

la

dos veces K sirve en castellano cuando somos nifios pueden ser de vino; el vino tiene grandes virtudes; no se ha de tomar en ayunas, ni aguado; porque las partes raras del agua penetran los poros y se le suben al cerebro, y en;

75

trando puros

SARMIENTO. Tengase, que me ha muerto, y pienso que demonio tiene revestido en esa lengua. ROLDAN. Dice vmd. muy bien; porque quien tiene lengua a Roma va. Yo he estado en Roma y en la
algiin

80

32

TEN SPANISH FARCES

85

90

Mancha, en Transilvania y en la Puebla de MontalMontalvan era un castillo, de donde era seftor Reinaldos. Reinaldos era uno de los doce Pares de Francia, y de los que comian con el emperador Carlo Magno en la mesa redonda; porque no era cuadrada ni ochavada. En Valladolid hay una placetilla que llaman el Ochavo. Un ochavo es la mitad de un cuarto; un cuarto se compone de cuatro veces un maravedi; el maravedi antiguo basta tanto como agora un escudo. Dos maneras hay de escudos: hay escudos de paciencia,
van.

y hay escudos
SARMIENTO.

Dios
!

me

la

de para

sufrille

Tengase,

que me
95
el

lleva perdido

ROLDAN.
perder no

Perdido dijo vmd., y dijo

es ganar.

Hay

siete

muy bien; porque maneras de perder: per-

der al juego, perder la hacienda, el trato, perder la honra, perder el juicio, perder por descuido una sortija o un
lienzo, perder
. .

SARMIENTO.
ioo
el

ROLDAN.

Acabe, con el diablo Diablo dijo vmd., y dijo muy bien; porque diablo nos tienta con varias tentaciones; la mayor de
j
!

todas es de la carne.
es flemoso;

La

los flematicos

carne no es pescado; no son colericos.

el

pescado
cuatro

De

elementos esta compuesto

xosy flema,

y melancolia;
los
.

la

hombre: de melancolia no es
el

colera, sangre,
alegria,

porque

el alegria

consiste en tener dineros; los dineros hacen a los

hombres;

hombres no son
. .

bestias;

las bestias pacen;

y finalmente

noo poco podra;

Y finalmente, me quitara vmd. el juicio, pero le suplico en cortesia me escuche una palabra, sin decirme lo que es palabra, que me cair6 muerto.
SARMIENTO.

LOS DOS HABLADORES

,1

33

ROLDAN. Que manda vmd. ? SARMIENTO. Senor mio, yo tengo una mujer, por mis pecados, la mayor habladora que se ha vis to desde que 115 hubo mujeres en el mundo. Es de suerte lo que habla, que yo me he visto muchas veces resuelto a matalla por las palabras, como otros por las obras. Remedios he buscado; ninguno ha sido a proposito. A mi me ha parecido que, si yo llevase a vmd. a mi casa, y hablase con 120 ella seis dias ar[jjeo, que la pondria de la manera que
estan los que comienzan a ser valientes delante de los

Vengase vmd. comigo, suplicoselo; que yo quiero fingir que vmd. es mi primo, 125 y con este achaque tendre a vmd. en mi casa. ROLDAN. Primo dijo vmd. ? bien que Oh, que
lo son.
<j
j

que ha muchos dias que

Primo decimos al hijo del hermano de nuestro padre; primo, a un zapatero de obra prima; prima es una cuerda de una guitarra; la guitarra se
dijo

vmd.

compone de cinco
cuatro;

or denes; las ordenes mendicantes son 130 cuatro son los que no llegan a cinco; con cinco estaba obligado a renir antiguamente el que desafiaba

de comun; como se vio en don Diego Ordonez y los hijos de Arias Gonzalo, cuando
el

rey don Sancho

!

SARMIENTO.
comigo; que

alia

Tengase, tengase por Dios dira lo demas.

y vengase 135

ROLDAN.
piedra

esa mujer en dos horas

.

Gamine delante vmd., que yo le pondre muda como una piedra; porque la

SARMIENTO. No le oire palabra. 140 ROLDAN. Pues camine, que yo le curare a su mujer. Vase SARMIENTO, y ROLDAN, y sale DONA BEATRIZ, y
INES, su driada.

34
BEATRIZ.
INES.
j

TEN SPANISH FARCES

Ines
!

Hola, Ines

Que digo ?
!

Ines, Ines

Ya

oigo, senora, senora, senora.

j

145

Como me resBellaca, desvergonzada { No sabeis vos que la vos con ese lenguaje ? pondeis vergiienza es la principal joya de las mujeres ? INES. Vuesa merced, por hablar, cuando no tiene de
BEATRIZ.
<i

que,

me

llama docientas veces.

Picara, el
del

BEATRIZ.
150

numero de docientos

es

numero
si

mayor, debajo

cual se

pueden en tender docientos

mil, anadiendole ceros; los ceros

no tienen valor por

mismos
INES.
lo
155

Senora, yo lo tengo entendido;

digame vmd.
la

que tengo de hacer, porque haremos prosa. BEATRIZ. Y la prosa es para que traigais

mesa,

para que coma vuestro amo; que ya sabeis que anda mohino, y una mohina en un casado es causa de que levante un garrote, y, comenzando or las criadas, re-

mate con
160

el

ama.
<i

INES.

Pues

hay mas de sacar la mesa ?

!

Voy volando.

Salen SARMIENTO y ROLDAN. Hola No esta nadie en esta casa ? SARMIENTO.

j j

Dona

Beatriz

! j

Hola

BEATRIZ.
voces ?
165

Aqui estoy,

sefior.

<i

De que

venis dando

SARMIENTO.

Mirad que

y pariente mio,

convidado.

traigo este caballero, soldado Acariciadle y regaladle

mucho, que va a pretender a la corte. BEATRIZ. Si vmd. va a la corte, lleve advertido que la corte no es para Carlos tan encogido; porque el en170 cogimiento es linaje de boberia, y el bobo esta cerca de
ser desvalido,

lo

luz de las acciones humanas,

merece; porque el entendimiento es y toda la action consiste

. .

LOS DOS HABLADORES

35

Quedo, quedo, suplico a vmd., que bien se consiste en la disposicion de la naturaleza; porque la que
naturaleza obra por los instrumentos corporales, y disponiendo los sentidos. Los sentidos son cinco: andar,

ROLDAN.

y pensar, y no estorbar. Toda persona estorbare es de ignorantes, y la ignorancia consiste en que no caer en las cosas. Quien cae y se levanta, Dios le da
tocar, cor[Y]er,

buenas Pascuas.
la

Las Pascuas son cuatro:

la

la

de Reyes, la de Flores, y es un vocablo exquisito.

de Pentecostes.

de Navidad, 180 Pentecostes

BEATRIZ.

<i

Como

exquisito

Mai

sabe

vmd.

de

cosa exquisita es extraordinaria. La exquisites. ordinaria no admira. La admiracion nace de cosas altas. 185

Toda

La mas
la

alta cosa del

mundo

es la quietud,

porque nadie

alcanza.
ella.

La mas

caen en
tion ...

malicia, porque todos El caer es forzoso, porque hay tres esta-

baja es la

dos en todas cosas:

el principio, el

aumento, y

la declina-

190

Declination dijo vmd., y dijo muy bien; porque los nombres se declinan, los verbos se conjugan, y los que se casan se llaman con este nombre y los casados
;

ROLDAN.

son obligados a quererse, amarse y estimarse, como lo manda la Sancta Madre Iglesia; y la razon desto es .195
.

BEATRIZ.
neis juicio ?

Paso, paso.
<J

<i

Que

es esto,

marido?

Te-

Que hombre
(\

es este

que habeis traido a

!

mi casa ? SARMIENTO
la

[_aparte].

Por Dios
el

que

me

he hallado con que esquitarme.)

[A

BeatrizJ]

huelgo que Dad aca2oo

mesa

presto,

y comamos; que
o
siete anos.
j

senor Roldan ha de ser

huesped mio BEATRIZ.

seis
,;

Siete anos ?
!

Malos anos

! j

Ni un hora,

que reventare, marido

36
205

TEN SPANISH FARCES

l era harto SARMIENTO. mejor para serlo vuestro. Hola Dad aca la comida! INES. Convidados tenemos ? Aqui esta la mesa. ROLDAN. Quien es esta sefiora ? SARMIENTO. Es criada de casa. ROLDAN. Una criada se llama: en Valencia, fadrina; 210 en Italia, masara; en Francia, gaspirria; en Alemania, filimoquia; en la corte, sirvienta; en Vizcaya, moscorra; y entre picaros, daifa. Venga la comida alegremente, que quiero que vuesas mercedes me vean comer al uso 215 de la Gran Bretana. BEATRIZ. Aqui no hay que hacer sino perder el juicio,
!

<:

<;

marido; que reviento por hablar.

ROLDAN. Hablar dijo vmd. Dijo muy bien; hablando se entienden los conceptos. Estos se forman en 220 el entendimiento. Quien no entiende, no siente. Quien
no
siente,

no

vive.

El que no vive, es muerto.

Un

muerto, echarle en

un huerto.
!

BEATRIZ.

Marido, marido
^

SARMIENTO.
225

BEATRIZ.
blos;

Que quereis, mujer ? Echadme de aqui este hombre con

los

dia-

que reviento por hablar. SARMIENTO. Mujer, tened paciencia; que, hasta cumplidos los siete anos, no puede salir de aqui; porque he dado mi palabra, y estoy obligado a cumplirla, o no
230 sere

quien soy. BEATRIZ. Siete anos

!

Primero vere yo mi muerte

Ay, ay, ay

INS.
235

Desmayose.
?
!

delante de sus ojos

ROLDAN.

Jesus

[Desmdyase^] Esto quiere ver vuesa merced Vela ahi, muerta. De que le ha dado este mal ?
^
J

SARMIENTO.

De

no hablar.

Dentro la Justicia.

LOS DOS HABLADOKES

ALGUACIL.
Justicia
!

37

Abran aqui a
Justicia
!

la

Justicia,

abran a

la

ROLDAN. ando huido,

carcel.

La
si

Ay,

triste

de mi

y,

me

conocen,
el

me ban

que yo de llevar a la 240

!

SARMIENTO.
esta estera vmd.,

Pues, senor,

remedio es meterse en
otro.
el

que

las

habian quitado para limpiarlas,

asi se

podra

librar;

que yo no hallo

Metese en la estera ROLDAN, y salen

ALGUACIL, Es-

CRIBANO, y CORCHETE.

ALGUACIL.

<J

SARMIENTO.
furioso viene?

Era para hoy el abrir esta puerta ? 245 Que es lo que vmd. manda, que tan
<J

ALGUACIL. El senor Gobernador manda que, no obstante que vmd. ha pagado los docientos ducados de esa cuchillada, venga vmd. a darle la mano a ese horn- 250
bre,

se

abracen y scan amigos.

Queria comer agora. El hombre esta aqui junto, y luego se volvera vmd. a comer de espacio.

SARMIENTO. ESCRIBANO.

SARMIENTO. Vamos; y entretanto, poned la mesa. 255 [Vanse SARMIENTO, e ALGUACIL, ESCRIBANO, y CORCHETE.] INES. Vuelve en ti, senora; que, si de no hablar te
has desmayado, agora que estas
quisieres.
sola,

hablaras cuanto

BEATRIZ.
silencio

Gracias a Dios, que agora descansare del

260

que he tenido.
la cabeza, y,

Saca ROLDAN
dice:

mirando a

DONA

BEATRIZ,

ROLDAN.
porque

Silencio dijo vuesa merced,

el silencio

y dijo muy bien; fue siempre alabado de los sabios; y

38
los sabios

TEN SPANISH FARCES

hablan a tiempos, y callan a tiempos; porque hay tiempos de hablar y tiempos de callar; y quien calla, 26sotorga; y el otorgar es de escrituras; y una escritura ha
menester tres testigos, y,
siete;
si

es de testamento cer[r]ado,

porque BEATRIZ. Porque

.

el

diablo se lleve

el

aca
270

lo trujo.

<i

Hay

tan gran bellaqueria

hombre, y quien ? Yo vuelvo a

desmayarme.
Vuelven a salir todos.
se han hecho las amistades, Hola quiero que vuesas mercedes beban con una caja.

SARMIENTO.

Ya que

Dad

aca la cantimplora y aquella perada. BEATRIZ. Agora nos meteis en eso ?

<;

275 es tamos

tu,

No veis que ocupados sacando estas esteras ? Muestra el palo. con esotro, demosles hasta que queden limpias.

Paso, paso, sefioras; que bien entendi que hablaban mucho, pero no que jugaban de mano. ALGUACIL. No es aquel Que es esto ? Oigan 28obellaco de Roldanejo el hablador, que hace las maulas?
! j

ROLDAN.

<J

<i

ESCRIBANO.
ALGUACIL.

El mismo.

ROLDAN.
preso no es
285

Sed preso, sed preso. Preso dijo vmd., y dijo

muy

bien; porque el

libre,

la libertad

aqui no ha de valer la hahabeis de ir a la carcel que SARMIENTO. Senor Alguacil, suplico a vmd. que, por haberse hallado en mi casa, esta vez no se lleve; que le

ALGUACIL.
;

Que

no, no;
!

bladuria;

vive Dios

doy palabra a vmd. de darle con que se vaya del 29ocurandome a mi mujer. ALGUACIL. Pues de que la cura ?
,;

lugar, en

SARMIENTO. ALGUACIL.

Del hablar.
<j

como ?

LOS DOS HABLADORES

39
la
295

SARMIENTO.
enmudece.

Hablando; porque, como habla tan to,

Soy contento, por ver esemilagro; pero ha de ser con condition que, si la diere sana, me avise vmd.
ALGUACIL.
a mi casa; que tiene mi mujer la propia enfermedad, y me holgaria que me la curase de
luego,

porque

le lleve

una vez. 300 SARMIENTO. Yo avisare con lo que hubiere. ROLDAN. Yo se que la dejare bien curada. ALGUACIL. Vete, picaro hablador SARMIENTO. No me desagrada el verso. ALGUACIL. Pues, si no le desagrada, oiga, que yo tengoaos
! j

alguna instancia de poesia. Poesia han dicho vuesas ROLDAN. Oiga

! j <;

merllevar

cedes

Pues reparo que por Dios, que

otros la salva,

la

han de

de pufio. Hacense unos a

y van diciendo

las glosas.

ALGUACIL.

La condition del hablar mas parece tentacion

de quien nos suele ten tar;
ni

310

puede ser condition en hombre que es muladar. Parte a servir de atambor

315

con esa lengua, embaidor; y pues con mayor ruido

suenas a un discrete oido,
Vete, picaro hablador.

ESCRTBANO.

Despues de muerto se yo que han de ponerse en lugar de epitafio: Aqui murio quien, muerto, no ha de callar
tanto como, vivo, habl6.

320

40
325

TEN SPANISH FARCES

INKS. Esa quiero yo acabar. ESCRIBANO. Diga, veamos.

INES.

y pues de hablar el rigor a un muerto pone temor, a un monte, donde a ninguno

seas,

330

hablando, importune,

Vete, plcaro hablador.

SARMIENTO.

Va
i

la

mia:
tu,

Oh

que hablaste por veinte,

. .

y
335

hablaste por veinte mil

la acabare, detente.
sutil.

BEATRIZ.

Yo

ROLDAN.
BEATRIZ.

Por hablar, traza

Repare, senor pariente: Vete a donde tu rumor

no suene para tu mengua:

340

y, pues se sabe tu flor,

vete, enfermo de la lengua, Vete, picaro hablador.

ROLDAN.
345

Oigan y reparen vuesas mercedes, que no

sera peor la mia:

Aqui he venido a curar una mujer habladora, que nunca supo callar,
a quien pienso desde agora

enmudecer con hablar.

350

Convidome este senor, y comence yo en rigor,

aunque diga su mujer, por no me dar de comer:
Vete, ptcaro hablador.

Vanse

todos,

ddndose vaya, con que

se

da fin.

ENTREMES DE REFRANES
SON FIGURAS:
PEDRAZA, galdn.

ALVARADO,

vejete.

DONA DONA

SoitA.

CASILDA.

MtJSICOS

Salen

DONA

SOFIA y PEDRAZA, galdn.

PEDRAZA
(i)
(2)

Quien nocreeen buena madre,cree en malamadrastra. Pense yo, senora dona Sofia, que pescaba bogas y que

tenia (3) trapillo con diner os en amartelar a vuesa merced; al fin he visto que (4) la mejor mujer, mujer; pues me
el

deja (5) como

tresquilado.

camera encantado quefue por lana y wlvio

DONA
(6) Mas es (7) No diga
el

SOFIA

ruido que las nueces, sefior Pedraza. vuesa merced esta boca es mia, sino en boca; y si no, (9) tome las de Vttladiego, y (8) punto (10) no piense que me hace los hijos caballeros; que ya 10
esta pobre,

y (u) de

costal sacudido,

nunca buen

bodigo.

PEDRAZA

He gastado con (12) Cria el cuervo, sacarte ha el ojo. vuesa merced mis blanquillas, que (13) no me ha quedado estaca en pared; y cuando pense que vuesa merced
41

42
15

TEN SPANISH FARCES

moria por mi,
(14)

se

como gavildn por rdbanos,

(15)

me

da con

la puerta en los ojos;

que

(16) mujer, viento

y ven-

tura, presto se

muda.

No puedo
es

dejar de sentillo; que

(17) quien juega y pierde, fuerza

que reniegue.

DONA
20

SOFIA

(18) Agua pasada no muele molino, cuanto y mas que no me ha dado nada; que (19) esto es hacer la cuenta

sin la huespeda;

(20) todo lo que se

y agua; y (21)
tenia

tras, Iras,

para

la costa

gana se vuelve sal no mds. Ni el

que dar, que

(22)

harto trigo tenia

mi padre en

el

cdntaro!
25
el

dio algo, no habia de ser yo (23) como sastre del Campillo, que cose de balde y pone el hilo; que
el

Y si me

abad de donde canta, de alii yanta. Vaya; que (25) quien se muda, Dios le ayuda; que (26) ya pas 6 solia; y no quiero ser (27) pescador de cana, que mds come que
(24)

gana.

Sale

DONA CASILDA
?

DONA CASILDA
30
J

Que

es esto ?

<J

Que voces son

lo

estas

mal

pleito

tiene todo

mete a wees.

que (28) quien Pero ya puedo

(29) sacar por

(31) meter

el hilo el ovillo; y (30) pues soy, etc., quiero mi cucharada y poneros en paz; aunque (32) mds

sabe

el loco

en su casa que

el

cuerdo en la ajena.

DONA
35

SOFIA

(33) En el aldegilela mds mal hay del que se suena. Aqui estamos (34) tu por tu, como el gaitero del aldea; y (35) como canta el abad, responde el monacillo; y (36) perai

mi honor

diciendo

mal y oyendo

peor.

PEDRAZA
Senoras, yo quiero responder, que (37) a quien no habia no le oye Dios; y (38) echemoslo a doce y nunca se venda, que 40

ENTREMES DE REFRANES
(39) no piense que

43
(40)

me mamo yo

el

dedo.

Yo soy un

hidalgo que tengo mi piedra en el rollo; (41) / que mundo, lo mundilloj nacer en Granada y morir en Trujillo!

menos soy tan bueno como

cual casaron en Duenas.
(43) dddivas

esta sefiora, que (42) tal para

Diome entrada en

su casa, que

45

Hela sustentado siete quebrantan penas. meses, que (44) los duelos con pan son buenos; pero (45) la mucha conversation es causa de menosprecio, y asi agora me
despide y

me

escupe; que (46)

Sancha, Sancha, bebes

el

vino y dices que

mancha!

so

DONA
(47)

SOFIA
sordas.

palabras locas,

orejas

Diga

lo

que

quisiere,
gente.

que (48) quien no miente, no viene de buena

DONA CASILDA
Ea, no hay mas; (49) palabras y plumas, el viento las lleva. No andeis siempre en dares y tomares; que (51) a quien da y toma Dios le da una corcova.
(50)
55

PEDRAZA

Yo (52) No puede ser el cuerw mds negro que sus alas, tengo de (53) andar en dimes y diretes y en dares y tomares, aunque Dios me de dos corcovas; (54) que una no es ninguna; y siendo muy corcovado, dire lo que quisiere; que (55) a quien no ha mesura, toda la tierra es suya. Digo, Yo anduve sefiora, que (56) escarba la gallina por su mal.
60

muchos
al cabo.

dias por vuesa merced, que (57) parto largo, hija Pense que era vuesa merced nueva; pero (58) uno

piensa

el

bayo y otro

el

que

lo ensilla.

Quise luego dejalla,

65

que

(59) lo que otro suda, a

mi poco dura; pero reporteme,

aunque
eres

dije entre mi:

(60) tal te quiero, Crespa,

tinosa.

44

TEN SPANISH FARCES

DONA

SOFIA

No

importa no

ser nueva; (61)

mal de muchos, gozo

es.

PEDRAZA
70

(62)

Yo

hice orejas de mercader,

que

(63) a quien dan,

no escoge; pero he gastado

gran tocado, chico
vana.
recado,

mucho en
y
(65)

galas; que (64) a moza galana, calabaza

DONA
75

SOFIA
el

dia que [no~\

Senor, (66) sufrir cochura por hermosura; porque (67) me afeite, vino a mi casa quien no pense.

PEDRAZA
Pues
llena
j

aqui de Dios

si

yo
el

le
si

probe que (68) en casa

presto se guisa la cena,

yo

lo sufro

todo, que
<:

que no quiere oir, por que me trata mal ? (70) De amigo a amigo, chinche en el ojo. 80 (71) Mozas, bailo bien i y echdisme Valgalo el diablo
(69)
! j

no hay peor sordo que

del corro ?

DONA CASILDA
Ea, senora, que (72) cuando dos no quieren,
barajan; (73)
.

tres

no

que (74) rinas de por

;

San Juan son paz

!

para todo
8 s (75)

el

ano.
la

Por amor de Dios

lo

dona

Sofia,

que

quiebre

soga por

mas

delgado,

y que

querais

mucho al senor me hard; y (77)

Pedraza, que (76) malo vendra que bueno callate y callemos, que sendas nos tenemos.

PEDRAZA
quiero nuevas.

No

mas

voces; que (78) a cuentas viejas, barajas

ENTREMES DE REFRANES

45

DONA
(79)

SOFIA

De

conejo ido,
(80)
ojos

el

consejo venido.

Yo no

mal.

que

que bien se quieren,

le quiero go desde lejos se

que (81) quien

hocico.

saludan; pero, pecadora de mi, no tiene ya un cuarto, tiene cuatro y gasta cinco, no ha menester

Yo, senora, (82) no tengo oficio ni beneficio. Si quieres que te lo diga, (83) Pedraza es pobre y quiere mujer. 95 (84) Aja no tiene que comer y convida huespedes.

DONA CASILDA
Senor Pedraza, (85)
(86)
se
$

de que sirve andar por las ramas ?

La

verdad adelgaza,
si

quede con Dios; y

si
el

y sangralle, y
zones: (88)

mas no quiebra. Vuesa merced no tiene que gastar, (87) purgalle muriese, enterralle. Esto es acabar ra-ioo
la

pan comido,

compania deshecha,

PEDRAZA
Vuesa merced
cerrada
el

se

quede con Dios, que

(90)

(89)

a puerta
perro con

diablo se vuelve.

No

quiero

mas

cencerro; pero advierta que (91) de lo contado come el lobo, y que (92) aunque mas sabe la zorra, mas sabe el que laios toma. Vase PEDRAZA.

DONA
(93)
(94)
/ /

SOFIA

Tormes, Tormes, por donde vienes, nunca tomes I

ida del

La

humo I y

(95) al enemigo que huye, la

puente de plata.

DONA CASILDA
(97) paciencia y barajar; que no a dos dias huelen, y (99) en Madrid (98) huesped y pez, se usa descartar al pobre, y (100) donde fueres, haz como
(96)
estd

Ya

hecho;

el

el

vieres.

Sale

ALVARADO

con

una

carta.

46

TEN SPANISH FARCES

ALVARADO
115

madre de la buena ventura; y diligencia (102) haz bien, y no cates a quien, que (103) hoy por mi, y manana por ti. Esta carta traigo de las Indias; que
(101)
es

La

aunque dicen que (104) mat ajeno de pelo cuelga, he de hacer esta diligencia; que (105) coda uno hace como Ah, vuesa merced la senora dona Sofia quien es. 1 20 su fama la hace bien conocida aunque pero (106) unps
\
!

tienen la

fama y

otros

cardan la lana.

DONA Yo soy,
senor,

SOFIA

(107) bien haya quien a los suyos parece.

ALVARADO
Senora, mire; yo vengo de las Indias y aunque (108) de largas vias, largas mentiras, vengo para decir verdad y hacer (IOQ) de una via dos mandados. Vuesa merced
tenia en las Indias

125

un

tio, el cual,

como (no) a

la

muerte

no hay cosa

fuerte, se murio;

porque (in) quien mas no

puede, morirse deja.

Ay

Dios
el

DONA SOFIA mucho me pesa; pero

a la hogaza.

(112)

el

muerto a la

i&huesa, y

vivo

ALVARADO
Este caballero
la dejo

a vuesa merced mil ducados, que

(113) quien no hereda, no medra.

DONA
j

SOFIA

Ay

se
135 te

me ha

venturosa yo, que a tan buena coyuntura (114) caido la sopa en la miel! Dona Casilda, que
<J

parece

Muriose mi

tio

y me dejo por su heredera,

son.

que (115) prendas de garzdn diner os

ENTREMES DE REFRANES

47

DONA CASILDA
Verdaderamente que (116) adonde no pieman,
liebre;

salta la

(117) al que Dios quiere bien, en casa

le trae

de

comer.

ALVARADO
Senora mia, (118) quien bien ata, bien desata. Estei4o dinero se ha de dar con condition que vuesa merced este
casada o se case;
digan que:
duelo.

y asi lo tengo de hacer, porque no (119) adonde no estd su dueno, alii estd su

DONA
!

SOFIA

Valgame Dios (120) / que de tUulillos! (121) ; Achaques 145 al viernes por no ayunar ! Ea, senor, de vuesa merced ese da luego, da dos veces. dinero, que (122) quien
j

ALVARADO
Senora, (123)
culpa, non.))
el

Mensajero

sois,

Vuesa merced
si

se case,

amigo; non merecedes y al marido dare

dinero;

no, (124) escrlbase en

mas

vale vergiienza en cara

volvere por la respuesta;

grito.

el agua; que (125)150 que mancilla en corazon. Yo que (126) a buen bocado, buen

Vase.

DONA
Ay, dona Casilda, que quisiera casarme ni perder
i

SOFIA
triste

este dinero;

que quedo y no
el

se

que no que he 155

de hacer; que (127) bueno para el bazo.

lo

que es bueno para

higado no es

DONA CASILDA
eso te afliges? (128) Con arte y engano se vive medio ano; y con engano y arte la otra parte.
<s

De

48

TEN SPANISH FARCES

DONA
160

SOFIA

Pues

<i

que

te

parece que hagamos? que (129) mds ven

cuatro ojos que dos.

DONA CASILDA
Busca un marido
fingido,

(130) dure lo que durare,

como cuchara de pan.

En

cobrando ese dinero, (131)

coda lobo por su senda; que (132) en la casa del mezquino, 165 mds manda la mujer que no el marido.

DONA
!

SOFIA

Ay, que bien dices (133) Mds vale saber que haber. Pero a quien haremos que sea marido fingido, porque no vengamos (134) de rocin a ruin? Sale PEDRAZA.
j <J

PEDRAZA
(135)

Si

ijohoma.

(136)

Mahoma no va al otero, vaya el otero a MaNo acierto a salir desta casa; que (137)

amores y dolores mal se pueden encubrir.

DONA CASILDA
i

el

Ay, que vuelve Pedraza Llega y rindete; que (138) hombre es fuego, la mujer la eslopa, llega el diablo y sopla.
!

DONA
1

SOFIA
el

75

Vuelve aca, pan perdido, que (139) a su dueno muerde.

perro con rabia

PEDRAZA, aparte
(<; Que aquesto ? Aqui hay algun enredo. (140) Del agua mansa me libre Dios.) Que es esto, mi sefiora dona Sofia ? Vuesa merced se ha hecho (141) la gatita de Marirramos.

es

ENTREMES DE REFRANES

49

DONA

SOFIA
. .

.; yi8o Quiero ya mudar de condition; porque (142) quierote pedir que digas eres mi marido (que no importa el decillo; que (143) del dicho al hecho, hay gran trecho), porque me importa para cobrar mil ducados; porque (144)

al

buen entendedor, pocas palabras.

PEDRAZA
j

Casarme yo
el

(145)

otro perro

con ese gtieso

que 185

(146)

mujer
es

te

De la mala (147) buey suelto bien se lame. guarda, y de la buena no fies nada; mas si no
decillo,

mas de

yo

lo dire;

que (148) boca que

SOFIA

dice de

sf,

dira de no.

DONA

Pues nosotras vamos a prevenir una fiesta como deigo Y (150) vfvame esa cara boda, y (149) adids, bien mio. de pascua mil anos; que (151) a quien a buen drbol se
arrima, buena sombra
le cobija.

Vanse

las dos.

PEDRAZA
(152) Quien calla, piedras apana. Estas me quieren enganar, y yo las tengo de ganar por la mano; que (153) 195 quien hurta al ladron cien dias gana de perddn. Sale ALVARADO con el dinero.

ALVARADO
Si esta
i

Oh,

sefior

mujer no se casa, no la tengo de dar el dinero. Pedraza huelgome de encontrarle aqui; que
!

el agua bendita, con mil ducados que he de dar a una dona Sofia; y pienso que (155) 200 no trae bien los dedos para organista.

(154) andff entre la cruz y

SO

TEN SPANISH FARCES

PEDRAZA
j

Ah, que linda ocasion

mieL

Aqui me

La sopa se me ha caido en la he de vengar lindamente con vuestra

!

ayuda; que (156)

del lobo siguiera

un

pelo.

ALVARADO
205

Haced

lo

que quisieredes, que (157) quien calla, otorga. Salen DONA SOFIA y DONA CASILDA.

DONA CASILDA
traemos musicos y bailarines, para que (158) giiela la casa a hombre; que (159) cada gallo canta en su muladar.

Ya

DONA
Pues
alii

SOFIA

y aqui esta ya aguardando a quien madruga, Dios le ayuda. novio; que (160) 2ioLlegue vuesa merced, senor Indiano, que el senor Pedraza
el

viene

Indiano,

el

es

ya mi marido, que mi suerte

me

lo dio.

(161)

Cada

oveja con su pareja.

ALVARADO

Yo

lo creere,
al

si

lo
el

dice,

que (162)

al

hombre por

la

palabra, y

buey por

cuerno.

DONA
215

SOFIA

No

diga vuesa merced ese nombre en dia de boda,

al

que (163)

enhornar se hacen

los

panes

tuertos.

ALVARADO
<i

No responde vuesa merced, senor novio ?

PEDRAZA

que (164) ...

Yo soy el verdadero marido; pero la desposada no duerme, que (165) mujer que no vela, no hace larga tela.

ENTREMES DE REFRANES

51

ALVARADO
el marido, tome estos mil 2 20 buen provecho la hagan, que (166) de buena ducados, y mano, buen dado. PEDRAZA

Pues

si

vuesa merced es

Con estos quedo yo pagado de otros tantos que he dado a esta senora; y asi, me voy. (167) i Que es lo
que quiere la

mona

pinones mondados.

225

DONA

SOFIA

Senores, i que es esto ? \_A parted] (168) (El pez que busca el anzuelo, busca su duelo; que (169) quien al cielo Si digo que no es mi marido, escupe, en la cara le cae.

no

me

daran

el

dinero;

si

digo que lo es,

me

lo llevan.

Yo

estoy

como

(170) perro de barbecho, ladra sin provecho.) 230

PEDRAZA

Senora (171), quien todo lo quiere, todo lo pierde. (172) perro viejo no hay tus, tus; y (173) de burlas ni de veras,

con tu

amo no

partas peras.

DONA
j

SOFIA

Ay

de mi

dejame

llorar,

que (174) no soy yo

sola.

PEDRAZA
Ea, no mas, que soy tierno de corazon. Yo volvere el 235 dinero; que (175) buenas son mangas despues de pascuas. Quiero darlo^poco a poco, porque vuesa merced no (176)

me

de con los ochos y nueves.

ALVARADO
Dice bien
el

senor Pedraza;

y pues han venido

los

musicos, canten y bailen, que (177) quien canta, sus males 240
espanta.

52

TEN SPANISH FARCES

PEDRAZA
Pero adviertan que hemos hablado todos refranes; y asi, canten de aquesta manera. (178) Entre col y col, bien baila, de boda en boda se lechuga; que (179) quien
245

anda.

Salen

los

Musicos y

cantan.

Musicos.
doncella chancera, tarde piache,* (180) de las de

Una

250

que (181) con pico de once varas pica y repica que sabe, aficionada a un mancebo,
le tresquilo

(que (182) todo lo nuevo aplace), a panderetes,

corta
el

que (183)
ass

pelo en

el aire.

(184) Dejosele a buenas noches; (185) / que linda si se enrubiase/

que (186) quien malas manas siempre de las suyas hace.

tiene,

Mas
260

la

dama, arrepentida,

pretende desenganarle; y poniendo haldas en cinta,

(187) (188)
le

baila

el

agua

delante.

Como

sardina muere la

dama

ingrata;

solid de la sarten

y did en

las brasas.

265

(189) Quien te hizo el pico, te hizo rico. (190) Ese es tu enemigo, quien es de tu oficio. (191) Nunca te acompanen libres mujeres; dime con quien andas, direte quien eres. Picarilla, si quieres salir de los duelos,
(192) llegate a los buenos, seras

uno

dellos.

ENTREMES FAMOSO

EL DOCTOR Y EL ENFERMO
FOR

LUIS QUINONES DE BENAVENTE

1589 ?-l65l

ENTREMfiS FAMOSO

EL DOCTOR Y EL ENFERMO
LUIS QUINONES DE BENAVENTE

FIGURAS QUE HABLAN EN

DON
CRispfN.

L:
su hija.

DONA TOMASA,
MORMOJON,
Mtfsicos.

AVENDANO.
CASTANEDA.

simple.

EL DOCTOR GARATUSA.
Sale

CRISPIN con una daga desnuda en la mano, como con ella, y AVENDANO y CASTANEDA deteniendole, asidos del, y el haciendo fuerza con que se

DON

que

se quiere dar

quiere matar.

CASTANEDA.

Hombre de
Deten
<j

los

demonios,

<i

estas loco ?

la ejecucion; te

Que causa

aguarda un poco. ha movido, mentecato ?

!

AVENDANO.
CRISPIN.

Suspende, aguarda, ten

Desta

te

mato.

CASTANEDA.
CRISPIN.

Hacednos

sabidores, por lo menos, de la causa de hacer estos extremos.

<[

Es

posible,

Avendano y Castaneda,

AVENDANO.

que sabiendo a que sabe mi moneda, y viendo que a matarme me provoco, no echais de ver que amor me tiene loco ? Pues somos, por ventura, aqui adivinos,
,;

que habemos de juzgar tus desatinos ?

55

TEN SPANISH FARCES

CASTANEDA.
CRISPIN.

Y quien es la homicida, quien la ingrata ? El doctor Garatusa es quien me mata.

<j

CASTANEDA.
CRISPIN.

Pues del doctor estais enamorado ? O no sabeis de amor o sois menguado.

<J ,j

15

No

tiene hija este doctor, salvaje ?

AVENDANO.
CRISPIN.

<j

Y ha

de ser

al quitar el

maridaje

CASTANEDA.
CRISPIN.

ser; aqueso pido; que me tiene su amor de amor rendido. Corresponde a ese amor ?
<;

Matrimonio ha de

20

Pierde

el sentido,

y he sido veces mil favorecido;

mas
CASTANEDA.
<[
<i

es su

padre un Argos vigilante.

? 25

Hay mas de ser Mercuric, di, ignorante Que me daras si yo te doy entrada en su casa, por mas que este guardada ?
Fuera de plata y oro de mis minas, porque es pedir aquesto bernardinas,
pide los imposibles que quisieres,

CRISPIN.

que nada

es para

mi cuanto

pidieres.

30

CASTANEDA.

Tu has de fingirte

enfermo, que con esto vendras a echar a tu fortuna el resto.

Yo y Avendano, como

tus criados,

iremos de camino disfrazados, diciendo que esta enfermo un caballero

35

con cantidad de joyas y dinero. Que te cure en su casa, y si esto es

cierto,

tu le daras al viejo perro muerto. Es traza milagrosa; ya no quiero

matarme; que de hoy mas vivir espero con mi Tomasa con descanso y gusto,

40

aunque

esto de haber suegro es grande susto.

EL DOCTOR Y EL ENFERMO

57

AVENDANO.
CRISPIN.

Pues vamoslo a poner por obra luego. Vamos, que ya me aliento y me sosiego.
Vanse, y sale el DOCTOR GARATUSACOW ropa y montera, barba de doctor y guantes en la
pretina, y

MORMOJON,
el

TOR

corriendo tras

simple; el DOCcon un polo, y el

le siga.

huyendo a todas paries que

MORMOJON.
DOCTOR.

Yo no he de estar en casa.
Hermano, hermano,
vuestro padre lo quiere; aquesto es llano. No he de estar con doctor, aunque supiera
servir a un aguador o a una partera. Los doctores no son como Dios manda
45

MORMOJON.

que scan que

se

los cristianos;

pues nos dice

los otros,

50

amen

los

unos a

esto haceis al contrario bien vosotros;

pues en lugar de amarmos y querermos, como en la ley de Dios esta ordenado,

mos

deseais dolores de costado,

ss

calenturas, tercianas

otros males,

DOCTOR.

de que enferman tambien muesos reales. Pues si no hubiera medicos, salvaje,

<i

quien habia de curar

<;

MORMOJON.

Quien ?
pulso,

El albeitar,
60
el

que todo para mi viene a ser uno.

No hay
y

sino daca

el

toma

pulso,

DOCTOR.

a parar vueso discurso en sangrar y purgar y echar ventosas. A la salud son todas provechosas.
al fin viene

MORMOJON.

Llamaron a un doctor para un enfermo, Mientras hago que me ensillen y dijo:

65

5
la

TEN SPANISH FARCES

mula, vaya y diga que le sangren. Son disparates cuantos aqui has dicho,
70

DOCTOR.

MORMOJON.

dignos de ingenio tal y tal capricho. Viene el doctor a casa al mediodia; Dona Maria, dice desde el portal:

ha venido a buscarme alguien, senora ? No, senor, le responde; y el la dice: No les de Dios salud, que si ella falta, me vendran a buscar, como deseo.
<j

75

DOCTOR.

MORMOJON.

