Page =1=, Line 2 =se detuvo=: on the grammar of reflexive verbs, and the
translation of reflexive verbs in this book, see the Vocabulary under
=se=.
=1= 9 =aquél=: the unaccented masculine and feminine forms =aquel, ese=,
etc. modify a noun expressed; the accented forms =aquél, ése=, etc.,
refer to a noun clearly thought of (here =apeadero=) with the same
sense as if they were modifiers of an understood noun; the neuter
singular forms =aquello, eso, esto=, refer to a thought for whose
expression no particular noun is in mind.
=1= 11 =propiedad del autor=: the regular Spanish for 'copyrighted.'
=1= 14 =eran subidas al furgón:= 'were being put into the baggage car'
(furgón = Fr. _fourgon_). R. 811; K. 384, 387; C. 270, I.--=Se me había
olvidado=: R. 844; K. 406.
=1= 17 =un frío de tres mil demonios=: the hyperbole implied in
=demonio= is commonly heightened by the addition of =tres mil, ocho mil,
todos=, etc.
=1= 19 =donde descansar=: R. 1223; C. 277, 3.
=2= 3 =al compás de la marcha=: 'in rhythm with his walk.'
=2= 5 =al que=: R. 448; C. 108, _a._
=2= 13 =cestas=: in Europe heavy baskets are much used for crates.
=2= 19 =una obscura masa=, etc.: 'a dim mass of dark gray cloth wound
round itself; i.e. the large =capa=, or circular cloak, one edge of
which hangs from the left shoulder in front of the person, while the
rest is thrown completely round the body and back over the same
shoulder.
=2= 29 =será=: R. 1195; K. 703, _c_; C. 266.
=2= 32 =guste=: R. 895; K. 710; C. 109, 3.
=3= 17 =oprimiría=: 'was to press.' The conditional is here used without
any sense of a condition implied; it represents a future of necessity or
intention (equivalent to Eng. 'is to do a thing'), thrown into the past
by the sequence of narration.
=3= 20 =cargaría=: for tense see n. on =1.= 173. The verb =cargar= means
either 'load' or 'take on a load,' 'carry as a load.'
=3= 23 =se iba escurriendo=: R. 528; K. 208; C. 207, 5.
=3= 26 =lanzó=: the subject is =el tren=, i.e. the engine (=máquina=).
=4= 1 =empezada la caminata=: R. 1228, 2; K. 741; C. 276, 5.
=4= 3 =de muy buen ver=: 'of very good appearance,' 'very good to look
upon.' R. 1206, rem. 1.
=4= 8 =vamos al caso=: 'let us come to the point.'
=4= 13 =Así viviera=: 'I wish... might live.' =Así= is often used to
introduce a wish (C. 282, 3,_c_). The usage probably arose from phrases
of asseveration, like the Eng. 'so may I prosper as I tell the truth.'
=4= 14 =que le echan en la tierra=: 'which they' (i.e. people) 'bestow
upon her on earth.'
=4= 17 =Bien haya quien a los suyos parece=: 'a blessing on one who is
like his own (family),' colloquial phrase derived from the proverb
"Quien a los suyos se parece, honra merece." R. 860; K. 353,_a_; C. p.
229, n.
=4= 22 =Poco va de Pedro a Pedro=: 'Peter and Peter [i. e. you and she]
are pretty nearly even'; the proverb says =algo= (or =mucho=) =va de
Pedro a Pedro=, 'there's quite a difference in Peters,' i.e. in persons
who might be classed together.
=4= 24 =metidillo en=: 'up to his ears in'; past participle of =meter=,
with diminutive termination perhaps implying depreciation. Words formed
with diminutive, augmentative, or depreciative suffixes are given in the
vocabulary of this book with appropriate definitions; but in general
dictionaries they are not individually given, because of the inordinate
bulk which a list of them all would have. The user of the dictionary is
expected to recognize the suffix and its force, and to find in the
dictionary the word to which the suffix is appended. The student must
therefore form the habit of consulting over and over those pages of his
grammar which deal with these suffixes, and of recognizing at sight such
orthographical changes of consonants as those by which =poco= with
=-ito= makes =poquito=, and =pez= with =-ecillo= (longer form of
=-illo=) makes =pececillo=.
=5= 3 =que no viven=: 'fit to die.' An idiomatic phrase of emphasis.
=5= 4 =de que callen=, etc.: i.e. for talking face to face.
=5= 6 =Amanecerá Dios=, etc.: idiomatic expression used either for
postponing a disagreeable thing or for indicating an expectation of
something good impending. The impersonal verb expressing a phenomenon of
the sky is treated as personal with God as subject.
=5= 10 =uno piensa el bayo=, etc.: 'the bay horse thinks one thing, the
man who saddles him something else,' i.e. it takes two to make a
bargain.
=5= 12 =buen mozo=: 'fine fellow.'
=5= 15 =iba=: 'was'; cf. K. 389,_a_.
=5= 18 =echar por=: 'turn into.'
=5= 30 =ni=: 'not even.' R. 752.
=5= 33 =hombre de Dios=: 'man alive.' The word =hombre= is one of the
commonest interjectional expressions in Spanish, and is constantly used
with little or no sense of addressing a particular person; C. 237, 9.
The addition of =de Dios= merely strengthens it.
=6= 15 =veo=: 'I have seen.' Cf. p. 5, ll. 23, 24 ('have been traveling'
etc.).
=6= 19 =caza mayor y menor=: 'hunting of large and small game.'
=6= 20 =todo lo había=: 'there was everything.' Cf. n. on p. 32, l. 17.
=6= 23 =con=: 'by.' R. 1439, _c_; K. 642.
=6= 28 =norias=: rude wheels with earthen jars =(cangilones)= bound to
the rim to dip up water for irrigation; turned by a toothed wheel and
beam driven by a mule or donkey. Derived originally from the Arabs, this
poor apparatus is still common all over Spain.
=6= 32 =garbanzo=: the chick-pea, a small-leaved bushy plant bearing in
each pod two large wrinkled peas, is an important crop from Spain to
India, and especially famous as the national bean of Spain.--=de lo que
no hay=: 'not to be matched.'
=6= 34 =cuarto=: small Spanish coin of the olden time, equivalent to
four maravedis, or one thirty-fourth of a peseta (20 cents). Now
mentioned only as the smallest conceivable sum of money; not in actual
circulation.
=7= 5 =me los van cercenando=: 'keep shearing them off [for me].' So the
earlier Madrid editions; cf. p. 65, l. 21. Later editions have =va=, as
if the plough were subject.--=me=: R. 323; K. 193.
=7= 6 =mojones, ni linderos=: properties, especially large properties,
are often not fenced in Spain, and ownership is determined by means of
posts, piles of stones, and other traditional landmarks.
=7= 13 =roe que roe=: C. 233, _b_.--=fanegadas=: antiquated measure
supposed to be land enough for a fanega of seed. In Castile =fanega= =
1.575 bushels, =fanegada= = 1.6 acres; in other provinces otherwise.
=7= 14 =escuela=: i.e. =de filosofía=.
=7= 16 =quien las sabe las tañe=: 'he who knows 'em, plays 'em.' =Las=
is often used idiomatically for those things in general suggested by the
phrase in which it stands (e.g. =las de Pepe=, 'Joe's tricks,' 'Joe's
ways,' cf. K. 267, _a_; C. 201); here for tunes, instruments, tricks, or
the like.
=7= 19 =ver=: depends on =puede= above.--=de=: 'about.'
=7= 21 =no sea=: 'may not be'; subjunctive in independent clauses with
adverbs of doubt (C. 213, 1); so with =tal vez=, p. 68, l. 8.
=8= 16 =desde más alto=: 'from a higher position.'
=8= 20 =que se pone al sol=: 'sunning himself.'
=8= 24 =picará=: 'will bite' (primarily said of mustard etc.).
=9= 9 =serán=: R. 1195; K. 703, _c_; C. 266.
=9= 26 =unas=: R. 641; K. 344, _b_; C. 179, 3.
=9= 29 =Guardia civil=: 'the Civil Guard,' a select body of Spanish
police, armed and disciplined like soldiers, whose particular business
is guarding highways and railroads. In pairs =(parejas)= these guards
patrol the roads and accompany all trains. Kept as isolated from the
community as possible and at a high point of efficiency, they are much
feared by the rabble. The cruelty of their treatment of prisoners
described a little further on accords with numerous actual occurrences
in Spain; and, as will be remembered by those who have paid attention to
the history of the foreign relations of the United States during the
early part of Wilson's administration, it is exactly the process by
which President Madero of Mexico met his death while under arrest on
Feb. 23, 1913.
=10= 2 =a aquel sitio=: dir. obj. R. 1318: K. 750, _c_.
=10= 5 =muertos=: R. 1143; K. 567.
=10= 27 =debía de ser=: R. 1005, 2, rem.; C., Appendix II, 7.
=10= 28 =coplas=: 'popular songs,' particularly the brief songs of a
single quatrain peculiar to Spain.
=11= 5 =retebién=: double intensive of =bien=. The ordinary intensive
prefix for adjectives and adverbs is =re-=(R. 596; K. 159); but in
popular speech this is often doubled, =rere-=, or takes the form =rete-=
(C. 146, 3, _a_).
=11= 8 =a lo mejor=: familiar phrase for the occurrence of an untoward
event at an unexpected moment (lit. when things are going as well as
possible). Cf. =el mejor día=, p. 163, l. 13.
=11= 10 =Se les lleva=: 'you're taking them.'
=11= 12 =que=: cf. n. on p. 49, l. 17.
=11= 13 =sumaria=: 'indictment.'--=requeridos=: 'examined,' or possibly,
but less probably, 'summoned.'
=11= 17 =a más de largo=: 'besides being long.'
=11= 33 =Partenón=: the Parthenon, or temple of Athena Parthenos,
erected in Athens in the time of Pericles (5th cent. B.C.), had numerous
horses carved on its frieze and metopes.
=12= 5 =tomado la delantera=: 'got the start of.'--=se pone a ello=:
'set about it,' 'try.' R. 1360.
=12= 13 =por muchos años=: abbr. expression of courtesy, '[may you live]
for many years.'
=12= 23 =ha de ser=: R. 857; K. 353, _b_; C. 107, 3.
=12= 31 =Ahí donde le ve=: 'just as you see him there,' common
expression used to forestall surprise at a statement about to be made
concerning a person or thing.--=cacique=: 'local political leader,'
'boss.' The word is of Haitian Indian origin, meaning properly the head
of an Indian family or tribe.
