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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/10909-0.txt b/10909-0.txt new file mode 100644 index 0000000..e25a044 --- /dev/null +++ b/10909-0.txt @@ -0,0 +1,8687 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 10909 *** + + [Ilustración: _JUAN EUGENIO HARTZENBUSCH_] + + + Heath's Modern Language Series + + + + + LOS AMANTES DE TERUEL + + POR + + JUAN EUGENIO HARTZENBUSCH + + + + + _WITH INTRODUCTION, NOTES, AND VOCABULARY_ + + BY + + G.W. UMPHREY, PH.D. + + ASSOCIATE PROFESSOR OF ROMANCE LANGUAGES + UNIVERSITY OF WASHINGTON + + 1920. + + + + +PREFACE + +The importance of Hartzenbusch in the history of the Spanish drama and +the enduring popularity in Spain of _Los Amantes de Teruel_, his +masterpiece, have assured this play a definite place in the work of +advanced students of Spanish literature in our universities. For such +students the many editions published in Spain and elsewhere have been +perhaps sufficient, but for the much larger number who never reach the +advanced literary classes an annotated edition is needed. That this play +offers excellent material for the work of more elementary courses in the +schools and colleges has long been the opinion of the present editor; +and that it has not already found a place among the Spanish texts +published in this country is difficult to understand. The old legend of +Teruel, the embodiment of pure and constant love, is one that might well +be expected to make a strong appeal to the youth of any country; the +simple and direct presentation given to the legend by Hartzenbusch and +the comparative freedom from textual difficulties, as the result of the +careful revisions of the play by its scholarly author, bring it within +the range of the understanding and appreciation of students who have +studied Spanish one year in college or two years in high school, if it +is put before them in a properly prepared edition. + +The editor has kept in mind this class of students in the preparation of +the Introduction, Notes, and Vocabulary. To those who consider the +Introduction disproportionately long, the excuse is given that this will +be the first Romantic play read by many students, and that if they are +to understand it and appreciate its fine literary qualities, they must +be enabled to view it in its proper historical perspective. It is to be +hoped that this edition may serve as a safe approach to the systematic +study, of the Romantic Movement in Spanish literature. + +The text of the play is that of the annotated edition of Dr. Adolf +Kressner, Leipsic, 1887 (_Bibliothek Spanischer Schriftsteller_), and is +the same as the one contained in the definitive collection of the plays +of Hartzenbusch, _Teatro_, Madrid, 1888-1892, Vol. I, pages 7-130 +(_Colección de Escritores Castellanos_). + +The indebtedness of the editor to Professor E.C. Hills of Indiana +University for many helpful suggestions is gratefully acknowledged. + +G.W. UMPHREY + +UNIVERSITY OF WASHINGTON, SEATTLE. + + + + + + + TABLE OF CONTENTS + + + PREFACE + + INTRODUCTION + + I. The Legend + + II. Authenticity of the Legend + + III. The Legend in Spanish Literature + + IV. Life of Hartzenbusch + + V. Hartzenbusch's Treatment of the Legend + + VI. Romanticism + + VII. Romanticism in _Los Amantes_ + + VIII. Versification + + BIBLIOGRAPHICAL NOTE + + TEXT + + NOTES + + VOCABULARY + + + + + +INTRODUCTION + + +#I. The Legend#. Constancy in love has inspired many writers and has +given undying fame to many legends and traditions. Among the famous +lovers that have passed into legend and that stand as the embodiment of +constant love in different ages and in different countries,--Pyramus and +Thisbe, Hero and Leander, Tristam and Isolde, Romeo and Juliet,--are to +be found Marsilla and Isabel. These _Lovers of Teruel_, as constant as +any of the others, are especially notable because of the purity of their +love and because of the absence of violence in their sudden departure +from this life. Disappointed love, desperate grief at separation, was +the only cause of their death. + +The old city of Teruel, founded by the Aragonese in the latter half of +the twelfth century at the junction of the Guadalaviar and the Alfambra +as a stronghold in the territory recently recovered from the Moors, was +the fitting scene for the action of the legend.... The pioneer life of +the city, the depth of sentiment and singleness of purpose of its +Aragonese inhabitants, the crusading spirit that carried to victory the +armies of Peter II of Aragón and his more famous son, James the +Conqueror, lend probability to a legend that would ordinarily be +considered highly improbable from the point of view of historical +authenticity. Stripped of the fantastic details that have gathered about +it in the many literary treatments given to it by Spanish writers, the +legend may be briefly told. In Teruel, at the beginning of the +thirteenth century, lived Juan Diego Martínez Garcés de Marsilla and +Isabel de Segura. They had loved each other from childhood, but when it +became a question of marriage, Isabel's father opposed the union +because of the young man's lack of material resources and because a +wealthy suitor, Rodrigo de Azagra, had presented himself for the hand of +his daughter. All that the entreaties of the lovers could gain from him +was the promise that if Marsilla went to the wars, gained fame and +riches, and returned before a certain day, he would receive Isabel in +marriage. This Marsilla did; but unfortunately he was unable to return +until just after the expiration of the time set. When he reached Teruel, +he found Isabel married to the wealthy rival. Disappointed in their +hopes after so many years of constant love and continual struggle +against adversity, Marsilla died of grief, and Isabel soon followed him; +separated in life by cruel fate, they were united in death. Buried in +the same tomb, they were later disinterred, and their mummified remains +may now be seen in the old church of San Pedro in Teruel. + +#II. Authenticity of the Legend#. The earliest references that have +yet been found to the legend belong to the middle of the sixteenth +century, that is, more than three centuries after the supposed death of +the lovers. In 1555, when the church of San Pedro in Teruel was +undergoing some repairs, two bodies, supposedly those of Marsilla and +Isabel, were discovered in one tomb in a remarkably good state of +preservation. They were reburied at the foot of the altar in the chapel +of Saints Cosme and Damian, and the story of the unfortunate lovers +began to spread far and wide. By the end of the century it was +apparently widely known and attracted considerable attention to the old +city of Teruel. When Philip III of Spain was journeying to Valencia in +1599 he was induced to turn aside to visit the church of San Pedro. In +the official account of his journey, "Jornada de Su Majestad Felipe III +y Alteza la Infanta Doña Isabel, desde Madrid, a casarse el Rey con la +Reyna Doña Margarita, y su Alteza con el Archiduque Alberto," the story +of the legend as then generally accepted is related so succinctly that +it may well be quoted here: "En la iglesia de San Pedro, en la capilla +de San Cosme y San Damián, de la dicha ciudad, está la sepultura de los +Amantes que llaman de Teruel; y dicen eran un mancebo y una doncella que +se querían mucho, ella rica y él al contrario; y como él pidiese por +mujer la doncella y por ser pobre no se la diesen, se determinó a ir por +el mundo a adquerir hacienda y ella aguardarle ciertos años, al cabo de +los cuales y dos o tres días más, volvió rico y halló que aquella noche +se casaba la doncella. Tuvo trazas de meterse debajo de su cama y a +media noche le pidió un abrazo, dándose a conocer; ella le dijo que no +podía por no ser ya suya, y él murió luego al punto. Lleváronle a +enterrar, y ella fué al entierro, y cuando le querían echar en la +sepultura, se arrimó a la ataúd y quedó allí muerta; y así los +enterraron juntos en una sepultura, sabido el caso." + +Seventeen years later a long epic poem by the secretary of the city +council of Teruel, Juan Yagüe de Salas, aroused much discussion as to +the authenticity of the legend. In 1619 the bodies were again exhumed +and in the coffin of one of them were found written the words "Éste es +Don Diego Juan Martínez de Marsilla"; also a document, "papel de letra +muy antigua," giving the story in detail. This document disappeared, but +the copy that Juan Yagüe claimed to have made may be seen in the +archives of the church of San Pedro or in the transcription published in +the _Semanario Pintoresco_ for the week ending Feb. 5, 1837 (Vol. II, +pages 45-47). The genuineness of the document and its copy is very +doubtful. The first paragraph shows some linguistic peculiarities of old +Aragonese; but these gradually disappear, until there is little left in +the language to differentiate it from that of the good notary public and +poet, Juan Yagüe, who was so anxious to prove authenticity for the +legend treated in his poem. Although there is no reliable evidence that +the bodies exhumed in 1555 and again in 1619 were those of Marsilla and +Isabel, the church of San Pedro has held them in special reverence. +They attract many admirers to the old city on the Guadalaviar and the +tourist who expresses incredulity when shown the remains of the lovers +becomes thereby _persona non grata_ in Teruel. + +For three centuries the controversy has continued and has resulted in +the spilling of much ink. The most complete and authoritative study of +the sources and growth of the legend is that of the eminent scholar +Cotarelo y Mori _(Sobre el origen y desarrollo de la leyenda de Los +Amantes de Teruel_, 2d edition, 1907). His conclusions support the +theory that the legend is the result of the localization in Teruel of +the story of the unfortunate Florentine lovers, Girolamo and Salvestra, +as related by Boccaccio in his _Decameron_, Book IV, Novel 8. He refutes +the arguments advanced by the supporters of the authenticity of the +legend, calls attention to the suspicious nature of all the documents, +and maintains the thesis that Boccaccio's story found its way into Spain +toward the end of the fourteenth century and took the form of the legend +of the _Lovers of Teruel_ about the middle of the sixteenth century, at +which time it first appeared definitely in Spanish literature. The +majority of literary critics and historians accept Cotarelo y Mori's +conclusions; others, however, refuse to give up the historic basis of +the legend. They cannot deny, of course, the evident similarity of the +stories; they explain it by saying that the story of the constant lovers +who died in Teruel in 1217 was carried to Italy by Aragonese soldiers or +merchants, was heard by the Italian novelist, and used by him as the +basis for his story of Girolamo and Salvestra. + +#III. The Legend in Spanish Literature.# Very few of the famous +legends of the world rest upon documentary evidence, and the fact that +the legend of the _Lovers of Teruel_ lacks historic proof has had little +influence upon its popularity. It has been productive of much +literature, the extent of which is indicated by the two hundred or more +titles contained in the bibliography[l] published by Domingo Gascón y +Guimbao in 1907. Of the many poems, plays, and novels inspired by the +legend only the most noteworthy can be mentioned here. The oldest +literary treatment is apparently that of Pedro de Alventosa, written +about the middle of the sixteenth century, _Historia lastimosa y sentida +de los tiernos amantes Marcilla y Segura_. This was followed in 1566 by +a Latin poem of about five hundred lines by Antonio de Serón, published +in 1907 by Gascón y Guimbao, with a Spanish translation and an excellent +bibliography. In 1581 the legend was given dramatic treatment by Rey de +Artieda, who followed the story in its essential elements but modernized +the action by placing it in the time of Charles V, only forty-six years +earlier than the publication of the play. It has little literary value, +but is important because of its influence on later dramatists. Passing +over various treatments of the theme that serve merely to indicate its +growing popularity, we come to the pretentious epic poem of Juan Yagüe +de Salas in twenty-six cantos, _Los Amantes de Teruel, Epopeya trágica_, +in which, besides adding many fantastic details to the legend, the +author presented much extraneous matter bearing upon the general history +of Teruel. Because of this widely known poem and the growing popularity +of the _Lovers_, two dramatists of the Golden Age, Tirso de Molina and +Pérez de Montalbán, gave it their attention. _Los Amantes de Teruel_ of +the great Tirso de Molina, published in 1635, is disappointing, +considering the dramatic ability of the author; it contains passages of +dramatic effectiveness but is weak in construction. As in Rey de +Artieda's play, the action is placed in the sixteenth century; Marsilla +takes part in the famous expedition of Charles V against the Moors in +Tunis, saves the Emperor's life, and, richly rewarded, returns, too +late, to claim the promised bride. It is a better play than that of +Artieda, but is itself surpassed by Montalbán's play of three years +later. Although he was far from possessing the dramatic genius of Tirso, +Montalbán succeeded in giving the story the form that it was to maintain +on the stage for two centuries. Frequent performances and many editions +of his play, as well as many other literary treatments and references +that might be cited, attest the continued popularity of the legend. + +[Footnote 1: _Los Amantes de Teruel, Bibliografía de los Amantes_. +Domingo Gascón y Guimbao, Madrid, 1907.] + +Finally, in the early days of Romanticism, it assumed the dramatic form +that has remained most popular down to the present day. On the +nineteenth of January of the year 1837 the theatergoing people of Madrid +were moved to vociferous applause by a new treatment of the old theme, +and a new star of the literary firmament was recognized in the person of +Juan Eugenio Hartzenbusch. In his dramatic masterpiece Hartzenbusch +eclipsed all the other plays that have dealt with the legend, and more +than twenty editions stand as proof of its continued popularity. Besides +these many editions of the play, numerous novels, poems, and operas have +appeared from time to time. For the most complete bibliography down to +1907 the reader is again referred to that of the official historian of +Teruel, Gascón y Guimbao. We must now turn our attention to the author +of the best dramatic treatment of the legend. + +#IV. Life of Hartzenbusch#. Juan Eugenio Hartzenbusch, born in 1806, +was the only son of a German cabinet-maker who had wandered to Spain +from his home near Cologne, married a Spanish girl, and opened up a shop +in Madrid. The son inherited from his German father and Spanish mother +traits of character that were exemplified later in his life and +writings. From his father he received a fondness for meditation, +conscientious industry in acquiring sound scholarship, and the patience +needed for the continual revision of his plays; from his mother came his +ardent imagination and love of literature. Childhood and youth were for +him a period of disappointment and struggle against adversity. Less than +two years old when his mother died after a short period of insanity +caused by the sight of bloodshed in the turbulent streets of Madrid in +1808, he was left to the care of a brooding father who had little +sympathy with his literary aspirations, but who did wish to give him the +best education he could afford. He received a common school education +and was permitted to spend the four years from 1818 to 1822 in the +College of San Isidro. As a result of the political troubles in Spain in +1823, the father's business, never very prosperous, fell away and the +son had to leave college to help in the workshop. He was thus compelled +to spend a large part of his time in making furniture, although his +inclination was toward literature. + +His leisure was given to study and to the acquirement of a practical +knowledge of the dramatic art, gained for the most part from books, +because of his father's dislike of the theater and because of the lack +of money for any unnecessary expenditure. He translated several French +and Italian plays, adapted others to Spanish conditions, and recast +various _comedias_ of the _Siglo de Oro_, with a view to making them +more suitable for presentation. He tried his hand also at original +production and succeeded in getting some of his plays on the stage, only +to have them withdrawn almost immediately. Undiscouraged by repeated +failure, he continued studying and writing, more determined than ever to +become a successful dramatist and thus realize the ambition that was +kindled in him by the first dramatic performance that he had witnessed +when he had already reached manhood. + +At the time of his marriage in 1830 he was still helping his ailing and +despondent father in the workshop; more interested undoubtedly in his +literary pursuits, but ever faithful to the call of duty. Until success +as a dramatist made it possible for him to gain a living for his family +by literature, he continued patiently his manual labor. At his father's +death he closed the workshop and for a short time became dependent for +a livelihood on stenography, with which he had already eked out the +slender returns from the labor of his hands. + +Meanwhile, during these last years of apprenticeship in which +Hartzenbusch was gaining complete mastery of his art by continual study +and practice, the literary revolution known as Romanticism was making +rapid progress. The death of the despotic Ferdinand VII in 1833 removed +the restraint that had been imposed upon literature as well as upon +political ideas. The theories of the French and English Romanticists +were penetrating Spanish literary circles, to be taken up eagerly by the +younger dramatists; political exiles of high social and literary +prestige, such as Martínez de la Rosa and the Duque de Rivas, were +returning to Spain with plays and poems composed according to the new +theories; the natural reaction from the logical, unemotional ideals of +the Classicists was developing conditions favorable to the revolution. +The first year of the struggle between the two schools of literature, +1834, gave the Romanticists two important victories in the _Conjuración +de Venecia_ of Martinez de la Rosa, and the _Macías_ of José de Larra, +two plays that show clearly Romantic tendencies but that avoid an abrupt +break with the Classical theories. They served to prepare the way for +the thoroughly Romantic play of the Duque de Rivas, _Don Álvaro o la +fuerza del sino_, a magnificent, though disordered, drama that gained +for the Romanticists a decisive victory in 1835, a victory over +Classicism in Spain similar to that gained in Paris five years earlier +by the famous _Hernani_ of Victor Hugo, leader of the French +Romanticists. In 1836 the equally successful performance of _El +Trovador_, the Romantic play of García Gutiérrez, confirmed the victory +gained by the Romanticists with _Don Álvaro_, and gave clear indication +that the literary revolution was complete. The temper of the time was +decidedly Romantic, and the wholehearted applause that resounded through +the Teatro del Príncipe on the night of Jan. 19, 1837, at the first +performance of _Los Amantes de Teruel_ put an end to the long and +laborious apprenticeship of Hartzenbusch. + +A few days later the warm reception given the play and its continued +popularity were justified in a remarkable piece of dramatic criticism by +the rival playwright and keen literary critic, José de Larra, known +better by his journalistic pen-name, Fígaro, and greatly feared by his +contemporaries for his mordant criticism and stinging satire. In the +opening words of his review of the play, we may see the highly favorable +attitude of the critic and realize the suddenness of the fame that came +to Hartzenbusch. "Venir a aumentar el número de los vivientes, ser un +hombre más donde hay tantos hombres, oír decir de sí: 'Es un tal +fulano,' es ser un árbol más en una alameda. Pero pasar cinco o seis +lustros oscuro y desconocido, y llegar una noche entre otras, convocar a +un pueblo, hacer tributaria su curiosidad, alzar una cortina, conmover +el corazón, subyugar el juicio, hacerse aplaudir y aclamar, y oír al día +siguiente de sí mismo al pasar por una calle o por el Prado: 'Aquél es +el escritor de la comedia aplaudida,' eso es algo; es nacer; es devolver +al autor de nuestros días por un apellido oscuro un nombre claro; es dar +alcurnia a sus ascendientes en vez de recibirla de ellos."[2] Other +contemporary reviews were just as favorable, and all expressed with +Fígaro great hopes in the career of a dramatist that had thus begun with +an acknowledged masterpiece. The _Semanario Pintoresco_, for example, a +literary magazine in its second year of publication, ended its review of +the play with these words: "El joven que, saliendo de la oscuridad del +taller de un artesano, se presenta en el mundo literario con los Amantes +de Teruel por primera prueba de su talento, hace concebir al teatro +español la fundada esperanza de futuros días de gloria, y de verse +elevado a la altura que un día ocupó en la admiración del mundo +civilizado." (Feb. 5, 1837.) + +[Footnote 2: _Obras completas de Fígaro._ Paris, 1889. Vol. III, page +187.] + +Thus encouraged by popular applause and by the enthusiastic praise of +literary critics, Hartzenbusch produced at varying intervals many +excellent plays, but none of them surpassed or even equaled his _Amantes +de Teruel_. Many of them, characterized by careful workmanship, dramatic +effectiveness, and fine literary finish, are well worth studying, and +deserve more attention than can be given them here. They offer all kinds +of drama: tragedies such as _Doña Mencía_, in which the exaggerations of +Romanticism are given free rein; historical plays, in which striking +incidents in Spanish history or legend are given dramatic treatment; +fantastic plays, such as _La redoma encantada_, in which magic plays an +important part; comedies of character and manners, such as _La coja y el +encogido_, in which contemporary life found humorous presentation. The +best of them may be read in the three volumes published in the +well-known series _Colección de Escritores Castellanos_. For literary +criticism the student is referred to the books mentioned later in the +bibliography. + +The love of study grew stronger in Hartzenbusch as the opportunity to +devote himself to it became greater, so that after he had had several +plays presented with considerable success, scholarship began to absorb +more and more of his time and the intervals between plays began to +lengthen. Literary criticism, editorial work in connection with new +editions of the Spanish classics, his duties as assistant and, later, +chief librarian of the Biblioteca Nacional, these, with the production +from time to time of a new play, made him a well-known figure in the +literary life of Madrid. His was the quiet life of the modern man of +letters, to whom the incidents of greatest interest are of the +intellectual order: the production of a new play, the publication of a +new book of literary or scholarly value, the discovery of an old +manuscript or the announcement of a new theory, the admission of a new +member to the Spanish Academy. Serenely tolerant in his outlook upon +life, of gentle disposition and ready sympathy, unaffectedly modest, +indifferent to the accumulation of property beyond the needs of his +simple mode of living, conscientious in the performance of all his +duties, he retained to the end of his life the personal esteem of his +many friends. When death put an end in 1880 to the long illness that +saddened the last years of his life, his mortal remains were conducted +to the tomb with all due ceremony by the Spanish Academy, to which +membership had been granted him in 1847 as a recognition of his +excellent work as dramatist and scholar. + +The productivity of Hartzenbusch, as well as his versatility, would be +remarkable in any country but Spain. The _Bibliografía de Hartzenbusch_, +prepared by his son and published in 1900,[3] stands as proof of the +great extent and diversity of his productions; four hundred pages are +needed for the bibliographical data connected with his many publications +and for a few extracts from his unpublished writings. Hundreds of titles +of dramas, poems, addresses, essays, literary criticism, scholarly +commentaries, indicate the versatility of his talent and his tireless +industry. + +[Footnote 3: _Bibliografía de Hartzenbusch_. Eugenio Hartzenbusch. +Madrid, 1900.] + +#V. Hartzenbusch's Treatment of the Legend.# Apparently Hartzenbusch +had given much study and thought to the famous legend of the _Lovers of +Teruel_. At first it was his intention to use it in an historical novel, +but only the first few pages of this have been preserved (_Bibliografía +de Hartzenbusch_). Believing that the legend could be better treated in +dramatic form, he applied himself enthusiastically to the construction +of the play in accordance with the new theories that were becoming +popular, and had it ready for production when a copy of José de Larra's +_Macías_ came into his hands. What was his astonishment to find that the +plot of his play was so similar to that of _Macías_ that no one would be +likely to accept the similarity as a mere coincidence. Patiently he +reconstructed it and had it published in 1836, if the date on the title +page of the oldest edition is to be accepted as accurate.[4] If +published in 1836, the author remained in obscurity until the first +performance of the play, January 19 of the following year, made him +famous. + +[Footnote 4: _Los Amantes de Teruel_, drama en cinco actos en prosa y +verso por Juan Eugenio Hartzenbusch. Madrid. Imprenta de D. José María +Repullés. 1836.] + +Many difficulties beset the dramatist in the construction of the play. +The legend that served as plot was already known to all, so that the +element of suspense could not be used to any great extent. Moreover, the +climax was not in itself dramatic; the death of two lovers through grief +at separation, pathetic though it be, lacked the tragic element of other +similar stories in which death resulted from violence. The _dénouement_, +the probability of which would not be generally accepted, had to be +retained in the treatment of a legend so widely known, a legend in which +the essential originality consisted in this very improbability. Careful +preparation throughout the whole play was needed, then, for this +improbable _dénouement_, pathetic, rather than tragic; dramatic +incidents had to be supplied by the author's own inventiveness, the +characters had to be carefully delineated, the motivation carefully +considered. How successfully the author was able to overcome these +difficulties, with what dramatic skill he was able to succeed where +dramatists such as Tirso de Molina and Montalbán were only partially +successful, careful study of the play will reveal. + +The play as given in this edition differs in many ways from the play as +first presented in 1837. More than once the author returned to it, and +the numerous editions needed to supply the popular and continuous demand +gave him the opportunity to revise it and give it the most artistic +finish of which he was capable. Changed literary conditions after +Romanticism had run its course are reflected in the more sober dress of +the revised play; there are reflected in it, too, the greater +restraint, the more scholarly and critical attention to character +delineation and literary finish befitting a man who had passed from the +warm impulsiveness of youth to the calm rationality of middle age. The +student who takes the trouble to compare the text of this edition with +that of the first will see many changes: the five acts are reduced to +four; some of the prose scenes are now in poetic form; the diction is +much improved generally and obscure passages are made clear; some +changes in motivation are to be noted, especially in the scenes leading +up to the voluntary marriage of Isabel with Azagra; the mother's +character is notably ennobled. On the whole, the play has gained by +these revisions; what it has lost in freshness and spontaneity has been +more than counterbalanced by the more careful delineation of character, +improved motivation of action, correctness of diction, and literary +finish. The play in its first form is undoubtedly a better example of +Romanticism in all its phases, its tendencies toward exaggeration, its +crudities of thought and expression, combined with qualities unsurpassed +in any other period of literature; in its revised form it is a more +artistic production, is still a Romantic play, and one of the best in +Spanish literature. + +#VI. Romanticism.# Generally speaking, an author belongs to his own +age and country, is moved by the prevalent ideas and sentiments; his +outlook upon life is similar to that of the majority of his +contemporaries. Ordinarily then, a piece of literature of a past age is +understood and fully appreciated only by the student who is able to view +it in its proper historical perspective, to see it through the eyes of +those for whom it was written. Especially is this true of Romantic +literature, the production of ardent and youthful enthusiasts who found +themselves suddenly emancipated from the rigid rules and formalism of +French pseudo-Classicism of the eighteenth century. The tendency in +literature, as in political and social life, is to pass in a pendulum +swing from one extreme to the other, so that to appreciate the fine and +enduring qualities of Romantic literature and to make due allowance for +its exaggerations and other apparent faults, the student must know +something of the Romantic movement and of the Classicism that +immediately preceded it. Moreover, his purpose in reading a literary +masterpiece is not merely to understand and appreciate it in itself, but +also to gain through it some understanding of the age or literary +movement of which it is a representative. In order, then, that _Los +Amantes de Teruel_ may be more fully appreciated as a dramatic +masterpiece, and in order that through it the student may come to a +fuller understanding of Romanticism, his attention is now directed to +the essential characteristics of this important literary movement. + +Romanticism in Spanish literature is the name given to the literary +revolt that began about 1830 against pseudo-Classicism. A similar revolt +had already freed the other literatures of Europe, so that the many +Spanish exiles who had been forced to seek refuge for political reasons +in England or on the Continent there became familiar with the new ideas +in literature. Ardent converts to the new literary ideals, these +political exiles, when permitted to return to Spain at the death of the +despotic Ferdinand VII in 1833, became the leaders in a literary +revolution that soon swept away all opposition. The logical reaction +from the rigid rules and formalism, new ideas in political and social +life weakened opposition so rapidly and effectively that the Romantic +poetry and plays of the Duque de Rivas, Espronceda, García Gutiérrez, +Hartzenbusch, and others found a ready and enthusiastic welcome. + +In the comparison that is to be made of Romanticism and Classicism, +_romantic_ and _classic_ are to be used in their technical, literary +sense. As ordinarily used, _romantic_ means the extreme opposite of +prosaic or commonplace; in literary history, Romantic is used to +describe the movement known as Romanticism. Classic, in its oldest and +ordinary acceptation, means the best of its class or kind; in its +literary sense, _classic_, or _classical_, is usually applied to the +type of literature that harmonized so completely with eighteenth century +rationalism, the Classicism, or rather pseudo-Classicism, which, +enthroned in France, ruled all literary Europe until the closing years +of the century. In the following comparison, Classic, Classicist, and +Classicism are the opposites of Romantic, Romanticist, and Romanticism. + +Romanticism, in its general application to all kinds of literature and +to the literatures of all countries where it made itself effectively +felt, shows the following characteristics: + +1. _Subjectivity_, the introduction of the personal note, the expression +by the author of his own individual feelings and ideas. The Classicist, +aiming at universality and completeness, considered only the typical and +eternal as suitable material for literature and carefully excluded +whatever seemed peculiar to himself; his ideal was to give perfect +literary form to ideas and sentiments acceptable to mankind generally, +truths of universal application. Originality of idea or sentiment was +not of prime importance with him; his aim was rather to give finished +form to "what oft was said, but ne'er so well expressed." The aim of the +Romanticist, on the other hand, was to turn to literary uses his own +individual experiences, to give forceful and effective, rather than +elegant, expression to his own peculiar feelings and ideas. This +subjectivity led naturally to many abuses; it also led to the production +of some of the masterpieces of literature. Lyric poetry, that had almost +died of inanition during the period of Classicism, took on new and +vigorous life and became again one of the most important literary +genres. The mere mention of such famous poets as Byron, Shelley, Heine, +Musset, Leopardi, Espronceda, indicates the extent and importance of +lyric poetry in the first half of the nineteenth century. + +2. _Emotional appeal_. Classicism made its appeal to the intellect; +Romanticism to the emotions. The aim of the Classicist being to give +perfect literary expression to the accumulated wisdom of mankind or to +reform social, moral, or political conditions by means of ridicule, he +accepted logic as his guide. The Romanticist, whose aim it was to +express his individual sentiments and ideas, rebelled against the +restraints of logic and common sense; his purpose was not to persuade +his reader or hearer by logical reasoning, but rather to carry him off +his feet by the onrush of his passions and sentiments. The Classicist +mistrusted the imagination for fear that it might lead him away from +common sense and moderation; the Romanticist turned to it eagerly as the +most effective means of conveying to reader or hearer his ardent +sentiments and vague aspirations. For the reason then that the +Classicist made his appeal to the intellect, mistrusted the imagination, +and usually avoided all strong passions except that of indignation, +Classicism tended to become more and more prosaic. Romanticism, because +of its appeal to the emotions and to the imagination, put new life and +power into literature, and immeasurably widened its range. On the other +hand the tendency on the part of writers of little ability and less +judgment to go to absurd extremes in their efforts to express strange +and original ideas and sentiments, to get as far away as possible from +the logical and commonplace, led to the production of much absurd +writing. This and the attempt of many of them to apply the extreme +principles of Romanticism to daily life as well as to literature +resulted in the derogatory sense that the word _romantic_ came to have +in its ordinary acceptation. The results of Romanticism in its +exaggerated form may be seen in the satirical article written in 1837 by +Mesonero Romanos, _El Romanticismo y los Románticos_. This article, +highly recommended in this connection, may easily be found in his +collected writings _Obras_, Madrid, 1881, or, better still, it may be +studied in the excellent edition of Professor G.T. Northup, _Selections +from Mesonero Romanos_. + +3. _Spiritual awakening_. The latter half of the eighteenth century was +a materialistic age. The realities of life were limited to such as could +be understood by the five senses and the reasoning faculty. Life and +literature for the Classicist meant reasoned submission to things as +they were; achievement was the accepted basis of judgment for his life +or literature. The Romanticist rebelled against this materialistic view +of life; for him the real truths lay beyond the apparent realities; he +grasped at the impalpable and infinite, and wished to have his life and +literature judged by his aspirations, rather than by his achievements. +Hence, too, the vague longings, the gentle melancholy or violent revolt, +the spiritual uplift. The new sense of the wonder and glory of the +universe, as well as the spiritual reality behind the material, has +suggested as a definition of Romanticism the "Renascence of Wonder." + +4. _Revival of the Middle Ages and national traditions_. The +Romanticists were inclined to turn away from the prosaic present and to +seek material for their writings in the Middle Ages, the time of +unrestrained feelings and emotions, of chivalrous adventure and romance, +of strong religious faith, of miracles and superstition. The historical +novel, in which the powerful imagination of a Walter Scott made the past +live again, became popular throughout Europe; innumerable dramas sought +their plots in medieval history and legend. Spain, with her rich +literature of popular ballads and drama, a storehouse of picturesque +legends and traditions, attracted the attention of Romanticists +everywhere, so that for Spaniards the movement came to have a patriotic +significance. The best Romanticists did not limit themselves to the +Middle Ages; they broadened their vision to include the whole past of +the human race, whereas the Classicists, fixing their eyes steadily upon +ancient Greece and Rome, whenever they were inclined to turn away from +the present, ignored entirely the medieval period and the early modern. + +5. _Picturesqueness_. Seeking to give polished expression to the +probable and typical, the Classicist abhorred exaggeration and violent +contrasts. The Romanticist, on the other hand, was attracted to the +grotesque, mingled the ugly and the beautiful, the commonplace and the +fantastic; he delighted in striking antitheses. + +6. _Love of inanimate nature_. The Classicist, instead of going directly +to Nature for individual inspiration, was content to repeat in new ways +the generally accepted ideas regarding natural scenery. His interest lay +almost wholly in mankind, so that inanimate Nature usually served as a +merely conventional background. The Romanticist loved Nature for its own +sake, and many masterpieces of lyric poetry were due to its inspiration. +He loved Nature in all her aspects and moods; if these were grandiose or +violent, the greater was his admiration. + +7. _Freedom from rule and conventionality in literary forms and +technique._ The foregoing characteristics, concerned mainly with the +content of Romantic literature, would naturally mean a corresponding +revolution in literary form and technique. Rules and conventions had +kept accumulating about literature, until by the middle of the +eighteenth century, when French Classicism dominated literary Europe, +they were so rigid that only a few of the many men of letters were able +to produce literature that was not wholly artificial and uninspired. +Each kind of literature was supposed to be written in a certain way; +narrative poetry had a certain prescribed meter; lyric poetry another; +tragedy and comedy should be carefully kept apart. The Romanticist +proceeded at once to throw overboard all these rules and +conventionalities. Each literary production was to be judged upon its +own merits as literature, not upon the closeness of its adherence to any +set of rules, and each author was to be at liberty to get his results in +any way that he might choose. Hence we find the mingling of literary +genres, the neglect of the dramatic unities, the invention of new meters +and the revival of old ones. + +8. _Richness of language_. Because of the continual elimination of words +considered unsuitable for literary expression, the language of the +Classicists was becoming more and more impoverished, diction was +becoming more and more stereotyped and artificial. The Romanticists, +with their revolutionary ideas as to content, rebelled against any rule +or convention that would restrict their choice of words or diction; +seeking complete and effective self-expression, they turned to literary +use all the resources of the language of their own time and of any other +age as well. The result was a great enrichment of language through the +effective use of highly colored, picturesque words and diction, as fresh +and bright as newly coined pieces of gold. + +Such are the general characteristics of the movement that had such a +profound effect upon the literatures of western Europe in the closing +years of the eighteenth century and the first half of the nineteenth. +All of them may be observed in the literature produced in Spain during +the twenty years from 1830 to 1850, although, naturally, they do not all +have the same importance there as in other countries. In a general way +it may be said that the movement was not so revolutionary as in France, +for example, where Classicism had taken deeper root. Moreover, in Spain, +Romanticism meant the revival of some of the literary ideals of the +_Siglo de Oro_, and to this extent at least could hardly be considered +revolutionary. The most complete representative of Romanticism in +Spanish dramatic literature is the _Don Álvaro_ of Angel de Saavedra, +better known as the Duque de Rivas; in this play are to be found all the +above-mentioned characteristics, even those that have to do more +naturally with lyric poetry, subjectivity and love of nature. Not only +does it present Romanticism in its most effective form; it also shows +the pitfalls of exaggeration and improbability that even the greatest +Romanticists failed to avoid when the check of common sense was removed +and free rein was given to the imagination. But since we are here +concerned mainly with _Los Amantes de Teruel_, a play that demands for +its understanding and appreciation much less familiarity with the +Spanish language than that required by _Don Álvaro_, the extent to which +the masterpiece of Hartzenbusch is representative of Romanticism will +now be briefly noted.[5] + +[Footnote 5: In order that the student may discover for himself the +essential differences between the two schools of drama, it is +recommended that he read a classical play such as Moratin's _El Sí de +las Niñas_ before reading _Los Amantes de Teruel_. In comparing the two +plays he should bear in mind that, for the reason that they are both +artistic masterpieces, they avoid the extremes of Classicism and +Romanticism, and that they do not illustrate entirely the opposite +characteristics of the less artistic examples of the two kinds of +drama.] + +#VII. Romanticism in _Los Amantes de Teruel._# That the appeal is +mainly to the emotions and imagination is quite evident. The plot is +based on a legend that owes its chief interest to the unusual and even +improbable ending; and the exceptional and improbable, if they are to be +effectively treated in literature, must appeal to the imagination, must +so stir the sentiments of the reader or hearer that the reasoning +faculty may be kept from becoming too active. Not only is the +_dénouement_ itself improbable; the somewhat melodramatic figure of +Zulima and the important part she plays in keeping apart the lovers +until it is too late, would hardly be convincing if the main appeal of +the play were to the intellect. These improbabilities are willingly +ignored by the reader or spectator as he allows himself to be carried +along in the current of passion to the final scene of deep emotion and +intense pathos. Melodious verse and poetic imagery help to make +effective this emotional appeal. + +The spiritual appeal of the play is apparent. To Marsilla and Isabel +love is so spiritualized that materialism can find in it no place. Their +love for each other is the "encarnación del cariño anticipado al nacer," +life means for them "seguir con el cuerpo amando, como el espíritu amó." +Love is life itself; and when no longer permitted to love each other in +this life for the reason that Isabel, believing her lover to be dead and +wishing to sacrifice herself in order that her mother's good name may be +preserved, has become the wife of Rodrigo de Azagra, they willingly +return to the spiritual world from which together _they had come into +the world of materiality_. + +The dramatization of a medieval legend is typical of the newly awakened +interest in the Middle Ages. Five years before the beginning of the +supposed action of the play, shortly after Marsilla had left home to +gain name and fortune in the wars against the infidels, was fought at +Navas de Tolosa one of the most decisive battles between Christianity +and Mohammedanism. The year after his departure from Teruel there +ascended the throne of Aragón the boy that was to be known to history as +_Jaime el Conquistador_ because of his reconquest of southeastern Spain +for Christianity. In the lull that preceded the approaching storm the +Christians and Moslems in the eastern part of the peninsula were at +peace, so that in the play they mingle freely, treating each other with +the chivalrous respect that was characteristic of the Middle Ages. The +numerous references to contemporary historic personages and events and +the careful attention to local color bring vividly before us the life of +that part of Aragón recently recovered from the Moors. The _dénouement_ +is made less improbable by placing the action of the play in that age of +deep convictions, exalted idealism, chivalrous customs, and in that part +of Spain where tenacity of purpose has always been regarded as a +characteristic trait. + +Picturesqueness, in its literary sense is not very apparent in the play +as we now have it. In the first version there were examples of striking +contrasts, a mingling of the tragic and comic, the noble and base, but +these were toned down or eliminated by the author in his revisions of +the play. For an example of exaggerated picturesqueness, with its +violent contrasts, mingling of the sublime and vulgar, the grotesque and +beautiful, the student is referred to _Don Álvaro_. + +The classical conventionality that each kind of literature should have +its prescribed form and that the various literary genres should be kept +apart was disregarded by Hartzenbusch. In this play we see a mingling of +scenes in prose with those in verse, we find the versification varied +according to the nature of the scenes, a mingling of dramatic dialogue +and lyrical expression of sentiment and passion. The action of the play +in its first form was impeded by the excessive lyricism of some of the +scenes; although notably reduced, this lyric element is still quite +apparent in the scene between Marsilla and Zulima in the first act, for +example; or between Marsilla and Isabel in the last. In the first +version Mari-Gómez, later changed to Teresa with the suppression of most +of her garrulity, was made to serve as a _graciosa_ and thus relieve the +tenseness of the serious scenes. + +As to the three dramatic unities so dear to the Classicists, those of +time and place are disregarded. The action shifts from Valencia to +Teruel; the time occupied covers the last six days of the _plazo_ given +Marsilla in which to gain name and fortune and return home to claim +Isabel for wife. The unity of action, the one essential unity in any +work of art, is carefully preserved. In the first version could be seen +something of the Romantic tendency to complicate the plot by the +introduction of an excessive number of characters and needless episodes, +but in its final form the plot is simple and nothing is permitted to +interfere with its dramatic development. + +In the first version there was also some tendency to abuse the new +freedom from conventionality in language, a tendency to seek out unusual +words and phrases for the sake of their picturesqueness, rather than for +their artistic appropriateness. In the polishing and toning-down +process, such words and phrases were eliminated, so that the play in its +final form serves as a good illustration of the permanent enrichment of +the literary language by the Romanticists. Likewise, in its +versification, it offers a good example of the metrical variety found in +the Spanish dramatists of the Golden Age and revived by the +Romanticists. + +#VIII. Versification.# Only the fundamental principles of Spanish +versification will be noted here. For a more adequate treatment the +student is referred to such works as Andrés Bello's _Ortología y +métrica_ (Vol. IV of _Obras completas_, Madrid, 1890), or the _Prosodia +castellana y versificación_ of E. Benot; or to the more easily +accessible notes on Spanish versification in Hills and Morley's _Modern +Spanish Lyrics_ or Ford's _Spanish Anthology_. + +Some knowledge of two of the essential differences between Spanish and +English versification is needed for the appreciation of the poetry of +this play. Whereas in English poetry the number of feet to the line is +essential, in Spanish the basis of meter is the number of syllables; +moreover, in syllable-counting there are certain rules (too complicated +to be given here) regarding the treatment of contiguous vowels as one +syllable or more than one. Another difference that should be noted is +that in Spanish poetry there are two kinds of rime, consonantal rime and +assonance. Consonantal rime is the same as that used in English poetry, +identity of the last stressed vowel sound as well as all following vowel +or consonant sounds in two or more verses; as for example, in lines +127-130, Act I, _clemencia, Valencia: favor, mejor_. Assonance is +identity in a series of verses of the last stressed vowel and of a +following unstressed vowel, if there be one, but not of a consonant; in +other words, assonance is the correspondence of the vowels, but not of +the consonants, in the riming syllables. Thus, in the first 110 lines of +the play, all the even verses have the same vowel in the last stressed +syllables: _volver, administré, fiel, pie, Adel, partiré, el, rey_, etc. +Only the strong vowel in a diphthong is recognized, so that in these 110 +lines the assonance of the alternate verses is in _e_. In the first 148 +lines of Act IV all the even verses have one and the same vowel in the +last accented syllable and one and the same vowel in the unaccented +syllable: _pueblo, bandoleros, prenderlos, tiempo, vinieron, provecho_, +etc. The assonance is, therefore, _é-o_. + +Of the many verse-forms, _i.e._, definite combinations of line and rime, +to be found in Spanish poetry, we find the following in this play: +_romance, romance heroico, redondilla, quintilla, décima, copla de arte +mayor_, and _silva_. + +The _romance_, or ballad meter, is the most thoroughly national of all +Spanish meters and has always been very popular with the dramatists. It +has, regularly, eight syllables to the line, with a regular rhythmic +accent on the seventh, and has assonance in the alternate lines. The +seventh syllable may or may not be followed by one or two unstressed +syllables, but the line is called octosyllabic; one unstressed syllable +is counted whether it be present or not. The first 110 lines of Act I, +for example, are in _romance_. Note that the regular rhythmic stress of +each line is on the seventh syllable; that the odd lines have seven or +eight syllables; that all the even lines have seven metrical syllables +each, and have assonance in _e_. In the first 148 lines of Act IV, all +of the even lines have eight syllables each, for the reason that each +seventh syllable is followed by an unaccented syllable, the assonance +being _é-o._ This is the normal _romance_ line, eight-syllabled and in +assonance. + +The _romance heroico_ or _real_ differs from the ordinary _romance_ in +that the lines are hendecasyllabic (eleven-syllabled). Lines 269-474, +Act IV, are in _romance heroico_, with assonance in _á-a_. + +The _redondilla_ consists of four octosyllabic lines, with consonantal +rime, usually arranged thus: _abba_. In Act I, for example, lines +111-458 consist of 87 _redondillas_. + +The _quintilla_ consists of five octosyllabic lines, with two +consonantal rimes, arranged so that no more than two may come together: +_ababa, abbab, abaab_, etc. In Act III lines 62-226 consist of 33 +_quintillas_. The last one has a very unusual combination of rimes: +_abbba_. + +The _décima_ consists of ten octosyllabic lines, with four consonantal +rimes usually arranged as in lines 761-770, or 771-780, Act II: +_abbaaccddc_. The _décima_ is not properly considered as two +_quintillas_, since there should be a pause at the end of the fourth +line of a _décima_. + +The _copla_ (stanza) _de arte mayor_ contains eight lines with three +consonantal rimes arranged thus: _abbaacca_. Each line is divided into +two hemistitches, with rhythmic stress on the fifth syllable of each +hemistich. The sixth syllable of either hemistich or of both may be +lacking, so that there may be a total of 10, 11, or 12 syllables in a +line. Lines 179-282, Act II, are made up of thirteen _coplas de arte +mayor_. Most of the lines have 11 or 12 syllables; note that verses 187, +200, 215, etc., have only ten each. + +The _silva_ is usually composed of eleven-syllabled lines, intermingled +with lines of seven syllables. There is consonantal rime, but without +regularity; and many lines are left unrimed. An example of the _silva_ +may be found in lines 309-437, Act III. + + + + + SCHEME OF VERSIFICATION + + + Act I. 1-110 Romance (_e_) + 111-458 Redondillas + Act II. 1-178 Romance (_a_) + 179-282 Coplas de arte mayor + 283-466 Redondillas + 467-573 Prose + 574-760 Romance _(é-a)_ + 761-780 Décimas + Act III. 1-61 Prose + 62-226 Quintillas + 227-308 Prose + 309-437 Silva + Act IV. 1-148 Romance _(é-o)_ + 149-268 Redondillas + 269-474 Romance heroico _(á-a)_ + + + + + +BIBLIOGRAPHICAL NOTE + +The most important books and articles that treat of Hartzenbusch and the +legend of the _Amantes de Teruel_ have already been mentioned. In them +may be found many references and extensive bibliographical data. The +best of the writings of Hartzenbusch are contained in the five volumes +published in the well-known series _Colección de Escritores +Castellanos_. Three volumes contain his best plays: _Teatro_, Madrid, +1888-1892. The first volume, _Poesías_, 1887, contains a good study of +his life and writings by A. Fernández-Guerra. The Romantic movement in +Spain is treated at length in _El Romanticismo en España_, by Enrique +Pineyro, Paris, 1904; and in Vol. I, of _La Literatura Española en el +Siglo XIX_, by F. Blanco-García, 3d edition, 1909. + + + + + + LOS AMANTES DE TERUEL, + + DRAMA REFUNDIDO EN CUATRO ACTOS Y EN VERSO Y PROSA + + Estrenado en Madrid en el teatro del Príncipe a 19 de enero de 1837 + + PERSONAS + + + JUAN DIEGO MARTÍNEZ GARCÉS DE MARSILLA, O MARSILLA. + ISABEL DE SEGURA. + DOÑA MARGARITA. + ZULIMA. + DON RODRIGO DE AZAGRA. + DON PEDRO DE SEGURA. + DON MARTÍN GARCÉS DE MARSILLA. + TERESA. + ADEL. + OSMÍN. + + Soldados moros, cautivos, damas, caballeros, pajes, criados, criadas. + + + + +_El primer acto pasa en Valencia, y los demás en Teruel. +Año de 1217_. + + + LOS AMANTES DE TERUEL + + + + + ACTO PRIMERO + +Dormitorio morisco en el alcázar de Valencia. A la derecha del +espectador una cama, junto al proscenio; a la izquierda, una +ventana con celosías y cortinajes. Puerta grande en el fondo, +y otras pequeñas a los lados. + + + + ESCENA PRIMERA + + +ZULIMA, ADEL; JUAN DIEGO MARSILLA, adormecido en la cama: +sobre ella un lienzo con letras de sangre. + +ZULIMA. No vuelve en sí. + +ADEL. Todavía + tardará mucho en volver. + +ZULIMA. Fuerte el narcótico ha sido. + +ADEL. Poco ha se lo administré.-- + Dígnate de oír, señora, + la voz de un súbdito fiel, + que orillas de un precipicio + te ve colocar el pie. + +ZULIMA. Si disuadirme pretendes, + no te fatigues, Adel. + Partir de Valencia quiero, + y hoy, hoy mismo partiré. + +ADEL. ¿Con ese cautivo? + +ZULIMA. Tú + me has de acompañar con él. + +ADEL. ¿Así al esposo abandonas? 15 + ¡Un Amir, señora, un Rey! + +ZULIMA. Ese Rey, al ser mi esposo, + me prometió no tener + otra consorte que yo. + ¿Lo ha cumplido? Ya lo ves. 20 + A traerme una rival + marchó de Valencia ayer. + Libre a la nueva sultana + mi puesto le dejaré. + +ADEL. Considera.... + +ZULIMA. Está resuelto. 25 + El renegado Zaén, + el que aterra la comarca + de Albarracín y Teruel, + llamado por mí ha venido, + y tiene ya en su poder 30 + casi todo lo que yo + de mis padres heredé, + que es demás para vivir + con opulencia los tres. + De la alcazaba saldremos 35 + a poco de anochecer. + +ADEL. Y ese cautivo, señora, + ¿te ama? ¿Sabes tú quién es? + +ZULIMA. Es noble, es valiente, en una + mazmorra iba a perecer 40 + de enfermedad y de pena, + de frío, de hambre y de sed: + yo le doy la libertad, + riquezas, mi mano: ¿quién + rehusa estos dones? ¡Oh! 45 + Si ofendiera mi altivez + con una repulsa, caro + le costara su desdén + conmigo. Tiempo hace ya + que este acero emponzoñé, 50 + furiosa contra mi aleve + consorte Zeit Abenzeit: + quien es capaz de vengarse + en el Príncipe, también + escarmentara al esclavo, 55 + como fuera menester. + +ADEL. ¿Qué habrá escrito en ese lienzo + con su sangre? Yo no sé + leer en su idioma; pero + puedo llamar a cualquier 60 + cautivo.... + +ZULIMA. Él nos lo dirá, + yo se lo preguntaré. + +ADEL. ¿No fuera mejor hablarle + yo primero, tú después? + +ZULIMA. Le voy a ocultar mi nombre: 65 + ser Zoraida fingiré, + hija de Merván. + +ADEL. ¡Merván! + ¿Sabes que ese hombre sin ley + conspira contra el Amir? + +ZULIMA. A él le toca defender 70 + su trono, en vez de ocuparse, + contra la jurada fe, + en devaneos que un día + lugar a su ruina den. + Mas Ramiro no recobra 75 + los sentidos: buscaré + un espíritu a propósito.... (_Vase_.) + + + + ESCENA II + + +OSMÍN, por una puerta lateral.--ADEL, MARSILLA + + +OSMÍN. ¿Se fué Zulima? + +ADEL. Se fué. + Tú nos habrás acechado. + +OSMÍN. He cumplido mi deber. 80 + Al ausentarse el Amir, + con este encargo quedé. + Es más cauto nuestro dueño + que esa liviana mujer.-- + El lienzo escrito con sangre, 85 + ¿dónde está? + +ADEL. Allí. (_Señalando la cama_.) + +OSMÍN. Venga. + +ADEL. Ten. + (_Le da el lienzo, y Osmín lee_.) + Mira si es que dice, ya + que tú lo sabes leer, + dónde lo pudo escribir; + porque en el encierro aquel 90 + apenas penetra nunca + rayo de luz: verdad es + que rotas esta mañana + puerta y cadenas hallé: + debió, después de romperlas, 95 + el subterráneo correr, + y hallando el lienzo.... + +OSMÍN (_asombrado de lo que ha leído_.) ¡Es posible! + +ADEL. ¿Qué cosa? + +OSMÍN. ¡Oh, vasallo infiel! + Avisar al Rey es fuerza, + y al pérfido sorprender. 100 + +ADEL. ¿Es éste el pérfido? (_Señalando a Marsilla_.) + +OSMÍN. No; + ese noble aragonés + hoy el salvador será + de Valencia y de su Rey. + +ADEL. Zulima viene. + +OSMÍN. Silencio 105 + con ella, y al punto ve + a buscarme. (_Vase_.) + +ADEL. Norabuena. + Así me harás la merced + de explicarme lo que pasa. + + + + ESCENA III + + +ZULIMA.--ADEL, MARSILLA + +ZULIMA. Déjame sola. + +ADEL. Está bien. (_Vase_.) 110 + + + + ESCENA IV + + +ZULIMA, MARSILLA + +ZULIMA. Su pecho empieza a latir + más fuerte; así que perciba.... + (_Aplícale un pomito a la nariz_.) + +MARSILLA. ¡Ah! + +ZULIMA. Volvió. + +MARSILLA (_incorporándose_.) ¡Qué luz tan viva! + no la puedo resistir. + +ZULIMA (_corriendo las cortinas de la ventana_). + De aquella horrible mansión 115 + está a las tinieblas hecho. + +MARSILLA. No es esto piedra, es un lecho. + ¿Qué ha sido de mi prisión? + +ZULIMA. Mira este albergue despacio, + y abre el corazón al gozo. 120 + +MARSILLA. ¡Señora!.... (_Reparando en ella_.) + +ZULIMA. Tu calabozo + se ha convertido en palacio. + +MARSILLA. Di (porque yo no me explico + milagro tal), di, ¿qué es esto? + +ZULIMA. Que eras esclavo, y que presto 125 + vas a verte libre y rico. + +MARSILLA. ¡Libre! ¡Oh divina clemencia! + Y ¿a quién debo tal favor? + +ZULIMA. ¿Quién puede hacerle mejor + que la Reina de Valencia? 130 + Zulima te proporciona + la sorpresa que te embarga + dulcemente: ella me encarga +que cuide de tu persona: + y desde hoy ningún afán 135 + permitiré que te aflija. + +MARSILLA. ¿Eres?.... + +ZULIMA. Dama suya, hija + del valeroso Merván. + +MARSILLA. ¿De Merván? (_Aparte_. ¡Ah! ¡qué + recuerdo!) (_Busca y recoge el lienzo_.) + +ZULIMA. ¿Qué buscas tan azorado? 140 + ¿Ese lienzo ensangrentado? + +MARSILLA (_aparte_.) Si ésta lo sabe, me pierdo. + +ZULIMA. ¿Que has escrito en él? + +MARSILLA. No va + esto dirigido a ti; + es para el Rey. + +ZULIMA. No está aquí. 145 + +MARSILLA. Para la Reina será. + Haz, pues, que a mi bienhechora + vea: por Dios te lo ruego. + +ZULIMA. Conocerás aquí luego + a la Reina tu señora. 150 + +MARSILLA. ¡Oh!.... + +ZULIMA. No estés con inquietud. + Olvida todo pesar: + trata solo de cobrar + el sosiego y la salud. + +MARSILLA. Defienda próvido el cielo 155 + y premie con altos dones + los piadosos corazones + que dan al triste consuelo. + Tendrá Zulima, tendrás + tú siempre un cautivo en mí; 160 + hermoso es el bien por sí, + pero en una hermosa, más. + Ayer, hoy mismo, ¿cuál era + mi suerte? Sumido en honda + cárcel, estrecha y hedionda, 165 + sin luz, sin aire siquiera; + envuelto en infecta nube + que húmedo engendra el terreno; + paja corrompida, cieno + y piedras por cama tuve. 170 + --Hoy ... si no es esto soñar, + torno a la luz, a la vida, + y espero ver la florida + margen del Guadalaviar, + allí donde alza Teruel, 175 + señoreando la altura, + sus torres de piedra oscura, + que están mirándose en él. + No es lo más que me redima + la noble princesa mora: 180 + el bien que me hace, lo ignora + aun la propia Zulima. + +ZULIMA. Ella siempre algún misterio + supuso en ti, y así espera + que me des noticia entera 185 + de tu vida y cautiverio. + Una vez que en tu retiro + las dos ocultas entramos, + te oímos ... y sospechamos + que no es tu nombre Ramiro. 190 + +MARSILLA. Mi nombre es Diego Marsilla, + y cuna Teruel me dió, + pueblo que ayer se fundó, + y es hoy poderosa villa, + cuyos muros, entre horrores 195 + de lid atroz levantados, + fueron con sangre amasados + de sus fuertes pobladores. + Yo creo que al darme ser + quiso formar el Señor, 200 + modelos de puro amor, + un hombre y una mujer, + y para hacer la igualdad + de sus afectos cumplida, + les dió un alma en dos partida, 205 + y dijo: «Vivid y amad.» + Al son de la voz creadora, + Isabel y yo existimos, + y ambos los ojos abrimos + en un día y una hora. 210 + Desde los años más tiernos + fuimos ya finos amantes; + desde que nos vimos ... antes + nos amábamos de vernos; + porque el amor principió 215 + a enardecer nuestras almas + al contacto de las palmas + de Dios, cuando nos crió: + y así fué nuestro querer, + prodigioso en niña y niño, 220 + encarnación del cariño + anticipado al nacer, + seguir Isabel y yo, + al triste mundo arribando, + seguir con el cuerpo amando, 225 + como el espíritu amó. + +ZULIMA. Inclinación tan igual + sólo dichas pronostica. + +MARSILLA. Soy pobre, Isabel es rica. + +ZULIMA (_aparte_). Respiro. + +MARSILLA. Tuve un rival. 230 + +ZULIMA. ¿Sí? + +MARSILLA. Y opulento. + +ZULIMA. Y bien.... + +MARSILLA. Hizo + alarde de su riqueza.... + +ZULIMA. ¿Y qué? ¿rindió la firmeza + de Isabel? + +MARSILLA. Es poco hechizo + el oro para quien ama. 235 + Su padre, sí, deslumbrado.... + +ZULIMA. ¿Tu amor dejó desairado, + privándote de tu dama? + +MARSILLA. Le ví, mi pasión habló, + su fuerza exhalando toda, 240 + y, suspendida la boda, + un plazo se me otorgó, + para que mi esfuerzo activo + juntara un caudal honrado. + +ZULIMA. ¿Es ya el término pasado? 245 + +MARSILLA. Señora, ya ves ... aun vivo. + Seis años y una semana +me dieron: los años ya + se cumplen hoy; cumplirá + el primer día mañana. 250 + +ZULIMA. Sigue. + +MARSILLA. Un adiós a la hermosa + dí, que es de mis ojos luz, + y combatí por la cruz + en las Navas de Tolosa. + Gané con brioso porte 255 + crédito allí de guerrero; + luego, en Francia, prisionero + caí del Conde Monforte. + Huí, y en Siria un francés + albigense, refugiado, 260 + a quien había salvado + la vida junto a Besiés, + me dejó, al morir, su herencia: + volviendo con fama y oro + a España, pirata moro 265 + me apresó y trajo a Valencia. + Y en pena de que rompió + de mis cadenas el hierro + mi mano, profundo encierro + en vida me sepultó, 270 + donde mi extraño custodio, + sin dejarse ver ni oír, + me prolongaba el vivir, + o por piedad o por odio. + De aquel horrendo lugar 275 + me sacáis: bella mujer, + sentir sé y agradecer: + di cómo podré pagar. + +ZULIMA. No borres de tu memoria + tan debido ofrecimiento, 280 + y haz por escuchar atento + cierta peregrina historia. + Un joven aragonés + vino cautivo al serallo: + sus prendas y nombre callo; 285 + tú conocerás quién es. + Toda mujer se lastima + de ver padecer sonrojos + a un noble: puso los ojos + en el esclavo Zulima, 290 + y férvido amor en breve + nació de la compasión: + aquí es brasa el corazón; + allá entre vosotros, nieve. + Quiso aquel joven huir; 295 + fué desgraciado en su empeño: + le prenden, y por su dueño + es condenado a morir. + Pero en favor del cristiano + velaba Zulima; ciega, 300 + loca, le salva;--más, llega + a brindarle con su mano. + Respuesta es bien se le dé + en trance tan decisivo: + habla tú por el cautivo, 305 + yo por la Reina hablaré. + +MARSILLA. Ni en desgracia ni en ventura + cupo en mi lenguaje dolo: + este corazón es sólo + para Isabel de Segura. 310 + +ZULIMA. Medita, y concederás + al tiempo lo que reclama. + ¿Sabes tú si es fiel tu dama? + ¿Sabes tú si la verás? + +MARSILLA. Me matara mi dolor, 315 + si fuera Isabel perjura: + mi constancia me asegura + la firmeza de su amor. + Con espíritu gallardo, + si queréis, daré mi vida: 320 + dada el alma y recibida, + fiel al dueño se la guardo. + +ZULIMA. Mira que es poco prudente + burlar a tu soberana, + que tiene sangre africana, 325 + y ama y odia fácilmente. + Y si ella sabe que, cuando + yo su corazón te ofrezco, + por ella el dolor padezco + de ver que le estás pisando, 330 + volverás a tus cadenas + y a tu negro calabozo, + y allí yo, con alborozo + que más encone tus penas, + la nueva te llevaré 335 + de ser Isabel esposa. + +MARSILLA. Y en prisión tan horrorosa + ¿cuántos días viviré? + +ZULIMA. ¡Rayo del cielo! el traidor + cuanto fabrico derrumba: 340 + defendido con la tumba, + se ríe de mi furor. + Trocarás la risa en llanto. + Cautiva desde Teruel + me han de traer a Isabel.... 345 + +MARSILLA. ¿Quién eres tú para tanto? + +ZULIMA. Tiembla de mí. + +MARSILLA. Furia vana. + +ZULIMA. ¡Insensato! La que ves, + no es hija de Merván, es + Zulima. + +MARSILLA. ¡Tú la Sultana! 350 + +ZULIMA. La Reina. + +MARSILLA. Toma, con eso + (_Dándole el lienzo ensangrentado_.) + correspondo a tu afición: + entrega sin dilación + a hombre de valor y seso + el escrito que te doy. 355 + Sálvete su diligencia. + +ZULIMA. ¡Cómo! ¿Qué riesgo?... + +MARSILLA. A Valencia + tu esposo ha de llegar hoy; + y en llegando, tú y él y otros + a sedicioso puñal 360 + perecéis. + +ZULIMA. ¿Qué desleal + conspira contra nosotros? + +MARSILLA. Merván, tu padre supuesto. + Si tu cólera no estalla, + mi labio el secreto calla, 365 + y el fin os llega funesto. + +ZULIMA. ¿Cómo tal conjuración + a ti!.... + +MARSILLA. Frenético ayer, + la puerta pude romper + de mi encierro: la prisión 370 + recorro, oigo hablar, atiendo.... + --Junta de aleves impía + era, Merván presidía.-- + Allí supe que volviendo + a este alcázar el Amir, 375 + trataban de asesinarle. + Resuélvome a no dejarle + pérfidamente morir, + y con roja tinta humana + y un pincel de mi cabello 380 + la trama en un lienzo sello, + y el modo de hacerla vana. + Poner al siguiente día + pensaba el útil aviso + en la cesta que el preciso 385 + sustento me conducía. + Vencióme tenaz modorra, + más fuerte que mi cuidado: + desperté maravillado, + fuera ya de la mazmorra. 390 + Junta pues tu guardia, pon + aquí un acero, y que venga + con todo el poder que tenga + contra ti la rebelión. + +ZULIMA. Dé a la rebelión castigo 395 + quien tema por su poder; + no yo, que al anochecer + huir pensaba contigo. + Poca gente, pero brava, + que al marchar nos protegiera, 400 + sumisa mi voz espera + escondida en la alcazaba. + Con ellos entre el rebato + del tumulto, partiré; + con ellos negociaré 405 + que me venguen de un ingrato. + Teme la cuchilla airada + de Zaén, el bandolero; + tiembla, más que de su acero, + de esta daga envenenada. 410 + ¡Ay del que mi amor trocó + en frenesí rencoroso! + ¡Nunca espere ser dichoso + quien de celos me mató! + +MARSILLA. ¡Zulima!... ¡Señora !... 415 + +(_Vase Zulima por la puerta del fondo, y cierra por dentro_.) + + + + ESCENA V + +OSMÍN.--MARSILLA. + +OSMÍN Baste + de plática sin provecho. + Al Rey un favor has hecho: + acaba lo que empezaste. + +MARSILLA. ¡Cómo! ¿tú?.... + +OSMÍN. El lienzo he leído + que al Rey dirigiste: allí 420 + le ofreces tu brazo. + +MARSILLA. Sí, + armas y riesgo le pido. + +OSMÍN. Pues bien, dos tropas formadas + con los cautivos están: + serás el un capitán, 425 + el otro Jaime Celladas. + +MARSILLA. ¡Jaime está aquí! Es mi paisano, + es mi amigo. + +OSMÍN. Si hay combate, + así tendrá su rescate + cada cautivo en la mano. 430 + Con ardimiento lidiad. + +MARSILLA. ¿Quién, de libertad sediento, + no lidia con ardimiento + al grito de libertad! + +OSMÍN. Cuanto a Zulima.... + +MARSILLA. También 435 + Libre ha de ser. + +OSMÍN. No debiera; + pero llévesela fuera + de nuestro reino Zaén. + + + + ESCENA VI + + +ADEL, SOLDADOS MOROS.--MARSILLA, OSMÍN + +ADEL. Osmín, a palacio van + turbas llegando en tumulto, 440 + y Zaén, que estaba oculto, + sale aclamando a Merván. + Zulima nos ha vendido. + +OSMÍN. Ya no hay perdón que le alcance. + +MARSILLA. Después de correr el lance, 445 + se dispondrá del vencido. + Cuando rueda la corona + entre la sangre y el fuego, + primero se triunfa, luego.... + +OSMÍN. Se castiga. + +MARSILLA. Se perdona. 450 + +VOCES (_dentro_). ¡Muera el tirano! + +MARSILLA. ¡Mi espada! + ¡Mi puesto! + +OSMÍN. Ven, ven a él. + Guarda el torreón, Adel. + +ADEL. Ten tu acero. (_Dásele a Marsilla_.) + +MARSILLA. ¡Arma anhelada! + ¡Mi diestra te empuña ya! 455 + Ella al triunfo te encamina. + Rayo fué de Palestina, + rayo en Valencia será. + + + + + ACTO SEGUNDO + + +Teruel.--Sala en casa de don Pedro Segura + + + + ESCENA PRIMERA + + +DON PEDRO, entrando en su casa; MARGARITA, ISABEL y TERESA, +saliendo a recibirle + + +MARGARITA. ¡Esposo! (_Arrodillándose_.) + +ISABEL. ¡Padre! (_Arrodillándose_.) + +TERESA. ¡Señor! + +PEDRO. ¡Hija! ¡Margarita! Alzad. + +ISABEL. Dadme a besar vuestra mano. + +MARGARITA. Déjame el suelo besar + que pisas. + +TERESA (_a Margarita_). Vaya, señora, 5 + ya es vicio tanta humildad. + +PEDRO. Pedazos del corazón, + no es ese vuestro lugar. + Abrazadme. (_Levanta y abraza a las dos_.) + +TERESA. Así me gusta. + Y a mí luego. + +PEDRO. Ven acá, 10 + fiel Teresa. + +TERESA. Fiel y franca, + tengo en ello vanidad. + +PEDRO. Ya he vuelto, por fin. + +MARGARITA. Dios quiso + mis plegarias escuchar. + +PEDRO. Gustoso a Monzón partí, 15 + comisionado especial + para ofrecer a don Jaime + las tropas que alistará + nuestra villa de Teruel + en defensa de la paz, 20 + que don Sancho y don Fernando + nos quieren arrebatar: + fué don Rodrigo de Azagra, + obsequioso y liberal, + acompañándome al ir, 25 + y me acompaña al tornar; + mas yo me acordaba siempre + de vosotras con afán. + Triste se quedó Isabel; + más triste la encuentro. + +TERESA. Ya. 30 + +MARGARITA. ¡Teresa! + +ISABEL. ¡Padre! + +PEDRO. Hija mía, + dime con sinceridad + lo que ha pasado en mi ausencia. + +TERESA. Poco tiene que contar. + +MARGARITA. ¡Teresa! + +TERESA. Digo bien. ¿Es 35 + por ventura novedad + que Isabel suspire, y vos (_a Margarita_) + recéis, y ayunéis a pan + y agua, y os andéis curando + enfermos por caridad? 40 + Es la vida que traéis, + lo menos, quince años ha.... + +MARGARITA. Basta. + +TERESA. Y hace seis cumplidos + que no se ha visto asomar + en los labios de Isabel 45 + ni una sonrisa fugaz. + +ISABEL (_aparte_). ¡Ay, mi bien! + +TERESA. En fin, señor, + del pobrecillo don Juan + Diego de Marsilla, nada + se sabe. + +MARGARITA. Si no calláis, 50 + venid conmigo. + +TERESA. Ir con vos + fácil es; pero callar.... + +(_Vanse Margarita y Teresa. Don Pedro se quita la espada +y la pone sobre un bufete_.) + + + + ESCENA II + + +DON PEDRO, ISABEL + +PEDRO. Mucho me aflige, Isabel, + tu pesadumbre tenaz; + pero, por desgracia, yo 55 + no la puedo remediar. + Esclavo de su palabra + es el varón principal; + tengo empeñada la mía: + la debo desempeñar. 60 + En el honor de tu padre + no se vió mancha jamás: + juventud honrada pide + más honrada ancianidad. + +ISABEL. No pretendo yo.... + +PEDRO. Por otra 65 + parte, parece que están + de Dios ciertas cosas. Oye + un lance bien singular, + y di si no tiene traza + de caso providencial. 70 + +ISABEL. A ver. + +PEDRO. En Teruel vivió + (no sé si te acordarás) + un tal Roger de Lizana, + caballero catalán. 75 + +ISABEL. ¿El templario? + +PEDRO. Sí. Roger + paraba en Monzón. Allá + es voz que penas y culpas + de su libre mocedad + trajéronle una dolencia + de espíritu y corporal, 80 + que vino a dejarle casi + mudo, imbécil, incapaz. + Pacífico en su idiotez, + permitíanle vagar + libre por el pueblo. Un día, 85 + sobre una dificultad + en mi encargo y sobre cómo + se debiera de allanar, + don Rodrigo y yo soltamos + palabras de enemistad. 90 + Marchóse enojado, y yo + exclamé al verle marchar: + «¿Ha de ser este hombre dueño + de lo que yo quiero más? + Si la muerte puede sola 95 + mi palabra desatar, + lléveme el Señor, y quede + Isabel en libertad.» + +ISABEL. ¡Oh padre! + +PEDRO. En esto, un empuje + tremendo a la puerta dan, 100 + se abre, y con puñal en mano + entra.... + +ISABEL. ¡Virgen del Pilar! + ¿Quién? + +PEDRO. Roger. Llégase a mí, + y en voz pronunciada mal, + «Uno (dijo) de los dos 105 + la vida aquí dejará.» + +ISABEL. Y ¿qué hicisteis? + +PEDRO. Yo, pensando + que bien pudiera quizás + mi muerte impedir alguna + mayor infelicidad, 110 + crucé los brazos, y quieto + esperé el golpe mortal. + +ISABEL. ¡Cielos! ¿Y Roger? + +PEDRO. Roger + parado al ver mi ademán, + en lugar de acometerme, 115 + se fué retirando atrás, + mirándome de hito en hito, + llena de terror la faz. + Asió con entrambas manos + el arma por la mitad, 120 + y señas distintas hizo + de querérmela entregar. + Yo no le atendí, guardando + completa inmovilidad + como antes; y él, con los ojos 125 + fijos, y sin menear + los párpados, balbuciente + dijo: «Matadme, salvad + en el hueco de mi tumba + mi secreto criminal.» 130 + +ISABEL. ¡Su secreto! + +PEDRO. En fin, de estarse + tanto sin pestañear, + él, cuyos sentidos eran + la suma debilidad, + se trastornó, cayó; dió 135 + la guarnición del puñal + en tierra, le fué la punta + al corazón a parar + al infeliz, y a mis plantas + rindió el aliento vital. 140 + Huí con espanto: Azagra, + viniéndose a disculpar + conmigo, me halló; le dije + que no pisaba el umbral + de aquella casa en mi vida; 145 + y él, próvido y eficaz, + avisó al rey, y mandó + el cadáver sepultar.-- + Ya ves, hija: por no ir + yo contra tu voluntad, 150 + por no cumplir mi palabra, + quise dejarme matar; + y Dios me guardó la vida: + su decreto celestial + es sin duda que esa boda 155 + se haga por fin ... --y se hará, + si en tres días no parece + tu preferido galán. + +ISABEL (_aparte_). ¡Ay de él y de mí! + + + + ESCENA III + + +TERESA.--DON PEDRO, ISABEL + +TERESA. Señor, + acaba de preguntar 160 + por vos don Martín, el padre + de don Diego. + +ISABEL (_aparte_). ¿Si sabrá?... + +TERESA. Como es enemigo vuestro, + le he dejado en el zaguán. + +PEDRO. A enemigo noble se abren 165 + las puertas de par en par. + Que llegue. (_Vase Teresa_.) Ve con tu + madre. + +ISABEL (_aparte_). Ella a sus pies me verá + llorando, hasta que consiga + vencer su severidad. (_Vase_.) 170 + + + + ESCENA IV + + + DON PEDRO + + Desafiados quedamos + al tiempo de cabalgar + yo para Monzón: el duelo + llevar a cabo querrá. + Bien.--Pero él ha padecido 175 + una larga enfermedad. + Si no tiene el brazo firme, + conmigo no lidiará. + + + + ESCENA V + + +DON MARTÍN.--DON PEDRO + +MARTÍN. Don Pedro Segura, seáis bien venido. + +PEDRO. Y vos, don Martín Garcés de Marsilla, 180 + seáis bien hallado: tomad una silla. + +(_Siéntase don Martín, mientras don Pedro va a tomar su +espada_.) + +MARTÍN. Dejad vuestra espada. + +PEDRO (_sentándose_). Con pena he sabido + la grave dolencia que habéis padecido. + +MARTÍN. Al fin me repuse del todo. +PEDRO. No sé.... + +MARTÍN. Domingo Celladas.... + +PEDRO. ¡Fuerte hombre es, a fe! 185 + +MARTÍN. Pues aun a la barra le gano el partido. + +PEDRO. Así os quiero yo. Desde hoy, elegid + al duelo aplazado seguro lugar. + +MARTÍN. Don Pedro, yo os tengo primero que hablar. + +PEDRO. Hablad en buen hora: ya escucho. Decid. 190 + +MARTÍN. Causó nuestra riña.... + +PEDRO. La causa omitid: + sabémosla entrambos. Por vos se me dijo + que soy un avaro, y os privo de un hijo. + De honor es la ofensa, precisa la lid. + +MARTÍN. ¿Tenéisme por hombre de aliento? + +PEDRO. Sí tal. 195 + Si no lo creyera, con vos no lidiara. + +MARTÍN. Jamás al peligro le vuelvo la cara. + +PEDRO. Sí, nuestro combate puede ser igual. + +MARTÍN. Será por lo mismo.... + +PEDRO. Sangriento, mortal. + Ha de perecer uno de los dos. 200 + +MARTÍN. Oíd un suceso, feliz para vos... + Feliz para entrambos. + +PEDRO. Decídmele. ¿Cuál? + +MARTÍN. Tres meses hará que en lecho de duelo + me puso la mano que todo lo guía. + Del riesgo asustada la familia mía 205 + quiso en vuestra esposa buscar su consuelo. + Con tino infalible, con próvido celo + salud en la villa benéfica vierte, + y enfermo en que airada se ceba la muerte, + le salva su mano, bendita del cielo. 210 + Con vos irritado, no quise atender + al dulce consejo de amante inquietud. + «No cobre (decía) jamás la salud, + si mano enemiga la debe traer.» + Mayor mi tesón a más padecer, 215 + la muerte en mi alcoba plantó su bandera. + Por fin, una noche... ¡Qué noche tan fiera! + Blasfemo el dolor hacíame ser; + pedía una daga con furia tenaz, + rasgar anhelando con ella mi pecho... 220 + En esto a mis puertas, y luego a mi lecho, + llegó un peregrino, cubierta la faz. + Ángel parecía de salud y paz... + Me habla, me consuela, benigno licor + al labio me pone; me alivia el dolor, 225 + y parte, y no quiere quitarse el disfraz. +La noche que tuve su postrer visita, + ya restablecido, sus pasos seguí. + Cruzó varias calles, viniendo hacia aquí, + y entró en esa ruina de gótica ermita, 230 + que a vuestros jardines términos limita. + Detúvele entonces: el velo cayó, + radiante la luna su rostro alumbró ... + era vuestra esposa. + +PEDRO. ¡Era Margarita! + +MARTÍN. Confuso un momento, cobréme después, 235 + y vióme postrado la noble señora. + --Con tal beneficio, no cabe que ahora + provoque mi mano sangriento revés. + Don Pedro Segura, decid a quien es + deudor este padre de verse con vida, 240 + que está la contienda por mí fenecida. + Tomad este acero, ponedle a sus piés. + + (_Da su espada a don Pedro, que la coloca en el bufete_.) + +PEDRO. ¡Feliz yo, que logro el duelo excusar + con vos, por motivo que es tan lisonjero! + Si pronto me hallasteis, por ser caballero, 245 + cuidado me daba el ir a lidiar. + Con tal compañera, ¿quién no ha de arriesgar + con susto la vida que lleva dichosa? + Ella me será desde hoy más preciosa, + si ya vuestro amigo queréisme llamar. 250 + +MARTÍN. Amigos seremos. (_Danse las manos_.) + +PEDRO. Siempre. + +MARTÍN. Siempre, sí. + +PEDRO. Y al cabo, ¿qué nuevas tenéis de don Diego? + En hora menguada, vencido del ruego + de Azagra, la triste palabra le dí. + Si antes vuestro hijo se dirige a mí, 255 + ¡cuánto ambas familias se ahorran de llanto! + No lo quiso Dios. + +MARTÍN. Yo su nombre santo + bendigo; mas lloro por lo que perdí. + +PEDRO. Pero, ¿qué...? + +MARTÍN. Después de la de Maurel, + donde cayó en manos del Conde Simón, 260 + de nadie consigo señal ni razón, + por más que anhelante pregunto por él. + Cada día al cielo con súplica fiel + pido que me diga qué punto en la tierra + sostiénele vivo, o muerto le encierra: 265 + mundo y cielo guardan silencio cruel. + +PEDRO. El plazo no tuvo su fin todavía. + Piedad atesora inmensa el Eterno: + y mucho me holgara si fuera mi yerno + quien a mi Isabel tan fino quería. 270 + Pero si no viene, y cúmplese el día, + y llega la hora ... por más que me pesa, + me tiene sujeto sagrada promesa: + si fuera posible, no la cumpliría. + +MARTÍN. Diligencia escasa, fortuna severa 275 + parece que en suerte a mi sangre cupo: + quien a la desgracia sujetar no supo, + sufrido se muestre cuando ella le hiera. + Adiós. + +PEDRO. No han de veros de aquesa manera. + Yo quiero esta espada; la mía tomad + (_Dásela_.) 280 + en prenda segura de fiel amistad. + +MARTÍN. Acepto: un monarca llevarla pudiera. + +(_Vase don Martín, y don Pedro le acompaña_.) + + + + ESCENA VI + + +MARGARITA, ISABEL + +MARGARITA (_aparte, siguiendo con la vista a los dos que se + retiran_.) + Aunque nada les oí, + deben estar ya los dos + reconciliados. + +ISABEL (_que viene tras su madre_). Por Dios, 285 + madre, haced caso de mí. + +MARGARITA. No; que es repugnancia loca + la que mostráis a un enlace, + que de seguro nos hace + a todos, merced no poca. 290 + Noble sois; pero mirad + que quien su amor os consagra + es don Rodrigo de Azagra, + que goza más calidad, + más bienes: en Aragón 295 + le acatan propios y ajenos, + y muestra, con vos al menos, + apacible condición. + +ISABEL. Vengativo y orgulloso + es lo que me ha parecido. 300 + +MARGARITA. Vuestro padre le ha creído + digno de ser vuestro esposo. + Prendarse de quien le cuadre + no es lícito a una doncella, + ni hay más voluntad en ella 305 + que la que tenga su padre. + Hoy día, Isabel, así + se conciertan nuestras bodas: + así nos casan a todas, + y así me han casado a mí. 310 + +ISABEL. ¿No hay a los tormentos míos + otro consuelo que dar? + +MARGARITA. No me tenéis que mentar + vuestros locos amoríos. + Yo por delirios no abogo. 315 + Idos. + +ISABEL. En vano esperé. + (_Sollozando al retirarse_.) + +MARGARITA. ¡Qué! ¿lloráis? + +ISABEL. Aun no me fué + vedado este desahogo. + +MARGARITA. Isabel, si no os escucho, + no me acuséis de rigor. 320 + Comprendo vuestro dolor, + y le compadezco mucho; + pero, hija ... cuatro años ha + que a nadie Marsilla escribe. + Si ha muerto.... + +ISABEL. ¡No, madre, vive!.... 325 + Pero ¿cómo vivirá? + Tal vez, llorando, en Sion + arrastra por mí cadenas, + quizá gime en las arenas + de la líbica región. 