Es vejamen aqueste o regodeo ? Dicen que habia un doctor de media

<i

talla,

que, para acreditarse en el oficio, dando de que era sabio algun indicio,

miraba

siempre que visitaba algun enfermo si en el suelo habia caidas

80

cortezas de melon o de granada, y tomandole el pulso al tal doliente

decia, mostrandose sapiente: Vuesa merce ha comido ... lo que y con esto su fama se extendia. Pues, viendo un dia cerca de la cama
le

via, 85

unas pajas de balago,

le dijo

al enfermo mesurado y muy fruncido: Vuesa merced albardas ha comido.

!

90

DOCTOR.

Buen humor gastas hoy

casa.

MORMOJON.
yo no he de estar en

Si es

bueno u malo,

DOCTOR.

Con un palo os hare yo que esteis; entra alia dentro.

con la mula, que soy cristiano viejo y tengo bula, y n< he de consentir que a mi me hable en latin una mula venerable.

MORMOJON.

Yo no quiero entender mas

95

EL DOCTOR Y EL ENFERMO
Dentro

59
y luego

AVENDANO y CASTANEDA,
doctor

salen.

CASTANEDA. DOCTOR.

<J

Esta en casa

el

MORMOJON.
CASTANEDA.

No

Mira quien llama. hay para que, que ya dentro ban

entrado.

Sea vuesa merced

muy

bien hallado.

100

Nosotros dos servimos, senor mio, a un criollo que de Indias ha venido.

Viene indispuesto, y viendo que en su casa en lo que es el cuidado no habra tasa,

queremos que le cure; porque es hombre que le dara (y de aquesto no se asombre)

gran cantidad de oro, plata y perlas, que admirado estara si llega a verlas,

105

porque las trae como unas calabazas; diamantes como ruedas de molinos.

no

MORMOJON,
DOCTOR.
CASTANEDA.

aparte.

(Anadid otro par de desatinos.) Digo, senores, que de buena gana

En

curare a ese senor; traiganle luego. este si consiste su sosiego.

Vanse

los dos.
?.

DOCTOR.

Aquesto
<i

es ser doctor.

<;

Que
el

te parece

115

MORMOJON.
DOCTOR.

mi ? Que el codicioso y presto se han concertado.

j

tramposo
1

Ah, Tomasica
honesta.

Sale

DONA TOMASA, muy

TOMASA.

<;

Que manda mi
vuesa merced.

seor padre ?

Muy

contento
esta,

60

TEN SPANISH FARCES

es quienquiera Hija, ventura que a ti y a mi me espera ? Viene a curarse aqui un Indiano, y tiene
<J

DOCTOR.

la

120

gran cantidad de joyas, cro y plata; asi, si nuestra dicha no es ingrata,

nos ha de dejar ricos. Lindo dote el tuyo vendra a ser; un veintecuatro de Sevilla es
125

muy

poco para yerno

del doctor Garatusa.

TOMASA,

aparte.

(\

Que gobierno

Hasta tener el caso en buen estado, es necedad hablar de confiado.)

MORMOJON,

aparte.
(j

Plegue a Dios no suceda [V] la trocada,

ser la fiesta al fin

130

y venga a

aguada

!)

Salen CASTANEDA y AVENDANO, trayendo entre los dos a DON CRISPIN, muy toca-

jado y macilento, quejdndose.

CRISPIN,
Quedito, requedito Ay, que me muero! Llega aca tu esa silla, majadero.
!

DOCTOR.

Si&ntanle.

CRISPIN.

Diga vuesa merced, que es lo que siente ? Un infierno, un volcan, un accidente 135
<?

que

me

constrine adulto y melancolico.

Oiga vusted, y atienda.

DOCTOR.

Poco a poco.
aparte.

TOMASA,

Ay, Dios! mi Don Crispin es el que veo! For mi se finge enfermo, a lo que creo. Ingeniosa quimera de hombre amante !) 140
(\
j

DOCTOR.
CRISPIN.

Diga vuesa merced; pase adelante. Danme en las basas, ay unos gurguces
;

!,

EL DOCTOR Y EL ENFERMO
tan desabridos, rapidos y
fieros,

6l

queme

hacen,

como anino,hacerpucheros.
MS

DOCTOR.
CRISPIN.

No entiendo lo que dice, o yo estoy loco. Yo me dare a en tender; atienda un poco.

Critico es este mal, pues no se entiende.

150

MORMOJON.
CRISPIN.

Aqueste mal

me

sube y

me

deciende

por estos teglerifos con tal fuerza, que no hay quien su disignio aparte o
tuerza

de estos metodos rigidos en todos; y son los espicinios de mil modos,

desabridos, picantes

155

traviesos,

DOCTOR.
CRISPIN.

que no tienen conmigo paz mis huesos. Vive Dios, que a enfadarme me provoco!
j

Yo me

dare a entender; atienda un poco.

160

Vaya vusted conmigo; andad vosotros. Mirad si mi recamara ha llegado,

porque al doctor estoy aficionado, y he de dalle una joya birillante.

Vanse

los dos.

DOCTOR.
CRISP!N.

Diga vuesa merced; pase adelante.

"165

Como
;

digo, senor, la

requemada
.

sangre, con flemas grandes congelada

Ay, que me acude el mal a aqueste Parece que me siento algo aliviado.
chase hacia

lado

DONA TOMASA,

y abrdzase de
al

las faldas, y velo

MORMOJON, y pdsala

otro lado del brazo.

62

TEN SPANISH FARCES

Pues pasese muesa ama a estotro lado. Ay, ay ya se divide y se reparte.
!

MORMOJON.
CRISPIN.

170

TOMASA.

A lastima provoca ver

de
tales partes

un hombre
el

con dolores tantos.

a hacer santos.

MORMOJON.
DOCTOR.
CRISPIN.

No

pienso que ha venido Diga vuesa merced.

Sangrome en Lima un barbero, cunado de mi prima; y como un Indio me rasgo la vena,

tuvo desto
el

175

retrocediendo

impulse alguna pena, el musculo a la parte

DOCTOR.
CRISPIN.

donde el calor su agilidad reparte. 180 Ni al mal ni a vuesaste entiendo tampoco. Yo me dare a entender; atienda un poco.
Ya, ya
la

melancolia se ha soltado,

Hacia TOMASA.

y acude con mas fuerza a aqueste lado.

Aliviado

me

siento cualque cosa;

185

MORMOJON.

no os quiteis deste lado, dama hermosa. Bercebu lleve el padre que te hizo
\ !

Ponese en media.
CRISPIN.

Es aqueste tu mal antojadizo ? Traeme debilitado la flaqueza,

<j

que no

se

adonde tengo

la cabeza.

190

MORMOJON.
CRISPIN.

Veisla aqui.

Dale una palmada en

j

la cabeza.
!

Ay, ay, ay

Ay,

que me ha dado

MORMOJON.
DOCTOR.

Ay, ay, ay

! j

ay, por andar abajado

Yo voy

a prevenir lo que aqui importa, sea la cura breve y corta. porque Quedate aqui, Tomasa, mientras vuelvo.
Vase.

195

EL DOCTOR Y EL ENFERMO

63

TOMASA.
CRISPIN.

darte gusto en todo me resuelvo. Id vos por una caja de perada.

MORMOJON.
CRISPIN.

MORMOJON.
TOMASA.

Mejor fuera de guerra, y bien templada. calor, amigo mio; un bucaro de agua, que este frio. Un picaro de agua ?

Asome de

200

<j

Un
anda, ve, por tu vida.

barro, dice;

MORMOJON.
CRISPIN.

Voy

volando. Vase.

Esta ocasion estaba deseando.

Levdntase.

TOMASA.
CRISPIN.

Don

que es aquesto? Crispin de mi vida, darte gusto en todo me he dispuesto. 205

Sale

MORMOJON, y vuelvese a sentar y quejarse.

hallo ningun picaro.
i

DON

CRISPIN

MORMOJON.
CRISPIN.

No
\

MORMOJON.
CRISPIN.

Valgate

el

diablo

Ay, ay, ay Soy yo basilisco

!

que mato con la vista, o gato arisco Senora de mi alma, yo soy muerto.
Pues, vivo os vi yo ahora.

MORMOJON.
CRISPIN.

Unos bizcochos
tomara yo.
j

210

Ay,

Jesus, la

muerte he

visto!

MORMOJON,
TOMASA.

\_aparte~].

(En galeras

los gastes,

En

aquel escritorio
ellos,

plegue a Cristo he de tenellos;

j

!)

entra por

Mormojon amigo.
Vase.
Crispin, yo digo no pierdas, ya que diste
te dispusiste.
215

MORMOJON.
TOMASA.

Yo
que

los traere.

Mi Don
la ocasion

arbitrio tal,

y a entrar

64
CRISPIN.

TEN SPANISH FARCES

Dame, Tomasa mia, aquesos brazos; connrmare mi amor con tales lazos.
Abrdzanse, y sale MORMOJON, y vuelvese a caer en la silla.

MORMOJON.
CRISPIN.

No
;

esta la Have
!

alii

del escritorio.
!

220

Ay, Jesus

confesion

Quedase desmayado.

MORMOJON.

En viendome
TOMASA.

te caes.

<<

Valgate el diablo! Eres el puerco

?

de Juan de Avila, vivo, y luego muerto El esta desmayado; trae al punto

un

jarro de agua.

MORMOJON,
CRISPIN.

aparte.

(Mas

<J

que esta

el

difunto

225

vivo en saliendo yo deste aposento ?) Tomasa amiga, lo que en esto siento

tierra en medio, y desposarnos; fuerza vendra a ser el perdonarnos que tu padre, andando el tiempo.

es

poner

TOMASA.
es lo

Aqueso mismo 230

que digo yo, que andar con daca el coco, guarda el coco Vamos, mi bien, que estoy de amores loco.
es barbarismo

CRISPIN.

Vanse de

las

manos, y

sale

MORMOJON con
ya volaron
la
el

un jarro de agua.

MORMOJON.

Hola, muesa ama, hola Voto a tal, que esta vez

<;

?
!

mos
Sale

pegaron
Doctor.

235

DOCTOR.

<J

Adonde

esta el enfermo ?

MoRMOj6N.
que tu hija tom6 en

Ya
ello la

esta sano;

mano.

EL DOCTOR Y EL ENFERMO

65

DOCTOR.

Vive el cielo, Fingido era el enfermo. no ha de estar seguro en todo el suelo que
j

Salen
las

DONA TOMASA
este

DON

CRISPIN de
y
el

manos, y dicen de

rodillas,

DOCTOR
TOMASA.

muy

enojado.

tus pies llego humilde

y vergonzosa,

240

padre mio; perdoname, y advierte que son yerros de amor.

DOCTOR.
a colera
CBISPIN.

Con

solo verte

me

incitas.

Suegro mio,

MORMOJON.
DOCTOR.

no hagas, por San Gil, tal desvario. Enfermito te fingias Oh, ladron
!

<:

245

para hacer en mi

ama

las sangrias ?

Digo que yo os perdono y reperdono.

fxhales la bendicion, y levdntanse, y salen
los

Musicos.

TOMASA.

Pues aquestos senores han llegado a tiempo que esto esta en dichoso estado,
toquen
los instrumentos, bailaremos.
250

MUSTCOS. DOCTOR.

Con muchisimo gusto os serviremos. Toquen el Rastreado, y baile sola, que no quiero en mi casa tabahola.
Tocan
al Rastro,

y baila DONA

TOMASA sola.

JUAN RANA COMILON

LOS BUNUELOS

EL HAMBRIENTO

ENTREMES DEL ESPEJO Y BURLA DE PABLILLOS

PERSONAS QUE HABLAN EN EL
PABLILLOS.

Dos ALGUACILES.

UN

VEJETE.

UN HOMBRE.
el

Sale PABLILLOS corriendo, y

VEJETE

tras

el.

PABLILLOS.

Detenganlos
Confesion
!

VEJETE. PABLILLOS.
VEJETE. PABLILLOS.

i
j
;

Pues va tras

ti

ninguno
<J

muerto soy

tantos a

uno?
Aguardate, inocente. Contra uno solo un escuadron de gente ?
<;
;

confesion, confesion

VEJETE. PABLILLOS.

No hay
j

quien

le

alcance.

Que no
Que
te

halle

un hombre un confesor de
lance
!

VEJETE. PABLILLOS.

<;

han hecho ?

<J

Que has

visto ?
!

Confesion, que

me

muero, vive Cristo

VEJETE.
PABLILLOS.

<;

Que

dices ?

Bueno y sano

estas,

Muerto

estoy,

hermano. aunque estoy tan bueno y

sano.
10

VEJETE. PABLILLOS.

Esperate, importune.
\

Confesion, muerto soy

69

! <:

tantos a uno ?

7O

TEN SPANISH FARCES

<i

VEJETE. PABLILLOS. VEJETE. PABLILLOS.

No

quieres escucharme

No, que quiero empezar a confesarme: Acusome Pdnese de rodillas.

. .

Levantate, menguado
.

15

que estoy sirviendo, que es un gran pecado. Acusome, senor

. .

VEJETE. PABLILLOS. VEJETE. PABLILLOS.

VEJETE. PABLILLOS.

Espera, loco

que por no pecar mucho sirvo poco. Acusome, senor ^ Que te da susto ?
. . .

que peco muchas veces por mi gusto.

20

Yo

pierdo la paciencia.
esto se

Con

ha aquietado mi conciencia.
[Levdntase.~\

VEJETE. PABLILLOS.
VEJETE. PABLILLOS.
VEJETE. PABLILLOS. VEJETE. PABLILLOS.

Ya
j

no pienso seguirte paso alguno. Tantos a Confesion, muerto soy

! <:

uno?
que confesion entabla ? Aunque estoy muerto, no he perdido el
Si
esta,
,3

muerto

25

habla.

ha sucedido ? Con mas de treinta hombres he

Pues
<;

que

te

refiido.

<i

Como ?
Yo
os lo dire.

VEJETE. PABLILLOS.

Ya
Pues, senor,

estoy atento.
30

ya
VEJETE. PABLILLOS. VEJETE.

sabeis

como digo de mi cuento, que soy hombre de importancia.

. .

Ya

lo se.

y que

(Aparte.} se fue mi amo

. .
.

(\

el

ignorancia otro dia

Que

!)

a cierta comision

Ya

lo sabia.

ENTREMES DEL ESPEJO

PABLILLOS.

?1

y que no

fui

con

el.

VEJETE. PABLILLOS. VEJETE. PABLILLOS.

Ya
Pues yo no
fui

lo se,

con

el, id

amigo. vos conmigo.

35

todo estoy atento.

Pues, senor,
fuese

como

digo de

mi cuento,

mi amo en

fin,

y a mi

me

dijo:

Ven

aca, Pablos, hijo;

40

tu te quedas en casa para ver lo que pasa; que, como tu senora es tan bonita,

y una bonita quiere ser maldita, pienso que la picafta en quedandose sola se acompana. No dejes que ninguno la visite, que, aunque yo mas la rifio, me repite, condenando mis modos, que por lo bueno la visitan todos;
y es lo que mas me agravia, y mas condeno que todos la visiten por lo bueno. Hicelo yo tan bien que esta manana entre y hallela puesta a una ventana que tenia un vidrio claro, y por cubierta una tapa como otros tienen puerta. El espejo seria de ese modo. Si era ventana con su marco y todo.
Estuvela acechando, y con alguien sin duda estaba hablando, que con mil monerias
asi le hizo tantas cortesias;

45

50

55

VEJETE. PABLILLOS.

60

y luego

se tentaba la cabeza,

que entonces, si no es mucha mi rudeza, debia de decille la taimada:

65

72
<J

TEN SPANISH FARCES

Que

os parece ?

no estoy

muy

bien
?

tocada
Quitose, y cerro luego. Yo de colera ciego

llegome a

la

y un hombre veo
de mis

ventana a ver quien era; alii de mi manera,

70

pies, cara, talle,

no dirian sino que era

y mi

estatura;
figura.

Acerqueme por ver si sueno era, y el se acerco tambien, y de manera

que me vi en riesgo harto, porque un beso me da, si no me aparto. El espejo seria de ese modo.
Si era ventana con su marco y todo. Hagole un gesto, y el me hace otro gesto; hago esto, y el tambien hace esto;
75

VEJETE. PABLILLOS.

80

voy a pegarle, y
la

el

del

mismo modo;

Haciendo ademanes.

mano
el

escupo,

y
el

el

arremeto, y

escupe y todo; a mi arremete;

doyle un cachete, y dame otro cachete; tan igual es conmigo

85

que era mi mona mas que mi enemigo. Solo de que era zurdo se me acuerda,
VEJETE. PABLILLOS.
porque el El espejo
Si era

me daba
seria

con

la

mano

izquierda.

de ese modo.
90

Yo, viendo que de

ventana con su marco y todo. alii no puedo echalle,

busco, y no hallo nada con que dalle.

Llegome a la cocina, yo en persona; cogi un tizon, por no tener TLzona;

y de aquesto

me

aflijo,

95

ENTREMES DEL ESPEJO

que yo no se quien diabros se lo dijo, que luego volvi a estotro, y juro a Dios que ya le halle con otro. Pegamonos tan f uertes tizonazos que hicimos la ventana mil pedazos. Huyo muy mal herido,

73

100

y quiza porque nadie

le siguiera,

cerro la ventana por defuera; pero fue action villana,

me

que por cada pedazo de ventana

105

un hombre iba

saliendo,

y todos con tizones. Salgo huyendo, muerto y lleno de espantos, porque no me atrevi a renir con tantos; y
asi dije
j

mil veces importune:

no
tantos

Confesion,

muerto soy

uno?
VEJETE. PABLILLOS.
Seria
el

espejo, simple.
!
i

VEJETE. PABLILLOS.

Hay tal apodo ventana con su marco y todo. i Que hare, que ya no puedo volverme a casa ? Pues por que ?
Si era
<i

De De buena gana
a
oficio

miedo.

115

me

pusiera,

como dentro de una hora

VEJETE. PABLILLOS.
VEJETE. PABLILLOS.
VEJETE.
Eres

le

aprendiera.

muy

grande.

Nunca

fui chiquito,

que yo soy grande desde tamanito. Para comer yo se un oficio bravo. Y no para cenar ? pues no le alabo.

120

Animal

74

TEN SPANISH FARCES

d

PABLILLOS.

Es barbero ?

VEJETE. PABLILLOS. VEJETE. PABLILLOS. VEJETE. PABLILLOS.

VEJETE. PABLILLOS.

No
<

es barbero.

Zapatero

Tampoco
<J

es zapatero.

Es

el

de sastre

No.
Pues ya
le

escucho.

No

es sino el de ladron.

No
Si habilidad tuvieras,

le erre

mucho.

125

VEJETE.
PABLILLOS.

muy
VEJETE. PABLILLOS.

presto rico
lleva

y prospero

te vieras.

Y si me ahorcan antes de muy presto ?

A
muchos
si

Pues

en

la horca,

Dios en ese puesto. mire lo que hablo,

j

130
!

me
i

llevare a

mi Dios,
! j

me

lleve el diablo

yo,

campanillas

fuego

en tan mal

nombre
i

que antes que muera doblan por un

hombre
VEJETE.
PABLILLOS.

Los dos juntos andemos,

tu seras

mi aprendiz, y partiremos.

135

serviros

me

allano,

con condicion que hurteis como cristiano; que yo he de hurtar

. . .

VEJETE, aparte. (El disparate arguyo.) PABLILLOS. no quitandole a nadie lo que es suyo. Bien entiendes la ciencia. VEJETE. 140 PABLILLOS. Yo he de hurtar, no cargando la con.

ciencia.

VEJETE. PABLILLOS.

Has de tener ardid y valentia. Yo mas pienso robar por cortesia.

t

hay ahora ladrones ?

ENTREMES DEL ESPEJO

VEJETE.
PABLILLOS.

75
145

Y bravos bellacones.
Hubo un
hurto

muy

grande

el

otro dia.

<iY de cuanto seria?

VEJETE. PABLILLOS. VEJETE.

PABLILLOS.

De
j

sesenta mil reales.

!

Que Undo hurtar

<;

Sesenta mil, cabales ?

te

en plata fueron, porque mas

asombres. 150

En

plata

?
j

Vive Dios, que hay dichas de hombres

!

Rabio por estrenarme.

VEJETE.
Pues, Pablillos, cuidado, y ayudarme. Sale un HOMBRE.

HOMBRE.
PABLILLOS.

Ah, caballeros, no teman ya se de que oficio son.

|

155

Ladrones, para
^

servirle.

VEJETE.

Que

dices ?

HOMBRE.
,i

Tambien

lo soy.

ustedes han hurtado

?

cualque cosa

PABLILLOS.

HOMBRE.

No, senor. Trae usted algo que le hurtemos ? Mejor mafia me doy yo;
<;

160

esta bolsa quite agora con diez de a ocho.

VEJETE.

<i

Diez son ?
Ensbnala

HOMBRE.
PABLILLOS

en esta bolsa encarnada.

\_aparte al Vejete^]

(Quitemosle a este ladron.

esta bolsa,
los cien

165

y ganaremos

anos de perdon.)

VEJETE

\japarte

a Pablillos .]

(iY

tendras habilidad?)

76

TEN SPANISH FARCES

al VejeteJ]

PABLILLOS [aparte

(Si.)

VEJETE [aparte a

PablillosJ]
(<j

Y me

ayudaras?)
(i

PABLILLOS [aparte

al Vejete^]

Pues no.

?)

HOMBRE

[aparte^]

(No

tienen habilidad.)
el

170

Paseanse, y

VIEJO ase por

delrds

al

LADRON, y PABLILLOS
VEJETE.
PABLILLOS.
j

al VIEJO.
!

Tengan aqueste ladron

Tengan aqueste ladron

Justicia de Dios, justicia

!

VEJETE. PABLILLOS.

<i

Que

haces, simple ?

VEJETE.
PABLILLOS.

desvergiienza Al ladron has de tener.

\

Hay

Que ? mayor
<j

Ayudarte.
!

175

Pues
j

<

tu no eres

el
!

ladron

VEJETE.

Justicia de Dios

Sale

el

ALGUACIL.
c

ALGUACIL.
PABLILLOS.

Que

es esto ?

Un
<i

ALGUACIL.
VEJETE.

Que

alguacil respondio. es esto ?

Este ladronazo

180

que una bolsa me quito

con diez de a ocho.

HOMBRE.
ALGUACIL.

<j

Que

dices ?

No
J

lo entiendo.
i

HOMBRE.
ALGUACIL.
VEJETE. PABLILLOS.

Hay

tal traicion

Quien

es quien la

ha hurtado ?
Aqueste.

Aqueste,

sefior.

ENTREMES DEL ESPEJO

VEJETE.
Senor,

77
185

que es un simple este bergante, que una bolsa me quito con diez de a echo
. . .

HOMBRE.
VEJETE.

Que miente

y
j

es encarnada, senor.

HOMBRE.
ALGUACIL.

Que

miente, senor Sdcale el ALGUACIL una bolsa y la abre. Las senas 190
!

son estas;

que diez hay.

mas mentis vos, Tomad, amigo.

Venid preso, picaron.

HOMBRE.
ALGUACIL.
PABLILLOS.

Que son

ladrones tambien.
195

Andad, picaro embaidor.

Vase, llevando preso al ladrdn.
;

Lindo

oficio

Ea, partamos
Pues, simplon,

VEJETE.

<:

Como
y

partir ?

echastelo tu a perder,
<j

quieres parte ?

PABLILLOS.

Pues no ?

VEJETE.
PABLILLOS.

En
<j

teniendo habilidad, en sabiendo lo que yo. y Que ? ^ no tengo habilidad

200

Veraslo agora.

Ase PABLILLOS
VEJETE.
<i

al

VIEJO.

Tonton,

que haces ?

PABLILLOS.
haces.
j

Lo mismo que
Justicia de Dios
el
!

tu
205

Sale

ALGUACIL SEGUNDO.
Aqueste Vejete

ALGUACIL.
PABLILLOS.

<;

Que

es esto ?

TEN SPANISH FARCES

que una bolsa me quit6 con diez de a ocho.
.
.

VEJETE. PABLILLOS.
ALGUACIL.

<;

Que

dices ?

y
<<

es encarnada, senor.

Viejo,

no

tienes vergiienza,

210

pues a un pobre labrador que come de su trabajo,

le
<s

habeis de hacer extorsion

Un hombre

con tantas canas

ha de robar ?
PABLILLOS.
Si,

senor,

215

un hombre con tantas canas roba a un pobre labrador

que vive de
lo

que come.
y
le

Mir ale
ALGUACIL.
PABLILLOS.

las faltriqueras,

saca la bolsa.

Tomad, guardadla mejor, que hay mil ladrones. Y como ?

<i

220

ALGUACIL.
PABLILLOS.

yo ahorcar antes de manana.

;

Ya

este viejo le hare

Llevale preso.
!

Mejor fuera antes de hoy Jesus, y que Undo oficio

!

<i

Hay mas
se

linda ocupacion

225

Que haya ningun hombre honrado

meta ladron Sale el HOMBRE. os ha de valer la chanza,
!

que no

HOMBRE.

No

simplonazo, berganton, porque mi dinero al punto

230

has de volverme, simplon y si no, a mojicones

he de quitartelo yo;

que estoy

libre.

ENTREMES DEL ESPEJO

Sale
el

79

VEJETE.
tambien,
235

VEJETE.
la

Y yo

y has de pagarnos, por Dios,

burla que nos has hecho, zurrandote aqui los dos.

Cdscanle con

los

matapecados.

HOMBRE.

Y llevate esta
pues has dado

sotana,
la ocasion,

asi sufre

lleva a

un tiempo

240

tan gustosa colacion. Cascdndose unos con otros se meten dentro.

ENTREMES DE

JUAN RANA COMILON

INTERLOCUTORES
JUAN RANA.
CASILDA.

EL DOCTOR,

vejete.

UN SACRISTAN. UN MORO. UN HOMBRE.

[CRIADA, VECINAS.]

UN

GALLEGO.
Sale CASILDA,

el

DOCTOR.

CASILDA.

Mi
<j

doctor, la merienda

va volada.

DOCTOR.
CASILDA.

For que, Casilda, amada ? Porque aqueste tontazo de Juan Rana

DOCTOR.
CASILDA.

ha estado en casa toda la mafiana, merienda ha olido; y conque hacer que se vaya no he podido. Es mi marido, y no puedo mandarle; conque sera forzoso convidarle, y en cuanto aqui tenemos de presente no tiene solo para untar un diente. Pues i no puedes fingir algun engano con que echarle de casa ?
se
la

fise es el dafto,

que, en oliendo merienda, el majadero no se saldra, ni aun a cobrar dinero;

pero

el

viene.

DOCTOR.

Yo

hare

la diligencia;

y hemos de merendar en su sin que el coma bocado.

81

presencia,

82

TEN SPANISH FARCES

<i

CASILDA.

De

que modo ?

DOCTOR.

Adios, que voy a disponerlo todo; que he de meter en casa la merienda,

y por
RANA.
CASILDA.

delante del, sin que

el lo

entienda. 20

Vase, y sale

JUAN RANA.

Deo
i

gracias, Casidilla.
!
;

Jesus

Que

es

todo hoy aqui huele a pastilla! que deds, tonton ? que aqui no hay nada.
.

RANA.
CASILDA.

Cierto, quepienso

Pues

<J

que es pastilla asada cuando en vuestra casa hubo

a algarrobilla.

pastilla ?

25

RANA.
CASILDA.

tira algo el almizcle sois

Andad, que
todo
el

un hombre malmirado;

dia os estais aqui encerrado.

Sale

un HOMBRE.

HOMBRE. RANA.

Juan Rana

<J

Lorenzo, amigo, a que venis aqui con tanta priesa ?

Jesus,

HOMBRE. RANA. HOMBRE.

RANA. HOMBRE.

<J

amigo Cual color ?

estais

<J

Que

color es esa ?

La
<:

del pafio

pardo obscuro;
35

que muy Por cual color, amigo

malo en
?

ella conjeturo.

La de
que

la cara digo;

estais

muy

malo, y con melancolia.

40

JUAN RANA COMILON

j

Juan Rana, amigo, que os

llamar
el

estais

mu!

riendo

A
RANA.
j

doctor

me voy
! <;

corriendo.

45

Vase.

Andad con Dios

Hay mas

gentil

<2

CASILDA.

despacho ? Casilda, habeis oido este borracho ? Ay, mi marido ay, Dios, que se me
!

muere
j

de

la color,

ay

triste, se le infiere
!

RANA.
CASILDA.

<J

Ay, marido del alma que te ha dado ? A mi ? Tres cuartillitos que me he

echado.

50

RANA.
CASILDA.

Hasta los labios tienes amarillos. Pues [este] es la color de los cuartillos.

Deun

RANA.
DOCTOR.
CASILDA.

Debio de estar

sudor pegajoso estas banado. el vino remostado.

Sale
el

55

DOCTOR.
?

<J

Adonde
que
se

esta

Juan Rana
j
!

Ay

de mi duelo

muere, senor

DOCTOR.

Valgame el cielo un hombre tan prudente, cuyo juicio es asombro de la gente, se deja asi morir como una bestia ?
!

<:

Es

posible que

60

RANA. DOCTOR.

<J

Yo me

dejo morir
se le

? ^

No

es cosa clara ?

La hipocondria
RANA.
DOCTOR.

ve en la cara.

Yo no

suelo lavarme cada dia,

sera la porqueria. que esta el mal en

y de aquesto

No

es eso;

los
65

pulmones.

84

TEN SPANISH FARCES

RANA. DOCTOR. RANA. DOCTOR. RANA. DOCTOR. RANA.

Yo

Pues

siempre he sido amigo de jamones. no ve que es danoso este tocino

<J

A quien mas dafio le hace es al cochino.

Senora,
el

morira.

Dios

la consuele

Pues

<;

no

me

dira usted lo que

me

duele

? 70

El estomago tiene palpitando. Es la verdad, que de hambre

estoy

rabiando;

y ahora digo que mi mal

DOCTOR.

es cierto.

Manana a
y aun no

aquestas

horas

ya habra
muerto;
75

RANA. DOCTOR. RANA.

que ese tiempo dure. Senor doctor, por Dios que usted me cure! Informadme del mal, y entrara el arte. Senor, yo, de unos dias a esta parte,
es posible
j

si

va a

decir verdad,

me

siento malo.

Yo me

acuesto temprano, y

me

regalo;

80

duermo mucho, como, ando mal

dispuesto,

y despierto del lado que me acuesto. Almuerzo unos torreznos, y esos, buenos, con una azumbre, poco mas o menos. A medio dia comere un enjambre,
y, llegando la tarde, rabio

85

de hambre;

y en cenando
conque
CASILDA.
<J

muy

bien,

me

estoy dur-

miendo,
sin

duda que me estoy muriendo.

DOCTOR.

,3

Que le parece a usted de estas senales ? Que he de decir ? que todas son mortales. 90

RANA. DOCTOR. RANA.

<j

que mal
! j

es aqueste ?

Jesus

Mania. i fiste ? mal es la Estefania muy gran

!

JUAN RANA COMILON

alii enfrente; y si se-encara, matar a un toro con su cara. puede No, es mania, que un antojo, que imaginais que veis alguna cosa y no la veis; que es sombra mentirosa.
<i

85

Ella vive

DOCTOR.

95

Que

veis ahora ?

RANA.

vos y a Casidilla.
100

ahora digo que es mi mal forzoso, pues todo cuanto veo es mentiroso.

Y
<J

DOCTOR. RANA. DOCTOR.

no

veis otra cosa

No. Mirad
del mal,

si

es la fuerza poderosa
dislates;

que os hard ver dos mil

y tened cuenta a vuestros disparates. Sale el MORO con unos platos.

MORO.
DOCTOR. RANA.
CASILDA.

Bravamente
j

esta asado el tocinillo.

del, el morillo.

105

,;

que he de comer veis ahora ? Que

fe

RANA. DOCTOR.
RANA. DOCTOR. RANA.
CASILDA.

Un moro aqui se ha entrado, un plato de tocino asado. que Ay, senores, que grande desatino En vuestra casa moro con tocino no Yo lo huelo, y se ha entrado en la cocina. Hombre, que este es mal que lo imagina:
trae
! \
! ;

y os
<i

morireis,

si

creeis tal desatino.

?

No

he de creer un plato de tocino

Si lo creeis,

que os morireis

no ignore,

us

Pues aquesto seria ser yo el moro. De donde ha de venir, si aquello pasa, Un moro con tocino a vuestra casa ?
<J

RANA.

Yo

yo me muero
Sale
el

tengo grande mal, ya caigo en ello; por ir a comer de ello.

120

SACRISTAN con unas empanadas.

86

TEN SPANISH FARCES

.

SACRISTAN.

DOCTOR. RANA.
CASILDA.

Las empanadas vienen vaheando; por comer dellas vengo reventando. Que veis ahora con senas declaradas ? Un sacristan con unas empanadas.
<J

DOCTOR. RANA. DOCTOR. RANA.

<;

Ay, seiiores, el hombre esta a la muerte Ahora creeis que vuestro mal es fuerte ?
las veo.
!

125

Dejenme entrar tras ellas, pues Hombre, que os morireis

j j

Ya yo lo creo. Ay, senor, que este mal es muy esquivo Ni aun a la noche llegare yo vivo. 130
!

DOCTOR. RANA.

Ya se me desencajan No lo veis ?
Si,

las quijadas.

senor; porque empanadas,

y no

comellas, viendolas delante,

DOCTOR.

RANA.
GALLEGO.

morirme en un instante. Mas, senor, como ahora no veo nada ? 135 Es que a los ojos no ha subido el flato, y esto subiendo va de rato a rato. Dadme el pulso, vere cuando hay deseo. Si sois vos, avisadme cuanto veo. Sale el GALLEGO con una cesta y una bota.
es cosa de
<;

Aqui vai acei tunas, pan, y vino; ya non posso sofreir mas o camino.
<i

140

DOCTOR. RANA. DOCTOR. RANA.

Que

veis ahora

El pulso manifiesta.
cesta.

Un
<j

gallego,
lo veis

una bota, y una

bien
?

Tan
que,
si si

craro llego a vello

145

me

dejan, entrare a bebello.

DOCTOR. RANA.

Pues
;

haceis eso, quedareis mas malo. Ay, Dios, que esta es la pena del Tantalo!

diga

Senor doctor, por Dios, que si lo sabe, si hay cura para mal tan grave
!

JUAN RANA COMILON

7
150

DOCTOR.

Con cuarenta
sanara.

sangrias dilatadas,
sajadas,

y ochocientas ventosas bien

RANA.
<;

Es cura

[Es] aqueso martirizarme. del Japon la que ha de darme ?

155

DOCTOR.

Pues para cura de mayor violencia ha menester muchisima paciencia.

Sere un Job,
si

RANA. DOCTOR.

la

cura

le

importare.

esta silla en que le dejo atado, callando ahora, se ha de estar sentado; y aunque vea mil cosas por su engano, no ha de creer que las ve, que ese es

En

el

dafio;i6o

RANA. DOCTOR.

porque todo es antojo, y es patrana. Digo que no creere que usted me engafia.

RANA.

Mire que no ha de creer, ni hablar palabra de lo que viere, pues es sombra vana; 165 que con eso estara sano mafiana. Con un silencio, me estare, profundo; primero es mi salud que todo el mundo.

DOCTOR, aparte a Casilda. (Pongan luego la mesa aqui delante, que el miedo que ya tiene le es bastante para dejarnos merendar a solas.) RANA. Sefior doctor, por que hace cabriolas ? CASILDA. Ya no se fue el doctor ? hombre, que
<;

170

<i

<J

dices?
Sicrees,

y hablas,
!
;

<;

comohas de estar sano?

! !

RANA.

Dios me tenga de su mano Ay, Jesus Miren lo que es el mal endimonado

se habia

175

que jurara que aqui

CASILDA.
Nina, sacad
la

quedado.

mesa y

las guitarras.

88

TEN SPANISH FARCES

CRIADA.

Ya
j

RANA.

esta aqui todo puesto y prevenido. que huerte flauto me ha Jesus'

! \

subido

La mesa me
<:

CASILDA.

parece que han sacado. mesa es esta, y que vecinas ? Mujer, que no ves que lo Hombre de Dios
! j

180

<|

RANA.

imaginas ? he de morirme muy Ay, Dios, que

apriesa
!

porque no he de tener en viendo mesa.

Sacan

la mesa, comida.

sittas,

y todo

lo

demds de

la

DOCTOR. RANA.

Sentaos, Casilda,
j

y canten
;

lo primero.

185

Ay, senores, que comen! yo me muero! Pues si viendo comer aqui he de estarme,
antes que
el mal, la cura ha de matarme. Enfermo estaba Juan Rana, IQO y es remedio de su hambre que, en viendo comer, no coma.

Musicos.

Quien

tal hace,

que

tal

pague.

DOCTOR.
CASILDA.

Que bueno

esta

el

tocino!

Brindis, doctor.

DOCTOR. RANA. DOCTOR. RANA. DOCTOR. RANA.

DOCTOR.

Para eso se hizo

\

el
!

vino.
igs

Senores, que reviento de sofrillo

Cierto,

que

es

como un ambar

el vinillo.

Pues,

juro a Dios que he de comer yo y todo!

te degiiellas
;

Hombre, que
importa.

de ese modo!

No
,2

Muera Marto y muera

harto.
?

No

ves que es sombra

JUAN RANA COMIL6N

89
la

RANA.
CASILDA.
I

De
Que
te

mata

el

creer

que

sombra parto. 200 esto es fiambre.

RANA.
DOCTOR. RANA.
CASILDA.

Mas vale morir de harto que de hambre. Callad, que me embaraza lo que hablo.
j

Que

es imagination,

hombre

del diablo
si

Pues

como habla

el

doctor,

ya ha ido ?

se

205

Lo

imaginais tambien por

el oido.

RANA.
DOCTOR. RANA. DOCTOR. RANA.
CASILDA.

Pues yo tengo de ver, con sus regalos, si es imagination darle de palos. Dale.

que me mata Calla, hombre, que es antojo y patarata. Tente, Juan Rana, tente, por San Pablo! Que es imagination, hombre del diablo!
i

Ay,

cielos,

210

<i

Marido, que haces

RANA.
CASILDA.
j

Darte a
Ay,

ti

otro poco.

que
de

me mata
Dios
!

Aqui

de

las
!

vecinas

RANA.

Mujer

<i

no ves que lo imaginas?

215

Salen todos.

TODOS.

<J

Que

es aquesto ?

RANA.
CASILDA.

Con
j

DOCTOR. RANA.

Saber mas que Galeno. he quedado bueno. Ay, que estoy muerta! yo descoyuntado.
estos palos

Oigan,

si

quieren saber que ha pasado. Por dos. Canta.

Penso el buen Doctor merendar a solas; pero el buen Juan Rana

le

220

entendi6 la trova.
FIN.

ENTREMES DE

LOS BUNUELOS
INTERLOCUTORES
VEJETE.