=13= 1 =vuecencia=: contraction for =vuestra excelencia=.--=rétulo=:
vulg. for =rótulo=, 'address.'--=Tira a la barra=: 'he throws the bar'
(Spanish game, in which bars of iron of various shapes and sizes are
thrown so as to fall point downward).--=San Cristóbal=: a saint and
martyr of the third century, traditionally famous for his size and
strength.
=13= 3 =fielato=: 'inspectorship,' as of weights and measures; or, here,
of the goods and provisions brought into a place, upon which toll must
be paid (= Fr. _octroi_).
=13= 10 =Madriles=: provincial for =Madrileños=; used here for
=Madrid=.
=13= 15 =rematarlo él=: 'and he to execute it' (Eng. slang, 'put it
through'). The construction is peculiar and noteworthy in Spanish.
=13= 19 =andan diciendo=: R. 525; K. 734; C. 275.
=13= 20 =vuelve a haber=: R. 1187; K. 725, _a_; C. 107, 5.
=14 9 =!...=: the suspensive points represent the omitted object
(perhaps Cristo) of the preposition de. In other words, the
corresponding punctuation in English would be '--!' not'!--.' It is the
habit of Spanish printers not to discriminate = ...!= from =!...= but to
set always =!...= (this being the form that is oftener right than
wrong), so that the reader of Spanish literature must be always ready to
make this mental transposition, though the cases where the points are to
be read as they stand are still more numerous. The same applies to
=?...= also.
=14= 26 =en lo más alto=: 'at the highest point.'
=14= 32 =de hojalata=: because of the brightness of the water.
=15= 16 =depósito de caballos sementales=: 'government horse-breeding
station.'
=15= 26 =disgusto=: not 'disgust.'
=16= 4 =tocando=: 'skirting.'
=16= 10 =Justo y cabal=: 'exactly.'
=16= 31 =Penitenciario=: a priest nominated by a bishop to hear
confession, impose penance, and grant absolution in reserved cases,--a
canon penitentiary.
=17= 12 =de aquellos que no coge un galgo=: 'hard to catch,' 'elusive'
(lit. 'of those which a greyhound does not catch').
=17= 16 =hacer diabluras=: 'get into mischief.'
=17= 27 =si más=, etc.: 'had not death been quicker to carry him off
than he was to squander it' (his fortune).
=18= 21 =a flote=: a common colloquialism for having enough to pay
expenses.
=18= 28 =sepa=: for mood, cf. R. 910; K. 710; C. 109, 3.
=19= 5 =perogrulladas=: from the proverb "Las verdades de Perogrullo,
que a la mano cerrada llamaba puño."
=19= 8 =Montblanch=: a town seventeen miles northwest of Tarragona. The
=raya=, of course, is a railroad. It appears by the map that the two
places lack direct connection, the railroad trip from the one to the
other being a roundabout one through Reus.
=19= 9 =el río Francolí=: a small river that falls into the
Mediterranean about one mile southwest of Tarragona.
=19= 21 =e=: R. 72; K. 653; C. 232, I.
=19= 28 =físico=: agrees with =cultura= (fem.) =y bienestar= (masc.).
=21= 15 =_ergo tua rura manebunt_=: Vergil, _Ecl._ I, 47.
=21= 26 =bajo el punto de vista minero=: 'from the mining point of
view.'
=21= 28 =dió lugar=: 'gave rise'; cf. the English idiom 'take place.'
=21= 30 =noviazgo=: R., p. 498.
=22= 25 =mistificaciones=: Madrid edition =mixtificaciones=; a common
misprint, since Spaniards pronounce =xt= as =st= (C. 5).
=22= 27 =gongorismo=: 'Gongorism,' a literary style, so called from the
Spanish writer Luis de Góngora y Argote (1561-1627). This style, which
is similar in many ways to the affected manner called in England
Euphuism, and in France and Italy Marinism, was distinguished by its
elaborate and artificial expression of ideas, and by its frequent
substitution of mere play upon words for solid thought.
=23= 16 =las herraduras=: 'the horses' shoes.'
=24= 7 =cuya=: 'which,' or 'the which.' This use of =cuyo= for =el cual=
is pronounced improper by the best grammarians (e.g. Andrés Bello,
_Gramática Castellana_, ed. Cuervo, section 1050). It is said to be of
notarial origin. Many excellent writers, however, employ it, and it is
very common in conversation.
=24= 30 =_saudades_=: almost untranslatable Portuguese word, derived
from the Latin _solitas_, 'loneliness.' It has come in Portuguese to
mean the melancholy that arises from introspection and the vague
yearnings of unsatisfied sentiment. The German _Weltschmerz_ expresses a
somewhat similar idea.
=24= 33 =Enriqueta, Julia=: conventional names of heroines of novels.
Not Spanish in tone. By comparing a list of eminent men in Spain with a
similar list in the United States it will be seen that saints of the
Church furnish about two thirds of the Christian names in Spain, about
one third here; for women's names the contrast is still greater. Many
Spanish women's names that do not look like saints' names are attributes
of the Virgin; e.g. Rosario for Our Lady of the Rosary.
=25= 12 =allí=: 'at that point.'
=25= 18 =Estarás=: R. 1195; K. 703, _c_; C. 266.
=26= 6 =un mueble de latón dorado=: i.e. a cuspidor.
=26= 11 =correr el transparente=: 'draw the shade.' For trans. use of
=correr= cf. R. 265.
=26= 19 =testero=: 'façade' of a building; 'wall,' or 'side,' of a room.
=27= 12 =Más días hay que longanizas=: 'there are more days than
sausages'; i.e., time is a plentiful commodity.
=27= 21 =Déle usted expresiones=: 'remember me to him.' Cf. R.,
Appendix, pp. 610 ff.
=27= 25 =Abur=: 'good-bye' (colloq. for =agur=, from Lat. _augurium_,
through a Low Latin form _agurium_; K. 60, footnote). Not discourteous,
but more offhand in tone than the =adiós= of p. 28, l. 5.
=27= 32 =lo tuyo=: 'what is yours,' 'your business.'
=27= 34 =Hombre=: cf. n. on p. 5, l. 33.
=28= 2 =Del lobo=, etc.: 'one hair of the wolf, and that from his
forehead' (is sufficient). Proverb signifying that in dealing with what
is bad, the less you get of it, the better for you.
=29= 1 =la emprendió con=: 'fell to upon.' For use of =la= cf. n. on p.
7, l. 16.
=29= 21 =No hay que hablarme=: R. 867; K. 353, _c_; C. 107, 2.
=30= 12 =cartoncejo=: the ending =-cejo= is unusual and contrary to the
ruling of the Academy (of which Galdós is a member); the Academy's rule
is that =-ito,-illo,-ico,-uelo=, usually become =-cito= etc. when
affixed to a word ending with =n=, but that of =-ajo,-ejo,-ijo=, only
=-ajo= allows euphonic letters to be prefixed to it, and that without
set rule.
=30= 34 =ristras=: the noun 'trace,' the exact equivalent of =ristra=,
is not in English dictionaries; but see the verb in Webster, and the
noun in the list of prizes of the Vermont State Fair, 1910. 'Rope' is a
better-known word for the same thing.
=31= 3 =la Corte=: 'the Capital,' Madrid.
=31= 7 =de bancos=: the list ends abruptly with a pun on =saltabanco=,
'mountebank,' 'street quack.' A translator, instead of giving =saltos de
aguas= its proper force of 'water powers,' will do well to represent it
by something useful that puns with a proverbial swindle; e.g., say
'fire-bricks, gold bricks.'
=31= 16 =a uno=: dir. obj. of =tenemos=.
=31= 23 =Nada=: 'enough said.' =Nada= is colloquially very common as a
pure interjection.
=31= 34 =cuyas ... descoloridos=: each adjective agrees in gender with
the nearer of the modified nouns.
=32= 4 =al descubierto=: 'uncovered,' 'unprotected.'
=32= 10 =_Ferdinand Cortez, Donna Marine_=: italicized as being the
French forms of the names =Hernán Cortés= (the conqueror of Mexico) and
=Doña Marina= (the Mexican girl who was his companion and interpreter).
=32= 17 =observándolo todo=: when =todo=, neuter, is object of a verb,
the use of =lo= is exactly opposite to that of English 'it'; that is, if
=todo= refers to an identifiable antecedent, thus meaning 'it all,' =lo=
is omitted (e.g. p. 3, l. 16), but if =todo= means simply 'everything,'
without an 'it,' then =lo= must be inserted (e.g. p. 112, l. 2). But
when =todo= is not object of a verb (e.g. p. 6, l. 3) no such rule
holds. C. 203, 2, _a_.
=32= 21 =empaque=: word used familiarly to indicate the traits of a
person that produce an impression at first sight, whether good or bad.
=32= 24 =tiran a=: 'verge upon.'
=33= 2 =debía de ser=: R. 1005, 2, rem.
=33= 10 =_buquinista_=: italicized as not Spanish but Hispanicized
French. _Bouquiniste_ is properly 'second-hand bookseller,' but the
meaning here may be 'book-collector.' A _bouquin_ is a conspicuously old
book.
=34= 5 =merienda=: 'picnic.'
=34= 22 =Mientras más, mejor=: 'the longer the better.'
=34= 34 =acompañará usted=, etc.: i.e. by eating our Lenten fare.
=35= 12 =López de Berganza=: this name, like many others of authors and
books in the remainder of the story, is purely imaginary.
=35= 15 =tenga=: cf. R. 914 and n. on p. 7, l. 21.
=35= 16 =de hierro=: probably corrugated iron, which was one of the
world's recent and valued inventions about the time when _Doña Perfecta_
was written.
=35= 25 =la octava=: i.e. one in addition to the traditional seven.
=35= 26 =en buen hora=: originally this meant 'at an auspicious time.'
It is now a colloquial, often ironical, phrase of acquiescence or
approval.
=36= 3 =donde quiera=: cf. R. 896; K. 326; C. 197.
=36= 19 =_maria ac terras, caelumque profundum_=: Vergil (_Aen._ I, 58
f.) says that if Aeolus did not hold the winds in control, they
_Maria ac terras caelumque profundum
Quippe ferant rapidi secum verrantque per auras_.
=36= 23 =gusanera=: strictly defined as a place where worms breed;
apparently meant here as a mass of worms, with reference to the look of
the surface of the brain, and doubtless with a pun on the colloquial use
of =gusanera= for that reservoir of "maggots" (crotchets) whose contents
come out when you touch upon a man's hobby.