330 + Con aviso tan funesto + no habrá querido afligirme. + Yo trato de persuadirme, + y sin cesar pienso en esto. + Yo me propuse aprender 335 + a olvidarle, sospechando + que infiel estaba, gozando + caricias de otra mujer. + Yo escuché de su rival + los acentos desabridos, 340 + y logré de mis oídos + que no me sonaran mal. + Pero ¡ay! cuando la razón + iba a proclamarse ufana + vencedora soberana 345 + de la rebelde pasión, + al recordar la memoria + un suspiro de mi ausente, + se arruinaba de repente + la fortaleza ilusoria, 350 + y con ímpetu mayor, + tras el combate perdido, + se entraba por mi sentido + a sangre y fuego el amor. + Yo entonces a la virtud 355 + nombre daba de falsía, + rabioso llanto vertía, + y hundirme en el ataúd +juraba en mi frenesí + antes que rendirme al yugo 360 + de ese hombre, fatal verdugo, + genio infernal para mí. + +MARGARITA. Por Dios, por Dios, Isabel, + moderad ese delirio: + vos no sabéis el martirio 365 + que me hacéis pasar con él. + +ISABEL. ¡Qué! ¿mi audacia os maravilla? + Pero estando ya tan lleno + el corazón de veneno, + fuerza es que rompa su orilla. 370 + No a vos, a la piedra inerte + de esa muralla desnuda, + a esa bóveda que muda + oyó mi queja de muerte, + a este suelo donde mella 375 + pudo hacer el llanto mío, + a no ser tan duro y frío + como alguno que le huella, + para testigos invoco + de mi doloroso afán; 380 + que, si alivio no le dan, + no les ofende tampoco. + +MARGARITA (_aparte_). ¿Quién con ánimo sereno + la oyera?--El dolor mitiga; + de una madre, de una amiga 385 + ven al cariñoso seno. + Conóceme, y no te ahuyente + la faz severa que ves: + máscara forzosa es, + que dió el pesar a mi frente; 390 + pero tras ella te espera, + para templar tu dolor, + el tierno, indulgente amor + de una madre verdadera. + +ISABEL. ¡Madre mía! (_Abrázanse._) + +MARGARITA. Mi ternura 395 + te oculté ... porque debí... + ¡Ha quince años que hay aquí + guardada tanta amargura! + Yo hubiera en tu amor filial + gozado, y gozar no debo + nada ya, desde que llevo 400 + el cilicio y el sayal. + +ISABEL. ¡Madre! + +MARGARITA. Temí, recelé + dar a tu amor incentivo, + y sólo por correctivo 405 + severidad te mostré; + mas oyéndote gemir + cada noche desde el lecho, + y a veces en tu despecho + mis rigores maldecir, 410 + yo al Señor, de silencioso + materno llanto hecha un mar, + ofrecí mil veces dar + mi vida por tu reposo. + +ISABEL. ¡Cielos! ¡Qué revelación 415 + tan grata! ¡Qué injusta he sido! + ¡Que tanto me habéis querido! + ¡Madre de mi corazón! + + Perdonadme... ¡Qué alborozo + siento, aunque llorar me veis! 420 + Seis años ha, más de seis, + que tanta dicha no gozo. + Mi desgracia contemplad, + cuando como dicha cuento + que mis penas un momento 425 + aplaquen su intensidad. + Pero este rayo que inunda + en viva luz mi alma yerta, + ¿dejaréis que se convierta + en lobreguez más profunda? 430 + Madre, madre, a quien adoro, + el labio os pongo en el pie; + mi aliento aquí exhalaré, + si no cedéis a mi lloro. (_Póstrase._) + +MARGARITA. Levanta, Isabel; enjuga 435 + tus ojos; confía.... Sí, + cuanto dependa de mí.... + +ISABEL Ya veis que en rápida fuga + el tiempo desaparece. + Si pasan tres días, ¡tres!, 440 + todo me sobra después, + toda esperanza fallece. + Mi padre, por no faltar + a la palabra tremenda, + le rendirá por ofrenda 445 + mi albedrío en el altar. + Vuestras razones imprimen + en su alma la persuasión: + en mí toda reflexión +fuera desacato, crimen. 450 + Y yo, señora, lo veo: + podrá llevarme a casar; + pero en vez de preparar + las galas del himeneo, + que a tenerme se limite 455 + una cruz y una mortaja; + que esta gala y esta alhaja + será lo que necesite. + +MARGARITA. No, no, Isabel: cesa, cesa. + Yo en tu defensa, me empeño: 460 + no será Azagra tu dueño. + yo anularé la promesa. + Me oirá tu padre, y tamaños + horrores evitará. + Hoy madre tuya será 465 + quien no lo fué tantos años. + + + + ESCENA VII + + +TERESA.--MARGARITA, ISABEL + +TERESA. Señoras, don Rodrigo de Azagra pide licencia + para visitaros. + +MARGARITA. Hazle entrar. A buen tiempo llega. +(_Vase Teresa_.) + +ISABEL. Permitid que yo me retire. 470 + +MARGARITA. Quédate en la pieza inmediata, y escucha + nuestra conversación. + +ISABEL. ¿Qué vais a decir? + +MARGARITA. Óyelo, y acabarás de hacer justicia a tu + madre. (_Vase Isabel_.) 475 + + + + ESCENA VIII + + +DON RODRIGO.--MARGARITA + +MARGARITA. Ilustre don Rodrigo.... + +RODRIGO. Señora ... al fin nos vemos. + +MARGARITA. Honrad mi estrado, ya que la prisa de +venir a mi casa no os ha dejado sosegar en la vuestra. + +RODRIGO. Aquí vengo a buscar el sosiego que necesito. 480 +(_Siéntase_.) ¿Qué me decís de mi desdeñosa? + +MARGARITA. ¿Me permitiréis que hable con toda franqueza? + +RODRIGO. Con franqueza pregunto yo.--Hablad. + +MARGARITA. Mi esposo os prometió la mano de su 485 +hija única; y, por él, debéis contar de seguro con ella. +Pero la delicadeza de vuestro amor y la elevación de +vuestro carácter ¿se satisfarían con la posesión de una +mujer, cuyo cariño no fuese vuestro? + +RODRIGO. El corazón de Isabel no es ahora mío, lo 490 +sé; pero Isabel es virtuosa, es el espejo de las doncellas: +cumplirá lo que jure, apreciará mi rendida fe, y será el +ejemplo de las casadas. + +MARGARITA. Mirad que su afecto a Marsilla no se ha +disminuído. 495 + +RODRIGO. No me inspira celos un rival, cuyo paradero +se ignora, cuya muerte, para mí, es indudable. + +MARGARITA. ¿Y si volviese aún? ¿Y si antes de +cumplirse el término, se presentara tan enamorado como +se fué, y con aumentos muy considerables de hacienda? 500 + +RODRIGO. Mal haría en aparecer ni antes ni después de +mis bodas. Él prometió renunciar a Isabel, si no se +enriquecía en seis años; pero yo nada he prometido. Si +vuelve, uno de los dos ha de quedar solo junto a Isabel. +La mano que pretendemos ambos, no se compra con oro; 505 +se gana con hierro, se paga con sangre. + +MARGARITA. Vuestro lenguaje no es muy reverente +para usado en esta casa, y conmigo; pero os le perdono, +porque me perdonéis la pesadumbre que voy a daros. +Yo, noble don Rodrigo, yo que hasta hoy consentí en 510 +vuestro enlace con Isabel, he visto por último que de él +iba a resultar su desgracia y la vuestra. Tengo, pues, que +deciros, como cristiana y madre; tengo que suplicaros por +nuestro Señor y nuestra Señora, que desistáis de un empeño, +ya poco distante de la temeridad. 515 + +RODRIGO. Ese empeño es público, hace muchos años +que dura, y se ha convertido para mí en caso de honor. +Es imposible que yo desista. No os opongáis a lo que +no podréis impedir. + +MARGARITA. Aunque habéis desairado mi ruego, tal 520 +vez no le desaire mi esposo. + +RODRIGO. Mucho alcanzáis con él: adora en vos, y lo +merecéis, porque ha quince años que os empleáis en la +caridad y la penitencia... Pero ... ¿os ha contado +ya la muerte de Roger de Lizana? 525 + +MARGARITA. ¡Cómo! ¿Roger ha muerto? + +RODRIGO. Sí, loco y mudo, según estaba; desgraciadamente, +según merecía; y a los pies de don Pedro, como +era justo. + +MARGARITA. ¡Cielos! Nada sabía de ese infeliz. 530 + +RODRIGO. Ese infeliz era muy delincuente, era el +corruptor de una dama ilustre. + +MARGARITA. ¡Don Rodrigo! + +RODRIGO. La esposa más respetable entre las de +Teruel. 535 + +MARGARITA. Por compasión.... Si Roger ha +muerto.... + +RODRIGO. Casi espiró en mis brazos. Yo tendí sobre +el féretro su cadáver, yo hallé sobre su corazón unas +cartas.... 540 + +MARGARITA. ¡Cartas! + +RODRIGO. De mujer ... cinco ... sin firma todas. +Pero yo os las presentaré, y vos me diréis quién las ha +escrito. + +MARGARITA. ¡Callad! ¡callad! 545 + +RODRIGO. Si no, acudiré a vuestro esposo: bien +conoce la letra. + +MARGARITA. ¡No! ¡Dádmelas, rompedlas, quemadlas! + +RODRIGO. Se os entregarán; pero Isabel me ha de +entregar a mí su mano primero. 550 + +MARGARITA. ¡Oh! + +RODRIGO. Dios os guarde, señora. + +MARGARITA. Deteneos, oídme. + +RODRIGO. Para que os oiga, venid a verlas. (_Vase_.) + +MARGARITA. Escuchad, escuchadme. (_Vase tras don 555 +Rodrigo_.) + + + + ESCENA IX + + +ISABEL, y después TERESA + +ISABEL. ¿Qué es lo que oí? No lo he comprendido, +no quiero comprender ese misterio horrible: sólo entiendo +que de infeliz he pasado a más. (_Sale Teresa_.) + +TERESA. Señora, un joven extranjero ha llegado a 560 +casa pidiendo que se le dejara descansar un rato.... + +ISABEL. Recíbele ... déjame. + +TERESA. Ya se le recibió, y le han agasajado con vino +y magras; por señas que nada de ello ha probado, como +si fuera moro o judío. Aparte de esto, es muy lindo 563 +muchacho: he trabado conversación con él, y dice que +viene de Palestina. + +ISABEL. ¿De Palestina? + +TERESA. Yo me acordé al punto del pobre don Diego. +--Como os figuráis que debe estar por allá.... 570 + +ISABEL. Sí. Llámale pronto. (_Vase Teresa_.) ¡Virgen +piadosa! ¡Que haya sido sueño lo que pienso que oí! +¡Oh! Pensemos en el que viene de Palestina. + + + + ESCENA X + + +ZULIMA, en traje de noble aragonés, TERESA.--ISABEL + +ZULIMA. El cielo os guarde. + +ISABEL. Y a vos + también. + +ZULIMA (_aparte_.) Mi rival es ésta. + +ISABEL. Mejor podéis descansar 575 + en esta sala que fuera. + +TERESA. Este mancebo, señora, + viene de lejanas tierras, + de Jerusalem, de Jope, + de Belén ... y de Judea. 580 + +ISABEL. ¿Cierto? + +ZULIMA. Sí. + +TERESA. Y ha conocido + allá gente aragonesa. + +ZULIMA. Un caballero traté + de Teruel. + +ISABEL. ¿Cuál? ¿Quién? ¿Quién era? + ¿Su nombre? + +ZULIMA. Diego Marsilla. 585 + +ISABEL. ¡Os trajo Dios a mi puerta!-- + ¿Dónde le dejáis? + +TERESA. Entonces, + ¿era ya rico? + +ZULIMA. Una herencia + cuantiosa le dejaron + allí. + +ISABEL. Pero ¿dónde queda? 590 + +ZULIMA. Hace poco era cautivo + del Rey moro de Valencia. + +ISABEL. ¡Cautivo! ¡Infeliz! + +ZULIMA. No tanto. + La esposa del Rey, la bella + Zulima, le amó. + +ISABEL. ¿Le amó? 595 + +ZULIMA. ¡Sí! ¡mucho! + +TERESA. ¡Qué desvergüenza! + +ISABEL. Y ¿qué? ¿ No viene por eso + Marsilla donde le esperan? + +TERESA. ¿Se ha vuelto moro quizá? + +ZULIMA (_aparte_). Ya que padecí, padezca. 600 + Finjamos. + +ISABEL. Hablad. + +ZULIMA. No es fácil + resistir a una princesa + hermosa y amante: al fin + Marsilla, para con ella, + era un miserable. + +TERESA. Pero + vamos, acabad.... 605 + +ISABEL (_aparte_.) Apenas + vivo. + +ZULIMA. El Rey llegó a saber + lo que pasaba; la Reina + pudo escapar, protegida + por un bandido, cabeza 610 + de la cuadrilla temible + que hoy anda por aquí cerca; + y Marsilla.... + +ISABEL. ¿Qué? + +ZULIMA. Rogad + a Dios que le favorezca. + +ISABEL. ¡Ha muerto! ¡Jesús, valedme! 615 + (_Desmáyase_.) + +TERESA. ¡Isabel! ¡Isabel!--¡Buena + la habéis hecho! +ZULIMA. (_aparte_.) Sabe amar + esta cristiana de veras; + yo sé más, yo sé vengarme. + +TERESA. ¡Señora!--¡Paula! ¡Jimena! 620 + (_A Zulima_.) + Buscad agua, llamad gente. + +ZULIMA (_aparte_.) + Salgamos.--Con esta nueva, + se casará. (_Vase_.) + +TERESA. ¡Dios confunda + la boca ruin que nos cuenta + noticia tan triste!... Pero 625 + un prójimo que no prueba + cerdo ni vino, ¿qué puede + dar de sí? + + (_Salen dos criadas que traen agua_.) + + Pronto aquí, lerdas. + ¿Dónde estabais? A ver: dadme + el agua. + +ISABEL. ¡Ay, Dios! ¡Ay, Teresa! 630 + + + + ESCENA XI + + +MARGARITA.--ISABEL, TERESA, CRIADAS + +MARGARITA. ¿Qué sucede? + +ISABEL. ¡Ay, madre mía! + Ya no es posible que venga. + Murió. + +MARGARITA. ¿Quién? ¿Marsilla? + +TERESA. ¿Quién + ha de ser? + +ISABEL. Y ha muerto en pena + de serme infiel. + +TERESA. Una mora, 635 + que dicen que no era fea, + la esposa del reyezuelo + valenciano, buena pieza + sin duda, nos le quitó. + +ISABEL. ¡En esto paran aquellas 640 + ilusiones de ventura + que alimentaba risueña! + Conmigo nacieron ¡ay!... + se van, y el alma se llevan. + Ese infausto mensajero, 645 + ¿dónde está? Dile que vuelva. + +MARGARITA. Sí: yo le preguntaré.... + +TERESA. Pues como nos dé respuestas + por el estilo.... Seguidme. + + (_Vanse Teresa y las criadas_.) + + + + ESCENA XII + + +MARGARITA, ISABEL + +ISABEL. ¿Quién figurarse pudiera 650 + que me olvidara Marsilla? + ¡Qué sonrojo! ¡Qué vileza! + Pero ¿cómo ha sido, cómo + fué que no lo presintiera + mi corazón? No es verdad: 655 + imposible que lo sea. + Se engañó, si lo creyó, + la sultana de Valencia. + Soló por volar a mí, + quebrantando sus cadenas, 660 + dejó soñar a la mora + con esa falaz idea. + Mártir de mi amor ha sido, + que desde el cielo en que reina, + de su martirio me pide 665 + la debida recompensa. + Yo se la daré leal, + yo defenderé mi diestra: + viuda del primer amor + he de bajar a la huesa. 670 + Llorar libremente quiero + lo que de vivir me resta, + sin que pueda hacer ninguno + de mis lágrimas ofensa. + No he de ser esposa yo 675 + de Azagra: primero muerta. + +MARGARITA. ¿Tendrás valor para?... + +ISABEL. Sí, + mi desgracia me le presta. + +MARGARITA. ¿Y si te manda tu padre?... + +ISABEL. Diré que no. + +MARGARITA. Si te ruega.... 680 + +ISABEL. No. + +MARGARITA. Si amenaza.... + +ISABEL. Mil veces + no. Podrán en hora buena, + de los cabellos asida, + arrastrarme hasta la iglesia, + podrán maltratar mi cuerpo, 685 + cubrirle de áspera jerga, + emparedarme en un claustro, + donde lentamente muera: + todo esto podrán, sí; pero + lograr que diga mi lengua 690 + un sí perjuro, no. + +MARGARITA. Bien, + bien. Tu valor ... me consuela. + +(_Aparte_. Nada oyó: más vale así. + La culpa, no la inocencia + debe padecer.) Ten siempre 695 + esa misma fortaleza, + y no te dejes vencer, + suceda lo que suceda. + Matrimonio sin cariño + crímenes tal vez engendra. 700 + Yo sé de alguna infeliz + que dió su mano violenta... + y ... después de larga lucha ... + desmintió su vida honesta. + Muchos años lleva ya 705 + de dolor y penitencia... + Y al fin le toca morir, + de oprobrio justo cubierta. + +ISABEL. ¡Ah, madre! ¿Qué dije yo? + Me olvidé, con esa nueva, 710 + de otra desdicha tan grande + que a mi desdicha supera. + +MARGARITA. ¡No te cases, Isabel! + +ISABEL. Sí, madre: mi vida es vuestra: + dárosla me manda Dios, 715 + lo manda naturaleza. + +MARGARITA. ¡Hija! + +ISABEL. Por fortuna mía, + Marsilla al morir me deja + el corazón sin amor + y sin lugar donde prenda. 720 + Por más fortuna, Marsilla + de mí se olvidó en la ausencia, + y puso en otra mujer + el amor que me debiera. + Por dicha mayor, Azagra 725 + es de condición soberbia, + celoso, iracundo: así + mis lágrimas y querellas + insufribles le serán; + querrá que yo las contenga; 730 + no podré, se irritará, + y me matará. + +MARGARITA. ¡Me aterras, + hija, me matas a mí! + +ISABEL. Tengo yo cartas que lea: + puede encontrármelas. + +MARGARITA. ¡Oh! 735 + Si como las tuyas fueran + otras.... + +ISABEL. Y tengo un retrato + en esta joya. (_Saca un relicario_.) + ¿Son ésas + sus facciones? Pues sabed + que, sin estudio ni regla, 740 + de amor guiada la mano, + al primer ensayo diestra, + yo supe dar a ese rostro + semejanza tan perfecta. + Me sirvió para suplir 745 + de Marsilla la presencia; + no le necesito ya: + más vale que no le vea. + ¡Ah! dejadme que le bese + una vez ... la última es ésta. 750 + Tomad. ¿Veis? el sacrificio + consumo, y estoy serena, + tranquila ... como la tumba. + Imitad vos mi entereza, + mi calma ... y no me digáis 755 + una palabra siquiera. + De mí vuestra fama pende: + la conservaréis ilesa. + Yo me casaré: no importa, + no importa lo que me cuesta. (_Vase_.) 760 + + + + ESCENA XIII + + +MARGARITA + +MARGARITA. Y ¿debo yo consentir + que la inocente Isabel, + por mi egoísmo cruel, + se ofrezca más que a morir? + Pero ¿cómo he de sufrir 765 + que, perdida mi opinión, + me llame todo Aragón + hipócrita y vil mujer? + Mala madre me hace ser + mi buena reputación. + A todo me resignara + con ánimo ya contrito, + si al saberse mi delito, + yo sola me deshonrara. + Pero a mi esposo manchara 775 + con ignominia mayor. + ¡Hija infeliz en amor! + ¡Hija desdichada mía! + Perdona la tiranía + de las leyes del honor. 780 + + + + + ACTO TERCERO + + +Retrete o gabinete de Isabel. Dos puertas. + + + + ESCENA PRIMERA + + +ISABEL, TERESA + +Aparece ISABEL, ricamente vestida, sentada en un sillón junto a una +mesa, sobre la cual hay un espejo de mano, hecho de metal. TERESA +está acabando de adornar a su ama. + +TERESA. ¿Qué os parece el tocado? Nada, ni me +oye. Que os miréis os digo; tomad el espejo. (_Se le da +a Isabel, que maquinalmente le toma, y deja caer la mano sin +mirarse_.) A esotra puerta. Miren ¡qué trazas éstas de +novia!--Ved ¡qué preciosa gargantilla voy a poneros! 5 +(_Isabel inclina la cabeza_.) Pero alzad la cabeza, Isabel. +Si esto es amortajar a un difunto. + +ISABEL. ¡Marsilla! + +TERESA. (_Aparte._ Dios le haya perdonado.) Ea, se +concluyó. Bien estáis. Ello, sí, me habéis hecho perder 10 +la paciencia treinta veces. + +ISABEL. ¡Madre mía! + +TERESA. Si echáis menos a mi señora, ya os he dicho +que no está en casa, porque para ella, la caridad es antes +que todo. El juez de este año, Domingo Celladas, tenía 15 +un hijo en tierra de infieles: Jaime, ya le conocéis. Hoy, +sin que hubiese noticia de que viniera, se le han encontrado +en el camino de Valencia unos mercaderes, herido y +sin conocimiento. Por un rastro de sangre que iba a parar +a un hoyo, se ha comprendido que debieron echarle 20 +dentro; y se cree que hasta poder salir, habrá estado en +el hoyo quizá más de un día, porque las heridas no son +recientes. Vuestra madre ha sido llamada para asistirle; +me ha encargado que os aderece; os he puesto hecha una +imagen; y ni siquiera he logrado que deis una mirada al 25 +vestido, para ver si os gusta. + +ISABEL. Sí: es el último. + +TERESA. ¡El dulcísimo nombre de Jesús! No lo +quiera Dios, Isabelita de mi alma: no lo querrá Dios; +antes os hará tan dichosa como vos merecéis. Pero 30 +salid de ese abatimiento: mirad que ya van a venir +los convidados a la boda, y es menester no darles que decir. + +ISABEL (_con sobresalto_). ¿Qué hora es ya? + +TERESA. No tardarán en tocar a vísperas ahí al lado, +en San Pedro. Es la hora en que salió de Teruel don 35 +Diego; y hasta que pase, mi señor no se considera libre +de su promesa. + +ISABEL. Sí, a esa hora, a esa hora misma partió ... +para nunca volver. En este aposento, allí, delante de ese +balcón estaba yo, llorando sobre mi labor, como ahora 40 +sobre mis galas. Continuamente miraba a la calle por +donde había de pasar, para verle; ahora no miro: no +le veré. Por allí vino, dirigiendo el fogoso alazán, enseñado +a parase bajo mis balcones. Por allí vino, vestida +la cota, la lanza en la mano, al brazo la banda, último don 45 +de mi cariño. «Hasta la dicha o hasta la tumba,» me dijo. +«Tuya o muerta,» le dije yo; y caí sin aliento en el balcón +mismo, tendidas las manos hacia la mitad de mi alma que +se ausentaba.--¡Suya o muerta! Y voy a dar la mano a +Rodrigo. ¡Bien cumplo mi palabra! 50 + +TERESA. Hija mía, desechad esas ideas. Yo ¿qué +os he de decir para consolaros? Que os he visto nacer, +que habéis jugado en mis brazos y en mis rodillas ... y +que diera yo porque recobraseis la paz del alma y fuerais +feliz ¡ay!, diera yo todos los días que me faltan que vivir, 55 +menos uno para verlo. + +ISABEL. ¿Feliz, Teresa? Con este vestido, ¿cómo +he de ser feliz? ¡Pesa tanto, me ahoga tanto!... +Quítamele, Teresa. (_Levantándose_.) + +TERESA. Señora, que viene don Rodrigo. 60 + +ISABEL. ¡Don Rodrigo! Busca pronto a mi madre. +(_Vase Teresa_.) + + + + ESCENA II + +DON RODRIGO.--ISABEL + +RODRIGO. Mis ojos por fin os ven + a solas, ángel hermoso. + Siempre un amargo desdén + y un recato rigoroso 65 + me han privado de este bien. + --Trémula estáis: ocupad + la silla. + +ISABEL. ¡Ante mi señor! + +RODRIGO. Esclavo diréis mejor. + Soberana es la beldad 70 + en el reino del amor. + +ISABEL. ¡Mentida soberanía! + +RODRIGO. De mi rendimiento fiel, + que dudarais no creía. + ¡Si a conocer, Isabel, 75 + llegaseis el alma mía!... + +ISABEL. ¿Para qué? Señas ha dado + que indican su índole bella. + +RODRIGO. Mi destino desastrado + sólo mostrar me ha dejado 80 + lo deforme que hay en ella. + Un Azagra conocéis + orgulloso y vengativo; + y otro por fin hallaréis + que en vuestro rigor esquivo 85 + figuraros no podéis. + El Azagra que os adora, + el Azagra para vos, + aun no le visteis, señora; + y nos conviene a los dos 90 + una explicación ahora. + +ISABEL. Mis padres pueden mandar, + yo tengo que obedecer, + nada pretendo saber: + hiciera bien en callar 95 + quien ha logrado vencer. + +RODRIGO. El vencedor, que aparece + lleno ante vos de amargura, + manifestaros ofrece + que sabe lo que merece 100 + doña Isabel de Segura. + Os ví, y en vos admiré + virtud y belleza rara: + digno de vos me juzgué, + y uniros a mí juré, 105 + costara lo que costara. + Maldición más espantosa + no pudo echarme jamás + una lengua venenosa + que decir: no lograrás 110 + hacer a Isabel tu esposa. + Lidiaré, si es necesario, + por ella con todo el orbe, + clamaba yo de ordinario. + ¡Infeliz el que me estorbe, 115 + competidor o contrario! + En mi celoso furor + cabe hasta lo que denigre + mi calidad y mi honor. + Amo con ira de tigre ... 120 + porque es muy grande mi amor. + --No el vuestro, tan delicado, + me pintéis para mi mengua: + quizá no lo haya expresado + en seis años vuestra lengua, 125 + sin que me lo hayan contado. + Cuantas cartas escribió + Marsilla ausente, leí: + él su retrato no vió, + yo sí: junto a vos aquí 130 + siempre tuve un guarda yo. + Ha sido mi ocupación + observaros noche y día; + y abandonaba a Monzón + siempre que lo permitía 135 + la marcial obligación. + Viéndoos al balcón sentada + por las noches a la luna, + mi fatiga era pagada: + jamás fué mujer ninguna 140 + de amante más respetada. + Para romper mis prisiones, + para defectos hallaros, + fueron mis indagaciones; + y siempre para adoraros 145 + encontré nuevas razones. + Seducido el pensamiento + de lisonjeros engaños, + un favorable momento + espero hace ya seis años, 150 + y aun llegado no lo cuento. + Pero, por dicha, quizá + no deba estar muy distante. + +ISABEL. ¡Qué! ¿Pensáis que cesará + mi pasión, muerto mi amante? 155 + No, lo que yo vivirá. + +RODRIGO. Pues bien, amad, Isabel, + y decidlo sin reparo; + que con ese amor tan fiel, + aunque a mí me cueste caro, 160 + nunca me hallaréis cruel. + Mas si ese afecto amoroso, + cuya expresión no limito, + mantener os es forzoso, + yo, mi bien, yo necesito 165 + el nombre de vuestro esposo. + No más que el nombre, y concluyo + de desear y pedir: + todas mis dichas incluyo + en la dicha de decir: 170 + «Me tienen por dueño suyo.» + Separada habitación, + distinto lecho tendréis.... + ¿Queréis más separación? + Vos en Teruel viviréis, 175 + yo en la corte de Aragón. + ¿Teméis que la soledad + bajo mi techo os consuma? + Vuestros padres os llevad + con vos: mudaréis en suma 180 + de casa y de vecindad. + Nunca sin vuestra licencia + veré esos divinos ojos.... + ¡Ay! dádmela con frecuencia. + Si os oprimen los enojos, 185 + hablad, y mi diligencia + ya un festín, ya una batida, + ya un torneo dispondrá. + Si lloráis.... ¡Prenda querida! + cuando lloréis, ¿qué os dirá 190 + quien no ha llorado en su vida? + Míseros ambos, hacer + con la indulgencia podemos + menor nuestro padecer. + Ahora, aunque nos casemos, 195 + ¿me podréis aborrecer? + +ISABEL. ¡Don Rodrigo! ¡Don Rodrigo! (_Sollozando_.) + +RODRIGO. ¿Lloráis? ¿Es porque me muestro + digno de ser vuestro amigo? + ¿No sufrí del odio vuestro 200 + bastante el duro castigo? + +ISABEL. ¡Oh! no, no: mi corazón + palpitar de odio no sabe. + +RODRIGO. Ni al mirar vuestra aflicción + hay fuerza en mí que no acabe 205 + rindiéndose a discreción. + Es ya el caso de manera + que el infausto desposorio + viene a ser obligatorio + para ambos: lo demás fuera 210 + dar escándalo notorio. + Pero el amor que os consagro, + se ha vuelto a vos tan propicio, + que si Dios en su alto juicio + quiere obrar hoy un milagro ... 215 + contad con un sacrificio. + Ayer, si resucitara + mi aciago rival Marsilla, + sin compasión le matara, + y sin limpiar la cuchilla, 220 + corriera con vos al ara. + Hoy, resucitado o no, + si antes que me deis el sí, + viene ... que triunfe de mí. + +ISABEL. ¡Vos, sí que triunfáis así 225 + de esta débil mujer! + +(_El llanto le ahoga la voz por unos instantes; luego, al ver a +don Pedro y a los que le acompañan, se contiene, exclamando_:) + + ¡Oh! + + + +ESCENA III + + +DON PEDRO, DON MARTÍN, DAMAS, CABALLEROS, PAJES.-- +ISABEL, DON RODRIGO. Después, TERESA + +PEDRO. Hijos, el sacerdote que ha de bendecir vuestra +unión, ya nos está esperando en la iglesia. Tanto mis +deudos como los de Azagra me instan a que apresure la +ceremonia; pero aun no ha fenecido el plazo que otorgué 230 +a don Diego. Al toque de vísperas de un domingo, salió +de su patria el malogrado joven, seis años y siete días +hace: hasta que suene aquella señal en mi oído, no tengo +libertad para disponer de mi hija. (_A don Martín._) +Porque veáis de qué modo cumplo mi promesa, os he rogado 235 +que vinierais aquí. + +MARTÍN. ¡Inútil escrupulosidad! No os detengáis. +No romperá mi hijo el seno de la tierra para reconveniros. + +ISABEL (_aparte_). ¡Infeliz! + +PEDRO. Fiel a lo que juré me verá desde el túmulo, 240 +cual me hallaría viviendo. (_Sale Teresa_.) + +RODRIGO. Isabel deseará la compañía de su madre: +pudiéramos pasar por casa del Juez.... + +TERESA. Ahora empezaba el herido a volver en su +conocimiento. Si antes de vísperas no se halla mi señora 245 +en la iglesia, es señal de que no puede asistir a los desposorios: +esto me ha dicho. + +PEDRO. La esperaremos en el templo. (_A don Martín._) +Si la pesadumbre os permite acompañarnos, venid.... + +MARTÍN. Excusadme el presenciar un acto que debe 250 +serme tan doloroso. + +PEDRO. Estad seguro de que mientras no oigáis las +campanas, no habrá dado su mano Isabel. Estos +caballeros podrán atestiguar que se esperó hasta el cabal +vencimiento del plazo. Marchemos. 255 + +ISABEL (_aparte_). ¡Morada de mi pasado bien, adiós +para siempre! + +(_Vanse todos, menos don Martín._) + + + +ESCENA IV + + +DON MARTÍN + +MARTÍN. Con pena, con celos veo yo a Isabel dirigirse +al altar. Hubo un tiempo en que la tuve por hija: hoy +me quitan su filial cariño, y ella consiente. Pero ¿qué 260 +falta hace al mísero cadáver de mi hijo la constancia de la +que él amó? Si su sombra necesita lágrimas, bien se +puede satisfacer con las mías. + + + +ESCENA V + + +ADEL.--DON MARTÍN + +ADEL. Cristiano, busco a Martín Marsilla, que está +aquí, según se me dice. ¿Eres tú? 265 + +MARTÍN. Yo soy. + +ADEL. ¿Qué sabes de tu hijo? + +MARTÍN. ¡Moro!... su muerte. + +ADEL. Esa noticia ... ¿quién la ha traído? + +MARTÍN. Un joven forastero. 270 + +ADEL. ¿En dónde para? + +MARTÍN. Apenas se detuvo en Teruel: yo no pude +verle. + +ADEL. ¿Qué ha pasado con Jaime Celladas? + +MARTÍN. Le han herido gravemente al llegar a la villa: 275 +en su lecho yace todavía sin voz ni conocimiento. + +ADEL. Luego ¿tú nada sabes? + +MARTÍN. ¿Qué vas a decirme? + +ADEL. Acabo de averiguar que, disfrazada con traje +de hombre, ha entrado en Teruel Zulima, la esposa del 280 +Amir de Valencia. + +MARTÍN. ¿La que fué causa de la pérdida de mi hijo? + +ADEL. Él la desdeñó, y ella se ha vengado mintiendo. + +MARTÍN. ¿Mintiendo? + +ADEL. ¡Anciano! Bendice al Señor: aun eres padre. 285 + +MARTÍN. ¡Dios poderoso! + +ADEL. Tu hijo libró de un asesinato pérfido al Amir +de Valencia, y el Amir le ha colmado de riquezas y honores. +Herido en un combate, no se le permitió caminar hasta reponerse. +Jaime venía delante para anunciar su vuelta. 290 +Sígueme, y no pararé hasta poner a Marsilla en tus brazos. +(_Vase_.) + +MARTÍN (_alzando las manos al cielo, arrebatado de +júbilo_). ¡Señor! ¡Señor! + + + +ESCENA VI + + +MARGARITA.--DON MARTÍN + +MARGARITA (_dentro_). ¡Isabel! ¡Isabel! (_Sale y repara +en don Martín, que se retiraba con Adel_.) Don Martín.... 295 + +MARTÍN (_deteniéndose_). Margarita, sabedlo.... + +MARGARITA. Sabedlo el primero. Jaime Celladas.... + +MARTÍN. Ese moro que veis.... + +MARGARITA. Ha vuelto en sí. + +MARTÍN. Viene de Valencia. 300 + +MARGARITA. Jaime también. + +MARTÍN. Vive mi hijo. + +MARGARITA. Lo ha dicho Jaime. Corred, impedid +ese casamiento. (_Óyese el toque de vísperas_.) + +MARTÍN. ¡Ah! ya es tarde. 305 + +MARGARITA. ¡Dios ha rechazado mi sacrificio! + +MARTÍN. ¡Hijo infeliz! + +MARGARITA. ¡Hija de mis entrañas! (_Vase_.) + + + +ESCENA VII + + +Bosque inmediato a Teruel + +MARSILLA, atado a un árbol + + Infames bandoleros, + que me habéis a traición acometido, 310 + venid y ensangrentad vuestros aceros: + la muerte ya por compasión os pido. + --Nadie llega, de nadie soy oído; + vuelve el eco mis voces, y parece + que goza en mi dolor y me escarnece. 315 + Me adelanté a la escolta que traía: + su lento caminar me consumía. + Yo vengo con amor, ellos con oro. + --Enemigos villanos, + los ricos dones del monarca moro 320 + no como yo darán en vuestras manos: + tienen quien los defienda. + Pero las horas pasan, huye el día. + ¿Qué vas a imaginar, Isabel mía? + ¿Qué pensarás, idolatrada prenda, 325 + si esperando abrazar al triste Diego, + corrido el plazo ves, y yo no llego? + Mas por Jaime avisados + en mi casa estarán: pronto, azorados + con mi tardanza.... Sí, ya se aproxima 330 + gente. ¿Quién es? + + + +ESCENA VIII + + +ZULIMA, en traje de hombre.--MARSILLA + +ZULIMA. Yo soy. + +MARSILLA. ¡Cielos! ¡Zulima! + ¡Tú aquí! (_Aparte._ ¡Presagio horrendo!) + +ZULIMA. Vecinos de Teruel vienen corriendo + a quienes más que a mí toca librarte: + yo sólo en esta parte 335 + me debo detener mientras te digo + que Isabel es mujer de don Rodrigo. + +MARSILLA. ¡Gran Dios!--Mas no: me engañas, + impostora. + +ZULIMA. Zaén, que llega de Teruel ahora, + Zaén ha visto dar aquella mano 340 + tan ansiada por ti. + +MARSILLA. Finges en vano. + Tú ignoras que mi próxima llegada + previno un mensajero. + +ZULIMA. Tú no sabes que un tirador certero + supo dejar tu previsión burlada, 345 + saliéndole al camino al mensajero. + Yo hablé con Isabel, yo de tu muerte + la noticia le dí, y a los bandidos + encargué que tu viaje detuvieran. + Yo, celebradas de Isabel las bodas, 350 + te las vengo a anunciar. + +MARSILLA. ¿Con que es ya tarde? + +ZULIMA. Mírame, bien, y dúdalo si puedes. + Inútiles mercedes + el Rey te prodigó: más he podido, + prófuga yo, que mi real marido. 355 + Yo mi amor te ofrecí, bienes y honores, + y te inmolé mi fe y el ser que tengo; + tú preferiste ingrato mis rencores: + me ofendiste cruel, cruel me vengo. + Adiós: en mi partida 360 + te dejo por ahora con la vida, + mientras padeces en el duro potro + de ver a tu Isabel en brazos de otro. (_Vase_.) + + + +ESCENA IX + + +MARSILLA + +MARSILLA. Monstruo, por cuya voz ruge el abismo, + vuelve y di que es engaño 365 + todo lo que te oí. (_Forceja para desatarse_.) + Lazos crueles, + ¿cómo me resistís? ¡Ligan cordeles + al que hierros quebró! ¿No soy el mismo? + ¡Ah! no. Mujer fatal, cortos instantes + me quedan que vivir, si no has mentido; 370 + pero ¡permita Dios que mueras antes! + + + +ESCENA X + + +ADEL, pasando por una altura.--MARSILLA + +ADEL. Rumor aquí he sentido. + Atraviesan el valle bandoleros + con Zulima a caballo. + Yo, cueste lo que cueste, 375 + la tengo de prender: voy a ver si hallo + cerca mis compañeros. + +MARSILLA. ¿Quién va? + +ADEL. Marsilla es éste. (_A voces_.) + Aquí! ¡Por este lado, caballeros! (_Vase_.) + + + +ESCENA XI + + +DON MARTÍN, CABALLEROS, CRIADOS.--MARSILLA + +MARTÍN (_dentro_.) Él es. + +MARSILLA. ¡Mi padre! + +VOCES (_dentro_.) Él es. + +MARSILLA. ¡Padre! + +MARTÍN (_dentro_.) ¡Hijo mío¡ 380 + Subid, corred, volad: libradle pronto. + + (_Salen caballeros y criados_.) +MARSILLA. Desatadme, decidme.... + + (_Desatan a Marsilla_.) + +MARTÍN (_saliendo_.) ¡Hijo querido! + +MARSILLA. ¡Padre! + +MARTÍN. Por fin te hallé. + +MARSILLA. Decid.... ¿Es tarde? + Yo quisiera dudar ... mi mal ¿es cierto? + +MARTÍN. Respóndante las lágrimas que vierto. 385 + Hijo del alma, a quien su hierro ardiente + la desgracia al nacer marcó en la frente, + tu triste padre, que por verte vive, + con dolor en sus brazos te recibe. + ¿Quién tu llegada ha retardado? + +MARSILLA. El cielo ... 390 + el inferno ... no sé ... facinerosos ... + una mujer ... dejadme. + +MARTÍN. ¿La Sultana? + ¿Esos bandidos que cobardes huyen + de los guerreros que conmigo traje?-- + ¿Te han herido? + +MARSILLA. ¡Ojalá! + +MARTÍN ¿Te han despojado? 395 + +MARSILLA. Nada he perdido: la esperanza sólo. + +MARTÍN. ¡Suerte cruel! Cuando el fatal sonido + de la campana término ponía.... + +MARSILLA. ¡Esa tigre anunció la muerte mía! + +MARTÍN. ¿Lo sabes? + +MARSILLA. De ella. + +MARTÍN. ¡Horror! Entonces era 400 + cuando Jaime, el sentido recobrando, + la traidora noticia desmentía. + Corro al templo a saber.... Miro, enmudezco.... + ¡Eran esposos ya! Tu bien perdiste... + Dios lo ha querido así... Pero aun te quedan 405 + padres que lloren tu destino triste. + +MARSILLA. El ajeno dolor no quita el mío. + ¿Con qué llenáis el hórrido vacío + que el alma siente, de su bien privada? + ¡Padre! sin Isabel, para Marsilla 410 + no hay en el mundo nada. + Por eso en mi doliente desvarío + sed bárbara de sangre me devora. + Verterla a ríos para hartarme quiero, + y cuando más que derramar no tenga, 415 + la de mis venas soltará mi acero. + +MARTÍN. Hijo, modera ese furor. + +MARSILLA. ¿Quién osa + hijo llamarme ya? ¡Fuera ese nombre! + La desventura quiebra + los vínculos del hombre con el hombre, 420 + y con la vida y la virtud. Ahora, + que tiemble mi rival, tiemble la mora. + Breve será su victorioso alarde: + para acabar con ambos aun no es tarde. + +MARTÍN. ¡Desgraciado! ¿qué intentas? + +MARSILLA. Con el crimen 423 + el crimen castigar. Una serpiente + se me enreda en los pies: mi pie destroce + su garganta infernal. Un enemigo + me aparta de Isabel: desaparezca. + +MARTÍN. Hijo.... + +MARSILLA. Perecerá + +MARTÍN. No.... + +MARSILLA. ¡Maldecido 430 + mi nombre sea, si la sangre odiosa + de mi rival no vierto! + +MARTÍN. Es poderoso.... + +MARSILLA. Marsilla soy. + +MARTÍN. Mil deudos le acompañan.... + +MARSILLA. Mi furia a mí. + +MARTÍN. Merézcate respeto + ese lazo.... + +MARSILLA. Es sacrílego, es aleve. 435 + +MARTÍN. En presencia de Dios formado ha sido. + +MARSILLA. Con mi presencia queda destruído. + + + + + ACTO CUATRO + + +Habitación de Isabel en la casa de don Rodrigo. Dos puertas a la +izquierda del espectador, una en el fondo, y una ventana sin reja a la +derecha. + + + + ESCENA PRIMERA + + +DON PEDRO, DON MARTÍN + +PEDRO. Ya cesó la vocería. + +MARTÍN. Ya se tranquiliza el pueblo. + Zaén en la cárcel queda + con los demás bandoleros. + +PEDRO. Milagro ha sido salvarlos 5 + mayor que lo fué prenderlos. + +MARTÍN. Y no los prenden quizá, + si no acuden tan a tiempo + los moros que de Valencia + con los regalos vinieron 10 + de su Rey para mi hijo. + ¡Regalos ya sin provecho! + ¡Castigue Dios a quien tiene + la culpa! + +PEDRO. ¡Oh! lo hará.--Primero + que vayamos esta noche 15 + los dos al Ayuntamiento, + donde ya deben hallarse + juntos el Juez y mi yerno, + ¿tendréis, don Martín, a bien + que los dos conferenciemos 20 + un rato? + +MARTÍN. Hablad. + +PEDRO. Aquí está + Zulima. + +MARTÍN. Bien me dijeron + los moros. + +PEDRO. En esta calle + arremetió con los presos + un tropel de gente; y ella, 25 + puesta en libertad en medio + del tumulto, se arrojó + por estas puertas adentro. + +MARTÍN. Confesad que don Rodrigo + la salvó. + +PEDRO. No lo confieso ... 30 + porque no lo ví. + +MARTÍN Yo, en suma, + no diré que fué mal hecho: + él debe a la mora estar + agradecido en extremo: + por ella logra la mano 35 + de Isabel. + +PEDRO. Resentimiento + justo mostráis; pero yo, + que he sido enemigo vuestro, + necesito de vos hoy. + +MARTÍN. Aquí me tenéis, don Pedro. 40 + +PEDRO. Sois quien sois.--Esa mujer + nos pone en terrible aprieto. + Ya veis, los moros reclaman + su entrega con mucho empeño. + +MARTÍN. Y mientras el Juez resuelve, 45 + cercada se ve por ellos + esta casa. + +PEDRO. Y bien, ¿quisierais + que entre vos y yo de un riesgo + libráramos a Teruel? + +MARTÍN. Crimen fuera no quererlo. 50 + +PEDRO. Si en la junta de la villa + negamos, como debemos, + la entrega de la Sultana, + va a ser enemigo nuestro + el Rey de Valencia, y puede 55 + gravísimo daño hacernos. + +MARTÍN. Y el que recibimos ambos + de su mujer, ¿es pequeño? + +PEDRO. Pero es mujer, y nosotros + cristianos y caballeros. 60 + +MARTÍN. Proseguid. + +PEDRO. El compromiso + queda evitado, si hacemos + que huya en el instante. + +MARTÍN. Hagámoslo. + --Págueme Dios el esfuerzo + que me cuesta no vengarme. 65 + Disponed. + +PEDRO. Con un pretexto + llevad los moros de aquí: + de vos harán caso. + +MARTÍN. Creo + que sí. + +PEDRO. Lo demás es fácil. + Puesta ya en salvo, diremos 70 + que ella huyó por sí. + +MARTÍN. Voy pues, + y ya que la mano tiendo + al uno de los autores + de mi desventura, quiero + dársela también al otro. 75 + Decid al dichoso dueño + de esta casa y de Isabel, + que mire en estos momentos + por su vida: que mi hijo + va, loco de sentimiento 80 + y de furor, en su busca + por Teruel; y, ¡vive el cielo + que, doliente como está, + valor le sobra al mancebo + para vengar!... Perdonadme. 85 + Adiós. Voy a complaceros, + y a buscarle y conducirle + esta noche misma lejos + de unos lugares en donde + vivimos los dos muriendo. 90 + +(_Vase por la puerta de la izquierda, más cercana al proscenio_.) + +PEDRO. Id con Dios.--¡Padre infeliz! + ¿Y nosotros? Me estremezco + al pensar en Isabel, + cuando de todo el suceso + llegue a enterarse. + + + + ESCENA II + + +TERESA.--DON PEDRO + +TERESA (_dentro_). ¡Favor, 95 + que me vienen persiguiendo! (_Sale._) + +PEDRO. ¡Teresa! ¿Qué hay? ¿Quién te sigue? + +TERESA. Las ánimas del infierno... + Las del purgatorio... No + sé cuáles; pero las veo, 100 + las oigo.... + +PEDRO. Mas ¿qué sucede? + +TERESA. ¡Ay! Muerta de susto vengo. + ¡Ay!--Isabel me ha enviado + por mi señora corriendo, + que volvió, no sé por qué, 105 + a la casa del enfermo; + y antes de llegar, he visto + en un callejón estrecho, + junto a la ermita caída... + ¡Jesús! convulsa me vuelvo 110 + a casa. + +PEDRO. ¿Qué viste? Di. + +TERESA. Una fantasma, un espectro + todo parecido, todo, + al pobrecito don Diego. + +PEDRO. Calla: no te oiga Isabel. 115 + Guarda con ella silencio.-- + Marsilla ha venido, y ella + no lo sabe. + +TERESA. Pero, ¿es cierto + que vive? + +PEDRO. ¿No ha de ser? + +TERESA. ¡Ay! + Pues otra desgracia temo. 120 + +PEDRO. ¿Cuál? + +TERESA. No lo aseguraré, + por si es aprensión del miedo; + sin embargo, yo creí + ver que se llevaba el muerto + asido del brazo al novio. 125 + +PEDRO. ¿Qué dices? + +TERESA. Aun traigo el eco + de su voz en los oídos. + Con alarido tremendo + decía: «Vas a morir, + has de morir.»--«Lo veremos,» 130 + replicaba don Rodrigo; + y echando votos y retos, + iban los dos como rayos + camino del cementerio. + Yo, señor, ya les recé 135 + la salve y el padre nuestro + en latín. + +PEDRO. Se han encontrado, + y van a tener un duelo. + Esto es antes. + + + +ESCENA III + + +ISABEL, por la segunda puerta del lado izquierdo.--DON PEDRO, +TERESA + +ISABEL. ¡ Padre! + +PEDRO. Aguárdame + aquí: pronto volveremos 140 + tu madre, tu esposo y yo. + Venid, Teresa. (_Vase los dos._) + +ISABEL. ¿Qué es esto? + ¡Mi padre me deja sola, + cuando con tanto secreto + un moro me quiere hablar! 145 + Sin duda están sucediendo + cosas extrañas aquí. + + (_Acércase a la segunda puerta._) + + Llegad. Al mirarle, tiemblo. + + + +ESCENA IV + + +ADEL.--ISABEL + +ADEL. Cristiana, brillante honor + de las damas de tu ley, 150 + yo imploro, en nombre del Rey + de Valencia, tu favor. + +ISABEL. ¿Mi favor? + +ADEL. Tendrás noticia + de que salió de su corte + Zulima, su infiel consorte, 155 + huyendo de su justicia. + +ISABEL. Sí. + +ADEL. Mi señor decretó + con rectitud musulmana + castigar a la Sultana, + ya que a Marsilla premió. 160 + +ISABEL. ¡Premiar!... ¿Ignoras, cruel, + que le dió muerte sañuda? + +ADEL. Tú no le has visto, sin duda, + entrar como yo en Teruel. + +ISABEL. ¡Marsilla en Teruel! + +ADEL. Sí. + +ISABEL. Mira 165 + si te engañas. + +ADEL. Mal pudiera. + Infórmate de cualquiera, + y mátenme, si es mentira. + +ISABEL. No es posible.--¡Ah! ¡sí! que siendo + mal, no es imposible nada. 170 + +ADEL. Por la villa alborotada + tu nombre va repitiendo. + +ISABEL. ¡Eterno Dios! ¡Qué infelices + nacimos!--¿Cuándo ha llegado? + ¿Cómo es que me lo han callado? 175 + --Y tú, ¿por qué me lo dices? + +ADEL. Porque estás, a mi entender, + en grave riesgo quizá. + +ISABEL. Perdido Marsilla, ya + ¿qué bien tengo que perder? 180 + +ADEL. Con viva lástima escucho + tus ansias de amor extremas; + pero aunque tú nada temas, + yo debo decirte mucho. + Marsilla a mi Rey salvó 185 + de unos conjurados moros, + y el Rey vertió sus tesoros + en él, y aquí le envió. + El despreció la liviana + inclinación de la infiel.... 190 + +ISABEL. ¡Oh! ¡Sí! + +ADEL. Y airada con él + vino, y se vengó villana + contando su falso fin. + +ISABEL. ¡Ella! + +ADEL. Con una gavilla + de bandidos, a Marsilla 195 + detuvo, ya en el confín + de Teruel, donde veloces + corriendo en tropel armado, + le hallamos a un tronco atado, + socorro pidiendo a voces. 200 + +ISABEL. Calla, moro: no más. + +ADEL. Pasa + más, y es bien que te aperciba. + --La Sultana fugitiva + se ha refugiado en tu casa: + en ésta. + +ISABEL. ¡Aquí mi rival! 205 + +ADEL. Tu esposo la libertó. + +ISABEL. ¡Ella donde habito yo! + +ADEL. Guárdate de su puñal. + Por celos allá en Valencia + matar a Marsilla quiso. 210 + +ISABEL. A tiempo llega el aviso. + +ADEL. Confirma tú la sentencia + que justo lanzó el Amir. + Por esa mujer malvada + para siempre separada 215 + de Marsilla has de vivir. + Ella te arrastra al odioso + tálamo de don Rodrigo. + Envíala tú conmigo + al que le apresta su esposo, 220 + pena digna del ultraje + que siente. + +ISABEL. Sí, moro; salga + pronto de aquí, no le valga + el fuero del hospedaje. + Como perseguida fiera 225 + entró en mi casa: pues bien, + al cazador se la den, + que la mate donde quiera. + Mostrarse de pecho blando + con ella, fuera rayar 230 + en loca: voy a mandar + que la traigan arrastrando. + Sean de mi furia jueces + cuantas pierdan lo que pierdo. + ¡Jesús! Cuando yo recuerdo 235 + que hoy pude... ¡Jesús mil veces! + No le ha de valer el llanto, + ni el ser mujer, ni ser bella, + ni reina. ¡Si soy por ella + tan infeliz! ¡tanto, tanto!... 240 + Dime, pues, di: tu señor, + ¿qué suplicio le impondrá? + +ADEL. Una hoguera acabará + con su delincuente amor. + +ISABEL. ¡Su amor! ¡Amor desastrado! 245 + Pero es amor.... + +ADEL. Y ¿es bastante + esa razón?... + +ISABEL. ¡Es mi amante + tan digno de ser amado! + Le vió, le debió querer + en viéndole.--¡Y yo, que hacía 250 + tanto que no le veía ... + y ya no le puedo ver! + --Moro, la víctima niego + que me vienes a pedir: + quiero yo darle a sufrir 255 + castigo mayor que el fuego: + ella con feroz encono + mi corazón desgarró ... + me asesina el alma ... yo + la defiendo, la perdono. (_Vase._) 260 + + + + ESCENA V + + +ADEL + + He perdido la ocasión. + Suele tener esta gente + acciones, que de un creyente + propias en justicia son. + Yo dejara con placer 265 + este empeño abandonado; + pero el Amir lo ha mandado, + y es forzoso obedecer. (_Vase._) + + + + ESCENA VI + + +MARSILLA, por la ventana + + Jardín ... una ventana ... y ella luego. + Jardín abierto hallé y hallé ventana; 270 + mas ¿dónde está Isabel?--Dios de clemencia, + detened mi razón, que se me escapa; + detenedme la vida, que parece + que de luchar con el dolor se cansa. + Siete días hace hoy, ¡qué venturoso 275 + era en aquel salón! Sangre manaba + de mi herida, es verdad; pero agolpados + al rededor de mi lujosa cama, + la tierna historia de mi amor oían + los guerreros, el pueblo y el Monarca, 280 + y entre piadoso llanto y bendiciones + «tuya será Isabel» juntos clamaban + súbditos y señor. Hoy no me ofende + mi herida, rayos en mi diestra lanza + el damasquino acero... No le traigo... 285 + ¡Y hace un momento que con dos me hallaba! + --Salvo en Teruel y vencedor, ¿qué angustia + viene a ser ésta que me rinde el alma, + cuando, acabada la cruel ausencia, + voy a ver a Isabel? + + + +ESCENA VII + + +ISABEL.--MARSILLA + +ISABEL. Por fin se encarga 290 + mi madre de Zulima. + +MARSILLA. ¡Cielo santo! + +ISABEL. ¡Gran Dios! + +MARSILLA. ¿No es ella? + +ISABEL. ¡Él es! + +MARSILLA. ¡Prenda adorada! + +ISABEL. ¡Marsilla! + +MARSILLA. ¡Gloria mía! + +ISABEL. ¿Cómo ¡ay! cómo + te atreves a poner aquí la planta? + Si te han visto llegar... ¿A qué has venido? 295 + +MARSILLA. Por Dios ... que lo olvidé. Pero ¿no basta, + para que hacia Isabel vuele Marsilla, + querer, deber, necesitar mirarla? + ¡Oh! ¡qué hermosa a mis ojos te presentas! + Nunca te ví tan bella, tan galana... 300 + Y un pesar sin embargo indefinible + me inspiran esas joyas, esas galas. + Arrójalas, mi bien; lana modesta, + cándida flor, en mi jardín criada, + vuelvan a ser tu virginal adorno: 305 + mi amor se asusta de riqueza tanta. + +ISABEL. (_Aparte._ ¡Delira el infeliz! Sufrir no puedo + su dolorida, atónita mirada.) + ¿No entiendes lo que indica el atavío, + que no puedes mirar sin repugnancia? 310 + Nuestra separación. + +MARSILLA. ¡Poder del cielo! + Sí. ¡Funesta verdad! + +ISABEL. Estoy casada. + +MARSILLA. Ya lo sé. Llegué tarde. Ví la dicha, + tendí las manos, y voló al tocarla. + +ISABEL. Me engañaron: tu muerte supusieron 315 + Y tu infidelidad. + +MARSILLA. ¡Horrible infamia! + +ISABEL. Yo la muerte creí. + +MARSILLA. Si tú vivías, + y tu vida y la mía son entrambas + una sola, no más, la que me alienta, + ¿cómo de ti sin ti se separara? 320 + Juntos aquí nos desterró la mano + que gozo y pena distribuye sabia: + juntos al fin de la mortal carrera + nos toca ver la celestial morada. + +ISABEL. ¡Oh! ¡si me oyera Dios!... + +MARSILLA. Isabel, mira, 325 + yo no vengo a dar quejas: fueran vanas. + Yo no vengo a decirte que debiera + prometerme de ti mayor constancia, + cumplimiento mejor del tierno voto + que invocando a la Madre inmaculada, 330 + me hiciste amante la postrera noche + que me apartó de tu balcón el alba. + «Para ti (sollozando me decías), + o si no, para Dios.»--¡Dulce palabra, + consoladora fiel de mis pesares 335 + en los ardientes páramos del Asia + y en mi cautividad! Hoy ni eres mía, + ni esposa del Señor. Di, pues, declara + (esto quiero saber) de qué ha nacido + el prodigio infeliz de tu mudanza. 340 + Causa debe tener. + +ISABEL. La tiene. + +MARSILLA. Grande. + +ISABEL. Poderosa, invencible: no se casa + quien amaba cual yo, sino cediendo + a la fuerza mayor en fuerza humana. + +MARSILLA. Dímelo pronto, pues, dilo. + +ISABEL. Imposible. 345 + No has de saberlo. + +MARSILLA. Sí. + +ISABEL. No. + +MARSILLA. Todo. + +ISABEL. Nada. + Pero tú en mi lugar también el cuello + dócil a la coyunda sujetaras. + +MARSILLA. Yo no, Isabel, yo no. Marsilla supo + despreciar una mano soberana 350 + y la muerte arrostrar por quien ahora + la suya vende y el porqué le calla. + +ISABEL. (_Aparte._ ¡Madre, madre!) + +MARSILLA. Responde. + +ISABEL. (_Aparte._ ¿Qué le digo?) + Tendré que confesar ... que soy culpada. + ¿Cómo no lo he de ser? Me ves ajena. 355 + Perdóname... Castígame por falsa, + (_Llora._) + + mátame, si es tu gusto... Aquí me tienes + para el golpe mortal arrodillada. + +MARSILLA. Ídolo mío, no; yo sí que debo + poner mis labios en tus huellas. Alza. 360 + No es de arrepentimiento el lloro triste + que esos luceros fúlgidos empaña; + ese llanto es de amor, yo lo conozco, + de amor constante, sin doblez, sin tacha, + ferviente, abrasador, igual al mío. 365 + ¿No es verdad, Isabel? Dímelo franca: + va mi vida en oírtelo. + +ISABEL. ¿Prometes + obedecer a tu Isabel? + +MARSILLA. ¡Ingrata! + ¿Cuándo me rebelé contra tu gusto? + Mi voluntad, ¿no es tuya? Dispon, habla. 370 + +ISABEL. Júralo. + +MARSILLA. Sí. + +ISABEL. Pues bien... Yo te amo.--Vete. + +MARSILLA. ¡Cruel! ¿Temiste que ventura tanta + me matase a tus pies, si su dulzura + con venenosa hiel no iba mezclada? + ¿Cómo esas dos ideas enemigas 375 + de destierro y de amor hiciste hermanas? + +ISABEL. Ya lo ves, no soy mía; soy de un hombre + que me hace de su honor depositaria, + y debo serle fiel. Nuestros amores + mantuvo la virtud libres de mancha: 380 + su pureza de armiño conservemos.-- + Aquí hay espinas, en el cielo palmas. + Tuyo es mi amor y lo será: tu imagen + siempre en el pecho llevaré grabada, + y allí la adoraré: yo lo prometo, 385 + yo lo juro; mas huye sin tardanza. + Libértame de ti, sé generoso: + libértame de mí.... + +MARSILLA. No sigas, basta. + ¿Quieres que huya de ti? Pues bien, te dejo. + Valor ... y separémonos.--En paga, 390 + en recuerdo si no, de tantas penas + con gozo por tu amor sobrellevadas, + permite, Isabel mía, que te estrechen + mis brazos una vez.... + +ISABEL. Deja a la esclava + cumplir con su señor. + +MARSILLA. Será el abrazo 395 + de un hermano dulcísimo a su hermana, + el ósculo será que tantas veces + cambió feliz en la materna falda + nuestro amor infantil. + +ISABEL. No lo recuerdes. + +MARSILLA. Ven.... + +ISABEL. No: jamás. + +MARSILLA. En vano me rechazas. 400 + +ISABEL. Detente ... o llamo.... + +MARSILLA. ¿A quién? ¿A don Rodrigo? + No te figures que a tu grito salga. + No lisonjeros plácemes oyendo, + su vanidad en el estrado sacia, + no; lejos de los muros de la villa 405 + muerde la tierra que su sangre baña. + +ISABEL. ¡Qué horror! ¿Le has muerto? + +MARSILLA. ¡Pérfida! ¿te afliges? + Si lo llego a pensar, ¿quién le librara? + +ISABEL. ¿Vive? + +MARSILLA. Merced a mi nobleza loca, + vive: apenas cruzamos las espadas, 410 + furiosa en él se encarnizó la mía: + un momento después, hundido estaba + su orgullo en tierra, en mi poder su acero. + ¡Oh! ¡maldita destreza de las armas! + ¡Maldito el hombre que virtudes siembra 415 + que le rinden cosecha de desgracias! + No más humanidad, crímenes quiero. + A ser cruel tu crueldad me arrastra, + y en ti la he de emplear. Conmigo ahora + vas a salir de aquí. + +ISABEL. ¡No, no! + +MARSILLA. Se trata 420 + de salvarte, Isabel. ¿Sabes qué dijo + el cobarde que lloras desolada, + al caer en la lid? «Triunfante quedas; + pero mi sangre costará bien cara.» + +ISABEL. ¿Qué dijo? ¿Qué? + +MARSILLA. «Me vengaré en don Pedro, 425 + en su esposa, en los tres: guardo las cartas.» + +ISABEL. ¡Jesús! + +MARSILLA. ¿Qué cartas son?... + +ISABEL. ¡Tú me has perdido! + La desventura sigue tus pisadas. + ¿Dónde mi esposo está? Dímelo pronto, + para que fiel a socorrerle vaya, 430 + y a fuerza de rogar venza sus iras. + +MARSILLA. ¡Justo Dios! Y ¡decía que me amaba! + +ISABEL. ¿Con su pasión funesta reconvienes + a la mujer del vengativo Azagra? + ¡Te aborrezco! (_Vase._) + + + +ESCENA VIII + + +MARSILLA + +MARSILLA. ¡Gran Dios! Ella lo dice. 435 + Con furor me lo dijo: no me engaña. + Ya no hay amor allí. Mortal veneno + su boca me arrojó, que al fondo pasa + de mi seno infeliz, y una por una, + rompe, rompe, me rompe las entrañas. 440 + Yo con ella, por ella, para ella + viví... Sin ella, sin su amor, me falta + aire que respirar... ¡Era amor suyo + el aire que mi pecho respiraba! + Me le negó, me le quitó: me ahogo, 445 + no sé vivir. + +VOCES (_dentro._) Entrad, cercad la casa. + + + +ESCENA IX + + +ISABEL, trémula y precipitada.--MARSILLA + +ISABEL. Huye, que viene gente, huye. + +MARSILLA (_todo trastornado_). No puedo. + +VOCES (_dentro_). ¡Muera, muera! + +MARSILLA. Eso sí. + +ISABEL. Ven. + +MARSILLA. ¡Dios me valga! + +(_Isabel le ase la mano y se entra con él por la puerta del +fondo._) + + + +ESCENA X + + +ADEL, huyendo de varios CABALLEROS, con espadas desnudas; +DON PEDRO, MARGARITA, CRIADOS.--ISABEL y MARSILLA dentro. + +CABALLEROS. ¡Muera, muera! + +PEDRO Y MARGARITA. Escuchad. + +ADEL. Aragoneses, + yo la sangre vertí de la Sultana; 450 + pero el Rey de Valencia, esposo suyo, + tras ella me envió para matarla. + Consorte criminal, amante impía, + la muerte de Marsilla maquinaba, + la muerte de Isabel.... + +ISABEL (_dentro_). ¡Ay! + +ADEL. Ved en prueba 455 + esta punta sutil envenenada. + (_Muestra el puñal de Zulima._) + Marsilla lo que digo corrobore: + cerca de aquí ha de estar. + +(_Ábrese la puerta del fondo, y sale por ella Isabel, que se +arroja en brazos de Margarita. Marsilla aparece caído +en un escaño._) + + + +ESCENA XI + + +ISABEL.--DICHOS + +ISABEL. ¡Madre del alma! + +ADEL. Vedle allí.... + +MARGARITA. ¡Santo Dios! + +PEDRO. Inmóvil.... + +ISABEL. ¡Muerto! + +ADEL. Cumplió Zulima su feroz venganza. 460 + +ISABEL. No le mató la vengativa mora. + Donde estuviera yo, ¿quién le tocara? + Mi desgraciado amor, que fué su vida ... + su desgraciado amor es quien le mata. + Delirante le dije: «Te aborrezco»: 465 + él creyó la sacrílega palabra, + y expiró de dolor. + +MARGARITA. Por todo el cielo ... + +ISABEL. El cielo que en la vida nos aparta, + nos unirá en la tumba. + +PEDRO. ¡Hija! + +ISABEL. Marsilla + un lugar a su lado me señala. 470 + +MARGARITA. ¡Isabel! + +PEDRO. ¡Isabel! + +ISABEL. Mi bien, perdona + mi despecho fatal. Yo te adoraba. + Tuya fuí, tuya soy: en pos del tuyo + mi enamorado espíritu se lanza. + +(_Dirígese adonde está el cadáver de Marsilla; pero antes de +llegar, cae sin aliento con los brazos tendidos hacia su +amante._) + + +FIN DEL DRAMA + + + + + +NOTES + + +ACTO PRIMERO + +7-8. #que ... el pie = que te ve colocar el pie orillas (a la orilla) de +un precipicio.# + +17. #al ser#, _on becoming, when he became_. + +33-34. #para vivir ... los tres = para que vivamos los tres con +opulencia.# + +48. #costara#, an example of the frequent use of the imperfect +subjunctive for the conditional in this play. + +57. #¿Qué habrá escrito...?# Note use of future to express +conjecture. _What can he have written...?_ + +87. #Mira ... dice#, _see whether it says_. + +90. #en el encierro aquel = en aquel encierro.# + +106-107. #ve a buscarme#; literally, _go to find me_; translate: +_come to me_. + +113. #volvió = volvió en sí#, _he has come to himself, has regained +consciousness_. + +115-116. #De aquella ... hecho = está hecho (acostumbrado) a las +tinieblas de aquella horrible mansión.# + +135-136. #desde hoy ... aflija = desde hoy no permitiré que te aflija +ningún afán.# + +140. #azorado#. Note that in poetry predicate adjectives or past +participles are frequently used instead of adverbs. + +147. #Haz ... vea = haz que yo vea a mi bienhechora.# + +155. #Defienda#, _may Heaven protect_, etc. + +162. #más = es más hermoso.# + +179-180. #No es ... mora = lo más (importante) no es que la noble +princesa mora me redima.# + +191 et seq. In the first edition of the play Marsilla begins the account +of his adventures thus: + + Mi nombre es Diego Marsilla, + y cuna Teruel me dió, + ciudad que ayer se fundó + del Turia en la fresca orilla. + +In the interest of accuracy of detail the author changed this to the +reading of the present text. The river flowing past Teruel changes its +name from Guadalaviar to Turia only after it has left Teruel behind. +Moreover, Teruel was, strictly speaking, _villa_ at the time of the +supposed action of the play, and not _ciudad_: the title _ciudad_ was +not granted to it by the King of Aragon until the year 1347. + +193. #Ayer se fundó.# Destroyed by the Moors, Teruel was rebuilt in +1171, forty-six years earlier. In the life of a city, a generation seems +but a day. + +195-197. #cuyos muros ... pobladores = cuyos muros, levantados entre +horrores de lid atroz, fueron amasados con la sangre de sus fuertes +pobladores.# + +199-226. In these lines the idea of "predestined love" is exemplified. + +204. #sus#, _their_ (#del hombre y de la mujer#). + +213-214. #antes ... vernos = antes de vernos, nos amábamos.# + +219-222. A similar idea was expressed in the corresponding four lines of +the first edition thus: + + Y parecía un querer + tan firme en alma de niño, + recuerdo de otro cariño + tenido antes de nacer. + +223-226. These four lines may be translated thus: _the love that united +Isabel and me_ (#nuestro querer#) _when we came into this sad world +was merely the continuance_ (#seguir#) _in the physical world of the +love that already existed in the spiritual_. Compare idea expressed by +"marriages are made in heaven." + +246. #aun vivo#; if the time were up, either I should have succeeded +or should now be dead. + +254. #Navas de Tolosa#, village in the Province of Jaén, in the south +of Spain, famous in history because of the decisive victory gained +there, July 16, 1212, by the allied kings of Christian Spain over the +Moslems. In the first edition, at the mention of this disastrous defeat +of the Moors, Zulima interrupts Marsilla's narrative with an outburst of +feeling quite appropriate in a Mohammedan: + + ¡Lugar maldito del cielo, + donde la negra fortuna + postró de la media luna + la pujanza por el suelo! + +258 et seq. In the early years of the 13th century a religious sect in +the south of France, the Albigenses, rebelled against the authority of +the Church of Rome. Pope Innocent III proclaimed a crusade against them +in 1208, and a bloody war began in which the crusaders were led by the +ruthless Simon de Montfort until his death at the siege of Toulouse +(1218). During this Albigensian War (1208-1229) Beziers and other +important cities in the south of France were almost destroyed. + +267-270. #Y en pena ... sepultó = y en pena de que mi mano rompió el +hierro de mis cadenas, profundo encierro me sepultó en vida.# + +281. #haz por escuchar atento#, _try to listen attentively to_ ... + +293. #aquí#, in the land of the Moors. + +303. #Respuesta ... dé = es bien que se le dé a ella respuesta.# + +311-312. #Medita ... reclama#, _consider it well and you will grant +to time what it demands as its due_. If you take into consideration the +length of time that has passed since you have seen Isabel, you will +realize that she has probably forgotten you, and will become reconciled +to changed conditions because of the lapse of time. + +321. #dada ... recibida#, _having given my love and having received +hers_; or, _having given my heart in exchange for hers_. + +330. #le = su corazón.# + +335-336. #la nueva de ser Isabel esposa#, _the news of Isabel's +marriage_. + +340. #cuanto fabrico derrumba = derrumba cuanto (todo lo que) yo +fabrico.# + +345. #han de traer = traerán.# Note that _Isabel_ is direct object of +_traer_. + +346. #para tanto = para hacer tanto.# + +356. #Sálvete su diligencia#, _let his efforts save you from danger_. + +361. #perecéis = pereceréis.# Present instead of future for greater +vividness. + +364-366. #estallo = hubiera estallado; calla = habría callado; llega = +habría llegado.# + +392. #que venga.# Subject of _venga_ is _la rebelión,_ line 394. + +395-396. Note that _quien_ is subject of both _lema_ and _dé_. + +425. #el un capitán = uno de los capitanes.# + +444. #Ya no hay perdón que le alcance#, _she is beyond the reach of +pardon_. + +445-446. #después de correr ... vencido# = _after the struggle is +over, disposition will be made of the conquered_. + + +ACTO SEGUNDO + +17. #don Jaime#, James the Conqueror, King of Aragon from 1213 to +1276, son and successor of Pedro II. He gained the title, _El +Conquistador_, by his conquest of the Balearic Islands (1228-1232) and +Valencia (1258) from the Moors. + +21. #Sancho VII#, King of Navarre (1194-1234), known as _El Fuerte_. +He played an important part in the defeat of the Moors at Navas de +Tolosa in 1212. + +21. #Fernando III#, King of Castile (1217-1252), known as _El Santo_. +He reconquered Cordova, Seville, Jaén, etc,. from the Moors. + +87-88. #sobre como ... allanar#, _as to how it should be smoothed, +overcome_. + +102. #¡Virgen del Pilar!# _Our Lady of the Sacred Pillar protect us!_ +In the church of _Nuestra Señora del Pilar_, Saragossa, is the sacred +pillar on which the Holy Virgin is believed to have appeared to Saint +James during his missionary journey through Spain. This pillar, with its +wooden image of the Virgin and Child, is the magnet that has drawn +countless pilgrims to Saragossa. + +131-132. #de estarse ... pestañear#, _from standing so long with +staring, unblinking, eyes_. + +137-139. #le fué ... al infeliz = la punta le fué a parar al corazón del +infeliz.# + +144. #pisaba = pisaría.# + +162. #¿Si sabrá?# ... _I wonder if he knows_... + +174. #querrá.# Future to denote probability. + +186. #Pues ... partido#, _well, even in throwing the bar I can win +the game from him_. _Barra_, was a game in which the contestants strove +to outdo each other in throwing a heavy iron bar. It was therefore a +test of strength. + +197. #Jamás ... cara#, _never from danger do I turn my face_. + +204. #la mano que todo lo guía#, _the hand that directs the +universe_, the hand of God. + +208-209. #benéfica, airada#. Note that adjectives are frequently used +instead of adverbs, especially in poetry. + +212. #de amante inquietud#, _inspired by loving solicitude_, that of +his own family. + +213. #no cobre#..., _may I never recover_... + +215. #Mayor mi tesón a más padecer#, _my obstinacy increasing with my +suffering_. Compare _mi tesón crecía con mi padecer_, of the first +edition. + +239-240. #decid ... vida#, _tell her to whom this father_ (Martin +himself) _owes the privilege of seeing himself alive_. + +247-248. Compare with these the two corresponding lines of the first +edition: + + Con tal compañera, ¿quién no ha de temblar + de perder la vida que lleva dichosa? + +255-256. #dirige = hubiese dirigido; ahorran = habrían ahorrado; cuánto +de llanto = ¡cuántas lágrimas!# + +259. #la de Maurel#, the battle of Muret in southern France, 1213, in +which the Albigenses and their allies, the Aragonese, were defeated by +the Crusaders under Simon de Montfort. King Pedro of Aragon lost his +life in the battle and many Aragonese were killed or taken prisoners. + +275-276. #Diligencia escasa ... cupo = parece que diligencia escasa, +fortuna severa, cupo en suerte a# (_fell to the lot of_) #mi sangre +(familia).# + +278. #se muestre#, _let him show himself_. Freely translated: _one +who has been unable to overcome adverse fortune should at least be +patient when it wounds him_. + +279. #de aquesa manera#, _in that condition_, that is, without a +sword. + +296. #le acatan propios y ajenos#, _all respect him, those of his +own family_ (#propios#) _and those of others_ (#ajenos#). + +341. #logré ... mal#, _I succeeded in convincing my ears that they_ +(#los acentos desabridos#) _did not have a disagreeable sound for +me_. + +347. #al recordar mi memoria#, _when memory would bring to mind_. + +371 et seq. Note that _vos, piedra, bóveda, suelo_ are all direct +objects of _invoco_, line 379. _Not you, but rather the inanimate stone +... that vaulted ceiling ... that pavement ... do I call upon as +witnesses_.... + +377. #a no ser ... huella#, _if it were not as hard and cold as the +one that walks upon it_. + +381. #que# = _for_; #le = al afán.# + +384. #oyera = pudiera, podría, oírla.# + +413. #ofrecí dar#, _I would gladly have given_. + +423-426. Compare corresponding lines in first edition: + + Cuanto padezco mirad + pues ya como dicha cuento + que mis penas un momento + suspendan su intensidad. + +447-450. #Vuestras razones ... crimen#, _your words of intercession +carry conviction to his heart; any hesitation or reluctance on my part +would be (considered) disrespect, sinful_. + +455. #que ... mortaja = que él se limite a tenerme una cruz y una +mortaja#, _he need do no more than provide me a cross and a shroud_. + +559. #de infeliz ... más#, _from an unhappy state I have passed to +one still more wretched_. + +564-565. #por señas que ... judío.# Teresa's meaning is clear; he +must be either a Jew or a Moor, she thinks, since he refused to partake +of the slices of pork and wine that she had offered him. She might have +expressed herself more logically thus: _por señas que_ (as proof that) +_debe ser moro o judío, nada de ello (magras y vino) ha probado_. + +572. #¡Que haya ... oí!# _If it were only a dream what I believe that +I heard!_ + +600. #Ya que padecí, padezca (ella).# + +603-605. #al fin ... miserable#, _after all, compared with her, +Manilla was of little account_. + +616-617. See _buena_ in Vocabulary. + +664. #en que reina#, _where he now dwells_. + +673-674. #sin que ... ofensa#, _without any one's being able to take +offense at my tears_. + +734. #que lea#, _that he may read_. + +735. #encontrármelas.# _Me_, dative of interest or concern, may be +translated: _for all I care_. + +764. #se ofrezca ... morir#, _consent to worse than death_. + + +ACTO TERCERO + +7. #Si esto ... difunto = esto es como si yo amortajase a un +difunto.# + +34. #No tardarán ... San Pedro#, _the call to vespers will not be +long in sounding over there in Saint Peter's_. San Pedro is the name of +the old parochial church in Teruel connected with the legend of _Los +Amantes_. + +73-74. #Yo no creía que dudarais de mi rendimiento fiel.# + +84-86. #y al fin hallaréis otro que no podéis figuraros en vuestro rigor +esquivo.# + +89. #aun no le visteis#, _him you have not yet seen_. + +107-109. #una lengua venenosa no pudo jamás echarme maldición más +espantosa que decir#.... + +142-144. #Para romper ... indagaciones#, _in order to break my +bondage (free myself from love of you), in order to find defects in you, +my investigations were undertaken._ + +156. #lo que yo vivirá = lo que# (_as long as_) #yo viva, vivirá#. + +167-168. #concluyo de desear y pedir#, _I desire and ask for no +more_. + +180-181. #mudaréis en suma de casa y de vecindad#, _you will move +into another house and neighborhood, nothing more_. + +210-211. #lo demás ... notorio#, _otherwise it would give cause for +notorious scandal_. + +217. #resucitara = hubiera resucitado.# + +219. #matara = habría matado.# + +221. #corriera = habría corrido.# + +346. #saliéndole al camino = saliéndole al encuentro.# + +354. #más ... marido = yo, prófuga, he podido (hacer) más que mi real +marido.# + +364. #monstruo ... abismo#, _inhuman creature, in whose voice is +heard the wrath of hell_. + +386-387. #a quien ... frente#, _whose forehead evil fate branded at +birth with burning iron_. + +388. #que por verte vive#, _who receives new life on seeing you_. + +434. #merézcate ... lazo#, _respect as you should that marriage +bond_. + +437. #Con mi presencia queda destruído.# "Sublime respuesta de la +pasión, tan sublime por lo menos como el famoso _Qu'il mourût_ de +Corneille, porque para la pasión no hay obstáculo, no hay mundo, no hay +hombres, no hay más Dios, en fin, que ella misma. Sacrilegio sublime +como el de Ayax en Homero." (José de Larra, _Colección de artículos_, +page 194.) + + +ACTO CUATRO + +7. #prenden = habrían prendido.# + +8. #acuden = hubiesen acudido.# + +41. #sois quien sois#, _you are true to yourself_; or, _one can +always count upon you_. + +48. #entre vos y yo#, _we two, you and I_. + +119. #¿No ha de ser?# _Why not?_ + +122. #por si es#, _lest it be; in case it may be_. + +139. #Esto es antes.# Teresa thought that the spirit of Marsilla was +conducting Rodrigo to the cemetery. Pedro, after giving the real +explanation, adds _Esto es antes_, meaning, _rather is this it_, i.e., +the true explanation. + +165-166. #mira si te engañas#, _you are surely mistaken_. + +166. #mal pudiera = mal podría (engañarme).# + +201-202. #Pasa más#, _more has happened; there is still more to +tell_. Note that _yo_ is the subject understood of _aperciba_ in line +202. + +220. #al = al tálamo.# + +222-224. #salga ... hospedaje#, _let her leave here at once, let not +the law of hospitality serve her (as protection)_. + +230-231. #fuera rayar en loca#, _would be little removed from folly; +would border on madness_. + +233-234. #sean ... pierdo = sean jueces de mi furia todas las mujeres +que pierdan lo que yo pierdo.# + +250-251. #que ... veía#, _who had not seen him for such a long +time_.... + +263-264. #que ... son#, _that rightly belong to a true believer_. In +this case _creyente_ means Moslem, a follower of Mohammed. Isabel's +magnanimity arouses Adel's admiration. + +Escena VI. Read #que entra# after #Marsilla#. + +286. #dos#, his own sword and that of Rodrigo. The explanation will +be found in lines 401-413. + +317. #si tú vivías#, _seeing that you were still alive_. + +319-320. #la que ... separara? = ¿Cómo podría separarse de ti sin ti la +(vida) que me alienta?# + +321. #desterró#, _banished, exiled (from Heaven)_; = #Juntos aquí nos +desterró (del cielo) la mano (de Dios) que distribuye sabia-(mente) +gozos y penas.# + +327-328. #debiera prometerme = habría debido prometerme#, _you ought +to have offered me_...; or, _I should have expected_.... + +342-344. #no se casa ... humana#, _one that loved as I did does not +marry, unless compelled to do so by the strongest force within the power +of mankind_. + +348. #sujetaras = habrías sujetado.# + +352. #la suya = su mano.# + +355. #me ves ajena#, _you see me the wife of another_. + +367. #va mi vida en oírtelo#, _to hear you say it is a matter of life +or death to me_. + +391. #en recuerdo si no#, _in memory at least_. + +408. #si lo llego ... librara?# _Should I ever believe that, who +could protect him?_ + +440. #las entrañas = el corazón. Una por una# in the preceding line +might be translated _little by little_. + +473-474. #en pos de ... lanza#, _my lovelorn spirit hastens away in +pursuit of thine_. + +A comparison of the closing lines of the play with those of the first +version shows a decided gain in dramatic effectiveness. + +ISABEL. ¿Conque ya es muerto? + +TODOS. ¡Muerto! + +ISABEL. Yo le maté; quise alejarle ... + que le odiaba le dije ... el sentimiento, + el espanto ... ¡Y mentí!... + Pero también de mí se apiada el cielo. + Ya de la eternidad me abre la puerta + y de mis ojos huye el mundo entero, + y una tumba diviso solamente + con un cadáver, y a su lado un hueco. + Marsilla, yo te amé, siempre te amaba ... + tú me lloraste ajena ... tuya muero. + +Cotarelo y Mori, in his scholarly study of the origin and development of +the legend, uses as an argument against its historical authenticity the +improbable ending; skeptically, he asks the question: "¿No es +verdaderamente pasmoso que en el siglo XIII hubiese ni en Teruel ni en +parte alguna dos personas de sensibilidad tan exquisita a quienes +simultáneamente pudiera causar la muerte el verse privadas una de otra?" +This rhetorical question was answered many years before it was thus +formulated. José de Larra in his review of the play a few days after its +first performance and only a few days before his own tragic death, +speaking for those who believe that death may be caused by grief alone, +urged the author to pay no heed to critics who scoffed at the +_dénouement_ of his play: "Si óyese repetir a sus oídos un cargo vulgar +que a los nuestros ha llegado, y que ni mentar hemos querido en este +artículo; si óyese decir que el final de su obra es inverosímil, que el +amor no mata a nadie, puede responder que es un hecho consignado en la +historia; que los cadáveres se conservan en Teruel, y la posibilidad en +los corazones sensibles; que las penas y las pasiones han llenado más +cementerios que los médicos y los necios; que el amor mata (aunque no +mate a lodo el mundo) como matan la ambición y la envidia; que más de +una mala nueva al ser recibida ha matado a personas robustas, +instantáneamente y como un rayo; y aun será en nuestro entender mejor +que a ese cargo no responda, porque el que no lleve en su corazón la +respuesta, no comprenderá ninguna. Las teorías, las doctrinas, los +sistemas se explican; los sentimientos se sienten." (_Colección de +artículos_, page 197.) + + + + + +VOCABULARY + + +The purpose of this vocabulary is to give English equivalents for the +words and locutions as used in this play, in order to help the student +understand the text or translate it into clear, idiomatic English. In +some cases, therefore, the English equivalent is not a literal +translation of the Spanish and may not give the usual meaning of the +word or phrase. Moreover, words that the student is reasonably certain +to know and those that have the same or almost the same form and meaning +in Spanish and English are omitted, as well as inflected forms, except +in the case of those that seem to offer special difficulty. + + + +#A# + +#abandonar# leave, abandon + +#abatimiento# despondency, dejection + +#abierto# _p.p. of_ #abrir# open + +#abismo# abyss, gulf; hell + +#abogar# plead, intercede for; defend + +#aborrecer# hate, detest + +#abrasador, -a# burning, ardent + +#abrazar# embrace + +#abrazo# embrace + +#abrir, -se# open + +#acá# here, hither, this way + +#acabar# end, finish; come to an end; weaken; #-- con# put an end to; +#-- de# finish with, have finished, have just; #acabarás de hacer +justicia# you will do justice in the end + +#acatar# respect, honor, do homage to + +#acción# action, impulse + +#acechar# spy upon + +#acento# accent; #-s# words + +#acercarse# approach + +#acero# steel; blade, sword, dagger + +#aciago# bitter; fatal + +#aclamar# acclaim + +#acometer# attack + +#acompañar# accompany; #fué acompañándome# he went with me, kept me +company + +#acordarse# (de) remember + +#activo# vigorous + +#acudir# come up, hasten (to help); #-se a# have recourse to, go to + +#adelantarse a# go ahead of, outrun + +#ademán# _m._ gesture; attitude + +#adentro# within; off the stage + +#aderezar# dress, get ready + +#adiós# good-bye, farewell + +#administrar# administer; give + +#adonde# where, to the place where + +#adorar (en)# adore + +#adormecer# put to sleep + +#adormecido# sleeping + +#adorno# adornment + +#afán# _m._ anxiety, trouble, sorrow; #con --# solicitously + +#afecto# love, affection; #-- amoroso# feeling of love + +#afición# love, fondness + +#afligir# afflict, grieve + +#agasajar# regale; entertain + +#agolpados# crowding + +#agradecer# be grateful, thankful (for) + +#agradecido# grateful + +#agua# water + +#aguardar# wait for + +#ahogar# smother, oppress; #-se# be stifled _or_ suffocated + +#ahora# now; nowadays; #por --# for the present + +#ahorrar# save, spare; #-se# be spared + +#ahuyentar# frighten, drive away + +#airado# angry, wrathful + +#aire# _m._ air + +#ajeno# belonging to another, of another, another's + +#alameda# avenue, grove (_of poplars_) + +#alarde# _m._ boast, boasting; #hacer --# be proud of, boast + +#alarido# cry, shout + +#alazán# _m._ sorrel horse + +#alba# dawn + +#Albarracín# _small town and mountainous district a short distance west +of the city of Teruel_ + +#albedrío# will, free will + +#albergue# _m._ lodging, room + +#albigenses# Albigenses (_see note, Act I_, 258); #un francés --# an +Albigensian Frenchman + +#alborotado# excited, agitated + +#alborozo# joy + +#alcanzar# reach, overtake; obtain; #-- con# have influence with + +#alcazaba# stronghold, fortress, donjon + +#alcázar# _m._ castle, royal palace + +#alcoba# bedroom + +#alcurnia# ancestry; family name + +#alentar# give breath; animate + +#aleve# faithless, perfidious; traitor + +#alguno# any, any one, the one + +#alhaja# jewel + +#aliento# breath, courage; #-- vital# breath of life; #sin --# lifeless, +unconscious; #mi --# my last breath + +#alimentar# nourish; #-- risueña# encourage with smiling hopes + +#alistar# enlist, recruit + +#aliviar# assuage, relieve + +#alivio# alleviation, consolation + +#alma# soul, spirit, heart, love; #de mi --# dearest + +#Alteza# Highness + +#altivez# _f._ pride + +#alto# high; great + +#altura# height, elevation; #una --# high ground + +#alumbrar# illuminate, light + +#alzar# raise; rise, arise + +#allá# there, yonder; #por --# thereabouts, along there + +#allanarse# be smoothed out, be overcome; be worked out + +#allí# there, in it + +#ama# mistress + +#amante# loving; lover + +#amar# love; #-se# love each other + +#amargo# bitter, cruel + +#amargura# bitterness, sorrow + +#amasar# knead; cement + +#ambos# both; as + +#amenazar# threaten + +#amigo# friend + +#Amir# ameer (_Mohammedan ruler_) + +#amistad# friendship + +#amor# _m._ love + +#amorío# love-making; #-s# love affairs + +#amortajar# shroud, prepare for burial + +#anciandad# _f._ old age + +#anciano# old; old man + +#andar# go; #-- por aquí# go about in this vicinity; #-se# go about + +#ángel# _m._ angel + +#angustia# anguish + +#anhelado# longed for, coveted + +#anhelante# anxious; anxiously + +#anhelar# long, yearn for + +#ánima# spirit + +#animar# encourage + +#ánimo# mind, spirit + +#anochecer# grow dark; #al --# at nightfall; #a poco de --# shortly +after nightfall + +#ansia# anguish + +#ansiar# long for, desire eagerly + +#ante# before; in the presence of + +#antes# before, first; rather; on the contrary; #-- de# before; #-- que# +before; rather than; #-- que todo# before everything else + +#anticipar# anticipate; #anticipado al nacer# present before birth, +prenatal + +#anular# annul + +#anunciar# announce + +#año# year + +#apacible# peaceful, friendly + +#aparecer# appear, be seen + +#apartar# separate, take away + +#aparte# aside; #-- de# aside from + +#apellido# name + +#apenas# scarcely, barely + +#apercibir# inform + +#aplacar# mitigate, lessen, appease, allay + +#aplazado# postponed + +#aplicar# apply; hold + +#aposento# room + +#apreciar# appreciate + +#aprender# learn + +#aprensión# illusion, delusion + +#apresar# capture + +#aprestar# prepare + +#apresurar# hurry up + +#aprieto# embarrassment, difficult position + +#aproximarse# approach + +#aquese, aquesa# that + +#aquí# here; on earth + +#ara# altar + +#aragonés, -esa# Aragonese + +#árbol# _m._ tree + +#ardiente# hot, burning + +#ardimiento# boldness + +#arena# sand; #-s# sands, desert + +#arma# arm, weapon + +#armiño# ermine; #de --# ermine-like + +#arrastrar# drag, force into; #traerla arrastrando# drag her here + +#arrebatar# take away by force + +#arrebato# carried away with, beside himself with + +#arremeter con# make an attack upon + +#arrepentimiento# repentance, remorse + +#arribar# arrive + +#arriesgar# risk + +#arrimarse# lean against + +#arrodillado# kneeling + +#arrodillarse# kneel + +#arrojar# cast off; #-se# rush, escape, cast oneself upon + +#arrostrar# face + +#arruinarse# fall in ruins + +#artesano# artisan, mechanic + +#ascendiente# ancestor, forefather + +#asegurar# assure, assert, state definitely + +#asesinar# assassinate, murder + +#asesinato# assassination + +#así# so, thus; #-- que# as soon as + +#asido de# grasped, seized by + +#asir# grasp, seize + +#asistir a# be present at, witness, attend + +#asomar# appear + +#asombrado# astonished, amazed + +#áspero# rough + +#asustar# frighten; #-se de# be frightened at + +#atar# tie + +#ataúd# _m._ coffin + +#atavío# fine attire + +#atender# heed, pay attention to, listen attentively to + +#atento# attentive; attentively + +#aterrar# ravage, lay waste; appall, terrify + +#atesorar# store up; possess + +#atestiguar# testify + +#atónito# amazed, troubled + +#atrás# back, backward + +#atravesar# pass through + +#atreverse# dare + +#atroz# atrocious, fierce + +#aumentar# increase + +#aumento# increase + +#aun, aún# still, even, yet; #-- no# not yet + +#aunque# although, even though + +#ausencia# absence + +#ausentarse# depart, go away, be absent; #al --# in the absence of + +#ausente# absent; absent one + +#autor# author, agent + +#avaro# miser + +#averiguar# find out + +#avisar# warn, notify, inform + +#aviso# warning; news + +#¡ay!# alas; #-- de# alas for, woe betide + +#ayer# yesterday; recently + +#ayunar# fast + +#ayuntamiento# town council; town hall, city hall + +#azorado# anxious, restless + + +#B# + +#bajar# descend + +#bajo# under + +#balbuciente# stammering + +#balcón# _m._ balcony + +#banda# band, scarf + +#bandera# banner, standard + +#bandolero# bandit, robber + +#bañar# bathe + +#barra# metal bar; #tirar la --# throw the bar (_a popular game in +Spain_) + +#bastante# enough; long enough + +#bastar# suffice, be enough; #basta# enough; #basta de plática# enough +talk + +#batida# hunting party + +#beldad# beauty + +#Belén# Bethlehem + +#bello# beautiful + +#bendecir# bless + +#bendición# blessing + +#bendito# blessed + +#beneficio# benefit; #con tal --# under such obligation + +#benéfico# beneficent, charitable + +#benigno# beneficent, benign + +#besar# kiss + +#Besiés# Béziers _(city of about fifty thousand inhabitants in the south +of France_) + +#bien# well, very, indeed, already; #-- está# very well, all right; +#tener a --# consider proper _or_ advisable; please + +#bien# _m_. good, goodness, happiness, blessing, favor; object of love; +#mi --# my love, beloved; #¿qué --?# what good, what of any value? #-s# +wealth + +#bienhechor, -a# benefactor, benefactress + +#blando# soft, tender + +#blasfemo# blasphemous + +#boca# mouth; tongue + +#boda# marriage, wedding; #-s# wedding; #celebradas las# --#s# the +wedding being over, after the marriage + +#borrar# erase, efface + +#bosque# _m_. wood, forest + +#bóveda# arch, vault; vaulted ceiling + +#brasa# live coal + +#brazo# arm + +#breve# brief; #en --# in a little time, quickly + +#brillante# bright, shining + +#brindar con# offer + +#brioso# bold, spirited + +#bueno# good; #buena la habéis hecho# you have done it now + +#bufete# _m_. sideboard; table + +#burlar# mock; disappoint, frustrate; #dejar burlada# make ineffective, +frustrate + +#busca# search; #en su --# in search of him + +#buscar# seek, look for, find; go to find, get; fetch + + +#C# + +#cabal# complete + +#cabalgar# take horse, ride away + +#caballo# horse; #a --# on horseback + +#caballero# gentleman; knight + +#cabello# hair + +#caber# be contained in; find a place _or_ entrance; be room for; #no +cabe# it is impossible _or_ unthinkable; #-- en suerte a# be decreed by +fate, be predestined + +#cabeza# head; chief; captain + +#cabo# end; #llevar a --# carry out; #al --# at last + +#cada# each + +#cadáver# _m_. body, corpse + +#cadena# chain + +#caer# fall; #-- prisionero de# fall into the hands of + +#caído# fallen; lying; ruined + +#calabozo# prison, dungeon + +#calidad# quality, nobility; #más --# higher rank + +#callar# be silent, keep quiet, refuse to tell, conceal; leave +unspoken; keep from saying, not to say; pass over in silence; preserve + +#calle# _f._ street + +#callejón# _m_. narrow street, alley + +#cama# bed + +#cambiar# change, exchange + +#caminar# travel, journey + +#camino# road; #-- de# in the direction of, on the way to; #salir al --# +go out to meet + +#campana# bell + +#candido# pure, white + +#cansarse# become tired, grow weary + +#capaz# capable + +#capilla# chapel + +#capitán# captain + +#cara# face + +#carácter# _m_. character + +#cárcel,# _f._ prison, dungeon + +#cargo# charge; accusation + +#caricia# caress + +#caridad# charity + +#cariño# love, affection + +#cariñoso# loving + +#caro# dear; dearly + +#carrera# road, journey; career; #mortal --# journey of life + +#carta# letter + +#casa# house; #a --# home + +#casado, -a# married man _or_ woman + +#casamiento# marriage + +#casar# marry, give in marriage; #-se# marry, get married + +#casi# almost + +#caso case; situation; event; #hacer -- de# give heed to, listen to; #-- +providencial# act of providence. + +#castigar# punish + +#castigo# punishment + +#catalán# Catalan, of Catalonia + +#caudal# _m_. capital, fortune + +#cautiverio# captivity + +#cautividad# captivity + +#cautivo# captive + +#cauto# cautious, wary, cunning, clever + +#cazador# pursuer, hunter + +#cebarse# feed, prey upon + +#ceder yield# + +#celebrar# celebrate; #celebradas las bodas# the wedding being over + +#celestial# divine + +#celo# zeal, devotion; #-s# jealousy + +#celosía# Venetian blind; latticework + +#celoso# jealous + +#cerca# near + +#cercano# near + +#cercar# surround, besiege + +#cerdo# pork + +#cerrar# close, lock + +#certero# sure + +#cesar# cease; #sin --# incessantly + +#cesta# basket + +#ciego# blind; blind with love, carried away by passion + +#cielo# heaven; #vive el --# by heavens + +#cieno# mire, slime + +#cierto# certain, a certain; indeed + +#cilicio# cilice (_garment made of coarse cloth or hair, worn as +penance_) + +#cinco# five + +#ciudad# city + +#clamar# cry, exclaim + +#claustro# cloister, convent + +#clemencia# mercy + +#cobrar# recover + +#colera# anger, rage + +#colmar# bestow liberally upon, overwhelm + +#colocar# place, set + +#comarca# district, territory + +#combate# _m._ fight, battle + +#combatir# fight + +#comisionado# agent + +#como# as; if; since; provided that + +#compadecer# pity, sympathize with + +#compañero# companion + +#compasión# pity, mercy; #por --# in the name of mercy + +#competidor, -a# rival + +#complacer# please do a favor to + +#comprar# buy + +#comprender# understand + +#compromiso# compromise; predicament + +#con# with; with respect to; #-- que# and so, so then + +#conceder# yield + +#concertarse# be arranged + +#concluir# finish, conclude; #se concluyó# it is all done + +#conde# count + +#condenar# condemn + +#conducir# take, bring + +#condición# character, disposition + +#conferenciar# take counsel + +#confesar# confess, admit + +#confiar# have confidence + +#confín# _m._ boundary, limit; #ya en el --# in the very outskirts + +#confundir# confound, punish + +#confuso# confused + +#conjuración# conspiracy + +#conjurado# conspirator + +#conmigo# with me, along with me + +#conocer# know, meet, recognize + +#conocimiento# knowledge; #sin --# unconscious + +#consagrar# consecrate, dedicate + +#conseguir# succeed in, obtain + +#consejo# advice, counsel + +#conservar# preserve + +#consignado# deposited, set down + +#consolador -a# comforter + +#consolar# console + +#consorte# consort; husband, wife + +#constancia# constancy + +#consuelo# consolation + +#consumar# complete, consummate + +#consumir# consume, wear out, wear upon + +#contacto# contact, touch; #al --# at the first touch + +#contar# relate, report, tell about; consider; #-- con# count upon, +expect; #cuento como# I count it as a + +#contemplar# consider + +#contener# contain, repress; #-se# contain oneself; stop + +#contienda# quarrel + +#continuamente# continually + +#contra# counter, contrary to, against; #ir --# oppose + +#contrario# enemy, opponent + +#contrito# contrite, penitent + +#convenir# be fitting, be in place + +#convertir# convert, change; #-se# change, be converted + +#convidado# guest + +#convulso# convulsed + +#corazón# _m._ heart + +#cordel# _m._ cord + +#corona# crown + +#corporal# physical + +#correctivo# corrective; expiation + +#correr# run, hasten; pass; draw; run through; #corrido el plazo# the +time having expired, at the expiration of the time set + +#corresponder con# repay + +#corriendo# running; quickly + +#corroborar# corroborate, confirm + +#corrompido# foul, putrid + +#corte# _f._ court + +#cortina# curtain + +#cortinaje# _m._ curtain; set of curtains + +#corto# short, brief + +#cosa# thing; #¿qué --?