Dos HOMBRES.
Mtfsicos.
el

LORENZO.
Sale

VEJETE.

VEJETE.

VEJETE.

Ha, mozo! jha, Lorencillo! ;salafuera! Sal digo, porque has de ir a aquel recado. ven apriesa Acaba Dentro, LORENZO. Esto ocupado. Pues en limpiar los vidrios tanto tiempo te estas, Lorenzo ? Sal, y ten buen modo, que a mi sobrina has de llevarlo todo,
j

<J

con otras zarandajas de regalo, que ella las come, y me entra a mi en

provecho.
Sale LORENZO.

LORENZO.
VEJETE.

Pardiez! nuesamo,

ya esta todo hecho. que honrado que eres y prudente

!

<i

Sacudiste los vidrios

LORENZO.
VEJETE.
<;

Lindamente.
Quebraste
alguno
?
j

Mira que son

ricos
!

LORENZO.

Ante?

los hice todos mil aiiicos.

91

TEN SPANISH FARCES

VEJETE.
<i

Que

dices,

borrach6n

Ya yo me
aflijo
!

LORENZO.

\_Aparte7\
(fil

es el borrachon.) Pues no me dijo: Estos vidrios estan de polvo llenos,

<t

15

sacudelos

muy
fe,

bien,

y ponlos buenos ?
las narices los tapices.
20

Pues, a mi

me

puso en

que eran los vidrios

<i

como

Y que piensa que hice ?

al

punto, sin decir

VEJETE.

LORENZO.
VEJETE.

a dos manos les di, y a cuatro o cinco golpes, sin remedio, por Dios, que no deje uno ni medio. Mucho tengo de hacer, si no te mato No dejaste ninguno, mentecato ? Por que da voces ni habra con enfados ?
j
!

Saque un palo, bueno ni malo, de un lado y otro,

25

<i

Alii estan todos,

pero estan quebrados.

30

Mira (no quiero hacer un desatino), y dime aquesto: i Hiciste que sangrasen a mi mula ?
No, nueso amo, pero hice
otro remedio, que es

LORENZO.
VEJETE.

mas importante.
?

Q u ^ es
<i

que hiciste

Ello seran tus

cosas.

LORENZO.
VEJETE.

Que piensa que

hice ?

Echele unas
ventosas.

la

mula ?
lo

<J

Quien vio tan grande

exceso?
35

LORENZO.

peor eso, sino que como a ella la abrasaba la estopa y la ventosa la chupaba,

Pues no f ue

echo a correr, saliose hacia la

calle,

ENTREMES DE LOS BUNUELOS

93
40

y como no

llevaba itenerario,

en la casa se entro del boticario, y a coces y respingos con sus trotes rompio tantas redomas, tantos botes, que si le ponen preito por cobrallos, nuesamo no tendra para pagallos. Pues cuanto hizo de dano ? dilo, acaba
<J

45

VEJETE.

LORENZO.
VEJETE.

En

verdad,

que me

dicen, sin remedio,

que hizo de dano mas de real y medio. Ahora ello es fuerza que te perdone, porque te he menester; y asi imagina que ahora has de llevar a mi sobrina, que es causa de mi amor y mis desvelos, este plato famoso de bunuelos. Cuidado con el plato que es de plata. Mira que no te lo hurten
!

50

LORENZO.
el

Si desata

55

mundo

zahories, no han de

hallalle.

VEJETE.

Mira, Lorenzo, vete por de espacio, y mesurado

la calle

como quien va al descuido, y con cuidado. Y adios, y anda en aquesto muy atento. 60
Vase.

LORENZO.

[i Me

nuesamo por un jumento ?3 Cierto que hay hombres tan impertinentes que quieren hacer bestias a las gentes.
tiene

Salen dos hombres.

HOMBRE

PRIM, [aparte
\

Hombre Segundd}. lindamente ha sucedido Amigo, A las manos el lance se ha venido

al
!

65

Bunuelos son, y de comerlos trato;

94
y, si

TEN SPANISH FARCES

puedo, despues quitarle el plato dama y a la mia,
el,

darle a vuestra

sobre

a saco a una confiteria.

HOMBRE

SEG.

\_aparte al

Hombre

Primero~\.
70

Pues empezad

HOMBRE PRIM,

que yo os sigo. Lorenzo, Lorencico, amigo, amigo que yo te he vuelto a ver por mas conla obra,
!

suelo

LORENZO.

<J

Ois

HOMBRE

PRIM.

<i

<;

<:

No Hay tal desconocimiento ? A Perico no conoces ?

lleguis tanto a los bunuelos. conoces a Perico ?

75

no

Mas darte mis senas quiero: Yo soy hijo de mi padre,

y soy
nieto de

y naci con
<j

mi abuelo, un lunar

80

en este zapato izquierdo. No te acuerdas ?

LORENZO.
j

Pese a

tal

y como que ya me acuerdo

el

lunar del zapato os conoci al momento. luego

En
\

8s
!

HOMBRE
LORENZO.

PRIM.

Ha, buen Lorencico, amigo Mil dias ha que no nos vemos En verdad, que ha muchos dias; y decid, que os habeis hecho ?
i

HOMBRE
LORENZO.

PRIM.

He
yo

corrido

mucho mundo,

90

Y
PRIM.

y] aqueste companero. en fin, donde habeis estado ?

,;

HOMBRE

y en Marruecos, en Tetiian y en Egypto, en Tunez y en Mondonedo;

Sevilla

En

95

ENTREMES DE LOS BUNUELOS

y he estado en Constantinopla; vi al Gran Turco, y te prometo
que en ver aquella grandeza
se

95

pasma

el

entendimiento.
el

LORENZO.

que senas tiene

Turco ?

100

HOMBRE

PRIM. Es feroz, es corpulento;

pero aquello no es del caso. De lo que aturdido vengo
es

de mirarle comer.

LORENZO.

<i

Que boca tendra ?

HOMBRE

PRIM.

Te puedo
asegurar que en mi vida he tenido tal contento.

105

LORENZO.

Pues,

<J

de que manera come

HOMBRE

PRIM.

<;

Estas, Lorenzo, sin seso ?

Sin comida no es posible

decirtelo.

no

LORENZO.

Aqui hay bunuelos. Decidmelo ya por Dios,

que por saberlo reviento. PRIM. Mira tu: lo primerito
entran dos Moros niuy tiesos con dos tohallas al hombro,

HOMBRE

us

o tohallas o panuelos, y le hacen la zala

hasta poner en
las bocas.
el

suelo
120

Tu

no, tu no,

porque has de estarte

muy

sesgo.

LORENZO.

Valgame dios como ha poco que so Turco, no lo acierto. HOMBRE PRIM. Luego llegan estos dos, y con muy grande respecto,
!

125

96

TEN SPANISH FARCES

hagamos cuenta,

le

ponen

este plato de bunuelos

delante; pero el no
ni

come

un bocado.
Segun eso
el

LORENZO.
serd Tantalo

Gran Turco.

130

HOMBRE

PRIM.

de sustento mirar comer a los otros,

el le sirve

LORENZO.

y le entra en muy buen provecho. Eso es comer por poderes.

Cdmese
le
el primero un bunuelo, y el otro limpia a LORENZO, y luego el otro hace mesmo, y LORENZO no come.

lo

HOMBRE

PRIM. Pues ya que dice el uno:

el

plato

le

han puesto,

135

Tome

usted,

y
LORENZO.

el

otro le limpia.

Quedo,

que

me

HOMBRE

PRIM.

Y el

llevan los bigotes. otro dice: Este es bueno,

limpie usted.

LORENZO.
Los hocicos
i

<:

Estan borrachos ?
deshecho.

140

me han

Cierto que los Turcos son

!

limpisimos en extreme

HOMBRE
LORENZO.

PRIM.

usted, que pocos faltan; limpie ahora.

<i

Coma

Sin comerlo

145

ni beberlo

HOMBRE

PRIM.

Ya

han de limpiarme ? no queda uno ni medio;

<J

pero,

que color
que

es esa ?
^

Lorenzo, amigo,
Decid,
<[

que
que

es eso ?
sentis ?
150

es lo

ENTREMES DE LOS BUNUELOS

LORENZO.

97

HOMBRE

PRIM.

No No
i

haber comido bunuelos.

nos burlemos, por Dios, que vos os estais muriendo.

Que hubiesemos de comer

!

tanto

LORENZO.

Pues,

<J

que

es lo

que tengo ?

155

HOMBRE

PRIM.

Una grande
de
lo

apoplejia,

que

los

dos habemos

comido.

LORENZO.

<j

Quienes y cuantos
?

HOMBRE

PRIM.

<J

Quienes

Yo y mi

companero.

<s

Que

os dije ya ?

Y no comamos
!

160

desto que mata, Lorenzo. que dimos en hartarnos

i

LORENZO.

<J

De

suerte que la que tengo

es apoplejia

ad honor em

?
165

HOMBRE HOMBRE

Vos os moris sin remedio. PRIM. O mal haya, amen, el plato que tanto mal os ha hecho Faltome el mejor amigo,
SEG.
\

falto el

mozo mas

discrete,
tierra,

que ha habido en toda esta y el criado que a su duefio

sirvio
i

170

con mas elegancia. Mal haya el maldito viejo

!

que con entregarte el plato tuvo la culpa de aquesto

175

Vamonos
Los Dos.
LORENZO.
j

desesperados; pero repitan los ecos:

Mal haya Mal

el

vejete,

amen, Vanse
los dos.

y mal hayan
\

los bunuelos.
el vejete,

haya, amen,

180

TEN SPANISH FARCES

y mal hayan los bunuelos que han acabado conmigo Falto el mozo mas discrete

VEJETE.

LORENZO.

que ha habido en toda esta tierra Sale el VEJETE. habra hecho Dios de Lorenzo ? Que Si habra hecho de las suyas ? Falto el criado mas bueno que se ha hallado en todo el mundo,
!
<J

185

<s

y mejor entendimiento
i

Maldito sea

el vejete,

190

y descanse en los infiernos

su alma
!

VEJETE.
,;

no

me

diras

Lorenzo, hijo, que te has hecho ?

<J

<i

Que

tienes ?

De que

das voces

<i

Y el presente ?
Ya
es preterite.
195

LORENZO.
VEJETE. LORENZO.
Pues,

que
ve que

lo hiciste ?
<J

Eso
?

dice ?

<:

No

me

esto

muriendo

de una

muy
?

gran poplejia
dices,

VEJETE.

<;

Que

es lo

que
Si,

jumento ?
200

<;

Poplejia

LORENZO.
VEJETE.

senor,

que en deposito la tengo. Yo pienso que he de matarme.

Que
LORENZO.
el

es lo

que del plato has hecho ?

zapato izquierdo
el

Perico se

le llevo, el

que en

205

tiene

un lunar; que no hay otro

puebro.

mas conocido en

ENTREMES DE LOS BUNUELOS

VEJETE.
j

99
!

Ya Mi

es fuerza

que yo

me mate

plato de plata!

Salen todos.

HOMBRE

PRIM.

Quedo,

no
VEJETE.

se

mate vuesarced,
lo

210

que guardado

tenemos.

Donde ?
SEG.

HOMBRE

En
que
estas
eolation,

la confiteria;

damas nos pidieron y fue forzoso,

215

por hallarnos sin dinero, empenarlo en vuestro nombre.

VEJETE.

Senores, del

mal

lo

menos.

HOMBRE
VEJETE.

PRIM. Pues, la burla se celebre con un baile.

Soy contento.
Canta

UNA MUJER:
eso

A Lorenzo por
LORENZO.

no rinan mucho, que comio los bunuelos como el Gran Turco.

EL HAMBRIENTO
ENTREMES
PERSONAS
DON DON
Salen
LA.ZARO.

JOAQUfN.

VEJETE. DONA EscoxopfA.

DON LAZARO y DON

JOAQUIN.
sin

D. LAZARO.

Dejadme, Don Joaquin, que estoy

juicio.

D. JOAQUIN.

Don Lazaro, callad, que hablais de vicio.

<;

Que

os falta

que

asi

haceis exclamaciones
?

D. LAZARO.

Escuchadlo y direlo en dos razones.

D. JOAQTJIN. D. LAZARO.

Ya Ya

yo soy un estudiante ... mas; pasa adelante. en Salamanca que aprendi

sabeis que
se

que no

sois

la ciencia infusa del

andar

sin blanca.

De

aquesto, pues, resulta

oculta, 10

el ano una hambre un hambre estudiantina

que tengo todo

que pasa mas alia de la canina. Hambre despierto; soy hambre si enfermo;

hambre

tengo

en

salud;

hambre, si duenno;
is

y en

fin,

porque os asombre

102

TEN SPANISH FARCES

mi hambre
(como
por
decir:

cruel, ayer

jugando

al

hombre,

tenia

una hambre tan fiambre)

dije: Hagome hombre, Hagome hambre;

D. JOAQUIN.

que como nada emboco, en cualquiera materia me equivoco. Por cosas de comer un hombre honrado
j

20

se

ha de matar
Si

D. LAZARO.
,1

Jesus,

y que menguado
que me
mata,

no

me mato

por

lo

renir por lo

demas no

es patarata ?
25

D. JOAQUIN.

Pues,

Don

Lazaro, cesen los extremos,

que yo

os quiero llevar

donde matemos

vuestra hambre y la mia;

que, aunque la mia es grande, es cobardia darla a entender. Sabed, pues, que un
vejete

que llaman Don Martin hoy nos promete grande condumio. El cielo nos socorra;

30

que el tiene media capa, y yo una gorra. Tiene una hija que ha de ser mi esposa,
si

la

puedo pescar.
i

D. D. D. D.

LAZARO.
JOAQUIN. LAZARO.
Hija y

Que
i

linda cosa

dineros guarda.
!

JOAQUIN.

D. LAZARO. D. JOAQUIN.

Caso extrano mal afio. Hoy sacareis el vejete, amigo, buenos tratos: Tiene lo menos que se come son diez platos, Fruta seca sin principios ni postres. se me hace una manteca. La boca
el

35

vientre de

40

Tiene tambien comida regalada: el ave cerindongo en empanada;

EL HAMBRIENTO

103
notoria,

y porque su franqueza sea

del ave zancas tiene pepitoria;

marfrodios, pep'ianes, mas de ciento, sin otras mil cosillas que no cuento.

45

D. LAZARO.

Antes del juego no Al viejo, amigo

! i

No me las relateis, con treinta diablos me hagais retablos.

i

D. JOAQUIN. D. LAZARO.

Al viejo
el

a sacar de mal hambre este pellejo

sale

50

Vanse, y ESCOTOFIA.

VEJETE y
!

DONA

VEJETE.

Hija mia, Escotofia

Ah, Escotofia

! j

ah,

muchacha

D. ESCOTOFIA.
VEJETE. a D. ESCOTOFIA.
VEJETE. a D. ESCOTOFIA. VEJETE.

<J

<;

Que Que hora

es lo

que mandas, senor?

es ?
sefiala
55

el reloj

La que de Santa Cruz.

ser.
<i

No

puede

For que causa ?

Porque ya hubiera venido aquel soldado que es sarna,

que come a
las

doce en punto
60

de mi puchero que rabia. a D. ESCOTOFIA. Hetele por donde viene

el

moro por
estoy en

la calzada.

VEJETE. a D. ESCOTOFIA.

Pues, cuidado con lo dicho.

Ya
la

el caso.

Vase.

VEJETE.
el tal

Brava
ha de tragar esta vez que todo lo traga. Salen DON JOAQUIN y DON LAZARO. Oh mi senor Don Martin
!

65

D. JOAQUIN.

104

TEN SPANISH FARCES

Conozca a mi camarada
por hombre muy eminente, y hombre de ciencia tan rara
70

que en su ciencia alza figura cada vez que se levanta.

D. LAZARO.

Tengame

usted, senor mio,

por una pobre gualdrapa de su mula, pues que cura de una enfermedad tan larga

75

D. JoAQufN. VEJETE.

como Don Joaquin y yo traemos hoy a su casa. Tendreis un criado ms. Cada dia honrarme trata
Joaquin; y hoy son las honras dobladas con tan noble convidado.

80

de nuevo

el

seor

Don

D. JoAQufN. VEJETE.

Es su franqueza extremada. Vuesas mercedes se sienten,

entretanto que se saca la vianda. ola j Ola,
Sientanse los
tres
!

85

en la mesa que sacan con

manteles sdlo.

D. LAZARO

\_aparte

a D. Joaquin}.
Ldzaro~}.
(<i

(Don Joaquin.)
D. JOAQUIN [aparte a D. D. LAZARO
[_aparte

Que

quereis?)

a D. Joaquin}. que se nos va la comida.)

(Basta,

D. JOAQUIN [aparte a D. IAzaro~}. (<i Por que?) D. LAzARO [aparle a D. Joaquin}.

(Porque esta oleada.)
go

EL HAMBRTENTO
D. JOAQUIN [aparte a D. Ldzaro}.
Callad, por amor de Dios, que no sabeis en la casa
(j

10$

que

estais

!)

Sale

DONA

ESCOTOFIA.

D. EscoTOFiA.
VEJETE.
a

<;

Que mandais, seftor ? Sacad aqui la vianda. Que manteles habeis puesto ?
<j

95

D. EscoToriA. Los
VEJETE.

sucios.

Id noramala, sacad manteles limpios. y

Saca DONA ESCOTOFIA

lo

que dicen

los versos.

D. LAZARO.
VEJETE.

Senor, con estos no basta ?

Buenos son
es aqueste ?

estos.
<j

Que pan
100

D. EscoTOFfA.
en casa.

El que se amasa

VEJETE.

Traed

panecillos;

que en un dia que esta honrada mi mesa de estos senores no ha de haber

falta.

D. LAZARO.
es la

La

falta
105

que ahora nos hace. Haga usted que el pan se traiga.

Muy bueno es aquel. D. JOAQUIN [aparte a D. Lazaro]. (\ Callad, no sabeis en la casa que que estdis !) D. LAZARO [aparte a D. Joaquin}. (No es mala la moza; pero la hambre que es mala no repara en hermosuras.)

no

106

TEN SPANISH FARCES

Saca

DONA EscoTorfA un
es

plato cubierto.

VEJETE. a D. ESCOTOFIA. VEJETE.

<j

Que

aqueso
!

Una
j

tortada.
!

Tortada

hay

tal

desatino

<i

A los principios quien gasta

Ustedes perdonen;
115

tortada?

que y no

es Escotofia
se le

una zafia, alcanza de esto. Vase DONA ESCOTOFIA.

se

D. LAZARO.

Tampoco a mi

me

alcanza.

Pues, digame usted, senor, I hay cosa como tortada

120

para principle D. JOAQUIN [aparte a D. Ldzaro], (\ Callad, que no sabeis en la casa

el

que

estais

!)

D. LAZARO.
VEJETE.

Senor

Don

Martin,
se traiga.

haga usted que

el

pan

Vuesa merced

es

muy

mozo,

125

y
D. LAZARO.

asi experiencias le faltan

de esta materia.

Es verdad;
esta experiencia

Sale

me falta. DONA ESCOTOFIA

en ese plato ?

con otro plato.

VEJETE.

<J

Que

traeis

D. ESCOTOFIA.
VEJETE.

Sefior, jigote.
j

Hay

tal rabia

130

como
<i

esta

Bergantona,

el jigote

no sabeis que no se gasta a los principios en ninguna mesa honrada ?

j

D. LAZARO.

For amor de Dios, senor

135

EL HAMBRIENTO
Pues el jigote le enfada a vuesa merced?
(!

107

D. JOAQUIN [aparte a D. Ldzaro]. (j Callad, que no sabeis en la casa que estais !) D. LAZARO. Que quereis que
<;

calle,

cuando oigo que se habla tan mal del jigote, siendo

personaje que se gasta desde aquella gran comida

140

que dio la gran Cleopatra a Marco Antonio, y la cena que Baltasar dio en Samaria?
VEJETE.
Senor, usted se reporte,

145

y
D. LAZARO.
i

repare

Pesie a
sin

mi alma
!

Reportarme

comer
el

Haga

usted que
el
!

pan
se

se traiga,

150

que en todo
al principio

mundo

pone
con

Sale

DONA ESCOTOFIA
cubierto.

un

plato

D. ESCOTOFIA.
de ternera,
traere.

Una empanada
si

gustais,

VEJETE.
i

Andad, noramala
ternera
!

Empanada de

155

Quien lo ha visto ? Vase DONA ESCOTOFIA con

Usted

el plato.

D. LAZARO.

la traiga;

y cueste lo que costare, que tengo un hambre que

es plaga.

108

TEN SPANISH FARCES

fintrase

DONA

EscoToriA.

VEJETE.

Ahora traeran

la olla;
160

y vuesascedes las faltas, como amigos, me perdonen;

pues ven con llaneza tanta cuanto lo soy.

D. LAZARO.
que
VEJETE.
<i

No
la

entendi

amistad era tanta.

165

No

traes aquesa olla ?

Sale

DONA ESCOTOFIA

asustada.

D. ESCOTOFIA.

Sefior, un perro y su rnaza dieron con olla y con todo

en

la ceniza

VEJETE.

Ya no

se

y las brasas. puede sufrir,

!

por Dios, desvergiienza tanta

Esperad, infame
!

170
ella.

Levdntase y va tras
\

D. ESCOTOFIA.
VEJETE.
j

Cual quedan

los

Ay, Dios camaradas

i

fcntrase

DONA

ESCOTOFIA, y
es

el

VEJETE

detrds.

D. JoAQUfN.

Vive Dios! que

mucho
. .

enfado,

y que ya pasa de raya; y estoy por hacer

.

D. LAZARO. que no sabeis en que estais

!

la

Callad, casa
i

175

D. JoAQUfN. D. LAZARO.

Callad, con el diablo

Senores, espantaba de que a una hambre tan valiente hubiese quien la matara.
j

yo me

180

D. JoAQUfN.

Vive Dios, que estoy corrido

EL HAMBRIENTO
D. LAZARO.
Callad, que hay en esta casa veinte platos, fruta seca,
i

IOQ

pep'ianes, aves zancas,

D. JoAQufN.

morfrodios, y otras mil cosas Amigo, a nuestra venganza.

185

Vamos, que pienso que ya se ha salido de casa D. LAZARO.

el viejo

a dar cuenta de esta burla.

La
y

ocasion es extremada
pescarle la bolsa

190

para
la

moza.
Pues,
la
j

D. JoAQulN. D. LAZARO.

al

arma

Y yo quito los manteles,

pues

comida

se tarda.

Vanse, y se

tteva los manteles,

sale el

VEJETE.

VEJETE.

Dando
de

el Alcalde y el Cura quedan dos mil carcajadas

195

los tales convidados.

No

volveran

mas a

casa.

Pero ya han desocupado, si no me engano, la sala.

j

200
!

Que gustosos habran ido Dona Escotofia Ah, muchacha

!

Saca
<j

la comida presto. Escotofia, a que aguardas ?

que es aquesto ? ha sido maula Vive Dios, que que me han robado a mi hija; y aun peor esta que estaba,
<i

No

respondes

<i

205

que

el escritorio

esta abierto.
210

Ire a vengar esta infamia.

HO
i

TEN SPANISH FARCES

Justicia, cielos, justicia!

Venganza,

cielos,

venganza!
!

Los TRES. a D. ESCOTOFIA. Presto, pues, que nos alcanza. Sale el VEJETE. VEJETE. Aqui morireis, traidores D. LAZARO. Tengase, que es un panarra; que ya es mi mujer su hija.
j \ !

Vase, y salen los demds. Huyamos, que el viejo viene

ais

VEJETE. D. LAZARO. VEJETE. D. JOAQUIN. VEJETE.

<i

Y el dinero ?
Ella os lo guarda.

Y la merienda ?
Tambien. Pues todo
se

senores, del
i

queda en casa, mal lo menos.

fiesta,

220

Vaya ahora de
Aqui
tiene

vaya

D. LAZARO, cantando. a su
hija,

vejete honrado;

y aunque nada he comido, mucho he tragado.

D.
a

225

ESCOTOFIA, cantando. Cese la peleona, que son extremes

porque

los miserables
eso.

paran en

230

LAS TERTULIAS DE
o

MADRID

EL FOR QUE DE LAS TERTULIAS

FOR

RAMON DE LA CRUZ Y CANO

1731-1794

RAMON
De un

DE LA

CRUZ

AUTOR DE LAS TERTULIAS DE MADRID

cuadro contempordneo

LAS TERTULIAS DE

MADRID

EL FOR QUE DE LAS TERTULIAS

RAMON DE LA CRUZ Y CANO

PERSONAS
D. JUAN, caballero prudente.

DONA INES, su esposa. DONA PETRONILA, hermana

de esta.

114

TEN SPANISH FARCES

Vaya, vaya, que lance mas de repente no puede darse
j !
j

PETRONILA.

INES.

Ay, hermana,
!

yo estoy muerta
PETRONILA.

Yo
<J

tambien

estoy medio atolondrada; ya que se ha de hacer ? pero

INES.

Valgame Cristo

! \

muchacha

PATRICIA
<i

sale.

Han

traido la gallina ?

PATRICIA.

Si, sefiora;

mas

tan flaca

INES.

que toda ella no es posible que pueda dejar sustancia para dos tazas de caldo. No hay cosa que asi no saiga
deprisa.
<J

Vase.

Petronila.

Dijiste a Pedro

que, si acaso no encontraba nuestro medico, trajese

al

primero que encontrara

PETRONILA.
INES.

Si.

PETRONILA.
INES.

Pues por Dios, Petronila, que te estes junto a la cama in term viene algun hombre. Yo ? Mujer, por que no llamas
\
<J
,1

las vecinas ?
i

Sabiendo

cuanto ha que estoy enojada con todas ellas, querias que yo me baje a llamarlas,

y quede por mi ?

Aunque

viese

LAS TERTULIAS DE MADRID

morir a toda mi casta,

no
PETRONILA.

hiciera tal bastardia

ninguna a tiesa me gana. Y si a tu marido en tanto

los accidentes se
,j

agravan,
35

INES.

que hemos de hacer aqui solas cuatro mujeres? Pues anda,

y ten cuidado con el, hija, que a mi me quebranta el corazon. Ay de mi sera de mi si el falta ? que
! j

<j

40

PETRONILA.

Sera lo que ha sido de otras; a bien que aun eres muchacha,

y no
lo

estas desnuda.

Tu
45

en todo caso embanasta

que puedas en

los cofres

y asegura

las alhajas

de valor, o yo lo hare, que tu no estas para nada.

PATRICIA.
Sale con una luz.

Vase.

Tengan ustedes muy buenas

noches.

INES.

Como

esta ?

PATRICIA.

Con
de vomitar, y no puede; mira a todos, y no habla;
si le

ansias

preguntan, responden a dos manos las punadas, y hace mil gestos con las
facciones desencajadas. Miedo da el verle
!

55

PETRONILA.

Sale.

Las Haves

"6

TEN SPANISH FARCES

del dinero

y de
Las

la plata

las tiene el ?

INES.

lleva en

una
60

faltriquera reservada de los calzones.

PETRONILA.
a ver
si

Pues voy

puedo con mafia, como que saco de alii

la

ropa ociosa, afianzarlas.

Vase.
Vase.

PATRICIA.
INES. Luis.

Ay,

amo mio

Ay de mi

6S

Sale.

<j

Como

teneis la antesala

sin luz,

abierta la puerta

INES.

Le abraza,
\

llorando.

Luis.

Ay, Senor Don Luis de mi alma, que mi marido se muere Primero yo imaginara
!

70

que era usted

la

que queria

morirse, segun la estrana action de estos agasajos;

pues, entrando en esta casa tantos, de tantos yo soy

solo el

7S

hombre que

la

enfada

de
INES.

la tertulia.

Tal vez
vuestra seriedad nos cansa, como toda es gente alegre;

pero enfadarme, no.

Luis.
<J

Y vaya,
que
teneis ?
<J

80

por que

llordis ?

INS.

,;

No

os digo que esta en la

cama

Don Juan

con un accidente

LAS TERTULIAS DE MADRID

117

mas ha de dos horas

Luis.
<i

largas,
85

y todos estamos muertos ?

<:

Y estais con esa cachaza ? Y quien esta dentro ?

Nadie.

INES.

Luis. INES.

<j

Y el paje ?
Buscando anda
90

Entrad, pues no ignorais cuanto os ama. Quiza solo vuestra vista

le

por ahi medicos.

dara

alivio.
i

Luis.
INES.

Y la hermana ?

Adentro.
Sale

PEDRO

de paje, cansado, que no

puede hablar.

PEDRO.
INES.

Jesus,

Maria

Hallaste al medico ?

PEDRO.
en su tertulia a llamarle
. . . . . .

Estaba han ido ya

. .

95

pero, gracias
.

a Dios
Luis.

halle otro

<j

Y no viene ?

PEDRO.
Luis.

Si
<J

no puedo echar
quien es ?

el

habla.

PEDRO.
Luis.

Don
justamente;
\

Gil Ventosa.
too
!

El medico de mi casa,

gran pulsista

PEDRO. D. GIL.
Luis.
GIL.

Conmigo
Sale de medico.

viene.

Madama,
de usted.
Gil.

a
.

los pies

Amigo.

Senor

Don

Es desgracia

Il8

TEN SPANISH FARCES

o accidente ? pues segun con que me arrastra
.

105

la prisa

este criado

INES.

Entre usted,

que yo
puedo.
GIL.

ni
j

aun mover

las

plantas
sido esto ?

Ay

de mi

Se

sienta.
.

Que ha
Dentro
hallareis

INES.

a mi hermana

no

que os informara.
Luis.

Venid,

que yo soy de confianza

del enfermo.

GIL.

<i

Que

es el

amo ?

Luis.
INES.

Si,

senor.

Don Luis, que se haga cuanto haya que hacer, y usted disponga como en su casa.
Entrad.
Vanse.

115

Luis.
INES.

Lo que

siento

mas

es tener desazonada

esta noche la tertulia.

Bien pudieras avisarla, Periquillo, en un instante,

120

y
PEDRO.
INES.
j

decirla lo que pasa. Pues vaya que son poquitos

!

para avisarlos

Ya
j

llaman.
125
!

Mira quien es. Ojala que esta noche me dejaran

Sale.

LAURA.
INES.

Hija, que es esto

<i

tan sola

y tan apesadumbrada ?
Ay, Laurita, se acabo para mi el mundo!
j

LAS TERTULIAS DE MADRID

IIQ
130

ANTON. Sale de medico.

<s

Deo
<J

gracias,

Volvio usted que tenemos ? a hartarse de leche helada despues de haberse comido

dos medidas de azofaifas

tres libras

de acerolas ?

135

INS.

No,
para

senor, es
la

mayor causa
Entrad
en cama

que os llamo.

vereis a

Don Juan
i

con un accidente.

ANTON.
<J

Fuego

os estais tan sosegada ?

140

INES.

Otro hay dentro con

Don

Luis;

ANTON.
Luis.

porque como usted tardaba, vino el primero que hallamos. Bien hecho.

Sale de prisa y en cuerpo.

Perico,

marcha
145

a llamar

al cirujano.

PEDRO.
Luis.

Que no

alquile

tambien patas
!

quien alquila pantorrillas

Vase.

Justamente preguntaba
por usted
el

companero.
150

INES.

<J

Y que dice ?

Luis.
INES.

Hasta ahora, nada. Por Dios, que yo en usted solo pongo toda mi esperanza
j
!

ANTON.
Luis.

Yo

pondre
la

los

medios.

Vamos,
que
urgencia es apretada.

Vanse

los dos.

LAURA.

Yo

he quedado muerta.

120
INES.

TEN SPANISH FARCES

<J

Y c6mo

155

estara esta desdichada,

contra quien todas las iras de tanto golpe descargan ?

LAURA.

Jesus, Jesus

Salen de petimetras

FRANCISCA,

DONA ANA, DONA DONA JUANA, D. JOAQU!N,

la

y dos ABATES a

moda.

FRANCISCA.

Me parece
noche de semana santa
160

ANA.
FRANCISCA.

aqui, segun Si hablais cosa reservada,

el silencio.

no os incomodeis.
<i

somos
?

o no amigas confirmadas

JOAQUTN.

Que

llora usted,

mi

seiiora

165

Dona
LAS TRES.
INES.

Ines

d Hija, estas mala ? No, por Dios, sientense ustedes.

PETRONILA.

Sale.

Dame
INES.

las

Haves del area

de nogal.

Tomalas todas;

y haz cuanto te de la gana en todo y por todo. Ay

j

170
!

ANA.
INES.
j

Suspenses Sabes tu que es esto, Juana ?

todos.

Ay

ABATE PRIM.
PETRONILA.

Senoras,

Que

salio

que hay de nuevo ? bueno de casa

<j

esta tarde

mi cunado,

175

LAS TERTULIAS DE MADRID

121

y volvio luego con tanta

fatiga

que

la escalera

dice que la subio a gatas.

Venia tremulo; mando

que

se le hiciese la

cama;

180

se la hicieron; acostose

tan torpe que las criadas tuvieron que desnudarle;

al

echar sobre la almohada

la cabeza, se

sin sentidos

quedo y sin habla,

!

185

con un terrible accidente.

TODOS.
Luis.
Sale.

Que desgracia jValgame Dios Jesus, y que confusion Hay por ahi una garrafa,
\ ! j <:

190

Dona
PETRONILA.

Petronila

Adentro
os la daran las criadas.

Vase.

JUANA.
Luis.
lo

Como va
mismo

el

enfermo

Mai;
esta

que

se estaba.

Vase.
!

ANA.

Que atento

es el tal

Don

Luis

195

ABATE SEG.
JOAQUIN. FRANCISCA.

A
j

nadie dijo palabra.

!

Gran fachenda
el

Es un cuidado

mayor
yo LAURA.
JUANA.
INES.
le

que ahora

le

llama;

disculpo.

Yo, no.
Siempre es
asi.

Mira, Frazca,

200

yo voy a dar una vuelta, y a saber que es lo que pasa

alia dentro.

122

TEN SPANISH FARCES

FRANCISCA.
hija,
<;

No
no esta
los medicos,

hagas
alii

tal,

tu hermana,
205

y Don Luis ?

INES.

Y a saber por que no sacan

de refrescar.
Eso,
si.

LAURA.
INES.

Por Dios,
silencio.

te encargo

que haya

ANA.

LAURA.

Vete, que bien sabes a quien se lo encargas. Hija, en estos lances, y entre

210

personas de confi'anza, no te andes con chocolate,

meriendas
lo

ni pataratas;
215

primero es lo primero que se ha de cuidar; y basta

con que saquen una fuente de fruta, alguna fritada,

o torreznos.

FRANCISCA.
fresco ?

<;

Tienes lomo

INES.

Se

levanta.
freir.

Voy a que

lo

hagan

220

ANA.
JUANA.

mi, chocolate,

que hoy estoy desazonada. Yo, mi media rosca tierna, y mi punado de pasas,

como
FRANCISCA.
Aparte.

siempre.
(\

Habra mujeres
!)
\

225

mas imprudentes
ABATE PRIM.
INES.
.

gritos.

Que llaman

Sirvanse ustedes de abrir, que adentro estan ocupadas.

Vase.

LAS TERTULIAS DE MADRID

I2 3

FRANCISCA.

Yo

he quedado

lela.

LAURA.

Yyo
aun estoy toda asustada. 230 Va uno de los tres a abrir, y luego sale PEDRO con el CIRUJANO y DON LUCAS y D. CIRILO de tertuliantes, con capa
y gorro.

Luis.

Sale.

,j

Ha

venido

el

cirujano

PEDRO.
Luis.

Aqui

le traigo

ya.
j

Gracias

CIRUJANO. LUCAS.
CIRILO.

Entre usted corriendo, que ya ha rato que hace falta. Ahora acaban de avisar. Se entran.
a Dios
!

235

Buenas noches, camaradas.

Adios, senores.
I

JOAQUIN.
la

Sabeis

novedad

LUCAS.
FRANCISCA.

Ahora acaba
de contarnosla Perico.
Senores, lo que se encarga
es el silencio.

Se

sientan.
240

JOAQUIN.

Para

eso,

y para hacer menos larga una visita de enfermo, se yo, amigos, una brava
receta.

LAS MUJERES.

<:

Como ?
?

<;

que cosa ?

245

ABATE PRIM.
JOAQUIN.

Di,

<i

cual es

Pelar la pava.

JUANA.

Pero hablar quedito.

SEG.

ABATE

Cuanto

mas quedo, mejor

pelada.

124
Luis.
Sale.
<j

TEN SPANISH FARCES

Saben ustedes
si

acaso
250

deje yo por ahi Ya la veo.

mi capa ?
Se
la pone.

JOAQUfN.
Luis.

Donde vas ?

traer

una tipsana
<j

que han recetado.

FRANCISCA.
Luis.

Y que dicen ?
Vase.
255

No dan muchas
<i

esperanzas.
j

JOAQUIN.

Esperanzas

Esa
cara
!

es

una comida

muy

ABATE PRIM. ABATE

LAURA.
SEG.

Yo

se quien las tiene buenas,

solo

que no quiere

darlas.

Laura, fisgando. I Tiene usted muchas ?

jY gordas
Asi usted

ABATE SEG.
FRANCISCA.

me

regalara

260

unas poquitas.
Silencio,

que
CIRILO.
j

esta

no

es
!

noche de chanzas.

Que cabezas

LUCAS.

Aparte

los dos.

(De aqui a un poco, amigo, cojo la rauta yo, a jugar mi malillita

parte.)

265

a otra
PEPITO.

Sale de petimetre calavera.

Salgan, salgan ustedes a los balcones;

veran refiir a dos majas con un escribano, sobre

TODAS.
PEPITO.

quien se lleva Chis

!

el

gato al agua.

270

Redo.

Salgan ustedes

LAS TERTULIAS DE MADRID

125
!

TODOS.
JOAQUIN.
PEPITO.
esta

Chis

Que muy malo en la cama Don Juan con un accidente.

i Y que dice a eso Esta muerta.

madama ?
modo
275

ANA.
PEPITO.

De
Traiga uste esa
<i

ese

no podra decir palabra.

ANA.
PEPITO.

silla chica.

Hablan ustedes en chanza ?

lo

La

trae.

ANA. PETRONILA.

No, no; ya
Sale.

vera usted.

Amigas, suplid las faltas, que hoy todo va, como va.

280

Sacan de

beber

el

PAJE y

las

DOS CRIADAS,

y luego algunas servilletas, una fuente como de fritada, pan, tenedores, etc.
FRANCISCA.
Si estaba

muy

escusada

JUANA.

por hoy Aparte a las otras.

esta ceremonia.

(Mira este vaso,

FRANCISCA.

que bata
285
!

tiene de tan lindo gusto !) Mujeres, que seals tan malas

\ <J

LUCAS.