=36= 24 =daba paso a=: 'sent down.'
=37= 14 =martillazos=: for force of termination =-azo= cf. R. 1273 (p.
499); K. 765, _b_, rem.; C. 132, 4, _b_. Cf. n. on p. 90, l. 29.
=37= 30 =cazadora traviesa=: like Diana.
=37= 31 =cochero emperegilado y vagabundo=: like Phaëthon.
=37= 34 =Mercurio=: the god of commerce.--=Manzanedo=: the firm of
Manzanedo is a leading Madrid banking house.
=38= 1 =barbilampiño=: Spaniards regard abundance of hair as an evidence
of force. The allusion is to the well-known frail look of Count von
Moltke.
=38= 6 =a la electricidad le da la gana=: 'electricity takes the
notion.' The subject of =da= is =gana=; cf. the plural form p. 82, l.
11. This construction of =dar= is most common in expressions of desire,
whim, etc., with words like =gusto, ventolera=, and the like. The
Spanish Academy says that =da la gana= is an uncultured colloquialism,
but does not object to this use of =dar= with other words.
=38= 8 =los de Paris=: the Champs-Élysées, the central garden of Paris,
is one of the most famous public squares in the world.
=38= 13 =pisos=: lit. 'stories,' meaning the celestial spheres, whose
number Dante, however, makes nine.
=38= 14 =sino=: i.e. =nada sino, cosa sino=. R. 739; C. 232, 4.
=38= 20 =está de cuerpo presente=: 'is laid out for its funeral.'
=38= 28 =se han corrido=: 'have been issued'.
=39= 7 =sulfurar=: colloq. expression, equivalent to Eng. 'get a rise
out of.'
=40= 1 =todo se acabó=: 'it's all over,' 'that's an end of it.'
Noteworthy as an idiom is the use of the past absolute of =acabar=, and
occasionally other verbs of ending or stopping, where the perfect would
be expected according to ordinary tense usage.
=40= 7 =salimos con=: see =salir con= in vocabulary.
=40= 13 =no podía menos de=: R. 1033; K. 619; C. 291.
=40= 18 =al Ateneo=: 'to the Athenaeum,' a literary and scientific club
in Madrid, established in 1835, which has been for many years the
meeting-place of Spanish liberals and freethinkers. It is looked upon
with great suspicion by the clerical party.
=40= 30 =haciéndose la mosquita muerta=: 'playing possum,' 'lying low'
(colloq.), feigning insignificance and biding his time.
=40= 31 =los siete doctores=: as the mediaeval church had its seven
sacraments, its seven cardinal virtues, its seven deadly sins, its seven
sages of antiquity, etc., so it had its seven doctors, or divinely
appointed teachers of the faith. The list of these last was a very
variable one.
=40= 34 =Si=: the conditional =si= is idiomatically used to give point
or emphasis to an affirmation, much like the English colloquial _why_.
R. 1423; K. 601; C. 214, 4. Similarly on p. 43, l. 15. This usage must
be distinguished carefully from the similar use of the affirmative
particle =sí=, marking a real or implied antithesis.
=41= 9 =ante=: R. 191; K. 632; C. 222.
=41= 13 =diera=: really plup. ind., not imperf. subj. As is well known,
the forms in =-ara,-iera=, came from the Latin plup. ind. (Span. =amara=
= Lat. _amaveram, amaram_), and in older Spanish retained in most cases
their original force; but they were confused with the Latin imperf.
subj. in _-rem_, and gradually the subjunctive use supplanted the
indicative. The latter, however, survives in relative clauses in formal
or elevated discourse, and still more in colloquial idiom. Galdós uses
it more than do most modern authors. Cf. R. 1202; K. 702; C. 280.
=41= 22 =hieráticos=: a form of ancient Egyptian writing intermediate
between hieroglyphic and demotic.
=42= 34 =tomar el arado=: 'take the plough-handle.'--=sentarse al
telar=: 'sit down at the workbench' (lit. 'loom').
=43= 9 =recién=: the adv. =recientemente=, when it immediately precedes
a past participle used adjectively, assumes this abbreviated form. R.
1405; K. 600; C. 211, 2.
=43= 20 =a macha martillo=: 'solidly' (though not elegantly). Colloquial
for that which is vigorously hammered together, though not a finely
finished piece of work.
=44= 2 =vió ... el cielo abierto=: this phrase (from the New Testament)
regularly means 'get an opportunity,' but here rather 'feel a great
deliverance.'
=44= 28 =Toditos los días=: 'every single day.' Bello says that
=todito=, =nadita=, are "notable" in that the diminutive form does not
at all alter the meaning of =todo, nada=, but merely makes them
colloquial.
=45= 2 =tresillo=: a game of cards similar to ombre.
=45= 8 =pobre=: unaccented in translation, since it precedes the noun.
Hence omit the comma in translation.
=45= 10 =borla de doctor=: 'doctor's tassel,' the most conspicuous
ornament of the gown worn by successful candidates for the degree of
doctor at the Spanish universities.
=45= 11 =sacó nota de sobresaliente=: 'obtained the mark _excellent_ [or
_distinguished_].'
=46= 3 =unas maneras ... un modo ... una figura=: we have here a use of
=uno= not noted in the grammars, yet common to all the Romance
languages. It is often marked in conversation by a slight stress upon
the word; while in sense it at times merely indicates something
noteworthy or distinctive in the noun, at other times it approaches
closely the English 'such' in phrases like 'such a sight!'=--figura=:
'style.'
=46= 19 =entre tú y yo=: owing to its implication of reciprocal action,
the preposition =entre= when used with two pronominal objects inclines
to take the nominative instead of the terminal forms after it. This
usage probably arose from cases in which the form of the first object is
apparently nominative (though really terminal), such as =entre él y
yo= or =entre mi padre y yo= (cf. R. 338), but has now extended itself
to all cases.
=46= 32 =sí que=: cf. n. on p. 40, l. 34. Also R. 1408; C. 214, 2.
=47= 11 =os estáis=: R. 807.
=48= 5 =inmigración fenicia=: the Phoenician settlements in Spain in
prehistoric times have long been a favorite subject for the speculations
of Spanish antiquaries.
=48= 27 =los hombres de chispa=: 'you clever men.' For use of =los= cf.
R. 324, 325; K. 189.
=49= 17 =ya viene, ya está cerca=; que te quemas: phrases used in the
game of blindman's buff to indicate to the player that is blindfolded
his approach to the right person or place. For elliptical use of =que=
cf. R. 1421; C. 214, 3.
=50= 5 =Te quiero=: 'I have loved you.'
=50= 18 =de picotazos=: this instrumental use of =de= with the verb
=dar= is colloquially common.
=51= 1 =no podía menos de=: R. 1033; K. 619; C. 291.
=51= 9 =No es=, etc.: the advice is bad; Pepe is not speaking for the
garden's sake.
=51= 17 =_Insere nunc_=, etc.: Vergil, _Ecl._ I, 73. It is to be noted
that the good priest's translation of _pone ordine_ (=arregla=, 'set in
order,' 'attend to') is not very accurate. The phrase means, of course,
'plant in rows.'
=52= 9 =al crecer=: 'as it grew.'
=52= 11 =pero=: 'an out;' the conjunction 'but,' used substantively.
=52= 31 =Concilio de Trento=: this council of the Church (1545-1563)
reasserted most positively the principle of the celibacy of the clergy.
=53= 32 =_Nec vero terrae_=, etc.: Vergil, _Georg._ II, 109.
=54= 3 =_Ille horridus alter_=, etc.: Vergil, _Georg._ IV, 93-94.
=54= 17 =le ha dado por=: 'the whim has taken him.' Cf. n. on p. 38, l.
6.
=54= 19 =Flammarión=: French popular writer on astronomy, Camille
Flammarion.
=55= 9 =no debe sentirse=: 'it cannot be taken ill.'
=55= 11 =Bismarck=: in 1876, when _Doña Perfecta_ was published,
Bismarck was just coming to the end of the so-called _Kulturkampf_, the
struggle with the Church in which he imprisoned bishops, closed
churches, and took other extreme measures to browbeat the Catholics into
submission. Hence the priest's feeling toward him.
=55= 21 =Bufos=: name of an objectionable variety show in Madrid just
then. It was suppressed a little later.
=56= 1 =mereceré=: R. 1195; K.703,_c_; C. 266.
=56= 19 =Si=: cf. n. on p. 40, l. 34.
=57= 16 =Adelantado=: in ancient times a high official of the realm, who
acted as governor of a frontier province, president or lord high justice
of part of the kingdom, and the like. In this case, some local celebrity
of this rank who happened to be buried in the cathedral.
=58= 4 =disgusto=: not 'disgust.'
=58= 8 =a ello=: R. 1360.
=59= 22 =Ténganme=: sc. =ustedes=.
=60= 4 =_Est Deus in nobis_=: Ovid (_A.A._ III, 549; _Fasti_ VI, 5) thus
describes the inspired poet. The Renaissance was fond of the quotation.
The capital D is doubtless meant to indicate the priest's monotheistic
application of the words; yet many old editions of the Latin classics
capitalize _Deus_ even when referring to heathen gods.
=60= 16 =ábside, coro= ('choir'): parts of the cathedral.
=60= 32 =quincallería=: properly a shop or stall for the sale of
=quincalla=, which the Academy defines as "metal articles, mainly cheap,
as scissors, thimbles, imitation jewelry."
=61= 11 =iconoclastas=: "a breaker or destroyer of images; a person
conspicuously hostile to the use of images in Christian worship," says
the Century Dictionary. Jacintito uses the word in the latter sense,
which is the theological and dictionary definition in Spain; Pepe in the
former, the etymological and international sense.
=61= 29 =qué=: 'how far.'
=61= 32 =_La Traviata_=: opera by Verdi.
=62= 2 =_La Gran Duquesa_=: the comic opera _La Grande Duchesse_, by
Offenbach.
=62= 34 =de=: 'to.'
=63= 27 =zarzuela=: light dramatic performance peculiar to Spain, partly
recited and partly sung.
=64= 1 =Si no=: elliptical expression very common in colloquial Spanish,
'otherwise,' 'if you don't think so.'
=64= 20 =alguno=: i.e. =negocio=.
=64= 23 =papel sellado=: legal documents are required to bear a revenue
stamp.
=65= 10 =tejares=: 'brickyards,' where tiles (=tejas=), sun-dried bricks
(=adobes=), and burnt bricks (=ladrillos=) are made.
=65= 16 =superior=: i.e. higher up the stream.
