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Don Francisco de Quevedo Drama en Cuatro Actos By: Eulogio Florentino Sanz (1822-1881) |
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DRAMA EN CUATRO ACTOS POR EULOGIO FLORENTINO SANZ EDITED BY R. SELDEN ROSE, PH.D. INSTRUCTOR IN SPANISH IN THE UNIVERSITY OF CALIFORNIA GINN AND COMPANY
BOSTON NEW YORK CHICAGO LONDON
ATLANTA DALLAS COLUMBUS SAN FRANCISCO
COPYRIGHT, 1917, BY R. SELDEN ROSE
ALL RIGHTS RESERVED
=The Athenæum Press=
GINN AND COMPANY PROPRIETORS BOSTON U.S.A.
PREFACE
The features of "Don Francisco de Quevedo" that led to its selection as
a text for the use of students of the second or even first year are its
historical background, its ease and purity of style, and the sustained
interest of the plot. As regards the chief character, Quevedo, he is in
a large measure the embodiment of the whole literary spirit of the first
half of the seventeenth century and at the same time the champion of
political reform. The play is written in Castilian of such simplicity
that it presents almost no syntactical difficulties, and at the same
time embodies a useful vocabulary. The development of the plot, the
struggle between Olivares and Quevedo, is thoroughly logical and is
aided by scenes so intensely dramatic that they hold the interest of the
reader at all times. Some of these scenes, so characteristic of even the
best plays of the Romantic School, to day seem to verge on the
melodramatic. For this reason the student should be reminded that the
heroic thunder of this kind of play was most acceptable to the
theater goers of the middle of the last century. A sense of humor, then,
should temper any critical attitude on the part of those who may be
inclined to take our play's shortcomings or exaggerations too seriously. The fact that Florentino Sanz is comparatively unknown will justify the
detailed Biographical Sketch. The text is a careful reproduction of that of the first edition, Madrid,
1848, except, of course, for frequent corrections in punctuation. Only
the important stage directions have been retained; others that in great
profusion specify the facial expression and tone of voice of the actors
have been rejected in many places as more cumbersome than useful. R.S.R.
CONTENTS
EULOGIO FLORENTINO SANZ
HISTORICAL INTRODUCTION
VERSIFICATION
DON FRANCISCO DE QUEVEDO
NOTES
VOCABULARY
EULOGIO FLORENTINO SANZ BIOGRAPHICAL SKETCH
The name of Eulogio Florentino Sanz is little known outside of Spain,
where for more than seventy years it has been closely linked with his
chief dramatic achievement, "Don Francisco de Quevedo," and with his
translations from Heine. Now and then the plea that something be done
toward bringing out an edition of his works has found expression but met
with no response. To read his scattered verses it is necessary to search
the pages of that wilderness of papers, dailies, weeklies, monthlies,
and annuals, which appeared in Madrid between 1840 and 1870. Though we
are told that he wrote much, it is none the less true that he published
next to nothing. In 1848, at the age of twenty seven he was freely
spoken of as one of the most promising of his generation of poets and
dramatists. Vanity and indolence at maturity prevented his fulfilling
the promise. His boyhood was spent in Arévalo in the province of Ávila, where he was
born March 11, 1821. The village priest taught him Latin, and later he
may have been a student at the University of Valladolid. Of the years
that passed before he came to Madrid we know little besides a few
anecdotes. According to one of these Sanz paid youthful court to the
daughter of a glazier whose ruin was threatened by lack of business. The
daughter told young Florentino of her father's difficulties in the
course of an evening interview, whereupon the ambitious lover quickly
organized a band of followers and broke all the windows in Arévalo... Continue reading book >>
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