Si aquel vino

quien repara en estos lances ? de la Mancha

se acabo,

no
PETRONILA.
PATRICIA.

mande usted
290

que una

Anda
Aparte.

botella nos traigan. chica.

j

Bueno va esto, mi amo para dar su alma y

a Dios
!

Vase.

Luis.

Sale

Buen provecho.

126

TEN SPANISH FARCES

Presentdndole una tajada.
Luis,
al

ABATE. vaya
Luis.

paso esta tajada.

Tomdndola.

Esto es antes.

Al

entrar

D. Luis con

la garrafilla, salen
serios,

los

DOS MEDICOS muy

DONA

INES, llorando amargamente.

siguen

a una punta del tablado. merendando. Luego

Se quedan Los otros

rodean

LOS MEDICOS como con curiosidad.

INES.
<J

Conque, en

fin,

295

pueden

f undarse

esperanzas ?

ANTON.

El pulso aun promete algunas; pero hareis mal en fundarlas

hasta ver
vuelve.
si

vuelve,

y como
300

Luis.
GIL.

Sale.

<j

Le doy

la tipsana ?

Al instante, y avisad si la traga, o no la traga.

Vase Luis.
?

ABATE PRIM.
GIL.

No
Ya

fuera bueno sangrarle

tiene desenvainada
305

la lanceta el sangrador;

pero hay primero otras causas

que veneer.
PEPITO.
GIL.

Con

la boca llena.
<?

INES.

i Se ha confesado ? ha perdido el habla ? Como, fise es mi mayor pesar.

si

JoAQufN.
INES.

Se levanta y

la brinda.

Esta tajadita magra,

310

que Perdonad, no tengo gana.

esta diciendo:

Comedme.

LAS TERTULIAS DE MADRID

127

LAURA.
JUANA.

A parte

las dos.
(j

Que mal

frito esta

!)

(l

la rosca,
!)

que dura y que apelmazada

TODAS.

Ven

aqui.

ANTON.
y tenga de que no
hasta ver

Sientese usted,
la confiianza
le
si

315

dejaremos
se le saca

INES.
GIL.

de este primer paso. Bien. Se sienta llorando. un polvo de la Habana. Venga

320

ANTON.

A parte

\_los dos~\.

(Y

rico.

Los

tertuliantes,

que lindamente acompanan la pacienta en su dolor !)

GIL.
(<J

No

es el ejemplillo

rana
325

para algunos que que cuanto tienen en tertulias ?

se yo,
lo

gastan

Otro polvo.)

ABATE PRIM.

[A parte, los dos.~]

(Los medicos mala cara
ponen.)

PEPITO.

ABATE PRIM.
PEPITO.

(<J Que medicos son ?) (Entrambos de mucha fama.)

330

(La fama de
es

los doctores

como

la de las

damas,

que aquella que tiene mas visitas es mas nombrada;

y
Luis.
Sale.

suele ser la sefiora,

335

con perdon, una tarasca.)

Senores, vengan ustedes,

128

TEN SPANISH FARCES

que ha bebido la tipsana sin derramar ni una gota, y van a menos las ansias.

340

INES. Ansiosa.

<jDeveras?

TODAS.

ANTON.
GIL.

No

es la noticia

Estate quieta. muy mala.

Vanse.

LAURA.
INES.

Don Gil Ventosa. Don Anton Jalapa. Vamos, No entres tu.

Entremos,
Ansiosa.

For que,

si

soy

345

yo
LUCAS.

sola la interesada ?

Chis,

Don

Luis, saiga usted luego;

que

si

usted no juega, falta

un
Luis.
<j

pie.
I

pie ni que mano para juego esta la casa ?

Que

Vase.

350

Salen D.

MANUEL
<?

y D. PABLO.

MANUEL.
PABLO.

A los pies

de ustedes.

Conque

tenemos novedad

?
i

LUCAS
si
!

Vaya

Dona Petronila, hay que saquen una baraja

Este es juego
355

y nuestra mesa.
CIRILO.

PETRONILA. PABLO.

en que todo Esta bien.

el

mundo

calla.

Vase y
la calle

vuelve.

Pues en

de decirnos ahora acaban

que Don Juan esta

PEPITO.

muy
j

malo.
Gracias

Ya

esta

mucho

mejor.
360

MANUEL.
a Dios
!

LAS TERTULIAS DE MADRID

129

PEDRO. Se pone ajugar.

Aqui esta

la

mesa.

ABATE PRIM.
LUCAS.

Cuenta con gritar, una malilla, Don Lucas. Es advertencia escusada donde hay enfermos, y usted
si

os fallan

365

PEPITO.

puede para si tomarla. Pues yo me desfilo a un baile, senoras, si no me mandan

otra cosa.

JOAQUIN.

LAURA.
PEPITO.

para todos ? No; pues si ustedes se marchan, nos vamos tambien nosotras.
<J

Hay

370

<J

Aprendio usted ya,

Dona Ana,
!

las seguidillas del hole ?

ANA.
PEPITO.

Toma, ya estan olvidadas

no fuera escandaloso,
por
la guitarra,

Si

375

iria

ABATE PRIM.

y se haria por lo bajo una peti-serenata. Eso es demasiado; ahora,

si

quisiera esta

madama

380

honrarnos, sin instrumento pudiera en seco cantarlas.

ANA.
PETRONILA.

que

lo

oyeran

Ahora que esta alia dentro mi hermana, no importa.

Vamos, Anita.
385

TODAS. ANA. TODOS.

Vaya una
Canta

coplita.

Vaya.

DONA ANA una

'

seguidilla del hole

TEN SPANISH FARCES

en seco.

Todos

la rodean, los

unos dede

trds de la silla

los otros delanie,

rodillas;
se

y en acabdndola, D. LUCAS levanta de la silla, echa a rodar un

candelero, y dice gritando:

LUCAS.

dos mil demonios, que haga usted esa jugada

j

Hombre de

en

mano de

favorite

MANUEL.
LUCAS.

Por que usted no

me

avisaba

390

que tenia

la malilla ?

No

sabeis tener las cartas

en la mano.

MANUEL.
Luis.
Sale.
la cortesia,

Mas que
por Dios;
se

usted.

Senores, senores, valga

395

que nuestro amigo

por
la posta.
<J

marcha

LUCAS.

Sabe usted ya cuantas malas jugadas ha hecho este hombre ?

Bien esta;
pero renirlas manana.
400

Luis.

JOAQUIN.
Luis.

<)

Conque eso va malo ?

Malo.
Vase.

LUCAS.

Don
Con

PETRONILA.
FRANCISCA.

usted baraja. vuestra licencia voy

Cirilo,

a ver como estamos.

Anda.
j

ABATE SEG.
PEPITO.

Noche funesta
traia

El caso es

405

que yo

mi danza
los bolsillos,

de monos en

LAS TERTULIAS DE MADRID

13!

y
JUANA.
PEPITO.

esta noche hacer pensaba

los purchinelas.
<i

De

veras

Sino, ve aqui por f'ianza de mi verdad, al sefior

410

Don
JUANA. ANA.
PEPITO.
el
<:

Cristobal.
j

Saca un mono.

Ay, que gracia

el

Teneis

mas ?
El perro,

hombre,

demonio, y

la

madama.
415

FRANCISCA.
PEPITO.

el silvatillo ?

JUANA.
PEPITO.

Tambien. Hable usted algo como hablan. Se mete bulla.

Quedito,

JOAQUIN.

y
PEPITO.
<?

solo cuatro palabras.

Hablando de Purchinela.
Compafiero, que de veras
alia fuera

hay

bonitas, bonitas

muchachas Mucho. ?

420

Salen
INES.

DONA

INES y

DONA PETRONILA

serias.

Hijas, por la Virgen santa que os vais. Bien conozco

que
425

aqui estais mortificadas, y yo deseo estar sola.

PETRONILA.

Los medicos ahora acaban de decirme que don Juan llegar no puede a manana.
silla.

INES.

Se cae en una
\

Ay

de mi

TODAS.

Por Dios, amiga.

Se levantan.

13 2

TEN SPANISH FARCES

PEPITO.
INES.

Que

traigan

un poco de agua.

430

No
<J

es menester; por Dios, idos.

JUANA.

ANA.
FRANCISCA.

Irme yo, estando con tanta pena tii ? Ni yo tampoco. Tambien yo avisare a casa que no nos esperen.
435

JOAQUIN.

(Digo, Aparte [a Juand}. mi senora Dona Juana,

esfuerce uste el pensamiento;

que noche tan guapa pasamos contando cuentos.)

vereis

JUANA.

<:

Que

tigre tuviera entranas

440

de dejaros en un lance como este ? ^ No lo extranara

todo
el

mundo ?
(

ABATE PRIM.
JOAQUIN. ABATE PRIM.

Aparte

[los dos.~]

Oyes, Joaquin,

que
(Si,

se

quedan

las

madamas ?)
que
se ofrezca,
445

hombre.)

Retirdndose.

Por

lo

cuanto mas acompanada,

mejor.
INES.
Hijas,

Yo

sere el primero.

yo con mi desgracia
450

ANA.
JUANA.
PEPITO.

no estoy para daros cena, ni hay disposicion de camas. Quien se habia de acostar
<<

con

tal

cuidado

"<i Ni gana de cenar, quien la tendria ? Teneis jamones en casa,

,3

cafe

y chocolate ?
Si.

INES.

455

LAS TERTULIAS DE MADRID

PEPITO.

133

Pues sobra con eso que haya; y alia a lo mas retirado,

donde al enfermo no se haga mala obra, pasaremos la noche, aunque no son largas, como unos duques.
JOAQUIN.
i

460

Vereis
!

ABATE PRIM.

que Digo nos podemos ir a la pieza de las jaulas, que esta lejos de Dice bien.

linda noche se pasa

la alcoba.

465

JUANA. Los CUATRO.

INES.

Pues fuera espadas.

.

Se

las quitan.

Luis.

Es imposible, senores Que hay de nuevo, Don Luis ? Sale muy lloroso. Nada;
. .
<i

lo

mas

sensible aqui es

la disposition del

alma.

470

INES.

<J

Pues que va a peor ?

Senora,

Luis. usted tengala tragada;

busquese un coche, y con una de estas amigas se vaya,

que ya no esta bien aqui y pues tanta confianza tiene de estos caballeros, nombre uno que cargo se haga
de disposiciones,
llaves,

475

y
INES.

papeles.
I

Ay, mi Juana

Abrazdndola. 480

JUANA.

Yo

seria la primera,

amiga, que te llevara, a no tener tantos hijos.

134

TEN SPANISH FARCES

FRANCISCA.

Yo

tuviera

tambien, como mi casa una alcoba mas.

la

485

ANA.
INES.

Por mi, ya sabes

condicion de
Seiior

mala
. . .

mi marido.

Don

Joaquin

JOAQUIN.

Madama,
yo en asunto de papeles soy un pedazo de albarda.
490

LUCAS. Sin dejar eljuego. Yo, ya sabe usted que tengo

una

oficina pesada.

ABATE PRIM.
PEPITO.
INES.

Yo, mil correos y agendas que me llevan a la rastra.

A
<i

mi

lo

testamentario

495

es cosa que no

me

encaja.

Vosotras sois las amigas de quien tuve confi'anza ?

Gritando.

LUCAS.

Ese

as;

<J

no Feparo usted
500

INS.
Luis.

que yo descubri la mala ? Cabe en los hombres de honor

<J

correspondencia tan falsa

voces.

Don
sal

Juan, amigo, ya tiene

aceite la ensalada;
505

salid a echar el vinagre.

Sale D.

JUAN

en bata, y MEDICOS y CRIADOS.

JUAN.

Sea enhorabuena, madamas;

caballeros, yo agradezco a todos mercedes tantas.

INES. Ansiosa; y todos admirados en pie, y dejan

Hijo, que es esto ?

el

juego.

LAS TERTULIAS DE MADRID

135

JUAN,

Esto
haberte dado copiada

es, hija,

510

una pesadumbre que

quiza puedes ver
original.

manana

INES.
es

Bien decias

que con semejantes

vano cuanto

se gasta
515

tertulias,

que del que mas me adulaba, en una necesidad

me
JUAN.

hallaria
lo dije,

mas

burlada.

Te

te repito,
520

que nadie viene a estas zambras

sin su fin particular

o su interes; verbigracia: La sefiora viene aqui

Juana.

porque amiga de danza, en su casa su marido y

es

525

no quiere

sufrir guitarras.

La sefiora viene a ver A Francisca. como sale de cufiada; si aqui que entran muchos hombres
se inclina alguno,

y se casan. Esta viene porque viene estotro; y a la contraria,

este

530

A Ana. A
Joaquin.

porque viene
le

estotra.

Este viene porque aguarda

Pablo.

535 que yo saque un empleo. Este porque esta sin blanca Al Abate Primero.

lo
el

del ano, y yo soy socorre la plaza. que

mas

136

TEN SPANISH FARCES

El senor acude aqui

Pepito.
540

como a

otras tertulias varias,

por trasegar de una en otra lo que en todas partes pasa,

hecho arcaduz, que tan presto

lo

coge

como

lo vacia.

El senor, porque asegura con el juego la pitanza

para
por
el

Lucas.

545

otro dia. fiste,

lo

Al Abate Segundo,

porque con

que aqui zampa

la tarde,

ahorra la cena.

Yestotros, porque hace malas noches, viven ahi enfrente,

los otros. 550

y aqui siempre hay fiesta armada. iEsesto? respondan; y Ponen todos el dedo en la
quien mienta, muerto se caiga. ste es solo verdadero
amigo, y quien, si pasara de veras lo que hoy fingimos,

boca.

Luis. 555

me
Luis.
INES.

sirviera
el

te

amparara.
560

ANTON.

alma y con la vida. Hijo, yo por la ensenanza te perdono el grande susto. Ya no hacemos aqui falta,
pues Don Juan encontro de curarse y de curarla.
el

Con

modo
565

FRANCISCA.

Muy bien lo han fingido todos.

Suspirando. A costa de nuestras ansias
. . .

PETRONILA.
JUAN.

Con fisga.
Por sacar
las llavecitas

LAS TERTULIAS DE MADRID

del dinero

137

las alhajas.

Esas son cuentas que luego los dos hemos de ajustarlas.

570

JUANA.

Enfadada.
Sin embargo, es

un desaire

FRANCISCA.

Prudente.

Amiga Juanita, calla; y callemos todos, piles ya nos han visto las cartas, y si envidamos el resto, quedamos mas desairadas.
LAS DAMAS. Dice bien adios, amiga. Los HOMBRES. Chicos, encended las hachas.
;

575

Vanse.
Vanse.

PEPITO.

Si soy arcaduz,

los 580

arcaduces minca paran, la historia que aqui he cogido

voy a otra parte a

INES.
<i

vaciarla.

Vase.

Y que tipsana tomaste ?

y medio de horchata
585
le traje

Luis.

Cuartillo

INES.

en persona. que yo Pues yo he sido la curada, yo soy la que debo a ustedes

darles el premio y las gracias. Todos seremos contentos,
si

JUAN.

de este ejemplo se saca

590

por que y cuando las tertulias se forman y desbaratan.

FIN.

NOTES
The portrait of Cervantes reproduced in this book is taken from a painting brought to public notice about ten years ago, and purporting to be the work of Juan de Jauregui y Aguilar, the author's friend. Many have accepted the alleged portrait as genuine; others have impugned its authenticity, and a heated controversy has raged. The only authentic likeness of Cervantes
is

the verbal portrait in the Prologue of the Exemplary Novels. the recently discovered painting is an imposture, it was probably drawn with Cervantes' own self-description in mind, so that, at worst, it affords as good a likeness as imagination, aided by a
If

few known data, can effect. The interior views of a seventeenth century theater are taken from Sepulveda, El Corral de Pacheca, Madrid, 1888. These
drawings must be accepted as representing the ideas of a modern aided by old descriptions. While they give a good, general idea of an old corral, they are doubtless erroneous in many
artist
details.

PASO SEPTIMO
The scene
2.
is

a street.
desde

Toruvio's house

may

be assumed to be
"

at one side of the stage, the neighbor's at another.

desdel
in

el;

contractions no longer admissible are

common
3.

Old Spanish.

se queria hundir, was on the point of sinking. deci = The final d of the second plural, imperative, is frequently omitted in Old Spanish. The peasant characters in this farce use both the second singular and second plural forms of address.
decid.

The former
4.

is

terna

tendrd.
r,

preferred in addressing Mencigiiela. An old, irregular future with metathesis

starting

of the

n and

from an
139

original tenra.

I4O
4-5. la senora de

NOTES
mi mujer.
Similar to the use of de in pobre

de

See Bello-Cuervo, Gramctka castettana, Senora, 'lady,' is here used in a jocular sense. 852. 5. Asi is sometimes used to introduce an optative subjunctive.
like phrases.
is

mi and

Ojald

Wife!

now more frequently used in such cases. Oislo The phrase 'Do you hear it? was so frequently used in
j !
'

conversation between husband and wife that

it

came

to be a

playful term with which to designate one's better half. At least this is the traditional explanation. Sancho Panza refers to Juana Gutierrez as mi oislo. In the present instance, some have

taken the word in the other sense; but Toruvio seems to be calling both wife and daughter alternately. Mochacha = Muchacha. There was formerly much vacillation between o and u in unstressed syllables.

See

Men6ndez

Pidal,

Manual

de gramdtica

16. espanola, Madrid, 1918, 6. i Si todos duermen en Zamora ?

Can

everybody be sleep-

ing in ballad:

Zamora?

proverbial

expression

taken from an old

Tristes

van

los

zamoranos

metidos en gran quebranto.

Todos duermen en Zamora; mas no duerme Arias Gonzalo.

See Duran, Romancer o general, no. 795. One is reminded of the expression current during our Civil War: 'All's quiet along the

Potomac

tonight.'

Si,

certainty or curiosity.

Translate, '/ wonder

8.

if,'

introducing a question, indicates unSee Bello-Cuervo, Gramdtica, 414. or omit.

often used to join a question to a See Diez, Grammatik der previous statement or exclamation. romanischen Sprachen, 5th ed., Bonn, 1882, III, 1059. 10. i Mira que pico ! See what a chatterbox!
15.

The conjunction y was

Andad

for y;

y llamalda. In modern Spanish we should have a llamalda = llamadla. It will not be considered necessary

to indicate other instances of the metathesis of

d and

as they

occur.

NOTES

141

16. el de los misterios, frequenter of sabbaths. She implies that her husband has dealings with witches and the Evil One,

alluding probably to the fact that he has been out on such a

stormy night.
his wife, Ines:

In Lope de Rueda's Armelina, Pascual addresses la de los misterios. She has been boasting of her
is

ancestry.

His remark implies that she

etc. he is just

a witch.

ya viene
little

de hacer,

haul of wood, in such a state that there is nobody who can get on with him. In Old Spanish viene de is often equivalent to acaba de, but in this case something of the ordinary meaning of venir is felt;

back from making a wretched

que

19. 20.

de manera que. Toruvio resents Agueda's use of the diminutive.

juro a is less frequent in 20-21. eramos ... a cargalla

for the form, cargalla

modern Spanish than jure

par.

estdbamos

was frequently assimilated to

the cargarla / before an enclitic

As cargdndola. final r of an infinitive

pronoun be-

ginning with that letter. 22. noramaza, a euphemism for noramala

en hora mala.

preferred this softened form of the oath. See Don Quijote, Pt. I, ch. 5. mojado. Toruvio enters dripping, a comic entrance employed in many entremeses. Compare the entrance of

Women

Pablos in El colloquio de Camila, Obras de Lope de Rueda (edited

by Cotarelo), Madrid, 1908, II, This redundant use 23. que.

68.
of que is explained

by Weigert, zur spanischen Syntax auf Grund der Werke des Cervantes, Berlin, 1907, 102. He thinks its presence here due to a contamination of the two expressions: que mojado venis and

U ntersuchungen

lo

mojado que venis. deis. Subjunctive used instead of the imperative. It is unnecessary to suppose the omission of a verb of asking or
25.

wishing.
26.

tengo de
alba.

a foolish question, the answer to which the Spaniard retorts with a ready-made, silly answer: No, sino el alba, No, the dawn rather. This is used in every possible connection. The following translation is an ap30.
is

= he de. When asked

self-evident,

proximation:
34.

Your mother

will be saying next,

'

Fiddlesticks .'

plantasedes

plantaseis.

In Lope de Rueda's

century

142

NOTES

the old endings -odes and -edes were still retained in those forms of the second person plural which were stressed on
the antepenult.
36.

rogastes

rogasteis.
-tes,

The

plural, preterit,

Cervantes.
37.

and not -teis until See Menendez Pidal, Manual, p.

was

regular ending of the second after the time of

220.

We

should

now

use donde, rather than adonde, except with

a verb of motion. = aderezado. 41. adrezado The same is true for drecho
42-45.

The

first

has been syncopated.

derecho, below.

depend on a verb

All the que's in this sentence, except the second one, of thinking readily to be implied from the

he pensado of the sentence before. 47. un olivar hecho y drecho, a right proper, or, a really and
truly olive grove.
54.

Covarrubias states that

(1611)

the real castellano was worth in

his

Agueda, therefore, would sell 23 dineros. the olives for 46 dineros while Toruvio demanded only onethird as much, 14 or 15 dineros. The ratio between the two
time

coins

may have
el

differed

slightly

in

the

time of Lope

de

Rueda.
56.

amotazen, the reading of Moratfn and Fuensanta de

al amotazen.

Valle.
critical.

Gotarelo reads: cadaldla

None

of

these

texts

is

modern, coda dia. These words were commonly used with reference to horses rather than to vines. C6rdoba was famous for its horses. 62. tengo dicho. Stronger than he dicho.
57.
el dia,

coda

used

like the

59-60.

la casta

de los de Cordoba.

What is the modern equivalent? frequently used after oaths, ejaculations, and strong asseverations. See Bello-Cuervo, Gramdtica, The sub391. ject of mata is ella, understood.
68.

quisieredes.

85.

que

is

98.
ruin.

Averigiie, etc.,

Find out

or

let

everything be

set

down as

116-118. Notice how the verbs dependent upon dice shift from future to conditional, to imperfect subjunctive, to imperfect indicative.

NOTES

143

1 20. quistion = cuestion, dispute. Just as there was a wavering between u and o in unstressed syllables (see note to line 5), so there was the same hesitation between e and i. 122. Las aceitunas no estan plantadas, an exaggeration. They

were, of course, planted. 126. Toruvio forgets that the table

is

already

set.

See

1.

41.

LA CUEVA DE SALAMANCA
The
stage

must have been divided, part representing the

in-

terior of Pancracio's house,

another portion, the street outside.

This division was probably indicated by a cloth stretched across the stage. During the window scene Pancracio and Leonarda, both visible to the audience, probably conversed through an
aperture in this screen. 17-18. que si yo fuera que vuesa merced, que, etc. The first and third que's are pleonastic after asseverations: see Bello-

The second Cuervo, Gramdtica, 391. verb to be: see ibid., 1004.
24.

is

pleonastic after the

that

Leonarda is 'deceiving with the truth,' etc. expecting Pancracio to take her remarks in one sense, while really meaning them in another. There are several other
cuanto mas,
is,

examples of this device in what follows. Lope de Vega was the first to give critical sanction to the enganar con la verdad expedient. The narrow definition of deceiving with the truth proposed by Morel-Fatio, in his commentary on Lope de Vega's Arte
'
'

nuevo de hacer comedias en

este

liempo,

Bulletin hispanique, III,

364-405,

Luna
female
dora,

not stand as against the evidence of contemporaries. (Lazarillo de Tormes, Part II, ch. xiii), speaking of a
will

hypocrite says: Ella las respondia era una grande pecaIn the Spanish y no mentia, que con la verdad enganaba. Comedia, enganar con la verdad did not mean merely a pre-

case where

maturely disclosed denouement, but the phrase applied to any deception was accomplished by telling the simple truth. The closely related device of hablar equivoco involved
31.
vais, subjunctive.

word-play.

See Bello-Cuervo, Gramdtica,

582.

144

NOTES
story.

35. que otro gallo les cantase, it would be a di/erent Again the que after an asseveration.

40.

mando =

ofrezco,

or prometo.

The

present with future

implication.

Note the change from the second plural to the second singular form of address, when the husband addresses first the wife and then the servant.
51.
j

Alia daras, rayo, etc.

Correas, Vocabulario de refranes,

Madrid, 1906, gives two other forms of this proverb: Alld dards, rayo, en cas de Tamayo, and, Alld dards, rayo, en casa de Ana Gomez. The first of these is probably the original form, because The thought is: Let others suffer rather it preserves the rhyme. than myself. La Ida del humo Vanish like smoke. Like our slang: 52. 'Fade away.' Another locution is: La ida del cuervo, with reference to the raven dispatched from the ark by Noah. The Archpriest
j !

of Talavera has:

La

ida del polvo.

6.

57.

For

62.

introducing a question, see page 140, note For many centuries it has been the serones.
si,

the kings of Spain, and also the emperors of the feet of thirteen paupers on Maundy Thursday. After this ceremony each pauper was presented with a serdn, 'hamper,' containing dainties. The contents of an Easter basket are in'

custom of Austria, to wash

'

dicated in the context.

de una oreja, of the good old sort. According to Cowine was good and the 'two-eared,' bad; because one who partook of the first variety staggered to one side only, while he who drank the other reeled first to one side
67.

de

lo

rreas, the 'one-eared

'

then to the other.

67-68.
70.

que huele que trasciende, which

de mis entranas.

gives forth

a pene-

trating odor.

telas

The

usual phrase
is

is:

telas de

Cervantes corazdn, 'my heart's fabric.' turn to this stock phrase. 71. Maese Nicolas is also the barber's
81.
lo

giving a

mi humorous

uno muestra vuestro

vestido.

Spanish universities required that wore long cassocks, like priests,

it

name in Don Quijote. The regulations of all students dress alike. They and small caps, except when
to

rained,

when they were allowed

wear hats.

When

begging,

NOTES

145

they carried caps or long, wooden spoons which they held out For interesting details, see Reynier, La to receive the alms. Vie universitaire dans I'ancienne Espagne, Paris, 1902.
97.
like

Roque Guinarde, a

celebrated Catalonian bandit, who,

Robin Hood, stole from the rich and gave to the poor. Mentioned in chapters LX and LXI of the Second Part of Don His biography has been written by Luis Maria Soler Quijote. The allusion y Terol, Perot Roca Guinarda, Manresa, 1909. proves that this farce must have been written after 1607. See Buchanan, Cervantes as a Dramatist: The Interludes, Modern
Language Notes, XXIII, 184. 100. ademas, excessively. 106-107. pues de las sobras,

etc.

Cervantes used this proverb

again in El coloquio de los perros. In Don Quijote, Pt. I, ch. XXI, he distorts it as follows: almorzaron de las sobras del real que del Inasmuch as sobras del castillo was proacemila despojaron.
verbial for 'plenty,' Cervantes coined the phrase sobras del real, meaning 'scantiness.' Cortej6n is the only commentator who

approaches the correct explanation. 108. habra en quien, etc., there will be an
devotion.

object for his hunger's

Adorar, usually a transitive verb, is sometimes inIn this case it needs, like entrar, the prepositional transitive.
en.

complement
113-114.

Christina thinks that the student has the air of

secret.

one unlikely to keep a

On

the contrary, his

is

mouth

will

hardly suffice him for speaking, and he out of the back of his head.
114.
pelar.

just as likely to talk

There

is

much punning upon

the various mean-

ings of this word.

had

literal

and

Pelar, like English 'pluck,' 'fleece,' 'skin,' It meant either to 'pluck figurative meanings.

a fowl,' or 'to pluck a victim at cards or otherwise.' Peldn meant either 'bald-pate' or 'simpleton' or 'one completely
destitute.'

122. graduado de bachiller, etc. Being a university graduate, he might be considered an accomplished rogue. These words are 125. capones, sino gansos y avutardas. likewise played upon. Capones were 'effeminate men.' Gansos

often

meant 'country

simpletons,'

and Covarrubias, Tesoro de

146
la lengua, tells us that the

NOTES

word also meant 'pedagogues,' because the school teachers of the time would lead their pupils
to school like ganders heading their flocks. I find no figurative meaning for avutardas bustards in the dictionaries but in the
'
'

slang

of the time it meant 'hardened criminals,' 'veteran See Entremes prisoners,' those longest resident in a given jail.

del letrado,

Obras de Lope de Vega,

literal significances of

Of course the
stood as well.
128-130.
slaughter in

Academy edition, II, 1453. these words are to be underfreely:

Asf pueden,

etc.

Translate
without

You may
lips,

my

presence ....

my

opening

my

etc.;

que seems
129.

to be equivalent to sin que.

Rastro.

The

and the
still

sale of meat.

place set apart for the slaughter of animals In Madrid and some other towns there is

a district known as the Rastro.

agujeta de dos cabos. The agujeta was the iron-tipped lace used for tying together the various outer garments. The
132.

two-ended lace was one which had two free ends; others had one end sewed to the garment.

Automedon was Achilles' charioteer. 138. Automedontes. Hence, by extension, any driver or coachman. Compare our
use of the word Jehu. It was characteristic of the sacristans that they loved to air their slight learning and to talk in an unintelligible,

pedantic way. Simple, intelligible style was termed estilo llano. It was the opposite of the estilo culto, talked by the Sacristan. Of course
146.

llano

means both

'flat

'

and

'plain.'

pan por pan por pan y vino por

147.

vino, etc.

The

correct form of the proverb

is:

spade a spade.' Cervantes never tires of turning proverbs inside out for humorous effect. The 150. un barbero romancista, a ballad-singing barber. barber is always a singer of ballads, guitar player, and dancer.
is the editors' emendation for an original reading, beylero. inclined to think that Cervantes wrote baylero, 'dancer.' I have refrained from making this change because I can find no

vino, 'to call a

Barbero
I

am

authority for such a word, which might, however, easily have

been coined. 152. Antonio de Nebrija, or Lebrija (1444-1522), the most

NOTES
famous Spanish grammarian
scientific

147

grammar

of his age. of the Spanish language,

He

wrote the

first

and a Spanish-Latin,

Latin-Spanish

dictionary.

He

taught at the universities of

Salamanca and Alcala, and used his vast knowledge of Greek and Hebrew in preparing the celebrated polyglot edition of the
Bible. 154. cada uno habla, etc., a proverb. uno habla como quien es.
159.

Correas has

it:

Cada

salamanqueso.

The
suffix

correct adjectives are salmantino

and salamanques.
ear.

The

-queso sounds funny to a Spanish

167-169.

Confiese,

etc.

Confess that you are very peevishly inparts, etc.

clined toward a
170.

man

of

my

ellos, you.

leave

y nunca del cuero les salgan, and may they never your skin, that is, may they rest well on your stomach. 177. en visperas. A possible allusion to the stock expression:
170-171.
tonto en visperas.

como

One would be
was

sleepier at vespers

than at

early mass.

178-179.

The

sacristan

like those priests described in the

Lazarillo de Tormes,

who spoke Latin volubly

and maintained a
.

to those

who

did

not understand

it,

discreet

silence in

the

presence of the educated. 184-185. Si el rodeara .

. estuvieramos. For hubiera rodado This use of the imperfect subjunctive for the pluperfect subjunctive was common in the old writers. See Bello-Cuervo, Gramdtica, 696.

and hubieramos

estado.

194.

Lucrecia, a

Roman matron

who committed
Porcia,

suicide rather than lead a

of the sixth century B. C., life of dishonor.

the wife of Junius Brutus, who committed suicide, 42 B. C., rather than survive her husband. 197. tenia, a common use of the imperfect indicative for the
conditional, for the sake of greater positiveness and vividness. 214. deben de andar por aqui, must have something to do with this.

See 217. a recogerse, the infinitive used as imperative. In this case the verb Bello-Cuervo, Gramdtica, Notas, p. 62. vayan may be easily implied.

148
231.

NOTES
The
old superstition was that the soul actually passed When the soul had reached the

out of the mouth at death.

teeth, the dying

man was at his last gasp. The soul of a carcaflares, usually spelled, calcanares. Tener los dancing barber is placed by Cervantes in his heels.
232.
sesos en los carcanares

was a common expression.

Cepo also cepo, my support; literally 'block.' meant 'stocks,' the instrument in which criminals were punished.
238.

mi

my impediment.' Hence, in this context the phrase may mean la voz de un gallo, etc., a proverb: 'All cats look alike in
the dark.'
244. el, you. This is a polite form of address common in the old language. It is still used in Le6n. See Menendez Pidal, El
dialecto leones,

'

262.

me

265.

Madrid, 1906, p. 59. tiene ya sin pulsos, keeps my heart from beating. In the modern language voher alone would volvernos.

he used in this sense.

veisle aqui. Very close in meaning to hele aqui. 293. Either de or par may be used as complements of the intransitive temer.
283. 296.
la

Santa Inquisition.

The
in

ecclesiastical tribunal

founded

by Ferdinand and Isabella abolishment by Napoleon in

1478, and continuing until its 1808. It tried persons accused of

heresy, witchcraft, or offences against the official faith.

See Lea,

History of the Inquisition of Spain, New York, 1906-7. 297. a costa de mis herederos, that is, regardless of expense, without consideration of posterity. The phrase is in Don Quijote,

Pt. II, ch. 25.

Plega = plegue or plazca. 316-317. Note the strange omission of the 'personal a
fore the personal object referring to a thing.

313-314. Plega a Dios, etc., Please God that this unthreshed corn meet a good wind. An English equivalent: May God temper = May it all turn out well.' the wind to the shorn lamb

may

'

'

'

'

be-

and

its

use before the coordinate

noun

The barber has previously been named Nicolas; 322. Roque. one of Cervantes' characteristic inconsistencies. 328-329. no hay regla, etc., a proverb.

NOTES
333-334.
335, etc.

149
a proverb.
is

que buen corazon,

etc.,

This i2-syllable octave in arte mayor

mock

incantation composed of 12 and

syllable

lines in ternary

movement.
356-357.

The

Sacristan and the Barber enter

besmudged

after

their stay in the coal-bin,

which makes the credulous Pancracio

mistake them for demons.

Allusion to the proverb, thus 361. los perros del herrero. given by Correas: El perro del herrero duerme a las martilladas y despierta a las dentelladas. This proverb originates in a story which can be traced back to the Orient. In the Syntipas a black-

smith curses his dog who sleeps during the hammering on the See forge, but awakes as soon as he 'hears the noise of eating.

Chauvin, Bibliographic des ouvrages arabes, III, 34. 365. Yo hare la salva, I will sample it first. Kings had special tasters who sampled every dish before their master partook of it, as a precaution against poison. This operation was in Spain termed the salva. diablo. The Student forgets himself and 366-367. sacri
'

'

starts to say, sacristan.

393, etc. What follows is written in the 8-syllable verso de romance, except that there is a refrain, a full rhyme instead of assonance in the even lines, and an arrangement of the verses
in quatrains
is probably a fanciful personage invented for the sake of the rhyme. The poet is hard put to find enough rhymes in -anca.

398.

el

bachiller

and octaves. Tudanca

bombas, bombs of this sort. In the time of Cervantes often inflammatory than explosive. Tar was one of the principal ingredients with which they were filled. 414. Moros de la palanca. According to Covarrubias, the palanca was a pole on which two ganapanes, or porters, carried burdens. The Moors commonly practiced this trade. There are two towns of this name: Loranca 422. Loranca. del Campo, province of Cuenca, and Loranca de Tajuna, province
411.
.

estas

bombs were more

of Guadalajara. The name is without special significance. 'dragged in on account of the rhyme.
'

It is

434-435- Zarabandas,

Zambapalo,

Dello

me Pesa

. .

150
Escarraman.

NOTES
The names of four dances popular at the time, somewhat licentious. Hence the statement that they

and

all

originated in hell. For information about them, see Cotarelo y Mori, Coleccion de entremeses, has, bailes, jdcaras, y mojigangas,

Madrid, 1911, cclxv, cclxxiii, cclvii, and ccxliii. 439-440. mis puntas y collar escarramanesco, as a dancer of the Escarraman.

my

earmarks

LOS DOS HABLADORES

The
house.
1-4. Sarmiento has just inflicted upon an enemy una cuchillada de doce puntos, 'a twelve stitch slash,' that is, a wound which will He is forced to pay his adversary require twelve stitches.

action takes place partly in the street, partly in Sarmiento's

Sarmiento considers this 200 ducats by way of recompense. cheap at the price, and would gladly pay 4Oo'ducats for the satisfaction of inflicting a '400 stitch wound.' Roldan, a starveling, soldier hidalgo, chancing to hear this statement, sees a way to make a little money by offering his body for Sarmiento to Bonilla points out that the practice swordsmanship upon. source of this episode is the 87th story of the second book of Timoneda's El buen aviso y portacuentos, See Schevill's reprint, Revue hispanique, XXIV, 247.
12. 21.

parte, party, in a legal sense.

(otherwise) I will not speak a Roldan's polite condescension is in humorous contrast with his shabby appearance. 24. me he visto en honra, I have seen better days. 27-28. donde fuere servido, wherever you please. La necesidad tiene cara de hereje, Neces34. i No dicen, etc. sity has a heretic's (that is, a repulsive) face,' is a proverb used

que no hablare palabra, for

word.

'

when somebody shuns a pauper.

is

By

extension, cara de hereje

used of anything repulsive. 34-35. Pues i ddnde estara, etc. Illustrative of the prejudice which the seventeenth century Spaniard entertained toward
37.

heretics.

We

have here to do with an atrocious bilingual pun.

NOTES

ISI

Sarmiento mistakes, or pretends to mistake, Roldan's cara de

y la de vmd., etc., and yours (i.e., your on account of the conjunction of Saturn and Jupiter; although Venus looks upon you in quartile in the decanate I have tried to translate of the sign ascendant in the horoscope.
aspect)
is

hereje for caret lege. 44-47. la fisonomia,

malific

the astrological jargon of Spain into the English technical terminology. Fisonomia is used in the ordinary sense of physiognomy, but the demonstrative refers to it as if it had its astrological

meaning, aspect.
stood 90

The

aspect

was the

relative position of the

stars in a person's horoscope.

When

one of the important stars

away from

another, this position was considered a

one portentous of evil. Two stars were in conjunction when they were in the same longitude. The influence of Saturn was especially baleful. The sign ascendant is that sign of the zodiac which is due east when the observation is made. The decanoria, more commonly decano (in English decan or decanate), was a 10 arc of the zodiac. Each of the twelve signs of the zodiac constituted an arc of 30. These were called
malific aspect,

and there were three decans to every house. Without attempting to work out Sarmiento's horoscope in detail, it is evident that Venus is exerting a malific influence upon his family
houses,
life.

54. la reina Pantasilea. Penthesilea, daughter of Mars and Queen of the Amazons. Achilles, not Alexander, was her foe and lover. On this subject Kleist wrote his famous play, Penthesilea.