=65= 23 =linderos=: cf. n. on p. 7, l. 6.
=66= 1 =Caco=: 'Cacus,' robber giant, son of Vulcan, who lived in a cave
of the Aventine Hill, and who was killed by Hercules for stealing from
him the oxen of Geryon (cf. Vergil, _Aen._ VIII, 193 ff.).
=66= 5 =prescripción=: by Justinian's code, twenty years' adverse
possession of an absent person's real estate makes the occupant the
owner.
=66= 9 =lo que es eso=: 'as for that.'
=66= 13 =juicio de conciliación=: 'reconciliation hearing.' The Spanish
law requires that before actual trial of a civil cause the parties shall
try, in open court, to arrive at a friendly settlement of their
differences.
=67= 6 =No vale la pena=: 'it's not worth while,' vague phrase used in
politely deprecating an apology (Fr. _ce n'est pas la peine_).
=68= 11 =pegan la hebra=: 'get the thread tied' (get started in
chatting).
=68= 31 =_Madrid_=: the pronunciation of final =d= like =z= (Eng. _th_
in _teeth_) is either provincialism or affectation. It is the single
point on which the pronunciation of well-bred Castilians is not accepted
as standard.
=68= 34 =muy relacionada en la Corte=: 'widely acquainted at the
capital.'
=69= 4 =Muley-Abbas=: Moorish prince, brother of the Emperor of Morocco,
who visited Spain soon after the war between Spain and Morocco
(1859-1860) was ended.
=69= 7 =el 60=: i.e. =el año 1860=.
=69= 10 =morería=: this quaint word is common in the Spanish popular
ballads (=romances=) both for the land of the Moors and for the Moors
themselves. Galdós uses it, of course, with a touch of humor.
=69= 13 =que se salía=, etc.: (seemingly) 'bursting out of himself
through being too big to go in his own skin.'
=69= 15 =Procedía=, etc.: 'he was a product of the exclaustration'; i.e.
a monk who had turned priest at the time of the confiscation of the
monasteries by the Spanish government (1835).
=69= 24 =la Fama=, etc.: cf. Vergil, _Aen._ IV, 174 ff.
=69= 33 =vacía=: that is, owing to the removal of his great bulk.
=70= 10 =Por más que=: R. 899.
=70= 23 =_Augusto Nicolás_=: imaginary author or book.
=70= 25 =que pareces=: ellipsis for =tan cargado que pareces=.
=70= 34 =_Concilios_=: there are four or five voluminous histories of
the councils of the Church, with the texts of their decisions; the title
is _Collection of Councils_, with variations. In any one of these, Vol.
3 might be presumed to belong to the early part of the Middle Ages.
=71= 14 =gastar=: 'wear' (of clothes, with something of humorous
suggestion of extravagance).
=71= 21 =vete a acostar=: K. 207; C. 207, 4.
=71= 28 =no te fíes=: answering Pepe's words in lines 15-16.
=72= 5 =No hay que darle vueltas=: refers to the succeeding statement.
=72= 8 =si no=: cf. n. on p. 64, l. 1.
=72= 9 =Emperador=: i.e. Charles V.--=Felipe=: i.e. Philip II.
=72= 24 =Bustamante=: imaginary author; perhaps a pun on the thought
"lover (_amante_) of tombs (in Latin, _busta_)."
=73= 10 =de centinela=: R. 1440, _m_; K. 631, _f._
=73= 14 =retamas=: 'Spanish brooms' (bot. _Spartium junceum_).
=73= 16 =D. Fulano ... D. Perencejo=: R. 238; K. 306; C. 196, 4.
=73= 20 =monte=: a game.
=74= 7 =concediera=: cf. n. on p. 41, l. 13.
=74= 13 =explorar=: cf. p. 21, l. 31. The Madrid edition has here
=explotar=, 'exploit,' which makes sense, but a less satisfactory sense.
=75= 6 =como no sea=: 'unless it be.'
=75= 9 =Nicolasito Hernández=: the tall-hatted money-lender of p. 92.
The Madrid edition reads =Nicolasita= here.
=75= 21 =A que=: elliptical phrase, derived from expressions like
=apuesto a que=, 'I wager that.'
=75= 22 =dejaron bizcos=: 'made cross-eyed' (with astonishment and
envy). Since the London Exhibition of 1862 there had been those of
Paris, 1867, and Vienna, 1873. By not mentioning these the Orbajosans of
1875 practically confess that they had never been able to repeat their
success of thirteen years ago.
=76= 8 =que=: the double syntax of this word, as accusative with
=celebró= and nominative with =fué=, is a grammatical fault.
=76= 26 =fulminante=: medical men in our country use "fulminant,"
"fulminating," or "foudroyant," in the same sense.
=76= 30 =regular porción=: 'a good big lot' (colloq.).
=76= 31 =fuese=: from =ir=, not from =ser=. Cf. R. 523, rem. and 525; K.
734; C. 275.
=77= 6 =a la peña de su martirio=: like Prometheus to his cliff.
=77= 7 =fuera de su centro=: the Academy defines =estar en su centro= as
"to be comfortable and happy in a place or occupation."
=77= 11 =condujera=: cf. n. on p. 41, l. 13.
=79= 8 =Ministerio de Fomento=: the government department "which has
charge of promoting advancement and improvement in agriculture,
industry, commerce, and public works" (and, before 1900, education).
=79= 25 =si no puedo=: cf. n. on p. 40, l. 34.
=80= 14 =seremos=: R. 1195; K.703,_c_; C. 266.
=80= 28 =un=, =82= 1 =unas=: cf. n. on p. 46, l. 3.
=82= 11 =le dan=: cf. n. on p. 38, l. 6.
=82= 26 =Así le ahorcaran=: 'I wish they'd hang him!' or simply 'hang
him!' Cf. n. on p. 4, l. 13.
=83= 5 =fueron entrando=: cf. n. on p. 76, l. 31.
=84= 21 =hasta donde alcanzara=: 'in so far as ... might suffice.'
=85= 1 =Hastiado=: 'bored.'
=85= 9 =empujara=: cf. n. on p. 41, l. 13.
=85= 17 =carcomido=: cf. =cara carcomida= = face marked with smallpox.
=85= 32 =hacer cocos=: properly, to signify love by looks or gestures.
=86= 5 =Antinoo=: 'Antinoüs,' a Bithynian youth loved by the Emperor
Hadrian, proverbial as a paragon of beauty in the male sex.
=86= 18 =países=: 'parts.'
=86= 23 =derechito=: dim. of =derecho=, 'all straight.'--=espigado=:
'tall.'
=86= 24 =Tenorio=: 'Don Juan.' The legend of Don Juan, so famous in
European literature by reason of Molière's play (_Le festin de Pierre_),
Byron's poem (which uses, however, hardly more than the name), and
Mozart's opera (_Don Giovanni_), originated in Spain. The hero of it is
there represented to have been a Sevillan of illustrious family, Don
Juan Tenorio by name. The story first appears in a Franciscan chronicle
of Seville, written in the 16th century. It then attracted the attention
of the great Spanish dramatists of the end of the 16th and beginning of
the 17th century. The first complete use of it for literary purposes was
by Tirso de Molina (whose true name was Gabriel Téllez), in his play _El
Burlador de Sevilla y el Convidado de Piedra_.
=87= 5 =Estado Mayor de Plazas=: body of staff officers charged with the
supervision of forts or strongholds (Fr. _état-major des places_).
=87= 6 =el 54=: in July, 1854, the main army being in the south fighting
insurgents, the populace of Madrid defeated the soldiery in a bloody
street battle of three days, and turned the government out of office.
=87= 15 =serán=: cf. R. 1195; K. 703,_c_; C. 266.
=87= 33 =Si se alimentan=: cf. n. on p. 40, l. 34.
=88= 10 =entroncar con=: 'marry into the family of' is the dictionary
meaning; but the derivation from =tronco=, 'trunk,' may here suggest 'be
grafted into the stock of.'
=88= 25 =motes=: 'nicknames,' =apodos=, says the Academy; more strictly,
offensive or disrespectful =apodos=.
=88= 34 =ello es=: cf. R. 1361; K. 188,_a_; C. 206, 2.
=90= 5 =guitarrillo=: an instrument like a tiny guitar with four
strings.
=90= 29 =cascarazo=: a word which, like the diminutives, will never be
found in any general dictionary. Grammars (cf. n. on p. 37, l. 14) treat
the suffix =-azo=, and a few others of this sort, along with the
diminutives.
=91= 12 =fórmula=: 'shibboleth.'
=92= 5 =coman=: sc. =ustedes=.
=92= 13 =_Cirio Pascual_=: a =cirio pascual= is an immense candle
lighted on Holy Saturday and used at services till Ascension Day.
=92= 14 =de tres pisos=: 'three-story'; not a rare expression for a tall
hat.
=92= 17 =A que=: used to introduce an instigation to do something, like
Eng. 'I'll bet.' Cf. n. on p. 75, l. 21.
=92= 28 =media onza=: gold coin worth 40 pesetas (about $7.75), coined
before 1833.
=93= 7 =en campaña=: 'in the open,' 'out of her intrenchments' (military
term).--=colgando la ropa=: 'hanging out the clothes.'
=93= 28 =ésas=: R. 442; K. 265; C. 162, 2.
=94= 2 =llaman=: sc. =ustedes=.
=95= 16 =echará un responso=: in his capacity as priest.
=95= 33 =mujer=: used like =hombre=. Cf. n. on p. 5, l. 33.
=96= 1 =tendré=: R. 1195; K. 703,_c_; C. 266.
=96= 33 =rumiantes=: i.e. as truly progressive as oxen.
=97= 9 =Su Ilustrísima=: i.e. the bishop.
=97= 14 =1.°, 2.°=, etc.: in these abbreviations for 'first,'
'secondly,' etc., the small circle was originally the final _o_ of the
Latin words _primo, secundo_, etc. So in counting degrees: 60° means
_sexagesimo_, 'at the sixtieth (degree).'
=98= 4 =Tomarías=: just as the fut. ind. is used to indicate an element
of doubt or conjecture in an assertion of present fact, so the
conditional is employed to convey the same implication with regard to a
past fact (K. 706, _f_; C. 268). Translate 'you probably took,' 'no
doubt you took,' or the like.
=98= 8 =Todo lo he meditado=: cf. n. on p. 32, l. 17.
=98= 19 =extremeño=: native of the province of Estremadura (spelled in
Spanish =Extremadura=; but cf. n. on p. 22, l. 25, and p. 102, l. 27).
