Heath's Modern Language Series: Mariucha By: Benito Pérez Galdós (1843-1920)
First Page: [Illustration: (signed) B. Perez Galdós] Heath's Modern Language Series MARIUCHA COMEDIA EN CINCO ACTOS POR BENITO PÉREZ GALDÓS EDITED WITH INTRODUCTION, NOTES, AND VOCABULARY BY S. GRISWOLD MORLEY, PH.D. ASSOCIATE PROFESSOR OF SPANISH IN THE UNIVERSITY OF CALIFORNIA D. C. HEATH & CO., PUBLISHERS BOSTON NEW YORK CHICAGO COPYRIGHT, 1921, BY D. C. HEATH & CO. PREFACE Some one will naturally ask: "Why did not the editor select Galdós' best play, El abuelo , for publication?" I should like to reply to this question in advance. El abuelo , with all its beauties, has certain features which make it slightly undesirable for use by classes of American students in High Schools and the elementary years of College. First, one of its beauties is itself a drawback for this particular purpose; namely, the rather vague and abstract moral it conveys. Then, the main spring of the plot, like that of Electra , lies in a dubious obscurity to which it is not necessary to direct the attention of young people. Mariucha , on the other hand, presents clean cut, open problems of daily life, and they are also problems which any American can readily understand, not local Spanish anachronisms. I chose Mariucha believing it to be the best fitted for general class use among all the dramas of Galdós; and I hope that Spanish teachers may not find me wrong. The Introduction is confined to a discussion of Galdós as a dramatic author, since a study of his entire work or of his influence on his generation would be quite out of place. To my friend and colleague Professor Erasmo Buceta I am deeply grateful for generous and suggestive help; and I am indebted to Doña María Pérez Galdós de Verde for information which gives the Bibliography an accuracy it could not otherwise have had. S.G.M. October, 1920. TABLE OF CONTENTS PAGE PREFACE iii INTRODUCTION vii A. THE LIFE OF D. BENITO PÉREZ GALDÓS vii B. BENITO PÉREZ GALDÓS AS A DRAMATIC WRITER viii I. The Background viii II. Galdós Turns from Novel to Drama ix III. His Dramatic Technique His Success xi IV. The Development of Galdós xiv V. The Subject matter of His Plays xv VI. The Position of Galdós as a Dramatist xxvi C. THE PLAYS OF PÉREZ GALDÓS xxviii BIBLIOGRAPHICAL NOTE xlv TEXT 3 NOTES 133 VOCABULARY 141 INTRODUCTION A. THE LIFE OF D. BENITO PÉREZ GALDÓS Benito Pérez Galdós was born May 10, 1843, in Las Palmas, Grand Canary Island. The first school he attended was kept by English people; hence perhaps his great admiration for the English. He showed an early and lasting talent for music and drawing. In 1864 or 1865 he went alone to Madrid to study law, which he disliked. He made slow progress, but completed the course in 1869. Latin was his favorite study, and he never practised law. His first writing was done for Madrid newspapers; he reported sessions of the Cortes, and wrote all sorts of general articles. During this period he wrote two poetic dramas, never performed. His failure to gain the stage turned him to the novel, and he did not again attempt drama till 1892. Dickens and Balzac most influenced his conception of the novel. His first book, La fontana de oro , was published in 1870; the first of the Episodios nacionales , Trafalgar , in 1873. Since then the Episodios reached the number of forty six; the Novelas de la primera época (those based on history rather than on observation), seven; the Novelas españolas contemporáneas (based on observation), twenty four; dramas and comedies, twenty one; opera, one... Continue reading book >>

Heath's Modern Language Series: Mariucha By: Benito Pérez Galdós (1843-1920)

First Page:

[Illustration: (signed) B. Perez Galdós]

Heath's Modern Language Series

MARIUCHA

COMEDIA EN CINCO ACTOS

POR

BENITO PÉREZ GALDÓS

EDITED WITH INTRODUCTION, NOTES, AND VOCABULARY

S. GRISWOLD MORLEY, PH.D.

ASSOCIATE PROFESSOR OF SPANISH IN THE UNIVERSITY OF CALIFORNIA

D. C. HEATH & CO., PUBLISHERS

BOSTON NEW YORK CHICAGO

BY D. C. HEATH & CO.

PREFACE

Some one will naturally ask: "Why did not the editor select Galdós' best play, El abuelo , for publication?" I should like to reply to this question in advance. El abuelo , with all its beauties, has certain features which make it slightly undesirable for use by classes of American students in High Schools and the elementary years of College. First, one of its beauties is itself a drawback for this particular purpose; namely, the rather vague and abstract moral it conveys. Then, the main spring of the plot, like that of Electra , lies in a dubious obscurity to which it is not necessary to direct the attention of young people. Mariucha , on the other hand, presents clean cut, open problems of daily life, and they are also problems which any American can readily understand, not local Spanish anachronisms. I chose Mariucha believing it to be the best fitted for general class use among all the dramas of Galdós; and I hope that Spanish teachers may not find me wrong.

The Introduction is confined to a discussion of Galdós as a dramatic author, since a study of his entire work or of his influence on his generation would be quite out of place.

To my friend and colleague Professor Erasmo Buceta I am deeply grateful for generous and suggestive help; and I am indebted to Doña María Pérez Galdós de Verde for information which gives the Bibliography an accuracy it could not otherwise have had.

S.G.M.

October, 1920.

TABLE OF CONTENTS

PAGE PREFACE iii

INTRODUCTION vii

A. THE LIFE OF D. BENITO PÉREZ GALDÓS vii

B. BENITO PÉREZ GALDÓS AS A DRAMATIC WRITER viii I. The Background viii II. Galdós Turns from Novel to Drama ix III. His Dramatic Technique His Success xi IV. The Development of Galdós xiv V. The Subject matter of His Plays xv VI. The Position of Galdós as a Dramatist xxvi

C. THE PLAYS OF PÉREZ GALDÓS xxviii

BIBLIOGRAPHICAL NOTE xlv

TEXT 3

NOTES 133

VOCABULARY 141

INTRODUCTION

A. THE LIFE OF D. BENITO PÉREZ GALDÓS

Benito Pérez Galdós was born May 10, 1843, in Las Palmas, Grand Canary Island. The first school he attended was kept by English people; hence perhaps his great admiration for the English. He showed an early and lasting talent for music and drawing. In 1864 or 1865 he went alone to Madrid to study law, which he disliked. He made slow progress, but completed the course in 1869. Latin was his favorite study, and he never practised law.

His first writing was done for Madrid newspapers; he reported sessions of the Cortes, and wrote all sorts of general articles. During this period he wrote two poetic dramas, never performed. His failure to gain the stage turned him to the novel, and he did not again attempt drama till 1892. Dickens and Balzac most influenced his conception of the novel. His first book, La fontana de oro , was published in 1870; the first of the Episodios nacionales , Trafalgar , in 1873. Since then the Episodios reached the number of forty six; the Novelas de la primera época (those based on history rather than on observation), seven; the Novelas españolas contemporáneas (based on observation), twenty four; dramas and comedies, twenty one; opera, one... Continue reading book >>

Genres for this book
Comedy
Literature

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