Other versions of the story say that Penthesilea was killed by Pyrrhus, son of Achilles. In the Old Spanish Libra de AlexanAlexander has a love
Calectrix.

dre,

The confusion

affair with another Amazon queen, here and in the case of the following

probably intentional. sobre quitalle a Zamora la bien cercada. The siege ' of Zamora the well surrounded,' as it was called in many of the old ballads, took place in 1072. Sancho II of Castile was trying to wrest it from his sister Urraca, but was murdered
historical allusions is

54-55.

beneath the walls before he had been able to bring about its fall. The siege of Zamora was one of the favorite themes of Old
Spanish epic poetry.

152

NOTES

56. Pedro Anzures, Founder of Valladolid, and one of Spain's greatest epic heroes, always pictured as a pattern of loyalty. He flourished in the eleventh century under Alfonso VI and the latter's daughter, Queen Urraca. Among the stories told about

him is one of the part he played in furthering Alfonso's escape from the Moors of Toledo. He caused horseshoes to be reversed in order to throw the pursuers off the trail. See also the ballad entitled Lealted de Pedro Anzures, in Duran, Romancero general, no. 917, which tells how, when Alfonso VII had separated from
his wife Urraca, Anzures, placed in a delicate position because he was bound by oaths of loyalty to both, sides with his 'natural
ruler,'

Urraca.
of

tablas, draughts, or

backgammon.

It is a

com-

monplace
of a
57.

mediaeval epic poetry to make a quarrel spring out

game

of tablas.

Gaiferos, another epic hero, center of a whole cycle of ballads. See Duran, Romancero general, nos. 374-381. See

Mene"ndez y Pelayo, Tratado de los romances mejos, in Antologia de poetas liricos castellanos, XII, 378. Cabanas y Olias, two hamlets famous in folk-lore and proverb and always associated
together.
xiv, calls

Tirso de Molina, La mllana de la Sagra, Act I, scene Cabanas a place where all the inhabitants are innkeepers,
Olias

in plain language, thieves;

ards.

Moreto, Lo que puede

story of la novia de Olias. tioned in connection with the widespread story of 'the dog of many weddings.' Weddings are being held simultaneously in

noted as the home of drunkan unprintable The towns are most frequently menis

la aprehension, tells

Cabanas and Olfas. A dog, eager to partake of both feasts, passes his time running back and forth between the two towns and misses both feasts. This story, of Oriental origin, has
been studied by Buchanan, Modern Language Review, V, 78. 61. Jer6nimo Carranza, a gentleman of Seville, governor of Honduras in 1589, but best remembered as the most formidable duelist of his time. So feared was he that a proverb grew up respecting him: Envaine usted, seor Carranza, 'Sheathe your sword, Mr. Carranza.' This would indicate that the attitude of his opponents was as abject as that of Davy Crockett's coon

toward the great frontiersman. was entitled, De la filosofia de

Carranza's textbook on fencing

las armas, y de la agresidn

y de-

NOTES
fensidn
Christiana,

153

See Nicolas Antonio, Lucar, 1569. In 1600, Luis Pacheco de Narvaez, the fencing-master so bitterly ridiculed by Quevedo, revised Carranza's work, adding greatly to it. 62. Of course, Sallust, not Terence, wrote the work on the
Biblioteca Nova,
I,

San

571.

conspiracy of Catiline. Roldan's speeches are typical bernardinas, 65. bernardinas. the term applied by Spaniards of the time to such stringings
together of nonsensical statements. Wags of the period prided Note themselves on their cleverness at this sort of fooling.

nearly every sentence takes up a word from the sentence The speaker of bernardinas freit in a new sense. quently breaks off in the middle of a sentence, starting a new
before, using

how

idea before he has completed the expression of the old. It sugThe gests the patter of some of our vaudeville monologists. French student should read Sganarelle's speech in Moliere's
Festin de Pierre, Act V, scene
2.

This was probably borrowed

las

from our
68.

text.

Bernardina.

According to the curious Loa famosa de

calidades de las mujeres (Cotarelo, Coleccion de entremeses, etc., San II, 415), women of this name were reputed treacherous.

Bernardo.

Saint Bernard of Clairvaux, died 1153, founder of

the Cistercian order.

70.

cuatro efes.

These were:

A less com/'s, but does not give them all. plimentary combination was as follows: fea, floja, flaca, fdcil, There were many such combinations of alliterative epifrta. thets. L6pez de Ubeda assigned six p's to his Picara Justina: There were picara, pobre, poca -oergiienza, pelona, pelada, etc.
also the four s's of love: sabio, solo, solicito, secreto. See Calder6n, Ni amor se libra de amor, Act III, scene ii. See Schmidt, Die

See Lope de Vega, Lope speaks of nine

La

fe, fineza, firmeza, forlaleza. esclava de su galdn, Act II, scene xiii.

Schauspiele Calderon's, Elberfeldt, 1857, p. 132.

note,

Also Clemencin's
of Nebrija
c,

Don Quijote, ed. Clemencin, III, 50. 71. The author probably followed the computation who in his grammar (1492) counts as follows: a, b,
h, i, k,
I,

d, e, f,

g,

m,

n, o, p, q,

r,

s, t,

u, x, y, z.
i

Covarrubias gives
is

a, b, c, d, e, f, g, h, i (I

capital

or

j,

but distinction

made

154
in small letters),
/,

NOTES
m,
n, o, p, q, r,
s, t,

(divided into vowel and

consonant; different form used in small letters, as in the case of i and j), x, z. If we count both i and j (distinct sounds), and both u and v (also distinct sounds), we have 23 letters.
sider
//,

Covarrubias gives as subdivisions to c: c, ch, but does not conthem separate letters. Like Nebrija he pays no heed to
n,

and

rr.

The language master

letters.

in

Lope's

Dama

boba likewise

counted 23 counted 30,

22,

26.

Other authorities of the renaissance period For further particulars see Bonilla's inter-

esting note, Entremeses de Cervantes, p. 246. Most grammarians now recognize 30 letters. Bonilla counts 28. The Academy

sanctions 29, rejecting the foreign w but illogically retaining k. 72. The expurgation of a clause makes a break in the chain
,

of ideas.

72-73.

dos veces

de vino.

The Diccionario

de autoridades

defines vez de vino as a 'draught or swallow of wine.'

There

is

proverb: Una vez de vimo, o muchas veces de vino, meaning that the time to stop is after the first draught. Roldan thinks two swallows permissible.

This proverb means that 79-80. quien tiene lengua, etc. the glib of tongue are rewarded with high church office. 81. la Mancha, a barren district in the eastern part of the province of New Castile, in central Spain. This province was
the home of Don Quijote. Transilvania, formerly in southeastern Hungary, but since 1918 incorporated in Rumania. Puebla de Montalvan, a town near Toledo. The Spanish Mon-

talvan suggests the French Montauban. Reinaut de Montauban was one of the heroes of French epic song. He also appears prominently in the Italian epics by Ariosto, Boiardo and others,

Spanish balladry. Charlemagne's twelve leading knights were called the Twelve Peers. They did not eat at a round table. Roldan is confusing, probably purposely, the customs of Arthur's knights with those of Charlemagne; nevertheless the same confusion is to be found in the Italian epics and in many Spanish ballads.
83-85.
is situated just west of the cathenoted as the place where the prime minister Alvaro de Luna was beheaded in 1453.

and

in

87.

Ochavo. This

little

plaza

dral of Valladolid.

It is

NOTES
88.

155

maravedi.

of a silver real.

cscudo

must

This, the next to the smallest coin, was 1/34 To compare this denomination to the gold have produced a humorous effect. Ill the seven-

teenth century the maravedi was no longer coined, but was used in reckoning, like the modern real. In very ancient times the maravedi had had a much greater value. 103-104.

De

cuatro elementos, etc.

'

and

their followers held that the four

Hippocrates and Galen cardinal humors were

'

The health and disposition bile, blood, phlegm, and black bile. of the individual depended upon the equilibrium of these humors. Those in whom bile predominated were choleric; those in whom phlegm predominated were phlegmatic, etc. 106-107. Los dineros, etc. El dinero hace el hombre entero.
El dinero hace El dinero todo
lo lo

in.

caire

malo bueno. El dinero hace bailar al perro. puede y vence. caere. Weakening of the e in the unstressed

syllable.

128. un zapatero de obra prima was one who manufactured shoes in contradistinction to the mere repairer of shoes.

129. prima. This was the first, most delicate string, producing the highest notes. The orden was properly the series of strings, but came to mean nothing more than the strings themselves.

The Spanish
Espinel
130.
is

Vicente guitar originally had only four strings. said to have invented a fifth. The modern instrument
six.

usually has
las

ordenes mendicantes:

the Franciscans, Dominicans,

Carmelites,
131.

and Augustinians.

The ancient feudal custom of Spain was who challenged a whole city, corporation, or group undertook to meet five champions one after another. Our
con cinco.
that a knight

author probably gets his information from some one of the ballads relating to the siege of Zamora. See the ballad, Sdlese
Diego Ordonez:
porque sabes que en Castilla hay un fuero establecido, haya de lidiar con cinco, que el que riepta consejo el consejo queda quito. y si alguno le venciere,

156

NOTES
See also an older

See Mene"ndez y Pelayo, Ahtologia, VIII, 87.

version of this in Primera cronica general, ed.

Men6ndez

Pidal,

Madrid, 1906, p. 513. 133. Diego Ordfiflez was the champion of Castile who challenged the whole town of Zamora as traitors implicated in the murder of his lord, Sancho II. The sons of Arias Gonzalo were the five champions chosen to defend the honor of Zamora. Following 141. y InSs. Note y, instead of e. This was com-

mon

in old texts.

161.

de instead

169-170.

of modern que. lleve advertido, etc., bear in

mind

that the court is

no place for such a bashful Charley. She probably has in mind the common proverb: Al hombre vergonzoso el diablo llevd a palacio. Only the brazen could hope to succeed as courtiers.
178-179.
186.

Quien

cae, etc., a proverb.

For similar riddles see Schevill, Some Forms of the Riddle Question and the Exercise of the Wits in Popular Fiction and Formal
Literature, Berkeley, 1911.

era. Again the imperfect with the force of a conditional. 210-213. fadrina is a good Catalonian or Valencian word; massara, better massaja, is good Italian; gaspirria suggests Basque rather than French; filimoquia and moscorra are philological 205.

daifa was a slang word. 214-215. al uso de Gran Bretafia, greedily. 221-222. Un muerto, etc. A humorous distortion of a proverb which Correas gives in the following forms: El muerto a lafosada;
puzzles;

y el vivo, a la hogaza. El muerto, a la huesa; y el vivo a la mesa. El muerto, a la mortaja; y el vivo, a la hogaza. El muerto, al hoyo; y el vivo al bollo. See Don Quijote, I, 19.
254.

de espacio,

259-260.

The

for modern despacio. best touch in the whole play.

264. hay tiempos de hablar, etc. Ecclesiastes, m:?: to keep silence, and a time to speak.'

'a time

Olorgar

264-265. quien calla, otorga, silence gives consent, a proverb. is first used in its usual sense, then in its legal significance,

to execute, convey.

266. testamento cerrado, a written will, the contents of which the witnesses do not see. The prevailing law in Spain still de-

NOTES
clares that such

157

nesses
orally

and a notary.
before
three

an instrument must be signed by seven witThe testamento abierto, may be executed

witnesses,

notary

writing

down

the

provisions.
278. pero no que jugaban de mono, but not and easy with their hands.
that
that they were free

308-309. Pues reparo que, etc., Well, I give warning by heaven you must endure it courageously.

310. These are not decimas, but rather what Rengifo (Arte Poetica Espanola, Barcelona, 1759, p. 36) terms the copla real.

340.
351.

flor, trick,

plausible,

comer e. but unnecessary. Following 354. dandose vaya, mocking one another.
Cotarelo
suggests

a slang word. the emendation

This

is

ENTREMES DE REFRANES
In the case of this farce the numbers given below refer to the proverbs, not to the lines. A proverb may often be best translated by an English proverb conveying the same thought, even though it be in different words.
1.

The

skeptic

who does not

believe in a good thing often

catch.

has faith in something worse. 2. I thought that I was making a

3.

4.

moneyed sweetheart. proverb derived from a song, one verse of which Correas

gives:

La mejor mujer, mujer, la mis cuerda de lana; la mis honesta es liviana, y la de mis ser, sin ser; la de mis verdad engafia.
y

Cervantes gives it in this form: Muchos van por lana y 5. vuelven trasquilados. Don Quijote, I, ch. 7; II, chs. 14, 43,67. 6. 'Much ado about nothing.' 'Empty shells rattle as much
as whole nuts.'
7.

Correas' explanation:

Por no hablar palabra, y de una

o comer,

criatura que en ddndola a

mamar,

no inquieta.

158

NOTES

The word is ex9. The las agrees with colzas understood. pressed in the fuller form: Acordo poner tierra par media, y tomd colzas de Villadiego. 'Take Villadiego's breeches means,
'

'Take French leave.' Correas cannot explain the origin of the but thinks there is reference to some famous escape on the part of an individual of this name who has been saved from oblivion by the proverb alone. 10. 'Don't think you are doing me a great favor.'
allusion,
11.
12.

'You

can't squeeze blood out of a stone.'

widespread popular belief concerning the crow. Sacarle ha = te sacard, the divided future, common in the old language. Proverb language is archaic. Correas says that in older forms
of this

proverb corvo was found.

Either corvo or cuorvo would

preserve the assonance, which cuervo destroys. This would indicate that the proverb is very old. Note the jingle to be found

This may take the form of complete rhyme, in most proverbs. or of vocalic rhyme, assonance. 13. 'So that not even the (empty) hook (on which the meat
ch. 25:

once hung) has remained on my wall.' See Don Quijote, I, Y muchos piensan que hay tozinos, y no hay estacas. The last thing a sparrow14. A phrase of sarcastic denial.

hawk
1 6.

cares for

is

radishes.

muda

18. 19.

agrees with the nearest of the three subjects. Also: Agua que paso, molino no muele.

We say 'to reckon without one's host,' meaning, to omit certain important factors in making a calculation. A variant by Correas: Racer la cuenta sin la hornera. 20. 'One's best efforts are vain.' 'What one accumulates
dissolves like salt in water.'
21. Slam, bang, the costs, Correas explains nothing more. that this is what the notary or constable says on witnessing a

street fight,

meaning that no from such petty offenders.

22.

fat legal pickings are to be obtained

The speech

of a wife bragging of the wealth in her father's

home, or contrasting past prosperity with present poverty.

23.

Correas gives three versions:

El sastre de Cantillo que

cosia de balde y ponia el hilo. El sastre de Peralvillo que hacia la costura de balde y ponia el hilo. El sastre de Cigunuela que

pone

la costa

y hace de balde

la obra.

NOTES
24. 25.

159
his song.

The abbot

derives his dinner

from

The opposite The

full

to our idea that 'a rolling stone gathers

no

moss.'
26.

form
to

I used pecado.' The result of

27.

my

Ya paso 'solia,' y vino 'mal in Correas: has passed, and O what a pity! has come. bad habit has overtaken me.
mas come que gana;
Also:

Correas:
le corre,

Pescador de cana,

ventura

mas que gana come.

relies

y si Pescador de anzuelo,
vociferation.

vuelve a su casa con duelo.

28. 29.

He who

has a bad case

wholly

upon

When
it

can find
wits

a ball of yarn rolls under a piece of furniture one by following the thread. The idea is, by using your
for yourself.
'

you can guess

It is

word or two gives me a

Possibly

sufficient clue.'

30.

not easy to

fill

in the rest of this proverb.

Pues soy toquera, y vendo tocas, y pongo mi cofre donde 'For I am a milliner, and sell caps, and set up my las otras. stand where the others do.' 'I am just as good as the rest.' Therefore I have a right to intervene. 31. 'To put my finger in the pie.' Cor33. 'The village is even worse than it is reputed to be.'
it is this:

la aldea que no es buena, mas hay que suena. 'Here we are on familiar terms with everybody like the that is, giving and receiving the iti village bagpipe player.' form of address. Correas: A tu par tu como en taberna. 35. Meaning that the subordinate dances to the tune of his

reas:

En

34.

superior.
36.
ill

The scandal-monger

will get his deserts.

of others, like the eavesdropper, will hear

One who speaks something to his

disadvantage.
37.

The one backward about

'Let us start

asserting himself need not expect

to prosper.
38.

up a row about

it,

and

let

the sale fall through.'

Echarlo a doce, y nunca se muela.. 40. The rollo was a column which stood outside a city gate, and which served as a pillory for punishing criminals. It was
Correas:

symbolic of the city's jurisdiction.

lege of sitting

Hidalgos claimed the privi-

on the stone

steps, a right denied to

commoners.

l6o

NOTES

41. In the various forms of this proverb, Jrez was sometimes substituted for Granada, and Portillo or Bustillo for TruTrujillo was a city from which adventurers set forth to jillo. With Caceres it was the most noted all parts of the world.

in Trujillo
is

To be born in Granada and die birthplace of conquistador es. would be to reverse the usual order of things. There
another proverb which states the normal course of events: Nacer en Cdceres y morir en otra parte. 42. For in Duenas they married ojf (a couple) one just as good as
Isabella,

the other.

and
43.
44.

This proverb commemorates the marriage of Ferdinand which took place in the village of Duenas, near

Valladolid, 1469.

The present

application of the proverb

is ironic.

'Gifts

overcome

all obstacles.'

menos

if there is food to be had.' Usually given instead of buenos. 45. 'Familiarity breeds contempt.' 46. Meaning that one should not complain of the disadvantages that go with a good thing, or that one should make

'Sorrows are endurable

is

the complaint before deriving the advantage.

of 'and yet.' hit at the upper classes. 48. 50. Don't go about always disputing.

has the value

But there

is

also

pun

involved.

'Don't always be trying to take back what you

give.'

51. 52. 53.

55.

For God gives a hump to an Indian giver. 'The devil is not so black as he is painted.' / will engage in bickerings and altercations. The opposite The world belongs to the immoderate man.
shall inherit the earth.'

to:

'The meek
56.

occurs. Explained by the other forms in which the proverb Escarb6 la gallina, y descubrid al cuchillo para matalla. Also: Escarba la gallina y halla su pepita. reward. 57. A toilsome effort may bring an inadequate 58. 'Man proposes but God disposes.' secondhand clothes, 59. Said with reference to a gift of 'Another has already worn them out. They will not last me

Correas:

long.'

60.

'With

all

her faults I love her

still.'

NOTES

l6l

61. An evil is endurable, even a joy, when shared by many. Those who believe the contrary say: Mai de muchos, consuelo

de tontos.
'I turned a deaf ear.' 'Do not look a gift 'Beggars may not be choosers.' horse in the mouth.' 64. To a big headdress, a slight testimonial. Said with reference to those ladies whose outer display contrasts with their empty62. 63.

headedness.
66.
//

Suffer boiling for beauty's sake.

soiiffrir

French proverb goes:

faut
67.

pour

etre belle.

neglected to dress up unexpected company woman's excuse for excessive attention to the toilette. The husband has a ready re joiner: El dia que no escobe, entro quien no pense. Housework must not be neglected. A friendly act, 70. Between friends, 'A bedbug in your eye.
arrived.

The day when I

not an insult, to speak an unpleasant truth. 71. Spoken by one whose good qualities are unappreciated. 72. Majority rules. We say, It takes two to make a quarrel.'
'

74.

Something
Follow the

like

our,

'Rain before seven, clear before

eleven.'
75.
is

line of least resistance.

link.'

We

'

say,

no chain

stronger than
76.

weakest One so bad will come

its

that he will

make me

look good by

comparison.
before us.

and let us both be still, for we have two (good miles) Correas gives a fuller form in which millas, with which sendas agrees, is expressed.
77.
still,

Be

78.

New

shuffles for

old

accounts.

We

say,

'Let's

have a

new

deal.'

79. After the rabbit has escaped, one gets advice. stable door after the horse is stolen.'

'Lock the

81.

He who

lives

beyond

his

means needs no

'snout,' because

he has nothing to eat.

83. 84.

Any name may

be substituted.

We know
many

in so

nothing about this legendary Aja who figures proverbs and songs. The name is Moorish. For

legendary characters in general, see Montoto, Personajes, per-

162

NOTES

sonas y personillas que corren par las tierras de ambas Castillas,

Sevilla,

85. 86.

ign. 'What

is the use of beating about the bush? Truth stretches thin, but does not break.

'

a squeezed orange.' acabar razones, to cut talk short. 89. 'You can't lock out evil.' 'A bad penny turns up.' Correas: No quiero 90. I no longer want a dog with a bell. I want to be free from perro con cencerro, ni gato con polios.
87.
1.

'Throw away

100.

nuisances.
91. 93.

Precautions against thieves are useless. Correas has fuistes for vienes. He says the allusion

is

to

certain floods occasioned

by the

rising of the river

Salamanca.

The most important of these was in much damage was done and sixty people were drowned.

Tormes at 1625, when

We

imagine the Salmantinos addressing this remark to the The meaning is: 'Good riddance to bad receding waters.

may

rubbish.'
94. 95.

See note to La Cueva de Salamanca, 1. 52. Facilitate the departure of the objectionable.
-Like our slang, 'It's all
off.'

96. 97.

Patience and shuffle the cards. hand soon.

You

will

draw a better

98. This proverb hardly does justice to a hospitable nation. El Correas has these variants: El guesped y el gtievo, fresco. guesped que estd de espacio, cansa y da enfado. El guespede y el
pece, a tres dtas hede.

El guesped a menudo,
as the

giiele

a humo.

100. 102.

'When
Charity

in
is

Rome do

Romans
if

do.'
it

never waste^d, even

the object of

be un-

worthy.
103.

To-day

my

turn, to-morrow yours.

Supposed to be ad-

dressed by the dead to the living (Correas). 104. One is concerned little by another's sorrow.

Compare

La Rochefoucauld's

cynical maxim,

'We can

all

endure our

neighbor's misfortunes with resignation.' 106. Some have the reputation for having

though others have

in reality

done

it.

done a thing, 'The page slew the boar;

the knight got the glore.'

NOTES
107.
dition.

163
tra-

Blessings

upon the one who maintains the family

is

109. 'Two birds with one stone.' no. 'Nothing prevails against death.' 112. The fact that the rhyme has been lost shows that this not the preferable form. The form in the text represents a
of
1.

crossing

two

distinct proverb

variants.

See note, Los dos

habladores,

221-222.

114.

115.
1 1 6. 1 1 8.

A A

proverb indicative of great good fortune. youth's money is his charm.

is

'It

the unexpected that happens.'

intelligent

Meaning that he who makes an

start

will

make an intelligent end. 1 19. 'When the cat's away, 1 20. What fussiness !
121.
fasting.

the mice will play.'

Ailments

(or pretexts)

on Friday as an excuse for not

giver.' of a refrdn derived line occurs in several, notably in the old

122.
123.

'The Lord loveth a cheerful good instance

from a ballad. This Bernardo del Carpio

ballad,
tologia,

Con

cartas y mensajeros.
23.

See
is

VIII,
Let
it

The messenger
merecels.

Men6ndez y Pelayo, Annot to blame for his bad

news;
124.

merecedes

Let the whole matter come to an end. Compare Keat's epitaph: 'Here lies one whose name was writ in water.' 125. 'Open contrition is better than secret dishonor.'
be writ in water. 126. A good yell follows a good mouthful. Gluttony is followed by colic. Correas: 127. 'One man's meat is another man's poison.' lo que es bueno para el vientre, no lo es para el diente.
1

28.

129.
130.

Translate arte as craft. 'Two heads are better than one.'

Last while
it

may,

like a

spoon made of bread.

Said of

things unlikely to last long. 131. Let every fellow go his

132.
tive.

own way.
is

Because the miser's wife

forced to take the initia-

164

NOTES
to

134. Lest we degenerate from a nag from bad to worse.' 135.

136.

a tricky horse.

'To go

Be adaptable, not stubborn. / can't succeed in getting out of this square. A proverb growing out of some game, probably chess. Note the special
meaning
137.

of casa.

Variants in Correas: Amores, diablos y dineros no pueden

estar secretos.

Amores, dolor es,

waters run deep.'
cat
of

celos

y dineros,

etc.

Amores,

dolores y letras, etc.

140. 141.
'Still
is proverbial for hypocrisy. gata de Marirramos, que estd muerta y caza ratos. La gala de Marirramos, que se hacia muertecina para cazar los ratos. La gata de Joan Ramos cierra los ojos y abre las manos.

The

Marirramos

Variants in Correas:

La

143.

For there

is

a wide interval between saying and doing.

lip.'

'There's
144.

many

a slip 'twixt cup and word to the wise is sufficient.

Verbum

sapienti.

145.

You

can't fool me; gileso, dialectical for hueso.

licks himself comfortably.

146.
is

The unyoked ox

The bachelor

a lucky fellow.
148.

tiene

A similar proverb, used by Cervantes: Tantas letras un no como un si. 150. cara de pascua, smiling face. The 152. He who is silent, picks up stones ('saws wood'). talkative do less work. 'Silence is golden.' ganar por la mano,
The 154. We say: 'Between the devil and the deep sea.' corresponding Spanish proverb represents the evil one as himself having to choose between two, for him, disagreeable alternatives.
155. Alvarado slyly intimates that sess the qualifications of a good wife.
1.

forestall.

Dona

Sofia does not pos-

202.

La

sopa, etc. w the only proverb repeated in this farce.

little.

156.

Meaning, get the most you can from an unwilling giver

Silence gives consent. The Spaniard says: giiela = huela.

but be satisfied with that

157.
158.

'The house smells

NOTES
of man,'

165
to

when

husband

is

making an unsuccessful attempt

The application is somewhat different here. assert his authority. 160. 'The early bird catches the worm.'
161.
162.

Each woman with her

Complete
el

fitting

in

Correas:
'

mate. Al hombre par

la

palabra, y al

cuerno ata, Bind the man by his promise, and the ox by his horn.' Note that ata provides an assonance. 163. 'An accident may happen at the last moment.'

buey par

66.

From- an honest hand, an honest

die.

An

honest

man

does

not cheat.

Pine kernels hulled. The 167. What does the monkey want? monkey wants not merely a gift of food, but this food must

Used with reference to some be prepared and ready to eat. bit of good fortune which comes without effort on the part of
the beneficiary.
168. 169.

We

speak, similarly, of 'the moth Evil recoils upon the author.

and the

flame.'

170. We. speak of dogs baying at the moon. reputed wiser: Perro viejo, no ladra en vano. 172.

Old dogs were

You

can't fool an old dog.

Tus

is

the word used in calling

will get the

dogs.
173.

Avoid transactions with your superior; he

better of you.
175.

That

is,

Purses are good (even) after Easter, or perhaps, Christmas. even if they come late. 'Better late than never.'
That you

176.

may

not

make a

'scene

'

with me.

Zerolo,

Dar

a uno con

y los nueves: Decirle cuanto se ofrece sobre una queja que se tiene de el. 178. Said with reference to a little diversion in the midst of
los ochos

work.

The good dancer is a popular fellow. The first 16 lines of verse are verso de romance, with assonance in d-e. The last 8 lines are twelve-syllable The next to the last line has a verses, assonated in pairs.
179.
11.

246-268.

superfluous
I quieres

syllable.

We

should

probably

read:

Picarilla,

salir de los duelos ? etc.

is

One of those girls of the 'you peeped too late sort.' Piache said to be Gallician dialect for piaste. A Gallician is given to
180.

I 66

NOTES

He swallows the chick, eat an egg on the point of hatching. which peeps as it goes down his throat. He then makes the
above remark. See Covarrubias, Tcsoro, s. v. Also Juan Timoneda, El buen aviso y portacuentos Part II, story xxxviii, edited by Schevill, Revue hispanique,. XXIV, 231. The story
,

is

181.

here told of a Biscayan. Para decir Correas:

with a glib tongue.

que una

es

parlera.

Translate

freely:
1.

182.
1.

que sabe, delightfully. Correas: Todo lo nuevo aplace, y lo viejo satisface. 252. le tresqui!6 a panderetes, skinned him with her tricks.
249.
is

Panderetes
183.

a slang word.
is

For she
is

amazingly sharp.
air.'

It

was said

of a

good sword

that

'it

cuts a hair in the

By

extension this proverbial

in the lurch.

expression
184.

She
se

left

applied to people. him in the dark, that

o vela

is,

Correas:

y quedan a obscuras, y cuando uno se despide a la noche, o pierde la vista, o algun negocio, se dice: Quedose a buenas noches. Much like our slang: 'Good night.' 185. How pretty she would be if she only dyed her hair blond. That is, if she were different from what she is.

Cuande

apaga alguna luz

evil ways is always up to his tricks.' The water dances before him, that is, everything is done to humor and please him. Covarrubias, Clemencfn, and Sbarbi say that this proverb, indicative of diligent service, refers to the custom of flooding the floor on a hot day, when the water seems to be dancing along bricks and tiles. See, Sbarbi,

186.

'He who has

187.

Refranero general, VIII, 18. 1 88. Correas: La Out of the frying pan into the fire. sardina de Flandes que, huyendo de las llamas, did en las brasas.

La sardina de Blanes

que, par huir del fuego, did a las brasas.

La sardina de Blanes salto de la sarten y did en las brasas. 189. He who supplied your mouth made you rich. This means that it is easy to get rich if one's board bill is paid by another.
190.

Because he has the greatest cause for envying those who

are his rivals.

191.

'A

man is known by the company he keeps.

'

This proverb

occurs in a great variety of forms.

NOTES

167

EL DOCTOR Y EL ENFERMO
action takes place, partly in the street, partly within Dr. Garatusa's house. The play is written throughout in eleven syllable verse. For

The

the most part, these verses rhyme in couplets; but now and then assonance replaces rhyme, and certain verses are blank.
of the
is a name of Italian origin, suggestive of the influence Comedy of Masks. Garatusa has several meanings. It was the name given to a very effective fencing trick, and prob-

Crispin,

ably has some reference to the doctor's blood-letting propensities. Covarrubias defines it as a game of cards in which one player takes everything. The other names are frequently used
in

entremeses.
in

special study should be

made

of

character

Spanish farces. 8. sabiendo a que sabe mi moneda, knowing the taste of my money, 'having been in my employ.' Y ha de ser, etc. Is the union to be temporary? Is it 18. to be a trial marriage ? Juno, jealous of Jupiter's love for lo, a nymph 23. Argos. who had takan on the form of a heifer, placed lo under the guardianship of Argus, a monster with a hundred eyes. Jupiter
' '

names

sent
until

Mercury
Argus

to

remove Argus.

fell

asleep, then cut off his

el resto, stake

Mercury played on his pipes head and gained possesyour

all;

sion of the heifer.

32.

echar a tu fortuna

a gambling term.

tu le daras, etc., you will cause the old man vexation. I make the change because 40. Cotarelo reads desde for de. the verse, as he gives it, is one syllable too long.
38.
47.

supiera, might, used loosely, meaning,

might have

'

to, etc.

53. 57.

mos, dialectical for muesos, dialectical

nos.
for

nuesos =nuestros.

habid.

pronounce habia as two syllables: This was a common metrical procedure at the time of Benavente. The same is true in lines 77 and 81.
59.
this verse scan,

To make

63. echar ventosas, apply cuppings. The doctors of the time applied to the skin a glass cup under which they would produce a vacuum, either by burning something beneath the cup, or by

I 68

NOTES
This treatment produced a violent tumefaction and to be an effective remedy.

suction.

was thought

65. This anecdote may be found in Ruiz de Alarcon, Quiin engana mds a quien, Act I, scene ii:

TRISTAN.

Yo
y

fui

a llamar ckrto dia

para una enferma un doctor;

el,

sin saber el dolor

o enfermedad que tenia, me dijo: "Mientras se ensilla

mi mula, mancebo, id; y que la sangren decid; que yo voy luego a asistilla."

Alarc6n repeats the same anecdote, in nearly the same words in El desdichado en fingir, Act I, scene ii. Writers of the time
are

unanimous
lasted

in satirizing doctors for excessive blood-letting.

the abuse they received. These practhe nineteenth century. Compare the protests of the English novelist, Charles Reade. Benavente's source was 77. This is a common folk-lore tale.
tices

The physicians deserved

well

into

perhaps Timoneda's El buen aviso y portacuentos, II, 53. See Revue hispanique, XXIV, 237. The tale is also told by Juan Cortes de Tolosa, Lazarillo de Manzanares, ch. x. de media
talla, half

85.

via,

baked, 'one horse.' an old form for veia.

is

88.

In Spain straw

tion of threshing.

Pajas de bdlago
It
etc.,

generally chopped very fine in the operais the unchopped straw, with

the long stalk, like ours.

91.

was used to
are

stuff saddles.

making a display of wit to-day! 95. que soy cristiano, etc., for I am an Old Christian and have the certificate. It was so important to be able to show sangre limpia, that is, freedom from any Moorish or Jewish ancestry, that suits of law were frequently instituted to prove 'clean blood.' The recently converted Moors and Jews were called new Christians in contradistinction from the genuine Spaniards
'

Buen humor,

You

'

of the old stock. 102. in the

A criollo, creole, was the son of European parents New World. The word Indias is still used loosely

born with

NOTES
reference to

169

any part of Spanish America. Spaniards did not use the word America till the eighteenth century.
1 1 8.

To

scan correctly pronounce seor as one syllable, by

syneresis.

quienquiera, any mere ordinary one. adulto, a possible comic distortion of adusto, 'melan'gloomy,' which would go well with melancdlico. If the choly,'
119.
136.

Doctor cannot understand Crispin's talk we can hardly hope comprehend all of it. Doctors of the time were noted for the They strove obscure, pedantic manner in which they talked. to impress by a copious use of Latin terminology and technical
to

The humor of the present situation is that, for once, the tables are turned, and patient mystifies doctor. Covarrubias says basas is said 142. basas, bases for feet.
terms.
of

one who does

150.

all

the talking.

The word may

I

Cotarelo's text repeats the yo. verse scan.

153.
'

also suggest bazos. omit, to make the

teglerifos,

probably a humorous distortion of tegumentos,

teguments.'

He 155. Crispin continues to coin his medical terminology. speaks metodo with medula, 'marrow,' in mind. His marrow has solidified, he says.
156.
espicinios,

possibly

for

espinazo,

'backbone.'

The

word may possibly have some connection with espiche which means 'dart,' like gurguz above. 162. This line is to be taken in two senses. Recamara meant
See whether my 'baggage,' or in slang, 'trick,' 'stratagem.' baggage has arrived, or whether my stratagem has come to pass. 164. birillante. This word seems to be a coinage based upon
birilla,

a gold or silver ornament worn upon shoes.

But

it

may

readily have suggested to the Spaniard of the time the word Translate: / will give him a jeweled birlar, 'to trick,' 'swindle.'

The word also suggests brillante. The puns are impossible to bring out in English. 171. This verse has a double meaning, referring to the splitshoe-buckle.

ting of the alleged troublesome internal organ, and to the separation of the lovers. The Doctor is to take the line in the first
sense,

Tomasa

in the other.

70
174.

NOTES

No

pienso, etc.
etc.

/ don't think he has come for a good

purpose.

sense of this nonpowers of any commentator. Indio may mean either Indiana, American, or simpleton, as in Do you take us for fools ? ImSomos Indios ? the phrase pulso is probably an intentional distortion of pulso, pulse.
175.

Sangr6me,

To make complete
the
'

sense

is

probably beyond

'

<j

Sangro, 'bled and vena, 'vein or 'luck,' 'prosperity,' may inIt was the custom then as now for Spaniards to volve puns. bleed prosperous Indianos. The place where its agility gives
'

'

'

'

forth

warmth from 'heart

183. 185.

is

probably the heart.

Crispin

is

in fact suffering

trouble.'

It is necessary to pronounce melancolia, not melancolia. cualque cosa, somewhat. A play on the two meanings of caja 198. Mejor fuera, etc. in the line before, 'box,' and 'drum.' Mormoj6n thinks it time to beat the alarm and declare war.

207.

The

basilisk

was a fabled creature

of the African desert

whose look was

1.

fatal.

Pronounce in two syllables. In 215. Syneresis in traere. 222 pronounce caes as one syllable. 222. Correas: El puerco de Juan de Avila, cdtale vivo, cdtale m'.ierlo. Another variant speaks of the pig of Juan Crespo.
of the proverb
el CODO, etc.
is

The anecdote back

232.

andar con daca

no longer known. Zerolo gives for hacer cocos:

Hacer ciertas senas o expresionss los que estdn enamorados para " manifestar su carino. 'To go along with Tip-rne-the-wink," "Be ' careful not to tip me the wink." More freely: 'to be on needles

and

pins.'

235.
saint.

Voto a
I swear

tal
to

a mild oath, not specifying any divinity or

of us.

The
As

mos la pegaron, they got the better goodness ! indefinite use of the feminine personal object pro-

noun.

in many similar expressions, la refers vaguely to some feminine antecedent to be supplied. For a description of this dance, also Raslro 252. Rastreado. below, see Cotarelo, Coleccion de entremeses, etc., I, cclviii.

253. tabahola, or tabaola, hubbub, the same as bataola, with metathesis of the / and the b.

NOTES

171

ENTREMES DEL ESPEJO Y BURLA DE PABLILLOS

The The
action takes place in the street. following verse forms are used: Lines 1-153,

eleven and

seven syllable verses, rhymed in couplets. Line 101 is blank. This may indicate that it is superfluous or that another line has

been lost. Lines 154-241, assonance in 6. 1. Pablillos thinks that he 2. muerto soy, / am being means rather, I am dead.
6.

eight syllable ballad verse with

is

being pursued.

killed.

Below

(l.io)

Muerto

estoy

confesor de lance, emergency confessor.

16.
1 8.

que estoy sirviendo,

that I

am

in service, or a servant.

The

laziest servant is the best

man, because he

is

guilty

of fewer sins of commission.

cuento, as my story goes. See the present as a mild imperative. Pietsch, Forms of the Present Indicative in the Function of an
30. 41.

como digo de tu te quedas,

Modern

mi

Imperative,
50.

Philology,

X,

6.

por lo bueno, with good intent. sense, for the sake of a good thing. 56. This mirror had some sort of

Also below in the other

could be lifted up.

lid or cover (tapd) which Others had door-like covers which swung

on hinges.

= tambien, a common meaning in the old language 58. y todo and sometimes encountered to-day. 72. dirian to be pronounced in two syllables, diridn. Translate as if it read: 76. porque un beso me da, si, etc. porque un beso me hubiera dado, si no me hubiera apartado. Putting all this into the present adds greatly to the vivacity of the
narration.
94.
It

Tizona was the name of one

See Bello-Cuervo, Gramdtica, 717. of the Cid's famous swords.

tal

meant Firebrand.
112.
J

Hay

apodo

pretty

name
'

for it!

119.
little.

tamanito from meaning 'so big has come to mean very It is accompanied with a gesture indicative of the size.

172
1

NOTES
Pablillos understands

20.

comer

in its limited sense of to dine.

125.