In small Spanish towns, shopkeepers and the like from other provinces
are commonly designated in brief in this way rather than by their names.
=99= 33 =Por poco más le dejan=, etc.: 'a little more and they had left
him [dead] on the spot.' For tense cf. R. 1201; C. 262, 4.
=101= 3 =trastazo=: lit. 'blow with a =trasto=' (R. p. 499; K. 765, _b_,
rem. 1; C. 132, 4,_b_), then 'blow' (colloq.).
=101= 20 =_Trojae qui primus ab oris_=: Vergil, _Aen._ I, 1.
=101= 27 =!...=: cf. n. on p. 14, l. 9. Here it is the object of
=merecía= that is omitted.
=102= 3 =me merece=: 'has a right to from me.' With a noun the
preposition =a= would be used (=merece a Pepe=). Cf. K. 753, rem.
=102= 16 =cómo me pusieron la cabeza=: 'what a state they got my head
into.'
=102= 17 =Que si habías=: cf. n. on p. 40, l. 34. For use of =que= cf.
R. 1421; C. 214, 3.
=102= 27 =estrangular=: Madrid edition =extrangular=; cf. n. on p. 22,
l. 25; K. 41, rem.
=103= 1 =postrer=: for form cf. R. 356; K. 123; C. 46, 1.
=103= 9 =tenía que hacer=: R. 1223-1224; C. 277, 3.
=104= 15 =altura=: 'exaltation,' 'joy.'
=104= 28 =Gaume=: the Abbé Jean-Joseph Gaume (1802-1879), a French
writer of the extreme Catholic party, who published much on religion
and education; best known as an advocate of substituting the Church
Fathers for the Greek and Latin classics in secondary education.
=104= 29 =unos ... unas=: cf. n. on p. 46, l. 3.
=105= 4 =violencia=: 'violent effort.'
=105= 30 =le=: dative feminine.
=106= 3 =Y está celoso=, etc.: apparently this paragraph should form a
part of the following (or the preceding?) paragraph; otherwise it is
hard to see who is speaking here.
=107= 29 =se sentara=: cf. n. on p. 41, l. 13.
=108= 6 =se escurrían=: 'slipped along.'
=108= 7 =graznar=: dissonant singing resembling the cackle of geese.
=108= 9 =_Ave María Purísima_=: the formula with which Spanish
night-watchmen preface their chanted announcement of the hour.
=110= 1 =el mismo año=: this cannot refer to the date 1537 (p. 109, l.
33), which, being before the accession of Philip II, is much too early
for any fighting between Spaniards and Netherlanders. Don Cayetano is
reading from a different note.
=110= 8 =Mateo Díaz Coronel=: imaginary author of an imaginary book.
=110= 22 =recibiera=: cf. n. on p. 41, l. 13. The force of the tense is
here, however, rather perfect than pluperfect. Such use is not rare.
=112= 2 =ensimismado=: 'wrapt in his own thoughts' (from =en sí mismo=).
--=lo ve todo=: 'sees everything.' Cf. n. on p. 32, l. 17.
=112= 21 =consonante=: the gender (agreeing with =letra= understood)
shows that the word here means 'consonant' (the letter _s_), not
'accord.'
=113= 16 =que tanteaban=: 'feeling their way.'
=113= 27 =escalón=: i.e. the =peldaño= mentioned above.
=114= 7 =Daba diente con diente=: 'her teeth chattered.'
=114= 24 =Tentando=: 'feeling along.'
=115= 30 =Que si creo=: this (cf. R. 1421) would be the obvious Spanish
way to express a surprised exclamation 'Whether I believe in God!' But
some good grammarians prefer to explain such a =que si= on the principle
of the note on p. 40, l. 34.
=117= 11 =es ley=, etc.: 'it's the rule not to oppose directly.'
=118= 12 =vernos las caras=: 'see each other's faces.' Cf. R. 481; K.
253.
=118= 17 =Limbo=: in Catholic theology the place where souls of infants
who died sinless but unbaptized abide free from the pains of hell (the
punishment of actual sin) but lacking the joy of the vision of God
(whose loss is the punishment of original sin). Old Testament saints
were kept in Limbo till the death of Christ, then taken to heaven.
=110= 24 =fascinada=: this word properly belongs to the superstition of
the evil eye, and expresses the bad luck or sickness which one suffers
in consequence of having fallen under such a glance. Note the word
=ojos= below. In untechnical use it corresponds to a loose popular use
of the word 'hypnotized.'
=118= 29 =fueras=: from =ir=, not =ser=.
=120= 13 =sea=: 'shall be.' The subjunctive, in spite of depending on
the present tense =juro=, has here a future sense because of its
relation to the future thought involved in her prayer; such seems to be
the safest explanation of this difficult passage.
=121= 6 =Volvió a sentarse=: R. 1187; K. 725,_a_; C. 107, 5.
=121= 19 =Recobrado el sentido=: R. 1228, 2; K. 741; C. 276, 5.
=122= 14 =_allá voy_=: 'here I come.' The verb =ir=, not =venir=, is
used in answering a call (Eng. _I'm coming_ = =voy=). =Allá= is not
'here,' but 'here I come' is the idiomatic equivalent of the phrase as a
whole; besides, somewhat of the beat of the accents must here be kept in
translation.
=123= 16 =Anticipo forzoso tenemos=: 'they are forcing our hand.'
=123= 20 =Si=: the conclusion from this 'if' is concealed in the
suspensive points at the end of the sentence.
=124= 6 =o sea=: 'that is to say' (lit. 'or let it be,' 'put it so').
=124= 20 =por cuya razón=: cf. n. on p. 24, l. 7.
=125= 1 =behetría=: in the Middle Ages a =behetría= was a community
(urban or rural) which had the right of choosing its own lord and of
making a new choice from time to time. With the disappearance of the
institution from actual life its reputation as a hotbed of uncertainty
and contention grew all the stronger, and the word is used to-day to
mean 'anarchy' (in a loose sense) or 'turmoil.'
=125= 12 =_Gestas_=: italic because the word, like English 'gest,' is
obsolete.
=125= 19 =cuando los Apostólicos=: 'at the time of the Apostolics,' a
reactionary faction that undertook to get possession of the state in the
last years of the reign of Ferdinand VII (1814-1833). Galdós has devoted
to them one of his series of _Episodios Nacionales_.--=la guerra de los
siete años=: the Carlist uprising in 1833 and the following years.
=125= 20 =1848=: a revolutionary year in all Europe; not so
conspicuously so in Spain, yet cf. p. 129, l. 25.
=125= 23 =la guerra de la Independencia=: i.e. against Napoleon;
generally known in English as the Peninsular War (1808-1814).
=125= 27 =con visos de=, etc.: 'looking like a representative or
instrument of the central power.'
=126= 13 =por do quiera que=: 'wheresoever.' The antiquated form =do=,
doublet of =donde=, is now preserved only in phrases in which it is
followed by =quiera=, and in a few locutions like =a dó=, 'whither.'
=126= 15 =municipio=: 'city authorities.'
=126= 33 =caben=: R. 1155; K. 529, _a_; C. 284.
=127= 18 =entre tú y yo=: cf. n. on p. 46, l. 19.
=128= 11 =dar la dirección a los globos=: before the development of
aviation, to give steering power to balloons was one of the perennial
enterprises of the most wildly ambitious type of inventors.
=128= 23 =me pican=: 'bite' (of mustard, garlic, etc.).
=129= 5 =periódico suelto=: 'irregular periodical' (hence appearing when
and where least expected). The most familiar type of irregular
periodical in the Spanish-speaking world is the revolutionary sheet
(to-day usually anarchistic) which is driven to the announcement
"Aparece cuando puede" by the double pressure of poverty and
governmental hostility.
=129= 20 =perezca=, etc.: 'die and be born again.'
=129= 25 =en 1848=: cf. n. on p. 125, l. 20.
=129= 26 =en puertas=: i.e. on police duty.
=130= 3 =maldición de Dios=: cf. "=ser bendición de Dios= (figurative
and colloquial phrase) be very abundant", Academy.
=130= 16 =de qué pie cojea=: i.e. what really ails it.
=130= 19 =ello es=: R. 302; K. 188, _a_; C. 206, 2.
=131= 2 =Cómo se van atando cabos=: lit. 'how ends go getting tied!'
i.e. 'how things do fit together (in one's mind)!' Cf. vocabulary under
=atar=.
=131= 20 =sueltas=: 'from time to time,' 'now and then' (lit.
'disconnected').
=131= 23 =desperezándose=: the Academy defines this as stretching and
twisting in order to shake off either =pereza= (in the sense "repugnance
to rising from one's bed or seat") or the numbness of a sleepy limb.
=131= 31 =ya no se estilan=: 'are no longer good form.'
=132= 14 =Al mirar=: 'when she looked.'
=133= 5 =pára=: from =parar=.
=133= 19 =cinco=: the Madrid edition has =cincos=.
=136= 18 =te confieso=, etc.: 'confess to you--Yes, I have indeed,' etc.
=136= 25 =cada vez=: 'all the time.'
=136= 28 =bríos=: 'spirit.'
=138= 22 =Que se acabó todo=: 'it's all over.' For use of =que= cf. R.
1421. For tense of =acabó= cf. n. on p. 40, l. 1.
=139= 17 =todo lo=: 'everything.' Cf. n. on p. 32, l. 17.
=139= 27 =con perfecta conciencia de sí misma=: 'thoroughly
self-conscious.'
=140= 9 =olor de infalibilidad=: a variation of the traditional phrase
=olor de santidad=, 'odor of sanctity,' which arose from the belief
formerly current that the dead body of a saintly person emits a sweet
smell.
=141= 3 =adocenados=: 'common,' 'vulgar' (derived from =docena=, and
applied to what is reckoned _by dozens_, not individually).
=141= 10 =acabó=: cf. n. on p. 40, l. 1.
=141= 23 =patética=: not 'pathetic.'
=141= 34 =entre usted y yo=: cf. n. on p. 46, l. 19.
=142= 30 =Guardia civil=: cf. n. on p. 9, l. 29.
=143= 19 =alzado la mano a=: '"lifted his hand" against,' i.e. struck.
=143= 22 =montado=: 'equipped,' 'furnished' (Gallicism = Fr. _monté_).
The word lends itself easily, however, to the play on words involved in
the succeeding phrases, =a la altura, a la bajeza=, because from the
true Spanish =montar= it is strongly colored with the meaning 'ascend'
or 'cause to ascend.'