# what is it? + +#cosecha# harvest + +#costar# cost; #costara lo que costara# cost what it might; #cueste lo +que cueste# cost what it may + +#cota# coat of mail; #vestida la --# with his coat of mail on + +#coyunda# yoke + +#creador, -a# creative + +#crédito# credit; reputation + +#creer# believe, think + +#creyente# true believer (_Moslem or Christian, according to point of +view_) + +#criado# servant + +#criar# create; grow + +#crimen# _m._ crime, offence + +#cruz# _f._ cross + +#cruzar# cross; pass through; fold + +#cuadrilla# band + +#cual# which; as + +#cuadrar# suit; please; #de quien le cuadre# with any one that pleases +her + +#cualquiera# any one; some or other + +#cuando# when; since; seeing that + +#cuantioso# numerous, large + +#cuanto# how much, how many; as much as; all that; #-- a# as for; #-s# +all those that + +#cuatro# four + +#cubierto# covered + +#cubrir# cover + +#cuchilla# knife, poniard, sword + +#cuello# neck + +#cuerpo# body; #con el --# in the body, in this life + +#cuidado# care, worry, anxiety, solicitude; #dar --# fill with regret + +#cuidar# care for, look after + +#culpa# blame, guilt, sin; #tener la --# be to blame + +#culpado# guilty + +#cumplido# full, complete + +#cumplimiento# fulfilment, performance + +#cumplir# fulfil; carry out; keep one's promise; expire; #-se# fall due, +expire, terminate; be fulfilled; fulfil one's duty toward, be faithful +to + +#cuna# cradle; place of birth; #dar --# be birthplace + +#cupo# _pret. 3d per. of_ #caber# + +#curar# heal, look after, take care of + +#custodio# guard, custodian + +#cuyo# whose, of which, _etc_. + + +#D# + +#daga# dagger, poniard + +#dama# lady, lady of honor (at court) + +#damasquino# Damascene; of Damascus (_ancient city of Syria, famous for +the excellence of its steel_); #el acero --# the Damascus blade + +#daño# injury + +#dar# give; make; #-- en# fall into; strike against; #-- que decir# give +occasion for censure _or_ gossip; #¿qué puede -- de sí?# what can you +expect of him? #se le den# let them give her to him + +#de# of, by, _etc_. + +#deber# owe, must, ought, be obliged, have to; #debió correr# he must +have run; #debieron echarle dentro# they must have thrown him into it; +#le debió querer# could not help loving him + +#deber# _m._ duty, obligation + +#debido# just, rightful, due + +#débil# weak + +#debilidad# weakness; #ser la suma --# be quite powerless, be +excessively weak + +#decir# tell; #digo bien# I speak the truth; #diré que no# I shall +refuse; #según se me dice# according to what they tell me + +#decisivo# decisive; #en trance tan --# in such a critical situation + +#decreto# decree + +#defender# defend, protect + +#defensa# defence, protection + +#deforme# hideous + +#dejar# leave, leave alone; #-- abandonado# give up; #-- burlada# make +fun of, render ineffective; #-- caer# drop; #que vino a --le# that left +him at last; #-se matar# let oneself be killed + +#delante# before, ahead; #-- de# in front of + +#delicadeza# delicacy, fineness + +#delicado# slight, weak; fine, perfect + +#delincuente# guilty + +#delirante# delirious, beside oneself + +#delirar# be delirious + +#delirio# frenzy; #-s# foolish caprices + +#delito# crime, guilt, sin; #al saberse mi --# when my sin became known + +#demás# other, remaining; #lo --# the rest; #los --# the others, the +rest; #lo -- fuera dar# otherwise it would give cause for; #-- (_for_ +demasiado)# more than enough + +#denigrar# blacken + +#dentro# within; off the stage; #echar --# throw into it + +#depender de# depend on + +#depositorio# depositary; trustee + +#derecho# right; #a la derecha# at the right + +#derramar# shed + +#derrumbar# overthrow, throw to the ground, destroy + +#desabrido# insipid, distasteful + +#desacato# disrespect + +#desafiar# challenge; #desafiados quedamos# we had challenged each +other; we were to fight a duel + +#desahogo# alleviation, relief + +#desairado# disregarded, unrewarded; #dejar --# disregard; refuse _or_ +fail to reward + +#desairar# disregard; refuse + +#desaparecer# disappear, pass away + +#desastrado# ill-starred, unfortunate + +#desatar# untie, undo; dissolve; #-se# free oneself + +#descansar# rest + +#desde# from; #-- hoy# from now on, from to-day; this very day; #-- que# +since; from the moment that + +#desdén# _m._ disdain, scorn + +#desdeñar# disdain + +#desdeñoso# disdainful + +#desdichado# unhappy + +#desechar# cast away, put aside + +#desempeñar# redeem; carry out + +#desgarrar# rend, break + +#desgracia# unhappiness, misfortune; evil fate, adversity; #por --# +unfortunately + +#desgraciadamente# unfortunately + +#desgraciado# unfortunate, unhappy, unsuccessful + +#deshonrarse# be dishonored + +#desleal# disloyal; traitor + +#deslumbrar# dazzle + +#desmayarse# faint, swoon + +#desmentir# give the lie to, belie, contradict; deviate from + +#desnudo# bare, naked; drawn + +#desolado# desolate; disconsolately + +#despacio# slowly, deliberately; #mira --# take a good look at + +#despecho# anger, ill-will; despair + +#despertar# awaken + +#despojar# rob + +#desposorio# marriage;#-s# marriage + +#despreciar# scorn + +#después# afterwards; #-- de# after + +#desterrar# exile, banish; send (_from heaven to earth_) + +#destierro# exile; absence + +#destino# destiny + +#destreza# dexterity + +#destrozar# destroy, mangle + +#destruir# destroy + +#desvarío# raving, delirium + +#desventura# unhappiness, misfortune + +#desvergüenza# shamelessness + +#detener# detain, delay, hold back, check; preserve; #-se# stop, delay, +desist + +#deudo# relative + +#deudor# indebted; #-- de verse con vida# indebted for the privilege of +seeing himself alive + +#devaneo# caprice, fancy; #-s# idle pursuits + +#devolver# return + +#di# (_2d sing, imper. of_ #decir#) say, tell me + +#dí# (_1st pers. pret. of_ #dar#) + +#día# _m._ day; #un --# some day; #hoy --# in these days + +#dicha# happiness, blessing, felicity; #por --# happily; #por -- mayor# +most fortunately; #-s# happiness + +#dicho# aforesaid + +#dichoso# happy, fortunate + +#diestra# right hand + +#diestro# skilful + +#dificultad# difficulty, difficult task + +#difunto# dead + +#dignarse# deign, condescend + +#digno# worthy + +#dilación# delay + +#diligencia# diligence, assiduity, solicitous care, endeavor + +#Dios# God; #a --# good-bye, farewell, God keep you; #por --# in the +name of God, in Heaven's name + +#dirigir# direct, address; intend for; guide; #-se# apply to, turn, go +toward, make one's way + +#discreción# discretion; #a --# at will; without conditions + +#disculparse con# apologize + +#disfraz# _m._ disguise. + +#disfrazado# disguised + +#disminuir# diminish + +#disponer# dispose of, arrange for, provide, make arrangements + +#distinto# distinct, evident; different + +#distribuir# distribute + +#disuadir# dissuade, deter + +#doblez# _m._ duplicity, wile + +#dócil# docile, yielding + +#dolencia# disease, infirmity, illness + +#doliente# suffering, aching; sad; #-- desvarío# delirium of grief + +#dolo# fraud, deceit + +#dolor# _m._ sorrow, regret, grief, pain + +#dolorido# doleful + +#doloroso# grievous, sad + +#domingo# Sunday + +#don# _m._ gift + +#doncella# maiden, young girl + +#donde# where; in _or_ on which; #por --# through which; #-- quiera# +wherever he pleases + +#dormitorio# bedroom + +#dos# two + +#duda# doubt; #sin --# doubtless, surely + +#dudar# doubt, suspect + +#duelo# duel; pain + +#dueño# master, owner, possessor; mistress + +#dulce# sweet + +#dulcemente# sweetly; #embargar --# hold in sweet suspense + +#dulcísimo# very sweet; most loving, most blessed + +#dulzura# sweetness + +#durar# last + +#duro# hard, harsh, cruel + + +#E# + +#ea# well + +#echar# throw, throw at, cast, fling; utter; put lower; #-- menos# miss + +#eficaz# efficient, practical + +#egoísmo# selfishness + +#ejemplo# model, example + +#elegir# select, choose + +#elevación# nobility + +#ello# it; as for that; #-- si# the fact is + +#embargar# suspend; #-- dulcemente# hold in sweet suspense + +#embargo# restraint; #sin --# however, nevertheless + +#empañar# dim + +#emparedar# confine, shut up + +#empeñar# pledge; #-se# pledge oneself, intercede + +#empeño# pledge, engagement; undertaking; effort; earnest desire; +resolution, firmness; insistence + +#empezar# begin + +#emplear# employ; #-se# devote oneself + +#emponzoñar# poison + +#empuje# _m._ push; pressure + +#empuñar# grasp + +#émulo# rival, emulator + +#enamorado# enamored; #tan --# as much in love + +#enardecer# kindle, inflame + +#encaminar# guide + +#encargar# charge; #-se de# take charge of + +#encargo# charge, duty; commission; #en mi --# assigned to me + +#encarnación# incarnation + +#encarnizarse en# be fleshed in, wound + +#encerrar# enclose, confine + +#encierro# enclosure, prison + +#enconar# irritate, aggravate, increase + +#encono# rancor, malevolence + +#encontrar# find, meet + +#enemigo# enemy; hostile, unfriendly + +#enemistad# enmity; #palabras de --# angry words + +#enero# January + +#enfermedad# illness, sickness + +#enfermo# sick; sick man, patient; #los -s# the sick + +#engañar# deceive; #-se# be deceived, be mistaken + +#engaño# deception, mistake; #-s# illusion + +#engendrar# engender, generate, produce + +#enjugar# dry + +#enlace# _m._ union, marriage + +#enmudecer# remain silent + +#enojado# angry, in anger + +#enredarse# turn, coil about + +#enriquecerse# become rich + +#ensangrentado# bloody, bloodstained + +#ensangrentar# stain with blood + +#ensayo# trial, effort, attempt + +#enseñado# taught, trained + +#entender# understand; #a mi --# in my opinion + +#enterarse de# find out, know + +#entereza# fortitude + +#entero# entire, complete + +#entonces# then, at that time + +#entrambos# both + +#entrañas# entrails, vital organs; heart + +#entrar# enter + +#entre# between, in the midst of; #-- vos y yo# we two, you and I + +#entrega# delivery, surrender + +#entregar# give, deliver, hand over + +#envenenado# poisoned + +#enviar# send + +#envuelto# enveloped + +#ermita# hermitage + +#escándalo# scandal + +#escaparse# escape + +#escarmentar# punish severely + +#escarnecer# mock + +#escaso# scarce; vain, fruitless + +#esclavo# slave + +#escolta# escort, guard + +#escondido# hidden; hiding + +#escribir# write + +#escrito# writing + +#escrupulosidad# conscientiousness + +#escuchar# listen to, heed, answer + +#esfuerzo# effort, efforts + +#eso# that; #por --# therefore, for that reason + +#esotro, -a# that other; #a esotra puerta# try the other door +(_meaning_, she hears nothing) + +#espada# sword + +#espanto# terror + +#espantoso# terrible + +#espectador# spectator + +#espectro# specter, ghost + +#espejo# mirror; model; #-- de mano# handmirror + +#esperanza# hope + +#esperar# hope, expect, wait for, await + +#espina# thorn + +#espíritu# _m._ spirit, soul, mind; liquor, liquid; #de --# mental + +#esposa wife; #-- del Señor# bride of Christ, nun + +#esposo# husband; #-s# husband and wife + +#esquivo# reserved, cold + +#estallar# burst, break forth + +#estar# be; #-se# remain; #-- de Dios# be in God's power + +#estilo# style; #por el --# like this, of this sort + +#esto# this; #en --# thereupon + +#estorbar# hinder, get in one's way + +#estrado# drawing-room + +#estrechar# press, embrace + +#estrecho# narrow, small + +#estremecerse# shudder + +#estrenar# present for the first time + +#estudio# study + +#eterno# eternal; #el --# God + +#evitar# avoid + +#excusar# excuse; avoid; #excusadme el presenciar# excuse my not +witnessing + +#exhalar# breathe forth, give expression to + +#existir# exist, live; be born + +#explicación# explanation + +#explicar# explain + +#expresar# give expression to + +#extranjero# foreign; foreigner + +#extraño# strange + + +#F# + +#fabricar# build up, contrive, devise + +#facción# feature + +#fácil# easy + +#fácilmente# easily + +#facineroso# wicked, criminal + +#falaz# false, deceptive + +#falda# lap; #la materna --# in our mothers' arms + +#falsía# falsity, deceit + +#falso# spurious, unreal + +#falta# lack; ¿#qué -- hace a#? what need has ... of? + +#faltar# lack, fail, be lacking; #los días que me faltan que vivir# the +days that are left to me of life + +#fallecer# fail; die + +#fama# good name + +#fantasma# phantom, spirit + +#fatigar# weary + +#favor# _m._ favor, help + +#favorecer# have mercy upon + +#faz# _f._ face + +#fe# _f._ faith, religion; loyalty; promise; #a --# by my faith + +#feliz# fortunate + +#fenecer# end, expire + +#fenecido# ended, at an end + +#feo# ugly + +#féretro# coffin, bier + +#feroz# cruel, ferocious + +#férvido# fervid, ardent + +#ferviente# fervent + +#festín# _m._ banquet, entertainment + +#fiel# faithful, sincere, true + +#fiera# wild animal, savage beast + +#fiero# cruel + +#figurarse# imagine, believe + +#fijo# fixed; staring + +#fin _m._ end; death; #al --# at last, after all; #en --# at last, in +short; #por --# at last, in the end; #tener su --# terminate, expire + +#final# _m._ end + +#fingir# feign, pretend, dissemble + +#fino# fine, perfect; perfectly, faithfully + +#firma# signature + +#firme# strong + +#firmeza# constancy, stability + +#flor# _f._ flower + +#florido# flowery + +#fogoso# spirited + +#fondo# bottom; background, back of stage + +#forastero# stranger + +#forcejar# struggle + +#formar# form, make up + +#fortaleza# fortitude, firmness + +#fortuna# fortune; #por -- mía# fortunately for me; #por más--# still +more fortunately + +#forzoso# forced, obligatory; #ser --# be necessary + +#francés, -esa# French + +#franco# frank, outspoken; frankly + +#franqueza# frankness + +#frenesí# _m._ frenzy, fury + +#frenético# frantic + +#frente# _f._ forehead, face + +#frío# cold + +#fuego# fire; death at the stake; #a sangre y a --# with fire and sword + +#fuera# outside; away with; #-- de# away from + +#fuera# _imp. subj. of_ #ser# _or_ #ir# + +#fuero# right, law + +#fuerte# strong, vigorous, brave + +#fuerza# force, power, strength; #a -- de# by dint of; #-- es# it is +necessary, it must perforce + +#fuga# flight + +#fugaz# fleeting + +#fulano# such a one; #un tal --# Mr. So-and-so + +#fúlgido# bright, resplendent + +#fundado# well founded + +#fundar# found, base + +#funesto# fatal, sad; #el fin os llega --# a disastrous end awaits you + +#furia# fury, rage + +#furioso# furious, raging + +#furor# _m._ fury, rage, passion + + +#G# + +#gabinete# _m._ private room; boudoir + +#gala# wedding dress; #-s# fine clothes, gala attire; #-- del himeneo# +bridal trousseau + +#galán# _m._ lover + +#galano# gallant; splendidly dressed + +#gallardo# brave, gallant, daring + +#ganar# gain, win + +#garganta# neck + +#gargantilla# necklace + +#gavilla# gang, band + +#gemir# groan + +#genio# genius; spirit; #-- infernal# evil spirit + +#gente# _f._ people, company, retinue; family; #-- aragonesa# people +from Aragón; #llamad --# call some one + +#golpe# _m._ blow + +#gótico# Gothic + +#gozar# enjoy, take pleasure in + +#gozo# joy; #con --# joyfully, gladly + +#grabar# engrave + +#grande# great, large; effective + +#grato# pleasing; welcome + +#gravemente# seriously + +#gravísimo# most grievous, serious + +#grito# cry + +#Guadalaviar# _or_ #Turia# _river rising in the Province of Teruel and +flowing into the Mediterranean at Valencia_ + +#guarda# _m., f._ guard + +#guardar# keep, preserve, guard, maintain + +#guardia# guard + +#guarnición# guard, hilt + +#guerrero# warrior, soldier + +#guiar# guide, direct, control + +#gustar# please + +#gusto# pleasure + +#gustoso# joyful, glad; joyously + + +#H# + +#haber# have; #-- de# have to, be going to, be to, must, _etc._; #me has +de acompañar# you are to accompany me; #no han de veros# you must not be +seen; ¿#quién ha de ser#? who else should it be? ¿#qué hay#? what is +wrong? #poco ha# a short time ago; #quince años ha# fifteen years ago + +#habitación# room + +#habitar# live, dwell + +#hablar# speak + +#hacer# make, do; be (_in expressions of time_); #-- caso de# give heed +to, listen to; #-- vano# frustrate, render harmless; #-- por# try, make +an effort to; #hazle entrar# show him in; #haz que vea# let me see; +#hace poco# a short time ago; #hacía tanto# for so long; #hará tres +meses# about three months ago; #-se# take place + +#hacia# toward; #-- aquí# in this direction + +#hacienda# property, wealth, riches + +#hallar# find; #bien hallado# I am glad to see you; #-se# find oneself; +be; #-se con# have, possess + +#hambre# _f._ hunger + +#hartar# satiate; #para -me# until I am satiated + +#hasta# until; even; #-- que# until + +#hecha# _p.p. fem. of_ #hacer#; #poner -- una imagen# make pretty as a +picture + +#hechizo# charm, fascination + +#hecho# fact + +#hecho# _p.p. of_ #hacer#; accustomed, used; turned into; becoming + +#hediondo# fetid, foul + +#heredar# inherit + +#herencia# inheritance; wealth + +#herida# wound + +#herido# wounded; wounded man + +#herir# wound, strike + +#hermano, -a# brother, sister + +#hermoso# beautiful; #hermosa# beautiful woman + +#hiciera# _imp. subj. of_ #hacer# + +#hiel# _f._ gall, bitterness + +#hierro# iron; steel; brandiron; #-s# chains + +#hijo, -a# son, daughter + +#himeneo# marriage; #galas del --# bridal trousseau + +#historia# story + +#hito# fixed; #de -- en# fixedly + +#hoguera# fire; #una --# death at the stake + +#holgar# please; #me holgara# (_for_ #holgaría#) it would please me + +#hollar# tread upon + +#hombre# man + +#hondo# deep + +#honesto# virtuous + +#honrado# honorable, respectable + +#honrar# honor + +#hora# hour; time; #en buen --, en -- buena# indeed; well and good; and +welcome + +#horrendo# frightful, horrible + +#horroroso# horrible, terrible + +#hospedaje# _m._ lodging; hospitality + +#hoy# to-day; now; #desde --# this very day, from now on; #--mismo# this +very day, even to-day; #-- día# in these days + +#hoyo# hole, pit + +#hubo# (_3d pret. of_ #haber#) there was + +#hueco# hollow; depths + +#huella# footprint + +#huesa# grave + +#huir# flee, fly, slip away + +#humanidad# humaneness, kindness + +#húmedo# damp, humid + +#humildad# humility + +#hundir# hurl, throw, beat down; #-se# sink + + +#I# + +#idioma# _m._ language + +#idiotez# idiocy + +#idolatrar# idolize + +#iglesia# church + +#ignorar# ignore; not to know; #-se# be unknown + +#igual# equal; alike + +#igualdad# equality + +#ileso# sound; without blemish + +#ilusorio# illusory, deceptive + +#ilustre# noble, illustrious + +#imagen# _f._ image, picture + +#imbécil# imbecile; simple + +#impedir# prevent, stop + +#ímpetu# _m._ impetus; impetuosity + +#impío# faithless; wicked + +#imponer# impose + +#importar# be important; #no importa# no matter + +#imprimir# impress, stamp + +#incapaz# incompetent, unfit + +#incentivo# encouragement + +#inclinación# inclination, love + +#inclinar# bend, bow + +#incluir# include + +#incorporarse# sit up in bed + +#indagación# investigation + +#indicar# mean, indicate + +#índole# _f._ temper; nature + +#indudable# indubitable, certain + +#indulgencia# indulgence, toleration + +#inerte# inanimate, lifeless + +#infalible# infallible, sure + +#infame# infamous + +#infantil# childish; #amor --# love of childhood + +#infausto# unlucky, ill-fated, ill-starred + +#infecto# infected, tainted + +#infelicidad# misfortune + +#infeliz# unfortunate; unfortunate man; #alguna --# an unhappy woman + +#infiel# disloyal, faithless; infidel + +#infierno# hell + +#informarse# inquire, ask + +#ingrato# ungrateful + +#inmaculado# immaculate + +#inmediato# adjoining, next + +#inmolar# sacrifice + +#inmóvil# motionless + +#inmovilidad# immobility + +#inquietud# solicitude, anxiety, worry; #estar con --# worry, be anxious + +#insensato# foolish; fool + +#inspirar# inspire, inspire in + +#instante# _m._ instant, moment; #en el --# at once, immediately + +#instar# urge + +#insufrible# intolerable + +#intensidad# intensity + +#intentar# try; intend to do + +#inundar# inundate, flood + +#inútil# vain, useless + +#inverosímil# improbable + +#invocar# invoke, call + +#ir# go, be, _etc_.; #-- a# be about to; #-- a parar# lead to, come to +an end; pierce; #van llegando# they keep arriving _or_ continue to +arrive; #se fué retirando atrás# kept drawing back; #va mi vida# my life +is at stake; #-se# go away, disappear + +#ira# fury, rage, passion; #-s# anger + +#iracundo# passionate + +#irritado# angry + +#irritarse# get angry, become furious + +#izquierdo# left; #a la izquierda# at the left + + +#J# + +#jamás# ever, never + +#jardín# _m._ garden + +#jerga# coarse cloth + +#Jesús# Heavens; Heaven help me + +#Jope, Japa# Joppa (_ancient seaport of Jerusalem and important +commercial center in the time of the Crusades. Modern Jaffa_) + +#jornada# journey + +#joven# young; young man + +#joya# jewel, piece of jewelry + +#júbilo# joy + +#judío# Jew + +#juez# judge + +#jugar# play + +#juicio# judgment + +#junta# council, meeting + +#juntar# assemble, amass, get together; summon + +#junto (a)# near, at the side of; #-s# together + +#jurar# swear, vow + +#justicia# justice; #en --# rightly + +#juventud# youth + +#juzgarse# consider oneself + + +#L# + +#labio# lip; tongue + +#labor# _f._ needlework, embroidery + +#lado# side; #por este --# this way + +#lágrima# tear + +#lana# wool; garment of wool + +#lance# _m._ incident, happening; conflict, struggle; critical moment + +#lanzar# hurl, throw; give off, reflect; utter violently + +#largo# long + +#lástima# pity + +#lastimarse# be sorry, grieve, regret + +#lateral# at the side (_of the stage_) + +#latir# beat, palpitate + +#lazo# bond + +#leal# loyal; loyally + +#lecho# bed + +#leer# read + +#lejano# distant + +#lejos de# far from + +#lengua# tongue + +#lenguaje# _m._ language, speech, manner of speech + +#lentamente# slowly + +#lento# slow + +#lerdo# slow, heavy; #lerdas# dawdlers + +#letra# letter; writing, handwriting + +#levantar# raise; #-se# arise + +#ley# _f._ law, religion, loyalty; #sin --# faithless, treacherous + +#liberal# generous + +#libertad# liberty + +#libertar# free, rescue, set free + +#líbico# Libyan; #líbica región# Northern Africa (_Libya was the ancient +name of Northern Africa_) + +#librar# free, save, protect. + +#libre# free; at will; released; libertine, licentious + +#licencia# permission + +#lícito# permissible + +#lid# _f._ fight, struggle, conflict, duel + +#lidiar# fight + +#lienzo# linen cloth, piece of linen + +#ligar# bind + +#limitar# limit; #-se a# do no more than; #-- términos a# form +boundaries of, bound + +#limpiar# wipe, cleanse + +#lindo# pretty + +#lisonjero# flattening, complimentary + +#liviano# light; fickle, faithless + +#lo que# what; how much; as long as + +#lobreguez# darkness + +#loco# mad, insane; foolish + +#lograr# gain, succeed, be able to; #-- de# convince, persuade; #-- que +diga mi lengua# get my tongue to say; #-- vencer# have gained the +victory; #no he logrado que deis# I have not succeeded in getting you to +give + +#lucero# morning star; #-s# eyes (_poetical_) + +#lucha# struggle + +#luchar# struggle + +#luego# then, soon, next + +#lugar# _m._ place; village; stead; #dar -- a# result in + +#lujoso# luxurious + +#luna# moon; moonlight; #la -- media# crescent (_device on the +Mohammedan standard_) + +#lustro# lustrum (_period of five years_) + +#luz# _f._ light + + +#LL# + +#llamar# call, summon + +#llanto# weeping; tears + +#llegada# arrival + +#llegar# arrive, reach, come, enter, _etc._; #-se# approach; #-- a +brindar# go so far as to offer, even offer; #-- a enterarse# come to +know, find out at last; #-- a saber# find out, discover; #si lo llego a +pensar# should I ever think that; #si llegaseis a conocer# if you could +only know; #os llega funesto# a disastrous end awaits you; #en llegando# +on his arrival + +#lleno# full, filled + +#llevar# take, carry, bear; lead: wear; live; get away; #-- de# live, +spend in; #-se# carry away, lead along; #-- me a casar# take me to the +marriage altar; #-- a cabo# carry out; #el alma se llevan# they take my +spirit with them + +#llorar# weep, weep for, lament; #llorando# in tears + +#lloro# weeping, tears + + +#M# + +#madre# mother; Virgin Mary + +#magra# rasher, slice of ham, pork + +#mal# _m._ evil; misfortune + +#mal# _adv._ bad, badly; hardly, scarcely + +#maldecido# accursed + +#maldecir# execrate, imprecate, curse + +#maldición# curse, malediction + +#maldito# accursed + +#malogrado# unfortunate + +#maltratar# maltreat, abuse + +#malvado# wicked + +#manar# flow + +#mancebo# youth, young man + +#mancha# stain, blot, blemish + +#manchar# stain + +#mandar# order, command; cause; #-- sepultar# have buried + +#manera# manner; #de aquesa --# like that, in that condition; #de -- +que# such that + +#manifestar# prove + +#mano#, _f._ hand + +#mansión# abode, place of habitation + +#mantener# keep, maintain, retain + +#mañana# morning, to-morrow + +#maquinalmente# mechanically + +#maquinar# plan, contrive + +#mar# _m._ sea #maravillado# amazed, filled with wonder + +#maravillar# surprise + +#marcar# impress, brand + +#marcial# military + +#marchar# go away, depart, leave, #-se# go away, go off + +#margen# _m., f._ margin, bank + +#marido# husband + +#martirio# torture, martyrdom + +#mas# but + +#más# more, most; higher; moreover; still more; #no --# no longer; #-- +que, -- de# more than; #no hay --# there is no other; #por -- que# +however, however much + +#máscara# mask + +#matar# kill; #-- de celos# afflict with jealousy + +#materno# maternal + +#mayor# greater, greatest + +#mazmorra# dungeon + +#médico# doctor + +#medio# middle, midst + +#meditar# meditate, reflect + +#mejor# better; greater + +#mella# indentation, impression + +#menear# move, stir + +#menester# _m._ need, necessity; #ser --# be necessary + +#mengua# shame + +#menguado# diminished; unhappy; #hora menguada# in a fatal moment + +#menor# lesser, smaller + +#menos# less; except; #lo --, al --# at least + +#mensajero# messenger + +#mentar# mention, relate + +#mentido# false + +#mentir# lie + +#mentira# lie; #es --# it is not true + +#mercader# _m._ merchant + +#merced# mercy; favor, kindness; #-- a# thanks to; #hacer --# benefit + +#merecer# merit, deserve, claim + +#mesa# table + +#mezclar# mix + +#miedo# fear + +#mientras# while, whilst; as long as + +#milagro# miracle + +#mirad# (_imper. 2d pl. of_ #mirar#) bear in mind, consider + +#mirada# glance, look, gaze + +#mirar# see, look at; bear in mind, remember; #-- por# look out for; +#miren# just look; #-se# look at oneself, be reflected + +#miserable# wretch, miserable fellow + +#mísero# wretched + +#mismo# same; very; #por lo --# therefore + +#misterio# mystery + +#mitad# middle, half + +#mitigar# mitigate, appease + +#mocedad# youth + +#moderar# moderate + +#modo# way, means; #¿de qué --?# in what way, how? + +#modorra# drowsiness + +#monstruo# monster, wicked person + +#Monzón# _small town in Catalonia, between Saragossa and Barcelona_ + +#morada# abode, dwelling + +#morder# bite; #-- la tierra# bite the dust + +#morir# die; kill; #más que a --# far worse than death + +#morisco# Moorish; Morisco + +#moro# Moor, Moorish + +#mortaja# shroud + +#mostrar# show + +#muchacho# boy + +#mudanza# change (_of mind or purpose_) + +#mudar# change; #-- de casa# move into another house + +#mudo# dumb, mute + +#muerte# _f_. death; #de --# mortal + +#muerto# dead; #el --# the dead man + +#mujer# _f._ woman, wife + +#mundo# world + +#muralla# wall; rampart + +#muriendo# _(ger. of_ #morir#) dying, in mortal pain + +#muro# wall + +#musulmán, -a#, Mohammedan + + +#N# + +#nacer# be born, come into the world; spring; grow; #al --# at birth; +#anticipado al --# present before birth, prenatal; #¿de qué ha nacido?# +what has been the cause of? + +#nada# nothing + +#nadie# no one + +#narcótico# narcotic, sleeping potion + +#nariz# _f._ nose + +#naturaleza# nature + +#necesitado# needy; one in need of + +#necesitar# need, have need of + +#necio# foolish; fool + +#negar# deny, refuse + +#negociar# negotiate; #-- con# induce + +#negro# black, dark; sad, gloomy; hostile + +#ni# neither, either; even; #-- ... --# neither ... nor; #-- siquiera# +not even + +#nieve# _f._ snow + +#niño, -a# boy, girl + +#noble# noble; nobleman + +#nobleza# nobility, generosity + +#noche# _f._ night; #esta --# to-night; #esta -- misma# this very night + +#nombre# _m._ name + +#norabuena (en hora buena)# all right; good! + +#noticia# news, account, information, announcement + +#notorio# notorious + +#novedad# novelty; news; #¿es --?# is it unusual? #¿es -- que?# is it a +secret that? + +#novio, -a# bridegroom, bride; #¿qué trazas éstas de novias?# isn't she +a fine bride? (_ironical_) + +#nube# _f._ cloud, mist + +#nueva# news, tidings + +#nuevo# new + +#nunca# never, ever + + +#O# + +#o# or, either + +#obedecer# obey + +#obligación# obligation, duties + +#obra# work + +#obrar# work; bring about + +#obsequioso# obliging, courteous + +#ocasión# chance, opportunity + +#ocultar# hide, conceal + +#oculto# hidden; secretly + +#ocupar# occupy; #-se de# busy oneself with, give oneself up to; #ocupad +la silla# sit down, be seated + +#odiar# hate + +#odio# hate, hatred + +#odioso# hateful + +#ofender# insult, outrage; be offensive; trouble + +#ofensa# offence, insult; #hacer -- de# feel offended by + +#ofrecer# offer; be willing + +#ofrecimiento# offer; promise + +#ofrenda# votive offering; sacrifice + +#oído# ear + +#oír# hear, listen to + +#¡ojalá!# would that they had! + +#ojo# eye + +#olvidar# forget + +#opinión# reputation, good name + +#oponerse a# oppose + +#oprobio# shame + +#opulencia# opulence, luxury + +#opulento# wealthy + +#orbe# _m._ world + +#ordinario# ordinary; #de --# regularly + +#orgullo# pride + +#orgulloso# proud + +#orilla# bank, shore; edge, brink; bounds; #-s# on the edge, brink (of) + +#osar# dare + +#ósculo# kiss + +#oscuro# dark + +#otorgar# grant + +#otro# other + + +#P# + +#pacífico# peaceful + +#padecer# suffer, endure + +#padecer# _m._ suffering, sorrow + +#padre# father; #-s# parents; #el -- nuestro# the Lord's Prayer + +#paga# payment + +#pagar# pay; repay; pay for + +#paisano# countryman; fellow countryman + +#paja# straw + +#paje# _m._ page + +#palabra# word; promise + +#palma# palm; hand; #-s# palm leaves; hands + +#palpitar# beat, palpitate + +#pan# _m._ bread; #a --# on bread + +#par# even; #abrirse de -- en --# be thrown wide open + +#para# for; in order to; as; #-- con# compared with; #--siempre# +forever; #-- que# in order that + +#paradero# whereabouts + +#parado# standing still, stopped short + +#páramo# desolate plain, desert + +#parar# stop; be; reside, live; #-se# stop; #ir a --# pierce; #en esto +paran# this is the end of + +#parecer# seem; appear; #¿qué os parece#? how do you like? + +#parecido# resembling; #todo --# closely resembling, very much like + +#párpado# eyelid + +#parte# _f._ part; place; #por otra --# moreover + +#partida# parting, departure + +#partido# match, game + +#partir# depart, leave, set out; split, divide + +#pasar# pass, happen; suffer; #-- con# happen to; #-- por# pass by; call +at; #lo que pasa# what is going on + +#pasión# passion, love + +#paso# step + +#patria# native country _or_ place + +#paz# _f._ peace + +#pecho# breast; heart; #de -- blando# tender-hearted + +#pedazo# piece; #-s del corazón# beloved ones + +#pedir# ask for, call for, demand; #pidiendo a voces# calling loudly for + +#peligro# danger + +#pena# pain, sorrow, grief, suffering, affliction, regret; #-s# +distress; #en -- de# in punishment for + +#pender de# depend on + +#pensamiento# thought, mind + +#pensar# think, intend, expect + +#pequeño# little, small + +#percibir# perceive, feel; smell + +#perder# lose; destroy, ruin; #-se# be lost + +#pérdida# loss + +#perdonar# pardon + +#perecer# perish, die + +#peregrino# strange; pilgrim + +#pérfidamente# perfidiously, through _or_ by treason + +#pérfido# perfidious, unfaithful; traitor + +#perjuro# perjured; disloyal, unfaithful + +#permitir# permit; #permita Dios# God grant + +#perseguir# pursue + +#persona# person; #-s# cast, characters (_in a play_); #tu --# you + +#persuadirse# be persuaded _or_ convinced + +#pesadumbre# _f._ sadness, sorrow, grief; displeasure + +#pesar# weigh, be heavy, grieve + +#pesar# _m._ sorrow, grief + +#pestañear# blink + +#piadoso# pitiful, merciful + +#pie# _m._ foot + +#piedad# pity, mercy + +#piedra# stone + +#pieza# piece; room; #buena -- a# shameless creature + +#pincel# _m._ brush + +#pintar# paint; describe + +#pisada# footstep + +#pisar# tread upon, trample; despise; cross + +#pláceme# _m._ congratulation + +#planta# sole of the foot; foot + +#plantar# set up + +#plática# talk; #-- sin provecho# idle, useless talk + +#plazo# term, time set; #corrido el --# the expiration of the time set + +#plegaria# prayer + +#poblador# founder, settler + +#pobre# poor + +#pobrecillo# poor fellow + +#pobrecito# poor fellow + +#poco# little, small, few; #-- ha# a short time ago + +#poder# be able, can, may, _etc._, be able to do; #hasta -- salir# until +he was able to get out + +#poder# _m._ power + +#poderoso# powerful, strong; wealthy + +#pomito# small flask, vial + +#poner# put, set, fix, put on; #-- en# give, offer; #-- término# +terminate; #-- hecha una imagen# make pretty as a picture; #pon aquí# +give me + +#por# for, because of, out of, as, by way of, in order to, in the name +of, through, in; #-- ahora# for the present; #-- allá# thereabouts; -- +#allí# along there; #-- aquí cerca# in this vicinity; #-- dentro# +within, from within; off the stage; #-- este lado# this way; #-- él# as +far as he is concerned; #-- sí# in itself; through his own efforts; #-- +la noche# at night; #-- ser# because I am; #-- más que# however, however +much + +#porque# because, for, in order that + +#¿por qué?# why + +#porqué# _m._ cause, reason + +#porte# _m._ conduct, bearing + +#pos: en -- de# after, in pursuit of + +#postrado# prostrate; #-- por el suelo# humbled to the dust + +#postrar# prostrate, cast down; #-- por el suelo# overthrow, make bite +the dust + +#postrero# last + +#potro# rack, torture + +#precioso# precious + +#precipitado# precipitate, hasty + +#preciso# necessary + +#preferir# prefer + +#preguntar# ask, ask about, question + +#premiar# reward + +#prenda# pledge, token; treasure; beloved one, sweetheart; #-s# +qualities, appearance; #idolatrada --# object of worship; #-- querida# +beloved one, dearest + +#prendarse de# fall in love with + +#prender# take, capture; take root + +#presagio# omen + +#presenciar# witness, be present at + +#presentarse# appear + +#presentir# have a presentiment _or_ foreboding of + +#presidir# preside + +#preso# prisoner + +#prestar# lend, give + +#presto# soon, quickly + +#pretender# solicit, seek, desire; try, endeavor + +#prevenir# announce + +#previsión# foresight + +#primero# first; rather; #-- que# before + +#princesa# princess + +#principal# noble; #varón --# gentleman, man of honor + +#príncipe# _m._ prince + +#principiar# begin + +#prisa# haste + +#prisión# prison; #prisiones# bonds + +#privar# deprive + +#probar# taste; take + +#procurar# try, endeavor + +#prodigar# lavish upon + +#prodigio# marvel + +#prodigioso# marvelous; remarkable + +#prófugo# fugitive from justice, outlaw + +#profundo# deep + +#prójimo# fellow man; person; fellow + +#prometer# promise, offer + +#pronosticar# predict + +#pronto# ready; quickly, at once + +#pronunciar# pronounce, speak + +#propicio# propitious, favorable + +#propio# proper; #la propia Zulima# Zulima herself + +#proponerse# resolve + +#proporcionar# provide with, furnish + +#propósito# purpose; #a --# for the purpose, suitable + +#proscenio# proscenium, front of stage (_that part of stage between the +curtain and the orchestra_) + +#proseguir# continue + +#proteger# protect + +#provecho# profit; #sin --# idle, useless + +#providencial# providential; #acto --# act of providence + +#próvido# provident; providently + +#provocar# cause + +#próximo# next, near; approaching + +#prueba# proof + +#pudiera# (_imp. subj. of_ #poder#) might, might well; #mal --# I could +hardly be so.... + +#pueblo# people; town + +#puerta# door; #a esotra --# try the other door (she hears nothing) + +#pues# then, well, well then; #-- bien# well then, very well + +#puesto# (_p.p. of_ #poner#) set; #puesta ya en salvo# as soon as she has +escaped + +#puesto# place, post + +#pujanza# power, might + +#punta# point + +#punto# point; place; #al --# at once + +#puñal# _m._ poniard, dagger + +#pureza# purity + + +#Q# + +#que# that, who; in order that; for; when; #diré -- no# I shall refuse + +#¿qué?# what; how? #¿A qué?# why? + +#quebrantar# break + +#quebrar# break, burst + +#quedar# remain; be left; be; #-- con# retain, be left with; #-se# +remain; #se quedó triste# she was sad when I left + +#queja# complaint; #dar -s# make complaints, complain + +#quemar# burn + +#querella# complaint + +#querer# wish; love; wish to keep; #dondequiera# wherever he pleases; +#no lo quiera Dios# God forbid; #Dios quiso# it was God's will; #quiso# +she tried + +#quien# who; he who, the one who, she who; #tienen -- los# + +#defienda# they have some one to defend them + +#quieto# quiet; quietly + +#quince# fifteen + +#quiso# _see_ #querer# + +#quitar# take off _or_ away _or_ from + +#quizá# perchance, perhaps + + +#R# + +#rabioso# furious; passionate + +#radiante# radiant, brilliant + +#rasgar# rend, cut open, pierce + +#rastro# trail + +#rato# short time, while + +#rayar# border on + +#rayo# ray, flash of light, lightning, thunderbolt; #-- del cielo# by +the power of Allah + +#razón# _f._ reason, reasoning; account, information; #razones# +intercession + +#real# royal + +#rebato# excitement, commotion + +#rebelarse# revolt, resist + +#rebelde# rebellious + +#rebelión# rebellion + +#recato# modesty + +#recelar# fear, dread + +#recibir# receive, admit, let in + +#reclamar# claim as one's due, demand + +#recobrar# recover + +#recoger# pick up, take up, find + +#reconvenir con# reproach for + +#recordar# recall, remind; remember + +#recorrer# run through, hurry through + +#recuerdo# memory, recollection, remembrance; recognition + +#rechazar# repulse + +#rededor# _m._ surroundings; #al -- de# around + +#redimir# redeem, liberate + +#reflexión# reflection; hesitation, reluctance + +#refugiado# refugee + +#refugiarse# take refuge + +#refundir# recast, rearrange + +#regalo# present + +#regla# rule, precept + +#rehusar# refuse + +#reina# queen + +#reinar# reign; predominate; dwell, be + +#reino# kingdom + +#reír# laugh; #-se de# laugh at + +#reja# grating + +#relicario# locket + +#remediar# remedy, help + +#rencor# _m._ hatred; #-es# hatred, enmity + +#rencoroso# rancorous, spiteful + +#rendido# devoted + +#rendimiento# submission + +#rendir# give up, surrender, deliver, give in; return; overcome; #-se# +surrender + +#renegado# renegade, deserter, traitor + +#renunciar# renounce, give up + +#reparar en# notice, observe + +#reparo# criticism, censure + +#repente# _m._ sudden movement; #de --# suddenly + +#replicar# reply + +#reponerse# recover + +#repulsa# refusal + +#rescate# _m._ ransom + +#resentimiento# resentment, grudge + +#resistir# resist, endure, stand + +#resolver# determine, make up one's mind; #-se# resolve + +#respirar# breathe, breathe again + +#respuesta# answer + +#restablecido# restored + +#restar# remain; #lo que de vivir me resta# the rest of my life + +#resucitado# returning from the dead + +#resucitar# come to life + +#resuelto# resolved, decided + +#retardar# delay, detain + +#retirarse# retreat, withdraw; go away; #se fué retirando atrás# kept +drawing back + +#retiro# secluded place; prison + +#reto# challenge + +#retrato# portrait, picture + +#retrete# _m._ boudoir, dressing room + +#revelación# revelation; #qué -- tan grata# what a welcome revelation + +#revelar# reveal, show; #-se contra# oppose + +#reverente# respectful + +#revés# _m._ reverse, misfortune + +#rey# _m._ king + +#reyezuelo# petty king, kinglet + +#rezar# pray, say in prayer, recite + +#ricamente# richly + +#rico# rich + +#riesgo# danger, peril; dangerous situation, place of danger + +#rigor# _m._ severity; disdain; #-es# severity, harshness + +#rigoroso# austere + +#riña# quarrel + +#río# river, stream; #a -s# in floods + +#riqueza# riches, wealth; #-s# riches + +#risa# laughter + +#risueño# smiling, pleasant; #que alimentaba risueña# that nourished +with smiling hopes + +#rodar# roll; be tossed about + +#rodilla# knee + +#rogar# ask, beseech, pray + +#rojo# red + +#romper# break, break open, break down, rend, destroy, tear up + +#rostro# face + +#roto# broken + +#ruego# prayer, entreaty + +#rugir# rage, roar + +#ruin# base, depraved + +#rumor# _m._ noise + + +#S# + +#saber# know, know how to, be able, learn, be informed, find out; #-se# +be known; #al -se# on becoming known; #al -se mi delito# when my sin +became known + +#sabio# wise; wisely + +#sacar# draw, bring forth, take, take out + +#sacerdote# _m._ priest + +#saciar# satiate + +#sacrílego# sacrilegious + +#sagrado# sacred + +#sala# room + +#salir# go out, leave; get out; cast off; come out; go forth _or_ about; +enter (_stage_); #-- al camino# go out to meet + +#salón# _m._ large hall + +#salud# health + +#salvador# _m._ savior + +#salvar# save, rescue; conceal + +#salve# _f. prayer to the Virgin Mary, beginning: Salve Regina_ + +#salvo# safe; safety; #puesta ya en --# as soon as she has escaped + +#sangre# _f._ blood; race; family; #a -- y fuego# with fire and sword + +#sangriento# bloody + +#santo# holy + +#sañudo# furious, wrathful + +#satisfacer# satisfy + +#sayal# _m._ sackcloth + +#sé# _2d per. imper. of_ #ser# + +#secreto# secrecy + +#sed# _f._ thirst + +#sedicioso# seditious + +#sediento de# thirsting for + +#seducir# charm, captivate + +#seguir# follow, pursue; continue + +#según# as, according to, just as; #-- se me dice# according to what +they tell me + +#segundo# second + +#seguro# safe, secure + +#seis# six + +#sellar# seal, stamp; outline + +#sembrar# sow + +#semejanza# likeness + +#seno# breast, bosom, heart; cavity, enclosure + +#sensible# sensitive + +#sentado# seated + +#sentarse# sit down + +#sentido# sense; mind, consciousness; sentient being + +#sentimiento# grief + +#sentir# feel; hear + +#seña# sign, proof; #por -s que# as proof that; for the reason that, +seeing that + +#señal# _m._ indication, trace, proof, signal + +#señalar# indicate, point to, show + +#señor# _m._ master; Lord; sir, sire + +#señora# lady, mistress; madam; #Nuestra --# Virgin Mary + +#señorear# dominate; overtop + +#separado# separate + +#sepultar# bury + +#sepultura# tomb + +#ser# be; #el -- mujer# the fact that she is a woman; #-- propias de# +belong to; #-- de# belong to; #no soy mía# I do not belong to myself; +#siendo mal#, if it is evil; #¿qué ha sido de?# what has become of? + +#ser# _m._ life, being, state + +#sereno# serene, undisturbed + +#servir# serve + +#seso# sense, prudence; #hombre de --# prudent man + +#severo# cruel + +#si# if, whether; why; #por -- es# lest it be; #-- no# only, at least + +#sí# yes, indeed, truly; #creo que --# I believe it, so; #-- que# I know +well that; #-- tal# of course; #ello --# the fact is + +#sí# himself, herself, itself, _etc._; #por --# in itself + +#siempre# always; #para --# forever; #-- que# whenever + +#siete# seven + +#siguiente# following + +#silla# chair + +#sillón# _m._ large chair, armchair + +#sinceridad# sincerity + +#singular# strange + +#Sion# Zion, Jerusalem + +#siquiera# even + +#Siria# Syria + +#soberana# queen, sovereign + +#soberanía# sovereignty + +#soberano# supreme + +#soberbio# proud + +#sobrar# exceed, be more than enough; #todo me sobra# all the rest is +superfluous; #valor le sobra# he has more than enough courage + +#sobre# on, upon; in regard to, as to, because of + +#sobrellevar# endure + +#sobresalto# start, sudden surprise + +#socorro# help + +#soldado# soldier + +#soledad# loneliness + +#soler# be wont, be accustomed to + +#solo# alone, only; #a solas# alone + +#sólo# only + +#soltar# discharge, give vent to, let loose + +#sollozar# weep, sob + +#sombra# spirit + +#son# _m._ sound + +#sonar# sound + +#sonido# sound + +#sonrisa# smile + +#sonrojo# blush; shame; indignity; insult + +#soñar# dream; #-- con# dream of; flatter oneself with + +#sorprender# take by surprise + +#sorpresa# surprise + +#sosegar# rest + +#sosiego# calm, peace of mind + +#sospechar# suspect + +#sostener# sustain, hold + +#súbdito# subject + +#subir# ascend + +#subterráneo# underground passage + +#suceder# happen; #¿qué sucede?# what's wrong? what is it? #suceda lo +que suceda# come what may + +#suceso# event, incident; #todo el --# all that has happened + +#suelo# floor, pavement, ground + +#sueño# dream + +#suerte# _f._ fate; condition; #en --# by fate; #caber en -- a# be +decreed by fate for, be predestined for + +#sufrido# patient, resigned + +#sufrir# endure, suffer + +#sujetar# dominate, overcome; bow, bend; ward off + +#sujeto# subject, bound + +#sultana# sultana (_wife of a sultan or Mohammedan ruler_) + +#suma# sum, conclusion; #en --# in short, after all; nothing more + +#sumido# sunk; buried + +#sumiso# submissive, compliant + +#sumo# excessive, extreme + +#supe# (_pret. of_ #saber#) I found out _or_ learned + +#superar# surpass + +#súplica# prayer + +#suplicar# beg, pray + +#suplicio# punishment + +#suplir# take the place of + +#suponer# suppose, accept, take for granted + +#supuesto# supposed + +#suspender# postpone + +#suspirar# sigh + +#suspiro# sigh + +#sustento# food + +#susto# fear, fright + +#sutil# sharp + + +#T# + +#tacha# spot, blemish + +#tal# certain, such a; #-- vez# perhaps + +#tálamo# bridal bed, bride chamber; #-- de# marriage with + +#taller# _m._ shop, workshop + +#tamaño# such, so great + +#también# also + +#tampoco# neither, either + +#tan# so; #-- ... como# as ... as + +#tanto# so much; so long; #hacía --# for so long; #-- ... como# as well +as + +#tardanza# delay + +#tardar# delay; #-- mucho en# be long in + +#tarde# late, too late + +#teatro# theatre; stage + +#techo# roof + +#temblar# tremble with fear + +#temer# fear + +#temeridad# rashness; #ya poco distante de la --# that borders on +rashness + +#temible# terrible, dreaded + +#templar# temper, appease + +#templario# Templar (_member of the military order founded 1118 for the +defence of the Latin kingdom of Jerusalem_) + +#templo# church + +#tenaz# tenacious, obstinate; profound + +#tender# stretch, extend, lay out + +#tener# have, take, receive; provide; consider; #-- de, -- que# have to; +#-- a bien# consider proper to, grant, be good enough to; #-- la culpa# +be to blame; #-- noticia# hear, learn; #-- por# consider as; #-- trazas +de# manage, succeed in; #ten# here it is + +#término# term, limited time, time set; boundary; #poner --# terminate; +#limitar -s# form the boundaries of, bound + +#ternura# tenderness, love + +#terreno# ground, earth + +#Teruel# _capital of the Province of Teruel, Aragón, on the left bank of +the Guadalaviar, 72 miles northwest of Valencia. Pop. in 1910, 11,035_ + +#tesón# _m._ tenacity, obstinacy + +#tesoro# treasure + +#testigo# witness + +#tiempo# occasion; circumstances; #a --# in time; #tan a --# so +opportunely; #a buen --# opportunely; #-- hace que# some time ago + +#tierno# tender, loving; young + +#tierra# land, ground; floor; #morder la --# bite the dust + +#tigre# tiger, tigress + +#tiniebla# darkness; #-s# utter darkness + +#tino# skill; skilful touch + +#tinta# ink + +#tirador# _m._ sharpshooter, marksman + +#tiranía# tyranny + +#tirano# tyrant + +#tocado# coiffure, arrangement of the hair + +#tocar# touch; behoove, befit, be befitting; fall to the lot of; #a él +le toca# it is his place; #-- a vísperas# ring for vespers + +#todavía# still, yet; #no ...# not yet. + +#todo# all; quite; #del --# entirely + +#tomar# take, get; #toma# here + +#toque# _m._ ringing of bells; #al -- de vísperas# at the call to +vespers + +#tormento# torment, sorrow + +#tornar# turn, return + +#torneo# tournament + +#torre#, _f._ tower + +#torreón# _m._ fortified tower + +#trabar# join; enter into + +#traer# bring, carry, fetch; lead; cause, produce; #-- la arrastrando# +drag her here + +#traición# treason; #a --# treacherously + +#traidor, -a# false; traitor; wretch + +#traje# _m._ dress; #en -- de# dressed as; #con -- de hombre# in male +attire + +#traje, trajo# _pret. of_ #traer# + +#trama# plot, conspiracy + +#trance# _m._ peril, critical moment; #en -- tan decisivo# in such a +critical moment _or_ situation + +#tranquilizarse# become quiet, be calm + +#tras# after, behind, in the wake of + +#trastornado# dazed + +#trastornarse# be dazed, be overcome + +#tratar# try; plan to; be acquainted with; #-- de# try; #-se de# be a +question of + +#traza# aspect, appearance; #tener -- de# resemble, seem to be; ¿#qué -s +éstas de novia#? isn't she a fine bride? (_sarcastic_) + +#treinta# thirty + +#tremendo# terrible, fatal, violent + +#trémulo# trembling + +#tres# three; #los --# all three of us + +#triste# sad, unfortunate; unhappy man + +#triunfante# victor + +#triunfar# triumph; #-- de# triumph over; #se triunfa# victory is +achieved + +#triunfo# triumph + +#trocar# change, commute, convert; #-- en# exchange for + +#tronco# trunk, tree + +#trono# throne + +#tropa# troop, company + +#tropel# _m._ crowd; confusion + +#túmulo# grave + +#tumulto# tumult, commotion + +#turba# crowd + +#Turia# _or_ #Guadalaviar# _river rising in the Albarracin range in the +Province of Teruel and flowing into the Mediterranean at Valencia_ + + +#U# + +#ufano# arrogant, boastful; arrogantly + +#último# last; #por --# finally + +#ultraje# _m._ outrage + +#umbral# _m._ threshold + +#único# only + +#unir# join, unite; #-os a mí# marry you + +#usar# use; #para usado# when used, considering that it is used + +#útil# useful + + +#V# + +#vacío# emptiness + +#vagar# wander + +#Valencia# _important seaport on the Mediterranean at the month of the +Guadalaviar or Turia. Pop, about 250,000. In 1021 it became the capital +of an independent Moorish kingdom. It was finally reconquered by James +of Aragon, El Conquistador, in 1238_ + +#valer# be worth; avail, help, protect; #más vale# it is better + +#valeroso# valiant + +#valor# _m._ courage + +#valle# _m._ valley + +#vamos# well, come, come now + +#vanidad# vanity, pride + +#vano# vain, useless + +#vanse# exeunt; they go off the stage + +#varón# man; #-- principal# man of honor, gentleman + +#vasallo# vassal, subject + +#vase# exit + +#vaya# come + +#ve# _imper. 2d sing, of_ #ir# + +#vecindad# vicinity + +#vecino# citizen + +#vedar# forbid + +#velar# be watchful + +#velo# veil + +#veloz# swift, fleet + +#vena# vein + +#vencedor# conqueror, victor + +#vencer# conquer, overcome + +#vencimiento# expiration + +#vender# sell + +#veneno# poison + +#venenoso# poisonous, venomous + +#vengar# avenge, give vengeance; #-se# take vengeance + +#vengativo# revengeful, vindictive + +#venir# come; be; #bien venido# welcome; #viene a ser ésta# can this be; +#que vino a dejarle# that left him at last; #venga# let me have it + +#ventana# window + +#ventura# good fortune, happiness; #por --# perchance + +#venturoso# happy + +#ver# see; #-se# see each other; be; #-se con vida# be still living; #a +--# tell me; come now; #ya ves# you see for yourself + +#veras# reality, truth; #de --# in truth + +#verdad# truth + +#verdadero# real, genuine + +#verdugo# executioner + +#verter# shed, spread; #-- en# exceed, abound in; show up + +#vestido# dress + +#vestir# dress; put on; #vestida la cota# wearing his coat of mail + +#vete# _imper. 2d sing. of_ #irse# + +#vez# _f._ time; #en -- de# instead of; #una --# once; #tal --# perhaps; +#a veces# at times + +#viaje# _m._ journey + +#vicio# weakness + +#vida# life; kind of life; #en --# while still living + +#vileza# baseness + +#villa# town, countryseat (_Because of certain privileges granted to it, +the_ #villa# _was thereby distinguished from_ #aldeas# _and_ #lugares#) + +#villano# base, infamous; basely + +#vínculo# bond + +#vino# _3d per. pret. of_ #venir# + +#violenta# against her will + +#víspera# evening _or_ day before; #-s# vespers + +#vista# sight; eyes + +#visteis# _2d pl. pret. of_ #ver# + +#vital# living; of life + +#viuda# widow + +#vivir# live, be alive, feel new life; #vive el cielo# by heavens + +#vivir# _m._ life + +#vivo# living; deep, keen, bright + +#vocería# clamor, cries + +#volar# fly, fly away + +#voluntad# will, wishes + +#volver# return; #-- a# turn away from; #-- a ser# be again; #-- en sí# +return to consciousness + +#vos, vosotros# _less formal than_ #Usted# _and more courteous than_ +#tú# _when used in addressing one person_ + +#voto# vow; imprecation + +#voz# _f._ voice; words; word of command; #es --# it is said, it is well +known; #a voces# shouting; loudly + +#vuelta# return + +#vuelto# _p.p. of_ #volver# + +#vulgar# commonplace + + +#Y# + +#ya# indeed, of course, at last, already, now, surely; and so, so then; +#-- ... no# no longer; #-- lo ves# you see for yourself; #-- en el +confín# in the very outskirts; #-- que# seeing that, since, now that, +just as + +#yacer# lie + +#yerno# son-in-law + +#yerto# tense, rigid + +#yugo# yoke + + +#Z# + +#zaguán# _m._ entrance, hall + + + + + +End of the Project Gutenberg EBook of Los Amantes de Teruel +by Hartzenbusch, Juan Eugenio + +*** END OF THE PROJECT GUTENBERG EBOOK 10909 *** diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..0ffd2a4 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #10909 (https://www.gutenberg.org/ebooks/10909) diff --git a/old/10909-8.txt b/old/10909-8.txt new file mode 100644 index 0000000..2beeba5 --- /dev/null +++ b/old/10909-8.txt @@ -0,0 +1,9110 @@ +Project Gutenberg's Los Amantes de Teruel, by Hartzenbusch, Juan Eugenio + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Los Amantes de Teruel + Drama en cuatro actos en verso y prosa + +Author: Hartzenbusch, Juan Eugenio + +Release Date: February 2, 2004 [EBook #10909] + +Language: Spanish + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK LOS AMANTES DE TERUEL *** + + + + +Produced by Stan Goodman, Virginia Paque, and the Online Distributed +Proofreading Team. + + + + + + [Ilustracin: _JUAN EUGENIO HARTZENBUSCH_] + + + Heath's Modern Language Series + + + + + LOS AMANTES DE TERUEL + + POR + + JUAN EUGENIO HARTZENBUSCH + + + + + _WITH INTRODUCTION, NOTES, AND VOCABULARY_ + + BY + + G.W. UMPHREY, PH.D. + + ASSOCIATE PROFESSOR OF ROMANCE LANGUAGES + UNIVERSITY OF WASHINGTON + + 1920. + + + + +PREFACE + +The importance of Hartzenbusch in the history of the Spanish drama and +the enduring popularity in Spain of _Los Amantes de Teruel_, his +masterpiece, have assured this play a definite place in the work of +advanced students of Spanish literature in our universities. For such +students the many editions published in Spain and elsewhere have been +perhaps sufficient, but for the much larger number who never reach the +advanced literary classes an annotated edition is needed. That this play +offers excellent material for the work of more elementary courses in the +schools and colleges has long been the opinion of the present editor; +and that it has not already found a place among the Spanish texts +published in this country is difficult to understand. The old legend of +Teruel, the embodiment of pure and constant love, is one that might well +be expected to make a strong appeal to the youth of any country; the +simple and direct presentation given to the legend by Hartzenbusch and +the comparative freedom from textual difficulties, as the result of the +careful revisions of the play by its scholarly author, bring it within +the range of the understanding and appreciation of students who have +studied Spanish one year in college or two years in high school, if it +is put before them in a properly prepared edition. + +The editor has kept in mind this class of students in the preparation of +the Introduction, Notes, and Vocabulary. To those who consider the +Introduction disproportionately long, the excuse is given that this will +be the first Romantic play read by many students, and that if they are +to understand it and appreciate its fine literary qualities, they must +be enabled to view it in its proper historical perspective. It is to be +hoped that this edition may serve as a safe approach to the systematic +study, of the Romantic Movement in Spanish literature. + +The text of the play is that of the annotated edition of Dr. Adolf +Kressner, Leipsic, 1887 (_Bibliothek Spanischer Schriftsteller_), and is +the same as the one contained in the definitive collection of the plays +of Hartzenbusch, _Teatro_, Madrid, 1888-1892, Vol. I, pages 7-130 +(_Coleccin de Escritores Castellanos_). + +The indebtedness of the editor to Professor E.C. Hills of Indiana +University for many helpful suggestions is gratefully acknowledged. + +G.W. UMPHREY + +UNIVERSITY OF WASHINGTON, SEATTLE. + + + + + + + TABLE OF CONTENTS + + + PREFACE + + INTRODUCTION + + I. The Legend + + II. Authenticity of the Legend + + III. The Legend in Spanish Literature + + IV. Life of Hartzenbusch + + V. Hartzenbusch's Treatment of the Legend + + VI. Romanticism + + VII. Romanticism in _Los Amantes_ + + VIII. Versification + + BIBLIOGRAPHICAL NOTE + + TEXT + + NOTES + + VOCABULARY + + + + + +INTRODUCTION + + +#I. The Legend#. Constancy in love has inspired many writers and has +given undying fame to many legends and traditions. Among the famous +lovers that have passed into legend and that stand as the embodiment of +constant love in different ages and in different countries,--Pyramus and +Thisbe, Hero and Leander, Tristam and Isolde, Romeo and Juliet,--are to +be found Marsilla and Isabel. These _Lovers of Teruel_, as constant as +any of the others, are especially notable because of the purity of their +love and because of the absence of violence in their sudden departure +from this life. Disappointed love, desperate grief at separation, was +the only cause of their death. + +The old city of Teruel, founded by the Aragonese in the latter half of +the twelfth century at the junction of the Guadalaviar and the Alfambra +as a stronghold in the territory recently recovered from the Moors, was +the fitting scene for the action of the legend.... The pioneer life of +the city, the depth of sentiment and singleness of purpose of its +Aragonese inhabitants, the crusading spirit that carried to victory the +armies of Peter II of Aragn and his more famous son, James the +Conqueror, lend probability to a legend that would ordinarily be +considered highly improbable from the point of view of historical +authenticity. Stripped of the fantastic details that have gathered about +it in the many literary treatments given to it by Spanish writers, the +legend may be briefly told. In Teruel, at the beginning of the +thirteenth century, lived Juan Diego Martnez Garcs de Marsilla and +Isabel de Segura. They had loved each other from childhood, but when it +became a question of marriage, Isabel's father opposed the union +because of the young man's lack of material resources and because a +wealthy suitor, Rodrigo de Azagra, had presented himself for the hand of +his daughter. All that the entreaties of the lovers could gain from him +was the promise that if Marsilla went to the wars, gained fame and +riches, and returned before a certain day, he would receive Isabel in +marriage. This Marsilla did; but unfortunately he was unable to return +until just after the expiration of the time set. When he reached Teruel, +he found Isabel married to the wealthy rival. Disappointed in their +hopes after so many years of constant love and continual struggle +against adversity, Marsilla died of grief, and Isabel soon followed him; +separated in life by cruel fate, they were united in death. Buried in +the same tomb, they were later disinterred, and their mummified remains +may now be seen in the old church of San Pedro in Teruel. + +#II. Authenticity of the Legend#. The earliest references that have +yet been found to the legend belong to the middle of the sixteenth +century, that is, more than three centuries after the supposed death of +the lovers. In 1555, when the church of San Pedro in Teruel was +undergoing some repairs, two bodies, supposedly those of Marsilla and +Isabel, were discovered in one tomb in a remarkably good state of +preservation. They were reburied at the foot of the altar in the chapel +of Saints Cosme and Damian, and the story of the unfortunate lovers +began to spread far and wide. By the end of the century it was +apparently widely known and attracted considerable attention to the old +city of Teruel. When Philip III of Spain was journeying to Valencia in +1599 he was induced to turn aside to visit the church of San Pedro. In +the official account of his journey, "Jornada de Su Majestad Felipe III +y Alteza la Infanta Doa Isabel, desde Madrid, a casarse el Rey con la +Reyna Doa Margarita, y su Alteza con el Archiduque Alberto," the story +of the legend as then generally accepted is related so succinctly that +it may well be quoted here: "En la iglesia de San Pedro, en la capilla +de San Cosme y San Damin, de la dicha ciudad, est la sepultura de los +Amantes que llaman de Teruel; y dicen eran un mancebo y una doncella que +se queran mucho, ella rica y l al contrario; y como l pidiese por +mujer la doncella y por ser pobre no se la diesen, se determin a ir por +el mundo a adquerir hacienda y ella aguardarle ciertos aos, al cabo de +los cuales y dos o tres das ms, volvi rico y hall que aquella noche +se casaba la doncella. Tuvo trazas de meterse debajo de su cama y a +media noche le pidi un abrazo, dndose a conocer; ella le dijo que no +poda por no ser ya suya, y l muri luego al punto. Llevronle a +enterrar, y ella fu al entierro, y cuando le queran echar en la +sepultura, se arrim a la atad y qued all muerta; y as los +enterraron juntos en una sepultura, sabido el caso." + +Seventeen years later a long epic poem by the secretary of the city +council of Teruel, Juan Yage de Salas, aroused much discussion as to +the authenticity of the legend. In 1619 the bodies were again exhumed +and in the coffin of one of them were found written the words "ste es +Don Diego Juan Martnez de Marsilla"; also a document, "papel de letra +muy antigua," giving the story in detail. This document disappeared, but +the copy that Juan Yage claimed to have made may be seen in the +archives of the church of San Pedro or in the transcription published in +the _Semanario Pintoresco_ for the week ending Feb. 5, 1837 (Vol. II, +pages 45-47). The genuineness of the document and its copy is very +doubtful. The first paragraph shows some linguistic peculiarities of old +Aragonese; but these gradually disappear, until there is little left in +the language to differentiate it from that of the good notary public and +poet, Juan Yage, who was so anxious to prove authenticity for the +legend treated in his poem. Although there is no reliable evidence that +the bodies exhumed in 1555 and again in 1619 were those of Marsilla and +Isabel, the church of San Pedro has held them in special reverence. +They attract many admirers to the old city on the Guadalaviar and the +tourist who expresses incredulity when shown the remains of the lovers +becomes thereby _persona non grata_ in Teruel. + +For three centuries the controversy has continued and has resulted in +the spilling of much ink. The most complete and authoritative study of +the sources and growth of the legend is that of the eminent scholar +Cotarelo y Mori _(Sobre el origen y desarrollo de la leyenda de Los +Amantes de Teruel_, 2d edition, 1907). His conclusions support the +theory that the legend is the result of the localization in Teruel of +the story of the unfortunate Florentine lovers, Girolamo and Salvestra, +as related by Boccaccio in his _Decameron_, Book IV, Novel 8. He refutes +the arguments advanced by the supporters of the authenticity of the +legend, calls attention to the suspicious nature of all the documents, +and maintains the thesis that Boccaccio's story found its way into Spain +toward the end of the fourteenth century and took the form of the legend +of the _Lovers of Teruel_ about the middle of the sixteenth century, at +which time it first appeared definitely in Spanish literature. The +majority of literary critics and historians accept Cotarelo y Mori's +conclusions; others, however, refuse to give up the historic basis of +the legend. They cannot deny, of course, the evident similarity of the +stories; they explain it by saying that the story of the constant lovers +who died in Teruel in 1217 was carried to Italy by Aragonese soldiers or +merchants, was heard by the Italian novelist, and used by him as the +basis for his story of Girolamo and Salvestra. + +#III. The Legend in Spanish Literature.# Very few of the famous +legends of the world rest upon documentary evidence, and the fact that +the legend of the _Lovers of Teruel_ lacks historic proof has had little +influence upon its popularity. It has been productive of much +literature, the extent of which is indicated by the two hundred or more +titles contained in the bibliography[l] published by Domingo Gascn y +Guimbao in 1907. Of the many poems, plays, and novels inspired by the +legend only the most noteworthy can be mentioned here. The oldest +literary treatment is apparently that of Pedro de Alventosa, written +about the middle of the sixteenth century, _Historia lastimosa y sentida +de los tiernos amantes Marcilla y Segura_. This was followed in 1566 by +a Latin poem of about five hundred lines by Antonio de Sern, published +in 1907 by Gascn y Guimbao, with a Spanish translation and an excellent +bibliography. In 1581 the legend was given dramatic treatment by Rey de +Artieda, who followed the story in its essential elements but modernized +the action by placing it in the time of Charles V, only forty-six years +earlier than the publication of the play. It has little literary value, +but is important because of its influence on later dramatists. Passing +over various treatments of the theme that serve merely to indicate its +growing popularity, we come to the pretentious epic poem of Juan Yage +de Salas in twenty-six cantos, _Los Amantes de Teruel, Epopeya trgica_, +in which, besides adding many fantastic details to the legend, the +author presented much extraneous matter bearing upon the general history +of Teruel. Because of this widely known poem and the growing popularity +of the _Lovers_, two dramatists of the Golden Age, Tirso de Molina and +Prez de Montalbn, gave it their attention. _Los Amantes de Teruel_ of +the great Tirso de Molina, published in 1635, is disappointing, +considering the dramatic ability of the author; it contains passages of +dramatic effectiveness but is weak in construction. As in Rey de +Artieda's play, the action is placed in the sixteenth century; Marsilla +takes part in the famous expedition of Charles V against the Moors in +Tunis, saves the Emperor's life, and, richly rewarded, returns, too +late, to claim the promised bride. It is a better play than that of +Artieda, but is itself surpassed by Montalbn's play of three years +later. Although he was far from possessing the dramatic genius of Tirso, +Montalbn succeeded in giving the story the form that it was to maintain +on the stage for two centuries. Frequent performances and many editions +of his play, as well as many other literary treatments and references +that might be cited, attest the continued popularity of the legend. + +[Footnote 1: _Los Amantes de Teruel, Bibliografa de los Amantes_. +Domingo Gascn y Guimbao, Madrid, 1907.] + +Finally, in the early days of Romanticism, it assumed the dramatic form +that has remained most popular down to the present day. On the +nineteenth of January of the year 1837 the theatergoing people of Madrid +were moved to vociferous applause by a new treatment of the old theme, +and a new star of the literary firmament was recognized in the person of +Juan Eugenio Hartzenbusch. In his dramatic masterpiece Hartzenbusch +eclipsed all the other plays that have dealt with the legend, and more +than twenty editions stand as proof of its continued popularity. Besides +these many editions of the play, numerous novels, poems, and operas have +appeared from time to time. For the most complete bibliography down to +1907 the reader is again referred to that of the official historian of +Teruel, Gascn y Guimbao. We must now turn our attention to the author +of the best dramatic treatment of the legend. + +#IV. Life of Hartzenbusch#. Juan Eugenio Hartzenbusch, born in 1806, +was the only son of a German cabinet-maker who had wandered to Spain +from his home near Cologne, married a Spanish girl, and opened up a shop +in Madrid. The son inherited from his German father and Spanish mother +traits of character that were exemplified later in his life and +writings. From his father he received a fondness for meditation, +conscientious industry in acquiring sound scholarship, and the patience +needed for the continual revision of his plays; from his mother came his +ardent imagination and love of literature. Childhood and youth were for +him a period of disappointment and struggle against adversity. Less than +two years old when his mother died after a short period of insanity +caused by the sight of bloodshed in the turbulent streets of Madrid in +1808, he was left to the care of a brooding father who had little +sympathy with his literary aspirations, but who did wish to give him the +best education he could afford. He received a common school education +and was permitted to spend the four years from 1818 to 1822 in the +College of San Isidro. As a result of the political troubles in Spain in +1823, the father's business, never very prosperous, fell away and the +son had to leave college to help in the workshop. He was thus compelled +to spend a large part of his time in making furniture, although his +inclination was toward literature. + +His leisure was given to study and to the acquirement of a practical +knowledge of the dramatic art, gained for the most part from books, +because of his father's dislike of the theater and because of the lack +of money for any unnecessary expenditure. He translated several French +and Italian plays, adapted others to Spanish conditions, and recast +various _comedias_ of the _Siglo de Oro_, with a view to making them +more suitable for presentation. He tried his hand also at original +production and succeeded in getting some of his plays on the stage, only +to have them withdrawn almost immediately. Undiscouraged by repeated +failure, he continued studying and writing, more determined than ever to +become a successful dramatist and thus realize the ambition that was +kindled in him by the first dramatic performance that he had witnessed +when he had already reached manhood. + +At the time of his marriage in 1830 he was still helping his ailing and +despondent father in the workshop; more interested undoubtedly in his +literary pursuits, but ever faithful to the call of duty. Until success +as a dramatist made it possible for him to gain a living for his family +by literature, he continued patiently his manual labor. At his father's +death he closed the workshop and for a short time became dependent for +a livelihood on stenography, with which he had already eked out the +slender returns from the labor of his hands. + +Meanwhile, during these last years of apprenticeship in which +Hartzenbusch was gaining complete mastery of his art by continual study +and practice, the literary revolution known as Romanticism was making +rapid progress. The death of the despotic Ferdinand VII in 1833 removed +the restraint that had been imposed upon literature as well as upon +political ideas. The theories of the French and English Romanticists +were penetrating Spanish literary circles, to be taken up eagerly by the +younger dramatists; political exiles of high social and literary +prestige, such as Martnez de la Rosa and the Duque de Rivas, were +returning to Spain with plays and poems composed according to the new +theories; the natural reaction from the logical, unemotional ideals of +the Classicists was developing conditions favorable to the revolution. +The first year of the struggle between the two schools of literature, +1834, gave the Romanticists two important victories in the _Conjuracin +de Venecia_ of Martinez de la Rosa, and the _Macas_ of Jos de Larra, +two plays that show clearly Romantic tendencies but that avoid an abrupt +break with the Classical theories. They served to prepare the way for +the thoroughly Romantic play of the Duque de Rivas, _Don lvaro o la +fuerza del sino_, a magnificent, though disordered, drama that gained +for the Romanticists a decisive victory in 1835, a victory over +Classicism in Spain similar to that gained in Paris five years earlier +by the famous _Hernani_ of Victor Hugo, leader of the French +Romanticists. In 1836 the equally successful performance of _El +Trovador_, the Romantic play of Garca Gutirrez, confirmed the victory +gained by the Romanticists with _Don lvaro_, and gave clear indication +that the literary revolution was complete. The temper of the time was +decidedly Romantic, and the wholehearted applause that resounded through +the Teatro del Prncipe on the night of Jan. 19, 1837, at the first +performance of _Los Amantes de Teruel_ put an end to the long and +laborious apprenticeship of Hartzenbusch. + +A few days later the warm reception given the play and its continued +popularity were justified in a remarkable piece of dramatic criticism by +the rival playwright and keen literary critic, Jos de Larra, known +better by his journalistic pen-name, Fgaro, and greatly feared by his +contemporaries for his mordant criticism and stinging satire. In the +opening words of his review of the play, we may see the highly favorable +attitude of the critic and realize the suddenness of the fame that came +to Hartzenbusch. "Venir a aumentar el nmero de los vivientes, ser un +hombre ms donde hay tantos hombres, or decir de s: 'Es un tal +fulano,' es ser un rbol ms en una alameda. Pero pasar cinco o seis +lustros oscuro y desconocido, y llegar una noche entre otras, convocar a +un pueblo, hacer tributaria su curiosidad, alzar una cortina, conmover +el corazn, subyugar el juicio, hacerse aplaudir y aclamar, y or al da +siguiente de s mismo al pasar por una calle o por el Prado: 'Aqul es +el escritor de la comedia aplaudida,' eso es algo; es nacer; es devolver +al autor de nuestros das por un apellido oscuro un nombre claro; es dar +alcurnia a sus ascendientes en vez de recibirla de ellos."[2] Other +contemporary reviews were just as favorable, and all expressed with +Fgaro great hopes in the career of a dramatist that had thus begun with +an acknowledged masterpiece. The _Semanario Pintoresco_, for example, a +literary magazine in its second year of publication, ended its review of +the play with these words: "El joven que, saliendo de la oscuridad del +taller de un artesano, se presenta en el mundo literario con los Amantes +de Teruel por primera prueba de su talento, hace concebir al teatro +espaol la fundada esperanza de futuros das de gloria, y de verse +elevado a la altura que un da ocup en la admiracin del mundo +civilizado." (Feb. 5, 1837.) + +[Footnote 2: _Obras completas de Fgaro._ Paris, 1889. Vol. III, page +187.] + +Thus encouraged by popular applause and by the enthusiastic praise of +literary critics, Hartzenbusch produced at varying intervals many +excellent plays, but none of them surpassed or even equaled his _Amantes +de Teruel_. Many of them, characterized by careful workmanship, dramatic +effectiveness, and fine literary finish, are well worth studying, and +deserve more attention than can be given them here. They offer all kinds +of drama: tragedies such as _Doa Menca_, in which the exaggerations of +Romanticism are given free rein; historical plays, in which striking +incidents in Spanish history or legend are given dramatic treatment; +fantastic plays, such as _La redoma encantada_, in which magic plays an +important part; comedies of character and manners, such as _La coja y el +encogido_, in which contemporary life found humorous presentation. The +best of them may be read in the three volumes published in the +well-known series _Coleccin de Escritores Castellanos_. For literary +criticism the student is referred to the books mentioned later in the +bibliography. + +The love of study grew stronger in Hartzenbusch as the opportunity to +devote himself to it became greater, so that after he had had several +plays presented with considerable success, scholarship began to absorb +more and more of his time and the intervals between plays began to +lengthen. Literary criticism, editorial work in connection with new +editions of the Spanish classics, his duties as assistant and, later, +chief librarian of the Biblioteca Nacional, these, with the production +from time to time of a new play, made him a well-known figure in the +literary life of Madrid. His was the quiet life of the modern man of +letters, to whom the incidents of greatest interest are of the +intellectual order: the production of a new play, the publication of a +new book of literary or scholarly value, the discovery of an old +manuscript or the announcement of a new theory, the admission of a new +member to the Spanish Academy. Serenely tolerant in his outlook upon +life, of gentle disposition and ready sympathy, unaffectedly modest, +indifferent to the accumulation of property beyond the needs of his +simple mode of living, conscientious in the performance of all his +duties, he retained to the end of his life the personal esteem of his +many friends. When death put an end in 1880 to the long illness that +saddened the last years of his life, his mortal remains were conducted +to the tomb with all due ceremony by the Spanish Academy, to which +membership had been granted him in 1847 as a recognition of his +excellent work as dramatist and scholar. + +The productivity of Hartzenbusch, as well as his versatility, would be +remarkable in any country but Spain. The _Bibliografa de Hartzenbusch_, +prepared by his son and published in 1900,[3] stands as proof of the +great extent and diversity of his productions; four hundred pages are +needed for the bibliographical data connected with his many publications +and for a few extracts from his unpublished writings. Hundreds of titles +of dramas, poems, addresses, essays, literary criticism, scholarly +commentaries, indicate the versatility of his talent and his tireless +industry. + +[Footnote 3: _Bibliografa de Hartzenbusch_. Eugenio Hartzenbusch. +Madrid, 1900.] + +#V. Hartzenbusch's Treatment of the Legend.# Apparently Hartzenbusch +had given much study and thought to the famous legend of the _Lovers of +Teruel_. At first it was his intention to use it in an historical novel, +but only the first few pages of this have been preserved (_Bibliografa +de Hartzenbusch_). Believing that the legend could be better treated in +dramatic form, he applied himself enthusiastically to the construction +of the play in accordance with the new theories that were becoming +popular, and had it ready for production when a copy of Jos de Larra's +_Macas_ came into his hands. What was his astonishment to find that the +plot of his play was so similar to that of _Macas_ that no one would be +likely to accept the similarity as a mere coincidence. Patiently he +reconstructed it and had it published in 1836, if the date on the title +page of the oldest edition is to be accepted as accurate.[4] If +published in 1836, the author remained in obscurity until the first +performance of the play, January 19 of the following year, made him +famous. + +[Footnote 4: _Los Amantes de Teruel_, drama en cinco actos en prosa y +verso por Juan Eugenio Hartzenbusch. Madrid. Imprenta de D. Jos Mara +Repulls. 