No

le erre
is little

that there

/ was not so far wrong. difference between a tailor and a

mucho.

Meaning
thief.

'Bells' for met Plague take 132. I Yo, campanillas! etc. such a nickname! To think that they toll for a man before he dies I It was the custom to toll the passing bell while a condemned

criminal was being led to the place of execution. I think Rouanet is wrong in translating: Moi, faire office de cloche! Mai nombre

means nickname, and the nickname in question is campanulas, which may have meant something like 'gallows-bird.'
certainly

two syllables, by syneresis. que hay dichas de hombres! some men are lucky! 153. ayudarme. Infinitive as imperative. The real de 163. con diez de a ocho, with ten pieces of eight. a ocho was a silver coin, worth eight reales, and represented apThere were also reales de a proximately an ounce of silver. cuatro and de a dos. A real is now worth five cents, and is not coined. The 'piece of eight' figures prominently in our pirate
148. 151.

reales,

stories.

167.

los cien afios

de perd6n.

We

proverb:
198.

Quien hurta

al ladron, cien dias

have already had the gana de perddn. Pait.

blillos increases

the usual reward.

ech&stelo tu a perder, you made a mess of

Following 237. matapecados were whips of parchment which made a loud noise without hurting the actors. They were sometimes called castigapecados. For a description of them see Cotarelo, Coleccion

de entremeses,

I, clvi.

The word means

literally,

'kill-devils.'

238.

sotana, drubbing.

JUAN RANA COMILCN

The meter
verse
is

the usual combination of eleven- and sevenoccasional blank

six-syllable lines,

syllable verses,

rhymed in couplets, with an The concluding song is of interspersed.

assonated.
15.

Hare

Lines 187-190 are in ballad meter. la diligencia, I will attend to the matter.

21.

deo gracias.

Pronounce deo as one

syllable,

by

syneresis.

NOTES

173

Instead of gracias we should expect the Latin gralias; but the mixing of Latin and Spanish, in the case of this phrase, is

common.
27. malmirado. My original reads mat marido, which destroys rhyme, and is not what Casilda means to say. Rouanet transThis emendation seems obvious. lates: Importun. The principal symptom 38. con melancolia, with jaundice.

of jaundice is yellowness 'of the complexion. 46. i Hay mas gentil despacho ? Can there be prettier alacrity ?
56.
j

Ay de mi

duelo, Alas

my

sorrow I

Juan Rana misunderstands hipocondria. porqueria. too with the other medical terms.
64.

So

65. Compare what follows with Moliere's Malade imaginaire, Act III, scene xiv. Toinette, posing as a famous doctor, tells Argan that the seat of his alleged malady is the lungs. The principal symptoms of Argan's illness are a craving for food and wine, and a propensity for taking naps. The possible influence of this farce upon Moliere has been discussed by Martinen-

che,

La

comedie espagnole en France, de Hardy a Racine,

cierto, that
is

Paris,

1900.
73.

que mi mal es

82.

The

preposition de

I surely am ill. to be understood before que.

if

sitions

are seldom repeated before relatives, with the antecedent.

92.

Prepopreviously used

The

article

used with a woman's

name

indicates familiarity

or contempt.
95.

que, but.

Equivalent to sino que or sino.

like all

We

should

read mania to get the requisite seven syllables.

106.

Moors,

Mohammedans, were

forbidden to eat

pork.

no. A Moor in the house was improbable enough, but a Moor with bacon doubly so.
113. creeis has to be pronounced as one syllable, by crasis. So too the forms of this verb in lines 160, 161, 162. 116. If he is not to be allowed to eat bacon, he might as well be a Moor himself. 117.
si

aquello pasa, if that takes place,

if

that

is

really so.

123.

con senas declaradas,

clearly indicated.

174
139.

NOTES
Si sois vos.

Juan Rana begins

to

doubt the reality of

the doctor.
140-141.

Galician dialect.

In Castilian:

Aqui van acei tunas, pan, y vino; yo no puedo sufrir mas el camino.

144.
147.

craro, dialectical for claro.

Tantalo.

mythological character

who was

tortured

by the sight of food and The rhyme shows that the

ing
:

drink, always just beyond his reach. stress is on the penult. Modern spell-

Tdnlalo.

iEs cura del Japon? Many Spanish Jesuit fathers Japan during the seventeenth century, and were cruelly tortured by the natives. After the final expulsion of the missionaries, Japan remained a hermit nation until opened to civilization by Commodore Perry. 159. por su engano. Note the double meaning in these words. 176. habia, to be pronounced kabid.
153.

visited

179.

huerte, dialectical for fuerte.

He

misunderstands

flato

as flauto.
184.
table.

porque,

etc.,

because I won't restrain myself on seeing a

185.

189.

Syneresis in Sentaos. Four lines of ballad

meter,

verso

de romance,
in

eight-

syllable verses, the even assonating in d-e.

192.

Quien

tal hace, etc.

This was the formula used

Spain

by the
his

officers of

alza la
199.

punishment. mano y dale.

justice as they led a condemned criminal to It was sometimes followed by a second line:

The

idea

is:

Serves him right.

Muera Maria y muera harta. Death can be faced with a full stomach. There is no such name as Mario. 200. De la sombra parto. The phrase has a double meaning. Juan Rana expects the doctor to take parto as a noun, and the whole phrase in this sense: the offspring of shadow. His secret
distortion of the proverb:

A humorous

meaning

is:

am

to see jiow matters stand.

departing from shadow, that is, I am beginning Parto is here taken as a verb. Rouanet

NOTES
overlooks the second possibility,

175
line to the

and gives the half

Doctor, erroneously.
203.

me

embaraza

lo

que hablo, meaning that talking hinders

his eating.

This partitive use of de, common in the 208. de palos. Middle Ages, survives in a few stereotyped phrases, such as
dar de palos, dar de -coces. Claudius Galenus (131-200? A. D.), a famous 216. Galeno. doctor and writer on medicine. His works were preserved by
the Arabs,
ages.

and through them reached Europe

in

the middle

They were
Four

authoritative well into the eighteenth cen-

tury.
220.

six-syllable verses, the

even

lines assonating in 6-a.

was a metrical composition thus denned by Zerolo: Composition metrica, formada a imitation de otra, siguiendo su metodo, estilo o consonancia, o parificando una historia o fdbula. Juan Rana's final verses are a reply to the lines previously sung
troiia

223. tion.

le entendio la trova, understood his

game, a free transla-

by the musicians, Doctor and Casilda

upon him.

just as the beatings administered to the are his answer to the trick they tried to play

ENTREMES DE LOS BUNUELOS

The The
action takes place in the street. metrical scheme of this farce is as follows:

1-73. Eleven and seven-syllable verses rhymed in couplets with occasional blank lines. There are only two seven-syllable lines.

Eight-syllable ballad meter, with assonance in 6-0. 220-223. Alternate seven and five-syllable verses, with alternate assonance in e-o and u-o.

74-219.

y ten buen modo, and mind your manners. sobrina. A marriage between uncle and niece was and possible under Spanish law.
5

is

8.

This statement by the master partially motivates the cre-

dulity later
ii.

shown by the

servant.

i Sacudiste, did

you dust?

176

NOTES
is

'

13. The following dialogue Bad News story, known to

'

a variation of the

common

the folk-lore of most countries.

servant tells his master a whole series of catastrophes, each worse than the preceding, and each growing out of the other. For a study of this motive, see Crane, The Exempla of Jacques de Vitry, London, 1890, pp. 216-18, where the English variant In Spanish literature the story is found in is also reproduced.

Petrus Alfonsus'
different

Disciplines Clericalis

Libra de Exemplos, cxxiv.

and Climente Sanchez's Our present version is somewhat

in the ridiculous anti-climax

from
it

these,

and unique

with which
1 8.

ends.

me

21.

sin decir

puso en las narices, you put it into my head that, etc. bueno ni malo, without saying a word, without
tengo de hacer,
si, etc., /'//

more ado.
25.
if,

Mucho

be doing

a great

deal,

etc.

27.
(1.

207).

habra = habla; preito = pleito {1. 44); puebro = pueblo, These and other dialect forms indicate that Lorenzo

a stupid peasant. Ello seran tus cosas. Agreement of the verb with the predicate noun rather than with the subject. Like the French: ce seront.
is

33.

Meyer-Liibke, Grammaire des langues romanes,

for

III, 417, gives

Spanish this example from Don Quijote: la 36. peor, one syllable, by syneresis.
40.

litera

eran andas.
in

itenerario

itinerario.

Another example

of

weakening

the unstressed syllable.

pronounced as a monosyllable, by syneresis. were persons supposed to be gifted with the power of seeing hidden objects, even those buried in the ground. a saco a una confiteria, give your lady and 68-69. darle . mine a confectionery shop to ravage on its proceeds.
48. 56.

real

is

to be

zahories

73.

lleguis

llegueis.

See

MenSndez
!

Pidal,

Manual

de gra-

mdtica, 4th ed., p. 289.

83i

y c6mo que ya

me

acuerdo

Indeed I do remember you

now !
87.
is to be pronounced as a monosyllable, by syneresis. en mi vida, never in my life. That is eating by proxy. 134. Eso es comer por poderes.

dias

106.

NOTES
150.

177
Lorenzo

Remember
j

that sentir means either feel or regret.

here gives the verb the second of these meanings. To think that we should have 154. Que hubiesemos, etc.
eaten so
164.

much!
apoplejia ad honorem, an honorary case of apoplexy.
it

He
me.

had done nothing to earn it. 201. que en dep6sito la tengo, for
208.

has been entrusted

to

on

I have changed te to me original reads: te mate. the authority of lines 202 and 210. Rouanet reads te in both

My

202 and 208.

He

evades the difficulty offered by

line

210 with

I have preferred to make this one a very free translation. emendation rather than to change matarme (202) to matarte, and se (210) to le. This last, however, may be correct. A proverb. 217. del mal lo menos, the least of two evils.

EL HAMBRIENTO
The
action takes place, partly in the street, partly in the
are:

Vejete's house.

The meters employed

1-50. Eleven- and seven-syllable verses, with occasional blank verse.

rhymed

in couplets

Ballad meter, with assonance in d-a. 223-230. Two coplas of alternate seven- and verses, the odd lines blank, the even in assonance.
51-222.
d-o;
18.

five-syllable First copla,

second, e-o.

Hagome hombre,

freely translated, /'// stand the rest of

you.

This was the phrase with which a player in the game of hombre announced his intention of playing for the stakes single handed against the rest. Literally: 'I become man.' He has a half cloak, 32. el tiene media capa, y yo una gorra. that is, he is charitably disposed, like St. Martin who divided his cloak with a beggar. Notice that the host is named Don Martin. The name Martin was symbolic of hospitality, just as Lazaro was indicative of hunger. And I a cap, to hold out
for the

The often, 'sponge,' 'parasite.' 'to live at another's expense.'

Gorra and gorrdn, meant purpose of receiving alms. phrase vivir de gorra, means

I 78

NOTES

sacareis, to-day you will give your stomach a treat. The old man, friend, is hospitable. Tiene el vejete, etc. 40. La boca se me hace, etc., My mouth waters. I am unable to explain this 42. El ave cerindongo. word, not found in any of the dictionaries, except to point out that the word dongon, denned griilla, 'crane,' is used in the Philippine Islands. Cerindongo may perhaps be related to the word, cingolondango, the name of a mechanical crane (ciguenal) used for drawing water from wells. The point of the joke would then be that the speaker includes a mechanical crane in his list of
36.

Hoy

37.

birds of the crane family.

43.
44.
etc.

sea, one syllable,

el

by

syneresis.

ave zancas, a wading bird, like the heron, flamingo, These are now generally called zancudas, as a collective

designation.
I am unable to explain this word, spelled 45. marfrodios. From the context it would seem to mean morfrodios, line 185. some sort of culinary concoction, like the pepitoria and the pepidn. 48. Antes del juego, etc., Don't make me a long enumeration

before the

show

begins.

The

retablo

was a canvas on which were

painted a series of pictures representing the events to be represented in a puppet-show or some other form of entertainment.
Itinerant ballad singers still carry them about in Spain. Lazaro does not want a description of the show, but the show itself. 55. This clock was noted for its inaccuracy, if we may judge from this passage in Lamini's Baile cantado de los relojes:
El
reloj

de Santa Cruz

soy que en la carcel

me

veo,

con que jamis cierto ando

por hallarme entre sus yerros.

que rabia, in a way to drive one crazy. Hetele por donde viene, etc., a variation of the first lines of the ballad on the courting of Urraca by Bucar, a Moorish king. See Duran, no. 858:
60.

61-62.

Helo, helo por do viene

el

moro por

la calzada,

NOTES
caballero a la gineta

179

encima una yegua baya,

la

etc.

65.

ha de

tragar, la

is

the indefinite feminine;

tragar in

the sense of 'swallow a bitter dose.'

71.

here there

alza figura, he casts a horoscope, a term in astrology. But is a pun, the speaker having in mind the literal mean-

ing, elevates (his) figure.

76.

The enfermedad
oleada.

is,

of course, hambre.

81. 90.

seor, one syllable,

by syneresis. This word contains a pun.

dinner
is

marked:

se nos va la comida, 'the

slipping

D. Lazaro has reaway from

When us,' a phrase which might be used of a dying person. asked why, he replies: Because it has received the extreme unction. Taken in another sense, the answer means: Because it is 'helThe reference is to the Vejete's / Ola, ola! line 87. loed for.' For a similar pun on /Ola! see Tirso's Tanto es lo mas como lo
de menos, Act
92.
I,

scene

vi.

que no sabeis en

la

casa que estais.

An

of attraction of the preposition

relative's antecedent.

away from
if

interesting case the relative to the

Translate as

en stood before que.

Traed, one syllable, by syneresis. 104. no ha de haber falta. La falta, etc., there must be no lack. The lack is what we now are experiencing.
IOT. 117.

y no se

le alcanza

de

esto,

and she has no grasp of

it.

this

sort of thing.
1 1 8.

Tampoco a mi,
Lazaro's speech

etc.,
is

139.
162.

Neither can I grasp another bernardina.

pues ven,

etc., since,

by reason of such great unceremoni-

how great a friend I am. 1 66. The maza was a pole or block tied to the tail of a dog, monkey, or other animal to plague him or prevent him from running away. 208. peor esta que estaba, it is worse and worse. A proverb. 220. Pues todo se queda, etc., Since it's all in the family,
ousness, you see

gentlemen, the least of two

226.

evils.
(i.e.,

mucho he
deal.

tragado, I have swallowed

put up with)

a great

ISO

NOTES

LAS TERTULIAS DE MADRID

The play
in d-a, a
is

written throughout in ballad meter, with assonance

most unusual tour de force.

Petimetras are the Spanish counterpart of the French petitesA feminine formed on the masculine petimetre, French, petil-maitre.
maitr esses, young ladies of fashion.
deprisa,
baje,
17.

28.

when one is in a hurry. a colloquial violation of the sequence of tenses.

bajase.

One would expect

29.

32.
54.

y quede por mi? and act for myself. ninguna a tiesa me gana, nobody beats me for stubbornness. a dos manos, a pun involving the two meanings, readily

and with two hands. 71. queria, was about to. 98. Si no puedo, etc., Why I is panting from his exertions.
99. Gil Ventosa. of ventosa has already

can't

manage

to

speak.

Pedro

comic name for a doctor. been given.

7s
it

The meaning

104-105.

iEs

desgracia o accidents?
lead

a (mere) ailment
is

or a sudden attack ?
109.

Dona IneV words

avisarla.

Don

Gil to believe that she

the victim.
120.
its

Translate

la,

'them.'

It refers to tcrtulia in
'

collective sense.

Tertulia

means both 'party

and 'guests

at a party.'

123-124.

Pues vaya,
Ironical.

etc., Well, indeed, that's

a smallish num-

ber to notify!

129.

se acabo

130.

Don

se ha acabado. Ant6n, too, thinks Dona

Lie's

the patient.

146-147.; Que no alquile, etc. To think that one who hires cahes should not also hire feet! Pedro is a fashionable page, hired on account of his handsome calves. He objects to serving as er-

rand boy, and displays the same selfishness as the rest. 156. esta desdichada, meaning herself. 170. cuanto, the reading cuento in the original is evidently a mistake for cuanto.

NOTES
178.
195.

l8l

dice

se dice, or dicen.

Ironical.

Dona Ana

thinks the guests more deserving of

attention than the patient.

206-207. por que no sacan de refrescar, why don't they bring in refreshments? 215. lo primero es lo primero, etc., what is first in importance

must be
227.

first

attended

to.

Sirvanse, etc., Please to open the door yourselves, for they (the maids) are busied within. Gracias a Dios ! The usual Spanish greeting to a j 232-233.

guest from without.

242.
243.
larga, tiresome, boresome.

una

visita

de enfermo.

This Spanish custom

is

the only

thing which renders plausible the continuance of the tertulia under such unnatural circumstances.
247-248.
tion.

Cuanto

mas quedo,

etc.

The

quieter, the better the flirta-

252.

tipsana, the Spanish

form

of the

French

tisane, infusion,

decoction.

255.

Esperanzas? Joaquin apparently has

in

mind the com-

mon
The
tion.

alimentarse de esperanzas, 'to live upon hopes.' Abate Primero gives the word a flirtatious twist.

phrase,

264.

co jo la rauta, clear out, the present with future implica-

Rauta is from French, route, 'road.' This is one of several hispanized words in the text indicative of the French influence
of the period.

268.

majas.

The immoral women

of the

so designated at the time of

Ramon

de

la

lower classes were Cruz. They were

brazen,

Many of insolent, and conspicuous in their dress. Goya's paintings depict them. Ladies sometimes affected mdja
dress.

ways and

269-270. sobre quien se lleva, etc., as to who carries the cat to the water. The girls are resisting arrest, and the outcome is uncer-

This proverbial expression tain. thing done in spite of resistance.

better of the

is

used with reference to anyFreely, as to

who

will get the

argument.
etc.,

280-281. Amigas,

Friends,
so.

make up for what

is

lacking,

for to-day everything goes so,

182
286. 294.

NOTES

seals, one syllable, by syneresis. vaya al paso esta tajada, take this slice on your way. 320. Venga, etc., Let's have a pinch of Havana (snuff). 321. Y rico, and choice it is.

324-325. i

No

able for some, etc.

es el ejemplillo rana, etc., Isn't the example admirThe moral of the sainete is partially brought

out in the words of the two doctors. Notice that, unlike the this play depicts doctors in a favorable light. The tarasca was the image of a 336. una tarasca, a fright. dragon carried in a religious procession. It was especially assoentremeses,

town of Tarascon, France. Pepito means that the ugliest women and the most incompetent doctors may receive the most callers.
ciated with the
344.

Dr. Jalap

is

another appropriate

name

for a doctor.
is

349. The first one to play in a the last, el pie.

game

of cards

called la

mono;

tenemos novedad? is something wrong with us? 362-363. Cuenta con gritar, etc., Be careful about yelling, if they trump one of your manilles. In the game of hombre, the manilles
352.

were the deuce of spades or clubs, and the seven of hearts or diamonds. In the game of malilla, the nine spots were manilles, and, like the bowers in euchre, take cards usually having a higher value. To trump a malilla was as serious an offence

trump one's partner's ace in whist. The seguidilla is a popular verse 373. seguidillas del hole. form, often improvised, sometimes of a single four-verse stanza,
as to

but more often with a second three-line stanza added.

Five-

and seven-syllable lines alternate thus: 7, 5, 7, 5; 5, 7, 5. Lines The 2 and 4, 5 and 7 assonate separately; the others are blank. words of the seguidilla are witty and epigrammatic, often alluding teasingly to some person present, who returns tit for tat by reciting another of the same kind, directed against the first The hole, or ole, is an Andalusian dance. Seguidillas singer.
del hole are

sung to the music

of this dance.

378.

peti represents Pepito's faulty pronunciation of

French

petite, 'little.'

382. en seco, without accompaniment. With accompaniment the seguidilla would take longer to sing, and would be noisier.

NOTES
383. 386.

183

oyeran que Vaya una coplita.

j

lo

suppose they should hear it! Here goes for a little stanza.

And

389.

en mano de

favorito, in a

hand when

the favorite suit is

trump. In some games one of the four suits is determined upon to be 'favorite.' Stakes are doubled when this suit is trump.

A bad

play

is

doubly unfortunate under these circumstances.

etc.,

396-397. nuestro amigo,

our friend
'

is

departing post haste.

'

406-407.
pets,

mi danza de monos. By monkey-dance Pepito means

There
is

titeres, or pupwere known in Spain during the Middle Ages. In 1556 Giovanni Torriani, (Juanelo) a celebrated Italian engineer, constructed puppets to amuse the idle hours of the retired Emperor

his outfit of puppets.

evidence that the

Charles V.
in

Don Quijote, El Ubeda in his Picara

national in

puppet-shows are described and by L6pez de Justina. The plays performed are generally theme, deriving from old romances of chivalry, balretablo de las maramllas,

Strolling exhibitors of

lads, lives of the saints, Bible stories, etc.

The

bull fight

is

occa-

sionally represented. For further information see, Magnin, Hisloire des marionnettes en Europe, Paris, 1862, and Maindron,

Marionnettes
409. 412.

et

guignols, Paris, n. d.

purchinelas

pulchinelas, the
is

more usual term.

Cristobal Pulchinela.

Mr. Punch's Spanish name

Don

413-414. All these characters occur in the stock Punch and Judy play with which we are familiar. The madama is probably the Spanish equivalent of Judy. 415. The silvatillo, also called pito and cerbatana, is a whistlelike contrivance which the operator puts into his mouth to get a peculiar intonation for the part of Punch.
417. 423.

Se mete
vais,

bulla.

It raises a racket.

second plural subjunctive,used as a polite imperative. 444. madamas = French, mesdames. 446-447. cuanto mas acompafiada, mejor. The more company
a lady has, the
466.
better.

of a gentleman's street costume everywhere during the eighteenth century. The removal of the swords would indicate the intention to make a protracted stay.

The sword was a part

472. tengala tragada, freely, la is the indefinite feminine.

swallow

this bitter draught.

The,

184
489.

NOTES
yo en asunto de papeles, in business matters I
tengo una oficina pesada.
I

am

bit

of a dunce.

office

491-492. work.

am

overburdened with

500. que yo descubri, etc., that I revealed the manille. offending partner has played his ace at the wrong time.

The

Cabe en los hombres de honor, etc., Can men of 501-502. honor make such false return ? Dona IneV eyes are now opened. However, the psychology of this character is not convincing.
503-505. Don Luis indicates that the game has gone far enough. By vinegar he alludes to the sour words which he knows are coming.
copiada, in the form of an imitation. 523. La has a weak demonstrative force. It is almost equivalent to esta. The same applies to el in lines 539 and 545.
510.

We

note something similar in phrases like a la vez, a la sazon, etc. See Hanssen, Spanische Grammatik, Halle, 1910, 53, 2. 538. el que socorre la plaza, the one who relieves the fortress,
that
is,

550.

the one who remedies his need. porque hace malas noches, because evening

is

a time of

boredom.
567.

The por depends upon

ansias in

Dona

Petronila's speech.

573~574- pues ya nos ban visto, etc., since they have now seen our hands, and if we stake the remainder, etc. At this time there was no systematic lighting 578. hachas. Those of the streets in Madrid, or for that matter anywhere. who went out late in the evening were accompanied by linkboys
carrying torches.

VOCABULARY
action
/.

action, act

to, on,
in,

upon, towards, against,

acechar spy aceite m. oil

aceituna
/.

within, at, with, by, from, at the rate of, of, until, if,

olive

around; diez de
pieces
of
. .

eight;
.

ocho ten de
.

acelerado, -a quick, hurried acelerar hurry

between

and.

(Denoting

ace. not to be translated)

abad m. abbot abajado, -a humbled, humiliated, (with) head lowered

abajo down abate m. abb6
to society)

acemila /. sumpter mule acercarse approach acerola /. azarole (fruit of the hawthorn) acertar succeed in acoger take in, shelter

(priest addicted

acompaflar accompany, attend, se have join, go with; company; cuanto mas acompafiada the more lady has

ABC

m.

AB

C, alphabet

company

-a open abrasar burn abrazar(se) embrace;

abierto,

se de

aconsejar advise, persuade acordar determine; se (de)

clutch, seize abrir open, open the door

remember
acostarse go to bed,
retire
lie

down,

abuelo m. grandfather aca here, until now acabar end, finish, complete, - con get through, stop;
-

acreditar distinguish acudir come, appear, attack aculla there

de have put an end to; acabe get through, just; stop, come now; no estan acabados de pelar they are not wholly plucked; se
;

acusar accuse, denounce achaque m. pretext, indisposition, ailment adelante on, ahead; de aqui - henceforth
adelgazar stretch fine ademan m. gesture

end, finish, consume acariciar caress

acarrear take in a cart acaso perchance, perhaps accidents m. attack, illness,

ademas
.fit

besides, moreover, exin,

cessively

adentro inside,
185

within

i86

VOCABULARY
aguar spoil, interrupt aguardar wait, expect,
se stop, halt agujeta /. iron-tipped lace
for;
;

adios m. good-by, greetings adivino m. soothsayer

wait

admiration
tion

/.

wonder, admira-

admirado, -a amazed, wondering, astonished

ah

ah

admirar excite the imagination, excite wonder adonde where adonde? where? adorar adore, worship, appease adorno m. decoration, furnishadrezar = aderezar prepare, cook adular flatter adulto, -a adult (probably a comic distortion of adusto
sad)
ing, furniture

ahi there; -- van there are; de there hence; por ahi j ado m. godchild

ahogarse stifle, smother ahora now, just now, at presbien all right ent; ahorcar hang ahorrar save aire m. air ajeno, -a of another
ajustar settle ala /. wing alabar praise, think alba /. dawn

much

of

advertencia /. advice, remark advertir notice, warn, bear in

mind
afeitarse shave, rouge, adorn oneself

albarda/. packsaddle, dunce albeitar m. veterinary albergo m. shelter, inn alcalde m. mayor alcanzar attain, obtain, get,
achieve, understand, pursue, se de underovertake; stand; tampoco a mi se me

afianzar lay hold of

aficionado, -a fond of

be miserable, worry, be sorry afuera out of the house agasajo m. party, refreshments agenda /. commission
afligirse

alcanza
it

have no grasp

of

either

alcoba /. bedroom aldea /. village

aldegiiela
/.

agilidad

/.

sprightliness, light-

village

ness, activity, agility

agora now, at present, just now agradecer be grateful for, thank for agravarse become worse
agraviar provoke agravio m. injury, harm, wrong agresi6n/. attack

alegre happy, merry alegremente gladly alegria /. joy, pleasure

Alejandro Alexander

Alemania

/.

Germany

alentar be encouraged alevosia/. treachery, deceit

algarrobilla /. carob algo pron. anything, something;
adv.

agua/. water aguado, -a watered aguador, -a water carrier

somewhat

alguacil m. constable, bailiff

VOCABULARY
alguien someone, anyone alguno, -a some, someone, any, anyone, a little, any whatsoever
.
.

i8 7
/.

amistad
las

friendship;

hacer

amo

es make friends m. master; nueso

alhaja /. jewel alimentarse feed

aliviar relieve

master amolar grind, sharpen

amor

m.

love;

es

love

affairs;

por

de Dios out

m. ease, comfort, reh'ef mind, heart almizcle m. musk

alivio

of charity

alma

/. soul,

amoroso, -a loving amotazen m. inspector

of

pillow almorzar breakfast (on)

/.

almohada

weights and measures, clerk

of the market amparar protect, help amparo m. protection, refuge andar walk, go, go about, go

alquilar rent, hire alquitran m. tar

alto, -a lofty, noble, sublime alzar raise, lift; figura cast a horoscope; se con toda

casa appropriate the whole house allfi there, yonder; mas de

la

along, come, go se con amuse oneself with, waste time with; todo se andara all will be well angel m. angel
on, be,
after;

move

beyond
allanarse consent, agree allegarse come, go alii there

anima

/.

soul

animal m. animal, booby animo m. courage

-

ama

mistress; mistress
/.

muesa

amado, -a dear, beloved amante loving

ansi thus ansia /. desire, retching, anguish, greediness, paroxysm ansioso, -a anxious

antes adv. rather, better,

first,

amar love amargamente

amargo, bad
-a

bitterly
bitter,

on the contrary, of first im- de Prep, beportance;

painful,
fore;

que

conj.

before,

amarillo, -a yellow amartelar court

rather than antesala /. anteroom

antiguamente formerly,
cient times

in an-

amasar knead

ambar m. amber;
ambos, -as both

ser

un

be

antiguo, -a old, ancient

antojadizo,

excellent, be very sweet

^a

capricious,

amen

m.

amen

amenazar threaten
amigo, -a friend amigo, -a fond amiguito m. friend,

little

friend

funny, whimsical antojo m. hallucination, fancy antologia /. anthology Antonio Anthony anzuelo m. fishhook anadir add

i88

VOCABULARY
de adelante henceforth; in this, hereabouts por be be aquietarse allayed, quieted arbitrio m. means, device arbitrista m. schemer arbol m. tree area /. chest arcaduz m. water pipe ardid m. trick, cunning; tener be cunning, be crafty Argos Argus
argu'ir argue,

anicos m. pi. bits, pieces malos s! aflo m. year; the deuce plague take it sacar el vientre de mal dine better than usual aora = ahora now
j
! !

apagarse be extinguished, be put out

apanar pick up aparejado, -a prepared, ready aparejar prepare, get ready se withdraw, apartar divert; get out of the way
aparte aside apatusco m. embellishment

deduce
wild

arisco,

-a
/.

fierce,

arma

apelmazado, -a soggy apesadumbrado, -a anxious,

sad
aplacer please

s arms, weapons; ! to arms! fencing; \ al armado, -a armed, set up,

started, going

on

armar

apodo m. nickname, abusive

name
apoplejia/. apoplexy aposento m. room

plan arrancar wring, wrest arrastrar drag along arremeter attack arreo successively, uninterruptstart, arrange,

apostar bet, wager aprehension /. fear aprender(se) learn, study aprendiz m. apprentice apretado, -a pressing, urgent
se apretar grasp, hold tight; be afflicted, be distressed; se con sorrow over, shut oneself up with apriesa = aprisa in a hurry,

edly arrepentido, -a repentant arrimarse lean upon, approach arroba /. four gallons arte m.,f. art, skill, craft arteria /. artery

as m. ace
asar(se) broil, burn, bake

ascendente ascendant
asegurar assure, secure, assure se be certain of;
asi so, thus, in this

quickly
aquel, -la adj. that aquel, -la, aquello pron. that aquese, -a adj. that

way, would

that
asido, -a seizing;

de

seizing,

aquese, -a, aqueso pron. that aqueste, -a adj. this aqueste, -a, aquesto pron. this de help me; aqui here, now; de a un hence; de poco a little while from now;

holding on to asimismo likewise

asir seize
asistir

attend a sick person

-a little ass asomarse appear

asnillo,

VOCABULARY
be asombrarse astonished, wonder asombro m. amazement, wonder

189

ayuda /. help ayudar help ayunar fast ayunas: en

azofaifa
/.

fasting
liters

asunto m.

affair,

business

jujube

asustar frighten

azumbre

/.

two

atambor m. drum, drummer

atar
tie,

bind
listen,

atender

pay attention
bailar dance

B
bachiller m. bachelor
bailarin, -a dancer baile m. dance

atento, -a listening, attentive, mindful, careful

atolondrar stupefy, stun atrancar bar, bolt atreverse dare atrevimiento m. boldness, assurance, presumption aturar seal, close aturdido, -a amazed,

[stairs

bajar lower, humble, go downbajo, -a base, low, vile; por lo

in an undertone balago m. long straw; pajas de long straws balcon m. balcony, window free of balde de gratis,
:

dum-

founded

aumento m.

increase, enlarge-

ment, growth

cost

aun even, still aunque although, even

withstanding;
ever

Baltasar Balthasar, Belshazzar

if,

not-

mas how-

much

banca /. bench banquete m. banquet banar bathe

baraja/. pack of cards, quarrel, deal

ausencia /. absence ausente absent auto m. auto (a play) Automedonte m. driver, coach-

barajar shuffle, wrangle barba m. old man

man
autoridad
/.

authority
settle;

ave

/.

bird

find out, averiguar se con bring to get on with

reason,

avisar warn,

tell,

advise, send,
-

barba/. beard barbarismo m. barbarousness barbecho m. fallow ground barbero m. barber barranco m. ravine, deep hole barro m. tumbler of clay basa /. base, basis, pedestal
basilisco m. basilisk

send word aviso m. advice; buen pleasing information avutarda /. wild turkey, bustard, veteran prisoner

basta enough bastante enough,

tolerably

sufficient;

ay

alas, oh, ouch;

de

alas for

bastar suffice, be enough, be worth i con estos no basta?

;

ayer yesterday, lately

aren't these

enough?

VOCABULARY
bastardia/. unbecoming action,

meanness
bata
/.

bianco, -a white blando, -a gentle,

pleasing,

gown
baptize,
christen;

bautizar

good-natured, kindly, soft blanquilla /. doit (a very small

coin)

se be baptized, be christened

bayo, -a bay horse, bay bazo m. spleen beber drink bellaco, -a m. f. rogue bellaco, -a low, vile, shameless bellacon, -a rogue
bellaqueria
bless
/.

boberia /. foolishness bobo m. fool, buffoon, simpleton bobo, -a foolish, stupid

knavery

boca /. mouth, lips bocado m. mouthful, bite boda /. marriage, wedding bodigo m. manchet (a small
loaf

bendicidn/. blessing; echar la

bendito, -a holy beneficio m. benefice

made of the finest flour and presented as an offering

Bercebu = Belcebu Lucifer bergante m. rascal -a brazen-faced bergant6n, person, impudent person bernardina /. persiflage, absurdity

boga

in church) /. cackerel (a fresh water

/.

fish)

bolsa

purse

bolsillo

m. purse, pocket
/. /.

bollo m. small loaf, roll

bomba
bondad

bomb

Bernardina Bernardine Bernardo Bernard beso m. kiss bestia /. beast, animal

biblioteca
/.

goodness, virtue bonito, -a pretty

library

bien

m.

beloved

one,

blessing;

--

good,

borracho m. drunkard borracho, -a intoxicated borrachon m. drunkard, fool bota /. wine skin bote m. flask, box, phial
botella /. bottle boticario m. apothecary

haya blessings

upon
bien adv.
surely,
it's

well, nicely, all right,

brasa/. live coal, burning wood

very, indeed;

a -

bravamente
bravo, -a

finely

a good thing;
since;

a
-

que
be

conj.

decir

all right right; esta bigote m. mustache birillante a coined word. (Cf. note 1. 164 "Doctor y el

rough, terrible, brave brazo m. arm breval m. fig early tree;

fine,

enfermo") bizcocho m. biscuit blanca /. blanca (an old copper

coin)

higuera early fig tree breve brief, short brindar toast, pledge [health brindis m. toast, drink to one's brio m. energy, dash, spirit,
mettle

VOCABULARY
bucaro m. clay vessel bueno, -a good, fine,
well,

191
fall

caer
clean,

fall,

drop,

fall

down; down;
caire

se

fall,

en

ella,
ist

great,

irreproachable;

perceive

it;

fut.

sois? where de d6nde do you come from? mas s put them best; ponerlos for a good in order; por lo

pers. sing.

cafe m. coffee

caja

Cain Cain /. box of preserves or jam,

ni malo purpose; sin decir without saying a word buey m. ox

drum
calabaza
/.

pumpkin, ignorant

bula/.
bulla
/.

bull, certificate

person calavera /. rattle-pate

calcilla /. short stocking, sock caldo m. broth calentura /. fever calidad /. nature calor m. heat, warmth

noise;

meter

raise

a racket
bufiuelo m. fritter,

doughnut
coarse,

burdo, rude

-a

ordinary,

burla/. joke, trick, jest burlar betray; se joke,

cule,

ridi-

calzada/. road, path calzado m. pair of shoes

calzas
/. pi.

mock
for, find, get,

trousers

buscar seek, look hunt

calzones m. pi. trousers callar be silent, keep silent, hush, hush up, hold one's
tongue, keep
still;

calla

why

cabal exact
caballeriza
/. stable caballero m. gentleman, knight,

calle /. street

cama

/.

bed

hacer la

make

nobleman,

sir

the bed ready camarada m. friend

caballero, -a mounted, riding cabello m. hair

caber be contained cabeza /. head, mind,

hair;

quebrar la bother; iQue s! what inconsiderate people!

caminar walk, go, go on; camine delante go on, go ahead; jcaminen! be off! camino m. way, road; de on the way, incidentally camino = camino
campanilla
/. little bell

cabo m. end,
cabriola
/.

tip;

al

at last

caper;

hacer

caper cachaza /. unconcern cachete m. punch, cuff cada adj. every; uno pron. everyone cadaldfa (= cada el dia = cada dia) every day

country gray hair canasta /. hamper, basket candelero m. candlestick hambre canino, -a canine; a inordinate hunger cansar tire, bore cantar sing, crow cantaro m. pitcher
field,

campo m.
cana
/.

IQ2
cantidad
tity,

VOCABULARY
/. amount sum, quannumber

casi almost

caso m. case,
point;

affair,

cafla /.

rod;

pescador de

angler

capa /. cape, cloak capeador m. bullfighter, stealer of capes capon m. capon capricho m. caprice, whim,
fancy cara /. face, countenance, look, de hereje hidefeature; ous or repulsive aspect;
--

en todo events; estar en el stand; no es del

to the point

occurrence, - at all underis

not

casta
ish

/. variety, kin, family castellano, -a Castilian, Span-

castigapecados m.
Castilla
Castillo
/.

pi.

whips

Castile

m. castle

de Pascua smiling mala doleful look

carbon m. coal, charcoal carbonera/. coal bin carcajada /. laugh carcanar m. heel
cdrcel
/.

face;

catalogo m. catalogue Cataluna /. Catalonia catar consider, look at

Catilina Catiline

catorce fourteen

causa

/.

cause, reason, motive,

consideration, matter

prison

cardar card wool carecer (de) need, lack, be without carga /. load
cargar load, burden cargo m. burden, charge; take charge cerse carguilla /. little load
give alms

causar cause cazar hunt celebrar celebrate celemin m. peck (4 T6ff celos m. pi. jealousy
celoso, -a jealous

liters)

ha-

caridad/. charity, alms; hacer

Carlo Magno Charlemagne carne /. flesh, meat carnero m. sheep, ram

caro, -a dear, expensive, high-

cena /. supper cenar have supper, sup; fare maravillas sumptugive ously; dar algo que something for supper cenar m. supper cencerro m. bell
ceniza
/.

ashes

cenir gird

priced carro m. carriage carta/. card, letter casa /. household, house, family, home, shop, square in a game of chess; a at home home; en casar marry; se get married cascar beat, pound, flay

cepo m. block of wood forming a support, support, stocks,

impediment cerbatana /. whistle, culverin,

cerca adv. near; -- de prep. near cercar wall, surround cerebro m. brain
pea-shooter

VOCABULARY
ceremonia
/.