=143= 29 =si bien=: this phrase introduces a fact which cannot be
denied, but insists that that fact does not alter the main point. Cf. p.
124, l. 21.
=144= 10 =a partir un confite=: 'hail-fellow-well-met.' The dictionary
says: "=morder en un confite=, of two or more persons, have great
friendship or intimacy"; "=estar a partir un piñón con=, be entirely at
one with."
=145= 17 =un infeliz=: this term "always holds in solution a grain of
madness, or, what is perhaps worse, of helplessness akin to idiocy"
(Knapp).
=145= 30 =Allan Cardec=: the French author Hippolyte-Léon-Denizard
Rivail (1803-1869), better known by his pseudonym Allan Kardec, whose
works on spiritualism made a great sensation in the middle of the
century, and contributed much to the diffusion of the belief both in
Europe and in America.
=147= 20 =corregidor=: a magistrate appointed by the government of Spain
to govern a district or municipality. He has much greater power than an
=alcalde=, or mayor, and is responsible to the central administration
alone. In general, he is appointed only in time of local disturbances of
some kind.
=147= 28 =Sí que lo es=: 'that's just what it is.'
=148= 22 =se le trababan=, etc.: 'the words stuck in his mouth.'
=149= 8 =la brigada Batalla=: 'Batalla's brigade,' lit. 'the Batalla
brigade.'
=149= 17 =cobró un semestre=: 'collected a six months' payment'
(possibly of a tax levied in the name of the revolution).--=pidió
raciones=: 'demanded rations.'
=149= 21 =registro civil=: i.e. the record of births, marriages, deaths,
etc.
=150= 3 =_Romancero_=: the name given to the body, or collection, of
Spanish ballads (=romances=). Among these ballads, the oldest and most
truly popular celebrate the achievements of national heroes--the Cid,
Fernán González, Bernardo del Carpio, etc. The best published collection
of the Spanish ballads is the _Romancero General_ of Agustín Durán
(Vols. X and XVI of Rivadeneyra's _Biblioteca de Autores Españoles_).
=150= 15 =recibiera=: cf. n. on p. 41, l. 13.
=150= 22 =partiendo un piñón=: 'hobnobbing'; cf. n. on p. 144, l. 10.
The =piñón=, the seed found in the cone of the stone pine, is a very
small but pleasant nut.
=150= 31 =Brumario=: 'Brumaire,' an autumn month of the French
revolutionary calendar. The occasion on which Napoleon with his soldiers
overthrew constitutional government and made himself master of France is
always designated as "the 18th Brumaire."--=el saco de Roma=: in 1527
the Constable of Bourbon led the armies of Charles V against Rome.
Bourbon was killed in the beginning of the assault, but his leaderless
soldiers took the city and plundered it for six months, at the end of
which only a third of the population was left.
=150= 32 =la ruina de Jerusalén=: the siege of Jerusalem by the Romans
under Titus (A.D. 70) is perhaps the most famous in all history for
horrors.
=151= 5 =cabe duda=: R. 1155; K. 529,_c_; C. 284.
=151= 7 =sendas=: 'as many,' 'a mule apiece.' R. 674; K. 332.
=151= 8 =preguntándoles que a dó=: 'asking them whither.' For use of
=que= cf. R. 1418. For =dó= cf. n. on p. 126, l. 13.
=151= 13 =complexión=: 'physique.'
=151= 19 =aquél=: i.e. =aquel día=.
=151= 22 =confiara=: cf. n. on p. 41, l. 13.
=152= 1 =han dado de=: cf. n. on p. 50, l. 18.
=152= 21 =Bien está Pedro en su casa=: the Academy lists =bien está San
Pedro en Roma=, 'let well enough alone,' 'go farther and fare worse,'
'I'm better as I am'; and =como Pedro por su casa=, 'without saying "by
your leave."'
=152= 29 =seré=: R. 1195; K. 703,_c_; C. 266.
=152= 31 =Lástima de Cid Campeador=: 'it's a pity about the Cid
Campeador' (ironical). The Cid (often called also Campeador, 'champion')
is the chief of the popular national heroes of Spain. His true name was
Rodrigo Díaz de Bivar. His exploits against both Christians and Moslems
made him a marked figure even in his own time, and shortly after his
death in the year 1099 he became one of the favorite subjects of popular
poetry. He is the hero of one of the earliest and most famous monuments
of Spanish poetry, the _Poema del Cid_; the early chronicles give much
space to him, and he was sung in great numbers of popular ballads
(=romances=).
=153= 1 =capitular=: a member of a =cabildo=, which is the body of
=canónigos=; hence, practically a synonym of =canónigo=.
=153= 8 =después de deshonrado=: R. 1233; K. 742; C. 276, 7.
=153= 15 =por aquello de que tiene uno=: 'by reason of the fact that one
has.' A peculiarity of the Spanish use of =uno=, 'one,' well illustrated
by this example, is that there is a feeling against employing it except
with reference to the speaker himself. Thus the general and
indeterminate 'one,' 'they,' 'people,' Fr. _on_, is rendered by the
reflexive or by the third person plural of the verb; but when the
speaker for any reason desires to generalize himself, so to speak, he
employs =uno=.
=153= 16 =que si no=: 'otherwise.' Cf. n. on p. 64, l. 1.
=154= 5 =amanezcamos ... asesinadas=: 'may be found in the morning
murdered.'
=154= 11 =menos=: a comparative has superlative force whenever this
suits the sense, whether the article is used or not.
=155= 22 =por el hilo se saca el ovillo=: 'by the thread the skein is
pulled out,' proverbial phrase implying that a small indication will
enable one to get at the whole of a thing.
=155= 23 =por la uña el león=: identical with the Latin proverb _ex
ungue leonem_.
=155= 33 =cuatro soldados y un cabo=: i.e. an insignificant force.
=156= 4 =Por vida de!...=: cf. n. on p. 14, l. 9.
=156= 13 =echártela=: for =la= cf. n. on p. 7, l. 16.
=156= 24 =echarse fuera=: 'burst forth.'
=157= 26 =de=: cf. R. 1440,_m_; K. 631, _f_.
=159= 4 =montes=: not 'mountains.'
=159= 8 =me=: ethical dative; cf. R. 323; K. 231; C. 204.
=159= 19 =cómo=: pres. ind. of =comer=.
=159= 28 =porque es mosquito=: 'simply because it's a gnat' (not a man).
=159= 32 =mete y saca de palabrejas=: 'prodding [lit. 'sticking in and
pulling out'] with lingo.' =Mete= and =saca= are imperatives, but used
here nominally. =De= is instrumental, as often after =dar=; cf. n. on p.
50, l. 18.
=159= 33 =sermoncillos al revés=: i.e. phrases meaning the opposite of
what they say.
=160= 13 =gaznate=: inaccurately used, it would seem.
=161= 6 =Es tiempo ya de trasquilar=: 'it's already [sheep-]shearing
time.'
=161= 12 =tan buen pan=, etc.: i.e. Orbajosa can furnish her sons with
as good an insurrection as they could get by going outside.
=161= 15 =tanto así=: with snap of the finger, or the like.
=161= 23 =guarda de montes=: 'ranger.'
=162= 1 =echarte a la calle=: 'take to the street' (as a rioter or
insurrectionist). Cf. =se eche al campo=, 'take the field' (military),
in l. 9, below.
=163= 18 =cuantos vestimos=: 'we [lit. 'as many as there are of us'] who
wear.'
=163= 23 =toquen a degollar=: 'give the signal for cutting throats.'
=163= 33 =adelantan más edificando=: 'make more progress as they build'
(than the destroyers as they tear down).
=164= 3 =Dejarles=: for use of infinitive for imperative see R. 1225; K.
731; C. 277, 5.
=164= 13 =No les arriendo la ganancia=: colloquial; lit. 'I don't
bargain to take the profit off their hands.' See vocabulary.
=165= 3 =que pudierais=: the antecedent of =que= is =mancha=. Earlier
Madrid editions have =que= not here but before =por causa=; later
editions, as in our text.
=165= 8 =lo, lo=: omit in translation, and express the verbs merely by
'it did,' 'will it'; or else translate the first =lo= by 'so.'
=165= 11 =en buen hora=: cf. n. on p. 35, l. 26.
=166= 1 =más mundo=: 'more people.' Cf. the phrase =todo el mundo=,
'everybody' (Fr. _tout le monde_).
=166= 32 =qué se han de=: 'what ground have they to,' 'how should
they.'--=atrever=: may well be omitted in translation.
=167= 1 =aquel romance=, etc.: the extracts that follow are from one of
the finest of the Spanish ballads (=romances=) that deal, not with the
traditional heroes of Spain, but with personages whose epic history had
first been developed in mediaeval France, and thence diffused through
the other countries of Europe. Roldán is the French Roland (called in
the Italian forms of his story Orlando), and Renialdos is the hero
called in the French _chansons de geste_ Renaut de Montauban (in
Italian, Rinaldo da Montalbano). The present ballad appears in both the
oldest existing collections of Spanish ballads, printed the one in 1550
and the other slightly earlier (it bears no date). The poem relates how
Renialdos (or Reinaldos), having fallen into the hands of his feudal
lord and unforgiving enemy, the Emperor Charlemagne, is about to be put
to death, when Charlemagne's nephew Roldán (Roland) rides up and
violently interposes in the prisoner's behalf. The Emperor yields on
condition that Renialdos shall leave France forever. This the hero
promises to do, and makes his way to the land of the Great Khan, who
receives him warmly and offers to aid him against Charlemagne. Renialdos
refuses, however, to make war upon his liege lord, even though wronged
by him. Then the Khan furnishes him with men to conquer the Emperor of
Trebizond and to establish himself in his place. The story of the
banishment of Renialdos is not told in this form in the splendid old
French poem (_chanson de geste_) entitled _Renaut de Montauban_, but is
an Italianized version containing elements not truly popular and
traditional. The Spanish ballad, too, is in some other respects not
thoroughly popular in its character. Nevertheless, it is written in the
traditional ballad style, and is very fine and spirited. It is printed
in full in Durán, _Romancero General_, Vol. I, p. 240; and in Wolf y
Hofmann, _Primavera y Flor de Romances_, Vol. II, p. 346.
=167= 5 =Briador=: in the old French poems (_Chanson de Roland_, etc.)
Roland's horse is called Veillantif; but the Italian poets Boiardo (in
the _Orlando Innamorato_) and Ariosto (in the _Orlando Furioso_) call
him Brigliadoro (= _briglia d'oro_, 'bridle of gold'). Pulci, however,
in the _Mergante Maggiore_, but slightly modifies the French name,
making it Vegliantin. The Spanish =Briador= is a corruption of
Brigliadoro.