1836.] + +Many difficulties beset the dramatist in the construction of the play. +The legend that served as plot was already known to all, so that the +element of suspense could not be used to any great extent. Moreover, the +climax was not in itself dramatic; the death of two lovers through grief +at separation, pathetic though it be, lacked the tragic element of other +similar stories in which death resulted from violence. The _dnouement_, +the probability of which would not be generally accepted, had to be +retained in the treatment of a legend so widely known, a legend in which +the essential originality consisted in this very improbability. Careful +preparation throughout the whole play was needed, then, for this +improbable _dnouement_, pathetic, rather than tragic; dramatic +incidents had to be supplied by the author's own inventiveness, the +characters had to be carefully delineated, the motivation carefully +considered. How successfully the author was able to overcome these +difficulties, with what dramatic skill he was able to succeed where +dramatists such as Tirso de Molina and Montalbn were only partially +successful, careful study of the play will reveal. + +The play as given in this edition differs in many ways from the play as +first presented in 1837. More than once the author returned to it, and +the numerous editions needed to supply the popular and continuous demand +gave him the opportunity to revise it and give it the most artistic +finish of which he was capable. Changed literary conditions after +Romanticism had run its course are reflected in the more sober dress of +the revised play; there are reflected in it, too, the greater +restraint, the more scholarly and critical attention to character +delineation and literary finish befitting a man who had passed from the +warm impulsiveness of youth to the calm rationality of middle age. The +student who takes the trouble to compare the text of this edition with +that of the first will see many changes: the five acts are reduced to +four; some of the prose scenes are now in poetic form; the diction is +much improved generally and obscure passages are made clear; some +changes in motivation are to be noted, especially in the scenes leading +up to the voluntary marriage of Isabel with Azagra; the mother's +character is notably ennobled. On the whole, the play has gained by +these revisions; what it has lost in freshness and spontaneity has been +more than counterbalanced by the more careful delineation of character, +improved motivation of action, correctness of diction, and literary +finish. The play in its first form is undoubtedly a better example of +Romanticism in all its phases, its tendencies toward exaggeration, its +crudities of thought and expression, combined with qualities unsurpassed +in any other period of literature; in its revised form it is a more +artistic production, is still a Romantic play, and one of the best in +Spanish literature. + +#VI. Romanticism.# Generally speaking, an author belongs to his own +age and country, is moved by the prevalent ideas and sentiments; his +outlook upon life is similar to that of the majority of his +contemporaries. Ordinarily then, a piece of literature of a past age is +understood and fully appreciated only by the student who is able to view +it in its proper historical perspective, to see it through the eyes of +those for whom it was written. Especially is this true of Romantic +literature, the production of ardent and youthful enthusiasts who found +themselves suddenly emancipated from the rigid rules and formalism of +French pseudo-Classicism of the eighteenth century. The tendency in +literature, as in political and social life, is to pass in a pendulum +swing from one extreme to the other, so that to appreciate the fine and +enduring qualities of Romantic literature and to make due allowance for +its exaggerations and other apparent faults, the student must know +something of the Romantic movement and of the Classicism that +immediately preceded it. Moreover, his purpose in reading a literary +masterpiece is not merely to understand and appreciate it in itself, but +also to gain through it some understanding of the age or literary +movement of which it is a representative. In order, then, that _Los +Amantes de Teruel_ may be more fully appreciated as a dramatic +masterpiece, and in order that through it the student may come to a +fuller understanding of Romanticism, his attention is now directed to +the essential characteristics of this important literary movement. + +Romanticism in Spanish literature is the name given to the literary +revolt that began about 1830 against pseudo-Classicism. A similar revolt +had already freed the other literatures of Europe, so that the many +Spanish exiles who had been forced to seek refuge for political reasons +in England or on the Continent there became familiar with the new ideas +in literature. Ardent converts to the new literary ideals, these +political exiles, when permitted to return to Spain at the death of the +despotic Ferdinand VII in 1833, became the leaders in a literary +revolution that soon swept away all opposition. The logical reaction +from the rigid rules and formalism, new ideas in political and social +life weakened opposition so rapidly and effectively that the Romantic +poetry and plays of the Duque de Rivas, Espronceda, Garca Gutirrez, +Hartzenbusch, and others found a ready and enthusiastic welcome. + +In the comparison that is to be made of Romanticism and Classicism, +_romantic_ and _classic_ are to be used in their technical, literary +sense. As ordinarily used, _romantic_ means the extreme opposite of +prosaic or commonplace; in literary history, Romantic is used to +describe the movement known as Romanticism. Classic, in its oldest and +ordinary acceptation, means the best of its class or kind; in its +literary sense, _classic_, or _classical_, is usually applied to the +type of literature that harmonized so completely with eighteenth century +rationalism, the Classicism, or rather pseudo-Classicism, which, +enthroned in France, ruled all literary Europe until the closing years +of the century. In the following comparison, Classic, Classicist, and +Classicism are the opposites of Romantic, Romanticist, and Romanticism. + +Romanticism, in its general application to all kinds of literature and +to the literatures of all countries where it made itself effectively +felt, shows the following characteristics: + +1. _Subjectivity_, the introduction of the personal note, the expression +by the author of his own individual feelings and ideas. The Classicist, +aiming at universality and completeness, considered only the typical and +eternal as suitable material for literature and carefully excluded +whatever seemed peculiar to himself; his ideal was to give perfect +literary form to ideas and sentiments acceptable to mankind generally, +truths of universal application. Originality of idea or sentiment was +not of prime importance with him; his aim was rather to give finished +form to "what oft was said, but ne'er so well expressed." The aim of the +Romanticist, on the other hand, was to turn to literary uses his own +individual experiences, to give forceful and effective, rather than +elegant, expression to his own peculiar feelings and ideas. This +subjectivity led naturally to many abuses; it also led to the production +of some of the masterpieces of literature. Lyric poetry, that had almost +died of inanition during the period of Classicism, took on new and +vigorous life and became again one of the most important literary +genres. The mere mention of such famous poets as Byron, Shelley, Heine, +Musset, Leopardi, Espronceda, indicates the extent and importance of +lyric poetry in the first half of the nineteenth century. + +2. _Emotional appeal_. Classicism made its appeal to the intellect; +Romanticism to the emotions. The aim of the Classicist being to give +perfect literary expression to the accumulated wisdom of mankind or to +reform social, moral, or political conditions by means of ridicule, he +accepted logic as his guide. The Romanticist, whose aim it was to +express his individual sentiments and ideas, rebelled against the +restraints of logic and common sense; his purpose was not to persuade +his reader or hearer by logical reasoning, but rather to carry him off +his feet by the onrush of his passions and sentiments. The Classicist +mistrusted the imagination for fear that it might lead him away from +common sense and moderation; the Romanticist turned to it eagerly as the +most effective means of conveying to reader or hearer his ardent +sentiments and vague aspirations. For the reason then that the +Classicist made his appeal to the intellect, mistrusted the imagination, +and usually avoided all strong passions except that of indignation, +Classicism tended to become more and more prosaic. Romanticism, because +of its appeal to the emotions and to the imagination, put new life and +power into literature, and immeasurably widened its range. On the other +hand the tendency on the part of writers of little ability and less +judgment to go to absurd extremes in their efforts to express strange +and original ideas and sentiments, to get as far away as possible from +the logical and commonplace, led to the production of much absurd +writing. This and the attempt of many of them to apply the extreme +principles of Romanticism to daily life as well as to literature +resulted in the derogatory sense that the word _romantic_ came to have +in its ordinary acceptation. The results of Romanticism in its +exaggerated form may be seen in the satirical article written in 1837 by +Mesonero Romanos, _El Romanticismo y los Romnticos_. This article, +highly recommended in this connection, may easily be found in his +collected writings _Obras_, Madrid, 1881, or, better still, it may be +studied in the excellent edition of Professor G.T. Northup, _Selections +from Mesonero Romanos_. + +3. _Spiritual awakening_. The latter half of the eighteenth century was +a materialistic age. The realities of life were limited to such as could +be understood by the five senses and the reasoning faculty. Life and +literature for the Classicist meant reasoned submission to things as +they were; achievement was the accepted basis of judgment for his life +or literature. The Romanticist rebelled against this materialistic view +of life; for him the real truths lay beyond the apparent realities; he +grasped at the impalpable and infinite, and wished to have his life and +literature judged by his aspirations, rather than by his achievements. +Hence, too, the vague longings, the gentle melancholy or violent revolt, +the spiritual uplift. The new sense of the wonder and glory of the +universe, as well as the spiritual reality behind the material, has +suggested as a definition of Romanticism the "Renascence of Wonder." + +4. _Revival of the Middle Ages and national traditions_. The +Romanticists were inclined to turn away from the prosaic present and to +seek material for their writings in the Middle Ages, the time of +unrestrained feelings and emotions, of chivalrous adventure and romance, +of strong religious faith, of miracles and superstition. The historical +novel, in which the powerful imagination of a Walter Scott made the past +live again, became popular throughout Europe; innumerable dramas sought +their plots in medieval history and legend. Spain, with her rich +literature of popular ballads and drama, a storehouse of picturesque +legends and traditions, attracted the attention of Romanticists +everywhere, so that for Spaniards the movement came to have a patriotic +significance. The best Romanticists did not limit themselves to the +Middle Ages; they broadened their vision to include the whole past of +the human race, whereas the Classicists, fixing their eyes steadily upon +ancient Greece and Rome, whenever they were inclined to turn away from +the present, ignored entirely the medieval period and the early modern. + +5. _Picturesqueness_. Seeking to give polished expression to the +probable and typical, the Classicist abhorred exaggeration and violent +contrasts. The Romanticist, on the other hand, was attracted to the +grotesque, mingled the ugly and the beautiful, the commonplace and the +fantastic; he delighted in striking antitheses. + +6. _Love of inanimate nature_. The Classicist, instead of going directly +to Nature for individual inspiration, was content to repeat in new ways +the generally accepted ideas regarding natural scenery. His interest lay +almost wholly in mankind, so that inanimate Nature usually served as a +merely conventional background. The Romanticist loved Nature for its own +sake, and many masterpieces of lyric poetry were due to its inspiration. +He loved Nature in all her aspects and moods; if these were grandiose or +violent, the greater was his admiration. + +7. _Freedom from rule and conventionality in literary forms and +technique._ The foregoing characteristics, concerned mainly with the +content of Romantic literature, would naturally mean a corresponding +revolution in literary form and technique. Rules and conventions had +kept accumulating about literature, until by the middle of the +eighteenth century, when French Classicism dominated literary Europe, +they were so rigid that only a few of the many men of letters were able +to produce literature that was not wholly artificial and uninspired. +Each kind of literature was supposed to be written in a certain way; +narrative poetry had a certain prescribed meter; lyric poetry another; +tragedy and comedy should be carefully kept apart. The Romanticist +proceeded at once to throw overboard all these rules and +conventionalities. Each literary production was to be judged upon its +own merits as literature, not upon the closeness of its adherence to any +set of rules, and each author was to be at liberty to get his results in +any way that he might choose. Hence we find the mingling of literary +genres, the neglect of the dramatic unities, the invention of new meters +and the revival of old ones. + +8. _Richness of language_. Because of the continual elimination of words +considered unsuitable for literary expression, the language of the +Classicists was becoming more and more impoverished, diction was +becoming more and more stereotyped and artificial. The Romanticists, +with their revolutionary ideas as to content, rebelled against any rule +or convention that would restrict their choice of words or diction; +seeking complete and effective self-expression, they turned to literary +use all the resources of the language of their own time and of any other +age as well. The result was a great enrichment of language through the +effective use of highly colored, picturesque words and diction, as fresh +and bright as newly coined pieces of gold. + +Such are the general characteristics of the movement that had such a +profound effect upon the literatures of western Europe in the closing +years of the eighteenth century and the first half of the nineteenth. +All of them may be observed in the literature produced in Spain during +the twenty years from 1830 to 1850, although, naturally, they do not all +have the same importance there as in other countries. In a general way +it may be said that the movement was not so revolutionary as in France, +for example, where Classicism had taken deeper root. Moreover, in Spain, +Romanticism meant the revival of some of the literary ideals of the +_Siglo de Oro_, and to this extent at least could hardly be considered +revolutionary. The most complete representative of Romanticism in +Spanish dramatic literature is the _Don lvaro_ of Angel de Saavedra, +better known as the Duque de Rivas; in this play are to be found all the +above-mentioned characteristics, even those that have to do more +naturally with lyric poetry, subjectivity and love of nature. Not only +does it present Romanticism in its most effective form; it also shows +the pitfalls of exaggeration and improbability that even the greatest +Romanticists failed to avoid when the check of common sense was removed +and free rein was given to the imagination. But since we are here +concerned mainly with _Los Amantes de Teruel_, a play that demands for +its understanding and appreciation much less familiarity with the +Spanish language than that required by _Don lvaro_, the extent to which +the masterpiece of Hartzenbusch is representative of Romanticism will +now be briefly noted.[5] + +[Footnote 5: In order that the student may discover for himself the +essential differences between the two schools of drama, it is +recommended that he read a classical play such as Moratin's _El S de +las Nias_ before reading _Los Amantes de Teruel_. In comparing the two +plays he should bear in mind that, for the reason that they are both +artistic masterpieces, they avoid the extremes of Classicism and +Romanticism, and that they do not illustrate entirely the opposite +characteristics of the less artistic examples of the two kinds of +drama.] + +#VII. Romanticism in _Los Amantes de Teruel._# That the appeal is +mainly to the emotions and imagination is quite evident. The plot is +based on a legend that owes its chief interest to the unusual and even +improbable ending; and the exceptional and improbable, if they are to be +effectively treated in literature, must appeal to the imagination, must +so stir the sentiments of the reader or hearer that the reasoning +faculty may be kept from becoming too active. Not only is the +_dnouement_ itself improbable; the somewhat melodramatic figure of +Zulima and the important part she plays in keeping apart the lovers +until it is too late, would hardly be convincing if the main appeal of +the play were to the intellect. These improbabilities are willingly +ignored by the reader or spectator as he allows himself to be carried +along in the current of passion to the final scene of deep emotion and +intense pathos. Melodious verse and poetic imagery help to make +effective this emotional appeal. + +The spiritual appeal of the play is apparent. To Marsilla and Isabel +love is so spiritualized that materialism can find in it no place. Their +love for each other is the "encarnacin del cario anticipado al nacer," +life means for them "seguir con el cuerpo amando, como el espritu am." +Love is life itself; and when no longer permitted to love each other in +this life for the reason that Isabel, believing her lover to be dead and +wishing to sacrifice herself in order that her mother's good name may be +preserved, has become the wife of Rodrigo de Azagra, they willingly +return to the spiritual world from which together _they had come into +the world of materiality_. + +The dramatization of a medieval legend is typical of the newly awakened +interest in the Middle Ages. Five years before the beginning of the +supposed action of the play, shortly after Marsilla had left home to +gain name and fortune in the wars against the infidels, was fought at +Navas de Tolosa one of the most decisive battles between Christianity +and Mohammedanism. The year after his departure from Teruel there +ascended the throne of Aragn the boy that was to be known to history as +_Jaime el Conquistador_ because of his reconquest of southeastern Spain +for Christianity. In the lull that preceded the approaching storm the +Christians and Moslems in the eastern part of the peninsula were at +peace, so that in the play they mingle freely, treating each other with +the chivalrous respect that was characteristic of the Middle Ages. The +numerous references to contemporary historic personages and events and +the careful attention to local color bring vividly before us the life of +that part of Aragn recently recovered from the Moors. The _dnouement_ +is made less improbable by placing the action of the play in that age of +deep convictions, exalted idealism, chivalrous customs, and in that part +of Spain where tenacity of purpose has always been regarded as a +characteristic trait. + +Picturesqueness, in its literary sense is not very apparent in the play +as we now have it. In the first version there were examples of striking +contrasts, a mingling of the tragic and comic, the noble and base, but +these were toned down or eliminated by the author in his revisions of +the play. For an example of exaggerated picturesqueness, with its +violent contrasts, mingling of the sublime and vulgar, the grotesque and +beautiful, the student is referred to _Don lvaro_. + +The classical conventionality that each kind of literature should have +its prescribed form and that the various literary genres should be kept +apart was disregarded by Hartzenbusch. In this play we see a mingling of +scenes in prose with those in verse, we find the versification varied +according to the nature of the scenes, a mingling of dramatic dialogue +and lyrical expression of sentiment and passion. The action of the play +in its first form was impeded by the excessive lyricism of some of the +scenes; although notably reduced, this lyric element is still quite +apparent in the scene between Marsilla and Zulima in the first act, for +example; or between Marsilla and Isabel in the last. In the first +version Mari-Gmez, later changed to Teresa with the suppression of most +of her garrulity, was made to serve as a _graciosa_ and thus relieve the +tenseness of the serious scenes. + +As to the three dramatic unities so dear to the Classicists, those of +time and place are disregarded. The action shifts from Valencia to +Teruel; the time occupied covers the last six days of the _plazo_ given +Marsilla in which to gain name and fortune and return home to claim +Isabel for wife. The unity of action, the one essential unity in any +work of art, is carefully preserved. In the first version could be seen +something of the Romantic tendency to complicate the plot by the +introduction of an excessive number of characters and needless episodes, +but in its final form the plot is simple and nothing is permitted to +interfere with its dramatic development. + +In the first version there was also some tendency to abuse the new +freedom from conventionality in language, a tendency to seek out unusual +words and phrases for the sake of their picturesqueness, rather than for +their artistic appropriateness. In the polishing and toning-down +process, such words and phrases were eliminated, so that the play in its +final form serves as a good illustration of the permanent enrichment of +the literary language by the Romanticists. Likewise, in its +versification, it offers a good example of the metrical variety found in +the Spanish dramatists of the Golden Age and revived by the +Romanticists. + +#VIII. Versification.# Only the fundamental principles of Spanish +versification will be noted here. For a more adequate treatment the +student is referred to such works as Andrs Bello's _Ortologa y +mtrica_ (Vol. IV of _Obras completas_, Madrid, 1890), or the _Prosodia +castellana y versificacin_ of E. Benot; or to the more easily +accessible notes on Spanish versification in Hills and Morley's _Modern +Spanish Lyrics_ or Ford's _Spanish Anthology_. + +Some knowledge of two of the essential differences between Spanish and +English versification is needed for the appreciation of the poetry of +this play. Whereas in English poetry the number of feet to the line is +essential, in Spanish the basis of meter is the number of syllables; +moreover, in syllable-counting there are certain rules (too complicated +to be given here) regarding the treatment of contiguous vowels as one +syllable or more than one. Another difference that should be noted is +that in Spanish poetry there are two kinds of rime, consonantal rime and +assonance. Consonantal rime is the same as that used in English poetry, +identity of the last stressed vowel sound as well as all following vowel +or consonant sounds in two or more verses; as for example, in lines +127-130, Act I, _clemencia, Valencia: favor, mejor_. Assonance is +identity in a series of verses of the last stressed vowel and of a +following unstressed vowel, if there be one, but not of a consonant; in +other words, assonance is the correspondence of the vowels, but not of +the consonants, in the riming syllables. Thus, in the first 110 lines of +the play, all the even verses have the same vowel in the last stressed +syllables: _volver, administr, fiel, pie, Adel, partir, el, rey_, etc. +Only the strong vowel in a diphthong is recognized, so that in these 110 +lines the assonance of the alternate verses is in _e_. In the first 148 +lines of Act IV all the even verses have one and the same vowel in the +last accented syllable and one and the same vowel in the unaccented +syllable: _pueblo, bandoleros, prenderlos, tiempo, vinieron, provecho_, +etc. The assonance is, therefore, _-o_. + +Of the many verse-forms, _i.e._, definite combinations of line and rime, +to be found in Spanish poetry, we find the following in this play: +_romance, romance heroico, redondilla, quintilla, dcima, copla de arte +mayor_, and _silva_. + +The _romance_, or ballad meter, is the most thoroughly national of all +Spanish meters and has always been very popular with the dramatists. It +has, regularly, eight syllables to the line, with a regular rhythmic +accent on the seventh, and has assonance in the alternate lines. The +seventh syllable may or may not be followed by one or two unstressed +syllables, but the line is called octosyllabic; one unstressed syllable +is counted whether it be present or not. The first 110 lines of Act I, +for example, are in _romance_. Note that the regular rhythmic stress of +each line is on the seventh syllable; that the odd lines have seven or +eight syllables; that all the even lines have seven metrical syllables +each, and have assonance in _e_. In the first 148 lines of Act IV, all +of the even lines have eight syllables each, for the reason that each +seventh syllable is followed by an unaccented syllable, the assonance +being _-o._ This is the normal _romance_ line, eight-syllabled and in +assonance. + +The _romance heroico_ or _real_ differs from the ordinary _romance_ in +that the lines are hendecasyllabic (eleven-syllabled). Lines 269-474, +Act IV, are in _romance heroico_, with assonance in _-a_. + +The _redondilla_ consists of four octosyllabic lines, with consonantal +rime, usually arranged thus: _abba_. In Act I, for example, lines +111-458 consist of 87 _redondillas_. + +The _quintilla_ consists of five octosyllabic lines, with two +consonantal rimes, arranged so that no more than two may come together: +_ababa, abbab, abaab_, etc. In Act III lines 62-226 consist of 33 +_quintillas_. The last one has a very unusual combination of rimes: +_abbba_. + +The _dcima_ consists of ten octosyllabic lines, with four consonantal +rimes usually arranged as in lines 761-770, or 771-780, Act II: +_abbaaccddc_. The _dcima_ is not properly considered as two +_quintillas_, since there should be a pause at the end of the fourth +line of a _dcima_. + +The _copla_ (stanza) _de arte mayor_ contains eight lines with three +consonantal rimes arranged thus: _abbaacca_. Each line is divided into +two hemistitches, with rhythmic stress on the fifth syllable of each +hemistich. The sixth syllable of either hemistich or of both may be +lacking, so that there may be a total of 10, 11, or 12 syllables in a +line. Lines 179-282, Act II, are made up of thirteen _coplas de arte +mayor_. Most of the lines have 11 or 12 syllables; note that verses 187, +200, 215, etc., have only ten each. + +The _silva_ is usually composed of eleven-syllabled lines, intermingled +with lines of seven syllables. There is consonantal rime, but without +regularity; and many lines are left unrimed. An example of the _silva_ +may be found in lines 309-437, Act III. + + + + + SCHEME OF VERSIFICATION + + + Act I. 1-110 Romance (_e_) + 111-458 Redondillas + Act II. 1-178 Romance (_a_) + 179-282 Coplas de arte mayor + 283-466 Redondillas + 467-573 Prose + 574-760 Romance _(-a)_ + 761-780 Dcimas + Act III. 1-61 Prose + 62-226 Quintillas + 227-308 Prose + 309-437 Silva + Act IV. 1-148 Romance _(-o)_ + 149-268 Redondillas + 269-474 Romance heroico _(-a)_ + + + + + +BIBLIOGRAPHICAL NOTE + +The most important books and articles that treat of Hartzenbusch and the +legend of the _Amantes de Teruel_ have already been mentioned. In them +may be found many references and extensive bibliographical data. The +best of the writings of Hartzenbusch are contained in the five volumes +published in the well-known series _Coleccin de Escritores +Castellanos_. Three volumes contain his best plays: _Teatro_, Madrid, +1888-1892. The first volume, _Poesas_, 1887, contains a good study of +his life and writings by A. Fernndez-Guerra. The Romantic movement in +Spain is treated at length in _El Romanticismo en Espaa_, by Enrique +Pineyro, Paris, 1904; and in Vol. I, of _La Literatura Espaola en el +Siglo XIX_, by F. Blanco-Garca, 3d edition, 1909. + + + + + + LOS AMANTES DE TERUEL, + + DRAMA REFUNDIDO EN CUATRO ACTOS Y EN VERSO Y PROSA + + Estrenado en Madrid en el teatro del Prncipe a 19 de enero de 1837 + + PERSONAS + + + JUAN DIEGO MARTNEZ GARCS DE MARSILLA, O MARSILLA. + ISABEL DE SEGURA. + DOA MARGARITA. + ZULIMA. + DON RODRIGO DE AZAGRA. + DON PEDRO DE SEGURA. + DON MARTN GARCS DE MARSILLA. + TERESA. + ADEL. + OSMN. + + Soldados moros, cautivos, damas, caballeros, pajes, criados, criadas. + + + + +_El primer acto pasa en Valencia, y los dems en Teruel. +Ao de 1217_. + + + LOS AMANTES DE TERUEL + + + + + ACTO PRIMERO + +Dormitorio morisco en el alczar de Valencia. A la derecha del +espectador una cama, junto al proscenio; a la izquierda, una +ventana con celosas y cortinajes. Puerta grande en el fondo, +y otras pequeas a los lados. + + + + ESCENA PRIMERA + + +ZULIMA, ADEL; JUAN DIEGO MARSILLA, adormecido en la cama: +sobre ella un lienzo con letras de sangre. + +ZULIMA. No vuelve en s. + +ADEL. Todava + tardar mucho en volver. + +ZULIMA. Fuerte el narctico ha sido. + +ADEL. Poco ha se lo administr.-- + Dgnate de or, seora, + la voz de un sbdito fiel, + que orillas de un precipicio + te ve colocar el pie. + +ZULIMA. Si disuadirme pretendes, + no te fatigues, Adel. + Partir de Valencia quiero, + y hoy, hoy mismo partir. + +ADEL. Con ese cautivo? + +ZULIMA. T + me has de acompaar con l. + +ADEL. As al esposo abandonas? 15 + Un Amir, seora, un Rey! + +ZULIMA. Ese Rey, al ser mi esposo, + me prometi no tener + otra consorte que yo. + Lo ha cumplido? Ya lo ves. 20 + A traerme una rival + march de Valencia ayer. + Libre a la nueva sultana + mi puesto le dejar. + +ADEL. Considera.... + +ZULIMA. Est resuelto. 25 + El renegado Zan, + el que aterra la comarca + de Albarracn y Teruel, + llamado por m ha venido, + y tiene ya en su poder 30 + casi todo lo que yo + de mis padres hered, + que es dems para vivir + con opulencia los tres. + De la alcazaba saldremos 35 + a poco de anochecer. + +ADEL. Y ese cautivo, seora, + te ama? Sabes t quin es? + +ZULIMA. Es noble, es valiente, en una + mazmorra iba a perecer 40 + de enfermedad y de pena, + de fro, de hambre y de sed: + yo le doy la libertad, + riquezas, mi mano: quin + rehusa estos dones? Oh! 45 + Si ofendiera mi altivez + con una repulsa, caro + le costara su desdn + conmigo. Tiempo hace ya + que este acero emponzo, 50 + furiosa contra mi aleve + consorte Zeit Abenzeit: + quien es capaz de vengarse + en el Prncipe, tambin + escarmentara al esclavo, 55 + como fuera menester. + +ADEL. Qu habr escrito en ese lienzo + con su sangre? Yo no s + leer en su idioma; pero + puedo llamar a cualquier 60 + cautivo.... + +ZULIMA. l nos lo dir, + yo se lo preguntar. + +ADEL. No fuera mejor hablarle + yo primero, t despus? + +ZULIMA. Le voy a ocultar mi nombre: 65 + ser Zoraida fingir, + hija de Mervn. + +ADEL. Mervn! + Sabes que ese hombre sin ley + conspira contra el Amir? + +ZULIMA. A l le toca defender 70 + su trono, en vez de ocuparse, + contra la jurada fe, + en devaneos que un da + lugar a su ruina den. + Mas Ramiro no recobra 75 + los sentidos: buscar + un espritu a propsito.... (_Vase_.) + + + + ESCENA II + + +OSMN, por una puerta lateral.--ADEL, MARSILLA + + +OSMN. Se fu Zulima? + +ADEL. Se fu. + T nos habrs acechado. + +OSMN. He cumplido mi deber. 80 + Al ausentarse el Amir, + con este encargo qued. + Es ms cauto nuestro dueo + que esa liviana mujer.-- + El lienzo escrito con sangre, 85 + dnde est? + +ADEL. All. (_Sealando la cama_.) + +OSMN. Venga. + +ADEL. Ten. + (_Le da el lienzo, y Osmn lee_.) + Mira si es que dice, ya + que t lo sabes leer, + dnde lo pudo escribir; + porque en el encierro aquel 90 + apenas penetra nunca + rayo de luz: verdad es + que rotas esta maana + puerta y cadenas hall: + debi, despus de romperlas, 95 + el subterrneo correr, + y hallando el lienzo.... + +OSMN (_asombrado de lo que ha ledo_.) Es posible! + +ADEL. Qu cosa? + +OSMN. Oh, vasallo infiel! + Avisar al Rey es fuerza, + y al prfido sorprender. 100 + +ADEL. Es ste el prfido? (_Sealando a Marsilla_.) + +OSMN. No; + ese noble aragons + hoy el salvador ser + de Valencia y de su Rey. + +ADEL. Zulima viene. + +OSMN. Silencio 105 + con ella, y al punto ve + a buscarme. (_Vase_.) + +ADEL. Norabuena. + As me hars la merced + de explicarme lo que pasa. + + + + ESCENA III + + +ZULIMA.--ADEL, MARSILLA + +ZULIMA. Djame sola. + +ADEL. Est bien. (_Vase_.) 110 + + + + ESCENA IV + + +ZULIMA, MARSILLA + +ZULIMA. Su pecho empieza a latir + ms fuerte; as que perciba.... + (_Aplcale un pomito a la nariz_.) + +MARSILLA. Ah! + +ZULIMA. Volvi. + +MARSILLA (_incorporndose_.) Qu luz tan viva! + no la puedo resistir. + +ZULIMA (_corriendo las cortinas de la ventana_). + De aquella horrible mansin 115 + est a las tinieblas hecho. + +MARSILLA. No es esto piedra, es un lecho. + Qu ha sido de mi prisin? + +ZULIMA. Mira este albergue despacio, + y abre el corazn al gozo. 120 + +MARSILLA. Seora!.... (_Reparando en ella_.) + +ZULIMA. Tu calabozo + se ha convertido en palacio. + +MARSILLA. Di (porque yo no me explico + milagro tal), di, qu es esto? + +ZULIMA. Que eras esclavo, y que presto 125 + vas a verte libre y rico. + +MARSILLA. Libre! Oh divina clemencia! + Y a quin debo tal favor? + +ZULIMA. Quin puede hacerle mejor + que la Reina de Valencia? 130 + Zulima te proporciona + la sorpresa que te embarga + dulcemente: ella me encarga +que cuide de tu persona: + y desde hoy ningn afn 135 + permitir que te aflija. + +MARSILLA. Eres?.... + +ZULIMA. Dama suya, hija + del valeroso Mervn. + +MARSILLA. De Mervn? (_Aparte_. Ah! qu + recuerdo!) (_Busca y recoge el lienzo_.) + +ZULIMA. Qu buscas tan azorado? 140 + Ese lienzo ensangrentado? + +MARSILLA (_aparte_.) Si sta lo sabe, me pierdo. + +ZULIMA. Que has escrito en l? + +MARSILLA. No va + esto dirigido a ti; + es para el Rey. + +ZULIMA. No est aqu. 145 + +MARSILLA. Para la Reina ser. + Haz, pues, que a mi bienhechora + vea: por Dios te lo ruego. + +ZULIMA. Conocers aqu luego + a la Reina tu seora. 150 + +MARSILLA. Oh!.... + +ZULIMA. No ests con inquietud. + Olvida todo pesar: + trata solo de cobrar + el sosiego y la salud. + +MARSILLA. Defienda prvido el cielo 155 + y premie con altos dones + los piadosos corazones + que dan al triste consuelo. + Tendr Zulima, tendrs + t siempre un cautivo en m; 160 + hermoso es el bien por s, + pero en una hermosa, ms. + Ayer, hoy mismo, cul era + mi suerte? Sumido en honda + crcel, estrecha y hedionda, 165 + sin luz, sin aire siquiera; + envuelto en infecta nube + que hmedo engendra el terreno; + paja corrompida, cieno + y piedras por cama tuve. 170 + --Hoy ... si no es esto soar, + torno a la luz, a la vida, + y espero ver la florida + margen del Guadalaviar, + all donde alza Teruel, 175 + seoreando la altura, + sus torres de piedra oscura, + que estn mirndose en l. + No es lo ms que me redima + la noble princesa mora: 180 + el bien que me hace, lo ignora + aun la propia Zulima. + +ZULIMA. Ella siempre algn misterio + supuso en ti, y as espera + que me des noticia entera 185 + de tu vida y cautiverio. + Una vez que en tu retiro + las dos ocultas entramos, + te omos ... y sospechamos + que no es tu nombre Ramiro. 190 + +MARSILLA. Mi nombre es Diego Marsilla, + y cuna Teruel me di, + pueblo que ayer se fund, + y es hoy poderosa villa, + cuyos muros, entre horrores 195 + de lid atroz levantados, + fueron con sangre amasados + de sus fuertes pobladores. + Yo creo que al darme ser + quiso formar el Seor, 200 + modelos de puro amor, + un hombre y una mujer, + y para hacer la igualdad + de sus afectos cumplida, + les di un alma en dos partida, 205 + y dijo: Vivid y amad. + Al son de la voz creadora, + Isabel y yo existimos, + y ambos los ojos abrimos + en un da y una hora. 210 + Desde los aos ms tiernos + fuimos ya finos amantes; + desde que nos vimos ... antes + nos ambamos de vernos; + porque el amor principi 215 + a enardecer nuestras almas + al contacto de las palmas + de Dios, cuando nos cri: + y as fu nuestro querer, + prodigioso en nia y nio, 220 + encarnacin del cario + anticipado al nacer, + seguir Isabel y yo, + al triste mundo arribando, + seguir con el cuerpo amando, 225 + como el espritu am. + +ZULIMA. Inclinacin tan igual + slo dichas pronostica. + +MARSILLA. Soy pobre, Isabel es rica. + +ZULIMA (_aparte_). Respiro. + +MARSILLA. Tuve un rival. 230 + +ZULIMA. S? + +MARSILLA. Y opulento. + +ZULIMA. Y bien.... + +MARSILLA. Hizo + alarde de su riqueza.... + +ZULIMA. Y qu? rindi la firmeza + de Isabel? + +MARSILLA. Es poco hechizo + el oro para quien ama. 235 + Su padre, s, deslumbrado.... + +ZULIMA. Tu amor dej desairado, + privndote de tu dama? + +MARSILLA. Le v, mi pasin habl, + su fuerza exhalando toda, 240 + y, suspendida la boda, + un plazo se me otorg, + para que mi esfuerzo activo + juntara un caudal honrado. + +ZULIMA. Es ya el trmino pasado? 245 + +MARSILLA. Seora, ya ves ... aun vivo. + Seis aos y una semana +me dieron: los aos ya + se cumplen hoy; cumplir + el primer da maana. 250 + +ZULIMA. Sigue. + +MARSILLA. Un adis a la hermosa + d, que es de mis ojos luz, + y combat por la cruz + en las Navas de Tolosa. + Gan con brioso porte 255 + crdito all de guerrero; + luego, en Francia, prisionero + ca del Conde Monforte. + Hu, y en Siria un francs + albigense, refugiado, 260 + a quien haba salvado + la vida junto a Besis, + me dej, al morir, su herencia: + volviendo con fama y oro + a Espaa, pirata moro 265 + me apres y trajo a Valencia. + Y en pena de que rompi + de mis cadenas el hierro + mi mano, profundo encierro + en vida me sepult, 270 + donde mi extrao custodio, + sin dejarse ver ni or, + me prolongaba el vivir, + o por piedad o por odio. + De aquel horrendo lugar 275 + me sacis: bella mujer, + sentir s y agradecer: + di cmo podr pagar. + +ZULIMA. No borres de tu memoria + tan debido ofrecimiento, 280 + y haz por escuchar atento + cierta peregrina historia. + Un joven aragons + vino cautivo al serallo: + sus prendas y nombre callo; 285 + t conocers quin es. + Toda mujer se lastima + de ver padecer sonrojos + a un noble: puso los ojos + en el esclavo Zulima, 290 + y frvido amor en breve + naci de la compasin: + aqu es brasa el corazn; + all entre vosotros, nieve. + Quiso aquel joven huir; 295 + fu desgraciado en su empeo: + le prenden, y por su dueo + es condenado a morir. + Pero en favor del cristiano + velaba Zulima; ciega, 300 + loca, le salva;--ms, llega + a brindarle con su mano. + Respuesta es bien se le d + en trance tan decisivo: + habla t por el cautivo, 305 + yo por la Reina hablar. + +MARSILLA. Ni en desgracia ni en ventura + cupo en mi lenguaje dolo: + este corazn es slo + para Isabel de Segura. 310 + +ZULIMA. Medita, y conceders + al tiempo lo que reclama. + Sabes t si es fiel tu dama? + Sabes t si la vers? + +MARSILLA. Me matara mi dolor, 315 + si fuera Isabel perjura: + mi constancia me asegura + la firmeza de su amor. + Con espritu gallardo, + si queris, dar mi vida: 320 + dada el alma y recibida, + fiel al dueo se la guardo. + +ZULIMA. Mira que es poco prudente + burlar a tu soberana, + que tiene sangre africana, 325 + y ama y odia fcilmente. + Y si ella sabe que, cuando + yo su corazn te ofrezco, + por ella el dolor padezco + de ver que le ests pisando, 330 + volvers a tus cadenas + y a tu negro calabozo, + y all yo, con alborozo + que ms encone tus penas, + la nueva te llevar 335 + de ser Isabel esposa. + +MARSILLA. Y en prisin tan horrorosa + cuntos das vivir? + +ZULIMA. Rayo del cielo! el traidor + cuanto fabrico derrumba: 340 + defendido con la tumba, + se re de mi furor. + Trocars la risa en llanto. + Cautiva desde Teruel + me han de traer a Isabel.... 345 + +MARSILLA. Quin eres t para tanto? + +ZULIMA. Tiembla de m. + +MARSILLA. Furia vana. + +ZULIMA. Insensato! La que ves, + no es hija de Mervn, es + Zulima. + +MARSILLA. T la Sultana! 350 + +ZULIMA. La Reina. + +MARSILLA. Toma, con eso + (_Dndole el lienzo ensangrentado_.) + correspondo a tu aficin: + entrega sin dilacin + a hombre de valor y seso + el escrito que te doy. 355 + Slvete su diligencia. + +ZULIMA. Cmo! Qu riesgo?... + +MARSILLA. A Valencia + tu esposo ha de llegar hoy; + y en llegando, t y l y otros + a sedicioso pual 360 + perecis. + +ZULIMA. Qu desleal + conspira contra nosotros? + +MARSILLA. Mervn, tu padre supuesto. + Si tu clera no estalla, + mi labio el secreto calla, 365 + y el fin os llega funesto. + +ZULIMA. Cmo tal conjuracin + a ti!.... + +MARSILLA. Frentico ayer, + la puerta pude romper + de mi encierro: la prisin 370 + recorro, oigo hablar, atiendo.... + --Junta de aleves impa + era, Mervn presida.-- + All supe que volviendo + a este alczar el Amir, 375 + trataban de asesinarle. + Resulvome a no dejarle + prfidamente morir, + y con roja tinta humana + y un pincel de mi cabello 380 + la trama en un lienzo sello, + y el modo de hacerla vana. + Poner al siguiente da + pensaba el til aviso + en la cesta que el preciso 385 + sustento me conduca. + Vencime tenaz modorra, + ms fuerte que mi cuidado: + despert maravillado, + fuera ya de la mazmorra. 390 + Junta pues tu guardia, pon + aqu un acero, y que venga + con todo el poder que tenga + contra ti la rebelin. + +ZULIMA. D a la rebelin castigo 395 + quien tema por su poder; + no yo, que al anochecer + huir pensaba contigo. + Poca gente, pero brava, + que al marchar nos protegiera, 400 + sumisa mi voz espera + escondida en la alcazaba. + Con ellos entre el rebato + del tumulto, partir; + con ellos negociar 405 + que me venguen de un ingrato. + Teme la cuchilla airada + de Zan, el bandolero; + tiembla, ms que de su acero, + de esta daga envenenada. 410 + Ay del que mi amor troc + en frenes rencoroso! + Nunca espere ser dichoso + quien de celos me mat! + +MARSILLA. Zulima!... Seora !... 415 + +(_Vase Zulima por la puerta del fondo, y cierra por dentro_.) + + + + ESCENA V + +OSMN.--MARSILLA. + +OSMN Baste + de pltica sin provecho. + Al Rey un favor has hecho: + acaba lo que empezaste. + +MARSILLA. Cmo! t?.... + +OSMN. El lienzo he ledo + que al Rey dirigiste: all 420 + le ofreces tu brazo. + +MARSILLA. S, + armas y riesgo le pido. + +OSMN. Pues bien, dos tropas formadas + con los cautivos estn: + sers el un capitn, 425 + el otro Jaime Celladas. + +MARSILLA. Jaime est aqu! Es mi paisano, + es mi amigo. + +OSMN. Si hay combate, + as tendr su rescate + cada cautivo en la mano. 430 + Con ardimiento lidiad. + +MARSILLA. Quin, de libertad sediento, + no lidia con ardimiento + al grito de libertad! + +OSMN. Cuanto a Zulima.... + +MARSILLA. Tambin 435 + Libre ha de ser. + +OSMN. No debiera; + pero llvesela fuera + de nuestro reino Zan. + + + + ESCENA VI + + +ADEL, SOLDADOS MOROS.--MARSILLA, OSMN + +ADEL. Osmn, a palacio van + turbas llegando en tumulto, 440 + y Zan, que estaba oculto, + sale aclamando a Mervn. + Zulima nos ha vendido. + +OSMN. Ya no hay perdn que le alcance. + +MARSILLA. Despus de correr el lance, 445 + se dispondr del vencido. + Cuando rueda la corona + entre la sangre y el fuego, + primero se triunfa, luego.... + +OSMN. Se castiga. + +MARSILLA. Se perdona. 450 + +VOCES (_dentro_). Muera el tirano! + +MARSILLA. Mi espada! + Mi puesto! + +OSMN. Ven, ven a l. + Guarda el torren, Adel. + +ADEL. Ten tu acero. (_Dsele a Marsilla_.) + +MARSILLA. Arma anhelada! + Mi diestra te empua ya! 455 + Ella al triunfo te encamina. + Rayo fu de Palestina, + rayo en Valencia ser. + + + + + ACTO SEGUNDO + + +Teruel.--Sala en casa de don Pedro Segura + + + + ESCENA PRIMERA + + +DON PEDRO, entrando en su casa; MARGARITA, ISABEL y TERESA, +saliendo a recibirle + + +MARGARITA. Esposo! (_Arrodillndose_.) + +ISABEL. Padre! (_Arrodillndose_.) + +TERESA. Seor! + +PEDRO. Hija! Margarita! Alzad. + +ISABEL. Dadme a besar vuestra mano. + +MARGARITA. Djame el suelo besar + que pisas. + +TERESA (_a Margarita_). Vaya, seora, 5 + ya es vicio tanta humildad. + +PEDRO. Pedazos del corazn, + no es ese vuestro lugar. + Abrazadme. (_Levanta y abraza a las dos_.) + +TERESA. As me gusta. + Y a m luego. + +PEDRO. Ven ac, 10 + fiel Teresa. + +TERESA. Fiel y franca, + tengo en ello vanidad. + +PEDRO. Ya he vuelto, por fin. + +MARGARITA. Dios quiso + mis plegarias escuchar. + +PEDRO. Gustoso a Monzn part, 15 + comisionado especial + para ofrecer a don Jaime + las tropas que alistar + nuestra villa de Teruel + en defensa de la paz, 20 + que don Sancho y don Fernando + nos quieren arrebatar: + fu don Rodrigo de Azagra, + obsequioso y liberal, + acompandome al ir, 25 + y me acompaa al tornar; + mas yo me acordaba siempre + de vosotras con afn. + Triste se qued Isabel; + ms triste la encuentro. + +TERESA. Ya. 30 + +MARGARITA. Teresa! + +ISABEL. Padre! + +PEDRO. Hija ma, + dime con sinceridad + lo que ha pasado en mi ausencia. + +TERESA. Poco tiene que contar. + +MARGARITA. Teresa! + +TERESA. Digo bien. Es 35 + por ventura novedad + que Isabel suspire, y vos (_a Margarita_) + recis, y ayunis a pan + y agua, y os andis curando + enfermos por caridad? 40 + Es la vida que trais, + lo menos, quince aos ha.... + +MARGARITA. Basta. + +TERESA. Y hace seis cumplidos + que no se ha visto asomar + en los labios de Isabel 45 + ni una sonrisa fugaz. + +ISABEL (_aparte_). Ay, mi bien! + +TERESA. En fin, seor, + del pobrecillo don Juan + Diego de Marsilla, nada + se sabe. + +MARGARITA. Si no callis, 50 + venid conmigo. + +TERESA. Ir con vos + fcil es; pero callar.... + +(_Vanse Margarita y Teresa. Don Pedro se quita la espada +y la pone sobre un bufete_.) + + + + ESCENA II + + +DON PEDRO, ISABEL + +PEDRO. Mucho me aflige, Isabel, + tu pesadumbre tenaz; + pero, por desgracia, yo 55 + no la puedo remediar. + Esclavo de su palabra + es el varn principal; + tengo empeada la ma: + la debo desempear. 60 + En el honor de tu padre + no se vi mancha jams: + juventud honrada pide + ms honrada ancianidad. + +ISABEL. No pretendo yo.... + +PEDRO. Por otra 65 + parte, parece que estn + de Dios ciertas cosas. Oye + un lance bien singular, + y di si no tiene traza + de caso providencial. 70 + +ISABEL. A ver. + +PEDRO. En Teruel vivi + (no s si te acordars) + un tal Roger de Lizana, + caballero cataln. 75 + +ISABEL. El templario? + +PEDRO. S. Roger + paraba en Monzn. All + es voz que penas y culpas + de su libre mocedad + trajronle una dolencia + de espritu y corporal, 80 + que vino a dejarle casi + mudo, imbcil, incapaz. + Pacfico en su idiotez, + permitanle vagar + libre por el pueblo. Un da, 85 + sobre una dificultad + en mi encargo y sobre cmo + se debiera de allanar, + don Rodrigo y yo soltamos + palabras de enemistad. 90 + Marchse enojado, y yo + exclam al verle marchar: + Ha de ser este hombre dueo + de lo que yo quiero ms? + Si la muerte puede sola 95 + mi palabra desatar, + llveme el Seor, y quede + Isabel en libertad. + +ISABEL. Oh padre! + +PEDRO. En esto, un empuje + tremendo a la puerta dan, 100 + se abre, y con pual en mano + entra.... + +ISABEL. Virgen del Pilar! + Quin? + +PEDRO. Roger. Llgase a m, + y en voz pronunciada mal, + Uno (dijo) de los dos 105 + la vida aqu dejar. + +ISABEL. Y qu hicisteis? + +PEDRO. Yo, pensando + que bien pudiera quizs + mi muerte impedir alguna + mayor infelicidad, 110 + cruc los brazos, y quieto + esper el golpe mortal. + +ISABEL. Cielos! Y Roger? + +PEDRO. Roger + parado al ver mi ademn, + en lugar de acometerme, 115 + se fu retirando atrs, + mirndome de hito en hito, + llena de terror la faz. + Asi con entrambas manos + el arma por la mitad, 120 + y seas distintas hizo + de querrmela entregar. + Yo no le atend, guardando + completa inmovilidad + como antes; y l, con los ojos 125 + fijos, y sin menear + los prpados, balbuciente + dijo: Matadme, salvad + en el hueco de mi tumba + mi secreto criminal. 130 + +ISABEL. Su secreto! + +PEDRO. En fin, de estarse + tanto sin pestaear, + l, cuyos sentidos eran + la suma debilidad, + se trastorn, cay; di 135 + la guarnicin del pual + en tierra, le fu la punta + al corazn a parar + al infeliz, y a mis plantas + rindi el aliento vital. 140 + Hu con espanto: Azagra, + vinindose a disculpar + conmigo, me hall; le dije + que no pisaba el umbral + de aquella casa en mi vida; 145 + y l, prvido y eficaz, + avis al rey, y mand + el cadver sepultar.-- + Ya ves, hija: por no ir + yo contra tu voluntad, 150 + por no cumplir mi palabra, + quise dejarme matar; + y Dios me guard la vida: + su decreto celestial + es sin duda que esa boda 155 + se haga por fin ... --y se har, + si en tres das no parece + tu preferido galn. + +ISABEL (_aparte_). Ay de l y de m! + + + + ESCENA III + + +TERESA.--DON PEDRO, ISABEL + +TERESA. Seor, + acaba de preguntar 160 + por vos don Martn, el padre + de don Diego. + +ISABEL (_aparte_). Si sabr?... + +TERESA. Como es enemigo vuestro, + le he dejado en el zagun. + +PEDRO. A enemigo noble se abren 165 + las puertas de par en par. + Que llegue. (_Vase Teresa_.) Ve con tu + madre. + +ISABEL (_aparte_). Ella a sus pies me ver + llorando, hasta que consiga + vencer su severidad. (_Vase_.) 170 + + + + ESCENA IV + + + DON PEDRO + + Desafiados quedamos + al tiempo de cabalgar + yo para Monzn: el duelo + llevar a cabo querr. + Bien.--Pero l ha padecido 175 + una larga enfermedad. + Si no tiene el brazo firme, + conmigo no lidiar. + + + + ESCENA V + + +DON MARTN.--DON PEDRO + +MARTN. Don Pedro Segura, seis bien venido. + +PEDRO. Y vos, don Martn Garcs de Marsilla, 180 + seis bien hallado: tomad una silla. + +(_Sintase don Martn, mientras don Pedro va a tomar su +espada_.) + +MARTN. Dejad vuestra espada. + +PEDRO (_sentndose_). Con pena he sabido + la grave dolencia que habis padecido. + +MARTN. Al fin me repuse del todo. +PEDRO. No s.... + +MARTN. Domingo Celladas.... + +PEDRO. Fuerte hombre es, a fe! 185 + +MARTN. Pues aun a la barra le gano el partido. + +PEDRO. As os quiero yo. Desde hoy, elegid + al duelo aplazado seguro lugar. + +MARTN. Don Pedro, yo os tengo primero que hablar. + +PEDRO. Hablad en buen hora: ya escucho. Decid. 190 + +MARTN. Caus nuestra ria.... + +PEDRO. La causa omitid: + sabmosla entrambos. Por vos se me dijo + que soy un avaro, y os privo de un hijo. + De honor es la ofensa, precisa la lid. + +MARTN. Tenisme por hombre de aliento? + +PEDRO. S tal. 195 + Si no lo creyera, con vos no lidiara. + +MARTN. Jams al peligro le vuelvo la cara. + +PEDRO. S, nuestro combate puede ser igual. + +MARTN. Ser por lo mismo.... + +PEDRO. Sangriento, mortal. + Ha de perecer uno de los dos. 200 + +MARTN. Od un suceso, feliz para vos... + Feliz para entrambos. + +PEDRO. Decdmele. Cul? + +MARTN. Tres meses har que en lecho de duelo + me puso la mano que todo lo gua. + Del riesgo asustada la familia ma 205 + quiso en vuestra esposa buscar su consuelo. + Con tino infalible, con prvido celo + salud en la villa benfica vierte, + y enfermo en que airada se ceba la muerte, + le salva su mano, bendita del cielo. 210 + Con vos irritado, no quise atender + al dulce consejo de amante inquietud. + No cobre (deca) jams la salud, + si mano enemiga la debe traer. + Mayor mi tesn a ms padecer, 215 + la muerte en mi alcoba plant su bandera. + Por fin, una noche... Qu noche tan fiera! + Blasfemo el dolor hacame ser; + peda una daga con furia tenaz, + rasgar anhelando con ella mi pecho... 220 + En esto a mis puertas, y luego a mi lecho, + lleg un peregrino, cubierta la faz. + ngel pareca de salud y paz... + Me habla, me consuela, benigno licor + al labio me pone; me alivia el dolor, 225 + y parte, y no quiere quitarse el disfraz. +La noche que tuve su postrer visita, + ya restablecido, sus pasos segu. + Cruz varias calles, viniendo hacia aqu, + y entr en esa ruina de gtica ermita, 230 + que a vuestros jardines trminos limita. + Detvele entonces: el velo cay, + radiante la luna su rostro alumbr ... + era vuestra esposa. + +PEDRO. Era Margarita! + +MARTN. Confuso un momento, cobrme despus, 235 + y vime postrado la noble seora. + --Con tal beneficio, no cabe que ahora + provoque mi mano sangriento revs. + Don Pedro Segura, decid a quien es + deudor este padre de verse con vida, 240 + que est la contienda por m fenecida. + Tomad este acero, ponedle a sus pis. + + (_Da su espada a don Pedro, que la coloca en el bufete_.) + +PEDRO. Feliz yo, que logro el duelo excusar + con vos, por motivo que es tan lisonjero! + Si pronto me hallasteis, por ser caballero, 245 + cuidado me daba el ir a lidiar. + Con tal compaera, quin no ha de arriesgar + con susto la vida que lleva dichosa? + Ella me ser desde hoy ms preciosa, + si ya vuestro amigo querisme llamar. 250 + +MARTN. Amigos seremos. (_Danse las manos_.) + +PEDRO. Siempre. + +MARTN. Siempre, s. + +PEDRO. Y al cabo, qu nuevas tenis de don Diego? + En hora menguada, vencido del ruego + de Azagra, la triste palabra le d. + Si antes vuestro hijo se dirige a m, 255 + cunto ambas familias se ahorran de llanto! + No lo quiso Dios. + +MARTN. Yo su nombre santo + bendigo; mas lloro por lo que perd. + +PEDRO. Pero, qu...? + +MARTN. Despus de la de Maurel, + donde cay en manos del Conde Simn, 260 + de nadie consigo seal ni razn, + por ms que anhelante pregunto por l. + Cada da al cielo con splica fiel + pido que me diga qu punto en la tierra + sostinele vivo, o muerto le encierra: 265 + mundo y cielo guardan silencio cruel. + +PEDRO. El plazo no tuvo su fin todava. + Piedad atesora inmensa el Eterno: + y mucho me holgara si fuera mi yerno + quien a mi Isabel tan fino quera. 270 + Pero si no viene, y cmplese el da, + y llega la hora ... por ms que me pesa, + me tiene sujeto sagrada promesa: + si fuera posible, no la cumplira. + +MARTN. Diligencia escasa, fortuna severa 275 + parece que en suerte a mi sangre cupo: + quien a la desgracia sujetar no supo, + sufrido se muestre cuando ella le hiera. + Adis. + +PEDRO. No han de veros de aquesa manera. + Yo quiero esta espada; la ma tomad + (_Dsela_.) 280 + en prenda segura de fiel amistad. + +MARTN. Acepto: un monarca llevarla pudiera. + +(_Vase don Martn, y don Pedro le acompaa_.) + + + + ESCENA VI + + +MARGARITA, ISABEL + +MARGARITA (_aparte, siguiendo con la vista a los dos que se + retiran_.) + Aunque nada les o, + deben estar ya los dos + reconciliados. + +ISABEL (_que viene tras su madre_). Por Dios, 285 + madre, haced caso de m. + +MARGARITA. No; que es repugnancia loca + la que mostris a un enlace, + que de seguro nos hace + a todos, merced no poca. 290 + Noble sois; pero mirad + que quien su amor os consagra + es don Rodrigo de Azagra, + que goza ms calidad, + ms bienes: en Aragn 295 + le acatan propios y ajenos, + y muestra, con vos al menos, + apacible condicin. + +ISABEL. Vengativo y orgulloso + es lo que me ha parecido. 300 + +MARGARITA. Vuestro padre le ha credo + digno de ser vuestro esposo. + Prendarse de quien le cuadre + no es lcito a una doncella, + ni hay ms voluntad en ella 305 + que la que tenga su padre. + Hoy da, Isabel, as + se conciertan nuestras bodas: + as nos casan a todas, + y as me han casado a m. 310 + +ISABEL. No hay a los tormentos mos + otro consuelo que dar? + +MARGARITA. No me tenis que mentar + vuestros locos amoros. + Yo por delirios no abogo. 315 + Idos. + +ISABEL. En vano esper. + (_Sollozando al retirarse_.) + +MARGARITA. Qu! lloris? + +ISABEL. Aun no me fu + vedado este desahogo. + +MARGARITA. Isabel, si no os escucho, + no me acusis de rigor. 320 + Comprendo vuestro dolor, + y le compadezco mucho; + pero, hija ... cuatro aos ha + que a nadie Marsilla escribe. + Si ha muerto.... + +ISABEL. No, madre, vive!.... 325 + Pero cmo vivir? + Tal vez, llorando, en Sion + arrastra por m cadenas, + quiz gime en las arenas + de la lbica regin. 330 + Con aviso tan funesto + no habr querido afligirme. + Yo trato de persuadirme, + y sin cesar pienso en esto. + Yo me propuse aprender 335 + a olvidarle, sospechando + que infiel estaba, gozando + caricias de otra mujer. + Yo escuch de su rival + los acentos desabridos, 340 + y logr de mis odos + que no me sonaran mal. + Pero ay! cuando la razn + iba a proclamarse ufana + vencedora soberana 345 + de la rebelde pasin, + al recordar la memoria + un suspiro de mi ausente, + se arruinaba de repente + la fortaleza ilusoria, 350 + y con mpetu mayor, + tras el combate perdido, + se entraba por mi sentido + a sangre y fuego el amor. + Yo entonces a la virtud 355 + nombre daba de falsa, + rabioso llanto verta, + y hundirme en el atad +juraba en mi frenes + antes que rendirme al yugo 360 + de ese hombre, fatal verdugo, + genio infernal para m. + +MARGARITA. Por Dios, por Dios, Isabel, + moderad ese delirio: + vos no sabis el martirio 365 + que me hacis pasar con l. + +ISABEL. Qu! mi audacia os maravilla? + Pero estando ya tan lleno + el corazn de veneno, + fuerza es que rompa su orilla. 370 + No a vos, a la piedra inerte + de esa muralla desnuda, + a esa bveda que muda + oy mi queja de muerte, + a este suelo donde mella 375 + pudo hacer el llanto mo, + a no ser tan duro y fro + como alguno que le huella, + para testigos invoco + de mi doloroso afn; 380 + que, si alivio no le dan, + no les ofende tampoco. + +MARGARITA (_aparte_). Quin con nimo sereno + la oyera?--El dolor mitiga; + de una madre, de una amiga 385 + ven al carioso seno. + Conceme, y no te ahuyente + la faz severa que ves: + mscara forzosa es, + que di el pesar a mi frente; 390 + pero tras ella te espera, + para templar tu dolor, + el tierno, indulgente amor + de una madre verdadera. + +ISABEL. Madre ma! (_Abrzanse._) + +MARGARITA. Mi ternura 395 + te ocult ... porque deb... + Ha quince aos que hay aqu + guardada tanta amargura! + Yo hubiera en tu amor filial + gozado, y gozar no debo + nada ya, desde que llevo 400 + el cilicio y el sayal. + +ISABEL. Madre! + +MARGARITA. Tem, recel + dar a tu amor incentivo, + y slo por correctivo 405 + severidad te mostr; + mas oyndote gemir + cada noche desde el lecho, + y a veces en tu despecho + mis rigores maldecir, 410 + yo al Seor, de silencioso + materno llanto hecha un mar, + ofrec mil veces dar + mi vida por tu reposo. + +ISABEL. Cielos! Qu revelacin 415 + tan grata! Qu injusta he sido! + Que tanto me habis querido! + Madre de mi corazn! + + Perdonadme... Qu alborozo + siento, aunque llorar me veis! 420 + Seis aos ha, ms de seis, + que tanta dicha no gozo. + Mi desgracia contemplad, + cuando como dicha cuento + que mis penas un momento 425 + aplaquen su intensidad. + Pero este rayo que inunda + en viva luz mi alma yerta, + dejaris que se convierta + en lobreguez ms profunda? 430 + Madre, madre, a quien adoro, + el labio os pongo en el pie; + mi aliento aqu exhalar, + si no cedis a mi lloro. (_Pstrase._) + +MARGARITA. Levanta, Isabel; enjuga 435 + tus ojos; confa.... S, + cuanto dependa de m.... + +ISABEL Ya veis que en rpida fuga + el tiempo desaparece. + Si pasan tres das, tres!, 440 + todo me sobra despus, + toda esperanza fallece. + Mi padre, por no faltar + a la palabra tremenda, + le rendir por ofrenda 445 + mi albedro en el altar. + Vuestras razones imprimen + en su alma la persuasin: + en m toda reflexin +fuera desacato, crimen. 450 + Y yo, seora, lo veo: + podr llevarme a casar; + pero en vez de preparar + las galas del himeneo, + que a tenerme se limite 455 + una cruz y una mortaja; + que esta gala y esta alhaja + ser lo que necesite. + +MARGARITA. No, no, Isabel: cesa, cesa. + Yo en tu defensa, me empeo: 460 + no ser Azagra tu dueo. + yo anular la promesa. + Me oir tu padre, y tamaos + horrores evitar. + Hoy madre tuya ser 465 + quien no lo fu tantos aos. + + + + ESCENA VII + + +TERESA.--MARGARITA, ISABEL + +TERESA. Seoras, don Rodrigo de Azagra pide licencia + para visitaros. + +MARGARITA. Hazle entrar. A buen tiempo llega. +(_Vase Teresa_.) + +ISABEL. Permitid que yo me retire. 470 + +MARGARITA. Qudate en la pieza inmediata, y escucha + nuestra conversacin. + +ISABEL. Qu vais a decir? + +MARGARITA. yelo, y acabars de hacer justicia a tu + madre. (_Vase Isabel_.) 475 + + + + ESCENA VIII + + +DON RODRIGO.--MARGARITA + +MARGARITA. Ilustre don Rodrigo.... + +RODRIGO. Seora ... al fin nos vemos. + +MARGARITA. Honrad mi estrado, ya que la prisa de +venir a mi casa no os ha dejado sosegar en la vuestra. + +RODRIGO. Aqu vengo a buscar el sosiego que necesito. 480 +(_Sintase_.) Qu me decs de mi desdeosa? + +MARGARITA. Me permitiris que hable con toda franqueza? + +RODRIGO. Con franqueza pregunto yo.--Hablad. + +MARGARITA. Mi esposo os prometi la mano de su 485 +hija nica; y, por l, debis contar de seguro con ella. +Pero la delicadeza de vuestro amor y la elevacin de +vuestro carcter se satisfaran con la posesin de una +mujer, cuyo cario no fuese vuestro? + +RODRIGO. El corazn de Isabel no es ahora mo, lo 490 +s; pero Isabel es virtuosa, es el espejo de las doncellas: +cumplir lo que jure, apreciar mi rendida fe, y ser el +ejemplo de las casadas. + +MARGARITA. Mirad que su afecto a Marsilla no se ha +disminudo. 495 + +RODRIGO. No me inspira celos un rival, cuyo paradero +se ignora, cuya muerte, para m, es indudable. + +MARGARITA. Y si volviese an? Y si antes de +cumplirse el trmino, se presentara tan enamorado como +se fu, y con aumentos muy considerables de hacienda? 500 + +RODRIGO. Mal hara en aparecer ni antes ni despus de +mis bodas. l prometi renunciar a Isabel, si no se +enriqueca en seis aos; pero yo nada he prometido. Si +vuelve, uno de los dos ha de quedar solo junto a Isabel. +La mano que pretendemos ambos, no se compra con oro; 505 +se gana con hierro, se paga con sangre. + +MARGARITA. Vuestro lenguaje no es muy reverente +para usado en esta casa, y conmigo; pero os le perdono, +porque me perdonis la pesadumbre que voy a daros. +Yo, noble don Rodrigo, yo que hasta hoy consent en 510 +vuestro enlace con Isabel, he visto por ltimo que de l +iba a resultar su desgracia y la vuestra. Tengo, pues, que +deciros, como cristiana y madre; tengo que suplicaros por +nuestro Seor y nuestra Seora, que desistis de un empeo, +ya poco distante de la temeridad. 515 + +RODRIGO. Ese empeo es pblico, hace muchos aos +que dura, y se ha convertido para m en caso de honor. +Es imposible que yo desista. No os opongis a lo que +no podris impedir. + +MARGARITA. Aunque habis desairado mi ruego, tal 520 +vez no le desaire mi esposo. + +RODRIGO. Mucho alcanzis con l: adora en vos, y lo +merecis, porque ha quince aos que os empleis en la +caridad y la penitencia... Pero ... os ha contado +ya la muerte de Roger de Lizana? 525 + +MARGARITA. Cmo! Roger ha muerto? + +RODRIGO. S, loco y mudo, segn estaba; desgraciadamente, +segn mereca; y a los pies de don Pedro, como +era justo. + +MARGARITA. Cielos! Nada saba de ese infeliz. 530 + +RODRIGO. Ese infeliz era muy delincuente, era el +corruptor de una dama ilustre. + +MARGARITA. Don Rodrigo! + +RODRIGO. La esposa ms respetable entre las de +Teruel. 535 + +MARGARITA. Por compasin.... Si Roger ha +muerto.... + +RODRIGO. Casi espir en mis brazos. Yo tend sobre +el fretro su cadver, yo hall sobre su corazn unas +cartas.... 540 + +MARGARITA. Cartas! + +RODRIGO. De mujer ... cinco ... sin firma todas. +Pero yo os las presentar, y vos me diris quin las ha +escrito. + +MARGARITA. Callad! callad! 545 + +RODRIGO. Si no, acudir a vuestro esposo: bien +conoce la letra. + +MARGARITA. No! Ddmelas, rompedlas, quemadlas! + +RODRIGO. Se os entregarn; pero Isabel me ha de +entregar a m su mano primero. 550 + +MARGARITA. Oh! + +RODRIGO. Dios os guarde, seora. + +MARGARITA. Deteneos, odme. + +RODRIGO. Para que os oiga, venid a verlas. (_Vase_.) + +MARGARITA. Escuchad, escuchadme. (_Vase tras don 555 +Rodrigo_.) + + + + ESCENA IX + + +ISABEL, y despus TERESA + +ISABEL. Qu es lo que o? No lo he comprendido, +no quiero comprender ese misterio horrible: slo entiendo +que de infeliz he pasado a ms. (_Sale Teresa_.) + +TERESA. Seora, un joven extranjero ha llegado a 560 +casa pidiendo que se le dejara descansar un rato.... + +ISABEL. Recbele ... djame. + +TERESA. Ya se le recibi, y le han agasajado con vino +y magras; por seas que nada de ello ha probado, como +si fuera moro o judo. Aparte de esto, es muy lindo 563 +muchacho: he trabado conversacin con l, y dice que +viene de Palestina. + +ISABEL. De Palestina? + +TERESA. Yo me acord al punto del pobre don Diego. +--Como os figuris que debe estar por all.... 570 + +ISABEL. S. Llmale pronto. (_Vase Teresa_.) Virgen +piadosa! Que haya sido sueo lo que pienso que o! +Oh! Pensemos en el que viene de Palestina. + + + + ESCENA X + + +ZULIMA, en traje de noble aragons, TERESA.--ISABEL + +ZULIMA. El cielo os guarde. + +ISABEL. Y a vos + tambin. + +ZULIMA (_aparte_.) Mi rival es sta. + +ISABEL. Mejor podis descansar 575 + en esta sala que fuera. + +TERESA. Este mancebo, seora, + viene de lejanas tierras, + de Jerusalem, de Jope, + de Beln ... y de Judea. 580 + +ISABEL. Cierto? + +ZULIMA. S. + +TERESA. Y ha conocido + all gente aragonesa. + +ZULIMA. Un caballero trat + de Teruel. + +ISABEL. Cul? Quin? Quin era? + Su nombre? + +ZULIMA. Diego Marsilla. 585 + +ISABEL. Os trajo Dios a mi puerta!-- + Dnde le dejis? + +TERESA. Entonces, + era ya rico? + +ZULIMA. Una herencia + cuantiosa le dejaron + all. + +ISABEL. Pero dnde queda? 590 + +ZULIMA. Hace poco era cautivo + del Rey moro de Valencia. + +ISABEL. Cautivo! Infeliz! + +ZULIMA. No tanto. + La esposa del Rey, la bella + Zulima, le am. + +ISABEL. Le am? 595 + +ZULIMA. S! mucho! + +TERESA. Qu desvergenza! + +ISABEL. Y qu? No viene por eso + Marsilla donde le esperan? + +TERESA. Se ha vuelto moro quiz? + +ZULIMA (_aparte_). Ya que padec, padezca. 600 + Finjamos. + +ISABEL. Hablad. + +ZULIMA. No es fcil + resistir a una princesa + hermosa y amante: al fin + Marsilla, para con ella, + era un miserable. + +TERESA. Pero + vamos, acabad.... 605 + +ISABEL (_aparte_.) Apenas + vivo. + +ZULIMA. El Rey lleg a saber + lo que pasaba; la Reina + pudo escapar, protegida + por un bandido, cabeza 610 + de la cuadrilla temible + que hoy anda por aqu cerca; + y Marsilla.... + +ISABEL. Qu? + +ZULIMA. Rogad + a Dios que le favorezca. + +ISABEL. Ha muerto! Jess, valedme! 615 + (_Desmyase_.) + +TERESA. Isabel! Isabel!--Buena + la habis hecho! +ZULIMA. (_aparte_.) Sabe amar + esta cristiana de veras; + yo s ms, yo s vengarme. + +TERESA. Seora!--Paula! Jimena! 620 + (_A Zulima_.) + Buscad agua, llamad gente. + +ZULIMA (_aparte_.) + Salgamos.--Con esta nueva, + se casar. (_Vase_.) + +TERESA. Dios confunda + la boca ruin que nos cuenta + noticia tan triste!... Pero 625 + un prjimo que no prueba + cerdo ni vino, qu puede + dar de s? + + (_Salen dos criadas que traen agua_.) + + Pronto aqu, lerdas. + Dnde estabais? A ver: dadme + el agua. + +ISABEL. Ay, Dios! Ay, Teresa! 630 + + + + ESCENA XI + + +MARGARITA.--ISABEL, TERESA, CRIADAS + +MARGARITA. Qu sucede? + +ISABEL. Ay, madre ma! + Ya no es posible que venga. + Muri. + +MARGARITA. Quin? Marsilla? + +TERESA. Quin + ha de ser? + +ISABEL. Y ha muerto en pena + de serme infiel. + +TERESA. Una mora, 635 + que dicen que no era fea, + la esposa del reyezuelo + valenciano, buena pieza + sin duda, nos le quit. + +ISABEL. En esto paran aquellas 640 + ilusiones de ventura + que alimentaba risuea! + Conmigo nacieron ay!... + se van, y el alma se llevan. + Ese infausto mensajero, 645 + dnde est? Dile que vuelva. + +MARGARITA. S: yo le preguntar.... + +TERESA. Pues como nos d respuestas + por el estilo.... Seguidme. + + (_Vanse Teresa y las criadas_.) + + + + ESCENA XII + + +MARGARITA, ISABEL + +ISABEL. Quin figurarse pudiera 650 + que me olvidara Marsilla? + Qu sonrojo! Qu vileza! + Pero cmo ha sido, cmo + fu que no lo presintiera + mi corazn? No es verdad: 655 + imposible que lo sea. + Se enga, si lo crey, + la sultana de Valencia. + Sol por volar a m, + quebrantando sus cadenas, 660 + dej soar a la mora + con esa falaz idea. + Mrtir de mi amor ha sido, + que desde el cielo en que reina, + de su martirio me pide 665 + la debida recompensa. + Yo se la dar leal, + yo defender mi diestra: + viuda del primer amor + he de bajar a la huesa. 670 + Llorar libremente quiero + lo que de vivir me resta, + sin que pueda hacer ninguno + de mis lgrimas ofensa. + No he de ser esposa yo 675 + de Azagra: primero muerta. + +MARGARITA. Tendrs valor para?... + +ISABEL. S, + mi desgracia me le presta. + +MARGARITA. Y si te manda tu padre?... + +ISABEL. Dir que no. + +MARGARITA. Si te ruega.... 680 + +ISABEL. No. + +MARGARITA. Si amenaza.... + +ISABEL. Mil veces + no. Podrn en hora buena, + de los cabellos asida, + arrastrarme hasta la iglesia, + podrn maltratar mi cuerpo, 685 + cubrirle de spera jerga, + emparedarme en un claustro, + donde lentamente muera: + todo esto podrn, s; pero + lograr que diga mi lengua 690 + un s perjuro, no. + +MARGARITA. Bien, + bien. Tu valor ... me consuela. + +(_Aparte_. Nada oy: ms vale as. + La culpa, no la inocencia + debe padecer.) Ten siempre 695 + esa misma fortaleza, + y no te dejes vencer, + suceda lo que suceda. + Matrimonio sin cario + crmenes tal vez engendra. 700 + Yo s de alguna infeliz + que di su mano violenta... + y ... despus de larga lucha ... + desminti su vida honesta. + Muchos aos lleva ya 705 + de dolor y penitencia... + Y al fin le toca morir, + de oprobrio justo cubierta. + +ISABEL. Ah, madre! Qu dije yo? + Me olvid, con esa nueva, 710 + de otra desdicha tan grande + que a mi desdicha supera. + +MARGARITA. No te cases, Isabel! + +ISABEL. S, madre: mi vida es vuestra: + drosla me manda Dios, 715 + lo manda naturaleza. + +MARGARITA. Hija! + +ISABEL. Por fortuna ma, + Marsilla al morir me deja + el corazn sin amor + y sin lugar donde prenda. 720 + Por ms fortuna, Marsilla + de m se olvid en la ausencia, + y puso en otra mujer + el amor que me debiera. + Por dicha mayor, Azagra 725 + es de condicin soberbia, + celoso, iracundo: as + mis lgrimas y querellas + insufribles le sern; + querr que yo las contenga; 730 + no podr, se irritar, + y me matar. + +MARGARITA. Me aterras, + hija, me matas a m! + +ISABEL. Tengo yo cartas que lea: + puede encontrrmelas. + +MARGARITA. Oh! 735 + Si como las tuyas fueran + otras.... + +ISABEL. Y tengo un retrato + en esta joya. (_Saca un relicario_.) + Son sas + sus facciones? Pues sabed + que, sin estudio ni regla, 740 + de amor guiada la mano, + al primer ensayo diestra, + yo supe dar a ese rostro + semejanza tan perfecta. + Me sirvi para suplir 745 + de Marsilla la presencia; + no le necesito ya: + ms vale que no le vea. + Ah! dejadme que le bese + una vez ... la ltima es sta. 750 + Tomad. Veis? el sacrificio + consumo, y estoy serena, + tranquila ... como la tumba. + Imitad vos mi entereza, + mi calma ... y no me digis 755 + una palabra siquiera. + De m vuestra fama pende: + la conservaris ilesa. + Yo me casar: no importa, + no importa lo que me cuesta. (_Vase_.) 760 + + + + ESCENA XIII + + +MARGARITA + +MARGARITA. Y debo yo consentir + que la inocente Isabel, + por mi egosmo cruel, + se ofrezca ms que a morir? + Pero cmo he de sufrir 765 + que, perdida mi opinin, + me llame todo Aragn + hipcrita y vil mujer? + Mala madre me hace ser + mi buena reputacin. + A todo me resignara + con nimo ya contrito, + si al saberse mi delito, + yo sola me deshonrara. + Pero a mi esposo manchara 775 + con ignominia mayor. + Hija infeliz en amor! + Hija desdichada ma! + Perdona la tirana + de las leyes del honor. 780 + + + + + ACTO TERCERO + + +Retrete o gabinete de Isabel. Dos puertas. + + + + ESCENA PRIMERA + + +ISABEL, TERESA + +Aparece ISABEL, ricamente vestida, sentada en un silln junto a una +mesa, sobre la cual hay un espejo de mano, hecho de metal. TERESA +est acabando de adornar a su ama. + +TERESA. Qu os parece el tocado? Nada, ni me +oye. Que os miris os digo; tomad el espejo. (_Se le da +a Isabel, que maquinalmente le toma, y deja caer la mano sin +mirarse_.) A esotra puerta. Miren qu trazas stas de +novia!--Ved qu preciosa gargantilla voy a poneros! 5 +(_Isabel inclina la cabeza_.) Pero alzad la cabeza, Isabel. +Si esto es amortajar a un difunto. + +ISABEL. Marsilla! + +TERESA. (_Aparte._ Dios le haya perdonado.) Ea, se +concluy. Bien estis. Ello, s, me habis hecho perder 10 +la paciencia treinta veces. + +ISABEL. Madre ma! + +TERESA. Si echis menos a mi seora, ya os he dicho +que no est en casa, porque para ella, la caridad es antes +que todo. El juez de este ao, Domingo Celladas, tena 15 +un hijo en tierra de infieles: Jaime, ya le conocis. Hoy, +sin que hubiese noticia de que viniera, se le han encontrado +en el camino de Valencia unos mercaderes, herido y +sin conocimiento. Por un rastro de sangre que iba a parar +a un hoyo, se ha comprendido que debieron echarle 20 +dentro; y se cree que hasta poder salir, habr estado en +el hoyo quiz ms de un da, porque las heridas no son +recientes. Vuestra madre ha sido llamada para asistirle; +me ha encargado que os aderece; os he puesto hecha una +imagen; y ni siquiera he logrado que deis una mirada al 25 +vestido, para ver si os gusta. + +ISABEL. S: es el ltimo. + +TERESA. El dulcsimo nombre de Jess! No lo +quiera Dios, Isabelita de mi alma: no lo querr Dios; +antes os har tan dichosa como vos merecis. Pero 30 +salid de ese abatimiento: mirad que ya van a venir +los convidados a la boda, y es menester no darles que decir. + +ISABEL (_con sobresalto_). Qu hora es ya? + +TERESA. No tardarn en tocar a vsperas ah al lado, +en San Pedro. Es la hora en que sali de Teruel don 35 +Diego; y hasta que pase, mi seor no se considera libre +de su promesa. + +ISABEL. S, a esa hora, a esa hora misma parti ... +para nunca volver. En este aposento, all, delante de ese +balcn estaba yo, llorando sobre mi labor, como ahora 40 +sobre mis galas. Continuamente miraba a la calle por +donde haba de pasar, para verle; ahora no miro: no +le ver. Por all vino, dirigiendo el fogoso alazn, enseado +a parase bajo mis balcones. Por all vino, vestida +la cota, la lanza en la mano, al brazo la banda, ltimo don 45 +de mi cario. Hasta la dicha o hasta la tumba, me dijo. +Tuya o muerta, le dije yo; y ca sin aliento en el balcn +mismo, tendidas las manos hacia la mitad de mi alma que +se ausentaba.--Suya o muerta! Y voy a dar la mano a +Rodrigo. Bien cumplo mi palabra! 50 + +TERESA. Hija ma, desechad esas ideas. Yo qu +os he de decir para consolaros? Que os he visto nacer, +que habis jugado en mis brazos y en mis rodillas ... y +que diera yo porque recobraseis la paz del alma y fuerais +feliz ay!, diera yo todos los das que me faltan que vivir, 55 +menos uno para verlo. + +ISABEL. Feliz, Teresa? Con este vestido, cmo +he de ser feliz? Pesa tanto, me ahoga tanto!... +Qutamele, Teresa. (_Levantndose_.) + +TERESA. Seora, que viene don Rodrigo. 60 + +ISABEL. Don Rodrigo! Busca pronto a mi madre. +(_Vase Teresa_.) + + + + ESCENA II + +DON RODRIGO.--ISABEL + +RODRIGO. Mis ojos por fin os ven + a solas, ngel hermoso. + Siempre un amargo desdn + y un recato rigoroso 65 + me han privado de este bien. + --Trmula estis: ocupad + la silla. + +ISABEL. Ante mi seor! + +RODRIGO. Esclavo diris mejor. + Soberana es la beldad 70 + en el reino del amor. + +ISABEL. Mentida soberana! + +RODRIGO. De mi rendimiento fiel, + que dudarais no crea. + Si a conocer, Isabel, 75 + llegaseis el alma ma!... + +ISABEL. Para qu? Seas ha dado + que indican su ndole bella. + +RODRIGO. Mi destino desastrado + slo mostrar me ha dejado 80 + lo deforme que hay en ella. + Un Azagra conocis + orgulloso y vengativo; + y otro por fin hallaris + que en vuestro rigor esquivo 85 + figuraros no podis. + El Azagra que os adora, + el Azagra para vos, + aun no le visteis, seora; + y nos conviene a los dos 90 + una explicacin ahora. + +ISABEL. Mis padres pueden mandar, + yo tengo que obedecer, + nada pretendo saber: + hiciera bien en callar 95 + quien ha logrado vencer. + +RODRIGO. El vencedor, que aparece + lleno ante vos de amargura, + manifestaros ofrece + que sabe lo que merece 100 + doa Isabel de Segura. + Os v, y en vos admir + virtud y belleza rara: + digno de vos me juzgu, + y uniros a m jur, 105 + costara lo que costara. + Maldicin ms espantosa + no pudo echarme jams + una lengua venenosa + que decir: no logrars 110 + hacer a Isabel tu esposa. + Lidiar, si es necesario, + por ella con todo el orbe, + clamaba yo de ordinario. + Infeliz el que me estorbe, 115 + competidor o contrario! + En mi celoso furor + cabe hasta lo que denigre + mi calidad y mi honor. + Amo con ira de tigre ... 120 + porque es muy grande mi amor. + --No el vuestro, tan delicado, + me pintis para mi mengua: + quiz no lo haya expresado + en seis aos vuestra lengua, 125 + sin que me lo hayan contado. + Cuantas cartas escribi + Marsilla ausente, le: + l su retrato no vi, + yo s: junto a vos aqu 130 + siempre tuve un guarda yo. + Ha sido mi ocupacin + observaros noche y da; + y abandonaba a Monzn + siempre que lo permita 135 + la marcial obligacin. + Vindoos al balcn sentada + por las noches a la luna, + mi fatiga era pagada: + jams fu mujer ninguna 140 + de amante ms respetada. + Para romper mis prisiones, + para defectos hallaros, + fueron mis indagaciones; + y siempre para adoraros 145 + encontr nuevas razones. + Seducido el pensamiento + de lisonjeros engaos, + un favorable momento + espero hace ya seis aos, 150 + y aun llegado no lo cuento. + Pero, por dicha, quiz + no deba estar muy distante. + +ISABEL. Qu! Pensis que cesar + mi pasin, muerto mi amante? 155 + No, lo que yo vivir. + +RODRIGO. Pues bien, amad, Isabel, + y decidlo sin reparo; + que con ese amor tan fiel, + aunque a m me cueste caro, 160 + nunca me hallaris cruel. + Mas si ese afecto amoroso, + cuya expresin no limito, + mantener os es forzoso, + yo, mi bien, yo necesito 165 + el nombre de vuestro esposo. + No ms que el nombre, y concluyo + de desear y pedir: + todas mis dichas incluyo + en la dicha de decir: 170 + Me tienen por dueo suyo. + Separada habitacin, + distinto lecho tendris.... + Queris ms separacin? + Vos en Teruel viviris, 175 + yo en la corte de Aragn. + Temis que la soledad + bajo mi techo os consuma? + Vuestros padres os llevad + con vos: mudaris en suma 180 + de casa y de vecindad. + Nunca sin vuestra licencia + ver esos divinos ojos.... + Ay! ddmela con frecuencia. + Si os oprimen los enojos, 185 + hablad, y mi diligencia + ya un festn, ya una batida, + ya un torneo dispondr. + Si lloris.... Prenda querida! + cuando lloris, qu os dir 190 + quien no ha llorado en su vida? + Mseros ambos, hacer + con la indulgencia podemos + menor nuestro padecer. + Ahora, aunque nos casemos, 195 + me podris aborrecer? + +ISABEL. Don Rodrigo! Don Rodrigo! (_Sollozando_.) + +RODRIGO. Lloris? Es porque me muestro + digno de ser vuestro amigo? + No sufr del odio vuestro 200 + bastante el duro castigo? + +ISABEL. Oh! no, no: mi corazn + palpitar de odio no sabe. + +RODRIGO. Ni al mirar vuestra afliccin + hay fuerza en m que no acabe 205 + rindindose a discrecin. + Es ya el caso de manera + que el infausto desposorio + viene a ser obligatorio + para ambos: lo dems fuera 210 + dar escndalo notorio. + Pero el amor que os consagro, + se ha vuelto a vos tan propicio, + que si Dios en su alto juicio + quiere obrar hoy un milagro ... 215 + contad con un sacrificio. + Ayer, si resucitara + mi aciago rival Marsilla, + sin compasin le matara, + y sin limpiar la cuchilla, 220 + corriera con vos al ara. + Hoy, resucitado o no, + si antes que me deis el s, + viene ... que triunfe de m. + +ISABEL. Vos, s que triunfis as 225 + de esta dbil mujer! + +(_El llanto le ahoga la voz por unos instantes; luego, al ver a +don Pedro y a los que le acompaan, se contiene, exclamando_:) + + Oh! + + + +ESCENA III + + +DON PEDRO, DON MARTN, DAMAS, CABALLEROS, PAJES.-- +ISABEL, DON RODRIGO. Despus, TERESA + +PEDRO. Hijos, el sacerdote que ha de bendecir vuestra +unin, ya nos est esperando en la iglesia. Tanto mis +deudos como los de Azagra me instan a que apresure la +ceremonia; pero aun no ha fenecido el plazo que otorgu 230 +a don Diego. Al toque de vsperas de un domingo, sali +de su patria el malogrado joven, seis aos y siete das +hace: hasta que suene aquella seal en mi odo, no tengo +libertad para disponer de mi hija. (_A don Martn._) +Porque veis de qu modo cumplo mi promesa, os he rogado 235 +que vinierais aqu. + +MARTN. Intil escrupulosidad! No os detengis. +No romper mi hijo el seno de la tierra para reconveniros. + +ISABEL (_aparte_). Infeliz! + +PEDRO. Fiel a lo que jur me ver desde el tmulo, 240 +cual me hallara viviendo. (_Sale Teresa_.) + +RODRIGO. Isabel desear la compaa de su madre: +pudiramos pasar por casa del Juez.... + +TERESA. Ahora empezaba el herido a volver en su +conocimiento. Si antes de vsperas no se halla mi seora 245 +en la iglesia, es seal de que no puede asistir a los desposorios: +esto me ha dicho. + +PEDRO. La esperaremos en el templo. (_A don Martn._) +Si la pesadumbre os permite acompaarnos, venid.... + +MARTN. Excusadme el presenciar un acto que debe 250 +serme tan doloroso. + +PEDRO. Estad seguro de que mientras no oigis las +campanas, no habr dado su mano Isabel. Estos +caballeros podrn atestiguar que se esper hasta el cabal +vencimiento del plazo. Marchemos. 255 + +ISABEL (_aparte_). Morada de mi pasado bien, adis +para siempre! + +(_Vanse todos, menos don Martn._) + + + +ESCENA IV + + +DON MARTN + +MARTN. Con pena, con celos veo yo a Isabel dirigirse +al altar. Hubo un tiempo en que la tuve por hija: hoy +me quitan su filial cario, y ella consiente. Pero qu 260 +falta hace al msero cadver de mi hijo la constancia de la +que l am? Si su sombra necesita lgrimas, bien se +puede satisfacer con las mas. + + + +ESCENA V + + +ADEL.--DON MARTN + +ADEL. Cristiano, busco a Martn Marsilla, que est +aqu, segn se me dice. Eres t? 265 + +MARTN. Yo soy. + +ADEL. Qu sabes de tu hijo? + +MARTN. Moro!... su muerte. + +ADEL. Esa noticia ... quin la ha trado? + +MARTN. Un joven forastero. 270 + +ADEL. En dnde para? + +MARTN. Apenas se detuvo en Teruel: yo no pude +verle. + +ADEL. Qu ha pasado con Jaime Celladas? + +MARTN. Le han herido gravemente al llegar a la villa: 275 +en su lecho yace todava sin voz ni conocimiento. + +ADEL. Luego t nada sabes? + +MARTN. Qu vas a decirme? + +ADEL. Acabo de averiguar que, disfrazada con traje +de hombre, ha entrado en Teruel Zulima, la esposa del 280 +Amir de Valencia. + +MARTN. La que fu causa de la prdida de mi hijo? + +ADEL. l la desde, y ella se ha vengado mintiendo. + +MARTN. Mintiendo? + +ADEL. Anciano! Bendice al Seor: aun eres padre. 285 + +MARTN. Dios poderoso! + +ADEL. Tu hijo libr de un asesinato prfido al Amir +de Valencia, y el Amir le ha colmado de riquezas y honores. +Herido en un combate, no se le permiti caminar hasta reponerse. +Jaime vena delante para anunciar su vuelta. 290 +Sgueme, y no parar hasta poner a Marsilla en tus brazos. +(_Vase_.) + +MARTN (_alzando las manos al cielo, arrebatado de +jbilo_). Seor! Seor! + + + +ESCENA VI + + +MARGARITA.--DON MARTN + +MARGARITA (_dentro_). Isabel! Isabel! (_Sale y repara +en don Martn, que se retiraba con Adel_.) Don Martn.... 295 + +MARTN (_detenindose_). Margarita, sabedlo.... + +MARGARITA. Sabedlo el primero. Jaime Celladas.... + +MARTN. Ese moro que veis.... + +MARGARITA. Ha vuelto en s. + +MARTN. Viene de Valencia. 300 + +MARGARITA. Jaime tambin. + +MARTN. Vive mi hijo. + +MARGARITA. Lo ha dicho Jaime. Corred, impedid +ese casamiento. (_yese el toque de vsperas_.) + +MARTN. Ah! ya es tarde. 305 + +MARGARITA. Dios ha rechazado mi sacrificio! + +MARTN. Hijo infeliz! + +MARGARITA. Hija de mis entraas! (_Vase_.) + + + +ESCENA VII + + +Bosque inmediato a Teruel + +MARSILLA, atado a un rbol + + Infames bandoleros, + que me habis a traicin acometido, 310 + venid y ensangrentad vuestros aceros: + la muerte ya por compasin os pido. + --Nadie llega, de nadie soy odo; + vuelve el eco mis voces, y parece + que goza en mi dolor y me escarnece. 