193

ceremony

colacitin

cerindongo m. a kind of bird cernadero w. coarse linen cloth cero m. zero, cipher
cerrar seal, close, fasten, lock cesar cease, stop

/. repast, "spread" colar bleach or wash clothes;

canasta de
coleccion
c61era colgar
/. /.

clothes basket

collection
bile,

yellow

anger

colerico,

-a

choleric, passionate

Cesar Caesar
cesta/. basket ciego, -a blind

hang
back
of the

colodrillo m.

head

m. sky, heaven, weather ciencia science, art, knowledge ciento, cien hundred
cielo

coloquio m. colloquy color m., f. color

coluna = columna
pillar

/.

column,
necklace;

cierto

adv.

por
cierto,

certainly, indeed; certainly, indeed, betrue,

collar

m.

collar,

yond doubt
-a certain, sure,
assured cinco five cincuenta
cinta
/.

earmarks puntas y comedero, -a edible comedia /. play comedido, -a civil, polite,

obliging

fifty

ribbon, sash, waist of a

comenzar commence, begin comer eat, dine; de live off

of;

dress;

poner en

tuck up

se eat

cirujano m. surgeon
civilidad /. urbanity,

hackneyed

expression

-a transparent, bright, obvious, evident, clear, plain cobardia /. cowardice

claro,

comer m. dinner cometerse be committed comida /. food, dinner, meal, banquet comigo = conmigo with me
comilfin,

-a glutton
/.

cover, cobijar shelter

overspread,
receive,
get, for

comision

como
damages
a

like, as,

charge, matter as if, if, provided

cobrar

recover,
collect

that;

que as

if,

indeed;
.

collect,

how much; tan

as

. .

cobro m. safe place cocina/. kitchen coco m. bugbear, grimace coche m. carriage cochero m. coachman cochino m. pig cochura /. boiling codicioso, -a greedy, avaricious cofre m. trunk, stand
coger
col /.
seize, take, pick up, pick, la rauta clear out gather;

as ... as; tanto as, all that i

much

c6mo? how ? why ? i a ? how much? compadre m. godfather, friend

.

companero m companion, friend,

colleague
/. company componer compose, write;

compafiia

se

be composed

cabbage

composici6n /. composition comprar buy

194

VOCABULARY
general;

comun common,
afiar
erally

desgen-

de

challenge
in, of,

acquainted with; known; se conoce

to

se
is

be

easy

comprehend
in short, so, well then,

con prep, with,

by, on, about, to, for, in the name que of; que wherefore;

conocido, -a well-known

conque

now
conquistador m. conqueror consciencia /. conscience consejo m. advice, decision,
council, tribunal consentir consent considerar consider

conj. so, provided that, if concepto m. idea, thought concertarse agree conciencia /. conscience concurrencia /. concurrence,

conjunction

conde m. count condenar condemn

condition
/.

consistir consist, lie

consolar console, comfort

habit,

condition,
state;

consonancia

/.

rhyme
/.

disposition,

con

que on condition that condumio m. feast conejo, -a rabbit

confesar confess, admit;
confess,

Constantinopla nople

Constanti-

constrefiir bind, force, oppress

consuelo m. joy;
se
to

por

mas

my

greatest joy

make

confession,

contar
tell,

acknowledge oneself
confesi6n /. confession confesor m. confessor
confiado, -a confident;

de

confidently confianza /. confidence, intimacy, trust, assurance; de on intimate terms

enumerate, mention, count; cuenta con gritar be careful about shouting out contentar satisfy, fill, please; se be contented contento m. pleasure, fun,
happiness
contento, -a contented, satisfied, glad,

confirmado, -a confirmed, firm, stanch confirmar strengthen

confiteria
/.

happy

contescer happen contra against

confectioner's shop

confusion/, confusion, disorder congelar congeal, coagulate conjeturar guess, conjecture conjugarse be conjugated conjuraci6n /. conspiracy conjurador m. conjurer conjurar conjure, summon conjuro m. conjuration conmigo with me conocer recognize, know, be

a la contrario, -a contrary; contraria on the contrary

conversaci6n
talk,
/.

conversation,

companionship

convertir convert, change; en change to

convidado, -a guest convidar invite copiado, -a imitated coplita /. little stanza corazon m. heart, courage,

VOCABULARY
middle; buen quebranta mala ventura fortune favors
the brave
costal m. sack

195

costar cost

corcova

/.

hump
Cordova

corcovado, -a humpbacked corchete m. policeman

costura/. seam coyuntura /. occasion coz /. kick, prancing

craro, -a

claro,

-a

C6rdoba

/.

corporal corporal corpulento, -a fat correo m. mail, message, errand

creer believe, think, believe in criada /. maid, servant criado m. servant criado, -a well-bred
criar rear, bring

correonazo m. strapping correr run, hurry, run away;

up

mundo
friendship

travel

much
/.

criatura/. creature, criollo, -a creole

cristiano,

baby

correspondencia

return,

-a Christian

Cristo Christ

corresponder return, requite correspondiente suitable

corrido,

Cristobal Christopher,
critico,

Punch

-a

critical

-a sheepish, ashamed,
circle

angry corro m. corro (a dance), cortar cut

corte
/.

crdnica /. chronicle cruel cruel, intolerable cruz /. cross

cuadrado m.

square;

en

court, capital

in square, in quadrille

cortes polite, civil cortesia /. courtesy, politeness,

bow
corteza
corto,
/. rind, peel,

skin

cuadrado, -a square cual adj., pron. which, who; which, who; tal para one as good as another

el

-a short corvo m. crow

matter, affair, something, anything; clara obvious, evident; ninguna nothing, not anycara - - expensive, thing;
/.

icull? pron. what? which?

jcual! interj. how then, what, in what state

cosa

thing,

cual adv. like

cualque any, some;

cosa

high; cualque ello seran tus

somewhat;
s

somewhat cualquiera some cuando when, if

cuanto, -a which, as
all

your usual something

else

tricks;
else,

probably otra -

that,
as,

all

that

anything

coser sew, join

cosilla /. little thing, trifle

how long, how much; mas all the mas more, moreover; mas the longer the - mas longer; mejor
.
.

much

costa/. cost, expense; a at the expense of costado m. side, back

de

the more the better; en as to; todo all that i cuanto?. -a pron. how much,

196

VOCABULARY
tanto ...

how many; how much

cuidadoso, -a vigilant cuidar look after

culpa
culto,
/. fault,

cuarenta forty cuartillito m. little pint cuartillo m. pint cuarto m. copper coin (worth 4 maravedis or | of a real),
fourth part cuatro four, a few
cuatrocientos,

blame

-a correct, elegant cumplido, -a polite, good cumplir expire, keep; -- con

fulfil

cunada
curia do

/.

sister-in-law

-as

four

hun-

dred
cubierta /. cover, covering se put cubrir cover; one's hat

m. brother-in-law cuorvo m. crow (old Spanish) cura m. curate

cura/. cure, remedy, treatment curar treat, recover, care for, se be treated, keep, cure; be cured; se de mind, bother about curiosidad /. curiosity cuyo, -a whose

on

cuchara/. spoon cucharada/. spoonful

cuchillada
/.

slash

cuchillo m. knife

cuenta/. account, count; estar understand the case; en la take care; tener tener a keep count of; hacer reckon suppose; hacer la cuento m. tale, story; como
digo
goes;

Ch
chancero, -a merry chanza /. joke chica /. little girl
chico m.
chico,
little
little,

de mi hacer

as

my

boy
small

story

-a

take account

cuera

/. leather jacket cuerda/. string

chinche/. bedbug
chiquito, -a little, small chis sh, hush

cuerdo, -a sensible, sane

chocolate m. chocolate

cuerno m. horn cuero m. skin, hide cuerpo m. body; en

shirt sleeves

chupar suck
in his

cuervo m. crow s on one's back, cuesta: a upon one cueva /. cave cuidado m. care, anxiety,
charge;
|

daca give here

dadiva
/. gift

dado m. die daga/. dagger dagua = de agua

daif a /. mistress, servant

look out!

con mind, be careful of; studial descuido y con con ously careless; tener
take care of

dama

/.

lady

danza /. dance, dancing; de monos Punch and Judy

outfit

VOCABULARY
danzar dance dano m. damage, trouble, harm danoso, -a harmful dar give, hand, hit, strike, beat, come upon, make, set,
afford,
sell,

IQ7
de mi cuento as

digo

my

mean; story goes; querer sin bueno ni malo without

saying a word senas declarado, -a clear; as clearly indicated declinacion /. decline, declination, declension declinarse be declined

cause,

adopt,

a fall algo que cenar give into; something for supper; con slam, strike, knock; con los ochos y nueves make - en a scene; persist in, fin a fall into, strike; orden en attend to; end; sana cure; perro
catch,

bestow;

decoro m. honor, respect, dignity

dedo m.

finger

defender defend, protect

def ension /. defense on the outside defuera por
:

disappoint or deceive a person; vaya i que te ha dado? jeer; what has happened to you? se be given, take place; se a entender make oneno se me self understood; da nada it gives me no concern dares m. pi. givings, altercations

muerto

degollar decapitate,

kill,

ruin

dejar leave,
mit,

let alone, let, per-

relinquish,

give
to,

up,
help;

de fail have; se allow oneself

del

de

el

delante adv. in front, ahead,

before;
of, before;

por

de prep, in front de in front

of

deleite m. pleasure, delight

deleitoso,

de

of, for, in, than, about, to, from, by, with, as, on, at, on account of, against, upon;

-a delightful de
ellas
I

delgado, -a thin
dellas

...

a between

and;

Dello

me

pesa

regret it (a

dar comer feed; diez a ocho ten pieces of eight debajo de under, underneath deber must, can, ought; de be probably so, must debilitado, -a weak decanoria /. decan, decanate decender descend, go down
decir say, speak,
tell,

dance) dellos = de ellos demas rest, other [excessive demasiado too much, enough, demonico m. little devil

call, mean, show; deci imperative 2 pl.; bien be right; -

demonio m. devil, demon dentellada /. bite dentro adv. within, inside, in, de prep, within off stage;

Deo

entre si say to oneself; se say, be said; como

(Latin) to God deposito m. safe-keeping deprisa in a hurry

derramar

spill

198

VOCABULARY
desencajarse be dislocated

desabrido, -a insipid, peevish de desafiar challenge;

challenge generally desagradar displease desairar slight, rebuff desaire m. slight, rebuff, disrespect

comun

desenganar disillusion desenvainar unsheathe deseo m. desire, longing desesperado, -a desperate, in

despair
desfilarse

march

off

desatar let loose, untie desatino m. folly, craziness,

foolishness, nonsense, hallu-

desgracia

cination

desazonado, -a spoiled, out of

sorts, indisposed desbaratarse be broken up descansar rest, recover; se

calamity, misfortune, sorrow, unhappiness, ailment desgraciado, -a unfortunate, miserable, wretched deshacer break, ruin, rub off,
/. fatality,

affliction,

disperse

rest

descanso m. repose, comfort, peace descargar discharge descartar put aside, discard descender descend, go down desconocimiento m. ingratitude, lack of recognition descortes rude, impolite descoserse rip, go to the bad, get out

desmayarse swoon desmayo m. swoon desnudarse undress oneself desnudo, -a empty-handed, destitute, unsheathed, drawn
desocupar quit, leave despacho m. business,
rity

alac-

despedir dismiss, send away; se take leave

despertar wake up, awaken desplegar open despojar despoil desposado, -a betrothed, married

descoyuntar disjoint descubrir expose, uncover,

veal

re-

descuido m. carelessness; al y con cuidado studiously

careless

desposarse get married despues adv. afterward, then;

de prep,
deste -a, -o,

after

desde prep, from, since; que conj. since desdel = desde el desden m. disdain, scorn, contempt desdichado, -a unfortunate,

= de

este,

etc.

desvalido, -a helpless, unprotected

desvan m. garret
desvario m. raving; hacer rave desvelo m. anxiety, longing

unhappy
dese, desa

= de

ese,

etc.

desear desire, wish, wish for desencajado, -a distorted, dislocated

desvergonzado, -a impudent, shameless

desvergiienza /. shamelessness

impudence,

VOCABULARY
se detener stop, restrain; be detained determinar determine, decide

199
m.
hiding,

disimulo

conceal-

ment
dislate m. absurdity

de detras adv. behind, after; prep, behind, in back of noon dia m. day; medio diablo m. devil diabro = diablo
dial ec to

m. dialect

diamante m. diamond
diccionario m. dictionary dicha /. happiness, luck;
riches; s

disparate m. absurdity, blunder, nonsense, hallucination disponer arrange, command, direct, dispose, take charge; se be ready, be willing, be resolved, get ready disposition /. disposition, tendency,

arrangement,

will,

supply
dispuesto, -a disposed; mal indisposed, sick disputar dispute, argue dividirse divide, separate, cut divorcio m. divorce

by chance

dicho m. saying

-a happy, fortunate, blessed diente m.,f. tooth; untar una take the edge off of one's
clichoso,

do where
doblado, -a double doblar toll, double doce twelve; echarlo a pretend to be angry; las twelve o'clock
docientos,

appetite diez ten

diferencia/. difference difunto, -a dead digno, -a worthy
dilatado, -a large, big dilatar postpone, defer
diligencia

-as two hundred; modern doscientos

business, /. errand, diligence

affair>
-

dimes m. pi. altercations; diretes and y quibbles

quirks dinero m. money, a copper coin (worth \ maravedi) Dios m. God; aqui de help for God's me, O God; por sake diretes m. pi. altercations;

doctor m. doctor doler pain doliente m. patient doliente suffering dolor m. pain, grief, sorrow don m. Don, sir, Mr. doncella/. maiden, girl, servant donde where; a - - where,

dimes y
quirks
discrete,

quibbles

and

-a

intelligent, clever

over which, through which where? ide ? id6nde? whence? where? dong6n m. crane

whither; de whereof; por

from which,

disculpar excuse, justify discurso m. discourse, talk disfrazar disguise

disignio m.

donna /. dona dona /. dona, lady,

Mrs.

mistress,

designio purpose

dormido, -a sleeping, asleep

2OO

VOCABULARY
ejemplo m. example
el,

se go to sleep dormir sleep; veces dos two, double; a manos with twice; both hands, readily, twoboth handed; los dote m. f. dowry drecho, -a = derecho, -a just, -- perfect, right; hecho y
-

la,

lo,

los,

las

art.

the;

pron. the one, that;

que

dem. and rel. pron. he who, the one who, that which
el pron. he,

him, you

elecci6n/. election elegancia /. elegance

drecho = derecho m. right; a fuerza de rightly ducado m. ducat ducientos, -as = doscientos, -as two hundred

really

and truly

elemento m. element, humor

ella she, her, it ellas they, them ello it, that

duda

/. doubt dudar doubt

them, you embaidor, -a impostor embajada /. mission, message embanastar put away

ellos they,

duelo m. sorrow, grief, trouble dueno m. master, owner duque m. duke durar last, hold out, live
duro, -a hard, harsh, rigorous

embarazar hinder nevertheless embargo sin embocar put in one's mouth,

:

swallow eminente prominent, eminent

E
ea well eco m. echo echar throw, throw out, drive away, apply, put, lay, pour on a begin to a perder de ver see, notice; ruin; el habla get in a word; el resto stake all; la bendici6n bless; lo a doce pretend to be angry; ventosas cup; se drink, throw oneself; se a perder spoil, make a mess of
; ;

empanada /. meat empenar pawn

pie

emperador m. emperor empezar begin, start empleo m. position

en
in, into, with, on, upon, at, over, of, inside of, to, after,

when, by enamorado, -a in love enamorarse fall in love

'

encajar fit, suit encantar enchant encaramarse climb encararse confront, face, aim encargar charge, urge, urge se be urged, be upon;

efe

/.

letter

F
execution,
per-

recommended
encarnado, -a scarlet, red encender light encerramiento m. locking up encerrar lock up, shut up, inclose

Egypto m. Egypt
ejecucion
/.

formance ejemplar exemplary ejemplillo m. little example

VOCABULARY
encima upon
encogido, -a humble, bashful encogimiento w. humility, submission, bashfulness encontrar meet, find encubrirse be concealed

2OI

ensillar saddle entablar prepare, arrange, begin entendedor, -a one who under-

stands, listener

entender

understand,

hear,

endimonado, -a devilish; modern endemoniado enemigo m. enemy

make angry; vex, se be angry, get angry enfado m. vexation, anger, annoyance, trouble; haber con s get angry enfadoso, -a angry, botherenfadar

know, be employed about, take charge of, notice; dar a se be underadmit; stood, be heard
entendimiento m. understanding,
intellect,

mind, sense,

intelligence

entero, -a entire, whole, perfect enterrar bury

some
enfennar get sick, make sick enfermedad/. malady, illness enfennito, -a sickly enfermo, -a sick
enfrente opposite
se be deenganar deceive; ceived, be mistaken engano m. deception, trick,
illusion, hallucination

entonces then entrada /. entrance,

friendship

favor,

entrambos, -as both entranas /. pi. heart

entrar enter,

come

in,

go

in,

go out,

exit, intervene;

en-

tra imper. 2d pers. pi.; a entra begin to, start to;

me
in,

enhorabuena:

sea

very

a ml en provecho I se enter, go it;

in, exit

profit

by come

good enhoramala /. scorn enhornar put into the oven to bake enjambre m. swarm of bees enjugar wipe, dry silence enmudecer impose upon, hush enojado, -a angry, displeased,
offended

entre between, among entregar give, hand over, surrender

entremes m. farce
entremesista m. writer of farces entretanto adv. meanwhile; que conj. while entretener delay

entumecer swell
envainar sheathe enviar send envidar stake enxiemplo m. story epitafio m. epitaph equivocarse make a mistake errar mistake, miss

enredo m. trick
enrubiar dye, rouge ensalada/. salad

ensayo m. attempt ensenanza /. lesson

ensefiar show, teach, instruct; se be taught, be shown

202
escalera
/.

VOCABULARY
stair

espanto m.
scandalous,
surprise

fear,

wonder,

fright,

escandaloso,
disgraceful

-a

escarbar scratch escarnio m. ridicule escarraman m. escarraman (a

dance)

espantoso, -a frightful, horrible, frightening espaflol, -a Spanish espejo m. mirror

escarramanesco,

-a

escarra-

esperanza /. hope, chance esperar wait, wait for, await,

se stop expect, stop; espicinio m. probably a comic
distortion of espinazo back-

manesque
escena
esclava
/.
/.

scene slave

escobar sweep escoger choose esconder hide escribano m. notary public

escribir write
escritorio m. desk

bone
espiche m. dart esposa /. wife

escritura

/. writing, Scripture, deed, contract; ser de be a matter of contract

-a exquisite esquitarse take revenge esquivo, -a severe establecer enact, establish, deesquisito,

cree
nail, hook estadow. state, condition, stage estar be; est6 = estoy pres. ind. ist pers. sing. ; con live with; en understand, be in favor of; para be about to, be fit for; por

estaca/.

escrupuloso
particular

-a

scrupulous,

escuadron m. squadron escuchar hear, listen,

to

listen

escudo m. escudo

(a

coin of

gold or silver), shield

be

inclined

to;

se

be,

escupir spit upon, show con-

tempt

for

escusado, -a superfluous, unnecessary escusar excuse, avoid ese, -a adj. that ese, -a, eso pron. that
esforzar exert esotro = ese otro

stand, stay, remain estatua /. statue estatura/. stature

este, -a, -as, -os adj. this

este, -a, esto, -as, -os pron. one, the latter; this, this

con
estera
estilo

esto

herewith; en esto

at this time
/.

mat

espacio: de at one's ease

slow, slowly,

espada /. sword, ace of spades or any card in the suit of

spades espantar
frighten;

m. style se respect estimar esteem; each other estomago m. stomach

estopa/. tow estorbar hinder, annoy, be in the way, prevent

se

be

surprised

VOCABULARY
-a = este otro this other (one) estraflo, -a strange estremeflo, -a Extremaduran estrenarse begin, initiate, use for the first time estudiante m. student estudiantino, -a of a student estudiar study estudio m. study, college, uniestotro,
versity.

203

fachenda m. busybody fadrina /. servant, maid f alda /. skirt

falso,

-a

false,

treacherous,

insincere
falta/. lack, want, fault, short-

coming, absence; hacer need, lack, be in want f altar be lacking, be the matter,
die, need,

break,
of,

give way,

be in want
faltriquera
fallar

be consumed

eterno, -a eternal

exception /. exception exceso m. excess, absurdity exclamation /. outcry excusar shun, dispense with, avoid exemplo m. story, example
experiencia /. experience, trial expirar expire exquisito, -a exquisite extender(se) be extended, increase, be spread

/. pocket trump, win a trick fama /. fame, reputation famoso, -a wonderful, famous,

superb, splendid
f arsa

/.

farce

fatiga /. fatigue

favorecer favor favorite m. favorite;

suit in cards,
is trumps, double stakes favorite, -a favorite

special

which, played

when
with

extorsion/. extortion; hacer plunder, strip extranar wonder at

extrafio,

fe/. faith, honor; a

feo,

in truth

-a ugly

-a

strange,

queer,

wonderful
extraordinario,

feroz fierce, cruel fiambre m. cold meat

-a

extraordi-

nary extremado, -a extreme, excellent

fiambre long-standing, cold fiambrera /. a small basket full

of cold meat fianza /. guarantee, security fiar trust; de trust in
fiero,

extreme m. extreme, violent con grandes s action; very ostentatiously; en exextremely; en todo
tremely

-a

fierce, terrible,

sharp

fiesta /.

party, festival, celebration, fun; vaya de go

and be merry
figure, face, form, /. shape, character, actor; alzar cast a horoscope filimoquia /. servant

figura

fabrica

/.

structure, fabric

fabula /. fable faction /. feature

filosofia /. philosophy fin m. end, object, purpose;

al

204

VOCABULARY
at last, finally, after
all;

frio,

-a cold
/.

dar

a end; en

finally,

fritada
fish

dish of fried

meat

or

in short, after all

finalmente finally fineza /. purity, beauty, kindness, polite attention

fingido,
tious,

frito

m. dish of fried meat or

fish

-a feigned, false, make-believe

/.

ficti-

fruncido, -a frowning, cross fruta /. fruit

1 fuego m. fire; j plague take en ! plague take j fuente /. dish, platter fuera outside, out; de be! !

fingir pretend, feign,

sham
constancy

firmeza
fisgar

stability,

fisga /. jeer

mock
/.

yond, apart, from, outside

of,

fisonomia
flaco,

physiognomy,

fea;

disinclined to

tures, aspect

fuera! interj. out, out with, off

-a lean
/.

flaqueza

emaciation, feeble-

ness, faintness, weakness flato m. flatulency, wind

with fuero m. privilege, statute, law fuerte vigorous, mighty, terrible, grave, strong,

powerful
force,
resistis

flauto m. flute

fuerza
ance;
sary;

/.

necessity,

phlegm, mucus flematico, -a phlegmatic flemoso, -a mucous, phlegmatic flor/. flower, trick; pascua de

flema

/.

strength,

violence,

es must,

necesof;

de by dint

es Easter, Resurrection

a de drecho rightly fundar found, raise, form funesto, -a dismal, sinister,

fatal

forma /. form, shape format form, compose;

be formed, be
fortaleza
/.

se

furioso,

-a furious,

mad

made

fortuna

/.

fortitude, valor fortune, good luck

forzar force, compel forzoso, -a necessary, violent,

gaitero m. bagpipe player galan gallant, actor of a lover's

grave fosada /. grave Francia /. France Francisca Frances Francisco, -a Franciscan franco, -a sincere

part galano, -a dressed

lively,

splendidly

galas

/. pi. dress,

show

Galeno Galen
galera
gallina
/.

galley

franqueza /. generosity Frazca Fanny

fregona
/.

gallego,

-a Galician
hen, chicken

/.

kitchen wench

freir fry fresco, -a fresh, recent,

gallo m. cock, rooster; otro les cantase that would be a

different story

prompt

VOCABULARY
gana
/.

205

willingness,

desire,

willappetite; de buena ingly, gladly ganapan m. porter ganar win, earn, obtain, con-

gordo, -a fat, great gorra /. cap, sponge, parasite; vivir de live at another's

mano

por la quer, beat, get; the anticipate, get se be earned better of;
kin

ganso m. goose, country bumpgaratusa

/.

expense gorro m. cap gorr6n m. sponge, parasite gota /. drop gozo m. joy gracia/. charm, beauty, courteousness, grace, joke, witticism; s thanks; j que how !

caress,

trick

in

fencing garraf a /. carafe

garrafilla /. little carafe

funny

gracioso m. clown
gracioso, -a droll,

garrote m. club garzon m. sweetheart, youth gaspirria /. servant gastar spend, squander, waste, have, wear, digest, serve; se be spent, eat s on all fours gata /. tabby; a

funny graduado m. graduate

graduar graduate gramatica /. grammar gramatico m. grammarian granada/. pomegranate Gran Bret ana /. Great Britain

grande great, grand, grandee,

terrible, fine,

-a kitten al gato m. cat; llevar el agua undertake a bad job gavilan m. sparrow hawk
gatito,

large,

tall

grandeza/. greatness, grandeeship

general general genero m. kind

grandisimo, -a very great grander m. size, magnitude

grave serious
gritar call out, shout, exclaim, talk loud
grito

gente

/.

people

gentil fine, nice, elegant, pretty

gentilhombre m. fine fellow, my good man gesto m. face, grimace, gesture; make a face hacer un
Gil Gil, Giles

m.

cry, shout, s loudly

scream;

grulla /. crane

gineta

/.:

a la

with short

stirrups
gloria /. delight, pleasure

glosa

/.

a verse ending in a

fixed refrain

gobernador m. governor
gobierno m. management,
rection
di-

golpe m. blow, stroke, knock

gualdrapa /. housing guante .w. glove guapo, -a pretty, gay guarda /. guard guardar keep, preserve, guard, take care of, put away guerra/. war - huela giiela gu'eso = hueso guesped = huesped giievo = huevo

206

VOCABULARY
suyas be up to one's
fait a

guia m., f. guide, driver guisarse be cooked, cook guitarra /. guitar gurguz m. (probably gorguz)
dart, darting pain gustar please, like, want;

tricks;

need, lack;

ore-

jas de mercader pretend not to hear; santos perform

se be made, good works; do, do with oneself, become,

de

like

gusto m. pleasure, taste, love gustoso, -a dainty, tasty, contented,

happy

H
Jha interj. ha! Habana/. Havana tobacco haber have; habemos, pres. ind. ist pers.; huvo past absolute ^d sing, impers.; hay
I

be done, have, take, pretend, become of; hecho una sopa dagua wet as sop hacia toward hacienda /. estate, fortune, wealth

hacha

/.

torch

halda/. skirt hallado, -a found;

bien
se be

welcome
hallar find, meet;

there

is,

there

are,

etc.;

de must, can, be going to; que bien haya blessings

to,

be

hambre hungry hambre /. hunger;

be hungry

must; upon;

canina inordinate hunger; tener

mal haya plague take; ha it is, since, ago; se act

habilidad
clever
/.

cleverness,

skill,

cunning, art;

tener

be

hambriento, -a hungry hanega/. bushel (55^ liters) hartar stuff harto, -a satiated, full, enough,
too harto

much
enough,
very

habito m. dress, clothes habla /. speech, voice; echar el get in a word; perder el be speechless, lose one's
voice; sin speechless hablador, -a talker

much,

quite, too

much

habladuria

/.

impertinent talk

hablar(se) talk, speak, say; - de vicio be an habitual

chatterer;

hasta prep, until, up to, as far as, about; que conj. until hasta adv. even hebra /. thread hecho m. deed, doing hecho, -a perfect, like, turned - y drecho perfect, into;
-

habra

pres. ind.

really

and truly

3d pers. sing. hacer do, do with, make, act, perform, practice, commit,
have, get, get a thing done,
play, give, cause, beget, pre-

heder

(a) smell of

helado, -a cold, iced

hace imper. 2d pi.; tend; de las impers. it is, etc.;

heredad /. arable field, farm heredar inherit a heir heredero, hereje m. heretic; cara de
hideous or repulsive aspect

VOCABULARY
/. wound wound hermana /. sister hermano m. brother

207

herida
herir

praiseworthy, exact, honest honrar honor hora /. hour, time; a aquestas

able,
fair

hermoso, -a beautiful, /. beauty herrero m. blacksmith

hermosura

hespanol = espanol hete see, behold hidalgo m. nobleman higado m. liver, heart -- breval nig u era /. fig tree;
early fig tree hija/. daughter, child, girl s children hijo m. son, child; hilo m. thread, yarn

this time; en buen and good, in the name of heaven; en buena well and good, blessed be
s

by

well

horca/. gallows horchata /. horchata (drink made of melon or pumpkin seeds or almonds) hornero, -a baker hor6scopo m. horoscope

hoy to-day, now hoyo m. grave

hipocondria
historia
/.

/.

hypochondria

history, tale, story

hocico m. snout, nose

huerte = fuerte huerto m. kitchen orchard

garden,

hogaza

/.

large loaf of bread

jhola! hello! hole m. hole (an dance and dance holgar rejoice, be rejoice, be glad,
self

Andalusian
song)
glad;

se

huesa/. grave hueso m. bone huesped m. guest huespeda /. hostess huevo m. egg
huir
I
flee,

amuse one-

escape;

ando huido
justice

hombre m. man; ombre (a game of cards); --de bien honest man, good man;
j

am a fugitive from hum an o, -a human

humilde humble humo m. smoke;

ida del

de Dios man alive hacerse de play single-handed hombro m. shoulder homicida m.,f. murderer honestidad /. modesty honesto, -a modest, respectable, handsome, honest honor m. honor honorhonor em (Latin) ad
!
! :

vanish like smoke humor m. humor, disposition,

mood
hundirse
sink, fall, be submerged, be battered down hurtar steal, rob; j que lindo what fine stealing! a steal from hurto m. theft, robbery
!

ary honra/. honor, respect;

visto

me he
ida /. departure; del vanish like smoke

en

have seen better

days honrado, -a respectable, honor-

humo

208
iglesia /.

VOCABULARY
church
indicio m. indication

ignorancia /. ignorance, stupidity ignorante ignorant, stupid; es s one of the ignorant de ignorar not to know, be ignorant of
igual

Indio, -a American, simpleton indispuesto, -a indisposed, sick inedito, -a inedited

infame
vile

infamous,
/.

despicable,

infamia

infamy

equal,

conmigo

similar, like me

like;

inferirse infer, conclude, guess infierno m. hell; s hell, in-

igualarse equal

fernal regions

imaginacion /. imagination, fancy imaginar imagine, fancy, suppose,

sider,

think,

believe,

con-

bear in mind;

--en

think of imitacidn /. imitation

informar inform informe shapeless, formless infuso, -a inspired ingenio m. temperament, mind ingenioso, -a ingenious ingrato, -a ungrateful inocente innocent
inquietar disturb, trouble inquisici6n /. .inquisition instancia /. instance, impulse instante m. instant, moment;
al immediately instrumento m. instrument, agent interes m. interest interesado, -a interested, concerned

impertinente impertinent importancia /. importance importante important importar (impers.) matter, concern, be important

importune, -a troublesome, exasperating, disturbing imposible impossible imprimir print

imprudente indiscreet impulse m. impulse (probably a

comic distortion of pulso pulse)
inaudito,

inter in while, until interlocutor, -a interlocutor

-a unheard

of,

ex-

traordinary
incitar incite

introducirse be introduced inventar invent; se be in-

vented
/.

inclemencia

inclemency,

ir

severity inclinarse be inclined, be favor-

ably disposed, ence

bow

a be going to, be about to; a peor a menos diminish;

get worse; ahf
I

go, be, come, fare, keep; pres. ind. 3d pers. pi.;

van

incomodar put out, inconveniIndiano, -a a person from the West Indies or Spanish

van there

are;

c6mo le va? how are you? vamos come now, well; vaya come now, indeed, here
goes,

America
Indias/.
ish
pi.

take;

vaya

si

hay

West

Indies, Span-

America

should say there is; se go, go away, go off, slip away;

VOCABULARY
id vos

209

conmigo

listen to

me;

junto, -a joined, together

vase, vanse exit, exeunt ira/. anger, wrath, violence Italia /. Italy
itinerario

m.

itinerary,

fixed

course
izquierdo, -a left

a prep, near junto adv. near; Jupiter Jupiter -a swearing, who jurador, swears jurar swear
justamente exactly, just
justicia m. constable justicia /. justice, authorities

justo,

-a

just, right

jacara /: jdcara (a song and dance) jalapa /. jalap (a medicinal

plant)

juzgar judge, think

jamas never jamon m. ham Japdn m. Japan

jarro m. jug

la art. f. the;

dent. pron.

the

one, that;

que that which,

pron. dat. ace.

what;
it,

pers.

her, pi.

them
to

jaula/. cage; pieza de las aviary Jesus Jesus

labio m. lip

labor

/.

work; manos a

work
labrador, -a peasant lacayo m. lackey lado m. side ladrar bark

jigote m. hash jocoserio, -a jocoserious, serio-

comic Jornada/, journey, occasion joya /. jewel

Juana

/.

Jane, Joan

ladron m. thief ladronazo m. master thief

juego m. play, gambling, game, feast, card playing santo jueves m. Thursday;

ULgrima/. tear

lamer

lick

Maundy Thursday
juez m. judge jugada /. play a play; jugar play; mano be busy with

lana /. wool lance m. occurrence,

cal

oppor.de

tunity, accident, event, criti-

time,
for the
/.

de
one's
largo,

predicament; emergency

lanceta

lancet

hands
juicio

m. sense, common sense, reason, mind, judgment; me lleva sin you drive me without one's crazy; sin senses
Julius

-a long, large, tiresome, boresome; pi. many las art. f. pi. the; que dent, and rel. pron. those who, the ones who, the ones which
lastima /. pity latin m. Latin latino, -a Latin

Julio
j

urn en to m. ass

210
lavandera
/.