=167= 7 =Durlindana=: the name of Roland's sword. In the French poems
the word is Durendal. We have here again the Italianized form.
=167= 9 =entena=: the yard of a lateen sail, much longer and
consequently also stouter than the yard (=verga=) of a square-rigged
ship.
=167= 18 =como D. Renialdos=: in the ballad it is Roldán, not Renialdos,
that pronounces the following lines. None the less, the readiness of the
peasant to go on with the quotation is very true to life. The average
Spaniard of the lower classes is perfectly familiar with large numbers
of these old popular poems.
=167= 20 =ser bien librado=: in the sense of the intransitive =librar=.
=168= 4 =Vaya=: R. 1429; K. 659,_a_; C. 237, 6.--=unos=: cf. n. on p.
46, l. 3.
=169= 1 =Válgame=, etc.: cf. R. 1427; K. 658,_d_; C. 237, 1; and p. 62,
l. 27.
=169= 12 =que decía=: 'saying'; lit. probably 'who' rather than 'which.'
=169= 13 =Ya pareció=: after =ya= the past absolute is commonly used
where ordinary tense usage would require the perfect. The suddenness or
completeness of a past action is thus emphasized. Cf. n. on p. 40, l. 1.
=169= 23 =esa=: R. 442; K. 265; C. 162, 2.
=170= 9 =dice=: the tense of this, as of several other verbs in the
paragraph, is present, after the manner of legal depositions.
=170= 17 =entregara=: for tense cf. n. on p. 110, l. 22.
=170= 10 saldría=: for tense cf. n. on p. 3, l. 17.
=170= 20 =sin tapujos=: 'unmuffled.' The Spanish =capa=, thrown round
the neck and face as well as the body, is an unrivaled means of
disguise. It is a point of Spanish courtesy, when wearing the =capa=, to
unmuffle (=desembozarse=) before addressing any one.
=171= 13 =se hizo sangre=: 'drew blood' (se = on herself).
=171= 17 =patético: not 'pathetic.'
=171= 20 =inmenso=: cf. the Academy's definition "=no caber el corazón
en el pecho=, be so wrought up by some occasion of grief or anger that
it cannot get relief or quiet," and, since Arabic has affected Spanish
so much, the Arabic phrase "his breast is narrow" to express the same
idea.
=171= 24 =Entre tanto=: this ought to mean while the conversations of
pp. 170-171 were going on; and this is doubtless the meaning, however
difficult it may be to reconcile this with =dormía o aparentaba dormir=
on the next page.
=172= 15 =rezar=: properly this means reciting the prescribed prayers of
the Church (so that Protestants prefer to say =orar=); otherwise here.
=173= 1 =tan sólo=: 'merely,' 'and nothing more.'
=173= 6 =dicha=: noun.--=conciliarlo todo=: cf. n. on p. 32, l. 17.
=173= 19 =que no movía=: elliptical for =de manera que=, etc., or the
like, equivalent to an English participle construction, 'not moving a
foot,' etc.
=173= 27 =expectativa=: Madrid edition =espectativa=, cf. n. on p. 102,
l. 27.
=173= 32 =extraño=: the dream, which thus far had been fairly faithful
memory, begins from this point onward to mix dream-fancies with facts.
=173= 34 =recortada=: this word is applied to the "cut" or lobed leaves
of plants and trees; also to silhouettes cut out of paper.
=175= 12 =_Agnus Dei_=: a common object of household adoration in
Catholic countries, consisting of a flat piece of wax on which is
stamped the figure of a lamb supporting the cross, or of some saint.
These tokens are blessed by the Pope in large numbers, generally every
seventh year, and distributed among Catholics. The possession of one is
supposed to be a protection against misfortune.
=175= 13 =rizada=: Palm Sunday in Spain has two kinds of palms, both
alike blessed: the simple natural bits of palm-leaf, and those which are
=rizadas=, i.e. frilled and crimped into all sorts of ornamental shapes
with a view to using them as decorations.
=175= 14 =flores de trapo=: 'artificial flowers' (lit. 'of cloth').
=175= 18 =narigudo=: such was the meaning of Ovid's surname, Naso. There
is perhaps also a reminiscence of the secondary meaning of Lat.
_nasutus_, 'witty,' 'clever.'
=175= 19 =conceptista=: the =conceptista= style in Spanish literature is
that style of which Quevedo was the most eminent master. See cyclopedias
under "Quevedo" and under "Spanish Literature."
=175= 24 =dando vueltas=, etc.: Aulus Gellius (_Noct. Att._ III, 3, 14)
says that Varro and other older authorities related how Flautus, after
making some money by the stage, lost it all in trade, and was obliged to
hire himself to a baker in Rome, being put to turn a hand-mill (_mola
trusatilis_). Of the plays mentioned by Aulus Gellius as written by
Plautus under these circumstances, however, none is preserved.
=175= 26 =pícaro=: several unsavory tales about Sallust were current in
antiquity, and his political conduct was far from being above suspicion.
=175= 30 =Rutilio=: the anti-Christian poet Rutilius Claudius
Namatianus, who has left us a poem entitled _De reditu sito_, describing
a journey made by him in 416 A. D. from Rome to his home in Gaul.
=176= 6 =las cabras=, etc.: in most Spanish towns the milkman (or more
often milkwoman) drives a flock of she-goats through the streets,
milking at the door of each customer the amount required.
=176= 18 =las=: the =misas=.
=176= 29 =conforme=: 'just as.'
=177= 11 =Nada, nada=: 'well, well.' Cf. n. on p. 31, l. 23.
=177= 30 =justiciada=: not given in the dictionaries; a noun in
participial form from =justicia=, like =cuchillada= from =cuchillo,
lanzada= from =lanza, calaverada= from =calavera=. K. 765, rem. 2; C.
132, 4, _b_.
=177= 32 =llamarles y decirles=: for imper. use of infin. cf. R. 1225;
K. 731; C. 277, 5.
=178= 16 =amigotes=: the coloring given by Spanish augmentatives and
diminutives is well brought out by the contrast between this word and
=amiguito= in line 1 above.
=178= 22 =sentar=: the infinitive has something of imperative coloring
(cf. p. 177, l. 32, and n.), but inclines decidedly to the usage known
as the historical, or continuative, infinitive.
=179= 17 =quien=: 'anybody who' (woman).--=no siendo sacerdote=: 'unless
he is a priest.'
=179= 23 =de mí=: R. 1440, _q_; C. 128, 3, _a_; 237, 8.
=180= 1 =Vuelta a=: this idiom expresses impatience at repetition.
=180= 6 =dos dedos de frente=: 'any sense' (lit.' two inches of
forehead').
=180= 14 =porque=: 'in order that.'
=180= 18 =Será=: R. 1195; K. 703, _c_; C. 266. The form =hará= below is
more difficult; the force of the future there is presumably either 'why
is it that God apparently makes me' or 'what do you suppose God makes me
so silly for,' 'what can God be after in making me,' etc.
=182= 28 =Falta=: verb, lit. 'is lacking'; i.e., 'you do not say that
they....' 'I guess they did not....'
=182= 31 =ademanes encomiados=: 'an air of approbation.'
=183= 5 =refiriendo=: 'while relating.'
=183= 23 =unos humos=: 'such airs!' For use of =unos= cf. n. on p. 46,
l. 3.
=185= 6 =acabó de encender=: 'finished kindling.'
=185= 24 =Valido=: in the same sense as =valiéndose=, line 15. Note both
the absence of any past sense and the fact that the past participle
drops the reflexive pronoun. Cf. C. 276, 4.
=185= 32 =recibiera=: cf. n. on p. 41, l. 13.
=186= 25 =por cuya razón=: cf. n. on p. 24, l. 7.
=186= 27 =sin perjuicio de=: 'without prejudice in regard to' (legal
phrase, indicating that a given action is not to annul or diminish the
right of one party to demand a further accounting from the other).
=187= 2 =las=: cf. n. on p. 7, l. 16.
=187= 6 =pues=: 'since.'
=187= 9 =Sacramento=: the capital S suggests that we take this word in
its special sense defined by the Academy as "Christ sacramented in the
Host," so that our phrase would mean 'by having the power to work the
miracle of transubstantiation'; if the word here means his ordination as
priest, which is one of the seven sacraments of the Church, the capital
S is probably a misprint.
=187= 19 =por lo muy santo y noble=: cf. R. 1358; K. 671; C. 125,_a_;
here =que es= is lacking, as is often the case after =por=.
=188= 20 =consejero áulico=: the Aulic Council, 1500-1806 A.D., was the
Emperor's supreme personal council, whose members all held office till
his death.
=188= 31 =el más allá=: 'the beyond.'
=189= 9 =cinco días=: the chronology is not clear. Comparison of p. 183,
ll. 12-14, and p. 186, ll. 20-24, with p. 208, ll. 18-20, shows that the
letter dated April 14 (p. 207) cannot have been written till at least
the day after Caballuco's coming to the priest's house (p. 184); indeed,
by p. 208, ll. 20-21, it would seem that the letter was a day or two
later. The progress of the story will show that the letter dated April
20 (p. 209) cannot have been written later than the evening at which we
have now arrived.
=190= 14 =cuanto en lo humano cabía=: 'that lay in human power.' Cf. R.
1155; K. 529,_b_; C. 284.
=190= 28 =con lo que sale usted=: lit. 'what you are coming out with.'
=190= 29 =se están luciendo=: 'are showing themselves off' (cf. =lucir
un nuevo paraguas= = 'to sport a new umbrella').
=191= 4 =No asustarse=: imperative use of infinitive. R. 1225; K. 731;
C.277, 5.
=191= 7 =como el rascar=: i.e., to do a little of it makes you want to
do more.
=191= 27 =refregones en los morros=: in Spain, 'rubs across the lips'
(as if cleansing them) are, like spanking (=azotes=), a standard
punishment for naughty words from a little child.
=192= 2 =soberbia=: adjective.
=192= 12 =la Encomienda=: this word means generally a piece of property
bestowed upon a knight of one of the military orders; here, a particular
estate of this kind that had sometime come into the possession of the
Polentinos family.
=193= 15 =Juan Lanas=: traditional name for a simpleton.
=193= 26 =allá se le va=: 'are about the same as she,' 'are taking the
same line.'