315 + Me adelant a la escolta que traa: + su lento caminar me consuma. + Yo vengo con amor, ellos con oro. + --Enemigos villanos, + los ricos dones del monarca moro 320 + no como yo darn en vuestras manos: + tienen quien los defienda. + Pero las horas pasan, huye el da. + Qu vas a imaginar, Isabel ma? + Qu pensars, idolatrada prenda, 325 + si esperando abrazar al triste Diego, + corrido el plazo ves, y yo no llego? + Mas por Jaime avisados + en mi casa estarn: pronto, azorados + con mi tardanza.... S, ya se aproxima 330 + gente. Quin es? + + + +ESCENA VIII + + +ZULIMA, en traje de hombre.--MARSILLA + +ZULIMA. Yo soy. + +MARSILLA. Cielos! Zulima! + T aqu! (_Aparte._ Presagio horrendo!) + +ZULIMA. Vecinos de Teruel vienen corriendo + a quienes ms que a m toca librarte: + yo slo en esta parte 335 + me debo detener mientras te digo + que Isabel es mujer de don Rodrigo. + +MARSILLA. Gran Dios!--Mas no: me engaas, + impostora. + +ZULIMA. Zan, que llega de Teruel ahora, + Zan ha visto dar aquella mano 340 + tan ansiada por ti. + +MARSILLA. Finges en vano. + T ignoras que mi prxima llegada + previno un mensajero. + +ZULIMA. T no sabes que un tirador certero + supo dejar tu previsin burlada, 345 + salindole al camino al mensajero. + Yo habl con Isabel, yo de tu muerte + la noticia le d, y a los bandidos + encargu que tu viaje detuvieran. + Yo, celebradas de Isabel las bodas, 350 + te las vengo a anunciar. + +MARSILLA. Con que es ya tarde? + +ZULIMA. Mrame, bien, y ddalo si puedes. + Intiles mercedes + el Rey te prodig: ms he podido, + prfuga yo, que mi real marido. 355 + Yo mi amor te ofrec, bienes y honores, + y te inmol mi fe y el ser que tengo; + t preferiste ingrato mis rencores: + me ofendiste cruel, cruel me vengo. + Adis: en mi partida 360 + te dejo por ahora con la vida, + mientras padeces en el duro potro + de ver a tu Isabel en brazos de otro. (_Vase_.) + + + +ESCENA IX + + +MARSILLA + +MARSILLA. Monstruo, por cuya voz ruge el abismo, + vuelve y di que es engao 365 + todo lo que te o. (_Forceja para desatarse_.) + Lazos crueles, + cmo me resists? Ligan cordeles + al que hierros quebr! No soy el mismo? + Ah! no. Mujer fatal, cortos instantes + me quedan que vivir, si no has mentido; 370 + pero permita Dios que mueras antes! + + + +ESCENA X + + +ADEL, pasando por una altura.--MARSILLA + +ADEL. Rumor aqu he sentido. + Atraviesan el valle bandoleros + con Zulima a caballo. + Yo, cueste lo que cueste, 375 + la tengo de prender: voy a ver si hallo + cerca mis compaeros. + +MARSILLA. Quin va? + +ADEL. Marsilla es ste. (_A voces_.) + Aqu! Por este lado, caballeros! (_Vase_.) + + + +ESCENA XI + + +DON MARTN, CABALLEROS, CRIADOS.--MARSILLA + +MARTN (_dentro_.) l es. + +MARSILLA. Mi padre! + +VOCES (_dentro_.) l es. + +MARSILLA. Padre! + +MARTN (_dentro_.) Hijo mo 380 + Subid, corred, volad: libradle pronto. + + (_Salen caballeros y criados_.) +MARSILLA. Desatadme, decidme.... + + (_Desatan a Marsilla_.) + +MARTN (_saliendo_.) Hijo querido! + +MARSILLA. Padre! + +MARTN. Por fin te hall. + +MARSILLA. Decid.... Es tarde? + Yo quisiera dudar ... mi mal es cierto? + +MARTN. Respndante las lgrimas que vierto. 385 + Hijo del alma, a quien su hierro ardiente + la desgracia al nacer marc en la frente, + tu triste padre, que por verte vive, + con dolor en sus brazos te recibe. + Quin tu llegada ha retardado? + +MARSILLA. El cielo ... 390 + el inferno ... no s ... facinerosos ... + una mujer ... dejadme. + +MARTN. La Sultana? + Esos bandidos que cobardes huyen + de los guerreros que conmigo traje?-- + Te han herido? + +MARSILLA. Ojal! + +MARTN Te han despojado? 395 + +MARSILLA. Nada he perdido: la esperanza slo. + +MARTN. Suerte cruel! Cuando el fatal sonido + de la campana trmino pona.... + +MARSILLA. Esa tigre anunci la muerte ma! + +MARTN. Lo sabes? + +MARSILLA. De ella. + +MARTN. Horror! Entonces era 400 + cuando Jaime, el sentido recobrando, + la traidora noticia desmenta. + Corro al templo a saber.... Miro, enmudezco.... + Eran esposos ya! Tu bien perdiste... + Dios lo ha querido as... Pero aun te quedan 405 + padres que lloren tu destino triste. + +MARSILLA. El ajeno dolor no quita el mo. + Con qu llenis el hrrido vaco + que el alma siente, de su bien privada? + Padre! sin Isabel, para Marsilla 410 + no hay en el mundo nada. + Por eso en mi doliente desvaro + sed brbara de sangre me devora. + Verterla a ros para hartarme quiero, + y cuando ms que derramar no tenga, 415 + la de mis venas soltar mi acero. + +MARTN. Hijo, modera ese furor. + +MARSILLA. Quin osa + hijo llamarme ya? Fuera ese nombre! + La desventura quiebra + los vnculos del hombre con el hombre, 420 + y con la vida y la virtud. Ahora, + que tiemble mi rival, tiemble la mora. + Breve ser su victorioso alarde: + para acabar con ambos aun no es tarde. + +MARTN. Desgraciado! qu intentas? + +MARSILLA. Con el crimen 423 + el crimen castigar. Una serpiente + se me enreda en los pies: mi pie destroce + su garganta infernal. Un enemigo + me aparta de Isabel: desaparezca. + +MARTN. Hijo.... + +MARSILLA. Perecer + +MARTN. No.... + +MARSILLA. Maldecido 430 + mi nombre sea, si la sangre odiosa + de mi rival no vierto! + +MARTN. Es poderoso.... + +MARSILLA. Marsilla soy. + +MARTN. Mil deudos le acompaan.... + +MARSILLA. Mi furia a m. + +MARTN. Merzcate respeto + ese lazo.... + +MARSILLA. Es sacrlego, es aleve. 435 + +MARTN. En presencia de Dios formado ha sido. + +MARSILLA. Con mi presencia queda destrudo. + + + + + ACTO CUATRO + + +Habitacin de Isabel en la casa de don Rodrigo. Dos puertas a la +izquierda del espectador, una en el fondo, y una ventana sin reja a la +derecha. + + + + ESCENA PRIMERA + + +DON PEDRO, DON MARTN + +PEDRO. Ya ces la vocera. + +MARTN. Ya se tranquiliza el pueblo. + Zan en la crcel queda + con los dems bandoleros. + +PEDRO. Milagro ha sido salvarlos 5 + mayor que lo fu prenderlos. + +MARTN. Y no los prenden quiz, + si no acuden tan a tiempo + los moros que de Valencia + con los regalos vinieron 10 + de su Rey para mi hijo. + Regalos ya sin provecho! + Castigue Dios a quien tiene + la culpa! + +PEDRO. Oh! lo har.--Primero + que vayamos esta noche 15 + los dos al Ayuntamiento, + donde ya deben hallarse + juntos el Juez y mi yerno, + tendris, don Martn, a bien + que los dos conferenciemos 20 + un rato? + +MARTN. Hablad. + +PEDRO. Aqu est + Zulima. + +MARTN. Bien me dijeron + los moros. + +PEDRO. En esta calle + arremeti con los presos + un tropel de gente; y ella, 25 + puesta en libertad en medio + del tumulto, se arroj + por estas puertas adentro. + +MARTN. Confesad que don Rodrigo + la salv. + +PEDRO. No lo confieso ... 30 + porque no lo v. + +MARTN Yo, en suma, + no dir que fu mal hecho: + l debe a la mora estar + agradecido en extremo: + por ella logra la mano 35 + de Isabel. + +PEDRO. Resentimiento + justo mostris; pero yo, + que he sido enemigo vuestro, + necesito de vos hoy. + +MARTN. Aqu me tenis, don Pedro. 40 + +PEDRO. Sois quien sois.--Esa mujer + nos pone en terrible aprieto. + Ya veis, los moros reclaman + su entrega con mucho empeo. + +MARTN. Y mientras el Juez resuelve, 45 + cercada se ve por ellos + esta casa. + +PEDRO. Y bien, quisierais + que entre vos y yo de un riesgo + librramos a Teruel? + +MARTN. Crimen fuera no quererlo. 50 + +PEDRO. Si en la junta de la villa + negamos, como debemos, + la entrega de la Sultana, + va a ser enemigo nuestro + el Rey de Valencia, y puede 55 + gravsimo dao hacernos. + +MARTN. Y el que recibimos ambos + de su mujer, es pequeo? + +PEDRO. Pero es mujer, y nosotros + cristianos y caballeros. 60 + +MARTN. Proseguid. + +PEDRO. El compromiso + queda evitado, si hacemos + que huya en el instante. + +MARTN. Hagmoslo. + --Pgueme Dios el esfuerzo + que me cuesta no vengarme. 65 + Disponed. + +PEDRO. Con un pretexto + llevad los moros de aqu: + de vos harn caso. + +MARTN. Creo + que s. + +PEDRO. Lo dems es fcil. + Puesta ya en salvo, diremos 70 + que ella huy por s. + +MARTN. Voy pues, + y ya que la mano tiendo + al uno de los autores + de mi desventura, quiero + drsela tambin al otro. 75 + Decid al dichoso dueo + de esta casa y de Isabel, + que mire en estos momentos + por su vida: que mi hijo + va, loco de sentimiento 80 + y de furor, en su busca + por Teruel; y, vive el cielo + que, doliente como est, + valor le sobra al mancebo + para vengar!... Perdonadme. 85 + Adis. Voy a complaceros, + y a buscarle y conducirle + esta noche misma lejos + de unos lugares en donde + vivimos los dos muriendo. 90 + +(_Vase por la puerta de la izquierda, ms cercana al proscenio_.) + +PEDRO. Id con Dios.--Padre infeliz! + Y nosotros? Me estremezco + al pensar en Isabel, + cuando de todo el suceso + llegue a enterarse. + + + + ESCENA II + + +TERESA.--DON PEDRO + +TERESA (_dentro_). Favor, 95 + que me vienen persiguiendo! (_Sale._) + +PEDRO. Teresa! Qu hay? Quin te sigue? + +TERESA. Las nimas del infierno... + Las del purgatorio... No + s cules; pero las veo, 100 + las oigo.... + +PEDRO. Mas qu sucede? + +TERESA. Ay! Muerta de susto vengo. + Ay!--Isabel me ha enviado + por mi seora corriendo, + que volvi, no s por qu, 105 + a la casa del enfermo; + y antes de llegar, he visto + en un callejn estrecho, + junto a la ermita cada... + Jess! convulsa me vuelvo 110 + a casa. + +PEDRO. Qu viste? Di. + +TERESA. Una fantasma, un espectro + todo parecido, todo, + al pobrecito don Diego. + +PEDRO. Calla: no te oiga Isabel. 115 + Guarda con ella silencio.-- + Marsilla ha venido, y ella + no lo sabe. + +TERESA. Pero, es cierto + que vive? + +PEDRO. No ha de ser? + +TERESA. Ay! + Pues otra desgracia temo. 120 + +PEDRO. Cul? + +TERESA. No lo asegurar, + por si es aprensin del miedo; + sin embargo, yo cre + ver que se llevaba el muerto + asido del brazo al novio. 125 + +PEDRO. Qu dices? + +TERESA. Aun traigo el eco + de su voz en los odos. + Con alarido tremendo + deca: Vas a morir, + has de morir.--Lo veremos, 130 + replicaba don Rodrigo; + y echando votos y retos, + iban los dos como rayos + camino del cementerio. + Yo, seor, ya les rec 135 + la salve y el padre nuestro + en latn. + +PEDRO. Se han encontrado, + y van a tener un duelo. + Esto es antes. + + + +ESCENA III + + +ISABEL, por la segunda puerta del lado izquierdo.--DON PEDRO, +TERESA + +ISABEL. Padre! + +PEDRO. Agurdame + aqu: pronto volveremos 140 + tu madre, tu esposo y yo. + Venid, Teresa. (_Vase los dos._) + +ISABEL. Qu es esto? + Mi padre me deja sola, + cuando con tanto secreto + un moro me quiere hablar! 145 + Sin duda estn sucediendo + cosas extraas aqu. + + (_Acrcase a la segunda puerta._) + + Llegad. Al mirarle, tiemblo. + + + +ESCENA IV + + +ADEL.--ISABEL + +ADEL. Cristiana, brillante honor + de las damas de tu ley, 150 + yo imploro, en nombre del Rey + de Valencia, tu favor. + +ISABEL. Mi favor? + +ADEL. Tendrs noticia + de que sali de su corte + Zulima, su infiel consorte, 155 + huyendo de su justicia. + +ISABEL. S. + +ADEL. Mi seor decret + con rectitud musulmana + castigar a la Sultana, + ya que a Marsilla premi. 160 + +ISABEL. Premiar!... Ignoras, cruel, + que le di muerte sauda? + +ADEL. T no le has visto, sin duda, + entrar como yo en Teruel. + +ISABEL. Marsilla en Teruel! + +ADEL. S. + +ISABEL. Mira 165 + si te engaas. + +ADEL. Mal pudiera. + Infrmate de cualquiera, + y mtenme, si es mentira. + +ISABEL. No es posible.--Ah! s! que siendo + mal, no es imposible nada. 170 + +ADEL. Por la villa alborotada + tu nombre va repitiendo. + +ISABEL. Eterno Dios! Qu infelices + nacimos!--Cundo ha llegado? + Cmo es que me lo han callado? 175 + --Y t, por qu me lo dices? + +ADEL. Porque ests, a mi entender, + en grave riesgo quiz. + +ISABEL. Perdido Marsilla, ya + qu bien tengo que perder? 180 + +ADEL. Con viva lstima escucho + tus ansias de amor extremas; + pero aunque t nada temas, + yo debo decirte mucho. + Marsilla a mi Rey salv 185 + de unos conjurados moros, + y el Rey verti sus tesoros + en l, y aqu le envi. + El despreci la liviana + inclinacin de la infiel.... 190 + +ISABEL. Oh! S! + +ADEL. Y airada con l + vino, y se veng villana + contando su falso fin. + +ISABEL. Ella! + +ADEL. Con una gavilla + de bandidos, a Marsilla 195 + detuvo, ya en el confn + de Teruel, donde veloces + corriendo en tropel armado, + le hallamos a un tronco atado, + socorro pidiendo a voces. 200 + +ISABEL. Calla, moro: no ms. + +ADEL. Pasa + ms, y es bien que te aperciba. + --La Sultana fugitiva + se ha refugiado en tu casa: + en sta. + +ISABEL. Aqu mi rival! 205 + +ADEL. Tu esposo la libert. + +ISABEL. Ella donde habito yo! + +ADEL. Gurdate de su pual. + Por celos all en Valencia + matar a Marsilla quiso. 210 + +ISABEL. A tiempo llega el aviso. + +ADEL. Confirma t la sentencia + que justo lanz el Amir. + Por esa mujer malvada + para siempre separada 215 + de Marsilla has de vivir. + Ella te arrastra al odioso + tlamo de don Rodrigo. + Envala t conmigo + al que le apresta su esposo, 220 + pena digna del ultraje + que siente. + +ISABEL. S, moro; salga + pronto de aqu, no le valga + el fuero del hospedaje. + Como perseguida fiera 225 + entr en mi casa: pues bien, + al cazador se la den, + que la mate donde quiera. + Mostrarse de pecho blando + con ella, fuera rayar 230 + en loca: voy a mandar + que la traigan arrastrando. + Sean de mi furia jueces + cuantas pierdan lo que pierdo. + Jess! Cuando yo recuerdo 235 + que hoy pude... Jess mil veces! + No le ha de valer el llanto, + ni el ser mujer, ni ser bella, + ni reina. Si soy por ella + tan infeliz! tanto, tanto!... 240 + Dime, pues, di: tu seor, + qu suplicio le impondr? + +ADEL. Una hoguera acabar + con su delincuente amor. + +ISABEL. Su amor! Amor desastrado! 245 + Pero es amor.... + +ADEL. Y es bastante + esa razn?... + +ISABEL. Es mi amante + tan digno de ser amado! + Le vi, le debi querer + en vindole.--Y yo, que haca 250 + tanto que no le vea ... + y ya no le puedo ver! + --Moro, la vctima niego + que me vienes a pedir: + quiero yo darle a sufrir 255 + castigo mayor que el fuego: + ella con feroz encono + mi corazn desgarr ... + me asesina el alma ... yo + la defiendo, la perdono. (_Vase._) 260 + + + + ESCENA V + + +ADEL + + He perdido la ocasin. + Suele tener esta gente + acciones, que de un creyente + propias en justicia son. + Yo dejara con placer 265 + este empeo abandonado; + pero el Amir lo ha mandado, + y es forzoso obedecer. (_Vase._) + + + + ESCENA VI + + +MARSILLA, por la ventana + + Jardn ... una ventana ... y ella luego. + Jardn abierto hall y hall ventana; 270 + mas dnde est Isabel?--Dios de clemencia, + detened mi razn, que se me escapa; + detenedme la vida, que parece + que de luchar con el dolor se cansa. + Siete das hace hoy, qu venturoso 275 + era en aquel saln! Sangre manaba + de mi herida, es verdad; pero agolpados + al rededor de mi lujosa cama, + la tierna historia de mi amor oan + los guerreros, el pueblo y el Monarca, 280 + y entre piadoso llanto y bendiciones + tuya ser Isabel juntos clamaban + sbditos y seor. Hoy no me ofende + mi herida, rayos en mi diestra lanza + el damasquino acero... No le traigo... 285 + Y hace un momento que con dos me hallaba! + --Salvo en Teruel y vencedor, qu angustia + viene a ser sta que me rinde el alma, + cuando, acabada la cruel ausencia, + voy a ver a Isabel? + + + +ESCENA VII + + +ISABEL.--MARSILLA + +ISABEL. Por fin se encarga 290 + mi madre de Zulima. + +MARSILLA. Cielo santo! + +ISABEL. Gran Dios! + +MARSILLA. No es ella? + +ISABEL. l es! + +MARSILLA. Prenda adorada! + +ISABEL. Marsilla! + +MARSILLA. Gloria ma! + +ISABEL. Cmo ay! cmo + te atreves a poner aqu la planta? + Si te han visto llegar... A qu has venido? 295 + +MARSILLA. Por Dios ... que lo olvid. Pero no basta, + para que hacia Isabel vuele Marsilla, + querer, deber, necesitar mirarla? + Oh! qu hermosa a mis ojos te presentas! + Nunca te v tan bella, tan galana... 300 + Y un pesar sin embargo indefinible + me inspiran esas joyas, esas galas. + Arrjalas, mi bien; lana modesta, + cndida flor, en mi jardn criada, + vuelvan a ser tu virginal adorno: 305 + mi amor se asusta de riqueza tanta. + +ISABEL. (_Aparte._ Delira el infeliz! Sufrir no puedo + su dolorida, atnita mirada.) + No entiendes lo que indica el atavo, + que no puedes mirar sin repugnancia? 310 + Nuestra separacin. + +MARSILLA. Poder del cielo! + S. Funesta verdad! + +ISABEL. Estoy casada. + +MARSILLA. Ya lo s. Llegu tarde. V la dicha, + tend las manos, y vol al tocarla. + +ISABEL. Me engaaron: tu muerte supusieron 315 + Y tu infidelidad. + +MARSILLA. Horrible infamia! + +ISABEL. Yo la muerte cre. + +MARSILLA. Si t vivas, + y tu vida y la ma son entrambas + una sola, no ms, la que me alienta, + cmo de ti sin ti se separara? 320 + Juntos aqu nos desterr la mano + que gozo y pena distribuye sabia: + juntos al fin de la mortal carrera + nos toca ver la celestial morada. + +ISABEL. Oh! si me oyera Dios!... + +MARSILLA. Isabel, mira, 325 + yo no vengo a dar quejas: fueran vanas. + Yo no vengo a decirte que debiera + prometerme de ti mayor constancia, + cumplimiento mejor del tierno voto + que invocando a la Madre inmaculada, 330 + me hiciste amante la postrera noche + que me apart de tu balcn el alba. + Para ti (sollozando me decas), + o si no, para Dios.--Dulce palabra, + consoladora fiel de mis pesares 335 + en los ardientes pramos del Asia + y en mi cautividad! Hoy ni eres ma, + ni esposa del Seor. Di, pues, declara + (esto quiero saber) de qu ha nacido + el prodigio infeliz de tu mudanza. 340 + Causa debe tener. + +ISABEL. La tiene. + +MARSILLA. Grande. + +ISABEL. Poderosa, invencible: no se casa + quien amaba cual yo, sino cediendo + a la fuerza mayor en fuerza humana. + +MARSILLA. Dmelo pronto, pues, dilo. + +ISABEL. Imposible. 345 + No has de saberlo. + +MARSILLA. S. + +ISABEL. No. + +MARSILLA. Todo. + +ISABEL. Nada. + Pero t en mi lugar tambin el cuello + dcil a la coyunda sujetaras. + +MARSILLA. Yo no, Isabel, yo no. Marsilla supo + despreciar una mano soberana 350 + y la muerte arrostrar por quien ahora + la suya vende y el porqu le calla. + +ISABEL. (_Aparte._ Madre, madre!) + +MARSILLA. Responde. + +ISABEL. (_Aparte._ Qu le digo?) + Tendr que confesar ... que soy culpada. + Cmo no lo he de ser? Me ves ajena. 355 + Perdname... Castgame por falsa, + (_Llora._) + + mtame, si es tu gusto... Aqu me tienes + para el golpe mortal arrodillada. + +MARSILLA. dolo mo, no; yo s que debo + poner mis labios en tus huellas. Alza. 360 + No es de arrepentimiento el lloro triste + que esos luceros flgidos empaa; + ese llanto es de amor, yo lo conozco, + de amor constante, sin doblez, sin tacha, + ferviente, abrasador, igual al mo. 365 + No es verdad, Isabel? Dmelo franca: + va mi vida en ortelo. + +ISABEL. Prometes + obedecer a tu Isabel? + +MARSILLA. Ingrata! + Cundo me rebel contra tu gusto? + Mi voluntad, no es tuya? Dispon, habla. 370 + +ISABEL. Jralo. + +MARSILLA. S. + +ISABEL. Pues bien... Yo te amo.--Vete. + +MARSILLA. Cruel! Temiste que ventura tanta + me matase a tus pies, si su dulzura + con venenosa hiel no iba mezclada? + Cmo esas dos ideas enemigas 375 + de destierro y de amor hiciste hermanas? + +ISABEL. Ya lo ves, no soy ma; soy de un hombre + que me hace de su honor depositaria, + y debo serle fiel. Nuestros amores + mantuvo la virtud libres de mancha: 380 + su pureza de armio conservemos.-- + Aqu hay espinas, en el cielo palmas. + Tuyo es mi amor y lo ser: tu imagen + siempre en el pecho llevar grabada, + y all la adorar: yo lo prometo, 385 + yo lo juro; mas huye sin tardanza. + Librtame de ti, s generoso: + librtame de m.... + +MARSILLA. No sigas, basta. + Quieres que huya de ti? Pues bien, te dejo. + Valor ... y separmonos.--En paga, 390 + en recuerdo si no, de tantas penas + con gozo por tu amor sobrellevadas, + permite, Isabel ma, que te estrechen + mis brazos una vez.... + +ISABEL. Deja a la esclava + cumplir con su seor. + +MARSILLA. Ser el abrazo 395 + de un hermano dulcsimo a su hermana, + el sculo ser que tantas veces + cambi feliz en la materna falda + nuestro amor infantil. + +ISABEL. No lo recuerdes. + +MARSILLA. Ven.... + +ISABEL. No: jams. + +MARSILLA. En vano me rechazas. 400 + +ISABEL. Detente ... o llamo.... + +MARSILLA. A quin? A don Rodrigo? + No te figures que a tu grito salga. + No lisonjeros plcemes oyendo, + su vanidad en el estrado sacia, + no; lejos de los muros de la villa 405 + muerde la tierra que su sangre baa. + +ISABEL. Qu horror! Le has muerto? + +MARSILLA. Prfida! te afliges? + Si lo llego a pensar, quin le librara? + +ISABEL. Vive? + +MARSILLA. Merced a mi nobleza loca, + vive: apenas cruzamos las espadas, 410 + furiosa en l se encarniz la ma: + un momento despus, hundido estaba + su orgullo en tierra, en mi poder su acero. + Oh! maldita destreza de las armas! + Maldito el hombre que virtudes siembra 415 + que le rinden cosecha de desgracias! + No ms humanidad, crmenes quiero. + A ser cruel tu crueldad me arrastra, + y en ti la he de emplear. Conmigo ahora + vas a salir de aqu. + +ISABEL. No, no! + +MARSILLA. Se trata 420 + de salvarte, Isabel. Sabes qu dijo + el cobarde que lloras desolada, + al caer en la lid? Triunfante quedas; + pero mi sangre costar bien cara. + +ISABEL. Qu dijo? Qu? + +MARSILLA. Me vengar en don Pedro, 425 + en su esposa, en los tres: guardo las cartas. + +ISABEL. Jess! + +MARSILLA. Qu cartas son?... + +ISABEL. T me has perdido! + La desventura sigue tus pisadas. + Dnde mi esposo est? Dmelo pronto, + para que fiel a socorrerle vaya, 430 + y a fuerza de rogar venza sus iras. + +MARSILLA. Justo Dios! Y deca que me amaba! + +ISABEL. Con su pasin funesta reconvienes + a la mujer del vengativo Azagra? + Te aborrezco! (_Vase._) + + + +ESCENA VIII + + +MARSILLA + +MARSILLA. Gran Dios! Ella lo dice. 435 + Con furor me lo dijo: no me engaa. + Ya no hay amor all. Mortal veneno + su boca me arroj, que al fondo pasa + de mi seno infeliz, y una por una, + rompe, rompe, me rompe las entraas. 440 + Yo con ella, por ella, para ella + viv... Sin ella, sin su amor, me falta + aire que respirar... Era amor suyo + el aire que mi pecho respiraba! + Me le neg, me le quit: me ahogo, 445 + no s vivir. + +VOCES (_dentro._) Entrad, cercad la casa. + + + +ESCENA IX + + +ISABEL, trmula y precipitada.--MARSILLA + +ISABEL. Huye, que viene gente, huye. + +MARSILLA (_todo trastornado_). No puedo. + +VOCES (_dentro_). Muera, muera! + +MARSILLA. Eso s. + +ISABEL. Ven. + +MARSILLA. Dios me valga! + +(_Isabel le ase la mano y se entra con l por la puerta del +fondo._) + + + +ESCENA X + + +ADEL, huyendo de varios CABALLEROS, con espadas desnudas; +DON PEDRO, MARGARITA, CRIADOS.--ISABEL y MARSILLA dentro. + +CABALLEROS. Muera, muera! + +PEDRO Y MARGARITA. Escuchad. + +ADEL. Aragoneses, + yo la sangre vert de la Sultana; 450 + pero el Rey de Valencia, esposo suyo, + tras ella me envi para matarla. + Consorte criminal, amante impa, + la muerte de Marsilla maquinaba, + la muerte de Isabel.... + +ISABEL (_dentro_). Ay! + +ADEL. Ved en prueba 455 + esta punta sutil envenenada. + (_Muestra el pual de Zulima._) + Marsilla lo que digo corrobore: + cerca de aqu ha de estar. + +(_brese la puerta del fondo, y sale por ella Isabel, que se +arroja en brazos de Margarita. Marsilla aparece cado +en un escao._) + + + +ESCENA XI + + +ISABEL.--DICHOS + +ISABEL. Madre del alma! + +ADEL. Vedle all.... + +MARGARITA. Santo Dios! + +PEDRO. Inmvil.... + +ISABEL. Muerto! + +ADEL. Cumpli Zulima su feroz venganza. 460 + +ISABEL. No le mat la vengativa mora. + Donde estuviera yo, quin le tocara? + Mi desgraciado amor, que fu su vida ... + su desgraciado amor es quien le mata. + Delirante le dije: Te aborrezco: 465 + l crey la sacrlega palabra, + y expir de dolor. + +MARGARITA. Por todo el cielo ... + +ISABEL. El cielo que en la vida nos aparta, + nos unir en la tumba. + +PEDRO. Hija! + +ISABEL. Marsilla + un lugar a su lado me seala. 470 + +MARGARITA. Isabel! + +PEDRO. Isabel! + +ISABEL. Mi bien, perdona + mi despecho fatal. Yo te adoraba. + Tuya fu, tuya soy: en pos del tuyo + mi enamorado espritu se lanza. + +(_Dirgese adonde est el cadver de Marsilla; pero antes de +llegar, cae sin aliento con los brazos tendidos hacia su +amante._) + + +FIN DEL DRAMA + + + + + +NOTES + + +ACTO PRIMERO + +7-8. #que ... el pie = que te ve colocar el pie orillas (a la orilla) de +un precipicio.# + +17. #al ser#, _on becoming, when he became_. + +33-34. #para vivir ... los tres = para que vivamos los tres con +opulencia.# + +48. #costara#, an example of the frequent use of the imperfect +subjunctive for the conditional in this play. + +57. #Qu habr escrito...?# Note use of future to express +conjecture. _What can he have written...?_ + +87. #Mira ... dice#, _see whether it says_. + +90. #en el encierro aquel = en aquel encierro.# + +106-107. #ve a buscarme#; literally, _go to find me_; translate: +_come to me_. + +113. #volvi = volvi en s#, _he has come to himself, has regained +consciousness_. + +115-116. #De aquella ... hecho = est hecho (acostumbrado) a las +tinieblas de aquella horrible mansin.# + +135-136. #desde hoy ... aflija = desde hoy no permitir que te aflija +ningn afn.# + +140. #azorado#. Note that in poetry predicate adjectives or past +participles are frequently used instead of adverbs. + +147. #Haz ... vea = haz que yo vea a mi bienhechora.# + +155. #Defienda#, _may Heaven protect_, etc. + +162. #ms = es ms hermoso.# + +179-180. #No es ... mora = lo ms (importante) no es que la noble +princesa mora me redima.# + +191 et seq. In the first edition of the play Marsilla begins the account +of his adventures thus: + + Mi nombre es Diego Marsilla, + y cuna Teruel me di, + ciudad que ayer se fund + del Turia en la fresca orilla. + +In the interest of accuracy of detail the author changed this to the +reading of the present text. The river flowing past Teruel changes its +name from Guadalaviar to Turia only after it has left Teruel behind. +Moreover, Teruel was, strictly speaking, _villa_ at the time of the +supposed action of the play, and not _ciudad_: the title _ciudad_ was +not granted to it by the King of Aragon until the year 1347. + +193. #Ayer se fund.# Destroyed by the Moors, Teruel was rebuilt in +1171, forty-six years earlier. In the life of a city, a generation seems +but a day. + +195-197. #cuyos muros ... pobladores = cuyos muros, levantados entre +horrores de lid atroz, fueron amasados con la sangre de sus fuertes +pobladores.# + +199-226. In these lines the idea of "predestined love" is exemplified. + +204. #sus#, _their_ (#del hombre y de la mujer#). + +213-214. #antes ... vernos = antes de vernos, nos ambamos.# + +219-222. A similar idea was expressed in the corresponding four lines of +the first edition thus: + + Y pareca un querer + tan firme en alma de nio, + recuerdo de otro cario + tenido antes de nacer. + +223-226. These four lines may be translated thus: _the love that united +Isabel and me_ (#nuestro querer#) _when we came into this sad world +was merely the continuance_ (#seguir#) _in the physical world of the +love that already existed in the spiritual_. Compare idea expressed by +"marriages are made in heaven." + +246. #aun vivo#; if the time were up, either I should have succeeded +or should now be dead. + +254. #Navas de Tolosa#, village in the Province of Jan, in the south +of Spain, famous in history because of the decisive victory gained +there, July 16, 1212, by the allied kings of Christian Spain over the +Moslems. In the first edition, at the mention of this disastrous defeat +of the Moors, Zulima interrupts Marsilla's narrative with an outburst of +feeling quite appropriate in a Mohammedan: + + Lugar maldito del cielo, + donde la negra fortuna + postr de la media luna + la pujanza por el suelo! + +258 et seq. In the early years of the 13th century a religious sect in +the south of France, the Albigenses, rebelled against the authority of +the Church of Rome. Pope Innocent III proclaimed a crusade against them +in 1208, and a bloody war began in which the crusaders were led by the +ruthless Simon de Montfort until his death at the siege of Toulouse +(1218). During this Albigensian War (1208-1229) Beziers and other +important cities in the south of France were almost destroyed. + +267-270. #Y en pena ... sepult = y en pena de que mi mano rompi el +hierro de mis cadenas, profundo encierro me sepult en vida.# + +281. #haz por escuchar atento#, _try to listen attentively to_ ... + +293. #aqu#, in the land of the Moors. + +303. #Respuesta ... d = es bien que se le d a ella respuesta.# + +311-312. #Medita ... reclama#, _consider it well and you will grant +to time what it demands as its due_. If you take into consideration the +length of time that has passed since you have seen Isabel, you will +realize that she has probably forgotten you, and will become reconciled +to changed conditions because of the lapse of time. + +321. #dada ... recibida#, _having given my love and having received +hers_; or, _having given my heart in exchange for hers_. + +330. #le = su corazn.# + +335-336. #la nueva de ser Isabel esposa#, _the news of Isabel's +marriage_. + +340. #cuanto fabrico derrumba = derrumba cuanto (todo lo que) yo +fabrico.# + +345. #han de traer = traern.# Note that _Isabel_ is direct object of +_traer_. + +346. #para tanto = para hacer tanto.# + +356. #Slvete su diligencia#, _let his efforts save you from danger_. + +361. #perecis = pereceris.# Present instead of future for greater +vividness. + +364-366. #estallo = hubiera estallado; calla = habra callado; llega = +habra llegado.# + +392. #que venga.# Subject of _venga_ is _la rebelin,_ line 394. + +395-396. Note that _quien_ is subject of both _lema_ and _d_. + +425. #el un capitn = uno de los capitanes.# + +444. #Ya no hay perdn que le alcance#, _she is beyond the reach of +pardon_. + +445-446. #despus de correr ... vencido# = _after the struggle is +over, disposition will be made of the conquered_. + + +ACTO SEGUNDO + +17. #don Jaime#, James the Conqueror, King of Aragon from 1213 to +1276, son and successor of Pedro II. He gained the title, _El +Conquistador_, by his conquest of the Balearic Islands (1228-1232) and +Valencia (1258) from the Moors. + +21. #Sancho VII#, King of Navarre (1194-1234), known as _El Fuerte_. +He played an important part in the defeat of the Moors at Navas de +Tolosa in 1212. + +21. #Fernando III#, King of Castile (1217-1252), known as _El Santo_. +He reconquered Cordova, Seville, Jan, etc,. from the Moors. + +87-88. #sobre como ... allanar#, _as to how it should be smoothed, +overcome_. + +102. #Virgen del Pilar!# _Our Lady of the Sacred Pillar protect us!_ +In the church of _Nuestra Seora del Pilar_, Saragossa, is the sacred +pillar on which the Holy Virgin is believed to have appeared to Saint +James during his missionary journey through Spain. This pillar, with its +wooden image of the Virgin and Child, is the magnet that has drawn +countless pilgrims to Saragossa. + +131-132. #de estarse ... pestaear#, _from standing so long with +staring, unblinking, eyes_. + +137-139. #le fu ... al infeliz = la punta le fu a parar al corazn del +infeliz.# + +144. #pisaba = pisara.# + +162. #Si sabr?# ... _I wonder if he knows_... + +174. #querr.# Future to denote probability. + +186. #Pues ... partido#, _well, even in throwing the bar I can win +the game from him_. _Barra_, was a game in which the contestants strove +to outdo each other in throwing a heavy iron bar. It was therefore a +test of strength. + +197. #Jams ... cara#, _never from danger do I turn my face_. + +204. #la mano que todo lo gua#, _the hand that directs the +universe_, the hand of God. + +208-209. #benfica, airada#. Note that adjectives are frequently used +instead of adverbs, especially in poetry. + +212. #de amante inquietud#, _inspired by loving solicitude_, that of +his own family. + +213. #no cobre#..., _may I never recover_... + +215. #Mayor mi tesn a ms padecer#, _my obstinacy increasing with my +suffering_. Compare _mi tesn creca con mi padecer_, of the first +edition. + +239-240. #decid ... vida#, _tell her to whom this father_ (Martin +himself) _owes the privilege of seeing himself alive_. + +247-248. Compare with these the two corresponding lines of the first +edition: + + Con tal compaera, quin no ha de temblar + de perder la vida que lleva dichosa? + +255-256. #dirige = hubiese dirigido; ahorran = habran ahorrado; cunto +de llanto = cuntas lgrimas!# + +259. #la de Maurel#, the battle of Muret in southern France, 1213, in +which the Albigenses and their allies, the Aragonese, were defeated by +the Crusaders under Simon de Montfort. King Pedro of Aragon lost his +life in the battle and many Aragonese were killed or taken prisoners. + +275-276. #Diligencia escasa ... cupo = parece que diligencia escasa, +fortuna severa, cupo en suerte a# (_fell to the lot of_) #mi sangre +(familia).# + +278. #se muestre#, _let him show himself_. Freely translated: _one +who has been unable to overcome adverse fortune should at least be +patient when it wounds him_. + +279. #de aquesa manera#, _in that condition_, that is, without a +sword. + +296. #le acatan propios y ajenos#, _all respect him, those of his +own family_ (#propios#) _and those of others_ (#ajenos#). + +341. #logr ... mal#, _I succeeded in convincing my ears that they_ +(#los acentos desabridos#) _did not have a disagreeable sound for +me_. + +347. #al recordar mi memoria#, _when memory would bring to mind_. + +371 et seq. Note that _vos, piedra, bveda, suelo_ are all direct +objects of _invoco_, line 379. _Not you, but rather the inanimate stone +... that vaulted ceiling ... that pavement ... do I call upon as +witnesses_.... + +377. #a no ser ... huella#, _if it were not as hard and cold as the +one that walks upon it_. + +381. #que# = _for_; #le = al afn.# + +384. #oyera = pudiera, podra, orla.# + +413. #ofrec dar#, _I would gladly have given_. + +423-426. Compare corresponding lines in first edition: + + Cuanto padezco mirad + pues ya como dicha cuento + que mis penas un momento + suspendan su intensidad. + +447-450. #Vuestras razones ... crimen#, _your words of intercession +carry conviction to his heart; any hesitation or reluctance on my part +would be (considered) disrespect, sinful_. + +455. #que ... mortaja = que l se limite a tenerme una cruz y una +mortaja#, _he need do no more than provide me a cross and a shroud_. + +559. #de infeliz ... ms#, _from an unhappy state I have passed to +one still more wretched_. + +564-565. #por seas que ... judo.# Teresa's meaning is clear; he +must be either a Jew or a Moor, she thinks, since he refused to partake +of the slices of pork and wine that she had offered him. She might have +expressed herself more logically thus: _por seas que_ (as proof that) +_debe ser moro o judo, nada de ello (magras y vino) ha probado_. + +572. #Que haya ... o!# _If it were only a dream what I believe that +I heard!_ + +600. #Ya que padec, padezca (ella).# + +603-605. #al fin ... miserable#, _after all, compared with her, +Manilla was of little account_. + +616-617. See _buena_ in Vocabulary. + +664. #en que reina#, _where he now dwells_. + +673-674. #sin que ... ofensa#, _without any one's being able to take +offense at my tears_. + +734. #que lea#, _that he may read_. + +735. #encontrrmelas.# _Me_, dative of interest or concern, may be +translated: _for all I care_. + +764. #se ofrezca ... morir#, _consent to worse than death_. + + +ACTO TERCERO + +7. #Si esto ... difunto = esto es como si yo amortajase a un +difunto.# + +34. #No tardarn ... San Pedro#, _the call to vespers will not be +long in sounding over there in Saint Peter's_. San Pedro is the name of +the old parochial church in Teruel connected with the legend of _Los +Amantes_. + +73-74. #Yo no crea que dudarais de mi rendimiento fiel.# + +84-86. #y al fin hallaris otro que no podis figuraros en vuestro rigor +esquivo.# + +89. #aun no le visteis#, _him you have not yet seen_. + +107-109. #una lengua venenosa no pudo jams echarme maldicin ms +espantosa que decir#.... + +142-144. #Para romper ... indagaciones#, _in order to break my +bondage (free myself from love of you), in order to find defects in you, +my investigations were undertaken._ + +156. #lo que yo vivir = lo que# (_as long as_) #yo viva, vivir#. + +167-168. #concluyo de desear y pedir#, _I desire and ask for no +more_. + +180-181. #mudaris en suma de casa y de vecindad#, _you will move +into another house and neighborhood, nothing more_. + +210-211. #lo dems ... notorio#, _otherwise it would give cause for +notorious scandal_. + +217. #resucitara = hubiera resucitado.# + +219. #matara = habra matado.# + +221. #corriera = habra corrido.# + +346. #salindole al camino = salindole al encuentro.# + +354. #ms ... marido = yo, prfuga, he podido (hacer) ms que mi real +marido.# + +364. #monstruo ... abismo#, _inhuman creature, in whose voice is +heard the wrath of hell_. + +386-387. #a quien ... frente#, _whose forehead evil fate branded at +birth with burning iron_. + +388. #que por verte vive#, _who receives new life on seeing you_. + +434. #merzcate ... lazo#, _respect as you should that marriage +bond_. + +437. #Con mi presencia queda destrudo.# "Sublime respuesta de la +pasin, tan sublime por lo menos como el famoso _Qu'il mourt_ de +Corneille, porque para la pasin no hay obstculo, no hay mundo, no hay +hombres, no hay ms Dios, en fin, que ella misma. Sacrilegio sublime +como el de Ayax en Homero." (Jos de Larra, _Coleccin de artculos_, +page 194.) + + +ACTO CUATRO + +7. #prenden = habran prendido.# + +8. #acuden = hubiesen acudido.# + +41. #sois quien sois#, _you are true to yourself_; or, _one can +always count upon you_. + +48. #entre vos y yo#, _we two, you and I_. + +119. #No ha de ser?# _Why not?_ + +122. #por si es#, _lest it be; in case it may be_. + +139. #Esto es antes.# Teresa thought that the spirit of Marsilla was +conducting Rodrigo to the cemetery. Pedro, after giving the real +explanation, adds _Esto es antes_, meaning, _rather is this it_, i.e., +the true explanation. + +165-166. #mira si te engaas#, _you are surely mistaken_. + +166. #mal pudiera = mal podra (engaarme).# + +201-202. #Pasa ms#, _more has happened; there is still more to +tell_. Note that _yo_ is the subject understood of _aperciba_ in line +202. + +220. #al = al tlamo.# + +222-224. #salga ... hospedaje#, _let her leave here at once, let not +the law of hospitality serve her (as protection)_. + +230-231. #fuera rayar en loca#, _would be little removed from folly; +would border on madness_. + +233-234. #sean ... pierdo = sean jueces de mi furia todas las mujeres +que pierdan lo que yo pierdo.# + +250-251. #que ... vea#, _who had not seen him for such a long +time_.... + +263-264. #que ... son#, _that rightly belong to a true believer_. In +this case _creyente_ means Moslem, a follower of Mohammed. Isabel's +magnanimity arouses Adel's admiration. + +Escena VI. Read #que entra# after #Marsilla#. + +286. #dos#, his own sword and that of Rodrigo. The explanation will +be found in lines 401-413. + +317. #si t vivas#, _seeing that you were still alive_. + +319-320. #la que ... separara? = Cmo podra separarse de ti sin ti la +(vida) que me alienta?# + +321. #desterr#, _banished, exiled (from Heaven)_; = #Juntos aqu nos +desterr (del cielo) la mano (de Dios) que distribuye sabia-(mente) +gozos y penas.# + +327-328. #debiera prometerme = habra debido prometerme#, _you ought +to have offered me_...; or, _I should have expected_.... + +342-344. #no se casa ... humana#, _one that loved as I did does not +marry, unless compelled to do so by the strongest force within the power +of mankind_. + +348. #sujetaras = habras sujetado.# + +352. #la suya = su mano.# + +355. #me ves ajena#, _you see me the wife of another_. + +367. #va mi vida en ortelo#, _to hear you say it is a matter of life +or death to me_. + +391. #en recuerdo si no#, _in memory at least_. + +408. #si lo llego ... librara?# _Should I ever believe that, who +could protect him?_ + +440. #las entraas = el corazn. Una por una# in the preceding line +might be translated _little by little_. + +473-474. #en pos de ... lanza#, _my lovelorn spirit hastens away in +pursuit of thine_. + +A comparison of the closing lines of the play with those of the first +version shows a decided gain in dramatic effectiveness. + +ISABEL. Conque ya es muerto? + +TODOS. Muerto! + +ISABEL. Yo le mat; quise alejarle ... + que le odiaba le dije ... el sentimiento, + el espanto ... Y ment!... + Pero tambin de m se apiada el cielo. + Ya de la eternidad me abre la puerta + y de mis ojos huye el mundo entero, + y una tumba diviso solamente + con un cadver, y a su lado un hueco. + Marsilla, yo te am, siempre te amaba ... + t me lloraste ajena ... tuya muero. + +Cotarelo y Mori, in his scholarly study of the origin and development of +the legend, uses as an argument against its historical authenticity the +improbable ending; skeptically, he asks the question: "No es +verdaderamente pasmoso que en el siglo XIII hubiese ni en Teruel ni en +parte alguna dos personas de sensibilidad tan exquisita a quienes +simultneamente pudiera causar la muerte el verse privadas una de otra?" +This rhetorical question was answered many years before it was thus +formulated. Jos de Larra in his review of the play a few days after its +first performance and only a few days before his own tragic death, +speaking for those who believe that death may be caused by grief alone, +urged the author to pay no heed to critics who scoffed at the +_dnouement_ of his play: "Si yese repetir a sus odos un cargo vulgar +que a los nuestros ha llegado, y que ni mentar hemos querido en este +artculo; si yese decir que el final de su obra es inverosmil, que el +amor no mata a nadie, puede responder que es un hecho consignado en la +historia; que los cadveres se conservan en Teruel, y la posibilidad en +los corazones sensibles; que las penas y las pasiones han llenado ms +cementerios que los mdicos y los necios; que el amor mata (aunque no +mate a lodo el mundo) como matan la ambicin y la envidia; que ms de +una mala nueva al ser recibida ha matado a personas robustas, +instantneamente y como un rayo; y aun ser en nuestro entender mejor +que a ese cargo no responda, porque el que no lleve en su corazn la +respuesta, no comprender ninguna. Las teoras, las doctrinas, los +sistemas se explican; los sentimientos se sienten." (_Coleccin de +artculos_, page 197.) + + + + + +VOCABULARY + + +The purpose of this vocabulary is to give English equivalents for the +words and locutions as used in this play, in order to help the student +understand the text or translate it into clear, idiomatic English. In +some cases, therefore, the English equivalent is not a literal +translation of the Spanish and may not give the usual meaning of the +word or phrase. Moreover, words that the student is reasonably certain +to know and those that have the same or almost the same form and meaning +in Spanish and English are omitted, as well as inflected forms, except +in the case of those that seem to offer special difficulty. + + + +#A# + +#abandonar# leave, abandon + +#abatimiento# despondency, dejection + +#abierto# _p.p. of_ #abrir# open + +#abismo# abyss, gulf; hell + +#abogar# plead, intercede for; defend + +#aborrecer# hate, detest + +#abrasador, -a# burning, ardent + +#abrazar# embrace + +#abrazo# embrace + +#abrir, -se# open + +#ac# here, hither, this way + +#acabar# end, finish; come to an end; weaken; #-- con# put an end to; +#-- de# finish with, have finished, have just; #acabars de hacer +justicia# you will do justice in the end + +#acatar# respect, honor, do homage to + +#accin# action, impulse + +#acechar# spy upon + +#acento# accent; #-s# words + +#acercarse# approach + +#acero# steel; blade, sword, dagger + +#aciago# bitter; fatal + +#aclamar# acclaim + +#acometer# attack + +#acompaar# accompany; #fu acompandome# he went with me, kept me +company + +#acordarse# (de) remember + +#activo# vigorous + +#acudir# come up, hasten (to help); #-se a# have recourse to, go to + +#adelantarse a# go ahead of, outrun + +#ademn# _m._ gesture; attitude + +#adentro# within; off the stage + +#aderezar# dress, get ready + +#adis# good-bye, farewell + +#administrar# administer; give + +#adonde# where, to the place where + +#adorar (en)# adore + +#adormecer# put to sleep + +#adormecido# sleeping + +#adorno# adornment + +#afn# _m._ anxiety, trouble, sorrow; #con --# solicitously + +#afecto# love, affection; #-- amoroso# feeling of love + +#aficin# love, fondness + +#afligir# afflict, grieve + +#agasajar# regale; entertain + +#agolpados# crowding + +#agradecer# be grateful, thankful (for) + +#agradecido# grateful + +#agua# water + +#aguardar# wait for + +#ahogar# smother, oppress; #-se# be stifled _or_ suffocated + +#ahora# now; nowadays; #por --# for the present + +#ahorrar# save, spare; #-se# be spared + +#ahuyentar# frighten, drive away + +#airado# angry, wrathful + +#aire# _m._ air + +#ajeno# belonging to another, of another, another's + +#alameda# avenue, grove (_of poplars_) + +#alarde# _m._ boast, boasting; #hacer --# be proud of, boast + +#alarido# cry, shout + +#alazn# _m._ sorrel horse + +#alba# dawn + +#Albarracn# _small town and mountainous district a short distance west +of the city of Teruel_ + +#albedro# will, free will + +#albergue# _m._ lodging, room + +#albigenses# Albigenses (_see note, Act I_, 258); #un francs --# an +Albigensian Frenchman + +#alborotado# excited, agitated + +#alborozo# joy + +#alcanzar# reach, overtake; obtain; #-- con# have influence with + +#alcazaba# stronghold, fortress, donjon + +#alczar# _m._ castle, royal palace + +#alcoba# bedroom + +#alcurnia# ancestry; family name + +#alentar# give breath; animate + +#aleve# faithless, perfidious; traitor + +#alguno# any, any one, the one + +#alhaja# jewel + +#aliento# breath, courage; #-- vital# breath of life; #sin --# lifeless, +unconscious; #mi --# my last breath + +#alimentar# nourish; #-- risuea# encourage with smiling hopes + +#alistar# enlist, recruit + +#aliviar# assuage, relieve + +#alivio# alleviation, consolation + +#alma# soul, spirit, heart, love; #de mi --# dearest + +#Alteza# Highness + +#altivez# _f._ pride + +#alto# high; great + +#altura# height, elevation; #una --# high ground + +#alumbrar# illuminate, light + +#alzar# raise; rise, arise + +#all# there, yonder; #por --# thereabouts, along there + +#allanarse# be smoothed out, be overcome; be worked out + +#all# there, in it + +#ama# mistress + +#amante# loving; lover + +#amar# love; #-se# love each other + +#amargo# bitter, cruel + +#amargura# bitterness, sorrow + +#amasar# knead; cement + +#ambos# both; as + +#amenazar# threaten + +#amigo# friend + +#Amir# ameer (_Mohammedan ruler_) + +#amistad# friendship + +#amor# _m._ love + +#amoro# love-making; #-s# love affairs + +#amortajar# shroud, prepare for burial + +#anciandad# _f._ old age + +#anciano# old; old man + +#andar# go; #-- por aqu# go about in this vicinity; #-se# go about + +#ngel# _m._ angel + +#angustia# anguish + +#anhelado# longed for, coveted + +#anhelante# anxious; anxiously + +#anhelar# long, yearn for + +#nima# spirit + +#animar# encourage + +#nimo# mind, spirit + +#anochecer# grow dark; #al --# at nightfall; #a poco de --# shortly +after nightfall + +#ansia# anguish + +#ansiar# long for, desire eagerly + +#ante# before; in the presence of + +#antes# before, first; rather; on the contrary; #-- de# before; #-- que# +before; rather than; #-- que todo# before everything else + +#anticipar# anticipate; #anticipado al nacer# present before birth, +prenatal + +#anular# annul + +#anunciar# announce + +#ao# year + +#apacible# peaceful, friendly + +#aparecer# appear, be seen + +#apartar# separate, take away + +#aparte# aside; #-- de# aside from + +#apellido# name + +#apenas# scarcely, barely + +#apercibir# inform + +#aplacar# mitigate, lessen, appease, allay + +#aplazado# postponed + +#aplicar# apply; hold + +#aposento# room + +#apreciar# appreciate + +#aprender# learn + +#aprensin# illusion, delusion + +#apresar# capture + +#aprestar# prepare + +#apresurar# hurry up + +#aprieto# embarrassment, difficult position + +#aproximarse# approach + +#aquese, aquesa# that + +#aqu# here; on earth + +#ara# altar + +#aragons, -esa# Aragonese + +#rbol# _m._ tree + +#ardiente# hot, burning + +#ardimiento# boldness + +#arena# sand; #-s# sands, desert + +#arma# arm, weapon + +#armio# ermine; #de --# ermine-like + +#arrastrar# drag, force into; #traerla arrastrando# drag her here + +#arrebatar# take away by force + +#arrebato# carried away with, beside himself with + +#arremeter con# make an attack upon + +#arrepentimiento# repentance, remorse + +#arribar# arrive + +#arriesgar# risk + +#arrimarse# lean against + +#arrodillado# kneeling + +#arrodillarse# kneel + +#arrojar# cast off; #-se# rush, escape, cast oneself upon + +#arrostrar# face + +#arruinarse# fall in ruins + +#artesano# artisan, mechanic + +#ascendiente# ancestor, forefather + +#asegurar# assure, assert, state definitely + +#asesinar# assassinate, murder + +#asesinato# assassination + +#as# so, thus; #-- que# as soon as + +#asido de# grasped, seized by + +#asir# grasp, seize + +#asistir a# be present at, witness, attend + +#asomar# appear + +#asombrado# astonished, amazed + +#spero# rough + +#asustar# frighten; #-se de# be frightened at + +#atar# tie + +#atad# _m._ coffin + +#atavo# fine attire + +#atender# heed, pay attention to, listen attentively to + +#atento# attentive; attentively + +#aterrar# ravage, lay waste; appall, terrify + +#atesorar# store up; possess + +#atestiguar# testify + +#atnito# amazed, troubled + +#atrs# back, backward + +#atravesar# pass through + +#atreverse# dare + +#atroz# atrocious, fierce + +#aumentar# increase + +#aumento# increase + +#aun, an# still, even, yet; #-- no# not yet + +#aunque# although, even though + +#ausencia# absence + +#ausentarse# depart, go away, be absent; #al --# in the absence of + +#ausente# absent; absent one + +#autor# author, agent + +#avaro# miser + +#averiguar# find out + +#avisar# warn, notify, inform + +#aviso# warning; news + +#ay!# alas; #-- de# alas for, woe betide + +#ayer# yesterday; recently + +#ayunar# fast + +#ayuntamiento# town council; town hall, city hall + +#azorado# anxious, restless + + +#B# + +#bajar# descend + +#bajo# under + +#balbuciente# stammering + +#balcn# _m._ balcony + +#banda# band, scarf + +#bandera# banner, standard + +#bandolero# bandit, robber + +#baar# bathe + +#barra# metal bar; #tirar la --# throw the bar (_a popular game in +Spain_) + +#bastante# enough; long enough + +#bastar# suffice, be enough; #basta# enough; #basta de pltica# enough +talk + +#batida# hunting party + +#beldad# beauty + +#Beln# Bethlehem + +#bello# beautiful + +#bendecir# bless + +#bendicin# blessing + +#bendito# blessed + +#beneficio# benefit; #con tal --# under such obligation + +#benfico# beneficent, charitable + +#benigno# beneficent, benign + +#besar# kiss + +#Besis# Bziers _(city of about fifty thousand inhabitants in the south +of France_) + +#bien# well, very, indeed, already; #-- est# very well, all right; +#tener a --# consider proper _or_ advisable; please + +#bien# _m_. good, goodness, happiness, blessing, favor; object of love; +#mi --# my love, beloved; #qu --?# what good, what of any value? #-s# +wealth + +#bienhechor, -a# benefactor, benefactress + +#blando# soft, tender + +#blasfemo# blasphemous + +#boca# mouth; tongue + +#boda# marriage, wedding; #-s# wedding; #celebradas las# --#s# the +wedding being over, after the marriage + +#borrar# erase, efface + +#bosque# _m_. wood, forest + +#bveda# arch, vault; vaulted ceiling + +#brasa# live coal + +#brazo# arm + +#breve# brief; #en --# in a little time, quickly + +#brillante# bright, shining + +#brindar con# offer + +#brioso# bold, spirited + +#bueno# good; #buena la habis hecho# you have done it now + +#bufete# _m_. sideboard; table + +#burlar# mock; disappoint, frustrate; #dejar burlada# make ineffective, +frustrate + +#busca# search; #en su --# in search of him + +#buscar# seek, look for, find; go to find, get; fetch + + +#C# + +#cabal# complete + +#cabalgar# take horse, ride away + +#caballo# horse; #a --# on horseback + +#caballero# gentleman; knight + +#cabello# hair + +#caber# be contained in; find a place _or_ entrance; be room for; #no +cabe# it is impossible _or_ unthinkable; #-- en suerte a# be decreed by +fate, be predestined + +#cabeza# head; chief; captain + +#cabo# end; #llevar a --# carry out; #al --# at last + +#cada# each + +#cadver# _m_. body, corpse + +#cadena# chain + +#caer# fall; #-- prisionero de# fall into the hands of + +#cado# fallen; lying; ruined + +#calabozo# prison, dungeon + +#calidad# quality, nobility; #ms --# higher rank + +#callar# be silent, keep quiet, refuse to tell, conceal; leave +unspoken; keep from saying, not to say; pass over in silence; preserve + +#calle# _f._ street + +#callejn# _m_. narrow street, alley + +#cama# bed + +#cambiar# change, exchange + +#caminar# travel, journey + +#camino# road; #-- de# in the direction of, on the way to; #salir al --# +go out to meet + +#campana# bell + +#candido# pure, white + +#cansarse# become tired, grow weary + +#capaz# capable + +#capilla# chapel + +#capitn# captain + +#cara# face + +#carcter# _m_. character + +#crcel,# _f._ prison, dungeon + +#cargo# charge; accusation + +#caricia# caress + +#caridad# charity + +#cario# love, affection + +#carioso# loving + +#caro# dear; dearly + +#carrera# road, journey; career; #mortal --# journey of life + +#carta# letter + +#casa# house; #a --# home + +#casado, -a# married man _or_ woman + +#casamiento# marriage + +#casar# marry, give in marriage; #-se# marry, get married + +#casi# almost + +#caso case; situation; event; #hacer -- de# give heed to, listen to; #-- +providencial# act of providence. + +#castigar# punish + +#castigo# punishment + +#cataln# Catalan, of Catalonia + +#caudal# _m_. capital, fortune + +#cautiverio# captivity + +#cautividad# captivity + +#cautivo# captive + +#cauto# cautious, wary, cunning, clever + +#cazador# pursuer, hunter + +#cebarse# feed, prey upon + +#ceder yield# + +#celebrar# celebrate; #celebradas las bodas# the wedding being over + +#celestial# divine + +#celo# zeal, devotion; #-s# jealousy + +#celosa# Venetian blind; latticework + +#celoso# jealous + +#cerca# near + +#cercano# near + +#cercar# surround, besiege + +#cerdo# pork + +#cerrar# close, lock + +#certero# sure + +#cesar# cease; #sin --# incessantly + +#cesta# basket + +#ciego# blind; blind with love, carried away by passion + +#cielo# heaven; #vive el --# by heavens + +#cieno# mire, slime + +#cierto# certain, a certain; indeed + +#cilicio# cilice (_garment made of coarse cloth or hair, worn as +penance_) + +#cinco# five + +#ciudad# city + +#clamar# cry, exclaim + +#claustro# cloister, convent + +#clemencia# mercy + +#cobrar# recover + +#colera# anger, rage + +#colmar# bestow liberally upon, overwhelm + +#colocar# place, set + +#comarca# district, territory + +#combate# _m._ fight, battle + +#combatir# fight + +#comisionado# agent + +#como# as; if; since; provided that + +#compadecer# pity, sympathize with + +#compaero# companion + +#compasin# pity, mercy; #por --# in the name of mercy + +#competidor, -a# rival + +#complacer# please do a favor to + +#comprar# buy + +#comprender# understand + +#compromiso# compromise; predicament + +#con# with; with respect to; #-- que# and so, so then + +#conceder# yield + +#concertarse# be arranged + +#concluir# finish, conclude; #se concluy# it is all done + +#conde# count + +#condenar# condemn + +#conducir# take, bring + +#condicin# character, disposition + +#conferenciar# take counsel + +#confesar# confess, admit + +#confiar# have confidence + +#confn# _m._ boundary, limit; #ya en el --# in the very outskirts + +#confundir# confound, punish + +#confuso# confused + +#conjuracin# conspiracy + +#conjurado# conspirator + +#conmigo# with me, along with me + +#conocer# know, meet, recognize + +#conocimiento# knowledge; #sin --# unconscious + +#consagrar# consecrate, dedicate + +#conseguir# succeed in, obtain + +#consejo# advice, counsel + +#conservar# preserve + +#consignado# deposited, set down + +#consolador -a# comforter + +#consolar# console + +#consorte# consort; husband, wife + +#constancia# constancy + +#consuelo# consolation + +#consumar# complete, consummate + +#consumir# consume, wear out, wear upon + +#contacto# contact, touch; #al --# at the first touch + +#contar# relate, report, tell about; consider; #-- con# count upon, +expect; #cuento como# I count it as a + +#contemplar# consider + +#contener# contain, repress; #-se# contain oneself; stop + +#contienda# quarrel + +#continuamente# continually + +#contra# counter, contrary to, against; #ir --# oppose + +#contrario# enemy, opponent + +#contrito# contrite, penitent + +#convenir# be fitting, be in place + +#convertir# convert, change; #-se# change, be converted + +#convidado# guest + +#convulso# convulsed + +#corazn# _m._ heart + +#cordel# _m._ cord + +#corona# crown + +#corporal# physical + +#correctivo# corrective; expiation + +#correr# run, hasten; pass; draw; run through; #corrido el plazo# the +time having expired, at the expiration of the time set + +#corresponder con# repay + +#corriendo# running; quickly + +#corroborar# corroborate, confirm + +#corrompido# foul, putrid + +#corte# _f._ court + +#cortina# curtain + +#cortinaje# _m._ curtain; set of curtains + +#corto# short, brief + +#cosa# thing; #qu --?# what is it? + +#cosecha# harvest + +#costar# cost; #costara lo que costara# cost what it might; #cueste lo +que cueste# cost what it may + +#cota# coat of mail; #vestida la --# with his coat of mail on + +#coyunda# yoke + +#creador, -a# creative + +#crdito# credit; reputation + +#creer# believe, think + +#creyente# true believer (_Moslem or Christian, according to point of +view_) + +#criado# servant + +#criar# create; grow + +#crimen# _m._ crime, offence + +#cruz# _f._ cross + +#cruzar# cross; pass through; fold + +#cuadrilla# band + +#cual# which; as + +#cuadrar# suit; please; #de quien le cuadre# with any one that pleases +her + +#cualquiera# any one; some or other + +#cuando# when; since; seeing that + +#cuantioso# numerous, large + +#cuanto# how much, how many; as much as; all that; #-- a# as for; #-s# +all those that + +#cuatro# four + +#cubierto# covered + +#cubrir# cover + +#cuchilla# knife, poniard, sword + +#cuello# neck + +#cuerpo# body; #con el --# in the body, in this life + +#cuidado# care, worry, anxiety, solicitude; #dar --# fill with regret + +#cuidar# care for, look after + +#culpa# blame, guilt, sin; #tener la --# be to blame + +#culpado# guilty + +#cumplido# full, complete + +#cumplimiento# fulfilment, performance + +#cumplir# fulfil; carry out; keep one's promise; expire; #-se# fall due, +expire, terminate; be fulfilled; fulfil one's duty toward, be faithful +to + +#cuna# cradle; place of birth; #dar --# be birthplace + +#cupo# _pret. 3d per. of_ #caber# + +#curar# heal, look after, take care of + +#custodio# guard, custodian + +#cuyo# whose, of which, _etc_. + + +#D# + +#daga# dagger, poniard + +#dama# lady, lady of honor (at court) + +#damasquino# Damascene; of Damascus (_ancient city of Syria, famous for +the excellence of its steel_); #el acero --# the Damascus blade + +#dao# injury + +#dar# give; make; #-- en# fall into; strike against; #-- que decir# give +occasion for censure _or_ gossip; #qu puede -- de s?# what can you +expect of him? #se le den# let them give her to him + +#de# of, by, _etc_. + +#deber# owe, must, ought, be obliged, have to; #debi correr# he must +have run; #debieron echarle dentro# they must have thrown him into it; +#le debi querer# could not help loving him + +#deber# _m._ duty, obligation + +#debido# just, rightful, due + +#dbil# weak + +#debilidad# weakness; #ser la suma --# be quite powerless, be +excessively weak + +#decir# tell; #digo bien# I speak the truth; #dir que no# I shall +refuse; #segn se me dice# according to what they tell me + +#decisivo# decisive; #en trance tan --# in such a critical situation + +#decreto# decree + +#defender# defend, protect + +#defensa# defence, protection + +#deforme# hideous + +#dejar# leave, leave alone; #-- abandonado# give up; #-- burlada# make +fun of, render ineffective; #-- caer# drop; #que vino a --le# that left +him at last; #-se matar# let oneself be killed + +#delante# before, ahead; #-- de# in front of + +#delicadeza# delicacy, fineness + +#delicado# slight, weak; fine, perfect + +#delincuente# guilty + +#delirante# delirious, beside oneself + +#delirar# be delirious + +#delirio# frenzy; #-s# foolish caprices + +#delito# crime, guilt, sin; #al saberse mi --# when my sin became known + +#dems# other, remaining; #lo --# the rest; #los --# the others, the +rest; #lo -- fuera dar# otherwise it would give cause for; #-- (_for_ +demasiado)# more than enough + +#denigrar# blacken + +#dentro# within; off the stage; #echar --# throw into it + +#depender de# depend on + +#depositorio# depositary; trustee + +#derecho# right; #a la derecha# at the right + +#derramar# shed + +#derrumbar# overthrow, throw to the ground, destroy + +#desabrido# insipid, distasteful + +#desacato# disrespect + +#desafiar# challenge; #desafiados quedamos# we had challenged each +other; we were to fight a duel + +#desahogo# alleviation, relief + +#desairado# disregarded, unrewarded; #dejar --# disregard; refuse _or_ +fail to reward + +#desairar# disregard; refuse + +#desaparecer# disappear, pass away + +#desastrado# ill-starred, unfortunate + +#desatar# untie, undo; dissolve; #-se# free oneself + +#descansar# rest + +#desde# from; #-- hoy# from now on, from to-day; this very day; #-- que# +since; from the moment that + +#desdn# _m._ disdain, scorn + +#desdear# disdain + +#desdeoso# disdainful + +#desdichado# unhappy + +#desechar# cast away, put aside + +#desempear# redeem; carry out + +#desgarrar# rend, break + +#desgracia# unhappiness, misfortune; evil fate, adversity; #por --# +unfortunately + +#desgraciadamente# unfortunately + +#desgraciado# unfortunate, unhappy, unsuccessful + +#deshonrarse# be dishonored + +#desleal# disloyal; traitor + +#deslumbrar# dazzle + +#desmayarse# faint, swoon + +#desmentir# give the lie to, belie, contradict; deviate from + +#desnudo# bare, naked; drawn + +#desolado# desolate; disconsolately + +#despacio# slowly, deliberately; #mira --# take a good look at + +#despecho# anger, ill-will; despair + +#despertar# awaken + +#despojar# rob + +#desposorio# marriage;#-s# marriage + +#despreciar# scorn + +#despus# afterwards; #-- de# after + +#desterrar# exile, banish; send (_from heaven to earth_) + +#destierro# exile; absence + +#destino# destiny + +#destreza# dexterity + +#destrozar# destroy, mangle + +#destruir# destroy + +#desvaro# raving, delirium + +#desventura# unhappiness, misfortune + +#desvergenza# shamelessness + +#detener# detain, delay, hold back, check; preserve; #-se# stop, delay, +desist + +#deudo# relative + +#deudor# indebted; #-- de verse con vida# indebted for the privilege of +seeing himself alive + +#devaneo# caprice, fancy; #-s# idle pursuits + +#devolver# return + +#di# (_2d sing, imper. of_ #decir#) say, tell me + +#d# (_1st pers. pret. of_ #dar#) + +#da# _m._ day; #un --# some day; #hoy --# in these days + +#dicha# happiness, blessing, felicity; #por --# happily; #por -- mayor# +most fortunately; #-s# happiness + +#dicho# aforesaid + +#dichoso# happy, fortunate + +#diestra# right hand + +#diestro# skilful + +#dificultad# difficulty, difficult task + +#difunto# dead + +#dignarse# deign, condescend + +#digno# worthy + +#dilacin# delay + +#diligencia# diligence, assiduity, solicitous care, endeavor + +#Dios# God; #a --# good-bye, farewell, God keep you; #por --# in the +name of God, in Heaven's name + +#dirigir# direct, address; intend for; guide; #-se# apply to, turn, go +toward, make one's way + +#discrecin# discretion; #a --# at will; without conditions + +#disculparse con# apologize + +#disfraz# _m._ disguise. + +#disfrazado# disguised + +#disminuir# diminish + +#disponer# dispose of, arrange for, provide, make arrangements + +#distinto# distinct, evident; different + +#distribuir# distribute + +#disuadir# dissuade, deter + +#doblez# _m._ duplicity, wile + +#dcil# docile, yielding + +#dolencia# disease, infirmity, illness + +#doliente# suffering, aching; sad; #-- desvaro# delirium of grief + +#dolo# fraud, deceit + +#dolor# _m._ sorrow, regret, grief, pain + +#dolorido# doleful + +#doloroso# grievous, sad + +#domingo# Sunday + +#don# _m._ gift + +#doncella# maiden, young girl + +#donde# where; in _or_ on which; #por --# through which; #-- quiera# +wherever he pleases + +#dormitorio# bedroom + +#dos# two + +#duda# doubt; #sin --# doubtless, surely + +#dudar# doubt, suspect + +#duelo# duel; pain + +#dueo# master, owner, possessor; mistress + +#dulce# sweet + +#dulcemente# sweetly; #embargar --# hold in sweet suspense + +#dulcsimo# very sweet; most loving, most blessed + +#dulzura# sweetness + +#durar# last + +#duro# hard, harsh, cruel + + +#E# + +#ea# well + +#echar# throw, throw at, cast, fling; utter; put lower; #-- menos# miss + +#eficaz# efficient, practical + +#egosmo# selfishness + +#ejemplo# model, example + +#elegir# select, choose + +#elevacin# nobility + +#ello# it; as for that; #-- si# the fact is + +#embargar# suspend; #-- dulcemente# hold in sweet suspense + +#embargo# restraint; #sin --# however, nevertheless + +#empaar# dim + +#emparedar# confine, shut up + +#empear# pledge; #-se# pledge oneself, intercede + +#empeo# pledge, engagement; undertaking; effort; earnest desire; +resolution, firmness; insistence + +#empezar# begin + +#emplear# employ; #-se# devote oneself + +#emponzoar# poison + +#empuje# _m._ push; pressure + +#empuar# grasp + +#mulo# rival, emulator + +#enamorado# enamored; #tan --# as much in love + +#enardecer# kindle, inflame + +#encaminar# guide + +#encargar# charge; #-se de# take charge of + +#encargo# charge, duty; commission; #en mi --# assigned to me + +#encarnacin# incarnation + +#encarnizarse en# be fleshed in, wound + +#encerrar# enclose, confine + +#encierro# enclosure, prison + +#enconar# irritate, aggravate, increase + +#encono# rancor, malevolence + +#encontrar# find, meet + +#enemigo# enemy; hostile, unfriendly + +#enemistad# enmity; #palabras de --# angry words + +#enero# January + +#enfermedad# illness, sickness + +#enfermo# sick; sick man, patient; #los -s# the sick + +#engaar# deceive; #-se# be deceived, be mistaken + +#engao# deception, mistake; #-s# illusion + +#engendrar# engender, generate, produce + +#enjugar# dry + +#enlace# _m._ union, marriage + +#enmudecer# remain silent + +#enojado# angry, in anger + +#enredarse# turn, coil about + +#enriquecerse# become rich + +#ensangrentado# bloody, bloodstained + +#ensangrentar# stain with blood + +#ensayo# trial, effort, attempt + +#enseado# taught, trained + +#entender# understand; #a mi --# in my opinion + +#enterarse de# find out, know + +#entereza# fortitude + +#entero# entire, complete + +#entonces# then, at that time + +#entrambos# both + +#entraas# entrails, vital organs; heart + +#entrar# enter + +#entre# between, in the midst of; #-- vos y yo# we two, you and I + +#entrega# delivery, surrender + +#entregar# give, deliver, hand over + +#envenenado# poisoned + +#enviar# send + +#envuelto# enveloped + +#ermita# hermitage + +#escndalo# scandal + +#escaparse# escape + +#escarmentar# punish severely + +#escarnecer# mock + +#escaso# scarce; vain, fruitless + +#esclavo# slave + +#escolta# escort, guard + +#escondido# hidden; hiding + +#escribir# write + +#escrito# writing + +#escrupulosidad# conscientiousness + +#escuchar# listen to, heed, answer + +#esfuerzo# effort, efforts + +#eso# that; #por --# therefore, for that reason + +#esotro, -a# that other; #a esotra puerta# try the other door +(_meaning_, she hears nothing) + +#espada# sword + +#espanto# terror + +#espantoso# terrible + +#espectador# spectator + +#espectro# specter, ghost + +#espejo# mirror; model; #-- de mano# handmirror + +#esperanza# hope + +#esperar# hope, expect, wait for, await + +#espina# thorn + +#espritu# _m._ spirit, soul, mind; liquor, liquid; #de --# mental + +#esposa wife; #-- del Seor# bride of Christ, nun + +#esposo# husband; #-s# husband and wife + +#esquivo# reserved, cold + +#estallar# burst, break forth + +#estar# be; #-se# remain; #-- de Dios# be in God's power + +#estilo# style; #por el --# like this, of this sort + +#esto# this; #en --# thereupon + +#estorbar# hinder, get in one's way + +#estrado# drawing-room + +#estrechar# press, embrace + +#estrecho# narrow, small + +#estremecerse# shudder + +#estrenar# present for the first time + +#estudio# study + +#eterno# eternal; #el --# God + +#evitar# avoid + +#excusar# excuse; avoid; #excusadme el presenciar# excuse my not +witnessing + +#exhalar# breathe forth, give expression to + +#existir# exist, live; be born + +#explicacin# explanation + +#explicar# explain + +#expresar# give expression to + +#extranjero# foreign; foreigner + +#extrao# strange + + +#F# + +#fabricar# build up, contrive, devise + +#faccin# feature + +#fcil# easy + +#fcilmente# easily + +#facineroso# wicked, criminal + +#falaz# false, deceptive + +#falda# lap; #la materna --# in our mothers' arms + +#falsa# falsity, deceit + +#falso# spurious, unreal + +#falta# lack; #qu -- hace a#? what need has ... of? + +#faltar# lack, fail, be lacking; #los das que me faltan que vivir# the +days that are left to me of life + +#fallecer# fail; die + +#fama# good name + +#fantasma# phantom, spirit + +#fatigar# weary + +#favor# _m._ favor, help + +#favorecer# have mercy upon + +#faz# _f._ face + +#fe# _f._ faith, religion; loyalty; promise; #a --# by my faith + +#feliz# fortunate + +#fenecer# end, expire + +#fenecido# ended, at an end + +#feo# ugly + +#fretro# coffin, bier + +#feroz# cruel, ferocious + +#frvido# fervid, ardent + +#ferviente# fervent + +#festn# _m._ banquet, entertainment + +#fiel# faithful, sincere, true + +#fiera# wild animal, savage beast + +#fiero# cruel + +#figurarse# imagine, believe + +#fijo# fixed; staring + +#fin _m._ end; death; #al --# at last, after all; #en --# at last, in +short; #por --# at last, in the end; #tener su --# terminate, expire + +#final# _m._ end + +#fingir# feign, pretend, dissemble + +#fino# fine, perfect; perfectly, faithfully + +#firma# signature + +#firme# strong + +#firmeza# constancy, stability + +#flor# _f._ flower + +#florido# flowery + +#fogoso# spirited + +#fondo# bottom; background, back of stage + +#forastero# stranger + +#forcejar# struggle + +#formar# form, make up + +#fortaleza# fortitude, firmness + +#fortuna# fortune; #por -- ma# fortunately for me; #por ms--# still +more fortunately + +#forzoso# forced, obligatory; #ser --# be necessary + +#francs, -esa# French + +#franco# frank, outspoken; frankly + +#franqueza# frankness + +#frenes# _m._ frenzy, fury + +#frentico# frantic + +#frente# _f._ forehead, face + +#fro# cold + +#fuego# fire; death at the stake; #a sangre y a --# with fire and sword + +#fuera# outside; away with; #-- de# away from + +#fuera# _imp. subj. of_ #ser# _or_ #ir# + +#fuero# right, law + +#fuerte# strong, vigorous, brave + +#fuerza# force, power, strength; #a -- de# by dint of; #-- es# it is +necessary, it must perforce + +#fuga# flight + +#fugaz# fleeting + +#fulano# such a one; #un tal --# Mr. So-and-so + +#flgido# bright, resplendent + +#fundado# well founded + +#fundar# found, base + +#funesto# fatal, sad; #el fin os llega --# a disastrous end awaits you + +#furia# fury, rage + +#furioso# furious, raging + +#furor# _m._ fury, rage, passion + + +#G# + +#gabinete# _m._ private room; boudoir + +#gala# wedding dress; #-s# fine clothes, gala attire; #-- del himeneo# +bridal trousseau + +#galn# _m._ lover + +#galano# gallant; splendidly dressed + +#gallardo# brave, gallant, daring + +#ganar# gain, win + +#garganta# neck + +#gargantilla# necklace + +#gavilla# gang, band + +#gemir# groan + +#genio# genius; spirit; #-- infernal# evil spirit + +#gente# _f._ people, company, retinue; family; #-- aragonesa# people +from Aragn; #llamad --# call some one + +#golpe# _m._ blow + +#gtico# Gothic + +#gozar# enjoy, take pleasure in + +#gozo# joy; #con --# joyfully, gladly + +#grabar# engrave + +#grande# great, large; effective + +#grato# pleasing; welcome + +#gravemente# seriously + +#gravsimo# most grievous, serious + +#grito# cry + +#Guadalaviar# _or_ #Turia# _river rising in the Province of Teruel and +flowing into the Mediterranean at Valencia_ + +#guarda# _m., f._ guard + +#guardar# keep, preserve, guard, maintain + +#guardia# guard + +#guarnicin# guard, hilt + +#guerrero# warrior, soldier + +#guiar# guide, direct, control + +#gustar# please + +#gusto# pleasure + +#gustoso# joyful, glad; joyously + + +#H# + +#haber# have; #-- de# have to, be going to, be to, must, _etc._; #me has +de acompaar# you are to accompany me; #no han de veros# you must not be +seen; #quin ha de ser#? who else should it be? #qu hay#? what is +wrong? #poco ha# a short time ago; #quince aos ha# fifteen years ago + +#habitacin# room + +#habitar# live, dwell + +#hablar# speak + +#hacer# make, do; be (_in expressions of time_); #-- caso de# give heed +to, listen to; #-- vano# frustrate, render harmless; #-- por# try, make +an effort to; #hazle entrar# show him in; #haz que vea# let me see; +#hace poco# a short time ago; #haca tanto# for so long; #har tres +meses# about three months ago; #-se# take place + +#hacia# toward; #-- aqu# in this direction + +#hacienda# property, wealth, riches + +#hallar# find; #bien hallado# I am glad to see you; #-se# find oneself; +be; #-se con# have, possess + +#hambre# _f._ hunger + +#hartar# satiate; #para -me# until I am satiated + +#hasta# until; even; #-- que# until + +#hecha# _p.p. fem. of_ #hacer#; #poner -- una imagen# make pretty as a +picture + +#hechizo# charm, fascination + +#hecho# fact + +#hecho# _p.p. of_ #hacer#; accustomed, used; turned into; becoming + +#hediondo# fetid, foul + +#heredar# inherit + +#herencia# inheritance; wealth + +#herida# wound + +#herido# wounded; wounded man + +#herir# wound, strike + +#hermano, -a# brother, sister + +#hermoso# beautiful; #hermosa# beautiful woman + +#hiciera# _imp. subj. of_ #hacer# + +#hiel# _f._ gall, bitterness + +#hierro# iron; steel; brandiron; #-s# chains + +#hijo, -a# son, daughter + +#himeneo# marriage; #galas del --# bridal trousseau + +#historia# story + +#hito# fixed; #de -- en# fixedly + +#hoguera# fire; #una --# death at the stake + +#holgar# please; #me holgara# (_for_ #holgara#) it would please me + +#hollar# tread upon + +#hombre# man + +#hondo# deep + +#honesto# virtuous + +#honrado# honorable, respectable + +#honrar# honor + +#hora# hour; time; #en buen --, en -- buena# indeed; well and good; and +welcome + +#horrendo# frightful, horrible + +#horroroso# horrible, terrible + +#hospedaje# _m._ lodging; hospitality + +#hoy# to-day; now; #desde --# this very day, from now on; #--mismo# this +very day, even to-day; #-- da# in these days + +#hoyo# hole, pit + +#hubo# (_3d pret. of_ #haber#) there was + +#hueco# hollow; depths + +#huella# footprint + +#huesa# grave + +#huir# flee, fly, slip away + +#humanidad# humaneness, kindness + +#hmedo# damp, humid + +#humildad# humility + +#hundir# hurl, throw, beat down; #-se# sink + + +#I# + +#idioma# _m._ language + +#idiotez# idiocy + +#idolatrar# idolize + +#iglesia# church + +#ignorar# ignore; not to know; #-se# be unknown + +#igual# equal; alike + +#igualdad# equality + +#ileso# sound; without blemish + +#ilusorio# illusory, deceptive + +#ilustre# noble, illustrious + +#imagen# _f._ image, picture + +#imbcil# imbecile; simple + +#impedir# prevent, stop + +#mpetu# _m._ impetus; impetuosity + +#impo# faithless; wicked + +#imponer# impose + +#importar# be important; #no importa# no matter + +#imprimir# impress, stamp + +#incapaz# incompetent, unfit + +#incentivo# encouragement + +#inclinacin# inclination, love + +#inclinar# bend, bow + +#incluir# include + +#incorporarse# sit up in bed + +#indagacin# investigation + +#indicar# mean, indicate + +#ndole# _f._ temper; nature + +#indudable# indubitable, certain + +#indulgencia# indulgence, toleration + +#inerte# inanimate, lifeless + +#infalible# infallible, sure + +#infame# infamous + +#infantil# childish; #amor --# love of childhood + +#infausto# unlucky, ill-fated, ill-starred + +#infecto# infected, tainted + +#infelicidad# misfortune + +#infeliz# unfortunate; unfortunate man; #alguna --# an unhappy woman + +#infiel# disloyal, faithless; infidel + +#infierno# hell + +#informarse# inquire, ask + +#ingrato# ungrateful + +#inmaculado# immaculate + +#inmediato# adjoining, next + +#inmolar# sacrifice + +#inmvil# motionless + +#inmovilidad# immobility + +#inquietud# solicitude, anxiety, worry; #estar con --# worry, be anxious + +#insensato# foolish; fool + +#inspirar# inspire, inspire in + +#instante# _m._ instant, moment; #en el --# at once, immediately + +#instar# urge + +#insufrible# intolerable + +#intensidad# intensity + +#intentar# try; intend to do + +#inundar# inundate, flood + +#intil# vain, useless + +#inverosmil# improbable + +#invocar# invoke, call + +#ir# go, be, _etc_.; #-- a# be about to; #-- a parar# lead to, come to +an end; pierce; #van llegando# they keep arriving _or_ continue to +arrive; #se fu retirando atrs# kept drawing back; #va mi vida# my life +is at stake; #-se# go away, disappear + +#ira# fury, rage, passion; #-s# anger + +#iracundo# passionate + +#irritado# angry + +#irritarse# get angry, become furious + +#izquierdo# left; #a la izquierda# at the left + + +#J# + +#jams# ever, never + +#jardn# _m._ garden + +#jerga# coarse cloth + +#Jess# Heavens; Heaven help me + +#Jope, Japa# Joppa (_ancient seaport of Jerusalem and important +commercial center in the time of the Crusades. Modern Jaffa_) + +#jornada# journey + +#joven# young; young man + +#joya# jewel, piece of jewelry + +#jbilo# joy + +#judo# Jew + +#juez# judge + +#jugar# play + +#juicio# judgment + +#junta# council, meeting + +#juntar# assemble, amass, get together; summon + +#junto (a)# near, at the side of; #-s# together + +#jurar# swear, vow + +#justicia# justice; #en --# rightly + +#juventud# youth + +#juzgarse# consider oneself + + +#L# + +#labio# lip; tongue + +#labor# _f._ needlework, embroidery + +#lado# side; #por este --# this way + +#lgrima# tear + +#lana# wool; garment of wool + +#lance# _m._ incident, happening; conflict, struggle; critical moment + +#lanzar# hurl, throw; give off, reflect; utter violently + +#largo# long + +#lstima# pity + +#lastimarse# be sorry, grieve, regret + +#lateral# at the side (_of the stage_) + +#latir# beat, palpitate + +#lazo# bond + +#leal# loyal; loyally + +#lecho# bed + +#leer# read + +#lejano# distant + +#lejos de# far from + +#lengua# tongue + +#lenguaje# _m._ language, speech, manner of speech + +#lentamente# slowly + +#lento# slow + +#lerdo# slow, heavy; #lerdas# dawdlers + +#letra# letter; writing, handwriting + +#levantar# raise; #-se# arise + +#ley# _f._ law, religion, loyalty; #sin --# faithless, treacherous + +#liberal# generous + +#libertad# liberty + +#libertar# free, rescue, set free + +#lbico# Libyan; #lbica regin# Northern Africa (_Libya was the ancient +name of Northern Africa_) + +#librar# free, save, protect. + +#libre# free; at will; released; libertine, licentious + +#licencia# permission + +#lcito# permissible + +#lid# _f._ fight, struggle, conflict, duel + +#lidiar# fight + +#lienzo# linen cloth, piece of linen + +#ligar# bind + +#limitar# limit; #-se a# do no more than; #-- trminos a# form +boundaries of, bound + +#limpiar# wipe, cleanse + +#lindo# pretty + +#lisonjero# flattening, complimentary + +#liviano# light; fickle, faithless + +#lo que# what; how much; as long as + +#lobreguez# darkness + +#loco# mad, insane; foolish + +#lograr# gain, succeed, be able to; #-- de# convince, persuade; #-- que +diga mi lengua# get my tongue to say; #-- vencer# have gained the +victory; #no he logrado que deis# I have not succeeded in getting you to +give + +#lucero# morning star; #-s# eyes (_poetical_) + +#lucha# struggle + +#luchar# struggle + +#luego# then, soon, next + +#lugar# _m._ place; village; stead; #dar -- a# result in + +#lujoso# luxurious + +#luna# moon; moonlight; #la -- media# crescent (_device on the +Mohammedan standard_) + +#lustro# lustrum (_period of five years_) + +#luz# _f._ light + + +#LL# + +#llamar# call, summon + +#llanto# weeping; tears + +#llegada# arrival + +#llegar# arrive, reach, come, enter, _etc._; #-se# approach; #-- a +brindar# go so far as to offer, even offer; #-- a enterarse# come to +know, find out at last; #-- a saber# find out, discover; #si lo llego a +pensar# should I ever think that; #si llegaseis a conocer# if you could +only know; #os llega funesto# a disastrous end awaits you; #en llegando# +on his arrival + +#lleno# full, filled + +#llevar# take, carry, bear; lead: wear; live; get away; #-- de# live, +spend in; #-se# carry away, lead along; #-- me a casar# take me to the +marriage altar; #-- a cabo# carry out; #el alma se llevan# they take my +spirit with them + +#llorar# weep, weep for, lament; #llorando# in tears + +#lloro# weeping, tears + + +#M# + +#madre# mother; Virgin Mary + +#magra# rasher, slice of ham, pork + +#mal# _m._ evil; misfortune + +#mal# _adv._ bad, badly; hardly, scarcely + +#maldecido# accursed + +#maldecir# execrate, imprecate, curse + +#maldicin# curse, malediction + +#maldito# accursed + +#malogrado# unfortunate + +#maltratar# maltreat, abuse + +#malvado# wicked + +#manar# flow + +#mancebo# youth, young man + +#mancha# stain, blot, blemish + +#manchar# stain + +#mandar# order, command; cause; #-- sepultar# have buried + +#manera# manner; #de aquesa --# like that, in that condition; #de -- +que# such that + +#manifestar# prove + +#mano#, _f._ hand + +#mansin# abode, place of habitation + +#mantener# keep, maintain, retain + +#maana# morning, to-morrow + +#maquinalmente# mechanically + +#maquinar# plan, contrive + +#mar# _m._ sea #maravillado# amazed, filled with wonder + +#maravillar# surprise + +#marcar# impress, brand + +#marcial# military + +#marchar# go away, depart, leave, #-se# go away, go off + +#margen# _m., f._ margin, bank + +#marido# husband + +#martirio# torture, martyrdom + +#mas# but + +#ms# more, most; higher; moreover; still more; #no --# no longer; #-- +que, -- de# more than; #no hay --# there is no other; #por -- que# +however, however much + +#mscara# mask + +#matar# kill; #-- de celos# afflict with jealousy + +#materno# maternal + +#mayor# greater, greatest + +#mazmorra# dungeon + +#mdico# doctor + +#medio# middle, midst + +#meditar# meditate, reflect + +#mejor# better; greater + +#mella# indentation, impression + +#menear# move, stir + +#menester# _m._ need, necessity; #ser --# be necessary + +#mengua# shame + +#menguado# diminished; unhappy; #hora menguada# in a fatal moment + +#menor# lesser, smaller + +#menos# less; except; #lo --, al --# at least + +#mensajero# messenger + +#mentar# mention, relate + +#mentido# false + +#mentir# lie + +#mentira# lie; #es --# it is not true + +#mercader# _m._ merchant + +#merced# mercy; favor, kindness; #-- a# thanks to; #hacer --# benefit + +#merecer# merit, deserve, claim + +#mesa# table + +#mezclar# mix + +#miedo# fear + +#mientras# while, whilst; as long as + +#milagro# miracle + +#mirad# (_imper. 2d pl. of_ #mirar#) bear in mind, consider + +#mirada# glance, look, gaze + +#mirar# see, look at; bear in mind, remember; #-- por# look out for; +#miren# just look; #-se# look at oneself, be reflected + +#miserable# wretch, miserable fellow + +#msero# wretched + +#mismo# same; very; #por lo --# therefore + +#misterio# mystery + +#mitad# middle, half + +#mitigar# mitigate, appease + +#mocedad# youth + +#moderar# moderate + +#modo# way, means; #de qu --?