VOCABULARY
washerwoman
Undo,
lirico,
it,

-a

pretty,

wonderful,

lavarse wash lazo in. bond

le pron., dat., ace.

lovely, fine, perfect

-a

lyric

you, him,

her
lealtad
/. loyalty leche /. milk lecho m. bed

m. dormouse literario, -a literary

liron

liviandad/. frivolity, folly

liviano, -a frivolous lo art. neut. the;

que dem.
that

lechuga /. lettuce legua /. league leido, -a well-read

lejos far, afar

and

rel.

pron.

what,

which, that;
as I believe
lo pers. pron.
it,

que creo

him

-a crazy lengua /. tongue,

lelo,

language, speech lenguaje m. language, manner of speaking lefia/. wood, firewood leones, -a Leonese
les pron., dat., ace. them letra /. letter, inscription;
letters, learning

prologue of a play lobo m. wolf loco m. madman, fool

loa
/.

loco,

-a

foolish,

mad, crazy,

silly

lomo m.
los
art.

loin

dem.
s

pron. those who, the ones who, the ones

rel.

m. and

pi.

the;

que

which
los pers. pron.

letrado m. lawyer

them

levantar

raise, set up; get up, stand up, rise

lift,

se

luego then, soon, at once, im-- que as soon mediately;

as lugar m. place, village, time; en de instead of

ley /. law, religion

libertad/. liberty, freedom

libra /. pound librar preserve, escape libre innocent, free, at liberty, loose libro m.

lumbre

/.

light, fire

lunar m. mole, patch luz /. light, candle

book
LI
llaga /.

licencia /. permission
lidiar fight

liebre/. hare lienzo m. handkerchief

wound, sorrow

limosna

alms, charity limosnero, -a charitable limpiar clean, wipe

/.

llama/, flame llamar call, summon, knock; se be named, be called

llaneza/. plainness, unassuming mode of life; con plainly
llano,
ble,

-a clean, pure limpisimo, -a most cleanly linaje m. kin, family lindamente prettily, nicely
limpio,

-a
/.

flat,

plain, intelligi-

evident

llave

key

VOCABULARY
llavecita /. little
llegar

211

key

mala/, deuce of spades, manille

near, get come, get to, last, bring; a come up to, equal, come to, se approach, happen to;

approach,

maldad /. wickedness,
trick

mischief,

maldito, -a cursed, wretched,

damned, wicked
malicia
ness
/.

approach, get near, come; se a come up. to, equal; lleguis pres. subj. 2d pers. pL lleno, -a full, filled, covered llevar take, take off, take away,
bear, carry, keep, yield, have, raise, endure, exact; - advertido take warning, take notice; me lleva perdido you drive me crazy; me lleva sin juicio you drive me crazy; se take away,

malice, mischievous-

malilla/. manille, malilla

malillita/. malilla

malmirado,

-a

discourteous,

inconsiderate

malo, -a bad, poor, evil, wretched, wicked, terrible, s aflos plague sick, dull; j take it the deuce sin decir bueno ni without saying a word
!
! !

carry
lloroso,

off,

remove
weep
tearful, sorrowful

malo

interj.
!

bad

so

much

the

llorar cry, cry about,

-a

worse maltratar mistreat, abuse mamar suck

M
macilento, -a emaciated

mancar lack, fail mancebo m. young man, boy

mancilla
/.

spot, blemish, disdefective, imperfect

madama /. madam,
madejilla
/.

lady, small skein

Judy

grace

manco, -a

madrasta/. stepmother madre /. mother

madrugar rise early maese m. master magno, -a great

magro, -a lean

manchar stain mandadero messenger mandado m. errand mandar command, order,

join,

en-

ordain,
/.

want,

offer,

promise, send

Mahoma Mohammed maja /. low woman of Madrid

majadero m. gawk, old
fool

manera

way, kind, manner,

figure, style;

de

que

in

bore,

such a way that, so that; desa in that case

purse mania, madness manifestar give evidence man jar m. *food; bianco breast of fowl mixed with
/. sleeve,

majo gay, coarse, low mal m. malady, illness, harm,

misfortune, wrong, sorpain; haya cursed lo menos the least be; del of a bad thing mal badly, hardly, poorly, ill
evil,

manga
mania

/.

row,

sugar, milk,

and

rice flour
first

mano

/.

hand, paw, claw,

212
player at cards;
to work; a dos
s

VOCABULARY
a labor
s with

two

a las

hands, readily, two-handed; s according to our

heart's

hand
tenga

desire; in hand;

de las Dios

me

more, besides; -- de more than; que more than, rather than; lo de the greater part of, most of; no nothing more; por

de

su

may God

be me; jugar de busy with one's hands manolo, -a common person of

restrain

que however much masara/. servant matapecado m. stuffed whip matar kill, appease; se commit suicide
materia /. matter, point, pus matrimonio m. matrimony,

Madrid manso, -a tame, quiet manteca /. butter; la boca se me hace una it makes my

maula

marriage, married couple /. cunning, imposition,

trick

mouth water mantel m. tablecloth mantenerse be maintained, be

fed

mayor

greater,

larger,

more
an

important,

greatest

maza/. pole
animal

or block tied to

manto m. cloak, veil manual m. manual

mafia
/.

me
cunning,

pron., dat., ace.

me, myself

cleverness,

evil habit;

darse mejor -

manage
mafiana
/.

better

medico m. doctor medida /. measure medio m. half,

middle,
los
s

morning manana to-morrow maravedi m. maravedi

midst;
I

measure, yo pondre

will

provide the

(a coin

means
medio, -a half; poner tierra set off por mediodia m. noon medir measure

worth about -fa of a real) maravilla /. wonder, miracle;

cenar -^s fare sumptuously

marco m. frame, case marchar(se) go, go away

marfrodio m. a kind of bird

medrar thrive, get along mejor better, best

melancolia/. melancholy, black bile, jaundice melancolico, -a melancholy melon m. melon, cantaloupe

Marfa Mary
maridaje m. union, connection marido m. husband Marruecos m. Morocco
martillada
/.

stroke

of

memoria

hammer
Martin Martin
martirizar
torture

make

at

martyr

of,

/. memory, mind mendicante mendicant menester m. need; haber be necessary need; ser

mas but mas more,

mengua /. disgrace, discredit menguado m. imbecile

most, rather, any

menguado, -a

foolish

VOCABULARY
menos
a
lo

213

adj.

less,

least,

lower;

metrico, -a metrical

at least
adv. less, least;

menos
less
ir

de

mezquino m. miser, pauper mezquino, -a miserly, wretched

than; que less than; diminish; por lo

at least

mi adj. my mi pron. me, myself miedo m. fear; dar

frighten;

menosprecio m. contempt mensajero m. messenger mentecato m. blockhead, fool mentecato, -a foolish, silly,
stupid

mentir

lie

mentira/. lie mentiroso, -a deceptive menudo adv.: a often mercader m. merchant; hacer orejas de pretend not to hear = merce /. grace; vuesa usted your honor, your worship

a frighten; tener poner be afraid miel /. honey mientras while mil thousand milagro m. miracle milagroso, -a marvelous, admirable
milla/. mile

mina /. mine mio my, mine,

mirar

of me, of

mine

look out, take care, look at, watch, heed, note, search, take notice,
see, look,

consider, mind;

mira imper.

merced

vuesa usted your honor, your

/.

grace, favor;

sd

pers. pi.
/.

misa

mass

worship

Mercurio Mercury merecer merit, deserve merendar take luncheon, eat merienda /. luncheon

miserable m. miser mismo, -a self, same, own, very misterio m. mystery, mysteris secret worous thing; ship of a false divinity; el

mes m. month mesa /. table

mesmo, -a same mesura /. moderation
mesurado, -a
serious
careful,

de
mitad
modest,

los
half

frequenter

of

witches' sabbaths
/'.

mochacha /. girl, child moda/. fashion, style; a

according to fashion

la

meter put, put

in,

in, make, bring introduce, plunge, eat; bulla raise a racket; lo

moderno, -a modern modo m. manner, way,

sort,

style,

a voces make up
shouting;
dle, interfere,

for it with
in,

se get

med-

kind; dese modo in that case, according to that; de que so that; ten buen
q's

become, come metodo m. method (probably a

comic distortion
of

mind your p's and mohina /. ill-humor

medula

marrow)

mohino, -a peevish, sulky, sad, mournful

214
mojado, -a wet mojicdn m. blow,
bing

VOCABULARY
mozo, -a young
slap,

drub-

muchacha /. girl muchacho m. boy

muchacho, -a boyish, girlish muchisimo, -a very much, very
great

mojiganga /. morris dance moler grind, cause to grind molino m. mill momento m. moment, instant; in a moment, at once al mona /. monkey, mimic monacillo m. acolyte

mucho, -a much,

great;

pi.

many mucho adv. much,

cessively,

greatly, ex-

mondar hull Mondonedo

(in Galicia)

mu danza
m.

very /., change,

dance

Mondonedo

figure

moneda/. money
moneria
/.

grimace

mudar(se) change mudo, -a dumb muerte /. death; estar a

la

monja

/.

nun

puppet, doll; danza Punch and Judy outfit de montanes, -a mountaineer, inhabitant of the mountains monte m. mountain, forest,

mono m.

be at death's door muertecino, -a dead muerto m. dead person, corpse muerto, -a dead, killed, worn out mues'o = nueso = nuestro

wooded hill montera /. cap morada /. abode morder bite

morfrodio m. a kind of food morillo, -a little Moor se die, be dying morir die; moro, -a Moor mortaja /. shroud mortal deadly, fatal, mortal mortificado, -a embarrassed,

muestra

/.

sample
j

mujer

/.

woman

wife; alive!

de Dios!

mula /. mule muladar m. dungheap, anything dirty

mos = nos
moscorra /. servant mostrar show, point
cate
to,

annoyed

mundillo m. little world mundo m. world, earth; correr travel much; en mucho todo el everywhere; todo el everybody, everything musculo m. muscle musico, -a musician

muy
indi-

very, rather, very

much

motejar nickname, call mover move, stir, excite, impel;

las plantas bestir oneself,

N
nacer be born,
arise

spring

from,

walk;

se move,

stir

nada

adv.

nothing,

by
all

no

moza /. girl mozo m. boy

means, not, not at

VOCABULARY
nada pron. nothing, anything nadie no one, any one
nariz
/.

215

nos pron.,

nose, nostril;

ponerse
it

en

las

nances put

into

dat., ace. us nosotros, -as we, us noticia/. news notorio, -a notorious

one's head

natural m. native naturaleza /. nature, tempera-

ment
navaja /. knife, razor navidad /. Christmas

necedad

/.

foolishness,

folly,

news, something /. new, novelty, accident, calamity novela /. story novia /. bride, betrothed novio m. bridegroom nube/. cloud; poner sobre las
s praise sky-high

novedad

stupidity

necesidad

need, case of necessity negar deny, refuse

/.

necessity,

nuesamo - nuestro amo master

negocio m. affair negro, -a black, wretched, unlucky ni neither, nor, not even, not, or nieto m. grandson

nueso, -a = nuestro, -a nuestro, -a our nueve nine; dar con los ochos s make a scene y

ninguno, -a adj., pron. none, not any, any one, no one, no

nifia /. child, girl

nuevo, -a new, fresh, novel, inexperienced, modern; de anew, recently; que ? what is the news? hay de

nino m. child, boy; dren

chil-

what is up? nuez /. walnut

numero m. number
nunca never

no not, no, nay; de

no; que not, except, unno; si less, otherwise

O
o interj. oh o (Galician) art. the o conj. either, or; o .
... or

noble noble, eminent, worthy, honorable

noche nas

/..

night, evening; s good night

bue-

o either

nogal m. walnut tree

nombrado, -a famous, renowned, notorious nombrar name, appoint nombre m. name, word, noun; mal nickname non no, not noramala id or andad be:

obligation /. obligation, duty. obligar force, compel, oblige

obra

/.

work, deed, job;

prima new work; buena hacer kindness, charity;

mala
work

harm, annoy; poner por

disturb, set to

gone, go to the deuce noramaza in an evil hour; sea in the name of mischief

obrar work
obscuro, -a dark; the dark

as in

2l6
obstante
ing ocasion
:

VOCABULARY
no
/.

notwithstandoccasion,
cause,

ordinario, -a ordinary oreja /. ear; hacer

de
to

mercader
hear

pretend

not

time, opportunity
ocioso, -a unused, superfluous
oculto, -a secret

concealed,

hidden,

organista m., f. organist origen m. origin

original original

ocupacion /. business ocuparse be busy, be occupied ochavado, -a octagonal ochavo m. a small brass coin,

oro m. gold, money os pron., dat., ace. you, yourself otero m. hill

otorgar consent, give, execute,

otro,

anything octagonal ocho eight; dar con los s y nueves make a scene ochocientos, -as eight hundred
oficina /. office,
oficio

convey -a adj. pron. other, other

besides; s t ant os

one,

another, another one, - dia next day;

-

workshop

as

many
one

more;

m. trade, work, service,

unos
oveja
ovillo

job, profession, business ofrecerse occur, present itself

a s each other
/.

another,

ewe

oh oh
oido m. ear, hearing
oil
listen hear, listen, oiga(n) listen, see here oislo see here oislo m. wife
to;

m. ball

pacer feed, pasture, graze

paciencia /. patience pacienta /. afflicted one padre m. father

would that ojo m. eye

ojala

ola hello olear administer extreme unction

padrino m. godfather, sponsor

pagar pay, pay paja /. straw;

for,

reward de balago

oler smell, get wind of; smell of, get wind of

olivar
olla /.

m. olive grove
olla

olvidar forget
(boiled

meat and

vegetables)

long straws pajar m. straw loft paje m. page, boy palabra /. word, promise, talk palacio m. palace palanca /. pole

once eleven ora now; bien well,

palmada
all

/.

slap

right

orden m.,

ment

f. order, arrangeof chords in a musical

instrument, string; en attend to ordenar order, ordain

dar -

palo m. stick, blow, drubbing; s give a beating dar de palpitar palpitate, beat, quiver pan m. wheat, bread, loaf, food;

perdido bad penny panarra m. simpleton, dolt

"

"

VOCABULARY
panderete m. trick
panecillo m. roll
particular
particular,

217
special,

private

Pantasilea Penthesilea
pantorilla /. calf of leg, leg s clothes paflo m. cloth;

partida/. departure
partir go, divide, share, depart;

se go
parto

off

panuelo m. handkerchief papel m. paper par m. peer, couple, pair

para prep,
for, to, in

m.

birth,

parturition,

order to,

on the point of, fit for; que conj. so that, in order that; i que? why, for what be about purpose? estar to, in a state to; no hay que there is no reason en end parar stop, end; with, come to; venir a end pardiez by Jove
pardo, -a gray, brown pareado, -a in couplets parecer appear, seem, resemi que le parece? what do you think? se appear, se a reseem, be seen; semble perecido, -a like, resembling
ble;

product parva /. unthreshed corn pasa /. raisin pasar pass, go, carry, conduct, happen; pasa imper. 2d pers. de pass beyond, pi.; mis alia de exceed; pass beyond, surpass, exceed; se pass, go pasatiempo m. amusement church pascua /. festival, Christmas, Easter; cara de
smiling face

pasearse walk about pasmarse be amazed paso m. step, farce, incident,

critical

situation, crisis
al

paso

softly, gently;

in-

stantly,

on the way;
in a hurry

mas

que de

pared

/.

wall

pastilla/. cake pata/. paw, foot

pareja /. mate parescer = parecer: parescia intperf. ind. jd pers. sing. pariente m. relative parificar exemplify parroquia/. parish parte /. part, party (adversary
at

patarata /. idle story, nonsense,

affectation

patrana
tion

/.

nonsense, imagina-

pausa /. stop pava /. turkey hen; pelar

flirt

la

law),

share,

side,

place;

a otra

elsewhere; a todas

s in every direction; de unos dias a esta within the last few days; en otra s elsewhere; en todas everywhere

paz/. peace; tener peace with pecado m. sin

pecador, -a wretched; J that I am!
sinful,

en make

wicked,

de ml! sinner

partera/. midwife

pecar sin pece m. fish

218

VOCABULARY
perdonar pardon, forgive
perla/. pearl pernada /. pear preserve pero but, however muerto perro m. dog; dar disappoint or deceive a person
s people, persona /. person; dramatis personae personaje m. personage

pecho m. breast, heart, bosom s pedazo m. piece, bit; hacer break pedir ask, ask for, beg pegajoso, -a sticky, clammy
pegar beat,
better of
strike, slap, get the

pelado, -a penniless, insignifi-

cant
pelar pluck, fleece, skin;
la

pava
peleona

flirt

/.

quarrel

peligro m. danger
peligroso, -a dangerous

persuadir persuade perverse, -a wicked pesado, -a heavy

pesadumbre

/.

sorrow, trouble
grief,

pelo m. hair, thread

pelon m. baldpate, simpleton, skinflint, needy person

pellejo m. hide, skin

pesar m. sorrow, trouble, concern

pena

/.

ety, torture, fine, llevar worry

sorrow, trouble, anxipenalty;

pesar grieve, repent; j pese a tal! deuce take it! pescado m. fish de pescador m. fisherman;
cafia angler

penetrar penetrate pensamiento m. thought, mind, resolution, purpose pensar think, mean, intend, plan, imagine, feed Pentecostes m. Pentecost pena/. rock peor arf/.worse, worst peor adv. worse pepian m. a kind of Indian
fricassee

pescar

fish,

catch, fish for, pick

up
pesiar utter curses; | pesie a mi alma! curse my soul! hang
it!

petimetra
fashion

/.

young

lady

of
of

petimetre fashion

m.

young man

petimetre, -a affectedly attired peti-serenata /. little serenade

pepita/. pip
pepitoria /. fricassee

pez m.

fish

pera /. pear perada/. pear preserve perder lose, spoil; echar a echar se a - - spoil, ruin; make a mess of
perdido, -a beside oneself; me lleva you drive me crazy

piache: (dialectical) tarde it peeps too late

piar peep
pic ante piercing,

sharp

picafla/. hussy

picar jabber
picarillo,

-a

little

rogue

picaro m. rogue, rascal

picaro,
less,

perdon m. pardon, indulgence; con with your leave

-a

rascally, sly,

shame-

base, vile

VOCABULARY
picaron m. rogue, rascal pico m. beak, tongue, mouth, chatterbox; hacer el pay
for one's

219

power

for; posso pres. ind. ist pers. sing.

board
last

pie

m.

foot,

cards;

en

player standing

at

piedra /. stone de las jaulas pieza/. room; aviary pinon m. pine kernel pitanza /. pittance
pito

es by poder m. power; por proxy poderoso, -a powerful poesia /. poetry poeta m. poet polvo m. dust, pinch of snuff polio m. chicken

poner place, place before, put,

put on,
set,
instil,

set before,

fix,

m. whistle placer m. pleasure, amusement

3d pers. sing. placetilla /. little square

make,

arrange,

pro-

vide, bear, defray;

mala

placer please; plega pres. subj.

plaga /. plague, misery planta /. sole of a foot, foot, s plant, shoot; mover las
bestir oneself,

cara assume a doleful look; miedo a frighten; preito sobre las nubes sue; temor a praise sky-high; se place oneself, frighten; be put, put, put on, adorn
-

walk

oneself,

get,

set

oneself;

plantar plant plata/. silver

plato m. dish, plate, course
fortress, plaza market, /. be square, place; salir a made public; socorrer -

se a begin to; se de rodillas fall to one's knees; pongase todo del quebranto
let

poplejia

everything go to smash /. a comic distortion of

apoplejia apoplexy
poquito,

give help plazuela /. square, place plebeyo, -a plebeian pleito m. lawsuit, case; poner

-a very
of,

little,

very

few
por on account
for,
to,

by, through,
in

for the sake of,

in,

sue

order
of;

pluma/. feather pobre m. poor person, beggar, pauper pobre poor, wretched
poco m. little bit poco, -a not much, little, few, some, not many poco adv. little, a short time; mas o menos little more or less; podra not far from a short time ago it; ha poder be able, may, can, have

because, as, upon, along, across, instead

to,

que why;

si

if,

'in

case

Porcia Portia poro m. pore

porque because, in order that,

so that, for

porqueria/. dirt portacuentos m.

pi.

wallet

of

yarns portal m. porch, entrance

posible possible

220

VOCABULARY
probar prove, try procurador m. lawyer,
itor

posta /. post, stage; por la posthaste postres m. pi. dessert potencia /. power, faculty potranca /. filly precio m. price, cost
precise, -a necessary

solic-

profundo, -a deep, profound,

great

preguntar ask, question = pleito: poner preito premio m. reward

prometer promise, assure propio, -a similar proposito m, purpose; a

sue

prosa

apropos, suitable /. prose, tedious conversation,

prenda
s

/.

pledge, jewel, child; natural gifts, parts,

absurd speech; hacer waste words

talents

presencia /. presence presenter present, offer, show presente m. present; de now, on hand
preso, -a m.,f. prisoner; llevar
arrest

pr6spero, -a prosperous provecho m. profit; buen much good may it do you;

sin
uselessly

provechoso, -a beneficial proverbio m. proverb

provocar provoke, rouse,

incite,

presto quickly, soon

move
allege,

pretender aspire,

try,

prudente careful, wise, prudent,

discreet

pretend, press a claim pretendiente m. pretender preterite m. preterit, past preterite, -a preterit, past pretina /. belt prevenir prepare, arrange, anticipate

puchero
snivel

m. stew;

hacer

puebro
lage

pueblo m. town,

vil-

priesa

prisa

/.

prima

/. treble, the

haste, hurry most slender

puente /. bridge puerco m. pig puerta /. door pues adv. then

string of stringed instruments primerito, -a very first

pues

interj. then, well;

no

why
pues
that;

not

primero, -a

first
first,

conj. for, since, because,

primero adv.

rather;

que since

que

conj. before

primo, -a first rank, excellent; obra a new work primo, -a cousin

principal principal, chief, essential,

puesto m. place, spot, post pulmon m. lung pulsar beat (pulse) pulsista m. practitioner pulso m. pulse; tomar el
.

valuable

feel one's

principio m. beginning, course prisa /. haste; de quickly,

punta

/.

pulse end, extremity, lace;

hurriedly

s y collar earmarks en boca punto m. stitch;

VOCABULARY
silence;
al

221

right

off,

at

once;

en

punada /. punado m. handful, a few - - courapuno m. fist; de

geously purchinela

exactly, sharp s fisticuffs cuff;

quedito softly, gently quedo softly, gently quejarse complain, dispute,

moan
quel = que el quella = que ella

m.

Punchinello,

querer wish,

puppet purgar purge puro, -a pure

like, love, want, care, try, seek, be about to, will, resolve;

bien love;

decir
like;

mean;

mal

dis-

que
el

rel.

whom, anything; dem.

etc.

pron. which, that, who, pron.

se like each other, cherish each other ques = que es = que es? i ques?

he who, the one who, that which que conj. for, that, so that,
than, since, as, because; a that, so that, until; con
so,

quien rel. pron. who, one who, which; quiera any whatever, ordinary, indifferent

quien? pron. who? quienquiera any whatever,

ordinary, indifferent
quieto, -a quiet, calm

provided that,
pron.

if;

de

that

ique?
why;

interrog.

what,

quietud/. quiet, peace, serenity quijada /. jawbone, jaw

something,

how, what a, why; con wherefore; de why, vvhat,

quimera

/.

trick, idea,

scheme

quince fifteen
quinto, -a fifth quistion = cuestion
/.

wherefore,

no hay
reason;

cause; reason, there is no para

quarrel

quitar
steal;

take
al

away,

remove,

para why, for what purpose que adv. where, when quebrantar break; buen corazon quebranta mala ventura
fortune favors the brave

of short dura-

tion, trial;

se withdraw

quito,

-a cleared

quiza perhaps

quebranto m. sorrow, great let loss; pdngase todo del everything go to smash quebrar break, break open; - la cabeza bother; se break quedar(se) remain, be, be left,
stay;

rabano m. radish
rabia
i

/.

rabies,

asi

mala

rage, la

fury;

mate !

quede por mi act

for

plague take her! - de rabiar make furious; hambre be furiously hungry; por long for

myself

rama

/.

branch

222

VOCABULARY
redoma
be apt, be
/. flask

Ram6n Raymond
rana
/. frog;

ser

pat rapar shave rapaza/. girl

rapido, -a rapid, quick raro, -a rare, strange, unusual rasgar tear, rend, cut, open rastra /. dragging along

redondo, -a round refran m. proverb refranero m. collection of proverbs refrescar refresh; sacar de bring in refreshments

rastreado
dance) rastro m.

m.

rastreado
(a

(a

rastro

dance),

slaughterhouse rato m. short space of time, -- a time, mouse; de from time to time
rauta/. way, road; coger la clear out

-a regalado, sumptuous, dainty, squeamish regalar entertain, cheer, favor se feast, eat heartily with; regalo m. gift, dainty regla /. rule regodeo m. joke

rehusar refuse
reina
/. queen Reinaldos Reinaut

reir laugh

raya /. limit, bounds rayo m. thunderbolt, lightning razon /. reason, reasoning,

right,

relatar

tell

relente m. slowness
reliquia /. remains
reloj m. clock rematar end remediarse be cured remedio m. remedy, help; sin I can't help it, there is no way out of it remostado, -a musty

real

word, talk m. real (Spanish coin),

camp
recado

m.
/.

message,

errand,
jewel

testimonial

recamara
recato

baggage,

casket, trick

m. bashfulness, prudence, propriety, care, cunning recelo m. misgiving, apprehension, fear

rendir

surrender,

give

up,

overcome
renegar
abhor,

denounce,

curse, renege, revoke

renuevo m. shoot, sprout

refiir

recenar sup again

receta /. prescription, recipe recetar prescribe
recibir receive, accept recio loudly

fight,

scold,

reproach,

quarrel, quarrel over reparar notice, consider, stop,

give heed, give warning; en notice; se forbear, refrain

reciproco, -a reciprocal

recogerse betake oneself, take

shelter

repartir(se) divide, scatter repelon m. hair pulling

recogimiento m. seclusion, reserve

repente: de provised

suddenly, im-

VOCABULARY
reperdonar pardon again repetir repeat, claim
repicar jabber and jabber reportarse forbear, calm down

223

rocin m. nag, hack rodar roll, turn; echar a upset, knock over rodear surround, go round

representar play, perform reptar challenge requebrajo m. ravine, crack, modern resquebrajo cliff; requedito very gently -a inflamed, requemado, brown-colored
reservado, -a confidential, secret

about
rodilla /. knee;

ing; ponerse one's knees

de de

s kneel-

s fall to

rogar ask, beg rollizo, -a robust rollo m. column

Roma /. Rome
romance m. ballad romancero m. collection
ballads
of

resolver resolve, determine; se resolve, be resolved respeto m. respect, regard, consideration

romancista

adj. ballad singing

romper break, pound

to pieces

respingo m. kick responder answer, respond respuesta /. reply, answer resto m. rest; echar el stake
all

resultar result, follow retablo m. picture,

canvas,

make a long show; hacer enumeration retirado, -a remote, secluded,

solitary retirarse retire,

ropa /. clothes, robe, gown rosca/. roll rostro m. face roto, -a ragged, worn rudeza /. stupidity rueda /. wheel rufian m. pander ruido m. noise, sound
ruin vicious rumor m. rumor, report

withdraw
saber know, learn, find out, be a able, know how, relish; de understand; taste of; se be known sabidor, -a one who is ines informed; hacednos form us sabio m. wise man sabio, -a learned, wise
sacar bring, bring out, take,
take out, stick out, pull out, pluck, discover, obtain,

retroceder draw back reventar burst, die (figurative) revestir be invested with, be

entangled in rey m. king; los

rico,
rich, choice, fine

es Epiphany
valuable,
nice,

-a

riesgo m. danger

-a rigid, rigorous, severe rigor m. vehemence, severity; at most, surely, really en

rigido,

rincon m. corner
rifla/. quarrel robar rob, steal

make

out, infer, save;

el

224
vientre de mal ano better than usual;
pellejo

VOCABULARY
dine
este

sarna

/.

itch

de

mal

ano

dine

sarten /. frying pan sastre m. tailor

satisfacer satisfy

better than usual

saco m. sack, plunder

sacristan m. sacristan, sexton

Saturno Saturn sayuelo m. little frock

se pron., m., /., dot., ace., sing., pl. him, himself, itself, herself, oneself, themselves, you, yourself, each other, one another without seco, -a dried; en

sacudir beat, dust, shake sainete m. farce

sajar scarify
sal m. salt

sala

/. drawing-room salamanqueso, -a Salamancan salir go out, come out, come in, enter, appear, set off, happen, become, succeed, esa plaza be made cape; con succeed; public;

accompaniment
secretaria/. confidant secreto m. secret
secreto, -a secret, circumspect, discreet, confidential
seguidilla
/.

de
off,

leave, get over;

se set

seguidilla

dash

seguir

follow,

pursue,
to,

con-

salmantino, -a Salamancan salsa /. sauce

saltar

tinue, go

on
judging by,

segun according
as

jump

salud /. health saludar salute, greet salva /. tasting; hacer la do the tasting; hacerse la salute one another
salvaje savage, foolish salvar pass over, cross, avoid

segundo, -a second seguridad /. safety, certainty,

confidence seguro, -a secure, safe, sure,
free

from danger
/.

seis six

semana

week;

santa

san (abbrev. of santo) m. saint sanar get well, recover sancto, -a holy sangrador m. bloodletter
sangrar bleed sangre/. blood sangria/. bleeding
sano, -a well, cured, healthy, a cure sound; dar s persanto, -a saint; hacer

Passion

Week

semejante

similar, such sempiterno, -a everlasting

sendos,

senda/. path -as

the the

same

number number

as,

respective

sensible regrettable, sorrowful se sit sentar seat, place;

down,
sentido

sit

form good works santo, -a holy, blessed

sapiente adj. wise, learned sardina /. sardine

sin m. sense; senseless, unconscious

sentimiento m. emotion, regret,

grief

VOCABULARY
sentir feel, hear, perceive, suffer

225

from, regret, see;

se feel

siempre adv. always, ever; que conj. whenever

siete seven

s descripsefia /. sign, mark; s tion, characteristics; con

declaradas clearly indicated

seflal /.

mark, symptom

senalar mark, show, point to,

indicate
sefior

m.
/.

sir,

master,

lord,

m. century, age signo m. sign of the zodiac siguiente following silencio m. silence, quiet Suva /. silva (a meter) silvatillo m. little whistle
siglo
silla/. chair

gentleman
sefiora

madam,

mistress, wife

lady,

seor (contraction of sefior) m. gentleman, lord, sir, Mr. septimo, -a seventh ser be; soy pres. ind. ist pers. de belong to, besing.; come of; si yo fuera que

simple m. simple, clown, idiot simple foolish simplon, -a booby simplonazo m. big booby
sin

prep,

without;

que

conj.

without

vuesa merced

if

were you;

sino only, except, but, otherwise, if you don't think so, but also; no ... sino only,

yo soy it is I ser m. being, value

seriedad
serio,
/.

nothing

but;

que

seriousness

-a serious, sober ser6n m. hamper servilleta /. napkin de servir serve, be useful; serve as; se be pleased, please; i de que sirve ? what
is

only, but, except siquiera at least, even sirvienta /. servant

s leavings sobra /. surplus; sobrar have or be more than

enough
sobre about, as
cerning,
to,

upon, con-

above
la

the use of?

sesenta sixty sesgo, -a motionless, sedate,

quiet

sobrina /. niece socorrer help, relieve; plaza give one help

sofreir
sofrir

seso m. sense
Sevilla/. Seville
si conj.

= sufrir = sufrir

wonder whether, no not, whether, why;

if,

unless otherwise; por

in case
si adv.

if,

soga /. rope soldado m. soldier soledad /. solitude, loneliness soler be accustomed, used to, apt to -a solicitous solo, -a alone, only; alone alone; a
solicito,

yes, indeed, yea, cer-

tainly;
si
si

de

yes;

que

yes

m.

asse.nl,

consent

pron. itself, herself, himself, yourself, themselves

s61o only, just soltarse break loose

226

VOCABULARY
sustancia
/.

/. shade, shadow, resemblance, appearance, fancy s6n m. sound, noise sonar sound, resound, ring, be se be rumored, rumored; be reported

sombra

substance, nutri-

ment
sustentar support, bear sustento m. food susto m. fright, shock; dar
frighten
sutil subtle,

sopa

/.

sop;

hecho una

cunning
his,

dagua wet as sop soplar blow sordo, -a deaf

sortija /. ring

suyo, -a adj.

your;

el

pron. hers, his, yours; hacer de las as be up to one's

tricks

sosegado, -a calm, quiet sosegarse be calmed sosiego m. peace of mind,

ease
sot ana /. cassock, drubbing his, her, its, their

tabahola /. hubbub taberna /. tavern tablado m. stage

tablas drafts
/. pi.

su

backgammon,

subir(se) mount,

go up suceder happen, succeed suceso m. event, occurrence,

rise,

taimado, -a cunning, sly tajada /. slice, fritter

tajadita
fritter
/.

outcome, success -a dirty sudar sweat, toil sudor m. sweat suegro m. father-in-law
sucio,

little

slice,

little

tal

adj., pron. such, such a thing, such a, equal, aforesaid, so and so; para cual

suela/. sole suelo m. ground, earth, floor suelta /. broadside, leaflet

suelto, -a loose, free suefio m. sleep

one as good as another; vez perhaps, occasionally;

el

that person, that, the

aforesaid
tal adv. such, thus, so

suerte

/.

que
so that

sort, fate, luck; de of such a sort that,

talla/. size; de media horse," half baked

talle

"one

m.

figure,

appearance,
little,

sufrir suffer, endure, tolerate,

manner
tamaflito, as that

se be endured, be stand; tolerated

suplicar entreat
suplir overlook, excuse

-a very

little

tamaflo, -a so great, so

little

suspender stop -a in suspense,

suspense,

amazed, surprised
suspirar sigh suspiro m. sigh

tambien also, too, likewise, moreover tampoco neither, not either tan so, so much, such as;
. .
.

como

as ... as

T&ntalo Tantalus

VOCABULARY
tanto, -a
adj., pron. so much, as much, so great, such a great; pi. so many, as many;

227

s as many more otros tanto adv. so, so much; como as much as, all that, as

no tiene de que when you have nothing; Dios me tenga de su mano may God help me; que tienes? what is the matter?
se stop, restrain oneself; terna Jut. jd pers. sing.;
terneis jut.
2<L

cuando

well

as;

cuanto
in the

how
mean-

much;
time
tapa/.
tarasca

en
cover

pers. pi.

lid,

tentacion/. temptation tentar tempt, try, touch, ex-

tapiz m. tapestry

amine,
terciana

feel
/.

ugly woman, fright tardar(se) be delayed, take long, be long tarde late, too late; piache it peeps too late tarde /. afternoon, evening; in the afternoon por la tarea /. work, suffering; ha llevado la mochacha la /.

tertian fever

Terencio Terence termino m. period, ternero, -a veal

terrible terrible
tertulia
/.

limit,

time

soiree,

reception,

guest
tertuliante m. guest

the

girl

tarjeta /.

has paid the penalty card

tesoro m. treasury, thesaurus testamentario, -a testamentary; lo probate matters testamento m. testament, will testigo m. witness Tetudn m. Tetuan (city in

tasa taza

/.

stint

/.

cup

te thee, thyself

teatro m. theater
teglerifo m. probably a comic distortion of tegumento teguti

Morocco)
thee, thyself

tiempo

ment
tela /. fabric, cloth tematico, -a stubborn

m. time, occasion, at length of time; a un the same time; tanto so long

temblar

trertible,

temer
of

fear;

4-se

fear,

beat be afraid

tierno, -a tender, soft tierra /. land, country, earth; en medio set off poner
tieso,

temor m. fear tempestad /. storm templado, -a tuned temprano early

tenedor m. fork
tener have, hold, keep, stop,
arrest,
resist;
-

-a

stiff,

stubborn;

nin-

guna a
can beat
ness

me

gana nobody
for stubborn-

me

- de

+ inf.

tigre m. tiger tinieblas /. pi. darkness, night

tinto,
tifioso,

must, can, have to;

consider;

por
to;

-a red -a scurvy, mean

que have

tio

m. uncle

228

VOCABULARY

tipsana /. infusion, decoction tirar a resemble

m. puppet m. trifle, fussiness tizon m. firebrand tizona /. Tizona (name of the Cid's sword), sword tizonazo m. blow with a firebrand
tftere
titulillo

= tocino trabajo m. work traduccion /. translation traer bring, have, carry, use, wear, cause, keep; trujo past absolute jd pers. sing.; traeme debilitado causes my se be brought weakness;
tozino

tragar swallow, believe, drink,

toca /. cap tocado m. headdress, coiffure tocajado, -a with bandaged

endure
traicion /. treason, treachery traidor m. traitor

head
tocar
play, touch, dress the hair; estar bien tocada have

a fine coiffure m. little bacon tocino m. bacon todo, -a adj. all, every, each; con esto nevertheless
tocinillo

tramposo m. swindler tranca /. bar, pole Transilvania /. Transylvania trapillo m. sweetheart

tras

m. stroke, slam bang!

noise;

tras prep, after, behind

todo, -a pron. all, everything; s everybody, all; y ,

also,

trascender emit a good strong odor, penetrate trasegar decant, pour forth,
retail

too

tohalla /. towel ;toma! interj. there! what! well!

traslucirse conjecture, infer

trasquilar shear tratado m. treatise tratar try, treat;

tomar take,
zd
pers.

eat,

catch,

feel,

toma imper. take that! tomad por estas take that se be taken, be drunk way; tomares m. pi. takings, disputes
drink, overtake;
pi.

de be

resolved, try trato m. manner, trade, friends;

s be polite, be hospitable travieso, -a restless, turbulent

tener buenos

tontazo, -a big idiot

tonto,

-a

fool

tonton, -a idiot

traza/. plan, scheme trecho m. distance

treinta thirty

toque m. point toquera /. milliner torcer divert, turn aside tornar return; a

trSmulo, -a trembling
tres three

+ inf.

tresquilar shear
trigo m. wheat triste sad;

do again, repeat an act toro m. bull torpe slow, awkward, difficult torrezno m. rasher of bacon
tortada
/.

de mi wretched

me
triunfo m.

triumph
contrariwise

large pie

trocada: a la

VOCABULARY
trote m. trotting

229

valentia

trova/. a metrical composition;

boldness, gallantry, blustering, cleverness; tener

entender la
his trick

understand

valer
tit

tu adj. thy tu pron. thou;

for tat

be bold be worth, help, avail, prevail, be good for; vala

pres.
subj.

por

jd

pers.

sing.;

-a crooked, twisted Tunez Tunis (city in Africa)

tuerto,

mas vale make use

it is

better;

se

of

turbar disturb, upset, trouble Sultan Turco, -a Turk; gran tus interj. come, here
tuyo, -a adj. thy; thine
el

valiente valiant, brave, powerful, arrogant, blustering valor m. value

vano,

-a

vain,

idle,

empty,

pron.

useless, foolish

U
ultimo, -a last un, -a indef. art. a, an
unico,

vara/. yard varies, -as pi. various vaso m. glass, vase

vaya
un-

/. scoff, jeer, jest;

dar

-a only, unique, matched lino, -a adj., pron. one, some some, one, any one; pi. several, a few, so many;

jeer

vecino, -a neighbor vedufio m. quality, variety veinte twenty; y cinco tres twenty-five; y

s a otros one another, each s con otros one other; s another, each other; los

some; todo para mi viene a

ser
it is all

twenty-three veintecuatro m. alderman; modern veinticuatro vejamen m. taunt

vejete m. old man vela /. candle velar watch, be wakeful

the

same

to

me
uno, -a one untar grease; - - una diente take the edge off of one's
appetite

urgencia /. need se usar use, make use of; be used, be the fashion uso m. custom, style, fashion uste you usted you

vena/, vein, luck, prosperity veneer conquer, overcome vender sell; se be sold venerable venerable venganza/. revenge, vengeance vengar avenge, revenge venir come, bring, go, result, de inf. be, turn out; have just; bien venido wel-

uva/. grape

V
vaciar empty, divulge

vahear steam

come; vengo aturdido I am se come, come amazed; se abajo fall along; venta /. inn ventaja /. advantage

230
ventana ventosa
/.
/.

VOCABULARY
window
Villadiego
las

cupping glass, cups cup ping; echar ventura /. happiness, luck,

fortune; por perchance; sin wretched, unfortunate venturoso, -a fortunate ver see; via imperf. Zd pers.
sing.;

de

tomar Villadiego; take to one's heels

m. carol' (sung in churches on certain festivals) villano m. peasant

villancico
villano,

-a mean, villainous

veras

/. pi.

ve aqui, ve ahi behold de truth;

vinagre m. vinegar vinillo m. little wine vino m. wine

violencia
/.

violence

really, truly, in earnest verbigracia (Latin) for example

virgen virtud

/. /.

virgin

power, virtue

verbo m. verb verdad /. truth, veracity; en indeed verdaderamente indeed, really verdadero, -a true, real vergonzoso, -a shamefaced,
bashful

visita /. visit, call, caller visitar visit, call on

visperas
vista
/.

/. pi.

vespers

sight, look

viuda /. widow viudo m. widower

vivir(se) live; God lives
!

vive Dios
!

as

vergiienza /. shame, modesty; be ashamed tener verso m. verse, line vestido m. clothes, garb

by God

vivo, -a living, alive

vizcaino, -a Biscayan

Vizcaya

/.

Basque

vez /. time, draught of wine; de una once for all, at dos veces twice; once; muchas veces often; tal perhaps, occasionally via /. road, path, journey

vd. you; de

vianda /. food, meal vicio m. vice; hablar de a confirmed chatterer

vid /. grapevine vida /. life
vidrio m. glass, vidrio m. glass
viejo,

be

pane

of yours vocablo m. word vocabulario m. vocabulary volar fly, hurry, disappear; va volada has gone glimmering volateria /. poultry volcan m. volcano voluntad /. will, desire volver return, come back, go back, give back, recover, a recover consciousness;

+
en

inf.

-a old viento m. wind vientre m. stomach; sacar el - de mal aflo dine better than usual
viernes m. Friday
vigilante vigilant

act;
si

do again, repeat an de recover from; recover one's senses, se

regain consciousness; return, turn, become

vomitar vomit vos you, yourself vosotros, -as you

VOCABULARY
votar vow, swear;
voto a ...

231

by...
voz /. voice, word, shout; a dar voces voces loudly; shout vuelta/. turn, return; dar una take a walk vuesarced your worship vuesarcedes your worships vuesaste you vueso, -a your vuestro, -a adj. your, of yours;
pron.

yo I yos = yo os

zafio,

zahori
zala

-a vulgar, rude m. diviner, treasure

finder

hacer la /. salaam; salaam zambapalo m. zambapalo

dance)

(a

zambra

yours;

el

pron.

yours vulgo m. multitude vusted you

/. a party attended with dancing and music Zamorano, -a Zamoran

zampar devour
zanca
/.

leg,

shank;

ave

crane

zancudas
y and, and yet;
too
todo, also,

/. pi.

wading birds

ya

adv.

now,
-

already,

then,

indeed;

que

conj.

now

that, since, as soon as

zapatero m. shoemaker, cobbler zapato m. shoe zarabanda/. saraband (a dance) zarandajas /. pi. dainties zarzuela /. zarzuela (a dramatic
performance) zorra /. fox zurdo, -a left-handed zurrar beat

yantar dine

yegua /. mare yerno m. son-in-law yerro m. mistake, fault

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