=193= 33 =esto se lo lleva la trampa=: grammatically, =la trampa= is the
subject of the clause; =lo=, which repeats =esto=, is the object; =se=
is the reflexive of interest, often used with =llevar=.
=194= 22 =en buen hora=: cf. n. on p. 35, l. 26.
=195= 5 =le dan=: cf. n. on p. 38, l. 6.
=195= 11 =sonsonete llorón=: 'sarcastic whine.'
=195= 25 =si=: cf. n. on p. 40, l. 34.
=196= 8 =tenebrario=: properly a candlestick which is used during matins
of the last three days of Holy Week. These matins are called in Spanish
=tinieblas=. The light of the =tenebrario= is dimmed by placing it
within a kind of shrine. The idea here, of course, is that obscurity is
part of the family inheritance.
=197= 18 =acabó de estrujarle=: 'gave him the last squeeze.'
=198= 3 =suspirando a moco y baba=: 'sighing and snuffling.'
=198= 15 =en un quítame allá esas pajas=: 'in a wink of your eye'
(colloq.). The phrase means literally 'get those straws [trifles] out of
my way,' and implies the feeling that a thing can be done quickly and
easily.
=198= 27 =los juegos de manos son juegos de villanos=: the Spanish
Academy defines this proverb in about the sense given to it by Gase's
French-English Dictionary, "playing with the hands is bad manners, rough
play is low"; but the priest here, quite legitimately, makes it mean
"physical force is a blackguard's way."
=200= 12 =qui tenga visos=: 'that has the look.'
=200= 27 =Como lo huelan los de tropa=: 'supposing the military get a
smell of it.' For conjugation of =oler= see grammars.
=201= 4 =Guarde usted=: 'look out for.'
=201= 16 =el salitre=, etc.: i.e. powder.
=202= 6 =Si=: cf. n. on p. 40, l. 34.
=202= 17 =ha perdido la chaveta=: 'have lost your wits.' =Chaveta=, or
more commonly =chabeta=, is properly a wedge or key used by blacksmiths
or carpenters to unite and tie several pieces of metal or wood.
=202= 31 =medio=: adverbial, i.e. to be followed by a hyphen in
English. Contrast =media=, adjectival, in the line above.
=203= 2 =Para solfas=, etc.: 'drubbings by treachery are not what
Cristóbal Ramos is good for.'
=203= 31 =si es empeño de usted=: 'if it is your particular wish.'
=204= 4 =jofaina=: 'finger-bowl' here.
=205= 6 =no tienen espera=: 'endure no stay.'
=205= 21 =me tiene=: 'she has for me.'
=208= 13 =quijotadas=: 'extravagances,' 'quixotic undertakings.' The
word is formed from the name of Cervantes' hero.
=209= 13 =Mi coalición=, etc.: 'my half-serious, half-jocular
coalition.'
=210= 3 =Sentiré mucho que=: 'I shall be very sorry in case.'
=210= 11 =y concluirá=: 'and end it shall,' or simply 'and it shall.'
=211= 28 =Irá=: 'he must be going.'
=212= 4 =el pueblo se acaba=: 'the town ends,' i.e. we are coming to the
last houses.
=212= 21 =bruto=: 'an idiot.'
=213= 11 =quinqué=: from the French manufacturer Quinquet, who first
made such lamps on a considerable scale. The inventor was a Swiss
chemist and physicist named Argant or Argand (1755-1803); hence these
lamps are generally known in English as Argand lamps.
=213= 19 =acicalarse=: 'prinking.'
=213= 25 =despejada=: 'open.'
=214= 3 =allegados=: the Academy defines this word by =pariente=
('relative,' the same word by which it defines =deudo=) and =parcial=;
and it defines a colloquial figurative sense of =pariente= by "allegado,
semejante o parecido."
=215= 8 =un Limbo prematuro=: 'a Limbo before the time.' Cf. n. on p.
118, l. 17.
=215= 9 =cuidan bien=: this is normal Spanish for 'take good care,'
declaratively. May it be a misprint of the Madrid edition for =cuiden
bien=, to be interpreted 'let them take good care'? In that case the
order of words would be hardly the most usual; but it is not easy
otherwise to reconcile the sentence with the general course of the
thought in this passage.
=218= 15 =veros=: 'to see each other.'
=220= =un su amigo=: 'a friend of his.'
=220= 5 =virtuosísimo=: this word is used in the sense of the Italian
_virtuoso_, a connoisseur, an appreciative and successful collector. The
ending =-ísimo= is here not merely intensive but very nearly true
superlative; not 'extremely' but 'supremely.'
=220= 6 =emblema=: 'crest'; the word =crestón= appears to mean not the
heraldic device but the part of the helmet over which the device rises.
=Emblema= is defined as meaning a symbol accompanied by a motto.
=220= 7 =rabillo=: this word must here mean a serif, but is probably not
a technical term.
=222= 20 =le impondrá a usted=: 'will advise you.'
=224= 23 =nos=: ethical dative. R. 323; K. 231; C. 204.
=224= 26 =dude=: sc. =usted=, unless it is a misprint for =dudo=.
=224= 31 =San Baudilio de Llobregat=: a small town, commonly called San
Boy, on the river Llobregat. It is six miles west of Barcelona. A large
and well-administered private insane asylum is situated there.
=225= 5 =pliegos=: 'sheets' (sixteen pages each if the book is octavo).
=225= 25 =Albricias, albricias=: 'joy, joy!' (lit. a reward paid to the
bringer of good tidings).
=226= 22 =acaparada=: 'monopolized,' 'beguiled.' This verb (from Fr.
_accaparer_, to 'corner' a commodity in the market, to 'seize upon' a
thing, to 'sway' voters by demagogic methods) was condemned as a
Gallicism in the middle of the nineteenth century, but is now fully
accepted in Spanish. It must not be confounded with the older but
probably now less common verb =acaparrar=, whose meaning is entirely
different.
=227= 9 =novenas=: periods of nine days given to devotion and prayer. In
English the word is pronounced with the English sounds of _e_ and
_a_.--=manifiestos=: exposures of the Sacrament for the adoration of
believers.
=227= 15 =el duque de Osuna=: a nobleman of very illustrious family,
Spanish viceroy of Naples in the reign of Philip III. The plot mentioned
below was, according to the Venetians, a diabolical scheme entered into
by the Duke of Osuna, the Marquis of Villafranca, and the Marquis of
Bedmar, all Spaniards of high rank engaged in the war of the Spanish
kingdom in Italy against Duke Charles Emmanuel of Savoy, who was aided
by the Venetians. The plan was said to have involved the surprise of
Venice, the slaughter of its senate and nobles, and its reduction to a
mere dependency of Spain. Spanish historians have denied the existence
of any such plot; for all that, it has remained the most memorable thing
connected with the viceroyalty of the Duke of Osuna. Hence the irony of
the present reference to it.
=227= 19 =Esto se acabó=: 'this story is finished.' Cf. n. on p. 40, l.
1.
=VOCABULARY=
This vocabulary aims to be complete, except for such proper names as do
not appear to involve a play on words or a change of form in translation
into English. Superlatives in =-ísimo= are not given unless irregular,
but diminutives and augmentatives are given. Adverbs in =-mente= are
given under their adjectives, and are not separately defined if the
definition of the adjective sufficiently indicates their rendering.
Adjectives and personal substantives which form regular feminines are
given in the masculine form, with the masculine definitions only, so far
as the feminine definitions can be inferred from these; thus, for =tía=
look under =tío=, and, finding the definition 'uncle,' render the
feminine by 'aunt.' This rule has been followed even where, as with
=descalzo, matón=, the feminine is the only form found in our text.
Infinitives used substantively, translatable by the English form in
_-ing_, are not separately given. The participial form in =-nte= is
given separately, but that in =-ndo= and the past participle are not
given apart from their verbs if the verbs occur. Neither is the
substantivized past participle, even such as =pecado=; but not so words
which merely coincide with the participle in form, as =estado=. Words
which take the accent mark merely to indicate interrogative or
exclamatory use are given under the unaccented form, and the existence
of an accented form is not mentioned if the English equivalent remains
the same. Irregular forms of verbs in Chapters I-III are separately
given so far as they affect the finding of the word; usually a group of
forms that begin alike is represented by one of its simplest
members--thus, in looking for =puso= or =pusiese= take '=puse= _see_
=poner=' as guide. A statement of reflexive use is given under =se=, and
a verb is not separately defined as reflexive if its reflexive meaning
is derivable from the non-reflexive by applying what is found under
=se=. A participle which has reflexive force without the reflexive
pronoun is in general especially defined, but the student will do well
to keep in mind the principle that any past participle may be a
reflexive without the pronoun.
The effort has been made to list each defined phrase under the word that
the student was surest to look up, either the most unfamiliar word or
the one which he would identify as not having here its familiar sense.
When the word which has here an unusual sense (or whose regular English
equivalent is not used in translating this phrase) is one which will not
be looked up, such as a familiar preposition, its special definition for
this occasion is appended in parentheses to the appropriate definition
of the other word, which definition it precedes or follows according to
the order of the Spanish phrase: thus, under =acabar=, 'end (=por=
with)' means '=acabar= end; =acabar por= end with'; under =adelante=,
'(=más= further) on' means '=adelante= on; =más adelante= further on.'
Parentheses in a Spanish phrase inclose words which can be added without
affecting the translation except as indicated by parenthesized English
words. Other parenthesized words are generally meant as mere
explanations, but can sometimes be advantageously taken as supplements
to be optionally added to the definition.
The special definition of a phrase does not mean that the words which
make up that phrase may not be found together also with their ordinary
meanings. Thus, '=tener por= regard as' does not mean that =tener=
'have' or 'hold' may not also be followed by =por= 'for' or 'by' in
various senses; and the giving of a special definition for the reflexive
use of a verb does not mean that its reflexive use may not have also the
senses of its active use with the reflexive modifications described
under =se=. Nor does a special definition for a participle mean that the
participle is not used also in the general sense of the verb.
A rendering found in the vocabulary should not be distrusted because
when put into the sentence it results in a bold use of words. Such uses
are more or less characteristic of Galdós; and if the translator
undertakes to reproduce Galdós' style in English, which is doubtless the
highest ideal of translation, he must not be too timid in his use of
English words. And the student should notice that the quality of the
Spanish varies according to the person who speaks. Not every character
in the book can be taken as a model of good conversational style,
cultured or uncultured. Translate accordingly.
The citations from the Academy can usually be verified in other
unabridged Spanish dictionaries; for these habitually copy the Academy
verbatim. The student must not expect that the Academy shall be always
right or always wrong.