# in what way, how? + +#modorra# drowsiness + +#monstruo# monster, wicked person + +#Monzn# _small town in Catalonia, between Saragossa and Barcelona_ + +#morada# abode, dwelling + +#morder# bite; #-- la tierra# bite the dust + +#morir# die; kill; #ms que a --# far worse than death + +#morisco# Moorish; Morisco + +#moro# Moor, Moorish + +#mortaja# shroud + +#mostrar# show + +#muchacho# boy + +#mudanza# change (_of mind or purpose_) + +#mudar# change; #-- de casa# move into another house + +#mudo# dumb, mute + +#muerte# _f_. death; #de --# mortal + +#muerto# dead; #el --# the dead man + +#mujer# _f._ woman, wife + +#mundo# world + +#muralla# wall; rampart + +#muriendo# _(ger. of_ #morir#) dying, in mortal pain + +#muro# wall + +#musulmn, -a#, Mohammedan + + +#N# + +#nacer# be born, come into the world; spring; grow; #al --# at birth; +#anticipado al --# present before birth, prenatal; #de qu ha nacido?# +what has been the cause of? + +#nada# nothing + +#nadie# no one + +#narctico# narcotic, sleeping potion + +#nariz# _f._ nose + +#naturaleza# nature + +#necesitado# needy; one in need of + +#necesitar# need, have need of + +#necio# foolish; fool + +#negar# deny, refuse + +#negociar# negotiate; #-- con# induce + +#negro# black, dark; sad, gloomy; hostile + +#ni# neither, either; even; #-- ... --# neither ... nor; #-- siquiera# +not even + +#nieve# _f._ snow + +#nio, -a# boy, girl + +#noble# noble; nobleman + +#nobleza# nobility, generosity + +#noche# _f._ night; #esta --# to-night; #esta -- misma# this very night + +#nombre# _m._ name + +#norabuena (en hora buena)# all right; good! + +#noticia# news, account, information, announcement + +#notorio# notorious + +#novedad# novelty; news; #es --?# is it unusual? #es -- que?# is it a +secret that? + +#novio, -a# bridegroom, bride; #qu trazas stas de novias?# isn't she +a fine bride? (_ironical_) + +#nube# _f._ cloud, mist + +#nueva# news, tidings + +#nuevo# new + +#nunca# never, ever + + +#O# + +#o# or, either + +#obedecer# obey + +#obligacin# obligation, duties + +#obra# work + +#obrar# work; bring about + +#obsequioso# obliging, courteous + +#ocasin# chance, opportunity + +#ocultar# hide, conceal + +#oculto# hidden; secretly + +#ocupar# occupy; #-se de# busy oneself with, give oneself up to; #ocupad +la silla# sit down, be seated + +#odiar# hate + +#odio# hate, hatred + +#odioso# hateful + +#ofender# insult, outrage; be offensive; trouble + +#ofensa# offence, insult; #hacer -- de# feel offended by + +#ofrecer# offer; be willing + +#ofrecimiento# offer; promise + +#ofrenda# votive offering; sacrifice + +#odo# ear + +#or# hear, listen to + +#ojal!# would that they had! + +#ojo# eye + +#olvidar# forget + +#opinin# reputation, good name + +#oponerse a# oppose + +#oprobio# shame + +#opulencia# opulence, luxury + +#opulento# wealthy + +#orbe# _m._ world + +#ordinario# ordinary; #de --# regularly + +#orgullo# pride + +#orgulloso# proud + +#orilla# bank, shore; edge, brink; bounds; #-s# on the edge, brink (of) + +#osar# dare + +#sculo# kiss + +#oscuro# dark + +#otorgar# grant + +#otro# other + + +#P# + +#pacfico# peaceful + +#padecer# suffer, endure + +#padecer# _m._ suffering, sorrow + +#padre# father; #-s# parents; #el -- nuestro# the Lord's Prayer + +#paga# payment + +#pagar# pay; repay; pay for + +#paisano# countryman; fellow countryman + +#paja# straw + +#paje# _m._ page + +#palabra# word; promise + +#palma# palm; hand; #-s# palm leaves; hands + +#palpitar# beat, palpitate + +#pan# _m._ bread; #a --# on bread + +#par# even; #abrirse de -- en --# be thrown wide open + +#para# for; in order to; as; #-- con# compared with; #--siempre# +forever; #-- que# in order that + +#paradero# whereabouts + +#parado# standing still, stopped short + +#pramo# desolate plain, desert + +#parar# stop; be; reside, live; #-se# stop; #ir a --# pierce; #en esto +paran# this is the end of + +#parecer# seem; appear; #qu os parece#? how do you like? + +#parecido# resembling; #todo --# closely resembling, very much like + +#prpado# eyelid + +#parte# _f._ part; place; #por otra --# moreover + +#partida# parting, departure + +#partido# match, game + +#partir# depart, leave, set out; split, divide + +#pasar# pass, happen; suffer; #-- con# happen to; #-- por# pass by; call +at; #lo que pasa# what is going on + +#pasin# passion, love + +#paso# step + +#patria# native country _or_ place + +#paz# _f._ peace + +#pecho# breast; heart; #de -- blando# tender-hearted + +#pedazo# piece; #-s del corazn# beloved ones + +#pedir# ask for, call for, demand; #pidiendo a voces# calling loudly for + +#peligro# danger + +#pena# pain, sorrow, grief, suffering, affliction, regret; #-s# +distress; #en -- de# in punishment for + +#pender de# depend on + +#pensamiento# thought, mind + +#pensar# think, intend, expect + +#pequeo# little, small + +#percibir# perceive, feel; smell + +#perder# lose; destroy, ruin; #-se# be lost + +#prdida# loss + +#perdonar# pardon + +#perecer# perish, die + +#peregrino# strange; pilgrim + +#prfidamente# perfidiously, through _or_ by treason + +#prfido# perfidious, unfaithful; traitor + +#perjuro# perjured; disloyal, unfaithful + +#permitir# permit; #permita Dios# God grant + +#perseguir# pursue + +#persona# person; #-s# cast, characters (_in a play_); #tu --# you + +#persuadirse# be persuaded _or_ convinced + +#pesadumbre# _f._ sadness, sorrow, grief; displeasure + +#pesar# weigh, be heavy, grieve + +#pesar# _m._ sorrow, grief + +#pestaear# blink + +#piadoso# pitiful, merciful + +#pie# _m._ foot + +#piedad# pity, mercy + +#piedra# stone + +#pieza# piece; room; #buena -- a# shameless creature + +#pincel# _m._ brush + +#pintar# paint; describe + +#pisada# footstep + +#pisar# tread upon, trample; despise; cross + +#plceme# _m._ congratulation + +#planta# sole of the foot; foot + +#plantar# set up + +#pltica# talk; #-- sin provecho# idle, useless talk + +#plazo# term, time set; #corrido el --# the expiration of the time set + +#plegaria# prayer + +#poblador# founder, settler + +#pobre# poor + +#pobrecillo# poor fellow + +#pobrecito# poor fellow + +#poco# little, small, few; #-- ha# a short time ago + +#poder# be able, can, may, _etc._, be able to do; #hasta -- salir# until +he was able to get out + +#poder# _m._ power + +#poderoso# powerful, strong; wealthy + +#pomito# small flask, vial + +#poner# put, set, fix, put on; #-- en# give, offer; #-- trmino# +terminate; #-- hecha una imagen# make pretty as a picture; #pon aqu# +give me + +#por# for, because of, out of, as, by way of, in order to, in the name +of, through, in; #-- ahora# for the present; #-- all# thereabouts; -- +#all# along there; #-- aqu cerca# in this vicinity; #-- dentro# +within, from within; off the stage; #-- este lado# this way; #-- l# as +far as he is concerned; #-- s# in itself; through his own efforts; #-- +la noche# at night; #-- ser# because I am; #-- ms que# however, however +much + +#porque# because, for, in order that + +#por qu?# why + +#porqu# _m._ cause, reason + +#porte# _m._ conduct, bearing + +#pos: en -- de# after, in pursuit of + +#postrado# prostrate; #-- por el suelo# humbled to the dust + +#postrar# prostrate, cast down; #-- por el suelo# overthrow, make bite +the dust + +#postrero# last + +#potro# rack, torture + +#precioso# precious + +#precipitado# precipitate, hasty + +#preciso# necessary + +#preferir# prefer + +#preguntar# ask, ask about, question + +#premiar# reward + +#prenda# pledge, token; treasure; beloved one, sweetheart; #-s# +qualities, appearance; #idolatrada --# object of worship; #-- querida# +beloved one, dearest + +#prendarse de# fall in love with + +#prender# take, capture; take root + +#presagio# omen + +#presenciar# witness, be present at + +#presentarse# appear + +#presentir# have a presentiment _or_ foreboding of + +#presidir# preside + +#preso# prisoner + +#prestar# lend, give + +#presto# soon, quickly + +#pretender# solicit, seek, desire; try, endeavor + +#prevenir# announce + +#previsin# foresight + +#primero# first; rather; #-- que# before + +#princesa# princess + +#principal# noble; #varn --# gentleman, man of honor + +#prncipe# _m._ prince + +#principiar# begin + +#prisa# haste + +#prisin# prison; #prisiones# bonds + +#privar# deprive + +#probar# taste; take + +#procurar# try, endeavor + +#prodigar# lavish upon + +#prodigio# marvel + +#prodigioso# marvelous; remarkable + +#prfugo# fugitive from justice, outlaw + +#profundo# deep + +#prjimo# fellow man; person; fellow + +#prometer# promise, offer + +#pronosticar# predict + +#pronto# ready; quickly, at once + +#pronunciar# pronounce, speak + +#propicio# propitious, favorable + +#propio# proper; #la propia Zulima# Zulima herself + +#proponerse# resolve + +#proporcionar# provide with, furnish + +#propsito# purpose; #a --# for the purpose, suitable + +#proscenio# proscenium, front of stage (_that part of stage between the +curtain and the orchestra_) + +#proseguir# continue + +#proteger# protect + +#provecho# profit; #sin --# idle, useless + +#providencial# providential; #acto --# act of providence + +#prvido# provident; providently + +#provocar# cause + +#prximo# next, near; approaching + +#prueba# proof + +#pudiera# (_imp. subj. of_ #poder#) might, might well; #mal --# I could +hardly be so.... + +#pueblo# people; town + +#puerta# door; #a esotra --# try the other door (she hears nothing) + +#pues# then, well, well then; #-- bien# well then, very well + +#puesto# (_p.p. of_ #poner#) set; #puesta ya en salvo# as soon as she has +escaped + +#puesto# place, post + +#pujanza# power, might + +#punta# point + +#punto# point; place; #al --# at once + +#pual# _m._ poniard, dagger + +#pureza# purity + + +#Q# + +#que# that, who; in order that; for; when; #dir -- no# I shall refuse + +#qu?# what; how? #A qu?# why? + +#quebrantar# break + +#quebrar# break, burst + +#quedar# remain; be left; be; #-- con# retain, be left with; #-se# +remain; #se qued triste# she was sad when I left + +#queja# complaint; #dar -s# make complaints, complain + +#quemar# burn + +#querella# complaint + +#querer# wish; love; wish to keep; #dondequiera# wherever he pleases; +#no lo quiera Dios# God forbid; #Dios quiso# it was God's will; #quiso# +she tried + +#quien# who; he who, the one who, she who; #tienen -- los# + +#defienda# they have some one to defend them + +#quieto# quiet; quietly + +#quince# fifteen + +#quiso# _see_ #querer# + +#quitar# take off _or_ away _or_ from + +#quiz# perchance, perhaps + + +#R# + +#rabioso# furious; passionate + +#radiante# radiant, brilliant + +#rasgar# rend, cut open, pierce + +#rastro# trail + +#rato# short time, while + +#rayar# border on + +#rayo# ray, flash of light, lightning, thunderbolt; #-- del cielo# by +the power of Allah + +#razn# _f._ reason, reasoning; account, information; #razones# +intercession + +#real# royal + +#rebato# excitement, commotion + +#rebelarse# revolt, resist + +#rebelde# rebellious + +#rebelin# rebellion + +#recato# modesty + +#recelar# fear, dread + +#recibir# receive, admit, let in + +#reclamar# claim as one's due, demand + +#recobrar# recover + +#recoger# pick up, take up, find + +#reconvenir con# reproach for + +#recordar# recall, remind; remember + +#recorrer# run through, hurry through + +#recuerdo# memory, recollection, remembrance; recognition + +#rechazar# repulse + +#rededor# _m._ surroundings; #al -- de# around + +#redimir# redeem, liberate + +#reflexin# reflection; hesitation, reluctance + +#refugiado# refugee + +#refugiarse# take refuge + +#refundir# recast, rearrange + +#regalo# present + +#regla# rule, precept + +#rehusar# refuse + +#reina# queen + +#reinar# reign; predominate; dwell, be + +#reino# kingdom + +#rer# laugh; #-se de# laugh at + +#reja# grating + +#relicario# locket + +#remediar# remedy, help + +#rencor# _m._ hatred; #-es# hatred, enmity + +#rencoroso# rancorous, spiteful + +#rendido# devoted + +#rendimiento# submission + +#rendir# give up, surrender, deliver, give in; return; overcome; #-se# +surrender + +#renegado# renegade, deserter, traitor + +#renunciar# renounce, give up + +#reparar en# notice, observe + +#reparo# criticism, censure + +#repente# _m._ sudden movement; #de --# suddenly + +#replicar# reply + +#reponerse# recover + +#repulsa# refusal + +#rescate# _m._ ransom + +#resentimiento# resentment, grudge + +#resistir# resist, endure, stand + +#resolver# determine, make up one's mind; #-se# resolve + +#respirar# breathe, breathe again + +#respuesta# answer + +#restablecido# restored + +#restar# remain; #lo que de vivir me resta# the rest of my life + +#resucitado# returning from the dead + +#resucitar# come to life + +#resuelto# resolved, decided + +#retardar# delay, detain + +#retirarse# retreat, withdraw; go away; #se fu retirando atrs# kept +drawing back + +#retiro# secluded place; prison + +#reto# challenge + +#retrato# portrait, picture + +#retrete# _m._ boudoir, dressing room + +#revelacin# revelation; #qu -- tan grata# what a welcome revelation + +#revelar# reveal, show; #-se contra# oppose + +#reverente# respectful + +#revs# _m._ reverse, misfortune + +#rey# _m._ king + +#reyezuelo# petty king, kinglet + +#rezar# pray, say in prayer, recite + +#ricamente# richly + +#rico# rich + +#riesgo# danger, peril; dangerous situation, place of danger + +#rigor# _m._ severity; disdain; #-es# severity, harshness + +#rigoroso# austere + +#ria# quarrel + +#ro# river, stream; #a -s# in floods + +#riqueza# riches, wealth; #-s# riches + +#risa# laughter + +#risueo# smiling, pleasant; #que alimentaba risuea# that nourished +with smiling hopes + +#rodar# roll; be tossed about + +#rodilla# knee + +#rogar# ask, beseech, pray + +#rojo# red + +#romper# break, break open, break down, rend, destroy, tear up + +#rostro# face + +#roto# broken + +#ruego# prayer, entreaty + +#rugir# rage, roar + +#ruin# base, depraved + +#rumor# _m._ noise + + +#S# + +#saber# know, know how to, be able, learn, be informed, find out; #-se# +be known; #al -se# on becoming known; #al -se mi delito# when my sin +became known + +#sabio# wise; wisely + +#sacar# draw, bring forth, take, take out + +#sacerdote# _m._ priest + +#saciar# satiate + +#sacrlego# sacrilegious + +#sagrado# sacred + +#sala# room + +#salir# go out, leave; get out; cast off; come out; go forth _or_ about; +enter (_stage_); #-- al camino# go out to meet + +#saln# _m._ large hall + +#salud# health + +#salvador# _m._ savior + +#salvar# save, rescue; conceal + +#salve# _f. prayer to the Virgin Mary, beginning: Salve Regina_ + +#salvo# safe; safety; #puesta ya en --# as soon as she has escaped + +#sangre# _f._ blood; race; family; #a -- y fuego# with fire and sword + +#sangriento# bloody + +#santo# holy + +#saudo# furious, wrathful + +#satisfacer# satisfy + +#sayal# _m._ sackcloth + +#s# _2d per. imper. of_ #ser# + +#secreto# secrecy + +#sed# _f._ thirst + +#sedicioso# seditious + +#sediento de# thirsting for + +#seducir# charm, captivate + +#seguir# follow, pursue; continue + +#segn# as, according to, just as; #-- se me dice# according to what +they tell me + +#segundo# second + +#seguro# safe, secure + +#seis# six + +#sellar# seal, stamp; outline + +#sembrar# sow + +#semejanza# likeness + +#seno# breast, bosom, heart; cavity, enclosure + +#sensible# sensitive + +#sentado# seated + +#sentarse# sit down + +#sentido# sense; mind, consciousness; sentient being + +#sentimiento# grief + +#sentir# feel; hear + +#sea# sign, proof; #por -s que# as proof that; for the reason that, +seeing that + +#seal# _m._ indication, trace, proof, signal + +#sealar# indicate, point to, show + +#seor# _m._ master; Lord; sir, sire + +#seora# lady, mistress; madam; #Nuestra --# Virgin Mary + +#seorear# dominate; overtop + +#separado# separate + +#sepultar# bury + +#sepultura# tomb + +#ser# be; #el -- mujer# the fact that she is a woman; #-- propias de# +belong to; #-- de# belong to; #no soy ma# I do not belong to myself; +#siendo mal#, if it is evil; #qu ha sido de?# what has become of? + +#ser# _m._ life, being, state + +#sereno# serene, undisturbed + +#servir# serve + +#seso# sense, prudence; #hombre de --# prudent man + +#severo# cruel + +#si# if, whether; why; #por -- es# lest it be; #-- no# only, at least + +#s# yes, indeed, truly; #creo que --# I believe it, so; #-- que# I know +well that; #-- tal# of course; #ello --# the fact is + +#s# himself, herself, itself, _etc._; #por --# in itself + +#siempre# always; #para --# forever; #-- que# whenever + +#siete# seven + +#siguiente# following + +#silla# chair + +#silln# _m._ large chair, armchair + +#sinceridad# sincerity + +#singular# strange + +#Sion# Zion, Jerusalem + +#siquiera# even + +#Siria# Syria + +#soberana# queen, sovereign + +#soberana# sovereignty + +#soberano# supreme + +#soberbio# proud + +#sobrar# exceed, be more than enough; #todo me sobra# all the rest is +superfluous; #valor le sobra# he has more than enough courage + +#sobre# on, upon; in regard to, as to, because of + +#sobrellevar# endure + +#sobresalto# start, sudden surprise + +#socorro# help + +#soldado# soldier + +#soledad# loneliness + +#soler# be wont, be accustomed to + +#solo# alone, only; #a solas# alone + +#slo# only + +#soltar# discharge, give vent to, let loose + +#sollozar# weep, sob + +#sombra# spirit + +#son# _m._ sound + +#sonar# sound + +#sonido# sound + +#sonrisa# smile + +#sonrojo# blush; shame; indignity; insult + +#soar# dream; #-- con# dream of; flatter oneself with + +#sorprender# take by surprise + +#sorpresa# surprise + +#sosegar# rest + +#sosiego# calm, peace of mind + +#sospechar# suspect + +#sostener# sustain, hold + +#sbdito# subject + +#subir# ascend + +#subterrneo# underground passage + +#suceder# happen; #qu sucede?# what's wrong? what is it? #suceda lo +que suceda# come what may + +#suceso# event, incident; #todo el --# all that has happened + +#suelo# floor, pavement, ground + +#sueo# dream + +#suerte# _f._ fate; condition; #en --# by fate; #caber en -- a# be +decreed by fate for, be predestined for + +#sufrido# patient, resigned + +#sufrir# endure, suffer + +#sujetar# dominate, overcome; bow, bend; ward off + +#sujeto# subject, bound + +#sultana# sultana (_wife of a sultan or Mohammedan ruler_) + +#suma# sum, conclusion; #en --# in short, after all; nothing more + +#sumido# sunk; buried + +#sumiso# submissive, compliant + +#sumo# excessive, extreme + +#supe# (_pret. of_ #saber#) I found out _or_ learned + +#superar# surpass + +#splica# prayer + +#suplicar# beg, pray + +#suplicio# punishment + +#suplir# take the place of + +#suponer# suppose, accept, take for granted + +#supuesto# supposed + +#suspender# postpone + +#suspirar# sigh + +#suspiro# sigh + +#sustento# food + +#susto# fear, fright + +#sutil# sharp + + +#T# + +#tacha# spot, blemish + +#tal# certain, such a; #-- vez# perhaps + +#tlamo# bridal bed, bride chamber; #-- de# marriage with + +#taller# _m._ shop, workshop + +#tamao# such, so great + +#tambin# also + +#tampoco# neither, either + +#tan# so; #-- ... como# as ... as + +#tanto# so much; so long; #haca --# for so long; #-- ... como# as well +as + +#tardanza# delay + +#tardar# delay; #-- mucho en# be long in + +#tarde# late, too late + +#teatro# theatre; stage + +#techo# roof + +#temblar# tremble with fear + +#temer# fear + +#temeridad# rashness; #ya poco distante de la --# that borders on +rashness + +#temible# terrible, dreaded + +#templar# temper, appease + +#templario# Templar (_member of the military order founded 1118 for the +defence of the Latin kingdom of Jerusalem_) + +#templo# church + +#tenaz# tenacious, obstinate; profound + +#tender# stretch, extend, lay out + +#tener# have, take, receive; provide; consider; #-- de, -- que# have to; +#-- a bien# consider proper to, grant, be good enough to; #-- la culpa# +be to blame; #-- noticia# hear, learn; #-- por# consider as; #-- trazas +de# manage, succeed in; #ten# here it is + +#trmino# term, limited time, time set; boundary; #poner --# terminate; +#limitar -s# form the boundaries of, bound + +#ternura# tenderness, love + +#terreno# ground, earth + +#Teruel# _capital of the Province of Teruel, Aragn, on the left bank of +the Guadalaviar, 72 miles northwest of Valencia. Pop. in 1910, 11,035_ + +#tesn# _m._ tenacity, obstinacy + +#tesoro# treasure + +#testigo# witness + +#tiempo# occasion; circumstances; #a --# in time; #tan a --# so +opportunely; #a buen --# opportunely; #-- hace que# some time ago + +#tierno# tender, loving; young + +#tierra# land, ground; floor; #morder la --# bite the dust + +#tigre# tiger, tigress + +#tiniebla# darkness; #-s# utter darkness + +#tino# skill; skilful touch + +#tinta# ink + +#tirador# _m._ sharpshooter, marksman + +#tirana# tyranny + +#tirano# tyrant + +#tocado# coiffure, arrangement of the hair + +#tocar# touch; behoove, befit, be befitting; fall to the lot of; #a l +le toca# it is his place; #-- a vsperas# ring for vespers + +#todava# still, yet; #no ...# not yet. + +#todo# all; quite; #del --# entirely + +#tomar# take, get; #toma# here + +#toque# _m._ ringing of bells; #al -- de vsperas# at the call to +vespers + +#tormento# torment, sorrow + +#tornar# turn, return + +#torneo# tournament + +#torre#, _f._ tower + +#torren# _m._ fortified tower + +#trabar# join; enter into + +#traer# bring, carry, fetch; lead; cause, produce; #-- la arrastrando# +drag her here + +#traicin# treason; #a --# treacherously + +#traidor, -a# false; traitor; wretch + +#traje# _m._ dress; #en -- de# dressed as; #con -- de hombre# in male +attire + +#traje, trajo# _pret. of_ #traer# + +#trama# plot, conspiracy + +#trance# _m._ peril, critical moment; #en -- tan decisivo# in such a +critical moment _or_ situation + +#tranquilizarse# become quiet, be calm + +#tras# after, behind, in the wake of + +#trastornado# dazed + +#trastornarse# be dazed, be overcome + +#tratar# try; plan to; be acquainted with; #-- de# try; #-se de# be a +question of + +#traza# aspect, appearance; #tener -- de# resemble, seem to be; #qu -s +stas de novia#? isn't she a fine bride? (_sarcastic_) + +#treinta# thirty + +#tremendo# terrible, fatal, violent + +#trmulo# trembling + +#tres# three; #los --# all three of us + +#triste# sad, unfortunate; unhappy man + +#triunfante# victor + +#triunfar# triumph; #-- de# triumph over; #se triunfa# victory is +achieved + +#triunfo# triumph + +#trocar# change, commute, convert; #-- en# exchange for + +#tronco# trunk, tree + +#trono# throne + +#tropa# troop, company + +#tropel# _m._ crowd; confusion + +#tmulo# grave + +#tumulto# tumult, commotion + +#turba# crowd + +#Turia# _or_ #Guadalaviar# _river rising in the Albarracin range in the +Province of Teruel and flowing into the Mediterranean at Valencia_ + + +#U# + +#ufano# arrogant, boastful; arrogantly + +#ltimo# last; #por --# finally + +#ultraje# _m._ outrage + +#umbral# _m._ threshold + +#nico# only + +#unir# join, unite; #-os a m# marry you + +#usar# use; #para usado# when used, considering that it is used + +#til# useful + + +#V# + +#vaco# emptiness + +#vagar# wander + +#Valencia# _important seaport on the Mediterranean at the month of the +Guadalaviar or Turia. Pop, about 250,000. In 1021 it became the capital +of an independent Moorish kingdom. It was finally reconquered by James +of Aragon, El Conquistador, in 1238_ + +#valer# be worth; avail, help, protect; #ms vale# it is better + +#valeroso# valiant + +#valor# _m._ courage + +#valle# _m._ valley + +#vamos# well, come, come now + +#vanidad# vanity, pride + +#vano# vain, useless + +#vanse# exeunt; they go off the stage + +#varn# man; #-- principal# man of honor, gentleman + +#vasallo# vassal, subject + +#vase# exit + +#vaya# come + +#ve# _imper. 2d sing, of_ #ir# + +#vecindad# vicinity + +#vecino# citizen + +#vedar# forbid + +#velar# be watchful + +#velo# veil + +#veloz# swift, fleet + +#vena# vein + +#vencedor# conqueror, victor + +#vencer# conquer, overcome + +#vencimiento# expiration + +#vender# sell + +#veneno# poison + +#venenoso# poisonous, venomous + +#vengar# avenge, give vengeance; #-se# take vengeance + +#vengativo# revengeful, vindictive + +#venir# come; be; #bien venido# welcome; #viene a ser sta# can this be; +#que vino a dejarle# that left him at last; #venga# let me have it + +#ventana# window + +#ventura# good fortune, happiness; #por --# perchance + +#venturoso# happy + +#ver# see; #-se# see each other; be; #-se con vida# be still living; #a +--# tell me; come now; #ya ves# you see for yourself + +#veras# reality, truth; #de --# in truth + +#verdad# truth + +#verdadero# real, genuine + +#verdugo# executioner + +#verter# shed, spread; #-- en# exceed, abound in; show up + +#vestido# dress + +#vestir# dress; put on; #vestida la cota# wearing his coat of mail + +#vete# _imper. 2d sing. of_ #irse# + +#vez# _f._ time; #en -- de# instead of; #una --# once; #tal --# perhaps; +#a veces# at times + +#viaje# _m._ journey + +#vicio# weakness + +#vida# life; kind of life; #en --# while still living + +#vileza# baseness + +#villa# town, countryseat (_Because of certain privileges granted to it, +the_ #villa# _was thereby distinguished from_ #aldeas# _and_ #lugares#) + +#villano# base, infamous; basely + +#vnculo# bond + +#vino# _3d per. pret. of_ #venir# + +#violenta# against her will + +#vspera# evening _or_ day before; #-s# vespers + +#vista# sight; eyes + +#visteis# _2d pl. pret. of_ #ver# + +#vital# living; of life + +#viuda# widow + +#vivir# live, be alive, feel new life; #vive el cielo# by heavens + +#vivir# _m._ life + +#vivo# living; deep, keen, bright + +#vocera# clamor, cries + +#volar# fly, fly away + +#voluntad# will, wishes + +#volver# return; #-- a# turn away from; #-- a ser# be again; #-- en s# +return to consciousness + +#vos, vosotros# _less formal than_ #Usted# _and more courteous than_ +#t# _when used in addressing one person_ + +#voto# vow; imprecation + +#voz# _f._ voice; words; word of command; #es --# it is said, it is well +known; #a voces# shouting; loudly + +#vuelta# return + +#vuelto# _p.p. of_ #volver# + +#vulgar# commonplace + + +#Y# + +#ya# indeed, of course, at last, already, now, surely; and so, so then; +#-- ... no# no longer; #-- lo ves# you see for yourself; #-- en el +confn# in the very outskirts; #-- que# seeing that, since, now that, +just as + +#yacer# lie + +#yerno# son-in-law + +#yerto# tense, rigid + +#yugo# yoke + + +#Z# + +#zagun# _m._ entrance, hall + + + + + +End of the Project Gutenberg EBook of Los Amantes de Teruel +by Hartzenbusch, Juan Eugenio + +*** END OF THIS PROJECT GUTENBERG EBOOK LOS AMANTES DE TERUEL *** + +***** This file should be named 10909-8.txt or 10909-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/0/9/0/10909/ + +Produced by Stan Goodman, Virginia Paque, and the Online Distributed +Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + diff --git a/old/10909-8.zip b/old/10909-8.zip Binary files differnew file mode 100644 index 0000000..934d7b4 --- /dev/null +++ b/old/10909-8.zip diff --git a/old/10909.txt b/old/10909.txt new file mode 100644 index 0000000..f280348 --- /dev/null +++ b/old/10909.txt @@ -0,0 +1,9110 @@ +Project Gutenberg's Los Amantes de Teruel, by Hartzenbusch, Juan Eugenio + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Los Amantes de Teruel + Drama en cuatro actos en verso y prosa + +Author: Hartzenbusch, Juan Eugenio + +Release Date: February 2, 2004 [EBook #10909] + +Language: Spanish + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK LOS AMANTES DE TERUEL *** + + + + +Produced by Stan Goodman, Virginia Paque, and the Online Distributed +Proofreading Team. + + + + + + [Ilustracion: _JUAN EUGENIO HARTZENBUSCH_] + + + Heath's Modern Language Series + + + + + LOS AMANTES DE TERUEL + + POR + + JUAN EUGENIO HARTZENBUSCH + + + + + _WITH INTRODUCTION, NOTES, AND VOCABULARY_ + + BY + + G.W. UMPHREY, PH.D. + + ASSOCIATE PROFESSOR OF ROMANCE LANGUAGES + UNIVERSITY OF WASHINGTON + + 1920. + + + + +PREFACE + +The importance of Hartzenbusch in the history of the Spanish drama and +the enduring popularity in Spain of _Los Amantes de Teruel_, his +masterpiece, have assured this play a definite place in the work of +advanced students of Spanish literature in our universities. For such +students the many editions published in Spain and elsewhere have been +perhaps sufficient, but for the much larger number who never reach the +advanced literary classes an annotated edition is needed. That this play +offers excellent material for the work of more elementary courses in the +schools and colleges has long been the opinion of the present editor; +and that it has not already found a place among the Spanish texts +published in this country is difficult to understand. The old legend of +Teruel, the embodiment of pure and constant love, is one that might well +be expected to make a strong appeal to the youth of any country; the +simple and direct presentation given to the legend by Hartzenbusch and +the comparative freedom from textual difficulties, as the result of the +careful revisions of the play by its scholarly author, bring it within +the range of the understanding and appreciation of students who have +studied Spanish one year in college or two years in high school, if it +is put before them in a properly prepared edition. + +The editor has kept in mind this class of students in the preparation of +the Introduction, Notes, and Vocabulary. To those who consider the +Introduction disproportionately long, the excuse is given that this will +be the first Romantic play read by many students, and that if they are +to understand it and appreciate its fine literary qualities, they must +be enabled to view it in its proper historical perspective. It is to be +hoped that this edition may serve as a safe approach to the systematic +study, of the Romantic Movement in Spanish literature. + +The text of the play is that of the annotated edition of Dr. Adolf +Kressner, Leipsic, 1887 (_Bibliothek Spanischer Schriftsteller_), and is +the same as the one contained in the definitive collection of the plays +of Hartzenbusch, _Teatro_, Madrid, 1888-1892, Vol. I, pages 7-130 +(_Coleccion de Escritores Castellanos_). + +The indebtedness of the editor to Professor E.C. Hills of Indiana +University for many helpful suggestions is gratefully acknowledged. + +G.W. UMPHREY + +UNIVERSITY OF WASHINGTON, SEATTLE. + + + + + + + TABLE OF CONTENTS + + + PREFACE + + INTRODUCTION + + I. The Legend + + II. Authenticity of the Legend + + III. The Legend in Spanish Literature + + IV. Life of Hartzenbusch + + V. Hartzenbusch's Treatment of the Legend + + VI. Romanticism + + VII. Romanticism in _Los Amantes_ + + VIII. Versification + + BIBLIOGRAPHICAL NOTE + + TEXT + + NOTES + + VOCABULARY + + + + + +INTRODUCTION + + +#I. The Legend#. Constancy in love has inspired many writers and has +given undying fame to many legends and traditions. Among the famous +lovers that have passed into legend and that stand as the embodiment of +constant love in different ages and in different countries,--Pyramus and +Thisbe, Hero and Leander, Tristam and Isolde, Romeo and Juliet,--are to +be found Marsilla and Isabel. These _Lovers of Teruel_, as constant as +any of the others, are especially notable because of the purity of their +love and because of the absence of violence in their sudden departure +from this life. Disappointed love, desperate grief at separation, was +the only cause of their death. + +The old city of Teruel, founded by the Aragonese in the latter half of +the twelfth century at the junction of the Guadalaviar and the Alfambra +as a stronghold in the territory recently recovered from the Moors, was +the fitting scene for the action of the legend.... The pioneer life of +the city, the depth of sentiment and singleness of purpose of its +Aragonese inhabitants, the crusading spirit that carried to victory the +armies of Peter II of Aragon and his more famous son, James the +Conqueror, lend probability to a legend that would ordinarily be +considered highly improbable from the point of view of historical +authenticity. Stripped of the fantastic details that have gathered about +it in the many literary treatments given to it by Spanish writers, the +legend may be briefly told. In Teruel, at the beginning of the +thirteenth century, lived Juan Diego Martinez Garces de Marsilla and +Isabel de Segura. They had loved each other from childhood, but when it +became a question of marriage, Isabel's father opposed the union +because of the young man's lack of material resources and because a +wealthy suitor, Rodrigo de Azagra, had presented himself for the hand of +his daughter. All that the entreaties of the lovers could gain from him +was the promise that if Marsilla went to the wars, gained fame and +riches, and returned before a certain day, he would receive Isabel in +marriage. This Marsilla did; but unfortunately he was unable to return +until just after the expiration of the time set. When he reached Teruel, +he found Isabel married to the wealthy rival. Disappointed in their +hopes after so many years of constant love and continual struggle +against adversity, Marsilla died of grief, and Isabel soon followed him; +separated in life by cruel fate, they were united in death. Buried in +the same tomb, they were later disinterred, and their mummified remains +may now be seen in the old church of San Pedro in Teruel. + +#II. Authenticity of the Legend#. The earliest references that have +yet been found to the legend belong to the middle of the sixteenth +century, that is, more than three centuries after the supposed death of +the lovers. In 1555, when the church of San Pedro in Teruel was +undergoing some repairs, two bodies, supposedly those of Marsilla and +Isabel, were discovered in one tomb in a remarkably good state of +preservation. They were reburied at the foot of the altar in the chapel +of Saints Cosme and Damian, and the story of the unfortunate lovers +began to spread far and wide. By the end of the century it was +apparently widely known and attracted considerable attention to the old +city of Teruel. When Philip III of Spain was journeying to Valencia in +1599 he was induced to turn aside to visit the church of San Pedro. In +the official account of his journey, "Jornada de Su Majestad Felipe III +y Alteza la Infanta Dona Isabel, desde Madrid, a casarse el Rey con la +Reyna Dona Margarita, y su Alteza con el Archiduque Alberto," the story +of the legend as then generally accepted is related so succinctly that +it may well be quoted here: "En la iglesia de San Pedro, en la capilla +de San Cosme y San Damian, de la dicha ciudad, esta la sepultura de los +Amantes que llaman de Teruel; y dicen eran un mancebo y una doncella que +se querian mucho, ella rica y el al contrario; y como el pidiese por +mujer la doncella y por ser pobre no se la diesen, se determino a ir por +el mundo a adquerir hacienda y ella aguardarle ciertos anos, al cabo de +los cuales y dos o tres dias mas, volvio rico y hallo que aquella noche +se casaba la doncella. Tuvo trazas de meterse debajo de su cama y a +media noche le pidio un abrazo, dandose a conocer; ella le dijo que no +podia por no ser ya suya, y el murio luego al punto. Llevaronle a +enterrar, y ella fue al entierro, y cuando le querian echar en la +sepultura, se arrimo a la ataud y quedo alli muerta; y asi los +enterraron juntos en una sepultura, sabido el caso." + +Seventeen years later a long epic poem by the secretary of the city +council of Teruel, Juan Yaguee de Salas, aroused much discussion as to +the authenticity of the legend. In 1619 the bodies were again exhumed +and in the coffin of one of them were found written the words "Este es +Don Diego Juan Martinez de Marsilla"; also a document, "papel de letra +muy antigua," giving the story in detail. This document disappeared, but +the copy that Juan Yaguee claimed to have made may be seen in the +archives of the church of San Pedro or in the transcription published in +the _Semanario Pintoresco_ for the week ending Feb. 5, 1837 (Vol. II, +pages 45-47). The genuineness of the document and its copy is very +doubtful. The first paragraph shows some linguistic peculiarities of old +Aragonese; but these gradually disappear, until there is little left in +the language to differentiate it from that of the good notary public and +poet, Juan Yaguee, who was so anxious to prove authenticity for the +legend treated in his poem. Although there is no reliable evidence that +the bodies exhumed in 1555 and again in 1619 were those of Marsilla and +Isabel, the church of San Pedro has held them in special reverence. +They attract many admirers to the old city on the Guadalaviar and the +tourist who expresses incredulity when shown the remains of the lovers +becomes thereby _persona non grata_ in Teruel. + +For three centuries the controversy has continued and has resulted in +the spilling of much ink. The most complete and authoritative study of +the sources and growth of the legend is that of the eminent scholar +Cotarelo y Mori _(Sobre el origen y desarrollo de la leyenda de Los +Amantes de Teruel_, 2d edition, 1907). His conclusions support the +theory that the legend is the result of the localization in Teruel of +the story of the unfortunate Florentine lovers, Girolamo and Salvestra, +as related by Boccaccio in his _Decameron_, Book IV, Novel 8. He refutes +the arguments advanced by the supporters of the authenticity of the +legend, calls attention to the suspicious nature of all the documents, +and maintains the thesis that Boccaccio's story found its way into Spain +toward the end of the fourteenth century and took the form of the legend +of the _Lovers of Teruel_ about the middle of the sixteenth century, at +which time it first appeared definitely in Spanish literature. The +majority of literary critics and historians accept Cotarelo y Mori's +conclusions; others, however, refuse to give up the historic basis of +the legend. They cannot deny, of course, the evident similarity of the +stories; they explain it by saying that the story of the constant lovers +who died in Teruel in 1217 was carried to Italy by Aragonese soldiers or +merchants, was heard by the Italian novelist, and used by him as the +basis for his story of Girolamo and Salvestra. + +#III. The Legend in Spanish Literature.# Very few of the famous +legends of the world rest upon documentary evidence, and the fact that +the legend of the _Lovers of Teruel_ lacks historic proof has had little +influence upon its popularity. It has been productive of much +literature, the extent of which is indicated by the two hundred or more +titles contained in the bibliography[l] published by Domingo Gascon y +Guimbao in 1907. Of the many poems, plays, and novels inspired by the +legend only the most noteworthy can be mentioned here. The oldest +literary treatment is apparently that of Pedro de Alventosa, written +about the middle of the sixteenth century, _Historia lastimosa y sentida +de los tiernos amantes Marcilla y Segura_. This was followed in 1566 by +a Latin poem of about five hundred lines by Antonio de Seron, published +in 1907 by Gascon y Guimbao, with a Spanish translation and an excellent +bibliography. In 1581 the legend was given dramatic treatment by Rey de +Artieda, who followed the story in its essential elements but modernized +the action by placing it in the time of Charles V, only forty-six years +earlier than the publication of the play. It has little literary value, +but is important because of its influence on later dramatists. Passing +over various treatments of the theme that serve merely to indicate its +growing popularity, we come to the pretentious epic poem of Juan Yaguee +de Salas in twenty-six cantos, _Los Amantes de Teruel, Epopeya tragica_, +in which, besides adding many fantastic details to the legend, the +author presented much extraneous matter bearing upon the general history +of Teruel. Because of this widely known poem and the growing popularity +of the _Lovers_, two dramatists of the Golden Age, Tirso de Molina and +Perez de Montalban, gave it their attention. _Los Amantes de Teruel_ of +the great Tirso de Molina, published in 1635, is disappointing, +considering the dramatic ability of the author; it contains passages of +dramatic effectiveness but is weak in construction. As in Rey de +Artieda's play, the action is placed in the sixteenth century; Marsilla +takes part in the famous expedition of Charles V against the Moors in +Tunis, saves the Emperor's life, and, richly rewarded, returns, too +late, to claim the promised bride. It is a better play than that of +Artieda, but is itself surpassed by Montalban's play of three years +later. Although he was far from possessing the dramatic genius of Tirso, +Montalban succeeded in giving the story the form that it was to maintain +on the stage for two centuries. Frequent performances and many editions +of his play, as well as many other literary treatments and references +that might be cited, attest the continued popularity of the legend. + +[Footnote 1: _Los Amantes de Teruel, Bibliografia de los Amantes_. +Domingo Gascon y Guimbao, Madrid, 1907.] + +Finally, in the early days of Romanticism, it assumed the dramatic form +that has remained most popular down to the present day. On the +nineteenth of January of the year 1837 the theatergoing people of Madrid +were moved to vociferous applause by a new treatment of the old theme, +and a new star of the literary firmament was recognized in the person of +Juan Eugenio Hartzenbusch. In his dramatic masterpiece Hartzenbusch +eclipsed all the other plays that have dealt with the legend, and more +than twenty editions stand as proof of its continued popularity. Besides +these many editions of the play, numerous novels, poems, and operas have +appeared from time to time. For the most complete bibliography down to +1907 the reader is again referred to that of the official historian of +Teruel, Gascon y Guimbao. We must now turn our attention to the author +of the best dramatic treatment of the legend. + +#IV. Life of Hartzenbusch#. Juan Eugenio Hartzenbusch, born in 1806, +was the only son of a German cabinet-maker who had wandered to Spain +from his home near Cologne, married a Spanish girl, and opened up a shop +in Madrid. The son inherited from his German father and Spanish mother +traits of character that were exemplified later in his life and +writings. From his father he received a fondness for meditation, +conscientious industry in acquiring sound scholarship, and the patience +needed for the continual revision of his plays; from his mother came his +ardent imagination and love of literature. Childhood and youth were for +him a period of disappointment and struggle against adversity. Less than +two years old when his mother died after a short period of insanity +caused by the sight of bloodshed in the turbulent streets of Madrid in +1808, he was left to the care of a brooding father who had little +sympathy with his literary aspirations, but who did wish to give him the +best education he could afford. He received a common school education +and was permitted to spend the four years from 1818 to 1822 in the +College of San Isidro. As a result of the political troubles in Spain in +1823, the father's business, never very prosperous, fell away and the +son had to leave college to help in the workshop. He was thus compelled +to spend a large part of his time in making furniture, although his +inclination was toward literature. + +His leisure was given to study and to the acquirement of a practical +knowledge of the dramatic art, gained for the most part from books, +because of his father's dislike of the theater and because of the lack +of money for any unnecessary expenditure. He translated several French +and Italian plays, adapted others to Spanish conditions, and recast +various _comedias_ of the _Siglo de Oro_, with a view to making them +more suitable for presentation. He tried his hand also at original +production and succeeded in getting some of his plays on the stage, only +to have them withdrawn almost immediately. Undiscouraged by repeated +failure, he continued studying and writing, more determined than ever to +become a successful dramatist and thus realize the ambition that was +kindled in him by the first dramatic performance that he had witnessed +when he had already reached manhood. + +At the time of his marriage in 1830 he was still helping his ailing and +despondent father in the workshop; more interested undoubtedly in his +literary pursuits, but ever faithful to the call of duty. Until success +as a dramatist made it possible for him to gain a living for his family +by literature, he continued patiently his manual labor. At his father's +death he closed the workshop and for a short time became dependent for +a livelihood on stenography, with which he had already eked out the +slender returns from the labor of his hands. + +Meanwhile, during these last years of apprenticeship in which +Hartzenbusch was gaining complete mastery of his art by continual study +and practice, the literary revolution known as Romanticism was making +rapid progress. The death of the despotic Ferdinand VII in 1833 removed +the restraint that had been imposed upon literature as well as upon +political ideas. The theories of the French and English Romanticists +were penetrating Spanish literary circles, to be taken up eagerly by the +younger dramatists; political exiles of high social and literary +prestige, such as Martinez de la Rosa and the Duque de Rivas, were +returning to Spain with plays and poems composed according to the new +theories; the natural reaction from the logical, unemotional ideals of +the Classicists was developing conditions favorable to the revolution. +The first year of the struggle between the two schools of literature, +1834, gave the Romanticists two important victories in the _Conjuracion +de Venecia_ of Martinez de la Rosa, and the _Macias_ of Jose de Larra, +two plays that show clearly Romantic tendencies but that avoid an abrupt +break with the Classical theories. They served to prepare the way for +the thoroughly Romantic play of the Duque de Rivas, _Don Alvaro o la +fuerza del sino_, a magnificent, though disordered, drama that gained +for the Romanticists a decisive victory in 1835, a victory over +Classicism in Spain similar to that gained in Paris five years earlier +by the famous _Hernani_ of Victor Hugo, leader of the French +Romanticists. In 1836 the equally successful performance of _El +Trovador_, the Romantic play of Garcia Gutierrez, confirmed the victory +gained by the Romanticists with _Don Alvaro_, and gave clear indication +that the literary revolution was complete. The temper of the time was +decidedly Romantic, and the wholehearted applause that resounded through +the Teatro del Principe on the night of Jan. 19, 1837, at the first +performance of _Los Amantes de Teruel_ put an end to the long and +laborious apprenticeship of Hartzenbusch. + +A few days later the warm reception given the play and its continued +popularity were justified in a remarkable piece of dramatic criticism by +the rival playwright and keen literary critic, Jose de Larra, known +better by his journalistic pen-name, Figaro, and greatly feared by his +contemporaries for his mordant criticism and stinging satire. In the +opening words of his review of the play, we may see the highly favorable +attitude of the critic and realize the suddenness of the fame that came +to Hartzenbusch. "Venir a aumentar el numero de los vivientes, ser un +hombre mas donde hay tantos hombres, oir decir de si: 'Es un tal +fulano,' es ser un arbol mas en una alameda. Pero pasar cinco o seis +lustros oscuro y desconocido, y llegar una noche entre otras, convocar a +un pueblo, hacer tributaria su curiosidad, alzar una cortina, conmover +el corazon, subyugar el juicio, hacerse aplaudir y aclamar, y oir al dia +siguiente de si mismo al pasar por una calle o por el Prado: 'Aquel es +el escritor de la comedia aplaudida,' eso es algo; es nacer; es devolver +al autor de nuestros dias por un apellido oscuro un nombre claro; es dar +alcurnia a sus ascendientes en vez de recibirla de ellos."[2] Other +contemporary reviews were just as favorable, and all expressed with +Figaro great hopes in the career of a dramatist that had thus begun with +an acknowledged masterpiece. The _Semanario Pintoresco_, for example, a +literary magazine in its second year of publication, ended its review of +the play with these words: "El joven que, saliendo de la oscuridad del +taller de un artesano, se presenta en el mundo literario con los Amantes +de Teruel por primera prueba de su talento, hace concebir al teatro +espanol la fundada esperanza de futuros dias de gloria, y de verse +elevado a la altura que un dia ocupo en la admiracion del mundo +civilizado." (Feb. 5, 1837.) + +[Footnote 2: _Obras completas de Figaro._ Paris, 1889. Vol. III, page +187.] + +Thus encouraged by popular applause and by the enthusiastic praise of +literary critics, Hartzenbusch produced at varying intervals many +excellent plays, but none of them surpassed or even equaled his _Amantes +de Teruel_. Many of them, characterized by careful workmanship, dramatic +effectiveness, and fine literary finish, are well worth studying, and +deserve more attention than can be given them here. They offer all kinds +of drama: tragedies such as _Dona Mencia_, in which the exaggerations of +Romanticism are given free rein; historical plays, in which striking +incidents in Spanish history or legend are given dramatic treatment; +fantastic plays, such as _La redoma encantada_, in which magic plays an +important part; comedies of character and manners, such as _La coja y el +encogido_, in which contemporary life found humorous presentation. The +best of them may be read in the three volumes published in the +well-known series _Coleccion de Escritores Castellanos_. For literary +criticism the student is referred to the books mentioned later in the +bibliography. + +The love of study grew stronger in Hartzenbusch as the opportunity to +devote himself to it became greater, so that after he had had several +plays presented with considerable success, scholarship began to absorb +more and more of his time and the intervals between plays began to +lengthen. Literary criticism, editorial work in connection with new +editions of the Spanish classics, his duties as assistant and, later, +chief librarian of the Biblioteca Nacional, these, with the production +from time to time of a new play, made him a well-known figure in the +literary life of Madrid. His was the quiet life of the modern man of +letters, to whom the incidents of greatest interest are of the +intellectual order: the production of a new play, the publication of a +new book of literary or scholarly value, the discovery of an old +manuscript or the announcement of a new theory, the admission of a new +member to the Spanish Academy. Serenely tolerant in his outlook upon +life, of gentle disposition and ready sympathy, unaffectedly modest, +indifferent to the accumulation of property beyond the needs of his +simple mode of living, conscientious in the performance of all his +duties, he retained to the end of his life the personal esteem of his +many friends. When death put an end in 1880 to the long illness that +saddened the last years of his life, his mortal remains were conducted +to the tomb with all due ceremony by the Spanish Academy, to which +membership had been granted him in 1847 as a recognition of his +excellent work as dramatist and scholar. + +The productivity of Hartzenbusch, as well as his versatility, would be +remarkable in any country but Spain. The _Bibliografia de Hartzenbusch_, +prepared by his son and published in 1900,[3] stands as proof of the +great extent and diversity of his productions; four hundred pages are +needed for the bibliographical data connected with his many publications +and for a few extracts from his unpublished writings. Hundreds of titles +of dramas, poems, addresses, essays, literary criticism, scholarly +commentaries, indicate the versatility of his talent and his tireless +industry. + +[Footnote 3: _Bibliografia de Hartzenbusch_. Eugenio Hartzenbusch. +Madrid, 1900.] + +#V. Hartzenbusch's Treatment of the Legend.# Apparently Hartzenbusch +had given much study and thought to the famous legend of the _Lovers of +Teruel_. At first it was his intention to use it in an historical novel, +but only the first few pages of this have been preserved (_Bibliografia +de Hartzenbusch_). Believing that the legend could be better treated in +dramatic form, he applied himself enthusiastically to the construction +of the play in accordance with the new theories that were becoming +popular, and had it ready for production when a copy of Jose de Larra's +_Macias_ came into his hands. What was his astonishment to find that the +plot of his play was so similar to that of _Macias_ that no one would be +likely to accept the similarity as a mere coincidence. Patiently he +reconstructed it and had it published in 1836, if the date on the title +page of the oldest edition is to be accepted as accurate.[4] If +published in 1836, the author remained in obscurity until the first +performance of the play, January 19 of the following year, made him +famous. + +[Footnote 4: _Los Amantes de Teruel_, drama en cinco actos en prosa y +verso por Juan Eugenio Hartzenbusch. Madrid. Imprenta de D. Jose Maria +Repulles. 1836.] + +Many difficulties beset the dramatist in the construction of the play. +The legend that served as plot was already known to all, so that the +element of suspense could not be used to any great extent. Moreover, the +climax was not in itself dramatic; the death of two lovers through grief +at separation, pathetic though it be, lacked the tragic element of other +similar stories in which death resulted from violence. The _denouement_, +the probability of which would not be generally accepted, had to be +retained in the treatment of a legend so widely known, a legend in which +the essential originality consisted in this very improbability. Careful +preparation throughout the whole play was needed, then, for this +improbable _denouement_, pathetic, rather than tragic; dramatic +incidents had to be supplied by the author's own inventiveness, the +characters had to be carefully delineated, the motivation carefully +considered. How successfully the author was able to overcome these +difficulties, with what dramatic skill he was able to succeed where +dramatists such as Tirso de Molina and Montalban were only partially +successful, careful study of the play will reveal. + +The play as given in this edition differs in many ways from the play as +first presented in 1837. More than once the author returned to it, and +the numerous editions needed to supply the popular and continuous demand +gave him the opportunity to revise it and give it the most artistic +finish of which he was capable. Changed literary conditions after +Romanticism had run its course are reflected in the more sober dress of +the revised play; there are reflected in it, too, the greater +restraint, the more scholarly and critical attention to character +delineation and literary finish befitting a man who had passed from the +warm impulsiveness of youth to the calm rationality of middle age. The +student who takes the trouble to compare the text of this edition with +that of the first will see many changes: the five acts are reduced to +four; some of the prose scenes are now in poetic form; the diction is +much improved generally and obscure passages are made clear; some +changes in motivation are to be noted, especially in the scenes leading +up to the voluntary marriage of Isabel with Azagra; the mother's +character is notably ennobled. On the whole, the play has gained by +these revisions; what it has lost in freshness and spontaneity has been +more than counterbalanced by the more careful delineation of character, +improved motivation of action, correctness of diction, and literary +finish. The play in its first form is undoubtedly a better example of +Romanticism in all its phases, its tendencies toward exaggeration, its +crudities of thought and expression, combined with qualities unsurpassed +in any other period of literature; in its revised form it is a more +artistic production, is still a Romantic play, and one of the best in +Spanish literature. + +#VI. Romanticism.# Generally speaking, an author belongs to his own +age and country, is moved by the prevalent ideas and sentiments; his +outlook upon life is similar to that of the majority of his +contemporaries. Ordinarily then, a piece of literature of a past age is +understood and fully appreciated only by the student who is able to view +it in its proper historical perspective, to see it through the eyes of +those for whom it was written. Especially is this true of Romantic +literature, the production of ardent and youthful enthusiasts who found +themselves suddenly emancipated from the rigid rules and formalism of +French pseudo-Classicism of the eighteenth century. The tendency in +literature, as in political and social life, is to pass in a pendulum +swing from one extreme to the other, so that to appreciate the fine and +enduring qualities of Romantic literature and to make due allowance for +its exaggerations and other apparent faults, the student must know +something of the Romantic movement and of the Classicism that +immediately preceded it. Moreover, his purpose in reading a literary +masterpiece is not merely to understand and appreciate it in itself, but +also to gain through it some understanding of the age or literary +movement of which it is a representative. In order, then, that _Los +Amantes de Teruel_ may be more fully appreciated as a dramatic +masterpiece, and in order that through it the student may come to a +fuller understanding of Romanticism, his attention is now directed to +the essential characteristics of this important literary movement. + +Romanticism in Spanish literature is the name given to the literary +revolt that began about 1830 against pseudo-Classicism. A similar revolt +had already freed the other literatures of Europe, so that the many +Spanish exiles who had been forced to seek refuge for political reasons +in England or on the Continent there became familiar with the new ideas +in literature. Ardent converts to the new literary ideals, these +political exiles, when permitted to return to Spain at the death of the +despotic Ferdinand VII in 1833, became the leaders in a literary +revolution that soon swept away all opposition. The logical reaction +from the rigid rules and formalism, new ideas in political and social +life weakened opposition so rapidly and effectively that the Romantic +poetry and plays of the Duque de Rivas, Espronceda, Garcia Gutierrez, +Hartzenbusch, and others found a ready and enthusiastic welcome. + +In the comparison that is to be made of Romanticism and Classicism, +_romantic_ and _classic_ are to be used in their technical, literary +sense. As ordinarily used, _romantic_ means the extreme opposite of +prosaic or commonplace; in literary history, Romantic is used to +describe the movement known as Romanticism. Classic, in its oldest and +ordinary acceptation, means the best of its class or kind; in its +literary sense, _classic_, or _classical_, is usually applied to the +type of literature that harmonized so completely with eighteenth century +rationalism, the Classicism, or rather pseudo-Classicism, which, +enthroned in France, ruled all literary Europe until the closing years +of the century. In the following comparison, Classic, Classicist, and +Classicism are the opposites of Romantic, Romanticist, and Romanticism. + +Romanticism, in its general application to all kinds of literature and +to the literatures of all countries where it made itself effectively +felt, shows the following characteristics: + +1. _Subjectivity_, the introduction of the personal note, the expression +by the author of his own individual feelings and ideas. The Classicist, +aiming at universality and completeness, considered only the typical and +eternal as suitable material for literature and carefully excluded +whatever seemed peculiar to himself; his ideal was to give perfect +literary form to ideas and sentiments acceptable to mankind generally, +truths of universal application. Originality of idea or sentiment was +not of prime importance with him; his aim was rather to give finished +form to "what oft was said, but ne'er so well expressed." The aim of the +Romanticist, on the other hand, was to turn to literary uses his own +individual experiences, to give forceful and effective, rather than +elegant, expression to his own peculiar feelings and ideas. This +subjectivity led naturally to many abuses; it also led to the production +of some of the masterpieces of literature. Lyric poetry, that had almost +died of inanition during the period of Classicism, took on new and +vigorous life and became again one of the most important literary +genres. The mere mention of such famous poets as Byron, Shelley, Heine, +Musset, Leopardi, Espronceda, indicates the extent and importance of +lyric poetry in the first half of the nineteenth century. + +2. _Emotional appeal_. Classicism made its appeal to the intellect; +Romanticism to the emotions. The aim of the Classicist being to give +perfect literary expression to the accumulated wisdom of mankind or to +reform social, moral, or political conditions by means of ridicule, he +accepted logic as his guide. The Romanticist, whose aim it was to +express his individual sentiments and ideas, rebelled against the +restraints of logic and common sense; his purpose was not to persuade +his reader or hearer by logical reasoning, but rather to carry him off +his feet by the onrush of his passions and sentiments. The Classicist +mistrusted the imagination for fear that it might lead him away from +common sense and moderation; the Romanticist turned to it eagerly as the +most effective means of conveying to reader or hearer his ardent +sentiments and vague aspirations. For the reason then that the +Classicist made his appeal to the intellect, mistrusted the imagination, +and usually avoided all strong passions except that of indignation, +Classicism tended to become more and more prosaic. Romanticism, because +of its appeal to the emotions and to the imagination, put new life and +power into literature, and immeasurably widened its range. On the other +hand the tendency on the part of writers of little ability and less +judgment to go to absurd extremes in their efforts to express strange +and original ideas and sentiments, to get as far away as possible from +the logical and commonplace, led to the production of much absurd +writing. This and the attempt of many of them to apply the extreme +principles of Romanticism to daily life as well as to literature +resulted in the derogatory sense that the word _romantic_ came to have +in its ordinary acceptation. The results of Romanticism in its +exaggerated form may be seen in the satirical article written in 1837 by +Mesonero Romanos, _El Romanticismo y los Romanticos_. This article, +highly recommended in this connection, may easily be found in his +collected writings _Obras_, Madrid, 1881, or, better still, it may be +studied in the excellent edition of Professor G.T. Northup, _Selections +from Mesonero Romanos_. + +3. _Spiritual awakening_. The latter half of the eighteenth century was +a materialistic age. The realities of life were limited to such as could +be understood by the five senses and the reasoning faculty. Life and +literature for the Classicist meant reasoned submission to things as +they were; achievement was the accepted basis of judgment for his life +or literature. The Romanticist rebelled against this materialistic view +of life; for him the real truths lay beyond the apparent realities; he +grasped at the impalpable and infinite, and wished to have his life and +literature judged by his aspirations, rather than by his achievements. +Hence, too, the vague longings, the gentle melancholy or violent revolt, +the spiritual uplift. The new sense of the wonder and glory of the +universe, as well as the spiritual reality behind the material, has +suggested as a definition of Romanticism the "Renascence of Wonder." + +4. _Revival of the Middle Ages and national traditions_. The +Romanticists were inclined to turn away from the prosaic present and to +seek material for their writings in the Middle Ages, the time of +unrestrained feelings and emotions, of chivalrous adventure and romance, +of strong religious faith, of miracles and superstition. The historical +novel, in which the powerful imagination of a Walter Scott made the past +live again, became popular throughout Europe; innumerable dramas sought +their plots in medieval history and legend. Spain, with her rich +literature of popular ballads and drama, a storehouse of picturesque +legends and traditions, attracted the attention of Romanticists +everywhere, so that for Spaniards the movement came to have a patriotic +significance. The best Romanticists did not limit themselves to the +Middle Ages; they broadened their vision to include the whole past of +the human race, whereas the Classicists, fixing their eyes steadily upon +ancient Greece and Rome, whenever they were inclined to turn away from +the present, ignored entirely the medieval period and the early modern. + +5. _Picturesqueness_. Seeking to give polished expression to the +probable and typical, the Classicist abhorred exaggeration and violent +contrasts. The Romanticist, on the other hand, was attracted to the +grotesque, mingled the ugly and the beautiful, the commonplace and the +fantastic; he delighted in striking antitheses. + +6. _Love of inanimate nature_. The Classicist, instead of going directly +to Nature for individual inspiration, was content to repeat in new ways +the generally accepted ideas regarding natural scenery. His interest lay +almost wholly in mankind, so that inanimate Nature usually served as a +merely conventional background. The Romanticist loved Nature for its own +sake, and many masterpieces of lyric poetry were due to its inspiration. +He loved Nature in all her aspects and moods; if these were grandiose or +violent, the greater was his admiration. + +7. _Freedom from rule and conventionality in literary forms and +technique._ The foregoing characteristics, concerned mainly with the +content of Romantic literature, would naturally mean a corresponding +revolution in literary form and technique. Rules and conventions had +kept accumulating about literature, until by the middle of the +eighteenth century, when French Classicism dominated literary Europe, +they were so rigid that only a few of the many men of letters were able +to produce literature that was not wholly artificial and uninspired. +Each kind of literature was supposed to be written in a certain way; +narrative poetry had a certain prescribed meter; lyric poetry another; +tragedy and comedy should be carefully kept apart. The Romanticist +proceeded at once to throw overboard all these rules and +conventionalities. Each literary production was to be judged upon its +own merits as literature, not upon the closeness of its adherence to any +set of rules, and each author was to be at liberty to get his results in +any way that he might choose. Hence we find the mingling of literary +genres, the neglect of the dramatic unities, the invention of new meters +and the revival of old ones. + +8. _Richness of language_. Because of the continual elimination of words +considered unsuitable for literary expression, the language of the +Classicists was becoming more and more impoverished, diction was +becoming more and more stereotyped and artificial. The Romanticists, +with their revolutionary ideas as to content, rebelled against any rule +or convention that would restrict their choice of words or diction; +seeking complete and effective self-expression, they turned to literary +use all the resources of the language of their own time and of any other +age as well. The result was a great enrichment of language through the +effective use of highly colored, picturesque words and diction, as fresh +and bright as newly coined pieces of gold. + +Such are the general characteristics of the movement that had such a +profound effect upon the literatures of western Europe in the closing +years of the eighteenth century and the first half of the nineteenth. +All of them may be observed in the literature produced in Spain during +the twenty years from 1830 to 1850, although, naturally, they do not all +have the same importance there as in other countries. In a general way +it may be said that the movement was not so revolutionary as in France, +for example, where Classicism had taken deeper root. Moreover, in Spain, +Romanticism meant the revival of some of the literary ideals of the +_Siglo de Oro_, and to this extent at least could hardly be considered +revolutionary. The most complete representative of Romanticism in +Spanish dramatic literature is the _Don Alvaro_ of Angel de Saavedra, +better known as the Duque de Rivas; in this play are to be found all the +above-mentioned characteristics, even those that have to do more +naturally with lyric poetry, subjectivity and love of nature. Not only +does it present Romanticism in its most effective form; it also shows +the pitfalls of exaggeration and improbability that even the greatest +Romanticists failed to avoid when the check of common sense was removed +and free rein was given to the imagination. But since we are here +concerned mainly with _Los Amantes de Teruel_, a play that demands for +its understanding and appreciation much less familiarity with the +Spanish language than that required by _Don Alvaro_, the extent to which +the masterpiece of Hartzenbusch is representative of Romanticism will +now be briefly noted.[5] + +[Footnote 5: In order that the student may discover for himself the +essential differences between the two schools of drama, it is +recommended that he read a classical play such as Moratin's _El Si de +las Ninas_ before reading _Los Amantes de Teruel_. In comparing the two +plays he should bear in mind that, for the reason that they are both +artistic masterpieces, they avoid the extremes of Classicism and +Romanticism, and that they do not illustrate entirely the opposite +characteristics of the less artistic examples of the two kinds of +drama.] + +#VII. Romanticism in _Los Amantes de Teruel._# That the appeal is +mainly to the emotions and imagination is quite evident. The plot is +based on a legend that owes its chief interest to the unusual and even +improbable ending; and the exceptional and improbable, if they are to be +effectively treated in literature, must appeal to the imagination, must +so stir the sentiments of the reader or hearer that the reasoning +faculty may be kept from becoming too active. Not only is the +_denouement_ itself improbable; the somewhat melodramatic figure of +Zulima and the important part she plays in keeping apart the lovers +until it is too late, would hardly be convincing if the main appeal of +the play were to the intellect. These improbabilities are willingly +ignored by the reader or spectator as he allows himself to be carried +along in the current of passion to the final scene of deep emotion and +intense pathos. Melodious verse and poetic imagery help to make +effective this emotional appeal. + +The spiritual appeal of the play is apparent. To Marsilla and Isabel +love is so spiritualized that materialism can find in it no place. Their +love for each other is the "encarnacion del carino anticipado al nacer," +life means for them "seguir con el cuerpo amando, como el espiritu amo." +Love is life itself; and when no longer permitted to love each other in +this life for the reason that Isabel, believing her lover to be dead and +wishing to sacrifice herself in order that her mother's good name may be +preserved, has become the wife of Rodrigo de Azagra, they willingly +return to the spiritual world from which together _they had come into +the world of materiality_. + +The dramatization of a medieval legend is typical of the newly awakened +interest in the Middle Ages. Five years before the beginning of the +supposed action of the play, shortly after Marsilla had left home to +gain name and fortune in the wars against the infidels, was fought at +Navas de Tolosa one of the most decisive battles between Christianity +and Mohammedanism. The year after his departure from Teruel there +ascended the throne of Aragon the boy that was to be known to history as +_Jaime el Conquistador_ because of his reconquest of southeastern Spain +for Christianity. In the lull that preceded the approaching storm the +Christians and Moslems in the eastern part of the peninsula were at +peace, so that in the play they mingle freely, treating each other with +the chivalrous respect that was characteristic of the Middle Ages. The +numerous references to contemporary historic personages and events and +the careful attention to local color bring vividly before us the life of +that part of Aragon recently recovered from the Moors. The _denouement_ +is made less improbable by placing the action of the play in that age of +deep convictions, exalted idealism, chivalrous customs, and in that part +of Spain where tenacity of purpose has always been regarded as a +characteristic trait. + +Picturesqueness, in its literary sense is not very apparent in the play +as we now have it. In the first version there were examples of striking +contrasts, a mingling of the tragic and comic, the noble and base, but +these were toned down or eliminated by the author in his revisions of +the play. For an example of exaggerated picturesqueness, with its +violent contrasts, mingling of the sublime and vulgar, the grotesque and +beautiful, the student is referred to _Don Alvaro_. + +The classical conventionality that each kind of literature should have +its prescribed form and that the various literary genres should be kept +apart was disregarded by Hartzenbusch. In this play we see a mingling of +scenes in prose with those in verse, we find the versification varied +according to the nature of the scenes, a mingling of dramatic dialogue +and lyrical expression of sentiment and passion. The action of the play +in its first form was impeded by the excessive lyricism of some of the +scenes; although notably reduced, this lyric element is still quite +apparent in the scene between Marsilla and Zulima in the first act, for +example; or between Marsilla and Isabel in the last. In the first +version Mari-Gomez, later changed to Teresa with the suppression of most +of her garrulity, was made to serve as a _graciosa_ and thus relieve the +tenseness of the serious scenes. + +As to the three dramatic unities so dear to the Classicists, those of +time and place are disregarded. The action shifts from Valencia to +Teruel; the time occupied covers the last six days of the _plazo_ given +Marsilla in which to gain name and fortune and return home to claim +Isabel for wife. The unity of action, the one essential unity in any +work of art, is carefully preserved. In the first version could be seen +something of the Romantic tendency to complicate the plot by the +introduction of an excessive number of characters and needless episodes, +but in its final form the plot is simple and nothing is permitted to +interfere with its dramatic development. + +In the first version there was also some tendency to abuse the new +freedom from conventionality in language, a tendency to seek out unusual +words and phrases for the sake of their picturesqueness, rather than for +their artistic appropriateness. In the polishing and toning-down +process, such words and phrases were eliminated, so that the play in its +final form serves as a good illustration of the permanent enrichment of +the literary language by the Romanticists. Likewise, in its +versification, it offers a good example of the metrical variety found in +the Spanish dramatists of the Golden Age and revived by the +Romanticists. + +#VIII. Versification.# Only the fundamental principles of Spanish +versification will be noted here. For a more adequate treatment the +student is referred to such works as Andres Bello's _Ortologia y +metrica_ (Vol. IV of _Obras completas_, Madrid, 1890), or the _Prosodia +castellana y versificacion_ of E. Benot; or to the more easily +accessible notes on Spanish versification in Hills and Morley's _Modern +Spanish Lyrics_ or Ford's _Spanish Anthology_. + +Some knowledge of two of the essential differences between Spanish and +English versification is needed for the appreciation of the poetry of +this play. Whereas in English poetry the number of feet to the line is +essential, in Spanish the basis of meter is the number of syllables; +moreover, in syllable-counting there are certain rules (too complicated +to be given here) regarding the treatment of contiguous vowels as one +syllable or more than one. Another difference that should be noted is +that in Spanish poetry there are two kinds of rime, consonantal rime and +assonance. Consonantal rime is the same as that used in English poetry, +identity of the last stressed vowel sound as well as all following vowel +or consonant sounds in two or more verses; as for example, in lines +127-130, Act I, _clemencia, Valencia: favor, mejor_. Assonance is +identity in a series of verses of the last stressed vowel and of a +following unstressed vowel, if there be one, but not of a consonant; in +other words, assonance is the correspondence of the vowels, but not of +the consonants, in the riming syllables. Thus, in the first 110 lines of +the play, all the even verses have the same vowel in the last stressed +syllables: _volver, administre, fiel, pie, Adel, partire, el, rey_, etc. +Only the strong vowel in a diphthong is recognized, so that in these 110 +lines the assonance of the alternate verses is in _e_. In the first 148 +lines of Act IV all the even verses have one and the same vowel in the +last accented syllable and one and the same vowel in the unaccented +syllable: _pueblo, bandoleros, prenderlos, tiempo, vinieron, provecho_, +etc. The assonance is, therefore, _e-o_. + +Of the many verse-forms, _i.e._, definite combinations of line and rime, +to be found in Spanish poetry, we find the following in this play: +_romance, romance heroico, redondilla, quintilla, decima, copla de arte +mayor_, and _silva_. + +The _romance_, or ballad meter, is the most thoroughly national of all +Spanish meters and has always been very popular with the dramatists. It +has, regularly, eight syllables to the line, with a regular rhythmic +accent on the seventh, and has assonance in the alternate lines. The +seventh syllable may or may not be followed by one or two unstressed +syllables, but the line is called octosyllabic; one unstressed syllable +is counted whether it be present or not. The first 110 lines of Act I, +for example, are in _romance_. Note that the regular rhythmic stress of +each line is on the seventh syllable; that the odd lines have seven or +eight syllables; that all the even lines have seven metrical syllables +each, and have assonance in _e_. In the first 148 lines of Act IV, all +of the even lines have eight syllables each, for the reason that each +seventh syllable is followed by an unaccented syllable, the assonance +being _e-o._ This is the normal _romance_ line, eight-syllabled and in +assonance. + +The _romance heroico_ or _real_ differs from the ordinary _romance_ in +that the lines are hendecasyllabic (eleven-syllabled). Lines 269-474, +Act IV, are in _romance heroico_, with assonance in _a-a_. + +The _redondilla_ consists of four octosyllabic lines, with consonantal +rime, usually arranged thus: _abba_. In Act I, for example, lines +111-458 consist of 87 _redondillas_. + +The _quintilla_ consists of five octosyllabic lines, with two +consonantal rimes, arranged so that no more than two may come together: +_ababa, abbab, abaab_, etc. In Act III lines 62-226 consist of 33 +_quintillas_. The last one has a very unusual combination of rimes: +_abbba_. + +The _decima_ consists of ten octosyllabic lines, with four consonantal +rimes usually arranged as in lines 761-770, or 771-780, Act II: +_abbaaccddc_. The _decima_ is not properly considered as two +_quintillas_, since there should be a pause at the end of the fourth +line of a _decima_. + +The _copla_ (stanza) _de arte mayor_ contains eight lines with three +consonantal rimes arranged thus: _abbaacca_. Each line is divided into +two hemistitches, with rhythmic stress on the fifth syllable of each +hemistich. The sixth syllable of either hemistich or of both may be +lacking, so that there may be a total of 10, 11, or 12 syllables in a +line. Lines 179-282, Act II, are made up of thirteen _coplas de arte +mayor_. Most of the lines have 11 or 12 syllables; note that verses 187, +200, 215, etc., have only ten each. + +The _silva_ is usually composed of eleven-syllabled lines, intermingled +with lines of seven syllables. There is consonantal rime, but without +regularity; and many lines are left unrimed. An example of the _silva_ +may be found in lines 309-437, Act III. + + + + + SCHEME OF VERSIFICATION + + + Act I. 1-110 Romance (_e_) + 111-458 Redondillas + Act II. 1-178 Romance (_a_) + 179-282 Coplas de arte mayor + 283-466 Redondillas + 467-573 Prose + 574-760 Romance _(e-a)_ + 761-780 Decimas + Act III. 1-61 Prose + 62-226 Quintillas + 227-308 Prose + 309-437 Silva + Act IV. 1-148 Romance _(e-o)_ + 149-268 Redondillas + 269-474 Romance heroico _(a-a)_ + + + + + +BIBLIOGRAPHICAL NOTE + +The most important books and articles that treat of Hartzenbusch and the +legend of the _Amantes de Teruel_ have already been mentioned. In them +may be found many references and extensive bibliographical data. The +best of the writings of Hartzenbusch are contained in the five volumes +published in the well-known series _Coleccion de Escritores +Castellanos_. Three volumes contain his best plays: _Teatro_, Madrid, +1888-1892. The first volume, _Poesias_, 1887, contains a good study of +his life and writings by A. Fernandez-Guerra. The Romantic movement in +Spain is treated at length in _El Romanticismo en Espana_, by Enrique +Pineyro, Paris, 1904; and in Vol. I, of _La Literatura Espanola en el +Siglo XIX_, by F. Blanco-Garcia, 3d edition, 1909. + + + + + + LOS AMANTES DE TERUEL, + + DRAMA REFUNDIDO EN CUATRO ACTOS Y EN VERSO Y PROSA + + Estrenado en Madrid en el teatro del Principe a 19 de enero de 1837 + + PERSONAS + + + JUAN DIEGO MARTINEZ GARCES DE MARSILLA, O MARSILLA. + ISABEL DE SEGURA. + DONA MARGARITA. + ZULIMA. + DON RODRIGO DE AZAGRA. + DON PEDRO DE SEGURA. + DON MARTIN GARCES DE MARSILLA. + TERESA. + ADEL. + OSMIN. + + Soldados moros, cautivos, damas, caballeros, pajes, criados, criadas. + + + + +_El primer acto pasa en Valencia, y los demas en Teruel. +Ano de 1217_. + + + LOS AMANTES DE TERUEL + + + + + ACTO PRIMERO + +Dormitorio morisco en el alcazar de Valencia. A la derecha del +espectador una cama, junto al proscenio; a la izquierda, una +ventana con celosias y cortinajes. Puerta grande en el fondo, +y otras pequenas a los lados. + + + + ESCENA PRIMERA + + +ZULIMA, ADEL; JUAN DIEGO MARSILLA, adormecido en la cama: +sobre ella un lienzo con letras de sangre. + +ZULIMA. No vuelve en si. + +ADEL. Todavia + tardara mucho en volver. + +ZULIMA. Fuerte el narcotico ha sido. + +ADEL. Poco ha se lo administre.-- + Dignate de oir, senora, + la voz de un subdito fiel, + que orillas de un precipicio + te ve colocar el pie. + +ZULIMA. Si disuadirme pretendes, + no te fatigues, Adel. + Partir de Valencia quiero, + y hoy, hoy mismo partire. + +ADEL. ?Con ese cautivo? + +ZULIMA. Tu + me has de acompanar con el. + +ADEL. ?Asi al esposo abandonas? 15 + iUn Amir, senora, un Rey! + +ZULIMA. Ese Rey, al ser mi esposo, + me prometio no tener + otra consorte que yo. + ?Lo ha cumplido? Ya lo ves. 20 + A traerme una rival + marcho de Valencia ayer. + Libre a la nueva sultana + mi puesto le dejare. + +ADEL. Considera.... + +ZULIMA. Esta resuelto. 25 + El renegado Zaen, + el que aterra la comarca + de Albarracin y Teruel, + llamado por mi ha venido, + y tiene ya en su poder 30 + casi todo lo que yo + de mis padres herede, + que es demas para vivir + con opulencia los tres. + De la alcazaba saldremos 35 + a poco de anochecer. + +ADEL. Y ese cautivo, senora, + ?te ama? ?Sabes tu quien es? + +ZULIMA. Es noble, es valiente, en una + mazmorra iba a perecer 40 + de enfermedad y de pena, + de frio, de hambre y de sed: + yo le doy la libertad, + riquezas, mi mano: ?quien + rehusa estos dones? iOh! 45 + Si ofendiera mi altivez + con una repulsa, caro + le costara su desden + conmigo. Tiempo hace ya + que este acero emponzone, 50 + furiosa contra mi aleve + consorte Zeit Abenzeit: + quien es capaz de vengarse + en el Principe, tambien + escarmentara al esclavo, 55 + como fuera menester. + +ADEL. ?Que habra escrito en ese lienzo + con su sangre? Yo no se + leer en su idioma; pero + puedo llamar a cualquier 60 + cautivo.... + +ZULIMA. El nos lo dira, + yo se lo preguntare. + +ADEL. ?No fuera mejor hablarle + yo primero, tu despues? + +ZULIMA. Le voy a ocultar mi nombre: 65 + ser Zoraida fingire, + hija de Mervan. + +ADEL. iMervan! + ?Sabes que ese hombre sin ley + conspira contra el Amir? + +ZULIMA. A el le toca defender 70 + su trono, en vez de ocuparse, + contra la jurada fe, + en devaneos que un dia + lugar a su ruina den. + Mas Ramiro no recobra 75 + los sentidos: buscare + un espiritu a proposito.... (_Vase_.) + + + + ESCENA II + + +OSMIN, por una puerta lateral.--ADEL, MARSILLA + + +OSMIN. ?Se fue Zulima? + +ADEL. Se fue. + Tu nos habras acechado. + +OSMIN. He cumplido mi deber. 80 + Al ausentarse el Amir, + con este encargo quede. + Es mas cauto nuestro dueno + que esa liviana mujer.-- + El lienzo escrito con sangre, 85 + ?donde esta? + +ADEL. Alli. (_Senalando la cama_.) + +OSMIN. Venga. + +ADEL. Ten. + (_Le da el lienzo, y Osmin lee_.) + Mira si es que dice, ya + que tu lo sabes leer, + donde lo pudo escribir; + porque en el encierro aquel 90 + apenas penetra nunca + rayo de luz: verdad es + que rotas esta manana + puerta y cadenas halle: + debio, despues de romperlas, 95 + el subterraneo correr, + y hallando el lienzo.... + +OSMIN (_asombrado de lo que ha leido_.) iEs posible! + +ADEL. ?Que cosa? + +OSMIN. iOh, vasallo infiel! + Avisar al Rey es fuerza, + y al perfido sorprender. 100 + +ADEL. ?Es este el perfido? (_Senalando a Marsilla_.) + +OSMIN. No; + ese noble aragones + hoy el salvador sera + de Valencia y de su Rey. + +ADEL. Zulima viene. + +OSMIN. Silencio 105 + con ella, y al punto ve + a buscarme. (_Vase_.) + +ADEL. Norabuena. + Asi me haras la merced + de explicarme lo que pasa. + + + + ESCENA III + + +ZULIMA.--ADEL, MARSILLA + +ZULIMA. Dejame sola. + +ADEL. Esta bien. (_Vase_.) 110 + + + + ESCENA IV + + +ZULIMA, MARSILLA + +ZULIMA. Su pecho empieza a latir + mas fuerte; asi que perciba.... + (_Aplicale un pomito a la nariz_.) + +MARSILLA. iAh! + +ZULIMA. Volvio. + +MARSILLA (_incorporandose_.) iQue luz tan viva! + no la puedo resistir. + +ZULIMA (_corriendo las cortinas de la ventana_). + De aquella horrible mansion 115 + esta a las tinieblas hecho. + +MARSILLA. No es esto piedra, es un lecho. + ?Que ha sido de mi prision? + +ZULIMA. Mira este albergue despacio, + y abre el corazon al gozo. 120 + +MARSILLA. iSenora!.... (_Reparando en ella_.) + +ZULIMA. Tu calabozo + se ha convertido en palacio. + +MARSILLA. Di (porque yo no me explico + milagro tal), di, ?que es esto? + +ZULIMA. Que eras esclavo, y que presto 125 + vas a verte libre y rico. + +MARSILLA. iLibre! iOh divina clemencia! + Y ?a quien debo tal favor? + +ZULIMA. ?Quien puede hacerle mejor + que la Reina de Valencia? 130 + Zulima te proporciona + la sorpresa que te embarga + dulcemente: ella me encarga +que cuide de tu persona: + y desde hoy ningun afan 135 + permitire que te aflija. + +MARSILLA. ?Eres?.... + +ZULIMA. Dama suya, hija + del valeroso Mervan. + +MARSILLA. ?De Mervan? (_Aparte_. iAh! ique + recuerdo!) (_Busca y recoge el lienzo_.) + +ZULIMA. ?Que buscas tan azorado? 140 + ?Ese lienzo ensangrentado? + +MARSILLA (_aparte_.) Si esta lo sabe, me pierdo. + +ZULIMA. ?Que has escrito en el? + +MARSILLA. No va + esto dirigido a ti; + es para el Rey. + +ZULIMA. No esta aqui. 145 + +MARSILLA. Para la Reina sera. + Haz, pues, que a mi bienhechora + vea: por Dios te lo ruego. + +ZULIMA. Conoceras aqui luego + a la Reina tu senora. 150 + +MARSILLA. iOh!.... + +ZULIMA. No estes con inquietud. + Olvida todo pesar: + trata solo de cobrar + el sosiego y la salud. + +MARSILLA. Defienda provido el cielo 155 + y premie con altos dones + los piadosos corazones + que dan al triste consuelo. + Tendra Zulima, tendras + tu siempre un cautivo en mi; 160 + hermoso es el bien por si, + pero en una hermosa, mas. + Ayer, hoy mismo, ?cual era + mi suerte? Sumido en honda + carcel, estrecha y hedionda, 165 + sin luz, sin aire siquiera; + envuelto en infecta nube + que humedo engendra el terreno; + paja corrompida, cieno + y piedras por cama tuve. 170 + --Hoy ... si no es esto sonar, + torno a la luz, a la vida, + y espero ver la florida + margen del Guadalaviar, + alli donde alza Teruel, 175 + senoreando la altura, + sus torres de piedra oscura, + que estan mirandose en el. + No es lo mas que me redima + la noble princesa mora: 180 + el bien que me hace, lo ignora + aun la propia Zulima. + +ZULIMA. Ella siempre algun misterio + supuso en ti, y asi espera + que me des noticia entera 185 + de tu vida y cautiverio. + Una vez que en tu retiro + las dos ocultas entramos, + te oimos ... y sospechamos + que no es tu nombre Ramiro. 190 + +MARSILLA. Mi nombre es Diego Marsilla, + y cuna Teruel me dio, + pueblo que ayer se fundo, + y es hoy poderosa villa, + cuyos muros, entre horrores 195 + de lid atroz levantados, + fueron con sangre amasados + de sus fuertes pobladores. + Yo creo que al darme ser + quiso formar el Senor, 200 + modelos de puro amor, + un hombre y una mujer, + y para hacer la igualdad + de sus afectos cumplida, + les dio un alma en dos partida, 205 + y dijo: "Vivid y amad." + Al son de la voz creadora, + Isabel y yo existimos, + y ambos los ojos abrimos + en un dia y una hora. 210 + Desde los anos mas tiernos + fuimos ya finos amantes; + desde que nos vimos ... antes + nos amabamos de vernos; + porque el amor principio 215 + a enardecer nuestras almas + al contacto de las palmas + de Dios, cuando nos crio: + y asi fue nuestro querer, + prodigioso en nina y nino, 220 + encarnacion del carino + anticipado al nacer, + seguir Isabel y yo, + al triste mundo arribando, + seguir con el cuerpo amando, 225 + como el espiritu amo. + +ZULIMA. Inclinacion tan igual + solo dichas pronostica. + +MARSILLA. Soy pobre, Isabel es rica. + +ZULIMA (_aparte_). Respiro. + +MARSILLA. Tuve un rival. 230 + +ZULIMA. ?Si? + +MARSILLA. Y opulento. + +ZULIMA. Y bien.... + +MARSILLA. Hizo + alarde de su riqueza.... + +ZULIMA. ?Y que? ?rindio la firmeza + de Isabel? + +MARSILLA. Es poco hechizo + el oro para quien ama. 235 + Su padre, si, deslumbrado.... + +ZULIMA. ?Tu amor dejo desairado, + privandote de tu dama? + +MARSILLA. Le vi, mi pasion hablo, + su fuerza exhalando toda, 240 + y, suspendida la boda, + un plazo se me otorgo, + para que mi esfuerzo activo + juntara un caudal honrado. + +ZULIMA. ?Es ya el termino pasado? 245 + +MARSILLA. Senora, ya ves ... aun vivo. + Seis anos y una semana +me dieron: los anos ya + se cumplen hoy; cumplira + el primer dia manana. 250 + +ZULIMA. Sigue. + +MARSILLA. Un adios a la hermosa + di, que es de mis ojos luz, + y combati por la cruz + en las Navas de Tolosa. + Gane con brioso porte 255 + credito alli de guerrero; + luego, en Francia, prisionero + cai del Conde Monforte. + Hui, y en Siria un frances + albigense, refugiado, 260 + a quien habia salvado + la vida junto a Besies, + me dejo, al morir, su herencia: + volviendo con fama y oro + a Espana, pirata moro 265 + me apreso y trajo a Valencia. + Y en pena de que rompio + de mis cadenas el hierro + mi mano, profundo encierro + en vida me sepulto, 270 + donde mi extrano custodio, + sin dejarse ver ni oir, + me prolongaba el vivir, + o por piedad o por odio. + De aquel horrendo lugar 275 + me sacais: bella mujer, + sentir se y agradecer: + di como podre pagar. + +ZULIMA. No borres de tu memoria + tan debido ofrecimiento, 280 + y haz por escuchar atento + cierta peregrina historia. + Un joven aragones + vino cautivo al serallo: + sus prendas y nombre callo; 285 + tu conoceras quien es. + Toda mujer se lastima + de ver padecer sonrojos + a un noble: puso los ojos + en el esclavo Zulima, 290 + y fervido amor en breve + nacio de la compasion: + aqui es brasa el corazon; + alla entre vosotros, nieve. + Quiso aquel joven huir; 295 + fue desgraciado en su empeno: + le prenden, y por su dueno + es condenado a morir. + Pero en favor del cristiano + velaba Zulima; ciega, 300 + loca, le salva;--mas, llega + a brindarle con su mano. + Respuesta es bien se le de + en trance tan decisivo: + habla tu por el cautivo, 305 + yo por la Reina hablare. + +MARSILLA. Ni en desgracia ni en ventura + cupo en mi lenguaje dolo: + este corazon es solo + para Isabel de Segura. 310 + +ZULIMA. Medita, y concederas + al tiempo lo que reclama. + ?Sabes tu si es fiel tu dama? + ?Sabes tu si la veras? + +MARSILLA. Me matara mi dolor, 315 + si fuera Isabel perjura: + mi constancia me asegura + la firmeza de su amor. + Con espiritu gallardo, + si quereis, dare mi vida: 320 + dada el alma y recibida, + fiel al dueno se la guardo. + +ZULIMA. Mira que es poco prudente + burlar a tu soberana, + que tiene sangre africana, 325 + y ama y odia facilmente. + Y si ella sabe que, cuando + yo su corazon te ofrezco, + por ella el dolor padezco + de ver que le estas pisando, 330 + volveras a tus cadenas + y a tu negro calabozo, + y alli yo, con alborozo + que mas encone tus penas, + la nueva te llevare 335 + de ser Isabel esposa. + +MARSILLA. Y en prision tan horrorosa + ?cuantos dias vivire? + +ZULIMA. iRayo del cielo! el traidor + cuanto fabrico derrumba: 340 + defendido con la tumba, + se rie de mi furor. + Trocaras la risa en llanto. + Cautiva desde Teruel + me han de traer a Isabel.... 345 + +MARSILLA. ?Quien eres tu para tanto? + +ZULIMA. Tiembla de mi. + +MARSILLA. Furia vana. + +ZULIMA. iInsensato! La que ves, + no es hija de Mervan, es + Zulima. + +MARSILLA. iTu la Sultana! 350 + +ZULIMA. La Reina. + +MARSILLA. Toma, con eso + (_Dandole el lienzo ensangrentado_.) + correspondo a tu aficion: + entrega sin dilacion + a hombre de valor y seso + el escrito que te doy. 355 + Salvete su diligencia. + +ZULIMA. iComo! ?Que riesgo?... + +MARSILLA. A Valencia + tu esposo ha de llegar hoy; + y en llegando, tu y el y otros + a sedicioso punal 360 + pereceis. + +ZULIMA. ?Que desleal + conspira contra nosotros? + +MARSILLA. Mervan, tu padre supuesto. + Si tu colera no estalla, + mi labio el secreto calla, 365 + y el fin os llega funesto. + +ZULIMA. ?Como tal conjuracion + a ti!.... + +MARSILLA. Frenetico ayer, + la puerta pude romper + de mi encierro: la prision 370 + recorro, oigo hablar, atiendo.... + --Junta de aleves impia + era, Mervan presidia.-- + Alli supe que volviendo + a este alcazar el Amir, 375 + trataban de asesinarle. + Resuelvome a no dejarle + perfidamente morir, + y con roja tinta humana + y un pincel de mi cabello 380 + la trama en un lienzo sello, + y el modo de hacerla vana. + Poner al siguiente dia + pensaba el util aviso + en la cesta que el preciso 385 + sustento me conducia. + Venciome tenaz modorra, + mas fuerte que mi cuidado: + desperte maravillado, + fuera ya de la mazmorra. 390 + Junta pues tu guardia, pon + aqui un acero, y que venga + con todo el poder que tenga + contra ti la rebelion. + +ZULIMA. De a la rebelion castigo 395 + quien tema por su poder; + no yo, que al anochecer + huir pensaba contigo. + Poca gente, pero brava, + que al marchar nos protegiera, 400 + sumisa mi voz espera + escondida en la alcazaba. + Con ellos entre el rebato + del tumulto, partire; + con ellos negociare 405 + que me venguen de un ingrato. + Teme la cuchilla airada + de Zaen, el bandolero; + tiembla, mas que de su acero, + de esta daga envenenada. 410 + iAy del que mi amor troco + en frenesi rencoroso! + iNunca espere ser dichoso + quien de celos me mato! + +MARSILLA. iZulima!... iSenora !... 415 + +(_Vase Zulima por la puerta del fondo, y cierra por dentro_.) + + + + ESCENA V + +OSMIN.--MARSILLA. + +OSMIN Baste + de platica sin provecho. + Al Rey un favor has hecho: + acaba lo que empezaste. + +MARSILLA. iComo! ?tu?.... + +OSMIN. El lienzo he leido + que al Rey dirigiste: alli 420 + le ofreces tu brazo. + +MARSILLA. Si, + armas y riesgo le pido. + +OSMIN. Pues bien, dos tropas formadas + con los cautivos estan: + seras el un capitan, 425 + el otro Jaime Celladas. + +MARSILLA. iJaime esta aqui! Es mi paisano, + es mi amigo. + +OSMIN. Si hay combate, + asi tendra su rescate + cada cautivo en la mano. 430 + Con ardimiento lidiad. + +MARSILLA. ?Quien, de libertad sediento, + no lidia con ardimiento + al grito de libertad! + +OSMIN. Cuanto a Zulima.... + +MARSILLA. Tambien 435 + Libre ha de ser. + +OSMIN. No debiera; + pero llevesela fuera + de nuestro reino Zaen. + + + + ESCENA VI + + +ADEL, SOLDADOS MOROS.--MARSILLA, OSMIN + +ADEL. Osmin, a palacio van + turbas llegando en tumulto, 440 + y Zaen, que estaba oculto, + sale aclamando a Mervan. + Zulima nos ha vendido. + +OSMIN. Ya no hay perdon que le alcance. + +MARSILLA. Despues de correr el lance, 445 + se dispondra del vencido. + Cuando rueda la corona + entre la sangre y el fuego, + primero se triunfa, luego.... + +OSMIN. Se castiga. + +MARSILLA. Se perdona. 450 + +VOCES (_dentro_). iMuera el tirano! + +MARSILLA. iMi espada! + iMi puesto! + +OSMIN. Ven, ven a el. + Guarda el torreon, Adel. + +ADEL. Ten tu acero. (_Dasele a Marsilla_.) + +MARSILLA. iArma anhelada! + iMi diestra te empuna ya! 455 + Ella al triunfo te encamina. + Rayo fue de Palestina, + rayo en Valencia sera. + + + + + ACTO SEGUNDO + + +Teruel.--Sala en casa de don Pedro Segura + + + + ESCENA PRIMERA + + +DON PEDRO, entrando en su casa; MARGARITA, ISABEL y TERESA, +saliendo a recibirle + + +MARGARITA. iEsposo! (_Arrodillandose_.) + +ISABEL. iPadre! (_Arrodillandose_.) + +TERESA. iSenor! + +PEDRO. iHija! iMargarita! Alzad. + +ISABEL. Dadme a besar vuestra mano. + +MARGARITA. Dejame el suelo besar + que pisas. + +TERESA (_a Margarita_). Vaya, senora, 5 + ya es vicio tanta humildad. + +PEDRO. Pedazos del corazon, + no es ese vuestro lugar. + Abrazadme. (_Levanta y abraza a las dos_.) + +TERESA. Asi me gusta. + Y a mi luego. + +PEDRO. Ven aca, 10 + fiel Teresa. + +TERESA. Fiel y franca, + tengo en ello vanidad. + +PEDRO. Ya he vuelto, por fin. + +MARGARITA. Dios quiso + mis plegarias escuchar. + +PEDRO. Gustoso a Monzon parti, 15 + comisionado especial + para ofrecer a don Jaime + las tropas que alistara + nuestra villa de Teruel + en defensa de la paz, 20 + que don Sancho y don Fernando + nos quieren arrebatar: + fue don Rodrigo de Azagra, + obsequioso y liberal, + acompanandome al ir, 25 + y me acompana al tornar; + mas yo me acordaba siempre + de vosotras con afan. + Triste se quedo Isabel; + mas triste la encuentro. + +TERESA. Ya. 30 + +MARGARITA. iTeresa! + +ISABEL. iPadre! + +PEDRO. Hija mia, + dime con sinceridad + lo que ha pasado en mi ausencia. + +TERESA. Poco tiene que contar. + +MARGARITA. iTeresa! + +TERESA. Digo bien. ?Es 35 + por ventura novedad + que Isabel suspire, y vos (_a Margarita_) + receis, y ayuneis a pan + y agua, y os andeis curando + enfermos por caridad? 40 + Es la vida que traeis, + lo menos, quince anos ha.... + +MARGARITA. Basta. + +TERESA. Y hace seis cumplidos + que no se ha visto asomar + en los labios de Isabel 45 + ni una sonrisa fugaz. + +ISABEL (_aparte_). iAy, mi bien! + +TERESA. En fin, senor, + del pobrecillo don Juan + Diego de Marsilla, nada + se sabe. + +MARGARITA. Si no callais, 50 + venid conmigo. + +TERESA. Ir con vos + facil es; pero callar.... + +(_Vanse Margarita y Teresa. Don Pedro se quita la espada +y la pone sobre un bufete_.) + + + + ESCENA II + + +DON PEDRO, ISABEL + +PEDRO. Mucho me aflige, Isabel, + tu pesadumbre tenaz; + pero, por desgracia, yo 55 + no la puedo remediar. + Esclavo de su palabra + es el varon principal; + tengo empenada la mia: + la debo desempenar. 60 + En el honor de tu padre + no se vio mancha jamas: + juventud honrada pide + mas honrada ancianidad. + +ISABEL. No pretendo yo.... + +PEDRO. Por otra 65 + parte, parece que estan + de Dios ciertas cosas. Oye + un lance bien singular, + y di si no tiene traza + de caso providencial. 70 + +ISABEL. A ver. + +PEDRO. En Teruel vivio + (no se si te acordaras) + un tal Roger de Lizana, + caballero catalan. 75 + +ISABEL. ?El templario? + +PEDRO. Si. Roger + paraba en Monzon. Alla + es voz que penas y culpas + de su libre mocedad + trajeronle una dolencia + de espiritu y corporal, 80 + que vino a dejarle casi + mudo, imbecil, incapaz. + Pacifico en su idiotez, + permitianle vagar + libre por el pueblo. Un dia, 85 + sobre una dificultad + en mi encargo y sobre como + se debiera de allanar, + don Rodrigo y yo soltamos + palabras de enemistad. 90 + Marchose enojado, y yo + exclame al verle marchar: + "?Ha de ser este hombre dueno + de lo que yo quiero mas? + Si la muerte puede sola 95 + mi palabra desatar, + lleveme el Senor, y quede + Isabel en libertad." + +ISABEL. iOh padre! + +PEDRO. En esto, un empuje + tremendo a la puerta dan, 100 + se abre, y con punal en mano + entra.... + +ISABEL. iVirgen del Pilar! + ?Quien? + +PEDRO. Roger. Llegase a mi, + y en voz pronunciada mal, + "Uno (dijo) de los dos 105 + la vida aqui dejara." + +ISABEL. Y ?que hicisteis? + +PEDRO. Yo, pensando + que bien pudiera quizas + mi muerte impedir alguna + mayor infelicidad, 110 + cruce los brazos, y quieto + espere el golpe mortal. + +ISABEL. iCielos! ?Y Roger? + +PEDRO. Roger + parado al ver mi ademan, + en lugar de acometerme, 115 + se fue retirando atras, + mirandome de hito en hito, + llena de terror la faz. + Asio con entrambas manos + el arma por la mitad, 120 + y senas distintas hizo + de querermela entregar. + Yo no le atendi, guardando + completa inmovilidad + como antes; y el, con los ojos 125 + fijos, y sin menear + los parpados, balbuciente + dijo: "Matadme, salvad + en el hueco de mi tumba + mi secreto criminal." 130 + +ISABEL. iSu secreto! + +PEDRO. En fin, de estarse + tanto sin pestanear, + el, cuyos sentidos eran + la suma debilidad, + se trastorno, cayo; dio 135 + la guarnicion del punal + en tierra, le fue la punta + al corazon a parar + al infeliz, y a mis plantas + rindio el aliento vital. 140 + Hui con espanto: Azagra, + viniendose a disculpar + conmigo, me hallo; le dije + que no pisaba el umbral + de aquella casa en mi vida; 145 + y el, provido y eficaz, + aviso al rey, y mando + el cadaver sepultar.-- + Ya ves, hija: por no ir + yo contra tu voluntad, 150 + por no cumplir mi palabra, + quise dejarme matar; + y Dios me guardo la vida: + su decreto celestial + es sin duda que esa boda 155 + se haga por fin ... --y se hara, + si en tres dias no parece + tu preferido galan. + +ISABEL (_aparte_). iAy de el y de mi! + + + + ESCENA III + + +TERESA.--DON PEDRO, ISABEL + +TERESA. Senor, + acaba de preguntar 160 + por vos don Martin, el padre + de don Diego. + +ISABEL (_aparte_). ?Si sabra?... + +TERESA. Como es enemigo vuestro, + le he dejado en el zaguan. + +PEDRO. A enemigo noble se abren 165 + las puertas de par en par. + Que llegue. (_Vase Teresa_.) Ve con tu + madre. + +ISABEL (_aparte_). Ella a sus pies me vera + llorando, hasta que consiga + vencer su severidad. (_Vase_.) 170 + + + + ESCENA IV + + + DON PEDRO + + Desafiados quedamos + al tiempo de cabalgar + yo para Monzon: el duelo + llevar a cabo querra. + Bien.--Pero el ha padecido 175 + una larga enfermedad. + Si no tiene el brazo firme, + conmigo no lidiara. + + + + ESCENA V + + +DON MARTIN.--DON PEDRO + +MARTIN. Don Pedro Segura, seais bien venido. + +PEDRO. Y vos, don Martin Garces de Marsilla, 180 + seais bien hallado: tomad una silla. + +(_Sientase don Martin, mientras don Pedro va a tomar su +espada_.) + +MARTIN. Dejad vuestra espada. + +PEDRO (_sentandose_). Con pena he sabido + la grave dolencia que habeis padecido. + +MARTIN. Al fin me repuse del todo. +PEDRO. No se.... + +MARTIN. Domingo Celladas.... + +PEDRO. iFuerte hombre es, a fe! 185 + +MARTIN. Pues aun a la barra le gano el partido. + +PEDRO. Asi os quiero yo. Desde hoy, elegid + al duelo aplazado seguro lugar. + +MARTIN. Don Pedro, yo os tengo primero que hablar. + +PEDRO. Hablad en buen hora: ya escucho. Decid. 190 + +MARTIN. Causo nuestra rina.... + +PEDRO. La causa omitid: + sabemosla entrambos. Por vos se me dijo + que soy un avaro, y os privo de un hijo. + De honor es la ofensa, precisa la lid. + +MARTIN. ?Teneisme por hombre de aliento? + +PEDRO. Si tal. 195 + Si no lo creyera, con vos no lidiara. + +MARTIN. Jamas al peligro le vuelvo la cara. + +PEDRO. Si, nuestro combate puede ser igual. + +MARTIN. Sera por lo mismo.... + +PEDRO. Sangriento, mortal. + Ha de perecer uno de los dos. 200 + +MARTIN. Oid un suceso, feliz para vos... + Feliz para entrambos. + +PEDRO. Decidmele. ?Cual? + +MARTIN. Tres meses hara que en lecho de duelo + me puso la mano que todo lo guia. + Del riesgo asustada la familia mia 205 + quiso en vuestra esposa buscar su consuelo. + Con tino infalible, con provido celo + salud en la villa benefica vierte, + y enfermo en que airada se ceba la muerte, + le salva su mano, bendita del cielo. 210 + Con vos irritado, no quise atender + al dulce consejo de amante inquietud. + "No cobre (decia) jamas la salud, + si mano enemiga la debe traer." + Mayor mi teson a mas padecer, 215 + la muerte en mi alcoba planto su bandera. + Por fin, una noche... iQue noche tan fiera! + Blasfemo el dolor haciame ser; + pedia una daga con furia tenaz, + rasgar anhelando con ella mi pecho... 220 + En esto a mis puertas, y luego a mi lecho, + llego un peregrino, cubierta la faz. + Angel parecia de salud y paz... + Me habla, me consuela, benigno licor + al labio me pone; me alivia el dolor, 225 + y parte, y no quiere quitarse el disfraz. +La noche que tuve su postrer visita, + ya restablecido, sus pasos segui. + Cruzo varias calles, viniendo hacia aqui, + y entro en esa ruina de gotica ermita, 230 + que a vuestros jardines terminos limita. + Detuvele entonces: el velo cayo, + radiante la luna su rostro alumbro ... + era vuestra esposa. + +PEDRO. iEra Margarita! + +MARTIN. Confuso un momento, cobreme despues, 235 + y viome postrado la noble senora. + --Con tal beneficio, no cabe que ahora + provoque mi mano sangriento reves. + Don Pedro Segura, decid a quien es + deudor este padre de verse con vida, 240 + que esta la contienda por mi fenecida. + Tomad este acero, ponedle a sus pies. + + (_Da su espada a don Pedro, que la coloca en el bufete_.) + +PEDRO. iFeliz yo, que logro el duelo excusar + con vos, por motivo que es tan lisonjero! + Si pronto me hallasteis, por ser caballero, 245 + cuidado me daba el ir a lidiar. + Con tal companera, ?quien no ha de arriesgar + con susto la vida que lleva dichosa? + Ella me sera desde hoy mas preciosa, + si ya vuestro amigo quereisme llamar. 250 + +MARTIN. Amigos seremos. (_Danse las manos_.) + +PEDRO. Siempre. + +MARTIN. Siempre, si. + +PEDRO. Y al cabo, ?que nuevas teneis de don Diego? + En hora menguada, vencido del ruego + de Azagra, la triste palabra le di. + Si antes vuestro hijo se dirige a mi, 255 + icuanto ambas familias se ahorran de llanto! + No lo quiso Dios. + +MARTIN. Yo su nombre santo + bendigo; mas lloro por lo que perdi. + +PEDRO. Pero, ?que...? + +MARTIN. Despues de la de Maurel, + donde cayo en manos del Conde Simon, 260 + de nadie consigo senal ni razon, + por mas que anhelante pregunto por el. + Cada dia al cielo con suplica fiel + pido que me diga que punto en la tierra + sostienele vivo, o muerto le encierra: 265 + mundo y cielo guardan silencio cruel. + +PEDRO. El plazo no tuvo su fin todavia. + Piedad atesora inmensa el Eterno: + y mucho me holgara si fuera mi yerno + quien a mi Isabel tan fino queria. 270 + Pero si no viene, y cumplese el dia, + y llega la hora ... por mas que me pesa, + me tiene sujeto sagrada promesa: + si fuera posible, no la cumpliria. + +MARTIN. Diligencia escasa, fortuna severa 275 + parece que en suerte a mi sangre cupo: + quien a la desgracia sujetar no supo, + sufrido se muestre cuando ella le hiera. + Adios. + +PEDRO. No han de veros de aquesa manera. + Yo quiero esta espada; la mia tomad + (_Dasela_.) 280 + en prenda segura de fiel amistad. + +MARTIN. Acepto: un monarca llevarla pudiera. + +(_Vase don Martin, y don Pedro le acompana_.) + + + + ESCENA VI + + +MARGARITA, ISABEL + +MARGARITA (_aparte, siguiendo con la vista a los dos que se + retiran_.) + Aunque nada les oi, + deben estar ya los dos + reconciliados. + +ISABEL (_que viene tras su madre_). Por Dios, 285 + madre, haced caso de mi. + +MARGARITA. No; que es repugnancia loca + la que mostrais a un enlace, + que de seguro nos hace + a todos, merced no poca. 290 + Noble sois; pero mirad + que quien su amor os consagra + es don Rodrigo de Azagra, + que goza mas calidad, + mas bienes: en Aragon 295 + le acatan propios y ajenos, + y muestra, con vos al menos, + apacible condicion. + +ISABEL. Vengativo y orgulloso + es lo que me ha parecido. 300 + +MARGARITA. Vuestro padre le ha creido + digno de ser vuestro esposo. + Prendarse de quien le cuadre + no es licito a una doncella, + ni hay mas voluntad en ella 305 + que la que tenga su padre. + Hoy dia, Isabel, asi + se conciertan nuestras bodas: + asi nos casan a todas, + y asi me han casado a mi. 310 + +ISABEL. ?No hay a los tormentos mios + otro consuelo que dar? + +MARGARITA. No me teneis que mentar + vuestros locos amorios. + Yo por delirios no abogo. 315 + Idos. + +ISABEL. En vano espere. + (_Sollozando al retirarse_.) + +MARGARITA. iQue! ?llorais? + +ISABEL. Aun no me fue + vedado este desahogo. + +MARGARITA. Isabel, si no os escucho, + no me acuseis de rigor. 320 + Comprendo vuestro dolor, + y le compadezco mucho; + pero, hija ... cuatro anos ha + que a nadie Marsilla escribe. + Si ha muerto.... + +ISABEL. iNo, madre, vive!.... 325 + Pero ?como vivira? + Tal vez, llorando, en Sion + arrastra por mi cadenas, + quiza gime en las arenas + de la libica region. 330 + Con aviso tan funesto + no habra querido afligirme. + Yo trato de persuadirme, + y sin cesar pienso en esto. + Yo me propuse aprender 335 + a olvidarle, sospechando + que infiel estaba, gozando + caricias de otra mujer. + Yo escuche de su rival + los acentos desabridos, 340 + y logre de mis oidos + que no me sonaran mal. + Pero iay! cuando la razon + iba a proclamarse ufana + vencedora soberana 345 + de la rebelde pasion, + al recordar la memoria + un suspiro de mi ausente, + se arruinaba de repente + la fortaleza ilusoria, 350 + y con impetu mayor, + tras el combate perdido, + se entraba por mi sentido + a sangre y fuego el amor. + Yo entonces a la virtud 355 + nombre daba de falsia, + rabioso llanto vertia, + y hundirme en el ataud +juraba en mi frenesi + antes que rendirme al yugo 360 + de ese hombre, fatal verdugo, + genio infernal para mi. + +MARGARITA. Por Dios, por Dios, Isabel, + moderad ese delirio: + vos no sabeis el martirio 365 + que me haceis pasar con el. + +ISABEL. iQue! ?mi audacia os maravilla? + Pero estando ya tan lleno + el corazon de veneno, + fuerza es que rompa su orilla. 370 + No a vos, a la piedra inerte + de esa muralla desnuda, + a esa boveda que muda + oyo mi queja de muerte, + a este suelo donde mella 375 + pudo hacer el llanto mio, + a no ser tan duro y frio + como alguno que le huella, + para testigos invoco + de mi doloroso afan; 380 + que, si alivio no le dan, + no les ofende tampoco. + +MARGARITA (_aparte_). ?Quien con animo sereno + la oyera?--El dolor mitiga; + de una madre, de una amiga 385 + ven al carinoso seno. + Conoceme, y no te ahuyente + la faz severa que ves: + mascara forzosa es, + que dio el pesar a mi frente; 390 + pero tras ella te espera, + para templar tu dolor, + el tierno, indulgente amor + de una madre verdadera. + +ISABEL. iMadre mia! (_Abrazanse._) + +MARGARITA. Mi ternura 395 + te oculte ... porque debi... + iHa quince anos que hay aqui + guardada tanta amargura! + Yo hubiera en tu amor filial + gozado, y gozar no debo + nada ya, desde que llevo 400 + el cilicio y el sayal. + +ISABEL. iMadre! + +MARGARITA. Temi, recele + dar a tu amor incentivo, + y solo por correctivo 405 + severidad te mostre; + mas oyendote gemir + cada noche desde el lecho, + y a veces en tu despecho + mis rigores maldecir, 410 + yo al Senor, de silencioso + materno llanto hecha un mar, + ofreci mil veces dar + mi vida por tu reposo. + +ISABEL. iCielos! iQue revelacion 415 + tan grata! iQue injusta he sido! + iQue tanto me habeis querido! + iMadre de mi corazon! + + Perdonadme... iQue alborozo + siento, aunque llorar me veis! 420 + Seis anos ha, mas de seis, + que tanta dicha no gozo. + Mi desgracia contemplad, + cuando como dicha cuento + que mis penas un momento 425 + aplaquen su intensidad. + Pero este rayo que inunda + en viva luz mi alma yerta, + ?dejareis que se convierta + en lobreguez mas profunda? 430 + Madre, madre, a quien adoro, + el labio os pongo en el pie; + mi aliento aqui exhalare, + si no cedeis a mi lloro. (_Postrase._) + +MARGARITA. Levanta, Isabel; enjuga 435 + tus ojos; confia.... Si, + cuanto dependa de mi.... + +ISABEL Ya veis que en rapida fuga + el tiempo desaparece. + Si pasan tres dias, itres!, 440 + todo me sobra despues, + toda esperanza fallece. + Mi padre, por no faltar + a la palabra tremenda, + le rendira por ofrenda 445 + mi albedrio en el altar. + Vuestras razones imprimen + en su alma la persuasion: + en mi toda reflexion +fuera desacato, crimen. 450 + Y yo, senora, lo veo: + podra llevarme a casar; + pero en vez de preparar + las galas del himeneo, + que a tenerme se limite 455 + una cruz y una mortaja; + que esta gala y esta alhaja + sera lo que necesite. + +MARGARITA. No, no, Isabel: cesa, cesa. + Yo en tu defensa, me empeno: 460 + no sera Azagra tu dueno. + yo anulare la promesa. + Me oira tu padre, y tamanos + horrores evitara. + Hoy madre tuya sera 465 + quien no lo fue tantos anos. + + + + ESCENA VII + + +TERESA.--MARGARITA, ISABEL + +TERESA. Senoras, don Rodrigo de Azagra pide licencia + para visitaros. + +MARGARITA. Hazle entrar. A buen tiempo llega. +(_Vase Teresa_.) + +ISABEL. Permitid que yo me retire. 470 + +MARGARITA. Quedate en la pieza inmediata, y escucha + nuestra conversacion. + +ISABEL. ?Que vais a decir? + +MARGARITA. Oyelo, y acabaras de hacer justicia a tu + madre. (_Vase Isabel_.) 475 + + + + ESCENA VIII + + +DON RODRIGO.--MARGARITA + +MARGARITA. Ilustre don Rodrigo.... + +RODRIGO. Senora ... al fin nos vemos. + +MARGARITA. Honrad mi estrado, ya que la prisa de +venir a mi casa no os ha dejado sosegar en la vuestra. + +RODRIGO. Aqui vengo a buscar el sosiego que necesito. 480 +(_Sientase_.) ?Que me decis de mi desdenosa? + +MARGARITA. ?Me permitireis que hable con toda franqueza? + +RODRIGO. Con franqueza pregunto yo.--Hablad. + +MARGARITA. Mi esposo os prometio la mano de su 485 +hija unica; y, por el, debeis contar de seguro con ella. +Pero la delicadeza de vuestro amor y la elevacion de +vuestro caracter ?se satisfarian con la posesion de una +mujer, cuyo carino no fuese vuestro? + +RODRIGO. El corazon de Isabel no es ahora mio, lo 490 +se; pero Isabel es virtuosa, es el espejo de las doncellas: +cumplira lo que jure, apreciara mi rendida fe, y sera el +ejemplo de las casadas. + +MARGARITA. Mirad que su afecto a Marsilla no se ha +disminuido. 495 + +RODRIGO. No me inspira celos un rival, cuyo paradero +se ignora, cuya muerte, para mi, es indudable. + +MARGARITA. ?Y si volviese aun? ?Y si antes de +cumplirse el termino, se presentara tan enamorado como +se fue, y con aumentos muy considerables de hacienda? 500 + +RODRIGO. Mal haria en aparecer ni antes ni despues de +mis bodas. El prometio renunciar a Isabel, si no se +enriquecia en seis anos; pero yo nada he prometido. Si +vuelve, uno de los dos ha de quedar solo junto a Isabel. +La mano que pretendemos ambos, no se compra con oro; 505 +se gana con hierro, se paga con sangre. + +MARGARITA. Vuestro lenguaje no es muy reverente +para usado en esta casa, y conmigo; pero os le perdono, +porque me perdoneis la pesadumbre que voy a daros. +Yo, noble don Rodrigo, yo que hasta hoy consenti en 510 +vuestro enlace con Isabel, he visto por ultimo que de el +iba a resultar su desgracia y la vuestra. Tengo, pues, que +deciros, como cristiana y madre; tengo que suplicaros por +nuestro Senor y nuestra Senora, que desistais de un empeno, +ya poco distante de la temeridad. 515 + +RODRIGO. Ese empeno es publico, hace muchos anos +que dura, y se ha convertido para mi en caso de honor. +Es imposible que yo desista. No os opongais a lo que +no podreis impedir. + +MARGARITA. Aunque habeis desairado mi ruego, tal 520 +vez no le desaire mi esposo. + +RODRIGO. Mucho alcanzais con el: adora en vos, y lo +mereceis, porque ha quince anos que os empleais en la +caridad y la penitencia... Pero ... ?os ha contado +ya la muerte de Roger de Lizana? 525 + +MARGARITA. iComo! ?Roger ha muerto? + +RODRIGO. Si, loco y mudo, segun estaba; desgraciadamente, +segun merecia; y a los pies de don Pedro, como +era justo. + +MARGARITA. iCielos! Nada sabia de ese infeliz. 530 + +RODRIGO. Ese infeliz era muy delincuente, era el +corruptor de una dama ilustre. + +MARGARITA. iDon Rodrigo! + +RODRIGO. La esposa mas respetable entre las de +Teruel. 535 + +MARGARITA. Por compasion.... Si Roger ha +muerto.... + +RODRIGO. Casi espiro en mis brazos. Yo tendi sobre +el feretro su cadaver, yo halle sobre su corazon unas +cartas.... 540 + +MARGARITA. iCartas! + +RODRIGO. De mujer ... cinco ... sin firma todas. +Pero yo os las presentare, y vos me direis quien las ha +escrito. + +MARGARITA. iCallad! icallad! 545 + +RODRIGO. Si no, acudire a vuestro esposo: bien +conoce la letra. + +MARGARITA. iNo! iDadmelas, rompedlas, quemadlas! + +RODRIGO. Se os entregaran; pero Isabel me ha de +entregar a mi su mano primero. 550 + +MARGARITA. iOh! + +RODRIGO. Dios os guarde, senora. + +MARGARITA. Deteneos, oidme. + +RODRIGO. Para que os oiga, venid a verlas. (_Vase_.) + +MARGARITA. Escuchad, escuchadme. (_Vase tras don 555 +Rodrigo_.) + + + + ESCENA IX + + +ISABEL, y despues TERESA + +ISABEL. ?Que es lo que oi? No lo he comprendido, +no quiero comprender ese misterio horrible: solo entiendo +que de infeliz he pasado a mas. (_Sale Teresa_.) + +TERESA. Senora, un joven extranjero ha llegado a 560 +casa pidiendo que se le dejara descansar un rato.... + +ISABEL. Recibele ... dejame. + +TERESA. Ya se le recibio, y le han agasajado con vino +y magras; por senas que nada de ello ha probado, como +si fuera moro o judio. Aparte de esto, es muy lindo 563 +muchacho: he trabado conversacion con el, y dice que +viene de Palestina. + +ISABEL. ?De Palestina? + +TERESA. Yo me acorde al punto del pobre don Diego. +--Como os figurais que debe estar por alla.... 570 + +ISABEL. Si. Llamale pronto. (_Vase Teresa_.) iVirgen +piadosa! iQue haya sido sueno lo que pienso que oi! +iOh! Pensemos en el que viene de Palestina. + + + + ESCENA X + + +ZULIMA, en traje de noble aragones, TERESA.--ISABEL + +ZULIMA. El cielo os guarde. + +ISABEL. Y a vos + tambien. + +ZULIMA (_aparte_.) Mi rival es esta. + +ISABEL. Mejor podeis descansar 575 + en esta sala que fuera. + +TERESA. Este mancebo, senora, + viene de lejanas tierras, + de Jerusalem, de Jope, + de Belen ... y de Judea. 580 + +ISABEL. ?Cierto? + +ZULIMA. Si. + +TERESA. Y ha conocido + alla gente aragonesa. + +ZULIMA. Un caballero trate + de Teruel. + +ISABEL. ?Cual? ?Quien? ?Quien era? + ?Su nombre? + +ZULIMA. Diego Marsilla. 585 + +ISABEL. iOs trajo Dios a mi puerta!-- + ?Donde le dejais? + +TERESA. Entonces, + ?era ya rico? + +ZULIMA. Una herencia + cuantiosa le dejaron + alli. + +ISABEL. Pero ?donde queda? 590 + +ZULIMA. Hace poco era cautivo + del Rey moro de Valencia. + +ISABEL. iCautivo! iInfeliz! + +ZULIMA. No tanto. + La esposa del Rey, la bella + Zulima, le amo. + +ISABEL. ?Le amo? 595 + +ZULIMA. iSi! imucho! + +TERESA. iQue desvergueenza! + +ISABEL. Y ?que? ? No viene por eso + Marsilla donde le esperan? + +TERESA. ?Se ha vuelto moro quiza? + +ZULIMA (_aparte_). Ya que padeci, padezca. 600 + Finjamos. + +ISABEL. Hablad. + +ZULIMA. No es facil + resistir a una princesa + hermosa y amante: al fin + Marsilla, para con ella, + era un miserable. + +TERESA. Pero + vamos, acabad.... 605 + +ISABEL (_aparte_.) Apenas + vivo. + +ZULIMA. El Rey llego a saber + lo que pasaba; la Reina + pudo escapar, protegida + por un bandido, cabeza 610 + de la cuadrilla temible + que hoy anda por aqui cerca; + y Marsilla.... + +ISABEL. ?Que? + +ZULIMA. Rogad + a Dios que le favorezca. + +ISABEL. iHa muerto! iJesus, valedme! 615 + (_Desmayase_.) + +TERESA. iIsabel! iIsabel!--iBuena + la habeis hecho! +ZULIMA. (_aparte_.) Sabe amar + esta cristiana de veras; + yo se mas, yo se vengarme. + +TERESA. iSenora!--iPaula! iJimena! 620 + (_A Zulima_.) + Buscad agua, llamad gente. + +ZULIMA (_aparte_.) + Salgamos.--Con esta nueva, + se casara. (_Vase_.) + +TERESA. iDios confunda + la boca ruin que nos cuenta + noticia tan triste!... Pero 625 + un projimo que no prueba + cerdo ni vino, ?que puede + dar de si? + + (_Salen dos criadas que traen agua_.) + + Pronto aqui, lerdas. + ?Donde estabais? A ver: dadme + el agua. + +ISABEL. iAy, Dios! iAy, Teresa! 630 + + + + ESCENA XI + + +MARGARITA.--ISABEL, TERESA, CRIADAS + +MARGARITA. ?Que sucede? + +ISABEL. iAy, madre mia! + Ya no es posible que venga. + Murio. + +MARGARITA. ?Quien? ?Marsilla? + +TERESA. ?Quien + ha de ser? + +ISABEL. Y ha muerto en pena + de serme infiel. + +TERESA. Una mora, 635 + que dicen que no era fea, + la esposa del reyezuelo + valenciano, buena pieza + sin duda, nos le quito. + +ISABEL. iEn esto paran aquellas 640 + ilusiones de ventura + que alimentaba risuena! + Conmigo nacieron iay!... + se van, y el alma se llevan. + Ese infausto mensajero, 645 + ?donde esta? Dile que vuelva. + +MARGARITA. Si: yo le preguntare.... + +TERESA. Pues como nos de respuestas + por el estilo.... Seguidme. + + (_Vanse Teresa y las criadas_.) + + + + ESCENA XII + + +MARGARITA, ISABEL + +ISABEL. ?Quien figurarse pudiera 650 + que me olvidara Marsilla? + iQue sonrojo! iQue vileza! + Pero ?como ha sido, como + fue que no lo presintiera + mi corazon? No es verdad: 655 + imposible que lo sea. + Se engano, si lo creyo, + la sultana de Valencia. + Solo por volar a mi, + quebrantando sus cadenas, 660 + dejo sonar a la mora + con esa falaz idea. + Martir de mi amor ha sido, + que desde el cielo en que reina, + de su martirio me pide 665 + la debida recompensa. + Yo se la dare leal, + yo defendere mi diestra: + viuda del primer amor + he de bajar a la huesa. 670 + Llorar libremente quiero + lo que de vivir me resta, + sin que pueda hacer ninguno + de mis lagrimas ofensa. + No he de ser esposa yo 675 + de Azagra: primero muerta. + +MARGARITA. ?Tendras valor para?... + +ISABEL. Si, + mi desgracia me le presta. + +MARGARITA. ?Y si te manda tu padre?... + +ISABEL. Dire que no. + +MARGARITA. Si te ruega.... 680 + +ISABEL. No. + +MARGARITA. Si amenaza.... + +ISABEL. Mil veces + no. Podran en hora buena, + de los cabellos asida, + arrastrarme hasta la iglesia, + podran maltratar mi cuerpo, 685 + cubrirle de aspera jerga, + emparedarme en un claustro, + donde lentamente muera: + todo esto podran, si; pero + lograr que diga mi lengua 690 + un si perjuro, no. + +MARGARITA. Bien, + bien. Tu valor ... me consuela. + +(_Aparte_. Nada oyo: mas vale asi. + La culpa, no la inocencia + debe padecer.) Ten siempre 695 + esa misma fortaleza, + y no te dejes vencer, + suceda lo que suceda. + Matrimonio sin carino + crimenes tal vez engendra. 700 + Yo se de alguna infeliz + que dio su mano violenta... + y ... despues de larga lucha ... + desmintio su vida honesta. + Muchos anos lleva ya 705 + de dolor y penitencia... + Y al fin le toca morir, + de oprobrio justo cubierta. + +ISABEL. iAh, madre! ?Que dije yo? + Me olvide, con esa nueva, 710 + de otra desdicha tan grande + que a mi desdicha supera. + +MARGARITA. iNo te cases, Isabel! + +ISABEL. Si, madre: mi vida es vuestra: + darosla me manda Dios, 715 + lo manda naturaleza. + +MARGARITA. iHija! + +ISABEL. Por fortuna mia, + Marsilla al morir me deja + el corazon sin amor + y sin lugar donde prenda. 720 + Por mas fortuna, Marsilla + de mi se olvido en la ausencia, + y puso en otra mujer + el amor que me debiera. + Por dicha mayor, Azagra 725 + es de condicion soberbia, + celoso, iracundo: asi + mis lagrimas y querellas + insufribles le seran; + querra que yo las contenga; 730 + no podre, se irritara, + y me matara. + +MARGARITA. iMe aterras, + hija, me matas a mi! + +ISABEL. Tengo yo cartas que lea: + puede encontrarmelas. + +MARGARITA. iOh! 735 + Si como las tuyas fueran + otras.... + +ISABEL. Y tengo un retrato + en esta joya. (_Saca un relicario_.) + ?Son esas + sus facciones? Pues sabed + que, sin estudio ni regla, 740 + de amor guiada la mano, + al primer ensayo diestra, + yo supe dar a ese rostro + semejanza tan perfecta. + Me sirvio para suplir 745 + de Marsilla la presencia; + no le necesito ya: + mas vale que no le vea. + iAh! dejadme que le bese + una vez ... la ultima es esta. 750 + Tomad. ?Veis? el sacrificio + consumo, y estoy serena, + tranquila ... como la tumba. + Imitad vos mi entereza, + mi calma ... y no me digais 755 + una palabra siquiera. + De mi vuestra fama pende: + la conservareis ilesa. + Yo me casare: no importa, + no importa lo que me cuesta. (_Vase_.) 760 + + + + ESCENA XIII + + +MARGARITA + +MARGARITA. Y ?debo yo consentir + que la inocente Isabel, + por mi egoismo cruel, + se ofrezca mas que a morir? + Pero ?como he de sufrir 765 + que, perdida mi opinion, + me llame todo Aragon + hipocrita y vil mujer? + Mala madre me hace ser + mi buena reputacion. + A todo me resignara + con animo ya contrito, + si al saberse mi delito, + yo sola me deshonrara. + Pero a mi esposo manchara 775 + con ignominia mayor. + iHija infeliz en amor! + iHija desdichada mia! + Perdona la tirania + de las leyes del honor. 780 + + + + + ACTO TERCERO + + +Retrete o gabinete de Isabel. Dos puertas. + + + + ESCENA PRIMERA + + +ISABEL, TERESA + +Aparece ISABEL, ricamente vestida, sentada en un sillon junto a una +mesa, sobre la cual hay un espejo de mano, hecho de metal. TERESA +esta acabando de adornar a su ama. + +TERESA. ?Que os parece el tocado? Nada, ni me +oye. Que os mireis os digo; tomad el espejo. (_Se le da +a Isabel, que maquinalmente le toma, y deja caer la mano sin +mirarse_.) A esotra puerta. Miren ique trazas estas de +novia!--Ved ique preciosa gargantilla voy a poneros! 5 +(_Isabel inclina la cabeza_.) Pero alzad la cabeza, Isabel. +Si esto es amortajar a un difunto. + +ISABEL. iMarsilla! + +TERESA. (_Aparte._ Dios le haya perdonado.) Ea, se +concluyo. Bien estais. Ello, si, me habeis hecho perder 10 +la paciencia treinta veces. + +ISABEL. iMadre mia! + +TERESA. Si echais menos a mi senora, ya os he dicho +que no esta en casa, porque para ella, la caridad es antes +que todo. El juez de este ano, Domingo Celladas, tenia 15 +un hijo en tierra de infieles: Jaime, ya le conoceis. Hoy, +sin que hubiese noticia de que viniera, se le han encontrado +en el camino de Valencia unos mercaderes, herido y +sin conocimiento. Por un rastro de sangre que iba a parar +a un hoyo, se ha comprendido que debieron echarle 20 +dentro; y se cree que hasta poder salir, habra estado en +el hoyo quiza mas de un dia, porque las heridas no son +recientes. Vuestra madre ha sido llamada para asistirle; +me ha encargado que os aderece; os he puesto hecha una +imagen; y ni siquiera he logrado que deis una mirada al 25 +vestido, para ver si os gusta. + +ISABEL. Si: es el ultimo. + +TERESA. iEl dulcisimo nombre de Jesus! No lo +quiera Dios, Isabelita de mi alma: no lo querra Dios; +antes os hara tan dichosa como vos mereceis. Pero 30 +salid de ese abatimiento: mirad que ya van a venir +los convidados a la boda, y es menester no darles que decir. + +ISABEL (_con sobresalto_). ?Que hora es ya? + +TERESA. No tardaran en tocar a visperas ahi al lado, +en San Pedro. Es la hora en que salio de Teruel don 35 +Diego; y hasta que pase, mi senor no se considera libre +de su promesa. + +ISABEL. Si, a esa hora, a esa hora misma partio ... +para nunca volver. En este aposento, alli, delante de ese +balcon estaba yo, llorando sobre mi labor, como ahora 40 +sobre mis galas. Continuamente miraba a la calle por +donde habia de pasar, para verle; ahora no miro: no +le vere. Por alli vino, dirigiendo el fogoso alazan, ensenado +a parase bajo mis balcones. Por alli vino, vestida +la cota, la lanza en la mano, al brazo la banda, ultimo don 45 +de mi carino. "Hasta la dicha o hasta la tumba," me dijo. +"Tuya o muerta," le dije yo; y cai sin aliento en el balcon +mismo, tendidas las manos hacia la mitad de mi alma que +se ausentaba.--iSuya o muerta! Y voy a dar la mano a +Rodrigo. iBien cumplo mi palabra! 50 + +TERESA. Hija mia, desechad esas ideas. Yo ?que +os he de decir para consolaros? Que os he visto nacer, +que habeis jugado en mis brazos y en mis rodillas ... y +que diera yo porque recobraseis la paz del alma y fuerais +feliz iay!, diera yo todos los dias que me faltan que vivir, 55 +menos uno para verlo. + +ISABEL. ?Feliz, Teresa? Con este vestido, ?como +he de ser feliz? iPesa tanto, me ahoga tanto!... +Quitamele, Teresa. (_Levantandose_.) + +TERESA. Senora, que viene don Rodrigo. 60 + +ISABEL. iDon Rodrigo! Busca pronto a mi madre. +(_Vase Teresa_.) + + + + ESCENA II + +DON RODRIGO.--ISABEL + +RODRIGO. Mis ojos por fin os ven + a solas, angel hermoso. + Siempre un amargo desden + y un recato rigoroso 65 + me han privado de este bien. + --Tremula estais: ocupad + la silla. + +ISABEL. iAnte mi senor! + +RODRIGO. Esclavo direis mejor. + Soberana es la beldad 70 + en el reino del amor. + +ISABEL. iMentida soberania! + +RODRIGO. De mi rendimiento fiel, + que dudarais no creia. + iSi a conocer, Isabel, 75 + llegaseis el alma mia!... + +ISABEL. ?Para que? Senas ha dado + que indican su indole bella. + +RODRIGO. Mi destino desastrado + solo mostrar me ha dejado 80 + lo deforme que hay en ella. + Un Azagra conoceis + orgulloso y vengativo; + y otro por fin hallareis + que en vuestro rigor esquivo 85 + figuraros no podeis. + El Azagra que os adora, + el Azagra para vos, + aun no le visteis, senora; + y nos conviene a los dos 90 + una explicacion ahora. + +ISABEL. Mis padres pueden mandar, + yo tengo que obedecer, + nada pretendo saber: + hiciera bien en callar 95 + quien ha logrado vencer. + +RODRIGO. El vencedor, que aparece + lleno ante vos de amargura, + manifestaros ofrece + que sabe lo que merece 100 + dona Isabel de Segura. + Os vi, y en vos admire + virtud y belleza rara: + digno de vos me juzgue, + y uniros a mi jure, 105 + costara lo que costara. + Maldicion mas espantosa + no pudo echarme jamas + una lengua venenosa + que decir: no lograras 110 + hacer a Isabel tu esposa. + Lidiare, si es necesario, + por ella con todo el orbe, + clamaba yo de ordinario. + iInfeliz el que me estorbe, 115 + competidor o contrario! + En mi celoso furor + cabe hasta lo que denigre + mi calidad y mi honor. + Amo con ira de tigre ... 120 + porque es muy grande mi amor. + --No el vuestro, tan delicado, + me pinteis para mi mengua: + quiza no lo haya expresado + en seis anos vuestra lengua, 125 + sin que me lo hayan contado. + Cuantas cartas escribio + Marsilla ausente, lei: + el su retrato no vio, + yo si: junto a vos aqui 130 + siempre tuve un guarda yo. + Ha sido mi ocupacion + observaros noche y dia; + y abandonaba a Monzon + siempre que lo permitia 135 + la marcial obligacion. + Viendoos al balcon sentada + por las noches a la luna, + mi fatiga era pagada: + jamas fue mujer ninguna 140 + de amante mas respetada. + Para romper mis prisiones, + para defectos hallaros, + fueron mis indagaciones; + y siempre para adoraros 145 + encontre nuevas razones. + Seducido el pensamiento + de lisonjeros enganos, + un favorable momento + espero hace ya seis anos, 150 + y aun llegado no lo cuento. + Pero, por dicha, quiza + no deba estar muy distante. + +ISABEL. iQue! ?Pensais que cesara + mi pasion, muerto mi amante? 155 + No, lo que yo vivira. + +RODRIGO. Pues bien, amad, Isabel, + y decidlo sin reparo; + que con ese amor tan fiel, + aunque a mi me cueste caro, 160 + nunca me hallareis cruel. + Mas si ese afecto amoroso, + cuya expresion no limito, + mantener os es forzoso, + yo, mi bien, yo necesito 165 + el nombre de vuestro esposo. + No mas que el nombre, y concluyo + de desear y pedir: + todas mis dichas incluyo + en la dicha de decir: 170 + "Me tienen por dueno suyo." + Separada habitacion, + distinto lecho tendreis.... + ?Quereis mas separacion? + Vos en Teruel vivireis, 175 + yo en la corte de Aragon. + ?Temeis que la soledad + bajo mi techo os consuma? + Vuestros padres os llevad + con vos: mudareis en suma 180 + de casa y de vecindad. + Nunca sin vuestra licencia + vere esos divinos ojos.... + iAy! dadmela con frecuencia. + Si os oprimen los enojos, 185 + hablad, y mi diligencia + ya un festin, ya una batida, + ya un torneo dispondra. + Si llorais.... iPrenda querida! + cuando lloreis, ?que os dira 190 + quien no ha llorado en su vida? + Miseros ambos, hacer + con la indulgencia podemos + menor nuestro padecer. + Ahora, aunque nos casemos, 195 + ?me podreis aborrecer? + +ISABEL. iDon Rodrigo! iDon Rodrigo! (_Sollozando_.) + +RODRIGO. ?Llorais? ?Es porque me muestro + digno de ser vuestro amigo? + ?No sufri del odio vuestro 200 + bastante el duro castigo? + +ISABEL. iOh! no, no: mi corazon + palpitar de odio no sabe. + +RODRIGO. Ni al mirar vuestra afliccion + hay fuerza en mi que no acabe 205 + rindiendose a discrecion. + Es ya el caso de manera + que el infausto desposorio + viene a ser obligatorio + para ambos: lo demas fuera 210 + dar escandalo notorio. + Pero el amor que os consagro, + se ha vuelto a vos tan propicio, + que si Dios en su alto juicio + quiere obrar hoy un milagro ... 215 + contad con un sacrificio. + Ayer, si resucitara + mi aciago rival Marsilla, + sin compasion le matara, + y sin limpiar la cuchilla, 220 + corriera con vos al ara. + Hoy, resucitado o no, + si antes que me deis el si, + viene ... que triunfe de mi. + +ISABEL. iVos, si que triunfais asi 225 + de esta debil mujer! + +(_El llanto le ahoga la voz por unos instantes; luego, al ver a +don Pedro y a los que le acompanan, se contiene, exclamando_:) + + iOh! + + + +ESCENA III + + +DON PEDRO, DON MARTIN, DAMAS, CABALLEROS, PAJES.-- +ISABEL, DON RODRIGO. Despues, TERESA + +PEDRO. Hijos, el sacerdote que ha de bendecir vuestra +union, ya nos esta esperando en la iglesia. Tanto mis +deudos como los de Azagra me instan a que apresure la +ceremonia; pero aun no ha fenecido el plazo que otorgue 230 +a don Diego. Al toque de visperas de un domingo, salio +de su patria el malogrado joven, seis anos y siete dias +hace: hasta que suene aquella senal en mi oido, no tengo +libertad para disponer de mi hija. (_A don Martin._) +Porque veais de que modo cumplo mi promesa, os he rogado 235 +que vinierais aqui. + +MARTIN. iInutil escrupulosidad! No os detengais. +No rompera mi hijo el seno de la tierra para reconveniros. + +ISABEL (_aparte_). iInfeliz! + +PEDRO. Fiel a lo que jure me vera desde el tumulo, 240 +cual me hallaria viviendo. (_Sale Teresa_.) + +RODRIGO. Isabel deseara la compania de su madre: +pudieramos pasar por casa del Juez.... + +TERESA. Ahora empezaba el herido a volver en su +conocimiento. Si antes de visperas no se halla mi senora 245 +en la iglesia, es senal de que no puede asistir a los desposorios: +esto me ha dicho. + +PEDRO. La esperaremos en el templo. (_A don Martin._) +Si la pesadumbre os permite acompanarnos, venid.... + +MARTIN. Excusadme el presenciar un acto que debe 250 +serme tan doloroso. + +PEDRO. Estad seguro de que mientras no oigais las +campanas, no habra dado su mano Isabel. Estos +caballeros podran atestiguar que se espero hasta el cabal +vencimiento del plazo. Marchemos. 255 + +ISABEL (_aparte_). iMorada de mi pasado bien, adios +para siempre! + +(_Vanse todos, menos don Martin._) + + + +ESCENA IV + + +DON MARTIN + +MARTIN. Con pena, con celos veo yo a Isabel dirigirse +al altar. Hubo un tiempo en que la tuve por hija: hoy +me quitan su filial carino, y ella consiente. Pero ?que 260 +falta hace al misero cadaver de mi hijo la constancia de la +que el amo? Si su sombra necesita lagrimas, bien se +puede satisfacer con las mias. + + + +ESCENA V + + +ADEL.--DON MARTIN + +ADEL. Cristiano, busco a Martin Marsilla, que esta +aqui, segun se me dice. ?Eres tu? 265 + +MARTIN. Yo soy. + +ADEL. ?Que sabes de tu hijo? + +MARTIN. iMoro!... su muerte. + +ADEL. Esa noticia ... ?quien la ha traido? + +MARTIN. Un joven forastero. 270 + +ADEL. ?En donde para? + +MARTIN. Apenas se detuvo en Teruel: yo no pude +verle. + +ADEL. ?Que ha pasado con Jaime Celladas? + +MARTIN. Le han herido gravemente al llegar a la villa: 275 +en su lecho yace todavia sin voz ni conocimiento. + +ADEL. Luego ?tu nada sabes? + +MARTIN. ?Que vas a decirme? + +ADEL. Acabo de averiguar que, disfrazada con traje +de hombre, ha entrado en Teruel Zulima, la esposa del 280 +Amir de Valencia. + +MARTIN. ?La que fue causa de la perdida de mi hijo? + +ADEL. El la desdeno, y ella se ha vengado mintiendo. + +MARTIN. ?Mintiendo? + +ADEL. iAnciano! Bendice al Senor: aun eres padre. 285 + +MARTIN. iDios poderoso! + +ADEL. Tu hijo libro de un asesinato perfido al Amir +de Valencia, y el Amir le ha colmado de riquezas y honores. +Herido en un combate, no se le permitio caminar hasta reponerse. +Jaime venia delante para anunciar su vuelta. 290 +Sigueme, y no parare hasta poner a Marsilla en tus brazos. +(_Vase_.) + +MARTIN (_alzando las manos al cielo, arrebatado de +jubilo_). iSenor! iSenor! + + + +ESCENA VI + + +MARGARITA.--DON MARTIN + +MARGARITA (_dentro_). iIsabel! iIsabel! (_Sale y repara +en don Martin, que se retiraba con Adel_.) Don Martin.... 295 + +MARTIN (_deteniendose_). Margarita, sabedlo.... + +MARGARITA. Sabedlo el primero. Jaime Celladas.... + +MARTIN. Ese moro que veis.... + +MARGARITA. Ha vuelto en si. + +MARTIN. Viene de Valencia. 300 + +MARGARITA. Jaime tambien. + +MARTIN. Vive mi hijo. + +MARGARITA. Lo ha dicho Jaime. Corred, impedid +ese casamiento. (_Oyese el toque de visperas_.) + +MARTIN. iAh! ya es tarde. 305 + +MARGARITA. iDios ha rechazado mi sacrificio! + +MARTIN. iHijo infeliz! + +MARGARITA. iHija de mis entranas! (_Vase_.) + + + +ESCENA VII + + +Bosque inmediato a Teruel + +MARSILLA, atado a un arbol + + Infames bandoleros, + que me habeis a traicion acometido, 310 + venid y ensangrentad vuestros aceros: + la muerte ya por compasion os pido. + --Nadie llega, de nadie soy oido; + vuelve el eco mis voces, y parece + que goza en mi dolor y me escarnece. 315 + Me adelante a la escolta que traia: + su lento caminar me consumia. + Yo vengo con amor, ellos con oro. + --Enemigos villanos, + los ricos dones del monarca moro 320 + no como yo daran en vuestras manos: + tienen quien los defienda. + Pero las horas pasan, huye el dia. + ?Que vas a imaginar, Isabel mia? + ?Que pensaras, idolatrada prenda, 325 + si esperando abrazar al triste Diego, + corrido el plazo ves, y yo no llego? + Mas por Jaime avisados + en mi casa estaran: pronto, azorados + con mi tardanza.... Si, ya se aproxima 330 + gente. ?Quien es? + + + +ESCENA VIII + + +ZULIMA, en traje de hombre.--MARSILLA + +ZULIMA. Yo soy. + +MARSILLA. iCielos! iZulima! + iTu aqui! (_Aparte._ iPresagio horrendo!) + +ZULIMA. Vecinos de Teruel vienen corriendo + a quienes mas que a mi toca librarte: + yo solo en esta parte 335 + me debo detener mientras te digo + que Isabel es mujer de don Rodrigo. + +MARSILLA. iGran Dios!--Mas no: me enganas, + impostora. + +ZULIMA. Zaen, que llega de Teruel ahora, + Zaen ha visto dar aquella mano 340 + tan ansiada por ti. + +MARSILLA. Finges en vano. + Tu ignoras que mi proxima llegada + previno un mensajero. + +ZULIMA. Tu no sabes que un tirador certero + supo dejar tu prevision burlada, 345 + saliendole al camino al mensajero. + Yo hable con Isabel, yo de tu muerte + la noticia le di, y a los bandidos + encargue que tu viaje detuvieran. + Yo, celebradas de Isabel las bodas, 350 + te las vengo a anunciar. + +MARSILLA. ?Con que es ya tarde? + +ZULIMA. Mirame, bien, y dudalo si puedes. + Inutiles mercedes + el Rey te prodigo: mas he podido, + profuga yo, que mi real marido. 355 + Yo mi amor te ofreci, bienes y honores, + y te inmole mi fe y el ser que tengo; + tu preferiste ingrato mis rencores: + me ofendiste cruel, cruel me vengo. + Adios: en mi partida 360 + te dejo por ahora con la vida, + mientras padeces en el duro potro + de ver a tu Isabel en brazos de otro. (_Vase_.) + + + +ESCENA IX + + +MARSILLA + +MARSILLA. Monstruo, por cuya voz ruge el abismo, + vuelve y di que es engano 365 + todo lo que te oi. (_Forceja para desatarse_.) + Lazos crueles, + ?como me resistis? iLigan cordeles + al que hierros quebro! ?No soy el mismo? + iAh! no. Mujer fatal, cortos instantes + me quedan que vivir, si no has mentido; 370 + pero ipermita Dios que mueras antes! + + + +ESCENA X + + +ADEL, pasando por una altura.--MARSILLA + +ADEL. Rumor aqui he sentido. + Atraviesan el valle bandoleros + con Zulima a caballo. + Yo, cueste lo que cueste, 375 + la tengo de prender: voy a ver si hallo + cerca mis companeros. + +MARSILLA. ?Quien va? + +ADEL. Marsilla es este. (_A voces_.) + Aqui! iPor este lado, caballeros! (_Vase_.) + + + +ESCENA XI + + +DON MARTIN, CABALLEROS, CRIADOS.--MARSILLA + +MARTIN (_dentro_.) El es. + +MARSILLA. iMi padre! + +VOCES (_dentro_.) El es. + +MARSILLA. iPadre! + +MARTIN (_dentro_.) iHijo mioi 380 + Subid, corred, volad: libradle pronto. + + (_Salen caballeros y criados_.) +MARSILLA. Desatadme, decidme.... + + (_Desatan a Marsilla_.) + +MARTIN (_saliendo_.) iHijo querido! + +MARSILLA. iPadre! + +MARTIN. Por fin te halle. + +MARSILLA. Decid.... ?Es tarde? + Yo quisiera dudar ... mi mal ?es cierto? + +MARTIN. Respondante las lagrimas que vierto. 385 + Hijo del alma, a quien su hierro ardiente + la desgracia al nacer marco en la frente, + tu triste padre, que por verte vive, + con dolor en sus brazos te recibe. + ?Quien tu llegada ha retardado? + +MARSILLA. El cielo ... 390 + el inferno ... no se ... facinerosos ... + una mujer ... dejadme. + +MARTIN. ?La Sultana? + ?Esos bandidos que cobardes huyen + de los guerreros que conmigo traje?-- + ?Te han herido? + +MARSILLA. iOjala! + +MARTIN ?Te han despojado? 395 + +MARSILLA. Nada he perdido: la esperanza solo. + +MARTIN. iSuerte cruel! Cuando el fatal sonido + de la campana termino ponia.... + +MARSILLA. iEsa tigre anuncio la muerte mia! + +MARTIN. ?Lo sabes? + +MARSILLA. De ella. + +MARTIN. iHorror! Entonces era 400 + cuando Jaime, el sentido recobrando, + la traidora noticia desmentia. + Corro al templo a saber.... Miro, enmudezco.... + iEran esposos ya! Tu bien perdiste... + Dios lo ha querido asi... Pero aun te quedan 405 + padres que lloren tu destino triste. + +MARSILLA. El ajeno dolor no quita el mio. + ?Con que llenais el horrido vacio + que el alma siente, de su bien privada? + iPadre! sin Isabel, para Marsilla 410 + no hay en el mundo nada. + Por eso en mi doliente desvario + sed barbara de sangre me devora. + Verterla a rios para hartarme quiero, + y cuando mas que derramar no tenga, 415 + la de mis venas soltara mi acero. + +MARTIN. Hijo, modera ese furor. + +MARSILLA. ?Quien osa + hijo llamarme ya? iFuera ese nombre! + La desventura quiebra + los vinculos del hombre con el hombre, 420 + y con la vida y la virtud. Ahora, + que tiemble mi rival, tiemble la mora. + Breve sera su victorioso alarde: + para acabar con ambos aun no es tarde. + +MARTIN. iDesgraciado! ?que intentas? + +MARSILLA. Con el crimen 423 + el crimen castigar. Una serpiente + se me enreda en los pies: mi pie destroce + su garganta infernal. Un enemigo + me aparta de Isabel: desaparezca. + +MARTIN. Hijo.... + +MARSILLA. Perecera + +MARTIN. No.... + +MARSILLA. iMaldecido 430 + mi nombre sea, si la sangre odiosa + de mi rival no vierto! + +MARTIN. Es poderoso.... + +MARSILLA. Marsilla soy. + +MARTIN. Mil deudos le acompanan.... + +MARSILLA. Mi furia a mi. + +MARTIN. Merezcate respeto + ese lazo.... + +MARSILLA. Es sacrilego, es aleve. 435 + +MARTIN. En presencia de Dios formado ha sido. + +MARSILLA. Con mi presencia queda destruido. + + + + + ACTO CUATRO + + +Habitacion de Isabel en la casa de don Rodrigo. Dos puertas a la +izquierda del espectador, una en el fondo, y una ventana sin reja a la +derecha. + + + + ESCENA PRIMERA + + +DON PEDRO, DON MARTIN + +PEDRO. Ya ceso la voceria. + +MARTIN. Ya se tranquiliza el pueblo. + Zaen en la carcel queda + con los demas bandoleros. + +PEDRO. Milagro ha sido salvarlos 5 + mayor que lo fue prenderlos. + +MARTIN. Y no los prenden quiza, + si no acuden tan a tiempo + los moros que de Valencia + con los regalos vinieron 10 + de su Rey para mi hijo. + iRegalos ya sin provecho! + iCastigue Dios a quien tiene + la culpa! + +PEDRO. iOh! lo hara.--Primero + que vayamos esta noche 15 + los dos al Ayuntamiento, + donde ya deben hallarse + juntos el Juez y mi yerno, + ?tendreis, don Martin, a bien + que los dos conferenciemos 20 + un rato? + +MARTIN. Hablad. + +PEDRO. Aqui esta + Zulima. + +MARTIN. Bien me dijeron + los moros. + +PEDRO. En esta calle + arremetio con los presos + un tropel de gente; y ella, 25 + puesta en libertad en medio + del tumulto, se arrojo + por estas puertas adentro. + +MARTIN. Confesad que don Rodrigo + la salvo. + +PEDRO. No lo confieso ... 30 + porque no lo vi. + +MARTIN Yo, en suma, + no dire que fue mal hecho: + el debe a la mora estar + agradecido en extremo: + por ella logra la mano 35 + de Isabel. + +PEDRO. Resentimiento + justo mostrais; pero yo, + que he sido enemigo vuestro, + necesito de vos hoy. + +MARTIN. Aqui me teneis, don Pedro. 40 + +PEDRO. Sois quien sois.--Esa mujer + nos pone en terrible aprieto. + Ya veis, los moros reclaman + su entrega con mucho empeno. + +MARTIN. Y mientras el Juez resuelve, 45 + cercada se ve por ellos + esta casa. + +PEDRO. Y bien, ?quisierais + que entre vos y yo de un riesgo + libraramos a Teruel? + +MARTIN. Crimen fuera no quererlo. 50 + +PEDRO. Si en la junta de la villa + negamos, como debemos, + la entrega de la Sultana, + va a ser enemigo nuestro + el Rey de Valencia, y puede 55 + gravisimo dano hacernos. + +MARTIN. Y el que recibimos ambos + de su mujer, ?es pequeno? + +PEDRO. Pero es mujer, y nosotros + cristianos y caballeros. 60 + +MARTIN. Proseguid. + +PEDRO. El compromiso + queda evitado, si hacemos + que huya en el instante. + +MARTIN. Hagamoslo. + --Pagueme Dios el esfuerzo + que me cuesta no vengarme. 65 + Disponed. + +PEDRO. Con un pretexto + llevad los moros de aqui: + de vos haran caso. + +MARTIN. Creo + que si. + +PEDRO. Lo demas es facil. + Puesta ya en salvo, diremos 70 + que ella huyo por si. + +MARTIN. Voy pues, + y ya que la mano tiendo + al uno de los autores + de mi desventura, quiero + darsela tambien al otro. 75 + Decid al dichoso dueno + de esta casa y de Isabel, + que mire en estos momentos + por su vida: que mi hijo + va, loco de sentimiento 80 + y de furor, en su busca + por Teruel; y, ivive el cielo + que, doliente como esta, + valor le sobra al mancebo + para vengar!... Perdonadme. 85 + Adios. Voy a complaceros, + y a buscarle y conducirle + esta noche misma lejos + de unos lugares en donde + vivimos los dos muriendo. 90 + +(_Vase por la puerta de la izquierda, mas cercana al proscenio_.) + +PEDRO. Id con Dios.--iPadre infeliz! + ?Y nosotros? Me estremezco + al pensar en Isabel, + cuando de todo el suceso + llegue a enterarse. + + + + ESCENA II + + +TERESA.--DON PEDRO + +TERESA (_dentro_). iFavor, 95 + que me vienen persiguiendo! (_Sale._) + +PEDRO. iTeresa! ?Que hay? ?Quien te sigue? + +TERESA. Las animas del infierno... + Las del purgatorio... No + se cuales; pero las veo, 100 + las oigo.... + +PEDRO. Mas ?que sucede? + +TERESA. iAy! Muerta de susto vengo. + iAy!--Isabel me ha enviado + por mi senora corriendo, + que volvio, no se por que, 105 + a la casa del enfermo; + y antes de llegar, he visto + en un callejon estrecho, + junto a la ermita caida... + iJesus! convulsa me vuelvo 110 + a casa. + +PEDRO. ?Que viste? Di. + +TERESA. Una fantasma, un espectro + todo parecido, todo, + al pobrecito don Diego. + +PEDRO. Calla: no te oiga Isabel. 115 + Guarda con ella silencio.-- + Marsilla ha venido, y ella + no lo sabe. + +TERESA. Pero, ?es cierto + que vive? + +PEDRO. ?No ha de ser? + +TERESA. iAy! + Pues otra desgracia temo. 120 + +PEDRO. ?Cual? + +TERESA. No lo asegurare, + por si es aprension del miedo; + sin embargo, yo crei + ver que se llevaba el muerto + asido del brazo al novio. 125 + +PEDRO. ?Que dices? + +TERESA. Aun traigo el eco + de su voz en los oidos. + Con alarido tremendo + decia: "Vas a morir, + has de morir."--"Lo veremos," 130 + replicaba don Rodrigo; + y echando votos y retos, + iban los dos como rayos + camino del cementerio. + Yo, senor, ya les rece 135 + la salve y el padre nuestro + en latin. + +PEDRO. Se han encontrado, + y van a tener un duelo. + Esto es antes. + + + +ESCENA III + + +ISABEL, por la segunda puerta del lado izquierdo.--DON PEDRO, +TERESA + +ISABEL. i Padre! + +PEDRO. Aguardame + aqui: pronto volveremos 140 + tu madre, tu esposo y yo. + Venid, Teresa. (_Vase los dos._) + +ISABEL. ?Que es esto? + iMi padre me deja sola, + cuando con tanto secreto + un moro me quiere hablar! 145 + Sin duda estan sucediendo + cosas extranas aqui. + + (_Acercase a la segunda puerta._) + + Llegad. Al mirarle, tiemblo. + + + +ESCENA IV + + +ADEL.--ISABEL + +ADEL. Cristiana, brillante honor + de las damas de tu ley, 150 + yo imploro, en nombre del Rey + de Valencia, tu favor. + +ISABEL. ?Mi favor? + +ADEL. Tendras noticia + de que salio de su corte + Zulima, su infiel consorte, 155 + huyendo de su justicia. + +ISABEL. Si. + +ADEL. Mi senor decreto + con rectitud musulmana + castigar a la Sultana, + ya que a Marsilla premio. 160 + +ISABEL. iPremiar!... ?Ignoras, cruel, + que le dio muerte sanuda? + +ADEL. Tu no le has visto, sin duda, + entrar como yo en Teruel. + +ISABEL. iMarsilla en Teruel! + +ADEL. Si. + +ISABEL. Mira 165 + si te enganas. + +ADEL. Mal pudiera. + Informate de cualquiera, + y matenme, si es mentira. + +ISABEL. No es posible.--iAh! isi! que siendo + mal, no es imposible nada. 170 + +ADEL. Por la villa alborotada + tu nombre va repitiendo. + +ISABEL. iEterno Dios! iQue infelices + nacimos!--?Cuando ha llegado? + ?Como es que me lo han callado? 175 + --Y tu, ?por que me lo dices? + +ADEL. Porque estas, a mi entender, + en grave riesgo quiza. + +ISABEL. Perdido Marsilla, ya + ?que bien tengo que perder? 180 + +ADEL. Con viva lastima escucho + tus ansias de amor extremas; + pero aunque tu nada temas, + yo debo decirte mucho. + Marsilla a mi Rey salvo 185 + de unos conjurados moros, + y el Rey vertio sus tesoros + en el, y aqui le envio. + El desprecio la liviana + inclinacion de la infiel.... 190 + +ISABEL. iOh! iSi! + +ADEL. Y airada con el + vino, y se vengo villana + contando su falso fin. + +ISABEL. iElla! + +ADEL. Con una gavilla + de bandidos, a Marsilla 195 + detuvo, ya en el confin + de Teruel, donde veloces + corriendo en tropel armado, + le hallamos a un tronco atado, + socorro pidiendo a voces. 200 + +ISABEL. Calla, moro: no mas. + +ADEL. Pasa + mas, y es bien que te aperciba. + --La Sultana fugitiva + se ha refugiado en tu casa: + en esta. + +ISABEL. iAqui mi rival! 205 + +ADEL. Tu esposo la liberto. + +ISABEL. iElla donde habito yo! + +ADEL. Guardate de su punal. + Por celos alla en Valencia + matar a Marsilla quiso. 210 + +ISABEL. A tiempo llega el aviso. + +ADEL. Confirma tu la sentencia + que justo lanzo el Amir. + Por esa mujer malvada + para siempre separada 215 + de Marsilla has de vivir. + Ella te arrastra al odioso + talamo de don Rodrigo. + Enviala tu conmigo + al que le apresta su esposo, 220 + pena digna del ultraje + que siente. + +ISABEL. Si, moro; salga + pronto de aqui, no le valga + el fuero del hospedaje. + Como perseguida fiera 225 + entro en mi casa: pues bien, + al cazador se la den, + que la mate donde quiera. + Mostrarse de pecho blando + con ella, fuera rayar 230 + en loca: voy a mandar + que la traigan arrastrando. + Sean de mi furia jueces + cuantas pierdan lo que pierdo. + iJesus! Cuando yo recuerdo 235 + que hoy pude... iJesus mil veces! + No le ha de valer el llanto, + ni el ser mujer, ni ser bella, + ni reina. iSi soy por ella + tan infeliz! itanto, tanto!... 240 + Dime, pues, di: tu senor, + ?que suplicio le impondra? + +ADEL. Una hoguera acabara + con su delincuente amor. + +ISABEL. iSu amor! iAmor desastrado! 245 + Pero es amor.... + +ADEL. Y ?es bastante + esa razon?... + +ISABEL. iEs mi amante + tan digno de ser amado! + Le vio, le debio querer + en viendole.--iY yo, que hacia 250 + tanto que no le veia ... + y ya no le puedo ver! + --Moro, la victima niego + que me vienes a pedir: + quiero yo darle a sufrir 255 + castigo mayor que el fuego: + ella con feroz encono + mi corazon desgarro ... + me asesina el alma ... yo + la defiendo, la perdono. (_Vase._) 260 + + + + ESCENA V + + +ADEL + + He perdido la ocasion. + Suele tener esta gente + acciones, que de un creyente + propias en justicia son. + Yo dejara con placer 265 + este empeno abandonado; + pero el Amir lo ha mandado, + y es forzoso obedecer. (_Vase._) + + + + ESCENA VI + + +MARSILLA, por la ventana + + Jardin ... una ventana ... y ella luego. + Jardin abierto halle y halle ventana; 270 + mas ?donde esta Isabel?--Dios de clemencia, + detened mi razon, que se me escapa; + detenedme la vida, que parece + que de luchar con el dolor se cansa. + Siete dias hace hoy, ique venturoso 275 + era en aquel salon! Sangre manaba + de mi herida, es verdad; pero agolpados + al rededor de mi lujosa cama, + la tierna historia de mi amor oian + los guerreros, el pueblo y el Monarca, 280 + y entre piadoso llanto y bendiciones + "tuya sera Isabel" juntos clamaban + subditos y senor. Hoy no me ofende + mi herida, rayos en mi diestra lanza + el damasquino acero... No le traigo... 285 + iY hace un momento que con dos me hallaba! + --Salvo en Teruel y vencedor, ?que angustia + viene a ser esta que me rinde el alma, + cuando, acabada la cruel ausencia, + voy a ver a Isabel? + + + +ESCENA VII + + +ISABEL.--MARSILLA + +ISABEL. Por fin se encarga 290 + mi madre de Zulima. + +MARSILLA. iCielo santo! + +ISABEL. iGran Dios! + +MARSILLA. ?No es ella? + +ISABEL. iEl es! + +MARSILLA. iPrenda adorada! + +ISABEL. iMarsilla! + +MARSILLA. iGloria mia! + +ISABEL. ?Como iay! como + te atreves a poner aqui la planta? + Si te han visto llegar... ?A que has venido? 295 + +MARSILLA. Por Dios ... que lo olvide. Pero ?no basta, + para que hacia Isabel vuele Marsilla, + querer, deber, necesitar mirarla? + iOh! ique hermosa a mis ojos te presentas! + Nunca te vi tan bella, tan galana... 300 + Y un pesar sin embargo indefinible + me inspiran esas joyas, esas galas. + Arrojalas, mi bien; lana modesta, + candida flor, en mi jardin criada, + vuelvan a ser tu virginal adorno: 305 + mi amor se asusta de riqueza tanta. + +ISABEL. (_Aparte._ iDelira el infeliz! Sufrir no puedo + su dolorida, atonita mirada.) + ?No entiendes lo que indica el atavio, + que no puedes mirar sin repugnancia? 310 + Nuestra separacion. + +MARSILLA. iPoder del cielo! + Si. iFunesta verdad! + +ISABEL. Estoy casada. + +MARSILLA. Ya lo se. Llegue tarde. Vi la dicha, + tendi las manos, y volo al tocarla. + +ISABEL. Me enganaron: tu muerte supusieron 315 + Y tu infidelidad. + +MARSILLA. iHorrible infamia! + +ISABEL. Yo la muerte crei. + +MARSILLA. Si tu vivias, + y tu vida y la mia son entrambas + una sola, no mas, la que me alienta, + ?como de ti sin ti se separara? 320 + Juntos aqui nos desterro la mano + que gozo y pena distribuye sabia: + juntos al fin de la mortal carrera + nos toca ver la celestial morada. + +ISABEL. iOh! isi me oyera Dios!... + +MARSILLA. Isabel, mira, 325 + yo no vengo a dar quejas: fueran vanas. + Yo no vengo a decirte que debiera + prometerme de ti mayor constancia, + cumplimiento mejor del tierno voto + que invocando a la Madre inmaculada, 330 + me hiciste amante la postrera noche + que me aparto de tu balcon el alba. + "Para ti (sollozando me decias), + o si no, para Dios."--iDulce palabra, + consoladora fiel de mis pesares 335 + en los ardientes paramos del Asia + y en mi cautividad! Hoy ni eres mia, + ni esposa del Senor. Di, pues, declara + (esto quiero saber) de que ha nacido + el prodigio infeliz de tu mudanza. 340 + Causa debe tener. + +ISABEL. La tiene. + +MARSILLA. Grande. + +ISABEL. Poderosa, invencible: no se casa + quien amaba cual yo, sino cediendo + a la fuerza mayor en fuerza humana. + +MARSILLA. Dimelo pronto, pues, dilo. + +ISABEL. Imposible. 345 + No has de saberlo. + +MARSILLA. Si. + +ISABEL. No. + +MARSILLA. Todo. + +ISABEL. Nada. + Pero tu en mi lugar tambien el cuello + docil a la coyunda sujetaras. + +MARSILLA. Yo no, Isabel, yo no. Marsilla supo + despreciar una mano soberana 350 + y la muerte arrostrar por quien ahora + la suya vende y el porque le calla. + +ISABEL. (_Aparte._ iMadre, madre!) + +MARSILLA. Responde. + +ISABEL. (_Aparte._ ?Que le digo?) + Tendre que confesar ... que soy culpada. + ?Como no lo he de ser? Me ves ajena. 355 + Perdoname... Castigame por falsa, + (_Llora._) + + matame, si es tu gusto... Aqui me tienes + para el golpe mortal arrodillada. + +MARSILLA. Idolo mio, no; yo si que debo + poner mis labios en tus huellas. Alza. 360 + No es de arrepentimiento el lloro triste + que esos luceros fulgidos empana; + ese llanto es de amor, yo lo conozco, + de amor constante, sin doblez, sin tacha, + ferviente, abrasador, igual al mio. 365 + ?No es verdad, Isabel? Dimelo franca: + va mi vida en oirtelo. + +ISABEL. ?Prometes + obedecer a tu Isabel? + +MARSILLA. iIngrata! + ?Cuando me rebele contra tu gusto? + Mi voluntad, ?no es tuya? Dispon, habla. 370 + +ISABEL. Juralo. + +MARSILLA. Si. + +ISABEL. Pues bien... Yo te amo.--Vete. + +MARSILLA. iCruel! ?Temiste que ventura tanta + me matase a tus pies, si su dulzura + con venenosa hiel no iba mezclada? + ?Como esas dos ideas enemigas 375 + de destierro y de amor hiciste hermanas? + +ISABEL. Ya lo ves, no soy mia; soy de un hombre + que me hace de su honor depositaria, + y debo serle fiel. Nuestros amores + mantuvo la virtud libres de mancha: 380 + su pureza de armino conservemos.-- + Aqui hay espinas, en el cielo palmas. + Tuyo es mi amor y lo sera: tu imagen + siempre en el pecho llevare grabada, + y alli la adorare: yo lo prometo, 385 + yo lo juro; mas huye sin tardanza. + Libertame de ti, se generoso: + libertame de mi.... + +MARSILLA. No sigas, basta. + ?Quieres que huya de ti? Pues bien, te dejo. + Valor ... y separemonos.--En paga, 390 + en recuerdo si no, de tantas penas + con gozo por tu amor sobrellevadas, + permite, Isabel mia, que te estrechen + mis brazos una vez.... + +ISABEL. Deja a la esclava + cumplir con su senor. + +MARSILLA. Sera el abrazo 395 + de un hermano dulcisimo a su hermana, + el osculo sera que tantas veces + cambio feliz en la materna falda + nuestro amor infantil. + +ISABEL. No lo recuerdes. + +MARSILLA. Ven.... + +ISABEL. No: jamas. + +MARSILLA. En vano me rechazas. 400 + +ISABEL. Detente ... o llamo.... + +MARSILLA. ?A quien? ?A don Rodrigo? + No te figures que a tu grito salga. + No lisonjeros placemes oyendo, + su vanidad en el estrado sacia, + no; lejos de los muros de la villa 405 + muerde la tierra que su sangre bana. + +ISABEL. iQue horror! ?Le has muerto? + +MARSILLA. iPerfida! ?te afliges? + Si lo llego a pensar, ?quien le librara? + +ISABEL. ?Vive? + +MARSILLA. Merced a mi nobleza loca, + vive: apenas cruzamos las espadas, 410 + furiosa en el se encarnizo la mia: + un momento despues, hundido estaba + su orgullo en tierra, en mi poder su acero. + iOh! imaldita destreza de las armas! + iMaldito el hombre que virtudes siembra 415 + que le rinden cosecha de desgracias! + No mas humanidad, crimenes quiero. + A ser cruel tu crueldad me arrastra, + y en ti la he de emplear. Conmigo ahora + vas a salir de aqui. + +ISABEL. iNo, no! + +MARSILLA. Se trata 420 + de salvarte, Isabel. ?Sabes que dijo + el cobarde que lloras desolada, + al caer en la lid? "Triunfante quedas; + pero mi sangre costara bien cara." + +ISABEL. ?Que dijo? ?Que? + +MARSILLA. "Me vengare en don Pedro, 425 + en su esposa, en los tres: guardo las cartas." + +ISABEL. iJesus! + +MARSILLA. ?Que cartas son?... + +ISABEL. iTu me has perdido! + La desventura sigue tus pisadas. + ?Donde mi esposo esta? Dimelo pronto, + para que fiel a socorrerle vaya, 430 + y a fuerza de rogar venza sus iras. + +MARSILLA. iJusto Dios! Y idecia que me amaba! + +ISABEL. ?Con su pasion funesta reconvienes + a la mujer del vengativo Azagra? + iTe aborrezco! (_Vase._) + + + +ESCENA VIII + + +MARSILLA + +MARSILLA. iGran Dios! Ella lo dice. 435 + Con furor me lo dijo: no me engana. + Ya no hay amor alli. Mortal veneno + su boca me arrojo, que al fondo pasa + de mi seno infeliz, y una por una, + rompe, rompe, me rompe las entranas. 440 + Yo con ella, por ella, para ella + vivi... Sin ella, sin su amor, me falta + aire que respirar... iEra amor suyo + el aire que mi pecho respiraba! + Me le nego, me le quito: me ahogo, 445 + no se vivir. + +VOCES (_dentro._) Entrad, cercad la casa. + + + +ESCENA IX + + +ISABEL, tremula y precipitada.--MARSILLA + +ISABEL. Huye, que viene gente, huye. + +MARSILLA (_todo trastornado_). No puedo. + +VOCES (_dentro_). iMuera, muera! + +MARSILLA. Eso si. + +ISABEL. Ven. + +MARSILLA. iDios me valga! + +(_Isabel le ase la mano y se entra con el por la puerta del +fondo._) + + + +ESCENA X + + +ADEL, huyendo de varios CABALLEROS, con espadas desnudas; +DON PEDRO, MARGARITA, CRIADOS.--ISABEL y MARSILLA dentro. + +CABALLEROS. iMuera, muera! + +PEDRO Y MARGARITA. Escuchad. + +ADEL. Aragoneses, + yo la sangre verti de la Sultana; 450 + pero el Rey de Valencia, esposo suyo, + tras ella me envio para matarla. + Consorte criminal, amante impia, + la muerte de Marsilla maquinaba, + la muerte de Isabel.... + +ISABEL (_dentro_). iAy! + +ADEL. Ved en prueba 455 + esta punta sutil envenenada. + (_Muestra el punal de Zulima._) + Marsilla lo que digo corrobore: + cerca de aqui ha de estar. + +(_Abrese la puerta del fondo, y sale por ella Isabel, que se +arroja en brazos de Margarita. Marsilla aparece caido +en un escano._) + + + +ESCENA XI + + +ISABEL.--DICHOS + +ISABEL. iMadre del alma! + +ADEL. Vedle alli.... + +MARGARITA. iSanto Dios! + +PEDRO. Inmovil.... + +ISABEL. iMuerto! + +ADEL. Cumplio Zulima su feroz venganza. 460 + +ISABEL. No le mato la vengativa mora. + Donde estuviera yo, ?quien le tocara? + Mi desgraciado amor, que fue su vida ... + su desgraciado amor es quien le mata. + Delirante le dije: "Te aborrezco": 465 + el creyo la sacrilega palabra, + y expiro de dolor. + +MARGARITA. Por todo el cielo ... + +ISABEL. El cielo que en la vida nos aparta, + nos unira en la tumba. + +PEDRO. iHija! + +ISABEL. Marsilla + un lugar a su lado me senala. 470 + +MARGARITA. iIsabel! + +PEDRO. iIsabel! + +ISABEL. Mi bien, perdona + mi despecho fatal. Yo te adoraba. + Tuya fui, tuya soy: en pos del tuyo + mi enamorado espiritu se lanza. + +(_Dirigese adonde esta el cadaver de Marsilla; pero antes de +llegar, cae sin aliento con los brazos tendidos hacia su +amante._) + + +FIN DEL DRAMA + + + + + +NOTES + + +ACTO PRIMERO + +7-8. #que ... el pie = que te ve colocar el pie orillas (a la orilla) de +un precipicio.# + +17. #al ser#, _on becoming, when he became_. + +33-34. #para vivir ... los tres = para que vivamos los tres con +opulencia.# + +48. #costara#, an example of the frequent use of the imperfect +subjunctive for the conditional in this play. + +57. #?Que habra escrito...?# Note use of future to express +conjecture. _What can he have written...?_ + +87. #Mira ... dice#, _see whether it says_. + +90. #en el encierro aquel = en aquel encierro.# + +106-107. #ve a buscarme#; literally, _go to find me_; translate: +_come to me_. + +113. #volvio = volvio en si#, _he has come to himself, has regained +consciousness_. + +115-116. #De aquella ... hecho = esta hecho (acostumbrado) a las +tinieblas de aquella horrible mansion.# + +135-136. #desde hoy ... aflija = desde hoy no permitire que te aflija +ningun afan.# + +140. #azorado#. Note that in poetry predicate adjectives or past +participles are frequently used instead of adverbs. + +147. #Haz ... vea = haz que yo vea a mi bienhechora.# + +155. #Defienda#, _may Heaven protect_, etc. + +162. #mas = es mas hermoso.# + +179-180. #No es ... mora = lo mas (importante) no es que la noble +princesa mora me redima.# + +191 et seq. In the first edition of the play Marsilla begins the account +of his adventures thus: + + Mi nombre es Diego Marsilla, + y cuna Teruel me dio, + ciudad que ayer se fundo + del Turia en la fresca orilla. + +In the interest of accuracy of detail the author changed this to the +reading of the present text. The river flowing past Teruel changes its +name from Guadalaviar to Turia only after it has left Teruel behind. +Moreover, Teruel was, strictly speaking, _villa_ at the time of the +supposed action of the play, and not _ciudad_: the title _ciudad_ was +not granted to it by the King of Aragon until the year 1347. + +193. #Ayer se fundo.# Destroyed by the Moors, Teruel was rebuilt in +1171, forty-six years earlier. In the life of a city, a generation seems +but a day. + +195-197. #cuyos muros ... pobladores = cuyos muros, levantados entre +horrores de lid atroz, fueron amasados con la sangre de sus fuertes +pobladores.# + +199-226. In these lines the idea of "predestined love" is exemplified. + +204. #sus#, _their_ (#del hombre y de la mujer#). + +213-214. #antes ... vernos = antes de vernos, nos amabamos.# + +219-222. A similar idea was expressed in the corresponding four lines of +the first edition thus: + + Y parecia un querer + tan firme en alma de nino, + recuerdo de otro carino + tenido antes de nacer. + +223-226. These four lines may be translated thus: _the love that united +Isabel and me_ (#nuestro querer#) _when we came into this sad world +was merely the continuance_ (#seguir#) _in the physical world of the +love that already existed in the spiritual_. Compare idea expressed by +"marriages are made in heaven." + +246. #aun vivo#; if the time were up, either I should have succeeded +or should now be dead. + +254. #Navas de Tolosa#, village in the Province of Jaen, in the south +of Spain, famous in history because of the decisive victory gained +there, July 16, 1212, by the allied kings of Christian Spain over the +Moslems. In the first edition, at the mention of this disastrous defeat +of the Moors, Zulima interrupts Marsilla's narrative with an outburst of +feeling quite appropriate in a Mohammedan: + + iLugar maldito del cielo, + donde la negra fortuna + postro de la media luna + la pujanza por el suelo! + +258 et seq. In the early years of the 13th century a religious sect in +the south of France, the Albigenses, rebelled against the authority of +the Church of Rome. Pope Innocent III proclaimed a crusade against them +in 1208, and a bloody war began in which the crusaders were led by the +ruthless Simon de Montfort until his death at the siege of Toulouse +(1218). During this Albigensian War (1208-1229) Beziers and other +important cities in the south of France were almost destroyed. + +267-270. #Y en pena ... sepulto = y en pena de que mi mano rompio el +hierro de mis cadenas, profundo encierro me sepulto en vida.# + +281. #haz por escuchar atento#, _try to listen attentively to_ ... + +293. #aqui#, in the land of the Moors. + +303. #Respuesta ... de = es bien que se le de a ella respuesta.# + +311-312. #Medita ... reclama#, _consider it well and you will grant +to time what it demands as its due_. If you take into consideration the +length of time that has passed since you have seen Isabel, you will +realize that she has probably forgotten you, and will become reconciled +to changed conditions because of the lapse of time. + +321. #dada ... recibida#, _having given my love and having received +hers_; or, _having given my heart in exchange for hers_. + +330. #le = su corazon.# + +335-336. #la nueva de ser Isabel esposa#, _the news of Isabel's +marriage_. + +340. #cuanto fabrico derrumba = derrumba cuanto (todo lo que) yo +fabrico.# + +345. #han de traer = traeran.# Note that _Isabel_ is direct object of +_traer_. + +346. #para tanto = para hacer tanto.# + +356. #Salvete su diligencia#, _let his efforts save you from danger_. + +361. #pereceis = perecereis.# Present instead of future for greater +vividness. + +364-366. #estallo = hubiera estallado; calla = habria callado; llega = +habria llegado.# + +392. #que venga.# Subject of _venga_ is _la rebelion,_ line 394. + +395-396. Note that _quien_ is subject of both _lema_ and _de_. + +425. #el un capitan = uno de los capitanes.# + +444. #Ya no hay perdon que le alcance#, _she is beyond the reach of +pardon_. + +445-446. #despues de correr ... vencido# = _after the struggle is +over, disposition will be made of the conquered_. + + +ACTO SEGUNDO + +17. #don Jaime#, James the Conqueror, King of Aragon from 1213 to +1276, son and successor of Pedro II. He gained the title, _El +Conquistador_, by his conquest of the Balearic Islands (1228-1232) and +Valencia (1258) from the Moors. + +21. #Sancho VII#, King of Navarre (1194-1234), known as _El Fuerte_. +He played an important part in the defeat of the Moors at Navas de +Tolosa in 1212. + +21. #Fernando III#, King of Castile (1217-1252), known as _El Santo_. +He reconquered Cordova, Seville, Jaen, etc,. from the Moors. + +87-88. #sobre como ... allanar#, _as to how it should be smoothed, +overcome_. + +102. #iVirgen del Pilar!# _Our Lady of the Sacred Pillar protect us!_ +In the church of _Nuestra Senora del Pilar_, Saragossa, is the sacred +pillar on which the Holy Virgin is believed to have appeared to Saint +James during his missionary journey through Spain. This pillar, with its +wooden image of the Virgin and Child, is the magnet that has drawn +countless pilgrims to Saragossa. + +131-132. #de estarse ... pestanear#, _from standing so long with +staring, unblinking, eyes_. + +137-139. #le fue ... al infeliz = la punta le fue a parar al corazon del +infeliz.# + +144. #pisaba = pisaria.# + +162. #?Si sabra?# ... _I wonder if he knows_... + +174. #querra.# Future to denote probability. + +186. #Pues ... partido#, _well, even in throwing the bar I can win +the game from him_. _Barra_, was a game in which the contestants strove +to outdo each other in throwing a heavy iron bar. It was therefore a +test of strength. + +197. #Jamas ... cara#, _never from danger do I turn my face_. + +204. #la mano que todo lo guia#, _the hand that directs the +universe_, the hand of God. + +208-209. #benefica, airada#. Note that adjectives are frequently used +instead of adverbs, especially in poetry. + +212. #de amante inquietud#, _inspired by loving solicitude_, that of +his own family. + +213. #no cobre#..., _may I never recover_... + +215. #Mayor mi teson a mas padecer#, _my obstinacy increasing with my +suffering_. Compare _mi teson crecia con mi padecer_, of the first +edition. + +239-240. #decid ... vida#, _tell her to whom this father_ (Martin +himself) _owes the privilege of seeing himself alive_. + +247-248. Compare with these the two corresponding lines of the first +edition: + + Con tal companera, ?quien no ha de temblar + de perder la vida que lleva dichosa? + +255-256. #dirige = hubiese dirigido; ahorran = habrian ahorrado; cuanto +de llanto = icuantas lagrimas!# + +259. #la de Maurel#, the battle of Muret in southern France, 1213, in +which the Albigenses and their allies, the Aragonese, were defeated by +the Crusaders under Simon de Montfort. King Pedro of Aragon lost his +life in the battle and many Aragonese were killed or taken prisoners. + +275-276. #Diligencia escasa ... cupo = parece que diligencia escasa, +fortuna severa, cupo en suerte a# (_fell to the lot of_) #mi sangre +(familia).# + +278. #se muestre#, _let him show himself_. Freely translated: _one +who has been unable to overcome adverse fortune should at least be +patient when it wounds him_. + +279. #de aquesa manera#, _in that condition_, that is, without a +sword. + +296. #le acatan propios y ajenos#, _all respect him, those of his +own family_ (#propios#) _and those of others_ (#ajenos#). + +341. #logre ... mal#, _I succeeded in convincing my ears that they_ +(#los acentos desabridos#) _did not have a disagreeable sound for +me_. + +347. #al recordar mi memoria#, _when memory would bring to mind_. + +371 et seq. Note that _vos, piedra, boveda, suelo_ are all direct +objects of _invoco_, line 379. _Not you, but rather the inanimate stone +... that vaulted ceiling ... that pavement ... do I call upon as +witnesses_.... + +377. #a no ser ... huella#, _if it were not as hard and cold as the +one that walks upon it_. + +381. #que# = _for_; #le = al afan.# + +384. #oyera = pudiera, podria, oirla.# + +413. #ofreci dar#, _I would gladly have given_. + +423-426. Compare corresponding lines in first edition: + + Cuanto padezco mirad + pues ya como dicha cuento + que mis penas un momento + suspendan su intensidad. + +447-450. #Vuestras razones ... crimen#, _your words of intercession +carry conviction to his heart; any hesitation or reluctance on my part +would be (considered) disrespect, sinful_. + +455. #que ... mortaja = que el se limite a tenerme una cruz y una +mortaja#, _he need do no more than provide me a cross and a shroud_. + +559. #de infeliz ... mas#, _from an unhappy state I have passed to +one still more wretched_. + +564-565. #por senas que ... judio.# Teresa's meaning is clear; he +must be either a Jew or a Moor, she thinks, since he refused to partake +of the slices of pork and wine that she had offered him. She might have +expressed herself more logically thus: _por senas que_ (as proof that) +_debe ser moro o judio, nada de ello (magras y vino) ha probado_. + +572. #iQue haya ... oi!# _If it were only a dream what I believe that +I heard!_ + +600. #Ya que padeci, padezca (ella).# + +603-605. #al fin ... miserable#, _after all, compared with her, +Manilla was of little account_. + +616-617. See _buena_ in Vocabulary. + +664. #en que reina#, _where he now dwells_. + +673-674. #sin que ... ofensa#, _without any one's being able to take +offense at my tears_. + +734. #que lea#, _that he may read_. + +735. #encontrarmelas.# _Me_, dative of interest or concern, may be +translated: _for all I care_. + +764. #se ofrezca ... morir#, _consent to worse than death_. + + +ACTO TERCERO + +7. #Si esto ... difunto = esto es como si yo amortajase a un +difunto.# + +34. #No tardaran ... San Pedro#, _the call to vespers will not be +long in sounding over there in Saint Peter's_. San Pedro is the name of +the old parochial church in Teruel connected with the legend of _Los +Amantes_. + +73-74. #Yo no creia que dudarais de mi rendimiento fiel.# + +84-86. #y al fin hallareis otro que no podeis figuraros en vuestro rigor +esquivo.# + +89. #aun no le visteis#, _him you have not yet seen_. + +107-109. #una lengua venenosa no pudo jamas echarme maldicion mas +espantosa que decir#.... + +142-144. #Para romper ... indagaciones#, _in order to break my +bondage (free myself from love of you), in order to find defects in you, +my investigations were undertaken._ + +156. #lo que yo vivira = lo que# (_as long as_) #yo viva, vivira#. + +167-168. #concluyo de desear y pedir#, _I desire and ask for no +more_. + +180-181. #mudareis en suma de casa y de vecindad#, _you will move +into another house and neighborhood, nothing more_. + +210-211. #lo demas ... notorio#, _otherwise it would give cause for +notorious scandal_. + +217. #resucitara = hubiera resucitado.# + +219. #matara = habria matado.# + +221. #corriera = habria corrido.# + +346. #saliendole al camino = saliendole al encuentro.# + +354. #mas ... marido = yo, profuga, he podido (hacer) mas que mi real +marido.# + +364. #monstruo ... abismo#, _inhuman creature, in whose voice is +heard the wrath of hell_. + +386-387. #a quien ... frente#, _whose forehead evil fate branded at +birth with burning iron_. + +388. #que por verte vive#, _who receives new life on seeing you_. + +434. #merezcate ... lazo#, _respect as you should that marriage +bond_. + +437. #Con mi presencia queda destruido.# "Sublime respuesta de la +pasion, tan sublime por lo menos como el famoso _Qu'il mourut_ de +Corneille, porque para la pasion no hay obstaculo, no hay mundo, no hay +hombres, no hay mas Dios, en fin, que ella misma. Sacrilegio sublime +como el de Ayax en Homero." (Jose de Larra, _Coleccion de articulos_, +page 194.) + + +ACTO CUATRO + +7. #prenden = habrian prendido.# + +8. #acuden = hubiesen acudido.# + +41. #sois quien sois#, _you are true to yourself_; or, _one can +always count upon you_. + +48. #entre vos y yo#, _we two, you and I_. + +119. #?No ha de ser?# _Why not?_ + +122. #por si es#, _lest it be; in case it may be_. + +139. #Esto es antes.# Teresa thought that the spirit of Marsilla was +conducting Rodrigo to the cemetery. Pedro, after giving the real +explanation, adds _Esto es antes_, meaning, _rather is this it_, i.e., +the true explanation. + +165-166. #mira si te enganas#, _you are surely mistaken_. + +166. #mal pudiera = mal podria (enganarme).# + +201-202. #Pasa mas#, _more has happened; there is still more to +tell_. Note that _yo_ is the subject understood of _aperciba_ in line +202. + +220. #al = al talamo.# + +222-224. #salga ... hospedaje#, _let her leave here at once, let not +the law of hospitality serve her (as protection)_. + +230-231. #fuera rayar en loca#, _would be little removed from folly; +would border on madness_. + +233-234. #sean ... pierdo = sean jueces de mi furia todas las mujeres +que pierdan lo que yo pierdo.# + +250-251. #que ... veia#, _who had not seen him for such a long +time_.... + +263-264. #que ... son#, _that rightly belong to a true believer_. In +this case _creyente_ means Moslem, a follower of Mohammed. Isabel's +magnanimity arouses Adel's admiration. + +Escena VI. Read #que entra# after #Marsilla#. + +286. #dos#, his own sword and that of Rodrigo. The explanation will +be found in lines 401-413. + +317. #si tu vivias#, _seeing that you were still alive_. + +319-320. #la que ... separara? = ?Como podria separarse de ti sin ti la +(vida) que me alienta?# + +321. #desterro#, _banished, exiled (from Heaven)_; = #Juntos aqui nos +desterro (del cielo) la mano (de Dios) que distribuye sabia-(mente) +gozos y penas.# + +327-328. #debiera prometerme = habria debido prometerme#, _you ought +to have offered me_...; or, _I should have expected_.... + +342-344. #no se casa ... humana#, _one that loved as I did does not +marry, unless compelled to do so by the strongest force within the power +of mankind_. + +348. #sujetaras = habrias sujetado.# + +352. #la suya = su mano.# + +355. #me ves ajena#, _you see me the wife of another_. + +367. #va mi vida en oirtelo#, _to hear you say it is a matter of life +or death to me_. + +391. #en recuerdo si no#, _in memory at least_. + +408. #si lo llego ... librara?# _Should I ever believe that, who +could protect him?_ + +440. #las entranas = el corazon. Una por una# in the preceding line +might be translated _little by little_. + +473-474. #en pos de ... lanza#, _my lovelorn spirit hastens away in +pursuit of thine_. + +A comparison of the closing lines of the play with those of the first +version shows a decided gain in dramatic effectiveness. + +ISABEL. ?Conque ya es muerto? + +TODOS. iMuerto! + +ISABEL. Yo le mate; quise alejarle ... + que le odiaba le dije ... el sentimiento, + el espanto ... iY menti!... + Pero tambien de mi se apiada el cielo. + Ya de la eternidad me abre la puerta + y de mis ojos huye el mundo entero, + y una tumba diviso solamente + con un cadaver, y a su lado un hueco. + Marsilla, yo te ame, siempre te amaba ... + tu me lloraste ajena ... tuya muero. + +Cotarelo y Mori, in his scholarly study of the origin and development of +the legend, uses as an argument against its historical authenticity the +improbable ending; skeptically, he asks the question: "?No es +verdaderamente pasmoso que en el siglo XIII hubiese ni en Teruel ni en +parte alguna dos personas de sensibilidad tan exquisita a quienes +simultaneamente pudiera causar la muerte el verse privadas una de otra?" +This rhetorical question was answered many years before it was thus +formulated. Jose de Larra in his review of the play a few days after its +first performance and only a few days before his own tragic death, +speaking for those who believe that death may be caused by grief alone, +urged the author to pay no heed to critics who scoffed at the +_denouement_ of his play: "Si oyese repetir a sus oidos un cargo vulgar +que a los nuestros ha llegado, y que ni mentar hemos querido en este +articulo; si oyese decir que el final de su obra es inverosimil, que el +amor no mata a nadie, puede responder que es un hecho consignado en la +historia; que los cadaveres se conservan en Teruel, y la posibilidad en +los corazones sensibles; que las penas y las pasiones han llenado mas +cementerios que los medicos y los necios; que el amor mata (aunque no +mate a lodo el mundo) como matan la ambicion y la envidia; que mas de +una mala nueva al ser recibida ha matado a personas robustas, +instantaneamente y como un rayo; y aun sera en nuestro entender mejor +que a ese cargo no responda, porque el que no lleve en su corazon la +respuesta, no comprendera ninguna. Las teorias, las doctrinas, los +sistemas se explican; los sentimientos se sienten." (_Coleccion de +articulos_, page 197.) + + + + + +VOCABULARY + + +The purpose of this vocabulary is to give English equivalents for the +words and locutions as used in this play, in order to help the student +understand the text or translate it into clear, idiomatic English. In +some cases, therefore, the English equivalent is not a literal +translation of the Spanish and may not give the usual meaning of the +word or phrase. Moreover, words that the student is reasonably certain +to know and those that have the same or almost the same form and meaning +in Spanish and English are omitted, as well as inflected forms, except +in the case of those that seem to offer special difficulty. + + + +#A# + +#abandonar# leave, abandon + +#abatimiento# despondency, dejection + +#abierto# _p.p. of_ #abrir# open + +#abismo# abyss, gulf; hell + +#abogar# plead, intercede for; defend + +#aborrecer# hate, detest + +#abrasador, -a# burning, ardent + +#abrazar# embrace + +#abrazo# embrace + +#abrir, -se# open + +#aca# here, hither, this way + +#acabar# end, finish; come to an end; weaken; #-- con# put an end to; +#-- de# finish with, have finished, have just; #acabaras de hacer +justicia# you will do justice in the end + +#acatar# respect, honor, do homage to + +#accion# action, impulse + +#acechar# spy upon + +#acento# accent; #-s# words + +#acercarse# approach + +#acero# steel; blade, sword, dagger + +#aciago# bitter; fatal + +#aclamar# acclaim + +#acometer# attack + +#acompanar# accompany; #fue acompanandome# he went with me, kept me +company + +#acordarse# (de) remember + +#activo# vigorous + +#acudir# come up, hasten (to help); #-se a# have recourse to, go to + +#adelantarse a# go ahead of, outrun + +#ademan# _m._ gesture; attitude + +#adentro# within; off the stage + +#aderezar# dress, get ready + +#adios# good-bye, farewell + +#administrar# administer; give + +#adonde# where, to the place where + +#adorar (en)# adore + +#adormecer# put to sleep + +#adormecido# sleeping + +#adorno# adornment + +#afan# _m._ anxiety, trouble, sorrow; #con --# solicitously + +#afecto# love, affection; #-- amoroso# feeling of love + +#aficion# love, fondness + +#afligir# afflict, grieve + +#agasajar# regale; entertain + +#agolpados# crowding + +#agradecer# be grateful, thankful (for) + +#agradecido# grateful + +#agua# water + +#aguardar# wait for + +#ahogar# smother, oppress; #-se# be stifled _or_ suffocated + +#ahora# now; nowadays; #por --# for the present + +#ahorrar# save, spare; #-se# be spared + +#ahuyentar# frighten, drive away + +#airado# angry, wrathful + +#aire# _m._ air + +#ajeno# belonging to another, of another, another's + +#alameda# avenue, grove (_of poplars_) + +#alarde# _m._ boast, boasting; #hacer --# be proud of, boast + +#alarido# cry, shout + +#alazan# _m._ sorrel horse + +#alba# dawn + +#Albarracin# _small town and mountainous district a short distance west +of the city of Teruel_ + +#albedrio# will, free will + +#albergue# _m._ lodging, room + +#albigenses# Albigenses (_see note, Act I_, 258); #un frances --# an +Albigensian Frenchman + +#alborotado# excited, agitated + +#alborozo# joy + +#alcanzar# reach, overtake; obtain; #-- con# have influence with + +#alcazaba# stronghold, fortress, donjon + +#alcazar# _m._ castle, royal palace + +#alcoba# bedroom + +#alcurnia# ancestry; family name + +#alentar# give breath; animate + +#aleve# faithless, perfidious; traitor + +#alguno# any, any one, the one + +#alhaja# jewel + +#aliento# breath, courage; #-- vital# breath of life; #sin --# lifeless, +unconscious; #mi --# my last breath + +#alimentar# nourish; #-- risuena# encourage with smiling hopes + +#alistar# enlist, recruit + +#aliviar# assuage, relieve + +#alivio# alleviation, consolation + +#alma# soul, spirit, heart, love; #de mi --# dearest + +#Alteza# Highness + +#altivez# _f._ pride + +#alto# high; great + +#altura# height, elevation; #una --# high ground + +#alumbrar# illuminate, light + +#alzar# raise; rise, arise + +#alla# there, yonder; #por --# thereabouts, along there + +#allanarse# be smoothed out, be overcome; be worked out + +#alli# there, in it + +#ama# mistress + +#amante# loving; lover + +#amar# love; #-se# love each other + +#amargo# bitter, cruel + +#amargura# bitterness, sorrow + +#amasar# knead; cement + +#ambos# both; as + +#amenazar# threaten + +#amigo# friend + +#Amir# ameer (_Mohammedan ruler_) + +#amistad# friendship + +#amor# _m._ love + +#amorio# love-making; #-s# love affairs + +#amortajar# shroud, prepare for burial + +#anciandad# _f._ old age + +#anciano# old; old man + +#andar# go; #-- por aqui# go about in this vicinity; #-se# go about + +#angel# _m._ angel + +#angustia# anguish + +#anhelado# longed for, coveted + +#anhelante# anxious; anxiously + +#anhelar# long, yearn for + +#anima# spirit + +#animar# encourage + +#animo# mind, spirit + +#anochecer# grow dark; #al --# at nightfall; #a poco de --# shortly +after nightfall + +#ansia# anguish + +#ansiar# long for, desire eagerly + +#ante# before; in the presence of + +#antes# before, first; rather; on the contrary; #-- de# before; #-- que# +before; rather than; #-- que todo# before everything else + +#anticipar# anticipate; #anticipado al nacer# present before birth, +prenatal + +#anular# annul + +#anunciar# announce + +#ano# year + +#apacible# peaceful, friendly + +#aparecer# appear, be seen + +#apartar# separate, take away + +#aparte# aside; #-- de# aside from + +#apellido# name + +#apenas# scarcely, barely + +#apercibir# inform + +#aplacar# mitigate, lessen, appease, allay + +#aplazado# postponed + +#aplicar# apply; hold + +#aposento# room + +#apreciar# appreciate + +#aprender# learn + +#aprension# illusion, delusion + +#apresar# capture + +#aprestar# prepare + +#apresurar# hurry up + +#aprieto# embarrassment, difficult position + +#aproximarse# approach + +#aquese, aquesa# that + +#aqui# here; on earth + +#ara# altar + +#aragones, -esa# Aragonese + +#arbol# _m._ tree + +#ardiente# hot, burning + +#ardimiento# boldness + +#arena# sand; #-s# sands, desert + +#arma# arm, weapon + +#armino# ermine; #de --# ermine-like + +#arrastrar# drag, force into; #traerla arrastrando# drag her here + +#arrebatar# take away by force + +#arrebato# carried away with, beside himself with + +#arremeter con# make an attack upon + +#arrepentimiento# repentance, remorse + +#arribar# arrive + +#arriesgar# risk + +#arrimarse# lean against + +#arrodillado# kneeling + +#arrodillarse# kneel + +#arrojar# cast off; #-se# rush, escape, cast oneself upon + +#arrostrar# face + +#arruinarse# fall in ruins + +#artesano# artisan, mechanic + +#ascendiente# ancestor, forefather + +#asegurar# assure, assert, state definitely + +#asesinar# assassinate, murder + +#asesinato# assassination + +#asi# so, thus; #-- que# as soon as + +#asido de# grasped, seized by + +#asir# grasp, seize + +#asistir a# be present at, witness, attend + +#asomar# appear + +#asombrado# astonished, amazed + +#aspero# rough + +#asustar# frighten; #-se de# be frightened at + +#atar# tie + +#ataud# _m._ coffin + +#atavio# fine attire + +#atender# heed, pay attention to, listen attentively to + +#atento# attentive; attentively + +#aterrar# ravage, lay waste; appall, terrify + +#atesorar# store up; possess + +#atestiguar# testify + +#atonito# amazed, troubled + +#atras# back, backward + +#atravesar# pass through + +#atreverse# dare + +#atroz# atrocious, fierce + +#aumentar# increase + +#aumento# increase + +#aun, aun# still, even, yet; #-- no# not yet + +#aunque# although, even though + +#ausencia# absence + +#ausentarse# depart, go away, be absent; #al --# in the absence of + +#ausente# absent; absent one + +#autor# author, agent + +#avaro# miser + +#averiguar# find out + +#avisar# warn, notify, inform + +#aviso# warning; news + +#iay!# alas; #-- de# alas for, woe betide + +#ayer# yesterday; recently + +#ayunar# fast + +#ayuntamiento# town council; town hall, city hall + +#azorado# anxious, restless + + +#B# + +#bajar# descend + +#bajo# under + +#balbuciente# stammering + +#balcon# _m._ balcony + +#banda# band, scarf + +#bandera# banner, standard + +#bandolero# bandit, robber + +#banar# bathe + +#barra# metal bar; #tirar la --# throw the bar (_a popular game in +Spain_) + +#bastante# enough; long enough + +#bastar# suffice, be enough; #basta# enough; #basta de platica# enough +talk + +#batida# hunting party + +#beldad# beauty + +#Belen# Bethlehem + +#bello# beautiful + +#bendecir# bless + +#bendicion# blessing + +#bendito# blessed + +#beneficio# benefit; #con tal --# under such obligation + +#benefico# beneficent, charitable + +#benigno# beneficent, benign + +#besar# kiss + +#Besies# Beziers _(city of about fifty thousand inhabitants in the south +of France_) + +#bien# well, very, indeed, already; #-- esta# very well, all right; +#tener a --# consider proper _or_ advisable; please + +#bien# _m_. good, goodness, happiness, blessing, favor; object of love; +#mi --# my love, beloved; #?que --?# what good, what of any value? #-s# +wealth + +#bienhechor, -a# benefactor, benefactress + +#blando# soft, tender + +#blasfemo# blasphemous + +#boca# mouth; tongue + +#boda# marriage, wedding; #-s# wedding; #celebradas las# --#s# the +wedding being over, after the marriage + +#borrar# erase, efface + +#bosque# _m_. wood, forest + +#boveda# arch, vault; vaulted ceiling + +#brasa# live coal + +#brazo# arm + +#breve# brief; #en --# in a little time, quickly + +#brillante# bright, shining + +#brindar con# offer + +#brioso# bold, spirited + +#bueno# good; #buena la habeis hecho# you have done it now + +#bufete# _m_. sideboard; table + +#burlar# mock; disappoint, frustrate; #dejar burlada# make ineffective, +frustrate + +#busca# search; #en su --# in search of him + +#buscar# seek, look for, find; go to find, get; fetch + + +#C# + +#cabal# complete + +#cabalgar# take horse, ride away + +#caballo# horse; #a --# on horseback + +#caballero# gentleman; knight + +#cabello# hair + +#caber# be contained in; find a place _or_ entrance; be room for; #no +cabe# it is impossible _or_ unthinkable; #-- en suerte a# be decreed by +fate, be predestined + +#cabeza# head; chief; captain + +#cabo# end; #llevar a --# carry out; #al --# at last + +#cada# each + +#cadaver# _m_. body, corpse + +#cadena# chain + +#caer# fall; #-- prisionero de# fall into the hands of + +#caido# fallen; lying; ruined + +#calabozo# prison, dungeon + +#calidad# quality, nobility; #mas --# higher rank + +#callar# be silent, keep quiet, refuse to tell, conceal; leave +unspoken; keep from saying, not to say; pass over in silence; preserve + +#calle# _f._ street + +#callejon# _m_. narrow street, alley + +#cama# bed + +#cambiar# change, exchange + +#caminar# travel, journey + +#camino# road; #-- de# in the direction of, on the way to; #salir al --# +go out to meet + +#campana# bell + +#candido# pure, white + +#cansarse# become tired, grow weary + +#capaz# capable + +#capilla# chapel + +#capitan# captain + +#cara# face + +#caracter# _m_. character + +#carcel,# _f._ prison, dungeon + +#cargo# charge; accusation + +#caricia# caress + +#caridad# charity + +#carino# love, affection + +#carinoso# loving + +#caro# dear; dearly + +#carrera# road, journey; career; #mortal --# journey of life + +#carta# letter + +#casa# house; #a --# home + +#casado, -a# married man _or_ woman + +#casamiento# marriage + +#casar# marry, give in marriage; #-se# marry, get married + +#casi# almost + +#caso case; situation; event; #hacer -- de# give heed to, listen to; #-- +providencial# act of providence. + +#castigar# punish + +#castigo# punishment + +#catalan# Catalan, of Catalonia + +#caudal# _m_. capital, fortune + +#cautiverio# captivity + +#cautividad# captivity + +#cautivo# captive + +#cauto# cautious, wary, cunning, clever + +#cazador# pursuer, hunter + +#cebarse# feed, prey upon + +#ceder yield# + +#celebrar# celebrate; #celebradas las bodas# the wedding being over + +#celestial# divine + +#celo# zeal, devotion; #-s# jealousy + +#celosia# Venetian blind; latticework + +#celoso# jealous + +#cerca# near + +#cercano# near + +#cercar# surround, besiege + +#cerdo# pork + +#cerrar# close, lock + +#certero# sure + +#cesar# cease; #sin --# incessantly + +#cesta# basket + +#ciego# blind; blind with love, carried away by passion + +#cielo# heaven; #vive el --# by heavens + +#cieno# mire, slime + +#cierto# certain, a certain; indeed + +#cilicio# cilice (_garment made of coarse cloth or hair, worn as +penance_) + +#cinco# five + +#ciudad# city + +#clamar# cry, exclaim + +#claustro# cloister, convent + +#clemencia# mercy + +#cobrar# recover + +#colera# anger, rage + +#colmar# bestow liberally upon, overwhelm + +#colocar# place, set + +#comarca# district, territory + +#combate# _m._ fight, battle + +#combatir# fight + +#comisionado# agent + +#como# as; if; since; provided that + +#compadecer# pity, sympathize with + +#companero# companion + +#compasion# pity, mercy; #por --# in the name of mercy + +#competidor, -a# rival + +#complacer# please do a favor to + +#comprar# buy + +#comprender# understand + +#compromiso# compromise; predicament + +#con# with; with respect to; #-- que# and so, so then + +#conceder# yield + +#concertarse# be arranged + +#concluir# finish, conclude; #se concluyo# it is all done + +#conde# count + +#condenar# condemn + +#conducir# take, bring + +#condicion# character, disposition + +#conferenciar# take counsel + +#confesar# confess, admit + +#confiar# have confidence + +#confin# _m._ boundary, limit; #ya en el --# in the very outskirts + +#confundir# confound, punish + +#confuso# confused + +#conjuracion# conspiracy + +#conjurado# conspirator + +#conmigo# with me, along with me + +#conocer# know, meet, recognize + +#conocimiento# knowledge; #sin --# unconscious + +#consagrar# consecrate, dedicate + +#conseguir# succeed in, obtain + +#consejo# advice, counsel + +#conservar# preserve + +#consignado# deposited, set down + +#consolador -a# comforter + +#consolar# console + +#consorte# consort; husband, wife + +#constancia# constancy + +#consuelo# consolation + +#consumar# complete, consummate + +#consumir# consume, wear out, wear upon + +#contacto# contact, touch; #al --# at the first touch + +#contar# relate, report, tell about; consider; #-- con# count upon, +expect; #cuento como# I count it as a + +#contemplar# consider + +#contener# contain, repress; #-se# contain oneself; stop + +#contienda# quarrel + +#continuamente# continually + +#contra# counter, contrary to, against; #ir --# oppose + +#contrario# enemy, opponent + +#contrito# contrite, penitent + +#convenir# be fitting, be in place + +#convertir# convert, change; #-se# change, be converted + +#convidado# guest + +#convulso# convulsed + +#corazon# _m._ heart + +#cordel# _m._ cord + +#corona# crown + +#corporal# physical + +#correctivo# corrective; expiation + +#correr# run, hasten; pass; draw; run through; #corrido el plazo# the +time having expired, at the expiration of the time set + +#corresponder con# repay + +#corriendo# running; quickly + +#corroborar# corroborate, confirm + +#corrompido# foul, putrid + +#corte# _f._ court + +#cortina# curtain + +#cortinaje# _m._ curtain; set of curtains + +#corto# short, brief + +#cosa# thing; #?que --?# what is it? + +#cosecha# harvest + +#costar# cost; #costara lo que costara# cost what it might; #cueste lo +que cueste# cost what it may + +#cota# coat of mail; #vestida la --# with his coat of mail on + +#coyunda# yoke + +#creador, -a# creative + +#credito# credit; reputation + +#creer# believe, think + +#creyente# true believer (_Moslem or Christian, according to point of +view_) + +#criado# servant + +#criar# create; grow + +#crimen# _m._ crime, offence + +#cruz# _f._ cross + +#cruzar# cross; pass through; fold + +#cuadrilla# band + +#cual# which; as + +#cuadrar# suit; please; #de quien le cuadre# with any one that pleases +her + +#cualquiera# any one; some or other + +#cuando# when; since; seeing that + +#cuantioso# numerous, large + +#cuanto# how much, how many; as much as; all that; #-- a# as for; #-s# +all those that + +#cuatro# four + +#cubierto# covered + +#cubrir# cover + +#cuchilla# knife, poniard, sword + +#cuello# neck + +#cuerpo# body; #con el --# in the body, in this life + +#cuidado# care, worry, anxiety, solicitude; #dar --# fill with regret + +#cuidar# care for, look after + +#culpa# blame, guilt, sin; #tener la --# be to blame + +#culpado# guilty + +#cumplido# full, complete + +#cumplimiento# fulfilment, performance + +#cumplir# fulfil; carry out; keep one's promise; expire; #-se# fall due, +expire, terminate; be fulfilled; fulfil one's duty toward, be faithful +to + +#cuna# cradle; place of birth; #dar --# be birthplace + +#cupo# _pret. 3d per. of_ #caber# + +#curar# heal, look after, take care of + +#custodio# guard, custodian + +#cuyo# whose, of which, _etc_. + + +#D# + +#daga# dagger, poniard + +#dama# lady, lady of honor (at court) + +#damasquino# Damascene; of Damascus (_ancient city of Syria, famous for +the excellence of its steel_); #el acero --# the Damascus blade + +#dano# injury + +#dar# give; make; #-- en# fall into; strike against; #-- que decir# give +occasion for censure _or_ gossip; #?que puede -- de si?# what can you +expect of him? #se le den# let them give her to him + +#de# of, by, _etc_. + +#deber# owe, must, ought, be obliged, have to; #debio correr# he must +have run; #debieron echarle dentro# they must have thrown him into it; +#le debio querer# could not help loving him + +#deber# _m._ duty, obligation + +#debido# just, rightful, due + +#debil# weak + +#debilidad# weakness; #ser la suma --# be quite powerless, be +excessively weak + +#decir# tell; #digo bien# I speak the truth; #dire que no# I shall +refuse; #segun se me dice# according to what they tell me + +#decisivo# decisive; #en trance tan --# in such a critical situation + +#decreto# decree + +#defender# defend, protect + +#defensa# defence, protection + +#deforme# hideous + +#dejar# leave, leave alone; #-- abandonado# give up; #-- burlada# make +fun of, render ineffective; #-- caer# drop; #que vino a --le# that left +him at last; #-se matar# let oneself be killed + +#delante# before, ahead; #-- de# in front of + +#delicadeza# delicacy, fineness + +#delicado# slight, weak; fine, perfect + +#delincuente# guilty + +#delirante# delirious, beside oneself + +#delirar# be delirious + +#delirio# frenzy; #-s# foolish caprices + +#delito# crime, guilt, sin; #al saberse mi --# when my sin became known + +#demas# other, remaining; #lo --# the rest; #los --# the others, the +rest; #lo -- fuera dar# otherwise it would give cause for; #-- (_for_ +demasiado)# more than enough + +#denigrar# blacken + +#dentro# within; off the stage; #echar --# throw into it + +#depender de# depend on + +#depositorio# depositary; trustee + +#derecho# right; #a la derecha# at the right + +#derramar# shed + +#derrumbar# overthrow, throw to the ground, destroy + +#desabrido# insipid, distasteful + +#desacato# disrespect + +#desafiar# challenge; #desafiados quedamos# we had challenged each +other; we were to fight a duel + +#desahogo# alleviation, relief + +#desairado# disregarded, unrewarded; #dejar --# disregard; refuse _or_ +fail to reward + +#desairar# disregard; refuse + +#desaparecer# disappear, pass away + +#desastrado# ill-starred, unfortunate + +#desatar# untie, undo; dissolve; #-se# free oneself + +#descansar# rest + +#desde# from; #-- hoy# from now on, from to-day; this very day; #-- que# +since; from the moment that + +#desden# _m._ disdain, scorn + +#desdenar# disdain + +#desdenoso# disdainful + +#desdichado# unhappy + +#desechar# cast away, put aside + +#desempenar# redeem; carry out + +#desgarrar# rend, break + +#desgracia# unhappiness, misfortune; evil fate, adversity; #por --# +unfortunately + +#desgraciadamente# unfortunately + +#desgraciado# unfortunate, unhappy, unsuccessful + +#deshonrarse# be dishonored + +#desleal# disloyal; traitor + +#deslumbrar# dazzle + +#desmayarse# faint, swoon + +#desmentir# give the lie to, belie, contradict; deviate from + +#desnudo# bare, naked; drawn + +#desolado# desolate; disconsolately + +#despacio# slowly, deliberately; #mira --# take a good look at + +#despecho# anger, ill-will; despair + +#despertar# awaken + +#despojar# rob + +#desposorio# marriage;#-s# marriage + +#despreciar# scorn + +#despues# afterwards; #-- de# after + +#desterrar# exile, banish; send (_from heaven to earth_) + +#destierro# exile; absence + +#destino# destiny + +#destreza# dexterity + +#destrozar# destroy, mangle + +#destruir# destroy + +#desvario# raving, delirium + +#desventura# unhappiness, misfortune + +#desvergueenza# shamelessness + +#detener# detain, delay, hold back, check; preserve; #-se# stop, delay, +desist + +#deudo# relative + +#deudor# indebted; #-- de verse con vida# indebted for the privilege of +seeing himself alive + +#devaneo# caprice, fancy; #-s# idle pursuits + +#devolver# return + +#di# (_2d sing, imper. of_ #decir#) say, tell me + +#di# (_1st pers. pret. of_ #dar#) + +#dia# _m._ day; #un --# some day; #hoy --# in these days + +#dicha# happiness, blessing, felicity; #por --# happily; #por -- mayor# +most fortunately; #-s# happiness + +#dicho# aforesaid + +#dichoso# happy, fortunate + +#diestra# right hand + +#diestro# skilful + +#dificultad# difficulty, difficult task + +#difunto# dead + +#dignarse# deign, condescend + +#digno# worthy + +#dilacion# delay + +#diligencia# diligence, assiduity, solicitous care, endeavor + +#Dios# God; #a --# good-bye, farewell, God keep you; #por --# in the +name of God, in Heaven's name + +#dirigir# direct, address; intend for; guide; #-se# apply to, turn, go +toward, make one's way + +#discrecion# discretion; #a --# at will; without conditions + +#disculparse con# apologize + +#disfraz# _m._ disguise. + +#disfrazado# disguised + +#disminuir# diminish + +#disponer# dispose of, arrange for, provide, make arrangements + +#distinto# distinct, evident; different + +#distribuir# distribute + +#disuadir# dissuade, deter + +#doblez# _m._ duplicity, wile + +#docil# docile, yielding + +#dolencia# disease, infirmity, illness + +#doliente# suffering, aching; sad; #-- desvario# delirium of grief + +#dolo# fraud, deceit + +#dolor# _m._ sorrow, regret, grief, pain + +#dolorido# doleful + +#doloroso# grievous, sad + +#domingo# Sunday + +#don# _m._ gift + +#doncella# maiden, young girl + +#donde# where; in _or_ on which; #por --# through which; #-- quiera# +wherever he pleases + +#dormitorio# bedroom + +#dos# two + +#duda# doubt; #sin --# doubtless, surely + +#dudar# doubt, suspect + +#duelo# duel; pain + +#dueno# master, owner, possessor; mistress + +#dulce# sweet + +#dulcemente# sweetly; #embargar --# hold in sweet suspense + +#dulcisimo# very sweet; most loving, most blessed + +#dulzura# sweetness + +#durar# last + +#duro# hard, harsh, cruel + + +#E# + +#ea# well + +#echar# throw, throw at, cast, fling; utter; put lower; #-- menos# miss + +#eficaz# efficient, practical + +#egoismo# selfishness + +#ejemplo# model, example + +#elegir# select, choose + +#elevacion# nobility + +#ello# it; as for that; #-- si# the fact is + +#embargar# suspend; #-- dulcemente# hold in sweet suspense + +#embargo# restraint; #sin --# however, nevertheless + +#empanar# dim + +#emparedar# confine, shut up + +#empenar# pledge; #-se# pledge oneself, intercede + +#empeno# pledge, engagement; undertaking; effort; earnest desire; +resolution, firmness; insistence + +#empezar# begin + +#emplear# employ; #-se# devote oneself + +#emponzonar# poison + +#empuje# _m._ push; pressure + +#empunar# grasp + +#emulo# rival, emulator + +#enamorado# enamored; #tan --# as much in love + +#enardecer# kindle, inflame + +#encaminar# guide + +#encargar# charge; #-se de# take charge of + +#encargo# charge, duty; commission; #en mi --# assigned to me + +#encarnacion# incarnation + +#encarnizarse en# be fleshed in, wound + +#encerrar# enclose, confine + +#encierro# enclosure, prison + +#enconar# irritate, aggravate, increase + +#encono# rancor, malevolence + +#encontrar# find, meet + +#enemigo# enemy; hostile, unfriendly + +#enemistad# enmity; #palabras de --# angry words + +#enero# January + +#enfermedad# illness, sickness + +#enfermo# sick; sick man, patient; #los -s# the sick + +#enganar# deceive; #-se# be deceived, be mistaken + +#engano# deception, mistake; #-s# illusion + +#engendrar# engender, generate, produce + +#enjugar# dry + +#enlace# _m._ union, marriage + +#enmudecer# remain silent + +#enojado# angry, in anger + +#enredarse# turn, coil about + +#enriquecerse# become rich + +#ensangrentado# bloody, bloodstained + +#ensangrentar# stain with blood + +#ensayo# trial, effort, attempt + +#ensenado# taught, trained + +#entender# understand; #a mi --# in my opinion + +#enterarse de# find out, know + +#entereza# fortitude + +#entero# entire, complete + +#entonces# then, at that time + +#entrambos# both + +#entranas# entrails, vital organs; heart + +#entrar# enter + +#entre# between, in the midst of; #-- vos y yo# we two, you and I + +#entrega# delivery, surrender + +#entregar# give, deliver, hand over + +#envenenado# poisoned + +#enviar# send + +#envuelto# enveloped + +#ermita# hermitage + +#escandalo# scandal + +#escaparse# escape + +#escarmentar# punish severely + +#escarnecer# mock + +#escaso# scarce; vain, fruitless + +#esclavo# slave + +#escolta# escort, guard + +#escondido# hidden; hiding + +#escribir# write + +#escrito# writing + +#escrupulosidad# conscientiousness + +#escuchar# listen to, heed, answer + +#esfuerzo# effort, efforts + +#eso# that; #por --# therefore, for that reason + +#esotro, -a# that other; #a esotra puerta# try the other door +(_meaning_, she hears nothing) + +#espada# sword + +#espanto# terror + +#espantoso# terrible + +#espectador# spectator + +#espectro# specter, ghost + +#espejo# mirror; model; #-- de mano# handmirror + +#esperanza# hope + +#esperar# hope, expect, wait for, await + +#espina# thorn + +#espiritu# _m._ spirit, soul, mind; liquor, liquid; #de --# mental + +#esposa wife; #-- del Senor# bride of Christ, nun + +#esposo# husband; #-s# husband and wife + +#esquivo# reserved, cold + +#estallar# burst, break forth + +#estar# be; #-se# remain; #-- de Dios# be in God's power + +#estilo# style; #por el --# like this, of this sort + +#esto# this; #en --# thereupon + +#estorbar# hinder, get in one's way + +#estrado# drawing-room + +#estrechar# press, embrace + +#estrecho# narrow, small + +#estremecerse# shudder + +#estrenar# present for the first time + +#estudio# study + +#eterno# eternal; #el --# God + +#evitar# avoid + +#excusar# excuse; avoid; #excusadme el presenciar# excuse my not +witnessing + +#exhalar# breathe forth, give expression to + +#existir# exist, live; be born + +#explicacion# explanation + +#explicar# explain + +#expresar# give expression to + +#extranjero# foreign; foreigner + +#extrano# strange + + +#F# + +#fabricar# build up, contrive, devise + +#faccion# feature + +#facil# easy + +#facilmente# easily + +#facineroso# wicked, criminal + +#falaz# false, deceptive + +#falda# lap; #la materna --# in our mothers' arms + +#falsia# falsity, deceit + +#falso# spurious, unreal + +#falta# lack; ?#que -- hace a#? what need has ... of? + +#faltar# lack, fail, be lacking; #los dias que me faltan que vivir# the +days that are left to me of life + +#fallecer# fail; die + +#fama# good name + +#fantasma# phantom, spirit + +#fatigar# weary + +#favor# _m._ favor, help + +#favorecer# have mercy upon + +#faz# _f._ face + +#fe# _f._ faith, religion; loyalty; promise; #a --# by my faith + +#feliz# fortunate + +#fenecer# end, expire + +#fenecido# ended, at an end + +#feo# ugly + +#feretro# coffin, bier + +#feroz# cruel, ferocious + +#fervido# fervid, ardent + +#ferviente# fervent + +#festin# _m._ banquet, entertainment + +#fiel# faithful, sincere, true + +#fiera# wild animal, savage beast + +#fiero# cruel + +#figurarse# imagine, believe + +#fijo# fixed; staring + +#fin _m._ end; death; #al --# at last, after all; #en --# at last, in +short; #por --# at last, in the end; #tener su --# terminate, expire + +#final# _m._ end + +#fingir# feign, pretend, dissemble + +#fino# fine, perfect; perfectly, faithfully + +#firma# signature + +#firme# strong + +#firmeza# constancy, stability + +#flor# _f._ flower + +#florido# flowery + +#fogoso# spirited + +#fondo# bottom; background, back of stage + +#forastero# stranger + +#forcejar# struggle + +#formar# form, make up + +#fortaleza# fortitude, firmness + +#fortuna# fortune; #por -- mia# fortunately for me; #por mas--# still +more fortunately + +#forzoso# forced, obligatory; #ser --# be necessary + +#frances, -esa# French + +#franco# frank, outspoken; frankly + +#franqueza# frankness + +#frenesi# _m._ frenzy, fury + +#frenetico# frantic + +#frente# _f._ forehead, face + +#frio# cold + +#fuego# fire; death at the stake; #a sangre y a --# with fire and sword + +#fuera# outside; away with; #-- de# away from + +#fuera# _imp. subj. of_ #ser# _or_ #ir# + +#fuero# right, law + +#fuerte# strong, vigorous, brave + +#fuerza# force, power, strength; #a -- de# by dint of; #-- es# it is +necessary, it must perforce + +#fuga# flight + +#fugaz# fleeting + +#fulano# such a one; #un tal --# Mr. So-and-so + +#fulgido# bright, resplendent + +#fundado# well founded + +#fundar# found, base + +#funesto# fatal, sad; #el fin os llega --# a disastrous end awaits you + +#furia# fury, rage + +#furioso# furious, raging + +#furor# _m._ fury, rage, passion + + +#G# + +#gabinete# _m._ private room; boudoir + +#gala# wedding dress; #-s# fine clothes, gala attire; #-- del himeneo# +bridal trousseau + +#galan# _m._ lover + +#galano# gallant; splendidly dressed + +#gallardo# brave, gallant, daring + +#ganar# gain, win + +#garganta# neck + +#gargantilla# necklace + +#gavilla# gang, band + +#gemir# groan + +#genio# genius; spirit; #-- infernal# evil spirit + +#gente# _f._ people, company, retinue; family; #-- aragonesa# people +from Aragon; #llamad --# call some one + +#golpe# _m._ blow + +#gotico# Gothic + +#gozar# enjoy, take pleasure in + +#gozo# joy; #con --# joyfully, gladly + +#grabar# engrave + +#grande# great, large; effective + +#grato# pleasing; welcome + +#gravemente# seriously + +#gravisimo# most grievous, serious + +#grito# cry + +#Guadalaviar# _or_ #Turia# _river rising in the Province of Teruel and +flowing into the Mediterranean at Valencia_ + +#guarda# _m., f._ guard + +#guardar# keep, preserve, guard, maintain + +#guardia# guard + +#guarnicion# guard, hilt + +#guerrero# warrior, soldier + +#guiar# guide, direct, control + +#gustar# please + +#gusto# pleasure + +#gustoso# joyful, glad; joyously + + +#H# + +#haber# have; #-- de# have to, be going to, be to, must, _etc._; #me has +de acompanar# you are to accompany me; #no han de veros# you must not be +seen; ?#quien ha de ser#? who else should it be? ?#que hay#? what is +wrong? #poco ha# a short time ago; #quince anos ha# fifteen years ago + +#habitacion# room + +#habitar# live, dwell + +#hablar# speak + +#hacer# make, do; be (_in expressions of time_); #-- caso de# give heed +to, listen to; #-- vano# frustrate, render harmless; #-- por# try, make +an effort to; #hazle entrar# show him in; #haz que vea# let me see; +#hace poco# a short time ago; #hacia tanto# for so long; #hara tres +meses# about three months ago; #-se# take place + +#hacia# toward; #-- aqui# in this direction + +#hacienda# property, wealth, riches + +#hallar# find; #bien hallado# I am glad to see you; #-se# find oneself; +be; #-se con# have, possess + +#hambre# _f._ hunger + +#hartar# satiate; #para -me# until I am satiated + +#hasta# until; even; #-- que# until + +#hecha# _p.p. fem. of_ #hacer#; #poner -- una imagen# make pretty as a +picture + +#hechizo# charm, fascination + +#hecho# fact + +#hecho# _p.p. of_ #hacer#; accustomed, used; turned into; becoming + +#hediondo# fetid, foul + +#heredar# inherit + +#herencia# inheritance; wealth + +#herida# wound + +#herido# wounded; wounded man + +#herir# wound, strike + +#hermano, -a# brother, sister + +#hermoso# beautiful; #hermosa# beautiful woman + +#hiciera# _imp. subj. of_ #hacer# + +#hiel# _f._ gall, bitterness + +#hierro# iron; steel; brandiron; #-s# chains + +#hijo, -a# son, daughter + +#himeneo# marriage; #galas del --# bridal trousseau + +#historia# story + +#hito# fixed; #de -- en# fixedly + +#hoguera# fire; #una --# death at the stake + +#holgar# please; #me holgara# (_for_ #holgaria#) it would please me + +#hollar# tread upon + +#hombre# man + +#hondo# deep + +#honesto# virtuous + +#honrado# honorable, respectable + +#honrar# honor + +#hora# hour; time; #en buen --, en -- buena# indeed; well and good; and +welcome + +#horrendo# frightful, horrible + +#horroroso# horrible, terrible + +#hospedaje# _m._ lodging; hospitality + +#hoy# to-day; now; #desde --# this very day, from now on; #--mismo# this +very day, even to-day; #-- dia# in these days + +#hoyo# hole, pit + +#hubo# (_3d pret. of_ #haber#) there was + +#hueco# hollow; depths + +#huella# footprint + +#huesa# grave + +#huir# flee, fly, slip away + +#humanidad# humaneness, kindness + +#humedo# damp, humid + +#humildad# humility + +#hundir# hurl, throw, beat down; #-se# sink + + +#I# + +#idioma# _m._ language + +#idiotez# idiocy + +#idolatrar# idolize + +#iglesia# church + +#ignorar# ignore; not to know; #-se# be unknown + +#igual# equal; alike + +#igualdad# equality + +#ileso# sound; without blemish + +#ilusorio# illusory, deceptive + +#ilustre# noble, illustrious + +#imagen# _f._ image, picture + +#imbecil# imbecile; simple + +#impedir# prevent, stop + +#impetu# _m._ impetus; impetuosity + +#impio# faithless; wicked + +#imponer# impose + +#importar# be important; #no importa# no matter + +#imprimir# impress, stamp + +#incapaz# incompetent, unfit + +#incentivo# encouragement + +#inclinacion# inclination, love + +#inclinar# bend, bow + +#incluir# include + +#incorporarse# sit up in bed + +#indagacion# investigation + +#indicar# mean, indicate + +#indole# _f._ temper; nature + +#indudable# indubitable, certain + +#indulgencia# indulgence, toleration + +#inerte# inanimate, lifeless + +#infalible# infallible, sure + +#infame# infamous + +#infantil# childish; #amor --# love of childhood + +#infausto# unlucky, ill-fated, ill-starred + +#infecto# infected, tainted + +#infelicidad# misfortune + +#infeliz# unfortunate; unfortunate man; #alguna --# an unhappy woman + +#infiel# disloyal, faithless; infidel + +#infierno# hell + +#informarse# inquire, ask + +#ingrato# ungrateful + +#inmaculado# immaculate + +#inmediato# adjoining, next + +#inmolar# sacrifice + +#inmovil# motionless + +#inmovilidad# immobility + +#inquietud# solicitude, anxiety, worry; #estar con --# worry, be anxious + +#insensato# foolish; fool + +#inspirar# inspire, inspire in + +#instante# _m._ instant, moment; #en el --# at once, immediately + +#instar# urge + +#insufrible# intolerable + +#intensidad# intensity + +#intentar# try; intend to do + +#inundar# inundate, flood + +#inutil# vain, useless + +#inverosimil# improbable + +#invocar# invoke, call + +#ir# go, be, _etc_.; #-- a# be about to; #-- a parar# lead to, come to +an end; pierce; #van llegando# they keep arriving _or_ continue to +arrive; #se fue retirando atras# kept drawing back; #va mi vida# my life +is at stake; #-se# go away, disappear + +#ira# fury, rage, passion; #-s# anger + +#iracundo# passionate + +#irritado# angry + +#irritarse# get angry, become furious + +#izquierdo# left; #a la izquierda# at the left + + +#J# + +#jamas# ever, never + +#jardin# _m._ garden + +#jerga# coarse cloth + +#Jesus# Heavens; Heaven help me + +#Jope, Japa# Joppa (_ancient seaport of Jerusalem and important +commercial center in the time of the Crusades. Modern Jaffa_) + +#jornada# journey + +#joven# young; young man + +#joya# jewel, piece of jewelry + +#jubilo# joy + +#judio# Jew + +#juez# judge + +#jugar# play + +#juicio# judgment + +#junta# council, meeting + +#juntar# assemble, amass, get together; summon + +#junto (a)# near, at the side of; #-s# together + +#jurar# swear, vow + +#justicia# justice; #en --# rightly + +#juventud# youth + +#juzgarse# consider oneself + + +#L# + +#labio# lip; tongue + +#labor# _f._ needlework, embroidery + +#lado# side; #por este --# this way + +#lagrima# tear + +#lana# wool; garment of wool + +#lance# _m._ incident, happening; conflict, struggle; critical moment + +#lanzar# hurl, throw; give off, reflect; utter violently + +#largo# long + +#lastima# pity + +#lastimarse# be sorry, grieve, regret + +#lateral# at the side (_of the stage_) + +#latir# beat, palpitate + +#lazo# bond + +#leal# loyal; loyally + +#lecho# bed + +#leer# read + +#lejano# distant + +#lejos de# far from + +#lengua# tongue + +#lenguaje# _m._ language, speech, manner of speech + +#lentamente# slowly + +#lento# slow + +#lerdo# slow, heavy; #lerdas# dawdlers + +#letra# letter; writing, handwriting + +#levantar# raise; #-se# arise + +#ley# _f._ law, religion, loyalty; #sin --# faithless, treacherous + +#liberal# generous + +#libertad# liberty + +#libertar# free, rescue, set free + +#libico# Libyan; #libica region# Northern Africa (_Libya was the ancient +name of Northern Africa_) + +#librar# free, save, protect. + +#libre# free; at will; released; libertine, licentious + +#licencia# permission + +#licito# permissible + +#lid# _f._ fight, struggle, conflict, duel + +#lidiar# fight + +#lienzo# linen cloth, piece of linen + +#ligar# bind + +#limitar# limit; #-se a# do no more than; #-- terminos a# form +boundaries of, bound + +#limpiar# wipe, cleanse + +#lindo# pretty + +#lisonjero# flattening, complimentary + +#liviano# light; fickle, faithless + +#lo que# what; how much; as long as + +#lobreguez# darkness + +#loco# mad, insane; foolish + +#lograr# gain, succeed, be able to; #-- de# convince, persuade; #-- que +diga mi lengua# get my tongue to say; #-- vencer# have gained the +victory; #no he logrado que deis# I have not succeeded in getting you to +give + +#lucero# morning star; #-s# eyes (_poetical_) + +#lucha# struggle + +#luchar# struggle + +#luego# then, soon, next + +#lugar# _m._ place; village; stead; #dar -- a# result in + +#lujoso# luxurious + +#luna# moon; moonlight; #la -- media# crescent (_device on the +Mohammedan standard_) + +#lustro# lustrum (_period of five years_) + +#luz# _f._ light + + +#LL# + +#llamar# call, summon + +#llanto# weeping; tears + +#llegada# arrival + +#llegar# arrive, reach, come, enter, _etc._; #-se# approach; #-- a +brindar# go so far as to offer, even offer; #-- a enterarse# come to +know, find out at last; #-- a saber# find out, discover; #si lo llego a +pensar# should I ever think that; #si llegaseis a conocer# if you could +only know; #os llega funesto# a disastrous end awaits you; #en llegando# +on his arrival + +#lleno# full, filled + +#llevar# take, carry, bear; lead: wear; live; get away; #-- de# live, +spend in; #-se# carry away, lead along; #-- me a casar# take me to the +marriage altar; #-- a cabo# carry out; #el alma se llevan# they take my +spirit with them + +#llorar# weep, weep for, lament; #llorando# in tears + +#lloro# weeping, tears + + +#M# + +#madre# mother; Virgin Mary + +#magra# rasher, slice of ham, pork + +#mal# _m._ evil; misfortune + +#mal# _adv._ bad, badly; hardly, scarcely + +#maldecido# accursed + +#maldecir# execrate, imprecate, curse + +#maldicion# curse, malediction + +#maldito# accursed + +#malogrado# unfortunate + +#maltratar# maltreat, abuse + +#malvado# wicked + +#manar# flow + +#mancebo# youth, young man + +#mancha# stain, blot, blemish + +#manchar# stain + +#mandar# order, command; cause; #-- sepultar# have buried + +#manera# manner; #de aquesa --# like that, in that condition; #de -- +que# such that + +#manifestar# prove + +#mano#, _f._ hand + +#mansion# abode, place of habitation + +#mantener# keep, maintain, retain + +#manana# morning, to-morrow + +#maquinalmente# mechanically + +#maquinar# plan, contrive + +#mar# _m._ sea #maravillado# amazed, filled with wonder + +#maravillar# surprise + +#marcar# impress, brand + +#marcial# military + +#marchar# go away, depart, leave, #-se# go away, go off + +#margen# _m., f._ margin, bank + +#marido# husband + +#martirio# torture, martyrdom + +#mas# but + +#mas# more, most; higher; moreover; still more; #no --# no longer; #-- +que, -- de# more than; #no hay --# there is no other; #por -- que# +however, however much + +#mascara# mask + +#matar# kill; #-- de celos# afflict with jealousy + +#materno# maternal + +#mayor# greater, greatest + +#mazmorra# dungeon + +#medico# doctor + +#medio# middle, midst + +#meditar# meditate, reflect + +#mejor# better; greater + +#mella# indentation, impression + +#menear# move, stir + +#menester# _m._ need, necessity; #ser --# be necessary + +#mengua# shame + +#menguado# diminished; unhappy; #hora menguada# in a fatal moment + +#menor# lesser, smaller + +#menos# less; except; #lo --, al --# at least + +#mensajero# messenger + +#mentar# mention, relate + +#mentido# false + +#mentir# lie + +#mentira# lie; #es --# it is not true + +#mercader# _m._ merchant + +#merced# mercy; favor, kindness; #-- a# thanks to; #hacer --# benefit + +#merecer# merit, deserve, claim + +#mesa# table + +#mezclar# mix + +#miedo# fear + +#mientras# while, whilst; as long as + +#milagro# miracle + +#mirad# (_imper. 2d pl. of_ #mirar#) bear in mind, consider + +#mirada# glance, look, gaze + +#mirar# see, look at; bear in mind, remember; #-- por# look out for; +#miren# just look; #-se# look at oneself, be reflected + +#miserable# wretch, miserable fellow + +#misero# wretched + +#mismo# same; very; #por lo --# therefore + +#misterio# mystery + +#mitad# middle, half + +#mitigar# mitigate, appease + +#mocedad# youth + +#moderar# moderate + +#modo# way, means; #?de que --?# in what way, how? + +#modorra# drowsiness + +#monstruo# monster, wicked person + +#Monzon# _small town in Catalonia, between Saragossa and Barcelona_ + +#morada# abode, dwelling + +#morder# bite; #-- la tierra# bite the dust + +#morir# die; kill; #mas que a --# far worse than death + +#morisco# Moorish; Morisco + +#moro# Moor, Moorish + +#mortaja# shroud + +#mostrar# show + +#muchacho# boy + +#mudanza# change (_of mind or purpose_) + +#mudar# change; #-- de casa# move into another house + +#mudo# dumb, mute + +#muerte# _f_. death; #de --# mortal + +#muerto# dead; #el --# the dead man + +#mujer# _f._ woman, wife + +#mundo# world + +#muralla# wall; rampart + +#muriendo# _(ger. of_ #morir#) dying, in mortal pain + +#muro# wall + +#musulman, -a#, Mohammedan + + +#N# + +#nacer# be born, come into the world; spring; grow; #al --# at birth; +#anticipado al --# present before birth, prenatal; #?de que ha nacido?# +what has been the cause of? + +#nada# nothing + +#nadie# no one + +#narcotico# narcotic, sleeping potion + +#nariz# _f._ nose + +#naturaleza# nature + +#necesitado# needy; one in need of + +#necesitar# need, have need of + +#necio# foolish; fool + +#negar# deny, refuse + +#negociar# negotiate; #-- con# induce + +#negro# black, dark; sad, gloomy; hostile + +#ni# neither, either; even; #-- ... --# neither ... nor; #-- siquiera# +not even + +#nieve# _f._ snow + +#nino, -a# boy, girl + +#noble# noble; nobleman + +#nobleza# nobility, generosity + +#noche# _f._ night; #esta --# to-night; #esta -- misma# this very night + +#nombre# _m._ name + +#norabuena (en hora buena)# all right; good! + +#noticia# news, account, information, announcement + +#notorio# notorious + +#novedad# novelty; news; #?es --?# is it unusual? #?es -- que?# is it a +secret that? + +#novio, -a# bridegroom, bride; #?que trazas estas de novias?# isn't she +a fine bride? (_ironical_) + +#nube# _f._ cloud, mist + +#nueva# news, tidings + +#nuevo# new + +#nunca# never, ever + + +#O# + +#o# or, either + +#obedecer# obey + +#obligacion# obligation, duties + +#obra# work + +#obrar# work; bring about + +#obsequioso# obliging, courteous + +#ocasion# chance, opportunity + +#ocultar# hide, conceal + +#oculto# hidden; secretly + +#ocupar# occupy; #-se de# busy oneself with, give oneself up to; #ocupad +la silla# sit down, be seated + +#odiar# hate + +#odio# hate, hatred + +#odioso# hateful + +#ofender# insult, outrage; be offensive; trouble + +#ofensa# offence, insult; #hacer -- de# feel offended by + +#ofrecer# offer; be willing + +#ofrecimiento# offer; promise + +#ofrenda# votive offering; sacrifice + +#oido# ear + +#oir# hear, listen to + +#iojala!# would that they had! + +#ojo# eye + +#olvidar# forget + +#opinion# reputation, good name + +#oponerse a# oppose + +#oprobio# shame + +#opulencia# opulence, luxury + +#opulento# wealthy + +#orbe# _m._ world + +#ordinario# ordinary; #de --# regularly + +#orgullo# pride + +#orgulloso# proud + +#orilla# bank, shore; edge, brink; bounds; #-s# on the edge, brink (of) + +#osar# dare + +#osculo# kiss + +#oscuro# dark + +#otorgar# grant + +#otro# other + + +#P# + +#pacifico# peaceful + +#padecer# suffer, endure + +#padecer# _m._ suffering, sorrow + +#padre# father; #-s# parents; #el -- nuestro# the Lord's Prayer + +#paga# payment + +#pagar# pay; repay; pay for + +#paisano# countryman; fellow countryman + +#paja# straw + +#paje# _m._ page + +#palabra# word; promise + +#palma# palm; hand; #-s# palm leaves; hands + +#palpitar# beat, palpitate + +#pan# _m._ bread; #a --# on bread + +#par# even; #abrirse de -- en --# be thrown wide open + +#para# for; in order to; as; #-- con# compared with; #--siempre# +forever; #-- que# in order that + +#paradero# whereabouts + +#parado# standing still, stopped short + +#paramo# desolate plain, desert + +#parar# stop; be; reside, live; #-se# stop; #ir a --# pierce; #en esto +paran# this is the end of + +#parecer# seem; appear; #?que os parece#? how do you like? + +#parecido# resembling; #todo --# closely resembling, very much like + +#parpado# eyelid + +#parte# _f._ part; place; #por otra --# moreover + +#partida# parting, departure + +#partido# match, game + +#partir# depart, leave, set out; split, divide + +#pasar# pass, happen; suffer; #-- con# happen to; #-- por# pass by; call +at; #lo que pasa# what is going on + +#pasion# passion, love + +#paso# step + +#patria# native country _or_ place + +#paz# _f._ peace + +#pecho# breast; heart; #de -- blando# tender-hearted + +#pedazo# piece; #-s del corazon# beloved ones + +#pedir# ask for, call for, demand; #pidiendo a voces# calling loudly for + +#peligro# danger + +#pena# pain, sorrow, grief, suffering, affliction, regret; #-s# +distress; #en -- de# in punishment for + +#pender de# depend on + +#pensamiento# thought, mind + +#pensar# think, intend, expect + +#pequeno# little, small + +#percibir# perceive, feel; smell + +#perder# lose; destroy, ruin; #-se# be lost + +#perdida# loss + +#perdonar# pardon + +#perecer# perish, die + +#peregrino# strange; pilgrim + +#perfidamente# perfidiously, through _or_ by treason + +#perfido# perfidious, unfaithful; traitor + +#perjuro# perjured; disloyal, unfaithful + +#permitir# permit; #permita Dios# God grant + +#perseguir# pursue + +#persona# person; #-s# cast, characters (_in a play_); #tu --# you + +#persuadirse# be persuaded _or_ convinced + +#pesadumbre# _f._ sadness, sorrow, grief; displeasure + +#pesar# weigh, be heavy, grieve + +#pesar# _m._ sorrow, grief + +#pestanear# blink + +#piadoso# pitiful, merciful + +#pie# _m._ foot + +#piedad# pity, mercy + +#piedra# stone + +#pieza# piece; room; #buena -- a# shameless creature + +#pincel# _m._ brush + +#pintar# paint; describe + +#pisada# footstep + +#pisar# tread upon, trample; despise; cross + +#placeme# _m._ congratulation + +#planta# sole of the foot; foot + +#plantar# set up + +#platica# talk; #-- sin provecho# idle, useless talk + +#plazo# term, time set; #corrido el --# the expiration of the time set + +#plegaria# prayer + +#poblador# founder, settler + +#pobre# poor + +#pobrecillo# poor fellow + +#pobrecito# poor fellow + +#poco# little, small, few; #-- ha# a short time ago + +#poder# be able, can, may, _etc._, be able to do; #hasta -- salir# until +he was able to get out + +#poder# _m._ power + +#poderoso# powerful, strong; wealthy + +#pomito# small flask, vial + +#poner# put, set, fix, put on; #-- en# give, offer; #-- termino# +terminate; #-- hecha una imagen# make pretty as a picture; #pon aqui# +give me + +#por# for, because of, out of, as, by way of, in order to, in the name +of, through, in; #-- ahora# for the present; #-- alla# thereabouts; -- +#alli# along there; #-- aqui cerca# in this vicinity; #-- dentro# +within, from within; off the stage; #-- este lado# this way; #-- el# as +far as he is concerned; #-- si# in itself; through his own efforts; #-- +la noche# at night; #-- ser# because I am; #-- mas que# however, however +much + +#porque# because, for, in order that + +#?por que?# why + +#porque# _m._ cause, reason + +#porte# _m._ conduct, bearing + +#pos: en -- de# after, in pursuit of + +#postrado# prostrate; #-- por el suelo# humbled to the dust + +#postrar# prostrate, cast down; #-- por el suelo# overthrow, make bite +the dust + +#postrero# last + +#potro# rack, torture + +#precioso# precious + +#precipitado# precipitate, hasty + +#preciso# necessary + +#preferir# prefer + +#preguntar# ask, ask about, question + +#premiar# reward + +#prenda# pledge, token; treasure; beloved one, sweetheart; #-s# +qualities, appearance; #idolatrada --# object of worship; #-- querida# +beloved one, dearest + +#prendarse de# fall in love with + +#prender# take, capture; take root + +#presagio# omen + +#presenciar# witness, be present at + +#presentarse# appear + +#presentir# have a presentiment _or_ foreboding of + +#presidir# preside + +#preso# prisoner + +#prestar# lend, give + +#presto# soon, quickly + +#pretender# solicit, seek, desire; try, endeavor + +#prevenir# announce + +#prevision# foresight + +#primero# first; rather; #-- que# before + +#princesa# princess + +#principal# noble; #varon --# gentleman, man of honor + +#principe# _m._ prince + +#principiar# begin + +#prisa# haste + +#prision# prison; #prisiones# bonds + +#privar# deprive + +#probar# taste; take + +#procurar# try, endeavor + +#prodigar# lavish upon + +#prodigio# marvel + +#prodigioso# marvelous; remarkable + +#profugo# fugitive from justice, outlaw + +#profundo# deep + +#projimo# fellow man; person; fellow + +#prometer# promise, offer + +#pronosticar# predict + +#pronto# ready; quickly, at once + +#pronunciar# pronounce, speak + +#propicio# propitious, favorable + +#propio# proper; #la propia Zulima# Zulima herself + +#proponerse# resolve + +#proporcionar# provide with, furnish + +#proposito# purpose; #a --# for the purpose, suitable + +#proscenio# proscenium, front of stage (_that part of stage between the +curtain and the orchestra_) + +#proseguir# continue + +#proteger# protect + +#provecho# profit; #sin --# idle, useless + +#providencial# providential; #acto --# act of providence + +#provido# provident; providently + +#provocar# cause + +#proximo# next, near; approaching + +#prueba# proof + +#pudiera# (_imp. subj. of_ #poder#) might, might well; #mal --# I could +hardly be so.... + +#pueblo# people; town + +#puerta# door; #a esotra --# try the other door (she hears nothing) + +#pues# then, well, well then; #-- bien# well then, very well + +#puesto# (_p.p. of_ #poner#) set; #puesta ya en salvo# as soon as she has +escaped + +#puesto# place, post + +#pujanza# power, might + +#punta# point + +#punto# point; place; #al --# at once + +#punal# _m._ poniard, dagger + +#pureza# purity + + +#Q# + +#que# that, who; in order that; for; when; #dire -- no# I shall refuse + +#?que?# what; how? #?A que?# why? + +#quebrantar# break + +#quebrar# break, burst + +#quedar# remain; be left; be; #-- con# retain, be left with; #-se# +remain; #se quedo triste# she was sad when I left + +#queja# complaint; #dar -s# make complaints, complain + +#quemar# burn + +#querella# complaint + +#querer# wish; love; wish to keep; #dondequiera# wherever he pleases; +#no lo quiera Dios# God forbid; #Dios quiso# it was God's will; #quiso# +she tried + +#quien# who; he who, the one who, she who; #tienen -- los# + +#defienda# they have some one to defend them + +#quieto# quiet; quietly + +#quince# fifteen + +#quiso# _see_ #querer# + +#quitar# take off _or_ away _or_ from + +#quiza# perchance, perhaps + + +#R# + +#rabioso# furious; passionate + +#radiante# radiant, brilliant + +#rasgar# rend, cut open, pierce + +#rastro# trail + +#rato# short time, while + +#rayar# border on + +#rayo# ray, flash of light, lightning, thunderbolt; #-- del cielo# by +the power of Allah + +#razon# _f._ reason, reasoning; account, information; #razones# +intercession + +#real# royal + +#rebato# excitement, commotion + +#rebelarse# revolt, resist + +#rebelde# rebellious + +#rebelion# rebellion + +#recato# modesty + +#recelar# fear, dread + +#recibir# receive, admit, let in + +#reclamar# claim as one's due, demand + +#recobrar# recover + +#recoger# pick up, take up, find + +#reconvenir con# reproach for + +#recordar# recall, remind; remember + +#recorrer# run through, hurry through + +#recuerdo# memory, recollection, remembrance; recognition + +#rechazar# repulse + +#rededor# _m._ surroundings; #al -- de# around + +#redimir# redeem, liberate + +#reflexion# reflection; hesitation, reluctance + +#refugiado# refugee + +#refugiarse# take refuge + +#refundir# recast, rearrange + +#regalo# present + +#regla# rule, precept + +#rehusar# refuse + +#reina# queen + +#reinar# reign; predominate; dwell, be + +#reino# kingdom + +#reir# laugh; #-se de# laugh at + +#reja# grating + +#relicario# locket + +#remediar# remedy, help + +#rencor# _m._ hatred; #-es# hatred, enmity + +#rencoroso# rancorous, spiteful + +#rendido# devoted + +#rendimiento# submission + +#rendir# give up, surrender, deliver, give in; return; overcome; #-se# +surrender + +#renegado# renegade, deserter, traitor + +#renunciar# renounce, give up + +#reparar en# notice, observe + +#reparo# criticism, censure + +#repente# _m._ sudden movement; #de --# suddenly + +#replicar# reply + +#reponerse# recover + +#repulsa# refusal + +#rescate# _m._ ransom + +#resentimiento# resentment, grudge + +#resistir# resist, endure, stand + +#resolver# determine, make up one's mind; #-se# resolve + +#respirar# breathe, breathe again + +#respuesta# answer + +#restablecido# restored + +#restar# remain; #lo que de vivir me resta# the rest of my life + +#resucitado# returning from the dead + +#resucitar# come to life + +#resuelto# resolved, decided + +#retardar# delay, detain + +#retirarse# retreat, withdraw; go away; #se fue retirando atras# kept +drawing back + +#retiro# secluded place; prison + +#reto# challenge + +#retrato# portrait, picture + +#retrete# _m._ boudoir, dressing room + +#revelacion# revelation; #que -- tan grata# what a welcome revelation + +#revelar# reveal, show; #-se contra# oppose + +#reverente# respectful + +#reves# _m._ reverse, misfortune + +#rey# _m._ king + +#reyezuelo# petty king, kinglet + +#rezar# pray, say in prayer, recite + +#ricamente# richly + +#rico# rich + +#riesgo# danger, peril; dangerous situation, place of danger + +#rigor# _m._ severity; disdain; #-es# severity, harshness + +#rigoroso# austere + +#rina# quarrel + +#rio# river, stream; #a -s# in floods + +#riqueza# riches, wealth; #-s# riches + +#risa# laughter + +#risueno# smiling, pleasant; #que alimentaba risuena# that nourished +with smiling hopes + +#rodar# roll; be tossed about + +#rodilla# knee + +#rogar# ask, beseech, pray + +#rojo# red + +#romper# break, break open, break down, rend, destroy, tear up + +#rostro# face + +#roto# broken + +#ruego# prayer, entreaty + +#rugir# rage, roar + +#ruin# base, depraved + +#rumor# _m._ noise + + +#S# + +#saber# know, know how to, be able, learn, be informed, find out; #-se# +be known; #al -se# on becoming known; #al -se mi delito# when my sin +became known + +#sabio# wise; wisely + +#sacar# draw, bring forth, take, take out + +#sacerdote# _m._ priest + +#saciar# satiate + +#sacrilego# sacrilegious + +#sagrado# sacred + +#sala# room + +#salir# go out, leave; get out; cast off; come out; go forth _or_ about; +enter (_stage_); #-- al camino# go out to meet + +#salon# _m._ large hall + +#salud# health + +#salvador# _m._ savior + +#salvar# save, rescue; conceal + +#salve# _f. prayer to the Virgin Mary, beginning: Salve Regina_ + +#salvo# safe; safety; #puesta ya en --# as soon as she has escaped + +#sangre# _f._ blood; race; family; #a -- y fuego# with fire and sword + +#sangriento# bloody + +#santo# holy + +#sanudo# furious, wrathful + +#satisfacer# satisfy + +#sayal# _m._ sackcloth + +#se# _2d per. imper. of_ #ser# + +#secreto# secrecy + +#sed# _f._ thirst + +#sedicioso# seditious + +#sediento de# thirsting for + +#seducir# charm, captivate + +#seguir# follow, pursue; continue + +#segun# as, according to, just as; #-- se me dice# according to what +they tell me + +#segundo# second + +#seguro# safe, secure + +#seis# six + +#sellar# seal, stamp; outline + +#sembrar# sow + +#semejanza# likeness + +#seno# breast, bosom, heart; cavity, enclosure + +#sensible# sensitive + +#sentado# seated + +#sentarse# sit down + +#sentido# sense; mind, consciousness; sentient being + +#sentimiento# grief + +#sentir# feel; hear + +#sena# sign, proof; #por -s que# as proof that; for the reason that, +seeing that + +#senal# _m._ indication, trace, proof, signal + +#senalar# indicate, point to, show + +#senor# _m._ master; Lord; sir, sire + +#senora# lady, mistress; madam; #Nuestra --# Virgin Mary + +#senorear# dominate; overtop + +#separado# separate + +#sepultar# bury + +#sepultura# tomb + +#ser# be; #el -- mujer# the fact that she is a woman; #-- propias de# +belong to; #-- de# belong to; #no soy mia# I do not belong to myself; +#siendo mal#, if it is evil; #?que ha sido de?# what has become of? + +#ser# _m._ life, being, state + +#sereno# serene, undisturbed + +#servir# serve + +#seso# sense, prudence; #hombre de --# prudent man + +#severo# cruel + +#si# if, whether; why; #por -- es# lest it be; #-- no# only, at least + +#si# yes, indeed, truly; #creo que --# I believe it, so; #-- que# I know +well that; #-- tal# of course; #ello --# the fact is + +#si# himself, herself, itself, _etc._; #por --# in itself + +#siempre# always; #para --# forever; #-- que# whenever + +#siete# seven + +#siguiente# following + +#silla# chair + +#sillon# _m._ large chair, armchair + +#sinceridad# sincerity + +#singular# strange + +#Sion# Zion, Jerusalem + +#siquiera# even + +#Siria# Syria + +#soberana# queen, sovereign + +#soberania# sovereignty + +#soberano# supreme + +#soberbio# proud + +#sobrar# exceed, be more than enough; #todo me sobra# all the rest is +superfluous; #valor le sobra# he has more than enough courage + +#sobre# on, upon; in regard to, as to, because of + +#sobrellevar# endure + +#sobresalto# start, sudden surprise + +#socorro# help + +#soldado# soldier + +#soledad# loneliness + +#soler# be wont, be accustomed to + +#solo# alone, only; #a solas# alone + +#solo# only + +#soltar# discharge, give vent to, let loose + +#sollozar# weep, sob + +#sombra# spirit + +#son# _m._ sound + +#sonar# sound + +#sonido# sound + +#sonrisa# smile + +#sonrojo# blush; shame; indignity; insult + +#sonar# dream; #-- con# dream of; flatter oneself with + +#sorprender# take by surprise + +#sorpresa# surprise + +#sosegar# rest + +#sosiego# calm, peace of mind + +#sospechar# suspect + +#sostener# sustain, hold + +#subdito# subject + +#subir# ascend + +#subterraneo# underground passage + +#suceder# happen; #?que sucede?# what's wrong? what is it? #suceda lo +que suceda# come what may + +#suceso# event, incident; #todo el --# all that has happened + +#suelo# floor, pavement, ground + +#sueno# dream + +#suerte# _f._ fate; condition; #en --# by fate; #caber en -- a# be +decreed by fate for, be predestined for + +#sufrido# patient, resigned + +#sufrir# endure, suffer + +#sujetar# dominate, overcome; bow, bend; ward off + +#sujeto# subject, bound + +#sultana# sultana (_wife of a sultan or Mohammedan ruler_) + +#suma# sum, conclusion; #en --# in short, after all; nothing more + +#sumido# sunk; buried + +#sumiso# submissive, compliant + +#sumo# excessive, extreme + +#supe# (_pret. of_ #saber#) I found out _or_ learned + +#superar# surpass + +#suplica# prayer + +#suplicar# beg, pray + +#suplicio# punishment + +#suplir# take the place of + +#suponer# suppose, accept, take for granted + +#supuesto# supposed + +#suspender# postpone + +#suspirar# sigh + +#suspiro# sigh + +#sustento# food + +#susto# fear, fright + +#sutil# sharp + + +#T# + +#tacha# spot, blemish + +#tal# certain, such a; #-- vez# perhaps + +#talamo# bridal bed, bride chamber; #-- de# marriage with + +#taller# _m._ shop, workshop + +#tamano# such, so great + +#tambien# also + +#tampoco# neither, either + +#tan# so; #-- ... como# as ... as + +#tanto# so much; so long; #hacia --# for so long; #-- ... como# as well +as + +#tardanza# delay + +#tardar# delay; #-- mucho en# be long in + +#tarde# late, too late + +#teatro# theatre; stage + +#techo# roof + +#temblar# tremble with fear + +#temer# fear + +#temeridad# rashness; #ya poco distante de la --# that borders on +rashness + +#temible# terrible, dreaded + +#templar# temper, appease + +#templario# Templar (_member of the military order founded 1118 for the +defence of the Latin kingdom of Jerusalem_) + +#templo# church + +#tenaz# tenacious, obstinate; profound + +#tender# stretch, extend, lay out + +#tener# have, take, receive; provide; consider; #-- de, -- que# have to; +#-- a bien# consider proper to, grant, be good enough to; #-- la culpa# +be to blame; #-- noticia# hear, learn; #-- por# consider as; #-- trazas +de# manage, succeed in; #ten# here it is + +#termino# term, limited time, time set; boundary; #poner --# terminate; +#limitar -s# form the boundaries of, bound + +#ternura# tenderness, love + +#terreno# ground, earth + +#Teruel# _capital of the Province of Teruel, Aragon, on the left bank of +the Guadalaviar, 72 miles northwest of Valencia. Pop. in 1910, 11,035_ + +#teson# _m._ tenacity, obstinacy + +#tesoro# treasure + +#testigo# witness + +#tiempo# occasion; circumstances; #a --# in time; #tan a --# so +opportunely; #a buen --# opportunely; #-- hace que# some time ago + +#tierno# tender, loving; young + +#tierra# land, ground; floor; #morder la --# bite the dust + +#tigre# tiger, tigress + +#tiniebla# darkness; #-s# utter darkness + +#tino# skill; skilful touch + +#tinta# ink + +#tirador# _m._ sharpshooter, marksman + +#tirania# tyranny + +#tirano# tyrant + +#tocado# coiffure, arrangement of the hair + +#tocar# touch; behoove, befit, be befitting; fall to the lot of; #a el +le toca# it is his place; #-- a visperas# ring for vespers + +#todavia# still, yet; #no ...# not yet. + +#todo# all; quite; #del --# entirely + +#tomar# take, get; #toma# here + +#toque# _m._ ringing of bells; #al -- de visperas# at the call to +vespers + +#tormento# torment, sorrow + +#tornar# turn, return + +#torneo# tournament + +#torre#, _f._ tower + +#torreon# _m._ fortified tower + +#trabar# join; enter into + +#traer# bring, carry, fetch; lead; cause, produce; #-- la arrastrando# +drag her here + +#traicion# treason; #a --# treacherously + +#traidor, -a# false; traitor; wretch + +#traje# _m._ dress; #en -- de# dressed as; #con -- de hombre# in male +attire + +#traje, trajo# _pret. of_ #traer# + +#trama# plot, conspiracy + +#trance# _m._ peril, critical moment; #en -- tan decisivo# in such a +critical moment _or_ situation + +#tranquilizarse# become quiet, be calm + +#tras# after, behind, in the wake of + +#trastornado# dazed + +#trastornarse# be dazed, be overcome + +#tratar# try; plan to; be acquainted with; #-- de# try; #-se de# be a +question of + +#traza# aspect, appearance; #tener -- de# resemble, seem to be; ?#que -s +estas de novia#? isn't she a fine bride? (_sarcastic_) + +#treinta# thirty + +#tremendo# terrible, fatal, violent + +#tremulo# trembling + +#tres# three; #los --# all three of us + +#triste# sad, unfortunate; unhappy man + +#triunfante# victor + +#triunfar# triumph; #-- de# triumph over; #se triunfa# victory is +achieved + +#triunfo# triumph + +#trocar# change, commute, convert; #-- en# exchange for + +#tronco# trunk, tree + +#trono# throne + +#tropa# troop, company + +#tropel# _m._ crowd; confusion + +#tumulo# grave + +#tumulto# tumult, commotion + +#turba# crowd + +#Turia# _or_ #Guadalaviar# _river rising in the Albarracin range in the +Province of Teruel and flowing into the Mediterranean at Valencia_ + + +#U# + +#ufano# arrogant, boastful; arrogantly + +#ultimo# last; #por --# finally + +#ultraje# _m._ outrage + +#umbral# _m._ threshold + +#unico# only + +#unir# join, unite; #-os a mi# marry you + +#usar# use; #para usado# when used, considering that it is used + +#util# useful + + +#V# + +#vacio# emptiness + +#vagar# wander + +#Valencia# _important seaport on the Mediterranean at the month of the +Guadalaviar or Turia. Pop, about 250,000. In 1021 it became the capital +of an independent Moorish kingdom. It was finally reconquered by James +of Aragon, El Conquistador, in 1238_ + +#valer# be worth; avail, help, protect; #mas vale# it is better + +#valeroso# valiant + +#valor# _m._ courage + +#valle# _m._ valley + +#vamos# well, come, come now + +#vanidad# vanity, pride + +#vano# vain, useless + +#vanse# exeunt; they go off the stage + +#varon# man; #-- principal# man of honor, gentleman + +#vasallo# vassal, subject + +#vase# exit + +#vaya# come + +#ve# _imper. 2d sing, of_ #ir# + +#vecindad# vicinity + +#vecino# citizen + +#vedar# forbid + +#velar# be watchful + +#velo# veil + +#veloz# swift, fleet + +#vena# vein + +#vencedor# conqueror, victor + +#vencer# conquer, overcome + +#vencimiento# expiration + +#vender# sell + +#veneno# poison + +#venenoso# poisonous, venomous + +#vengar# avenge, give vengeance; #-se# take vengeance + +#vengativo# revengeful, vindictive + +#venir# come; be; #bien venido# welcome; #viene a ser esta# can this be; +#que vino a dejarle# that left him at last; #venga# let me have it + +#ventana# window + +#ventura# good fortune, happiness; #por --# perchance + +#venturoso# happy + +#ver# see; #-se# see each other; be; #-se con vida# be still living; #a +--# tell me; come now; #ya ves# you see for yourself + +#veras# reality, truth; #de --# in truth + +#verdad# truth + +#verdadero# real, genuine + +#verdugo# executioner + +#verter# shed, spread; #-- en# exceed, abound in; show up + +#vestido# dress + +#vestir# dress; put on; #vestida la cota# wearing his coat of mail + +#vete# _imper. 2d sing. of_ #irse# + +#vez# _f._ time; #en -- de# instead of; #una --# once; #tal --# perhaps; +#a veces# at times + +#viaje# _m._ journey + +#vicio# weakness + +#vida# life; kind of life; #en --# while still living + +#vileza# baseness + +#villa# town, countryseat (_Because of certain privileges granted to it, +the_ #villa# _was thereby distinguished from_ #aldeas# _and_ #lugares#) + +#villano# base, infamous; basely + +#vinculo# bond + +#vino# _3d per. pret. of_ #venir# + +#violenta# against her will + +#vispera# evening _or_ day before; #-s# vespers + +#vista# sight; eyes + +#visteis# _2d pl. pret. of_ #ver# + +#vital# living; of life + +#viuda# widow + +#vivir# live, be alive, feel new life; #vive el cielo# by heavens + +#vivir# _m._ life + +#vivo# living; deep, keen, bright + +#voceria# clamor, cries + +#volar# fly, fly away + +#voluntad# will, wishes + +#volver# return; #-- a# turn away from; #-- a ser# be again; #-- en si# +return to consciousness + +#vos, vosotros# _less formal than_ #Usted# _and more courteous than_ +#tu# _when used in addressing one person_ + +#voto# vow; imprecation + +#voz# _f._ voice; words; word of command; #es --# it is said, it is well +known; #a voces# shouting; loudly + +#vuelta# return + +#vuelto# _p.p. of_ #volver# + +#vulgar# commonplace + + +#Y# + +#ya# indeed, of course, at last, already, now, surely; and so, so then; +#-- ... no# no longer; #-- lo ves# you see for yourself; #-- en el +confin# in the very outskirts; #-- que# seeing that, since, now that, +just as + +#yacer# lie + +#yerno# son-in-law + +#yerto# tense, rigid + +#yugo# yoke + + +#Z# + +#zaguan# _m._ entrance, hall + + + + + +End of the Project Gutenberg EBook of Los Amantes de Teruel +by Hartzenbusch, Juan Eugenio + +*** END OF THIS PROJECT GUTENBERG EBOOK LOS AMANTES DE TERUEL *** + +***** This file should be named 10909.txt or 10909.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/0/9/0/10909/ + +Produced by Stan Goodman, Virginia Paque, and the Online Distributed +Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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